Rachel Esner – författare

The artist, at least according to Honore de Balzac, is at work when he seems to be at rest; his labor is not labor but repose. This observation provides a model for modern artists and their relationship to both their place of work-the studio-and what they do there. Examining the complex relationship between process, product, artistic identity, and the artist's studio-in all its various manifestations-the contributors to this volume consider the dichotomy between conceptual and material aspects of art production. The various essays also explore the studio as a form of inspiration, meaning, function, and medium, from the nineteenth century up to the present.

The artist, at least according to Honore de Balzac, is at work when he seems to be at rest; his labor is not labor but repose. This observation provides a model for modern artists and their relationship to both their place of work-the studio-and what they do there. Examining the complex relationship between process, product, artistic identity, and the artist's studio-in all its various manifestations-the contributors to this volume consider the dichotomy between conceptual and material aspects of art production. The various essays also explore the studio as a form of inspiration, meaning, function, and medium, from the nineteenth century up to the present.

Without women’s curatorial work, the twentieth-century museum would never have developed as it did. Between the 1890s-1970s, women began accessing decision-making roles in museums worldwide. This volume provides a transnational exploration of the contributions of pioneering female curators with regards to museum practice, collection-making and display design.As scholarship begins unearthing the distinctiveness of women’s curatorial choices, we aim to map the scope and nature of their approach to collecting and curating. What did these first generations of women curators achieve, and what can a gender perspective on museum history uncover? This edited volume brings together research authored by scholars and museum professionals from across the globe who share a desire to understand the history of museums from a gendered perspective. It leads to a new understanding of women’s transnational, collective impact on the formation of collections and their role in the birth and development of modern-day curatorial practices.Divided into four sections, the collection examines the increasing professionalization of women curators during the twentieth century; women's contribution to the development of the modern-day museum; the intertwining of women’s work in museums with wider twentieth-century global history and politics; and the role of women curators in advancing and shaping the collection, display and reception of what was then contemporary art.These texts are ideal for researchers and scholars interested in history of museums and curatorial practice, as well as art and gender.

This book offers trans-historical and trans-national perspectives on the image of “the artist” as a public figure in the popular discourse and imagination. Since the rise of notions of artistic autonomy and the simultaneous demise of old systems of patronage from the late eighteenth century onwards, artists have increasingly found themselves confronted with the necessity of developing a public persona. In the same period, new audiences for art discovered their fascination for the life and work of the artist. The rise of new media such as the illustrated press, photography and film meant that the needs of both parties could easily be satisfied in both words and images. Thanks to these “new” media, the artist was transformed from a simple producer of works of art into a public figure. The aim of this volume is to reflect on this transformative process, and to study the specific role of the media themselves. Which visual media were deployed, to what effect, and with what kind of audiencesin mind? How did the artist, critic, photographer and filmmaker interact in the creation of these representations of the artist’s image?

This book offers trans-historical and trans-national perspectives on the image of “the artist” as a public figure in the popular discourse and imagination. Since the rise of notions of artistic autonomy and the simultaneous demise of old systems of patronage from the late eighteenth century onwards, artists have increasingly found themselves confronted with the necessity of developing a public persona. In the same period, new audiences for art discovered their fascination for the life and work of the artist. The rise of new media such as the illustrated press, photography and film meant that the needs of both parties could easily be satisfied in both words and images. Thanks to these “new” media, the artist was transformed from a simple producer of works of art into a public figure. The aim of this volume is to reflect on this transformative process, and to study the specific role of the media themselves. Which visual media were deployed, to what effect, and with what kind of audiencesin mind? How did the artist, critic, photographer and filmmaker interact in the creation of these representations of the artist’s image?

This book offers trans-historical and trans-national perspectives on the image of “the artist” as a public figure in the popular discourse and imagination. Since the rise of notions of artistic autonomy and the simultaneous demise of old systems of patronage from the late eighteenth century onwards, artists have increasingly found themselves confronted with the necessity of developing a public persona. In the same period, new audiences for art discovered their fascination for the life and work of the artist. The rise of new media such as the illustrated press, photography and film meant that the needs of both parties could easily be satisfied in both words and images. Thanks to these “new” media, the artist was transformed from a simple producer of works of art into a public figure. The aim of this volume is to reflect on this transformative process, and to study the specific role of the media themselves. Which visual media were deployed, to what effect, and with what kind of audiencesin mind? How did the artist, critic, photographer and filmmaker interact in the creation of these representations of the artist’s image?