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Journal articles on the topic 'Linda Nochlin'

Author: Grafiati
Published: 29 June 2021
Last updated: 8 February 2022

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1

Nochlin, Linda, Anne Lafont, and Todd Porterfield. "Entretien avec Linda Nochlin." Perspective, no. 1 (July 31, 2015): 63–76. http://dx.doi.org/10.4000/perspective.5800.

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2

Garb, Tamar. "Remembering Linda Nochlin (Garb)." Art Bulletin 99, no. 4 (October 2, 2017): 8–9. http://dx.doi.org/10.1080/00043079.2017.1405702.

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3

SHAW, GRAHAM. "COURBET BY LINDA NOCHLIN." Art Book 15, no. 1 (February 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, no. 4 (October 2, 2017): 7–8. http://dx.doi.org/10.1080/00043079.2017.1405701.

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5

Martin, Jean. "Issues: A Visit with Linda Nochlin." Art Book 7, no. 3 (June 2000): 16–18. http://dx.doi.org/10.1111/1467-8357.00202.

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6

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

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7

Levine, Steven Z., and Aruna D'Souza. "Self and History: A Tribute to Linda Nochlin." Woman's Art Journal 24, no. 1 (2003): 49. http://dx.doi.org/10.2307/1358812.

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8

Roth, Moira. "Of Self and History: Exchanges with Linda Nochlin." Art Journal 59, no. 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, no. 3 (September 2000): 18–33. http://dx.doi.org/10.1080/00043249.2000.10792006.

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10

WISEMAN, MARY BITTNER. "Bathers, Bodies, Beauty: The Visceral Eye by nochlin, linda." Journal of Aesthetics and Art Criticism 65, no. 3 (June 2007): 331–33. http://dx.doi.org/10.1111/j.1540-594x.2007.00265_1.x.

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Valman, Nadia. "SEMITISM AND CRITICISM: VICTORIAN ANGLO-JEWISH LITERARY HISTORY." Victorian Literature and Culture 27, no. 1 (March 1999): 235–48. http://dx.doi.org/10.1017/s1060150399271136.

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IN THE JEW IN THE TEXT:Modernity and the Construction of Identity (1995) Linda Nochlin and Tamar Garb noted that although questions of race, colonialism, and Eurocentrism were now prominent in cultural studies, the ways in which the “Jew” had been represented in modern culture remained relatively unexplored (6). Over the last few years, however, exploration of this kind has burgeoned, bringing with it important challenges both for Jewish studies and for English literary history. The nineteenth century has proved a particularly rich resource for such research, and the importance of this period for considering the relationship between modernity and the “Jew” is underlined by Nochlin:
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12

druckman, charlotte. "Why Are There No Great Women Chefs?" Gastronomica 10, no. 1 (2010): 24–31. http://dx.doi.org/10.1525/gfc.2010.10.1.24.

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This article applies the rhetorical and deliberately provocative approach of the watershed essay art historian Linda Nochlin wrote in 1971——““Why Have there Been No Great Women Artists?””——to today's culinary industry. Nochlin used the question her title posed as a theoretical trap that would draw attention not only to the inherent sexism or prejudice that pervades the way the public perceives art, but also to those same issues' existence within and impact on academia and the other cultural institutions responsible for posing these sorts of questions. Nochlin bypassed the obvious and irrelevant debate over women's being less or differently talented and, in so doing, exposed that debate for being a distraction from the heart of the matter: how, sociologically (media) or institutionally (museums, foundations, etc.), people define a ““great artist.”” Although it's 40 years later, the polemic is as effective when used to understand the gender divide in the food world.
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13

Karlholm, Dan. "Misery, Beauty, and other Issues: Linda Nochlin in Conversation with Dan Karlholm." Art Bulletin 94, no. 2 (June 2012): 187–98. http://dx.doi.org/10.1080/00043079.2012.10786037.

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14

Macedo, Ana Gabriela. "Mulheres, arte e poder: uma narrativa de contrapoder?" Estudos de Literatura Brasileira Contemporânea, no. 37 (June 2011): 61–77. http://dx.doi.org/10.1590/2316-4018374.

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Resumo Meu objetivo neste artigo é construir sobre o ensaio fundamental de Linda Nochlin, precisamente intitulado “Mulher, Arte e Poder” (1988), em que a autora investiga de forma convincente as relações dessa tríade. Em suas palavras, ela “desembaraça vários discursos sobre as relações de poder existentes nas diferenças de gênero simultaneamente - a superfície tanto quanto o substracto - o discurso da iconografia ou da narrativa”. Proponho estender a análise de Nochlin, de alguma forma a mais, sem deturpar suas premissas, introduzindo uma mudança de foco no debate, da análise da representação de mulheres por artistas do sexo masculino, para o papel da mulher na arte contemporânea, ou seja, da mulher como objeto de representação para a mulher agente e sujeito da representação. Essa situação ganhou, efetivamente, um significado mais amplo a partir do final dos anos 1980. Sugiro, a partir da visualização de algumas imagens, que isso pode ser compreendido no contexto de produção de narrativas de empoderamento das mulheres ou, alternativamente, de criação de narrativas de contrapoder.
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15

Wiener, J. "Paris Commune Photos at a New York Gallery: An Interview with Linda Nochlin." Radical History Review 1985, no. 32 (January 1, 1985): 59–70. http://dx.doi.org/10.1215/01636545-1985-32-59.

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16

Oliveira, Luiz Sérgio da Cruz. "Encruzilhadas da arte e da política no contemporâneo." Revista Visuais 3, no. 4 (June 22, 2017): 103–17. http://dx.doi.org/10.20396/visuais.v3i4.12194.

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Este artigo discute as dificuldades enfrentadas pela arte contemporânea, em especial aquela de cunho colaborativo, diante de novas demandas que clamam por uma maior inserção da arte no campo social. A partir da interlocução com autores como Claire Bishop, Hans Haacke, Linda Nochlin, Stephen Wright e Jacques Rancière, entre outros, procuramos investigar aspectos que compõem o cenário de certa encruzilhada que se apresenta para as práticas de arte colaborativa na contemporaneidade que, por sua vez, precisam encontrar os termos de sua articulação com o campo social e com o campo político na busca por uma presença qualificada da arte no mundo.
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Durán, Gloria G. "El peligro de ablandarse. Igualdad, hermandad, solidaridad = The Perils of Tenderice. Equality Sisterhood Solidarity." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 8 (November 17, 2020): 147. http://dx.doi.org/10.5944/etfvii.8.2020.27640.

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Ante esta cuestión: ¿Cómo cambiar los marcos, los relatos, las estructuras del museo actual, para que podamos identificarnos con él, para reconocernos en sus imágenes y en sus narraciones? planteo referencias que tramadas podrían atisbar el principio de un nuevo debate. El título se va desgranando a lo largo del artículo. Para «El peligro de ablandarse» trabajo con el legado de las salonnières y la obra de Benedetta Craveri y Roger Chartier. Para «Hermandad», me apoyo en Carla Hesse y su descubrimiento de la historiadora dieciochesca francesa Louise-Félicité Guynement de Kéralio-Robert (1758-1822). En el tercer apartado, «Igualdad», trabajo desde los variados acercamientos al feminismo en los años 70, reviso a Linda Nochlin y reivindico a Mierle Laderman Ukeles. Y finalmente «Solidaridad», me apoyo en Angela Davis y su redescubrimiento de las blues ladies, así como en mi propio trabajo en el que reivindico la importancia para la historia del feminismo español de las cupletistas. AbstractFaced with this question: How to change the frameworks, the stories, the structures of the current museum, to identify them with it, to recognize us in its images and in its narrations? The title is unraveling throughout the article. For «The peril of tenderice» I work with the legacy of the salonnières and the work of Benedetta Craveri and Roger Chartier. For «Sisterhood» , I rely on Carla Hesse and her discovery of the French eighteenth-century historian Louise-Félicité Guynement de Kéralio-Robert (1758-1822). In the third section, «Equality», I work from the various approaches to feminism in the 70s, I review Linda Nochlin and I claim Mierle Laderman Ukeles. And finally «Solidaridad», I rely on Angela Davis and her rediscovery of the blues ladies, as well as my own work in which I claim the importance for the history of Spanish feminism of the cupletistas.
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18

Deepwell, Katy. "Art Criticism and the State of Feminist Art Criticism." Arts 9, no. 1 (February 25, 2020): 28. http://dx.doi.org/10.3390/arts9010028.

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This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.
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19

Pachas Maceda, Sofía. "Aurora San Cristóval." Boletín de Arte, no. 20 (September 30, 2020): e020. http://dx.doi.org/10.24215/23142502e020.

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En el último cuarto del siglo XIX las revistas ilustradas eran una de las privilegiadas fuentes para saber del Perú y el extranjero. Entre el grupo de colaboradores sobresale el nombre de una artista, Aurora San Cristóval (1878-1955). Aurora no era una improvisada, fue guiada por su padre, el reconocido litógrafo Evaristo San Cristóval. Tal y como lo señaló Linda Nochlin (2007) en su artículo pionero sobre artistas mujeres, el arte compartido entre padre e hija es una de las maneras con las que las mujeres lograron ingresar en un campo artístico dominado por hombres; para la historia del arte peruano decimonónico es este el caso paradigmático. El artículo aborda las características de las obras de la artista y revalora su labor como la única litógrafa activa en Lima de fines del siglo XIX.
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20

Muller, Dena. "ReviewGlobal Feminisms. Curated by Maura Reilly and Linda Nochlin. Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum. Brooklyn, New York, March 23–July 1, 2007.Global Feminisms: New Directions in Contemporary Art. Edited by Maura Reilly and Linda Nochlin. New York: Merrell; Brooklyn Museum, 2007." Signs: Journal of Women in Culture and Society 33, no. 2 (January 2008): 471–74. http://dx.doi.org/10.1086/521560.

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21

Villemur, Frédérique. "Cornelia Butler, Wack ! Art and the Feminist Revolution, Los Angeles, Museum of Contemporary Art, 2007, 512 pages. Maura Reilly, Linda Nochlin, Globa." Clio, no. 29 (January 1, 2009): 261–63. http://dx.doi.org/10.4000/clio.9312.

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22

Dias, Marina de Aguiar Casali. "Trajetos têxteis:." Palíndromo 13, no. 29 (January 1, 2021): 199–211. http://dx.doi.org/10.5965/2175234613292021199.

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Revisitando os valores modernos que se referem ao papel do artista e suas ações, o artigo propõe analisar as dificuldades experienciadas pelas mulheres em relação ao acesso do espaço público e ao gesto de compor trajetórias através dele; considerando produções feministas como as de Linda Nochlin, Griselda Pollock e Alice Walker. A partir desta reflexão, sugere-se que os meios têxteis puderam proporcionar, durante a modernidade e até o tempo presente, um meio de percurso criativo que reconhece a si e ao ambiente doméstico como paisagem a ser apropriada e construída. Busca-se também apresentar as artistas contemporâneas Marissa Noana, Clara Nogueira e os Coletivos Avesso e Linhas, e suas trabalhos que visam tensionar estas dinâmicas de impedimento, levando a produção têxtil para a esfera pública, envolvida no contexto da arte urbana, das redes sociais e da videoarte. Assim, o artigo em traça um percurso iniciado pelos construtos da feminilidade e as limitações que implica sobre a ideia de trajeto; passando pela concepção de modos alternativos de deslocamento que habitam a esfera do íntimo e do doméstico e que, ainda assim, fornecem um conteúdo criativo importante para a história da arte feminina; e, por fim, demonstrando como a arte contemporânea produzida por mulheres tem encarnado esta carga histórica a ser reinterpretada, usufruindo das novas posições conquistadas para criar possíveis trajetórias têxteis.
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23

Gaune, Rafael, and Olaya Sanfuentes. "Editorial. El mar y la nave. Construcción de saberes y variaciones iconográficas-históricas en las alegorías del triunfo de la Iglesia católica." Razón Crítica, no. 10 (January 2020): 17–31. http://dx.doi.org/10.21789/25007807.1718.

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En este artículo introductorio al dossier “Emblemas, alegorías y otras imágenes del poder. Historias de éxito y fracaso”, quisiéramos proponer un acercamiento en torno a la lectura de imágenes a través de las claves hermenéuticas “éxito-fracaso” (Rocco-Lozano, 2020). Realizaremos un ejercicio descriptivo y metodológico de indagaciones libres de imágenes sobre los temas “nave” y “mar” en las alegorías del triunfo de la Iglesia católica en su expansión por el mundo, centrándonos, principalmente, en la alegoría atribuida al autor Miguel Jiménez, “El triunfo de la iglesia” (el vaso de la contemplación mística) del siglo xviii (Museo Nacional del Virreinato, Tepotzotlán). Esto nos ha guiado por diversos caminos investigativos y, sobre todo, se ha constituido como una cantera abierta de profundización que no pretende una aproximación teórica, sino más bien de posibilidades metodológicas alimentadas por los estudios de la imagen, la iconología y las trayectorias teóricas de la historia del arte y su profundidad de campo que nutren muchas de las disciplinas humanísticas. Al mismo tiempo, nombres relevantes como Aby Warburg, Erwin Panofsky, Ernst Gombrich, Michael Baxandall, Roberto Longhi, Carlo Ginzburg, Svetlana Alpers, Linda Nochlin, Susan Sontag, Ann Sutherland Harris y Jaynie Louise Anderson, entre otros (Burucúa, 2003), han marcado muchas de las reflexiones sobre las imágenes y el arte en los siglos xx y xxi y nos han ayudado a aproximarnos a los usos e interpretaciones de las imágenes
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24

Burkart, Mara. "Trazos interrumpidos: humoristas mujeres en la prensa de humor (Argentina, 1974-1984)." Revista Tempo e Argumento 12, no. 31 (December 22, 2020): e0105. http://dx.doi.org/10.5965/2175180312312020e0105.

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En la Argentina, el humor gráfico fue una profesión mayoritariamente masculina hasta los años ochenta del siglo XX cuando varias mujeres – Maitena, Patricia Breccia, María del Carmen Alcobre, Petisuí, Ana von Reuber˗ comenzaron a publicar sus tiras en las revistas de Ediciones de la Urraca. Antes de esta irrupción, entre 1974 y 1984, Nelly Hoijman, Patricia Breccia, Lucía Capozzo y Marta Vicente produjeron tiras humorísticas que se publicaron en esas revistas de humor gráfico donde primaban las firmas de varones. Por diversos motivos y salvo Breccia, el resto lo hizo por un período breve de tiempo para luego, dedicarse a otras profesiones. Inspirado teórica y metodológicamente en los aportes de la historia social dirigidos a problematizar la invisibilidad de las mujeres en la vida social, en las preguntas y los estudios que desde hace décadas vienen realizando historiadoras del arte feministas como Linda Nochlin y Griselda Pollock en relación al lugar de las mujeres en las “bellas artes” y Whitney Chadwick e Isabelle de Courtivron sobre la relación entre creatividad y relaciones íntimas, en este trabajo analizamos el paso de estas mujeres por el humor gráfico. Me interesa identificar las condiciones sociales de su producción así como también analizar los temas y las representaciones plasmadas en sus respectivas obras a la luz de los demás contenidos de las revistas donde publicaron. El objetivo último es generar un aporte a una nueva historia del humor gráfico que dé cuenta del lugar de las mujeres en la producción humorística y en los medios de comunicación masiva. Palabras clave: Mujer Artista. Humor. Prensa Periódica. Argentina.
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25

Kete, Kathleen. "Book ReviewRepresenting Women. By Linda Nochlin. New York: Thames & Hudson, 1999.Differencing the Canon: Feminist Desire and the Writing of Art’s Histories. By Griselda Pollock. London: Routledge, 1999." Signs: Journal of Women in Culture and Society 27, no. 3 (March 2002): 913–16. http://dx.doi.org/10.1086/337981.

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Applegate, Celia, and Pamela Potter. "Cultural History: Where It Has Been and Where It Is Going." Central European History 51, no. 1 (March 2018): 75–82. http://dx.doi.org/10.1017/s0008938918000122.

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The very meaning of “culture” has gone through so many transformations over the last sixty years that it is necessary to take stock of developments in this field of cultural history before suggesting—with an eye to the promises and perils of earlier practices—what new possibilities might exist for the future of the field. The post-1945 period witnessed a powerful impulse to understand culture as something more pervasive than just literature and the arts—and as something more socially and politically reverberant than the shibboleth of “art for art's sake.” In 1957, at the very beginning of the modern practice of cultural history, Richard Hoggart'sThe Uses of Literacyfound the high and low hierarchies embedded in it. It focused on working-class culture (e.g., glossy magazines, films, “penny dreadfuls”), and on how reading was changing under the impact of mass media. By 1976, Raymond Williams needed to draw attention to the complexity of the wordculture, so extended had its purview become over the previous two decades. Linda Nochlin asked why they were no great women artists, and T. J. Clark, using a Marxist framework, sought to understand aesthetic modernism by interrogating the historic circumstances that had led to the breakdown of the academic system.The New Cultural History, edited by Lynn Hunt, came out in 1989. Its “models” for cultural history were the work of Michel Foucault, Clifford Geertz, Natalie Zemon Davis, E. P. Thompson, Hayden White, and Dominick LaCapra, and its “new approaches” came from Mary Ryan, Roger Chartier, Thomas Laqueur, and Randolph Starn. These scholars were legislators of discourse and narrative, of popular and working-class culture, of gender, epistemes, and thick description. With many other tendencies, often defined by their focus on theoretical explication and elaboration, these approaches had the effect of deterring scholars from reengaging with the traditional interests—even theraison d'etre—of cultural history, namely, art, architecture, theater, dance, music, and literature. This turning-away also affected the very composition of humanities and interpretive social science departments, which added many new subjects of study but, inevitably perhaps, let others wither away.
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PLATT, SUSAN. "THE DINNER PARTY FROM CREATION TO PRESERVATION BY JUDY CHICAGO, GLOBAL FEMINISMS. NEW DIRECTIONS IN CONTEMPORARY ART BY MAURA REILLY AND LINDA NOCHLIN (EDS) AND WACK! ART AND THE FEMINIST REVOLUTION BY CORNELIA BUTLER ET AL." Art Book 15, no. 2 (May 2008): 41–43. http://dx.doi.org/10.1111/j.1467-8357.2008.00946.x.

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28

Levitt, Laura. "The Jew in the Text: Modernity and the Construction of Identity. Linda Nochlin , Tamar GarbThe Narrow Bridge: Jewish Views on Multiculturalism. Marla BrettschneiderPeople of the Book: Thirty Scholars Reflect on Their Jewish Identity. Jeffrey Rubin-Dorsky , Shelley Fisher Fishkin." Signs: Journal of Women in Culture and Society 24, no. 2 (January 1999): 522–25. http://dx.doi.org/10.1086/495354.

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정연심. "Critical Perspectives on Linda Nochlin’s Feminist Scholarship." Journal of History of Modern Art ll, no. 26 (December 2009): 135–62. http://dx.doi.org/10.17057/kahoma.2009..26.005.

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30

Allain Bonilla, Marie-Laure. "Women Artists: The Linda Nochlin Reader." Critique d’art, November 4, 2016. http://dx.doi.org/10.4000/critiquedart.19217.

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31

Holanda, Karla. "Por que não existiram grandes cineastas mulheres no Brasil?*." Cadernos Pagu, no. 60 (2020). http://dx.doi.org/10.1590/18094449202000600006.

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Inspirada no ensaio “Why have there been no great female artists?”, a comunicação se propõe a pensar algumas atualizações das discussões trazidas pelo texto de Linda Nochlin, publicado originalmente em 1971, adaptando o diálogo ao contexto cinematográfico brasileiro até a década de 1970, quando grandes cineastas brasileiros já estavam canonizados pela história do cinema. Por que não há mulheres nesse cânone do cinema no Brasil? O que constitui um grande cineasta? É sobre essas questões que este trabalho vai se debruçar ao enfrentar a afirmação embutida na pergunta do título.
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32

Acosta, Taylor J. "Misère: The Visual Representation of Misery in the 19th Century by Linda Nochlin." Nineteenth-Century Art Worldwide 17, no. 2 (October 15, 2018). http://dx.doi.org/10.29411/ncaw.2018.17.2.9.

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33

Young, Marnin. "Marnin Young. Review of "Misère: The Visual Representation of Misery in the 19th Century" by Linda Nochlin." caa.reviews, January 11, 2019. http://dx.doi.org/10.3202/caa.reviews.2019.4.

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34

Kurczynski, Karen. "Karen Kurczynski. Review of "Global Feminisms: New Directions in Contemporary Art" by Maura Reilly and Linda Nochlin and "Tiger by the Tail! Women Artists of India Transforming Culture" by Shulamit Reinharz." caa.reviews, February 26, 2008. http://dx.doi.org/10.3202/caa.reviews.2008.16.

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Sinnett, Gretchen. "Gretchen Sinnett. Review of "Courbet" by Linda Nochlin, "The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media Culture" by Petra ten-Doesschate Chu, and "Looking at the Landscapes: Courbet and Modernism (Papers from a Symposium Held at the J. Paul Getty Museum on March 18, 2006)" by J. Paul Getty Museum." caa.reviews, August 5, 2008. http://dx.doi.org/10.3202/caa.reviews.2008.76.

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