1Mainardi Pat, Ferrer Mathilde, « De chaque côté de l’Atlantique », art. cité, p. 86.
2Ferrer Mathilde, Michaud Yves (dir.), Féminisme, art et histoire de l’art, op. cit., p. 9.
3« feminist art is more often defined according to American cultural feminist notions (autobiography, images of self, performance, traditional arts) than according to the more universalized psychopolitical theory for which French feminism is known », Lippard Lucy, Get the Message? A Decade of Art for social Change, New York (NY), Dutton, 1984, p. 132.
4Bonis Oristelle, note de la traductrice dans Nochlin Linda, Femmes, Art et Pouvoir, op. cit., p. 5.
5Dumont Fabienne, « La rébellion du Deuxième Sexe : sus à une histoire de l’art androcentrée ! Penser une épistémologie des multitudes », dans Dumont Fabienne (dir.), La Rébellion du Deuxième sexe, op. cit., p. 5-31, ici p. 8.
6« Grounded in fact and framed in nonspecialist terms, the revolution she launched has not dated, and has in fact become as canonical as the works whose status she had called into question. More than most scholars or indeed most people, Linda Nochlin created something new; she changed the world through her scholarshp. », Harpham Geoffrey, Scholarship and Freedom, op. cit., p. 109.
7Dumont Fabienne, « La rébellion du Deuxième Sexe », dans La Rébellion du Deuxième sexe, op. cit., p. 5.
8Nochlin Linda, Femmes, art et pouvoir, op. cit., p. 6.
9Farge Arlette, « L’histoire ébruitée », dans L’histoire sans qualité, op. cit., p. 18.
10« not only has fashion embraced feminism, feminism has also become fashionable », Titton Monica, « Afterthought: Fashion, Feminism and radical Protest », Fashion Theory, vol. 23, no 6, 2019, p. 747-756, DOI : 10.1080/1362704X.2019.1657273 (consulté le 14 mars 2024).
11Ngozi Adichie Chimamanda, Nous sommes tous des féministes [2014], traduction de Mona de Pracontal, Paris, Gallimard, 2015 ; Soyons tous des féministes, traduction de Sylvie Schneiter, Paris, Gallimard, 2022.
12Voir Jobling Paul, Nesbitt Philippa, Wong Angelene (dir.), Fashion, Identity, Image, Londres, Bloomsbury Visual Arts, 2022, p. 63.
13« Not all women can be models » ; « The models don’t represent women. », Chiuri Maria Grazia, citée respectivement dans Gibbons Fiachra « When the fat Lady sings », The Nation – Thailand, 27 septembre 2017 et Givhan Robin, « Dior was part of the Patriarchy. Then she changed everything », The Washington Post, 26 avril 2022. Un autre défilé organisé par Chiuri en 2020 s’intitulait « Et si les femmes gouvernaient le monde ? »
14Voir McRobbie Angela, The Aftermath of Feminism: Gender, Culture and social Change, Londres, Sage, 2009.
15« a reminder to visitors and administrators alike that the art world’s patriarchal structures won’t dismantle themselves. », Dafoe Taylor, « Why Zoe Leonard is the Artist we need in today’s Instagram-addled Age », Artnet, 6 mars 2018, URL : https://news.artnet.com/art-world/zoe-leonard-whitney-review-1234703 (consulté le 14 mars 2024) (à partir de cette page, cette référence est citée sous le titre raccourci : « Why Zoe Leonard… »).
17« In an era of endless distraction, Leonard’s work demands that you pay attention. That’s the only way you can reap its rewards. », Dafoe Taylor, « Why Zoe Leonard… », art. cité.
19« the matrophor, a word I coined to express the persistent nature of maternal metaphors in feminism », Quinn Rebecca Dakin, « An Open Letter to Institutional Mothers », dans Looser Devoney, Kaplan E. Ann (dir.), Generations : Academic Feminists in Dialogue, Minneapolis (MN), University of Minnesota Press, 1997, p. 174-182, ici p. 179.
20« I’m a little wary of becoming a “grand old woman” or some frozen effigy. Even the word “role model” gets me very uneasy. Because that means, first of all, that you are fixed, you are no longer a person in process and dynamic. », Nochlin Linda, The Feminist Turn, op. cit., p. 154.
21« I feel myself to be many selves – a woman, a Jew, a scholar, a feminist, a mother and grandmother, a teacher, an athlete, a friend, a passionate devourer of printed matter, not necessarily connected. I am more and more convinced that “inner life” has no meaning for me: my life is exterior, lived on the surface of experience, devoted to the world and the things in it, for better or for worse. », Nochlin Linda, A Life of Learning, op. cit., p. 18.
22Spivak Gayatri, « Politique(s) d’interprétation », dans En d’autres mondes, op. cit., p. 239-240.
23Lajer-Burcharth Ewa, The Art of Jacques-Louis David after the Terror, New Haven (CT), Yale University Press, 1999.
24« there is a new incisive shaping taking place in the work of a number of women art historians now writing – Ann Wagner, Susan Sidlauskas, Abigail Solomon-Godeau, Carol Armstrong, Tamar Garb, to name a few », Nochlin Linda, « Issues : a Visit with Linda Nochlin », art. cité, p. 18.
25« her analysis of gender difference as the basis of historical development and the main reason why cultural products are the way they are », Doy Gen, « Marxist Theory, Feminism(s) and Women’s History », Seeing and Consciousness: Women, Class and Representation, Oxford, Berg, 1995, p. 5-26, ici p. 14. Gen Doy souligne.
26« how can [the] representation [of a woman] be at the same time both “real” and “constructed”, “progressive” and “traditional”? […] How can conscious understanding enable us to change culture and history? », ibid., p. 19. Gen Doy souligne. Voir aussi « Les femmes et la Révolution bourgeoise de 1789 : des artistes et des mères qui font l’histoire (de l’art) » dans Dumont Fabienne (dir.), La Rébellion du Deuxième sexe, op. cit., p. 267-303, tiré de Seeing and Consciousness.
27Nochlin Linda, « L’image des femmes au travail », dans Dumont Fabienne (dir.), La Rébellion du Deuxième sexe, op. cit., p. 199-224, ici p. 200.
28« In effect Nochlin reinforces the patriarchal definition of man as the norm of humanity, woman as the disadvantaged other whose freedom lies in becoming like man. », Pollock Griselda, Vision and Difference, op. cit., p. 50.
29Voir Lippard Lucy, « Sweeping Exchanges: the Contribution of Feminism to the Art of the 1970s », Art Journal, automne-hiver 1980, p. 362-365.
30« Do I seek a kind of eternal life through imparting my thoughts and feelings to a new generation, who will surely change them, critique them and ultimately perhaps, reject them? », Nochlin Linda, « The Seminar as Bildungsroman », Linda Nochlin papers, 1937-2017, op. cit.
31« The act of questioning […] represents an assertion of agency in the face of what seems a necessity, a refusal to assent to propositions others take for granted, a liberating insistence on the possibility of difference even after the doors of possibility have been declared closed. Questioning is the fundamental gesture of critique which has always been at the heart of Nochlin’s project. », Harpham Geoffrey, Scholarship and Freedom, op. cit., p. 128.
32« For better or for worse, Linda’s most familiar public image is that of a now venerable feminist art historian – for better, because it is true; for worse, because this pioneering role has often pigeonholed her, blinding her audiences to the fact that the larger part of her work has nothing to do with feminist issues. », D’Souza Aruna, « Fragments and Paradoxes », dans Nochlin Linda, D’Souza Aruna (dir.), Self and History, op. cit., p. 19.
33« There is a tendency of course to make me into a caricature of myself, like I’m an axe-wielding feminist with no sense of the beauty of art, which couldn’t be more untrue. », Nochlin Linda, The feminist Turn, op. cit., p. 101.
34« The figure of the fan is one way to get around the problem of how to conceptualize relationships across time. […] The fan is not gendered or imagined in a familial structure. », Grant Catherine, A Time of One’s Own, op. cit., p. 6.
35« To be a fan is to have a close attachment to the fan object, one that has been influentially theorized as an attachment that is antagonistic as well as admiring. To be a fan is also often to be in dialogue, taking part in a community that is driven by a shared fascination and a desire to learn. », ibid.
36Comme l’illustrent les quatre fanzines créés en 2021-2022 en hommage à Linda Nochlin sur une initiative du collectif artistique néérlandais KIOSK, URL : https://kiosk.art/linda-nochlin-fanzine (consulté le 14 mars 2024).
37« A place of negotiation », Grant Catherine, A Time of One’s Own, op. cit., p. 29.
38Leader Karen, « Chain Reactions: Linda Nochlin », Institute of Fine Arts Annual, 2017-2018, p. 21-22.
39« all of the different unresolved sides of her that I documented were discrete and non linear […]; I did not have to tell a story to guide people. », Trotta Julia, The Amy Beecher Show, épisode 51 : « Honing a Portrait », diffusé le 23 décembre 2020.
40« hard movie and soft movie: denser interviews with a lot of information and moments of downtime », ibid.
41« Linda was in her living room in the Upper West Side discussing her bold and active participation in the women’s movement. She said that although she is generally a fearful person, when she really believes in something she forgets to be afraid. », Nochlin Linda, Trotta Julia, « An Interview and a Poem », Petunia, no 6, 2014, p. 57-63, ici p. 57.
42Bourdieu Pierre, « Ce que parler veut dire », Questions de sociologie, Paris, Éditions de Minuit, 1980, p. 95- 112, ici p. 95.