Hans Haacke’s ‘Information’ was to be held at the Museum of Modern Art in New York, according to which the visitors would be asked to vote on a current socio-political issue. He asked viewers, would the fact that Governor Rockefeller has not denounced President Nixon's Indochina Policy be a reason for your not voting for him in November? Then they were tasked to deposit their answers in the appropriate one of two transparent Plexiglas ballot boxes. This was to allow transparency, so that viewers can see the public’s opinion, whereas true polls are blind to the public and could be easily manipulated. At the end of the exhibition, there were twice as many who voted yes. Haacke's question commented directly on the involvements of a major donor and board member at MOMA, Nelson Rockefeller. This installation is an early example of what would be known as institutional critique.
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Sackler Center for Feminist Art, Brooklyn Museum, New York
Feminist Art Movement
Judy Chicago’s ‘The Dinner Party’ comprises of a massive ceremonial banquet, arranged on a triangular table with a total of thirty-nine place settings, each commemorating an important woman from history. The settings consist of embroidered runners, gold chalices and utensils, and china-painted porcelain plates with raised central motifs that are based on vulvar and butterfly forms and rendered in styles appropriate to the individual women being honored. The names of another 999 women are inscribed in gold on the white tile floor below the triangular table. This permanent installation is enhanced by the rotating Herstory Gallery exhibitions relating to the 1,038 women honored at the table. The Dinner Party, an important icon of 1970s Feminist
6) …show more content…
Sackler Center for Feminist Art, Brooklyn Museum, New York
Feminist Art Movement
Judy Chicago’s ‘The Dinner Party’ comprises of a massive ceremonial banquet, arranged on a triangular table with a total of thirty-nine place settings, each commemorating an important woman from history. The settings consist of embroidered runners, gold chalices and utensils, and china-painted porcelain plates with raised central motifs that are based on vulvar and butterfly forms and rendered in styles appropriate to the individual women being honored. The names of another 999 women are inscribed in gold on the white tile floor below the triangular table. This permanent installation is enhanced by the rotating Herstory Gallery exhibitions relating to the 1,038 women honored at the table. The Dinner Party, an important icon of 1970s Feminist