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Focus One: Women as Creators
In 1971 art historian Linda Nochlin asked the question, Why have there been no great women artists? She specifically
challenged the premise that 'whatever is' is 'natural' and argued for an examination of the institutional preconditions for
achievement in the arts. She examined the fact that in the nineteenth century, 'prolonged study of the nude model was
essential' for the training of artists. But during the nineteenth century women artists were not permitted to work
with any nude models, male or female. Nochlin wrote, 'By examining ... a single instance of deprivation or disadvantage-
the unavailability of nude models to women art students- we have suggested that it was indeed institutionally impossible
for women to achieve excellence or success on the same footing as men, no matter what their talent or genius.' Answering
her original question, she wrote: 'The fault lies ... in our institutions and our education- education understood to include
everything that happens to us from the moment we enter, head first, into this world of meaningful symbols, signs and signals.
Mary Anne Staniszewski, Believing is Seeing: Creating the Culture of Art.
Why have there been no great women artists? by Linda Nochlin
1. After reading 'Herstory in Art 1' (Handout) summarize, in point form, the main reasons given for a
lack of women artists through history.
2. After reading 'Herstory in Art 2' (handout) summarize, in point form, the factors given that have allowed for
some women to participate in the visual arts.
3. Use the link below to find 3 women artists that you like. You should find one from each of the following
periods:
- Medieval Period
- Renaissance to end of Baroque/ Rococo
- Modern or Contemporary
Include:
- Brief biography
- Example(s) of their artworks
- Any other interesting information
Women Artists
Focus Two: Women as Objects of Desire
Women in the history of Art have traditionally been the object of desire and of the gaze for what was presumed to be
heterosexual male creators and audiences. To recognize this is not to diminish the accomplishment of these artworks.
Nor should we be simplistic and say that because these images are of women, they should be dismissed. Rather, these
images are important for many reasons, some of which involve their revelations regarding the particular historical moments
of their creation. These works of Art, therefore, act as lenses of our culture, making more clearly visible what we
see and what it is presumed we want to see.
Mary Anne Staniszewski, Believing is Seeing: Creating the Culture of Art.
4. Since 1985, the Guerilla Girls have used their posters, publications and very often confrontational public appearances
to attack the gender bias and social inequalities of the contemporary art world. Like Batman and other (usually male)
'masked avengers', the Guerilla Girls adopt a colourful and eye-catching disguise to preserve their anonymity and to identify
themselves as a united force against their opponents. This poster of 1989 attacks the male bias of the New York Metropolitan
Museum of Art. It points out that very few female artists are represented in the Modern art sections of the Metropolitan,
whereas the vast majority of nudes are women. So do you need to be a sex object to get into the Met?
The Guerilla GIrls use humour and activism to attack sexism and racism in the contemporary art world.
From Interpreting Art, Christopher Marshall
How does the image on the Guerilla Girls poster (see link below) reinforce their message by parodying the famous painting
by Ingres (see link below)? Compare and contrast the two pieces.
Ingres, La Grande Odalisque
The Guerilla Girls, Get Naked
Additional Information
Odalisque (on ArtLex)
Guerilla Girls
Nudes (on ArtLex)
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