| 词条 | Carol Duncan |
| 释义 |
| honorific_prefix = | name = | honorific_suffix = | image = | image_size = | alt = | caption = | native_name = | native_name_lang = | birth_name = | birth_date = {{birth year and age|1936}} | birth_place = Chicago, Illinois | death_date = | death_place = | resting_place = | resting_place_coordinates = | nationality = American | education = | alma_mater = | known_for = Feminist Art History | notable_works = | style = | movement = Feminism, Marxist feminism | spouse = | awards = | elected = | patrons = | memorials = | website = | module = }}Carol Duncan is a Marxist-feminist scholar known as a pioneer of ‘new art history’, a social-political approach to art, who is recognized for her work in the field of Museum Studies, particularly her inquiries into the role that museums play in defining cultural identity.[1][2] EducationCarol Duncan earned a BA from University of Chicago, a MA from the University of Chicago and a Ph.D. from Columbia University.[3] TeachingCarol Duncan served as a faculty member in the Ramapo College School of Contemporary Arts from 1972 until she retired in 2005. She is Professor Emerita at Ramapo College.[3] WorkDuncan's work examines the critical role that museums play in defining cultural identity.[4] In the 1970s Duncan and fellow feminist art historians, Linda Nochlin and Lise Vogel, first questioned formerly hallowed principals such as the idea of quality in art, the cannon of great artists and art and artistic genius.[5] Her 1975 essay titled "When Greatness is a Box of Wheaties" is considered a key text of feminist art history, articulating the feminist critique of genius in art.[6] Duncan's well known 1989 essay "The MoMA's Hot Mamas" explores the social implications of representations of women in paintings[7] arguing that two renowned paintings of women by men in the Museum of Modern Art, de Kooning's Woman I and Picasso's Les Demoiselles d'Avignon, emphasize the 'monstrosity' of the female, creating a gender based cultural division that parallels the division of pornography, in which the woman is made into a vision/object by the male creator. She can only view a version of woman that is defined by the male creator, but is denied the role of creator and thus denied entry to "the central arena of high culture".[8] Books and essay contributionsCarol Duncan is the author of many books and essays, including the following. Books
Essays
LegacyThe Carol Duncan Scholarship, is a scholarship endowment created by Duncan to benefit students of the Visual Arts.[3] References1. ^{{cite news|last1=Olander|first1=William|title=Out of the Boudoir and Into the Streets|url=https://www.nytimes.com/1986/03/09/books/out-of-the-boudoir-and-into-the-streets.html?pagewanted=all|accessdate=1 November 2017|issue=March 9|publisher=The New York Times|date=1986}} {{Authority control}}{{DEFAULTSORT:Duncan, Carol}}2. ^{{cite journal|last1=Pachmanová|first1=M. ed.|title=Mobile Fidelities|journal=n.paradoxa|date=May 2006|issue=19|pages=123–135|url=http://www.ktpress.co.uk/pdf/nparadoxaissue19_Martina-Pachmanova_123-135.pdf|accessdate=1 November 2017}} 3. ^1 2 {{cite web|title=Duncan, Carol Scholarship|url=https://www.ramapo.edu/scholarships/single/carol-duncan-scholarship/|website=Duncan, Carol Scholarship|publisher=Ramapo College Of New Jersey|accessdate=1 November 2017}} 4. ^{{cite web|last1=Farber|first1=Dr. Allen|title=How museums shape meaning|url=https://www.khanacademy.org/humanities/art-history-basics/tools-understanding-art/a/tissot-london-visitors|website=Khan Academy|publisher=Khan Academy|accessdate=1 November 2017}} 5. ^{{cite book|last1=Broude ed.|first1=Norma|last2=Garrard ed.|first2=Mary D.|title=The expanding discourse : feminism and art history|date=1992|publisher=IconEditions|location=New York|isbn=0064303918|pages=2, 12, 127, 305, 363, 365}} 6. ^1 {{cite journal|last1=Deepwell|first1=Katy|title=n.paradoxa’s 12 Step Guide to Feminist Art, Art History and Criticism|journal=n.paradoxa|date=September 2010|issue=12|pages=6, 8|url=https://www.ktpress.co.uk/pdf/nparadoxaissue21.pdf|accessdate=1 November 2017}} 7. ^{{cite book|last1=Robinson ed.|first1=Hilary|title=Feminism Art Theory: An Anthology 1968 - 2014|date=2015|publisher=John Wiley & Sons|isbn=1118360605|pages=131, 165–9|url=https://books.google.com/books?id=D6bCBwAAQBAJ&pg=PA529&lpg=PA529&dq=carol+duncan+n.paradoxa&source=bl&ots=IjHePLfjsI&sig=Ppvz3qRL8bqHN90iWV0b628Gmo0&hl=en&sa=X&ved=0ahUKEwiVxvGRhZ7XAhUUXGMKHSmLBosQ6AEIWjAP#v=onepage&q=%22carol%20duncan%22&f=false}} 8. ^{{cite book|last1=Jones|first1=Amelia ed.|last2=Stephenson|first2=Andres ed.|title=Performing the Body/Performing the Text|date=2005|publisher=Routledge|location=Google Books|isbn=1134655932|page=139|url=https://books.google.com/books?id=xkLnd-jP99gC&pg=PA131&dq=carol+duncan+The+MoMA's+hot+mamas&hl=en&sa=X&ved=0ahUKEwiP2pbd753XAhUW92MKHTzfAO8Q6AEILTAB#v=onepage&q=carol%20duncan%20The%20MoMA's%20hot%20mamas&f=false|accessdate=1 November 2017}} 9. ^{{cite book|last1=Duncan|first1=Carol|title=A Matter of Class: John Cotton Dana, Progressive Reform, and the Newark Museum|date=2009|publisher=Periscope|isbn=1934772917|url=https://books.google.com/books?id=wBQ1PQAACAAJ&dq=inauthor:%22Carol+Duncan%22&hl=en&sa=X&ved=0ahUKEwiZgJq36J3XAhVJ2GMKHTY-APMQ6AEIPDAE|accessdate=1 November 2017}} 10. ^{{cite journal|last1=Platt|first1=Susan|title=Review: Culture and Power|journal=Art Journal|date=Autumn 1996|volume= 55|issue= 3|pages=95–99|jstor=777774}} 11. ^{{cite journal|last1=Harris|first1=Johnathan|title=Book Review: The Aesthetics of Power: Essays in Critical Art History|journal=The British Journal of Aesthetics|date=October 1994|volume=34|issue=4|page=441|url=http://go.galegroup.com/ps/retrieve.do?tabID=T004&resultListType=RESULT_LIST&searchResultsType=SingleTab&searchType=AdvancedSearchForm¤tPosition=1&docId=GALE%7CA15840351&docType=Book+review&sort=RELEVANCE&contentSegment=&prodId=LitRC&contentSet=GALE%7CA15840351&searchId=R1&userGroupName=caliart&inPS=true|accessdate=1 November 2017}} 12. ^{{cite journal|last1=Ziff|first1=Norman D.|title=Carol Duncan, "The Pursuit of Pleasure: The Rococo Revival in French Romantic Art" (Book Review)|journal=The Art Bulletin|date=1978|volume= 60|issue= 2|page=375}} 13. ^{{cite journal|last1=Duncan|first1=Carol|title=The MoMA's Hot Mamas|journal=Art Journal|date=1989|volume=48|issue=2|pages=171–178|jstor=776968}} 14. ^Duncan, Carol. "Virility and Domination in Early Twentieth-Century Vanguard Painting." Feminism and Art History: Questioning the Litany. By Norma Broude and Mary D. Garrard. New York: Harper & Row, 1982. 293-313 15. ^{{cite journal|last1=Duncan|first1=Carol|title=Happy Mothers and Other New Ideas in French Art|journal=The Art Bulletin|date=December 1973|volume=55|issue=4|pages=570–583|jstor=3049164}} 7 : 1936 births|Living people|American feminists|American feminist writers|Art historians|Women art historians|Feminist historians |
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