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

Notes

291 Notes introduction 1. Susan Hill, interview with author, July 2011. 2. See Gail Levin, Becoming Judy Chicago: A Biography of the Artist (New York: Harmony Books, 2007); Laura Meyer, “A Studio of Their Own: The Legacy of the Fresno Feminist Experiment,” in Laura Meyer, ed., with essays by Laura Meyer and Faith Wilding , A Studio of Their Own: The Legacy of the Fresno Feminist Experiment, (Fresno: Press at the California State University, Fresno, 2009); Edward Lucie-Smith, Judy Chicago: An American Vision (New York: Watson-Guptill Publications, 2000). 3. Judy Chicago, Through the Flower: My Struggle as a Woman Artist (New York: Penguin, 1975), 55. 4. Lisa Gail Collins and Margo Natalie Crawford, eds., New Thoughts on the Black Arts Movement (New Brunswick, N.J.: Rutgers University, 2006); Scott Kurashige, The Shifting Grounds of Race: Black and Japanese Americans in the Making of Multicultural Los Angeles (Princeton, N.J.: Princeton University Press, 2010); Laura Pulido, Black, Brown, Yellow, and Left: Radical Activism in Los Angeles (Berkeley: University of California Press, 2006). 5. This compressed biography is based on Levin, Becoming Judy Chicago, and Judy Chicago, Through the Flower. 6. Michael Kammen, Visual Shock: A History of Art Controversies in American Culture (New York: Vintage Press, 2006), 181. 7. Ibid., 183. 8. Susan Sontag, “Against Interpretation,” in Against Interpretation and Other Essays (New York: Basic Books, 1966), 268; Lucy Lippard, A Different War: Vietnam in Art (Bellingham, Wash.: Whatcom Museum of History and Art, and Seattle, Wash.: Real Comet Press, 1990). 9. Levin, Becoming Judy Chicago, 117. 10. Michael Kammen, Visual Shock: A History of Art Controversies in American Culture (New York: Vintage Press, 2006), 181. 11. Kellie Jones, “Black West, Thoughts on Art in Los Angeles,” in Lisa Gail Collins and Margo Natalie Crawford, eds., New Thoughts on the Black Arts Movement (New Brunswick, N.J.: Rutgers University, 2006), 43–74. 12. Vivien Green Fryd, “Suzanne Lacy’s Three Weeks in May: Feminist Activist Per- 292 notes to introduction formance Art as “Expanded Public Pedagogy,” NWSA Journal 19, no. 1 (spring 2007): 23–38. 13. Gallery 32 and Its Circle, organized by Carolyn Peter, director and curator of the Laband Art Gallery, and Damon Willick, assistant professor of modern and contemporary art history, Loyola Marymount University, 2008. 14. “A Date with Judy: Dialogue with Judy Chicago, Suzanne Lacy and Faith Wilding ,” unpublished article for Images and Issues, 1980—letter dated December 26, 1980, 6. 15. Ibid., 4. 16. Lisa Gail Collins, “The Art of Transformation: Parallels in the Black Arts and Feminist Art Movements,” in Lisa Gail Collins and Margo Natalie Crawford, eds., New Thoughts on the Black Arts Movement (New Brunswick, N.J.: Rutgers University, 2006), 273–96. 17. My approach to the consumer market is informed by Elizabeth Chin, Purchasing Power: Black Kids and American Consumer Culture (Minneapolis: University of Minnesota Press, 2001); Thomas Frank, The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism (Chicago: University of Chicago Press, 1997); Marilyn Halter, Shopping for Identity: The Marketing of Ethnicity (New York: Schocken Books 2000); John Seabrook, Nobrow: The Culture of Marketing, the Marketing of Culture (New York: Vintage Press, 2000). 18. Feminist engagement with popular culture is extensive. Here are a few that have informed my approach: Kim Akass and Janet McCabe, eds., Reading “The L Word” (London : I. B. Tauris, 2006); Alice Echols, Hot Stuff: Disco and the Remaking of American Culture (New York: Norton, 2010); Barbara Ehrenreich, Elizabeth Hess, Gloria Jacobs, Remaking Love: The Feminization of Sex (Garden City, N.J.: Anchor Press, 1987); Sarah Gamble, ed., Feminism and Postfeminism (New York: Routledge, 1998); Laura Grindstaff, The Money Shot: Trash, Class and the Making of TV Talk Shows (Chicago: University of Chicago Press, 2002); Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies (Chicago: University of Chicago Press, 3rd ed., 1987); Astrid Henry, Not My Mother’s Sister: Generational Conflict and Third-Wave Feminism (Bloomington: Indiana University Press, 2004); Mandy Merck, Naomi Segal, Elizabeth Wright, Coming Out of Feminism? (London: Blackwell Press 1998); Susan Jeffords, The Remasculinization of America: Gender and the Vietnam War (Bloomington: Indiana University, 1989); Merri Lisa Johnson, ed., Third Wave Feminism and Television: Jane Puts It in a Box (London : I. B. Tauris, 2007); Tania Modleski, Feminism without Women: Culture and Criticism in a “Postfeminist” Age (New York: Routledge, 1991); Janice Radway, A Feeling for Books: The Book of the Month Club, Literary Taste, and Middle-Class Desire (Chapel Hill, N.C.: Duke...