著者： Linda Nochlin, Catherine Grant
出版社：Thames & Hudson
サイズ： 17.6 x 11.0 cm
Linda Nochlinの代表的なこのエッセイはフェミニストの美術史の夜明けを告げるものであった。それは今日もなお、アートの理解への礎となっている。チャレンジングであり、同時に啓発的で、完全に魅力的でありながら、読み手自身の仮説に疑問を投げかけ、新たな方向性へ進むよう誘いかける。
ノックリン自身は「why there have been no ‘great women artists’（偉大な女性アーティストはなぜいないのか）」という言葉がそれ自体堕落した言葉でないかという質問を扱うことを拒否している。 代わりに、彼女は偉大さの概念そのものを解体し、アートの世界で男性中心の天才が生まれた基本的な仮説を解明する・・・・
出版社サイトよりーーーーーーーーーーーー
Linda Nochlin’s landmark essay heralded the dawn of a feminist history of art. It remains fundamental to any appreciation of art today. At once challenging and enlightening, it is never less than fully engaging, enticing the reader to question their own assumptions and to set off in new directions. Nochlin refuses to handle the question of why there have been no ‘great women artists’ on its own, corrupted, terms. Instead, she dismantles the very concept of greatness, unravelling the basic assumptions that created the male-centric genius in art. With unparalleled insight, Nochlin lays bare the acceptance of a white male viewpoint in art historical thought as not merely a moral failure, but an intellectual one. In this stand-alone anniversary edition, Nochlin’s influential essay is published alongside its reappraisal, ‘Thirty Years After’. Written in an era of thriving feminist theory, as well as queer theory, race and postcolonial studies, ‘Thirty Years After’ is a striking reflection on the emergence of a whole new canon. With reference to Louise Bourgeois, Cindy Sherman and many more, Nochlin diagnoses the state of women and art with unmatched passion and precision. ‘Why Have There Been No Great Women Artists?’ has become a rallying cry that resonates across culture and society. Nochlin’s message could not be more urgent: as she herself put it in 2015, ‘there is still a long way to go’.
著者略歴：
Linda Nochlin (1931–2017), described in the Guardian as ‘a trailblazer to the end’, was Lila Acheson Wallace Professor Emerita of Modern Art at the New York University Institute of the Fine Arts. She wrote extensively on issues of gender in art history and on 19th-century Realism. Her numerous publications include Women, Art and Power; Representing Women; Courbet and Misère.