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  • 201.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Det magiska finns kvar2006In: Me myself and I, Stockholm: Artplattform , 2006Chapter in book (Other (popular science, discussion, etc.))
  • 202.
    Nilsson, Håkan
    Södertörn University, School of Culture and Communication, Art history. Konstfack.
    Det mediespecifika i ett postmedialt tillstånd: Om fotografins roll hos tre svenska konstnärer2012In: Det åskådliga och det bottenlösa: tankar om konst och humaniora tillägnade Margaretha Rossholm Lagerlöf / [ed] Thomas Björk, Stockholm: Konstvetenskapliga institutionen, Stockholms universitet , 2012Chapter in book (Other academic)
  • 203.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Eva Sjöberg2009Book (Other (popular science, discussion, etc.))
  • 204.
    Nilsson, Håkan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Figuring the recognizable2005In: Xavier Veilhan: le plein emploi, Strasbourg: Musées de Strasbourg , 2005Chapter in book (Other (popular science, discussion, etc.))
  • 205.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Färgrum och gränslinjer: målad metall, 1997, Gert Marcus, ägare: Stockholms läns landsting2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull, Dan Karlholm, Hudding: Huge fastigheter , 2007, p. 46-Chapter in book (Other (popular science, discussion, etc.))
  • 206.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Gert Marcus: Konstformernas fenomenologi2013In: Gert Marcus: Distansens förvandling / [ed] Françoise Ribeyrolles-Marcus, Stockholm: Carlsson Bokförlag, 2013, p. 87-104Chapter in book (Other (popular science, discussion, etc.))
  • 207.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Hans Isaksson2006In: Hans Isaksson: Works 1998-2006, Stockholm: Roger Björkholmen Galleri , 2006Chapter in book (Other (popular science, discussion, etc.))
  • 208.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Helena Isoz: Svävar, Driver2013In: Katalog 42: statens konstråd 2013, Stockholm: Statens konstråd , 2013Chapter in book (Other (popular science, discussion, etc.))
  • 209.
    Nilsson, Håkan
    Södertörn University, School of Culture and Communication, Art history. Konstfack.
    Hertha Hanson. Poetisk pragmatik – pragmatisk poetik2012Other (Other (popular science, discussion, etc.))
  • 210.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Horisontella berättarplan: Om Cecillia Hultman2016In: Som ur hål funna principer: Cecilia Hultman, Stockholm: Cornelia Sojdelius Gallery , 2016, , p. 24Chapter in book (Other (popular science, discussion, etc.))
  • 211.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    I blickfånget: om skärningspunkten mellan det offentliga och det privata i Charlotte Gyllenhammars konst2007In: Katalog 36: Statens konstråd 2006, Stockholm: Statens konstråd , 2007, p. 169-175Chapter in book (Other (popular science, discussion, etc.))
  • 212.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Ingela Palmertz2015In: Artwork / Ingela Palmertz, Göteborg: Ingela Palmertz , 2015Chapter in book (Other (popular science, discussion, etc.))
  • 213.
    Nilsson, Håkan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Konsten med nya medier2005In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 74, no 4, p. 198-208Article in journal (Refereed)
  • 214.
    Nilsson, Håkan
    Södertörn University, School of Culture and Communication, Art history. Konstfack.
    Krig mot helheten: Phauss/Radium 226.052010In: Omskakade spelplan: Konsten i Göteborg under 1980 och 1990talen / [ed] Kristoffer Arvidsson & Jeff Werner, Göteborg: Göteborgs konstmuseum , 2010, p. 64-84Chapter in book (Other academic)
  • 215.
    Nilsson, Håkan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Lars Arrhenius: Coming to Terms with the Eternal Return2005In: Merge : sound, thought, image, ISSN 1402-6570, p. 26-27Article in journal (Other (popular science, discussion, etc.))
  • 216.
    Nilsson, Håkan
    Södertörn University, School of Culture and Communication, Art history. Konstfack.
    Learning education2012In: What do Artists Know? / [ed] James Elkins, University Park, Pennsylvania: The Pennsylvania State University Press , 2012, p. 186-188Chapter in book (Refereed)
  • 217.
    Nilsson, Håkan
    Södertörn University, School of Culture and Communication, Art history. Konstfack.
    Machine Head: On the art of Robert Henke2010Other (Other (popular science, discussion, etc.))
  • 218.
    Nilsson, Håkan
    Södertörn University, Institutionen för medier, konst och filosofi, Art history.
    Mari Rantanen: skiktningar och sammanflätningar2005In: Mari Rantanen: svenska bilder = Swedish pictures, Mari Rantanen , 2005, p. 6-13Chapter in book (Other (popular science, discussion, etc.))
  • 219. Nilsson, Håkan
    Maria Hedlund2002In: Oito relatos nórdicos: Santiago de Compostela : 11 de xullo - 15 de setembro de 2002 / [ed] Isabel Méndez, Santiago de Compostela: Xunta de Galicia , 2002Chapter in book (Other (popular science, discussion, etc.))
  • 220.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Mellan det individuella och det generella2006In: Konstruktiv tendens 25 / [ed] Françoise Ribeyrolles-Marcus, Stockholm: Konstruktiv tendens , 2006, p. 6-7Chapter in book (Other (popular science, discussion, etc.))
  • 221.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Måleriets rum2009Book (Other academic)
  • 222.
    Nilsson, Håkan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Originella kopior2004In: Falskt och äkta / [ed] Görel Cavalli-Björkman, Stockholm: Nationalmuseum , 2004Chapter in book (Other (popular science, discussion, etc.))
  • 223.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Painting Matters2009In: Virtual artifacts: works 2002-2009, Bandhagen: Biondi Books , 2009Chapter in book (Other (popular science, discussion, etc.))
  • 224.
    Nilsson, Håkan
    Södertörn University, School of Culture and Communication, Art history.
    Placing Art In the Public Realm2012Collection (editor) (Refereed)
    Abstract [en]

    The public realm is a space of paradoxes. While on one hand it seems to be shrinking due to commercialization and to be losing its position as a forum where different agendas can meet, it can also be said to be expanding through social media and thus merge with traditional “private” areas.

    The contributions in this volume range from philosophical and political takes on the idea of the public to texts that understandthe current situation from the point of view of the art scene. Thinkers such as Chantal Mouffe, Jürgen Habermas and Giorgio Agamben meet, for example, with local Swedish graffiti, the international digital world and multicultural New Delhi. All offer perspectives on what the public-and the private-realms might mean today.

  • 225.
    Nilsson, Håkan
    Södertörn University, School of Culture and Communication, Art history.
    Platsens kommentator2009In: Katalog 38: Statens konstråd 2008, Stockholm: Statens konstråd , 2009, p. 145-149Chapter in book (Other (popular science, discussion, etc.))
  • 226.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    På drift2008In: Lena Gustavsson: konst 1991-2006 / [ed] Elisabeth Westerlund, Stockholm: Konstnärsnämnden , 2008, p. 58-60Chapter in book (Other (popular science, discussion, etc.))
  • 227.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack, Institutionen för Konst (K).
    Rethinking Late Modernism2015In: Radical Re Re Re Re Re Rethinking / [ed] Maria Lantz, Staffan Lundgren, Stockholm: Konstfack / University College of Arts, Crafts & Design , 2015, 1 uppl., p. 146-161Chapter in book (Other academic)
  • 228.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Seriebildens konst2016In: Konst i serietidningar / [ed] Max Olofsson, Sebastian Nordbeck, Stockholm: Orosdi-Back , 2016Chapter in book (Other (popular science, discussion, etc.))
  • 229.
    Nilsson, Håkan
    Södertörn University, School of Culture and Communication, Art history. Konstfack.
    Sinnenas måleri2012In: Haptiska blickar / [ed] Birgitta Burling, Stockholm: Birgitta Burling , 2012Chapter in book (Other (popular science, discussion, etc.))
  • 230. Nilsson, Håkan
    Självreflektionen, den yttersta av cynismer2000In: Expositioner: antologi om utställningsmediet, Stockholm: Fören. Curatorprojektet , 2000Chapter in book (Other (popular science, discussion, etc.))
  • 231.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Sofia Änghede2008In: Sofia Änghede # 1- 28, Stockholm: Galleri Mårtensson & Persson , 2008Chapter in book (Other (popular science, discussion, etc.))
  • 232.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Speglingar, vändningar, motsatser /Reflections, Reversions, Oppositions: Charlotte Gyllenhammar2013Other (Other (popular science, discussion, etc.))
  • 233.
    Nilsson, Håkan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Svar, frågor och tro2005In: Anders Widoff: (att) bära sig / [ed] Mårten Castenfors, Anders Widoff, Stockholm: Liljevalchs konsthall , 2005, p. 39-50Chapter in book (Other (popular science, discussion, etc.))
  • 234.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Svar på frågan: Vad är samtidskonst?2014In: Konsten att ställa ut samtidskonsten: en guidebok / [ed] Feldtmann, Marie, Visby: Riksutställningar , 2014, p. 6-14Chapter in book (Other (popular science, discussion, etc.))
  • 235.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Taken from behind/In Front: färgfotografi, 2004, Maria Hedlund, ägare: Statens konstråd2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull, Dan Karlholm, Huddinge: Huge fastigheter , 2007, p. 70-Chapter in book (Other (popular science, discussion, etc.))
  • 236.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Tre steg från det obestämda: målat plexiglas, Gert Marcus, 2002, ägare: Huge fastigheter AB2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull, Dan Karlholm, Huddinge: Huge fastigheter , 2007, p. 20-Chapter in book (Other (popular science, discussion, etc.))
  • 237.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Värmen2015In: Olof Inger, Stockholm: AnnaElleGallery , 2015, , p. 24Chapter in book (Other (popular science, discussion, etc.))
  • 238.
    Nilsson, Håkan
    Södertörn University College, School of Culture and Communication, Art history.
    Without a trace2008In: Maria Friberg, Stockholm: Maria Friberg , 2008Chapter in book (Other (popular science, discussion, etc.))
  • 239.
    Nilsson, Håkan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Xavier Veilhan: connecting things2004In: Merge : sound, thought, image, ISSN 1402-6570, no 13, p. 38-46Article in journal (Other (popular science, discussion, etc.))
  • 240.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    You can Ride my Tail Anyday2015In: The Great Runaway, Uppsala: Uppsala konstmuseum , 2015, , p. 24Chapter in book (Other (popular science, discussion, etc.))
  • 241.
    Nilsson, Håkan
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Lindstrand, Tor
    KTH.
    Sous les Pavés, les Pavés2016In: Hjärnstrom, ISSN 0348-6958, no 123-124, p. 44-50Article in journal (Other (popular science, discussion, etc.))
  • 242.
    Nordström, Joel
    Södertörn University College, The School of Culture and Communication.
    Att måla med ord: En analys av Bengt Emil Johnsons användning av orden som visuellt medel i verket "Omkoppling. (Till Öyvind Fahlström.)"2007Student paper second term, 5 points / 7,5 hpStudent thesis
  • 243.
    Nordvall, Maria
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Samiska ceremonitrummors inre och yttre värld: En studie av två goavdát och deras museala representation2017Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This essay examines the represention of sami drums (goavdát) at museums in Sweden. I performed a case study of two exhibitions at different museums, focusing especially on one drum in each. The museums consisted of Nordiska museet in Stockholm and Ájtte – Swedish mountain and sami museum in Jokkmokk. The purpose was to examine them from a viewpoint based on the perception of a both historical and ongoing situation of colonialism of the sami people. The motivation to study museums derives from the idea that museum possesses an ability to create value. In combination with the exhibition I also studied the original function of the drums and interpreted the images on them. The investigation showed diffrent problematic issues in the exhibitions: Ájtte has a deficiency of space which complicates a dialog between the drum and the visitor. Nordiska museet creates a conception of the drums as reduced to a central object in a colonial process without any concerns of the native use. This results in an urge to either establish new exhibitions or updated the ones that already exist since the museums are part of creating a picture of sami identity for the public and therefore - creates value.

  • 244.
    Parnemar, Susanne
    Södertörn University College.
    Järnboden: ett postindustriellt utställningsrum2007Independent thesis Basic level (university diploma), 5 credits / 7,5 HE creditsStudent thesis
  • 245.
    Pergefors, Johanna
    Södertörn University College, The School of Culture and Communication.
    Konstvägen Sju Älvar: Monumentalitet i Norrlands skogar2006Independent thesis Basic level (degree of Bachelor), 20 points / 30 hpStudent thesis
    Abstract [en]

    An analysis of Konstvägen Sju Älvar, an exhibition of modern Nordic sculpture along a road trough the wilderness of Northern Sweden. Konstvägen is a project for public art and contemporary art in northern Sweden. The intention is to see what happens when you exhibit art alongside a road and what function it fills. By comparing the qualities of Konstvägen to the qualities of a monument Konstvägen and it’s exhibitional functions are sought to be understood.

  • 246.
    Persson, Allan
    Södertörn University College, The School of Culture and Communication.
    Prins Eugen som monumentalmålare: A study of mural painting as an artform2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The aim of this essay is to examine the relationship between picture and room, between wallpainting and architecture. The basis for such exploration is the mural painting in Sweden at the turn of the 20th century, and the artist in focus is Prince Eugen (1865-1947).

    His works "Sommar"(1904), "Rimfrosr"(1909) & "Staden vid vattnet"(1922) and the rooms in which they are in make for an anlysis concerning how the totality of the space is experienced by the viewer.

    The main issue in mentioned expeience is how the mural is perceived with regard to the other elements in the room. And here, the walls' "flatness" enhancing its decorative qualities plays in. The problem with a mural built on the principles of perspective becomes evident when a wall is seen to vanish through the painting of an illusion on it.

  • 247.
    Pettersson, Jimmy
    Södertörn University College, School of Culture and Communication.
    Analys av meningsskapandet i Hannah Höchs fotomontage Schnitt mit dem küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This paper examines Hannah Höchs photomontage Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands. The paper has as its aims to understand and analyze the predominated allegorical interpretation of Schnitt and to develop a logic how meaning is produced when a viewer look at Schnitts surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potential viewer. The paper continues to create an understanding of Schnitt as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of Schnitts surface. The paper then semiotically explains how a viewers meaning is produced by creating a chain with Schnitts photographical fragments and connecting these with syntagmatic relations.

  • 248.
    Pettersson, Jimmy
    Södertörn University College, School of Culture and Communication.
    Viking Eggeling och Diagonalsymfonin: en dematerialisering av konstobjektet2011Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The aim of this thesis is to study Viking Eggeling’s artwork Diagonal Symphony together with Eggeling’s own art theoretical writings. This method of reading Eggeling’s art theoretical writings with the aim to try and create a deeper understanding of his art and especially Diagonal Symphony is a new approach in Eggeling’s art historical discourse. The thesis starts with a description of how the field of art history has understood Eggeling and his art primarily through art historical research aimed at Hans Richter. I then argue that the method of understanding Eggeling’s art through his own art historical writings is a way to create an independent understanding about Eggeling’s art away from it’s explanatory relation with Richter. To understand and to analyze the relation between Eggeling’s art and art theoretical writings the thesis theoretical viewpoint are a system theoretical one with a special focus on cybernetics and the terms feedback and control. The thesis then establish that Eggeling, in his art and art theoretical writings, tried to compose his own method for creating the form figures we can see appearing in Diagonal Symphony and that this method of creating form was a way for Eggeling to control his creativity and to build up a structured system of forms. The study then concludes with the statement that Eggeling worked with the movie and the scrolls Diagonal Symphony as artistic material formations of a system of forms called Diagonal Symphony and that the system of forms called Diagonal Symphony is the result of Eggeling’s systematic method to generate form in a structured and organised way. 

  • 249.
    Qader, Shahram
    Södertörn University, School of Culture and Education.
    Konst och exil: En undersökning av Shirin Neshats fotografi och videokonst i relation till exil2013Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The Iranian artist Shirin Neshat has been living in self-imposed exile since the late 1970s, as she chose not to return to her home country following the ‘79 Islamic Revolution. Through her works Neshat examines Iran before and after the revolution and follows political and civil transformations through strong photographs of women in her country of birth.  My own use of the term exile deals with the analysis of the state of exile in relation to artistic work as a globalized and underlying motivation for art and artists. The new definition of exile is analyzed in relation with the artist’s photographs and the verbal and visual statements. The verbal and visual photographs in the work of Neshat are related to the term exile through different allegories and metaphors that are to be found in lyricist Rumi’s classical poetry, the Bible and the Quran.

    The artist’s use of the visual photographs where women appear with hijab covering their hair and with weapons in their hands- in some pictures without any audience at all, in others decorated with different calligraphic texts- are combined with the verbal photograph which is created through music (song) and language. The verbal and visual statements complete one another in a united effort to visualize exile as a term, therefore every attempt to separate these two a part, will inevitably deprive the audience of the statement itself, which is in this case the psychoanalytical inner exile. One does not have to be outside her home to feel the state of exile; it can be felt mentally even if one is at home. The inner exile is a global experience. This form of exile is born when the community is categorized from two extremes, with one side of the equation possessing power and the other being classified as weak and ”the other”. I use the status of women in Iran as an example in my investigation, where women are at home but are still very much outside of it, alienated for their gender (sex). 

  • 250.
    Ragnestam, Maria
    Södertörn University College, The School of Culture and Communication.
    Drapering av en illusion: En komparativ studie med utgångspunkt i fotografierna av Leila Khaled och Shirin Neshat2007Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The aim of this paper is to perform a comparative study between the photography’s of Leila Khaled and Shirin Neshat in order to observe if the woman are able to recede from an conventional formation to become the bearer of the veil and not only reduced to that which

    needs to be concealed. From a feministic perspective I have observed how the symbolic of the veil moulds the woman and how the woman in her context moulds the veil.

    In the description of the news photography of Khaled and the art photography produced by Neshat the mechanisms that lies as a foundation for the modelling of the portraits becomes

    the essays primary entrance. Mechanisms that evolve around the creation of the woman as aconcept, a subject shaped for being looked at and the woman’s self-image through others.

    The textual discourse is visually enhanced through a comparative picture material visually enhanced and explained through photographs by the contemporary artist photographers Cindy Sherman, Catherine Opie, Laurie Simmons, Robert Mapplethorpe and Elin Berge. The visual comparative material also interacts with the essays primary picture material and further expresses the oppression of the woman that occurs irrespective of culture through a patriarch cal gender system.

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