1« a social history cannot be constructed out of what is visible, nor can it be created merely by adding additional objects – items of popular culture or assorted documentation – to the space in which art works are shown. The function of a social history of art is precisely to reveal what is invisible – repressed, deleted, unrepresentable, scandalous, forgotten. […] [A museum of the social history of art] can only be envisaged as a vast project of restoration – of meaning and power to historical groups, movements and discourses which have remained invisible or distorted in the accepted modes of representation. », Nochlin Linda, « Successes and Failures at the Orsay Museum, or whatever happened to the social History of Art », Art in America, vol. 76, no 1, 1988, p. 84-107, p. 88. Linda Nochlin souligne.
2Nochlin Linda et al., Realism Now: May 8 - June 12, 1968 [Catalogue d’exposition], Poughkeepsie (NY), Vassar College Art Gallery, 1968, réimprimé dans Battcock Gregory (dir.), Super Realism : A critical Anthology, New York (NY), Dutton, 1975, p. 111-125 (à partir de cette page, cette référence est citée sous le titre raccourci : Realism Now).
3« The world of the familiar, the ordinary, the experienced, and the commonplace has traditionally been the realm of realism ever since the time of Courbet and Flaubert and down to that of contemporary film, and with it have come the more or less standard accusations of willful ugliness, of lack of coherence or discrimination, of overemphasis on petty or distracting detail, and concomitant coldness or lack of emotion or expressiveness. », ibid., p. 120.
4« relegated to the limbo of philistinism », ibid., p. 113.
5« against the elitism, the exclusivity, and the doctrinaire hermeticism of modernism », Nochlin Linda, « The Flowering of American Realism », Real, Really Real, Super Real, op. cit., p. 25.
6« Is it possible for a realist to be “new” at all in the second half of the 20th century? The answer is […], as the exhibition reveals, an unqualified yes. […] The new realism has exploded the modernist myth entirely. », Nochlin Linda, Realism Now, op. cit., p. 115.
7« Despite the patronizing attempts of some critics to consign the new realism to the peripheries of the contemporary art world, […] the new realism, far from being an aberration or a throwback in contemporary art, is a major innovative impulse. Its precise quality of novelty, it would seem to me, lies more in its connection with photography, with new directions in that most contemporary of all media, the film, or even with the advanced novel, than in its relation to traditional realist painting. », ibid.
8« This kind of Platonism […] is often accompanied by a built-in aristocracy of attitude, institutionalized in the “objective” language of aesthetic judgment: that which is removed from actuality is, by definition, the most aesthetically valuable », Nochlin Linda, « The realist Criminal and the abstract Law », dans Nochlin Linda, Making it Modern, op. cit., p. 187.
9« abstractionist aesthetic teleology », Nochlin Linda, Realism Now, op. cit., p. 113.
10« The painted images created in this way may war violently with our conventional notions of how a naked woman or a human face should look, and yet this by no means implies that the artists are working under the compulsion of viciousness or grotesquerie; the judgment of ugliness arises from the spectator’s response to the pictorial situation, not that of the deliberately dispassionate artist to his subject; for some observers, the mere revelation of new aspects of a familiar situation may be profoundly disquieting, although such a reaction may be quite irrelevant to the intentions of the artist himself. », ibid., p. 125.
11« ugly to the point of immorality », Wallin Leland, « The Evolution of Philip Pearlstein Part I », Art International, no 23, 1979, p. 62-67, ici p. 66.
12. « It is a cruel portrayal of a not unattractive woman », Hope Henry R., « Alice Neel: Portraits of an Era », Art Journal, vol. 38, no 4, été 1979, p. 273-281, ici p. 280.
13« Pearlstein, a former abstract expressionist who resolutely denies any evocative or expressive intention in his nudes and portraits, asserts that he is interested only in the problems of painting, and like Gustave Flaubert in the nineteenth century – who dreamed of writing a novel about nothing at all – conceived of his enterprise as “the perfection of nothingness”. », Nochlin Linda, « The New Realists » [1968], dans Nochlin Linda, Making it Modern, op. cit., p. 199-206, p. 201.
14Voir Sandler Irving, « Philip Pearlstein and the New Realism », dans Philip Pearlstein, a Retrospective: John Porter Retzer and Florence Horn Retzer Exhibition, Milwaukee Art Museum, New York (NY), Alpine Fine Arts Collection, 1983, p. 16-22, ici p. 19.
15« In 1968 something unusual happened: I literally became a realist body, along with my husband, Richard Pommer. », Nochlin Linda, Bathers, Bodies, Beauty, op. cit., p. 218.
16Skowhegan Art School, où Pearlstein enseigne.
17Les mêmes lampes font une apparition dans l’analyse que fait Nochlin de Mr. And Mrs. Edmund Pillsbury (1973), qui peut tout à fait être appliquée au mariage des Nochlin-Pommer : « Ne sont permis ni les sentiments ni les jugements sociaux, ni même la connaissance a priori des choses et des formes, entre la vision soi-disant “débile” de l’artiste et l’apparence de ses modèles, figés sur place sous la lumière froide de lampes de dentiste. Petit à petit, détail par détail, ride par ride, Pearlstein enregistre tout ce qui passe devant son œil passif : aussi passif, dit-il, que l’objectif d’un appareil-photo qu’il n’utilise d’ailleurs jamais. » « Neither feelings nor social judgments nor even the a priori knowledge of things or forms are permitted to intervene between the purportedly “dumb” vision of the artist and the appearance of his models, frozen in place under the chilly light of dentists’ lamps. Little by little, detail by detail, wrinkle by wrinkle, Pearlstein registers everything that passes before his passive eye – as passive, he maintains, as the lens of a camera, which, incidentally, he never uses. », Nochlin Linda, « The Flowering of American Realism », Real, Really Real, Super Real, op. cit., p. 27.
18« Portrait of Linda Nochlin and Richard Pommer ties together the personal and the intellectual strands of my life like no other work of art. […] We are represented sitting in Philip’s studio in Skowhegan, illuminated by the cold light of dentist’s lamps, sweating in the heat of a Maine summer, though this latter condition is not recorded. », Nochlin Linda, « State of the Art: Philip Pearlstein, Portrait of Linda Nochlin and Richard Pommer », Artforum, vol. 32, no 1, 1993, p. 242-243, p. 242 (à partir de cette page, cette référence est citée sous le titre raccourci : « State of the Art: Philip Pearlstein »).
19« The painting was commissioned as a wedding portrait, and we are both wearing the clothes we were married in, very sixties, very hip: Dick, white linen trousers and a blue shirt; Linda, white dress with a bold blue geometric pattern. », Nochlin Linda, Bathers, Bodies, Beauty, op. cit., p. 218.
20« In writing the piece, I was engaged in a different kind of retrieval, retrieval from within, as it were », Nochlin Linda, « Sophie Calle », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 412.
21« [Pearlstein] dignifies the human figure. He makes the artist/model relationship into a metaphor for looking at the world. », Bowman Russell, « The Art of Philip Pearlstein », dans Philip Pearlstein, the complete Paintings, New York (NY), Alpine Fine Arts Collection, 1983, p. ix-15, p. 1.
22« All portraits are related to the history of portraiture as much as to the subjects they portray. In Pearlstein’s wedding portrait, this relationship is conceived as a rejection of most aspects of the portrait tradition as constituted by such practitioners as Rembrandt, Sargent, and Degas, though there is something of Degas in the indifferent cropping. The accoutrements of social position and the probing of character or personal psychology are for the most part absent. In few previous portraits is the existential condition of simply sitting for the artist registered as overtly as it is here. It is not merely that depth and psychological profundity are avoided; they do not seem to have existed even as possibilities for representation. This is a painting of surfaces alone […]. The texture is complex and dryly perverse. At the bottom of the canvas, triple-cast shadows play out an intricate relationship with a vigor that the human figures, isolated in their torpor, cannot summon. The wrinkles in our clothes, the various slight protuberances and indentations of our flesh, incised by variations of cold light and colder shade, the strange and previously unknown excessiveness of a shoe strap or an eye pouch – the Unheimlichkeit of a body you had thought you knew and was yours in a space you had taken for granted – are recorded with obsessive fidelity. All the painting’s liveliness is in the details, the fragments. We, the sitters, are put to death, or at the very least into a state of suspended animation, for the sake of truth to the detailed surface. », Nochlin Linda, Bathers, Bodies, Beauty, op. cit., p. 221.
23« He is, after all, painting models in the studio in the act of posing […] and he records this act of posing openly, in all its physical discomfort and psychic withdrawal. », Nochlin Linda, « The Art of Philip Pearlstein », dans Philip Pearlstein, Athens (GA), Georgia Museum of Art – University of Georgia, 1970, s. p. Linda Nochlin souligne.
24« his ruthless acceptance of things-as-they-are, visually and metaphysically, as constituting all that there is for the artist » ; « anti-imaginative, anti-sociological, anti-symbolic, anti-expressionist, anti-fun-and-games », ibid. Linda Nochlin souligne.
25« they lost the muscular and mental set with which they normally face the world » ; « arrive as individuals and leaves as Pearlsteins », Goodyear Frank Jr., Contemporary American Realism Since 1960, Boston (PA), New York Graphic Society – Pennsylvania Academy of the Fine Arts, 1981, p. 72.
26« The painting engages a long process of creation and an afterlife of experience. Temporality is necessarily involved, whether in the seemingly endless and discomforting – at times even agonizing – sitting for the portrait or, equally important, in living and aging with it after its completion. In the beginning we thought we looked old; but a time came when we overtook the painting and looked back on it as a record of a moment when we were in fact quite young. There was never a time when we looked at it and said, “Ah yes, that’s us, exactly”. », Nochlin Linda, Bathers, Bodies, Beauty, op. cit., p. 218 et p. 220.
27« The portrait, then, simply by being painted when it was painted, in the realist style in which it was painted, became a kind of talisman of change and new beginnings: realist critique […] despite its apparent representation of stasis, is resonant with a certain mental energy, poignant with the congealed memory of lost hopes and achieved desires. », Nochlin Linda, « State of the Art: Philip Pearlstein », art. cité, p. 243. Voir aussi Oléron Evans Émilie, « Double portrait. Linda Nochlin devant le portrait d’elle-même et de Richard Pommer par Philip Pearlstein », dans Claass Victor, Cugy Pascale, Foucher Zarmanian Charlotte, Martin François-René (dir.), En couple. Historiennes et historiens de l’art au travail, Paris, Éditions de la Sorbonne, 2024, p. 373-375.
28« a means of revealing existing forms of oppression and exploitation as well as representing the real social relations under which contemporary life was lived. », Garb Tamar, « “The human Race torn to Pieces”: the painted Portraits of Alice Neel », dans Lewison Jeremy, Walker Barry (dir.), Alice Neel: painted Truths, Houston (TX), Museum of Fine Arts, 2010, p. 16-33, ici p. 24.
29Voir Baum Kelly, « Political Creatures », dans Alice Neel : People come first [Catalogue d'exposition], New York (NY), Metropolitan Museum of Art, 2021, p. 27-51, ici p. 40.
30Lebovici Élisabeth, « La vie n’est pas un déjeuner sur l’herbe », dans Lampe Angela (dir.), Alice Neel: un regard engagé, Paris, Centre Pompidou, 2020, p. 81-90, ici p. 81.
31« Neel was mixing things up – in this case, playing against type by showing an arch feminist as mother. Yet her intent may have gone beyond an atypically kind wish to show feminists as well rounded people. Daisy’s pose replicates Linda’s; her left arm and hand mimic her mother’s gesture […]. Yet Alice astutely contrasts Daisy’s energy and innocence with her mother’s tempered experience – her face is open where Linda’s is wary; her dangling legs signal expectancy, Linda’s crossed legs convey mature self-protection. The portrait speaks of generational continuity and its revitalization – surely as applicable to feminism and its generational legacy as to individual families. », Garrard Mary D., « Alice Neel and Me », Woman’s Art Journal, vol. 27, no 2, automne-hiver 2006, p. 3-7.
32« Of course, one might say that a person’s exterior, if it is keenly enough explored and recorded with sufficient probity, will ultimately give up the protective strategies devised by the sitter for facing the world. Neel felt genuine regret, perhaps, that this was the case; nevertheless, since it was, to paint otherwise would have been merely flattering rather than truthful. », Nochlin Linda, « Some Women Realists » [1974], dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, p. 76-93, ici p. 88.
34Lebovici Élisabeth, « La vie n’est pas un déjeuner sur l’herbe », art. cité, p. 81. Élisabeth Lebovici souligne.
35« Unlike any other genre, the portrait demands the meeting of two subjectivities: if the artist watches, judges the sitter, the sitter is privileged, by the portrait relation, to watch and judge back. In no other case does what the artist is painting exist on the same plane of freedom and ontological equality as the artist her or himself, and in no other case is the role of the artist as mediator rather than dictator or inventor so literally accentuated by the actual situation in which the artwork comes into being. », Nochlin Linda, Bathers, Bodies, Beauty, op. cit., p. 223. Linda Nochlin souligne.
36Voir Molesworth Helen, « Looking with and looking at Alice Neel », dans Hubert Bellatrix (dir.), Alice Neel : Freedom, New York (NY), David Zwirner Books, 2019, p. 11-21, ici p. 15.
37« She showed that women are not definable as a group, and that there is no male space that cannot be occupied by a woman. In this way, Alice released both men and women to simply be who they are. She saw her subjects not as representatives of a particular group but as representatives of themselves, distinct within but not apart from the larger complexities of human dynamics. », Neel Ginny, « Introduction », dans Hubert Bellatrix (dir.), Alice Neel : Freedom, op. cit., p. 7.
38« charted new territory through its refusal to reduce contemporary Realism to issues of style and its insistence on locating specific women artists – in this case Jane Freilicher, Yvonne Jacquette, Sylvia Mangold, and Sylvia Sleigh – in relation to contemporary aesthetic and philosophical debates. », Chadwick Whitney, compte rendu de Women, Art and Power, op. cit., p. 38. Les artistes en question ont entre trente et cinquante ans : Jane Freilicher (1924-2014), Yvonne Jacquette (née en 1934), Sylvia Mangold (née en 1938) et Sylvia Sleigh (1916-2010).
39« to discuss a painter in her identity as a woman is neither more or less irrelevant than to examine the role played by Picasso’s Spanishness in his art. », Nochlin Linda, « The Flowering of American Realism », Real, Really Real, Super Real, op. cit., p. 31.
40Nochlin Linda, Femmes, Art et Pouvoir, op. cit., p. 124.
41Nochlin Linda, Harris Ann Sutherland (dir.), Femmes peintres, op. cit., p. 58.
43Une traduction possible : « son histoire à elle ».
44« My goal in this enterprise was not [primarily] to do what has been called “herstory” – to prove that women had really had art history as fruitful and successful as [that of ] men, despite overwhelming odds, a history silenced by male conspiracy: rather, I was interested to see what women had achieved, and not achieved, within specific historical circumstances and particular sorts of social boundaries and permissions – in a particular field in which discourses of male dominance and genius had such total domination. », Nochlin Linda, « Feminist Art History Lecture », Linda Nochlin papers, 1937-2017, LN-AAA 16.24.
45« The show itself, of course, is about art. The restriction to women’s art has its obviously polemic source, but as a framework within which to exhibit good art it is no more restrictive than, say, exhibitions of German, Cubist, black and white, soft, young, or new art. », Lippard Lucy (dir.), 26 contemporary Women Artists, Ridgefield (CT), Aldrich Museum of Contemporary Art, 1971, s. p.
46« For those of us engaged in organizing the exhibitions, we did not think of it as “curating”; rather, the activity was part of feminist art activism and the day-to-day running of feminist art spaces. », Iskin Ruth, « Feminism, Exhibitions and Museums in Los Angeles, then and now », Woman’s Art Journal, vol. 37, no 1, 2016, p. 12-20, ici p. 12 (à partir de cette page, cette référence est citée sous le titre raccourci : « Feminism, Exhibitions and Museums… »).
47« bring together the incredible resources and advanced technology of industry with equally incredible imagination and talent of the best artists at work today », Tuchman Maurice (dir.), A Report on the Art and Technology Program of the Los Angeles County Museum of Art, 1967-1971, New York (NY), Viking Press, 1971, p. 9.
48Iskin Ruth, « Feminism, Exhibitions and Museums… », art. cité, p. 14.
49Voir Garrard Mary D., « Feminist Politics: Networks and Organizations », dans Broude Norma, Garrard Mary D., Brodsky Judith (dir.), The Power of Feminist Art : The American Movement of the 1970s, History and Impact, New York (NY), Abrams, 1994, p. 88-103, ici p. 91.
50« Los Angeles Council of Women Artists Report », 15 juin 1971, Getty Research Institute, 2003.M.46.
51Nochlin Linda, Harris Ann Sutherland (dir.), Femmes peintres, op. cit., p. 8.
53Voir Iskin Ruth, « Feminism, Exhibitions and Museums… », art. cité et Dumont Fabienne, « Los Angeles – années 1970 : une expérience unique du féminisme en art », Art Présence, no 59, juillet-septembre 2006, p. 32-39.
54« Anna H. Bing, a trustee […], questioned whether it was really time for women to be shown in the museum, to which Finkel responded by asking whether Bing thought that the Blacks in the South also needed to wait to vote. », Finkel Bruria, citée dans Iskin Ruth, « Feminism, Exhibitions and Museums… », art. cité, p. 15.
55« Apparently, museum officials had taken a decision to distance their institution from the exhibition because of their deep ambivalence about it, and this was reflected in the catalogue of the first major museum survey exhibition of women’s art. », ibid.
56« how a single event in a long series may acquire a crucial importance because it dramatizes or brings into the open before the greater public what is ordinarily the affair of a small group », Schapiro Meyer, « Introduction of Modern Art in America: the Armory Show », dans Modern Art, 19th and 20th Centuries. Selected Papers, New York (NY), Braziller, 1978, p. 135-178, ici p. 137. Voir aussi l’essai de Justine Bohbote sur l’exposition Women Artists comme « événement fondateur » : « Une mémoire manquante ? Une histoire des expositions collectives d’artistes femmes en France des années 1970 à nos jours », dans Foucher Zarmanian Charlotte, Marquié Hélène, Duhaupas Frédérick (dir.), Médiatrices des arts : pour une histoire des transmissions et réseaux féminins et féministes, Nanterre, Presses universitaires de Paris Nanterre, 2022, p. 177-196.
57Voir Nochlin Linda, Reilly Maura, « A Dialogue with Linda Nochlin », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 18.
58« The work is not only to classify and to catalogue, but also to reshape the material for an ever-increasing public. », Nochlin Linda, « An interview with Linda Nochlin », entretien avec Pepe Karmel, art. cité, p. 23.
59« The event is related to both personal and collective history; it exceeds but also inhabits the subject who is “seized by” it and thereby opened to the otherness of history. », Deutsche Rosalyn, D’Souza Aruna, « Feminist Time: A Conversation », Grey Room, vol. 31, printemps 2008, p. 32-67, ici p. 37 (à partir de cette page, cette référence est citée sous le titre raccourci : « Feminist Time »).
60« Nochlin and Sutherland Harris’s Women Artists 1550-1970 (sic), created an archive of “women artists” that was pressing for many feminists at the time. », ibid., p. 63.
61Nochlin Linda, Harris Ann Sutherland (dir.), Femmes peintres, op. cit., p. 12.
62« The mother of all archival shows », Deutsche Rosalyn, D’Souza Aruna, « Feminist Time », art. cité, p. 63.
63Nochlin Linda, Harris Ann Sutherland (dir.), Femmes peintres, op. cit., p. 11.
64Dumont Fabienne, Des sorcières comme les autres : artistes et féministes dans la France des années 1970, Rennes, Presses universitaires de Rennes, 2014, p. 171.
65Nochlin Linda, Harris Ann Sutherland (dir.), Femmes peintres, op. cit., p. 11.
67« Building an archive should be predicated on a certain picture of the present moment », Deutsche Rosalyn, D’Souza Aruna, « Feminist Time », art. cité, p. 63.
68« It is a truth universally acknowledged that a woman who wants to curate a historical survey of feminist art will encounter obstacles in finding a welcoming venue and funding, she’ll only be able to risk doing it once in her career, she will find that familiar complexities and dilemmas inherent to the topic will bedevil her project, and she will look to documentation of previous such endeavors to shape her own process of historicization. », Schor Mira, « Generation 2.5 », dans A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life, Durham (NC), Duke University Press, 2009, p. 46-69, ici p. 49-50 (à partir de cette page, cette référence est citée sous le titre raccourci : A Decade of Negative Thinking).
69« I think I am entitled to use the forbidden word “progress”. To say that there has been progress in the art world is almost a kind of blasphemy. Aren’t things getting more and more commercialized, hasn’t art lost its aura completely, hasn’t art-making simply become a money-making venture like any other? I would say no to all these critiques, especially where women artists are concerned. Never before have women assumed such prominent positions in the arena of the visual arts, both as producers and as curators. », Nochlin Linda, « Women Artists then and now: Painting, Sculpture, and the Image of the Self », dans Nochlin Linda, Reilly Maura (dir.), Global Feminisms: New Directions in Contemporary Art, New York (NY), Merrell, 2007, p. 47-70, ici p. 69 (à partir de cette page, cette référence est citée sous le titre raccourci : Global Feminisms).
70« To be effective, I think that feminist exhibitions should sit uncomfortably within the museum. Global Feminisms certainly did that; as such, I suppose you could call it a success. », Reilly Maura, « Foreword », dans Ashton Jenna (dir.), Feminism and Museums: Intervention, Disruption and Change, no 1, Édimbourg, MuseumsEtc, 2017, p. 16-41, ici p. 34 (à partir de cette page, cette référence est citée sous le titre raccourci : Feminism and Museums).
71« History is better defined as an ongoing tension between stories that have been told and stories that might be told. », Hunt Lynn, « History as Gesture », dans Arac Jonathan, Johnson Barbara (dir.), Consequences of Theory: Selected Papers from the English Institute, Baltimore (MD), Johns Hopkins University Press, 1987, p. 91-107, p. 103.
72« the work of women artists well before the momentous 1970s needs to be examined with specificity and critical insight in order to provide a meaningful historical context for the work and ambitions of younger women artists today. For contemporary women artists, sometimes consciously, but often unconsciously, incorporate, modify, and struggle against the examples of the past, their putative foremothers. », Nochlin Linda, Reilly Maura (dir.), Global Feminisms, op. cit., p. 47.
73« we intend the Center to advance the Museum’s overall mission of offering our visitors opportunities to draw meaningful connections between the rich artistic heritage of the world’s cultures and their own lives. », Lehman Arnold L., « Foreword », dans Nochlin Linda, Reilly Maura (dir.), Global Feminisms, op. cit., p. 9.
74« the product of what one might call intergenerational feminist approaches », Nochlin Linda, Reilly Maura (dir.), Global Feminisms, op. cit., p. 11.
75« The Center’s inaugural show needed to say something new and, most importantly, hopefully something that could help push feminist discourse in a new direction. », Reilly Maura, « Foreword », dans Ashton Jenna (dir.), Feminism and Museums, op. cit., p. 19.
76« [Feminist curating] was converted from being the practice of a gender-conscious minority into a substantial theme of institutional attention. », Dimitrakaki Angela, « Constant Redistribution », art. cité, p. 219.
77« The canon within which Sutherland Harris and Nochlin were trained as art historians and within which they chose to work was the dominant, Western one. No one questioned in 1976, therefore, why the exhibition focused solely on artists from America and Europe, or that it included only one woman of color (Frida Kahlo). The academic canons of art history, literature, philosophy, and so on were being challenged by feminists at that time for their masculinist tendencies, for the most part, not their Eurocentric and imperialistic ones. It would not be until the 1980s that the hegemony of the Western canons themselves was questioned. », Nochlin Linda, Reilly Maura (dir.), Global Feminisms, op. cit., p. 27.
78« Consisted almost without exception of work by women from Europe and America », ibid., p. 47.
79« a plethora of women artists from non-Western countries, women from all over the world, in fact », ibid.
80« non-Western women artists are among the most influential movers and shakers in the international art community, acknowledged creators of the most original and influential art that reaches the public. », ibid.
81« important not as a work of art but as a shrine, or a kind of mythic space that a lot of women could feel a great identity with », Nochlin Linda, The Feminist Turn, op. cit., p. 104.
82« it […] challenges the monocultural, so-called first-world feminism that assumes a sameness among women. It hopes thereby to help open up a more flexible, less restrictive space for feminism as a worldwide activist project. », Nochlin Linda, Reilly Maura (dir.), Global Feminisms, op. cit., p. 16.
83Jones Amelia, « Les politiques sexuelles de The Dinner Party : Un contexte très critique (1996-2005) », dans Dumont Fabienne (dir.) La Rébellion du Deuxième sexe : l’histoire de l’art au crible des théories féministes anglo-américaines (1970-2000), Paris, presses du réel, 2011, p. 107-150, ici p. 150 (à partir de cette page, cette référence est citée sous le titre raccourci : La Rébellion du Deuxième sexe).
84« the majority of those advances have been bestowed on women from and in the privileged centres. […] An understanding of co-implicated histories and identities, as well as “common differences”, is crucial to a rethinking of feminism and contemporary art in an age of increased globalization. », Reilly Maura, « Foreword », dans Ashton Jenna (dir.), Feminism and Museums, op. cit., p. 29.
85« not just the difference between men are women, but even more, the differences among women themselves: differences between women from non-Western cultures and European and American women; and, just as interesting and important, differences among women artists within and between cultures, races, ethnicities, classes, and so forth. », Nochlin Linda, Reilly Maura (dir.), Global Feminisms, op. cit., p. 13.
86« It is our wish that Global Feminisms, rather than being the end of a trajectory of recent feminist exhibitions […], will, on the contrary, open the way for further projects and endeavors, providing a salutary precedent for future curatorial activism with a transnational focus. », ibid.
87« We did not expect women from Bolivia or Pakistan to exhibit specific traits in their art, any more than we expected the same from an artist from the U.S.; to do so would have been naïve and patronizing. Yet we were open to, and very interested in, the varying and innovative ways that women from diverse parts of the world self-consciously deployed the visual culture they had inherited to create new, often critical visual expressions. », ibid., p. 11.
88« it was disheartening to hear women of the global South continually cast in the monolithic role of “pre-civilized” victimage and to see the very few women of color present on the podium being asked to “explain” whole cultures in a sound bite. », Wilson Siona, « Destinations of feminist Art: Past, Present, and Future », Women’s Studies Quarterly, vol. 36, no 1-2, printemps-été 2008, p. 324-330, p. 326 (à partir de cette page, cette référence est citée sous le titre raccourci : « Destinations of feminist Art »).
89Voir Meagher Michelle, « Telling Stories about feminist Art », Feminist Theory, vol. 12, no 3, 2011, p. 297-316, ici p. 299.
90« Providing a Space of Freedom: Women Artists from Africa », « Gender Mobility: through the Lens of five Women Artists in India », « Contemporary Japanese Women’s Self-Awareness », « What is feminist about contemporary Asian Women’s Art? », « Western European Women Artists: Speaking in a minor Voice », et « Post-Totalitarian Art : Eastern and Central Europe ».
92« Postcolonial theory does not simply ask that those who occupy the center allow voices from the margins to speak; rather, it requires that the questions spoken from the margins lead to a dislocation of the center, that the center asks different questions of itself. », Deutsche Rosalyn, D’Souza Aruna, « Feminist Time », art. cité, p. 41.
93« I suggest that both the discourse and practice of feminism, as of other radical movements, are always already situated, whether the locations are regions or nations, or social groups and communities that subsist despite and beyond nationality. », Kapur Geeta, « Gender Mobility: through the Lens of Five Women Artists in India », dans Nochlin Linda, Reilly Maura (dir.), Global Feminisms, op. cit., p. 78-95, ici p. 94.
94« Once understood, racial, religious, ethnic, and national “identities”, that is to say, life-worlds in their secular aspects, become pressing concerns for the theory and practice of feminism. », ibid.
95« If the curatorial intention of the exhibition Global Feminisms is to undo the myth of “hegemonic feminism”, it points not only to the necessity of drawing theory from a practice that is close to the ground – the practice of art as of social transformation. It points further towards the necessity of unraveling alternatives that struggle against the instrumentalization of radical culture; alternatives that repudiate in big and little ways Western capitalist regimes programmed to violate and hegemonize the globe. », ibid.
96Voir Reckitt Helena, « Unusual Suspects: Global Feminisms and WACK! Art and the feminist Revolution », n.paradoxa, no 18, 2006, p. 34-42.
97« notwithstanding the success and prominence of perhaps a dozen artists of color, women of color who are also artists remain a marginal group within a larger marginal group », Solomon-Godeau Abigail, « Taunting and Haunting: critical Tactics in a “minor” Mode », dans Armstrong Carol, Zegher Catherine de (dir.), Women Artists at the Millennium, op. cit., p. 371-401, ici p. 372 (à partir de cette page, cette référence est citée sous le titre raccourci : « Taunting and Haunting »).
98Lebovici Élisabeth, Zapperi Giovanna, « Découvertes excitantes », art. cité, p. 199.
99« Did you hear why she said why she shouldn’t show her work.
— She said if she was a man she wouldn’t have to be a tour guide and she said that she shows her work to be seen not to be explained by her.
— Oh. », Rose Tracey, « Tits&AssPage1 », The Cunt Show [Le spectacle du con], 2006, performé sous le titre The Cant Show [Le Ne Peux Pas Montrer] au Brooklyn Museum en 2007, URL : https://www.youtube.com/watch?v=OX5iLPLWzPM (consulté le 14 mars 2024).
100Okudzeto Senam citée dans Deutsche Rosalyn, D’Souza Aruna, « Feminist Time », art. cité, p. 44.
101« But there’s lots of artists here
— Yes
— Adrian Piper’s here.
— No, she’s not
— Yes she is
— No she’s not she’s dead
— She’s DEAD?
— Yes Barbara Kruger killed her
— Oh, I had no idea
— So what are we doing here?
— They needed some colour.
— And besides it was a movement for white women.
— They said they were fighting men.
— But they give birth to white men
— They marry them
— They fuck them. », Rose Tracey, « Tits&AssPage1 », The Cunt Show, op. cit.
102« the introduction of anger into that discursive space seems important », Deutsche Rosalyn, D’Souza Aruna, « Feminist Time », art. cité, p. 47.
103« an insistence on “difference” works in fact to negate the social realities of race and class », ibid.
104« I was wondering. Where are all the other American woman theorists? You know, the coloreds! The Native-American woman, the African-American woman, the Asian-American woman, the Spanish-American woman?
— They’re dead. Linda Nochlin killed them. It’s a bloodbath. », Rose Tracey, « Tits&AssPage1 », The Cunt Show, op. cit.
105« one mode that works as a form of “taunt” addressed to the male and/or white spectator, and the other as a form of “haunting”, the conjuring of historical absences and silences », Solomon-Godeau Abigail, « Taunting and Haunting » dans Armstrong Carol, Zegher Catherine de (dir.), Women Artists at the Millennium, op. cit., p. 373.
106« preoccupied by collective histories, histories, moreover, that are in large part largely unwritten, if not actually invisible. Thus, the tactical deployment of haunting can be said to turn on the mechanisms of historical and cultural repression, whereas that of taunting is a response to particular and public forms of social and cultural expression », ibid. Abigail Solomon-Godeau souligne.
107« What corporation would sponsor a feminist intervention which challenges the assumptions of class, race and gender that underpin the current social system despite gestures of inclusiveness and minor corrections to its histories of discrimination? The museum in contemporary society is increasingly bonded into the circuits of capital between entertainment, tourism, heritage, commercial sponsorship and investment. », Pollock Griselda, Encounters in the Virtual Feminist Museum: Time Space and the Archive, Londres, Routledge, 2007, p. 10 (à partir de cette page, cette référence est citée sous le titre raccourci : Encounters in the Virtual Feminist Museum).
108« check the box, bureaucratic feel », Wilson Siona, « Destinations of feminist Art », art. cité, p. 328.
109« a big, high-minded, intermittently enjoyable show », Schjeldahl Peter, « Women’s Work: feminist Art at the Brooklyn Museum », The New Yorker, 9 avril 2007.
110« too radical for a museum setting », Reilly Maura, « Foreword », dans Ashton Jenna (dir.), Feminism and Museums, art. cité, p. 34.
111« One didn’t leave the exhibition feeling all warm and fuzzy. This was not just art by women, but art by women that conveyed a sense of political or social critique, and often with urgency. » Ibid.
112Le compte rendu d’Armstrong porte à la fois sur Global Feminisms et sur WACK! Art and the Feminist Revolution: An International Retrospective of Feminist Art from 1965-1980 [Wack! L’art et la révolution féministe : Une rétrospective internationale d’art féministe de 1965 à 1980], qui a eu lieu presque simultanément au Geffen Museum of Contemporary Art de Los Angeles.
113Qui a peur de Virginia Woolf, une pièce d’Edward Albee, 1962.
114Une référence au slogan « You’ve come a long way, baby » utilisé dans une campagne publicitaire pour des cigarettes en 1968.
115« Why are women so angry? What do women want? Why can’t a woman be more like a man? Can a man be a feminist? Why have there been no great women artists? Who’s afraid of Virginia Woolf? What is feminism? What is art? Is feminist art “art”? Is feminist art great art? Is art by women artists feminist art? Is feminist art women’s art? How many feminists does it take to screw in a lightbulb? Do feminists have a sense of humor? Can women be funny? (No, but we can be hysterical.) Do we have permanent PMS? Is a woman born, or is she made? Is she nature, or is she culture? Is she a victim of the species or just of society? Is she a sex, or is she a gender? Is hers an identity or a performance, a construction or an essence, an excess or an absence? Have we come a long way, baby, or no distance at all? Are we now the first or the second sex? (And just how many sexes are there?) Which came first, the woman or the egg? How many feminists can dance on the head of a pin? Can anything else be said by and about women other than that throughout history we, collectively and individually, have been raped, abused, and punished, confined, marginalized, and excluded, dominated and dehumanized, objectified, othered, and orientalized, invented, imprisoned in stereotype, and made invisible? And that this is our inevitable fate under the never-ending, self-reproducing ideological order of patriarchy and phallocracy? And what does art have to do with any of these questions? Why art, in fact? Why feminist art? Why bother? », Armstrong Carol, « Global Feminisms/WACK! », Artforum International, no 45, mai 2007, p. 360-362, ici p. 360. Carol Armstrong souligne. En italique dans le texte.
116Gould Charlotte, « Histoire de l’art et féminisme : la fin d’un oxymore ? Les pratiques et théories féministes des années soixante-dix comme héritage » dans Marret Sophie, Le Fustec Claude (dir.), La Fabrique du genre : (Dé)constructions du féminin et du masculin dans les arts et la littérature anglophones, Rennes, Presses universitaires de Rennes, 2016, DOI : 10.4000/books.pur.30725, § 5 (consulté le 14 mars 2024).
118« Women produce art from an ambiguous position because they are always part of a social and cultural system which marginalizes them as “the other”, as difference. Women artists who create work in such a symbolic system simultaneously both belong and are marginal to that system. », Rijsingen Miriam van, « How purple can purple be? », Women’s Studies and Culture: a feminist Introduction, op. cit., p. 100.
119« curatorial practice is one of the most important sites for the constitution of both historical narratives about feminist art (the histories of feminist art) and feminist theories of curating and writing histories (the feminist histories and theories of art) », Jones Amelia, « Feminist Subjects versus feminist Effects : The Curating of feminist Art (or is it the feminist Curating of Art?) », On Curating, vol. 29, mai 2016, Curating in Feminist Thought, p. 5-23, ici p. 5. Amelia Jones souligne.
120« is there a way to install works of art so that the artist and the art historian do not experience the space of the museum as the site of one triumph over another? », Molesworth Helen, « How to install Art as a Feminist » dans Butler Cornelia, Schwartz Alexandra (dir.), Modern Women: Women Artists at the Museum of Modern Art, New York (NY), Museum of Modern Art, 2010, p. 499-513, ici p. 509.
121« they offer the exhibition visitor an apparently seamless proposition: the visitor sees what is there, and doesn’t see what is not there, and it can be hard to argue with the proposition as a result. », Robinson Hilary, « Feminism meets the Big Exhibition: Museum Survey Shows since 2005 », On Curating, no 29, 2016, p. 29-40, ici p. 30 (à partir de cette page, cette référence est citée sous le titre raccourci : « Feminism meets the Big Exhibition »).
122Ouverte du 27 mai 2009 au 21 février 2011 sous le commissariat général de Camille Morineau, accompagnée des commissaires associées Quentin Bajac, Cécile Debray, Valérie Guillaume et Emma Lavigne.
123Nochlin Linda, « Entretien avec Linda Nochlin : Pourquoi ne pas l’avoir organisée avant ? » réalisé par Bernard Clerc-Renaud pour le Centre Pompidou, 2010, URL : https://www.centrepompidou.fr/fr/ressources/media/aUcoi3H (consulté le 14 mars 2024) (à partir de cette page, cette référence est citée sous le titre raccourci : « Pourquoi ne pas l’avoir organisée avant ? »).
124Morineau Camille, « “elles@centrepompidou” : un appel à la différence », dans elles@centrepompidou, artistes femmes dans la collection du musée national d’art moderne [catalogue d’exposition], Paris, Centre Pompidou, 2009, p. 14-23, p. 17 (à partir de cette page, cette référence est citée sous le titre raccourci : elles@centrepompidou).
125Nochlin Linda, « Pourquoi ne pas l’avoir organisée avant ? », op. cit.
127Dallier-Popper Aline, entretien avec Claudine Roméo dans Art, féminisme, post-féminisme : un parcours de critique d’art, Paris, L’Harmattan, 2009.
128Simoniello Anastasia, « Exposer les artistes femmes. Quelques réflexions autour de l’exposition Elles font l’abstraction (19 mai – 23 août 2021) et de la programmation du Centre Pompidou », Histoire Politique, 2022, DOI : 10.4000/histoirepolitique.2369 (consulté le 14 mars 2024).
129Morineau Camille, « “elles@centrepompidou” : un appel à la différence », dans elles@centrepompidou, op. cit., p. 17.
132Nochlin Linda, « Pourquoi ne pas l’avoir organisée avant ? », op. cit.
133« the museums that have put on these survey feminist exhibitions (or exhibitions of women artists) will be able to rest on their laurels. They will have “been there, done that” and unless there has been a deep, political change in approaches to the collection and curation of contemporary art in these institutions, it may well be business as usual after those exhibitions. », Robinson Hilary, « Feminism meets the Big Exhibition », art. cité, p. 39.
134Ernoult Nathalie, Gonnard Catherine, « Regards croisés sur “elles@centrepompidou” », Diogène, vol. 225, no 1, 2009, p. 189-193, p. 193.
135. « the focus in these collections on women’s art or feminist art creates, either deliberately or by implication, a space in which either becomes observable as a category of unified difference. », Weston Gemma, « Gender Equality in the Museum: the Cruthers Collection of Women’s Art », Artlink, vol. 37, no 4, 2017, p. 62-69, ici p. 64.
136Lesauvage Magali, « L’esprit critique – Première partie autour de Pionnières. Artistes dans le Paris des années folles », Médiapart, épisode 28, 27 mars 2022.
137Wadbled Nathanaël, « “Femmes, je vous aime”… derrière une vitrine. elles@centrepompidou », art. cité.
138Nochlin Linda, « Pourquoi ne pas l’avoir organisée avant ? », op. cit.
140« a mixed blessing », Nochlin Linda, Reilly Maura, « A Dialogue with Linda Nochlin », dans Nochlin Linda, Women Artists: The Linda Nochlin Reader, op. cit., p. 35.
141Deepwell Katy, « Pourquoi 1989 ? Écrire sur le féminisme, l’art et le “contemporain global” », dans Allain Bonilla Marie-laure, Blanc Émilie, Renard Johanna, Zabunyan Elvan (dir.), Constellations subjectives, op. cit., p. 64-85, p. 77.
142« their “success” would be, and has been, used to undermine a. feminist politics b. the potential visibility of most other women artists and c. any transformative politics in general (because “making women who are worth it visible” is meant to suggest that the completion-based, profit-oriented, pyramidal art world we have is ultimately not so bad). », Dimitrakaki Angela, citée dans Reckitt Helena, « Troubling Canons, curating and exhibiting Women’s and feminist Art, a Roundtable Discussion », dans Iskin Ruth (dir.), Re-envisioning the Contemporary Art Canon, op. cit., DOI : 10.4324/9781315639772.
143Foucher Zarmanian Charlotte, « Arts visuels », dans Rennes Juliette (dir.), Encyclopédie critique du genre : Corps, sexualité, rapports sociaux, Paris, La Découverte, 2016, p. 67-76, p. 68.
145Voir Dimitrakaki Angela, Perry Lara (dir.), Politics in a Glass Case: Feminism, Exhibition Cultures and curatorial Transgressions, Liverpool, Liverpool University Press, 2013, p. 8.
146Lebovici Élisabeth, Zapperi Giovanna, « Découvertes excitantes », art. cité, p. 195.
147« What is especially disturbing about this additive model is that it leaves intact the concept of plenitude at the heart of the museum project. Therefore it assumes a possibility of change without loss, without alteration, without remapping the navigational principles that allow us to make judgments about quality, appropriateness, inclusion, and revision. », Rogoff Irit, « Hit and Run – Museums and Cultural Difference », Art Journal, vol. 61, no 3, 2002, p. 63-67, ici p. 66 (à partir de cette page, cette référence est citée sous le titre raccourci : « Hit and Run »).
148Nochlin Linda, Pourquoi…, op. cit., p. 106.
149« In museums, knowledge and collections are split into disciplines and hierarchies of classification; specimens are separated from their context, isolated from other specimens, and dissected into individual parts; the parts are ordered and brought together with other parts into new associations and groupings. All these methods are presented as objective, neutral and rational, their goal to create completeness and a comprehensive historical and material record. From a critical and feminist perspective, these practices appear to construct and maintain the male order, with women at its margins. », Porter Gaby, « Seeing through Solidity: a feminist Perspective on Museums », dans Macdonald Sharon, Fyfe Gordon (dir.), Theorizing Museums, Oxford, Blackwell, 1996, p. 105-126, ici p. 112.
150« From the outset […] the curator’s ambition was to make his displays as complete as possible, but “completeness” was achieved by the deceit of declaring whole areas outside the museum’s brief. », Schubert Karsten, The Curator’s Egg: The Evolution of the Museum Concept from the French Revolution to the present Day, 3e édition, Londres, Ridinghouse, 2009, p. 147.
151Nochlin Linda, Harris, Ann Sutherland (dir.), Femmes peintres, op. cit., p. 59. Voir aussi Parker Rozsika, The Subversive Stitch: Embroidery and the Making of the Feminine, Londres, Tauris, 2014.
152Tickner Lisa, « Féminisme et histoire de l’art », op. cit., p. 44.
153« The representation of “man” and “woman” in museums is central to the production of meaning. Through limitation, repetition and reference, masculine and feminine categories are constructed in displays, collections and in the very character of institutions. », Porter Gaby, « Partial Truths », dans Kavanagh Gaynor (dir.), Museum Languages: Objects and Texts, Leicester, Leicester University Press, 1991, p. 103-117, p. 110.
154« Is the museum the best place to discuss gender and sexual roles? », Segalen Martine, « Here but invisible: The Presentation of Women in French Ethnography Museums », Gender & History, vol. 6, no 3, novembre 1994, p. 334-344, ici p. 334.
155« Women artists can be said to have succeeded only when their presence in the art world assumes the dimensions of a critical mass, not simply a rare, if admired, aberration. Although that goal has not yet been achieved globally, there has been significant movement in that direction, including the present exhibition, to a degree never before achieved. », Nochlin Linda, Reilly Maura (dir.), Global Feminisms, op. cit., p. 69.
156Butler Cornelia, Mark Lisa (dir.), WACK!: Art and the Feminist Revolution, Cambridge (MA), MIT Press, 2007.
157« The two exhibitions are addressed to such different questions that a straightforward comparison is simply not fair. », Wilson Siona, « Destinations of feminist Art », art. cité, p. 27.
158« the first generation whose members were able to embrace feminism as a path in their youth. The generation who really developed most of the tropes we think of as constituting feminist art, often inventing and building them at the same time as their pioneer mentor. », Schor Mira, « Generation 2.5 », A Decade of Negative Thinking, op. cit., p. 46-47.
159« That decade saw feminism embarking upon its first serious period of self-examination. », Wilson Siona, « Destinations of Feminist Art », art. cité, p. 325.
160« women artists [are omitted] from the emulative/competitive chain that constitutes the grand genealogy of art history, in which Cézanne vies with Manet, Picasso with Cézanne and Jackson Pollock with Picasso. Women’s art is completely omitted from this history of struggle and success », Nochlin Linda, « Sophie Calle », dans Nochlin Linda, Women Artists: The Linda Nochlin Reader, op. cit., p. 415.
161Voir Calle Sophie, Ghosts, Paris, Actes Sud, 2013.
162« it is indeed the “empty space” on the wall that remains empty, that no ekphrastic substitute will ever fill. », Nochlin Linda, « Sophie Calle », dans Nochlin Linda, Women Artists: The Linda Nochlin Reader, op. cit., p. 415.
163« the shift from the compensatory projects of atoning for absences and replacing voids, to a performative one in which loss is not only enacted, but is made manifest from within the culture that has remained a seemingly invulnerable dominant. », Rogoff Irit, « Hit and Run », art. cité, p. 64.
164« Sophie Calle, by creating her Ghosts, ensures the failure of ekphrasis by refusing a grand verbal recreation of the lost image, and instead reducing it to a series of lapsed memories, speculations, broken phrases, regrets, varied opinions, including negative ones, by ordinary people rather than a single brilliant consciousness. In so doing, she is, unintentionally, creating an unconscious feminist response to the Great Art of the museum and its authorized discourse. », Nochlin Linda, « Sophie Calle », dans Nochlin Linda, Women Artists: The Linda Nochlin Reader, op. cit., p. 415.
165« Given that art made by women and subsequently by feminist artists (women and feminists not being the same thing) has been so prominently absent, what forms of history can feminism offer in the space of the museum? And, more specifically, if art objects demand of their viewers various forms of competence for interpretation, what conditions of exhibition does the museum need to establish to create and satisfy those demands? », Molesworth Helen, « How to install Art as a Feminist », Modern Women: Women Artists at the Museum of Modern Art, op. cit., p. 501.
166« Genealogies for art made by women aren’t so clear, largely because they are structured by a shadowy absence. », ibid., p. 504.
167« Feminist artists’ lives are expected to unfold as a serial pursuit of reinvention while also sustaining a permanent political state of being. », Dimitrakaki Angela, « The Premise of Contradiction and feminist Politics: Reflections on Arahmaiani’s Art and Life », Afterall, a Journal of Art, Context and Enquiry, 2016, vol. 42, no 1, p. 12-23, ici p. 16.
168« the critic’s demand for thematic evolution is symptomatic of feminism’s entrapment in the project mentality: not only individual artists but also generations of feminists should invent “new projects”, that is, projects of sufficient innovation. », ibid.
169« Feminist itself marks the virtual as a perpetual becoming of what is not yet actual. It is a poïesis of the future. », Pollock Griselda, Encounters in the virtual feminist Museum, op. cit., p. 10. Griselda Pollock souligne.
170« the very notion of a single psyche making direct contact with a single work, unmediated by context, community, knowledge or the discourse of others, is simply part of the mythology of art, like the myth of genius. », Nochlin Linda, « The Museum as Bildungsroman », dans Nochlin Linda, Making it Modern, op. cit., p. 266.
171« The museum was also a theatre of cruelty […] where you could […] see St. Somebody torn apart by four different horses, or St. Somebody Else skinned alive, or St. Agatha holding her delicious little pink-tipped tit on a silver trait – without a guilty conscience. », ibid., p. 261.
172« We are the ghosts of the past, the dead reincarnate […]
We are the snuff-boxes, the fans, the lace shawls, the mummy-cases
Costumes once the height of fashion
We are the jewel-hilted daggers
The yellow-leafed hour books […]
I am the onyx jar that held the eye-black of a princess […]
Or in the days before I was Number 671B (circa 1200)
I was a cherry wood cradle. […]
Know this, you yawning shuffling scornful moppets
That in one short minute of eternity
Your compacts and cigarette-cases
Your bracelets and silk stockings
Razors and can-openers
Will be here with us
Through the damp, musty halls of the museum. », ibid., p. 261-262.