Judy Chicago (American, born 1939). <em>Ishtar Place Setting</em>, 1974–1979. Runner:Cotton/linen base fabric, woven interface support material (horsehair, wool, and linen), cotton twill tape, silk, synthetic gold cord, silk satin, flannel, felt, soutache, silk thread
Plate:Porcelain with overglaze enamel (China paint), metallic glaze, rainbow luster, Runner:51 1/4 x 29 3/4 in. (130.2 x 75.6 cm). Brooklyn Museum, Gift of The Elizabeth A. Sackler Foundation, 2002.10-PS-3. © artist or artist's estate (Photo: Brooklyn Museum, 2002.10-PS-3_plate_PS9.jpg)

Judy Chicago (American, born 1939). Ishtar Place Setting, 1974–1979. Runner:Cotton/linen base fabric, woven interface support material (horsehair, wool, and linen), cotton twill tape, silk, synthetic gold cord, silk satin, flannel, felt, soutache, silk thread Plate:Porcelain with overglaze enamel (China paint), metallic glaze, rainbow luster, Runner:51 1/4 x 29 3/4 in. (130.2 x 75.6 cm). Brooklyn Museum, Gift of The Elizabeth A. Sackler Foundation, 2002.10-PS-3. © artist or artist's estate (Photo: Brooklyn Museum, 2002.10-PS-3_plate_PS9.jpg)

DOWNLOAD

Download our app and ask your own questions during your visit. Here are some that others have asked.

Who is Ishtar?

Ishtar was one of the most important deities in the Mesopotamian pantheon. She was the goddess of love, sex, and fertility. She was also associated with war and the planet Venus. She is represented through architectural motifs like you might see in ziggurats or Mesopotamian temples.

Ishtar is from the text Gilgamesh, right?

Ishtar (as Inana) definitely appears in Gilgamesh, she was one of the most important deities in the Mesopotamian pantheon.

Inana is her name in Sumerian, but Ishtar is her name in Akkadian which quickly became the de facto language of diplomacy in the ancient Near East.

Ah, that's right: Inana! Thanks so much.

Can you tell me a little bit more about Ishtar’s setting and how she was chosen to be in The Dinner Party?

According to Judy Chicago, her criteria for inclusion in The Dinner Party were as follows:

1) Did the woman make a significant contribution to society? 2) Did she attempt to improve conditions for women? 3) Did her life illuminate an aspect of women's experience or provide a model for the future?

Ishtar fits these criteria, the way many ancient fertility goddesses do, because she represents the ability to reproduce the importance of which transcends species. In this context, Ishtar represents the essential role that women play in life itself and being venerated for it.

The stepped pattern on the runner is based on the stepped design of a ziggurat. The border between the gold and the white is known as a "brick stitch" and is meant as a reference to the Ishtar Gate from Babylon.

Thank you! This is so helpful

Do you know who Judy Chicago consulted for the information about Ishtar and her place in feminism?

I'm not actually sure, Chicago and her research team consulted a variety of sources.

In terms of her place in feminism, I do know that there was a general sentiment, beginning in the 1970s, that polythestic cultures and goddess worship meant that women's power was more acknowledged in the ancient world.

In contrast to the major monotheistic religions where the singular deity is typically referred to with male pronouns, having a female deity to associate women with earned them more importance in society.

Can you tell our kids (age 10) something about Judy Chicago's "The Dinner Party"?

Judy Chicago's "The Dinner Party" was inspired by the lack of focus on women's achievements in her own education. She wanted to highlight the accomplishments of women throughout history!

Each plate and runner at The Dinner Party represents one of these important and accomplished women. For example, you sent me a photo of the place setting for Ishtar.

Ishtar was an important goddess in Mesopotamia and was associated with fertility (both of humans and nature), which was very important to the success of Mesopotamian city-states.

The plate is gold to represent her importance and you'll notice that there are seed-like forms as a reference to her role as the giver of life!

Wonderful, thanks!

Who is Ishtar in the Dinner Party?

Ishtar is the Akkadian name for the primary goddess of the Mesopotamian pantheon. Ishtar was most significantly associated with fertility, an important factor in the success of the city-states of Mesopotamia.

Her dominion also extended in the realms of love an war. She is one of the mythical figures included at The Dinner Party.

Ishtar Place Setting

Judy Chicago

Elizabeth A. Sackler Center for Feminist Art

On View: Elizabeth A. Sackler Center for Feminist Art, 4th Floor

ARTIST Judy Chicago, American, born 1939

MEDIUM Runner:Cotton/linen base fabric, woven interface support material (horsehair, wool, and linen), cotton twill tape, silk, synthetic gold cord, silk satin, flannel, felt, soutache, silk thread Plate:Porcelain with overglaze enamel (China paint), metallic glaze, rainbow luster

DATES 1974–1979

DIMENSIONS Runner:51 1/4 x 29 3/4 in. (130.2 x 75.6 cm) Plate:14 x 14 x 1 in. (35.6 x 35.6 x 2.5 cm) (show scale)

COLLECTIONS Elizabeth A. Sackler Center for Feminist Art

ACCESSION NUMBER 2002.10-PS-3

CREDIT LINE Gift of The Elizabeth A. Sackler Foundation

EXHIBITIONS

MUSEUM LOCATION This item is on view in Elizabeth A. Sackler Center for Feminist Art, 4th Floor

CAPTION Judy Chicago (American, born 1939). Ishtar Place Setting, 1974–1979. Runner:Cotton/linen base fabric, woven interface support material (horsehair, wool, and linen), cotton twill tape, silk, synthetic gold cord, silk satin, flannel, felt, soutache, silk thread Plate:Porcelain with overglaze enamel (China paint), metallic glaze, rainbow luster, Runner:51 1/4 x 29 3/4 in. (130.2 x 75.6 cm). Brooklyn Museum, Gift of The Elizabeth A. Sackler Foundation, 2002.10-PS-3. © artist or artist's estate (Photo: Brooklyn Museum, 2002.10-PS-3_plate_PS9.jpg)

IMAGE overall, 2002.10-PS-3_plate_PS9.jpg. Brooklyn Museum photograph, 2013

"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.

RIGHTS STATEMENT © Judy Chicago

The Brooklyn Museum holds a non-exclusive license to reproduce images of this work of art from the rights holder named here. The Museum does not warrant that the use of this work will not infringe on the rights of third parties. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act. For further information about copyright, we recommend resources at the United States Library of Congress, Cornell University, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and Copyright Watch. For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright. If you have any information regarding this work and rights to it, please contact copyright@brooklynmuseum.org. If you wish to contact the rights holder for this work, please email copyright@brooklynmuseum.org and we will assist if we can.

RECORD COMPLETENESS

Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome any additional information you might have.