Bruno Latour and Peter Weibel, eds.
Let’s take as a starting point that “the Earth is moving yet again.” It is shifting, unstable, reactive; it’s different one year, or minute, to the next. In an age of rising seas and mass extinctions, the point hardly needs proving.
The quote comes from the introduction to
Critical Zones: The Science and Politics of Landing on Earth, a tome-sized catalog published in 2020 to accompany an exhibition at the Center for Art and Media in Karlsruhe, Germany. The philosopher Bruno Latour and the artist/curator Peter Weibel are its organizer and editors. For them, and for a growing cadre of scientists and theorists, “critical zones” are a new framework for understanding the world not as a globe, nor exactly as a serene, self-healing Gaia, but as the thin, contested skin of the Earth on which we actually live: soil and rocks, air and water, plants and trees, animals, and all the marks of humanity physical ones, of course, but also art, pol
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Wilhelmina Cole Holladay, Whose Art Museum Promoted Women, Dies at 98
She used her networking skills and social connections to establish the National Museum of Women in the Arts in Washington, the first of its kind.
Wilhelmina Cole Holladay in 2014. She opened the National Museum of Women in the Arts in 1987 after recognizing that the contributions of female artists had been ignored for too long.Credit.Astrid Riecken for The Washington Post, via Getty Images
March 11, 2021
Wilhelmina Cole Holladay, who used her social connections, organizational acumen and personal collection of hundreds of works by female painters to establish the country’s first museum dedicated to women in the arts, died on Saturday at her home in Washington. She was 98.
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“Why have there been no great women artists?” It is a silly question, really, and the art historian Linda Nochlin (1931-2017) certainly thought so when a male gallerist put it to her. She responded with a passionate and provocative essay published in 1971 as part of a controversial issue on “Women’s Liberation, Women Artists and Art History” in the journal
ARTnews. The essay was preceded by the strapline: “Implications of the Women’s Lib movement for art history and for the contemporary art scene or, silly questions deserve long answers.” In roughly 4,000 words, Nochlin dismantled the question to reveal the assumptions that lie behind it, as well as the answer it surreptitiously supplies: “There are no great women artists because women are incapable of greatness.”