Podcast appearances and mentions of Linda Nochlin

In this episode of the Weinberg in the World podcast, Aimee Resnick '26 interviews Priscilla Vail-Caldwell '85, founder of Vail-Caldwell Projects. Priscilla shares her undergraduate experiences at Northwestern, including impactful classes and internships that shaped her career in the arts. She discusses her current role as an advisor and curator, helping clients build art collections with a focus on research and quality. Aimee: Welcome to the Weinberg in the World Podcast, where we bring you stories of interdisciplinary thinking in today's complex world. My name is Aimee Resnick and I am your student host of the special podcast episode. I'm a senior studying social policy at Northwestern University who plans to pursue public administration in my home state of Colorado. Today, I'm very excited to be speaking with Priscilla Vail-Caldwell, who is the founder of the consulting firm, Vail-Caldwell Projects. Thank you, Priscilla for taking the time to speak with me today. Priscilla: Thank you, Aimee, for having me. Aimee: Of course. To start us off today, we were wondering if you can just tell us a little bit more about your time at Northwestern as an undergraduate in terms of what did you study and what were the impactful experiences you had at Northwestern that led you to your current career? Priscilla: I think one thing to note is that I came to Northwestern following a year of study abroad in France. As a senior, I studied in France, and then I came to Northwestern with an idea that I wanted to be at a big university near a city. Logistics had something to do with actually my choice of university, and I think it had to do with the fact that I had this experience that had really kind of opened my mind up about the world, essentially. There was that, and for some reason I declared an art history major very early on in my time at Northwestern. I think as a freshman, I had already decided that that was what I was going to do. You had asked what was one of the transformative experiences that I had at school, and I was thinking that ironically, in a way, I think it may have been a studio art class that I took because it was very rigorous and I enjoyed it, and I had a lot of respect for the other students in the class who I thought were gifted than I was. And I then realized that that wasn't really what I should be doing, but I still wanted to be involved in the arts, and I wanted to be involved in art history and working with objects. I always enjoyed those big introductory courses, sort of identifying paintings, and it seemed like a game to me, really. And I enjoyed that. And then frankly, learning about history through the lens of art. That was always something that kind of compelled me. I think another thing that I did while I was on campus, and I do think this is something that big universities offer, especially ones like Northwestern that are near a city like Chicago, are the opportunities to work in different situations outside of the university campus. I always worked, while I was at Northwestern, I waitressed, I did all sorts of things in order to earn extra money, and I found a job at a gallery downtown in Chicago called Frumkin & Struve. It's no longer in existence, but at the time, it was one of the big galleries downtown. And I worked there every Saturday. And then I had time in my schedule during the week, and I would work there usually one day during the week as well. And Bill and Debbie Struve were the principals of the gallery, and they gave me a lot... I mean, for a college student, they gave me a lot of responsibility, and they really brought me into the fold in a sense. So, I was included in all sorts of things, and the dinners for the artists, and I got to meet a lot of the artists that they were working with. And it was exciting and engaging, and I thought that that seemed like the kind of life I wanted to lead. I enjoyed the interaction with the artists primarily. Aimee: Oh, I totally empathize with your studio art experience, I'm taking painting right now, and there are some incredible painters in that class. But I also wanted to just say, I think that your experience having a really meaningful internship in Chicago is a good reminder to students to look outside the Northwestern bubble for opportunities as they're going through school. And I was wondering if you could tell us a little bit more about what you do at Vail-Caldwell Projects now that you're in New York. Priscilla: Well, I'm an advisor and a curator, and I've had my own advisory business now for the last... I think it's been about eight years. I've always been in the professional... I've always been in the commercial art world, but in this iteration, I advise private people who are building collections on acquiring works of art for the collection. We're building things oftentimes from the ground up. Oftentimes, I will start working on a project with somebody and there will be nothing essentially, and we will work on that together and build something that is meaningful and very specific in every single case with every client that I work with. All my projects are very, very different. There are clients that I work with who buy only the work of one artist. There are clients that I work with who focus very specifically on certain kinds of movements in, for instance, the California Light and Space Movement. There are people who are interested in collecting works by female artists. It all ends up having very different kinds of focuses. Each one of the projects allows me to apply my research skills and learn a lot alongside whoever it is that I'm advising, oftentimes about different aspects of the art world. I see what I do, as always, very research-based and obviously sort of a search for quality and also to include different voices in any kind of project that I work on. I also have a very strong background in modern American painting. I have this kind of hybrid experience where I oftentimes advise people on the purchase of work by contemporary and emerging artists, but I have a strong background in historic American painting. Many of my curatorial projects have been focused on the works of some of the seminal painters of the 20th century. I've done a series of exhibitions at Paul Kasmin Gallery on the work of Stuart Davis. I worked with Kasmin on a number of projects. Another one was a exhibition of sculptures by Elie Nadelman, who is artist who came to the United States from Europe and is considered part of the canon of modern American painting or sculpture, really. He's not a painter, he is a sculptor. I've also done projects with smaller galleries where I've curated relevant shows of young, relatively unknown artists. And that's always fun. I enjoy doing that. That's really a wonderful way for me to dive in and learn about what's going on out there amongst a group of recent graduates. So that's always exciting and I enjoy that kind of work very, very much. And currently, I think one of the things that I've just started working on is a collaboration with a gallery in London called Pi Artworks and an artist who they represent, whose name is Jyll Bradley. So I also advise the estate of Stuart Davis. Aimee: Yes, it does. And I have a related question, which is that you mentioned having worked with a lot of different genres and periods and different artists in this realm of art history. And while you were going through your education in your early career, was there a certain artist or movement that was particularly influential or touching to you? Priscilla: I'm going to answer that question by giving you a little bit more of my background. I left Northwestern, I moved to New York, and I took a job at a small gallery. And that year of working there were like three people on staff. That was an experience that taught me that I wanted to go back to school and learn to become more expert on something. I wasn't sure exactly what that was going to be, but I needed more skills actually in order to have the sort of job in the art world that I envisioned. I was accepted at Williams, which a small... Everybody's always confused because it's a college, but it has two graduate programs, and one of them is an art history program that's associated with the Clark Art Institute. I was one of 12 students in that following year, entering in to a two-year program. I had the good fortune of... Linda Nochlin was the visiting professor at the time who, if you're not familiar with Linda Nochlin, she was, she died a few years ago, one of the great feminist revisionist art historians of her time. And so studying with Linda, I began to look into the histories of certain artists like Eva Hesse and Jackie Winsor. Eva Hesse, of course, has been dead for many, many years. Jackie Winsor just died recently. At that moment in time, and I'm still very moved by the work and very interested in it, but I was very much focused on the work of minimalist and post-minimalist female sculptors to be extremely specific. That experience studying with Linda and looking into the histories of these women and the difficulties that they faced in a world that discriminates against women was eye-opening for me. And it's informed everything that I've probably done since. Aimee: Well, that's very interesting. And I think it's fascinating how some of these formative pieces of art really brought your eye into the future and your current work. And I know at the Block Museum on campus, we've had several exhibits that kind of follow in line with the types of art that you've just described in terms of the revisionist view of art history, the modernism with their Arabic art exhibit not too long ago. And I'm going to transition us to that because you're currently a member of the Block Museum Advisory Committee, and I just want to hear more about the work that you do there and then how you use that as a way to bring volunteerism and philanthropy into your professional career. Priscilla: I have always felt that volunteering my time to certain organizations in the art world is as important as the work that I do professionally. The idea of giving back, which I think frankly is something that either is kind of... For me, it's something that was ingrained in me as a young person. I try to only align myself with organizations whose missions I agree with. And that kind of mission usually includes a sort of mentorship for young artists so that there's a teaching element, which I think is really important. And also this sense of inclusion and diversity in institutions at every level. It's not just the artists that you're showing, but also in integration into the organization itself so that it represents the world in a sense. I mean, that's kind of big, but I think you get the gist of what I'm saying. I sit on the advisory board, and I mean, I think that I help in a number of different ways, but I have a feeling that my experience in the commercial art world and my interaction with lots of different artists and different galleries helps the director and the curatorial department in different ways. I can shed some insight sometimes that is useful. And of course, there are other people on the advisory board, not just me, who have similar experiences. My colleague Steve Henry, who is a classmate of mine, is one of the directors, one of the partners, not directors at Paula Cooper Gallery here in New York, so he sits on the advisory board with me as well. I think Lisa has been very wise in the way that she's chosen the members of her board, where we all contribute important things in different ways. Aimee: Absolutely. And I'm curious, outside of the Block, what other organizations do you volunteer your time to? Priscilla: Right now, the Block is my focus, but I was for a long time on the board of an organization here in New York. It's actually on Long Island City called Sculpture Center, which is a Kunsthalle and a place that essentially acts as an exhibition space oftentimes for artists who live outside the United States to have their first museum exhibition here in the US. It's a place of discovery, I think for a lot of people. It's a place that is very research-based, and they have a very knowledgeable curatorial staff that is very involved in the international art world. They do that. And then they also do a very, what I think is a really important annual exhibition that is an open call to artists that is directed at younger emerging artists, again, who haven't exhibited in an institutional space. And there are funds provided and mentorship provided. And it's a kind of learning lab for a group of artists who then create a group show. There's also a curator who's hired from outside who comes up with a theme for the show, and then they work together to put on these annual exhibitions. And they're amazing shows, and they do great work, and it's a very rich environment. Aimee: Next time I'm in New York, I'd love to come see the gallery. That is so interesting. Priscilla: It's a beautiful space. It's a beautiful, beautiful space in Long Island City. I would be happy to take you there, so let's do that. Aimee: Thank you. Priscilla: Yeah. Aimee: I think we're going to pivot a little bit from your specific career more to the field of art history on the whole, and a big part of being in art history is curating relationships with your clients, which you mentioned previously. What is your advice for students who are looking to foster quick relationships with other people, be it interviewers, co-workers, anyone in the professional world that they need to have a really strong bond with? Priscilla: Well, I will say that when... I did a lot of research on people before I meet them, so that at least I understand what it is that they do, what some of their interests might be. I feel like... I mean, in any case, in any field, if you're going into an interview, if you're meeting somebody for the first time, if it's an important engagement of any sort, it's really good to know who it is, who you're talking to. I think first of all, I would say do your research and figure out, find some interesting things to talk about that will interest the person who you are meeting with. And also will give them a sense that you actually know who they are. I think that's always... That's just flattering for one thing, and it also makes you look like you've paid attention. I used to take every opportunity to go out and do things, and I mean, I go to a lot of openings. I get myself into situations where I will meet people. I think that it can be uncomfortable. You might not know anybody where you're going. You could feel sort of nervous and shy, but I think you have to push yourself to be in situations where you might not feel comfortable, but something will come out of it almost inevitably, and you'll walk away knowing somebody who you didn't know before, and you never know where that's going to lead you. I'm a big believer in that, and I sort of feel like I have two personas. I have the person who doesn't like to do those sorts of things, and then I have the person who has to get up in the morning and go to work and for whom it's a requirement. I think those are two bits of advice that I would have. I mean, for students at Northwestern, of course, if they're looking to create networks for themselves, I mean, they have one, right? I mean, you all have an amazing network through the university, and you have professors who want to support and help you. Again, even though I think sometimes it's difficult to push yourself to go in and talk to your professors, they are there for that reason and they want to support the student body and see them be successful and help you to find things outside of the university that will engage you and also perhaps end up being a path towards a career. I don't know if all of that necessarily answers your question, but you've got... I think sometimes you wake up in the morning and you think that you don't have the tools at your fingertips, but you do and you just have to press the button. Aimee: That's good advice. I think a lot of times students at Northwestern are too timid to take advantage of many of those resources. That's really good advice. I have a little bit of background for this last question, which is that I, myself, was an artist history major for two years, dropping the major because I realized I was never going to get a job in art history because I don't necessarily have a family background or the connections to leverage to get a job in art history. And I was just curious, understanding that art history enrollment is rapidly declining. The cover story of the Nation magazine in early April was about how art history enrollment is declining. What advice would you offer to people who might not traditionally undertake a career in art history who are interested in becoming art historians or people in the art world? Priscilla: I think that oftentimes when people approach the idea of being an art historian or being in the art world, that they don't think broadly enough about all of the different things that happen in the art world. Of course, the glamorous jobs are to be a curator at a museum and to be a director or a principal at a gallery. And frankly, not everybody... I mean, as far as gallery work is concerned, really... I mean, there's curation going on, but it's sales primarily. So that might not be for everybody for one thing. Sales is not exactly the job that everybody wants to have. But what I've been thinking about a lot recently, and certainly a lot of the people in the art world who I rely very, very heavily on and whose expertise is impressive are there are registrarial departments at galleries and museums. Those are people who work with the objects and who have to deal with whether it's insurance or packing or moving objects from one country to another. And all of these things, while it may sound less glamorous, are still very interesting and complicated. And so those are jobs, I think that certainly registrarial departments, we depend on them. They're extremely important. And they have their own networks as well, by the way. There's also art restoration and working directly with objects, which is an interesting kind of combination of the scientific and the art historical. Especially for people who are interested in the sciences, there's an application for that in the art world. And there's a lot of ways of... There's all sorts of things that happen like carbon dating and various different X-ray techniques and all sorts of things that help to say define an object isn't really what I mean. But you have to understand organic chemistry in order to be a painting conservator. I think that we should think maybe differently about the art world a little bit than we do sometimes. And art history will inform all of those things. I mean, all of those people who are working in those different departments need to understand art history. They probably wouldn't even be doing that work unless they did. But you can come at it from a different angle. And I think that that's something that should probably be more emphasized. We need more art conservators out there. We really do. And there are a lot of objects to work on. Aimee: Definitely. Definitely. And I have one more follow-up question on that, which is my worst job I ever worked was at the American Museum of Western Art. I love the museum. I think it's a beautiful museum. I love pictures of cowboys, my favorite genre, but at the same time, it was just scanning documents all day as an unpaid internship. And I think that finances are often a really big barrier to entry for people in art history, given the precedence of unpaid internships, years long fellowships where you're not compensated. I'm just going to narrow in on my question, which is what advice would you give to people from non-traditional backgrounds who want to pursue a job in art history at all? Priscilla: Well, a lot of graduate programs now are fully funded, so that might be something to explore a little bit. I know that for instance, Williams, there are a lot of... I don't know that every single one of them, but many of those students are fully funded and also receive help with living expenses, health insurance, all of their expenses are accounted for. That isn't exactly what you're asking me. But I do think that it's good to... If art history is something that you're serious about, and frankly, if something you're serious about an advanced degree is something to consider, there are programs that will essentially fully fund you to study. So that's one potential way. The art world's a little hard actually in terms of entry-level jobs, and people aren't really paid a living wage. And I would like to know a way around that, too. It's a funny thing. It does prevent a lot of people who are gifted and able and should have access to the field, it probably prevents them from entering the field and that's our loss really. Aimee: I totally agree. And hopefully, we'll see some change in that arena during our lifetimes. Priscilla: I hope so. Yeah. I wish I had a better answer to your question, but also I think that when people go in for interviews, sometimes you are hesitant to be realistic about what you need. And I do think that there's no harm in being forthright about that. That's just a practicality, and you should expect it. Aimee: Yes, self-advocacy is very important. And I think that leads us to our very last question. This is our closeout question we ask every interviewee, which is what advice would you give to a senior in college who is about to graduate? From any field, from any major, what advice do you have for young people in this transitional moment? Priscilla: Well, try not to be discouraged. The world is in upheaval right now, but it won't remain that way. Or I think that we hope that it won't, and we've got to believe that it won't. And that it's funny. This is a kind of big question right now, Aimee. Also, don't close yourself off to opportunities that may not fit exactly into the vision of what you have for yourself. I mean, we do meander sometimes, and I think that it's actually important to because you learn a lot about yourself when you sort of take a fork in the road that you didn't expect that you might. I guess proceed without fear if it's possible, and have confidence in yourself. I mean, anybody who's graduating from Northwestern has done an amazing... They're capable. You're able. You can go out there and get it done. So yeah, I guess we all just remain... I know it sounds sort of like trite, but be positive. Aimee: Absolutely. That's all we can do. All we can do is control our own- Priscilla: Yeah. And fight and stand up for the things that you believe in. Give me the opportunity. Say it, say it out loud. Say what you mean. Don't be scared that somebody might disagree with you. Aimee: Absolutely. It's tough to keep that in mind with the current challenges the university is facing, but that is very good advice. I just want to say in general, thank you so much for your great advice and for chatting with us today. I think this podcast will be so helpful to many students who are interested in either going into art history or just looking at the state of the world right now. So thank you for being with us. Priscilla: Aimee, thank you. You're a very impressive young woman, I appreciate the invitation and it was fun talking to you. Aimee: Thank you. So to all of our listeners, thank you for listening to this special episode of the Weinberg in the World Podcast. We hope you have a great day and go Cats.

(Cátedra, 2024). Con Miguel Rivas Venegas, autor; Jorge Rivas y Germán Labrador. La historiadora del arte Linda Nochlin sostenía que toda política del cuerpo es una política de género, específica de un determinado periodo y de ciertas prácticas artísticas. Un buen ejemplo es el presente libro, dedicado a exudar la masculinidad en la formación del franquismo: ¿cuál es el cuerpo bueno y cuál el malo? ¿Dónde empieza la gloriosa erección? ¿Cómo se reconoce a una babosa? ¿Cómo se representa al que se asesina?

Fait-il être nue pour rentrer dans les musées ? Les Guerilla Girls, un collectif d'artistes et militantes, se pose la question en 1985 alors que moins de 5% des artistes exposé·es au Metropolotan Museum de New-York sont des femmes mais que 85% des nus représentent des sujets féminin. Quarante ans plus tard, les choses n'ont pas vraiment changer. Dans cet épisode, on explore la place des femmes artistes en particilier les peintresses, dans l'histoire de l'art et leur présence dans les musées aujourd'hui. Pour aller plus loin :

Zihin Koleksiyoncusu Aslı Kotaman'ın Kara Karga Yayınları'ndan çıkan Sanatın Erkeksiz Tarihi, kadın sanatçıların tarih boyunca karşılaştığı engelleri, erkek egemen yapının onları nasıl gölgede bıraktığını ve bu görünmezliği aşma mücadelelerini anlatıyor. Kotaman'la sohbet ederken en çok aklımda kalan cümlesi şu oldu: “Sanat tarihine bakarken sadece ‘Kadın sanatçılar nerede?' diye sormak yetmez, ‘Neden yok sayıldılar?' sorusunu da sormalıyız.”Linda Nochlin'in o meşhur sorusu, “Sanatta büyük kadın sanatçı yok mu?” da temel tartışmalarından biri. Kitapta Mihri Müşfik, Hale Asaf, Artemisia Gentileschi, Frida Kahlo, Georgia O'Keeffe, Lee Krasner, Louise Bourgeois, Barbara Kruger ve Tracey Emin gibi pek çok güçlü kadın sanatçının hikâyesini okuyorsunuz. Ama itiraf etmeliyim ki tüm bu etkileyici anlatıya rağmen, daha derin bir içerik beklentim tam olarak karşılanmadı. Kotaman da bu eleştirime hak veriyor ve kitabın daha kapsamlı olabileceğini kabul ediyor. Yine de onun bilgisi, donanımı ve samimi anlatımı, sanatın eksik yazılmış tarihini sorgulamak için çok önemli bir kapı aralıyor. Aslı Kotaman ile sanatın erkeksiz tarihini tüm detaylarıyla ve en gerçekçi haliyle konuştuk...Söyleşi: Ebru D. DedeoğluVideo

I am so excited to say that my guest on the GWA Podcast is one of the most pioneering and revelatory artists alive, Judy Chicago. Born Judith Sylvia Cohen, then Judy Gerowitz, but changed it to Judy Chicago to renounce the name of her first husband to instead adopt the name of her birth city instead, Chicago has been at the forefront of art since the 1960s. Following her studies at UCLA in the 1950s, Chicago attended auto body school, as the only woman out of 250 men. It was here that she learnt to use spray guns, but instead of actually painting cars, she used these skills to formulate vaginal forms onto carhoods, as if to poke fun at her male contemporaries. In the 1960s, she turned to Minimalism, creating block-like sculptures which she executed in exuberant colours. While her work was acclaimed, she was one of only three women (out of 51 artists) included in the landmark Jewish Museum exhibition, Primary Structures, in 1966. During this decade, she became increasingly aware of the lack of women artists available to her – as an undergraduate at UCLA in the late 1950s and 60s, she had taken a class titled the Intellectual History of Europe, where her professor declared that women had made zero contributions to European History – so she set herself the task of looking for it herself. As she has said “there was actually a huge amount of information if one looked for it, especially dating back to the 19th century…” Out of this – and turning to the importance of education – she began the first ever feminist art programme, at Fresno State College, with artist Miriam Schapiro in 1970, which, as feminist art historian, Linda Nochlin has declared, was a time when there were no women's studies, no feminist theory, no African American studies, no queer theory, no postcolonial studies. What there was ... was a seamless web of great art, often called “The Pyramids to Picasso”... extolling great (male, of course) artistic achievement since the very dawn of history'... In the 1970s, Chicago created the famous Dinner Party, worked on between 1974 and 1978: a giant minimalist-like table that awards 39 women from history and mythology a ‘seat at the table' – with the further names of 999 women in the porcelain in the middle. She has created images of birth, death, animals, plants, that deal with an attitude entrenched in feminism towards caring for our planet, and so much more. But! The reason why we are speaking to her today is because this summer in London, Chicago will take over the Serpentine Gallery with an exhibition that corresponds to her major new book: Revelations, a project that has been unrealised for over 30 years, but is finally being published, that includes rewriting the story of creation, spotlighting the Great Mother Goddess, and a plethora of other women, and challenging the patriarchal paradigms that have always dictated how stories have been read, written, and accepted. -- LINKS: https://www.serpentinegalleries.org/whats-on/judy-chicago-revelations/?gad_source=1&gclid=CjwKCAjwo6GyBhBwEiwAzQTmc3bNjJ0zjNj2RgMuZomrRmjd8Bhuvx6YlLjhkJ8sk0ZYIgxU_IQVmRoCEWoQAvD_BwE https://www.thamesandhudsonusa.com/books/judy-chicago-revelations-hardcover https://judychicago.com/ https://www.newmuseum.org/exhibitions/view/judy-chicago-herstory -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Dlaczego nie było wielkich artystek? Odpowiedź na to pytanie powinna już dawno być znana i przebrzmiała, jako że zadała je Linda Nochlin w 1971. Jednak od tamtego czasu wciąż elektryzuje ono kolejne pokolenia. W odcinku zastanawiam się nad znaczeniem tego pytania dzisiaj, a także - nad możliwościami zmiany sytuacji.

Rozmowę zaczęliśmy od syndromu wanny, na który cierpiał jeden z nas. W ramach ciekawostek pierwszy z nas opowiadał o buncie młodzieży przeciw średniowiecznym wrocławianom. Drugi z nas przedstawił kłopoty z nagraniem pewnego wywiadu i prosił o pomoc słuchaczy. Co było wstępem do szerszej refleksji nad postrzeganiem Holocaustu przez dziennikarzy. W dziale lektur pierwszy z nas przedstawił intrygujący katalog wycinanek, nowy numer kwartalnika „Karta” oraz omówił film, który przemknął niezauważony ,a dotyczył istotnego wydarzenia – marca 1968 r. Oczywiście w Warszawie. Drugi z nas krótko omówił nowości wydawnictwa „Księży Młyn”, wskazał na książkę analizującą tworzenie informacji o historii w sieci Internet, a także na pięknie wydany esej stawiający pytanie o obecność artystek w historii sztuki. Kilka słów poświęcił wspomnianemu numerowi kwartalnika „Karta” pod kątem materiałów dotyczących relacji polsko-niemieckich, a także nowemu numerowi miesięcznika „Odra”. W części poświęconej zasadniczemu wątkowi naszego spotkania skupiliśmy się na przebiegu i skutkach wymiany elit po przejęciu władzy przez nowe środowiska polityczne. Podkreślaliśmy, że jest to zjawisko typowe zwłaszcza dla ustrojów o silnej centralizacji władzy. Że przebiega stopniowo i może zarówno gwarantować płynne wykonywanie władzy, jak i prowadzić do kryzysu organizacji społecznych. Zwłaszcza, jeśli wymiana przebiega zgodnie z kluczem politycznym, a nie merytorycznym. Podkreślaliśmy, że w środowiskach lokalnych, jeśli zachowywana jest autonomia regionów i lokalności, nie dochodzi zazwyczaj do gwałtownych zmian. A to działa stabilizująco na funkcjonowanie całych organizmów politycznych. Jak zawsze – zachęcamy do prymatu merytoryki we wprowadzanych zmianach i namysłu nad ich skutkami. - Rozgrzewka:)) - Nowinki / starowinki - 5:10 - Lektury - 15:59 - Temat przewodni - 44:33 Pełny tekst opisu zamieściliśmy na stronie internetowej naszego projektu: http://2historykow1mikrofon.pl/wymiana-elit/ Wymienione w czasie audycji publikacje i materiały: - Marzec '68, film polski, reż. Krzysztof Lang, https://www.filmweb.pl/film/Marzec+%2768-2022-10002591 - Dzieło rąk naszych wspieraj. Judaika Grzegorza Dudały inspirowane tradycyjną wycinanką żydowska. 80. rocznica wybuchu Powstania w Getcie Warszawskim, pod. red. Tadeusza Skoczka, Warszawa 2023, https://mazovia.pl/pl/dzieje-sie-na-mazowszu/dzielo-rak-naszych-wspieraj-ps-90-17-judaika-grzegorza-dudaly-inspirowane-tradycyjna-wycinanka-zydowska.html - Tadeusz Banaszek, Budownictwo wojskowe między Wisłą a Pilicą w XIX-XXI wieku, Łódź 2023, https://www.km.com.pl/ksiazka-635-budownictwo_wojskowe_miedzy_wisla_a_pilica.html - Paweł Brudek, Ukryta przestrzeń. Wojskowe lata warszawskiego Bemowa 1945-1989, Łódź 2023, https://www.km.com.pl/ksiazka-644-ukryta_przestrzen_wojskowe_lata_warszawskiego_bemowa_1945%E2%80%931989.html - Linda Nochlin, Dlaczego nie było wielkich artystek? Wydanie z okazji pięćdziesiątej rocznicy ukazania się eseju, Sopot 2023, https://sklep.smakslowa.pl/dlaczego-nie-bylo-wielkich-artystek.html - Amy S. Bruckam, Czy można ufać Wikipedii? Społeczności internetowe i konstrukcja władzy, Warszawa 2023, https://ksiegarnia.pwn.pl/Czy-mozna-ufac-Wikipedii,996669385,p.html - Karta 117, Warszawa 2023, https://karta.org.pl/aktualnosci/karta-117-premiera - Miesięcznik "Odra", nr 1 z 2014, https://okis.pl/miesiecznik-odra/ Krzysztof Ruchniewicz Blog: www.krzysztofruchniewicz.eu Facebook: www.facebook.com/krzysztof.ruchniewicz.3 Instagram: www.instagram.com/ruchpho/ Twitter: twitter.com/krzyruch YouTube: www.youtube.com/channel/UCT23Rwyk…iew_as=subscriber Przemysław Wiszewski Blog: www.przemysławwiszewski.pl Facebook: www.facebook.com/przemyslaw.wiszewski Instagram: www.instagram.com/przewisz/ Twitter: twitter.com/wiszewski YuoTube: www.youtube.com/channel/UCuq6q08E…iew_as=subscriber Do nagrania intro i outro wykorzystaliśmy utwór RogerThat'a pt. „Retro 70s Metal” (licencja nr JAM-WEB-2020-0010041).

Cześć! W tym odcinku porozmawiamy o trudnych (a może o niemądrych?) pytaniach. Najpierw zajmiemy się sztuką i artystkami. Paya przeczytała niedawno klasyczny esej historyczki sztuki Lindy Nochlin, który był jednym z pionierskich tekstów rozkładających na czynniki pierwsze ideę geniuszu malarzy i przyglądających się systemowo sytuacji malarek. Przemyślenia z lektury eseju uzupełniają opowieść o biografii Marii Dulębianki, której życie i twórczość do dziś mogą nas inspirować. Drugim tematem, którym zajmie się Ela, będzie kastowość świetnie opisana przez dziennikarkę Isabel Wilkerson. By opowiedzieć o nierównościach rasowych i uprzedzeniach, autorka wykorzystuje właśnie system kastowy — ten od wieków obowiązujący w Indiach i ten, który rządził III Rzeszą. Przy okazji będzie o Martinie Lutherze Kingu, Jamesie Baldwinie i „Demonie Copperheadzie”. Zapraszamy do słuchania. Polecamy profil Karoliny Dzimiry-Zarzyckiej na instagramie: https://www.instagram.com/prenumeratorka/ Strona wystawy „Global Feminisms”, której kuratorką była Linda Nochlin https://www.brooklynmuseum.org/exhibitions/global_feminisms Książki, o których mówimy w podkaście: Linda Nochlin, „Dlaczego nie było wielkich artystek?”, tłum. Agnieszka Nowak-Młynikowska, Smak Słowa; Karolina Dzimira-Zarzycka, „Samotnica. Dwa życia Marii Dulębianki”, Marginesy, Isabel Wilkerson, „Kasta. Korzenie naszej goryczy”, tłum Rafał Lisowski, Wydawnictwo Literackie. Mamy Patronite! Jeżeli chcesz dołączyć do naszego grona Matronek i Patronów, będziemy zaszczycone! Dla tych, którzy zdecydują się nas wspierać, mamy spersonalizowane książkowe rekomendacje, newslettery głosowe, podziękowania na stronie i wiele więcej! Szczegóły tutaj: https://patronite.pl/juztlumacze Zachęcamy do odwiedzin na naszym profilu na Instagramie: https://www.instagram.com/juz_tlumacze i na Facebooku https://www.facebook.com/juz.tlumacze oraz na naszej stronie internetowej https://juztlumacze.pl/ Intro: http://bit.ly/jennush

Through many modes and for many aims, feminists have sought to improve equity in and through the visual arts. In this episode, hear from a variety of women as they describe the trajectory of feminism they've seen in their lives and careers, including stories from Faith Ringgold, Linda Nochlin, Judy Baca, and Joan Semmel among others. Show Notes and Transcript available at www.aaa.si.edu/articulated

“Talent is cheap; dedication is expensive. It will cost you your life.” ― Irving Stone, The Agony and the EcstasyFind The Agony and the Ecstasy https://www.goodreads.com/book/show/321552.The_Agony_and_the_Ecstasy Complete poems and selected letters of Michelangelo: https://www.amazon.com/Complete-Poems-Selected-Letters-Michelangelo/dp/0691003246 Host and artist Stephanie Scott breaks down the practicality of the art career with topics including: sustainable creative practices, social media skills, and the mindsets that keep it all together. New episodes every Tuesday!Read Januarys book: Why Have There Been No Great Women Artists by Linda Nochlin https://www.goodreads.com/book/show/36507992-why-have-there-been-no-great-women-artists The next live recording will be on Twitch on January 14th, 3pm Pacific. https://www.twitch.tv/cheerssteph Visual Nomad: https://www.instagram.com/visualnomad__/ Instagram: https://www.instagram.com/stephaniescott.art/ Website: http://www.stephaniescott.art/brushwork Music by @winepot https://www.instagram.com/thewinepot/ Podcast Cover photo by Maryna Blumqvist https://instagram.com/picturemaryna

Amy is joined by Dr. Danielle Stewart to discuss Linda Nochlin's essay, "Why Have There Been No Great Women Artists?", and examine the historical and contemporary hurdles faced by women artists.Danielle Stewart is an art historian who specializes in the modern and contemporary art of the Americas. Her most recent publications investigate how mid-century Brazilian photography and popular media, especially illustrated magazines, helped to shape regional, national, and personal identities. Born and raised near San Francisco, California, educated in Utah, and a longtime resident of Harlem, New York, Danielle has also lived in Curitiba, Brazil, and Coventry in the United Kingdom. This broad range of environments fundamentally informs Danielle's research. Danielle completed her Masters of Philosophy and PhD in Art History at the Graduate Center of the City University of New York, and her BA and MA degrees at Brigham Young University. From 2019 to 2020, Danielle was a fellow in the Princeton Mellon Initiative in Architecture, Urbanism, and the Humanities and the Princeton Institute for International and Regional Studies. From 2020-2023, she held the position of Assistant Professor of Latin American Art at the University of Warwick in the UK. Danielle has also held curatorial positions at the BYU Museum of Art and the Mount Vernon Hotel Museum in New York City. Her writing has appeared in publications sponsored by the Museu de Arte de São Paulo in Brazil, the Instituto Moreira Salles, the Fundación Cisneros, and La Universidad de los Andes, the College Art Association, the Latin American Studies Association, and The Space Between society.

Hoy me acompaña Eugenia Tenenbaum, historiadora del arte, para hablar del estudio de la Historia del Arte con perspectiva de género. Eugenia nos explica cuándo y cómo empezó a formarse en perspectiva de género y comentamos los ensayos más importantes de la historiografía feminista de Linda Nochlin, Griselda Pollock y Rosalin Parker. Le pregunto por qué las artistas han sido silenciadas y comentamos el sesgo partriarcal de la disciplina. Finalmente, hablamos sobre su experiencia como divulgadora cultural y la relación con la academia. Eugenia es una de las divulgadoras de arte con más impacto de nuestro país. Le siguen 110 mil personas en instagram y ha publicado dos libros: "La mirada inquieta" (2022) y "Las mujeres detrás de Picasso" (2023).

Hoy hablamos sobre la mejor retratista pictórica de todo el siglo XX. Una artista olvidada durante décadas que fue recuperada en los años 70 gracias a los movimientos feministas de la mano de autoras como Linda Nochlin. Hablaremos también sobre qué significa el retrato en nuestro contexto e historia, comentaremos su trágica biografía y profundizaremos en su obra y técnica para que comprendas en su totalidad a esta magnífica pintora. Si quieres degustar su obra, te invito a visitar el vídeo de mi canal Malasombra.

 “Por que não houve grandes mulheres artistas?” Linda Nochlin defende que a nossa percepção de como as coisas são no mundo está condicionada e deturpada pela forma como enunciamos as questões, cabendo a cada um de nós perguntar quem as está a fazer e com que objetivo. Ruy Castro apresenta um guia de escrita de biografia, técnicas e desafios da própria arte de biografar. A Colecção PERERÊ ensina, através dos maiores clássicos da literatura infanto‑juvenil brasileira, como a língua pode ser uma cor, a língua pode ser uma festa. Ler Gustave Flaubert é ler Madame Bovary, mas não só. Também escreveu sobre eremitas que se confrontavam com tentações e desejos reprimidos.  See omnystudio.com/listener for privacy information.

Paint doesn't last as long as some other art forms, so premodern painters of any gender are tricky to find. Nevertheless, there is scattered evidence of women painting everything from prehistoric rock paintings to Roman portraits to Indian villages to medieval illuminated manuscripts. I also delve into why none of the women in this series will be on the same name-recognition level as Michelangelo, Monet, or Picasso. In the words of art historian Linda Nochlin, "our stars, our hormones, our menstrual cycles or our empty internal spaces, it's in our institutions and our education." Nevertheless, this episode kicks off a series of excellent female painters from around the world.Visit the website (herhalfofhistory.com) for sources, transcripts, and pictures.Support the show on my Patreon page for bonus episodes, polls, and a general feeling of self-satisfaction.Follow me on Twitter as @her_half. Or on Facebook or Instagram as Her Half of History.

In this episode of "The Truth in This Art", host Rob Lee interviews Hrag Vartanian, editor-in-chief and co-founder of Hyperallergic. With expertise in contemporary art and its intersection with politics, Hrag shares insights on his journey as an art critic, curator, and lecturer. He talks about his founding of Hyperallergic in 2009 and how it has grown to reach over a million readers and listeners a month through its award-winning reporting, informed opinions, and quality conversations about art. Hrag also discusses his interest in decolonization and shares details about some of his notable curatorial projects, including the world's first multi-disciplinary exhibition of social media-related art. Listeners will gain a deeper understanding of the power of journalism and the cultural and economic realities that shape the world of art, culture, and politics. About HyperallergicHyperallergic is an online arts magazine, based in Brooklyn, New York. Founded by the art critic Hrag Vartanian and his husband Veken Gueyikian in October 2009, the site describes itself as a "forum for serious, playful, and radical thinking".The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episodeCreators & Guests Rob Lee - Host Hrag Vartanian - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

There can be few writers more deserving of Backlisted's attention than the Irish writer, Maeve Brennan. An adopted New Yorker, Brennan died there in 1993 and was by that time so thoroughly forgotten in her native land, that she received no obituaries in any Irish papers. We are joined by the writers Sinéad Gleason and David Hayden to discuss her collection, The Springs of Affection – subtitled ‘stories of Dublin' – which was first published posthumously by Houghton Mifflin in 1997, although all but one of these first appeared in the New Yorker, where Brennan was a staff writer for twenty-seven years. It was the enthusiastic praise from other writers including Alice Munro, Edna O'Brien and Mavis Gallant among others, that helped get The Springs of Affection the kind of international attention that the two collections published in Maeve's lifetime failed to achieve. Since then, Maeve Brennan's reputation has grown steadily, and her stories are now regularly and favourably compared to those of Joyce, Chekov and Colette. In Ireland, in particular, she has won the admiration of a new generation of women writers, who in Anne Enright's phrase, see her as ‘a casualty of old wars not yet won.' This episode also features Andy revisiting the Linda Nochlin's classic 1971 essay, Why Have There Been No Great Women Artists? while John is impressed by Orlam, P.J. Harvey's dark and brooding verse novel, written entirely in Dorset dialect. Timings: 08:44 - Why Have There Been No Great Women Artists? by Linda Nochlin 16:16 - Orlam by P.J. Harvey 22:46 - The Springs Of Affection By Maeve Brennan * To purchase any of the books mentioned in this episode please visit our bookshop at https://uk.bookshop.org/shop/backlisted where all profits help to sustain this podcast and UK independent bookshops. * For information about everything mentioned in this episode visit www.backlisted.fm * If you'd like to support the show, receive the show early and get extra bonus fortnightly episodes, become a Patreon at https://www.patreon.com/backlisted

Trong tập hôm nay Mai sẽ nói với các bạn về tiểu luận quan trọng của Linda Nochlin "Why have there been no great women artists?" (Tại sao chúng ta chưa có nữ nghệ sĩ vĩ đại nào?), nội dung của nó là gì và tại sao nó lại quan trọng đến vậy. Hi vọng các bạn sẽ hứng thú với chủ đề lịch sử nghệ thuật và nữ quyền của ngày hôm nay. Đừng quên rate tụi mình 5 sao và follow tụi mình trên instagram @just.another.rant hay trên facebook nha. Tài liệu tham khảo: Linda Nochlin. “From 1971: Why Have There Been No Great Women Artists?”. ArtNEWS [Online]. https://www.artnews.com/art-news/retrospective/why-have-there-been-no-great-women-artists-4201/ Linda Nochlin, Anne Lafont and Todd Porterfield, “Entretien avec Linda Nochlin”, Perspective [Online], 1 | 2015, Online since 31 January 2017, connection on 04 November 2022. URL: http://journals.openedition.org/perspective/5800; DOI: https://doi.org/10.4000/perspective.5800 Tiernan Morgan & Lauren Purje. “An Illustrated Guide to Linda Nochlin's “Why Have There Been No Great Women Artists?””. Hyperallergic. https://hyperallergic.com/377975/an-illustrated-guide-to-linda-nochlins-why-have-there-been-no-great-women-artists/ CAA. An Interview with Linda Nochlin. Youtube. https://www.youtube.com/watch?v=gO1DjqvIV7Y Stephanie Rhyner. “ART509, Week 3: Linda Nochlin's "Why have there been no great women artists?" (Part 1)”. Youtube. https://www.youtube.com/watch?v=Fjj2kIkLFOU Stephanie Rhyner. “ART509, Week 3: Linda Nochlin's "Why have there been no great women artists?" (Part 2)”. Youtube. https://www.youtube.com/watch?v=2f297QNRffU

Trong tập hôm nay Mai sẽ nói với các bạn về tiểu luận quan trọng của Linda Nochlin "Why have there been no great women artists?" (Tại sao chúng ta chưa có nữ nghệ sĩ vĩ đại nào?), nội dung của nó là gì và tại sao nó lại quan trọng đến vậy. Hi vọng các bạn sẽ hứng thú với chủ đề lịch sử nghệ thuật và nữ quyền của ngày hôm nay. Đừng quên rate tụi mình 5 sao và follow tụi mình trên instagram @just.another.rant hay trên facebook nha. Tài liệu tham khảo: Linda Nochlin. “From 1971: Why Have There Been No Great Women Artists?”. ArtNEWS [Online]. https://www.artnews.com/art-news/retrospective/why-have-there-been-no-great-women-artists-4201/ Linda Nochlin, Anne Lafont and Todd Porterfield, “Entretien avec Linda Nochlin”, Perspective [Online], 1 | 2015, Online since 31 January 2017, connection on 04 November 2022. URL: http://journals.openedition.org/perspective/5800; DOI: https://doi.org/10.4000/perspective.5800 Tiernan Morgan & Lauren Purje. “An Illustrated Guide to Linda Nochlin's “Why Have There Been No Great Women Artists?””. Hyperallergic. https://hyperallergic.com/377975/an-illustrated-guide-to-linda-nochlins-why-have-there-been-no-great-women-artists/ CAA. An Interview with Linda Nochlin. Youtube. https://www.youtube.com/watch?v=gO1DjqvIV7Y Stephanie Rhyner. “ART509, Week 3: Linda Nochlin's "Why have there been no great women artists?" (Part 1)”. Youtube. https://www.youtube.com/watch?v=Fjj2kIkLFOU Stephanie Rhyner. “ART509, Week 3: Linda Nochlin's "Why have there been no great women artists?" (Part 2)”. Youtube. https://www.youtube.com/watch?v=2f297QNRffU

Episode 14: Visible/Invisible In this final episode of Season 2, we re-think art historian Linda Nochlin's famous question “why have there been no great women artists?” through an intersectional lens that addresses work by women artists of colour. This episode examines co-host Madeline Collin's research on visibility, invisibility and marginalization in the work of contemporary artists. We talk about the politics of looking and how we might think about the gaze in the work of Kara Walker, Teresa Margolles, Ana Mendieta, and Mari Katayama. We also consider the notion of the absent body and its trace in several works of art.          Sources + further reading: “All That's Left: The Art of Teresa Margolles.” The Critical Flame. http://criticalflame.org/all-thats-left-the-art-of-teresa-margolles/. “Ana Mendieta - MoMA.” The Museum of Modern Art. https://www.moma.org/artists/3924. Burton, Laini, and Jana Melkumova-Reynolds. “‘My Leg Is a Giant Stiletto Heel': Fashioning the Prosthetised Body.” Fashion Theory 23, no. 2 (2019): 195–218. Campion, Chris. “Punk Prosthetics: The Mesmerising Art of Living Sculpture Mari Katayama.” The Guardian, March 6, 2017, sec. Art and design. https://www.theguardian.com/artanddesign/2017/mar/06/mari-katayama-japanese-artist-disabilities-interview. “Covered in Time and History: The Films of Ana Mendieta.” NSU Art Museum Fort Lauderdale. https://nsuartmuseum.org/exhibition/covered-in-time-and-history-the-films-of-ana-mendieta/. “‘Each Bubble Is a Body.' Teresa Margolles.” Seismopolite. http://www.seismopolite.com/each-bubble-is-a-body-teresa-margolles. “Kara Walker. Gone: An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart. 1994.” The Museum of Modern Art. https://www.moma.org/collection/works/110565. Matsumoto, Masanobu. “Meet the Rising Japanese Artist Who Uses Her Amputated Legs to Question What Is a ‘Correct Body.'” ARTnews.Com. April 27, 2022. https://www.artnews.com/art-news/artists/meet-japanese-artist-mari-katayama-1234626715/. McKeon, Lucy. “The Controversies of Kara Walker.” Hyperallergic. March 19, 2013. http://hyperallergic.com/67125/the-controversies-of-kara-walker/. Nochlin, Linda. “From 1971: Why Have There Been No Great Women Artists?” ARTnews.Com. May 30, 2015. https://www.artnews.com/art-news/retrospective/why-have-there-been-no-great-women-artists-4201/. “Teresa Margolles.” Peter Kilchmann Gallery.  https://www.peterkilchmann.com/artists/teresa-margolles/overview/sonidos-de-la-muerte-sounds-of-death-2008. Wuertz, Christopher Alessandrini, Stephanie. “Remembering Ana Mendieta.” The Metropolitan Museum of Art. https://www.metmuseum.org/perspectives/articles/2021/10/from-the-vaults-remembering-ana-mendieta. Credits Season 2 of Unboxing the Canon is produced by Professor Linda Steer for her course “Introduction to the History of Western Art” in the Department of Visual Arts at Brock University. Our sound designer, co-host and contributing researcher is Madeline Collins.  Brock University is located on the traditional lands of the Haudenosaunee and Anishinaabe peoples, many of whom continue to live and work here today. This territory is covered by the Upper Canada Treaties and is within the land protected by the Dish with One Spoon Wampum Agreement. Today this gathering place is home to many First Nations, Métis and Inuit peoples and acknowledging reminds us that our great standard of living is directly related to the resources and friendship of Indigenous people. Our logo was created by Cherie Michels. The theme song has been adapted from “Night in Venice” Kevin MacLeod and is licensed under Creative Commons Attribution International 4.0. Grants from the Humanities Research Institute and from Match of Minds at Brock University support the production of this podcast, which is produced as an open educational resource. Unboxing the Canon is archived in the Brock Digital Repository. Find it at https://dr.library.brocku.ca/handle/10464/14929   You can also find Unboxing the Canon on any of the main podcast apps. Please subscribe and rate our podcast. You can also find us on Twitter @CanonUnboxing and Instagram @unboxingthecanon or you can write to unboxingthecanon@gmail.com 

In 1994, CAA's Committee on Women in the Arts held a panel chaired by Judith Stein that featured speakers Linda Nochlin, Ann Sutherland Harris, and Alessandra Comini. Their individual presentations look at the progress of women artists and art historians over the previous twenty years, since 1974. The talks use the exhibition, Women Artists 1550-1950, curated by Nochlin and Harris, as a benchmark for discussion. This landmark exhibition toured four American museums in 1976-77, such as the Brooklyn Museum in 1977, and raised public awareness of the many gifted women painters, sculptors, and architects. The talks in this session compare and contrast the attitudes that prevailed when the show was being organized with views in the nineties. Releasing these recordings of the session almost another twenty years later, it is an opportunity to reassess the status of women in the arts once again. Fifty years ago in 1972, CAA founded its first committees devoted to women in the arts. This year we celebrate the 50th anniversary of this history by sharing historic materials from CAA members and archives that intersect with feminism at the organization, CAA's Committee on Women in the Arts, and from its Affiliated Societies, the Women's Caucus for Art (WCA) and The Feminist Art Project (TFAP). CAA established the Committee on the Status of Women (COSW), the first committee to focus on women in CAA's history, in 1972. The COSW was renamed the Committee on Women in the Arts (CWA) in 1996, and it continues to promote women in the visual arts field.

In 1994, CAA's Committee on Women in the Arts held a panel chaired by Judith Stein that featured speakers Linda Nochlin, Ann Sutherland Harris, and Alessandra Comini. Their individual presentations look at the progress of women artists and art historians over the previous twenty years, since 1974. The talks use the exhibition, Women Artists 1550-1950, curated by Nochlin and Harris, as a benchmark for discussion. This landmark exhibition toured four American museums in 1976-77, such as the Brooklyn Museum in 1977, and raised public awareness of the many gifted women painters, sculptors, and architects. The talks in this session compare and contrast the attitudes that prevailed when the show was being organized with views in the nineties. Releasing these recordings of the session almost another twenty years later, it is an opportunity to reassess the status of women in the arts once again. Fifty years ago in 1972, CAA founded its first committees devoted to women in the arts. This year we celebrate the 50th anniversary of this history by sharing historic materials from CAA members and archives that intersect with feminism at the organization, CAA's Committee on Women in the Arts, and from its Affiliated Societies, the Women's Caucus for Art (WCA) and The Feminist Art Project (TFAP). CAA established the Committee on the Status of Women (COSW), the first committee to focus on women in CAA's history, in 1972. The COSW was renamed the Committee on Women in the Arts (CWA) in 1996, and it continues to promote women in the visual arts field.

In 1994, CAA's Committee on Women in the Arts held a panel chaired by Judith Stein that featured speakers Linda Nochlin, Ann Sutherland Harris, and Alessandra Comini. Their individual presentations look at the progress of women artists and art historians over the previous twenty years, since 1974. The talks use the exhibition, Women Artists 1550-1950, curated by Nochlin and Harris, as a benchmark for discussion. This landmark exhibition toured four American museums in 1976-77, such as the Brooklyn Museum in 1977, and raised public awareness of the many gifted women painters, sculptors, and architects. The talks in this session compare and contrast the attitudes that prevailed when the show was being organized with views in the nineties. Releasing these recordings of the session almost another twenty years later, it is an opportunity to reassess the status of women in the arts once again. Fifty years ago in 1972, CAA founded its first committees devoted to women in the arts. This year we celebrate the 50th anniversary of this history by sharing historic materials from CAA members and archives that intersect with feminism at the organization, CAA's Committee on Women in the Arts, and from its Affiliated Societies, the Women's Caucus for Art (WCA) and The Feminist Art Project (TFAP). CAA established the Committee on the Status of Women (COSW), the first committee to focus on women in CAA's history, in 1972. The COSW was renamed the Committee on Women in the Arts (CWA) in 1996, and it continues to promote women in the visual arts field.

In 1994, CAA's Committee on Women in the Arts held a panel chaired by Judith Stein that featured speakers Linda Nochlin, Ann Sutherland Harris, and Alessandra Comini. Their individual presentations look at the progress of women artists and art historians over the previous twenty years, since 1974. The talks use the exhibition, Women Artists 1550-1950, curated by Nochlin and Harris, as a benchmark for discussion. This landmark exhibition toured four American museums in 1976-77, such as the Brooklyn Museum in 1977, and raised public awareness of the many gifted women painters, sculptors, and architects. The talks in this session compare and contrast the attitudes that prevailed when the show was being organized with views in the nineties. Releasing these recordings of the session almost another twenty years later, it is an opportunity to reassess the status of women in the arts once again. Fifty years ago in 1972, CAA founded its first committees devoted to women in the arts. This year we celebrate the 50th anniversary of this history by sharing historic materials from CAA members and archives that intersect with feminism at the organization, CAA's Committee on Women in the Arts, and from its Affiliated Societies, the Women's Caucus for Art (WCA) and The Feminist Art Project (TFAP). CAA established the Committee on the Status of Women (COSW), the first committee to focus on women in CAA's history, in 1972. The COSW was renamed the Committee on Women in the Arts (CWA) in 1996, and it continues to promote women in the visual arts field.

Mandy is back to help me dissect this beloved classic book "Ways of Seeing" 1972 (and BBC TV show) by John Berger. Welcome back, Mandy! And, as always on Book Talks, much art-nerdery was indulged. Come along with us as we consider Berger's thoughts on Art: aka How it was changed by the age of reproduction, How the Nude functions as a tool for the Male Gaze, and How art is used as a status symbol for the wealthy, and in advertising to create Glamour. "Ways of Seeing" was created mainly by John Berger (writer/host), Michael Dibb (filmmaker), Delia Derbyshire (composer), and Richard Hollis (book designer) with help from others. The project was conceived specifically to "question some of the assumptions usually made about the tradition of European Painting. That tradition which was born about 1400, and dies about 1900.” In the TV series (and in direct contrast to Kenneth Clark's big budget show, “Civilisation”), Berger shows up against a slightly shabby blue screen in a partially unbuttoned white and brown patterned shirt (he bought it right before the shoot bc he had been wearing blue) with kind of wild curly hair (kinda like Michael Landon style), and in slacks…he's casual- he's scrappy - parts of the show were even assembled in his parent's living room. He's earnest, feminist, anti-capitalist and unlike the posh-speaking Clark, he has a slight speech impediment…and Berger is ready to burn it all to the ground. "Ways of Seeing," the book, is available at most bookstores and "Ways of Seeing," the BBC tv program, is available to stream for free on Youtube A few grateful shout-outs to writers who we used for research for this talk: Olivia Laing / The Guardian, Kate Abbott / The Guardian and Sam Haselby / Aeon.co John Berger's other books: His novel "G" and also books about art's role in contemporary society: "About Looking" and "The Shape of a Pocket" Extra shout-outs: Composer, Delia Derbyshire, "The Man with the Movie Camera" film by Dziga Vertov, poster by Alexander Rodchenko, Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction,” Eva Figes, book "Patriarchal Attitudes," Jane Kenrick, one of five who had been on trial for protesting against the 1970 Miss World contest, Laura Mulvey's “Visual Pleasure and Narrative Cinema,” Linda Nochlin's “Why Have There Been No Great Women Artists," "Landscape & Power" by WJT Mitchell, "Looking at the Overlooked" by Norman Bryson Send me a voice message on Speakpipe.com about what you love and dislike about NYC! I'll use the recording in a future ep about Marsden Hartley: https://www.speakpipe.com/peps Follow Pep Talks on IG: @peptalksforartists Donate to the Peps: Buy Me a Coffee or https://anchor.fm/peptalksforartistspod/support. Amy's website: https://www.amytalluto.com/ All music tracks and SFX are licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Theatermaakster Khadija El Kharraz Alami stelt vrouwelijke schoonheid, kwetsbaarheid en pijn centraal in haar voorstelling The Waves. Helena Kritis maakte in Wiels een tentoonstelling over de Amerikaanse videokunstenaar Lucy Raven. In 1971 publiceerde Linda Nochlin het invloedrijke essay Why Have There Been No Great Women Artists. Els Roelandt en Jessica Gysel nodigden kunstenaars uit om een antwoord te formuleren op de vraag die Nochlin een halve eeuw geleden stelde.

Nos visita Ernesto Castro, que acaba de publicar su primera novela: 'Jantipa o del morir' (Ed. Temas de hoy), una obra filosófica sobre la vida, la muerte y la esperanza en la noche más larga de Auschwitz.  Además, hacemos metacrítica de arte con Mery Cuesta, que viene a hablarnos de Linda Nochlin, crítica neoyorquina que se convirtió en una figura clave para comprender y difundir el arte de mujeres durante los años 70. Todo a partir de la reciente aparición del libro 'Mujeres artistas: Ensayos de Linda Nochlin' publicado por Alianza Forma. Y nos acercaremos a la curiosa historia que cuenta Brigitte Benkemoun en un libro que edita Taurus: 'En busca de Dora Maar'. Benkemoun compró una libreta vintage de segunda mano que escondía un tesoro: un listín de direcciones con los datos de los principales artistas del siglo XX. A partir de su hallazgo, arrancó una investigación para descubrir a quién había pertenecido la agenda.  Escuchar audio

Gab es große Künstlerinnen in der Zeit? Warum ist eine Elisabeth Thompson oder eine Rosa Bonheur heute nur mehr Insider:innen bekannt? Ein paar Ansätze zu Antwortmöglichkeiten. Begleitmaterial:Instagram @kunstgeschichten_podcastWeiterführende Literatur: Why Have There Been No Great Women Artists? – Linda Nochlin:https://www.writing.upenn.edu/library/Nochlin-Linda_Why-Have-There-Been-No-Great-Women-Artists.pdfFür Feedback sind wir unter: kunstgeschichten@actaprojects.at erreichbar.

It's time for another bonus book episode! This month we read "Women Artists: The Linda Nochlin Reader" by Linda Nochlin, Edited by Maura Reily. To help us digest and discuss this collection of essays by Linda Nochlin, we are joined by Hall W. Rockefeller, founder of Less than Half and art historian.  We talk about Linda Nochlin's impact, her commentary on the art world, and the different ways in which women artists have it better or worse than when Nochlin's "Why have there been no great women artists" essay was first released.  You can purchase the Linda Nochlin Reader herePurchase next months book of the month hereFollow along with Hall W. Rockefeller at her lessthanhalf.org and @all.the.lady.artistsWant to check out some of our favorite books? Check out our booklist Follow Us on Instagram @morethanamuse.podcast 

CW: Có chứa audio nội dung miệt thị phụ nữ. Phụ nữ hiện đại ghét rửa chén? Nữ quyền thượng đẳng muốn lợi dụng đàn ông? Nữ quyền muốn thiết lập chế độ mẫu quyền biến đàn ông thành hạ đẳng? Trong tập này tụi mình sẽ nói về chủ đề này. Hơi trễ so với lúc vụ này nổ ra trên Tiktok, keep in mind là tụi mình thu tập này khá lâu về trước nha. Hy vọng các bạn sẽ thích tập này. *Bổ sung: Trong phần phân tích thuật ngữ "matriarchy" (chế độ mẫu quyền), mình đang nói về matriarchy như là đối lập hoàn toàn của patriarchy (chế độ phụ quyền). Chế độ mẫu quyền ấy không tồn tại, ít nhất là chưa tìm được bằng chừng nó tồn tại trong quá khứ và không tìm được nó trên thế giới hiện nay. Tuy nhiên, thuật ngữ "matriarchy" đôi khi được dùng để chỉ xã hội không có chế độ phụ quyền (non-patriarchal society) hay những xã hội vừa mẫu hệ (matrilineal society) vừa có chế độ ở rể (matrilocal society). Nhưng vì sự liên đới với sự chính trị hóa của thuật ngữ "matriarchy" bởi các nhóm antifeminist, thuật ngữ matriarchy với cách sử dụng này không được recommend lắm. Tài liệu tham khảo: Linda Nochlin, Why Have There Been No Great Women Artists?: https://bit.ly/3EV8fpG Ian Danskin (Innuendo Studios), Why Are You So Angry? Part 2: Angry Jack: https://bit.ly/3kFJ9mx Antastesia, Le Mythe du Matriarcat: https://bit.ly/2ZxEH1k Ketsom, FANTASME DU MATRIARCAT DES POPULATIONS NOIRES : CONFUSIONS & RÉPERCUSSIONS FAMILIALES: https://bit.ly/2XTBM2E Les EthnoChroniques, LE MATRIARCAT : LES BADJAO - ETHNOCHRONIQUE #8: https://bit.ly/3kHuWWv Về Men's Liberation Movement (Phong trào Giải phóng Nam giới): https://en.wikipedia.org/wiki/Men%27s_liberation_movement Subreddit Men's Lib: https://www.reddit.com/r/MensLib/ Just Another Rant #36: "Tụi tui không phải bánh bèo nha": https://bit.ly/3iafsZd Just Another Rant #37: Nữ quyền có làm ta "mất gốc"?: https://bit.ly/3kHwWxN Tổ chức Thúc đẩy Bình đẳng giới Việt Nam VOGE: https://www.facebook.com/voge.vn Viet Feminism: https://www.instagram.com/vietfem/ ____________________________________________________ Listen to our podcast on 9 other platforms: https://anchor.fm/mai-vugon Follow us, maybe? https://www.instagram.com/just.another.rant/ https://www.instagram.com/maivugon/ https://www.instagram.com/phg_q/ Our Facebook page: https://www.facebook.com/justanotherrant/ Check out Quynh's new channel: https://www.youtube.com/channel/UCvuSEFw24oH8kwIOz6ZV7EQ Our blogs: https://maivugon.blogspot.com/ https://phgq.blogspot.com/

CW: Có chứa audio nội dung miệt thị phụ nữ. Phụ nữ hiện đại ghét rửa chén? Nữ quyền thượng đẳng muốn lợi dụng đàn ông? Nữ quyền muốn thiết lập chế độ mẫu quyền biến đàn ông thành hạ đẳng? Trong tập này tụi mình sẽ nói về chủ đề này. Hơi trễ so với lúc vụ này nổ ra trên Tiktok, keep in mind là tụi mình thu tập này khá lâu về trước nha. Hy vọng các bạn sẽ thích tập này. *Bổ sung: Trong phần phân tích thuật ngữ "matriarchy" (chế độ mẫu quyền), mình đang nói về matriarchy như là đối lập hoàn toàn của patriarchy (chế độ phụ quyền). Chế độ mẫu quyền ấy không tồn tại, ít nhất là chưa tìm được bằng chừng nó tồn tại trong quá khứ và không tìm được nó trên thế giới hiện nay. Tuy nhiên, thuật ngữ "matriarchy" đôi khi được dùng để chỉ xã hội không có chế độ phụ quyền (non-patriarchal society) hay những xã hội vừa mẫu hệ (matrilineal society) vừa có chế độ ở rể (matrilocal society). Nhưng vì sự liên đới với sự chính trị hóa của thuật ngữ "matriarchy" bởi các nhóm antifeminist, thuật ngữ matriarchy với cách sử dụng này không được recommend lắm. Tài liệu tham khảo: Linda Nochlin, Why Have There Been No Great Women Artists?: https://bit.ly/3EV8fpG Ian Danskin (Innuendo Studios), Why Are You So Angry? Part 2: Angry Jack: https://bit.ly/3kFJ9mx Antastesia, Le Mythe du Matriarcat: https://bit.ly/2ZxEH1k Ketsom, FANTASME DU MATRIARCAT DES POPULATIONS NOIRES : CONFUSIONS & RÉPERCUSSIONS FAMILIALES: https://bit.ly/2XTBM2E Les EthnoChroniques, LE MATRIARCAT : LES BADJAO - ETHNOCHRONIQUE #8: https://bit.ly/3kHuWWv Về Men's Liberation Movement (Phong trào Giải phóng Nam giới): https://en.wikipedia.org/wiki/Men%27s_liberation_movement Subreddit Men's Lib: https://www.reddit.com/r/MensLib/ Just Another Rant #36: "Tụi tui không phải bánh bèo nha": https://bit.ly/3iafsZd Just Another Rant #37: Nữ quyền có làm ta "mất gốc"?: https://bit.ly/3kHwWxN Tổ chức Thúc đẩy Bình đẳng giới Việt Nam VOGE: https://www.facebook.com/voge.vn Viet Feminism: https://www.instagram.com/vietfem/ ____________________________________________________ Listen to our podcast on 9 other platforms: https://anchor.fm/mai-vugon Follow us, maybe? https://www.instagram.com/just.another.rant/ https://www.instagram.com/maivugon/ https://www.instagram.com/phg_q/ Our Facebook page: https://www.facebook.com/justanotherrant/ Check out Quynh's new channel: https://www.youtube.com/channel/UCvuSEFw24oH8kwIOz6ZV7EQ Our blogs: https://maivugon.blogspot.com/ https://phgq.blogspot.com/

We discussed: the concerns about being excluded, self segregation, sub categorisation, gay art as a topic vs a way of life, Art History, Tokenism, and the need for safe spaces.   Panelists: Emmanuel Thibault - Photographer + Designer - https://www.archiproducts.com/en/designers/emmanuel-thibault Frederick Nathanael - Director of Pride Art - https://www.prideart.no Katja Fjeld - Art Historian - https://www.instagram.com/sause_dyret/     People + Places mentioned: Judith Butler - https://vcresearch.berkeley.edu/faculty/judith-butler Man Enough to Be a Woman, by Jayne County - https://serpentstail.com/work/man-enough-to-be-a-woman/ Disidentifications: Queers of Color and the Performance of Politics by José Esteban Muñoz - https://www.upress.umn.edu/book-division/books/disidentifications Vaginal Davis - http://www.vaginaldavis.com Why Have There Been No Great Women Artists?, Book by Linda Nochlin - https://www.writing.upenn.edu/library/Nochlin-Linda_Why-Have-There-Been-No-Great-Women-Artists.pdf Queer culture year 2022 in Norway - https://www.nasjonalmuseet.no/en/aktuelt/2021/celebration-of-queer-culture-year/ Safe Space Collective - https://www.safespacecollective.com Homophobic murder in Spain - https://www.reuters.com/world/europe/spain-arrests-two-minors-over-suspected-homophobic-killing-2021-07-09/     Audio editing by Jakub Černý Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no        

We discussed: the concerns about being excluded, self segregation, sub categorisation, gay art as a topic vs a way of life, Art History, Tokenism, and the need for safe spaces.   Panelists: Emmanuel Thibault - Photographer + Designer - https://www.archiproducts.com/en/designers/emmanuel-thibault Frederick Nathanael - Director of Pride Art - https://www.prideart.no Katja Fjeld - Art Historian - https://www.instagram.com/sause_dyret/     People + Places mentioned: Judith Butler - https://vcresearch.berkeley.edu/faculty/judith-butler Man Enough to Be a Woman, by Jayne County - https://serpentstail.com/work/man-enough-to-be-a-woman/ Disidentifications: Queers of Color and the Performance of Politics by José Esteban Muñoz - https://www.upress.umn.edu/book-division/books/disidentifications Vaginal Davis - http://www.vaginaldavis.com Why Have There Been No Great Women Artists?, Book by Linda Nochlin - https://www.writing.upenn.edu/library/Nochlin-Linda_Why-Have-There-Been-No-Great-Women-Artists.pdf Queer culture year 2022 in Norway - https://www.nasjonalmuseet.no/en/aktuelt/2021/celebration-of-queer-culture-year/ Safe Space Collective - https://www.safespacecollective.com Homophobic murder in Spain - https://www.reuters.com/world/europe/spain-arrests-two-minors-over-suspected-homophobic-killing-2021-07-09/     Audio editing by Jakub Černý Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no        

If you enjoy rebelling against established institutions, you'll enjoy some aspects of Postmodern Art and the work it inspires today. Host Klaire Lockheart will briefly review Modernism before explaining the Postmodernism movement. Discover the legacy of the Guerrilla Girls, and learn about an epic feud over the blackest black paint. Artists and Artwork: Damien Hirst (Away from the Flock), Colleen Wolstenholme, Jeff Koons (String of Puppies), Art Rogers (Puppies), Chuck Close, Jean-Michel Basquiat, Al Diaz, Andy Warhol, Guerrilla Girls (Do women have to be naked to get into the Met. Museum?; When Racism And Sexism Are No Longer Fashionable, How Much Will Your Art Collection Be Worth?), Anish Kapoor (Cloud Gate), and Stuart Semple Additional Topics: Modernism, SAMO©, Neo-Expressionism, Linda Nochlin, James Elkins (Stories of Art), the Bean, Vantablack, Culture Hustle, Black 3.0, and “Art Workers' Coalition: Statement of Demands” klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

We are back (again!!!!) Join us as we discuss the Oscars (the winners and the losers), make unqualified fashion critiques before diving into discussing our favourite topics; the Yoghurt Wars™, Conservative Influencing™ and Age Gap Romances™. We ask, is Stanley Tucci playing a gay man an act of violence, who is Olivia Colman's designer and what 12 things do you need to be a lady?! Things mentioned (Oscars): Great year for women! - https://theconversation.com/oscars-2021-5-experts-on-the-wins-the-words-the-wearable-art-and-a-big-year-for-women-159697 First women of colour to win best director - Chloé Zhao - https://www.scmp.com/week-asia/opinion/article/3131838/chinas-treatment-oscar-winner-chloe-zhao-shows-how-lose-friends - https://www.sbs.com.au/news/trailblazing-director-chloe-zhao-is-the-first-woman-of-colour-to-win-the-best-director-oscar Best supporting actress: Youn Yuh-Jung  - https://my.asiatatler.com/life/facts-about-youn-yuh-jung-minari-oscars-baftas-sag-awards First African-American winners in the category of makeup and hairstyling - Mia Neal and Jamika Wilson - https://www.theguardian.com/film/2021/apr/25/mia-neal-and-jamika-wilson-become-first-black-women-to-win-hair-and-makeup-oscar Talent is arbitrary: Fran Lebowitz documentary - Pretend Its a City (2021 Netflix) - https://www.vulture.com/2021/01/pretend-its-a-city-best-bits-in-netflix-fran-lebowitz-doc.html Why have there been no great women artists? Linda Nochlin (1971) - https://www.writing.upenn.edu/library/Nochlin-Linda_Why-Have-There-Been-No-Great-Women-Artists.pdf Foreign Film - Another Round (2020) - https://www.bbc.com/news/entertainment-arts-56647795 Minari (2020)  - https://www.theringer.com/movies/2021/4/12/22379106/steven-yeun-minari-deserves-best-actor-oscar Discussion on straight actors being cast in gay roles/Politicising film: - Supernova (2021) - https://www.theguardian.com/film/2020/sep/22/supernova-review-colin-firth-stanley-tucci-toronto - Stanley Tucci ‘Italy' series: - https://www.newyorker.com/culture/annals-of-gastronomy/the-timeless-fantasy-of-stanley-tucci-eating-italian-food - Zadi Smith: - https://www.nybooks.com/articles/2019/10/24/zadie-smith-in-defense-of-fiction/ - Disclosure (2020): - https://www.facebook.com/watch/?v=585113292147850 - Ammonite (2020) -  https://www.empireonline.com/movies/reviews/ammonite/ - Portrait of a Lady on Fire (2019) - The World to Come (2020) - Vanessa Kirby - It's a Sin (2021) - Manchester by the Sea (2016) Red carpet: - Rip Olivia Colman's stylist! https://www.google.com/search?q=olivia+colman+oscars+2021&tbm=isch&ved=2ahUKEwiVsJyjyq3wAhVHAnIKHe1pAmoQ2-cCegQIABAA&oq=olivia+colman+oscars+2021&gs_lcp=CgNpbWcQAzIECCMQJzoCCAA6BAgAEB46BAgAEBhQ_g1YjxVgwhZoAHAAeACAAYUBiAH-BJIBAzAuNZgBAKABAaoBC2d3cy13aXotaW1nwAEB&sclient=img&ei=ivWPYJXDGMeEyAPt04nQBg&bih=923&biw=1680#imgrc=RJ5tnzxuy7_f0M Yoghurt Wars/Demi Lovato— https://www.gossipcop.com/demi-lovato-frozen-yogurt-shop-feud/186622/ Conservative Influencer - Classically Abby - https://www.youtube.com/c/ClassicallyAbby/videos Clits of the week! - New Animal (2021) by Ella Baxter - The Father (2021) - Before Sunrise (1995) - Let Me Tell You What I mean (2021) by Joan Didian

In Episode 19 of Overthink, Ellie and David debate the idea of genius. They begin by explaining Kant and Schopenhauer's theories of genius before diving into feminist critiques of the very idea that geniuses exist. They talk about why women were traditionally excluded from being geniuses, how male professors are called "genius" on Ratemyprofessor more than their female counterparts, and how sociological conditions determine who is considered a genius. Also discussed: Ellie's childhood belief that she was, in fact, a genius, David's competitive standardized test-taking, whether genius is innate, if a scientist can count as genius, the Hollywood "it factor," and more!Works Discussed: Immanuel Kant, The Critique of JudgmentArthur Schopenhauer, The World as Will and RepresentationTom Leddy, "Kant on How to be a Genius"Linda Nochlin, "Why Have There Been No Great Women Artists?"Cynthia Freeland, "Gender, Genius, and Guerilla Girls"Fran Lebowitz, "Pretend It's a City" (Netflix TV show)Storage et al., "The Frequency of “Brilliant” and “Genius” in Teaching Evaluations Predicts the Representation of Women and African Americans across Fields"Website | overthinkpodcast.comInstagram & Twitter | @overthink_podEmail |  Dearoverthink@gmail.comYouTube | Overthink podcast

Julia Trotta's film, Forget to be Afraid: A Portrait of Linda Nochlin, is in postproduction. We talk about the shape of the project and what it was like to have Linda Nochlin as your grandma. Happy holidays! Never miss an episode of The Amy Beecher Show. Subscribe to our newsletter or follow us on Instagram and Facebook. Show Notes Forget to be Afraid: A Portrait of Linda Nochlin Blank Forms  

Just in time for Christmas shopping, we have a BONUS EPISODE with a whole list of books and other things we love and know you will too! *all links are Amazon Affiliate links which will give us a small percentage of profit from your purchase so we can keep making cool things happen for the podcast!Also in this episode, we announce our new PATREON! We want to move forward with cooler things and bigger events to honor female artists from the past and present and any contributions will be very helpful! Plus there are rewards in it for you!LINKSGoogle Doc Book List (also included below, but this one will be frequently updated for new episodes)JOIN OUR PATREON IG @morethanamuse.podcastBook/Art Supplies ListBooks from our Podcast EpisodesArtemisia GentileschiArtemisia Gentileschi by Mary D. Garrardhttps://amzn.to/3nH3IOpClara SchumannClara Schumann: The Artist and the Woman by Nancy Reichhttps://amzn.to/2IQwcWQWhy have there been No Great Women Artists?Women Artists: The Linda Nochlin Reader by Linda Nochlin, Maura Reillyhttps://amzn.to/3nBET6jWomen, Art, And Power And Other Essays by Linda Nochlinhttps://amzn.to/3kOfRz4Female Horror Writers of the 19th CenturyWeird Women: Classic Supernatural Fiction by Groundbreaking Female Writers: 1852-1923 by Leslie S. Klingerhttps://amzn.to/3kSrpBDAugusta SavageGRAVEN IMAGES: The Tumultuous Life and Times of Augusta Savage by Gail Tanzerhttps://amzn.to/3nDoIFwAugusta Savage: Renaissance Woman Hardcover by Jeffreen M. Hayeshttps://amzn.to/35JKaTbLet's Talk About FangirlsFangirls: Scenes from Modern Music Culture by Hannah Ewenshttps://amzn.to/32Yl7dpInterview with Rachel JennieFrida Kahlo, I Paint My Reality by Christina Burrushttps://amzn.to/2KwZoTpMaria Anna MozartFor the Love of Music: The Remarkable Story of Maria Anna Mozart Hardcover by Elizabeth Ruschhttps://amzn.to/36NGMGrInterview with Hall RockefellerThe Short Story of Women Artists by Susie Hodgehttps://amzn.to/32Wjg8ZOther Female Artist BooksThe Expanding Discourse: Feminism And Art History by Norma Broude and Mary Garrardhttps://amzn.to/33gLxqZChanged for Good: A Feminist History of the Broadway Musical by Stacy Wolfhttps://amzn.to/33ziy1VBroad Strokes: 15 Women Who Made Art and Made History (in That Order) by Bridget Quinn and Lisa Congdonhttps://amzn.to/366gBf1Men to Avoid in Art and Life by Nicole Tersignihttps://amzn.to/3fyslK6Art of Feminism: Images that Shaped the Fight for Equality, 1857-2017 by Helena Reckitt , Maria Balshawhttps://amzn.to/366p6GHReclaiming Female Agency: Feminist Art History after Postmodernism by Norma Broude, Mary D. Garrardhttps://amzn.to/39hRY0KRevenge of the She-Punks: A Feminist Music History from Poly Styrene to Pussy Riot by Vivien Goldmanhttps://amzn.to/2V9a3WlShe Bop: The Definitive History of Women in Popular Music by Lucy O'Brienhttps://amzn.to/3q3TnOzTowards a Twenty-First-Century Feminist Politics of Music by Sally Macarthurhttps://amzn.to/2V2hwqnWomen in Art: 50 Fearless Creatives Who Inspired the World (Women in Science) by Rachel Ignotofskyhttps://amzn.to/37aYhAuDolly Parton, Songteller: My Life in Lyrics Hardcover by Dolly Partonhttps://amzn.to/3ldFERGWomen Can't Paint: Gender, the Glass Ceiling and Values in Contemporary Art by Helen Gorrillhttps://amzn.to/3o18nKXGreat Women Artists by Phaidon Editorshttps://amzn.to/2JhugXGPre-Raphaelite Sisters by Jan Marsh, Charlotte Gerehttps://amzn.to/2JesfLyThe First Collection of Criticism by a Living Female Rock Critic by Jessica Hopperhttps://amzn.to/33e6cvKhttps://amzn.to/363lWDJWomen Who Run with the Wolves: Myths and Stories of the Wild Woman by Clarissa Pinkola Estéshttps://amzn.to/33l9I7MThe Artist's Way Workbook by Julia Cameronhttps://amzn.to/3m2rxzEA Natural Woman: A Memoir by Carole Kinghttps://amzn.to/2V4xKPCWonderful Tonight: George Harrison, Eric Clapton, and Me by Pattie Boydhttps://amzn.to/39gCb2fElvis and Me: The True Story of the Love Between Priscilla Presley and the King of Rock N' Roll by Priscilla Beaulieu Presleyhttps://amzn.to/3l72w58Paula Scher: Maps By Paula Scherhttps://amzn.to/3q4yrXtPaula Scher: Twenty-Five Years at the Public, A Love Story by Paula Scherhttps://amzn.to/2UZCYfAMake It Bigger: (illustrated monograph on the design process and work of Paula Scher) by Paula Scherhttps://amzn.to/3fBKzdQFake Love Letters, Forged Telegrams, and Prison Escape Maps: Designing Graphic Props for Filmmaking by Annie Atkinshttps://amzn.to/3fDyLIaMeggs' History of Graphic Design 6th Edition by Philip B. Meggs, Alston W. Purvishttps://amzn.to/39gN0S0New Retro: Graphic LOGO with Retro Designs By Victionaryhttps://amzn.to/3fA4klQLogo Modernism By Müller, Jenshttps://amzn.to/3m2kgjnThinking with Type: A Critical Guide for Designers, Writers, Editors, & Students by Lupton, Ellenhttps://amzn.to/364wjqMArt SuppliesLemome A5 dotted Notebookhttps://amzn.to/33eKS9hTombow Fudenosuke Brush Penshttps://amzn.to/368txkyUni-Ball Signo Broad Point Gel Impact Pen White Inkhttps://amzn.to/3lfI7epSakura Pigma 30067 Micron Blister Card Ink Pen Set, Black, 8/Sethttps://amzn.to/367V9G8Faber-Castell Clic & Go Artist Water Cup - Dark Greenhttps://amzn.to/2HAmVSi

Pourquoi n'y a-t-il pas de grandes artistes femmes ? Cette question a été posée par Linda Nochlin. Elle renvoie à une vraie réalité : les femmes sont absentes de l'Histoire de l'Art... Pour le comprendre, penchons nous sur les contraintes qui ont pesé sur leur carrières, et les représentations fantasmées qui ont entour les femmes pendant des siècles. Seulement à ce prix là peut on remettre en lumière certaines grandes artistes qui ont jalonné les siècles. Featuring. Linda Nochlin, Guerilla Girls, Simone de Beauvoir, et les manuels d'éducation féminine *** Retrouvez Art Talks Coffret! Dans des coffrets assemblés à la main, numérotés et signés, retrouvez un livre d'art, le podcast, et dix œuvres satyriques, en lien avec les séries d'Art Talks. Ils sont tirés en 100 exemplaires seulement, et c'est un magnifique objet d'art à offrir, ou simplement pour compléter la découverte du podcast. Rendez-vous sur : https://www.art-talks.fr Suivez Art Talks sur Instagram @art.talks.podcast

The contemporary artist, curator, writer, designer Sally Brown amplifies her feminist voice and "intent" through evocative body prints. Her body becomes the sculptural medium. In this deep universal exploration of the body, Brown finds her way as a "woman, mother, sensual being at one with my body and self." Resources for this episode include Sally Brown; sallyjanebrown.com, Brooklyn Museum, Museum of Modern Art, Judy Chicago Foundation, the writings of Linda Nochlin, Whitney Chadwick, all listed in the podcast notes. View works discussed on my website at beyondthepaint.net, on Instagram @beyondthepaintpodcast. To experience the feminist works of Sally Brown follow her at sallery_art on Instagram. (Image Credit: "Offer" Sally Brown website)

The contemporary artist, curator, writer, designer Sally Brown amplifies her feminist voice and "intent" through evocative body prints. Her body becomes the sculptural medium. In this deep universal exploration of the body, Brown finds her way as a "woman, mother, sensual being at one with my body and self." Resources for this episode include Sally Brown; sallyjanebrown.com, Brooklyn Museum, Museum of Modern Art, Judy Chicago Foundation, the writings of Linda Nochlin, Whitney Chadwick, all listed in the podcast notes. View works discussed on my website at beyondthepaint.net, on Instagram @beyondthepaintpodcast. To experience the feminist works of Sally Brown follow her at sallery_art on Instagram. (Image Credit: "Offer" Sally Brown website)

In this episode, we discuss an article from ArtNews by Linda Nochlin from 1971 titled "Why have there been no great women artists?" and discuss the disparity of female artists throughout history books and records, the idea of "feminine" or "girly" art and how women are viewed in the art industries as a whole. You can read the article by Nochlin here Follow us on Instagram at @morethanamuse.podcast

Les recomendamos ver las adaptaciones a cine de 1994 y 2020, y leer el ensayo “¿Por qué no han existido grandes artistas mujeres?” de Linda Nochlin

The only March Madness that's not getting canceled this month is the final part of our series! Today finishes our discussion of Linda Nochlin's (1971) "Why Have There Been No Great Women Artists?" article. While we were hoping that between the parts we could resolve this whole debacle, we will just have to see if Part 2 solves it! Find out how we're planning to change the world with clout, how essential the fundamental access to education and training could make or break an artist's career, and how quick we are to aggressively callout the "Gal Pals" narrative on old-timey lesbians. And in case you're wondering: the "Genius" still does not exist. Stay Safe. Don't Touch Your Face. Wash Your Hands. Help BYWAP grow by spreading the word! You can find us on Twitter and Instagram. Also, please leave us a review wherever you listen to podcasts. Every little bit helps as we grow, and we cannot wait to talk to you all again next month. Our music was written and recorded by Elene Kadagidze. Our cover art was designed by Lindsey Anton-Wood.

Welcome to February: the month that refuses to slow down! Today is the first of a two-part series, looking into Linda Nochlin's (1971) "Why Have There Been No Great Women Artists?" article. Find out how to avoid getting into fist fights over poorly-phrased questions, what the lasting impact of the Feminist Movement on Art History has been, why there's no such thing as "The Genius",  and where exactly the 2020 Oscars’ fit into all of this. Join us in all the yelling! Help BYWAP grow by spreading the word! You can find us on Twitter and Instagram.  Also, please leave us a review on iTunes. Every little bit helps as we grow, and we cannot wait to talk to you all again next month. Out music was written and recorded by Elene Kadagidze.  Out cover art was designed by Lindsey Anton-Wood. 

Merhaba. Bu bölümümüzde Portrait of a Lady On Fire (Alev Almış Bir Genç Kızın Portresi)’ni böyle ciddili falan akademik bir gözle tartıştık. Unutulmaz Podcastler’den SANAT TARİHİ ŞOV! On sekizinci yüzyılın sanat enstitülerinden girildi, ilham perisi kavramı irdelendi, “male gaze” teriminin mucidi Laura Mulvey’e uğrandı, Antik Yunan mitlerinden dönülüp sanatta “agency” tartışmalarından çıkıldı. Bilgi sağanağına tutulduğumuz bu 45 dakikalık şölen, Çehov’un da dediği gibi “Biraz daha sürse ‘Sanat sanat için midir, yoksa sanat toplum için midir’ anlayacaktık.” Dinleyiniz. Defne’nin bahsettiği Linda Nochlin makalesi: https://www.artnews.com/art-news/retrospective/why-have-there-been-no-great-women-artists-4201/

“为什么没有伟大的女性艺术家？”1971年，艺术史学家琳达·洛克林用这个问题开启了她的一篇著名文论。 但这其实是一个伪问题。假如我们深入研究艺术史，会发现历史上并不缺乏才华横溢的女性艺术家。真正的问题是：为什么伟大的女性艺术家被一直艺术史的写作者忽视？历史上有很多给男性艺术大师提供灵感的女性，他们的“缪斯”和爱人，她们的才华为什么长期被遮蔽，甚至被她们的爱人掠夺和侵占？ 2019年9月，《艺术新闻／中文版》制作了一期“女性艺术新历程”专题。这个专题回溯了历史上的著名女性艺术家，从17世纪意大利巴洛克时期的阿尔泰米西娅·真蒂莱斯基（Artemisia Gentileschi），到几乎被遗忘的包豪斯女孩儿，还有现代主义艺术中那些大师们身后的女性，也近距离观察了年轻一代中国女性艺术家的创作。 女性艺术家在艺术史上的道路，一直非常坎坷。但在近期一段时间里，随着平权意识的普及，在艺术史的再发掘和国际艺术展中，这些伟大的女性艺术家们开始逐渐显露出来。 『海马星球』和《艺术新闻／中文版》主编叶滢针对这个专题进行了对话，探讨女性艺术家在各个时代的性别权力结构下的遭遇，让我们一起看看那些“到未知处探险”的女性艺术家们，为突破这个权力结构所做的努力。 相关内容 阿泰尔米西娅·真蒂莱斯基 Artemisia Gentileschi： 1593年7月8日－1652/1653年，意大利巴洛克画家，被认为是继卡拉瓦乔之后的一代画家中最有成就的画家之一。在女性画家不容易被艺术界或赞助人接受的时代，她是佛罗伦萨迪塞尼奥艺术学院(Accademia di Arte del Disegno)的第一位女性成员。擅长描绘神话、寓言和圣经中的受害者、自杀者、勇士等坚强而痛苦的女性，其作品中反映了早年的痛苦经历。 《美杜莎》： 卡拉瓦乔(Michelangelo Merisi da Caravaggio)作品，现藏于佛罗伦萨乌菲齐美术馆 (Uffizi Gallery) 。来自神话的美杜莎形象是在帆布上画的，后涂在木制盾牌上。这个主题是“神话的”是指雅典娜的盾牌，它被狡猾地用来利用美杜莎的力量来石化人们。美第奇家族经常用这种图像来代表他们的军事力量。 安妮·亚伯斯 Anni Albers： 1899-1994年，出生于德国的美国纺织艺术家和版画家，因模糊了传统工艺和艺术之间的界限而受到人们的赞誉。安妮·亚伯斯作为20世纪最重要的纺织艺术家之一， 不断探索着纺织与雕塑和建筑的关系。另外，她也一直揣摩将非传统材料融入织物的可能性，并思考这些材料如何重新定义纺织和建筑的关系。安妮·亚伯斯于1933年来到北卡罗来纳州刚成立不久的黑山学院任职。在安妮·亚伯斯在此任职的16年间，黑山学院也无疑成为了包豪斯先锋性的延续。 琳达·洛克林 Linda Nochlin： 1931-2017年，美国艺术史学家，作家。作为重要的女性主义艺术史学家，她在1971年撰写的《为什么没有伟大的女性艺术家？》（Why Have There Been No Great Women Artist？）该文章被视作琳达·诺克林所著的女性主义艺术史及艺术理论的先驱之作，在这篇文章中，诺克林探讨了阻碍西方女性在艺术上取得成功的是制度障碍而非个人障碍。 弗吉尼亚·伍尔夫 Virginia Woolf： 1882-1941年，英国女作家、文学批评家和文化理论家，意识流文学代表人物，被誉为二十世纪现代主义与女性主义的先锋。她是两次世界大战期间伦敦文学界的核心人物，同时也是布卢姆茨伯里派 (Bloomsbury Group) 的成员之一。“莎士比亚的妹妹”是伍尔夫在《一间自己的屋子》(A Room of One'sOwn) 中使用的比喻，她为莎士比亚虚构出一位天赋非凡的妹妹朱迪斯(Judith Shakespeare)，并发问：如果莎士比亚有一位和他一样富有才华的妹妹，她是否也能在文学史上留下重要一笔并被后世仰慕。该书收录伍尔夫的两篇讲稿，为重要的女性主义文本。 朵拉·玛尔 Dora Maar： 1907-1997年，法国摄影家、画家和诗人。1930年初，她在坎帕尼-首映式街(巴黎第14区)成立了一家摄影工作室，与摄影师兼室内设计师皮埃尔·科弗(Pierre Kefer)合作。在她的作品中偶尔可见超现实主义的影响。她认为艺术应该通过与直觉或想法的联系来表现现实的内容，而不是通过视觉再现自然。玛尔在超现实主义团体及左翼组织运动中显得十分活跃。 卡蜜儿·克劳岱尔 Camille Claudel： 1864-1943年，法国雕塑家。尽管克劳岱尔去世时相对默默无闻，但其作品的独创性和质量在后来得到了认可。她是雕刻家奥古斯特·罗丹的同事和爱人。位于塞纳河畔诺根特的国家卡蜜儿·克劳岱尔博物馆(Camille Claudel Museum) 于2017年开幕，巴黎罗丹博物馆(Musee Rodin) 有一间展厅专门用于展出她的作品。 苏珊·桑塔格 Susan Sontag： 1993-2004年，美国著名作家和评论家。范围涵盖摄影、艺术、文学等，被誉为“美国公众的良心”，著有《反对阐释》 (Against Interpretation) 《激进意志的风格》 (Styles of Radical Will) 《论摄影》 (On Photography)《艾滋病及其隐喻》 (AIDS and Its Metaphors) 等。 尹秀珍： 中国当代女性艺术家，2019年第58届威尼斯双年展参展艺术家。运用装置、摄影等手段进行艺术创作。其艺术创作多关注个人的经历和记忆与时代的关系，“年轻女性的梦想世界与急剧变异社会之间的交战发生”。代表作包括《衣箱》《废都》《洗河》《国际航班》等等。 于吉： 第58届威尼斯双年展参展艺术家，凭借雕塑时空之外的东西这一观念来创作艺术。她是上海非盈利AM艺术空间（成立于2008年）的联合创始人。 娜布其： 第58届威尼斯双年展参展艺术家。近期展览包括：“寒夜”（UCCA艺术中心，2017），“缺失的段落”（Museum Beelden aan Zee，2017），球场（中央美术学院美术馆，2017），第十一届上海双年展（2016），第十一届光州双年展（2016）等。 孙原和彭禹： 第58届威尼斯双年展参展艺术家，孙原和彭禹自90年代后期开始合作，其作品往往充满煽动性，并以引人入胜的复杂议题为创作核心，这包括干细胞研究和整容手术、恐怖主义、暴乱和斗狗等，曾在奎松市、首尔、圣吉米尼亚诺、北京以及香港等地举办过个展，也参加过莫斯科、利物浦、威尼斯和里昂双年展，以及爱知和横滨的三年展。 向京： 艺术家，曾任上海师范大学美术学院雕塑工作室教师。创作带有女性意识及女性视角，挖掘现代性下人的“内在性”与生存本身的不断确认，开创出一种“外在看来是具象的现实主义，实则深度探讨人性内在的精神价值”的作品面貌。 曹斐 中国女性青年艺术家，在自己的电影和装置中融入了社会评论、流行美学、对超现实主义的借鉴和纪录片惯例，其作品反映了当今中国社会快速而混乱的变化。作品曾参加过莫斯科双年展、台北双年展、悉尼第十五、十七届双年展、第50、52、56届威尼斯双年展等多项国际双年展等。并曾在伦敦蛇形湖美术馆、巴黎蓬皮杜艺术中心等重要国际当代美术馆举办个展。 戴章伦： 策展人与艺术评论人。她目前关注与研究的方向为当代女性主义艺术、展览作为一种整体剧场。近期的主要策展作品为：“寒夜”，北京尤伦斯当代艺术中心（UCCA），2017年；“Son: Signal of Authority”，纽约inCube Arts艺术机构， 刘昕： 艺术家及工程师，清华大学工程学士及文学学士学位，15年于罗德岛设计学院获艺术硕士学位，2017年于麻省理工媒体实验室Fluid Interfaces Group获科学硕士学位。现工作生活于纽约、波士顿。作品曾多次在国际会议及博物馆展出。 彭薇： 艺术家。曾在苏州博物馆、台北历史博物馆、何香凝美术馆举办个展。近期于北京当代唐人艺术中心举办个展“故事新编”。除了代表性作品《遥远的信件》《平沙落雁》等外，还展出了其新作40米巨幅卷轴《故事新编》、叙事组画《七个夜晚》等三十余件作品。 玛丽·比尔德 Mary Beard： 1931-2017年，英国剑桥大学纽纳姆学院古典学教授，《泰晤士报文学增刊》（The Times Literary Supplement）的古典学编辑。她在全世界享有学术声誉，是英国社会科学院和美国人文与社会科学院的成员。 （录音与相关资料整理：詹静怡）

On October 29, 2017, the world lost its first feminist art historian. That title, of course, describes Linda Nochlin, a leading academic who changed the world of art after she published her important essay, “Why Have There Been No Great Women Artists?” In 2016, I had the honor of interviewing her for the Women of Abstract Expressionism podcast and only used a few minutes of our interview. In this episode of Art Movements, we release the whole interview (leaving out some in-between bits) where she discusses the role of women in the arts, how oppression impacts culture, and her personal friendship with Joan Mitchell and others. I also briefly interview one of her former students, art writer Aruna D'Souza, to explain what Nochlin was like as a person. And the music this episode is “Brandenburg Concerto No. 4 in G, Movement I (Allegro)” one of the most renowned compositions by Johann Sebastian Bach, who was Nochlin's favorite composer.

In honor of Women’s History Month, each Humanities Connection segment in March will feature a woman in media management, those working at art museums, or in the art history world. Lael J. Ensor-Bennett kicks off the month by teaching us about one of the founders of feminist art history, Linda Nochlin. Ensor-Bennett is the Assistant Visual Resources Curator at Johns Hopkins University.

SPECIAL READING -- WHY HAVE THERE BEEN NO GREAT WOMEN ARTISTS?In honor of the late Linda Nochlin, Savona Bailey-McClain, Host/Producer for the radio show State of the Arts NYC have reached out to women curators, artists, creative professionals and performers to read this groundbreaking essay. Readers are: Prairie Miller, Michele Pred, Kathleen Reckling, Queen Esther, Pamela Jean Tinnen, Brittany Clarke, Lina Puerta, Lumi Tan, Lisa K. Dent, Alessandra Mondolfi, Michelle Hartney, Ann Lewis and Savona Bailey-McClain. Special thanks to the team at Hostos Community College from the Digital Media Program, Adrian Rodriguez, Cesar Perez and Steven Pierrette.

Matthew Bannister on Lord Hutchinson of Lullington, the barrister who appeared in many celebrated cases, including defending the publication of Lady Chatterley's Lover and the director of the play Romans In Britain and securing the acquittal of Howard Marks on drug smuggling charges. Linda Nochlin the feminist art historian who wrote a celebrated article in the 1970s entitled "Why Have There Been No Great Women Artists?" Dennis Banks the Native American activist who campaigned for the rights of his people and took part in the siege of Wounded Knee. Geoff Tootill, who helped to design the world's first stored-programme computer, known as "Baby".

In episode No. 8 of the Femin • Is series, I sat down with painter and Assistant Director of UMKC's Womens Center, Arzie Umali. We talked about her research into representation of women artists in KC institutions, her work at The Women's Center, and her work as a painter. Featured image is of Arzie Umali's portrait for the Femin • Is project, consisting of text from Linda Nochlin's 1971 essay Why Have There Been No Great Women Artists? From her days as a graduate student to now, Arzie Umali has kept feminism and the art closely entwined. With a precedent set by the famed Guerrila Girls making tallies of the number of women artists who have received exhibitions in New York museums, Umali looked at institutions closer to home to look at representation of women artists. I wanted to look at this history and talk about how the research was done, as well as put out a call that this work needs to be done again. Additionally, we talked about Her Art Project, a program initiative Umali started at The Women's Center at the University of Missouri Kansas City. As talked about its past, present, and future, it's clear that Her Art Project is close to Umali's heart.  Diving into her own work as a painter, we learn of a lasting influence on her choice of subject matter. You can view more of her work on her website at www.arzie.com. No More Evil, Please by Arzie Umali Madonna on the Rocks by Arzie Umali Lastly, we find that even her personal work has taken on a role of reaching out to others as evidenced by our conversation about a project that started out as a two-woman show but morphed into a community exhibition.

Why were women excluded from the art movement that has come to represent some of the best of 20th century American art? The answer may be rather complicated and Hyperallergic’s editor-in-chief Hrag Vartanian interviews “Women Of Abstract Expressionism” exhibition curator Gwen Chanzit, Abstract Expressionism artist Judith Godwin, feminist art historian Linda Nochlin, and critic/curator Karen Wilkin to understand the issue.