英语翻译在二十世纪七十年代,美国艺术史家琳达·诺切琳在《艺术新闻》上发表了一篇重要论文《为什么没有伟大的女性艺术家?》,

英语翻译
在二十世纪七十年代,美国艺术史家琳达·诺切琳在《艺术新闻》上发表了一篇重要论文《为什么没有伟大的女性艺术家?》,从而引发了艺术史领域内一场前所未有的热烈讨论.尽管大量反证的出现,但这一问题的提出显然不是无的放矢.早在六十年代詹森的《艺术史》中,就未收入任何女性艺术家的作品.于是,女性主义艺术家在此时开始了“重写艺术史”的漫长路程.
女性主义进入中国艺术领域的时间主要是在上个世纪的九十年代.尤其是在北京召开了世界妇女大会之后.在这短短的十余年间,女性主义思潮迅速波及中国当代女性的创作当中.无可否认的是,这无疑是给在几千年来形成的传统观念中的女性,女性艺术家一个全新的视角,全新的体系和策略.使她们在男权意识的社会中,以女性身份的审美需求击破了男性的审美需求,对以男权意识为中心的社会意识形态中形成的“真理”提出质疑,提出挑战.
然而不容忽视的是,随着机会的增多,一些女性艺术家开始变得功利化.有的女艺术家如果面对一个和女性艺术有关的展览,她就强调自己的女性身份.反之,则强调自己不是一个女性艺术家,而是一个没有性别的艺术家,将带有女性化意识的缠绕方式,无限重复,非常感觉化的方式过早地样式化甚至品牌化,并将某一方式作为风格固定下来.就这点问题看,我们的当代艺术圈子是否有严重的急功近利的毛病?
从根本上讲,艺术家应是个人化的,而非以性别划分的.若当（女性艺术家）艺术创作中,“女性主义”成为标签的时候,这无疑是对女性这一身份的贬低.同时也是对许多默许规范不自觉的服从.更是对西方女权主义运动所产生的结果进行一种否定.事实上,过早的样式化、品牌化,首先就是对艺术家自身的伤害.本文试图提出思考“方式”和“意识”对于女性主义艺术评论和创作的重要性,以利于我们对女性主义艺术在面对复杂、艰难的文化背景时的前进路程,保持主动而清醒的姿态.

The seventies of the twentieth century,the United States art historian琳达诺切琳in the "Art News" published an important paper,"Why is there no great women artists?",Which led to the field of art history with an unprecedented lively discussion.Despite the large amount of evidence to the contrary,but the problem is obviously not random.Johnson back in the sixties the "Art History",in relation to any non-income women artists.Thus,feminist artists began at this time "to rewrite art history" of a long journey.
Feminism into the Chinese art of the time mainly in the nineties of the last century.In particular,was held in Beijing after the World Conference on Women.In this short span of ten years,the rapid spread feminist thought in contemporary China among creative women.Admittedly,this is thousands of years to form in the traditional concept of women,women artists,a new perspective and new systems and strategies.So that their awareness of male society,women's status in order to break up the aesthetic needs of a man's aesthetic needs,awareness of male-centric form of social ideology in the "truth" to challenge to challenge.
Can not be ignored,however,with the number of opportunities,a number of female artists of the beginning of more utilitarian.Some women artists and women,if faced with an arts-related exhibitions,she stressed that the identity of their own women.Instead,it stressed that he is not a female artist,but a gender-artists,will be with the feminization of the winding sense of the way,infinite repeat,a very feeling way too early and even the brand of style and a way as a fixed style.On this point of view,our circle of contemporary art of the quick success and instant benefits whether there is any serious problems?
In essence,the artist should be a personal,rather than sex.If when the (female artists) and artistic creation,the "feminist" become a label,this is undoubtedly the status of women belittle.It is also the acquiescence of many standards are not subject to conscious.Is the Western feminist movement of the results arising from a negative.In fact,the early style,and brand,first of all is the artist's own injury.This paper attempts to consider "the way" and "awareness" for feminist art criticism and the importance of creativity in order to facilitate our Feminist Art in the face of complex and difficult when the cultural background of the way forward to maintain the initiative and a clear stance.