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Why Have There Been No Great Women Artists?

Hello, details regarding to the content of the essay is “Final Paper Introduction” in the uploaded files. This will be the guideline.

You will need to use one or set of objects from “Object encountered during field trip” to describe and analyze how at least 2 “art world figures,” such as the artist, technician, guard, critic,curator, patron, or art historian, would approach the object(s) from distinct vantage points. With this in mind, students are invited to speculate about how the object might have been produced, what technical training was required, what was its original function (and how does the object articulate this), how the object conforms to or refutes certain aesthetic principles, how it should be exhibited, and what scholarly questions it raises. Remember to employ tools like visual analysis in defending your answer.

– use at least 2 sources from “assigned readings” and reference them, you can also use additional sources.
– A reproduction of the image(s) must also be provided as well as the following:artist’s/producer’s/director’s name, title, date, media, length (TV or film) or dimensions(metric), collection (institution) and location (city and country)

Assigned Readings:
1) Howard Becker, “Art Worlds and Collective Activity,” in Art Worlds (1982): 1-40.
2) Chris Pomiecko, “Birth of a Department,” McGill Daily (October 22, 1976), n.p.
3) Henry M. Sayre, “Using Visual Information: What to Look For and How to Describe What You See,” in Writing about Art, sixth edition, 28-62 (Upper Saddle River, New Jersey: Pearson Education Inc., 2009).
4) Albena Yaneva “When a bus met a museum: following artists, curators and workers in art installation” in Museum and Society: November 2003: 116-131.

5) Linda Nochlin, “Why Have There Been No Great Women Artists?,” ARTnews (January 1971): 22-39, 67-71.
6) Giorgio Vasari, “Michaelangelo Buonarotti of Florence, Painter, Sculptor and Architect (1475-1564),” Lives of the Artists (1550)
7) Carol Duncan and Alan Wallach. “The Universal Survey Museum.” Art History vol.5 no. 4 (December 1980): 448-469.
8) Reesa Greenberg, “The Exhibition Redistributed: A Case for Reassessing Space.” In Thinking About Exhibitions. Edited by Reesa Greenberg, Bruce M. Ferguson, and Sandy Nairne. London and New York: Routledge, 1996. 349-367.
9) Candice Hopkins. 2006. “Making Things Our Own: The Indigenous Aesthetic in Digital Storytelling”. Leonardo. 39 (4): 341-344.
10) David Teh. “Who cares a lot? Rurangrupa as Curatorship.” Afterall 30 (Summer 2012).

11) Excerpts from Cynthia and Harrison White’s Canvases and Careers (New York: Wiley, 1965).
12) Jill Steward, “Performing Abroad: British Tourists in Italy and their Practices, 1840-1914,” in D. Medina Lasansky and Brian McLaren Denis, eds., Architecture and Tourism: Perception, Performance and Place (2000): 53-74.
13) Charmaine Nelson, “‘Taste’ and the Practices of Cultural Tourism: Vision, Proximity, and Commemoration,” in The Color of Stone: Sculpting the Black Female Subject in Nineteenth-Century America (Minneapolis: University of Minnesota Press, 2007), 45–55.
14) Terry Smith “The Provincialism Problem” in Artforum, vol. XIII, no. 1 (September 1974): 54-9.

If you want me to provide you with the readings that you think you can use for the essay, please tell me I have all of the readings.

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