Celebrities with Lots of Kids | Famous People Who Have 6 Or More Kids
Madonna is listed (or ranked) 1 on the list 40+ Celebrities Who Have Photo: via Tumblr. Madonna has 6 children: Lourdes Leon (born ) with Carlos Leon. "We're all children of mothers," explains Guadagnino from his hotel in Soho. "The mother and child relationship is important; it's so. The Tumblr site Parents on Phones hosts hundreds of pictures of moms and dads The captions are sometimes harsh: “My daughter posing next to a mom who reported playground accidents, finding a strong relationship between the two.
She was rollerblading home alone one dusk on Kittson County Road 1, a northern Minnesota county road flanked by golden grain. They could tickle men to death and then eat their bodies. They could protect women and children or punish them brutally. His mother went to Nice seeking refuge from Soviet-occupied Eastern Europe.
There, she lived with her two sisters in a small flat where they worked as hat models in the city on the coast of the Mediterranean Sea. Beautiful women in hats. When I write about them I come up with more questions than answers, so this past feels closer to mythology to me, to a set of exaggerated familial beliefs, some, perhaps, fictitious.
This was Europe, late s, and they were Jews who escaped to America. In Nice, some versions of the story go, they changed their names and assumed Christian identities. In Nice, they lived as themselves and as false selves.
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Intermediate spirits in Icelandic folktales, those who can shape-shift, are depicted, often, as beautiful women. The moral point of the shape-shift narrative is connected to punishment, to reveal dubious or desperate transformation and its consequence.
Like a good secret, shape-shifting acquires its gravity by what it conceals and promises to expose later. Across cultures and mythologies, some shape-shifters are more deceptive or punitive, many are humiliated for their transgressions, some symbolize inner conflict, such as the werewolf who changes to reveal his true self. In some shape-shifting narratives, once a character takes on a new form, it becomes impossible to change back.
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It would be a betrayal to her memory, her friend said, to do these things alone now. The memory of that sight would be her punishment. John Berger defines sight as the thing that comes before words.
To Berger, the relationship between sight and knowledge is never settled and always relational, mediated by perspective, by sight relative to position. For you, reader, I objectify my experiences and lay claim to those of my family. I mold, omit, and transgress the past. But the violence is real, the vulnerability that hangs around the edges of sight. Dusk has turned the windshields to mirrored glass. But the violence changes the person who looks. The hills were steep and mossy and rocky.
All the people I saw were tourists like me in bunchy jackets and hiking boots. I was grieving and lonely and wanted something revealed to me. I knew this was ridiculous, but I wanted it anyway. Some unnamable more, some sight or being to lure me away from pain. In some shape-shifting stories, the mother appears and beckons the child home. Instead, in the hills above Laugarvatn, behind mossy lava rocks, there were clumps of used toilet paper.
Johnson quote can be found on page 28 in The Reckonings. They are investigating the interrelationship of labor, storytelling, institutional infrastructure, and archival knowledge-keeping through the lens of energy—specifically, the historical and contemporary methods of production at Carleton. How do the elements impose themselves upon us?
It is too cold—20 below zero should not be spoken of unless one freezes ears or nose or toes or some other appendage and wants to account for it so as not to blame, as I have frozen none of my appendages this winter. I shall not say anything about the weather— My troubles are not about freezing, but about keeping warm and about colds and grippe and inflammation of the nasal passages. I have been hoarse for several days that persons remark about it as soon as I speak to them.
We also asked the drillers to donate their own worksite snapshots to create a dialogue with our images. We are drawn to the networks of labor needed to build and maintain this system, the tools and tradecraft, and the personal stories surrounding this industry. Linking past and present through archival investigations, we are exploring the barriers we erect to guard ourselves from the perennial impositions of the weather.
Leslie Grant is an artist and educator based in Minneapolis. Through photographic imagery and mixed media, her practice focuses on collaboration and storytelling, and she works with laborers in a range of industries, such as mining, forestry, and refining. In the Stacks — Most of us are listening. Five squares with different color borders are above the box overlapping each other, each tilting a bit more to the right than the last, making them look as if they are in motion.
Many also include interactive ways to leave your opinions and perspectives when viewing timely exhibitions. Recognize that no one in the universe exists at the same intersections of life as you do, and will not have the same thoughts and critiques as you.
Use these opportunities to exercise your right to civil disobedience and drop some of your knowledge on your local museum. Use these as opportunities to talk to your loved ones about social justice. Staff working to push institution in more radical directions needs you to ask. In what ways have your local cultural heritage institutions maintained single story narratives that have excluded important historical perspectives? What do museums and cultural heritage institutions mean to you?
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To learn more about how people are calling for change in museums and cultural heritage institutions, like us on Facebook, Twitter or Tumblr. Add your voice to the project by visiting http: Follow us on Twitter nikhiltri and PorchiaMuseM.
Until the idea of bodies of color goes beyond pawns of representation to attract a larger audience and actually begins to be included in the decision making and curation process the museum will never be a safe or welcoming space.
My experiences in art and history spaces that were alternative to what I was seeing in the mainstream were some of the biggest contributors of inspiration in my artistic journey. My parents are also very connected to the artist community in their Midwestern city because they value storytelling.
So growing up, they always found independent theater companies and workshops about histories and art that interested them. One of the most prominent is run by two South Asian playwrights and directors.
My mom befriended them after seeing one of their shows and now my Dad is on the board helping develop new theater curriculums to implement in local high schools.
What always stands out to me is the way a museum is constructed. In my experience with history museums, there is very little research and exhibitions about black and brown communities. For example, at my local history museum love that place, by the way I saw a piece of an exhibit dedicated to the Haymarket riots.
There was language that was very pro- and anti-anarchists, especially around violence. I tend to distrust institutionalized knowledge. For example, the medical-legal system works together to name bodies a particular way around sex and gender, which can limit how people understand their bodies. I think museums can work that way, too, as they have a particular place in keeping knowledge. Sometimes museums are really fantastic, too! I appreciate museums and what they offer!
I like the interactive experience, and that museums are designed to provoke thoughts, questions and interaction. I want my local museums to capture local and community history told from multiple perspectives, especially by people of that community or directly a part of that history. Also in nature museums, linking environmental issues to indigenous history and contemporary issues.
They are wearing glasses and sit in front of a painting. While some of my favorite objects are typically those from ages ago, I often wonder where they came from, and I assume that they were not ethically obtained when they come from areas with a history of colonization. Being in the presence of really old objects gives me a sense of being grounded in a history that is so much larger than myself.
I love the thoughtful stillness, pregnant silence, and being surrounding by really old objects that had artists hands all over them. That is humbling while at the same time brings about a sense of connection. I feel a sense of wonder at thinking about the people who created or interacted with the objects, and curiosity about their day-to-day experiences.
I also think about how I, who am in many ways living an incredibly different experience, could be connected to them through sharing the experience of this object as well as our core humanity and existence. I think a big part of my love of old objects stems from my long held interest in early humans and human development. I also love the soft lighting, and opportunities to sit, gaze upon, and share space with objects of art. They are smiling while holding a small dog. It reminds me of how I felt reading American and World history growing up.
How much was I just a disengaged pre-teen and teen? And how much was due to the fact that I had zero representation in these history books? I love when museums have fascinating stories about the artists as well as ways to appreciate and access the art on display.
I remember seeing a very cool, relatable, accessible, educational, inspiring exhibition on race in a museum. In a Paulo Freire context, I think I am more mobilized and engaged when I can locate myself in history.
What I love about museums is the opportunity to experience the power of shared observation and reflection. I visited a presidential museum which includes an exhibit on slavery.
The exhibit has wax statues of a Black family being torn apart as the slave Master is taking the father away in chains as his wife, holding their infant child, cry out in pain. It is a startling scene and I recall when I first saw it, another family-a White couple with their young children-entering in.
It was, ironically, just weeks before Obama won the election and gave me a sense of awe how the nation had changed. If the purpose of museums is in part educational, I would like to see opportunities, in person or online, for visitors to contribute to the educational dialogue.
It may range from the simple appreciation of an exhibit to the nuanced insight of a person who was affected by the issues raised by the work s depicted.