Judy Hecker 's Influence On Art

Looking at Judy Chicago’s The Dinner Party a mixed media installation created in 1979, a positive feeling comes about me. I chose this piece it speaks volumes about women in our history. This comes from the names that are written all over the floor and also the arts and crafts that are present on table settings. More so, it was visually pleasing with the bright, warm colors that each setting had, all difference from one another. This feminist piece is a staple for the feminism community in general and within the arts itself. Chicago successfully used this feminist piece to recognize achievements made by influential women through her vaginal imagery and formal dining setting.

In 1971, the Solomon R. Guggenheim Museum was to present a solo show of Haacke’s work, which was to include the controversial piece, Solomon R. Guggenheim Museum Board of Trustees (1974), but the museum director cancelled the exhibition. This was partially due to Haacke’s refusal to omit the work from the show, but mostly because of the piece’s subject matter. This piece consists of two framed panels with lists of the museum’s board of trustees, which would be acceptable to showcase because this knowledge would be readily available, but Haacke added five more panels listing the corporate sponsors of the museum along with each member’s other affiliations with corporations. This work exposed the inner mechanisms of the institution by revealing the trustees’ questionable affiliations and the financial backers of the museum. In addition, this piece exemplifies Institutional Critique precisely because of its focus on the museum itself over the artwork. After all, this piece cannot be sold at auction, which is an essential aspect of galleries and museums. The piece is, to an extent, also site-specific in that the trust essence of the piece could only be felt if it was exhibited in the institution it was criticizing, although Haacke never exhibited it at the Guggenheim. In fact, the piece was not shown until Documenta X in 1997, but by that point, it had lost its critical value. Not only was it not shown in the

I’m also going to be talking about Sally Morgan’s (1989) “Greetings from Rottnest” artwork, Sally Morgan artist herself, and her use of elements and principles of art in “Greetings from Rottnest”.

Lorraine O’Gradys’ unintentionally historic performances, seemingly elevate everyday life to the status of art. In her ‘exhibit’ at the Studio Museum, her work is represented through photographs, in ‘Art is…’. Thirty years ago, O’Grady presented ‘Art is’ in the form of a float in the African American Day Parade right here in Harlem. Performers pranced with empty frames, metaphorically capturing fleeting pictures of the people and places that surrounded the route of the parade. By doing so, the trappings of high art were brought out of the museum, into the street, which promotes a new way people might begin to recognize this new art form in the celebrations of every day life. The

Julie Becker was born in 1972, and passed away in 2016 at the age of 43[i]. Los Angeles was an integral part of her life as she grew up, created, and died in L.A; however she studied briefly at Hochschule der Kunste, Berlin in 1991 and completed a residency in Basel, Switzerland at Stiftlung Laurenz-Haus Foundation. Becker was the daughter of artists[ii], and subsequently grew up in constant travel from one apartment to the next while her parents worked odd jobs to survive. In lieu of finishing her senior year at Santa Monica High School, she became the youngest student ever to attend California Institute of the Arts in 1989 at the age of 16. From CalArts in Valencia, Becker received her BFA in 1993, and her MFA in 1995. Paul Schimmel, curator at the L.A Museum of Contemporary Art, selected Becker’s MFA thesis project, Researchers, Residents, A Place to Rest 1993-96, for the 23rd São Paulo Biennial, where she was the youngest participant.

Wishing no more now than to talk with Jane Addams, I recall scurrying over and sending a letter of “Utmost Importance” to the address listed in the newspaper, but that was Jane Addams’ fame hadn’t grown like a roaring fire yet. “800 S Halsted St, Chicago, IL 60607…” I said to myself as I addressed the

Late 60s, Mierle is a young art student at NYU. Her sculpture teacher sees that she is pregnant and tells her, “well, I guess now you can’t be an artist.”

During this time, I can assure you that she was a huge asset to our organization. Norah excelled and most amiably shared her love for Art with her students and colleagues, in a manner that I have rarely seen before. Her love for Art is to be respected and admired. She has also helped our students to believe they were all artists in their own way.

Judy Chicago (artist, author, feminist and educator) has a career that now spans five decades. In the late 1960s, her inquiry into the history of women began a result of her desire to expose the truth of women’s experiences, both past and present. She still continues on a crusade to change the perception of women from our history, “Women’s history and women’s art need to become part of our cultural and intellectual heritage.” (Chicago, 2011) Through our history women - their struggles, accomplishments and contribution to history, have been overlooked, downplayed and even completely written out of a male dominated society and culture. In anthropologist Sherry Ortner’s 1974 essay “Is Female to Male as Nature Is to Culture?” she supports this view, writing “…woman is being identified with—or, if you will, seems to be a symbol of—something that every culture devalues,” (Ortner, 1974) Where Mendieta's work primarily came from a striving to belong and an understanding of where she came from, I feel that Chicago's aim was to find a place for all women, past and present in this world, starting with herself in the art world. Chicago did explore her peronal heritage in later works entitled 'Birth Project' and 'Holocaust Project'.

Buffalo Spree, a city and regional magazine, dedicates itself to highlighting the best of Western New York. During her summer internship, Mary wrote multiple pieces for Buffalo Spree and when she was asked to write a promotional piece for a nursing home in the area, she didn’t think

After graduating Englewood High School in Chicago in 1948, Lorraine Hansberry left for college to pursue her interest in visual art (“Lorraine”). She attended the University of Wisconsin, the Art Institute of Chicago, and “numerous other schools before moving to New York” in 1950 (Jacobus, “Lorraine” 1223). Once in New York, Hansberry ditched visual art and found interest in theatre, which led her

The way she tells the anecdotes is straightforward and succinct. Compared with the previous book I read—Sarah Thornton’s Seven Days in the Art World, Fensterstock pays more attention on the figure’s experiences rather than their dresses or looks, while Thornton delicately depicts the figures’ appearances especially when she is telling the story of the Christie’s evening sale. Fensterstock’s plain-language narrative renders her story an objective presentation of facts, but also make readers hard to pay attention on the bland stories. However, the subheadings of this book show author’s prose writing.

Judy’s Art work was very inspirational. Her work follows multiple traditional roles of an artist. It gives you a visual feeling instantaneously. Art isn’t art unless it makes you uncomfortable. Art gives you that extraordinary feeling, and Judy Chicago’s work unquestionably has that. When I first laid eyes on the art work, I automatically thought “oh vagina”, and surprisingly I was correct. It didn’t make me uncomfortable but in fact made me think and wonder why are there a bunch of vaginas. The clarification on her art work made it remarkable, it is a piece of work. I will definitely always remember it because it represents women’s rights, which will always matter. For her to represent women who aren’t even noticed is impressive and it would make me feel good about myself to get some acknowledgment. Judy’s art work reveals a hidden truth, and it helped me feel appreciative for women’s rights because I often don’t think of them because I am a male. So, the feelings of the women who are actually featured in the piece of work is mindboggling.

I’ve continued to pursue this not only in my education but now in my career. I’ve been a Gallery Assistant at Uno Langmann Limited since June 2017, a highly recognized antique art gallery which specializes in appraising paintings, objects, furniture, and artifacts. The gallery focuses on multiple religions, periods of time, and numerous areas across the world. I’ve been working with Mr. Langmann and his colleagues to acquire skill in assessing, writing about and sell objects such as Emily Carr artifacts, Chief carvings from across Canada and both of The Group of

I collaborated the ideas produced through looking at Marina’s work with ideas from Alex Schweder, a stamps lecture guest. Alex Schweder