The first comprehensive retrospective of Judy Chicago’s career


OBORN FROM Many of the snaps that radicalized Judy Gerowitz occurred in Los Angeles in the mid-1960s. A prominent curator who visited the studio shared by the artist with her second husband refused to see her abstract sculptures and s ‘is literally diverted to see only the work of his partner. A few years later, he apologized for being obsessed with finding a better female artist than his contemporaries.

By then she had given up trying to gain acceptance in the traditional art world. In 1970, the artist took the name of her hometown and created “Judy Chicago” with the first feminist art course in the United States founded at Fresno State University in California. Since then, Ms. Chicago has decided to question the status quo. His art will make the establishment of white men’s art as unpleasant as it always has been.

American women were increasingly aware of the sexism that limited their lives. Betty Friedan’s book “The Creation of Women” was published in 1963. In 1971, art historian Linda Nochlin published a groundbreaking essay, “Why There Are No Great Women Artists.” For centuries. Ms. Chicago focuses on women, believing that if the art world is hostile to women, then an alternative “art infrastructure”, including “establishing our own art history”, must be developed. I devoted myself to the space that I guessed and to the creation of the work. But she is not expected until the age of 82.

The work for which it is famous includes five years of intensive work with hundreds of artisans. Introduced in 1979, the installation “The Dinner Party” consisted of a large triangular table and 39 location decors, each named after a real or mythical woman and almost erased from memory. She said it was “a reinterpretation of The Last Supper from the perspective of those who have cooked throughout history.” Surprisingly, this room was filled with a sparkling ceramic vulva.

The repulsion was swift and fierce. Critics called it kitschy pornography and, as Ms. Chicago later put it, dismissed it as nothing more than a “vagina on a plate.” Nonetheless, it was very popular and drew sold-out crowds in San Francisco and Brooklyn. But other American museums have not mentioned it. For several years, supporters have arranged to show it in venues around the world. But then the installation was packed. Chicago returned to her studio and her career was swept away. Until 2002, when the “Dinner” was acquired as a permanent exhibition at the Brooklyn Museum, his later work emerged from its shadow. Even now, its diverse production is rarely seen.

Judy Chicago: This Week’s Retrospective at De Young Museum in San Francisco is the first comprehensive review of an artist’s career, covering all kinds of work she’s done over the past 60 years. What it reveals is that “to this day Chicago art is an activist on its foundation,” said Thomas Campbell, director of the Fine Arts Museums of San Francisco.

Chicago agrees. “When he called me a ‘moral artist’ he was right many years ago,” says British art historian Edward Lucie-Smith. “My work is about social justice. The belief that art can better change the world is her father, a Marxist trade unionist who died in her education, especially when she was thirteen. It results from the influence of.

This claim to convey the message is that it Persona non grata In the world of contemporary art for a long time. “I’m sure there is resistance to some of the topics I have undertaken. As the art industry evolved, “content” became an increasingly dirty word. For her, the “content” has mainly revolved around the question of privilege and power. She spends years on each new topic. The Generative Female Body from “The Birth Project”. Violent masculinity in the “power game”. The brutality of historic oppression in the “Holocaust Project”. Chicago’s goal is not to seduce the art elite, but to awaken the general public.

Throughout her career she has experimented extensively with 2D to 3D, bronze and needlework to colorful smoke and fireworks, often mixing text and images. She says her subject dictates her approach and makes fun of the difference between “high” and “low” media. She took a course in auto body painting and commissioned an army of seamstresses. “The idea that a technique has a genre is ridiculous.” From the start, its aim was to show that “the experience of women can be a means of understanding universality in a way that the experience of men has lasted for centuries.”

To finish

It is not always beautiful. His appearance can sometimes seem cartoonish. Yet the best of “birth plans” in particular is transcendent. Viewers are confronted with terrible themes as they enter an exhibition that begins with a recent and rare work. “The End: A Meditation on Death and Extinction” is an unforgettable sculpture and graphic on black glass that depicts his own death and the deaths of other species that humanity is destroying. The subject may change, but the purpose of his art is the same. “Does it really open people’s eyes and break their hearts like it did my heart?” ” She asks. ■■

This article was published in the Print Books and Arts section under the heading “Fireworks and Feminism”.

The First Complete Retrospective of Judy Chicago’s Career Source Link The First Complete Retrospective of Judy Chicago’s Career


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