In modern times, women’s history has shifted its focus to charting female organization, acknowledging women’s strategies, negotiations and accommodations within a world dominated by men. Women’s studies emerged as an academic discipline especially out of feminist agenda but the objectives of gender history are somewhat different from it. Acknowledging that masculinity and femininity are socially designed paradigms, the discipline examines the way academic institutions are gendered and the way such institutions gender candidates. Gender has emerged as crucial category for historical scrutiny along with race and class.
A scholarly presentation by Patricia Matthews and ThaliaGouma Peterson titled, ‘The Feminist Critique of Art History ’ cordially reflects Pollock’s views on feminist interventions in art history. It recollects that criticism of art history from a feminine viewpoint was a recent and emerging phenomenon during the 1960s. However, within a short span of its existence, it shifted from the first generation that focused on the condition of being a female and subject to subordination and domination by the opposite gender to the second generation during 1970s wherein, it was influenced largely by feminist criticism of various other academic disciplines, rendering a more complicated critique of culture and art via an examination of art through its estimation and production and part portrayed by artist.