One of their best-known posters features a send-up of French artist Jean- Auguste-Dominique Ingres’s Odalisque (1814). The Guerrilla Girls, an anonymous feminist artist collective founded in 1985, call attention to systematic gender and race discrimination in the art world by cre- ating posters and handbills that feature a mix of dark humor, politics, and statistics. This chapter is titled “Why Have There Been No Great Women Artists?: Artistic Labor and Time-Constraint in Nineteenth-Century America.” In this book, author Diana Seave Greenwald explores a history of art that uses digital research and economic tools to reveal enduring inequities in the formation of the art historical canon. Editor’s Note: The following is an excerpt from the fourth chapter of Painting by Numbers: Data-Driven Histories of Nineteenth Century Art published by Princeton University Press and reprinted here by permission of the publisher.
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