Actually, not feminism itself, but the entire anti-intellectual initative of the cultural left:
We did not have to be a Renaissance Catholic to stand in awe before Michelangelo's 'Last Judgment'. We responded to Rembrandt's self portraits, not because they were pictures of a sad, old man, but because of the way Rembrandt painted them. We were able to determine their high quality because their form enhanced and, in a sense, created, their content. There are thousands of lousy paintings about Motherhood, Brotherhood, Love, War and religious theologies, but we could still recognize the great ones. We tried to apply the same kind of criteria to works of contemporary artists.
Many Feminists, however, reject such judgments as the function of a biased, white, male dominated, Western canon. They claim that this kind of judgment was discriminatory, especially when applied to women and minorities. In leveling the playing field, perhaps the most controversial impact of the Feminist movement was the result of its attack on traditional ideas of 'taste' and 'quality'. Although such terms have an aura of snobbish elitism, they also legitimately refer to the ability to discriminate, in that they suggest that some works of art may be better than others. Some Feminist critics have gone so far as to argue that such notions of `quality', when used by museum curators, art dealers and art critics, were really deliberate strategies for keeping women and minority artists from `making it' in the mainstream art world.
