Was asked to explain the reference to Judy Chicago in discussing dump.fm's top 10 nod.
Short Judy Chicago synopsis:
Artist working in late '60s California paints with airbrush, combines late color field abstraction with biker, hippie, tattoo motifs.
In the large scale installation The Dinner Party (on permanent view at the Brooklyn Museum), that painting sensibility collides with early-'70s anti-painting trends: an interest in craft, history, narrative, process.
The Dinner Party is a collective work made by a large group of women who came together at a particular time and place to do the various elements of the installation: sewing, needlepoint, ceramics, writing, and historical research into significant past women from Susan B. Anthony to Gertrude Stein.
Chicago's "hippy abstractions," ranging from delicate mandala patterns to raging mutant vagina forms, are on plates at each historical figure's place setting.
The piece is an interesting, anomalous clash of sensibilities. Some have called it "feminist kitsch" but that's too easy. It is ultimately a fairly austere, minimal work for being so crammed with information.
In any case, there was later a bunch of fighting about who authored the piece: many of the women who worked on the craft and narrative aspects of it felt burned that it was going into the art history books as a "work by Judy Chicago." They felt it was a violation and betrayal that this work of feminist "anti-form," "anti-authorship" suddenly had a solo auteur with relatively anonymous subcontractors.
It'd be going too far to call dump.fm, with its screens full of dicks, feminist. It does, however, have an interesting gender balance of users, making it completely different from the cesspit of toxic masculinity, oh, pardon me, relational aesthetics bulletin board, that it is often compared to.