![]() ![]() And that's why I moved away from color for a while. And then there's me: I like ivory and turquoise and pink and lavender. His palette ran to burnt umber, yellow ocher, burnt sienna, olive green. The artist who predominated in terms of UCLA was Rico Lebrun. I destroyed them because my instructors hated my imagery and my color. "Bigamy Hood," "Birth Hood" and "Flight Hood" - they come from paintings I did in graduate school. I was getting so much for my color and my forms. These three - I laid them out in the '60s, but I didn't do them until much later. ![]() They had pinups all over auto body school. Still, you were taking an aspect of car culture - the sexy woman on the hood - and saying, "I'm going to put a woman on a hood but make it feminist." When I went to auto body school, it was the first time I sort of realized that in making paintings or sculptures, I was making objects, physical objects. The emphasis was always on drawing skills and expression. I never liked oil paint, I never liked imposing on the surface. I think that was when I discovered spray paint - the idea of merging color and surface, I was hooked. They start with basic stuff: taping, preparing, masking, mixing paint, spraying paint. Percy said, "There is no perfection, there is only the illusion of perfection." Drove a candy-apple pale lavender convertible. He was African American, tall, very handsome. Percy Jeffries was my teacher, a show car painter and he did striping. They made me wear this long, white shop coat - don't ask me why. I don't know what made me decide to go to auto body school. He would always say I should go to auto body school - those are the guys who know how to paint. Even though it was inhospitable, I hung out with the guys. They were bringing artists to Los Angeles and one of those artists was John Chamberlain. In the '60s, I was showing at Rolf Nelson, one of the early galleries. What prompted your decision to go to auto body school? In this conversation, which has been condensed and edited for clarity, Chicago talks about the early days - and how L.A. "It began the process of my larger body of work emerging from the shadow of 'The Dinner Party.'" But the launch of the Pacific Standard Time series of exhibitions in 2011 helped resurface some of her early work. "I was being erased from the history of Southern California art and it really upset me," says the artist (who now lives in New Mexico). Artist Judy Chicago at work installing her show, which includes a series of spray-painted domes from the ’60s, at Jeffrey Deitch. ![]()
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