A generation has passed since a physician first noticed that women who drank heavily while pregnant gave birth to underweight infants with disturbing tell-tale characteristics. Women whose own mothers enjoyed martinis while pregnant now lost sleep over a bowl of rum raisin ice cream. In Message in a Bottle, Janet Golden charts the course of Fetal Alcohol Syndrome (FAS) through the courts, media, medical establishment, and public imagination.
Long considered harmless during pregnancy (doctors even administered it intravenously during labor), alcohol, when consumed by pregnant women, increasingly appeared to be a potent teratogen and a pressing public health concern. Some clinicians recommended that women simply moderate alcohol consumption; others, however, claimed that there was no demonstrably safe level for a developing fetus, and called for complete abstinence. Even as the diagnosis gained acceptance and labels appeared on alcoholic beverages warning pregnant women of the danger, FAS began to be de-medicalized in some settings. More and more, FAS emerged in court cases as a viable defense for people charged with serious, even capital, crimes and their claims were rejected.
Golden argues that the reaction to FAS was shaped by the struggle over women's relatively new abortion rights and the escalating media frenzy over "crack" babies. It was increasingly used as evidence of the moral decay found within marginalized communities--from inner-city neighborhoods to Indian reservations. With each reframing, FAS became a currency traded by politicians and political commentators, lawyers, public health professionals, and advocates for underrepresented minorities, each pursuing separate aims.
The Mural Arts Program of Philadelphia began in 1984 as a summer youth program with modest support from city government. Under the guidance of Jane Golden, however, it gradually grew into one of the largest and most successful public art organizations in the country, garnering support from local corporations, foundations, and individuals to extend the reach and effectiveness of its innovative programs.
Now three decades later, the Mural Arts Program has created more than 3,800 murals and public art projects that have made lasting imprints in every Philadelphia neighborhood. In the process, Mural Arts has engaged thousands of people of all ages from across the city, helped hundreds of ex-offenders train for new jobs, transformed the face of struggling commercial corridors, and developed funding partners in both public and private sectors.
While the Mural Arts Program has significantly changed the appearance of the city, it has also demonstrated how participatory public art can empower individuals and promote communal healing around difficult issues. Philadelphia Mural Arts @ 30 is a celebration of and guide to the program's success. Unlike Philadelphia Murals and the Stories They Tell and its sequel, More Philadelphia Murals and the Stories They Tell, Philadelphia Murals @ 30 showcases the results of 21 projects completed since 2009 and features essays by policy makers, curators, scholars, and educators that offer valuable lessons for artists, activists, and communities to emulate.
Philadelphia Mural Arts @ 30 traces the program's history and evolution, acknowledging the challenges and rewards of growth and change while maintaining a core commitment to social, personal, and community transformation.
Contributors include: Dr. Arthur C. Evans, Jr., Arlene Goldbard, Thora Jacobson, Rick Lowe, Dr. Samantha L. Matlin, Paulette Moore, Jeremy Nowak, Maureen H. O'Connell, Elisabeth Perez Luna, Robin Rice, Dr. Jacob Kraemer Tebes, Elizabeth Thomas, Cynthia Weiss, Howard Zehr, and the editors.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press