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MoM Welcomes Guest Artist Tara Blackwell

We are excited to announce our newest Guest Artist, Tara Blackwell. Tara is a mixed media pop artist leveraging the tension between fun and social commentary in her artwork.

Continue reading to find out more about Tara and her journey.

I am a mixed media pop artist living and working in Connecticut. In my work, I play with bold colors, layers, and texture, often incorporating nostalgic pop culture to explore contemporary social issues. At a glance, my paintings depict a childlike innocence, but there is usually underlying social commentary. While I have fun exploring imagery from my childhood, at the same time, I am delving into insecurities that go way back to being an awkward girl in middle school – that “picked last in gym class” feeling. My “Saturday Morning” series is all about resiliency and perseverance. Remember digging in the cereal box as a kid to find that prize? These little characters are symbolically shown in positions of independence, strength, and success. The process of creating this work has personally helped me to conjure up my own inner strength and to envision my “prize” within my reach.

In the Summer of 2020, like many of us, my daughter (Lila) and I spent a lot of time together indoors due to the pandemic. Lila was 12 and in her first year of middle school at a new school and navigating the typical challenges that I remember all too well from that age. But the isolation and fear of getting sick was an unexpected turn. Then—we saw the horrific murder of George Floyd; Another brutal killing (at the hands of the police) of a human being who looks like us. Black Lives Matter protests erupted stronger and louder than ever and living downtown in a major city, we could just step outside and be part of the movement. Together, Lila and I began to pour our feelings into our art.

I was still working on my Saturday Morning series when Lila suggested the use of Powerpuff Girls, a cartoon linked to her generation, not mine. I had been focusing on my own childhood memories in this work, but when I started exploring Lila’s suggested reference, my focus shifted to her experience at that moment. As a mother, I not only thought about how I could protect her but how could I help her to discover her own voice and inner strength. My Saturday Morning series shifted direction and I tapped into my fierceness as a mother– as a Black mother of a Black girl. The Powerpuff Girl painting became the piece titled “Justice Now.” I consider that piece to be the beginning of a powerful collaboration between me and Lila.

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.”

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A (Belated) International Women’s Day Reflection

The Dinner Party

Happy belated International Women’s Day! Wanting to do something different to honor the occasion, I decided to take a page out of my own book and make a trip out to the Brooklyn Museum yesterday to see Judy Chicago’s iconic piece of feminist art, The Dinner Party. (Note: my previous post erroneously listed this installation as a special exhibit currently on display at the museum. Judy Chicago’s Dinner Party is actually owned by the Brooklyn Museum, a gift acquired and donated to the museum by Elizabeth Sackler, who also happens to be the benefactor of the museum’s Elizabeth A. Sackler Center for Feminist Art. Visitors of the museum can check out The Dinner Party any time in the Elizabeth A. Sackler Center for Feminist Art).

I arrived to the museum just in time to catch a late Sunday afternoon tour of the exhibit offered by one of the museum guides. And I’m glad I did – there is as much detail/purpose/intention in the historical and cultural detail of the piece as there is in the craftsmanship of every place setting…or should I say craftswomanship? Because that is (part) of what it is – a piece that honors the contribution of the women artists that historically created intricate china patterns, elaborate weaving designs, and detailed pottery molds. The guide explained that The Dinner Party was, and as it is currently, assembled in a triangle shape, an homage to the vulva and feminine. Each of the three sides of the triangle represent a time period – prehistory-Roman Empire, beginnings of Christianity-Reformation, and finally, American Revolution to second wave feminism.

As we rounded the corner to the second face of the triangle, the guide remarked that most of the women honored there were either nobility or nuns. She asked why we thought that might be. Most of us assumed the first two of the three-part answer: because history was a record of the powerful/wealthy/victorious/ruling class, and because these women were educated. The third part did not come so readily to mind for me. Our guide informed us that furthermore, these classes of women did not bear the sole responsibility of raising children. Noble women had a team of nurses and servants to help rear their children, while nuns did not procreate at all. So these women had more freedom, luxury, and educational capital to participate politically and socially in their milieu.

As the tour drew to a close and I considered the piece one last time, I had to wonder: how much of women’s history went unrecorded because it happened to lay women in the lower social strata, but also, what discoveries, manifestos, and leadership went unnoticed, unwritten, or unfulfilled because women’s labor has been so historically undermined? I bet that Judy Chicago would say that just my imagining these questions would make her work a success.

Written by: Jenny Nigro, MoM online intern