Why Have There Been No Great Women Artists? pdf snb 115盘 kindle 在线 下载 pmlz mobi

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 assumptions 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 institutions, and rebuilding them anew – in other words, 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 whole 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 collections. In the 2020s, at a time when ‘certain patriarchal values are making 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 publications include Women, Art and Power; Representing Women; Courbet and Misère.

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……艺术史关于历史上缺乏伟大的女艺术家的结论是错误的。但是，对这个职业来说，这就是一个启示，它造就了一代又一代的女性主义艺术史学家（包括男性和女性），他们开始发掘历史，并在这方面发起了一场革命。这场革命至今仍然在进行。

——朱迪・芝加哥（Judy Chicago）

琳达·诺克林最初发表于1971年的论文《为什么没有伟大的女艺术家》为女性主义艺术史奠定了基础。她深刻地批评了认为“伟大”是一种与生俱来的品质的观点，并探索了女性艺术家是如何成功地抵抗体制的排斥和社会不平等的，这种观点到今天仍然至关重要。正如许多评论家所探讨的那样，“女艺术家”一词与“伟大的艺术家”一词一样，都是一种历史建构。对女艺术家的关注使我们对艺术史的意识形态进行更广泛的批评成为可能。在诺克林写作的时代，这种批评常常掩盖了赋予伟大、天才和成功的基础。正如诺克林所指出的，在大多数学科中那些所谓的学者中立地位实际上是“被视为天经地义的白人男性立场”。接着，她详细地分析了那些“‘不幸’没有生为白人，尤其是中产阶级，更重要的是——男性——的艺术家”。她的结论和对于进一步探索的提议到今天仍然是有启迪意义的。

在这篇序言中，我将论证诺克林的批判性分析揭示了艺术和艺术史中仍然难以撼动的臆断。我将总结她文章的重要观点，并结合本书第二篇收录的其发表于2001年的文章，将它门放置在诺克林自己对这项基础性工作的看法的语境中进行讨论，最后，以思索今日女性主义艺术史还需要什么作为结尾。

这句话并没有出现在再版中，但它指出了诺克林论点中的一个关键：这个标题是一个“愚蠢的问题”。在文章中，她警示说，不要只看到这个问题的表面，而是要质疑它的假设。这就出了她的中心论点，即创造力是通过制度和教育来支持和培养的，而不是天赋或才能等难以解释的来源。为了阐明她的观点，她要求读者从另一类人——贵族阶层的角度重新考虑这个问题。……

20世纪70年代早期以来，围绕种族、阶级、民族和性别的讨论仍然是一个急需更多从女性主义政治及艺术史视角出发进行研究的领域。诺克林1971年的论文标题经常被化用，比如爱丽莎·斯登伯克（Eliza Steinbock）在最近一篇文章中提问道：“为什么没有伟大的跨性别艺术家？”在20世纪70年代，像诺克林、波洛克和其他女性主义艺术史研究先锋都讲述了他们曾进入画廊和博物馆的库房寻找女艺术家作品的经历，而这些作品已经有几十年没有被展出过了。这与近年来发掘有色人种艺术家作品的研究同时进行，比如由“黑人艺术家和现代主义”项目创立的数据库，通过一次对英国“公共收藏中的黑人艺术家作品”进行审计展开。最近统计的女性主义艺术史出版物显示一系列全球化和跨国的视野，但这项研究还远未建成。不过，一个由女性主义艺术史学家和艺术家组成的强有力的团体已经出现，他们正以始于20世纪70年代的艺术史批评遗产为基础，进一步展开研究。

她还对男性英雄主义提出了警告，她认为，这种男性英雄主义正在艺术、政治和文化领域里回归这种回归在今天仍然存在。面对这种情况，对50年后的读者来说，诺克林对这群早期女性主义研究者的描述仍至关重要。所有致力于书写女性主义艺术史和创作女性主义艺术这项持续、多样、交叉及不断发展的事业的人，应继续把自己视为“发明者和探索者”，继续提出问题，拥抱“制造麻烦”。

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 assumptions 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 institutions, and rebuilding them anew – in other words, 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 whole 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 collections. In the 2020s, at a time when ‘certain patriarchal values are making 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’.