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Kathy Grove
Kathy Grove (born 1948) is an American conceptual feminist photographer. As a professional photo retoucher for fashion magazines, Grove became familiar with airbrushing and photo manipulation techniques in that industry.〔 Her work uses those skills to remove subjects from iconic works, or to alter their appearance. Grove wrote that this practice is intended to "portray women as they have been regarded throughout history, invisible and inaudible."() Her photo series, ''The Other Series'', includes reproductions of canonical paintings in Western art with the feminine subjects removed.
==Early life and education==
Kathy Grove was born in Pittsburgh, Pennsylvania to Nancy Bell Grove and John A. Grove, Jr., both graduates of the Carnegie Tech Architecture School. Her mother graduated first in her class, Phi Beta Kappa, as only the second female ever to attend the Carnegie Architecture School. Kathy learned mechanical and architectural drawing working in the Pittsburgh office of her father, John A. Grove, Jr.
From 1966 to 1970, Grove studied painting, printmaking and photography at the Rhode Island School of Design and its Honors program in Rome, Italy. Upon graduation, she spent a year at Stanley William Hayter’s Atelier 17 in Paris studying color viscosity printing, intaglio techniques, and bookbinding. She then worked at Boston’s Experimental Etching Studio for a year before attending graduate school at the University of Wisconsin-Madison. While in Boston, she supported herself doing mechanical drafting at M.I.T.
At Wisconsin, from 1974 – 1976, she experimented further with printmaking and photography, as well as paper-making and commercial photo-mechanics. She also did coursework in the Women’s Studies Department. She began "drawing" with a sewing machine and paper punches, producing eccentrically undulating, abstract paper and plastic wall reliefs, with components grommetted together; and 3-D "rayograms" on large sheets of Estar plastic photo paper. She then re-photographed these, printed multiples of the images photo-lithographically, and used them to create subsequent generations of new paper and plastic wall reliefs that were large 3 dimensional abstract photomontage works.
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