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  • 351.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Art in Transfer in the Era of Pop: Curatorial Practices and Transnational Strategies2017Collection (editor) (Refereed)
    Abstract [en]

    How should we understand post-war art? How were issues of cultural transfer and curatorial strategies dealt with in the extended 1960s – the era of pop?

    Art in Transfer in the Era of Pop juxtaposes issues and contexts approaching the concept and reception of Pop Art. Contributors from Europe and beyond weave a web that resists the notion of universialism, adding to art historian Piotr Piotrowski’s “horizontal” art history. This volume avoids the historiographic stance where the US—Europe relationship appears to be a one-way affair. Instead, the reader is drawn into the history of the circulation and cross-pollination of ideas, the aesthetic practices and the various contexts that influenced them.

  • 352.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Aspects of Gender and Transnational Politics in Swedish Art2006In: BENT: Gender and Sexuality In Contemporary Scandinavian Art: Eija-Liisa Ahtila, Jesper Just, Annika Larsson, Annica Karlsson Rixon, San Francisco: San Francisco State University , 2006, p. 22-33Chapter in book (Other academic)
  • 353.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Att utvidga sökområdet: Helene Billgrens objekt2016In: Helene Billgren: Svenska illustratörer och konstnärer, Stockholm: Orosdi-Back , 2016, p. 5-12Chapter in book (Other academic)
    Abstract [sv]

    I artikeln diskuteras Helene Billgrens objekt, i relation till konstnärskapet i sin helhet och till några referenspunkter i konsthistorien.

  • 354.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Barbro Östlihn: liv och konst2003Book (Other academic)
  • 355.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Barbro Östlihn och New York: konstens rum och möjligheter2010Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives.

    Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden.

    In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production.

    The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework.

  • 356.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Bedeutung, Übertragung, Zirkulation: Über die Arbeit von Anna Brag2001In: Be Magazine, ISSN 0946-3585, no 7Article in journal (Other academic)
  • 357.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Charlotte Gyllenhammar: Fall2001Other (Other (popular science, discussion, etc.))
  • 358.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Claiming Futurism: Arturo Ciacelli in Scandinavia2018In: International Yearbook of Futurism Studies: Open Issue / [ed] Günter Berghaus, Domenico Pietropaolo, and Beatrice Sica, Berlin/Boston: De Gruyter , 2018, p. 107-128Chapter in book (Refereed)
    Abstract [en]

    This essay examines how Italian Futurism could be converted into new cultural capital, transferred intooutjer countries and employed as a strategy in the early 1910s within the early Nordic avant-garde. Around the years 1910-101. the Italian artist Arturo Ciacelli (1883-1966) spent time in Paris in the circle of Robert and Sonia Delaunay before movint north with Elsa Ström, a Swedish artist he had married in 1909. Ciacelli sought to establish himself in Scandinavia not only as an artist, but also as an editor of the new journal Ny Konst (New Art, 1915) and as the director of a gallery for contemporary art. His Nya Konstgalleriet (New Art Gallery), founded in Stockholm in 1915, promoted Nordic and international avant-garde painting until 1921. Ciacelli's embrace of Futurism was less evident in his panterly work that in his theoretical statements, the most important of which was an incomplete translation of La pittura futurista: Manifesto tecnico (1910), based on the French edition of 1912 in the Berhheim-Jeune catalogue, entitled "Manifeste des peintres futuristes". The chapter presents Ciacelli's activities in Stockholm, Lund and Copnehagen, and discusses the artist's strategies for forestering trans-national migrations of avant-garde formations and discuss his Futurist-Målarnes Manifest of 1913.

  • 359.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Cubism in transit: Siri Derkert and the early Parisian avant-garde2012In: Transferts, appropriations et fonctions de l'avant-garde dans l'Europe intermédiaire et du Nord / [ed] Harri Veivo, Paris: L'Harmattan , 2012, p. 29-45Chapter in book (Refereed)
  • 360.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Dam i Landskap - Siri Derkert i modernismen2001In: Siri Derkert: modernist och modetecknare / [ed] Annika Öhrner, Borås: Centrum för textilforskning, Högskolan i Borås , 2001, p. 47-67Chapter in book (Other academic)
  • 361.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Delaunay and Stockholm2015In: O Círculo Delaunay / The Delaunay Circle / [ed] Ana Vasconcelos e Melo, Lissabon: Fundação Calouste Gulbenkian , 2015, p. 226-240Chapter in book (Refereed)
  • 362.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Ett konstnärsarkiv2011In: Att alltid göra och tänka det olika: Siri Derkert och 1900-talet / [ed] Mats Rohdin & Annika Öhrner, Stockholm: Kungliga biblioteket , 2011, p. 9-25Chapter in book (Other academic)
  • 363.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Gatan blir Galleri i Beijing: om Zhang Wang och Zhang Dali2001In: Konstperspektiv, ISSN 0347-4453, no 1, p. 13-15Article in journal (Other (popular science, discussion, etc.))
  • 364.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Hillersberg i tiden2013In: Lars Hillersberg: entreprenör och provokatör / [ed] Andreas Berg, Stockholm: Ordfront förlag, 2013, p. 105-123Chapter in book (Other academic)
    Abstract [sv]

    This essay discusses the work of Swedish artist Lars Hillersberg (1937-2004), and it's positioning within and meaning for the establishment of pop art in Sweden. Hillersberg's double position as provocateur and the protegee of the artistic establishment is developed upon, through the backrop of his early work and exhibitions in the early 1960's. mot bakgrund av av några av hans tidiga verk och utställningar vid början av 1960-talet. 

  • 365.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Hilma af Klint och Ivan Aguèli. Andligheten och konstens rum.2017In: Aura. Tidskrift för akademiska studier av nyreligiositet, ISSN 2000-4419, Vol. 9, p. 42-60Article in journal (Refereed)
    Abstract [sv]

    The article suggests a comparative reading of the art and art theory of the artists Hilma af Klint and Ivan Aguéli, as well as of their position in the art historical narration.

  • 366.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Hilma af Klint: Paintings for the future: Review of the catalogue to the exhibition Hilma af Klint: Paintings for the future at Solomon R. Guggenheim.2019In: Woman's Art Journal, ISSN 0270-7993, E-ISSN 2158-8457, Vol. 40, no 1, p. 46-48Article, book review (Refereed)
  • 367.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Il faut se distinguer: Académie Matisse och föreställningen om en modernistisk brytpunkt2014In: Inspiration Matisse! / [ed] Meister, Anna; Prytz, Daniel; Sidén, Karin, Stockholm: Prins Eugens Waldemarsudde , 2014, p. 55-69Chapter in book (Refereed)
    Abstract [sv]

    This essay discusses the artistic and educational experiences of the Scandinavian students of Henri Matisse 1908-11, with their career strategies as a guiding line through the material. But first, background is drawn on the availability of relevant art education in their home countries - choosing Matisse was as often a decision based on a lack. In Paris several Académies libres was visited by young Scandinavian artists. - After having returned to Scandinavia, some of Matisse's students successfully claimed Matisse as a part of their avant-garde identity, while for others, foremost the female students, this career strategy was in reality not on option.

  • 368.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Introduction2017In: Art in Transfer in the Era of Pop: Curatorial Practices and Transnational Strategies / [ed] Annika Öhrner, Huddinge: Södertörns högskola, 2017, p. 9-20Chapter in book (Other academic)
  • 369.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Ivan Aguéli: Långt borta och nära2018In: Ivan Aguéli: måleriet och mystiken / [ed] Patrik Steorn, Viveca Lindenstrand, Stockholm: Thielska Galleriet , 2018, p. 14-19Chapter in book (Other academic)
  • 370.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Konsten och rummet: en kollektion för Södertörns högskola2016In: Konsten på Södertörns högskola: Art at Södertörn University, Huddinge: Södertörns högskola, 2016, p. 44-65Chapter in book (Other academic)
  • 371.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Konsten på Södertörns högskola2016Collection (editor) (Other academic)
  • 372.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Making Space for Feminism: All-Women Art Exhibitions in Sweden in the 1970s2018In: All-Women Art Spaces in Europe in the Long 1970s / [ed] Agata Jakubowska and Katy Deepwell, Liverpool: Liverpool University Press, 2018, p. 47-70Chapter in book (Refereed)
  • 373.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Meret Oppenheim: inledning = introduction2004In: Meret Oppenheim: Moderna museet [4.9 - 31.10] 2004 / [ed] Annika Öhrner, Stockholm: Moderna Museet , 2004, p. 7-13Chapter in book (Other (popular science, discussion, etc.))
  • 374.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Niki de Saint Phalle Playing with the Feminine in the Male Factory: Hon - en katedral2018In: Stedelijk Studies, ISSN 2405-7177, no 7, p. 1-16Article in journal (Refereed)
    Abstract [en]

    HON – en katedral (SHE – a cathedral, June 4–September 4, 1966) at Moderna Museet in Stockholm, was structured as a giant, reclining woman filling the entire space of the museum’s largest room, more or less to its edges (fig. 1). She was painted white with patterns of clear colors over parts of her body. Entering HON – en katedral (hereafter simply Hon) through its vagina, the audience found themselves walking and climbing in something that has been referred to as a kind of amusement park. The image of the invasive, female body placed directly into the heart of the museum institution served to disturb power relations within artistic networks and cultural life at a time when both the representation of women and gender positions in the arts were being challenged.

  • 375.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Om fredsmonument. Fia-Stina-Sandlunds One More Monument: 2013In: Kritiker: nordisk tidskrift för litterär kritik och essäistik, ISSN 1653-7432, no 27, p. 74-95Article in journal (Other academic)
  • 376.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Om sju konstverk i Huset: A. Kapoor, A.V. Janssen, Perejaume, R. Guillén-Balmes, CM von Hausswolff, S. Sze, Sommerer/Mignonneau2001In: Bo01: catalogue. 2, Vision : art exhibitions : huset : the house ... : 17 maj-16 september, 2001 : May 17-September 16, 2001, Malmö, Sweden / [ed] Louise Ercolino, Malmö: Bo01 , 2001, p. 107-136Chapter in book (Other (popular science, discussion, etc.))
  • 377.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    On the Construction of Pop Art: When American Pop Arrived in Stockholm in 19642017In: Art in Transfer in the Era of Pop: Curatorial Practices and Transnational Strategies / [ed] Annika Öhrner, Huddinge: Södertörns högskola, 2017, p. 127-159Chapter in book (Refereed)
  • 378.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Recalling Pelican: On P.O. Ultvedt, Robert Rauschenberg and Two "Ballets"2007In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 76, no 1-2, p. 27-39Article in journal (Refereed)
  • 379. Öhrner, Annika
    Siri Derkert och kubismen2011In: Siri Derkert / [ed] Annika Öhrner med Matilda Olof-Ors, Stockholm: Atlantis , 2011, p. 280-Chapter in book (Other academic)
  • 380.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Siri Derkerts förnekade måleri2003In: Artes (Stockholm), ISSN 0345-0015, no 1, p. 38-47Article in journal (Other academic)
  • 381.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    The Moderna Museet in Stockholm: The Institution and the Avant-Garde2016In: A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 / [ed] Tania Ørum & Jesper Olsson, Leiden: Brill Academic Publishers, 2016, p. 112-121Chapter in book (Other academic)
  • 382.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Tre Verk: HV 1874-2014, 140 år : Handarbetets Vänners Etthundrafyrtioårsutställning2014Other (Other academic)
    Abstract [en]

    On the occasion of the 140 year anniversary of Handarbetets Vänner (Friends of Handicraft), an exhibition of three large art works was presented at the association's gallery, Eivor Hedvall, Banner for International Woman Alliance (1911), Siri Derkert, Vi-We-Nous (1963) and Åsa Cederqvist, The expectation, devotion and the ambivalence of being penetrated and born-again (2010). This exhibition catalogue contains interpretations and images of them, as well as assessment of their emancipatory content.

  • 383.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Yvonne Rainer and Robert Morris: An Evening of Talking and Dancing2016In: A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 / [ed] Tania Ørum & Jesper Olsson, Leiden: Brill Academic Publishers, 2016, p. 534-539Chapter in book (Other academic)
  • 384.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Ögat sitter i magen2000In: 00tal: Tidskrift för litteratur och konst, ISSN 1404-823X, no 4, p. 80-81, 84Article in journal (Other (popular science, discussion, etc.))
  • 385. Öhrner, Annika
    et al.
    Olof-Ors, Matilda
    Siri Derkert2011Collection (editor) (Other academic)
  • 386.
    Örtengren, Åsa
    Södertörn University College, The School of Culture and Communication.
    Att skapa ett program: Richard Berghs Nordisk sommarkväll (1899-1900) genom historien2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    Nordic Summer Evening is a theoretical painting, today an important icon of Nordic art from the turn of the century. The purpose of this essay is to analyse the painting, and to investigate and identify its declaration of program, and in a wider context, the emergence of a program of the nationalistic art at the turn of the last century. The essay also investigates how the painting has become more popular throughout the century, and why Americans tend to see the painting as an exposé over a quarrel, filled with sexual tension, while Swedes tend to make a point out of the harmony and stillness of the painting.

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