Jump to content

User:AmandaEHamilton/Linda Nochlin: Difference between revisions

From Wikipedia, the free encyclopedia
Content deleted Content added
 
(18 intermediate revisions by the same user not shown)
Line 1: Line 1:
== Contributions ==
== Contributions ==

Nochlin’s essay [[Why Have There Been No Great Women Artists?|“Why Have There Been No Great Women Artists?”]] has not only impacted the way we view feminist art, but also how we view women’s recognition in other career areas. Nochlin’s article inspired the essay “[https://www.jstor.org/stable/10.1525/gfc.2010.10.1.24 Why Have There Been No Great Women Chefs?]” by Charlotte Druckman, in which the author analyzes the terms ''cook'' and [[Chef|''chef'']], and how each one is attributed to an individual based on their [[gender]].
=== Global Feminisms ===
In March 2007, Nochlin co-curated the feminist art exhibition [[Global Feminisms]] alongside Dr. Maura Reilly at the [[Elizabeth A. Sackler Center for Feminist Art]] at the [[Brooklyn Museum]], [[New York City]], [[United States]].<ref>{{Cite web|last=|first=|date=|title=Brooklyn Museum: Global Feminisms|url=https://www.brooklynmuseum.org/exhibitions/global_feminisms/|url-status=live|archive-url=|archive-date=|access-date=|website=}}</ref> It was the first international exhibition that was exclusively dedicated to feminist art, and it featured works from approximately eighty-eight women artists from around the world. The exhibit featured art in all forms of [[List of art media|media]], such as [[photography]], [[video]], [[performance]], [[painting]] and [[sculpture]]. The goal of the exhibit was to move beyond the dominating brand of Western [[feminism]], and instead showcase different understandings of feminism and feminist art from a global perspective.<ref>{{Cite web|last=Reilly|first=Maura|date=2007|title=Global Feminisms|url=http://www.maurareilly.com/exhibitions/2007globalfeminisms.html|url-status=live|archive-url=|archive-date=|access-date=Nov 24, 2020|website=Maura Reilly}}</ref>

=== Women Artists: 1550-1950 ===
Alongside [[Global Feminisms]], Nochlin also co-curated [[Women Artists: 1550-1950]], the first international art exhibition created solely by female artists on December 21, 1976. It debuted eighty-three artists from 12 countries, and contained roughly 150 European American paintings.<ref>{{Cite web|last=|first=|date=September 12, 1977|title=Women Artists: 1550-1950|url=https://www.brooklynmuseum.org/opencollection/exhibitions/950|url-status=live|archive-url=|archive-date=|access-date=December 1, 2020|website=Brooklyn Museum}}</ref> In the exhibition catalogue, [[Ann Sutherland Harris|Dr. Ann Sutherland Harris]] and Dr. Linda Nochlin stated “Our intention in assembling these works by European and American women artists active from 1550 to 1950 is to make more widely known the achievements of some fine artists whose neglect can in part be attributed to their sex and to learn more about why and how women artists first emerged as rare exceptions in the sixteenth century and gradually became more numerous until they were a largely accepted part of the cultural scene.”<ref>Women Artists: 1550-1950, by Ann Sutherland Harris and Linda Nochlin; 368 pp.; 204 photographs, 32 in full colour; catalog, artists’ bibliographies, general bibliography, index. Published by the Los Angeles County Museum of Art and Alfred A. Knopf, N.Y., 1976. Available at The Brooklyn Museum bookstore, $6.95.</ref> As a four-city exhibition, it was originally located at the [[Los Angeles County Museum of Art]] in [[Los Angeles]], [[California]], [[United States]]. It was then moved and displayed at the [[Jack S. Blanton Museum of Art]] at the [[University of Texas at Austin|University of Texas]] in [[Austin, Texas]]. It then continued its journey and was displayed at the [[Carnegie Museum of Art]] in [[Pittsburgh]], [[Pennsylvania]], and completed the exhibition at the [[Brooklyn Museum]] in [[New York City]], the same place [[Global Feminisms]] was displayed.<ref>{{Cite journal|last=Walch|first=Peter|date=1977|title=Reviews: Women Artists: 1550-1950|url=https://www.jstor.org/stable/776090|journal=Art Journal|volume=36|pages=327-328|via=JSTOR}}</ref>

=== Representing Women ===
In "Memoirs of an Ad Hoc Art Historian," which is the introduction to Nochlin's book of essays ''Representing Women'', Nochlin examines the representation of women in [[Nineteenth-Century Art Worldwide|nineteenth-century art]] and the ways in which the ad hoc [[methodology]] is at play, as she writes, "What I am questioning is the possibility of a single methodology—[[Empirical research|empirical]], [[theoretical]], or both, or neither—which is guaranteed to work in every case, a kind of methodological Vaseline which lubricates an entry into the problem and ensures a smooth, perfect outcome every time" and "[Although] the 'methodology' of these pieces might be described as ad hoc in the extreme, the political nature of this project is far from ad hoc because there is a pre-existing ethical issue at stake which lies at the heart of the undertaking: the issue of women and their representation in art".<ref>{{Cite book|last=Nochlin|first=Linda|title=Representing Women|publisher=Thames & Hudson|year=1999|isbn=0500280983|location=London|pages=7-33}}</ref> Here Nochlin is looking at the [[Intersectionality|intersection]] of the self and history between the middle of the 18th century and the early decades of the 20th, as she analyzes the different ways artists portray women and how these portrayals are representatives of their gender.<ref>{{Cite web|last=Delgado|first=Anjanette|date=May 21, 2019|title=Representing Women|url=https://www.nyjournalofbooks.com/book-review/representing-women|url-status=live|archive-url=|archive-date=|access-date=November 30, 2020|website=New York Journal of Books}}</ref>

=== Lost and ''Found'': Once More the Fallen Woman ===
In March 1978, Nochlin looked at the sexual asymmetry of the word "fallen" and how it is used in regards of gender. For men, it depicts an act of [[Hero|heroism]], but for women the term is applied much more negatively and is understood in terms of any [[Human sexual activity|sexual activity]] that is performed out of [[Marriage|wedlock]]. The same differentiation appears in art as well, as fallen in a [[Masculinity|masculine]] sense inspired [[Sculpture|sculptural monuments]], versus fallen in a [[Femininity|feminine]] sense struck fascination of nineteenth-century artists.<ref>{{Cite journal|last=Nochlin|first=Linda|date=March 1978|title=Lost and Found: Once More the Fallen Woman|url=https://www.jstor.org/stable/3049751|journal=The Art Bulletin|volume=60|pages=139-153|via=JSTOR}}</ref> This fascination with the theme of fallen women can be said to have inspired some of the works by [[Dante Gabriel Rossetti]], where he devoted a number of [[Poetry|poems]] and [[Image|pictorial works]] to the subject, which resulted in his most notable work: the painting ''[[Found (Rossetti)|Found]].''<ref>{{Cite web|last=Laurent|first=Beatruce|date=Fall 2006|title=Hidden Iconography in Found by Dante Gabriel Rossetti|url=http://www.victorianweb.org/painting/dgr/paintings/laurent.html|url-status=live|archive-url=|archive-date=|access-date=November 25, 2020|website=The Victorian Web}}</ref>

=== Why Have There Been No Great Women Chefs? ===
Nochlin’s essay [[Why Have There Been No Great Women Artists?|“Why Have There Been No Great Women Artists?”]] not only impacted the way we view [[feminist art]], but it has also impacted how we view women’s recognition in other [[Career|careers]]. Nochlin’s work inspired the essay “[https://www.jstor.org/stable/10.1525/gfc.2010.10.1.24 Why Have There Been No Great Women Chefs?]” by Charlotte Druckman, in which the author analyzes the terms ''cook'' and [[Chef|''chef'']], and how each one is attributed to an individual based on their [[gender]]. A ''cook'' is often associated with a woman whereas a ''[[chef]]'' is associated with a man. Druckman argues that "In theory, we’ve come a long way from the notion that a woman’s place is in the [[Domestic worker|domestic]] kitchen, and that the only kitchen appropriate for a man is the [[professional]] one. But in practice, things can be pared down to the following equation: ''woman : man as cook : chef''." <ref name=":0">{{Cite journal|last=Druckman|first=Charlotte|date=February 5, 2010|title=Why Are There No Great Women Chefs?|url=https://www.jstor.org/stable/10.1525/gfc.2010.10.1.24|journal=Gastronomica|volume=10|pages=24-31|via=JSTOR}}</ref> By using Nochlin's argument in "[[Why Have There Been No Great Women Artists?]]", Druckman follows in her footsteps by arguing "It becomes clear that we need to ask not why these semantic nuances exist but where they come from, and whether we might be complicit in perpetuating them."<ref name=":0" />

== Notes ==
{{Reflist|}}

Latest revision as of 21:13, 1 December 2020

Contributions

[edit]

Global Feminisms

[edit]

In March 2007, Nochlin co-curated the feminist art exhibition Global Feminisms alongside Dr. Maura Reilly at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, New York City, United States.[1] It was the first international exhibition that was exclusively dedicated to feminist art, and it featured works from approximately eighty-eight women artists from around the world. The exhibit featured art in all forms of media, such as photography, video, performance, painting and sculpture. The goal of the exhibit was to move beyond the dominating brand of Western feminism, and instead showcase different understandings of feminism and feminist art from a global perspective.[2]

Women Artists: 1550-1950

[edit]

Alongside Global Feminisms, Nochlin also co-curated Women Artists: 1550-1950, the first international art exhibition created solely by female artists on December 21, 1976. It debuted eighty-three artists from 12 countries, and contained roughly 150 European American paintings.[3] In the exhibition catalogue, Dr. Ann Sutherland Harris and Dr. Linda Nochlin stated “Our intention in assembling these works by European and American women artists active from 1550 to 1950 is to make more widely known the achievements of some fine artists whose neglect can in part be attributed to their sex and to learn more about why and how women artists first emerged as rare exceptions in the sixteenth century and gradually became more numerous until they were a largely accepted part of the cultural scene.”[4] As a four-city exhibition, it was originally located at the Los Angeles County Museum of Art in Los Angeles, California, United States. It was then moved and displayed at the Jack S. Blanton Museum of Art at the University of Texas in Austin, Texas. It then continued its journey and was displayed at the Carnegie Museum of Art in Pittsburgh, Pennsylvania, and completed the exhibition at the Brooklyn Museum in New York City, the same place Global Feminisms was displayed.[5]

Representing Women

[edit]

In "Memoirs of an Ad Hoc Art Historian," which is the introduction to Nochlin's book of essays Representing Women, Nochlin examines the representation of women in nineteenth-century art and the ways in which the ad hoc methodology is at play, as she writes, "What I am questioning is the possibility of a single methodology—empirical, theoretical, or both, or neither—which is guaranteed to work in every case, a kind of methodological Vaseline which lubricates an entry into the problem and ensures a smooth, perfect outcome every time" and "[Although] the 'methodology' of these pieces might be described as ad hoc in the extreme, the political nature of this project is far from ad hoc because there is a pre-existing ethical issue at stake which lies at the heart of the undertaking: the issue of women and their representation in art".[6] Here Nochlin is looking at the intersection of the self and history between the middle of the 18th century and the early decades of the 20th, as she analyzes the different ways artists portray women and how these portrayals are representatives of their gender.[7]

Lost and Found: Once More the Fallen Woman

[edit]

In March 1978, Nochlin looked at the sexual asymmetry of the word "fallen" and how it is used in regards of gender. For men, it depicts an act of heroism, but for women the term is applied much more negatively and is understood in terms of any sexual activity that is performed out of wedlock. The same differentiation appears in art as well, as fallen in a masculine sense inspired sculptural monuments, versus fallen in a feminine sense struck fascination of nineteenth-century artists.[8] This fascination with the theme of fallen women can be said to have inspired some of the works by Dante Gabriel Rossetti, where he devoted a number of poems and pictorial works to the subject, which resulted in his most notable work: the painting Found.[9]

Why Have There Been No Great Women Chefs?

[edit]

Nochlin’s essay “Why Have There Been No Great Women Artists?” not only impacted the way we view feminist art, but it has also impacted how we view women’s recognition in other careers. Nochlin’s work inspired the essay “Why Have There Been No Great Women Chefs?” by Charlotte Druckman, in which the author analyzes the terms cook and chef, and how each one is attributed to an individual based on their gender. A cook is often associated with a woman whereas a chef is associated with a man. Druckman argues that "In theory, we’ve come a long way from the notion that a woman’s place is in the domestic kitchen, and that the only kitchen appropriate for a man is the professional one. But in practice, things can be pared down to the following equation: woman : man as cook : chef." [10] By using Nochlin's argument in "Why Have There Been No Great Women Artists?", Druckman follows in her footsteps by arguing "It becomes clear that we need to ask not why these semantic nuances exist but where they come from, and whether we might be complicit in perpetuating them."[10]

Notes

[edit]
  1. ^ "Brooklyn Museum: Global Feminisms".{{cite web}}: CS1 maint: url-status (link)
  2. ^ Reilly, Maura (2007). "Global Feminisms". Maura Reilly. Retrieved Nov 24, 2020.{{cite web}}: CS1 maint: url-status (link)
  3. ^ "Women Artists: 1550-1950". Brooklyn Museum. September 12, 1977. Retrieved December 1, 2020.{{cite web}}: CS1 maint: url-status (link)
  4. ^ Women Artists: 1550-1950, by Ann Sutherland Harris and Linda Nochlin; 368 pp.; 204 photographs, 32 in full colour; catalog, artists’ bibliographies, general bibliography, index. Published by the Los Angeles County Museum of Art and Alfred A. Knopf, N.Y., 1976. Available at The Brooklyn Museum bookstore, $6.95.
  5. ^ Walch, Peter (1977). "Reviews: Women Artists: 1550-1950". Art Journal. 36: 327–328 – via JSTOR.
  6. ^ Nochlin, Linda (1999). Representing Women. London: Thames & Hudson. pp. 7–33. ISBN 0500280983.
  7. ^ Delgado, Anjanette (May 21, 2019). "Representing Women". New York Journal of Books. Retrieved November 30, 2020.{{cite web}}: CS1 maint: url-status (link)
  8. ^ Nochlin, Linda (March 1978). "Lost and Found: Once More the Fallen Woman". The Art Bulletin. 60: 139–153 – via JSTOR.
  9. ^ Laurent, Beatruce (Fall 2006). "Hidden Iconography in Found by Dante Gabriel Rossetti". The Victorian Web. Retrieved November 25, 2020.{{cite web}}: CS1 maint: url-status (link)
  10. ^ a b Druckman, Charlotte (February 5, 2010). "Why Are There No Great Women Chefs?". Gastronomica. 10: 24–31 – via JSTOR.