Alper Initiative for Washington Art
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ALPER INITIATIVE FOR WASHINGTON ART June 16 – August 12, 2018 American University Museum at the Katzen Arts Center Washington, DC ALPER INITIATIVE FOR WASHINGTON ART WWAC members standing in front of its original headquarters on Q Street NW, Winter 1978-1979. Photo by Gail Rebhan. Pictured top row, far left: Joyce Zipperer. Bottom row, left to right: Carol Samour, unidentified, Margaret Paris, Mansoora Hassan. 2 | LATITUDE FOREWORD In 1975, good commercial galleries and great Many, many people have been involved in bringing museums already existed in Washington, DC, but this exhibition to the American University Museum. I none served artists or the public beyond offering must thank Judith Benderson for tenaciously pursuing commercial (that is, saleable) art or art already blessed what turned out to be a great and timely idea for an by an art historical imprimatur. exhibition, and Françoise Yohalem for undertaking the formidable task of selecting works from over 110 Women artists, especially, were underrepresented in submitting artists—works that fairly represent the scope this system. There were certainly exceptions—Manon of talent exhibited and encouraged by the WWAC. Cleary, Rebecca Davenport, Carol Brown Goldberg, I should also like to thank Claudia Vess and Barbara Ann Purcell, and Anne Truitt were all showing at Ramon Wolanin for their great historical research, Lee Fleming Osuna’s Pyramid Gallery, for example. But these for her unflappable editorial gifts, and Vida Russell and exceptions proved the rule: women faced an uphill Lloyd Greenberg for their phenomenal design of this battle for space, critical recognition, and sales. catalog. Ellouise Schoettler and Lucy Blankstein should be commended for creating the documentary Voices Enter the Washington Women’s Arts Center (WWAC), from the Washington Women’s Arts Center, which has which, with the Washington Project for the Arts that enhanced the exhibition with valuable historical insight also opened the same year, presented a much-needed from WWAC members. alternative to the prevailing commercial gallery/ museum system. I remember walking down those The Wolpoff Family Foundation has once again steps into the basement space on Q Street NW. It was provided crucial support for this catalog. Most abuzz with activity and energy—evidence that women especially, we must all thank Carolyn Alper (a former were taking exhibition matters into their own hands. member of WWAC) for creating and endowing the Alper Initiative for Washington Art for just such a good It would still take many years for them to achieve parity purpose as Latitude: The Washington Women’s Arts in the art world in terms of numbers of exhibiting Center 1975–1987. artists. But by the time WWAC essentially closed in 1987, great progress had been made and the reason Jack Rasmussen for its existence was no longer felt so urgently. Latitude: Director and Curator The Washington Women’s Arts Center 1975–1987 American University Museum serves as a celebration of progress achieved, and as a at the Katzen Arts Center reminder there is still unfinished business at the top. Washington, DC LATITUDE | 3 CURATORIAL ESSAY When Jack Rasmussen invited me to curate Latitude: The Washington Women’s Arts Center 1975–1987, I felt honored and energized. At first, we were concerned that we might not be receiving a large number of applications (maybe 40 at the most?) and we discussed the idea of having two separate shows: a “historical” one, featuring works from the period 1975–1987, and another separate exhibit of selected recent works by artists who have continued to practice and perfect their craft during the last 30 years. But after we received materials from 110 former WWAC members, reviewed all the images, and read the statements, we reconsidered. We felt there was an opportunity here for a more comprehensive historical exhibition that would try to bring back the energy, passion, and talent of members who were active during the years when WWAC was “the only show in town.” Recent works would be presented in a slide show, as well as some of the interviews. I realize that it was not easy for artists to find images and actual paintings, sculptures, and installations they created more than 30 years ago, but I appreciate that many did, and I was happy to “rediscover” works I remembered. Some of the images submitted were of poor quality and hard to judge, but I tried my best to put together a representative exhibit as a tribute to the artists of WWAC. In 1975, I returned to the Washington, DC, area with an MA in studio art. Having studied at AU for several years for my BA, I had met some art students (who became serious artists) and art teachers here. As manager of Franz Bader Gallery I became familiar with the local art scene and appreciated the quality of the work that was produced at that time. There I met many serious aspiring and professional artists as they came by the gallery to see the exhibits (mostly by male 4 | LATITUDE artists). I enjoyed going to the shows at WWAC and attending special events where nationally known curators presented quality exhibits on specific themes, infusing energy and pride in those who were selected to participate. I curated the exhibition Best of 85 Sculpture there in 1985. I was touched by the testimonies and stories artists sent. Years later, they still talk with nostalgia, but also appreciation and enthusiasm, about the importance of WWAC in their lives and careers. Many at the time were young women eager to learn how to manage caring for a family and being a serious artist. Being selected for a show at WWAC validated their efforts and gave them some assurance that their work was being appreciated even though the “art world” mostly ignored them. Being part of WWAC was belonging to a caring community where artists could exchange practical information and ideas, discuss their frustration, and share hopes and dreams in a friendly and nonjudgmental environment. As I read the resumes, I was impressed by the accomplishments of many of these women, some of whom achieved national and international reputation as artists, others who chose teaching and others art-related professions. Sadly, some very good artists have left us whose talent is still in our memory. We could not always locate their work, and I wish all of them could have been included. I hope that, for the participants, this show will bring back the energy and passion that artists were expressing at the time through some of the iconic works whose timeless message is still resonating loudly within all of us. Françoise Yohalem Independent Curator San Miguel de Allende, Mexico LATITUDE | 5 FRANÇOISE YOHALEM Françoise Yohalem has an undergrad- uate degree in painting and art history from American University and an MA in studio art from SUNY in Albany. After a brief career as an artist, she managed the Franz Bader Gallery in the late 70s. She was invited to jury a sculpture exhibition at the Washington Women’s Arts Center in 1985. After leaving the gallery scene, she became a curator and started a busy career as an independent art consultant, eventually specializing in art in public places. She also managed two alternative gallery spaces in downtown Washington, where she organized regular exhibitions. As a public art consultant, she has worked for government agencies as well as the pri- vate sector and has been responsible for dozens of large site-specific commissions around this area and nationally. Since her retirement, she has been splitting her time between San Miguel de Allende, Mexico, and Chevy Chase, Maryland. Françoise is delighted to have the opportunity to “reconnect” with the local art scene which has been a very important part of her professional and social life for more than 40 years! 6 | LATITUDE LATITUDE | 7 THE WASHINGTON WOMEN’S ARTS CENTER: A BRIEF HISTORY Claudia Vess and Barbara Wolanin “What was it like to have a place to hang your art when no commercial gallery would even look at your slides once they saw you wore a skirt?” The Washington Women’s Arts Center (WWAC) opened on April 20, 1975, with an exhibition of work by seven sculptors and a lecture by author Katherine Ann Porter,1 kicking off a whirlwind of exhibitions, lectures, literary events, theatrical performances, exchanges, and workshops whose daring and creative efforts permeate the Washington, DC, art scene today. Located at 1821 Q Street NW, just north of Dupont Circle, the center was in the heart of the gallery district near the Phillips Collection, think tanks, professional associations, cafes, shops, bookstores, and embas- sies. Starting with 100 members, in five years the nonprofit organization boasted more than 800 members (mostly artists, art historians, and collectors, with a lot of writers and poets, plus lawyers, accountants, and political assistants, and a few men). The newsletter was mailed to 2,000 addresses. The WWAC mission was “to promote interest in the work of women artists and writers—past and present—and to encourage women by creating a supportive climate and by sharing information and expertise to heighten the professionalism of women in the arts.”2 WWAC proved to be a resilient, all-arts center, respon- sive to the wide-ranging interests of women artists. Whether managing households and raising children or working full time, members of different generations and interests joined to exhibit or perform, and to enhance their professionalism. The Center welcomed everyone with an interest in art. Pamela Thompson, who joined the first year, describes herself as a “shy 20-year old” who went “to Dupont Circle to all the galleries and stumbled upon the small gallery in the basement.