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  • 151.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Tradition and Visual Culture in the Face of Contemporary Art2006In: NORDIK 2006, Webpublikasjon: Tradition and visual culture, 2006, p. -12Conference paper (Other academic)
  • 152. Karlholm, Dan
    [Utställnings recension] Renässansteckningar från Florens ur Giorgio Vasaris samling: Nationalmuseum, Stockholm23 mars-10 juni 20012001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 70, no 4, p. 244-246Article, book review (Other academic)
  • 153.
    Karlholm, Dan
    Södertörn University, School of Culture and Education.
    Vad är samtidskonst?2014In: Konstperspektiv, ISSN 0347-4453, no 3, p. 31-32Article in journal (Other (popular science, discussion, etc.))
  • 154.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Vandring i markerna: bildvävnad, 1971-72, Ingegerd Möller, ägare: Stockholms läns landsting2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull, Dan Karlholm, Huddinge: Huge fastigheter , 2007, p. 48-Chapter in book (Other (popular science, discussion, etc.))
  • 155. Karlholm, Dan
    Vetenskapens vardag2000In: 8 kapitel om konsthistoriens historia i Sverige / [ed] Britt-Inger Johansson, Hans Pettersson, Stockholm: Raster , 2000Chapter in book (Other academic)
  • 156.
    Karlholm, Dan
    Södertörn University, Institutionen för medier, konst och filosofi, Art history.
    Visuella kulturstudier: betraktelse över ett expanderande forskningsfält2003In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 72, no 3, p. 186-205Article in journal (Refereed)
  • 157.
    Karlholm, Dan
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Moxey, K.
    Barnard College / Columbia University.
    Introduction: Telling art’s time2018In: Time in the History of Art: Temporality, Chronology and Anachrony / [ed] D. Karlholm & K. Moxey, New York & Abingdon, Oxon: Routledge, 2018, p. 1-10Chapter in book (Other academic)
    Abstract [en]

    Art history as we know it is regarded by many actors in the art world as obsolete. Today, it seems contemporaneity rules in a “post-historical” situation, where art history seems deprived of a future. Some two decades or more after the heyday of postmodernism, it is time to reconsider what kinds of historical claims can still be made for the field of art history and visual studies. If the very word “history” is laden with antiquated expectations of “objectivity” as the discipline goes about its customary business of putting objects back into their chronological place, then the concept of temporality opens up fresh approaches to the temporal organization of the discipline. What if visual art is in a position to explain and expand history rather than vice versa? What if the artwork grounds history? What if the work does not necessarily belong to its own time, but was born prematurely or belatedly, disjointed with respect to a chronological axis? Art historical approaches are still possible, indeed needed, but they do look a little different from those to which we have become accustomed.

  • 158.
    Karlholm, Dan
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Moxey, KeithBarnard College/ Columbia University.
    Time in the History of Art: Temporality, Chronology, and Anachrony2018Collection (editor) (Other academic)
  • 159.
    Kaur, Diana
    Södertörn University, School of Culture and Education.
    Seth Siegelaub´s manifesto: A discourse analysis of The Artist’s Reserved Rights Transfer and Sale Agreement2015Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    In early 1971, a year before he abandoned the art world, the American art dealer and independent curator Seth Siegelaub (1941-2013) published The Artist’s Reserved Rights Transfer and Sale Agreement (ARRTSA) in New York. Its stated aim was to change the power relations on the art market more in favor of the artists. This study departs from the observation that despite being a seemingly ideal way to assert artist’s rights, ARRTSA has only been used by a few artists. While the reason for this reluctance has not been sufficiently researched, my study also shows that there is a lack of academic work that considers this area of research in art history. In order to shed light on this field I am using Fairclough’s theory and by applying his dialectical method of Critical Discourse Analysis, I examine the discourses in which ARRTSA is included as a particular discourse and event.

    The analysis of Siegelaub’s practice and position in combination with a close linguistic analysis of his introductory text highlights aspects and dimensions that have been previously occluded or under- acknowledged. The result of the analysis shows that the discourse stresses solidarity, insistence and consistency for artists and makes a moral appeal to collectors, but the text also reproduces the idiosyncratic energy and ambiguities that was surrounding his driven persona. I argue that despite all the purported benefits of ARRTSA, artists are instilled with a sense of uncertainty and risk, because it becomes apparent how informal and unregulated the art world is and how the art market-logic yields more power than the artist. Hence, the idea of pursuing artist’s rights through the use of written agreements remains largely unexplored. 

  • 160.
    Kimvall, Jacob
    Södertörn University College, The School of Culture and Communication.
    Skadegörelse klotter nedskräpning förbjuden: Graffitiborttagning som ikonoklasm2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    This essay concerns graffiti, and in particular graffiti removal regarded as iconoclasm.

    Graffiti is described as a visual symbol laden with both negative and positive values, and sometimes as a meaningful expression in the urban public space. One problem with graffiti as a field of study is the diversity of both the meaning of the term as well as the diversity of the phenomenon itself. Therefore I have defined the term graffiti as follows: words and images painted on public walls by a person usually in an unauthorised manner. Specific examples of graffiti and related phenomena are presented. Within the Swedish anti-graffiti discourse the pejorative term klotter (scribbling) is used to describe what I above define as graffiti. A short analysis of this discourse is followed by case studies of specific examples of graffiti removal that can be regarded as iconoclasm.

  • 161.
    Kleberg, Lars
    Södertörn University.
    Repins Golgatatriptyk2014In: Med blicken österut: hyllningsskrift till Per-Arne Bodin / [ed] Per Ambrosiani, Elisabeth Löfstrand, Ewa Teodorowicz-Hellman, Skellefteå: Artos & Norma, 2014, p. 173-182Chapter in book (Other academic)
  • 162.
    Korolczuk, Elżbieta
    Södertörn University College, School of Social Sciences, Sociology.
    'Ginealogy': Towards the revival of feminine genealogies in the works of contemporary Polish artists2008In: Journal of the Association for Research on Mothering, ISSN 1488-0989, Vol. 10, no 2Article in journal (Refereed)
    Abstract [en]

    Luce Irigaray argues, that in order to re-evaluate and revive the feminine in culture we need to turn our attention to relations between women, especially mothers and daughters, and revive “feminine genealogies from oblivion” (1995: 13). In the present text, I scrutinize the works of contemporary Polish artists: Monika Zielińska/Mamzeta and Katarzyna Górny demonstrating strategies they employ to retrace the voices of women and to re-interpret the figures of the mother and daughter. Their art can be viewed as an attempt to transgress the established gender order in a very Irigarayan sense: by bringing up the maternal, and by regaining female genealogies, or even creating “ginealogies” instead—the term referring to the work “Genealogy/ginealogy: The Scar After the Mother” by Monika Zielińska, who replaced the supposedly neutral prefix “gyne” with feminine “gine.” Through the representations of the maternal body: sensual and desiring, but also aging, sick, disabled or dying, entirely new understanding of female subjectivity can be acquired. Female corporeality, also the non-normative that typically exists on the margins of the patriarchal culture is finally placed in the centre. Artists, whose works I discuss struggle to find visual language(s) that would enable the expression of women’s experiences, in line with Irigaray’s idea of reviving women’s language(s) and representations along with enlivening their-story, making an important contribution to the attempts at recovering the female voice, which is still undervalued and forgotten in our culture(s)

  • 163.
    Krispinsson, Charlotta
    Södertörn University College, The School of Culture and Communication.
    Abstrakt konst idag: En studie av Ann Edholm och Jacob Dahlgrens förhållande till modernismen2007Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [sv]

    This paper presents an approach in contemporary, abstract art for a new way of experiencing modernist abstraction. This has not been possible until now, about 40 years after the postmodern turn against modernism in art, and the closely connected formalism. This new approach is represented in this paper by the Swedish contemporary artists Ann Edholm and Jacob Dahlgren. Modernist artists such as Kasimir Malevich and Piet Mondrian receives a new relevance to contemporary abstract art. This opens up for a new, more complex and more dialectical understanding and re-evaluation of modernism and its abstract art.This is shown by a historical and chronological investigation which highlights modernist abstract art, formalism, and the critical and post-modern Neo-geometric ‘abstraction’ of the eighties. This background has been a way of proving how modernist abstraction still can possess a validity for contemporary art today, and even vitalize a continuation for abstract art as a contemporary practice.

  • 164.
    Krispinsson, Charlotta
    Södertörn University College, School of Culture and Communication.
    Ung, samtida och postmodern: En studie av det svenska konstfältet under 1980-talet utifrån Lars Nilssons konstnärskap2010Independent thesis Advanced level (degree of Master (One Year)), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    The aim of this thesis is to study the Swedish art field during the 1980s, from the perspective of the artistic production of Lars Nilsson. During this decade he became one of the most well known young artists associated with postmodernism.

    The thesis is divided into three parts, where the first part examines different influences and aspects of the art of Lars Nilsson, as well as the contexts he was a part of. This is performed through a chronological as well as a categorizing presentation, based upon different exhibitions where Nilsson participated during the 1980s.

    In the second part the subject is the Swedish art field, and how Lars Nilsson came to be part of a a new established category of a young generation of artists, mostly born in the 1950s, who were associated with youth, postmodernism and contemporaneousness. This part also puts attention to the importance of Lars Nittve, then art critic and curator, in introducing postmodernism, as well as establishing this new categorization of artists in Sweden.

    The last part of the thesis studies four different group exhibitions, and how they all exemplify how "a younger generation of artists" were to be connected with notions of postmodernism and contemporaneousness through curatorial practice. Lars Nilsson participated at the thirst three of these exhibitions. This is followed with a last group exhibition, where the idea of younger artists as the most contemporary were to be questioned. The thesis ends with a summary and a discussion.

  • 165.
    Lantz, Lisa
    Södertörn University College, The School of Culture and Communication.
    Katten i konsten på Nationalmuseum2007Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The purpose of this science of Art History research paper is to find out the meaning of Cats in Art. I have limited my studies to the Nationalmuseums picture gallery and found forty paintings with cats. I have chosen sixteen of these to furthur analyze typographically and chronologically from a symbolic perspective. The forty paintings from the Nationalmuseum were created during four centuries, with the first being painted in the Sixteenth Century. I have studied the cats dimensional placement in the picture, if the cat is in an outdoor or indoor environment, with people and if the cat is active or passive. I have studied which color the cat has in the motive, if it is painted on the left or right side of the picture and if the cat as at symbol enhances the motives.

  • 166. Larsson, Camilla
    Att förlänga blicken: Anteckningar om Stereoskopisk scenografi, Kronologi och Utan titel (Dalarna)2013In: Platser, samlingar, namn / [ed] Malin Pettersson Öberg, Stockholm: Malin Pettersson Öberg och Kajsa Pontén , 2013, p. 53-59Chapter in book (Other (popular science, discussion, etc.))
  • 167.
    Larsson, Camilla
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Closed Circadian Circuit Notes on the work of Tamara Henderson and Julia Feyrer2016In: Insomnia: sleeplessness as a cultural symptom / [ed] Sara Arrhenius, Sofia Curman, Camilla Larsson, Stockholm: Bonniers Konsthall , 2016Chapter in book (Other (popular science, discussion, etc.))
  • 168.
    Larsson, Camilla
    Södertörn University, School of Culture and Education.
    Curatorns ordning: En diskursanalys av curatorns yrkesroll utifrån 15 curatorutbildningar2012Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This study departs from the observation that since the late 1980´s educational programmes for curators have been established and since then expanded greatly. The programmes are part of a process of institutionalization and professionalization of the role of the curator within the international contemporary art field where the role as such has gained much power. Even though many statements have been made about this relatively new phenomenon of curatorial studies, there is a lack of sufficient research. The intention of this study is therefore to examine the educational programmes as such. The selection of 15 programmes has been made with the purpose to include early as well as newly established and to cover a wide geographic area. The starting point has been to ask what kind of knowledge and role of the curator the programmes are given prominence to. Using Michel Foucault´s and Norman Fairclough´s theory and methods on discourses I examine the programmes as a discursive practice. The analysis shows that there is a strong coherence within the field of the programmes and certain ideals, conventions and procedures are shared among them. The programmes are highly dependent on the professional field of curators – individuals as well as institutions are frequently being invited to lecture and support the students. The application procedures make sure that students who are willing to adopt to given ideals and norms, are being accepted. Furthermore the ideal role of the curator has been defined with the following concepts – new institutionalism, an expanded working field and discursive curating. The curator is highlighted as creative, critical and independent. These concepts have been singled out and made explicitly unique for the role of the curator by the programmes although aspects have clearly been taken from the role of the artist and the critics. The result has been a stronger competition between these positions. The programmes are institutions that promote the curator as an important and irreplaceable agent and to claim even a stronger position new assets have been singled out in the form of a theoretical and academic capital.        

    Educational programmes included in the study: École du Magasin, Grenoble, Whitney Independent Study Program, New York, Curating Contemporary Art, Art Royal College of Art, London, De Appel Curatorial Programme, Amsterdam, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, MFA Curating, Goldsmiths, London, CuratorLab - Curatorial Program for Professionals in Arts, Crafts and Design, Konstfack, Stockholm, Curating Art - International Master Programme in Curating Art, including Management and Law, Stockholm university, Curatorial practice, California College of the Arts, San Francisco, Post-graduate Programme in Curating, Zürich University of the Arts, PhD-programme Curatorial/Knowledge, Goldsmiths, London, Cultures of the Curatorial, Academy of Visual Arts Leipzig, CuMMA - Curating, Managing and Mediating Art, Aalto University, Helsinki, PhD-programme Curating, Zürich University of the Arts in collaboration with the university of Reading, Praxis Master’s Programme, Finnish Art Academy, Helsinki.

  • 169. Larsson, Camilla
    How One Become What One Is2015In: Sharon Lockhart : Milena, Milena: a work in progress / [ed] Jane E. Neidhardt, Stockholm: Bonniers Konsthall , 2015Chapter in book (Other (popular science, discussion, etc.))
  • 170. Larsson, Camilla
    Måleriets natur2013In: Martin Jacobson: Exkursioner / [ed] Bera Nordal, Skärhamn: Nordiska akvarellmuseet , 2013Chapter in book (Other (popular science, discussion, etc.))
  • 171. Larsson, Camilla
    To talk around and about2014In: Andreas Eriksson: roundabouts / [ed] Sara Arrhenius, Sofia Curman, Camilla Larsson, London: Koenig Books , 2014Chapter in book (Other (popular science, discussion, etc.))
  • 172.
    Lazarescu, Irene
    Södertörn University College, The School of Culture and Communication.
    En diktator, en vampyr och färgen grå: Förutsättningar för rumänsk samtidskonst före och efter 19892008Independent thesis Basic level (degree of Bachelor), 15 points / 22,5 hpStudent thesis
    Abstract [en]

    The conditions for art in Romania have gone through big changes since the collapse of the regime in December of 1989. Under the Communist regime the artists had to work within a dualistic system completely unlike the one that developed in the West during the same period.

    Similar to the other countries of the former Eastern block, the communist Romanian state had understood the great potential that art has as a form of propaganda. Thus the regime secured full control over the art that would be allowed into the public space. In response to the confines set on the artistic expressions, a non-official art began to develop alongside the official art of the state.

    These two layers of Romanian art history were dissolved when Ceausescu’s regime finally came to an end in 1989. The underground art was suddenly available to an audience, while the official art was discredited. Out of the chaos that followed, a new Romanian art was born. During the 1990’s many Romanian artists started to process the past to try to understand their present situation, while others investigated Romanian identity as perceived from the outside.

    The main focus of this paper has been to look at the conditions for contemporary Romanian art under Communism, and how they have changed since 1989.

    My research has been based on literature such as The History of the Romanian People (1970), Primary Documents (2002) and Actionism in Romania during the Commuinist Era (2002), as well as on my own interviews with artists Constantin Mara, Ion Grigorescu, Matei Lazarescu, Kuki Constantinescu and Stefan Constantinescu.

  • 173.
    Leidner, Anette
    Södertörn University College, The School of Culture and Communication.
    Oskar Bergman: En översikt över hans mest produktiva år som landskapsmålare2009Independent thesis Basic level (degree of Bachelor)Student thesis
  • 174.
    Lena, Naarttijärvi
    Södertörn University College, School of Culture and Communication.
    Bidrar utställningen "Maria - Drömmen om kvinnan" till genusperspektivet inom det konstvetenskapliga fältet?2008Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose with this essay is to study if the exhibition, Maria-Drömmen om kvinnan has a gender perspective and if it contributes to the history of art. The study shows what kind of women the exhibition illustrates and what kind of perspective it has. By telling about the black Madonna I also show that there is another representation of the middle age women in the Roman Catholic Church at this time that the exhibition not have included. The study is also going to illustrate the difference between a genderperspektiv in art and a women’s perspective. I use the world of art and a study from the government to explain how the gender perspective can be used.

  • 175. Liljefors, Max
    et al.
    Bydler, Charlotte
    Another Great Divide or the Same Old Culture in the Virtual City?1998In: S.CR.A.M. (Swedish Critical Art Magazine), ISSN 1403-1310, no 3, p. 8-11Article in journal (Other (popular science, discussion, etc.))
  • 176. Liljefors, Max
    et al.
    Bydler, Charlotte
    Speaking the new x 31998In: S.CR.A.M. (Swedish Critical Art Magazine), ISSN 1403-1310, no 3, p. 12-15Article in journal (Other (popular science, discussion, etc.))
  • 177.
    Linander, Eva
    Södertörn University College, School of Culture and Communication.
    Då den goda smaken utmanades: estetik och marknad i svensk konst 18852010Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    What is discussed here are the events taking place in Sweden in 1885, a turbulent year in Swedish art history. It is shown how the conception of Swedish art, in creating a Swedish identity in art, was expanded.  Two exhibitions were analyzed, Akademiens för de fria konsterna Jubileumsutställning and Opponenternas utställning. While the artists exhibiting at the Academy were using traditional strategies and thechniques, several artists at Opponenterna, were using modern techniques they had learned outside the Academy, mostly in France. These techniques were: experimenting with perspective and the use of empty spaces in mediating ambiance. The third strategy was that of individualization by moving closer to the motif. These techniques and strategies are known to be early modernist techniques. Reviews, discussing Opponenternas utställning - from a traditional academic and a modern, French, stand-point - were analyzed. Even though the reviewers did not appreciate techniques  relating to much to ”the opposite side”, they agreed on an extended classification of portraiture and landscape painting in defining a Swedish identity in art. They also agreed on that, what could be considered as artists too much inspired by the French, should not be appreciated as classificatory. The exhibition itself, with influences from modern French exhibition techniques, and its artists, thus broke up the academic monopoly in defining and constructing Art in order to obtain a Swedish identity as a nation.

  • 178.
    Linander, Eva
    Södertörn University College, School of Culture and Communication.
    Strömkarlen och "Hvad tjenar konsten till?": Programförklaring i två delar, av Ernst Josephson2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this essay is to investigate modern influence in the painting Strömkarlen, by Ernst Josephson. Strömkarlen was painted 1884 in Norway. First the essay performed an investigation of earlier researchers statements to establish a ”common truth” that puts the painting in a realistic/naturalistic-romantic context. With the help of Yve-Alain Bois’ model, where he sees art from the painters point of wiew, it was possible to use two articles, written by Ernst Josephson in the fall of 1884, where he debates the conditions for art and artists in Sweden. By combining visual and textual interpretation, using a historical context, it is possible to see modern influence in Strömkarlen. Ernst Josephson wanted free and subjective art and artists, in opposition to the state controlled art system that existed in Sweden in the end of 19th century. Strömkarlen and the articles can also be seen as a combined proclamation for a new, free and modern art and what it could look like in a Scandinavian context. 

  • 179.
    Malmström, Caroline
    Södertörn University College, The School of Culture and Communication.
    Pepparkaksform eller avantgarde?: Provokationen hos Joanna Rytel2006Independent thesis Basic level (degree of Bachelor), 20 points / 30 hpStudent thesis
    Abstract [en]

    This study critically reviews four works of the artist Joanna Rytel with the intention to find out if and how she is provocative. In order to do that I have studied the reactions on these works, mainly through press material, which differs from letters to the editors and comments posted on discussion forums that's also been used. My conclusion is that Rytel provokes not just because of her choice of subject, but because of her concept of 'art' doesn't agree with the general public's, i.e. 'art' is supposed to be something merely beautiful. The journalists sometimes seems provoked by Rytel's ability to draw attention and have claimed that to be her main aim.

  • 180.
    Miroff, Katia
    Södertörn University College, The School of Culture and Communication.
    Excess och kontroll: an Analysis of Annika Larsson’s Videos Pink Ball and Poliisi2008Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The aim of the thesis is to identify and investigate central themes in two video artworks, Poliisi and Pink Ball, by Swedish artist Annika Larsson. Moreover it is an investigation of the configurations of violence, and an enquiring whether these works have a social-minded intention.

    Elements in scenery, framing and narration are analysed with the term “crystalline regime” (régim cristallin), described by French philosopher Gilles Deleuze, which defines the artificial as opposed to the purely representational. Processes within the narrations of the two works are analysed as rituals, which leads to an investigation of an internal sign-system and to the question whether the rituals in these works have a function. Theory by French philosopher Georges Bataille is used to analyse the ritual with no external purpose, which aims at an intense experience of life. Bataille’s concept “intensity” is used to describe violent as much as erotic themes in the narration as well as in the way the characters are presented, regarding music, camera-angles, etc. Furthermore, the thesis refutes interpretations in which Annika Larssons works are viewed as comments on political matters, such as gender-issues.

  • 181.
    Mohlin, Anna
    Södertörn University, School of Culture and Education.
    Den lesbiska blicken: En undersökning av blick och betraktarskap utifrån tre målningar av Romaine Brooks2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This paper aims to investigate the terms and conditions of a lesbian gaze and a lesbian spectatorship from a feminist and queer theoretical point of view. The empirical material consists of three paintings by the American artist Romaine Brooks (1874-1970).  Brooks was based in Paris in the early 20th century where she was surrounded by a group of intellectual and usually cross-dressing lesbians. The women within this context are the ones depicted in Brooks’ paintings and this makes her one of the first artists in modernity to openly portray lesbian and cross-dressing women. Her paintings lead into new conditions for the traditional understanding of spectatorship as well as female positions, since there is no male involvement or presence within the interactive space surrounding these paintings. The survey tries to further investigate and break down already existing theories concerning spectatorship with the main focus on Laura Mulvey’s the male gaze, termed in the essay “Visual Pleasure and Narrative Cinema” (1975). The queer theoretical approach in this paper is based on Judith Butler’s performativity, which then is attached to gaze theories in order to investigate the active and passive positions found in Brooks’ paintings. The paper does also include an analysis of the male gaze in relation to modernism, avant-garde, canon and subsequently the reason behind Brooks’ absence in modernist canon. 

  • 182. Myrstener, Pella
    En orientalisk fantasi: om illustrationerna till Lennart Hellsings Kanaljen i Seraljen från 19562016In: Opsis barnkultur, ISSN 0283-653X, no 1, p. 42-46Article in journal (Other (popular science, discussion, etc.))
  • 183. Myrstener, Pella
    Giorgio de Chirico och motivet Piazza d'Italia2017In: Romhorisont, ISSN 0349-5590, no 66, p. 13-14Article in journal (Other (popular science, discussion, etc.))
  • 184.
    Myrstener, Pella
    Södertörn University, School of Culture and Education.
    Liss Eriksson, Arne Jones, Knut-Erik Lindberg och "1947 års män": En kultursociologisk studie av vägval och karriärer2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    I have studied the Swedish artist formation ”1947 års män” with a sociological perspective based on the ideas of Pierre Bourdieu. I initially made a study of the group as a whole, and after that I chose to focus on the sculptors Liss Eriksson, Arne Jones and Knut-Erik Lindberg. I have examined why some of the artists in the formation became more successful than others. My results show that the ones who were versed in culture or came from an economically or intellectually stronger background also were considered to be the most pioneering artists. These artists also were the ones who became noticed by the art critics at their break-through exhibition in Stockholm in 1947. The art critics’ reviews likely had an impact on the future careers of the artists, as well as on the extent of which they came to be reminded today. 

  • 185.
    Myrstener, Pella
    Uppsala universitet.
    Porten till Österlandet: Exotism och fantasi i Lennart Hellsings vers "Istanbul" med illustration av Stig Lindberg2016In: Dragomanen: Årsskrift utgiven av Svenska Forskningsinstitutet i Istanbul, ISSN 1402-358X, Vol. 18, p. 61-71Article in journal (Other academic)
  • 186.
    Nagano Holm, Maya
    Södertörn University, School of Culture and Education.
    Konstruktioner av "Kina" genom typografi: En analys av exotypsnitt och filmaffischen Charlie Chan i Kina (1935)2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay examines a typeface used for Roman letters meant to connote ”China” as an exotic and foreign place, within Swedish visual culture history. I examine this typeface using Swedish film posters by Eric Rohman (1891-1949) from the Charlie Chan-series from the years 1934-1940, focusing on the poster Charlie Chan i Kina (1935). The purpose is to examine constructions of ”the Chinese” and ”China” in these posters, and how this specific typeface has been used in these depictions as well as been constructed in relation to these ideas. Through a semiotic model for image analysis and the appliance of postcolonial studies, critical race theory and visual culture studies, I arrive at several conclusions. By imitating Chinese calligraphic visual elements, the typeface in Charlie Chan i Kina has the ability to connote ”China” as an exotic, traditional and foreign place, for a white Swedish audience. The analysis discusses the semiotic functions of the typeface in relation to contexts of the film poster, Swedish visual culture history and discourses concerning race in Sweden.

  • 187.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Abstraktion för demokrati: Gert Marcus i Huddinge2016In: Konsten på Södertörn: Art at Södertörn University / [ed] Annika Öhrner, Huddinge: Södertörns högskola, 2016, p. 8-29Chapter in book (Other academic)
  • 188. Nilsson, Håkan
    Annika Larsson: dominance and submission2002In: Parkett, ISSN 0256-0917, no 64, p. 144-152Article in journal (Other (popular science, discussion, etc.))
  • 189.
    Nilsson, Håkan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Anteckningar kring Olle Baertlings öppna form2003In: Baertling, Halmstad: Mjellby konstgård , 2003Chapter in book (Other (popular science, discussion, etc.))
  • 190.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Artistic research and the grammar of painting2014In: Studio Talks: Thinking Through Painting / [ed] Bength, Kristina, Stockholm: Arvinius + Orfeus , 2014, p. 155-168Chapter in book (Other academic)
  • 191.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Beyond the Borders: Elgaland-Vargaland and Association for Temporary Art2017In: A Cultural History of the Avant-Garde in the Nordic Countries, Vol. 4, 1975-2000 / [ed] Benedikt Hjartarson, Camilla Skovbjerg Paldam, Laura Schultz and Tania Ørum, Rodopi, 2017Chapter in book (Refereed)
  • 192.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Bilder av verkligheten2007In: Anna Kleberg, Uppsala: Uppsala konstmuseum , 2007, p. 47-50Chapter in book (Other (popular science, discussion, etc.))
  • 193. Nilsson, Håkan
    Bortom gott och ont2000In: Flown Over by an Old King, Stockholm: Färgfabriken , 2000Chapter in book (Other (popular science, discussion, etc.))
  • 194.
    Nilsson, Håkan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Charlotte Gyllenhammar2004In: Charlotte Gyllenhammar / [ed] Magnus Jensner, Evalena Lidman, Stockholm: Carlsson , 2004Chapter in book (Other (popular science, discussion, etc.))
  • 195.
    Nilsson, Håkan
    Södertörn University, School of Culture and Communication, Art history. Konstfack.
    Clay Ketter: Faux terrain2010Other (Other (popular science, discussion, etc.))
  • 196. Nilsson, Håkan
    Clay Ketter: Materializing the context2002In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 71, no 1-2, p. 39-44Article in journal (Refereed)
  • 197.
    Nilsson, Håkan
    Stockholms universitet.
    Clement Greenberg och hans kritiker2000Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation, using a genealogical perspective, examines American art critic Clement Greenberg and why he has become the foremost representative of modernism in much of contemporary, postmodern art criticism. The minimalist break with Greenbergian modernism (esthetic/formalism) during the Sixties has played, and continues to play, an important role in art theory. The break meant a shift from the esthetic/formalist concept that states that works of art can only be judged a media's specific standards-and that this is what makes it possible to talk about "quality"-to the less static concept of "interest," allowing for a pluralistic art scene. What is most important in this context is that minimalism brought about this change by building on a conflict inherent in the esthetic/formalist conception of art-that conflict being between the avant-garde's dynamic need for development, and the static notion of quality. Minimalism, then, transgressed modernism by embracing avant-garde's need for progress. And it is Greenberg's definition of modernism that eventually made this conflict appear.

    Minimalism's break with modernism is still of great importance in two ways. First, it provides arguments in defense of the pluralism of the Sixties against those who have claimed that this pluralism was only a vague copy of the avant-garde during the early twentieth century. It also allows for arguments in favor for certain expressions and against others in the pluralistic art filed-pluralism does not mean that anything goes.

    The notion of avant-garde is of great significance in this dissertation. It is the conflict between Greenberg's understanding of avant-garde and its need for development, and the static idea of the media-specific, that in the end allows minimalism to transgress modernism. The way in which minimalism transgresses modernism allows the "neo-avant-garde" of the Sixties to reconnect to the practices of the "historical" avant-garde from the early twentieth century. It remains important, even in the pluralistic art field, to differ between "true" and "false" avant-garde. All these arguments point to the importance of Greenberg, a figure so important that had he not existed, he would have to have been invented.

  • 198.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Collective Modernism: Synthesising the Arts, Engaging in Society2017In: Art in Transfer in the Era of Pop: Curatorial Practices and Transnational Strategies / [ed] Annika Öhrner, Huddinge: Södertörns högskola, 2017, p. 289-319Chapter in book (Refereed)
  • 199.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    De rätta proportionerna2007In: Olle Baertling: en modern klassiker / [ed] John Peter Nilsson, Øystein Ustvedt, Marianne Yvenes, Stockholm: Moderna museet , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 200. Nilsson, Håkan
    Den totala revolutionen = The Total revolution2001In: Erfarenhet - upplösning: [Göteborgs internationella konstbiennal 9 juni-16 september 2001] / [ed] Annika Öhrner, Peter Samuelsson, Göteborg: Göteborgs internationella konstbiennal , 2001, p. 13-17Chapter in book (Other (popular science, discussion, etc.))
1234567 151 - 200 of 386
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