For centuries, in order to be able to carve out a place for themselves in the art world, women had to submit to propriety, expectations and assumptions: some of them established their reputation in the still life genre, others produced watercolours or children’s portraits, and many had to work as models before they could become artists. Although there is no question of castigating women for their docility or limiting their agency, it is impossible to deny that the artifices they were forced t..
In this paper I chart lines of flight in women artist’s narratives. In focusing on the complex inter...
En 1971, Linda Nochlin s'interrogeait sur la visibilité des femmes dans le monde de l'art. A travers...
For women artists, retrospectives matter more – and differently. In When we Dead Awaken: Writing as ...
The research I have conducted for my French Major Senior Thesis is a culmination of my passion for a...
Notre recherche porte sur un corpus d' œuvres réputées violentes produites par des artistes femmes a...
The task of renewing the “art and feminism” nexus, of deconstructing it so it does not linger on as ...
Les plasticiennes sont sous-représentées aux plus hauts niveaux de la réputation artistique, symboli...
Dans ces travaux interdisciplinaires, spécialistes français et américains étudient comment les femme...
Although traditionally excluded from the art world as from all major institutions, women artists sta...
In this submission, I argue for a re-thinking of the concept of an artist's oeuvre, to extend it con...
A discussion between Pauline Boudry and Renate Lorenz, Artists, Berlin; Angela Dimitrakaki, Senior L...
The Société des Femmes Artistes Modernes (FAM) opened up a productive space for women artists who we...
This paper addresses the ways in which women artists in modernism were frequently marked as “excepti...
In order to seize past events and re-conceptualise them from the angle of contemporary reception, ar...
La culture occidentale, dans laquelle les créatrices évoluent, contraint les femmes dans leur corps ...
In this paper I chart lines of flight in women artist’s narratives. In focusing on the complex inter...
En 1971, Linda Nochlin s'interrogeait sur la visibilité des femmes dans le monde de l'art. A travers...
For women artists, retrospectives matter more – and differently. In When we Dead Awaken: Writing as ...
The research I have conducted for my French Major Senior Thesis is a culmination of my passion for a...
Notre recherche porte sur un corpus d' œuvres réputées violentes produites par des artistes femmes a...
The task of renewing the “art and feminism” nexus, of deconstructing it so it does not linger on as ...
Les plasticiennes sont sous-représentées aux plus hauts niveaux de la réputation artistique, symboli...
Dans ces travaux interdisciplinaires, spécialistes français et américains étudient comment les femme...
Although traditionally excluded from the art world as from all major institutions, women artists sta...
In this submission, I argue for a re-thinking of the concept of an artist's oeuvre, to extend it con...
A discussion between Pauline Boudry and Renate Lorenz, Artists, Berlin; Angela Dimitrakaki, Senior L...
The Société des Femmes Artistes Modernes (FAM) opened up a productive space for women artists who we...
This paper addresses the ways in which women artists in modernism were frequently marked as “excepti...
In order to seize past events and re-conceptualise them from the angle of contemporary reception, ar...
La culture occidentale, dans laquelle les créatrices évoluent, contraint les femmes dans leur corps ...
In this paper I chart lines of flight in women artist’s narratives. In focusing on the complex inter...
En 1971, Linda Nochlin s'interrogeait sur la visibilité des femmes dans le monde de l'art. A travers...
For women artists, retrospectives matter more – and differently. In When we Dead Awaken: Writing as ...