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She Does Not See What She Does Not Know, Xtra, Los Angeles, CA, Vol. 6, No

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She Does Not See What She Does Not Know, Xtra, Los Angeles, CA, Vol. 6, No - Clockwise from top· 1727 Nonh Spring Stree1, Los Angeles, CA, 2004.Photo: Kaucyila Brooke. detail, 1727 North Spring Street. Photo: Kaucyila Brooke. Book Launch for Teny Wolverton's InsurgentMuse In the gallery of the former Woman's Building, 2002. Photo: Kaucyila Brooke 20 HER-STORIES energy-clearing practice called Ho'oponopono is cond In 1973, artistJudy Chicago, graphic designer Sheila Levrant to save the building from its demise. The Natalie B de Bretteville and art historian Arlene Ravenl establish the Collective conducts The Lesbian Art Project to desj Woman's Building in Los Angeles. Initialy it includes the educational program and to produce "beautiful, el co-op galleries Grandview 1 and 2, Sisterhood Bookstore, events"; members of the FSW haul artist Kate Millet's the Los Angeles chapter of N.O.W., Womanspace and the statue of a woman to the roof of the building, and the Feminist Studio Workshop. Young women come from all over produces the poster "Will You Help?" which shows s the country to be students of the FSW and arrive to build up naked white women of different sizes asking for help the program literally one floor after another. First lessons funding and donations for the building; they prese include scraping, painting, building walls, wiring,plumbing, exhibit of Nancy Fried's bread dough sculptures sho cooking, washing dishes, designing posters, sending out lesbian domestic scenes, a "Sizzling Disco," a "Fam· bulk mailings, hauling folding chairs and finding resources. Women Dance," "Dyke of your Dreams Day Dance," From there they move on to feminist theory, feminist art, art a series of Lesbian Create-Hers Salons, then the Na history and criticism-all of this achieved through traditional Barney Collective burns out; projects and performa methods and consciousness raising groups. CR groups are at the building include ·� Oral Herstory of Lesbiani held on such topics as violence, sex, money, work, class, "Feminina: An IntraSpace Voyage," GALAS - the "G racism, and incest survival. American Lesbian Art Show," ·� Intimate Dinner for Celebrating Eleanor Roosevelt and All Great Lesbi During the Woman's Building's years of operation, all "The Passion; Heaven or Hell," "Combat Billboredo students and faculty establish different relationships to the "Bedtime Stories: Women Speak Out About Inc process over their time at the building. Some students are "Gentleman's Choice," "Madre Tierra," "Cross Pollinati thrilled to be a part of the FSW; other students complain that and such publications as Manteniendo El Espiritu e the year they arrive there is not one visual artiston the faculty. by Aleida Rodriguez, and Women for All Seasons, edited Students in 1976 think that too few lesbians are represented Wanda Coleman and Joanne Leedom-Ackerman; out of or participating in the workshop; students complain that the Feminist Studio Workshop come such groups as Mother faculty are never there; students are critical of the fancy cars the Feminist Art Workers, the Waitresses, and the Siste that the founders drive; and students are mesmerized by the Survival; the building hosts performances by Lily To charismatic personalities of the faculty. Susanne Lacey, Phranc, Nancy Buchanan, Eleanor An Martha Rosier, Rachel Rosenthal, Carolee Schneeman The building's participants have love affairs, renounce their Barbara Smith, to name a few. backgrounds, embrace their backgrounds, smoke dope, drink, practice witchcraft or Wicca, open a thrift store, have fashion REPETITION FOR EMPHASIS shows, learn typography, learn performance art and even To day a big, school-bus-yellow sign hangs above the seco try painting and drawing; lovers get together, lovers break floorwindows on the brick facade of 1727 North Spring. It up, some who meet here are still together now; students ''.American,Available, 323-581-7774" in bold, black type. sleep with faculty, other faculty disapprove. Friendships break up over whether or not it is right to accept funding This is the site of the former Los Angeles Woman's Buil from the Playboy Foundation; years later funds from the owned by Poloma Properties and now functioning as city are secured when the director learns that a particular studio building for artists who rent space independent city councilman never says no to cleavage; when she goes any identification with a political or cultural agenda. Th to City Hall she makes sure to end the meeting by leaning are very few remnants of the program that existed here fr over his desk strategically. White women sit in anti-racism 1973-1991. On the second floor is a hand-painted sign o study groups and strategize bow to open up the building to hallway wall that quotes a text written on the occasion of women of color, women of color are hired, women of color opening of another. previous Woman's Building at the Wo are fired,women of color resign from the staff of the building Columbian Exposition on May 1, 1893 in Chicago. The si as do white staff members; white women are the architects was painted in 1976 for an exhibition about the 1893 worn of the building's programming, white women form the long­ art exhibition. Now the wall is part of a hallway that leads term core staff; while receiving an award from the Woman's studios. The sign is frequently obscured by large canvas Building a former Latina member of the board of directors stored against it by the artist who works in an adjace publicly denounces the organization for not being inclusive studio. I have a studio on the same floor. I sometimes ch of issues and structure relevant to women of color; straight on the sign to see this vestige of the former occupants. A f women artists feel uncomfortable at events because lesbians years ago I invited some Danish feminist artists to see are aggressively making out in front of them and they feel sign. I hope that it is in.eluded somewhere in whatever th excluded: everyone feels like they are not "in" the "in-group" made from the video footage they gathered while they we except those who are "in" the "in-group," and a Hawaiian researching feminist art-making in L.A. X-TRA. VOLUME SIX. NUMBER THREE. SPRING 2004. The first time I show my work in Los Angeles is in the main INSURGENT MUSE gallery of the Woman's Building in 1988 in the exhibition Fortunately,this history is not lost but has been documented "Image and Text" curated by Susan Robinson. Excited and will continue to be revisited in exhibitions, catalogues,Art to be showing in the place where I'd read that the West art historical books and essays and most recently in Te rry Coast feminist art movement started, I visit Los Angeles for Wolverton's valuable memoir, Insurgent Muse: Lile and the exhibition. Concurrently with the show, the Woman's at the Woman's Building, published last year by City Lights. Building organizes a conference at UCLA called "The Way This achingly candid book gives a detailed interior picture We Look, The Way We See: Art Criticism for Women in the of not only one young woman's journey through the feminist 90s." This conference is meant to bridge the gap between counterculture movement of the 1970s but also the success 70s and 80s-era feminist theory and practice and the late and failure of a seminal (or as s.ome ''wimmin" called it 80s feminist art production that is informed by academic, "ovular") art institution of the 70-80s. Wolverton's important poststructuralist theory. My work is included to reference document traces a narrative of the effect of government the latter, which seems strange to me because my own ideas policies and economic pressures under which the women about feminism and culture are drawn from my experience who directed the building thrived, struggled and eventually and analysis of living in a west coast lesbian community not folded. so dissimilar from the generation of feminists that constructed the Woman's Building. In the 1970s, Wolverton observes, many young people engage in "alternative" culture by working for little or no pay in I can see the wall where my work once hung in the context various organizations. They live in subsidized housing, or of other feminist artists. It is the only room that I have ever with cheap rent in large collective households in the inner known as a part of the Woman's Building program. Like city that hold no charm for suburban families, buy groceries everyone else, I read and hear about the rest of the activities with food stamps, get free health care that is available that took place here. The gallery is an empty foyer now and from the free clinics, go to hippie dentists who practice in the Woman's Building is no longer a center for feminist art, unusual places (in Eugene, Oregon the dentist worked out but the artists renting studios here still call it the Woman's of a converted flower-painted school bus), and get mental Building. When I move to Los Angeles in 1992, the Woman's health care from professionals who have sliding fee scales. Building project is already defunct. The "garage sale" was In the middle-to-late 70s, the CETA IV [Comprehensive held the year before. In Chicago in 1991, Vanalyn Green and Employment and Tr aining Act) employment and training I invite Catherine Lord to give a talk at the School of the Art program pays for most staff salaries in the Woman's Building, Institute and she reads from a text about attending this last and consistent and generous grants from the NEA support act of the building as it closes its doors.
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