Artist Judy Chicago was a trailblazer. This career survey at the New Museum in New York shows her at her best and worst.
NEW YORK — For six decades, artist Judy Chicago has modeled righteous activism. A restless, trailblazing feminist in an art world dominated by men, her influence has been deep, reverberant, almost geological. She is most famous for “,” 1974-79, a room-size homage to great women on permanent display at the Brooklyn Museum of Art. But her most successful artwork is about impermanence.I’m talking about the “smoke sculptures” that Chicago, 84, made at the end of the 1960s and into the early ’70s.
The exhibition culminates, on the fourth floor, in a remarkable presentation titled “City of Ladies,” works by more than 80 female artists that resonate with Chicago’s. The loans, from such museums as the Uffizi in Florence, the Metropolitan Museum of Art, the Library of Congress and the Jewish Museum in New York, are reason enough to visit the show.. The works are displayed on pale yellow walls above a plush, burgundy floral carpet.
To learn how to paint car hoods, Chicago enrolled in an auto-body school for spray painting. She was the only woman among 250 men. At the time, the early 1970s, the museum world was little better than the auto industry. Of the 1,000-odd solo shows mounted at the Museum of Modern Art over its 43-year existence, only five had been by women.
“To be a woman,” she explained in “Female Imagery,” a 1973 essay for Womanspace Journal co-written with Miriam Schapiro, “is to be an object of contempt, and the vagina, stamp of femaleness, is devalued. The woman artist, seeing herself as loathed, takes that very mark of her otherness and by asserting it as the hallmark of her iconography, establishes a vehicle by which to state the truth and beauty of her identity.
During this time, when Chicago was also educating herself and her audience about the history of great women, she was committed to the 1970s idea of “consciousness-raising.” But in a culture that became more and more ironic and street savvy, and less inclined to the kinds of gender essentialism Chicago promoted, her work’s almost painful sincerity began to count against her.
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