MOM Art Annex: Exhibition & Education Center

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MAMA 31: Mother’s Diary, Mothertime ‘Let Down’ & MOM EGG Review Reading in NYC [LINK]

Marketa Senkyrik
mother’s diary (for Kaya)
2017-2018
hand-bound diary / drawings – fine-liner, watercolour crayons, crayons

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My mum has plenty of photo albums – one from each holiday, one from each Christmas… When I am visiting my parents, we often look at the photos together.
I like to draw diaries. They are a bit like photo albums – they bring back memories.
This is a very special one.
It’s for Kaya.
To remind her how it was when she was growing inside me, passing through my body to this world and living as one with me in the very beginning of life
(as those things usually get forgotten with time).
About the artist:
Czech born and a world citizen, living and working in London since 2013. Marketa studied book-design in Ostrava in the Czech Republic and fine arts in Clermont-Ferrand in France before she moved to London and started to work as a bookbinder. She is currently enjoying some time off with her daughter, co-runs an independent non-profit gallery 139artspace and is developing her own and collaborative artistic projects.

_

Robin Silbergleid

From ‘Mother Time’: Let Down in The Mom Egg Review

All these dark days and white nights, every two hours, the milk lets down. She feels the rhythm in her breasts: suck, suck, swallow. Sometimes it comes too fast, pools the side of his mouth, collects in the fat folds of his chin. Sometimes he falls asleep there, with the nipple in his mouth.

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A diaper change. An attempt at a nap. At the hospital they said to record it all. Left breast, right breast, urine output, stool. 5 ml pumped milk offered via silver spoon. He’s so small, fetal with wrinkled skin, he can’t stay awake; she rubs an ice cube against his foot. He wakes cold, angry: sucks.

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When babies are this small it is possible to weigh them before and after a feed and know precisely how much milk they have taken in. They weigh him at the hospital daily and then twenty-four hours later, then forty-eight, then wait a whole week. When she brings him home, he is four pounds eight ounces, his wrist the size of her thumb. He looks like a doll in his car seat; even the preemie clothes don’t fit.

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In the news, she reads that a baby died of dehydration because the mother didn’t know she wasn’t supplying enough milk; she said she fed her child around the clock and he screamed when taken from the breast.

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In this never-ending now, the mother puts the baby to her breast. He sucks, swallows. The present is a mouthful of milk. In his belly, proteins break down to digest. Nutrients travel his blood stream: calcium, DHA, Vitamin D. Their bodies share time and space, linked by mother’s milk the way they were once linked by the placenta. Infants who are breastfed adjust their body temperature and heart rate according to their mothers’. Their body clocks sync: mother time. Her body thins while he grows.

+
Another check mark on the log: wet diaper, dirty diaper, feed. +

If the baby sleeps: dishes. If the baby sleeps: diapers. If the baby sleeps: email. If the baby sleeps: blog post. If the baby sleeps: bathtub. If the baby sleeps: laundry. If the baby refuses: rock him. If the baby refuses: swaddle him, swing him, snuggle him. If the baby refuses: try the crib, the car seat, the bed with you beside him. Give him a new diaper. Give him your left breast. Give him your right. Count the hours. Count the hours. Count the hours.

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If there are 60 minutes in an hour and 168 hours in a week, 52 weeks in a year, how many minutes of infancy, of toddlerhood? How many spent in the rocking chair, or pacing with a baby strapped to the chest, how many in the pediatrician’s waiting room, washing the spare parts of a breast pump, the innards of baby bottles? How many on the basic tasks of feeding, diapering, bathing? How many getting to and from, pushing a stroller up a hill? She’s walked when she needed to drink, walked when she needed to pee. Her legs and arms are spindly. Somehow, minutes pass; somehow, she has become mother. Her breasts swell and spurt; she feels the milk let down as the baby wakes, hungry.

Robin Silbergleid is the author of Texas Girl and The Baby Book. When she’s not teaching or writing, you might find her puttering in her kitchen; her kids eat a lot of banana muffins.

SPECIAL MOM EGG REVIEW READING ON JUNE 2nd in New York!

Sixteen Already?

We’re excited to be celebrating our 16th year of publication with a reading at Poets House featuring contributors to MER Vol. 16: Mothers Work/ Mothers Play. We couldn’t have gotten to this point without the support of many people. Thank you to our editors, editorial readers, volunteers and contributors for helping us publish the finest writing about motherhood. Especially, thank you to you, our readers! We wouldn’t be here without your support. We hope to continue presenting fine work for years to come.

We’d love it if you were able to come and celebrate with us on June 2nd. Ticket link is here.

Looking forward to a fabulous event!

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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M.A.M.A. Weaving the Past with the Present: Saskia Saunders & Martha Joy Rose

About the Artist:

Saskia Saunders creates minimal constructed artworks, from domestic materials such as parchment paper, string and household linens. These are sensitively woven, wrapped and manipulated, highlighting their simple, functional aesthetic and inherent tactile qualities.

Saunders’ work is strongly linked to a sense of place, the home. Her art is an invitation to experience a calm pause, a moment of contemplation in a world of clutter and noise.

From her travels in Japan, she is inspired by the concepts of negative space (Ma) and embracing imperfections (Wabi-sabi). Creating space in each piece for the mind to focus, notice details and the light between.

Training as a weaver at the University of Brighton has greatly influenced Saunders. The boundaries of art and craft blur as she redefines an ancient craft in contemporary art.

In 2017 Saunders exhibited in London: Leftovers, 198 Gallery and A sense of place, Oxo Gallery, New York: Et tu Arte Brute, Andrew Edlin Gallery and completed a residency in

Buckinghamshire: Evolve, Artist Residency in Motherhood. Saunders is currently working with Four Dots Dubai Art Consultancy. Saunders achieved a First Class degree Woven Textiles at the University of Brighton and has worked with woven textile design companies and social enterprises in New York, China and Cambodia.

 

 

Wither the Leaf

By Martha Joy Rose

Published in the Mom Egg Review Volume 16 April, 2018

They sat together by the pool under the Tuscan sky. One was a fading beauty, the other in the bloom of youth. All eyes were on the youthful one, chatty and charming, while the older woman suffered unaccountable bouts of sadness accompanied by tears.

“Cluck, cluck” her friends fussed. But, there was nothing to do. It was just time wafting in the wind, turning the pages, spinning the wheel. They made jokes and told stories, but the woman hummed softly to herself testing the Italian language. The strange low, slow sounds were a vocal affirmation, a commitment to presence. A moan.

Her daughter, who was approaching the age of twenty-three, tossed her long hair about and dove into the pool where the stone foundations of the fifteenth century house met with the terraced descent of fresh lavender and ancient rock. She was a sleek mermaid, splaying her arms above her head and frolicking. Everything about her tingled and shivered. She was buoyant and light. She played while her mother professed a headache and climbed the long stairs to her room where she was overtaken by a bout of melancholia.

The trip from America to Italy, which had been years in the making, was twofold. The woman’s daughter had recently graduated college. This was a celebratory adventure. The fact that they were staying with the woman’s friend, who had been her lover forty years before when the two of them were in college, was a footnote. Each had married someone else but kept a commitment to remain friends.

While everyone flirted and chatted in the company of weekend guests she wondered where all the time had gone and how little of it she had left. She reflected on her youth, her passions and then how she had become a mother. She recalled the labor of childhood when each was the center of the other’s world. She thought how all her children were grown now, and stared vacantly into the horizon. These thoughts caused her to languish while everyone else drank Campari, toasting the future. She could not help but compare her age to the younger ones among them. She felt spent and exhausted, like every experience had already happened and there was no reason to bother with anything new. The sun did not agree with her and neither did the food. She was pale and bloated, rubbing her swollen ankles by the side of her bed while the others soaked up the afternoon sun. She could hear them laughing and she was jealous.

Falling into a long sleep, she awoke and observed the fading afternoon light turning shades of pink across the distant mountains. She could hear movement in the rest of the house on the floors below and began to dress for another arduous dinner where she would drink more than her share of prosecco before passing out into another dull sleep.

           That night they drove to Cortona. After collecting cashmere and leather, they ordered appertivos and toasted their spoils. This was how their time together unfolded, day after day until a week had passed. Then, on one of their trips, the woman caught sight of a tiny shop on the main square in the hilltop village. The store was etched into a cave and was owned by a man whose father and grandfather, were also jewelers. In the window, a beautiful handmade necklace of heavy silver with a gold coin gleamed against a dark velvet display. While the others in her group argued over the quality of leather in the dark bowels of a biker shop she slipped away to try on the necklace. The kindly clerk fussed over the woman describing the style of craftsmanship, it’s age and the story of the coin of Cortona. This was the way she usually fawned over her daughter and the lavished attention felt good.

           She stood looking at herself in the mirror and thanked the girls. Then, she plunked down one hundred and ninety euros for the chain and seventy-seven for the coin. After, the woman stood on the corner holding the coin in her hand. She felt elegant and proud. Her daughter, who was usually loving and attentive was cross on this night and did not approach her as the others waved towards the restaurant where they had planned to meet.

Another dinner of too much wine and heavy meats meant she did not sleep well. This was often the case. She awoke at four A.M. A mixture of emotions lay just below the surface when the time came to say goodbye. They said farewell to her friend’s wife. Goodbye to the large, vertical empty green mountain just beyond the villa’s border. Goodbye to the wild wet fountain, the trees, and the bay leaves. Then, she said goodbye to her friend of forty years, kissing him lightly on the lips. In that moment, they lingered long enough for all the sweetness to come flooding back, transporting her to the place where time stands still– eternally. Taking her daughter’s hand, she bade them hurry so they would not miss their train._

Message from the author: As I share this story with you, the seasons turn from winter, to spring, and soon again to summer. We begin planting now for the productive months to come. This past week, I celebrated my sixty-first birthday. This time has been filled with a sense of vulnerability and awe. It amazes me that I have continued to thrive, even as a LUPUS survivor and renal transplant recipient.  Eighteen years ago, my beautiful girlfriend, Pam Van Hoesen donated her kidney in an act, which literally saved my life. This has allowed me to be here today, writing these words to you. I am blessed with the ability to prioritize time with my family, share love with my friends, as well as to continue the labor of collecting and disseminating knowledge and information about mothers and motherhood at the MOM Art Annex in Florida. I live every day in gratitude, even as a marvel at my body changing through the years. This looks to be an exciting time both personally and professionally. If you are looking for an opportunity for quiet contemplation away from your usual grind and are a scholar, writer, or artist working on material related to women, mothers, or families, please consider applying for a residency opportunity at the Museum of Motherhood in St. Pete. I would love to support your work. [Link]

Bio: Martha Joy Rose is a musician, community organizer, and museum founder. Her work has been published across blogs and academic journals and she has performed with her band Housewives On Prozac on Good Morning America, CNN, and the Oakland Art & Soul Festival to name a few. She is the NOW-NYC recipient of the Susan B. Anthony Award, her Mamapalooza Festival Series has been recognized as “Best in Girl-Power Events” in New York, and her music has appeared on the Billboard Top 100 Dance Charts. She founded the Museum of Motherhood in 2003, created the Motherhood Foundation 501c3 non-profit in 2005, saw it flourish in NYC from 2011-2014, and then pop up at several academic institutions. Her current live/work space in Kenwood St. Petersburg, Florida is devoted to the exploration of mother-labor as performance art. Recent publications include the edited collection, Music of Motherhood with Demeter Press (2018). Exhibitions include the St. Pete Artist Tour (2017, 2018),  M.A.M.A. in collaboration with Procreate Project and The Mom Egg; a monthly digital expression (2016-ongoing), and the “Ima Iyla’a: Art of Motherhood” as part of the 2015 Jerusalem Biennale exhibit.

MarthaJoyRose.com/ Twitter @MarthaJoyRose /Instagram @MarthaJoyRose /Facebook @MarthaJoyRose

Mom Egg Review: Volume 16 Launches in April:

MOTHERS WORK/MOTHERS PLAY in this issue.

Print – Contributors’ Special Rates     1-4 copies – $12 ea.  5+ copies – $10 ea. (plus shipping). Order online or use the order form attached to order by mail.  Note: Contributors’ Rates are for copies ordered by you, which may be sent to yourself or to others.

Friends and Family –Please feel free to announce your participation in the issue to colleagues, fans, friends and family.  MER Community Rate (friends and family) Print – $15 (reg.  $18)  (plus shipping). Enter code COMMUNITY for a discounted rate.

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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M.A.M.A. Left Overs – no more with Rajaa Paixão and Oz with Gwen North Reiss

Statement:

Rajaa Paixão’s art practice tackles a conceptual and multidisciplinary approach, mainly encompassing sculpture and painting, turned into assemblages.

Having an overly dreamy and idealist nature, her thoughts tend to be too erratic and therefore overlapping, resulting in the abstraction and blurry perception of events, contrasted with the urge to reorder physical objects neatly, and naturally, the need to examine divergent themes.

Rajaa’s work process resembles a reverse visual digression, exploring the limits of her memory and imagination, and sharpening indistinct feelings through a dissected analysis of the subject; with the purpose of demystifying the complexity of an event and minimalising thematic narratives by stripping it to its essentials.

The choice of unconventional and diverse materials results from the study of the topic and the inspiration behind it. The role of a base/structure to hold or present the work is as essential to her as the artwork itself; and she only feels that the work is finished when both elements merge into one sculpture, with a clear correlation between all the displayed pieces.

“Becoming a mother was a massive challenge to reconcile my art process with my new status and responsibilities, and reintegrate creation in my daily life. It also changed the way I look at life and respond to change, something I’m happy to embrace and translate in my future work. I am currently exploring safe materials further, and implementing new techniques, which will allow me to maintain my practice in the presence of my son.”

Selected Projects:

– Left Overs no more

The body of work consists of an installation of 3 pieces encompassing painting (at times using one hand while holding a baby or rocking a pram with the other), and sculpture, using contrasted materials and techniques to create organic and industrial shapes.

Bringing together unfinished works and what seems to be an eternal work in progress, the artworks respond to the theme of Sanity and Motherhood, or what’s left of it.

The result involves a long process of what resembles an artistic therapy, in an attempt to extrude trapped emotions on canvas, morphing unconscious thoughts into a colourful interpretation, repetitive and identical gestures; assembled to create inner order, achieved in short saccadic intervals of interrupted time.

Echoing a prolonged chaotic mental and physical metamorphosis, the pieces reach a state of being almost finished, on the verge of being made sense of, figured out, endorsed; only to be soon hit by a triggered, sudden and uncontrollable wave of irrational fear backed with fury, spreading “like” fire, consuming every bit of vulnerable order recently restored.

The end result betrays an illusory freedom being brutally stripped off, the lie of being a separate and defined entity, provoking a loss of control and irreversible frustration, transferred onto the work.

What seems to be a hanging promise of accomplishment, just like the postpartum body and mind, displays signs of visible damages and cracks, hinting to the extent of the invisible ones.

In the end, each imperfect left over from an unfinished work manages to find balance and a purpose in filling a supporting role in the birth of a new coherent and complete entity.

– Berlin 78 Days Backwards

3 pieces tackling an impossible hypothetical yet actual attempt of a trip, using the power of physics and surrounding forces such as black holes, time and the speed of light.

A story about missing an art trip to Berlin, and deciding to travel virtually. The work result consists of a time machine (with hints to a torture tool from all the waiting and stressing), light and sand incubators, ‘theoretically’ meant to catch the light through a mirror and make the sand level rise, allowing the powers of physics to do their magic, and a black hole sound piece with a distorted recording of the unlimited calls made to the German Embassy.

M.A.M.A. 28

More about Rajaa:

Rajaa took part in several group exhibitions across England, and was an artist-in-residence at They Eat Culture in Preston, UK, in addition to attending evening classes, Psychoanalysis after Freud, at the Freud Museum, London. She studied a Master of Arts with emphasis on European Art Practice at Kingston School of Art, London, and has received 4 years tuition in Neoclassical Sculpture.

Instagram @rajaapaixao

OZ

By Gwen North Reiss

Like Dorothy you imagine
that someone will give you,
will have the power to
grant, I think was the word,
what you most want,
one thing that was so clear
when you started out
before you met all of these others,
before the dog met all of these others
who also searched for one thing.
You know the list, a heart,
courage, a nervous system etc.,
a way to get back to Point A.
The shoes were key—
the ones worn for a while
by an evil one and now irreversibly
yours because of the violent way you came
into this world, with feet,
fully formed. You were a bit rumpled,
and so serious, staring—
What an entrance! —
while others giggled and cooed
and asked who must you be.
You knew all along, but you had
to tell them in so many words,
reminding them at every turn
when you started walking,
when you reached the city,
and discovered the truth
about the great one.
By then they knew you well
enough to help you explain.
And you knew what they wanted
and knew what you would miss
about each one of them
when you left—or got back
whichever it was.
The day wishes were handed out like prizes
the great and powerful disappeared
in an instant, waving and yelling97

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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M.A.M.A. – The Riddle, The Interior Vacation, and the Mother House [LINK]

The Riddle (2017)

This stop-motion animation, made from collaged monoprints

The work focusses on the loss of self-identity in early motherhood. What is left of a person’s personality once the numerous responsibilities and anxieties are taken on.

Anna Fennel Hughes is a freelance artist creating monoprints that are often used to form illustrations, animations and textiles. She works from her small printmaking studio in northern Italy, but studied and graduated with first class honours from Duncan of Jordanstone, Scotland.

POETRY WITH THE MOM EGG REVIEW
Elise Gregory
The interior vacation
 
can’t be taken with small ones.
Times are set for such things: bed,
naps, or best “quiet time.”
Before dredging internal lakes,
the child must be watered and set out
or fought into bed.
Moms must wonder if
a brick wall may be more swift—
a long-term vacation.
Though a concussion makes for poor
interiors, chances are your mate
feeds the babes while you sleep
for a month.
I’ve wondered where all the titles,
and two-cent words have gone.
Say I was given a weekend with hiking
boots and head lamp. Perhaps I could find
my misbegotten learning.
The problem remains: I have no
maps and little training—the trail littered
with roots and misplaced anger.
Maybe rethink the bikini….
Slip in the revolver. Call what my mind game is—
an internal bear hunt.
Elise Gregory tends gardens, sheep, goats, chickens, three human children, and one spouse. Her poems have appeared in StoneboatRock & Sling, Sweet: A Literary ConfectionCider Press ReviewWomen Arts Quarterly and elsewhere. Her second chapbook is forthcoming from dancing girl press. All We Can Hold: Poems of Motherhood, which she co-edited with Emily Gwinn was published by Sage Hill Press in 2016. www.allwecanhold.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

Announcing the Mother House Opening in England

 

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MAMA Issue n. 18 with Alex March – Exploring Womanhood [Link]

Artist: Alex March

My work changed focus after the birth of my daughter nearly two years ago, these works are all recent and deal with my concerns about womanhood.

“I am a London based artist originally from the North of England working with drawing, photography, painting and film to produce works which explore memory, representation and identity. Laborious analogue and hand techniques are combined with digital technology to explore the object/image relationships of domestic archives and ephemera.”

Recent works have explored nostalgia and romance as vehicles for interrogating feminine tropes. A current obsession with Hollywood’s golden age was provoked by the process of making my short film Torture The Women (The China Cupid) 2013/14, composed of a series of scenes taken from Hollywood screen tests for Alfred Hitchcock’s Rebecca. These scenes are digitally re-drawn and re-animated, the text edited and spliced to explore the cultural and literary manipulations of woman as romantic object. The phrase ‘torture the women’ was used by Hitchcock when asked for his advice on how to make a thrilling movie; the film seeks to take and yet subvert his advice, using repetition and digital manipulation to isolate the actress and draw attention to the peculiarities of the script and by extension Du Maurier’s novel and the whole genre.

IMAGE: ‘Bonne fête Basket Case’ postcard series, 2015, collage & gouache on postcard
Video Link: http://alexmarchartist.tumblr.com/post/114483500370/a-short-clip-from-torture-the-women

mama issue 18

Artist’s biography

Alex March is a London based artist originally from the North of England working with drawing, film, photography and painting to produce works which explore memory, representation and identity. March uses processes of editing, obscuring or physically removing areas of detail. This draws attention to the audience’ ability to empathise with the clichéd impulse to relive remembered moments and embrace notions of identity derived from personal objects, particularly photography. Laborious analogue and hand techniques are combined with digital technology to explore the object/image relationships of domestic archives, re-valuing personal items of ‘junk’ from the past to the status of artwork.

She is a founder member and director of ArtLacuna Space, an artist-led studio, project and gallery space in Clapham Junction, London. Open since May 2013, the space has hosted screenings, a mini-film festival,group exhibitions, talks, performances, experimental art projects, artist solo projects, workshops and much more. ArtLacuna has also devised a publication series, an online arts research platform and is home to nine working artists.

She graduated from Wimbledon College of Art in 2011 with a Masters in Fine Art. She featured in the Catlin Guide 2012, a guide to the 40 most promising UK graduates. She was shortlisted for the Jealous Graduate Print Prize 2011 and the Future Map 11 Prize. Previously she gained her BA in Visual Arts from the University of Buckinghamshire and studied Theatre Design at Wimbledon College of Art.

MAMA 18

See issue n. 18 online with Alex March at ProCreate Project [LINK]: http://www.procreateproject.com/m-a-m-a-issue-n-18-alex-march/

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 aboutupdated initiatives. #JoinMAMA  @ProcreateProj  @MOMmuseum @TheMomEgg @TheMotherMag

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Celebrating the Anniversary of M.A.M.A. ~ Mothers Are Making Art [CLICK]

Here at M.A.M.A. we have been pregnant with possibilities all year long. In fact, we’re celebrating the anniversary of our collaboration this month. Read all about exciting changes at M.O.M. in our June Newsletter here [LINK].

WHO: The ProCreate Project, the Museum of Motherhood and the Mom Egg Review are partnering with the MOTHER MAGAZINE for quarterly publications, along with for bi-monthly on-line presentations featuring M.A.M.A. – Mothers are Making Art. CLICK
@ProcreateProj   @MOMmuseum   @TheMomEgg  @TheMotherMag

One_Year

SONOGRAM
by Susan Vespoli

When my daughter was a toddler
she stroked my cheek like it was the silk
edge of a blanket and pressed
the nipple-ends of soft balloons
into the plastic mouths of dolls

and when she grew breasts
boys flocked around her
like birds to our backyard
come to pluck seeds
from the center of a sunflower

and then her hands gained skill
to text friends, flick cigarettes
from the back porch, play Bad Fish
on guitar strings, and flip her middle
finger into the air like a slim bomb

until it finally folded back up, resting
in the cupped palm of the woman
who smiles at me from an exam table
with her eyes as bright as a camera flash
at the blip, blip, blip of a lit star that will be Molly.

(Originally published in Mom Egg Review Vol. 14 “Change”).

Susan Vespoli lives in Phoenix where she teaches English at a downtown
community college, rides her bike along the canals, and walks her 3-legged dog
Jack. Her poetry and prose have been published online and in various print
anthologies and journals.