The Iconic Judy Chicago

July 16  – August 15, 2021

Turner Carroll Gallery
725 Canyon Road
Santa Fe, New Mexico 87501

This exhibition features Judy Chicago‘s most well-known images from throughout her career. 2021 is an important year for Chicago. She has several international exhibitions, and in August 2021, Judy Chicago will have a retrospective exhibition at the de Young Museum in San Francisco.

Artwork in the exhibition may be seen here.

Judy Chicago: A Retrospective

August 28, 2021 – January 9, 2022

de Young museum
50 Hagiwara Tea Garden Drive
San Francisco, CA 94118

The Fine Arts Museums of San Francisco celebrate pioneering feminist artist Judy Chicago with a retrospective spanning from her early engagement with the Californian Light and Space Movement in the 1960s to her current body of work, a searing investigation of mortality and environmental devastation, begun in 2015. The exhibition includes around 150 works and related archival material that chart the boundary-pushing path of the artist named Cohen by birth and Gerowitz by marriage, who, after trying to fit into the patriarchal structure of the Los Angeles art world, decided to change her name and the course of history.

Organized on the heels of the 40th anniversary of The Dinner Party’s first San Francisco presentation and opening in conjunction with the 100th anniversary of women’s right to vote across the United States, Judy Chicago: A Retrospective pays homage to an artist whose lifelong fight against the suppression and erasure of women’s creativity has finally come full circle.


July 4, 2021 – January 2, 2022

The Museum of Modern Art
11 W 53rd St
New York, NY 10019

Since the first automobiles hit the road over a century ago, cars have left a lasting imprint on the design of our built environment. For both better and worse, they have fundamentally reshaped the ways in which we live, work, and enjoy ourselves. Cars have altered our ideas about mobility, connecting us across great distances at ever greater speeds. Automania takes an in-depth look at an object that has inspired countless examples of innovation, social transformation, and critical debate among designers and artists working in varied media.

This exhibition addresses the conflicted feelings—compulsion, fixation, desire, and rage—that developed in response to cars and car culture in the 20th century. Examining automobiles as both modern industrial products and style icons, it also explores their adverse impact on roads and streets, public health, and the planet’s ecosystems.

Automania brings together cars and car parts, architectural models, films, photographs, posters, paintings, and sculptures, ranging from Lily Reich’s 1930s designs for a tubular steel car seat to Andy Warhol’s Orange Car Crash Fourteen Times. Nine cars, including a recently restored Volkswagen Type 1 sedan (better known as the Beetle), will invite visitors to take an up-close view of the machines that architect Le Corbusier compared to ancient Greek temples and critic Roland Barthes likened to “the great Gothic cathedrals…the supreme creation of an era.”

Organized by Juliet Kinchin, former Curator, Paul Galloway, Collection Specialist, and Andrew Gardner, Curatorial Assistant, Department of Architecture and Design.

Garden Smoke

June 8 – July 31, 2021

Nina Johnson Gallery
6315 NW 2nd Ave
Miami, FL 33150

Nina Johnson is proud to present Garden Smoke, an online exhibition by Judy Chicago now on view in The Viewing Salon. The exhibition includes a collection of 12 archival pigment prints produced by Judy Chicago with Donald Woodman at an intimate scale and in a small edition of 10


October 31, 2020 – 2021

Through the Flower Art Space
107 Becker Avenue
Belen, New Mexico 87002

Through the Flower Art Space presents CONFINED by Judy Chicago! This show is a response to life during the pandemic and the feelings of isolation that it has caused. Featured in Confined are prints and drawings by Judy Chicago which express these themes.

Garden Smokes is a set of 12 prints that document a series of intimate Smoke Sculptures that Chicago created during the pandemic in her backyards in Belen and Albuquerque, New Mexico, which were photographed and printed by Donald Woodman. In the early months of confinement, Chicago thought she would amuse herself by returning to her early days in California when she drove around with friends, placing colored smoke wherever she wished for a series titled Atmospheres.

Chicago’s intention was to do similar pieces around New Mexico, but fireworks regulations prevented that. Therefore, Chicago turned her attention closer to home and created a series of pieces in her gardens, while attempting to express her feelings about the restricted life COVID-19 produced. The images are surrounded by words relating to the idea of confinement: enclosed, restricted, suppressed, constrained, entrapped, restrained, circumscribed, curtailed, impeded, limited, and confined.


LA Times – Judy Chicago’s Desert X art got canceled. Will the same happen at the de Young?It’s official: The two-month-long Coachella Valley biennial known as Desert X will not include a relocated Judy Chicago piece, the artist has told The Times, and the cancellation of the work is threatening a smoke sculpture planned for San Francisco’s de Young museum in mid-October.

Chicago’s Desert X smoke sculpture and performance, “Living Smoke: A Tribute to the Living Desert,” was supposed to take place in April over 1,200 acres at the Living Desert Zoo and Gardens. The Palm Desert organization, which had approved the work, canceled it after activist, longtime local resident and former Times staffer Ann Japenga raised concerns about the artwork’s effects on the animals in the region. Click here for details

NY Times – Smoky Artwork by Judy Chicago at Desert Zoo Is CanceledTwo years ago, the arts organization Desert X in Palm Springs, Calif., canceled a Jenny Holzer light projection to be shown on a local mountainside during its biennial exhibition for fear of endangering bighorn sheep that roamed there.

Now, Judy Chicago’s plans for creating an ephemeral, atmospheric artwork at the 1,200-acre Living Desert Zoo and Gardens in Palm Desert for the upcoming edition of the biennial have been scrapped after an environmental activist began a letter-writing campaign against the project, raising questions about its effects on sheep and other animals in the region. Click here for details

Palm Springs Life – Smoke SignalAs the sun begins to set on the Santa Rosa Mountains on April 9, thick plumes of colorful smoke will come rushing through the foothills along the southeastern perimeter of The Living Desert Zoo & Gardens. They’ll form clouds that draw your attention to the environment — and hold it there, not only until the otherworldly vapors clear, but long after.

With Living Smoke: A Tribute to The Living Desert, one of 13 site-specific artworks in the Desert X exhibition continuing through May 16, artist Judy Chicago intends to honor both the zoo’s 50th anniversary and the desert’s natural wonders. Click here for details

LA Times – Judy Chicago on her Desert X smoke sculpture and feminizing land artThe Desert X biennial staging site-specific, sometimes monumental artworks across the Coachella Valley announced its project lineup this week, and a standout among the 13 artists is Judy Chicago.

The 81-year-old artist, who lives in New Mexico but has ties to Los Angeles dating to the 1950s, has long been injecting the feminine into male-dominated land art. Colored smoke in her fireworks pieces, which she’s been producing since the late 1960s, is meant to soften or “feminize” the surrounding landscape. Her new work for Desert X, which opens March 12, is very much an extension of this. Click here for details

Women’s Wear Daily – Artist Judy Chicago Reunites With Dior For Handbag ProjectPARIS — Judy Chicago is back for a second collaboration with Dior – and this time, you can walk away with it. The artist designed the monumental set for Maria Grazia Chiuri’s spring haute couture show in January: a tent shaped like a goddess figure, filled with 21 banners embroidered with feminist messages. Now she is one of 10 artists tasked with customizing the Lady Dior handbag for the fifth edition of the Dior Lady Art project. “I have actually not thought much about purses,” Chicago confesses in a telephone interview from Belen, a small town 35 miles south of Albuquerque, N.M., where she and her husband, the photographer Donald Woodman, live and work in a historic red-brick hotel that once served as a boarding house for railroad workers. Click here for details

The Art Newspaper – Oregon foundation acquires Judy Chicago print archiveThe Oregon philanthropist Jordan D. Schnitzer has acquired a significant archive of prints and other works on paper by the artist Judy Chicago with the goal of highlighting her six-decade feminist career through exhibitions and museum loans.

The purchase by the Jordan Schnitzer Family Foundation, encompassing over 300 limited-edition prints, preparatory drawings and sketches and copper plates, is entering a collection already known for championing women artists and artists of colour including Kara Walker, Lorna Simpson, Alison Saar and Hung Liu, according to Tonya Turner Carroll, the Santa Fe dealer and art advisor who brokered the acquisition. No price was disclosed. Click here for details

NY Times – What Does Art Have to Do With the Coronavirus?Since I wrote the first draft of this essay in early March, the world has turned upside down. I have revised the original text, guided by a single question: Does art matter when we are facing a global crisis such as the current Covid-19 pandemic?
Obviously, there is a great deal of art that doesn’t matter. This includes the work issuing from those university art programs that every year pump out thousands of graduates, taught only to speak in tongues about formal, conceptual and theoretical issues few people care about or can comprehend. Then there is the art created for a global market that has convinced too many people that a piece’s selling price is more important than the content it conveys.
Click here for details

Frieze – Jane Fonda and Judy Chicago on Art and the Climate Emergency"Actually, my concern for our treatment of other creatures dates back to earlier in my career. In the 1980s, I was commissioned by Greenpeace to do a poster called Rainbow Warrior, after the Rainbow Warrior ship that they launched in 1977. It was based on a Native American belief that when the creatures of the sea are facing extinction, a rainbow warrior will descend from the sky to protect them. Then, between 1985 and 1993, when I was working on the ‘Holocaust Project’ with my husband [the photographer Donald Woodman], I became interested in the ethical line between human and animal experiments..." - Judy Chicago Click here for details

The New York Times – If Women Ruled the World, What Would They Wear?PARIS — A few decades ago, around the time she unveiled her breakthrough work “The Dinner Party” and formulated her animating question “What if Women Ruled the World?,” the artist Judy Chicago made a maquette of an enormous sculpture she wanted to build.

Entitled “The Female Divine,” it would be a reclining corpulent nude, reveling in her own fleshy abundance. At the time, Ms. Chicago couldn’t get anyone to fund the piece. “Who would want to see that?” was the general drift.

Approximately 40 years later, enter Dior. On Monday, the brand made Ms. Chicago’s dream a reality. The fashion version of it, anyway. Click here for details

ARTnet News – ‘This Has Been the Greatest Creative Opportunity of My Life’: Judy Chicago on How Working With Dior Changed Her Mind About the Fashion WorldIn the gardens of the Rodin Museum in Paris on Monday afternoon, fashion-week attendees funneled through the entryway of a mammoth white tent structure for the presentation of Dior’s spring/summer 2020 couture collection. The towering 45-foot-tall installation, which greeted guests upon arrival, heralded what is arguably one of the most ambitious art-and-fashion partnerships in recent years, bringing together Dior creative director Maria Grazia Chiuri and the great feminist artist Judy Chicago. Click here for details

T Magazine – Inside Judy Chicago’s Monumental Goddess Sculpture for DiorAt Christian Dior’s spring 2020 haute couture show in Paris today, attendees were ushered inside an enormous womblike chamber, with a curved mauve ceiling and soft lilac carpeting. The space was part of a 225-foot-long and 45-foot-high inflatable anthropomorphic sculpture, installed in the gardens of the Musée Rodin, by the pioneering American artist Judy Chicago. The 80-year-old first designed the structure, which represents a goddess figure with round feminine forms, in the late 1970s, though it was never realized in three dimensions. “I’m just glad I’ve lived long enough to see it,” she said before the show, dressed in a custom gold Dior suit, her hair dyed a regal purple. Click here for details

Glamour – Judy Chicago Never Wanted to Have It AllNot that she wants to dwell on the past, but the fact is when artist Judy Chicago was fresh on the L.A. art scene in the 1960s, the best compliment a woman could hope to receive was that she painted “like a man.”

“And generally, there weren’t any compliments because most women artists were invisible. I was able to be somewhat visible,” Chicago insists now, with a note of pride. “But I kept running into obstacles.” Women couldn’t get a foothold in major shows. Dealers didn’t want to work with them. Their husbands wanted them at home, or their children needed them. Click here for details

Ms. Magazine – Judy Chicago’s Latest Reckoning"Judy Chicago, known for her monumental work in feminist art, approaches the theme of mortality in her exhibition The End: A Meditation on Death and Extinction, now opened at the National Museum of Women in the Arts in Washington, D.C. As Chicago celebrates her 80th birthday, and almost 50 years since she unveiled her iconic The Dinner Party, her personal contemplative reflections merge into compassionate pleas for what is larger than ourselves, the world of endangered animals and ecosystems which we all share." Click here for details

Widewalls – Is This The End? Judy Chicago Meditates on Extinction and Death at NMWAThe contemporary art nurtures various critically engaged practices, but the loudest voices are the ones belonging to the notable artists such as Judy Chicago, whose entire practice is devoted to the precise gender-based articulation of the issues concerning, sex, birth, death, violence and the natural world. Although praised for her pioneering involvement in the Second wave of feminism, as an educator, author, and artist (best known for her iconic large scale installation The Dinner Party), Chicago never received proper critical recognition for her deeds until the recent times. Click here for details

Cool Hunting – “JUDY CHICAGO: LOS ANGELES” AT JEFFERY DEITCHVibrant shapes and colors created by Judy Chicago fill LA’s Jeffrey Deitch gallery, with its massive wooden bow truss ceiling. The beloved feminist artist produced these colorful paintings, drawings and sculptures between the ’50s and the ’70s—and the show Judy Chicago: Los Angeles celebrates the path that she forged in California. This includes founding the Feminist Art Program at California Institute of Arts to revisiting seminal work she made and exhibited in LA.
Click here for details

Flaunt – JUDY CHICAGO: LOS ANGELES | JUDY CHICAGO, ANDREA BOWERS AND CONNIE BUTLER IN CONVERSATION AT DEITCH GALLERYIn a quaint quarter of Hollywood, Jeffrey Deitch’s gallery is a quintessential Californian space; lofty beams, large windows, and expansive square footage. At the peak of the golden hour, the sleepy street starts buzzing with activity. Gallerists, curators, philanthropists, editors and patrons convene, all enthused to bear witness to a literal talk of the town. Click here for details

The New York Times – Judy Chicago on Rescuing Women from Art History’s SidelinesJudy Chicago, the feminist artist and author, is playing to the coasts this month. There is a show of her important early work at Jeffrey Deitch’s gallery in Los Angeles through Nov. 2, and a new series done in painted porcelain and glass called “The End: A Meditation on Death and Extinction,” opening Thursday at the National Museum of Women in the Arts in Washington. Her most famous work, “The Dinner Party,” an epic 1979 installation that imagined a gathering of 39 important women sidelined by history, continues on permanent view at the Brooklyn Museum. Click here for details

PURPLE – Judy Chicago interview by Jeffrey DeitchJEFFREY DEITCH — Tell me about the genesis of the Car Hood series. There’s an extraordinary story about your going to auto-body painting school, one woman among 250 men.
JUDY CHICAGO — Jeffrey, I just want to tell you that when I met you at MOCA, and you said to me, “You’re one of my heroes,” I almost fainted on the spot. I had no idea that you knew anything about me or my work, much less that you admired me — because I had admired you from afar for a long time. Click here for details

Architectural Digest – Inside Judy Chicago and Donald Woodman’s New Mexico Art MeccaIn the 27 years since [The Dinner Party] Chicago and her husband, the photographer Donald Woodman, blazed a trail to the town of Belen, New Mexico—pop. 7,152—their own, considerably more modest, dinner table has hosted its share of pilgrims. Among the signatures in their old-fashioned, ledger-style guest book (a housewarming gift from Chicago’s former literary agent) are museum directors and curators who have come to pay homage, plus old friends like Gloria Steinem and passers-through like Arnold Schwarzenegger (he was shooting a movie nearby). “People from Santa Fe view Belen much like New Yorkers see the world beyond the Hudson Valley—i.e., is there life there?” Chicago says. “We used to joke that it was easier to get visitors from China than from Santa Fe.” Click here for details

LA Times – ‘I was being erased’ from Southern California art historyThere are musicians whose careers are made by a single song, authors whose writing is defined by a single novel. For much of her career, Judy Chicago’s work has been overshadowed by a single art piece: “The Dinner Party,” a large-scale 1979 installation that imagined a gathering of 39 important women sidelined by history.

Using the form of an elaborate banquet table with place settings that included hand-painted ceramic plates with designs inspired by female genitalia, the piece paid tribute to figures such as Hatshepsut, the 15th century B.C. Egyptian pharaoh; Artemisia Gentileschi, a 17th century Italian baroque painter; and Sacagawea, the Shoshone woman who guided explorers Lewis and Clark. Click here for details

T Magazine – What Should an Artist Save? IT WAS THE EARLY ’80S and a low point for Judy Chicago. The artist had spent more than half of the previous decade creating “The Dinner Party,” an ambitious work of art for which she is today perhaps best known but at the time had earned her ridicule. The unapologetically feminist installation piece, a triangular ceremonial table with 39 place settings, each given to a prominent woman from history and lore, from Virginia Woolf to the ancient goddess Ishtar, with embroidered runners, golden chalices and plates fashioned into raised forms resembling vulva and butterflies, was unlike anything the art world had seen before. Chicago had gone into tens of thousands of dollars of debt to make it. She had intended for “The Dinner Party” to embark on a grand national tour, but instead, after its humiliating critical reception following its San Francisco debut in 1979, she had it packed up and placed into storage and tried to move on. Click here for details

Harper’s Bazaar – Art Pioneer Judy Chicago Is the Feminist We All Need Judy Chicago doesn’t mince words. “In the ’60s and ’70s, you had to paint like you were a white guy if you wanted to show your work,” says the artist, whose 1979 feminist masterpiece, The Dinner Party, features the lady bits of historical and mythical women served up on supper plates. The “vagina china,” as Chicago has been known to call it, earned her equal parts fame and derision when it was produced, with many established figures in the art world labeling it “vulgar” and “crass.” Says Chicago, “I was completely unprepared for the controversy. People are now saying I was way ahead of my time. But for many years my art was considered shit. It was devastating to be misperceived.” Click here for details

Artsy – The Most Influential Artists of 2018 Whether they were experimenting with floating sculptures, investigating war zones, or pushing painting forward in bold new directions, artists in 2018 made exciting and eclectic contributions to the world. There are so many creative accomplishments to celebrate this year that narrowing our focus to the year’s 20 most influential artists was no easy task. The talents you’ll find here have undeniably changed our culture and have touched and inspired countless others who have followed their examples. In many cases, they’ve caused us to reconsider the very definitions of what art can look like, and what it can achieve. Click here for details

Artsy – What Judy Chicago’s Work Reveals about Toxic Masculinity by Jonathan D. KatzIt’s a simple opposition, really: the chiding, angry, petulant faces of Senator Lindsey Graham, Judge Brett Kavanaugh, and Senator Chuck Grassley set against the painting Three Faces of Man from Judy Chicago’s “PowerPlay” series of 1982–87. When Chicago posted just such a juxtaposition on Instagram following the recent Senate hearings on Kavanaugh’s Supreme Court nomination, it struck an eerily resonant chord, with commenters lauding the artist with superlatives like “visionary,” “psychic,” “intense and profound.” Click here for details

New York Review Daily – A Place at the Table: An ExchangeAlthough I rarely respond to reviews, I feel compelled to respond to the July 8 essay by Esther Allen on the important “Radical Women” exhibition, now on view at the Brooklyn Museum. The writer misunderstands the nature of The Dinner Party, the historic context in which it was created, and, most important, the way in which I arrived at the plate images. As she stated, The Dinner Party is a symbolic history of women in Western civilization, but she completely ignores the “Heritage Floor,” which provides the literal and metaphoric foundation for the table. To focus only on “who’s at the table” is to over-simplify the art and ignore the criteria my studio team and I established and the limits we were working under. Click here for details

Artnet – Judy Chicago’s After-Party Is Here: The Pioneering Artist Gets a Major Museum Survey at the ICA MiamiFor decades, Judy Chicago has aimed to prove that she is much more than The Dinner Party. This winter in Miami, viewers will get a deeper look at just how much more there is to know.

The Institute of Contemporary Art Miami has announced plans to host a survey exhibition featuring pioneering feminist artist Judy Chicago, opening in early December, just in time for Art Basel in Miami Beach. Click here for details

Time Magazine – 100 Most Influential People in the World I must have been 15 and living in Chicago when my mom and her best friends Hedy and Judy started talking about Judy Chicago coming to Chicago. It was going to be a big exhibit in the South Loop, and all of the Jewish women were thrilled. I guess they thought I was too young to see so many vaginas, but they came home talking about the religious experience of it.

When I finally saw the color pictures in the Chicago Tribune of the huge triangle table, I couldn’t believe that all of these tongues and pink and flowers and fronds had come out of a woman who looked like my mom. Her real name was Judith Sylvia Cohen, and she had taken our mothers’ unspoken appetites and invented a female gaze in art. “Reclaim! Reclaim! Reclaim!” she shouted as she pointed out how people had made art synonymous with genius and genius synonymous with men.

Her moment is finally here again, and everyone can see she is our legacy, our great, our modern Frida, the should-have-been Jackson Pollock and Andy Warhol or whatever men got credited with inventing everything. She deserves every ounce of this brand-new but totally necessary showing of attention, resources, and tons and tons of love. - Jill Soloway Click here for details

Hyperallergic- New Plates by Judy Chicago Serve Up Feminist HistoryIn “The Dinner Party,” Judy Chicago’s famous triangular installation, plates serve up slices of women’s history, rather than food. Now, designs from the symbolic banquet are available to actually eat off, thanks to a new collaboration between the artist and homeware purveyor Prospect NY. The collection features replicas of four plates, crafted in fine bone china — and yes, they’re dishwasher safe. Click here for details

The New York Times – Women, Art and the Houses They Built by Alix StraussBy the late ’60s, Judy Chicago had just turned 30 and was already a fearless and unapologetic artist teaching at California State University at Fresno. There she created a pioneering, yearlong women’s art program. In 1971 she took a job teaching art at the California Institute of the Arts, or CalArts. Her groundbreaking curriculum went with her.

A year later, Womanhouse, an innovative and radical illustration of female expression, was up and running. The exhibit was created by Ms. Chicago and another artist and CalArts educator, Miriam Schapiro, who died in 2015.

A new installment, this one called Women House, is arriving this spring, highlighting another generation of contemporary women artists who reflect, dissect and address the same issues as its predecessors, this time in a gallery setting, using photography, sculpture and video. Click here for details

The New York Times – From ‘Vicious’ to Celebratory: The Times’s Reviews of Judy Chicago’s ‘The Dinner Party’ Judy Chicago was on her way to meet a friend in the Village when she first read Robert Hughes’s review of her work “The Dinner Party” in Time magazine. “I walked into the restaurant, put my head down on the bar and cried,” she says.

When it debuted in 1979, most art critics — including Hilton Kramer of The New York Times — panned “The Dinner Party,” which features three 48-foot-long tables assembled into a triangle with 39 intricate place settings, each dedicated to a notable woman. In his review, Mr. Kramer called it both “very bad” and “failed” art. “Nothing more obvious or accessible or didactic has been seen in an exhibition of contemporary art in a very long time,” he wrote, concluding that “to this male observer, it looks like an outrageous libel on the female imagination.” Click here for details

T Magazine – Judy Chicago, The Godmother by Sasha WeissIN A LARGE, low-lit room is a triangle-shaped table arranged with 39 place settings, the site of a distinguished gathering. It is laid with plates that rise a few inches off the table, as if levitating, each one sumptuously painted with wings or petals or licks of flame emanating from a glowing center: variations on the vulva. As you move along the table, which is 48 feet long on each side, the plates become small sculptures, bulbous and gleaming. Beneath them are runners embroidered with elaborate designs and names in gold thread — women of accomplishment who are familiar and unfamiliar, mythical and rarely spoken of: Sappho, the ancient poet; Anna Maria van Schurman, the 17th-century artist, thinker and theologian; Elizabeth Blackwell, the first female physician in the United States. The whole assemblage stands on a floor of luminescent triangular tiles covered in more gold — 999 names of other heroic women written in curling letters. The room is like a temple — a holy place, distinct from the everyday. Click here for details

ARTFORUM- Pussies Judy Chicago at Jessica Silverman Gallery“Pussies,” Judy Chicago’s first solo exhibition in San Francisco since her iconic installation The Dinner Party premiered there in 1979, presented paintings, drawings, and ceramic plates made between 1968 and 2004, many of which exemplified the feminist art practices pioneered by the artist in the 1960s and ’70s. The show felt timely not only because it occurred during … Click here for details

Interview Magazine – FEMINIST ART ICON JUDY CHICAGO ISN’T DONE FIGHTING By Gloria SteinemFor ten years now, Judy Chicago’s 20th-century masterpiece The Dinner Party has been on permanent view at the Elizabeth A. Sackler Center for Feminist Art in the Brooklyn Museum. It’s become such a fixture there that it is hard to imagine the shock and vitriol the piece caused when it was first displayed in 1979, after four years and hundreds of hands went into its production. The Dinner Party went against so many mores, even by progressive art-world standards: it was overtly political, its content directly Click here for details

The New Yoker – An Overdue Celebration for an Unruly Landmark of Feminist ArtWhat to do with Judy Chicago’s “The Dinner Party”? Put it on a pedestal, and many will shout it down, as several politicians (all men, all outraged) did, during a televised congressional debate, in 1990, when the art work was offered a permanent home, at a proposed museum at the University of the District of Columbia. Put it in storage, where it languished for the better part of fourteen years, between 1988 and 2002, and the injustice rankles. It’s likely that no one felt it more keenly than Chicago herself, who, when she heard of Elizabeth Sackler’s plans to acquire and build a center around the piece at the Brooklyn Museum, “fell into her soup,” Sackler told me recently. Click here for details

W- Why Judy Chicago, 78-Year-Old Feminist Godmother of Vagina Art, Is Having a Revival“V-a-g-i-n-a…” Judy Chicago, the 78-year-old feminist art pioneer, was painstakingly typing into her oversized smartphone last week when her husband, the photographer Donald Woodman, reached over and pointed out that the account she’d been searching for on Instagram, @vagina_china, had already popped up. “I mean, this would never have happened!” Chicago, who'd just shown me another favorite art account, @clubclitoris, exclaimed. “I just totally love it.”
In fact, we happened to be standing a few feet from a collection of ceramic vulva at the Brooklyn Museum that Chicago and a team of over 400 contributors spent more than five years laboring on in the '70s. Click here for details

i-D- judy chicago, our most important feminist artist, is finally getting a seat at the tableIn 1960, the artist Judy Chicago was an undergraduate student at the University of California. She remembers visiting the campus library one day and being shocked when she found its section on "Gender."

"There were books only on women, as if women are the only ones with a gender," she tells me over the phone from her home in New Mexico.

"It was an absence of thinking at that time and absence is always something that has interested me — the absence of information on women's history and absence of inquiry of masculinity." Click here for details

Dazed – That time artist Judy Chicago served vulvas for dinner When Judy Chicago unveiled “The Dinner Party” in San Francisco in 1979, she turned the art world upside down with the first epic work for the Feminist Art movement. Around an equilateral triangle table, she crafted elaborate place settings for 39 female figures from the history of western civilisation, beginning with the Primordial Goddess and ending with Georgia O’Keeffe. Along the way, viewers encounter Ishtar, Hatshepsut, Sappho, Theodora, Elizabeth I, Sacajawea, Soujourner Truth, Emily Dickinson, and Margaret Sanger, travelling from prehistoric times through the women’s revolution. Click here for details

Garage-We Need Judy Chicago’s Dinner Party Now, More Than Ever I was six years old. Judy Chicago's The Dinner Party—now also part-inspiration for some spectacular plates that adorned the tables at a recent dinner for the digital launch of GARAGE—was making its US tour and enjoying its debut in the artist's hometown (and source of her nom de plume). It was 1981. I remember listening to Marlo Thomas's Free To Be… You and Me over and over, and observing the way my father hung his head in a gesture of absolute defeat after Reagan won the presidential election. At the time, The Dinner Party was "contemporary," having been completed just two years previously, but to my child brain, and even now, it appears medieval, Arthurian, churchy—like something that's been around for millennia and insists on reverence. Click here for details

The Guardian- Judy Chicago: ‘In the 1960s, I was the only visible woman artist’When artist Judy Chicago was a student at the University of California in 1960, she had one question for her European history professor: “When are we going to learn about great women thinkers?” she asked.

Her male professor promised Chicago he would talk about “women’s contributions” in the last class. But he lied – there were no great women thinkers in his curriculum. Click here for details

The Art Newspaper- Judy Chicago: Catwoman by Jori FinkelJudy Chicago is poised to make another comeback. With a dedication that few artists can match, she has been steadily making art and increasingly working on preserving her legacy, despite wild fluctuations in public opinion and critical reception. This autumn, her work will be especially prominent, with her early output presented in a new light. The gallerist Jessica Silverman has organised Chicago’s first major show in San Francisco (until 28 October), called Judy Chicago’s Pussies, with a nod to her pioneering vaginal imagery and more recent cat portraiture. Click here for details

ARTFORUM- Critic Picks by Anne PrentnieksIn this “grab her by the pussy” presidential era, symbolism seems insufficient as protest—and yet it drove the reclamation of a historically derogatory term for female anatomy, giving rise to thousands of pink hats with kitten ears. Likewise, in the works that make up “Judy Chicago’s Pussies,” Chicago explores the iconography of the pussy as both feminine core and feline house pet, channeling wit, fury, and the inherent bodily and metaphysical power of womanhood. Click here for details

The Cut- The Brooklyn Museum Revisits The Dinner Party by Judy ChicagoOne of the Brooklyn Museum’s most renowned artworks on permanent display is Judy Chicago’s 1979 installation The Dinner Party, a cavernous room on the fourth floor. Created by Chicago and a group of 400 workers and volunteers, the triangular dinner table imagines the contributions of female artists, religious leaders, political figures, and mythological characters are inextricably linked. Thirty-nine place settings are arranged for women including Virginia Woolf, Sojourner Truth, and Georgia O’Keeffe — set with golden chalices, polished silverware, and plates sculpted with shells and flowers to resemble vulvas. The names of 999 more women are engraved in gold on the white-tile floor below.

Click here for details

DCist- National Museum Of Women In The Arts Celebrates Judy Chicago’s Landmark ‘Dinner Party’ by Blair MurphyAs a young artist in the 1960’s, Judy Chicago faced a male-dominated art world and an art historical canon that all but ignored the contributions of women. She began researching women’s history, looking to her predecessors for guidance on how to navigate the world as a woman and an artist. That quest became the foundation for The Dinner Party, which became one of the most iconic artworks of the feminist art movement, and is now permanently installed at the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art. Click here for details

Elephant Magazine- Potent Pussies in San Francisco by Leora LutzAdmittedly, I was excited when I heard that Jessica Silverman Gallery was going to be showing never-before-seen work by Judy Chicago. But then I was worried to see cat paintings were included—this is Judy Chicago, of The Dinner Party (1979) fame. What have we become? To traverse from monumental work about art history, women artists, male hierarchy, white male dominated art world, gender inequality—the list goes on—to cats. ‘This is a low time, we’re stepping backward,’ I thought… and simultaneously, ‘I have to see this.’ The show, Judy Chicago’s Pussies is not, but is about “her” various pussies. Click here for details

The New York Times T Magazine- In Art: A Heroine’s Journey by Liz HirschWe’re ‘‘ready for a different narrative about women,’’ says the artist Judy Chicago, fresh off seeing the summer blockbuster ‘‘Wonder Woman.’’ Chicago — who, after taking her hometown’s name partly as a symbolic rebuke of the patriarchy, famously posed as a boxer in the ring for a 1970 Artforum ad — knows a thing or two about the politics of representation. Now, at 78, she’s soon to be the subject of a number of important shows. Click here for details

National Museum of Women in the Arts announces creation of Judy Chicago Visual ArchiveThe National Museum of Women in the Arts announced the creation of the Judy Chicago Visual Archive at the museum’s Betty Boyd Dettre Library and Research Center. The archive will document Chicago’s career through photographs, slides, negatives and printed ephemera. These materials span the 1960s through the present and capture fleeting performance pieces such as her pyrotechnics and dry ice works, as well as exhibitions of drawings, paintings, sculpture and installations, including The Dinner Party. The visual archive will be an essential resource for researchers. Click here for details

Artsy- When Judy Chicago Rejected a Male-Centric Art World with a Puff of Smoke by Alexxa GotthardtIn 1968, several years after she graduated from the MFA program at UCLA, Chicago had begun a series called “Atmospheres.” In the first iteration, she used smoke machines to cloak a Pasadena street in a shroud of ethereal white mist. “It softened everything,” she recalls of the vapor’s effects. “There was a moment when the smoke began to clear, but a haze lingered. And the whole world was feminized—if only for a moment.” Click here for details

Judy Chicago: Four Lads From LiverpoolJudy discusses her mural on site in Liverpool. Click here for details

Judy Chicago, Canaletto and Marc Quinn: this week’s best UK exhibitionsThe artist renowned for her installation The Dinner Party (1974-79), the first explicitly feminist artwork to win mass fame, celebrates an earlier pop icon, the Beatles’ Sgt Pepper’s Lonely Hearts Club Band. She marks the 50th anniversary of the album with a mural called Fixing a Hole, playing with the psychedelic hues of the 60s to turn a grain silo at Stanley Dock into a colossal work of art. Click here for details

The Seen- Potent Pussy // Judy Chicago by Natalie HegertNatalie Hegert interviews Judy Chicago about her cat paintings from 1999-2004 and her long history of intersectional feminism. Click here for details

Judy Chicago on the Beatles: ‘They represent things we have lost – hope and freedom’For Sgt Pepper’s 50th anniversary, the great psychedelic visionary of feminist art has created a giant mop-top mural inspired by Fixing a Hole – a song that sums up what she has spent her entire career doing Click here for details

International Honor Quilt Exhibition Receives Regional Exhibition AwardThe Southeastern Museum Conference awards the Hite Art Institute at the University of Louisville with a silver award for the exhibition "Capturing Women's History: Quilts, Activism, & Storytelling" that was on display from February 1 - March 19, 2016. The "International Honor Quilt" is a collaborative, grassroots feminist art project initiated by Judy Chicago in 1980 to "extend the spirit of The Dinner Party". Click here for details

ARTnews: “Jessica Silverman Gallery Now Represents Judy Chicago”Alex Greenberger 07.18.2016
"San Francisco’s Jessica Silverman Gallery announced today that it now represents Judy Chicago, the feminist-art pioneer whose work deals with female sexuality and the role of women throughout art history. The news comes two months after New York’s Salon 94 gallery also said it would represent the artist." Click here for details

New York Times Exclusive: “Judy Chicago Does TV”Robin Pogrebin 05.05.2016
Judy Chicago is now represented by the New York gallery, Salon 94, founded by Jeanne Greenberg Rohatyn. Also announced in the New York Times: "Jill Soloway, creator of the acclaimed Amazon television series 'Transparent,' is ... making an Amazon series based on Womanhouse, the 1972 feminist art space that Ms. Chicago organized with Miriam Schapiro." Click here for details

ARTnews: “A Few Delights at Frieze New York”Andrew Russeth 05.05.2016
"Probably the biggest surprise of the fair for me, literally and figuratively: Judy Chicago's EU-22 Earth Birth, 1983. This beauty is 6 feet tall and 11 feet long, and it explodes off the wall while also sucking you in. It was at the booth of Salon 94, which is now showing Chicago."
Click here for details

New York Times Art Review: “Frieze New York, a Visual Circus Under the Big Top”Holland Cotter 05.05.2016
"There's a beauty at the New York gallery Salon 94, where Judy Chicago's moody, spray-painted 1983 "Earth Birth" is on the same fluid wavelength as a picture by the Sudanese painter Ibrahim el-Salahi, and both gain in sensuality from the contrasting presence of tough pieces by the great Pakistan-born American sculptor Huma Bhabha and the Japanese ceramist Kentaro Kawabata." Click here for details

Temporary Art ReviewJudy Chicago's interview is featured in Temporary Art Review with insights into the exhibition "Why Not Judy Chicago?" and Judy Chicago's thoughts on feminist practice and art. Click here for details

Judy Chicago featured in French national newspaper LiberationThe title is a play on a phrase from the French revolution, "Phallus, the people will defeat you", and refers to curator Xabier Arakistain's thesis in the exhibition "Why Not Judy Chicago?", that from the beginning of Chicago's career she has been challenging the structure of phallocentric culture through her art, writing and teaching. Click here for details

International Honor Quilt in the NewsThe "International Honor Quilt" at the Hite Art Institute is being recognized as an extraordinary work of collaborative quilting, activism and storytelling that served as the inspiration for the AIDS Memorial Quilt. Click here for details

University of Louisville’s Hite Art InstituteThe University of Louisville's Hite Art Institute celebrates Judy Chicago, feminist art and social engagement this month! Click here for details

Frieze Magazine interviews Judy ChicagoFrieze Magazine interviews Judy Chicago for the Jan-Feb 2016 issue. Click here for insight into Chicago's studio practice, work that matters to her, and what changes she would like to see in the world. Click here for details

Xabier Arakistain’s curatorial statement for Why Not Judy ChicagoClick here for Xabier Arakistain's curatorial statement for Why Not Judy Chicago?, the traveling solo exhbition of Judy Chicago's work that both celebrates Chicago's oeuvre and challenges the ongoing insitutional restistance to her work. The exhibition is on now at Azkuna Zentroa in Bilbao, Spain. Click here for details

SFMOMA San Francisco Museum of Modern ArtSFMOMA San Francisco Museum of Modern Art posted this video of Judy Chicago recounting her experience as one of the only women on the Los Angeles art scene in the late 1960s and 1970s. Female Rejection Drawing from the Rejection Quintet, 1974, is in SFMOMA's collection. Click here for details

BBC Woman’s Hour interviewed Judy ChicagoBBC Woman's Hour interviewed Judy Chicago. Listen to Chicago discuss her career, her London exhibitions, and her upcoming exhibition "Why Not Judy Chicago?" in Bilbao, Spain. Tune in at minute 13:45. Click here for details

Watch the BBC London’s segment on the Tate Modern’s exhibitionWatch the BBC London's segment on the Tate Modern's exhibition "The World Goes Pop" including an interview with Judy Chicago! Click here for details

Judy Chicago discusses her London exhibitionsJudy Chicago discusses her London exhibitions, her artistic practice, and what it means to be a woman in this interview for TimeOut London. Click here for details

Studio International interviewJudy Chicago talks about her career trajectory, the continuing need for feminist art, and the way in which she hopes to spend her remaining years. Click here for details

UK Independent – Tate Modern’s autumn show, The World Goes Pop, finally gives female pop artists their duesMarilyn Monroe’s face, printed over and over again. Cartoon-strip women embraced by lovers or crying on the phone. Some of the most famous works of Pop Art certainly make use of the female image – but they were made by the big poster boys of the mid-20th century movement, Click here for details

The Talks – JUDY CHICAGO: “GET USED TO IT!” "I hope that they’ll say that I made a contribution to art history. That was my goal from the time I was a little girl. That was what I’ve been intent on doing all along, to make a contribution to art. That’s what my life has been about. And trying to demonstrate that women have as much to say as men. They’re just as worthy to be in our museums and our history books – that’s what my life has been about, and that’s what I’ve been hoping to prove. That gives meaning to life. And purpose." Click here for details

Artsy – The Most Iconic Artists of the 1970s Across the globe, the 1970s art world was shaken by reverberations from the social and political climate ignited in the previous decade—though the ideas proliferating in the realm of artmaking were still tethered to formalist concerns and intellectual inquiry. The creation and reception of both land art and feminist art were indebted to the hippie movement and student protests of the late 1960s. Click here for details

Newsweek – Ten Works of Art that Have Rocked the Ages Controversial art is no doubt as old as the prehistoric cave paintings. From emperors to mayors, artists and politicians have been natural adversaries. Here are some of the more explosive clashes. Click here for details

ARTFORUM – Judy Chicago, Talking to Lucy R. Lippard You've been showing your work for about 11 years now, but there's never been an article on it, so let's start from scratch. Ok. When I first started my professional life, in 1963, I was making these very biomorphic paintings and sculptures; I went to auto-body school, because I wanted to learn to spray paint and because it seemed another way to prove my "seriousness" to the male art world. Click here for details

Judy Chicago can be reached at: PO Box 1327, Belen, NM 87002 505-861-1499,
© All material copyright Chicago/Woodman LLC 2021