User:AmandaEHamilton/Linda Nochlin: Difference between revisions
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== Contributions == |
== Contributions == |
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==== Why Have There Been No Great Women Chefs? ==== |
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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 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.<ref>{{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?]]", we can analyze where these nuances come from and how they are perpetuated in day-to-day living. |
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 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.<ref>{{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?]]", we can analyze where these nuances come from and how they are perpetuated in day-to-day living. |
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===== Global Feminisms ===== |
===== Global Feminisms ===== |
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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> |
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> |
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====== Lost and ''Found'': Once More the Fallen Woman ====== |
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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 is 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 was undertaken by [[Dante Gabriel Rossetti]] where he devoted a number of [[Poetry|poems]] and [[Image|pictorial works]] to Nochlin's analysis.<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> |
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====== Of Self and History: Exchanges with Linda Nochlin ====== |
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== Notes == |
== Notes == |
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Revision as of 17:58, 25 November 2020
Contributions
Why Have There Been No Great Women Chefs?
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.[1] By using Nochlin's argument in "Why Have There Been No Great Women Artists?", we can analyze where these nuances come from and how they are perpetuated in day-to-day living.
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.[2] 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. [3]
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 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 is inspired sculptural monuments, versus fallen in a feminine sense struck fascination of nineteenth-century artists.[4] This was undertaken by Dante Gabriel Rossetti where he devoted a number of poems and pictorial works to Nochlin's analysis.[5]
Of Self and History: Exchanges with Linda Nochlin
Notes
- ^ Druckman, Charlotte (February 5, 2010). "Why Are There No Great Women Chefs?". Gastronomica. 10: 24–31 – via JSTOR.
- ^ "Brooklyn Museum: Global Feminisms".
{{cite web}}: CS1 maint: url-status (link) - ^ Reilly, Maura (2007). "Global Feminisms". Maura Reilly. Retrieved Nov 24, 2020.
{{cite web}}: CS1 maint: url-status (link) - ^ Nochlin, Linda (March 1978). "Lost and Found: Once More the Fallen Woman". The Art Bulletin. 60: 139–153 – via JSTOR.
- ^ 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)