{"title":"Iris Clert的现代婚姻","authors":"J. Wester","doi":"10.1386/jcs_00067_1","DOIUrl":null,"url":null,"abstract":"The legacy of Iris Clert (1918–86), whose eponymous gallery was central to the emergence of the avant-garde in Paris in the 1950s and 1960s, has often been framed as a story of vanity, spectacle and self-promotion. Considering Clert’s unconventional approach to running her gallery in the context of postwar expectations of women’s behaviour, the article recasts Clert as a model of modern matronage and situates Clert within a history of women who have used arts leadership to assert individuality and influence culture. In Clert’s case, this meant applying traditionally ‘feminine’ domestic skills to her public work, in order to upend gallery conventions and reshape the culture of the avant-garde.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Iris Clert’s Modern Matronage\",\"authors\":\"J. Wester\",\"doi\":\"10.1386/jcs_00067_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The legacy of Iris Clert (1918–86), whose eponymous gallery was central to the emergence of the avant-garde in Paris in the 1950s and 1960s, has often been framed as a story of vanity, spectacle and self-promotion. Considering Clert’s unconventional approach to running her gallery in the context of postwar expectations of women’s behaviour, the article recasts Clert as a model of modern matronage and situates Clert within a history of women who have used arts leadership to assert individuality and influence culture. In Clert’s case, this meant applying traditionally ‘feminine’ domestic skills to her public work, in order to upend gallery conventions and reshape the culture of the avant-garde.\",\"PeriodicalId\":41456,\"journal\":{\"name\":\"Journal of Curatorial Studies\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2022-10-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Curatorial Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/jcs_00067_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Curatorial Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/jcs_00067_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
The legacy of Iris Clert (1918–86), whose eponymous gallery was central to the emergence of the avant-garde in Paris in the 1950s and 1960s, has often been framed as a story of vanity, spectacle and self-promotion. Considering Clert’s unconventional approach to running her gallery in the context of postwar expectations of women’s behaviour, the article recasts Clert as a model of modern matronage and situates Clert within a history of women who have used arts leadership to assert individuality and influence culture. In Clert’s case, this meant applying traditionally ‘feminine’ domestic skills to her public work, in order to upend gallery conventions and reshape the culture of the avant-garde.
期刊介绍：
The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the cultural functioning of curating and its relation to exhibitions, institutions, audiences, aesthetics and display culture. The journal takes a wide perspective in the inquiry into what constitutes ''the curatorial''. Curating has evolved considerably from the connoisseurship model of arranging objects to now encompass performative, virtual and interventionist strategies. While curating as a spatialized discourse of art objects remains important, the expanded cultural practice of curating not only produces exhibitions for audiences to view, but also plays a catalytic role in redefining aesthetic experience, framing cultural conditions in institutions and communities, and inquiring into constructions of knowledge and ideology. As a critical and responsive forum for debate in the emerging field of curatorial studies, the journal will foster scholarship in the theory, practice and history of curating, as well as that of exhibitions and display culture in general. The journal supports in-depth investigations of contemporary and historical exhibitions, case studies of curators and their engagements, and analyses of the critical dynamics influencing the production of exhibitions in art and broader display culture. The Journal of Curatorial Studies invites contributions from scholars within curatorial studies, art history, museum studies, cultural studies, and other academic disciplines. The journal publishes both thematic and open issues, and features research articles, contemporary and historical case studies, interviews with curators, artists and theorists, and reviews of books, exhibitions and conferences.
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