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making. Books, after all, served the mission of the Woman’s Build-ing,
which was to give women, underserved in the traditional fine
art community, a space in which to articulate their visions in a pub-lic
arena. What better platform for this articulation than print in all
of its forms?
" In the same 1977 issue of The Dumb Ox in which Joan Hugo’s
essay about artists’ books appeared, Helen Roth (who also used
the name Helen Alm Roth) explained the genesis of the Women’s
Graphic Center, with its roots in the graphics workshop at Cal
Arts, which Roth directed and where de Bretteville also taught.
Roth’s own work as a printmaker was evolving away from the use
of traditional techniques; as she put it, “I needed a new technol-ogy—
commercial graphic arts.”27 The use of commercial produc-tion
methods dovetailed with de Bretteville’s own background in
graphic design and complemented her interest in having women
use the means of production to issue their own creative work away
from the museum and gallery system, which was in 1973 com-pletely
male dominated.
" Roth joined de Bretteville and the other two founders at the
Woman’s Building, accepting a full-time position there just as it
opened and teaching an intensive production class to 20 women
through the Feminist Studio Workshop, the Woman’s Building al-ternative
to mainstream academic training. Roth writes,
Seeing themselves in print, reaching the public and knowing that they did
it was a transforming experience for each of the women.28
" Susan E. King was one of those women. After being lured to
Los Angeles in pied-piper fashion by Judy Chicago from the safety
of a ceramics degree at New Mexico State, King would be men-tored
by de Bretteville, with whom she eventually collaborated on
several projects. King, who would become the longest-running and
best-known artist working in book form from the Woman’s Build-ing
community, arrived in time to help sheetrock the new Woman’s
Building quarters on Spring Street in downtown LA. Her excite-ment
about the creative possibilities inherent in the form of the
16
Object Description
Description
| Title | Page 17 |
| Full Text of PDF | making. Books, after all, served the mission of the Woman’s Build-ing, which was to give women, underserved in the traditional fine art community, a space in which to articulate their visions in a pub-lic arena. What better platform for this articulation than print in all of its forms? " In the same 1977 issue of The Dumb Ox in which Joan Hugo’s essay about artists’ books appeared, Helen Roth (who also used the name Helen Alm Roth) explained the genesis of the Women’s Graphic Center, with its roots in the graphics workshop at Cal Arts, which Roth directed and where de Bretteville also taught. Roth’s own work as a printmaker was evolving away from the use of traditional techniques; as she put it, “I needed a new technol-ogy— commercial graphic arts.”27 The use of commercial produc-tion methods dovetailed with de Bretteville’s own background in graphic design and complemented her interest in having women use the means of production to issue their own creative work away from the museum and gallery system, which was in 1973 com-pletely male dominated. " Roth joined de Bretteville and the other two founders at the Woman’s Building, accepting a full-time position there just as it opened and teaching an intensive production class to 20 women through the Feminist Studio Workshop, the Woman’s Building al-ternative to mainstream academic training. Roth writes, Seeing themselves in print, reaching the public and knowing that they did it was a transforming experience for each of the women.28 " Susan E. King was one of those women. After being lured to Los Angeles in pied-piper fashion by Judy Chicago from the safety of a ceramics degree at New Mexico State, King would be men-tored by de Bretteville, with whom she eventually collaborated on several projects. King, who would become the longest-running and best-known artist working in book form from the Woman’s Build-ing community, arrived in time to help sheetrock the new Woman’s Building quarters on Spring Street in downtown LA. Her excite-ment about the creative possibilities inherent in the form of the 16 |
