In an exhibition-within-the-exhibition title“City of Ladies,” features work by more than 80 women artists, writers, and cultural figures. Some are art history’s most famous women, such as frida kahlo , georgia o’keeffe , and artemisia gentileschi , as well as the likes of paula modersohn-becker , elizabeth catlett , and käthe kollwitz . There are also women from other fields, including gertrude stein , virginia woolf , emily dickinson , martha graham , and emma goldman .
The works will be displayed alongside several of Chicago’s major pieces, with monumental banners from her series“The Female Divine” (2022), created for a paris fashion show with dior , hanging overhead. It’s an unusual curatorial choice, but one that makes perfect sense when viewed through the lens of Chicago’s oeuvre.
For decades, she has made an art of collaboration, enlisting women with unique artistic skills to help realize her visions for ambitious projects like and“the birth project” (1980–85). And if one half of Chicago’s practice is her physical work, the other is her deeply researched archival studies, uncovering the histories of women and their mastery of art forms wrongfully relegated to the realm of craft.
Judy Chicago, from“The Female Divine” (2020). ©Judy Chicago/Artists Rights Society (ARS). Jordan Schnitzer Family Foundation.
“If there is Judy, there is also women’s history. If there is Judy, there are also other women,” New Museum artistic director Massimiliano Gioni, who curated the show with Gary Carrion-Murayari, Margot Norton, and Madeline Weisburg, told Artnet News.“And so that’s how we
Judy Chicago is famous for The Dinner Party (1974–79), a work of art celebrating the overlooked historic achievements of women. So, it’s fitting that the great feminist artist’s first New York survey, “Judy Chicago: Herstory,” opening at the New Museum in October, will pay homage to women throughout history.
The exhibition-within-the-exhibition titled “The City of Ladies” will feature work by more than 80 women artists, writers, and cultural figures. Some are art history’s most famous women, such as Frida Kahlo, Georgia O’Keeffe, and Artemisia Gentileschi, as well as the likes of Paula Modersohn-Becker, Elizabeth Catlett, and Käthe Kollwitz. There are also women from other fields, including Gertrude Stein, Virginia Woolf, Emily Dickinson, Martha Graham, and Emma Goldman.
The works will be displayed alongside several of Chicago’s major pieces, with monumental banners from her series “The Female Divine” (2022), created for a Paris fashion show with Dior, hanging overhead. It’s an unusual curatorial choice, but one that makes perfect sense when viewed through the lens of Chicago’s oeuvre.
For decades, she has made an art of collaboration, enlisting women with unique artistic skills to help realize her visions for ambitious projects like The Dinner Party and “The Birth Project” (1980–85). And if one half of Chicago’s practice is her physical work, the other is her deeply researched archival studies, uncovering the histories of women and their mastery of art forms wrongfully relegated to the realm of craft.
Judy Chicago, What if Women Ruled the World? from “The Female Divine” (2020). ©Judy Chicago/Artists Rights Society (ARS). Jordan Schnitzer Family Foundation.
“If there is Judy, there is also women’s history. If there is Judy, there are also other women,” New Museum artistic director Massimiliano Gioni, who curated the show with