XX Art By female artists 2.

XX Art By female artists 2

Meret Oppenheim Le Dejeuner en Fourrure, 1936 (Luncheon on fur) NY,The Museum of Modern Art (Berlín, Basilea, 1985) [German/Swiss Surrealist, ] Man Ray’s Photos. These photos, which were taken over a span of three years starting in 1933, constituted nude studies of a very young girl. young, beautiful and unclothed Oppenheim caused an absolute succés scandaleux, reputation of Surrealist “muse”. the Surrealists liked-her beauty, youth, and rebellious attitude The disparity between ready RECEPTION of the PERSON and DENIAL of her WORK is something that clearly befell most feminine artist in the Surrealist culture (Erotique Voilée, Man Ray, 1933)

Maria Cassat

Frida Khalo Self-Portrait with Thorn Necklace and Hummingbird (1940)
Artist: Frida Kahlo ( ) Coyoacán, México . Daughter of a german jewish photographer. Hurt by a truck when she was 16. Marries Diego Rivera. Her work reflects her personal life. Wanted her work to affirm a Mexican identity (themes from popular folklore) Expresses emotion close to her body, her pain for a frustrated motherhood. Expuso en tres ocasiones. exposiciones de Nueva York de 1938 y de París de 1939 a través de sus contactos con el poeta y ensayista surrealista francés André Breton. Frida Kahlo ( ) Self-Portrait with Thorn Necklace and Hummingbird (1940)

Frida Khalo. Antecedents
Oaxaca_ Zapotecs Monte Alban Coyolxauqui : The Moon Goddess, was the sister of Huitzilopochtli (Sun and War deity), Ciuateteo__Dead women during childbirth join the Sun path from Zenith to sunset Coatlicue. of the serpent skirt. clawed feet. Her head, still bearing turquoise inlays, is a skull, a reminder that everything that once lived eventually must return to the Earth. The Route that leads to life and withholds blood nine times, must be retraced, so individual can merge once more with Earth, the great maternal womb. The symbolism of the hummingbird drinking from the cup might be a metaphor for the sun drinking the blood of sacrifice Great warriors that joined the Flowerly death, would have their your soul reincarnated as a hummingbird. Quetzalcóatl as Ehécatl, the wind deity.(monkey shape Clay figurine Lady from the Mexican region of Oxaca. She wears the traditional huipil and big headdress Made of fabric braided with her hair, flowers and fruits Cup with a hummingbird Mixtec Zaachila, State of Oaxaca

Oaxaca_ Zapotecs Monte Alban Quetzalcóatl as Ehécatl, the wind deity.(monkey shape) This dancing monkey with a prominent belly (the popular name for this piece is "the Pregnant Monkey") is one of the well-known evocations of Quetzalcóatl as Ehécatl, the wind deity. The strange, beaklike mouthpiece is the implement with which Ehécatl created wind, and it is one of his diagnostic features. (zoom) Obsidian vessel carved in the shape of a monkey Mexica (Aztec) Late Post-Classic ( A.D.) Texcoco, State of Mexico. Quetzalcóatl as Ehécatl, the wind deity.(monkey shape) Sculpture of the wind deity Mexica (Aztec) Late Post-Classic ( A.D.) Mexico City

Censers. Theatre type incense burners Masked face . With nose ornament and earspools Adornos. Flower, shells , featherd circles. Buterflies and birds Incense burners Masked face . With nose ornament and earspools Quetzalpopolotl (the Obsidian Butterfly) Butterfly shape. Goddess attribute. Symbolizes transformation

Georgia O'Keeffe White Trumpet Flower 1932
Georgia O'Keeffe approached her subjects, whether buildings or flowers, landscapes or bones, by intuitively magnifying their shapes and simplifying their details to underscore their essential beauty. With a unique, innovative and original style, Georgia O'Keeffe stamped her independant mark on 20th century art and culture. Born into a Wisconsin farming family, which supported and appreciated individuality, Georgia O'Keeffe approached her subjects, whether buildings or flowers, landscapes or bones, by intuitively magnifying their shapes and simplifying their details to underscore their essential beauty.

Georgia O'Keeffe Black Iris 1926 Iris 1929 (Dark Iris )

Georgia O'Keeffe With a unique, innovative and original style, Georgia O'Keeffe stamped her independant mark on 20th century art and culture. Born into a Wisconsin farming family, which supported and appreciated individuality, She said "The men liked to put me down as the best woman painter. I think I'm one of the best painters" Georgia died in 1986 at the age of 98. She left behind her over 900 paintings, watercolours and drawings. Cow's Skull With Calico Roses 1931

Georgia O'Keeffe With a unique, innovative and original style, Georgia O'Keeffe stamped her independant mark on 20th century art and culture. Born into a Wisconsin farming family, which supported and appreciated individuality, She said "The men liked to put me down as the best woman painter. I think I'm one of the best painters" Georgia died in 1986 at the age of 98. She left behind her over 900 paintings, watercolours and drawings. Yellow Hickory Leaves With Daisy 1928

Georgia O'Keeffe With a unique, innovative and original style, Georgia O'Keeffe stamped her independant mark on 20th century art and culture. Born into a Wisconsin farming family, which supported and appreciated individuality, She said "The men liked to put me down as the best woman painter. I think I'm one of the best painters" Georgia died in 1986 at the age of 98. She left behind her over 900 paintings, watercolours and drawings. "The Gray Line"

Georgia O'Keeffe I found I could say things with color and shapes
that I couldn't say any other way- -things I had no words for. -Georgia O'Keeffe Jack in pulpit

Georgia O'Keeffe I found I could say things with color and shapes
that I couldn't say any other way- -things I had no words for. -Georgia O'Keeffe Painter Georgia O'Keeffe, who flourished during the 1920’s and 1930’s, was not a synesthete, but was probably aware of the concept of synesthesia through her initial school-training. A few of her paintings, such as Blue and Green Music, and Music – Pink and Blue I & II, show definite signs of being synesthetic interpretations. Jack in pulpit Blue and green Music Music, Pink and Blue II

Georgia O'Keeffe Pelvis with moon-1943 Horse skull

Georgia O'Keeffe Georgia O'Keeffe was born on a farm near Sun Prairie,
Wisconsin. Between 1905 and 1916 she studied art at the Art Institute of Chicago, Art Students League of New York, University of Virginia, and Teachers College of Columbia University. 1916, O'Keeffe's drawings first came to the attention of Alfred Stieglitz (the important photographer and influential promoter of modern art), whom she married in 1924. Until his death in 1946, he regularly exhibited O'Keeffe's paintings and drawings at his New York galleries, which helped establish her reputation as a leading American artist. For more than seventy years O'Keeffe painted prolifically, and almost exclusively, images from nature distilled to their essential colors, shapes, and designs. . "A Storm" is a sumptuous pastel that captures the awesome sight of a raging electrical storm over water. O'Keeffe created a jolting contrast between the deep blue pastel of the water and sky, smudged and velvety, and the sharp angular bolt of red lightning outlined in yellow. This dramatic scene, which she most likely witnessed at Lake George, includes the surprising appearance of a full moon reflected in the lake at lower left. Although O'Keeffe's pastels were exhibited often during the 1920s and 1930s, they represent a less familiar aspect of her oeuvre. Black cross Red and rose

Georgia O'Keeffe Small purple hulls Dark place

Georgia O'Keeffe Georgia O'Keeffe was born on a farm near Sun Prairie,
1916, O'Keeffe's drawings first came to the attention of Alfred Stieglitz (the important photographer and influential promoter of modern art), whom she married in 1924. Until his death in 1946, he regularly exhibited O'Keeffe's paintings and drawings at his New York galleries, which helped establish her reputation as a leading American artist. For more than seventy years O'Keeffe painted prolifically, and almost exclusively, images from nature distilled to their essential colors, shapes, and designs. . "A Storm" is a sumptuous pastel that captures the awesome sight of a raging electrical storm over water. O'Keeffe created a jolting contrast between the deep blue pastel of the water and sky, smudged and velvety, and the sharp angular bolt of red lightning outlined in yellow. This dramatic scene, which she most likely witnessed at Lake George, includes the surprising appearance of a full moon reflected in the lake at lower left. Although O'Keeffe's pastels were exhibited often during the 1920s and 1930s, they represent a less familiar aspect of her oeuvre. Lawrence Tree, 1929 oil on canvas 23x31cm Wadsworth Atheneum Portraiture by Armenian photographer Yousuf Karsh

Louise Bourgeois. Invests INANIMATE OBJECTS with HUMAN QUALITIES by enacting a drama in space. Invests INANIMATE OBJECTS with HUMAN QUALITIES by enacting a drama in space. Cell (You Better Grow Up), 1993, acél, üveg, márvány, kerámia, fa, 210,8x208,3x212,1 cm Courtesy Robert Miller Gallery, New York Cell, (You better grow up) Installation. Mirrors, Glass, marble, wood, metal. Courtesy Robert Miller Gallery, New York

Ana Mendieta Silueta Works in Mexico Ana Mendieta
Twelve color photographs 19 3/8 x 26 9/16 in. each The Museum of Contemporary Art, Los Angeles Purchased with a grant provided by The Judith Rothchild Foundation Photo courtesy of the Estate of Ana Mendieta and Galerie Lelong, New York Silhouette works. Riverbed Silueta Works in Mexico The Museum of Contemporary Art, Los Angeles the Estate of Ana Mendieta and Galerie Lelong, New York

Janine Antoni . vaca Slumber One of the cows, with a wide-eyed expression, leans over, seemingly nuzzling Antoni’s breast, while Antoni maintains an exquisite look of tenderness and calm. Reversals are rampant: instead of her suckling them, so to speak, for their milk or myriad other products, one of them suckles her. At once tender, erotic, hilarious, intimate, ritualistic, and elusively perverse, this wonderful photograph The Barn The old grain barn from 1823, has successively been renovated and the whole barn was taken over for art in The exhibitions in the Barn have gradually changed from more traditional gallery-installations to site specific installations. The artists often work both in the Park and in the Barn. Janine Antoni's Tender Buttons (a gold brooch of the artist's nipples) Butterfly Kisses is another example of Antoni's innovative artwork. In this painting, Antoni used only her eyelashes and mascara, blinking thousands of times onto the canvas to create a work that incorporates both her perceptions of the world and her own body. the electroencephalograph (EEG) machine records her rapid eye movements (REM) which correspond to her periods of dreaming in the sleep cycle. At The Barn, 2002 Wanås Fundation, Sweden

Rebecca Horn. Installations
Artista de objetos y cineasta alemana. Entre 1964 y 1969 estudia en la Escuela de Bellas Artes de Hamburgo. En 1968 realiza las primeras esculturas corporales en las que la ropa se sustituye por plumas de pavo real y otros elementos. En realiza Performances I + II, en las que se destaca la interacción de las personas y objetos. Entre 1978 y 1981 realiza las películas Der Eintänzer y La Ferdinanda-Sonate für eine Medici-Villa. Posteriormente utilizará objetos y accesorios de estas películas en diversas adaptaciones e instalaciones. Los vídeos y performances de Horn son rituales coreográficos que envuelven el cuerpo y la identificación mítica del hombre con la naturaleza. Horn's early work was mostly appendages or prosthetics for the human body. There are long pointy head, shoulder and finger extensions, feather cocoons, masks and fabric strips that inhibit or emphasize bodily movement. La Luna , el niño, el rio The moon, the kid and the Anarquist river

Cindy Sherman In the early 1980s Sherman continued to explore stereotypes of femininity and female representation found in popular culture, such as the centerfold format of pornographic magazines. She also began to use color in her work; her painterly sensibility is apparent in Untitled, Untitled, #112 is also one of the first images in which the artist portrays a more masculine identity. T his gender ambiguity, along with the way the unusually lit figure emerges from the black background, yields an unsettling sensation. Untitled #153 1985 Untitled, #112, 1982. Color photograph, 45 1/2 x 30 inches. Artist’s proof 1/2. Solomon R. Guggenheim Museum,

Kara Walker Master/slave narrative
questions of identity, racism and social injustice. Master/slave narrative Answer to a longing for a romanticized past The silhouette, popular in the 19th and 18th century as women’s art, is employed today as a narrative device by Kara Walker to give a jolt of graphic recognition to a subject matter which would often be too gruesome to tell in any other format. By distilling the images to stark black and white, mostly in silhouette, Walker lulls her viewers into the murky waters of the history of African-Americans on this continent before the full scope of her subject matter is realized. An example of one of these paper cut-out installations is illustrated below. Contrast between Beautiful, detailed rendering__decided sense of Sexual, murderous menace. The silhouette. Life-size Cut outs and adhesive on wall. Black and White. Creation of Southern Iconography. From Newspaper’s vignettes, satirical prints and her imagination. Master/slave narrative

Faith Ringgold Painted story quilts. combines painting,
quilted fabric and storytelling Today, she is best known for her painted story quilts -- art that combines painting, quilted fabric and storytelling. She has written and illustrated eleven children's books. the Solomon R. Guggenheim Fellowship for painting, two National Endowment for the Arts Awards. professor of art at the University of California in San Diego, California.

quilted fabric and storytelling Today, she is best known for her painted story quilts -- art that combines painting, quilted fabric and storytelling. She has written and illustrated eleven children's books. the Solomon R. Guggenheim Fellowship for painting, two National Endowment for the Arts Awards. professor of art at the University of California in San Diego, California. Coming to Jones Road: Under A Blood Red Sky, 2000 Silkscreen on canvas with unique dyed borders and handwritten text, Edition of 20,41 x 47 inches Collection: Pasadena City College, Pasadena California

quilted fabric and storytelling Today, she is best known for her painted story quilts -- art that combines painting, quilted fabric and storytelling. She has written and illustrated eleven children's books. the Solomon R. Guggenheim Fellowship for painting, two National Endowment for the Arts Awards. professor of art at the University of California in San Diego, California. Echoes of Harlem, 1980 Acrylic on canvas, dyed, painted and pieced fabric 96 x 84 inches Collection: Philip Morris Companies, Inc.

quilted fabric and storytelling Today, she is best known for her painted story quilts -- art that combines painting, quilted fabric and storytelling. She has written and illustrated eleven children's books. the Solomon R. Guggenheim Fellowship for painting, two National Endowment for the Arts Awards. professor of art at the University of California in San Diego, California. Bitter Nest #1: Love in the School Yard , 1987 Acrylic on canvas with pieced fabric border 75.5 x 92.5" Phoenix Art Museum, Phoenix, Arizona From the Series: Bitter Nest

quilted fabric and storytelling Today, she is best known for her painted story quilts -- art that combines painting, quilted fabric and storytelling. She has written and illustrated eleven children's books. the Solomon R. Guggenheim Fellowship for painting, two National Endowment for the Arts Awards. professor of art at the University of California in San Diego, California. Tar Beach 2, 1990 Silkscreen on silk 66 x 66" Philadelphia Museum of Art, Philadelphia, Pennsylvania

Faith Ringgold Today, she is best known for her painted story quilts -- art that combines painting, quilted fabric and storytelling. Groovin High, 1986

quilted fabric and storytelling Today, she is best known for her painted story quilts -- art that combines painting, quilted fabric and storytelling. Jo Baker's Birthday, 1993 Acrylic on canvas with pieced fabric border 73 x 78" The French Collection Part II; #9 St. Louis Art Museum, St. Louis, Missouri

quilted fabric and storytelling Jo Baker's Bananas 1997 Acrylic on canvas; painted and pieced border 80.5 x 76 inches The American Collection; #4 Today, she is best known for her painted story quilts -- art that combines painting, quilted fabric and storytelling.

Faith Ringgold Today, she is best known for her painted story quilts -- art that combines painting, quilted fabric and storytelling. Matisse's Model ,1991 Acrylic on canvas with pieced fabric border 73.5 x 90.5" From the Series: The French Collection Part I; #5 Baltimore Museum of Art, Baltimore, Maryland

quilted fabric and storytelling Today, she is best known for her painted story quilts -- art that combines painting, quilted fabric and storytelling. She has written and illustrated eleven children's books. the Solomon R. Guggenheim Fellowship for painting, two National Endowment for the Arts Awards. professor of art at the University of California in San Diego, California. Flag Story Quilt,1985 Acrylic on canvas, dyed, painted and pieced fabric 57 x 78" Spencer Museum of Art, Lawrence, Kansas

The Dinner Party, pioneer of the feminist art movement,/ feminist works that celebrated women’s spirit, power, and generative strength. a symbolic history of women in Western civilization in visual and textual form, has become an icon of the 20th century. •Determined to change the way women, and women artists in particular, are remembered and regarded. _choosing the vulva as her main subject matter (against traditional social taboos) _ working with craft as well as fine art (rejected art hierarchies ) - fore grounded the idea of artistic collaboration rather than lone artistic genius. explore identity and other issues from a woman’s perspective collaboration with Miriam Schapiro at Cal Arts on the groundbreaking art/performance space Womanhouse in 1971 Judy Chicago. The Dinner Party A symbolic history of women in Western civilization in visual and textual form Determined to change the way women are remembered and regarded.

48 feet on each side employs numerous media, including •ceramics, •china-painting, •needlework table covered with fine white cloths set with 39 place settings thirteen on a side triangular in configuration, 48 feet on each side, that employs numerous media, including ceramics, china-painting, and needlework, to honor women's achievements immense open table covered with fine white cloths is set with 39 place settings, thirteen on a side The Dinner Party, pioneer of the feminist art movement,/ feminist works that celebrated women’s spirit, power, and generative strength. a symbolic history of women in Western civilization in visual and textual form, has become an icon of the 20th century. •Determined to change the way women, and women artists in particular, are remembered and regarded. _Choosing the vulva as her main subject matter (against traditional social taboos) _ Working with craft as well as fine art (rejected art hierarchies ) _Fore grounded the idea of artistic collaboration rather than lone artistic genius. explore identity and other issues from a woman’s perspective collaboration with Miriam Schapiro at Cal Arts on the groundbreaking art/performance space Womanhouse in 1971 Judy Chicago. A symbolic history of women in Western civilization in visual and textual form Determined to change the way women are remembered and regarded. Explores identity and other issues from a woman’s perspective _Choosing the vulva as her main subject matter (against traditional social taboos) _ Working with craft as well as fine art (rejected art hierarchies ) _Fore grounded the idea of artistic collaboration rather than lone artistic genius. The Dinner Party

Judy Chicago. PRIMORDIAL GODDESS, symbol of all emergent life
Snake_time_shredding_ Beginning __egg The Dinner Party was created in my studio in Santa Monica, California. PRIMORDIAL GODDESS, symbol of all emergent life 2. FERTILE GODDESS, symbol of fertility 3. ISHTAR, GREAT GODDESS OF BABYLONIA, giver and taker of life 4. KALI, Indian devourer/destroyer goddess 5. SNAKE GODDESS, embodiment of psychic vision and oracular divination 6.SOPHIA, abstract female symbol of Wisdom 7. AMAZON 8. HATSHEPUT, Egyptian pharaoh 9. JUDITH, Hebrew heroine 10.SAPPHO, Greek poet, fl. 600 B.C. 11. ASPASIA, Greek scholar and philosopher, B.C. 12. BOADACEIA, British warrior queen, lst c. A.D. 13. HYPATIA, Roman scholar and philosopher, Judy Chicago. The Plate setting (embroidery) The plate design (slowly becoming an sculpture) The Dinner Party

The Dinner Party was created in my studio in Santa Monica, California.
the idea that women had no history - and the companion belief that there had never been any great women artists - was simply prejudice elevated to intellectual dogma. the absence of visual images from a female perspective attests to a more significant absence, __ absence of the public arena absence of political leaders on the highest level of world governments; an absence of public monuments (Heroes) It took me years to create images that could convey the idea that the female body experience is as active and as central to what it means to be human incorporation of the vulval iconography was certainly intended to challenge the pervasive definitions of women and of female sexuality as passive it implies that the various women represented, though separated by culture, time, geography, experience, and individual choices, are unified primarily by their gender, which in my opinion, is the main reason that so many were and are unknown. Primordial Goddess Plate China-paint on porcelain, 14" in diameter From The Dinner Party © Judy Chicago 1979 Judy Chicago. The Dinner Party Hatshepsut Place Setting

1.PRIMORDIAL GODDESS, symbol of all emergent life
2. FERTILE GODDESS, symbol of fertility 3. ISHTAR, GREAT GODDESS OF BABYLONIA, giver and taker of life 4. KALI, Indian devourer/destroyer goddess 5. SNAKE GODDESS, embodiment of psychic vision and oracular divination 6.SOPHIA, abstract female symbol of Wisdom 7. AMAZON 8. HATSHEPUT, Egyptian pharaoh 9. JUDITH, Hebrew heroine 10.SAPPHO, Greek poet, fl. 600 B.C. 11. ASPASIA, Greek scholar and philosopher, B.C. 12. BOADACEIA, British warrior queen, lst c. A.D. 13. HYPATIA, Roman scholar and philosopher, The Dinner Party was created in my studio in Santa Monica, California. the idea that women had no history - and the companion belief that there had never been any great women artists - was simply prejudice elevated to intellectual dogma. the absence of visual images from a female perspective attests to a more significant absence, __ absence of the public arena absence of political leaders on the highest level of world governments; an absence of public monuments (Heroes) Judy Chicago. Primordial Goddess The Dinner Party the idea that women had no history - and the companion belief that there had never been any great women artists - was simply prejudice elevated to intellectual dogma.

hypatia weeping Hellenistic goddesses Illuminated letter for the runner based on Coptic imagery. china paint on porcelain, 27" x 27" x 9" Hypatia (c ) is the thirteenth place setting; it is located on the first wing of The Dinner Party table. Chicago describes her plate design and the goddess head of the illuminated letter for the runner as based on Coptic imagery. During Hypatia's lifetime, Coptic tapestry and design flourished in Alexandria where Hypatia became the head of the university. Because Hypatia achieved such status and a measure of independence, Chicago scalloped a portion of the edges of the plate design, an indicator that Hypatia had at least pierced the limits of the prescribed female life of her era. through scholarship and public rhetoric, Hypatia urged a return to classical religion (stressing goddesses and the feminine), thus angering the rising Christian powers of the Alexandrian community. Hypatia was killed in an orchestrated attack by monks who pulled her apart physically and burned her dismembered parts. The drawing for the runner design makes reference to weeping Hellenistic goddesses and the grotesque means of Hypatia's death.∂ The Dinner Party Hypatia (c ) is the thirteenth place setting on the first wing. Head of the University in Alexandria. • Through scholarship and public rhetoric, Hypatia urged a return to classical religion (stressing goddesses and the feminine), She angered the rising Christian powers of the Alexandrian community. • She was killed in an orchestrated attack by monks who pulled her apart physically and burned her dismembered parts Judy Chicago.

Judy Chicago. china paint on porcelain, 21" x 21" x 10"
The chronicle of her death is among the first documented cases of witch execution. She represented the thousands of women who died Accused witches. china paint on porcelain, 21" x 21" x 10" Here the motifs of the front sides often run rampant, like the richly embroidered snakelike Celtic convolutions on the runner of Petronilla de Meath,__ an Irish lady's maid who was one of the first women to be burned at the stake as a witch. _twenty-first place setting, and is located on the second wing of The Dinner Party table. The chronicle of the death of Petronilla de Meath is among the first documented cases of witch execution. Petronilla represented the thousands or millions (estimated at 85% women) who died during the Middle Ages as accused witches. Chicago also commemorated Petronilla, since the Wiccan faith to which she adhered despite threat of torture and death, is believed to be a direct descendent of more ancient female-centered religions. Her plate design features Wiccan symbols, the bell, book, candle, cauldron, and fire (a double symbol of ancient sacred practice and of execution during the Middle Ages). burned as a witch, the first such burning in Ireland, on 3 November, 1324. All of the charges seem to have been intended to show that Lady Alice had no right to her wealth. Bishop Ledrede (Franciscan from England, but had been consecrated at Avignon 1317, a time when the Templar affair was still remembered) demanded that accused parties be imprisoned, but the Lord Chancellor was Alice's brother-in-law, Roger Outlaw, and he declined to act. Lady Alice was sentenced to the stake, but managed to escape by fleeing to England. According to a chronicle by Friar John Clyn, she was later apprehended and put to death for heresy. While maleficarum was common accusation throughout the middle ages by nobles in dispute, what is interesting in Lady Alice Kyteler's case is the presence of demonology. His is the first known accusation whereby a woman received her supernatural power through intercourse with a demon. A similar charge had been leveled before at men, whereby their supernatural power was the result of their mother's intercourse with incubi, In ritual magic texts of the time, such as the Key of Solomon, the ritual magician is often called the Master of Art, while the animal sacrificed for the parchment is called the Victim of Art. “private demon, Robin Artisson, or "Son of Art" The Dinner Party Judy Chicago. Petronilla de Meath, d. 1324 An Irish lady's maid who was one of the first women to be burned at the stake as a witch, Because he belief in the traditionally Irish Wiccan faith. • Runner: richly embroidered, snake like Celtic motif. • Plate features Wiccan symbols: the bell, the book, a candle, a cauldron and fire (double symbol: of ancient practices and execution)

The Dinner Party Aquitanie. William IX ( ):Court of the Troubadours, Courtly love.// Kingdom from the River Loire to the Pyrenees. she became part of two of the most powerful dynasties from the 12th century, the French Capets and the English Platagenet Eleanor of Aquitaine. _At age 15 she married Louis VII, King of France _In 1152 the marriage was annulled and her vast estates reverted to Eleanor's control. _ Marries Henry II Plantagenet, Count of Avignon, Duke of Normandy. KING OF ENGLAND she led her three of her sons in a rebellion against Henry, (Myth)__King Arthur and the Knights of the round table Daughter: Leonor of England ___Alfonso VIII of Castile Richard I "the Lion heart___ Berengaria of Navarre grand daughter Blanche of Castile ___ Louis VIII of France Marie of Champagne. Court at Troyes, Trouvadour court. Judy Chicago. The Dinner Party Eleanor of Aquitaine. Daughter of William IX, the Troubadour. Married to Luis VII of France Henry II Plantagenet, King of England. (Richard Lion heart, John No Land, Leonor of Castile)

Judy Chicago. CHRISTINE DE PISAN, professional author 1363-1431
Gerda Lerner's point,, that "men develop ideas and systems by absorbing past knowledge and critiquing and superseding it [while] women struggle for insights others already had before them" (author's emphasis). CHRISTINE DE PISAN, professional author After seeing a hand-painted set of dishes on an elegant table, I decided to present the plates in the context of a table setting rather than hanging them on a wall, which had been my original intention. Then I began to think about traditional paintings of meals, most notable renditions of The Last Supper, which of course included only men. The world- wide response to The Dinner Party stands in stark contrast to the absence of offers for permanent housing. Through the Flower is determined that The Dinner Party will not suffer from the same fate, the erasure of women's history, that it was created to fight against. Judy Chicago. Christine de Pisan , profesional author, Place Setting. Illuminated capital letter The Dinner Party

ELIZABETH R, queen of England, scholar, poet, 1533-1603 representing:
Judy Chicago. The Dinner Party

Place setting. Mary Wollstonecraft. Mother of Mary Shelley. The Dinner Party. Mary Wollstonecraft ( ) “A Vindication of The Rights of Women “1792. Mary Wollstonecraft Shelley ( ) original surname Godwin . English Romantic novelist, biographer and editor, best known as the writer of FRANKENSTEIN, OR, THE MODERN PROMETHEUS (1818) Her best friend dies in her arms after a premature childbirth. August Mary Wollstonecraft Godwin is born./10 September, Wollstonecraft dies of "childbed fever". Mary Wollstonecraft's runner, decorated with scenes from her life, is a veritable index of 18th-century needlework techniques, the main skills taught to young ladies of that era. Judy Chicago. The Dinner Party

Judy Chicago. The Dinner Party
Mary Wollstonecraft, died of puerperal fever 10 days after giving birth to Mary Shelley. She was one of the first feminists, the author of A Vindication of the Rights of Women., 1792. The Dinner Party Mary Shelley was born in London. Her mother, Mary Wollstonecraft, died of puerperal fever 10 days after giving birth to her. She(mother) was one of the first feminists, the author of A Vindication of the Rights of Woman. Her father was the writer and political journalist William Godwin, Godwin had revolutionary attitudes to most social institutions, including marriage. In her childhood Mary Shelley was left to educate herself amongst her father's intellectual circle Colerigge, Shelley) Mary published her first poem at the age of ten. At the age of 16 she ran away to France and Switzerland with Shelley. They married in 1816 after Shelley's first wife had committed suicide by drowning. The story of Frankenstein started on summer in 1816 when Mary joined with Percy Shelley and Claire Clairmont near Geneva Lord Byron. She took a challenge set by Byron and Shelley to write the most frightening ghost story. In 1818 the Shelleys left England for Italy, her daughter dies. In 1819 Mary suffered a nervous breakdown after the death of William who died of malaria at the age of 3 - year. 1822 Mr.Shelley's death - he drowned in the Bay of Spezia near Livorno. In 1823 she returned with her son to England, determined not to-re-marry. She devoted herself to his welfare and education and continued her career as a professional writer. • Mary Shelley was left to educate herself amongst her father's intellectual circle, (political journalist William Godwin) • She published her first poem at the age of ten. At the age of 16 she ran away to France and Switzerland with Percy Shelley, . The story of Frankenstein started on summer in 1816 when Mary joined with Percy Shelley and Claire Clairmont near Geneva Lord Byron. She took a challenge set by Byron and Shelley to write the most frightening ghost story. e author of A Vindication of the Rights of Woman.

The Dinner Party E D__1830–86, American poet widely considered one of the greatest poets in American literature. Her unique, gemlike lyrics are distillations of profound feeling and original intellect, and they stand outside the mainstream of American literary tradition. born in Amherst, Massachusetts, in She attended Mount Holyoke Female Seminary in South Hadley but severe homesickness led her to return home after one year. By the 1860s, she lived in almost total physical isolation from the outside world, but actively maintained many correspondences and read widely. Her poetry reflects her loneliness and the speakers of her poems generally live in a state of want; but her poems are also marked by the intimate recollection of inspirational moments which are decidedly life-giving and suggest the possibility of future happiness. her Puritan upbringing and the Book of Revelation. Dickinson was extremely prolific as a poet and regularly enclosed poems in letters to friends, but she was not publicly recognized during her lifetime. The first volume of her work was published posthumously in 1890 and the last in She died in Amherst in 1886. Judy Chicago. The Dinner Party

Judy Chicago. Sojourner Truth (1797 - 1883)
The Dinner Party Susan Anthony, Rights activist, Suffragist The Dinner Party Susan B. Anthony's runner incorporates a satin and velvet crazy quilt, and a fringed shawl that might also be a cover for a speaker's lectern. on female abolitionists and suffragists, in particular, has been left out of our classrooms, though their involvement in the civil rights movement in the 19th and early 20th century was considerable. Sojourner Truth ( ) n abolitionist and feminist who, after being freed as a slave, traveled the United States speaking at various conventions for the equality of blacks and women. Her most famous speech was entitled "Ain't I a Woman?" and it was delivered at the Women's Rights Convention in Akron, Ohio. her antislavery lectures became infused with arguments for women's rights. In 1850 she published her autobiography

Judy Chicago. Sojourner Truth and Susan B. Anthony place settings.
The Dinner Party Sojourner Truth and Susan B. Anthony place settings. on female abolitionists and suffragists, in particular, has been left out of our classrooms, though their involvement in the civil rights movement in the 19th and early 20th century was considerable. Sojourner Truth ( ) n abolitionist and feminist who, after being freed as a slave, traveled the United States speaking at various conventions for the equality of blacks and women. Her most famous speech was entitled "Ain't I a Woman?" and it was delivered at the Women's Rights Convention in Akron, Ohio. her antislavery lectures became infused with arguments for women's rights. In 1850 she published her autobiography Originally Isabella Van Wagener, she escaped to Canada in 1827 Later in life she became a noted speaker for both the Abolitionist movement and the women's rights movement have ploughed and planted, and gathered into barns, and no man could head me! And ain't I a woman? I could work as much and eat as much as a man - when I could get it - and bear the lash as well! Then that little man in black there, he says women can't have as much rights as men, 'cause Christ wasn't a woman! Where did your Christ come from? Where did your Christ come from? From God and a woman! Man had nothing to do with Him. Sojourner Truth ( ) abolitionist and feminist who, after being freed as a slave, traveled the United States speaking at various conventions for the equality of blacks and women. Her most famous speech was entitled "Ain't I a Woman?" and it was delivered at the Women's Rights Convention in Akron, Ohio.

Judy Chicago. Installation view of The Dinner Party
Georgia O’Keefe, The Dinner Party Installation view of The Dinner Party Featuring the Virginia Woolf and Georgia O'Keeffe Place Settings.

Judy Chicago. The Dinner Party Virginia Wolf, 1882-1941
Collage/drawing for the Woolf setting Virginia Wolf, Virginia Woolf ( ) is the thirty-eighth place setting at The Dinner Party table In this collage/drawing for the Woolf setting Chicago included a number of things: photographic images of the English author (A Room of One's Own; To the Lighthouse) bits of text; an abstract suggestion of the lighthouse beam utilized on the runner; and a detailed drawing of the Woolf plate design. Chicago collaged cut-out photographs of the Sappho and Sophia plates, Chicago used the inclusion of her earlier goddess plate imagery to indicate the reemergence of powerful female generation. English author (A Room of One's Own; To the Lighthouse) Original runner design: an abstract suggestion of a lighthouse beam, References (cut-out photographs) of the Sappho and Sophia plates, Inclusion of her earlier goddess plate imagery to indicate the reemergence of powerful female generation.

Discovering the visual beauty, aesthetic potential, and rich history in china-painting
and the way in which it had been disregarded as a "woman's craft" led me to decide to use this technique. Between 1972 and 1974 I studied china-painting, then executed a series of ceramic pieces that allowed me to apply my gradually developing technical expertise to a slowly evoking imagery. The imagery on the plates incorporates both vulval and butterfly motifs,/ butterfly is an ancient symbol of liberation. The butterfly forms undergo a metamorphosis as the painted and sculpted abstract portraits become increasingly dimensional, a metaphor for women's intensifying struggle for freedom. many people never think about the fact that art objects are ultimately the most significant transmitters of a culture's values. incorporation of the vulval iconography was certainly intended to challenge the pervasive definitions of women and of female sexuality as passive it implies that the various women represented, though separated by culture, time, geography, experience, and individual choices, are unified primarily by their gender, which in my opinion, is the main reason that so many were and are unknown. Organic iconography: the plates incorporates both vulval and butterfly motifs, Judy Chicago. The Dinner Party Primordial Goddess Plate China-paint on porcelain, 14" in diameter From The Dinner Party © Judy Chicago 1979

Judy Chicago. Flower Legacy Endowment Fund
Judy Chicago's The Dinner Party to receive permanent home at the Brooklyn Museum Of Art through a gift from the Elizabeth A. Sackler Foundation. a symbolic history of women in Western civilization / break the cycle of history the runners tend to be livelier and more varied than the plates. In addition, the runners grow stronger as the work progresses, while the plates become weaker, more monotonous and more overdone, which means the middle two-thirds of the piece is most successful. Extremely varied in design and technique, the runners outline much of the history of textiles, especially needlework, which is often specific to the country and era of the runner's subject. Finished in 1979 after five years of grueling work that included aid from a host of volunteers, The Dinner Party immediately made its debut at the San Francisco Museum of Art and was exhibited at the Brooklyn Museum in 1980 Each is paired with an often sumptuously embellished cloth runner to form a symbol-laden portrait of a mythic, legendary or historical woman, beginning with a generic Primordial Goddess and ending with Georgia O'Keeffe, with stops along the way at Sappho, the Byzantine empress Theodora, Artemisia Gentileschi and Emily Dickinson. The Dinner Party presents an early hands-on example of international festivalism - feminist in style, much more solid than most. It is self-conscious spectacle, meant to impress a large audience with its scale, labor-intensiveness, visual richness and density of information. Judy Chicago. The Dinner Party

b. France 1953. Lives and works in Paris
to follow, peek into, and to spy on the lives of people she barely knows. Imposes elements of her own life onto public places, Creates a personal narrative were she is both author and character. Centered in The Process Diary and self portraits. Stories illustrate the photographs. Curiosity_Investigation. A detective or a voyeur Reflexion on the modern concept of Private life Over the last two decades, Calle has made it her business to follow, peek into, and outright spy on the lives of people she barely knows, with results that both illustrate human vulnerability and tend not infrequently to pathos "...These works had involved me so much in the act of following that I wanted, in a certain way, to reverse these relationships. So I asked my mother to hire a private detective to follow me, without him knowing that I had arranged it, and to provide photographic evidence of my existence.” La Filature - The Shadow In 'The Shadow', (left) although Sophie Calle knew she would be followed and photographed as she went about her daily life in Paris, she had no idea which day the detective would be following her. She kept an itinerary of her own movements and wrote a description of what happened each day as well as making a series of photographs of what she saw herself. Calle "relinquished the role of artist to the detective" 12 to "provide photographic evidence of (her) existence" INTRUSIVE_ intrusive techniques aiming to record everyday reality through a distorted view of surveillance. Sophie Calle Photograph from "La Filature - The Shadow." 1981 Followed by a detective hired by her mother.

Sophie Calle. The Sleepers, 1979
Les Dormeurs Les Dormeurs, The Sleepers She produced her first work of art by asking 45 friends, neighbors and strangers to sleep in her bed. She documented the resulting meetings with photos and text. THE SLEEPERS (1979) is the first link in a chain, apparently making up her œuvre, of often unbelievably strange, adventurous penetrations of her own and others' private lives: she invited 45 people -strangers and acquaintances- to spend the night in her bed in order to photograph and observe them and to ask them questions. 29 people agreed to her proposal. This first intervention is documented in the photographic series The Sleepers, accompanied by the artist's interview texts and descriptions. It reveals the names, professions and sleeping habits of the subjects. 1979: Les Dourmeurs (Los durmientes). "Lo que me gustaba era tener en mi cama gente que no conocía, de la calle, que no sabía lo que hacían, pero que a mi me daban su parte más íntima, (...) ver como dormían ocho horas por la noche, como se movían, si hablaban, sonreían. Esta gente no sabía quién era ni qué hacía..." "Pedí a algunas personas que me proporcionaran algunas horas de sueño. Venir a dormir a mi lecho. Dejarse fotografiar. Responder a algunas preguntas. Mi habitación tenía que constituir un espacio constantemente ocupado durante ocho días, sucediéndose los durmientes a intervalos regulares. La ocupación de la cama comenzó el uno de abril de 1979 a las 17 horas y finalizó el lunes 9 de Abril de 1979 a las 10 horas, 28 durmientes se sucedieron. Algunos se cruzaron(...) un juego de cama limpio estaba a su disposición (...) no trataba de saber, de encuestar, sino de establecer un contacto neutro y distante. Yo tomaba fotos todas las horas. Observaba a mis invitados durmiendo." she invited 45 people -strangers and acquaintances- to spend the night in her bed in order to photograph and observe them and to ask them questions. 29 people agreed to her proposal. documented in the photographic s accompanied by the artist's interview texts and descriptions.

Sophie Calle. Double game
Collaboration with writer Paul Auster, She plays a Role Game. The Chromatic Diet / For each day, a different, outstanding color. Sophie views herself as a puzzle, and the world, the pieces./ Sophie explores herself through multiple people in various scenarios. works that deal with the traces of personae”/ projects that create the characteristic traits of Auster's character, Maria works with photographs and performances, placing herself in situations almost as if she and the people she encounters were fictional. there is no separation between her work and her life. Her art is how she invents her life” Calle urges Paul Auster to continue their collaboration By asking Paul to "invent a fictional character (she) would attempt to resemble", Sophie stays within the theme of role-playing in Double Game Auster's response to Sophie's plea is the Gotham Handbook, gives detailed directives on how to improve the communally detached state of New York City. is the body of Calle's one-week identity. Part I: The Life of Maria and how it influenced the life of Sophie The Chromatic Diet Part II: The Hotel and The Detective, Part III: “The Gotham Handbook” She sees herself as a puzzle (Postmodern fragmented world) Tries to discover it by creating systems that Let her understand each small piece.

Sophie Calle. The Chromatic diet
The Chromatic Diet / For each day, a different, outstanding color. Sophie views herself as a puzzle, and the world, the pieces./ Sophie explores herself through multiple people in various scenarios. works that deal with the traces of personae”/ projects that create the characteristic traits of Auster's character, Maria works with photographs and performances, placing herself in situations almost as if she and the people she encounters were fictional. there is no separation between her work and her life. Her art is how she invents her life” Calle urges Paul Auster to continue their collaboration By asking Paul to "invent a fictional character (she) would attempt to resemble", Sophie stays within the theme of role-playing in Double Game Auster's response to Sophie's plea is the Gotham Handbook, gives detailed directives on how to improve the communally detached state of New York City. is the body of Calle's one-week identity. For each day, a different, outstanding color Monday is orange. Boiled prawns curl up, floating on a puree of carrots, while a slice of cantaloupe multiplies itself five times. Orange juice waits to be washed down. Tuesday is red. Glistening pomegranates slide through one another in a wild dance next to lazy tomatoes sleeping peacefully in soft couches of steak tartare.

Sophie Calle. The Detective
Sophie views herself as a puzzle, and the world, the pieces./ Sophie explores herself through multiple people in various scenarios. works that deal with the traces of personae”/ projects that create the characteristic traits of Auster's character, Maria works with photographs and performances, placing herself in situations almost as if she and the people she encounters were fictional. there is no separation between her work and her life. Her art is how she invents her life” Sophie Calle knew she would be followed and photographed as she went about her daily life in Paris, she had no idea which day the detective would be following her. She relinquishes the role of artist to the detective: To provide photographic evidence of (her) existence” She kept an itinerary of her own movements and wrote a description of what happened each day.

Sophie Calle, Suite Vénitiene, 1980
PUBLIC PLACES _PRIVATE SPACES Intimate objects appear as an anthropological study. To paint a portrait of the occupant. (an estranger) The Hotel. "On Monday, February 16, 1981, I was hired as a temporary chambermaid for three weeks in a Venetian hotel. I was assigned twelve bedrooms on the fourth floor. In the Course of my cleaning duties, I examined the personal belongings of the hotel guests and observed through details lives which remained unknown to me. On Friday, March 6, the job came to and end." ---Sophie Calle, 'Double Game" Ritz. Calle was introduced to a man she had spent the day following through Paris. Discovering he was on his way Venice for a two week vacation. Disguised in a blond wig and sunglasses, she follows him, PUBLIC PLACES PRIVATE SPACES "For each room there was a photograph of the bed undone, of other objects in the room, and a description day by day of what I found there.” "For 'The Hotel' I spent one year to find the hotel, I spent three months going through the text and writing it, I spent three months going through the photographs and I spent one day deciding it would be this size and this frame...it's the last thought in the process." Sophie Calle The black and white sequential photographs of the guests' rooms give this project the appearance of an anthropological documentary. Placing herself in an intimate job, She uses clues left around the room to paint a portrait of the occupant, She snoops through the hotel guest's most personal possessions in order to create a vivid image of him, yet she relies on only these objects and her perception to the room's environment, She realizes that the most powerful form of translating her observations is through her viseral response. • She followed a man she had met at a party to Venice and continued to follow and photograph him there for two weeks. • A year later she returned to Venice where she got a temporary job as a chambermaid. She made a piece of work about her imagined ideas of who the hotel guests were, based on their personal belongings.

Sophie Calle Sophie Calle is a French artist who works with photographs and performances, placing herself in situations almost as if she and the people she encounters were fictional. She also imposes elements of her own life onto public places creating a personal narrative where she is both author and character. She has been called a detective and a voyeur and her pieces involve serious investigations as well as natural curiousity. Calle's work is very much tied up with a process. Her art unfolds as she goes through each stage of preparation and execution. As she descibes (below), the form of the final product - the thing which the gallery viewer actually sees - is the least significant part. The failure of the myth of information Autobiographical stories The tie The pig Amnesia Divorce The failure of the myth of information

Sophie Calle "Dream Wedding" from "Les Autobiographies", 2000
Photography and Text on aluminium 120x180cm and 50x50cm I nearly got married to a man who had been posted to China for three years. That's a long time. Like a fiancée whose betrothed is bound for the front, I wanted to marry him on the runway at Roissy airport, just before he left. The groom would step up into the plane as I stood on the tarmac. The reception would be held without him and I would spend my wedding night alone. We set the date for October 7, Negotiations with the airport authorities, mayor's agreement to officiate, licence, guest list, dress everything was ready. Until a letter from the state prosecutor arrived refusing permission. Weddings had to be celebrated on municipal premises, with two exceptions: hospital, in the likelihood of imminent death of one of the betrothed, or prison. So, town hall, jail, agony, these were our choices. Banal, radical or tragic. Still, on October 7, I did go to the airport to wear my dress, just once, and to grieve for our wedding. And I did go back home alone, as planned. I nearly got married to a man who had been posted to China for three years. That's a long time. Like a fiancée whose betrothed is bound for the front, I wanted to marry him on the runway at Roissy airport, just before he left. The groom would step up into the plane as I stood on the tarmac. The reception would be held without him and I would spend my wedding night alone. We set the date for October 7, Negotiations with the airport authorities, mayor's agreement to officiate, license, guest list, dress everything was ready. Until a letter from the state prosecutor arrived refusing permission. Weddings had to be celebrated on municipal premises, with two exceptions: hospital, in the likelihood of imminent death of one of the betrothed, or prison. So, town hall, jail, agony, these were our choices. Banal, radical or tragic. Still, on October 7, I did go to the airport to wear my dress, just once, and to grieve for our wedding. And I did go back home alone, as planned.

Sophie Calle. The Blind les aveugles. The Blind
How do blind people imagine beauty (THE BLIND, 1986)? How do blind people imagine beauty (THE BLIND, 1986)

Sophie Calle. The Blind les aveugles. The Blind
How do blind people imagine beauty (THE BLIND, 1986)

Catherine Chalmers "Caterpillar and Tomato Remains", from the Food Chain series, photograph, "Praying Mantis and Caterpillar", from the Food Chain series, photograph, "Snake Eating a Baby Mouse", from the Food Chain series, photograph, Viewing Catherine Chalmers' exhibition Food Chain is a little like watching The Sopranos on television. Both are about the drama of sex, intrigue, predators, consumption and death. large-scale colour photographs in Chalmers' exhibition are the result of a long-term project, which involved raising insects and other animals in order to re-create the predator-prey encounters one would normally see in nature and then capturing them on film. The result is humorous, horrific, surprising and unsettling. Photographed on a stark white background with controlled lighting, the creatures are removed from their usual contexts and we are forced to examine the vivid detail of their actions. "I the very beginning of our desire to be civilized is a desire to be out of the food chain ourselves the drama of sex, intrigue, predators, consumption and death. the Food Chain series, photograph,

Catherine Chalmers "Caterpillar and Tomato Remains",
Re-create the predator-prey encounters Catherine Chalmers "Caterpillar and Tomato Remains", from the Food Chain series, photograph, "Praying Mantis and Caterpillar", photograph, the very beginning of our desire to be civilized is a desire to be out of the food chain ourselves Catherine Chalmers studied engineering at Stanford University and painting at the Royal College of Art in London Food Chain, Encounters between Mates, Predators and Prey There is a harsh truth and whimsical beauty to these compositions that, in their close-up focus, examine the distance between nature and observing humans. "Food Chain" took me two years to do. I mean, it took five minutes to set up for the praying mantis to eat the caterpillar. So, you think you can do this in one month's time, but it takes two years to get all these animals to grow, and to be at the right time in their lives to be doing something like eating the caterpillar, or for a frog to be eating a praying mantis. It took two years of trial and error -- In "Food Chain," the animals were basically having lunch. I wasn't doing anything -- I didn't kill any animals, despite what it looks like. "Food Chain" took me two years to do. I mean, it took five minutes to set up for the praying mantis to eat the caterpillar. So, you think you can do this in one month's time, but it takes two years to get all these animals to grow,

Catherine Chalmers As the pristine white grounds on which Chalmers's creatures slither and dine suggest, the "art' is in the self-conscious formalism that frames her subjects, a device further amplified by the institutional framing of these images within the immaculate precincts of the galleries and museums that display them. the unceasingly fecund and voracious creatures are transported to the minimalist ambience of a trendy Belair restaurant where their bad manners (i.e. the messy imperatives of biology) stand out with greater force Their closest kin is not nature photography but pornography. What they betray through being dressed up as art is the prissy repressiveness of the art world itself and the larger repressiveness of a culture which take aesthetic delight in the biologically fated behavior of insects but cannot abide the thought that men and women may be as bound to their biological natures as caterpillars and frogs. Mario Cutajar "Birth", from the "Pinkies" series, photograph, "Nursing", from the "Pinkies" series, photograph, Difficult (grouse subject) / Minimalist ambience / formalist framing / immaculate precincts of the galleries and museums

Catherine Chalmers Orchid Bug from "Imposters" C Print
She camouflages the bugs (cockroaches) in the beautiful environment She camouflages the bugs (cockroaches) in the beautiful environment

Catherine Chalmers Lady Bug from "Imposters" C Print

Catherine Chalmers The resulting images possess the kind of tension between beauty and repugnance that makes for arresting advertising. T Bumble beetles from "Imposters" tension between beauty and repugnance

Catherine Chalmers Hanging from ”Executions"
I'm doing what we all do with roaches: I'm executing them. I can explore our relationship to the natural world through them that I can't with other animals. One thing about cockroaches is that we hate them. And our relationship to them is to kill them, and we spend millions and millions of dollars a year trying to spray them. I'm doing what we all do with roaches: I'm executing them there are areas I can explore our relationship to the natural world through them that I can't with other animals. Even animal lovers can kill a mosquito if it's biting them on the arm. Some people won't kill flies. Some people won't kill ants. There's a whole range of what's acceptable to some people and what's not acceptable to others. Some people go out and shoot deer or something. Who cares if they go kill a roach? I'm using roaches to explore that aspect that we have of humans killing other animals Hanging from ”Executions"

Catherine Chalmers Hanging Burning at the stake Electrocutions
Map of hatred . Burning at the stake Electrocutions Executions

Born 1952 in Schwerte, West Germany
Lives and works in Cologne Rosemarie Trockel was the official representative of Germany at the Venice Biennale in Her piece Haus für Schweine und Menschen, which she did together with Carsten Höller at Dokumenta X in 1997, became a topic of conversation. Rosemarie Trockel Born 1952 in Schwerte, West Germany Lives and works in Cologne

the subordinated manual labor of the woman.
Rosemarie Trockel The subordinated manual labor of the woman. (weaving) Very conceptual motifs (Philosophy, mathematics) Plus and minus

Rosemarie Trockel Made in west Germany
the subordinated manual labor of the woman. Rosemarie Trockel Made in west Germany

Kiki Smith Pee Body 1992 Wax sculpture with beads Fogg Art Museum
Cambridge "Kiki Smith was born in Nuremberg, Germany in Her father was artist Tony Smith, best known for his minimalist sculptures. Pee Body, 1992 Wax sculpture with beads Fogg Art Museum, Cambridge Born in Nuremberg, Germany in 1954. Her father was minimalist sculptor Tony Smith

Kiki Smith el cuerpo como tema central.
En 1976 viaja a Nueva York, donde conoce al productor de cine C. Ahearn, quien la introduce en el grupo de artistas Collaborative. began to make figures for her traveling puppet theatre in the early 1970s By 1976, Smith had moved to New York 1979, Smith began to make drawings of microscopic images, cross sections and nerve endings from Gray’s Anatomy. She trained to be an emergency medical technician at the Brooklyn Hospital in 1985, and the same year also began to work in glass at the New York Experimental Glass Workshop." Born in Nuremberg, Germany in 1954. Her father was minimalist sculptor Tony Smith

Kiki Smith "Kiki Smith was born in Nuremberg, Germany in Her father was artist Tony Smith, best known for his minimalist sculptures. Ribs 1987 Terra-cotta, ink and thread 22 x 17 x 10 in Solomon R. Guggenheim Museum Untitled (Flower Head) 1994 Bronze and glass Collection of Mary and Robert Looker 1985, began to work in glass at the New York Experimental Glass Workshop." Untitled (Flower Head), 1994 Bronze and glass Collection of Mary and Robert Looker Ribs, 1987 Terra-cotta, ink and thread, 22 x 17 x 10 in Solomon R. Guggenheim Museum

Kiki Smith Ovum and sperm Untitled (placenta/ovaries) 1991
Indigo dyed and natural Gampi paper and papier-mache 87 x 30 x 24 in as shown Private collection Untitled, (placenta/ovaries) 1991 Indigo dyed and natural Gampi paper and papier-mache 87 x 30 x 24 in as shown Private collection

Kiki Smith Mary Magdalene Baby doll and mudra

Kiki Smith "Smith’s art is devoted to the exploration of the human body, inside and out . This deliberately unsettling sculpture was created from life casts of a female model, it is hung so that Lilith clings to the wall upside down, staring up at the viewer with glass eyes. The title refers to an ancient Sumerian demon, a creature of the air who, in post-biblical Hebrew legend is identified as Adam’s intended first wife, who flew away when he refused to accept her as his equal." Lilith Standing

Kiki Smith "Smith’s art is devoted to the exploration of the human body, inside and out . This deliberately unsettling sculpture was created from life casts of a female model, it is hung so that Lilith clings to the wall upside down, staring up at the viewer with glass eyes. The title refers to an ancient Sumerian demon, a creature of the air who, in post-biblical Hebrew legend is identified as Adam’s intended first wife, who flew away when he refused to accept her as his equal." Lilith

Kiki Smith Kiki Smith's Constellation
The Unnatural Science exhibition, MASS MoCA Summer 2000 Glass figures on a paper ground Constellation The Unnatural Science exhibition, MASS MoCA Summer 2000 Glass figures on a paper ground

Kiki Smith Fairy Rings, (Mushrooms), 1998
96 unique bronze elements Dimensions variable (Ranging from 2-1/4" x 2-1/4 to 6" x 2-3/4" each element) Fairy Rings, (Mushrooms), 1998 96 unique bronze elements Dimensions variable

Kiki Smith. Telling Tales
Sleeping Witch, 2000 (with the assistance of Joey Kotting) Courtesy of the artist and Pace/MacGill Gallery, New York Sleeping Witch, 2000

Sleeping Witch, 2000 (with the assistance of Joey Kotting) Courtesy of the artist and Pace/MacGill Gallery, New York Pace/MacGill Gallery, New York

Companions. Lithography Born, 2002 Pool of tears

Kiki Smith. Pool of tears 2 Josephine Bird skeleton Sueño Smith's setting is an enchanted place where a sense of wonder and innocence prevails.

Kiki Smith. Kiki Smith is noted for her depictions of the human body, fragmented and whole, which she uses to express the hidden sides of our physical and psychological selves Sleeping Beauty Splinter series

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