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TWO UPCOMING EVENTS: AEHK Artists Studio Tour & Annual Academic MOM Conference

The Artist Enclave of Historic Kenwood is proud to announce its 2022 “Artists at Work” Studio Tour 
 
Sat. & Sun. – March 19th & 20th – 10 am to 5 pm/ This tour is free, self-guided and open to the public.

Enjoy two days exploring the Art & Culture filled neighborhood of Historic Kenwood while you view the exhibits of 24 artists at 17 different stops. You will experience a variety of work ranging from emerging artists to internationally recognized professionals. The self-guided tour will include work by ceramicists, sculptors, jewelers, photographers, mixed multi-media artists, fine art painters and
performance artists.

Museum founder and artist Martha Joy Rose will be onsite in her Feminist Playhouse unveiling new works focused on lemons (It’s been a rough couple of years) and breasts (m/others nourish the world). Also onsite, local performance artist and author, Crazy, Sexy, Magic Elsie giving “Free Hugs“.

For information and maps for the studio locations: https://www.historickenwood.org/artist-tour

What is the Artist Enclave and why is it so unique? In 2014, the St. Petersburg City Council unanimously approved an Artist Enclave Overlay District in the Historic Kenwood Neighborhood. The special distinction allows a limited amount of commercial activity to take place. Artists can create artwork, teach students and sell their creations from their own homes. These special accommodations encourage a thriving arts community. Only two of these special artists’ overlays exist in St. Petersburg. 

Come and experience the Historic Kenwood neighborhood where Art Lives! Historic Kenwood is nationally recognized for its charming early 1900s historic bungalows. A detailed map, along with our Sponsor information, will be provided for those who want to walk, bike, or ride through the studio tour. They can also be found and printed in advance by clicking the link above or by going to:  https://www.historickenwood.org/artist-tour/
Then, the following weekend, MOM opens its doors onsite and virtually to our 2022 annual Arts and Academic MOM Conference. March 25 – 26th. The schedule will be posted online here the week preceding the event. Look for updates. All are welcome!

This year’s subject matter is about Creativity for a Cause! How do we move forward in the midst of pandemics, wars, and personal hardship? Here at MOM, we believe that art can save the world. Please JOIN us by joining our online Community. The conference will be live streamed. We request donations be made for daytime attendance in the amount of $25 per day. LINK is here to the Community. LINK to donations will be posted online for the conference there as well.

#AEHKstpete #HistoricKenwood #AEHKStudioTour2022 #MOMmuseum #Mothers #Womyn #FeministPlayhouse #MarthaJoyRose #JoinMama #Florida #Museums #Arts #Conference #AcademicConference #CreativityForACause #ArtCanSaveTheWorld #MuseumOfMotherhood
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Blog Caregiving Education Featured Feminism Living Board Announcements motherhood Opportunities USF

Join Us in Welcoming MOM’s New Living Board President Zabrina Shkurti

Zabrina Shkurti

Hello Mom Family! We ask you to join us in welcoming our new incoming Living Board President for 2022-2023 Zabrina Shkurti! We can’t wait to see all she will bring in her new position here at MOM.

Zabrina is a Florida native, part of the English Department at the University of South Florida as a PhD Student, and a mother of two boys. We celebrate the first official anniversary of the MOM Living Board and welcome her to the her new position as team member and President!

Q. What led you on your path toward becoming an educator, scholar and being interested in mother studies?

As cliche as it may seem, becoming a mother is what led me down this path! When I found out I was having twin boys, I started researching everything related to motherhood. As though the thought of having two new humans wasn’t overwhelming enough, the amount of literature, and conflicting literature at that, really ignited this scholarly interest. I wanted to know how women have been able to do it all through the years and as a literature scholar, I am particularly interested in how mothers are portrayed and treated in literature. 

Q. How did you find out about the Museum of Motherhood? 

I was attending the IAMAS conference in Fall 2021 and one of the speakers, Dr. Michelle Hughes Miller, brought up this organization. I immediately looked it up online and after perusing the site, I decided to reach out to see if there was anything I could do to assist with such an amazing mission. 

Q. What made you want to work with MOM? 

Mothers need a space to connect, reflect, and process with others who are familiar with the all-consuming pressures of motherhood. When I discovered this space, I quickly realized that this organization offered a community where women could do just that. For me, it is critical that mothers have the space to recognize their importance and their identities outside of motherhood as well and the residency program here gives women that chance to disconnect and focus on their own creations. 

Q. What are your plans for your time here at the museum? Or what are you most excited about to do in your new role here as Living Board President at MOM? 

I am most excited to be part of a community that offers support to other creatives and scholars–I hope that we can grow our community significantly so that the local area can come to recognize the important influence that the MOM organization can have not only locally, but globally as well. 

Q. What has been your most memorable experience through your work so far? Or what are you most proud of in your line of work up until this point?

I think the most significant aspect of my work thus far is really identifying a need in the world to help mothers recognize their own self-worth outside of just being moms. 

Q. What would you consider to be one of the most impactful moments of what you would consider to be the act of “mothering” in your life? Was it something you personally experienced or acted yourself? 

Connecting with other mothers who are also struggling with this notion of perfecting motherhood has probably been most impactful for me as a mother–I quickly realized that there is no such thing as perfection. We are all just trying to do the best we can, our kids as well, and if we just allow for a little space and a lot of grace, we’ll be able to make the most of this life together. Adopting this mindset has helped me enjoy the messy imperfection a little more.

Q. What would you consider to be one of the most impactful moments in HERstory that has impacted who you are today?

Just really starting to embrace this idea that as a woman, even though I can do it all, it doesn’t mean I have to. It is okay to ask for help from others and in fact, knowing when to spend time dedicated to yourself is a sign of strength and dare I say, wisdom.

Q. What would you consider to be a fun fact about you that you would want to share with the MOM family?  

I think I already gave this one away in an earlier question, but I am the mom of twin boys! 

 Q. What thoughts would you like to leave our MOM family with as you begin this new journey with them through your future work here at MOM? 

Honestly, the mantra I have tried to adopt and stick to since becoming a mother is to never let go of my own dreams–just because I became a mother does not mean I need to sacrifice everything else that is important to me. Hopefully one day my kids will look at me and the work I have done and think to themselves, damn that woman is unstoppable. 

Thank you for reading and getting to know our new Living Board President! Be sure to keep up with our blog and social media accounts as we prepare for Women’s History Month this March. Great things are to come!

Passionate about topics related to m/otherhood? Reproductive identities? Art? HERstory? Mothers Making Art? Mothers in Academia? Women and Gender Studies? Lifelong students can follow the Museum of Motherhood here, join our new ONLINE COMMUNITY, and we appreciate any and all support? Be sure to follow us on social media and check out our virtual storefront for merchandise!

If you have any inquiries regarding getting involved with MOM or are interested in being part of our Living Board, you can find out information about what being a board member entails under our About tab or clicking the link HERE: Living Museum Annual Volunteers – Join Us! – MUSEUM OF MOTHERHOOD (mommuseum.org)

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Art Blog Education Featured Featured Artists Feminism Media MOM Art Annex motherhood Opportunities Uncategorized

Visit MOM’s New Storefront With Guest Artist Feature: Luci Westphal

Visit our new MOM Storefront

MOM is thrilled to announce the opening of our new online store! In addition to our awesome new branded product line we will be featuring a new guest artist quarterly throughout the year. In every case, the artist feature will be something that is in-line with MOM’s values of multicultural inclusivity and will pull from multiple mediums. To that end, we are pleased to include Luci Westphal (2/22-5/2022) along with a few special items from her diverse portfolio. The link to the store is here and please read on to learn more about Luci and her creations.

Luci is a documentary filmmaker, artist, and photographer originally from Hamburg, Germany, who came to Florida to study film. After 20 years of traveling, working, and making art in Brooklyn, Berlin, and Colorado, she has returned to the south to join the Artist Enclave of Historic Kenwood (AEHK) in St. Petersburg, Florida. Now, with wonder and delight, she is able to explore and capture the lovely Florida landscapes, fauna, and flora with fresh eyes while continuing work on the third post-production edit of her film t All’s Well and Fair

Documentary Filmmaker and Photographer Luci Westphal

Luci is devoted to making the world a happier place. To that end, her social media and business support that missive. She has been photographing nature wherever she has lived or traveled. She is also at work on the third installment of a documentary that follows three punk moms through their trials, tribulations, and evolutions. 

Here are some more specifics about Luci and her endeavors.

LUCI WESTPHAL IN HER WORDS:

  • From 2010 until 2017, I published the weekly video series Moving Postcard, which gives you a glimpse every week of a special location, event or person. Always free to watch and share. 
  • In 1996, I began filming the on-going documentary project All’s Well and Fair. Every ten years (1996, 2006, 2016) I interview Florida punk rock moms Tina, Margaret, and Rachel, plus their children (!) and then release a new version of the film. The third version is currently in post-production. See Luci’s Patreon page here to view a trailer of the film and support her work.
  • In 2017, I launched Happier Place where I publish most of my photo essays and writing and sometimes videos that are a continuation of the Moving Postcard web series.
  • And all along the way, I photograph anything I find appealing: nature, animals, street art, cityscapes…
  • Please follow me: Twitter: https://twitter.com/luciwest Insta: https://www.instagram.com/luciwest/

Instagram: @luciwest

Twitter: @luciwest

We have asked Luci to join us as a featured artist in our online storefront because she represents the best in all of us: a willingness to work hard and play nicely with others, she is a woman who has demonstrated awesome filmmaking, art, and business skills, and she is a key member of the MOM community in St. Pete.

It has been our distinct pleasure to welcome Luci to MOM as our first featured artist at the MOM Storefront online. and also a person of fortitude and resilience, who happens to be as devoted to trees as we are.

About Our New Featured Artist Platform:

Our Invitation: You are invited to participate in our ‘Featured Artist’ segment at the Museum of Motherhood online. Our intention is to highlight the work of a broad community of individuals as we collect, preserve, and disseminate articles, books, artifacts, ephemera, images, and research on all aspects of the art, science, and history of women, m/others and families, including reproductive identities, Mother Earth, and spirituality. 

Our storefront actively promotes members within our community for the purposes of starting great conversations, creating thought-provoking exhibits, and sharing information, education, and works from a diverse, inclusive, and multicultural perspective. 


It is our desire that these works, for sale, need not be exclusive to our site, but rather support the creator of the works as well as MOM through their sales through our storefront. Artist is responsible for shipping and shipping cost as well as returns. All processing happens through MOM with the bulk of all monies going back to the artist.

Write us if you are interested in participating and make sure to include a sample of your work: INFO@MOMmuseum.org

For any additional questions regarding who we are and what we do here at MOM, along with other programs we offer, be sure to browse our website or email us at Info@MOMmuseum.org. We are excited to start this new program with our community of artists at MOM to support their talents and causes for the community at large. Be sure check re to check out our storefront after browsing to support these fantastic individuals.

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Things In-between

By Rebecca Louise Clarke

Of course, one day there will be a museum collection about the pandemic. In fact, they’re working on it right now, collecting the pieces of a crisis as it unfolds in the hope that somehow it won’t get lost in the movement of time, that one day we will see ourselves or have ourselves be seen.

But knowing that history involves selection, that some pieces of memory will necessarily be chosen over others and therefore some of us will blow away, I want to show a vision of my life, my family’s life over the last two years. It could be two years, one or three because who knows? It has been a time, in which time has been lost. Each day seems the same and yet things move forward.

These things are my daughter’s/mine/her Dad’s. These moments are my own, enmeshed in the fabric of my family.

I don’t want our memories to be swallowed up by that terrifying giant; the pandemic; our experiences to be defined by a turbulent era of history. The little things that together make up our lives, have been injured, but still, those little things keep breathing. Most of the time they drag themselves, tired and bloody, but now and then, they unleash a triumphant boogie.

Our ginger tomcat died. The neighbour’s house was torn down.  Adult teeth erupted, school started, stopped and started again.  And the things in-between.

Here is my vision. A basket of things from me to you.

Mask
Family
Hieroglyphics


Spoonville
‘Let it go’
Feelings
Breathe
Broken house
Goodbye
Storm
Offerings
Angel

Photographs by Richard Clarke and Rebeca Louise Clarke [Original interview here].

Rebecca Louise Clark

Rebecca Louise Clarke is an author, scholar and media artist who is interested in the ways mothering and memory are depicted in museums. Her book Representations of Mothers and the Maternal in Museums, to be published in early 2023 by Routledge is currently in development and examines the ways mothering is represented in museum collections and exhibitions. During her residency with the Museum of Motherhood (M.O.M.), Rebecca is doing an in-depth case study of M.O.M. Her analysis seeks to discover ways that experiences of mothering as voiced by mothers themselves, can challenge heteronormative, stereotypical ideals about motherhood and how innovative museum practice can disrupt conventional ideals about motherhood.

If you are interested in applying for a guest residency here at MOM, please go to our website HERE: https://bit.ly/3uRgugm  to find out more. BE SURE TO HURRY! Spots have been filling FAST! We hope that future tours of the space will be available soon, but they are by appointment only in Artist Enclave Historic Kenwood: “where art lives.”

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Art Blog Caregiving Education Featured Feminism gender home MOM Art Annex motherhood Opportunities Residency Spiritual Motherhood st petersburg Uncategorized

Mom Residency Highlights Artist and Educator Donna Lewis

Artist and Educator Donna Lewis

As this year comes to a close and everyone celebrates this holiday season we wanted to share with you all the last MOM Art Annex Resident of 2021 . Donna Lewis is an accomplished artist and educator who values the sacredness of mother earth, and has found it to be a source of constant comfort throughout her life. It is from her experiences with nature, and her own experiences as a mother and caregiver, that she expresses her creative spirit through art.

Throughout her residency with us this December, we hope you will be able to see the beauty of the world through her art, and come to appreciate the lasting connections we make with the world around us that shape who we all come into being with each new phase of life. Continue reading to personally hear from Donna to learn more about her art, her career, and life.

I turned 65 this year. With that change, I retired from my job of twenty-five years as an educator. After teaching art and architecture to high school students, I am now learning to let go of the frenetic pace, the relentless work-cycle, and focus on my own desires and passions.

I am learning to release my creative, art-making self in order to heal and bring forth a new chapter in my life. But, it is not always easy.

Being committed to the process of creativity means living in synchronicity. There is a constant need to balance movement with downtime, exercise with rest, and the mundane with the magnificent. I realize the importance of allowing myself the freedom to let my mind and heart wander, as I slowly learn to enjoy, and feel deserving, of what is to come. 

I search for clarity about some major life-decisions, taking the time to swim, to walk, to breathe, and to use the materials at hand to better nurture ideas and self-reflection.

Nature and trees are important to me. They have supported me, cleansed me, and calmed me throughout these many years. A walk in the park or alongside the river has always allowed for invaluable insight and consolation to arise, even in the most difficult times. Even in the midst of a busy teaching schedule, or personal challenges, a weekend in nature, or a summer trip to the sea, has inspired me and lifted me in inexplicable ways.

Treehouse, Watercolor by Donna Lewis

But, fleeing the city isn’t always necessary. Some of my best ideas have arisen during my treks through New York. I have been a resident of Manhattan for four decades and experienced the concrete jungle as a place with pockets of nature to discover, even amidst the hustle and bustle. Luckily, I considered Washington Square Park to be my backyard, the West Side Highway my exercise spot, and the playgrounds as a great source of recreation for my children.

Public spaces are significant and all-important to life in the city. They allow families and individuals to connect with each other to embrace places that improve our sense of wellbeing, while calming our senses, and relaxing our minds. 

Manhattan is a place with rivers on either side. Urban planners have come to realize the importance of these natural assets. Parks, green spaces, and piers with plantings have become the new vision for the city, and I am grateful for that. 

Much in the same way that nature connects us to our mother, the earth— my paintings connect me with my soul’s calling. We are intertwined like trees, like rivers, like oceans, and like the air we breathe. The entwinement expands outward in my heart, through my family of origin and my own family of procreation.

Three Sisters, Mixed Media by Donna Lewis

I am appreciating the perennial nature of mothering. It never stops. Unlike the retirement I am taking from school, my adult children and I continue to develop our inextricable bond. As I care for my aging mother, Leila (now 88) with my four sisters, I watch the changing seasons, the expanding experiences, and the cycle of life: being a child, having a child, and caring for others’ children, and mothers has enlightened my existence, and influenced my artistic practice.

‘The Trees’, featured here in this exhibit, are a window into all of these things and hopefully reflect the whimsy, terror, and acceptance of the changes that are all around us, all the time. We cannot separate ourselves from that which we are. So, I hope to continue to find the courage and fortitude for this next phase of the journey, and I hope to do it with creative gusto, a little more in balance, perhaps at a slightly more relaxed pace. 

We here at MOM are so grateful to have Donna as our newest resident artist and are so grateful for her fantastic contribution to M.O.M.’s archives as she gives us glimpses into her work, her creative process, and unique perspective. Also be sure to follow us on Instagram for updates as well as more of her thoughts on our residency while she stays this December! Happy Holidays Everyone!

Instagram: @museumofmotherhood

If you are interested in applying for a guest residency here at MOM, please go to our website HERE: https://bit.ly/3uRgugm  to find out more. BE SURE TO HURRY! Spots have been filling FAST! We hope that future tours of the space will be available soon, but they are by appointment only in Artist Enclave Historic Kenwood: “where art lives.”

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Mom Residency Highlights Actor, Singer-Songwriter-Drummer, Artist & Independent Scholar Polly Wood

Singer, Songwriter, Drummer, Artist & In, Actor & Independent Scholar Polly Wood

The most recent addition to our residency program has been Polly Wood, MFA, MA an accomplished singer, songwriter, drummer, artist, actor and independent scholar. In her various areas of expertise and representative media, Polly strives to focus on the “preservation of the sacred feminine.” Through her residency, you will come to see her passion for her art, her community, her love for family and her vivacious spirit. 

Polly began her artistic journey through fifteen years of dance training and performance in the styles of tap, jazz, ballet, acrobatics. Dance and youth theatre led her to study performing and visual arts in college, where her focus shifted towards Acting. Prior to graduating, she took a hiatus to grow as a musician and artist, gaining performance experience and inspiration from creative collaboration within her community. It was also during this time she explored her passion for the female experience of pregnancy and birth. Building up a career as a doula– a non-medical professional child-birth assistant- she provided support to women and families throughout their pregnancy, and the process of labor, delivery, and early post-childbirth experiences. She also led mother-baby movement classes, birth-art-workshops, artfully created plaster belly casts for over 50 beautiful pregnant bellies, and produced and choreographed A Birth Dance–a modern dance performance and community birth celebration.   

Almost a decade after dropping out of performing arts school, Polly returned to college with a toddler in tow to complete her Bachelor’s degree from the California Institute of Integral Studies. From there she earned a Master’s degree in Women’s Spirituality, and an M.F.A. in Creative Inquiry, both from New College of California. She focused on global economics & the sacred feminine; cross-cultural rites-of-passage; ritual performance and art as a sacred practice. Her master’s thesis The Menstrual Origins of Money was published in 2006. As a singer-songwriter-drummer Polly has performed her original music across the United States and bit in Canada. Much of her visual art over the years followed the themes of pregnancy, birth and the divine feminine in the embodiment of whom she calls Radwoman. 

Above are samples of Polly’s visual artistic works. From left to right: Radwoman Placenta Power (1), Radwoman Fire Songs (2), Radwoman Earth Mother (3), Miss River’s Moon (4), Birds of Change 2 (5), Into the Nest (6), Birds of Change (7), Tree of Life of Instillation (8 & 9).

As a multi-disciplinary artist, Polly’s creative work goes where she feels most lit up. Most recently her passions have come full circle to a creative pursuit of her youth: Acting. This past year offered her baby steps into entering the film & television industry. She is represented by the talent agency Phirgun Mair Worldwide. Feeling grateful for her agent and loving the auditions that come her way, she looks forward to booking future gigs. 

This is Polly’s third engagement with the Museum of Motherhood. In early 2010 she curated a 12-week Sacred Feminine exhibit online and later that year was a guest artist for the Mamapalooza/M.O.M. Conference in New York City. 

After nearly two decades of birth & postpartum work; visual/performing arts and scholarship focused on themes of mothering, the sacred feminine and rites-of-passage, Polly comes to the M.O.M residency to create What Is Left in an Empty Nest? 

Inspired by a recent phone conversation wherein she offered (both ‘good’ and embarrassingly, ‘bad’) advice to her daughter regarding one of her college assignments, Polly envisioned what would happen if she were able to take and apply her own advice as easily as it was for her to dish it out. The next step became evident, and applying for the M.O.M residency was a part of that. 

Polly is looking forward to being Artist-in-Residence at the M.O.M Art Annex, as well as experiencing what unfolds as she engages both her personal community and the Museum of Motherhood community in offering their ‘advice’ towards her creation. In addition to using this collective advice the help stitch and weave the nest together, Polly will be working with themes of grief, emptiness and expansion that can arise when children leave home -whether to spread their wings on their own, or to spend time with another parent- as well as the theme of invisibility that can accompany the gift of being in a step-parent role. Polly will be building an ‘empty nest’ for the Museum of Motherhood, both highlighting a common experience and as a personal rite-of-passage. 

We can’t wait to have Polly back as a returning resident artist and are so grateful to have her fantastic contribution to M.O.M.’s archives. 

To learn more about Polly, her amazing works, and any additional publications, please check out these links to her personal website, additional Resume, and projects: 

https://www.pollywood.ws

http://www.radwoman.com 

https://resumes.actorsaccess.com/PollyWood

Also be sure to follow her on Insta and FB for updates as well as more of her thoughts on our residency!

Instagram: @ms._polly_wood

Facebook: Polly Wood

If you are interested in applying for a residency here at MOM, please go to our website HERE: https://bit.ly/3uRgugm  to find out more. BE SURE TO HURRY! Spots have been filling FAST! We hope that future tours of the space will be available soon, but they are by appointment only in Artist Enclave Historic Kenwood: “where art lives.”

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Art Blog Digital Media Internships Education Featured Feminism MOM Art Annex Residency

Mom Residency Highlights Author, Scholar and Media Artist Rebecca Louise Clarke

Author, Scholar and Media Artist Rebecca Clarke

Today we would love to highlight our first virtual MOM Resident for 2021-2022, Rebecca Louise Clarke! Rebecca is an author, scholar and media artist who is interested in the ways mothering and memory are depicted in museums. Her book Representations of Mothers and the Maternal in Museums, to be published in early 2023 by Routledge is currently in development, and examines the ways mothering is represented in museum collections and exhibitions. As part of her research during her residency over the next nine months, Rebecca is doing an in-depth case study of the Museum of Motherhood (M.O.M). Her analysis seeks to discover ways that experiences of mothering as voiced by mothers themselves, can challenge heteronormative, stereotypical ideals about motherhood and how innovative museum practice can disrupt conventional ideals about motherhood. Those of us here at MOM wanted to let you get to know Rebecca along with her work, thoughts, and insight from our Q&A with her on September 6th, 2021. Be sure to also follow us on social media for updates from her throughout her residency with us!

Q. What led you on your path toward becoming an author, scholar and media artist interested in depictions of mothering and memory? 

Storytelling came to me really early on. I remember sitting on the stool at the kitchen bench asking my Mum everything about her life and hearing her stories for hours. I was always making up rhymes and basically living in my own head for the first 18 years of my life. I hated school and rules and although I loved to learn, I was a rebel and a loner at heart. I felt that no one saw the world as I did. When I reached late high school and was able to study literature and drama with teachers that were deep thinkers, my brain woke up. I think it was because, for the first time it seemed, they asked us kids, ‘what do you think?’

Then I went to university to study art, the only thing I really felt equipped to do. I never knew how I would eventually make a living. I did the odd jobs. A friend once told me I should do waitressing because I was ‘bubbly’ (I’m not) and I laughed because I knew it would never work out with my bad attitude. When I learned more about academic lecturing as a job and the route that people had taken to get there, I knew that this could be my ticket (or as my kindred poet Charles Bukowski liked to say, ‘the gods will offer you chances. know them. take them’.…) to keep writing, to keep doing what I felt was the one thing I knew how to do, and to be able to have enough money to at least be able to pay my bills. As it turns out, the academic path has rewarded me with so many riches. It has given me opportunities to travel far and wide, to get published, and has kept me on a straight and narrow path when I could have easily fallen in the cracks. For years, my love was cinema. I learned everything I could about it. I had dabbled in philosophy and psychology, but what writers had to say about cinema was far more thought provoking to me. They looked at subjectivity, the way we see things, and analysed stories in an obsessive way that always felt natural to me. I then started curating events and exhibitions. I see now that my work has always been related to memory. I am kind of obsessed with it. I love talking to people about their memories. When I finally had a child (there was much thought and preparation before my daughter came into being) I wanted to see if I could somehow incorporate my mothering into my academic work, or at least have them co-exist in a harmonious way. It felt insincere and pointless to strive to think and talk about things that weren’t related to my current all-consuming experience of motherhood. And so, I decided to seek out mothering in my scholarly field of museum studies.

Q. What has been your most memorable experience through your work so far? Does it include crafting your soon to be published book Representations of Mothers and the Maternal in Museums?

When I have felt heard. It doesn’t happen all the time.

I presented a lecture on the representation of mothers in museums that included some of my own personal reflections. There was one academic, a mother herself who afterwards, told me she just got it. We were both emotional. I could have hugged her. It reminded me why I write and do art in the first place.

All this research will end up in a PhD based at Monash University’s Faculty of Information Technology and in a book published by Routledge due out next year, Representations of Mothers and the Maternal in Museums. I’m hoping to do a lavish launch of this book, probably online, to connect with people interested in this topic and to connect like-minded people with each other in stimulating dialogue.

Q. What would you identify to be common themes in both popular or general media in their portrayal of mothers and memory?

I find that generally, at least in mainstream media and Hollywood narratives, mothers are still being placed in a Madonna/whore dichotomy. So real discussions about the complexities of mothering are not happening in that space. I believe that in-order for those stereotypical narratives to change the storytelling tools themselves need to change.

Q. Do you think themes and perceptions are changing? Are they stylistic changes or do you feel they are spurred by changes in cultural perspectives of motherhood changing?

This pandemic is a force of change that I can’t even comprehend yet. It will be interesting to see how public perception of parenting is going to be affected in the pandemic. In Australia at least, there is more discussion happening in the public sphere about the labour of care. The weight of all the lockdown restrictions we have undergone has landed on mothers’ shoulders. We are expected to supervise our children’s home learning and to also somehow earn a living . It is completely unmanageable. There will be a cost. And who do you think will pay the price? There is a lot of anger coming out because of this and I hope that some productive changes can come out of this catastrophic time.

Q. How do you think heteronormative views have affected depiction of motherhood through history? Do you think there is a visual and marked difference when a female mindset guides the narrative?

I think there is certainly a marked difference between when a carer is talking about motherhood and when someone who doesn’t know kids tries to talk about it. I had so many ideas about how kids should be raised before I had a kid. When ideals meet everyday life, things get challenging. I never took into account how much becoming a mother would change me. And not just in that superficial way that TV sitcoms would have you believe. In a physical sense, I am changed completely. These things are hard to express in words and so I am finding, sound and image are helping me articulate stuff that I don’t fully understand myself, at least consciously. Maternal scholars talk about how when a child is born, there is also the birth of a mother. And it really is like that. In early motherhood, I had to search hard to find people that I could talk to about how I was feeling. Eventually I made contact with a psychologist who specializes in perinatal psychology. And everything I mentioned, the experience of reliving my own childhood, forgotten pieces of myself re-emerging, being struck by physically painful feelings like I had been abandoned, crazy anxiety… she basically said, ‘oh yes, I see this a lot’. But of course, to voice these feelings, there is a certain amount at stake. And so, it’s easier to perform motherhood in a way that we are told is acceptable. But how exhausting it’s that?

I have found, and my fellow maternal scholars have expressed this too, that talking about my research is often met with emotional responses and at times, the topic of motherhood can be way too confronting for people. Even if you aren’t a mother yourself, well, we all had one and there is often trauma attached to mothers or the idea of motherhood.

Q. How did you find out about the Museum of Motherhood?  What made you want to work with MOM? 

When I began my research on depictions of motherhood in museums I searched online to see if any museums held collections exclusively devoted to the topic of motherhood. In my country, Australia, there is nothing specifically mother-related out there. Of course, there are a few collections about women and women’s career achievements. But motherhood isn’t given considerable focus. It wasn’t until I had a child that I was slapped in the face with this feeling that now I had become a Mum I had been excluded from the narrative, in so many areas of public discourse and in my day-to-day interactions. When I came across MOM online, I felt validated because other curators and artists are seeing this topic as worthy of exploring in museums and not just in a tokenistic way or in an over-the-top Hollywood narrative kind of way, but they are mining the real stuff, as voiced by mothers themselves. It’s hard to believe that currently, as least in the western world, such an act is still revolutionary. To speak of one’s own mothering is daring.

Q. What are your plans for your time here at the museum?  

I’m going to be studying the MOM collections and exhibitions to better understand how this unique museum represents experiences of mothers. I’m excited to see what kinds of mother-related objects exist in the museum and to find out how artists have expressed ideas about mothering in their works.

Q. What can our readers expect to see from you in the coming months throughout your virtual residency? 

I’m thinking a lot about objects of mothering, or what maternal scholar, Lisa Baraitser calls ‘maternal objects’; those things that are important to us as mothers. In my writing and media art, I’ve been playing with objects that I consider important to my mothering. It’s been an enlightening exercise. It’s funny how if I think about these objects long enough, I realise I have attributed all these qualities and personalities to them. For instance, when I was meditating on the pram we had when my child was a baby, I realised how that pram represented something so solid and comforting to me. In the early days, I was terrified of all the ways she might be harmed. It was all consuming. So, it comforted me to think about this old pram, that we found second-hand, how it had carried many children before mine and even if I felt frightened and didn’t know what I was doing, this pram did, so we’d be ok. This terror, I have found, is shared by many parents if prompted enough about their parenting. But no one really talks about it. It’s this hidden secret. I felt isolated because of this secrecy. It felt that there was an unspoken agreement that it was something we just weren’t meant to talk about. I think this feeling of isolation is what drove me to look at this topic in my work. To seek out others who had felt this way. And to also hopefully, put something out into the world that others would identify with. [Follow up interview with MoM]

Rebecca’s research is supported by the Robert Blackwood Monash University/Museums Victoria fellowship. She would like to thank her PhD supervisors: Dr Thomas Chandler, Associate Professor Joanne Evans and Dr Carla Pascoe Leahy for their support.

If you are interested in applying for a residency here at MOM, please go to our website HERE: https://bit.ly/3uRgugm  to find out more. BE SURE TO HURRY! Spots have been filling FAST! But we also have opportunities for virtual residencies! We hope that future tours of the space will be available soon, but they are by appointment only in Artist Enclave Historic Kenwood: “where art lives.”

Categories
Art Birth Books Caregiving Digital Media Internships Education Featured Feminism health

Bitch In The House – Has Anything Changed?

By Violet Phillips

Cathi Hanauer is an author in Northampton, Massachusetts who graduated from Syracuse University. During college, she double majored in magazine journalism and literature, and graduated with magna cum laude and phi beta kappa honors, after winning a journalism award and interning for Seventeen. She’s since written articles for the New York Times, the Washington Post, Elle, O, Real  Simple, and Glamour, was formally the books columnist for Glamour and Mademoiselle, and the relationships advice columnist for Seventeen and nexttribe.com and has taught at The New School and the University of Arizona. [1]

Her essay collection, The Bitch in the house, is about women’s frustration with marriage and motherhood. The women whose writing was included are not unusual. According to CNN::

“46% of moms get irate with their husbands once a week or more. Those with kids younger than 1 are even more likely to be mad that often (54 percent). About half of the moms describe their anger as intense but passing; 1 in 10 say it’s “deep and long-lasting.”

44% of mothers feel like the fathers aren’t aware of chores and childcare tasks that need to be done and are poor at multitasking. [2] other common problems are men paying more attention to their mothers than to their wofes, expecting their wives to take care of all responsibilities, being messy and thinking housework isn’t their job, not communicating their feelings and obsessing over sports. [3]

Often, women accept those types of circumstances and do the work with no complaint. According toTIME:

“In 1994, sociologists Mary Clare Lennon and Sarah Rosenfield looked at the time diaries of working women and their husbands, as well as individual reports on both individuals’ feelings about the distribution of labor in their homes. They found that the men who performed 36% of their household’s labor reported the strongest feelings of fairness. But the women who were most likely to say the arrangements were fair expected men to do even less: their time diaries attested to the fact that they were doing 66% of their household’s labor. Lennon and Rosenfield wrote, “both women and men appear to believe that women should do about two-thirds of the household chores.””[4]

This might be because marketing and media images have, increasingly, began to show mothers as blissful and selfless, and women feel pressured to go along with it, but that increasingly appears to not be the case. As life coach and writer Beth Berry says:

“Motherhood heavily engages some aspects of who we are, while leaving almost no room for the growth of other, equally essential parts. Unless we’re aware of the need to balance this out outside of motherhood (and can manage to find the time and support to pull that off), wholeness and thriving can feel quite elusive.”

She also points out that postpartum care can be disappointing. Women often don’t make enough money to raise kids the way they’d like to and extended family members tend to not be as helpful as you might hope. Moms feel the pressure to fight against aging and the media and marketing are constantly working against mothers. [5]

The statistics are predictably grim. According to TIME:

“A survey of 913 mothers commissioned by TIME and conducted by SurveyMonkey Audience found that half of all new mothers had experienced regret, shame, guilt or anger, mostly due to unexpected complications and lack of support. More than 70% felt pressured to do things a certain way. More than half said a natural birth was extremely or very important, yet 43% wound up needing drugs or an epidural, and 22% had unplanned C-sections. Breastfeeding, too, proved a greater challenge than anticipated. Out of the 20% who planned to breastfeed for at least a year, fewer than half actually did.” [6]

Even though it might seem like the current generation has more freedom than past mothers, many millennial women disagree.  As editor EJ Dickinson says:

“Even in an era when shifts in gender and social norms are the norm, we are still limited by a culture that stubbornly refuses to make space for all of our dreams. No matter how many advanced degrees we earn, no matter how many bad men we replace with supportive and nurturing partners, and no matter how strong and self-sufficient we are, millennial women are still forced to decide between deeply dissatisfying options. Choose motherhood over work, and we lose out on the self-empowerment, personal fulfillment, and financial independence a career affords; choose work over motherhood, and we lose an experience that could give our lives new color and dimension and meaning; try to have both, and we end up embittered and exhausted, operating on half-empty at all times.”[7]

Author Meaghan O’Connell goes so far as to argue that oppression starts with the idea of mothers:

“It was so stark to me, honestly. I was a gender studies major, I was a feminist in high school, I wasn’t one of those people who was thirty-five and hadn’t considered myself a feminist. But I really found myself breastfeeding all the time and thinking, this is why women are oppressed. I figured it out, in this visceral way that was undeniable to me, and an inconvenient reality. You can’t be stuck on a couch feeding your baby around the clock and not thinking about this. I mean, I guess people do. I just remembered this, I was running around the track, my boobs were full of milk, and and I knew I had to be home soon, and I was like, this is it, this is the core of all of it. If women didn’t give birth, we would probably be equal.” [8]

Being a stepmother can bring even more discrimination and discontement. Blogger Jamie Scrimgeour bemoans: “The stigma in our society, the challenge of finding your place in a family that was created before you were even a thought, finding your place with your stepkids, the ex, extended family. The list of challenges is exhausting, especially if you’ve found yourself in a high conflict co-parenting relationship.”[9{

But, there are easy ways motherhood can be improved. According to psychology today:

“Support from friends and family help new mothers deal better with stress, and this has been proven to help mothers see their children in a more positive light. Mother’s who have the help of people they trust feel more self-esteem, confidence as a parent, and struggle less to access information that helps them problem-solve for their bundle of joy.” [10]

It seems as if social support would improve the lives of Cathy Haneur and other writers who’ve spoken out about being angry over motherhood and wifehood not living up to their expectations.

Editor’s note: Each month as part of MOM’s ongoing remote internship initiative, Violet Phillips puts pen to paper to review books from our library. Her most recent submission is detailed here. The editor’s thoughts are as follows: While social support appears to improve women’s feelings about motherhood, COVID has made life especially difficult to navigate. Not just for mothers, but for everyone. Recent articles indicate that the fundamental challenges for women who are mothers remain fundamentally unchanged with or without this setback from the ongoing pandemic. 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, which is nice to hear– but, this editor, deep in the trenches of motherhood asserts, there is still plenty of work to do! The original Bitch in the House is part of MOM’s library. (Martha Joy Rose, 2021).

Sources

[1] cathihanauer.com online. Accessed April 22, 2021.

[2] cnn. “Why we get mad at our husbands.” Martha brockenbrough and parenting.com 7:47 am est, November 29, 2011. Online. Accessed April 22, 2021.

[3] divorcedmoms.com “9 martial problems only women face.” January 21, 2020. Jolie Warren. Online. Accessed April 22, 2021.

[4] time. “Too often, working mothers do far more of the childcare than their husbands. Here’s how to fix that.” Darcy lockman. May 16, 2019. Online. Accessed April24, 2021.

[5] Beth berry revolution from home. “Why modern-day motherhood feels so fusterati g.” January 16, 2018. Onomatopoeic ne. Acessed April 24, 2021.

[6] time. “Motherhood is hard to get wrong. So why do so many moms feel bad about themselves?” Claire howorth. October 19, 2017. Online. Accessed April 24, 2021.

[7] bustle. “Let’s talk about why so many young women are convinced motherhood is going to suck.” Ej Dickson. March 30, 2018. Online. Accessed April 34, 2021.

[8] electric lit reading into everything. “Meaghan O’Connell thinks motherhood is what keeps women oppressed.” March 29, 2018. Becca s huh. Online. Accessed April 24, 2021.

[9] Jamie scrimgeour. “What makes being a stepmom so damn hard.” November 21, 2091. Jamie scrimgeour. Online. Accessed April 24, 20121.

[10] psychology today. “New moms need social support.” January 13, 2013. Online. Accessed April 24, 2021.

Categories
Birth Blog Caregiving Digital Media Internships Education Featured health Medical motherhood

Birth Through Women’s History Month -WARNING GRAPHIC CONTENT-

By: Violet Phillips

(Violet is a remote student intern, crafting literature and book reviews for MOM. In this creative piece, she envisions giving birth for new mother Lelani who must figure things out on her own)

Lelani felt pressure on her pelvis one day. She needed to pee really badly and felt her breath go short. She saw clumps of mucus in the toilet. Suddenly, she realized: her water was breaking. The big moment had arrived. She never thought she would do it all alone, but here she was.

Feeling an ungodly pain in her lower back and abdomen, she was more terrified than she’d ever been in her life. Somehow, despite her panic, she still remembered the list: photo ID, health insurance card, outfit for the next day, outfit for the baby. She called a cab to the hospital. It felt like the longest she’d ever waited for anything in her life, even though it actually couldn’t have been more than 20 minutes.

The driver stepped on the gas. “Sir, I think there’s a faster way you can go,” she sighed, irritated.

“No, ma’am, there’s no faster way,” he said.

Walking into the hospital, she saw a pile of paperwork she had to fill out. Why why why?

Once the nurse examined her and confirmed she was really about to give birth, she changed into a hospital gown.

“Are you doing an epidural or aiming for a natural birth?” The nurse asked.

“What do you think?”

“Epidural?”

“You bet.”

The nurse moved her to the bed. She wondered where her obstetrician was, but was too tense to ask.

Then, she began to feel the intense pain of contractions. She waited for them to end. They didn’t end. They started to get worse. The nurse started pushing her stomach. There was nothing but pain and pushing for hours.

Then, suddenly she heard a baby cry. It felt like magic washing over her.

“Here you go!” The nurse handed over her baby. Holding it in her arms, she wasn’t sure how she felt. Fear? Anticipation?

“When can I go?” She asked.

“A day or two,” the nurse said.

She fell back asleep. The next day was a blur of being handed food and liquids.

Then, she bundled the baby up and got a cab back to her apartment. Ready to enter the new world, all alone-with a new little stranger.

PHOTO CREDIT:

SOURCE: https://www.a3bs.com/noelle-birthing-simulator-with-birthing-and-resuscitation-baby-dark-1017860-w45111d-s550d,p_895_26234.html?utm_source=google&utm_campaign=gmc_feed&utm_medium=shop&gclid=Cj0KCQiAyoeCBhCTARIsAOfpKxjJPGQgkZvV0SMrD-7xZD1-M3u0xyW3krcnmG5OYo9oe-iCWTeTJiYaAsEnEALw_wcB

Categories
Art Birth Blog Education Featured Feminism gender MOM Art Annex MoM Pop Up motherhood

New Directions in Museum Accessibility

Violet Phillips

This article attempts to address and confront a number of issues within existing museum structures. While the Museum of Motherhood aspires to be a leader in championing women’s studies in a family-friendly environment, there is still much work to be done.

Gail Andersen is a museum consultant who’s been the director of the Mexican Museum, vice-president of Museum Management Consultations, chair of the department of museum studies at John F. Kennedy University, and is now a private museum consultant.

In 2002, she founded Gail Anderson & Associates to help museum leaders further transform their effects on community and global leadership. Her book, Mission Matters: Relevance and Museums in the 21st Century, addresses the ways in which museums can be social change agents.

While museums exist to preserve society, they can also show problems, like racism or sexism, as they exist. Showing the intersection between what has been and what could be, is part of what inspires people to create meaningful change. [3]

Art Works for Change Was founded in 2008, out of a desire for more meaningful change and also aims to use art to address social issues. It focuses on “human rights, social justice, gender equity, environmental stewardship and sustainability” And partners with local organizations. The organization’s philosophy sees artists as storytellers, to both reflect on past experiences and pave the way for better experiences in the future. [4]

As “writer, trainer and consultant” Anna Fathery wrote for MuseumNext:

“At their core, stories make us care. They connect us with people and places, even stimulating the release of a hormone usually expressed during intense bonding experiences, like childbirth, breastfeeding, and sex. This emotional connection is the reason stories are so powerful. As any advertiser knows, stories drive people to take action, whether that’s buying a product, gifting a donation, or making a difference in the world. From a marketing perspective, stories can help museums raise funds, encourage visits, and trigger sales. For instance, when the Tenement Museum in New York wrote about former First Lady Eleanor Roosevelt in a fundraising mailing it told a story about Roosevelt’s work in the local area. By connecting the teenage Roosevelt’s story with the Museum’s education programs, the call to action was obvious: donate money and you could inspire a new generation of young Eleanor Roosevelts” [5]

However, the storytelling experience currently curated in museums can be difficult for those with physical disabilities to access. People in wheelchairs usually use public transit to get around, and museums can be difficult to find from a bus stop or train station. Many museums also don’t have wheelchair ramps to help people get inside. It also can be hard for someone in a wheelchair to reach the resources provided, such as brochures.

Some museums are also lacking in Braille or audio descriptions that would help blind people access the exhibits, as well as sign language interpreters that would help deaf people access the exhibits. [6]

Also, as of 2015, 84% of museum staffers were white, and those who weren’t were often security guards or janitors. As of 2019, 85% of artists exhibited in major museums were white, and 87% were male. Historical museums rarely show the history of anyone who wasn’t a white man. Curators tend to agree that museums are important and should continue to be part of society, but should also expand to represent a more diverse society. [7]

Children are also less likely to enjoy museums, due to lack of engagement. Of course, many families would like to visit museums and bring their young children, and it could be a way for families to explore and learn together. Children are generally only willing to go to museums with a lot of interactive features. [8]

However, if done properly, museums can encourage children’s critical thinking skills, curiosity and creativity. [9] There are no good reasons why museums can’t make themselves enjoyable to children, who have a lot to learn, unless there are size constraints.

As Gail Andersen insists, museums are one of the most impactful ways to make sense of the past and future. Museums should be made accessible to as many people as possible, so that everyone can absorb the lessons about The past and future.

The current location of the MOM Art Annex in Florida requires additional funding so that it can implement special exhibits that are accessible to all, including those with disabilities, and expand our current space so that children may enjoy engaging, playful, and educational experiences (as we did during our time in New York City). Additionally, we pride ourselves on exhibits from multicultural perspectives. We welcome those of all races, nationalities, and ages to join us as board members, interns, and exhibitors.

Works cited

[1] https://www.amazon.com/Reinventing-Museum-Historical-Contemporary-Perspectives/dp/0759101701

http://linkedin.com/in/gail-anderson-6710575

[2] 1000 museums : museum quality fine art prints & custom framing. “How museums can lead the way for social change.” June 23, 2021. Online. Accessed February 10, 2021.https://www.1000museums.com/museum-activism/

[3] https://www.artworksforchange.org/our-story/

[4] museum next. “Why do stories matter to museums and how can museums become better storytellers?” July 7, 2019. Anna faherty. Accessed February 13, 2021. Online.

[5] museum next. “Making museums accessible to those with disabilities.” January 22, 2020. Goabaone montsho. Accessed February 13, 2021. Online.

[6] vox. “If museums want to diversify, they’ll have to change. A lot.” Constance Grady. November 18, 2020. Accessed February 13, 2021. Online.

https://www.google.com/amp/s/www.vox.com/platform/amp/the-highlight/21542041/museums-diversity-guston-national-gallery-hiring

[7] “what do families with children need from a museum?” Kai-Lin wu. Accessed February 13, 2021. Online.

[8] world of illusions. “The educational benefits of taking kids to museums.” April 9, 2019. Accessed February 14, 2021. Online.