sh.sePublications
Change search
Refine search result
1234567 1 - 50 of 499
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • harvard-anglia-ruskin-university
  • apa-old-doi-prefix.csl
  • sodertorns-hogskola-harvard.csl
  • sodertorns-hogskola-oxford.csl
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 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.

    Download full text (pdf)
    fulltext
  • 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.

    Download full text (pdf)
    fulltext
  • 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. 

    Download full text (pdf)
    Knitting House
  • 4.
    Albrektson, Anna
    et al.
    Stockholm University, Sweden.
    Ahlund, Mikael
    Uppsala University, Sweden.
    Ekström, Sara
    Stockholm University, Sweden.
    Pontara, Johanna Ethnersson
    Stockholm University, Sweden.
    Mansén, Elisabeth
    Stockholm University, Sweden.
    Sundin, Vera
    Stockholm University, Sweden.
    Wagner, Meike
    Stockholm University, Sweden.
    Wallrup, Erik
    Södertörn University, School of Culture and Education, Aesthetics.
    Cool Nature: Utopian Landscapes in Sweden 1780–18402022In: Sjuttonhundratal, ISSN 1652-4772, E-ISSN 2001-9866, Vol. 19, p. 94-116Article in journal (Refereed)
    Abstract [en]

    In this essay, an interdisciplinary group of researchers sets out to address the period 1780–1840 in Sweden in a new way, by placing nature at its centre. With the help of ecocritical and transcultural theory, combined with renewed attention to the Swedish fine arts, learned discourses, and practices, we suggest a new approach to these revolutionary decades. The perceived dissonance, the interplay between climatic conditions and cultural template in early modern and modern Sweden, has not been fully addressed in current research, despite the fact that the relationship between humankind and the environment is a central issue in contemporary society and scholarship. Representations of nature situate the nation, they negotiate the relationship between a sensed reality and an ideal, between human and more-than-human beings. We suggest a focus on the unpredictable space created by negotiations of nature in Swedish representations during this crucial period, and, furthermore, on the ways in which this creative space is charged with utopian possibilities in the early Anthropocene. This is the background and the driving force of the planned research project ‘Cool Nature: Utopian Landscapes in Sweden 1780–1840’. 

  • 5.
    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.

    Download full text (pdf)
    fulltext
  • 6.
    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.

    Download full text (pdf)
    fulltext
  • 7.
    Andersson, Ellinor
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Det kusligt främmande: Das unheimliche i fotografier av Annika von Hausswolff och Maria Miesenberger2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    While the topic of das unheimliche seems to have had a breakthrough within literary as well as film studies, it has remained a marginalised topic within the art history field as it has been argued that there is little definitive about its apperance as well as its passing and too dependent on personal history and the psychological disposition of the percieving subject to be ascribed any general validity. This essay has attempted to inquire into wether das unheimliche is merely a subjective experience or if it can be linked to an aesthetic quality and an aesthetic procedure. Taking its starting point in the works of two swedish artists, the purpose of this study has been to investigate, through semiotic analysis, if they can be said to contribute to creating an unheimlich experience through a combination of visual techniques. 

    The reults show that it is possible to link the unheimlich experience back to visual techniques such as the combination of separate and conflicting imagery and through the act of introducing strange elements into a familiarised setting. These techniques work to prolong the perception of the image through suspending the viewer in uncertainty. The unheimlich experience can thus be argued to have less to do with personal history and psychological dispositions and more to do with socially,culturally and historically shared references which underlies the perceived clash between the familiar and the unfamiliar.

    Download full text (pdf)
    fulltext
  • 8.
    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
    Download full text (pdf)
    FULLTEXT01
  • 9.
    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.

    Download full text (pdf)
    FULLTEXT01
  • 10.
    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.

    Download full text (pdf)
    FULLTEXT01
  • 11.
    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.

    Download full text (pdf)
    FULLTEXT01
  • 12.
    Berg, Erik
    Södertörn University College, School of Culture and Communication.
    Den Osynliga målarboken i Tensta: I Skuggan av Debatten2006Student paper second termStudent thesis
    Download full text (pdf)
    FULLTEXT01
  • 13.
    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.

    Download full text (pdf)
    FULLTEXT01
  • 14.
    Bergh Edenborg, Aurora
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Politisk rörelse och grotesk femininitet: En semiotisk studie av det fantastiska Paradiset på Skeppsholmen2019Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The monumental sculpture group The Fantastic Paradise (Le Paradis Fantastique, 1967), a collaboration between the artists Niki de Saint Phalle and Jean Tinguely, was donated to Moderna Museet in Stockholm, Sweden and installed by the water on the island Skeppsholmen in 1971. This was followed by a conflict that lasted 16 years centered around the relationship between the sculptures and the surroundings, in which The Fantastic Paradise was perceived by some as both grotesque and obscene, as well as highly unsuitable in relation to the historical environment. As a result, the sculpture group was moved to a less visible location in 1987.

    This thesis aims firstly to examine the historical context of the donation of The Fantastic Paradise to Moderna Museet. The study shows that the donation was the lucky result of a series of events shaped by circumstances such as personal relationships. The artists were life-long friends of the director of the museum at the time, Pontus Hultén, who aimed to incorporate avantgardist ideas into the museum's activities in the 1960’s. The Fantastic Paradise, located in front of the entrance of the museum, continues to function as a reminder of that era, which has come to be seen as the institution's formative years.

    Secondly, this thesis aims to contextualise and interpret the meaning of the art work through the use of semiotic theory and the concept of the implicit beholder. This interpretive part of the study is divided into two chapters, in accordance with the dualistic structure of the sculpture group itself. It follows two separate but linked theoretical directions: movement in Jean Tinguely’s machines, and corporeality and femininity in the Nanas, fantasy creatures and vegetation motifs of Niki de Saint Phalle. The interpretation shows that The Fantastic Paradise through both of these aspects can be read as an anti-classicistic comment in an art historical perspective. The concept of movement can be found not only in the actual movements of the kinetic sculptures, but also, in the case of The Fantastic Paradise, implies an idea of an activated, embodied beholder that is constructed as a political subject.

    Download full text (pdf)
    fulltext
  • 15.
    Bergh Edenborg, Aurora
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Var hamnar konstnärsarkiven?: En översikt över hanteringen av konstnärers personarkiv i det svenska arkivväsendet2020Student paper other, 5 credits / 7,5 HE creditsStudent thesis
    Abstract [sv]

    Rapporten ämnar ge en grundläggande översikt över hur konstnärers personarkiv hanteras i det svenska arkivväsendet. Den är tänkt att utgöra ett underlag för vidare studier, där frågorna kan fördjupas och undersökas vidare. Rapporten utreder vart personarkiv efter svenska bildkonstnärer kan doneras, hur beslutsprocessen ser ur samt vilka problem som kan uppstå specifikt för konstnärers personarkiv. Med utgångspunkt i en kvalitativ fallstudie har material samlats in från åtta konst- och arkivinstitutioner. 

    Download full text (pdf)
    AuroraBergh_konstnärsarkiv
  • 16.
    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. 

    Download full text (pdf)
    fulltext
  • 17. 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)
  • 18.
    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.

    Download full text (pdf)
    FULLTEXT01
  • 19.
    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.

    Download full text (pdf)
    fulltext
  • 20.
    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.

    Download full text (pdf)
    Dräkt och pose i porträtt
  • 21. 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.))
  • 22.
    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)
  • 23.
    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)
  • 24.
    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)
  • 25. Bydler, Charlotte
    Brottsliga relationer1999In: Aftonbladet, ISSN 1103-9000, no 09/06Article, book review (Other (popular science, discussion, etc.))
  • 26.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Cease Identification With Territory, Gender, Race, And Class2019In: Baltic Worlds, ISSN 2000-2955, E-ISSN 2001-7308, Vol. XII, no 1, p. 52-53Article in journal (Other academic)
  • 27. Bydler, Charlotte
    Cyberrymdens nybyggare2000In: Hjärnstorm, ISSN 0348-6958, Vol. 71/72, p. 36-47Article in journal (Other academic)
  • 28.
    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)
  • 29. Bydler, Charlotte
    Douglas Gordons ...head och döden.1996In: Hjärnstorm, ISSN 0348-6958, no 56/57, p. 110-113Article in journal (Other academic)
  • 30. Bydler, Charlotte
    Fritt för forskning i konst?2002In: Hjärnstorm, ISSN 0348-6958, Vol. 76/77, p. 18-20Article in journal (Other academic)
  • 31.
    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)
  • 32. 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)
  • 33.
    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.))
  • 34.
    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.))
  • 35.
    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.))
  • 36. 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.))
  • 37.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Lekens plats i en antropocen offentlighet: Om Vril Båt Sten/Fijfere Vanás Geađgi av Joar Nango och Anders Rimpi2021In: Omförhandlingar: Den offentliga konstens roll efter millennieskiftet / [ed] Håkan Nilsson, Huddinge: Södertörns högskola, 2021, p. 105-116Chapter in book (Refereed)
    Download full text (pdf)
    Lekens plats i en atropocen offentlighet: Om Vril Båt Sten/Fijfere Vanás Geađgi av Joar Nango och Anders Rimpi
  • 38. Bydler, Charlotte
    Man + Space2000In: Nu. The Nordic Art Review, ISSN 1404-207X, no 3/4, p. -86Article, book review (Other academic)
  • 39.
    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)
  • 40. 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)
  • 41. 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.))
  • 42.
    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)
  • 43.
    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.))
  • 44.
    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.))
  • 45.
    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)
  • 46.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Postsocialist Bakhtin Burlesque: Young-Hae Chang Heavy Industries performing 'Cunnilingus in North Korea'2019In: Words, Bodies, Memory: A Festschrift in honor of Irina Sandomirskaja / [ed] Lars Kleberg; Tora Lane; Marcia Sá Cavalcante Shuback, Huddinge: Södertörns högskola, 2019, p. 213-229Chapter in book (Other academic)
    Download full text (pdf)
    fulltext
  • 47.
    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)
  • 48.
    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)
  • 49.
    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.))
  • 50.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Sweden in Solidarity, Museums in Exile: The Chilean International Resistance Museum in Solidarity with Salvador Allende and the International Art Exhibition for Palestine2022Collection (editor) (Other academic)
    Abstract [en]

    Chile’s democratically elected Socialist president Salvador Allende came to power in 1970. Then came the dictatorship that began with Augusto Pinochet’s coup d’état in 1973. It was perhaps logical that the European art world came to the aid of its Chilean colleagues in a great wave of solidarity. 

    The long 1970s has been connected to solidarity movements. Vietnam, Chile, South Africa, Palestine were among the countries supported by solidarity activists. Several so-called museums-in-exile were created. In particular, one source of inspiration was the Museo de la Resistencia Salvador Allende in Chile. This became a model also for the much older Palestinian Liberation Organisation’s (PLO) Unified Information Office that organised the International Art Exhibition for Palestine

    This booklet documents the Witness seminar that was held 19 February 2017 at Tensta Konsthall, where people met to discuss their involvement in the solidarity movements for Chile and Palestine.

    Download full text (pdf)
    Sweden in Solidarity, Museums in Exile
    Download (jpg)
    presentationsbild
1234567 1 - 50 of 499
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • harvard-anglia-ruskin-university
  • apa-old-doi-prefix.csl
  • sodertorns-hogskola-harvard.csl
  • sodertorns-hogskola-oxford.csl
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf