Which, to her mind, was just as it should be. In other words, feminist art historians were being accused, she wrote, of undermining the ideological and esthetic biases of the male-dominated discipline. There is still resistance to the more radical varieties of feminist critique in the visual arts, and its practitioners accused of such sins as neglecting the issue of quality, destroying the canon, scanting the innately visual dimension of the artwork, and reducing art to the circumstances of its production…” Thirty-five years later, writing in an essay in Women Artists at the Millennium, she noted that great changes had occurred in art and the study of art, but she was far from complacent.įeminist art history had entered the mainstream in “the work of the best scholars, as an integral part of a new, more theoretically grounded and socially and psychoanalytically contextualized historical practice,” but it was far from fully accepted, Nochlin wrote in this 2006 essay “Why Have There Been No Great Women Artists? Thirty Years After”: In 1971, Linda Nochlin wrote her groundbreaking ARTnews essay “Why Have There Been No Great Women Artists?” as a manifesto of the new feminist art history, challenging millenniums of art-field tyranny by males.
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