Hey Change=maker – YOU are the FUTURE

You’ve heard that Elon Musk wants to settle Mars. Well, at the Museum of Motherhood we’d like to finish making earth better for its inhabitants first. Love you MOTHER EARTH and you mother first please.

Hey Beautiful

PLEASE HELP US GROW! Until the Museum of Motherhood, no place on Earth collected, preserved, and disseminated information and artifacts about the many roles of mothers, and the many types of family. Many museums are well presented, educational, and entertaining. Yet, in addition, how many discuss the historical contributions of women’s labor, the breakthrough science of procreation, and art made from the maternal perspective. Our scope is uniquely comprehensive and focused.

Bitch In The House – Has Anything Changed?

Perhaps social support does improve women’s feelings about motherhood. However, recent articles, during the time of COVID, for example, would indicate that the fundamental challenges for women who are mothers remain fundamentally unchanged. A recent New York Times article, This Is a Primal Scream, depicts the frustration of America’s maternal mental health crisis, as does this article by Kimberly Seals Allers in the Washington Post titled Female Rage is All The Rage (2018). Cathi Hanauer and friends have an updated version of this book called The Bitch Is Back: Getting Older, Wiser, and Happier. The original Bitch in the House is part of MOM’s library.

M.A.M.A. 45 Rubiane Maia

Procreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 45th edition of this scholarly discourse. Literature intersects with art to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the academic, the para-academic, the digital and the real, as well as the everyday: wherever you live, work and play, the Art of Motherhood is made manifest

Me, We, Women – Online Exhibit Feature

Trish Morrissey, (born 1967 in Ireland; lives and works in London) graduated in photography at the University of the Arts in London in 2001. Her work mainly relies on photography by simulating a specifically constructed reality, playing on the binary pair: truth/ representation. Trish Morrissey’s photographs become an instrument to criticize and question family unity and its quintessential manifesto, the family portrait that displays similarities, proximities, hierarchies, and inner orders.