This edited collection examines conflicting assumptions, expectations, and perceptions of maternity in artistic, cultural, and institutional contexts. Over the past two decades, the maternal body has gained currency in popular culture and the contemporary art world, with many books and exhibitions foregrounding artists’ experiences and art historical explorations of maternity that previously were marginalized or dismissed. In too many instances, however, the maternal potential of female bodies—whether realized or not—still causes them to be stigmatized, censored, or otherwise treated as inappropriate: cultural expectations of maternity create one set of prejudices against women whose bodies or experiences do align with those same expectations, and another set of prejudices against those whose do not. Support for mothers in the paid workforce remains woefully inadequate, yet in many cultural contexts, social norms continue to ask what is “wrong” with women who do not have children. In these essays and conversations, artists and writers discuss how maternal expectations shape both creative work and designed environments, and highlight alternative ways of existing in relation to those expectations.
Have Milk, Will Travel: Adventures in Breastfeeding reveals the lighter side of nursing and throws a lifeline to mothers in the thick of lactation. Knowing that other mothers struggle to breastfeed, go to extreme lengths to regulate milk supply, or even unwittingly pump breast milk while on the radio, readers can be assured that they are not alone in having lost all modesty and that, in fact, they may be doing better than most. With a foreword written by Pump Station founders Wendy Haldeman and Corky Harvey, Have Milk, Will Travel collects stories and poems by both established and emerging writers who address with brutal honesty the trials, tribulations, and laugh-out-loud turbulence of life as the one-stop milk shop.
Mothering Mennonite marks the first scholarly attempt to incorporate religious groundings in interpretations of motherhood. The essays included here broaden our understanding of maternal identity as something not only constructed within the family and by society at large, but also influenced significantly by historical traditions and contemporary belief systems of religious communities. A multidisciplinary compilation of essays, this volume joins narrative and scholarly voices to address both the roles of mothering in Mennonite contexts and the ways in which Mennonite mothering intersects with and is shaped by the world at large. Contributors address cultural constructions of motherhood within ethnoreligious Mennonite communities, examining mother-daughter relationships and intergenerational influences, analyzing visual and literary representations of Mennonite mothers, challenging cultural constructions and expectations of motherhood, and tracing the effects of specific religious and cultural contexts on mothering in North and South America.’
Mothering Mennonite marks the first scholarly attempt to incorporate religious groundings in interpretations of motherhood. The essays included here broaden our understanding of maternal identity as something not only constructed within the family and by society at large, but also influenced significantly by historical traditions and contemporary belief systems of religious communities. A multidisciplinary compilation of essays, this volume joins narrative and scholarly voices to address both the roles of mothering in Mennonite contexts and the ways in which Mennonite mothering intersects with and is shaped by the world at large. Contributors address cultural constructions of motherhood within ethnoreligious Mennonite communities, examining mother-daughter relationships and intergenerational influences, analyzing visual and literary representations of Mennonite mothers, challenging cultural constructions and expectations of motherhood, and tracing the effects of specific religious and cultural contexts on mothering in North and South America.’
This edited collection examines conflicting assumptions, expectations, and perceptions of maternity in artistic, cultural, and institutional contexts. Over the past two decades, the maternal body has gained currency in popular culture and the contemporary art world, with many books and exhibitions foregrounding artists’ experiences and art historical explorations of maternity that previously were marginalized or dismissed. In too many instances, however, the maternal potential of female bodies—whether realized or not—still causes them to be stigmatized, censored, or otherwise treated as inappropriate: cultural expectations of maternity create one set of prejudices against women whose bodies or experiences do align with those same expectations, and another set of prejudices against those whose do not. Support for mothers in the paid workforce remains woefully inadequate, yet in many cultural contexts, social norms continue to ask what is “wrong” with women who do not have children. In these essays and conversations, artists and writers discuss how maternal expectations shape both creative work and designed environments, and highlight alternative ways of existing in relation to those expectations.
Have Milk, Will Travel: Adventures in Breastfeeding reveals the lighter side of nursing and throws a lifeline to mothers in the thick of lactation. Knowing that other mothers struggle to breastfeed, go to extreme lengths to regulate milk supply, or even unwittingly pump breast milk while on the radio, readers can be assured that they are not alone in having lost all modesty and that, in fact, they may be doing better than most. With a foreword written by Pump Station founders Wendy Haldeman and Corky Harvey, Have Milk, Will Travel collects stories and poems by both established and emerging writers who address with brutal honesty the trials, tribulations, and laugh-out-loud turbulence of life as the one-stop milk shop.
This edited collection examines conflicting assumptions, expectations, and perceptions of maternity in artistic, cultural, and institutional contexts. Over the past two decades, the maternal body has gained currency in popular culture and the contemporary art world, with many books and exhibitions foregrounding artists' experiences and art historical explorations of maternity that previously were marginalized or dismissed. In too many instances, however, the maternal potential of female bodies--whether realized or not--still causes them to be stigmatized, censored, or otherwise treated as inappropriate: cultural expectations of maternity create one set of prejudices against women whose bodies or experiences do align with those same expectations, and another set of prejudices against those whose do not. Support for mothers in the paid workforce remains woefully inadequate, yet in many cultural contexts, social norms continue to ask what is "wrong" with women who do not have children. In these essays and conversations, artists and writers discuss how maternal expectations shape both creative work and designed environments, and highlight alternative ways of existing in relation to those expectations.
Alice Lex-Nerlinger gehörte mit Hannah Höch, Lea und Hans Grundig, John Heartfield und ihrem Ehemann Oskar Nerlinger zur künstlerisch-politischen Avantgarde der Weimarer Republik. Berühmt geworden ist sie mit ihrem Bild »§ 218« aus dem Jahr 1931, einer lästerlichen Provokation gegen das damalige Abtreibungsverbot. Für die Geschichte des Feminismus wie für die Malerei der Klassischen Moderne ist es ein Glücksfall, dass dieses Werk – anders als viele andere ihrer Arbeiten aus jenen Jahren – erhalten geblieben ist. Als junge Studentin u.a. bei Emil Orlik an der Unterrichtsanstalt des Kunstgewerbemuseums in Berlin war sie schockiert von den Erlebnissen des Ersten Weltkriegs. Aber auch aufgrund der in den Jahren danach durch Automatisierung, Heimarbeit, Streiks und Aussperrungen massiv verschärften sozialen Gegensätze ziehen sich durch Alice Lex’ gesamtes Werk sozialkritische Themen. Unter dem Einfluss des »Sturm«-Kreises um Herwarth Walden und vor allem der politisch engagierten Künstler und Künstlerinnen, die sich 1928 in der »Assoziation revolutionärer bildender Künstler Deutschlands« (»ASSO«) zusammengefunden haben, eignete sie sich leidenschaftlich die modernen, reproduzierbaren Kunsttechniken Fotografie, Montage und Fotogramm sowie die Spritztechnik an. Zensur und Arbeitsverbot während des Nationalsozialismus trieben Alice Lex künstlerisch in die »Innere Emigration«, was sie jedoch nicht davon abhielt, im Untergrund politisch gegen das Regime vorzugehen. Nach dem Krieg arbeitete sie in der DDR überwiegend an offiziellen Porträtaufträgen. Sie war sich schon bald darüber im Klaren, dass ihre gesellschaftspolitischen Visionen auch hier nicht einfach zu realisieren waren. Mit Blick auf die sozialen Folgen der Globalisierung haben Alice Lex’ gesellschaftskritische Themen nichts an Aktualität und Brisanz verloren, ebenso wenig ihre scharfe Ablehnung des Krieges. Das Bild »Feldgrau schafft Dividende« ist heute genauso aktuell wie Anfang der 1930er Jahre.
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