According to Nochlin’s granddaughter, Julia Trotta, the French fashion house reached out a few months ago to collaborate. It was a question first asked in 1971 by the American art historian Linda Nochlin, whose original essay of the same title was printed in pamphlets for the Paris Fashion Week crowd to take home in their shoulder bags. On Tuesday afternoon in Paris, the Dior spring 2018 show opened with a graphic T-shirt that read, in all caps: “WHY HAVE THERE BEEN NO GREAT WOMEN ARTISTS?” In the 2020s, Nochlin's message could not be more urgent: as she put it in 2015, "There is still a long way to go.Photo: Victor VIRGILE/Gamma-Rapho via Getty Images "Why Have There Been No Great Women Artists?" has become a slogan and rallying cry that resonates across culture and society. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. In this stand-alone anniversary edition, Nochlin's 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. In the 2020s, Nochlin's message could not be more urgent: as she put it in 2015, "There is still a long way to go."
And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world's institutions in order to rebuild them anew. With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. In her revolutionary essay, Nochlin refused to answer the question of why there had been no "great women artists" on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art. Many scholars have called Linda Nochlin's seminal essay on women artists the first real attempt at a feminist history of art. The fiftieth anniversary edition of the essay that is now recognized as the first major work of feminist art theory-published together with author Linda Nochlin's reflections three decades later.
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