A few days into my first trip to Los Angeles for the project, I began to covet the spaces available to artists there. Compared to New York, the studios were much sunnier and affordable, with windows that could be left open for ventilation. Prosch, whose work is mostly performance-based with a feminist bent, saw a different opportunity to suit her needs. Most Los Angeles apartments come with a plot of square footage as common as a kitchen sink—a garage.
Instead of keeping a car, Prosch had converted her garage into a storage space for her props, costumes, and materials to use in her staged videos. A worktable was set up inside. “I don’t work in here for super long periods of time—mainly just to fabricate some props before a shoot. It’s not really that comfortable in here.”
Another resource available to artists in Los Angeles is the film industry, which spawns a variety of services and materials not as readily available to artists elsewhere. I sensed this when Prosch showed me the variety of wigs she had collected. But although she agreed there was a large quantity to choose from, she sighed, “It’s hard to find real-looking wigs that aren’t too expensive. A good-looking wig might be around $300. For most of them, the style looks too vintage. So if I find one that looks more contemporary—it’s a prized possession.”
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