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4 pages/≈1100 words
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Style:
APA
Subject:
Visual & Performing Arts
Type:
Annotated Bibliography
Language:
English (U.S.)
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Diane Arbus Annotated Bibliography Visual & Performing Arts Essay

Annotated Bibliography Instructions:

I picked Diane Arbus, Three female impersonators, N.Y.C., 1962, gelatin silver print, sheet: 35.6 x27.9cm
And please write three pages annotated bibliography( 10sources) and one page main thesis.
Theories in the syllabus that were mentioned in this course. While you doing research must add two or more theories that are relevant to this art piece.
Theories in the syllabus that were mentioned in this course. While you doing research must add two or more theories that are relevant to this art piece.
let me know if you have any question


 


2 Policies: PDFs and Powerpoints will be posted on Quercus. These may not be reproduced or posted on the Internet in any form. They are for student use only and cannot be disseminated on the public domain. Student’s will be held responsible should any of these files appear online without my authorization. No audio recordings of the lectures without my authorization. It is required that you attend all class lectures, take notes and read the material BEFORE class each week. No extensions or make up evaluations will be granted without a doctor’s note. Late assignments will be docked 5% per day. Class Presentations (Last 2-3 weeks) are mandatory attendance. Missing the final three classes at the end of term will result in a 5% deduction from your final paper grade Course Schedule and Readings Week 1 – Jan 6 Introduction: Thinking about Theory • D’Alleva, “Chapter 1: Thinking About Theory,” in Methods and Theories of Art History Week 2 – Jan 13 The Analysis of Form, Symbol and Sign • D’Alleva, “Chapter 2,” in Methods and Theories of Art History • Susan Sontag, “Against Interpretation,” 1964 http://shifter-magazine.com/wpcontent/uploads/2015/10/Sontag-Against-Interpretation.pdf • Nicolas Bourriaud, Selections from Relational Aesthetics, 1998 http://post.thing.net/files/relationalaesthetics.pdf Week 3 – Jan 20 Art’s Contexts – Marxism, Materialism and the Social History of Art • D’Alleva, selections from “Chapter 3,” in Methods and Theories of Art History p 46-59 • Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” http://web.mit.edu/allanmc/www/benjamin.pdf • TJ Clarke, “Olympia’s Choice,” in the Painting of Modern Life (New York: 1984) https://jehaynes.files.wordpress.com/2013/01/116270965-t-j-clark-olympia-s-choice.pdf Week 4 – Jan 27 Art’s Contexts – Feminisms, Sexualities, LGBTI Studies and Queer Theory • D’Alleva, selections from “Chapter 3,” in Methods and Theories of Art History p 59-74 • Linda Nochlin, “Why have There Been No Great Women Artists,” Art News Vol 69. No 9 (1971) https://deyoung.famsf.org/files/whynogreatwomenartists_4.pdf • Kobena Mercer, “Skin Head Sex Thing: Racial Difference and the Homoerotic Imaginary,” New Formations (Spring 1992): 1-24 https://www.csus.edu/indiv/o/obriene/art192b/Kobena%20Mercer%20skin%20head%20black%20male %20nude%20.pdf • Judith Butler, “Subjects of Sex/Gender/Desire,” in Gender Trouble (New York: 1999) 3-33 https://selforganizedseminar.files.wordpress.com/2011/07/butler-gender_trouble.pdf Week 5 – Feb 3 Reception Theory • D’Alleva, “Chapter 4,” in Methods and Theories of Art History 3 • Wolfgang Kemp, “The Work of Art and Its Beholder” https://core.ac.uk/download/pdf/32980058.pdf Week 6 – Feb 10 ** MIDTERM** Postcolonialism, Cosmopolitanism and Globalization • D’Alleva, selections from “Chapter 3,” in Methods and Theories of Art History p 75-87 • Edward Said, “introduction” to Orientalism https://sites.evergreen.edu/politicalshakespeares/wpcontent/uploads/sites/33/2014/12/Said_full.pdf • Gayatri Chakravorty Spivak, “Can the Subaltern Speak” http://planetarities.web.unc.edu/files/2015/01/spivak-subaltern-speak.pdf Week 7 – Feb 17 – MIDTERM BREAK - NO CLASS Week 8 – Feb 24 Structuralism/Post Structuralism ANNOTATED BIBLIOGRAPHY AND THESIS DUE • D’Alleva, “Chapter 5,” in Methods and Theories of Art History • Michel Foucault, “Las Meninas” in The Order of Things, 1994 https://monoskop.org/images/a/a2/Foucault_Michel_The_Order_of_Things_1994.pdf • Rosalind Krauss, “In the Name of Picasso,” October (1981) ON QUERCUS • Svetlana Alpers, “Interpretation without Representation, or, the Viewing of Las Meninas” 1983 Week 9 – March 2 Frameworks for Art: The Museum and Institutional Critique • Carol Duncan, “Art Museum as Ritual” http://engl490- nixon.wikispaces.umb.edu/file/view/Duncan,MuseumasRitual.pdf • Anthony Gardner, Introduction and selections from Biennials, Triennials and Documenta: The Exhibitions that Created Contemporary Art, Oxford: Wiley Blackwell, 2016. Week 10 – March 9 Where are we Now? Networks and Globalization • Arjun Appadurai, “Disjuncture and Difference in the Global Economy,” in Theory Culture Society (1991) http://www.arjunappadurai.org/articles/Appadurai_Disjuncture_and_Difference_in_the_Global_Cultural _Economy.pdf • Okwui Enwezor, “The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition,” Research in African Literatures (2003) ON QUERCUS Week 11 – March 16 Class Lectures (overflow) Presentations Week 12 – March 23 Presentations Week 13 – March 30 Presentations FINAL PAPER DUE AFTER CLASSES END


 


Step 2: Annotated Bibliography and Preliminary Thesis/Ideas 15%
Due: March 2nd
- You are now beginning to research your artwork and you will need to cite 10 high quality sources.
- Your sources must be a mix of academic journals, credible articles (critical writing from reputable magazines or newspapers), books or catalogues.
- Try and find a range of sources. Some sources should be about the artwork you selected, or the artist or movement it belongs to. Other sources should be more broadly about the theory you will be using.
- Please annotate your bibliography with a small summary about each source and why it is relevant/useful.
o Please see the U of T writing centre guidelines on how to write an annotated bibliography:
■ http://advice.writing.utoronto.ca/types-of-writing/annotated-bibliography/
o Please see the Robarts Guide on Art History research■ https://guides.library.utoronto.ca/art
- Finally, in 250-500 words present what you believe you main thesis or argument will be. This is an opportunity for you to present your preliminary ideas, and pose any open questions or ideas that you hope to explore.

Annotated Bibliography Sample Content Preview:

Diane Arbus Annotated Bibliography
Student Name
Institution Affiliation
Arts have been part and parcel of many societies around the world for several centuries. They have been used as means of expressing cultural beliefs and way of life. Over the years, the field of visual and performing arts has undergone various transformations that have seen the growth and development of different styles and artists including Diane Arbus. The art industry fondly remembers Arbus for the contributions she made through her distinctive portraits that showed how crazy the world was. Arbus was a stylist but learned and grew passionate about photography from her husband. Eventually, she was able to branch out and it is then that she started to develop raw and unusual images of the New York residents (Bernstein, 2007). She frequented seedy hotels, public parks and other locales where she captured people as they went about their daily activities.
Over time, Arbus expanded and polished her photography skills. She started to highlight various societal issues and themes that plagued not only the people in New York but America in general. It is shared that Airbus was inclined on showcasing the real world through her photos and the idea of personal identity as socially constructed (Dorfman et al., 1984). It is in this regard that Arbus was inspired in developing the photograph of the three female impersonators. Arbus intended to highlight that homosexuals were ordinary people who should be accepted as equals in the American society. She also purported to highlight on the moral issues that conventionally plagued women during that period (Armstrong, 1993). Women were expected to play second fiddle to their male counterparts. Through showing three men dressed as women, Arbus depicted objectification through the male gaze. Overall, Arbus portrayed the subjects in most of her images within the understanding of man’s point of view in what was a male-dominated society during that period.
Dorfman, E., Bosworth, P., Arbus, D., Arbus, D., & Israel, M. (1984). Arbus: A Negative Life?. The Women's Review Of Books, 2(3), 9. https://doi.org/10.2307/4019610
According to the author, Diane Arbus was revolutionary artist of the mid-20th century who strived to highlight the mood, events and people during that period. The 1950s and 1960s were tumultuous periods in the United States and many groups of people were fighting to be recognized as equals in society including women and homosexuals. From the author’s perspective, Arbus was instrumental in highlighting the importance of recognizing homosexuals and individuals who didn’t conform to the socially-accepted genders of male and female through her famous photograph of the three female impersonators. The photograph showcased three men who looked comfortable dressed as women during a period when homosexuals massively violated and discriminated.
The material is essential to the research because it offers insight on the kind of artist and photographer that Diane Arbus was. It also shares input on the theme and primary objective of her famous art piece in three female impersonators.
Bernstein, J. (2007). Unlocking Diane Arbus. Studies In Gender And Sexuality, 8(4), 333-336....
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