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FIVE PAGES. Based in part on the critical ideas and the historical developments you have examined (or disputed) in your first two papers, you are to make the case for the historical importance of an artist you think is overlooked by art historiography as you have come to understand it from the course. This implies two major concerns: one, an account of how the basic historiographical principles according to which the artist’s work has been marginalized do that, and, two, an account of how these principles ought to be revised to accommodate the artist. In other words, the paper should not simply be an account of your subjective approval of the artist you have chosen, but an analysis of the historiographical terms that have led to the overlooking of her, his, or their work, and a reconstruction of those terms so that the work can be included. Importantly, the latter will entail a revisiting of the work of those artists that has been privileged by certain ideas and narratives about art history, and therefore some consideration of that will be welcome. Research complementing your claims about the artist will be necessary, so please consult the course bibliography for materials to help you with this. There are no limits set to the number of works you must discover (you may even make the case that a single work ought to guarantee your artist a place in the canon of midcentury art—there are artists, e.g. Jay DeFeo, whose evaluation rests mostly on a single work), but presumably you will discuss more than one, if only to explain why you think other artists have been evaluated more highly than the artist whose work you have chosen.
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I will attach the first two paper.

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