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  • 51.
    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.))
  • 52.
    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.))
  • 53.
    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)
  • 54.
    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.))
  • 55.
    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.))
  • 56.
    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.))
  • 57.
    Nilsson, Håkan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Charlotte Gyllenhammar2004In: Charlotte Gyllenhammar / [ed] Magnus Jensner, Evalena Lidman, Stockholm: Carlsson , 2004Chapter in book (Other (popular science, discussion, etc.))
  • 58.
    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.))
  • 59.
    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.))
  • 60.
    Nilsson, Håkan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Anteckningar kring Olle Baertlings öppna form2003In: Baertling, Halmstad: Mjellby konstgård , 2003Chapter in book (Other (popular science, discussion, etc.))
  • 61. Nilsson, Håkan
    Annika Larsson: dominance and submission2002In: Parkett, ISSN 0256-0917, no 64, p. 144-152Article in journal (Other (popular science, discussion, etc.))
  • 62. Nilsson, Håkan
    Clay Ketter: Materializing the context2002In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 71, no 1-2, p. 39-44Article in journal (Refereed)
  • 63. 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.))
  • 64. Nilsson, Håkan
    A Means to an End2001In: La Biennale di Venezia: 49. esposizione internazionale d'arte : platea dell'umanita, plateau of humankind, plateau der menschheit, plateau de l'humanité, Milano: Electa , 2001Chapter in book (Other (popular science, discussion, etc.))
  • 65. Nilsson, Håkan
    Den totala revolutionen = The Total revolution2001In: Erfarenhet - upplösning: [Göteborgs internationella konstbiennal 9 juni-16 september 2001] / [ed] Annika Öhrner, Peter Samuelsson, Göteborg: Göteborgs internationella konstbiennal , 2001, p. 13-17Chapter in book (Other (popular science, discussion, etc.))
  • 66. Nilsson, Håkan
    Bortom gott och ont2000In: Flown Over by an Old King, Stockholm: Färgfabriken , 2000Chapter in book (Other (popular science, discussion, etc.))
  • 67.
    Nilsson, Håkan
    Stockholms universitet.
    Clement Greenberg och hans kritiker2000Doctoral thesis, monograph (Other academic)
    Abstract [en]

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

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

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

  • 68. Nilsson, Håkan
    Självreflektionen, den yttersta av cynismer2000In: Expositioner: antologi om utställningsmediet, Stockholm: Fören. Curatorprojektet , 2000Chapter in book (Other (popular science, discussion, etc.))
12 51 - 68 of 68
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