'An essential collection in the toolkit of all revolutionary thinkers' - The Art Newspaper
How Linda Nochlin Made it Modern by Aruna D'Souza
Revolutions in Art/History 1848: The Revolution in Art History Meyer Schapiro's Modernism Courbet, David, and the Imaginative Afterlife of the French Revolution
Bodies of Modernity Pissarro, Cézanne, and the Eternal Feminine Renoir's Men: Constructing the Myth of the Natural Body Politics: Seurat's Poseuses Camille Corot: The Nude without Qualities
Abstracting the Body Bonnard's Bathers The World According to Gober "Sex is so Abstract": The Nudes of Andy Warhol
Othering Art History Sex and the "Sepoy Mutiny": The Intersections of Race and Gender in the Colonial Imaginary Learning from Black Male The Imaginary Orient
Abstraction and Realism Kelly: Making Abstraction Anew The Realist Criminal and the Abstract Law The New Realists Picasso's Color: Schemes and Gambits
Museums and Vision Museums and Radicals: A History of Emergencies The Museum as Bildungsroman: My Life in Art, Trash, and Fashion Matisse and its Other The Naked and the Dread: Reviewing the Modern Nude
Genre and Form Impressionist Portraits and the Construction of Modern Identity Francis Bacon and the Fear of Narrative Academic Art and the Death of Narrative Camille Pissarro: The Unassuming Eye Death and Gender in Manet's Still Lifes
Art as / and Work The Paterson Strike Pageant of 1913 Van Gogh, Renouard, and the Weaver's Crisis in Lyons Seurat's Grande Jatte: An Anti-Utopian Allegory The Cribleuses de blé: Courbet, Millet, Breton, Kollwitz, and the Image of the Working Woman
Linda Nochlin (1931-2017) was Lila Acheson Wallace Professor Emerita of Modern Art at New York University Institute of Fine Arts. Her numerous publications include Women, Art and Power, Representing Women and Courbet, as well as the pioneering essay from 1971: 'Why Have There Been No Great Women Artists?'. Aruna D'Souza is an editor, writer and curator. Her book Whitewalling: Art, Race, and Protest in 3 Acts was named one of the best art books of 2018 by the New York Times.