Judy Chicago Hits Back at ‘Dinner Party’ Criticism – 朱迪芝加哥反击“晚宴”批评

News - 14 Aug 2018

Judy Chicago Hits Back at ‘Dinner Party’ Criticism

2 minutes

In further news: UK class gap impacting young people’s engagement with the arts; Uffizi goes digital; British Museum helps return Iraqi antiquities

Judy Chicago, The Dinner Party, 1974–1979, mixed media, Elizabeth A. Sackler Center for Feminist Art, Collection of the Brooklyn Museum. Courtesy: © Judy Chicago

Judy Chicago Hits Back at ‘Dinner Party’ Criticism - 朱迪芝加哥反击“晚宴”批评

Judy Chicago, The Dinner Party, 1974–1979, mixed media, Elizabeth A. Sackler Center for Feminist Art, Collection of the Brooklyn Museum. Courtesy: © Judy Chicago

Judy Chicago has defended her iconic feminist artwork The Dinner Party (1974-79) after one reviewer argued that it ignored Spanish and Latin American women. The triangular table comprises 39 ceramic place settings that resemble vulvas dedicated to real and fictional women from across time – from Sappho to Elizabeth I – and a ‘heritage floor’ acknowledging 999 other women. It is now permanently installed at New York’s Brooklyn Museum. In a recent review of the museum’s ‘Radical Women’ exhibition, Esther Allen wrote in The New York Review of Books: ‘It’s now quite hard to keep from noticing that none of the thirty-nine Great Women granted a place at Chicago’s elaborate table is from Spain, Portugal, or any of those empires’ former colonies in the Americas.’ Chicago then hit back in a letter to the publication, saying: ‘At the time I was working on The Dinner Party, in the mid-1970s, there was little or no knowledge about any of these women. The prevailing point of view was that women had no history.’ Chicago said that figures such as Santa Teresa de Ávila, Sor Juana de Inés la Cruz and Frida Kahlo were all acknowledged in the artwork, through the artwork’s ‘heritage floor’ or on accompanying information panels. ‘How unfortunate that women continue to feel the need to denigrate the work of their foremothers,’ Chicago wrote. You can follow the exchange over here.

A team of Indiana University scholars have digitized hundreds of artefacts from the Uffizi Gallery’s collection. A newly launched website showcases a collaboration between the university and Florentine museum, which grants anyone access to study more than 300 ancient artefacts, fragments and sculptures from the Uffizi’s collection, turned into 3-D models online. Scanned and digitized by Indiana University students at the museum’s warehouse at Villa Corsini, the online collection also acts as a restoration record for the country’s internal conservation database.

Young people in the arts are impacted by a ‘class gap’, two new UK reports find. Commissioned by Arts Council England, the findings from two separate research projects have shown that there are several barriers to young people’s engagement with the arts and culture, most notably anxiety and financial issues. Feeling under-confident when entering new situations was seen to be a ‘genuine issue for many young people’, a report by music charity Sound Connections found. In addition, ticket prices are also another limiting factor, according to a report by ART31 – with most young people from less privileged backgrounds only participating in the arts at school or on school trips. The Sound Connections study also noted that wider societal perception of some art forms ‘reinforces the impression that arts are not widely accepted’, and that ‘if schools enforce the perception that arts are not academic, young people’s confidence and willingness to participate is dramatically affected.’

The British Museum has helped to return 5,000-year-old antiquities to Iraq, which were looted from an ancient site after the US invasion in 2003. Eight objects were confiscated by Scotland Yard in May 2003, as the dealer responsible had no proof of ownership for the artefacts which included jewellery, a decorated seal and a mace-head. According to the British Museum, the eight objects were removed from Tello around the same time of the invasion – many antiques were targeted as troops were unable to guard a number of sites. Hartwig Fischer, director of the British Museum, said: ‘I am delighted that we are able to assist in the return of these important objects to Iraq’. Fischer said that the British Museum was committed to fighting against the ‘illicit trade and damage to cultural heritage.’

In appointments news: Amsterdam’s Stedelijk Museum has announced that Truze Lodder has been appointed as the supervisory board’s temporary chairperson; LA arts non-profit Self Help Graphics & Art has named Betty Avila, who has worked with the organization since 2015, as executive director; and Cranbrook Academy has chosen metalsmith, educator and administrator Susan R. Ewing as its interim director.

In awards news: the US’s National Endowment for the Humanities has awarded USD$43.1 million to 218 cultural projects across the country; Bloomberg Philanthropies is to fund Atlanta arts organizations with a USD$43 million management training programme, which seeks to support small and mid-size cultural organizations; and Mika Rottenberg has scooped the biennial USD$28,600 Kurt Schwitters Prize – the artist will also have an exhibition at Hannover’s Sprengel Museum.

In gallery news: Mika Tajima is now represented by Los Angeles’s Kayne Griffin Corcoran, with a show planned for November 2019; and Hauser & Wirth now work with Charles Gaines, with an exhibition planned for the gallery’s LA location sometime next year.

Judy Chicago
News
Briefing
Uffizi Gallery
Class
British Museum


新闻- 14八月2018日朱迪芝加哥反击“晚宴”批评2分钟的进一步新闻:英国阶级差距影响年轻人的艺术接触;Uffizi数字;大英博物馆有助于返回伊拉克反奎蒂芝加哥,宴会,1974 - 1979,混合媒体,伊丽莎白A.萨克勒女权艺术中心,布鲁克林艺术博物馆收藏。礼貌:{朱迪芝加哥Judy Chicago Hits Back at ‘Dinner Party’ Criticism - 朱迪芝加哥反击“晚宴”批评朱迪芝加哥,晚宴,1974 - 1979,混合媒体,伊丽莎白A.萨克勒女权艺术中心,布鲁克林艺术博物馆收藏。礼貌:芝加哥朱迪芝加哥捍卫她标志性的女权主义作品的宴会(1974-79)后,一位评论家认为它忽略了西班牙和拉丁美洲妇女。三角表包括39个陶瓷场所设置,类似于VualVAS献给真实的A。穿越时空的虚构女性——从萨福到伊丽莎白一世——还有一个“遗产楼层”,承认了另外999个女人。它现在永久地安装在纽约的布鲁克林艺术博物馆上。在最近的一次博物馆的“激进女性展览”的回顾中,Esther Allen在纽约的书评中写道:“现在很难不注意到,在芝加哥精心制作的餐桌上,三十九位伟大的女性中没有一位是来自西班牙、葡萄牙,或是其中任何一位。皮雷斯在美洲的前殖民地。芝加哥在一封给该刊物的信中反击说:“当时我正在参加晚宴,在70年代中期,对这些妇女中的任何一个几乎一无所知。目前流行的观点是,女性没有历史。芝加哥说,像圣塔特蕾莎·德·维拉、Sor Juana de在拉克鲁斯和Frida Kahlo中的人物都在艺术品中得到承认,通过艺术品的“遗产地”或随之而来的信息面板。芝加哥写道:“不幸的是,妇女们仍然觉得有必要诋毁他们的前辈们的工作。”您可以在这里办理兑换手续。印第安那大学的一组学者将乌菲齐美术馆收藏的数百件文物数字化。一个新推出的网站展示了大学与佛罗伦萨博物馆之间的合作,它允许任何人从Uffi的收藏中收集超过300件古艺术品、碎片和雕塑,并将其转化为在线3D模型。在印第安那大学科里西尼别墅的仓库里,由印第安那大学的学生扫描和数字化,在线收藏也作为该国内部保护数据库的恢复记录。英国的两份新报告发现,艺术界的年轻人受到“阶级鸿沟”的影响。由英国艺术委员会委托,两个单独的研究项目的调查结果表明,年轻人与艺术和文化的接触有几个障碍,最显著的是焦虑和财务问题。音乐慈善机构的声音连接发现,当进入新的环境时,感到自信是很多年轻人的“真正的问题”。此外,根据ART31的报告,门票价格也是另一个限制因素。大多数来自不太有特权的年轻人只在学校或学校旅行中参加艺术。声音连接研究还指出,对某些艺术形式的更广泛的社会认知增强了艺术没有被广泛接受的印象,并且,如果学校强制认为艺术不是学术的,年轻人的信心和参与意愿是戏剧化的。大英博物馆曾帮助将5000岁的文物带回伊拉克,在2003美国入侵后,古迹被掠夺。2003年5月,苏格兰市法院没收了八件物品,因为经销商负责人没有对珠宝、装饰印章和锏头等文物的所有权证明。根据大英博物馆的说法,这八件物品在入侵的同时被从特洛中移除,许多古董被目标锁定为军队无法保护多个遗址。大英博物馆主任Hartwig Fischer说:“我很高兴我们能够帮助这些重要的物体返回伊拉克。”菲舍尔说,大英博物馆致力于打击“非法贸易和文化遗产的破坏”。在任命新闻中,阿姆斯特丹斯泰德里克博物馆宣布,Truze Lodder已被任命为监事会临时主席;LA艺术非专业人士。适合自助图形和艺术已经命名为Betty Avila,谁已经与该组织自2015以来,作为执行董事;和克兰布鲁克学院选择Meta史密斯,教育家和管理员Susan R. Ewing作为其临时主任。在颁奖新闻中,美国国家人文基金会为全国范围内的218个文化项目颁发了4310万美元的资助;Bloomberg Philanthropies将为亚特兰大艺术组织提供4300万美元的管理培训计划,旨在支持中小型CU。Mika Rottenberg已经获得了两年期的28600美元库尔特Switter奖——艺术家也将在汉诺威的斯普伦格尔博物馆举办一个展览。在画廊新闻:Mika Tajima现在代表洛杉矶的Kayne Griffin Corcoran,一个节目计划在2019年11月;豪泽和Wirth现在与查尔斯·甘尼斯合作,为明年的某个画廊的La地点计划展览。朱迪芝加哥新闻简报乌菲齐画廊大英博物馆


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