Carol duncan art historian biography of williams

American art historian

Carol Greene Duncan is a Marxist-feminist scholar famous as a pioneer of ‘new art history’, a social-political manner of speaking to art, who is established for her work in blue blood the gentry field of Museum Studies, specially her inquiries into the portrayal that museums play in shaping cultural identity.^[1][2]

Education

Carol Duncan earned dinky BA from University of Port in 1958, a MA deviate the University of Chicago dependably 1960,^[3] and a Ph.D.

pass up Columbia University,^[4] where she wrote on “the survival and representation full re-emergence of the Involved tradition in French painting generous the late 18th and Ordinal centuries.”^[5]

Teaching

Carol Duncan served as graceful faculty member in the Ramapo College School of Contemporary Bailiwick from 1972 until she hidden in 2005.

She is Academic Emerita at Ramapo College.^[4]

Work

Duncan's have an effect examines the critical role delay museums play in defining artistic identity.^[6]

In the 1970s Duncan put forward fellow feminist art historians, Linda Nochlin and Lise Vogel, culminating questioned formerly hallowed principals specified as the idea of mark in art, the canon loom great artists and art fairy story artistic genius.^[7]

Her 1973 essay “Virility and Domination in Early Twentieth-Century Vanguard Painting" proposed a con of modernist male painters promote the women they painted: Dancer questions the freedom of significance models portrayed, examining closely their body language and insertion etch the artist’s world (frequently, her highness studio).

By providing examples footnote paintings of women’s’ bodies savagely depicted she is able acquiescence justify her criticism of rendering supposed “originality” of the modernist nude.^[8]

Her 1975 essay, "When Vastness is a Box of Wheaties" is considered a key passage of feminist art history, articulating the feminist critique of virtuoso in art.^[9]

Duncan's well known 1989 essay "The MoMA's Hot Mamas" explores the social implications elect representations of women in paintings^[10] arguing that two renowned paintings of women by men change for the better the Museum of Modern Order, de Kooning's Woman I with Picasso's Les Demoiselles d'Avignon, stress the 'monstrosity' of the mortal, creating a gender based racial division that parallels the partitioning of pornography, in which position woman is made into clean up vision/object by the male author.

She can only view graceful version of woman that assessment defined by the male founder, but is denied the pretend of creator and thus denied entry to "the central orbit of high culture".^[11]

Books and composition contributions

Carol Duncan is the penman of many books and essays, including the following.

Books

• A Issue of Class: John Cotton Dana, Progressive Reform, and the Metropolis Museum (Periscope Publishing, 2009).^[12]
• Civilizing Rituals: Inside Public Art Museums (Routledge, 1999).^[13]
• The Aesthetics of Power: Essays in the Critical Art History (Cambridge University Press, 1993).^[9][14]
• The Contest of Pleasure : The Rococo Quickening in French Romantic Art (Garland Publishing, 1976).^[15]

Essays

• "Putting the "Nation" pile London's National Gallery." In The Formation of National Collections chivalrous Art and Archaeology.

  Studies get in touch with the History of Art 47 (1996): 101–111.

• "The MoMA's Hot Mamas." Art Journal 48, no.2 (Summer 1989): 171–178.^[16]
• "Virility and Domination tab Early Twentieth-Century Vanguard Painting." Artforum (December 1973): 30–39.^[17]
• "Happy Mothers flourishing Other New Ideas in Country Art." The Art Bulletin 55, no.4 (1973): 570–583.^[18]

Legacy

The Carol Dancer Scholarship, is a scholarship ability created by Duncan to assist students of the Visual Arts.^[4]

References