Profiles

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Carina Rech

Doktorand

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Works at Department of Culture and Aesthetics
Email carina.rech@arthistory.su.se
Visiting address Frescativägen 22B-26
Room 240
Postal address Institutionen för kultur och estetik 106 91 Stockholm

About me

PhD Candidate in Art History at Department for Culture and Aesthetics, Stockholm University with a project on the (self-)representation of Nordic women artists in the late nineteenth century, started in February 2016. Curator for the collections at Prins Eugens Waldemarsudde since September 2018.

MA in Art History from Freie Universität Berlin (spring 2015) and BA in Art History and Modern and Contemporary History from Ruprecht-Karls-Universität Heidelberg (spring 2011) with Erasmus-scholarship for studies at the School of Oriental and African Studies, University of London (2009/10).

2012-2015 Graduate student researcher in the research project "The Artists' Colony Ahrenshoop as Part of a European Modernity from the 19th Century until the Present Day" at Freie Universität Berlin in cooperation with Kunstmuseum Ahrenshoop.

2010-2011 Student researcher in the research project "Aspects of Authenticity in Architectural Heritage Conservation", as part of the Cluster of Excellence "Asia and Europe in a Global Context" at Ruprecht-Karls-Universität Heidelberg.

Teaching

I am teaching in undergraduate and postgraduate courses on gender and feminist art history, post-colonial studies, performativity as well as portraiture.

Research

Dissertation project: Self, Other and Space. Nordic Women Painters' Self-Fashioning in the late Nineteenth Century

The purpose of my thesis is to analyze how Nordic women painters negotiate professional identity in painting during the late nineteenth century, comprising self-portraits, friendship images and studio interiors. I will discuss how artistic identity is formed and performed auto-reflexively in relation to the self, in collaboration with a colleague, and in interaction with the interior of the studio as a constitutive space for artistic professionalism. The thesis will ask which strategies did individual painters that happened to be women employ in order to identify with the profession of the artist, a profession that was coded along the lines of the trope of the male artistic genius during the period under consideration. How did women artists come to terms with a tradition from which they had largely been excluded? Which role did international networks and companionship play in developing new modes of artistic self-expression? By drawing from feminist and performance theory and by conducting a representative range of case studies, the thesis will investigate into the manifold ways by which women painters fashioned artistic identity in the closing decades of the 19th century.

Artists included: Harriet Backer, Jeanna Bauck, Julia Beck, Eva Bonnier, Mina Carlson-Bredberg, Hanna Hirsch-Pauli, Kitty Kielland, Emma Löwstädt-Chadwick, Asta Nørregaard, Lotten Rönquist, Hildegard Thorell, Bertha Wegmann, Mimmi Zetterström

My research interests revolve around women in the arts in the 19th century, academic art, identity formation, artist friendships and collaboration as well as legends, myths and iconographies surrounding the artist and the studio from feminist perspective.

Selected publications

peer-reviewed articles

”Revisiting Asta Nørregaard in the Studio”, Kunst og Kultur, 1–2 (2018), 49–67. (see länkar)

”Friendship in Representation. The Collaborative Portraits by Jeanna Bauck and Bertha Wegmann”, RIHA Journal, 0202 (30 November 2018). (see länkar)

anthologies

”Die Kunst sich zu amüsieren.” – Die Feste skandinavischer KünstlerInnen in München und Grez-sur-Loing im späten 19. Jahrhundert, Künstlerfeste. In Zünften, Akademien, Vereinen und informellen Kreisen, ed. Andreas Tacke, Brigit Ulrike Münch et al., Petersberg, 2019, 129–144.

exhibition-catalogues

Anna Meister, Carina Rech, Karin Sidén (eds.), Grez-sur-Loing. Konst och relationer, Prins Eugens Waldemarsudde, Stockholm, 2019.

 

Last updated: May 12, 2019

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