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Revealing Judy Chicago's "The Dinner Party": an Analysis of the Curatorial Context

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Revealing Judy Chicago's Graduate Theses, Dissertations, and Problem Reports 2016 Revealing Judy Chicago's "The Dinner Party": An Analysis of the Curatorial Context Sally Deskins Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Deskins, Sally, "Revealing Judy Chicago's "The Dinner Party": An Analysis of the Curatorial Context" (2016). Graduate Theses, Dissertations, and Problem Reports. 5479. https://researchrepository.wvu.edu/etd/5479 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Revealing Judy Chicago’s The Dinner Party: An Analysis of the Curatorial Context Sally Deskins Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Art History Kristina Olson, M.A., Chair Rhonda Reymond, Ph.D. John Bernard Schultz, Ph.D. Melissa Bingmann, Ph.D. School of Art and Design Morgantown, West Virginia, 2016 Keywords: Judy Chicago, The Dinner Party, curating, art exhibition, feminist curating, feminist art, museum studies, contemporary art, women in art ©Copyright 2016 Sally Deskins Abstract Revealing Judy Chicago’s The Dinner Party: An Analysis of the Curatorial Context Sally Deskins Research on Judy Chicago’s The Dinner Party, (1974-79; completed with the assistance of more than 400 volunteers), is abundant and generally focuses on the monumental table of thirty-nine place settings acknowledging the contribution of women throughout Western history. Scholars have examined, praised and criticized the installation from various feminist and formal aesthetic perspectives. By contrast, this thesis considers what has essentially been overlooked until now, Judy Chicago’s curatorial framework for the entire The Dinner Party exhibition experience. Using my own interviews with the artist, team members, and contemporary curators, as well as consulting the artist’s installation manuals from Harvard University Archives, and examining the reception of the curation, I highlight the essential curatorial features that made The Dinner Party such an international phenomenon. The artist’s curatorial elements were research-oriented, inclusive and activist-leaning with interactive, multi-media structures to achieve her feminist message. Considering The Dinner Party’s current installation at the Elizabeth A. Sackler Center for Feminist Art, my thesis argues that Chicago’s successful yet overlooked methods offer the most proactive, critical and approachable curatorial presentation. The current installation that has been stripped of these curatorial elements, while perhaps institutionally practical, compromises much of the message and feminist intent. This study contributes to the field by focusing on this notable exhibition, providing discourse into Chicago’s curating and offering considerations for contemporary curating practice, with the goal of contributing to the growing area of curatorial research focused on feminist artists and curatorial projects. iii Acknowledgements Without the encouragement of Professor Kristina Olson, I may not have given The Dinner Party the rightful initial observation it deserves to discover its true broad appeal that led me to this examination. Without The Dinner Party itself and all of those people involved in the creating of this vastly important installation, primarily the conceiver, Judy Chicago, and team leaders Diane Gelon, Susan Hill and Donald Woodman, I would not have been fortunate to experience and study the piece. I thank them as well as Ms. Chicago’s forthright curatorial assistant, Katie Schroeder, for their continuous encouragement and quick response to all of my contemporary queries, for all of their interviews, emails and generosity with fact-checking, memories and insight. I also thank Professor Olson and Dr. Rhonda Reymond for their ongoing and prompt guidance when I hit difficult blocks. I thank the generous and quick librarians at Schlesinger Library at Harvard University for scanning the hundreds of pages of Chicago’s original installation manuals. I thank the other interviewees and email respondents; founding Sackler Center curator Maura Reilly, current curator Catherine Morris, Sexual Politics curator Amelia Jones, and former Hite Art Institute associate John Begley, as well as the enthusiastic scholars on Facebook, for their contributions and willingness to allow me to use their comments, and their help with finding contacts. I was honored and fortunate to create such a tremendous, rich and significant appendix of interviews! Thanks as well to Dr. J. Bernard Schultz and Dr. Melissa Bingmann for your spirited insight, especially Dr. Schultz for helping me with my presentation skills. Thanks to Linda Rosefsky for editing my big original thesis and Dr. Jennifer Orlikoff and the WVU Center for Women’s and Gender Studies for inviting me to present this early on to get feedback. Thanks Dr. Janet Snyder for your encouragement of travel and the University Margaret Tavenner Rajam Art History Endowment for supporting my travel to New York to see The Dinner Party at the Elizabeth A. Sackler Center for Feminist Art, in February and November of 2015; as well as funding my other travels that contributed to this scholarship including attending the Feminist Art History Conference in Washington D.C. in 2014, and participating in the Southeast College Art Conference in 2015. Thanks to WVU for awarding me the Teaching Assistant position so that I could do this important work. Thanks John for your enthusiasm for the project, encouragement and support, my kids for cheerleading and patience, my parents for modeling creative diversity and hard work, and my in- laws for their support and babysitting. Thanks Wanda Ewing for your inspiration to go back to school and for showing me how rad feminist art is. I hope this is just the beginning. iv Table of Contents Table of Contents iv List of Figures vi Introduction 1 Background 3 Why Focus on the Curating of The Dinner Party? 5 Literature Review and Research Sources 9 Chapter One: Judy Chicago’s Context Evolution to The Dinner Party 13 From Minimalism to Feminist Studio Workshop 13 Test Exhibition: Ruth Schaffner Gallery, 1977 21 Chapter Two: Creating The Dinner Party Curatorial Structure 23 Other Installation Elements to The Dinner Party 26 Chicago’s Original Permanent Placement Design 37 Chapter Three: The Dinner Party Exhibitions & Curatorial Reception 39 Sexual Politics: The Dinner Party in a Group Feminist Exhibition, 1996 56 Elizabeth A. Sackler, The Sackler Center Obtains The Dinner Party 59 Chapter Four: The Dinner Party and Feminist Curating Considerations 64 Collaboration and Networking 65 Work Selection 67 Assembly 70 Exhibition Text 74 Accessibility and Interactivity 77 Acknowledging Limitations 79 Challenges to Feminist Curating 81 Chapter Five: Looking at The Dinner Party Now: Curatorial Implications 86 Susan Rodriguez’ Architectural Design for The Dinner Party’s Permanent Home 87 November 2015 Visit, Curatorial Observations 99 Recent The Dinner Party Reception: The Experience and Observations 107 v The Dinner Party: Content and Collaborative Curatorial Inspirations 112 Conclusion 114 Illustrations 117 Appendix: Interviews 133 Bibliography 163 Sally Deskins CV 183 vi List of Figures Figure Page 1. The Dinner Party (table) (1974-79, Judy Chicago and volunteers) 117 2. Rainbow Pickett (1966, Judy Chicago) 117 3. 3.5.5 Acrylic Shapes (1967, Judy Chicago) 118 4. Pasadena Lifesavers Red #5 (1970, Judy Chicago) 118 5. Queen Victoria (1972, Judy Chicago) 119 6. Ruth Schaffner Gallery, Los Angeles (1977) 119 7. Ruth Schaffner Gallery, gallery entrance to Judy Chicago solo exhibition (1977) 120 8. Ruth Schaffner Gallery, installation view (1977, Judy Chicago) 120 9. Ruth Schaffner Gallery, installation view (1977, Judy Chicago) 121 10. The Dinner Party (table), photograph by Donald Woodman 121 11. Diagram from The Dinner Party exhibition installation manual/instructions (1978-80) 122 12. The Dinner Party, Documentary Panels, installation view, Brooklyn Museum (1980) 123 13. The Dinner Party, Entryway Banners, installation view Armand Hammer Museum (1996) 123 14. The Dinner Party, Entryway Banners, installation view, Brooklyn Museum (1980) 124 15. The Dinner Party, The Heritage Panels, installation view Armand Hammer Museum (1996) 124 16. The Dinner Party, The Acknowledgement Panels 125 17. International Honor Quilt, installation view, Melbourne, Australia (1988) 125 18. The Dinner Party, exhibition pamphlet, Boston (1980) 126 19. The Dinner Party, exhibition flier, Boston (1980) 126 20. The Dinner Party, Permanent Housing (1979, Judy Chicago) 127 21. Axiomatic drawing of the Elizabeth A. Sackler Center for Feminist Art (© Polshek Partnership Architects, 2007) 128 22. The Dinner Party (table), installation view Elizabeth A. Sackler Center for Feminist Art (2007) 129 23.
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