Judy Chicago: Deflowered

DEFLOWERED

JUDY CH ICAGO

02

03

04

05

DEFLOWERED

JUDY CH ICAGO

06

UNLESS OTHERWISE NOTED,

ALL PHOTOGRAPHY BY DONALD WOODMAN

1

2

4

6

12

21

118

CONTENTS Come Back with Your Shield or On It by Tim Nye

Judy Chicago: Merging In LAby Lexi Brown

The Deflowering of Nye+Brown

Judy Chicago: Deflowered

Deflowered Plates

Biography & Acknowledgments

2

Judy Chicago, all 5’3” (now 5’2 1/2” by her own admittance) 115 pounds of her, packs quite a punch both in her weight within the can-ons of art history and in the optical impact of her work. She is David to the Goliaths that comprised the (pea)cocked male brotherhood of Southern California art of the 60s and early 70s. The precision of her slingshot produced a body of work that infuriated her contemporaries and pierced their meditations on color and space. Her target fell sig-nificantly south of the skull. Positioned upright like a shield, Chicago’s “come back with your shield or on it,” approach to the world is particularly poignant in the sleek, white hood of the Chevy Corvair used as the canvas for a series of 4 paintings tattooed with iconography that is a veritable potpourri of sexual orifices, phalluses, and cells that bond the two, with a palette of blazing pastels that would become Chicago’s signature. The “Domes” followed the “Hoods”. Grouped in threes, and com-posed of multiple blown spheres sprayed in an array of colors shimmer-ing on their surface, deep calm seas seducing to their icy depths, their ocular splendor successfully fending off the urge to associate their sexy curves to images of the female anatomy. Engaged in the push and pull of artistic identity, Chicago scoops the toxic ice cream pink plumes of southern California light, encasing them in clear acrylic lacquer, infused with an emotion that chilly Mini-malism has rarely conveyed, her feminism sublimated but ever present. The white sheet acrylic backing reflecting light back at the viewer, pass-ing through her kaleidoscope of color gathering intensity in the process, pastel pigments super charged, retinas pin from the opiates they release. The drawings, which are done as preparation for each painting, are an intricate exploration of form, color and composition. Rendered as topographical maps of color, grids of evaporating hue challenge their neighbors for harmony or intentional discord, at once transporting symphonies and punk rock cacophony. Judy Chicago.

TIM NYE

COME BACK WITH

YOUR SHIELD OR

ON IT.

—PLUTARCH, 46 AD

BIRTH HOOD (DETAIL), 1965/2011 ,

SPRAYED AUTOMOTIVE LACQUER ON

CAR HOOD, 42 .9 X 42 .9 X 4 . 3 INCHES

3

4

Often referred to as the Minimal period prior to the Feminist prac-tice she is most famous for, the works presented here employ multiple strategies while investigating formal concerns. Unlike the stripped down reductive cool minimalism of the east coast, Chicago’s work is more closely aligned with her west coast compatriots in her embrace of color, surface and sensory experience. Chicago lived and made work in Los Angeles during and following her tenure as a graduate student at UCLA. During this time she set out to achieve mastery over/in her technical processes and to this end attended auto body school and ap-prenticed with boat workers and pyro-technicians. She learned to per-fect the surfaces of her sprayed acrylic lacquer paintings and domes, the precise application of car paint to her Corvair car hoods and to handle the smoke and fireworks necessary for her Atmosphere performances. Slickness abounds along with a passionate and expansive use of color. Bodily references and a constant repetition of circular forms—re-ferred to as apertures, donuts, domes, cunts, orifices and/or central core imagery; act to further distance these works from simple categorization as minimal or finish fetish or light and space related. A new abstract vocabulary emerges, undeniably feminine and hinting of revolution. Indeed, recognizing this merging of oeuvres—of ideas, materi-als, and technique, is essential to any reading of Judy Chicago’s work. In a 2002 interview with Lucy Lippard in the catalogue for the survey ex-hibition at the National Museum of Women in the Arts in Washing-ton DC, Chicago explains: “Merging is very important in my work—in some images like Fleshgardens- the merging of flesh and landscape. Or in the Atmospheres (pyrotechnic environments) merging color and landscape, and in the air-brush paintings were I merged color and sur-face. So what’s that about? It’s about breaking down boundaries, break-ing down hierarchies, breaking down false barriers. These are philo-sophical impulses expressed visually and esthetically.”

JUDY CHICAGO:

MERGING IN LOS

ANGELES

BIGAMY HOOD (DETIAL), 1965/2011 ,

SPRAYED AUTOMOTIVE LACQUER ON

CAR HOOD, 42 .9 X 42 .9 X 4 . 3 INCHES

LEXI BROWN

5

6

THE DEFLOWERING

OF NYE+BROWN

7

Between 1968 and 1974, Judy Chicago created a series of fireworks piece in and around southern California. Titled Atmospheres, most of these employed colored smokes to soften or feminize the environment, if only for a moment. Working with a small team of friends, Chicago transformed beaches, forests, deserts, museums and construction sites with whirling plumes of brilliant color. Everyone participated by light-ing flares, photographing and filming the events or bringing food for the hungry crew. Her last piece took place on the banks of Lake Merritt in Oak-land, California, as part of the Oakland Museum’s “Sculpture in the City” exhibition. Using a technique called lance work, Chicago con-structed a giant butterfly with road flares, colored smokes and assort-ed fireworks that measured two hundred feet across its wing span. It would be almost forty years before she had the opportunity to pick up

where she had left off, this time with another butterfly that occupied the football field at Pomona College as part of the Getty’s Pacific Stan-dard Time Performance Festival in January, 2012. Although the technology of fireworks had evolved, lance work had remained the same; a labor intensive method of building a frame-work to support a fireworks image. Chicago was commissioned by Tim Nye and Lexi Brown to employ this technique to create a special piece for the opening of her exhibition, “Deflowered” at Nye + Brown in Los Angeles. Working with a six generation fireworks family (Pyro Spec-taculars), Chicago created a series of petal forms which ignited from their centers and burst into a sequence of startling effects, culminating in an ecstatic explosion of colors and forms.

STUDY FOR DEFLOWERING OF

NYE+BROWN, 2011 , WATERCOLOR ON

PAPER , 15 X 22 INCHES

8

INSTALLATION OF THE

DEFLOWERING OF NYE+BROWN

9

10

THE DEFLOWERING OF NYE+BROWN,

2012 , FIREWORKS, 24 X 28 FEET

11

JUDY CHICAGO:

DEFLOWERED

JUDY CHICAGO BEING

PHOTOGRAPHED DURING

INSTALLATION AT NYE + BROWN BY

PHOTOGRAPHER J IM MCHUGH

14 DEFLOWERED AT NYE + BROWN, INSTALLATION VIEW, 2012

18 DEFLOWERED AT NYE + BROWN, INSTALLATION VIEW, 2012

20

DEFLOWERED

PLATES

22

SMALL EARLY PAINTING

CIRCA 1961

ACRYLIC ON CANVAS

18 .5 X 20 INCHES

24

SMALL EARLY PAINTING

1961

ACRYLIC ON CANVAS

13 .13 IN . X 13 .06 INCHES

SMALL SLATTED SCULPTURE

CIRCA 1961

ACRYLIC ON WOOD

4.5 X 8 X 1 . 5 INCHES

26

FLASHBACK 13/40

1965

SERIGRAPH

18 X 20 INCHES

28

BIGAMY HOOD

1965 -2011

SPRAYED AUTOMOTIVE LACQUER ON CAR HOOD

42 .9 X 42 .9 X 4 . 3 INCHES

30

BIRTH HOOD

1965 -2011


42 .9 X 42 .9 X 4 . 3 INCHES

32

FLIGHT HOOD

1965 -2011


42 .9 X 42 .9 X 4 . 3 INCHES

34

UNTITLED PAINTING

CIRCA 1965

ACRYLIC ON PAPER

10.75 X 19 .63 INCHES

36

ALUMINUM REARRANGEABLE GAME BOARD

1965

SANDBLASTED ALUMINUM

18 X 18 INCHES

38

MULTICOLOR REARRANGEABLE GAME BOARD

1965 - 1966

ACRYLIC ON WOOD

18 X 18 INCHES

40

MULTI COLORED REARRANGEABLE BLOCKS

1965/2011

AUTOMOTIVE LACQUER ON ALUMINUM

6 BLOCKS: 4 X 1 X 1 FEET

6 BLOCKS: 2 X 2 X 4 FEET

INSTALLED SIZE VARRIES

42

1 SET GEROWITZ RARE WOOD BLOCKS

1967

TEAK WOOD BLOCKS IN CANVAS BAG

12 REARRANGEABLE VARIED SHAPES

44

DOME DRAWING (ORANGE , YELLOW, GREEN)

1968

PRISMACOLOR ON PAPER

15 X 15 INCHES

46

STUDY FOR WHIRLING OPEN DOMES

1968 - 1969


28 X 35 INCHES

48

DONUT DRAWING #1

1968


27. 38 X 27. 38 INCHES

50

DONUT DRAWING #2

1968


27. 38 X 27. 38 INCHES

52

DONUT DRAWING #3

1968


27. 38 X 27. 38 INCHES

54

DONUT DRAWING #4

1968


27. 38 X 27. 38 INCHES

56

DONUT DRAWING #5

1968


27. 38 X 27. 38 INCHES

58

DONUT DRAWING #6

1968


27. 38 X 27. 38 INCHES

60

DONUT DRAWING #7

1968


27. 38 X 27. 38 INCHES

62

DOME DRAWING #2

1968


27. 38 X 27. 38 INCHES

64

DOME DRAWING #3

1968


27. 38 X 27. 38 INCHES

66

DOME DRAWING #4

1968


27. 38 X 27. 38 INCHES

68

DOME DRAWING #5

1968


27. 38 X 27. 38 INCHES

70

LARGE DOME DRAWING BLUE/GREEN

1968 - 1969


54 X 54 INCHES

72

LARGE DOME DRAWING #2

1968 - 1969


54 X 54 INCHES

74

LARGE DOME DRAWING #3

1968 - 1969


54 X 54 INCHES

76

CLICK CUNTS #1 -5

1969

PRISMACOLOR ON MUSLIN

5 PIECES , EACH PIECE 15 . 25 X 15 . 25 INCHES

78

IR IDESCENT DOMES #2 (SMALL)

1968

SPRAYED ACRYLIC INSIDE SUCCESSIVE

FORMED CLEAR ACRYLIC DOMES

3 DOMES: 2 X 5 INCHES EACH

80

MULTI - COLORED DOMES (SMALL)

1968

SPRAYED ACRYLIC LACQUER ON

CLEAR ACRYLIC DOMES


82

POLISHED STAINLESS STEEL DOMES (SMALL)

1968

POLISHED STAINLESS STEEL


84

GREY DOMES WITH SOLID CORE

1968

SPRAYED ACRYLIC LACQUER ON SUCCESSIVE

FORMED CLEAR ACRYLIC DOMES


86

PASTEL DOMES #1

1968

SPRAYED ACRYLIC LACQUER ON

CLEAR ACRYLIC DOMES


TABLE: 38 X 30 X 30 INCHES

88

BRONZE DOMES

1968

SPRAYED ACRYLIC LACQUER ON CLEAR ACRYLIC DOMES ON

MIRRORED - GLASS SURFACE ON PLEXIGLASS PARSONS TABLE


TABLE: 38 X 30 X 30 INCHES

90

BLUE- GREEN DOMES

1968

SPRAYED ACRYLIC LACQUER ON CLEAR ACRYLIC DOMES


INSTALLED SIZE: 30 X 30 X 39 INCHES

92

STUDY FOR FLESH GARDENS/BIG BLUE PINK

1971


22 X 22 INCHES

94

STUDY FOR FLESH GARDENS (PINK AND YELLOW)

1971


22 X 28 INCHES

96

STUDY FOR FLESH GARDEN/SK YSUN

1971


22 X 28 INCHES

98

MODEL FOR FRESNO FAN #6

1971

SPRAYED ACRYLIC LACQUER ON ACRYLIC

15 X 30 INCHES

100

MORNING FAN FROM THE FRESNO FANS SERIES

1971


60 X 120 INCHES

102

EVENING FAN

1971


60 X 120 INCHES

104

CAPTION

106

STUDY FOR BIG BLUE PINK FROM FLESH GARDENS

1971


30 X 30 INCHES

108

BIG BLUE PINK FROM FLESH GARDENS SERIES

1971


96 X 96 INCHES

110

DUSK /GLOW FROM FLESH GARDENS SERIES

1971


96 X 96 INCHES

COLLECTION, ANDY HALL

112

SK Y/SUN FROM FLESH GARDENS SERIES

1971


96 X 96 INCHES

114

STUDY FOR THE GREAT LADIES

1973


11 X 14 INCHES

116

THROUGH THE FLOWER 2

1973

SPRAYED ACRYLIC ON CANVAS

60 X 60 INCHES

COURTESY OF DIANE GELON

118

BIOGRAPHY

119

Judy Chicago is an artist, author, feminist, educator, and intellectual whose career now spans over five decades. Her influence both within and beyond the art community is attested to by her inclusion in hun-dreds of publications throughout the world. Her art has been frequent-ly exhibited in the United States as well as in Canada, Europe, Asia, Australia, and New Zealand. In addition, a number of the books she has authored have been published in foreign editions, bringing her art and philosophy to thousands of readers worldwide. In the early seventies after a decade of professional art practice, Chicago pioneered Feminist Art and art education through a unique program for women at California State University, Fresno, a pedagogi-cal approach that she has continued to develop over the years. She then brought her program to Cal-Arts, where she team-taught with Miriam Schapiro, producing with their students the ground-breaking Womanhouse project. In 1999, Chicago returned to teaching for the first time in twenty-five years, having accepted a succession of one-semester ap-pointments at various institutions around the country beginning with Indiana University, Bloomington, where she received a Presidential Appointment in Art and Gender Studies. In 2000, she was an Inter-Institutional Artist in Residence at Duke University and the Univer-sity of North Carolina, Chapel Hill. In 2001, with her husband, pho-tographer Donald Woodman, she undertook a project with students at Western Kentucky University. Working with students, faculty and local artists, Chicago and Woodman developed a project titled, “At Home”, examining the subject of the house from the perspective of residents of Kentucky who have a keen sense of place and home. In the fall of 2003, Chicago and Woodman team-taught again, facilitat-ing an ambitious inter-institutional, multi-site project in Pomona and Claremont, California. In the spring of 2006, Chicago and Woodman were the first Chan-cellor’s Artists in Residence at Vanderbilt University where they facilitated a project involving Vanderbilt students and Nashville artists. Recently her art education archive has been acquired by Penn State University, where it will be made available to scholars and educators. In 2009, California State University, Fresno hosted an exhibition entitled “A Studio of Their Own: The Legacy of the Fresno Feminist Experiment” in which the work of the Fresno Feminist Art program students, was showcased. Although Chicago has been an influential teacher and prolific au-thor, the primary focus of her career has been her studio work. In 1974, Chicago turned her attention to the subject of women’s history to create her most well-known work, The Dinner Party, which was executed be-tween 1974 and 1979 with the participation of hundreds of volunteers. This monumental multimedia project, a symbolic history of women in Western Civilization, has been seen by more than one million viewers during its sixteen exhibitions held at venues spanning six countries.

The Dinner Party has been the subject of countless articles and art history texts and is included in innumerable publications in diverse fields. The impact of The Dinner Party was examined in the 1996 ex-hibition, “Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History.” Curated by Dr. Amelia Jones at the UCLA Armand Ham-mer Museum, this show was accompanied by an extensive catalog pub-lished by the University of California Press. In 2007, The Dinner Party was permanently housed at the Brooklyn Museum as the centerpiece ofthe Elizabeth A. Sackler Center for Feminist Art, thereby achieving Chicago’s long-held goal. In conjunction with the permanent housing, Chicago published a final updated and definitive book, The Dinner Party: From Creation to Preservation (Merrell, 2007). From 1980 to 1985, Chicago worked on the Birth Project, de-signing a series of birth and creation images for needlework that were executed under her supervision by 150 skilled needle workers around the country. The Birth Project, exhibited in more than 100 venues, em-ployed the collaborative methods and a similar merging of concept and media that characterized The Dinner Party. Exhibition units from the Birth Project can be seen in numerous public collections around the country including The Albuquerque Museum where the core collec-tion has been placed to be made available for exhibition and study. While completing the Birth Project, Chicago again focused on individual studio work to create PowerPlay. In this unusual series of drawings, paintings, weavings, cast paper, and bronze reliefs, Chicago brought a critical feminist gaze to the gender construct of masculin-ity, The thought processes involved in this unique body of art combined with the artist’s long concern with issues of power and powerlessness, and a growing interest in her Jewish heritage led to her next body of art. The Holocaust Project: From Darkness into Light — which involved eight years of inquiry, travel, study, and artistic creation — is comprised of a series of images merging Chicago’s painting with the innovative photography of Donald Woodman, as well as works in stained glass and tapestry designed by Chicago and executed by skilled artisans. The exhibition premiered in October 1993 at the Spertus Mu-seum in Chicago, then traveled to museums around the United States until 2002 and selections from the project continue to be shown. Resolutions: A Stitch in Time was Judy Chicago’s last collab-orative project. Begun in 1994 with skilled needle workers with whom she had worked for many years, Resolutions combines painting and needlework in a series of exquisitely crafted and inspiring images which — with an eye to the future — playfully reinterpret traditional adages and proverbs. The exhibition opened in June 2000 at the Mu-seum of Arts and Design, New York, NY, and toured to seven venues around the United States and Canada. In 1999, prior to the opening of Resolutions, an extensive ret-rospective of Chicago’s works on paper premiered at the Florida State

PHOTO COURTESY JERRY MCMILLAN,

LOS ANGELES , CA

120

University Art Museum in Tallahassee, Florida. “Trials and Tributes” was organized by Dr. Viki Thompson Wylder, who is a scholar on the subject of Chicago’s oeuvre. In October 2002, a major exhibition surveying Chicago’s career was presented at the National Museum of Women in the Arts. The show was accompanied by a catalog edited by Dr. Elizabeth A. Sackler with essays by Lucy Lippard and Dr. Viki Thompson Wylder, Introduction by Edward Lucie-Smith. In 2009, the Textile Museum of Canada in Toronto mounted “If Women Ruled the World,” the first major survey of Chicago’s work in the needle and textile arts. This exhibition included Chicago’s a range of monumental textile works and was accompanied by an extensive catalog with essays by Allyson Mitchell and Jenni Sorkin, both young feminist scholars. The show subsequently traveled to the Art Gallery of Calgary. In 2011, “Judy Chicago Tapestries Woven by Audrey Cowan” opened at the Museum of Art and Design in New York. This show highlighted Chicago’s work in tapestry spanning almost five decades, a collection that is being gifted to the museum by Audrey and Bob Cowan. In addition, in 2011 and 2012, Chicago’s important contribu-tions to southern California art are being highlighted in “Pacific Stan-dard Time”, a Getty funded initiative documenting and celebrating the region’s rich history. In addition to a life of prodigious art making, Chicago is the author of numerous books: Through the Flower: My Struggle as a Woman Artist, 1975 (subsequently published in England, Germany, Japan, Taiwan, and China); The Dinner Party: A Symbol of Our Heri-tage, 1979; Embroidering Our Heritage: The Dinner Party Needle-work, 1980 (also published in a combined edition in Germany); The Birth Project, 1985 (Anchor/Doubleday); Holocaust Project: From Darkness into Light, 1993; The Dinner Party/Judy Chicago, 1996 and Beyond the Flower: The Autobiography of a Feminist Artist, 1996 (Viking Penguin); Women in Art: Contested Territory (co-authored with Edward Lucie-Smith), 1999 (Watson Guptill) Fragments from the Delta of Venus, 2004 (powerHouse Books) and Kitty City: A Fe-line Book of Hours, 2005 (Harper Design International); The Dinner Party: From Creation to Preservation, 2007 (Merrell Publishers); Frida Kahlo, Face to Face (co-authored with Frances Borzello), 2010 (Pres-tel) Chicago is the recipient of numerous grants and awards includ-ing an Honorary Doctorate in Fine Arts from Russell Sage College in Troy, NY; an Honorary Doctorate in Fine Arts, honoris causa from Smith College, Northampton, MA; an Honorary Degree of Doctor of Humane Letters from Lehigh University, Bethlehem, PA; an Honor-ary Doctorate of Fine Arts from Duke University, Durham, NC; an Honorary Doctorate of Humane Letters from Hebrew Union College,

Cincinnati, OH; the 1999 UCLA Alumni Professional Achievement Award; and a Visionary Woman Award from Moore College of Art and Design, Philadelphia, PA in 2004 as well as the Lion of Judah Award that same year. Many films have been produced about her work including Right Out of History; The Making of Judy Chicago’s Dinner Party by Jo-hanna Demetrakas; documentaries on Womanhouse, the Birth Project, the Holocaust Project and Resolutions; and two films produced by the Canadian Broadcast Corporation, Under Wraps and The Other Side of the Picture. E! Entertainment Television included Judy Chicago in its three-part program, World’s Most Intriguing Women. Recently, she was named one of the Eight Jewish Women Who Changed the World in the magazine published by the Union for Reform Judaism. In 1996, the Arthur and Elizabeth Schlesinger Library on the History of Women in America at Radcliffe College, Cambridge, MA, became the repository for Chicago’s papers. Chicago is the first living artist to be included in this major archive. In 2011, Chicago’s art edu-cation archive was acquired by Penn State University which intends to integrate information about her pedagogical methods into their art education program. For over five decades, Chicago has remained steadfast in her commitment to the power of art as a vehicle for intellectual trans-formation and social change and to women’s right to engage in the highest level of art production. As a result, she has become a symbol for people everywhere, known and respected as an artist, writer, teacher, and humanist whose work and life are models for an enlarged defini-tion of art, an expanded role for the artist, and women’s right to free-dom of expression. For more information about Judy Chicago’s work, see www.ju-dychicago.com and www.throughtheflower.org.

121

BORN

June 20, 1939 – Chicago, IL

EDUCATION

Masters of Art, 1964 - University of California, Los Angeles, CA

Bachelor of Art, 1962 - University of California, Los Angeles, CA, Member, Phi Beta Kappa

HONORARY DEGREES

Honorary Doctorate in Humane Letters, 2010 - Hebrew Union College, Cincinnati, OH

Honorary Doctorate in Fine Arts, 2003 - Duke University, Durham, NC

Honorary Doctorate in Humane Letters, 2000 - Lehigh University, Bethlehem, PA

Honorary Doctorate in Fine Arts, 2000 - Smith College, Northampton, MA

Honorary Doctorate in Fine Arts, 1992 - Russell Sage College, Troy, NY

BOOKS BY JUDY CHICAGO

Frida Kahlo: Face to Face, co-authored with Frances Borzello, 2010, Prestel Publishers

The Dinner Party: From Creation to Preservation, 2007, Merrell PublishersKitty City: A Feline Book of Hours, 2005, Harper Collins

Fragments From The Delta of Venus, 2004, powerHouse

Women and Art: Contested Territories, 1999, co-authored with Edward Lucie-Smith, Watson-Guptill

Beyond the Flower: The Autobiography of a Feminist Artist, 1996, Viking/Penguin

The Dinner Party/Judy Chicago, 1996, Viking/Penguin

Holocaust Project: From Darkness into Light, 1993, Viking/Penguin

The Birth Project, 1985, Doubleday/Anchor

Embroidering our Heritage: The Dinner Party Needlework, 1980, Doubleday/Anchor

The Dinner Party: A Symbol of Our Heritage, 1979, Doubleday/Anchor

Through the Flower: My Struggle as a Woman Artist, 1975, Doubleday

AWARDS AND GRANTS

38th Governor’s Award for Excellence in the Arts, Santa Fe, NM, 2011

Alice Paul Award, New Mexico Women’s Foundation, Santa Fe, NM, 2011

Lion of Judah Award, Washington, DC, 2004

Visionary Woman Award, Moore College of Art and Design, Philadelphia, PA, 2004

UCLA Alumni Professional Achievement Award, 1999

The Getty Grant Program, for a conserva-tion study of the Dinner Party, 1997

Proclamation, City of Albuquerque, 1996

Service to the Field Award, Spertus Museum of Judaica, 1994

Thanks Be to Grandmother Winifred Foundation, 1993

International Friends of Transformative Arts, 1992

Streisand Foundation, 1992

Vesta Award, Los Angeles Women’s Building, 1990

Threshold Foundation, 1988

California Arts Commission, 1984

Woman of Achievement of the World, Women’s Pavilion, Louisiana World Exposition, 1984

National Endowment for the Arts; Individual Artist Grant, 1977

National Endowment for the Arts; Services to the Field Grant, 1976

Outstanding Woman of the Year, Mademoiselle Magazine, 1973

TEACHING EXPERIENCE

Vanderbilt University, Nashville TN First Chancellor’s Artists in Residence with photographer Donald Woodman, 2006.

Pomona Arts Colony/Cal Poly Pomona/Pitzer College, Pomona and Claremont, CA “Envisioning the Future,” an interdis-ciplinary and multi exhibition site project team-taught with photographer Donald Woodman, 2003.

Western Kentucky University, Bowling Green, KY Professor-in-Residence, 2001: “At Home”, an interdisciplinary project team-taught with photographer Donald Woodman.

Duke University and University of North Carolina – Durham and Chapel Hill, N.C Visiting Professor and Artist in Residence, 2000

Indiana University – Bloomington, IN Artist in Residence, 1999College of St. Catherine, St. Paul, MN Artist in Residence, 1975

Feminist Studio Workshop; Los Angeles, CA Founder/Instructor, 1973 – 1974

California Institute of the Arts, Valencia, CA Faculty Member; Co-Founder with Miriam Shapiro, Feminist Art Program, 1971 – 1973

California State University, Fresno, CA Assistant Professor; Founded First Feminist Art Program, 1969 – 1971

UC, Irvine Extension Program, Irvine, CA, 1967 – 1969

UCLA Extension Program, Los Angeles, CA, 1964 – 1966

SPECIAL THANKS

Thanks to Tim Nye and Lexi Brown for a beautiful exhibition and catalog; thanks to my husband, photographer Donald Woodman; thanks to Lucy Lippard for her friendship and support for over fifty years; thanks to Kyle LaMar and Kaylan George for a great catalog; thanks to the staff of Nye + Brown and Jon Cournoyer for his help; and a special appreciation to Chris Souza and Pyro Spectaculars for helping me “deflower” Nye + Brown. Thanks to Chris Hensley for making sure all the details were correct, an indispensable job.

CREDITS

Unless otherwise noted, all photography by Donald Woodman

Edited by Katherine Chan

Design by Kyle LaMar & Kaylan George

Printed by Asia Pacific Offset62 Rivington Street, Suite 2BNew York, NY 10002

© Nye + Brown, 20122685 South La Cienega Blvd. Los Angeles, California 90034

© Nye + Brown, 2012

123

124

125

126

NYE + BROWN

Date post:	14-Mar-2016
Category:	Documents
Upload:	nyehaus
View:	216 times
Download:	2 times

Judy Chicago: Deflowered

Documents