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...
Victory at Sea is a simple mechanism made from cardboard and found materials that mimics the Phenakistoscope, an early cinematic apparatus...
Continuing Oursler’s broader exploration of the moving image, Absentia is one of three micro-scale installations that incorporate small objects and tiny video projections within a miniature active proscenium...
Brent Sikkema, the Manhattan art dealer renowned for representing artists such as Jeffrey Gibson and Kara Walker found dead The post Brent Sikkema – Visionary Art Dealer Of Jeffrey Gibson And Kara Walker Murdered appeared first on Artlyst ....
Like many of Larry Bell’s works, VFGY9 deals primarily with the viewer’s experience of sight...
In Stong Sory Vegetables , Laure Prouvost explains that she woke up one morning and that some vegetables had fallen from the sky on her bed, making a hole in her ceiling...
McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...
Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California...
The version of Frontier acquired by the Kadist Collection consists of a single-channel video, adapted from the monumental installation and performance that Aitken presented in Rome, by the Tiber River, in 2009...
Untitled (Wall Street’s Chosen Few…) is typical of Pettibon’s drawings in which fragments of text and image are united, but yet gaps remain in their signification...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
Gabriel Orozco often documents found situations in the natural or urban landscape...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
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...
Silhouette in the Graveyard is part of a suite of animated videos by Chitra Ganesh titled The Scorpion Gesture ...