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Museum Representations of Motherhood and the Maternal is the first book to address the underrepresentation of motherhood in museums. Questioning how mothering and maternal experiences should be represented in museums, Louise-Clarke argues that such institutions wield the power to influence what we think about families, mothers and the labour of care. Using the term ‘mothering’ to encompass lived experiences of mothering or caring that are not exclusively tied to sex, gender, or the maternal body, Louise-Clarke explores the ways that experiences of mothering can be represented in museums. The book begins this exploration with Australia’s Museums Victoria (MV), then expands to look at international cases. Offering a blueprint for what Louise-Clarke calls a ‘museology of mothering’, the book imagines what a museum that articulates maternal subjectivities might look and sound like. Museum Representations of Motherhood and the Maternal initiates a dialogue between museum studies and maternal studies, making it essential reading for scholars and students working in both disciplines. Questioning conventional museum practices and the values that underpin them, the book will also be of interest to museum and heritage practitioners around the world.
"Museum Representations of Motherhood and the Maternal is the first book to address the underrepresentation of motherhood in museums. Questioning how mothering and maternal experiences should be represented in museums, Louise-Clarke argues that such institutions wield the power to influence what we think about families, mothers and the labour of care. Using the term 'mothering' to encompass lived experiences of mothering or caring that are not exclusively tied to sex, gender, or the maternal body, Louise-Clarke explores the ways that experiences of mothering can be represented in museums. The book begins this exploration with Australia's Museums Victoria (MV), then expands to look at international cases. Offering a blueprint for what Louise-Clarke calls a 'museology of mothering', the book imagines what a museum that articulates maternal subjectivities might look and sound like. Museum Representations of Motherhood and the Maternal initiates a dialogue between museum studies and maternal studies, making it essential reading for scholars and students working in both disciplines. Questioning conventional museum practices and the values that underpin them, the book will also be of interest to museum and heritage practitioners around the world. Rebecca"--
More than eighty designs--iconic, archaic, quotidian, and taboo--that have defined the arc of human reproduction. While birth often brings great joy, making babies is a knotty enterprise. The designed objects that surround us when it comes to menstruation, birth control, conception, pregnancy, childbirth, and early motherhood vary as oddly, messily, and dramatically as the stereotypes suggest. This smart, image-rich, fashion-forward, and design-driven book explores more than eighty designs--iconic, conceptual, archaic, titillating, emotionally charged, or just plain strange--that have defined the relationships between people and babies during the past century. Each object tells a story. In striking images and engaging text, Designing Motherhood unfolds the compelling design histories and real-world uses of the objects that shape our reproductive experiences. The authors investigate the baby carrier, from the Snugli to BabyBjörn, and the (re)discovery of the varied traditions of baby wearing; the tie-waist skirt, famously worn by a pregnant Lucille Ball on I Love Lucy, and essential for camouflaging and slowly normalizing a public pregnancy; the home pregnancy kit, and its threat to the authority of male gynecologists; and more. Memorable images--including historical ads, found photos, and drawings--illustrate the crucial role design and material culture plays throughout the arc of human reproduction. The book features a prologue by Erica Chidi and a foreword by Alexandra Lange. Contributors Luz Argueta-Vogel, Zara Arshad, Nefertiti Austin, Juliana Rowen Barton, Lindsey Beal, Thomas Beatie, Caitlin Beach, Maricela Becerra, Joan E. Biren, Megan Brandow-Faller, Khiara M. Bridges, Heather DeWolf Bowser, Sophie Cavoulacos, Meegan Daigler, Anna Dhody, Christine Dodson, Henrike Dreier, Adam Dubrowski, Michelle Millar Fisher, Claire Dion Fletcher, Tekara Gainey, Lucy Gallun, Angela Garbes, Judy S. Gelles, Shoshana Batya Greenwald, Robert D. Hicks, Porsche Holland, Andrea Homer-Macdonald, Alexis Hope, Malika Kashyap, Karen Kleiman, Natalie Lira, Devorah L Marrus, Jessica Martucci, Sascha Mayer, Betsy Joslyn Mitchell, Ginger Mitchell, Mark Mitchell, Aidan O’Connor, Lauren Downing Peters, Nicole Pihema, Alice Rawsthorn, Helen Barchilon Redman, Airyka Rockefeller, Julie Rodelli, Raphaela Rosella, Loretta J. Ross, Ofelia Pérez Ruiz, Hannah Ryan, Karin Satrom, Tae Smith, Orkan Telhan, Stephanie Tillman, Sandra Oyarzo Torres, Malika Verma, Erin Weisbart, Deb Willis, Carmen Winant, Brendan Winick, Flaura Koplin Winston
Volume One: This volume catalogues the distinguished and comprehensive collection of approximately 400 works of American sculpture by artists born before 1865. This publication includes an introduction on the history of the collection's formation, particularly in the context of the Museum's early years of acquisitions, and discusses the outstanding personalities involved. --Metropolitan Museum of Art website.
From novels of the nineteenth century to films of the 1990s, American culture, abounds with images of white, middle-class mothers. In Motherhood and Representation, E. Ann Kaplan considers how the mother appears in three related spheres: the historical, in which she charts changing representations of the mother from 1830 to the postmodernist present; the psychoanalytic, which discusses theories of the mother from Freud to Lacan and the French Feminists; and the mother as she is figured in cultural representations: in literary and film texts such as East Lynne, Marnie and the The Handmaid's Tale, as well as in journalism and popular manuals on motherhood. Kaplan's analysis identifies two dominant paradigms of the mother as `Angel' and `Witch', and charts the contesting and often contradictory discourses of the mother in present-day America.
In the mid-1980s, after the Indochina Wars, a shortage of men meant that many single women in Vietnam found themselves without suitable marital prospects. A number of these women chose to pursue single motherhood by “asking for a child” (xin con)—asking men to get them pregnant out of wedlock. Xin con appeared to be a radical departure from traditional Vietnamese kinship values and practices, which were based in Confucian patriarchal and patrilineal reproductive interests. However, this innovative solution was rooted in both pre- and postwar values, practices, and notions of gender, kinship, love, and sexuality. This ethnography explores the practice of xin con among single mothers in the postwar era and today, and considers the ways their reproductive agency was embraced rather than rejected by the Vietnamese state as it entered the global market economy. Rather than condemning or trying to restrict older single women’s reproductive agency, government officials enacted policies that would accommodate both the women and the state—a strategy that represents an intriguing alignment of Confucian heritage, Communist ideology, and governing tactics and demonstrates the social power of women.
Published to coincide with an exhibition held at the Photographers' Gallery and Foundling Museum in London and touring to Chicago's Museum of Contemporary Photography, this beautiful and striking book examines contemporary interpretations of one of the most enduring subjects in the history of picture-making: the image of the mother. Focusing on the work of twelve international photographic artists, the publication challenges the stereotypical or sentimental views of motherhood handed down by traditional depictions, and explores how photography can be used to address changing conditions of power, gender, domesticity, the maternal body, and female identity. The work featured here is highly personal, often documentary in approach and with the individual subject at its centre, reflecting photography itself in the twenty-first century. The featured artists offer very different views of contemporary motherhood, from the devoted to the dysfunctional, representing the myriad ways that becoming - or even trying to become - a mother can radically alter a woman's sense of self and how others perceive her. The book's essays, illustrated with dozens of comparative images from antiquity to the present day, present the historical and contemporary context of the mother figure. Curator of the exhibitions and volume editor Susan Bright traces the history of photographs of motherhood from the nineteenth century to our 'postfeminist' age. Simon Watney weaves a fascinating narrative of the Madonna figure through the centuries. Nick Johnstone looks at the presentation of the mother from the perspective of the father, and considers how images of fatherhood compare, while Stephanie Chapman lays out the moving history of London's Foundling Museum through photographs and repositions the mother in a story of loss where she is strangely absent. Presenting contemporary thinking on motherhood through an exploration of its changing representation in photography, Home Truths provides a fresh and unique insight into one of the most universal and well documented of experiences.
This timely book provides new insights into debates around the relationship between women and film by drawing on the work of philosopher Luce Irigaray. Arguing that female-directed cinema provides new ways to explore ideas of representation and spectatorship, it also examines the importance of contexts of production, direction and reception.
The first-of-its-kind exhibit cataloged here focuses on the women of Egypt from all levels of society in works compiled strictly from American collections by American curators. Because the quantity of written records is limited (though enormous in comparison to most early societies), there is still much guesswork involved in determining the place women held in Egyptian society. It is clear that, unlike most ancient and not-so-ancient societies, Egypt conferred on women the legal right to own property and to barter their own goods, which means a larger record for current study. The essays here are both erudite and fascinating to read; the illustrations are clear and well presented in conjunction with the text. 117 colour & 112 b/w illustrations
This international collection focuses on the phallic character of classic and contemporary literary and visual cultures and their invasive nature. It focuses on thrillers, horror cinema, sexual art and photography, erotic literature, female and male body politics, queer pleasures, gender/cross-gender/transgenderism, CCTV and phallic ethnicities.