很明显,60年代的女性艺术家被推向了艺术史的边缘。但一系列女性作品展览显示,许多女性艺术家并非波普艺术家。西方艺术史建构了一种无论从主体到客体都从男性视角观看女性的叙述方式。从维伦多夫的维纳斯到拉斐尔的圣母玛利亚,从鲁本斯被强暴的萨宾女人到毕加索的被抛弃的情人以及德·库宁的食人女性系列,这些作品都是参照男性的凝视标准来创作的,凝视的对象始终是被客体化了的女性身体。恍然间,当人们回头重新审视艺术史,发现它已全然被颠覆,过去一直被埋没的一面现在得以挖掘和修正。人们发现,这面历史的主角是那些非主流的(不被认可的、被忽视的、从 It is clear that female artists of the 1960s were pushed to the edge of art history. However, a series of exhibitions of women’s works show that many female artists are not pop artists. Western art history constructs a way of narrating women from a male perspective, from the subject to the object. From Venus in Vilendorf to the Virgin Mary in Rafael, from the ravenous Sabine woman in Rubens to the abandoned lover in Pablo Picasso and the cannibal women’s series in De Kooning It is created with reference to the standard of gaze of men, and the target of gaze is always the body of a woman who has been objectified. Suddenly, when people look back at the history of art and find that it has been completely subverted, the past that has been buried now can be tapped and amended. People find that the protagonists in this history are those who are not mainstream (not recognized, neglected, from