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  • 101.
    Hydén, Malin
    Södertörns högskola, Institutionen för kultur och kommunikation.
    Sanning och konsekvens: En studie av den estetiska intentionen hos tre verk av Felix Gmelin2009Independent thesis Advanced level (degree of Master (Two Years)), 30 poäng / 45 hpOppgave
    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.

    Fulltekst (pdf)
    FULLTEXT01
  • 102.
    Hyvönen, Joni
    Södertörns högskola, Institutionen för kultur och kommunikation.
    En dekonstruktion i ljud: J.O. Mallanders Extended Play2011Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    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.

    Fulltekst (pdf)
    fulltext
  • 103.
    Hyvönen, Joni
    Södertörns högskola, Institutionen för kultur och lärande.
    Ett brev från Herr P: om det personliga hos Björn Lövin2013Independent thesis Advanced level (degree of Master (One Year)), 20 poäng / 30 hpOppgave
    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.

    Fulltekst (pdf)
    fulltext
  • 104.
    Håkansson, Fredrik
    Södertörns högskola, Institutionen för kultur och kommunikation.
    Att välja perspektiv: "Arkitektur i Sverige - Funktion, konstruktion och estetik genom tiderna".2006Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    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.

    Fulltekst (pdf)
    FULLTEXT01
  • 105.
    Kapari, Maria
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Dans som utställningsobjekt: Upplevelser och erfarenheter av tid och rörele i Dansmuseets permanenta utställning2010Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    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.

    Fulltekst (pdf)
    fulltext
  • 106.
    Kapari, Maria
    Södertörns högskola, Institutionen för kultur och lärande.
    Om du lyder: En studie av interaktivitetens villkor och verkningar utifrån tre performancebaserade verk2013Independent thesis Advanced level (degree of Master (One Year)), 20 poäng / 30 hpOppgave
    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.

    Fulltekst (pdf)
    fulltext
  • 107.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Action Drawing: Notes on the (dis)Revelatory Nature of Drawing2009Inngår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 78, nr 2, s. 92-103Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 108.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och lärande, Konstvetenskap.
    Aesthetics: Art and Non-Art2014Inngår i: Art History, ISSN 0141-6790, E-ISSN 1467-8365, Vol. 37, nr 5, s. 1005-1009Artikkel, omtale (Annet vitenskapelig)
    Abstract [en]

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

  • 109.
    Karlholm, Dan
    Södertörns högskola, Institutionen för medier, konst och filosofi, Konstvetenskap.
    Art of illusion: the representation of art history in nineteenth-century Germany and beyond2004 (oppl. 1. uppl.)Bok (Annet vitenskapelig)
  • 110.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och lärande.
    Arte contemporáneo y práctica crítica antes y después de la modernidad2013Inngår i: 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, s. 373-390Kapittel i bok, del av antologi (Fagfellevurdert)
  • 111. Karlholm, Dan
    Det tomma monumentet2001Inngår i: Vad betyder verket?: konstvetenskapliga studier kring måleri, skulptur, stadsplanering och arkitektur / [ed] Thomas Hall, Ewa Kron, Lempi Borgwik, Stockholm: Konstvetenskapliga institutionen, Univ. , 2001, s. 43-52Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 112.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Developing the Picture: Wölfflin's Performance Art2010Inngår i: Photography and Culture, ISSN 1751-4517, E-ISSN 1751-4525, Vol. 3, nr 2, s. 207-215Artikkel i tidsskrift (Fagfellevurdert)
  • 113.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Does it Work?: A Note on Pragmatic Parts and Global Wholes2007Inngår i: Is art history global? / [ed] James Elkins, New York: Routledge, 2007, s. 227-232Konferansepaper (Annet vitenskapelig)
  • 114.
    Karlholm, Dan
    Södertörns högskola, Institutionen för medier, konst och filosofi, Konstvetenskap.
    Don’t Believe what you Read: The Critical Suicide of Hans Haacke2003Inngår i: Merge : sound, thought, image, ISSN 1402-6570, nr 2Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 115.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Estetisk rensning2007Inngår i: Dagens Nyheter, ISSN 1101-2447, nr 9 decemberArtikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 116.
    Karlholm, Dan
    Södertörns högskola, Institutionen för medier, konst och filosofi, Konstvetenskap.
    Ett lågt perspektiv på konstvetenskap och pedagogik på högskolan2003Inngår i: Valör, ISSN 0283-751X, nr 4Artikkel i tidsskrift (Annet vitenskapelig)
  • 117.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och lärande, Konstvetenskap.
    Filtering Futures: La Biennale di Venezia. 56th. International Art Exhibtion 2015. All the World's Futures. Artistic Director and Curator: Okwui Enwezor.2015Inngår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, nr 4, s. 248-251Artikkel i tidsskrift (Annet vitenskapelig)
  • 118.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Gijsbrechts baksida2010Inngår i: 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 , 2010Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 119. Karlholm, Dan
    Handböcker i allmän och svensk konsthistoria2000Inngår i: 8 kapitel om konsthistoriens historia i Sverige  / [ed] Britt-Inger Johansson, Hans Pettersson, Stockholm: Raster , 2000Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 120.
    Karlholm, Dan
    Uppsala universitet.
    Handböckernas konsthistoria: om skapandet av ”allmän konsthistoria” i Tyskland under 1800-talet1996Doktoravhandling, monografi (Annet vitenskapelig)
  • 121. Karlholm, Dan
    Histografins konsvetenskap: diagnos av grundutbildningen och förslag till en historiotopisk reform2001Inngår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 70, nr 1-2, s. 32-39Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 122.
    Karlholm, Dan
    Södertörns högskola, Institutionen för medier, konst och filosofi, Konstvetenskap.
    Icons and Idols: On the Role of Representation in the Practice of Interpretation2003Inngår i: Subjectivity and methodology in art history / [ed] Margaretha Rossholm Lagerlöf, Dan Karlholm, Stockholm: Konstvetenskapliga institutionen, Univ. , 2003, s. 33-44Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 123.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och lärande, Konstvetenskap.
    Is History To Be Closed, Saved, or Re-Started?: Considering Efficient Art History2018Inngår i: Time in the History of Art: Temporality, Chronology, and Anachrony / [ed] Dan Karlholm & Keith Moxey, New York & Abingdon, Oxon: Routledge, 2018, 1, s. 13-25Kapittel i bok, del av antologi (Annet vitenskapelig)
    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.

  • 124.
    Karlholm, Dan
    Södertörns högskola, Institutionen för medier, konst och filosofi, Konstvetenskap.
    Konstmuseets bild: om bildskapande på Nationalmuseum från Friedrich August Stüler till Richard Bergh2002Inngår i: 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 , 2002Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 125.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Konstnären som verket och andra postmoderna verkningar2009Inngår i: Svar på frågan: Vad var det postmoderna? / [ed] Sven-Olov Wallenstein, Stockholm: Axl Books , 2009, s. 59-78Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 126.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och lärande, Konstvetenskap.
    Kontemporalism: Om samtidskonstens historia och framtid2014Bok (Annet vitenskapelig)
  • 127.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Learning by Looking (with Words): Wölfflin’s Legacy2009Inngår i: 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 , 2009Konferansepaper (Annet vitenskapelig)
  • 128.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Misery, Beauty, and Other Issues: Linda Nochlin in Conversation with Dan Karlholm2012Inngår i: The Art Bulletin, ISSN 0004-3079, E-ISSN 1559-6478, Vol. 94, nr 2, s. 187-198Artikkel i tidsskrift (Annet vitenskapelig)
  • 129.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Moas stenar: granit och trä, 2002, Claes Hake, ägare: Statens konstråd2007Inngår i: Offentlig konst i Flemingsberg / [ed] Håkan Bull, Dan Karlholm, Huddinge: Huge fastigheter , 2007, s. 66-Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 130.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Natt och Dag: lackerad järnplåt, 2002, P. O. Ultvedt, ägare: Stockholms läns landsting2007Inngår i: Offentlig konst i Flemingsberg / [ed] Håkan Bull, Dan Karlholm, Huddinge: Huge fastigheter , 2007, s. 54-Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 131.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och lärande, Konstvetenskap.
    När konsten blev subjekt2017Inngår i: Samtider: Perspektiv på 2000-talets idéhistoria / [ed] Anders Burman & Lena Lennerhed, Göteborg: Daidalos, 2017, s. 37-58Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 132.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    On the Historical Representation of Contemporary Art2011Inngår i: Rethinking Time: Essays on History, Memory, and Representation / [ed] Hans Ruin, Andrus Ers, Huddinge: Södertörns högskola , 2011, s. 19-28Kapittel i bok, del av antologi (Annet vitenskapelig)
    Fulltekst (pdf)
    On the Historical Representation of Contemporary Art
  • 133.
    Karlholm, Dan
    Södertörns högskola, Institutionen för medier, konst och filosofi, Konstvetenskap.
    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 Museum2006Inngår i: Oxford art journal, ISSN 0142-6540, E-ISSN 1741-7287, Vol. 29, nr 1, s. 145-149Artikkel, omtale (Annet vitenskapelig)
  • 134.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Questionnare: Hva er visuell kultur?2010Inngår i: Ekfrase: nordisk tidsskrift for visuell kultur, ISSN 1891-5752, Vol. 1, nr 1, s. 30-43Artikkel i tidsskrift (Fagfellevurdert)
  • 135. Karlholm, Dan
    Reading the virtual museum of general art history2001Inngår i: Art History, ISSN 0141-6790, E-ISSN 1467-8365, Vol. 24, nr 4, s. 552-577Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 136.
    Karlholm, Dan
    Södertörns högskola, Institutionen för medier, konst och filosofi, Konstvetenskap.
    Reality Art: the Case of Oda Projesi2005Inngår i: Leitmotiv: motivi di estetica e filosofia delle arti, ISSN 1720-3716, Vol. 5, s. 115-124Artikkel i tidsskrift (Annet vitenskapelig)
  • 137.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    [Recension av] Helen Fuchs. Glasmåleri, modernitet, modernism: studier i glasmåleriets (konst)historia 1851–1955. Lund 2005.242 s. ISBN 91-628-6677-X.2007Inngår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 76, nr 3, s. 168-173Artikkel, omtale (Annet vitenskapelig)
  • 138.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    [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 978-91-554-7872-82011Inngår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 80, nr 1, s. 49-52Artikkel, omtale (Annet vitenskapelig)
  • 139. 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 1-890951-14-5.2002Inngår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 71, nr 1-2, s. 58-62Artikkel, omtale (Annet vitenskapelig)
  • 140.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    [Review of] e-flux journal What is Contemporary Art? + Lind & Velthuis (eds.), Contemporary Art and its commercial markets2012Inngår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 81, nr 3, s. 188-193Artikkel, omtale (Annet vitenskapelig)
  • 141. Karlholm, Dan
    [Review of] Gillmore, Jonathan. The Life of a Style: Beginnings and Endings in the Narrative History of Art2002Inngår i: Journal of Aesthetics and Art Criticism, ISSN 0021-8529, E-ISSN 1540-6245, Vol. 60, nr 4, s. 360-361Artikkel, omtale (Annet vitenskapelig)
  • 142. Karlholm, Dan
    [Review of] Hubert Locher, Kunstgeschichte als historische Theorie der Kunst 1750-19502002Inngår i: CAA Reviews, ISSN 1543-950X, nr JanuaryArtikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 143. Karlholm, Dan
    [Review of] James J. Sheehan, Museums in the German Art World: From the End of the Old Regime to the Rise of Modernism2001Inngår i: CAA Reviews, ISSN 1543-950X, nr DecemberArtikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 144. 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 0-262-03265-1.2000Inngår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 69, nr 3-4, s. 233-235Artikkel, omtale (Annet vitenskapelig)
  • 145. 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., $60.00cloth2001Inngår i: Journal of Aesthetics and Art Criticism, ISSN 0021-8529, E-ISSN 1540-6245, Vol. 59, nr 1, s. 105-106Artikkel, omtale (Annet vitenskapelig)
  • 146.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    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]2007Inngår i: SITE, ISSN 1650-7894, nr 21, s. 4-Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 147.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och lärande, Konstvetenskap.
    Suecia hodierna antiqua est: nuet är det förflutna2014Inngår i: Suecia contemporare / [ed] Pontus Raud, Kalmar: Kalmar konstmuseum , 2014, 1, s. 22-28Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 148.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Surveying Contemporary Art: Post-War, Postmodern, and then What?2010Inngår i: Art History: Contemporary Perspectives on Method / [ed] Dana Arnold, John Wiley & Sons, 2010, s. 56-77Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 149.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Surveying Contemporary Art: Post-War, Postmodern, and then what?2009Inngår i: Art History, ISSN 0141-6790, E-ISSN 1467-8365, Vol. 32, nr 4, s. 712-733Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 150.
    Karlholm, Dan
    Södertörns högskola, Institutionen för kultur och kommunikation, Konstvetenskap.
    Södertörn läser lusen av konstkritiken i svensk press2009Inngår i: Paletten, ISSN 0031-0352, nr 2, s. 6-8Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
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