MOM Art Annex: Exhibition & Education Center

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M.A.M.A. with Kate Walters & Eve Packer

Kate Walters’s works explore themes around the disembodied uterus, the narcissistic mother, and the connections we have with animals and wilderness.  

Kate Walters’ works in watercolor, monotype,  and oil are concerned with the interaction of the animal, plant, dream and human worlds; depicting in raw and graphic immediacy a relationship that is both intimate and nurturing.
Walters studied fine art at Brighton University. She spent some time working at her successful teaching career before completing a postgraduate fine art diploma at University College Falmouth. Around 2000 Kate was elected to be a member of the Newlyn Society of Artists. She is currently serving on the NSA Committee. LINK: http://www.katewalters.co.uk 
More at Procreate Project: [LINK]


Words by eve packer via Mom Egg Review

summer flash

when we were young, younger,
summer finds us in the play-
ground, niall & s.j., jeanne &
eric, sam & me, after a long
day of day care or whatever,
i’m not even sure we stopped
at home, i think, we bring the kids
w/change of clothes direct
to the playground: there is
a sprinkler-fountain, old-school,
up a few steps, a huge sand-
box, center, a huge concrete
ship for scaling, the kids
love, but someone once cracked
open his head–now of course
replaced by a generic safe climbing
structure–as its named–
anyway, the boys, they were all
boys, would play–for hours–
we would pick up sandwiches
at the opera–the deli–named for
nick and dom opera, the owners,
it was filthy and funky and they make
the best heroes and sandwiches, and
the kids play in the fountain–the neighborhood
transvestites stop by to use the bathroom
and one sits atop the sprinkler to cool off
and strut her stuff and get clean–and after
a bit the wise parks department attendant,
rather than make a fuss, just turns off
the water–the transvestite takes her leave, the kids
play til dark or after, maybe it turns
cool

wed., 8/1/18: 8:47 pm

eve packer – Bronx-born, poet/performer/actress. Appearing widely with dance, poetry, performance, music, theatre. NEH, NYSCA, NYFA awards. Downtown Poet of the Year awards. Numerous publications. 3 poetry books (Fly by Night Press). 5 poetry/jazz CD’s. Teaches at WCC. Mom, Grandmom, lives downtown, swims daily.

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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MAMA 32 – Summer Art [LINK]

Artist: Sophia Marinkov Jones 
 
The works are from a series that reflect different moments in a day as a mother and child interact. These drypoints required firm pressure to engrave lines into perspex sheet before the inking and printing processes. This firm contact is essential for the lines I make, which are scratched or rubbed into a surface.

Since the birth of her son, Sophia’s work has explored how identity is forged through family experience. She often makes drawings on the floor with her son present and his energy drives the process. This dynamic developed thanks to Procreate Project’s Mother House, where she was invited to work alongside her son in a shared studio space. She is interested in the gestures that are exchanged between mother and child and the deeper psychological impression (and disturbance) that a child makes on an adult and how this is managed and returned back to the child. Her line works to express the immediacy of a moment and rising emotion, and to capture these tangled states before they are lost.

Previous works explored landscape and conservation. She studied Architecture at The Bartlett, UCL and has an MA in Printmaking from the Royal College of Art, London.

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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MAMA 31: Mother’s Diary, Mothertime ‘Let Down’ & MOM EGG Review Reading in NYC [LINK]

Marketa Senkyrik
mother’s diary (for Kaya)
2017-2018
hand-bound diary / drawings – fine-liner, watercolour crayons, crayons

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My mum has plenty of photo albums – one from each holiday, one from each Christmas… When I am visiting my parents, we often look at the photos together.
I like to draw diaries. They are a bit like photo albums – they bring back memories.
This is a very special one.
It’s for Kaya.
To remind her how it was when she was growing inside me, passing through my body to this world and living as one with me in the very beginning of life
(as those things usually get forgotten with time).
About the artist:
Czech born and a world citizen, living and working in London since 2013. Marketa studied book-design in Ostrava in the Czech Republic and fine arts in Clermont-Ferrand in France before she moved to London and started to work as a bookbinder. She is currently enjoying some time off with her daughter, co-runs an independent non-profit gallery 139artspace and is developing her own and collaborative artistic projects.

_

Robin Silbergleid

From ‘Mother Time’: Let Down in The Mom Egg Review

All these dark days and white nights, every two hours, the milk lets down. She feels the rhythm in her breasts: suck, suck, swallow. Sometimes it comes too fast, pools the side of his mouth, collects in the fat folds of his chin. Sometimes he falls asleep there, with the nipple in his mouth.

+

A diaper change. An attempt at a nap. At the hospital they said to record it all. Left breast, right breast, urine output, stool. 5 ml pumped milk offered via silver spoon. He’s so small, fetal with wrinkled skin, he can’t stay awake; she rubs an ice cube against his foot. He wakes cold, angry: sucks.

+

When babies are this small it is possible to weigh them before and after a feed and know precisely how much milk they have taken in. They weigh him at the hospital daily and then twenty-four hours later, then forty-eight, then wait a whole week. When she brings him home, he is four pounds eight ounces, his wrist the size of her thumb. He looks like a doll in his car seat; even the preemie clothes don’t fit.

+

In the news, she reads that a baby died of dehydration because the mother didn’t know she wasn’t supplying enough milk; she said she fed her child around the clock and he screamed when taken from the breast.

+

In this never-ending now, the mother puts the baby to her breast. He sucks, swallows. The present is a mouthful of milk. In his belly, proteins break down to digest. Nutrients travel his blood stream: calcium, DHA, Vitamin D. Their bodies share time and space, linked by mother’s milk the way they were once linked by the placenta. Infants who are breastfed adjust their body temperature and heart rate according to their mothers’. Their body clocks sync: mother time. Her body thins while he grows.

+
Another check mark on the log: wet diaper, dirty diaper, feed. +

If the baby sleeps: dishes. If the baby sleeps: diapers. If the baby sleeps: email. If the baby sleeps: blog post. If the baby sleeps: bathtub. If the baby sleeps: laundry. If the baby refuses: rock him. If the baby refuses: swaddle him, swing him, snuggle him. If the baby refuses: try the crib, the car seat, the bed with you beside him. Give him a new diaper. Give him your left breast. Give him your right. Count the hours. Count the hours. Count the hours.

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If there are 60 minutes in an hour and 168 hours in a week, 52 weeks in a year, how many minutes of infancy, of toddlerhood? How many spent in the rocking chair, or pacing with a baby strapped to the chest, how many in the pediatrician’s waiting room, washing the spare parts of a breast pump, the innards of baby bottles? How many on the basic tasks of feeding, diapering, bathing? How many getting to and from, pushing a stroller up a hill? She’s walked when she needed to drink, walked when she needed to pee. Her legs and arms are spindly. Somehow, minutes pass; somehow, she has become mother. Her breasts swell and spurt; she feels the milk let down as the baby wakes, hungry.

Robin Silbergleid is the author of Texas Girl and The Baby Book. When she’s not teaching or writing, you might find her puttering in her kitchen; her kids eat a lot of banana muffins.

SPECIAL MOM EGG REVIEW READING ON JUNE 2nd in New York!

Sixteen Already?

We’re excited to be celebrating our 16th year of publication with a reading at Poets House featuring contributors to MER Vol. 16: Mothers Work/ Mothers Play. We couldn’t have gotten to this point without the support of many people. Thank you to our editors, editorial readers, volunteers and contributors for helping us publish the finest writing about motherhood. Especially, thank you to you, our readers! We wouldn’t be here without your support. We hope to continue presenting fine work for years to come.

We’d love it if you were able to come and celebrate with us on June 2nd. Ticket link is here.

Looking forward to a fabulous event!

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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M.A.M.A. 30 – Ching Ching Cheng & Jennifer Stewart Fueston [LINK]

Art by Ching Ching Cheng

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About the artist:

Ching Ching Cheng was born in Taiwan and immigrated to the United States fifteen years ago. She received her BFA from Art Center College of Design. Ching had co-curated an exhibition “The Lanuguage of Perpetual Conditions” at California State University Los Angeles in 2016. Ching exhibited at LACMA Rental and Sales Gallery, Chinese American Museum, Craft and Folk Art Museum, 21c Museum, colleges, universities and art fairs through out the United States, and also had solo exhibitions in Taiwan and China. She attended an artist-in-residency program at 943 Studio in Kunming, China in 2011. She taught lectures and workshops at college, University, museum, non-profit organization, and private art center. She received grants in 2011, in 2015 from art and cultural center in Taiwan, and in 2018 from the city of Los Angeles Department of Cultural Affairs. Ching currently lives and works in Altadena, California. https://www.chingchingcheng.com

Letting go series and Build series

In my work, I am interested in the relationship between identities and spaces. The physical environment and location, along with the cultural, social, economic and political aspects of space fascinate me. In my own practice, I question how identities are defined through space, and what the notion and ideology of identity means in relation to space.

Letting Go series

As a first generation immigrant from Taiwan, married with two young mixed-race children, I am often being judged by the look and color of my kids in relation to mine, and this made me question my identity as well as my children’s identity in relation to its space. Space is the product of relations, and is always in the process of becoming. How I perceive my own identity in the space I created, versus how others perceive my identity in their space. In my most recent photography series, I have included my children as part of my process and practice where I explore “mothering spaces”. I started to create different environmental spaces as sculptures, installations, and photography. Having children has propelled me to question what an identity is and to work and practice more as part of my daily routine.

Adapting, resisting, transforming, and accepting are the nature of the “in-between” stages, and this process of progression has become an important focus of my work. I went to Mainland China in 2012 for the first time for a three-months artist-in-residency. This was my first time living in China and reliving in an Asian country after living in the United States for almost ten years. That experience allowed me to witness how my identity went through stages of change, and experience the process of in-between. Even though I am Chinese, and I have Chinese features, I didn’t feel like I belonged there in the beginning. Oftentimes people carry their own set of cultures and identities when they migrate, and it is inevitable that they have to adjust this “carry on” within the new environment, and also change and adjust the way they live with new environments throughout different stages and events of their lives. While on residency in China, I underwent the process of “in-between” the transition of identities, I changed the way I speak to how the locals speak I started to use the words and sentences they use. As a result of these relocating adjustments, a distinct new identity was established in the new space. Read more at Procreate Project [Link}

POETRY: Taking the Baby to See Rothko at the National Gallery

By Jennifer Stewart Fueston
Fifteen minutes before closing seems like more time
than we’ll need to see all there is to see of Rothko’s
blocks of color, the hungry purples smeared on
canvases, the primal reds. The baby likes the moving
walkway, mobiles, flickering lights, the giant blueberry-
colored rooster crowing at the city from the roof.
I assume abstract expressionists will be a bit beyond
his comprehension, forgetting that they’re art stripped
down to form, to line and color, to oval and ochre, to
rectangle and rose. So that when his babbles echo off
the surfaces in Rothko’s room, I see he understands it
more than I will, pre-verbal, full of awe, himself another
masterpiece of bright, unsayable things.
Published in MOM EGG REVIEW 16
Jen Stewart Fueston lives in Longmont, Colorado. Her work has appeared in a wide variety of journals and anthologies. The forthcoming poem, ‘Trying to Conceive,’ was a finalist for Ruminate magazine’s McCabe poetry prize. Her chapbook, Visitations, was published in 2015. She has taught writing at the University of Colorado, Boulder, as well as internationally in Hungary, Turkey, and Lithuania.

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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M.A.M.A. Weaving the Past with the Present: Saskia Saunders & Martha Joy Rose

About the Artist:

Saskia Saunders creates minimal constructed artworks, from domestic materials such as parchment paper, string and household linens. These are sensitively woven, wrapped and manipulated, highlighting their simple, functional aesthetic and inherent tactile qualities.

Saunders’ work is strongly linked to a sense of place, the home. Her art is an invitation to experience a calm pause, a moment of contemplation in a world of clutter and noise.

From her travels in Japan, she is inspired by the concepts of negative space (Ma) and embracing imperfections (Wabi-sabi). Creating space in each piece for the mind to focus, notice details and the light between.

Training as a weaver at the University of Brighton has greatly influenced Saunders. The boundaries of art and craft blur as she redefines an ancient craft in contemporary art.

In 2017 Saunders exhibited in London: Leftovers, 198 Gallery and A sense of place, Oxo Gallery, New York: Et tu Arte Brute, Andrew Edlin Gallery and completed a residency in

Buckinghamshire: Evolve, Artist Residency in Motherhood. Saunders is currently working with Four Dots Dubai Art Consultancy. Saunders achieved a First Class degree Woven Textiles at the University of Brighton and has worked with woven textile design companies and social enterprises in New York, China and Cambodia.

 

 

Wither the Leaf

By Martha Joy Rose

Published in the Mom Egg Review Volume 16 April, 2018

They sat together by the pool under the Tuscan sky. One was a fading beauty, the other in the bloom of youth. All eyes were on the youthful one, chatty and charming, while the older woman suffered unaccountable bouts of sadness accompanied by tears.

“Cluck, cluck” her friends fussed. But, there was nothing to do. It was just time wafting in the wind, turning the pages, spinning the wheel. They made jokes and told stories, but the woman hummed softly to herself testing the Italian language. The strange low, slow sounds were a vocal affirmation, a commitment to presence. A moan.

Her daughter, who was approaching the age of twenty-three, tossed her long hair about and dove into the pool where the stone foundations of the fifteenth century house met with the terraced descent of fresh lavender and ancient rock. She was a sleek mermaid, splaying her arms above her head and frolicking. Everything about her tingled and shivered. She was buoyant and light. She played while her mother professed a headache and climbed the long stairs to her room where she was overtaken by a bout of melancholia.

The trip from America to Italy, which had been years in the making, was twofold. The woman’s daughter had recently graduated college. This was a celebratory adventure. The fact that they were staying with the woman’s friend, who had been her lover forty years before when the two of them were in college, was a footnote. Each had married someone else but kept a commitment to remain friends.

While everyone flirted and chatted in the company of weekend guests she wondered where all the time had gone and how little of it she had left. She reflected on her youth, her passions and then how she had become a mother. She recalled the labor of childhood when each was the center of the other’s world. She thought how all her children were grown now, and stared vacantly into the horizon. These thoughts caused her to languish while everyone else drank Campari, toasting the future. She could not help but compare her age to the younger ones among them. She felt spent and exhausted, like every experience had already happened and there was no reason to bother with anything new. The sun did not agree with her and neither did the food. She was pale and bloated, rubbing her swollen ankles by the side of her bed while the others soaked up the afternoon sun. She could hear them laughing and she was jealous.

Falling into a long sleep, she awoke and observed the fading afternoon light turning shades of pink across the distant mountains. She could hear movement in the rest of the house on the floors below and began to dress for another arduous dinner where she would drink more than her share of prosecco before passing out into another dull sleep.

           That night they drove to Cortona. After collecting cashmere and leather, they ordered appertivos and toasted their spoils. This was how their time together unfolded, day after day until a week had passed. Then, on one of their trips, the woman caught sight of a tiny shop on the main square in the hilltop village. The store was etched into a cave and was owned by a man whose father and grandfather, were also jewelers. In the window, a beautiful handmade necklace of heavy silver with a gold coin gleamed against a dark velvet display. While the others in her group argued over the quality of leather in the dark bowels of a biker shop she slipped away to try on the necklace. The kindly clerk fussed over the woman describing the style of craftsmanship, it’s age and the story of the coin of Cortona. This was the way she usually fawned over her daughter and the lavished attention felt good.

           She stood looking at herself in the mirror and thanked the girls. Then, she plunked down one hundred and ninety euros for the chain and seventy-seven for the coin. After, the woman stood on the corner holding the coin in her hand. She felt elegant and proud. Her daughter, who was usually loving and attentive was cross on this night and did not approach her as the others waved towards the restaurant where they had planned to meet.

Another dinner of too much wine and heavy meats meant she did not sleep well. This was often the case. She awoke at four A.M. A mixture of emotions lay just below the surface when the time came to say goodbye. They said farewell to her friend’s wife. Goodbye to the large, vertical empty green mountain just beyond the villa’s border. Goodbye to the wild wet fountain, the trees, and the bay leaves. Then, she said goodbye to her friend of forty years, kissing him lightly on the lips. In that moment, they lingered long enough for all the sweetness to come flooding back, transporting her to the place where time stands still– eternally. Taking her daughter’s hand, she bade them hurry so they would not miss their train._

Message from the author: As I share this story with you, the seasons turn from winter, to spring, and soon again to summer. We begin planting now for the productive months to come. This past week, I celebrated my sixty-first birthday. This time has been filled with a sense of vulnerability and awe. It amazes me that I have continued to thrive, even as a LUPUS survivor and renal transplant recipient.  Eighteen years ago, my beautiful girlfriend, Pam Van Hoesen donated her kidney in an act, which literally saved my life. This has allowed me to be here today, writing these words to you. I am blessed with the ability to prioritize time with my family, share love with my friends, as well as to continue the labor of collecting and disseminating knowledge and information about mothers and motherhood at the MOM Art Annex in Florida. I live every day in gratitude, even as a marvel at my body changing through the years. This looks to be an exciting time both personally and professionally. If you are looking for an opportunity for quiet contemplation away from your usual grind and are a scholar, writer, or artist working on material related to women, mothers, or families, please consider applying for a residency opportunity at the Museum of Motherhood in St. Pete. I would love to support your work. [Link]

Bio: Martha Joy Rose is a musician, community organizer, and museum founder. Her work has been published across blogs and academic journals and she has performed with her band Housewives On Prozac on Good Morning America, CNN, and the Oakland Art & Soul Festival to name a few. She is the NOW-NYC recipient of the Susan B. Anthony Award, her Mamapalooza Festival Series has been recognized as “Best in Girl-Power Events” in New York, and her music has appeared on the Billboard Top 100 Dance Charts. She founded the Museum of Motherhood in 2003, created the Motherhood Foundation 501c3 non-profit in 2005, saw it flourish in NYC from 2011-2014, and then pop up at several academic institutions. Her current live/work space in Kenwood St. Petersburg, Florida is devoted to the exploration of mother-labor as performance art. Recent publications include the edited collection, Music of Motherhood with Demeter Press (2018). Exhibitions include the St. Pete Artist Tour (2017, 2018),  M.A.M.A. in collaboration with Procreate Project and The Mom Egg; a monthly digital expression (2016-ongoing), and the “Ima Iyla’a: Art of Motherhood” as part of the 2015 Jerusalem Biennale exhibit.

MarthaJoyRose.com/ Twitter @MarthaJoyRose /Instagram @MarthaJoyRose /Facebook @MarthaJoyRose

Mom Egg Review: Volume 16 Launches in April:

MOTHERS WORK/MOTHERS PLAY in this issue.

Print – Contributors’ Special Rates     1-4 copies – $12 ea.  5+ copies – $10 ea. (plus shipping). Order online or use the order form attached to order by mail.  Note: Contributors’ Rates are for copies ordered by you, which may be sent to yourself or to others.

Friends and Family –Please feel free to announce your participation in the issue to colleagues, fans, friends and family.  MER Community Rate (friends and family) Print – $15 (reg.  $18)  (plus shipping). Enter code COMMUNITY for a discounted rate.

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