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  • 251.
    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.

  • 252.
    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. 

  • 253.
    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). 

  • 254.
    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.

  • 255.
    Redin, Staffan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Danska guldåldrar: Iscensättningar av en konstepok på Nationalmuseum 1964 och 20192019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Danish Golden Age was the title of two exhibitions at Nationalmuseum in Stockholm 1964 and 2019, that exhibited art from the early 19thcentury Denmark. To a large extent the same artworks were included in both exhibitions, but their display and the general presentation were in many respects different. My paper researches how the objects of art were installed and by what means exhibition architecture, wallpaint, scenography and lighting was utilized in the designing of the exhibitions. Apart from the creation of a spatial and scenographic context for the objects of art, the 2019 version presented a lot of informative text within the exhibition. According to the cultural theorist Mieke Bal there is no neutral context for a work of art but an exhibition is always also an argument and a statement. Every single part of the exhibition is a demonstrative utterance. In both exhibitions colour was utilized in order to create both a sentiment and a narrative. Colour evokes emotions and associations founded in both individual and cultural experiences. By using colours that resembled those found in the paintings, the viewer moving through the rooms, was intended to have the experience to be surrounded by ”Golden Age colours”.

  • 256. Rodell, Magnus
    Från kungar till klumpar2004In: Forskning och framsteg, ISSN 0015-7937, no 3Article in journal (Other (popular science, discussion, etc.))
  • 257. Rodell, Magnus
    Stari Most: historien, förstörelsen, återinvigningen2008In: Valör, ISSN 0283-751X, Vol. 1, p. 14-23Article in journal (Other academic)
  • 258.
    Rohdin, Mats
    et al.
    Kungliga biblioteket.
    Öhrner, AnnikaUppsala universitet.
    Att alltid göra och tänka det olika: Siri Derkert i 1900-talet2011Collection (editor) (Other academic)
  • 259. Rossholm Lagerlöf, Margaretha
    et al.
    Karlholm, DanSödertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Subjectivity and methodology in art history2003Collection (editor) (Other academic)
  • 260.
    Ruin, Hans
    Södertörn University College, Avdelning 1, Philosophy.
    Konst och forskning2003In: Dokumentation konst och nya media / [ed] Anne Joki-Jakobsson, Stockholm: Konsthögsk. , 2003, p. 81-84Chapter in book (Other academic)
  • 261.
    Rönnberg, Amanda
    Södertörn University, School of Culture and Education.
    Medborgarens inflytande på konstnärlig gestaltning i det gemensamma rummet: En undersökning av medborgarförslag i Huddinge och Botkyrka kommuner under åren 2005-20152015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this thesis is to examine how much influence citizens’ can have over public art in their close environment. In order to answer this I have examined all citizens proposals sent to Huddinge and Botkyrka municipality between 2005 and November 2015, in a comprehensive manner in order to contextualize the amount of proposals the municipalities have received and what they concern, beyond that I have examined the proposals that concern public art more profoundly in order to understand how well citizens’ proposals work as a channel for influence of public art in the common space. In the qualitative part of the study I have utilized Pierre Bourdieu’s theories on capital in order to convey the individuals chance to influence. My study shows that all in all there are ten proposals that concern public art. In three of these have decisions yet to be made while the rest have been rejected with the exception of one that is considered reciprocated. My results show that influence of the public art through citizens’ proposals as of now, is insignificant. 

  • 262.
    Rüdiger, Jytte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Inspektion av Stadsinspektionen: En analys av Haparanda stads offentliga skulpturer2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis focus on Haparanda's historical identity by analyzing 14 public sculptures in Haparanda. The aim is to present a representative picture of the public sculptures and to analyse its historical connection to Haparanda in realtion to a urban view of Haparanda's architecture.

    The first chapter adresses the question of power and identity formation. The second chapter discusses the role of sculptures in the collective view of a particular environment. In the concluding third chapter the sculptures are discussed in relation to the history of the city of Haparanda.

    The conclustion of my thesis suggests that the sculptures are well connected to the history of Haparanda and its close relation to the twin city of Torneå (Finland). It is a story closely connected to Finlands history.

  • 263.
    Sandberg, Erik
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Från skiss till skiss: En studie av skissbegreppet och Henri Matisses Chapelle du rosaire2017Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The aim of this thesis is to bring together two different approaches on the concept of sketches in an attempt to broaden the understanding of what a sketch is and does. The first of these approaches is based on a notion of generative art presented by professor of art history and founder of Skissernas museum in Lund Ragnar Josephson (1891-1966). The second approach is situated in philosopher Marcia Sá Cavalcante Schubacks collection of phenomenological essays Att tänka i skisser: essäer om bildens filosofi & filosofins bilder (2011). By letting these two theories and Henri Matisse’s Chapel du rosaire and some of his sketches speak with each other my thesis establishes that the sketch is a non static motion towards shape.

  • 264.
    Sandgren, Magda
    Södertörn University, School of Culture and Education.
    »Dansmaskiner - från Léger till Kraftwerk«, Moderna Museet 22 januari - 27 April 2014 och »Sleeping Beauties - Drömmar och kostymer«, Dansmuseet 20142015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 3, p. 200-204Article, book review (Other academic)
    Abstract [en]

    While exploring similar themes and materials from the Dansmuseet collection, the two exhibitions are arranged in clearly divergent ways. Taking place in separate institutions, out of different intentions, the exhibitions express themselves in forms whose distinctive features highlight questions concerning the relations between exhibition and viewer. In this review, I am therefore interested not only in the curatorial differences of the two exhibitions, but also in what the differences does to the spectator. Despite the dance theme the exhibition at Moderna museet restrains the movements of the spectators, while the spectator at Dansmuseet is invited to touch and move around more freely in the rooms. This could be understood in relation to the reductive modernist exhibition ideal of the white cube, as described by Brian O'Doherty. Should the viewer be nothing but a viewer, or should she or he participate in more interactive ways? And, further, do questions like this have implications for other contextual matters, such as gender? Despite the radical appearance of the Dansmuseet exhibition, one might wonder which one of the exhibitions that show most awareness of such contextual matters.

  • 265.
    Sandomirskaja, Ekaterina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Hybrida kretsmaskiner: Ulla Wiggens måleri från 1960- och 2010-talet i skärningspunkten mellan kropp och maskin2017Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The Swedish artist Ulla Wiggen (b. 1942) started her artistic career in the early 1960s with detailed paintings of the insides of early electronic devices. In the early 2010s she turned to the interior of the body in the series Intra where organs and cells are fictionally combined. Here, she used a similar pictorial style as in the electronic paintings. This thesis seeks to analyze the relationships and tensions between body and machine that are found in Wiggen’s works. Questions are posed about the relationship between scientific and artistic imagery, as well as the role that fiction plays in knowledge-producing representation. This thesis looks to Wiggen’s use of the grid and connects it to historical and modernist images by showing its inherited paradoxical relation between rationality and spirituality. Through the anatomical picture, focusing on the Renaissance and Rationalism, this thesis explores the meanings of portraying bodies in cross-section. The role of the opened body has been oscillating between a body filled with spiritual meaning to a divided body, seen as an object for knowledge production. By using Donna Haraway’s figurations of the hybrid and the cyborg, the text proposes to re-think dualistic tensions between the human and the machine, science and fiction, realism and magic in Ulla Wiggen’s works. Through this perspective and post-humanist theory, it becomes clear that these boundaries have always been in flux. Instead of thinking either machines or bodies, the thesis suggests that we see the two series of Ulla Wiggen’s works as hybrid constructions that are both body-machines and machine-bodies.

  • 266.
    Schuback, Marcia Sá Cavalcante
    Södertörn University, School of Culture and Education, Philosophy.
    Thinking close to... (painting): Some notes on Jean-Luc Nancy thinking close to Rembrandt2014In: Studio Talks: Thinking through Painting / [ed] Kristina Bength, Jonatan Habib Engqvist, Jan Rydén and Sigrid Sandström, Stockholm: Arvinius + Orfeus , 2014Chapter in book (Other academic)
  • 267.
    Schultz Nybacka, Pamela
    Södertörn University, School of Social Sciences, Business Studies.
    Konsten att skapa omsorg: en fallstudie av Skandionkliniken och arbetet med den konstnärliga gestalningen2014Report (Other academic)
  • 268.
    Shawky, Sharif
    Södertörn University College, The School of Culture and Communication.
    Relationen mellan Takashi Murakami och den neoliberala ekonomin: konst som varor, varor som konst2006Student paper second term, 5 points / 7,5 hpStudent thesis
    Abstract [sv]

    Med denna uppsats måste jag verkligen betona att jag ökat min förståelse för Takashi Murakami och hans konstnärskap. Gradvis tog jag mig in i hans konstnärskap. Till en början är det väldigt lätt att fastna vid spektakulära uttryck i hans konst och grubblerier kring hur hans varor blivit konst, men glappet däremellan är alldeles för stort för att sådana tankar skall kunna mynna ut i något fruktbart. Men genom att först försöka förstå sig på hans verksamhet mot ljuset av den ekonomiska kontexten framhävdes gradvis detaljerna kring hur hans varor blivit konst. Jag kom fram till att hans konst egentligen handlar om symboler i relation till andra symboler, där spänningen ligger i att Murakamis är beständiga/ fixerade medan de övriga är rörliga/ dynamiska. Utan Murakamis beständiga/ fixerade symboler som retar den så tillsynes naturliga harmonin i det rörliga/ dynamiska hav av övriga ekonomiskt knutna symboler hade jag definitivt inte förstått att dem är rörliga.

  • 269.
    Sjöblom, Matilda
    Södertörn University, School of Culture and Education.
    Greta Knutson och surrealismen: en studie av Greta Knutsons senare stilperiod utifrån verken La Surprise, Feu dans la maison och Det stulna brevet2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay examines how Swedish born artist Greta Knutson has been historically canonised in reference to her relationship with the famous Dadaist Tristan Tzara and the French surrealist movement of the 1920’s and 1930’s. Knutson had a long and productive career and the overall purpose of my essay is to change focus from the early days in Paris with the Surrealists into her later artistic period, counted from the late 1960’s until her death in 1983. It is claimed here that she then made a radical change of style into, paradoxically, a more surrealistic artistic expression. Through Griselda Pollock and the term “canonisation” I’m exploring and questioning why Knutson’s later career has gone unnoticed in art history and I’m also looking at Knutson’s relation to surrealism. Through a formalistic analysis the artworks La Surprise, Feu dans la maison and Det stulna brevet are presented, which are representative for Knutson’s later artistic period.

  • 270.
    Sjöblom, Matilda
    Södertörn University, School of Culture and Education.
    Männen på fältet: En georeferentiell analys av den offentliga konsten i Huddinge kommun2016Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The men on the field: a georeferential analysis of the public art in the municipality of Huddinge focuses on the public art in the municipality of Huddinge. Who has created the public artworks and for whom were they created? The purpose of the study is to find out if the public art in Huddinge reflects the socioeconomic variations in the municipality. The main part of the essay focuses on the geographical placement of the artworks in relation to the inhabitants of Huddinge. The questions on which I base my analysis are ”By whom and for whom has the public art in the municipality of Huddinge been created?” and ”Are the inhabitants of the municipality represented within the public art?”. The analysis focuses on the geographical placement of the artworks in relation to the inhabitants of Huddinge as well as gender and ethnical backgrounds of the artists. Through Pierre Bourdieus field-, capital- and habitus-concepts i construe the artfield in Huddinge and put forward an explanation of the results of my research. My study shows that different groups of the population in Huddinge have a different levels of access to and impact on the public art in the public space, which is being run by different economical, political and artistic practices, of which structures not all inhabitants are aware of or know how to affect.

  • 271.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Communication, Aesthetics.
    Fallosens tid?2011In: Tidskrift för Genusvetenskap, ISSN 1654-5443, E-ISSN 2001-1377, no 1, p. 103-107Article in journal (Other academic)
  • 272.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Temporal sensibilities: glissant on filiantion2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, p. 65-81Chapter in book (Refereed)
  • 273.
    Sjöwall, Elina
    Södertörn University, School of Culture and Education.
    Mellan konst och arkitektur: En komparativ studie av Frank Gehrys och Olafur Eliassons konstnärskap2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In this thesis I am studying the phenomenon of contemporary architecture evolving into art and, similarly, how contemporary art seems to evolve towards architecture. The aim of the study is to examine the blurred line between art and architecture that is significant for our century. Besides overall attempting to explain the relation of art and architecture in past, present and prospective, the particular method in my investigation is a comparative study of two main examples. One of these is in the field of artistic architecture (Frank Gehry’s Fondation Louis Vuitton), followed by one from the field of architectural art (Olafur Eliasson’s Inside the Horizon). By using text- and image-based analysis, I am pointing out both similarities and differences in the examples to determine if and where the fading line still appears. By aiming to understand the phenomenon from several viewpoints, I have been able to conclude that the fusion of art and architecture in most cases is a sign of intrinsic artistic progression. Yet the Art-Architecture Complex as an ongoing event seems to be subject to an infinite debate.

  • 274.
    Sorgenfrei, Simon
    Södertörn University, School of Historical and Contemporary Studies, Study of Religions.
    Sufin som sökte enkelheten2016In: Kyrkans Tidning, ISSN 1651-405X, no 6, p. 18-Article in journal (Other (popular science, discussion, etc.))
  • 275. Spindler, Fredrika
    Vad kan en kropp?2000In: Magnus Wallin: Physical sightseeing : Uppsala konstmuseum, Uppsala: Uppsala konstmuseum , 2000, p. -2Chapter in book (Other (popular science, discussion, etc.))
  • 276.
    Spindler, Fredrika
    Södertörn University College, Avdelning 1, Philosophy.
    Verklighetens svåra konst2003In: Arghh, Sollentuna: Edsvik konst och kultur , 2003, p. 10-11Chapter in book (Other (popular science, discussion, etc.))
  • 277.
    Staberg, Jakob
    Södertörn University College, Institutionen för medier, konst och filosofi, Aesthetics.
    Carl Fredrik Hill och synlighetens regimer2005In: Union, ISSN 1652-7607, no 2Article in journal (Other (popular science, discussion, etc.))
  • 278.
    Staberg, Jakob
    Södertörn University College, School of Culture and Communication, Aesthetics.
    Hill vid förnimmandets gränser2010In: Aiolos, ISSN 1400-7770, no 38/39, p. 81-90Article in journal (Other (popular science, discussion, etc.))
  • 279.
    Stahlénius, Orrit
    Södertörn University College, The School of Culture and Communication.
    Det queera Japan: Genusföreställningar och normbrytande konst i det samtida Japan2007Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    This paper discusses some concerns about Japanese gender identity as a construct and the subversive means to overthrow it. In my paper I claim that the eastern influences on Japan has created a gap between old and new gender- traditions and norms. This interspace is what the philosopher Judith Butler claims as the site for a possible gender transformation. As Butler claims gender identity to be a construct, I use her methods of understanding and subsequently queertheory, to investigate the construct of Japanese gender identity and also the norms that constitute a national identity. As I elaborate on this theory I use specific artworks from Morimura Yasumasa, Yoshiko Shimada and Bubu de la Madeleine and also the all-male theatre kabuki vs. the all-female revue takarazuka. These examples are not symptomatic for a queer culture. Rather they, as I, aim to in some stances challenge normative gender roles and in other cases offer an alternative vision of what gender identity can mean. As the paper will show, queertheory is a tool that is available for anyone who wishes to criticize and examine strategies of a normative gender. The artworks and the queertheoretical interpretations will, in this paper, offer a possibility to dream of another world.

  • 280.
    Stjärnström, Gunilla
    Södertörn University College, The School of Culture and Communication.
    En spricka i kristallen: Bergkristall på Skokloster2008Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
  • 281. Strandroth, Cecilia
    Canonized Documents: Farm Security Administration, Photographic History, and Some Historical Photographs2005In: Valör, ISSN 0283-751X, no 4Article in journal (Refereed)
  • 282. Strandroth, Cecilia
    Fallet Falling Soldier: en fotografisk detektivhistoria om reportagebilders trovärdighet2005In: Valör, ISSN 0283-751X, no 3Article in journal (Refereed)
  • 283. Strandroth, Cecilia
    From Nordic Landscape to North American Indians - Current Trends in Nordic and International History of Photography: ESHPh Symposium2005In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 74, no 1, p. 108-111Article in journal (Other academic)
  • 284. Strandroth, Cecilia
    I dödens ljusa rum: om Irakkriget, Internet och ikoniska fotografier2008In: Valör, ISSN 0283-751X, no 2Article in journal (Refereed)
  • 285.
    Strandroth, Cecilia
    Uppsala universitet.
    In Search of the Pure Photograph: A Historiographic Study of the Farm Security Administration, Walker Evans, and the Survey Histories of Photography2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The photographic archive of the American New Deal agency Farm Security Administration (created 1935-1943) occupies an important place in the history of photography as an exemplar of documentary photography and as symbol of the Great Depression. This dissertation is a historiographic study of this narrative of FSA photography, which investigates the archive's monumental position in the historical narration and demonstrates other possible readings.

    The first chapter delineates the dominating tropes of the narrative: the importance of the photographers' collective effort, the idea of the photographs as a collective portrait of America, the fear of propaganda, and describes the FSA canon and iconography.

    The three following chapters construct other potential narratives about the archive. The first shows that while the regular FSA canon is limited to photographs of waywardness and misery in rural America, the archive also contains photographs of modernity and development. The second shows that these photographs of modernity have not been made part of the narrative since they are explicitly motivated by politics and thus could be considered propaganda. The third narrative shows the reception of the most famous FSA photographer, Walker Evans, to have its foundation in the same resistance towards propaganda and politics.

    The study thus demonstrates that FSA photography was so much more than what is narrated in the history of photography. The survey histories are formulated within a modernist discourse of art, from an ideal of the media specific: each medium should strive towards a purification of its own interior qualities. The history of photography is thus narrated as a history of photographers' exploration of the medium itself. In the case of the FSA, the result is a narrative which considers the photographers' quest for more images the only important thing, which describes their practice as neutral, apolitical and pure.

  • 286.
    Strandroth, Cecilia
    Södertörn University College, School of Culture and Communication, Art history.
    På resande fot i det digitala bildarkivet: ett brukarperspektiv2009In: I bildarkivet: om fotografi och digitaliseringens effekter / [ed] Anna Dahlgren, Pelle Snickars, Stockholm: Kungl. biblioteket , 2009, p. 91-120Chapter in book (Other academic)
  • 287. Strandroth, Cecilia
    The Changing Politics of the Visual: Farm Security Administration Photography as Document, Art and Historical Source2006In: NORDIK 2006, Webpublikasjon: Tradition and visual culture, 2006, p. -10Conference paper (Other academic)
  • 288.
    Strandroth, Cecilia
    Södertörn University College, School of Culture and Communication, Art history.
    The "New" History?: Notes on the Historiography of Photography2009In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 78, no 3, p. 142-153Article in journal (Refereed)
    Abstract [en]

    The French anthology Nouvelle Histoire de la Photographie, published in 1994 under the editorship of Michel Frizot and translated into English in 1998, has been recognized as presenting a new way of writing the history of photography. Its precursors were surveys of the development of photography as an art, imbued by a modernist aesthetics of media specificity. Conversely, Nouvelle Histoire de la Photographie is generally acknowledged as having illuminated more aspects of the multifaceted medium of photography, used for many ends other than art. While this article recognizes the book's departure from the model once provided by the histories of art, it claims that it has not similarly departed from the modernist evolutionary tendencies of its earlier precursors. In renouncing the influences from the history of art, it has in fact made these even stronger, turning the book into a celebration of the medium in itself.

  • 289.
    Svanelid, Oscar
    Södertörn University, School of Culture and Education, History and Theory of Art. Södertörn University, Centre for Baltic and East European Studies (CBEES), Baltic & East European Graduate School (BEEGS).
    AnthroPOPhagous: Political Uses of Pop Art in the Aftermath of the Brazilian Military Coup d'État of 19642017In: Art in Transfer in the Era of Pop: Curatorial Practices and Transnational Strategies / [ed] Annika Öhrner, Huddinge: Södertörns högskola, 2017, p. 215-237Chapter in book (Refereed)
  • 290.
    Svensson Ekström, Martin
    Södertörn University, School of Culture and Education, Philosophy. Stockhoms universitet.
    The phantasmatic tomb, or methodology and schmutz in intercultural translation2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, p. 173-205Chapter in book (Refereed)
  • 291.
    Taavoniku, Masha
    Södertörn University, School of Culture and Education.
    Art/Work: Om arbetets villkor och det forskningsbaserade utställningsprojektet SOLO SHOW2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Hur kan begreppet support structures förstås i relation till det konstnärliga projektet SOLO SHOW? Denna uppsats behandlar arbetets villkor och synliggörandet av dessa inom konstens fält. Support structures (stödstrukturer) kan förstås som det arbete som upprätthåller, uppmuntrar, stärker och står bakom (något). Närmandet till ett, eller flera,”svar” på frågeställningen sker genom ett resonerande i relation till utsnitt ur Julia Bryan-Wilsons Art Workers: radical practice in the Vietnam war era, Hito Steyerls ”Is a Museum a Factory?” och hennes tolkning av termerna ”work” och ”occupation”, samt det genomgående teoretiska verktyget: begreppet support structures.

  • 292.
    Tillberg, Margareta
    Stockholms universitet .
    Coloured universe and the Russian avant-garde: Matiushin on colour vision in Stalin's Russia, 19322003Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Colour was of fundamental importance in modernist art. One reason its significance has been studied so little with regard to Russian art is that Soviet archives were inaccessible until the early1990s. This study is based on extensive research in Russian archives and unpublished material. Contemporary ideas from German Bauhaus and De Stijl in Holland have received deserved attention. In the Soviet Union, avant-garde artists were silenced as enemies of the people – their priorities were other than the class struggle.The aim of this dissertation is to present and analyse the hitherto unknown colour theory of Mikhail Matiushin (1866–1934) published in Leningrad and Moscow in 1932.The work is divided into five parts. The first part, Colour, deals with the contexts of history, colour and art. During the 1920s a number of institutes for interdisciplinary scientific research in art, design and architecture were founded in the Soviet Union. One of them was the Institute of Artistic Culture in Leningrad – GINKhUK – where Malevich and Tatlin also worked. There the artist, musician and theoretician Mikhail Matiushin supervised the Department of Organic Culture with his Laboratory of Colour. To formulate a universal language was one goal, to redesign the world for the masses outside the ‘dead’ museums another, and to produce a new kind of human being, a third.The second part, Vision, analyses Matiushin's training programme, a variant of synaesthetical union of the senses, which includes an extension of the visual angle to a complete 360°. The third part, Culture, compares Matiushin with the theosophist mystics Pëtr Uspenskii and C. H. Hinton, the painter Wassily Kandinsky and the philosopher Henri Bergson. Part four, Ideology, sheds light on colour from those whose perspective was based on the State philosophy of dialectical materialism. By the early 1930s, the innovative institutes were closed down due to centralization of all expressions of culture under the banner of Socialist Realism. The last part, Synthesis, provides a detailed discussion on what happened after the 1930s. It concludes with the colour theory text, both its Russian original and for the first time in English translation.The belief is that Matiushin’s colour theory was not given any consideration after its publication in 1932. The results of this study show, however, that his colour handbook has been and still is used in the colour design of St. Petersburg.

  • 293. Tillberg, Margareta
    Konstruktivismens teori och begrepp1999In: Material : konst-fanzine, ISSN 1102-7762, no 37-38, p. xiv-xviiiArticle in journal (Other (popular science, discussion, etc.))
  • 294. Tillberg, Margareta
    "Litteraturen är tankebärande, men inte konsten": Om synen på konstens epistemologiska värde inom Vetenskapen2010In: Det åskådliga och det bottenlösa: Tankar om konst och humaniora tillägnade Margaretha Rossholm Lagerlöf / [ed] Tomas Björk, Peter Gillgren, Stockholm: Stockholms universitets förlag, 2010, p. 247-254Chapter in book (Other academic)
  • 295. Tillberg, Margareta
    Matiushin i muzyka2008In: Avangard i teatr 1910–1920-kh godov / [ed] G.F. Kovalenko, Moskva: Nauka ; Gosudarstvennyi institut iskusstvoznaniia, RAN , 2008, p. 321-346Chapter in book (Refereed)
  • 296. Tillberg, Margareta
    Mikhail Matiushin and the Study of Colour2005In: Light and Colour in the Russian Avant-Garde / [ed] Tsantsanoglou, Maria, Cologne: Dumont , 2005, p. 473-475Chapter in book (Refereed)
  • 297.
    Tillberg, Margareta
    Södertörn University, Centre for Baltic and East European Studies (CBEES).
    Soviet Design 1950-19802013In: Baltic Worlds, ISSN 2000-2955, no 1, p. 28-29Article in journal (Other (popular science, discussion, etc.))
  • 298.
    Tillberg, Margareta
    Linnaeus University.
    Why is design "Made in the USSR" invisible in design history2013In: Crafting the Future: 10th European Academy of Design Conference April 17-19 2013 in Gothenburg, 2013Conference paper (Refereed)
    Abstract [en]

    In order to find out whether "the core actitivites" that constitute our canon of design history "have changed" or not - we need to look closer at what constitutes that very canon.

    In the literature, the standard account of design is usually linked to increased sales curves. When applying the market economy as a model, the hitherto most frequently used model in design studies, Eastern Bloc designers come to resemble little more than embarrassing imitators of their more advanced Western counterparts.

    So far, the countries behind the iron curtain have been invisible in the design literature. Is the reason for this because design did not play any role at all in these countries? But what if it did - what tools would be required to make this design visible on its own terms? And could it even be so that there is something for us to be learned from the design experience from behind the iron curtain?

    This paper will present VNIITE, the Federal Scientific Research Institute for Technical Esthetics, the only design institute in the Soviet Union and the biggest research institute for design world-wide. VNIITE, founded in Moscow in 1962, promoted a new attitude towards industrial production. A short introduction will be given to the prerequisites of the institute as well as of its major ideas. Informed by sources that include studies on technology as well as on economics and culture it will give an alternative perspective as to how the Soviet Union tackled the competition to “catch up and surpass America”.

  • 299.
    Tjernström, Sune
    Södertörn University, School of Culture and Communication.
    Finrummets reklam: Appropriation av konstverk i annonser2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study was to analyze recent appropriations of works of art in advertising. Why was art infused into magazine advertisements, how were the works of art tampered with to achieve commercial goals, how well did they function together with the ad copy? What did these advertisements want? What did the artwork contribute to the commercial message? These were some of the questions asked in the study that involved a closer look at four appropriations: one based on a battle painting by the Swedish 1900th century artist Carl Wahlbom, with a commercial message printed on top;  one a collage including an 18th century portrait of Marie Antoinettte by Elisabeth Vigée-Lebrun; one advertisement was influenced by Dutch 1700th century still lifes, and, finally, one paraphrased Velázquez’s famous painting Las Meninas from 1655. Companies behind the advertisements featured a Swedish trade journal, a fashion exhibition in Paris, a shop for kitchen utensils in Stockholm, and an up-scale department store in Madrid.The ads, in different ways based on works of art, were evaluated as reasonably successful commercial messages. These ads, however, hardly qualified as works of art in their own right – if that was the intention. A critical observer would tend to see the ads as ways of borrowing cultural capital from the world of art.One observation made as a result of the study was the need for insights into possible interpretations of the original work of art not to have the commercial message misunderstood.

  • 300.
    von Schantz Tylestam, Maria
    Södertörn University, School of Culture and Education.
    Eva Klasson: En analys av verk, karriär och reception2013Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The Swedish photographer and artist Eva Klasson, based in Paris in the 1970s, gained attention for her series of black-and-white photography of her own naked body, which opened up for an international artistic career in the late 1970s. Despite a promising career she however abandoned photography and disappeared from the artistic sphere only a few years after her debut. There has been a renewed interest in Klasson’s work in Sweden the last decade where she has been exhibited at museums and galleries. Today she is represented at art museums and institutions including Moderna Museet, The Modern Museum of Art, in Stockholm. She is now presented as a pioneer and a forerunner to the later generation of Swedish women artists working with photo based art and staged photography in the 1990s.

    This historiographical study revisits Klasson’s work, career and reception in order to examine the prevalent understanding of the artist and her work. There is limited previous research on Klasson. This empirical study is therefore based on Klasson’s works that I have examined first hand at Moderna Museet and Borås konstmuseum. By tracing Klasson’s career and examining the contemporary reception in France and in Sweden one can see that Klasson not only enjoyed wider attention in France than in Sweden but also that she was received and understood differently in the two countries. Today’s prevalent reading of Klasson is to a large extent based on the contemporary reception, which disregards important aspects of her work. By discussing Klasson’s body of work in relation to photography of similar subject matter and aesthetics it become clear that one cannot only discuss her work in terms of photography. It is evident that Klasson’s work comprises of subtle elements that have largely been ignored so far. The prevalent understanding of Klasson also shows to be based on a narrow selection of her work.

    I argue that Klasson’s working method and artistic expression is formulaic. This becomes evident in the examination of her artist book, Le troisième angle (1976), which set off her artistic career. The artist’s book also forms a background against which this artistic project originally had been formulated and brings new light to Klasson and her work. Her two following series, Ombilic (1977) and Parasites (1978), are modeled on the artist’s book. Therefore these three series, following the same strategy, must be regarded in relation to one another. Furthermore I argue that one needs to pay attention to all parts of her artistic production that together comprise the works. In doing so, this essay, with its historiographical scope, suggests and opens up to new and alternative readings of Klasson’s work.

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