With the goal of sparking conversations around the topic of caregivers, breadwinners, and family policy, film director Bonnie Silvestri hosts an online film screening and post-film talkback.
The film Funnel of Dreams follows Silvestri, her husband, and their child on a quest to understand the United Kingdom’s policies for families. These policies include paid parental leave, childcare services, and the children’s right to play.
This way of life is often featured in academic presentations about Scandinavian countries, but in this film the Silvestris investigate how paid family leave affects families in the United Kingdom while they spend time together.
“In the midst of a global pandemic, we wanted to think about our work/home life paradigm and how we might improve things for a better future,” says Bonnie. “In our film, we dive into the history of motherhood, the struggle for women’s rights, and the issues related to family leave in the lives of working parents.”
Bonnie continues “When we became parents, we were surprised to learn that the United States is the only industrialized nation not providing paid family leave.”
She explains, “We wanted to learn more about a country with a robust framework for new parents. Our short documentary film explores our personal experience with our young daughter living overseas along with interviews with parents, policymakers, and other experts.”
The film was an official selection of the Through Women’s Eyes International Film Festival, Social and Economic Justice Festival, and the International Social Change Film Festival among others.
For over a decade Bonnie has taught courses including Women and the Law at the University of South Florida Sarasota-Manatee and won the 2015 Graham-Frey Civic Award from the Florida Campus Compact for outstanding contributions to the development of civic learning and engagement in sustaining participatory democracy.
Funnel of Dreams is 34 minutes in length and will be screened in our Zoom room (LINK IS HERE/ JOIN AND RSVP) at the MOM Community site on Sunday May 22. The film will be screened first with a discussion to follow for a total of 90 minutes beginning at 7PM and ending at 8:30PM EST. Hope you can join us!
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.
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.”
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 archivesas 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.”
Procreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 49th 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. #JoinMAMA #artandmotherhood
June 2021: Art by Thatiana Cardoso words by Lisa DeSiro
Art by Thatiana Cardoso
The images show the artist´s intentionality of constructing images that confuse the visual perception of the viewer. In the images, household items suggest parts of the human body. For the artist, object and human are in symbolic equivalence. Her photographic work aims to problematise the object as a living entity and investigate the way in which the viewer’s organism responds to these images.
Since 2013, I have explored the tension between strangeness and familiarity of everyday objects through photography, video, performance, and drawing. I investigate the approximations between the body and domestic utensils, showing the similarity with the human body. In her artwork, objects breath, pulsate, and are tortured. The process of torturing household items speaks of veiled, symbolic violence in relation to women. My early research focused on some of the unusual aspects of the living objects, and on the intentionality of constructing images that confuse the visual perception of the viewer. I investigate deception as a poetic resource to create images that ask the viewer to be part of this aesthetic experience.
Words by Lisa DeSiro
Hooded
At the top step above the family room my mother appears, floating in mid-air, as if seated on an invisible chair. What she’s telling me is important. But her head is covered by a dark cloth, her face hidden. Please take that off, it’s distracting. No. She doesn’t have permission.
More about Lisa:
Lisa DeSiro is the author of Simple as a Sonnet (Kelsay Books, 2021), Labor (Nixes Mate Books, 2018), and Grief Dreams (White Knuckle Press, 2017). Her poetry has been widely published in anthologies and journals, nominated for the Pushcart Prize, and set to music by several composers. Lisa is also an accomplished pianist and founder/host of the Solidarity Salon performance series. Read more about her at thepoetpianist.com.
A contemporary gaze into feminist art is both subjective and objective, either from female artists or social collective lenses. Lucy R. Lippard stated in 1980 that feminist art was ‘neither a style nor a movement but instead a value system, a revolutionary strategy, a way of life.” Staring with “ME” (the individual), and “WE” (the community), to “WOMEN” (the entire female as half the population), a sequential contemplation focusing on various perspectives and creativities from female artists worldwide is highlighted. Eleven female artists from different nations and cultural backgrounds bring us the reflection of how contemporary feminist art shapes life and art from diverse angles yet to reach a pluralistic interconnection. This project is a part of the MOM Internship Program with Li Yang.
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.
”Since 2012 I have been mostly working with archives and collections. I am passionate about stories of women that are often overlooked in history, in favour of male-centered narratives. I am excited by the small details of people and their lives, things that are often universal and ageless. I am drawn to stories of eccentricity and my way of sharing this is to get under the skin of places, and people. I develop and play characters that I hope are authentic and recognisable. They sometimes lie on the border between psychologically disturbing and a little bit funny. I have several projects happening right now, but the biggest one is a survey show opening in Serlachius Museum, Finland in February 2022. This exhibition will includephotographs and films from the last twenty years alongside new work inspired by my studies in the museum’s archive.”Her work is exhibited widely, most recently at Recent exhibitions are Group Shows: ‘Landscape, Portrait: Now and Then’ at Hestercombe Gallery 2021; ‘Who’s Looking at the family now?’ at London Art Fair 2019 and solo show ‘Trish Morrissey: A certain slant of light’ at Francesca Maffeo Gallery, 2018.
Her work is in the permanent collection of The Museum of Fine Art, Houston, Victoria and Albert Museum, London, The National Media Museum, Bradford and the Wilson Centre for Photography, London
The Motherhood Foundation Inc. (MFI) funds ongoing activities and exhibitions at the Museum of Motherhood (MOM). We are grateful for the financial support we received this year. This year’s anonymous grant awarded funds to help support acquisitions, education, art residencies, and scholarship. MOM has not allowed onsite visitors since the COVID-19 pandemic in early March 2020, however, our activities continue.
In February we built and installed a Women’s History Exhibit at USF (University of Southern Florida) in Tampa at the Women and Gender Studies Center celebrating the centennial of American women’s right to vote. That exhibit, titled The Founding Mothers, was archived and is currently available for viewing online at our website. As part of that initiative, one of our students recorded highlights of the feminist waves so that visually impaired visitors could access the information via audio. The website was also redesigned and rebuilt over the course of 2019.
Our internship program mentored eight student interns including three international students who were guided to create content on a wide-ranging series of topics including film and feminist perspectives, literature reviews from our library focused on historical perspectives as they pertain to women, and gendered labor to name a few. Some of these students came from Reproductive Justice classes at USF and some discovered us through Google search as they sought out opportunities for remote internships in a museum setting.
Online exhibits are ongoing in partnership with Procreate Project and the Mom Egg Review (England & USA). MOM also assisted with the promotion and launch of Maternal Arts Magazine (International) in 2020. The Journal of Mother Studies (JourMS) featured the work of ten authors along with two book reviews and was published online on September 1, 2020.
PROGRAMMING: As 2021 approaches with new challenges and opportunities, MOM seeks to reactivate our ongoing Residency Program (by application) onsite at the MOM Art Annex in St. Petersburg, Florida. This program encourages scholars, artists, and activists to apply for the Residency Program onsite for a two-week opportunity for personal and professional development within the interdisciplinary subject of mother studies. (This project is currently funded by volunteer labor).
DEVELOPMENT: MOM is an art, science, and history center. Goals for the MOM Art Annex in St. Pete include purchasing an additional out-building, creating a foundation pad for the building onsite, and outfitting the building for arts activities and art storage ($20,000). In addition to adding an out-building, an existing shed needs attention. Goals include outfitting the shed with AC, finishing the interior walls, moving historical items that are currently inside the main house to this exterior location and installing plexiglass so that visitors can safely access the exhibit without jeopardizing any of the curated materials on display ($18,000). Finally, we aim to create a dozen outdoor waterproof plexi-glass posters to be installed along the fence perimeter of the Annex ($3,000).
ACQUISITIONS: MOM Art Annex aims to acquire a life-size birthing simulator mannequin ($4,295) an antique incubator, (prices vary), exterior sculptures for the sculpture garden (prices vary according to individual artists), as well funds to hire an app developer for MOM.
The Museum of Motherhood is proud to be included in Joshua Ginsberg’s new book, Secret Tampa Bay: A Guide to the Weird, Wonderful, and Obscure, published by Reedy Press.
This guide to the obscure helps unlock secret spots in and around the city including some of the most intriguing and entertaining surprises.
Join in a pirate parade, see live mermaids, or catch a flamenco dance performance at the oldest and largest Spanish restaurant in America. Wander through secret gardens, listen to bagpipe music, and sample a seemingly endless variety of hidden treasures in Tampa Bay. Also, of course, you can discover the art, science, and history of mothers, mothering, and motherhood at MOM in the historic neighborhood of Kenwood in St. Petersburg, Fl., “where art lives”.
Secret Tampa Bay: A Guide to the Weird, Wonderful and Obscure provides a deeper dive into the local culture, history, art and one-of-a-kind attractions as alternatives to the usual beaches and theme parks, you are sure to find it here.
Join author Joshua Ginsberg as he narrates his explorations through Tampa, St. Petersburg, Clearwater and the surrounding areas in search of hidden history, strange monuments, museums, oddities, antiques in this truly invigorating guidebook that is sure to provide many memorable experiences.
Secret Tampa Bay: A Guide to the Weird, Wonderful, and Obscure is available wherever books are sold.
If you are interested in stocking the book at their place of business, write Reedy Press or Josh at the above website
Please contact Don Korte at dkorte@reedypress.com to arrange an interview or appearance.
Book Details: Secret Tampa Bay: A Guide to the Weird, Wonderful, and Obscure, by Joshua Ginsberg, ISBN 9781681062860, paperback 9 x 6, 208 pages, $22.50
Can you imagine a scenario that would finally push you over the edge?
Or do you just keep telling yourself you can handle anything?
For people who care for others, hitting rock bottom is often an abstract principle. You do whatever it takes to keep on going. Because what’s the alternative? Really? People you love are counting on you. If you’re exhausted, you have to keep going. If you’re overwhelmed, you have to keep going. If your hands are shaking so badly that you break the plate you’re trying to clean, and then you burst into tears because you’ve failed to clean that plate, and then can’t stop crying, and then go numb and sometime later realize you’re still sitting on the kitchen floor…you stand up and finish the washing up, hands wrinkling in the cold water. Because you have to keep going.
I care for my mother. I need a break, I tell her. She doesn’t understand why; I explain that I’m struggling with my mental health, that I’m tired and stressed all the time. That I have been for a long time and it’s taking a serious toll.
She suggests I try chilling out.
I leave the room and scream into my pillow.
A few days later she hangs up the phone and beams at me. Your sister has agreed to help out while she’s visiting! Anger wells up inside me, hot and dry. Why on earth is it up to her? My sister knows the least about this situation, has no knowledge of how hard it is. Why on earth is she the one to decide if I get to have a break or not? Why does she get to choose when she takes care of our mum, but I don’t?
I know this is supposed to be a good thing. But panic overwhelms me. I have been resenting my caregiving but I can’t let it go. I have held it too tightly for too long. It’s who I am. Can I trust my sister to do it right? Is she going to mess up my carefully organized systems, making more work for me in the long run?
Or worse. Is she going to tell me that this is all easy, that I have nothing to worry about really, that my stress and frustration and despair and isolation are not valid emotions, but rather a symptom of my weakness and failure?
Why is accepting help so difficult?
Why can’t we put down this toxic burden of control? I want to relinquish this weight of responsibility so badly. I want to be able to move freely within my life. To do things that are only about me. I know that I can be a better person if I manage to do this and that it will mean I take better care of my mum; as people are so fond of telling me.
You can’t pour from an empty cup.
But people are not cups. Filling yourself up again is difficult.
And this is what I think of as the heart of the problem: The stress is the only thing that enables you to get stuff done. The most sustainable option is to remain stressed, like a plane using less fuel to cruise than to land, refuel, and take off again.
Stress gets you out of bed in the morning, gets the kitchen cleaned. I can’t relax while there are the bins to take out; I can’t sleep properly if I’m also listening out for mum’s call for help.
To let go of my stress is to relinquish my responsibility; and that is an impossibility as long as I have people relying on me.
Monomaternalism, as defined by Shelley Park in her 2013 academic work ”Mothering Queerly, Queering Motherhood: Resisting Monomaternalism in Adoptive, Lesbian, Blended, and Polygamous Families” is essentially the pervasive notion that a person can have only one mother; it also privileges the bio-essentialist belief that only the birth mother is real. This notion naturally marginalizes the existence of adoptive parents, lesbian parents, transgender parents, inter-generational parenting (such as a mother-daughter team raising a child,) extended/blended families, and polyamorous families.
Let’s Unpack it!
As Shelley Park explains:
“Monomaternalism, as an ideological doctrine, resides at the intersection of patriarchy (with its insistence that women bear responsibility for biological and social reproduction), heteronormativity (with its insistence that a woman must pair with a man, rather than other women, in order to raise children successfully), capitalism (in its conception of children as private property), and Eurocentrism (in its erasure of polymaternalism in other cultures and historical periods)”
Monomaternalism’s patriarchal ethos has increased the pressure on mothers as they attempt to take care of their new baby within a vacuum, often devoid of support and under an overwhelming amount of pressure. While we are seeing a slow trend towards an even balance of parenting duties within nuclear families, society still has a skewed view of the responsibilities of the mother versus the father. The work being done, intellectually and culturally, to balance family dynamics will need to continue for several decades before a true equilibrium can be achieved.
Additionally, these parental gender roles can replicate in queer couples, with one partner bearing the weight of “motherhood” particularly if that person has physically given birth. Monomaternalism distances the non-birth-giving partner into an unreal and devalued form of parenting much closer to outdated archetypal fatherhood than traditional or contemporary motherhood. Additionally, we see withi8n monomaternalistic views the belief that the child themselves will suffer in a non-traditional environment; that only the straight, middle class, Eurocentric nuclear family is capable of raising a child successfully, and all other forms of child-rearing are to a greater or lesser extent covert forms of abuse. This particular belief is extraordinarily short-sighted as a large proportion of global cultures utilize an extended system of adults in order to raise children. The closed nuclear family is an outdated and relatively short-lived concept, as intergenerational households containing a number of different relationships and structures have been consistently the norm for much of our human history. I am also curious to see if, in the developed western world, we are likely to see a return to this family living structure as economic instability reduces the residential options of young couples, along with our improving healthcare and nutrition extending the average lifespan. It may become more normal for individual households to become communal, intergenerational extended and flexible arrangements, sharing childcare between them, as in other contexts.
Essentialism is a sociological theory that reduces a person to their biology, causing unsupported, widely erroneous claims.
“Antecedently convinced of biological essentialism, the romanticization of the biological mother-child bond shapes one’s phenomenological experiences of biological motherhood; those experiences then become “proof” of the essentialist hypothesis, making it a difficult hypothesis to dislodge.”
i.e. if a person is already convinced of biological motherhood being the only valid form of motherhood, the idealised view of the bond between mother and child forces that person to experience motherhood within that limited parameter (i.e. the biological bond is sacred and mystical) which then “proves” the original hypothesis, making a circular argument that is difficult to break. However, we have, as a society, a wealth of qualitative research and anecdotal evidence that proves that a mother-child bond can be profound to the point of sacredness in fathers and non-biological mothers.
What are just some of the negative consequences it has on families?
Competition among women for maternal status
This is especially prevalent when views differ on childrearing techniques, or best practices. At its most toxic, this can develop into a situation where the child’s autonomy is reduced and they are used as a pawn in a game they cannot understand. This situation can also play out inside a child’s mind, for instance after learning they have been adopted. It can cause significant emotional damage.
The erasure of many women’s childbearing and childrearing labors.
A lack of attention to the ways in which women might— and sometimes do—mother cooperatively.
Much of the raising of children is devalued as only the biological mother’s input is seen as being true and valid parenting; although every adult who consistently interacts with a child has an influence on their wellbeing and development, this invisible labor is termed “babysitting” even when the adult in question has a societally valid link to the child (for instance, a grandmother or aunt.)
The treatment of children as private property.
This is a capitalist idiom that erases the rights of the child as an independent and autonomous person. Often used as a means of control within the context of punishment.
“I am your mother and you will do what I tell you to.”
The separation of children from mothers (and mothers from children)
A lack of imagination concerning ways in which laws, policies, and practices could be transformed to better serve both women and children.
If a form of motherhood or parenting is not seen as legitimate it can have impacts far beyond the social; legal practices governing adoption and custody overwhelmingly privilege biological mothers and take little account of non-biological parenting. These have knock-on effects into child protection policies, family preservation policies, social welfare policies, tax incentives, census bureau definitions of family, school policies, hospital policies, employer benefit policies, and (in the case of diasporic families created through transnational adoption or by some other means) even foreign policy.
The maternal grief and guilt often suffered both by those who relinquish custody of their children and those who come to bear full responsibility for them.
Source:
Park, S. M. (2013) Mothering Queerly, Queering Motherhood : Resisting Monomaternalism in Adoptive, Lesbian, Blended, and Polygamous Families. Albany: State University of New York Press.
Lately, it seems, there are so few words to describe our current world. Mother earth is in shock even as mothers across America celebrate this holiday made virtual. So many of us cannot spend the day with our adult children due to social distancing while other families are overwhelmed with responsibilities, hunger, homeschooling, exhaustion, health, and a host of issues.
So, what do do?
Sometimes, in the quiet, we find hope for a new day. Here at MOM, our prayers, light, and love shine through even though we too have been largely silent. If you would like to register a mother you love on our Tribute Wall you can do so here at this link (by making a small donation to MOM. Happy Mothers’ Day and please do stay safe, healthy, and blessed!
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Joy Rose and Mom International Mothers’ Day Shrine
Mothers’ Day was first celebrated in 1908 when Anna Jarvis held a memorial for her mother at St. Andrews Methodist Church in Grafton, West Virginia (now the International Mothers’ Day Shrine). In 2014, I had the great honor of speaking at the 100 year anniversary of the creation of the shrine and commemoration of the official holiday with my mother in attendance. Items and ephemera from that occasion are currently housed in the MOM Art Annex in St. Petersburg, Florida.