The feminist movement, which originated in the 19th century, developed rapidly in the 20th century and became the subject of many literary works. The book The dinner party: Judy Chicago and the power of popular feminism, 1970-2007 by Gerhard (2013) shows the story behind one of the most famous feminist art installations of the 1970s. This work highlights the complex path that Judy Chicago, the author of this installation, has gone through and what trends she has spread through her creative work. The book combines biographical, artistic, scientific, and other themes. This makes it interesting for both the average viewer and a narrower circle of researchers studying the feminist movement of the late 20th century and the beginning of the 21st century.
Along with the biography of the book’s main character, in the introduction, the basic aspects of feminism are presented. Gerhard (2013) demonstrates the background that prompted Judy Chicago to create her installation and notes the significance of her creative path for the entire feminist movement. Chicago’s biography is presented concisely with an emphasis on her professional development. Gerhard (2013) also considers current trends in the feminist art movement and compares different artists’ individual styles. The concept of popular feminism and the general theory of this movement are revealed to show the theoretical basis that defines the essence of the entire movement. Individual social and legal barriers are cited to reflect the challenges women’s rights activists had to face.
In chapter one, Judy Chicago’s activities as a college professor are described. Gerhard (2013) highlights the sexism that the future world-famous artist faced during her work and emphasizes that at this stage, Chicago felt a clear reluctance to recognize the work of female artists. The main trends in the cultural environment of the time are also described, and the key art institutions are mentioned, such as the Museum of Modern Art, the Metropolitan, and some others. During this time, Chicago and her followers initiated numerous feminist programs designed to draw public attention to the discrimination against women. A special role was given to targeted work with students when the artist sought to educate her audience, although not always successfully.
Chapter two of the book begins with a description of the opening of Womanhouse, a specially organized project in which many female artists, including Judy Chicago, have invested many efforts. Gerhard (2013) mentions the individual works of the Womanhouse members, comparing them and giving characteristic color, textural, mood, and other features of their compositions. The dominant number of these works carried a feminist message, and unique ideas were aimed at generating public outcry. Chicago was not shy about her provocative works, which characterized her as a bold and even daring artist. Media mentions of Womanhouse are cited, and the chapter ends with the project shutting down, a major turning point for Chicago.
In the following chapter, Chicago’s preparation process for her major art installation is described. It took five years to organize it before it became a world-famous cultural heritage and a shining piece of feminist art. At this stage, the artist dared to create new projects, which corresponded to changes in the general social environment. The movement against women’s discrimination gained momentum and involved more and more participants of different ages. During this period, Chicago showcased her unique vision of feminist art through intimate themes. As a result, the female body and its individual parts became the basis of her installation.
Another important part of the book is devoted to Judy Chicago’s work to attract new members to the feminist movement. Her studio in California was active, and during this period, the artist created her own installation, constantly adding new details to it. Particular attention was paid to the runners as an important element of The Dinner Party. Many efforts and funds were put into the creation of individual components of the exposition. Chicago attracted volunteers, who, in turn, did their best to recreate the idea that its creator sought to embody. The liberal message, accompanied by provocative models of the exhibition, was the basis of the entire installation.
In chapter five, the direct opening of the exhibition is described. Gerhard (2013) also discusses Chicago’s financial success; during her active social work, the artist’s income increased significantly, which allowed her to invest not only her strength but also money in art. Gerhard (2013) also evaluates such a concept as networking feminism. The network of members of the movement constantly expanded through the opening of new organizations, foundations, and educational institutions. An important mention is the fact that before the opening of the installation, neither Chicago nor her team was worried about the possible reaction of the public. However, with the arrival of hundreds of guests, the organizers had to put many efforts into adjusting the schedule and maintaining the order of visits.
In the following chapter, particular attention to the period after the first presentation of the installation is due to differences in the views of the public on Chicago’s exposition. Critics and museum bohemia denied the uniqueness of The Dinner Party, while ordinary viewers, for whom special tours were organized, were deeply impressed. Gerhard (2013) describes trips to Boston, Cleveland, and many other major metropolitan areas where Chicago had great success. The reputation of the installation as a grandiose event lived up to all possible expectations. Even after the artist began to explore other facets of her talent and organize new projects, the audience remembered her as the author of The Dinner Party.
In the next part of the book, the media coverage of the exhibition is considered. The views of critics from various respected magazines are evaluated, and Gerhard (2013) mentions distinctive reviews of the installation. The author explains the excitement around The Dinner Party by the fact that Chicago and her team partially realized the pipe dream of many women – to make men afraid (Gerhard, 2013). The debate over the appropriateness of the topic was ongoing, but even some figures in the feminist movement came out with negative criticism. According to some of them, the installation lacked diversity and multiculturalism. Nevertheless, The Dinner Party gave rise to media activity, and numerous letters of thanks from fans confirmed the success achieved.
The last chapter tells about the events after the presentation of Chicago’s installation and considers the period of the late 1990s and early 2000s. Gerhard (2013) argues that three historical markers explained the adoption and further spread of The Dinner Party’s popularity. The first of them happened during congressional debates in Washington. The second one can be seen as the formation of the era of postmodern feminism. The third one is the immediate increase in the number of cultural pieces related to the feminist theme. Censorship and bans contributed to the growth of public interest, and in the end, the installation received a permanent right to exhibit at the Brooklyn Museum of Art.
In the epilogue of the book, the main focus is on describing the prerequisites for the development of post-feminism. Gerhard (2013) assesses the role of The Dinner Party in this process as extremely high and notes the shifts in the mass consciousness, largely due to the efforts of Judy Chicago. Cultural, social, and other changes became the background for the formation of a more advanced model of the struggle for women’s rights. The emotional aspect gave way to more rational and sensible actions. As a result, the significant impact of Chicago’s activities is seen in the context of the transition to a new form of feminism.
The chronological principle of reflecting events in the book is a rational approach that allows for describing both the prerequisites for the preparation of the installation in question and its influence on the feminist movement. Theoretical reasoning complements the analysis and makes it academically valuable. The key milestones of feminism in the second half of the 20th century are reflected competently. The use of critical materials from various sources strengthens the argument and makes it credible. A large number of details help better immerse oneself in the history of The Dinner Party and assess the contribution of Judy Chicago to the development of the feminist idea.
The wide coverage of various topics related to the biographical, scientific, artistic, and other aspects of Judy Chicago’s activities makes Gerhard’s (2013) book interesting for different readers. The history of Chicago is perceived as a holistic work that one wants to read. Through detailed descriptions of the life and professional aspects of the artist’s career, Gerhard (2013) considers the entire history of The Dinner Party rather than its individual stages. Quotes from direct participants in the preparation process enhance the feeling of immersion in the era. The analysis of the book allows for a better understanding of the prerequisites for the active work of feminist supporters and identifying their achievements.
Reference
Gerhard, J. F. (2013). The dinner party: Judy Chicago and the power of popular feminism, 1970-2007. University of Georgia Press.