#judy chicago

View of the exhibition “PowerPlay”, by Judy Chicago, in Salon 94, New York, 2018. Courtesy of the gallery

thatsbutterbaby:

Judy Chicago - Return of the Butterfly, 2012.  Lithograph printed in colors, image 19 7/8 x 19 7/8 inches. 

O prato de Virginia Woolf, no The Dinner Party da Judy Chicago, em 1974–79.
Aqui tem bom texto a respeito da obra, no site do Museu do Brooklyn.

3 obras do Rejection Quintet de Judy Chicago, 1974.
Uma delas chama-se Female Rejection Drawing, “In trying to ‘peel back’ the structure I have used in my work because I felt that I have to 'hide’ the real content, I’ve found myself making a vaginal form. I was not so interested in drawing a cunt but there is a big gap between my feelings as a woman and the visual language of the male culture. Whenever I want to deal with the issue of vulnerability, emotional exposure, or primitive feelings, the only image I can think of is a vagina, probably because these aspects of human experience have been delegated to the sphere of the 'feminine’ and then deprecated. My struggle have been as is to find a way to let the female experience be represented in such a way that it can stand for those areas of human experience that male society denies, thus challenging the prevailing values.”

Judy Chicago,The Dinner Party, 1974 – 1979

• emphasis on the female anatomy
• monumental dinner table; each side of the triangle is 48 feet, with 13 place settings for a total of 39 important women in history
• collaboration between artists from CalArts in media that had traditionally not been recognized as fine arts, such as fiber, ceramics, and metalworking 
• each place setting tailored to the style of art in which each of these women lived, and each plate is an abstraction of a vagina 
• example of second wave feminist art

‘The Dinner Party’ by Judy Chicago, 1974-79.