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Judy Chicago - Birth Hood, 2015 Offset lithograph on 250 GSM paper
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Judy Chicago - Birth Hood, 2015
Offset lithograph on 250 GSM paper
Hand signed and titled in gold marker by Judy Chicago on the lower front; unnumbered
Published by the Tate Gallery, London
The print was published in an un-numbered, long sold out limited edition of 200 and is hand signed and titled in gold marker by Judy Chicago. It is based upon one of her most iconic and defining series of works called Birth Hoods - a set of four spray-painted Chevrolet Corvair car hoods that Judy Chicago created in 1964. The car hood is traditionally machismo and represents the challenges Chicago faced in the art world.
Examples of Judy Chicago’s original Birth Hoods, which she reprised in 2011, are in the permanent collections of major institutions including the De Young Museum, the Brooklyn Museum, the Museum of Moder Art (MoMA), Fine Arts Museums of San Francisco and many others.
This print, produced exclusively by the Tate Gallery in 2015 in a limited edition, and long sold out, is hand signed by the artist, on the occasion of its Judy Chicago exhibition.
It has been ingeniously framed in a hand made bespoke museum quality custom frame of lacquered, high gloss white paint - to mimic the automotive lacquer of the car hoods that Chicago used in the original Birth Hood works this print is based upon.
Measurements:
Framed:
27 inches (vertical) by 27 inches (horizontal) by 3 inches
Artwork:
19.25 inches (vertical) by 19.25 inches (horizontal)
Preceding her Minimalist work, "Birth Hood" contain the seeds of all the formal, conceptual and iconographic strategies that have informed Chicago’s feminist methodology to this day: the embrace of what she calls ‘fringe’ techniques and subjects unacceptable to the reigning art historical canon (here combining spray painting with biomorphic imagery laced with sexual innuendo), the material fusion of figure and ground and her distinctive rainbow palette. In order to make them, Chicago apprenticed at an autobody workshop as the only woman among 250 men, one of many ‘firsts’ that would come to define her career as the pioneering artist who paved the way for feminist art and arts education.
The original Birth Hoods were first created in 1965, around the time Chicago attended auto-body school. While in training there, she purchased new artist materials in the form of car hoods, and learned skills and techniques that would be used throughout her career. “I was always interested in fringe techniques,” she explains.
Car art and perfectly polished finishes soon became staples of the male-dominated California art scene, but Chicago was among the first to use these techniques. Birth Hood was one of four such works she created at the time. The hood used was from a 1962 Chevy II. When asked “Why car hoods?” she responded, “I was in auto-body school and couldn’t relate to cars or car culture in any way, but I liked the shapes of the hoods.”
Chicago prepared, primed, and painted the hoods to create wall-mounted objects that were part painting, part sculpture. She mastered taping and sanding automotive finishes to achieve clean lines and curves in the complex design of Birth Hood. Yet, even on the work’s immaculate finish, the artist’s hand is perceptible. Looking closely, one can enjoy small gestures and color relationships, as well as evidence of the artist’s methods — taping, painting, finishing, and polishing.
Published by the Tate Gallery, London
The print was published in an un-numbered, long sold out limited edition of 200 and is hand signed and titled in gold marker by Judy Chicago. It is based upon one of her most iconic and defining series of works called Birth Hoods - a set of four spray-painted Chevrolet Corvair car hoods that Judy Chicago created in 1964. The car hood is traditionally machismo and represents the challenges Chicago faced in the art world.
Examples of Judy Chicago’s original Birth Hoods, which she reprised in 2011, are in the permanent collections of major institutions including the De Young Museum, the Brooklyn Museum, the Museum of Moder Art (MoMA), Fine Arts Museums of San Francisco and many others.
This print, produced exclusively by the Tate Gallery in 2015 in a limited edition, and long sold out, is hand signed by the artist, on the occasion of its Judy Chicago exhibition.
It has been ingeniously framed in a hand made bespoke museum quality custom frame of lacquered, high gloss white paint - to mimic the automotive lacquer of the car hoods that Chicago used in the original Birth Hood works this print is based upon.
Measurements:
Framed:
27 inches (vertical) by 27 inches (horizontal) by 3 inches
Artwork:
19.25 inches (vertical) by 19.25 inches (horizontal)
Preceding her Minimalist work, "Birth Hood" contain the seeds of all the formal, conceptual and iconographic strategies that have informed Chicago’s feminist methodology to this day: the embrace of what she calls ‘fringe’ techniques and subjects unacceptable to the reigning art historical canon (here combining spray painting with biomorphic imagery laced with sexual innuendo), the material fusion of figure and ground and her distinctive rainbow palette. In order to make them, Chicago apprenticed at an autobody workshop as the only woman among 250 men, one of many ‘firsts’ that would come to define her career as the pioneering artist who paved the way for feminist art and arts education.
The original Birth Hoods were first created in 1965, around the time Chicago attended auto-body school. While in training there, she purchased new artist materials in the form of car hoods, and learned skills and techniques that would be used throughout her career. “I was always interested in fringe techniques,” she explains.
Car art and perfectly polished finishes soon became staples of the male-dominated California art scene, but Chicago was among the first to use these techniques. Birth Hood was one of four such works she created at the time. The hood used was from a 1962 Chevy II. When asked “Why car hoods?” she responded, “I was in auto-body school and couldn’t relate to cars or car culture in any way, but I liked the shapes of the hoods.”
Chicago prepared, primed, and painted the hoods to create wall-mounted objects that were part painting, part sculpture. She mastered taping and sanding automotive finishes to achieve clean lines and curves in the complex design of Birth Hood. Yet, even on the work’s immaculate finish, the artist’s hand is perceptible. Looking closely, one can enjoy small gestures and color relationships, as well as evidence of the artist’s methods — taping, painting, finishing, and polishing.
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Only 1 left in stock
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Only 1 left in stock
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SOLD
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Only 1 left in stock
