Winter 2022 Issue of SoFA
Table of Contents
by Caryn Aasness, Luz Blumenfeld, Becca Kauffman
To Understand Each Other
(another) Letter from the Editors
Breathing Its Own Magic
The Unexpected Host
The Bacons
Dreams to Reality
The Tapes, Conversation II
Nice to Re-meet You
Teaching Compassion
How It Works to Be Curious
Collaborative Curation, Ethical Exclusion, and the Materiality of Nightlife
ISO: Mentors of Color
Uncomfortable Conversations: Money Stories
The Art We Value
It’s Hard to Imagine Myself as a Curator
A Country Without Traditions is like a House Without Books
Credits
Letter from the Editors
March 12, 2023
Text by Caryn Aasness, Luz Blumenfeld, Becca Kauffman
For this issue of SoFA, we each interviewed people affiliated with Portland State University. Our social practices tend to engage with communities, but as a program we operate more as a satellite of our parent university. Individually, we have our own ways of connecting with campus life— teaching assistantships in undergraduate classes, working on-campus jobs, hanging out in the park blocks, taking Dance Fusion aerobics class at the athletic center, or working in the Social Practice Archive housed in the Special Collections at the PSU library. But because we primarily convene for classes off campus— at KSMoCA (Martin Luther King Jr. Elementary School), Harrell’s living room, on Zoom from our respective homes (or favorite coffee shops)— it can feel like we, as a group, are disconnected from our university community.
This year, as we experience a completely open campus after an era of pandemic protocols, many of us are getting reacquainted, or acquainted for the first time, with our campus; sprucing up our studio space, doing projects at the art department’s Open Studios, or picking up free groceries from the food pantry in the basement of Smith Student Union.
This winter, we found people in departments all over PSU who are engaging with topics connected to our own areas of investigation. We are excited to introduce you to the many people doing incredible research, teaching, projects, and labor across the university.
In the interviews that follow, we meet a dance professor who wants you to notice your body in the city and the city as a body; a pragmatist philosopher who surmises the whole world is one big role playing game; the lone mascot of PSU’s athletic department who’s willing to shake everyone’s hand; a sociology professor who wants us all to talk more about death; a social psychologist devoted to trash; two graduate students with an intimate connection to their bowel movements; a critical feminist geographer using comics to explore the experience of homelessness; a critical race spatial educator uncovering the hidden curriculum within university culture; and the PSU Provost, who wants more artists’ voices in the room.
Come with us on the most in depth and strange virtual campus tour you’ll ever get!
Your editors,
Caryn Aasness, Luz Blumenfeld, Becca Kauffman
To Understand Each Other
December 4, 2022
Text by Diana Marcela Cuartas with Illia Yakovenko
“In my practice, mutual understanding means that people can learn about each other’s experiences and find something they can relate through, and build some bonds with each other that potentially creates some form of solidarity that can empower all of us.”
ILLIA YAKOVENKO
Illia is an Art and Social Practice alumnus I have the privilege to call a friend. I don’t remember how our friendship evolved, but we have shared stories, meals, drinks, school projects, and dance moves. Sometimes we get lost in translation—I being from Colombia and he being from Ukraine— but he has always made me feel understood, even in the darkest alleys of homesickness.
In many classroom friendships, some things never get asked, as if life before entering an MFA program was a hazy horizon detached from the shiny present of graduate studies. But being in grad school is just the tip of the iceberg of tons of decisions and life turns that make us converge in the same space/time to share thoughts around the same terms and topics.
I’ve known Illia for two years. We have ideals in common and a shared interest in community exchange and care. But I didn’t know what his journey in art life was like. This conversation is an exercise in understanding my friend’s urge to cultivate solidarity and cooperation through socially engaged art.
Illia during the Sailing Mariupol event. Willamette Sailing Club.
October 2022. Portland, OR. Photo by Diana Marcela Cuartas
Diana Marcela Cuartas: Tell me about your life before coming to Portland. How did you end up in the Art and Social Practice program at Portland State University?
Illia Yakovenko: My life before coming to Portland started in the city of Mariupol, in Eastern Ukraine, where I grew up and spent a major part of my life. I studied economics with a major in management in Donetsk, one of the regional centers in eastern Ukraine and a city that also influenced me and that I feel connected to. This was one of the cities that got taken over and occupied during the first Russian invasion in 2014. After finishing my education there, I went to Moscow. I got a job in a telecommunications company as a delivery boy, and because of my management background, I was able to “grow” and became a sales manager. I started learning more about art because there were more opportunities for that than in Mariupol, which was more of an industrialized town without an art school and just a few museums. In Moscow, there were big museums and a biennial, and I had access to all this art from other places. Now, I get that it was primarily sourced from the other republics, similar to how things happen in an empire. You could find Ukrainian or Central Asian art stored in Moscow or St. Petersburg museums in Russia just because they could do that.
So I started to get exposed to art, then I started volunteering at the Moscow Biennial, and eventually, I got into an art program at the Moscow Institute of Contemporary Art. Since then, I’ve been into art. So, if we go back to how I ended up in Portland, there is a part of my life in Moscow, which is when I switched to art and also into precariousness.
Diana: What do you mean?
Illia: When I switched my career to the art field, I lost my job and my security to some extent. I was also undocumented for a while, and Moscow is very strict with that. The police are everywhere, and if you don’t have the proper ID, they can deport you or detain you. I also became houseless for a while. I had to study and try to navigate the situation when I had nowhere to go. I would stay and crash on my friend’s couches, but there are limits to that. So I’d have to wander at night or go to the subway because it was open until 1AM. Then I’d hang out for 4 hours somewhere in the city in the middle of the night.
I started getting different jobs managing art projects, so I got some money, graduated from this program, and entered another one in St. Petersburg. It was The School of Engaged Art by Studio Art Group. This was when my interest in social engagement started. I remember there were major demonstrations in 2012; people would flood streets like Bolotnaya Square, punch police cars’ tires, and fight with the police for real. Then, I guess the Kremlin and Putin became paranoid that they could lose power and started introducing new legislation, reinforcing the police and getting equipment to suppress the demonstrations. These laws could imprison people for 4-6 years if they’re found guilty of fighting with the police or taking part in protests, creating an even more oppressive and authoritarian climate.
With all these things happening, artists had a special role in supporting the demonstrations by making posters or signs, looking for different ways to call for political action, or making art that addressed the political context. Some of my first art-making was with my friends, organizing an experimental school for gender studies in Moscow because there was a large clash of the Russian government against the queer, LGBTQ+ community, and anything that would be a disruption of the patriarchal gender standards. There were laws introduced that criminalized what they would call “propaganda,” basically anything that would speak about LGBTQ+ rights. People could get imprisoned if the government found that they are doing this “propaganda” for minors. So we were trying to push back and decided to come together and create this school and invite people.
It was a two-month program with three components: art, theory, and activism. We invited artists to share their art practice through talks or lectures, and we invited philosophers or people from the academy to talk about gender in relation to the Soviet Union. We invited activists to share resources about other activist organizations or events. We had an art laboratory where we produced artwork based on what we learned at this school and the experience of meeting all these people, and we were lucky to get away with it without getting in a lot of trouble. That was one of the first socially engaged projects I’ve been part of creating, curating, and making. We conceptualized it as a social sculpture.
Diana: So, in Moscow you were more exposed to art, and it seems like this was also pushed onto you by the context. I wonder, if the political situation had been different, would you be interested in art anyway?
Illia: I think the political situation made me interested in socially engaged forms of art. Because I was interested in art before but in more conventional forms, still very much confined to gallery or museum spaces. After these experiences, I realized that even in the gallery space, many artworks could convey a political message. After getting more embedded into this community of artists, I realized that people were actually part of the events and tried with their art to support political activism as much as they could. It was not like they just made art and talked about the experience.
So, my political engagement started in Russia, but by the end of 2013, another revolution was happening in Ukraine. I visited a few times to witness how it unfolded. The Ministry of Culture in Ukraine got occupied by activists and that event changed my perspective completely. I connected with the people who occupied it and went to a couple of meetings where people would gather at this large table to have a very horizontal type of meeting. They were discussing how they wanted to rebuild the cultural infrastructure of the country after the revolution succeeded. It was super interesting to experience that. It was very different from the Russian situation, where you can’t even come close to the Ministry of Culture building because it’s fenced out and the police guard it.
In Ukraine, after the occupation, you could enter the building; the guard was still there but did nothing because he was just a guy, who I assume was still coming to work because things were unclear. The Minister left the building and never came back. Most workers also did not come back to work, so you could access papers, financial documents, and everything. It inspired me to go back to live in Ukraine to become part of this process of changing the structures because they were very inert, in many ways similar to what the Soviet Union was: a very top-down corrupt system without any input from the art community. But in 2014, after the building was occupied and after the revolution, all these changes started happening, and people from the field started entering the Ministry of Culture, some new government institutions were created, and it became more functional. I got inspired by this change and its potential and moved back to Ukraine and lived there for almost four years before coming to Portland.
Diana: How did you decide to come to this specific program?
Illia: There was another part of my life when I went to Beirut, Lebanon, to another art program for almost a year. There I met Gregory Sholette, an American artist involved in socially engaged work with a very political practice. Meeting him, I learned he runs a program in New York, and the program’s name is Social Practice. Basically, this is how I learned about the term. I was already interested in socially engaged art and how to learn the skills to enable social engagement between people or communities. I was interested in working with people and improving that part of my practice. I started looking for opportunities to do that and found out about the Fulbright scholarship, which I was lucky to get.
When I was applying, I didn’t know much about other programs in the United States. I knew about Gregory’s program and was in touch with him. Initially, I applied with the hope that I would go to study in New York. But, because of the nature of Fulbright, they can send you to any school they decide is most relevant for you based on many factors, trying to find a place they can afford best. Eventually, they just told me where they wanted me to go to study. I learned about the program at Portland State while I was already in the process.
When it turned out they were sending me to Portland, I checked the PSU Art and Social Practice website. I saw they had a partnership with the Dr. Martin Luther King Elementary School and the Columbia River Correctional Institute. As an international student, not knowing what to expect in the United States and struggling with the language and many other things, it was good to see that, structurally, the program had these established forms of co-creation available for students; where maybe I could plug in and not have to look for the opportunities myself. Because the whole experience of adjusting to this new environment is already a lot of stress and energy.
Diana: How did the experience in the program and the Portland context impact your creative process? How is finding community and trying to master “social engagement skills” in this specific Portland life?
I’m curious because your artistic practice emerged as a reaction to the political context you were immersed in before coming here and I don’t feel like PSU Art and Social Practice has a strong foundation for activism or political engagement.
Illia: It was definitely a difficult experience. I don’t want to necessarily say it was a “culture shock,” but it definitely felt very different. Like many things that were relevant to me were different here. I’m still learning and don’t fully understand how to operate in this context. Still, I am staying here longer and longer. It’s always challenging in general, and it’s not even necessarily a program-related thing. It’s just the difference in the context.
But there are some takeaways from the program, from this local context, and mostly from the people; either students or just people who I’ve met in my journey in the United States. I have learned many things that changed how I think about socially engaged art. Now I think about my practice in a way that not only creates antagonistic statements but also as a way of trying to be supportive of myself and the community I am part of. Compared to what I experienced in Russia or Ukraine, where art often came from this political necessity of pushing back against the government, art can be very vocal and very rough. There is also a lot of trauma but you kind of embrace this trauma and try to… I am trying to find the right words…
Diana: I’m thinking about the word “urgent.” At least for me, that also comes from a country where the context urges you to take action with your practice, to the point that sometimes it feels like it is kind of a privilege to create outside of those lines.
Illia: There is some art that makes some eyes feel uncomfortable. I don’t want to say it is “violent,” but you do some things and maybe you don’t like them but you still have to do it because it feels like a need to be dedicated to the political moment. I guess I’m trying to say that I have learned that it’s also important to take care of yourself and the community you work with. In this way, my practice became more about care and joy, or at least that is something I try to find for myself through my work. With projects like The Sea of Mariupol (1), I was trying to create a healing environment for myself, but with an approach where I could offer that framework to other people and see how it can be helpful for them to overcome the trauma of displacement.
Diana: I totally got that with that project. It was healing magic having all these people together, sharing a boat ride. It was a joyful moment that I didn’t know I needed, and it brought me feelings of home. It made me think that maybe because of the pandemic plus the political situation, the need for care has become more urgent too.
I would also like to hear more about the Center for Art and Human Cooperation (2). I love that the mission is “To support mutual understanding and solidarity through arts and culture.” Can you tell me more about the need for mutual understanding, care, and solidarity?
Illia: Because I went through all these experiences, meeting people from different countries and cultures, I have learned some things about the politics and the struggles that those people have gone through, and I can relate to certain things that people share. Even though the struggles everyone is exposed to are different because they involve different configurations of geopolitics, history, race, and all these complexities. They fall differently in different places for different people, but there are factors that are relatable for many of us. In my practice, mutual understanding means that people can learn about each other’s experiences and find something they can relate through, and build some bonds with each other that potentially creates some form of solidarity that can empower all of us.
Because of being in the United States and not being connected to anyone, people have helped me a lot. People from different communities with different experiences have stepped in and helped me navigate different situations. So there are two things: one is finding ways to relate to each other and know more about each other’s struggles, the other is to understand them not only through the mind, but basically to feel for each other. Is there a word for that?
Diana: I don’t know if I’m getting it wrong, but this “feel for each other” sounds like learning through feelings. A connection to share ideas, experiences, or facts by understanding each other’s feelings.
Illia: Things unfold differently in different contexts, but some things are common in terms of capitalism, colonialism, and extraction. People experience these things differently according to their own circumstances, but it is still part of this global capitalism and the extractivist paradigm we’re immersed in, which, eventually, everyone has to address in some way. It is mainly driven to help yourself, but if there is more coordination and solidarity, it would be easier to address these systems in a way that can benefit everyone.
Diana: Why did you choose an institutional disguise as the framework to start the conversation about mutual understanding with The Center for Human Art and Cooperation?
Illia: Part of the need to make an institution came from the fact that I’ve done small projects that get folded into this bigger framework, and putting them together multiplies its symbolic value. But it comes from the need for a sense of security as well. I’m not sure if it’s working out for me so far or not, but since there’s so much precarity in being an artist, an institution feels more stable. It’s more psychological, that, maybe if I express all these things in this form, then I feel more secure, that’s one of the reasons. Also, sometimes, when you reach out to someone and say, “I have this institution,” people get more interested in what you’re doing. But at the same time, it can be a challenge. I remember the experience of participating in the activities of the Ukrainian Day Festival. I didn’t know the organizers very well, and when pitching my ideas, I would bring the institution up, and the response would be, “Oh, but what is your institution? Is it a charity? Is it commercial?” It felt more challenging to explain an institution than just come as an artist. In certain cases, it can make things more difficult because people may ask more questions and can even feel distrust of you as an institution.
Diana: One more question: how do you explain social practice to non-artists?
Illia: I would have some examples of my own work to share, explaining my projects and that I try to create experiences that will help others to learn about the place I am from in a way they can relate to my experience and connect it to things that are relevant to the context they come from. Like with The Sea of Mariupol, people’s social interaction and the social part of the project’s design is part of my practice and the artwork itself. This is how I approach this question so far because everything can be social practice. But basically, social practice is when social experience becomes an integral part of the artwork.
(1) The Sea of Mariupol is a program created by Illia to celebrate and commemorate the city of Mariupol, Ukraine, with a series of community-oriented events at the Willamette Sailing Club to raise awareness of Ukraine’s situation. This event encourages personal connection by sharing experiences and stories during a boat ride guided by Illia in support of Mariupol and its people.
(2) The Center for Human Art and Cooperation (CAHC) is a project created by Illia as an institution committed to supporting mutual learning and solidarity through exhibitions, events, discussions, and other artistic activities to promote cross-communal and cross-cultural exchange.
Diana Marcela Cuartas is a Colombian artist, educator, and cultural worker transplanted to Portland in 2019. Her work incorporates visual research, popular culture analysis and collaborative learning processes in publications, workshops, parties, or curatorial projects as a framework to investigate the relationships formed between a place and those who inhabit it. With her practice, Diana is interested in subverting hegemonic structures by cultivating spaces to invite people to slow down, think together, share questions, and play more.
Illia Yakovenko is an artist from Mariupol, Ukraine and a displaced individual. He is a 2022 graduate of the Art and Social Practice program and a Fulbright recipient. Illia grew up in Mariupol, by the Sea of Azov, where he spent hot summer days swimming and sailing.
The first Russian invasion of 2014 turned Mariupol and eastern Ukraine into a frontline. Since then, Illia directed his art practice to address conflict, heal, and imagine a more equitable, inclusive and safe future. In the following invasion of 2022, the Russian military attempted to completely destroy Mariupol. Illia’s family was able to flee to Europe. Illia’s status in the United States or elsewhere is precarious and uncertain.
Letter from the Editors
March 19, 2022
Text by Caryn Aasness, Becca Kauffman, and Emma Duehr Mitchell
Everyone you meet knows something you don’t. Part of doing an interview is learning things that you are curious about from experts and enthusiastic amateurs. Google searches don’t always give you the answers you may be looking for, as Jessica Cline tells Laura Glazer in their interview “How it Works to be Curious.” When sourcing through the web, “you don’t necessarily want to see the same image everyone else saw.” Asking people what they know or how they feel can give you a larger picture of what matters. An interview can be a tool to show that you care about someone. This is sort of like being a good host. Becca Kauffman talks with Fernando Perez in the interview “The Unexpected Host” about the intersection of hosting and interviewing, and how both require empathy and the ability to make people feel comfortable. “If you’re extremely empathic, that is reliably a good way to bring the best out of interview subjects,” says Perez.
As social practice artists we are regularly trying to create experiences for people as a form of art. In “Collaborative Curation, Ethical Exclusion, and the Materiality of Nightlife,” Luz Blumenfeld and Roya Amirsoleymani discuss how parties can be and are artworks: “I am frustrated by curatorial practices that simply display politics as content, signaling social justice values without living them, embedding them, operationalizing them, or building them into the ways in which a curatorial project or institution functions.” There are lots of reasons to conduct an interview. Sometimes it’s because you want to revisit a time in your life with someone who was there and find out if your memory matches theirs. Olivia Delgandio interviews her 2nd grade teacher about her teaching philosophies, a topic that may not have been on Olivia’s mind at seven, but is now a shared interest between the two. Sometimes an interview happens because you have someone in your life who is amazing at what they do and/or amazing at describing the world and you just want others to experience the person you have the privilege of having regular undocumented conversations with.
Reading interviews can make you feel like a backseat interviewer; you might wish different questions had been asked, or more time was spent on a particular idea. Remember, you can always conduct your own interview! Pursue a “self-educational” experience, explained in this issue by Harrell Fletcher in conversation with Kiara Walls. As we are so often reminded in our program, everyone you’re interested in is just a person, and you can always ask to talk to them. Go forth and interview! Here is some inspiration to get you started.
Caryn Aasness
Becca Kauffman
Emma Duehr Mitchell
Breathing Its Own Magic
March 19, 2022
Text by Gilian Rappaport with Carla Kaya Perez-Gallardo
“That is our practice, changing people through the lived experience of eating with us, and all of the sensations that they have.”
CARLA KAYA PEREZ-GALLARDO
How do our senses shape the socially engaged artwork? How do the relationships within the collective define its form, and what guides those formational decisions?
Recently for me, this question has intersected with my interests in queer aesthetics, storytelling, flavor exploration, and frameworks of collaboration. I have been pleased to find a sparkling intersection for these curiosities in Lil’ Deb’s Oasis, a James-Beard nominated restaurant, art installation, and queer mecca in Hudson, New York. The restaurant was founded by chefs and artists Carla Kaya Perez-Gallardo and Hannah Black in 2016.
In 2019, I was love-struck to discover Lil’ Deb’s Oasis through their ‘Gala Extravaganza 2.0: The Garden of Earthly Delights’ (see feature from their first Gala in 2018). I was particularly captivated by their celebration of community art – bringing together the owners, beloved staff, cherished food vendors, local artists, and lively restaurant guests. A multi-course dinner extravaganza in their signature style of ‘tropical comfort’ was flanked by performances from the resounding local 20-person samba band Berkshire Bateria, followed by drag performances from community members Celeste and Davon. When the COVID-19 pandemic hit in 2020-2021, the Lil’ Deb’s team temporarily closed their restaurant and instead, incarnated as Fuego 69 in the backyard of a nearby hotel. There, Deb’s offered “zing-zangy frisky-fresh pescatarian hippie food right off the grill,” standing on a promise of reciprocity by donating 69 cents of every item sold to local and national racial justice causes and community organizations amid the George Floyd protests. Each Lil’ Deb’s offering contrasts with the way that many food establishments in the Catskills can feel aesthetically homogenous and exclusive. Doesn’t the familiar look of white walls, pine bars, and exposed brick cue a certain kind of food experience and model of leadership?
When my friend Seth Caplan asked me to accompany him on a photoshoot of Carla’s home in early 2022, we all spoke about queerness as an uncontainable container, layering as a visual device, and the importance of reciprocity in community care. Carla agreed to continue the conversation as a phone interview a few weeks later. What I found in Carla was their embrace of queer hospitality as a mode of being, including the changing and evolving life of the restaurant itself. I, too, aim to embrace change wholeheartedly, but for me this tendency has often felt scattered. In Carla, I saw the opportunity for this as a generative space from which to build endless inspiration and connection.
Food offered at Lil’ Deb’s Oasis. Image by Heidi’s Bridge. 2019. Courtesy of Lil’ Deb’s Oasis.
February 25, 2022
Gilian Rappaport: Hi Carla! To get started, will you share a little bit about the community around Lil’ Deb’s?
Carla Kaya Perez-Gallardo: Hi Gil. Sure. When we opened five years ago, queer community felt disparate in the Hudson Valley. It didn’t feel like we were non-existent, it just felt like there was little infrastructure to support us.
Opening the restaurant, we never sought to explicitly fill that hole, but as a queer person living and breathing in the Hudson Valley, and had been already for five years by the time the restaurant opened, it was born from this general desire to create community for younger artist types, who didn’t really fit into the spaces that were already existing around us.
In many ways, I’m applying hindsight to this – seeing this need that was there. I don’t think I felt as aware of that, specifically, in terms of queerness when we opened.
Gilian: Do you remember where the project impulse was coming from?
Carla: At the time, we felt that there was no food that had heat and flavor, there was no place that felt young and alive. A lot of the places that were opening around here felt really ‘white wall, exposed brick, Brooklyn-comes-to-Hudson’ kind of energy. And we just felt really clear that we wanted to do something very different from that, and that we would be welcomed for that difference. And that was the main framework of our initial impetus to open the restaurant.
Gilian: Can you talk a little about what that meant aesthetically for you?
Carla: It meant a lot of bright colors, and neon lights. We often talk about an overwhelming sensorial experience, where you’re inundated with light, color, sound, and flavor all at once. Guests upon entering stand at the door and say, “Whoa, I didn’t know this existed here.” We’re a splash of… I hate saying “rainbow” because of its LGBTQIA associations in a very specific way, but a splash of super chromatic energy in the Hudson Valley. The Hudson Valley is such a verdant, vibrant, fertile place, but as it’s been developed, its aesthetic has become this homogenous thing— pine and black paint for the outside of your house, repurposed piping for your lighting— which started having this repetitive, cookie cutter quality all around us. Our aesthetics cut through that. It’s the acid in a dish that needs acid. It brings out so many of the other flavors and accents, everything in a way, which feels really necessary.
Staff at Lil’ Deb’s Oasis. Image by Heidi’s Bridge. 2019. Courtesy of Lil’ Deb’s Oasis.
Gilian: I love hearing you talk about the word chromatic. That really resonates with my experience being in this space.
Will you talk a little bit about the role of performance, and food and service as performance?
Carla: When we first opened, it was really literal, because we opened with a team of servers who had no experience serving. And I remember one of our first pitches to them, all of them were artists, or curators, or painters, and our cue to them was, “Imagine what your quintessential idea of a waitress is.” Our space used to be a diner. And I remember referencing that classic 1950s epitome of a server, popping bubblegum, casually talking to guests, running to get the coffee. Very “homegrown, community, knows everyone, knows your neighbors” kind of thing. And we told our first crew of artists-servers “ut yourself in that place! Imagine being that quintessential waitress. What does she look like, what does she feel like? Put yourself into that mindset, and bring that to the table.” That was during our pop-up phase before we even had leased the space. (Read about their beginnings through the Wikipedia page “history”). It was really fun. We all felt like we were role playing in a way. At that point, I had never owned my own restaurant either, or been able to decide what the menu was, and the colors, and the lights. It felt like we were all playing house – we were role playing chefs, they were role playing servers. In a lot of ways, performance has always been at the core of our imaginative work, and has led us to manifest and really bring to life the fantasy. It was an internal dialogue around how to step into the role we wanted to play in the community.
Gilian: Are you still thinking about Lil’ Deb’s as a space of performance?
Carla: Absolutely. A few years in, we started hosting Queer Night of Performance (QNOP) once a month, which was born from a conversation we had in the restaurant about wanting more queer celebration. Even though the restaurant had started to become an oasis and a mecca for queer people, it still felt like there wasn’t enough in-your-face queerness— total freedom, and being able to be super loud about it.
We were still a restaurant, so we still had to hit all the points of what a restaurant hits, which in some ways automatically closes in on queerness. We’ve never told our staff to wear uniforms or any of the other ways that restaurants try to mitigate performance of the body. But the function of a restaurant is the function of capitalism in a lot of ways. There are certain things you have to do in order to perform the role of server well that limits the ecstatic exuberance of queerness, which is fundamentally anti-capitalist at its essence. Our staff was craving more expansiveness around their own queerness, apart from the performativity of it, and that’s how this conversation about QNOP started. Now I think QNOP is the most embodied way that we are still performing.
Ále Campos aka Celeste. Queer Night Of Performance. Image by Leor Miller. Courtesy of Lil’ Deb’s Oasis. 2019.
Gilian: In my experience, everyone at Deb’s is performing in a way that transcends that base level requirement of what you need from your server. There’s a deeper sense of connection and openness starting with the hospitality, the flavors that you’re being introduced to through this person, and the way they are introduced.
Carla: Yeah, in most cases, it’s that queer liberation coming through! But we still serve a majority of heteronormative, cis white straight people. In hospitality, our job is to be of service to everyone that walks through our doors. Part of the mission is to do it in an inclusive way that is about building community. That’s not always at the core of restaurants, and can also come into conflict with queer identity.
Just, we run a business. Working at the restaurant is a job. We can’t escape from that. There is joy, and there is also work to be done and capital to be made. And all those things can limit the exuberance you experience while doing your job.
Gilian: Of course, thanks for elaborating on that. I want to talk about collaboration and what it means to really be collaborative in this ongoing art project. How do you navigate it as a mode of creativity?
Carla: We go in and out of collaboration. The spirit of the project is very collaborative. And when I worked alongside my business partner [Hannah Black], it was definitely a full 50/50 collaboration on almost every element of the menu and design and all of that. But especially in the last seven months [since Carla became the sole owner, and the restaurant reopened following the first wave of the COVID-19 pandemic], some elements of that have shifted. For example, I’ve taken a first pass at our reopening menu [for 2022] mostly on my own. I reference that because the word “collaboration” is so much about being in conversation with someone else’s ideas, and so in that sense, I want to say that we are not always 100% collaborative. But collaboration is core in really any restaurant work. It is impossible for it to be an individual’s work, without the erasure of the labor of so many minds and hands before the arrival of the final product or experience. So in that sense, we are 100% built on collaboration.
There are always times where we’re trying to highlight someone else’s vision. Right now, we’ve been working on a dish specific to one of our line cook’s childhood memories, of their mom’s broccoli salad. Then there are pop ups with other queer or POC owned businesses. And QNOP, which was really born from a collective conversation, but also was executed by individuals that took it on. A lot of how we work is, “Oh, I have an idea! Who wants to make it come to life?” And for me, being willing to acknowledge and let go of the times when I cannot execute a project from start to finish. And to know that it’s okay to not.
Gilian: Can you speak a little more to those examples?
Carla: A lot of that is born through alignment and expression of desire. We are really good at catching that in someone and saying, “Oh, you just said something that sounds like you want to make that happen. Let’s make that happen! How can we support you in making that happen? That feels right.” I have a couple of examples. The wine menu is definitely a good example.
Most recently, I had this moment when our cookbook announcement was made (Please Wait To Be Tasted, 2022). We were working with our graphic designer [Ryan McDermott] on different elements of the book, but he didn’t know what the title was. I sent him the book cover to upload to our website, and he said, “Oh my God, you guys named it ‘Please Wait To Be Tasted’! I put that on your menu board years ago.” ‘Please Wait To Be Tasted’ is a sign that’s been on the entryway to the restaurant for four years now, maybe five. It originally said “Please Wait To Be Seated,” and I assumed that it had been a customer who, bored while waiting, changed the letters to “Please Wait To Be Taste.”. We all laughed and riffed on that. It had totally left my consciousness, if it even was ever there, that one of our own servers and friends had done that. And so that phrase entered the lexicon of the restaurant, and took on a life of its own, and then eventually, it became the title for our book.
I love that example because we often talk about the “hive mind mentality,” when you’re working closely with a group of people. You enter the space where you start finishing each other’s sentences, not knowing which influences came from the other, being able to pick an idea for fun, expand on it, and take it somewhere exciting. And you do that together. And that just feels like such a prime example of it. I’m sure Ryan, the graphic designer, laughed to himself about it and thought it was a cute, funny inside joke six years ago, and now it is the title of our cookbook, which we didn’t even recall having come from him. There’s ways where that could become territorial, like who said it first, but I think in a lot of ways, with us, we try to celebrate the ways we’ve rubbed off on each other, inspired each other, and how those moments have led to the creation of something else entirely new.
Please Wait To Be Tasted: The Lil’ Deb’s Oasis Cookbook. 2022. Image courtesy of Lil’ Deb’s Oasis.
Carla continued: This also speaks to what can be complicated about these relationships. We’ve definitely had some challenging conversations around ownership of ideas, and how intellectual property operates when you work so closely with a team of people; when there is this brand of restaurant with this specificity, housing a lot of other creative people within it, and how the ideas that are born under that are treated afterwards. The joyful side is all this synchronicity and what blossoms out of that, and the challenges are how to treat those ideas as they take on a life of their own. QNOP is a direct example of that, and so is the wine list.
The wine list was developed in tandem with Wheeler, who was our general manager for the first three or four years that the restaurant was open. The list got better and better throughout that time. After a while, we developed the language of writing these wine poems, and expanding how we talk about wine because it felt really important to create an accessible language around wine, which wasn’t much of a conversation happening in the restaurant industry. That meant building our own dictionary of words, which are free associative references, memories, and cultural moments that we think of and are drawn to as we taste any bottle of wine. We developed that wine poem language together, and Wheeler took it even further and developed this idea of the “wine journey,” and started giving customers wine journeys. They would lead customers through a series of different questions, like choosing your own adventure, as a way of picking a glass of wine. They were super fun. Then Wheeler started getting asked to do pop-ups elsewhere, where they would do wine journeys at someone else’s wine bar or flower shop. When Wheeler left the business a year ago, that became a question between us: How do we treat the wine journey? Does the wine journey die when Wheeler leaves? Does it live on in the restaurant? Does Wheeler have the right to use the wine journey outside of the restaurant? And the answer is yes, Wheeler has every right to use the wine journey outside of the restaurant. And we can also use the wine journey if and when we choose to. It is this way that creativity blossoms out of something. Seeds are planted in soil, the soil is already fertile, and then out of that grows something bigger, more beautiful, and stronger, which leads to a better, more diverse crop.
That feels very much like what happened with QNOP, as well. Out of QNOP, Ale (Ale Campos) / Celeste, who would run them, took off completely. They had never done drag before doing the first QNOP at the restaurant. Now they are an immensely talented performance artist-at-large, in their final year at SAIC. In 2020, they built a stage with grant money that they received, and hosted performances all around town. Our involvement was only that we were the fiscal sponsor, but besides that, we weren’t involved. Our name was involved, but that was it. They were also the person who first had the conversation with us about wanting to do QNOP. Out of that one conversation, so much newness was created, so much life.
Those are all ways that we have directly collaborated with people in conscious and unconscious ways, and that ideas have really taken off and developed and grown even further as a result of those little seedlings.
The Wine List. Image courtesy of Lil’ Deb’s Oasis.
Gilian: I’m wondering about the role of design, specifically your clarity around the foundation of Lil’ Deb’s— your values, your tone— and how that allows for a more seamless and inspiring process for collaboration to naturally occur.
Carla: I’m probably going to digress before I come back to that, so feel free to bring me back! I think for the longest time, the restaurant industry has tried really hard to meet a certain set of standards that are really about respectability— white linens, rules about manners, where to put the fork, and all these things that have always seemed really outdated and arbitrary to me. In a lot of ways, our design aesthetic was in direct opposition to that. We said, “We can be as loud as we want, we can be as bright as we want, we can have people eat with their hands, our forks don’t match!” All these things that felt alarming to a lot of our peers when we first opened, and I’m sure disrespectful to some of them as well. But for us, it was really important to break some of those norms, and say you can still provide exceptional hospitality, you can still make incredible food, and you can still be inviting and welcoming and make people comfortable, even if these so-called “standards” aren’t in place.
To circle back to how that makes collaboration more inviting, to me, the more traditional restaurant models feel like closed loops. Yes, there’s immense creativity that happens in those spaces. But it’s a specific kind with a specific goal in mind— of “excellence.” And I think queerness is eternally and infinitely open ended. It just goes on. And so in that way, it’s an open door, it is a constant invitation for more— for more people, for being louder, and for not quieting yourself down. And not asking others to change themselves to be accepted.
Gilian: That feels like a really direct relationship to this idea of the role of plants and living ecosystems as an inspiration for queer aesthetics. Having been in your home, I’ve seen plants and fish tanks around the space, and it just feels very alive. I’m curious to hear you talk about the connection that you see between plants, and living ecosystems, and the queer aesthetic that you’re putting forward through Lil’ Deb’s.
Carla: Plants are a living example of reciprocal care. You water them, you nurture them, and they give you so much through simply being. And they’re not doing anything, they’re not actively giving you money, or actively giving you a hug, or whatever other ways we have learned to tokenize exchanges. There is a very sensorial, experiential exchange that happens with plants, which operates on a different level. In the ways that queerness is about community, accepting the other, nourishing the other through holding each other up, those are the ways that I relate plant life to queerness and community care.
Gilian: I love that idea of reciprocity, and a model of care. What’s the relationship between your own studio practice and what feeds into this space, which is a living, breathing participatory artwork 24/7, all the time?
Carla: I think unfortunately, the living breathing studio of all the time running a business, has, in many ways, eclipsed my own studio practice. I could see that glass half empty, and be sad about it. And I can also see it as glass half full, in the sense that I also get to live and breathe in my studio every day through the restaurant. So it’s twofold. There have been times throughout the years where I have made more time for working on my own practice. And my own practice centers a lot around food, and ritual. And giving and receiving. Those have all been central to my work for a long time. But you know, I haven’t afforded myself that opportunity recently. I’m actually really getting the craving to do that right now. So far, it’s been a little bit of a slower thing.
I’ve performed in one QNOP in all four years that it has existed. It’s kind of funny, given my background in performance, that I haven’t performed at our own events. I think that also speaks to the ways that when something has a life of its own, and that life is so strong and pulsating, is so living and breathing its own magic, I tend to be pretty good at being like, That is already doing its thing, it doesn’t need me to do more. And it’s not as if the invitation wasn’t there, or that my participation would change the dynamic, but I think especially in a delicate infrastructure in which there is hierarchy, even though there is a lot of community-oriented, egalitarian idea sharing, fair and equal wages, etc., at the end of the day, I’m still the boss. And things shift when the boss is like, “I’m performing tonight.” So I’ve been intentionally really aware of that and have held back throughout the years.
Gilian: What forms of documentation around Lil’ Deb’s have you found compelling? How do you archive that experience? How do you share that experience with people who aren’t there?
Carla: Yeah, I don’t know if I’ve arrived at a “way” yet, but it feels really complicated any time we’re doing it. I think because there are so many characters and facets, and most documentation wants to focus on me as the chef, or me and Hannah as the creative people, and what that means about who is left out of that story feels always complicated to navigate. And even if we talk about inclusion, what is being perceived is still this idea of the celebrity chef. The best form of documentation is people coming in to experience it themselves. I don’t know if that’s a cheap way to get out of answering your question! It is documented by lived experience. Some painting that you’ve always wanted to see, you can see it in so many art books, and you’re never going to feel what it is, or really understand it for what it is, until you see it in person. And I feel like that rings really true for me about the experience of the restaurant. It is 4D! I do think our Wikipedia page did a really good job of documenting us though! That is because it’s actually researched and about the whole journey of Lil’ Deb’s from start to finish, with references to all the conversations we’ve had throughout the years. A lot of documentation we’ve had has been specific to “The 10 Best Towns to Visit in the Hudson Valley,” which can really dilute what we’re about or only see it from a certain angle. Obviously, there have been other pieces that have been more successful. One of the reasons why The Wikipedia article felt so nice was that it really tried to understand us in totality.
Gilian: Are there any other thoughts that you want to share around this intersection of Lil’ Deb’s and socially engaged art or participatory art or community art?
Carla: You have to just come and be it, and be in it. That is our practice, changing people through the lived experience of eating with us, and all of the sensations that they have. The number of men I watch in the restaurant totally lose themselves and become immersed in this tiny television we have in the corner that has an ongoing loop of QNOP throughout the years— several of them have half naked people or fully naked people, and children and fully grown adults will stare at that TV and fully become one with it. I sometimes laugh because I’ll see a straight couple out to dinner, and the guy is fascinated by the screen. In a way, I’m like, “Come here and be challenged and be turned on by what you’re seeing. Have this experience.” And some people come and have disgust or feel uncomfortable. I think that what we are setting out to do is to have this very tactile sense of feeling held and challenged, and feeling desire and feeling hunger, and all of these super human emotions through being in our space with us.
Raised by three Ecuadorian women in Queens, New York, Carla Kaya Perez-Gallardo [she/they] was born into a home with a kitchen that was always busy. In seventh grade, they started Saborines, a pie company named after her grandmother. After graduating from Bard College with a degree in studio arts, they found a place for herself cooking and managing kitchens. Following a brief pause from cooking and a strained attempt to navigate the traditional art world, in 2016 she became co-founder of Lil’ Deb’s Oasis and is now chef-owner of the James-Beard nominated restaurant and community hub in Hudson, NY.
Gilian Rappaport [she/they] is an artist, researcher, writer, and naturalist. In their practice, she explores the relationships between sensuality, co-authorship, and personal mythologies to understand what we can learn from closeness with nature (rather than being more detached), and the paths to get there. Their cultural strategy and facilitation practice allows her to ask similar questions at a different scale, and support the vision for projects aiming to renew, restore and nurture our world. The granddaughter of Ashkenazi immigrants by way of Russia and Poland, she was born and raised in New York between the Hudson and Delaware Rivers. They are openly queer, and live and work in Rockaway Beach, Queens. Follow them @gilnotjill.
The Unexpected Host
March 19, 2022
Text by Becca Kauffman with Fernando Perez
“Many things would fall out of disrepair if they were not held together by a thing; that’s what caulking does, that’s what the mortar between bricks does. You can do that socially. Good hosts have all done that socially.”
FERNANDO PEREZ
It’s not every day you wind up bonding with a complete stranger who sold you a drum machine on Craigslist. But a few weeks ago, I did. His name is Fernando Perez, and his energetic speech, booming voice, and overall personability made it apparent that he was not your average craigslist seller.
It happened like this: I was scrolling through the “for sale” section, clicked on an ad for a Roland drum pad, and was entranced by the bizarrely excellent video Perez had recorded to showcase the instrument. It was so excellent, in fact, I felt compelled to verge off the topic of logistics and email him this compliment:
“Watched your vid— felt like a high caliber youtube product review.
Fully enjoyed and feel like you could, like, do that for a living?”
As it turns out, he actually does. When Fernando dropped the drum machine off at my apartment a day later, I asked him how he developed the skill of comfortably playing the role of a salesman and found out that he’s no stranger to the camera. After a 10-year career as a professional baseball player with the Tampa Bay Rays, he became an on-air sports commentator and a host for Vice News. He was anchoring documentary field pieces on the football championships in North Africa, medieval-themed MMA battles, and the ancient Japanese religion Shugendo.
“You’re a host???” I gasped. “I’m a host!” This was even more exciting than my newly acquired drum gear. For the past two months, I’ve been offering my services in New York City as a professional host-for-hire. I fashion the role of host as a bridge that connects my training as a performer to my desire to be practically useful. I see hosting as a kind of social glue that creates cohesion in an otherwise chaotic scenario. My hosting investigation naturally began as an emcee for concerts and variety shows, having cultivated a particularly hospitable alter ego named Jennifer Vanilla over the past six years. So while sports and alt pop music seemingly don’t have much to do with one another, Fernando’s and my shared experiences in entertainment eclipsed the contextual differences. The role of host, I was learning, transcends genre and environment.
Having never met a professional host before, I had to learn more about Fernando’s take on the position. We chatted excitedly in my living room until I’d entirely forgotten how and why we’d met, and he began to worry about his car double parked outside.
“We’ve got to keep talking about this,” I said as he stepped into his sedan and turned the hazards off. “Sure,” he said, “I’m always up for a chat!” A few weeks later, we convened over video chat— me from New York, Fernando from a baseball stadium in California where he’s doing some consulting work— to continue our conversation.
Becca Kauffman: Tell me how you got into hosting.
Fernando Perez: I fell into it. I’ve never been very good with goals; even the decision to play baseball was much more of one where like, I was at school, and there are all of these helicopter parented kids who were running off to their internships. And there was my baseball coach saying, “You’re actually really good at baseball, you should take it seriously.” Next thing I know, I was a professional baseball player [for the next ten years]. [When that ended] I was [like] a 21-year-old 31-year-old. And I was like, “What can I do? Because nobody’s feeling me on LinkedIn. I don’t have any skills.” Most athletes use that cachet to be a coach, or they do a sales job. So for me, I’m like, “What is out there for me to do?” I had many of the natural skills of hosting. Then it was just getting the opportunity to be in the room with a casting person who was just like, “You know what, I think this is gonna work.” I was allowed to grow into the job. It was a way to have an adventure. It’s become a thing that is really, really important to me.
Fernando playing ball with the Tampa Bay Rays (New York Times). 2008, U.S. Courtesy Greg Fiume/Getty Images.
Becca: Part of the reason why I’m interested in hosting is because I feel like it puts you on an equal playing field with people, where you’re sharing the spotlight rather than seizing it. What’s important about the role to you?
Fernando: It’s really become a part of me. It’s a heightened form of communication. People are not as good at talking to each other today as they were 10 years ago. Maybe the new form of in-person contact is, you know, a TV show, right?
Most of my professional experience is of this facilitative sort, where I am there to help an interesting person deliver their exotic expertise to curious viewers. This kind of content can be made without a host, where producers ask questions off camera. But adding a host is an option that producers often take that will bring different dimensions to a piece. For instance: the interview subject behaves differently with a host, and the viewers get to respond to the host’s body language. While the huge, complex, even contradictory idea of “hosting” is super fascinating, and worthy of a long study— I’m mostly speaking on what I’ve done.
Becca: Hosting as a way to have adventures makes me think of hosting as a kind of passport. It gives you this alibi to interact and engage. What are the main functions of the host for you? How do you see your job?
Fernando: It is a passport. You learn so much about people. What I need to do is be a conduit, so that people can experience this thing through me. I’m a mirror, basically. Many things would fall out of disrepair if they were not held together by a thing; that’s what caulking does, that’s what the mortar between bricks does. You can do that socially. Good hosts have all done that socially. Another version of it is a sleight of hand thing, like, “Look over here. Don’t pay attention to the fact that there’s this thing in the room!”
Becca: I’ve definitely experienced that too, distracting from technical difficulties, unforeseen complications, or filling up airtime when something goes awry. It’s a kind of social acrobatics.
Fernando: For an audience of people at home, they’re going to experience an event [that I host] through me. I’m like an antenna. A barometer. I’m trying to open myself up to feeling as much as possible. You want to be neutral, because you don’t want to influence people.
Becca: You’re almost a stand-in for whoever is watching, so that they can put themselves in your shoes and have that experience through you.
Fernando: Yeah, perhaps you are. Something that I know I’ve done very well is the unseen work of hosting. The visible part is the product that you see on television; the not visible part is all of the work that it took to get my interview subjects into the right frame of mind. That’s my favorite part of the job: allaying people’s fears that we’re going to make them look stupid on television, making them as comfortable as possible. The camera is a super powerful cue, it’s like having an unstable element in the room. So a lot of it is just trying to convince the guest that the camera is not going to hurt you.
Becca: As a self-made host, how did you arrive at that value, of tending to your interview subjects and making them comfortable?
Fernando: Seeing that it was needed. In the same way that somebody might invite you to their apartment, and you’re just like, “Oh, man, if we open the shades, and put this over there, it really opens up the apartment.” I learned by doing it. I was naturally in possession of many of the soft skills that are valuable to good hosts, and that’s why I got the opportunity to learn on the fly. It was just being on enough shoots and being like, Man, the cameraman is playing with his phone, the producer is worried about getting our next interview subject, the sound guy is chomping down on a granola bar, and the people that we’re about to interview are just sitting there looking kind of scared. I should just talk to them. Somebody has to do it.
Becca: It’s almost like you’re hosting the host position, adding off-camera hospitality to a role that might normally only be hospitable when the cameras are rolling.
Fernando: [It helps to] be ultimately flexible and really be obsessed with making people comfortable. This is a shitty example in many ways, but the only reason I use it is because it’s happened to me so many times: if you spit on me in the middle of us talking, and I stop to make a deal of it, I’m making you less comfortable, and the TV is not going to be as good as it would be if I just don’t flinch. A host is egoless, if possible.
Becca: You’re saying you kind of have to suspend your humanity, while coming off as a very human person.
Fernando: If you’re extremely empathic, that is reliably a good way to bring the best out of interview subjects. The person that you’re interviewing has to trust you. If you’re sitting next to someone on a train, and they seem extremely empathic, there you are telling your life story and divulging all these crazy details that you haven’t even told your best friends. And how did that happen? They were empathic.
Another form of empathy is not being “cool.” Being a weirdo definitely helps. If you were to meet a person on the street, and they were like, “Yeah, on the weekends I like to role play as a medieval combat fighter,” if you’re just like, “Cool,” naturally, the job’s gonna be easy, right? If you’re too cool for school, [you] can’t be a good host.
Fernando out in the field hosting a Vice Sports feature on a medieval-style MMA combat tournament. 2016. Courtesy of Vice.
Here’s another thing that’s part of it: you have to play dumb a bit. Hosting should not be an opportunity to prove that you’re super clever. The object of the game is to make people that are watching smarter, more informed, or entertained, depending on what type of television show it is. Playing dumb for me is more about, I may know the answer to something, or may think I know the answer. What’s so much better is if I ask you the question, in a way that I think sets you up for success to answer that question. And I just look at you like you’re my grandfather, or my grandmother, [like] you are right about to give me infinite wisdom. All that I’m trying to do is pull information out. That’s the game.
Becca: Right, there are so many different ways to talk about the same thing, but it’s important to meet your audience where they’re at.
Fernando: Meeting them where they’re at is a very lovely way to think about it. We know what it feels like to talk to a genius who is just not sounding like a genius. So what I need to do is figure out a way to get you to bring out that really fascinating information. One that always works is, “Pretend that I’m an alien that has just dropped on the planet. And I just do not understand how this works. Explain it to me like I’m an idiot, or like I’m young.” That helps people because, if you’re a scientist, you’re good at science; you’re not necessarily good at explaining science to people that don’t get science. Hosts are always bringing people into the conversation. A great host can put [things] into a context that relates to more people, or remind the experts that non-experts are in the room and want to learn.
As a rule, it’s always really nice to make you quite certain that I’m a person who is legitimately interested in you, and that I have done some research. Almost everyone loves to be flattered.
Becca: “Playing dumb” can also express itself as hospitality, where you open up this channel for more inclusion by exposing an ignorance of your own. Sort of as a stand in for a similar ignorance you’re sensing amongst the guests. You kind of take one for the team.
Fernando: Self-deprecation goes a long way in virtually everything. I remember, I was interviewing this woman who was a fucking NASA scientist. She was so nervous. I spent 10 minutes talking to her about aliens, telling her that I think that maybe she’s the coolest person that I’ve ever met. She said to me, “You seem so cool.” And I was just like, “Actually, I have swamp ass.” People assume since you are playing host and looking nice, that you must be just fucking marvelous. Well, it really, really helps to kind of deprecate that. It really, really, really, always helps.
Hosts (Fernando and me), chopping it up on Zoom. 2022.
Becca Kauffman (they/them) is an artist and performer based in New York City working within a social practice framework to create hospitable environments through the practical use of their own soft skills. Using chance encounters, conversation, and citizen journalism, they rely on resourcefulness, adaptability, communication, and problem-solving to understand and strengthen the social choreography of public spaces. They are an MFA candidate in Art and Social Practice at Portland State University, where they are researching live action role play, tactical urbanism, and hosting as a form of public stewardship.
Fernando Perez (he/him) is the Director of Video Coaching for the San Francisco Giants. After a decade playing baseball professionally, he moved into media, hosting TV and digital content at outlets like Vice, Bleacher Report and MSG Network. He co-leads the media strategy at Canopy Collective, a reparations-centered startup advancing democracy for all in the United States.
The Bacons
March 19, 2022
Text by Justin Maxon with Leon Patterson and H. “Herukhuti” Sharif Williams PhD
“It’s always good to know where you came from.”
LEON PATTERSON
The Bacons by Leon Patterson. Courtesy of Leon Patterson.
This series of interviews is a part of an ongoing dialogue and serves as an entry point into a project H. Herukhuti Williams and I have been developing since 2017: a collaborative book project titled Chester: Staring Down the White Gaze. At the epicenter of this critical collaboration are two sets of images: the work I completed as a photographer and journalist covering the city of Chester, Pennsylvania from 2008-2016, and photographs from my childhood archives. Using the latter, we built a visual glossary of white racial tropes to unpack my relationship to whiteness. We use this framework to reconsider my work in Chester and other contemporary and historical local media coverage of the city, to elucidate the ways the white gaze reflects its own values when reflected off of the bodies of Black people.
The book is also a collaborative book project of artists from the city who tell their own narratives, including: Desire Grover, illustrator; Wydeen Ringgold, citizen journalist; Leon Paterson, self-taught photographer; and Jonathan King, activist and educator. Throughout the book, the co-authors are in conversation about my images through handwritten text that analyzes, critiques, questions, contextualizes, and interprets the nature of the white gaze that is placed on their community.
This interview, conducted over the phone, is a collaboration between Herukhuti, Leon Patterson, and myself. Together, Herukhuti and I formulated questions that I asked Leon during our conversation. Every co-author in the book has been interviewed for SoFA as a method to more deeply explore some of the themes present in the book that did not fit inside.
Justin Maxon: How would you describe Chester to someone who’s never been there before?
Leon Patterson: It’s a dangerous place; somewhere where you don’t want to go. It’s everybody against everybody. It’s nobody trying to see nobody get nowhere. These kids don’t have nothing to do. They sit outside or they go to the parks and watch drug dealers be idiots. And then they grow up and act like them. What’s wrong with Chester is the police and our politicians don’t care. They made the city this way. They got rid of everything. They closing our schools. We don’t have no recreational centers. Our city’s got one swimming pool, and it’s only goes to five feet. These kids don’t have no summer activities. It’s ridiculous.
It wasn’t like that in the nineties. When I was growing up. We had everything. We had summer games. We had basketball league. We had stuff to do. We got to learn and get to know people. We was in the marching group. Had the Boys and Girls Club. Everybody knew everybody. Today, if these kids do something and you say something to them, their parents cuss you out. It wasn’t like that back in the day. If you did something, somebody told your parents, and you got a chest high for it, period. That is why these kids do what they want. Not only that, back in the day, we had love, loyalty, and respect. We loved our parents. We respected our parents. There are certain things you knew just not to do.
Back in the day, you might have one bad kid out the whole house, but now every kid in the house is bad. And then with this virtual school, that’s making it even worse. These kids aren’t going to know nothing. So how you expect a kid that don’t know nothing to do something? That don’t make sense.
Justin: Is your description of Chester similar or different from the way the news media represents Chester?
Leon: The news media represents Chester like it’s nothing but a violent city. The only time you hear about Chester is when somebody gets shot. They don’t talk about Chester, period. They talk about what’s going on, but they don’t talk about what’s really going on. You got these kids out here that’ve been on probation for years. Delaware County has a 98.9% conviction rate? You go to the courthouse and nine outta ten, yo ass get convicted. They tell everybody, “If you sign right here, you can go home today. And not only that, all you gonna be on probation is for a year.” They don’t know they just signed their life away. I got a year of probation in 1996. I didn’t get off it until 2019.
Justin: So fucked up! Big business.
Leon: The media’s corrupt. That’s what they do. They gotta hold you. That’s why these kids act the way they act. You get into a situation, where you out on the streets, and you got bills. You in jail, and you got bills. You come home, and you got bills. They only give you so much time to pay it, but you really can’t. So, it’s either, I go to McDonald’s, do these little jobs, and make these little checks every two weeks. Or if not, I gotta go out on the street and get it the best way I know how, just to keep my freedom. Either way you screwed. It just boils down to the point where, you going to jail, just put it that way. As soon as you signed that probation, you stuck in the system for the rest of your life. After a while, I just stopped caring. I stopped going to see them. Every time they come lock me up for 30 [days]. Oh, well. Nobody sees what they doing to these kids. They make it so you fail. They make more money off you in jail.
Justin: How do you feel like photography has helped you?
Leon: It helps not think about the way corporate America’s doing the world. Like corporate America sucks. They make it to the point where you do or die.
Justin: Do you consider yourself a photographer, an artist or something else?
Leon: I consider myself a photographer. I like to take pictures and use them for different things.
Justin: What things do you like to do with them?
Leon: Put them on t-shirts and I just started to learn how to rap cards.
Justin: What kind of t-shirts?
Leon: It’s a clothing line. I’m teaching my son how to make clothes.
Justin: That’s great. Where can I see this?
Leon: Well, as soon as I move into a house, and I can get my printing press back up and running.
Justin: Awesome. I want to see them!
Who do you photograph and why?
Leon: I photograph my family, and people in general. I take photos of all types of stuff. Sometimes random pictures.
Justin: Why do you take pictures of your family?
Leon: I take pictures for memories, so you can look back on time and you’ll know what you was doing at certain times of your life.
Justin: Why are memories important to you?
Leon: I like to remember things that I did, and you learn from your mistakes. The things that you’ve been through teach you about the things that you’re going to go through.
Justin: Do you feel like photographs help with that?
Leon: You look and notice when things weren’t wrong. You can remember your kids. I got pictures of all my kids when they was first born. I got recordings of my kids when they was first born. So I could show it to them when they get grown.
I took photographs and noticed how I was living, and it made me change a lot of things that I was doing wrong. Like not cleaning up, and just laying stuff around and being a hoarder.
Justin: Oh, so you noticed in your photographs that you were a hoarder?
Leon: Yeah, like you just got stuff everywhere. It was like never ending. I can’t stand that. I wasn’t brought up that way.
Justin: So, what has motivated you to document your family with your camera over the years?
Leon: You be here today and gone tomorrow. I grew up around a lot of deaths. Like a lot of people get killed. My friends, family members. I come from a dangerous city.
Justin: I mean, even now you mentioned, you just lost how many people close to you?
Leon: Eight people over the last year.
Justin: Wow, my heart goes out to you.
How does a photograph help you remember your loved ones?
Leon: The good memories. Like you could still see it, man. Remember that time… when you was there and when y’all was taking pictures, what y’all was doing at that moment, it could have been a birthday party or a reunion.
Justin: So, it’s about holding them in your mind for longer.
Leon: Yeah. And then I can show it when they get older. Like what you was doing at five years old, This your first cry, this your first…
Justin: When you’ve shown that to your older kids, what’s been their response?
Leon: “Wow. I didn’t know. That was me, that’s how I looked when I was a baby.” “Yeah. That was you. These are the things that you did when you were small. Just how bad you was!”
Justin: And that brings you closer?
Leon: Yeah. My kids like to take pictures. That’s all they do with their phones is take pictures.
Justin: Why do you think they do it?
Leon: I show them different things that you can do with it. Like you can post it, you can make art with it, you can decorate your room with it. I be doing all types of stuff with my kids. Kids can’t go outside these days. Kids gotta stay in the house. You can’t have them in the house and have them bored too.
Justin: What has it been like getting to know your family through your camera?
Leon: I just like to show people good memories. When I have my camera it’s exciting for the kids because they know I’m taking pictures. When I don’t have my camera, everybody is not paying attention, they doing their own little thing.
Justin: It brings everyone together in the moment?
Leon: Yeah. Everyone poses for the camera. Everybody is present with each other. Everybody is doing different things, like some people put up fingers, some people smile, some people make funny faces. People know when the camera comes out
Justin: What’s something that you’ve learned about your family that you only learned by photographing them?
Leon: Certain kids only do things with certain kids. The relationship that they have with their siblings. The way they hug each other. The way they act towards one another. You can see like this kid runs to this kid or that kid runs to that kid.
Justin: Does it have to do with personality types, too?
Leon: I guess it’s their age. The little ones stick with the little ones, the middle ones stick with the middle ones and the older ones.
Justin: When you’re taking photographs what are you thinking about or feeling?
Leon: Peace of mind. It gives me things to think about. I take pictures and then I look and be like, why did I take this picture? I analyze it. I take pictures of just the sky. I take pictures of trees. I take pictures of animals. I just like to take pictures. I like to take adventures. I walk through woods, in my own world sometimes. I just like to explore and look around, see what I can find. Sometimes you just forget about all your problems, focus on something else and not always be angry. Certain moments give you a peace of mind so you can have some type of happiness in your life. There is always something going on. There’s always an issue. Never a chill moment. It’s like once something happens, it’s just a series of things that follow; like we are going through a situation now: we are in a hotel, my truck is down, my hours are getting cut at work. Never a dull moment.
Justin: Taking pictures is a break, a pause.
Leon: Yeah. It makes you feel free.
Justin: So there’s some control in it? How do control and freedom work together for you?
Leon: Control and freedom. You can do what you wanna do, how you wanna do it. Everybody’s telling you what to do, but ain’t nobody helping you do nothing. It’s like therapy. It takes your mind off. Sometimes when you’re taking pictures you gotta focus. You gotta make sure that the setting on the camera will allow you to take the picture you want. There’s no one to boss you around, telling you, you shouldn’t have taken the picture that way, or you shouldn’t have done this.
Justin: So what are you looking for when you’re out taking pictures?
Leon: I take pictures so I can remember where I’ve been, things I saw. And if you blow the picture up, you can see stuff that you didn’t see in the moment. Like walking through the woods, you blow the picture up, you see different animals. You take pictures of trees, you blow it up, you see different kinds of little bugs.
Justin: That’s interesting. I love that idea of seeing the little things you miss in life.
How has your family reacted to being photographed and to you as a photographer?
Leon: My family at first didn’t like it at all. They used to hide from the camera. But after years of doing it, they just don’t care anymore.
Justin: What’s it been like showing your family the photographs that you’ve taken?
Leon: Oh, when I show ’em the pictures, I like to see their reaction. Especially pictures that they don’t know I took. Like when I first caught my step-daughter, Jasmine smoking weed. I took the picture and she didn’t know. She tried to lie to me, telling me she never smoked before. And I had to show her!
Justin: And wait, what did she say?
Leon: “You always taking pictures.” I said, “Don’t worry about it. That’s just what I do.” She was surprised that I caught her in a lie.
Also, showing my daughter her face when she found out she was pregnant. That was hilarious! It was when we found out at the hospital that she was pregnant. We had to figure out how we was gonna go home and tell her mother that she was pregnant. And as you know, her mother always got an attitude and act crazy. [Laughs] She had a surprised look on her. She was surprised because the day that I caught her, I was supposed to be at work.
Justin: What’s one of the most memorable photographs you’ve taken?
Leon: The most memorable photographs I took were when I was in Jamaica. It was my first time in a different country. They live totally different from us. Over there, I had no worries. Here, I worry all day.
Justin: What type of photographs have generated the most interest within your family?
Leon: The kids and baby pictures. They get to see how much they have changed throughout their life. It’s always good to know where you came from. If you know where you came from, it teaches how to respect life better. When we were kids, we had nothing. So that’s why I try to make sure my kids have everything they want.
Justin: So, the camera has helped. It made you realize what you do differently.
Leon: It helped me do things differently.
Leon Patterson (he/him), a community photographer, who has photographed his life as a member of the Bacon family since 2009. He has no formal training in photography. His training is experience. His archive of images is in the thousands, moments featuring the history of his relationship to the family: birthdays, Christmas mornings, the birth of his children, the daily moments of connection between him, Dinah and their children; all exquisitely captured.
Justin Maxon (he/him) is a visual journalist, arts educator, and social practice artist. His work takes an interdisciplinary approach that acknowledges the socio-historical context from which issues are born and incorporates multiple voices that texture stories. He seeks to understand how positionally plays out in his work as a storyteller.
Dreams to Reality
March 19, 2022
Text by Kiara Walls with Harrell Fletcher
“Ideas will occur to me when I’m not really focused on trying to figure out the idea. “
HARRELL FLETCHER
Creativity and manifestation go hand in hand but how exactly does the process happen from start to finish? I spoke with Harrell Fletcher, PSU Art + Social Practice MFA Founder/Co-Director, to discuss his personal relationship to manifesting his ideas into reality. Harrell is currently on sabbatical and spends most of his time at the Oregon coast. When he’s not there, you can find him working on an ongoing project with Lisa Jarrett, Co-Director of the A + SP program. Their collaborative project, the King School Museum of Contemporary Art (KSMoCA), is a contemporary art museum and social practice art project inside and in partnership with Dr. Martin Luther King Jr. Elementary School, a Pre K – 5th grade public school in NE Portland, OR. During our conversation, we discuss the ways in which ideas come to life and the impact outer environments have on them.
Kiara Walls: How has your art practice transformed from when you first started to now?
Harrell Fletcher: Well, I guess it sort of depends on when I think of my practice starting. In some ways that would be when I was a kid. But I think for this purpose, I would think of it going back about 30 years. And so around 1992 is when I started working with Jon Rubin, in Oakland. We started doing work together that was collaborative and socially engaged, even though the term “social practice” hadn’t emerged yet, but that was the kind of work that we’re doing. And we were doing that work initially just in our own neighborhood in Oakland. I think, interestingly, back then, in the early 90s, when I was starting out, most of the work was self-initiated. We borrowed a vacant store building that was on College Avenue in Oakland, and asked if we could use it to do exhibitions in. The owners let us do that for free. We ended up using that space for about a year and a half. We did all of the exhibitions about people we met in the neighborhood. No one was paying us to do that work, there was no curator, or anybody else that had given us approval, we just formalized it by ourselves. We not only put the shows together, but we would do the press releases and all of those things too. We did everything ourselves.
Eventually we started doing commissioned projects at various places around the Bay Area and then Jon and I stopped working together after about six years and I started doing collaborations with lots of other people and traveled all over the world doing my work. It took five years of ramping up to that, 10 or 15 years of doing that work steadily and then five or 10 years of ramping back down. And as it ramped back down, I kind of moved back into the localized self-initiated model I’d started doing in the beginning. So for instance, doing KSMoCA with Lisa, or the project that happened at the prison at Columbia River Correctional Institution. Those weren’t commissions. Nobody was asking me to do a project in a grade school or a project in a prison, I was with my collaborators self-initiating those projects.
And so it’s kind of interesting that my work is bookended by the self-initiated projects that were taking the form of institutions. We created our own gallery and I created my own library in those very early days, and now I’ve collaborated on a museum at a grade school and a comedy program at a prison. Also both sets of work were really local— the early work in Oakland, and the recent work is based in Portland. In between was a period of traveling all over the place and doing projects internationally. All of that work in between was mostly commissioned, so it transformed, but then it came back to its origins. The difference, I guess, is that I didn’t have a teaching job in the early days, I didn’t have a house, I didn’t have a kid and any sort of responsibilities like that, and now I do. And so that’s changed my practice, but the work is kind of similar. It’s like it’s come back around full circle.
Kiara: I was just thinking that when you were describing that, it sounds like a cycle: a beginning to an end, or a birth and rebirth repeated over time. If you could describe your social practice in one word, what would it be?
Harrell: Maybe “Self-educational.” I think there’s that word “autodidactic,” which means something like self-educated, giving yourself an education – but we’ll go with self-educational. The whole experience has been very interesting and educational for me. I’ve always had a hard time with one word answers, as you can see.
Kiara: Yeah, I mean, it takes a lot of thought to put it all into one thing, so I understand. How do you go about manifesting your ideas into reality?
Harrell: Probably why I gravitated to being an artist person was because I just didn’t do well with writing academic papers, things like that. It just wasn’t my thing. I liked writing. I was able to find ways of fulfilling writing papers (for instance I would just write a letter to a friend about an assignment I had and then make a Xerox of that and turn it in).
I just feel more comfortable doing things in low-key casual kinds of ways. And that has worked for me for the most part. That’s how I’ve operated— by finding less formal systems where I can just talk to somebody directly or write a simple email to explain a project or something like that. I also avoid contracts and releases or anything like that in my work if I can. I just don’t like the way they look or how they make me feel so I have always avoided them. No paperwork if there is any way to avoid it. I just started making work, I’d come up with an idea and then I’d just do it.
I learned this early on about myself: if I say I was going to do something, when I was an undergrad in college at Humboldt State, before working with Jon Rubin and everything, I felt I had to do it. I got into performance art, first just learning about it, and then I wanted to experience it myself. So I started setting up these performances, weird things I got myself to do, endurance projects like Chris Burden. I would just tell a few people that I was going to do something and it was kind of like making a deadline or making a commitment for myself. Once I make a commitment, I have a really hard time breaking it. That’s part of the way I work. If I pitch an idea to someone, I’m making a commitment to them. I usually enjoy doing whatever it is once I start, but sometimes I’ll have a resistance, procrastination and not want to have to do it, but I’ll force myself to do it anyway.
Kiara: That makes me think about this idea of accountability partners: when you tell someone you’re going to do something and then they check in on you to make sure that you’re actually doing it. But it’s worth doing that with your projects.What type of impact has the pandemic had on your practice, if any?
Harrell: Well, if I think of my practice as including teaching and running the MFA program, that part was pretty fluid. Everything was able to shift over remotely because we already had an online component going in the program, it didn’t change that much. But for KSMoCA and the prison, those things really changed. For KSMoCA, we tried to make it work online, but it was pretty different than being there in-person all the time. And then with the prison, we just couldn’t go back into the prison at all. And so that ended everything with that project. I had been going there one or two times a week for almost three years. So it was a pretty big shift in my life. I’m still talking with the program manager and I have a proposal that I pitched to him to start back up, but it keeps getting delayed. I’d pretty much stopped traveling just before the pandemic started, and so that was convenient because there was not a lot to cancel or postpone, just a few things here and there. Most of my work prior to that meant traveling to places. But I’d finally gotten to the point where I wasn’t really traveling anymore. I had burnt out on that and was just instead focusing on Portland projects. But then because the pandemic meant not being able to go to the grade school in person and at the prison we couldn’t go in at all and there wasn’t an online option there.
And so it just suddenly gave me a lot of time on my hands that I hadn’t had in a really long time and it allowed me to start to think about some other things I wanted to do. So I’ve been writing. I’d like to write more, but I’ve been writing a bit and taking photographs and things that I’ve wanted to do for a long time but haven’t. It wound up being a good time for me to be forced to take a break and reassess and get back into some stuff that I was doing before I was really doing socially engaged work. What Alyse Emdur called “anti-social practice” where I could just do work by myself. And that’s been nice. It hasn’t really turned into much but it’s still been good to just sort of be more in touch with that.
Kiara: What does your environment look like when you have an “aha” moment?
Harrell: I don’t know if there’s just a single environment for that. Because a lot of times when I’m having that kind of experience, I’ve been walking. Ideas will occur to me when I’m not really focused on trying to figure out the idea. I’ve always liked walking in general, but for idea generation, it’s been really useful for me because the projects are just in the back of my head. I try to intentionally think, “Okay, I need to figure out what I’m gonna do for this place somewhere. And I would think, “Okay, I’m just going to go for a walk.” And I think about it before I start walking. And then I stop thinking about it as I walk, and it would just come to me while I was walking while I was not trying— kind of like that thing where you’re trying to remember the name of a song that you have in your head, but you can’t, so you say “Forget it, I’m not gonna bother,” and then it just pops into your head. That is the technique that I either consciously or unconsciously use to come up with ideas that seem to just spring into my head. I’ve laid the groundwork for them. But they happen when I’m not trying, while walking, swimming, or doing something else.
Kiara: Oh, that’s interesting. I can definitely relate to that process. Sometimes I’ll get ideas when I’m just waking up out of a nap or from a night’s slumber, and I’ll actually say it out loud when I wake up. I wasn’t thinking about it at all before, but it just comes out and then I text myself the idea. I have a text thread in my phone with all of the thoughts that just come to my mind.
Harrell’s Notebook
Harrell: Yeah, I definitely have a notebook and I write down my ideas in there, I put an asterisk next to the ideas, so I can find them. I like the idea of dreaming ideas too. I think I did dream one once. I can’t remember what it was now but I woke up and thought, “That’s actually pretty good,” and wrote it down. Sometimes I’ve thought I had a good idea during a dream and then I think, “That’s a terrible idea,” when I wake up. But I know that one time it actually worked and it was a solid idea but I can’t remember which one it was now. But I really sleep with ideas, especially napping, which more than just regular sleep at night is potentially conducive to idea generation. I’m trying to explore that more these days.
Kiara: I heard 30 minute naps are very effective. I’ve been listening to different podcasts about how the brain works and they were talking about how sleep helps us process things. For example, when we’ve gone through something traumatic or stressful, going to sleep actually lets you process the emotions and feelings. Then you wake up feeling lighter because your brain was doing all of that work to cope with the trauma and stress.
Harrell: I’ve actually heard it described as “cleaning your brain.” I don’t know if that’s exactly right. But I like that idea, it’s always nice to have a little brain cleaning.
Kiara: Do you feel that your environment affects your creativity, or that your creativity affects your environment?
Harrell: I definitely am affected by my environment. I think I’ve gravitated away from office jobs because I usually don’t feel good inside of offices, especially if there’s no windows. So windowless places aren’t good for my creativity or me in general. I don’t have to be in nature to feel creative. I do go to the coast a lot and spend time in this pretty dramatic, beautiful nature, but I don’t feel particularly creative there really— it’s almost a little bit too beautiful. There’s something nice about a low key neighborhood environment, because there’s nothing too dramatic about it. But it’s nice, there are trees, birds, and parks, but nothing too distracting. I think of a place where I’m not anxious. I’ve done work in New York or London, and I battle urban anxiety. So super urban places don’t work well for me, but maybe nature isn’t quite right either. I have been here now living in this house[in Portland, Oregon] for 21 years, which is the longest I’ve lived anywhere in my life. I’ve done a lot of my work while living here. I have those associations with this neighborhood, just walking around getting ideas and all that. I came here to this house and neighborhood because of a project I did for PICA in 2001. I guess my creativity created this environment for me here in this neighborhood in Northeast Portland, and this environment has enabled my creativity.
Kiara: It seems there’s a sense of balance with the relationship between your environment and your creativity and it feeds into one another.
Harrell: Since the pandemic, and not being able to do as many of the other kinds of projects that I was doing before, I have been walking a lot more than I had been even before. I also have been taking a lot of photographs with my phone as I walk around. When I was younger, and started taking photographs with a 35 millimeter camera, I would walk around with the camera too. I remember in Arcata in Humboldt County, going for walks and just by having the camera with me it put me in this mindset that was my zone, where I was very sensitive to whatever I was seeing. I would sort of blur out, go into a spacey mindset, and suddenly the world would look different to me. I could see everything in a new light because I could use the camera to point to things and say, Tthis looks interesting to me.” I would feel very relaxed, and I would start to see things that I couldn’t see when I wasn’t in that zone. I would just walk around by myself looking around. And I’ve been doing that again recently. Those two places, here in NE Portland and back in Arcata, kind of have similar neighborhood vibes. There’s nothing all that spectacular about either place, but I can start seeing these compositions in that brain zone. It has something to do with walking and thinking that I might take a photograph that puts me in that tripped out space. It feels meditative. It’s very relaxing, kind of like a walking nap with dreams that are just variations on reality.
Kiara Walls (she/her) is a multi-disciplinary arts educator and restorative justice practitioner currently working out of Portland, OR. Her practice explores the relationship between trauma and repair as a pathway to healing. This work is manifested through a lens of reparation resulting in site-specific installations, conflict resolution and conversations. Walls currently serves as the Dean of Students at Northwest Academy where she combines her disciplines to navigate and cultivate community amongst students and teachers.
http://psusocialpractice.org/kiara-walls/
Harrell Fletcher is an interdisciplinary artist. He is the founder and co-director of the PSU Art and Social Practice MFA program.
The Tapes, Conversation II
March 19, 2022
Text by Rebecca Copper with Marti Clemmons, Gilah Tenenbaum, and Katharine English
“Now listen, dress up, okay? You want to look really, really nice. So, dress up… Up stride my clients, up the stairs in their finest leathers. Oh, my God, they had jackets and pants, and a hat. They just looked super grand, and super butch.”
KATHARINE ENGLISH
This interview is the second in an ongoing series. It is part of a larger collaboration between Rebecca Copper and Marti Clemmons. Marti Clemmons wrote the introduction for this conversation.
This project, The Tapes, and this piece, Conversation II, is based around the 1970s-1980s history of lesbian parents in custody battles for their children. The places and identities are specific to Portland, OR― but these battles took place nationwide and set the stage for parental and partner rights leading into the AIDS epidemic. The Tapes is part of the Single Parent Archive, which Rebecca Copper and I started in March 2021. We created the archive in hopes of connecting with others around the often forgotten traumas of single parenthood, as well the triumphs.
As a queer single parent and an archivist at Portland State University’s Special Collections and University Archives, I had a difficult time knowing which ‘self’ to present during this conversation– my queer self? The parent? The archivist? We all have various forms of self. Identities that we embrace and shadows that we hide. Yet, my queer identity is one that leads all others. It guides me as I raise two children, and it steers my archival practices.
Judy Grahn, an American poet, clarifies my purpose in searching for queerness in archives in her piece “Tracking Past and Present”: “I just knew the outrage, roused to a white-hot anger, because we could not read about ourselves, could not learn about, or from, people like ourselves. And so like others of my generation, and those before, and after, I determined to make changes so that we could find ourselves – resolute to leave plenty of tracks for others to follow.”
Finding queerness in archives can be about subversion and, many times, perversion.
It is about information and experience. Identifying queerness in archives and creating ways to make it accessible is something I am deeply passionate about. To connect, be present, and learn from the voices and names lost in the heteronormative narrative. Even in queer-identified archives, particular themes, events, and history is whitewashed, ignored or forgotten because of a lasting controlled narrative. We have been constantly relegated to queer sadness, shame, trauma, violence, and death.
In the following conversation, there are elements of those themes, but there is also community building, awareness, support, and optimism. There is hope that an additional narrative will eventually be told. Who better to join the conversation than some who were present during a turbulent time of custody battles, diminished parental rights and rampant homophobia and patriarchy within the court system?
These conversations will eventually be archived at Portland State University’s Millar Library, arranged under the Single Parent Archive sub-series in The Art + Social Practice Archive at Portland State University. I hope that this conversation between us, which brought together our various identities, helps those that engage with it to understand our shared world a little better.
This conversation continues from Conversation I. We engage in a conversation with Gilah Tenenbaum, a gay lawyer whose name was found on one of the tapes, and Katharine English, who won the first lesbian custody case in Oregon.
Newsclipping, Willamette Week Dec. 12th 1984, “Referee Appointed, A Gay First”. Image courtesy of Women’s Community Education Project/In Other Words Archive, 1993-2018. Portland State University Library Special Collections and University Archives. Portland, Oregon.
Gilah Tenenbaum: What is our purpose for today?
Rebecca Copper: Currently, these tapes are not legally available to the public. There’s no information in terms of release forms, so no one can listen to them. This conversation is a documented process that Marti and I are going through in attempts to uncover who are the people recorded on the tapes. We hear multiple voices on these recordings, but there’s little or no identifying information. In order to share these tapes with the public, we need to figure out who’s on them. We are having conversations about everything that was happening at that time that is related to queer mothering, specifically the use of courts as a kind of abuse through custody battles. So, that’s what we’re doing today: we’re having the second conversation, which will eventually be published. These conversations will hopefully lead us to figure out how we can get these tapes to be accessible.
Katharine English: Can we not sign releases now, Becca?
Rebecca: So far, the only two people that we’ve found who are on these tapes are you and Gilah.
Katharine: And, Gilah and I cannot sign release forms?
Marti Clemmons: Yes, you can. The only problem is that there is a person interviewing you [that needs to be identified], I’ll just show you [showing audiotape through Zoom screen]—because this [tape] doesn’t have any other name on it besides yours. Katharine, can you see that?
Katharine: Yes.
Marti: Gilah, this is your tape. [showing audiotape on screen]
Gilah: Okay.
Marti: The introduction on Gilah’s tape cuts off the interviewer’s name, so I don’t know who did the interviews.
Gilah: Interviewer or interviewee?
Marti: Interviewer.
Katharine: It was Pat.
Marti: Pat Young?
Katharine: Right.
Marti: Okay, that’s what I thought. I took a class with Pat (1). When I heard Gilah’s tape, I was like, “That’s got to be Pat. I know Pat’s voice.” But, when I emailed Pat about these tapes, Pat didn’t know anything about it. Which was very surprising. Anyway, to answer your question, yes. If you sign a release form, and if we’re able to identify it as Pat on the tape, then we would have Pat sign the form, and then that would be like the first public tape that would be able to be digitized and released.
Katharine: Gilah, was your interviewer Pat Young?
Gilah: To tell you the truth, as I’ve told Rebecca and Marti, I have only the vaguest recollection of any of this. Do you remember it happening?
Katharine: Yes, I do.
Gilah: Oh, good. [laughter]
Katharine: I remember it happening at Old Wives’ Tales (2) and that Pat was the interviewer.
Gilah: OH! [in response to Old Wives’ Tales] Okay. Well, sure. I remember Pat.
Katharine: I’m surprised she doesn’t recall any of it.
Gilah: Maybe if you remind her about Old Wives’ Tales?
Marti: Maybe! Yeah, I mean, all of this is new information. And, Katharine, you remember Pat?
Katharine: Yes. We were at Old Wives’ Tales and we were having the interview. Then, Cindy Cumfer came and interrupted us. She sat down with us. So, maybe that will trigger Pat’s memory. Pat and I agreed to finish the interview at some other time. We tried a couple of times unsuccessfully.
Marti: Yeah, I haven’t listened to yours [audiotape], Katharine. I’ve only listened to and digitized Gilah’s tape. I don’t know how long it is. Rebecca, I know that you wanted to email Pat? Maybe, CC all of us on it?
Rebecca: I’d be happy to.
Katharine: Yeah. And, then can you send Gilah and I release forms that we can sign and return to you?
Marti: Absolutely.
Rebecca: Gilah, you introduced us to Katharine’s name in the last conversation.
Gilah: I remember telling you that Katharine was the person you should talk to, I promoted her extensively. I talked about how she, and whoever was working with her, was responsible for educating the Multnomah county courts. Wasn’t it Judge Lennon, Katharine?
Katharine: Well, it was not Judge Lennon, he was the final holdout. I don’t know that he ever really transformed. It was mostly Judge Herrell, Judge Nactigul. and Judge Deiz, who were the primary recipients of our educational project (3). In 1979, maybe it was even 1978, when I first began to work on lesbian custody cases, there were no victories. What we sought at that time were visitation rights, and sometimes even just contact. The fights were fairly brutal, with arguments being that lesbians would raise lesbian children, would raise queer men, would influence these children badly. So often, we settled for supervised contact. It was very tragic how many queer parents lost custody, lost contact, and lost visitation rights.
I was working at the Community Law Project, which was a law firm of all women, mostly lesbians. Ruth Gundel and I worked on a particular case. I was just an intern at the time. Ruth was the supervising lawyer. We decided we would take this particular case to trial, we weren’t going to settle it. We had quite a preparation where we issued subpoenas for depositions. We would set them at six o’clock in the morning. We would file motions. We strategized on how to bring this case to fruition. Finally, it was set for trial. Then, we found out that it was set in front of a very homophobic judge. So we prepared what is known as a Brandeis brief, which is not just a brief that sets out the facts of the case, but attaches all kinds of studies, all kinds of personal affidavits. It was very thick [laughter] and very imposing. We served it to the other lawyer the day before the trial and served it to the judge. We fully expected to lose the case, because the judge was known for being homophobic. But, when we got to the courthouse, the other lawyer caved. She said that she just wasn’t going to go to trial. She was not going to fight this huge case. It may be that she had not prepared. It may be that she knew her client couldn’t afford it. For whatever reason, she said she would settle. Well, the judge had the brief. And I knew that when the judge read the brief, the judge was not going to let us settle it. And, so we strategized.
Rebecca: Can I ask a question? Excuse my ignorance of law— can a judge do that? If there’s a settlement that’s been agreed upon between two parties, can the judge disrupt that settlement and say no?
Katharine: Yes. The judge has a right to say, “I won’t accept the settlement.” We were very fearful that that would happen. So, I went into the judge’s chambers and I took the brief back. By the time we got in to say that we had settled the case, the judge was not really aware of all the issues involved and accepted the settlement. That was the first time a lesbian had secured custody of her children (4). We were really quite thrilled. The next time that we had lesbian custody cases, Ruth and I decided that the best way was to educate the judges off the bench. We began to set up lunches for the judges and invite them to come. We would provide lunch, and we would provide a little lecture for them. We had several of those lunches where we showed videos. There was a movie called In The Best Interests of the Child. We showed that movie, we got a panel together of lesbian parents, and one gay man, a parent. They talked about their experiences. I came out to the judges and told them that I was gay. And, we took them to lunch.
We worked on this for about six months before we ever took another case to trial. The first case we actually won in-trial was— I don’t think she’d want me to reveal her name, so I won’t— but she had sued for custody. Her husband was in a cult religion. So, we thought we had a pretty good case. He wanted to raise the children in this cult. He wanted to tell them how evil lesbianism was. He demeaned his wife in the trial. He was generally a very despicable man. The judge, when he came back to rule, said he thought that lesbianism, per se, was not a factor that would lead him to award custody to the father. He awarded custody to the mother. And, he required visitation to be supervised with the father because of the father’s terrible feelings about the mother. He was afraid the father would bad mouth the mother. That was our first real victory.
That was in front of Judge Herrell, who was a Catholic judge. We were very surprised. We [originally] thought we might get visitation out of it. We were very surprised that we won custody. That started a string of victories. By then, Kathleen Nactigul (5) was very much of the mind that lesbianism per se was not a factor. Judge Deiz really came around. She was an African American judge who compared the discrimination against gay people with her own experiences of being an African American woman. We had many conversations about that with her. There were a couple of the other judges who were very willing to come to these lunches. That’s how that project began. By then I was a practicing lawyer. It took many years for us to bring this about. Now, I don’t even think judges blink. They look at the parent or parents themselves, instead of who the parent is in a relationship with.
Newsclipping, City on a Hill Press, Oct. 16th 1980, “Lesbian mothers win in Oregon”. Image courtesy of Women’s Community Education Project/In Other Words Archive, 1993-2018. Portland State University Library Special Collections and University Archives. Portland, Oregon.
Gilah: I remember a case, Katharine, if my memory serves me, of somebody moving from somewhere else in Oregon to Multnomah County so that they could get in front of one of these judges.
Katharine: That’s right. These were two women from Tillamook, who had worked in the fish factory there. They came to me for a consultation. I told them if they filed in Tillamook County they didn’t have a chance in hell. That they should move to Multnomah County and wait to file for the divorce. So, they did that. They moved to Multnomah County and resided here for six months, so they could file in my county. We did a lot of that kind of underground work in order to prepare clients before they filed for divorce. Those two particular women were both motorcyclists. This is a fun story. They both were rabid motorcyclists. When we got set for trial, I told them, “Now listen, dress up, okay? You want to look really, really nice. So, dress up.” We were all sitting there in the courthouse lobby waiting for the trial to begin. Up stride my clients, up the stairs in their finest leathers. Oh, my God, they had jackets and pants, and a hat. They just looked super grand, and super butch. [laughter] The other lawyer was Nancy Snow. She was with legal aid, she was representing the father. I looked at her and she looked at me. I said, “Oh, Nancy, please do me this favor.” She and I went to the judge and said, “ Something has come up that is just terribly important.” So we sent them home. Nancy, I could never repay her for that, because our clients won custody. They never would have in their leathers. That was a very fun case.
Rebecca: I was just thinking about how hard it can be for some parents to relocate with their children.
Katharine: They agreed to relocate. One of them moved to Multnomah County first and got a job and found an apartment. Then, they moved with the children. But, they drove back and forth so the father could have equal custody. They would drive to pick them up, drive home, drive to Tillamook, and drive home.
Another interesting case I had was in Washington County, our first case in Washington County. The mother was a heavy machinery operator, she operated a crane. She was very, very strong and very big. She looked like the typical dyke. Her partner, not that she was not feminine, but she was not quite as virtuous as my client. The father was a mechanical engineer. We had a lot of fears about that. The judge, his perception of strong women was of course very skewed. That was a very difficult trial. That was a five-day trial. I think the only reason we won it, is because she’s a very good mother, and so was her partner. He was not a bad father, but we advised the mother to videotape him when he did weird things. He was kind of a strange man. She happened to get a videotape of him in the empty swimming pool. He jumped down into the empty swimming pool, where he lay and watched the stars. She videotaped him in the morning when he couldn’t get out of the swimming pool. It showed him trying to climb out of the swimming pool. He tried over and over and over again. I was very reluctant to show that videotape because it was so strange, but we did. So I’ve always wondered if I did the right thing in that case, he was a very nice man and a very good father.
That judge called me into chambers toward the end of the trial. He said, “Katharine, I’m going to rule for your client.” I was shocked because lawyers are not supposed to go in front of the judges without other lawyers there. But, the judge had asked me to come into his chambers. He said, “I want you to know, I’m going to rule for you.” I thought, “This is so inappropriate.” Before I could say anything, he said, “I want to ask you, what do you girls do in the bedroom?” I was stunned. And I said, “Judge ‘so and so’, I think this is really inappropriate.” He said, “That’s all right. If you don’t want to tell me, you don’t have to.” And, I left. I always wondered why we won that case. I was always grateful that we won the case because she was a good mother. What relieved my conscience was that she and her husband got along very well. They shared the children. That made me feel a little bit better.
Marti: Were you afraid of losing the case because you didn’t answer the judge?
Katharine: Oh, I had no clue what was going on. It’s never happened to me before or since. I was very surprised. I told Peter, who was the other lawyer. I said, “The judge called me into his chambers.” I didn’t tell Peter what he said. If I had, Peter would have probably declared a mistrial. This was at the end of the fourth day. Peter said, “That’s okay. I don’t care. Let’s just keep going with the trial.” I don’t know Gilah, [laughter] you’re the ethicist here. Should I have declared a mistrial? [laughter]
Gilah: No, you revealed it to the other attorney on good enough terms. I think that’s as far as you had to go.
Katharine: That was my most peculiar incident. We lost other cases. Oh, the first case, I’ll tell you about the first case I ever tried. I tried as an intern with Bill Riggs, who became a Supreme Court justice there in Oregon. He’s retired now. He represented a champion, Olympic gold medalist (6).
Gilah: Oh, I remember the case.
Katharine: A teacher of the year! She was beautiful. She was perfect. He had no idea that we would lose because she was in a lesbian relationship. I was just an intern, but I said, “Bill, you gotta understand, this is going to be an issue.” He said, “It’s no issue. It’s no issue at all.”
[On screen, Rebecca holds up a copy of Tough Girl: Lessons in Courage and Heart from Olympic Gold to the Camino de Santiago]
Marti: Wait, hold on, what is Rebecca showing here?
Rebecca: It’s a book! The last time I had a conversation with Katharine she told me about who she’s talking about now. There’s a book published. I just bought it, but I haven’t read it yet.
Katharine: Carolyn Wood. She refers to her custody case in there. So, I guess I’m not revealing anything. I said, “Bill, your expert has five rings on his finger. He may not be gay, but the judge is going to think he’s gay.” He was effeminate and he had five rings on his finger. He had a wife and five children. He wasn’t gay. Sure enough, this guy came on to testify on Carolyn’s behalf. The judge was so put off by the expert’s rings and Carolyn lost. Her husband was a lawyer. It was a fiercely fought case. Her son called me when he became an adult to ask me about her case. He turned into a fine adult and that’s great. But, I think Carolyn was very wounded by that case.
Marti: That’s the thing with these tapes, the parents discuss the custody cases. I don’t think they mention their kids’ by name, but now you have to wonder about the children. For these tapes to be public, do we need to get the children’s authorization? It’s their lives that are discussed.
Katharine: I don’t think her [Carolyn] son’s name is in the book. I read her book, and I don’t think she revealed her son’s name. That’s a good point, Marti. I would never talk about my personal custody case without my children’s permission, especially my one child. My other child, Greg, went on The Geraldo Show as “the son of lesbians.” He was sixteen years old. Geraldo Rivera called me and asked me if I would go on the show as a lawyer representing lesbians. I said, “I will not. I’m not going on your tacky little show.” Oh, it was so disgusting. When I got home from work that day, my son said, “Guess who called me…” It was Geraldo! He was going to go on the show. I said, “Greg, how can you do that? Those are conservative, republican, prejudiced people you’ll be talking to.” He said, “Well, that’s who I should be talking to, isn’t it?”
Rebecca: I’m not super familiar with The Geraldo Show.
Katharine: Oh, it was one of those spectacular shows that take everything and turn it into this great, big show. How do I describe it? What would you say it was like, Marti or Gilah?
Marti: Pre-Jerry Springer. Think of what Jerry Springer became. Geraldo was like the roadmap. I mean, I remember seeing fights on Geraldo.
Gilah: As sensationalist as they could make it.
Katharine: I have to say Geraldo was just darling to my son. He protected him. One person in the audience said, “Don’t you think your mother should have thrown you both in the river rather than raise you like an albatross around her neck?” Geraldo said, “Now, wait a minute. Does this look like a fine young man? Does this look like somebody who’s suffered?” You know, I mean, Geraldo was really good. I was very grateful to him. [laughter] But anyway, Greg wouldn’t mind if I spread it to the world, but my other son might care.
Gilah: I remember a case that you had in which the mother got custody, but had the condition that her partner could never come in the house or something like that.
Katharine: Right. The partner could never be there when the child was there. She was awarded custody and the condition was the child should never see the partner. So, the partner could not come over to the house or be anywhere near when the child was around. It was a pretty cheap shot. I can’t remember if they defied the order secretly, or if they split up. I can’t remember, Gilah. We had to endure, sit and listen to things like that. Judge Lennon was particularly bad. Bless his heart. This is all public record. Well, let me think.. Yeah, divorce cases were public records. I would always tell my clients, “Here’s a list of the names that Judge Lennon is going to call you. Let’s check them off, as he calls you. Don’t take it personally. He does this to everybody.” And he would say, “You, young lady, are a slut. You are sexually obsessed. You are slovenly and supine.” We would mentally check off all these, “Okay, he’s gonna call you slut. He’s gonna call you a pervert.” One client I had when we lost custody of her children as he was lecturing her, she actually smiled. She was, in her mind, checking off the adjectives of what he would call her. Judge Lennon always assumed all my clients were gay. If I had a straight client I would try to not get him as a judge. It was really hard to sit through lectures from him, and from other judges who were dismissive of lesbians and gay men. It was a very difficult six or seven years. I never held it against the judges because it’s a matter of education, how people grew up, and what they’re taught. But I did hold it against him. I felt he was very inappropriate, but he was a much-beloved judge.
Flier calling for letters of support for a lesbian custody case being represented by the Community Law Project. Image courtesy of Women’s Community Education Project/In Other Words Archive, 1993-2018. Portland State University Library Special Collections and University Archives. Portland, Oregon.
Rebecca: Was he a judge in Multnomah County?
Katharine: Yes, he was a judge in Multnomah County. When he retired, I went to his retirement party, and he shook my hand. He said, “Well, it was nice having you appear in front of me.” I said, “I am so glad I never have to appear in front of you again.” He never changed, to his last day. I don’t know if you should print his name. I’m trying to think about that. Eventually, up until 1984, that was my primary practice: gay and lesbian custody. I represented gay men, too. I represented clients whose who were leaving their husbands or leaving their wives for same-sex partners. It was very, very rewarding, but very difficult work. Gilah, you never had a lesbian custody case?
Gilah: No. If I had a client that was in that position, I’m sure I referred them to you because you were the queen of this.
Katharine: Oh, how interesting. I always think of you as being involved [in these cases].
Gilah: I was involved in other ways, as you say: being an advocate for lesbians. Katharine, do you have a copy of the book that we put together? I think it was called Know Your Rights.
Katharine: Oh, Women’s Rights? You know, I don’t!
Gilah: I did, but I’ve been unable to find it.
Katharine: I wonder… Mary Forest keeps a lot of stuff. Ruth Gundel keeps a lot of stuff. That book we put out, wasn’t it while I was at the Community Law Project?
Gilah: I believe so.
Katharine: I think so. I bet Ruth, who is a massive collector of things, has a copy. What was it called? Know Your Rights?
Gilah: That’s what comes to mind.
Katharine: Or, Women’s Legal Rights in Oregon? Oh, I’d love to see a copy of that.
Gilah: I know that I wrote an article for it, but I don’t even remember what it was on. [laughter]
Katharine: Oh, that’s so funny. There was another book. What was that big national book about lesbian rights? Shoot, I can’t remember. We had articles in that too. It was a pretty active time, Becca. There was a lot happening, it was a very thrilling and exciting time. Lon Mabon, if you haven’t heard his name, from the Oregon Citizens Alliance, started this huge group in Oregon. He proposed all this legislation (7) throughout the state that banned gay people from doing this, that, and the other. It would have jeopardized teachers, judges, and all kinds of women in these jobs. The backlash was very exciting. All of us decided, “You know what, the only way we’re going to fight all this stuff is for everybody to come out. Come out to your parents, come out to your friends, come out to your neighbors.” I think it just galvanized the gay community. It was a very, very exciting time. We had all kinds of groups: the Oregon Women’s Feminist Federal Credit Union, the Woman’s Place bookstore, the Domestic Violence Alliance. There were just all kinds of things that happened for lesbians and gay men. That was the period of time during which I practiced, and I had a lot of support. I was not isolated in any regard. I had a lot of support from my women lawyer friends and a lot of support from the community.
Gilah: We were at an age, you know, early 30s-ish, that we had all this energy.
Katharine: Gilah, were you part of the Oregon Gay and Lesbian Lawyers Association that started, the OGALLA? Now, it’s just ho-hum. It’s just another arm of the Oregon State Bar. But back then, we met in apartment houses, people’s places, with our feet up on the hassock. Sharing bonbons and, you know, talking about, “Ooh, can we do this? Do you think we could? Do you think anybody would join?” It was just a real thrill.
Gilah: I’m thinking I must have been. Why wouldn’t I have been? I was out.
Katharine: I think you were. Not the first meeting, which happened in George’s apartment. What’s his last name?
Gilah: Eighmey? E I GH..
Katharine: George Eighmey— yeah, yeah! [laughter] He and Peter, his partner, thought, “Let’s start the Gay Lawyers Association.” We all thought, “Oh, I don’t know. Do I dare?” Then, when Lon Mabon and the Oregon Citizens Alliance came out with this horrible, horrible statute that they were trying to pass, the Oregon State Bar, which never did anything political before, came out against it. After a very exciting bar conference down at the coast, several people spoke, they decided, “Yes, we need to do this for our fellow gay lawyers.” They came out opposing Lon Mabon’s terrible legislative statute, I think it was called Measure 9?
Marti: Yeah.
Katharine: It was a real thrill of a time.
Gilah: There must have been half a dozen lesbian bars in town.
Katharine: Oh, yeah. I remember Rising Moon, Tasha’s, and The Other Side of Midnight.
Gilah: Wow, good memory Katharine! [laughter]
Marti: Keep going, keep going…[laughter]
Katharine: [laughter] We’d go and we would dance with each other. We’d feel so liberated, so free, and so secretive. [laughter]. It was really quite fun.
Marti: It’s always fascinating to hear about the lesbian bar scene, just because there aren’t really any spaces now. It’s a disappearing space across the United States, which is really unfortunate.
Katharine: It’s unfortunate and it’s fortunate. It’s like a two-sided coin. It’s really good that women can go to bars now and dance with each other. I remember going out with Sid Lezak and his wife, Muriel. We went to a western bar and Sid wouldn’t dance. So, Muriel and I got up and danced. They threw us off the dance floor. They said, “We don’t let women dance with women.” Sid Lezak, he was the U.S. Attorney! It was so funny.
Rising Moon was one of the first lesbian bars. Before I came out, I was nine months pregnant with my second son. I was involved in planning a conference. There were all these lesbians who were planning this conference. I thought, “Oh, this is disgusting, but I’ve got to keep going because I’m a straight woman. I’ve got to manage the conference so that it serves straight women, too.” So one night, they all asked me if I wanted to go dancing. I thought, “Wow, that’s pretty neat.” I was eight and a half months pregnant, huge belly, and I thought, “Well, I can go down to the bar with them. Nobody’s going to bother me because I’m pregnant.” I went down, and they swarmed around me, “Oh, can I hear the baby kick? Oh, can I feel your belly?” [laughter] It was so hilarious. I just froze in my tracks, all these women who were accosting me! [laughter] It was really very affirming for me. That was before we knew that drinking was not good for children. So, I got smashed. I had a wonderful time! I don’t think I ever shaved my legs again! [laughter]
Rebecca: [laugher] That’s wonderful. I was born in 1989. There’s so much information that I don’t know. I feel like there’s a lot of people who are my age or younger who have none of this context.
Katharine: That’s right. And that’s really sad in some ways. It’s really not too bad in other ways. When I came to Utah, I taught high school at Roland Hall, which is this private school. It was all rich people. All the girls were just completely oblivious to the women’s suffrage movement, to the gay rights movement. We had a lot of gay teachers. The girls would say, “Yeah, it’s no big deal.” And, I would think, “Oh, you have no idea. It’s no big deal, because some of us suffered in making it true.”
Gilah: Well, look what’s happening with abortion now. Fighting the fights that we fought, you know, in the 60s and 70s.
Katharine: Right? That’s just shocking. It really is shocking. Here we go again. But you know, we passed the torch to younger women like you, Becca, and Marti, you guys.
Rebecca: I mean, we wouldn’t be here without Marti. Marti found the tapes.
Marti: From my point of view as an archivist, I very much want to see more of myself in archives as a queer person, a queer person of color. When I saw these tapes, you know, I knew that it’s not a known history, the lesbian custody battles. Any chance I get, I want to make queer history accessible to the public.
Katharine: Oh, that’s wonderful.
Gilah: Marti, do you think that there might be a copy of Know Your Rights in your archives?
Marti: Yeah, it sounds familiar. With the In Other Words (8) collection, we have numerous zines from back then. I want to look through the newsletters they have and see if I can come across it.
Katharine: Ruth Gundle? G- U -N -D- L-E. She’s very accessible. Flight of the Mind is her literary side. She offers lots of workshops, two of which I’m taking right now. She can be very easily found. She’s the partner of Judith Barrington, B- A-R-R-I-N-G-T-O-N: a poet. A pretty well-known poet in the literary community.
Marti: Yeah. Ruth is on one of these tapes.
Katharine: Good, good. She was the founder of Community Law Project, which was a great law firm. How long have you been there [at Portland State] for Marti?
Marti: I’ve been here since 2012.
Katharine: Wonderful.
Marti: We have a really good relationship with the WGSS: the Women, Gender, and Sexuality Studies Department, and with Johanna Brenner. The students, they’re very eager to come in and view the collections. I do feel that in that way the torch is being passed. It’s good when they learn about this history.
Gilah: In our day, it was just called Women’s Studies! [laughter]
Katharine: Gilah, are you retired now?
Gilah: Oh, yes. I retired in 2007 at 59, which was early.
Katharine: Oh, yeah! I didn’t finally retire ‘til 72. [laughter] I’m 77 now.
Marti: You know, for me, on a personal level, as a divorced parent with kids, this history is hard to hear about. At the same time, I can imagine that living through it, that sense of community and the support that you had was exciting at times.
Katharine: That’s not to say that it was all just a barrel of laughs. The other side of it, of course, was really hard. I don’t know what it’s like now for lesbians, if they have the same kind of community. I’ve been out of that community for quite some time here in Utah. Don’t get me started on Utah!
Gilah: I wish that there was still a strong community in that way. Especially in the old days, you know, lesbians were often cut off from their families. You had to create your own community.
Katharine: Yeah, there was a place in Southeast Portland, that was known as Lesbian Lane.
Gilah: Yes, I lived on it! [laughter]
Katharine: [laughter] All of the lesbians lived on it! Within about a three-block radius, you could find all these apartment houses with tons of lesbians. It was quite a community.
Marti: It’s still here. It’s just in pockets. You just have to find it.
Katharine: Gilah, all the old dykes are moving to Rosevilla or Rosewherever. [laughter]
Gilah: They’ve had my deposit for several years!
Katharine: [laughter] Oh, that’s funny. Well, Judith, Mary Forest, and Ruth Gundle, everybody is talking about doing it now that everyone is in their 70s.
Gilah: Rosevilla is a CCRC, a Continuing Care Retirement Community. That means that you can opt for independent living, assisted living, or memory care if necessary. They have a little nursing home. It was started, I believe, by some men who moved from Willamette View, which is another CCRC down the road from it. They were gay men who wanted a place that was more friendly to lesbians and gays. I mean, you have to have money, that’s really the bottom line, but it’s a wonderful place. It’s really quite lovely. Nothing is taller than three stories. There are a lot of lesbians moving there if they weren’t already there.
Marti: Here in Portland?
Gilah: Well, actually just over the line in Milwaukee on River Road.
Katharine: In fact, that would be a very interesting article. If somebody does this big spread, “Where have all the old dykes gone?” [laughter]
Marti: I get asked that question all the time, “Where are all the old dykes?”
Katharine: Really?! Oh, how Interesting!
Marti: Oh, yeah. People are curious.
FOOTNOTES
(1) Pat Young taught an LGBTQ History Capstone at Portland State University. (https://www.glapn.org/670025PatYoung.html)
(2) A restaurant and women’s center on Burnside Street in Portland, Oregon; it opened in the 1980s and recently shuttered in 2014.
(3) Casual luncheons set up with the local judges to educate them about gay and lesbian parents.
(4) In Oregon, one of few nationally.
(5) Oregon judge
(6) Carolyn Wood was an Olympic swimmer and wrote an autobiographical book, Tough Girl: Lessons in Courage and Heart from Olympic Gold to the Camino de Santiago.
(7) In the 1980s Lon Mabon began an anti-gay campaign which led to Meaure 9 in 1992. Meaure 9 proposed language to the Oregon Constiution which denied recognition of gay rights.
(8) A well-known feminist bookstore in Portland, Oregon.
Rebecca Copper (she/her) is currently a graduate candidate at Portland State University, through the Art + Social Practice MFA Program, where she worked in 2020 as a research assistant for Portland State University’s Art + Social Practice Archive. Rebecca’s work centers on ontology; how our being and perceptions of reality exist against one another. And, how that reality is mediated, dictated back to us in varying forms. She is deeply invested in vast inversion of imperial/masculine archetypes, power dynamics, and ideologies. And, the reduction of hyper categorical, industrialized research.
Marti Clemmons (they/them) is an Archives Technician at Portland State University’s Special Collections and University Archives located in the Millar Library and previously worked as the Archivist for KBOO Radio. They are interested in using archives as a place for Queer activism.
Gilah Tenenbaum (she/her) was born and raised near Boston. B.A. Government and Political Science, Boston University, 1970; J.D. Northwestern School of Law of Lewis and Clark College; Member Cornelius Honor Society and recipient of the first Wold Award for Outstanding Contribution to the Progress of Women’s Rights Through Law,1978. Admitted to Oregon State Bar 1978.
Katharine English (she/her) practiced law from 1977 to 1984, then was a juvenile court referee and pro tem judge from 1984 to 1998, and then the Chief Judge of the Confederated Tribes of Grande Ronde from 1998 to 2003.
Nice to Re-meet You
March 19, 2022
Text by Caryn Aasness with Wesley Chung
“We’re always asking questions about information. ‘What did you do?’ The better question is, ‘What did it mean?'”
WESLEY CHUNG
I met Wesley Chung in the mid to late 2000s when I was a middle schooler and he was a youth mentor a bit older than me. He was the lead singer and songwriter of the indie pop collective, Boris Smile, at the time. Wesley recorded audio of various curated conversations from his life that sometimes made it into the music. Recently, as I reflected on my own artistic influences, I realized that my desire to ask people open-ended questions and document the answers was partly based on what I had seen Wesley doing in those years before I called myself an artist. I wanted to hear what he remembered about that time and how he would describe his own creative influences.
Caryn Aasness: I think a lot of the work that I’m interested in is just asking people questions. I started thinking about how, when I was in junior high, you were asking people questions that were interesting and recording their answers. And in my memory, I think you had a tape recorder.
Wesley Chung: It was a Dictaphone. Yeah.
Caryn: Okay. That’s what I was gonna ask, because I don’t know. What is it? What is a Dictaphone?
Wesley: It’s like an old fashioned thing. It has a small cassette, but it was for people to take notes or minutes. For lawyers, that’s what they use. It’s like the more grown up thing of the Talkboy FX, you know, from Home Alone 2. But the same idea, it’s just a simple recorder, but I like the sound of the tape. There’s a nice nostalgic sound to it.
The Talkboy recorder featured in Home Alone 2: Lost in New York (1992)
Caryn: Where did you get the idea of using it for music?
Wesley: I think the band Bright Eyes would do some things where you hear some recording. I always like tracks where suddenly the curtain is lifted and you can hear the band talking a little bit. I think it was the band, The Books. That was the first time I stopped in my tracks at Fingerprints and I was just like, “Who is this?” Because it’s all field recordings— the sounds of footsteps, and then another recording of someone humming. Not in the way that hip hop would do that in a really creative way of turning it into the beat, which I also really like. I like sampling in hip hop and now when I think about it, probably the very first time I heard it was in what I think is one of the greatest albums of the 20th century, The Miseducation of Lauryn Hill. If you listen to that album, there’s one song where at the end, they’re just in a classroom. It’s some older person asking kids questions like, “What do they think love is?” It’s this snapshot of a certain time. It feels very 90s but it could be any time. There’s no pretense to it, because it’s just whatever people said, whether it’s dumb or funny or profound. It’s kind of wildly exciting because you don’t know what people are gonna say. I was just like, so you’re human.
Caryn: And so then where did you get your Dictaphone?
Wesley: My dad had one. For the first album I did, I just randomly recorded people speaking and then put music underneath. By the second album, called Young and it Feels so Good, I was asking people questions that were kind of connected to the theme of the album: Why do you like being young?
Boris Smile Albums; Chapter 1 (2007), Young and it Feels So Good (2008), and My Love Powered by 10,000 Practice Amps (2011)
Caryn: I remember.
Wesley: I was a young adult, working with young people, and it’s still close enough for me to remember the time and age and the awkwardness of that period of time. But I was just curious how different it was for people that were younger than me experiencing youth compared to myself. It ties to the theme of the album, just hearing young people’s voices. That album,, if I listened back to it, which I haven’t in a bit, will be a snapshot of my life and the people that I was around. I was spending so much time being a youth leader. It’s like old family movies or something like that. I think the question is broad enough to still be kind of interesting, and even talking about it now will make me want to listen back to it. What did people say? How different is it now?
Caryn: I think I was in middle school when that came out. There’s a song on the album about middle school that felt very real to me in the moment.
Wesley: Yeah. I think it’s rare to find the artists who are able to create a piece of work that’s still self-reflective enough both for themselves as well as the culture they’re living in.
Caryn: Do you have a favorite question to ask people?
Wesley: Well, I guess whatever question gets to what’s important. I’m always trying to figure out what people’s opinions are and what makes people tick. We’re always asking questions about information. Like, “What did you do?” “We did this.” But that’s only half. That’s like one aspect of it and it’s not the most important thing; it’s not what moves people. The better question is, “What did it mean? What did you do, and what did it mean?” It reveals a bit about that individual or maybe a bit about the community they’re a part of.
Caryn: You said before that you hadn’t listened to Young and it Feels so Good in a long time. How often do you go back to things that you’ve made in the past?
Wesley: Probably more often than other artists revisit their work. Some people are really shy, but like, to me, I made it for myself and for other people to enjoy. I have to listen back to stuff to go, does it still hold up? As I’m writing new work, sometimes I’ll reference back to stuff I’ve done previously and go, “Am I just repeating what I’m doing? Has it gotten a little bit better?” Because if I’m doing a song that’s quite similar to another song that I’ve done previously, that’s fine. That’s just called having a style. But if I’m not improving on it, or if I’m not getting closer to something that I find a bit more interesting or adding some twist to it, then I feel like I’m getting bored of my own songwriting.
Caryn: Do you currently have a tape recorder or Dictaphone now?
Wesley: Yeah, I’m using my phone a lot, but also something called a Zoom recorder. It’s digital and it’s much better for sound recordings. I have a recording of my nephew and my mom and me because we were trying to get this dog to howl and I just started recording it. And I used it for one of the tracks because I like the ending. It’s something just for me. I’m just like, that’s three generations of the Chung family all howling together, and the song title is “Rumspringa,” that idea of sowing your wild oats in the Amish community. So I like the idea that it’s the Chung wolf pack. There’s something that has all these layers of meaning for me, but for other people it might just be like, “Oh, that’s a cool sound.”
Caryn: Do you have the desire to share that information in any way with the listeners who want to dive deeper into it?
Wesley: No, but I guess that’s the way I approach albums and songs. If people want to dig deeper, oh there’s plenty. There’s plenty to find, but if people want to hear it just on the surface level then I just like to make sure that the melody is something that is pretty or it’s catchy, or something that people can enjoy from a lot of different angles.
Caryn: Do you have any final thoughts?
Wesley: It’s nice to re-meet you again as an adult. We’re so much further on in our lives. It’s just really cool, what you’re doing. I think that’s a great place, the intersection of art and how it reaches out of gallery spaces. That’s more punk rock.
Caryn: Yeah! More punk rock, that’s the goal!
Caryn Aasness: (They/them) is a Social Practice artist living in Portland Oregon. Originally from Long Beach California. When they were in middle school and Wesley asked why they liked being young, they said “You can move faster.”
Wesley Chung: (He/him) is a songwriter and musician living in Scotland now with his family. Wesley works at Flourish House, which is part of the Clubhouse movement that aims to support people living with mental illness outside of a medical model. He also writes and records music as a solo artist as A. Wesley Chung. You can check out his music here and here and here.
Teaching Compassion
March 19, 2022
Text by Olivia DelGandio with Barbara Caulfield
“Every child is different, but every child learns.”
BARBARA CAULFIELD
I feel like part of my job as an artist is to pay homage to those who came before me; those who played a major role in making me the thinker and creator I am today. In the realm of positive influence, I have been so fortunate. From an early age, I was surrounded by people who were kind, caring, and creative. This has been essential to my understanding of what it means to be a person in this world. When I think back on my early life, I am struck by the role that my elementary school played on my growth and development. Of course, elementary school is a time where growing and learning happens at top speed, but year after year, I had teachers who genuinely cared for their students and did everything in their power to help us succeed. I know this isn’t the case across the board and I don’t want to miss the opportunity to say thank you to those who deserve to hear it.
So, I begin with Mrs. Caulfield, my second grade teacher. When I remember my elementary school years, Mrs. Caulfield stands out as a larger than life presence, the kindest face in the crowd, and one of the first people who really showed me what it means to be compassionate. Her classroom was an oasis of snacks and solace. It was a place where rest was welcome, learning was exciting, and kindness was the norm. Everyone was heard. Everyone was held. Although prior to this interview, it had been 10 years or more since seeing Mrs. Caulfield; the lessons she shared have lived in my heart since I was 7 years old. I wanted to take the time to tell her this, so I reached out and set up a zoom meeting. What follows is a conversation on kindness, compassion, and what it means to make a child feel important.
Olivia and Mrs. Caulfield during their recent Zoom chat. Screenshot taken by Olivia.
Olivia’s second grade class photo, Olivia is in the first row, all the way to the left; 2006, Weston, FL. Courtesy of Mrs. Caulfield.
Barbara Caulfield: I don’t know if you remember this, but one day you were home sick from school… I don’t know if you know what I’m talking about?
Olivia DelGandio: Are you talking about when you all waved at me from the field?
Barbara: Yes, yes.
Olivia: Yes, it’s one of my favorite early memories!
Barbara: I remember we could see your house from school and you would always say, “There’s my house!” So that day you were home sick and we were at PE and I called your mother and she took you into the backyard and there we all were, waving at you!
Olivia: Yes! That is such a great memory. I remember it so clearly. That was the kind of stuff you did all the time, you just made your students feel so special and like you really cared about them. That really sticks with a person.
Barbara: Thank you, thank you. Actually, I’m still friends with many, many, many of my students. My oldest students that I taught turned 50 this year.
Olivia: Oh wow, that’s crazy. You know, another thing that really stuck with me about your class was that you always had blankets and pillows in the room and you let us nap in the back of the classroom if we wanted to. I just remember that being the only space in my childhood education that a teacher recognized that sometimes kids just need to chill out for a bit. I think having that lesson as a kid— if you don’t feel good, you can rest— was really important.
Barbara: I don’t know if you remember, I also had the thermometer. I would take your temperature and if you had a fever, you had to go to the nurse’s office, but if you didn’t, you could just rest in the room until you felt better. I’d also have snacks every day for the kids.
Olivia: I don’t really remember that.
Barbara: We’d have these big containers of pretzel sticks.
Olivia: Oh, it’s coming back to me! You’d always have animal crackers, too.
Barbara: Yes! Or granola bars or those little gummy packets because I know, for a kid, when you eat breakfast at 7:30 in the morning or earlier, by 10am you’ll be starving. That’s why we’d have Specials from 10-10:30 and then we’d have snacks and do Everyday Counts.
Olivia: Oh, the sheet with the days of the week?
Barbara: Yes, you’d fill in what day it was, how many days we had been in school and how many we had left, there was trivia and science, and there was a map on the back for the geography section. You’d have to find the capital of a state and I’d color the state in on the whiteboard. Everyone was always excited to do it and we’d talk about it while we were eating snacks so we never wasted time.
Image of Every Day Counts; second grade activity. Courtesy of Mrs. Caulfield.
Olivia: It was great. I’m taking a pedagogy class at the moment and we’re talking about teaching philosophies. I’m wondering if you had a philosophy that you lived by while you were teaching?
Barbara: There was one thing I always had on my mind: every child is different, but every child learns. Not everybody learns at the same pace so you have to be careful not to lose those stragglers. I have a picture that says, “The moon and the sun both shine but not at the same time,” and I just love thinking about it that way. I don’t know if you remember me saying I hated giving homework, but I did. I only gave homework because the other teachers pressured me to. Having you in class for 6 hours, you absorbed enough. Kids are like sponges, but you can only give them so much water before they overflow and start to lose some. My philosophy on homework was to let the child go outside and play. There’s so much learning that happens just from playing outside: you trip on your untied shoelace and you learn why it’s important to tie your shoes; it starts raining and you wonder why you’re all wet. It’s learning cause and effect. You can learn so much from never having homework and just going outside.
Olivia: Absolutely. And what was your philosophy on rest and having the pillows and blankets in the room?
Barbara: I wanted all my students to feel at home. I wanted that classroom to be like their second home. I wanted students to be so excited to come to school that they were disappointed when they had to stay home. I wanted my students to be comfortable because that’s the only way they were going to learn. My last year teaching, I ended up having four autistic children because they were struggling in other classrooms. I just had to make them comfortable and treat them with dignity and respect, and they settled right in. You have to practice being kind in order for the kids to be kind. That’s why I always volunteered to take the kids with disabilities, so I could model compassion. You can’t teach compassion; kids have to learn it by seeing it. One year, I had a child with down syndrome who ended up in my room because his mother wasn’t happy with his previous school. So we all had to learn how to help him and when I say all, I mean all. All of my students helped him whenever they could, they loved taking care of him. They would hold his hand and wipe his face during eating time. They didn’t know it, but they were learning compassion.
Olivia: That’s remarkable. It’s so interesting to think about how second grade was the first year the split between gifted classes and regular classes happened. You had to pass a certain set of tests in order to get into the gifted program and I was so disappointed when I didn’t. But that’s how I ended up in your class and I’m sure learning about compassion and kindness from you did so much more for me than any gifted class would have done.
Barbara: Because at the end of the day, no matter your education, we all put our pant legs on one at a time. We’re all equal. We’re all humans and we should be treated as such.
Olivia: So I’m hoping to start a project at a local elementary school where my program does a lot of work. What I want to do is make clothing with the kids and talk about things like identity and feeling good in the body and making something that really fits your own style. I’m wondering if you have any words of wisdom to share about working with young kids.
Barbara: Let me tell you: just be yourself. Get to know the student and treat that student as if they’re the most important person you know for the time that you’re with them. Just always be positive. If they make a mistake, that’s okay. How can we fix it? Always “we,” never “I.” Make it about working together. And since it’s with clothes, make sure they know that any design is okay. You might think it’s an awful design, but praise it highly. That’s all you need to do with kids, listen to their ideas and make them feel important.
Olivia: Yeah, that’s the goal.
Barbara: You know, I have to tell you, right now, my heart is bursting.
Olivia: Mine, too!
Barbara: Oh honey, you don’t know what it means to know that someone I taught way back in second grade has turned into a beautiful, smart, educated, confident, young lady going on in her education like you are. I’m just so so so so proud of you.
Olivia: Thank you! I just want you to know that you had such a major impact on that.
Olivia DelGandio (she/they) is a mixed media artist interested in human connection, what it means to be tender, and the joy/sorrow dichotomy. She graduated from New College of Florida with a degree in Sociology/Gender Studies and is currently working on her MFA in Art and Social Practice at Portland State University. She finds solace in creating through and for grief and is currently thinking about how grieving can become more of a community practice. She likes to create books, photos and videos for and about the people she loves. The hope for these projects is to make intimate moments and connections more visible. You can find more of her work here and find her on Instagram here.
Barbara Caulfield (she/her) taught for 35 years in South Florida, after receiving her teaching degree from SUNY College at Buffalo, NY, majoring in Elementary Education, and minoring in Math. She had wanted to be a teacher since she was a child. Now, she’s happily retired and living a great life in Central Florida.
How It Works to Be Curious
March 18, 2022
Text by Laura Glazer with Jessica Cline
“You find that people absolutely love the materiality of holding pictures in their hand and then looking at two things next to each other, being able to compare or having a whole array of images.”
JESSICA CLINE
When you need a picture of a hot dog, doing an Internet search quickly satisfies that visual craving. But for some researchers, digital results generated from an algorithm won’t suffice. That’s when the New York Public Library (NYPL) Picture Collection can help, where clipped photos, illustrations, postcards, maps, and more are organized in thousands of subject headings and visitors can browse all of them by hand and even use their library cards to check them out.
When I first visited the Picture Collection in the main branch of the NYPL, I felt like a kid in a candy store, excited by the possibility of finding an image I didn’t even know I was looking for. “There’s this serendipity of walking to the shelf and finding something that you weren’t expecting and looking in the folder and seeing an image or images that are surprising to you,” says Jessica Cline, Supervising Librarian of the Collection. With a background in fine arts research, Cline has been a librarian at the NYPL since 2005 and in the Picture Collection since 2016.
Starting in 1915, NYPL librarians like Cline organized file folders by subject and found images to go inside them. Now a team of four continues the practice, while assisting visitors in exploring the Collection with frequent squeals of delight from researchers discovering unexpected images plucked from over a million options at their fingertips.
A photograph by Alice Austen called “Newsgirl” taken in 1896 and included in the Street Views of New York City collection of The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. “Newsgirl” The New York Public Library Digital Collections. 1896.
Laura Glazer: In your experience, how does being able to browse through bookshelves and file folders impact the visual research process?
Jessica Cline: It’s a little hard to explain, but there’s this kind of serendipitous moment when looking for visual materials and looking for inspiration or ideas—walking up to the stack and pulling off a subject heading that the librarian’s given you—and it’s exactly what you’re thinking of, but then noticing that right next to it is something completely unrelated, but alphabetically interesting. That it’s next to this other subject, because we arrange our pictures by subject alphabetically, so completely different things can be next to each other on the shelf. That can take you down a whole different avenue of research and thought process that you weren’t even expecting.
Laura: That sounds like something you have observed.
Jessica: Absolutely! It’s a conversation we have as librarians a lot with researchers. They want to tell you, “I was looking for this and look what I found, this amazing thing and I had no idea you have this or that.” They get very excited and it’s great to share that with them.
Laura: That brings to mind how the librarian in a Picture Collection is a hub. Even though you have your library knowledge base, you have the “people knowledge base,” too. It’s like you’re always growing your subject headings capacity.
Jessica: Absolutely. We share information between the community of people that use the Collection and the librarians. And it’s really how the Collection is built. It’s all built on that interest and subjects that people ask for. Just slowly over time, it’s grown from that community, that knowledge base, and that sharing.
Laura: I know you’ve gotten this question a lot. I was reading that New York Times article that was fantastic and really following the fight to save the Picture Collection being open. It’s so easy for someone to say “it’s obsolete, we have Google image search.” How can we respond to that?
Jessica: I have a couple of ways of responding to that. First of all, I’ll just go back to the Collection itself. A lot of what we have in the physical files is still in copyright and so it cannot be digitized in that way.
It’s also a lot of what you can’t find on the internet, either because it’s in copyright, or because it was something that was published inside of a book and we’ve taken that book apart, taken out the picture and taken it away from maybe what the subject of the book was and just looked at the picture itself and put it under [a] totally new [subject heading]. So, it becomes a different process of what you’d actually find on Google.
Google also works in algorithms. The more someone looks at a picture, the more likely it’s going to come up for you for that search, which is completely opposite of the way the Picture Collection works. You have no idea which picture was used the most. So when you’re looking in the files, you can come up with anything, rather than seeing the same images that come up every time you do a search on Google over and over again because the algorithm is telling you, “This is what everybody wants to see when they look for that.” So you can find all kinds of different things.
When we’re looking for images to represent a subject, we try to find a huge variety of ways to show that subject. We will have drawings and photographs and prints and paintings and just any kind of representation, so that we can see that subject in a variety of ways that really represent it. That informs you on the different ways people have seen that subject over many, many years, and not just from one time period.
We source all of our images ourselves. So you know exactly where we took the image from. We give it a source number where we record the book, the author—a citation basically—but we just give it a number. The sourcing allows us to authenticate the pictures and let people know that what they’re looking at is what they think it is, rather than being taken from various places on the web and put up on Pinterest and you don’t know exactly where it’s from.
It’s easy to go to Google images and just look for something very quickly. If you need a picture of a random cat, that’s probably a good way to go. There are definitely good uses for that. But if you want something like what a kitchen in 1967 looked like in a house in Midwest America, it’s harder to find the details and the colors and the specific things that you might want to see for a set design or a film or something that you’re making. You don’t necessarily want to see the same image everyone else saw.
Laura: You mentioned when you seek images, you’re looking for varied mediums. I’m curious, who is seeking the images?
Jessica: It’s the librarians.
Laura: Wait, you get to go through things and decide if it gets put into the Picture Collection?!
Jessica: Yes, that’s exactly what we do!
It’s a lot of fun because you’ll have a book that’s all on one subject. If you wanted to put all the pictures in the one subject, you just may as well keep the book together. There’s no point in taking it apart then. So it’s really a challenge to look at the book and think about what is shown in this picture and what can that information represent to someone who might not have thought of this subject? Or what are people asking for a lot that we could use to fill that need?
It’s a harder process to pick subjects than it might seem at first because there’s a lot more thought involved in it. We always pick the subjects after we’ve taken the book apart so we can look at the picture on its own as its individual thing and then choose a subject to put it there in that way.
Laura: How have you approached adding conceptual headings, like “love”?
Jessica: You think about what people are going to ask for when they want to see what love is and that could be any kind of love, it doesn’t have to be romantic. That’s actually a lot of what we ask people when they come to the reference desk with a conceptual idea. We say, “What are you expecting to see in that picture? What comes to your mind first?” Then we can steer them to the subjects that might encapsulate that idea.
Laura: What’s the process for helping a researcher think through a topic that might not have a clear subject heading?
Jessica: One thing we might do is get them started with the idea, and if they find an image that they like a lot we can help them toward other images that might have that similar subject.
The entrance to the Picture Collection in December 2021 included a large sign announcing an exhibit of photos by artist Taryn Simon of images she selected from the Collection over the past 10 years. The Collection contains over one million original prints, photographs, posters, postcards, and illustrations from books, magazines, and newspapers, classified into over 12,000 subjects headings. Photo by Laura Glazer
Laura: What’s it like to watch people use the Picture Collection, like sitting at the tables, sorting through files? What are the behaviors and techniques you’ve observed? Do you see sparks fly? Are you seeing collaboration happen in person?
Jessica: Yes. It probably depends on the type of researcher or the research they’re doing. There are definitely people that come together or even come and meet in the Collection and will be showing each other pictures. They sit down with the folder and a family member and they’ll be like, “Look at this, look at this,” and it’s great to see that. Usually they’ve got a few folders and a large space on the table. They’ve got piles where they’ve separated out images they are interested in and the ones they’re going to put back and they’ve got maybe their notebook or their computer next to them.
You find that people absolutely love the materiality of holding pictures in their hand. And then looking at two things next to each other, being able to compare or having a whole array of images. That experience seems to be very important for the researcher.
You do see a lot of excitement when finding something or people will find something and come and show you, “Look at this, can you believe I found this?” or “Look at this weird thing, can you believe this outfit?” They love to share that experience.
Laura: Have you encountered researchers who didn’t know each other connecting over what they were doing at a table separately?
Jessica: Absolutely. Or somebody is looking at a file and you look over and notice people saying, “Oh, look at that, what are you looking at? What subject is that?” You’ll hear these little conversations happening.
Laura: What does it mean to be “visually literate?”
Jessica: I think it’s being able to understand when you have a picture, identifying “What are you seeing in the picture? What is it saying to you?” Just to understand what you’re looking at and going around the picture and taking in all of the elements that are shown. And then asking, is this an image that is just for information purposes? Was it in a travel brochure and it’s displaying exactly how the city looks? Or is it trying to advertise something specific to me and make me focus on that one element? Or is it just for aesthetic purposes?
Why was this picture made? What kind of information is it giving to me when I’m looking at it and can I change how I’m looking at it from the original purpose and how can it inform the research I’m doing?
Maybe I’m researching Geneva, and this tells me something about the shops during this time period that I didn’t find in a book. There’s just visual information that can give you more about something that you weren’t necessarily expecting to read about.
Researchers using the open stacks of the Picture Collection in December 2021. Large tables are also available in the front area of the room. Photo by Laura Glazer.
Laura: When you talk about researchers using the Picture Collection, who do you consider and include as a researcher?
Jessica: I think anybody with an information need. That can be someone who walked in off the street and didn’t know we existed, but all of a sudden thought, “Do you have pictures of World War II tanks? I’ve always wanted to see more of those.” Or it could be giraffes! There are children who come and want to see all the cats that you have or all the kittens and that fulfills that need at that moment, that information-seeking need.
There’s very serious scholars that come in looking to write a book on a subject and there’s also just curiosity.
Laura: Is there anything coming up at the Picture Collection that would be good for me to know about?
Jessica: Yes. We have a fellowship that we’re putting together for Picture Collection research, which I’m super excited about. Basically, we want to offer a space for people who use the Picture Collection, whether you’re an artist or a scholar, however you want to use the Picture Collection to focus what you’re doing there and then be able to communicate that back to the public in some way, whether you have an exhibition or you want to do a program with us, or workshop, some kind of collaborative process with us in the library, as well as your own work. Then sharing how you’ve used the Collection and highlighting that and letting other people know how they can use the Collection.
Jessica Cline is the Supervising Librarian of the Picture Collection at the New York Public Library.
Laura Glazer is an MFA candidate in Art and Social Practice at Portland State University.
Collaborative Curation, Ethical Exclusion, and the Materiality of Nightlife
March 18, 2022
Text by Luz Blumenfeld with Roya Amirsoleymani
“People who organize parties in fringe spaces, or on the edges of the mainstream, or by and for marginalized communities, are curators of contemporary culture. Period.”
ROYA AMIRSOLEYAMNI
When Roya Amirsoleymani presented her work and curatorial practice to our class last semester, I took the following very enthusiastic notes:
Notes by Luz Blumenfeld.
ID: an open spread from an unlined notebook with pink and orange marker hearts around the quotes “symposiums as non-academic learning systems,” “curatorial practice as redistribution of wealth + resources + curating collectively,” “sound + noise as visual art,” “parties as material.” Other quotes include: “what is curating? what is the labor of curating?” “what does it mean to be doing this work?” and “should a project always be for everyone?”
Among the phrases that I drew hearts around are: “curatorial practice as redistribution of wealth + resources,” “curating collectively,” “parties as material,” “sound + noise as visual art.” These thoughts informed my work deeply in the fall. I was, and still am, interested in how a temporal space, like a party or karaoke, can be a form of curated intimacy and the potential power of transformation there.
Roya posed the question, “What kind of temporary utopia or community space do you want to create?” I began to think about karaoke as a material, a temporary dreamscape, a liminal space. My own curiosities about sound art and field recordings were also echoed in her lecture as she mentioned her interest in “sound and noise as visual art, as a form of contemporary art,” a concept that was new to me though not conceived by Roya herself.
In November 2021, I collaborated with a friend to perform and record the entirety of Olivia Rodrigo’s SOUR album in a karaoke studio. The experience itself was cathartic and ritualistic, and I struggled with the question of whether to use the field recording to create something else or to let it be enough on its own. The idea to consider field recordings and sound a material on their own has felt really expansive to me. I am leaning into the potential for a field recording of a performance or experience to be enough, to not have to be a stepping stone on the way to a larger project.
Page from a zine on karaoke by Luz Blumenfeld, 2021.
ID: text in black and gray are arranged in small blocks across the page. From left to right they read: “is karaoke a ritual? a practice? a performance? a reckoning, a confrontation?” “dis/embodied performance,” “give it to the void, you don’t have to hold it all yourself, you do not have to be good,” “who is it for?” “t 4 t 4 t 4 t 4 t 4 t 4 t 4 t 4 t,” “activation, karaoke can be a spell if u need it to be,” “a/temporality,” and “p o r t a l s”
The following interview took place over email.
Luz Blumenfeld: I loved what you said about parties as material and I would love to hear more about that; what has it looked like in your own work and practice? What excites you about this concept and its possibilities? It made me think of Nan Goldin’s early photo slideshows at NYC nightclubs.(1)
Installation view of the exhibition, “Nan Goldin: The Ballad of Sexual Dependency,” at MoMA, June 11, 2016–April 16, 2017. IN2354.28. Photograph by Martin Seck. Courtesy of moma.org
ID: A dark auditorium at MoMA lit with a warm yellow from a projection of Nan Goldin’s “The Ballad of Sexual Dependency” slideshow. The image the slideshow is paused on is “Nan and Brian in Bed, New York City, 1983,” in which Nan reclines on the bed on her side with her eyes on Brian, who is smoking a cigarette with his back to the camera.
Roya Amirsoleymani: Most of my curatorial experience has been at Portland Institute for Contemporary Art (PICA), and our signature program since 2003 has been the annual Time-Based Art Festival (TBA), which includes experimental performance of all kinds (dance, theatre, music, etc.), visual art, film/video, new media, publications, and public programs such as artist talks, lectures, conversations, panels, and commissioned contextual writing. Additionally, the festival has always had a track of “late-night” programs, which tend to be centered on music, film, and/or dance parties/nightlife. There are social spaces built into these events, like bars, a beer garden, and local food (in the last several years, the food program has focused on partnering with BIPOC+-owned pop-ups). The late-night program has served as a meeting and convening space for both local and visiting artists, audiences, and participants. People talk about the artistic work in the festival, connect socially and informally, have more candid conversation, even hook up! For a long time, this track was considered more of a “fringe” program, peripheral to the “primary” festival, but we developed a more nuanced understanding of its value alongside a broader shift in discourse in contemporary art about how parties and social experiences are actual artistic material, part of what can be thoughtfully and intentionally curated.
To expand a bit, TBA’s late-night programs have historically had cheaper tickets, drawn a younger audience (always intergenerational, but skewed young), and are typically more demographically diverse (especially in terms of race, gender, sexuality, and socioeconomic status). We have not been able to realize the late-night, in-person experiences at TBA since Covid, but it is something we hope to return to in some form— of course, with an understanding of all the ways in which art institutions need to do everything differently (and better) for the future. The reason I detail this track of TBA is not because it’s the only example of such a thing, but because it’s personal— it is how I came to understand nightlife and social space as part of the “art,” as just as important to critical conversations about contemporary culture as anything presented on more formal “stages” or in designated gallery spaces.
We have also learned ways in which party spaces are not always accessible, or can be less democratic than their image or spirit might suggest. For example, they might not feel safe or welcoming for folks who don’t drink alcohol, or for whom a big dance party might be too much stimulation, or whose traumas are triggered by dimly lit, crowded, party spaces and atmospheres. So, it can be exclusionary and inaccessible in certain ways. But it has also felt like a more comfortable space to a lot of people who don’t feel as welcome in a traditional theater or gallery setting, or who are seeking to be among more BIPOC+, Disabled, queer, trans, poor, and other folks who have been historically excluded from “high art” spaces.
Nightlife has always been a substantive part of contemporary, experimental, and underground art worlds, and the ways in which it is incorporated— both formally and informally— into institutional and non-institutional programs and spaces is something we should continue exploring, analyzing, and celebrating. People who organize parties in fringe spaces, or on the edges of the mainstream, or by and for marginalized communities, are curators of contemporary culture. Period.
Photo by Brittany Windsor, from JUDY night at TBA 2019, organized by a monthly queer dance party as a special edition for the TBA festival. Courtesy of PICA’s Flickr.
ID: A crowd of people are gathered under purple and pink light in an event space. A glittery fringe banner hangs above the crowd with big bubble-like sculptures beneath them. The text, BIG DYKE ENERGY, is projected onto a wall in white letters on a warm orange background.
Luz: I would love to hear more of your thoughts on “curating collectively” as a way to redistribute institutional resources. Could this be another way to frame collaboration?
Roya: ‘Collaboratively’ might actually be the better word here. I almost always invite co-curation, as it is a way of decentralizing authority, building/honoring collective knowledge, and directing institutional resources to individuals and communities who are historically excluded from wealth, or who don’t otherwise have a lot of access to such (gatekept) resources. I have co-curated two exhibitions with my PICA colleague, Kristan Kennedy: Gordon Hall’s THROUGH AND THROUGH AND THROUGH (2019) and Carlos Motta’s We Got Each Other’s Back (2020-21), the latter itself being a highly collaborative project based on how Carlos centers and works with local artists and creative communities to produce his projects, in this case with a focus on queer undocumented folks. I collaborated with Kat Salas and Matilda Bickers (at the time, of Stroll PDX) to curate No Human Involved: The 5th Annual Sex Workers’ Art Show, an exhibition, symposium, and publication in partnership with PICA in Fall 2019. I worked with a group of local sound artists to curate SUBHARMONIC: A Sonic Arts Symposium at PICA in Spring 2018. And in a similar vein, I have invited Felisha Ledesma (now based in Berlin), co-founder of the former artist-run sound and visual art space S1, to co-curate an upcoming program of sound art— in the form of performances, commissions, symposia, video/film exhibition, listening spaces, and a publication on the founding years of S1, to take place in Winter 2023. There was never a question in my mind of wanting to produce that project alone. I had Felisha as a collaborator in mind all along, and would have loved to have worked with any number of folks in similar ways. I will probably always choose to invite co-curation, whether I am working from within or outside of an institution and I believe I am a better curator and human because of the collaborative experiences I have in realizing artistic projects.
In short, I have always preferred to collaborate with others, to be in a place of conversation, discussion, idea exchange, resource-sharing, trust building, and to bring together expanded and perhaps siloed networks/social circles/spheres of community belonging. I think of these modes of curating (collaborative, shared, community-based, etc.) as aligned with my politics, values, and the ways in which I want to see art worlds change for the better. I am frustrated by curatorial practices that simply display politics as content, signaling social justice values without living them, embedding them, operationalizing them, or building them into the ways in which a curatorial project or institution functions.
Luz: In the lecture you gave for our class last semester, you spoke about “ethical exclusion,” and asked, “should a project always be for everyone?” I’ve been thinking a lot about who the work is for lately and the radical potential of making work specifically for certain people/groups of people. I think it can actually be really expansive to make work with and for only some people and not the “general public” (which to be honest, I’m not sure exists ha)
Roya: Great thinking! Here are some expanded thoughts on this:
Not everything is, can, or should be for everyone. I’m noticing artists, curators, and institutions approach this in several ways.
Increasingly, artists are making work that comes from a place of either critique or care (though these are not mutually exclusive). In either case, who or what is being critiqued, or who/what is being cared for, is specific. There is a growing and nuanced form of “refusal” in artists’ work across disciplines. For example, a rejection of the White gaze or audience, whether in the form of open critique of predominantly White audiences/art worlds, or in the form of exclusion/inclusion (e.g., excluding White audiences, exclusive to/caring for BIPOC+ audiences). The latter is just an example— this can look many ways. Sometimes a certain tension is at play. A knowing, active rejection or refusal of most of the people who are “in the room” to witness the work (those people typically being of dominant culture, e.g., White, able-bodied, neurotypical, cis). That is, artists might intentionally play with presenting in front of or “to” an audience, but the work is not legible to most of them, not “for” them, based on language, cultural references, aesthetic choices, use of space, location, or any number of other ways to create or deny access/legibility based on who the artist wishes to center, engage, or prioritize (or not).
Curators are sometimes the very people for whom the artistic work is not intended. Curators don’t always acknowledge or recognize this, but one way I think they can honor artistic work, regardless of intended audience, is to see themselves as being in service to it, to the artist, and to those it is “for.” To get out of the way, so to speak (curators giving up their jobs/power is another kind of “getting out of the way” that also needs attention/conversation!). To suspend or drop ego. To direct institutional resources (of all kinds) to support the project and the artist’s vision, unencumbered as much as possible. To be a voice of “authority” as a curator is an outdated and arguably unethical form of curatorial practice and interpretation of its purpose. Curators are, ultimately, facilitators of the work, and they must shift how they do their job from one artist/project to the next, each one customized, unique in what it needs, asks for, or invites. It is also a curator’s and institution’s job to “do right” by the work as much as possible— to meet artists’ needs, to strive to reach its intended audience, to be truthful, transparent, and forthcoming about working culture, processes, labor, fees and budgets, capacity, audience, limitations, etc. To be a partner in the work in the ways the artist wishes.
The notion of broad public engagement— the more people reached, the more diverse/mixed the audience, the better— has long been considered the goal in both visual and performing arts. Yet it overlooks the specificities of projects as defined and self-determined by the artist(s) themselves, and by the audiences who do meet it, or for whom it is intended. I have always believed that a depth of engagement is more impactful than breadth, yet at the same time, artists deserve visibility. So “outreach” or “engagement” with the multiple publics that might connect with a given project must be highly intentional, effortful, and committed. The reach of a project should be a considered aspect of its design.
Finally, institutions and artists must consider who feels welcome in their space, neighborhood, etc. Even if a project is intended for a certain audience or community, per se, it doesn’t mean those folks will feel comfortable being in the institution’s space, or able to access it. And in some cases, it is nearly impossible to undo an institution’s deeply seated reputation or reality of being an unwelcoming or exclusionary space, and it will take major shifts in internal culture, staffing, even mission if it is to achieve that. A complete reimagining.
FOOTNOTES:
(1) “The Ballad of Sexual Dependency,” by Nan Goldin, was originally formatted as a slideshow with music and shown at NYC nightclubs and bars. It was later turned into a book. There’s an excellent article about this by photographer Elle Pérez here.
Luz Blumenfeld (they/them) is a mixed, 3rd generation, gay artist from Oakland, CA. Luz is in their first year of the Art + Social Practice MFA Program. They are currently thinking about liminal spaces, psychogeography, and how a physical space can hold memory. You can see some of their work here, and you can follow them on Instagram at @dogsighs__.
Roya Amirsoleymani (she/her) is Artistic Director & Curator of Public Engagement at Portland Institute for Contemporary Art (PICA), where she co-curates performance, visual art, public programs, and the annual Time-Based Art Festival. She also co-directs PICA’s Creative Exchange Lab artist residency program and their Precipice Fund, part of the Warhol Foundation’s Regional Regranting Program. Roya has been instrumental in expanding the organization’s commitments to access, equity, inclusion, and community engagement, with attention to contemporary art’s social, political, and cultural contexts. She lectures and presents at conferences; writes for publications; serves on grant and award panels; consults with art and cultural agencies; sits on Portland’s Public Art Committee; and teaches in Portland State University’s MFA Program. She holds a B.A. in Contemporary Visual Culture & Gender Studies and a Master’s in Arts Management Roya is committed to reimagining institutions in collaboration with their communities, in order to realize a more just art world and whole world.
ISO: Mentors of Color
March 18, 2022
Text by Lillyanne Phạm with Karena Salmond
“I think so many organizations and companies talk so much about the need to diversify, and I think without necessarily talking about the ‘Why.’ And I think it’s that ‘Why’ that starts to make it click.”
KARENA SALMOND
2022 is my last year of adolescence, 24-years-old. It’s a major event for me as I transition from being a youth organizer working with youth, to being an adult organizer working with youth. I’m excited (and nervous) to explore how youth allyship manifests in my daily life and art practice. To start off the year, I wanted to confront the toxic narratives of “being self-made” and “pulling yourself up by your bootstraps” by acknowledging those who have shaped me and are examples of the ways adults can show up for youth. Youth Program Director of Caldera Arts, Karena Salmond, has been one of my prime anchors.
In Fall 2020, I completed my Emerging Leaders Internship (ELI) PDX and progressed to Emerging Leaders Mentoring (ELM) PDX. ELI links students of color to paid summer internships in Portland and provides culturally competent workforce development training. If students are recent graduates, they are offered a spot in the mentoring program to establish sustainable support for their intern alums. At this stage, the amazing Director of Mentoring, Partnerships, and Recruitment, Nick Poindexter, asked me what qualities I wanted in a mentor. I gave him a really long list including a non-YT mentor, and was a part of the art world, but didn’t believe in conforming to the art world.
Nick played with some LinkedIn magic and found my soul mentor, Karena (she/her), who showed me care, honesty, and trust from day one. Since 2020, we’ve had monthly conversations that have helped me survive the uncertainty of exiting college. She also encouraged me to explore and mold my own space in the art world. Karena is currently shaping her Diversity, Equity, Inclusion, and Accessibility (DEIA) work and creatively challenging the non-profit industrial complex. Below we expand more on the importance of racially and culturally responsive mentoring and organizational structures, along with the creative practices that are part and parcel to them.
Karena Salmond’s Selfie
Lillyanne Pham: Hi Karena! Who would you consider to be your first mentor outside of your household?
Karena Salmond: It’s interesting because I think about mentoring as someone who supports in finding different pathways. This is completely informal, but one person that I often go back to, as someone who really changed the way that I saw myself and my potential, is an old friend from high school. While we didn’t go to the same school, I met her in high school. She is Salvadoran, her parents are Salvadoran immigrants.
She was probably one of the first nonwhite friends I had made as a high schooler. And she was just unapologetic about her race and ethnicity in ways that were so different than how I felt about myself at the time. And I think through our friendship, in a lot of ways, I became a different person. Even though she wasn’t, you know, there was no structure or formality to our relationship, I do often think of her as someone who impacted my life in a really positive way. And also my growth. That, I think, is certainly typical of friendships, but just a little bit deeper.
Another person that I think about, kind of very differently, is a woman named Sally Putney, I interned under her. She ran the YWCA mentoring program in Kalamazoo, Michigan. In the 90s, internships were often about making copies and entering data, and doing a lot of grunt work. But she really wanted me to have more of an experience. She was also a great mentor herself. She had a lot of different mentees formally. She really showed me what it was like to have ownership in a professional setting. Then I also took on a mentee at that time. She was just a great role model in both what it meant to run a nonprofit program and also what it meant to be somebody’s mentor. So those are two people that I often reflect on in terms of my own mentorship.
Lillyanne: For the first one, how did y’all meet?
Karena: We met because we both loved the same boy [Karena and Lillyanne laugh]. And she— this is how bold she is— straight-up called me one day and just laid it out: “We both love him. What are we gonna do about it?” Instead of him loving neither of us, Lupe and I just grew to love each other.
Lillyanne: That’s really exciting to think about, like, when I was writing these interview questions, I really didn’t think about peer-to-peer mentorship. But I definitely feel like that heavily shaped me as well. Especially growing up in a really white town with no ethnic enclaves nearby, just having fellow Brown chosen sisters when I was in elementary and middle school really impacted me— in college as well. Now I’m thinking about it. I’m like, oh my god. Brown friendships specifically redefining and exploring femininity— that brings so many memories. I feel like it’s way deeper with your chosen family than it is with your household.
Karena: There’s something about friendship, which I do think filters into youth work— that unconditional positive regard, right. With people in your household, there might always be some element of judgment. Because they, I guess, will have a bigger stake in your success in life. Whereas that peer-to-peer, I think, is often free of that same kind of judgment and pressure that you get in the household.
Lillyanne: I never even thought about unconditional positive regard. Yeah, then there’s the fact that y’all are the same age, and y’all are growing together and seeing each other grow. And like, that’s exciting as well, and experiencing the same things and having a different lens and sharing that. And having solidarity within peer spaces is really important too.
I interned for DREAM!, a restorative justice organization in New York City. They use art programs such as filmmaking inside schools to teach students how to do peer mediation in the Bronx. They found that it kept kids in school from fighting and lowered neighborhood crime. When youth give each other advice and stop conflict on their own, it is way more productive than an adult figure coming in that power structure. It makes me really curious about youth solidarity for adults. Does that mean empowering youth to empower themselves?
Karena: I think it’s a lot about holding space. Because I’ve seen that peer-to-peer connection and support at Caldera Arts.(1) Last summer, at camp, we did these small group bonding times at the end of the day, and it’s the adult staff members’ responsibility to hold the space and facilitate. But, in one of the groups that I joined, the group was just talking about their day and one of the students mentioned that they had a hard day and they had family stuff going on. Most of the students in the group brought forth so much support for this person and so much empathy. And there was so much you know, Oh, that’s really hard. And, Oh, I went through something like that too. Yes, our programming is about art and the environment. But so much of it, at its core, is about community and support.
Lillyanne: I feel like the youth stereotype, especially teens, is that they’re very much in their own worlds. There’s Gen Z who are too into social media and too into themselves. I feel like if you give them a chance, just listen and sit there, rather than try to control a situation, teens and youth eventually show that they can have as much emotional capacity as someone who is older. Ageism is real.
I also want to ask about your BA in Fine Arts at Kalamazoo College and your decision to pursue an MA in International and Multicultural Education at the University of San Francisco. What inspired you to explore a non-traditional pathway in the arts?
Karena: What inspired me was working at Chicago Children’s Museum, where I, every day, got to see play, imagination and creativity come alive in very young children. I had an entry-level job in their Education Department. And I just became really interested in child development and what the possibilities were, especially outside of a traditional school setting. I loved being able to see learning and discovery take place outside of a formal institution.
As we’ve talked about before, I think I sort of lost my grounding and connection as an artist after college. So, I was just thinking about the next thing and decided I wanted to go back to school and study education. I knew I didn’t want to be a classroom teacher; I wanted to go back into nonprofit youth work. At the time, I didn’t even know that arts education was a field or a possibility of connecting my art background with my education background, until I happened to get a job after grad school with an arts education organization. Then it continued and went down that path from there.
Lillyanne: If other people want to go into arts education, do you feel like that’s a smooth path?
Karena: I do, because in my program —I can only speak for my program, which was very liberal— we had really critical conversations about race and how race comes into the classroom. I think that experience challenged me to think critically about systems in ways that I hadn’t in previous education. I think that gave me experience in engaging in critical conversations in the workplace. And, you know, we are also still living in a professional world where credentials often matter. And so I just recognize that having that degree, I’m assuming, has helped in getting jobs.
Lillyanne: Did you have a thesis for your program? And beyond that, how has your training in education changed the way you think about your own early education?
Karena: I did a thesis on a case study at a child development center that was rooted in the Reggio Emilia approach, which I had become familiar with when I was working at the museum. It is, in a nutshell, an approach to early childhood education where really everything is connected, there’s no separate reading units, or separate art units, or whatever, it’s all connected. They view art as a language. I was really drawn to that aspect of the approach, and really just the child-directed approach. Which is a lot of what children’s museums are about, setting some context and letting children explore.
It definitely made me reflect on all of the rote learning that my education was and how nonexponential it was. I feel like I’ve retained nothing of what I learned in high school. I think the most useful class in high school for me was my word processing class where I learned home row and now I can type really fast. But like, I don’t remember anything that happened in history class. I just think it was not relevant to me. And not taught in ways that felt meaningful enough to actually retain. So yeah, I would say learning about different approaches has definitely shaped how I reflect on my own upbringing and how I approach youth work today.
Fallen flowers, foraged and assembled by Karena and her daughter.
Lillyanne: Delving deeper, why is it important for Black and Brown youth to have access to mentors, especially in the arts?
Karena: We talked about my friend Lupe, and the reason I kind of cite her as a mentor is because of her race and ethnicity. And I think Sally, the mentor who ran the YWCA program, is really special. In the mentoring field, she was really ahead of her time back then. But we didn’t talk about race and the role of race in mentoring, which I think is really important. My mentee when I was with that program was African American and we just didn’t talk about what it meant for the mentoring dynamic. What is race? How might race impact the mentoring dynamic? I think that was a big missing piece for me. I think fast forward to now, you know, I can speak for myself. I know, you and I, obviously, come from quite different backgrounds. But, just as an Asian person, I feel so much affinity with you, simply because of how we look, right?
I think a lot of the reason I lost connection as an artist after college is that there wasn’t much representation. I got really cynical about the art world because what I saw in magazines and galleries was very white-centric. It felt very about who this person knew: if you had a connection, you could get a show. And I just was so completely turned off by that.
Gif of Karena’s Kitchen Sink Barre, April 2020.
Lillyanne: I definitely feel you’re also getting at the power of representation. It’s much more than numbers. Race and ethnicity are social constructs as we know, but I feel the need to acknowledge the corporeal realities of it. Connecting that to the arts, it is very rare to have an intimate space with representation. Versus seeing someone’s art about their racialized experience. There are actually few spaces where artists of color can connect. Did you have any of those spaces in your program or even outside of it?
Karena: When I moved to San Francisco, I found that. But, when I think about my undergrad experience, sure… I had some good professors. But I don’t remember seeing, looking at, or talking about many or any work by artists of color. All of my professors were white. The class that I hated the most was art history and it was completely about early European art. This was a small liberal arts school. And I would hope that the program is different now. But, at the time, it was just a sea of whiteness all around, in both content and who was there.
Lillyanne: How would you advise folks to build artists of color solidarity spaces for the students of color themselves, in the syllabus curation, and the decision-making processes?
Karena: I really can’t imagine any fields of study where it would not be relevant to consider the representation and critical conversations about race in that field. To even exist in our world today, we all need to think more critically and responsibly, about why representation matters and how that’s going to be achieved.
Lillyanne: I agree with you. I feel like we’ve talked about centering critical race conversations in syllabus curation before and it’s very much unavoidable. You would really have to purposely not do it. Or not know enough of it and not want to do the labor for a syllabus.
Karena: Yeah. Even if it’s in a European art history class, you could raise the question and have a section of the syllabus: why are there only white artists in a European art history context?
Lillyanne: How do you involve more artists of color in programming? How does Caldera Arts conduct outreach? Like involving artists of color, not tokenizing them, and actually having them fully access the community.
Karena: A really successful example is Caldera’s Artist in Residence Program. I don’t have the data with me. I’m pretty sure 100% of our residents in 2022 identify as BIPOC or from historically underrepresented communities. I think it is a success that has been built over time. None of this I can take credit for because it’s not my program. But our current Arts Center Program Manager, Jodie Cavalier (she/they), and before her, Maesie Speer (she/her) really built a program that prioritized BIPOC voices and artwork.
It definitely didn’t happen overnight. There was so much thought about: 1) who the organization was reaching out to, 2) how accessible our application materials were, 3) who was on the deciding panel. I think we’ve now gotten to a place where we have this really strong network. We also are very explicit. Now, we will list on our application materials that we prioritize BIPOC artists or folks from historically underrepresented communities, and we have those same people reviewing applications and making decisions.
Lillyanne: Yes to people reviewing the applications too. You’re getting representation within the process and the program. For example, if your artist residency program was all white, do you feel like artists of color would want to apply to that? I know a lot of organizations that have a majority white staff and they’re expecting BIPOC folks to work for them. Or they work with BIPOC communities but they don’t have any BIPOC in their organizational system. How do you break this cycle?
Karena: I think I will say that, personally, often if I’m job searching or just curious about an organization, I’ll go to their staff page to take a peek. And I think a strength if you look at Calderas’ staff, you see a lot of Black and Brown faces. I think it’s easy to think about communications as sort of, I don’t know, like fluff marketing, right. But I think it’s a poignant thing when someone is really intentional and thinking hard about what you’re communicating,. Whereas I think if you clicked on our staff page, and it was all white folks or white presenting folks. That’s where some judgment and questioning come in.
We have one staff member who is a youth program alum and then some other staff who started working at camp like 12 years ago and are now year-round staff. When we are hiring, we’re being really thoughtful about the aspects of a job, salary, and hiring processes through an equity lens which in turn will impact the future of our organization.
Lillyanne: […] Your internal organization matters and it really reflects your relation to BIPOC communities. (summarized)
Karena: I think so many organizations and companies talk so much about the need to diversify. And I think without necessarily talking about the ‘Why.’ And I think it’s that ‘Why’ that starts to make it click […]
Lillyanne: I’ll obviously delete some of our private experiences. I think I will summarize our conversation. As you’ve taught me to ask, can a nonprofit program or organization support whoever they’re trying to bring in? What does that support really look like? Are they willing to give away their power and disperse it? The way that has to happen if you’re making space for BIPOC communities.
Karena: Totally, there’s no way you can diversify and be successful without doing things differently.
Lillyanne: So, what does your creative practice look like in a nonprofit?
Karena: Historically, we could go all the way back to philanthropy, right? And how funding and nonprofits have often formed over the years, which is by well-intentioned white folks with deep pockets. And I am not saying I’m not grateful, or that these people didn’t have great ideas or start really incredible things. But I do think, if we don’t acknowledge the role of whiteness in the history of arts organizations and nonprofit work, there’s a big miss there.
I think we need to shake things up and look at different perspectives, all the way from how nonprofit and art organizations are funded in relation to the folks that those organizations are serving. And then there’s a lot in between. There are leadership structures, decision-making structures, whose voices are involved in the direction of an organization and the programming that it offers. Just having spent so much time in nonprofits, I am really drawn to the stuff in between. It’s hard to say, Oh, it’s this one thing. Because it’s not, it’s so varied and deep.
Lillyanne: How can creatives work within and against the nonprofit industrial complex system?
Karena: I feel like my day-to-day and the way that I’m most frequently flexing creativity is in creative problem solving, and trying to envision a different way forward. I think of artists and creatives as the OG innovative thinkers. I think so much of Art and its power is being able to look at something through a new lens, or see something in a way that you haven’t before.
I really think the industry needs people with different perspectives and different ideas of how to do things differently. I know it’s easy for myself to get caught in the cycle of like, Oh, well, this funder really likes this. Those structures are just so ingrained in me. So I love the idea of a new generation of creative thinkers just coming in and taking risks and exploring other ways.
Lillyanne: You mentioned earlier the concept of art as a language. Are you picturing this in the nonprofit world? What really drew me into socially engaged art was seeing cultural work in action in a nonprofit setting at Asian Pacific American Network of Oregon (APANO)(2). I don’t see many nonprofits that incorporate arts organizers as their own department. It’s usually one small lens throughout the whole organization. I was wondering what would happen if more nonprofits embrace art as thinking, engagement, and community building?
Karena’s Top 5’s, Feb 2022. Doodle for Caldera Arts zine.
Karena: Something I think about a lot is that outside of creative problem solving, Caldera, as an arts organization and as staff members, spend very little time during our workday making art. And so much of what happens in our youth work is the joy and love in exploring new creative pathways. There’s a disconnect, right? How much of that comes into how we run the organization? And I don’t know what the answer is, what the role of doing that is? Or should it be in our work? It’s just something that I notice.
Our program manager is compiling a zine from some of our artists in residence and now she’s solicited staff contributions. I spent maybe like an hour last week working on my zine contribution. But I had this thought process of like, Oh, I’m like on the clock, should I be doing this right now? This was a doodle. This was not like an extensive project. But I was feeling some guilt over spending time doing something artistically creative that was part of work. Because I’m so used to work meaning emails and meetings. I had those feelings come up for me.
Lillyanne: Embracing art as joy and letting joy live within work is something that needed to be named, so thank you! Leading to my last question, how do you practice creativity outside your dance practice?
Karena: I think we’ve probably talked about this a lot in the past, but I do feel like most of my creative practice if I’m not doing an Instagram dance class is with my kids. I’m drawing alongside them or drawing something that they demand and draw. Which is nice, but it is different. I wouldn’t say it is as fulfilling as if I had time and space for my own exploration.
I know, we’ve also talked about my need for structure and accountability. So that remains an ongoing challenge in my creative practice. I feel like these days I’m most interested in just trying different mediums. A theme of my life has been holding small bits of knowledge about many different areas, but not being an expert on them. Right now, I want to do a block print of the house that my dad grew up in. And I will maybe work on it for 10 minutes at a time, like once a month. So, maybe six months from now, I’ll have something for you [Karena and Lillyanne laugh]. It’s all in bits and pieces these days.
FOOTNOTES:
(1) Learn more about Caldera Arts here.
(2) Learn more about APANO here.
Karena Salmond (she/her) is a Portland-based nonprofit worker, mother, Korean American, creative thinker and sometimes maker. She currently serves as youth program director at Caldera Arts and has dedicated her career to art as a vehicle for social change. When not working, Karena can be found dancing, cooking, and daydreaming about vacations.
Lillyanne Phạm (LP) (they/bạn/she/em/chị) was raised by Việt refugees in a trailer park near cornfields and suburbs (b. 1997). LP is a multimedia storyteller, placekeeping facilitator, social media scholar, and cultural worker. LP grounds their work in ancestral knowledge, the world wide web, and community-powered safety/sanctuary. Since graduating from Reed College in 2020, LP and their work have been rooted in East Portland exploring the power of BIPOC youth decision making. LP also builds community as a member of Metro’s Equity Advisory Committee (EAC), the Contingent’s SINE and ELI network, 2022 Atabey Medicine Apprenticeship, and the O82 Art Crew. You can follow LP’s work on IG: @lillyannepham or website: lillyannepham.com
Uncomfortable Conversations: Money Stories
March 18, 2022
Text by Marina Lopez with Jose Marcos Lopez
“Like Mama Zoila always used to say, “If you don’t have ten feet to put shoes on, then you don’t need ten pairs of shoes, you need only one pair.”
JOSE MARCOS LOPEZ
In 2021 I started Uncomfortable Conversations, a series of conversations that invites people into discomfort as a place of discourse and connection. I begin by asking people to identify a word or topic that makes them uncomfortable and then we use that as a starting place for a conversation. Both verbal and non-verbal dialogue serve as the medium to trace back pathways to locate the roots and home of discomfort that reside within us as individuals, and form our social and cultural sinew. In the inaugural conversation with artist Caroline Woolard, which was shared in the Fall 2021 edition of the SoFA Journal, we spoke about ‘money.’ Without being prompted, every subsequent participant has chosen to center their conversation around money. Their choice has beautifully shaped the first iteration of Uncomfortable Conversations around our ‘money stories.’
In tracing money stories with my participants, I become curious about the roots of my own relationship to money. I realized that my experiences were deeply informed by those of my parents and their parents before them. So, I invited my Papa to be a part of Uncomfortable Conversation, Money Stories as an integral part of this project.
My Papa, Jose Marcos Lopez Fosenca (he was told to drop his name, Fonseca when he immigrated to the U.S. in 1986 because it would make paperwork easier) is the son of una mujer poderosa y fuerte, mi abuela (my grandmother) Mama Zoila. He grew up in La Polka, Mexico, a small fishing and agricultural village in the southernmost state in Mexico with his twelve siblings. They called him El Gato, the cat for his wild adventures and larger than life stories. And I grew up with these stories of his life: The six year old who supported his family. A lone seven-year-old boy traversing seemingly endless dirt roads lined by translucent figures caught between worlds to get his education. His days began in the dark on fishing boats floating in waters of the painted dawn. His small body sprawled across still train tracks; hot blood saturated thick silk hair of youth, trickled down his spine as he oriented himself to home. Dust kicking up on feet still soft with innocence. His mother, “la Bruja” with her salves and remedies. These characters always made their way in and out of the stories that interlaced themselves into my childhood. His words spilled out in a manner that captivated the magic of life. These well-worn stories have existed as abstract legends that have deeply informed my own beliefs about the world, where I come from and who I can be. But I realized that unlike most folklore, I could speak with the author of these stories to uncover nuance, truth, and the beating heart within them. That is what you’ll find in the conversation below as we start with the prompt of, ‘money.’
Marina Lopez greeting her Papa, Jose Marcos Lopez at her 8th birthday party in New Paltz, NY (1999) with his Taxi Cab behind them. [He must have just finished with 12 hours of work and come straight to the party].
Jose Marcos Lopez: We [humans] don’t create anything.We create paper and we give it some value.
Marina Lopez: Yeah. [giggles] It’s true.
Marcos: It’s like the gold. Gold you can find somewhere and we put a value. We don’t create anything. We don’t have any power. We think we are powerful, but we are not because we don’t create anything.
Marina: Who creates it, then? Who created the world?
Marcos: I mean we didn’t invent fish. Fish are in the ocean. People get it and eat it. We didn’t invent animals. Animals grow up. They eat and they grow anyway. We don’t do that. That was the philosophy when I was a child: we don’t create anything. In my community in La Polka, let’s say somebody passed away and everybody got together. The bakery would make bread for free. And people would bring coffee to share. And whoever had animals, would give something for free. The builders would go and dig the hole and make the tomb for free. People helped each other. If you wanted to build a little house the whole community would come and help. The people who were building the house provided food for those people, no money. And they made sure that everyone was okay. When I was growing up in my little La Polka all adults took care of the kids when they played. That was in my time. Now it’s different. But the money wasn’t important for us.
Marina: Yeah, that’s such a beautiful way to live.
Marcos: We understand when we pass away, you bring nothing. You don’t bring your big house, your gold stuff, your whatever. You don’t bring anything. Even now I ask myself, what is my goal in my life? My life is about being happy.
Marina: I love that Papa. You’ve always told me that.
Marcos: Just be happy. It’s not a big deal for me to pass away. It’s a part of the life. We give value to the paper. And our society brainwashes people where you are made to feel you are more important than someone else. If you have education then the system tells you that you are better than whoever doesn’t have an education. And this is not true. Because everyone is the same. A lot of people have the opportunity to get an education and a lot of people don’t get the opportunity to get an education. But everybody has abilities and gifts.
Money for me is not the most important thing in life. Always I have something to share. You know, I don’t remember one day (in my life) that I didn’t eat because I didn’t have any food. I don’t remember that you guys (my children) didn’t eat because you didn’t have any food at home.
I was blessed to have a job and make some money. Not for me, but for my family. Because if I have something, I share. For me it’s not a big deal to share. To help somebody to solve any problem they have. That comes from my community and Mama Zoila too (Marina’s Abuela).
Mama Zoila was the kind of person with a good heart and helped people. Mama Zoila picked up kids from the street and brought them home to eat. Mama Zoila collected clothes and visited places to give people what they needed. For example, on Sunday she made a lot of food and she’d send a portion of the food to the neighbors for free. If someone stole a chicken and one of my sisters saw that and my sisters would get upset. And Mama Zoila always said to her, “If that person would have asked you for chicken, would you have given it?” And my sister would say, “No!” “That’s why she stole it because she needs it and she knew that if she asked you, you were not going to give it to her. So she’s getting something that she really needed.” And my sister would say, “You’re crazy!” And Mama Zoila would say, “Yeah, I know I’m crazy.”
I was the first professional, not only in my family, but the first engineer in my town. Before me were two teachers. One of them was my friend. One passed away. But to study for engineering, I was the first one in the whole town of La Polka.
Marina: Wow! That’s amazing.
Marcos: And without help. Because nobody helped me. In La Polka we didn’t have fifth and sixth grade, so I went to Tonalá to do my middle school. When I finished at 15, I went to Paredón for military school and finally to Vera Cruz to get my college degree. Then you know the story, I came over here (the U.S.) and I went to SUNY New Paltz to get my education [Bachelor’s in education].
Image from google maps that shows the relationship between La Polka (bottom right), Tonalá (middle point) and Pardedón (left). Mapping the paths my Papa traveled by foot, bus, and train to get his education.
After I finished my degree in Vera Cruz, I went to work in the state of Oaxaca and I was an engineer. One day I asked [my friend] to go eat and he started crying. And I said, “Did I say something that hurt you?” And he said, “No. I’m crying because I’m working but I haven’t gotten paid for more than three months.” I said, “Don’t worry, I’m going to pay for it.” We went, I got some extra money and I gave it to him for his family. He tried to say “No”. And I said, “Yeah this is for your family.” And later on he tried to pay me back and I said, “Roberto, I don’t really need it.” When you see somebody that has more need than you, help that person. And even years later he reminds me of that all the time. I remember because he reminds me.
[Both laugh]
Life is too short mama. Life is a miracle. Life is too simple. We complicate it.
Marina: Yeah, I know. I always think about you saying that when things feel really hard.
Marcos: Life is simple. Like Mama Zoila always used to say, “If you don’t have ten feet to put shoes on, then you don’t need ten pairs of shoes, you need only one pair.”
But money is not the most important for me. You have money as a survival resource. But it’s not the most important [thing] for human beings. You can have a lot of money, but if you don’t have health, money doesn’t count. If you are not happy, what is the money for? A lot of people have money and they use a lot of drugs. They use it [money] in a bad way. They pay to kill somebody. It’s not good.
Marina: Yeah that’s true. And when you moved to the U.S. with Mamí, how did your life change?
Marcos: Well, I was a professional over there [in Mexico] and when I moved here [to the U.S.] I started from the bottom and that’s different. It changed everything. It changes your social and economic circles.
Marina: If you could have done anything in your life, what would you have done? Either in Mexico or in the U.S. What was your biggest dream to do with your life? What do you think you would have wanted to do?
Marcos: I don’t know. Because for a long time I didn’t believe that everything happened for a reason. In Mexico I had a good job but the corruption of systems wasn’t good either. There was no safe place to live. You don’t know anything from today to tomorrow. You could have a job today but tomorrow they could tell you, “Sorry we don’t need you anymore.”
Marina: Yeah so there was no security. No safety.
Marcos: Yeah no safety or security. Over here [the U.S.] it’s a little different. The system is a little different.
Marina: Yeah. There’s a little more security in some ways. And for you education has been something that has given you some security and also allowed you to move in different circles. Were there things in school that you got to study that you really enjoyed?
Marcos: Yeah I liked to study everything and especially Latino History. We read a lot and studied deeply about Latin American countries. We read Gabriel Garcia Marquez. And we read a lot of books about Europe and Russia. It opened my eyes about how different cultures are.
Marina: That’s really cool. And now you study a lot about different forms of spirituality, religion, and from different teachers. Do you think that is part of where your interest came from because you, at an early age, got to learn about other cultures?
Marcos: No, I mean, I read a lot about different religions in my country. The seminary [General Theological Seminary, NY] opened my mind more. Some of my professors were Vatican advisors and they had a lot of education around religion, economics, and politics.
Marina: Did they talk about how religion was related to the economic and political things that were happening?
Marcos: Oh yeah! Religion is economical. Religion doesn’t really teach spirituality, it teaches rules. Most religions take money from the poor and you can see at this point in Latin America the Catholic religion is not growing a lot. They brainwash people. All systems do this but especially religions. That’s why at this point in history a lot of people don’t believe in the main Catholic religion because they see a lot of priests abuse kids. A lot of people in society are waking up. They don’t obey the religion as much anymore. They don’t obey the politicians. They don’t obey the government. That’s why the wealthy people were thinking about how they control the societies and they use religion. Everything happens for some reason. You don’t necessarily know what’s going on from one moment to another one. Just like you never know when you’re going to pass away.
Marina: Yeah that’s true. In many ways, religion upholds hierarchical power structures where the people at the top with all the money and power make all of the rules, and everyone else is forced to follow them.
Marcos: Yeah. The system tells you that if you have more money you are superior or if you have more education you are superior. We classify people. That’s why we have wealthy class, poor class, and working class people. And it’s unfair, but this is the system.
Marina: But in your work in Mexico, you were starting fishing cooperatives, right? Helping people to learn about the benefits of working together instead of independently. What was that work like?
Marcos: It was like three or four careers in one: it’s marine biology, economics, and how does the project affect and benefit the community. We studied the land through topography and how the land behaves with the water. We made shrimp farms. We’d make big holes in the land so that the water filters more easily. We studied shrimp and the whole life cycle. From little one to big one.
Marina: You would go into the communities along the coast. What else would you teach people about? Would you teach them about the economics of it too?
Marcos: Yeah. I helped them to set up the fishing cooperative. I helped them to see the benefit of working in groups. Together. Not as individuals. I taught them how as one person the whole production exploits them. How the profits only benefit one person. But as a group there was so much more benefit. A lot of people woke up and started believing in the power of working as a group. And they’d change the director every year or two years.
Marina: Oh, wow! And did they see a benefit?
Marcos: Well, let’s see, in one group when I came, they didn’t have transportation as a group. When they worked together, they bought a car. When they worked together, they established the price of their product that was competitive. Before it was that someone would come and tell them, “I’ll pay this much for a kilo of shrimp.” So they didn’t set the price themselves. But now, they had three or four people who wanted their product, so it was more like an auction where one person would say, “I’ll give you 5 pesos Mexicano per kilo,” the other says, “No I’ll pay seven, no I’ll pay ten.” And whoever can pay the most, the whole co-op approves that. That was the benefit.
Marina: That’s really cool. Did you enjoy helping communities in that way?
Marcos: Yeah! Always I helped the community. Not only in that way, I helped in many ways.
Marina: Yeah. I mean, so much of your work since I’ve known you— because I didn’t know then— has been about helping your community. I remember how you really helped to create the Latino community in the churches in upstate New York. And even in the teaching that you do, it’s much more of a community. You teach more than just the content of the course. I remember hearing you talk about religion, spirituality, your philosophy on life, and engaging them in critical conversions about the world and their experiences in it.
Marcos: Yeah. When you were a little one I was working with Migrant Ministry. We helped people who got sick and anything the community needed. If they needed to go to the police or fill out forms, find shelter – anything. I worked with the clinic. You’d see how many people don’t have anything. They complain that they have pain, but they don’t know how to get the benefits or navigate the healthcare system. It was amazing how people never went to the doctor because they thought that because they worked on the farm they didn’t have any right to go.
Like Irina and Gerónimo. One day I went to the farm and she said, “I have a pain in my belly” and I said, “Go to the doctor.” The doctor thought I was her husband, I said, “No I’m not her husband.” He said, “She’s not going to leave today.” I said, “What do you mean?” He said, “She’s going to have her baby now. She’s pregnant and going into labor. How long has it been since she’s seen the doctor?” I said, “I don’t know.” I asked her and she said she saw a doctor once.
Marina: Wow!
Marcos: And then the baby was born in the hospital. A lot of stories like that.
Marina: Did you ever think about helping farm workers create a cooperative?
Marcos: No. In Mexico, yes. Not here.
Marina: It’s interesting because in the last four years, I’ve been doing a lot of work with cooperative economics and the benefits to the people and often even the land. So it’s cool for me to learn more about the work you did in Mexico because I’ve never heard the details. Doing the work I do now with cooperative economies feels like it’s a part of my family history and your legacy; what you have passed on to me.
Marcos: Well over here it’s different working in groups. Helping groups is easier. In Mexico helping people is more difficult and dangerous. Because of the caciques. Caciques means the person who controls the one little community, a rural community, an urban community. If someone comes and goes against the interest of the caciques, who is the controller, they’ll try to kill or silence you.
Marina: So it’s more dangerous to organize there.
Marcos: Yeah. That’s why I helped people, but what I did was behind the scenes. I created a group leader in the community and I taught them how groups have rights and obligations. I taught them and they taught the rest of the community. So when the caciques became aware of the organizing happening, there wasn’t a main leader in the group. The caciques couldn’t do anything. Because if I try to be macho and take credit for myself, they would have killed me. You didn’t have a chance. Now it’s different. The president [Andrés Manuel López Obrador] that we have now in Mexico, is a person who wants to help the whole country.
Marina: Have you seen changes in organizing people because of him being in office? Do you think there’s more possibilities for cooperatives in Mexico now because of him being in power?
Marcos: Yeah, because the whole system is changing now. The time I was there, the corruption came down from the president to the lowest positions in society. The police could kill you and nothing would happen. The narco traffickers could kill you and nothing happens. The politicians stole a lot of money and nothing happened. Now it’s different. The politicians steal money and something happens. The president has been there for three years now and it’s changed a lot. They created a new system. The leaders are not corrupt. Any leader who is corrupt is taken away. It’s not like, “Oh I can be corrupt and nothing will happen.”
The president has changed so many things. For example, he forces people to pay taxes. Under the other presidents for 50 or 60 years, the corporations didn’t pay any taxes. The banks didn’t pay taxes. The president holds a conference every morning for three hours, La Mañanera. In those three hours he informs the whole country about what’s going on. For a long time, the narco-traficos controlled most of the country. But now Manuel López Obrador says, “Abrazos no Balazos” (Hugs, not Bullets). And he came fighting the whole system. In the 70’s the newspapers and the TV said that he was going to make them communista. Two elections were stolen from him in 2006 and 2012 [because in Mexico elections are every six years]. And this last one, he won the election. It’s said that a politician paid $25 million to try and have him killed.
Since the 1990’s, Mexico has bought half of the oil refineries in Texas. Under the other presidents, the country didn’t see one penny of profits but in the last three years, this president has collected maybe $400 or 500 million dollars. A lot of presidents in the past have asked for a lot of money from the Banco Monetario Internacional. That bank belongs to the wealthiest families. Most presidents come to ask for money and in exchange they have to give the bank the country’s resources. In the past, Mexico’s presidents asked for a lot of money, they gave the resources to the corporations, and then they stole money that’s supposed to help the country, and the public paid the price of being in debt.
In the past if you stole money as a politician and nothing would happen, it was fine. But now if you steal money, this president has changed the rules. If you have money that’s not yours, it’s a crime. But the process of change is not easy.
Marina: Well, it’s been that way for a long time, so it will take time.
Marcos: All of this corruption started in the 70’s and 80’s. I remember the head of the Department of Security of Mexico was a friend of the president and when he started his term he only had an elementary school education but was working high up in the government. Some newspapers investigated him and they discovered so many mansions in Mexico. One place he had 600 cars he imported from another country. Millions and millions of dollars. Wealthy, not rich, wealthy. Now it’s different. This president has made a pension for all the older people. I think if you’re 65 and older, you get a pension. Like people here have social security. Before they got it, but it was like $20 a month and that was the pension [laughs]. It used to be that they had to go through a hard bureaucratic system, but now it’s direct. Now people have a debit card and they can go to the bank. Yeah the president has a lot of projects he’s started in Mexico like El Tren Maya, airports, and creating hospitals. It’s a lot. I like him.
Marina: Oh yeah. You know a lot about him and the work he’s doing. Have you ever thought about being a politician or running for office?
Marcos: No.
Marina: You never wanted to?
Marcos: No. They offered me like three times over here in Newburgh.
Marina: Really?! For what position?
Marcos: For a representative for the Latino community or an advisor on the Latino Community. They came several times to my house and said, “We would like for you to run for that position and blah blah blah.” And I said, “No, no, no, no.” And they asked why and I said, because, I help a lot with what I do now. And I’m working full time. I don’t think I have time to go to meetings and go to this place and that. And politics are so easy to get in trouble. If somebody doesn’t like you, they kill somebody and they say, ‘Lopez sent to kill them.’” Not easy.
Marina: So you felt like you could have a bigger impact in your community with the work you were already doing?
Marcos: Yeah, and that’s why I said, no, no, no, no. I need peace. I don’t need problems.
Marina: I remember when Matthew [my older brother] and I would be with you in Newburgh, young gang members would come up and give you big hugs and say, “Mr. Lopez!” You’d tell us about how this kid, or that kid was getting into trouble in school and got suspended or expelled. That’s how you ended up working with and getting to know them because you were doing home tutoring at the time. I loved hearing about how working with you impacted their life. Like they’d be several grades behind in math and you’d explain it in a way that they finally understood it. Or they couldn’t read well and you’d find ways to work with them and they’d start to feel more confident. I always thought it was like a super power how you could work with anyone and help inspire them. And not just the kids, but because you also worked in their homes, you had a positive influence on their parents too. I love how you’ve used your education and life experiences to affect change for so many people.
Marcos: Oh yeah. When you have an education, you can reach more people in different ways. You have a little more power to help people in easier ways. Let’s say you want to evangelize people but you go house by house because you don’t have a church, but if you become a priest or a pastor, then you can have a building and you can reach more people. In my case it was the same because I said, people don’t know the rules about co-ops, and they don’t know the technique to cultivate shrimp. I would like to learn and know so that I can help them. When you do something that you like and love, money comes by itself. You don’t even know where the money comes, but it comes from different sources. That’s my experience. It’s like when you lose something in your house and you look so hard you’re not going to find it. When you relax it comes along, “Oh it’s here!” For me it’s the same.
I didn’t study because I wanted a lot of money. I could have sold drugs and gotten a lot of money easily. I’m smart enough to make that kind of business successful [laughing]. But that was my perception when I was a kid, when I was a little one; to become a professional to help and reach more people in different ways. That’s why I studied there and that’s why I studied here. If I wanted money I could have learned construction and built houses and made money and that’s it. But I wanted to help people in different ways through education. I reached a lot of people in the school. I had 105 kids every year just in the school. Then I had like 100 people every year at the college. To help them. At this time, it’s time for me to relax and have it be easier in my life.
Marina: Yeah. You’ve worked so hard!
Marcos: I still work a little bit, but not like I used to. I still help my people in Mexico. My Aunt passed away so I sent some money. Or my Nephew, someone stole his gas tank so I sent some money. Now Ricardo, my brother’s ex-wife, has cancer and they call me so I’m helping them too. Your Tio Hiero’s kid, Marcitos is going to get married. Hiero called and said, “‘Manito, you know, help me out. My son is going to get married.” I said, “But it’s not my fault.” [both laugh] He said, “No, we’re going to make a party, can you send something?” I said, “Okay, I will try.” When they call me and say, “Tio, it’s my birthday I want you to send me some money.” I say, “For fun I don’t send any money, but for emergencies, I will try. But if you want a party, call everybody who’s going to come to the party and collect something. For fun I don’t have any penny. But when you have some emergency, why not, I try.” This is me.
At the end of the life, everything we do, we live happily or unhappily. Because at the end of the life, everybody passes away. This is the truth. Sooner or later, everybody passes away. And we came to this world to be happy, not to be unhappy. Most people are unhappy, not because they want to be unhappy, but it’s the system. The system forced them to do something that they don’t want to do. Or they want to do something, but they cannot afford to do that. And they don’t have the energy or support to fight and get whatever they want to get. They lost the faith to do that. In a Christian life, most Christians don’t have faith. That’s why they asked God, “God give me that, God give me that, God, God, God.” In a spiritual way, we do not ask, we give thanks. “Thank you for whatever I have. Thank you for whatever I don’t have. I don’t have it because I don’t need it. I have it because it’s a gift.” At the end of the life, we have to be busy in some way. And whatever you have, you don’t take it with you when you pass away. If you have a beautiful big house, if you pass away today, you’re not going to take it with you.
Marina: Nope. It stays here. Yeah. Thank you, Papa. You’re so wise.
Marcos: Yeah I mean mija, life is too short. Life is so beautiful. Life is a miracle. Life is so simple. We are complicated, not life. Today we are here. Tomorrow, we don’t know. Later in my life I have an understanding about human beings.
Marina: I love you. We’ll talk soon.
Jose Marcos Lopez Fonseca was born in La Polka, Mexico, a small fishing and agricultural village off the coast of Southern Mexico. He is the son of una mujer poderosa y fuerte, Zoila Fonseca. He began working at six years old to support his family of 12 siblings. His community embodied the values of cooperative economics and he often bartered his labor for food and goods his family needed. Marcos is one of the few of his siblings to have finished elementary school let alone high school. He is also the first person in his community to earn a Bachelor’s Degree which he received from Universidad Veracruzana, Mexico in Science. As an engineer and marine biologist, he worked along the coastal communities with fishermen in Mexico to adapt cooperative practices and implement best practices. On Christmas Day, 1986 he landed on U.S. soil for the first time in New York City and the next day welcomed his son into the world. Five years later, after the birth of his daughter, he began his studies at State University of New York at New Paltz where he would earn his Bachelor’s of Education. He also continued to explore his interest in theology at the General Theological Seminary in NYC.He has dedicated his life to helping people meet their needs, build community, and use education as a vehicle for connection and inspiration. He has instilled in his children to give generously, to care for others, and to find happiness in their lives.
Marina Maria Lopez is the daughter of this incredible man. His experiences, philosophy on life, and stories have deeply informed the ways in which she understands the world and her commitment to justice and equity. She is a performing and social practice artist, massage therapist/somatic educator, and cultural organizer. Her experience as a bodyworker is essential to her practice as an artist because we can’t separate the art from the body that makes it. Care work is culture work. As an artist, her work is an interdisciplinary weaving of many voices that links to history, social movements, and tradition. She is a co-organizer and creative collaborator with Art.Coop and co-coordinates a national Arts, Culture, Care and Solidarity Economy working group. Marina seeks to create work that articulates and provides an embodied cognition of the ways in which art, culture, and care are foundational within a thriving society and brings these undervalued, but essential elements into relationship within a public-sphere that creates access to embodiment as an experience, but also as discourse. Her work challenges the status quo of who we as a society uplift as expert voices, and inspires curiosity, collaboration, and solidarity.
The Art We Value
March 18, 2022
Text by Shelbie Loomis with Chris Emery
“I love reading some of the artist’s statements. There’s an art form there. Are you gonna be in the art show, as far as your artwork? Your portrait?”
CHRIS EMERY
I was first introduced to Chris Emery from afar. When driving into the Jantzen Beach RV Park, where I live, I would see him walking through the neighborhood and notice his dapper fashion: a black wool button up coat, iconic fedora, and long white beard. He resembled a close friend and grandfather figure to me, Vincent Mariani, which made me affectionately want to connect. I made mental notes to seek him out on my walks to try to strike up a conversation with him, to collaborate with him on an art project, or even just to know his name. Throughout the pandemic, I put the desire on the back burner, because I wanted to be sensitive to the possibility of exposure and protect as many people as possible.
A year later, though, I started to attend community events at the RV Park, like Bingo and the Wednesday Luncheons. I was surprised to get my secret wish to meet this mysterious man when he attended the luncheon and was sitting just one table away from me! When he walked into the room, I suddenly felt nervous. Not only had I built up my meeting with him in my head, but when I talked to others about the “gentleman in the fedora,” many people at the Wednesday luncheon talked about him as if he were a local celebrity. Summoning my courage, I sat down at his table to introduce myself and approach the “ask” of him being a part of The Art We Value: an art project where I draw residents with artwork that they select and value in the Jantzen Beach RV Park and the Hayden Island Mobile home Community. I’ve been using this project to claim what I’ve already been doing, getting to know my neighbors, while using the subject of art to do so. His reaction to my ask was one of humble gentleness that made me like him even more. “There have to be others that are prettier than me that you would want to draw!”, he would tell me over and over again. I tried to convey to him that I would not only be honored, but ecstatic to have the opportunity to draw his style and caring smile.
Chris Emery holding found artwork that was selected to be drawn with, photo by Shelbie Loomis, 2021.
Through text message, we planned to be at the RV clubhouse where he brought a found artwork that he bought at a garage sale in Alberta, Portland. Our conversation made me think about how gentrification has pushed many people to the edges of Portland into the next town, Vancouver, Washington (just over the state border) because it was cheaper. Living on Hayden Island in an RV perhaps was one step before being relocated from your home town completely. By talking through the lense of art, his stories, along with others, I’ve learned how the art that my neighbors select echoes lived experiences of ups and downs and ultimately what makes each person feel at home.
The following conversation is before I drew Chris’s portraits and the first time we sat down and talked about art and the Art We Value art project:
Shelbie Loomis: You were saying that you collect art and you have some in storage, but the size of the RV is kind of a limitation. Can you talk about that and what you like to collect?
Chris Emery: It is tough. Yeah. I started out collecting posters back in the 60s and had a gigantic collection of them.
Shelbie: What kind of posters were they?
Chris: Rock and roll posters. And I started doing light shows back then— liquid lights and stuff. The majority Experience Music Project- Jimmy Hendricks 1,000 posters. Another collection went to pay rent for 500 posters, private collectors. McMenamins Crystal Ballroom 30 or 40 rare and expensive. Another collection varies bands, X-ray, underground. Paying Rent and Storage. Bands and clubs, arts card.
The 1,000 poster collection went to the “Experience Music Project” now called the Museum of Pop Culture in Seattle Washington. Another collection went to pay rent when I sold a 1960s collection of 500 posters to a private collector. Then I sold 30 or 40 rare posters to the McMenamins Crystal Ballroom. I used to attend these events, and give out posters. Then I started collecting gallery cards that describe artwork or exhibitions. So at one time, I probably had maybe the largest collection of Portland gallery cards in Portland. I lost about half of them due to a water incident.
Examples of music posters sold to collectors. Images provided by Chris Emery.
Shelbie: So it sounds like you already go to galleries and art shows?
Chris: Oh yeah, for decades and decades.
Shelbie: Tell me a little bit about your history of how that’s been valuable to you?
Chris: I got into it because my sister was a beatnik, kind of. When I was 14 or 15, she got me involved in the music scene and introduced me to everybody. I was AFRU Gallery, Portland. going to be a beatnik. Then I started reading poetry. And then there was a showing at the Fountain Gallery with poetry readings that I went to and was like “Wow, this is cool and like a lot of fun.” And I’ve been going to galleries ever since. You know, tonight I’m going to AFRU Gallery, Portland. Have you ever heard of that? It’s really a cool one. It’s a gallery space that showcases eclectic work from emerging artists with monthly First Friday events. They have bands playing tonight. They’re gonna have Santa Claus wrestling. Wacky people, these artists… way fun people.
Shelbie: It seems like you’re an artist or poet yourself. Do you write poetry?
Chris: No, no, I write just for myself. I don’t have a publisher or anything like that. When I die, they will look at all my stuff and laugh. They’ll say, “Why didn’t they kill him earlier?” [laughs] Yeah, I did video special effects and titling for a video that I was working on. And then I got into silk screening, vinyl cutting, and ancillary services. Everything except actually doing anything.
Shelbie: I mean, I feel like it’s all the same vein, the same tree, the same family, you know. And especially the appreciation of the work that you have done in your life. What I’m really interested in is trying to understand my neighbors and I’m realizing that all of my neighbors have these wonderful, really rich lives they live. And they have such amazing histories.
Chris: Yeah, you get to put out a book with the text?
Shelbie: Yeah, I’ve been doing small projects in our RV park for the last three years. But I’m now concentrating on my thesis, called The Art We Value. The idea is that these portraits I draw of each of you with a piece of art you value will be put together in a show that I am going to show at the Northshore Club House, at the RV park. And then the drawings will be at the Jordan Schnitzer Museum of Art at Portland State University. So then you can come to your art opening. See yourself up on the wall!
Chris: As long as it’s not a wanted poster! Sounds like a good thing. How do you like Portland so far?
Shelbie: I mean, I’ve only been here in Portland for three years. So I’m learning so much about the culture and the history
Chris: And the bucks! Where are the bucks at? How are you going to put out a product, book, DVD, or sell the pieces themselves?
Shelbie: Well, I don’t know about selling the pieces quite yet. I think I just want to just do a local show here for the residents. And then there will be a publication. I don’t know about selling. I have a weird thing about selling artwork. I’m kind of one of those people that would just rather give them away, believe it or not. I will make sure to give you your own smaller versions to keep, along with a copy of the publication.
So, in your opinion, what is the value in art? Why should we have art?
Chris: What an interesting question. To me, one of the things that interests me is that art is being crammed and crammed into smaller spaces all the time. Dimensional art gives depth to a room; lighting techniques can expand space visually. With my stuff I like to assemble these pieces and then photograph them and then pack them away in boxes, never to see them again.
Shelbie: Can talk about your history of living in the park and how you came to be here?
Chris: I had a spot down on Alberta Street, where I was going to open an art gallery. I wanted to show photographs of people with their tattoos and 3D sculptures of their tattoos. But the rent went up, which kicked me out of Portland, and now, Oregon. I hate and loathe moving, so I have it all packed in the van. And now if I ever move, it’ll probably all fall in the dust. The van was the only viable option.
Shelbie: How long have you been here in the park?
Chris: About 10 years. I’m ingrown. [laughs]
Shelbie: As I’m getting to know everyone here, the park seems to create a type of relationship with neighbors. For example, if someone doesn’t have something, you go and ask your neighbor and there seems to be an exchange. Do you feel like there’s an exchange on your side of the park with your neighbors?
Chris: You know, I dumpster dive continuously. I hate to see good stuff get munched. So I drag it out and put it on my patio and if anybody comes up and they need something on the patio, they can have it. It also distracts the thieves that come through the park, so you know, it’s like, “Here, I have a bunch of useless stuff—fill your buckets! Just don’t grab anything that I might need for the van!”
Shelbie: I talked to a person in the park named Alan two years ago, who has been taking different things from the dumpster and likes making them into wonderful art pieces in his yard. The squirrels have been burying stuff in there and things are growing. He showed me a rose bush he keeps from a squirrel who buried a rose seed in his salvaged planters. The seed grew to be a rose bush and it’s his prized plant. It’s interesting how things take on a new life.
Chris: You know, I’ll pick up something and find later on that I needed it or somebody else needs it, or a missing part turns up and it’s pretty magical. I’ve got a piece that a friend of mine did for Burning Man. I don’t know if you’ve seen it, but it’s a guy with a hard hat, kind of hunched over. The squirrels have turned it into their home and its plants have grown over it and I can’t just bring myself to throw it away.
Shelbie: Is this out in your front yard? Do you have a picture of it? I’d love to see a picture of it.
Chris: Yeah, I could bring a picture to next Wednesday’s Luncheon at the clubhouse. He did this really great thing that I hadn’t anticipated. He even helped me move it into the car. He gave me this DVD on how it was made and what it looked like at Burning Man. You know, that’s one thing I like about art is when people give you something they like– they are conversation starters. You have this little hidden bit of knowledge. It’s like “Ooh, well, let me tell you about this!” I love reading some of the artist’s statements. There’s an art form there. Are you gonna be in the art show, as far as your artwork? Your portrait?
Sculpture from Burning Man, picture taken and provided by Chris Emery, 2022.
Shelbie: Oh, that’s a good question. No one has asked me that. I’ve thought about drawing my partner, to put him in the project. But I haven’t selected myself. That’s a good question. What do you think?
Chris: I think you definitely should.
Shelbie: It’s not vain? To include myself in this project with a portrait?
Self Portrait of Shelbie Loomis requested by Chris Emery,
Drawing by Shelbie Loomis, 2021.
Chris: Oh no! Hey, one of those things about starving artists, you gotta get out of the basement and get out there. “Hey, I’m here! Give me money!”
Shelbie: You know, I’m in this program called Art and Social Practice. It’s graduate students who work out in the community in different capacities. And one of the things social practitioners like to constantly debate is how much we put ourselves in the project. Because what we really center is the community that we’re working with.
Chris: You’re a part of this community.
Shelbie: You’re right. It’s a great ongoing conversation about how much do we insert ourselves (artists), and how much do we not insert ourselves within projects about the community? I didn’t think about that until you just brought that up. And now I’m gonna go home and I’m gonna contemplate my whole life. Um, wow, Chris, you have me stumped. Thank you for that. That’s a gift to me. I think at this point, because you brought it up, I probably will. It’s gonna be weird drawing myself.
Shelbie Loomis (she/her) is a socially engaged artist and illustrator. She makes projects and drawings with communities and participants about complex grieving, alternative housing, and exchange culture through times of crisis. Originally from Santa Fe, New Mexico she now lives in Portland, Oregon.
Chris Emery (he/him) is a collector, thinker and appreciator of poetry, art, music and utopian literature. He has worked in tech and hospitality. His collections include music posters and ephemera from bands and clubs in the 60s, 70s and 80s from when he worked helping with light shows for bands like the Grateful Dead and the Byrds. He is affectionately referred to as a renaissance man of many philosophies. Chris Emery describes himself in the following way: I am a semi structure in time spaces. And neither am I. Take that Shorder.
It’s Hard to Imagine Myself as a Curator
March 18, 2022
Text by Mo Geiger with Abigail DeVille
Abigail DeVille responds to some questions via text message
Mo Geiger with Abigail DeVille
“History is felt, I’m always thinking about how can we experience history bodily.”
ABIGAIL DEVILLE
Last summer, I visited artist Abigail DeVille at a gallery in New York City’s Chinatown where she was installing a show called The Museum of the African’s Experience in America: the work of Biko curated by Abigail DeVille. In the gallery space, bright light illuminated white pegboard walls where broken mirror pieces reflected an expansive, salon-style view of highly textured paintings, collaged found objects, and historical printed material. Around the corner, a large wooden china cabinet displaying ephemera and memorabilia invited further exploration. Through a doorway was another room filled with large sculptures, portraits, and three-dimensional wall pieces scattered across deep blue walls and pedestals under a celestial sky of lightbulbs. In her introduction as curator, Abigail wrote of the artist: “BIKO is a lover. Lover of all things Black and a preserver of the stories held within the body of the Black experience in America…. Biko and I share the same artistic DNA, using the impulse of history as the most critical and elusive material to wield.” Her own artistic hand was visible in the gallery, and those gestures were in service to Biko.
Later, on the train leaving the city, I began to wonder if Abigail viewed her curation of Biko’s work as part of her artistic practice. In the Art and Social Practice program at Portland State, we often discuss the ways that repositioning an artist’s role in a project, claiming unconventional elements of a project as art, and using collaborative methods can add layers of meaning to an artwork. The context of this show seems like one for fruitful discussion related to these topics, as it was primarily about centering Biko’s work, but two artists developed the space together.
Biko is an artist and museum creator who lives in Pittsburgh, Pennsylvania, and Abigail wanted to bring his varied work to a larger audience. To prepare for his first solo show in New York City at 601Artspace, Abigail worked with Biko to select and compile works from his collections. In an interview published in the Pittsburgh City Paper in 2005, Biko explained that his Museum of the African’s Experience in America at the time held over 13,000 objects and started with a Black Panther button he got in 1969. In this ongoing work, some objects appear as he finds them and others he transforms. He blends archival and art practices by annotating collected objects with collage, paint, found materials, papier-maché, reproduction, and portraiture. In a recorded conversation that accompanied the show, Abigail spoke with Biko and fellow Pittsburgh artist Christine Bethea about their friendship, his work, his process, its origins, and the way they see it in relation to their community and other people. In her own work, Abigail makes site-specific sculptures and installations with symbolic found materials to excavate lost, buried, and marginalized experiences. She builds cosmic spaces that vacillate between layers of past and present and future, propelled by the weight of the materials she uses and her exhaustive research.
Their obvious symbiosis in the show’s physical environment made me want to ask her about how she now considers herself within it — how does reverence, collaborative curation, and her artistic hand factor into the way she sees her role in showing Biko’s work? To me Abigail is a friend and an inspiration, and I’ve provided fabrication support for several of her performance-based works. She reminds me to search for what is hard to find, and I always learn a lot when speaking with her. One night, months after the show closed, I asked if she had time to answer a few of my questions informally via text message.
Mo Geiger: In this art and social practice program, we talk about the forms that collaboration can take, and the meaning of it in different contexts. Do you think about the Biko show as part of your own art practice?
Abigail DeVille: I think that is what initially drew me to his work. The rawness and honesty in his storytelling. There is a relationship he has with material that I admire. Sometimes in large-scale projects with many moving parts, you forget about the original relationship between you and material.
Mo: Yeah I could absolutely see that in the pieces — an intense relationship. But what’s your role in the curation of his work and that show in particular, as an artist and excavator of stories and material? Sharing them with a different audience outside of Pittsburgh?
Abigail: I think it’s hard to imagine myself as a “curator.” I was approaching it as an artist creating a platform for viewing. I wanted to create a space that would elevate the work for a New York audience. I did want his story to travel. We are currently working on proposing the show to multiple institutions in the south and midwest.
I thought his collection story was interesting and I hope to reconstruct as much of it as possible for future iterations.
Mo: Ah that’s amazing!! It’s really striking work that seems to want to move around and be alive. Can you describe what attracted you to his collection story? And what do you mean by reconstructing?
Abigail: He had many objects that seem to have been lost over the last 10 years. During multiple health crises. I know he had more than one [ku klux] klan uniform, slave shackles, etc. I don’t know where these items are but I hope to recover them in addition to some more examples of his papier-maché sculptures.
He talked about working for a guy named Oran Z that had a very large collection of Black memorabilia.
Screenshot of link to a radio segment that Abigail sent: Through the Looking Glass of Black Americana: The Long, Strange Journey of Oran Z
That’s what inspired him to create his own.
Mo: I didn’t realize he witnessed a collection and then wanted to build another. Did you feel a connection between your own process of working with material, and the act of compiling stories, sculptures, and significant objects with him?
Abigail: I think there is a definite kinship. He processed his own experiences, relationships into powerful portraits. He is honoring and historicizing his present and honoring our collective past through the preservation of the objects he collected. He was also using them as an education tool and gave multiple workshops for community groups for many years. His project feels radical in an intimate way. I don’t know if my work has the same kind of intimacy. I think because of the scale I’m speaking to a large national collective consciousness.
Mo: I could feel your deep respect for Biko and this work in the rooms. I just sat there and felt it for so long before it was even done. Ok, one more question, speaking to those spatial strengths: can you describe what you made it feel like to walk through space? How did Biko and his spirit help you figure that part out?
Abigail: I think I was responding to the ambition of the work. The color blue especially. The BBC has a documentary series I refer to a lot. One specifically about the history of the color blue. Blue is the color of our dreams. It’s the last color named in almost every language. It was originally a variant of black. It has a deep history for African Americans. I think there are vague references to Yemanya and the Atlantic ocean as a mass grave and a storage place for buried treasures. I wanted to create this dream space for Biko’s portraits. The coolness of blue was a perfect counter to the hot palate of Biko’s work. The storefront with pegboard was thinking about storefront museums and historical societies. Who has the authority to retell history? We are all historians. History is felt, I’m always thinking about how can we experience history bodily.
Screenshot of youtube link Abigail sent: BBC documentary History of Art in Three Colors 2of3: Blue
Mo: Was building a platform for him an artistic act? In it, were you channeling the intimacy he created in works physically smaller than yours?
Abigail: It was an artistic act. I think I played to my strengths of organizing information spatially. I am not sure his work has been given the same consideration in the presentation. His art is all heart and it was my way of honoring him to set the stage for viewing.
Abigail DeVille (she/her) is an artist whose recent exhibitions include Light of Freedom at Madison Square Park, New York and the Hirshhorn, Washington D.C., Brand New Heavies at Pioneer Works, New York, and The American Future at PICA, Portland. DeVille’s work has also been exhibited at The Whitney, Institute of Contemporary Art in Los Angeles, The Studio Museum in Harlem, New Museum in New York, the Punta Della Dogana in Venice, Italy, and the Stedelijk Museum in Amsterdam. DeVille has designed sets for theatrical productions at venues such as the Stratford Festival, directed by Peter Sellers; Harlem Stage, La Mama, and Joe’s Pub, directed by Charlotte Brathwaite. She has received a fellowship at the Radcliffe Institute, a Creative Capital grant, and an OBIE for design; and has been nominated for The Future Generation Art Prize in the 55th Biennale di Venezia. DeVille was the Chuck Close/Henry W. and Marion T. Mitchell Rome Prize fellow at the American Academy in 2017–2018. She teaches at Maryland Institute College of Art and is a critic at the Yale School of Art. More info is available here.
Mo Geiger (she/her) is an artist and graduate student in Portland State University’s Art and Social Practice MFA program. Trained as a theatrical designer and technician, her work now blends elements of sculpture, craft, social practice, and multimedia performance. She creates interdisciplinary, often collaborative, site-specific artworks and designs that have appeared in art galleries, theaters, museums, public places, and local organizations. She is a co-founder and member of Valley Traction performance collective, and she is based in Boiling Springs, PA. More info is available here.
A Country Without Traditions is like a House Without Books
March 18, 2022
Text by Diana Marcela Cuartas with Luna Flores
Diana Marcela Cuartas with Luna Flores
Text by Diana Marcela Cuartas
Translated by Camilo Roldán
Spanish version below
“A country without traditions and without culture is a gray country. It’s like a house without books. When there are books, you see the imagination of everyone who lives there and the people who read them. That’s what Día de Muertos adds: culture and roots.”
LUNA FLORES
A book for the travel ritual is a collaborative project between Diana Marcela Cuartas and a group of six mothers who have immigrated from Mexico to Portland, Oregon. It explores different aspects of how Día de Muertos [Day of the Dead], a major celebration for the Mexican culture’s heritage, is celebrated within the diaspora. As a part of the project, I invited the poet, Luna Flores, to lead a writing workshop with the group of moms about calaveritas literarias [little literary skulls]. This is a literary genre written as satirical verses of epitaphs for people still alive that is very popular during this holiday.
Luna is a Mexican radio host and cultural organizer who has been living in the United States for 21 years. She was one of the organizers for the first public celebrations of Día de Muertos in Portland. In this interview, she tells us about her process of adapting as a Mexican immigrant, the way Día de Muertos celebrations have developed in Portland, and her vision for calaveritas literarias as a space for expressing social critique and cultural values.
Calavera de la Catrina, José Guadalupe Posada, Mexico City, c. 1910
Diana Marcela Cuartas: Tell us about your arrival in Portland: How did you adapt? Was there something you missed in this new environment?
Luna Flores: I arrived by chance. I was passing through the United States because I wanted to go to Canada, and then to Europe. But fate kept me in Texas for a few months, where I had a job disassembling computers, which happened to be what I had studied in Mexico. From there I came to Portland because a friend put me in touch with someone who could help me, and I wound up living here. But in reality, I never had a chance to miss Mexico. I never had a chance to yearn for the food or the celebrations, because the family that took me up here is very rooted in the traditions, in Christmas festivities and las posadas [nine days of thematic celebrations leading up to Christmas]. I didn’t miss Dia de Muertos that much. Seven or eight years had to go by in Portland before I realized that I missed that situation.
Diana: The way you tell it, it sounds like the family that you found, in one way or another, was well adapted to life in Portland, and I wonder how that happens. In my case, as a Colombian, it doesn’t feel easy, but I see that the Mexican community has managed to adjust in a way that lets them hold on to some part of their essence, and they continue to flourish culturally, as Mexicans and migrants. If someone wants pozole, they can find a place where they serve it. In my case, I feel like it’s hard to satisfy those, let’s say, cultural “cravings” that I might feel as a Colombian.
Luna: I think it’s important to remember that we didn’t cross the border. That is, they put up a fence in a land that had been and was Mexican. For us, it’s an advantage to be so close to the United States because if I feel like having parsley with green chili, I can hop the border and bring the chili and parsley with me and eat it in the United States. It’s an advantage that we have as Mexicans. There’s also the fact that we have a lot of solidarity. If you’re new to Portland and you ask for help, they’ll surely find you a job at a fast-food chain or department store and they’ll help you settle in.
But I’ve also seen friends from South America who come here and struggle to find compatriots or people who speak their language. They have a hard time living among the Americans without being able to express their identity, whatever it may be. And I’ve noticed that in other cases, they feel embarrassed and they shrink away from it. Mexicans don’t give a damn because we have a deep-rooted nationalism. In my case, I will never deny where I come from, what I am or what I represent, politically or artistically.
Diana: So, basically, it’s having the border that allows the Mexican community to adapt a little more easily to this environment. That makes a lot of sense.
Now, changing the subject a little bit, I understand that you were one of the pioneers in celebrating Día de Muertos in Portland. Can you tell me about that experience?
Luna: I was working as a radio host on KBOO Community Radio and a Chicana friend asked me if I remembered Día de Muertos. She said she was organizing a celebration and we started to talk about our experiences and our ideas. The first thing I remembered were the calaveritas literarias, and we included them as part of the programming. We had a lot of meetings at her house in North Portland, and from there we went on to create the celebration at Holocene in 2006.
There were tamales and pan de muerto. One of the organizers brought a mariachi band and we put together a walk through the nearest cemetery. There were children, candles, people formally dressed, and catrines and catrinas [elegantly dressed men and women with sugar-skull makeup]. You have no idea how incredible it was. We did it again the next year and it was also a huge success. The third year we did it in the Crystal Ballroom and by then there were also celebrations in Hillsboro, Salem, and Beaverton, and it kept growing over the following years.
Crystal Ballroom celebration poster, 2014. Image courtesy of Luna Flores
Diana: Who was the public for that first celebration?
Luna: Mostly Latinos and Mexicans, a few Gringos. I remember a really interesting scene at the Crystal Ballroom celebration where some people dressed up as zombies tried to come in and the bouncers wouldn’t let them in. They told them it wasn’t that kind of event because they clearly understood that it was about Día de Muertos, not zombies or Halloween.
Diana: Personally, I’ve enjoyed this celebration because I feel like it gives a feeling of collective care that’s important for a community, especially in countries like ours where there is so much violence and death. I think that if Colombia had a celebration like that, it would help us to heal a lot of pain that we haven’t had a way to process beyond the rituals that each person has for their loved ones when they die.
What do you think Día de Muertos adds to society?
Luna: Well, the resignation that one day you will die and you will be celebrated. It represents traditions, imagination, and culture, because a country without traditions and without culture is a gray country. It’s like a house without books. When there are books, you see the imagination of everyone who lives there and the people who read them. That’s what Día de Muertos adds: culture and roots.
Diana: To finish up, what are the calaveritas literarias?
Luna: The calaveritas literarias are something that started as a way of mocking the upper classes. They came around in late 1890, under the government of Porfirio Díaz, a president who was the first official dictator in the history of Mexico, who centered on a policy that glorified everything from Europe, especially from France. He set out to make big buildings, like the National Palace, the Palace of Fine Arts and the Main Post Office in Mexico City.
Porfirio Díaz did those kinds of things, and he was obviously leading the country toward huge economic developments. At the same time, under the rug, there were also millions of illiterate people living in poverty who didn’t enjoy any of the privileges of this “progress.” So, in the leftist newspapers they drew cartoons criticizing the government, and for Día de Muertos they started to make these critiques in the style of epitaphs that mocked the bourgeoisie. That was the beginning of the calaveritas literarias. It was a kind of rebellion that became a custom, and it coincided with the revolution and the fall of Porfirio Díaz. But the tradition continues because, although the revolution came to an end, the inequality did not, and the calaveritas literarias stuck around over time.
Currently, it’s basically an epitaph that can be about you, my teacher, or my governor. It’s based on the history of the person who is writing it, and it has to rhyme and have a resolution. Something I love about the calaveritas is that, more than critiquing, it’s an opportunity to analyze the characteristics of my friends or the person I am writing about; that’s the most exciting part to me. Another interesting thing is that, in traditional calaveritas literarias, it’s assumed that death will send you to the underworld, but not in mine; in my calaveritas they escape death in the end, and that’s part of the way I write.
Diana: What do you hope will happen with the calaveritas literarias creative writing workshop as a collective experience?
Luna: That this beautiful writing exercise will become more well-known and the tradition won’t be lost. I hope that everyone wants to participate fearlessly and will realize that we can all write, so future generations will learn to do it and keep the practice alive.
Luna Flores (she/her) was born in Mexico City where she pursued technical studies and literary writing at the Museo Universitario del Chopo. She began writing poetry when she ran out of tears to shed for a lost love, and she has been a frequent participant in Voz Alta, a narrative project about the Latino community in Oregon. As a Portland resident since 2000, she has been a contributor for KBOO Community Radio and other radio initiatives that offer Spanish language programming focused on Latin American art and culture.
Diana Marcela Cuartas (she/her) is a Colombian artist, educator and culture worker residing in Portland since 2019. She is currently a student at the Art and Social Practice MFA program at Portland State University. As a family engagement specialist for the Latino Network’s education department, she creates spaces for immigrant families to meet and learn within the afterschool programs offered by Portland Public Schools.
Un país sin tradiciones es como una casa sin libros
Diana Marcela Cuartas con Luna Flores
“Un país sin tradiciones y sin cultura es un país gris. Es como una casa sin libros. Cuando hay libros encuentras la imaginación de todos los que la habitan y la gente que los leyó. Eso aporta el Día de Muertos, cultura y raíces.”
LUNA FLORES
Un libro para el ritual de viaje es un proyecto colaborativo entre Diana Marcela Cuartas y un grupo de seis madres de familia inmigrantes mexicanas en Portland que explora, desde la diáspora, diferentes aspectos de una celebración tan importante para el legado cultural Mexicano como lo es el Día de Muertos. Como parte del proyecto, invité a la poeta Luna Flores, a liderar un taller de creación de calaveritas literarias con el grupo de madres. Se trata de un género literario escrito a modo de versos satíricos con epitafios para los vivos, y que es muy popular durante esta celebración.
Luna es conductora de radio y gestora cultural mexicana, residiendo en Estados Unidos desde hace 21 años y fue una de las organizadoras de las primeras celebraciones públicas de Día de Los Muertos en Portland. En esta entrevista, nos cuenta de su proceso de adaptación como inmigrante mexicana, la manera en que se ha desarrollado la celebración de Día de Muertos en esta ciudad, y sus visiones sobre las calaveritas literarias como medio expresivo de crítica social y valores culturales.
Diana Marcela Cuartas: Cuéntanos de tu llegada a Portland, ¿cómo fue tu proceso de adaptación, había algo qué extrañaras en este nuevo entorno?
Luna Flores: Llegué por casualidad. Yo venía de paso a Estados Unidos porque quería viajar a Canadá y luego a Europa. Pero el destino me detuvo unos meses en Texas, donde trabajé desmantelando computadoras, que casualmente era mi carrera en México. De ahí vine a Portland porque una amiga me contactó con alguien que me podía ayudar y aquí me quedé viviendo. Pero en realidad nunca tuve oportunidad de extrañar México. Nunca tuve oportunidad de añorar la comida o las celebraciones porque llegué a una familia muy arraigada a las tradiciones, a celebrar la navidad y las posadas. El Día de Muertos no lo extrañé tanto. Tuvieron que pasar siete u ocho años desde que llegué a Portland hasta que me dí cuenta que me hacía falta esa situación.
Diana: Como lo cuentas suena que la familia con la que te encontraste de alguna manera estaba bien adaptada a la vida en Portland, y me causa curiosidad cómo se logra eso. En mi caso como colombiana siento que no es fácil, pero veo que la comunidad mexicana ha logrado adecuarse para conservar algo de su esencia y seguir desarrollándose culturalmente como mexicanos y migrantes. Si alguien quiere un pozole, puede encontrar donde comerlo. En mi caso siento que no es nada fácil “satisfacer”, por decirlo de algún modo, los “antojitos” culturales que pueda tener como colombiana.
Luna: Creo que es importante recordar que nosotros no cruzamos la frontera. O sea, pusieron una cerca en un territorio que ya estaba y era mexicano. Para nosotros es una ventaja tener esa cercanía con Estados Unidos porque si se me antoja un perejil con chile verde, me brinco la frontera, me traigo el chile con perejil y me lo como en Estados Unidos. Esa es una ventaja que tenemos los mexicanos. También está el hecho de que somos muy solidarios. Si tu llegas nuevo aquí a Portland y pides ayuda, seguramente te van a mandar a trabajar a una tienda de cadena o comidas rápidas y te van a ayudar a establecerte.
Pero también me ha tocado ver amigos de Sudamérica, que llegan y le batallan en encontrar compatriotas o gente que hable su idioma. Se las ven duras entre los gringos sin poder expresar su identidad, sea la que sea. Y he notado que en otros casos les da pena, se achican; pero a los mexicanos nos vale madre porque tenemos un nacionalismo bien arraigado. En mi caso, nunca voy a negar de dónde vengo, lo que soy, ni lo que represento, ni políticamente ni artísticamente.
Diana: Entonces, básicamente es la condición de frontera la que permite que el pueblo mexicano se pueda adaptar un poco más fácilmente en este entorno. Tiene todo el sentido.
Ahora, cambiando un poco el tema, tengo entendido que fuiste de las pioneras en la celebración del Día de Muertos en Portland. ¿Podrías contarme de esa experiencia?
Luna: Yo estaba trabajando como locutora en KBOO Community Radio y una amiga chicana me preguntó si me acordaba del Día de Muertos. Me comentó que estaba organizando una celebración y empezamos a conversar de nuestras experiencias y compartir ideas. Lo primero que me vino a la memoria fueron las calaveritas literarias y las incluímos como parte de la programación. Tuvimos muchas reuniones en su casa en North Portland, y de ahí pasamos a hacer la celebración en Holocene en 2006.
Había tamales y pan de muerto, una de las organizadoras trajo mariachis e hicimos un recorrido por el panteón más cercano. Había niños, velas, gente vestida de gala, catrines y catrinas. No tienes idea lo increíble que fue. Lo repetimos al año siguiente y también fue un tremendo éxito. El tercer año lo hicimos en el Crystal Ballroom y para ese entonces ya habían surgido celebraciones en Hillsboro, Salem, Beaverton, y continuaron expandiéndose en los siguientes años.
Diana: ¿Quién era el público de esa primera celebración?
Luna: En su mayoría latinos, mexicanos, uno que otro gringo. Recuerdo una situación muy interesante en la celebración del Crystal Ballroom en donde algunas personas disfrazadas de zombis intentaron entrar y los guardias no los dejaron. Les dijeron que de eso no se trataba el evento porque ya de antemano entendieron que se trataba del Día de Muertos, no de zombis o halloween.
Diana: Personalmente me ha gustado esta celebración porque siento que brinda un sentimiento de cuidado colectivo que es importante como comunidad. Sobre todo en países como los nuestros donde hay tanta violencia y muerte. Pienso que si Colombia tuviera una celebración así, nos ayudaría a sanar muchos dolores que no hemos tenido la oportunidad de procesar más allá de los rituales que cada quién le hace a sus seres queridos cuando mueren
¿Tú qué piensas que el Día de Muertos le aporta a la sociedad?
Luna: Pues la resignación a que un día vas a morir y vas a ser celebrado. Representa tradiciones, imaginación y cultura, porque un país sin tradiciones y sin cultura es un país gris. Es como una casa sin libros. Cuando hay libros encuentras la imaginación de todos los que la habitan y la gente que los leyó. Eso aporta el Día de Muertos, cultura y raíces.
Diana: Para terminar ¿qué son las calaveritas literarias?
Luna: Las calaveritas literarias son algo que empezó como una expresión de burla hacia la clase alta. Surgieron hacia finales de 1890, cuando gobernaba Porfirio Díaz, un presidente que fue el primer dictador oficial en la historia de México, quien giraba en torno a una política donde todo lo que venía de Europa, especialmente Francia, era muy bien visto. Se ocupó de hacer grandes edificaciones, como el Palacio Nacional, el Palacio de Bellas Artes, y el edificio de Correos en la Ciudad de México.
Ese tipo de cosas las hacía Porfirio Díaz y obviamente estaba llevando al país a un desarrollo económico tremendo. Al mismo tiempo, debajo de la alfombra, también había millones de pobres y de analfabetas que no gozaban de ningún privilegio de este “progreso”. Entonces en los periódicos de izquierda se hacían caricaturas criticando al gobierno y para el Día de Muertos empezaron a hacer críticas a modo de epitafios burlándose de la burguesía. Ese fue el inicio de las calaveritas literarias. Fue una forma de rebelión que se hizo costumbre, y coincide con la revolución y la caída de Porfirio Díaz. Pero la tradición continúa porque, aunque la revolución acabó, la desigualdad se mantuvo y las calaveritas literarias siguieron con el paso del tiempo.
Actualmente se trata básicamente de un epitafio que te puedo hacer a ti, a mi maestro, o a mi gobernante. Se basa en la historia de la persona a la que se le escribe, y tiene que llevar una rima y una conclusión. Algo que me encanta de las calaveritas, más que criticar, es esa oportunidad de analizar las características de mis amigas o de la persona a la que se la voy a escribir, esa es la parte que más me emociona. Otra cosa interesante es que en las calaveritas literarias tradicionales se supone que la muerte te lleva al inframundo, en las mías no, en mis calaveritas, al final se salvan de la muerte, y es parte de mi manera de escribir.
Diana: ¿Qué esperas que suceda con el taller de creación de calaveritas literarias como una experiencia colectiva?
Luna: Que se dé a conocer éste hermoso ejercicio de escritura y no se pierda la tradición. Espero que todas se animen a participar sin miedo y a darse cuenta que todos podemos escribir, para que las generaciones futuras lo aprendan y lo practiquen.
Calaveras del Montón – Grabado de José Guadalupe Posada, 1910
Luna Flores (ella) nacida en Ciudad de México, cursó estudios técnicos y literarios de escritura en el Museo Universitario del Chopo en la Ciudad de México. Empezó a escribir poesía cuando ya no tenía más lágrimas que derramar una ruptura de amor y ha participado en múltiples ocasiones en Voz Alta, proyecto de narrativas sobre la comunidad latina en Oregon . Residente de Portland desde el 2000, ha sido colaboradora de KBOO Community Radio y otras iniciativas radiales ofreciendo programación en español enfocada en arte y cultura latinoamericana.
Diana Marcela Cuartas (ella) es una artista, educadora y trabajadora cultural colombiana, radicada en Portland desde 2019. Actualmente es estudiante de 2do año de Maestría en Arte y Práctica Social en Portland State University y trabaja en el departamento de educación de Latino Network, como especialista en participación familiar, generando espacios de encuentro y aprendizaje compartido para familias inmigrantes a través de programas extra curriculares en escuelas secundarias de Portland Public Schools.
Credits
March 17, 2022
Text by PSU Art + Social Practice
Editors
Emma Duehr Mitchell and Becca Kauffman
Web Publishing
Emma Duehr Mitchell
Copyeditors
Becca Kauffman, Emma Duehr Mitchell, and Caryn Aasness
Advisors
Lisa Jarrett and Harrell Fletcher
Journal Concept
Harrell Fletcher
Cover
Cover Design: Gilian Rappaport
Cover Production: Laura Glazer
Contributors
Gilian Rappaport with Carla Kaya Perez-Gallardo
Becca Kauffman with Fernando Perez
Justin Maxon with Leon Patterson and H. “Herukhuti” Sharif Williams PhD
Kiara Walls with Harrell Fletcher
Rebecca Copper with Marti Clemmons, Gilah Tenenbaum, and Katharine English
Caryn Aasness with Wesley Chung
Olivia DelGandio with Barbara Caulfield
Laura Glazer with Jessica Cline
Luz Blumenfeld with Roya Amirsoleyamni
Lillyanne Phạm with Karena Salmond
Marina Lopez with Jose Marcos Lopez
Shelbie Loomis with Chris Emery
Mo Geiger with Abigail DeVille
Diana Marcela Cuartas with Luna Flores
Special Thanks
Eric John Olson
Logo Design
Kim Sutherland