“SOHO20 Artists Inc. d.b.a. SOHO20 Gallery is a non-profit artist-run organization that has been promoting the work of women artists since 1973. The organization was founded by a group of 20 women artists in New York City intent on achieving professional excellence in an industry sorely lacking in opportunities for women. Since its inception the gallery has been a voice for marginalized artists, fostering growth through opportunities and resources.”
The exhibit and catalog, TAKE CARE: Biomedical Ethics in the Twenty-First Century, considers civilization’s unease with advancing biotechnologies, with essays by Linda Weintraub, Tonya Vernooy, Ellen Wright Clayton, and Veronica Kavass. The full color catalog documents the exhibit curated by Adrienne Outlaw that travelled to the Wright Museum of Art, Beloit, WI (2012), University of Wisconsin, Green Bay (2012), AustinPeay State University (2012), Vanderbilt University, Nashville, TN (2011), Pool Art Fair, Miami, FL (2010), The Renaissance Center, TN (2010), Kendall College of Art and Design, Grand Rapids, MI, 2009.
The M Word: Real Mothers in Contemporary Art , ed by Myrel Chernick and Jennie Klein, examines multiple aspects of mothering in contemporary art: History, Criticism, Theory, Artists’ Writings, Text/Image work, Interviews, and Visual Art. The book’s seven sections include full color photographs and contributions from: Mary Kelly, Susan Suleiman, Mignon Nixon, Jane Gallop, Margaret Morgan, Andrea Liss, Aura Rosenberg, Barbara T. Smith, Sherry Millner, Ellen McMahon, Renée Cox, Gail Rebhan, Marion Wilson, Judy Glantzman, Denise Ferris, Youngbok Hong, Camille Billops, Patricia Cué, Monica Mayer, Cheri Gaulke,the Maternal MetaphorsI & II exhibition artists, and more.
Abstract This article examines the place of affect in feminist pedagogy through discussion of Jess Dobkin’s The Lactation Station Breast Milk Bar and Monica Bock’s Afterbirth, and Postpartum Miniatur, contemporary artworks that use “private” matter associated with the maternal body to evoke sensations of disgust. Stephanie Springgay writes: ‘How might we think outside of the perfect ethical relation – the mother responding to her child over her own needs – and instead think about how that coupling relationship, the coming too close, creates other ways of thinking and being in difference. This, I will argue, is the basis for a feminist pedagogy of touch, which would enable us to rethink experiences triggered by disgust’.
About Author (at time of publication) Stephanie Springgay is an Assistant Professor at The Ontario Institute for the Studies in Education, at the University of Toronto
“Maternal Metaphors—Artists/Mothers/Artwork. April 30-May 23, 2004, Rochester Contemporary Art Gallery, Rochester, NY Includes reproductions of artwork, critical essays and fiction, on the subject of maternal desire and ambivalence. A variety of artwork from photography to installation to painting to video by a diverse group of artist/mothers who incorporate aspects of maternity into their work.”
“For all our supposed advancement since previous generations, the societal duress implicit in our concept of the “good mother” seems to linger. In perhaps no other. tension between the self-sacrifice of motherhood and the need for self-actualization felt more strongly than in artistic and literary pursuits. This theme-along with that of the practical obstacles and unexpected inspirations of creating while tending to one child or more-is repeatedly but not repetitiously examined in this collection of essays, practical guides, poetry and illustrations edited by writer-mamas Lavender and Rossini. The pieces are as varied as the nature of the art created by their authors, including dancers, artists, photographers, writers, singers, and ‘zine creators. Still, a sense of honesty, passion and, yes, intense motherly love is apparent throughout. Highly recommended for both family/relationship and arts and literature collections.” -Kay Hogan Smith, UAB Lister Hill Lib., Birmingham, AL