Beverly Hills City Council
March 18, 2024

STAFF REPORT
Meeting Date: March 18, 2024
To: Honorable Mayor & City Council
From: Stephanie Harris, Director of Community Services
Patty Acuna, Assistant Director of Community Services
Brandy Scott, Arts and Culture Program Associate
Subject: Recommendation by City Council Arts and Culture Liaisons and the Arts and Culture Commission to Purchase Trinity by Judy Chicago Attachments: 1. August 15, 2023, City Council Report

2. December 4, 2023 Arts and Culture Liaison Report

3. Renderings of the Artwork at Recommended Site for
Installation

4. Warranty

5. CCTV Site Coverage Photo

INTRODUCTION
The Arts and Culture Commission conducted a Fine Art Priority Exercise on May 16, 2022 and selected the sculpture Trinity by Judy Chicago (the “Artwork”) for acquisition and installation to be brought forward to City Council for approval. The previous Council Liaisons (Bosse and Nazarian) met on August 24, 2022 and March 27, 2023, to review the proposed acquisition and installation sites. These recommendations from the Arts and Culture Commission and City Council Arts and Culture Liaisons were then brought before the City Council on May 16, 2023 and August 15, 2023.

On May 16, 2023, the recommendations included the purchase and support of the preferred location for installation, as well as the “all in” cost of the acquisition at $550,000. The selected location presented was at the Northwest corner of Crescent Dr. and S. Santa Monica Blvd. adjacent to the Crescent Dr. parking structure at City Hall.

Following a robust conversation with the City Council, staff was directed to secure a 10- year warranty from the fabricator, Ironwood, and return for final approval for installation at the secondary proposed location in Beverly Gardens Park on the corner of Parkway and Canon.

Following the August 15, 2023 City Council meeting, staff met with the Arts and Culture Commission Ad Hoc and Jeffrey Deitch from the Deitch Gallery (or “Gallery”) to go over next steps. At this time, we were informed that the artist, Judy Chicago, no longer supported the Beverly Gardens Park as an installation site due to the various concerns raised of possible heavy public interaction with the Artwork as well as the artist felt that the site lacked the imbedded back drop and protective barrier that the City Hall location Meeting Date: March 18, 2024

would have provided. The Arts and Culture Commission Ad Hoc proposed a new site location at this meeting which the artist and Gallery both supported.

The proposed new site is the northwest corner of the intersection of South Santa Monica Boulevard and Crescent Drive on the Wallis Annenberg property. This is the location where the 2013 temporary art installation of Coups de Pinceau by Roy Lichtenstein was installed on the Wallis Annenberg property.

DISCUSSION
The newly proposed location was presented to the Arts and Culture Commission at the November 14, 2023 Arts and Culture Commission meeting for support. The new location was approved with a 3-2 vote, moving forward with bringing the recommendation to the Council Liaisons. Following the Arts and Culture Commission meeting, staff met with Robert van Leer, Executive Director and Chief Executive Officer of the Wallis to discuss the proposed installation. The site and orientation are supported and approved by The Executive Committee of the Board of Directors of The Wallis prior to bringing it forward to the City Council Liaison.

This newly proposed location was presented on December 4, 2023 along with the updated costs associated with the acquisition and installation to the Arts and Culture City Council Liaisons Mayor Gold and Councilmember Bosse for support. The Council Liaisons supported the new site being brought to the full City Council for consideration.

They had requested that additional details regarding CCTV coverage, complete renderings showcasing the landscaping as well as details about the obtained warranty also be included for consideration.

The Wallis currently maintains the landscaping where the Artwork will be installed and will continue to do so following the installation. The City will cover the costs associated with the landscaping as part of the installation and will be reflected in the amendment to the lease agreement that the City is currently working on to include the installation of City owned art on the property and the ongoing landscape maintenance requirements.

The art will be added to the City’s insurance policy as is done with all Fine Art acquisitions.

Previously, the anticipated ”all in” cost of the acquisition of Trinity by Judy Chicago was presented at $550,000 to account for the purchase of the Artwork, transportation, design, and fabrication of the preferred anchoring system (which will allow for the Artwork to be deinstalled for future conservation efforts without impact to the concrete base), fabrication of the integral concrete colored base, engineering, inspections, permits, landscaping and lighting. The new proposed location on the Wallis property will require additional site treatments including additional concrete to be added to the existing base, the removal and replacement of the existing lighting with lighting suitable for the Artwork as well as removal and replacement of the landscaping including durable ground covering and new manicured box hedges to provide a barrier to the Artwork.

The ancillary costs associated with the new proposed location will exceed the original request of $150,000. The City’s Project Administration staff has worked to obtain quotes associated with the site treatments listed above and anticipate an estimated increase of up to $100,000 for the additional work required to accommodate an installation at this location. This will bring the overall acquisition and installation to a not-to-exceed cost of $650,000.

Maintenance:

The Gallery has provided maintenance instructions which have been approved by the artist as recommended by RLA Conservation of Art & Architecture (RLA). The Meeting Date: March 18, 2024

maintenance of the Artwork will become part of the City’s annual maintenance plan for our Fine Art collection and funded through the Fine Art Fund. Artwork located in high traffic areas is scheduled to be cleaned by our art conservationist twice a year.

Warranty:

The Deitch Gallery has indicated that the fabricator, Ironwood, will honor a 10-year warranty, which the Gallery will cover the costs of the warranty. The Gallery has provided the below warranty details provided by the fabricator.

This Ironwood warranty will cover the following items:
• Any defects in materials used to manufacture the Artwork • Any defects in workmanship under normal use
• Any broken components under normal use
• The fabricator will repair the Artwork, at no cost, if the Artwork is still under warranty (not including the paint finishes)
• The fabricator will repair any broken parts of the Artwork using new parts or replacement parts in good condition.
• The Warranty Period for Physical Goods purchased from Ironwood is 10 years from the date of completion.

Items not covered under the warranty provided by Ironwood are:
• Damage to the Artwork resulting from negligence.
• Damage to the Artwork resulting from unauthorized modification of the product.
• Damage to the Artwork caused by natural disaster, human or wildlife abuse.
• Theft of the Artwork
Ironwood warrants to the City that the Artwork will be free from material defects in workmanship and materials under normal use and service, for a period of ten (10) years from the date of Ironwood’s completion of the fabrication to the Delivery Point (the “Warranty Period“). There is NO WARRANTY in cases of negligence, abuse, abnormal usage, misuse, accidents and alterations of the Products, failure to follow Ironwood’s maintenance instructions or improper storage.

In addition to the above, Matthew’s Paint has provided the fabricator with a 5-year warranty as well for painting of the Artwork. Additionally, Ironwood will provide aluminum paint chip samples for each of the 5 colors used on the Artwork. The use of aluminum will ensure that the color remains true and therefore available for paint matching if the colors are discontinued by Matthews Paint.

CCTV:

At the request of the City Council Liaisons, staff reached out to the Beverly Hills Police Department to inquire about the current CCTV coverage. Attachment 5 shows the CCTV coverage of the intersection where the Artwork will be installed. Cameras may be adjusted slightly once the Artwork is installed to provide the best coverage and ability to sense motion for recording in the event of theft or vandalism.

Ancillary Cost:

Base: In order for the existing base to accommodate Trinity, the width and height will require additional concrete pours. The original 6” platform of integrated concrete will be increased to 15” to increase visibility at this new location.

Meeting Date: March 18, 2024

Lighting: The proposed lighting consists of 8 pedestal-mounted adjustable spotlights around the perimeter of the base. The intention is for these lights to emulate the existing lights found on the Wallis Annenberg Campus. Studies were completed to gauge the appropriate amount of wattage after dusk.

Landscaping: The landscaping will include 3 plant species. A 15”-17” manicured box hedge will wrap around the front perimeter of the site. In the northwest corner of the site there will be a loose hedge similar to the existing plants. The ground covering immediately around the base will be drought resistant and has recently been used in the Burton Way median project.

Bollards: There are currently three, 3’, ground mounted, bollards on the site. These will be replaced with embedded 17”, impact resistant bollards.

FISCAL IMPACT
The funding for acquisition and installation of the Artwork is available in the Fine Art Fund, a restricted fund that can only be used for fine art related expenses. The current balance in the Fine Art Fund is approximately $1.6 million dollars with $700,000 available for artwork acquisition/installation through the Arts and Culture Commission Fine Art Priority Exercise process.

City Council is asked to appropriate $650,000 from the Fine Art Fund for the acquisition and installation of Trinity by Judy Chicago.

RECOMMENDATION
Staff recommends that the City Council review and provide direction on the acquisition and installation location of Trinity by Judy Chicago on the north/east corner of Crescent Drive and Burton Way. The Arts and Culture Commission (or “Commission”) and the 2022 Beverly Hills Arts and Culture Council Liaisons Bosse and Nazarian as well as the 2023 Council Liaisons Gold and Bosse support the acquisition and installation location of Trinity by Judy Chicago.

Staff recommends the City Council authorize the City Manager to execute agreements and purchase orders necessary for the purchase and installation of the piece as well as any ancillary costs for Trinity by Judy Chicago in the not to exceed amount of $650,000, and to appropriate $650,000 from the Fine Art Fund for this purpose. This item will be on the Consent agenda during today’s formal meeting shall City Council decide to move forward with this acquisition.

Stephanie Harris,
Director of Community Services
Approved By
ATTACHMENT 1
Meeting Date: March 18, 2024

AGENDA REPORT
Meeting Date: August 15, 2023
Item Number:

To: Honorable Mayor & City Council
From: Stephanie Harris, Director of Community Services
Patty Acuna, Assistant Director of Community Services
Subject: RECOMMENDATION BY CITY COUNCIL ARTS AND CULTURE

LIAISONS AND ARTS AND CULTURE COMMISSION TO PURCHASE
TRINITY BY JUDY CHICAGO; AND

APPROVAL TO AUTHORIZE THE CITY MANAGER TO EXECUTE

ALL AGREEMENTS AND APPROVE PURCHASE ORDERS
RELATED TO THE PURCHASE OF TRINITY BY JUDY CHICAGO;
AND

APPROVAL OF AN APPROPRIATION FROM THE FINE ART FUND
OF $550,000
Attachments: 1. May 16, 2023, City Council Report

2. Fine Art Proposal and Biography

RECOMMENDATION
Staff recommends that the City Council review and provide direction on the acquisition and installation of Trinity by Judy Chicago. The Arts and Culture Commission (or “Commission”) and the then Beverly Hills Arts and Culture Council Liaisons Bosse and Nazarian support the acquisition and installation of Trinity by Judy Chicago.

Staff recommends the City Council authorize the City Manager to execute agreements and purchase orders necessary for the purchase and installation of Trinity by Judy Chicago, and to appropriate $550,000 from the Fine Art Fund for this purpose.

INTRODUCTION
On May 16, 2023, the recommendation for the acquisition and installation of the artwork, Trinity, by artist Judy Chicago was presented to City Council. The recommendations included the purchase and support of the preferred location for installation as well as the “all in” cost of the acquisition at $550,000. The selected location is at the Northwest G-2
Meeting Date: August 15, 2023

corner of Crescent Dr. and S. Santa Monica Blvd. adjacent to the Crescent Dr. parking structure at City Hall.

DISCUSSION
Judy Chicago is a world-renowned artist and recently included as one of Time Magazine’s Most Influential People (2018). Chicago’s work has been internationally exhibited in galleries including The British Museum, Tate Modern (London), Whitney Museum, LACMA, MOCA and the Hammer Museum to name a few. Chicago has an upcoming retrospective at the New Museum (New York) in Fall 2023 and at the Serpentine Museum in London in Summer of 2024.

As a part of the Arts and Culture Commission’s Priority Exercise, held at their meeting on May 10, 2022, the Commission selected the artwork, Trinity, by artist Judy Chicago by majority.

The purchase price of the artwork is $450,000, Jeffrey Deitch Art Gallery (“Gallery”) has offered the City a discounted price for acquisition of the artwork at $400,000. The Arts and Culture Commission approved at their March 14, 2023, meeting the “all in” cost of the acquisition of Trinity by Judy Chicago of $550,000. This allocation will cover the purchase of the artwork, fabrication, engineering, inspections, permits, installation and transportation, creation of the base, and lighting. The anchoring system that will be used will allow for the artwork to be de-installed should future restoration efforts be required without impact to the concrete base.

At the May 16, 2023 City Council meeting it was requested that staff work with the Gallery to address areas of concern such as maintenance protocols, warranty of fabrication as well as paint.

Maintenance:

The Gallery has provided maintenance instructions which have been approved by the artist as recommended by RLA Conservation of Art & Architecture (RLA). The maintenance of the artwork will become part of the City’s annual maintenance plan for the City’s Fine Art collection and funded through the Fine Art Fund. Artwork located in high traffic areas are scheduled to be cleaned by the City’s art conservationist twice a year.

Warranty:

The Gallery is required under the agreement to provide a 5 year warranty of the Work from the fabricator, Ironwood. The Gallery will provide a one year warranty, which is included in the purchase price. Four additional years from the fabricator will cost the City an additional $2,750 which the City will pay to the Gallery to then pay the fabricator. In addition, Matthew’s Paint has provided the fabricator with a 5-year warranty for the paint as well for application of the paint. Both warranties are included in the agreement with the Gallery.

Gallery is required to provide to City the following Fabricator Warranty for the benefit of City:

Gallery hereby warrants that the Work, including its anchoring piece, will be free of defects in workmanship (due to faulty design or fabrication), materials and finish, including inherent vice, and that the Gallery shall, at the Gallery’s own expense, remedy, repair or replace any such defects in workmanship, materials and finish, including inherent vice, which appear within a period of five years from the date the Work is installed and if necessary, replace the Work, “Inherent Vice” shall mean a quality within Meeting Date: August 15, 2023

the material or materials which comprise the Work which, either alone or in combination, results in the tendency of the Work, including without limitation the finish, to deteriorate.

Gallery is required to ensure that Mathew’s Paint will provide the following Paint Warranty for the benefit of City:

Mathew’s Paint hereby warrants that the paint and application of paint to the Work will be free of defects in workmanship (due to faulty design or fabrication), including inherent vice, and that Mathew’s Paint shall, at the Mathew’s Paint’s own expense, remedy, repair or replace any such defects in workmanship, materials and finish, including inherent vice, which appear within a period of five years from the date the Work is installed and if necessary, replace the Work, “Inherent Vice” shall mean a quality within the material or materials which comprise the Work which, either alone or in combination, results in the tendency of the Work, including without limitation the finish, to deteriorate.

FISCAL IMPACT
The funding for acquisition and installation of the artwork is available in the Fine Art Fund, a restricted fund that can only be used for fine art related expenses. The current balance in the Fine Art Fund is approximately $1.6 million dollars with $700,000 available for artwork acquisition/installation through the Arts and Culture Commission Fine Art Priority Exercise process.

Jeff S. Muir,
Director of Finance
Stephanie Harris,
Director of Community Services
Approved By Approved By
Attachment 1

STAFF REPORT
Meeting Date: May 16, 2023
To: Honorable Mayor & City Council
From: Stephanie Harris, Director of Community Services
Patty Acuna, Assistant Director of Community Services
Subject: Recommendation by City Council Arts and Culture Liaisons and Arts and Culture Commission to Purchase Trinity by Judy Chicago Attachments: 1. Photo of Trinity by Judy Chicago

2. Rendering of the Artwork at Recommended Site for Installation

INTRODUCTION
On March 27, 2023, the then Beverly Hills Arts and Culture Council Liaisons Bosse and Nazarian reviewed the Arts and Culture Commission recommendation for the acquisition and installation of the artwork, Trinity, by world-renowned artist Judy Chicago. The “all in” cost of the acquisition is $550,000 including the purchase of the artwork, fabrication, engineering, inspections, permits, installation and transportation, creation of the base, and lighting. The Liaisons supported the recommendation of the purchase and supported the preferred location for installation of the artwork. The selected location is at the Northwest corner of Crescent Dr. and S. Santa Monica Blvd. adjacent to the Crescent Dr. parking garage elevator structure at City Hall.

DISCUSSION
Judy Chicago is a world-renowned artist whose work has been internationally exhibited in galleries. The Arts and Culture Council Liaisons (March 2023) Bosse and Nazarian recommend the acquisition and installation of the artwork. As a part of the Arts and Culture Commission’s Priority Exercise, held at their meeting on May 10, 2022, the commission selected the artwork, Trinity, by world-renowned artist Judy Chicago.

At the December 20, 2022, Recreation and Parks Commission meeting an alternate installation location was presented and supported should issues arise with the preferred location of the City Hall campus. The Liaisons support the alternate location located at Beverly Gardens Park on the Canon block adjacent to the restrooms closer to Park Way.

To ensure longevity and success for outdoor art installations, it is required to install the artwork on a concrete platform to protect from landscape maintenance and excessive moisture. The base will be constructed on integral color concrete to ensure that if in the Meeting Date: May 16, 2023

future the concrete base suffers chipping, the color would carry throughout the base and be less noticeable. The artist has selected Sika Musky Mulberry as the color to be used for the concrete base to complement the artwork.

The purchase price of the artwork is $450,000, Jeffrey Deitch Art Gallery has offered the City a discounted price for acquisition of the artwork at $400,000. The Arts and Culture Commission approved at their March 14, 2023, meeting the “all in” cost of the acquisition of Trinity by Judy Chicago of $550,000. This allocation will cover the purchase of the artwork, fabrication, engineering, inspections, permits, installation and transportation, creation of the base, and lighting. The anchoring system that will be used will allow for the artwork to be de-installed should future restoration efforts be required without impact to the concrete base.

The Arts and Culture Council Liaisons (March 2023) Bosse and Nazarian requested that staff work with the gallery to address areas of concern such as maintenance protocols, warranty of fabrication as well as paint.

Maintenance:

The gallery will provide detailed maintenance instructions approved by the artist.

Maintenance will be performed by RLA Conservation of Art & Architecture 1-2 times per year depending on placement and frequency of public interaction. The maintenance of the artwork will become part of the City’s annual maintenance plan for our Fine Art collection and funded through the Fine Art Fund.

Warranty:

The gallery has indicated a 1-year warranty on the fabrication of the artwork, the gallery is working with Matthews Paint to confirm if a warranty will also be provided for the paint and protective coating. When the agreement is drafted, language will be included to reflect the warranties provided.

Arts and Culture Council Liaisons (March 2023) Bosse and Nazarian also inquired if similar work had been displayed outdoors. Artwork titled Zig Zag is a sculpture that has been displayed outdoors, located in New York. This work was made by the same fabricator with the same metal and paint and has done well in its elements.

FISCAL IMPACT
The funding for acquisition and installation of the artwork is available in the Fine Art Fund, a restricted fund that can only be used for fine art related expenses. The current balance in the Fine Art Fund is approximately $1.6 million dollars with $700,000 available for artwork acquisition/installation through the Arts and Culture Commission Fine Art Priority Exercise process.

Meeting Date: May 16, 2023

RECOMMENDATION
The Arts and Culture Commission and the then Beverly Hills Arts and Culture Council Liaisons Bosse and Nazarian support the acquisition and installation of Trinity by Judy Chicago. It is requested that City Council provide direction on the acquisition and installation of Trinity by Judy Chicago.

Stephanie Harris,
Director of Community Services
Approved By
ATTACHMENT 1

ATTACHMENT 2

Attachment 2
Judy Chicago, Trinity, Polyurethane Paint on Stainless Steel Fine Art Proposal for the City of Beverly Hills
Artist:

Judy Chicago
Contact:

Jeffrey Deitch
76 Grand Street
New York, NY 10013
Kathy Huang
[email protected]
Contents
Biography 1
Proposed Artwork
9 Background History of the Artwork 10
Judy Chicago’s Comments on Trinity 11
Exhibition History 13
Literature 14
Additional Image 15
Proposed Location Renderings 16List of Additional Documents Enclosed 20 Biography
Judy Chicago
Born July 20,1939 -Chicago, IL
After six decades of professional practice, Judy Chicago had her first retrospective at the de Young Museum in San Francisco, brilliantly curated by Claudia Schmuckli. This exhibition finally achieved Chicago’s goal of having the body of her art emerge from the shadow of The Dinner Party which -until then, had defined her career. The reviews were rapturous, stressing what a ‘revelation’ it was to see the range of subject matter and technique that has defined her journey as an artist. One month before the retrospective, Thames and Hudson published The Flowering, Chicago’s definitive autobiography with a Forward by Gloria Steinem. Together, these events marked a turning point in the way in which Judy Chicago’s work is perceived. 1’s
1 During her often tumultuous, challenging and sometimes controversial career Chicago pioneered Feminist art and art education through a unique program for women at California State University, Fresno, a pedagogical approach that she has continued to develop over the years. In 1974, Chicago turned her attention to the subject of women’s history to create her most well-known work, The Dinner Party, which was executed between 1974 and 1979 with the participation of hundreds of volunteers. This monumental multimedia project, a symbolic history of women inWestern Civilization, has been seen by more than one million viewers during its sixteen exhibitions held at venues spanning six countries.The Dinner Party has been the subject of countless articles and art history texts and is included in innumerable publications in diverse fields. The impact of The Dinner Party was examined in the 1996 exhibition, Sexual Politics:Judy Chicago’s Dinner Party in FeministArt History. Curated by Dr. Amelia Jones at the UCLA Armand Hammer Museum, this show was accompanied by an extensive catalog published by the University of California Press. Jones’ analysis has been updated and expanded in historian Jane Gerhard’s book The Dinner Party:Judy Chicago and the Power of Popular Feminism, 1970-2007, published by the University of Georgia Press. In 2007, The Dinner Party was permanently housed at the Brooklyn Museum as the centerpiece of the Elizabeth A. Sackler Center for Feminist Art, thereby achieving Chicago’s long-held goal. Recently, Chicago published a final updated book, The Dinner Party: Restoring Women to History (The Monacelli Press, 2014).

From 1980 to 1985, Chicago worked on the Birth Project. Having observed an absence of iconography about the subject of birth in Western art, Chicago designed a series of birth and creation images for needlework which were executed under hersupervision by 150 skilled needle workers around the country. The Birth Project, exhibited in more than 100 venues, employed the collaborative methods and a similar merging of concept and media that characterized The Dinner Party. Exhibition units from the Birth Project can be seen in numerous public collections around the country.

While completing the Birth Project, Chicago also focused on individual studio work to create PowerPlay. In this unusual series of drawings, paintings, weavings, cast paper,and bronze reliefs, Chicago brought a critical feminist gaze to the gender construct of masculinity, exploring how prevailing definitions of power have affected the world in general --and men in particular. The thought processes involved in PowerPlay, the artist’s long concern with issues of power and powerlessness, and a growing interest in her Jewish heritage led Chicago to her next body of art. 2 The Holocaust Project: From Darkness Into Light premiered in October 1993 at the Spertus Museum in Chicago, then traveled to museums around the United States until 2002. Selections from the project continue to be exhibited. The Holocaust Project involved eight years of inquiry, travel, study, and artistic creation. It is comprised of a series of images merging Chicago’s painting with the innovative photography of Donald Woodman, as well as works in stained glass and tapestry designed by Chicago and executed by skilled artisans.Resolutions:A Stitch in Time was Judy Chicago’s last collaborative project. Begun in 1994 with skilled needle workers with whom she had worked for many years, Resolutions combines painting and needlework in a series of exquisitely crafted and inspiring images which -with an eye to the future - playfully reinterpret traditional adages and proverbs. The exhibition opened in June 2000 at the Museum of Art and Design, New York, NY, and was toured to seven venues around the United States and Canada.

In 2011 and 2012, Chicago’s important contributions to southern California art were highlighted in Pacific Standard Time, a Getty funded initiative documenting and celebrating the region’s rich history. She was featured in eight museum exhibitions and kicked off the Getty PST Performance Festival with the restaging of two events, Sublime Environment (a dry ice installation) and A Butterfly for Pomona, the first fireworks piece Chicago had done since 1974. This reevaluation of her work has led to renewed interest around the United States and Europe.

In 2014, in honor of Chicago’s 75th birthday, a series of exhibitions and events were held around the country at various institutions and galleries including the Palmer Museum at Penn State University (where there was a semester-long, campus wide celebration of Chicago’s art education archive which was acquired by the university in 2011); the National Museum of Women in the Arts; the Schlesinger Library on the History of Women in America at the Radcliffe Institute/Harvard; Mana Contemporary, Jersey City, sponsored by Nyehaus; the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum; the New Mexico Museum of Art; David Richard Gallery in Santa Fe; and Redline in Denver. Her birthday year was capped off on April 26th when she presented, A Butterfly for Brooklyn. This complex pyrotechnic work in Prospect Park was attended by 12,000 people who — at the end of the performance -burst into spontaneous applause followed by singing “Happy Birthday.”2015 brought the inclusion of her work in multiple museum exhibitions in Krakow, London, Milan and Bilbao, Spain where the feminist curator Xabier Arakistain mounted Why NotJudy Chicago?, an overview of Chicago’s career and an inquiry into 3 the ongoing institutional resistance to Chicago’s work. In 2016, the show traveled to CAPC in Bordeaux, France.

In 2017, Chicago completed her fourth dry-ice installation titled, Be No More, for SFMOMA’s one year anniversary “Birthday Bash” and was commissioned by Tate Liverpool to create the spectacular, gigantic mural titled “Four Lads from Liverpool” to commemorate the 50 year anniversary of the Beatles’ album, Sgt Pepper’s Lonely Heart’s Club Band. Later in 2017, Chicago had solo exhibitions at Jessica Silverman Gallery in San Francisco, The Brooklyn Museum in New York, and the National Museum of Women in the Arts (NMWA) in Washington DC. The Brooklyn Museum andNMWA shows examined for the first time her creative process in The Dinner Party and explored the feminist studio environment she established. Chicago’s most recent body of work titled, The End:A Meditation on Death and Extinction, premiered at the National Museum of Women in the Arts in Fall 2019, shortly after the release of a major monograph published by Scala in conjunction with NMWA, Salon 94, and Jessica Silverman Gallery. In 2018 Chicago was named one of Time Magazine’s “100 Most Influential People” and one of Artsy Magazine’s 2018 “Most Influential Artists.” In 2019, she received the Visionary Woman award from the Museum of Contemporary Art in Chicago and was an honoree at the annual Hammer Museum gala in Los Angeles. In 2020 she was honored by the Museum of Arts and Design at their annual MAD Ball. Her first career retrospective opened in August 2021 at the de Young Museum in San Francisco where she was honored at the museum’s annual gala.

Among many other institutions, Chicago’s work is in the collections of the British Museum, Moderna Museet (Stockholm), Tate Modern (London), Muzeum Susch (Switzerland), Whitney Museum, Los Angeles County Museum of Art, Museum of Contemporary Art Los Angeles, Hammer Museum, Getty Trust and Getty Research Institute, San Francisco Museum of Modern Art, Crystal Bridges Museum of American Art, Art Institute of Chicago, the Nasher Sculpture Center, the Smithsonian American Art Museum, and the National Museum of Women in the Arts.

In addition to a life of prodigious art making, Chicago is the author of numerous books: Through the Flower: My Struggle as a Woman Artist, 1975 (subsequentlypublished in England, Germany, Japan, Taiwan, China, and France) and most recently made available as an e-book; The Dinner Party: A Symbol of Our Heritage, 1979; Embroidering Our Heritage: The Dinner Party Needlework, 1980 (also published in a combined edition in Germany); the Birth Project, 1985 (Anchor/Doubleday); Holocaust Project: From Darkness into Light, 1993; The Dinner Party /Judy Chicago, 1996; Beyond the Flower: The Autobiography of a FeministArtist, 1996 (Viking Penguin); Fragments from the Delta of Venus, 2004 (powerHouse Books) and Kitty City:A 4 Feilne Book ofHours, 2005 (Harper Design International). In 2014, Institutional Time:

A Critique of StudloArt Education, was also published by The Monacelli Press. Her newest book, The Flowering: The Autobiography ofJudy Chicago, published by Thames and Hudson and with an introduction by Gloria Steinem, was released in July 2021. Penn State has established an on-line research portal that created online access to all five of her archives (judychicagoportal.org).

For over five decades, Chicago has remained steadfast in her commitment to the power of art as a vehicle for intellectual transformation and social change and to women’s right to engage in the highest level of art production. As a result, she has become a symbol for people everywhere, known and respected as an artist, writer, teacher, feminist and humanist whose work and life are models for an enlarged definition of art, an expanded role for the artist, and women’s right to freedom of expression.

For more information about Judy Chicago’s work, please visit www.JudvChicaao.com and www.throughtheflower.org.
5 Education
Honorary Doctorate in Humane Letters, 2010 -Hebrew Union College, Cincinnati, OHHonorary Doctorate in Fine Arts, 2003 -Duke University, Durham, NCHonorary Doctorate in Humane Letters, 2000 -Lehigh University, Bethlehem, PAHonorary Doctorate in Fine Arts, 2000 -Smith College, Northampton, MA Honorary Doctorate in Fine Arts, 1992 -Russell Sage College, Troy, NYMasters of Art, 1964 -University of California, Los Angeles, CA Bachelor of Art, 1962 -University of California, Los Angeles, CA, Member, Phi Beta Kappa
Grants and Awards
Lifetime Achievement Award, Palm Springs Art Fair, 2012 38th Governor’s Award for Excellence in the Arts, Santa Fe, NM, 2011 Alice Paul Award, New Mexico Women’s Foundation, Santa Fe, NM, 2011 Lion of Judah Award, Washington, DC, 2004
Visionary Woman Award, Moore College of Art and Design, Philadelphia, PA, 2004 UCLA Alumni Professional Achievement Award, 1999
The Getty Grant Program, for a conservation study of The Dinner Party, 1997 Proclamation, City of Albuquerque, 1996
Service to the Field Award, Spertus Museum of Judaica, 1994 Thanks Be to Grandmother Winifred Foundation, 1993
International Friends of Transformative Arts, 1992
6 Streisand Foundation, 1992
Vesta Award, Los Angeles Women’s Building, 1990
Threshold Foundation, 1988
California Arts Commission, 1984
Woman of Achievement of the World, Women’s Pavilion, Louisiana World Exposition, 1984
National Endowment for the Arts; Individual Artist Grant, 1977National Endowment for the Arts; Services to the Field Grant, 1976 Outstanding Woman of the Year, Mademoiselle Magazine, 1973 Teaching Experience
Vanderbilt University, Nashville, TN, First Chancellor’s Artists in Residence with photographer Donald Woodman, 2006
Pomona Arts Colony/Cal Poly Pomona/Pitzer College, Pomona and Claremont, CA, “Envisioning the Future,” an interdisciplinary and multi exhibition site project teamtaught with photographer Donald Woodman, 2003 Western Kentucky University, Bowling Green, KY, Professor-in-Residence, 2001: “At Home”, an interdisciplinary project team-taught with photographer Donald Woodman Duke University and University of North Carolina, Durham and Chapel Hill, NC, Visiting Professor and Artist in Residence, 2000
Indiana University, Bloomington, IN, Artist in Residence, 1999 College of St. Catherine, St. Paul, MN, Artist in Residence, 1975 Feminist Studio Workshop, Los Angeles, CA, Founder/Instructor, 1973 -1974 California Institute of the Arts, Valencia, CA, Faculty Member; Co-Founder with Miriam Schapiro, Feminist Art Program, 1971 -1973
7 California State University, Fresno, CA, Assistant Professor; Founded First Feminist Art Program, 1969-1971
UC, Irvine Extension Program, Irvine, CA, 1967-1969
UCLA Extension Program, Los Angeles, CA, 1964-1966
8 Proposed Artwork
Judy Chicago
Trinity, 1965/2022
Matthews polyurethane paint on stainless steel
64 x 127 x 60 inches
760 pounds (small element 200 pounds; medium element 240 pounds; large element 320 pounds)
Edition 3 of 3 plus 1 AP and 1 Foundation Proof
$450,000
9 Background History of the Work
The proposed artwork for the city of Beverly Hills is modeled from the original version of Judy Chicago’s Trinity, which was created in 1965. Judy would have preferred to fabricate Trinity in metal with reflective paint, but did not have the resources to do so at the time, and built the original version of the sculpture herself from wood covered in painted canvas.

Judy created several large works involving multiple elements in her Pasadena studio in the 1960s, including Rainbow Pickett and Rearrangeable Rainbow Blocks, most of which were destroyed due to prohibitive storage costs. Trinity was one of the few sculptures that was saved, though it was never shown publicly until 2004 when Judy took the work out of storage for an exhibition of her work in Santa Fe. A photograph of Judy with Trinity and Zig Zag in her studio from 1965 is the only documentation of the work until it was finally shown nearly forty years after it was made.

Judy’s original idea to fabricate her works in painted metal was revisited for the 2019 exhibition of her early Los Angeles and Fresno works at Jeffrey Deitch in Los Angeles. Judy had a precise memory of the colors of the original work, and was able to create the metal version according to her original conception.

The metal, outdoor version of Trinity will be fabricated in an edition of 3, with an artist proof and a foundation proof that Judy’s foundation will retain. 10 Judy Chicago’s Comments on Trinity
I spoke with Judy Chicago and recorded her comments about the concept, history and fabrication of Trinity.

When the art historian Gail Levin was researching Judy Chicago’s work for her biography, she found that Judy’s original title for the work was Lilith, a reference to Adam’s first wife, who left Adam because she would not be subservient to him.

The triangular shape represents the female genitalia and is an inversion of the triangular fertility symbols that can be seen in ancient petroglyphs.

The colors reference the inside of the body.

The three elements of the sculpture also refer to the Christian Trinity, the father, the son, and the Holy Ghost.

Judy fabricated the original version of Trinity herself in her Pasadena studio in 1965, She would have preferred to fabricate the work in metal with reflective paint, but she did not have the resources to do this at the time.

She built the work herself with wood covered with canvas. The colors were applied with a roller.

Judy created several works in the Pasadena studio at that time involving multiple elements, including Rainbow Pickett and Rearrangeable Rainbow Blocks. Rearrangeable Rainbow Blocks, now in the collection of the Nasher Sculpture Center In Dallas, was the only work in the series created in metal. It was fabricated in aluminum, not with the stainless steel that she would have preferred.

Judy had to destroy all the large sculptures she made at that time except for Trinity and Rearrangeable Rainbow Blocks because she could not afford the storage costs. Bryan Cooke of Cooke’s Crating in Los Angeles was a friend and supporter and offered to store Trinity for her at a modest cost and a friend stored Rearrangeable Rainbow Blocks in her garage.

Astonishingly, Trinity was never shown publicly until Judy took the dusty work out of storage around 2004 for an exhibition at a Santa Fe commercial gallery. The photo of Judy with Trinity and Zig Zag in her Pasadena studio in 1965 is the only photo documentation of the work until it was finally shown almost forty years after it was made. The original version was neverphotographed in color, The history of Trinity is an example of how difficult is was for Judy to be accepted into the male dominated art world of the time.

When the sculpture was finally shown in 2004, Judy repainted it and entitled it Trinity, referencing its religious symbolism.
11 When we began the preparations for Judy’s 2019 exhibition of her early Los Angeles and Fresno works at my Los Angeles gallery we revisited her original idea to fabricate these sculptures in metal.

Judy had a precise memory of the colors of the original work and was able to create the metal version according to her original conception.

We are fabricating the painted metal version of Trinity in an edition of 3, with an artist’s proof and a foundation proof that will remain with Judy’s foundation. Edition #1 has been acquired by the Jordan Schnitzer Foundation to complement its acquisition of Judy’s entire print archive. Edition #2 has been acquired by the Whitney Museum of American Art.

There are five colors in Trinity:The three faces are orange, red orange, and red The undersides are metallic silver
The sides are metallic rose
The surfaces are reflective and animate the form.

The work reflects Judy’s remarkable sense of color, and her ability to represent a feminine aesthetic through color, which is an essential element of her work.

Judy plays with color and reflectivity in the moire-like effect of the color juxtapositions.

The metallic coloration is also a product of Judy’s enrollment in auto body school, where she was the one woman out of 250 men in her class. Judy was determined to learn industrial painting and metal working techniques that would allow her to represent the SouthernCalifornia pop industrial aesthetic of the 1960s.

Jeffrey Deitch
12 Exhibition History
Exhibition History of the original Trinity
January 1965 -January 1966 “Group Exhibition,” RoIf Nelson Gallery, Los Angeles September 2004 -October 2004 “Judy Chicago: Minimalism,” Lew Allen Gallery, Santa Fe
April 2014 -September 2014 “Chicago in LA: Judy Chicago’s Early Work, 1963-74,” Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, Brooklyn December 2018 -April 2019 “Judy Chicago: A Reckoning,” ICA Miami, Miami Exhibition History of the outdoor Trinity (edition 1 of Trinity was exhibited) September 2019 -November 2019 “Judy Chicago: Los Angeles,” Jeffrey Deitch, Los Angeles
13 Literature
(Note: the original Trinity is referenced in the literature below) Dr. E. A. Sackler, ed., Judy Chicago. Watson-Guptill Publications, New York, 2002 (illustrated)
J. Sorkin, Judy Chicago: Minimalism, 1965-1973, LewAllen Contemporary, Santa Fe, 2004 (illustrated)
F. Borzello, A. Perchuk, J. Batlion, A. Kokoli & D. Gelon, Judy Chicago, Ben Un, The London Jewish Museum of Art, London, 2012
A. Gartenfeld & S. Seidel, eds., Judy Chicago: A Reckoning, Institute of Contemporary Art, Miami and Delmonico Books -Prestel, New York, 2018 (illustrated) G. Gourbé, Judy Chicago: To Sustain the Vision, Shelter Press and Villa Arson, Nice, France, 2019
E. Lynch, ed., Judy Chicago: New Views, Scala Publishing and the National Museum of Women in the Arts, New York, 2019 (illustrated)
C. Schmuckli, Judy Chicago: In the Making, Thames and Hudson and the de Young Museum, New York, 2021
14 Additional Image
(Note: Edition 1 of 3 is shown in the photograph)
15 Proposed Location Renderings
16 t
17 - -I
18 19
Additional Documents Enclosed

1. Judy Chicago Exhibitions and Collections

2. Previous Sales of Early Sculptures

3. Judy Chicago Secondary Market Results4. Selected Press 20 Judy Chicago Exhibitions and Collections
Current and Upcoming Solo Exhibitions
A Tribute to Toronto, Toronto Biennial of Art, Sugar Beach, Toronto, Canada, June 4, 2022
Judy Chicago: The Natural World, Daniel Faria Gallery Toronto, Canada, May 14 -July 9,2022
Turning Inward, JUDY CHICAGO, From the Collections ofJordan D. Schnitzer and His Family Foundation, Oregon Jewish Museum and Center for Holocaust Education, Portland, OR, June 2, 2022 -September 23, 2022
Judy Chicago: Dry Ice, Smoke, and RreworksArchive, Nevada Museum of Art, Reno, NV, August 28, 2021 -March 27, 2022
Current and Upcoming Group Exhibitions
Institute of Contemporary Art Los Angeles, Los Angeles, CA, The Condition of Being Addressable, June 18, 2022 -September 11, 2022
The Art and Exhibition Hall of the Federal Republic of Germany, Bonn, Germany, Color as Program, April 8, 2022 -August 7, 2022
Kunstmuseum Bonn, Bonn, Germany, Up in the Air: Air as an Artistic Material, February 24, 2022 -June 19, 2022
American University Museum, Washington, DC, organized by National Museum of Women in the Arts, Positive Fragmentation, January 19, 2022 -May 22, 2022 New Mexico State University Art Museum, Las Cruces, NM, Establishing ourOwnArt History: The Influence ofJudy Chicago, April 21, 2022 -May 13, 2022Selected Past Solo Exhibitions Judy Chicago in Glass, Nina Johnson Gallery, Miami, FL, November 30, 2021 - January15, 2022
Judy Chicago:A Retrospective, de Young Museum, San Francisco, CA, August 28, 2021 -January 9, 2022
Human Geometries, Jessica Silverman Gallery San Francisco, CA, August 27 - September 25,2021Cohanim, The Contemporary Jewish Museum, San Francisco, CA, August 2, 2021 - February 22,2022
The Iconic Judy Chicago, Turner Carroll Gallery, Santa Fe, NM, July16 -August15, 2021
The Female Divine, Jeffrey Deitch, New York, NY, November 20, 2020 -January 2021 Chicago in lnk:An Autobiography, Salon 94 online exhibition, September16, 2020 - 2021
Mother Earth and Cohanim, Jessica Silverman Gallery online exhibition, September 1, 2020 -2021
Judy Chicago:A Revolution in Print, Turner Carroll Gallery September12 -December 31,2021Felix Art Fair, Roosevelt Hotel, February 13-16, 2020. Curated by Jill Soloway BALTIC Center for Contemporary Art, Gateshead, UK, Judy Chicago, November 16, 2019 -September, 2020
Judy Chicago: Los Angeles, Jeffrey Deitch Gallery, Los Angeles, CA. September 6 - November 2, 2019
The End:A Meditation on Death and Extinction, National Museum of Women in the Arts, Washington, DC, September 19 -January 2020
Judy Chicago: the Birth Project from New Mexico Collections, Harwood Museum of Art, Taos, NM, June 2 -November 2019Frieze LA, Jeffrey Deitch Booth, Los Angeles, CA, February 14-17,2019 Institute of Contemporary Art, Miami, FL, Judy Chicago:A Reckoning, December 3, 2018 -April 22, 2019
Nina Johnson Gallery Miami, FL Judy Chicago: Atmospheres, November18, 2018 - March 2, 2019
Salon 94, New York, PowerPlay:A Prediction, January10 -March 3, 2018 Elizabeth A Sackler Center for Feminist Art, Brooklyn Museum, Brooklyn, NY, The Roots of the Dinner Party: History in the Making, October 20, 2017 -March 4, 2018 Jessica Silverman Gallery San Francisco, CA, Judy Chicago’s Pussies, September 8 -October 28, 2017,
National Museum of Women in the Arts, Washington, DC, Inside the Dinner Party Studio, September 15, 2017 -January 9, 2018
Azkuna Center, Bilbao, Spain, October 8, 2015 -January10, 2016, Why NotJudy Chicago?
CAPC Musée d’Art Contemporain de Bordeaux, Bordeaux, France, March 9 - September 4, 2016
Cressman Center Gallery Louisville, KY, Judy Chicago: Fire Works, February 18 -April 16,2016
Riflemaker, London, United Kingdom, Star Cunts and Other Images, September 14 - December. 2015Red Line, Denver, CO, Surveying Judy Chicago: 1970 -2014, October 17 -December 28, 2014
Brooklyn Museum, Brooklyn, NY, Judy Chicago’s Feminist Pedagogy and Alternative Spaces, September 29 -November 16, 2014
David Richard Gallery, Santa Fe, NM, Heads Up, June 14 -July 26, 2014 New Mexico Museum of Art, Santa Fe, NM, Local Color: Judy Chicago in New Mexico 1984 -2014, June 6 -October 12, 2014Oakland Museum of California, Oakland, CA, Judy Chicago: A Butterfly for Oakland, April 26 -November 30, 2014
Brooklyn Museum, Brooklyn, NY, Chicago in LA:Judy Chicago’s Early Work, 1963-74, April 4- September 28, 2014
Mana Contemporary, Jersey City, NJ, The VeryBest ofJudy Chicago, March 6- August 1, 2014
Schlesinger Library Cambridge, MA, Judy Chicago: Through the Archives, February 26- September 24, 2014
Palmer Museum of Art, University Park, PA, Surveying Judy Chicago: Five Decades, January 21 -May 11, 2014
National Museum of Women in the Arts, Washington, DC, Judy Chicago: Circa ‘75, January 17 — April 13, 2014
Frieze Masters, London, United Kingdom, October 17 -20,2013 Oslo Kunstforening, Oslo, Norway, Judy Chicago/Deflowered, May 25 -June 30, 2013 Fulginiti Pavilion for Bioethics and Humanities, University of Colorado Anschutz Medical Campus, Aurora, CO, Four Questions, March 7 -May 30, 2013 David Richard Gallery Santa Fe, NM, Woven and Stitched, February 15- March 23, 2013
Ben Un Gallery, The London Jewish Museum of Art, London, United Kingdom, Judy Chicago, November 14, 2012 -March 10, 2013
Riflemaker, London, United Kingdom, November 12 -December 31, 2012 David Richard Gallery Santa Fe, NM, Judy Chicago: ReViewing PowerPlay, June29- August11, 2012
Crocker Art Museum, Sacramento, CA, Surveying Judy Chicago: 1970-2010, March 3 -May 13, 2012
Jancar Gallery, Los Angeles, CA, Judy Chicago: Los Angeles -1970’s, February 18- March 17, 2012
Nye ÷ Brown, Los Angeles, CA, Judy Chicago: Deflowered, February 17- March 31, 2012
Palm Springs Fine Art Fair, Palm Springs, CA, February 14-17, 2012 Tom Thomson Gallery, Owen Sound, Ontario, Canada, Judy Chicago: Setting the Table, May 13 -September 25, 2011
Museum of Arts and Design, New York, NY, Judy Chicago Tapestries: Woven by Audrey Cowan, March 1 -June 19, 2011
ACA Galleries, New York, NY, Surveying Judy Chicago: 1970-2010, October 14 - December 4, 2010
Le Musée des maitres et artisans du Québec, Montreal, Québec, Canada, Chicago in Glass/en Verre, September 22, 2010 -January 9, 2011
Evansville Museum, Evansville, IN, Drawings from Judy Chicago’s “The Dinner Party”, September 12 -November 28, 2010
Evansville Museum, Evansville, IN, Setting the Table: Preparing forJudy Chicago’sThe Dinner Party, September 2 -December 4, 2010LewAllen Galleries (Railyard), Santa Fe, NM, Judy Chicago: The Toby Heads, June18 - July 25,2010
Art Museum of South Texas, Corpus Christi, TX, Judy Chicago in Glass, March 25 - May 30, 2010
Weiss Gallery, Calgary, Canada, Judy Chicago: A Survey ofArtwork from 1968-2007, September 25, 2009 -January 23, 2010
Rouge Concept Gallery, Toronto, Canada, Judy Chicago: A Survey of Important Works, February 9 -March 22, 2009
Flanders Gallery, Minneapolis, MN, Dinner with Judy Chicago, April 24 -June 14, 2008
Canadian Clay and Glass Gallery, Waterloo, Canada, Chicago in Glass, September 9 - November 11, 2007
LewAllen Contemporary Santa Fe, NM, Judy Chicago: History in the Making:

Preparatory Materials for The Dinner Party, May 4 -June 18, 2007 ACA Galleries, New York, NY, Judy Chicago: Setting the Table: Preparatory Work for The Dinner Party, March 22- April 28, 2007LewAllen Contemporary, Santa Fe, NM, Chicago in Glass, November 4 -December 31,2006
Flanders Gallery Minneapolis, MN, October 2006Flanders Gallery, Minneapolis, MN, September 2005 Sarah Lee Art Works and Projects, Santa Monica, CA, May 2005 ACA Galleries, New York, NY, Judy Chicago: Kitty City:A Feline Book of Hours, March 26- April 23, 2005
O’Connor Gallery, Toronto, Canada, Femmeerotica, February 5- March 5, 2005 Flanders Gallery, Minneapolis, MN, Nine Fragments from the Delta of Venus, October 16- December 4, 2004
LewAllen Contemporary Santa Fe, NM, Judy Chicago: Minimallsm, 1965-1973, September 10 -October 5, 2004
ACA Galleries, New York, NY, Judy Chicago: Fragments from the Delta of Venus & Other FemmErotica: A Thirty-five Year Survey, February 14- March 13, 2004PowerHouse Gallery, New York, NY, Nine Fragments from the Delta of Venus and other Erotic Prints, February 13 -March 20, 2004
Kraft-Lieberman Gallery, Chicago, IL, February 2004National Museum of Women in the Arts, Washington, DC, October 9, 2002 — January 5, 2003
Flanders Gallery, Minneapolis, MN, An Intimate Look into the Artist’s Life, October26 -December 1, 2001
LewAllen Contemporary Santa Fe, NM, June 2001
Fitzwilliam Museum, Cambridge, United Kingdom, January 2001 Phebe Conley Gallery California State University Fresno, Fresno, CA, 30 Years of Prints and Drawings, 2001
R. Michelson Galleries, Northampton, MA, May 2000Rockford College Art Gallery, Rockford, IL, Thinking About Trees, March 26 -April 23, 1999
LewAllen Contemporary, Santa Fe, NM, June 1999
Hanart TZ Gallery, Taipei, Taiwan, December 1997
Galerie Simonne Stern, New Orleans, LA, October 1996
LewAllen Contemporary, Santa Fe, NM, September 1996
Flanders Gallery, Minneapolis, MN, Beyond the Flower: From the Seventies to the Nineties, April 1996
Joy Horwich Gallery, Chicago, IL, October 1993
Nemiroff-Deutsch Gallery, Santa Monica, CA, October 1991 Andrew Smith Gallery, Santa Fe, NM, Accidents, Injuries and Other Calamities, May 27 -July10, 1988
Jan Baum Gallery, Los Angeles, CA, April 1988
Wallace-Wentworth Gallery, Washington, DC, August 1987
ACA Galleries, October 1987
Marilyn Butler Fine Art, Scottsdale, AZ, November 1986
ACA Galleries, New York, NY, Powerplay: Judy Chicago, October 3 -November 1,1986 Shidoni Gallery, Santa Fe, NM, July 1986
Marilyn Butler Fine Art, Santa Fe, NM, October 1985
ACA Galleries, New York, NY, Judy Chicago: The Second Decade 1973-1983, May 5 - May 26, 1984
Parco Galleries, Tokyo and Osaka, Japan, 1980
Hadler-Rodriguez Gallery, Houston, TX, 1980
Ruth Schaffner Gallery, Los Angeles, CA, 1977
Quay Ceramics, San Francisco, CA, 1976
JPL Fine Arts, London, United Kingdom, 1975
Artemisia Gallery, Chicago, IL, 1974
Kenmore Galleries, Philadelphia, PA, 1974
Jack Glenn Gallery, Corona Del Mar, CA, 1971
California State University at Fullerton, Fullerton, CA, 1970 Pasadena Art Museum, Pasadena, CA, April 28 -June 1,1969 RoIf Nelson Gallery Los Angeles, CA, 1966RoIf Nelson Gallery, Los Angeles, CA, 1965 Exhibition Tours
Judy Chicago’s Birth Project: Born Again
Curated by Viki Thompson Wylder
Organized by Through the Flower
Florida State University Museum of Fine Arts, Tallahassee, FL., September 23 - November 12,2016
Catherine G. Murphy Gallery, St. Catherine University, St. Paul, MN, January 29 -March 16, 2018
Pasadena Museum of California Art, Pasadena, CA., June 17 -October 7, 2018 When Women Rule the World: Judy Chicago in Thread
The Art Gallery of Calgary, Calgary, Canada, September 25, 2009 -January 23, 2010Textile Museum of Canada, Toronto, Canada, February 11 -September 7, 2009 Judy Chicago: Jewish Identity
Jewish Museum of Florida, Miami Beach, FL, September 1, 2009 -February 28,2010Jewish Museum of Maryland, Baltimore, MD, September 12 -December 30, 2007 Hebrew Union College Art Museum, New York, NY, February 2007 -July 2007 Resolutions: A Stitch in Time
Organized by the Museum of Art and Design, New York, NY Hunter Museum, Chattanooga, TN, December 2002 -March 2003 Edmonton Art Gallery, Edmonton, Alberta, Canada, April -June 2002 Berman Museum, Ursinus College, Collegeville, PA, December 2001 -February 2002 Fort Wayne Museum of Art, Fort Wayne, IN, September -November 2001 The Albuquerque Museum, Albuquerque, NM, May -September 2001 Skirball Museum and Cultural Center, Los Angeles, CA, January — April 2001 American Craft Museum, New York, NY, June -September 2000 Trials and TributesOrganized by the Museum of Fine Arts, Florida State University, Tallahassee, FL New Mexico State University Gallery, Las Cruces, NM, December 2001 -February 2002
Colorado Springs Fine Arts Center, Colorado Springs, CO, September -November 2001
New Orleans Museum of Art, New Orleans, LA, February -April 2001 Butler Institute of American Art, Youngstown, OH, September -November 2000 Winthrop University Galleries, Rock Hill, SC, February -April 2000 Gulf Coast Museum of Art, Largo FL, November 1999 -February 2000 Indiana University Art Museum, Bloomington, IN, August — October 1999 Museum of Fine Arts, Florida State University, Tallahassee, FL, February -April 1999 Holocaust Project: From Darkness into Light
Orlando Museum of Art, Orlando, FL, 2002
Lehigh University Art Galleries, Zoellner Arts Center, Lehigh University, Bethlehem, PA, February -June 2000
Florida Holocaust Museum, St. Petersburg, FL, February -July 1998 Tampa Bay Holocaust Memorial Museum, St. Petersburg, FL, October 1996 -January 1997
Cleveland Center for Contemporary Art, Cleveland, OH, May -August 1996 Rose Art Museum, Brandeis University, Boston, MA, September -December 1995 Austin Museum of Art at Laguna Gloria, Austin, TX, October 1994 -January 1995 Spertus Museum, Chicago, IL, October 1993 -April 1994
Sources and Collaboration
Organized by the Austin Museum of Art at Laguna Gloria, Austin, TX Butler Institute of American Art, Youngstown, OH, April — June 1996 Siena Heights College, Adrian, Ml, January -February 1996 Sinclair Community College, Dayton, OH, April -June 1995 Austin Museum of Art at Laguna Gloria, Austin, TX, October -December 1994 Select Birth Project exhibitions 1982-2007
Albuquerque Museum, Albuquerque, NM, 2007
The National Museum of Women in the Arts, Washington, DC, October 2002 - January 2003
Albuquerque Museum, Albuquerque, NM, 2000
Museum of Fine Arts, Florida State University, Tallahassee, Florida, Trials and Tributes, February -April 1999
Museum of Contemporary Art, Los Angeles, CA, 1996
1’IationalAssociation of Women Artists: One Hundred Years. Organized by Nassau City Museum of Fine Art. Toured by the Gallery Association of New York, September 1990 -September 1992
New Mexico Museum of Art, Santa Fe, NM, 1990
The Art Gallery, University of Maryland, College Park, MD, March 12 -April 26 Multi-site exhibit sponsored by Women in Theater Festival, Boston, MA, 1988 Fireside Fiber Arts, Port Townsend, WA, August -September 1988 Provincetown Art Association and Museum, Provincetown, MA, February — March 1988
Northeastern University Art GalIer Boston, MA, March -April 1988 Worcester Art and Craft Center, Worcester, MA, May -June 1988 Johnson County Arts Gallery, University of Iowa, Iowa City, IA, November -December 1987
Boulder Center for the Visual Arts, Boulder, CO, June -July 1987 Trinity College, Hartford, CT, February -March 1987
Ella Sharp Museum, Jackson, Ml, January -February 1987
Norfolk General Hospital, Norfolk, VA, January -February 1987 Hartnett Gallery, University of Rochester Student Union Gallery Rochester, NY, January -February 1987
Multi-site exhibit, Fresno, CA, January -March 1987
Santa Rosa Jr. College Gallery, Santa Rosa, CA, November -December 1986 Hartford Theological Seminary Chapel, Hartford, CT, November -December 1986 Bergen Community College Gallery, Paramus, NJ, October -November 1986 R.H. Love Galleries, Chicago, IL, September -October 1986Philadelphia Art Alliance, Philadelphia, PA, September -October 1986 Grass Growers Gallery Erie, PA, July -August 1986
Rosemont Art Gallery, Regina, Saskatchewan, Canada, June 1986 Grants Pass Museum of Art, Grants Pass, OR, May -June 1986 Alberni Valley Museum, Port Alberni, British Columbia, Canada, April — June 1986 Snug Harbor Cultural Center, Staten Island, NY, April -June 1986 Metropolitan Museum and Art Center, Coral Gables, FL, March -April 1986Dennos Museum Center, Northwestern Michigan College, Traverse City, Ml, February -March 1986
Myers Fine Arts Gallery SUNY at Plattsburg, Plattsburg, NY, February -April 1986 Central Missouri State University Art Center Galleries, Warrensburg, MO, February — March1986 Marilyn Butler Fine Arts, Santa Fe, NM, October 1985
Center for Contemporary Arts, Santa Fe, NM, October 1985 Krannert Art Museum, University of Illinois, Champaign-Urbana, IL, October 1985 Hillmer Art Gallery, College of St. Mary, Omaha, NE, October 1985 Vancouver Museum, Vancouver, British Columbia, Canada, July -September 1985 Multi-site exhibit, Washington, D.C., May 1985
Wight Gallery UCLA, Los Angeles, CA, April -June 1985
Ohio State University Gallery Columbus, OH, March 1985
Paris Gibson Square Center of the Arts, Great Falls, MT, March 1985 Visual Arts Center of Alaska, Anchorage, AK, March 1985 Frederick S. Wight Gallery, University of California at Los Angeles, Los Angeles, CA, February -March 1985
University of Maine, Farmington, ME, October -November 1984 Lee Scarfone Gallery University of Tampa, Tampa, FL, August 1984 Jackson Street Gallery, Seattle, WA, July -August 1984
ACA Galleries, New York, NY, May 1984
Western Washington University, Bellingham, WA, April -May 1984 University of North Carolina, Chapel Hill, NC, April -May 1984 Broward Community College, Pembroke Pines, FL, March 1984 Indiana University, Bloomington, IN, February -March 1984 Madison Civic Center, Madison, WI, November 1983
Gallery Quan, Toronto, Ontario, Canada, June -August 1983 Moody Medical Library University of Texas Medical Branch, Galveston, TX, June 1983 Southeast Arkansas Art Center, Pine Bluff, AR, March -April 1983 Multi-Cultural Art Institute, San Diego, CA, January 1983 Artisans Gallery Mill Valley, CA, September -October 1982 The Dinner Party
Brooklyn Museum of Art, Brooklyn, NY (permanent housing), March 2007 -Present Brooklyn Museum of Art, Brooklyn, NY, October -February 2002 UCLA Armand Hammer Museum and Cultural Center, Los Angeles, CA, Sexual Politics:Judy Chicago’s The Dinner Party in Feminist Art History, April - September1996
Royal Exhibition and Conference Center, Melbourne, Australia, January -March 1988 Schirn Kuntshalle, Frankfurt, West Germany, May -June 1987 The Warehouse, London, United Kingdom, March -May 1985
Edinburgh Festival Fringe, Edinburgh, Scotland, August 1984 Fox Theater, Atlanta, GA, sponsored by The Sculptural Arts Museum, July — October 1983
Glenbow Museum, Calgary Alberta, Canada, December 1982 -February 1983 Art Gallery of Ontario, Toronto, Ontario, Canada, May -July 1982 Musee D’Art Contemporain, Montreal, Quebec, Canada, March -May 1982 Franklin Building, Chicago, IL, sponsored by Roslyn Group for Arts and Letters, September 1981 -February 1982
Temple on the Heights, Cleveland, OH, sponsored by Ohio-Chicago Art Project, May — August 1981 Brooklyn Museum, Brooklyn, NY, October 1980 -January 1981 Boston Center for the Arts, Boston, MA, July -August 1980 University of Houston at Clear Lake City, Houston, Texas, March -May 1980 San Francisco Museum of Modern Art, San Francisco, CA, March -June 1979 Installations and Performance
Four Lads from Liverpool,
Tate Liverpool: The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band 50th Anniversary Mural
Mural by Judy Chicago inspired by the song, “Fixing a Hole” Site: White Tomkins & Courage Grain Silo, Stanley Dock, Liverpool, UK, June 1—June 16, 2017
Womanhouse, Los Angeles, CA, 1971
Made in collaboration with members of the Feminist Art Program, California Institute of the Arts, directed by Judy Chicago and Miriam Schapiro Raymond Rose Ritual Environment, Pasadena, CA, New Year’s Eve, 1969 Collaboration with Lloyd Hamrol and Barbara Smith, as well as filmmakers, musicians and performersDry Ice Environment, Century City Mall, Century City, CA, 1967 Collaboration with Lloyd Hamrol and Eric Orr
Dry Ice Environment #1, Century City, Los Angeles, CA, 1967 Collaboration with Lloyd Hamrol and Eric Orr
Feather Room, Roif Nelson Gallery 1965
Collaboration with Lloyd Hamrol and Eric Orr
Fireworks
Foreverde Young, de Young Museum, San Francisco, CA, 2021 Diamonds in the Sky, Belen, NM, July 17, 2021
Birthday Bouquet for Belen, Belen, NM, July 20, 2019
A Purple Poem for Miami, ICA Miami, February 23,2019
Be No More, San Francisco Museum of Modern Art, San Francisco, CA, 2017 Dry Ice Installation
A Butterfly for Brooklyn, Brooklyn, NY, April 2014
The Deflowering of Nye+Brown, Los Angeles, CA, February 2012 A Butterfly for Pomona, Pomona, CA, January 2012
Sublime Environment, Santa Monica, CA, January 2012
A Butterfly for Oakland, Oakland, CA, 1974
Woman and Smoke Series, various locations in California, 1971 -1972 Smoke Holes, Northwest CoastAtmospheres, Northern California, Oregon, and Washington, 1971
Pink Atmosphere, California State University at Fullerton, 1971 Campus White Atmosphere, California State University at Fullerton, April 1970 Mount BaldyAtmosphere, Mount Baldy, CA, 1970
Multi-colorAtmosphere, Pasadena Museum of Art, Pasadena, CA, January 1970 Santa Barbara Museum Atmosphere, Santa Barbara, CA, August 1969 Trancas Beach Atmosphere, Trancas Beach, CA, August 1969 Fresno State College Atmosphere, Fresno, CA, June1969
DesertAtmosphere, Palm Desert, CA, June 1969
Purple Atmosphere, Santa Barbara, CA, May1969
Three Atmospheres; Brookside Park, Pasadena, CA, January -March1969 Selected Past Group Exhibitions
Fortes D’Aloi & Gabriel Galeria, São Paulo, Brazil, Judy Chicago & Leda Catunda, March 12, 2022 -April 23, 2022
Anat Ebgi Gallery, Los Angeles, CA, Womanhouse 1972/2022, February 18,2022- April16, 2022
Gazelli Art House, London, UK, Oh Marilyn! Pauline Boty, Jann Haworth, Penny Slinger and Judy Chicago, January 21,2022 -March 12,2022
Brooklyn Museum, Brooklyn, NY, Christian Dior: Designer of Dreams, September 10, 2021-February 20,2022
Museum of Modern Art, New York, NY, Automania, July 4, 2021 -January 2, 2022 Nasher Sculpture Center, Dallas, TX, Mix Tape, February 6 -September 26, 2021 Tate Liverpool, Liverpool Biennial, March 20 -June 27, 2021 All of Them Witches, Jeffrey Deitch, Los Angeles, CA, February 8- April 11, 2020 What is Feminist Art? Smithsonian Archives of American Art, Washington DC, November 2019 -November 2020
Kestner Gesellschaft, Hanover, Germany, Where Art Might Happen. The Early Years CalArts, 30 August 30, 2019 -November 4; Kunsthaus Graz, Austria, March 2020 The Female Side of God: Jewish Perspectives on Gender and Holiness, Jewish Museum Hohenems, Vienna, Austria, April 30, 2017 -May 2018 Jewish Museum, Frankfurt, Germany, 2020
Toronto Biennial, September 21 -December, 2019
Heist Gallery, Venice Biennale, May 11 -November, 2019
FeministAvantgarde of the 1970s, Works from the SAMMLUNG VERBUND Collection, Vienna, traveling exhibition by SAMMLUNG VERBUND, Curated by Gabriele Schor The Photographers’ Gallery, London, UK, October 7, 2016 -January 8, 2017 Museum of Modern Art, Vienna, Austria, May 4 -September 10, 2017 ZKM -Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany, November 18, 2017 -April 1, 2018
Stavanger Art Museum, Stavanger, Norway, June -September 2018 The Brno House of Arts, Brno, Czech Republic, December 2018/March 2019
The International Center of Photography, New York, NY,
September 2019 -January 2020
British Museum, Pushing Paper: Contemporary Drawing from 1970 to Now, September 11, 2019 -January 11, 2020
MCA Chicago, IL, West by Midwest, November17, 2018 -January 27, 2019Nottingham Contemporary UK, Still! Rise: Feminisms, Gender & Resistance, October 27, 2018 -January 27, 2019
Nevada Museum of Art, Reno, NV, Laid Bare in the Landscape, September 29, 2018 - January 27, 2019
Tarble Arts Center, Charleston, IL In the Eye of the Beholder, August17- December 16,2018
Villa Arson, Nice, France Californie: Les Années Cool, June 30 -November 2018 Tate St. Ives, February 10- April 29, 2018, Moments of Being -an exhibition based on the writings of Virginia Woolf
Pallant House, West Sussex, England, May 26 -September 16, 2018 The Fitzwilliam Museum, Cambridge, England, October 2 -December 9, 2018 MCA Chicago, IL, Endless Summer,January 27- August 5, 2018 Women House
Ia Monnaie de Paris, Paris, France, October 17, 2017 -January 28, 2018 National Museum of Women in the Arts, Washington, DC, March 8 -May 28, 2018 Ronald Feldman Fine Arts Gallery, New York, Wolated! Women in the Holocaust and Genocide, April 12 -May 12, 2018
Smart Museum of Art, University of Chicago, Conversations with the Collection:

Building/Environments, August 29, 2017 -April 11, 2018
Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, Beyond Boundaries: Feminine Forms, August, 2017 -March 18, 2018 Hammer Museum, Los Angeles, CA, Living Apart Together: RecentAcquisitions from the Hammer Contemporary Collection, June 3 -August 27, 2017 The Garage: 500 Capp Street Foundation, San Francisco, CA, Aerosol, June 3 -July14,2017 Art AIDS America
Traveling exhibition organized by Tacoma Art Museum
Curated by Jonathan D. Katz and Rock Hushka
Alphawood Exhibitions, Chicago, IL., December 1, 2016 -April 2, 2017 FOG Design ÷ Art Fair, San Francisco, CA, Jessica Silverman Booth, January 12-15, 2017
Art Basel Miami Beach, Miami Beach, FL, Salon 94 Booth, December 1-4, 2016 Martin Art Gallery, Muhlenberg College, Allentown, PA, Natural Philosophy, November 2, 2016 -January 7, 2017
Contemporary Art Center, Vilnius, Lithuania, The Morality Reflex, September 2 - October19, 2016
Hebrew Union College Museum, New York, NY, Evll:A Matter ofIntent, September 1 - June 30,2016
Frieze New York, New York, NY, Salon 94 Booth (B17), May 5-8,2016 Museo Jumex, Mexico City, Mexico, The Natural Order of Things, March 11 -May 8, 2016
River Discovery Center, in conjunction with Pad ucah Quilt Show, Pad ucah, KY, International Honor Quilt, April 17 -30, 2016
Gamut Gallery, Minneapolis, MN, The Second Sex, March 1 -19, 2016 Hite Art Institute, University of Louisville, Louisville, KY, Capturing Women’s History:

Quilts, Activism, and Storytelling, February 1 -March 19, 2016 Art AIDS America
Traveling exhibition organized by the Tacoma Art Museum Tacoma Art Museum, Tacoma, WA, October 3, 2015 -January 10,2016 The Bronx Museum of the Arts, Bronx, NY, June 23 -October 23, 2016 Tate Modern, London, United Kingdom, The World Goes Pop, September 17, 2015 - January 24, 2016The Rose Art Museum, Brandeis University, Waltham, MA, LA/MA: ‘60s Pop From Both Coasts, September 12 -December 13, 2015
Palazzo Reale, in conjunction with Expo Milano 2015, Milan, Italy, The Great Mother, August 25 -November 15, 2015
Triennale, in conjunction with Expo Milano 2015, Milan, Italy, Arts & Foods, April 9 - November 1, 2015Fort Wayne Museum of Art, Fort Wayne, IN, Summer of Glass, June27- September 13, 2015
Museum of Contemporary Art, Krakow, Poland, Gender in Art, May 15 -September 27, 2015
Eric Firestone Gallery, East Hampton, NY, Womanhouse, May 23 -June 14, 2015 ART15, Olympia, London, United Kingdom, Art Fair, May 21 -May 23, 2015 Habatat Galleries, Royal Oak, Michigan, 43rd International Glass lnvitationalAward, April 25 -July 24, 2015
The Rose Art Museum, Brandeis University, Waltham, MA, Pretty Raw: After and Around Helen Frankenthaler, February 11 -June 7, 2015
Albuquerque Museum, Albuquerque, NM, VisualizingAlbuquerque:Art of Central New Mexico, January 31 -May 3, 2015
Frac Lorraine, Metz, France, Rumors of the Meteor, October17, 2014- January 11, 2015
Regina Rex, New York, NY, Trioceros, November 9 -December 21, 2014Kayne Griffin Corcoran, Los Angeles, CA, Surface to Air: Los Angeles Artists of the ‘60s, May 17 -July 5, 2014
Nyehaus and Dorfman Projects, New York, NY, The Very Last Plastics Show: Industrial L.A. 1965 to the Present, May 10 -July 31, 2014
Brand New Gallery, Milan, Italy, Shakti, January 23 -March 8, 2014 Barbican Centre, London, United Kingdom, Pop Art Design, October 22, 2013 - February 9, 2014
Stiftelsen 3,14 and Bergen Kjøtt for Bontelabo, Bergen, Norway, Life is the Only Way, August23- October 27, 2013
Forest Lawn Museum, Glendale, CA, L.A. Woman: Yesterday, Today and Tomorrow, August 15, 2013 -January 5, 2014
Everything Loose Will Land
Graham Foundation for Advanced Studies in the Fine Arts, Chicago, IL, May 1 -July 26,2014
Yale School of Architecture Gallery, New Haven, CT, August 28 -November 9, 2013 MAK Center for Art and Architecture, West Hollywood, CA, May 9 -August 4, 2013 Haus der Kunst, Berlin, Germany, Ends of the Earth: LandArt to 1974, October12, 2012 -January 20, 2013
Hebrew Union College -Jewish Institute of Religion Museum, New York, NY, The Spectrum of Sexuality, September 6, 2012 -June 28, 2013 Pacific Standard Time: Art in L.A. 1945-1980 exhibitions:

J. Paul Getty Museum, Los Angeles, CA, Pacific Standard Time: Crosscurrents in L.A.

Painting and Sculpture in Los Angeles 1945-1970, October 1, 2010 -February 5, 2012
The Gas Station, Berlin, Germany, LA Invasion, March 16 -April 30, 2012 Martin-Gropius-Bau Museum, Berlin, Germany, Pacific Standard Time:Art in L.A.; 1945-1980, March 15, 2012 -June 10, 2012
Pasadena Museum of California Art, Pasadena, CA, L.A. Raw:Abject Expressionism in Los Angeles 1945-1980, From Rico Lebrun to Paul McCarthy, January 22, 2012 -May 20, 2012
American Jewish University, Bel Air, CA, Pacific Standard Time at the PlattiBorstein Galleries, October 2, 2011 -February 5,2012
The Geffen Contemporary at the Museum of Contemporary Art, Los Angeles, CA, Under the Big Black Sun: California Art 1974-1981, October 1, 2011 -February 13, 2012
Norton Simon Museum, Pasadena, CA, Proof: The Rise of Printmaking in Southern California, October 1, 2011 -April 2, 2012
Otis College of Art and Design, Los Angeles, CA, Doin’ It In Public: Feminism andArt at the Woman’s Building, October 1, 2011 -January 28, 2012 Los Angeles Contemporary Exhibitions (LACE), Los Angeles, CA, Los Angeles Goes Live: Exploring a Social History of Performance Art in Southern California, 1970-1983, September 27, 2011 -January 29, 2012
Pomona College Museum of Art, Claremont, CA, It Happened at Pomona:Art at the Edge of Los Angeles 1969-1973, August 30,2011 -May 13,2012 The Geffen Contemporary at the Museum of Contemporary Art, Los Angeles, CA, Ends of the Earth: LandArt to 1974, May27- August 20, 2012 Palm Springs Fine Art Fair, Palm Springs, CA, The Big Picture: Paintings from Southern California, 1960-1980, February 14-17,2012
The Jewish Museum, New York, NY, Shifting the Gaze.’ Painting and Feminism, September 12, 2010 -January 30, 2011
Hebrew Union College -Jewish Institute of Religion Museum, New York, NY, A Stitch in Jewish Time.’ Provocative Textiles, September 7, 2010 -June 30, 2011 Art League of Bonita Springs, Center for the Arts, Bonita, FL, Women Call for Peace:

Global Vistas, October 1 -December 12, 2010
Laband Art Gallery Loyola Marymount University, Los Angeles, CA, Women Call for Peace: Global Vistas, October 1 -December 10, 2010
David Nolan Gallery, New York, NY, The Visible Vagina, January 28 -March 20, 2010 Centre de Cultura Contemporania de Barcelona, Barcelona, Spain, Indomitable Women, December 4, 2009 -January 3, 2010
Museum voor Moderne Kunst Arnhem, Arnhem, Netherlands, Rebelle. Art and feminism: 1969-2009, May 30 -August 23, 2009
Korean-Chinese Cultural Center, lncheon Women Artists’ Biennial, Incheon, South Korea, So Close Yet So FarAway, August 1 -31,2009
Universidad de Jaen, Spain, Mater, March 5 — April 26, 2009 O’Connor Gallery, Toronto, Canada, Double Vision:Judy Chicago & Donald Woodman, A Feminist Icon and an Eloquent Narrator, February 10- March 8, 2009 Stiftung Museum Kunst Pa last, Dusseldorf, Germany, Diana & Actaeon -The Forbidden Sight of Nudity, October 25, 2008 -February 15,2009 ACA Galleries, New York, NY, Voices of Dissonance, October25 -November 29, 2008
Murray Edwards College, Cambridge, United Kingdom, Judy Chicago: Voices from Song of Songs, October 19 -November 14, 2008
Moderna Museet, Stockholm, Sweden, Time & Place: Los Angeles 1957-1968, October 4, 2008 -January 6, 2009
Museum of Arts and Design, New York, NY, Forward Thinking: Building the MAD Collection, September 29, 2008 -February 15,2009
New Mexico Cancer Center, Albuquerque, NM, Healing, September 21 -December 5, 2008
Asia Society, New York, NY, Art and China’s Revolution, September 5, 2008 -January11,2009 Leslie/Lohman Gallery New York, NY, Pink and Bent: The Art of Queer Women, May 20- June 28, 2008
Wonderland Art Space, Copenhagen Denmark, Penge, May 17 -June 17, 2008 Chen Art Gallery, Central Connecticut State University, Female Forms and Facets:

Artwork by Women from 1975 to the Present, March 13 -April 19, 2008 Herstory Gallery at Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, Votes for Women, February 16- November 30, 2008
Headbones Gallery, The Drawers, Toronto, Canada, WWWWomen, February 16 - March 20,2008Museum of Art and Design, New York, NY, Pricked: Extreme Embroidery November 8, 2007 -February 24,2008
The Katzen Arts Center at American University’s Museum, Claiming Space: Some American Feminist Originators, November 6, 2007 -January 27, 2008 The Harwood Museum of Art, Taos, NM, Originals 2007 September 25 -December 30,2007
National Museum for Women in the Arts, Washington, DC, WACK!Art and the Feminist Revolution, September 2007
Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain, A Batalla Dos Xeneros, September 13 -December 9, 2007
Contemporary Art Museum, Kumamoto, Japan, A7TITUDE2007 July 20 -October 14,2007
Museo de Bellas Artes de Bilbao, Bilbao, Spain, Kiss Kiss Bang Bang. 45 years ofArt & Feminism, June 11 -September 9, 2007
Locks Gallery, Philadelphia, PA, POST Painterly-Abstraction, May 1 -May 30, 2007Los Angeles Museum of Contemporary Art, Los Angeles, CA, WACK!Art and the Feminist Revolution, March 4 -July 16, 2007
Kunst-Werke Berlin e.V., Institute for Contemporary Art, Berlin, Germany, Into Me I Out of Me, November 26, 2006 -March 4, 2007
P.S.1 Contemporary Art Center, Long Island City, NY, Into Me / Out of Me, June 25 - September 25,2006
Centre Pompidou, Paris, France, Los Angeles 1955-1985, March 8 -June 26, 2006 Mason Gross School of the Arts Galleries, New Brunswick, NJ, HowAmerican Women Artists Invented Post-Modernism, December 15, 2005 -January 27, 2006 Riverside Art Museum, Riverside, CA, Driven to Abstraction: Southern California and the Non-Objective World, 1950-1980, 2006
Rio Bravo Fine Art, Inc., Truth or Consequences, NM, War and Peace, September 21 - November 5, 2005
Illinois State Museum Chicago Gallery Chicago, IL, Art in theAbstract, August 8, 2005 -February 17, 2006
Hebrew Union College -Jewish Institute of Religion Museum, New York, NY, Waldsee -1944, July 19, 2005 -January 13, 2006
Mason Gross School of the Arts Galleries. New Brunswick, NJ, HowAmerican Women Artists Invented Postmodernism: 1970-1975,2005
John Natsoulas Gallery, Davis, CA, Western Biennale ofArt:Art Tomorrow, February 2 -March 27, 2005
Mizel Center for Arts and Culture, Denver, CC, Upstarts and Matriarchs:Jewish Women Artists and the Transformation ofAmerican Art, January 13 -March 27, 2005 San Diego Center for Jewish Culture at the Lawrence Family Jewish Community Center, Gotthelf Gallery, La Jolla, CA, Ms. Behavin: Jewish Feminist Artists, January 13 -February 25,2006
Bankside Gallery, London, United Kingdom, Love for Sale: TheArt of Sensuality, January -February 2005
Museum of Modern and Contemporary Art (Mamco), Geneva, Switzerland, Expo CNAC, June 8 -September 26, 2004
The Museum of Contemporary Art, Los Angeles, A Minimal Future?Art as Object 1958-1968, March 14 -August 2, 2004
Millard Sheets Gallery at the Pomona Fairplex, Envisioning the Future, January 10 - February 29,2004
The National Arts Club, New York, NY, Salute to Feminists in the Arts, November 2003 Susquehanna Art Museum, Harrisburg, PA, Larger Than Life: Women Artists Making It Big, June13- August 31,2003
The Museum of New Art, Parnu, Estonia, Naked Before God, May 31 -August 31, 2003The Ann Loeb Bronfman Gallery, Morris Cafritz Center for the Arts, District of Columbia Jewish Community Center, Washington, D.C., February -March 2003 Centro de Arte de Salamanca, Salamanca, Spain, Corner o no Corner (To eat or not to eat), November 20, 2002 -January 20, 2003
Martin Art Gallery, Muhlenberg College, Allentown, PA, Women Artists: Past & Present, October 24, 2002 -January 17, 2003
Hebrew Union College -Jewish Institute of Religion Museum, New York, NY, Archetype/Anonymous: Biblical Women in Contemporary Art, September 9, 2002 - January 10, 2003
Guild Hall Museum, East Hampton, New York, Personal and Political: The Women’s Art Movement, 1969-1975, August 10 -October 20, 2002
Center for Visual Art and Culture, University of Connecticut, Stamford, CT, From Eve to Huldah: ContemporaryArtists Depict Women of the Bible, March 7, 2002 -April 26, 2002
Ostend Museum of Modern Art, Ostend, Belgium, Between Heaven and Earth: NewClassical Movements in the Art of Today, February 23- September 2, 2001 Yeshiva University Museum, New York, NY, Jewish Artists on the Edge, November 7, 2001 -February 28,2002
Works on Paper, Los Angeles, CA, March 2001
Made in California: Art, Image and Identity
Los Angeles County Museum of Art, Los Angeles, CA, October 2000 -March 2001 The College of Santa Fe, Santa Fe, NM, June -September 2000 New Museum Of Contemporary Art, New York, NY, Picturing the Modern Amazon, March 30 -July 6, 2000DC Moore Gallery, New York, NY, The Likeness of Being: Contemporary Self-Portraits by Sixty Women, January 2000
Hebrew Union College -Jewish Institute of Religion Museum, Living in the Moment:

ContemporaryArtists Celebrate Jewish Time, September 1999 -June 2000 Bakersfield Museum of Art, Bakersfield, CA, Opening the Door: Women in Art, May - October1999
Taipei County Cultural Center, Banchyao, Taipei County, Taiwan, The International Ceramic Public Arts Exhibition, May -June 1998
Mead Art Museum, Amherst College, Amherst, MA, Language as Object: Emily Dickinson and Contemporary Art, March -June 1997
Sniper’s Nest, Art That Has Lived With Lucy 1?. Lippard Traveling exhibition organized by the Center for Curatorial Studies Museum, Bard College, Annandale-on-the-Hudson, NY, 1995-1998
CCS Bard Hessel Museum, Bard College, Annandale-on-Hudson, NY, October 28 - December 22,1995
Museum of Fine Arts, Santa Fe, NM, 1998Los Angeles County Museum of Art, Los Angeles, CA, Made in L.A.: The Prints of Cirrus Editions, October 1995 -January 1996
Huntington Beach Art Center, Huntington Beach, CA, Community Properties, March - June1995
Exploring A Movement, Feminist Visions in Clay
Simultaneous exhibition organized by the Downey Museum of Art, Downey, CA Downey Museum of Art, Downey, CA, November -December 1995 Laband Gallery Loyola Marymount University, Los Angeles, CA, October -December 1995
Museum of Contemporary Art, Los Angeles, CA, September 1995 -January 1996 Division of Labor: “Women’s Work” in ContemporaiyArt
Traveling exhibition organized by the Bronx Museum of Fine Arts, Bronx, NY, February -June 1995
University Art Museum and Pacific Film Archive, University of California Berkeley, Berkeley, CA, In a Different Light, January -April 1995 Lyons Matrix Gallery, Austin, TX, Looking Back: Selections of three decades of work by Judy Chicago and twenty years of photography byDonald Woodman, November 1994Kustom Kulture
Traveling exhibition organized by the Laguna Art Museum, Laguna Beach, California in association with Last Gasp of San Francisco, July 1993 — July 1994 Whitney Museum of American Art, New York, NY, Abject Art, Repulsion and Desire in American Art, June 23 -August 29,1993
Copeland/Rutherford Gallery, Santa Fe, NM, Too Hot To Handle:Art& Nuclear Issues, September 1992
Fisher Gallery, University of Southern California, Los Angeles, CA, Finish Fetish: LA’s Cool School, March 13 -April 20,1991
New Mexico Fine Arts Museum, Santa Fe, NM, Alcove Show, August -December 1990
Jan Kesner Gallery Los Angeles, CA, Pharmacy, April 6 -May 12,1990 American Women Artists: The 20th Century
Knoxville Museum of Art, Knoxville, Tennessee, October 27, 1989 -February 4,1990; Bennett Galleries, Knoxville, TN, October 27 -November 26,1989; Queensborough Community College Art Gallery, Bayside, New York, March 11 -April 5,1990 Vancouver East Cultural Center and Vancouver Community Arts Council, Vancouver, BC, Canada, Fear of Others IArtAgainst Racism, September -October1989 Committed to Print
Traveling Exhibition organized by the Museum of Modern Art, New York, NY, January 1988 -September 1990
Eloquent Object
Traveling exhibition organized by the Philbrook Museum of Art, Tulsa, OK, September 1987
Second Havana Biennial, Havana, Cuba, Por Encima Del Bloqueo, 1986 Stamford Museum and Nature Center, Stamford, CT, American Art, American Women, December 1985 -February 1986
Art and the Law
Traveling exhibition organized by West Publishing Company, 1984-1988 Santa Barbara Museum of Art, Santa Barbara, CA, Containers of Culture: Ceramics of Four Continents, May1984
Gimpel Fils, London, United Kingdom, Stroke, Line and Figure, 1983 Creativity, A Human Resource
Traveling exhibition organized by Chevron Corporation Pacific Science Center, Seattle, WA, 1979 -1982; long-term installation until 2002.

Images of Labor
Traveling exhibition organized by District 1199 RWDSU/AFL-CIOICLC, New York, NY, 1981-1984
1970’s, NewAmerican Painting
Traveling Exhibition to Eastern Europe organized by The New Museum, NY, 1979 -1980
Institute of Contemporary Art, Boston, MA, Works on Paper, 1979 John Michael Kohier Art Center, Madison, WI, Reverse Painting, 1979 California State Fullerton Art Gallery, Fullerton, CA, Overglaze Imagery: Cone 019 to 016, November 11 -December 15,1977Galerie Mager, Bonn, West Germany, Frauen Machen Kunst, 1977 San Francisco Museum of Modern Art, San Francisco, CA, Painting and Sculpture in California: The Modern Era, September 3 -November 21,1976 McNay Art Institute, San Antonio, TX, American Artists ‘76: A Celebration, 1976 Winnipeg Art Gallery, Winnipeg, Canada, Women in Art, 1975 Henry Gallery University of Washington, Seattle, WA, Women in Art, 1972 Suffolk Museum and Carriage House, Long Island, NY, Unmanly Art, 1972 Long Beach Museum of Art, Mills College, CA, Visible/Invisible, 1972 Santa Barbara Museum of Art, Santa Barbara, CA, Spray, 1972 Whitney Museum of Art, New York, NY, ColorAs Structure, 1972 Fort Worth Museum of Art, Fort Worth, TX, American Drawings, 1969 West Coast Now
Traveling exhibition to the Portland Museum, Seattle Museum, San Francisco Museum Los Angeles Municipal Art Gallery, 1968
Los Angeles County Museum of Art, Los Angeles, CA, Sculpture of the Sixties, April 28 -June 25, 1967
Philadelphia Museum of Art, Philadelphia, PA, Sculpture of the Sixties, September 15 -October 29, 1967Jewish Museum, New York, NY, Primary Structures, 1966 Selected Collections (Private)
Barbara and Ron Balser, Atlanta, GA
Roseanne Barr, Los Angeles, CA
Lawrence Benenson, New York, NY
Dorian and Jeffrey Bergen, New York, NY
Linda Bloch and Michael Botwinick, New York, NY
Valentina Castellani, New York, NY
Beth Rudin DeWoody, New York, NY
Barbara and Eric Dobkin, New York, NY
Betsy and Richard Ehrenberg, Santa Fe, NM
Cheryl and Robert Fishko, New York, New York
Diane Gelon, London, United Kingdom
Kirsten Grimstad and Susan Rennie, Los Angeles, CA
Grinstein Family, Los Angeles, CA
John Griswold, Los Angeles, CA
Susan Grode, Los Angeles, CA
Christine and Andy Hall, Westport, CT
Maja Hoffmann, Switzerland
Eric Jungermann, Phoenix, AZ
Faye and Jon Kellerman, Beverly Hills, CA
Laura and Lewis Kruger, New York, NY
Kathleen and Doug Landy, New York, NY
Sueyun Locks, Philadelphia, PA
Margaret and Dan Loeb, New York, NYDeborah Marrow and Michael McGuire, Santa Monica, CA Andrew Perchuk, Los Angeles, CA
Penny Plotkin, Pasadena, CAEllen Poss, Cambridge, MA
The Rachofsky Collection, Dallas, TX
Lynda Resnick, Los Angeles, CAMashael al Rushaid, Saudi Arabia Elizabeth A. Sackler, New York, NY
Glenn Schaeffer, Nelson, New Zealand
Jordan Schnitzer, Portland, OR
Toby Shor, Corpus Christi, TX
Dominque and Raoul Slavin, ConnecticutQueen Sonja of Norway, Oslo, Norway Nancy Stetson, Boulder, CO
Mary Ross Taylor, Houston, TX
Marilynn, Carl, and Margo Thoma, Chicago, IL
Barbara and Dan Tober, New York, NY
Diane and David Waldman, Rancho Mirage, CA
Nina Wallerstein and David Dunaway, Albuquerque, NM
Amy Wolf, New York, NY
Selected Collections (Institutions)
Albuquerque Museum, Albuquerque, NMArizona State University Art Museum, Arizona State University, Tempe, AZ Arkansas Art Center, Little Rock, AR
Art Bridges Foundation, TX
Art, Design & Architecture Museum, UC Santa Barbara, Santa Barbara, CA Art Institute of Chicago, Chicago, IL
Art Museum of South Texas, Corpus Christi, TX
Philip and Muriel Berman Museum of Art, Ursinus College, Collegeville, PABirth Rites Collection, London, United Kingdom The British Museum, London, United Kingdom
Brooklyn Museum, Brooklyn, NY
The Butler Institute of American Art, Youngstown, OH
Canadian Clay and Glass Gallery Waterloo, CanadaCAPC musée d’art contemporain de Bordeaux, Bordeaux, France Centre Pompidou, Paris, France
Christian Dior, Paris, France
The Crystal Bridges Museum of American Art, Bentonville, AR deCordova Sculpture Park and Museum, Lincoln, MA
Dennos Museum Center, Northwestern Michigan College, Traverse City, Ml de Young Museum, San Francisco, CA
Florida State University Museum of Fine Arts, Florida State University, Tallahassee, FL Frac Lorraine, Metz, France
Frederick R. Weisman Art Foundation, Los Angeles, CA
The Getty Research Institute, Los Angeles, CA
The Getty Trust, Los Angeles, CA
The Hammer Museum, University of California, Los Angeles, CA Hartford Seminary, Trinity College, Hartford, CT
Hebrew Union College Museum, New York, NYHite Art Institute, University of Louisville, Louisville, KY The Janet Turner Print Museum, California State University, Chico, CA Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY Jordan Schnitzer Family Foundation, Portland, OR
Kadist Foundation, San Francisco, CA; Paris, France
Kinsey Institute, Indiana University, Bloomington, IN
Krannert Art Museum, University of Illinois, Champaign-Urbana, IL Longlati Foundation, Hong Kong, China
Los Angeles County Museum of Art, Los Angeles, CAMead Art Museum, Amherst College, Amherst, MA The Metropolitan Museum of Art, New York, NY
Mills College Art Museum, Mills College, Oakland, CA
Moderna Museet, Stockholm, SwedenNew Hall Collection, Murray Edwards College, University of Cambridge, Cambridge,UK Museum of Arts and Design, New York, NYMuseum of Contemporary Art, Chicago, IL Museum of Contemporary Art, Los Angeles, CA
Nasher Sculpture Center, Dallas, TXNational Gallery Washington, DC National Museum of Women in the Arts, Washington, DCRichard L. Nelson Gallery and Fine Arts Collection, University of California at Davis, Davis, CA
Nevada Museum of Art, Reno, NV
New Mexico Museum of Art, Santa Fe, NMNew Orleans Museum of Art, New Orleans, LANorthwestern Michigan University, Traverse City, Ml Norton Simon Museum, Pasadena, CA
Oakland Museum of Art, Oakland, CA
The Palmer Museum of Art, Pennsylvania State University, University Park, PA Pennsylvania Academy of the Fine Arts, Philadelphia, PA Polk Museum of Art, Lakeland, FL
Portland Museum of Art, Portland, OR
The Rose Art Museum, Brandeis University, Waltham, MA
Sammiung Verbund, Vienna, Austria
San Francisco Museum of Modern Art, San Francisco, CAScarfone/Hartley GaIler University of Tampa, Tampa, FL Jordan Schnitzer Family Foundation, Portland ORSeattle Art Museum, Seattle, WA The Arthur and Elizabeth Schlesinger Library on the History of Women in America, Harvard University, Cambridge, MA
Smith College, Northampton, MASmithsonian American Art Museum, Washington, DC Spertus Institute for Jewish Learning and Leadership, Chicago, ILSt. Catherine University, St. Paul, MN Tamarind Institute, Albuquerque, NM
Tate Modern, London, UK
University of Canterbury at Christchurch, Christchurch, New Zealand University of Houston-Clear Lake, Houston, TXUniversity of Iowa Museum of Art, Iowa City, IA University of Jaén, Jaén, Spain
University of Michigan Museum of Art, Ann Arbor, Ml
University of New Mexico Art Museum, Albuquerque, NM
University of North Texas Art Gallery Denton, TX
University of Wyoming Art Museum, Laramie, WY
USC Fisher Museum of Art, Los Angeles, CA
Virginia Museum of Fine Art, Richmond, VA
Whitney Museum of American Art, NY
Zhu Zhong Art Museum, Beijing, China
Zimmerli Art Museum, Rutgers University, New Brunswick, NJ

INVOICE
Invoice #2021001
January 6, 2021
Judy Chicago
Trinity, 1965/2019
Matthews polyurethane paint on stainless steel
64 x 127 x 60 inchesEdition 1/3 pIus 1 AP
JCh 50
Less 20% Discount:
$450,000.00
-90,000.00
$360,000.00
Judy Chicago
Rainbow Pickett, 1965/2021
Matthews polyurethane paint on stainless steel
Approx. 126x126x110 inches
Edition 1/3 plus 1 AP
JCh 79
Less 20% Discount:
$650,000.00
-130,000.00
$520,000.00
r
INVOICE #2021001 Page 2
Judy Chicago
Grey Domes with Solid Core, 1968Sprayed acrylic lacquer on successive formed clear acrylic domes displayed on mirroredglass on acrylic Parsons table43 x 30 x 30 inchesJCh 15 Less 20% Discount:
$150,000.00
-30,000.00
$120,000.00

INVOICE
ii p
Deitch
76 G,od Sh..1 N. 210kM! 10013
212 343-7300
Invoice #2021247
November 12, 2021
Judy Chicago
Trinity, 1965/2019
Matthews polyurethane paint on stainless steel
64 x 127 x 60 inches
Edition 2/3, pIus 1 AP and 1 Foundation Proof
JCh 98
Less Special Discount:
$450,000.00
-90,000.00
Subtotal: $360,000.00
$360,000.00
To ensure the security of payments, banking instructions must be verbally confirmed by phone in advance of payments being issued or received.

Total:

Title does not pass until payment has been made in full.

Checks should be made payable to Jeffrey Deitch, Inc. 76 Grand Street, New York, NY, 10013 Payment ‘be wired to the account of Jeffrey Deitch, Inc. artnetprice database
2 Judy Chicago
Study for Rainbow Man
Judy Chicagob. l939Study for Rainbow Mansigned, titled, dated 1984 and
graphite and pastel on paper
Work 1984
Height 34.3 in.; Width 22.4 in. / Height 87 cm.; Width 57 cm.

Signed, Inscribed
Sotheby’s London: Thursday, August 19, 2021 [Lot 00051] Contemporary Art Online
Estimate 4,000 -6,000 GBP
(5,468 - 8,203 USD)
Sold For Bought In
Judy Chicago
Title Study for “Wishing it were true
Description Judy Chicagob.l939Study for “Wishing it were true”signed, titled Medium white pencil on paper
Year of Work 1983
Size Height 11 in.; Width 15 in. / Height 28 cm.; Width 38 cm.

Misc. Signed, Inscribed
Sale of Sotheby’s London: Thursday, May 27, 2021 [Lot 00030] (Women) Artists (Online Auction)
Estimate 5,000 - 7,000 GBP
(7,086 - 9,920 USD)
Sold For 7,560 GBP Premium
(10,714 USD)
Judy Chicago
Title Growing Pains from the series Six Views from the Womantree Description signed with the artist’s initials, titled and dated “Growing Pains JC ‘75” lower right
China paint on porcelain mounted to porcelain
Work 1975
Height 9.9 in.; Width 7.9 in. I Height 25.1 cm.; Width 20 cm.

Signed, Inscribed
Phillips New York: Wednesday, March 3, 2021 [Lot 00070] New Now
Estimate 20,000 - 30,000 USD
Sold For 81,900 USD Premium
Title
Description
Medium
Year of
Size
Misc.

Sale of
4 Medium
Year of
Size
Misc.

Sale of
artnetprice database
Judy Chicago

BIRTH TRINITY QUILT
Description JUDY CHICAGOb. 1939BIRTH TRINITY QUILTquilt tapestry44 by 124 in
quilt tapestry
1983
Height 44 in.; Width 124 in. / Height 111.8 cm.; Width 315 cm.

Sotheby’s New York: Friday, October 2, 2020 [Lot 002231 Contemporary Curated
250,000 - 350,000 USD
Withdrawn
Judy Chicago
Six Erotic Cookies (in 10 parts)
Judy Chicago (b. 1939) Six Erotic Cookies (in 10 parts), 1967 Plastic bowl, painted cerami
Plastic bowl, painted ceramics, and ink on paper
1967
Misc. Signed, Inscribed
Sale of Heritage Auctions Texas: Thursday, June 18, 2020 [Lot 77073] Modern & Contemporary Art Signature Auction - Dallas #80 10 Estimate 10,000 - 15,000 USD
Sold For 20,000 USD Premium
Judy Chicago
Dark Red, Blue, Green Domes (Small)Domes each: 2” x 5” diameter; Overall: 9.375” x 15.5” x

15.5”Together with original a
Medium Sprayed acrylic lacquer on acrylic glass
Year of Work 1968
Height 2 in.; Width 5 in.; Depth 5 in. / Height 5.1 cm.; Width 12.7 cm.; Depth 12.7 cm.

Los Angeles Modern Auctions: Sunday, October 20, 2019 [Lot 00193] Modern Art & Design Auction35,000 - 40,000 USD
43,750 USD Premium
Title
Medium
Year of Work
SizeSale of
Estimate
Sold For
Title
Description
Medium
Year of WorkTitle
Description
Size
Sale of
Estimate
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artnetprice database
Judy Chicago

STUDY FOR FRESNO FAN
Judy ChicagoB. 1939STUDY FOR FRESNO FANsigned, titled and dated 1970co
colored pencil on board
1970
Height 10 in.; Width 20 in. / Height 25.4 cm.; Width 50.8 cm.

Signed, Inscribed
Sotheby’s New York: Friday, May 17, 2019 [Lot 00427]
Contemporary Art Day Auction
40,000 - 60,000 USD
50,000 USD Premium
Judy Chicago
EIGHT
Description Judy ChicagoB. l939EIGHTgouache on paperil 3/8 by 10 1/4 in.

28.9 by 2
Medium gouache on paper
Year of Work 1965
Height 11.4 in.; Width 10.2 in. / Height 28.9 cm.; Width 26 cm.

Sotheby’s New York: Friday, March 1, 2019 [Lot 00089]
Contemporary Curated
9,000 - 12,000 USD
15,000 USD Premium
Judy Chicago
Untitled (Three circles)
Sprayed acrylic lacquer on acrylic
Height 27 in.; Width 27 in. / Height 68.6 cm.; Width 68.6 cm.Heritage Auctions California: Thursday, May 24, 2018 [Lot 77039] Modern & Contemporary Art
6,000 - 8,000 USD
13,750 USD Premium
Judy Chicago
Untitled (Three circles)
Sprayed acrylic lacquer on acrylic
Height 15 in.; Width 15 in. / Height 38.1 cm.; Width 38.1 cm.

Heritage Auctions California: Thursday, May 24, 2018 [Lot 77040] Modern & Contemporary Art
3,000 - 5,000 USD
13,750 USD Premium
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Judy Chicago
Pasadena Lifesavers Yellow #5
Acrylic sheet (vis.): 58.875” x 58.875”; Frame: 59.625” x 59.625” Sprayed acrylic lacquer on clear acrylic sheet with white Plexiglas 1969-1970
Height 58.9 in.; Width 58.9 in. I Height 149.5 cm.; Width 149.5 cm.Los Angeles Modern Auctions: Sunday, October 22, 2017 [Lot 00256] Modern Art & Design Auction
40,000 -60,000 USD
59,375 USD Premium
Judy Chicago
Rainbow Pickett
Judy Chicago (American, born
1965/2004acrylic on
acrylic on canvas on plywood
1965-2004
Height 126 in.; Width 126 in.;
320 cm.; Depth 279.4 cm.

Bonhams New York: Tuesday, May 13, 2008 [Lot 00030]
Contemporary Art
350,000 - 450,000 USD
Bought In
12 33
1939)Rainbow Pickett,
Depth 110 in. I Height 320 cm.; Width
ARTFORUM I December 1, 2019
https://www.artforum.com/print/reviews/20191 O/judy-chicago-81 455 . I,
Deitch

LOS ANGELES
Judy Chicago

JEFFREY DEITCH I LOS ANGELES

ARTFOAUM
Not unlike Judy Chicago’s famed installation The Dinner Party, 1974—79, this exhibition took a clear and radical stance against the historical erasure of a woman and her work, Of the thirtynine pieces making up this survey of Chicago’s prolific output from 1965 to 1972, almost half (nineteen sculptures and photographs) had been refabricated or printed anew within the past fifteen years. This work looked unapologetically fresh alongside older sculptures, paintings, and drawings. Conceived and executed around five decades ago, many of Chicago’s original worksdid not survive owing to the lack of support for women artists and thereby of resources to store and care for their art. Providing a timely if overdue remedy, this show revived rarely seen works such as Chicago’s 10 Parr Cylinders, 1966/2019, a cluster of tall monochrome fiberglass-and’ cardboard columns with the industrial sexiness of freeway overpasses (indeed, the prefab formsChicago made these from were manufactured for pouring concrete columns). Many of these efforts, including Trinity, <eml 965/2019—a grouping of three large angled shapes with highgloss surfaces and a vibrant ombré color progression—easily upstage well-known Minimal sculptures from the same period (think John McCracken’s 1960s planks or Robert Morris’sUntitled [L-Beamsl</em>, 1965). In fact, Chicago’s Rainbow Picketr, 196512004, also included here, was displayed alongside work by male contemporaries in the notable 1966 exhibition “Primary Structures” at the Jewish Museum in New York.

But comparing Chicago’s output to that of a canon of male artists somewhat misses the point.

This exhibition chronicled how the artist forged her voice in a male-dominated art world, but it also underscored Chicago’s originality and resourcefulness. Like other Finish Fetish artists, Chicago turned to Southern Californian industries for new materials and skills, even enrollingas the sole female student in an auto’body school to learn spray-painting and finishing techniques. This training resulted in four wildly painted car hoods, three of which were included in this show: Bigamy Hood, Birth Hood, and FhJit Hood, all 1965/2011. Each composition involves a Rorschach.like array of biomorphic, hard.edge forms—butterflies, phalluses, apples,vaginas, checkerboards, oculi—in a candy-colored palette, presenting a “feminine” take on carculture machismo. The works were originally painted on hoods from sports cars such as the Chevrolet Corvair, whose sleek, aerodynamic curves and high performance were often compared to the objectified female body. Chicago’s compositions reclaim gendered surfaces.

PRINT DECEMBER 2019 It’ N
I
VIew of ‘Judy CNcgo, 2019.

I
Similarly, her series of acrylic dome sculptures from 1967—68 utilizes the synthetic materials developed by SoCal’s aerospace industry in the service of stripped-down iridescent forms that nevertheless recall breasts or pregnant bellies. Among Chicago’s extant objects from the period,the sculptures retained a late-’60s formal and political sincerity, where body-based ideas commingle with space-age materials. The results still hold and, like so many works in this show, strike a careful balance between assertion and delicacy, qualities also evident in Chicago’s calculated use of color. For example, a row of ten large-format color photos printed on aluminum—from Chicago’s “Atmospheres,” 1968—74, and “Women and Smoke,” 1971—72— documents performative Happenings in which the artist transformed natural and urban landscapes with billows of colored smoke, often surrounding the painted bodies of nude femaleperformers. The formal qualities of volume and softness that this created around the women were echoed in several of the abstract paintings and drawings on view. The back wall on whichthese photos were hung was painted with a gradient of mostly warm tones recalling a desertsunset or the heavy luminosity of the Los Angeles sky. It was the backdrop to an expansive show that might have felt overhung but instead felt abundant, laying bare the earnestness andambition of the young Judy Chicago. — Catherine Thfr LOS ANGELES TIMES I September 6, 2019
https:llwww.Iatimes.com/entertainment-arts/story/201 9-09-06/judy-chicago-beyond-the-dinner-party-feminist-art-jeffrey-deitch-los-angeles Deitch

ENTERTAINMENT & ARTS
Los Angeles inies
Judy Chicago says, ‘I was being erased’ from Southern California art history
Artist Judy Chicago with her sculptural installation Sunset Squares” at Jeffrey Deitch gallery. (Mel Melcon / Los Angeles Times) BY CAROLINA A. MIRANDA I COLUMNIST
SEPT. 6, 2019 9:28 AM PT
There are musicians whose careers are made by a single song, authors whose writing is defined by a single novel. For much of her career, Judy Chicago’s work has been overshadowed by a single art piece: “The Dinner Party,” a large-scale 1979 installation that imagined a gathering of 39 important women sidelined by history.

Using the form of an elaborate banquet table with place settings that included handpainted ceramic plates with designs inspired by female genitalia, the piece paidtribute to figures such as Hatshepsut, the 15th century B.C. Egyptian pharaoh; Artemisia Gentileschi, a 17th century Italian baroque painter; and Sacagawea, the Shosbone woman who guided explorers Lewis and Clark.

When “The Dinner Party” debuted at the San Francisco Museum of Modern Art in the spring of 1979, it immediately became a public sensation. (An estimated 100,000 people saw the work at SFMOMA in just three months.) It wasjust as quickly disparaged by critics. (“Crass and solemn and single-minded,” wrote Hilton Kramer in the New York Times.)
An installation view of Judy Chicagos ‘The Dinner Party7 1974.79. (Donald Woodman / Brooklyn Museum) Still, the renown of “The Dinner Party,” now permanently installed at the Brookl3L Museum in New York, was lasting. It not only eclipsed Chicago’s later pieces — from “Birth Pj,: a collaboration with more than 150 needleworkers, to this year’s“Purple Poem for Miami,: her most recent fireworks performance, which sent clouds of colorful smoke throughout Miami’s design district — but her early aesthetic innovations, developed as a young art student and artist in Los Angeles in the ig6os and ‘70s.
“My formal language, my color language, my approach to art-making, I built it here,” she says, as she sits, radiant in purple shirt, purple hair and purple glasses at the Los Angeles gallery Jeffrey Deitch, where on a recent Friday afternoon she could be found installing an exhibition of her early work. “My roots were in Los Angeles. I felt very strongly about that.”
Born Judith Sylvia Cohen in 1939, Chicago arrived in Los Angeles in the late 1950S as an undergraduate at UCLA. In the ‘6os, she ran with the famously macho artists of the Ferus Gallery, which included Billy Al Bengston, Edward Kienholz, Robert Irwin and Ed Moses.

But keeping up with that boys club was ultimately not for Chicago and the whole experience led her to rethink the nature of her work. “I was trying to make art that fit in,” she says. “At a certain point, I was like, ‘I’m not going to do that anymore.’” In 1970, seven years after the death of her husband, Jerry Gerowitz, she took the surname “Chicago” as a way of dispensing with patronymics and as a nod to the cityof her birth. She made the announcement before a solo show at Cal State Fullerton in an Artforum ad that became known as the “boxing.r.jng..aj “Judy Gerowitz hereby divests herself of all names imposed upon her through male social dominance and freely chooses her own name: Judy Chicago.”
She also turned her sights on arts education — helping establish feminist art programs at Cal State Fresno and the California Institute of the Arts, programs that changed not only the careers of the women who participated in them, but the nature of teaching art.

That era, with its tumult and its activism, was a fruitful time. After receiving her master’s at UCLA in 1964, Chicago took an auto body class and learned how to spraypaint. This propelled her in new directions, toward work that drew from the hardedge geometries of minimalism but added a more buoyant color palette: brilliant blues, earthy greens and flesh tones that quiver with sensuousness.

A series titled “Pasadena Lifesavers, from the late ‘6os and early ‘70s, depicts circles in jewel tones that could also serve as abstracted stand-ins for orifices. Another series made in Fresno, known as the “Fresno Fans1: are rigorous studies of color andgeometric form that wink at feminine themes. They also reveal a painter who knows how to coax shape and shadow out ofspray paint, a famously unforgiving material.

At the age of 8o, the career ofJudy Chicago is finally being revisited in its depth and its breadth. Last year, the Institute of Contempjry Art Miami featured a threedecade survey of her work. This month a new series by the artist, devoted to mortality and extinction, will go on view at the National Museum of Women in the Arts in Washington, D.C. And next spring the De Young Museum in San Francisco will host her first career retrospective.

That’s in addition to the show at Jeffrey Deitch, 2uii Chicago: Los Arig, which opens Saturday — and which for the first time reunites all of her early works, including “Pasadena Lifesavers” and the “Fresno Fans.”Judy Chicago with her early sculptures Zig Zag and Trinity, circa 1965. (Salon 94) “I was being erased from the history of Southern California art and it really upset me,” says the artist (who now lives in New Mexico). But the launch of the PacificStandard Time series of exhibitions in 2011 helped resurface some of her early work. “It began the process of my larger body of work emerging from the shadow of ‘The Dinner Party.’”In this conversation, which has been condensed and edited for clarity, Chicago talks about the early days — and how LA. car culture influenced her art.

What prompted your decision to go to auto
body school?
In the ‘6os, I was showing at Roif Nelson, one of the early galleries. He had come from New York. jjginia Dwan had opened. They were bringing artists to Los Angeles and one of those artists was John Chamberlain [known for producing sculptures ofcrushed cars].

John had a place in Topanga. Even though it was inhospitable, I hung out with the guys. I hung out with John. He would always say I should go to auto body school — those are the guys who know how to paint. I don’t know what made me decide to go to auto body school. I went right after I got my master’s.

Artist Judy Chicago. with her sculpture ‘Sunset Squares” (1965/2018) and gallerist Jeffrey Deitch. (Mel Melcon/ Los Angeles Times)
What was it like?
There were 250 guys. I was the only woman. It was two months, intense, every day.

They made me wear this long, white shop coat — don’t ask me why. Percy Jeffries was my teacher, a show car painter and he did striping. He was African American, tall, very handsome. Drove a candy-apple pale lavender convertible. Percy said, “There is no perfection, there is only the illusion of perfection.” They start with basic stuff: taping, preparing, masking, mixing paint, spraying paint. I think that was when I discovered spray paint — the idea of merging color and surface, I was hooked. I never liked oil paint, I never liked imposing on the surface. But there was something about spraying. I sprayed all through the ‘6os. I’ve sprayed paper and plastic. I’ve sprayed canvas. I’ve sprayed china. I’ve sprayed glass.

I studied art from the time I was 5. The emphasis was always on drawing skills and expression. When I went to auto body school, it was the first time I sort of realized that in making paintings or sculptures, I was making objects, physical objects. “Pasadena Lifesavers Blue #27 1969-70, by Judy Chicago. (Judy Chicago. ARS NY / Photo by Donald Woodman. ARS NY) Were you into car culture?
I thought they were beautiful, but no. For me, it was something else. It was a pathway to approach making art.

Still, you were taking an aspect of car culture
— the sexy woman on the hood — and saying,
“I’m going to put a woman on a hood but make
it feminist”
They had pinups all over auto body school. It was part of car culture. I just didn’t pay attention to it. These three — [she gestures at three painted car hoods in the gallery, whose patterns are inspired, in part, by the forms of female anatomy) — I laid them out in the ‘6os, but I didn’t do them until much later. I was getting so much [grief) for my color and my forms. “Bigamy Hood,” “Birth Hood” and “Flight Hood” — they come from paintings I did in graduate school. I destroyed them because my instructors hated my imagery and my color.

Which instructors were those?I went to UCLA at the time. The artist who predominated in terms of UCLA was £ig.

Lebrun. He was a painter. His palette ran to burnt umber, yellow ocher, burnt sienna, Artist Judy Chicago stands before two of her car hood pieces, which she designed in the 1960s and completed in 2011. (Mel Melcon/ Los Angeles Times)
olive green. That’s how they all painted at UCLA. They all painted in that palette. And then there’s me: I like ivory and turquoise and pink and lavender.

They hated my colors — just hated them. And that’s why I moved away from color for a while. So, if I tie my hand behind my back on color, how can I make visually arresting forms? None of that was lost. All of those years contributed to who I became.

How did you arrive at the colors you use?
It isjust my natural palette. I did a lot of color studies. When I was doing studies, I would lay out my color and then I would say, “I wonder what would happen if I move the yellow ocher over or the pink over.” And then I’d have to do another drawing.

And, “what if I substituted blue for this?” So I did dozens and dozens of drawings.The Getty Research Institute owns my color book. [I wanted to buildj a color vocabulary built on emotive associations.

How else would you say that your time in
Southern California shaped your work?
There are two other ways. The art scene was so nascent here — there was no international art market, nobody thought you’d make a fortune as an artist. The idea was to be taken seriously as an artist. This was really important. People who say, “Aren’t you upset it’s taken so long to be taken seriously?” And I say, “No! I’ve had six decades of being in the studio. Making art is what’s important to me.” The idea ofthat, that’s very L.A.

The other aspect is that there was a spirit ofself-invention here. There was a ‘go f— yourself attitude too. There is the famous story of the Ferus boys who were at the homes of the Factors — Bonnie Factor. They had this sunken living room that was filled with white furniture. And this New York critic, Max Kozioff, he sees them in theliving room and says, “It looks like a scene from Delacroix!” And Billy Al [Bengston] turns around and says, “Who the f— was Delacroix?”
That attitude toward authority, that shaped me. I always say, how would I have ever in New York imagined that I could create a feminist art practice or a feminist art education? That came out of the spirit of here.
‘Judy Chicax Los Angeles’
Where: .Jeffrev Deitch, Los Angclcs. 925 N.

Orange Drive, Hollywood
Artist Judy Chicago at work installing her show, which includes a series of spray-painted domes from the ‘60s, at Jeffrey Deitch. (Mel Melcon/ Los Angeles Times)
THE ART NEWSPAPER I August 18,2021
https:llwww.theartnewspaper.com/2O2lrom-the-start-judy-chicagos-retrospective-at-the-de-young-museum-goes-beyond-the-dinner-party Deitch
ludy Chicago Preview

THE ART NEWSPAPER
Radical from the start: Judy Chicago’sretrospective at the De Young Museum goes beyond The Dinner Party
The exhibition demonstrates how the artist has “always been progressive in her thinking” about social issues, from feminism to environmentalism Judy Chicago, Driving the World to Destruction (1985)
he artist, .,.i 4, New ‘. ui Sin Francisco;
Inifray L_ ii, Lo Arrgel€rs; and finer :a Fe
Gabriella Angeleti
18 August 2021
The De Young Museum in San Francisco will open a major retrospective this month devoted to the pioneering artist Judy Chicago. The show chronicles more than six decades of her prolific career and aims to move beyond the common focus on her magnum opus, The Dinner Party (1974-79). The landmark feminist installation—made up of a banquet table covered with ceramic plates depicting vulvas honouring historic and mythological women—has somewhat overshadowed other facets of Chicago’s career, drawing both impassioned praise and criticism since it was first shown at the San Francisco Museum of Modern Art in 1979.

The De Young’s show offers a “renewed appreciation for the grandeur of Chicago’s practice—her range, vision, techniques and immense output—with The Dinner Party incorporated into the broader narrative of her practice”, says Claudia Schmuckli, the curator of contemporary art at the Fine Arts Museums of San Francisco. Decades before the work was acquired by the Brooklyn Museum in 2007, the piece was subject to “criticalannihilation”, punctuated by “discrepancies between critical and popular reception to the work, a sentiment that has—more or less—reflected her entire career up until now, when the art world has become more receptive to her work”.
“Chicago was ahead of her time and thinking about toxic masculinity when that term didn’t exist,” Schmuckli adds, “and was thinking about gender before that concept had been theorised in academia.”
Around 125 paintings, drawings, ceramic sculptures, and prints by the artist are in the show, including several little-known bodies of work, such as Minimalist sculptures Chicago made in Los Angeles in the 1960s, which demonstrate her earliest investigations of the rainbow colour palette, and car hoods from the same period that she made while enrolled in auto-body school to expand her painting technique. Some of these works arejuxtaposed with her signature psychedelic paintings made in the same vibrant palettes.

There is also a section dedicated to Chicago’s role in advancing the second-wave feminist art movement, including rarely-seen ceramic “goddesses” and other works in which she explored the female visual lexicon.Works like the recent mixed-media sculptural series The End: A Meditation on Death and Extinction, from 2015-16, reflect the artist’s meditations on impermanence and environmental concerns, and highlight how Chicago “has always been progressive in herthinking—not just in terms of fighting for equality for women but for all human and non human entities”, Schmuckli says. The series also marks “the first time Chicago’s concernsand society’s concerns seem to have aligned”, the curator adds. “All the issues she’s beentalking about for decades are now front and centre in our minds.” Judy Chicago, Rainbow Pickett (1965(2021)
ColIction of )ordn Schnitzer Farnl1 Founltion
Another section features rarely seen works in which Chicago explores her Jewish heritage. The evocative paintings on linen in the series The Holocaust Project: FromDarkness into Light (1985-93)—created while Chicago was also working on the series Power Play, which examines gender constructs—emphasise “the dominant or domineering side of masculine identity and patriarchal society—qualities that are taken to extremes within the constructs of societies, dictatorships and tyrannies,” Schmuckli says.

The show also includes archival films and photographs of Chicago’s Atmospheres series of site-specific performances, first presented in the California desert in the late 1960s, in which she sought to conceptually “feminise” the landscape through eruptions of coloured smoke. She has conceived a special iteration of the series for the show called Forever de Young (2021). The smoke sculpture—a successive release of pigments representing the full colour spectrum—will be staged on a pyramidal structure outside of the museum on 16 October.While Chicago’s work over the years has been marked by variety and experimentation, Schmuckli says there is a “throughline in terms of adherence to colour and in seekingfusion between figure and ground, and how she treats materials, whether that is plexiglass, fabric, ceramics or glass”. The show highlights how, in each instance, Chicago has “developed new techniques or pushed the boundaries of existing techniques, and has remained consistent in her conceptual and technical approach to the work.” Judy Chicago, How Will I Die #7, from The End: A Meditation on Death and Extinction (2015) Courtesy artist; Salon 94, New york; Jessica Silverman, San Francisco; Jeffrey Deitch, Los Angeles; and Turner Carroll Gallery, Santa Fe
T STYLE MAGAZINE I February 7, 2018
https:llwww.nytimes.com/201 8/02/07/t-magazine/judy-chicago-dinner-party.html 1r
Deitch
TTheNewYaqlcThles Style Magazine
Judy Chicago, the
Godmother
T MAGAZINE Judy Chicago, the Godmother
For decades, the feminist artist was pushed to the
sidelines. Relevant once again, she can no longer be
ignored.

By Sesha WeissFeb. 7,2018
IN A LARGE, low-lit room is a triangle-shaped table arranged with 39 place settings, the site of a distinguished gathering. It is laid with plates that rise a few inches off the table, as if levitating, eachone sumptuously painted with wings or petals or licks of flameemanating from a glowing center: variations on the vulva. As you move along the table, which is 48 feet long on each side, the platesbecome small sculptures, bulbous and gleaming. Beneath them arerunners embroidered with elaborate designs and names in goldthread — women of accomplishment who are familiar and unfamiliar; mythical and rarely spoken of: Sappho, the ancIent poet; Anna Maria van Sctiurman, the 17th-century artist, thinkerand theologian; Elizabeth Blackwell, the first female physician in the United States. The whole assemblage stands on a floor of luminescent triangular tiles covered in more gold — 999 names ofother heroic women written in curling letters. The room is like a temple — a holy place, distinct from the everyday.

Judy Chicago in N.Y.C. last December. Photograph by Collier Schorr. StyIei by Suzanne Koller When Judy Chicagos “The Dinner Party” opened on March 14, 1979, at the San Francisco Museum of Modern Art, no one had ever seen anything like it It was theatrical, audacious and definitively feminist: a work of stark symbolism and detailed scholarship, of elaborate ceramics and needlework that also nodded to the traditional amateurism of those forms, a communal project thatwas the realization of one woman’s uncompromisingly grand vision, inviting both awe and identification. It caused an immediate sensation. But that was only the beginning of its tumultuous life.One cold day in December, I met Judy Chicago, who is 78, at the Brooklyn Museum, where “The Dinner Party” isngwpermanently installed. Her style, like “The Dinner Party” Is flamboyant and groovy and uncategorizable. She wore jeans, a leopard-print silk shirt under a black vest embroidered with sequins and a double strand of gold beads. Her lipstick was purple, her curly hair dyed a reddish-pink, with tinted glasses to match, giving her a dreamy, psychedelic look. But the eyes peering out from behind those glasses were sharp and commanding.

We walked into “The Dinner Party” accompanied by Chicago’s husband and constant companion, the photographer Donald Woodman, who that day played the part of a benign bodyguard.

Chicago regarded her creation with the fierce and slightly bemused love of a parent for a grown child. The work is so thoroughly assimilated into art history that its authority feels like a given, butChicago remains protective of it. She vividly remembers its difficult birth — the years of painstaking labor, the organizing, over five years, of a volunteer force of 400 to help her, the doubt aboutwhether it would ever be finished and the eventual triumph of its debut. Chicago’s intention, she told me — with a mixture of selfdeprecation and utter seriousness — had been to rededicate the history of Western civilization to the women who are often left out of it. She wanted to make a work so large that It could never be erased. When I asked her what it was like to be in the presence of the piece now, sadness crept into her voice. She said she felt relief. “From the beginning, you know, I was determined — it needed to be permanently housed, because if it hadn’t been, it would havesimply reiterated the story of erasure it recounts. It just — I had no idea it was going to take this long”
I The October1970 advertisement Judy Chicago placed in Artforum announcing both her one-woman show at California State University, 1y Fullerton (Artforum ran the boxing ° ‘ ring photograph later that year). as well as her name change fromGerowltz (which belonged to herfirst husband) to Chicago; she wanted to be free of any kind of
male-dominated nomenclature. - -—‘‘-: Courtesy of Through the Flower Archives WHEN “THE DINNER PARTY” was first shown in San Francisco, over 100,000 people came to see it in the three months it was on display. Chicago was feted in national magazines and interviewed on the radio. She received letters from women all over the country telling her how moved they were by the piece, how it had changed their lives. But a backlash was brewing. Colleagues whispered thatit was not a work of art but a piece of dumsy political rhetoric. A Los Angeles Times art critic cruelly bashed it, calling it “a lumbering mishmash of sleaze and cheese” The tour of the show was canceled, with minimal explanation.Chicago was shocked. To be rejected by the art world was a refutation of her identity; She’d studied art since she was 5 years old, and had been one of the few women to gain recognition in the 1960s LA. art scene. For hei “The Dinner Party” was the culmination of a process of radical self-transformation. Sheretreated to her modest studio in a small town outside San Francisco, $30,000 in debt from loans she’d taken out to pay for the work’s completion, and spent the rest of the summer alone. “The Dinner Party” was taken apart, boxed up and put into storage.

For years, the gulf between popular adulation and critical dismissal of “The Dinner Party” persisted. Over the next two decades, it was largely ignored by American art institutions. (An exception was the Brooklyn Museum, which showed it in 1980, prompting a nasty review in The New York Times by Hilton Kramer, who plainlydisdained the work’s vaginal imagery;) But thanks to the strenuous efforts of Diane Gelon, who had been the project coordinator on “The Dinner Party;” it was shown all over the country in alternative venues — the top floor of an office building in Chicago, the Cyclorama in Boston — and supported by donors, from the Rockefellers to women who sent Chicago five dollars because they thought the work was revolutionary; Slowly, “The Dinner Party” was reinscribed into art history. In 2002, when it was acquired and again shown at the Brooklyn Museum, Roberta Smith, an art criticfor The Times, pithily summarized itsjagged reception. “Call itwhat you will: kitsch, pornography, artifact, feminist propaganda or a major work of 20th-century art,” she wrote. “It doesn’t makemuch difference. ‘The Dinner Party’ ...is important.” ‘Smoke Bodies (1972), a piece from Chicago’spyrotechnical body of work. Intended to bring color and softness to the landscape. Courtesy of Through the Flower Arcfsves
When I first saw “The Dinner Party” several years ago, I regarded it with a mixture of reverence and suspicion. I had somehowabsorbed two contradictory ideas about It — that it was major and that it was kitsch. Its symbolism had come to supersede its status as a made thing, the product of a particular brain. Standing next toit alongside its creator, the plates glinted with a new meaning. It was a repository of women’s history; but it was also an archive of Chicago’s evolution as an artist.
1 started to imagine how different the fate of “The Dinner Party” would have been if it had been shown for the first time in 2018. Theopening with Solange and Patti Smith and Oprah and maybe even Hillary Clinton in attendance; the scores of Instagram posts — loving shots of the plates accompanied by hashtags:
#iudyChicago, #Vaginachina, #Herstory — the winking
references to it during fashion week. The work’s populism, I suspect, would have been instantly embraced by artists and thinkers; no critic would have dared to dismiss it out of hand, though the small number of women of color included in the workmight have prompted a heated discussion on social media of an alternative canon of names who could have been listed on the floor.

It would have penetrated the culture so deeply that it would have been impossible to reject.The audacity of “The Dinner Party,” its rhetorical energy; its humor (the vulva plates are, among other things, a play on what it might be like if women took as much pride in their anatomy as men did) would be obvious to us now. Chicago anticipated this generation’s style of feminism — pugilistic, sincere, frank and unapologetically grandiose. Her investigation of “domestic” forms was alsoprescient: Artists as different as Swoon, Cindy Sherman and Fmma Sulkowicz axe indebted to her. Her vision reached beyond the art world as well: She saw how identity could be the locus of larger structural change, how the fury women felt at being left out could be channeled to dismantle the fortified institutions men have built to retain their control. She anticipated the very question at the ‘The Dinner Party (1979). Coflectlon of the 8rookIMuaeum. gift of the Eft2abeth A Sacklef Foundation. CJUdy Chicago. photo tOonald Woodman
core of the #MeToo movement: What would the world look like if women held power?
But Chicago seems doomed to a lonely clairvoyance. Of course, she doesn’t mind that her nearly-60-year career is finally being considered as a whole — she has upcoming or current shows at the Brooklyn Museum, Salon 94 in New York,, the Institute ofContemporary Art, Miami and the National Museum of Women inthe Arts in Washington, D. C. For a long time, she has chosen to work outside familiar methods and institutions — a path that promised little recognition or attention. She has always taken thelong view. Now she has posterity in mind: What will happen to her work once she’s gone?JUDY CHICAGO WAS born Judy Cohen to a progressive Jewish family in Chicago in 1939. Her mother was a former dancer and medical secretary, and her father was a labor organizer whoadored his daughter and encouraged her precocity. The house wasoften full of friends debating books and Marxism, and Chicago was invited to participate. As she writes in “Through the Flower: My Struggle as a Woman Artist:’ the first volume of her wonderfully earnest 1975 autobiography, her father instilled in her a lasting sense that she was a match for any interlocutor. Throughout her childhood, she spent Saturdays at the Art Institute of Chicago, taking figure drawing and painting classes, and then wandering through the museum alone, studying Seurat, Monet, ToulouseOn the Cover: Judy Chicago is featured in Vs Feb. 18 Womens Fashion issue. Photograph by Collier Schorr Styled by Suzanne koller Lautrec. When Chicago was 13, her father died suddenly — the great loss of her life.

In 1957, she enrolled as an undergraduate at U.C.L.A., eventually earning a master’s in painting and sculpture. Through her roommate, she met her first husband Jerry Gerowitz, a rebellious free spirit who was killed in a car accident. At 23, she was a widow,and one of the few women to participate in the burgeoning scene around the Ferus Gallery, a locus of West Coast cool whose artists included Edward Kienholz, Robert Irwin, Ed Moses and Ken Price.

This storefront on La Cienega Boulevard represented an irreverent hyper-masculinity. (A 1959 photograph showed four Ferus artistsdraped over a motorcycle.) Chicago would join “the boys” at the bar where they jousted with one another, teased her and talked about cars and their “joints.” She often went home and cried, but told herself to suck it up. This was the world she wanted to be part of.

To fit in, Chicago cultivated her own brand of machismo, shearing her hair wearing big boots and smoking cigars. She moved awayfrom the biomorphic, feminine imagery that her graduate school professors had ridiculed, and pushed herself to do work that was increasingly abstract and technically difficult. She went to autobody school to learn to spray-paint, making a series of four pastel-colored paintings on car hoods; she created an enormous fiberglass sculpture modeled on freeway pillars and environmentalsculptures she called “Atmosphcres,” setting off flares of colored smoke in the desert, in the mountains and on the beach.One day, Walter Hopps, an owner of Ferus, visited the Pasadena studio Chicago shared with her second husband, Lloyd Hamrol.

Her 1965 sculpture “Rainbow Pickett’ a series of brightly colored wooden beams, each progressively larger in size, leaned against the wall. Rather than look at the work, Hopps literally turned his back on it and started talking with Hamrol and another male artist. (In 1966, it was included in “Primary Structures,” a major Minimalist show at the Jewish Museum.) Years later, she ran into Hopps and he explained that he’d been paralyzed by the fact that her work was better than that of the men in her circle, and he didn’t know how to respond. She was demoralized and increasingly The feminist artist tells a joke written by her friend, the comedian Roseanne Barr.

FIorD Han’tio
angry. She hated being ignored by critics. She hated constantly being told her ambition made her a bitch and a dyke and thatwomen couldn’t be artists.

The poster ‘Miss Chicago & theCalifornia Girls’ (circa 1970-71)from Fresno State College’sfeminist art program.

Courtesy of Through the Flower Archiveshoused at the Penn State UniversityArchives These experiences of misogyny radicalized her, a stance that was reinforced by literature from the women’s movement that wasreaching the West Coast — Valerie Solanas’s “SCUM Manifesto” (1967), Kate Millet’s “Sexual Politics” (1970) and Shulaxnlth Firestone’s “The Dialectic of Sex: The Case for Feminist Revolution” (1970). “If these women could say how they felt,” she writes in “Through the Flower:’ “so could I.” Rather than distort her ideas to suit the male-dominated art world, she wanted to invent a new art world, and a new way of being in it. In 1970, she decided to divest herself of her married name. Together with Jack Glenn, the owner of a local gallery. she created an announcement of a solo show that was a spoof on the brawny posters of the Ferus boys.

She posed in a boxing ring — one where Muhammad All had oncetrained — wearing work boots, satin shorts and a sweatshirt emblazoned with her chosen name: Judy Chicago. In the ad, Glenncrouches in the background, a skulking manager, and her friend’s girlfriend, who was pulled into the shoot at the last minute, poses alongside her. Chicago’s expression is confrontational and cocksure.

Her paintings from this period, however, tell a different story. They suggest she was struggling, friglitened, trying to invent an imagelanguage that reflected her vulnerability and the bruises she’d sustained trying to wedge her work into the rigid strictures of the art world. She asked herself the question, “How do you fit a soft shape into a hard framework?” and made a series of paintings that thed to answer it. Her painting “Flesh Gate I” from 1972 has a repetitive grid structure painted in gentle oranges and pinks;inside each cell is a dark opening that seems to pulse or beckon. In another series from the same period called “Fresno Fans:’ pinksand yellows fade and flicker. The paintings are tense and luminous, forceful and delicate. You can feel Chicago breaking out of the cage of abstraction, teaching herself to become the artist who couldmake work that was declarative and explicit.

Eggs cascading Into breasts In a room of
Womanhouse called Nurturant Xltchen (1972), by
Chicago’s collaborators Vicki Hodgetta, Robin Wettschand Susan Frazier. Courtesy of Miriam Schaptro Archives on Women Artists, Special Collecuons and University Archives.

Rutpers University Lib’artes
Chicago began immersing herself in art made by women, reading Artists Including Edward IOenholz. Clees Oldenburg and
Ed Ruscha gathered for a portrait at the Los Angeles
County Museum of Art In 1968 — Chicago Is seated inthe foreground with pink tights. iulan Wasser literature (Jane Austen, George Eliot, Virginia Woolf and others) and studying generations of female artists (from Judith Leyster to Mary Cassatt to Barbara Hepworth), tiying to locate in their work an iconography that reflected the female body and its particular sensations. She painted round forms, shapes that opened and closed and seemed to pulsate or wriggle. She became a teacher of studio dasses on feminist art, the first of their kind, at Fresno State College and then at CalArts in Valencia. She pushed her students to create work based on consciousness-raising sessions in which they investigated their experiences as women, including being harassed by men.

In the summer of 1971, along with Dextra Frankel, a curator and professor of art at California State University Fullerton and Miriam Schapiro, a painter whose work was a model for Chicago’s, she toured the West Coast to find pieces for a women’s art show.

Many of the artists they encountered were self-taught, working in cramped spaces in their bedrooms, on porches, or in the backrooms of studios belonging to male friends or partners. Chicagowas struck by the way their art-making was tucked between laundry and cooking, their work displayed among toys and familycurios. Some of it was excellent — like the paintings of a woman who worked on scraps of her husband’s canvas — but Chicago hadto overcome her own snobbery to really begin to see it. Her idea of what it meant to be an artist was changing: It was no longer beingalone, making large paintings in a studio; it could be somethingmore improvisatory and intimate.

During this time, her New York contemporaries, feminist artists like the sculptor Lynda Benglis (famous for her nude 1974 Artforum ad — inspired by Chicago — in which she posed with a dildo) or Judith Bernstein (who outraged critics and gallery-goers alike with her large-scale phallic drawings) were establishingthemselves as deliberate provocateurs: Their goal was to make men uncomfortable. Chicago was more interested in how feminismcould be cultivated within a community Frustrated by the lack ofcohesion among feminist artists, she began to seek a way to create it herself. That, as well as the idea of taking work made at a small scale and enlarging it, of mingling the domestic and the personal, became the basis of an installation, “Womanhouse” (1972), that Chicago and Schapiro undertook with local artists and students atCalArts. (This predated the first all-female cooperative gallery — New York’s A.I.R., which counted Bernstein among its members — by about eight months.) rjANOJA)i
W)JAI*IAbI tIAiO)A)I
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The Inaugural 1973 volume of Womanspace. a Journal
published by the all-female gallery of the same name In downtown LA.. which Chicago co-founded. Courtesy ofthe Miriam Schopiro Archives on Women Artists. SpecialCollections end Lireversity Archives. Rutgers University Libraries, The Gaily Research Center. gift of Hal Gllckman, Accession No.2009m5.20A 1965 InstallatIon shot of Feather Room’ one ofChicago’s earlier large-scale works. In collaboration wIth Lloyd Hamrol and Eric Orr. at the RoIf Nelson Gallery In Los Angeles. Even then, her work was about creating
environments that stood In contrast to reality. Feathersand Inflated plastic, eiudy Chicago, photo courtesy of Throughthe Flower Archives “Women had embedded in houses for centuries and had quilted, sewed, baked, cooked, decorated and nested their creative energies away:’ Chicago wrote in “Through the Flower.” “What would happen, we wondered, if women took those same homemaking activities and carried them to fantasy proportions?” Along with 21 of their students, Schapiro and Chicago renovated a dilapidated 17- ,:
room mansion in Hollywood, turning each room into a sculptural environment — Chicago’s contribution was the “Menstruation Bathroom:’ a pristine white-tiled space with a garbage can overflowing with bloody tampons. The living room became the siteof performance pieces in which the women enacted births, or engaged in mundane domestic tasks like ironing. Ten thousand people came to see it during its one-month run.

Chicago was becoming convinced that in order for her work to beseen and understood, she would have to create an alternative canon, placing herself in a lineage of powerful women. In 1972, she began a series of biographical portraits called the “Great Ladies,”dedicated to historical queens: Marie Antoinette, Catherine the Great, Queen Victoria. They were still abstract: spirals of undulating lines radiating from a taut center, painted in subtly graded pinks, yellows and blues that seemed almost to breathe.

She told an interviewer that she “tried to make my form-languageand color reveal something really specffic about a particular woman in history like the quality of opening and blockage and stopping, the whole quality of a personality” Eventually, to makeher meaning even dearer, she began to write on her paintings, documenting her fears, her methods, her daily experiences, in a cursive that is touchingly neat and girlish. (“I put my finger in my pants and up my vagina, pulling out a bit of leftover menstrual blood:’ she wrote on a 1973 painting called “The Liberation of the Great Ladies”) The writing unleashed in her a sense of freedom.She began to study the craft of china painting (the decoration and glazing of porcelain) and to wrestle it into the realm of high art with “The Dinner Party:’ Chicago had to unlearn everything sheknew in order to teach herself how to make something so bizarre and original.
‘Rainbow Plcketr (1965. recreated 2004), one of Chicago’s early Minimalist sculptures. Latex paint on canvas-covefed plywood. Collection of David and Diane Waidman, Judy Chicago, photo Donald Woodmar’ FOR THE PAST 23 years, Chicago and Woodman, who were
married in 1985 after knowing one another for only three months, have lived and worked in a large brick building in Belen, N. M., 35 miles south of Albuquerque. Their street has an edge-of-the-world quality: ft’s a few blocks away from one of the largest rail yards in the state, and an old train is parked across the street, near a few scattered buildings squatting in the brilliant sun. The Belen Hotel, as they call their home, a 1907 boardinghouse for railroad workers that Woodman renovated himself, bristled with rugs and objects and artworks, but Chicago’s office was spartan, with tall, rigorously arranged bookshelves, framed awards and certificates, andphotographs of friends, including one of her mentor Anaïs Nm, whose best-selling diaries, first published in 1966, were an inspiration. The orderliness of Chicago’s space spoke to the discipline required to produce works of art that are direct, personal and exposing.

In the dining room, Chicago pointed out a study for a 2012 piece from a series called “Retrospective in a Box,” a painting-onphotograph of Chicago’s naked body floating against a redbackground and surrounded by words: “Aging Woman, Artist, Jew.

Everyone Would See Who She Really Was” Chicago has continued her restless pursuit of difficult techniques; for her, the effort is synonymous with the emotional risks she has taken as an artist.

She has worked on canvas, glass and porcelain, in oils, spray paint, china painting and needlework. She has made sculptures that fill rooms and tiny cookies shaped like vaginas; she has used dry ice and fireworks; she has mounted performances in houses, in parks, at universities and in museums; she has engaged in collaborations and labored, alone, on large series. After “The Dinner Party” she made other enormous works that took many years to complete, on the subjects of birth (“Birth Project,” 1980-85), the Holocaust (“Holocaust Project: Prom Darkness Into light,” 1985-93) and violent masculinity (“PowerPlay;” 1982-87). Much of this work is only now being widely shown and studied.

In a 1,800-square-foot warehouse behind the Belen Hotel, Chicago’s uncollected work was stacked in crates. In the back room is her personal archive. She has meticulously documented every piece she’s made since the early 1960s on some 6,000 index cards, which she and her assistant are organizing for her eventual catalogue raisonée. Meanwhile, what she calls “my major estate plan” is underway: the Judy Chicago portal, a website that will combine the holdings of three institutions: her paper archives at the &cliiesinger Library on thHistory of Women in America at Harvard, her art education archive at Penn Stateilniyersjty Libraries and her visual archive at the National Museum of Women in the Arts in Washington, D.C. The completion of the portal will follow the opening of the show of her newest series, “The End: A Meditation on Death and Extinction,” at the National Museum of Women in the Arts in June 2019.

The painted dolly invitation for the
opening of ‘Womenhous& (1972).

Co,jrtesy of through the Flower Archiveshoused a$ the Penn Stete University Archives
I told Chicago that I was struck that, though she had often struggled in her career — overcoming the disapprobation of critics, the indifference of institutions and overt and tacit misogyny — she had managed to hold onto a sense of her work’s importance. She said, with her usual matter-of-factness, that it was simply a matter of pragmatism.
“I know the history of what’s happened to women artists’ work,” she said. “A lot of women artists believe that everything has changed. I don’t believe that that is true. Like, when we were in Paris the last time, there was an exhibition of Elisaheth Vigee Le Brun. You know who she was?” I didn’t.

Vigee Le Brun, Chicago told me, was a court painter in 18thcentury France and a superb technician. Marie Antoinette was her patron. “She was the most prolific woman artist who had ever lived, up to her time,” she said. And her 2015 retrospective at the Grand Palais in Paris, almost 200 years after her death, was her first major career survey. Chicago looked at me seriously. “One of my goals was to make sure that my work would not be lost. And I did not make an assumption that all would be taken care of.” It was her responsibility her legacy to protect.

We walked into one of her three studios on the ground floor of the house, the one devoted to her glass and china paintings. She showed me panels from her most recent series, “The End:’ 37paintings on black glass and porcelain and two bronze reliefs comprising an investigation of death: her own and the planet’s. Thepanels include 13 self-portraits imagining herself dying in different scenarios — painfully, peacefully, in one of them with Woodman at her side. Getting color to affix to black glass is exceedingly difficult, requiring multiple firings at very high temperatures; the result hasa hard clarity. The paintings were spare and haunting, like folk songs.

I thought of a conversation I’d had with the curator and gallerist Jeffrey Deitch about a common misunderstanding about Chicago. “Those who haven’t seen this amazing history of her work in the1960s and ‘70s, they wouldn’t classify her as an artistic heavyweight, because ‘The Dinner Party though it has
tremendous intellectual structure, it is meant to be very accessible,” he told me. This is a central tension of Chicago’s life and work: She masters unyielding materials, immerses herself in the intellectual history of a major subject and flays her insides to get at powerful emotion. The result is work that is simple and comprehensible. Paradoxically, this simplicity may be the primary expression of her grandeur. She wants everyone to see her art and to understand it, so that it might change them and the world.

And it has. Once your eye is trained to see Chicago’s imprint, it iseverywhere, and unmistakable. It’s in Petra Collins’s menstruationpositive T-shirts; in the forthcoming installation on Sunset Boulevard in LA. by Zoe Buckman of a huge uterus drawn in neon tubing crowned with boxing gloves; in the pink “pussy hats” that are worn in opposition to Trump’s election. Images like these — symbolically overt, politically and anatomically in-your-face,forcing a public confrontation with sexism — are all descended from Chicago’s imagination.

An introductory panel, painted on black glass, for “Mortality:’ one of the sections of Chicago’s mostrecent work, the omnibus project “The End; A Meditation on Death and ExtInction” (2012-2018) that will be unveiled for the first time at the National Museum of Women In the Arts in Washington, D. C., inJune 2019. Kiln fired glass paint on black glass, photo ‘Donald Woodman 2018 Judy Chicago/Artists Rights Society JARSI, New York Courtesy of the artist and Salon 94. New York.

Over our time together, I asked her several times, in several different ways, to tell me who she thought her inheritors and peers are. If she had a seat at “The Dinner Party,” which names would flow from her? But she didn’t want to answer the question. She has always felt out of step with the present. “Look, you know, before I get interested in somebody, they have to have a long, sustained career. Because that’s what real art grows out of.” Not the “make-it” dream, not bursts of youthful ingenuity, not critical acclaim — just continuing, no matter the circumstances, to make art. “That,” she said, “is what I admire.”
Meeting Date: March 18, 2024

ATTACHMENT 2

STAFF REPORT
Meeting Date: December 4, 2023
To: Arts and Culture Council Liaisons Mayor Gold and
Councilmember Bosse
From: Stephanie Harris, Director of Community Services
Brandy Scott, Arts and Culture Program Associate
Subject: Recommendation by the Arts and Culture Commission for a New Proposed Installation Site of the Artwork Trinity by Judy Chicago Attachments: 1. Renderings of Artwork

INTRODUCTION
The Arts and Culture Commission conducted a Fine Art Priority Exercise on May 16, 2022 and selected the sculpture Trinity by Judy Chicago for acquisition and recommendation to City Council. The previous Council Liaisons (Bosse and Nazarian) met on August 24, 2022 and March 27, 2023, to review the proposed acquisition and installation sites. These recommendations from the Arts and Culture Commission and City Council Arts and Culture Liaisons were then brought before the City Council on May 16, 2023 and August 15, 2023.

At the August 15, 2023 City Council meeting, staff was directed to secure a 10-year warranty from the fabricator, Ironwood, and return for final approval for installation at the secondary location at Beverly Gardens Park on the corner of Parkway and Canon.

Following the Council meeting, the Deitch Gallery secured an extended 10-year warranty. The warranty will be effective for 10 years from the date of completion of Trinity for the City of Beverly Hills.

Staff will present updated information related to this proposed fine art acquisition and corresponding installation.

DISCUSSION
Following the August 15, 2023 City Council meeting, staff met with the Arts and Culture Commission Ad Hoc and Jeffrey Deitch from the Deitch Gallery to go over next steps. At this time we were informed that the artist, Judy Chicago, no longer supports Beverly Gardens Park as an installation site due to the various concerns raised of possible heavy public interaction with the artwork as well as the artist felt that the site lacked the imbedded back drop and protective barrier that the City Hall location would provide.

Arts and Culture Commission Ad Hoc proposed a new site location that the artist and gallery both supported. The proposed new site is the northwest corner of the Wallis Meeting Date: December 4, 2023

Annenberg property, on South Santa Monica Boulevard and Crescent Drive. The site is the location of the 2013 temporary art installation of Coups de Pinceau by Roy Lichtenstein on the Wallis Annenberg property.

The City’s Project Administration team created the attached renderings to illustrate the newly proposed location. These renderings were presented to the Arts and Culture Commission at the November 14, 2023 Arts and Culture Commission meeting. The new location was approved with a 3-2 vote, 3 in favor and 2 abstaining.

Following the Arts and Culture Commission meeting, staff met with Robert van Leer, Executive Director and Chief Executive Officer of the Wallis to discuss the proposed installation. The location and orientation are supported and approved by The Executive Committee of the Board of Directors of The Wallis. The Wallis currently maintains the landscaping where the artwork will be installed, and staff will work with The Wallis and Gallery to finalize the landscaping materials and lighting to fall within their current maintenance schedule. The City will enter into an agreement for the installation of City owned Art on the Wallis property which will include the details associated with art maintenance, insurance, security, and landscaping maintenance.

Previously, the anticipated ”all in” cost of the acquisition of Trinity by Judy Chicago was presented at $550,000 to account for the purchase of the artwork, transportation, design and fabrication of the preferred anchoring system (that will allow for the artwork to be deinstalled for future conservation efforts without impact to the concrete base), fabrication of the integral concrete colored base, engineering, inspections, permits, landscaping and lighting. With the additional site treatments required, including the removal of the existing concreate base, rearrangement of the existing lighting as well as adjustments to the landscaping the ancillary costs may exceed the original request for $150,000. Staff is currently requesting quotes for the site treatments listed above and anticipate an estimated increase of up to $100,000 for the additional work required to accommodate an installation at this location. This will bring the overall acquisition and installation to a not-to-exceed cost of $650,000.

Arts and Culture Commission Ad Hoc and the Gallery believe this new proposed site location will provide an ideal back drop and protective barrier like that of the proposed City Hall location. This location is also considered ideal by the Arts and Culture Commission Ad Hoc and the Gallery due to its visibility from both vehicular and pedestrian traffic on Crescent and South Santa Monica Blvd.

FISCAL IMPACT
The funding for acquisition of the artwork is available in the Fine Art Fund, a restricted fund that can only be used for fine art related expenses. The current balance in the Fine Art Fund is approximately $1.6 million dollars.

The “all in” cost of the acquisition and installation of Trinity by Judy Chicago is not-toexceed $650,000.

Meeting Date: December 4, 2023

RECOMMENDATION
The Arts and Culture Commission recommend the Arts and Culture Council Liaisons support the newly proposed installation site and costs associated with the acquisition and installation of Trinity by Judy Chicago. If supported this item will be brought before the full City Council.

ATTACHMENT 1

Meeting Date: March 18, 2024

ATTACHMENT 3
10'-7"
5'-0"
6"
13'-4"
6'-11"
6'-0"
6"
11'-9" 9'-0"
7'-7" 1'-8"

WALLIS PROPOSED PLAN
SCALE: 1/8" = 1'-0" 3/7/24
N
SANTA MONICA BLVD.

WALLIS PERFORMING CENTER UTILITIES SERVICE AREA
CRESCENT DR.
(N) COLORED

CONCRETE BASE,

TOP OF BASE TO BE
±15" ABOVE FG.
(N) ARTWORK
(N) BOLLARDS

Meeting Date: March 18, 2024

ATTACHMENT 4
Ironwood
1514 Flower Street
Glendale, Ca. 91201
Tel: 818-265-2055
Fax: 818-265-1680
[email protected]
ironwoodfabrication.com
Judy Chicago Trinity 3, City of Beverly Hills Warranty
• Covers any defects in materials used to manufacture your product • Covers any defects in workmanship under normal use
• Covers any broken components under normal use
• The company will repair the product, at no cost, if the product is still under warranty. Not including the paint finishes
• The company will repair any broken parts of a product using new or replacement parts • The Warranty Period for Physical Goods purchased from Ironwood is 10 years from the date of completion
What is not covered

Damage of a product resulting from negligence

Damage of a product resulting from unauthorized modification of the product
Damage caused by natural disaster, human or wildlife abuse.
Theft or loss of the product
Limited Warranty.

Seller warrants to Buyer that its Products will be free from material defects in workmanship and materials under normal use and service, for a period of ten (10) years from the date of Seller’s completion of the Products to the Delivery Point (the “Warranty Period“). There is NO WARRANTY in cases of negligence, abuse, abnormal usage, misuse, accidents and alterations of the Products, failure to follow Seller’s instructions or improper storage. Any oral or written description of the Products is for the sole purpose of identifying the Products and shall not be construed as a warranty of those product characteristics or otherwise.

This warranty does not include recovery of the cost of inspection.

Remedies/Limitation of Liability.

Seller specifically disclaims any liability for any incidental damages and/or consequential damages, including but not limited to damage to other property, loss of sales, profit, down time, costs or any other damages, whether or not included in the foregoing enumeration.

WARRANTY:

Ironwood warrants to the original purchaser that this product and the components thereof, will be free from defects in workmanship and fabrication materials for a period of 10 years from the date of completion.

Ironwood will, without charge, repair or replace individual items at its facility.

EXCLUSIONS: This warranty does not apply in the event of misuse or abuse of the product by mother nature, human, or animal, or as a result of unauthorized alterations or repairs. This warranty is void without maintenance records specified by RLA. This includes, but not limited to routine cleaning. A Minimum requirement of 6 month inspections and cleanings, waxing by others required.

Ironwood shall not be liable for any consequential damages, including without limitation damages resulting from loss of use. The foregoing warranties are conditional, and shall be voided by the failure of the owner to maintain the Artwork in accordance with the specifications and the applicable conservation standards. If the owner fails to maintain the Artwork in good condition, the seller, Ironwood, in addition to other rights or remedies, shall have the right to void the Artwork warranty. The work is in an area exposed to higher concentrations of corrosive vehicle exhaust particulates that may void the warranty.

Sincerely,
Scot Mahotz
General Manager
Ironwood
8/27/2023
Meeting Date: March 18, 2024

ATTACHMENT 5