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THROUGH THE FLOWER: My Struggle as A Woman Artist
Through the Flower was my first book (I’ve since published nine others). I was inspired to write it by the writer and diarist, Anais Nin, who was a mentor to me in the early seventies. My hope was that it would aid young women artists in their development and that reading about my struggles might help them avoid some of the pitfalls that were so painful to me. I also hoped to spare them the anguish of “reinventing the wheel”, which my studies in women’s history had taught me was done again and again by women, specifically because we have not had access to our foremothers’ experience and achievements—one consequence of the fact that we still learn both history and art history from a male-centered bias with insufficient inclusion of women’s achievements. I must admit that when I re-read Through the Flower , I winced at some of the unabashed honesty; at the same time, I am glad that my youthful self had the courage to speak so directly about my life and work. I doubt that I could recapture the candor that allowed this book to reflect such unabashed confidence that the world would accept revelations so lacking in self-consciousness. And yet, it is precisely this lack that helps give the book its flavor, the flavor of the seventies, when so many of us believed that we could change the world for the better, a goal that has been—as one of my friends put it—“mugged by reality”. And yet, better an overly idealistic hope that the world could be reshaped for the better than a cynical acceptance of the status quo. At least we tried—and I’m still trying. Perhaps I’m just too old now to change. Judy Chicago 2005
276 pages, Paperback
First published January 1, 1984
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Displaying 1 - 30 of 39 reviews
November 29, 2015
This is Judy Chicago of The Dinner Party fame. This is a memoir of being a female artist in the 1970s and of the feminist movement.
Although there is still progress to be made (especially in the art world), this memoir is a reminder of where women were in the 70s, despite 200 years of feminism. The memoir is dated but moving. I love reading books by artists, especially women, about how they make their art. And I lpved Chicago's detailed accounts of how she struggled to find her place in the world, as an artist, as a woman and as a woman artist. I loved her feeling of responsibility to other women, her perception of herself not just as an individual but also as a social being, someone connected to others both in giving and receiving, and how she worked to find a balance between her personal art and her activism.
The 1970s seem a long time ago but I was there and this book was a powerful reminder of that world. I'm interested in reading the continuation of this book, Beyond the Flower: The Autobiography of a Feminist Artist and how Chicago and her art evolved in later years.
Although there is still progress to be made (especially in the art world), this memoir is a reminder of where women were in the 70s, despite 200 years of feminism. The memoir is dated but moving. I love reading books by artists, especially women, about how they make their art. And I lpved Chicago's detailed accounts of how she struggled to find her place in the world, as an artist, as a woman and as a woman artist. I loved her feeling of responsibility to other women, her perception of herself not just as an individual but also as a social being, someone connected to others both in giving and receiving, and how she worked to find a balance between her personal art and her activism.
The 1970s seem a long time ago but I was there and this book was a powerful reminder of that world. I'm interested in reading the continuation of this book, Beyond the Flower: The Autobiography of a Feminist Artist and how Chicago and her art evolved in later years.
February 9, 2014
Through the Flower jumped off the shelf into my hands while on retreat at Harbin Hot Springs. I had just finished Alice Walker's "Possessing the Secret of Joy" in one day and was searching for more voices of women on the verge.
Judy Chicago's name was familiar and I had seen a showing of her work while living in the city in the 90's so I went into her first memoir with some background knowledge. Cracking it open and finding Anais Nin's introduction was a sweet surprise to the trip into Ms. Chicago's development as a woman-artist.
I particularly appreciated the exploratory tone she expressed herself in and I guess overall it helped me to question my own process' as an artist. I would strongly recommend this book to any artist both male and female for it's history and trans-formative model of growth.
Judy Chicago's name was familiar and I had seen a showing of her work while living in the city in the 90's so I went into her first memoir with some background knowledge. Cracking it open and finding Anais Nin's introduction was a sweet surprise to the trip into Ms. Chicago's development as a woman-artist.
I particularly appreciated the exploratory tone she expressed herself in and I guess overall it helped me to question my own process' as an artist. I would strongly recommend this book to any artist both male and female for it's history and trans-formative model of growth.
March 31, 2021
Books that make you want to go the NMWA,,,,,,,,
The closest Chicago comes to noting how many of the women artists and writers that she talks about were, you know, sexually involved with women is that some of them ("such as Rosa Bonheur, Willa Cather, and Gertrude Stein") "were sustained by the companionship of one woman" which I guess but c'mon. She writes that the ""Sisters"" of Llangollen were "two spinsters" whose life style was "an alternative to marriage" which like. again not entirely inaccurate but c'mon. I don't know how much of Chicago's choice not to get into that is just the fact that Chicago couldn't relate to that part of their lives and so didn't want or feel the need to talk about it or if she consciously wanted to downplay the Lavender Menace.
The closest Chicago comes to noting how many of the women artists and writers that she talks about were, you know, sexually involved with women is that some of them ("such as Rosa Bonheur, Willa Cather, and Gertrude Stein") "were sustained by the companionship of one woman" which I guess but c'mon. She writes that the ""Sisters"" of Llangollen were "two spinsters" whose life style was "an alternative to marriage" which like. again not entirely inaccurate but c'mon. I don't know how much of Chicago's choice not to get into that is just the fact that Chicago couldn't relate to that part of their lives and so didn't want or feel the need to talk about it or if she consciously wanted to downplay the Lavender Menace.
August 25, 2008
This book was published in 1977 but it is still relevant today. It has been a pleasure reading about Judy's analysis of her development and continuation as an artist through the 60's and 70's. The challenges that she faced and still faces are those that many of us born as women may commiserate with. At this point 2nd wave feminism has been so severely criticized for all the things that it wasn't, I am finding it inspiring to remember what it was, in the beginning for those who blazed some overgrown trails.
December 11, 2012
The first feminist book I ever read, it left an impression on my life that I carry around with me all the time. "I tried to close my eyes to the fact that contempt for women is really a reflection of a distortion in the entire value system that emphasizes competition, exploitation, and the objectification of human beings, both men as well as women. But once I faced it I had to take responsibilty to try to change it." -Judy Chicago
November 20, 2009
powerful, moving and inspiring read.
August 17, 2011
the hard works that these girls did, made it easier for the girls today to do their works. every action, every movement counts.
July 25, 2009
Judy Chicago is one a famous artist you've probably never heard of, whose artist awakening and feminist awakening ran parallel during the 1960s and 1970s, as she broke through the glass gallery door.
Her autobiography probably wouldn't be palatable to people who aren't comfortable with that feminist concept "the personal is political." Like most autobiographies, Chicago writes about quasi-mundance childhood and adolescence, yet hers are examined with an explicit feminist lens. i.e. "I didn't do XYZ because I was told I couldn't because I was a girl/woman," etc.
Chicago is about the same age as my mother, a little older,and even though they seem as different as two women can be, reading a feminist analysis of what it was like to grow up female in that time period. My generation doesn't understand what bullshit past generations of women had to go through. Even though I'm a writer, not an artist, I wonder if I'd be as strong as she is, if I'd have the conviction, determination and righteous indignance.
I never saw her feminist art installation, The Dinner Party, when it came through New York City while I was in college. And now I regret it! I sincerely hope there is a chance for me to see Judy Chicago's works live.
Her autobiography probably wouldn't be palatable to people who aren't comfortable with that feminist concept "the personal is political." Like most autobiographies, Chicago writes about quasi-mundance childhood and adolescence, yet hers are examined with an explicit feminist lens. i.e. "I didn't do XYZ because I was told I couldn't because I was a girl/woman," etc.
Chicago is about the same age as my mother, a little older,and even though they seem as different as two women can be, reading a feminist analysis of what it was like to grow up female in that time period. My generation doesn't understand what bullshit past generations of women had to go through. Even though I'm a writer, not an artist, I wonder if I'd be as strong as she is, if I'd have the conviction, determination and righteous indignance.
I never saw her feminist art installation, The Dinner Party, when it came through New York City while I was in college. And now I regret it! I sincerely hope there is a chance for me to see Judy Chicago's works live.
Read
November 6, 2010I found a yellowed copy of this at a school book sale and was glad I did, because it is a wonderful time capsule (published 1975, pre-Dinner Party). I loved the parts when Judy Chicago and her students all but ransacked university libraries seeking evidence of women's contributions to art and social history; they were so energized and determined. She seemed, however, to look at any kind of art and see only content, specifically the content she wished to see, e.g., O'Keeffe's paintings and Eliot's novels are about the oppression of "female role." Uh, okay. Appendices include transcripts of her students' feminist plays, and while I know they don't translate to the page at all, they are intriguingly wild.
October 12, 2010
This is the feminism I was raised with via Ms magazine: white, educated, indignant, and while I cringe at the lack of perspective vis a vis other women, this book was still very good for me. I had considerably more spine in the few weeks since I finished this book. The later part describing Womanhouse and the difficulty in pulling women towards sincere, intellectual relationships is particularly dis/heartening; I can't tell you how often I wish a female friend were dying to talk to me about how she's going to test her hypotheses, or her take on Popper, or the upcoming mid-term elections... anything but who she is/was/will be dating. (Ok ok, I mean in addition to. yech.)
December 28, 2007
A first hand account of the atmosphere of the women's movement and feminist art is great to find, however its a bit hard for me to get Judy's explanations of the events in her life through the "the flower." Her retrospective view on past experiences is so authoritative, yet not very similar to how I understand my life and work.
February 26, 2007
i didn't really understand 1960s feminism until i read this book. judy chicago paints a picture of why it was important to express yourself as a woman and how women created a voice for themselves in the art world. awesome!
January 11, 2010
A woman's struggle to enter the male-dominated world of art. This fascinating memoir showed the artist's path from her beginnings at the Art Institute of Chicago to her worldwide fame and success as an artist.
June 20, 2007
This is Judy Chicago's autobiography as a feminist and an artist. Very interesting, especially for other artists who are women.
January 7, 2008
This the first of Chicago's two memoirs; it's an inspiring recollection of her evolution as a woman artist.
January 17, 2009
Some things here are directly related to the time period in which it was written but much more of Judy Chicago's story is current, thought-provoking and will make you want to learn more.
December 25, 2025
I picked this book up by chance from a professor's free shelf and wow. I began reading this while finishing my first solo exhibition, and had really began to examine and understand the weight of being a woman artist, and so much of the misogyny she discusses experiencing in the art world in the 70s and 80s rings just as true as today.. She puts words to the confusing and sinking feeling of being alienated just for being a strong woman and artist that cares, and even though I know she is not the emblem of perfect feminism or without issue, her words in this book made me feel recognized in a way that shocked me, as this book was published in 1982 and some of her statements and discoveries about self actualization within a patriarchal art scene still feel groundbreaking. Definitely will be revisiting when I'm having doubts in the studio and need to remember my place!
March 2, 2020
Easy read. Interesting artist. An honest autobiography, which includes many recognizable moments in a young woman's life.
March 17, 2017
This book is totally inspiring and provides so much context for feminist art in the 60's and 70's.
I'll heap praise on Judy Chicago and this book, but with this caveat: this book is a product of its times and the limitations inherent within second wave feminism. Much of the discussion about female artists, women's experiences, and critiques of patriarchal culture are framed within essentialist notions of femininity and masculinity. Judy Chicago's experience is also, obviously, that of a white heterosexual woman--and the experiences of women of color or queer women don't factor into the narrative at all. These are criticisms and weaknesses of second wave feminism, and as this book is a product of and reflection on that movement, it suffers from the same pitfalls.
With that caveat in mind, I found Judy Chicago's writing completely mesmerizing, especially when describing her personal development and experiences. I had a harder time with the last two chapters, which focus less directly on Chicago's own autobiography, but are still interesting.
The aspect of this book that impacted me the most was Chicago's descriptions of her personal relationships/marriages. Chicago described tensions and challenges that I've experienced in my own relationships, and adeptly hones in on their underpinnings. For example, she describes living separately from her husband in order to foster the best creative environments for each of them; choosing to focus on work and moving away from him during her time developing the Fresno Feminist Art Program; negotiating different work/lifestyles; and the ugly confrontations that can result from vastly different strong personalities (but also, the love that can grow out of that if both people are willing to consciously work through the ugly parts). Maybe that all seems a bit obvious, but while reading it I realized that these are the kinds of things I've struggled with in my own relationships, but for which I had precious few examples of it "working out" in practice. Reading about Chicago's experiences as a creative, highly driven and independent woman was inspiring and struck a chord for me.
I can see how a lot of the progress we enjoy today is thanks in large part to Judy Chicago and her collaborators. Even today in LA there are institutions that clearly give a nod to the Feminist Studio Workshop and Woman's Building, such as the Women's Center for Creative Work, and I think those spaces are still important for many of the same reasons as in 1973.
Overall this book brought Judy Chicago a lot "closer to home" for me. Prior to reading this, I'd learned about her in Art History class and knew about the importance of her work within the context of the feminist art movement, but this book really provides a means to understand Chicago as a whole human being, not merely a few slides in a lecture.
I'll heap praise on Judy Chicago and this book, but with this caveat: this book is a product of its times and the limitations inherent within second wave feminism. Much of the discussion about female artists, women's experiences, and critiques of patriarchal culture are framed within essentialist notions of femininity and masculinity. Judy Chicago's experience is also, obviously, that of a white heterosexual woman--and the experiences of women of color or queer women don't factor into the narrative at all. These are criticisms and weaknesses of second wave feminism, and as this book is a product of and reflection on that movement, it suffers from the same pitfalls.
With that caveat in mind, I found Judy Chicago's writing completely mesmerizing, especially when describing her personal development and experiences. I had a harder time with the last two chapters, which focus less directly on Chicago's own autobiography, but are still interesting.
The aspect of this book that impacted me the most was Chicago's descriptions of her personal relationships/marriages. Chicago described tensions and challenges that I've experienced in my own relationships, and adeptly hones in on their underpinnings. For example, she describes living separately from her husband in order to foster the best creative environments for each of them; choosing to focus on work and moving away from him during her time developing the Fresno Feminist Art Program; negotiating different work/lifestyles; and the ugly confrontations that can result from vastly different strong personalities (but also, the love that can grow out of that if both people are willing to consciously work through the ugly parts). Maybe that all seems a bit obvious, but while reading it I realized that these are the kinds of things I've struggled with in my own relationships, but for which I had precious few examples of it "working out" in practice. Reading about Chicago's experiences as a creative, highly driven and independent woman was inspiring and struck a chord for me.
I can see how a lot of the progress we enjoy today is thanks in large part to Judy Chicago and her collaborators. Even today in LA there are institutions that clearly give a nod to the Feminist Studio Workshop and Woman's Building, such as the Women's Center for Creative Work, and I think those spaces are still important for many of the same reasons as in 1973.
Overall this book brought Judy Chicago a lot "closer to home" for me. Prior to reading this, I'd learned about her in Art History class and knew about the importance of her work within the context of the feminist art movement, but this book really provides a means to understand Chicago as a whole human being, not merely a few slides in a lecture.
May 25, 2020
Born Judy Cohen, Judy Cohen has written an amazing book about her journey through art and life. She must be the hardest-working woman I've ever "met" and her ideas are enormous. I am especially impressed by the research she puts into her art concepts.
This book takes us through three major projects: The Dinner Party, Birth Project, and Holocaust Project. For each of them, she spent years researching the subjects and even more years creating the art, the exhibitions and then the tours of the exhibitions.
A great deal of the book is about the disconnect between audience reaction to her shows (generally well attended and favorable) and the reaction of the art world, especially the New York art world and critics. It is amazing to read about an artist of her magnitude facing almost constant financial stress, not only for her own living needs but for the supplies and materials needed to create her major works.
All in all, much to think about regarding power, the patriarchy, and the role of art in culture.
This book takes us through three major projects: The Dinner Party, Birth Project, and Holocaust Project. For each of them, she spent years researching the subjects and even more years creating the art, the exhibitions and then the tours of the exhibitions.
A great deal of the book is about the disconnect between audience reaction to her shows (generally well attended and favorable) and the reaction of the art world, especially the New York art world and critics. It is amazing to read about an artist of her magnitude facing almost constant financial stress, not only for her own living needs but for the supplies and materials needed to create her major works.
All in all, much to think about regarding power, the patriarchy, and the role of art in culture.
August 18, 2012
Reading Judy Chicago's early memoir was a good move. I went to art school without any question of whether or not I belonged there due to my sex. Judy observed female classmates shying away from asking questions, overshadowed by male peers, and often ending any chance of an art career once married and swamped with household duties. Judy had the luxury of growing up in a home where her intellectualism and artistry were encouraged. She felt empowered when it came to art school. I felt entitled.
Women today stand on the shoulders of the women who have gone before. Judy Chicago was one of the foremost feminist artists, and she continues her work today. It was a fortuitous read for me at a time when I am deciding how art fits into my life.
Women today stand on the shoulders of the women who have gone before. Judy Chicago was one of the foremost feminist artists, and she continues her work today. It was a fortuitous read for me at a time when I am deciding how art fits into my life.
Currently reading
June 30, 2008I like it so far. Not only is it a biography, Judy gives detailed explanations of her artwork. The images that accompany the text illustrate how one work has led to another. Clearly, there is a great importance for the process of work, not just in the finished piece. Due to this, the book flows well. This book has taught me that we go through life with one idea, yet we express it in so many different ways.
December 8, 2015
More a 3.5 than a 3 star rating. Interesting insight into the art world of the 1970s from one feminist woman artist's perspective. (It's of it's time, so there's a lot missing like intersectionality.) Some things have changed a great deal for the better, others are just the same. The focus on women as their bodies/biological function was frustrating to read since we still don't seem to have escaped those stereotypes very much, if at all.
January 10, 2018
Fantastic, Read this during my first year of art school and have used it as a reference in a couple of essays since, I didn't know too much about Judy Chicago before reading this book, but now I am an big appreciator of her work. What I found most interesting in this book was Judy's persistence in a male dominated environment, and how this went on to impact the materials she chose and eventually the creation of the work that is now some of the best feminist artwork of our time.
June 23, 2008
Picked this up, along with tons of other secondhand books, at the Brandeis book fair at Old Orchard last weekend. I remember studying her at university. This book is very of its time - early 70s, with MEN as the cause of all EVIL.
The Menstruation Bathroom installation piece is a 'classic of the vaginal art genre'. No really.
The Menstruation Bathroom installation piece is a 'classic of the vaginal art genre'. No really.
May 19, 2009
I recognize the goodness of this feminist hagada, but - like reading "Catcher in the Rye" after years of reading the teen lit it made possible - I feel sort of indifferent about it beyond a profound gratitude that I was born a generation later.
April 5, 2017
Saw her work at the Glenbow a million years ago, bought the book to enlighten myself. Enjoyable and yet challenging on many levels.
April 29, 2016
I registered a book at BookCrossing.com!
http://www.BookCrossing.com/journal/13893444
http://www.BookCrossing.com/journal/13893444
September 16, 2016
This earlier autobiographical account of Judy Chicago's work has more details about her critical time in Fresno and LA.
October 5, 2021
What an exciting time to be alive, and frustrating and infuriating. Published in 1977 this book is a story of her life and development as an artist. Also the women's art programs that she developed before and during the feminist movement of the 1970's. I was in high school and beginning college when this book was written. I didn't realize the changes that were happening, i thought they had already happened and was always shocked and indignant when i bumped up against sexism and harassment. I was so naive.
thank you Judy for being honest, for always pushing forward and for helping other women along the way. I'm late to your party, but i have been living the life.
thank you Judy for being honest, for always pushing forward and for helping other women along the way. I'm late to your party, but i have been living the life.
Displaying 1 - 30 of 39 reviews