Thematische Bibliographien / Linda Nochlin

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Auswahl der wissenschaftlichen Literatur zum Thema „Linda Nochlin“

Autor: Grafiati

Veröffentlicht am 29. Juni 2021

Zuletzt aktualisiert am 8. Februar 2022

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Zeitschriftenartikel zum Thema "Linda Nochlin"

Nochlin, Linda, Anne Lafont und Todd Porterfield. „Entretien avec Linda Nochlin“. Perspective, Nr. 1 (31.07.2015): 63–76. http://dx.doi.org/10.4000/perspective.5800.

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Garb, Tamar. „Remembering Linda Nochlin (Garb)“. Art Bulletin 99, Nr. 4 (02.10.2017): 8–9. http://dx.doi.org/10.1080/00043079.2017.1405702.

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SHAW, GRAHAM. „COURBET BY LINDA NOCHLIN“. Art Book 15, Nr. 1 (Februar 2008): 47–48. http://dx.doi.org/10.1111/j.1467-8357.2008.00919.x.

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Lajer-Burcharth, Ewa. „Remembering Linda Nochlin (Lajer-Burcharth)“. Art Bulletin 99, Nr. 4 (02.10.2017): 7–8. http://dx.doi.org/10.1080/00043079.2017.1405701.

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Martin, Jean. „Issues: A Visit with Linda Nochlin“. Art Book 7, Nr. 3 (Juni 2000): 16–18. http://dx.doi.org/10.1111/1467-8357.00202.

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Nixon, Mignon. „Women, Art, and Power After Linda Nochlin“. October 163 (März 2018): 131–32. http://dx.doi.org/10.1162/octo_a_00320.

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Levine, Steven Z., und Aruna D'Souza. „Self and History: A Tribute to Linda Nochlin“. Woman's Art Journal 24, Nr. 1 (2003): 49. http://dx.doi.org/10.2307/1358812.

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Roth, Moira. „Of Self and History: Exchanges with Linda Nochlin“. Art Journal 59, Nr. 3 (2000): 18. http://dx.doi.org/10.2307/778025.

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Roth, Moira. „Of Self and History: Exchanges with Linda Nochlin“. Art Journal 59, Nr. 3 (September 2000): 18–33. http://dx.doi.org/10.1080/00043249.2000.10792006.

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WISEMAN, MARY BITTNER. „Bathers, Bodies, Beauty: The Visceral Eye by nochlin, linda“. Journal of Aesthetics and Art Criticism 65, Nr. 3 (Juni 2007): 331–33. http://dx.doi.org/10.1111/j.1540-594x.2007.00265_1.x.

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Dissertationen zum Thema "Linda Nochlin"

Tintin, Hodén. „Att visualisera Orienten : En närläsning av Linda Nochlins The Imaginary Orient utifrån Edward Said och John M Mackenzie“. Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-11683.

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According to Edward Said the Orient is a European construction that has arisen out of a need to describe the Western civilisation as culturally superior. This occurrence Said gives the label "Orientalism". Art historian Linda Nochlin takes Said’s theories further in The Imaginary Orient where she conveys the thesis that the pictorial Orientalism is an expression of an imperialistic ideology. John M. Mackenzie, on the other hand is of the opinion that the pictorial Orientalism rather is an expression of the Romantic movement. To understand the Orientalist art we have to consider the social and historical context in which the work was created. By trying to justify the Orientalists choice of motive Mackenzie takes the view of those who consider art history as a positive discipline. Nochlin on the other hand means that we instead of fortifying the art historical canon we ought to politicize it, which only is possible if we contemplate art history as a critical rather than a positive discipline.

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Winther, Leslie. „Från Japan till Sundborn : En undersökning av Karin Larssons textilier“. Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-435083.

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The present essay explores artworks of Karin Larsson through the feminist theoretical field of studies. The following three textile works were in the centre of the study, Kärlekens ros, Duk med tecken and Sashiko-gardin. The connection between japonisme, Japanese inspired art, and Karin Larssons art works were studied. Through feminist theories by art historians such as Linda Nochlin and Griselda Pollock the experience of being a woman in the 1800s affected the works of Karin Larsson were discussed. It was found that Karin Larssons upbringing and education as a woman differs from the usual male art student, which affected her art works. The subjects of her art works were also often the result of personal experiences. Furthermore, a correlation between the art works and Japanese woodblocks and Japanese embroidery techniques were identified.

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Kylli, Johanna. „Alla vägar leder till Paris : Julia Beck och Maj Brings konstnärliga liv och bemötandet av den kvinnliga konsten under deras yrkesverksamma år“. Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-434767.

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This thesis is about two Swedish artists named Julia Beck (1852–1935) and Maj Bring (1880–1971). The idea was to see what kind of differences there were between these two Swedish female artists. They both studied at the Swedish Art academy and both had very successful careers, though they belong to different generations of artist. The first question to be answered, was is if you could see any similarities or differences in their education and career. The other question in this thesis was how the female art was perceived during the different art exhibitions which Julia Beck or Maj Bring participated in. Could you see if the art were perceived and judged differently due to, they being female artist? And could you see if there were any kind of resistance towards them as artists or towards their art and if so, how did it express itself? To answer that question the analysis is based on art exhibit reviews with a theory based on a gender perspective and of Linda Nochlins essay Why have there been no great women artists? This to help with looking after what kind of social barriers or resistance is visible in these art critics reviews. The results of the biographical comparison showed many similarities and some differences. Such as them both studying in Paris after their education in the Swedish Art academy and both frequently traveled back and forth to stay in France for as long as possible. Eventually Julia Beck moved to France and stayed there until her death. While Maj Bring lived her entire life in Sweden and started an art school in Stockholm and paused her artist career for a while. Meanwhile Julia Beck dedicated her entire life to her artistic career. In the results of the analysis, you could clearly see several kinds of resistance to both the female art and the female artists. They were very much treated differently than their male colleagues. For example, in Paris there were specific places where the female artists showed their art. The critique reviews often explained the female art with female qualities and said that female artist had specific characteristics that made them more qualified in specific areas that was thought women belonged too.

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Bücher zum Thema "Linda Nochlin"

editor, Reilly Maura, Hrsg. Women artists: The Linda Nochlin reader. Thames & Hudson, Limited, 2015.

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Nochlin, Linda, und Maura Reilly. Women Artists: The Linda Nochlin Reader. Thames & Hudson, 2020.

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Aruna, D'Souza, Hrsg. Self and history: A tribute to Linda Nochlin. London: Thames & Hudson, 2001.

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Self and History: Essay in Honor of Linda Nochlin. Thames & Hudson, 2001.

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Nochlin, Linda. The feminist turn in the social history of art: Linda Nochlin. 2000.

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Buchteile zum Thema "Linda Nochlin"

Arnold, Dana. „2. Writing art history“. In Art History: A Very Short Introduction, 31–47. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198831808.003.0002.

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‘Writing art history’ looks at how histories of art have been written in Europe and North America and the effect that this has had on the object itself and on the subjects of art history. Discussing the work of influential art historians Pliny the Elder, Giorgio Vasari, Johann Joachim Winckelmann, Jacob Burckhardt, Ernst Gombrich, and Clement Greenberg, it introduces the expectations we have of art history as a chronological story about great Western male artists. Complementary to this gender bias is the impact of the writing of women art historians such as Griselda Pollock and Linda Nochlin. They have mapped out a different way of seeing and understanding cultural production and the social relationships expressed therein.

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Atallah, Nadine. „Have There Really Been No Great Women Artists?“ In Under the Skin, 11–25. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266748.003.0002.

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This chapter highlights and discusses the historical, ideological and institutional factors which allowed the good integration of women into the Egyptian modern art worlds. The argument draws from Egyptian artist Nazli Madkour’s objection to Linda Nochlin’s famous question ‘Why have there been no great women artists?’, based on the observation that women artists in Egypt benefitted from an early recognition. In an attempt to explain this Egyptian specificity, the chapter defines the rhetoric of authenticity [asala] as a paradigmatic counterpoint to the Western myth of greatness, at a time when Egypt was struggling for decolonisation and moving towards the Nasserist revolution. Serving as a framework for the appreciation of modern art in Egypt, authenticity seems to create a favourable ground for women’s art, while involving differences between male and female artists in the service of the nation. In order to demonstrate how the search for authenticity shaped and framed the work of women artists and its reception, two paintings about and against polygamy painted in the early 1950s by Inji Efflatoun (1925–1989) and Gazbia Sirry (b. 1925) are analysed in their exhibition contexts. This alternate study shows the entanglement of artistic and socio–political issues while acknowledging internal unevenness within Egyptian feminism and its expression in the arts.

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