publicity to the lack of documentation and the exclusion of female practitioners. Linda Nochlin’s popular essay, “Why Have There Been No Great Women Artists?” fueled the debate as well. More recently, a reevaluation of women in modern art in particular has emerged. For general discussions on women, gender, and art, I have relied on scholarship that includes that of Wolff, Stansell, and Felski; Wanda Corn and Gail Levin (“Women Building History” and “The Changing Status of American Women Artists, 1900-1930,” respectively, in American Women Artists 1830-1930, published in 1987 in conjunction with the inaugural exhibition at the National Museum of Women in the Arts); Gill Perry (Gender and Art, Yale, 1999); and Carolyn Burke (“Getting Spliced: Modernism and Sexual Difference,” in American Quarterly, 1987). Specifically, for the discussion of women artists in the Armory Show, I have turned to the work of Staples’s examination of women artists and collectors in her “Virtual Armory Show,” http://xroads.virginia.edu/, and Charles Musser, who wrote about early feminism and the Armory Show in The Armory Show at 100: Modernism and Revolution, recently published in conjunction with the New York Historical Society’s centennial exhibition. In her discussion of women artists, Staples sheds light mostly on the “modernist” women at the Armory Show, those whose work could be regarded within that narrow definition of modern art in a way that implies tokenism. Musser’s essay contains several errors: the incorrect identification of a female artist, the misplaced suggestion that many of the women earned entrance to the
the Los Angeles County Museum of Art’s exhibition in 1976 that included short biographies of the women included in that show. In the same year, Karen Peterson and J. J. Wilson wrote Women Artists: Recognition and Reappraisal from the Early Middle Ages to the Twentieth Century. In 1978, Donna Bachman and Sherry Piland put together a feminist bibliography of women artists and Elsa Honig Fine wrote Women and Art: A History of Women Painters and Sculptors from the Renaissance to the Twentieth Century; and, Germaine Greer discussed women painters in her book, The Obstacle Race: The Fortunes of Women Painters and their Work in 1979.
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