Santa Fe: New Mexico Museum of Art

While in Santa Fe, I enjoyed roaming through the New Mexico Art Museum.  There were many interesting exhibits including a special one on works by Judy Chicago.  Here is a bit of what I saw:

Museum Courtyard

"Seated Navajo Woman," 1978 by R.C. Gorman

"St. Francis," 1915 by Alfeo Faggi. 1885-1966

"In the Shadow of the Hand Gun, from PowerPlay," 1983 by Judy Chicago.  Sprayed acrylic and oil paint on Belgian Linen.
Judy Chicago made New Mexico her home in 1984.  Earlier she had changed her name, Cohen, to Chicago where she is from in order to not be identified by her father, husband or any other male identity.  She is a 75 year-old feminist artist.  One of her most famous feminist installation is "The Dinner Party," now permanently installed as part of the Elizabeth A. Sackler Center for Feminist Art a the Brooklyn Museum of Art.
The New Mexico Museum of Art exhibit is entitled "Local Color" and focuses on artworks made in New Mexico drawn from the artist's studio from several projects including Powerplay, Holocaust Project, Nuclear Waste(d), Resolution, A Stitch in Time, and Kitty City.  The posted description states that the artist addresses the complexity of gender, injustice, inequality, the atrocities of wark and the environmental costs of nuclear dependence.

The above two pieces are from the Holocaust Project, 1989, called "Banality of Evil, Then and Now."  These were created by Judy Chicago and her husband photographer, Donald Woodman.

"Kitty City," from a series of watercolor paintings and pencil studies made for the publication "Kitty City," a book of hours detailing the daily life of cats in the Chicago-Woodman household.

"Pealing Back," 2000

"Grand Flaming Fist," 2007, etching and glass paint on cast glass

"We're All in the Same Boat," from Resolutions:  A Stitch in Time, 2000
Sprayed acrylic, oil paint, applique, embroidery and smacking on fabric.

"Paddle Your Own Canoe," from Resolutions:  A Stitch in Time," 2000 Modified Aubusson Tapestry woven by Audrey Cowan.

"Woe Man with Mask #11, from PowerPlay," 1986, sprayed acrylic and oil paint on hand-cast paper.  In PowerPlay, Chicago focused on the association of maleness with power and violence.

"Driving the world to Destruction," from PowerPlay 1985

"Doublehead 2," from Powerplay, 1986