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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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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Visit M.O.M. Today [CLICK]

VISIT MOM: Eight months after re-opening the Museum of Motherhood in St. Petersburg, Florida, the M.O.M. Art Annex has enjoyed visitors from all over the country. To schedule a visit write us: info@MOMmuseum.org. See just a few of our visitors here:

CONFERENCE: Our first “I ❤ MOM” Conference” titled Mothering from the Margins was a truly inspiring two-day event with a packed house that took place during Valentines’ week in February. We are in the process of editing and uploading content from the conference to the Journal of Mother Studies (JourMS), as well as crafting next year’s CFP.
COMMUNITY: The local Historic Kenwood Artist Enclave has been busy organizing of community events, including the Arts Walk last March. Their new enclave motto “where art lives” is particularly salient considering we really do live and work at the museum.

RESIDENCIES: Thus far, M.O.M. has hosted three residencies. In January, artist and activist, Christen Clifford arrived as our first guest and spent two weeks editing her latest work. She returned again in July. Also, we saw the first summer Spirited Woman Residency with Dawn Louise Parker who has been hard at work on her manuscript titled Forty-Seven Days of Love. Dawn continues to manage the M.O.M. space while editing her manuscript and we are grateful for her participation. In October, we will welcome Hannah Brockbank who will be joining us for a two week residency. Hannah is a poet hailing from Sussex, England. Her pamphlet Bloodlines will be published by Indigo Dreams in 2017 and she is a Kate Bett’s Award winner (2016). Hannah is a PhD student and will be utilizing the Demeter Library onsite among other things. Read more about our residencies here [LINK]

INTERNSHIPS: We currently have several calls out to local college students for internships for the fall of 2017. Our high school intern, Andres’ has been with us since the spring and is a St. Pete High School senior. He is hard at work cataloging our library and creating a new student exhibit for the fall.

ONLINE: In July of 2017, according to our google report 4,239 conducted searches and found us online. We are happy and proud that people are thinking about us. We hope that we can continue to expand in our new location. If you have ideas or want to get on board, please write Museum Director: Martha Joy Rose at MarthaJoyRose@gmail.com Introduction to Mother Studies classes will re-launch with a new partnership sometime within the next six months – stay tuned.

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M. Joy Rose to Speak at London Event

JUNE 3- 9:30am-5pm: Royal College of Arts.

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