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Education Events Featured Feminism health History International MOM Art Annex MoM Pop Up Social Justice Sociology st petersburg

Joy Report; V-Day and More in February 2023

February is the month of Black History, V-Day Love, and Susan B. Anthony Day. How do all these things intersect? Let’s try to connect the dots.

Black History month was codified into law in 1986. Championed by Carter G. Woodson, the ‘father of Black history’ with an agenda to promote Black studies, history, and culture, “Woodson’s goal from the very beginning was to make the celebration of Black history in the field of history a ‘serious area of study.” (Source). He spent his whole life working towards this goal.

As it turns out, the Carter G. Woodson African American Museum is 2.7 miles from the MOM Art Annex in the city of St. Petersburg. This is just one more reason St. Pete is an awesome place to develop our mission here in Pinellas County Florida. We sure do appreciate our neighbors. Next time you stop in to visit us, make sure to schedule a visit at the Woodson Museum too!

And now, with the month of love upon us, let’s give a big shout out for February 14th. Might we propose a renewed focus on brotherly and sisterly love this Valentines Day? Might we push back on violence in this wildly radicalized world. This secular event is celebrated worldwide as a day of affection and romance, yet humans have so much more to improve upon.

Here at MoM: We push back on war. We push back on aggression and lies. We push back on book banning, oppression, and hate speech. We acknowledge the lives lost to violence, the misguided ‘othering’ of individuals, and the patriarchal constructs that continue to dominate our world culture. This year on the 14th, we celebrate the V-Day Movement, One Billion Rising, an activist organization that emerged out of the Vagina Monologues by Even Ensler on Feb. 14, 1998 to stop violence of all kinds around the planet.

Then, rising up on February 15th is Susan B. Anthony‘s birthday. We honor her on this remembrance day for her commitment to suffrage during the first wave feminist movement in the United States. Her work with Cady Stanton, Lucretia Mott, Frederick Douglass and others, as both an abolitionist and then working on behalf of women for the right to vote, are seminal. Though these partnerships were complicated, Anthony a ‘woman’ and Douglas a ‘Black man’ are both significant figures in the early emancipation movements. Remarkably, Anthony’s birthday is a state holiday in Florida. I am proud to say that I still hold the Susan B. Anthony award by NOW-NYC, which proudly hangs in my office at the Annex. See more about the feminist waves below in our Flash Feminism slide show!

What’s next? A lot, it turns out. This Friday, we will be hosting a dinner with YesChefVillage onsite here at MoM. Sunday, February 5th is a sold-out Feminist Pizza Party in our garden to benefit the public arts initiative in Kenwood. I look forward to continuing my work with the St. Pete High School Feminist Club with several projects including this simple booklet introducing the four waves of feminism to students of all ages (See slide show above). I also have the privilege of overseeing detailed projects with interns conducting advanced scholarship in the area of mother studies from around the world! Finally, MoM will be participating in Localtopia 2023 with our own table and information about launching our capital building campaign, while hopefully finalizing the acquisition of the Mother Tree statue. These are just a few of our offerings this month at MoM. Looking forward to the intersections that connect us. See some of our recent tour participants here 🙂 Please donate to our success if you can!

With Love Always, All the Time; Martha JOY Rose, Founder/Director MoM

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Art Education Featured Featured Artists Fl MAMA MOM Art Annex motherhood Residency

M.A.M.A. Issue 53 – Jessica Caldas

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.

(Quote from the art journal: an online journal of art and cultural commentary. Link: https://www.theartsection.com/caldas)

WORDS

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

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Art Blog Caregiving Featured Featured Artists motherhood Residency st petersburg

Remote Artist Residency with Rachael Grad: This August at MoM

Rachael Grad is a mom of three and former lawyer who has studied and worked in the US, France, Italy, Hong Kong, and Toronto. Grad left practicing law to study painting full-time at the New York Studio School and New York University (NYU) before transferring to OCAD University in Toronto, Ontario, Canada. Trained as an observational painter, Grad has focused on colourful painting that blurs the distinction between abstract, figurative, and representational styles.

Recently her art practice has expanded to incorporate digital painting and collage to further recreate her observational drawing and painting. Grad combines her experience as a mother, former lawyer, and traveler into her artwork, creating art that reflects parenting moments. Her current art series include “Motherhood Hit Me Like A Train” works on paper that use trains as paintbrushes and “Mommy Mayhem” digital collages and abstract expressionist paintings.

Grad’s artwork has been shown in solo and group shows in Washington, DC, New York City, Venice, Italy, and the Toronto area. She holds degrees from Brandeis University, Duke University School of Law, and Sciences Po in Paris, France. She earned a BFA with Distinction in Painting and Drawing from OCAD University in May 2022 as the Governor General Academic Medal and Mrs. W.O. Forsyth winner. This fall Grad will start a Master’s in Fine Arts program at York University in Toronto, Ontario, Canada.

Mayhem Bunny
Elephant and Doll

Artist Statement

Motherhood is mayhem. When I became a parent, carving out time and space to create (not just people but artwork) became essential.

My current art practice is driven by an obsessive-compulsive need to document my three kids and their perpetually changing debris (meaning their messes of toys, books, clothing, and crafts). Daily household and art routines, rituals, and schedules reflect my attempt to reign in the chaos of parenting. Numbers, habits, and repetition are crucial to my sanity and survival.

There are 52 weekends in each year when my children’s school, daycare, or summer camp are closed for 65 agonizing hours in a row. To symbolize the slow passing of parenting time, I created 52 digital collages each containing 65 artworks layered together in photoshop. The artwork layers include my postcard drawings, abstract colour paintings, and paint mark experiments with toys.

Recent Mommy Mayhem series paintings are loosely based on these collages and blur the distinction between representation and abstraction. Gestural paint marks use the bright colours found in toys and messes.

In my Motherhood Hit Me Like a Train series, rolling a toy train across my artwork as a not-so subtle metaphor for being a mother artist. Toys have overtaken my home and my artwork, and they are always in mind and in my way. For my abstract watercolour on paper artworks, I reverse the ubiquitous toy train and turn it into a paintbrush.

Repetitive marks starting from observation are a way of building up unclear layers to form abstraction. Loosely based on the digital collages, I paint colourful abstract portraits of stuffed animals and toys that serve as transitional comfort objects for children as they grow and learn independence from parents.

My painting subjects reflect moments of motherhood, and my painting technique is a reference to, and mocking of, art history movements such as the machismo of the Abstract Expressionist painters. I am conceiving a visual language informed by abstract expressionism, playful mark making, and the contradiction between my dream of control and order versus my reality of constant pandemonium and mess at home. Routines, patterns, and symbolic numbers are expression in my art.

I research contemporary parent artists and their artwork including Mary Kelly (Post-Partum Document. 1973-79), Monica Bock (Maternal Exposure (or, don’t forget the lunches), 1999-2000), and Paul Campbell (Koosh Series and Remote Control Series). When painting, I think of Denyse Thomasos’ powerful gestural marks, Susanna Heller’s experimental studio practice, and Amy Silliman’s abstraction.

Museum of Motherhood Artist Residency Project

During her MOM Residency, Rachael will curate an online art exhibition of artwork made by artist mothers who manage to create artwork and keep up their studio practice while parenting. The show will include weekly blog posts interviewing participating artists to explore their work and parent experiences. During the period of her artist residency at MOM, Rachael will attempt to create a drawing or painting each day related to her “Mommy Mayhem” or “Motherhood Hit Me Like a Train” series.

You can view more of Rachael’s artwork at RachaelGradArt.com

If you are interested in connecting with Rachael, you can find her on social media @RachaelGradArt

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Art Blog Featured Featured Artists Feminism MOM Art Annex motherhood Residency

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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Art Education Featured Fl History home International Media

MOM Museum: Reedy Press & Joshua Ginsberg’s New Book Secret Tampa Bay

The Museum of Motherhood is proud to be included in Joshua Ginsberg’s new book, Secret Tampa Bay: A Guide to the Weird, Wonderful, and Obscure, published by Reedy Press.

This guide to the obscure helps unlock secret spots in and around the city including some of the most intriguing and entertaining surprises.

Join in a pirate parade, see live mermaids, or catch a flamenco dance performance at the oldest and largest Spanish restaurant in America. Wander through secret gardens, listen to bagpipe music, and sample a seemingly endless variety of hidden treasures in Tampa Bay. Also, of course, you can discover the art, science, and history of mothers, mothering, and motherhood at MOM in the historic neighborhood of Kenwood in St. Petersburg, Fl., “where art lives”.

Secret Tampa Bay: A Guide to the Weird, Wonderful and Obscure provides a deeper dive into the local culture, history, art and one-of-a-kind attractions as alternatives to the usual beaches and theme parks, you are sure to find it here.

Join author Joshua Ginsberg as he narrates his explorations through Tampa, St. Petersburg, Clearwater and the surrounding areas in search of hidden history, strange monuments, museums, oddities, antiques in this truly invigorating guidebook that is sure to provide many memorable experiences.

Secret Tampa Bay: A Guide to the Weird, Wonderful, and Obscure is available wherever books are sold.

Thank you too, for the shout out from Natalie Taylor and Josh August 26th, 2020 on Tampa Bay Morning Blend News Show (ABC).

Please stay safe and stay strong. WE LOVE YOU ALL!!!
Order copies of the book: https://secrettampabay.com/
If you are interested in stocking the book at their place of business, write Reedy Press or Josh at the above website 😊

Please contact Don Korte at dkorte@reedypress.com to arrange an interview or appearance.

Book Details: Secret Tampa Bay: A Guide to the Weird, Wonderful, and Obscure, by Joshua Ginsberg, ISBN 9781681062860, paperback 9 x 6, 208 pages, $22.50

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Art Classes Conferences Education Feminism gender International USF

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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Birth Blog Digital Media Internships health

Got Milk? Why Breastfeeding and Breast Milk Matters

Breastfeeding education and support for new mothers is an important ongoing issue. There are many decisions and questions regarding breastfeeding versus formula feeding. A few of those include: should you alternate between both bottle and breast, how long should you breastfeed over time, what type of latching-on techniques should you use, when is the time to start pumping, how should you store pumped milk, etc.?

As a new parent, one’s lactation questions can be endless. Why is breastfeeding important? Why should parents care?

There are many reasons why breast milk is regarded as the highest form of nutrition infants can obtain. Mothers pass important nutritional antibodies through breast milk that have been observed to benefit overall infant health. Breastfeeding potentially lessens the occurrence of long-term health conditions, such as the prevalence of obesity, type II diabetes, SIDS, gastrointestinal infections and asthma. Mothers also benefit, as breastfeeding promotes a natural way to rebalance hormones and maintain weight loss after pregnancy. Long-term health benefits also include reduced risk of female endocrine-related cancers, such as breast or ovarian cancer, high blood pressure and type II diabetes. In the US, it is recommended to breastfeed exclusively at least up to 6 months after birth. However, average statistics have shown only 1 in 4 women does so.

Student practicing with a breastfeeding doll at MOM

Despite the bonding benefits of breastfeeding and the positive health outcomes nursing may have for both mom and baby, the decision to nurse is not always an easy one. Everyone’s breastfeeding journey is personal and unique. Often, individuals require support and guidance through the post-birth journey. Sometimes problems arise. Women can experience lactating difficulties, latch issues, sometimes health concerns or pre-existing conditions prevent the possibility of breastfeeding, and women who experience mastitis are often confused about how to proceed.

In the Tampa Bay area, support can be found at many local organizations including the Tampa Bay Breastfeeding Task Force. The Tampa Bay Breastfeeding Task Force is a nonprofit organization that hosts events for breastfeeding activism, they also provide support and answers to questions via their social media and website platforms. Events such as Breastfeeding Friendly Daycare Training, promote their #TBBreastfeeds and the Breastfeeding Normalization Campaign. TBB is also known partners in advocacy efforts with the Florida Breastfeeding Coalition, which provides support for breastfeeding as well as promoting state recommended resources for those needing more information. Their mission “is to improve the health of Floridians by working collaboratively to protect, promote and support breastfeeding.”

If you are in need of professional assistance or are looking for more information, the La Leche League of Florida and the Caribbean Isles connects volunteers with lactation consultants and local nursing mothers’ groups. The Tampa Breastfeeding and Lactation Center LLC or Breastfeeding Care and Consulting, run by Jocelyn Pridemore also offers consultations for new mothers. Different services are available at a variety of prices from high to low. Additionally, if you are seeking access to breast milk, check out charitable organizations such as Mother’s Milk Bank of Florida, which is dedicated disseminating pasteurized donor milk to those in need. They also welcome donations of breast milk. Please spread the word!

If you are interested here is an additional link to some helpful breastfeeding techniques:

https://www.pregnancybirthbaby.org.au/breastfeeding-your-baby

Article info sources:

https://www.cdc.gov/breastfeeding/index.htm

https://www.womenshealth.gov/breastfeeding

https://www.womenshealth.gov/breastfeeding

Web Links to Local Orgs and Lactation Specialists

Tampa Breastfeeding and Lactation Center LLC: https://www.breastfeedtampa.com/

Breastfeeding Care and Consulting with Jocelyn Pridemore: http://breastfeedingcareandconsulting.com/

The Florida Breastfeeding Coalition: http://www.flbreastfeeding.org/

The Tampa Bay Breastfeeding Task Force: http://www.tbbreastfeeding.org/

La Leche League of Florida and the Caribbean Isles: http://www.lllflorida.com/lalecheleague/

Mother’s Milk Bank of Florida: https://milkbankofflorida.org/

Breastfeeding at M.O.M.

This article was researched and made possible by Alexandra Valdes as part of a service-learning internship with USF. Read more below or click the image to find out more about our student authors:

Categories
Art Books Conferences Feminism International Literature Media motherhood Residency Spiritual Motherhood

About the Artist & Founder

Martha Joy Rose (call me 'Joy') is a scholar, artist, curator, and activist. She She founded MaMaPaLooZa, after touring with her band Housewives On Prozac (1997-2008). She is the founding director of the Museum of Motherhood.

Martha Joy Rose (call me ‘Joy’) is a scholar, artist, curator, and activist. She She founded MaMaPaLooZa, after touring with her band Housewives On Prozac (1997-2008) and began work on the Museum of Motherhood (MOM) in 2003. She holds an advanced degree in mother studies from CUNY, GC, is the NOW-NYC Susan B. Anthony awardee (2009), has lectured extensively, written widely, and served as publisher for numerous mom-made publications. Joy has also been featured in the Tampa Bay Times locally as well as WEDU, PBS, ABC News and nationally on Good Morning America, CNN, and NPR. 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”, and her music has appeared on the BIlboard Top 100 Dance Charts. Her current live/work space in Kenwood is devoted to the exploration of mother-labor as performance art. She is an ‘artist recipient’ of a grant from St Pete Arts Alliance & in 2023, she was certified with the Adult Mental Health First Aid, USA. She is the mother of four adult children and five grandchildren.

Diary of a Curator

9:30 AM. I am a cheerleader with a cup of coffee in hand, at my desk, dressed in underwear, checking e-mail. The young intern in Southeast Asia, who is conducting research as part of a special project for the Museum of Motherhood is having an issue getting access to the women who have been traumatized by rape, displacement, and other human rights violations in Myanmar. She wants me to look over her proposal. A senior in in high school, she believes in humanitarian activism. It is only 9:30 am and we are mothering the world.

12 PM Pause for olives, crackers, kombucha, and seltzer. Nice ice spills on the floor as my phone rings. Daughter wants to video chat from San Francisco on her commute to nursing school, then back to my computer. 3-hour time difference.

1 PM Sift through the student e-mails which begin with “Dear Professor Rose, I am so sorry I forgot to turn in my homework on time,” and are followed by a variety of excuses, most of which are not worth sharing.

2 PM Urgent phone call from a friend. Her voice quivers. “Can you talk?” She apologizes profusely. A secret story spills out. She keeps asking, “Am I crazy?” She’s in the car, with her daughter, leaving her husband. She says she is not safe and needs advice and a divorce attorney. I refer her to one and also the Pace Women’s Justice Center.

2:30 PM Text to my friend. “You are strong.”

3:00 PM Talk to my sister. Grab a cookie.

3:30PM Fingers on keys. I have a theory. I am a woman of many collected years, who has raised four children to adulthood. My circle is comprised of mothers, many who suffer periodically from anxiety, depression, and even mania. (I have had my episodes too). We are the women, forty to sixty years old who have spent our adult life feeding babies, changing diapers, and fretting over young progeny. We work, we take public transport, and if we have cars we drive. We try to sleep. We keep a grueling pace: the caregivers, the mothers, maybe now the fathers, but mostly the mothers whose bodies feel the vacant place where their infants stirred: the real, the imagined, and the yearned for. Trying to heal that deep mysterious hole, prepping children for school, cooking meals, cast, cast, casting spells. We, snap pictures for the prom, or we take them to the hospital, or maybe the worse possible thing happens. We keep so busy. Then, when our youth go off in the world to make lives of their own, all that is left in place of twenty years of directed, exhausting, unrelenting energy is a longing. That momentum, circles back into the heart and mind, funneling a giant vortex that drives some mad – Vigilance! Do not let the madness take hold. Take a deep breath. I am flinging these words, towards the universe in the hopes of reaching your collective soul. Take heed, I beg you. Find a way to fill yourself.

4 PM I draw a sketch of a small statue. She is a victorious woman made of steel with a V-up and V-down. Tomorrow, I go to town to procure rebar, followed with a lesson in welding, from a young man who works in a car factory, who has gifted me with a stick welding machine from 1957. “Can you give me lessons,” I ask? “Sure,” he replies. I place the drawing on the desk and stare at it. The fire burns hot.

5 PM Stirring a pot. Cooking the dinner. Watching the soup spin. I anchor my artistic practice to scholar Sarah Black’s assertions that argue for the position of “mother as curator.” Everyday activities equal the sum of our labor on behalf of the flock, as well as our art, and collectively we create, enact, and display our creativity.

6 PM I still have mountains of homework to do. I have a book to finish, paintings to paint, and metal to bend. I have a museum to run, my mother’s farm to harvest, a home in New York where the work began. Where the children were raised. Where I made music, was married, and then divorced.

7 PM Chores, water garden, pick up the kitchen. Then, back to the computer.

9 PM More papers. More emails. My eyes are tired. I need to log off until tomorrow.

9:30 PM Shutting down the screen. Brushing my teeth. I am grateful for the women, for IWD, for Women’s History Month, for all the ancestors who made my life possible, and for my mother, grandmothers, aunts, and sisters who inspired me to find this work. To the professors, scholars, and artists who helped me understand the world, I live in.

10 PM One last thought, as I lie in bed, in the dark, when the quiet is so thick it feels like an eternity. In the house where my parents lived and died, in the bedroom that was theirs for twenty years after they moved here, next to a field where relatives from Scotland arrived in 1832, where the blackness swallows the light, I say my prayers. I call out for help, invoking my angels, lighting a candle, blessing my children wherever they are (because I cannot tuck them in anymore), and then I wait, slumbering, for strength to find me again, which invariably it does.

Martha Joy Rose; IWD Women in Herstory 2023 (Shared from a 2019 post)

10 AM Log onto the Manhattan College online. Grade papers for the Sociology of Family class. I am teaching fifteen students this summer. They are all boys. I am teaching them Mother Studies. We recite the names of the Female Founders one by one committing them to memory, first the feminist leaders, then their theories, then, the scholars, eventually the artists. I cite the quote from Adrienne Rich: “The one unifying, incontrovertible experience shared by all women and men is that months-long period we spent unfolding inside a woman’s body. Yet, we know more about the air we breathe, the seas we travel, then the nature and meaning of motherhood.” (Of Woman Born, p 11)

Categories
Art Featured MAMA motherhood

Disruptions, Extrusions, and Other Chaotic Consequences by M. Joy Rose

mama-22PRODUCTION SITE

MOTHERING THE WORLD

This project started after I moved to the Artist Enclave of Historic Kenwood.

I’ve spent the better part of the last ten years championing other women’s work. Prior to that, I focused musically on “performance” art. During years of songwriting and concert-making ideas are projected outward in a noisy fashion. The work I’m engaging in now is very intimate and is more of a reflection than a projection.

I am interested in exploring my body is a site of production and reproduction. It is (and has been) a site of concept making and conception-formation. Through the years it has belonged to many people, including children, partners, governments, societies, country, state, church, and home. Some of these places are unique, and some are not. However, this basic premise is clear – my body has been a site of production and “making.”

As I began editing my thoughts for this project, I realized that I never said my body belongs to me. So, more than ever this fact becomes a justification for this work, which in so many ways, mirrors what so many women have been taught to feel –namely, that women’s bodies belong to others more than they belong to themselves. Now, in the era of the new Trump administration, this may be true more than ever. It is especially important to share the truth of what it is to bring forth another human, to nurture them, and to make my body a site of visible production and labor. I want to disrupt the “nice,” “perfectly groomed,” woman-mother-persona. Here she is. Stripped down: naked, bloody, imperfect, and old but still a work of art.

Martha Joy Rose, January 29, 2017

marthajoyrose_body_art

Joy Rose is part of the Artist Enclave of Historic Kenwood. Sheis a musician, concert promoter, museum founder, and fine artist. 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.

Art Show in March: Rose’s current live/work space in Kenwood St. Petersburg, Florida is devoted to the exploration of mother-labor as performance art.The upcoming date for the next Kenwood Artist Tour is March 18th and 19th, 2017 noon-5pm. See map and find out more and to tour the studios of participating St. Pete, Fla craftspeople: [LINK]

The Disruptions, Extrusions, and Other Chaotic Consequences exhibit begins with an enhanced chest of drawers. Says Rose, “we are always trying to put everything in a box….Make it neat. Or, hide things away. Here is your chance to pick a secret or leave a secret behind.” There are also photographs of body parts, paintings, and mixed media with emerging dolls. You can visit the MOM Art Annex during the Kenwood Artist Tour.

Poem for Canvas Squat

I went out to the studio and sat on a canvas

I don’t know why except that everything that has sprung from my loins is fantastic.

Four amazing kids- now adults: Brody, Blaze, Ali, Zena.

Before that, lots of painful blood. Since them – ART!

If art is like giving birth, then let the creations be fantastic too. This is my pop squat.

Everything truly great has come from between my legs. Occasionally my throat, but, mostly from between my legs…. What have you got down there? Show the world.

https://m.soundcloud.com/electric-mommyland-1/electric-pussy

Sources:MoMA:https://www.moma.org/learn/moma_learning/themes/investigating-identity/the-body-in-art

The human body is central to how we understand facets of identity such as gender, sexuality, race, and ethnicity. People alter their bodies, hair, and clothing to align with or rebel against social conventions and to express messages to others around them. Many artists explore gender through representations of the body and by using their own bodies in their creative process.

The 1960s and 1970s were a time of social upheavals in the United States and Europe, significant among them the fight for equality for women with regards to sexuality, reproductive rights, the family, and the workplace. Artists and art historians began to investigate how images in Western art and the media—more often than not produced by men—perpetuated idealizations of the female form. Feminist artists reclaimed the female body and depicted it through a variety of lenses.

Around this time, the body took on another important role as a medium with which artists created their work. In performance art, a term coined in the early 1960s as the genre was starting to take hold, the actions an artist performs are central to the work of art. For many artists, using their bodies in performances became a way to both claim control over their own bodies and to question issues of gender.

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