Abstract
Utilizing theories of silence and silencing that rely on art therapy as a means of overcoming trauma, this essay argues that the two written autobiographies of second-wave feminist visual artist Judy Chicago—Through the Flower: My Struggle as a Woman Artist and Beyond the Flower: The Autobiography of a Feminist Artist—can only be read successfully alongside her opus of visual life narratives. This argument rests on an analysis of the visual rhetoric of Womanhouse, the Great Ladies series, and the Female Rejection Drawings, read alongside Chicago's published narratives. This essay culminates with the argument that the communally produced installation piece The Dinner Party acts as a personal and communal narrative, as well as a political narrative of the second-wave feminist movement in the US.
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