Artists, art historians, and critics look at the legacies of
feminism and critical theory in the work of women artists, more
than thirty years after the beginning of the modern women's
movement and Linda Nochlin's landmark essay "Why Have There Been No
Great Women Artists?" More than thirty years after the birth of the
modern women's movement and the beginnings of feminist art-making
and art history, the time is ripe to examine the legacies of those
revolutions. In Women Artists at the Millennium, artists, art
historians, and critics examine the differences that feminist art
practice and critical theory have made in late twentieth-century
art and the discourses surrounding it. In 1971, when Linda Nochlin
published her essay "Why Have There Been No Great Women Artists?"
in a special issue of Art News, there were no women's studies, no
feminist theory, no such thing as feminist art criticism; there was
instead a focus on the mythic figure of the great (male) artist
through history. Since then, the "woman artist" has not simply been
assimilated into the canon of "greatness" but has expanded
art-making into a multiplicity of practices with new parameters and
perspectives. In Women Artists at the Millennium artists including
Martha Rosler and Yvonne Rainer reflect upon their own varied
practices and art historians discuss the innovative work of such
figures as Louise Bourgeois, Lygia Clark, Mona Hatoum, and Carrie
Mae Weems. And Linda Nochlin considers changes since her landmark
essay and looks to the future, writing, "We will need all our wit
and courage to make sure that women's voices are heard, their work
seen and written about." Artist Pages By: Ellen Gallagher, Ann
Hamilton, Mary Kelly, Yvonne Rainer, Martha Rosler Contributing
Writers: Emily Apter, Carol Armstrong, Catherine de Zegher, Maria
DiBattista, Brigid Doherty, Briony Fer, Tamar Garb, Anne Higonnet,
Ewa Lajer-Burcharth, Molly Nesbit, Mignon Nixon, Linda Nochlin,
Griselda Pollock, Abigail Solomon-Godeau, Lisa Tickner, Anne Wagner
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