Domes #1 represents a significant moment in Chicago’s career when her art began to change from a New York-influenced Abstract Expressionist style to one that reflected the pop-inflected art being made in Los Angeles. By 1968, the year she began creating Domes , the twenty-nine-year-old artist had moved from Chicago to Los Angeles, graduated from UCLA, and was part of a generation of artists whose work was characterized by of the masculine overtones of Southern California’s flourishing car culture. Inspired by new technologies in the auto manufacturing, these “Finish Fetish” artists appropriated industrial materials such as car paint or lacquer to create artwork with pristine finishes. Chicago too was interested in using industrial technologies and enrolled in auto body and boat building school. While the geometric forms, meticulously applied finish, and luminous, gradated hues of color in Domes speak to Chicago’s interest in the prevailing artistic themes of 1960s Southern California, its intimate scale, round shape, and triangular formation belie her career-long interest in using “feminine” forms to promote feminist issues.
In the 1970s Judy Chicago and Miriam Schapiro founded the Feminist Art Program at CSU Fresno, which later moved to CalArts in Los Angeles. As a result of her art work and pedagogy, Chicago is the most recognizable feminist artist who gave an authentic voice to women’s experiences and their important contributions to human society and culture. In addition to expanding women’s rights to encompass a greater freedom of artistic expression, Chicago expanded the definition of art and the role of all artists. Her earliest forays into the art world coincided with the rise of Minimalism, and the Los Angeles-based Finish Fetish movement, which she eventually abandoned in favor of an art practice believed to have greater content and relevance.
The work La Loge Harlem focuses on the history of Harlem and its development over the last 200 years...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
In Perpetual Motion (2005) the seemingly erratic flight of the bright orange Monarch butterfly—filmed in its winter habitat of Michoacán, Mexico—is intensified by the artist’s editing in which frames are randomly dropped and the film is sped up...
The first iteration of Flutter was specifically conceived for the Pro Arts Gallery space in Oakland in 2010, viewable from the public space of a sidewalk, and the version acquired by the Kadist Collection is an adaptation of it...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
San Pedro is a seaside city, part of the Los Angeles Harbor, sitting on the edge of a channel...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
#17 Pink is a photogram, a photographic image produced without the use of a camera...
Federico Herrero’s energetic paintings reflect his experiences on the streets of his native San José, Costa Rica, and in the surrounding tropical landscape...
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Anointed by Kathy Jetnil-Kijiner and Dan Lin is a poem recital/video that addresses the American nuclear testing legacy in the Marshall Islands that occurred between 1946 to 1958 in Bikini and Enewetak Atolls...
Latiff Mohidin’s “Langkawi”: The Within and Beyond | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Image: Chan + Hori Gallery July 10, 2018 By Gerald Sim (1,500 words, eight minute read) As with any thought-provoking installation, Latiff Mohidin’s “Langkawi” series, on show at Chan+Hori Contemporary , evokes a large range of perceptions from its audience...