Three Evenings In Honor of Linda Nochlin ’51 On the Occasion of the 70th Anniversary of her Graduation from Vassar

Linda Nochlin’51 March 11 March 18 March 25 taught at Vassar from 1952 7:00 – 8:15 p.m. EST 7:00 – 8:15 p.m. EST 7:00 – 8:15 p.m. EST until 1980, afterwards holding Women Picturing The Paintress’s Studio: Listening to positions at the Graduate Women: From Personal The Woman Artist Linda Nochlin Center of the City of New Spaces to Public Ventures and the Medium York, Yale University, and the Susan Casteras ’71 Patricia Phagan Ewa Lajer-Burcharth PROFESSOR OF ART EMERITA Institute of Fine Arts at New UNIVERSITY OF WASHINGTON WILLIAM DORR BOARDMAN PHILIP AND LYNN STRAUS ’46 FORMER CURATOR OF PAINTINGS PROFESSOR OF FINE ART York University. While at CURATOR OF PRINTS AND DRAWINGS YALE CENTER FOR BRITISH ART DIRECTOR OF GRADUATE STUDIES FRANCES LEHMAN LOEB ART CENTER YALE UNIVERSITY Vassar, she wrote to call for a DEPARTMENT OF HISTORY OF VASSAR COLLEGE Nochlin Student 1967-1968, 1969-1971 ART AND ARCHITECTURE feminist art history, Why Have Nochlin Student 1981-1983 Research Assistant 1975-1977 HARVARD UNIVERSITY There Been No Great Women Nochlin Student 1982-1992 Artists? published in ARTNews T. Barton Thurber Molly Nesbit ’74 ANNE HENDRICKS BASS DIRECTOR Molly Nesbit ’74 PROFESSOR OF ART ON THE in January, 1971. This led to FRANCES LEHMAN LOEB ART CENTER MARY CONOVER MELLON CHAIR PROFESSOR OF ART ON THE VASSAR COLLEGE VASSAR COLLEGE research into forgotten and MARY CONOVER MELLON CHAIR Nochlin Student 1970-1974 VASSAR COLLEGE underappreciated women artists Drawing from the permanent collection of the Nochlin Student 1970-1974 throughout history and, more Frances Lehman Loeb Art Center, curator Patricia Julia Trotta The lecture discusses the reinvention of the broadly, raised consciousness Phagan has selected only images of women by female FILMMAKER artists from the seventeenth century to the 1960s, medium in the work of some contemporary DIRECTOR, LINDA NOCHLIN female painters. Focusing on the idea of the among scholars regarding the and examined key themes that emerged. These art- FOUNDATION studio as a physical and imaginary locus of way history is analyzed and ists frequently communicated the idea of an intimate creation, it explores the role of making and Susan Casteras and Molly Nesbit in or sheltered enclosure, such as a room, studio or understood. What’s more, materiality in the self-conception of these conversation with Julia Trotta, garden, even though these women participated in a Nochlin had an impact not only painters, suggesting ways in which their Linda Nochlin’s granddaughter, more public arena to show or even make their work. practices engage with the notion of the with excepts from her film, Forget to on how we view feminist art, “woman artist” conceptualized by Linda Other female artists relayed the idea of venturing be Afraid: A Portrait of Linda Nochlin Nochlin in her groundbreaking essay, Why but also on how we recognize into a public space such as a street or an office, or Have There Been No Great Women Artists? the achievement of women into the more public, intellectual world of a narra- ARTNews, 1971. in other endeavors. All four tive found in religion, classicism or social critique. This presentation will look at works through these scholars participating in this private and public lenses, with the circumstances of series were students of Linda the artists, her training and the content of the work in focus. Ms. Phagan will illustrate her remarks Nochlin’s, and their contribu- THE FRANCES LEHMAN LOEB ART CENTER with images from the exhibition as well as from the OFFICE OF REGIONAL AND INTERNATIONAL PROGRAMS tions, like those of many others, virtual tour, accessible here: Inquiries: [email protected] reflect her continuing legacy. https://my.matterport.com/show/?m=2Up8qrALPdU SPECIAL THANKS TO THE VASSAR COLLEGE ART DEPARTMENT