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• Lot n° 113 Judy Chicago (b. 1939) "Double Clear Handout / Handsoff" from the "Hands" series, 2006 Etching and glass paint on two multi-stage carved glass panels, plus acrylic base With the incised signature and date along the right outer edge of the front panel: Judy Chicago; with the incised title along the front of the acrylic base; the multi-stage glass carving by Ruth and Norm Dobbins, Dobbins Studio, Santa Fe, NM Each glass panel: 18" H x 24" W x 0.5" D; Overall with acrylic base: 21" H x 30" W x 12" D Provenance: LewAllen Contemporary, Santa Fe, NM Exhibited: Santa Fe, NM, LewAllen Contemporary, "Judy Chicago: Chicago in Glass," November 3 - December 31, 2006 Waterloo, Ontario, Canada, Canadian Clay & Glass Gallery, "Judy Chicago: Chicago in Glass," September 9 - November 11, 2007 Literature: David Revere McFadden, Introduction, "Judy Chicago: Chicago in Glass" (Santa Fe: LewAllen Contemporary, 2006), p. 17, illustrated Wesley Pulkka, "Judy Chicago puts her hand out for all to see," "The Albuquerque Journal," Sunday edition, November 19, 2006, p. F5 Other Notes: This lot is sold together with a copy of the abovementioned exhibition catalogue, inscribed and signed in ink on the title page: "To Betsy & Richard / With great admiration, / Judy Chicago." It also includes the gallery's information sheet about the artist, and a copy of the exhibition review also mentioned above. Judy Chicago is a pioneering artist whose work has significantly shaped the feminist art movement. Born in 1939 in Chicago, Illinois, she became a central figure in challenging the male-dominated art world and advocating for the visibility of women in art. Her career spans decades of groundbreaking work that emphasizes gender, identity, and history, making her one of the most influential artists of the 20th and 21st centuries. Chicago's artistic journey is deeply intertwined with her feminist ideals. In the 1970s, she and Miriam Schapiro co-founded the Feminist Art Program at California Institute of the Arts, aiming to support and empower women artists. Her best-known work, "The Dinner Party" (1974-1979), is a monumental installation that celebrates women throughout history. Featuring 39 place settings for important women, it reclaims female history and gives women a figurative 'seat at the table' of cultural narratives. Beyond "The Dinner Party," Chicago continued to explore themes of gender and identity through other works, such as the "Birth Project," which highlighted the female experience of childbirth. Her use of textiles and ceramics, traditionally associated with 'women’s crafts,' challenged ideas of high art and further redefined the boundaries of artistic expression. Chicago became interested in the glass medium as part of collaborative works made for the "Holocaust Project: From Darkness Into Light." She began working with glass artisans in glass etching and casting, and, in 2003, was an Artist in Residence at the Dale Chihuly-founded Pilchuck Glass School near Seattle. In the "Hands" series, cast glass, fused glass, etching, kiln fired painting and other glass mediums are utilized to create artistic and expressive gestural views of hands and lower arms in anatomically accurate and detailed depictions of flesh and bone structure. Chicago's advocacy for feminist art and her innovative approach to representation have left a lasting legacy. Her work has not only elevated the representation of women in art but also continues to inspire generations of artists to use art as a tool for social change.