What a great article about the creative process. And what a #BadassWoman!
When Judy Chicago’s piece, The Dinner Party, was first shown 40 years ago. It was maligned by most art critics. Revolutionary art usually is. But Judy simply kept following her vision, kept creating. And the rest of the world eventually caught up to her.
Now in her 70’s, Judy Chicago is still a take no prisoners kind of artist. I’m in awe.
I believe in art that is connected to real human feeling, that extends itself beyond the limits of the art world to embrace all people who are striving for alternatives in an increasingly dehumanized world. I am trying to make art that relates to the deepest and most mythic concerns of human kind and I believe that, at this moment of history, feminism is humanism.
~Judy Chicago, 1979
Read The NY Times article here.
“… She wants everyone to see her art and to understand it, so that it might change them and the world.
And it has. Once your eye is trained to see Chicago’s imprint, it is everywhere, and unmistakable. It’s in Petra Collins’s menstruation-positive T-shirts; in the forthcoming installation on Sunset Boulevard in L.A. by Zoe Buckman of a huge uterus drawn in neon tubing crowned with boxing gloves; in the pink “pussy hats” that are worn in opposition to Trump’s election. Images like these — symbolically overt, politically and anatomically in-your-face, forcing a public confrontation with sexism — are all descended from Chicago’s imagination…” ~Sasha Weiss, NY Times