her companion piece ππ‘π’π«ππ² ππππ«π¬ πππππ« is also included in this edition where she covers contemporary feminist art, queer theory, & post colonial studies while discussing the current state of women & art.
throughout the essay she convincingly dismantles assumptions about male-centric art & lays out the obstacles preventing women from succeeding in the arts. she notes that (paraphrasing here) to be deprived of training was to be deprived of the possibility of creating major art works. i enjoyed it most when nochlin examined the institutional exclusion of women artists. it's a major work of feminist art history & cause of paradigm shift in art scholarship. This was first published in ARTnews as an essay in 1971 & still relevant (because structural + systemic discrimination). The miracle is, in fact, that given the overwhelming odds against women, or Blacks, that so many of both have managed to achieve so much sheer excellence, in those bailiwicks of white masculine prerogative like science, art, or the arts. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education understood to include everything that happens to us from the moment we enter this world of meaningful symbols, signs, and signals. In her conclusion, she states: "I have tried to deal with one of the perennial questions used to challenge women's demand for true, rather than token, equality by examining the whole erroneous intellectual substructure upon which the question "Why have there been no great women artists?" is based by questioning the validity of the formulation of so-called problems in general and the "problem" of women specifically and then, by probing some of the limitations of the discipline of art history itself."
She divides her argument into several sections, the first of which takes on the assumptions implicit in the essay's title, followed by "The Question of the Nude," "The Lady's Accomplishment," "Successes," and "Rosa Bonheur." In her introduction, she acknowledges "the recent upsurge of feminist activity" in America as a condition for her interrogation of the ideological foundations of art history, while also invoking John Stuart Mill's suggestion that "we tend to accept whatever is as natural". In this essay, Nochlin explores the institutional β as opposed to the individual β obstacles that have prevented women in the West from succeeding in the arts. It is considered a pioneering essay for both feminist art history and feminist art theory.
"Why Have There Been No Great Women Artists?" is a 1971 essay by American art historian Linda Nochlin.
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