Lauren Fensterstock Biography, Age, Height, Husband, Net Worth, Family

Age, Biography and Wiki

Lauren Fensterstock was born on 10 March, 1975 in Katonah, NY. Discover Lauren Fensterstock's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is She in this year and how She spends money? Also learn how She earned most of networth at the age of 49 years old?

We recommend you to check the complete list of Famous People born on 10 March. She is a member of famous with the age 49 years old group.

Lauren Fensterstock Height, Weight & Measurements

At 49 years old, Lauren Fensterstock height not available right now. We will update Lauren Fensterstock's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Who Is Lauren Fensterstock's Husband?

Her husband is Aaron T Stephan

Lauren Fensterstock Net Worth

Her net worth has been growing significantly in 2022-2023. So, how much is Lauren Fensterstock worth at the age of 49 years old? Lauren Fensterstock’s income source is mostly from being a successful . She is from United States. We have estimated Lauren Fensterstock's net worth , money, salary, income, and assets.

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Timeline

Lauren Fensterstock is an American artist, writer, curator, critic, and educator living and working in Portland, Maine. Fensterstock’s work has been widely shown nationally at venues such as the John Michael Kohler Art Center (WI), the Bowdoin College Museum of Art (ME), the Portland Museum of Art (ME), and is held in public and private collections throughout the U.S, Europe, and Asia.

Fensterstock’s training in Metalsmithing + Jewelry dominated her early work that centered on conversations about adornment, beauty, preciousness, and ephemerality. In her series Precarious Heirlooms, Fensterstock utilized such materials as potatoes, bananas, and soap, setting precious stones and pearls in the materials. The temporary nature of these base materials changed the pieces over time; the soap dried and cracked, the potatoes shriveled and grew tendril like sprouts, and the banana rotted turning black and deflated. Fensterstock documented these changes, referring to them as What Happens.

Fensterstock’s long running series, Third Nature utilized the process of quilling (curling and shaping fine strips of paper that constructive decorative designs) which she combined with material such as Plexiglas and charcoal to create enclosed stand-alone sculptures. After purchasing her first home, Fensterstock was struck by how specific her ideas on how her garden “should” be. This lead Fensterstock to research historic landscape design and theory, how people have interacted with the land through such implements as the Claude Glass, and how people actively shape the land around them. The result of this research is Fensterstock’s series Third Nature that is marked by its “monochromatic iterations of nature and gardens” that are enclosed and contained in various boxes, vitrines, and wall panels.

Fensterstock built upon the research and themes of Third Nature in a series of site-specific installation projects. Fensterstock installed and showed these projects in such venues as the Bowdoin College Museum of Art, Walker Contemporary, the Ogunquit Museum of American Art, and the John Michael Kohler Arts Center. Fensterstock’s shift in scale pull in additional influences and conversations such as the influences of minimalist artist Donald Judd and land artist Robert Smithson.

Fensterstock has written for a variety of publications including Metalsmith Magazine, ‘’Maine Magazine’’, Art New England, Maine Arts Magazine, and numerous catalog essays. In addition to writing, Fensterstock has severed as the Maine State Editor for Art New England from 2005-2007, and the Associate Editor for Arts Guide Portland from 2005-2007.

For the last few years, I've been doing a lot of work with paper and looking at the history of garden designs, the ways different styles represent different ideas about man's role in the world. The differences between a Baroque garden and a picturesque garden represent two completely different world views. I kept coming across garden grotto, which are artificial caves, and I became obsessed with them because it's this blend of culture and nature. It's in a natural space, but it's really an augmented natural space. Sometimes they would take, in the 18th century, a cave and reform it, cover the entire surface with shells or another kind of ornament, and create a space that really merged nature and culture.

Fensterstock currently works as a critic at the Rhode Island School of Design (RISD) in the graduate Jewelry + Metalsmithing department. Fensterstock has held previous teaching appointments at the Maine College of Art, New Hampshire Institute of Art, Vermont College, SUNY New Paltz, and as a visiting critic for several institutions. Fensterstock served as professorial chair at the Lamar Dodd School of Art during the 2017-2018 academic year. Along with teaching, Fensterstock also worked in an administrative capacity, and served as the Academic Director of the MFA program at the Maine College of Art from 2010-2012.

With this new body of work also came new materials; shells coated and dripping in black rubber replaced the daintily curling paper to create ominous stalagmites and stalactites. The first piece of this series Stalagmite debuted at Pulse Miami in 2015.

Fensterstock received her Bachelor of Fine Arts from Parsons School of Design in New York, New York in 1997 where she studied with Lisa Gralnick. She went on to receive her Master of Fine Arts from SUNY-New Paltz in New Paltz, New York in 2000 where she studied with Myra Mimlitsch-Gray and Jamie Bennett.