Response to the Article, “Why Have There Been No Great Women Artists?”

Throughout this course, we learned that women’s studies originated as a concern at the time that “women and men noticed the absence, misrepresentation, and trivialization of women [in addition to] the ways women were systematically excluded from many positions of power and authority” (Shaw, Lee 1). In the past, men had more privileges than women. Women have battled for centuries against certain patterns of inadequacy that all women experience. Every culture and customs has divergent female

Throughout History, women have been permanently oppressed and treated as subordinate to men. They have been considered mentally weak and biologically inferior. The power of their opinion has been limited and in many situations ignored, being condemned to live in that condition for several years. Therefore, we can conclude that the only responsible for strengthening this characterization of women’s inferiority is our society.

If she stays true to this ideal, then she cannot find time to do anything beyond the walls of her house. Ultimately, Nochlin highlights external influences as the reasons behind the lack of great women artists. The problem is within the system itself, not within the individual. Another effort to answer the question suggests changing the ground somewhat and asserting, as some modern feminists do. That there is a distinct kind of greatness for women's art, thereby assuming the presence of a characteristic and recognizable feminine style, distinctive both in its formal and its strong qualities and based on the distinctive character of women's situation and experience. There are no great women artists because women are incapable of greatness. Nochlin says that society often restricts women and their freedom to live life and learn freely. It is said that drawing nude models is one of the most difficult tasks in art. So if women were denied to even try such a challenge, then how can they excel as

The question “Why have there been no great women artists?” has been debated since the 1970’s, when historian Linda Nochlin released her book of a similar name. In the decades that have followed, the number of women pursuing education and

On the same token, women face unique challenges that throughout their different life stages that places them into the Special Population group when compared to men. Women still face challenges today in areas of social, economic, sports, political and cultural despite the fact that there has been success in empowering women and shattering the glass ceiling for employment promotions. They live 7 years longer than men, make up majority of the world’s population but yet they are greatly ignored. Some women are subjected to part time jobs and lower wage position than their male counterparts. Likewise, women face ageism and sexism in the media on the average profile of a woman.

Modernity and the Spaces of Femininity was written by Griselda Pollock in 1988, and later published in The Expanding Disclosure in 1992. Griselda Pollock is an art historian, and writes this article for fellow art historians. This is an article written to show the different approaches to femininity in the late 19th century, mainly dealing with the field of art. This article shows how during this time period there were women artists, but due to the gendered ruled ideas attached to art history, these women are largely ignored by art historians. Pollock thought that these women artists are primarily overlooked due to the fact that they are judged by the same standards that are affixed to the work of their male counterparts. But she argues

(Millhouse, 2011) In the 1980’s Pollock’s Feminism “critiqued the essential myths of individualism, the artist, and the social constructions of femininity and masculinity that define bourgeois culture”. While the 70’s feminism movement aim was to stand next to the existing masculine dominated culture. “Feminism's encounter with the canon has been complexed and many-leveled: political ,ideology,mythological,methodological and psycho-symbolic” (Pollock, 1999). The 1970’s movement was followed by the immediate task which was “the need to rectify the gaps in historical knowledge created by the consistent omission of women of all cultures from the history of art” (Pollock, 1999). The only art that was put on display was significantly male dominated work, if you wanted to see work created by women, you would have to view them “in a basement or storeroom of a national gallery” (Pollock, 1999). Female artists are only known in their own category of female artists while male artists don’t require a separate category . Art that is created by females have been historically dismissed from the art historical canon as craft, as opposed to fine art. The evident of

In the twenty first century there are a few men in this world that admits when you think of artist, you don’t typically think of women. Women rights and racism play a strong role when it comes to African American female artist. For decades’ African American woman have always had a permanent double bull’s eye on their back. Their skin and gender was their worst enemy. In the 1700 century women rights movements started to rise. But if you look up women right movements starting in the 1700 century, the face of women rights is predominantly white women. Between books and the internet, they show that it was mostly white women who helped woman rights. If we still struggle to shine light on African American Women now in the 21st century, you cannot

Have you ever been told you couldn’t do something because of who you were? Have you ever felt inferior to someone else for something that was out of your control? Women have always rebelled against their traditional role in society. An illustration of this is how women have succeeded in a male dominated field such as science. We today have evolved greatly socially from the periods of ancient greece, Renaissance Europe and 1930s America. The literary pieces, The Odyssey, Romeo and Juliet, and To Kill a Mockingbird help show what roles each gender has been playing across antiquity. Women have been suppressed throughout history being thought to be the inferior gender.

Since Georgia O’Keeffe defines Albert Stieglitz as this woman artist’s source of talent, it also derives how her painting should be interpreted from him. Both fictionalized and real Mr. Stieglitz perceive O’Keeffe’s art in the same manner, which is in psycho-analytic terms. As a result, Georgia O’Keeffe’s paintings are understood as being interconnected with her gender. In the television film, Stieglitz makes one critic declare, “Her great, painful, ecstatic climaxes makes us, at last, to know that when women feel strongly, they feel through the womb. They paint through the womb. Images of O’Keeffe’s flower paintings are presented alongside art critics’ comments like this and reinforces the concept that they illustrate the female genitals.

Have you ever looked at a piece of art and wondered how it could be based on real life, because it was just so beautiful? Well Elisabeth Vigee Le Brun was able to paint in such new and exciting ways; people were left wondering just this. Elisabeth Vigee Le Brun was a woman of many talents. In her life time she came up with new ways of painting, revolutionized fashion in France, and overcame any prejudice thinking because she was a woman. Before dying at the age of eighty-seven, she had gained the respect of women and men all across the world. Being a female artist in the eighteenth century was not easy, especially when you had to keep a career and your life together during the

The study of why women artists have systematically been erased from history and why currently the exhibition of women's art is not valued as much as the male artists' continues. There have been many theories behind the eradication of women artists from history. At the beginning of the Women's Liberation Movement, an art historian by the name of Linda Nochlin published an article called, "Why have there been no great women artists?" In here article, she addressed her own question offering one of the first consciously feminist challenges to the established canons of art history. Her query proved to be a rallying cry for women artists in the fervent days of the Women's Liberation movement and offered fragments of a manifesto to women artists, and others, intent on reexamining and ultimately restructuring the discipline (Morse, 1992). Nochlin argues that contemporary feminists contend that there is a different "greatness" between men's art and women's art. This view of art undermines the general discipline. It categorizes its value in order to give it a higher classification among gender. Many women are trying to delve back into history and recapture any trace of artistic women in order to document and arrange their

In the today’s society, it may appear that women’s rights have been propelled forward by equal opportunity sanctions. However, taking a more concise look at different spectrums, such as the art world, it appears that many women are still being snubbed despite their artistic abilities. In

Feminist art sought to elicit a response from its audience in order to get people to acknowledge and discuss feminist issues so that society as a whole could move toward change. By challenging the norms of patriarchal structure – not only within the art community but in everyday life as well – feminist art worked in parallel with the core objectives of feminism. A key component of feminism is confronting the oppression of women, and feminist artists addressed this in many forms, one of which was bringing light to violence perpetrated against women. This theme in feminist art helped to foster a dialogue that forced viewers to talk about violence against women and inspire involvement towards a less complicit society. Feminist art is particularly powerful because it worked to educate its viewers on the extent of this problem, as well as empower and heal victims.

There is some disparity between the way critics and philosophers like Judith Butler view Cindy Sherman's work and the way that Cindy Sherman speaks of her photographs. It may be the disparity that exists between many modern artists, who often operate on an intuitive level, and the philosopher critics who comment upon them from a theoretical perspective or a pre-established framework. On one level, Cindy Sherman may only be playing "dress-up" (as she herself admits) in her famous History Portraits (1989-90) (Berne, 2003). On another level, however, her "dressing-up" may be indicative of a deeper problem in modern gender identity theory which is the problem of "becoming" woman (Butler, 1994) or, as Judith Butler sees it, the problem of performativity. In the History Portraits, Sherman may certainly be said to be "performing" and perhaps even attempting to "become" the male and female characters she represents in her work. Indeed, it is upon such a premise that philosopher critics and gender theorists find her work so engaging. This paper will examine Cindy Sherman and her History Portraits in relation to Judith Butler's gender theory, the portrayal of the self, and how gender identity has changed throughout the course of modern history. It will examine representations of womanhood from Romantic Idealism to Post-Modernism and will also