May is Mothers’ Month– and here we are once more – celebrating the art, science, and herstory of American women and mothers with international collaborations. While MoM situates itself as a museum primarily focused on the last 250 years of North American women, m/others and families, our internships, conferences, and online exhibitions span the gamut from the UK to Canada, from Europe to Asia.
Here we go: LET THE MAY COUNTDOWN BEGIN!
ONE: May 1st was supposed to be the conclusion of our fundraising initiatives for fund our 2024-25 season, yet we persist. The Fundraiser continues to meet our 2024-25 Budget of $100K.
We thank the Rays and Rowdies for their recent sponsorship and we thank our new Founders Circle members: Liz Dimmitt, Aleks Miziolek, Betty Schaub and our assorted friends who have also contributed donations to this “We Build Tampa Bay” fundraiser.
In the meantime, our newest art exhibit, includes a collaborative work entitled ‘A Womb of Our Own – Seeing Red‘. This sculpture is currently onsite at MoM and will see its completion on Wednesday, May 8th with additional pieces contributed by Jessica Caldas. The sculpture assemblage includes the vision of MoM curator Martha Joy Rose and contributions by Leroy – the King of Art. Visit us Wednesday 6-7:30 PM to PLAY and CELEBRATE the fab new vision! But, first make your pledge to MoM by using this form or by donating directly to Join our Founders Circle.
We are also collaborating with The Saint Petersburg Month of Photography (SPMOP) for the exhibition MOTHER LENS: Four Visions of Motherhood: Mikaela Martin, Jena Love, Águeda Sanfiz, and Angelika Kollin, present their reflections on motherhood with very distinctive voices that range from the visual personal journal, the photojournalistic essay, conceptual photography, and fine art portraiture. [More]
SPMOP Exhibit
Jessica Caldas Sculpture Rendering
TWO: MaMaPaLooZa is May 4th 10-4PM at The Factory in St. Pete in partnership with Fairgrounds St. Pete. Come to 2606 Fairfield Ave. S. Enjoy the day! FREE for the family with lots of activities, music, and discounted tix to the Fairgrounds. Full description on our page here.
THREE: 3 months is all we have at our current location at The Factory. Yes, that’s correct.May, June, July and then we begin looking for our next location. What does that mean? MoM’s going to need to make plans for where we pop up next. Have ideas? Want to help us make something happen? Get in touch. We need your input now. Join Us.
Summer Hours at MoM
Beginning immediately, our hours at The Factory May –July will be 12-6 Thursday-Sunday. If you are visiting locally or from out of town, make sure to book your tour in advance. We have a small volunteer team and sometimes may not be onsite if you have not pre-booked, however we do our best and you can always reach out! Call ahead 877-711-MOMS (6667) or write: INFO@MOMmuseum.org
Other Activities and Friends
The Mysteries About Manifestation Revealed from our friend Brett Cotter
New Program – Align Your Actions with Your Destiny
There is something almost all other manifestation programs miss; how do you break free from the subconscious beliefs that manifests all the stress and lack in our lives? Mantras and affirmations will not stick if your deeper core beliefs are not in alignment.
In this 4-Week Program you will be guided through 4 essential steps to manifest the life you want.
You will be guided to:
1. Identify your deepest desire and purpose
2. Release the old fear and programming you have around living your destiny now
3. Embody the new beliefs that automatically manifest the life you want
4. Align your time with your soul’s priorities
Facilitator: Brett Cotter, Author, Retreat Leader, and Trauma Recovery Expert with 20-years experience consciously working with the laws of manifestation. He teaches with his wife at the Omega Institute, Kripalu, Himalayan Institute, Tibet House, and Sivananda Ashram on Paradise Island.
Price: Early bird special $99 ends May 3rd, after that $199
Sunday, May 197:00 PM – 8:30 PM Online Motherhood: The Forever Job(FREE)– An evening of new writing by author and artist Suzi Banks Baum, followed by a discussion about the importance of writing motherhood with Joy Rose, award-winning artist, activist, and founder of the Museum of Motherhood. Participate in an Open Mic event for IWWG members and guests. Register Online.
Books
Matricentric feminism seeks to make motherhood the business of feminism by positioning mothers’ needs and concerns as the starting point for a theory and politic on and for the empowerment of women as mothers. Based on the conviction that mothering is a verb, it understands that becoming and being a mother is not limited to biological mothers or cisgender women but rather to anyone who does the work of mothering as a central part of their life. The Mother Wave, the first-ever book on the topic, compellingly explores how mothers need a matricentric mode of feminism organized from and for their particular identity and work as mothers, and because mothers remain disempowered despite sixty years of feminism. MoM Founder & Director, Martha Joy Rose has a chapter in this book. Order yours now.
The Museum of Motherhood, ProCrete Project, the Mom Egg Review present M.A.M.A. Our collaboration celebrates the intersection of art and words. Wherever we live, work, and play, the art of motherhood is made manifest. #JoinMAMA @ProcreateProj @MuseumOfMotherhood @MERliterary
ART
BIO: Jessica Caldas is a Puerto Rican American, Florida and Georgia based, artist, advocate, and activist. She completed a residency at MoM onsite in 2022. Her work connects personal and community narratives to larger themes and social issues. Caldas has participated in numerous emerging artist residencies, including the Atlanta Printmakers Studio in 2011, MINT Gallery’s Leap Year Program from 2012-2013, The Creatives Project form 2018-2019, Vermont Studio Center in 2020, and was the Art on the Atlanta Beltline AIR in 2020-2021. Caldas was awarded The Center for Civic Innovations 2016 Creative Impact award, named Creative Loafing’s Best of ATL Artist for 2016 and 2015, received the City of Atlanta Office of Cultural Affairs Emerging Artist Award in Visual Arts for 2014, and was a finalist for the Forward Arts Foundation’s Emerging Artist Award in 2014. Her work has been featured at Burnaway, ArtsAtl, Creative Loafing Atlanta, Atlanta Magazine, Simply Buckhead, and more. Her work has been shown at the High Museum of Art in Atlanta, GA and is included in the collections of Kilpatrick Townsend, The City of Atlanta Office of Cultural Affairs, and the Kyoto International Community House.
In her advocacy work, Caldas has spent time lobbying for policy at the local level in Georgia and spent time with the YWCA Georgia Women’s Policy Institute at the 2016 general assembly to assure the passage of the Rape Kit Bill and in 2016 to stop HB 51 in 2017, a bill that would have harmed the safety of sexual assault survivors on college campuses.
Caldas received her Masters of Fine Arts degree at Georgia State University in 2019 and received her BFA in printmaking from the University of Georgia in 2012. She currently runs Good News Arts, a small community arts space and gallery in rural North Central Florida.
Statement
My work is driven by personal experience and its connection to contemporary and historical issues. Overall, my work addresses the complexities and intricacies of care and identity in our current culture. I seek to make challenging experiences accessible to those without the same somatic knowledge while still engaging in conversation and confrontation. In my practice, I incorporate layered, labor intensive drawings, collage, sculpture, performance, et al, into fully realized mixed media works and immersive installations. Within my work, the viewer is met with bodily experiences that mirror the complexities of the stories I share, with a focus on shared knowledge, awareness, empathy, and change.
My recent work is mostly divided in two ways: 1. Focus on the daily lived experiences of women; their triumphs, their struggles, and everything in between in several bodies of work which reflects on the complicated spaces, both personal and public, that women inhabit and move through. 2. Exploration of the complexities of identity where family history, cultural and social influence, politicization, and personal desire are both at odds and overlapping. In this exploration identity becomes a fact-based excavation of personal history alongside a kind of fictional mythological world building.
My artistic process has become a slow one. Where once I worked quickly, and almost frantically, I have learned in the years since completing my graduate work that a slower, more methodical approach serves me and my work much more completely than the ways I used to create. I spend an inordinate amount of time, months and sometimes longer, reading, writing, and researching ideas, stories, and concepts that inform the work I am creating. I probably spend more time thinking about the work I will make than actually producing it, because by the time I have gotten to the point of making, I have a lot of knowledge about where I am going and what I want from the work. This is not to say that I create without reacting to what is happening, because that is another important part of my practice. Much of my production is also organic and reactionary as well. I like the ability to respond to change, materials, problems, and other things that happen in the studio as they happen, rather than strictly adhering to a plan. I find that flexibility has produced far better work than rigidity ever does. It is more real and more realistic.
As for my journey, I am one of those fortunate people who have been creating my whole life. I was privileged enough to be surrounded by art from a young age, and to be surrounded by people who took art seriously and supported my desire to practice art professionally. So going to school for art was never an issue.
Dayna Patterson is the author of Titania in Yellow (Porkbelly Press, 2019) and If Mother Braids a Waterfall (Signature Books, 2020). Her creative work has appeared recently in Duende, EcoTheo, and Gulf Coast. She is the founding editor-in-chief of Psaltery & Lyre and a co-editor of Dove Song: Heavenly Mother in Mormon Poetry. She was a co-winner of the 2019 #DignityNotDetention Poetry Prize judged by Ilya Kaminsky. daynapatterson.com
We are excited to announce our newest Guest Artist, Jessica Caldas. During her guest artist residency, Jessica will expand on her research and writing dedicated to exploring her matriarchal line.
Continue reading to find out more about Jessica and their journey.
What do you hope to accomplish during your residency? Much of my time right now is devoted to others and work outside of my studio: I have a small child and family, a part-time telecommuting day job (although a very flexible and supportive one), and run a volunteer nonprofit arts organization in my community with robust programming. I love these things, and they are all important to my happiness and, ultimately, my practice as an artist, but so is my studio, and I am not always able to dedicate the time I would like to my studio. At my MoM residency, more than anything, I look forward to returning to a rhythm that is me and making centered because even a brief two weeks of this kind of time is invaluable to me (and I think most artists). As far as the work goes, I have been slowly, very slowly, building up a body of research and work about Puerto Rico and American social and political history and how my family’s story fits into that history. In the past year, I have finally begun multidisciplinary experiments in tangent with this writing and research. I will continue those experiments and hope to create a few more formal works within the overall body. I am especially interested in visually exploring my family’s matriarchal line, as there is an abundance of incredible women characters in my family’s story.
How would you describe the connection or relevance of motherhood to your art or approach to creating?
In the context of this work specifically: I am myself a mother figuring out the best way to pass down my Puerto Rican heritage to my daughter. For me, it is a source of anxiety, pride, and complicated feelings that are not easy to describe. It’s also a joke. How can this sorta-Rican (me) teach anything to my quarter-Rican (my daughter). The matriarchal line of history that I have access to is more limited as the writings and research I am conducting are predicated on my Grandfather’s memoirs, so the work here is more abstract, more imagined. I think, like motherhood and child-rearing, this feels appropriate because nothing can prepare you for the reality of children – it is an act of faith, creativity, imagination, and world-building, no matter how well or poorly you do it.
What message would you send to other artists in this field?
When I first became a mother, I resisted the identity in a huge way. I was in graduate school, and I was convinced I could carry on in my life as I always had, with no differences, just with a child in tow. This is untrue, and it’s not that you can’t do this, and I watch with interest other artist mothers I know keep their art and family lives so separate and so distinct. But it’s not for me, and I don’t think it is for everyone, even if everyone is capable of it. For me, becoming a mother meant learning that I had to care for myself. This was a thing I had never done particularly well, but you quickly (hopefully) learn that there is very little you can do for your child if you are not well fed and slept, if your heart or soul is broken or hurting. That being said, I also learned that for me personally, I had to maintain my own identity as an individual as well as grow and develop my identity as a mother and how these two people were the same and different, how they could work together, and how that could create space for new things, new work, now joy, and new care. I’m not always good at it, and like any mother, I am often at war with myself over the ways I choose to balance my time. But I have learned slowness, care, and comfort in all the ways that I am as an artist and in my studio, things I did not necessarily allow myself before motherhood.
About Jessica Caldas
Jessica Caldas is a Puerto Rican American, Florida, and Georgia-based artist, advocate, and activist. Her work connects personal and community narratives to larger themes and social issues. Caldas has participated in numerous emerging artist residencies, including the Atlanta Printmakers Studio in 2011, MINT Gallery’s Leap Year Program from 2012-2013, The Creatives Project from 2018 to 2019, Vermont Studio Center in 2020, and was the Art on the Atlanta Beltline AIR in 2020-2021. Caldas was awarded The Center for Civic Innovations 2016 Creative Impact award, named Creative Loafing’s Best of ATL Artist for 2016 and 2015, received the City of Atlanta Office of Cultural Affairs Emerging Artist Award in Visual Arts for 2014, and was a finalist for the Forward Arts Foundation’s Emerging Artist Award in 2014. Her work has been featured at Burnaway, ArtsAtl, Creative Loafing Atlanta, Atlanta Magazine, Simply Buckhead, and more. Her work has been shown at the High Museum of Art in Atlanta, GA, and is included in the collections of Kilpatrick Townsend, The City of Atlanta Office of Cultural Affairs, and the Kyoto International Community House. Her work is currently on view at the Art & History Museum of Maitland in her first museum solo exhibition, CORPUS DELICTI.
In her advocacy work, Caldas has spent time lobbying for policy at the local level in Georgia and spent time with the YWCA Georgia Women’s Policy Institute at the 2016 general assembly to assure the passage of the Rape Kit Bill and in 2016 to stop HB 51 in 2017, a bill that would have harmed the safety of sexual assault survivors on college campuses.
Caldas received her Master of Fine Arts degree at Georgia State University in 2019 and received her BFA in printmaking from the University of Georgia in 2012. She currently runs Good News Arts, a small community arts space and gallery in rural North Central Florida.
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.”
