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As you review each source, record in your flow chart:

Where is the oppression?

How did people resist or fight back?

In what ways was justice expanded?

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Video The Feminine Mystique  Watch Makers Women Who Make America Online  PBS Video

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Shirley Chisholm - The First Black Congresswoman

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'the seventies': feminism makes waves - cnn

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'The Seventies': Feminism makes waves - CNN

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Here are some of the key women and events that fueled the women's liberation movement throughout the 1970s.

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3:50 - end has ways of resisting (first 3+ minutes show oppressions)

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Great Women's Rights Movement Footage - 1970s

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Watch Video and/or Read Article

"Founded as an act of protest, the Woman’s Building is a cornerstone in late twentieth-century lesbian and feminist culture. From 1973 to 1991, the Los Angeles-based organization and facility stood as a counterpoint to most major American museums, galleries, and arts programs, which routinely excluded female artists from their circles. Created by and for women, The Woman’s Building exemplified the impulse among feminists, including lesbians and bisexual women, to establish autonomous spaces outside of traditional, patriarchal institutions."

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Films from "Curating the City: LGBTQ Historic Places in L.A." are produced by FORM follows FUNCTION and presented in partnership with the Los Angeles Conservancy: The Los Angeles Conservancy preserves the historic places that make Greater Los Angeles unique. They work through education and advocacy to raise awareness of our shared cultural heritage, prevent the needless destruction of significant sites and historic neighborhoods, empower people to save the places they love, and foster strong preservation laws and incentives. A private, member-based nonprofit, the Conservancy works throughout L.A. County, spanning 88 cities as well as unincorporated areas. The proposed demolition of the Los Angeles Central Library led to the Conservancy's founding in 1978. What started as a handful of concerned citizens is now the largest local preservation group in the U.S., with more than 6,000 member households and hundreds of volunteers.
Founded as an act of protest, the Woman's Building is a cornerstone in late twentieth-century lesbian and feminist culture. From 1973 to 1991, the Los Angeles-based organization and facility stood as a counterpoint to most major American museums, galleries, and arts programs, which routinely excluded female artists from their circles. Created by and for women, The Woman's Building exemplified the impulse among feminists, including lesbians and bisexual women, to establish autonomous spaces outside of traditional, patriarchal institutions.

Three trailblazing women - artist Judy Chicago, art historian Arlene Raven, and graphic designer Sheila Levrant de Bretteville - came together in 1973 to create the first independent art school for women, the Feminist Studio Workshop (FSW). The founding of the FSW represented a crucial milestone for feminist activism within the art world, as activists increasingly targeted mainstream institutions for their broad dismissal of female artists.

The FSW was originally headquartered in a building on South Grandview Avenue, near MacArthur Park. The founders and students began to describe the educational center as the Woman's Building, a tribute to the Sophia Hayden-designed structure at the 1893 World's Columbian Exposition in Chicago, which exhibited work by female artists from around the globe.

In addition to the FSW, the building housed a number of like-minded feminist institutions, including the National Organization for Women (NOW) and the first Sisterhood Bookstore.

In 1975, the organization relocated to a 1914 Beaux Arts building at 1727 N. Spring St., where it remained until its closure in 1991. Like its predecessor, the nonprofit center was known as the Woman's Building in reference to the creative achievements and autonomy of female artists.

Located in an industrial corridor north of downtown, the three-story brick building on Spring Street was originally constructed for the Standard Oil Company. Artists with the FSW were tasked with transforming its cavernous interior into studios and performance spaces upon acquisition of the building. With limited resources, the women completed the project themselves, gaining new skills in construction and building maintenance.

Artist Cheri Gaulke, who was active at the Woman's Building from 1975 to 1991, recounts: "We soon came to realize that it was an opportunity to be empowered, that we could learn skills that we'd never learned before and, more important, that we could just create our place in the world, which is really what The Woman's Building represented. It was a public center for women's culture."

Throughout its 18-year run, The Woman's Building cultivated an experimental space for women from around the world to explore ideas in feminist theory and sexuality through art. Artists whose work may have been marginalized in other venues found a platform for expressing political goals and viewpoints. The very notion of a public space for female artists underscored the existence of a distinctive "women's culture" in the 1970s and '80s, one that grappled with dynamics of gender, sexuality, race, and class to varying degrees.

Two of the FSW's most ambitious projects were the Lesbian Art Project (LAP) and the Great American Lesbian Art Project (GALAS).

Arlene Raven, one of FSW's co-founders, spearheaded LAP with writer and performer Terry Wolverton. Composed of workshops, performance pieces, and exhibitions, LAP sought to challenge common portrayals or misconceptions of lesbian culture and to elevate the contributions of lesbians to art history. The project lasted from 1977 to 1979.

One of LAP's most significant works was "An Oral Herstory of Lesbianism," written and directed by Wolverton. The 13-member performance took place at The Woman's Building in 1979 and featured a series of vignettes exploring lesbian experiences and struggles.

Under GALAS, students and staff of the FSW examined the current state of lesbian art across the United States. The group held both formal and underground exhibitions throughout the country in 1980.

GALAS stood in contrast to other projects in that its curators directly confronted issues of race and exclusion within the queer and feminist art movements. Reflecting racial and economic dynamics in the 1970s and '80s, women of color were largely left out of institutional activities and conversations in the art world. Through alliances with other artists and nonprofits, the project exceeded its original scope by bringing greater recognition to the experiences of lesbians of color. The Women's Building itself grappled with ongoing questions about inclusion and attempted, with varying degrees of success, to address diversity issues through its programming and leadership.

In addition to LAP and GALAS, the Woman's Building nurtured performance art groups such as The Waitresses, Sisters of Survival, and Feminist Art Workers. The space also housed a vibrant literary scene through its Writing Series, which featured celebrated feminist writers such as Audre Lorde, Deena Metzger, and Adrienne Rich.

The FSW ended its programming in 1981, as demand dwindled for alternative educational institutions. The Woman's Building continued to operate as a gallery and performance space, and studios were rented out to local artists.

Following the FSW's closure, its board founded the for-profit Women's Graphic Center on the ground floor of the building. The business intended to help sustain the Woman's Building's operations and to provide new job training and services. At its peak, the center offered graphic design, typesetting, production, and printing services. It ceased operations in 1988.

The Woman's Building officially closed its doors in 1991, at which time the Los Angeles Times referred to the space as a "feminist mecca."

Looking back, the Woman's Building, the institutions it housed, and the art it produced lie at the intersecting histories of second-wave feminism, postwar art, and the politics of queer feminism. For many female artists - lesbian, straight, and bisexual - the building served as a haven within the male-dominated art world, a place where women sought to develop an authentic voice.

The Woman's Building revealed a unique cultural exchange among lesbian, straight, and bisexual women in the context of second-wave feminism.

Perhaps even more significantly, it revealed a unique cultural exchange among lesbian, straight, and bisexual women in the context of second-wave feminism. The idea of a visible LGBTQ community did not yet exist, and many lesbians and bisexual women aligned themselves with the feminist movement as opposed to the male-centric gay liberation movement of the 1960s and '70s.

Though gay and bisexual men faced broad discrimination because of their sexual identities, queer women faced additional sex and gender-based inequities in educational settings, the workplace, and the healthcare and legal systems. At the Woman's Building, women embraced and nurtured an arena of their own to negotiate the complexities of gender and sexual identity.

The Woman's Building gave its artists a space in which to confront pressing social and cultural issues, often with provocative results. Its founders believed that art was directly connected to activism, and the organization strove to better support working women and women of color as it expanded in the 1980s. Ultimately, it achieved international acclaim for its commitment to the creative achievements of women, and its contributions to feminist and lesbian culture continue to echo around the art world.

"I think the Woman's Building, for its time, was really unique, and it was a symbol of the feminist art movement," reflects Sue Maberry, who was active with the organization from 1977 to 1988. "It was a center for feminist art and creation."

Today, the brick building at 1727 N. Spring St. houses creative office and studio space. The history of the Woman's Building has been documented in numerous publications and exhibitions, and its longtime home was declared a historic cultural monument in June 2018.

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The Woman's Building: L.A.'s "Feminist Mecca"

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Films from "Curating the City: LGBTQ Historic Places in L.A." are produced by FORM follows FUNCTION and presented in partnership with the Los Angeles Conservancy: The Los Angeles Conservancy preserves the historic places that make Greater Los Angeles unique.

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Watch from 4:45-11:18 to see the story of how scholar Kimberlé Crenshaw first articulated this now common idea.

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Transcript of "The urgency of intersectionality"

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TED Talk Subtitles and Transcript: Now more than ever, it's important to look boldly at the reality of race and gender bias -- and understand how the two can combine to create even more harm.

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8 Things RBG Helped Change for American Women

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8 Things RBG Helped Change for American Women

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Pay attention to 1-6 (you might also add some of these to your oppressions list if they aren't there already)

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Even in death, Ruth Bader Ginsburg is making history for women.

The Supreme Court associate justice, a driving force for gender equality in the United States who died last week at age 87, will be the first woman to lie in state Friday in the the U.S. Capitol. Thirty-four men have been so honored since 1852.

The honor comes after Ginsburg lay in repose at the U.S. Supreme Court on Wednesday and Thursday, a final visit to the high court she served for 27 years.

During those decades, Ginsburg helped act as a voice for women - and men - in countless ways, from education to workplace discrimination and health care.

She famously co-founded the Women's Rights Project at the ACLU as a lawyer, and brought and argued the cases that led the high court to affirm protections against gender discrimination.

Though it would be impossible to list every triumph that Ginsburg helped achieve, we're looking back to trace some of the impact she's had on women's lives in America.

Here are just some of the contributions she made for women, both on a legal and personal level.

In the 1996 United States v. Virginia case, Ginsburg wrote the majority opinion that it is unconstitutional for schools funded by taxpayer dollars to bar women.

"There is no reason to believe that the admission of women capable of all the activities required of (Virginia Military Institute) cadets would destroy the institute rather than enhance its capacity to serve the 'more perfect union,' " Ginsburg wrote.

Speaking to USA TODAY, women's rights attorney Gloria Allred described Ginsburg's opinion in the case as "groundbreaking."

"She was clear that state-sponsored educational institutions could not exclude women on account of their gender," Allred explained.

Ginsburg paved the way for the Equal Credit Opportunity Act, which passed in 1974 and allowed women to apply for credit cards and mortgages without a male co-signer.

Naomi Mezey, law professor and co-founder of the Gender+ Justice Initiative at Georgetown University, told USA TODAY that Ginsburg's work surrounding women's financial independence laid a base for further issues of equality and independence.

Athia Hardt, a former Arizona Republic reporter and current consultant with Hardt and Associates, told USA TODAY about her personal experience with a bank telling her she could no longer have her account in her name after she married, but instead needed to be under "Mrs. Charles Case."

"I said, 'I'm not taking his name,' and they said, 'That doesn't matter,' " she recalled, saying she felt "both frustrated and angry at the system."

In a post to her Facebook page following Ginsburg's death, Hardt shared her story and encouraged other women to do the same as a way to "honor RBG with our memories of something we encountered before she changed the world."

Gloria Feldt, author and former president of Planned Parenthood, was another woman to share her experience on the Facebook post.

"I had been employed full time for several years and was earning more than my ex. I went to buy a car and couldn't get a loan without my husband's signature," she wrote. "That was my tipping point to feminist activism."

In 2007, Ginsburg famously dissented from the Supreme Court's decision on the pay discrimination case Ledbetter v. Goodyear Tire & Rubber Co.

"When she was in the minority, she was a powerful voice in dissent in ways that changed the game," said Emily Martin, general counsel at the National Women's Law Center in Washington. "For example, when five justices ruled against Lilly Ledbetter in her pay discrimination case, Justice Ginsburg's call to action inspired the public and Congress to change the law and strengthen equal pay protections."

She was a crucial vote on the current court to keep Roe v. Wade. Even though she had doubts about the way the monumental case was decided, she was in no doubt about women's right to choose.

Randall Kessler, a family law and trial lawyer in Atlanta, says Ginsburg was an indispensable brick in the legal wall that has protected Roe v. Wade since the 1970s, and not just on the Supreme Court.

"Now she's gone, it means pro-choice proponents are scared to death of the unknown," Kessler says. "They believe (her death and replacement) will empower state legislatures to pass new laws or reintroduce those laws already struck down by the Supreme Court."

In 1972, Ginsburg argued that excluding a pregnant woman from the Air Force, like in the case of Struck v. Secretary of Defense, is sex discrimination.

"It was standard 50 years ago for women to be fired from their jobs when they were pregnant," Mezey explained. "(Ginsburg) herself hid her pregnancy while she was teaching at a law school in order not to be told that she couldn't teach."

But as a litigator and on the Supreme Court, Martin explained, Ginsburg changed "what was possible for women in the U.S."

Mezey added that Ginsburg was able to identify and help address stereotypes, both positive and negative, that "nonetheless end up creating self-fulfilling prophecies of unequal distribution of work."

"In her life - including as a daughter, a woman, a lawyer and a mother herself- she actually saw so much of what turned out to be profoundly unjust and unequal," Mezey said.

During the 1979 case Duren v. Missouri, jury duty was optional for women in several states because it was viewed to be a burden for women whose role was seen as the " center of home and family life." Ginsburg, who represented Billy Duren in the case, argued that women should serve on juries on the basis that they are valued the same as men.

In a 2009 interview with USA TODAY, Ginsburg upheld this notion, saying, "Women belong in all places where decisions are being made. ... It shouldn't be that women are the exception."

The 2015 case Obergefell v. Hodges, which allowed queer women and the rest of the LGBTQ community the right to same-sex marriages in all 50 states, ended in a 5-4 ruling. Without Ginsburg, the outcome may have been different.

Imani Rupert-Gordon, the executive director of the National Center for Lesbian Rights, told USA TODAY that Ginsburg's impact on queer women spans far beyond just the issue of gay marriage.

"She really was responsible for helping us expand the concept of gender discrimination," she said. "It's those same types of principles that led to the intellectual foundation that would extend discrimination protections to other considerations like gender identity and sexual orientation, which is important in general but especially important to LGBTQ people."

Mezey added that in Ginsburg's gender advocacy, she "opened up space for protection of people on the basis of gender identity."

More: Supreme Court grants federal job protections to gay, lesbian, transgender workers

Though Ginsburg left her mark on the legal world, she also had a lasting influence on women on an individual level by being an example of a powerful woman in her writing, speaking and work as a judge.

And Ginsburg's impact on empowerment didn't stop with her generation or the next - she's continued to energize young women. Her rise as a pop culture icon has inspired books, movies and even Halloween costumes for young girls.

"That grief is about her, about people's connection to her," said Louise Melling, deputy legal director of the ACLU who heads its newly renamed Ruth Bader Ginsburg Center for Liberty. "I'm thinking about what an icon she became in the last 20 years - I own an RBG bracelet because someone sent it to me! I can't think of any other justice who became a pop culture icon in that particular way."

Hardt says Ginsburg's legacy has also taught others to "continue to do the hard work."

"She really kept going on the good fight for her whole life," she said. "She really is a heroine."

In an interview with USA TODAY in 2013, Ginsburg exemplified this ideal, insisting she would continue working even as others pressured her to step down as the oldest justice on the court.

"As long as I can do the job full-steam, I would like to stay here," she said. "I have to take it year by year at my age, and who knows what could happen next year? Right now, I know I'm OK."
Contributing: Richard Wolf; photo illustrations by Veronica Bravo
More: 'I Dissent': Six books to read about Supreme Court Justice Ruth Bader Ginsburg

'RBG': How Ruth Bader Ginsburg became a legit pop-culture icon

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Ruth Bader Ginsburg becomes first woman to lie in state: 8 other strides she made for women

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Even in death, Ruth Bader Ginsburg is making history for women. The Supreme Court associate justice, a driving force for gender equality in the United States who died last week at age 87, will be the first woman to lie in state Friday in the the U.S. Capitol.