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  • 1.
    Adving, Nicolina
    Södertörn University, School of Culture and Education.
    Konsten under jorden: En analys av Ulrik Samuelsons konst i Kungsträdgårdens tunnelbanestation2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study examines the work of art in the underground station Kungsträdgården in Stockholm and discusses the observers interpretation of the art in the station. When the artist Ulrik Samuelson got his commission to shape the station he was influenced by Marcel Duchamp and the concept art. Two themes were integrated in the work of art, the actual culture life and the palace called Makalös, which was situated just above the currant station, three hundred years ago. The station was built in two stages.

    The first part was opened in 1977 and the second part in 1987. Panofsky´s iconographic working method has been used in this essay. Accurate observations of the work of art and relevant literature studies are described in the study. Samuelson’s work has a lot of references to currant culture, social and political life of the time as well as so called ready-mades from Stockholm and artefacts from Makalös.

    The observers understanding of the work of art is dependent on for example the observers age and knowledge. The parts that were present thirty years ago were known by people at that time but are hardly known by anybody nowadays. The modern young observers may not interpret every part of the numerous things and symbols although this will probably not prevent them to enjoy the work of art as a highly artistic production.

  • 2.
    Ahrens, Åsa
    Södertörn University, School of Culture and Communication, Art history.
    Fittja Open 2011: Platsspecifik konst och (re)presentation2011Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This essay explores how artwork in the public space can be analysed, conceptualized and described by bringing attention to site. Through an analysis of artworks in the yearly art exhibition of Fittja Open 2011, the essay draws attention to site-specific art and structures of power. The principal aim is to present not only the exhibition of Fittja Open 2011 but also other artwork in the public sphere in Fittja, a suburb to Stockholm. From this point of departure other interests evolve that concerns the "image" of Fittja. The analysis, based on research in art history, architecture, ethnology and philosophy as well as qualitative interviews, also focuses on understanding the role of site and the relations between art practice, institutions and site.

    The result shows that there are problems with a ruptured interface between the artwork and site. The claim made throughout the thesis is that artwork in the public sphere of Fittja need to be sensitive to the conflicted issue of public space in order not to reproduce stereotypes. Despite the knowledge and insight about its local art situation, the study also points out certain insensibility on behalf of Botkyrka konsthall as regards social status and class.

  • 3.
    Ahrens, Åsa
    Södertörn University College, School of Culture and Communication.
    Knitting House: Konst, arkitektur och stickning som politisk katalysator2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this paper is to analyze the project Knitting House using art and architectural theories to question the forms of the project as well as the town planning in the area of Husby, a suburb to Stockholm. In order to stress the architectural issues in the area of Husby, the thesis examines the aim and intention of the project Knitting House. The project explores the standardized architectural form that was used and built under the Miljonprogrammet, through the years of 1960-1970 in the neighborhoods of Järvafältet. The thesis will also investigate some of the problems that arise when attempting to discuss knitting as a method used to perform Knitting House.

     This paper explores the relationships between public and private spaces, the areas in between them and how they interact. The claim made throughout the thesis is that Knitting House can function as a political catalyst by presenting a combined perspective of art, architecture and politics to address the social and ethnic segregation in suburbs like Husby. 

  • 4.
    Alfredsson, Jo
    Södertörn University, School of Culture and Education.
    Instagram, det nya galleriet: En undersökning av konstbetraktande i sociala medier, med utgångspunkt i Jesper Walderstens Instagramkonto2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In my paper I adress the question of what happens in the relationship between the beholder, the artwork and the artist when they meet in the era of Web 2.0. The new smartphone based medium that I write about is Instagram. The artist i write about is the Swedish illustrator Jesper Waldersten. My purpose with this paper was to explore how the the beholder, pictures and artist relate to one another i relation to Instagram and how the interface of the smartphone and the app affect the beholder in these relationships. I also seek out to understand the difference between how Instagrams interface affect the beholder in comparison to the interface of the artists web page and his book. I use the method of qualitative empiricism to study Walderstens account. I do this study by counting number of pictures, comments, changes, descriptions and overall alterations over a set period of time. What I found out is that Instagram without a doubt is an important cornerstone of our Web 2.0 participatory-culture and that it have created a space in which we can behold art in a new kind of way. This is partly thanks to how the interface affects the picture and the beholder, but most of all because of how the different Instagram users affect each other.

  • 5.
    Andersson, Elin
    Södertörn University, School of Historical and Contemporary Studies.
    Raymond Hains La France déchirée: En receptionshistorisk undersökning2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay examines how the critical reception of French nouveaux réaliste-artist Raymond Hains 1961 exhibition La France déchirée has been articulated at two historically separate occasions.

    In her 2010 book Nouveau Réalisme, 1960’s France and the Neo-avant-garde, art historian Jill Carrick examines the fundamental impact the founder of nouveau réalisme – French art critic and theorist Pierre Restany – has had on the movement’s historical reception. According to Carrick Restanys writing established an interpretive framework that remained more or less intact for several decades. In addition to a closer analysis of the movement’s critical reception during the 1960s’, Carrick provides a set of new, alternative readings of a number of nouveaux réaliste artworks, which all originates from a position outside of Restanys interpretive framework. However, at no occasion does Carrick show in what way, or to what extent, her theories about the movements reception history applies to artist Raymond Hains or his practise of décollage. Nor has the historical reception of La France déchirée been examined.

    The overall purpose of this essay is to examine whether or not the nature of the critical reception of Raymond Hains 1961 exhibition La France déchirée can be said to fit into the image of the historical reception of nouveau réalisme provided by Carrick. This is done through an analysis of Restanys theorisation of nouveau réalism as provided in the movement’s manifestos. Thereafter follows an examination of in which way and to what extent the critical reception of La France déchirée at two historically separate moments relates to this theorisation. The critical reception of these two moments in time is also compared to each other.

    An analysis of the exhibitions historical reception showed that Carrick’s theory of the movement’s reception history could not entirely account for the different aspects of La France déchirées critical reception. By introducing the exhibitions political context into the examination of its historical reception, a new and valuable perspective became clear. Unlike other nouveax réaliste-artworks, La France déchirée had a distinct political character, which situated its historical reception not only within a cultural context, but more importantly within a political one.

  • 6.
    Andersson, Jenny
    Södertörn University College, The School of Culture and Communication.
    Konst, mångfald och representation: Hur begreppet mångfald manifesteras i och kring konsten vid Södertörns högskola2006Student paper second term, 5 points / 7,5 hpStudent thesis
  • 7.
    Andersson, Louise
    Södertörn University College, The School of Culture and Communication.
    Ylva Oglands socialrealism: Att göra det osynliga synligt2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.

  • 8.
    Arendorff Runnerström, Emelie
    Södertörn University College, School of Culture and Communication. Södertörn University College.
    Det lågas pånyttfödelse: om renässansens uttryck i det nederländska genremåleriet2010Independent thesis Advanced level (degree of Master (One Year)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.

  • 9.
    Bachelder, Miranda
    Södertörn University College, School of Culture and Communication.
    Graffiti: kontextualitet, platsbundenhet och innehåll2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The focus of this essay is to investigate if there lies a difference between graffiti art that is placed in the public spaces and graffiti art that is sited in an institutional art setting; in this essay exemplified in a gallery space. My thesis is that graffiti art derives a great deal of its meaning and substance from its situation consequently making a change of cultural context also a change of connotation and understanding of the graffiti art itself.  Meaning that graffiti art situated in a communal space is different from graffiti art situated in the gallery space. They share aesthetic expression but their connotations differ; i.e. one being illegal and the other permissible making their meanings dissimilar. I have used a comparison between site-specific art and graffiti art to further strengthen my thesis concerning the importance of understanding how a change of context critically changes the substance of graffiti art.

  • 10.
    Berg, Erik
    Södertörn University College, School of Culture and Communication.
    Den Osynliga målarboken i Tensta: I Skuggan av Debatten2006Student paper second termStudent thesis
  • 11.
    Berg, Erik
    Södertörn University College, The School of Culture and Communication.
    Interaktionens pris: Mot en ny konstkritik2007Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The paper discusses the problems contemporary Swedish art criticism faces when judging performance art and interactive art. Problems include among others that performance art is collectively ignored in Swedish newspaper art criticism. This prevents art critics from fair contextualising of contemporary performance art. Down in the rabbit hole, performance by Tris Vonna-Michell and its reception exemplifies these problems. Performance and interactive art seems to be disturbing art critics. Works of art which demands the viewer to take active part in its realisation makes it hard – not to say impossible - to maintain an objective point of wiew. Objectivity has been a condition to be able to judge a work of art since Kant’s theories 1791. In order to isolate all the problems concerning performance art and interactive art, the conditions of contemporary Swedish newspaper art criticism are described. To show that the general conditions and its problems have been discussed earlier, the paper also includes the latest big debate about Swedish art criticism. The paper shows that the problem for art critics to remain objective and independent from the work of art presented is not exclusive for performance and interactive art. It is an emblematic problem for Swedish art criticism 2006. This problem includes economic and careerist opportunities witch makes it hard for Swedish art critics to remain independent.

  • 12.
    Bergslätt, Emelie
    Södertörn University, School of Culture and Education.
    Föreningen Svenska Konstnärinnor och de svenska Matisseeleverna: En historiografisk och genusteoretisk studie av ett föregivet orsakssamband i konsthistorien2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    I have studied the founding of Föreningen Svenska Konstnärinnor (FSK) [”The Association of Swedish Female Artists”] to examine whether the assumption that the association was founded as a reaction against the male artist group De unga [”The Young”] and their first exhibition at Hallins konsthandel in 1909 is correct. I have also examined whether there is any connection between the founding of the association and the female Matisse students’ exclusion from De unga. Through a historiographical survey and Griselda Pollock's gender theory, I have through quantitative studies concluded that FSK was founded when individual women didn’t have the right to exhibit their art in public. The founding of the association is based on the female artists struggle for equal legal rights. Through the statistics that I’ve put forward in this thesis I’ve been able to conclude that there is no connection between the founding of FSK and the exclusion of the female Matisse students’ from De unga. This is because the female Matisse students’ presence in FSKs exhibitions is too rare to have any influence on its founding. 

  • 13. Birnbaum, Daniel
    et al.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Education, Philosophy.
    Figuring the Matrix: Lyotard’s Les Immatériaux, 19852014In: Place and Displacement: Exhibiting Architecture / [ed] Thordis Arrhenius, Mari Lending, Wallis Miller, Jérémie Michael McGowan, Baden: Lars Müller Publishers , 2014, p. 73-89Chapter in book (Other academic)
  • 14.
    Björk, Chanda
    Södertörn University College, The School of Culture and Communication.
    Folksagans prinsessa - en god förebild än idag: ”Prins Hatt under jorden” genom illustrationer av Elsa Beskow2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The text discusses the folk-tale princess as a good role model for both children and adults, from a feminist debate concerning this issue. Also an iconographic study, it compares women in folk-tale illustrations with women represented in fin-de-Siècle art concentrating on the Great mother goddess and the femme fatale, finding similarities between folk-tale illustrations and other art. Besides that, the text look at the interest for Swedish folk-tales in the 1890´s, the connection between women as illustrators of children’s books and ideas about nature and womanhood that might have had influence on the Swedish artist Elsa Beskow at the time.

  • 15.
    Björk, Chanda
    Södertörn University, School of Culture and Communication.
    Vulvan, förlossningen och mötet med modergudinnan: Om Monica Sjöös målning God giving birth2010Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This study is about the artist Monica Sjoo’s (1938-2005) painting God giving birth (1968) that was accused of being blasphemous and obscene in the early 1970s. God giving birth could have had much in common with Niki de Saint-Phalle’s She – a cathedral (1966), both works suggesting a mother goddess image. The main difference however can be found in the fact that Monica Sjoo’s painting had connection to the women’s movement in the 1970s. Monica Sjoo’s artwork responded to other feminist artwork of that period. Among several feminist artists during the period about 1968-1985, an iconography was in use that focused on vulvar imagery, experience of childbirth and goddess images. In particulary the mother goddess was embraced. The female body in art was re-sacred and invested with meaning connected with women’s cycles of birth-death and rebirth and the earth as a mother goddess.

  • 16.
    Bredberg, Eva
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Dräkt och pose i porträtt: En analys av posens fiktion och dräktens avbildning i tre porträtt föreställande Herman Wrangel (1584 - 1643)2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study is concerned with portraiture as a roleplay and a strategy to communicate the sitter´s identity to affect the viewer. Focusing on the sitter´s pose and the depiction of dress, the study examines three portraits between 1624 and the 1630s, representing Herman Wrangel (1584–1643), Field Marshal and Councilor of the Realm. The analysis is based on the concept, the fiction of the pose, developed by Harry Berger Jr. The idea of Theatricality discussed by Hanneke H Grootenboer´s is also used. The results show that dress, details of dress and the pose which are significant for the identity of the sitter are depicted with emphasis. Therefore, the dress and the pose have a key role in the depiction of the sitter acting his identity. The sitter acts before the artist and in the long run before the beholder. The portrait of the nobleman becomes a monologue for the beholder who can confirm the nobility´s role in society.

  • 17. Bull, Håkan
    et al.
    Karlholm, DanSödertörn University College, School of Culture and Communication, Art history.
    Offentlig konst i Flemingsberg2007Collection (editor) (Other (popular science, discussion, etc.))
  • 18.
    Burga, E.
    et al.
    Konstfack University College of Arts, Crafts and Design.
    Dusant, Macaraena Olmos
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Löfgren, I.
    Stockholm University.
    Nuestras Madres: Forming political subjects en la mesa: IDA (Institutet för diaspora och avkolonisering/institute for the decolonization of art)2017In: Architecture and Culture, ISSN 2050-7828, Vol. 5, no 3, p. 401-405Article in journal (Refereed)
    Abstract [en]

    NUESTRAS MADRES is an artwork by the art collective IDA performed at the AHRA Architecture and Feminisms Conference (2016), which consisted of a collective ritual and a poetry reading. The ritual created a safe space where a group of participants sat around a table taking turns in sharing their stories about their mothers while embroidering their names on a single tablecloth. These were synthesized into a poem and presented the following day. IDA investigates issues in private and public space connected to knowledge production and gender normativity. Even though the role of mothers and their knowledge is usually connected to the private sphere, the knowledge of our mothers and their mothers shared en la mesa - over the table - is important in the construction of political subjects. How has this knowledge helped us survive in society as women, queer, indigenous, working class, Muslim, immigrant - as human beings?

  • 19.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    A local global art history2007In: Is art history global? / [ed] James Elkins, New York: Routledge, 2007, p. 316-322Conference paper (Other academic)
  • 20.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Anders Sunna, Area Infected: Den större bilden2017In: Avtryck från ovanlandet = Contemporary art from Sápmi / [ed] Sofia Johansson, Umeå: BildMuseet , 2017Chapter in book (Other academic)
  • 21.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Art, geographies and values: thinking sámi contemporary art archipelagically2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, p. 153-171Chapter in book (Refereed)
  • 22. Bydler, Charlotte
    Brottsliga relationer1999In: Aftonbladet, ISSN 1103-9000, no 09/06Article, book review (Other (popular science, discussion, etc.))
  • 23. Bydler, Charlotte
    Cyberrymdens nybyggare2000In: Hjärnstorm, ISSN 0348-6958, Vol. 71/72, p. 36-47Article in journal (Other academic)
  • 24.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Decolonial or Creolized Commons?: Sámi duodji in the expanded field2017In: Sámi Art and Aesthetics : Contemporary Perspectives / [ed] Svein Aamold; Elin Haugdal; Ulla Angkjær Jørgensen, Aarhus: Aarhus Universitetsforlag, 2017, p. 141-162Chapter in book (Other academic)
  • 25. Bydler, Charlotte
    Douglas Gordons ...head och döden.1996In: Hjärnstorm, ISSN 0348-6958, no 56/57, p. 110-113Article in journal (Other academic)
  • 26. Bydler, Charlotte
    Fritt för forskning i konst?2002In: Hjärnstorm, ISSN 0348-6958, Vol. 76/77, p. 18-20Article in journal (Other academic)
  • 27.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Global contemporary?: The global horizon of art events2010In: Globalization and Contemporary Art / [ed] Jonathan Harris, Chichester: Wiley-Blackwell , 2010, p. 464-478Chapter in book (Other academic)
  • 28. Bydler, Charlotte
    Hela sanningen och inget annat än sanningen: Ann Hamilton och USA på Venedigbiennalen1999In: Hjärnstorm, ISSN 0348-6958, no 67/68Article in journal (Other academic)
  • 29.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Hoppa hage2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull och Dan Karlholm, Huddinge: Huge fastigheter , 2007, p. 82-84Chapter in book (Other (popular science, discussion, etc.))
  • 30.
    Bydler, Charlotte
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Isaac Julien skuggboxas mot exotismens spöke2006In: Paletten, ISSN 0031-0352, Vol. 265, no 3, p. 26-33Article in journal (Other (popular science, discussion, etc.))
  • 31.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Klingon och Dammen2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull och Dan Karlholm, Huddinge: Huge fastigheter , 2007, 1, p. 68-69Chapter in book (Other (popular science, discussion, etc.))
  • 32. Bydler, Charlotte
    Konst, alkemi och Internet: en hemlig historia2000In: Konstperspektiv, ISSN 0347-4453, no 2, p. 24-25Article in journal (Other (popular science, discussion, etc.))
  • 33. Bydler, Charlotte
    Man + Space2000In: Nu. The Nordic Art Review, ISSN 1404-207X, no 3/4, p. -86Article, book review (Other academic)
  • 34.
    Bydler, Charlotte
    Uppsala universitet.
    Markerat kroppslig: Om fysiska möten med digital konst2003In: Från modernism till samtidskonst: Svenska kvinnliga konstnärer / [ed] Yvonne Eriksson & Anette Göthlund, Lund: Bokförlaget Signum, 2003, p. 129-154Chapter in book (Other academic)
  • 35. Bydler, Charlotte
    Markerat kroppslig: Om fysiska möten med digital konst2003In: Från modernism till samtidskonst: svenska kvinnliga konstnärer / [ed] Yvonne Eriksson & Anette Göthlund, Lund: Bokförlaget Signum, 2003, p. 129-154Chapter in book (Other academic)
  • 36. Bydler, Charlotte
    Möte i Marsvinsland = Encounter in Guineapigland2003In: Landskap = Landscape / [ed] Evalena Lidman, Kirse Junge-Stevnsborg, Helsingborg: Dunkers kulturhus , 2003Chapter in book (Other (popular science, discussion, etc.))
  • 37.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    När blir det svenska svenskt i det nationella kulturarvet?2015In: Kulturarv: att skapa historia för framtiden / [ed] Charlotte Bydler; Katarina Wadstein MacLeod, Stockholm: Axelius , 2015, p. 95-110Chapter in book (Other academic)
  • 38.
    Bydler, Charlotte
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Pax Anglo-Americana: A plea for a cosmopolitan history of contemporary art2006In: Ethnic marketing / [ed] Tirdad Zolghadr, Zurich: JRP/Ringier , 2006Chapter in book (Other (popular science, discussion, etc.))
  • 39.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Pengarnas ikonografi2006In: Ord och bild, ISSN 0030-4492, E-ISSN 1402-2508, no 5, p. 80-85Article in journal (Other (popular science, discussion, etc.))
  • 40.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Postkolonial klagan2008In: 00tal : litteratur, konst, samtidsdebatt, ISSN 1404-823X, Vol. 27, p. 58-61Article in journal (Other academic)
  • 41.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Revisiting the Past: A Brief Introduction to Nordic Art2014In: Nordic Contemporary: Art from Denmark, Finland, Iceland, Norway, Sweden / [ed] Hossein Amirsadeghi, London: Thames & Hudson, 2014, p. 10-19Chapter in book (Other academic)
  • 42.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Samisk-svenskt kulturarv2015In: Kulturarv: att skapa historia för framtiden / [ed] Charlotte Bydler; Katarina Wadstein MacLeod, Stockholm: Axelius , 2015, p. 121-141Chapter in book (Other academic)
  • 43.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Signora Canedottos VII:e sortering i XXVI:e uppordningen av all världens ting och företeelser2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull och Dan Karlholm, Huddinge: Huge fastigheter , 2007, p. 72-75Chapter in book (Other (popular science, discussion, etc.))
  • 44.
    Bydler, Charlotte
    Södertörn University, Institutionen för medier, konst och filosofi, Art history.
    The Art world and the collected knowledge of the world’s art = Konstvärlden och det samlade vetandet om världens konst2005In: Samtidskonst för lärare och andra intresserade / [ed] Karin Malmquist, Matilda Olof-Ors, Stockholm: Lärarförbundets förlag , 2005Chapter in book (Other (popular science, discussion, etc.))
  • 45. Bydler, Charlotte
    The artist in the age of post-colonial theory: Jamelie Hassan according to Gayatri Chakravorty Spivak1998In: Art Orbit, Vol. 1Article in journal (Other academic)
  • 46.
    Bydler, Charlotte
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    The Global Art World Inc.: On the globalization of contemporary art2004Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This study examines certain segments of the art world-system in which geographical distances seemed to vanishing as a result of faster and more intense interaction levels. This particular art world-system has been conceptualized in contradictory ways. It has been called a “global village”, and has been seen as homogenized and diversified, as well as both expanding, and contracting. Experiences of mutual understanding and shared artistic values underly the possibilities of particular art world expanding. This premise was identified as a “western art concept”, so-called institutional art theory. However, the expectations of audiences, critics, and artists are changing. The widening cultural labour-market supplies new and unfamiliar historical references to the authoritative literature and artworks of the “western art concept”. I have sought out both shared and diverse authorities through case studies of contemporary art biennials held in Venice, Havana, Istanbul, and Kwangju, as well as the itinerant Manifesta. All of the above constitute an important labour-market for the increasing numbers of freelancing art world professionals.

    The thesis derived from these examples is that the identification of the art concept as a western phenomenon, which is based on claiming the origins and even the ownership of practices represented within historical (historicist) institutions, is untenable. The avant-garde art world, in contrast, attempts to globally break with art concepts. It seeks out resistance to art world discourse, that which sits on the walls of educational institutions, museums, and the knowledge represented therein. Art worlds, however, are connected regionally. They are not stable, and are even less identifiably western. It is thus difficult to historicize the art concept in order to create this resistance. Nevertheless, it may be legitimate to attempt this, in order to provide a means of inspection and comparison. Individuals within the art world-system are nevertheless interpelled as subjects of history in reference to institutionalized precedents. This calls for a re-writing of art history, taking into account multiple discontinuities instead of relying on chronology.

  • 47. Bydler, Charlotte
    The monster of memory1999In: Nu. The Nordic Art Review, ISSN 1404-207X, no 1, p. 66-71Article in journal (Other academic)
  • 48.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Gedin, AndreasSödertörn University, School of Culture and Education, History and Theory of Art.Ringarp, JohannaSödertörn University, School of Historical and Contemporary Studies, Institute of Contemporary History.
    Pontus Hultén på Moderna Museet: Vittnesseminarium Södertörns högskola, 26 april 20172018Collection (editor) (Other academic)
    Abstract [sv]

    Den 9 maj 1958 invigdes Moderna Museet i marinens gamla Exercishall på Skeppsholmen i Stockholm. Museet var inte en självständig institution utan Nationalmuseums avdelning för modern konst med Bo Wennberg som chef. Året därpå tog Pontus Hultén över.

    Under Hulténs ledning blev Moderna ett av Europas viktigaste museer för modern konst. Men det var också något av stockholmarnas kulturhus, bland annat inspirerat av Stedelijk Museum i Amsterdam, med plats för film, musik, teater, happenings och modevisningar.

    Efter de första årens framgångar möttes Hultén av ett kulturpolitiskt motstånd mot slutet av 1960-talet. Hultén kritiserades för ointresse för den svenska konsten, för bristande politiskt engagemang och för att gå den amerikanska imperialismens ärenden.

    Den 26 april 2017 anordnade Samtidshistoriska institutet tillsammans med forskningsprojektet Levande arkiv: Pontus  Hultén på Moderna Museet (1957-73), fiansierat av Vetenskapsrådet och placerat vid ämnet Konstvetenskap, Södertörns högskola, ett vittnesseminarium om Pontus Hulténs tid på Moderna Museet.

  • 49. Bydler, Charlotte
    et al.
    Lira, Rodrigo Mallea
    Malm, Magdalena
    Svenska hjärtan: folkdräkt eller tvångströja?2004Book (Other (popular science, discussion, etc.))
  • 50.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Introduction2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, p. 9-20Chapter in book (Other (popular science, discussion, etc.))
1234567 1 - 50 of 368
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