Linda Nochlin

Catherine Grant

Linda Nochlins seminal essay on women artists is widely acknowledged as the first real attempt at a feminist history of art. Nochlin refused to handle the question of why there had been no great women artists on its own, corrupted, terms. Instead, she dismantled the very concept of greatness, unravelling the basic assumptions that had centred a male-coded genius in the study of art. With unparalleled insight and startling wit, Nochlin laid bare the acceptance of a white male viewpoint in art historical thought as not merely a moral failure, but an intellectual one. Freedom, as she sees it, requires women to risk entirely demolishing the art worlds institutions, and rebuilding them anew in other words, to leap into the unknown. In this stand-alone anniversary edition, Nochlins essay is published alongside its reappraisal, Thirty Years After. Written in an era of thriving feminist theory, as well as queer theory, race and postcolonial studies, Thirty Years After is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. Why Have There Been No Great Women Artists? has become a slogan and rallying cry that resonates across culture and society; Dior even adopted it in their 2018 collections. In the 2020s, at a time when certain patriarchal values are making a comeback, Nochlin's message could not be more urgent: as she herself put it in 2015, there is still a long way to go.

Why Have There Been No Great Women Artists?

Women, Art, and Power—seven landmark essays on women artists and women in art history—brings together the work of almost twenty years of scholarship and speculation.

Women, Art, And Power And Other Essays

The fiftieth anniversary edition of the essay that is now recognized as the first major work of feminist art theory—published together with author Linda Nochlin’s reflections three decades later. Many scholars have called Linda Nochlin’s seminal essay on women artists the first real attempt at a feminist history of art. In her revolutionary essay, Nochlin refused to answer the question of why there had been no “great women artists” on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art. With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world’s institutions in order to rebuild them anew. In this stand-alone anniversary edition, Nochlin’s essay is published alongside its reappraisal, “Thirty Years After.” Written in an era of thriving feminist theory, as well as queer theory, race, and postcolonial studies, “Thirty Years After” is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. “Why Have There Been No Great Women Artists?” has become a slogan and rallying cry that resonates across culture and society. In the 2020s, Nochlin’s message could not be more urgent: as she put it in 2015, “There is still a long way to go.”

50th anniversary edition

Maura Reilly

Linda Nochlin is one of the most prolific, intellectually accessible and innovative art historians of our time. Since the publication of her seminal 1971 essay Why Have There Been No Great Women Artists?, she has continued to assess the social and institutional structures that have influenced the work made by women artists, and their professional and historical status. While anthologies of Nochlins writing published to date have focused on specific subjects or periods, such as the 19th century, Women Artists brings together 29 essays in which she focuses on female artists and the key questions of womens roles and status in the arts. It includes both her major thematic texts and her monographic texts on major women artists, both historical and modern. An introduction by editor Maura Reilly provides an overview of Nochlins life and work and an analysis of her impact and continuing influence on younger scholars and students, and a specially commissioned interview with Nochlin investigates the status of women artists today. Women Artists will be indispensible to students and academics working in the fields of art history and historiography, gender and womens studies, cultural history and theory.

The Linda Nochlin Reader

Women Artists

Dlaczego nie było wielkich artystek?

Why Have There Been No Great Women Artists?: 50th anniversary edition

Courbet

"Through a broad selection of familiar central documents and less well-known ones, the author has focused upon the problems faced by innovators in all realms of thought and action in the middle of the 19th century. This book brings a fresh approach to the struggle, in both art and politics, between the established order and the forces of change." --from cover.

Sources and Documents

Realism and Tradition in Art, 1848-1900

Essays discuss Courbet, Pissarro, Manet, Van Gogh, Degas, and the Dreyfus Affair, Seurat, and the portrayal of the Orient

Essays On Nineteenth-century Art And Society

The Politics Of Vision

Women--as warriors, workers, mothers, lovers--haunt nineteenth and twentieth-century Western painting. This republication of Representing Women brings together the late Linda Nochlin's most important and pioneering writings on the representation of women in art as she considers works by Jean-Francois Millet, Eugene Delacroix, Gustave Courbet, Edgar Degas, Georges Seurat, Mary Cassatt, and Kathe Kollwitz, among many others. In a riveting, partly autobiographical introduction, Nochlin argues for the honest virtues of an art history that rejects methodological presuppositions and for art historians to investigate the work before their eyes while focusing on its subject matter, informed by a sensitivity to its feminist spirit.

Representing Women

A text taken from the Walter Neurath Memorial Lecture. The origins and developments of what is perhaps the essential characteristic of modern art - the fragmented image - is traced in this book. Works ranging from the Neo-classical movement to the present day are illustrated and analyzed.

The Fragment as a Metaphor of Modernity

The Body in Pieces

Thomas B. Hess

Edmonton Art Gallery

Woman as Sex Object : Studies in Erotic Art, 1730-1970, Edited by Thomas B. Hess and Linda Nochlin

Ann Sutherland Harris

Presents a survey of major women painters from the Renaissance period to the present.

Women Artists, 1550-1950

Henry A. Millon

Art and Architecture in the Service of Politics

Christopher Lyon

Christina Hunter

This exhibition catalogue marks the 20th anniversary of the death of American artist Nancy Graves (1939-1995), featuring work from the first half of her career, from 1969 to 1982. In 1969, Graves became internationally recognized as the first female artist to receive a solo retrospective at the Whitney Museum in New York City. It was at this exhibition that her now iconic series Camels was first displayed--a collection of three larger-than-life camels made from animal hides, burlap, wax and fiberglass. Graves, filled with curiosity about the natural world, continued to work with the image of these majestic and mysterious creatures. In 1970, she fabricated steel camel skeletons for Inside-Outside, and in the same year, she captured them in their natural habitat in the Sahara for her rarely exhibited film Izy Boukir. Alongside the artist's sculptures and films, this publication also includes her large-scale watercolors and pointillist-style canvases.

Nancy Graves

Ken Aptekar

Harold Aram Veeser

Dana Self

Ken Aptekar's paintings examine Jewishness, masculinity, autobiography, identity, and the slippery history of art. By appropriating paintings from Western art history, repainting them on wood panels, and covering them with sandblasted texts that include witty and poignant autobiography, Aptekar amplifies and extends art history's discursive dialogue.This volume examines this mid-career artist's work for the past ten years, unravelling the stories that knit together the narrative character of Aptekar's work. Over the past ten years, Aptekar's text-on-glass has changed from a single word or short phrases to anecdotes exploring the myriad guises that constitute a complex individual. Stories of his family and solicited responses from viewers merge with the histories embedded in the images Aptekar uses as source paintings. Aptekar lives in New York City and Paris.Juxtaposing compelling narrative with imagery borrowed from art history's most-established and revered figures, Aptekar creates emotionally intimate, yet broadly accessible paintings. Aptekar's confessional colloquy with artists such as Rembrandt, El Greco, Manet, and Boucher; his family, museum-goers, and himself, provides the paintings' personal and emotional plenitude that expands the domain of interpretive possibilities.

Painting Between the Lines, 1990-2000

Noriko Fuku

Christopher Joel Phillips

Published in conjunction with an exhibition organized for the International Center of Photography, New York, and held there May 15-Sept. 7, 2008.

Recent Photography and Video from Japan

Heavy Light

Andy Warhol

Andy Warhol Nudes

Whitney Museum of American Art

Elisabeth Sussman

Barbara J. Bloemink

The American artist Florine Stettheimer. although little known today, is considered to have had a significant influence on the development of modernism in 20th-century American art. The paintings she produced after World War I and before her death in 1944, have been described by art historian Linda Nochlin as rococo subversive. In elegant, refined images, Stettheimer developed a vanguard approach not only to such traditional genres as portraiture, but to fundamental concepts of time-space continuity.

Linda Nochlin

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