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.
ArtsEquator's Hot List: January 2021 | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints January 6, 2021 Every first Wednesday of the month, ArtsEquator will release a list of recommended shows/events/programmes that our readers can look out for in that month...
Leonardogillesfleur describes Myself as a Fountain : “The couple kissing in the park...
Kartika Affandi: 9 Ways of Seeing | Interview with videomaker Christopher Basile (via Culture 360) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Radar July 17, 2018 A new documentary film tells the story of visionary artist Kartika Affandi, daughter of Indonesia ‘s most celebrated painter, and a groundbreaking personality in her own right...
Known But to God: The Dug Up, Dissected, and Disposed for the Sake of Medicine by Doreen Lynnette Garner is a small, suspended sculpture composed of glass, silicone, steel, epoxy putty, pearls, Swarovski crystals, and whiskey...
In this interview, artist Pio Abad discusses his solo exhibition Kiss the Hand You Cannot Bite that draws from multiple histories of exile, resistance, and displacement from the ’70s and ’80s that brought Filipinos to California, home today to one of the largest diasporas of this community in the world...
Artist Akeem Smith on bringing Jamaican dancehall culture out of the shadows - arts24 Skip to main content Artist Akeem Smith on bringing Jamaican dancehall culture out of the shadows Issued on: 03/11/2023 - 15:44 11:25 arts24 © FRANCE 24 By: Solène CLAUSSE | Marion CHAVAL | Magali FAURE | Clémence DELFAURE | Alison SARGENT | Loïc CHALAVON | Sonia PATRICELLI Akeem Smith grew up between Brooklyn, New York and Kingston, Jamaica, where his aunt and grandmother were figures of the city's dancehall culture...
Kubra Khademi’s work celebrates the female body and in her detailed drawings and paintings she portrays female bodies floating on white paper...
The series Clouds paintings by Benoît Maire features oil on canvas works in varying format, in which the artist depicts clouds, using a variety of tools, including a spray gun, paintbrush, or palette knife...
Marcela Cantuária: ‘I want to make life from the painting’ Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Art Basel in Miami Beach 2023 interview Marcela Cantuária: ‘I want to make life from the painting’ For her first solo show in North America, the Brazilian artist has created fantastical portraits of heroic women, from the Amazon to Florida Theo Belci 9 December 2023 Share Marcela Cantuária's first solo show in North America is at the Pérez Art Museum Miami Photo: Priscilla Haefeli/CLAUDIA/Courtesy of the artist and A Gentil Carioca In The South American Dream , Marcela Cantuária takes the opportunity to view her native continent from afar, painting familiar subjects for a new US audience...
The Truth is in the Soil - Photographs by Ioanna Sakellaraki | Essay by Cat Lachowskyj | LensCulture Award winner The Truth is in the Soil Prompted by personal loss, Ioanna Sakellaraki embarked on a photographic journey back to her native Greece to immerse herself in the culture of grief and explore its liminal space with her camera...
From Here On: Going to the theatre in the time of COVID | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints Courtesy of Esplanade – Theatres on the Bay October 1, 2020 By Jocelyn Chng (1,550 words, 5-minute read) Attending From Here On , my first live performance since COVID hit, evoked a very strange mix of emotions in me...
Martha Colburn’s film, Western Wild … or How I Found Wanderlust and Met Old Shatterhand , about the famed German author Karl May weaves together a mixture of stop motion animation, travelogue and biography that generates a kind of sensory wanderlust...