" Other Woman’s Building alumnae who taught in some capacity at Otis/Parsons and Otis College of Art & Design (the college split with Parsons in 1991) included Katherine Ng, Linda Norlen, Sue Ann Robinson and Bonnie Thompson Norman, who was the
many academic institutions appeared to be very much in evidence at Otis/Parsons during the 1980s. " In 1984 de Bretteville evened the playing field for print by opening the Laboratory Press on the Otis/Parsons campus. LabPress, according to the Otis website, was, “Conceived as a laboratory for aesthetic exploration and a place for practical production. . . .”30 These linked goals of exploration and production aligned perfectly with de Bretteville’s initial vision for the Woman’s Building, where the merger of individual voice and the means to make that voice heard while working in a community of peers could take place. " De Bretteville also initiated a strong instructional linkage between the Woman’s Building and Otis/Parsons through the hiring of instructors such as Susan King, Laurel Beckman and other women de Bretteville had worked with and mentored at the Woman’s Building. King first co-taught a Graphic Production class with Beckman, then followed that with a Small Editions Book class (this time taught with Simon Toparovsky). While on the instructional staff there, King made the connection between Graphic Communication and the Art Library:
laboratory technician in the early 1990s and taught independent workshops while at Otis.
When I taught my first class there, I went to see the artist’s book collection, which was mostly put together by Joan Hugo, as far as I could tell. The collection wasn’t being used. I came up with a plan to collect student work, by having students donate copies of books they made in my class to the school. I was involved in selling my edition work to Special Collections Libraries, and thought it would be a shame for the all the [sic] books being made in my class to walk out the door with the students.31
Another Woman’s Building transplant was Cynthia Marsh, who was hired by Otis in 1993 for the same position de Bretteville had held, Chair of Graphic Communication and Illustration.32 Marsh, who moved to LA in the 1970s to meet (who else?) Ed Ruscha, had been lured to the Woman’s Building by de Bretteville, who needed a printer to run the offset press and teach at the Women’s Graphic Center. Although initially approaching the job with some reluc19