MOM Art Annex: Exhibition & Education Center

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CFP (MOM Conference 2020) Embedded in SEWSA, USF St Pete

(USF) Women and Gender Studies is pleased to host the 2020 SEWSA Annual Conference in Tampa Bay, Florida, St. Petersburg Campus Location. The Annual MOM Conference Panels will be embedded within this conference.

Call For Papers on the subject of Mother Studies within the topic of “Embodying Disobedience, Crafting Affinities” please go to the application link and direct your inquiry to Michelle Hughes Miller who will be facilitating the organization of MOM Conference panels.

This year’s theme—figures embodiment and diverse lived experiences as the lifeblood of resistant politics and the livelihood of building alliances across our many differences. The theme echoes the broader mission of the interdisciplinary field of Women’s and Gender Studies (WGS). With its distinctive blend of research, programming, teaching, and advocacy, WGS questions conventional wisdom, challenges the status quo, critiques intersecting gendered, sexual, and racialized inequities and injustices, and strives to create social change for more equitable, ethical, and just futures.

Our theme takes special inspiration from the work of feminists of color and their allies— including early abolitionists like Sojourner Truth and Harriet Tubman, civil rights activists such as Fannie Lou Hamer, Septima Clark, and Rosa Parks, groups such as the Combahee River Collective, writers and teachers like Audre Lorde, June Jordan, Mitsuye Yamada, Cherrie Moraga, and Gloria Anzaldua, The Movement for Black Lives, founded by Alicia Garza, Patrisse Cullors, and Opal Tometi, the #sayhername campaign, the reproductive justice movement, and the work of researchers and theorists such as bell hooks, Angela Davis, Kimberle Crenshaw, Lila Abu-Lughod, Emma Perez, Saidiya Hartman, Gayatri Spivak, Dean Spade, Jasbir Puar, Fred Moten, C. Riley Snorton, and the late Saba Mahmood, among many, many others. The work of these scholar-activists is a source of critical insight into the workings of what the Combahee River Collective called interlocking systems of oppression, and a reminder that disobeying unjust state logics and challenging administrative and other forms of violence is literally a matter of life and death, more so for some populations than for others. For this reason, so too do these trailblazing and cutting-edge activists and scholars prompt us to recall the imperatives of self-reflexivity, critical positionality, and situated knowledges in confronting inequality and injustice from a variety of intersectional and transnational perspectives.

In these ways and others, our theme invites a wide range of interdisciplinary critical engagements with the body politics of disobedience. How, for instance, do different forms and modes of racialized and gendered embodiment inform strategies of disobedience to state regulation, the criminalization and dispossession of multiply- marginalized populations, and the ongoing upward redistribution of wealth and resources under neoliberalism? At the same time, the theme invites consideration of how to better craft stronger and more capacious affinities between counterhegemonic projects, for example, between The Movement for Black Lives, disability justice activism, struggles for indigenous decolonization, trans and intersex rights, prison abolition, and intersectional feminist, queer, and anti-racist research and activism. “Embodying Disobedience, Crafting Affinities,” then, seeks to emphasize the continuing import of multi-issue politics in efforts to move beyond commodified notions of allyship towards relations of radical solidarity and mutual interdependence.

In the current historical moment we are witnessing unprecedented interest in feminism and a resurgence of activism in the same space as increasing white nationalist, anti-trans, anti-immigrant, and anti-choice rhetoric, policy, and legislation. In such a climate, this year’s SEWSA takes the opportunity to draw insight and inspiration from the past and chart a course toward different, hopefully more just—and perhaps also more queer— futures. As 2020 marks the 59th quadrennial presidential election, the centennial of the 19th Amendment, and the fiftieth anniversary of the first women’s studies program, we want to remember the ways in which women’s studies has linked theory to practice, not only to transform the present but also to know the past differently and to imagine and create a world beyond it. Women’s studies, from its inception, ranged across the disciplines, found resources where it could in the name of survival and resilience, and insisted on forms of interdisciplinary inquiry that today demand questions of gender, race, and sexuality to disrupt the naturalized status quo. Women’s and Gender Studies, at its best, embodies disobedience—to the disciplines, reigning ideas of sex and gender, the nation, racial capitalism, and single-issue politics—while simultaneously fighting to craft political and intellectual affinities that will make a difference in the world.

We invite proposals that envision and examine diverse ways of embodying disobedience and crafting affinities across a wide range of theories, practices, and contexts. All disciplines, methodologies, and styles of presentation are welcome, and from students and scholars at all levels.

Possible presentation topics might include (but are not limited to):

  • The history, current state, and future of feminist, LGBTQ+, and anti-racist activisms
  • Political participation and movement building leading up to the 2020 U.S. election
  • Linkages between Black Lives Matter, disability justice activism, immigrant rights, and trans and intersex mobilization for self-determination and bodily integrity
  • The uses of anger (in Audre Lorde and beyond)
  • Politics and affect (outrage, repugnance, disgust, humor, pride, envy, loss)
  • Scholar-activist coalitions
  • Settler colonialism and decolonial feminist resistance, especially within
    Caribbean and diasporic feminisms
  • Increasing women, POC, and LGBTQ+ political representation
  • Possibilities and limitations of the #MeToo movement
  • Challenges to Title IX under the Trump Administration
  • Humanitarianism and neoliberalism
  • Digital media and activism
  • Interdisciplinary public scholarship in the era of “fake news”
  • Feminist and queer performance studies as disobedience
  • Afro-Latina identities and politics
  • Black feminist leadership and social movements
  • Disability studies: pedagogies and politics
  • Fat studies, embodiment, and activism
  • Trans and intersex studies and public policy

Session Types and Instructions:

Individual presentation proposals: 200-word proposal

Panel presentation proposals: 3-4 presenters, 600-word proposal (We strongly
encourage panel proposals from graduate and undergraduate students.)

Roundtable proposals: 6-8 presenters, 8-10-minutes each; can include works-in-
progress/slow science (600-word proposal)

Proposal submission deadline is December 6, 2019 and proposals should be submitted to: SEWSA SUBMISSIONS LINK. If you have a proposal idea that is not listed above, such as a performance piece or art submission, email conference staff at sewsa@usf.edu to discuss options. Any additional questions can be forwarded to INFO@MOMmuseum.org

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MAMA: Issue 38 – Casey Jenkins & Amy Watkins

Issue 38 – October Casey Jenkins – sMother [Performance]

sMother psychological-endurance artwork. Gendered assumptions, judgments and advice – whether meant to protect or to control – bind and confine those perceived to be ‘women of childbearing age’, paralyzing us with fear and shame. Our identities are subdued and mummified in forced acquiescence by community expectations that preserve absurd gender roles.

At nearly 38 and after two miscarriages in the previous year, Casey performed sMother, the final in a trilogy of performances exploring the restrictive nature of gendered expectations on those perceived to be ‘women of child-bearing age’.

Casey knitted daily over the course of a week with yarn drawn from their vagina, linking two common but somewhat conflicting indicators of femininity; the vulva associated with women’s sexuality and reproduction, and knitting associated with elderly asexual women. As Casey knitted, audience members were invited to activate a four-channel, 28 track soundscape of advice and commentary regarding ‘women of child-bearing age’, reflecting the judgments of diverse commentators from lounge-room analysts to Donald Trump. By activating the sound montages, the audience was complicit in mirroring and perpetuating the cacophony of gendered judgments that strengthen patriarchal control.

Casey absorbed the relentless barrage while creating a knitted length that grew over the course of days into a rope that bound and distorted their body – travelling from the popular ‘serene pregnant woman’ fable to something more representative of the lived experience of those perceived to be ‘women of childbearing age’, involving discomfort, fear, frustration and claustrophobia. Each stitch may be seen as a mark of acquiescence to the absurdity of gender expectations – an acquiescence that at first may comfort and shield, but soon distorts, binds and restricts.

Artist Biography: Casey Jenkins (b. 1979, Melbourne, Australia) is currently a Master of Contemporary Art student at the Victorian College of the Arts, University of Melbourne. Jenkins is an installation and durational/community-engagement performance artist. Combining tactility with technology, craft with performance, her work ranges from minimalist solo durational performances to pieces that deliberately toy with (and aim to redefine) power structures via street art and experimental group performance. Recent works have been shown at the Venice International Performance Art Week,  London Science Gallery, and SomoS Art House, Berlin.

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The Mom Egg Review

LEARNING THE HARD WAY

By Amy Watkins

I feel for the door-to-door evangelists,

the Jehovah’s Witnesses, women in long skirts

and blue-gray sweaters, and the pairs

of handsome, clean-cut Mormon boys,

one always more shy than the other, holding

a stack of books and a bicycle helmet

under one arm. They are eager and

lovely, and even I don’t invite them in.

My mother did when I was a child, because

she too felt called to witness. The seventh-day.

The second coming. Everything that made us

strange. She took out her Bible, its leather cover

worn as a pair of work gloves, and listened

to them expound their faith in the kind of earnest voices

movie actors reserve for speeches like, Please believe

me: an asteroid is on a collision course

with Earth. Her response was apologetic,

almost embarrassed; for every verse they quoted,

she knew two. I recognized the doubt soaking in,

the frustration. Still, they squared their shoulders.

No one wants to fall for the smooth sales pitch,

the telemarketer’s call, the good news of the pamphlet

the glassy-eyed woman’s hand. Whatever truth

there is, we want to find it for ourselves

like the ultimate rummage sale bargain.

Believe me, you can’t tell us anything.

Bio: Although she was born in a landlocked state, Amy Watkins grew up in Florida, where one is never more than 70 miles from saltwater. Her poems have appeared in the Apalachee Review, Bayou Magazine and The Glass Coin. She is co-editor and host of the weekly poetry podcast Red Lion Sq.

TWITTER: @AmyWatkinsThe Museum of Motherhood, the ProCreate Project, the Mom Egg Review, and the Mother Magazine are pleased to announce the launch of a bi-monthly international exchange of ideas and art. M.A.M.A. will celebrate the notion of being “pregnant with ideas” in new ways. This scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the creative, 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. Download the Press Release here or read about updated initiatives#JoinMAMA  @ProcreateProj  @MOMmuseum @TheMomEgg

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M.A.M.A. 37- Clipping the Church and a Measure of Grace

Art by Tereza Buskova – ‘Clipping the Church’

In many cultures, even today, new mothers and their infants are subject to a period of physical seclusion or confinement from the rest of the world. During this time, the support of relatives and the local community plays a vital role in sustaining the family by caring for the older children, providing food and completing chores typically carried out by the mother herself. It is hard to imagine now that things were not so different for the generation of our own great-grandmothers.

No longer restricted by this custom, women today enjoy the benefits of improved healthcare, education and childcare options, which grant them greater freedom than ever before. Yet the stigma and judgment that come with pregnancy and early motherhood linger, whereas support of the local community has all but disappeared over time. Today’s society too often adopts a patronizing, utilitarian attitude which blinds it to the particular needs of parents and families. As a consequence, many new mothers experience feelings of loneliness and isolation from their social networks, unknown to them before. Some feel actively ostracised and judged when they should be encouraged and cherished.

Clipping the Church is a project based on an old English tradition in which parishioners ‘clip’ their local place of worship with hands and bodies and sing songs of a celebratory nature. The overarching aspect of this custom is inclusiveness and Buskova married it with the representation of motherhood expressed by the act of baking and sharing baked goods with family, friends and anonymous members of the community.

Dressed in traditional Czech outfits, ornate with sensuous red ribbons and elaborate baked accessories, two women lead a procession via Erdington’s High Street. Their white skirts are decorated with flowery patterns and bunched around their hips, emphasizing the connection with nature and its fertility.  The work subtly harks back to the history of Erdington, which remained a rural area until recent times. Accompanied by two young girls and followed by a simple wooden frame made of celestial crust (sugary pastries based on an old Czech recipe) topped by a small figurine of Virgin Mary and carried on men’s shoulders, the procession was joined by a multinational crowd, old and young. All precincts vanished for the duration of the performance and the lively chatting was underscored by accompanying cello music performed by Bela Emerson, resulting in a festive atmosphere that resonated within the surroundings.

One of the most moving and symbolically saturated moments of the procession took place upon its arrival at St Barnabas Church’s gate. There, Frieda Evans, the parish priest and the artist invited the crowd to ‘clip’ the church. Despite its overarching religious connotations, the act of forming a circle around the church added a universal dimension to this Christian custom. The church, decorated all the way around with sourdough bread in elaborate shapes hanging on red ribbons from the building’s façade, echoed the human bonds created around the church. Prepared by Buskova and the community members, this simple bake became a gesture of kindness and generosity. With the act of sharing and consuming the celestial crust, ‘Clipping the Church’ was finalized. The custom was reinvented, becoming not English, not Czech, but an inclusive community act.

Image credits: 

Erdingtonia Series, Tereza Buskova 2016
Image Size 21×15 cm
Archival inkjet print with gold screenprint overlays
Edition number 20 + 4AP’s

More about the artists: 

Tereza Buskova (b.1978, Prague) completed her Fine Art Printmaking MA at the Royal College of Art in 2007. Her intuitive practices capture and renew Czech folk traditions through a combination of film making, screen printing and performance. Buskova’s work has been exhibited at Rituals, David Roberts Art Foundation, London (2008);  A Tradition I Do Not Mean To Break, Zabludowicz Collection, London (2009);  Rituals Are Tellers Of Us, Newlyn Art Gallery, UK ( 2013); and Reality Czech: the Czech Avant-Garde, Whitechapel Gallery, London, 2015. She has exhibited, performed and lectured in a broad range of different spaces including Lincoln’s Chambers Farm Wood (2010), Kunstnernes Hus, Oslo (2014), and Erdington High Street, UK (2016).

The Mom Egg Review – Words
Measure of Grace
by Caitlin Grace McDonnell

The longest person’s eyelashes were ten inches,
or maybe six. I think 8. She lived in China,
my daughter tells me, who is nine, like the youngest soccer coach, in Barcelona, which,
she says, is the best. The length of your integrity
is directly correlated to your forearm in prayer.
If you want to be seen as a woman, wear a string
of pearls. If you want to be seen as everything,
make yourself scarce. Math is comforting, my
daughter says, because the answers are clear.
Meanwhile, the length of time between school
shootings decreases at a rate comparable
to the disappearance of the words “climate change”
from government documents. Or the disappearance
of ice in the Arctic sea, or honeybees from warm
habitats. Yesterday, Sudan, the last Northern White
Rhino was put down in Kenya. The buds that bloom
beneath my daughter’s breasts are harder than
I remember on my own body, my own breasts,
whose alveoli no longer make milk. If you squint
at two women, they can almost be one.

Caitlin Grace McDonnell was a New York Times Poetry Fellow at NYU, where she received her MFA. She has published a chapbook, Dreaming the Tree (belladonna books, 2003) and a book, Looking for Small Animals (Nauset Press, 2012). Her poems, essays and book reviews have appeared in numerous print and online publications, including Salon, Washington Square, Chronogram and more. She teaches writing in Brooklyn, NY, where she lives with daughter, Kaya Hope.

MAMA_Logo_2015

The Museum of Motherhood, the ProCreate Project, the Mom Egg Review, and the Mother Magazine are pleased to announce the launch of a bi-monthly international exchange of ideas and art. M.A.M.A. will celebrate the notion of being “pregnant with ideas” in new ways. This scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the creative, 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. Download the Press Release here or read about updated initiatives#JoinMAMA  @ProcreateProj  @MOMmuseum @TheMomEgg

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News From Around the World with MoM Partners in ART

Ruchika Wason Singh  
Visual Artist- Independent Researcher

Ruchika is the founder of A.M.M.A.A., Asia’s first platform for Mother Artists. She is a visiting professor at Ashoka University in Sonipat, India. We are sharing the Book of Drawing Marathon here in PDF Format. Please go to Ruchika’s website to find out more:

Ruchika Wason Singh

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Also, the Procreate Project in England is proud to present a group exhibition featuring twenty short-listed artists of the Mother Art Prize 2018, the only international prize for self-identifying women and non-binary visual artists with caring responsibilities. The exhibition at Mimosa House, London will be curated by independent curator Marcelle Joseph, Zabludowicz Collection director Elizabeth Neilson, and Whitechapel Gallery curator Laura Smith. Find out more at Procreate Project online.
Mimosa House
12 Princes Street
London W1B 2LL

Events are May 3- May 16th

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The Mom Egg Review is hosting the MER launch at Poet’s House on May 18th from 4-6 PM in New York City, NY. Link for more information is here.

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M.A.M.A. with ProCreate Project and Csilla Klenyanszki

Csilla Klenyanszki was born in 1986 in Budapest, Hungary. She completed her BA Photography at the Willem de Kooning Academy in Rotterdam, the Netherlands in 2012. In 2014 she participated at SeMa Nanji Artist in Residency by the Seoul Museum of Art at Seoul, South Korea. 

​After becoming a mother in 2015, Csilla has founded Mothers in Arts Residency in 2016. Mothers in Arts Residency (www.mothersinarts.com).

​Csilla’s work has been exhibited nationally and internationally. She has recently won the Still life prize at the 33rd Festival International de Mode & de Photographie in Hyères, France and her first (dummy) book “Pillars of home” is shortlisted for Unseen Dummy Award 2018.

“A search for balance with a problem-solving attitude characterizes my work. Within my current practice, I carefully examine and deconstruct personal – but universally known – challenges such as parenthood, gender, and the malleability of self-identity through the passage of time. Works, such as “Pillars of home”, “to make time”, “House/hold” or the “Mothers in Arts Residency” aim to give solutions that range from the practical to the absurd.

Although my approach is analytic, the nature of the work is highly playful and experimental. To give a new perspective I often play with the borders of nonsense with a constant attraction to physical and mental tension.”

house

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hold

“House/hold” is part of a research project on women’s position in western society. It examines the evolution of gender equality in various subjects.“House/ hold” investigates the housework gap and its consequences while it provides an ironical solution for women: a 30-minute yoga session combined with domestic chores.

The session transforms the house into a space for meditation using domestic objects as its basic elements. Housework is being transformed into illumination: the repetitive act of house making becomes not just a physical but also a mental and spiritual act where women and their household objects become entangled. “House/hold” is a guide for domestic meditation.

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Csilla Klenyanszki

Since the 1960s there have been lots of achievements in the path to gender equality in western society: The gender wage gap narrowed: In 1979, women working full time earned 62 percent of what men earned; in 2014, women’s earnings were 83 percent of men’s1. The number of women in the labor force with a college degree tripled: from 11.2 percent to 40.0 percent2. Woman don’t have to choose between a career and having children: while in the 1950s only 17 percent of mothers were in the labor force, in 2005 more then 60 percent of mothers with preschoolers had a paid job and 75 percent of mothers with school-aged children were working3. And yet, certain things didn’t change that much.

Due to industrialization and the proliferation of domestic appliances the amount of household chores done by women has dropped. On the other hand, the gap in housework distribution between men and women didn’t shrink that much and even worse since the 1990s it has been shrinking at a slower pace.

In the Netherlands, according to the Dutch Sociaal en Cultureel Planbureau (SCP)4 women spend on an average 9 hours more on housework than men.

In households with children this gap is even bigger: According to SCP, Dutch mothers spend1 an average of 20,6 hours a week fulfilling domestic chores and 4,4 hours on childcare and mothers with children under the age of 3 years spend 18 hours a week on childcare and 20,6 hours on domestic chores: 15 hours more than men. According to The Second Shift written by Arlie Hochschild, mothers do at least a month unpaid work more in a year than fathers.

One of the consequences of this housework gap is that women have access to less leisure-time than men simply because they spend more time in unpaid work such as domestic chores and childcare. According to the ONS5 women spend 5 hours less on leisure than a man on a weekly basis. The survey has also found that time spent on leisure has risen for men and dropped for women since 2000.

1 https://www.bls.gov/opub/reports/womens-databook/archive/women-in-the-labor-force-a-databook-2015.pdf 2 https://www.bls.gov/opub/reports/womens-databook/archive/women-in-the-labor-force-a-databook-2015.pdf 3 https://stats.bls.gov/opub/mlr/2007/02/art2full.pdf
4 https://www.scp.nl/Publicaties/Alle_publicaties/Publicaties_2013/Met_het_oog_op_de_tijd

5 https://www.ons.gov.uk/economy/nationalaccounts/satelliteaccounts/articles/leisuretimeintheuk/2015

MAMA_Logo_2015

The Museum of Motherhood, the ProCreate Project, the Mom Egg Review, and the Mother Magazine are pleased to announce the launch of a bi-monthly international exchange of ideas and art. M.A.M.A. will celebrate the notion of being “pregnant with ideas” in new ways. This scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the creative, 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. Download the Press Release here or read about updated initiatives#JoinMAMA  @ProcreateProj  @MOMmuseum @TheMomEgg

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Diversifying Visibility to Decrease Mortality Rates

The American Medical Association says that women of color are 2- 6 times more likely to die from pregnancy complications than white woman depending on where they live. There are many factors that can contribute to this disproportionality, including quality of prenatal delivery and postpartum care. This mortality rate has significant detrimental effects on the black community as countless mothers are lost to this vicious cycle.

Chinelle Rojas, Dear Little One Birth Photography

Likewise, economically disadvantaged women are less likely to receive quality healthcare and are thus also less likely to receive prenatal care. This leaves black mothers more likely than white mothers to have hypertension, blood disorders, and other medical conditions that complicate their pregnancies. A recent article by USA Today explores the surprisingly high rates of hospitals blaming mothers’ preexisting conditions for high maternal mortality rates among women of color, especially black women. Before USA Today conducted a study and critically examined these shocking maternal mortality rates, these numbers have been overlooked because hospitals are allowed to keep this information private. By keeping this information away from the public, many hospitals have been excusing their poor outcomes by blaming the health of the mother.

Apart from the legal actions that can be taken to decrease mortality rates of women of color, there are organizations and individuals who, through means of advocacy, let this information come to the light and make a conscious effort to put a stop to it. Employing advocacy through visibility, Kimberly Seals Allers, is an international speaker, author, and the founder and organizer of Black Breastfeeding Week among other things. Kimberly is on a mission to “shift the paradigm, shift the discourse, shift the infrastructure, and shift the experience of womankind and motherhood for all”.

In the Tampa Bay area, Chinelle Rojas is working hard to shift the narrative. Chinelle is the birth photographer behind Dear Little One Birth Photography and is the founder of The Melanated Birth, in which she uses photography to represent women of color in birth. She believes that photography is a powerful tool, especially when u towards a powerful cause. Chinelle has observed the lack of diversity in the birth photography community and is taking steps towards solving this problem. She advocates that ultimately visibility can be an important step in reducing mortality rates for women. Photographing the births of women of color outside a hospital setting increases awareness of different birth options available apart from the standard hospital epidural birth. She is hoping to spread a message about the possibility of giving birth in alternative settings. She argues that many mothers-to-be, only know of other women who gave birth in a hospital. Seeing photographs of black women giving birth with the help of doulas and midwives in a comfortable setting can be the start of another woman’s successful journey into motherhood.

Chinelle Rojas, Dear Little One Birth Photography

“‘Imagine a world where our little pebble of documenting births can make waves on the mortality rate of mothers across the country or the world.’” –Chinelle Rojas

http://www.tampabirthphotographer.com/

http://themelanatedbirth.com/

Additional Resources:

http://blackbreastfeedingweek.org

http://www.kimberlysealsallers.com

Article sources:

American Medical Association. State-specific maternal mortality among black and white women: United States, 1987–1996. The Journal of the American Medical Association. 1999;282(13):1220–1222.

Young, Alison, et al. “Hospitals Blame Moms When Childbirth Goes Wrong. Secret Data Suggest It’s Not That Simple.” USA Today, Gannett Satellite Information Network, 9 Mar. 2019, http://www.usatoday.com/in-depth/news/investigations/deadly-deliveries/2019/03/07/maternal-death-rates-secret-hospital-safety-records-childbirth-deaths/2953224002/.

This article was researched and made possible by Vana Madhu as part of a service-learning internship with USF. Read more below or click the image to find out more about our student authors: