MOM Art Annex: Exhibition & Education Center

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The End & The Beginning, Gallery Show with Sarah Irvin, NYC

Sarah Irvin, mother-artist, curator, and founder of the Artist/Parent Index, is part of a two-person show titled “The End & The Beginning” on birth and death, January 11th- February 17th at Massey Klein Gallery in New York City.
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The show features a 2400+ page sculptural book/card catalog that documents every time Irvin breastfed. Details are here. See more details in the Artnet’s- do not to miss list.
Massey Klein 124 Forsyth Street New York, NY 10002 masseyklein.com

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Welcome 2019 [LINK]

It is a brand new year. What are we going to focus on in 2019? While work at the Museum of Motherhood continues, we wish you and your family an awesome, healthy, and happy New Year.

Remote Internships – The call is going out for remote internships focused on individual projects, online art exhibits, and social media. See more here and please give us a shout at info@MOMmuseum.org if you are interested.

Blogs – New Art Exhibitions each month with M.A.M.A.

Open Hours every Tuesday (beginning Jan. 22) at Manhattan College in Kelly Commons at the LWGRC 2-4PM. Please visit!

MOM will be hosting our April Conference in New York City in partnership with MC Sociology Dept. and the LWGRC for the first time since 2016. Presenter acceptances have gone out and we are looking forward to a truly fantastic event April 5-6 at Manhattan College, the Bronx.

Online class development: MJRose will be teaching Sociology of Family- Mothers, Fathers, and Families on campus at Manhattan College, spring 2019. This course will be developed for online access as well.

Look for more Student Features: Throughout the year, we will be sharing insights and exercises from classes at MC.

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M.A.M.A. Charlotte Morrison: A personal account of a developing practice & Kristin Roedell

Years ago, some of my first serious art pieces were about the experiences of giving birth. I was intrigued by what happens when you merge a personal life event with the medical file that accompanied it. Red ink flowed onto thick paper while a crisp pen scribbled medical notes onto a bleached-out body.

Those early pieces are now lost to me – distant both in time and space.

But embodied experiences remain a constant source of inspiration. Yet our perception of the body is far from constant. For our body exists in different realms – shifting between lived experiences and medical observations, defined by culture and dominated by history. And so my visual recordings of the individual flutter and fluctuate – weaving their way across time.

Today, medical quotes and observations of the female body – hammered out on my old type writer – interfere with delicate body parts rendered in glass and porcelain. Tomorrow these pieces may be repositioned and take on new meaning.

Only a short while ago, I collected narratives about menstruation – now I am making work about the menopause. Both were traditionally taboo subjects. And both are decidedly female hormonal experiences. In the private sphere these experiences are often suffered in silence, in the public they are ignored or suppressed – and within the medical community the “unruly” female body continues to cause a dilemma.

Because of this I have taken great pleasure in exhibiting sanitary towels cast in kiln formed glass. With edges sharp as nails and red colours flowing through them, they are the embodiment of lived experiences – at the same time beautiful and disturbing.

Hidden lives and untold stories feature heavily in my work. Displayed on plinths, assembled in cabinets and hung on the wall the silent stories become visual – elevated and treated as objects of beauty; Scars, which were disguised and covered up for years, are now exposed and cast in exquisite pure white porcelain – displayed on plinths. Surgery, health and body image is explored in work about mastectomies. Placed on the wall, it is no longer possible to ignore the body in transition.

The relentless quest to challenge and explore what defines us continues.

Our sense of self – what is it really?

The more private aspects of our lives are often crowded out as culture interferes and medical descriptions intervene – context defines us far more than we realise. And yet throughout time we remain anchored in our body.

But as my body changes so does my body of work.

My journey began with personally experiences of motherhood – interlaced by cultural expectations and medical descriptions. This self-same journey is now taking me towards explorations of ageing. As I am entering another stage in my life I become aware of taboos which are distinctly separate to the ones I stumbled across and fought against as a younger woman. And I am looking forward to exposing some of them – yet again making the unseen visual – and allowing silent voices to be heard. More: www.charlotteartworld.com Instagram:@charlotteartworld

Brief biography

Charlotte has a background in both psychology and fine art. She worked as a counsellor/therapist for more than 16 years and this experience echoes through her visual work. She has an MA in printmaking from ARU and has done post-graduate studies in glass at Central Saint Martins.

She exhibits regularly in the UK and showed in an international glass exhibition in Denmark in 2014. In recent years she has undertaken art residencies at local institutions, and she has worked in collaboration with a variety of scientists from Cambridge on short projects combining art and science.

A long-term collaboration with another artist has led to several exhibitions exploring the lives of Everyday Women.

Artworks

My work is firmly anchored in physical experiences – of who we are and what we may become. It includes pieces about conception, breastfeeding, surgery, menstruation and the menopause. Medical images become embodied, personal and medical narratives fuse together – text and images collide.

I write text pieces about menstruation and poems about the menopause. I write about body image and make interactive books. All of which informs my visual practice and sits alongside it.

List of works

But it’s not an Illness

Mooncups made in stained porcelain, elevated and paraded on a Perspex “plinth”, intercepted by text pieces based on menstrual experiences. 

Hidden

Wrappers with typewritten text, alongside two heavily stained porcelain sanitary towels. Seen through a layer of sanitary towels cast in glass. Sharp glass edges and fragile materials echo embodied experiences in this “Menstrual Cabinet” display.

Not in Public

Breastfeeding explored.

Nipple shields made in shades of coloured glass are paraded in an old cutlery tray that used to hold precious silver pieces. Torn between opposing messages, cultural expectations, and reality – what is a woman to do?

Photogram foetus; Make Believe

Hovering between real and imagined, a kiln formed glass object has been transformed into an artificial image resembling a medical scan. It questions our relationship with medical images and the emotional attachment we often invest in them.

Medical image Embodied

Foetal representations in glass – transparent yet present as if a medical image has taken form. Placenta and foetus made in kiln formed glass – inspired by medical images.

Menopause Musings

A discarded pile of personal narratives related to the menopause contain a myriad of hidden, and often contradicting, stories. Set in torn earthenware, they are a fusion between lived experiences and societal attitudes to the menopausal woman. The individual statements were collected online and in person. This is an ongoing project.

It’s all About the Ovaries

Women’s identity and place in society has historically been linked to ovarian activity.

An anatomical uterus reproduced in precious glass has sharp and painful edges. It is offset by medical quotes about the menopause. The text piece which contains historical and contemporary sources is both brutally ignorant and succinctly empathic. It has been typewritten onto frail, perishable tissue paper – and as such it appears far less permanent than the ovary itself.

The Ages of Woman

Physical transformation, change and variety is expressed through form, colour and text. Three ceramic pieces inspired by internal scans and medical descriptions of the uterus emphasise how different one organ can appear. During the process of making, words such as reduced, dilated, bleeding, torn, constructed, repaired and contracted came to mind.

 

Night Blue

From Mom Egg Review vol. 12 (2014) 
by Kristin Roedell

Blood in the bath slips

away from a woman

whose monthly seeping

is bound to the moon

with a crimson ribbon.

 

Her child, astray,

is a pause, a pearl,

a drop of rain.

Wings whirring,

its soul leaves with a cloud

of dragonflies beyond

the Cedar River.

 

The cistern alongside the house

is full of rain. She drinks a ladle full

to take back what is

 

lost. Her husband’s breathing

colors the night blue.

Herself astray, she curls

beneath his sleeping arm.

 

In the morning she tells him no

more than the eddy at the edge

of the river, or the silent

circling trout.

Kristin Roedell is the author of Seeing in the Dark (Tomato Can Press), and Girls with Gardenias, (Flutter Press). Her work has been published in The Journal of the American Medical Association, Switched on Gutenberg, and CHEST. She is a Pushcart Prize and Best of the Web nominee, winner of NISA’s 11th Annual Open Minds Quarterly Poetry Contest, and a finalist in the 2103 Crab Creek Review poetry contest. http://cicadas-sing.ucoz.com/

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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The Journal of Mother Studies 3rd Edition 2018, Residencies, and More

JOURMS: The Journal of Mother Studies (JourMS) 2018 is currently published online. Special thanks to Candace Lecco for her work as editor and to all our authors and editorial volunteers. Find out more here: LINK

 

 

 

 

 

 

 

 

 

 

 

 

 

RESIDENCIES AT MOM ART ANNEX 2019: M. Joy Rose has returned to Manhattan College or the spring 2019 semester. We anticipate accepting new residencies at the MOM Art Annex in St. Pete, Florida beginning August 2019-December 2019.

Meanwhile, students of all ages, who are interested in accessing course materials for Sociology of Family curriculum can watch for posts on our teaching website.

M. Joy Rose back to teaching at Manhattan College

 

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Annual Academic MOM Conference, NYC 2019: Rewriting Trauma

REWRITING TRAUMA & VISIBILITY

Motherwork, Pregnancy, and Birth

Manhattan College
Bronx, NY
APRIL 5-6 2019

The MOM Conference 2019 is sponsored by the Lasallian Women and Gender Resource Center and the Manhattan College Department of Sociology

Calling all sociologists, women’s, sexuality, and gender scholars, masculinity studies scholars, birth-workers, doctors, maternal psychologists, motherhood and fatherhood scholars, artists, performers: This conference call for papers focuses on uncovering, naming and rewriting traumas of motherwork, pregnancy and birth. We especially aim to make visible those topics related to (dis)abilities and other marginalized positionalities, relying on Patricia Hill Collins’ conceptualization of motherwork as mothering that is designed for the survival and success of the next generation in the context of oppression. We recognize traumas in multiple forms, originating before, during, and after pregnancy and birth and throughout motherhood, contextualized by the intersectional identities of those traumatized. We encourage presenters to unpack the sociocultural domain and the medicalized environment within which traumas often occur, embracing and analyzing meaning-making, as Barbara Katz Rothman and others would have us do, in the areas of maternal health and well-being.

We intend the conference to serve as a site of resistance as we reframe and reconstruct the landscape of embodied trauma within motherwork, pregnancy and birth and the ongoing labor of mothers and caregivers everywhere. We recognize the scale, variance, and duration of trauma and hope to support and empower those who most need it.

Topics of interest include but are not limited to:

Intersectional identities as the context of motherwork, pregnancy and birth traumas

Motherwork, pregnancy and birthing with (dis-)abilities, illness, and children with special needs

Biomedical and cultural discourses of motherwork, pregnancy, and birth, including issues related to marginalized identities, fertility treatment, gender, and intersex identities
Normative constructions of gender in motherwork, pregnancy and birthing

Child and maternal psychology interventions, alternative therapies, and results

Breastfeeding ambivalences, obstacles, and outcomes

Future wombs, including transplants, artificial constructions, cloning, and surrogacy

Art as healing and activism as visible resistance
Embodied resistance to socially constructed proscriptions and conventions about motherwork, pregnancy, and birth, especially as contextualized within marginalized positionalities

Narratives surrounding:

  • High-risk pregnancies, pregnancy-related illnesses, and birthing complications
  • Cesarean Section, Episiotomy and other Obstetric Violence
  • Stillbirths or Therapeutic Terminations
  • Pregnancy loss, Alternative Therapies, and Healing

Individuals conducting research, making art, working in hospital or alternative birth settings, and presentations by mothers, family members, and students as well as auto-ethnographic perspectives are welcome

All submissions for this conference should be considered for submission to the Journal of Mother Studies (JourMS), an academic, peer-reviewed journal devoted to Mother Studies. You may also submit for the conference only if you wish. Abstracts must include a title and 50-150 words for individual papers, panels, and other submission types (e.g. performance, media, music). Go to MOMmuseum.org and look for the “Conference Submissions” tab or submit a word doc. to info@MOMmuseum.org by Dec. 1

The international MOM Conference is an annual event that features research, scholarship, and creative collaboration in the area of Mother Studies. Each year, the academic committee organizes university experiences that are interdisciplinary and highlight scholarship in the area of reproductive justice, maternal health, feminist theory, gender studies, literature, and the arts. The conference is organized through the Museum Of Motherhood (M.O.M.) and has partnered with multiple institutions throughout the years (2005-present), including Manhattan College, USF Tampa, Marymount Manhattan College, Columbia, ProCreate Project, Mamapalooza, and ARM now renamed MIRCI to name a few.

DOWNLOAD_CFP_MOM_Con_2019_PDF

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Cooperative Residencies at M.O.M. Make a BIG Impact

Based on our successful and impactful residency opportunities at the MOM Art Annex in St. Petersburg, Florida, we are accepting applications for 2019.

Scholars, artists, poets, and International travelers are you looking for a supportive environment where you can make art and literature while researching and studying women, mothers, and families?

Our collaborative environment allows for ample private work-time with plenty of options to use our inspiring facility with exhibits on hand, while discovering beautiful St. Pete.

Some planned activities, but mostly make of it what you will!. This is a very low-rent/ donation based-system.

PLEASE CONTACT US FOR MORE INFORMATION: M. Joy Rose, Director: (207) 504-3001 or write: info@MOMmuseum.org