el**gi*g J,rno o*J lll"l,i*g Pr/,r,x, llrA"*rhor. l,Uo^n*'o eo*^ /"r--0rt 978-l9BB by MaryRoss Thylor
"emerged Association 7972 in he Houston \Toment Caucus for Art (H\7CA) celebrated For Art from the College Art in organization art historians its 25th anniversary in 2003. The Caucus was founded protest of male domination of that [of arts in when Houston, already one of the largest cities in the and artists teaching at the post-secondary level] and ofthe Local chapters began forming in the late 1970s and United States, began to develop a large and institutionalized art general."n the national cause. communiry. It was an opporrune moment for art activists, and Houston women artists readily identified with 'A an from 1978 through 1988 the H\(CA participated in local and bunch of us separately went down to I\7Y and they had 'Are there any good national activities with extraordinary effectiveness. Its efforts were art section where we discussed the old question, question rocked the art world unmatched by any other Houston artists' group or by the Caucus women artists?' That was the that asked. of us were affected. itself after the first ten years. then. Itt terrible it could have been All The Caucus was most active politically prior to opening the \7e questioned ourselves and each other. The men had social places Firehouse Gallery on lower 'Westheimer in 1983. \fhen The to gather, bars and other places they comfortably hung out, but the Lynn Museum of Fine Arts presented "Fresh Paint: The Houston women had nothing; we were in our garages and our homes," remembers, "There were all these School" in 1985, it marked the end of a period of visible struggle Randolph recalls. Toby Topek by Houston artists for local respect.t During the same year, the women in the room [at I\MYI discussing what women could do- Caucus published its last major catalogue in conjunction with a it was so exciting! My life began that day."' big muld-site exhibition.'The drive for equal opportunity that In 1978, mainsueam United States feminism was a political motivated the Caucus in its early years lost its force as Houston movement with an agenda of demands for reforming the treatment artists attained respectabiliry and, with it, more exposure and of women by legal and cultural institutions. Prior to the I\MY opportunity for recognition. By 1988, the Caucus, hosting the Conference, Houston had hosted the first national conference of national \Toment Caucus for Art conference, persuaded forty the National \7omen's Political Caucus and a national conference artists made museums and galleries to open their doors to exhibitions of local of the National Organization for \7omen. The who women artists. By the conclusion of the conference, political up the H![CA acted in the spirit of the times, conducting their "Suggested action had disappeared from the Caucus agenda.' first meeting on the basis of a list of Procedures" Political activism was never the only mission of the Caucus' gleaned from advice by national \7CA president Judith Brodslcy, Board of officers Providing a supportive network of fellow artists was the first and an art historian. Power was vested in an Executive repre- most enduring function of the group. \7ith no office, no paid stafi and two advisory committees of members and communiry concern about and certainly no financial angel, the Houston \Toment Caucus for sentatives. Respect for individual viewpoints and were Art quickly accomplished a remarkable variety of programs. preventing the use of volunteer roles for personal promotion The group introduced Houston artists to each other, a net- and still are top priorities.* working function still valued by members. Through service on The chapter regularly revisited their political standards in the tVhen Harris national boards the organization connected local artists with the early years. founding president Roberta Graham national feminist art community. These connections brought crit- handed incoming president Jan Beauboeuf five handwritten pages on were a from ics and artists as speakers from New York and elsewhere and facil- of advice, the values she passed direct development itated sending Houston exhibitions to other cities in conjunction the procedures that had guided the organizing meeting.e Three with conferences.a In addition, a number of regional and national years later a membership survey described the organizationt func- "(1) (2) art conferences occurred in Houston. The Caucus used these meet- tions as a support group, an educational and professional (3) 'political' (4) ings to showcase work by Houston women. Not only did visiting resource, a collective, force and a communiry ser- vice and non-profit organization." The political origins of the expefis see the exhibitions, but the local audience saw them as Part of prestigious programs. Caucus were evident, howeve! in the introducdon to the survey: The energy to undertake an ambitious multi-faceted mission ...we feel the women's art moyement, like all movements vulnera- carne out of the International tVoment Year Conference held in begun from the fires ofinjustice, is a frail and ble, loosely formulated 'course of action' intent on bring Houston in \977 . On January 10, 197 8, women gathered in artist about a general change in attitude and behavior; Pat St. John Danko's Montrose home to start a chapter of the [sic] tVoment Caucus for Art. They had heard about the national orga- and as such, depends heavily on principled, committed nization at the [!7Y Conference.5 The national \Toment Caucus individuals who must be flexible but uncompromising
The Houston Review. Vol,l, No.1 25 in their primary dedication ro rhe particular social itive access for all. In an amiable leter, chaprer president Roberta changes they are advocating. In view ofthis we feel it is Graham Harris told Chamber of Commerce officials that Main essential at this point to seek and assess the attitudes, Street visual arts chairman Michael Meryko rebuffed a proposal moriyations, expectations and disappointments of the from the chapter to exhibit art because "The \Toment Caucus has Caucus members.,o had enough publicity this year" and Main Street "is not a hype Later surveys assessed the interests and priorities of the mem- woment issue."'o The Caucus was dissatisfied with their exchange bers, but the tone of the surveys shifted, emphasizing services of letters and copied the correspondence in May to Mayor Jim members desired rather than political concerns.ll McConn. Soon the Mayort Cultural Liaison, Molly parkerson, The political impulse behind the Caucus arose in a narional accepted Geruude Barnstonet invitation ro meer with Caucus context, but the specific positions the group took were very much members at Lynn Randolpht home.,, I the product of their local context. In the I 960s the Housron artist The Caucus was working out of members' living rooms, but its community was small and institutions were minimally engaged representatives were all business. They presented Parkerson "sug- I with local contemporary arr. As the 1970s began, only three gested guidelines" that began "Open to all...regardless ofrace, sex, women artists were regularly visible: Gertrude Barnstone, sculp- or creed" and proposed "highly respected members of the art com- tor Roberta F. Harris, and Dorothy Hood. All joined the Caucus munity...as advisors to those who select the members of the at its founding." Judging Committee." Parkerson, who went on ro serve on rhe In the mid-1970s, James Surls, George Krause, Gael Stack, H\7CA Community Advisory Board, endorsed the guidelines to john Alexander, Ed Hill and Suzanne Bloom joined the Universiry the Chamber of Commerce .22In 1979, Festival organizers appoint- of Houston art faculty.l3 Bloom joined the Caucus in its first year.,a ed an experienced artist and Caucus member, Alice Lok Cahana, Sculptor Hannah Stewart joined the art department at Universiry to head the Visual Arts section.23 of St. Thomas and became a Caucus member. James Harithas, who Despite the gender bias that set off the Festival confrontation, became director of the Contemporary Art Museum in 1974, fea- the values the Caucus advocated were both inclusive and main- tured local artists, including women, for the first time.r5 In 1979, stream. The chapter fought for open competitive opportunity sculptor Surls launched James the influential artist-run exhibition regardless of race, creed or gender.2a Equally characteristic was rhe space Lawndale Annex at the Universiry of Houston.,6 appeal to recognized art experrs to judge their work. The Caucus By the late 1970s the handful of Houston arrisrs who taught and sought acceptance by an art establishmenr that had always snubbed showed work in the late 1960s and early 1970s found themselves women. Since Houston artists generally felt snubbed by the local immersed "second in a wave" of artists who arrived or became visi- museums, it was natural for the Caucus and male artists to join ble in Houston. Among the "second wave" were numerous forces in demanding a greater role in Houston art institutions. women.l7 Moreover, the rwo daily newspapers employed four art To that end, the Caucus was visibly presenr in October 1978 at critics with feminist symparhies in the 1970s: Ann Holmes, a gathering of over fifty artists at the Contemporary Arts Museum. Charlotte Moser, and Moser's successor Donna Tennant at the Artists protested their exclusion from museum governance, argu- Houston Chronicle and, at Tlte Houston Post,Mimi Crossley. ing that the museum was so imporrant ro them that it should not The new Caucus promptly challenged two established institu- operate without their input. The outcome of the meeting was a tions: the local PBS television sration and the Chamber of twelve-member artists' advisory committee of the museum. Commerce. The action against PBS reflected the feeling that Affirming the credibiliry of the Caucus, four of the welve (chosen Houston was a ciry whose ardsts got no respect. It was the first of by the arrists rhemselves) were chapter leaders: Gertrude a series of causes that involved the politics of art but transcended Barnstone, Jan Beauboeuf Roberta F. Harris and Lynn gender. Male artists supported the Caucus in those advocacy Randolph.'5 actions, which increased the chaptert visibility and influence. Political action was swift, but organizing lectures and exhibi- On February 7 , 1978, four weels after their first meeting, the tions took longer. The Caucus really established itself in 1979.The Caucus decided to boycott the annual benefit art aucrion held by April membership roster lists sixty members; in May, the H\X/CA Channel 8, the PBS starion ar the Universiry of Houston.,t Charity Board decided to apply for formal nonprofit tax-deductible sta- donations of artists' work were no longer tax-deductible at market tus.'6 For the first time the Caucus pur on exhibitions. These were value, so "'$7hen H\7CA members said, dentists donate root in mainstream public places-although nor ar arr institutions. canals, we'll donate art!" The boycott was to be a surprise, but a Houston Public Library downtown was the site of the first H\7CA chapter member involved the benefit in disclosed the plan. The exlribition, "18 x 24," in January 1979. The Caucus also put on chapter fiercely reprimanded the whistle-blower and rebuffed the "Four Men / Four \fomen," a juried exhibition at the Alley auction committeet offer to institute a minimum bid. Fifly artists Theater in late January during the play Artichohe.,T In February, a refused to give work. The power of acting as a coalition surprised free public slide lecture by noted New York feminist art critic Lucy chapter members.'e Lippard proved the value of bringing in experts. Lippard secured Emboldened, H\7CA confronted the Houston Chamber of slides from some H\7CA arrists for future lectures.r8 In summer Commerce about the upcoming Main Street fesdval (precursor to 1979, a Caucus program introduced the New York Feminist Art the Houston International Festival). This time the conrroversy Institute in SoHo, with slides of Institute founders'work and "sur- originated in terms of gender, but the Caucus demanded comper- vival kits" of tips for women visiting New York City alone.r,
. 26 Ihe Houston Review Vol. I , No.1 Painter Lynn Randolph became president for 1.979-1980. the collaborative nature of program activity for members, but early Randolph originated important programs and wielded a wide per- participants are clear about the impact on their lives. Chapter sonal acquaintanceship on behalf of the group. By summer 1979, members implemented exhibitions, Iectures, panels and recep- the Caucus was achieving one goal: inclusion in Houston art exhi- tions, met guest lecturers, and talked to new acquaintances. In bition opportunities. After debating with Randolph about the type doing this, they practiced a variery ofskills at operating in the larg- of exhibition he needed to launch Lawndale as an inclusive and er communiry. Some say that practice was the most valuable and attractive space, James Surls included Caucus members in the invi- lasting benefit of their Caucus membership.33 tation to all Houston artists to participate in Lawndalet inaugural If 197 9 was a year of making itself known locally, 1 980 shifted exhibition, "Miniatures," held August 31-September 29. Shortly the Caucus focus to the regional and national stages. Even before afterward, the Caucus sponsored a reception at Randolpht home the members' exhibit in conjunction with "The Dinner Party' for eighry-year-old Louisiana sculptor Clyde Connell, whose first (which generated an enormous amount of publiciry in Houston solo exhibition in Houston was at Lawndale from September 28- about women and art), the Caucus was preparing for a regional November 23, 1979.a'These were the first of many Lawndale- meeting of the College Art Association-the group from which Caucus collaborations. the national \fCA had emerged. The Mid-America College Art Meanwhile, the art communiry and Houstont large feminist Association (MACAA) met in Houston in October 1980. communiry were learning that the University of Houston-Clear As part of the Conference, H\7CA presented two exhibitions. Lake would present nationally recognized California feminist artist Arizona artist Muriel Magenta (who later was National \7CA Judy Chicagot huge sculpture, "The Dinner Parry" in 1980.3'The President) juried "Heartland" at the Jung Center. Toby Topek of Caucus was to install a large members' show in the Bayou Building the H'\7CA organized an outdoor sculpture exhibition, "12 On at University of Houston-Clear Lake in March, 1980. It was not Site," which opened the night of October 23 on a vacant lot at a museum, but it was a venue where important Houston artists 4300 Montrose.'a Caucus members Roberta F. Harris, Candace had been shown, and the Chicago exhibition would attract Krrpp, and Toby Topek were conference panelists; Gertrude statewide visitors and critical debate. In June 7979, plarning start- Barnstone, sculptor and H\WCA president for 1980-1981, ed for the "Our Show" exhibition and an accompanying catalog. Suzanne Bloom, Linda Graetz, Lynn Randolph and Jana Vander Another collaborative venture was the first Caucus fundraiser, Lee all moderated MACAA panels." Randolpht presidency began the Black and Orange Ball. It was held on October 26, 1979 atJeff with an emphasis on local personal ties, but concluded with a burst McKissackt "Orange Show;" which was not yet open to the pub- of nationally visible activiry. Caucus membership increased steadi-
lic. McKissack attended and, for the first time, saw a crowd of peo- ly: sixq, h 1979 , eighty in 1980, rising to 101 in February 198 I .36 ple enjoying his creation.t'The Caucus was forming alliances with The Caucus took bigger steps in every area during 1981. The well-known and not-so-well-known art entities. All of them were ambitious "Houston / Austin: the Exchange" exhibitions opened new and putting down roots in the city. in January. The credibiliry of Caucus exhibitions was sustained by Chapter documentation scarcely mentions the significance of the practice of submitting possible works to outside professionals
The Cauou joined seu- eral communitl organi- zaions in renouating the oldfirehouse at 1413 Westheimer. It becarue the Firehowe Gallery for the Cauurs shows, beginning in 1983. Photograph by Debra Rueb.
The Houston Review . Vol.1 , No.1 27 who made the selections. For "The Exchange," Annette Carlozz| Glueck quoted Agee as saying, "Miss Roset hiring and the pur- curator at Laguna Gloria Art Museum in Austin, chose the Austin chase ofthe paintings are coincidental."a2 show. Marti Mayo, curator ar rhe Contemporary Art Museum, As the controversy unfolded, thanks to Crossleys digging, it selected Houston art. Both exhibitions were shown at St. Edwards became clear that Agee was quietly selling a number of works- Universiry in Austin (sponsored by'Women & Their !fl'ork) and at some given by prominent families and many by artists whose the University of St. Thomas art deparrment gallery in Houston.rT importance seemed to have increased, not diminished. The sales In November 1981, the Caucus co-sponsored a major exhibition were to finance the purchase of art for which others did not share with catalogue at Lawndale of national and local artists curated by the directort passion. The deal involving Roset husband seemed to Charmaine Locke, "The Image of the House in Contemporary give her, by questionable means, even more compensarion than her Art."r' New York artist Jackie Apple was presented in May at Rice sweeping title, non-resident status, and travel expense account. Media Center. The combination did not look good. Museum trustee Caroline Previous political acdons were overshadowed by the impact of Law conferred with Caucus representatives Suzanne Bloom and the next Caucus project, a challenge to the Museum of Fine Arts Lynn Randolph on April 15; they found her sympathetic.a3 The launched with a two-and-one-half page single-spaced "Open letter fiustees gave Agee a vote ofconfidence, but they also formulared to the Board of tustees." The letter objected to rhe appoinrmenr their first poliry concerning deaccession and broke tradition by of New York critic Barbara Rose as Curator of Exhibitions and making the names of their Boardt acquisitions committee public. Collections and to the covert sale of works by the museum to fund The following February Agee resigned.aa The Caucus had changed purchases of art from Ms. Roset husband, pop songwriter Jerry the face of the Museum of Fine Arts. Leiber.re In the end, the Caucus action led to the resignation of the Photography/video artist Suzanne Bloom, who had drafted director \Tilliam Agee, the demotion of Rose, and public changes most of the MFA controversy correspondence, became chapter in traditional Tiustee procedures. Agee was replaced by Peter president for 1981-1982. However, the event that distinguished Marzio, who still directs the Museum of Fine Arts; H\7CA creat- that year had nothing to do with political acdon. Ir involved the ed the opportuniry for Marzio to come here. ultimately successful negotiations by which the Caucus leased a Almost 100 women and men signed the Caucus letter and the gallery space of its own. The Caucus had wanted a gathering place, organization bought newspaper ads to reproduce it. Copies sent to resource centeq and exhibition space, a "room ofonet own," vir- local journalists provoked a series of investigative arricles by Mimi tually from the inception of the group.a5 As far back as 1979, City Crossley at The Houston ?asr, substantiating the H\7CA criti- Council member Lance Lalor spoke with Lynn Randolph and then cisms.an Several museum staffmembers were leaving, so it appeared wrote to the Caucus about the availability of an old fire station as that the Museum would be in the hands of nvo devotees of a nar- a possible gallery site.au row specialty. Grace Glueck wrore a column on the srtbject in The The Birkett Foundation had purchased the station, former \X/illiam New Yorh Times, in which Director Agee and critic Rose firehouse #16 at 1413 \Testheimer, for preservarion. A masrer were dismissive of the Caucus complaints.4r Glueck wrote, 'Asked Iease was given to the civic group Neartown Association. In about the sale of the worls, Miss Rose said: 'They are nor my September 1981, Neartown began discussing the possibiliry of paintings; they belong ro Jerry. I didnt know he had sold them to leasing space to H\7CA.4? The original fire truck bay of the 1923 the museum-although he donated one-because I was in building would serve as a gallery.a'Though it was much smaller Europe, doing research, and I had nothing to do with the sale."' than the exhibitions the Caucus had been organizing, the space
This photo of Caucus members on the steps ofthe Firehouse uas ured as an inuitation to a member shoru in the early 1980s. (l-a back row) unidentified, Tofu Topeh, unidtntif ed, Lin Swanner, Katheilne Norris, unidzntifed,
u n iden r if ed, Cy n r hia Batma n is, Sandy Sehzer Bryant, JoAnne Brigham, Lynn Randolph, Leslie Lopez, Pam Pool, unidentifed, unidentifed; (l-r sitting on steps)
Hei di Stanfi e ld- Ne ls o n, Fran Ka lma k o4 S h aron Stewart, unidentifed, Janet Hassingen Photograph by Debra Rueb.
28 The Houston Review . Vol.1 , No.1 was inexpensive and would be always available and under their was too small for Caucus shows but those gained credibiliry by control. The Caucus agreed to share the building with three appearing on the schedule ofestablished Houston venues. other community groups: Park People, Bayou Preservation Painter Sandi Seltzer Bryant, who became chapter president for Association, and the Citizent Environmental Coalition.ae 1983-1984, was the seventh president but the first president to In the summer of 1982, with sculptor Toby Topek as president have joined after the initial year.58 The transition in chapter leader- for 1982-1983, the chapter raised funds for and pitched in on the ship to a new generation was accompanied by the formal opening renovation of the Firehouse. A detailed prospectus for H\WCA of the Firehouse Gallery on September 11, 1983. Mayor Kathy Committee responsibilities was drafted and revised to delegate \Thitmire cut the ribbon at 2:00 p.m. The gallery featured a mem- authoriry deep into the membership in anticipaiion of growing bers'show of small work in boxes,'A Room of One's Own."5e In volunteer responsibilities in connection with the new gallery.5o December the Firehouse hosted "Tiaces," an exhibition organized Launching the Firehouse Gallery meant that, in addition to by Caucus members using "anonymous, accidental, coincidental putting art in community venues, the Caucus had to attract the works of art," things they found while driving around the ciry.60 communiry to their own space. Though inexpensive, the gallery The Caucus continued to thrive on challenges. In addition to would require attendants. Despite the challenges, it seemed a log- a schedule of varied exhibitions and talla at the Firehouse, mem- ical undertaking. Alternative (artist-run) spaces multiplied in bers organized large shows of local art at other venues in 1984 and Houston as the Firehouse was getting underway. These included 1985. Exhibitions Chair Dan Allison arranged for a members' Studio One (1980), Houston Center for Photography (1982), exhibit to go to Los Angeles in February, 1985 in conjunction with Diverse \7orks (1982), Center for Art and Performance (1982), the national CAA and \7CA conference.6' Midtown Art Center (1982), and Square One (1983).5' The "Artists at rWork," a monthly series in 1984, continued the Cultural Arts Council of Houston, which was formed in the mid- emphasis on introducing feminist artists to Houston by presenting 1970s to support the arts with hotel and motel tax revenues, five women artists: two from Houston, one from Philadelphia, one began funding Artist-in-Residence programs in 1979. Those from San Francisco, and one from Illinois. In May 1984, "futists helped, along with federal government grants, to staff artist-run at \7ork: The Future," was by children, in conjunction with other exhibidon sites.5' exhibitions by children in Houston that month.6'Ambitious local The Caucus sustained its national newrork by exhibitions and exhibitions were annual affairs. A show by eighty Houston artists, public lectures while work on the Firehouse Gallery began. In the forry-two of them men, was curated by painter Linn Swanner and spring of 1982, H\7CA presented a series of well-attended tall.Museum of Modern Art and Becky Reese, curator Community Advisory Board.65 of Huntington Gallery at UT-Austin, took part in a Caucus panel Swanner became the next chapter president, and a gallery coor- discussion in Houston in November 7982. In December 1982 a dinator, Paula Dugan, was paid to handle exhibitions and write reception promoting membership featured a talk by national pres- grants in 1984-1985. She was successful at this new Caucus job, ident Muriel Magenta. but as the season progressed the Caucus won and spent more grant Exhibitions and lectures began at the Firehouse well before the money than the group could match dollar for dollar. The shortfall official dedication. In March 1983 there was "Latin America: was in the budgeted goal of $10,000 individual conributions, \7omen as Artists and Artisans," accompanied by a slide talk on which occurred despite a membership directory of 126 names. By "Latin America: \7omen, Art and Social Change" by "Third February 1985, the $60 monthly cost of the newsletter was a wor- \7orld" artist Betty LaDuke from Oregon. New York afiist Nancy risome burden. Spero exhibited and spoke at the Firehouse in April. Thomas The new generation of leaders questioned the wisdom of con- McEvilley, professor at Rice Universiry talked on "The Problems tinuing as part of a national feminist organization. Swanner float- Facing the Artist in the Current Situation' that month, and Diana ed the idea ofa name change, reporting that prospective corporate Block, director of the nonprofit DW [Dallas 'Woment] gallery donors wanted to help art groups, not political organizations. The spoke in May.55 Caucus members showed their own work at members debated whether to leave the national organization. Half Lawndale in 1983; thirry-nine participated in the exhibition.56 the dues were remitted to the national office, which was also the Members also held a show October l0J8 at O'Kane Gallery of only arm of the organization eligible to compete for National Universiry of Houston-Downtown.57 The Firehouse was perfect Endowment for the Arts grants, which were imagined to be a for bringing small exhibitions of feminist work from elsewhere. It panacea by many arts groups in the mid-1980s.
The Houston Review. Vol.l, No.l 29 The busy schedule of Firehouse exhibitions and activities in Rosa: Essays on Texas Vomen in the Arts, in conjunction with the 1984-1985 gaye no hint of the questions being raised about the Conference.Ta A six-page tabloid newslerrer from the chapter in Caucust identiry. Fall 1984 began with a solo exhibition by February 1988 itemized the unprecedented array of exhibitions Louisiana sculptor Clyde Connell. The next solo exhibition was by and introduced conference parricipants.T5 lVhile Josd Valdez, a brickmaker whose clay work addressed his experi- the conference commiftee was developing a masterful ences as an immigrant worker on the Texas-Mexico border.nn event, the chapter confronted reduced circumstances. Johnson cre- Group shows presented books made by Texas artists, a juried show ated a restructuring plan for the Executive Board to discuss on of sculpture by chapter members, new feminist video ("Revising July 2, 1986. First on the list was building membership by deliver- Romance"), and a curated show of prints rhat was an event of rhe ing services members valued. From that project would come rev- Southern Graphics Conference at Rice Universiry.6T enues to pay offdebts if the gallery operated ar low cost or, through The biggest project of the year was "Self Images," an invitational user fees, as a profit center. Her checklist of ethical issues empha- show curated by artists James Surls, Derek Boshier, Rachel Hecker sized prohibiting artists from judging their own work for shows or and Toby Topek. It filled the Firehouse and Midtown Art Center trading professional favors, a conrinuation ofthe Caucus history of from April 5 to May 11. The Houston Coalition for the Msual Arts concern about the misuse of authoriry in a feminist organization. "Self promoted Images" as part of a seven-site "assemblage" of artist- Power would rest, as before, with the whole board; meetings would organized exhibition during the annual meeting of the National no longer be devoted to chapter business, but would offer mem- Association of Artists' Organizations in Houston.6s The energy level bers value for their dues in the form of programs.T6 of the Houston art community had never been higher. Tleasurer Sara S. Squires talked rhe printer into accepting The thirry-six page illustrated catalogue for "Self Images" was scheduled payments. The Board agreed to a hardship budget, but handsome, but the bill came as rhe season ended with a budget not without the loss of some disappointed members. Exhibitions, shortfall. Paying for the catalogue took the organization over rwo once routinely cosring $1000 or more, were held to around $100 years. To the Caucus, which had operated with a balanced budget each. Speakers and panels returned as a monthly feature, but for ranging from $1000 to $20,000 since 1979, a $7000 bill was the first time almost everyone presented was local, and the focus monumental.6' The exhibition schedule wenr forward at rhe was to be on'personal and practical matters." Garage sales and Firehouse for the 1985-1986 season without a paid staffmember. small fundraising events were calendared and the emphasis on More significantly, the chaptert cash crunch terminated the tradi- grantwriting was replaced by marketing J7 A pro bono plblic rela- tion of bringing exhibitions from around the nation ro Housron. tions consultant signed on in January 1987 through Business Mary Jane Connolly took over as chapter president, and the Volunteers for futs to assist with membership developmenr.Ts By gallery opened its Fall 1985 season with "Men of the Caucus" and May 1987, Squires reporred no outstanding bills. To maintain the two solo exhibitions by Houston-area women artists. The annual important tradition of subjecting members' work to outside evalu- curated show open to all Houston arrisrs was held in May 1985 at ation, curator and art hisrorian Robert Hobbs, who briefly worked Stages, a small theater.'. A new challenge became public in May of at CAM, was engaged to jury the members' show for the 1988 1986: Houston would host the 1988 national conference of the national conference even rhough his travel might be an expense.Te tWoment College Art Association and the Caucus for fut. The By December 1987, shortly before the 1988 national confer- national art communiry wanted to see Houstont new and interna- ence in Houston, the chapter had 167 paid members, the mosr tionally celebrated Menil Collecdon. ever.'o Johnson had handed over a solvent organization to the \[hen PamJohnson agreed to be president for 1986-1987, she 1987-1988 president, Terry Grigsby Rogers, a C.PA. who had faced the threat of a lawsuit to collect the remaining $2600 owed served on the Community Advisory Board. The national confer- on the 1985 catalogue, a dwindling roll of about fifly members, ence was a great success, with a wealth of well-publicized related and a looming narional conference.T, Former presidents Lynn events open to the public. In March, Fotofest 1988 followed the Randolph and Sandi Seltzer Bryant took charge ofthe conference national CAA / WCA conference and the Caucus sponsored a and recruited Barbara Michels, a novelist and professional show of African American women photographers curated by grantwriter who had served on rhe H\7CA Communiry Advisory Board. Michels secured almost $30,000 in government funding to Houston artist Dorothy Hood (at bctern) receiues a Lifetime cover travel expenses, honoraria, and related materials for a quick- Achieaement Awardfom Iy outlined series ofpanel discussions involving art historians and 1X/()4 n at i o n a I Pr es i dznt artists from all (one over the U.S. came from England).r, Muiel Magenta at the 1988 Seltzer Bryant orchestrated complex hospitaliry and transporta- WCA Conference in Houston. tion plans. At a chapter meeting onJuly 28, 1987, Randolph sug- Photograph by Debra Rueb. gested approaching galleries to show art by women. Margaret Smithers-Crump and Lydia Bodnar-Balahutrak launched a com- puter-based Caucus campaign of letters and visits resulting in com- mitments from forty museums and galleries to present exhibitions by women during the conference.T3 The chapter organized one of the few books on Texas women artists, -A/, Bluebonnets, No Yelhw
30 The Houston Review. Vol.t, No.1 future MacArthur Fellow Deborah \7illis." 13 Rose and Kalil, Fresh Paint,4}. Monthly programs resumed with a modest level of out-of- 14 Hounn Chronicle, March l, 1982,2, secdon 6. She later described it as "vital for me during that early period." "Manual (Hill/Bloom), town speakers. Solomon Grimberg from Dallas lectured on Frida Interview by David Jacob s," Artlies 24 (Fall 1 999): 86. Kahlo, and Dallas Museum of curator Sue Graze made studio Art l5 "Lynn Randolph, Interview by Emily Todd ," Artlies 24 (Fall 1999): visits.t' But the success of the conference did not translate into 83. Iocal benefits for the host chapter, although the members who 16 Liz \7ard and Rachel Ranta, "Homton Art Community Timeline," l.awndale Liue! Exhibition Catabgue (Houston: Lawndale Art & worked to bring it about gained new professional recognition. Performance Center, 1993), 50. Houston's art community had changed markedly in a decade. 17 Don Shaw, interview by author, Pine Blufi AR, December 26,2001. The original political agenda of the H\WCA had, in many respects, 18 H\7CA meeting February 7, 1978, described in Bonnie Britt, been achieved; the number of exhibitions related to the national "\7omen's Caucus for Art: voice for the artist," Houston Chronicb, conference seemed to confirm that the ciry was open to work by March 1, 1982,2, section 6. 19 Randolph, interview by author; Bonnie Britt, "\7omen's Caucus for Art: women artists. The Caucus had shifted from pressing a public pol- voice for the artist," Houston Chronicle, March 1, 1982,2, sefiion 6. icy agenda to serving members. The gallery ceased to bring in new 20 ktter ftom Roberta Graham Haris to Charles T, l,ansden, HWCA work from outside Texas and nwer regained the vigor it had dur- Collection, UH-SC&A. ing the mid-1980s. The profile of the organization diminished as 21 lrtters to the Mayor (May 1978) and to Molly M. Parkerson $une 1978), F|WCA letterhead, letter to Board of Directors, Culrural Arts women artists became, thanks to the Houston \7omen's Caucus Council of Houston, September 30, 1981, H\7CA Collection, UH- for Art, no longer a novelry in Houston. But despite the much SC&A. greater visibiliry of art by women now, a primary purpose of the 22 Letter from Office of the Mayor, Molly M. Parkerson, Cultural Liaison, Caucus-supporting individual artists by organizing a nerwork of to Charles Lansden, Director, Community Betterment Division, Houston Chamber of Commerce, 1978, H\fC"{ Collection, friendly peers---{ontinues unchanged. June 9, UH-SC6A Subsequendy another Mayoral staff membe! JoAnne Adams, served several terms as a Community Advisor. See HWCA let- ENDNOTES terhead, Ietter to Board of Directors, Cultural futs Council of Houston, 1 Barbara Rose and Susie Kalil, "Preface," Fresh Paint: The Houston School September 30, 1981, letterhead dated 1982-83, typed list of H\7C,A (The Museum of Fine Arts, Houston, 1985). board dated 1983-84, H\7CA Collection, UH-SC&A. 2 "Self Images," April 5-May 11, Firehouse Gallery and Midtown Art 23 Minutes of H\7CA meeting, June 26, 1979, H$7CA Collection, UH- Center, exhibition history files, Houston \7omen's Caucus for Art SC&A. 1978-1997,'Woment Archive and Research Center, Special Collections 24 The Caucus repeatedly urged the Cultural Arts Council of Houston to and Archives, University of Houston Libraries (hereinafter cited as permit the public ro nominate candidates for its Board of Directors and HWCA Collection, UH-SC&A). to prohibit non-competitive funding of the Houston Festival. See min- 3 I{IVCA neusletter (February 1988); "HVC,{. Restructure 1986-87," utes of HWCA meeting Jtne 26, 1979 and lemer fiom H\7C,A to three handwritten pages, July 2, 1986, H!7CA Collection, UH-SC&A. CACH, September 1982, FIS7CA Collection, UH-SC&A. 4 Founding president Roberta Graham Harris was Regional Vice 25 HWCA newsbtter 1, no. 10 (1978), H$7CA Collection, UH-SC&A. President of the Coalition ofl7oment Art Organizations in 1979; chap- 26 'Women's Caucus for Art Telephone List, April 11, 1979, H\7C,{ ter president Gertrude Barnstone was C\7AO president in 1982-83; Collection, UH-SC&A; Agenda, H\7CA meeting, May 13, 1979, chapter president Lynn Randolph was Regional Vice President of the H$7CA Collection, UH-SC&A \7CA in 1983-84 and chapter president Sandi Seltzer Bryant was \7CA 27 Houston Chapter'Woment Caucus for Art Projects, tlree pages cover- conference consulting chair in 1991-92. I{WC,A newsletter 1, no. 11 ingl979-1981, page 1, HWCA Collection, UH-SC&A. A juried exhi- (1978); (February FIWCA newsletter 1983); Chapter history highlights bition is one in which an art professional selects from submitted entries. with statements from past presidents, HWCA Colleaion, UH-SC&A. Juried exhibitions carry somewhat more prestige on an arrisr's resume. 5 Toby Topek, personal calendar 1978; "Brckground of the Houston 28 Ibid.; Randolph, interview by author. \Toment Caucus for Art," Leigh Fought, H\7CA Collection, 29 IIWCA newsbxer Q,ny D79), H\7CA Collection, UH-SC&A. UH_SC&A. 30 Lawndale Liud.,67. 6 Tie Roberts, "'Woment Caucus for fut National Conference," Art 3t Presenting "The Dinner Party''was a community-based art action itself, Papas 12, no. 3 (May{une 1988): 39. originated by The Boolstore, which I had started in 1973. Scores of Lynn Randolph President 1979-1980), interview by author, 7 @!fCA women and some men worked to raise funds for the exhibition and for \Timberley, 10, 2001; Toby Topek (HWCA President TX, June a long list of related art activities showcasing Houston artists, mostly 1982-1983), telephone interview by author, February 25,2002. women, in many media. 8 "Suggested Procedures for First Meeting of the Houston Chapter of 32 Houston Chapter'Women's Caucus for Art Projects, t}ree pages cover- \Toment Caucus for Art;" including handwritten noces, 10, January rng1979-1981, page 1, H\7CA Collection, UH-SC&A. 1978, H\7CA Collection, UH-SC&A. At that meeting Roberta 33 Martha Grrill Miller, telephone interview by author, December 14, Graham Haris, a painter, was chosen President; Martha Terrill Miller 2001; Lynn Randolph, telephone interview by author, December 10, was made Secretary; Katy Nail, Tieasurer; Jana Vander Lee, Program 200 1. Chair; and Pat St, John Danko, Newsletter Editor. 34 "12 On Site" artists were Viveka Barnett, Gertrude Barnstone, Marilyn 9 Notes from Roberta G. Hanis to Beauboeuf, HWC,A. Collection, Jan Biles, UH-SC&A. Cecile Burns, Linda Graetz, Marlene Matalon, Heidi Stanfield, Viki Stewart, Tacey Tqan, Martha Terrill Miller, Toby Topek and 10 "Towards a Statement of Purpose," from the Executive Board to the Tialene Vassilopolos. HWCA neu.,sletter (September 1980), H\7CA Caucus Members, February 1981, Fl0fCA Collection, UH-SC&A. Collection, UH-SC&A. 11 Member newsletter (April-May questionnaire, HW(n 1985), H\7C"A. 35 rbid. Collection, UH-SC&A. 36 Membership rosters, HWCA Collection, UH-SC&A. 12 "Earl Staley, Interview by MaryRoss Thyior," ArtLies 24 (Fill 1999): 47; 37 Exhibition invitations, IIWCA Collection, UH-SC&A. "Dorothy Hood, Interview by Susie Kalil," ArtLies 24 (Fall 1999): 42; membership rosters, FIWCA Collection, UH-SC&A. The sculptor Robena F. Harris is not the painter Roberta Graham Harris, who served as President of H\WCA. The Houston Review. Vol.l, No.l 3t 38 "Image of the House" information, exhibition files, H!7CA Collection, card announcements, press releases, HVCA Collection, UH-SC&A. UH.SC&A. 63 Marge Crumbaker, The Houston Post,March S, 1984,48; "Galleries" 39 "An open letter to the Board of Tiustees of the Museum of Fine futs, listings, Houston Chronicle, March 8, 1984; checklist of works exhib- 'Womeris Houston from the Executive Board of the Caucus for Art," ited and contract with Jwo Houston Center, H!7CA Collection, March26, 1981, FI{/CA Collection, UH-SC&A UH.SC&A. 40 Mimi Crossley, "Curatort husband recently sold paintings to MFA," 64 Invitation card, exhibition files, H\7CA Collection, UH-SC&A. The Horuton Post, March 27, 1981, 12E; "MFA curaror ro remain in 65 Chapter history highlights with statements from past presidents, pro- N.Y.," The Holuton Post,March20, 1981,12E; "fut caucus sends lemer duced by H\7CA, H\7CA Collection, UH-SC&A. of protest to MFA," The Houston Put, April3, 1981, 6E; "MFA direc- 66 Connell, September 2O-October 27, 1984; Valdez, December 6, tor allowed 2 priv*e sales to art collectot" The Houston Post, Apr|r9, 1984-Jatuary 15, 1985, exhibition files, H\7CA Collection, UH- 1981,4E; "MFA Director lists 18 more paintings for de-accession," The SC&A. Housnn Post, Aprl, 15, 1981, 23C; "Matisse work returning: Museum 67 "Book \7orks," November 2-December 2, 1984; sculpture, "Private of Fine Arts to pull painting off the market, " The Houston Post, April 2L , Rites," January 22-Februry 23, 1995; video, February 14,21,28 and 1981, BB; "MFA deal for Picasso work stalled," The Houston Post, April Match 7, 1985; prints, March l-March 30, 1985, invitation cards, 24, 1981, 148; "lVhen museums buy and sell: the publict right to H!7CA Collection, UH-SC&A. know," The Hotuton Post,May 19, 1981, /B; "Museum trustees approve 68 Carol Everingham, The Houston Pas4 exhibition poster, H'WCA plan to auction several works," The Houston Poa, luly 3, 1981, 6E; Collection, UH-SC&A. "MFA releases narnes on acquisitions committee," The Houston Post, November 17,1981,4C; Ann Holmes, "Roset appointment draws cau- 69 Houston \Toment Caucus for Art Statement of Receipts and cus protests," Houston Chronicb, April 2, 1981; "Museum to host four Disbursements, Year Ended June 30, 1980 (Unaudited); Yearly old master art exhibitions," Houston Chronicle,April 6, 1981, 4, section Financial Report, luly 8, 1980 to July 14, 1981, Linda Colthart, Tieasurer; 3; "Change at the MFA: Is the museum losing some friends as well as Houston \Toment Caucus forArt, Statement of Receipts and some paintings?" Houton Chronicb, April 20, 1981; "Museum board Disbursements, Fiscai Years ending June 30, 1984, 1983 k 1982; gives Agee confidence vote," Houston Chronick, May 14, 1981, 15, sec- Currendy Received Grants & Donations, Currently Owed Amounts Yet tion 3; "MFAs controversial deaccessioning plan under attack-again," Unpaid (as of 519186); Houston \Toment Caucus for Art Budget Hoketzn Chronicle,Jwe25,l98l,4, section 4. Holmes also wrote about Review 1987-88, 1988-89, 1989-90, Projected 1990-91, H\7CA the Caucus role in the controversy in I rt Neus dtring 199 1, in a story Collection, UH-SC&A. headed "Houston: A Restless lWatching," HI7CA Collection, UH- 70 Exhibition history files, chapter history highlighm witl sratements from SC&4. past presidents, produced by FIWCA, H\X/CA Collection, UH-SC&A. 41 Glueck, "fut People: The Talk of Houston," The New York Tirnes, April 71 Minutes of meeting July 2, 1986; Chapter history highlights with state- 3,1981. ments from past presidents, produced by H\7C,{, H\7CA Collection, 42 Op.itt. UH-SC&4. 43 lrtter to Mrs. Theodore N. Law, April 20,1981, personal archive, Lynn 72 Randolph, interview by aurhor; files of 1988 \7C1, Conference, Randolph, Houston. HWCA Collection, UH-SC&A; notes and corespondence in personal archive, Lynn Randoiph, Houscon; Houston \7omen's Caucus for Art 44 Mimi Crossley, "Agee resigns post as MFA director to look to future," Budget Review 1987-88 through 1990-91, prepared The Houton Post, Ann Holmes, "\Tarren may be named MFA interim in 1989-90, H!7CA Collection, director," Houston Chronicb, H!7CA Collection, UH-SC&A. UH-SC&A. 73 Exhibition file, 1988 \7CA Conference materials, H\7CA Collection, 45 Minutes of H!7CA meeting, Jtne26, 1979, H\7CA Collection, UH- SC&4. UH-SC&A and personal archive, correspondence and memoranda, Lynn Randolph, Houston. 46 Agenda of HWCA meetin& April 8, 1979, H\7C,{ Collection, UH- SC6.A. 74 Sylvia Moore, ed., No Bluebonnets, No Yelhw Roses: Bsay on Texas Women in the Arts (New York Midmarch Press, 1988). This compila- 47 HWCA newsletter, April 1982, H\X/CA Collection, UH-SC&A. tion includes essays by Emily F. Cutrer, Sandra Levy, Robert Hobbs, 48 Sower, "Old firehouse ready for new assignment," Houston Chronicb, Elizabeth McBride, Donna Tennant, Joy Poe, Glenna M. Park and September 9, 1983,4, section 5, H\fC,\ Collection, UH-SC&A. Anita Valencia, Kristin Staroba and Susie Kalil. The publication was "Neighbors," 49 Leslie Sower Houston Chronic le, Jtne 1 1, 1982, 4, section suggested by Cynthia Navaretti of the National \7CA. 5, HWCA Collection, UH-SC&A. 75 HWCA newsletter, February 1988, H\7CA Collection, UH-SC&A. 50 "Committee Structure," "Guidelines-Committees," and "Committees- 76 "H\7CA Re-structure 198G87," three handwritten pages, luly 2, Houston Chapter \7CA," H$7CA Collection, UH-SC&A. 1986, HSICA Collection, UH-SC&A. Lawndale Liud,50-51. 51 77 Minutes of HWCA meeting, luly 2, 1986, H\7CA Collection, UH- 52 rbid., 50. SC&A. 53 rbid., 63. 78 Letter from volunteer consultant datedJanuary 21, 1987, "Dear Group: 54 Call for entries, exhibition invitation card and poster, H\WCA H\7CA and BVA meeting," H\7CA Collection, UH-SC&A. Collection, UH-SC&A. 79 Minutes of H!7CA meeting, May 19,1987, HS7CA Collection, UH- 55 Invitation cards, publicity materia-ls, chapter history highlights, H\7CA SC&A. Collection, UH-SC&A. 80 Minutes of H\7CA meeting, December 15,1987, H\7CA Collection, 56 Rose and Kalil, Fresh Paint, 197; exhibition files, FIWCA Collection, UH.SC&A. UH-SC&A. 81 Minutes of H\7CA meeting, July 28, 1987; Chapter history highlights 57 Exhibition invitation card, H\7CA Coilection, UH-SC&A. with statements from past presidents, produced by HWCA, HS7CA 58 Chapter history highlights with statements from past presidents, pro- Collection, UH-SC&A. duced by H\7CA, H\7CA Collection, UH-SC&A. 82 Chapter history highlights with statements from past presidents, pro- 59 Invitation card and memorabilia, H\7CA Coliection, UH-SC&A. duced by H\7CA, FI$7CA Collection, UH-SC&A. 60 Call for entries, H$7CA Coilection, UH-SC&A. 61 Chapter history highlights witl statements from past presidents, pro- duced by HWCA, HS7CA Collection, UH-SC&A. 62 "1984 H\7CA Presentation Series-the Artist at \Work," related post-
. 32 The Housl.on Review Vol.l, No. I Llnn Randnlph, HIVC4 president 1979-80. The Magician, 2001. Oil on canaas. 56" x 51".
Photograph by: Paul Hester
Gemude Barnstone, HWCA president 1980-81, Entry-house, 2 002-03. ?owdn-coated steel, dichroic glas. 9'x 12'x 2". Architect: Cameron Armstrong.
Photograph by: Beryl Striewski. Courtesy Goldesberry Gallery.
The Houston Review . Vol.1, No. I -t-t MANUAI (Ed Hill and Suzanne Bbom), Suzanne B bom, II'WCA presidtnt I 98 1-82. Wildflower $ewelweed), 2 0 02. Lambda photographic print, ediion: l/3. 42%" x 6B %".
Counesy Moody Gallery.
To fo Topeh, H\YCA president I 982-83. Coxwold 2000 Dountou)n Streetscape Project, Phase I, Tixas Aaenue, 2000. Marble mosaic in sidewalk, one of eleuen. 10'diameter.
34 The Houslon Review. Vol.l, No.l Sandi Sebzer Bryant, HWC"4 president l99i-84. Undtled,2001, ac?ylic on canuas. 48" x 48".
Courtesy McMurtrey Gallery
Lin Su-,anner II\VC4 president 1 984-85. Mother and Sisters, 2001. Acrylic on canuas, 78" x 84".
. The Houston Review Vol.1 , No.1 35 Pam Johnson, HWCA president 19BGB7. A Propagating Sturno-clavicular Swe[ 2002. Balsa wood with stained 'teeds". 10" x 15" x 8".
Photograph by: George Hixson
36 The Houston Review.Vol.l, No.l