MOM Art Annex: Exhibition & Education Center

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Disruptions, Extrusions, and Other Chaotic Consequences by M. Joy Rose

mama-22PRODUCTION SITE

MOTHERING THE WORLD

This project started after I moved to the Artist Enclave of Historic Kenwood.

I’ve spent the better part of the last ten years championing other women’s work. Prior to that, I focused musically on “performance” art. During years of songwriting and concert-making ideas are projected outward in a noisy fashion. The work I’m engaging in now is very intimate and is more of a reflection than a projection.

I am interested in exploring my body is a site of production and reproduction. It is (and has been) a site of concept making and conception-formation. Through the years it has belonged to many people, including children, partners, governments, societies, country, state, church, and home. Some of these places are unique, and some are not. However, this basic premise is clear – my body has been a site of production and “making.”

As I began editing my thoughts for this project, I realized that I never said my body belongs to me. So, more than ever this fact becomes a justification for this work, which in so many ways, mirrors what so many women have been taught to feel –namely, that women’s bodies belong to others more than they belong to themselves. Now, in the era of the new Trump administration, this may be true more than ever. It is especially important to share the truth of what it is to bring forth another human, to nurture them, and to make my body a site of visible production and labor. I want to disrupt the “nice,” “perfectly groomed,” woman-mother-persona. Here she is. Stripped down: naked, bloody, imperfect, and old but still a work of art.

Martha Joy Rose, January 29, 2017

marthajoyrose_body_art

Joy Rose is part of the Artist Enclave of Historic Kenwood. Sheis a musician, concert promoter, museum founder, and fine artist. 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.

Art Show in March: Rose’s current live/work space in Kenwood St. Petersburg, Florida is devoted to the exploration of mother-labor as performance art.The upcoming date for the next Kenwood Artist Tour is March 18th and 19th, 2017 noon-5pm. See map and find out more and to tour the studios of participating St. Pete, Fla craftspeople: [LINK]

The Disruptions, Extrusions, and Other Chaotic Consequences exhibit begins with an enhanced chest of drawers. Says Rose, “we are always trying to put everything in a box….Make it neat. Or, hide things away. Here is your chance to pick a secret or leave a secret behind.” There are also photographs of body parts, paintings, and mixed media with emerging dolls. You can visit the MOM Art Annex during the Kenwood Artist Tour.

Poem for Canvas Squat

I went out to the studio and sat on a canvas

I don’t know why except that everything that has sprung from my loins is fantastic.

Four amazing kids- now adults: Brody, Blaze, Ali, Zena.

Before that, lots of painful blood. Since them – ART!

If art is like giving birth, then let the creations be fantastic too. This is my pop squat.

Everything truly great has come from between my legs. Occasionally my throat, but, mostly from between my legs…. What have you got down there? Show the world.

https://m.soundcloud.com/electric-mommyland-1/electric-pussy

Sources:MoMA:https://www.moma.org/learn/moma_learning/themes/investigating-identity/the-body-in-art

The human body is central to how we understand facets of identity such as gender, sexuality, race, and ethnicity. People alter their bodies, hair, and clothing to align with or rebel against social conventions and to express messages to others around them. Many artists explore gender through representations of the body and by using their own bodies in their creative process.

The 1960s and 1970s were a time of social upheavals in the United States and Europe, significant among them the fight for equality for women with regards to sexuality, reproductive rights, the family, and the workplace. Artists and art historians began to investigate how images in Western art and the media—more often than not produced by men—perpetuated idealizations of the female form. Feminist artists reclaimed the female body and depicted it through a variety of lenses.

Around this time, the body took on another important role as a medium with which artists created their work. In performance art, a term coined in the early 1960s as the genre was starting to take hold, the actions an artist performs are central to the work of art. For many artists, using their bodies in performances became a way to both claim control over their own bodies and to question issues of gender.

See also:

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MAMA- Mothers Are Making Art in 2016 [CLICK]

MAMA - Mothers Are Making Art

MAMA – Mothers Are Making Art

The ProCreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the continuation of  this literary and scholarly discourse which intersects with the artistic 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

Weapons of  Maternal Destruction; Spoke and Rupture – things done and undone; in what moment does protection or defence turn upon itself and what are the consequences?

More about the Artist – Rachel Fallon

My work explores themes of protection and defence in domestic and maternal realms –  the protection of a mother for her child, for her mental health, of identity and place. My research findings lead, not to answers but to the formulation of more questions.  The work I make is an attempt to pin these questions down so that the viewer has the possibility to form their own answer through interaction with each piece.

The conflicts and ambivalences of the questions inform the choice of material and technique for each work.  The methods of making are crucial to revealing new ideas and resolving thought processes intrinsic to the initial starting point of the piece. Mother Magazine

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M/other Voices for the New Year

by M. Joy Rose (Originally published online by M/other Voices)

Standing at the podium, about to begin a lecture to the twenty students in front of me at Manhattan College, I pop on a power point and click through the images of women creating mother-made art. In this particular slide-show there are curated photos from the Procreate Project, Project Afterbirth,m/other voices, Ima Iyla’a: The Art of Motherhood, Mamapalooza, and Demeter Press, as well as striking text from the Mom Egg Review. The students seem interested. The images are provocative, often including everything from menstruation blood to musical instruments. I have known for a long time how important it is for women who are mothers to have an arts movement of their own. And yet, gaining traction has proved to be harder than I thought. For many reasons, social, political, and cultural, women still lag behind globally in the arts world. From filmmakers who reportedly comprise a mere 4.1% of the top grossing directors of major motion pictures,[1] to the Guerilla Girls-inspired rants calling out major contemporary museums for their lack of equal exhibition time, women in the arts still have a lot of catching up to do.[2]Motherhood complicates these inequities further for reasons that are difficult to identify, but let me try.

There are three major forces compounding mother’s visibility in the arts: identity, consensus, and physical dis/ability. Let us first look at identity. Before we can even begin to dive into the idea of a mother-inspired arts movement, we need to clarify what is a mother? You might feel like arguing with me that there is no need, but in fact there is a need. If one is going to create a mother-arts movement one has to know whom one is including, and what the point of your movement is. Are you going to call your arts event a celebration of motherhood? What about those who do not think it is an elation, but rather a great misery heaped on them when they were least prepared? Are you concerned about the procreative act itself? The carrying, and waiting for the development and birth of the future child? What are you going to do with the adoptive mothers who did not birth their babies but are finding their mother-identity through the act of caregiving? And what about the ones who lost their children along the way? Are you going to include parents; meaning the mother and the father? This is a lovely idea, but, if you include parents, what do you do to amplify the unique experience of one who cellularly divides? The one whose body goes through embodied changes? Then, what about the “single” mother, with no likely partner or spouse? What are you going to do with grandmothers, stepmothers, gay couples, and the surrogates? Unlike many other objects or identities, from the very beginning the notion of mother is fraught. She is not a simple creature. She might not even be a woman. Therefore, conceivably a mother might be a he. Likewise, politically speaking, a mother might be a religious, right-minded, anti-abortion, Phyllis Schlafly kind of character, or she might be a forthright, left-leaning feminist. She might be an advocate of something you hate, and therefore you are tempted to hate her, or she might be a killer, a thief, or an addict. She might be absent. Is she one whose story you want to include? Are you going to share your arts movement with her? Herein lies the crux of the number one problem of a m/other based movement. There are so many kinds. I have been masticating on this for the better part of 26 years trying to sort out its complications.

While writing my thesis for graduate school I struggled not only with a definition of mother, but also with a definition of what the academic study of mothers might include. My reasoning for this was twofold. In my experience as the creator of an arts festival, which has aimed to highlight the varying voices, art, comedy, music, theater, and literature of motherhood, I consistently wrestled with what to do with the women who were not mothers but were other-mothers, aunties, and nannies insisting they wanted their experiences to be included. I wrestled with what to do with the caregiving partners, fathers, grandparents, and children of these creative-types, mostly because thy also often inquired about being included. Sometimes mothers wanted to blend their families in their art making and even if they didn’t, non-mothers often wanted to feel they too could exercise their voice. This challenged my vision for mother-made art, if only in the sense that it constantly required me to question whom to include or not include? If the art is about family, what sets these mothers apart from the others they are connected to? What makes them unique, or special, or why should they have a festival, movement, arts-based collection all their own? We all know that historically women’s voices have been silent relatively and mothers even more so. That could be reason enough, but in the end, maybe not. Questions and complications remain. No one, including me, seems satisfied with exclusionary practices.

M. Joy Rose and daughter Zena with Housewives On Prozac Band

M. Joy Rose and daughter Zena with Housewives On Prozac Band

The second part of the dilemma is, if we could identify the specificities of what mother is, how do we gain consensus on whether she is worth studying or whether her art is specifically noteworthy and deserving of its own category? Considering that we have left the first question somewhat unanswered, then the second question of cooperation creates its own challenges. The status or category of mother is often fraught. She does not represent all good things despite the fact that we have expected her to be everything: creator, collaborator, connector, and caregiver, for free, forever, unconditionally? Mothers manifest their fair share of resentment, both for socially constructed reasons and for psychological ones. Feminist movements reluctantly embrace motherhood if at all, and even mothers themselves seem unsure whether they care more about activism, equal wages, or getting dinner on the table. There is not enough time in this essay to adequately address this, although many have tried including Adrienne Rich[3] and Phyllis Chesler[4]for example. Let us for the purposes of this article simply say that it is extremely difficult to get people to agree on a consensus regarding mothers, mother-art, and motherhood.

Finally, leaving the answers to the first two issues ambiguous, we can now move to the very real challenges most mothers face, which include ability, time, and perspective. As any mother of a young one will attest to, creating anything other than limited cleanliness, order, income, and edible food can be a full-time occupation. Mix in the ephemeral nature of art and challenges arise. How does one find the hours in the day (or night)? The space? Some regularity? Should one buy paints or food? Make music or buy shoes? Natalie Loveless claims in her curated exhibit titled New Maternalisms that “mama-artists [need] to find creative ways of integrating their practices as mothers, artists, curators, writers, and teachers. By taking seriously the need to create from local and embodied conditions, these practices bring visibility and value to the maternal in and as art.”[5] I agree with her. But, as I have articulated, distinct challenges remain.

Ultimately, the notion of exactly what makes a mother, be it birth, caregiving, egg donation, or identity can all be debated. However, we define what a mother is and what the art-movement looks like, it must include relational aspects. Words like m/other, m/otherness, or mother-ness attempt to describe this. Any idea of mother must include the concept of transformation, inclusion, and evolution. Both the personal and relational status of me + other = m/other proposes an examination of how m/otherness or mother-ness is the experience of being connected, or disconnected, to one who is part of you. Or, of being a person who, as part of another and also linked to another (genetically, through caregiving, or by association), might inform action in a world conceived as relational. This view differs from our current social system. Current systems have been motivated by alienation, and by violent, external, institutional, and hierarchical social constructions. Herein’ lies the call for change. As Rothman asserts in the Book of Life, “The world that I live in, and the world that I want for my children, is not a world of scattered isolated individuals, and not a world of walls. It is a world of communities, of social solidarity, of connectedness between individuals and between communities, a world in which people and communities grow from and into each other.” (p.233). She explains that motherhood is “otherhood.” Or, as I theorize here: a mother is one who who divides, yet through that division he/she is paradoxically increased. Therefore, the division is also a multiplication. A theory of mother-ness privileges the conversation of difference (or division) and insists on tolerant engagement (connection) as well as intense intellectual curiosity as a fundamental practice. Therefore, as we make art, explore motherhood, and find ways to move forward, let us lift each other up. Let us continue to explore our victories as we lament our losses. Let us speak not with one voice, but with many voices and most of all – let that be okay.

[1] http://fortune.com/2015/10/06/women-directors-hollywood/

[2] http://nmwa.org/advocate/get-facts

[3] Of Woman Born

[4] Woman’s Inhumanity to Woman

[5] Natalie Loveless, New Maternalisms, Fado Gallery 2012

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CONGRATULATIONS TO OUR ACCEPTED CONFERENCE PRESENTERS

MOM_logo_SM

THEORIZING MOTHERHOOD IN THE ACADEMY

VIEW NEWSLETTER

– THIS YEAR’S CONFERENCE –

2016 INDUCTIONS Honor the Call of the Midwife

Thursday, May 5 Motherhood Hall of Fame; Columbia Teacher’s College 7:30-9PM (Free). 525 West 120th Street Milbank Chapel, NYC.

Join us for drinks before at 7PM. RSVP Pleasehttps://mommuseum.org/motherhood-hall-of-fame/

Performances, story-telling, and induction ceremony with co-sponsors:

CONGRATULATIONS TO OUR HONOREES

Ruth Lubic (ED.D. ‘79, M.A. ‘61, B.S. ‘59) has championed community-based birthing by listening to the needs of the people she serves. It’s an approach she honed at TC. Lubic is considered among the mothers of the American midwifery movement. The recipient of a MacArthur “genius award,” she co-founded the National Association of Childbearing Centers, has inspired creation of more than 300 free-standing birth centers and is an American Academy of Nursing “living legend.”

Kimm Sun, is a Certified Nurse Midwife, Nurse Practitioner who attends home births in New York City.  Previously a photographer, she started her midwifery career as a labor and delivery nurse over ten years ago and then worked in a community hospital as a staff midwife.  She received her Midwifery and Nurse Practitioner degree from the University of Pennsylvania. Born in Malaysia and of Chinese heritage, she speaks five languages and has taught birth attendants in Micronesia, Haiti, Nepal, Vietnam and Kenya. Besides caring for her much loved “mama clients”, she is currently developing a different approach to birth education that is more accurate to the woman’s actual internal experience.

MHOF_Logos_2016

12th Annual M.O.M. Academic Conference

THEORIZING MOTHERHOOD IN THE ACADEMY

(I expect to have the final schedule posted online over the weekend. Through the date of your presentation will not change, some time slots may be adjusted.)

LauraFriday, May 6th MORNING OPENING KEYNOTE: Laura Tropp specializes in media and politics and representations of pregnancy, motherhood, and families in popular culture. She teaches courses in communication theory, media history, campaigns and elections, media law and motherhood studies. Her books include: Womb With A View and Deconstructing Dads.

KimSaturday, May 7th MORNING OPENING KEYNOTE: Kimberly Seals Allers whose 5th book The Big Let Down will be published this summer. Kimberly is an award-winning journalist, author and a nationally recognized media commentator, speaker, consultant, and advocate for infant health. A former senior editor at ESSENCE and writer at FORTUNE magazine. Kimberly is widely considered a leading voice in the counterculture movement in infant feeding. Kimberly’s fifth book, The Big Let Down—How Medicine, Big Business and Feminism Undermine Breastfeeding will be published by St. Martin’s Press this summer.

MORE at M.O.M.

FACILITIES

There is a power point projector, computer, speaker, and screen onsite. Bring your laptop or a zip drive, or post your material in the cloud and you will be able to present using the equipment at our location. There is some limited space for brochures, art, and books as well. Feel free to share your passions.

BAGEL & COFFEE BREAKFAST WILL BE PROVIDED EACH DAY

SOCIAL MEDIA 

Do you have a twitter handle or a Facebook page? Let’s connect!!

  1. @MOMmuseum
  2. https://www.facebook.com/MOMmuseum/

CONFERENCE LOCATION

May 6-7 MOM Conference at Manhattan College, 4513 Manhattan College Parkway, Bronx, NY 10471 (Schedule TBD) – We will updating the schedule in the next few weeks.

TRANSPORTATION

New York City has two major airports: JFK and LaGuardia.

Public transportation is available from both via train, and cab.

The train from JFK is rather straightforward and costs about $7.50. I would encourage you not to be fearful about taking this option if budget is a concern. There are people at the airport who can direct you, and I’ve done this many times. Here is a link to the NYC Subway Map: http://web.mta.info/nyct/maps/subwaymap.pdf

PANELS, CULTURE, and SPECIAL GATHERINGS

New York City is an amazing place. Surely you will want to do a little exploring. We also plan on organizing a few special panels, roundtable discussions, and speakers for you, but will make sure there is time in the evenings to step out, either with conference goers or on your own.

ACCOMMODATIONS

Manhattan is divided into the West and East sides, with subway trains that operate separately on either side of the city. It can be a 40 minute trek from the West to East side, either by bus, or foot, or crosstown subway. TRY to stay on the WEST SIDE IF POSSIBLE, anywhere from Times Square to the north: West 40th Street, 50s, 70’s, all the way to Harlem etc. Included here is a subway map of Manhattan.

FYI, the subway that best serves Manhattan College is the #1 or #6 train on the West SideLink to more info and directions to MC.

Mother Studies is a field of interdisciplinary study devoted to the issues, experiences, topics, history, and culture of mothers, mothering, and motherhood. How else can we identify and define this new and emerging field? Some proposed concepts include “me” and “otherness” or m/otherness interpretations, procreation, caregiving, maternal health, motherhood as experience and institution, and relational theory as navigated within social and cultural constructions. What are its key elements, its compliments, and how can we theorize motherhood in the academy? How can mother and/or father studies be introduced in more formal ways within classrooms, including high school? Do we need an interdisciplinary degree in mother or father studies on the undergraduate or graduate level? If you are already teaching motherhood or mothering studies, or fatherhood, fathering studies, from what perspective or discipline do you approach the work? Please share your ideas. This is the forum to put this field into place.

WE HOPE TO SEE YOU AT THIS YEAR’S EVENTS

Questions: Info@MOMmuseum.org

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Jerusalem “Art of Motherhood” Exhibit Enters its Third Week

Come practice Alana Ruben Free’s Presence=Present exhibit at Hechal Shlomo, 58 King George Street. Also, “Words of Love” by M. Joy Rose in collaboration with the Museum of Motherhood.

Words of Love

Words of Love

The 2nd Jerusalem Biennale for Contemporary Jewish Art (September 24 – November 5) will showcase the work of nearly 200 Israeli and international professional artists in 10 exhibitions hosted in seven city-center venues. Following the success of the inaugural Jerusalem Biennale in 2013, Biennale2015 will continue to explore the places where contemporary art meets the Jewish world of content. Curators and artists with different approaches, who span the continuum of Jewish identity from secular to ultra-Orthodox and include non-Jewish artists, come together within the Biennale framework to give their own interpretation of contemporary Jewish art. Biennale2015 hosts four exhibitions from overseas – New York, Los Angeles, Buenos Aires and Barcelona and, for the first time, the Jerusalem Biennale extends its reach with three simultaneous exhibitions in LA.The vision of the Biennale is to create the right conditions for the artists to display their work in Jerusalem, engage in the current discourse about the Jewish world and help establish Jerusalem as the global center for contemporary Jewish Art. For updated exhibition information and ticket purchase: http://www.jerusalembiennale.org/

Read recent press on this here. Download Full Article PDF

 

 

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The Art of Motherhood

Since immersing myself in the motherworld in 1989 I have observed the rise in the visibility of humans engaged in the practice of birth and caregiving. This visibility has translated into music, scholarship, literature, theater, and most recently a rise in fine artists lending their passion to making video, photography, paintings, and performance. I am thrilled by this because making the labor, love, and struggles of motherhood visible lends itself to introspection, observation, and contemplation of mother-work, mother-identity, and the ties that bind. Indeed, I feel blessed to have been born exactly at this time and to have been an active participant in this process. As Alana Ruben Free said to me the other day after an especially tedious and frustrating week, “at least we changed the world.” Martha Joy Rose

Please enjoy the beautiful work of Ana Alvarez-Errecalde here [CLICK}

“Birth of My Daughter”

Ana Alvarez-Errecalde

Ana Alvarez-Errecalde