Jane F. Gerhard. The Dinner Party: Judy Chicago and the Power of Popular Feminism, 1970–2007. (2024)

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Volume 119 Issue 4 October 2014
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Jane F.

Gerhard

.

The Dinner Party: Judy Chicago and the Power of Popular Feminism, 1970–2007

. (Since 1970: Histories of Contemporary America.)

Athens

:

University of Georgia Press

,

2013

. Pp. x, 336. Cloth $69.95, paper $24.95, e-book $24.95.

Gail Levin

Baruch College and the Graduate Center of the City University of New York

Gail.Levin@baruch.cuny.edu

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The American Historical Review, Volume 119, Issue 4, October 2014, Pages 1309–1310, https://doi.org/10.1093/ahr/119.4.1309

Published:

03 October 2014

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When conceiving the idea for The Dinner Party, Judy Chicago intended for her “monumental” installation to inscribe into history the contributions of women in European and American culture (p. 1). In that sense, this complex project, on which some 400 people (mostly volunteer women) worked before its 1979 debut in San Francisco, has succeeded. For those unfamiliar with this work, imagine thirty-nine place settings on a triangular table. Each of these settings is dedicated to a different historically significant female figure. All but two of the ceramic plates are sculpted in vulvate form, which provoked early viewers. Each plate rests upon a needlework runner that illuminates its figure's story. The table itself stands on a ceramic tile floor that features the names of 999 other women. The Dinner Party has, since 2007, been the focal point of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, becoming a pilgrimage site for feminists interested in their own cultural history.

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