英文原版 Why Have There Been No Great Women Artists? 为什么没有伟大的女性艺术家50周年纪念版 艺术历史 mobi 下载 网盘 caj lrf pdf txt 阿里云

Linda Nochlin’s 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 assumpti*** 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 as not merely a moral failure, but an intellectual one. Freedom, as she sees it, requires women to risk entirely demolishing the art world’s instituti***, and rebuilding them anew – in othe***ords, to leap into the unknown.

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 w*** 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 collecti***. In the 2020s, at a time when ‘certain patriarchal values are *** 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’.

Introduction by Catherine Grant

1.Why Have There Been No Great Women Artists?

2.“Why Have There Been No Great Women Artists?” Thirty Years After

Notes

Further Reading

Linda Nochlin (1931–2017), described in the Guardian as ‘a trailblazer to the end’, was Lila Acheson Wallace Professor Emerita of Modern Art at the New York University Institute of the Fine Arts. She wrote extensively on issues of gender in art history and on 19thcentury Realism. Her numerous publicati*** include Women, Art and Power; Representing Women; Courbet and Misère.

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书籍介绍

Linda Nochlin’s 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 assumpti*** 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 as not merely a moral failure, but an intellectual one. Freedom, as she sees it, requires women to risk entirely demolishing the art world’s instituti***, and rebuilding them anew – in othe***ords, to leap into the unknown.

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 w*** 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 collecti***. In the 2020s, at a time when ‘certain patriarchal values are *** 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’.