Language of Materials
Conditions Governing Use
Copying. Audiotapes may be copied in accordance with the library's usual procedures.
Subseries A, Interviews and lectures1976-1999 (#1-12), contains audiotapes about the background and history of the exhibit.
Subseries B, Conference, March 17, 1979 (#13-34), sessions include scholars speaking about historical figures included in the exhibit. 22 reel-to-reel tapes.
Subseries C, After The Dinner Party, 1979-1980 (#35-61), follow-up to the exhibit and series of discussions with a group of unidentified women in Houston, Texas, regarding their reactions to the exhibit, the effect it had on their lives, and their burgeoning feminism. For related video material, see Vt-122, #2-9.
Series II, THE BIRTH PROJECT, 1980-1985 (#62-151), is arranged in three subseries:
Subseries A, Research and public presentations, 1980-1985 (#62-76), contains audiotapes focusing on the collaborative nature of the project, including interviews with participants, namely for research purposes, about their birth experiences.
Subseries B, Interviews with participants, 1981-1984 (#77-121), contains informal discussions and interviews. Most interviews were conducted by Judy Chicago and ask the participants about their interest in the project, their personal backgrounds and life choices, and their feelings about feminism and being part of a feminist art project. Some interviews contain critiques of the participant's work and some have been partially transcribed to be used as excerpts in the exhibits, see The Birth Project exhibition files, MC 502, #59.1-67.30.
Subseries C, Reviews of works in progress, 1981-1983 (#122-151), Judy Chicago and others critique the work of collaborators, either at their work site or remotely. Some reviews include interviews with participants.
Series III, HOLOCAUST PROJECT, 1986-1996 (#152-168), contains Judy Chicago's early research for the project, and lectures and interviews with Chicago while exhibit was on view in various locations. Of particular interest in this series are the interviews conducted by Chicago with her mother and aunt, largely about their Jewish heritage.
Series IV, INTERVIEWS AND LECTURES, 1968-2001 (#169-197), contains interviews with, and lectures by or about, Judy Chicago, and her place in the feminist art movement.
After receiving her B.A. (1962) and M.F.A. (1964) from the University of California, Los Angeles, Chicago received recognition for her minimalist sculpture through an exhibition at the Los Angeles County Museum of Art (1967) and a one-woman show at California State University at Fullerton (1970).
Increasingly sensitive to the need for an environment in which women artists could express themselves freely without regard to an art world dominated by males, Chicago pioneered feminist art education programs through her experience as assistant and founder of the Women's Art Program California State University at Fresno (1969-1971) and as instructor and co-founder of the Feminist Studio Workshop at the California Institute of the Arts (1971-1973). Her experience with the Feminist Art Program culminated in Womanhouse (1971), an installation she directed with the artist Miriam Shapiro. In 1973, Chicago organized the Feminist Studio Workshop, the first independent feminist art program in the country.
Chicago is best known for The Dinner Party (1974-1979), a multi-media installation honoring the achievements of women in Western civilization. Created with the participation of hundreds of volunteers, The Dinner Party was viewed by approximately one million people in exhibitions in the U.S. and abroad between 1979 and 1988. In 1978, Chicago established a non-profit organization, Through the Flower to support the completion of The Dinner Party. Through the Flower continues to this day as an "arts organization whose mission is to create a cultural legacy built upon the vision embodied in the work of Judy Chicago through education, exhibition and preservation" (www.judychicago.com). Since 2002, The Dinner Party has been permanently housed at the Brooklyn Museum of Art in New York.
Committed to using art as a vehicle for intellectual and social change, Chicago created The Birth Project (1980-1985), a series of birth and creation images for needlework executed by skilled stitchers around the country, and the Holocaust Project (1984-1993) in collaboration with her husband, photographer Donald Woodman. A frequent lecturer, she is the author of Through the Flower: My Struggle as a Woman Artist (1975), Beyond the Flower: The Autobiography of a Feminist Artist (1996), and a number of books on her work.
- Series I. THE DINNER PARTY AND RESPONSES TO THE WORK, 1976-1999 (#1-61)
- Series II. THE BIRTH PROJECT, 1980-1985 (#62-151)
- Series III. HOLOCAUST PROJECT, 1986-1996 (#152-168)
- Series IV. INTERVIEWS AND LECTURES, 1968-2001 (#169-197)
Immediate Source of Acquisition
These audiotapes were included with the papers of Judy Chicago (MC 502) and (MC 909) that were given to the Schlesinger Library between 1996 and 2018 by Judy Chicago.
By: Joanne Donovan
Updated: September 2019
By: Joanne Donovan
- Art exhibitions
- Art, Modern--20th century
- Artists--United States
- Childbirth in art
- China painting
- Feminism in art--United States
- Group work in art--United States
- Holocaust, Jewish (1939-1945), in art
- Jewish women--United States
- Needlework--United States
- Sex discrimination against women--United States
- Women artists--United States
- Women in art
- Chicago, Judy, 1939-. Audiotape collection of Judy Chicago, 1968-2001: A Finding Aid
- Arthur and Elizabeth Schlesinger Library on the History of Women in America
- EAD ID
Part of the Schlesinger Library, Radcliffe Institute Repository
The preeminent research library on the history of women in the United States, the Schlesinger Library documents women's lives from the past and present for the future.
3 James St.
Cambridge MA 02138 USA