To fully appreciate the diversity of women’s contribution, she explained, we need to dispel the “naïve idea that art is the direct, personal expression of individual emotional experience.” Instead of simply rebalancing the canon by spotlighting neglected female artists, Nochlin advocated a complete reexamination of the social and economic conditions of cultural production, discourse and taste. On the 50th anniversary of its detonation into the art establishment, the republication of Linda Nochlin’s Why Have There Been No Great Women Artists? might be met with the reasonable question of “Why now?” In bringing this landmark essay back into the spotlight, one can assume that it has something to tell us about our current moment.įirst published in Art News while she was teaching her Women and Art class at Vassar College, New York, Nochlin takes aim not just at the art historical hierarchy, but the environment which continued to produce such generalised, dismissive questions around women’s creative capacity-of which Nochlin’s title is the tongue-in-cheek epitome. 1787 © Metropolitan Museum of Arts / Wikimedia Commons Elisabeth Vigée-Lebrun, The Artist’s Daughter, c.
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