The exhibition of American artist Judy Chicago at the LUMA Foundation in Arles (Bouches-du-Rhône) is quite challenging to understand. First, it can be difficult to locate as the signage is poor: it is situated in the last pavilion of the Parc des Ateliers, towards the back. Additionally, it starts abruptly and lacks didactic explanations. A lengthy wall is adorned with painted and written works on paper, displayed edge to edge. The collection is titled Autobiography of a Year, a graphic diary created by the artist in 1993-1994. For those unfamiliar with her work, this initial display may seem overly complex and could deter newcomers.
To provide some context, in front of this wall stand two large statues resembling the Venus of Willendorf, a small Paleolithic figurine often associated with fertility. What connects these statues and the drawings? The theme of femininity, as the exhibition aims to honor Judy Chicago as a prominent figure in feminist art. Previously showcased at the New Museum in New York in winter 2023, this retrospective is aptly titled “Herstory,” a wordplay referring to both masculine and feminine elements.
Judy Chicago has been a significant figure in feminism since 1970. It was in that year that the artist, formerly known as Judy Cohen and Judy Gerowitz, adopted the name of the city of her birth, July 1939. This decision marked a shift from being defined solely in relation to her familial or marital status. Following this, her most renowned works – “Womanhouse” and the “Dinner Party” – emerged, taking center stage at the exhibition.
Judy Chicago, artist against all odds
The “Womanhouse” project, developed in early 1972 at a Hollywood villa, was a series of installations and performances spearheaded by Judy Chicago and artist Miriam Schapiro (1923-2015), in collaboration with students from the Feminist Art Program established the previous year at the California Institute for the Arts. The project satirized prevailing stereotypes such as the virgin, the whore, and the mother, as well as the idealized housewife, the consumerism propagated by advertising, and the exhausted homemaker burdened with domestic chores. Surviving films, photos, and documents reflect the project’s mix of joyful and poignant moments.
The “Dinner Party,” created between 1974 and 1979, is an installation featuring a triangular table – a symbolic representation of femininity – hosting thirty-nine female guests, with thirteen seated on each side. The guests range from ancient goddesses to historical heroines like Virginia Woolf and Georgia O’Keeffe. Each participant’s plate features a vulva drawing with butterfly wings in various colors, a design often criticized for oversimplification despite its initial impact.
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Judy Chicago: A Pioneer of Feminist Art
The retrospective of the American artist Judy Chicago, currently being held at the LUMA Foundation in Arles, showcases the groundbreaking work of one of the most influential figures in feminist art. From her iconic installations to her graphic diaries, Judy Chicago’s art challenges traditional gender roles and celebrates the power of women.
Autobiography of a Year
“Autobiography of a Year” is a graphic diary created by Judy Chicago in 1993-1994, consisting of 140 drawings on mixed media. The exhibition at LUMA Foundation presents this collection as a reflection of the artist’s personal journey during that period. Despite the initial complexity of the display, the diary provides a glimpse into Chicago’s introspective exploration of her own identity and experiences.
Herstory: Celebrating Feminist Art
Through her work, Judy Chicago has been a prominent voice in the feminist art movement since the 1970s. The exhibition “Herstory” at LUMA Foundation pays tribute to Chicago’s legacy as a pioneer in advocating for gender equality and challenging societal norms. From the “Womanhouse” installations to the “Dinner Party,” Chicago’s art confronts stereotypes and empowers women to reclaim their narratives.
Womanhouse and the Dinner Party
“Womanhouse” was a collaborative project initiated by Judy Chicago and artist Miriam Schapiro in 1972, where stereotypes of femininity were deconstructed and reimagined. This transformative exhibition paved the way for feminist art practices and highlighted the voices of women in the art world.
The “Dinner Party,” created between 1974 and 1979, features a symbolic triangular table hosting thirty-nine female guests, symbolizing historical and mythical figures. Each place setting includes a unique design symbolizing female empowerment and unity. Despite criticisms, the “Dinner Party” remains a powerful symbol of women’s strength and resilience.
Continuing the Conversation
Judy Chicago’s art continues to inspire and provoke discussions on gender, identity, and representation. By exploring her graphic diaries, installations, and performances, viewers are invited to engage with the complex narratives woven into her work and reflect on the evolving landscape of feminist art.
As the retrospective at LUMA Foundation illustrates, Judy Chicago’s art transcends boundaries and challenges perceptions, inviting us to rethink the roles of women in society and the art world.
