Question: Judy Chicago (born Judith Sylvia Cohen, July 20, 1939) is an American feminist artist, art educator, and writer known for her large collaborative art installation pieces about birth and creation images, which examine the role of women in history and culture. By the 1970s, Chicago had founded the first feminist art program in the United States. Chicago's work incorporates a variety of artistic skills, such as needlework, counterbalanced with labor-intensive skills such as welding and pyrotechnics. Chicago's most well known work is The Dinner Party, which is permanently installed in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum.

While at UCLA, she became politically active, designing posters for the UCLA NAACP chapter and eventually became its corresponding secretary. In June 1959, she met and became romantically linked with Jerry Gerowitz. She left school and moved in with him, for the first time having her own studio space. The couple hitch hiked to New York in 1959, just as Chicago's mother and brother moved to Los Angeles to be closer to her. The couple lived in Greenwich Village for a time, before returning in 1960 from Los Angeles to Chicago so she could finish her degree. Chicago married Gerowitz in 1961. She graduated with a Bachelor of Fine Arts in 1962 and was a member of the Phi Beta Kappa Society. Gerowitz died in a car crash in 1963, devastating Chicago and causing her to suffer from an identity crisis until later that decade. She received her Master of Fine Arts from UCLA in 1964. While in grad school, Chicago's created a series that was abstract, yet easily recognized as male and female sexual organs. These early works were called Bigamy, and represented the death of her husband. One depicted an abstract penis, which was "stopped in flight" before it could unite with a vaginal form. Her professors, who were mainly men, were dismayed over these works. Despite the use of sexual organs in her work, Chicago refrained from using gender politics or identity as themes. In 1965, Chicago displayed work in her first solo show, at the Rolf Nelson Gallery in Los Angeles; Chicago was one of only four female artists to take part in the show. In 1968, Chicago was asked why she did not participate in the "California Women in the Arts" exhibition at the Lytton Center, to which she answered, "I won't show in any group defined as Woman, Jewish, or California. Someday when we all grow up there will be no labels." Chicago began working in ice sculpture, which represented "a metaphor for the preciousness of life," another reference towards her husband's death. In 1969, the Pasadena Art Museum exhibited a series of Chicago's spherical acrylic plastic dome sculptures and drawings in an "experimental" gallery. Art in America noted that Chicago's work was at the forefront of the conceptual art movement, and the Los Angeles Times described the work as showing no signs of "theoretical New York type art." Chicago would describe her early artwork as minimalist and as her trying to be "one of the boys". Chicago would also experiment with performance art, using fireworks and pyrotechnics to create "atmospheres", which involved flashes of colored smoke being manipulated outdoors. Through this work she attempted to "feminize" and "soften" the landscape. During this time, Chicago also began exploring her own sexuality in her work. She created the Pasadena Lifesavers, which was a series of abstract paintings that placed acrylic paint on Plexiglas. The works blended colors to create an illusion that the shapes "turn, dissolve, open, close, vibrate, gesture, wiggle," representing her own discovery that "I was multi-orgasmic." Chicago credited Pasadena Lifesavers, as being the major turning point in her work in relation to women's sexuality and representation.

Using a quote from the above article, answer the following question: When did her career started
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Answer: In 1965, Chicago displayed work in her first solo show, at the Rolf Nelson Gallery in Los Angeles;

Problem: Johan Vincent Galtung (born 24 October 1930) is a Norwegian sociologist, mathematician, and the principal founder of the discipline of peace and conflict studies. He was the main founder of the Peace Research Institute Oslo (PRIO) in 1959 and served as its first director until 1970. He also established the Journal of Peace Research in 1964. In 1969 he was appointed to the world's first chair in peace and conflict studies, at the University of Oslo.

Criticism by Bruce Bawer and Barbara Kay During the course of his career, some of Galtung statements and views have drawn criticism, most notably his criticism of western countries during and after the Cold War and what his critics perceived as a positive attitude to the Soviet Union, Cuba and Communist China. A 2007 article by Bruce Bawer published in City Journal magazine and a subsequent article in February 2009 by Barbara Kay in the National Post criticised some of Galtung's statements. Both authors criticized Galtung's opinion that while Communist China was "repressive in a certain liberal sense", Mao Zedong was "endlessly liberating when seen from many other perspectives that liberal theory has never understood" because China showed that "the whole theory about what an 'open society' is must be rewritten, probably also the theory of 'democracy'--and it will take a long time before the West will be willing to view China as a master teacher in such subjects." The authors also criticized Galtung's opposition to Hungarian resistance against the Soviet invasion in 1956 and his description in 1974 of Aleksandr Solzhenitsyn and Andrei Sakharov as "persecuted elite personages". Statements on Israeli influence on U.S. politics The Israeli newspaper Haaretz accused Galtung in May 2012 of antisemitism for: (1) suggesting the possibility of a link between the 2011 Norway attacks and Israel's intelligence agency Mossad; (2) maintaining that "six Jewish companies" control 96% of world media; (3) identifying what he contends are ironic similarities between the banking firm Goldman Sachs and the conspiratorial antisemitic forgery The Protocols of the Elders of Zion; and (4) theorizing that although not justified, antisemitism in post-World War I Germany was a predictable consequence of German Jews holding influential positions. As a result of such statements, in May 2012 TRANSCEND International, an organisation co-founded by Galtung, released a statement attempting to clarify his opinions. On August 8, 2012, the World Peace Academy in Basel, Switzerland announced it was suspending Galtung from its organization, citing what it posited were his "reckless and offensive statements to questions that are specifically sensitive for Jews." Galtung himself has vehemently repudiated the above attacks as "smearing and libel" in a published statement and a public lecture at the end of the year 2012.

What was he criticized for?

Answer with quotes:
his criticism of western countries during and after the Cold War and what his critics perceived as a positive attitude to the Soviet Union,