The Dinner Party

The Dinner Party is a massive installation artwork by American feminist artist Judy Chicago. It serves as a monumental tribute to women throughout history. Chicago created the work to end the cycle of omission in historical records. She believed women should be seen as primary symbol-makers. The installation uses various crafts to reclaim space in the art world.

The centerpiece is an equilateral triangle measuring 48 feet on each side. This shape was chosen to represent the concept of equality. The table features 39 elaborate place settings arranged in three groups of 13. Each setting includes a hand-painted china plate and ceramic cutlery. There is also a chalice and a napkin with a gold embroidered edge. Each place setting rests on a runner made with intricate needlework. These runners use techniques like weaving, sewing, and embroidery.

The plates themselves are highly detailed and symbolic. Most plates feature a brightly colored, sculpted form. These forms resemble butterflies or flowers but represent a vulva. The plates change shape as they move through history. The earliest plates are relatively flat. As the chronology progresses, the plates emerge in higher relief. This physical change symbolizes the increasing independence and equality of modern women. Some plates, like those for Sojourner Truth and Ethel Smyth, do not feature these forms.

The 39 guests are divided into three distinct wings. Wing I honors women from Prehistory to the Roman Empire. This section includes figures such as Kali, Sappho, and Hypatia. Wing II covers the period from the beginnings of Christianity to the Reformation. Notable guests in this wing include Elizabeth I and Artemisia Gentileschi. Wing III spans from the American Revolution to the era of feminism. This wing includes famous names like Sacajawea, Susan B. Anthony, and Georgia O'Keeffe.

Production of the work was a massive collaborative effort. Chicago worked alone for the first three years of the project. Between 1974 and 1979, the project expanded into a large-scale collaboration. Over 400 people contributed to the work, most of whom were volunteers. About 125 people were considered long-term members of the project. This team included researchers, ceramicists, and needle-workers. The total cost to complete the installation was $250,000.

The table sits upon a base called The Heritage Floor. This floor consists of more than 2,000 white luster-glazed triangular tiles. Each tile is inscribed in gold Palmer cursive script. The floor lists the names of 998 women and one man. The man, Kresilas, was included by mistake. He was thought to be a woman named Cresilla. The women were chosen because they made worthwhile contributions to society. They may have improved the lives of other women or served as role models.

The installation has faced significant criticism and praise. Some critics called the work "high art" because of its intent. Others, like Hilton Kramer, argued the work was "crass" or "bad art." Some critics felt the work was too focused on its political cause. Others disagreed with the specific symbols used for certain women. Despite this, the work has reached a massive audience. It toured to 16 venues in six countries on three continents. It has been viewed by an estimated 15 million people.

Today, The Dinner Party is a permanent exhibit. It is housed in the Elizabeth A. Sackler Center for Feminist Art. This center is located within the Brooklyn Museum in New York. The work remains a vital connection to the history of feminist art. It bridges the gap between traditional domestic crafts and fine art. By using china painting and needlework, Chicago challenged existing hierarchies of value. The installation continues to provoke thought about how history is recorded and remembered.