Editing Western canon (section)

===Women and art===
{{main|Women artists}}
[[File:Blue and Green Music by Georgia O'Keeffe, 1921.jpg|thumb|upright|left|''[[Blue and Green Music]]'' (1921), [[Georgia O'Keeffe]], oil on canvas]]
English artist and sculptor [[Barbara Hepworth]] [[Order of the British Empire|DBE]] (1903&nbsp;– 1975), whose work exemplifies [[Modernism]], and in particular modern sculpture, is one of the few female artists to achieve international prominence.<ref name=gale>Gale, Matthew [http://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274 "Artist Biography: Barbara Hepworth 1903–75"] Retrieved 31 January 2014.</ref> In 2016 the art of American [[modernist]] [[Georgia O'Keeffe]] has been staged at the [[Tate Modern]], in London, and is then moving in December 2016 to [[Vienna]], Austria, before visiting the [[Art Gallery of Ontario]], Canada in 2017.<ref>{{cite web|url=https://www.ago.net/art-gallery-of-ontario-partners-with-tate-modern-to-present-georgia-okeeffe-retrospective-in-summer-2017|title=Art Gallery of Ontario partners with Tate Modern to present Georgia O'Keeffe retrospective in summer 2017 – AGO Art Gallery of Ontario|website=www.ago.net|access-date=2016-11-29|archive-date=2020-09-24|archive-url=https://web.archive.org/web/20200924150951/http://www.ago.net/art-gallery-of-ontario-partners-with-tate-modern-to-present-georgia-okeeffe-retrospective-in-summer-2017|url-status=dead}}</ref>

====Historical exclusion of women====
Women were discriminated against in terms of obtaining the training necessary to be an artist in the mainstream Western traditions. In addition, since the Renaissance the [[Nude (art)|nude]], more often than not female,{{citation needed|date=November 2018}} has had a special position as subject matter. In her 1971 essay, "[[Why Have There Been No Great Women Artists?]]", [[Linda Nochlin]] analyzes what she sees as the embedded privilege in the predominantly male Western art world and argues that women's outsider status allowed them a unique viewpoint to not only critique women's position in art, but to additionally examine the discipline's underlying assumptions about gender and ability.<ref name="Nochlin women artists">{{cite book|last=Nochlin|first=Linda|author-link=Linda Nochlin|chapter=[[Why Have There Been No Great Women Artists?]]|title=Women, Art and Power and Other Essays|year=1971|publisher=Westview Press|url=<!-- |access-date = 2014-11-28 -->}}</ref> Nochlin's essay develops the argument that both formal and social education restricted artistic development to men, preventing women (with rare exception) from honing their talents and gaining entry into the art world.<ref name="Nochlin women artists" />

In the 1970s, feminist art criticism continued this critique of the institutionalized sexism of art history, art museums, and galleries, and questioned which genres of art were deemed museum-worthy.<ref>{{cite book |last1= Atkins |first1= Robert |year= 2013|title= Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the Present |edition= 3rd|location= New York|publisher= Abbeville Press |isbn= 9780789211507 |oclc=855858296}}</ref> This position is articulated by artist [[Judy Chicago]]:
"[I]t is crucial to understand that one of the ways in which the importance of male experience is conveyed is through the art objects that are exhibited and preserved in our museums. Whereas men experience presence in our art institutions, women experience primarily absence, except in images that do not necessarily reflect women's own sense of themselves."<ref>{{cite book|last1=Chicago|first1=Judy|author-link1=Judy Chicago|last2=Lucie-Smith|first2=Edward|author-link2=Edward Lucie-Smith|title=Women and Art: Contested Territory|url=https://archive.org/details/womenartconteste0000chic|url-access=registration|year=1999|publisher=Watson-Guptill Publications|location=New York|isbn=0-8230-5852-2|page=[https://archive.org/details/womenartconteste0000chic/page/10 10]}}</ref>