Problem: Background: 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.
Context: In 1970, Chicago decided to teach full-time at Fresno State College, hoping to teach women the skills needed to express the female perspective in their work. At Fresno, she planned a class that would consist only of women, and she decided to teach off campus to escape "the presence and hence, the expectations of men." She taught the first women's art class in the fall of 1970 at Fresno State College. It became the Feminist Art Program, a full 15-unit program, in the spring of 1971. This was the first feminist art program in the United States. Fifteen students studied under Chicago at Fresno State College: Dori Atlantis, Susan Boud, Gail Escola, Vanalyne Green, Suzanne Lacy, Cay Lang, Karen LeCocq, Jan Lester, Chris Rush, Judy Schaefer, Henrietta Sparkman, Faith Wilding, Shawnee Wollenman, Nancy Youdelman, and Cheryl Zurilgen. Together, as the Feminist Art Program, these women rented and refurbished an off-campus studio at 1275 Maple Avenue in downtown Fresno. Here they collaborated on art, held reading groups, and discussion groups about their life experiences which then influenced their art. All of the students and Chicago contributed $25 per month to rent the space and to pay for materials. Later, Judy Chicago and Miriam Schapiro reestablished the Feminist Art Program at California Institute of the Arts. After Chicago left for Cal Arts, the class at Fresno State College was continued by Rita Yokoi from 1971 to 1973, and then by Joyce Aiken in 1973, until her retirement in 1992.  Chicago is considered one of the "first-generation feminist artists," a group that also includes Mary Beth Edelson, Carolee Schneeman, and Rachel Rosenthal. They were part of the Feminist art movement in Europe and the United States in the early 1970s to develop feminist writing and art.  Chicago became a teacher at the California Institute for the Arts, and was a leader for their Feminist Art Program. In 1972, the program created Womanhouse, alongside Miriam Schapiro, which was the first art exhibition space to display a female point of view in art. With Arlene Raven and Sheila Levrant de Bretteville, Chicago co-founded the Los Angeles Woman's Building in 1973. This art school and exhibition space was in a structure named after a pavilion at the 1893 World's Colombian Exhibition that featured art made by women from around the world. This housed the Feminist Studio Workshop, described by the founders as "an experimental program in female education in the arts. Our purpose is to develop a new concept of art, a new kind of artist and a new art community built from the lives, feelings, and needs of women." During this period, Chicago began creating spray-painted canvas, primarily abstract, with geometric forms on them. These works evolved, using the same medium, to become more centered around the meaning of the "feminine". Chicago was strongly influenced by Gerda Lerner, whose writings convinced her that women who continued to be unaware and ignorant of women's history would continue to struggle independently and collectively.
Question: What art pieces did she produce in mid to late life?
Answer: spray-painted canvas, primarily abstract, with geometric forms on them.

Background: Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.
Context: Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge."  By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).  Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.  Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality".
Question: What did others say about their music style?
Answer:
their music took on a "sparse" quality.