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Judy Chicago's monumental art installation The Dinner Party was an immediate sensation when it debuted in 1979, and today it is considered the most popular work of art to emerge from the second-wave feminist movement. Jane F. Gerhard examines the piece's popularity to understand how ideas about feminism migrated from activist and intellectual circles into the American mainstream in the last three decades of the twentieth century.
More than most social movements, feminism was transmitted and understood through culture―art installations, Ms. Magazine, All in the Family, and thousands of other cultural artifacts. But the phenomenon of cultural feminism came under extraordinary criticism in the late 1970s and 1980s Gerhard analyzes these divisions over whether cultural feminism was sufficiently activist in light of the shifting line separating liberalism from radicalism in post-1970s America. She concludes with a chapter on the 1990s, when The Dinner Party emerged as a target in political struggles over public funding for the arts, even as academic feminists denounced the piece for its alleged essentialism.
The path that The Dinner Party traveled―from inception (1973) to completion (1979) to tour (1979-1989) to the permanent collection of the Brooklyn Museum (2007)―sheds light on the history of American feminism since 1970 and on the ways popular feminism in particular can illuminate important trends and transformations in the broader culture.
- Sales Rank: #1259352 in Books
- Brand: Brand: University of Georgia Press
- Published on: 2013-06-01
- Released on: 2013-06-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.00" w x 6.00" l, 1.10 pounds
- Binding: Paperback
- 360 pages
- Used Book in Good Condition
Review
I was moved when I saw Judy Chicago's The Dinner Party at the Cyclorama in Boston in 1980, and I was moved by Jane Gerhard's powerful cultural history of this iconic piece of feminist art and its creator. Gerhard broadens our understanding of that changing chameleon we call feminism, demonstrating how feminist ideas seep into popular culture and connect with a much broader swath of the population than would ever call themselves feminists. In an era of museums mounting crowd-pleasing blockbusters, Judy Chicago did it first.
(Susan Ware general editor, American National Biography)This is a beautifully written account of Judy Chicago's iconic art installation The Dinner Party from its roots in early 1970s feminism and Womanhouse to its reception among the establishment art world and general public to its continuing ability to generate enthusiasm, life-changing perspectives, anger, and debate. With her nuanced and very engaging study, Jane Gerhard has added tremendously to our understanding of the complexities and power of popular feminism.
(Amy Erdman Farrell author of Yours in Sisterhood: Ms. Magazine and the Power of Popular Feminism)This thoughtful history and analysis of Judy Chicago's 1979 'feminist blockbuster,' The Dinner Party, its provocative relations with the art world, feminism, and popular culture, and eventual transformation from 'controversy to canonization,' gives second-wave feminists an opportunity to relive their turbulent roots while educating younger women―especially artists―about the struggle for rights and respect they take for granted.
(Publishers Weekly)Clearly written, incredibly well researched, and balanced in its analysis, Jane Gerhard’s retelling of the genesis of what is arguably the single most important work of feminist art and culture since its production provides readers with a detailed glimpse inside the coming to, and coming after of, Judy Chicago’s, The Dinner Party. (Jenna Danchuk Journal of American Culture)
About the Author
JANE F. GERHARD is coauthor of Women and the Making of America and author of Desiring Revolution: Second-Wave Feminism and the Rewriting of American Sexual Thought, 1920-1982.
Most helpful customer reviews
3 of 3 people found the following review helpful.
Thank You Jane Gerhard!
By Mary R. Taylor
Wonderfully well written , informative and thought provoking, Gerhard's book brings to life a long period of American feminist awakening, activism and art-upending controversy that played out at great length in the mass media -- an unprecedented site for battles about high culture to engage so many groups. The work of women in communities across the US is carefully and accurately detailed, restoring the social history dimension of The Dinner Party that was present during its making, but faded from the narrative as the high priests and priestesses of art increasingly defined the meaning of the work. Today there are so many ways for artists to work that it is hard to imagine the shock of The Dinner Party's material presence in the 1980's. Gerhard ably restores the shock and awe engendered by The Dinner Party, through her account of the extraordinary efforts of so many women to move it through a long and successful life. It is still stirring up responses two generations after its launch. If you didn't know, the work can be seen at The Brooklyn Museum as the centerpiece of the Elizabeth A. Sackler Center for Feminist Art. The artist, still kicking, will turn 75 next year.
0 of 0 people found the following review helpful.
GREAT BOOK!
By Shirley Feldstein
This is a wonderful book! Gerhard tells a terrific story-- about the male-dominated art world and about how and why artist Judy Chicago got involved in that world; about the hundreds of women who worked with Chicago to make feminist art; and about the thousands of women who insisted that The Dinner Party mattered. You really won't think about the 1970s and 80s, or about art, or about feminism and popular culture in the same way after reading this. The research is incredible, but Gerhard conveys all that she knows about these subjects with a light touch and a sense of humor. This is definitely a great read for the general reader and is not just for academics and other experts.
0 of 0 people found the following review helpful.
EXCELLENT
By S. Hill
This is a very readable and intelligent book about a very uncommon, creative endeavor … the remarkable coming-together of teams of volunteers to make an iconic work of art. The author, both a scholar and a writer, traces the creative work within the studio, while tracking the political changes in America that provoked the inception of the piece and reacted to it's very controversial entry into the culture. The perspective is well informed, lively and balanced.
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