Bluestockings: Organizing information to facilitate empowerment and challenge oppression

Question

What is the main mission of a “traditional” retail bookstore? Simple – to sell books. And how does a bookstore meet that mission? Display configurations and shelving tactics are used to get people to buy books, or any product for that matter. But what about a bookstore that’s mission isn’t just to sell books? What about a store that wants to offer more – to offer resources both to empower and create a safer space for its patrons?
How does an independent and radical bookstore like Bluestockings, present and organize its resources in order to meet their mission of inclusivity and challenge oppression?

Bluestockings

Bluestockings is a volunteer-powered and cooperative radical bookstore, cafe, and activist center in the Lower East Side of Manhattan, NY. Their mission is three-pointed :
1) distribute literature and resources about oppression, intersectionality, community organizing, and activism;
2) maintain a space for dialogue, education and reflection where all people are respected; and
3) build community connections, knowledge, and skills.

With this mission, Bluestockings strives to empower people to challenge oppression by embodying, “the principles of intersectional, trans-affirming, gender nonconforming, and sex-worker affirming feminisms and support liberatory social movements.” In this effort to create an , “equitable, cooperative, and free” society, Bluestockings offers over 6,000 books and zines on a wide range of topics.

Note: I will be mostly referring to Bluestockings  as a “center”, as I think it is an encompassing term that best reflects their mission.

History

Bluestockings was founded in 1999 by Kathryn Welsh as a bookstore and community space for women. It was named after The Blue Stockings Society, a women’s educational movement and literary discussion group from the 18th century in England. Like today, the bookstore was collectively operated and volunteer-run. However, due to financial distress, the collective disbanded in 2002. In 2003, Brooke Lehman purchased Bluestockings, the collective was reestablished, and the store reopened with an expanded focus on radical politics and activism.

The Plan

I planned a visit to Bluestockings to learn more about the way the center organizes information to facilitate empowerment and challenge oppression. For my structured observation I intended to review the following:

  • The resources available
    • This includes an exploration of titles and common topics
  • The setup, layout, and distribution of resources
    • This includes a survey of the headings used for describing/dividing sections and organizing the information available in the center
  • How patrons used and interacted with the space and its resources

Expectations

In relation to the three main components of my observation, I expected to see the following:

  • A variety of resources available covering a wide range of topics
  • Use of alternative headings and categories related to minority or marginalized groups and feminisms
    • moving beyond the expected Fiction, Mystery, Romance, etc.
  • Patrons using the space as a center for community and engagement
    • to meet, discuss, and plan ideas

What I Observed and Learned

I went to Bluestockings on April 6, 2019. Upon entering, I was welcomed by a warm greeting and noticed people working, reading, and collaborating in the sitting area. Immediately to the left was a selection of zines, journals, and coloring books.  To the right, the checkout counter and cafe. A majority of the space was occupied by books on bookshelves and tables. The back wall displayed Bluestockings totes and t-shirts, alternative menstrual products, and “other oddly hard-to-find good things.”

Two tables of books stood near the middle of the store. The tables were stacked with a mix of books on a range of topics – feminism, incarceration, the environment, queer and gender studies, racial studies, radical education – with no heading to label them. In this way, these tables seemed to offer a non-hierarchical, uncategorized approach to organizing resources. This setup would seem to facilitate serendipitous discovery.

The rest of the titles offered were arranged by category with headings for different sections. 54 categories were surveyed:

Feminisms       Sexuality & Relationships           Radical History
Science & Technology Sex Work Radical Education
Violence & Trauma       Intersex           Hex the Patriarchy
Police & Prisons       Transgender            Activist Strategies
Race & Racism       Gender Studies           Feminist Fiction
  #Blacklivesmatter       Feminist Masculinity           Music
Black Studies       Queer           Art & Media
Indigenous Peoples Studies Queer Fiction           DIY Cookbooks
Libros para Niños       Asexuality             Spirituality
Latin American Studies       Critical Theory            Health Healing & Accessibility
(Im)migration & Diaspora      Digital Communications   Parenting & Pregnancy
Global Justice       Environment & Food Systems   Animal Rights
Post Colonial Fiction     Asia                 Comics & Graphic Novels
Class & Labor      Africa           Sci-Fi
Anarchism                       Middle East           General Fiction
Marxism & Autonomism        New York City         Featured Fiction
Political Theory       Urban Studies & Geography    Poetry
  Economics       Literary Nonfiction           Young Adult

A table labeled “Events” displayed 8 books with date tags on them. I talked with someone who worked at the center to learn more about the programs and events they offered. As it turns out, the center hosts an event nearly every day, if not multiple in one day. The date tags on the books signify the date of an upcoming event centered around that book. Some of these events highlight an author, editor, or contributor of the book. Other events aim to offer a safe space to discuss ideas, foster community, or simply read. In fact, on the day I visited there was a silent book club taking place. A calendar on the Bluestockings website shares all of the upcoming events.

Takeaways

In order to meet their mission, I expected that Bluestockings would organize their resources in a way that would facilitate inclusivity and challenge oppression. One way I imagined they could achieve this would be to employ a varied array of headings to organize their resources. With 54 different headings, Bluestockings did just that.

As mentioned earlier, the two ‘No Category’ tables appear to facilitate serendipitous discovery. With no categories to influence you, they also provide a relatively unbiased opportunity to discover titles. Of course in a store dedicated to selling radical content, you can expect to find books that fit that description, but the fact that there is a label-less table is worth noting.

Hosting events is a non-organizational method the center employs to reach their mission. Events like the silent book club create a welcoming environment to read at one’s one pace and be inspired by what others are reading. It rids the pressure associated with the commitment involved in a traditional book club, but still provides the sense of community. The dozens of posters, fliers, and notices for events taking place outside the center further exemplify Bluestockings’ effort to build a supportive environment and sense of community.

Representation matters. Words matter. The granularity in the more than 50 sections used to organize Bluestockings’ collection challenges the idea of neutrality in classification by recognizing the importance and power of language. In Emily Drabinski’s, “Queering the Catalog: Queer Theory and the Politics of Correction,” she talks about this power. She says, “in terms of organization and access, libraries are sites constructed by the disciplinary power of language.” Drabinski talks about libraries, but this would seem to hold true for bookstores, as they also use headings to organize information. Drabinski asserts, “subject headings, often cast by catalogers as a kind of pure, objective language, are not; where and when and by whom subject headings are used makes all the difference in terms of meaning.” While working to expand subject headings and more accurately organize material about social groups and identities is productive, Drabinski makes clear that emphasis on “correctness” is not. For, “even when subject headings are updated to reflect current usage…they do not account for all the other words users might use to describe themselves.”

With design layout being a major component to organization, I am reminded of Costanza-Chock’s recent work, “Design Justice: towards an intersectional feminist framework for design theory and practice.Costanza-Chock discusses the history and principles of design justice. According to Costanza-Chock, “design justice rethinks design processes, centers people who are normally marginalized by design, and uses collaborative, creative practices to address the deepest challenges our communities face.” She may have been talking about larger scale and more deeply rooted design decisions, but I would argue design justice would apply on a smaller scale. In this way, the layout and organization of books and information could be designed with the principles of design justice in mind.

Design and organization are evidently powerful tools and should be treated as such. From my observation, it seems Bluestockings has employed design justice principles to meet their mission. They have created a space and organized it in an effort to, “sustain, heel and empower,” to provide “liberation from exploitative and oppressive systems,” and to work towards, “sustainable, community-led” outcomes. Bluestockings is evidently a notable community institution that fosters community and provides a space for learning and empowerment.

They also just have a lot of good books. I bought two.

By Tina Chesterman
Info 601, Professor Chris Sula

References:
Costanza-Chock, S. (2018). Design Justice: towards an intersectional feminist framework for design theory and practice. Design Research Society 2018.

Drabinski, E. (2013). Queering the Catalog: Queer Theory and the Politics of Correction. The Library Quarterly: Information, Community, Policy, Vol. 83, No. 2

Representation and Power on Wikipedia

Jewish Museum Art+Feminism Wikipedia Edit-a-thon

Introduction

On March 3, 2019 I attended the Jewish Museum’s second Wikipedia Edit-a-thon co-presented with Art+Feminism. In celebration of Women’s History Month and the final day of the exhibition Martha Rosler: Irrespective, the event included a gallery walk-through with catalog designers Mika McGinty and Rebecca Sylvers, and assistant curator of the Jewish Museum, Shira Backer. The event was open to the public and aimed to offer an opportunity for people to learn how to edit and create Wikipedia articles in an effort to improve representation of cis and transgender women, feminism, and the arts on Wikipedia.

Martha Rosler: Irrespective

Martha Rosler: Irrespective was a survey of Martha Rosler’s work over her five decade-long career. Rosler’s work is dynamic and continually evolves and reacts to the social and political issues of today, yesterday, and tomorrow. Her work largely addresses matters related to war, gender roles, and urban gentrification, and throughout her commentaries runs a reflection on feminism that doesn’t shy away from the feminine. As a result, it would be hard to categorize Rosler’s work according to any one theme. People often describe Rosler’s work as “deeply political”, “feminist”, “intentional”, “outward”, and “intersectional”. Rosler fondly describes her own work as “hamfisted”.

The event kicked off with a walkthrough of the gallery led by Shira Backer, Mika McGinty and Rebecca Sylvers. The three designers gave unique insight into the processes of exhibit curation and art book formation – where they meet and where they diverge. They stressed that the book and the exhibition were not made to be one-to-one; they could emphasize different projects due to the constraints or capabilities of the two methods. In other words, the book was an opportunity to cover pieces not highlighted in the exhibition and vice-versa.

The exhibit tried to convey Rosler’s dynamism. There was a fully set dinner table with a voice-over of a woman discussing domesticity and the expectations of French women; a selection of five videos that examine the representation of women in pop culture and American imperialism; a large prosthetic leg swinging from the ceiling to a jaunty rendition of “God Bless America”.

It is interesting to consider the challenges in showcasing and preserving dynamic and ephemeral art like Rosler’s. Rosler continually changes and adds to her work, often including participatory elements to her pieces and installations. As a result, some questions the designers had to consider include: Is the first iteration the most important?; Is repetition valuable?; Does chronology take precedence? But no matter how hard someone tries to accurately preserve some creation, there is no absolute concept such as ‘permanence’. As Cloonan proposes, “the paradox of preservation is that it is impossible to keep things the same forever. To conserve, preserve, or restore is to alter” (Cloonan, 2001). For that matter, it seems to be Rosler’s intention to create ‘mortal’ work. Work that shifts, changes, and ultimately dies. It allows us to question preservation, even our own mortality.   

The curators were evidently aware of their role as history-makers and story-tellers. They cautiously discussed Rosler’s work on her behalf, careful to distinguish between their own interpretations and Rosler’s intentions. In addition, the curators revealed that they frequently worked directly with Rosler. It is important to note that they worked with a contemporary artist who was able to be active in her own storytelling. However, regardless of their efforts, the curators ultimately could only tell a single story of Rosler – their own version – and not Rosler’s whole story.

Wikipedia Edit-a-thon

After the exhibition there was a Wikipedia training course led by Carlos Acevedo, Digital Asset Manager of the Jewish Museum, followed by an open-editing session. The goals of the edit-a-thon were for beginners to learn how to edit on Wikipedia, to improve citations of women artists, and to expand biographies of women artists on Wikipedia (Acevedo, 2019). No prior editing experience was necessary in order to participate in the event. The museum also provided a number of laptops for guests to use. For an event that aimed to increase editing accessibility and improve women’s presence on Wikipedia, providing laptops and promoting a “welcoming spirit” was significant.

The Wikipedia edit-training considered the power and responsibilities that editors have. For example, it was emphasized that articles should be written from a neutral point of view. This is arguably impossible. However, the effort to avoid overly opinionated articles and original thought in edits is a fair endeavor considering the point of a system like Wikipedia is to collect and share existing knowledge as accurately as possible.

Event Stats
  • 25 people attended
  • 2 complete articles created
  • 36 articles edited
  • 145 total edits made

Representation & Closing the Gender-Gap on Wikipedia

Gender bias on Wikipedia is not limited to the underrepresentation of women and nonbinary people on the site, but is also reflected in the fact that a vast majority of editors are cis-male. For that matter, the edit-a-thon was not only an effort to improve coverage of women on Wikipedia, but also an effort to help close the gap in contributions made by women. According to Art+Feminism, a Wikimedia survey showed that less than 10% of Wikipedia’s editors identify as cis or trans women. Moreover, editors who identify as women are far more likely than men to have their edits reverted (Acevedo, 2019). Therefore, encouraging women to participate in editing projects and creating more opportunities to do so are important efforts that may help improve coverage of cis and trans women on Wikipedia.

In Archives, Records, and Power: The Making of Modern Memory, Schwartz and Cook describe the power of archives to shape and direct historical scholarship and our collective memory. They beg archivists to consider the power they have to essentially write history, to privilege and to marginalize. These concepts of power and privilege are not specific to archivists. This power is shared by all who document, curate, store, and share information. The curators of Martha Rosler: Irrespective were aware of this power and therefore worked to acknowledge it. Correspondingly, the Wikipedia training course clearly considered the power held by editors and the source itself.

Just as history has been written in favor of the patriarchy at the expense of women, future of representation of women and other marginalized members of society lies in reclaiming power over the documentary record and the institutions that share information. By recognizing the inherent power in archives, museums, Wikipedia, and other memory-institutions, and using that power to tell and support each other’s stories, cis and trans women can hopefully close the gap in gender representation. As an open access and open source, Wikipedia may be the place to start – the power is literally in our hands.

By Tina Chesterman

References:

Acevedo, C. (2019). Jewish Museum Wikipedia Edit-a-thon co-presented with Art + Feminism. [PowerPoint Slides]. Retrieved from: https://docs.google.com/presentation/d/1F6s9logWLiRTrX9l5Tt9E4GW2VTauLbhSRZBgRQj8QE/edit#slide=id.g51b9607e8b_0_122.

Cloonan M.V. (2001). W(H)ITHER Preservation? The  Library Quarterly, Vol 71, No. 2.

Schwartz, J.M. & Cook, T. (2002). Archives, Records, and Power: The Making of Modern Memory. Archival Science 2.