I’m Like: Whoa

judy chicago

Judy Chicago’s “10 Part Cylinders,” 1966/2019, some near human in height and others even taller, made of fiberglass over sonotubes, at Jeffrey Deitch, Los Angeles. Credit Judy Chicago; Jeffrey Deitch; Elon Schoenholz.

All bets are off when a subject finds the interviewer’s question “very interesting.” There’s a likelihood that the answer will go its own way. I find that to be the case in this exchange between Jori Finkel, a contributor to the NYTimes and author of “It Speaks to Me: Art That Inspires Artists,” and artist and author Judy Chicago.

Unless I’m missing the boat, Chicago doesn’t quite answer the question that was asked. I find the question quite interesting, having admired work of the Delaunays in times past.

Sonia Delaunay, who with her husband, Robert Delaunay, developed this colorful, symphonic sort of abstraction called Orphism, has an interesting history. It was in 1911 that her painting went from figurative to abstract. She always said the turning point was making a patchwork quilt for her infant son. And she went on to work as a designer in fashion, costumes, stage sets and books. Could design and craft be one root of abstract painting?

That’s very interesting. I remember many years ago there was an article in an art magazine about the artist Liza Lou, who does beaded work, and instead of placing her work in the context of the history of beading, like Native American beading or women’s crafts, they put her in the tradition of Andy Warhol. Because the way to validate an artist, particularly a woman artist, is to put them in the context of the important male art. What you’re talking about now opens up the possibility of starting to see women in our own tradition. I’ve looked at so much work by other women to validate my own sense of form and also color. When I look at Hilma af Klint’s paintings and see all those pastels, I’m like: Whoa, I love that kind of color.

(Jori Finkel, “Judy Chicago on Rescuing Women From Art History’s Sidelines,” NYTimes, 9-19-19, Updated 10-14-19)

(c) 2019 JMN

About JMN

I live in Texas and devote much of my time to easel painting on an amateur basis. I stream a lot of music, mostly jazz, throughout the day, and watch Netflix and Prime Video for entertainment. I like to read and memorize poetry.
This entry was posted in Anthology, Commentary and tagged , , , , . Bookmark the permalink.

2 Responses to I’m Like: Whoa

  1. Eric Wayne says:

    When one doesn’t know how to talk intelligently about art, one talks about politics. It’s just so much easier, and we already know what we are supposed to think. Allegiance is all! Meanwhile those sculptures look like a bad knock-off (because lacking the personal, sensual, and organic quality) of sculptures by Eva Hesse.

    And I love how it’s liberating to believe that woman have an inately different sense of color and form than do men. Sometimes it’s difficult to tell what is woke from what is ass-backwards.

    • JMN says:

      Those cylinders are over my head, but I envy Judy Chicago her name. “Chicago”! It’s like being named “Dallas” — but in Illinois!

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.