The Women's Review of Books, April 1st, 1994
WE ALL KNOW BY NOW that Judy Chicago is undaunted by big subjects and big undertakings. Save for her gender, it's always been easy to imagine her as a Renaissance master, supervising fresco decorations in churches and palaces. Her touring Dinner Party (1974-1978), after all, was a monumental installation that grandly encompassed all of women's history. In the eighties came The Birth Project, a needlework series that proposed analogies between giving birth and other acts of creation, followed by Powerplay, another multimedia series in which the artist addressed masculinity and its misuses of ...
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