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  • 301.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Bakom gardinerna: Hemmet i svensk konst under nittonhundratalet2018Book (Other academic)
  • 302.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Body Home Object: The Living Room in Marie-Louise Ekman's work2013In: No Is Not an Answer: On the Work of Marie-Louise Ekman / [ed] Tone Hansen, Maria Lind, Berlin: Sternberg Press, 2013, p. 96-119Chapter in book (Other academic)
  • 303.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Brita Elisabet Gabriella Barnekow2018In: Svenskt kvinnobiografiskt lexikon, ISSN 2003-0088, , p. 2Article in journal (Other academic)
  • 304.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Conversations between Body, Tree and Camera in the Work of Eija-Liisa Ahtila2018In: Artistic Visions of the Anthropocene North: Climate Change and Nature in Art / [ed] Gry Hedin & Ann-Sofie N. Gremaud, New York: Routledge, 2018, p. 97-109Chapter in book (Refereed)
  • 305.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Den obäddade sängen: Anna Sjödahl och sjuttiotalet2014In: Tillsammans: politik, filosofi och estetik på 1960- och 1970-talen / [ed] Anders Burman och Lena Lennerhed, Stockholm: Bokförlaget Atlas, 2014, 1, p. 389-416Chapter in book (Other academic)
  • 306.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Communication, Art history.
    Den tillgängliga otillgängligheten2010In: Evert Lundquist / [ed] Fredrik Liew, Stockholm: Moderna museet , 2010Chapter in book (Other academic)
  • 307.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Communication, Art history.
    Disrupted Perspectives: Interpreting "Friends" by Hanna Hirsch-Pauli2011In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 80, no 3, p. 153-167Article in journal (Refereed)
    Abstract [en]

    This article interprets the disrupted perspectives in Hanna Hirsch-Pauli's large scale painting Vanner (Friends) from 1900-1907. When Hirsch-Pauli turns to her living room in 1900 as a setting for her painting several agents are at play. The scene is staged in the Pauli's living room, where friends have gathered around Ellen Key, and the home is presented as a place for intellectual debate. It is a scene deeply embedded in the surrounding cultural and political life. The article looks into the importance of the home as a scene both within the picture and in society at large at the turn of the twentieth century. The article also argues that the setting in the home and the painting's twarthed compositions are related to the formation of identity. By identifying different types of perspectives such as the artist's presence in the image, or the direction of the gazes, certain aspects of otherness are discussed. Furthermore, through the social, historical and compositional setting of this painting some aspects of Hanna Hirsch-Pauli's disrupted perspectives are uncovered.

  • 308.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Communication, Art history.
    Envis överlevare som inspirerat generationer2010In: Svenska Dagbladet, ISSN 1101-2412, no 3 juni, p. 9-Article in journal (Other (popular science, discussion, etc.))
  • 309.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Fanny Ingeborg Matilda Brate2018In: Svenskt kvinnobiografiskt lexikon, ISSN 2003-0088Article in journal (Other academic)
  • 310.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Första, andra, tredje - kulturarv klubbat?2015In: Kulturarv: att skapa historia för framtiden / [ed] Charlotte Bydler; Katarina Wadstein MacLeod, Stockholm: Axelius , 2015, p. 53-63Chapter in book (Other academic)
  • 311.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Communication, Art history.
    Hemmet som konstmotiv bär på sprängkraft2010In: Svenska dagbladet, ISSN 1101-2412, no 11 juli, p. 17-Article in journal (Other (popular science, discussion, etc.))
  • 312.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Communication, Art history.
    Intellektuell och ömsint konstmoder2010In: Svenska dagbladet, ISSN 1101-2412, no 22 oktober, p. 20-Article in journal (Other (popular science, discussion, etc.))
  • 313.
    Wadstein MacLeod, Katarina
    Lunds universitet.
    Lena Cronqvist: Reflections of girls2006Doctoral thesis, monograph (Other academic)
  • 314.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Communication, Art history.
    Människan, maskinen och måleriet: en tolkning av Trelleborgs hamns historia2009In: Monumentalmålningarna i Trelleborgs hamn / [ed] Johan Falkman, Malmö: Johan Falkman , 2009Chapter in book (Other (popular science, discussion, etc.))
  • 315.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Painting With White Ink: Monica Sjöö and Cosmos within Her Womb2015In: Radical Re Re Re Re Re Re-thinking / [ed] Maria Lantz & Staffan Lundgren, Stockholm: Konstfack , 2015, p. 162-189Chapter in book (Other academic)
  • 316.
    Wadstein MacLeod, Katarina
    Södertörn University College, School of Culture and Communication, Art history.
    Schneemann med rätta förargad2009In: Svenska dagbladet, ISSN 1101-2412, no 9 oktober, p. 21-Article in journal (Other (popular science, discussion, etc.))
  • 317.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Superlund: Lunds konsthall och det centrala i det perifera2018In: Periskop, ISSN 0908-6919, E-ISSN 2596-4283, no 20, p. 91-109Article in journal (Refereed)
    Abstract [sv]

    Utgångspunkten för den här artikeln är ett återbesök till 1960-talets utställningar som utmanar djupt rotade föreställningar om centrum och periferi inom konstvetenskap och till viss del inom exhibition studies. De empiriska exempel som undersöks är två internationella utställningar vid Lunds konsthall under mitten av 1960-talet: Le merveilleux moderne: det underbara idag, 1965 och Superlund: Un Panorama du present: Une philosophie du future, 1967 med den franske kritikern Pierre Restany som curator.

    I den svenska konstvetenskapen är universiteststaden Lund som utställningsplats en perifer zon. Men med stöd hos en tänkare som Yuriy Lotman motsäger utställningarna på Lunds konsthall idén om det perifera som utanför, någon annanstans eller något mindre värt. Det blir istället en plats där saker händer därför att en plats som inte står i strålkastarljuset är väl utrustad för att möjliggöra experiment och radikala omtag. Det perifera faller på sin egen orimlighet, där något händer blir händelsens centrum.

  • 318. Wadstein MacLeod, Katarina
    The Desires of a Goddess: Aphordite/venus in Modern Art2005In: The Making of a Goddess: Aphrodite in history, art, and literature / [ed] Göta Johansson, Lund: Palmkron , 2005Chapter in book (Other academic)
  • 319.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    The Domestic Paradox2017In: Art in Transfer in the Era of Pop: Curatorial Practices and Transnational Strategies / [ed] Annika Öhrner, Huddinge: Södertörns högskola, 2017, p. 265-287Chapter in book (Refereed)
  • 320.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    The Market Value of National Cultural Heritage2015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 3, p. 139-152Article in journal (Refereed)
    Abstract [en]

    This article concerns the Swedish law "Kulturmiljölag (1988:950)" regulating export and trade on arts and antiquities. The law states that a range of objects that may be of particular interest and "great importance" ("stor betydelse") to the nation must be licensed before being transported out of Sweden. The original objective of the law, when proposed in the 1920s, was as a means to protect privately owned objects of potential national heritage culture value.

    The aim of this article is to scrutinize the subtext of art the historical frameworks the law and its enforcement depend on. This regulation is controlled and formulated by the Swedish National Heritage Board who has determined that an object's age and its monetary value are the first primary guidelines for selection. This article shows how price is an unstable value for judging cultural heritage. Furthermore how cultural heritage management of arts and antiquities rests on non-transparent value judgements regarding what is and is not of historical importance. The analysis covers two case studies where one, the Sparre collection was protected by the law and the other, work by Amalia Lindegren, never could have been. These case studies show the haphazard nature of the present law and its regulations.

  • 321.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    The Painted Home as Heritage: Fanny Brate and the Home at the Turn of the Nineteenth Century2016In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 85, no 3, p. 256-269Article in journal (Refereed)
  • 322.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    The resilience of the periphery: Narrating Europe through curatorial strategies2017In: Europe Faces Europe: Narratives From Its Eastern Half / [ed] Johan Fornäs, Bristol: Intellect Ltd., 2017, p. 153-177Chapter in book (Other academic)
  • 323.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Touched by Documenta 132013In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 82, no 2, p. 115-117Article in journal (Other academic)
  • 324.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Communication, Art history.
    Tårar, vatten, färg2010In: Reminiscenser ; Orfeus, Stockholm: Galleri Andersson Sandström , 2010, p. 4-9Chapter in book (Other (popular science, discussion, etc.))
  • 325.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Värdet av ett namn - att bevara konst som kulturarv2015In: Kulturarv: att skapa historia för framtiden / [ed] Charlotte Bydler; Katarina Wadstein MacLeod, Stockholm: Axelius , 2015, p. 79-93Chapter in book (Other academic)
  • 326.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Philosophy.
    A Family Affair: Swedish Modernism and the Administering of Life2010In: Swedish modernism: architecture, consumption and the welfare state / [ed] Helena Mattsson, Sven-Olov Wallenstein, London: Black Dog , 2010, p. 188-199Chapter in book (Other academic)
  • 327.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Education, Philosophy.
    Arkitektur och natur: [del 1]2013In: Paletten, ISSN 0031-0352, no 1-2, p. 136-145Article in journal (Other academic)
  • 328.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Education, Philosophy.
    Arkitektur och natur, del 22013In: Paletten, ISSN 0031-0352, no 3, p. 48-55Article in journal (Other academic)
  • 329.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Education, Philosophy.
    Avant-Garde and Market2013In: A Cultural History of the Avant-Garde in the Nordic Countries 1900-1925 / [ed] Hubert van den Berg, Irmeli Hautamäk, Benedikt Hjartarson, Amsterdam: Rodopi, 2013, p. 259-274Chapter in book (Refereed)
  • 330.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Philosophy.
    De ou par Marcel Duchamp par Ulf Linde: The Royal Swedish Academy of Fine Arts: Exhibition produced jointly by The Royal Swedish Academy of Fine Arts and Moderna Museet2012In: Kunstkritikk - The Nordic Art Review, ISSN 1893-2886, no 1, p. 37-37Article, book review (Other academic)
  • 331.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Education, Philosophy.
    Fabrikens fantomer2013In: Fabrikk: antologi - Møllebyen litteraturfestival 2013 / [ed] Power Ekroth, Bernhard Ellefsen, Remi Nilsen, Möllebyen: Möllebyen Litteraturfestival , 2013Chapter in book (Other academic)
  • 332.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Education, Philosophy.
    Hamann och språket2014In: Paletten, ISSN 0031-0352, no 2, p. 54-57Article in journal (Other academic)
  • 333.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Education, Philosophy.
    Herder och beröringen2014In: Paletten, ISSN 0031-0352, no 1, p. 54-57Article in journal (Other academic)
  • 334.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Philosophy.
    I see through you / Anna Nordquist Andersson2012Book (Other academic)
  • 335.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Philosophy.
    Looping Ideology: The CCTV Center in Beijing2010In: Media houses: architecture, media and the production of centrality / [ed] Staffan Ericson, Kristina Riegert, New York: Peter Lang , 2010, p. 163-182Chapter in book (Other academic)
  • 336.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Education, Philosophy.
    Lumen, Lux2013In: David Svensson: Old Worlds Rise Again / [ed] Anna Krogh, Odense: Kunsthallen Brandts , 2013, p. 79-83Chapter in book (Other academic)
  • 337.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Philosophy.
    Plats, icke-plats, palimpsest2010In: Plats, poetik och politik: samtida konst i det offentliga rummet / [ed] Linda Fagerström, Elisabet Haglund, Malmö: Arena , 2010, p. 144-155Chapter in book (Other academic)
  • 338.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Aesthetics.
    Public subjects2012In: Placing Art in the Public Realm / [ed] Håkan Nilsson, Huddinge: Södertörn University , 2012, p. 17-28Chapter in book (Refereed)
  • 339.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Philosophy.
    Space, time, and the arts: rewriting the Laocoon2010In: Journal of Aesthetics and Culture, ISSN 2000-4214, Vol. 2, p. -13Article in journal (Refereed)
  • 340.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Philosophy.
    The Place of Art in Hegel’s Phenomenology2012In: Translating Hegel: The Phenomenology of Spirit and Modern Philosophy / [ed] Brian Manning Delaney, Sven-Olov Wallenstein, Huddinge: Södertörn Högskola , 2012, p. 147-162Chapter in book (Refereed)
  • 341.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Philosophy.
    Tre scener från passionernas historia2012In: Passioner: konst och känslor genom fem sekler / [ed] Karin Sidén, Janna Heder, Stockholm: Nationalmuseum , 2012, p. 244-256Chapter in book (Other academic)
  • 342.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Aesthetics.
    Winckelmann och konsthistorien2012In: Paletten, ISSN 0031-0352, no 2, p. 50-55Article in journal (Other academic)
  • 343.
    Wiklund, Jessica
    Södertörn University, School of Culture and Education.
    Museibesökare i konstnärens närvaro: Performativitet och det ritualiserande i Marina Abramović verk The Artist is Present.2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In this essay I analyze the performative aspects relating to Marina Abramović's The Artist Is Present, which took place in spring 2010 at MoMA in New York, from the context of the artist and work, institution and documentation. In this performance work, for the duration of the exhibition, Abramović sits completely still opposite another chair where anyone from the audience may sit. The art arises through this participation. The audience are not only viewers, but also the observed, thus becoming part of the work and the negotiation of this exchange of living gazes. The performative pervades this work on multiple levels. The Artist Is Present reached a surprisingly large public, of over 500,000 visitors and continues to circulate in the form of blogs, documentary film and photography long after the exhibition duration.

    In order to conduct a performative analysis of The Artist Is Present I apply the theories of Peggy Phelan, regarding the relationships between the political and representative visibility in contemporary culture. Phelan's explanation of the unmarked field reveals the importance of the 'other' to see oneself. This is especially relevant in Abramović's performance which challenges and revolves around self reflection in the other. Phelan's theories are also pertinent in analyzing what Abramović as the performer and her work create for re-negotiations around positions and the gaze. The assertions of Carol Duncan in considering the Art Museum as a place of ritual are applied to the ritualistic context of The Artist Is Present, which may well build up a form of liminality. Duncan's claims of the museum as ritual in combination with Phelan's theories provide interesting grounds to further investigate the effect and eventual mythology of the performance work and artist.

    How do these contexts of institution, documentation, artist and art, which I propose contribute to a kind of myth creation, operate in a ritualized performance art work? This essay analyses these contexts together in order to find a connection between the performative aspects and the effect that they have on the viewer and receiver, which have contributed to the public success of this exhibition. Despite that we now live in an era of reproduction, perhaps the wishes of our era still revolve around a cult value? That even in this post industrial age of reproduction, new needs are recreated for mythology and cult? Or can it be that the reverse is true, that the rites and symbols speak to us before the mythology has fully arisen?

     

  • 344.
    Wolmer, Thérèse
    Södertörn University, School of Culture and Education.
    ”Det offentligt sköna?”: Om inköp av och praktik kring offentlig konst i fyra kommuner i Stockholms län 2009-20112012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study examines the purchases of public art in four municipalities (Botkyrka, Haninge, Järfälla and Solna) in Stockholm County during the years 2009-2011. The objective of the study was to compare the municipalities' procurement and raise questions on the practice and position of public in these municipalities. The objective was also to compare these results with contemporary art debates on how public art can be understood today. This essay also gives a short introduction and history to the “one percent rule” and how it has been used, particularly in Stockholm County. The study includes a total of 199 pieces of art from these four municipalities purchased under 2009-2011. The purchased works of art consists of everything from textile collages, graphic art like lithography and bronze sculptures to art containing "human activity". The results of this study showed that these municipalities mainly bought more traditional art in the form of paintings and lithography, than “solid” art like sculptures. Only one of the municipalities had invested in art that reminded of the type of art that is discussed in today’s press.

  • 345.
    Zander, Niclas
    Södertörn University College, The School of Culture and Communication.
    Viljan att veta: en analys av Mona Hatoums verk Corps étranger via bio-politik och science fiction2007Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    In this paper Mona Hatoums installation Corps étranger is discussed via a post structuralized method based on associative and semiotic comparisons with vanitas, a post-modern self-portrait, and as a representative for modern visual art. The analyze touches upon pornography, science fiction and the quest for scientific conquest in outer and inner space. Theoretical references are Foucault, Freud, Lacan, Barthes, Dolar, Said and Virilio. Hatoum makes the observer a voyageur with the aid of the latest medical technology, endoscope, which gives her the opportunity to make an introvert self-portrait when she films her own throat and rectum. But at the same time she makes the portrait of us all. I interpret this as a fictious science with postcolonial ideas, and the reference to science fiction is close at range. Hatoum takes the role as the other, the woman or the stranger and might flirt with Jülich interpretation of Corps étranger as a sign of the visual cultures colonisation of the human body’s inside, that is a conscious reference to sexuality, ethics and the search for knowledge and power.

  • 346.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    A Northern Avant-garde: Spaces and Cultural Transfer2018In: A Companion to Modern Art / [ed] Pam Meecham, Hoboken: Wiley-Blackwell, 2018, p. 359-373Chapter in book (Other academic)
    Abstract [en]

    The avant-garde of the early twentieth century in Europe was to a large extent a field of migrating artists and the circulation of artists' works. Swedish and other Scandinavian artists were a large part of avant-garde formations in Paris. Avant-garde formations need to be understood as being positioned in a field of several parallel spaces. Matisse eleverna ("the students of Matisse") has become ahistorical, gendered in the masculine unit that with time and much historical writing, has taken on a narrower meaning different from the actual group of Matisse's Swedish students. This chapter investigates this construction through two recent figures of pioneering avant-gardism within the modernist narrative: the ones created around the work of Siri Derkert and Hilma af Klint. It concludes by revisiting the Baltic Exhibition in Malmo 1914, an historic moment where several initiatives of avant-garde ambition were performed on one site.

  • 347.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    After Post Modernism: On Possible and Impossible Strategies in Swedish Contemporary Art: Efter Postmodernismen: om möjliga och omöjliga strategier i svensk samtidskonst2006In: The Moderna Exhibition 2006 feb 18 - maj 7:´When am I?: Modernautställningen 2006, 18 februari - 7 maj: När är jag? / [ed] Magdalena Malm, John Peter Nilsson, Stockholm: Moderna Museet , 2006, p. 333-Chapter in book (Other academic)
  • 348.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Amuletter mot onda ögat / Amulets against the evil eye: Katrine Helmersson2014Book (Other academic)
  • 349.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Annika by the Sea: A Project by Annica Karlsson Rixon2003In: n.paradoxa: International Feminist Art Journal, ISSN 1461-0434, Vol. 11, p. 38-43Article in journal (Other academic)
  • 350.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    "Art History Outside The Nationalist Paradigm: Soros Art Centers In A Global Perspective": Review of Globalizing East European Art Histories. Past and Present. Ed. Beáta Hock and Anu Allas.2019In: Baltic Worlds, ISSN 2000-2955, E-ISSN 2001-7308, Vol. 2Article in journal (Refereed)
    Abstract [en]

    This article reviews the anthology Globalizing East European Art Histories. Past and Present. Routledge Research in Art History Beáta Hock and Anu Allas (ed.), London: Routledge, 2018. 

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