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Judy Chicago painting in her china painting studio, Santa Monica, California. Photo courtesy Through the Flower Archive
The Dinner Party ceramic studio, Santa Monica, California. Photo courtesy Through the Flower Archive
Judy Chicago laying out names on the Heritage Floor, Santa Monica, California. Photo courtesy Through the Flower Archive
Painting names on the Heritage Floor, Santa Monica, California. Photo courtesy Through the Flower Archive
Diane Gelon, The Dinner Party administrator, and Judy Chicago. Photo courtesy Through the Flower Archive
Leonard Skuro and Judy Chicago. Photo courtesy Through the Flower Archive
Judy Chicago working on the Entryway Banners for The Dinner Party. Photo courtesy Through the Flower Archive
The Dinner Party Needlework Loft, Santa Monica, California. Photo courtesy Through the Flower Archive
The Dinner Party Research Team, Santa Monica, California. Photo courtesy Through the Flower Archive
Ceramic studio, Santa Monica, California. Photo courtesy Through the Flower Archive
The Dinner Party Thursday Night Potluck, Santa Monica, California.
Beyond &#;The Dinner Party&#;: How Trailblazing Artist Judy Chicago Made Space for Women
While living in Fresno, California, during the early s, Judy Chicago undertook a research project focused on female artists throughout the ages. These days, such an initiative hardly seems revolutionary—many books have since been published about pioneers by historians like Linda Nochlin, Griselda Pollock, Mary Garrard, and more. But at the time, art history as it existed in the U.S. was almost exclusively focused on the achievement of white males based in Europe and New York. Chicago sought to change that.
She learned that nuns aided in illuminating manuscripts alongside monks, and that women like Anna Claypoole and Sarah Peale were painting in the U.S. during the 19th century. She came upon the work of artists like Artemisia Gentileschi, the Baroque painter whose work has more recently acted as a symbol of the #MeToo movement, and Angelica Kaufmann, who during her day was among the most famous Neoclassical artists. She saw how paintings by Judith Leyster and Rosalba Carreira could offer visions of women by women, and how Impressionists like Mary Cassatt and Berthe Morisot were force
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Installation view of Entryway Banners from The Dinner Party, , UCLA Armand Hammer Museum and Cultural Center, Los Angeles, CA, , Elizabeth A. Sackler Center for Feminist Art, Collection of the Brooklyn Museum. © Judy Chicago/Artists Rights Society (ARS), New York Photo © Donald Woodman/Artists Rights Society (ARS), New York
Judy Chicago, Entryway Banner #1 from The Dinner Party, , modified Aubusson tapestry, 60 x 36 in., Elizabeth A. Sackler Center for Feminist Art, Collection of the Brooklyn Museum. © Judy Chicago/Artists Rights Society (ARS), New York Photo © Donald Woodman/Artists Rights Society (ARS), New York
Judy Chicago, Entryway Banner #2 from The Dinner Party, , modified Aubusson tapestry, 60 x 36 in., Elizabeth A. Sackler Center for Feminist Art, Collection of the Brooklyn Museum. © Judy Chicago/Artists Rights Society (ARS), New York Photo © Donald Woodman/Artists Rights Society (ARS), New York
Judy Chicago, Entryway Banner #3 from The Dinner Party, , modified Aubusson tapestry, 60 x 36 in., Elizabeth A. Sackler Center for Feminist Art, Collection of the Brooklyn Museum. © Judy Ch
Summary of Judy Chicago
Judy Chicago was one of the pioneers of Feminist art in the s, a movement that endeavored to reflect women's lives, call attention to women's roles as artists, and alter the conditions under which contemporary art was produced and received. In the process, Feminist art questioned the authority of the male-dominated Western canon and posed one of the most significant challenges to modernism, which was at the time wholly preoccupied with conditions of formalism as opposed to personal narrative and political activity. Seeking to redress women's traditional underrepresentation in the visual arts, Chicago focused on female subject matter, most famously in her work The Dinner Party (), which celebrates the achievements of women throughout history, scandalizing audiences with her frank use of vaginal imagery. In her work, Chicago employed the "feminine" arts long relegated to the lowest rungs of the artistic hierarchy, such as needlework and embroidery. Chicago articulated her feminist vision not only as an artist, but also as an educator and organizer, most notably, in co-founding of the Feminist Art Program at Cal State Fresno as well as the installation an
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