When I embarked to develop and activate a new art facility in Las Vegas, I recognized that I was an outsider coming into a new city with a bold project and a limited understanding of its complex cultural landscape.
In every city, there are countless diverse communities and their sub-communities that not only support its citizens, but also drive socio-economic development, allowing the city and those communities to thrive and grow. It was important for me to quickly connect with local government, civic, cultural, and educational organizations, as well as meet different people from all walks of life, so that I could integrate the new art facility with its community as effectively as possible.
One of the first organizations I visited when I arrived in Las Vegas in 2007 was the LGBT Center. It was there that I met publisher Bill Schafer of the Las Vegas Night Beat. He unabashedly featured the full spectrum of community activism, entertainment, and political commentaries, much to the delight and ire of many. I also met Dennis McBride, the Executive Director of the Nevada State Museum and leading independent archivist/documentarian of LGBTQ+ history in Nevada. It was here that I also met Jane Heenan, a Marriage and Family Therapist and transgender activist. Each of these individuals was incredibly helpful in introducing me to others in the LGBT community and advocating for the art facility’s success. However, it was my encounter with Jane that would prove to be instrumental and ultimately lead to a historic collaboration.
When I visited the LGBT Center at the time, it was located in the Commercial Center, near a swinger’s club and bathhouse. The Commercial Center, in its heyday, was once the crème de la crème of posh and swank retail stores, frequented by the Rat Pack. Fifty-plus years later, it had become a haven for alternative lifestyles, multilingual Christian Bible study enclaves, and small businesses attracted by affordable rent. Although the Center’s space was modest, it was extremely lively due to the buzzing activity within the small square footage. The executive director was then in the process of a capital campaign to build a stand-alone facility to provide greater resources to the LGBT community and achieve long-term sustainability.
My conversations with Jane were transformative. (Note: When I first met Jane, pronouns were different and the term “LGBT” was the norm. I now refer to Jane as they/them/their. Additionally, LGBT is respectfully referred to as LBTQIA2S+. The acronym stands for Lesbian, Gay, Bisexual, Transgender, Queer or Questioning, Intersex, Asexual or Ally, and the recently added 2S represents Two-Spirited, used by Indigenous people to describe their sexuality or gender, with the plus sign encompassing inclusivity). Jane’s passion and dedication to their cause were palpable. Even though the Center was established to support and provide a safe space for the community, for some reason, it was marginalizing the transgender community. I didn’t delve into the internal politics behind it, but I immediately invited Jane and their community to utilize the art facility as a home—a safe space and base for their activities. In fact, I entrusted Jane with full access to the facility, including the keys and security code, so they could come and go freely.
I assured Jane there was no need for constant communication about using the space. They had full autonomy to manage their events, and we only coordinated for major logistical matters. I was constantly occupied with operations, curation, marketing, educational programming, and community outreach, so I saw Jane and their group only in passing. I was just glad I could offer them a space that aligned with the facility’s mission to serve the community at large. The art facility’s 24,000 square feet of exhibitions, libraries, an auditorium, and meeting areas provided an ideal environment for Jane’s activism and aligned perfectly with its dedication to promoting art, community activism, education, and the preservation of history.
When I left the art facility to pursue other endeavors, including my gallery, I lost touch with Jane for a bit. When we reconnected, I expressed how proud I was to see Gender Justice Nevada, the 501(c)3 they co-founded, positioned as a statewide advocacy, education, and policy-reforming organization. Jane revealed something that took me by surprise: Gender Justice Nevada didn’t exist when we first met. The safe space the art facility provided for meetings and organizing was instrumental in the formation of the organization in 2011.
I am deeply honored that the art facility played a role in enabling Jane and others to form and grow Gender Justice Nevada. I am in awe of the positive impact they’ve had on civil rights, and I know the legacy they’ve created will continue to benefit future LBTQIA2S+ communities.
Today, Gender Justice Nevada is located in New Orleans Square, a revitalized and trendy arts and culture complex within the Commercial Center. Yes, the same Commercial Center with the swinger’s club and bathhouse, now boasting award-winning restaurants and galleries due to gentrification. The organization continues to champion the healing, dignity, and justice of LBTQIA2S+ communities. Per their website, “We represent progressive action for gay, queer, lesbian, bisexual, asexual, intersex, trans, non-binary, and other gender-diverse folks. GJNV is a multi-racial group established in 2011 by LGBTQ+ persons to provide direct services, education, and policy advocacy addressing the identities and issues faced by Nevada’s LGBTQ+ communities.”
For me, this is one of the greatest love stories of all time. This love story isn’t about specific individuals, but about a community full of love and its desire to make this world a better place for all.
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