All right. I think we are going to go ahead and get started. Hello and everyone and welcome. Thank you all for joining us today. For what I know is going to be an excellent and thought provoking conversation about the significance of women artists and the imperative of preserving the places where women made art. Next slide please. I'm Chris Morris, the senior field director in Los Angeles for the National Trust for Historic Preservation and manager of the National Trusts where women made history initiative. For those of you who may not be familiar with the National Trust for Historic Preservation, we are the nation's only nonprofit advocacy organization dedicated to saving historic places. Our work goes far beyond the act of preserving a physical structure or a historic interior or designed landscape. We believe these places are meaningful and powerful, because of their connections to people, the stories that they can tell us the lessons that they can teach us in the many ways in which we continue to be inspired by their struggles and their successes. Next slide please. The where women made history initiative is a manifestation of the National Trust's commitment to tell a more truthful and a more equitable national story. As the last 24 months have brought into focus the myriad racial inequities and injustices so too have they revealed the deep inequities that continue to be faced by women in our country, particularly women of color, indigenous and LGBTQ women. By bringing recognition and respect to women's achievements, honoring the many ways in which they have changed their communities and change the world, and supporting their place based work in their own communities. We move closer to a world in which women's contributions are instinctively understood as equal, and they're valued as such. Next slide please. We could not have a better group of speakers to lead us through this conversation today about the challenges and the joys associated with researching these two often hidden histories of influential women artists, how they have advocated to preserve the physical spaces that were such an integral force to how these women artists made their work. And what it means to share these women's stories with an increasingly appreciative public that sees relevance in and feels a deep personal connection to both the resistance that these artists faced in their lives and in their work, but the, and also the cultural barriers that they intentionally broke from an openly lesbian professional photographer in the Victorian era whose history was actively erased later in her life to Chicano artists whose outdoor murals created an accessible open art space for the Chicano Chicano community in Colorado as an expression of civil rights to one of the first African American lesbian architects in the United States. These artists signify the complexity and diversity of women's identity, the many paths that they followed in pursuit of their own professional artistic practice, and the necessity of us gaining them the recognition that they so richly deserve. And I am so grateful to all of our panelists today for joining us and sharing their experience and their insights with us. Now it wouldn't be a webinar if I didn't have to address just a few logistics here at the top so before I introduce you to the first of our many fantastic speakers today, need to share just a few pieces of important information with you. Next slide please. First off, today's virtual program is brought to you by where women made history in concert with the women's work exhibition at Lindhurst National Trust Historic Site located in Terry town New York. And if you are in the New York area and have the ability to visit the Hudson Valley before the end of September. I cannot recommend strongly enough that you make the trip to Terry town to see the stunning Lindhurst mansion, and the women's work exhibition is a showcase of three centuries of women's artistic achievement, activism, creativity, and self expression. Next slide please. We'll begin with presentations from each of the panelists to introduce you to their sites and the remarkable women associated with them, which will be followed by an approximately 30 minute discussion amongst all of the presenters. But we will take questions from the audience throughout the webinar. So please send your questions directly to the panelists through the Q&A function in the chat. And you're welcome to submit questions at any point during the webinar, but we will be waiting until the Q&A section closer to the end for panelists to answer the audience questions. And you're also encouraged to communicate to all participants at any time throughout the zoom chat function. The closed caption function is enabled for this webinar for anyone who would like to take advantage of that feature. And last but not least, please note that this presentation is being recorded. So following the program will send out a recording of today's webinar directly to the email you use to register and you can find all of our forum webinars archived in our forum webinar library. Now that we've taken care of those logistics, it is my pleasure to introduce my national trust colleague, Valerie Ballant, Director of the National Trust Historic Artist Homes and Studios Program, or Haas for short. Valerie and the 55 sites in the Historic Artist Homes and Studios Network have done excellent work over the last several years to expand the direct representation of women and women artists across the many Haas sites. To increase the understanding and appreciation of the multiple roles that women have played in the production of art, ensuring that the public encounters women as historical actors at these places. We've done some great work together of the last two years and I am so excited about the projects that we have coming in the future. So Valerie, take it away. Thank you, Chris and my fellow trust colleagues and panelists for making this program possible. Thanks as well to Howard Tsar and Winters staff for women's work. It's so great to see these amazing objects highlighted with decorative arts and handcraft holding pride of place. Imploding the hierarchy that so often sublimate those disciplines historically pursued by women creatives and then by extension, the artists themselves. But it's easy to forget that all of these artworks were created in a place, and that when artists homes and studios are preserved and open to the public. Visitors can immerse themselves in cruciples of creativity that also offer entree into the biography and domestic life that always inform creative practice. This is what historic artists homes and studios is all about and call ourselves Haas. This is a membership consortium of independent museums and historic place that were once the working studios and personal homes of visual artists. It's begun in 1999. This program of the National Trust supports its membership through advocacy, mentoring, public outreach and peer exchange. Acceptance into this program is through application and peer review and collectively current member sites welcome more than one million visitors annually and represent the legacies of more than 300 visual artists. Haas is rich with compelling stories of women artists, many of whom move seamlessly between disciplines and media, often designing their own homes, interiors and landscapes. But for every Georgia O'Keefe whose name will be recognizable to many attending. There are so many names that remain lesser known. Elizabeth Nay, Ray Hudson, Susie Freeling-Heisen, equally talented creatives who have not enjoyed the same stature or attention as their mirror counterpoints. Without bringing these artists and sites to the forefront, we are not telling an accurate site specific story of our nation's art history. While Haas currently does have many sites within its 55 site membership that represent women's artistic legacy, the program is admitted to and proactively engaged in expansion. In the past several years we have accepted 10 new sites that center women's artistic voices with more to come later this year. Strong female narratives extend far beyond those women who are recognized as part of the site's namesake. Indeed, every site has at least one and often several strong creative women associated with it. They were muses, models and students, business managers and collaborators and often very, very innovative creators in their own right, even if they did not become professional artists, although many of them did so. Today I hope to briefly introduce you to some of these impressive women, such as Marguerite Wilderheim, who you see on screen, who established the Arts Colony at Pond Farm, where her writings and teaching influenced generations of artists. Next slide please. The greatest percentage of women artists represented in the network are part of artist couples. Here, Lee Krasner, at bottom left, is seen in her typical painting mode, the very, very active process. And today, when you visit, you stand on that studio floor and processes all around you, not just on the floor, but on the walls where Krasner's arcs went beyond the confines of her tacked on canvas. This experience, as I know personally, is transformative. It is the very essence of the physical process of art, and you just can't get it anywhere else. But a peek into a bedroom in the nearby house with Krasner's clothing and her treasured driftwood and shell collections allow us a more fully developed sense of her total self beyond the epic mythmaking that surrounds her relationship with Paula. Next slide please. These sites offer opportunities to witness an artist's evolution and experimentation over time. Here, Ann Norton carves a figurative piece which ultimately is installed in the landscape she co-designed while suffering from terminal leukemia. But on the same property, soaring architectural works of brick done late in career, a completely different mode. Norton represents the career arc of many women artists who were primarily educators, a role which has largely regulated them into the fringes of recognition, despite their critical impact. Next slide please. Haas sites embody the intersection of the professional with the personal, or most often, their complete integration, as at the sculpture park and home created by Dorothy Reister, who purposefully settled herself in rural central New York. Here, everything is of her design. It is a total work of art, which also fuels her love of conservation, preservation, and perhaps most importantly, community. Next slide please. Until recently, Lea Sarnan's significant contributions have been assumed by her more famous husband and son, architects Ilya and Ero. In truth though, she ran the largest studio and commercial enterprise at the Cranbrook Academy, where she also collaborated with many other talented women textile designers and weavers. In addition to the sumptuous textiles that grace the art deco masterpiece that was their home, she also designed the impressive Triton fountain on campus. Next slide please. Other women creatives were active collaborators with their husband, although not always historically given as much credit as was perhaps their due. For more than 50 years, freedom Lou ran the workshop of her husband, where more than 5000 pieces of handcrafted artisanal furniture were executed. Tableware and furniture designer Russell Wright's wife was also his frequent collaborator. Together they co-authored guide to easier living, outlining their aesthetic tenants, which were ultimately applied at Wright's iconic modernist retreat, Manitoga. Least just within this last year, the first publication to seriously explore her influence on this site. Next slide please. Clementine Hunter worked her whole life at a plantation in Louisiana. Self-taught, she did not even begin to start to create art until she was in midlife and the grandmother. On the upper floor of a building, formerly built and used by enslaved peoples, Hunter created a series of murals depicting her daily life on the plantation. While her narrative is inspiring, and opera actually debuted about her life in 2013, this is also a reminder of the critical work still to be done in recognizing the contributions of BIPOC and LGBTQ women to our artistic legacy. Next slide please. Preserving spaces of women artists is now becoming more frequent, I'm happy to say, but not always in the form of a traditional house museum, such as the recently rehabilitated home of artists and writer Amina Robinson. While her artistic presence and the power of place remain strong throughout this building, certain rooms have been redesigned for artist's residencies. As we continue our commitment for expansion, Haas is creating new membership pathways for these types of sites. Next slide. I'd like to conclude with the site associated with Thomas Cole, Hudson River School painter, like many daughters and wives, Emily Cole has been historically regulated to the role of the keeper of the flame. She was a talented artist in her own right. And in recent years, the Cole site has begun to re-excavate her artistic voice, actively collecting her painted porcelain and delicate botanical drawings, some of which you can now see on view in the women's work exhibition. Next slide please. Well, this is just the tip of the iceberg. I hope my examples will inspire you to learn more about the places where women made and influenced are in this country. Thank you. Thank you so much Valerie. I have to say it has been such a joy to be able to work with you over these last couple of years and really start to begin to understand all of the many ways that women influence the production of art at these sites. To me it just shows how much more opportunity there is out there, more work for us to do, but to me it's more opportunity. So thank you so much for that overview. I know that's just the tip of the iceberg. Next up we'll hear from Justina Ranzoni who's joining us from the Georgia O'Keeffe Museum in New Mexico, where she's the curator of historic properties and oversees the tours, community engagement initiatives, and exhibitions connected to Georgia O'Keeffe's two historic homes. Justina. Thank you for the introduction, Chris. As you mentioned, I am Justina Ranzoni, the curator of historic properties here at the Georgia O'Keeffe Museum. Our organization celebrates the art, life, and independent spirit of artist, Georgia O'Keeffe. A visit to the O'Keeffe Museum offers insight not only into the artist's paintings, but also her creative process and the light and landscape that inspired her. In addition to the museum galleries in Santa Fe, the O'Keeffe Museum maintains O'Keeffe's two historic homes in northern New Mexico, and today I will talk about her historic home and studio in Abacue. Before I get started, I'd be very short-sighted to not think of the history of the site that I'll be talking about tonight before the moment the artist arrived. Before we talk about Georgia O'Keeffe in her home, I'd like to take a moment to acknowledge the ancestral, cultural, traditional, and unceded territory of the U and Pueblo peoples whose land the site sits on today. We recognize and honor their elders past and present, and celebrate the vitality of their people today and into future generations. I offer this with humility and gratitude and acknowledgement of the need to confront the ongoing legacies of settler colonialism. As one of the most well-known American artists of the 20th century, Georgia O'Keeffe is widely known for her boldly innovative artwork. Her distinct flowers, dramatic skyscrapes, glowing landscapes, and images of bones against the stark desert sky are iconic and original contributions to American modernism. Next slide please. Born on November 15th in 1887, the second of self and children, O'Keeffe grew up on a farm in Sun Prairie, Wisconsin. By the time she graduated high school in 1905, she had already decided that she would make her way in life as an artist. She studied at the Art Institute of Chicago and the Art Students League in New York, where she learned the techniques of traditional realist painting. The direction of her artistic practice shifted dramatically four years later when she studied the revolutionary ideas of Arthur Wesley Dow. Dow offered O'Keeffe an alternative to realism. She experimented with abstraction for two years while she taught art in West Texas through a series of abstract charcoal drawings. She developed a personal language through which she could express her feelings and her ideas. O'Keeffe mailed some of these drawings to her friend in New York City. Her friend showed them to Alfred Stieglitz, an art dealer and internationally known photographer who eventually became O'Keeffe's husband in, was the first to exhibit her work in 1916. By the 1920s, O'Keeffe was recognized as one of America's most important and successful artists. And by the summer of 1929, O'Keeffe made her way to New Mexico for the first time. So this first trip was one of many. The stark landscape, distinct indigenous art and unique regional style of Adobe architecture inspired a new direction for O'Keeffe's artwork. So while staying with her friend Mabel Dodge Lujan in Taos, O'Keeffe took driving lessons from her friend Rebecca Strand and Mabel's husband Tony. In two weeks of lessons, O'Keeffe ordered herself a custom wood paneled model A Ford. The passenger seat could be removed so you could put a table there for your paints and brushes. The driver's seat could swivel around to face the back so that the back seat could act as an easel. In doing this, she essentially created a mobile studio that allowed her to independently explore northern New Mexico to her heart's content. In the mid 1930s, O'Keeffe was on her way to go stretch when she stopped in the village of Abacue. Much to her delight, she found a vacant property, but the property was owned by the Archdiocese of Santa Fe and was not interested in selling to her. So for five years, O'Keeffe would ask the Archdiocese of Santa Fe if she could purchase this property. They kept saying no, they thought they might end up building a school on the property. So in 1940, O'Keeffe decides she's going to buy a home at Ghost Ranch right outside of Abacue. One of her goals is to live off the land, grow her own fruits and vegetables, and unfortunately, gardening at Ghost Ranch is a bit like gardening at the beach. It's all sand and not a lot of fresh water to help with the plants. So it was a huge failure. She just couldn't stop thinking about this house that she had seen in Abacue about 15 miles away from her Ghost Ranch house. So she continues to approach the church to ask if she can buy the house. And by 1945, the church decides that they will sell it to her. Next slide please. So unfortunately, after purchasing the home in 1945, O'Keeffe's husband Alfred Stieglitz passed away. As a result, O'Keeffe had to travel to New York to settle his estate. He had a modern art collection that she helped to distribute to museums and collectors across the United States. While she was there, she did not want to wait for the reconstruction of her Abacue home. So she hired her good friend and another very creative woman, Maria Chabot, to act as the general contractor for the property. O'Keeffe had met Chabot up in Taos, and Chabot had lived with O'Keeffe at Ghost Ranch, helping her with maintenance and running the home. And so as the general contractor in Abacue, she did not have the formal architecture experience one might expect for someone who would be redesigning a home. And so luckily she had many local artisans and crafts people that she could rely on for their expertise. If it wasn't for the willingness of the community around the home, there's no way that O'Keeffe would have been able to reconstruct it. So over the course of a few years, O'Keeffe and Chabot wrote letters back and forth to each other while Chabot was in Abacue and O'Keeffe was in New York. A lot of design decisions were made during these discussions that were taking place via letters. And luckily these letters were published in a compendium in 2004. And so you can find copies of Maria Chabot, Georgia O'Keeffe, correspondence 1941 to 1949. If you'd like more insight into the thought process that went on as they redesigned the home and designed the landscape around it. Now this was a 7,000 square foot Adobe home that had been vacant for quite some time. And the local community had been using the property to store livestock, but they had not been upkeeping the home itself. And for those of you that are not as familiar with Adobe, exposure to rain and snow slowly degrades Adobe over time. And so constant maintenance is needed for the upkeep. Now what this meant is that by the time that O'Keeffe purchased the home it was more or less in ruins. Maria Chabot wrote, I'd never found anything as romantic as this beat up building a ruin really. It took six months just to get the pigs out of the house. Next slide please. And so together Chabot and O'Keeffe collaborated on the overall design of the property and local experts were able to help with the construction. This property had many doorways, ceilings, hardwares and other architectural fixtures that were still in great condition. Now it's possible they tried to include some of these original fixtures, resulting in an Adobe home that was a combination of Spanish style architecture, Indigenous building techniques, and O'Keeffe and Chabot's own personal modern styles. O'Keeffe lived in this house from 1949 until 1984 when she walked off the property to move to Santa Fe to be near medical care the last two years of her life. Next slide please. Currently the home today is owned and operated by the Georgia O'Keeffe Museum. This house is currently in operation for public tours of this space and this house is currently staged with a period of interpretation of the year 1984. So when O'Keeffe walked off the property, her staff maintained the house as she left it. And so by the time that the O'Keeffe acquired the home, it had been left as O'Keeffe had it arranged. So we have some really great visual documentation of how this home changed over time. Next slide please. So this is the same room as the slide that we were just looking at before. And as you can see, there are a lot of visual differences. This home went through many different iterations from the decor and design to the actual physicality of the house. Throughout her time living there, almost 40 years. O'Keeffe changed window sizes, added doorways, changed flooring, changed even here in this space, the floor itself. So as you can see next to this glass table, there is this mound coming out of the floor that has a textile draped across it. That mound is made from adobe. So she had those adobe mounds built out of the floor and use them for seating around this coffee table. When she got tired of this, all that they had to do was pour water on top of the adobe mounds for them to disintegrate. So this allowed a lot of freedom with the space and how to use the space. And here we're looking at this room in 1965, so almost 20 years prior to the last image that we saw. Can you go to the previous slide please? So here when we look at the room, I'd say that most of the images that are circulated today of the home tend to show the way we have it staged right now. A lot of neutral colors, really playing up the natural tones and textures throughout the house, as well as giving a feeling of serenity and peace with this space. In 1984, O'Keeffe was in her 90s. She wasn't doing a lot of entertaining and this sitting room is where she would come to listen to classical music, look out at her beloved tamarisk tree outside of this window and relax. Next slide please. Here in the 1960s, O'Keeffe was doing a lot of international travel. She was good friends with the textile designer, Alexander Gerard, and they would often travel together. O'Keeffe loved to buy textiles when she was abroad and bring them back to New Mexico and turn them into pillows or cushion covers or textiles that she would drape across furniture. So these textiles really have a lot of bright colors and bright patterns that make it a lot different than what you're seeing in 1984. And so here we're really seeing some of the cultural zeitgeist of the 1960s, this very colorful mid-century modern look. Next slide please. So I do like to say that as this house went through so many iterations throughout O'Keeffe's lifetime that it is one of her most largest and dynamic works of art. And so the house itself was an opportunity for creative expression, but O'Keeffe also took in a lot of inspiration from the views around her home. Here we're looking at O'Keeffe's bedroom facing east, looking at Highway 84 and Abacue Mesa. So every morning O'Keeffe would wake up to these gorgeous views with these gigantic windows inviting nature right into her home. Next slide please. And so here we see a painting of the same view. This is a subject that she painted many times. Here we see an abstract but somewhat realistic rendition of this particular view. And it's incredible that all she had to do was walk outside to see the landscape that inspired her and really altered her entire artistic career. When she started traveling to New Mexico, she really enjoyed going out into the landscape to do her painting and really, she really strove to have a close proximity to nature. And this deep relationship was very apparent with the shift in her artwork as she focused more on landscape bones that you could find in the desert, other natural objects. Next slide please. Here is a wonderful photo of O'Keeffe's studio when she was actively painting. As I mentioned, the house is currently staged in the year 1984. And so when you see the studio today, it does not look as it was when she was actively painting. By the 1970s, O'Keeffe was suffering from macular degeneration, so her central vision was going and she had to rely on her peripheral vision. This meant that with her failing eyesight, she created her last unassisted oil painting in 1972, but her will to create did not diminish with her eyesight. In 1977 at age 90, she observed, I can see what I want to paint. The thing that makes you want to create is still there. Next slide please. So later in life, almost entirely blind, she enlisted the help of several assistants, often young women that were hired from the community, who would come and stay with her overnight.  Now, up until this point, O'Keeffe lived independently. Her staff came in the morning and left at the end of the day and she was alone during the weekends. She had the staff to cook and to garden so that she could entirely focus on her painting. To create the amount of artwork that she did, it required a lot of discipline. And as an established artist in a great financial position, she was able to hire help in order to make this happen. Next slide please. If you're interested in visiting our home today, our site is only accessible through Guided Tour. Tours are offered Tuesday through Saturday, March through November. Tickets do sell out weeks in advance, so we really encourage you to plan your trip ahead of time. If you'd like more information, you can visit our website at geocam.org. Thank you so much. Thank you so much Justina for introducing us all to an artist that I think we all feel like we know very well, but obviously so much more to her life, her history and her work that we need to understand. And you raise such excellent points in your presentation about how in many instances, and we will see this throughout the presentations today in our conversation later, that women were actually very much involved in the either the creation of or the preservation of these spaces in which they either lived or worked and so we're actively a part of the process of shaping those spaces or reshaping them over their lifetime and of equal importance to the recognition that there were more than one women, more than one woman often present in the lives of these places. And for instance, the work that this place would not exist without Maria Chabot's contributions to the, the renovation and restoration of the homes in Abicu and we will see that also throughout so recognizing that there is more than one woman story to tell at these places is of equal importance so thank you very much. It is my pleasure to introduce you all to Nellie Scott, who is the director of the Corita Art Center on the campus of what was once the Immaculate Art College in here in Los Angeles and Hollywood, California. And in addition to preserving and curating the work of Sister Mary Corita. Nellie also has been leading the effort to save, purchase and reactivate Sister Mary Corita's studio, which has been threatened unfortunately with sale and demolition. Thanks Chris. Again, my name is Nellie Scott my pronouns are she her hers. And I am the director of the Corita Art Center here in Hollywood, California. The Corita Art Center is a project of the Immaculate Heart Community, which preserves promotes and cares for Corita Kent's art teaching and passion for social justice. As part of that mission we are deeply committed to the preservation and sharing of her legacy. Great. There she is. And Corita was born with the name Francis in 1918 in Fort Dodge, Iowa. At a very young age her family moved to Hollywood, California. And at the age of 18, she joined the order of the Immaculate Heart of Mary which was located on Western and Franklin here in Hollywood. When her name changes it goes to from Francis to Sister Mary Corita, which fun fact Corita means little heart, as she was a rather petite person in nature. She would have been very familiar with this order for many reasons, but primarily as her older sister Ruth had joined some years prior. And one of her, her teachers that she really greatly points to, as supporting her creative endeavors at a young age with Sister Naomi, IHM, who would foster Corita's artistic practice after school. So, a little bit about the order itself. If you're really curious to dig in and learn more about the Immaculate Heart order and later the Immaculate Heart community, I highly recommend the documentary called Rebel Hearts that came out last year. But in a nutshell they, their North Star has always been education and women's education. So Corita would have been surrounded by very smart women who were champion champion her work. But all of the departments there at the college. Next slide. Great. Here's her studio so Corita is one of the most notable and compelling artists of the 20th century, the politically charged decade of the 1960s deeply informed her artwork. She created powerful screen prints that combine messages addressing poverty, racism, injustice and war with bold graphic texts and colors. Certainly the incredible life and career of such a notable figure and the academic study of the impact of Corita's artwork words and life would stretch well beyond the short presentation today. But before we jump too far in, we thought it would be nice to actually show you a short video of Corita working within her studio to give you an idea of the space usage. We are always surrounded by lots of signs, lots of forms that have been shaped into letters which convey something to us. They're a huge part of our landscape and poets and artists notice the, you know, common place, how good it is. And then their delight, the poets and artists is so powerful that it, it forms the common place into the uncommon which doesn't happen quite as often. So if you talk about the common place which contains or consists in all the things that are around us, all the things. And then you talk about the uncommon as, you know, a collection of those things taken out of context and put into another context and made uncommon. And I think that perhaps the uncommon is a better name than art.  This is a kind of landscape which we call nature and we love this. The other kind of landscape I've been talking about, the kind that's down in Sunset Boulevard is a man-made thing. These are both landscapes, you see. And I think one is not better than the other and I think one is not more delightful than the other. And I, you hate to judge people but you think that the people who are so nervous about signs and who wish they would remove the billboards so that we could see the, you know, lovely trees and hills behind might not enjoy the trees and hills nearly as much as the people who can delight in both. Great, thank you. So as you can see in that video, the relationship of the studio physically was directly across from the campus of the Immaculate Heart College. So this was an annex of the art department, which quickly rose in fame, especially under Corita's leadership, which she became the head of the art department in 1964. And what you don't see here but you do see in the video is the newly opened Market Basket, which was a grocery store in which Corita amongst many places here in Los Angeles, where she would take her students. It's often said about Corita that her greatest medium was people. And when we think about her legacy, we really call upon often her legacy as an educator and this incredible pedagogy that she left with us. Next slide, please. Wonderful. So here you can see a little bit more of her work and her process. Corita, especially in the 60s, is often never not seen with a camera in her hand. So part of our collection is rather deep over 15,000 photographs that we're currently working to digitize. But you can see here on the upper right, where she is directly pulling from the newspaper, physically manipulating that, taking a photograph, projecting and then incorporating that into her print. And also very much her hand is always present in her screens. So she is primarily a screen print artist and there's many reasons for this. Primarily, it's a very democratic medium, something that you can get a message out very quickly and in mass. And so this is her primary medium and I will note as well in her thinking is that she does not sign them typical with addition sizes. As she does not be one more, more valuable than the next. So this was a way for her time and talent to contribute to to her order. Next slide please. This is the studio as it sits now. And something to to think on and sit on when we come back to her role as an educator in this long legacy. We really think about her students as a fundamental part of the community that came forward and said hey I know what happened here the space is rather important to the larger legacy of Los Angeles, but also the immaculate heart order. So when we think about Carita and her legacy a lot of the work that we do or currently doing is really thinking through. So an exercise that she had done with her students where she would take her students all over again Los Angeles using a tool she called a viewfinder, which might, you might think of it almost as an analog Instagram so it was, you know, one inch by one inch and she taught her students how to look and look again. So this idea of being present in the moment, but also finding gratitude for the square foot that you're standing in. This was a big part of her process, but also asking her students from a very social justice aspect, what their individual impact was to the greater whole and the common good. So it certainly wasn't just Carita working in this space, but this was a site for women's heritage for Los Angeles for the order and for her students and her other colleagues. But primarily this is where Carita made these fundamental artworks that we champion today. So in our process and you'll see this number here. So we started really early on in our application for historical cultural monument status that it was only 3% of landmarks here in Los Angeles that were associated with women's heritage. So there are many, many people to think but one name that we certainly want to bring into this space is the historic preservationist Catherine woollen, who helped helped our application but also the LA Conservancy and Hollywood heritage so to think about this space it still brings community together. Next slide please. Great. So a little bit about the creda art center. Please visit creda.org. We again are undertaking a larger digitization effort to make all of this history as available as possible. Thanks. Finally, it's been such a pleasure to work with you over the last couple of years if you've really tried to, to make sure that Carita studio gets and Carita get the recognition that they deserve I know there's still a long way to go with the preservation of the actual health that you've done really wonderful work so far and you raise such an important point about this was a moment for us to challenge some of the issues that we all encounter in preservation around representation and an equity of representation the fact that there are only 3% of the historic cultural monuments in Los Angeles which is what Los Angeles calls their local landmarks. 3% of those directly represent women's history which sadly is kind of the case nationwide, only about 4% of our national historic landmarks represent women's history and sadly that is a number that hasn't really moved much in the last three decades. So, there is tremendous amounts of under representation and you really helped bring that issue to the floor here in Los Angeles with your push for the designation and something that we all I think need to be much more mindful of for your work there. Next up is is Franklin Johnson Norwood Franklin can you come on screen for us. Good afternoon. Hey Franklin so Franklin Johnson Norwood is the director of alumni relations at Virginia State University and was the 37th president of the VSU Alumni Association, who's the owner of as a result the self designed home and studio of one of the country's first documented black women architects, a mausoleum Meredith, who also is if that's not enough had founded the Virginia State University fine arts department, which she chaired for two decades until her retirement in 1958 so take it away Franklin. Good afternoon so we're going to start with a video so if you could cue the video. This building we're able to get an idea in some ways of who a mausoleum Meredith was. She's documented as one of the first female LGBTQ African American architects living here with her partner that she was allowed to build a property on campus is amazing. She was the 30s to lead our finance department to be an architect to do things that many African Americans and many women didn't have the opportunity to do. She was clearly a very bold woman and to now be recognized as fantastic. We're drawing it from the past into the present and into the future and so now our students get a chance to see that vision. The partnership with Benjamin Warren National Trust reignited what this building means. I am thrilled that Benjamin Moore took this opportunity to help us preserve this historic place so that it can be here for the long haul for students to come and see for us to have this as a part of our history. That this hidden figure here on our campus now is getting a notoriety that she deserves. It had this chipping paint. It looked dilapidated. I'm amazed at how beautiful the restoration is. To have that be done with some coats of paint and Benjamin Moore making this contribution speaks volumes to their work in our communities. This is unbelievable. This is unbelievable. When you look at the house from the outside just that bold blue, it sticks out. Adding that pop of color shows who she is and the light that she shares.  So oftentimes you don't feel like you'll fail here because so many women have created a path for success for you. That coat of paint brings her legacy back to life. And now it's our job to keep it going and to share it with the community, share it with our students. It just shows that they value our communities. They value historic sites and want to see them back to their heyday. It's not just the little white house to me anymore. It's, as a result, the history of Amaz will live on and I'm glad to be part of this moment in time to bring her back to the forefront of what's going on today. Thank you for sharing that video again. My name is Franklin Johnson Norwood. I serve as the director of alumni relations at Virginia State University. You want to thank, thank Chris for inviting me to be part of this amazing panel, all the colleagues that sharing the history and the distinctive women that they're representing is amazing. When it comes to as a rest South and miles leave there for me as a student here at Virginia State University. We call it the alumni house but over the years me moving up into leadership with the Alumni Association, started to understand the history and the importance of what it meant and what it means to be part of Virginia the Virginia State University community. We were blessed to partner with a Benjamin Moore where we received a grant to like the video said to restore the outside and just just seeing that has changed people's perspective of what as a rest house as a rest South is on this vibrant when I became president of the Alumni Association we started to use those grounds as an event space on and sharing what as a rest South means to the Virginia State University community on one of the things that we're going to be working to do is for years, no one went into the studio so our plan is to try to restore her studio because we found a lot of furniture and a lot of different things in there, just to share a little bit about mausoleum and her connection to Virginia State University. I'm like a stated in the video, she is credited to finding to founding the finance department here at Virginia State University. She is a graduate of our university and just knowing that history knowing that like Dr. also said that we have a hidden gem on our campus on like it states that you know she's documented as the first female African American architect that's big and one of the things that we're trying to do is incorporate that history into our students first year experience and so as they're learning all of the other buildings on campus, they will also learn about a mausoleum narrative and as a rest south. One of the other things that spoke and speaks volumes to me as that you know back when she lived at the house with her partner is documented that she lived with her partner Dr. Colson. And that she was, you know, and is noted as an openly lesbian architect and mean being a member of the LGBTQ community. I'm proud we married to Dr. Mel Norwood, and we're both in higher education, but being able to, you know, be bold now in these times but knowing that I stand on the shoulders of an alum that was bold and stood for so much. It's not just as a rest south, her architectural style you can see it in the building at our as a rest south and as a rest north. In Sag Harbor, and just knowing her contributions to our community as a whole, our university as a whole and to just being able to set a standard for our female female architects. It's been amazing to work and continue to strive to work with Alumni Association, who owns the house to make sure that we're keeping it up. And, you know, we're working currently to with the Department of Interior, to hopefully receive a national designation is designated as a Virginia landmark. So we're working to get that national designation but it's amazing that we as Virginia State University, Virginia State University Alumni Association will do whatever we can to continue to uphold the legacy of a mausoleum narrative and her contributions and as a rest south. And so again, thank you for letting me share just a moment of you know my love for as a rest south like I said, as a student when I got here it was just a little wild house but it means so much more to me on now working here and as an alum and as we continue to share her story and let her light shine on for years to come. Thank you. Thank you so much Franklin, I have to say just as little background there's been some some information that pre has been providing in the chat, but it was such a fantastic experience to work with you and the VSU alumni and pretty much everyone involved on this project with Benjamin Moore, and it was one of four projects that we did, starting in 2020 and recognition of the 100th anniversary the centennial of the the ratification of the 19th amendment.  I mean she was, she was a developer, which was also something I mean something that you know, an architect, she identified as lesbian and artist and a real estate developer for of an African American kind of vacation community up in Sag So, I mean she just contains multitudes and it's precisely stories like her that I think really bring home this point that there is so much that we need to explore and understand and bring to light about the work that these women have done, and the full breadth of what they have done so So again to you and VSU and the Alumni Association. Thank you. I'm going to have to step off so I won't be on the Q&A but thank you for this opportunity and this information has been amazing and I'm looking forward to just continue to work in the partnership. Thank you so much. Thanks so much Franklin take care. Next up, we have Victoria Monroe, who is the executive director of the Alice Austin House Museum in Staten Island, New York, which is the home and studio of one of America's earliest and most prolific female photographers who I still find this hard to believe packed 50 pounds of photography on her bicycle as she went around New York documenting the changing environment and populations over the 19th and 20th century. But of equal importance was her non traditional lifestyle which resulted in the rare documentation of the intimate relationships between Victoria women. So Victoria take it away. Thanks so much Chris and it's nice to be here today. This is going to be fairly brief intro into Alice Austin's work and a little bit about what we do at the Alice Austin House. I've been the executive director of the Alice Austin House for nearly five years now.  We're sitting in the upstairs one of the upstairs rooms of the Alice Austin House which just one wall away from me is Austin's dark room so we are in fact also a member of the historic artists homes and studios program, which is an incredibly valuable resource to be both collegial with other executive directors and stuff doing this important preservation work for artists. And of course for us here at the Alice Austin House. We are all about women's history and LGBT history if we could go to the next slide. I'm very sorry to say that a few of my, my photographs of Alice and her photographs were cropped because of a format that I was given to put these in so I just want to, as a disclaimer just say that some of these have slightly larger border areas and what you see here. The image of Austin looking typically fierce back at the camera was taken by her uncle Oswald. So, Austin was born in 1866 she was a Victorian woman who really broke all the rules she received her first camera from Oswald around about age 10. After she is 22 years old and at this point in time was extremely proficient in photography. If you want to go to the next slide. So as you saw in the opening slide when press was briefly introducing myself and in the house. This is the Victorian Gothic cottage, which was Austin's home and studio. They also used the park grounds which was they weren't a public park when she owned the house but they are now a New York City park to practice some of her outdoor photography and that's a really important point about Austin so Austin would take close to 8,000 photographs of a changing New York City. This house is located on the waterfront of Staten Island, which faces the New York Narrows which is the entry point to New York City. So, Austin could document all of the immigrant boats and traffic in the harbor, and this house was known as the first house on the left as you entered to New York City. Pilots today still tell me that they do use the house as a marker as they enter to this is still New York City's working waterfront. So this house was originally purchased by Austin's grandfather in 1844, and it was a very simple to room Dutch farmhouse and he extended it expanded and created what we see today which is this Victorian Gothic cottage. Austin would move into this home when she was just a tiny touch her mother was abandoned by her father who we don't have very much information on. And so Austin would grow up in a home surrounded by adults who really allowed her to pursue all of her interests. So Austin was able to learn about new technologies gardening. She was fascinated by science. And so these were real drivers for her and some of her photographic themes. If we go to the next slide. Here we see Austin and Gertrude Tate on the left. Austin is the lower of the two in the photograph. This is a little penny portrait named as such because they cost one penny to take. Austin would meet Gertrude Tate in 1897. So they were together for 56 years and 30 of those years was spent living here at the Alice what we now know as the Alice Austin house. On the other side of the slide you see Gertrude Tate staring out at an unknown photographer. And while Austin is perched up on a fence post, you know, behaving not as she should technically a Victorian woman to showing some ankle to capture her photograph. She's actually photographing car trials. So Austin was one of the first woman or the first woman it is said to own a car on Staten Island and she certainly knew how to fix it. She rolled with a toolkit and would over the course of time own seven motor cars. Next slide please. During the late 1890s, Austin was really, I would say professionally on fire. She was traveling all around, consistently taking photographs she would take a portable dark room with her when she traveled. She was photographing the natural world she was photographing immigrants at work she was photographing quarantine stations but she was also really importantly for us, photographing her friends and society around her. What's really, really important to know is that what sets Austin apart from a lot of other woman photographers at the time is that she was photographing outside of the studio. So as Chris said she would take up to 50 pounds of photographic equipment with her. You don't see very many women doing that you know you didn't have any such thing as photojournalism at this time so Austin really is quite unique and and sort of should should be recognized along with other women in her cannon such as you know Francis Benjamin Johnson, but for several factors. She has not been and I think we're just beginning to really see more public knowledge of her and her work. So, we do have a series of photographs where we see these more queer themes they're fun this is a rare photograph of Austin's actually smiling she's wearing the lighter colored coach with her two friends Julia and Julia with a very well placed umbrella for enhancing the fake cigarettes which of course would not have been profitable woman of the time will hop to the next slide. Here we have three in a bed and we also have a photograph of some cross dressing friends. We can go to the next slide. Incredibly risky photograph of her and her very good friend Trude which is actually taken in the St. John's Episcopal Church. This is the road which is where Alice was christened wearing just their petticoats and their hair down masks fake cigarettes again. And right next to it is this lovely photograph just taken by the front porch of the house of violet board and a friend. Austin would often take multiple photographs where she would reposition repose her friends. And so there's often several different iterations of one photograph that exists but she has an incredibly clear style. Violet Ward would be the author of a wonderful book called bicycling for ladies, which was published in 1896 and Austin took the photographs that would become the illustrations for that book. And so this bicycling was really important for women's emancipation, freedom and dress. Austin was a fantastic sportswoman and founding member of the Staten Island Bicycle Club, and also the Staten Island Garden Club, which, you know, these are spaces that were safe spaces for women. These are spaces where women could do activities without being chaperoned by men. So it's very important to think about all of this in relation to Austin's work and the way she structured her life to create these safe spaces for queer women. And just all of her female friends in general, we've made great strides in the last two years to look into all of her relationships. And at the time that she created the photographs in the 1896 book, the model for those photographs was actually her partner at the time, Daisy Elliott, it was just prior to meeting Gertrude Tate. We can go to the next slide. Here's a very famous photograph that some of you may or may not have seen called the Darned Club. Again, humorous, playful, beautifully framed. Austin takes incredible photographs. The next photograph, please. And she also was employed. So we can talk about this more in our in our group tour, you know, the factors that have halted Alice being known or her work being more generally, you know, perceived by the public as being important. And one of the factors is that she was always described as a hobbyist, I do not believe that is so she took many forms of paid employment related to her photography. The level of professionalism is absolutely evident. She published articles about being able to create your own home studio. Her work then was also closeted. So she lost all of her money in the stock market crash and eventually was evicted from this house in 1945, at a time where homosexuality was illegal. So, you know, her work was nearly lost to time, but she did give all of her glass plate negatives to the Historical Society, obviously we are recognizing that she had created an incredibly important historical document. We go to the next slide. And just finally, just, there's a tiny peek into what the interior of the Alice Austin house looks like today. We are a living breathing photographic museum. We have a permanent exhibition called New Eyes on Alice Austin, which was installed in 2019 with the support of the NEH. We maintain three contemporary photographic galleries. It's so important for us to provide a platform for contemporary photographers and explore the work of other historical photographers. And of course we have a full suite of education programs that are based in photographic storytelling. So it's making those really important connections to the public today, centering the narrative of Austin and Tate's relationship. And in 2017, we were able to update our national designation to include LGBTQ history as an area of significance, which was really wonderful. So thank you so much for listening. Thank you so much, Victoria, for that glimpse into both the life and work of Alice Austin and also the work that you're doing, which has been remarkable in terms of kind of unearthing sort of her full identity and making sure that that's understood both her personal and professional aspirations and what happened to her later in life and sort of the suppressing and erasing of an entire aspect of her life and her identity is heartbreaking. And so the work that you've done there is so commendable in bringing that forward and making this a center for LGBTQ arts and activism. I hope folks get a chance to visit all of these spaces, but so many of them are really becoming centers for making sure that these legacies live on in ways that are productive and engaging with the communities to whom they are incredibly significant. So thank you for that. Next up last but by no means least is Lucha Martinez de Luna, who is the associate curator of Latino heritage at History Colorado, as well as the director of the Chicano Chicana Chicanx murals of Colorado project which is a grassroots organization advocating for the interaction of the historic and legacy community murals throughout the state of Colorado. And thanks to Lucha's efforts, five of these murals are that are facing loss or erasure whitewashing literal whitewashing were added to the National Trust America's 11 most endangered places earlier this year to bring attention to their significance as expressions of Chicano Chicana civil rights movement and also Chicano Chicana Chicanx identity and cultural heritage. Lucha, tell us all about your work with these murals. Thank you Chris for inviting me to speak at this wonderful panel of all of the presentations have been amazing. As Chris mentioned, I am the director of the Chicano Chicanx murals of Colorado project. And just to briefly begin, many of these murals what is so complicated about them as we have seen in other presentations is that we, a lot of them are talking about a house and portable works of art but with the murals, they are very complicated in terms of preservation. There, we are confronting many issues in terms of preservation policies because a lot of preservation is seen through a western lens and, as you are aware, many of these murals were painted in red line communities that were marginalized, historically marginalized communities. And what that means is a lot of these murals are on buildings that people of color did not own. This is very problematic over many decades, how to protect murals that were the ownership of the buildings change, as does the, the community that in specifically in Colorado and in Denver, Denver right now is the second most gentrified city in the community. So this is becoming very problematic in terms of how are we going to protect these murals. And many of these murals speak to local histories and regional histories. And this section specifically in San Luis, painted by Carlos Sandoval highlights are what I would call the Hispanic and Chicano migration into Colorado, which was very early on and in fact, this section of the state Southern Colorado was part of New Mexico for a long time. And prior to this, part of the Spanish, first part of Mexico and then part of the Spanish Empire. So we are talking about generations and generations of Hispanos and Chicanos living in, in what is northern New Mexico and other in Colorado since 1598. So many of these murals are highlighting that deep history, and they tell, as I mentioned the regional history but also what happened in San Luis. There's a specific mural on the left there it's a, it's a very known, well known story in San Luis about settling in this area, and of course acknowledging the conflict and convergence that happened because this land belonged to the indigenous communities that lived here for thousands of years so these murals really confront these really problematic issues that created a lot of historical trauma, not just for indigenous communities but for Hispanic communities as they were also displaced by Anglo settlers as well. So this is kind of why these importance of the, the murals become so important for these communities. Next slide please.  The project started initially with me I was archiving a lot of these murals I was very fortunate to grow up during the mural movement, the very first mural movement that began in the late 60s and early 70s. And my father was the pioneer of the mural movement here in Colorado, and many of the early muralists were actually I saw them as my uncles and my cousins, and I was very much part of that community so as Denver really, really started to displace many communities later, I really started archiving a lot of these murals, and then later on, my friend Jillian million hours who is an art historian and a local university here. We joined together to create CMCP. Next slide please. I just wanted to give you a little bit of background of what is a community mural. Chris Morris mentioned that the National Trust was recognizing some of these murals. They were listed on the 11 most endangered places but I do want to emphasize here that is actually more than five murals it is approximately 40 murals throughout the state. Now, why is this important. A community mural is very much. As I mentioned before it is direct directly painted on a permanent structure what makes, which makes it very problematic in terms of its preservation and also trying to protect it. But these murals are a visual text of our history. During the civil rights movement. One of the demands that was being made at this time is to have access to histories of indigenous communities of people of color and their importance in the history of the United States. And because that was not happening these murals became a historical textbook for communities, and many of these murals were portraits of people that lived in the community and local historical figures. And it also gave us a sense of permanence in these spaces where many of these spaces were red line communities and very much there was a lot of discrimination even happening within the community. There was a sense of ownership in in a space that, even though it was in the neighborhood still felt like we didn't necessarily communities colors that color did not belong in these spaces, and that sense of place. Next slide please. As I mentioned the community spaces. What we mean by that is that in a lot of these. The early sites where these murals were painted were in parks and in by swimming pools. And at the time that people of color were even restricted in terms of what days they could swim in these pools. And they were confronting a lot of discrimination when they did actually swim in the pools they were actually designated days for black people to swim in the pool for Mexican Americans and Hispanos to swim in the pool. So these we were trying to really define our community spaces and a lot of these murals the majority of them were also the youth and people that lived in the community help paint these murals. Next slide. So what we are what we have always confronted with these murals is and it happened very early on around the some of the murals painted in the 70s. Around the 90s is when a lot of these murals were starting to be paint over. And what is so distressing about this is that there was no conversation whatsoever with the community about the erasure of these murals. A lot of times the community wake up the next day, and they would be completely painted over this mural on the left urban dope rural hope was the largest mural painted in Denver at the time, painted in 1977 by five muralist, and the youth that lived to the right Valley homes that were very, very proud of this mural and it was this mural face their homes. And in just last year this entire neighborhood was demolished. Next slide. And then as I mentioned before with the listing with the National Trust, the 11 most endangered places, a big part of what we as CMCP are working to, to really do is to really promote the importance of these murals, not only for our communities but for the state and actually actually at the nationwide level. So with with this listing, we have been able to really reach out more to just the community in terms of, okay, how do we work together to protect these murals and I, we have been very fortunate to work with historic Denver, the State Historic Preservation Office and the city of Denver preservation office to start looking for solutions, but it's been very complicated and very challenging. Next slide. And another component of this is education. We are finding that high school students and college students and even K through 12 they really I mean, yeah K through eighth grade. They really enjoy learning about history by walking out into the community and looking at these murals and and studying the the imagery, because for them they feel like they are part of the community but yet at the same time to they see themselves represented in the painting. And as opposed to going to a historical museum or cultural institution where we still have a lot of work to do to make people appeal for people of color to feel comfortable in these spaces and to start seeing their history that has only recently started happening but in these communities this has been happening since the 60s. They have their own museums with these murals in their community. Next slide. And fortunately, what we've been able to do finally this summer actually most of the, all of these photos are from this summer is we are taking steps to protect and preserve these murals and one part of that process is finding mural shield it's a clear coating that really brings out a lot of more color of some of these murals that seem that are very faded, and we have often heard with murals that have been painted over, because they are faded they think that nobody knew them. So what we're trying to do is make it very clear that we do care about these murals and they're important to us and we are also going to, to put plaques on these murals as well. And then to the right. This mural in particular is very fascinating story during quarantine what happened with this mural it was completely white washed and just covered with white paint. And we reached out to an organization called Social Public Art Resource Center in LA. They have been doing this in LA for about 10 years now probably even longer, where murals that have been covered white washed. And I say white wash because they're normally just painted with just with white paint and they're just left as is. They have been able to remove that layer of white paint so in this photo that's what we're doing for the very first time. We are resurrecting a mural that has been white washed in in our community. Next slide. Okay, thank you. Thank you very much. Thank you so much lucha. I was so glad that you could be a part of a part of this presentation, because it was important to me that we be thinking about these collaborative efforts, where women were one of the artists involved in a much larger project and so recognizing, recognizing the larger movement but also really pushing people to think about places where women made art in a different perspective it's not just in their studio, you know their canvas is outside as you said on these physical structures that perhaps they don't have control or ownership over which poses an enormous challenge in terms of how you preserve and maintain that legacy so thank you so much for sharing your incredible work. Thank you for being to all of our presenters today and when we were initially putting this presentation together we thought oh 90 minutes will be more than enough, but as you all can see there is so much here to delve into that we have, we have used up most of our time here with these amazing presentations and thank you to everyone but I do want to try to squeeze in one question so if all the panelists could come back on the screen we're going to try to do at least one of the dozen questions that we set for ourselves before we before we disperse so I'm going to throw this out to anybody and everybody feel free to to respond. One of the things that we talked about earlier before before the webinar was how sites struggle with the day to day challenges of just staying relevant to their audiences and to their local communities and I think each of you kind of touched on this and in some way in your work in your presentations. How have you found that centering women's artists women's history women's creativity in your work and at your sites has helped you whether that's with your advocacy efforts or your to preserve these places or just with engaging with new audiences and demonstrating your relevance or making your work more relevant to the larger public so fair game for anybody. Don't be shy. Come on. I want to answer that Chris, you know, we really came into doing. We were recognizing at the Ellis Austin house early on, you know, starting to recognize the relationship of Austin and go to rotation it's important to really understanding her work more deeply. But we really came to this work and I was hired initially at the Ellis Austin house to write women's history programming. And throughout education programs and I think that you know approaching beer education was a really important pathway for the Ellis Austin house to begin really looking at it and a broader sense of her and a broader sense of women's history. And then, you know, obviously having a more open board structure here that allowed me to take the reins and create active programming that was inclusive of LGBTQ narratives. So I ended my side talk was to look at active storytelling today. So using Austin's life and work as a jumping off point at beginning to explore identity and personal identity and storytelling for everyone that visits our museum whether they're an active program or photographic program. And also of course for the artists that actually exhibit in our rooms. It's really important for me to have them acknowledge their that their work is hanging in Ellis's bedroom that it's hanging in one of the key rooms in her home that she constantly photographs and not to interpret this house as a historic house. Obviously we acknowledge that and the history of the structure is really important. But we have this opportunity to interpret all of the spaces through Ellis's work. And what that those histories how they resonate through the entire site. And of course now the big job is to interpret the path. So that all of our park visitors, we don't need to assume that people must enter the site to experience us there's so many people in our community that just value coming for the views. But to be able to give them entry ways and opportunities to learn about the incredible woman that this site is named after now. Thank you Victoria that yes also true and like I said earlier the work that you have done I think is really an inspiration for for everyone else who's dealing with with trying to make sure that these full stories are being told. I'm so sorry to that we are not able to have our full discussion that we hope to have because I was really looking forward to that but you all presented so much depth and richness and you're in your presentations that I think it hopefully gave everyone a really good sense of not only the place, the women but also the work that you're doing there to help make sure that these stories are centered so thank you all for that and maybe someday we'll come back together again to have that conversation. What I was going to suggest is I'll email everyone and see if maybe we can take some of those questions we've talked and turn it into a blog post or do a separate or something with everyone show that would be fantastic. Put that in the chat but I wanted to verbally capture it on the recording to so just keep an eye out for it. Okay, and then I just before we before we sign off I just want to remind everyone this is the first of two webinars we have another one coming up on September 20. It is related to the women's work exhibition it is to Titans of women's art history women's art LGBTQ art it is Lucy LePard and Harmony Hammond, who are going to be bringing their collective decades of experience and feminist art and LGBTQ art to kind of talk about and talk about the the artwork that's in the women's work exhibition through their own lens. So it is another one that you definitely will not want to miss get that one on your calendar and register now but I want to just express my thanks to everyone for coming and joining us today to share your stories and your work and I am inspired by what you do I love working with all of you and learning about the places in the women that you're that you're centering so thank you so much. Thanks to all of our audience as well and everyone who helped make this webinar possible forum Lindhurst everybody thank you all and have a great rest of your day bye bye.


In this presentation, we will take a look at a journal entry for a transaction for a corporation issuing stock for cash. We're going to go through a scenario which will look like this. We have the information up top. We're going to record a journal entry for it in the general journal. Then we'll post that to a trial balance so we can see a quick result of what will happen. So we're going to post it to this trial balance worksheet over here. We are formatted in terms of cash. Our only asset is going to be a very small trial balance, but we want to see something in balance, record it, see the effect on the accounting equation as well as individual accounts. We have assets and liabilities in orange. We have the equity, light blue, revenue and expenses, the dark blue. The zero here represents that the positive numbers on this form of our debits, the negative numbers are credits and therefore debits minus the credits equal zero, debits therefore equal credits. Net income is zero because there's no revenue or expense on this current trial balance. We're going to have a transaction of the issuing of stock. So we're going to issue stock from the corporation. It's important first to note that this is different from trading stock. So when we buy stock or when we sell stock, particularly when we buy stock, it might be thought that we're buying that from the corporation. We're not typically, if we buy stock such as Apple or Google, we are typically buying it from others who are just selling the stock. That's the beauty of stock. It's interchangeable. When the corporation issues stock, they often do that on the initial offering when we start the corporation because that will be a way to generate capital from investors or periodically from time to time later on in the process. But note that the issuing of stock isn't something that happens all the time. It's something that, like when we start a business, we issue stock and if we were to start a sole proprietor, we would put our own capital into the business or a partnership would put their own money into the business. For a corporation, the stockholders put their own money into the business and they do so by buying stock. So it's the same kind of process there. What's happening is the owners, the stockholders are putting money into the business in order to have an equity interest in the business decision making interest within the business in a similar format as any type of business would when we start the business in order to get that initial investment to get the business going. Once we have that initial investment, then hopefully the company makes money and we don't have a lot more investment from the owners who have payments from the owners from the company in the form of a corporation, those would be dividends. So this is going to be us investing in the company. We're going to issue 20,000 shares from the company. We have a $5 par value and we're going to issue them for $10. So remember the goal here is basically to get capital typically. So we're trying to generate revenue so we can have operational money to use later on within the business. So cash is affected, cash is going to be increasing. We issue 20,000 shares. The tricky part here is that how much are we going to, which one of these are we going to use? The $5 par or the $10 market price? Why are there two? Which one are we going to use? When we sell the stock, we're going to sell it for whatever the price is on the market. So just like anything, we're going to get whatever we can for it. So the cash is going to go up with a debit. Cash is a debit balance account. We're going to do the same thing, increase it with a debit. The calculation will be 20,000 shares times the market price, $10. And just remember when we're talking about cash, the cash compartment of our selling of our stock, we're going to get whatever we want, whatever we can for it on the market. This will almost always be the market price higher than the par value price. Then what's going to be the other side of this? Well, if we were investing in a sole proprietor or a partnership, the other side would be some type of capital account in the equity section. Same thing here. It's going to be in the equity section, but we're not going to call it a capital account because unlike a partnership, we're not going to try to list all the owners of the corporation. The beauty of a corporation is that all of the shares are the same. The only difference between the owners is how many shares they own. So that's the great thing about it. It's all standardized. So we're not going to list out like people's names here of who we owe as we would with a partnership. What we're going to do instead is list out the common stock and then the retained earnings are the main two components. So the common stock represents us putting money into the business. The retained earnings represents the business accumulating revenue over the process of the business over and above the initial investment, less anything that was given back out to the owners in the form of dividends, which are similar to draws for a sole proprietor. So we're going to be up here. We're working up here. Now we have these two things up here. This is confusing. We have the common stock with a par value and then we've got the paid in capital. Why do we have two things representing the investment here? Well, that's because the par value is going to be a standardized number. This par value $5, the $5 is just an arbitrary number. We like made it up out of nowhere. Why would we make up a number? Because it standardizes this number. This number now is very standardized. This number represents whatever it is divided by 5 will be how many shares are outstanding. That's what the par value will do. It'll make this very standardized. What is this account then? Everything over and above what we got paid for the issuance of stock over and above the par value. This number will make no real sense over time because the market price will change and therefore there's no real relationship between the paid in capital and the number of shares outstanding because it just depends on when we issued the stock because the market price will change. But this one is very uniform because we're using a par value. So this one's going to have to go up. We're still going to credit equity just like we would for a sole proprietor or partnership but we're first going to credit the common stock par value and we're going to credit that for in this case 100,000. How are we getting that? We're going to take the 20,000 shares we issued times the par value $5, the smaller number. It's almost always going to be, it's pretty much always going to be smaller than the market price. So we're going to increase that by 100,000 and then the difference is going to go to paid in capital which is just the 200,000 minus the 100,000 or whatever we need the plug to make this in balance to make the credits equal to the debits. So this number is like we say it has no real uniformity. This number is just whatever we need to do in order to balance this thing out. If we post it then cash is going to go up. That's the point of issuing the stock. We're giving an equity investment to some owners that basically have some owning potential giving them some voting rights. They have the ability to influence the company in some ways and the right to receive dividends when they are declared in order in exchange for the cash. So cash is going up and then we're going to record that we owe these people money not by name but by increasing the common stock that we issued 500,000 plus 100. Note it doesn't really matter for the corporation who owns it. We'll determine that when we make the distributions in terms of dividends and whatnot but as far as the financial statements go, it doesn't matter. We don't need to list who owns the stock. Whoever owns it, it's fine. They're all the same. Stocks are all the same. So we're just going to say, hey, we issued 20,000 more. It's increasing the common stock by 100,000 to the 600,000. And then we can just easily know how many shares are out there because we can say, okay, it's at 600,000 divided by the par value or five. There's 120,000 shares out there. The financial statements, again, don't show us who owns them right now. The notes could tell us that but the financial statements themselves don't tell us who owns the shares but we know how many shares are out there and if we own any share, they'll all be uniform in terms of our voting rights for each in particular share and for the amount of dividends that we're going to get and what we should get upon liquidation of the company. We're going to increase the paid in capital. This 100,000 increase in the 60. So the 60 is going up by 100,000 to 160,000. So here's our total transaction. This then is what has been invested over the life. This is what had been invested first. This is not the initial offering. Otherwise this would be, you know, these would be zero and it would go up so there had already been stocks that were issued in the past. We are increasing it here. This account being very uniform because we're increasing it just by the par value times the number of shares and this one is a number that is going to be anything over and above that. Again, in total, this just represents the investment by the owners, investment by stockholders. As opposed to this number retained earnings which is going to represent the earnings that have been accumulated over and above the initial investment. It's important for our corporation to keep those separate because when we make distributions and things like that we don't want to take it out of the initial investment. We want to take it out of our earnings. We want to pay people for the earnings. We want to pay people after performance of the corporation after the corporation earns revenue. We want to take those revenues and pay it out. We don't typically want to pay back the initial investment. If we do, it might be treated differently for things like taxes. So if we go over here to the stockholders equity section of the financial statements, we can see the format that the stockholders equity will take. It's often a bit confusing to look at the stockholders equity section. It can be intimidating at first, especially if we're dealing with a partnership that doesn't have a lot of partners or a sole proprietor where we only have one equity account. Just remember when we're dealing with a corporation it's all the same. If we took this number in total, it's just the same thing. That's how much if we owe if one person owned all the stock corporation, then in essence we would owe them $600,000 plus $160,000 plus $658,000 the $1,418,000. Just like we would with a sole proprietor. Same as the assets, $1438,000 minus $20,000 will be that $1418,000. Assets minus liabilities equals that total equity section. The only difference with the corporation is we're going to break it out by the initial investment, the stock that was purchased versus the earnings of the life of the business. In the equity section we're going to say this is stockholders equity on like a financial statement. We're going to say this is the common stock. We will list that it's a $5 par value and we'll tell how many shares are out authorized. This means how many shares basically they're allowed legally to issue. They could issue 150 shares. However, only 120,000 shares are issued and outstanding. Which again we can clearly see on the financials if there's a par value by taking this number 600,000 divided by the $5, the 120 is the number of shares outstanding. And then we're going to have the amount 600,000. Then the paid in capital is the 160. All that represents is how much we got paid over and above the par value. The par value is just an arbitrary number. The 600 plus the 160 or the 760 is what we actually got paid for selling our stock. And then the retained earnings is going to be this component and that's just going to be the amount of earnings that have accumulated over the life of the business less anything that's been taken out in the form of draws. The 760 and the 658 is the $1,418. This representing the total value of equity if there's only one owner it would be like we would owe that one stockholder the $1,418,000. This representing in other words the book value of the company also representing assets minus liabilities in the same way as any type of entity would a sole proprietor or a partnership with still the total capital is the total capital in essence it's the book value of the company.


So now I have officially been a full-time hospital as a full-time attending for the past four months. No question is, am I happy with my decision to go through all those years of school and training for the job that I have today? The overall answer is 100% yes. Does that mean that I love going to work every single day? No. There are some days where I look at the list of patients I have and I'm not interested in the problems they have. Maybe because they have a bunch of surgery cases or patients who have just been in the hospital for too long, not for a medical reason.  They go from a sad person to a super jokey person. It's an old sweet lady that just lightens up your day because they just value life when they have so little of it. Hearing that just makes me say, you know what? Let's put the same effort that I put into this patient into the next one I'm about to see. Make sure I give them attention, build that rapport and try and listen to them most importantly so I can take care of them in the best of my ability. Now if you want more tips and strategies and motivation for your medical journey then make sure you hit that like, subscribe and follow to get more content and videos just like this one.


Welcome back to Tennis Talk, my name is Cam Williams and it's time for the weekly ranking show Where we go through the ATP and WTW rankings of the week and the race to the ATP WTW finals It's a big week We've had a lot of things happen over the last couple of weeks Of course the Miami Open has just finished and Ash Barty retired since the last time we did one of these shows So we got a lot to talk about let's start with the players that won last week at the Miami Open So having a look at the past results from last week We've got Igor Fiontek winning another WTA 1000 event She beat Osaka 6 4 6 love in that final Carlos Alcaraz He wins his first ATP 1000 event been in Casparud in the final 7 5 6 4 and both players got a boost in the rankings As we'll see in a minute Let's start with the WTA rankings this week and due to Ash Barty retiring a lot of players got a boost in the rankings Igor Fiontek she is officially the world number one taking spot And she's well and truly world number one if you can see there by the points Krijakova also goes up two spots up to number two Badasa goes up to number three which is a career high for her That's three spots higher than last week Zachary she goes down one spot after failing to defend the points that she won last year in Miami Sabalenka she stays at number five Contivate goes up one spot to number six Plushkova goes up a spot to number seven Danielle Collins she goes up three spots number eight Making her top 10 debut Mugurith is at nine And Jabor rounds out the top ten Having a look at the race of the WTA finals We've got Fiontek well and truly on top at number one Zachary she goes up one spot due to Barty dropping out She's up at number two Collins goes up to number three Three spots higher than last week But Dosa also goes up three spots higher than last week up to number four Contivate drops down to number five Madison Keyes also drops down one spot to number six Ossapenko she goes up to number seven Halep up to number eight And Jessica Pagula having a really good week in Miami She's gone up six spots into number nine And Kudamatova rounds out the top ten So let's have a look at the players that went up in the rankings over the last week And Pagula She's at a career high number 13 in the world Eight spots higher than last week After making the semifinals of Miami And Naomi Osaka she's gone up 41 spots higher than last week Up to 36 in the world After making the final of Miami And finally starting to get up to where she deserves to be In the rankings Players that have dropped down in the rankings this week Svetalina she's gone down seven spots To number 27 in the world And has also mentioned that she's going to take some time off Over the next couple of months So we'll see if she comes back Stronger after the break And Bianca Andrescu she's dropped down 75 spots To outside the top 100 119 in the world After failing to defend the points that she made from the Miami final last year So she's dropped down the rankings a lot Heading over to the ATP rankings now And you've got Nobak Djokovic Stays at number one with Medvedev Very close behind at number two But of course Medvedev He's not going to be playing for a few weeks now Because of that hernia that he got over in Miami We've got a bit of a change in the middle here With Zverev going back up to number three Pushing Nadal down to number four Sintipas stays at five Baratini stays at six And Kasparud after making the final of Miami He goes up to number seven Pushing Rublev down to number eight Alias Simit nine And Kam Nori He is into the top 10 for the first time in his career Two spots higher than last week Pushing out Hubey Hercatch Who dropped out of the top 10 After failing to make up all the points That he won from Miami last year Let's go have a look at the race of the finals And Raffer Nadal still on top Despite not playing in Miami Well and truly number one in the race Mikaz Alcárez He's gone up five spots to number two In the race of the finals Just behind Raffer there Pushing Medvedev down to number three Fritz goes down to number four With Zverev, Sintipas going up one spot to number five Ojalia Sim He's dropped down to number six Two spots lower than last week Rublev also dropped two spots down to number seven And Kasparud He is number eight In the race of the finals after a great week In Miami 14 spots higher than last week Pushing Baratini down to number nine And Roberto Batista-Rugu rounds out the top 10 Having a look at some of the players That have gone up in the rankings Over the last week, outside the top 10 Ketch Menovic He's gone up to number 38 In the world 10 spots higher than last week After having a really good result in Miami Getting to the quarter finals And also Serendolo He's gone 52 spots higher than last week Up to 51 in the world Which is a career high for him After making the semi-finals in Miami So a couple of players that did very well last week Getting a boost in the rankings A couple of players gone down to the rankings we've got Roger Federer He's gone down 18 spots After dropping the points he won in Miami a few years ago That was still holding on He's down to number 44 in the world Kevin Anderson He's dropped down 16 spots outside of the top 100 At 107 in the world And he's having to play qualifiers of a lot of tournaments now Because he's outside of the top 100 So a couple of players that are very well known A couple of the veterans on tour That have dropped down the rankings over the last week So there you have it They are the rankings for the week The ATPWTA rankings for the week Let me know down in the comments below Who are you most shocked about Maybe missing from the rankings Of course Novak Djokovic Isn't anywhere near the race to the finals Because he hasn't played enough And remember the race to the finals Is only the points that are made up from the year So Djokovic has to do a lot of work Over the next few months On the clay and the grass To make his way up the ranks there But let me know down in the comments below Is anyone you're shocked at seeing in the top 10 Or maybe shocked that isn't in the top 10


In this presentation we will take a look at multiple choice questions related to bonds, notes payable and long-term liabilities. Support accounting instruction by clicking the link below giving you a free month membership to all of the content on our website broken out by category further broken out by course. Each course then organized in a logical reasonable fashion making it much more easy to find what you need than can be done on a YouTube page. We also include added resources such as Excel practice problems PDF files and more like QuickBooks backup files when applicable. So once again click the link below for a free month membership to our website and all the content on it. First question the market value of a bond is a the present value of all future cash payments, b the present value of all future interest payments, c the present value of the principal, d the future value of all cash payments and e the future value of all future interest payments. Okay let's go through this the bond value the market value of a bond. Now when you say the market value of a bond what you're really looking for is the price you're gonna sell it for. What are you gonna sell it for and it's not gonna be equal to the face amount of the bond because the interest on the bond could be different than the market rate. So if we go through these then the print word obviously it has something to do with time value of money because all these have to do with present value and future value stuff. So a says the present value of all future cash payments. That sounds kind of reasonable. B says the present value of all future interest payments and c says the present value of principal payments. So a, c, a, b and c are kind of breaking out all the different combinations of the types of payments. There's only two. We're gonna get the principal back and we're gonna get the interest back. So is it the present value of you know which of those present values would it be? And then d says the future value of all future cash flows and e says the future value of all future interest payments. Now of those two the question then is well is it present or future value. Now typically if we're trying to see the price as of today we're looking for the present value. So it's not gonna be d or e because we're not looking for the future value. We don't want to know how much it costs in the future. We want to know what the price is now. So it's gonna be one of the present values. And of the three present values we're gonna go through this again. The market value of a bond is the present value of all future cash payments. That sounds pretty reasonable. B says the present value of just the interest or just the principal present value. And it's really gonna be a because that's that's what the value is now right. We're gonna say what are we gonna get from this bond. We're gonna get interest payments and we're gonna get a principal payment at the end. We want to know what those payments are worth today discounted at whatever the current market rate is. And that'll give us basically the price. So the market value of a bond kind of the selling price of the bond is gonna be a the present value of all future cash payments. Next question which is an advantage of bond financing. A bonds do not change owner control. B bonds require payments at maturity. D bonds pay interest. E bonds payback interest and principal. Now when you think about these advantages and disadvantages of bonds you got to kind of think contrast them to something else. I mean we're buying bond or maybe we're selling bonds. Why to get cash? What else could we do to get cash? Well we could issue stock or we could take out a loan. Those are our other two options. So what are the advantages of bonds is kind of like what are the advantages as compared to other financing options typically. So which is an advantage of a bond financing. A bonds do not charge do not change owner control. And that's true because we issue bonds unlike stocks that's what it's comparing to. That's what you got to kind of just know like why would they even ask that. Well because another way of financing like stocks does get cash but it requires us to give us control of the business. Some control. And then B says require payment at maturity. That's true but it's not good. We don't like to have payments at maturity. Is there another way to finance where we wouldn't have payments at maturity. Yeah through stocks but we'd have to give up some control to do it. So B is not an advantage. D says bonds pay interest. And again that's true but it's not an advantage. That's a disadvantage. We don't want to pay interest. Is there any way we could finance and not pay interest. Yeah if we issued stock but then again we'd have to give up the control. And then E says bonds pay back interest and principal. And again both those things we don't like. Is there any way we would not have to pay back interest in principle. Yeah if we issued the stock then we wouldn't have to pay back the interest in principle. But the disadvantage is going to be a. So the question and answer once again. Which is an advantage of bond financing. A. Bonds do not change owner control.