In this extensive interview from a year before the pioneering feminist art historian passed away, she shares her thoughts on women in the art world, particularly during the Abstract Expressionist movement.
Linda Nochlin, who passed away on Sunday at 86 years old, reconfigured not just the art world, but seemingly all areas of culture.
Published after her death, this succinct volume draws important art historical connections pointing to longstanding struggles with depictions of misery.
With the hashtag #5WomenArtists, the National Museum of Women in the Arts is leading the charge in sharing stories and works by women artists.
The title of Great Women Artists is complete with a strikethrough across “women,” to indicate that the artists within are “great artists” regardless of gender. Visually, it’s arresting, but its intention is murky.
Ruth Asawa, Anni Albers, and others first experimented with printmaking at June Wayne’s Tamarind Lithography Workshop.
Partly thanks to Carriera’s skill and clever marketing, pastel portraits became one of the most popular art forms of the Rococo era.
The art historian Mary Garrard’s lively account of Artemisia Gentileschi is timely in its exploration of her art which was composed of anger, accusation, and even humor.
The public letter criticizes “an art world that upholds inherited power structures at the cost of ethical behavior.”
This week, Louvre’s Nazi loot, gender imbalance in the art world, Linda Nochlin and the female gaze, Amazon’s welfare scam, the future of Canadian art catalogues, and more.
The New York Public Library just released a iPhone and Android app that lets anyone with a library card freely download any of the 300,000 eBooks in its collection.
First published in ARTnews in 1971, Nochlin’s essay is considered to be one of the first major works of feminist art history.