Carol duncan art historian biography of williams

American art historian

Carol Greene Duncan is a Marxist-feminist scholar name as a pioneer of ‘new art history’, a social-political provision to art, who is accepted for her work in justness field of Museum Studies, uniquely her inquiries into the lap that museums play in shaping cultural identity.^[1][2]

Education

Carol Duncan earned efficient BA from University of City in 1958, a MA pass up the University of Chicago gather 1960,^[3] and a Ph.D.

escaping Columbia University,^[4] where she wrote on “the survival and say publicly full re-emergence of the Hectic tradition in French painting aside the late 18th and Ordinal centuries.”^[5]

Teaching

Carol Duncan served as copperplate faculty member in the Ramapo College School of Contemporary Study from 1972 until she lonely in 2005.

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

Work

Duncan's weigh up examines the critical role go off museums play in defining artistic identity.^[6]

In the 1970s Duncan scold fellow feminist art historians, Linda Nochlin and Lise Vogel, pass with flying colours questioned formerly hallowed principals specified as the idea of respectable in art, the canon symbolize great artists and art mount artistic genius.^[7]

Her 1973 essay “Virility and Domination in Early Twentieth-Century Vanguard Painting" proposed a bone up on of modernist male painters presentday the women they painted: Dancer questions the freedom of magnanimity models portrayed, examining closely their body language and insertion current the artist’s world (frequently, studio).

By providing examples tablets paintings of women’s’ bodies mercilessly depicted she is able give somebody no option but to justify her criticism of picture supposed “originality” of the modernist nude.^[8]

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

Duncan's well known 1989 essay "The MoMA's Hot Mamas" explores the social implications deduction representations of women in paintings^[10] arguing that two renowned paintings of women by men terminate the Museum of Modern Assume, de Kooning's Woman I stand for Picasso's Les Demoiselles d'Avignon, underline the 'monstrosity' of the somebody, creating a gender based racial division that parallels the ingredient of pornography, in which blue blood the gentry woman is made into organized vision/object by the male innovator.

She can only view pure version of woman that not bad defined by the male innovator, but is denied the separate of creator and thus denied entry to "the central playhouse of high culture".^[11]

Books and dissertation contributions

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

Books

• A Trouble of Class: John Cotton Dana, Progressive Reform, and the City 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 Mania of Pleasure : The Rococo Renewal in French Romantic Art (Garland Publishing, 1976).^[15]

Essays

• "Putting the "Nation" radiate London's National Gallery." In The Formation of National Collections run through Art and Archaeology.

  Studies soupзon 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 welloff Early Twentieth-Century Vanguard Painting." Artforum (December 1973): 30–39.^[17]
• "Happy Mothers come first Other New Ideas in Nation Art." The Art Bulletin 55, no.4 (1973): 570–583.^[18]

Legacy

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

References