Judy Chicago: Deflowered

D E F LOWE R E D J U DY C H I C A G O

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D E F LOWE R E D J U DY C H I C A G O

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U N LE SS OTH E RWIS E N OTE D, A L L P H O TO G R A P H Y BY D O N A L D W O O D M A N

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CO NTE NTS

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Come Back with Your Shield or On It

by Tim Nye

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Judy Chicago: Merging In LA

by Lexi Brown

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The Deflowering of Nye+Brown

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Judy Chicago: Deflowered

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Deflowered Plates

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Biography & Acknowledgments

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CO M E BACK WITH YO U R S H I E LD O R O N IT. — P LUTARCH , 46 AD

TIM NYE

Judy Chicago, all 5’3” (now 5’2 1/2” by her own admittance) 115 pounds of her, packs quite a punch both in her weight within the canons of art history and in the optical impact of her work. She is David to the Goliaths that comprised the (pea)cocked male brotherhood of Southern California art of the 60s and early 70s. The precision of her slingshot produced a body of work that infuriated her contemporaries and pierced their meditations on color and space. Her target fell significantly south of the skull.

Positioned upright like a shield, Chicago’s “come back with your shield or on it,” approach to the world is particularly poignant in the sleek, white hood of the Chevy Corvair used as the canvas for a series of 4 paintings tattooed with iconography that is a veritable potpourri of sexual orifices, phalluses, and cells that bond the two, with a palette of blazing pastels that would become Chicago’s signature.

The “Domes” followed the “Hoods”. Grouped in threes, and composed of multiple blown spheres sprayed in an array of colors shimmering on their surface, deep calm seas seducing to their icy depths, their ocular splendor successfully fending off the urge to associate their sexy curves to images of the female anatomy.

Engaged in the push and pull of artistic identity, Chicago scoops the toxic ice cream pink plumes of southern California light, encasing them in clear acrylic lacquer, infused with an emotion that chilly Minimalism has rarely conveyed, her feminism sublimated but ever present.

The white sheet acrylic backing reflecting light back at the viewer, passing through her kaleidoscope of color gathering intensity in the process, pastel pigments super charged, retinas pin from the opiates they release.

The drawings, which are done as preparation for each painting, are an intricate exploration of form, color and composition. Rendered as topographical maps of color, grids of evaporating hue challenge their neighbors for harmony or intentional discord, at once transporting symphonies and punk rock cacophony. Judy Chicago.

B I R T H H O O D ( D E TA I L ) , 1 9 6 5 / 2 0 1 1 , S P R AY E D AU TO M O T I V E L AC Q U E R O N CAR HOOD, 42 .9 X 42 .9 X 4. 3 INCHES

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J U DY CH ICAG O : M E RG I N G I N LOS AN G E LE S

LEXI BROWN

Often referred to as the Minimal period prior to the Feminist practice she is most famous for, the works presented here employ multiple strategies while investigating formal concerns. Unlike the stripped down reductive cool minimalism of the east coast, Chicago’s work is more closely aligned with her west coast compatriots in her embrace of color, surface and sensory experience. Chicago lived and made work in Los Angeles during and following her tenure as a graduate student at UCLA. During this time she set out to achieve mastery over/in her technical processes and to this end attended auto body school and apprenticed with boat workers and pyro-technicians. She learned to perfect the surfaces of her sprayed acrylic lacquer paintings and domes, the precise application of car paint to her Corvair car hoods and to handle the smoke and fireworks necessary for her Atmosphere performances.

Slickness abounds along with a passionate and expansive use of color. Bodily references and a constant repetition of circular forms—referred to as apertures, donuts, domes, cunts, orifices and/or central core imagery; act to further distance these works from simple categorization as minimal or finish fetish or light and space related. A new abstract vocabulary emerges, undeniably feminine and hinting of revolution.

Indeed, recognizing this merging of oeuvres—of ideas, materials, and technique, is essential to any reading of Judy Chicago’s work. In a 2002 interview with Lucy Lippard in the catalogue for the survey exhibition at the National Museum of Women in the Arts in Washington DC, Chicago explains: “Merging is very important in my work— in some images like Fleshgardens- the merging of flesh and landscape.

Or in the Atmospheres (pyrotechnic environments) merging color and landscape, and in the air-brush paintings were I merged color and surface. So what’s that about? It’s about breaking down boundaries, breaking down hierarchies, breaking down false barriers. These are philosophical impulses expressed visually and esthetically.”

BIGAMY HOOD (DETIAL), 19 65/2011 , S P R AY E D AU TO M O T I V E L AC Q U E R O N CAR HOOD, 42 .9 X 42 .9 X 4. 3 INCHES

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TH E D E FLOWE R I N G O F N Y E+B ROWN

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S T U DY F O R D E F L OW E R I N G O F N Y E + B R OW N , 2 0 1 1 , WAT E R C O L O R O N PA P E R , 1 5 X 2 2 I N C H E S

Between 1968 and 1974, Judy Chicago created a series of fireworks piece in and around southern California. Titled Atmospheres, most of these employed colored smokes to soften or feminize the environment, if only for a moment. Working with a small team of friends, Chicago transformed beaches, forests, deserts, museums and construction sites with whirling plumes of brilliant color. Everyone participated by lighting flares, photographing and filming the events or bringing food for the hungry crew.

Her last piece took place on the banks of Lake Merritt in Oakland, California, as part of the Oakland Museum’s “Sculpture in the City” exhibition. Using a technique called lance work, Chicago constructed a giant butterfly with road flares, colored smokes and assorted fireworks that measured two hundred feet across its wing span. It would be almost forty years before she had the opportunity to pick up

where she had left off, this time with another butterfly that occupied the football field at Pomona College as part of the Getty’s Pacific Standard Time Performance Festival in January, 2012.

Although the technology of fireworks had evolved, lance work had remained the same; a labor intensive method of building a framework to support a fireworks image. Chicago was commissioned by Tim Nye and Lexi Brown to employ this technique to create a special piece for the opening of her exhibition, “Deflowered” at Nye + Brown in Los Angeles. Working with a six generation fireworks family (Pyro Spectaculars), Chicago created a series of petal forms which ignited from their centers and burst into a sequence of startling effects, culminating in an ecstatic explosion of colors and forms.

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I N S TA L L AT I O N O F T H E D E F L OW E R I N G O F N Y E + B R OW N

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T H E D E F L OW E R I N G O F N Y E + B R OW N , 2012 , FI R E WO R KS , 24 X 2 8 FE E T

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J U DY CH ICAG O : D E FLOWE R E D

J U DY C H I C AG O B E I N G PH OTOG R APH E D DU RI N G I N S TA L L AT I O N AT N Y E + B R OW N BY P H O TO G R A P H E R J I M M C H U G H

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CAPTION

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B IOG R APH Y

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P H O TO C O U R T E S Y J E R R Y M C M I L L A N , LOS ANG E LE S , CA

Judy Chicago is an artist, author, feminist, educator, and intellectual whose career now spans over five decades. Her influence both within and beyond the art community is attested to by her inclusion in hundreds of publications throughout the world. Her art has been frequently exhibited in the United States as well as in Canada, Europe, Asia, Australia, and New Zealand. In addition, a number of the books she has authored have been published in foreign editions, bringing her art and philosophy to thousands of readers worldwide.

In the early seventies after a decade of professional art practice, Chicago pioneered Feminist Art and art education through a unique program for women at California State University, Fresno, a pedagogical approach that she has continued to develop over the years. She then brought her program to Cal-Arts, where she team-taught with Miriam Schapiro, producing with their students the ground-breaking Womanhouse project.

In 1999, Chicago returned to teaching for the first time in twenty-five years, having accepted a succession of one-semester appointments at various institutions around the country beginning with Indiana University, Bloomington, where she received a Presidential Appointment in Art and Gender Studies. In 2000, she was an InterInstitutional Artist in Residence at Duke University and the University of North Carolina, Chapel Hill. In 2001, with her husband, photographer Donald Woodman, she undertook a project with students at Western Kentucky University. Working with students, faculty and local artists, Chicago and Woodman developed a project titled, “At Home”, examining the subject of the house from the perspective of residents of Kentucky who have a keen sense of place and home. In the fall of 2003, Chicago and Woodman team-taught again, facilitating an ambitious inter-institutional, multi-site project in Pomona and Claremont, California.

In the spring of 2006, Chicago and Woodman were the first Chancellor’s Artists in Residence at Vanderbilt University where they facilitated a project involving Vanderbilt students and Nashville artists. Recently her art education archive has been acquired by Penn State University, where it will be made available to scholars and educators. In 2009, California State University, Fresno hosted an exhibition entitled “A Studio of Their Own: The Legacy of the Fresno Feminist Experiment” in which the work of the Fresno Feminist Art program students, was showcased.

Although Chicago has been an influential teacher and prolific author, the primary focus of her career has been her studio work. In 1974, Chicago turned her attention to the subject of women’s history to create her most well-known work, The Dinner Party, which was executed between 1974 and 1979 with the participation of hundreds of volunteers.

This monumental multimedia project, a symbolic history of women in Western Civilization, has been seen by more than one million viewers during its sixteen exhibitions held at venues spanning six countries.

The Dinner Party has been the subject of countless articles and art history texts and is included in innumerable publications in diverse fields. The impact of The Dinner Party was examined in the 1996 exhibition, “Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History.” Curated by Dr. Amelia Jones at the UCLA Armand Hammer Museum, this show was accompanied by an extensive catalog published by the University of California Press. In 2007, The Dinner Party was permanently housed at the Brooklyn Museum as the centerpiece ofthe Elizabeth A. Sackler Center for Feminist Art, thereby achieving Chicago’s long-held goal. In conjunction with the permanent housing, Chicago published a final updated and definitive book, The Dinner Party: From Creation to Preservation (Merrell, 2007).

From 1980 to 1985, Chicago worked on the Birth Project, designing a series of birth and creation images for needlework that were executed under her supervision by 150 skilled needle workers around the country. The Birth Project, exhibited in more than 100 venues, employed the collaborative methods and a similar merging of concept and media that characterized The Dinner Party. Exhibition units from the Birth Project can be seen in numerous public collections around the country including The Albuquerque Museum where the core collection has been placed to be made available for exhibition and study.

While completing the Birth Project, Chicago again focused on individual studio work to create PowerPlay. In this unusual series of drawings, paintings, weavings, cast paper, and bronze reliefs, Chicago brought a critical feminist gaze to the gender construct of masculinity, The thought processes involved in this unique body of art combined with the artist’s long concern with issues of power and powerlessness, and a growing interest in her Jewish heritage led to her next body of art.

The Holocaust Project: From Darkness into Light — which involved eight years of inquiry, travel, study, and artistic creation — is comprised of a series of images merging Chicago’s painting with the innovative photography of Donald Woodman, as well as works in stained glass and tapestry designed by Chicago and executed by skilled artisans. The exhibition premiered in October 1993 at the Spertus Museum in Chicago, then traveled to museums around the United States until 2002 and selections from the project continue to be shown.

Resolutions: A Stitch in Time was Judy Chicago’s last collaborative project. Begun in 1994 with skilled needle workers with whom she had worked for many years, Resolutions combines painting and needlework in a series of exquisitely crafted and inspiring images which — with an eye to the future — playfully reinterpret traditional adages and proverbs. The exhibition opened in June 2000 at the Museum of Arts and Design, New York, NY, and toured to seven venues around the United States and Canada.

In 1999, prior to the opening of Resolutions, an extensive retrospective of Chicago’s works on paper premiered at the Florida State

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University Art Museum in Tallahassee, Florida. “Trials and Tributes” was organized by Dr. Viki Thompson Wylder, who is a scholar on the subject of Chicago’s oeuvre. In October 2002, a major exhibition surveying Chicago’s career was presented at the National Museum of Women in the Arts. The show was accompanied by a catalog edited

by Dr. Elizabeth A. Sackler with essays by Lucy Lippard and Dr. Viki Thompson Wylder, Introduction by Edward Lucie-Smith.

In 2009, the Textile Museum of Canada in Toronto mounted “If Women Ruled the World,” the first major survey of Chicago’s work in the needle and textile arts. This exhibition included Chicago’s a range of monumental textile works and was accompanied by an extensive catalog with essays by Allyson Mitchell and Jenni Sorkin, both young feminist scholars. The show subsequently traveled to the Art Gallery of Calgary.

In 2011, “Judy Chicago Tapestries Woven by Audrey Cowan” opened at the Museum of Art and Design in New York. This show highlighted Chicago’s work in tapestry spanning almost five decades, a collection that is being gifted to the museum by Audrey and Bob Cowan.

In addition, in 2011 and 2012, Chicago’s important contributions to southern California art are being highlighted in “Pacific Standard Time”, a Getty funded initiative documenting and celebrating the region’s rich history.

In addition to a life of prodigious art making, Chicago is the author of numerous books: Through the Flower: My Struggle as a Woman Artist, 1975 (subsequently published in England, Germany, Japan, Taiwan, and China); The Dinner Party: A Symbol of Our Heritage, 1979; Embroidering Our Heritage: The Dinner Party Needlework, 1980 (also published in a combined edition in Germany); The Birth Project, 1985 (Anchor/Doubleday); Holocaust Project: From Darkness into Light, 1993; The Dinner Party/Judy Chicago, 1996 and Beyond the Flower: The Autobiography of a Feminist Artist, 1996 (Viking Penguin); Women in Art: Contested Territory (co-authored with Edward Lucie-Smith), 1999 (Watson Guptill) Fragments from the Delta of Venus, 2004 (powerHouse Books) and Kitty City: A Feline Book of Hours, 2005 (Harper Design International); The Dinner Party: From Creation to Preservation, 2007 (Merrell Publishers); Frida Kahlo, Face to Face (co-authored with Frances Borzello), 2010 (Prestel)

Chicago is the recipient of numerous grants and awards including an Honorary Doctorate in Fine Arts from Russell Sage College in Troy, NY; an Honorary Doctorate in Fine Arts, honoris causa from Smith College, Northampton, MA; an Honorary Degree of Doctor of Humane Letters from Lehigh University, Bethlehem, PA; an Honorary Doctorate of Fine Arts from Duke University, Durham, NC; an Honorary Doctorate of Humane Letters from Hebrew Union College,

Cincinnati, OH; the 1999 UCLA Alumni Professional Achievement Award; and a Visionary Woman Award from Moore College of Art and Design, Philadelphia, PA in 2004 as well as the Lion of Judah Award that same year.

Many films have been produced about her work including Right Out of History; The Making of Judy Chicago’s Dinner Party by Johanna Demetrakas; documentaries on Womanhouse, the Birth Project, the Holocaust Project and Resolutions; and two films produced by the Canadian Broadcast Corporation, Under Wraps and The Other Side of the Picture. E! Entertainment Television included Judy Chicago in its three-part program, World’s Most Intriguing Women. Recently, she was named one of the Eight Jewish Women Who Changed the World in the magazine published by the Union for Reform Judaism.

In 1996, the Arthur and Elizabeth Schlesinger Library on the History of Women in America at Radcliffe College, Cambridge, MA, became the repository for Chicago’s papers. Chicago is the first living artist to be included in this major archive. In 2011, Chicago’s art education archive was acquired by Penn State University which intends to integrate information about her pedagogical methods into their art education program.

For over five decades, Chicago has remained steadfast in her commitment to the power of art as a vehicle for intellectual transformation and social change and to women’s right to engage in the highest level of art production. As a result, she has become a symbol for people everywhere, known and respected as an artist, writer, teacher, and humanist whose work and life are models for an enlarged definition of art, an expanded role for the artist, and women’s right to freedom of expression.

For more information about Judy Chicago’s work, see www.judychicago.com and www.throughtheflower.org.

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BORN

B O O K S B Y J U DY C H I C AG O

AWA R D S A N D G R A N T S

T E AC H I N G E X P E R I E N C E

June 20, 1939 – Chicago, IL

Frida Kahlo: Face to Face, co-authored with Frances Borzello, 2010, Prestel Publishers

38th Governor’s Award for Excellence in the Arts, Santa Fe, NM, 2011

The Dinner Party: From Creation to Preservation, 2007, Merrell Publishers Kitty City: A Feline Book of Hours, 2005, Harper Collins

Alice Paul Award, New Mexico Women’s Foundation, Santa Fe, NM, 2011

Vanderbilt University, Nashville TN First Chancellor’s Artists in Residence with photographer Donald Woodman, 2006.

E D U C AT I O N

Masters of Art, 1964 - University of California, Los Angeles, CA Bachelor of Art, 1962 - University of California, Los Angeles, CA, Member, Phi Beta Kappa HONOR ARY DEG REES

Honorary Doctorate in Humane Letters, 2010 - Hebrew Union College, Cincinnati, OH Honorary Doctorate in Fine Arts, 2003 Duke University, Durham, NC Honorary Doctorate in Humane Letters, 2000 - Lehigh University, Bethlehem, PA Honorary Doctorate in Fine Arts, 2000 Smith College, Northampton, MA Honorary Doctorate in Fine Arts, 1992 Russell Sage College, Troy, NY

Fragments From The Delta of Venus, 2004, powerHouse Women and Art: Contested Territories, 1999, co-authored with Edward LucieSmith, Watson-Guptill

Lion of Judah Award, Washington, DC, 2004 Visionary Woman Award, Moore College of Art and Design, Philadelphia, PA, 2004 UCLA Alumni Professional Achievement Award, 1999

Beyond the Flower: The Autobiography of a Feminist Artist, 1996, Viking/Penguin

The Getty Grant Program, for a conservation study of the Dinner Party, 1997

The Dinner Party/Judy Chicago, 1996, Viking/Penguin

Proclamation, City of Albuquerque, 1996

Holocaust Project: From Darkness into Light, 1993, Viking/Penguin The Birth Project, 1985, Doubleday/ Anchor Embroidering our Heritage: The Dinner Party Needlework, 1980, Doubleday/ Anchor

Service to the Field Award, Spertus Museum of Judaica, 1994 Thanks Be to Grandmother Winifred Foundation, 1993 International Friends of Transformative Arts, 1992 Streisand Foundation, 1992

The Dinner Party: A Symbol of Our Heritage, 1979, Doubleday/Anchor

Vesta Award, Los Angeles Women’s Building, 1990

Through the Flower: My Struggle as a Woman Artist, 1975, Doubleday

Threshold Foundation, 1988 California Arts Commission, 1984 Woman of Achievement of the World, Women’s Pavilion, Louisiana World Exposition, 1984 National Endowment for the Arts; Individual Artist Grant, 1977 National Endowment for the Arts; Services to the Field Grant, 1976 Outstanding Woman of the Year, Mademoiselle Magazine, 1973

Pomona Arts Colony/Cal Poly Pomona/ Pitzer College, Pomona and Claremont, CA “Envisioning the Future,” an interdisciplinary and multi exhibition site project team-taught with photographer Donald Woodman, 2003.

Western Kentucky University, Bowling Green, KY Professor-in-Residence, 2001: “At Home”, an interdisciplinary project team-taught with photographer Donald Woodman.

Duke University and University of North Carolina – Durham and Chapel Hill, N.C Visiting Professor and Artist in Residence, 2000

SPECIAL THANKS

Thanks to Tim Nye and Lexi Brown for a beautiful exhibition and catalog; thanks to my husband, photographer Donald Woodman; thanks to Lucy Lippard for her friendship and support for over fifty years; thanks to Kyle LaMar and Kaylan George for a great catalog; thanks to the staff of Nye + Brown and Jon Cournoyer for his help; and a special appreciation to Chris Souza and Pyro Spectaculars for helping me “deflower” Nye + Brown. Thanks to Chris Hensley for making sure all the details were correct, an indispensable job.

CREDITS

Unless otherwise noted, all photography

by Donald Woodman Edited by Katherine Chan Design by Kyle LaMar & Kaylan George

Indiana University – Bloomington, IN Artist in Residence, 1999College of St. Catherine, St. Paul, MN Artist in Residence, 1975

Printed by Asia Pacific Offset 62 Rivington Street, Suite 2B New York, NY 10002

Feminist Studio Workshop; Los Angeles, CA Founder/Instructor, 1973 – 1974

© Nye + Brown, 2012 2685 South La Cienega Blvd.

Los Angeles, California 90034

California Institute of the Arts, Valencia, CA Faculty Member; Co-Founder with Miriam Shapiro, Feminist Art Program, 1971 – 1973 California State University, Fresno, CA Assistant Professor; Founded First Feminist Art Program, 1969 – 1971 UC, Irvine Extension Program, Irvine, CA, 1967 – 1969 UCLA Extension Program, Los Angeles, CA, 1964 – 1966

© Nye + Brown, 2012

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