Judy Chicago’s art installation The Dinner Party celebrates historical women and theirachievements, and is considered one of the first epic feminist art pieces. Although The Dinner Party’s huge popularity, Judy Chicago received a lot of criticism regarding her feministagenda and her choices about which women are included in The Dinner Party and how theyare portrayed. The aim of this essay is to explore how The Dinner Party was received in thesecond wave of feminism that it was produced during, what it has meant for the feministmovement and for feminist art through a historical background, contextualize and nuance thecriticism, while also analyzing whether The Dinner Party would still be considered asfeminist art in today’s modern society. The essay is also focused on the symbolism in the artinstallation, the ceramics and the crafts, with help from Roland Barthes method for semioticimage analysis.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:uu-515417 |
| Date | January 2023 |
| Creators | Kajan, Josefine |
| Publisher | Uppsala universitet, Konstvetenskapliga institutionen |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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