Background: Patrick O'Brian, CBE (12 December 1914 - 2 January 2000), born Richard Patrick Russ, was an English novelist and translator, best known for his Aubrey-Maturin series of sea novels set in the Royal Navy during the Napoleonic Wars, and centred on the friendship of the English naval captain Jack Aubrey and the Irish-Catalan physician Stephen Maturin. The 20-novel series, the first of which is Master and Commander, is known for its well-researched and highly detailed portrayal of early 19th-century life, as well as its authentic and evocative language. A partially finished 21st novel in the series was published posthumously containing facing pages of handwriting and typescript. O'Brian wrote a number of other novels and short stories, most of which were published before he achieved success with the Aubrey-Maturin series.
Context: O'Brian was born Richard Patrick Russ, in Chalfont St. Peter, Buckinghamshire, to Charles Russ, an English physician of German descent, and Jessie Russ (nee Goddard), an English woman of Irish descent. The eighth of nine children, O'Brian lost his mother at the age of four, and his biographers describe a fairly isolated childhood, limited by poverty, with sporadic schooling and long intervals at home with his father and stepmother Zoe Center in Lewes, East Sussex. His literary career began in his childhood with the publishing of his earliest works, including several short stories, the book "Hussein, An Entertainment", and the short story collection Beasts Royal; the latter two brought him considerable critical praise especially considering his youth. He published his first novel at age 15, Caesar: The Life Story of a Panda Leopard, with help from his father.  In 1934, he underwent a brief period of pilot training with the Royal Air Force, but this was not successful, and he left the RAF. Prior to that, his application to the Royal Navy had been rejected on health grounds. In 1935, he was living in London, where he married his first wife, Elizabeth Jones, in 1936. They had two children. The second was a daughter who suffered from spina bifida; she died in 1942, aged three, in a country village in Sussex. When the child died, O'Brian had already returned to London, where he worked throughout the war.  The details of his work during the Second World War are murky. He worked as an ambulance driver, and he stated that he worked in intelligence. Dean King has claimed that O'Brian was actively involved in intelligence work and perhaps special operations overseas during the war. Indeed, despite his usual extreme reticence about his past, O'Brian wrote in an essay, "Black, Choleric and Married?", included in the book Patrick O'Brian: Critical Appreciations and a Bibliography (1994) that: "Some time after the blitz had died away I joined one of those intelligence organisations that flourished during the War, perpetually changing their initials and competing with one another. Our work had to do with France, and more than that I shall not say, since disclosing methods and stratagems that have deceived the enemy once and that may deceive him again seems to me foolish. After the war we retired to Wales (I say we because my wife and I had driven ambulances and served in intelligence together) where we lived for a while in a high Welsh-speaking valley..." which confirms in first person the intelligence connection, as well as introducing his wife Mary Wicksteed Tolstoy as a co-worker and fellow intelligence operative. Nikolai Tolstoy, stepson through O'Brian's marriage to Mary Tolstoy, disputes this account, confirming only that O'Brian worked as a volunteer ambulance driver during the Blitz. Doing this work, he met Mary, the separated wife of Russian-born nobleman and lawyer Count Dimitri Tolstoy. They lived together through the latter part of the war and, after both were divorced from their previous spouses, they married in July 1945. The following month he changed his name by deed poll to Patrick O'Brian.
Question: Aside from writing what other job he does?
Answer: my wife and I had driven ambulances and served in intelligence together

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: did she receive any awards
Answer: