The National Gallery of Victoria's (NGV) latest exhibition, 'Mother', is a thought-provoking exploration of artists' experiences of motherhood throughout history. It's a unique and powerful show that challenges the traditional, often contradictory, views of motherhood. The exhibition is curated almost entirely from the NGV's existing collection, offering a distinct local perspective on this universal theme.
One of the exhibition's most striking features is the juxtaposition of a 15th-century oil painting of the Madonna and Child by Giovanni Toscani with a 1998 conical birth mat by East Arnhem Land artist Elizabeth Birritjama Ngalandjarri. This pairing highlights the tension between the idealized, pure image of the Virgin Mary and the very real, physical experience of childbirth and motherhood in Australia. Co-curator Sophie Gerhard, a mother herself, explains this approach, emphasizing the importance of bringing together diverse perspectives and challenging the status quo.
The exhibition is divided into several sections, each exploring a different aspect of motherhood, from the transition to motherhood (matrescence) to the giving of care, the creation of magic, and the experiences of loss and grief. This chronological journey through the life cycle of a mother provides a comprehensive and nuanced view of motherhood.
One of the exhibition's strengths is its inclusion of First Nations stories, which are often underrepresented in discussions of motherhood. Artists like Kate Just, Kyra Mancktelow, Destiny Deacon, and Hannah Brontë contribute powerful works that explore the complexities of mothering in Indigenous cultures. For example, Mancktelow's 'One Continuous String' is a replica of a cotton dress her grandmother was forced to wear, made using traditional weaving techniques, symbolizing the enduring impact of colonial practices.
The exhibition also showcases a wide range of experiences of motherhood, from the drudgery and longing to the joy and play. Photography and video play a significant role, offering realistic glimpses into domestic life and the invisible work that mothers perform. The display of vintage and antique items, such as an earthenware feeding bottle and prams, toys, and clothing, adds a layer of nostalgia and historical context.
However, the exhibition is not without its limitations. As co-curator Katharina Prugger acknowledges, the show relies heavily on existing collections and could not include more new acquisitions due to budget constraints. This means that certain aspects of modern parenting, such as IVF, are not prominently featured. Yet, the exhibition's strength lies in its ability to connect with people on a personal level, as Prugger notes, with visitors often sharing stories of their own families.
'Mother' consistently challenges the viewer to consider the aesthetics and roles associated with motherhood. It prompts us to question which images and narratives reinforce narrow, unrelenting expectations of motherhood and which offer a more nuanced and humanizing perspective. The exhibition's exploration of maternal aesthetics is particularly thought-provoking, especially in light of the diverse and often conflicting experiences of motherhood.
As someone who has recently experienced maternity leave, I found the exhibition deeply resonant. It was a relief to see a major art institution like the Ian Potter Centre engage with these complex issues and to witness the exhibition's ability to weave together the diverse experiences of mothers across time and cultures. 'Mother' is a must-see for anyone interested in art, history, and the multifaceted nature of motherhood.
The exhibition is on display at the NGV until July 12th, offering a unique and powerful perspective on one of the most fundamental human experiences.
