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  • 101.
    Eriksson, Anna
    Södertörn University College, The School of Culture and Communication.
    Gränsöverskridande föreställningar: En analys av dansperformance utifrån tre exempel2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The essay is an effort to examine and define three examples of liminal dance performances through an aesthetic, hermeneutic and semiotic analysis. The examples are three dance or liminal performances, made by three different choreographers and performed at “Moderna Dansteatern” and “Dansens Hus” in Stockholm during September and October 2005. In the effort to determine the liminal and cross-over in the performances, the analysis focus on aspects such as: the character of the work, choreography, the use of scenery, stage light, requisites, conception of place and interior room, the use of costume and mask, the use of different media as text, pictures, film, and music or not using any these, and the interaction with the audience. The analysis depends on a historical background and the use of literature in the subject. The result of the analysis is that these cross-over performances are very different in character of these aspects and aesthetic form. The definition of dance and performance is, in itself, liminal and difficult to determine.

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  • 102.
    Falewicz Segerstedt, Åsa
    Södertörn University College, School of Culture and Communication.
    Kusliga hemligheter: En undersökning av Hyun-Jin Kwaks bildvärld2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In the Korean artist Hyun-Jin Kwak's ongoing project Girls in Uniform she portrays events and moments that transgress the boundaries between the ordinary and the unknown. In her photographs there are frequently ambiguous and cinematic narratives. The pictures are carefully orchestrated and constructed, but they are not spectacular. Kwak's imagery is relatively unexplored. This thesis implements a comparative image analysis of eight of Hyun-Jin Kwak's works, in order to investigate and interpret her imagery. The analysis is based on three recurrent motifs: the uncanny, secrets - rituals and games as well as togetherness. The intention is to investigate the uncanny, which I identify in Kwak's artwork, and explore the mysterious fellowship and secretiveness that the girls have in their games and rituals. The togetherness that often exists between young girls in Kwak's photographs are put in to the context of the twinmyth.

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    FULLTEXT01
  • 103.
    Fogelberg Rota, Stefano
    Umeå University, Sweden.
    Dancing virtue: educational aspects in Queen Christina’s court ballets2018In: Virtue Ethics and Education from Late Antiquity to the Eighteenth Century / [ed] Andreas Hellerstedt, Amsterdam: Amsterdam University Press, 2018, 1, p. 113-134Chapter in book (Refereed)
    Abstract [en]

    Stefano Fogelberg Rota investigates the court ballet’s pedagogic character during the reign of Queen Christina. French ballet de cour was introduced to Sweden in 1638 as part of a larger effort to raise the cultural standing of the state. Ballet became a privileged medium for conveying the Queen’s political decisions and ambitions. These political messages were constantly communicated through the use of examples, portrayed as ideals of virtue. Virtue was used by Christina to shape an ideal image of her rule. Fogelberg Rota unveils both the underlying purposes of the representations and the rhetorical strategies employed. Finally, he examines the career of some of the noblemen dancing in order to show the importance of these performances for the advancement at court of Christina’s young aristocratic favourites.

  • 104.
    Grundell Gachoud, Vendela
    et al.
    Stockholm University, Sweden.
    Näslund Dahlgren, Anna
    Stockholm University, Sweden.
    Hansson, Karin
    Södertörn University, School of Natural Sciences, Technology and Environmental Studies, Media Technology.
    Sami traces: Diversity and curatorial workarounds in image archives2023In: Digital Approaches to Inclusion and Participation in Cultural Heritage: Insights from Research and Practice in Europe / [ed] Danilo Giglitto; Luigina Ciolfi; Eleanor Lockley; Eirini Kaldeli, London: Routledge, 2023, p. 181-206Chapter in book (Other academic)
    Abstract [en]

    This chapter presents a study of how metadata shapes the conditions of cultural heritage representation, focusing on Sami images in the online archive of the Swedish National Heritage Board. Datasets from the in-house database Kulturmiljöbild and the social media platform Flickr Commons are gathered and interpreted using cross-disciplinary methods within a framework of critical data studies where participation and performativity are key. The study uncovers how different metadata structures and practices facilitate different narratives that both hide and highlight Sami markers. Four workaround strategies in relation to diversity are identified, i.e., means to resolve or bypass limitations to the spectrum of perspectives expressed in image descriptions: omission, abstraction, translation, and hyperbole. This typology demonstrates how metadata affects diversity by governing image searches online textually and visually, thus contributing important insights into the rhetorical dynamic between interface and infrastructure in archives where dominant narratives are limiting commitments to diversity.

  • 105.
    Grönroos, Tove
    Södertörn University College, School of Culture and Communication.
    Ett verk blir kosmopolitiskt: Representerar Louise Bourgeois verk Maman någonting "universellt"?2007Student paper second term, 5 credits / 7,5 HE creditsStudent thesis
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  • 106.
    Gustavsson, Martin
    et al.
    Handelshögskolan i Stockholm.
    Börjesson, Mikael
    Uppsala universitet, Institutionen för pedagogik, didaktik och utbildningsstudier.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Konstens omvända ekonomi: Tillgångar inom utbildningar och fält, 1938–20082012Book (Other academic)
  • 107.
    Hansson Grönroos, Tove
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Creating Urbanity – Destroying Cultures: Relationships Between Public and Private in Kathputli Colony, New Delhi2017Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Through the story of Kathputli Colony, thiss essay; Creating Urbanity – Destroying Cultures, Relationships Between Public and Private in Kathputli Colony, New Delhi, India, discusses various degrees of public and private in urban architecture. It compares the architecture of the former Kathputli Colony with the new architecture proposed for the site.

    Striving to become a “world class city”, Delhi has, through the Master Plan 2021, decided to raze all informal settlements and replace them with high-rises. Kathputli Colony was such an informal settlement; an urban environment built up by an architecture that responded to the needs and economic means of its inhabitants. Its design was the result of network connections and personal relationships merging public and private life.

    The essay concludes that Kathputli Colony consisted of a heterogeneous architecture, that had more in common with pre-industrial urbanism and village-architecture, than with the modernist architecture of the high-rises with its clear separation between public and private, work and leisure.

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  • 108.
    Hansson, Per-Arne
    Södertörn University College, School of Culture and Communication.
    Edsvik konsthall och drömmen om Sveriges kulturella hjärta2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The study analyses the planning of the Edsvik Konsthall in Sollentuna and the first 14 years after the opening 1996 until late 2010. The study focused on the cultural discourses that have influenced the Edsvik as result of the choice of managers, the public figures and actions taken by different actors around the art gallery.

    The influence by different actors is analyzed in the art field terminology defined by Pierre Bourdieu.

    I have demonstrated how the head of Edsvik Konsthall, because of different social capital and habitus, raised different types of conflicts on the local art field.  

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  • 109.
    Hedenäs, Malin
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Ett sökande efter språk i smärtans gränsland: Om Lenke Rothman och språkliga möjligheter och begränsningar inför smärtans fenomen2019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In this essay called Searching for Language at the Frontiers of Pain. Lenke Rothman and possibilities and limitations of languages in front of phenomenon of pain, I investigate how experiences of pain and suffering is communicated through four artworks by artist Lenke Rothman (1929-2008). Having survived the Holocaust, she felt, like many other, that testimony of pain and suffering was impossible within the limits of language. Through a semiotic model for analysis, using Rothmans experiences of both physical and psychological pain as context for interpretation, I discuss how the artworks as visual instead of textual can communicate experience when language fails. With a theoretical starting point in phenomenological theories of pain as something that escapes conceptual definition, I show how the symbolic level in the artworks is able to expand meaning when it comes to the phenomenon of pain. It happens in the gap between words as describing an artworks as showing.

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  • 110.
    Hegardt, Johan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Från hem till hemland: Historiens hemvist och funktionärernas uppgift2016In: Historiens hemvist III: Minne, medier och materialitet / [ed] Johan Hegardt & Trond Lundemo, Göteborg: Makadam Förlag, 2016, p. 221-246Chapter in book (Refereed)
  • 111.
    Hegardt, Johan
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Lundemo, Trond
    Inledning2016In: Historiens hemvist III: Minne, medier och materialitet / [ed] Johan Hegardt & Trond Lundemo, Göteborg: Makadam Förlag, 2016, p. 15-30Chapter in book (Other academic)
  • 112.
    Hellstrand, Hellstrand
    Södertörn University, School of Culture and Education.
    Jacobsberg - Lustträdgård och begravningsplats: En dokumentation, trädgårdshistorisk studie och funktionsanalys2013Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This essay, Jacobsberg – a Landscape Garden and a Cemetery is a documentation and a historical analyze where I’ve been focusing on the development of the landscape garden in Sweden in relation to a garden called Jacobsberg. The garden was built close to Visby on Gotland in the early 1800s by the assessor Jacob Dubbe, but has since been almost forgotten. My survey aims to depict the circumstances surrounding the creation of Jacobsberg. In what purpose was it built? I’ve also been examine the historical context of the garden’s origins with the intention to define and confirm its architectural style.

    The essay comprises two major parts, where the first part deals with the history behind Jacob Dubbe and Jacobsberg, and contains an illustration of the assessor’s life and of the garden’s original structure and shape. The chapter also comprises basic descriptions of the flora and of the different buildings in the area, and shows how the shape of the garden has been changing over the years.

    The second part begins with a presentation of the present state of Jacobsberg. The review applies experiential dimensions and other observations that haven’t been visible during the literal examinations. The monuments and the fundamental structure of the garden are analyzed and explained in relation to the coeval context. The landscape garden as architectural idea, its development and variations are discussed, including its relation to the graveyard and the tomb. The section also deals with specific traditions and tendencies, such as the increasing enthusiasm for the nature and the altered attitude to the cemetery and the grieving, which were developing in Sweden and Europe during the current period.

    In the final part of the second chapter I discuss the relation between Jacobsberg and the mansion Rosendal, which were the home of Jacob Dubbe and his wife. In this section I use Michel Foucaults concept heterotopia to understand and disclose concealed characteristics of the garden and to understand its function as a both reflecting and critical sphere.

    The essay shows that Jacobsberg originally was a landscape garden with organized parts and a cemetery at the same time. Such structure were common in the Swedish version of the landscape garden, except from the cemetery-part, which is a quite unique component in this national form. The examination also shows that it is possible that Jacob Dubbe was the architect of his own park.

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    Jacobsberg
  • 113.
    Hemby, Elisabeth
    Södertörn University, Centre for Baltic and East European Studies (CBEES), Baltic & East European Graduate School (BEEGS).
    Historiemåleri och bilder av vardag: Tatjana Nazarenkos konstnärskap i 1970-talets Sovjet2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis focuses on the Soviet painter Tatyana Nazarenko and her position as an influential artist in the Soviet Union of the 1970’s, a decade when Nazarenko depicted everyday life and events from Russian history. The main purpose of this thesis is to shed light upon the importance of especially these motifs in their historical, political and aesthetic context. In this way, the thesis is a study of the artist’s work in a contextual perspective. In order to understand the general conditions for Soviet Art in the 1970´s, and Tatyana Nazarenko´s picture world, the official State-regulated Art is given attention, as Socialist Realism came to be the normative frame of reference for artistic life and the individual artists. Artistic life in the Soviet Union was well regulated and official Art dominated from the early 1930´s until the collapse of the Soviet Union, while especially during the 1970´s, became subjected to so-called unofficial Art, also known as underground. The unofficial, as well as the official Art, became important for Tatyana Nazarenko, for, while not belonging to either side, she came to have a constant relationship with them. She belonged, however, to a small art circle, balancing between the official direction and criticism of the system, later known as permitted. This thesis clarifies the relationship between what is defined as official, permitted and unofficial Art. In exposing her aesthetic strategies, it is shown in what way she deviates from the official and how far the artist could extend the permitted limitations. On the question of her aesthetic strategies a further question arises of how an awareness of history is expressed in motif and form. Finally, the importance of women’s experience in her picture world is discussed. Picture material in this thesis is composed partly of some thirty works from Tatyana Nazarenko´s own production and partly of works with a contextualized and comparative function, encompassing some fifty works taken from Soviet Art History. A few examples from Western Art History constitute further comparative material. The motifs consist mainly of depictions of historical events and pictures of everyday life i.e. genre pictures.

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  • 114.
    Henriksson, John
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Tystnad, ljud och buller: Ekot från Moderna Museet i två kontexter, nu och då2019Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The thesis proposes the use of listening as a method of unfolding material relationships between time and space. Partly as sound as a powerful stimulus, but also an ephemeral phenomenon. By analysing and describing sound recordings from Moderna Museet in two contexts, now and then, the study outlines the tension between history and memory, remembering and forgetting. The first part approaches this juxtaposition in the echo of the museum by listening to the past through archive studies. The second part analyses the sound of the present through soundwalks. The empirical material of the study strained through theories about the memory and an ambiguous subject defined by a community brings the museum’s now and then together. Through time and space and a sonic subject that can be discerned by defining a narrative of post-silence, which produces and manipulates spaces through sound. Finally, by identifying socio-cultural signs and sonic power the study proposes the act of listening towards multisensory perception.

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  • 115.
    Hjertström Lappalainen, Jonna
    Södertörn University, School of Culture and Education, Centre for Studies in Practical Knowledge.
    Att reflektera över det som ännu inte sagts2014In: Methodos: Konstens kunskap, kunskapens konst / [ed] Magnus William-Olsson, Linderöd: Ariel , 2014, p. 63-84Chapter in book (Other academic)
  • 116.
    Hjortsberg, Rebecca
    Södertörn University, School of Culture and Education.
    Bilder skadar inte: En komparativ receptionsstudie av mottagandet av Chris Burdens performanceverk under 1970-talet och 50 år senare2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This paper investigates the reception of performance art photography featuring self-harm, specifically the work of Chris Burden (1946-2015) in the early 1970s and its reception 50 years later. Through a review of publications written by art critics in both decades, the study aims to understand how audiences have interacted with and interpreted Burden's images over time. The research found that the reception of performance art photography is influenced by a range of factors, including the viewer's personal background and experiences, the context in which the image is encountered, and the artist's intention. This highlights the importance of considering the complex relationship between the image, the audience, and the context in order to fully understand and appreciate the reception of performance art photography, particularly in the case of controversial or challenging subject matters.

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  • 117. Holly, Michael Ann
    et al.
    Karlholm, Dan
    [Review of] Aby Warburg, The Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance2000In: CAA Reviews, ISSN 1543-950X, no JanuaryArticle, book review (Other (popular science, discussion, etc.))
  • 118.
    Holmdahl Arnman, Thea
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Konstverket i spelmiljö: En undersökning av spelet Animal Crossing: New Horizons (2020) användande av konstverk och presentation av museet som institution2020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay focuses on the digitalization of art canonisation in the game Animal Crossing: New Horizons (Nintendo/Nintendo EPD, 2020). Furthermore, the purpose of this essay is to understand which artworks the game incorporates in its museum, as well as how the player can interact with the artworks in question. Bolter and Grusin's remediation theory are thoroughly explored through the material, as well as the maintaining of norms through representation. The conclusion is that the game allows the player to interact restrictedly with the art in the museum, but is allowed more freedom outside of it. However, the restricted interaction is strongly incorporating known norms of how to behave and interact with the museum as an institution. These norms are also applicable in situ – outside of the museum's pixelated world. The aura of the artworks is compromised through the notion that the player can obtain any number of original artworks. Still, the originality and aura of the artworks are secured through the institutionalised environment in the museum.

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    Konstverket i spelmiljö
  • 119.
    Hvalgren, Alexandra
    Södertörn University, School of Culture and Communication.
    Gränslandet, dubbelheten och collagets undanträngda natur: En bildanalys av Lisa Jonassons verk Existentiell #62011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay examines the relationships between the different elements in Lisa Jonasson’s collage Existentiell Progg #6 and her very detailed technique. The essay has as its aims to understand and analyze both the details and the wholeness of the artwork and to try to put the collage in an art historical context. The thesis finds that Existentiell Progg #6 has a connection to the imagery of Africa and other collage artist such as Hannah Höch and Nancy Spero, which also gives the paper a perspective of feminism in the arts. The paper continues to create an understanding for the collage work by putting it in to Theodor Adorno’s theories about nature, the human being and the animal kingdom. The paper then comes to the conclusion that many of the elements in Existentiell Progg #6 are a part of its underlying meaning and purpose.

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  • 120.
    Hydén, Malin
    Södertörn University College, The School of Culture and Communication.
    Den stygga trädgården: En sinnlig tolkningsansats med utgångspunkt i Helen Chadwicks Cacao och Bad Blooms2006Independent thesis Basic level (degree of Bachelor), 20 points / 30 hpStudent thesis
    Abstract [en]

    The purpose of this essay is to discuss what a sensual interpretation of art is and what it should include. The discussion is based on an attempt to do a sensual interpretation of the Greek-British artist Helen Chadwick’s Cacao and Wreaths to Pleasure. Chadwick was an artist working with well-known materials in new and unexpected ways. An interpretation of her works should include the fact that her art affect us on different levels, both intellectually and sensually. The history of art includes very few examples of interpretations engaging all senses. Therefore this essay is based on literature in adjacent disciplines like aesthetics, inter art studies and synaesthesia. The thesis of The bad garden is that an art experience includes interplay between senses. This interplay which creates additive sensations, a fact that is not taken into consideration in an interpretation based on only vision. The conclusion is that a sensual interpretation should be a merge of traditional disciplines and must be characterised by subjectivity, contextuality, and intersensuality.

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  • 121.
    Hydén, Malin
    Södertörn University College, School of Culture and Communication.
    Sanning och konsekvens: En studie av den estetiska intentionen hos tre verk av Felix Gmelin2009Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    You could say that the Swedish artist Felix Gmelin in his art uses media to get closer or further away from what we consider to be the reality and also truth. The purpose of this study is to discuss what this means for the intention of his art works. The starting point is my own aesthetic experience of his painting and the installations A Gentleman’s agreement (1996), Farbtest, Die Rothe Fahne II (2003) and Tools and Grammar 2.5 (2007). Each of these works of art consists of different kinds of prefabricated material such as articles, films and documents. These kinds of material are often considered to stand in the way of the aesthetic experience, maybe because they are supposed to be closer to reality and therefore to truth. The thesis of this study is that the truth in art is inscribed in the aesthetic framework of each art piece and also in the technical support it uses. If for example the support consists of an investigative journalist’s documentary research, in Rosalind Krauss’ description, the truth might be found in the authenticity of the documentary material. If the technical support has to do with sampling instead, as in the re-use of existing materials to create new works of art, the truth can probably not be found in the different pieces of material but in the work ofart in itself. It does not matter then if the different pieces of material it consists of is traditionally considered unaesthetic. The conclusion of this study is that Gmelin’s Gentleman’s agreement, Farbtest, Die Rothe Fahne II and Tools and Grammar 2.5 actually discuss what truth is and if there is an aesthetic truth.

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  • 122.
    Hyvönen, Joni
    Södertörn University, School of Culture and Communication.
    En dekonstruktion i ljud: J.O. Mallanders Extended Play2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    J.O. Mallander’s Extended Play (1968) is a sound recording, a readymade, of the counting of votes in two presidential elections in Finland, during 1962 and 1968. A voice repeats monotonously: “Kekkonen, Kekkonen, Kekkonen, Kekkonen, Kekkonen…” Although the Finnish president Urho Kekkonen represents, almost personifies, the politics of the post World War II period in Finland, Extended Play does not explicitly address the political. Rather, as this essay argues, it engages in the discourses of power and politics by providing a temporalization of its fixedness, or what Jacques Derrida terms the proper.

    Extended Play is, in parallel with Derrida’s critique of western metaphysics, a deconstruction in sound that challenges the state ideologies conveyed in the process of the counting of votes, where the presuppositions of the presence of the voice characterizes the ambiguities of power that Kekkonen’s politics of neutrality represent.

    Mallander’s readymade emerges as a double of the game theory strategies of the Cold War, a mimetic surplus of the administrative control mechanisms of sound recording. Through overturning the dialectics of the original and the copy, where repetition of sound also temporalizes the representation of the proper, it does not unequivocally reproduce its content. As an aural document, repeated and mass-produced as a record, it devalues, therefore, presumptions of origin. Derrida’s idea of “sous rature” initiates, in the discussion of Extended Play as a specific form of conceptual sound art, the notion of sound under erasure, which is not reducible to an auditory or medium-specific practice.

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  • 123.
    Hyvönen, Joni
    Södertörn University, School of Culture and Education.
    Ett brev från Herr P: om det personliga hos Björn Lövin2013Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    For the Swedish artist Björn Lövin, the personal was a problem. In his first exhibition in Moderna Museet, Lövin observed through the fictitious character Mr. P (for »Personality«) the ruptures in the Swedish welfare state. The exhibition Konsument i oändligheten och Herr P:s penningar (Consumer in Infinity and Mr. P’s Money) (1971) was composed of two environments, through which a veridical working class apartment and a high street with life-sized mannequins and furniture characteristic of its time, visualized the societal discrepancies in the welfare state as well as the art world of the early 1970s. Lövin was as much a dystopian observer as a utopian thinker, where art must, according to him, engage the whole of society, and in essence change reality rather than act upon aesthetic experience.

    The personal is always contemporary, this essay argues. It concerns a question about the now, what Michel Foucault called »the ontology of actuality«, which means that, for Lövin, art must engage in the historical and critical questioning on how the present is configured, in its blind spots and hidden potentialities. Here, another element in the exhibition foregrounds the ontological questioning of the now: the fact that the two environments were designed as archaeological excavations in the future, representing an era before a catastrophic event. Lövin challenged us to look upon our times as if struck with amnesia. This remarkable displacement of perspective makes it possible for Lövin to not only reveal the inherent contradictions in the social conditions of the 1970s, through the harsh conditions that Mr. P represents, but to regard potentially everything, the consumer culture and all ephemeral expressions of our society – through the eyes of the future scientists – as art.

    Challenging the problematic notions of persona, socially determined beings or citizens, we are guided by Lövin, in a way that is not unusual of his time, to look upon »the art of the people« as synonymous with »the life of the people«. In this essay, which is one of the first in-depth analysis of Lövin, who Lars Nittve has called »the creator of some of the most important Swedish exhibitions in the last decades«, the allegorical meaning of »the art of the people« is seen as the nexus where the personal is pushed through its boundaries, to its ostensibly opposite meaning, the impersonal, in which a social utopia of the now emerges.

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  • 124.
    Hällgren, Anna-Maria
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Att skriva konstens och naturresursernas gemensamma historia2024In: Ekologisk konstvetenskap / [ed] Anna-Maria Hällgren; Dan Karlholm, Huddinge: Södertörns högskola, 2024, p. 175-197Chapter in book (Refereed)
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    Att skriva konstens och naturresursernas gemensamma historia
  • 125.
    Hällgren, Anna-Maria
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Karlholm, DanSödertörn University, School of Culture and Education, History and Theory of Art.
    Ekologisk konstvetenskap2024Collection (editor) (Refereed)
    Abstract [sv]

    Vilken betydelse kan konsten ha mot bakgrund av pågående klimatförändringar? Hur gestaltas människans omvandlingar av jorden, havet och atmosfären i konst och visuell kultur?

    Här introduceras forskningsfältet ekologisk konstvetenskap i Sverige. Läsaren får möta konstvetenskapens fossila sammanhang, miljö- och havshumaniora, gestaltade istider och gränsöverskridande artivism. Författarna utforskar vidare trädgårdars påverkan på biologisk mångfald, landskap som tecken på exploatering av naturresurser samt nya sätt att metodiskt närma sig ekokritik och ekologiskt tänkande inom konst- och bildvetenskap.

    Syftet med boken är att ringa in, exemplifiera och utveckla en ekologisk, hållbar konstvetenskap, som på kreativa och konstruktiva sätt ytterst kan bidra till att värna jordens ekosystem.

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    Ekologisk konstvetenskap
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  • 126.
    Hällgren, Anna-Maria
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Introduktion2024In: Ekologisk konstvetenskap / [ed] Anna-Maria Hällgren; Dan Karlholm, Huddinge: Södertörns högskola, 2024, p. 7-24Chapter in book (Other academic)
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    Introduktion
  • 127.
    Håkansson, Fredrik
    Södertörn University College, The School of Culture and Communication.
    Att välja perspektiv: "Arkitektur i Sverige - Funktion, konstruktion och estetik genom tiderna".2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    This essay tries to show how The Swedish Museum of Architecture, Stockholm, with the exibition Architecture in Sweden - Function, Design and Aesthetic through the Ages, presents and represents architecture. It is stated that this is done in a multi-perspectival, multimedial fashion, with the aid of, for example, photography, models and mixed material surrounding the wide concept of ’architecture’. One chapter discusses the relationships between the exhibition on site, the exhibition catalog and the museum´s website. Another chapter argues that there can be no essential or perfect representation of architecture, although this utopian wish most certainly exists even today. A general idea is that the problems regarding architectural representation has something to do with its double position within art history as well as its multi-dimensional characteristics. In addition to this, our daily encounters with architecture is also said to contribute. Furthermore, it is argued that exhibitions understood as site-specific and temporal events, need further research.

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    FULLTEXT01
  • 128.
    Immonen, Paulina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Konsten att stå på egna ben: - En materialistisk kontextanalys av hur konst och konstnärskap föreslås finansieras på den kommersiella marknaden enligt tidskriften Artworks: the arts and business journal 2020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay examines the content in the Artworks: the arts & business journal with the aim to find out what economic models and business ideas are presented to be applied by the artists and the artworld. The method being used is a material context analysis, together with Marxist capitalist theories, with ‘speculation as a mode of production’ according to Marina Vishmidt, as a philosophical analysis tool. The results show that the opinions and suggestions that appear in the material correlates with the political and economic development of the modern western society: arts should work more closely with the business, and also it should be a business itself. Internet and technology appear as a main field of opportunities suggested for the artworld in order to increase their businesses and autonomy. The results of the analysis also show ‘speculation as a mode of production’ in action and explains how art and creative work can be measured and used in a business plan. 

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    Immonen Paulina - C-Uppsats i Konstvetenskap
  • 129.
    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.

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    fulltext
  • 130.
    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.

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    fulltext
  • 131.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    1842: Handböckernas konsthistoria och de anakrona ikonerna2020In: Inspiration: Tradition och samtid / [ed] Susanna Pettersson, Stockholm: Nationalmuseum, 2020, 1, p. 86-96Chapter in book (Other academic)
  • 132.
    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.

  • 133.
    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

  • 134.
    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)
  • 135.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Art Work in Public Time: a study of Forest Calling, Ställbergs Gruva and Eternal Employment2023In: Renegotiations: The Role of Public Art in the New Millenium / [ed] Håkan Nilsson, Huddinge: Södertörns högskola, 2023, p. 73-97Chapter in book (Refereed)
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    Art Work in Public Time: a study of Forest Calling, Ställbergs Gruva and Eternal Employment
  • 136.
    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)
  • 137.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Biografi över en stjärna: Recension av Julia Voss, Hilma af Klint. En biografi (Bonniers, 2021)2022In: Kunstkritikk, E-ISSN 1504-0925, no 2022-02-02Article, book review (Other (popular science, discussion, etc.))
  • 138.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Den fossila moderniteten och konstvetenskapens ekologiska möjligheter2024In: Ekologisk konstvetenskap / [ed] Anna-Maria Hällgren; Dan Karlholm, Huddinge: Södertörns högskola, 2024, p. 25-49Chapter in book (Refereed)
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    Den fossila moderniteten och konstvetenskapens ekologiska möjligheter
  • 139. 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)
  • 140.
    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)
  • 141.
    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)
  • 142.
    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.))
  • 143.
    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.))
  • 144.
    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)
  • 145.
    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)
  • 146.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    From Horizontal Art History to Lateral Art Studies2022In: Horizontal Art History and Beyond: Revising Peripheral Critical Practices / [ed] Agata Jakubowska; Magdalena Radomska, New York: Routledge, 2022, p. 182-194Chapter in book (Other academic)
    Abstract [en]

    Piotr Piotrowski’s vision of horizontal art history is a diagnosis of severe structural problems with modern West-centred art history writing. As a “model” for future use and a new “paradigm” of art historiography, however, the vocabulary and its generic avant-gardism threatens to short-circuit this critique. Part one of this chapter deals with how the notion of horizontal art history is presented and discussed by the author. Part two argues that to accomplish a truly horizontal or flat art history, we must change our inherited conceptual art-historical infrastructure, which is soaked in hierarchical thinking and binarisms. An “art history of the margins” is inevitably hierarchical vis-à-vis its external “centre” and internally—by differentiating between advanced and mediocre, cutting edge and reargarde, important and less important art, etcetera. The article suggests how Piotrowski’s project of an art history “without domination” could be realized. What I term lateral art studies seek to investigate how the material singularities of art, i.e. artworks, interconnect and relate to each other, what shifting assemblages (DeLanda) they produce, what time layers (Koselleck) they contain, and how such studies could overcome the compulsion among art historians to decide what is in and out, major or minor, central or marginal.

  • 147.
    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)
  • 148. 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)
  • 149.
    Karlholm, Dan
    Uppsala universitet.
    Handböckernas konsthistoria: om skapandet av ”allmän konsthistoria” i Tyskland under 1800-talet1996Doctoral thesis, monograph (Other academic)
  • 150. 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.

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