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Women in the art history field
Women were professionally active in the academic discipline of art history already in the nineteenth century and participated in the important shift early in the century that began involving an "emphatically corporeal visual subject", with Vernon Lee as a notable example. It is argued that in the twentieth century women art historians (and curators), by choosing to study women artists, "dramatically" "increased their visibility". In fact, women art historians are one of two groups (besides authors of high-school texbooks) "who say there have been great women artists" in the first place, according to the authors of a study of the representations of women artists in US textbooks.
==Education and employment==
In the United States professional, academic employment for women art historians was, by the early 1970s, not commensurate with the number of female PhDs in art history. Between 1960 and 1969, 30.1% of PhDs were awarded to women but those numbers increased significantly during that period: between 1960 and 1965 it was 27%, but between 1966 and 1967 it had gone up to 43.5%. But in 1970-1971, women art historians in art departments in the US made up 23.1% of instructors, 21.6% of assistant professors, 17.5% of associate professors, and only 11.1% of full professors. Comparison with the numbers for the same years for women in the languages, from a study done by the Modern Language Association, showed that "women in C.A.A. (Art Association ) professions face() rather more severe discrimination than women in M.L.A. fields". Similar tendencies were reported for salary and employment in studio teaching ("preliminary statistics...indicate that women artists receive a disproportionately small share of full-time studio jobs") and in museums ("particularly significant was a tendency to hire women with BAs to be secretaries and men with BAs for trainee programs which rapidly advanced them to more challenging positions).〔
The history of women in the profession also suggests that art education itself has benefited from the increased presence of professional women art historians, since women students sometimes found it necessary to "redo" an education in which only a male point of view had been provided given. Paula Harper, "one of the first art historians to bring a feminist perspective to the study of painting and sculpture", and Moira Roth shared the same experience of a "one-sided training", of feeling left out. Discrimination against "women in college and university art departments and art museums" was, in the early 1970s, the immediate cause for the foundation of the Women's Caucus for Art (see below).
In a statistical study of US employment among art faculties published in 1977, Sandra Packard notes that "in art departments women have been decreasing in number since the 1930's", and that the number of women in art faculties at institutes of higher education "decreas() from 22% in 1963 to a low of 19.5% in 1974", and cites statistics suggesting that "although women are concentrated at the lower ranks in art faculties, they have more Ph.D. degrees than their male colleagues."
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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