Morgan Donahue

  Judy Chicago is a highly influential feminist artist. However, her work does not encompass feminism for everyone. Even in recent years, Judy excludes trans women from discussion, and dismisses the voices of Black women. her early work was rooted in minimalism, often combining sculpture and painting. She explored color, patterns, and transformation, looking to "test the limits" of each of these things.     ID: Trinity (1965), Rainbow Pickett (1965) Trinity (1965), Rainbow Pickett (1965). Minimal, brightly colored sculptures.    However, after 1972 Chicago was best known for her feminist artwork. Womanhouse (1972) and Dinner Party (1974-1979) are perhaps Chicago's best-known works. Both projects tackle gender roles, promote feminism, and seek to empower women.     The Dinner Party (Sojourner Truth place setting & Emily Dickinson place settings), 1974–79. Mixed media: ceramic, porcelain, textile.   However, is Chicago's feminism for everyone? Many would argue n

 Puppy raising for service dog program is one thing. It is an entirely separate thing to be sick and in need of help, and to raise a dog knowing that one day your quality of life will hinge on four furry paws and a cold, wet snout. Every choice you make has lasting ramifications in your life. A six month old black labrador puppy stares up at the camera with warm eyes. Meet Dizzy, my second go at this. We will collaborate to make this installation! I plan to arrange a large piece of roll paper on the floor/ground. On top of this, I will place a layer of snow. Then I will bring Dizzy into the space. I will track her through paint, then have a training session with her on top of the snow. Then, I will let the snow melt, which will hopefully do interesting things to the paper in terms of color and texture.  I wanted to do this installation in the room with the studio lighting, so that I could film it. I feel reasonably assured that I can keep Dizzy's paint feet from making a mess, but

  I had no idea what this group project would like like, how we would work together, or what would happen. At first, the uncertainty was intimidating. Then, it was freeing. The first thing I did was nail plastic shopping bags to the wall with Rita, and stick flowers into them. Having taken a first step, the rest of the process came quite easily.  I especially loved interacting with and adding to things that other people had made. For example, Charlie had begun bending small, decorative metal strips. Several of us also bend them. then, Rita nailed them to the wall and I stuck plant fronds through them. In this way, several bits of the installation started as one person creating something and others of us adding to the chaos. Speaking of chaos, I believe that is how the front of the room operated. It was collaborative, sure, but chaos all the same. Things were mostly done on feeling, and for the sake of hilarity, which seems in-line with the many of the installation greats of old. I spen