Bibliografias temáticas / Dinner party (Chicago, Judy)

Literatura científica selecionada sobre o tema "Dinner party (Chicago, Judy)"

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Publicado: 25 de julho de 2024

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Artigos de revistas sobre o assunto "Dinner party (Chicago, Judy)"

1

Giżycki, Marcin. "Ostatnia wieczerza Judy Chicago". Kwartalnik Filmowy, n.º 100 (31 de dezembro de 2017): 239–43. http://dx.doi.org/10.36744/kf.2005.

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W 1979 r. amerykańska artystka Judy Chicago wystawiła w San Francisco Museum of Modern Art instalację Dinner Party dedykowaną 1038 kobietom z historii i mitologii świata. Na pracę, którą dziś można oglądać w Brooklyn Museum of Art, złożyły się trzy długie stoły ustawione w trójkąt, na których przygotowano nakrycia dla 39 kobiet oznaczone ich nazwiskami wyhaftowanymi złotymi nićmi. Wśród uhonorowanych znalazły się: Hatszepsut, Safona, św. Brygida z Kildare, Cesarzowa Teodora, Eleonora Akwitańska, Petronilla de Meath, Artemisia Gentileschi, Susan B. Anthony, Emily Dickinson, Virginia Woolf i Georgia O’Keeffe. Dalszych 999 nazwisk wypisano, również złotą farbą, na kafelkowej posadzce. Dzieło od razu wywołało burzliwe reakcje i dysputy nawet w środowiskach feministycznych. Zarzucano mu m.in. słabą reprezentację kobiet spoza kręgu kultury euroamerykańskiej. Najwięcej negatywnych reakcji wywołały jednak wzory na talerzach niedwuznacznie kojarzące się z żeńskimi organami płciowymi. Dziś jednak Dinner Party uchodzi za jedną z najważniejszych i najwcześniejszych (przynajmniej na tę skalę) manifestacji feminizmu w sztuce. Cały proces powstawania instalacji udokumentowała w filmie Johanna Demetrakas, dając świadectwo nie tylko wielkiego wkładu zespołu współpracowników Judy Chicago w skończone dzieło, ale także rodzenia się feministycznej świadomości w grupie.
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Tang, Nessa. "Behind the dinner table". Journal of Education, Humanities and Social Sciences 20 (7 de setembro de 2023): 17–20. http://dx.doi.org/10.54097/ehss.v20i.11412.

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Judy Chicago is defined by the art world as the founder of the concept of "feminist art." Her creations revolve around patterns with metaphorical and symbolic colors, such as "reproductive organs," "flowers," and "butterflies." In the 1970s, feminist artists began to contemplate using the female body as a subject of creation, using artistic language to advocate for the political metaphor of female reproductive organs as an independent center of discourse apart from male-centered phallic symbolism. This body art unleashes the freedom and nature that feminist artists have long been suppressed by patriarchal society. Against this backdrop, Judy Chicago created "The Dinner Party."
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Rothfield, Philipa. "Devouring the greats, Judy Chicago and the dinner party". Australian Feminist Studies 3, n.º 6 (março de 1988): 157–60. http://dx.doi.org/10.1080/08164649.1988.9961599.

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Villalvazo Sánchez, Oscar. "El arte como tributo y reconocimiento a la lucha de las mujeres. Sobre la exposición". Sincronía XXV, n.º 79 (3 de janeiro de 2021): 439–49. http://dx.doi.org/10.32870/sincronia.axxv.n79.23a21.

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This text is a description of the largest feminist installation of the last decades: The Dinner party, by the artist and activist Judy Chicago. Its objective is to present and describe the author's intentions, as well as to point out the value that it has in areas such as the social and the intellectual, insofar as her proposal corresponds to and understands the practices of postmodernity.
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KAYA KARADUMAN, Burcu. "YEMEK MASALARINDA FEMİNİST MANİFESTO: JUDY CHİCAGO TABAKLARI". EJOVOC Electronic Journal of Vocational Colleges 13, n.º 1 (27 de junho de 2023): 95–112. http://dx.doi.org/10.17339/ejovoc.1313538.

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Bu çalışma, Judi Chicago'nun feminist tabaklarının yaratıcılığı ve gücü üzerine odaklanmaktadır. Tabaklar, insanların yemek hazırlama ve sunma aracı olarak kullandığı en eski nesnelerden biridir. Ancak, Chicago'nun eserleri tabakların yalnızca yemek servisi için değil, aynı zamanda sanatsal ifade için de kullanılabileceğini göstermektedir. Chicago'nun feminist tabakları, kadınların toplumda yaşadığı zorlukları ve rolleri vurgulayan güçlü bir ifade biçimidir. Bu tabaklar, kadınların hayatındaki farklı aşamaları ve zorlukları ele alarak toplumun cinsiyetçi bakış açısını sorgulamaya yönlendirir. Feminist sanat hareketinin temsilcilerinden biri olan Judy Chicago'nun "The Dinner Party" adlı eserini ele alarak, bu tabaklarla ne gibi mesajlar vermeye çalıştığına dair çeşitli yorumlar incelenecektir. Eser, kadınların tarih boyunca yaptığı önemli katkıları kutlamak ve kadınların varlığını sanat tarihinde vurgulamak amacıyla yapılmıştır. Bu makalede, tarihsel araştırma yöntemlerini kullanarak feminist sanatın gücüne ve kadınların toplumda oynadığı rollerin sorgulanmasına odaklanır. Ayrıca, okuyuculara ilham vermek ve düşündürmek amacıyla yazılmıştır. Judy Chicago'nun feminist tabakları, sanatın sadece estetik bir amaç için değil, toplumsal konuların ele alınması için de kullanılabileceğini göstermektedir. Bunun yanı sıra, feminist sanatın gücünü ve sanatın toplumsal değişimdeki rolünü vurgulamaktadır.
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Hesford, V. "The Dinner Party: Judy Chicago and the Power of Popular Feminism, 1970-2007". Journal of American History 101, n.º 2 (1 de setembro de 2014): 667–68. http://dx.doi.org/10.1093/jahist/jau463.

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Springer, Julie, Amelia Jones e Judy Chicago. "Sexual Politics: Judy Chicago's "Dinner Party" in Feminist Art History". Woman's Art Journal 20, n.º 1 (1999): 52. http://dx.doi.org/10.2307/1358848.

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shaw, cameron. "Suzanne Lacy: Chewing More Than the Fat". Gastronomica 12, n.º 2 (2012): 10–12. http://dx.doi.org/10.1525/gfc.2012.12.2.10.

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This article looks at the work of Suzanne Lacy, an artist who emerged from the Feminist Art Program at the California Institute of the Arts in the early 1970s. It focuses on key examples of Lacy's large-scale dinners, including the food-based performance network staged in conjunction with the opening of The Dinner Party by Judy Chicago at the San Francisco Museum of Modern Art in 1979. This article argues that these dinners served to transition Lacy from an early performance practice centered on rape and violence against women to the later coalition-building exercises that helped define “new genre public art.” Drawing on interviews with the artist, it traces the use of meat and foodstuffs in Lacy's practice, beginning with beef kidneys in 1972. Much prior writing on Lacy investigates her performances of the 1970s. This article examines the way in which Lacy used elements of these performances, namely food, to further understand the roles of relationships and conversation in art.
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Levin, Gail. "Jane F. Gerhard. The Dinner Party: Judy Chicago and the Power of Popular Feminism, 1970–2007." American Historical Review 119, n.º 4 (outubro de 2014): 1309–10. http://dx.doi.org/10.1093/ahr/119.4.1309.

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Mendes, Ana Luiza. "Entre subalternas e anfitriãs: a complexa relação entre as mulheres e a História". Topoi (Rio de Janeiro) 23, n.º 50 (agosto de 2022): 585–601. http://dx.doi.org/10.1590/2237-101x02305012.

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RESUMO O presente artigo tem como objetivo analisar a obra de arte de Judy Chicago, The Dinner Party, à luz dos conceitos desenvolvidos pela História das Mulheres. Tal relação se dá por meio da interpretação da obra a partir do contexto no qual ela foi concebida, a da segunda onda do movimento feminista, que contribuiu para o desenvolvido da História das Mulheres como um campo teórico. Os estudos inseridos na História das Mulheres, todavia, não se limitam a apenas apontar para a existência das mulheres ao longo da história, mas também suscita o questionamento sobre o motivo e como se dá o seu apagamento. A obra de Chicago, rica em simbolismos, foi escolhida por encerrar esses vieses presentes nesses pressupostos epistemológicos conectando a afirmação de identidades, a recuperação de memórias e a releitura de uma história definida pelo gênero.
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Teses / dissertações sobre o assunto "Dinner party (Chicago, Judy)"

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Deskins, Sally. "Revealing Judy Chicago's The Dinner Party| An Analysis of the Curatorial Context". Thesis, West Virginia University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10110160.

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Research on Judy Chicago’s The Dinner Party, (1974-79; completed with the assistance of more than 400 volunteers), is abundant and generally focuses on the monumental table of thirty-nine place settings acknowledging the contribution of women throughout Western history. Scholars have examined, praised and criticized the installation from various feminist and formal aesthetic perspectives. By contrast, this thesis considers what has essentially been overlooked until now, Judy Chicago’s curatorial framework for the entire The Dinner Party exhibition experience. Using my own interviews with the artist, team members, and contemporary curators, as well as consulting the artist’s installation manuals from Harvard University Archives, and examining the reception of the curation, I highlight the essential curatorial features that made The Dinner Party such an international phenomenon. The artist’s curatorial elements were research-oriented, inclusive and activist-leaning with interactive, multi-media structures to achieve her feminist message. Considering The Dinner Party’s current installation at the Elizabeth A. Sackler Center for Feminist Art, my thesis argues that Chicago’s successful yet overlooked methods offer the most proactive, critical and approachable curatorial presentation. The current installation that has been stripped of these curatorial elements, while perhaps institutionally practical, compromises much of the message and feminist intent. This study contributes to the field by focusing on this notable exhibition, providing discourse into Chicago’s curating and offering considerations for contemporary curating practice, with the goal of contributing to the growing area of curatorial research focused on feminist artists and curatorial projects.

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Livros sobre o assunto "Dinner party (Chicago, Judy)"

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The dinner party. New York, N.Y., U.S.A: Penguin, 1996.

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2

Amelia, Jones, Cottingham Laura e UCLA at the Armand Hammer Museum of Art and Cultural Center., eds. Sexual politics: Judy Chicago's Dinner party in feminist art history. [Los Angeles, CA]: UCLA at the Armand Hammer Museum of Art and Cultural Center in association with University of California Press, Berkeley, 1996.

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3

Chicago, Judy. The dinner party: From creation to preservation. London: Merrell, 2007.

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4

Chicago, Judy. Judy Chicago, The dinner Party: Schirn Kunsthalle Frankfurt, Ausstellung vom 1. Mai-28. Juni 1987. Editado por Vitali Christoph, Schirn Kunsthalle Frankfurt e Kulturgesellschaft Frankfurt. Frankfurt am Main: Athenäum, 1987.

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5

Kubitza, Anette. Die Kunst, das Loch, die Frau: Feministische Kontroversen um Judy Chicagos "Dinner Party". Pfaffenweiler: Centaurus, 1994.

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6

Chicago, Judy. The dinner party: [catalogue of an exhibition held at the Warehouse Gallery, White Lion Street, London]March 1-May 26, 1985. (London): Diehard Productions, 1985.

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7

Davidson, Jane Chin. Setting the table: Preparing Judy Chicago's The Dinner Party : 30 year anniversary exhibition at the University of Houston-Clear L:ake. Houston, Tex: Alfred R. Nuemann Library, University of Houston-Clear Lake, 2011.

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8

Chicago, Judy. Judy Chicago 2008 Calendar: The Dinner Party. Pomegranate (Cal), 2007.

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9

Chicago, Judy, David Colman, Jeanne Greenberg Rohatyn, Anne Pasternak e Carmen Hermo. Judy Chicago: Roots of the Dinner Party. Salon 94, 2019.

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10

Ostrow, Saul, Judy Chicago, Tim Nye, Katherine Chan e Lexi Brown. Judy Chicago: Deflowered. Nye+Brown/Foundation 2021, 2013.

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Capítulos de livros sobre o assunto "Dinner party (Chicago, Judy)"

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"11. The Dinner Party Makes Waves". In Becoming Judy Chicago, 304–32. University of California Press, 2019. http://dx.doi.org/10.1525/9780520971615-012.

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"10. To The Dinner Party and History". In Becoming Judy Chicago, 250–303. University of California Press, 2019. http://dx.doi.org/10.1525/9780520971615-011.

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Withers, Josephine. "Judy Chicago’s Dinner Party". In The Expanding Discourse, 450–65. Routledge, 2018. http://dx.doi.org/10.4324/9780429492839-27.

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"At Judy Chicago’s Dinner Party". In The Lengest Neoi, 72. University of Iowa Press, 2024. http://dx.doi.org/10.2307/jj.12124959.35.

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Garland-Thomson, Rosemarie. "Breasts". In Staring How We Look, 141–59. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195326796.003.0010.

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Abstract Breasts are ubiquitous cultural icons. From the sacred fount of the Maria Lactans, the titillating cleavage of Miss America, the ample bosom of Mammy, to the erotic blast of the Playboy centerfold, the sight of breasts signifies woman. As both symbol and flesh, no other bodily mark of sexual identity is so routinely or ritualistically offered up to the public eye. Even though the penis and vagina carry perhaps equal cultural significance, representations tend to finesse the way we see these parts of our bodies. The penis stands in for phallic power but seldom shows itself in public. Michelangelo’s famous statue, for example, expresses David’s masculinity through his commanding demeanor and musculature, not the incidental bit of flesh between his potent thighs. Phallic forums, such as the Washington Monument, are stylized rather than mimetic representations of penises. Vaginas appear even less often in respectable representations. Artists such as Georgia O’Keeffe, Judy Chicago, or Eve Ensler rework the vagina’s image as a dark, secret snare into flamboyant flowers, dinner plates, or storytellers. Symbolic hotspots as they are, penises and vaginas for the most part demurely decline stares. Breasts, by contrast, are in your face.
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Musser, Amber Jamilla. "Eating Out". In Sensual Excess, 27–45. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479807031.003.0002.

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This chapter focuses on the sculpted vulvas of Judy Chicago’s The Dinner Party (1979) and Kara Walker’s A Subtlety (2014) in order to draw out some of the issues that underlie the representational politics that surround the black vulva. Though these installations diverge in many ways, this chapter argues that they enable a meditation on the possibility of Luce Irigaray’s permeable, dialogic selfhood—selves that illustrate the impossibility of a border between self and Other—rendering porosity and the labial as important for an ethics of mutual vulnerability. Yet this chapter also cautions against forgetting asymmetries of power. Reading across the installations and the controversy over Walker’s installation in particular forces us to acknowledge that the differences between pleasure in vulnerability and the sensation of racial violation are related to the differences between the structures of our epistemologies of gender and race. Dwelling on the sensuality that inheres in A Subtlety, however, offers a way to reorient porosity by thinking with the dimension of smell as one site of the installation’s excess. The scalar, in turn, allows us to imagine formulations of brown jouissance in relation to fleshiness that exceeds the individual in multiple directions.
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