I have had the pleasure of seeing numerous iconic artworks in person. I rarely get “startstruck” by the big names anymore. That’s why it was such a wonderful treat to see The Dinner Party at the Brooklyn Museum recently.
I remember when I first learned about The Dinner Party in my high school AP Art History course. (How cool is it that my school offered Art History?) The piece was my first exposure to both feminist art and installation art, the two main areas that would eventually inform my graduate research. Because these two fields played such a large role in my education, The Dinner Party showed up repeatedly in my coursework. Viewing it at the Brooklyn Museum was a big deal for me and the piece did not disappoint.
The Dinner Party is a massive multimedia installation created by Judy Chicago in the late 1970s. It took 6 years and hundreds of collaborators to bring Chicago’s vision to life. The piece is a triangular banquet table with 39 place settings, each designed for an important woman from history. Each place has an embroidered table runner and ceramic plate decorated with imagery specific to the woman that they commemorate. The table sits on a white tiled floor with the names of 999 additional women inscribed in gold. The piece celebrates 1,038 individuals in total. This expansive survey of women’s history is so significant because it was created during a time when women were still largely marginalized from the historical narrative.
The Brooklyn Museum’s display begins with a series of 6 Entry Banners that introduce the color palette and symbols of the ceremonial banquet. The banners bear quotes that convey Chicago’s vision of equality.
When you enter the banquet “hall,” you find yourself at the place reserved for the Primordial Goddess, the oldest of Chicago’s guests of honor. The guests are arranged chronologically, allowing visitors to move forward through history as they circumnavigate the table.
The open triangle shape of the table is a symbol of equality and femininity. Chicago celebrates the feminine even further through the vaginal shapes echoed in the ceramic place settings and the use of traditionally female arts such as sewing, needlework, and weaving. By elevating these domestic arts to the realm of high art, Chicago validates the artistic accomplishments of women throughout history.
There is a series of Heritage Panels placed outside the installation. The panels outline the 999 women whose names are written on the tiled floor. The names are organized by the place setting they correspond to.
Like most installation art, The Dinner Party is one of those works that needs to be viewed in person. Seeing images of the table and the individual place settings did not compare to being in the space. The Brooklyn Museum has created a really special context for the piece. The room hums with an energy that can’t be sensed through photographs.
The Dinner Party is on permanent display at the Elizabeth A. Sackler Center for Feminist Art on the fourth floor of the Brooklyn Museum. Some of Judy Chicago’s other works are currently on exhibition at the Museum of Art and Design and the Hebrew Union College Museum.