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espite encouraging signs of women’s improved status and visibility in the art world, there are still major systemic problems.Do not misunderstand me: women artists are in a far better position today than they were 45 years ago, when Linda Nochlin wrote her landmark essay, “Why Have There Been No Great Women Artists? Access to “high art” education, to which women have historically been denied, is now possible for many with financial means.(According to , in 2006 women represented more than 60 percent of the students in art programs in the United States.) Moreover, the institutional power structures that Nochlin argued made it “impossible for women to achieve artistic excellence, or success, on the same footing as men, no matter what the potency of their so-called talent, or genius,” have been shifting. The common refrain that “women are treated equally in the art world now” needs to be challenged.The existence of a few superstars or token achiever—like Marina Abramovic, Tracey Emin, and Cindy Sherman—does not mean that women artists have achieved equality. The more closely one examines art-world statistics, the more glaringly obvious it becomes that, despite decades of postcolonial, feminist, anti-racist, and queer activism and theorizing, the majority continues to be defined as white, Euro-American, heterosexual, privileged, and, above all, male.The cast of “Glow” is undeniably tough, but which co-stars intimidate Chris Lowell the most?The 33-year-old actor revealed his ranking for the Netflix show’s most badass ladies, including Gayle Rankin, Kia Stevens and the “fearless” Alison Brie.Her series, "Girlfriends' Guide to Divorce," is in Season 4 on Bravo.
In this live chat on Spreecast, Gillian answers her fans’ questions about her writing process, who influences her and, most importantly, her inspiration for her truly creepy characters.
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Discrimination against women at the top trickles down into every aspect of the art world—gallery representation, auction price differentials, press coverage, and inclusion in permanent-collection displays and solo-exhibition programs.
A glance at the past few years of special-exhibition schedules at major art institutions in the United States, for instance, especially the presentation of solo shows, reveals the continued prevalence of gender disparity.