MOM Art Annex: Exhibition & Education Center

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When Pandemonium Hits – Caregivers Unite!

When pandemonium hits, caregivers unite!

When families have to hunker down and stay put with their kids out of school, community contacts are restricted, and the workplace is disrupted, we must do everything within our power to stay positive.

When healthcare concerns trump everyday freedoms, each of us must look to the future and how we can make things better.

When Kimberly Seals writes an article for a widely-read publication about the often difficult and unpaid labor of caregivers, I pay attention.

Her recent article for #WomensHistoryMonth is online at the #WashingtonPost here.

I feel grateful to have contributed to this piece.

I feel grateful to you for reading it.

I feel grateful to live in her world (and yours).

I feel grateful to #teach #MotherStudies.

While you are spending more time social distancing, may you and your loved ones have food, may you and your loved ones have shelter, may you and your loved ones be well, may you keep the light of love inside you.

With Great Affection,

Martha Joy Rose

Get woke. Or, at least, well read: For your personal reading list, or if you’re in a book club, Rose suggests including titles that examine motherhood in a historical, racial or cultural context. She specifically recommends “Motherhood and Feminism” by Amber Kinser; “Reproducing Race” by Khiara M. Bridges; “Black Feminist Thought” by Patricia Hill Collins; and “The Price of Motherhood” by Crittenden. Take a six-week class with the Museum of Motherhood, or attend an online event this month. KSA

Kimberly Seals Allers and Martha Joy Rose at the Annual Academic MOM Conference in NYC

 

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The Founding Mothers: Women in Herstory

This month marks the International celebration of Women’s Day (Sunday, March 8) and Women’s History Month.

Both of these acknowledgments demonstrate an earnest desire to understand and honor the contributions of women. Wednesday, March 11th will mark the opening event for a new exhibit at USF, Women’s and Gender Studies Dept., curated by Martha Joy Rose.

Panels featuring the four waves of feminism flank the entrance to the exhibit titled The Founding Mothers: Women in Herstory. Also on exhibit are a myriad of art pieces including works by Rose, Christen Clifford, and Kim Alderman. This timely installation brings together feminist voices throughout herstory who have challenged conventional attitudes about gendered performance and motherhood through their writing, activism, and art. A multi-media interactive exhibit encourages participants to think critically about evolving family narratives and womyn’s place in society.

Please do come visit. See the impact Mother Studies can have on your life, perspective, and the future. Write INFO@MOMmuseum.org for more info. Flyer for the opening event is here. The exhibit will be up through May 8, 2020.

See more panels here online at the Museum of Motherhood: LINK

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M.A.M.A. 41 Featuring Michele Landel and Ann E. Wallace

MAMA with MOM Museum, Procreate Project and Mom Egg Review featuring Michelle Landel

Bio: Michele Landel creates intensely textured and airy collages using burned, quilted, and embroidered photographs and paper to explore the themes of exposure, absence, and memory. She manually manipulates digital photographs to highlight the way images hide and filter the truth. She then sews layers of paper together to create bandages and veils and to transform images into fragile maps.

Michele is an American artist. She holds degrees in Fine Arts and Art History. Her work has been exhibited in Europe, the UK, and the US and she is extremely proud to have been in the 2017 Mother Art Prize group show. She was awarded the 2018 Innovative Technique Award by the Surface Design Association and is represented by the Jen Tough Gallery in Santa Fe, NM and the Muriel Guepin Gallery in NYC, NY. Her upcoming art events include Imagining Identity: Contemporary Textiles at the Palo Alto Art Center Foundation in Palo Alto, CA and the Hankyu Paris Art Fair in Osaka, Japan. Michele has lived in France for over 15 years. She has three school-age children and works out of her art studio in the Paris 9th arrondissement.

Project Descriptions :

1) Who’s Afraid is intended to capture the tension between men’s anxiety of being unreasonably accused of inappropriate behavior and women’s fear of sexual harassment and assault. It is referencing the play “Who’s Afraid of Virginia Woolf?” and the inherent tension between actors and audience that is part of theater performance and in this play the volatile and complicated relationship between men and women. To capture this, Michele started with the gaze. Specifically, the ‘male gaze’ as defined by the feminist film theorist, Laura Mulvey. She began with a photograph of an anonymous woman from a clothing catalog. The photograph fits interestingly within Mulvey’s three phases of the ‘male gaze’: How men look at women, how women look at themselves, and how women look at other women. She enlarged the photograph, divided it into small rectangles, and then printed the image on secondhand bed sheets. She pieced the photograph back together and painted, using machine embroidery, the woman onto a second bed sheet – covering her skin, hair, and clothes with thread. She cut out the woman’s eyes to make the viewer uncomfortable and scared. Deliberately referencing childhood ghost costumes made by cutting out eyeholes from old bed sheets, she is engaging with the idea of spectator and specter both of which have the Latin root word ‘spect’ meaning to ‘see.’ From a distance, the embroidered figure on the sheet appears three-dimensional. The embroidered figure appears to ‘see’ the viewer when in fact the gaze is empty. The vacant gaze causes anxiety and feels powerful. Blog Link I Instagram @michelelandel  I www.michelelandel.com

1) Michele Landel

For There She Was, comes from the last line of Virginia Woolf ‘s “Mrs. Dalloway” and includes over a hundred embroidered, burned, dyed and collaged images. The series emerged from thinking about all the women who are currently speaking out about their pain and trauma and are refusing to go away. To summarize this moment, Michele brewed natural dyes in her kitchen using organic materials and then dyed small scraps of fabric (a cloth baby diaper, an antique tablecloth, a stained tea towel…) to represent the physicality of womanhood and gender roles. She matched the fabrics with small paper dolls that are digitally edited photographs from clothing catalogs to show the commodification and manipulation of women’s stories. To deliberately erase the women, she burned holes in the photographs and repeatedly stitched over their faces and bodies. Yet the women are still there. Their presence is even stronger.

Closed

By Ann E. Wallace

Close the door.
She looks at me like I am ridiculous.
But I only left it open for a minute.
A girl raised by a father has not
had to think much about the reasons
a family of girls keeps the door closed
and locked.
A family of girls knows
the unwanted will enter
closed doors, will penetrate locks
uninvited.
We do not need to leave
the door open for them.

Ann E. Wallace writes of life with illness, motherhood, and other everyday realities. Her poetry collection is Counting by Sevens, from Main Street Rag, and her published work, featured in journals such as Wordgathering, The Literary Nest, Rogue Agent, Mothers Always Write, and Juniper, can be found on her website AnnWallacePhD.com. She lives in Jersey City, NJ and is on Twitter @annwlace409.

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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A Mothers’ Breastfeeding Struggles Are Not Her Fault – Blame Society

By Dee Merrit

Mothers are warriors.

If you look back on the history of birth in the U.S., 95% of infants were born at home with midwives. Promptly after birth, the child was placed on the mothers’ breast to nurse. Today, many women seem to doubt their ability to give birth naturally and breastfeed. Often society does little to support them.

Many women desire to breastfeed and though the rates have slowly been rising research shows there is still a decrease in breastfeeding rates from birth to one-year. A quick google search will show you why there is a decrease. What is not listed amidst the CDC research is how women have been taught to not trust their bodies.

In America, it is more common (and comfortable) to see women advertised in lingerie and skimpy clothing. At the same time, a woman nursing in public can publicly shamed or experience feelings of discomfort, or be judged critically. Nursing mothers are still evicted from public spaces, restaurants, and they encounter rude comments when strangers express they do not want their child(ren) exposed to breastfeeding. Although breastfeeding is what our bodies are designed to do, it can be awkward and has been referred to as something to be socially discreet about.

As a mother of three boys, I would rather have them grow up knowing breasts have a purpose. Women’s bodies are uniquely formed to feed babies and also to comfort them. Additionally, nursing a newborn helps with psychological development (and so many more other beneficial things).

In some communities, mothers have access to breastfeeding help through groups like La Leche, as well as breastfeeding cafes and mother support groups. Still, some mothers struggle. It could be that many mothers continue to get false information from health care professionals who are not educated about lactation, and though health care professionals mean well, they sometimes insinuate that mothers should not trust their bodies.

All breastfeeding mothers should have access to local references from lactation professionals and be free of cruelty and judgment. If an advisor is not available, then there are other ways to connect to professional consultants including email, phone, and video chat. Unfortunately, these options are not always promoted. Many health care professionals unintentionally perpetuate myths about breastfeeding. For example, I have heard of women being told that breastfeeding can hurt; NO! Breastfeeding should not hurt! If it does, then it is a signal that something may be wrong and the nursing mother should seek help from an IBCLC. There are so many myths that continue to be perpetuated. Here are a few listed online courtesy of the United Nations International Children’s Emergency Fund, UNICEF [LINK].

Even with available resources, some mothers of young children struggle just getting out of the house. They’re tired, overwhelmed, and are dealing with a  mixed bag of emotions. If they have a messy house on top of that, they may not want to entertain visitors. Believe me, no one coming to support or assist a mother with nursing is spending their energy judging a messy home. (My own kitchen has been not been cleaned since I had my first son 8 years ago and yet, I continued to have more children)!

In this shared graph from Katie Hinde, an Associate Professor of Evolutionary Biology and Senior Sustainability Scientist at Arizona State University, and a researcher of lactation, she shares on this brief clip on Ted Talks what little we know about breastmilk compared to other subjects.

She shares this powerful message, “Many mothers do not reach their breastfeeding goals, that is not their failure, it’s ours.”

Do nursing mothers have rights? Yes, they do. But in 2019 some mothers still struggle with being told they can not nurse in public. As recently as this summer, a woman in Texas was told she could not nurse her baby at the public pool. Even though this mother knew hew rights, this issue escalated quickly and police were called to the scene. A breastfeeding mother has rights for a reason. These rights should not only be known by mothers but by public servants as well. Government employees as well as other facilities that say they support breastfeeding mothers need to be required to read and understand breastfeeding rights for customers, as well as their employees. This can vary from state to state. Mothers nursing in public helps to expose the general public to an infant’s needs as well as the very natural act of maternal nursing.

Even though some people in the general public may be hurtful, many other breastfeeding advocates will support you. We are mothers, we have the right to feed our babies as we choose, and we will not be silenced for choosing to breastfeed whenever and wherever our child is hungry outside the home.

Sources:
https://sites.google.com/site/historyofchildbirthinamerica/historical-resources/historical-timeline
https://www.cdc.gov/breastfeeding/data/nis_data/results.html
https://www.unicef.org/parenting/food-nutrition/14-myths-about-breastfeeding
https://www.cnn.com/2019/06/11/health/texas-breastfeeding-pool-trnd/index.html

Deann’s Other Blogs at MOM: 

Why Don’t IBLCLCs And Dentists Agree
How Income and Insurance Can Affect Breastfeeding Support For New Moms
Breastfeeding Education Might Not Be What You Think It Is
Gender Disappointment

Recent Press: Cayuga News about Dee Merrit at MOM

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

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

Friday, March 27th – Come visit the MOM Art Annex display in the Exhibition Hall at the USF St. Pete Campus!

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

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

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

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

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News From Around the World with MoM Partners in ART

Ruchika Wason Singh  
Visual Artist- Independent Researcher

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

Ruchika Wason Singh

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

Events are May 3- May 16th

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