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COURTESY OF THE THROUGH THE FLOWER ARCHIVE Chicago (center) and the team photographed in 1978 working on The Dinner Party.
culturedmag.com 169 Judy Chicago’s Immolation, 1972, from the Women and Smoke series; Painting Names on the Heritage Floor Tiles, 1978, one of the works in the Brooklyn Museum show.
leading feminists of the day, as well as preparatory material. a series of works that hasn’t been shown in the city since 1987. “The sketches and studies—whether they explore color, Chicago’s investigation of the construct of masculinity, the composition or even historical quotations—are artworks in their paintings depict godlike nudes with guns and rainbows own right, and show the care and determined artistic pursuit emanating from their hands. “Unfortunately it’s incredibly that can feel distant when approaching the artwork in its iconic prescient,” Chicago said of the series. “There’s one work called E V final state,” says Brooklyn Museum curator Carmen Hermo. Pissing on Nature, which is like Trump pulling out of the climate I H C R
Meanwhile, the National Museum of Women in the Arts opens pact.” The series, executed long before gender studies A
R E
its corollary event in Washington, D.C., this month to look programs were widespread on university campuses, W O L F specifically at COLLABORATIVE, Chicago’s studio practice during demonstrates Chicago’s foresight for imagining the ways that E H T
the making of the seminal installation. masculinity, too, is socially constructed. H G U
The institutionalization of The Dinner Party has at last Then, another opportunity to expand understanding of O R H T
secured the work’s fate after decades of embattlement on both Chicago’s practice beyond her trademark table comes next E H T
sides of the political spectrum. In 1990, Republican members fall at the Institute of Contemporary Art Miami, which will F O
Y S
of Congress deemed it “3-D pornography” and successfully synthesize three decades of Chicago’s career. “This is an E T R halted its donation to the University of the District of Columbia exciting moment of heightened and inspiring interest around U O with threats to withhold funding if the school accepted Judy’s work, and recognition for her achievement of busting C Chicago’s gift. Meanwhile, the Women’s Studies Department open the art historical canon,” says the museum’s chief at UCLA planned a protest when the work was shown at the curator, Alex Gartenfeld. Hammer Museum in 1996 because they felt it “degraded As an art student in the 1950s, Chicago discovered that women,” Chicago says. she was ahead of her time when it came to having her feminist The controversies made Chicago a celebrity, but fame awakening as well. “I knew what I was encountering was sexism came with a price. “Even though I was very grateful for all the even though there was no term for it yet. People would say, attention The Dinner Party brought me, it blocked out all the ‘What are you some kind of suffragette?’ And I’d go, ‘Oh no! rest of my work,” she says. “I hope I live long enough to see I’m not one of those dusty old ladies!’” But by 1970 that early the time when The Dinner Party is only one work in a huge feminist intuition had hardened into ideology. That year, the body of work.” artist who was born in Chicago as Judith Cohen, and later That dream may be coming within reach sooner became Judy Gerowitz in marriage, declared in an artist rather than later as several other shows around the statement that she was divesting herself “of all names imposed country begin to highlight rarely seen works from upon her through male social dominance and freely chooses throughout Chicago’s long career. This month, Jessica her own name Judy Chicago.” Silverman Gallery in San Francisco is opening “Judy From then on she has proudly embraced her feminism, Chicago’s Pussies,” featuring the artist’s drawings of fashionable or not. “No one gets upset about being called cats from between 1964 and 2004. “She has a very Pictures Generation or a Pop artist, but for some reason people intense maternal relationship with her cats,” Silverman ask, ‘Why would you want to be called a feminist artist?’ says, “and this show really focuses on how her work has Because feminist art is a major art movement!” she says. “I’m been associated with pussy power as a visual metaphor proud of the long struggle for equity that women, with men’s for female agency.” support, have engaged in. It’s important to embrace that history In January, Salon 94 in New York will feature “PowerPlay,” and feel proud of it.”
170 culturedmag.com The Dinner Party, 1974-79, at the Brooklyn Museum. K R O Y
W E N
, ) S R A (
Y T E I C O S
S T H G I R
S T S I T R A
.
O G A C I H C
Y D U J
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; N A M D O O W
D L A N O D
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