Art became one of the main themes of rebellion and transformation experienced by feminism in the 1970s and one of its most important references is Judy Chicago (July 20, 1939, Chicago), which over five decades has worked to recover the memory of women as well as analysis of male power and its mark on our society.
Alhóndiga Bilbao, in the Alhóndiga Bilbao Museum, inaugurated on October 8 the first major retrospective devoted to this artist in Europe, already enshrined in his country, the United States. The title of the exhibition, “Why not Judy Chicago?” Was itself a reflection on the lack of recognition of the great hegemonic institutions in art to one of the most representative living artists of the Second Wave and whose work plastic, publications and educational work has focused in the last half century feminist rebellion and questioning the patriarchal mandate.
Chicago defends freedom of expression for women and especially the artists. His work has been exhibited in the United States and Canada, Britain, Asia, Australia and New Zealand and has written 14 books on art and philosophy. One of his most famous works is ‘The Dinner Party’, a large installation that documents and pays tribute to the great women of history and forgotten part of the permanent collection since 2007 Art Center in Elizabeth A. Sacker Museum Brooklyn. He spent 5 years, from 1974 to 1979, this project, the most popular of his career and for which enlisted the help of 400 volunteers.
Since 1970, the career of the US was closely linked to pedagogy. He laid the foundations for a feminist art practice and was a pioneer in launching a program of feminist art at California State University, in the city of Fresno, between autumn 1970 and spring 1971. It has never ceased to impart lessons.
If feminist art, as noted in 1971 the author Linda Nochlin, works primarily in two areas: recovering the history of artists who have been excluded from traditional historiography and study the image of women in the arts, Judy Chicago responds perfectly this movement, which were forerunners other artists such as Georgia O’Keeffe, one of his major influences: “Knowing what previous women I had been able to overcome in order to make the changes that today we defend was important to me, “he said in 2007 the magazine ‘Bitch’.
(Sources: ‘Why not Judy Chicago?’ Alhóndiga Bilbao, Bilbao, Official Website of Judy Chicago, ‘Why has been no great women artists’ Linda Nochlin.)