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.

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.

Using a quote from the above article, answer the following question: did she have any failures
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Problem: Krakauer was born in Brookline, Massachusetts, as the third of five children of Carol Ann (nee Jones) and Lewis Joseph Krakauer. His father was Jewish and his mother was a Unitarian, of Scandinavian descent. He was raised in Corvallis, Oregon, from the age of two. His father introduced the young Krakauer to mountaineering at the age of eight.

In 1997, Krakauer expanded his September 1996 Outside article into what has become his best-known book, Into Thin Air. The book describes the climbing parties' experiences and the general state of Everest mountaineering at the time. Hired as a journalist by the magazine, Krakauer had participated as a client of the 1996 Everest climbing team led by Rob Hall--the team which ended up suffering the greatest casualties in the 1996 Mount Everest disaster.  The book reached the top of The New York Times' non-fiction bestseller list, was honored as "Book of the Year" by Time magazine, and was among three books considered for the General Non-Fiction Pulitzer Prize in 1998. The American Academy of Arts and Letters gave Krakauer an Academy Award in Literature in 1999 for his work, commenting that the writer "combines the tenacity and courage of the finest tradition of investigative journalism with the stylish subtlety and profound insight of the born writer. His account of an ascent of Mount Everest has led to a general reevaluation of climbing and of the commercialization of what was once a romantic, solitary sport."  Krakauer has contributed royalties from this book to the Everest '96 Memorial Fund at the Boulder Community Foundation, which he founded as a tribute to his deceased climbing partners.  In a TV-movie version of the book, Krakauer was played by Christopher McDonald. Everest, a feature film based on the events of the disaster directed by Baltasar Kormakur, was released in 2015. In the film, Krakauer is portrayed by Michael Kelly. Krakauer denounced the movie, saying some of its details were fabricated and defamatory. He also expressed regret regarding Sony's rapid acquisition of the rights to the book. Director Baltasar Kormakur responded, claiming Krakauer's first-person account was not used as source material for the film, and alleged that his version of events conflicted with the plot.

What is Into Thin Air

Answer with quotes:
The book describes the climbing parties' experiences and the general state of Everest mountaineering at the time.