Just in time for the holidays - a gift for yourself or others and an opportunity to support your favorite Feminist art organization

The latest literary achievement by Judy Chicago, author of twelve books, offers a new and much needed contribution to the study of Frida Kahlo's art. Judy Chicago and Frances Borzello, noted art historian, offer an unusual perspective on Kahlo's work by discussing it in the context of women's art and history. The book is divided into nine commentaries, with alternating text by both Chicago and Borzello; each chapter addresses a different aspect of Kahlo's work, including her self portraiture, her still life paintings, and her relationship with Diego Rivera, This 272 page hard copy art book is lavishly illustrated with 160 plates, including 120 in color. Priced at $65.00 plus shipping and personalized by Judy Chicago, all proceeds will benefit Through the Flower.

Order online at www.throughtheflower.org/store , call Through the Flower at 505-864-4080, or email info@throughtheflower.org

 I'm a great believer in that old saw; a picture is worth a thousand words. Hence the inclusion of so many photographs,which are intended to give a sense of my whirlwind activities during the last six months. In July, The Toby Heads exhibition (my most recent series in glass) premiered at the LewAllen Railyard Gallery in Santa Fe. Laura Addison, curator at the NM Museum of Art, wrote in the gallery brochure: "The Toby Heads series includes portrait busts of a single model who came to embody...a meditation upon vulnerability, mortality and the power of the human spirit. Though the castings replicate the particular physiognomy of the sitter, Toby Shor, she came to represent a universal humanity".

Judy Chicago, The Toby Heads, LewAllen Railyard Gallery, Santa Fe, NM Installation view, Setting the Table, Preparing Judy Chicago's Dinner Party, Evansville Museum of Art, Evansville, IN

In early September, Setting the Table: Preparing Judy Chicago's Dinner Party opened at the Evansville Museum in Indiana. This is a traveling exhibition organized by ACA, my New York gallery, and subsequent venues are listed in "Get Out Your Calendar". Included in the show are three test plates owned by the Art Divas, Inc., a group of women from Calgary, Canada, who have incorporated with the purpose of acquiring and placing works of art by women in major museums. They were last seen in our previous newsletter riding the New York subway after my private tour of The Dinner Party. (During that memorable trip, they regaled fellow passengers with song.)

A week after we got home from Evansville, we left for Montreal where, on September 22^nd, a large glass show opened at Le Musee des maitres et artisans, a museum in a former church. The highlight of that trip was seeing Rainbow Shabbat (my large, stained glass installation recasting the Friday night Jewish Sabbath dinner as an image of global sharing) placed directly under a traditional Christian stained glass window. On a more personal note, we celebrated Donald's 65^th birthday at a private dinner in one of Montreal's finest restaurants.

Installation view, Judy Chicago in Glass, Musee des maitres et artisans, Montreal, Canada

On Sunday, October 3^rd, art historian (and my collaborator) Frances Borzello and I did a public dialogue at the Brooklyn Museum as part of the launch of our new book, Frida Kahlo: Face to Face. Two days later, I presented an artist's talk at the Jewish Museum in conjunction with their show, "Shifting the Gaze: Feminism and Painting", in which my work is included. The following week, the exhibition "A Stitch in Jewish Time" opened at the Hebrew Union College Museum in the Village. There are two works of mine in that show, including The Creation tapestry, woven by my long-time collaborator, Audrey Cowan who - with her husband Bob - were on hand for the festivities.

Installation view, "Surveying Judy Chicago: 1970-2010", featuring Pasadena Lifesavers #2 Series, recently acquired by Elizabeth A. Sackler

That same week, my first survey show, Surveying Judy Chicago, 1970-2010, opened at ACA to a crowd that the gallery believed to be the largest ever to attend an opening in the 75 years of the gallery's existence. All I know is that it was a blur; I barely got up from the signing table where I was autographing both exhibition catalogs and the Frida Kahlo book. Whenever I looked up, there seemed to be an ever-expanding line of friends, well-wishers and fans. I have to admit to being deeply gratified by the overwhelming response to my work everywhere it was on display.

Before I left New York, I did a private Dinner Party tour in support of Through the Flower; held a luncheon event at ACA for supporters of the Schlesinger Library for the History of Women in America (at Radcliffe/Harvard), where my paper archives are held; and had a wonderful conversation with Catherine Morris, curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. This event was at a private home, sponsored by the W Salon, a new enterprise that continues the long tradition of women-organized salons, this one aimed at stimulating feminist discourse. A highlight of the evening was that Elizabeth Sackler was on hand to introduce Catherine and me to an enthusiastic crowd.

Since New York, I've done Kahlo book events (which involve a powerpoint presentation, questions and answers and a book signing) at the National Museum of Women in the Arts in Washington, D.C.; the Chicago Public Library; and at the Inn of Loretto in Santa Fe, sponsored by Garcia Street Books. An interesting aside is that I've known Eva and Edward Borins (who own the bookstore) since the early 1980's when they owned a string of bookstores in Toronto. I did a book signing at one of the stores when The Dinner Party was at the Art Gallery of Ontario, which is in Toronto.

Judy Chicago, Kahlo Book Event, Chicago Public Library

In December, I will be presenting more book events at the San Diego Museum of Art; the Contemporary Jewish Museum in San Francisco; and the Skirball Cultural Center in Los Angeles. (For details, see "Get Out Your Calendar"). The book tour will conclude in June 2011,when we go to England for several book events. And because I have so many shows along with a new book, this entire period has been punctuated by media interviews which - in addition to all the public events - have been tiring. At the same time, I am very fortunate that there is so much interest in my work, not only in this country but around the world.

Now, before you can think that I can finally take a rest, let me tell you that 2011 promises to be as busy as this year has been, in part because of "Pacific Standard Time", an upcoming initiative by the Getty Foundationin collaboration with almost fifty art institutions across Southern California. The goal of this ambitious undertaking (scheduled from October 2011 to April 2012) is to document and celebrate the vibrant history of Southern California art.

Because my roots as an artist derive from Southern California, I am exceedingly pleased to be a part of this project. I am hopeful that it will help create a greater awareness of my California roots, something that I feel strongly about because -despite its macho overtones - the Los Angeles art scene of the 1960's and 70's provided fertile ground for experimentation, self-invention,and ultimately for me, the opportunity for a radical rethinking of contemporary art including its content, its audience and its goals.

Also, it was out of this climate that Through the Flower was born, an organization that evolved from a small, somewhat chaotic studio structure to become an important part of the history of the Feminist art movement, a movement that - eventually - will come to be seen as the most significant art movement of the second half of the twentieth century. Moreover, one of the points we make in the Kahlo book is that her work can be said to have prefigured the Feminist art movement. This movement also brought Kahlo into prominence.

But until the Feminist art movement, artists (myself included) did not have the freedom to freely express ourselves as women. Honoring and extending this freedom and the gains that it has brought has been an integral part of Through the Flower's mission. As I like to say, we may be small, but our achievements have been mighty, thanks in large measure to all our loyal friends and supporters.

With best wishes to all for a happy holiday season.

On July 13, 2010 Through the Flower awarded its first Minx Auerbach Education Award to Andrea Horn of Allentown, Pennsylvania. She was presented with an award and a cash prize of $1,000 in recognition of her implementation of The Dinner Party Curriculum though her unit of study.

Included below is an excerpt from Andrea Horn's inspiring acceptance speech at the awards ceremony as she talks about the influences of The Dinner Party:

"2007 was a growing year for me.  I entered a new decade as a thirty year old and attended the first Dinner Party Institute.  I walked away from that intense week in July with a better understanding of who I wanted to be as a woman, a feminist and an arts educator.  I remember calling family members and sharing the amazing stories of the women seated at The Dinner Party table.  I remember feeling more proud, empowered and fortunate to be a woman than ever before.  I was so inspired and motivated by all the creativity, collaboration and intellectual stimulation from that wonderful week but how on earth was I going to bring justice to Judy Chicago's monumental masterpiece in my elementary school classroom?  Then, I read about Judy's firm belief in the Jewish concept "tikkun olam" - to heal or repair the world.  This philosophy has been resonating with me ever since.  Thus, the driving force for my Dinner Party curriculum unit, Mothers of Mother Earth.  Thank you, Judy Chicago, for letting us in on the secrets of both the artist and her art.  You have set the curriculum table for educators worldwide.  It is up to us to use this educational feast for deeply meaningful learning experiences."

Andrea Horn with Penny A. Friedberg Marilyn Stewart, PhD, Judy Chicago, and Andrea Horn

Through the Flower would like to encourage all teachers who are currently using The Dinner Party Curriculum in their classrooms to apply to be the 2011 recipient of the Minx Auerbach Education Award.

For more information about this award please visitwww.throughtheflower.org/dpcp or contact Susannah Rodee at susannah@throughtheflower.org

"What I learned from this week about The Dinner Party, feminism, and education I will carry with me forever in my own teaching." 

                            2010 Summer Institute Participant

The "Invitation to The Dinner Party " Institute participants, with Judy Chicago, at the Brooklyn Museum. Photo by Dolores Eaton

Through a series of interactive sessions led by a team of dedicated educators, participants investigated The Dinner Party, attending to its significance in history and its multi-layered complexity.  They also considered The Dinner Party as a catalyst for learning about the history of women in the Western world, gender issues, feminism and feminist pedagogy.  Each day was packed with opportunities for participants to experience and explore the 14 Encounters of The Dinner Party Curriculum while developing new ideas and lessons with a focus on K-12 teaching.  In the words of one participant, the experience was, "Amazing. Life-changing inside and outside the classroom."

A highlight of the week was the visit to the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art to experience The Dinner Party with Judy Chicago as guide.  This special day also included a tour of the Kiki Smith exhibition with Curator Katherine Morris, an investigative activity with Brooklyn Museum educators and a reception at ACA Galleries to honor the first recipient of the Minx Auerbach Award, Andrea Horn.

 Dr. Marilyn Stewart, Professor of Art Education at Kutztown University served as Director of the Institute.  Kutztown University faculty members Dr. Amy Pfeiler-Wunder and Professor Nicole Romanski served as Institute Facilitators.  Dr. Karen Keifer-Boyd, Professor of Art Education at Penn State University, was a featured guest facilitator who was with the Institute for its duration. Dr. Martin Rosenberg, Professor of Art History and Chair of Fine Arts at Rutgers University, Camden, was once again a featured speaker. 

Through the Institute evaluations and reflections, we know that this wonderful group of participants left the Institute with a deeper understanding of The Dinner Party and a working knowledge of The Dinner Party Curriculum.  Many have begun to incorporate parts of the Curriculum into their own teaching and are preparing to share their experiences through curriculum documents and other means.  Some will come to the 2011 Institute to tell their implementation stories to the next group of teachers who accept the "Invitation to The Dinner Party" Summer Institute.  The 2011 Institute will be held again at Kutztown University of Pennsylvania from July 11-15, 2011.

One activity involved analyzing gender stereotypes in children's toys. Photo by Dolores Eaton Throughout the week, participants met in a circle to discuss readings and issues related to The Dinner Party, feminism and feminist pedagogy. Photo by Karen Keifer-Boyd

Anyone interested in learning more about the 2011 Institute should email Marilyn Stewart at stewart@kutztown.edu.

2010 has flown by so quickly, and it has brought many changes. I am thrilled to now call myself the Education Coordinator for Through the Flower. I am also thrilled that we have developed a strong following of teachers and feminists, both men and women, on the DPCP Forum Facebook page.  Our Facebook page has a readership of over 100 fans, some of them from across the globe. Many of them interact with the page by sharing their thoughts on The Dinner Party Curriculum, Feminism, Feminist Art, and Women's History.

For some time, the theme of the Facebook page changed daily. I would look for inspiration in the news, or even in the seasons. Recently, I am approaching the DPCP Forum with more structure and rigor. By encompassing one theme per week, Facebook postings now relate more directly to the 14 Encounters of The Dinner Party Curriculum. So far, I am pleased to say that our followers have responded well. I look forward to diving into the Curriculum, and using its depth to flesh out fun and interesting ideas to share with our loyal fans.

The feedback of our Facebook fans is perhaps the most exciting aspect of my role as Education Coordinator. I am constantly inspired by making connections with people all over the world who feel as passionately about The Dinner Party and Feminism as I do.  Please join us online today!

- Hannah Koch

On February 19, 2011, Through the Flower is opening a solo exhibition by Shirley Klinghoffer.  Shirley was the winner of the juried exhibition Subversive Stitching: Feminist Artists with a Needle, that was on display in early 2010, both at our headquarters in Belen and online.The new exhibition will be up through the end of May at Through the Flower's headquarters in Belen.

Shirley's artwork addresses both specifically women's issues and,more broadly, universal concerns. Throughout her work, she never loses her propensity for humor andirony.

Vintage fabrics and weathered objects often find there way into her work and are given new meaning within the context of her art.  In "Big, Black, Beautiful" and "Witty in Pink", Shirley's two winning entries for the Subversive Stitching exhibition, reconstructed ball gowns and old tulle became the fragile edges surrounding a strong bronze core. The tug of strength and vulnerability weaves in and out of her artwork and, in some ways, acts as a unifying element.

In January 2007, Shirley and artist Sarah Hewitt premiered a nationwide collaborative artwork, the LOVE ARMOR Project. Shirley and Sarah, and 70 artists/knitters from around the country, produced LOVE ARMOR, which opened at the Center for Contemporary Art in Santa Fe. Subsequently it has been exhibited in Philadelphia and New York City. The central image, a unique life-size "cozy" for a military Humvee, was primarily hand knit, but also incorporated crocheted work, embroidery, needle point, and extensive hand stitching. This "cozy" was created as a symbol of peace and hope.

Other works, such as "Secret Garden" incorporate a notable vintage skirt, and "Refuge for Lost Souls", a cabinet sculpture, exposes aged inner soles. Currently, Shirley is creating new sculpture with hundreds of used women's shoes. The work in progress is a large complex 5' x 5' hanging sculpture constructed of shoe leather uppers.

The opening reception of the exhibition will be Feb 19, 2011 from 2 pm to 4 pm in Belen. Please join us in celebrating Shirley's achievements. The exhibition will be up through the end of May.

Below, Shirley Klinghoffer offers a few comments about her art:

My artwork is very personal.  Often I use the human body, or body parts, to convey an idea. I have consistently explored the use of amultiplicity of forms with a variety of materials, including tinted rubber, glass, wax, plaster and resins.  

Working with the Santa Fe Rape Crisis andTrauma Treatment Center [now Solace] for over 10 years, I have been an advocate against violence and aggression, and have promoted pride and strength for women. Recently I have enhanced and created visuals for an educational program raising awareness of "Human trafficking" in New Mexico.

This said my art runs parallel with my life.

Please contact Susannah Rodee for more information about this exhibition.

This past summer TTF board members embarked on a grand adventure to Tanzania.  The trip was arranged by former board member and TTF supporter Patricia House, through her Vanishing Worlds Travel Company in partnership with Safari Tracks, the first native owned safari outfitter in the country. Board members Mary Ross Taylor, Cindy Ewing, Marcia Levine, and Martha Burk, along with family and friends made up a group of ten travelers.

Board members in Africa from left to right: Marcia Levine, Martha Burk, MaryRoss Taylor, and Cindy Ewing.

We traveled to three national parks in three parts of Tanzania, seeing not only varied wildlife but the incredible changing landscape of this vast country.  Our trip began with a visit to Arusha National Park, in the shadow of Mount Kilimanjaro.  We came face-to-face with giraffe, warthogs, monkeys, cape buffalo, zebra, and thousands of bright pink flamingos on our very first day! 

From Arusha we traveled by "puddle jumper" plane to the Serengeti National Park, where our pilot had to buzz the runway to scare away the giraffes before we could land.  Our permanent thatch-roofed lodge, with open-air dining and comfy individual casitas, had originally been built in the 1950s for use as a movie set.  The park was amazing, delivering all we could ask for - lions, cheetahs, hyenas, dik-diks, gazelles of several kinds, herons and hippos.

Moving next to a true tent camp in another part of the park, we encountered herds of elephant, many zebras and water buffalo, as well as a rhino.  Rhinos are bordering on extinction these days, with only 17 known in all of Tanzania, so this was a rare treat. Incredibly, we saw all of these in a single day.

Our next trek was across the Serengeti to Tarangire Park, by way of Olduvai Gorge, in the Rift Valley, a literal 6,000 mile long crack in the earth's crust, stretching from Lebanon to Mozambique. This area includes the Ngorongoro Conservation Area and the surrounding Masaai tribal lands, in what is now thought to be the cradle of civilization.  A small museum tells the story of anthropologists Louis and Mary Leakey. Mary is known for her 1959 discovery of three- million- year- old footprints in the valley - the first evidence of humans walking upright.

In Tarangire we met our new friends the wildebeasts, otherwise known as gnus, which traveled in large herds throughout the park.  We saw many of our by-now old animal friends as well

Our trip came to an end on the wonderful island of Zanzibar, by way of another short-hop plane ride.  The Mbweni Ruins Hotel, our lodge in Stone Town, was a former school for the daughters of freed slaves, overlooked the white sands and sparkling waters of the Indian Ocean.  Some of our group took advantage of the local opportunities to snorkel, while others browsed the markets and shops in the byzantine streets.  Wonderful meals, good company, and good wine in the open-air dining room were a special treat.

After a wonderful two weeks, we reluctantly said goodbye to Tanzania, the trip of a lifetime. Best of all, Pat House generously donated $500 per safari-goer back to Through the Flower.

Vanishing World is organizing a new safari for the great migration in early 2011, which will again benefit Through the Flower. Could there be a nicer way to see what is truly another world, travel with like-minded friends, and support our favorite arts organization at the same time? Get onboard by contacting Pat at prhouse3@yahoo.com