Page 1

Guest Curator- Dan. R. Talley Essayists: Betty Ann Brown & Dan R. Talley



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Huntington Beach, California 92648 "R.01)IN 1)~AllSFO"R."D Y"R.fINA "D. CE:~YANrfZ/ AlMA loffZ

Community Properties is sponsored by:

the Cin) of Huntington Beach,

Cultural Services Division;

the Huntington Beach Art Center Foundation;

and GTE Directories.

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This catalog has been published in conjunction with the exhibition Community Properties, the inaugural exhibition at the Huntington Beach Art Center,25 March through 11 June 1995. The exhibition was curated by Dan R. Talley and organized by the Huntington Beach Art Center. The exhibition Community Properties has been made possible through a grant from GTE Directories and the Huntington Beach Art Center Foundation.

Š1995, Huntington Beach Art Center

538 Main Street

Huntington Beach, California 92648

(714) 374-1650 All rights reserved. No part of the contents of this book may be reproduced,

in whole or in part, without written permission from the publisher, Huntington Beach Art Center.

Photographs are courtesy of the artist, except the images ŠJudy Chicago, Suzanne

Lacy, and Judith Baca and SPARe.

Photographs are by the artist except where indicated in the photo captions.

Designed by David Gagne

Edited by Sue Henger


Introduction Naida Osline

Some Thoughts On The History Of Community-Building As An Art Form Betty AI/n Brown


Community Properties and Personal Perspectives Dan R. Talle1)


Artists' Statements


Works In The Exhibition


Artists' Biographies


Huntington Beach Art Center Information


Following years of planning, fundraising, and construction, the highly anticipated Huntington Beach Art Center opens it's doors to the public with Community Properties. As the major opening exhibition for this functional and beautiful new art space, Community Properties marks the beginning of a long-awaited goal of Huntington Beach art supporters to more fully integrate the work and ideas of today's artists into the life of our city. Community Properties brings together work by 22 artists who deal with issues of com­ munity. Because the Huntington Beach Art Center is a community art center, this seemed an appropriate theme around which to organize our inaugural programming. Community is a complex term discussed by urban planners, politicians, activists, realtors, and busi­ ness leaders. It implies a commonalty, an affinity group, a belief that we are all the same. In a world of rapid change it may be comforting to maintain that we are united with oth­ ers in a common goal-that we all share a universal experience. However, experiences vary, goals conflict, and boundaries shift. Just as we may share common ground with some individuals, we must also acknowledge that we have many differences with others. If we are to create communities that work for us all, then we must recognize, include, and sup­ port both our commonalty and our diversity. Developing an enviroment that increases the ways and means for people to explore and express the wide range of ideas, experi­ ences, and perceptions present in our culture is a major goal of this new art center. Whether or not it is fashionable or fund able, artists working in and about communities will always be important. Their work helps to define and gives new or expanded meaning to complicated issues that face each of us in our personal and collective lives. Five years ago, I approached curator Dan Talley about organizing this exhibition. Dan has a long and varied career in the arts. Over many years he has demonstrated an ongoing commitment for working artists, community issues, and contemporary concerns. Although we initially believed Community Properties would be presented in 1992, given the backdrop of our ever changing political, economic, and social lives, the issues discussed here by the artists seem as relevant now as then. I would like to extend my deep appreciation to Dan who, despite major changes in schedule, continued to assemble this exhibition. Many artists who have created new work for the project are also to be thanked for continuing to develop their ideas and work during the delay and for rearranging their schedules to accommodate changes.

The notion of a community art center for Huntington Beach was conceived more than fifteen years ago. Since its inception, the project has faced a number of challenges and undergone significant changes. It would not have been possible to get to this point without the direction, involvement, and support of many committed individuals. Most notable is Michael Mudd, Cultural Services Manager for the City of Huntington Beach, whose major and lasting contributions to the cultural life of Orange County will be remembered and enjoyed for years to come. Also deserving of recognition for his support of innovative and progressive community programming is Ron Hagan, Huntington Beach Community Services Director. Bob Goodrich, Chairman of the HBAC Foundation, who initially offered to assist in forming a nonprofit private corporation to benefit the Center, brought together a group of highly motivated volunteers to take on the task of raising private funds to recon足 struct the building. In addition to a successful capital campaign, the Foundation has initiated a long-term Program Endowment. All members of the Art Center Foundation, past and present members of the Huntington Beach City Council and Allied Arts Board, Patrons, Founders, members of 538 Main and the Alliance are gratefully acknowledged for their important role in the development of the Huntington Beach Art Center.

Community Properties is made possible through a grant from GTE Directories, a Gold Patron corporation which has been very generous in its support through the leadership of Don Jankowiak. My deep gratitude goes out to the staff of the Huntington Beach Art Center and Cultural Services Division, both past and present, who have worked tirelessly over many years, including Randy Pesqueira, Pam Patterson, Barbara Schultz, Chris Cole, Craig Woods, Susan Sternberg and Ann Thorne. I am also thankful to new staff members Joe Husovsky, Tyler Stallings, Marilu Knode, Pat Gomez, Carol Frances, Luan Nguyen, Krystine Park, Mary Kate Doody and Robert Laurie who have added support to this exhibition and will bring their unique and diverse talents to future programs. Finally, I am grateful and honored to be a part of this remarkable project. I look forward to sharing with you in a relevant, stimulating, and varied dialog about art and culture. Naida Osline Director Huntington Beach Art Center

SOME THOUGHTS ON THE HISTORY OF COMMUNITY足 BUILDING AS AN ART FORM Betty Ann Brown The power of art is subversive rather than authoritarian, lying in its connection of the abilihj to

make with the ability to see-and then in its power to make others see that they too can make some足

thing of what thelj see.

-Lucy Lippard'

Community-building, both through collaboration in the art-making process and by establishing a community of viewers, has long been a part of the Western art tradition. The prehistoric artists who painted magical symbols on cave walls in Spain did so, we assume, during complex ceremonies that involved numerous co-creating participants. Art was inte足 gral to the ritual processes that served experientially to coalesce tribal communities. Centuries later, when medieval sculptors carved stone saints on the facade of Chartres Cathedral, they wanted their images to communicate religious stories to both the local populace and the thousands of pilgrims who visited the church on their way to Santiago de Compostella. The tall, silent figures that flank the immense cathedral doors were intended to unite viewers of both groups in a community of shared Christian ethos. As long ago as Chartres, European women (and, later, EuroAmerican women) gathered over expanses of fabric to embroider and quilt. As they stitched, they spoke. As they shared their life experiences, their memories and aspirations, they molded the conununity values they would pass on to their children. It was not until the Renaissance that writers linked artistic creativity with individuality as we understand it today. And it was not until the Romantic Period and subsequent rise of the avant-garde in the late nineteenth century that this linkage was firmly fixed to the dominant notions of art. But there is a problem with artistic isolation.

Artists alone can't change the world. Neither can anyone else, alone. -Joseph 8euys2 Many scholars-most particularly Lucy Lippard and Linda Nochlin-have critiqued the prevailing stereotype of the artist, that of a genius who works in isolation. Examples of community-building artists of recent times are Joseph Beuys in Germany; Christo, who works in many countries; and, in Southern California, Judy Chicago, Suzanne Lacy and Judith F. Baca. These artists have pioneered the establishment of creative community action that serves as a model for artists in Community Properties.

The Historical Framework: 8euys and Christo Joseph Beuys was a tremendously influential avant-garde artist and teacher who rose to fame in postwar Germany. On June 22,1967, in Dusseldorf, Beuys chaired a meeting of stu足 dents and journalists to found the German Student Party, a political party that ultimately became an important precedent for the European Green Party. In that meeting, Beuys asserted that "Real discussion is only possible on a spiritual, artistic level. Only in the battle of ideas are democracy and sincere human needs accomplished."J He rejected the emphasis

on individualism that had established what he considered a kind of stranglehold on cre­ ativity and social change. He also felt that the artistic process should take precedence over the artistic product.' In other words, Beuys conceived of the act of founding a political party as an art act. Certainly, founding a political party is a form of community building. But some readers may have trouble recognizing as art that part of Beuys's work. Christo's community-building works are probably more readily understood as art. In 1976 the Bulgarian-born American artist Christo oversaw a project that culminated in the erection of an 18-foot-high white nylon fence that stretched from the seacoast to a point 24 miles inland along the Sonoma-Marin County lines in Northern California. Running Fence, which cost more than two million dollars and was anticipated over its three years of planning, fund raising, and politicking, was in place for just two weeks and then removed. Although for those two weeks Running Fence was an exquisite, shimmering line across the California landscape, and thus a project that elicited much aesthetic apprecia­ tion, Christo himself always asserted that it was the process-petitioning town, county, state and national agencies; conversing with residents and bankers and journalists; and interacting with his hundreds of collaborators, who ranged from highly paid engineers to student volunteers-that was the essence of his art work. With Running Fence, Christo built a community, however ephemeral, of people who came together to share work and art. Many of these people's lives were changed forever. Some even traveled across the country, then around the planet, to work with the artist on his subsequent projects. Several of the participants in Christo's Running Fence traveled to Southern California to work with the artist and his wife/business partner Jean-Claude on the 1990 Umbrellas, a project that crossed the Pacific to link California and Japan. Hundreds of immense golden umbrellas were erected in the desert mountains just north of Los Angeles. At the same time, hundreds of blue umbrellas blossomed in the rich green farmlands in Japan. Thousands of people worked to install the glittering symbols of shelter, which splattered the hillsides with radiant color for two weeks. Diverse collaborators from all over the planet were united in the creation of ephemeral beauty.

Judy Chicago and the Development of Feminist Community Judy Chicago's The The Dinner Party is a large installation, or room-transforming sculp­ ture, in the shape of a triangular table with 36 place settings. Each of the 36 plates is sculpted in porcelain; each sits atop a finely embroidered fabric runner. Each plate, each setting, commemorates a woman who made a significant contribution to history, women including the Egyptian ruler Hatshepsut and modernist painter Georgia O'Keeffe, aboli­ tionist Sojourner Truth, and suffragette Susan B. Anthony. The triangular table itself is placed upon a raised tile platform on which are written the names of the 999 other women of note, so that more than a thousand women are honored. When I saw The Dinner Party at the San Francisco Museum of Modern Art, it changed my life. For the first time I felt connected with other women as women, and I felt pride in that connection. I am certain that Chicago's work elicited in many viewers the same recog­ nition of-and entry into-community. No single artist alone could have produced such a complex installation. Chicago cre­ ated the monumental work in collaboration with hundreds of women and men in her

Judy Chicago The Dinner Party,1979 Mixed-media installation 48x48x48 feet ©Judy Chicago Photo: Donald Woodman

studio in Santa Monica, California. She developed the original concept-the idea of doing a female Last Supper-on her own. But the artist was (and is) committed to nonhierarchical interaction: her researchers, technicians, and other coworkers helped her transform The Dinner Party into its cur­ rent presentation. Chicago traveled throughout the Midwest to locate women who had the traditional skills of porcelain painting and needleworking that were to be employed (and thereby valued) for the installation. She also welcomed into her studio many students from avant-garde arts institutions. I like to fantasize about what that work experience must have been like, with blue-haired Illinois grandmothers working alongside radical feminist lesbians from Hollywood. Chicago, a former pro­ fessor herself, used consciousness-raising and other feminist educational techniques to enable communication between the diverse groups working on The Dinner Party. She built a sense of community among her collaborators as well as among her viewers. One thing that makes me sure Chicago was building community in the work environ­ ment is the project she had initiated just as she began work on The Dinner Party. In 1975 Judy Chicago, art historian Arlene Raven, and designer Sheila Levrant de Bretteville founded the Los Angeles Woman's Building. The Woman's Building, which went on to become the most enduring feminist cultural institution in the country, combined a site for the exhibition of women's art and a venue for women's performance work with a feminist educational center. Created by and for artists, the Woman's Building was a vital center for the intersection of women, art, and community. It was also the springboard for the devel­ opment of Suzanne Lacy's community-building performance structures.

Suzanne Lacy and The Crystal Quilt Much activist work is collaborative or participatory, and its meaning is directly derived form its use-value to a particular community. -Lucy Lippard 5 Suzanne Lacy had been a student of Judy Chicago'S at California State University, Fresno, and at California Institute of the Arts, Valencia; she was one of the early instructors at the Woman's Building. Starting in Chicago'S classes in Fresno, Lacy had been intrigued by fem­ inist performance. Embracing the feminist dictum that the personal is political, feminist performance tied autobiographical revelation with social issues through mixed-media the­ atrical presentations. At Cal Arts, Lacy had also studied with Alan Kaprow, the New York artist who had developed in the 1960s the phenomenon know as "Happenings," in which groups of people were brought together to interact in strange, often absurd, sometimes pro­ foundly challenging ways. Realizing that both feminist performance and Happenings broke the boundaries between art and life, Lacy began to develop what she termed "performance

Suzanne L.1CY The Crystal Quilt, 1987 performance Minneapolis, MN ©Su7.anne l.1CY Photo: Peter Latner

structures" as vehicles for com­ munity-building as an art form . I want to describe one of her recent art works to help you understand what I mean . Al­ though much of Lacy's work has been based in California and although she now holds the posi­ tion of Dean at the California College of Arts and Crafts in Oakland, the Lacy work I am going discuss took place in the Midwest. This performance art work, called The Crystal Quilt, took place on Mothers Day 1987 inside architect Philip johnson's Crystal Court, a large building in Minneapolis. According to one of Lacy's collaborators, Patrice Clark Koelsch, The Crystal Quilt was tIthe most visible component of the Whisper Minnesota Project, a multigenerational coalition of artists, policy makers, service providers, and com­ munity activists organized to challenge public perceptions about women and aging. "6 Koelsch continues, Although the American mass media promotes idealized images of sex­ ually active, career- and consumer-oriented women, an increasing number of women find themselves politically discounted and economically disenfranchised. Older women consti­ tute the most rapidly growing segment of our society, yet they are relatively invisible and inaudible in the public sphere. When the disadvantaged situation of old er women is pub­ licly acknowledged, the women are usually portrayed as helpless objects of pathos." Aware of this, Lacy began to ask herself how art could begin to reverse such percep­ tions. She conceived and directed The Crystal Quilt as part of the answer. She identified, located, and gathered together hundreds of senior women. She spoke with them, asking them to talk to her, to tell her their stories. She recorded their statements, their voices. These tapes became the sound track for the performance. Aware that quilting was a tradi­ tional women's art that these seniors admired, that it was an art form many of them practiced, and that it was in itself an art form that sprang from and generated community, Lacy decided to base the structure of her performance on quiltmaking. On the appointed day, the women came to the Crystal Court site and sat around tables covered with colored fabric squares. Viewers stood on the balconies overlooking the central court. The women began to talk and to move the fabric in carefully choreographed designs. As their stories echoed through the building, the women created quilt squares and, eventually, an immense conceptual quilt. Seen from above, the silver heads bent over brilliantly hued geometric patterns were a stunning sight. Not only were the viewers moved but also the women who participated . The soundtrack ended with "I'm Not Aging, I'm Ripening," recited by poet-participant Meridel Le Sueur. U

Judith F. 8aca and The Great WaLL of Los Angeles Feminist art broadened and deepened the whole notion of "political art" by incorporating the ele­

ment of the personal autobiography, consciousness-raising, and social transformation, which led

eventually to the still broader notion of "the political is personal"-i.e., an awareness of how local,

national, and international events affect our individual lives.

-Lucy Lippard7

Judith F. Baca Tile Creal Wall of Los Allseies Welail: Forbears of Civil RiS"'s). 1983 mLxed·media mural ©SPARe. 1983

It was with a profound awareness of how local and national events affect our individual lives that Judith F. Baca began her profes­ sional work as an artist. Born and raised in Los Angeles and educated at California State University, Northridge, Baca "experienced the Eurocentrism in the U.s. and in undergraduate education, and became convinced that survival for peoples of color in the United States meant the preservation of their cultures and the presence of these cultures within the educa­ tional system."s Graduating in 1969, Baca began teaching art at her alma mater high school. There she organized a mural project in an attempt to bring together students from different neigh­ borhoods. The next year, she organized a mural team from four neighborhoods for the Los Angeles Recreation and Parks Department. She not only taught them how to create murals but also how to uncover the histories of the various ethnic communities from which they came and to use these histories as subject matter. In 1974 Baca proposed to enlarge this process as a citywide mural program sponsored by the Los Angeles City Council. The program, which lasted over ten years, produced more than 250 murals. Also in 1974, Baca was contacted by the Army Corps of Engineers, who requested she design a mural for the bleak cement walls lining the Tujunga Wash in the San Fernando Valley. Thus began The Great Wall of Los Angeles, a 2,435-foot mural on which hundreds of teens worked for five summers between the years 1976 and 1983.. "Baca wanted The Great Wall to be an alternative history of California, one that acknowl­ edged the presence of ethnic peoples, racial and class conflict, sexism, and homophobia, and that gave a public voice to those who had been silenced .... "l0 It became a history of under­ represented peoples painted by those very peoples. Under Baca's direction, the participants (the majority of whom came from low-income families, many from juvenile justice programs) learned every step in the conceiving and producing of major community art forms . They went to community meetings throughout the San Fernando Valley area-with schools, fire departments, businesses, and other community organizations-in which they explained the

Judith F. Bam Tile Great Wall of Los Allgeles Wetat'!: Asialls Gaill Citizellsllip alld Proper/II), 1983

mixed-media mural ©SPARe, 1983

project and solicited not only funds but also donations of services and equipment. These meetings became integral components of the project: informing the community involved the community; presenting the historical theme elicited community input to the content. The teens' jobs were many. They had to establish a workable environment in the cement wash. Then they had to learn to work together. Baca's strategy for reducing racism, stereo­ typing, and isolation was based on three tactics: the formation of racially mixed crews that worked weekly, Monday through Thursday; "study days" on Fridays to introduce the alter­ native views of history illustrated in the mural; and improvisational drama used to reinforce the learning and to teach problem-solving or conflict resolution. The dramas were often used to invert stereotypes, '''Chicano's are lazy and dirty' becomes hilarious," Baca says, "when it's being acted out by kids so energetic you sometimes want to hogtie them!" Then the teens had to design and execute the mural. They started with extensive research, selected the events to be portrayed, and made sure they were balancing images of oppression with those of social victories. The events had to be drawn, then woven together in blueprints to plan and compose the mural. They had to prepare the walls, cover them with gesso, transfer the images form blueprint plans, underpaint, block in the colors, then highlight and finish with black emphasis lines. The Great Wall depicts the "other" his­ tory of California, a narrative of the ethnic peoples, women, and minorities who are often invisible in conventional textbook histories. What was the mural experience for the teens? "There's one way to describe our work­ site of people and that is we're one Big Family and I hope when the public comes to admire our mural they share the magic and emotion that our crew shared with one another," asserted Nancy Jane Avila, who worked the first summer on the project at age 17 One of her collaborators, Rena Robinson, added, "It's been great working at The Great Wall and

having a large family of forty. I bet you can't top that! I've learned to get along with peo足 ple of all colors and the responsibility of doing for myself. I would do it again . But it was not all fun and play. It takes time to get things together." And for Baca? She has written, "Artists have the unique ability to transcend designated spheres of activity. Collaborations can move beyond the artist and architect to the artist and the historian, the scientist, the environmentalist, or the social service provider; even to the artist in the community.... Possibly of greatest interest to me is, What processes can we invent that will enable us to make an art not imposed from above, but that rises from below, so to speak, an art that gives voice to the voiceless!"" It seems to me that both Judith F. Baca and Suzanne Lacy have developed and, indeed, are continuing to develop viable, dynamic answers to that question. Particularly because the projects they oversee function to "give voice" to and thereby empower the participants, it seems to me that Baca's and Lacy's artistic processes stand as important paradigms for community-building as a contemporary art form. Certainly the works of Beuys, Christo, Chicago, Lacy, and Baca form the historical underpinnings for the community arts gath足 ered in Community Properties.

Betty Ann Brown is an art historian, critic, and curator. She holds the position of professor in the Department of Art at California State University, Northridge. Her current curatorial project, Muses, is a collaboration of nine artists with nine writers scheduled to open at the Pasadena Armory for the Arts in November 1995. NOTES

2 3 4

5 6 7 8 9

10 11

Lucy Lippard, "Trojan Horses: Activist Art and Power." Art After Modernism: Rethinking Representation . New York: The New Museum of Contemporary Art, 1984, p. 345. Lippard, "Trojan Horses," p. 344.

Adriana Gotz, Winfried Konnertz, and Karin Thomas. Joseph Beuys,

Life and Works (trans. Patricia Leach). Woodbury,New York: Barron's, 1979, p. 161.

Apparently the prehistoric cave painters would have agreed: they often placed

one image right on top of an earlier one, indicating that the act of image-making

was more important than the final image itself.

Lippard, "Trojan Horses," p. 355.

Patrice Clark Koelsch, "The Crystal Quilt: A Performance and Its Legacy."

Unpublished manuscript, p. 1

Lippard, "Trojan Horses," p. 351.

Frances K. Pohl, "Judith F. Baca: Sites and Insights 1970-1992"

(exhibition pamphlet). Tempe, AZ: Arizona State University Art Musewl1, 1992.

Much of the information on The Great Wall is taken from Betty Ann Brown and

Elizabeth Say, Communitas, The Feminist Art of Commllnity Building

(exhibition catalog). Northridge, CA: California State University,

Northridge, Art Galleries, 1992.

Brown and Say, Commlmitas.

Judith F. Baca, "Public Art in a Multicultural Society." SPARCplug (a publication

of the Social and Public Art Resource Center, Venice, CAl, vol. 2, no. 3, p. 14.


In recent years, the properties that define our communities have been bombarded in myriad ways. Assessment of who we are and where we belong is a function of shifting economic, political, and social realities; momentous regional, national, and international events; increased mobility; and technology's ceaseless development. As individuals, we negotiate our positions in multiple social groups, many with conflicting ideological struc­ tures, searching for common ground and bartering for an acceptable level of comfort, security, and personal identity. As the barometric indicators of the current social climate, artists are in a unique position to evaluate and track this relative pressure and to interpret, analyze, and predict its possible consequences. Since this exhibition was conceived in 1990, the number of artists who are producing pieces that deal with community issues has increased significantly. One might attribute this increase to money, as concerns for accessibility and accountability within the art world have caused many funding agencies to look more favorably on art that invites community involvement or that incorporates community values at its core. However, a more fitting assessment of the increased activity suggests itself: many artists have simply become dis­ interested in making art that speaks in a restricted formalistic dialect about issues relevant to only a select few. The socially aware makers of this new position-oriented art are much more expansive in their desire; they are eager to participate in the world and they are mak­ ing vital art that addresses the pressures, possibilities, and stresses of our time. The artists in this exhibition draw the contours of community in various ways; some deal with fairly traditional geographic, economic, racial, and political communities, willie others examine forms of group identity based on shared attitudes, interests, and beliefs. The "artful­ ness" of this work is often secondary to its community-related content, its aesthetics sometimes subservient to its assertions. It is made in a variety of mediums ranging from traditional paint­ ing, which incorporates classical concepts demanding technical adroitness and proficiency, to process-oriented interactive works that totally eschew the traditional one-of-a-kind object. Some of this work addresses characteristics and qualities within specific communities while other pieces allude to broader concerns that affect most, if not all, societal organizations. The exhibition's title, Community Properties, was chosen as a way of encompassing the broad manifestations of community-oriented art; the artists in Community Properties reflect this diversity through differing ideological perspectives, strategies of engagement, techniques of manufacture, and histories and affiliations. Community Properties is unapologetically eclec­ tic in its attempt to examine the possibilities and problems that we individually and collectively face in our communities; hopefully, it sheds some light on the ways that our need to belong affects our perception of ourselves and our world. For the sake of clarity in this essay, I have grouped the exhibition's pieces into four cate­ gories based on the work of art's form, content, and community interactivity. Although there are many overlaps, the groupings provide a way to discuss the relationship of the works to the theme of this exhibition.

Community-Activating Art Community-Activating Art includes work that emphasizes community participation in the art-making process. Artists working in this genre place a premium on process, and, like much of the process art of the sixties that grew out of the minimalist tradition, their works tend to deemphasize the "object" as the motivating factor for art-making. Community-Activating Art has gained considerable attention and notoriety in the past decade as a way of bridging the gap between the elitist agenda of the art world and the more practical needs of the general population.' The value of such art cannot be disputed, but it is difficult and perhaps aesthetically dishonest to present such work in a gallery set足 ting because galleries have historically been very removed from the flow of daily life. (Galleries also have occasionally been known to have a somewhat deadening effect on even the most energetic works of art.) Those caveats notwithstanding, this exhibition includes two artists working in this important and growing tradition. In 1993, in collaboration with students from Central Elementary School, San Diego, artist Robin Brailsford created Global Garden Tapestry. The mixed-media project, aided by the City Heights Community Development Corporation, is a 75-foot section of chain-link fence surrounding the City Heights Community Garden. Students involved in the project painted garden images, poems, and stories on wooden slats that were then woven into the mesh of the fencing. The students' writings, in their native languages, represented a total of 27 different cultures. This project directly addressed a community's prosaic need for a fence and elevated the mundane barrier into a statement of creativity and engagement. The fence sections in this exhibition are only a portion of the total project. In the gallery the piece is stripped of its utilitarian function and the magic of the process of its creation; nevertheless, it continues to resonate with a passion and exuberance that makes it a per足 fect example of the power possible in Community-Activating Art. To coincide with Community Properties, Huntington Beach artist Mary-Linn Hughes has developed We Are Neighbors, a work that invites community participation. Hughes plan is to incorporate block parties and other participatory gatherings into the work. This piece places the artist in the role of social director and officiator; the activity orchestrated by the artist becomes public performance in a very real and literal sense.

Film and Video About Community Because of their versatility as mediums of documentation and personal expression, film and video have been used in a variety of community applications running the gamut from a means of defining a community to an expression of a community's problems and aspira足 tions. The four artists working in film and video in the exhibition have brought a great deal of sensitivity to their productions and have consequently developed works that are alive with the flavors and textures of the communities they have chosen to work with. These works clearly engage community members, and despite their media-bound classifi足 cation, they are also Community-Activating Art in a very real sense. Susan Mogul's 3D-minute videotape, Everyday Echo Street: A Summer Diary, was shot between Memorial Day and the Fourth of July 1993. The tape, conceived and directed by Mogul, is a playful, painful, and extremely personal portrait of daily life in her Los Angeles neighborhood of Highland Park. Mogul examines her twelve years in the neighborhood,

the relationships that have developed during that time, and the realization that she-a single, middle-aged woman-is 3,000 miles away from her birth family and birth "home." Her realization prompts us to examine our own displaced histories and question what constitutes our own concept of "home'" Is it place of origin? legal kinship? The social structure within which we have become enmeshed? Or is it something greater, something more intangible? Mogul's tape skillfully merges passages of documentary-style objectiv­ ity with strains of personal monologue to simultaneously present aspects of her public and private life. We meet the cast of characters involved in her daily routine: "the Nassar brothers at Green Valley Produce, Rosie Sanchez at Armando's Restaurant, Reverend Cruver and Grace Proffitt of the Pillar of Fire Church who live next door, and the Escalante family who live in [Mogul's] courtyard building." Mogul states, "I now realize that, over the last 12 years, I actually have staked out and defined a very clear sense of neighbor­ hood within a one-mile radius of my one-bedroom apartment on Echo Street.") Valerie Gold-Neil's 1990-93 piece An Invitation To Listen is a collaborative project that initially paired ten photographers with eleven women who are "affected and lor infected by HIY." Originally conceived as a slide show, An Invitation To Listen is now a videotape that blends original music with photographic images documenting the women's lives and a sound track recorded during one of the group's support sessions. Gold-Neil says of the project, "HIV impacts women in a specific manner socially, politically, economically and familially. An Invitation To Listen tells the story of women as a community, bound together in a fight for their visibility and their lives."J Although the individuals form a chance com­ munity born from tragic circumstances, the voice of this community is one that speaks with experience, strength, and hope. An Invitation To Listen skillfully exposes the sorrow inherent in the women's life situations while simultaneously moving us to an extra mea­ sure of compassion and hopefully to a clearer understanding of this tragic crisis. Los Angeles filmmaker, poet, and author Alexis Krasilovsky is represented in the exhi­ bition by Epicenter U., a film on the 1994 Northridge Earthquake. The piece utilizes a mixture of documentary fact and fabricated fantasy to explore the lives of college students affected by the quake. Krasilovsky explains that the piece is "based on the dreams and realities of Cal. State U Northridge students, many of whom were dislocated in the Northridge Earthquake.'" As in many of her other works, including What Memphis Needs and Exile, Epicenter U. is seen by Krasilovsky as part of a larger healing process that allows a particular community to come to grips with its pain and problems. Like Krasilovsky, African American director and cinematographer Sabrina Simmons also believes that film can be used to enhance and expedite the healing process. Simmons's 30-minute film Writing to Heal documents the life-changing experiences set into motion by a poetry workshop presented for a group of women recovering from drug and alcohol addiction. Led by Los Angeles poet Michelle Clinton, the workshop provided "a safe envi­ ronment for women to reveal and confront difficult experiences associated with the culture of poverty and addiction."s As a result of participating in the workshop, the women (all residents of the Mini Twelve Step House, the oldest not-for-profit residential drug and alcohol recovery program for women in South Central Los Angeles) experienced increased communication, literacy, and self-esteem. Like the communities encountered by Gold-Neil and Krasilovsky, the community that Simmons explores is also physically

devastated and emotionally battered . And like the members of those other communities, the women of this community are drawn together by a sense of hope that transcends the incredible pain and suffering they have experienced .

Documents of Approximation These works are related by virtue of their metaphorical content and their often transi­ tory and elusive form. Some pieces were conceived and executed specifically for this show; others have been adapted from earlier incarnations and appear in this exhibition in a slightly modified form. Similar to the previously discussed pieces by Brailsford and Hughes, these works do not rely on objecthood as their raison d' etre; their physical form is secondary and heavily influenced by their content. These pieces generally avoid refer­ ences to specific communities in favor of poetic analogs that examine the attitudes, principles, and values that shape a community's underlying essence. Seattle-based artist Carl Gronquist is represented in the exhibition by a work from his Driveabouts, a series similar in concept and intent to the walkabouts of traditional cultures. Though quasi-documentary in stance, the piece is a solitary meditation that becomes a self-portrait of the artist's reaction to geography and the messages hidden within the his­ tories of various locations. Gronquist says of the series:

The Driveabouts are a personal search for a more thorough understanding of our culture's rela­ tionship to its political, historic and geographic environment. Thetj are also meant to communicate the process of searching (and the results of that search) to the viewer. Theform is loosely based on a scientific model; this is meant to emphasize the investigative nature of the work and to exaggerate the commonly held misperception that photography is exclusively an artifact of objective truth.' The evidentiary look of the work calls to mind the proposals and documentation that grew out of the earthwork and conceptual art movements of the sixties and seventies, but here imbued with a content that is inquisitive, prodding, skeptical, and occasionally cynical. Artists Richard A. Lou and Robert J. Sanchez present Wl1ite-Fying, a group of interrelated quasi-anthropological works that "explore issues of 'White' ethnicity."7 The artists display "artifacts" and related documentation from a lost White civilization. According to the artists, this satirical strategy intends to "investigate how the 'Dominant Culture' perceives the remains of people of color as exotic artifacts to be examined, probed, classified, and displayed for public consumption."s Lou and Sanchez have long been concerned with cul­ tural duality. Their recent work, including interactive multimedia works such as Border Watch II, La Frontera Nos Parte Hasta Los Huesos, and Entrance Is Not Acceptance, deftly mines some of the most delicate societal territory of our time with biting humor tinged with a healthy degree of defiance and accusation. Recently, calls for sensitivity to non-European cultures have met strong opposition from intransigent radical groups who deny that prob­ lems of recognition and respect truly exist in our culture. This renewed climate of minimization and denial makes the work of Lou and Sanchez all the more relevant in the community context of this exhibition. Cheri Gaulke and Sue Maberry's installation Families Next Door challenges our concept of the "traditional" American family and prompts questions about the family structure within our communities. A similar version of this piece, called Thicker Than Blood, was pre­

sen ted in Communitas: The Feminist Art of Community Building, a 1992 exhibition presented at the Art Galleries of California State University, Northridge. The Northridge installation consisted of ornately framed, commercially photographed portraits of lesbian couples interspersed with fragments of text displayed on a medium-gray gallery wall. The text posed questions that exposed basic inequities in the structure of our society, questions that have a commonly understood value and meaning in heterosexual society but that have a very different implication in the lesbian community' "are you married?" "next of kin?" "any children?" "who should be notified in case of an emergency?" In the catalog essay for the show, curators Betty Ann Brown and Elizabeth Say wrote:

The idea for the Thicker Than Blood installation came out of Gaulke and Maberry's experiences of creating afamily structure for themselves, and the process of defining that over and against the dominant cultural model of the traditional nuclear family. "Every year around the holidays, we get family portraits from our relatives. We have astack of them. I said to Sue one night, why don't our gay and lesbian friends do this: Why don't we have portraits taken? We have snapshots of our friends ...but not formal portraits. Going to have a portrait done is acultural experience we don't participate in."9 The artists decided to change the situation. They took a neighbor's seven-year-old daughter with them to a local Sears department store to have a formal portrait made. They approached the situation with uneasiness and trepidation not knowing for sure how the store's photographer might react to a lesbian couple with a child. To their surprise the pho­ tographer seemed quite at ease as she placed Maberry's arm around Gaulke; just as the couple was beginning to think they had happened upon a truly nonhomophobic portraitist, they realized that the photographer actually thought that Maberry was Gaulke's mother and that the child was Gaulke's daughter. Gaulke noted, "She clearly got that we were fam­ ily, but she had to fit that into her notion of what a family is."tO Aside from its elegant form and its simple graphic beauty, the power of Gaulke and Maberry's installation resides in its gentle entreaty for us to confront our stereotypical thinking and reach beyond the limita­ tions of our socially prejudiced definitions. Gaulke and Maberry expand the basic theme of their Northridge work in Families Next Door. In the past year, through means of artificial insemination, Gaulke and Maberry have become parents. The Huntington Beach piece reflects this new life situation and the host of societal issues that it raises. Social issues affecting communities also constitute the core of P lac e ments, an installa­ tion project by San Francisco artist Molly Beth Hankwitz. The piece incorporates plexiglass placards imprinted with phrases and other fragments of text that have been excerpted from a variety of sources including Hankwitz's personal diary entries and her verbal responses to photographic images that act, for her, as metaphors for community. The plac­ ards point to issues including "colonialism, displacement, identity. ..propriety, pleasure, privacy and safety."11 For the exhibition the artist placed the placards throughout the Art Center and around entrances and exits. This action isn't exclusively about conceptual unity, it is also a way of prompting a continued dialog within each viewer on how we define place and how we perceive our situation within that place. Hankwitz likens the visual form of her piece to conceptual art strategies employed in the sixties and seventies by such artists as Daniel Buren, Yoko Ono, Jenny Holzer, and Lawrence Wiener, but she

directs her work more toward the broad public concerns of the nineties. Her dispersals of text lend an insistence to her questions about "who we are, what we do, where we Jive, and what we communicate." 12 Joe Lewis, a Los Angeles artist long recognized for works that deal with the interrela­ tionship of community and personal values, focuses here on issues currently being addressed by the residents and government of Huntington Beach. Lewis's work refers to the delicate balance that exists between the fragile ecology of the Bolsa Chica wetlands just north of Huntington Beach's business district and the pressure exerted on the wet­ lands by commerce and development. Lewis presents intermittent projections of endangered wildlife and a free-standing sculptural element that resembles an oil-drilling platform. Pictorial elements refer to the oil industry and to various aspects of the wet­ lands' ecological system. While most of Lewis's art grows out of liberal ideology, his pieces often remain adumbrated and enigmatic, providing viewers with a neutral mecha­ nism for the projections of their own experience. For the Time Being, a regional installation project by Los Angeles artist Karen Atkinson, transforms a common feature of the municipal landscape into a powerful tool of conscience that literally warns us of the cost of social neglect. Atkinson has modified an ordinary park­ ing meter so that when coins are deposited, a tape loop is activated that plays commentary by writers and artists infected with HIY. The meter installed in Community Properties also plays a text by Atkinson based on the Martin Niemoeller quotation, "In Germany they came first for the Communists, and I didn't speak up because I wasn't a Communist." Using this textual format as a starting point, the tape goes on to address a range of contem­ porary issues including abortion rights, AIDS, homelessness, racism, gang killings, wife abuse, rape, freedom of expression, gay rights, and police brutality. The tape loop only plays when there is time left on the meter; when time runs out, the message stops-a chill­ ing reminder that our problems have a point of no return and that we may rapidly be running out of time to deal with these issues. The ubiquitous nature of parking meters, so ordinary and pervasive in our society that we scarcely notice them, is a wonderful metaphor for our collective inability (or unwill­ ingness) to see the problems that are so obvious around us. We have become habituated and immune, lulled into complacency and indifference. To disrupt this lethargy, a placard on the meter inscribed with the words of Edmund Burke offers a final jolt: "All that is required for evil to flourish is that good men do nothing." Jean Gallagher's piece, Whose Property?, conceived and executed specifically for this exhibition, is an 8-foot see-saw that directly alludes to the scale of justice. A stack of law books and legal documents weigh down one "seat" of the teeter-totter, while the opposite end, holding less weighty (less important?) soil and living plants, flies up. Extending this metaphor, the body of the see-saw is a natural uncut log on the end holding the plants, but it is tapered and smoothed into "finished lumber" on the end holding the legal docu­ ments. The fulcrum of the see-saw is likewise divided: decaying plants and dirt on the natural side, a brick wall on the legal side. While developing this piece, Gallagher looked at the way that social law often out­ weighs the more organic and natural laws governing our communities. She studied the elaborate social systems that define property, particularly as evidenced in the laws of

California that affect "separate property" versus "community property." Having just become a gardener, Gallagher found extreme irony in the laws' concept of land division; her newly found relationship with the earth provided a fresh insight into the rather arro­ gant legal assumption that land belongs to humankind rather than humankind belonging to the land. In a less literal interpretation of community, Southern California artist Rosemary Morris incorporates ink drawing on pages of the Los Angeles Times in her Ellipses No. 1-31 . The series comprises 31 drawings arranged on the wall in a grid of five rows by seven columns. Black ink scribbles obscure the majority of the information on each page, leaving only a few clear elliptical areas scattered over the page's surface to reveal fragments of that par­ ticular day's news. The elliptical areas of clarity become like spotlights that focus our attention on certain words and pictorial details. On one page, the ovals highlight the words "score," "well," "struggle," "bitter," "long fight," and "deficit." These snippets of text cre­ ate tension and a sense of foreboding; we quite literally are getting only a piece of the story, only a part of the total picture. The words and images are disjunctive, full of apparent con­ tradictions, ambiguities, and colliding implications; they remind us of the multivalent nature of place and the transitory nature of events. Communities, like the words that are written about them, are in a continuous process of reinvention and redefinition. Morris's other work in the exhibition, A circle of a body travelled, absent of possession. Segments 1-12, grew out of a more interactive though still highly conceptual relationship between the artist and her immediate community. The piece consists of twelve manila file folders labeled Segment 1, Segment 2, Segment 3, etc., resting on an unfinished wooden shelf. Each folder contains a ruled sheet of paper and a small plastic bag containing a photo­ graphic image of a woman's legs and feet. All twelve photographs are clearly of the same person, but each image was made in a different nondescript location. The sheets of paper are likewise similar, but no two are exactly the same: they all contain the artist's signature and most contain typed words scattered across the surface of the page, but the number of words and their placement vary from sheet to sheet. Phrases like "as low as," "historic route," "left on," and "time expired" crowd some pages while other pages are relatively blank except for the artist's signature. These enigmatic dossiers are the product of a walk divided into twelve segments cover­ ing a one-mile radius around the artist's Los Angeles home. The trip led Morris through a large city park, across freeways, and into a variety of industrial, commercial, and residen­ tial areas. The words on each sheet are records of signs that she encountered on that particular segment; the text's position on the page roughly corresponds to the sign's rela­ tive location on the path. Curator Carla Williams wrote of Segments 1-12: " ... the highly personal work...uses the cold, objective format of police evidence files . It is concerned with the language of exclusion and the attendant psychological effect upon those whose lives are dominated by it.. .. The sense of dislocation and alienation in one's own neighbor­ hood or community is sobering, and the denial of access to space is overwhelming."13

Documents of Amplification The works in this category tend to be the most "artlike" of all the work in the exhibi­ tion, with representational or fairly literal connections to our everyday world . Included are easel painting, mural painting, and a few mixed-media works that have a familial resemblance to the neo-Dadaist work of the early sixties. Developing from the lineage of traditional studio-based painting, these pieces offer immediate access because of the familiarity of their form and convention; they offer power because of their unflinching attention to the quality of life within our communities. Yreina D. Cervantez and Alma Lopez are contributing a mural project on the south side of the Art Center as an adjunct to this exhibition. The work documents aspects of com­ munities within Orange County, comparing the waves of the nearby Pacific Ocean to the waves of culture and influence that are an integral but sometimes overlooked part of the county's past, present, and future. Because of its size and placement, the project will become a community icon of sorts-a highly visible image that merges the everyday experience of area residents with the less obvious and less visible experiences that also exist within the community. Formally, the artists share a deep affection for vibrant electric color and a penchant for bold, posterized figuration; these stylistic predilections anchor the mural with great command and authority against the cacophony of Southern California's urban landscape. These formal concerns also graphically project the work's theme of homage, tolerance, and magnanimity. Pat Berger's paintings depicting the crises of homeless ness in our society are formally the most straightforward and uncompromising works in the exhibition. If her pieces addressed a less emotion-laden subject, they would surely be appreciated solely for their technical virtuosity, their softness of form, and their painterly modulation of light and shadow. However, by presenting the reality of daily homeless life, these contemporary "genre" paintings exert a power far greater than technical virtuosity alone could gener­ ate. Without resorting to shrill language, Berger pOints to the callousness and disregard that we, as a society, have developed toward the people in our midst who have lost access to "The American Dream." The very essence of community is missing in their lives except at its most rudimentary level. The support, protection, and care that a community affords is often blotted out in the homeless experience by the alienation, hopelessness, and dehu­ manization wrought by life on the street. Berger's images provide an intimate look at homeless America's struggle for food, clothing, and shelter-the basic ingredients of sur­ vival taken for granted by so many of us. Confrontation, a 4-by-6-foot painting by Berger, is an extremely effective work because we, the viewers, unwittingly become the object of the painted subject's gaze. The eyes of the homeless man stop us: we can't walk by, we can't look away, we are in the spotlight, we are indicted. But this uneasiness gradually gives way as we regain our powers and realize that we don't have to be on the defensive: we are the "haves." We realize that we can instead fix our gaze; we can look, possibly for the first time, directly into the eye of the unimaginable. In this moment of direct encounter, we may feel empathy and we may realize, on a nearly primal level, the fragility of our security and the potential broken dreams of our own tomorrows. J. Michael Walker 's two large color-pencil drawings, The Holy Family Watches Over My

Neighborhood and I Dreamed I Was Babysitting the World, are pleas for peace and spiritual sanction in our local and global communities. The Holy Family ... presents an aerial view of a community with buildings, cars, palm trees, and a few isolated figures that seem over­ whelmed and engulfed by the infrastructure of the city. In the distance, a young Jesus figure, barely tall enough to peer over the horizon, gazes onto the scene, flanked by Joseph on his right and by the Virgin Mary on his left. Each figure is adorned with a halo; the one behind the head of Jesus doubles as a sun or spiritual light that radiates bright­ ness and clarity onto the scene below. Walker says of the work, "This landscape is of the Silverlake neighborhood where we lived for some ten years, largely a Latino area. I made this piece as a sort of charm, a prayer, against the drug and gang violence going on there."14 The piece brings to mind the historical role that religion has played in the devel­ opment of communities. Though the drawing depicts a contemporary setting, a feeling of nostalgia pervades the images, suggesting that a renewed spiritual base could be the cure for many of today's social ills. In stark contrast to the serenity of The Holy Family..., I Dreamed I Was BalnJsitting the World has an overtly political message. Begun the day that war was declared in the Persian Gulf, the symmetrical drawing depicts a globe composed entirely of children desperately cling­ ing to one another, their skin colors and facial features representing the spectrum of the world's races. A heroic but frightened-looking man with arms outstretched in a gesture of shelter emerges from the mass of huddled bodies and peers forlornly into the distance. Above his head, two hideous soldiers with pointed fingers, maniacal eyes, and grossly distorted heads stand face to face with rifles barrel to barrel, forming a continuous and ominous symbol of death and destruction. An equally distorted and disturbing figure in a suit and tie, representing the interests of business and politics, stands between the soldiers below a red banner emblazoned with golden letters reading "No Need to Worry." Walker rendered the heinous figures in the drawing in an exaggerated style that suggests acid­ images from underground comic books of the late sixties. The unthinkable mayhem of war, the ultimate "bad trip," is given a symbolic form that is horrific but perversely allur­ ing and attractive. Because they are abstractions, Catherine Allen's pieces have a dual citizenship; they have an affinity to the metaphorical works in the exhibition but relate here because of their formal elements. The pieces are mixed-media works that incorporate printed images of the contemporary urban landscape juxtaposed with drawn and painted shapes that sug­ gest chicken wire, chain-link fence, barbed wire, and bone. They are physically quite small but they communicate with a psychological intensity that suggests a much larger scale and scope. Allen paints directly on plywood panels, a decision that implies a linkage with the forces of the natural world. However, this linkage is disrupted through the presenta­ tion of images that imply separation, isolation, and bondage within a violent and neglected urban landscape. Allen's symbology is clear; she renders some of the most unsettling aspects of contemporary life in a palpable form that forces us to consider the incredible inhumanity that we, as individuals in a society, display toward one another. Larry Jens Anderson's painting Blame II: Denial is part of a series of Blame paintings "about the social movement toward 'blame' as a way of avoiding responsibility."ls Anderson

explains that the paintings "are in line with my work on AIDS and hopefully show the use­ lessness of the gesture and an ambiguity about who is victim and who is accuser. The subtext deals with our emotional centers of the mind, the heart, the stomach, and the crotch."'6 The images are powerful and confrontational. Anderson used the formal division of the diptych to metaphorically allude to the divisions that exist within our communities, especially when issues that threaten our instinctive natures come into play. In Blame II: Denial, two nude male figures are isolated in the separate panels of a dip­ tych; the surrounding space is ambiguous and undefined except for soft modulated gestures in the background color. The nude men face each other with arms outstretched and fingers pointing in defiant accusation. Blame is being transferred across the empty space of the canvas with great intensity: one man is covering his eyes while a curvilinear wisp of paint, implying speech, projects from the other man's mouth. These disturbing figures are fear and paranoia personified; they represent the self in conflict, simultane­ ously attempting to attack and withdraw. In their stark vulnerability and confusion, they seem to represent some of the most profound, complex, and fundamental problems fac­ ing our communities today. In their agony and insolence, they seem to represent demons within the human soul.

In the process of organizing this exhibition, I have come to understand that "commu­ nity" is simply a method of fixing ourselves in the world. It is a primal concept that has shifted from a physical imperative to a largely psychological one. It is full of contrast and contradiction. It encompasses the very best we are capable of and also the unmitigated worst. Milton J. Rosenberg from Yale University's Department of Psychology was once quoted describing community as "a kind of group association in which, through being ourselves, we may get to something greater than ourselves."17 This definition of spiritual synergy is evidence of humankind at its best. Rosenberg's concept is inclusive and affirmative; it embodies growth, understanding, assistance, and acceptance. But, as documented by sev­ eral of the pieces in the show, there is that other side: the side that is insular and limiting-the side that is manifested as exclusion, greed, indifference, and hatred. While we may work and wish for it to be otherwise, these contradictory attitudes are the reali­ ties of ourselves and our communities at the close of the twentieth century. To account for the negative realities, Rosenberg's assertion needs modification. Perhaps a more fit­ ting model could be: "How we choose to relate to one another is surely one of the deepest reflections of how we relate to the innermost recesses of ourselves." The essence of artistic expression is born from these inner recesses. It develops as a reflection of an artist's self-awareness combined with an awareness of the world at large. Expressed as a work of art, this interplay-this synthesis of two spheres of experience­ has much to tell us about the destiny of our communities because it leads us away from isolation into a shared common light. It provides a road map that helps us avoid the worst aspects of who we are and gives us direction toward our highest motives. On behalf of the artists in the exhibition, I hope that you find pieces in the show that directly speak to

your beliefs and concerns. I hope that you listen for the dialogue between the spirit of the individual and the spirit of the community. I hope that you allow the messages in these works to emerge and become part of your life and part of your thinking. I hope that you will talk about this work with your neighbors, families, and friends. I hope that in the process of exploring this exhibition, we are able to realize the elevating promise of Rosenberg's model and "get to something greater than ourselves."

Dan Talley is the director of the FORUM Gallery at Jamestown Community College in Jamestown, New York, where he has been curator for exhibitions including Aging: The Process, The Perception; Utopia: Envisioning A Dream; and Artists Consider the Environment. He recently organized the exhibition Stan Sharshal: A Retrospective for the Tula Foundation in Atlanta, Georgia.



Betty Ann Brown's essay in this catalog, "Some Thoughts on the History of Community Building as an Art Form," gives a good overview of the recent history of artists working directly in and with communities, outlines the philosophical framework supporting such work, and details significant contributions to the field. Susan Mogul, in an unpublished brochure about Everyday Echo Street:

A Summer Diary. 3 4 5 6 7 S 9

10 11 12 13 14 15 16 17

Valerie Gold-Neil, in a letter to the author, 30 October 1991. Alexis Krasilovsky, in a letter to the author, 30 April 1994. Excerpted from the film treatment for Writing to Heal . Carl Gronquist, in a letter to the author, 22 April 1991. Richard A. Lou and Robert J. Sanchez, in the proposal for White-Fying, the artists' project for this exhibition. Lou and Sanchez, in the exhibition proposal for White-Fying . Betty Ann Brown and Elizabeth Say, Communitas: The Feminist Art of Community Building (exhibition catalog), California State University, Northridge, 1992. Brown and Say, Communitas. Molly Hankwitz, in an unpublished artist's statement, 1994. Molly Hankwitz, in a letter to the author, 13 May 1994 Carla Williams, Allegiances (exhibition catalog), Rotunda Art Gallery, Glendale Community College, Glendale, CA, 1993. J. Michael Walker, in an artist's statement, 1994. Larry Jens Anderson, in an artist's statement, 1994. Anderson, artist's statement, 1994. Milton J. Rosenberg, in Dictionary of Quotable Definitions, Eugene E. Brussell, ed., Prentice Hall, Englewood Cliffs, NJ, 1970.

Catherine ALLen

My current body of mixed-media work incorpo足 rates drawing, painting, and photo足 transfer prints or photo-silkscreens on bare wood, using landscape as metaphor with references to burying, unburying, accretion, and loss as well as the metaphysics of time and place as experienced through memory and the body. The bare wood is like skin, with grain patterns and knots part of the work.

Catherine Allen Aftermath II, 1992 photo-silkscreen, spray enamel, oil, and graphite on wood, 9 x 9 inches, Photo: Gene Ogami

Larry lens Anderson

I am on track now to pursue in depth the issue of Blame. Initially I felt it could be done simply and in one painting. The more I worked on the sketches, the more I realized what I wanted to express was too complex and broad to be edited down. One important overriding fact is the senselessness of blame and the waste of valuable time and thought it consumes. I hit upon the idea of repeti足 tion, using a nearly constant gesturing figure, restating the image/issue over and over again to highlight the static, nonsequential, helplessness of both the victim and accuser. The difference between shame and blame is blurred. The paintings, drawings and prints will include individuals willing to accuse and accept blame; resignation, incapacity, hate, for example, but no solutions. There will be no visible acceptance of responsibility. Showing the hopelessness of such a situation will perhaps inspire some to reevaluate their own personal agenda.

Larry Jens Anderson Blame 1I: Denial, 1990 acrylic on canvas diptych, 84 x 112 inches Photo: Frank Hunter

Karen Atkinson

For The Time Being is a project that consists of altered parking meters that have been wired for sound. Artists/writers with HIV / AIDS and their friends and family have been commis足 sioned to write text for the tapes in the meters. When the viewer feeds the meter, the tape plays. Then the money/time runs out, the meter shuts off the tape, and it is silent. Over 20 meters have been placed in public sites throughout Los Angeles, Santa Monica, West Hollywood, and Pasadena, and include art spaces, public buildings/lobbies, and com足 mercial storefronts. The money collected in the meters goes to support of the fabrication of the work of artists with AIDS. Additional sites and writers are being added. The park足 ing meter in this exhibition is one of many in the project. This project was designed as a way for voices to be heard and the stories that need to be told. Some of them are hard hitting, while others are subtle and funny. Most of the texts were written specifically for this project and its context. The following excerpts are from the meter text by Karen Atkinson (with thanks to Martin Niemoeller).

Silence = Death, 1992 In Germany they came first for the Communists, and I didn't speak up because I wasn't a


Then they came for the Jews, and I didn't speak up because I wasn't a trade unionist.

Then they came for the Catholics, and I didn't speak up because I was a Protestant.

Then they came for me, and by that time no one was left to speak up.

When they didn't allow women to vote, I didn't speak up because I wasn't a woman.

When they told me I could get AIDS, I didn't worry, because I didn't think a woman could get it.

When they passed laws to move the homeless out of my city, I didn't speak up, because I

had a place to live.

And when they came for me, no one was left to speak up.

When they said blacks didn't deserve to be treated the same as whites, I didn't speak up,

because I was white.

When the Korean grocer's store was burned down, I didn't speak up, because I wasn't


When the student next to me didn't come to school, they said he'd been shot by a gang. I

didn' t speak up, because I didn't live in that neighborhood.

When my boss bragged about beating up on his wife to keep her in line, I didn't speak

up, because I'm a man.

When I was told that my next door neighbor was abusing his children, I didn't speak up,

because he seemed like such a nice man.

When my friend told me she'd been raped, I didn't speak up, because it could never happen to me.

When Anita Hill was being interrogated by the all white, all male panel for the Supreme

Court hearings, I didn't speak up, because I couldn't be sure she was telling the truth.

And when they came for me, there was no one left to speak up.

Prototype meter for For The Time Being, 1994 mixed media 60x24x24 inches

When they came for those who wanted freedom of expression, I didn't speak up, because I didn't have anything to say. When they came for the demonstrators for pro-choice, I didn't speak up, because I wasn't pregnant. When they came after all the people with AIDS, I didn't speak up because 1'd never been tested. When the police pulled over a black man who was driving his car, for no reason, I didn't speak up, because it was none of my business. When they rounded up all the Latinos in the neighborhood for questioning, I didn't speak up, because I wasn't Latino. When the woman in a wheelchair couldn't use a city bus, I didn't speak up, because it didn't affect me. And when they came for me, there was no one left to speak up. When they came after all the gay rights activists, I didn't speak up, because I was straight.

When they decided to raise the taxes on the poor, I didn't speak up, because I had enough money.

When they voted against unemployment benefits, I didn't speak up, because I had a job.

When my community arts organization lost all its funding because a project they funded

offended city officials, I didn't speak up, because I never went there.

When the elderly woman next door got evicted because her social security check got lost,

I didn't speak up, because I didn't know her.

And when they came for me, there was no one left to speak up.

When the news media exploited the L.A. riots for a ratings race, I didn't speak up, because

I always believe the news.

When my favorite TV program exploited women and stereotyped blacks, I didn't speak

up, because I don't see anything wrong with a good joke.

When Jesse Helms said he doesn't think the government should be funding art, I didn't

speak up, because I never got grants anyway.

When President Bush created the Gulf War, I didn't speak up, because I didn't know what

was going on in politics anyway.

When my rent got doubled because a developer wanted to tear down my apartment, I

didn't speak up, because I didn't think I had a chance.

When the artist got arrested for burning the flag, I didn't speak up, because I just figured

it would turn out all right anyway.

And when they came for me, there was no one left to speak up.

Š1992, Karen Atkinson

Pat Berger

It all came together for me at Tent City, a makeshift shelter set up by the Homeless Organizing Team across from City Hall in Los Angeles during the Christmas Holidays of 1984. I spent some time with the homeless people, talking to them individually, hearing their stories, going around to see what was trying to be done足 spending Christmas morning at Venice, where the Bible Tabernacle gave a free Christmas dinner to four or five thousand people, where clothes were piled on makeshift tables for the poor to take what they needed. I became aware of how many people had been working quietly behind the scenes and helping, from the Catholic Workers, missions, soup kitchens, and so many more. I felt moved and saddened by the plight and isolation of the homeless. My paintings were to be a statement in yet another medium in hopes of rais足 ing people's consciousness to action. That was a decade ago, and the same need is still there. What do we do?

Pat Berger

Confrontation, 1986

acrylic on canvas, 48 x 72 inches

Photo: Q. Sieben thaI

Robin BraiLsford

"You could say there is a community garden in City Heights because people traveling from Canada to Mexico on Interstate 15 don't want to slow down to 45 miles an hour for eight city blocks through an old inner city community. Ditto for people traveling in the opposite direc­ tion. We are here in the meantime, existing between the demolition (1,000 residences and businesses) and a ditch (25 feet below grade). This garden, which exists in an indeterminate mean­ time, is Laos, Minnesota, Cambodia, EI Salvador, Pennsylvania, Vietnam and Mexico. Woven through it is California. The language we share is the green elo­ quence of seeds. "The garden is surrounded by a tempo­ rary fence to contain our meantime and give it an illusion of safety from inter­ lopers and bulldozers. Chain link fences come in two styles-ugly (the four-foot version) and uglier (the six­ foot version). We chose the latter and added coils of barbed wire around the top, achieving superlative ugly. The fence was one more necessary evil, like the encroaching freeway. "Accommodation is not the same as acceptance. We discovered the secret of making the fence invisible by virtue of a paradox-commissioning eight artists to create highly visible pieces of large­ scale public art around the fence, which dance, beckon, meditate-and weave.

"In Global Garden Tapestry, Robin Brailsford takes the metal X's of chain-link fencing and trans­ forms them into the cross-stitched, embroidered creation patterns of the Hmong. Three hundred and fifty individual slats are woven to form a 4­ by-75-foot panel. Tourists, civic leaders, gar­ deners, children, a trash picker, poets and artists individualized each slat with a garden­ related sentiment. They wrote in Korean, Japanese, Hebrew, Spanish, and Tagalog French. Brailsford's work is a visual 'call and response' between gardener and artist, and artist and the world. A minimal budget of $250 for materials meant that donations of paint and wholesale prices for other items were necessary, so busi­ nesses also became a part of the art. "Although the gardeners value the art for the privacy and protection it affords their plots, it remains somewhat incomprehensible to them that funds would be spent on the outside of the garden instead of the inside. It was equally incomprehensible that the work would be sent to the Huntington Beach Art Center to be exhib­ ited, but approval was given in three lan­ guages. And, still, walking past this piece of art, they never fail to smile." -Anna Daniels,

Garden Coordinator,

City Heights Community Garden,

San Diego County

Robin Brailsford

Global Garden Tapestry (detail), 1993

latex on redwood, chain-link fence, 4 feet x 75 feet x Vz inch

Lent by City Heights Community Development Corporation and the artist

Yreina D. Cervantez & Alma Lopez As muralists we function as storytellers provid­ ing images almost as a scrapbook from different experiences that hopefully cre­ ate an interest for the viewer in terms of the people depicted in the mural and what their stories are. When we think of audience, we think of a broad cross section of the population which represents Orange County and the many people who will be seeing the mural when they visit Huntington Beach and the Art Center. It was impor­ tant to include various cultures that have had an important presence in the area over the years. So, we are talking about a broad audience that is visible and a smaller audience that is invisible in the "official" histories of Orange County as a result of being marginal­ ized. In many cases, mural images are based on peoples' oral histories, person­ al memories, and experiences that reflect and are connected to historical events and periods of time in a community. Although this is not a historical mural in the sense that it would depict the lit­ eral history of Orange County and Huntington Beach, we do highlight and draw upon some historical refer­ ences/ concepts. In a conversation with a longtime Orange County resident, librarian Alfredo Zuniga, we discussed the concept of la historia de adentro/ la historia de afuera or the history from

within/the history from without. This concept is presented by the renowned Mexican anthro­ pologist Miguel Leon Portilla in his book Endangered Cultures, which deals with the con­ cept of the preservation of the experiences of a particular community and its historical past: "Nonetheless it is undeniable that history as the search for roots and antecedents from one's own orientation is fundamentally linked with an awareness of cultural identity and its defense ...deprived of its memory, cultural identity dis­ solves." A related aspect is presented by French philosopher Michel Foucault: "Each society has its regime of truth, its 'general politics of truth', that is, the types of discourse which it accepts and makes function as true ...the techniques and procedures accorded value in the acquisition of truth; the status of those charged with saying what counts as true." (see Michel Foucault, Power/Knowledge) As muralists we are coming from the tradition of the school of Mexican mural painting in which the function of murals as a public art form is rooted in the idea of reclaiming the pur­ pose and identity of people. This basic philoso­ phy was adapted and transformed by the Chicana/o art movement in the United States. As women artists, we are interested in evolving the technique, form, and content of murals to reflect a contemporary vision and emphasizing a Chicana aesthetic.

Yreina D. Cervantez/Alma Lopez

Detail drawing for The Histon) From Within/The History From Without


historin de adentro/la historia de afl/era), 1994-95

Prismacolor on paper, 36 inches x 10 feet 6 inches

Photo: Alma Lopez

Jean GaLLagher

Curious about the phrase "community proper­ ties," I traveled to the local university with an interest in the direction that the library's computer would point me. Its options were limited, yet I noted one book, Community Property, by William A. Rutter,! which defines for those mar­ ried persons living in California certain laws in the event of divorce or death. "Community Property" is "All property acquired by either spouse during the marriage, other than separate property," and "Separate Property" may be defined as "All property owned by either spouse before marriage." 2 The entire text is a maze of laws for a process of dividing possessions, including land. Having been involved in my first gar­ den experience this spring and sum­ mer, I realized how much I had taken the earth for granted and ignored my dependence on it. The activity of gar­ dening gave me insight into my per­ sonal and universal human identity. Not only is the earth our source of food, it is a place to meditate, providing an understanding of the life/ death cycles, a place of comfort/health, and a means of self-expression. Although I realize that society had to devise a system for land usage, the idea of humans owning property or a piece of earth seemed a bit absurd since the earth really nur­ tures or "owns" us.

The human need for gardens is evident and can be found in both privately "owned" properties and, in some cases, community properties or community gardens, such as in the case of those collaborative efforts by people in decaying urban neighborhoods. According to a group of neighbors in Chicago who have come to garden together, "The garden has become an instru­ ment of power that enables [us] to make the neighborhood safer and more beautiful. The garden also holds the power to restore [our] faith in [our]selves and nature."3In 1987 in New York City, more than 600 community gardens were identified, in San Francisco, more than 60, and in Boston, more than 80. According to a recent Gallup poll, "On any given weekend, up to 78 percent of American households are out working the earth, feeling the warmth of the sun and the wonder of metamorphosis .... "4 The mixed-media sculpture Whose Property? addresses our society's misunderstanding of its relationship to the earth and indicates, through the weight of our laws, the imbalance. 1 William A. Rutter, Community Property. Gardena, CA. Gilbert Law Summaries, 1973. 2 Ibid, p. 7 3 Mark Francis and Randolf T. Hester, Jr., eds., The Meaning of Gardens. Cambridge, MA. MIT Press, 1980. 4 Ibid, p. 8

Jean Gallagher

Whose Property?, 1994

mixed-media sculpture, 48 x 96 x 33 Y2 inches

Photo: Ron Schwager, Schwager Photography

Cheri GauLke & Sue Maberry Family matters have always been as important to gays and lesbians as to any hetero­ sexual person. By the very nature of "coming out," family relationships are challenged, then renegotiated, renew­ ed, or lost. In recent years, lesbians and gay men have been publicly affirming their partnerships, seeking and some­ times getting legal status for them. Some religious denominations perform gay and lesbian union ceremonies. Marriage and having children are two of the last traditions to reclaim. There have always been lesbian and gay parents, but never before have there been millions (literally) of lesbian women and gay men proudly constructing families of their own design. In today's world of high-tech reproduction, lesbians and gays who want children are no less dis­ advantaged than couples dealing with infertility or single heterosexual women waiting for Mr. Right. Adoption, artificial insemination from a sperm bank or known donor, children from a previous heterosexual relation­ ship, co-parenting, surrogates, and fos­ ter parenting are some of the ways. We are in the midst of a gay baby boom. Although these families sometimes look queerly conventional, they often break the mold in creative ways.

In these times of intensifying rhetoric about "family values," who better to participate in this discourse than those who have for decades inquired into the question of family relations? So we invited a few lesbian and gay families to go to Sears and have their portraits taken. We see this installation as a kind of conceptual per­ formance in which the bastion of middle­ American values is invaded and subsequently reframed through a different lens. Some would call us unfit to be parents, but these children are the most considered and planned-for children on earth. The families pictured on these walls are pioneers of sorts, both extraordinary and ordinary. They are your neighbors: they are the families next door

Cheri Gaulke/ Sue Maberry

Details from Families Next Door, 1995

mixed-media installation, II feet x 25 feet

Photos: Sears

Valerie Gold-Neil An Invitation To Listen is a living archive of women living with HIV and AIDS, courageous women whose stories are projected through 600 slides and indi­ vidual audio recordings. As each of these women shares her feelings and facts, the heart and soul of a woman's AIDS experience is revealed. This video has been created and produced for the purpose of empowering women infect­ ed and/ or affected by Hrv. Additionally, An Invitation To Listen is an effective tool for educating the fastest growing group of HIV infected persons-women. Students, teachers, therapists, counselors, physicians, nurses, student development professionals, and school administrators, to name a few, would benefit education­ ally from viewing this video. The video was recorded in a group ses­ sion with a therapist present. Ten of the fifteen women involved tell of their experience with HIV. A few of the issues the women speak of include not being able to have children, dying be­ fore children are grown, anger from lack of information specifically for women regarding HIV, learning that they are HIV positive after they become pregnant, the experience of a lesbian infected with HIV and her partner's experience, the experience of a widow of a man who died of AIDS, the

courage of living with AIDS, and a Latina grand­ mother's experience concerning her daughter's and her granddaughter's AIDS status. A narrator gives the facts of HIV and women throughout the production. The visual portion is composed of slides of the women's lives. The fifteen women were photographed by ten pho­ tographers. Each woman was asked to depict her life through a group of slides. Music com­ posed specifically for this project accompan~es the women's voices. The women whose stones are told were involved in all stages of the pro­ ducing the video project.

Valerie Gold-Neil

An Invitation To Listen, 1990-93 VHS video, 47 Minutes

CarL Gronquist

My current work is rooted in the political, his­ toric and geographic landscape. I call this project Driveabouts, a reference to walkabouts, the spiritual journeys of many traditional cultures. For the Driveabouts, I strap myself into a steel­ and-glass, wheeled vehicle and travel to places of political and historic signifi­ cance. The Driveabouts take the form of large photo installations. Photographs taken along the way illustrate contem­ porary evidences of connection to past and distant events and places. Murals produced on a Macintosh computer ground the work. The murals consist of maps, historic photos, and historic texts; they tell the story, letting the viewer know why this is a place of significance. Driveabout #6 is the documentation of a journey that circled the Olympic Penin­ sula in Washington state. The intent of this project is to explore, and react to, the social/ political/historical! ecologi­ cal/emotional implications for the old­ growth logging industry on the Olympic Peninsula. This is the home of the last small remnants of temperate rain forest in the lower forty-eight states of the U.s. and the habitat of the Northern Spotted Owl, the Marbled Murrelet, the Roosevelt Elk, and a number of communities depen­ dent on the logging industry. This is also the end of an era. Old growth logging, and the culture built around it, will soon come to an end in the Pacific Northwest,

either from political decisions that protect the remnants of the ancient forest or from logging practices intent on felling the last of the avail­ able old-growth trees. It is important that the Driveabouts be viewed as interdisciplinary investigations, involving both social and historical research. It is essential for the arts (and all fields) to break free from the bounds of specialization. "Instead of noninter­ ference and specialization, there must be inter­ ference, crossing of borders and obstacles, a determined attempt to generalize exactly where generalizations seem impossible to make ." (From the essay "Opponents, Audiences, Constituencies" by Dr. Edward Said, J Critical Inquiry no. 9, September 1982.) The results of this interference would be an opening up of the culture to all comers, a cultural production that considers all audiences, and the return of a dai­ ly social function for the arts in the culture.

Carl Gronquist

Oriveabout #6, 1994

photograph, digitally printed detail , 13 inches x 10 inches

MoLLy Beth Hankwitz

P lac e ments is only a few signs in space. But a few signs and words point toward truths when administered with a little fun. It's also a measure of living in the Bay Area ... this place of divergent con­ sciousness, film, video, performance, literature, geography, space, and stun­ ning landscapes. Everywhere in the arts I come across great new stuff and interesting people, but what has given me the most meaning and what I would like to impart to others is the personal satisfaction gained form inte­ grating and belonging to the arts. P lac e ments is about that or about want­ ing that to shine forth from me to others. I am trying to bring my work into a con­ temporary context, to tie it to the femi­ nine cultural imagination. In the process there is a synthesis in making which is the feeling of satisfaction. The result is what I call "a fine significance of leftover ideas." My art then deals with concepts and residuals in the completion of a landscape: written, printed, installed or drawn, which liberates in the process: space, the immediate environment and persons within it. P lac e ments, the text works project I have started with Huntington Beach Art Center for this show, is a coherent group of precisely written documents composed of simple abstract formulations and based often on mediating works such as found book pages cut precisely and redressed, en-

larged thumbprints from both hands, a photo of a tree, etc. Having always enjoyed diminishing the many divisions which exist between people, places and things, I guess this is what I still seek to do, that is when it is not too tall an order. I hope my work translates this impetus and resonates this space, this joy, this awareness .. .the fullness of artistic experience when inhabited freely. "Molly Beth Hankwitz has an insouciance and a lightness of spirit that is a pleasure in these hard and difficult times. Everybody is so seri­ ous, so worried about solving terrible problems invading us, or at least elucidating them. Hell, those problems won't go away with our drum­ sticks. It's a pleasure to see a young artist who enjoys making art, who even likes art, not such a common occurrence among artists nowadays. That wonderful life force she has-that sense of community, and her ringing laughter...." -Eleanor Antin

Molly Beth Hankwitz

#'s 4 and 9 from the series A Fine Significallce of Leftover Ideas , 1992-93

two color photograhs, 4 x 6 inches each

Mary-Linn Hughes

There are many ways to define community. My own, admittedly simple, defini­ tion includes a sense of connected­ ness, acceptance and love with others. By this definition, my life is abundant with community. At the same time, I have lived in Huntington Beach for a total of seven­ teen years and don't know any of my neighbors. In talking with others throughout the city about their rela­ tionships with people who live around them, I realize I am not alone. Our rea­ sons are familiar: I'm too busy. I have nothing in common with my neigh­ bors. I treasure my privacy. Many of our excuses are based on perceived dif­ ferences: I'm single. I'm older. I'm an artist. My children are all grown. Disasters seem to be the main catalyst for creating intimacy between people who have lived next door to each other for years. My work for the Community Properties exhibition emerged from a recognition of my lack of connections in my geograph­ ic community and a desire to build some bridges in the place I live. The piece is about my decision to get to know my neighbors. It is also about inviting others throughout the city to have some fun while making connections with the peo­ ple who live around them.

Ultimately, We Are Neighbors is about remem­ bering what really matters (and it isn't proper­ ty values). The truth is, our real security rests in our relationships.

Mary-Linn Hughes

Study for We Are Neighbors, 1994-95

18 inches x 20 inches

ALexis KrasiLovsky

The Earthquake Haggadah Why is this night different from all other nights?

Because it levels the dreams of an entire generation

of college students in Northridge.

No, that is not correct.

Some are still dreaming

as suburbia pops its zits

in the face of God.

Why is this night different from all other nights?

Why didn't she pick 'em up and pack 'em in aU-Haul,

taking it East?

This is not a test.

This is the night we celebrate our freedom

from pre-fab houses, parking structures and pills,

from the cracked corridors of the malls.

And now the intoxicating madness:

the riots, the fires, the floods, the lay-offs,

until the reporter casts aside his list,

Because Martin Luther King blessed Los Angeles

all hope of recovery forgotten.

by giving us a day off,

but no one told us the morning would be

If he gets back into his red-tagged building,

spent in shock, unable to walk, barefoot,

it might be enough.

on broken glass, unable to open the door.

If he saves the piano from the looters,

it might be enough.

Out goes the fine print, and a world without insurance

If God stops the room from echoing,

opens up, like pastel bricks puked over a goal post.

enough, enough!

Out of cracked goblets the ability to reason flows

like so much ketchup,

If we heal from the earthquake

facing reality with empty faces.

but not our heartache,

it might be enough.

Days follow nights not to work but to lament.

Days follow nights not to march but to crawl through traffic. Heal from our heartache

but not the wounds of childhood,

Why is this night different from all other nights?

never enough.

Because it makes the provost lie under her dining room table. Enough jobs, enough money,

enough facts, sex, date rape,

It makes her lie down with her possessions ­ the broken monitors and mirrors.

battery and rape,

battered wives and children

Why is this night different from all other nights?

calling for mama.

Because the students lie in a heap,

Mother Earth, come swallow us up

legs bruised by the bookshelves.

in the giant cracks

She was already awake in the pre-dawn,

of your 6.8's

smelling his sweat, ashamed and bitter.

and hug us with your molten arms

Then it started hailing books:

of lava.

math and domestic science,

Š1994, AJexis Krasilovsky

cinema and women's studies,

Blake, Plath, Proust,

even Ginsberg's Kaddish for his mother.

Alexis Krasilovsky

Production still from Epicenter U., 1994

CSUN student Trent Wade, featured in film.,

16mm film on VHS, 28 minutes

Š Alexis Krasilovsky, 1994

Joe Lewis

Environment ... Gender ... Race ... in that order We humans, and other living things, are being attacked from all sides ...physical, men足 tal, and spiritual bankruptcy are today's anthem. Industry, Gender, and Race Politics make it difficult for us to enjoy the beauty of creation and focus on the big picture-our environment. When I was a child I remember being told how we had better take care of the environment or else horrible things would happen to us down the road. Years later, I still hear people warn us about the possibility of eco-disaster. Unfortunately, the future is here, now, and all those horrible things we heard about are snapping at our heels. Is there still time for us to stop the worst from happening? Or, will we have to build "clean environments" to live in? If so, who will say who can live in these safe havens? You? Me? The Government? Who's going to choose? Bolsa Chica is a battleground. Can devel足 opers and nature co-exist? Or does urban development mean the end? I guess we'll find out.

Joe Lewis

Balsa Chica, Past, Present and Future, Study for installation 1995

collaged images from untitled mixed-media installation

10 inches x 13 inches

Richard A. Lou & Robert J. Sanchez IILos AnthropoLocos"

In this installation/performance, we explore issues of "White" ethnicity by using the same anthropological and archaeologi­ cal techniques used by the "Dominant Culture" to support their claims about race, culture, ethnicity and primitivism. We investigate how the "Dominant Culture" perceives the remains of peo­ ple of color as exotic artifacts to be examined, probed, classified and dis­ played for public consumption, and for the public's participation in the codifica­ tion of the difference between the sub­ human "other" and the self-imposed superiority of western civilization. This in turn legitimizes the practice of intru­ sion, destruction and display. The notion of "scientific inquiry" and its mantle of objectivity has justified hun­ dreds of years of violently unearthing the "other" to satisfy Euro-knowledge. Scientific Inquiry or Western Rational Thought overrides the sacredness of the ceremony and ritual that normally facil­ itate the community's understanding of life and the afterlife and the bridge between. The cultural practices and belief systems of the "other" are deemed quaint and irrelevant, on one hand, yet important as a gauge of western civiliza­ tion's social and technological advance­ ment, on the other. Even in death people of color are forced to accommodate the dominant culture's need for a safe dark safari. Western museums have become giant decontextualized mausoleums,

physically warehousing and spiritually sus­ pending in perpetuity our ancestors' final desti­ nation as prescribed by their beliefs.

Richard A. Lou/Robert J. Sanchez

White-Fying (detail), 1995

mixed-media installation, 12 x 10 x 12 feet

Photo: James Elliott

Susan MoguL

Everyday Echo Street: A Summer Diary is an auto­ biographical portrait and "domestic ethnography of my Highland Park neighborhood, a working class and primarily Latino community in the northeast corner of Los Angeles. Tills di­ ary is an insider's view of how home and neighborhood are constructed in everyday relations. Composed of con­ versational and anecdotal portraits of neighbors and merchants I have known for years, as well as people I meet by chance, it is a redefinition of "family" in a modern urban setting. This is a neigh­ borhood like many others in Los Angeles, yet it is a "Los Angeles" never portrayed in Hollywood. My coda through this work-looking out and/or filming out the window­ is a device that takes the viewer back and forth between my private and pub­ lic life, the past and the present, imply­ ing that each informs the other. My handheld video camera is also used as a means to connect and create a sense of family with my neighbors. It is a ruse to flirt with the UPS man and sparks an unconventional erotic scene between myself and a guy in a gazebo. Often hilarious, this work is also poignant: confronting loss, middle-age and living alone, while struggling to arrive at a new definition of "home." As both a diary and documentary, cine­ ma verite footage is juxtaposed with material that is aesthetically subjective and poetic. My work has never been easily classified, but the format of Everyday Echo Street might best be described as a docu-poem.

Evenjday Echo Street was commissioned by and premiered at Peter Sellars's Los Angeles Festival and funded by the Ford Foundation, 1993. It has been televised and licensed (nonexclusive) by KCET, a Los Angeles PBS television station; first air date, October (Cultural Diversity Month) 1994. 43rd Melbourne International Film Festival, 1994; Robert M. Bennett Award, Finalist, 1994; American Sociology Association's "Insiders and Outsiders'" Film and Video Documentation of L.A. Culture, 1994; Los Angeles Public Library'S Central Library, 1994; AFI National Video Festival, 1994; videoLACE Annuale, 1994. Susan Mogul holds the major credits for Evenjday Echo Street-producer, director, editor, and camera-and is the distributor. Additional camera by Dave Ries. Creative consultant was Don Opper.

Susan Mogul

Susan Mogul shooting

Every Echo Street: A Summer Day, 1993

video, 30 minutes

Photo: Jeff Li

Rosemary Morris

Ellipses No. 1-31 are a series of ink drawings on the front pages of a published newspa­ per. The numbered sequence follows the front pages of each day for a period of one month. The act of drawing became part of my reading of the newspaper each day. The process was very simple. I scrib­ bled, crossed out and circled. The placement of these marks both locates and dislocates the existing ground of the picture and text.

A circle of a body travelled, absent of possession. Segments 1-12 "Rosemary Morris's highly personal work, 'Segments,' uses the cold, objective format of police evidence files. It is concerned with the language of exclusion and the attendant psy­ chological effect upon those whose lives are dominated by it. Morris took a walk through her Los Angeles neighborhood, recording the lan­ guage of every sign that she encountered along the way and transcribing those words at their approximate physical intervals on a 'rap sheet,' placing her own signature at the place on the walk where she stopped to make the photo­ graph, thereby introducing the only human ele­ ment into the experience. At the same time she enclosed the photograph in a protective plastic bag; like a fingerprint or a drop of blood, it is preserved and kept separate. The sense of dislo­ cation and alienation in one's own neighbor­ hood or community is sobering, and the denial of access to space is overwhelming." -Carla Williams


Rosemary Morris

Segment 12 from A circle of a body travel/ed, absent of possession. Segments 1-12, 1993

black and white polaroid, photocopied text and manila folder

11 Y2 x 9 Y2 inches

Sabrina Simmons Writing to Heal is a 3D-minute film documenting the healing effects of the poetry work­ shop conducted at the Mini Twelve Step House. The Mini House is the oldest nonprofit residential drug and alcohol recovery program for women in South Central Los Angeles. The Mini House has developed a poetry workshop led by Michelle Clinton, an award-winning local African American poet, to provide a safe environment for women to reveal and confront difficult experiences associated with the culture of poverty and addiction. The impact of substance abuse has been devastating to communities of color and the African American community in particular. The film documents the effects of the poetry workshop as each participant works to dispel her feelings of hopeless­ ness and encourage emotional strength. Through this film we witness the work­ shop promoting communication, litera­ cy, self-esteem, and ultimately healing. The film utilizes many of the camera and editorial styles familiar in music videos and commercials, such as quick cuts, dis­ solves and mixed media; shooting took place on videotape in the classroom and on 16mm on location . Along with the familiar, the film provides a viewpoint on the "hood" that has rarely been seen

on film before. This film invites us to experience the poetry of these recovering women, their dreams, and images of South Central Los Angeles. Writing to Heal is a film about women by women. I believe that each of us gains from interacting and giving of our knowledge and experience. I hope this film creates an atmosphere of mutual empow­ erment that will help to make the goal of rebuild­ ing L.A. a reality.

Sabrina Simmons Writing To Heal, 1994

16mm film, 30 minutes

J. MichaeL WaLker

The Holy Family Watches Over My Neighborhood is a view from the balcony of our apartment in the Silverlake area of Los Angeles, a building we lived in for ten years. I wanted to capture some of the person­ ality of the neighborhood, its endearing funky character. One of the basic truths for me about Los Angeles is that it is composed of many neighborhoods, each identifiable, and therefore not really definable by the typical depictions of palm trees against sunsets or swimsuit­ ed blondes by a pool. Our neighborhood is a rich mixture of ethnicities, with a variety of Latin American and Mexican families seem­ ing to predominate. The neighborhood underwent some real changes during the year or two I worked on this drawing. Most dramati­ cally, one Saturday night the paint and auto body shop on the left exploded and went up in garish flames for hours and hours, to be later replaced by-you can guess-a parking lot. More ominous, however, was our street's sad and rapid descent into the pallor of drug sales and related violence. Things got so bad that at one point I consid­ ered changing the piece to a nighttime scene with Goyaesque monsters flying through the darkened sky. Fortunately, both my mood and that of the street turned from pessimism and

defeat to a more positive and open energy. I returned invigorated from a trip to Mexico City and immediately decided to make this land­ scape an altarpiece, as a sort of prayer or "good luck totem" for myoId neighborhood. I feel it is a sort of benediction for the neighbor­ hood and, by extension, for all of Los Angeles for all that we have gone through. I suppose the title can be read as both a statement and a hope. The Holy Child is based on my son, Jacobo.

]. Michael Walker

The Holy Family Watches Over My Neighborhood, 1993

colored pencil on rag paper, 44 x 60 inches

Photo: Tony CuiTha


Works are lent by the artist unless otherwise indicated.




Confrontation, 1986

photo-transfer print, oil, and graphite on wood 11 x 10 inches

acrylic on canvas 48 x 72 inches

Scorched Earth, 1993 photo-transfer print, oil, and graphite on wood 11 x 15 inches

Home Is Where You Find It, 1986 acrylic on canvas 48 x 72 inches

Evening Meal, 1986

Not Everyone, 1993

acrylic on canvas 48 x 72 inches

photo-transfer print, enamel, oil, graphite, and presstype on wood 13 x 11 inches

acrylic on canvas 48 x 54 inches

Aftermath, 1992 photo-silkscreen, spray enamel, oil, and graphite on wood 11 x 9 inches

Aftermath II, 1992 photo-silkscreen, spray enamel, oil, and graphite on wood 9 x 9 inches


Global Garden Tapestry, 1993 latex on redwood, chain-link fence Original piece: 4 feet x 75 feet xIh inch On display: 4 feet x 35 feet x Yz inch Lent by City Heights Community Development Corporation and the artist

Spew, 1992


photo collage, oil, graphite, and spray enamel on wood 11 x 19Yz inches

The History from Within/The History from Without (La historia de adentro/la historia de afuera), 1994-95


Blame II. Denial, 1990 acrylic on canvas 84 x 112 inches (diptych)


For the Time Being, 1994 mixed media 60 x 24 x 24 inches

acrylic paint with ceramic tile detail 14Yz to 23Yz feet high x 105 feet long Created for Community Properties Poem "Centerground" ŠGloria Enedina Alvarez, 1994 Drawing: for The Histonj from Within/The History

from Without (La historia de adentro/La historia de afuera>, 1994-95 Prismacolor on paper, 36 inches x 10 feet 6 inches Line Drawing on paper, 36 inches x 10 feet 6 inches



Whose Property?, 1994

Untitled, 1995

mixed-media sculpture 48 x 96 x 33 V2 inches Created for Community Properties

mixed-media installation 12 x 12 x 12 feet Created for Communih) Properties



Families Next Door, 1995

"Los Anthropolocos" White-Fying, 1995

mixed-media installation 11 feet x 25 feet Created for Community Properties

mixed-media installation 12 x 10 x 12 feet



An Invitation to Listen, 1990-93 VHS video, 47 minutes


Driveabout #6, 1994 photograph, digitally printed 126 x 130 inches


P lac e ments, 1995 installation of yellow and black laminated plastic signs mounted in precise locations sizes vary from 6 x 8 inches to 8 x 12 inches


We Are Neighbors, 1994-95

Every Echo Street: A Summer Day, 1993 video 30 minutes


Ellipses No. 1-31, 1992 ink, newspaper 11 x 8V2 feet

A circle of a body travelled, absent of pos足 session, 5egments 1-12, 1993 black and white polaroids, photocopied text, manila folders, metal shelf 15 inches x 10 feet x 6 inches


Writing To Heal, 1995

mixed-media installation 7 x 12 x 8 feet Created for Commllllity Properties

16mm film on VHS 30 minutes



Epicenter U., 1994

The Holy Family Watches Over My Neighborhood, 1993

16mm film on VHS 30 minutes

colored pencil on rag paper 44 x 60 inches

I Dreamed I Was Babysitting the World, 1991 colored pencil on rag paper 44 x 60 inches

CATHERINE ALLEN Calabasas, Calitornia EDUCATION 1976 MFA, Painting, Boston University, Boston, MA

1971 BA, American University, Lanham, MD

SOLO EXHIBITIONS 1994 John Jay College/City University of New York, New York, NY (two person) 1989 SOHO 20 Gallery, New York, NY (also 1986, 1985) 1987 Rutgers University, New Brunswick, NJ SELECTED GROUP EXHIBITIONS 1993 Home, Place, Memory, Los Angeles Festival, Los Angeles, CA Reshaping L.A., Angel's Gate/Los Angeles Harbor College, San Pedro, CA 1992 South Bay Contemporary Museum of Art, Torrance, CA ArtSpace, Los Angeles Municipal Galleries, Woodland Hills, CA SOHO 20 Gallery, New York, NY Issue Earth, Lorna Linda University, Riverside, CA 1990 Wade Gallery, Los Angeles, CA 1988 Albright Knox Members Gallery, Buffalo, NY 1986 Eilat Gordin Gallery, Los Angeles, CA 1985 Bess Cutler Gallery, New York, NY New York University, New York, NY 1984 Everson Museum Biennial, Syracuse, NY SELECTED BIBLIOGRAPHY "Beyond the Dinner Party: Exploring the Frontiers of

Feminist Art." Villager, 26 February 1981.

Cirillo, Joan. "Women's Art Group Attacks Stereotypes."

News-TImes (Danbury, CT), 28 March 1981.

"Critic's TIp." Boston Globe, 31 May 1984.

Ficarra, Marianne. Woman Artist Series (exh. cat.). New

Brunswick, NJ: Rutgers University, 1987

Frank, Peter. "Art Picks of the Week." L.A. Weekly, 10

September 1993.

Glamkowski, Diana. The Caelian (New Brunswick, NJ), 12

November 1987

Martin, Victoria. Artweek, 23 January 1992.

"Palm Latitudes." Los Angeles Times Mngazine, 28 April 1991.

"Women in the Arts ...Transformations." New Directions for

Women, May/June 1981 .

LARRY JENS ANDERSON Atlanta, Georgia EDUCATION 1982 MVA, Georgia State University, Atlanta, GA 1970 BAE, Wichita State University, KS SELECTED EXHIBITIONS 1994 AlDS Forum, Artist's Space, New York, NY 1992 Private/Public, Betty Rymer Gallery, Chicago, IL Rites, Sandler Hudson Gallery, Atlanta, GA 1990 Against the Tide, Nexus Contemporary Arts Center, Atlanta,GA

SELECTED BIBLIOGRAPHY Harper, Glenn. Review. Artforum, January 1987, pp. 117-118.

Rahn, Kurt, ed. Against the Tide (exh. cat.). Atlanta:

Southeastern Arts, Media and Education Project, Spring 1991,


Sterling, CoUeen. "Rites." Art Papers (Atlanta), June 1992, p. SO.

Walker, Chris. "Naked People." The Atlallta JOl/mal &

Constitution, June 21, 1992.

KAREN ATKINSON Santa Monica, California EDUCATION 1984 MFA, California Institute of the Arts, Valencia, CA 1981 BA, California State University, Fresno, CA SELECTED EXHIBITIONS 1994 The Fifth Havana Biennial: Art, Society and Reflection, Centro Wifredo Lam, Havana, Cuba 1993 Remappillg Desires, ASpace, Toronto, Ontario, Canada Backtalk, Contemporary Arts Forum, Santa Barbara, CA Counter Colon-ialismo, MARS Artspace/Heard Museum (Movimiento Artistico del "Rio Salado"), Phoenix, AZ (traveled) 1992 Tele Mundo, Terrain (gallery), San Francisco, CA Breaking Barriers, Santa Monica Museum of Art, Santa Monica, CA This Is My Body, This Is My Blood, Herter Art Gallery, University of Massachusetts, Amherst, MA SELECTED BIBLIOGRAPHY Breslauer, Jan. "Two Faces of Columbus." Los Angeles Times, 6

October 1991.

Brooks, Rosetta. "Meter Remade." Los Angeles Village View, 20

January 1995.

Converse, Elizabeth. "Ka ren Atkinson's 'For The TIme Being:

A Public Art Project." Artweek, February 1995.

Johoda, Susan and May Stevens. This is My Body, This is My

Blood (exh. cat.). Amherst, MA: Herter Art Gallery, University

of Massachusetts, 1992.

Klausner, Betty. "U.S. Contingent in Havana." Art ill America,

October 1995.

Leddy, Pat. "Flesh and Blood." Artweek, October 93.

Lippard, Lucy and Diane Middlebrook. Backtalk (exh. cat.).

Santa Barbara, CA: Contemporary Arts Forum, 1993.

Reville, David . "Corpuscular Politics," Afterimage,

February 1993.

Von Blum, Paul. Other Visions, Other Voices. Washington, DC:

University Press of America, 1994.



Los Angeles, California EDUCATION 1971 Lifetime Teaching CredentiClI, Arts, Los Angeles Unified School District, Los Angeles, CA 1953-57, 1960 University of California, Los Angeles, CA 1947-48 Art Center School of Design, Los Angeles, CA SELECTED SOLO EXHIBmONS 1995 EVClnsville Museum of Arts Clnd Science, Evansville, IN 1993 Heritage Gallery, Los Angeles, CA 1991 University of Judaism, Los Angeles, CA (two person 1990 Adelle M. Gallery, Dallas, TX (also 1986) (two person) West Los Angeles City Hall Gallery, Los Angeles, CA 1988 Home Sweet Home, Jewish Federation Galleries, Los Angeles, CA 1986 Intemational Contemporary Art Fair, Los Angeles, CA Faces of the Homeless, State Capitol Building, Sacramento, CA Paintings of the Homeless, Bridge Gallery, City Hall, Los Angeles, CA 1985 Moosart Gallery, Miami, FL 1984 Landau Gallery, Los Angeles, CA SELECTED GROUP EXHIBmONS 1994-95 lllscapes/l.imdscapes, L.A. Artcore, Los Angeles, CA 1994 Jewish Artists of 5011 them California, Wilshire Boulevard Temple, Los Angeles, CA (also 1992) 1993 West '93 Art & The ww, West Publishing Company, Eagan, MN (traveled) (also 1991, 1984) Women of the Bible, Biblical Art Center, Dallas, TX 1991 Forbidden wngllage, Beallty and Cliltl/re, (SC/WCA), University of Southern California, Los Angeles, CA 1990 Hunger 1990's: Not By Bread Alone, Square House Museum, Panhandle, TX (traveled) SELECTED BIBLIOGRAPHY "Art and the Law Exhibit, Loyola Law School." The Outlook

(Santa Monica, CAl, 22 October 93.

Harrison, Hazel. Watercolor School. Quarto Publishers, Readers

Digest Book, 1993.

Hunger 1990's: Not By Bread Alone (exh. cat.). Panhandle, TX:

Square House Museum, 1990.

Katchen, Carole. Dramatize Your Painlings with Tonal Values.

North Light Publishing Co., 1993.

Knipe, Sandra. The Evansville Press, 26 January 1995.

Kramer, Rabbi William, Heritage, 13 December 1992

Myer, Joe. The Desert Sun, 16 August 1992.

Willette, ]5.M. Profile Story. Visions, Fall 1993.

San Ysidro, California EDUCATION 1986 MFA, Sculpture, The University of New Mexico, Albuquerque, NM 1983 MA, Sculpture, The University of New Mexico, Albuquerque, NM 1975 BFA, Sculpture and Metalsmithing, Syracuse University, Syracuse, NY SELECTED PUBLIC ART PROJECTS In Progress Bikeway and Pedestrian Pathway Extension Project (between Lindbergh Field Airport and Convention Center), Centre City Development Corporation, San Diego, CA. Processional Passage, stamped concrete, fence, and landscaping project (involving Montgomery High School students), commission for Arts and Culture and Traffic Engineering Department, San Diego,CA Mesa Rim Children's Entrance to Balboa Park, San Diego Parks and Recreation Department, San Diego, CA. 1994 EI Portal de la Historia , 10' x 350' mural (designed by area school children) spanning 1-5 at Chicano Park on pedestrian walkway of Coronado Bridge (with collaborators), Commission for Arts and Culture, San Diego, CA. The Terrific Pacific. Public art work of paint, neon and ceramic mosaic at Grand Avenue Lifeguard Tower, Pacific Beach (with participation of senior citizens). Commission for Arts and Culture, San Diego,CA. 1993 Global Garden Tapesln;. Slatted fence painted with Hmong creation images and inscribed with brief statements by 350 community members. City Heights Community Development Corporation, San Diego, CA. 1991-93 Time and Presence. Pierced and cast-metal roof canopies installed at Convention Center light rail station. Los Angeles County Transportation Commission, Los Angeles, CA. SELECTED BIBLIOGRAPHY Chattopadhyay, Collette. "Public Art. Recent work in down足 town LA." Artweek, 3 February 94, cover and p. 13. "First Annual San Diegans of the Year." Sail Diego Home and Garden (Lifestyle Magazine), January 1995, p. 53.

YREINA D. CERVANTEZ AND ALMA LOPEZ YREINA D. CERVANTEZ Los Angeles, California CERVANTEZ - EDUCATION 1989 MFA, University of California, Los Angeles, CA 1975 BA, Fine Arts, University of California, Santa Cruz, CA Universidad Internacional Cooperativa de Mexico CERVANTEZ - SELECTED MURAL PROJECTS 1993 Neighborhood Pride: Great Walls Unlimited, City of Los Angeles/Social and Public Art Resource (SPARC), Venice, CA. Skid Row Mural Project 1988-89 Neighborhood Pride: Great Walls Unlimited, City of Los Angeles/Social and Public Art Resource (SPARC), Venice, CA 1988 Junior Arts Center, Municipal Art Gallery, BarnsdallPark, Los Angeles, CA CERVANTEZ - SELECTED GROUP EXHIBmONS 1992-93 Self-Help Graphics, 10-Year Retrospective, Southwest Museum, Los Angeles, CA 1992 Women's Voices, Laband Art Gallery, Loyola Marymount University, Los Angeles, CA Pasion por Frida, Mexican Museum, San Francisco, CA Quincentennial: Chicano Perspectives, Galeria OtraVez, East Los Angeles, CA 1991 Encuentro: Invasion of the Americas and the Making of the Mestizo, Social And Public Resource Center (SPARC), Venice, CA 1990 CARA, Chicano Art Resistance and Affirmation; An Interpretive Exhibition of the Chicano Movement 1965-1985, Wight Art Gallery, University of California at Los Angeles, Los Angeles, CA 1989 Hispanic Art on Paper, in conjunction with Hispanic Art in the United States, Los Angeles County Museum of Art, Los Angeles, CA Aqui y AIM: Los Angeles Chicano Artists and Mexico City Artists, Los Angeles Municipal Art Gallery, Los Angeles, CA CERVANTEZ - SELECTED BIBLIOGRAPHY CARA Chicano Art: Resistance and Affirmatioll, An Interpretive

Exhibition of the Chicano Movement , 1965-1985 (exh. cat.). Los

Angeles: Wight Art Gallery, University of California, 1991.

'''Chicano Art: Resistance and Affirmation, 1965-1985' A

Community's Self-Portrait." New Art Examiner, December 1990.

"Cultural Chicana, Un Arte sin Fronteras." Memoria de Papel,

April 1992.

"Escuela Revive una Tradicion-Altares de Dia de los

Muertos." Panorama Section, La Opinion, 2 November 1991.

"Issues of Taste: Self-Help Artists at the Laguna Art Museum."

Artweek, 10 October 1991.

Goldman, Sifra M. Dimensions of the Americas: Art and Social

Change in Latin America and the United States. Chicago:

University of Chicago Press, 1994.

ALMA LOPEZ Los Angeles, California LOPEZ - EDUCATION 1993足 MFA, University of California, Irvine, CA present 1991-92 Internships with artist Frederico Vigil, Social and Public Art Resource Center, Venice, CA; with Judith F. Baca, Venice, CA; and at the Experimental Gallery, Smithsonian Institution, Washington, DC 1984-88 BA, Art Studio, University of California, Santa Barbara, CA LOPEZ - SELECTED MURAL PROJECTS 1994 Faces of Pasadena. Two portable murals sponsored by Target Stores; assistant to Judith F. Baca in the facilitation of workshop which produced murals. 1992 Candelaria Mural, EI Concilio de Ventura sponsored community mural; assisted by 17 youths ages 14 through 19; at Senior Citizens Center, Fillmore, CA. LOPEZ - SELECTED EXHIBmONS 1994 Hunger, University of California, Irvine, CA Superwoman, University of California, Irvine, CA Remember (collaborative installation with poet Lindsey Haley), University Art Gallery, University of California, Irvine Murals: The Urban Voice, California State University, Fullerton, CA Sacred Eroticism, Aztlan Cultural Arts Foundation, 1993 East Los Angeles, CA Downtown Lives, Downtown Arts Development Association, Los Angeles, CA Dia de Los Muertos (group exhibition), Los Angeles 1992 Photography Center, Los Angeles, CA CERVANTEZ AND LOPEZ - COLLABORATIONS 1994 Mural Art: The Urban Vision, West Art Gallery, California State University, Fullerton, CA 1993 Raw Pride, John Michael Kohler Arts Center, Sheboygan, WI; collaborative mural with artist Yreina Cervantez and the Latino community of Sheboygan.

JEAN GALLAGHER Chico, California EDUCATION 1993 Doctor of Arts, New York University, New York, NY 1980 MFA, University of South Carolina, Columbia, SC 1975 BFA, University of South Carolina, Columbia, SC SELECTED EXHIBmONS 1995 in and out of the garden, Cabrillo Art Gallery, Aptos, CA {installation} 1994 Spatial Politics: Social and Interpersonal Relations, Main Gallery, Elgin Community College, Elgin, IL I Know Why the Caged Bird Sings, Galeria Tonantzin, San Juan Bautista, CA 1993 Bllt is it Art? ..Current sin Electronic Imaging, University of Puget Sound and Pacific Lutheran University, Tacoma, WA Conceptllal Automatism in Gardening, Mace Space for Art, San Francisco, CA {solo} 1992 Lost Sight, Institute of Design and Experimental Art, Sacramento, CA {installation} Perverted Issues, Highways, Santa Monica, CA (installation) The Social Moralists, University Art Gallery, California State University, Turlock, CA {installation} 1991 Lost ulI1dscapes: Our Wasted Environments, Newport Art Museum, Newport, RI 1990 Aging: The Process, The Perception, Forum Gallery, Jamestown Community College, Jamestown, NY Bizarre Games, Window on Broad, Rosenwald-Wolf Gallery, The University of the Arts, Philadelphia, PA (installation) SELECTED BIBLIOGRAPHY Cohn, Terri. "Shaped Identities: The Photographic Object." In

"From Image to Object: Sculptural Photography,"

Camerawork: A Jail mal of Photographic Arts, Spring/Summer

1994, vol 21 :1, pp.8-15.

Davis, Randal. "Recoveries: Jean Gallagher and Jim Lewis at

IDEA." Artweek, 11 March 1993.

Reyes, Eric. "Artist Strikes Back at Critic: Her Arsenal on

Display at Stanislaus." Tllrlock Jail mal, 23 April 1992.

Roberts, Kathaleen. "Eclectic Mix of Art Defines Space and

Time." COllrier News, 20 November 1994.

Shackleford, Penelope. "Finding Alternatives." The Davis

Enterprise <Weekend Magazine}, 11 March 1993.

CHERI GAULKE AND SUE MABERRY CHERI GAULKE Los Angeles, California GAULKE - EDUCATION 1978 MA, Feminist Art/Education, Goddard College,

Los Angeles, CA

1975 BFA, Intermedia, Minneapolis College of Art and

Design, Minneapolis, MN

GAULKE - SELECTED COMMISSIONS 1993 Design for Avenue 26 on the Pasadena Blue Line,

Metropolitan Transit Authority, Los Angeles, CA

GAULKE - SELECTED EXHIBmONSjVIDEO 1995 Sea of Time, Video, 9th London Lesbian and Gay Film Festival, London, England . Also shown at AFI National Video Festival, Los Angeles, and sixteen national and international venues in 1994. 1994 In Terms of Time, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA 1993 Fifty-First Western Books Exhibition 1992, organized by the Rounce and Coffin Club {traveled California, Texas, Arizona, Idaho, Washington} 1992 Fragile Ecologies: Artists' lrlterpretations and Sollltions, The Queens Museum of Art, Flushing, Long Island, NY {circulated by Smithsonian Institution Traveling Exhibition Service} Pillar of Smoke, for the exhibition Smog: A Maller of Life and Breath, California Museum of Photography, University of California, Riverside, CA 1991 Bllsz Words-Pllblic Art From Los Angeles, CEPA gallery exhibition and on a public bus, Buffalo, NY 1988 COllllllilled to Print, Museum of Modern Art, New York, NY {traveled} GAULKE - SELECTED BIBLIOGRAPHY Alfaro, Luis. "Cheri Gaulke Speaks in Rituals." Sqllare Peg,

March/ April 1993.

Broude, Norma and Mary D. Garrard. The Power of Felllillist

Art: The American Movement of the 19705, Histon} and Impacl.

New York: Abrams, 1994.

Frank, Peter. "Video Pick of the Week." L.A. Weekly, 18 March 1994.

Hess, Elizabeth. " Gallery of Trash." The Village Voice, 6

October 1992.

Lacy, Suzanne. Mappil1g the Terrain: New Geme Pllblic Art.

Seattle: Bay Press, 1994.

Matilsky, Barbara C. Fragile Ecologies:COil temporary Artists'

Ill terpretatiolls alld Sollltions. New York: Rizzoli, 1992.

Sadownick, Doug. "Bewitched, Bothered, But Not

Bewildered." The Advocate, 5 November 1991.

Smith, Lynn. "A Sharper Reception." Los Allgeles Times, 16

March 1994.



Los Angeles, California MABERRY - EDUCATION 1991 MLS, San Jose State University at California State University, Fullerton, CA 1987 BA, Pitzer College, Claremont, CA GAULKE AND MABERRY - SELECTED EXHIBmONS 1995 Family Matters, Art Gallery, Atlanta College of Art, Atlanta,GA 1994 Family Album, Main Art Gallery, California State University, Fullerton, CA Family Values, EI Camino College, EI Segundo, CA 1992 Comlllunitas: The Feminist Art of Community Buildillg, California State University, Northridge, CA

seattle, Washington EDUCATION 1991 MFA, University of Colorado, Boulder, CO 1987 BFA, Colorado State University, Fort Collins, CO SELECTED EXHIBmONS 1993 Seattle Artists' Profeet (purchase/ commission), City of Seattle Art Collection, Seattle, WA 1990 The Last Best Place, The American West Symposium, Boulder, CO 1989 Interpreting the Southwest, Anderson Ranch Arts Center, Snowmass, CO SELECTED BIBLIOGRAPHY Rathbun, Charlie. "A Diverse Wealth of Local Talent." Seattle Arts (Seattle Arts Commission), March 1993.

VALERIE GOLD-NEIL, Ed.D. Laguna Beach, California EDUCATION 1989 EdD, University of California, Irvine, Center, Irvine, CA Counseling Psychology Deparhnent of Educational Psychology, Texas Technological University, Lubbock, TX (August 1989) Dr. Valerie Gold-Neil is a licensed psychologist in private prac足 tice in Irvine, California. She is the founder and executive direc足 tor of the HIV: Womell's Voices program. She is also the executive producer of "An Invitation to Listen," a 45-minute videotape depicting the effect of HIV on women's lives. The HIV: Women's Voices program has been showcased on national television, including "48 Hours" on CBS and "Home Show" on ABC. The program has also been presented to the public via newspapers and radio. The HIV: Womell's Voices program has been the recipi足 ent of Ryan White Title I and AIDS Walk funding. Dr. Gold-Neil has worked in the area of AIDS education as an educator, researcher, clinician and community organizer since 1985. Her emphasis on women and HIV disease began in 1989, when she started the first AIDS/HIV support group for women in Orange County. Dr. Gold-Neil has been responsible for many "firsts" in Orange County. She co-chaired the first focus group on women and HIV, served on the organizing committee for the first conference on women with HIV and spearheaded the first HIV Women's Task Force. Currently she sits on several committees: the Laguna Beach Task Force, AIDS Services Foundation Client Services Committee, HIV Women's Task Force, Los Angeles Plus ProgTam Advisory Board, Orange County Education and Prevention Committee, Orange County Planning Committee and Stadtlander Pharmacy AIDS Foundation Board of Directors. As a researcher, Dr. Gold-Neil's doctoral dissertation and publications have centered on attitudes toward persons with AIDS. Her current research tract focus is on attitudes toward women infected with HIV spectrum disease.

MOLLY BETH HANKWITZ san Francisco, California EDUCATION 1988-89 Whitney Museum of American Art Independent Study Program, New York, NY 1983-86 Masters Program, Yale University School of Architecture, New Haven, CT 1982 BA, Philosophy, Barnard College, New York, NY SELECTED SOLO EXHIBmONS 1994 Live Woman (video, drawings, text and sound), Artists Television Access, San Francisco, CA Halloween Performance, Ti Couz Restaurant, San Francisco, CA Children, Youth and City, LURE Art Books, San Francisco, CA (book project) 1993 Apt. 4, interactive installation in my home, San Francisco, CA 1992 Portrait, Cheap Art Collective, San Francisco, CA SELECTED GROUP EXHIBmONS 1994 The Shooting Gallery, San Francisco, CA Giftland JII, Printed Matter, New York, NY The Work Show, Printed Matter, New York, NY 1991 Counter-proposals, Randolf Street Gallery, Chicago, IL CHOICE, A.1.R. Gallery, New York, NY Urban Space/The City as Place, Artists Space, New York, NY (curator) 1989 Open House, Whitney Museum of American Art Independent Study Program, New York, NY SELECTED PUBLISHED WRmNGS Exhibition reviews, Art Papers. November-December 1994,

May-June 1994, November-December 1993, June-July 1992.

"House Heroines" and "Addressing Herself." Exhibition reviews.

Art Papers, May-June 1994.

"Occupied Territories." Interview with Jayce SaUoum. Felix, 1994.

"Site Readings." Exhibition review. Umbrella, December 1994.

MARY-LINN HUGHES Huntington Beach, California EDUCATION MFA, University of California, San Diego, CA 1980 BA, Art with Photography emphasis, California 1977 State University, Fullerton, CA SELECTED EXHIBmONS 1994 Family Album, Main Art Gallery, California State University, Fullerton, CA TranscEND AlDS, William Grant Still Arts Center 1993 Los Angeles, CA ' 4lbs aday, collaborative installation in a large shop­ pmg mall (Santa Monica Place, Santa Monica, CAl with Karen Lee C. Akamine and Reginald Zachary Hentage Regamed, collaborative installation with 1992 Karen Lee C. Akamine and Reginald Zachary, California State University, Fullerton, CA Garbage Stories, collaborative window installation with Reginald Zachary, 911 Media Art Center, Seattle, WA SELECTED BIBLIOGRAPHY Archer, Maresa. "Opening Creativity's Doors." Los Angeles

Times,11 March 1993.

Chattopadhyay, Collette. "Social Sight: Artist Residencies at

Santa Monica Place." Artweek, 17 June 1993.

Curtis, Cathy. "Shows by Strong Young Artists, Oldies Break

the Drought." Los Angeles Times, 9 April 1990.

Dubin, Zan. "Regaining Uncommon Ground." Los Angeles

Times, 19 November 1992.

Montgomery, Lee. "Art Has Its Place." The Olltlook (Santa

Monica, CAl, 27 August 1992.

ALEXIS KRASILOVSKY Los Angeles, California EDUCATION 1984 MFA, Film/Video, California institute of the Arts Valencia, CA ' 1971 BA, Film/ Art History, Yale University, New Haven,CT SELECTED FILMS - WRITER/PRODUCER/DIRECTOR 1995 Epicenter U. (28 min.) (director/producer) A first­ hand account about healing from the 6.7 Northridge earthquake of 1994. Featuring Vice President Al Gore, the Hon. Andrew Young, and a cross-section of the multicultural community that is California State University, Northridge, Epicenter U. IS also the film diary of independent filmmak­

er/professor Alexis Krasilovsky. Narrated by Los

Angeles poet Wanda Coleman.

Writing to Heal. (executive producer)

1991 What Memphis Needs. (5 min.) Selected for Ann Arbor Film Festival Tour and PBS's "The '90's." Award winner at Poetry Film Festival, San Francisco, 1991; screened at the International Poetry Festival, Boston, 1992, and at the Museum of Modern Art, NY, 1993.


Exile. (28 min.) Filmed on location in Czechoslovakia, Austria and the United States. Sele~ted for national, prime-time programming by PBS In 1986 and KCET's Celebration of Cultural Diversity in 1988. 1982 Just Between Me and God. (8 min.) An environmen­ tal love story, aired 1988-91 on The Learning Channel's "The Independents: Spirit of Place." 1971 End of the Art World . (30 min.) Features Andy Warhol, Robert Rauschenberg, and Jasper Johns. Excerpted on BBC on 6 February 1995. SELECTED COLLABORATIVE FILMS 1978,1981 Codirected with Ann Rickey and Walter Baldwin, Beale Street. Among the Beale Streeters featured in this ora] history are B.B. King, Bobby Blue Bland, Nat D. Williams and Rufus Thomas. Distributed nationally by Tower Video, 1987

JOE LEWIS Los Angeles, California EDUCATION MFA, Maryland Institute, College of Art, 1989 Baltimore, MD 1979 Graduate Writing Seminars, Brooklyn College, NY 1975 BA, Art History, Hamilton College, NY SELECTED EXHIBmONS New Work, Robert Berman Gallery, Santa Monica 1993 CA ' Too Many ~ish i~ the Sea, Hiliwood Museum, Long Island Uruverslty, c.w. Post Campus, Brookville, NY Primanj Peoples, Colors, Shapes ..., University Galleries, Illinois State University, Normal, IL Boston, Confrontation (performance/video instal­ 1992 lation), SPARe, Venice, CA (catalog) Forum Gallery, Jamestown Community College, 1991 Jamestown, NY The Book of IBID, Performance/video, Kresge Theater, Carnegie Mellon University, Pittsburgh, PA 1990 The Wall of Dignity, Public Commission, City of Baltimore, MD SELECTED BIBLIOGRAPHY Barrie, Lita. "A Conversation With Joe Lewis." Artweek, 19

December 1991, p. 3.

Berger, Maurice. How Art Becomes Histon;: Essays on Art,

Cu/tllre and.... New York: Icon Press, 1992, p. 80.

Goldstein, Marilyn. "Art Puzzle: Why is the Room Blue?"

New York Newsday, 1 November 1991, p. 27

Harrison, Helen A. "Grim Reminder of the Persian Gulf

War." The New York Times (Sunday, Long Island edition), 3

November 1991, p. 16.

Lippard, Lucy. Mixed Blessing: Nf"tV Art ill a Multicultural

America. New York: Pantheon Books, 1990.

Pagel, David. ''Voyage: Crisscross Science and Ar!." Los

Allgeles Times, 6 August 1992.


EI Cajon, California

LOU - EDUCATION 1986 MFA, Art, Clemson University, Clemson, sc 1983 BA, Art, California State University, Fullerton, CA

ROBERT SANCHEZ La Mesa, California SANCHEZ - EDUCATION 1976 MA, University of New Mexico, Albuquerque, NM 1974 BFA, Memphis College of Art, Memphis, TN LOU AND SANCHEZ - EXHIBITIONS 1994 Los Anthropolocos, New Digs at Mission Viejo: In Search of the Colorless Hands, Saddleback College Art Gallery, Mission Viejo, CA 1993 Robert Flaherty Seminars, Video/Film Invitational curated by Chon Noriega. Screened video "Discovering Columbus ... and Other White People," Wells College, Aurora, NY Los Anthropolocos vs. The White Mummies, multime足 dia performance, Cafe Cinema, San Diego, CA

Sin Fronteras: Chicano Arts from the Border States of the U.S. Cornerhouse Gallery I Art Center, Manchester, England


Third International Istanbul Biennial, The Greater Istanbul Municipality Nejat F. Eczacibasi Contemporary Art Museum, Istanbul, Turkey Year of The White Bear, Walker Art Center, Minneapolis, MI (traveled to Mexican Fine Arts Museum, Chicago, ILl

ABO: Videos That Umllask and Invade the Colonial System, Video Inn, Vancouver, BC, Canada LOU AND SANCHEZ - BIBLIOGRAPHY Cook, Richard. "Post Cards from America." The Times (London, England), February 1993. McFadden, Sarah. "Report from Istanbul: Bosporus Dialogues." Art in America, June 1993, pp. 55-61 . Pincus, Robert. Review. San Diego Unioll-Triblllle, November 1994. Revueltas, Armando. "Desenterrando Gueros." San Diego Hoy, 11 November 1994. ARTICLES BY LOU Lou, Richard. "Headlines: Voices from the Conquered." The Drama Review, vol. 37, no. 1 (Spring 1993), pp. 157-160.

SUSAN MOGUL Los Angeles, California EDUCATION MFA, University of California, San Diego, CA 1980 BFA, Tufts University I Boston Museum School of 1972 Fine Arts, Boston, MA 1967-69 University of Wisconsin, Madison, WI SELECTED VIDEO/FILMOGRAPHY 1993 EvenJday Echo Street: A Summer Diary. (30 min) Commissioned by the Los Angeles Festival and funded by the Ford Foundation. Los Angeles Festival (premiere), September 1993. American Film Institute National Video Festival, February 1994. (Shown at sixteen national and international venues in 1994.) We Draw - You Video. (26 min) Funded by the National 1991 Endowment for the Arts, Inter-Arts Program. Los Angeles Contemporary Exhibitions, 1991 . Prosaic Portraits Ironies and other Intimacies. (46 1990 min) Commissioned by the Santa Monica Museum of Art. Funded in part by the National Endowment for the Arts. Santa Monica Museum of Art, 1991. Five East. (15 min) Funded by the Los Angeles Endowment for the Arts. University of California, Los Angeles, 1991. Dear Dennis. (4 min) Los Angeles Contemporary 1988 Exhibitions, 1989. News from Home. (42 min) Los Angeles 1987 Contemporary Exhibitions, 1987 BIBLIOGRAPHY Haithman, Diane. "Home is Where the Heart Is." Feature

article on EvenJday Echo Street. Los Angeles Times, 15 August


Kandel, Susan. "A Dark Side to Children's Diaries." Review

of Pages from the Diaries of Children and We Draw You Video.

Los Angeles Times, 20 November 1991.

Liss, Andrea. Review of Pages frail! the Diaries of Children. Art

Issues, Marchi April 1992.

Moran,James M. "Susan Mogul: A Work in Progress."

Scmtchll1g the Belly of the Beast: Cuttirlg-Edge Media in Los Angeles, 1922-94. Filmforum Festival Catalog, 1994. Renov, Michael. "Video Confessions." Resolutions: Essays on Contemporary Video Practices. Minneapolis: University of Minnesota Press, 1995. Rosenberg, Howard. "A Peaceful Existence on Echo Street." Los Angeles Times, 3 October 1994.




Los Angeles, California EDUCATION 1989 Bachelor of Architecture, The Cooper Union, The Irwin S. Chanin School of Architecture, New York, NY 1982 BA, Queen's University, Kingston, Ontario, Canada SELECTED EXHIBmONS 1994 PhotoNominal '94, The Forum Gallery, Jamestown Community College, Jamestown, NY 1993 Allegiances, Rotunda Art Gallery, Glendale Community College, Glendale, CA Oil Site at the Gate 93, The Gate Gallery, Angels Gate Cultural Center, San Pedro, CA 1992 Memory Inserts, EA.R. Bazaar, Old Federal Reserve Bank Building, Los Angeles, CA SELECTED BIBLIOGRAPHY "Alice's Room." Oversight (Los Angeles), Fall 1993, p. 5.

"Delights, Provokes, Surprises." Erie Times (Erie, PAl, 24

February 1994.

Education of all Architect. New York: The Irwin S. Chanin

School of Architecture of the Cooper Union, and Rizzoli

International Publications, 1988, p. 23.

Los Angeles, California SELECTED PUBLIC COMMISSIONS 1995 City of Pasadena, CA 1993 Community Redevelopment Commission, Los Angeles,CA SELECTED INSTALLATIONS 1991 Ne/lstra Sellora de la Tragedia Illesperada/Our wdy of the Unexpected Tragedy, Highways, Santa Monica, CA 1990 Ne/lstra Senora de la Tragedia Inesperada/Our wdy of the Unexpected Tragedy, Olvera Street, Los Angeles, CA SELECTED GROUP EXHIBmONS 1994 Los Angeles County Museum of Art Rental Gallery Trellds in California Art, Downey Museum of Art, Downey,CA Portraits of Artists by Artists, Coons Gallery, Occidental College, Los Angeles, CA 1993 TranscEND AIDS, Watts Tower Arts Center, Los Angeles,CA 1992 Commemorations, Occidental College, Los Angeles, CA 1991 Contemporary Visions of the Virgill of Guadalupe, Downey Museum of Art, Downey, CA Portraits, DaVinci Gallery, Los Angeles City College,Los Angeles, CA 1990 Day of the Dead Show, Los Angeles Photography Gallery, Los Angeles, CA Group Show, Williams-Lamb Gallery, Long Beach, CA

SABRINA SIMMONS Los Angeles, California 1974 BS, Biology and Cinema, University of Southern California, Los Angeles, CA Sabrina Simmons is the director of Writillg To Heal. She has previous directing experience on the feature film White Men Call't Jump. Her cinematography experience includes work on the films Bird, Impulse, and Explorers; on the television series Murder She Wrote, Matlock, and Fame; and on music videos for Janet Jackson, Peter Wolf, LL Cool J, and Snoop Doggy Dogg. She has produced several music videos (MC Supreme in Black in America and Soula in Soul Sista) and AIDS awareness public service announcements (four spots for the Hispanic Language AIDS Hotline). Simmons has recently formed (with producer AJexandra Drobac) a production company committed to dealing with issues that affect the city of Los Angeles.



The Huntington Beach Art Center is a community art center serving Southern California. The Center presents the work of living artists working in all media and addressing a wide range of artistic con足 cerns. Through gallery exhibitions, outdoor site-appropriate installations, performance, film /video screenings, lectures, and educational programming, the HBAC serves to advance public awareness and understanding of contemporary art and creates opportunities for local, national, and international artists and the community to share in a climate of experimentation, education, and expression.


City of Huntington Beach

Naida Osline, Director Randy Pesqueira, Programs Coordinator Pam Patterson, Development Associate Marilu Knode, Curator Tyler Stallings, Education Director Pat Gomez, Special Events Coordinator/Art Center Store Joe Husovsky, Director of Exhibition Design Carole Frances, Art Shop Coordinator Luan Nguyen, Gallery Aide Krystine Park, Gallery Aide Robert Laurie, Gallery Aide Mary Kate Dooty, Gallery Aide

Victor Leipzig, Mayor Dave Sullivan, Mayor Pro Tempore Ralph Bauer, Council Member Shirley Dettloff, Council Member Dave Garofalo, Council Member Peter Green, Council Member Tom Harman, Council Member Michael T. Uberuaga, City Administrator Ron Hagan, Community Services Director Michael Mudd, Cultural Services Manager

Huntington Beach Art Center Foundation

Allied Arts Board

Robert Goodrich, Chairman Lloyd Baron Sondra Blau Diana Casey Dr. Gerald Chapman Mike Davis Dick Geosano Mary Harris Mary Ellen Houseal Don Jankowiak Joan Lund Dianne Rector Eve Thompson Kay Waldhauser Burton Willis Doris Willis

Anna Friesen, Chair Karen Akamine Lloyd Baron Elizabeth Goldner Elaine Hankin Mary Lou Hughes Philip Mosbo Mary Shebell

Huntington Beach Art Center 538 Main Street Huntington Beach, California 92648 7] 4-374-1650

The Huntington Beach Art Center is a public/private partnership with the City of Huntington Beach and the Huntington Beach Art Center Foundation, a nonprofit private corporation. Major contrib足 utors include FEP Health Care, William and Lorraine McCune, American Express Corporation, GTE Directories Corporation, the Huntington Central Park Equestrian Center, Southern California Edison, The Gumbiner Foundation, Fountain Valley Regional Hospital and Medical Center, Patrons, Founders, and 538 Main. The Huntington Beach Art Center is operated through the City of Huntington Beach, Corrunu足 nity Services Department, Cultural Services Division.

Community Properties  

Exhibition catalog for the exhibition, Community Properties, at the Huntington Beach Art Center, Huntington Beach, CA.

Community Properties  

Exhibition catalog for the exhibition, Community Properties, at the Huntington Beach Art Center, Huntington Beach, CA.