Still from Katie Cercone’s Daddy in Furs, 2010

an evening of video & performance

Katie Cercone, Audrey Chan, Jeseca Dawson,
Jessica Dolence, Kara Hearn, Gelare Khoshgozaran,
Michele Jaquis, Melissa Potter,
Linda Ravenswood, and Nooshin Rostami

Curated by Launa Bacon and Cindy Rehm

Saturday December 3, 7-9pm

929 North Oakland Ave, Pasadena, CA 91104

Craftswoman House is honored to present Bloodlines, an evening of video and performance from 7-9pm in conjunction with the closing of the exhibition Stemma. Like the matriarchs of the second-wave, these artists make work that reflects women’s lives and experiences. They explore subjects of gender, identity, domestic life, and the female body, through video and performance.

Daddy in Furs, Katie Cercone’s contemporary version of Sacher-Masoch’s Venus in Furs, is a playful narrative about gender, race, and class, as two androgynous youths grapple with issues of idealized love. Daddy in Furs satires the affairs of the consumer doomed to privatize what is actually a collective experience of isolation and escape. Cercone’s Queen Candy Bile records a private act of (trans)aggression acted out against a duo of tween heartthrobs. The work recalls the artist’s tortured bulimic youth and paints a rainbow sherbet bridge between the consumption of sweets, icons, and popular music, as she turns them into a prosthetic boyfriend.

Audrey Chan is a Los Angeles-based artist, writer, and educator whose work addresses civic discourse, rhetoric, and the feminist construct of “the personal is political.” She will perform her homage to feminist powerhouse Judy Chicago.

Jeseca Dawson is a video performance artist and photographer who explores issues around systemic violence in American culture. Her video, Girlfriend I depicts a M.I.L.F. gone wild in an ecstatic expression of patriotism in her own kitchen. The work is inspired by second-wave feminist video art that focuses on issues around identity and self-worth.

Jessica Dolence’s Drift negotiates the space between land and water through non-linear narratives and hybridized digital abstractions. Maya Deren’s At Land plays on the television, as an audible rhythm echoes through the space calling up images of the sea. The landscape becomes dislocated as Deren moves and adapts to a new territory.

Kara Hearn’s E.T. is part of her series Reincarnated Scenes. The series features her efforts to degrade and venerate the heroics of Hollywood movies through reenactments. She uses the most straightforward techniques of cinema to recreate narratives that are stripped of everything but the pathos inherent in the medium.

In The Playfulness of Being Amnesiac I, Gelare Khoshgozaran recreates a game that was popular in the schools of Iran where she was born and raised. Reminiscent of the Halloween game of bobbing for apples, a person tries to bite an apple hanging from a string that is held by another person who has relative agency and control over it. Khoshgozaran recontextualizes the game as a performance in her studio, showing the exhaustion and dizziness of the obsessive action. The repetition of the gesture has a numbing effect that creates a condition of amnesia, allowing one to forget the pain, endure, and repeat the struggle.

Michele Jaquis’ unitl i can speak my mind was inspired by a recurring dream that she and her twin sister had for several years. “In the dream we are chewing gum and no matter how much gum we attempt to remove from our mouths there is always too much still inside. My sister believes that once she is given, or gives herself, permission to voice her opinion about a pressing issue, the dreams subside.”

Melissa Potter’s Boy Brides & Bachelors is an animated video shot on a cold January night in Southeastern Serbia during a ritual called Surovar in which men dress as women and engage in pretend sexual acts with village bachelors. Potter uses stop motion animation to engage questions about the underlying meanings of the ritual, as she brings attention to her inability to translate the mysterious pagan ceremony, and complicated nuances of gender itself.

Linda Ravenswood recollects detritus of her life in the city of Los Angeles, through impressionistic works that are part narrative and part ceremony. Her performance When my back is turned, explores a desire to engage her memories of “otherness” through a tension between immobility and growth.

As a woman artist from Iran, Nooshin Rostami’s art practice explores the doubts, questions, and fears that she never dared to express inside her home country. Her video Prayer, questions the “godly duties” that are foisted upon young Muslim boys and girls, as they are expected to faithfully assume their religious obligations. The video juxtaposes a recording of Azan -the call for prayer- from Iranian national TV, with a private ritual.


Ursula Brookbank, Betsy Davis, Jessica Dolence,
Park McArthur, Alyce Haliday McQueen, Angela Simione,
Lisa Wiscombe and Liz Young

Curated by Launa Bacon and Cindy Rehm

November 11 - December 3, 2011
Opening reception: Friday November 11, 7-9pm
Closing: Saturday December 3, 7-9pm

929 North Oakland Ave, Pasadena, CA 91104
Open by appointment only, contact:

Craftswoman House is honored to present Stemma, a group exhibition featuring the work of Ursula Brookbank, Betsy Davis, Jessica Dolence, Park McArthur, Alyce Haliday McQueen, Angela Simione, Lisa Wiscombe and Liz Young. The exhibition will run from November 11 to December 3, with a closing featuring Bloodlines, an evening of video and performance from 7-9pm.

A stemma is a recorded genealogy of a family, or a family tree. The works included in Stemma reference the history of feminist art, and all of these artists can be seen as the progeny of second-wave feminism. Like the matriarchs of the second-wave, these artists make work that reflects women’s lives and experiences. They explore subjects of gender, identity, domestic life, and the female body, through video, painting, sculpture, and text.

See images from the opening here.

Ursula Brookbank will present SHE WORLD, a continuing accumulation of relics and ephemera from the lives of women. Many of the items of feminine detritus are culled from the inhibiting post WWII era. Others reveal a woman’s effort for self-expression through arts, crafts, and homemaking. The archive creates an environment for the contemplation of the private histories that are contained within these artifacts of women’s daily lives.

Along with her plastic sculptures, Betsy Davis will display her photographic series, Menstruation as a Glorified Event, a collaboration with Niels Alpert. Davis finds that menstruation has been seen in the media as something unclean or bothersome. In these images, Davis makes the act of bleeding sexy and alluring through visual stylization and as she celebrates a woman’s ability to procreate.

Jessica Dolence’s work often shows a female character in an isolated and eerie place. Her digitally constructed animations are super-saturated and nostalgic of toys made for little girls. Her video installation, The Dying Room features a young Medusa who is seduced by the glow of a television. Dolence sets the work in a living room, originally the parlor where families mourned their deceased. Her characters are old monsters whose identity was formed out of fear.

With her text-based pieces, Park McArthur questions the ways personal mobility is tied to social and political movements. These works filter lived experience through theories and practices of feminism, disability justice movements, and queer communities. Second-wave feminist art's commitment to personal lived experience as a platform for creative work grounds and guides her artistic practice.

In her video, I Love The Nightlife, Alyce Haliday McQueen uses dark humor to question expectations placed upon women in public and private life. She explores the myth of the modern super-woman who must maintain her composure under constant scrutiny of the male gaze.

Angela Simione examines the personal as political in her use of traditional craft as a means of diary keeping. Simione states, “For it is still radical for a woman to speak about her own experience of the world, and it is still unseemly for a woman to speak a certain way in public. It is still unwelcome, still threatening for a woman to honestly and intimately discuss her own life as a subject worthy of interest and investigation. This, as an assertion of worth, stands in direct opposition to the Status Quo. It is still discursive, still divisive, still upsetting. It is a voice that many people still choose to deride, make fun of, or simply ignore. Even private texts as seemingly innocuous as a diary are viewed with suspicion and the keeper often scoffed at or viewed as secretive and untrustworthy.”

Lisa Wiscombe will present a tile installation inspired by Victorian floral patterns. This work continues her Spreads series, which features pornographic imagery that is embedded into the banal surface of the domestic environment. She poses the question, “If walls could speak, what would they say?”

Liz Young’s practice incorporates a diverse range of materials, from industrial goods to household ephemera. She often explores issues of the flesh in relation to the human body and the natural world. With her recent series of tiny meat paintings, Young references domestic duties, as well as the miniature foods produced for dollhouses. The works are visceral, but also disarming due to their intimate scale.

image: I Love the Nightlife, video still, Alyce Haliday McQueen, 2011

Womyn Perform

Womyn Perform

Wednesday, November 2, 8pm

Thomas P. Kelly Student Art Gallery
Loyola Marymount University
1 LMU Drive
Los Angeles, CA 90045

Join Craftswoman House in an evening of performance
in collaboration with the artists of Womynhouse.

See documentation of the performances here.

Cut with the Kitchen Knife II

Cut With the Kitchen Knife II
Sunday, October 16, 2011

Craftswoman House
929 North Oakland Avenue
Pasadena, CA 91104

Come channel the spirit of Hannah Höch with an afternoon of collage making at Craftswoman House. You are welcome to bring magazines & other collage materials to use and share. For additional information, contact

This event is presented in conjunction with The Big Draw LA.

See images from the event here.

Body Stories

Body Stories
An evening of dance, performance, and film

Saturday, October 8, 2011

Craftswoman House
929 North Oakland Avenue
Pasadena, CA 91104

This event is free and open to the public

On Saturday, October 8, the domestic interior of Craftswoman House will host Body Stories, an evening of dance, performance, and film curated by choreographer and performer Christine Suarez. The event will feature nine California-based artists who engage the body and intimate narratives to explore complex issues of identity. This collection of site-specific work aims to erase the boundaries between the audience and the performer through the experience of shared personal space.

The evening begins with a burial ceremony conducted by Arianne Hoffmann and Audrey Malone to celebrate the passing of old hopes, outdated dreams, and past aspirations. A dance by Rebecca Alson-Milkman features a re-enactment of her mother’s death, and encourages the emotional traces to become present as her identity as daughter and caretaker become obsolete. In a participatory performance that pushes the limits of consent, Allison Wyper investigates how the sexualized female body can deflect moral scrutiny by becoming a spectacle that obscures a genuine understanding of pain. Ally Voye premieres Carry, a short dance film that alters the viewer’s perspective through a fragmentation of the body, and the unexpected impact of outsiders. The evening also includes Pat Payne’s personal weather front, a portable performance of pre-mendous proportions, along with works by Greg Barnett, Rebecca Pappas, Carol McDowell, and Kai Hazelwood.

Top image: Allison Wyper, photograph by Jennifer Monge
Bottom image: Still from Rebecca Alson-Milkman's You Know Where to Reach Me, photograph by Lillian Wu

See documentation of the event here.

Stemma Call for Works

Throughout history, creative works by women have been devalued, dismissed, and even buried. In an attempt to keep women’s work visible, Craftswoman House seeks artworks that make a direct reference to, or were inspired by, second-wave feminist art for inclusion in a November-December 2011 group exhibition. We are also seeking video and performance works for an event in early December.

Please send images or links of up to five works, or a link to video or performance, a short statement on the relationship between your work and second-wave feminist art, and a CV to with Stemma as the subject. For further information about Craftswoman House, go to or

Deadline September 7, 2011

Home Rites

Home Rites
Saturday June 25, 7pm

Performances by:
Launa Bacon
Sara Fowler
Linda Ravenswood
Cindy Rehm

Craftswoman House
929 North Oakland Avenue
Pasadena, CA 91104


Photograph of Guerrilla Girls in bathroom with sign, "The Birth of Feminism".
Courtesy of the Guerrilla Girls


Friday July 1, 8pm

Craftswoman House

929 N. Oakland Ave

Pasadena, CA 91104

Join Craftswoman House for a free screening of Lynn Hershman Leeson's new film !Women Art Revolution

from the !Women Art Revolution website:

For over forty years, Director Lynn Her
shman Leeson has collected hundreds of hours of interviews with visionary artists, historians, curators and critics who shaped the beliefs and values of the Feminist Art Movement and reveal previously undocumented strategies used to politicize female artists and integrate women into art structures.

!Women Art Revolution elaborates the relationship of the Feminist Art Movement to the 1960s anti-war and civil rights movements and explains how historical events, such as the all-male protest exhibition against the invasion of Cambodia, sparked the first of many feminist actions against major cultural institutions. The film details major developments in women’s art of the 1970s, including the first feminist art education programs, political organizations and protests, alternative art spaces such as the A.I.R. Gallery and Franklin Furnace in New York and the Los Angeles Women’s Building, publications such as Chrysalis and Heresies, and landmark exhibitions, performances, and installations of public art that changed the entire direction of art.

New ways of thinking about the complexities of gender, race, class, and sexuality evolved. The Guerrilla Girls emerged as the conscience of the art world and held academic institutions, galleries, and museums accountable for discrimination practices. Over time, the tenacity and courage of these pioneering women artists resulted in what many historians now feel is the most significant art movement of the late 20th century.

Carrie Brownstein composed an original score to accompany the film. Laurie Anderson, Janis Joplin, Sleater-Kinney, The Gossip, Erase Errata and Tribe 8 are some of the gifted musicians who contributed to our soundtrack.

Thank You!

Thank you to all of the wonderful backers who helped us fund the Craftswoman House Kickstarter. We our grateful for your generous support!

Kathleen Adrian
Jenn Beebe
Polly Breckenridge
Geoff Brown
Carrie Bryden
Karen Dee Carpenter
Andrea Collins
Randy Collins
Troy Collins
Dave & Ginny
Julie Deamer
Marcy Eason
Jim Eason
McLean Fahnestock
Hossein Farmani
Jennie Fleming
Elyce Helford
R Janeen Hershey
Emily Hunter
Janet Jeffers
Spencer Keralis
Patricia Keefer
Lauren Knopf
Elizabeth Leister
Jo Letke
Leigh Maddox
Melissa Marion
Diana Marta
Yvette Molina
Christi Nielsen
Kathy O'Dell
Michael O'Reilly
Louis Pepe
Freya Prowe
Anne Sherwood Pundyk
Pranay Reddy
Peri Richmond
Reb Roush
Jim Sebring
Hadieh M. Shafie
Moira Smiley
Kim Steele
Thomas Sturgill
Sheila Traviss
Paige Wery
Jessica White
Terry Wolverton

Body, Gender & Ritual Workshop

Patty Chang, 1998 Melons (at a loss)

Body, Gender & Ritual
a workshop at Craftswoman House

Cindy Rehm will lead the workshop, Body, Gender & Ritual at Craftswoman House during the month of June. Participants will engage in an exploration of gender through the study and practice of performance art. Participants are encouraged to generate unique responses to topics of gender construction in society and will develop performances informed by ritual and the history of feminist performance. Workshop content will be presented through slide lectures, video documents, readings, and discussions. The workshop will culminate with a presentation of performances at Craftswoman House. No previous performance experience necessary. The workshop is free, but space is limited, so please contact to enroll.

Meeting dates:
Saturday, June 4, 12-3
Saturday, June 11 12-3
Saturday, June 18 12-3
Saturday, June 25, 7pm presentation of performances

Ana Mendieta, Untitled (Facial Cosmetic Variations) 1972

Cindy Rehm is an artist and educator. She is the founder and former director of spare room, an installation space that was located inside her private residence in Baltimore, MD. She is the recipient of an Individual Artist Fellowship in Media from the Tennessee State Arts Commission and a Learning to Love You More grant. Rehm’s work in drawing, video, and performance has been shown at Woman Made Gallery, Chicago; New York Studio Gallery, NY; Consolidated Works, Seattle; School 33, Baltimore; at Festival Miden, Kalamata, Greece; and other venues. Her work can be viewed at and she maintains a blog at

Bad Reputation

Bad Reputation

two films about girls who break the rules

Sarah + Dee


Saturday May 14, 8pm

Join Craftswoman House on Saturday May 14 at 8pm for a double bill featuring Sarah + Dee and Daisies. Filmed forty years apart, both films feature precocious young women who escape the monotony of their lives through mischievous play. Karen Dee Carpenter’s Sarah + Dee follows two young housecleaners who feel trapped in their blue-collar life. They act out their fantasies in the up-scale suburban homes they are paid to clean and long for a more glamorous life.

In Věra Chytilová visually stunning film, Daisies, two girls, both named Marie, rebel against the boredom of their existence through playing dress-up and causing a ruckus where ever they go. The Maries tease men and leave them high and dry as they saunter off on madcap adventures. They are loud, gluttonous, and free as they mock the role of the good girl.

Sarah + Dee, 2006, 19:42 minutes, directed by Karen Dee Carpenter

Daisies (Sedmikrásky), 1966, 74 minutes, directed by Věra Chytilová, Czech with English subtitles


VOX an evening of video & performance

Saturday February 26, 7pm

Craftswoman House, 929 North Oakland Avenue, Pasadena, CA 91104

featuring: Pedestal and the All-Girl Band, Felicia Montes, Stephanie Soule-Maggio, Christine Suarez, Alyce Haliday McQueen, Ursula Brookbank, Andrea Chung, McLean Fahnestock, Elizabeth Leister, Tricia Lawless Murray, and Sister

The intimate domestic environment of Craftswoman House will play host to Vox, an evening of video and performance on Saturday February 26, 7pm in conjunction with the closing of the exhibit Unveiled. The event will feature performances by Pedestal and the All-Girl Band, Felicia Montes, Stephanie Soule-Maggio and Christine Suarez as well as video by Alyce Haliday McQueen, Ursula Brookbank, Andrea Chung, McLean Fahnestock, Elizabeth Leister, Tricia Lawless Murray, and Sister.

In Wet Spots: Solo, choreographer Christine Suarez uses text and movement to explore the history of the female orgasm. She shifts between personal and historical narratives to uncover the anxiety and humor within the realm of female pleasure.

The video works of Andrea Chung and McLean Fahnestock utilize juxtaposition and displacement to explore female experience. In The Sport of Kings, Fahnestock appropriates footage of Anita Hill’s testimony during the Clarence Thomas hearings beside footage of the horserace between filly Ruffian and the colt Foolish Pleasure. The work runs the length of the race, which was billed as “the battle of the sexes,” and serves as a visual record of the spectacle of sex in politics and sports. Chung’s Untitled (Zwayon) uses language to reveal female alienation within a quiet domestic moment.

Alyce Haliday McQueen examines vocalization and muteness through her video works Untitled (trust) and Chubby Bunny (marshmallows). Elizabeth Leister attempts a vanishing act through an act of self-stitching in her video Disappearing Act. In Sister’s The Cutter, a showgirl defies the perfecting confinement of female beauty rituals and exposes her mortal, leaking body.

Both Tricia Lawless Murray and Ursula Brookbank produce haunting moving images. Lawless Murray’s Bride Stripped Bare by Her Bachelors, Even, subverts Duchamp’s masculine perspective, as the artist’s body becomes the primary vantage point of the work. Brookbank’s BL.SLP is a collection of fragments that flicker like a late-night dreamscape.

Vox will also include a visit from Felicia Montes’ alter ego Raramujer and the bumpin’ bici as well as a musical performance by Stephanie Soule-Maggio and a cheer-inspired song by Pedestal and the All-Girl Band.

Karen LeCocq at Craftswoman House

Feminist Art in the 1970s: A Brief Overview of the Westcoast Women's Art Movement
a lecture by Karen LeCocq

Sunday February 20th, 3pm

Craftswoman House, 929 North Oakland Avenue, Pasadena 91104

Professional artist and lecturer, Karen LeCocq is a mixed media sculptor who has shown nationally and internationally in galleries as well as major museums, among them: The Whitney Museum of American Art, New York, NY, The Los Angeles Museum of Contemporary Art and The Armand Hammer Museum, Los Angeles, CA. LeCocq was a member of the first feminist art program under the direction of Judy Chicago at CSUF and the second feminist art program at California Institute of the Arts under the direction of Chicago and Miriam Schapiro. At Cal Arts in 1971-72, she participated in the creation of WOMANHOUSE, the first public feminist collaborative art project and exhibition in the world. The project received international attention and was reviewed in TIME magazine as well as art publications around the globe.


Craftswoman House will open her doors with the group exhibition Unveiled, a show that features works by six west-coast artists who explore feminist content. The exhibit includes works by Launa Bacon, Ursula Brookbank, Wendy Kveck, Freya Prowe, Cindy Rehm, Angela Simione.

Unveiled coincides with the 39th anniversary of Womanhouse, the first public exhibition of feminist art organized in January 1972, by Judy Chicago and Miriam Schapiro. The original collaborative project was presented in a deserted mansion in Hollywood, whereas the new venue is a 1924 Craftsman House located in the historic Orange Heights tract of Pasadena.

Unveiled includes painting, drawing, video, and site-specific room installations created in memory of Womanhouse. The library will be transformed into a haunting underwater environment with Brookbank’s The Splendor Trap. Through a process of staining and accumulation, Rehm will create The Curse, her response to Chicago’s Menstruation Bathroom. The kitchen will highlight Kveck’s Meateater, which features a reclining woman laid out like a body, readied for dissection. Bacon will present her video I Sat Beauty on my Knees; Found Her Bitter, Therefore I Injured Her in the study where the work was performed and filmed. Simone and Prowe will occupy the living room and hallway with their paintings. The garden will also feature installations by Bacon and Brookbank.