"Why Have There Been No Great Women Artists?" asked American art historian Linda Nochlin in a 1971 essay, titled the same. Fifty-some years later, this question-and Nochlin's seminal text, which examined, from a feminist lens, the myriad obstacles that prevent women from succeeding in the arts-continues to reverberate.
This effect ripples outward today with exhibitions like Italian artist Elisabetta Zangrandi's Musée Imaginaire, a series of portraits that address communal labor, struggle, and creativity as reflected by generations of women artists before her.
Curated by Alison M. Gingeras and on view May 11-June 26 at Keyes Art in Sag Harbor, the exhibition centers on Zangrandi's figurative reinterpretation of the artistic forerunners that inspired her, from the 12th-century German monastic Guda of the Weissfauen Convent, creator of the earliest signed self-portrait by a woman in Western Europe, to 20th-century iconoclasts like Alice Neel and Frida Kahlo.
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