书籍介绍
Women, Art, and Power-seven landmark essays on women artists and women in art history-brings together the work of almost twenty years of scholarship and speculation.
琳达・诺克林，生于纽约布鲁克林区。1951年获瓦萨学院哲学学士学位，1952年获哥伦比亚大学17世纪英国文学硕士学位，同年受聘返回瓦萨学院教授艺术史，其后她到纽约大学美术学院攻读艺术史，并取得博士学位。目前在纽约市大学的研究中心教授艺术史。诺克林是第一代女性主义艺术史家和古典女性主义理论的主要代表人物。她的有关女性主义艺术史的作品自1971年开始发表，第一篇《为什么没有伟大的女性艺术家？》，一般被认为是这个领域的先声，自彼至今，她在此领域中依然论述不断。《女性，艺术与权力》收集的文章，代表了其跨越20年的学术研究与思考。
AI导读
核心看点
- 解构“为何没有伟大女艺术家”的伪命题
- 揭示社会制度对女性艺术家的系统性压制
- 批判将“天才”神话化及性别双重标准
适合谁读
- 艺术史研究者与女性主义理论学者
- 关注性别平等与文化权力关系的读者
- 对艺术创作背后的社会机制感兴趣的群体
读前提醒
- 需结合历史背景理解七十年代的学术语境
- 注意区分作者对“天才”概念的解构与批判
- 部分观点虽经典，但需辩证看待时代局限性
读者共识
- 诺克林的论述具有开创性，是女性主义艺术史基石
- 语言平实详尽，深刻揭示了性别与权力的互文关系
- 部分观点被指略显陈词滥调，但核心洞见依然有力
本导读基于书籍简介、目录、原文摘录、短评和书评生成，不等同于全文精读。
精彩摘录
- "“出卖自己”和“堕落”一样是个有性别差异的语汇：对一个男人而言，出卖自己变得意思不是做性交易赚钱——如女人的情况一般，而是为了金钱违背自己的艺术，出卖自己的才华，简单说，就是"出卖“——这种命运对男性而言比死还糟糕，尤其对艺术家来说更是如此。"
- "作为一个女人——就像作为一个美国人或一个侏儒或出生于1900年而非1940年一样——可以是艺术作品创作时的一项变量，甚至是一项重要变量，但是这个基本因素无从提供什么预期。某个艺术家是女性，是她选择某个风格或题材的必要条件，而非充分条件，除了性别之外，她还有很多其他的条件元素，诸如她的国籍，年龄，专业训练，气质，对现有表现形式的反应，或者她自我认同的优先次序等等。"
- "..........But they do nothing to question the assumptions lying behind the question “ Why have there been no great women artists?” On the contrary, by attempting to answer it, they tacitly reinforce its negative implications. Another attempt to answer the question involves shifting the ground slight"
- "The fact of the matter is that there have been no supremely great women artists, as far as we know, although there have been many interesting and very good ones who remain insufficiently investigated or appreciated; nor have there been any great Lithuanian jazz pianists, nor Eskimo tennis players, n"
- "But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class and, above all, male. The fau"
- "It is when one really starts thinking about the implications of “ Why have there been no great women artists?” that one begins to realize to what extent our consciousness of how things are in the world has been conditioned—and often falsified—by the way the most important questions are posed. We ten"
- "As John Stuart Mill pointed out more than a century ago: “Everything which is usual appears natural. The subjection of women to men being a universal custom, any departure from it quite naturally appears unnatural.”Most men, despite lip service to equality, are reluctant to give up this “ natural” o"
- "why there have been no great women artists lies not in the nature of individual genius or the lack of it, but in the nature of given social institutions and what they forbid or encourage in various classes or groups of individuals. ............Indeed, it was argued by defenders of traditional painti"
用户评论
1989年的文章就提出过的一些问题，到现在都大部分没有能好好被对待，太讽刺了。
部分观点有点创见 但总体来说cliche比较多
1970s "Why have there been no great women artists" on artistic genius
NYU摄影艺术史课上读过的；landmark feminist writings。
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