I am gratified that my work has proved to be so meaningful to people, even provoking the Queen of Norway to proclaim on National TV that the “Dinner Party” is her favourite work of art. That’s really an art historian’s question. Yet it has also proved enormously controversial, even being debated in the House of Representatives. Your installation “The Dinner Party” is famous as a pioneering work. By helping my students learn to be professional artists without having to do that, I helped myself reconnect with my own authentic impulses. In order to be taken seriously in the LA art scene of the 1960s, I had to excise any hint of my gender from my work. You have said that in the late 1960s you felt as if you had disconnected from yourself as a woman and that teaching female students helped you rediscover yourself. Years later, I saw Walter and he tried to excuse his behaviour by stating that in the 1960s women in the art world were either “artists’ wives or groupies” and he didn’t know how to deal with the fact that (as he said to me) my work was stronger than a lot of the men’s. Why was that?Īt the time I had no idea, but I was devastated. In the 1960s, when you tried to show the curator Walter Hopps, director of the Pasadena Museum of Art, your sculpture “Rainbow Picket”, he refused to look at it. Because I was raised in a family that believed in equal rights for women, I always knew that I was encountering sexism, but it took a while before I understood my experiences in a larger historic context. When I emerged into professional practice in Los Angeles in the 1960s, I was constantly told that I “couldn’t be a woman and an artist too”. Rather I encountered resistance to my female-centred biomorphic imagery from male professors in graduate school. I didn’t see the larger picture at first. When did you first realise that women’s creativity was being suppressed? This week, Chicago’s 1964 “Car Hood” sculptures will be on display at Riflemaker Gallery in the Spotlight section of Frieze Masters. Housed in the Brooklyn Museum since 2007, the fact that it took nearly 30 years to find a permanent home reflects the controversy it provoked. Made between 19, this installation represents more than 1,000 women from history, 39 of whom are symbolised by place settings inspired by butterfly and vulvar forms. A legendary figure among the feminist artists who emerged during the 1960s, her most famous work is “The Dinner Party”. Simply sign up to the Life & Arts myFT Digest - delivered directly to your inbox.īorn in Chicago in 1939, Judy Chicago is an artist, author and teacher.
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