Santa Fe

Judy Chicago

LewAllen Galleries

At the very beginning of her career, Judy Chicago married Minimalism’s repetition compulsion with an illusionistic approach to material and color. Considering her onenote reputation based on her feminist landmark, The Dinner Party, 1974–79, this exhibit, which assembled about sixty-one of Chicago’s earlier paintings, drawings, and sculptures, presented viewers with a girls-too revue of Minimalism and a more comprehensive look at an artist most often seen as the high priestess of feminist kitsch.

The inclusion of twenty-five works on paper revealed the scope of Chicago’s formal experimentation. Using Prismacolor or sprayed acrylic, she formed domes, doughnuts, and lattices in grids or alone on the page. Chicago extended her concern with two-dimensional surface into three-dimensional space when she translated the drawn domes into hemispheres upended on mirrored glass tables. The metallic

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