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However, as they’d read the piece, they would follow Nochlin’s description of how feminist thought developed and changed over time, and they realized that for decades feminists have been attempting to “dig up examples of worthy or insufficiently appreciated women artists throughout history” and assert that there is “a different kind of ’greatness’ for women’s art than for men’s,” meaning that there exists a distinctive and recognizable feminine style. “We should not try to copy male standards, but come up with female-centric ways of expression,” someone else would chime in. “Uncover forgotten female artists,” someone would say. Most students were still early enough in their college education that they hadn’t read Nochlin’s piece and also hadn’t become jaded by the realities of gender inequality in the workplace, so they were very eager to offer their own perspectives about gender and design.īefore giving students the reading, I would ask them what steps they thought could be taken to solve gender inequality in the arts. For this particular lesson I would distribute a gender and arts staple- Linda Nochlin’s “Why There Have Been No Great Women Artists.” In a class that was mostly female, with one or two men sprinkled in the mix, the conversation was often fascinating. The class, which gave undergraduates a crash course on key design issues, was often the first time students would make a meaningful connection between feminism and their own work and life. When I was a teaching assistant, one of my favorite lessons every semester was one that dealt with gender and design. But we are forgetting an important piece of the equation-inequality starts in the classroom. In recent history, a growing acknowledgement of gender disparity in the workplace has led to more conversations about women’s initiatives and an increased focus on mentorship programs. As self-portraits, they explore the intersection between childhood, adulthood and sensuality. These photo collages are from “Multifaceted” at Catherine Ahnell Gallery, the artist’s first solo exhibition as well as her U.S. Ahn Sun Mi is a South Korean-born artist who lives and works in Paris.