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  • 101.
    Kapari, Maria
    Södertörn University, School of Culture and Communication, Art history.
    Dans som utställningsobjekt: Upplevelser och erfarenheter av tid och rörele i Dansmuseets permanenta utställning2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay concerns dance as an exhibition object by examining the permanent exhibition at The Museum of Dance in Stockholm, Dansmuseet. Due to its dependence on the temporality and movement of the lived body, dance does not easily lend itself to being exhibited in a traditional exhibition display; and since the live dance performance itself is ostensibly absent at the exhibition display, other means of representation must be relied upon in order to evoke the exhibition visitors’ experiences of time and movement as well as the feeling of dance. Starting from a phenomenological first-person perspective, as an exhibition visitor, I present three ways in which such experiences may come about. The cross-section of the experience evoked and the means that trigger them are intermedial, spatial, and performative taking their departure in the visitor’s pre-understanding of dance.

  • 102.
    Kapari, Maria
    Södertörn University, School of Culture and Education.
    Om du lyder: En studie av interaktivitetens villkor och verkningar utifrån tre performancebaserade verk2013Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The aim of this thesis is to examine interactivity in the context of performance-based interactive art. The questions asked are: what are the conditions of interactivity, how interactivity happens, and what artistic results it may yield. The method is an analysis based on close studies of three performance-based interactive artworks by applying theories of interactivity, audience participation, and collaboration.

    First, current theories are outlined, after which, the three artworks are introduced in detail. Next, the artworks are examined, thematically rather than individually, expanding on parameters such as the degree of artistic direction of the artwork, the degree of agency allowed to the spectator in their interaction with the work, and the idea of the “passive” spectator as being “activated” by interactive art. It is shown that the actualization of the interactive gesture inscribed within the work depends on the spectator’s subjectivity and obedience to said gesture. Thus, the conditions of the interaction are not decided by the work/artist alone, but also and equally, by the spectator. Consequently, the actualized interactivity may not immediately correspond with the (possible) authorial intent and may even be unexpected or "infelicitous."

    The problematic of the thesis falls within the scope of current discourse concerning the striving for interactivity between the work of art and its spectator/audience. While that discourse has often been focused on authorial intent or has implied an ideal spectator, this thesis points to the significance of subjectivity with regards to interactivity and thereby adds increased complexity to the concept of interactivity.

  • 103.
    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.

  • 104.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Aesthetics: Art and Non-Art2014In: Art History, ISSN 0141-6790, E-ISSN 1467-8365, Vol. 37, no 5, p. 1005-1009Article, book review (Other academic)
    Abstract [en]

    Review of Jacques Rancière, Aisthesis: Scenes from the Aesthetic Regime of the Arts, London & New York: Verso, 2013

  • 105.
    Karlholm, Dan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Art of illusion: the representation of art history in nineteenth-century Germany and beyond2004 (ed. 1. uppl.)Book (Other academic)
  • 106.
    Karlholm, Dan
    Södertörn University, School of Culture and Education.
    Arte contemporáneo y práctica crítica antes y después de la modernidad2013In: Critica(s) de arte: discrepancias e hibridaciones de la Guerra Fria a la globalización / [ed] Paula Barreiro López & Julián Díaz Sánchez, Murcia: Cendeac , 2013, 1, p. 373-390Chapter in book (Refereed)
  • 107. Karlholm, Dan
    Det tomma monumentet2001In: Vad betyder verket?: konstvetenskapliga studier kring måleri, skulptur, stadsplanering och arkitektur / [ed] Thomas Hall, Ewa Kron, Lempi Borgwik, Stockholm: Konstvetenskapliga institutionen, Univ. , 2001, p. 43-52Chapter in book (Other academic)
  • 108.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    Developing the Picture: Wölfflin's Performance Art2010In: Photography and Culture, ISSN 1751-4517, E-ISSN 1751-4525, Vol. 3, no 2, p. 207-215Article in journal (Refereed)
  • 109.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    Does it Work?: A Note on Pragmatic Parts and Global Wholes2007In: Is art history global? / [ed] James Elkins, New York: Routledge, 2007, p. 227-232Conference paper (Other academic)
  • 110.
    Karlholm, Dan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Don’t Believe what you Read: The Critical Suicide of Hans Haacke2003In: Merge : sound, thought, image, ISSN 1402-6570, no 2Article in journal (Other (popular science, discussion, etc.))
  • 111.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Estetisk rensning2007In: Dagens Nyheter, ISSN 1101-2447, no 9 decemberArticle in journal (Other (popular science, discussion, etc.))
  • 112.
    Karlholm, Dan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Ett lågt perspektiv på konstvetenskap och pedagogik på högskolan2003In: Valör, ISSN 0283-751X, no 4Article in journal (Other academic)
  • 113.
    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)
  • 114.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Gijsbrechts baksida2010In: Det åskådliga och det bottenlösa: tankar om konst och humaniora tillägnade Margaretha Rossholm Lagerlöf / [ed] Tomas Björk, Lempi BorgWik m.fl., Stockholm: Konstvetenskapliga institutionen, Stockholms universitet , 2010Chapter in book (Other academic)
  • 115. Karlholm, Dan
    Handböcker i allmän och svensk konsthistoria2000In: 8 kapitel om konsthistoriens historia i Sverige  / [ed] Britt-Inger Johansson, Hans Pettersson, Stockholm: Raster , 2000Chapter in book (Other academic)
  • 116.
    Karlholm, Dan
    Uppsala universitet.
    Handböckernas konsthistoria: om skapandet av ”allmän konsthistoria” i Tyskland under 1800-talet1996Doctoral thesis, monograph (Other academic)
  • 117. 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.

  • 118.
    Karlholm, Dan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Icons and Idols: On the Role of Representation in the Practice of Interpretation2003In: Subjectivity and methodology in art history / [ed] Margaretha Rossholm Lagerlöf, Dan Karlholm, Stockholm: Konstvetenskapliga institutionen, Univ. , 2003, p. 33-44Chapter in book (Other academic)
  • 119.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Is History To Be Closed, Saved, or Re-Started?: Considering Efficient Art History2018In: Time in the History of Art: Temporality, Chronology, and Anachrony / [ed] Dan Karlholm & Keith Moxey, New York & Abingdon, Oxon: Routledge, 2018, 1, p. 13-25Chapter in book (Other academic)
    Abstract [en]

    Rather than recourse to historicism’s investments in determinative causes, “efficient” history, it is argued, should take its cue from the after-life or the history of the artwork following its creation at a specific moment in time. The perceived temporal crisis of art history today has much to do with developments on the scene of contemporary art related to the idea of contemporaneity more broadly. Post-history and post-future are criticized here for their rather facile dismissal of history. Whereas post-history is predicated upon a teleological philosophy of history, post-future is ultimately indebted to the concept of history it purports to abandon. The concept of the past is turned on its heels and used to characterize the present, which withers away, while the past remains and accumulates into a “present past.” Martin Heidegger and Gilles Deleuze, alongside Bruno Latour, are mobilized to form a future-oriented history model, in which anachronic quasi-objects are traced, linked, and associated in actual patterns of interconnection, in part reminiscent of the model set by the catalogue raissonné rather than the established developmental narrative of the history of art.

  • 120.
    Karlholm, Dan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Konstmuseets bild: om bildskapande på Nationalmuseum från Friedrich August Stüler till Richard Bergh2002In: Konst kräver rum: Nationalmusei historia och framtid : en bok i anslutning till samlingsutställningen Konst kräver rum 13.6 2002-16.2 2003 / [ed] Mikael Ahlund, Stockholm: Nationalmuseum , 2002Chapter in book (Other (popular science, discussion, etc.))
  • 121.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Konstnären som verket och andra postmoderna verkningar2009In: Svar på frågan: Vad var det postmoderna? / [ed] Sven-Olov Wallenstein, Stockholm: Axl Books , 2009, p. 59-78Chapter in book (Other academic)
  • 122.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Kontemporalism: Om samtidskonstens historia och framtid2014Book (Other academic)
  • 123.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Learning by Looking (with Words): Wölfflin’s Legacy2009In: Towards a science of art history: J. J. Tikkanen and art historical scholarship in Europe : the acts of an international conference, Helsinki, December 7.-8. 2007 / [ed] Johanna Vakkari, Helsinki: Taidehistorian seura , 2009Conference paper (Other academic)
  • 124.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    Misery, Beauty, and Other Issues: Linda Nochlin in Conversation with Dan Karlholm2012In: The Art Bulletin, ISSN 0004-3079, E-ISSN 1559-6478, Vol. 94, no 2, p. 187-198Article in journal (Other academic)
  • 125.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Moas stenar: granit och trä, 2002, Claes Hake, ägare: Statens konstråd2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull, Dan Karlholm, Huddinge: Huge fastigheter , 2007, p. 66-Chapter in book (Other (popular science, discussion, etc.))
  • 126.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Natt och Dag: lackerad järnplåt, 2002, P. O. Ultvedt, ägare: Stockholms läns landsting2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull, Dan Karlholm, Huddinge: Huge fastigheter , 2007, p. 54-Chapter in book (Other (popular science, discussion, etc.))
  • 127.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    När konsten blev subjekt2017In: Samtider: Perspektiv på 2000-talets idéhistoria / [ed] Anders Burman & Lena Lennerhed, Göteborg: Daidalos, 2017, p. 37-58Chapter in book (Other academic)
  • 128.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    On the Historical Representation of Contemporary Art2011In: Rethinking Time: Essays on History, Memory, and Representation / [ed] Hans Ruin, Andrus Ers, Huddinge: Södertörns högskola , 2011, p. 19-28Chapter in book (Other academic)
  • 129.
    Karlholm, Dan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Preziosi's Proper Position: [review of] Donald Preziosi: Brain of the Earth's Body: Art, Museums, and the Phantasms of Modernity, and Donald Preziosi & Claire Farago (eds): Grasping the World: The Idea of the Museum2006In: Oxford art journal, ISSN 0142-6540, E-ISSN 1741-7287, Vol. 29, no 1, p. 145-149Article, book review (Other academic)
  • 130.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Questionnare: Hva er visuell kultur?2010In: Ekfrase: nordisk tidsskrift for visuell kultur, ISSN 1891-5752, Vol. 1, no 1, p. 30-43Article in journal (Refereed)
  • 131. Karlholm, Dan
    Reading the virtual museum of general art history2001In: Art History, ISSN 0141-6790, E-ISSN 1467-8365, Vol. 24, no 4, p. 552-577Article in journal (Refereed)
    Abstract [en]

    The representation of general art history in the nineteenth century is the centre of attention of this essay. It examines, in particular, the structural characteristics from 1845 to 1856 of Denkmaler des Kunst (Monuments of Art), a collection of engravings which constitutes the visual supplement to the first text of general art history, Handbuch der Kunstgeschichte (1841-42) by Franz Kugler. The impact of this largely neglected pictorial 'atlas', early on metaphorized as a 'museum'. is connected to comparable visual regimes of a later date, especially Malraux's photographic 'museum without walls', but also Warburg's Memory Atlas, the open-ended possibilities of the post-photographic practices and the web. Intersected is an argument with Danto's Hegelian 'end of art' thesis, ushering in a more closely contextualized reading of the 'end' of art history from a contemporary, media-saturated viewpoint. It all begins, and ends, with Warhol's postmodern version of Raphael's vision: the Sistine Madonna.

  • 132.
    Karlholm, Dan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Reality Art: the Case of Oda Projesi2005In: Leitmotiv: motivi di estetica e filosofia delle arti, ISSN 1720-3716, Vol. 5, p. 115-124Article in journal (Other academic)
  • 133.
    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)
  • 134.
    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)
  • 135. 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)
  • 136.
    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)
  • 137. Karlholm, Dan
    [Review of] Gillmore, Jonathan. The Life of a Style: Beginnings and Endings in the Narrative History of Art2002In: Journal of Aesthetics and Art Criticism, ISSN 0021-8529, E-ISSN 1540-6245, Vol. 60, no 4, p. 360-361Article, book review (Other academic)
  • 138. Karlholm, Dan
    [Review of] Hubert Locher, Kunstgeschichte als historische Theorie der Kunst 1750-19502002In: CAA Reviews, ISSN 1543-950X, no JanuaryArticle, book review (Other (popular science, discussion, etc.))
  • 139. Karlholm, Dan
    [Review of] James J. Sheehan, Museums in the German Art World: From the End of the Old Regime to the Rise of Modernism2001In: CAA Reviews, ISSN 1543-950X, no DecemberArticle, book review (Other (popular science, discussion, etc.))
  • 140. 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)
  • 141. Karlholm, Dan
    [Review of] Wyss, Beat. Hegel's Art History and the Critiqueof Modernity.: Trans. by Caroline DobsonSaltzwedel. Cambridge: Cambridge UniversityPress, 1999, xv + 288 pp., 60 b&w illus., $60.00cloth2001In: Journal of Aesthetics and Art Criticism, ISSN 0021-8529, E-ISSN 1540-6245, Vol. 59, no 1, p. 105-106Article, book review (Other academic)
  • 142.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Studio Space and Gallery Time: The Cube reconsidered: [Review of Brain O'Doherty, Studio and Cube: On the relationship between where art is made and where art is displayed]2007In: SITE, ISSN 1650-7894, no 21, p. 4-Article, book review (Other (popular science, discussion, etc.))
  • 143.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Suecia hodierna antiqua est: nuet är det förflutna2014In: Suecia contemporare / [ed] Pontus Raud, Kalmar: Kalmar konstmuseum , 2014, 1, p. 22-28Chapter in book (Other (popular science, discussion, etc.))
  • 144.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    Surveying Contemporary Art: Post-War, Postmodern, and then What?2010In: Art History: Contemporary Perspectives on Method / [ed] Dana Arnold, John Wiley & Sons, 2010, p. 56-77Chapter in book (Other academic)
  • 145.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    Surveying Contemporary Art: Post-War, Postmodern, and then what?2009In: Art History, ISSN 0141-6790, E-ISSN 1467-8365, Vol. 32, no 4, p. 712-733Article in journal (Refereed)
    Abstract [en]

    This article looks at influential survey texts on world art history since c. 1980, and considers how they have dealt with the art nearest to them in time. I examine the terminology used, and problems of classification, periodization, and history writing at large. In order to describe how these texts struggle with the terms contemporary and postmodern, I focus on their treatment of conceptual art and two artists: Joseph Beuys and Cindy Sherman. The symbolic and economic consolidation of contemporary art during the last decade or so prompts me to establish a broader frame of understanding, linking it to constructions of the contemporary in the nineteenth century and to the idea of co-existing temporalities for art.

  • 146.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Södertörn läser lusen av konstkritiken i svensk press2009In: Paletten, ISSN 0031-0352, no 2, p. 6-8Article in journal (Other (popular science, discussion, etc.))
  • 147.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    The Canon of Contemporary Art: From Popular to Academic2017In: Marburger Jahrbuch für Kunstwissenschaft, ISSN 0342-121X, Vol. 44, p. 319-327Article in journal (Other academic)
  • 148.
    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)
  • 149.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    The New Neues Museum in Berlin: Accumulating Narratives2012In: The Museum Beyond the Nation / [ed] Johan Hegardt, Stockholm: Historiska museets förlag, 2012, 1, p. 113-124Chapter in book (Other academic)
  • 150.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Too Much and Not Enough: The Installation of Anton Henning at Magasin 3 in Stockholm2015In: Paradigmen der Kunstbetrachtung: Aktuelle Positionen der Rezeptionsästhetik und Museumspädagogik / [ed] Peter J. Schneemann, Bern: Peter Lang Publishing Group, 2015, p. 29-40Chapter in book (Other academic)
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