Elaine O'Brien

Art 192B :: Senior Seminar in Art History

Sacramento State Career Center

Career Alternatives for Art Historians, compiled by Charles Rosenberg

Writing guidelines:

How to write a perfect cover letter

Student example - cover letter and resume/cv

Sylvan Barnet Peer Review Worksheet

Guidelines for research paper

How to do an oral presentation

How to lead a discussiond

Art Department Collection List of Artworks

Readings:

• 2020 Symposium Speaker abstracts
• 2020 Symposium Speaker CV - Ndubuisi Ezeluomba
• 2020 Symposium Speaker CV - Joely Proudfit
  
  

• Grant and Price, "Decolonizing Art History"
  
  
• Jolene Rickard, "Absorbing or Obscuring the Absence of a Critical Space in the Americas for Indigeneity"
  
  
• Joana Joachim, “’Embodiment and Subjectivity’: Intersectional Black Feminist Curatorial Practices in Canada”
  
  
• An Illustrated Guide to Arthur Danto's "The End of Art"
  
  
• Griselda Pollock, "Open, Closed, and Opening: Reflections on Feminist Pedagogy in a UK University" (2010)
  
  
• Griselda Pollock, Feminist Interventions in Art's Histories
  
  
• Sylvester Ogbechie, "The Historical Life of Objects: African Art History and the Problem of Discursive Obsolescence"
  
  
• Robert Nelson, “The Map of Art History,” Art Bulletin
  
  
• Giorgio Vasari, Lives of the Artists, selections: Cimabue, Giotto (Scroll to selections)
  
  
• Giorgio Vasari, Lives of the Artists, selection: Michelangelo (skim)
  
  
• Ernst Kris and Otto Kurtz, “The Heroization of the Artist in Biography,” in Legend, Myth, and Magic in the Image of the Artist
  
  
• Carol Duncan, “Art Museums and the Ritual of Citizenship,” from Exhibiting Cultures (1991)
  
  
• Martha Ward, “What is Important about the History of Modern Art Exhibitions?”

• Michael Ann Holly, “Reciprocity and Reception Theory,” from A Companion to Art Theory (2002)

• Maurice Merleau-Ponty,“Cézanne’s Doubt”

• Gaston Bachelard, “Introduction,” The Poetics of Reverie (1960)

• Edward Said, “Introduction,” Orientalism, pp. 9-23 (stop at last paragraph)

• Zehou Lee, “Philosophy, Including Aesthetics, Must Belong,” from Four Essays: Toward a Global View, pp. 22-29
  
  
• Suzanne Preston Blier, "Truth and Seeing: Magic, Custom, and Fetish in Art History"

• Claire Farago, “On the Peripatetic Life of Objects in the Era of Globalization”

• Clement Greenberg, “Abstract, Representational, and So Forth,” (1954) in Art and Culture: 133-138

• Heinrich Wölfflin, Principles of Art History

• Erwin Panofsky, “Iconography and Iconology: An Introduction to Renaissance Art” (1939) in Meaning in the Visual Arts: Papers in and on Art History
• (Start at page 26 of PDF.)

• T.J. Clarke, “On the Social History of Art,” in Image of the People, Gustave Courbet and the 1848 Revolution (London, 1972): 9-20

• Michael Baxandall, “Art, Society, and the Bouguer Principle,” Representations 12, Fall (1983): 32-43

• Linda Nochlin, “Why Have There Been No Great Women Artists?” Art News, Vol. 69, No.9 (January 1971)

• Kobena Mercer, “Skin Head Sex Thing: Racial Difference and the Homoerotic Imaginary,” New Formations (Spring 1992): 1-24

• Roland Barthes, “Rhetoric of the Image,” from Image-Music-Text (1964)

• Rosalind Krauss, “In the Name of Picasso,” October, 1981

• Michel Foucault, “Las Meninas,” from The Order of Things: An Archaeology of Human Sciences (1976)
  
  
• Bruce Altschuler, “Introduction,” Salon to Biennial: Exhibitions that Made Art History

• Sample student catalog entry
• Conditions report
• Other