NCWCA May 2016 News & Notes
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Jun, 2016  Issue 65
Dear Member,

Pictured here is the 2016 NCWCA Exhibition Committee (left to right): Leisel Whitlock, Judy Johnson-Williams, Mido Lee, Tanya Augsburg, Karen Gutfreund, Priscilla Otani, Veronica Yazmin, Lena Shey and Patricia Montgomery. Not pictured: Sawyer Rose, Elizabeth Addison, Riko Takata, Sandra Yagi. Photo courtesy, Mido Lee. Read the article below to find out what this committee has been up to. Also in this edition, read Tanya Wilkinson's recollection of the original 1972 Womanhouse exhibition. This revolutionary exhibition led to the development of feminist art curricula, exhibitions and art organizations, including the Woman's Building, Judy Chicago's Dinner Party and the Women's Caucus for Art.    

Priscilla Otani, Editor  
womanhouseOn Sunday, June 5, the Exhibition Committee met at Judy Johnson-Williams' studio to nail down specifics for the year-end NCWCA exhibition. We reviewed the 1972 Womanhouse exhibition: what it focused on and what art was created. What had changed since then? What do we want to say, 44 years later? We reviewed the discussion thread that Judy Johnson-Williams compiled with NCWCA artists and discussed various possibilities. Leisel Whitlock, our Exhibitions Chair, decided that her initial title, Burning Down the House, didn't quite fit what members wanted.  In the end, the committee decided the show's focus should be on women's roles and labels: how we, as women relate to others and how others act towards us. With this decision, the committee came up with the show's title, F*ck U! In the Most Loving Way. It might make some members uncomfortable, but as it turns out, the "F" word is hot this year. See the June Art Forum article, "FUCK YOU! A Feminist Guide to Surviving the Art World," and the Minnesota Street Projects current' exhibition of Hito Steyerl's  How Not to be Seen: A F**king Didactic Educational .MOV File. Tanya Augsburg, Leisel Whitlock, Karen Gutfreund and Priscilla Otani are currently finalizing the prospecuts and negotiating with a juror. The national call for submission will open by June 30.  

A recollection by Tanya Wilkinson
In the winter of 1972 I was living in Los Angeles with a jazz musician. Soon to turn 20, I considered myself a serious Feminist (always with a capital F).  I was about to find out that, though my consciousness had been raised enough to allow me to escape the misogynist world of my Southern Baptist upbringing, there were still heights of consciousness to aspire to. 
"Womanhouse" was installed in an abandoned house in Los Angeles, created by art students from Fresno, of all the unhip places, facilitated by Judy Chicago and Miriam Shapiro.  A few hours there took me from a purely abstract, intellectual understanding of "the personal is political" to a deeply felt, gut-level experience of the political nature of my personal life.
I have to admit the soon to be famous egg-to-breast-to-egg kitchen left me cold. Perhaps my feelings about either breasts or eggs were insufficiently strong. Perhaps the ugliness of the room put me off. Briefly I considered leaving but fortunately my ride was not going to show up for another hour, so onward and upward. I went to see "Leah's Room", which I had heard was based on a character from Collette's novel Cheri. I loved Collette, both her writing and the image/idea of her.  I was ready IMG_0196to dispute the artist's interpretation of the character, the book, Collette herself. Why? Because I was 20. A woman was in the room, meticulously applying makeup. As a hippie I wore no makeup, as a good Christian woman my mother has worn almost no makeup. How to relate? But I slowly became entranced with this unfamiliar ritual, which seemed to go one forever, followed by a slow removal of all that had been carefully applied. Then right away she began again and, somehow, the entire weight of culture's demand-- "Always be beautiful, always be desired." --descended on me. Yes, the hippie version of this demand required far fewer products but it was equally relentless. I felt that distorting pressure every day, but I had never been able to encompass and name the feeling.
I had been watching a long while and I had time for only one more room. Fortunately I walked into Judy Chicago's "Menstruation Bathroom". The bold simplicity of it, the center piece of a trash can overflowing with bloody "feminine hygiene" products forced the viewer to confront her (my) own profound distaste for the physical reality of being female. Years of the terror of "spotting", of someone somehow knowing that it was "your time of the month", all the foolish and demeaning euphemisms (Aunt Flo? Really?)--I saw all of this for what it was. What was it? A fear of women, of the power of our bodies. My fear of the power of my body.
My life changed quickly that year. I left the musician. Reader, I unmarried him. Many other experiences deepened and enlarged my identity as a feminist. Womanhouse did more. It conveyed to me, in a visceral way, the unique ability that art made by women has to enlarge experience. It is no small part of why I am now an artist.

By Sawyer Rose

sawyer2 copy 2Ties That Bind: We’ve nailed down an opening date! The first sculpture/performance piece from the Carrying Stones project, Ties That Bind, will debut at Fort Mason Center for Arts & Culture on September 2nd at their Fort Nights event, and will be on display at FMC during September and October.
The Ties That Bind sculpture is a metalwork and natural fiber tapestry that serves as a data visualization of women’s work hours, both domestic and in the workforce. Each tile in the tapestry will represent one hour of labor performed (paid versus unpaid, plus leisure), with the end result being a coded illustration of working women’s “double burden.”
Production: Construction of the Ties That Bind sculpture is well underway. I spent two weeks at Vermont Studio Center in May working out the best formula for casting the tiles for the piece. I got to play “mad scientist” with resin and plaster and glue and whatever else I could think to try. I also learned to make easy, inexpensive silicone molds (ask me!) It was the most fun I’ve had working in a long time.
sawyer6 2Data participants: I can’t do this without you! In order to build an accurate representation of women’s work lives, I need your work-time data. I'm interested in the work data of women of all ages, ethnicities, work situations, socio-economic statuses, & etc... and women who do childcare, elder care, special needs care, or none of these.  
Join the project: I’m thrilled to say that as of this writing, the Carrying Stones project has 33 participants, with more coming on board every day. Still, I need more! When you add your data to the project, you’re sharing your unique story. Please go to to register and receive your Timekeeper app for mobile/web (or a paper booklet, if you’re more analog-inclined.) Participation only takes 5-10 minutes a day, and all data is used anonymously. 
A big thank you to all you hard-working women!


siskinsNCWCA hosted artist and educator Sharon Siskin at the June chapter meeting. Siskin's topic was 
"Drawing the Circle: From the Studio to the Community to the Classroom and Back Again," She discussed her extensive art practice and long-term commitment to the AIDS community, which began when she was introduced to the Names (quilt) Project. Siskin's interests  range from AIDS, Jewish, family, socio-eco, public art and community teaching. 

IMG_7040On June 11, Professional Development Chair Elizabeth Addison organized an exclusive NCWCA tour of the Kala Institute. Approximately 10 members started the day with coffee at the Berkeley Bowl West cafe, then toured the current Kala exhibit, Fermata, with the help of curator, Mayumi Hamanaka. We were then introduced to Kala's permanent print collection. Print after print by artists such as Squeak Carnwath, Roy de Forest, Sonya Rappaport, Peter Voulkos, and William Wiley were pulled out for our viewing and admiration.  

Lena Shey 2Lena Shey, Transformation: 25 Years of Asian American Women Artists, Harrington Gallery, Firehouse Arts Center, 4444 Railroad Ave, Pleasanton, Jul 28 - Sept 3 (see left).
Sawyer Rose, Surface & Strata, two-artist exhibition w/ painter Jerry McLaughlin, GearBox Gallery, 770 W Grand Ave, Oakland, Jun 30-Jul 30. Also in American Twist, Sculptors Guild NYC,
Building #15, Governors Island, NYC, May 28 - Sept 25. Also in Backyard Beauty, Harrington Gallery at Firehouse Arts Center, Pleasanton, Jun 15 - Jul 13. Also in publication Berkeley Fiction Review.
Sandra Yagi in DESTINESIA, Stephen Romano Gallery, 117 Grattan Street Suite 112, Brooklyn NY, Jun 2 – Jul 30.

Congratulations Jeannette Kiel, for earning her Ph.D. in Philosophy and Religion, with a focus in Women’s Spirituality from California Institute of Integral Studies after eight years of study!
IMG_7299-001Juliet Mevi, Vision: An Artist's Perspective, Kaleid Gallery, 88 S.4th St, San Jose, Jul 5-29. Also in  California Dreaming, 4th Street Fine Art, 2000 University Ave, Berkeley, Jun 26-Jul 30. Also in forty Fridas Show, Jingletown Art Studios, 3001 Chapman St, Oakland, Jul 8 - Aug 28 (see right). 

Xuan My Ho in Annual Sculpture in the Garden, The Ruth Bancroft Garden, 1552 Bancroft Rd, Walnut Creek, June 17 - July 17. Also in 86th California Land and Sea Exhibit, Santa Cruz Art League, 526 Broadway, Santa Cruz, Jun 3 - Jul 3. Also in Intentions: SVWCA 27th Members Show, Martin Luther King, Jr. Library, Second Fl, San Jose University, 150 E. San Fernando St, San Jose, Jun 4 to Jul 31.

Michelle Waters in Symphony of Wings, Cactus Gallery, 3001 N Coolidge Ave, Los Angeles, Jun 11 - Jul 2.

Trudi Chamoff Hauptman, The Russian River Watershed in Fabric, Laguna Foundation de Santa Rosa, Heron Hall, 900 Sanford Rd, Santa Rosa, Apr 28 - Sept 13. 

Robin Apple,  ELECTRON SALON, LACDA (Los Angeles Center for Digital Art, 104 E 4th St, Los Angeles, Jun 9 - Jul 2. Also in publication cover picture and interview, Art & Beyond Magazine, Also in Art Santa Fe, Santa Fe, New Mexico, Jul 7-10.  
Victoria Veedell, Blink Group Show, ADC Gallery, 310 Culvert St, Fl #5, Cincinnati, OH, May 25 - July 8.
Melissa C. Shanley, Tapestry Studio, 605 Coombs, Napa,opening Jun 24.
Salma Arastu, Vision: An Artist's Perspective, Kaleid Gallery, 88 S.4th St, San Jose, Jul 5-29. Also hear her interview in PBS Magazine Arts America ( and NPR St. Louis Public Radio ( Novus Conceptum, Hannah Bacol Busch Gallery, 6900 S Rice Ave, Bellaire, Texas, Apr 9 – Sept 30

Members, get your shows and workshops listed in News & Notes, NCWCA Calendar and on the NCWCA website! Send jpg image of your work in the show and information about the show to 

Chapter meetings are on the second Tuesday of each month. Look for details on our webpage. Let's carpool! Email if you need a ride or can offer a ride.
Jul 12: San Mateo
Aug 9: San Francisco
Sept 13: Oakland
Oct 11: San Francisco
Nov 8: San Mateo
Dec: Year-end Party 
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To join this Facebook group, go to the Women Artists to Know page and click Join. A moderator will add you to the group. Share your favorite artists! We now have over 1000 participants from all over the US and abroad!

Amanda Chaudhary, performance artist
June - performance/dance/music
July - photography
August - installation
Sept -political focus/community engagement
Oct - print making
Nov - collage
Dec - sculpture, assemblage

June 18 Closing of the Art Tag = Inspire exhibition in Danville

June 18, 3-4 PM Pickup of Art Tag = Inspire artwork from Danville Village Theatre Gallery, 233 Front St, Danville.

June 20, 9 AM - 4 PM Pickup of Art Tag = Inspire artwork from Danville Village Theatre Gallery, 233 Front St, Danville. 

June 24 "Dream Time" #1 due for Saturday group Art Tag. "Punk" #1 due for Sunday group Art Tag 

June 27, "Ladies Room #2" due for Peninsula Art Tag.

July  12,  July chapter meeting at Irma Velasquez's studio, Aspen Building, 49 N San Mateo Dr, San Mateo, 6 - 9:30. Potluck.

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Robin Apple

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At Kala Art Institute's Fermata show

Sharon Siskin's AIDS series

Sandra Yagi's work in DESTINESIA

Sawyer Rose's tiles

Sondra Schwetman


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