Judy Chicago

Last updated
Judy Chicago
Judy Chicago.jpg
Born
Judith Sylvia Cohen [1]

(1939-07-20) July 20, 1939 (age 82)
Alma mater University of California, Los Angeles
Known for Installation
Painting
Sculpture
Notable work
The Dinner Party
International Honor Quilt
The Birth Project
Powerplay
The Holocaust Project
Movement Contemporary
Feminist art
AwardsTamarind Fellowship, 1972
Patron(s) Holly Harp
Elizabeth A. Sackler [2]

Judy Chicago (born Judith Sylvia Cohen; July 20, 1939) is an American feminist artist, art educator, [3] and writer known for her large collaborative art installation pieces about birth and creation images, which examine the role of women in history and culture. During the 1970s, Chicago founded the first feminist art program in the United States at California State University Fresno (formerly Fresno State College) and acted as a catalyst for feminist art and art education. [4] Her inclusion in hundreds of publications in various areas of the world showcases her influence in the worldwide art community. Additionally, many of her books have been published in other countries, making her work more accessible to international readers. Chicago's work incorporates a variety of artistic skills, such as needlework, counterbalanced with labor-intensive skills such as welding and pyrotechnics. Chicago's most well known work is The Dinner Party , which is permanently installed in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. The Dinner Party celebrates the accomplishments of women throughout history and is widely regarded as the first epic feminist artwork. Other notable art projects by Chicago include International Honor Quilt , The Birth Project, [5] Powerplay, [6] and The Holocaust Project. [7]

Contents

Chicago was included in Time magazine's 100 Most Influential People of 2018. [8]

Early personal life

Judy Chicago was born Judith Sylvia Cohen [1] in 1939, to Arthur and May Cohen, in Chicago, Illinois. Her father came from a twenty-three generation lineage of rabbis, including the Lithuanian Jewish Vilna Gaon. Breaking his family tradition, Arthur became a labor organizer and a Marxist. [9] He worked nights at a post office and took care of Chicago during the day, while May, who was a former dancer, worked as a medical secretary. [1] [9] Arthur's active participation in the American Communist Party, liberal views towards women and support of workers' rights strongly influenced Chicago's own ways of thinking and belief. [10] During the McCarthyism era in the 1950s, Arthur was investigated, which made it difficult for him to find work and caused the family much turmoil. [9] In 1945, while Chicago was alone at home with her infant brother, Ben, an FBI agent visited their house. The agent began to ask the six-year-old Chicago questions about her father and his friends, but the agent was interrupted upon the return of May to the house. [10] Arthur's health declined and he died in 1953 from peritonitis. May would not discuss his death with her children and did not allow them to attend the funeral. Chicago did not come to terms with his death until she was an adult; in the early 1960s she was hospitalized for almost a month with a bleeding ulcer attributed to unresolved grief. [9]

May loved the arts, and instilled her passion for them in her children, as evident in Chicago's future as an artist, and brother Ben's eventual career as a potter. At age of three, Chicago began to draw and was sent to the Art Institute of Chicago to attend classes. [9] [11] By the age of 5, Chicago knew that she "never wanted to do anything but make art" [11] and started attending classes at the Art Institute of Chicago. [12] She applied but was denied admission to the Art Institute, [10] and instead attended UCLA on a scholarship. [9]

Education and early career

While at UCLA, she became politically active, designing posters for the UCLA NAACP chapter and eventually became its corresponding secretary. [10] In June 1959, she met and found romance with Jerry Gerowitz. She left school and moved in with him, for the first time having her own studio space. The couple hitchhiked to New York in 1959, just as Chicago's mother and brother moved to Los Angeles to be closer to her. [13] The couple lived in Greenwich Village for a time before returning in 1960 from Los Angeles to Chicago so she could finish her degree. Chicago married Gerowitz in 1961. [14] She graduated with a Bachelor of Fine Arts in 1962 and was a member of the Phi Beta Kappa Society. Gerowitz died in a car crash in 1963, devastating Chicago and causing her to suffer an identity crisis for several years. She received her Master of Fine Arts from UCLA in 1964. [9]

In graduate school, Chicago had created a series that was abstract, yet easily recognized as male and female sexual organs. These early works were called Bigamy, and represented the death of her husband. One depicted an abstract penis, which was "stopped in flight" before it could unite with a vaginal form. Her professors, who were mainly men, were dismayed over these works. [14] Despite the use of sexual organs in her work, Chicago refrained from using gender politics or identity as themes.

In 1965, Chicago displayed artwork at her first solo show, at the Rolf Nelson Gallery in Los Angeles. Chicago was one of only four female artists to take part in the show. [15] In 1968, Chicago was asked why she did not participate in the "California Women in the Arts" exhibition at the Lytton Center, to which she answered, "I won't show in any group defined as Woman, Jewish, or California. Someday when we all grow up there will be no labels." Chicago began working in ice sculpture, which represented "a metaphor for the preciousness of life," another reference towards her husband's death. [16]

Study for Pasadena Lifesavers, prismacolor, 1968. Pasadenalifesaversstudy.jpg
Study for Pasadena Lifesavers, prismacolor, 1968.

In 1969, the Pasadena Art Museum exhibited a series of Chicago's spherical acrylic plastic dome sculptures and drawings in an "experimental" gallery. Art in America declared that Chicago's work was at the forefront of the conceptual art movement, and the Los Angeles Times described the work as showing no signs of "theoretical New York type art." [16] Chicago would describe her early artwork as minimalist and as her trying to be "one of the boys." [17] Chicago would also experiment with performance art, using fireworks and pyrotechnics to create "atmospheres," which involved flashes of colored smoke being manipulated outdoors. Through this work she attempted to "feminize" and "soften" the landscape. [18]

During this time, Chicago also began exploring her own sexuality in her work. She created the Pasadena Lifesavers, which was a series of abstract paintings that placed acrylic paint on Plexiglas. The works blended colors to create an illusion that the shapes "turn, dissolve, open, close, vibrate, gesture, wiggle," representing her own discovery that "I was multi-orgasmic." Chicago credited Pasadena Lifesavers, as being the major turning point in her work in relation to women's sexuality and representation. [18]

From Cohen to Gerowitz to Chicago: name change

As Chicago made her name as an artist and came to know herself as a woman, she no longer felt connected to her last name, Cohen. This was due to her grief from the death of her father and the lost connection to her married name Gerowitz, after her husband's death. She decided to change her last name to something independent of being connected to a man by marriage or heritage. [9] In 1965, she married sculptor Lloyd Hamrol. (They divorced in 1979.) [19] Gallery owner Rolf Nelson nicknamed her "Judy Chicago" [9] because of her strong personality and thick Chicago accent. She decided this would be her new name. By legally changing her surname from the ethnically charged Gerowitz to the more neutral Chicago, she freed herself from a certain social identity. [20] Chicago was appalled that her new husband's signature approval was required to change her name legally. [19] To celebrate the name change, she posed for the exhibition invitation dressed as a boxer, wearing a sweatshirt with her new last name on it. [18] She also posted a banner across the gallery at her 1970 solo show at California State University at Fullerton, that read: "Judy Gerowitz hereby divests herself of all names imposed upon her through male social dominance and chooses her own name, Judy Chicago." [19] An advertisement with the same statement was placed in Artforum's October 1970 issue. [21]

Artistic career

The feminist art movement and the 1970s

In 1970, Chicago decided to teach full-time at Fresno State College, hoping to teach women the skills needed to express the female perspective in their work. [22] At Fresno, she planned a class that would consist only of women, and she decided to teach off campus to escape "the presence and hence, the expectations of men." [23] She taught the first women's art class in the fall of 1970 at Fresno State College. It became the Feminist Art Program, a full 15-unit program, in the spring of 1971. This was the first feminist art program in the United States. Fifteen students studied under Chicago at Fresno State College: Dori Atlantis, Susan Boud, Gail Escola, Vanalyne Green, Suzanne Lacy, Cay Lang, Karen LeCocq, Jan Lester, Chris Rush, Judy Schaefer, Henrietta Sparkman, Faith Wilding, Shawnee Wollenman, Nancy Youdelman, and Cheryl Zurilgen. Together, as the Feminist Art Program, these women rented and refurbished an off-campus studio at 1275 Maple Avenue in downtown Fresno. Here they collaborated on art, held reading groups, and discussion groups about their life experiences which then influenced their art. All of the students and Chicago contributed $25 per month to rent the space and to pay for materials. [24] Later, Judy Chicago and Miriam Schapiro reestablished the Feminist Art Program at California Institute of the Arts. After Chicago left for Cal Arts, the class at Fresno State College was continued by Rita Yokoi from 1971 to 1973, and then by Joyce Aiken in 1973, until her retirement in 1992. [nb 1]

Chicago is considered one of the "first-generation feminist artists," a group that also includes Mary Beth Edelson, Carolee Schneeman, and Rachel Rosenthal. They were part of the Feminist art movement in Europe and the United States in the early 1970s to develop feminist writing and art. [26]

Chicago became a teacher at the California Institute for the Arts, and was a leader for their Feminist Art Program. In 1972, the program created Womanhouse, alongside Miriam Schapiro, which was the first art exhibition space to display a female point of view in art. [19] With Arlene Raven and Sheila Levrant de Bretteville, Chicago co-founded the Los Angeles Woman's Building in 1973. [27] This art school and exhibition space was in a structure named after a pavilion at the 1893 World's Colombian Exhibition that featured art made by women from around the world. [28] This housed the Feminist Studio Workshop, described by the founders as "an experimental program in female education in the arts. Our purpose is to develop a new concept of art, a new kind of artist and a new art community built from the lives, feelings, and needs of women." [17] [29] During this period, Chicago began creating spray-painted canvas, primarily abstract, with geometric forms on them. These works evolved, using the same medium, to become more centered around the meaning of the "feminine." Chicago was strongly influenced by Gerda Lerner, whose writings convinced her that women who continued to be unaware and ignorant of women's history would continue to struggle independently and collectively. [19]

Womanhouse

Womanhouse was a project that involved Judy Chicago and Miriam Schapiro. It began in the fall of 1971 and was the first public exhibition of Feminist Art. They wanted to start the year with a large scale collaborative project that involved woman artists who spent much of their time talking about their problems as women. They used those problems as fuel and dealt with them while working on the project. Judy thought that female students often approach art-making with an unwillingness to push their limits due to their lack of familiarity with tools and processes, and an inability to see themselves as working people. In this environment, female artists experimented with women's conventional roles and experiences and how these could be displayed. "The aim of the Feminist Art Program is to help women restructure their personalities to be more consistent with their desires to be artists and to help them build their art-making out of their experiences as women." [30] Womanhouse is a "true" dramatic representation of woman's experience beginning in childhood, encompassing the struggles at home, with housework, menstruation, marriage, etc. [20]

In 1975, Chicago's first book, Through the Flower, was published; it "chronicled her struggles to find her own identity as a woman artist." [15]

The Dinner Party

The Dinner Party as installed at the Brooklyn Museum. Judy Chicago The Dinner Party.JPG
Judy Chicago The Dinner Party.jpg
The Dinner Party
as installed at the Brooklyn Museum.

Chicago decided to take Lerner's lesson to heart and took action to teach women about their history. This action would become Chicago's masterpiece, The Dinner Party , now in the collection of the Brooklyn Museum. [31] It took her five years and cost about $250,000 to complete. [12] First, Chicago conceived the project in her Santa Monica studio: a large triangle, which measures 48-feet by 43-feet by 36-feet, consisting of 39 place settings. [19] Each place setting commemorates a historical or mythical female figure, such as artists, goddesses, activists, and martyrs. Thirteen women are represented on each side, comparable with the number said to be at a traditional witches' coven and triple the number of attendees at the Last Supper. The embroidered table runners are stitched in the style and technique of the woman's time. [32] Numerous other names of women are engraved in the "Heritage Floor" upon which the piece sits. The project came into fruition with the assistance of over 400 people, mainly women, who volunteered to assist in needlework, creating sculptures and other aspects of the process. [33] When The Dinner Party was first constructed, it was a traveling exhibition. Through the Flower, her non-profit organization, was originally created to cover the expense of the creation and travel of the artwork. Jane Gerhard dedicated a book to Judy Chicago and The Dinner Party, entitled "The Dinner Party: Judy Chicago and The Power of Popular Feminism, 1970–2007." [34]

Inspiration for The Dinner Party came from a personal experience where Chicago found herself at a male dominated event. This event included highly educated men and women, however the men dominated the conversation and essence of the space. Chicago highlights important women that are often overlooked, giving credit to those who have stepped up for women's rights. This work is less of a statement and more of an honoring and a form of gratitude and inspiration. Chicago wanted the piece to teach about the struggle for power and equality women have endured in male-dominant societies. It considers the possibility of a meeting between powerful women and how this could change human history.

Many art critics, including Hilton Kramer from The New York Times, were unimpressed by her work. [35] Mr. Kramer felt Chicago's intended vision was not conveyed through this piece and "it looked like an outrageous libel on the female imagination." [35] Although art critics felt her work lacked depth and the dinner party was just "vaginas on plates," it was popular and captivated the general public. Chicago debuted her work in six countries on three continents. She reached over a million people through her artwork. Her work might not have pleased critics but its feminist message captivated the public and it honored its featured 39 historical figures and 999 other women.

In a 1981 interview Chicago said that the backlash of threats and hateful castigation in reaction to the work brought on the only period of suicide risk she'd ever experienced in her life, characterizing herself as "like a wounded animal". [36] She stated that she sought refuge from public attention by moving to a small rural community and that friends and acquaintances took on administrative support roles for her, such as opening her postal mail, while she threw herself into working on Embroidering Our Heritage , the book documenting the project. She further said, [36]

If I go forward now it's because of a network of support that's being built that will allow me to go forward. My destiny as an artist is totally tied up with my destiny as a member of the female sex. And as we as women move forward, I move forward. That's something that's very, very hard to accept because, it's like, I could not do it all the way either; but I've come a long way, I know I've come a long way. And that means that other women can come that far, and farther.

Birth Project and PowerPlay

From 1980 until 1985, Chicago created Birth Project. It took five years to create. The piece used images of childbirth to celebrate woman's role as mother. Chicago was inspired to create this collective work because of the lack of imagery and representation of birth in the art world. [37] The installation reinterpreted the Genesis creation narrative, which focused on the idea that a male god created a male human, Adam, without the involvement of a woman. [33] Chicago described the piece as revealing a "primordial female self hidden among the recesses of my soul...the birthing woman is part of the dawn of creation." [11] 150 needleworkers from the United States, Canada and New Zealand assisted in the project, working on 100 panels, by quilting, macrame, embroidery and other techniques. The size of the piece means it is rarely displayed in its entirety. The majority of the pieces from Birth Project are held in the collection of the Albuquerque Museum. [33]

Chicago was not personally interested in motherhood. While she admired the women who chose this path, she did not find it right for herself. As recently as 2012, she said, "There was no way on this earth I could have had children and the career I've had." [12]

Overlapping with Birth Project, Chicago started working independently on PowerPlay in 1982. The series of large-scale paintings, drawings, cast paper reliefs and bronze reliefs is completely different from Birth Project. What both the series, however, have in common is that their subject matters deal with issues rarely depicted in Western art. [38] Paradoxically, the PowerPlay series was inspired by Chicago’s trip to Italy, where she saw the masterpieces of Renaissance artists representing the Western artistic tradition. [39] As Judy Chicago wrote in her autobiographical book: “I was to be greatly influenced by actually seeing the major Renaissance paintings. Looking at their monumental scale and clarity led me to decide to cast my examination of masculinity in the classical tradition of the heroic nude and to do so in a series of large-scale oil paintings.” [40]

Already the titles of the works such as Crippled by the Need to Control/Blind Individuality, Pissing on Nature, Driving the World to Destruction, In the Shadow of the Handgun, Disfigured by Power, etc., indicate Chicago’s focus on male violent behaviour. [41] However, the brightly coloured images of facial expressions and parts of male bodies express not only aggression and power but also vulnerability, such as Woe/Man, for which her husband Donald Woodman posed. [42] While researching the nature and history of masculinity, Judy Chicago discovered that there was hardly any material, “almost as if only women were a gender to be studied and written about. And what did exist seemed not all that insightful.” [43]

Taking into account her struggles to become a recognized successful artist in the male-dominated art world and its continual contempt for Chicago’s work, the series seems to be very relevant to her personal life. [44] She depended “upon [her] own sense of truth, working from observation, experience, and, of course, [her] rage at how destructively so many men seem to act toward women and the world at large.” [45]

By depicting male bodies, Chicago replaced the traditional male gaze with a female one, showing how women perceived men. As she said: “I knew that I didn’t want to keep perpetuating the use of the female body as the repository of so many emotions; it seemed as if everything – love, dread, longing, loathing, desire, and terror – was projected onto the female by both male and female artists, albeit with often differing perspectives. I wondered what feelings the male body might be made to express.” [46]

PowerPlay is one of Chicago’s lesser-known and probably most misunderstood bodies of work.” [47] It is quite puzzling that this powerful series received such “little attention at the time of its first exhibition, in 1986.” [48] However, nowadays, the series “could not be more relevant to our contemporary dialogue on the abuses of power that we are experiencing and witnessing first hand.” [49]

A new kind of collaboration and The Holocaust Project

In the mid-1980s Chicago's interests "shifted beyond 'issues of female identity' to an exploration of masculine power and powerlessness in the context of the Holocaust." [50] Chicago's The Holocaust Project: From Darkness into Light (1985–93) [50] is a collaboration with her husband, photographer Donald Woodman, whom she married on New Year's Eve 1985. Although Chicago's previous husbands were both Jewish, it wasn't until she met Woodman that she began to explore her own Jewish heritage. Chicago met poet Harvey Mudd, who had written an epic poem about the Holocaust. Chicago was interested in illustrating the poem, but decided to create her own work instead, using her own art, visual and written. Chicago worked alongside her husband to complete the piece, which took eight years to finish. [33] The piece, which documents victims of the Holocaust, was created during a time of personal loss in Chicago's life: the death of her brother Ben from Lou Gehrig's disease, and the death of her mother from cancer. [51]

Chicago used the tragic event of the Holocaust as a prism through which to explore victimization, oppression, injustice, and human cruelty. [34] To seek inspiration for the project, Chicago and Woodman watched the documentary Shoah , which comprises interviews with Holocaust survivors at Nazi concentration camps and other relevant Holocaust sites. [51] They also explored photo archives and written pieces about the Holocaust. [52] They spent several months touring concentration camps and visited Israel. [50] Chicago brought other issues into the work, such as environmentalism, Native American genocide, [11] and the Vietnam War. With these subjects Chicago sought to relate contemporary issues to the moral dilemma behind the Holocaust. [51] This aspect of the work caused controversy within the Jewish community, due to the comparison of the Holocaust to these other historical and contemporary concerns. [11] The Holocaust Project: From Darkness into Light consists of sixteen large scale works made of a variety of mediums including: tapestry, stained glass, metal work, wood work, photography, painting, and the sewing of Audrey Cowan. The exhibit ends with a piece that displays a Jewish couple at Sabbath. The piece comprises 3000 square feet, providing a full exhibition experience for the viewer. [51] The Holocaust Project: From Darkness into Light was exhibited for the first time in October 1993 at the Spertus Museum in Chicago. [51] Most of the work from the piece is held at the Holocaust Center in Pittsburgh, Pennsylvania. [2]

Over the next six years, Chicago created works that explored the experiences of concentration camp victims. [50] Galit Mana of Jewish Renaissance magazine notes, "This shift in focus led Chicago to work on other projects with an emphasis on Jewish tradition", including Voices from the Song of Songs (1997), where Chicago "introduces feminism and female sexuality into her representation of strong biblical female characters." [50]

Current work and life

In 1985, Chicago was remarried, to photographer Donald Woodman. To celebrate the couple's 25th wedding anniversary, Chicago created a "Renewal Ketubah" in 2010. [15]

In 1994, Judy Chicago started "Resolutions: A Stitch in Time" which took six years to complete. The public audience later got to see this project at the Museum of Art and Design in New York in 2000. [53]

In 1996, Chicago and Woodman moved into the historic Belen Hotel, an historic railroad hotel in Belen, New Mexico which Woodman had spent three years converting into a home. [53]

Chicago's archives are held at the Schlesinger Library at Radcliffe College, and her collection of women's history and culture books are held in the collection of the University of New Mexico. In 1999, Chicago received the UCLA Alumni Professional Achievement Award, and has been awarded honorary degrees from Lehigh University, Smith College, Duke University [54] and Russell Sage College. [2] In 2004, Chicago received a Visionary Woman Award from Moore College of Art & Design. [55] Chicago was named a National Women's History Project honoree for Women's History Month in 2008. [56] Chicago donated her collection of feminist art educational materials to Penn State University in 2011. [57] She lives in New Mexico. [58] In the fall of 2011, Chicago returned to Los Angeles for the opening of the "Concurrents" exhibition at the Getty Museum. For the exhibition, she returned to the Pomona College football field, where in the late 1960s she had held a firework-based installation, and performed the piece again. [59] In 2021, she was inducted into the National Women's Hall of Fame. [60]

Chicago had two solo exhibitions in the United Kingdom in 2012, one in London and another in Liverpool. [50] The Liverpool exhibition included the launch of Chicago's book about Virginia Woolf. Once a peripheral part of her artistic expression, Chicago now considers writing to be well integrated into her career. [50] That year, she was also awarded the Lifetime Achievement Award at the Palm Springs Art Fair. [53]

She was interviewed for the film !Women Art Revolution . [61]

Chicago strives to push herself, exploring new directions for her art; she even attended car-body school to learn to air-brush and has recently begun to work in glass. [12] Taking such risks is easier to do when one lives by Chicago's philosophy: "I'm not career driven. Damien Hirst's dots sold, so he made thousands of dots. I would, like, never do that! It wouldn't even occur to me." [12] Chicago's subject matter, however, has broadened from the focus of The Dinner Party. In the words of the artist: "I guess you could say that my eyes were lifted from my vagina." [12]

Chicago has permanent collections in numerous museums around the world. Those include, The British Museum, The Brooklyn Museum, The Getty Trust, The Los Angeles County Museum of Art, New Mexico Museum of Art, The National Gallery of Art, The National Museum of Women in the Arts, The Penn Academy of the Fine Arts, and The San Francisco Museum of Modern Art. [62]

In her interview with Gloria Steinem, Chicago spoke of her "goal as an artist", stating that it "…has been to create images in which the female experience is the path to the universal, as opposed to learning everything through the male gaze." [63]

Style and work

Chicago trained herself in "macho arts," taking classes in auto body work, boat building, and pyrotechnics. Through auto body work she learned spray painting techniques and the skill to fuse color and surface to any type of media, which would become a signature of her later work. The skills learned through boat building would be used in her sculpture work, and pyrotechnics would be used to create fireworks for performance pieces. These skills allowed Chicago to bring fiberglass and metal into her sculpture, and eventually she would become an apprentice under Mim Silinsky to learn the art of porcelain painting, which would be used to create works in The Dinner Party. Chicago also added the skill of stained glass to her artistic tool belt, which she used for The Holocaust Project. [19] Photography became more present in Chicago's work as her relationship with photographer Donald Woodman developed. [52] Since 2003, Chicago has been working with glass. [58]

Collaboration is a major aspect of Chicago's installation works. The Dinner Party, The Birth Project and The Holocaust Project were all completed as a collaborative process with Chicago and hundreds of volunteer participants. Volunteer artisans skills vary, often connected to "stereotypical" women's arts such as textile arts. [19] [51] Chicago makes a point to acknowledge her assistants as collaborators, a task at which other artists have notably failed. [12] [64]

Through the Flower

In 1978, Chicago founded Through the Flower, a non-profit feminist art organization. The organization seeks to educate the public about the importance of art and how it can be used as a tool to emphasize women's achievements. Through the Flower also serves as the maintainer of Chicago's works, having handled the storage of The Dinner Party, before it found a permanent home at the Brooklyn Museum. The organization also maintained The Dinner Party Curriculum, which serves as a "living curriculum" for education about feminist art ideas and pedagogy. The online aspect of the curriculum was donated to Penn State University in 2011. [58]

Teaching career

Judy Chicago became aware of the sexism that was rampant in modern art institutions, museums, and schools while getting her undergraduate and graduate degree at UCLA in the 1960s. Ironically, she didn't challenge this observation as an undergrad. In fact, she did quite the opposite by trying to match – both in her artwork and in her personal style –  what she thought of as masculinity in the artistic styles and habits of her male counterparts. Not only did she begin to work with heavy industrial materials, but she also smoked cigars, dressed "masculine", and attended motorcycle shows. [65] This awareness continued to grow as she recognized how society did not see women as professional artists in the same way they recognized men. Angered by this, Chicago channeled this energy and used it to strengthen her feminist values as a person and teacher. While most teachers based their lessons on technique, visual forms, and color, the foundation for Chicago's teachings were on the content and social significance of the art, especially in feminism. [66] Stemming from the male-dominated art community Chicago studied with for so many years, she valued art based on research, social or political views, and/or experience. She wanted her students to grow into their art professions without having to sacrifice what womanhood meant to them. Chicago developed an art education methodology in which "female-centered content," such as menstruation and giving birth, is encouraged by the teacher as "personal is political" content for art. [67] Chicago advocates the teacher as facilitator by actively listening to students in order to guide content searches and the translation of content into art. She refers to her teaching methodology as "participatory art pedagogy." [68]

The art created in the Feminist Art Program and Womanhouse introduced perspectives and content about women's lives that had been taboo topics in society, including the art world. [69] [70] In 1970 Chicago developed the Feminist Art Program at California State University, Fresno, and has implemented other teaching projects that conclude with an art exhibition by students such as Womanhouse with Miriam Schapiro at CalArts, and SINsation in 1999 at Indiana University, From Theory to Practice: A Journey of Discovery at Duke University in 2000, At Home: A Kentucky Project with Judy Chicago and Donald Woodman at Western Kentucky University in 2002, Envisioning the Future at California Polytechnic State University and Pomona Arts Colony in 2004, and Evoke/Invoke/Provoke at Vanderbilt University in 2005. [71] Several students involved in Judy Chicago's teaching projects established successful careers as artists, including Suzanne Lacy, Faith Wilding, and Nancy Youdelman.

In the early 2000s, Chicago organized her teaching style into three parts: preparation, process, and art-making. [66] Each has a specific purpose and is crucial. During the preparation phase, students identify a deep personal concern and then research that issue. In the process phase, students gather together in a group to discuss the materials they plan on using and the content of their work. Finally, in the art-making phase, students find materials, sketch, critique, and produce art.

Books by Chicago

Notes

  1. Aiken opened the all-women's co-op Gallery 25 with her students, developed the Fresno Art Museum's Council of 100 and the Distinguished Women Artist Series, which helped develop programming and exhibitions about women at the museum. [25]

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The feminist art movement in the United States began in the early 1970s and sought to promote the study, creation, understanding and promotion of women's art. First-generation feminist artists include Judy Chicago, Miriam Schapiro, Suzanne Lacy, Judith Bernstein, Sheila de Bretteville, Mary Beth Edelson, Carolee Schneeman, Rachel Rosenthal, and many other women. They were part of the Feminist art movement in the United States in the early 1970s to develop feminist writing and art. The movement spread quickly through museum protests in both New York and Los Angeles, via an early network called W.E.B. that disseminated news of feminist art activities from 1971 to 1973 in a nationally circulated newsletter, and at conferences such as the West Coast Women's Artists Conference held at California Institute of the Arts and the Conference of Women in the Visual Arts, at the Corcoran School of Art in Washington, D.C..

Feminist art

Feminist art is a category of art associated with the late 1960s and 1970s feminist movement. Feminist art highlights the societal and political differences women experience within their lives. The hopeful gain from this form of art is to bring a positive and understanding change to the world, in hope to lead to equality or liberation. Media used range from traditional art forms such as painting to more unorthodox methods such as performance art, conceptual art, body art, craftivism, video, film, and fiber art. Feminist art has served as an innovative driving force towards expanding the definition of art through the incorporation of new media and a new perspective.

Miriam Schapiro

Miriam Schapiro was a Canadian-born artist based in the United States. She was a painter, sculptor, printmaker, and a pioneer of feminist art. She was also considered a leader of the Pattern and Decoration art movement. Schapiro's artwork blurs the line between fine art and craft. She incorporated craft elements into her paintings due to their association with women and femininity. Schapiro's work touches on the issue of feminism and art: especially in the aspect of feminism in relation to abstract art. Schapiro honed in her domesticated craft work and was able to create work that stood amongst the rest of the high art. These works represent Schapiro's identity as an artist working in the center of contemporary abstraction and simultaneously as a feminist being challenged to represent women's "consciousness" through imagery. She often used icons that are associated with women, such as hearts, floral decorations, geometric patterns, and the color pink. In the 1970s she made the hand fan, a typically small woman's object, heroic by painting it six feet by twelve feet. "The fan-shaped canvas, a powerful icon, gave Schapiro the opportunity to experiment … Out of this emerged a surface of textured coloristic complexity and opulence that formed the basis of her new personal style. The kimono, fans, houses, and hearts were the form into which she repeatedly poured her feelings and desires, her anxieties, and hopes".

Mira Schor

Mira Schor is an American artist, writer, editor, and educator, known for her contributions to critical discourse on the status of painting in contemporary art and culture as well as to feminist art history and criticism.

Joyce Aiken is an American feminist art historian, artist, and educator. Aiken taught the subject for over 20 years at California State University, Fresno, and assisted her students in opening a feminist art gallery. This helped put Fresno, California on the map as a key place for the feminist art movement. Most recently, she served as the director of the Fresno Arts Council.

The feminist art movement refers to the efforts and accomplishments of feminists internationally to produce art that reflects women's lives and experiences, as well as to change the foundation for the production and perception of contemporary art. It also sought to bring more visibility to women within art history and art practice. By the way it is expressed to visualize the inner thoughts and objectives of the feminist movement to show to everyone and give meaning in the art. It helps construct the role to those who continue to undermine the mainstream narrative of the art world. Corresponding with general developments within feminism, and often including such self-organizing tactics as the consciousness-raising group, the movement began in the 1960s and flourished throughout the 1970s as an outgrowth of the so-called second wave of feminism. It has been called "the most influential international movement of any during the postwar period."

Mary Beth Edelson was an American artist and pioneer of the feminist art movement, deemed one of the notable "first-generation feminist artists." Edelson was a printmaker, book artist, collage artist, painter, photographer, performance artist, and author. Her works have been shown at the Museum of Modern Art, the Smithsonian American Art Museum, and the Museum of Contemporary Art in Chicago.

Joan Semmel

Joan Semmel is an American feminist painter, professor, and writer. She is best known for her large scale realistic nude self portraits as seen from her perspective looking down.

Judie Bamber is an American artist based in Los Angeles. Her often representational paintings explore themes of gender, sexuality, temporality, and memory. She teaches in the Master of Fine Arts program at Otis College of Art and Design and is best known for Are You My Mother?, which was featured in New American Paintings in 2003 and 2004. Her paintings, watercolors and graffiti emphasize women's pleasure, as well as to permeate her family history.

The Feminist Art Program (FAP) was a college-level art program for women developed in 1970 by artist Judy Chicago and continued by artists Rita Yokoi, Miriam Schapiro, and others. The FAP began at Fresno State College, as a way to address gender inequities in art education, and the art world in general. In 1971, Judy Chicago and Miriam Schapiro brought the FAP to the newly formed California Institute of the Arts, leaving Rita Yokoi to run the Fresno FAP until her retirement in 1992. The FAP at California Institute of the Arts was active until 1976. The students in the Feminist Art Program read women writers, studied women artists, and made art about being a woman based on group consciousness raising sessions. Often, the program was separate from the rest of the art school to allow the women to develop in a greenhouse-like environment and away from discerning critiques. While the separatist ideology has been critiqued as reinforcing gender, the FAP has made a lasting impression on feminist art which can be seen in retrospectives, group exhibitions, and creative re-workings of the original projects.

Nancy Youdelman is a mixed media sculptor who lives and works in Clovis, California. She also taught art at California State University, Fresno from 1999 until her retirement in 2013. "Since the early 1970s Youdelman has been transforming clothing into sculpture, combining women's and girl's dresses, hats, gloves, shoes, and undergarments with a variety of organic materials and common household objects.

Karen LeCocq is an American artist. She is a nationally-known sculptor whose work combines organic materials and found objects.

Fresno Art Museum

The Fresno Art Museum is an art museum in Fresno, California. The museum's collection includes contemporary art, modern art, Mexican and Mexican-American art, and Pre-Columbian sculpture.

Frances Phoenix (1950–2017) was an Australian feminist artist known for needlework and poster designs. Phoenix contributed to both Sydney and Adelaide's Women's Art Movements and multiple community art projects. With Marie McMahon, she was a founding member of the Women's Domestic Needlework Group and contributed to Judy Chicago's The Dinner Party (1974–1979). She continued to study and practice art for the rest of her life. Her needlework and poster designs are held in national collections.

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Sources

Further reading