Bringing on a Revolution: Judy Chicago at the Serpentine
We visit Serpentine North Gallery for their latest show of the trailblazing feminist artist...
By
Rhea Mathur
June 3, 2024
Last seen at the Barbican in their Unravel exhibition, Judy Chicago’s embroidered silk work Birth Tear/Tear (1982) left her audience wanting more. Famously a part of a series known as the Birth Project (1980-85), this work gives us a short glimpse into the feminist force that Chicago’s work holds. Now, the Serpentine Gallery brings to London Revelations, an inspiring and breathtaking exhibition that traces Chicago’s journey as an artist and as a pioneer of the Feminist Art movement. This solo exhibition brings Chicago’s audience back to the still of a red, white and pink embroidery that speaks of a physical and psychological transformation, focusing on pain, power and creation myths, while also doing so much more.
The exhibition brings to life the chapters of the book Revelations by Chicago, written in the early 1970s. Around the time the book was written, Chicago changed her married surname to her birthplace (‘Chicago’) and became increasingly inspired by the women’s liberation movement. In 1970, Chicago founded the first Feminist Art programme at California State University and began research into the history of the world, focusing on women’s stories. When Chicago wrote Revelations, she thought it was too radical to be published; now, not only has it been recently published with Thames & Hudson in collaboration with the Serpentine, but the Gallery further narrates its five chapters- ‘Revelations of the Goddess’, ‘Myths, Legends and Silhouettes’, ‘The Yearning’, ‘The Calling of the Apostles and Disciples’ and ‘Visions of the Apocalypse’. With a QR code leading to sections of the chapters of her book, this exhibition leaves no stone unturned in bringing us a section of world history that the audience needs to be reminded of.
Chicago’s work, including the pages of her book, brings to life the experience of women, in a manner palpable, colourful and real. The exhibition begins and ends with In the Beginning (1982), a drawing that is part of the Birth Project (1980-85), illustrating a child's birth. The child, however, is depicted as the Universe itself, positioning women as creators of our world. Chicago uses coloured pencils on a long, black sheet of paper, drawing a narrative through various symbols and icons and supporting it with text (“Then one last wail sounded in the Universe as Woman was born onto the Earth”). Her spirals and curved lines depict a constant movement, symbolising a transformation, as well as mimicking the shape of the planets, the waves and the mountains. Through the Birth Project, Chicago references Christian stories and Michelangelo’s fresco, The Creation of Adam (c. 1512), which focuses on man as the creator of life and the centre of the universe. With her work, Chicago aims to highlight the mythologies and narratives that through time have needed women as creators and are often overlooked in the Western canon of art history. She uses childbirth as a simple and effective example of this ideology and uses it to further discuss the historical bias.
The beating heart of the exhibition and one of Chicago’s most seminal works is The Dinner Party (1974-79), a ceramic, porcelain and textile installation, almost fifteen metres in width and length and shaped like a triangular dinner table. Each place setting at the table acknowledges the achievement of a woman and the pattern, print and design of each plate reflects her contribution. Laden with the names of 1,038 women, Chicago’s installation introduces women at the centre of the universe across history and mythologies to a global audience. The white tiled floor is also inscribed with the names of nine hundred and ninety-nine women, all inscribed in gold. After years of searching, this grand installation found its home in New York, where it currently sits. It is placed in the world's first feminist art centre- the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum - and contributes to a significant portion of their ticket sales today. While this work is not itself a part of the exhibition at the Serpentine, it is the heart of Chicago’s feminist work.
In the ‘Myths, Legends and Silhouettes’ section of the exhibition plays the 43m 57s film, Judy Chicago’s The Dinner Party: A Tour of the Exhibition (1990). This film, produced, filmed and directed by Donald Woodman, is narrated by Chicago herself: she appears on screen at the very beginning, standing next to the installation, talking about everything from mythological women, the contribution of women in our society, her ideas, the thoughts and labour behind her work, the details and the colours, while also walking her audience through the impact on such a piece on the feminist movement in the Western world. This captivating film booms Chicago’s voice through the exhibition. It stands at the centre, describing her journey of bringing women to the forefront of art history through her work.
This exhibition at the Serpentine is more than a visual documentary of the life of Judy Chicago. It exposes the hidden and often overlooked impact of a woman on Western and possibly, global art history. What sets this exhibition apart is its inclusion of the audience in the narrative itself; rather than simply depicting Chicago’s retelling of history, it asks its audience what kind of world they want to see. The exhibition discusses Chicago’s mixed media works on Magnani paper, a natural, white watercolour paper, titled Orphaned Tree (1993) and Vulnerable Tree (1995) - here she talks not just of female voices, but also of the trees, birds and environmental degradation human value systems have brought. Chicago brings on a revolution through her work. She asks her audience, by overlooking the importance of women, childbirth, life, animals and nature, everything made by the universe, where are we heading?
Judy Chicago: Revelations is showing at Serpentine North Gallery until 1st September.
Last seen at the Barbican in their Unravel exhibition, Judy Chicago’s embroidered silk work Birth Tear/Tear (1982) left her audience wanting more. Famously a part of a series known as the Birth Project (1980-85), this work gives us a short glimpse into the feminist force that Chicago’s work holds. Now, the Serpentine Gallery brings to London Revelations, an inspiring and breathtaking exhibition that traces Chicago’s journey as an artist and as a pioneer of the Feminist Art movement. This solo exhibition brings Chicago’s audience back to the still of a red, white and pink embroidery that speaks of a physical and psychological transformation, focusing on pain, power and creation myths, while also doing so much more.
The exhibition brings to life the chapters of the book Revelations by Chicago, written in the early 1970s. Around the time the book was written, Chicago changed her married surname to her birthplace (‘Chicago’) and became increasingly inspired by the women’s liberation movement. In 1970, Chicago founded the first Feminist Art programme at California State University and began research into the history of the world, focusing on women’s stories. When Chicago wrote Revelations, she thought it was too radical to be published; now, not only has it been recently published with Thames & Hudson in collaboration with the Serpentine, but the Gallery further narrates its five chapters- ‘Revelations of the Goddess’, ‘Myths, Legends and Silhouettes’, ‘The Yearning’, ‘The Calling of the Apostles and Disciples’ and ‘Visions of the Apocalypse’. With a QR code leading to sections of the chapters of her book, this exhibition leaves no stone unturned in bringing us a section of world history that the audience needs to be reminded of.
Chicago’s work, including the pages of her book, brings to life the experience of women, in a manner palpable, colourful and real. The exhibition begins and ends with In the Beginning (1982), a drawing that is part of the Birth Project (1980-85), illustrating a child's birth. The child, however, is depicted as the Universe itself, positioning women as creators of our world. Chicago uses coloured pencils on a long, black sheet of paper, drawing a narrative through various symbols and icons and supporting it with text (“Then one last wail sounded in the Universe as Woman was born onto the Earth”). Her spirals and curved lines depict a constant movement, symbolising a transformation, as well as mimicking the shape of the planets, the waves and the mountains. Through the Birth Project, Chicago references Christian stories and Michelangelo’s fresco, The Creation of Adam (c. 1512), which focuses on man as the creator of life and the centre of the universe. With her work, Chicago aims to highlight the mythologies and narratives that through time have needed women as creators and are often overlooked in the Western canon of art history. She uses childbirth as a simple and effective example of this ideology and uses it to further discuss the historical bias.
The beating heart of the exhibition and one of Chicago’s most seminal works is The Dinner Party (1974-79), a ceramic, porcelain and textile installation, almost fifteen metres in width and length and shaped like a triangular dinner table. Each place setting at the table acknowledges the achievement of a woman and the pattern, print and design of each plate reflects her contribution. Laden with the names of 1,038 women, Chicago’s installation introduces women at the centre of the universe across history and mythologies to a global audience. The white tiled floor is also inscribed with the names of nine hundred and ninety-nine women, all inscribed in gold. After years of searching, this grand installation found its home in New York, where it currently sits. It is placed in the world's first feminist art centre- the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum - and contributes to a significant portion of their ticket sales today. While this work is not itself a part of the exhibition at the Serpentine, it is the heart of Chicago’s feminist work.
In the ‘Myths, Legends and Silhouettes’ section of the exhibition plays the 43m 57s film, Judy Chicago’s The Dinner Party: A Tour of the Exhibition (1990). This film, produced, filmed and directed by Donald Woodman, is narrated by Chicago herself: she appears on screen at the very beginning, standing next to the installation, talking about everything from mythological women, the contribution of women in our society, her ideas, the thoughts and labour behind her work, the details and the colours, while also walking her audience through the impact on such a piece on the feminist movement in the Western world. This captivating film booms Chicago’s voice through the exhibition. It stands at the centre, describing her journey of bringing women to the forefront of art history through her work.
This exhibition at the Serpentine is more than a visual documentary of the life of Judy Chicago. It exposes the hidden and often overlooked impact of a woman on Western and possibly, global art history. What sets this exhibition apart is its inclusion of the audience in the narrative itself; rather than simply depicting Chicago’s retelling of history, it asks its audience what kind of world they want to see. The exhibition discusses Chicago’s mixed media works on Magnani paper, a natural, white watercolour paper, titled Orphaned Tree (1993) and Vulnerable Tree (1995) - here she talks not just of female voices, but also of the trees, birds and environmental degradation human value systems have brought. Chicago brings on a revolution through her work. She asks her audience, by overlooking the importance of women, childbirth, life, animals and nature, everything made by the universe, where are we heading?
Judy Chicago: Revelations is showing at Serpentine North Gallery until 1st September.
Last seen at the Barbican in their Unravel exhibition, Judy Chicago’s embroidered silk work Birth Tear/Tear (1982) left her audience wanting more. Famously a part of a series known as the Birth Project (1980-85), this work gives us a short glimpse into the feminist force that Chicago’s work holds. Now, the Serpentine Gallery brings to London Revelations, an inspiring and breathtaking exhibition that traces Chicago’s journey as an artist and as a pioneer of the Feminist Art movement. This solo exhibition brings Chicago’s audience back to the still of a red, white and pink embroidery that speaks of a physical and psychological transformation, focusing on pain, power and creation myths, while also doing so much more.
The exhibition brings to life the chapters of the book Revelations by Chicago, written in the early 1970s. Around the time the book was written, Chicago changed her married surname to her birthplace (‘Chicago’) and became increasingly inspired by the women’s liberation movement. In 1970, Chicago founded the first Feminist Art programme at California State University and began research into the history of the world, focusing on women’s stories. When Chicago wrote Revelations, she thought it was too radical to be published; now, not only has it been recently published with Thames & Hudson in collaboration with the Serpentine, but the Gallery further narrates its five chapters- ‘Revelations of the Goddess’, ‘Myths, Legends and Silhouettes’, ‘The Yearning’, ‘The Calling of the Apostles and Disciples’ and ‘Visions of the Apocalypse’. With a QR code leading to sections of the chapters of her book, this exhibition leaves no stone unturned in bringing us a section of world history that the audience needs to be reminded of.
Chicago’s work, including the pages of her book, brings to life the experience of women, in a manner palpable, colourful and real. The exhibition begins and ends with In the Beginning (1982), a drawing that is part of the Birth Project (1980-85), illustrating a child's birth. The child, however, is depicted as the Universe itself, positioning women as creators of our world. Chicago uses coloured pencils on a long, black sheet of paper, drawing a narrative through various symbols and icons and supporting it with text (“Then one last wail sounded in the Universe as Woman was born onto the Earth”). Her spirals and curved lines depict a constant movement, symbolising a transformation, as well as mimicking the shape of the planets, the waves and the mountains. Through the Birth Project, Chicago references Christian stories and Michelangelo’s fresco, The Creation of Adam (c. 1512), which focuses on man as the creator of life and the centre of the universe. With her work, Chicago aims to highlight the mythologies and narratives that through time have needed women as creators and are often overlooked in the Western canon of art history. She uses childbirth as a simple and effective example of this ideology and uses it to further discuss the historical bias.
The beating heart of the exhibition and one of Chicago’s most seminal works is The Dinner Party (1974-79), a ceramic, porcelain and textile installation, almost fifteen metres in width and length and shaped like a triangular dinner table. Each place setting at the table acknowledges the achievement of a woman and the pattern, print and design of each plate reflects her contribution. Laden with the names of 1,038 women, Chicago’s installation introduces women at the centre of the universe across history and mythologies to a global audience. The white tiled floor is also inscribed with the names of nine hundred and ninety-nine women, all inscribed in gold. After years of searching, this grand installation found its home in New York, where it currently sits. It is placed in the world's first feminist art centre- the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum - and contributes to a significant portion of their ticket sales today. While this work is not itself a part of the exhibition at the Serpentine, it is the heart of Chicago’s feminist work.
In the ‘Myths, Legends and Silhouettes’ section of the exhibition plays the 43m 57s film, Judy Chicago’s The Dinner Party: A Tour of the Exhibition (1990). This film, produced, filmed and directed by Donald Woodman, is narrated by Chicago herself: she appears on screen at the very beginning, standing next to the installation, talking about everything from mythological women, the contribution of women in our society, her ideas, the thoughts and labour behind her work, the details and the colours, while also walking her audience through the impact on such a piece on the feminist movement in the Western world. This captivating film booms Chicago’s voice through the exhibition. It stands at the centre, describing her journey of bringing women to the forefront of art history through her work.
This exhibition at the Serpentine is more than a visual documentary of the life of Judy Chicago. It exposes the hidden and often overlooked impact of a woman on Western and possibly, global art history. What sets this exhibition apart is its inclusion of the audience in the narrative itself; rather than simply depicting Chicago’s retelling of history, it asks its audience what kind of world they want to see. The exhibition discusses Chicago’s mixed media works on Magnani paper, a natural, white watercolour paper, titled Orphaned Tree (1993) and Vulnerable Tree (1995) - here she talks not just of female voices, but also of the trees, birds and environmental degradation human value systems have brought. Chicago brings on a revolution through her work. She asks her audience, by overlooking the importance of women, childbirth, life, animals and nature, everything made by the universe, where are we heading?
Judy Chicago: Revelations is showing at Serpentine North Gallery until 1st September.
Last seen at the Barbican in their Unravel exhibition, Judy Chicago’s embroidered silk work Birth Tear/Tear (1982) left her audience wanting more. Famously a part of a series known as the Birth Project (1980-85), this work gives us a short glimpse into the feminist force that Chicago’s work holds. Now, the Serpentine Gallery brings to London Revelations, an inspiring and breathtaking exhibition that traces Chicago’s journey as an artist and as a pioneer of the Feminist Art movement. This solo exhibition brings Chicago’s audience back to the still of a red, white and pink embroidery that speaks of a physical and psychological transformation, focusing on pain, power and creation myths, while also doing so much more.
The exhibition brings to life the chapters of the book Revelations by Chicago, written in the early 1970s. Around the time the book was written, Chicago changed her married surname to her birthplace (‘Chicago’) and became increasingly inspired by the women’s liberation movement. In 1970, Chicago founded the first Feminist Art programme at California State University and began research into the history of the world, focusing on women’s stories. When Chicago wrote Revelations, she thought it was too radical to be published; now, not only has it been recently published with Thames & Hudson in collaboration with the Serpentine, but the Gallery further narrates its five chapters- ‘Revelations of the Goddess’, ‘Myths, Legends and Silhouettes’, ‘The Yearning’, ‘The Calling of the Apostles and Disciples’ and ‘Visions of the Apocalypse’. With a QR code leading to sections of the chapters of her book, this exhibition leaves no stone unturned in bringing us a section of world history that the audience needs to be reminded of.
Chicago’s work, including the pages of her book, brings to life the experience of women, in a manner palpable, colourful and real. The exhibition begins and ends with In the Beginning (1982), a drawing that is part of the Birth Project (1980-85), illustrating a child's birth. The child, however, is depicted as the Universe itself, positioning women as creators of our world. Chicago uses coloured pencils on a long, black sheet of paper, drawing a narrative through various symbols and icons and supporting it with text (“Then one last wail sounded in the Universe as Woman was born onto the Earth”). Her spirals and curved lines depict a constant movement, symbolising a transformation, as well as mimicking the shape of the planets, the waves and the mountains. Through the Birth Project, Chicago references Christian stories and Michelangelo’s fresco, The Creation of Adam (c. 1512), which focuses on man as the creator of life and the centre of the universe. With her work, Chicago aims to highlight the mythologies and narratives that through time have needed women as creators and are often overlooked in the Western canon of art history. She uses childbirth as a simple and effective example of this ideology and uses it to further discuss the historical bias.
The beating heart of the exhibition and one of Chicago’s most seminal works is The Dinner Party (1974-79), a ceramic, porcelain and textile installation, almost fifteen metres in width and length and shaped like a triangular dinner table. Each place setting at the table acknowledges the achievement of a woman and the pattern, print and design of each plate reflects her contribution. Laden with the names of 1,038 women, Chicago’s installation introduces women at the centre of the universe across history and mythologies to a global audience. The white tiled floor is also inscribed with the names of nine hundred and ninety-nine women, all inscribed in gold. After years of searching, this grand installation found its home in New York, where it currently sits. It is placed in the world's first feminist art centre- the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum - and contributes to a significant portion of their ticket sales today. While this work is not itself a part of the exhibition at the Serpentine, it is the heart of Chicago’s feminist work.
In the ‘Myths, Legends and Silhouettes’ section of the exhibition plays the 43m 57s film, Judy Chicago’s The Dinner Party: A Tour of the Exhibition (1990). This film, produced, filmed and directed by Donald Woodman, is narrated by Chicago herself: she appears on screen at the very beginning, standing next to the installation, talking about everything from mythological women, the contribution of women in our society, her ideas, the thoughts and labour behind her work, the details and the colours, while also walking her audience through the impact on such a piece on the feminist movement in the Western world. This captivating film booms Chicago’s voice through the exhibition. It stands at the centre, describing her journey of bringing women to the forefront of art history through her work.
This exhibition at the Serpentine is more than a visual documentary of the life of Judy Chicago. It exposes the hidden and often overlooked impact of a woman on Western and possibly, global art history. What sets this exhibition apart is its inclusion of the audience in the narrative itself; rather than simply depicting Chicago’s retelling of history, it asks its audience what kind of world they want to see. The exhibition discusses Chicago’s mixed media works on Magnani paper, a natural, white watercolour paper, titled Orphaned Tree (1993) and Vulnerable Tree (1995) - here she talks not just of female voices, but also of the trees, birds and environmental degradation human value systems have brought. Chicago brings on a revolution through her work. She asks her audience, by overlooking the importance of women, childbirth, life, animals and nature, everything made by the universe, where are we heading?
Judy Chicago: Revelations is showing at Serpentine North Gallery until 1st September.
Last seen at the Barbican in their Unravel exhibition, Judy Chicago’s embroidered silk work Birth Tear/Tear (1982) left her audience wanting more. Famously a part of a series known as the Birth Project (1980-85), this work gives us a short glimpse into the feminist force that Chicago’s work holds. Now, the Serpentine Gallery brings to London Revelations, an inspiring and breathtaking exhibition that traces Chicago’s journey as an artist and as a pioneer of the Feminist Art movement. This solo exhibition brings Chicago’s audience back to the still of a red, white and pink embroidery that speaks of a physical and psychological transformation, focusing on pain, power and creation myths, while also doing so much more.
The exhibition brings to life the chapters of the book Revelations by Chicago, written in the early 1970s. Around the time the book was written, Chicago changed her married surname to her birthplace (‘Chicago’) and became increasingly inspired by the women’s liberation movement. In 1970, Chicago founded the first Feminist Art programme at California State University and began research into the history of the world, focusing on women’s stories. When Chicago wrote Revelations, she thought it was too radical to be published; now, not only has it been recently published with Thames & Hudson in collaboration with the Serpentine, but the Gallery further narrates its five chapters- ‘Revelations of the Goddess’, ‘Myths, Legends and Silhouettes’, ‘The Yearning’, ‘The Calling of the Apostles and Disciples’ and ‘Visions of the Apocalypse’. With a QR code leading to sections of the chapters of her book, this exhibition leaves no stone unturned in bringing us a section of world history that the audience needs to be reminded of.
Chicago’s work, including the pages of her book, brings to life the experience of women, in a manner palpable, colourful and real. The exhibition begins and ends with In the Beginning (1982), a drawing that is part of the Birth Project (1980-85), illustrating a child's birth. The child, however, is depicted as the Universe itself, positioning women as creators of our world. Chicago uses coloured pencils on a long, black sheet of paper, drawing a narrative through various symbols and icons and supporting it with text (“Then one last wail sounded in the Universe as Woman was born onto the Earth”). Her spirals and curved lines depict a constant movement, symbolising a transformation, as well as mimicking the shape of the planets, the waves and the mountains. Through the Birth Project, Chicago references Christian stories and Michelangelo’s fresco, The Creation of Adam (c. 1512), which focuses on man as the creator of life and the centre of the universe. With her work, Chicago aims to highlight the mythologies and narratives that through time have needed women as creators and are often overlooked in the Western canon of art history. She uses childbirth as a simple and effective example of this ideology and uses it to further discuss the historical bias.
The beating heart of the exhibition and one of Chicago’s most seminal works is The Dinner Party (1974-79), a ceramic, porcelain and textile installation, almost fifteen metres in width and length and shaped like a triangular dinner table. Each place setting at the table acknowledges the achievement of a woman and the pattern, print and design of each plate reflects her contribution. Laden with the names of 1,038 women, Chicago’s installation introduces women at the centre of the universe across history and mythologies to a global audience. The white tiled floor is also inscribed with the names of nine hundred and ninety-nine women, all inscribed in gold. After years of searching, this grand installation found its home in New York, where it currently sits. It is placed in the world's first feminist art centre- the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum - and contributes to a significant portion of their ticket sales today. While this work is not itself a part of the exhibition at the Serpentine, it is the heart of Chicago’s feminist work.
In the ‘Myths, Legends and Silhouettes’ section of the exhibition plays the 43m 57s film, Judy Chicago’s The Dinner Party: A Tour of the Exhibition (1990). This film, produced, filmed and directed by Donald Woodman, is narrated by Chicago herself: she appears on screen at the very beginning, standing next to the installation, talking about everything from mythological women, the contribution of women in our society, her ideas, the thoughts and labour behind her work, the details and the colours, while also walking her audience through the impact on such a piece on the feminist movement in the Western world. This captivating film booms Chicago’s voice through the exhibition. It stands at the centre, describing her journey of bringing women to the forefront of art history through her work.
This exhibition at the Serpentine is more than a visual documentary of the life of Judy Chicago. It exposes the hidden and often overlooked impact of a woman on Western and possibly, global art history. What sets this exhibition apart is its inclusion of the audience in the narrative itself; rather than simply depicting Chicago’s retelling of history, it asks its audience what kind of world they want to see. The exhibition discusses Chicago’s mixed media works on Magnani paper, a natural, white watercolour paper, titled Orphaned Tree (1993) and Vulnerable Tree (1995) - here she talks not just of female voices, but also of the trees, birds and environmental degradation human value systems have brought. Chicago brings on a revolution through her work. She asks her audience, by overlooking the importance of women, childbirth, life, animals and nature, everything made by the universe, where are we heading?
Judy Chicago: Revelations is showing at Serpentine North Gallery until 1st September.
Last seen at the Barbican in their Unravel exhibition, Judy Chicago’s embroidered silk work Birth Tear/Tear (1982) left her audience wanting more. Famously a part of a series known as the Birth Project (1980-85), this work gives us a short glimpse into the feminist force that Chicago’s work holds. Now, the Serpentine Gallery brings to London Revelations, an inspiring and breathtaking exhibition that traces Chicago’s journey as an artist and as a pioneer of the Feminist Art movement. This solo exhibition brings Chicago’s audience back to the still of a red, white and pink embroidery that speaks of a physical and psychological transformation, focusing on pain, power and creation myths, while also doing so much more.
The exhibition brings to life the chapters of the book Revelations by Chicago, written in the early 1970s. Around the time the book was written, Chicago changed her married surname to her birthplace (‘Chicago’) and became increasingly inspired by the women’s liberation movement. In 1970, Chicago founded the first Feminist Art programme at California State University and began research into the history of the world, focusing on women’s stories. When Chicago wrote Revelations, she thought it was too radical to be published; now, not only has it been recently published with Thames & Hudson in collaboration with the Serpentine, but the Gallery further narrates its five chapters- ‘Revelations of the Goddess’, ‘Myths, Legends and Silhouettes’, ‘The Yearning’, ‘The Calling of the Apostles and Disciples’ and ‘Visions of the Apocalypse’. With a QR code leading to sections of the chapters of her book, this exhibition leaves no stone unturned in bringing us a section of world history that the audience needs to be reminded of.
Chicago’s work, including the pages of her book, brings to life the experience of women, in a manner palpable, colourful and real. The exhibition begins and ends with In the Beginning (1982), a drawing that is part of the Birth Project (1980-85), illustrating a child's birth. The child, however, is depicted as the Universe itself, positioning women as creators of our world. Chicago uses coloured pencils on a long, black sheet of paper, drawing a narrative through various symbols and icons and supporting it with text (“Then one last wail sounded in the Universe as Woman was born onto the Earth”). Her spirals and curved lines depict a constant movement, symbolising a transformation, as well as mimicking the shape of the planets, the waves and the mountains. Through the Birth Project, Chicago references Christian stories and Michelangelo’s fresco, The Creation of Adam (c. 1512), which focuses on man as the creator of life and the centre of the universe. With her work, Chicago aims to highlight the mythologies and narratives that through time have needed women as creators and are often overlooked in the Western canon of art history. She uses childbirth as a simple and effective example of this ideology and uses it to further discuss the historical bias.
The beating heart of the exhibition and one of Chicago’s most seminal works is The Dinner Party (1974-79), a ceramic, porcelain and textile installation, almost fifteen metres in width and length and shaped like a triangular dinner table. Each place setting at the table acknowledges the achievement of a woman and the pattern, print and design of each plate reflects her contribution. Laden with the names of 1,038 women, Chicago’s installation introduces women at the centre of the universe across history and mythologies to a global audience. The white tiled floor is also inscribed with the names of nine hundred and ninety-nine women, all inscribed in gold. After years of searching, this grand installation found its home in New York, where it currently sits. It is placed in the world's first feminist art centre- the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum - and contributes to a significant portion of their ticket sales today. While this work is not itself a part of the exhibition at the Serpentine, it is the heart of Chicago’s feminist work.
In the ‘Myths, Legends and Silhouettes’ section of the exhibition plays the 43m 57s film, Judy Chicago’s The Dinner Party: A Tour of the Exhibition (1990). This film, produced, filmed and directed by Donald Woodman, is narrated by Chicago herself: she appears on screen at the very beginning, standing next to the installation, talking about everything from mythological women, the contribution of women in our society, her ideas, the thoughts and labour behind her work, the details and the colours, while also walking her audience through the impact on such a piece on the feminist movement in the Western world. This captivating film booms Chicago’s voice through the exhibition. It stands at the centre, describing her journey of bringing women to the forefront of art history through her work.
This exhibition at the Serpentine is more than a visual documentary of the life of Judy Chicago. It exposes the hidden and often overlooked impact of a woman on Western and possibly, global art history. What sets this exhibition apart is its inclusion of the audience in the narrative itself; rather than simply depicting Chicago’s retelling of history, it asks its audience what kind of world they want to see. The exhibition discusses Chicago’s mixed media works on Magnani paper, a natural, white watercolour paper, titled Orphaned Tree (1993) and Vulnerable Tree (1995) - here she talks not just of female voices, but also of the trees, birds and environmental degradation human value systems have brought. Chicago brings on a revolution through her work. She asks her audience, by overlooking the importance of women, childbirth, life, animals and nature, everything made by the universe, where are we heading?
Judy Chicago: Revelations is showing at Serpentine North Gallery until 1st September.
Last seen at the Barbican in their Unravel exhibition, Judy Chicago’s embroidered silk work Birth Tear/Tear (1982) left her audience wanting more. Famously a part of a series known as the Birth Project (1980-85), this work gives us a short glimpse into the feminist force that Chicago’s work holds. Now, the Serpentine Gallery brings to London Revelations, an inspiring and breathtaking exhibition that traces Chicago’s journey as an artist and as a pioneer of the Feminist Art movement. This solo exhibition brings Chicago’s audience back to the still of a red, white and pink embroidery that speaks of a physical and psychological transformation, focusing on pain, power and creation myths, while also doing so much more.
The exhibition brings to life the chapters of the book Revelations by Chicago, written in the early 1970s. Around the time the book was written, Chicago changed her married surname to her birthplace (‘Chicago’) and became increasingly inspired by the women’s liberation movement. In 1970, Chicago founded the first Feminist Art programme at California State University and began research into the history of the world, focusing on women’s stories. When Chicago wrote Revelations, she thought it was too radical to be published; now, not only has it been recently published with Thames & Hudson in collaboration with the Serpentine, but the Gallery further narrates its five chapters- ‘Revelations of the Goddess’, ‘Myths, Legends and Silhouettes’, ‘The Yearning’, ‘The Calling of the Apostles and Disciples’ and ‘Visions of the Apocalypse’. With a QR code leading to sections of the chapters of her book, this exhibition leaves no stone unturned in bringing us a section of world history that the audience needs to be reminded of.
Chicago’s work, including the pages of her book, brings to life the experience of women, in a manner palpable, colourful and real. The exhibition begins and ends with In the Beginning (1982), a drawing that is part of the Birth Project (1980-85), illustrating a child's birth. The child, however, is depicted as the Universe itself, positioning women as creators of our world. Chicago uses coloured pencils on a long, black sheet of paper, drawing a narrative through various symbols and icons and supporting it with text (“Then one last wail sounded in the Universe as Woman was born onto the Earth”). Her spirals and curved lines depict a constant movement, symbolising a transformation, as well as mimicking the shape of the planets, the waves and the mountains. Through the Birth Project, Chicago references Christian stories and Michelangelo’s fresco, The Creation of Adam (c. 1512), which focuses on man as the creator of life and the centre of the universe. With her work, Chicago aims to highlight the mythologies and narratives that through time have needed women as creators and are often overlooked in the Western canon of art history. She uses childbirth as a simple and effective example of this ideology and uses it to further discuss the historical bias.
The beating heart of the exhibition and one of Chicago’s most seminal works is The Dinner Party (1974-79), a ceramic, porcelain and textile installation, almost fifteen metres in width and length and shaped like a triangular dinner table. Each place setting at the table acknowledges the achievement of a woman and the pattern, print and design of each plate reflects her contribution. Laden with the names of 1,038 women, Chicago’s installation introduces women at the centre of the universe across history and mythologies to a global audience. The white tiled floor is also inscribed with the names of nine hundred and ninety-nine women, all inscribed in gold. After years of searching, this grand installation found its home in New York, where it currently sits. It is placed in the world's first feminist art centre- the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum - and contributes to a significant portion of their ticket sales today. While this work is not itself a part of the exhibition at the Serpentine, it is the heart of Chicago’s feminist work.
In the ‘Myths, Legends and Silhouettes’ section of the exhibition plays the 43m 57s film, Judy Chicago’s The Dinner Party: A Tour of the Exhibition (1990). This film, produced, filmed and directed by Donald Woodman, is narrated by Chicago herself: she appears on screen at the very beginning, standing next to the installation, talking about everything from mythological women, the contribution of women in our society, her ideas, the thoughts and labour behind her work, the details and the colours, while also walking her audience through the impact on such a piece on the feminist movement in the Western world. This captivating film booms Chicago’s voice through the exhibition. It stands at the centre, describing her journey of bringing women to the forefront of art history through her work.
This exhibition at the Serpentine is more than a visual documentary of the life of Judy Chicago. It exposes the hidden and often overlooked impact of a woman on Western and possibly, global art history. What sets this exhibition apart is its inclusion of the audience in the narrative itself; rather than simply depicting Chicago’s retelling of history, it asks its audience what kind of world they want to see. The exhibition discusses Chicago’s mixed media works on Magnani paper, a natural, white watercolour paper, titled Orphaned Tree (1993) and Vulnerable Tree (1995) - here she talks not just of female voices, but also of the trees, birds and environmental degradation human value systems have brought. Chicago brings on a revolution through her work. She asks her audience, by overlooking the importance of women, childbirth, life, animals and nature, everything made by the universe, where are we heading?
Judy Chicago: Revelations is showing at Serpentine North Gallery until 1st September.
Last seen at the Barbican in their Unravel exhibition, Judy Chicago’s embroidered silk work Birth Tear/Tear (1982) left her audience wanting more. Famously a part of a series known as the Birth Project (1980-85), this work gives us a short glimpse into the feminist force that Chicago’s work holds. Now, the Serpentine Gallery brings to London Revelations, an inspiring and breathtaking exhibition that traces Chicago’s journey as an artist and as a pioneer of the Feminist Art movement. This solo exhibition brings Chicago’s audience back to the still of a red, white and pink embroidery that speaks of a physical and psychological transformation, focusing on pain, power and creation myths, while also doing so much more.
The exhibition brings to life the chapters of the book Revelations by Chicago, written in the early 1970s. Around the time the book was written, Chicago changed her married surname to her birthplace (‘Chicago’) and became increasingly inspired by the women’s liberation movement. In 1970, Chicago founded the first Feminist Art programme at California State University and began research into the history of the world, focusing on women’s stories. When Chicago wrote Revelations, she thought it was too radical to be published; now, not only has it been recently published with Thames & Hudson in collaboration with the Serpentine, but the Gallery further narrates its five chapters- ‘Revelations of the Goddess’, ‘Myths, Legends and Silhouettes’, ‘The Yearning’, ‘The Calling of the Apostles and Disciples’ and ‘Visions of the Apocalypse’. With a QR code leading to sections of the chapters of her book, this exhibition leaves no stone unturned in bringing us a section of world history that the audience needs to be reminded of.
Chicago’s work, including the pages of her book, brings to life the experience of women, in a manner palpable, colourful and real. The exhibition begins and ends with In the Beginning (1982), a drawing that is part of the Birth Project (1980-85), illustrating a child's birth. The child, however, is depicted as the Universe itself, positioning women as creators of our world. Chicago uses coloured pencils on a long, black sheet of paper, drawing a narrative through various symbols and icons and supporting it with text (“Then one last wail sounded in the Universe as Woman was born onto the Earth”). Her spirals and curved lines depict a constant movement, symbolising a transformation, as well as mimicking the shape of the planets, the waves and the mountains. Through the Birth Project, Chicago references Christian stories and Michelangelo’s fresco, The Creation of Adam (c. 1512), which focuses on man as the creator of life and the centre of the universe. With her work, Chicago aims to highlight the mythologies and narratives that through time have needed women as creators and are often overlooked in the Western canon of art history. She uses childbirth as a simple and effective example of this ideology and uses it to further discuss the historical bias.
The beating heart of the exhibition and one of Chicago’s most seminal works is The Dinner Party (1974-79), a ceramic, porcelain and textile installation, almost fifteen metres in width and length and shaped like a triangular dinner table. Each place setting at the table acknowledges the achievement of a woman and the pattern, print and design of each plate reflects her contribution. Laden with the names of 1,038 women, Chicago’s installation introduces women at the centre of the universe across history and mythologies to a global audience. The white tiled floor is also inscribed with the names of nine hundred and ninety-nine women, all inscribed in gold. After years of searching, this grand installation found its home in New York, where it currently sits. It is placed in the world's first feminist art centre- the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum - and contributes to a significant portion of their ticket sales today. While this work is not itself a part of the exhibition at the Serpentine, it is the heart of Chicago’s feminist work.
In the ‘Myths, Legends and Silhouettes’ section of the exhibition plays the 43m 57s film, Judy Chicago’s The Dinner Party: A Tour of the Exhibition (1990). This film, produced, filmed and directed by Donald Woodman, is narrated by Chicago herself: she appears on screen at the very beginning, standing next to the installation, talking about everything from mythological women, the contribution of women in our society, her ideas, the thoughts and labour behind her work, the details and the colours, while also walking her audience through the impact on such a piece on the feminist movement in the Western world. This captivating film booms Chicago’s voice through the exhibition. It stands at the centre, describing her journey of bringing women to the forefront of art history through her work.
This exhibition at the Serpentine is more than a visual documentary of the life of Judy Chicago. It exposes the hidden and often overlooked impact of a woman on Western and possibly, global art history. What sets this exhibition apart is its inclusion of the audience in the narrative itself; rather than simply depicting Chicago’s retelling of history, it asks its audience what kind of world they want to see. The exhibition discusses Chicago’s mixed media works on Magnani paper, a natural, white watercolour paper, titled Orphaned Tree (1993) and Vulnerable Tree (1995) - here she talks not just of female voices, but also of the trees, birds and environmental degradation human value systems have brought. Chicago brings on a revolution through her work. She asks her audience, by overlooking the importance of women, childbirth, life, animals and nature, everything made by the universe, where are we heading?
Judy Chicago: Revelations is showing at Serpentine North Gallery until 1st September.
Last seen at the Barbican in their Unravel exhibition, Judy Chicago’s embroidered silk work Birth Tear/Tear (1982) left her audience wanting more. Famously a part of a series known as the Birth Project (1980-85), this work gives us a short glimpse into the feminist force that Chicago’s work holds. Now, the Serpentine Gallery brings to London Revelations, an inspiring and breathtaking exhibition that traces Chicago’s journey as an artist and as a pioneer of the Feminist Art movement. This solo exhibition brings Chicago’s audience back to the still of a red, white and pink embroidery that speaks of a physical and psychological transformation, focusing on pain, power and creation myths, while also doing so much more.
The exhibition brings to life the chapters of the book Revelations by Chicago, written in the early 1970s. Around the time the book was written, Chicago changed her married surname to her birthplace (‘Chicago’) and became increasingly inspired by the women’s liberation movement. In 1970, Chicago founded the first Feminist Art programme at California State University and began research into the history of the world, focusing on women’s stories. When Chicago wrote Revelations, she thought it was too radical to be published; now, not only has it been recently published with Thames & Hudson in collaboration with the Serpentine, but the Gallery further narrates its five chapters- ‘Revelations of the Goddess’, ‘Myths, Legends and Silhouettes’, ‘The Yearning’, ‘The Calling of the Apostles and Disciples’ and ‘Visions of the Apocalypse’. With a QR code leading to sections of the chapters of her book, this exhibition leaves no stone unturned in bringing us a section of world history that the audience needs to be reminded of.
Chicago’s work, including the pages of her book, brings to life the experience of women, in a manner palpable, colourful and real. The exhibition begins and ends with In the Beginning (1982), a drawing that is part of the Birth Project (1980-85), illustrating a child's birth. The child, however, is depicted as the Universe itself, positioning women as creators of our world. Chicago uses coloured pencils on a long, black sheet of paper, drawing a narrative through various symbols and icons and supporting it with text (“Then one last wail sounded in the Universe as Woman was born onto the Earth”). Her spirals and curved lines depict a constant movement, symbolising a transformation, as well as mimicking the shape of the planets, the waves and the mountains. Through the Birth Project, Chicago references Christian stories and Michelangelo’s fresco, The Creation of Adam (c. 1512), which focuses on man as the creator of life and the centre of the universe. With her work, Chicago aims to highlight the mythologies and narratives that through time have needed women as creators and are often overlooked in the Western canon of art history. She uses childbirth as a simple and effective example of this ideology and uses it to further discuss the historical bias.
The beating heart of the exhibition and one of Chicago’s most seminal works is The Dinner Party (1974-79), a ceramic, porcelain and textile installation, almost fifteen metres in width and length and shaped like a triangular dinner table. Each place setting at the table acknowledges the achievement of a woman and the pattern, print and design of each plate reflects her contribution. Laden with the names of 1,038 women, Chicago’s installation introduces women at the centre of the universe across history and mythologies to a global audience. The white tiled floor is also inscribed with the names of nine hundred and ninety-nine women, all inscribed in gold. After years of searching, this grand installation found its home in New York, where it currently sits. It is placed in the world's first feminist art centre- the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum - and contributes to a significant portion of their ticket sales today. While this work is not itself a part of the exhibition at the Serpentine, it is the heart of Chicago’s feminist work.
In the ‘Myths, Legends and Silhouettes’ section of the exhibition plays the 43m 57s film, Judy Chicago’s The Dinner Party: A Tour of the Exhibition (1990). This film, produced, filmed and directed by Donald Woodman, is narrated by Chicago herself: she appears on screen at the very beginning, standing next to the installation, talking about everything from mythological women, the contribution of women in our society, her ideas, the thoughts and labour behind her work, the details and the colours, while also walking her audience through the impact on such a piece on the feminist movement in the Western world. This captivating film booms Chicago’s voice through the exhibition. It stands at the centre, describing her journey of bringing women to the forefront of art history through her work.
This exhibition at the Serpentine is more than a visual documentary of the life of Judy Chicago. It exposes the hidden and often overlooked impact of a woman on Western and possibly, global art history. What sets this exhibition apart is its inclusion of the audience in the narrative itself; rather than simply depicting Chicago’s retelling of history, it asks its audience what kind of world they want to see. The exhibition discusses Chicago’s mixed media works on Magnani paper, a natural, white watercolour paper, titled Orphaned Tree (1993) and Vulnerable Tree (1995) - here she talks not just of female voices, but also of the trees, birds and environmental degradation human value systems have brought. Chicago brings on a revolution through her work. She asks her audience, by overlooking the importance of women, childbirth, life, animals and nature, everything made by the universe, where are we heading?
Judy Chicago: Revelations is showing at Serpentine North Gallery until 1st September.
Last seen at the Barbican in their Unravel exhibition, Judy Chicago’s embroidered silk work Birth Tear/Tear (1982) left her audience wanting more. Famously a part of a series known as the Birth Project (1980-85), this work gives us a short glimpse into the feminist force that Chicago’s work holds. Now, the Serpentine Gallery brings to London Revelations, an inspiring and breathtaking exhibition that traces Chicago’s journey as an artist and as a pioneer of the Feminist Art movement. This solo exhibition brings Chicago’s audience back to the still of a red, white and pink embroidery that speaks of a physical and psychological transformation, focusing on pain, power and creation myths, while also doing so much more.
The exhibition brings to life the chapters of the book Revelations by Chicago, written in the early 1970s. Around the time the book was written, Chicago changed her married surname to her birthplace (‘Chicago’) and became increasingly inspired by the women’s liberation movement. In 1970, Chicago founded the first Feminist Art programme at California State University and began research into the history of the world, focusing on women’s stories. When Chicago wrote Revelations, she thought it was too radical to be published; now, not only has it been recently published with Thames & Hudson in collaboration with the Serpentine, but the Gallery further narrates its five chapters- ‘Revelations of the Goddess’, ‘Myths, Legends and Silhouettes’, ‘The Yearning’, ‘The Calling of the Apostles and Disciples’ and ‘Visions of the Apocalypse’. With a QR code leading to sections of the chapters of her book, this exhibition leaves no stone unturned in bringing us a section of world history that the audience needs to be reminded of.
Chicago’s work, including the pages of her book, brings to life the experience of women, in a manner palpable, colourful and real. The exhibition begins and ends with In the Beginning (1982), a drawing that is part of the Birth Project (1980-85), illustrating a child's birth. The child, however, is depicted as the Universe itself, positioning women as creators of our world. Chicago uses coloured pencils on a long, black sheet of paper, drawing a narrative through various symbols and icons and supporting it with text (“Then one last wail sounded in the Universe as Woman was born onto the Earth”). Her spirals and curved lines depict a constant movement, symbolising a transformation, as well as mimicking the shape of the planets, the waves and the mountains. Through the Birth Project, Chicago references Christian stories and Michelangelo’s fresco, The Creation of Adam (c. 1512), which focuses on man as the creator of life and the centre of the universe. With her work, Chicago aims to highlight the mythologies and narratives that through time have needed women as creators and are often overlooked in the Western canon of art history. She uses childbirth as a simple and effective example of this ideology and uses it to further discuss the historical bias.
The beating heart of the exhibition and one of Chicago’s most seminal works is The Dinner Party (1974-79), a ceramic, porcelain and textile installation, almost fifteen metres in width and length and shaped like a triangular dinner table. Each place setting at the table acknowledges the achievement of a woman and the pattern, print and design of each plate reflects her contribution. Laden with the names of 1,038 women, Chicago’s installation introduces women at the centre of the universe across history and mythologies to a global audience. The white tiled floor is also inscribed with the names of nine hundred and ninety-nine women, all inscribed in gold. After years of searching, this grand installation found its home in New York, where it currently sits. It is placed in the world's first feminist art centre- the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum - and contributes to a significant portion of their ticket sales today. While this work is not itself a part of the exhibition at the Serpentine, it is the heart of Chicago’s feminist work.
In the ‘Myths, Legends and Silhouettes’ section of the exhibition plays the 43m 57s film, Judy Chicago’s The Dinner Party: A Tour of the Exhibition (1990). This film, produced, filmed and directed by Donald Woodman, is narrated by Chicago herself: she appears on screen at the very beginning, standing next to the installation, talking about everything from mythological women, the contribution of women in our society, her ideas, the thoughts and labour behind her work, the details and the colours, while also walking her audience through the impact on such a piece on the feminist movement in the Western world. This captivating film booms Chicago’s voice through the exhibition. It stands at the centre, describing her journey of bringing women to the forefront of art history through her work.
This exhibition at the Serpentine is more than a visual documentary of the life of Judy Chicago. It exposes the hidden and often overlooked impact of a woman on Western and possibly, global art history. What sets this exhibition apart is its inclusion of the audience in the narrative itself; rather than simply depicting Chicago’s retelling of history, it asks its audience what kind of world they want to see. The exhibition discusses Chicago’s mixed media works on Magnani paper, a natural, white watercolour paper, titled Orphaned Tree (1993) and Vulnerable Tree (1995) - here she talks not just of female voices, but also of the trees, birds and environmental degradation human value systems have brought. Chicago brings on a revolution through her work. She asks her audience, by overlooking the importance of women, childbirth, life, animals and nature, everything made by the universe, where are we heading?
Judy Chicago: Revelations is showing at Serpentine North Gallery until 1st September.
Last seen at the Barbican in their Unravel exhibition, Judy Chicago’s embroidered silk work Birth Tear/Tear (1982) left her audience wanting more. Famously a part of a series known as the Birth Project (1980-85), this work gives us a short glimpse into the feminist force that Chicago’s work holds. Now, the Serpentine Gallery brings to London Revelations, an inspiring and breathtaking exhibition that traces Chicago’s journey as an artist and as a pioneer of the Feminist Art movement. This solo exhibition brings Chicago’s audience back to the still of a red, white and pink embroidery that speaks of a physical and psychological transformation, focusing on pain, power and creation myths, while also doing so much more.
The exhibition brings to life the chapters of the book Revelations by Chicago, written in the early 1970s. Around the time the book was written, Chicago changed her married surname to her birthplace (‘Chicago’) and became increasingly inspired by the women’s liberation movement. In 1970, Chicago founded the first Feminist Art programme at California State University and began research into the history of the world, focusing on women’s stories. When Chicago wrote Revelations, she thought it was too radical to be published; now, not only has it been recently published with Thames & Hudson in collaboration with the Serpentine, but the Gallery further narrates its five chapters- ‘Revelations of the Goddess’, ‘Myths, Legends and Silhouettes’, ‘The Yearning’, ‘The Calling of the Apostles and Disciples’ and ‘Visions of the Apocalypse’. With a QR code leading to sections of the chapters of her book, this exhibition leaves no stone unturned in bringing us a section of world history that the audience needs to be reminded of.
Chicago’s work, including the pages of her book, brings to life the experience of women, in a manner palpable, colourful and real. The exhibition begins and ends with In the Beginning (1982), a drawing that is part of the Birth Project (1980-85), illustrating a child's birth. The child, however, is depicted as the Universe itself, positioning women as creators of our world. Chicago uses coloured pencils on a long, black sheet of paper, drawing a narrative through various symbols and icons and supporting it with text (“Then one last wail sounded in the Universe as Woman was born onto the Earth”). Her spirals and curved lines depict a constant movement, symbolising a transformation, as well as mimicking the shape of the planets, the waves and the mountains. Through the Birth Project, Chicago references Christian stories and Michelangelo’s fresco, The Creation of Adam (c. 1512), which focuses on man as the creator of life and the centre of the universe. With her work, Chicago aims to highlight the mythologies and narratives that through time have needed women as creators and are often overlooked in the Western canon of art history. She uses childbirth as a simple and effective example of this ideology and uses it to further discuss the historical bias.
The beating heart of the exhibition and one of Chicago’s most seminal works is The Dinner Party (1974-79), a ceramic, porcelain and textile installation, almost fifteen metres in width and length and shaped like a triangular dinner table. Each place setting at the table acknowledges the achievement of a woman and the pattern, print and design of each plate reflects her contribution. Laden with the names of 1,038 women, Chicago’s installation introduces women at the centre of the universe across history and mythologies to a global audience. The white tiled floor is also inscribed with the names of nine hundred and ninety-nine women, all inscribed in gold. After years of searching, this grand installation found its home in New York, where it currently sits. It is placed in the world's first feminist art centre- the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum - and contributes to a significant portion of their ticket sales today. While this work is not itself a part of the exhibition at the Serpentine, it is the heart of Chicago’s feminist work.
In the ‘Myths, Legends and Silhouettes’ section of the exhibition plays the 43m 57s film, Judy Chicago’s The Dinner Party: A Tour of the Exhibition (1990). This film, produced, filmed and directed by Donald Woodman, is narrated by Chicago herself: she appears on screen at the very beginning, standing next to the installation, talking about everything from mythological women, the contribution of women in our society, her ideas, the thoughts and labour behind her work, the details and the colours, while also walking her audience through the impact on such a piece on the feminist movement in the Western world. This captivating film booms Chicago’s voice through the exhibition. It stands at the centre, describing her journey of bringing women to the forefront of art history through her work.
This exhibition at the Serpentine is more than a visual documentary of the life of Judy Chicago. It exposes the hidden and often overlooked impact of a woman on Western and possibly, global art history. What sets this exhibition apart is its inclusion of the audience in the narrative itself; rather than simply depicting Chicago’s retelling of history, it asks its audience what kind of world they want to see. The exhibition discusses Chicago’s mixed media works on Magnani paper, a natural, white watercolour paper, titled Orphaned Tree (1993) and Vulnerable Tree (1995) - here she talks not just of female voices, but also of the trees, birds and environmental degradation human value systems have brought. Chicago brings on a revolution through her work. She asks her audience, by overlooking the importance of women, childbirth, life, animals and nature, everything made by the universe, where are we heading?
Judy Chicago: Revelations is showing at Serpentine North Gallery until 1st September.
