why have there been no great women artists citation

Restoring women artists' professional identities and their works to the historical record also provides the necessary grounding on which more complex forms of intervention in the field of feminist art history can be built.Īnother established methodology that feminist art historians have applied to forward both traditional and new goals is iconographic analysis, the study of traditional symbolic references. These methodologies reiterate early feminist efforts to reshape the dominant canon of 'great artists' by establishing evidence that a wide spectrum of participant artists, including women, have contributed to the creation of many kinds of art at many levels. Some feminist scholars continue to employ traditional biographic approaches to facilitate the rediscovery and recuperation of 'lost' or underestimated women artists.

Recent studies, appearing as articles, anthologized essays, book-length texts, and now on the Web, reveal both traditional and innovative strategies for assessing how concepts of gender difference have shaped both the production and interpretation of visual art. This is amply demonstrated by the ever-expanding list of new publications within all areas of the discipline.

AS LINDA NOCHLIN HOPED when she wrote her pathbreaking essay, 'Why Have There Been No Great Women Artists?' in 1971, the impact of feminism on the histories of art written during the ensuing decades has been enormous.

Why have there been no great women artists citation