Artist Tour of Historic Kenwood 2017

“Disruptions, Extrusions, and Other Chaotic Consequences”



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

MOM Art Annex 538 28th St. N. St. Petersburg, FL 33713 March 18-19, 2017 10am-5pm

Art_Tour_CollageI’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. In 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 about themselves –namely, that our body belongs to others more than it belongs to us. 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, chaotic, messy, smart, bloody, imperfect, and old but still a work of art.

Martha Joy Rose, January 29, 2017

The exhibit utilizes photos, paint, fur, fabric prints, and mixed media with emerging dolls.

Background from MoMA: 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.



The representation of the female body in the feminist art as the body politics:

INSPIRATION: Inspiration borrowed, adored, cherished, and enacted for this show from the following sources: Virginia Fitzgerald, Charlotte Ghiorse & House of Choclet, Christen Clifford, Alana Ruben Free, Barbara Katz Rothman, Adam Horkavy, Lauren McIntosh, my children, the women of Mamapalooza and the Museum of Motherhood, Procreate Project, the Artist Enclave of Historic Kenwood, and others too numerous to mention but all admired and appreciated.



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