Now showing at Brooklyn Museum – Judy Chicago’s ‘The Dinner Party (1974 – 1979).
Read curatorial overview here.  #GenerationCopyPaste with highlights below.

…my women, my women!

‘It is a multi-media work that consists of ceramics, china painting, sewing, needlework, embroidery, and other mediums traditionally associated with “women’s work,” and, as such, not generally considered “high art” by the art world. In an effort to celebrate undervalued female creative production, Chicago consciously sought to reclaim and commemorate those mediums traditionally considered “craft,” as fine art ones equivalent to painting and sculpture. By creating a monumental work of art dedicated to anonymous art by women historically, Chicago thumbed her nose at those who dared to question its artistic value—or the labor involved in its production.’

‘Chicago, too, insists that her vaginal imagery be read not literally, but metaphorically, as an active and powerful symbol of female identity.’

‘Wing One of the table begins in prehistory with the Primordial Goddess and continues chronologically with the development of Judaism; it then moves to early Greek societies to the Roman Empire, marking the decline in women’s power, signified by Hypatia’s place setting. Wing Two represents early Christianity through the Reformation, depicting women who signify early expressions of the fight for equal rights, from Marcella to Anna van Schurman. Wing Three begins with Anne Hutchinson and addresses the American Revolution, Suffragism, and the movement toward women’s increased individual creative expression, symbolized at last by Georgia O’Keeffe.’

(images from

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