Technology, Engineering, and Feminism: The Hidden Depths of Judy Chicago's Minimal Art
In 1968 a woman artist from New York and a director from a local Los Angeles art museum visited Judy Chicago's studio in Pasadena. At the time, Chicago was working on a series of dome-shaped sculptures, each consisting of three hemispheres arranged symmetrically on a square surface. In Iridesce...
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| Published in: | Art journal (New York. 1960) 2021-01, Vol.80 (1), p.106-123 |
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| Main Author: | |
| Format: | Article |
| Language: | eng |
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| Online Access: | Get full text |
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| Summary: | In 1968 a woman artist from New York and a director from a local Los Angeles art museum visited Judy Chicago's studio in Pasadena. At the time, Chicago was working on a series of dome-shaped sculptures, each consisting of three hemispheres arranged symmetrically on a square surface. In Iridescent Domes #2 (small), for example, three silvery-white hemispheres sit on a golden ground. Made of translucent acrylic, the domes absorb and reflect the surrounding light, creating an evanescent play of colors just underneath the surface. In Bronze Domes, another work from the series, the three hemispheres--placed on a dark plexiglass table--shimmer in a golden-yellow hue. The individual domes in this work each consist of two layers, with a smaller hemisphere nestled inside a larger one. Chicago spray-painted the inner hemisphere with a bronze lacquer and left the outer one translucent, so that the color from within radiates through to the outside. |
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| ISSN: | 0004-3249 2325-5307 |