Judy Chicago (born Judith Sylvia Cohen; July 20, 1939) is an American feminist artist, art educator,[3] and writer known for her large collaborative art installation pieces about birth and creation images, which examine the role of women in history and culture. During the 1970s, Chicago founded the first feminist art program in the United States at California State University Fresno (formerly Fresno State College) and acted as a catalyst for Feminist art and art education.[4] Her inclusion in hundreds of publications in various areas of the world showcases her influence in the art community. Additionally, many of her books have been published in other countries, making her work more accessible to international readers. Chicago's work incorporates a variety of artistic skills, such as needlework, counterbalanced with labor-intensive skills such as welding and pyrotechnics. Chicago's most well known work is The Dinner Party, which is permanently installed in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. The Dinner Party celebrates the accomplishments of women throughout history and is widely regarded as the first epic feminist artwork. Other notable art projects by Chicago include International Honor Quilt, The Birth Project,[5] Powerplay,[6] and The Holocaust Project.
Judy Chicago x Prospect Bigamy Hood Dinner Plate, 1965/2011. 10.5� x10.5� Just one in a small edition. "The plate is based on an early image that appeared on both a painting and subsequently, a car hood. The original painting was done while I was still in graduate school at UCLA and it was greeted with derision by my painting instructors. As a result, I destroyed it, but not before laying it out on a car hood (Bigamy Hood)after I went to auto body school in order to learn to spray paint which is something that I have done throughout my career." With original fitted box. Have a similar item to sell? Contact us at info@marketauctionsinc.com Please review all photos closely. The non-appearance of a condition report does not mean that the lot is in perfect condition, does not show wear due to age and use, or is free from damage. Market Auctions Inc. strongly suggests that you request a condition report before placing a bid. You may request one from us via this auction platform. Please note that any condition reports are given as strictly as a courtesy to interested parties and should not be considered a statement of fact. Market Auctions Inc. bears no responsibility for any error or omission. All sales are final and sold as is. Measurements are approximated. Please note shipping is not included. All collectibles, silver, antiques, and paintings please contact our third party shipper listed below: Juniors Auction Services 561-510-0345 / juniorsauctionservices@gmail.com UPS Store 1226 (561) 835-9791 /Â store1226@theupsstore.com DM Postal (561) 469-6137 / dmpostal5001@gmail.com For furniture and very large items, please contact an appropriate freight / transport company for shipment. SALES TAX NOTICE PLEASE TAKE NOTICE that Market Auction, Inc., only collects and remits sales tax on items purchased by Florida residents. ALL OUT OF STATE purchasers are required to pay sales tax to their respective States. Purchasers holding valid resale certificates must provide proof of same prior to purchase. Market Auctions, Inc. takes no responsibility for purchaser failure to remit sales tax to the proper non-Florida taxing authority and for any fines or penalties that may result.
FIVE IMAGES FROM THE BIRTH PROJECT. These 5 large images together with original portfolio album include the creation, birth tear/tear, birth trinity, guided by the Goddess, and Earth birth (a group of 5 works from the Birth Project, 1985 screen prints). Each signed, titled, dated and numbered 22 of 75. Together with a book titled "The Birth Project" by Judy Chicago. SIZE: Each sheet is 30" x 40". UNATTACHED ACCESSORIES: book titled "The Birth Project". CONDITION: each are laid on styrofoam and wrapped in plastic. "The creation" with a couple of small perforations in the black border to the right. "Earth birth" with a small scratch beneath the title in the black border. Portfolio with slight soiling on exterior. Otherwise generally very good. (05-1148/JJ). $2,500-3,500.
ƒ Judy Chicago (born 1939) 'The Dinner Party' Collection Amazon Set of five plates Silkscreened porcelain Limited edition of 150 Signed 'Judy Chicago' on the reverse Model created in 2018 H 2,5 × Ø 28 cm ƒ Judy Chicago (née en 1939) Collection 'The Dinner Party' Amazon Suite de cinq assiettes Porcelaine sérigraphiée Édition limitée à 150 exemplaires Signées 'Judy Chicago' au verso Modèle créé en 2018 H 2,5 × Ø 28 cm
ƒ Judy Chicago (born 1939) 'The Dinner Party' Collection Elizabeth R. Set of five plates Silkscreened porcelain Limited edition of 150 Signed 'Judy Chicago' on the reverse Model created in 2018 H 2,5 × Ø 28 cm ƒ Judy Chicago (née en 1939) Collection 'The Dinner Party' Elizabeth R. Suite de cinq assiettes Porcelaine sérigraphiée Édition limitée à 150 exemplaires Signées 'Judy Chicago' au verso Modèle créé en 2018 H 2,5 × Ø 28 cm
ƒ Judy Chicago (born 1939) 'The Dinner Party' Collection Sappho Set of five dessert plates Silkscreened porcelain Limited edition of 150 Signed 'Judy Chicago' on the reverse Model created in 2018 H 2 × Ø 19 cm ƒ Judy Chicago (née en 1939) Collection 'The Dinner Party' Sappho Suite de cinq assiettes à dessert Porcelaine sérigraphiée Édition limitée à 150 exemplaires Signées 'Judy Chicago' au verso Modèle créé en 2018 H 2 × Ø 19 cm
ƒ Judy Chicago (born 1939) Collection 'The Dinner Party' Bigamy Hood Plate Silkscreened porcelain Limited edition of 150 Signed 'Judy Chicago' on the reverse Model created in 2018 H 2 × Ø 27,5 cm ƒ Judy Chicago (née en 1939) Collection 'The Dinner Party' Bigamy Hood Assiette Porcelaine sérigraphiée Édition limitée à 150 exemplaires Signée 'Judy Chicago' au verso Modèle créé en 2018 H 2 × Ø 27,5 cm
Judy Chicago Woodcut, carved by Dirk Lee. Measures 5 x 4 inches image size and 10.375 x 8.375 inches sheet size. Signed in pencil verso Unframed, loose and not glued or mounted. Excellent condition, never displayed or framed. If lot is absent of a condition report one may be requested via email. Condition report is provided as an opinion only and is no guarantee as condition can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Our in-house shipping department will gladly pack and ship any item that fits into a 14x14x14 inch or 30x5x24 inch or equivalent or smaller box/folio if it is not fragile or over 25lbs. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. Books maximum box size will be 14x14x14 inch or equivalent and will be shipped USPS Media Mail unless otherwise requested. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. If your invoice is for multiple items, we will use our discretion on requiring the use of an outside shipper. We reserve the right to require an outside shipper on any item(s) in the auction even if not stated.
Judy Chicago (American, b. 1939) The Creation, Birth Tear/Tear, Birth Trinity, Guided by the Goddess, and Earth Birth (a group of 5 works from The Birth Project), 1985 screenprints each signed, titled, dated, and numbered 6/75 in pencil or in chalk Each sheet: 30 x 40 inches. Property from a Private Collection Printed by Unified Arts, Albuquerque
JUDY CHICAGO (B. 1939) Test Chalice (from The Dinner Party), 1979 signed and dated 'Judy Chicago / 1979' (on the underside) glazed ceramic 7 1/4 x 5 5/8 x 5 5/8 in. 18.4 x 14.3 x 14.3 cm.
Almost Born Color Lithograph h. 15 w. 22 in. (full sheet) Pencil signed and dated 1983, ed. 62/100, paper with blind stamp overall: 20 x 26-1/2 in. (frame)
Bid with Confidence - Trust the Artemis Advantage: - 25+ years’ experience selling ancient and ethnographic art - Ancient items have been legally acquired, and are legal to sell - Accurate descriptions, accurate images, no hidden reserves - Artemis has its own Testing Lab on-site to ensure authenticity. Judy Chicago (American, b. 1939). "Loving Flowers" mixed media, 1990. Signed and dated at lower right. A beautiful mixed media piece by the legendary Judy Chicago titled "Loving Flowers" from the series "Reverence for Life". The composition features a nude woman kneeling in a garden and gazing upon a single floral blossom held in her hands. All is rendered with shades of red, green, and white in a lyrical manner. At the bottom of the composition is the inscription "Reverence for the Loving Flowers". The work is float-mounted on a backing of pressed dried leaves and wood, behind glass, in a custom wood frame. Size (figural image): 14.75" L x 10.75" W (37.5 cm x 27.3 cm) Size (sight view): 21.25" L x 17.625" W (54 cm x 44.8 cm) Size (frame): 22.7" L x 19" W (57.7 cm x 48.3 cm) About the Artist: Judy Chicago is a pioneer of Feminist art as well as art education through her program for women at California State University, Fresno. She is best known for her monumental multimedia project titled "The Dinner Party" (1974) which has been seen by more than one million viewers in sixteen exhibitions throughout the world. Amng her numerous honors, Time Magazine included Chicago in their "100 Most Influential People" in 2018. That same year, she was named one of Artsy Magazine's "Most Influential Artists." In 2019, the Museum of Contemporary Art in Chicago honored Chicago with the Visionary Woman award, and she was an honoree at the Hammer Museum gala in Los Angeles. In addition, the Museum of Arts and Design honored Chicago at their annual MAD Ball in 2020, and her first retrospective opened in August 2021 at the de Young Museum in San Francisco where she was also honored at the De Young's annual gala. Chicago's art is held in the permanent collections of the British Museum, Moderna Museet (Stockholm), Tate Modern (London), Muzeum Susch (Switzerland), Centre Pompidou (Paris), Whitney Museum, Los Angeles County Museum of Art, Museum of Contemporary Art Los Angeles, Hammer Museum, Getty Trust and Getty Research Institute, San Francisco Museum of Modern Art, Crystal Bridges Museum of American Art, Art Institute of Chicago, the Nasher Sculpture Center, and the Smithsonian American Art Museum. The National Museum of Women in the Arts has worked with Chicago since 2000, has organized four exhibitions, and has published the monograph "Judy Chicago: New Views" (2019). NMWA is also the repository for Chicago's Visual Archives and a partner in the Judy Chicago Research Portal project. "For over five decades, Chicago has remained steadfast in her commitment to the power of art as a vehicle for intellectual transformation and social change and to womens right to engage in the highest level of art production. As a result, she has become a symbol for people everywhere, known and respected as an artist, writer, teacher, feminist and humanist whose work and life are models for an enlarged definition of art, an expanded role for the artist, and womens right to freedom of expression." (source: Biography on Judy Chicago website) Provenance: private Santa Fe, New Mexico, USA collection, acquired in the mid-1990s All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. IMPORTANT EXCEPTION We are currently unable to ship to Australia, Germany or Switzerland due to customs regulations. #181934
CHICAGO, Judy (American, b. 1939) Birth Hood. 2015. Offset glossy color lithograph on paper. Signed and titled lower edge. 19 ¼ x 19 ¼”. Frame: 24 ½ x 24 ½”. Multidisciplinary artist Judy Chicago helped pioneer the feminist art movement in the 1960s and ’70s; for decades, she has made work that celebrates the multiplicity of female identity. Birth Hood is a set of four spray-painted Chevrolet Corvair car hoods created in 1965/2011. This print is based on one of the original painted car hoods. Her most famous work, an installation called The Dinner Party (1974–79), is an homage to 39 influential female figures from Eastern and Western mythology and civilization. Her work is in the collections of the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Tate, the Art Institute of Chicago, and the National Gallery of Art in Washington, D.C. Not examined out of frame. Overall good condition.
Judy Chicago Poster & The Dinner Party Bibliography. This incredible lot includes a purple, Judy Chicago poster advertisint, The Birth Project, and a copy of, The Dinner Party Bibliography. The Dinner Party Bibliography was assembled by Ann Piper Stewart. Written on the title page is, "Our Heritage Is Our Power." In it there are drawings of each plate for each historically significant woman represented at the Dinner Party. Dimensions of the framed print are 19.5 in h x 28 in w and the dimensions of the book are 8 in h x 11 in w. Condition is very good. Some wear on print. Some slight wear on acetate cover of the book. Please call or email for a detailed condition report.
Judy Chicago (b. 1939) Signing the Dinner Party, 2009 lithograph, Printer's Proof editioned in graphite lower left: Printer's Proof 2 titled in graphite center: Signing The Dinner Party signed in graphite lower right: Judy Chicago, 2009
Judy Chicago (b. 1939) Into the Darkness, 2009 lithograph, Printer's Proof editioned in graphite lower left: PP II titled in graphite lower center: Into the Darkness signed and dated in graphite lower right: Judy Chicago 2009
Judy Chicago (b. 1939) "The Christmas tree is derived from the tree of life," 1979 Screenprint in red and black on cardstock With the printed signature and date in the image, lower left: J. Chicago
Judy Chicago (1939) Driving the World to Destruction, 1988 Silkscreen From the numbered edition of 50 Signed, titled, dated, numbered in pencil on recto Printer chop mark on lower center Image: 25 x 35 1/2 inches Framed: 34 1/2 x 44 1/2 inches
Judy Chicago (b. 1939) "Transformation Painting," 1973 Sprayed acrylic and felt-tip pen on unprimed canvas Signed lower left: Judy Chicago; dated lower right: 1973 40" H x 40" W Exhibitions: Los Angeles, The Woman's Building, 1973 San Francisco, Museum of Modern Art, "Painting and Sculpture in California: The Modern Era," September 3 - November 21, 1976, no. 244 Washington, National Collection of Fine Arts, Smithsonian Institution, "Painting and Sculpture in California: The Modern Era," May 20 - September 11, 1977, no. 244 Literature: Henry T. Hopkins et al., "Painting and Sculpture in California: The Modern Era" (San Francisco: San Francisco Museum of Modern Art, 1977), p.165, fig. 244. Notes: Pioneering feminist artist Judy Chicago's Transformation Painting (1973) is a part of feminist history and history at large: the work was exhibited at the landmark 1973 exhibition "Womanhouse" in Los Angeles, the first-ever feminist exhibition to gain national attention, with a review in TIME magazine among other widely distributed publications, and the building in which the exhibition took place is now a historic-cultural monument. Chicago emerged on the Los Angeles art scene after her completion of UCLA's MFA program in the late 1950s, with strong work that adhered to the au courant, namely the New York Minimalists and the California Light and Space movement. Cowed by the "boys club" mentality of the art world at the time (her encounters with the Ferus Gallery "Cool School" frequently ended in tears) she initially adhered to the "if you can't beat them, join them" adage, attempting to appear more macho by cutting her hair short, wearing boots and smoking cigars. Her work of this period—flashy, spray-painted car hoods using techniques learned at an auto-body school—bolstered this masculine guise. At the same time, the imagery was undeniably feminine, with bold, abstract shapes that could be interpreted as butterflies, vulvas, and other parts of a biological woman's anatomy. Finally disillusioned by the art world's patriarchy, as evidenced by her male colleagues' ascendence to success while her career remained stagnant, Chicago's mind-frame changed to something more like "if you can't beat them, abandon them." Her "Lifesavers" series of this period embrace womanhood, with round shapes made up of various lines, alternately quivering and vibrating. In what Chicago and other feminist artist would later term "central-core" imagery, works like these presented a woman's sexuality as positive and powerful. Playing with perception, light and color, the series was connected to the Light and Space movement dominated by men such as James Turrell, Robert Irwin, Larry Bell and others, but Chicago's shapes and shades went beyond simply the exploration of visual perception to also represent a visualization of sexual pleasure, the female body and its energy. Chicago revealed to the influential art critic and curator Lucy Lippard in an September 1974 Artforum interview: "I called them lifesavers because in a way they did save my life by confronting head-on that issue of what it was to be a woman." Evolving from the imagery first employed in her "Lifesavers" series, Transformation Painting comes at a juncture of fervent feminist and self-actualizing activity in Chicago's life. Like the car hood paintings and the "Lifesavers," the abstract imagery of Transformation Painting allude to the feminine: butterflies, waves of female energy, flora appearing like female sexual organs a la Georgia O'Keeffe. Chicago herself undergone a transformation in the several years prior. In October of 1970, Chicago took out a full page ad in Artforum, renaming herself Judy Chicago—née Gerowitz by marriage; née Cohen by birth—denouncing and divesting from the patriarchy. In that same year, she, along with several other artists, had established the first ever Feminist Art Program, first at California State University and then at the California Institute of the Arts (Cal Arts) the year after. Further institutionalizing support and long-term development of feminist activity for posterity was the founding of the Feminist Studio Workshop as part of the Women's Building in 1973, an experimental space where female artists could explore feminist theory and exhibit work. Furthermore, Transformation Painting was created just one year before embarking on her most ambitious and well-known project, The Dinner Party (1974-79). The landmark, multi-media, full room installation, permanently housed and displayed at the Brooklyn Museum since 2007, honors women from mythology and history in the form of a massive, triangular shaped table, elaborately set with hand-embroidered table runners, handmade ceramics and other accessories created by Chicago and hundreds of female workers and volunteers. While The Dinner Party is public facing and collaborative—a visible show of female strength and power not only in its content but in its making—Transformation Painting gives insight into the artist's interiority and frame of mind during this time, her innermost thoughts and vulnerabilities. This excerpt of text that Chicago transcribed in pencil between the rows of imagery is diaristic and revealing: It has taken me almost eleven months to make thirteen paintings. Now, the series is completed and, like always, it's a little like dying. I feel empty and tired yet elated. I also feel bad today because two of my closest friends had a dinner party with a number of women from the female art community, and they didn't invite me. It made me feel hurt and rejected and as if they didn't care about me. Now, I want life to stop for a while so that I can rest and stop struggling. But it won't, and I guess I'll hang in there. Like The Dinner Party, Transformation Painting demonstrates strength as well, albeit in its honesty and vulnerability. It is not unheard of for artist to be unappreciated during their time. The Dinner Party, for example, was derided at the time of its debut by critics as being reductionist and overly didactic, even kitschy or simply bad art. Now, Judy Chicago and The Dinner Party are de rigueur material in art history courses, entering Janson's History of Art in 2006, a tome of required reading. Chicago's first ever museum retrospective was mounted just last year at the DeYoung Museum of San Francisco. Judy Chicago has entered the historical canon and artworks like Transformation Painting show Judy Chicago to not only be on the right side of history, but to have forged the path. Jennifer S. Li
Judy Chicago (b. 1939, American) "The Christmas tree is derived from the tree of life," 1979 Screenprint in red and black on cardstock paper With the printed signature and date in the image, lower left: J. Chicago Image/Sheet: 7" H x 10.25" W Notes: The printed text, verso, reads: I am very busy right now / working on the Dinner Party needlework book, / "Embroidering Our Heritage, / to be published in late / May - if we finish on time. / To facilitate this, I have / not gone gift-shopping / this year. Instead, I owe / you a copy of the book / and wish you a happy holiday!
Judy Chicago (b. 1939, American) "Peeling Back," after the "Rejection Quintet" series, 1974 Offset lithograph in colors on paper Edition: 29/95 Signed, titled, dated, numbered, and inscribed in pencil in the lower margin: Judy Chicago Sight: 28.5" H x 21.75" W Notes: The pencil inscription by Chicago on this work reads: "For Debbie - With regards & sisterhood" There appear to be a several different editions of this offset lithograph, which is based on the original drawing (with different text) entitled "Female Rejection Drawing," now in the permanent collection of the San Francisco Museum of Art. For example, in addition to seeing other numbered impressions from this edition of 95, we have also seen listings for an edition numbered out of 250.
Judy Chicago (American, b.1939) 'Old' Lithograph and Etching 2013, pencil signed and dated lower right, titled center, 'Edition of 120' lower left, depicting nude female figure in front numerous lines of text, unframed, including publisher information sheet for this series, hand signed by artist Provenance: having Landfall Press documentation of series information, hand signed by artist and master printer Property from: a Madison, WI estate Category: Fine Art > Prints Estimated Sale Time: 12:20 pm CST Shipping Status: Leonard Auction, Inc. will provide direct shipping for this lot. Please visit our website for a shipping estimate. Sales Tax: California (7.25%), Florida (6%), Georgia (8.5%), Kansas (6.5%), New Jersey (6.625%), New Mexico (5.125%), New York (8.875%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs: Photograph #1 Photograph #2 Photograph #3 Photograph #4 Last modified: September 29, 2022, 2:42 pm
