Desperate Artwives Review
Review of Desperate Artwives Exhibition January 2017 – by Hazel Frizell Phd in “Representations of specific Concerne of the Women’s Liberation Movement in British Feminist Art 1970-1978”
My visit to the Desperate Artwives Exhibition could not have been more timely as it coincided with the Women’s March organised in London and other major cities in response to Trump’s inauguration and the issues his views raise for women.
The work on show by nineteen professionally trained female artists and created in various media reflects and questions their experiences as wives and mothers. Brought together by Amy Dignam, they all wanted to continue the creative process following childbirth and within the constraints of the domestic environment. The result is a largely autobiographical narrative both depicting and celebrating their personal experiences infused with the domestic.
Jane Helling’s “Sacred Heart Defect” is a display of several small hearts crafted from pretty fabrics softly stuffed to create 3D forms – which appear to be anatomically correct. In doing so she creates a tension between the rather impersonal meaning of anatomical drawings found in medical books and the very personal association of babies’ soft toys usually seen in prams and on play mats. The viewer thereby creates their own narrative – Is this about a precious child born with a heart defect? Instead of being comforting , the soft hearts bring to mind the anxiety experienced by the parent of a sick child – a more personal and poignant image than that of a medical journal. The term “Sacred Heart” for Roman Catholics refers to the heart of Christ and as such is regarded an object of devotion and perhaps here can be interpreted as reflecting the sacred meaning of a child to their mother.
Aliso n O’Neill’s video “Punctures” visibly, yet more strongly vocally, relays her experiences of miscarriage and childbirth. She focusses on the impersonal reaction of medical staff who simply issue her with a yellow booklet noting they are sorry she lost her baby. In hospital giving birth to her son is equally fraught with process driven behaviour from the nurses as she does not meet the stereotypical image of a mother due to her short cropped blond hair. The lack of control and isolation felt by O’Neill reflects the complaint frequently made that women are neither listened to nor treated as individuals by the medical profession while experiencing pregnancy and childbirth.
“Ephemera” by Sharon Reeves consists of six carbon copy scrolls produced in fine fabric and a carbon copy book both detailing in manual typewritten font parts of conversations exchanged between women. Here she expresses the fast moving snippets of conversation that are short lived yet often infused with emotion that there is no time to explore. They represent the fractured nature of communication between women frequently disturbed by the domestic environment and the multiple identities a mother has to adopt in her everyday life. Issues and emotions can lose their impact when expressed in stinted, shortened bursts. The type written scroll format is similar to that of Mary Kelly’s “Post-Partum Document” of 1974 – 1979 depicting the early years of her son.
Amy Dignam’s “Memory Box” is a delicate and poignant representation of maternal experience relating to each of her three children’s treasured small toys. They have been gilded and placed in a tea box to be displayed as objects of great importance as they relate to items essential to a particular time in her children’s lives. The gold leaf transforms them to the viewer into precious objects to be both kept and admired thus emphasising the importance of everyday experience.
The depiction of female experience and in particular motherhood was a prevailing theme in the work of feminist artist collectives formed as a result of their involvement with the Women’s Liberation Movement of the early 1970s. In particular, the domestic and female experience was depicted in Feministo’s work and was displayed in an exhibition aptly entitled “Portrait of the Artist as a Housewife” at the ICA in 1976. Both Feministo and the Desperate Artwives illustrate the importance of documenting female experience not only as a means of continuing the creative process but as a political tool. The issues facing women highlighted by the Women’s March remain as relevant now as they did in the days of second wave feminism.
M.A.M.A. Issue n.20: Christen Clifford and Karen Malpede

The ProCreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 20th edition of 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 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. #JoinMAMA
January, 2017 The Pussy Bow by Christen Clifford and Privatising Motherhood by Karen Malpede
Art:
“Pussy Bow”
by Christen Clifford
Recently, somebody messaged me with a link to a vibrator that doubled as an internal camera. They thought it was a joke. I ordered one right away.
When AUNTS invited me to The Ace Hotel residency, I live-streamed from inside my vagina. All these people watching the stream messaged things like, “Show me your pussy!” I guess they didn’t understand that’s what they were seeing.
I love silk. I decided to print my photo into a pattern onto this soft fabric, rip it into strips and and tie it around my neck.
More about Christen Clifford
Privatizing Motherhood
by Karen Malpede
My daughter, born the year Ronald Reagan was elected president in a landslide, has given birth to her first child in the year Donald Trump squeaked into the presidency. She was raised on the outskirts of what was then un-gentrified Park Slope and she lived in a theater, the loft-space held our living rooms and our stage. She was raised collectively—at the Park Slope Food Coop and the Park Slope Child Care Collective, where she and I met friends we have to this day. I mothered her collectively as well. She came with me everywhere: meetings, rehearsals, my monthly food coop work slot and I worked one day a week in her child care. She came with me to women’s conferences on war and peace, and ecofeminism. She camped with me at the Women’s Peace Encampment. I have a photo of her, at four years old, dressed in a striped red and white bathing suit, weaving yarn across the exit to the military base, to keep the nuclear missiles inside. They were supposed to be sent to allied nations in Europe, where they would be driven around on trucks for quick launch into the Soviet Union.
We were successful, by the way, not just “we” of course, but the anti-nuclear movement kick-started by women on the antiwar left in England, at Greenham Common, in Germany and in the US. I was arrested as one of the White House Lawn Eleven in 1979, the year before my child was born. I was arrested, again, at a Wall St. anti-militarism demonstration when I was six months pregnant. These protests gained enough popular resonance and force to result in the nonproliferation treaty between Reagan and Gorbechov (which might well be over-turned by Trump and Putin).
My daughter knew my friends, who were artists, activists and mothers: Grace Paley, Barbara Deming, Dorothy Dinnerstein, Judith Malina, Sybille Claiborne, Eve Merriam, and the only two still alive, ecofeminist organizer and writer, Ynestra King, whose birth I assisted and whose son my daughter met the day after he was born, and Martha Bragin, an international child-of-war trauma specialist with a program for Afghan social workers in Kabul, whose child was in the same collective day care. My daughter was breast fed on demand until she was four years old because she was mainly always with me and because it was always all right, or it felt all right to me, to breast feed where ever I was when she was hungry or needed comfort (although I lost a theater grant for breast feeding at a meeting with a local Brooklyn utility). Only once did I pump milk for her to leave in reserve so her father could do the feed—when I went to the second Women’s Pentagon Action, in 1982; and, then, too, to relieve myself, I expressed my breast milk into one of the public toilets in the shopping mall underneath the Pentagon, which felt like a ritual-offering of sorts. I finished a play the day before I went into labor. I remember sitting on the floor bending over my huge belly collating pages. That night I went to the Women’s Salon which I had co-founded, a monthly forum that hosted major writers the minute their books or plays came out. The play I finished before labor was produced in Brooklyn at the Arts at St. Ann’s, then still in the downtown church, when my child was one year old. The first time I took her in my arms into the church for a rehearsal, she, excited but too young to speak, pointed at the domed cathedral ceiling alive with light flooding through the stained glass. “Mama, see!” The words burst out in awe. It would be months before she actually began to talk, but during rehearsal breaks she would crawl onto center stage, sit and mime the gestures of the actors.
Does all this sound antiquated and odd? Or does it sound like a golden age long gone?
Nothing could be less like the motherhoods of my daughter, or of Martha’s daughter, a housing lawyer, or the daughter of another friend, a public health specialist at a state health and human services department. These mothers spend hours of their day pumping breast milk for storage in refrigerators and freezers to be given to their children when they are away at work. My daughter pumps in an employee bathroom at Trader Joe’s, where she works, in San Antonio, Texas, where she and her husband moved because on working class salaries they could afford to buy a house. Martha’s daughter refers to herself as a small-time dairy factory, pumping milk for her son born prematurely who has yet to be fed except through a pipette. At the health and human services agency, nursing mothers must make a reservation to use the lactation room because it is too small for more than one breast-feeding woman at a time. It never occurred to anyone in “human services” that women might pump and talk together, about work or children or whatever, or, perhaps, it did occur to someone and this is why the room is only large enough for one. Another friend with a young child works on the UN Food Program and is based in Egypt. She has to pump in the prayer room reserved for her Muslim co-workers; there is no other space even for those whose job is figuring out how to feed women and children across the African continent.
These first-time mothers have all been told, they’ve told themselves, they must breast-feed their children for the first two years. My daughter comes from her late shift at 12:30 am and pumps for an hour so there will be milk for her next shift the next day. Then she nurses the baby when he wakes in the middle of the night. Before she leaves for work, she pumps again, after nursing and feeding her baby his home-cooked organic, mashed fruits and vegetables. And she does without another woman’s voice, another woman’s helping hand. She’s alone in her suburban house.
At the same time as the fetus has become “a person”; motherhood has been privatized. What once was, in my memory, collective and communal, joyful—with children passed from day-care to play-date to sleep-over among families who knew each other well, or taken with their mothers to work and on adventures where there were other adoring adults—has become a solitary endurance contest. The mother must not falter; she cannot not produce the milk. She cannot not go to work. She is busy virtually 24 hours a day; she rarely sleeps and is always tired.
Breast-feeding in public is forbidden. Pumping rooms are lonely, inhospitable places. And the burden of feeding her child an optimum diet—of breast milk—is solely hers.
Pumping machines are plastic cups held by hand to the breast, with cords running to a receptacle and they have a wheezing motor. Some pumps are more effective than others, of course, but the machines that come with most insurance plans are ineffectual and slow; it takes a long time to pump six ounces of milk.
Women are isolated, relegated to private, sometimes unsanitary spaces, while they pump. Pumping is considered break-time from work. I had never considered any of this until I visited my daughter in San Antonio and watched her days and nights. When her husband comes home from work, she goes to work. They have an hour or two at most of waking time together. The child is passed between them. He’s still young, at 9 months, but there are no playgroups and scant outings with other mothers. Most of her friends leave their children with their grandmothers while they work (thus, social security subsidizes childcare), but I live and work in New York.
The privatization of motherhood is, of course, the conservative goal. Our lives should be privatized. We should all be in it for ourselves. Wealthy women can hire nannies, but this is just the privileged form of privatization. Mothers on a treadmill from work to nurture to the breast pump have no time to get together, much less to organize.
The point of anthropologist Sarah Blaffer Hrdy’s important book Mother and Others is that children reared and fed by groups of responsive adults (as all children in “primitive” hunting and gathering societies were and are or “they were unlikely to survive”) “learned to perceive their world as ‘giving place.’” This matters greatly, Hrdy says because “Within the first two years of life, infants fortunate enough to be reared in responsive caretaking relationships develop innate potentials for empathy, mind reading and collaboration, and often do so, with astonishing speed.”
Collective childrearing is not just good for mothers, alleviating some of the astonishing boredom of being with an infant or young child; it is essential for children if we wish, that is, to raise empathic adults, capable of understanding and caring for others as well as themselves. Those who see the world as a “giving place” are much less likely to destroy it and themselves with it. They are much more likely to take care.
Hrdy points out those evolutionary traits that are not used can atrophy and disappear. So, she posits, might be the case with empathy. That which once made us human because we recognized the other in ourselves and responded to the stresses and challenges of society as an I and Thou exchange in which our own best interests are best served by serving the best interests of others (for instance, stopping climate change and nuclear proliferation) is in danger of atrophying for lack of use. By privatizing the social activity that demands and creates empathy, we run the risk of raising human creatures wanting this essential trait. A sort of monstrous version of ourselves, loose and amuck in a universe ever-more endangered by our own actions, a world threatened by our inability to understand our own connections.
My daughter’s childhood was spent around the collective, women-dominated antinuclear and peace movements of the 1980ies; it is bitterly ironic that her child has been born into a moment when Donald Trump and Vladimir Putin have decided to play “nuclear chicken” with our planet and to drill for its remaining oil. Nothing would be important, now, again, than women’s voices, raised with all the authority of motherhood, to demand an end to nuclear weapons and real public policy actions to retard climate change. At this same moment, motherhood has become such a private, taxing, full-time job that woman lack the energy and strength, and the hours in the day, to secure a future for their children. This is the cost of privatizing our most communal trust: the raising of children to care.
If my, now elder generation, managed, we also failed to leave a legacy that made it possible for our daughters and their daughters to live collectively as we had. All I can say in defense is that my daughter proves my point; she is one of the most empathetic people I ever met; kind and compassionate to her core, struggling and aware. But she is alone with her child. Without collective action focused on planetary peace and renewal her child’s future is grim.
—
About Karen:
Karen Malpede is a playwright and writer, co-founder of Theater Three Collaborative, editor of Acts of War: Iraq & Afghanistan in Seven Plays and Women in Theatre: Compassion & Hope. Plays in Time, a collection of four of her plays, is forthcoming in 2017. Her work appears in The Kenyon Review, Torture Magazine and The Brooklyn Reader, and has been published in The New York Times, The Drama Review, TriQuarterly, Confrontations and elsewhere. She is an adjunct associate professor of theater and environmental justice at John Jay College, City University of New York.
M.A.M.A. Issue n.19: Megan Wynne and Susan Vespoli

The ProCreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 19th edition of 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 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. #JoinMAMA
August 1, 2016 Megan Wynne and Susan Vispoli
Art by Megan Wynne (Birth, 2016)
“My three year old daughter and I collaborated to reenact her birth, while standing in the foyer of my parent’s house. I grew up in that house, and I am also raising my daughter there. She is being born into the complex and conflicted legacy of motherhood that I inherited and which is embodied in that house. As I give birth to my daughter I pass it on to her, and through her it will continue, from generation to generation. In this ritualistic exercise we act out our intertwined and mirrored identities. We symbiotically define each other, and the line between us is blurred. The flipped image depicts a parallel inverse experience of the same act. My daughter grows up and out of me, as she gives birth to me as a mother. She grows from me and I become her roots, always attached to her, never erased from her identity.”
More about Megan Wynne
“I am interested in the complex psychology of intimate human relationships, and the multifaceted and shifting nature of self-perception. I explore the hidden motivations behind personal beliefs and behaviors. I am also interested in the continuum between society’s manipulation of those beliefs and behaviors and the way in which society is defined by individuals. In relationships of interdependence, people often blur, mask, mirror, and project invented identities onto one another. In addition, the dynamics of power can shift in unexpected, subtle, and insidious ways. I often use myself and those close to me in my work in performative and autobiographical scenarios to explore these ideas.”
Poem by Susan Vespoli
SONOGRAM
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 dollsand when she grew breasts
boys flocked around her
like birds to our backyard
come to pluck seeds
from the center of a sunflowerand 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 bombuntil 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.








