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  • 1.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Editorial2016In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 85, no 3, p. 205-207Article in journal (Other academic)
  • 2.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    En tvångströja för måleriet?: Några reflektioner över den akademiska konstteorins historia2001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1-2, p. 88-92Article in journal (Refereed)
  • 3.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    From Margin to Margin?: The Stockholm Paris Axis 1944–19532019In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 88, no 1, p. 1-16Article in journal (Refereed)
    Abstract [en]

    The historical study of art in relation to geographical space has for a long time been biased by the “canonical logic” of the centre–periphery narrative. This text takes as its starting point a methodological critique of this binary framework by using an example from Swedish art history, namely the art historical narrative of 1950s Sweden as a slumbering Nordic province slowly being awoken by the heroic and foresighted efforts of the Swedish curator Pontus Hultén. The text analyses two local contexts between 1944 and 1953: a presumed periphery, Stockholm, Sweden, and a presumed centre, Paris, France, and the collaboration between individuals in these two spaces. In focus is a 1953 exhibition in Paris of Swedish abstract art from 1913 to 1953. The text concludes with a methodological discussion arguing that by considering “the material conditions of encounters and exchange”, it becomes clear that the transnational contacts in these cases were spurred by local competition and that they were mutually dependent, rather than a product of diffusions of aesthetic innovation from centre to periphery.

  • 4.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    [Recension av] "Konst Kunskap Insikt" och "Metod och praktik": Vetenskapsrådets årsbok 2004 och 2005 om konstnärligt FoU2006In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 2, p. 100-108Article, book review (Other academic)
  • 5.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    [Recension av] Kunstteori. Positioner i nutidig kunstdebat.2000In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1, p. 51-54Article, book review (Other academic)
  • 6.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    [Recension av] Lars O Ericsson: I den frusna passionens heta skugga. Essäer om estetisk teori2001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 4, p. 242-243Article, book review (Other academic)
  • 7.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    [Recension av] Sven Olof Wallenstein: Bildstrider. Föreläsningar om estetisk teori2002In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1-2, p. 62-65Article, book review (Other academic)
  • 8.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Teaching abstraction?: Art historical and sociological perspectives on Nils Wedel and the basic form course at Slöjdskolan in Gothenburg, Sweden 1946–19572015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 4, p. 205-219Article in journal (Refereed)
    Abstract [en]

    From the perspective of art history and sociology, this article investigates the artist Nils Wedel (1897–1967) and his position as head teacher to the department of decorative painting at the art and design school Slöjdskolan in Gothenburg 1938–1953. The article argues that the recruitment of Wedel can be seen as a strategic outcome of combination of his deviant interest in abstract art (compared to his more successful expressionist contemporaries) and his modest career. Supporting his family as a graphic designer, he was, due to his abstract “inclinations”, isolated from the dominant networks of Francophile and well-tempered expressionist art in Stockholm and Gothenburg in the 1930s and 1940s. However, this homology of aesthetic and social characteristics that positioned him in the margins of contemporary Swedish art made him the perfect teacher to meet the increased demand in Sweden in the late 1930s for art and design artists tuned to modernist idioms and skilled in professional methods of visual design. In commercial work in visual imagery, such as advertisements, shop window displays, or even carpet design, abstraction had become fashionable by the early 1930s. Wedel's introduction of a basic form course in 1946 can be seen as a pedagogical confirmation of this attraction of modernist idioms. In the geographical, social and aesthetic periphery, it was possible to build a pedagogical setting that introduced students to the then historical avant-garde of abstract art and modern idioms while also training skills valuable for a commercial career. © 2015 The Author(s)

  • 9.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    Action Drawing: Notes on the (dis)Revelatory Nature of Drawing2009In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 78, no 2, p. 92-103Article in journal (Refereed)
    Abstract [en]

    The article discusses some basic elements of drawing, along with some equally basic behavior with respect to drawing. Considering one of the most repeated assumptions or stereotypes of the Western drawing discourse, namely that drawings are characterized, and cherished, by their potential for revelation, i.e. to disclose something beside them, something other than and prior to them, which may account for their appearance, I sketch an argument away from that assumption. To regard a drawing as revealing is to charge it or have it re-enact itself, although any attempt to ontologize drawing through a distinction between a previous act and a posthumous fact is too simplistic. By considering the ways in which drawing has been compared to painting and photography, how it relates to shadows and projection, I bring up a number of issues of relevance in coming to terms with drawing: lines and dots, signs and marks, figure and ground, space and erasure. Examples range from van Gogh and Rembrandt to Oldenburg, Michaux and Rauschenberg. Action drawing applies, most Importantly to Our interpretative activities faced with the drawing as a fact, although no clean temporal or conceptual cut exists between act and fact; the act is still there in the result.

  • 10.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Filtering Futures: La Biennale di Venezia. 56th. International Art Exhibtion 2015. All the World's Futures. Artistic Director and Curator: Okwui Enwezor.2015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 4, p. 248-251Article in journal (Other academic)
  • 11. Karlholm, Dan
    Histografins konsvetenskap: diagnos av grundutbildningen och förslag till en historiotopisk reform2001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 70, no 1-2, p. 32-39Article in journal (Refereed)
    Abstract [en]

    The article argues that academic art history, as it is taught in undergraduate courses throughout the Western world, is based on an obsolete assumption. The very heart of art-historical education - the grand narrative tour of the survey course - amounts to the student's inculcation and symbolic duplication of the great journey of Art through the ages. The curriculum's tacit goal is typically to establish a habitus for responding to art, and to expose the student to a certain kind of experience, rather than to a proper education in the "art of art history" (Preziosi) or the analysis of visual culture, old and new. The latter task would arguably serve today's students better, regardless of whether or not they will pursue academic careers. My brief proposal for a reformation of the conventional education aims to subsume historiography, in an extended sense of the word, as well as a meta-historical reflection into the art history introductory course. The key pedagogical strategy, which reflects elementary research procedures, would be to begin each carefully selected historical inquiry with what is considered - or contested - knowledge of the object of study (work of art, period, artist, problem, etc.) today. To proceed, one could, for instance, compare a current position (alluding to both place and point of view) with an older position or "historiotopy," in order to systematically dramatize the discursive production of art-historical objects through history, as well as convey the fact that knowledge is situated, prespectival and essentially preliminary. The point is, ultimately, to exchange a largely passive reception of a quasi-Heglian meta-narrative overview for a meta-historical insight, and to initiate active, critical engagement with the production/interpretation of images, contemporary as well as historical.

  • 12.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    [Recension av] Helen Fuchs. Glasmåleri, modernitet, modernism: studier i glasmåleriets (konst)historia 1851–1955. Lund 2005.242 s. ISBN 91-628-6677-X.2007In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 76, no 3, p. 168-173Article, book review (Other academic)
  • 13.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    [Recension av] Ludwig Qvarnström. Vigselrummet i Stockholmsrådhus och det tidiga 1900-taletsmonumentalmåleri: historia, reception, historiografi: Diss. (Acta Universitatis Upsaliensis),Ars Suetica 22, Uppsala, 2010, 511 s.ISBN 978-91-554-7872-82011In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 80, no 1, p. 49-52Article, book review (Other academic)
  • 14. Karlholm, Dan
    [Review of] Christopher S. Wood ed, The Vienna SchoolReader: Politics and Art Historical Methodin the 1930s.: Zone Books, New York, 2000,485 pp. ISBN 1-890951-14-5.2002In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 71, no 1-2, p. 58-62Article, book review (Other academic)
  • 15.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    [Review of] e-flux journal What is Contemporary Art? + Lind & Velthuis (eds.), Contemporary Art and its commercial markets2012In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 81, no 3, p. 188-193Article, book review (Other academic)
  • 16. Karlholm, Dan
    [Review of] Jonathan Crary. Suspensions of Perception:Attention, Spectacle, and Modern Culture.: AnOCTOBER Book. The MIT Press, Cambridge,Massachusetts & London, England 1999. 397 pp,107 ill. ISBN 0-262-03265-1.2000In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 69, no 3-4, p. 233-235Article, book review (Other academic)
  • 17.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    The Last Book on Installation Art?2017In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 86, no 2, p. 134-137Article, book review (Other academic)
  • 18. Karlholm, Dan
    [Utställnings recension] Renässansteckningar från Florens ur Giorgio Vasaris samling: Nationalmuseum, Stockholm23 mars-10 juni 20012001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 70, no 4, p. 244-246Article, book review (Other academic)
  • 19.
    Karlholm, Dan
    Södertörn University, Institutionen för medier, konst och filosofi, Art history.
    Visuella kulturstudier: betraktelse över ett expanderande forskningsfält2003In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 72, no 3, p. 186-205Article in journal (Refereed)
  • 20. Nilsson, Håkan
    Clay Ketter: Materializing the context2002In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 71, no 1-2, p. 39-44Article in journal (Refereed)
  • 21.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Kobro & Strzemiński: New Art in Turbulent Time: Malmö, Moderna Museet, 10/3-2/9, 20182019In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 88, no 1, p. 54-57Article, book review (Refereed)
  • 22.
    Nilsson, Håkan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Konsten med nya medier2005In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 74, no 4, p. 198-208Article in journal (Refereed)
  • 23.
    Sandgren, Magda
    Södertörn University, School of Culture and Education.
    »Dansmaskiner - från Léger till Kraftwerk«, Moderna Museet 22 januari - 27 April 2014 och »Sleeping Beauties - Drömmar och kostymer«, Dansmuseet 20142015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 3, p. 200-204Article, book review (Other academic)
    Abstract [en]

    While exploring similar themes and materials from the Dansmuseet collection, the two exhibitions are arranged in clearly divergent ways. Taking place in separate institutions, out of different intentions, the exhibitions express themselves in forms whose distinctive features highlight questions concerning the relations between exhibition and viewer. In this review, I am therefore interested not only in the curatorial differences of the two exhibitions, but also in what the differences does to the spectator. Despite the dance theme the exhibition at Moderna museet restrains the movements of the spectators, while the spectator at Dansmuseet is invited to touch and move around more freely in the rooms. This could be understood in relation to the reductive modernist exhibition ideal of the white cube, as described by Brian O'Doherty. Should the viewer be nothing but a viewer, or should she or he participate in more interactive ways? And, further, do questions like this have implications for other contextual matters, such as gender? Despite the radical appearance of the Dansmuseet exhibition, one might wonder which one of the exhibitions that show most awareness of such contextual matters.

  • 24. Strandroth, Cecilia
    From Nordic Landscape to North American Indians - Current Trends in Nordic and International History of Photography: ESHPh Symposium2005In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 74, no 1, p. 108-111Article in journal (Other academic)
  • 25.
    Strandroth, Cecilia
    Södertörn University College, School of Culture and Communication, Art history.
    The "New" History?: Notes on the Historiography of Photography2009In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 78, no 3, p. 142-153Article in journal (Refereed)
    Abstract [en]

    The French anthology Nouvelle Histoire de la Photographie, published in 1994 under the editorship of Michel Frizot and translated into English in 1998, has been recognized as presenting a new way of writing the history of photography. Its precursors were surveys of the development of photography as an art, imbued by a modernist aesthetics of media specificity. Conversely, Nouvelle Histoire de la Photographie is generally acknowledged as having illuminated more aspects of the multifaceted medium of photography, used for many ends other than art. While this article recognizes the book's departure from the model once provided by the histories of art, it claims that it has not similarly departed from the modernist evolutionary tendencies of its earlier precursors. In renouncing the influences from the history of art, it has in fact made these even stronger, turning the book into a celebration of the medium in itself.

  • 26.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Communication, Art history.
    Disrupted Perspectives: Interpreting "Friends" by Hanna Hirsch-Pauli2011In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 80, no 3, p. 153-167Article in journal (Refereed)
    Abstract [en]

    This article interprets the disrupted perspectives in Hanna Hirsch-Pauli's large scale painting Vanner (Friends) from 1900-1907. When Hirsch-Pauli turns to her living room in 1900 as a setting for her painting several agents are at play. The scene is staged in the Pauli's living room, where friends have gathered around Ellen Key, and the home is presented as a place for intellectual debate. It is a scene deeply embedded in the surrounding cultural and political life. The article looks into the importance of the home as a scene both within the picture and in society at large at the turn of the twentieth century. The article also argues that the setting in the home and the painting's twarthed compositions are related to the formation of identity. By identifying different types of perspectives such as the artist's presence in the image, or the direction of the gazes, certain aspects of otherness are discussed. Furthermore, through the social, historical and compositional setting of this painting some aspects of Hanna Hirsch-Pauli's disrupted perspectives are uncovered.

  • 27.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    The Market Value of National Cultural Heritage2015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 3, p. 139-152Article in journal (Refereed)
    Abstract [en]

    This article concerns the Swedish law "Kulturmiljölag (1988:950)" regulating export and trade on arts and antiquities. The law states that a range of objects that may be of particular interest and "great importance" ("stor betydelse") to the nation must be licensed before being transported out of Sweden. The original objective of the law, when proposed in the 1920s, was as a means to protect privately owned objects of potential national heritage culture value.

    The aim of this article is to scrutinize the subtext of art the historical frameworks the law and its enforcement depend on. This regulation is controlled and formulated by the Swedish National Heritage Board who has determined that an object's age and its monetary value are the first primary guidelines for selection. This article shows how price is an unstable value for judging cultural heritage. Furthermore how cultural heritage management of arts and antiquities rests on non-transparent value judgements regarding what is and is not of historical importance. The analysis covers two case studies where one, the Sparre collection was protected by the law and the other, work by Amalia Lindegren, never could have been. These case studies show the haphazard nature of the present law and its regulations.

  • 28.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    The Painted Home as Heritage: Fanny Brate and the Home at the Turn of the Nineteenth Century2016In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 85, no 3, p. 256-269Article in journal (Refereed)
  • 29.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Touched by Documenta 132013In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 82, no 2, p. 115-117Article in journal (Other academic)
  • 30.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Recalling Pelican: On P.O. Ultvedt, Robert Rauschenberg and Two "Ballets"2007In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 76, no 1-2, p. 27-39Article in journal (Refereed)
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