Newark
Anne Dushanko Dobek
Installation

Anne Dushanko Dobek was born and currently lives and works in New Jersey where she maintains an active studio.

Primarily a conceptual artist whose large scale works focus on issues of social justice and the environment. Dushanko Dobek’s thematic choices today are grounded in her childhood: walking the forests of the Pine Barrens. Here she became fascinated with insects and the the fine points of identifying and labeling her collection according to scientific practice has continued to inform her methodology today. 

She is a graduate of Rowan University and Pratt Institute. 

For over thirty years Anne Dushank Dobek has been exhibiting and lecturing both nationally and internationally:  Tokyo, Berlin, Brussels, Switzerland, and Norway.  Her works are included in the collections of the Dallas Museum of Art the Museum of Art and Design, the Museum of Modern Art, the Victoria and Albert Musuem and Montclair At Museum.

In 2015 Dushanko Dobek was the recipient of the Erena Rae Award for Social Justice.

She currently serves on the Board of Directors of Pen and Brush in NYC.

dushankodobek.com

Collatoral Damage IV
Anne Dushanko Dobek
mixed media installation
9’h (108″) x 26′ w (351″) x 3′ d (36″) +/_

$18,000

Collateral Damage IV is a visual commentary on the caging of children in detention centers in the United States. For this installation I am using repurposed foil blankets from an earlier version of Collateral Damage to create a reflective background wall. Look closely and you will see yourself as well as photos of toys, clothing or shoes. Who left these? Where did they go? Is this evidence? All of these objects were donated by parents, children and friends who find it painful to even conceive of children living in cages.

Nearby is a sculpture with a faux concrete floor, another foil blanket and an abandoned jacket. Who was here? How long? Why did they leave ? What do you think?

The source material for all of my works, collectively titled Silent Voices, is specific: stories in the New York Times. My installations, including Collateral Damage are more reductive; opening the works to to individual memories of the perilous journeys of migrants, refugees and immigrants . I purposely select images and materials which are not only visually seductive but reference content in the original narratives.