sh.sePublications
Change search
Refine search result
1234567 51 - 100 of 386
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • harvard-anglia-ruskin-university
  • apa-old-doi-prefix.csl
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 51.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Introduction2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, p. 9-20Chapter in book (Other (popular science, discussion, etc.))
  • 52.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Sjöholm, CeciliaSödertörn University, School of Culture and Education, Aesthetics.
    Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization2014Collection (editor) (Refereed)
    Abstract [en]

    The title of this anthology, Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization, signals the regional dimension inherent in the globalization of the arts. Rejecting a comprehensive theory of globalization, the texts in this anthology instead circumscribe a situated understanding of the production and interpretation of the arts, which serves to condition cultural translatability. The texts of the anthology argue that cultural translatability should be considered through the concept of regionality, that is, the quality of being both territorially and relationally situated. Bypassing the abstract and politically charged category of “nationality,” regionality addresses human relations in and through the more tangible physical environment in and by which they are configured. As seen in the work on archipelagic thinking by the Martinican writer and philosopher Édouard Glissant, both the cultural and physical aspects of one’s immediate environment are used to articulate a form of self-understanding in the face of cultural and economic expansion, the particular character of which is indicated by the term mondiality. This concept derives from the French word for “world” or “people,” and thus affirms the fundamentally social and cultural character of experiences thought of as global. Each of the eleven contributions in this volume brings its own perspective on arts and aesthetics, producing world-views that still share a keen awareness of their partialness.

    The contributors are: Charlotte Bydler, J. Michael Dash, John Drabinski, Martin Svensson Ekström, Anthony Gardner and Charles Green, Christina Kullberg, Lisette Lagnado, André Lepecki, Patricia Lorenzoni, Cecilia Sjöholm, and Terry Smith.

  • 53.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Editorial2016In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 85, no 3, p. 205-207Article in journal (Other academic)
  • 54.
    Callahan, Sara
    Södertörn University, School of Culture and Education.
    Tracing Shadows: The “analogue” and  the indexical sign-status of the photographic object2012Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This essay looks at the way the photograph functions as a sign, and how an interest in analogue technique and related sensitivities can be analysed and understood in selected works by Maria Miesenberger, Lotta Antonsson, Vera Lutter, Joachim Koester, Walid Raad, Simon Starling and Tacita Dean. A number of thematic, technical and conceptual interests and sensitivities are approached under the term “analogue”, in order to differentiate the “analogue” as a sign-function from the analogue as mere technique.  Using Charles Sanders Peirce's semiotic system as a base, it is the indexical aspect of the photographic sign that appears to be highlighted and separated from the other sign-functions in the examples used. The notion of the photograph as indexical is looked at in the light of Susan Sontag's and Roland Barthes' writing on the subject where terms like 'death mask', 'foot print', 'stencil', or 'umbilical chord' are indications of a direct link between the photographic image and the object or person depicted. The “analogue” as focus on a unique photographic object is discussed, as well as how this relates to the notion of 'aura'. The material and temporal aspects of the trace make it particularly useful as a medium to explore themes such as memory, loss, identity, time, death and history. The essay argues that the key characteristics of the “analogue” is a concern with the indexical, often not deliberately explored by the artists but observable nonetheless. 

  • 55.
    Cleve, Moa
    Södertörn University, School of Culture and Communication.
    Smärta och extas: En studie om det abjekta och groteska i Nathalie Djurbergs verk2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 56. Curman, Sofia
    et al.
    Larsson, Camilla
    Klara Kristalova2012Collection (editor) (Other (popular science, discussion, etc.))
  • 57.
    Dahlerus, Jarl
    Södertörn University College, School of Culture and Communication.
    Vad är konstverket värt: Värdet av konst mot bakgrund av verkets aura och konstnärens kanonisering2009Student paper second term, 5 credits / 7,5 HE creditsStudent thesis
    Abstract [sv]

    Värdet av ett konstverk på auktionsmarknaden kan bestämmas av ett antal faktorer såsom marknad, trender, smak mm. Även begreppen aura och konstnärens kanonisering kan spela en stor roll för värdet. Syftet med uppsatsen är att ge en inblick i hur aura och kanonisering kan påverka värdet av konst. Det är troligt att det inte finns någon tidigare forskning i större utsträckning som har inriktat sig på detta specifika problem.

    Tillvägagångssättet är att uppsatsen inleds med en genomgång av begreppen aura och kanonisering samt en kort analys av hur konstvärdering går till i praktiken. Därefter analyseras tre verk, som har sålts till ett lågt pris på kvalitetsauktion i Stockholm, med avseende på konstnärens kanonisering och verkets aura för att försöka utröna hur detta har påverkat värderingen.

    De tre verken är Carl Johansson, Strandlandskap i aftonljus, Dirck van Baburen (hans efterföljare) Dryckesbroder samt Edv. Stengel, Hamnbild i månsken.

    Kanon har här definierats som en "kändislista" över väl etablerade konstnärer. Den klassiska kanon bygger på tanken att kvaliteten hos konst objektivt kan bestämmas. Det finns emellertid ett högst subjektivt element i konsten som kan beskrivas som verkets aura. Denna kan beskrivas som det element som finns i ett original men inte i en kopia, dess historia, slitage mm. Till detta hör även konstnärens uttryck av något sinnligt och estetiskt som förmedlar en upplevelse när man betraktar verket.

    Slutsatsen är att de tre analyserade verken med låg aura och låg kanonisering har sålts till ett förhållandevis lågt pris. Ett av de analyserade verken hade en kanoniserad konstnär (Carl Johansson) men det räckte inte till för att ge en högre värdering.

  • 58.
    Danius, Sara
    et al.
    Södertörn University, School of Culture and Communication, Aesthetics.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Communication, Aesthetics.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Philosophy.
    Aisthesis: Estetikens historia, del 12012Book (Other academic)
  • 59.
    Demény, Bernadette
    Södertörn University College, The School of Culture and Communication.
    Alphonse Mucha och art nouveau: En undersökning om influenser hos samtida illustratörer2007Student paper second term, 5 points / 7,5 hpStudent thesis
  • 60.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    A Radical Academy of Fine Art?: Power and social dimensions in recruitment to the fine art professorships at the Royal College of Art in Stockholm, Sweden 1938-20002015In: Passepartout - Skrifter for kunsthistorie, ISSN 0908-5351, no 36, p. 117-138Article in journal (Refereed)
  • 61.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Att sätta sitt konstnärliga arbete i perspektiv = Placing artistic work in perspective: Konstnärlig forskning på Valand vid decennieskiftet 1990 = Artistic research at Valand around the turn of the 1990s2010In: Omskakad spelplan = A disarranged playing board: konsten i Göteborg under 1980- och 1990-talet = art in Gothenburg during the 1980s and 1990s / [ed] Jeff Werner & Kristoffer Arvidsson, Göteborg: Göteborgs konstmuseum , 2010, p. 138-159Chapter in book (Other academic)
  • 62.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    En tvångströja för måleriet?: Några reflektioner över den akademiska konstteorins historia2001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1-2, p. 88-92Article in journal (Refereed)
  • 63.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Fri konst?: Bildkonstnärlig utbildning vid Konsthögskolan Valand, Konstfackskolan och Kungl. konsthögskolan 1960-19952010Book (Refereed)
  • 64.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    From Margin to Margin?: The Stockholm Paris Axis 1944–19532019In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 88, no 1, p. 1-16Article in journal (Refereed)
    Abstract [en]

    The historical study of art in relation to geographical space has for a long time been biased by the “canonical logic” of the centre–periphery narrative. This text takes as its starting point a methodological critique of this binary framework by using an example from Swedish art history, namely the art historical narrative of 1950s Sweden as a slumbering Nordic province slowly being awoken by the heroic and foresighted efforts of the Swedish curator Pontus Hultén. The text analyses two local contexts between 1944 and 1953: a presumed periphery, Stockholm, Sweden, and a presumed centre, Paris, France, and the collaboration between individuals in these two spaces. In focus is a 1953 exhibition in Paris of Swedish abstract art from 1913 to 1953. The text concludes with a methodological discussion arguing that by considering “the material conditions of encounters and exchange”, it becomes clear that the transnational contacts in these cases were spurred by local competition and that they were mutually dependent, rather than a product of diffusions of aesthetic innovation from centre to periphery.

  • 65.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    "It smells of wildness, trouble a good fight": On experimental art and artistic education in the 1960s2010In: Det åskådliga och det bottenlösa: tankar kring konst och humaniora tillägnade Margaretha Rossholm Lagerlöf / [ed] Tomas Björk m.fl., Stockholm: Konstvetenskapliga institutionen, Stockholms universitet , 2010Chapter in book (Other academic)
  • 66.
    Edling, Marta
    Konstvetenskapliga institutionen, Stockholms universitet.
    Om måleriet i den klassicistiska konstteorin: praktikens teoretiska position under sjuttonhundratalets andra hälft1999Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The character of the manual execution and material form of the art object were ascribed little value in the classicist theory of art. The practical act of painting was associated with handicraft and routine. The thrust of the theory was towards the literary and the philosophical and great value was ascribed to the artists' mental creativity and the philosophical treatment of the subject. It is my aim in this dissertation to investigate the separation between the manual/material and the mental/creative in the art of painting and to clarify the role of practice within this theoretical tradition during the second half of the eighteenth century. The texts studied are written by leading art theorists; Joshua Reynolds, Anton Raphael Mengs, Charles-Henri Watelet, Pierre-Charles Levesque, Johann Georg Sulzer, Christian Ludwig von Hagedorn, Charles-Nicolas Cochin and Roger de Piles. One of the most important findings of the study was that the mental and the material were regarded not only as essentially different in kind, but that the relation between them also was of central importance. The picture was regarded as a combination of two effective parts: a carefully formed idea was realized, or produced, through the mediation of a material structure. Practice was thus seen as a tool of thought, and as such it could be ascribed a complementary value. Consequently it was also possible, without contravening the established ranking of the mental and the material, to value and appreciate the material aspect for the important function it fulfilled in the production of the work as a whole. The idea of collaboration between to arts was just as axiomatic as the assumption that, by their very nature, they represented essentially different values. The practical and material aspect of painting should, according to the classicist art theory, draw no attention to itself. It should restrain the expressive powers of the brushwork and the handling of colors and subordinate itself to the mental creativity and the intellectual content. But it was recognized that paintings that did not live up to the highest aims was not for that reason necessarily "poor". In categorizations of styles, genres, national schools of painting and individual artists' works it is possible to see that the theorists did allow more lowly and less highly valued kinds of paintings to be considered and appreciated, without risking any challenge to the established ranking order.  The study shows that such deviations from the classical rules, or any refinements in these rules, need not be regarded as chance exceptions or a temporary suspension of the classical norm, rather, they represent a flexibility permitted within frames that remain intact. Some theorists exploited this freedom and took special interest in the manual and material components. Their texts demonstrate that it was possible to work upon the boundaries between the manual and material aspects. My study also suggests that, during the period studied, the idea of the art of painting as pictorial construction appear to be in question. Too much "artistry" in the technique and staging of the subject is said to obstruct the beholder's perception of the message that the picture has to convey. The distrust in the medium is indicated by these calls for an art both less theatrical and less concerned with its material make-up.

  • 67.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    [Recension av] "Konst Kunskap Insikt" och "Metod och praktik": Vetenskapsrådets årsbok 2004 och 2005 om konstnärligt FoU2006In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 2, p. 100-108Article, book review (Other academic)
  • 68.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    [Recension av] Kunstteori. Positioner i nutidig kunstdebat.2000In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1, p. 51-54Article, book review (Other academic)
  • 69.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    [Recension av] Lars O Ericsson: I den frusna passionens heta skugga. Essäer om estetisk teori2001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 4, p. 242-243Article, book review (Other academic)
  • 70.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    [Recension av] Sven Olof Wallenstein: Bildstrider. Föreläsningar om estetisk teori2002In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1-2, p. 62-65Article, book review (Other academic)
  • 71.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Teaching abstraction?: Art historical and sociological perspectives on Nils Wedel and the basic form course at Slöjdskolan in Gothenburg, Sweden 1946–19572015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 4, p. 205-219Article in journal (Refereed)
    Abstract [en]

    From the perspective of art history and sociology, this article investigates the artist Nils Wedel (1897–1967) and his position as head teacher to the department of decorative painting at the art and design school Slöjdskolan in Gothenburg 1938–1953. The article argues that the recruitment of Wedel can be seen as a strategic outcome of combination of his deviant interest in abstract art (compared to his more successful expressionist contemporaries) and his modest career. Supporting his family as a graphic designer, he was, due to his abstract “inclinations”, isolated from the dominant networks of Francophile and well-tempered expressionist art in Stockholm and Gothenburg in the 1930s and 1940s. However, this homology of aesthetic and social characteristics that positioned him in the margins of contemporary Swedish art made him the perfect teacher to meet the increased demand in Sweden in the late 1930s for art and design artists tuned to modernist idioms and skilled in professional methods of visual design. In commercial work in visual imagery, such as advertisements, shop window displays, or even carpet design, abstraction had become fashionable by the early 1930s. Wedel's introduction of a basic form course in 1946 can be seen as a pedagogical confirmation of this attraction of modernist idioms. In the geographical, social and aesthetic periphery, it was possible to build a pedagogical setting that introduced students to the then historical avant-garde of abstract art and modern idioms while also training skills valuable for a commercial career. © 2015 The Author(s)

  • 72.
    Edling, Marta
    Uppsala universitet.
    The conspicous presence of visual conventions: Some reflections on the visual imagery in the archives of 20th century Swedish art schools2012In: IJHE Bildungsgeschichte, ISSN 2192-4295, Vol. 2, no 2, p. 247-249Article in journal (Other academic)
  • 73.
    Edoff Torstensson, Frida
    Södertörn University College, The School of Culture and Communication.
    Nationell identitet i konsten: Peter Johansson dekonstruerar mytbilden om svenskhet2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The purpose of this examination is to identify how notions of Swedishness is created artistically, and from where these notions come. My method is to make a study on exhibition catalogues on the theme Swedishness/Nordism, with focus on the contemporary Swedish artist Peter Johansson. With a retrospect of his childhood in Dalecarlia, he investigates a Swedish iconography with it’s roots in national romanticism, which for more than one hundred years has been preserved and exploited of the tourist industry to market Sweden. It’s this monotonous iconography that Johansson deconstructs to make it appear like something else – namely an iconography based on ethnic purity, which pushes away the foreign and protects the own. Some of the exhibition catalogues confirm the national romantic iconography which has been brought to life through commercial forces right up to now, but from the nineties there is a tendency to question the validity of this homogeneous image of Sweden. Peter Johansson’s way of using deconstruction as a method to exposure the myth of Swedishness involves a continuous reformulation of the Swedish identity, but the postmodern art also creates, through exposure in exhibitions all around the world, new constructions of Swedishness.

  • 74.
    Egnér, Emma
    Södertörn University College, The School of Culture and Communication.
    En analys av "Identitet- om varumärken, tecken och symboler": Ett tredelat projekt av Nationalmuseum och Stockholms Handelshögskola våren 20022006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The purpose of this paper was to analyse “Identity- about trademarks, signs and symbols”. The project was a co-operation between the National museum of Art and Stockholm School of Economics in the spring of 2002, which consisted of an exhibition, a book and a series of seminars. The goal was to illustrate how the trademark had developed through history, which role it has in the modern society and how the trademark serves as a creator of identities. The project, mostly the exhibition, was exposed to criticism, which was directed towards the sponsorship deals between The National Museum of Art and five companies.

  • 75.
    Ehne, Sandra
    Södertörn University College, School of Culture and Communication.
    Dubbeltydigheter i det kvinnliga könets gestaltning: Om Georgia O’Keeffes blomstermålningar och roll som konstnär2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 76.
    Ekborg, Malin
    Södertörn University, School of Culture and Education.
    Ett metallskrin från 1500-talet: En studie kring proveniens och ikonografi2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose with this essay is to describe, analyze and interpret a Renaissance casket. The provenience is not very clear. A great part of my investigation is therefore focused on the task to find more information about the origin of this item. The casket has been given a date, 1590 and a master of origin, a goldsmith from Hamburg in the north of Germany. I haven't been able to confirm that information. Even though the matter of my concern is a unique piece of artwork, caskets in general, during the period of my interest are not particularly uncommon. During my work period I was lucky enough to find information that suggests a totally different German goldsmith, a fact that made the research even more exciting. It has broaden the field of investigation to incorporate even Nürnberg, in the south of Germany. Typical styles of the regions have therefore been a part of this investigation. Also the fact that German goldsmiths where contracted by The Swedish Royal Court.

  • 77.
    Ekman, Jan
    Södertörn University, School of Culture and Communication.
    Gränser och passager: En analys av de curatoriska och konstnärliga subfälten2011Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I have, with a point of departure in two case studies; the artist, curator and scientist Andreas Gedin and Maria Lind, curator and director of Tensta konsthall, contextualized with a couple of respondents; the freelance curator, writer and editor Power Ekroth and the freelance curator and artist Carl Michael von Hausswolff, conducted a field analysis on curatorial and artistic practices. I have applied key concepts in order to conduct the analysis.

    Furthermore, the case studies and the respondents have been placed in a contemporary artworld. These components have been related to a contemporary historical segment of the artworld. This in turn, has been related to older, international cicumstances of change and various conditions in the two subfields. I have suggested certain a proximity in the artistic and curatorial practices. I have also suggested three types of conduct or signature features linked to the curatorial practices.

    One result implied in the responses in the interviews is that the formal requirements to enter the field are low on part of the artist as compared to that of the curator. This is only a weak indication due to the small sample. This distribution seems plausible in that, amongst other things, the connection on the curatorial part to the institution as well as a greater proximity to centres of power requires a larger accumulation of educational capital. The movements that at times occur between the subfields could simply be a consequence due to the frail demarcation of the fields. The dynamics due to the accumulated capital appears to be the foremost distinctive factor that influence the possibility of movement across the demarcations.

    The artist appears to have the most to gain from the weak demarcations due to the fact that venturing in to curatorial territory provides a greater access to the possibilities of defining the field. Another plausible explanation to the at times frequent passing over the borders is the economical cicumstances in the cultural sector.

  • 78.
    Elggren, Sara
    Södertörn University College, The School of Culture and Communication.
    En kollektiv retorik: Om konst och kvalitet i fanart-communities2008Independent thesis Basic level (degree of Bachelor)Student thesis
    Abstract [en]

    The main purpose of this essay is to study ideas concerning the concept of ”art” within the discourse of the exhibition space that is part of a fanart community. In order to do so I have used a hermeneutical and to some extent structuralistic, discourse analysis. I have examined structure and rhetorics in two established and popular communities, Fanart-Central and deviantART.

    My conclusions states that personal ideas regarding artistic value are undermined the joint policies, because of a collective rhetoric somewhat inherent in the community structure.

    When a lot of works are being based on internal knowledge of symbolics and historical narratives, this may to some extent have consequences where unfamiliar observers might fail to notice elements of possible significance. Moreover, certain interests in keeping a united front of “quality art” may also affect a general idea immediate to what signifies fanart. By means of for example categorization, censure, and quality control, specific standards of “good art” are framed and conceded within the communities. Trying to sustain specific criteria as emblematic for the entire genre like this seems highly restraining, and also contradicts the essentially liberal principals of fan culture.

  • 79.
    Emtestam, Petra
    Södertörn University College, The School of Culture and Communication.
    Varför känner vi inte till Tarsila do Amaral?: En studie av polariseringen mellan ”vi” och ”dom” i konsthistorien med utgångspunkt i antropofagin i 1920-talets Brasilien2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The abscence of the brazilian artist Tarsila do Amaral (1886–1973) in the general art history is investigated, using the colonial structure as a starting point. In South America she is regarded as one of the greatest artists in modern time, in the rest of the world she is more or less unknown. The conclusion is that the colonial mechanisms are still in progress in our assumed postcolonial world, and has excluded Tarsila do Amaral, and the anthropophagic movement she was a part of, from the art history. The study points out the importance of looking into this neglected artist and the historic event. Not only to add it to the history of art, but also to show how anthropophagy as an artistic strategy created in the 1920’s Brazil is as relevant today as it was then. Three oil paintings of Tarsila do Amaral is used to describe the artistic strategy that solved the problem of beeing shaped as a mirror image to the western world. The paintings A Negra, Abaporu and Antropofagia tells us the story of how the Brazilian people started to see themselves as culturaly independent from Europe. Neither as something opposite nor similiar, but as something between. Anthropophagy is challenging our notion of ”us” and ”them” as well as centre and periphery – and is therefor useful in the writing of art history. Its not only important to make room for Tarsila do Amaral in the history of art – its also urgent to let her contribution be a part of the present art world.

  • 80.
    Engblom, Joakim
    Södertörn University, School of Culture and Education.
    Dada ser första världskriget i Berlin: En studie av kopplingen mellan George Groszs, Hannah Höchs samt Raoul Hausmanns visuella konst och första världskriget2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The First World War had a definite impact on all of Europe, not to say the entire world. The domain of art was no exception. In Zürich, neutral Switzerland, a group of young creative intellectuals who shared a hostile approach towards the structure of the bourgeois society, with its non-democratic rulers and current nationalism which lead up to the war, united under the artistic movement we today call Dadaism. After the war Dadaism sprung up in several cities throughout Europe, among those Berlin. In Berlin Dadaism became a socialist weapon of propaganda, with its norm breaking artistic manifestations, against the camouflaged conservative government of the new Weimar republic. Their political and artistic struggle lasted until the mid-twenties, after that the gradually disintegrated. Reading the history of Dadaism some thoughts came to my mind. Dadaism emerged as a rebel against First World War and those responsible; still the movement lives on after the war had ended. What was the connection between Zürich-Dada and Berlin-Dada? Can you trace the First World War in Berlin-Dada expressions years after the end of the war? Examining three different works of art by major Berlin-Dadaists George Grosz, Hannah Höch and Raoul Hausmann, I hope to respond to those questions in a satisfactory manner and during the process draw some essential conclusions.    

  • 81.
    Englund, Karin
    Södertörn University College, The School of Culture and Communication.
    Eldsjälar, svartfötter och byråkrater: En undersökning av konflikten kring Tensta Konsthall2005Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The purpose of this essay was to overview the conflicts regarding the exhibition space (Kunsthalle) Tensta Konsthall during 2003 and 2004, in order to gain an understanding of the following: why the conflict started, if anyone exceeded their authority, how the case has been reviewed in the press, what kind of value judgements lay behind the actions and why this case has received so much attention. By studying mainly press material and political documents it has been made clear that Tensta Konsthall’s location in an ill reputed suburb of Stockholm has been the cause for its exposure to different demands and expectations compared to other similar exhibition spaces. Further the essay deals with questions raised by the conflict in the intersection of culture and politics.

  • 82.
    Ericson, Maria
    Södertörn University College, The School of Culture and Communication.
    Chefen hos Matisse: konst för organisationer och ledarskap2007Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    My analysis consists of an in-depth study of the experience of a group of development programme participants who were exposed to the use of art and artistic work in organisation and leadership development, resulting in positive effects. My starting point is creativity as a concept according to paediatrician and psychoanalyst DW Winnicott who stresses how important playing and creativity is for us, even as an adult, for us to utilise our full potential. He believes that we have a psychological space – a crossover area – where the outer, objective reality and the inner, subjective reality meet. Playing, creative development and experiences occur in this space. The purpose of my paper is to investigate art and artistic creation to determine if it can be used in the work environment as a means to provide individuals access to the crossover space, thereby developing creativity and the creative power.

    Risks have also been addressed within my paper. Art and culture can be brought down to a level where its use is only justifiable in those instances where value and economic benefits can be shown. In my opinion, this risk must be taken seriously. This does not mean, however, that one should not work across borders. This is about letting art and culture provide value in the leadership and organisation development by concurrently complementing logical and rationale methods, plans, and decision-making with the goal of striving to maintain the integrity and autonomy of the artistic endeavours.

  • 83.
    Eriksson, Anna
    Södertörn University College, The School of Culture and Communication.
    Gränsöverskridande föreställningar: En analys av dansperformance utifrån tre exempel2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The essay is an effort to examine and define three examples of liminal dance performances through an aesthetic, hermeneutic and semiotic analysis. The examples are three dance or liminal performances, made by three different choreographers and performed at “Moderna Dansteatern” and “Dansens Hus” in Stockholm during September and October 2005. In the effort to determine the liminal and cross-over in the performances, the analysis focus on aspects such as: the character of the work, choreography, the use of scenery, stage light, requisites, conception of place and interior room, the use of costume and mask, the use of different media as text, pictures, film, and music or not using any these, and the interaction with the audience. The analysis depends on a historical background and the use of literature in the subject. The result of the analysis is that these cross-over performances are very different in character of these aspects and aesthetic form. The definition of dance and performance is, in itself, liminal and difficult to determine.

  • 84.
    Falewicz Segerstedt, Åsa
    Södertörn University College, School of Culture and Communication.
    Kusliga hemligheter: En undersökning av Hyun-Jin Kwaks bildvärld2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In the Korean artist Hyun-Jin Kwak's ongoing project Girls in Uniform she portrays events and moments that transgress the boundaries between the ordinary and the unknown. In her photographs there are frequently ambiguous and cinematic narratives. The pictures are carefully orchestrated and constructed, but they are not spectacular. Kwak's imagery is relatively unexplored. This thesis implements a comparative image analysis of eight of Hyun-Jin Kwak's works, in order to investigate and interpret her imagery. The analysis is based on three recurrent motifs: the uncanny, secrets - rituals and games as well as togetherness. The intention is to investigate the uncanny, which I identify in Kwak's artwork, and explore the mysterious fellowship and secretiveness that the girls have in their games and rituals. The togetherness that often exists between young girls in Kwak's photographs are put in to the context of the twinmyth.

  • 85.
    Grönroos, Tove
    Södertörn University College, School of Culture and Communication.
    Ett verk blir kosmopolitiskt: Representerar Louise Bourgeois verk Maman någonting "universellt"?2007Student paper second term, 5 credits / 7,5 HE creditsStudent thesis
  • 86.
    Gustavsson, Martin
    et al.
    Handelshögskolan i Stockholm.
    Börjesson, Mikael
    Uppsala universitet, Institutionen för pedagogik, didaktik och utbildningsstudier.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Konstens omvända ekonomi: Tillgångar inom utbildningar och fält, 1938–20082012Book (Other academic)
  • 87.
    Hansson Grönroos, Tove
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Creating Urbanity – Destroying Cultures: Relationships Between Public and Private in Kathputli Colony, New Delhi2017Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Through the story of Kathputli Colony, thiss essay; Creating Urbanity – Destroying Cultures, Relationships Between Public and Private in Kathputli Colony, New Delhi, India, discusses various degrees of public and private in urban architecture. It compares the architecture of the former Kathputli Colony with the new architecture proposed for the site.

    Striving to become a “world class city”, Delhi has, through the Master Plan 2021, decided to raze all informal settlements and replace them with high-rises. Kathputli Colony was such an informal settlement; an urban environment built up by an architecture that responded to the needs and economic means of its inhabitants. Its design was the result of network connections and personal relationships merging public and private life.

    The essay concludes that Kathputli Colony consisted of a heterogeneous architecture, that had more in common with pre-industrial urbanism and village-architecture, than with the modernist architecture of the high-rises with its clear separation between public and private, work and leisure.

  • 88.
    Hansson, Per-Arne
    Södertörn University College, School of Culture and Communication.
    Edsvik konsthall och drömmen om Sveriges kulturella hjärta2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The study analyses the planning of the Edsvik Konsthall in Sollentuna and the first 14 years after the opening 1996 until late 2010. The study focused on the cultural discourses that have influenced the Edsvik as result of the choice of managers, the public figures and actions taken by different actors around the art gallery.

    The influence by different actors is analyzed in the art field terminology defined by Pierre Bourdieu.

    I have demonstrated how the head of Edsvik Konsthall, because of different social capital and habitus, raised different types of conflicts on the local art field.  

  • 89.
    Hegardt, Johan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Från hem till hemland: Historiens hemvist och funktionärernas uppgift2016In: Historiens hemvist III: Minne, medier och materialitet / [ed] Johan Hegardt & Trond Lundemo, Göteborg: Makadam Förlag, 2016, p. 221-246Chapter in book (Refereed)
  • 90.
    Hegardt, Johan
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Lundemo, Trond
    Inledning2016In: Historiens hemvist III: Minne, medier och materialitet / [ed] Johan Hegardt & Trond Lundemo, Göteborg: Makadam Förlag, 2016, p. 15-30Chapter in book (Other academic)
  • 91.
    Hellstrand, Hellstrand
    Södertörn University, School of Culture and Education.
    Jacobsberg - Lustträdgård och begravningsplats: En dokumentation, trädgårdshistorisk studie och funktionsanalys2013Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This essay, Jacobsberg – a Landscape Garden and a Cemetery is a documentation and a historical analyze where I’ve been focusing on the development of the landscape garden in Sweden in relation to a garden called Jacobsberg. The garden was built close to Visby on Gotland in the early 1800s by the assessor Jacob Dubbe, but has since been almost forgotten. My survey aims to depict the circumstances surrounding the creation of Jacobsberg. In what purpose was it built? I’ve also been examine the historical context of the garden’s origins with the intention to define and confirm its architectural style.

    The essay comprises two major parts, where the first part deals with the history behind Jacob Dubbe and Jacobsberg, and contains an illustration of the assessor’s life and of the garden’s original structure and shape. The chapter also comprises basic descriptions of the flora and of the different buildings in the area, and shows how the shape of the garden has been changing over the years.

    The second part begins with a presentation of the present state of Jacobsberg. The review applies experiential dimensions and other observations that haven’t been visible during the literal examinations. The monuments and the fundamental structure of the garden are analyzed and explained in relation to the coeval context. The landscape garden as architectural idea, its development and variations are discussed, including its relation to the graveyard and the tomb. The section also deals with specific traditions and tendencies, such as the increasing enthusiasm for the nature and the altered attitude to the cemetery and the grieving, which were developing in Sweden and Europe during the current period.

    In the final part of the second chapter I discuss the relation between Jacobsberg and the mansion Rosendal, which were the home of Jacob Dubbe and his wife. In this section I use Michel Foucaults concept heterotopia to understand and disclose concealed characteristics of the garden and to understand its function as a both reflecting and critical sphere.

    The essay shows that Jacobsberg originally was a landscape garden with organized parts and a cemetery at the same time. Such structure were common in the Swedish version of the landscape garden, except from the cemetery-part, which is a quite unique component in this national form. The examination also shows that it is possible that Jacob Dubbe was the architect of his own park.

  • 92.
    Hemby, Elisabeth
    Södertörn University, Centre for Baltic and East European Studies (CBEES), Baltic & East European Graduate School (BEEGS).
    Historiemåleri och bilder av vardag: Tatjana Nazarenkos konstnärskap i 1970-talets Sovjet2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis focuses on the Soviet painter Tatyana Nazarenko and her position as an influential artist in the Soviet Union of the 1970’s, a decade when Nazarenko depicted everyday life and events from Russian history. The main purpose of this thesis is to shed light upon the importance of especially these motifs in their historical, political and aesthetic context. In this way, the thesis is a study of the artist’s work in a contextual perspective. In order to understand the general conditions for Soviet Art in the 1970´s, and Tatyana Nazarenko´s picture world, the official State-regulated Art is given attention, as Socialist Realism came to be the normative frame of reference for artistic life and the individual artists. Artistic life in the Soviet Union was well regulated and official Art dominated from the early 1930´s until the collapse of the Soviet Union, while especially during the 1970´s, became subjected to so-called unofficial Art, also known as underground. The unofficial, as well as the official Art, became important for Tatyana Nazarenko, for, while not belonging to either side, she came to have a constant relationship with them. She belonged, however, to a small art circle, balancing between the official direction and criticism of the system, later known as permitted. This thesis clarifies the relationship between what is defined as official, permitted and unofficial Art. In exposing her aesthetic strategies, it is shown in what way she deviates from the official and how far the artist could extend the permitted limitations. On the question of her aesthetic strategies a further question arises of how an awareness of history is expressed in motif and form. Finally, the importance of women’s experience in her picture world is discussed. Picture material in this thesis is composed partly of some thirty works from Tatyana Nazarenko´s own production and partly of works with a contextualized and comparative function, encompassing some fifty works taken from Soviet Art History. A few examples from Western Art History constitute further comparative material. The motifs consist mainly of depictions of historical events and pictures of everyday life i.e. genre pictures.

  • 93.
    Hjertström Lappalainen, Jonna
    Södertörn University, School of Culture and Education, Centre for Studies in Practical Knowledge.
    Att reflektera över det som ännu inte sagts2014In: Methodos: Konstens kunskap, kunskapens konst / [ed] Magnus William-Olsson, Linderöd: Ariel , 2014, p. 63-84Chapter in book (Other academic)
  • 94. Holly, Michael Ann
    et al.
    Karlholm, Dan
    [Review of] Aby Warburg, The Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance2000In: CAA Reviews, ISSN 1543-950X, no JanuaryArticle, book review (Other (popular science, discussion, etc.))
  • 95.
    Hvalgren, Alexandra
    Södertörn University, School of Culture and Communication.
    Gränslandet, dubbelheten och collagets undanträngda natur: En bildanalys av Lisa Jonassons verk Existentiell #62011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay examines the relationships between the different elements in Lisa Jonasson’s collage Existentiell Progg #6 and her very detailed technique. The essay has as its aims to understand and analyze both the details and the wholeness of the artwork and to try to put the collage in an art historical context. The thesis finds that Existentiell Progg #6 has a connection to the imagery of Africa and other collage artist such as Hannah Höch and Nancy Spero, which also gives the paper a perspective of feminism in the arts. The paper continues to create an understanding for the collage work by putting it in to Theodor Adorno’s theories about nature, the human being and the animal kingdom. The paper then comes to the conclusion that many of the elements in Existentiell Progg #6 are a part of its underlying meaning and purpose.

  • 96.
    Hydén, Malin
    Södertörn University College, The School of Culture and Communication.
    Den stygga trädgården: En sinnlig tolkningsansats med utgångspunkt i Helen Chadwicks Cacao och Bad Blooms2006Independent thesis Basic level (degree of Bachelor), 20 points / 30 hpStudent thesis
    Abstract [en]

    The purpose of this essay is to discuss what a sensual interpretation of art is and what it should include. The discussion is based on an attempt to do a sensual interpretation of the Greek-British artist Helen Chadwick’s Cacao and Wreaths to Pleasure. Chadwick was an artist working with well-known materials in new and unexpected ways. An interpretation of her works should include the fact that her art affect us on different levels, both intellectually and sensually. The history of art includes very few examples of interpretations engaging all senses. Therefore this essay is based on literature in adjacent disciplines like aesthetics, inter art studies and synaesthesia. The thesis of The bad garden is that an art experience includes interplay between senses. This interplay which creates additive sensations, a fact that is not taken into consideration in an interpretation based on only vision. The conclusion is that a sensual interpretation should be a merge of traditional disciplines and must be characterised by subjectivity, contextuality, and intersensuality.

  • 97.
    Hydén, Malin
    Södertörn University College, School of Culture and Communication.
    Sanning och konsekvens: En studie av den estetiska intentionen hos tre verk av Felix Gmelin2009Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    You could say that the Swedish artist Felix Gmelin in his art uses media to get closer or further away from what we consider to be the reality and also truth. The purpose of this study is to discuss what this means for the intention of his art works. The starting point is my own aesthetic experience of his painting and the installations A Gentleman’s agreement (1996), Farbtest, Die Rothe Fahne II (2003) and Tools and Grammar 2.5 (2007). Each of these works of art consists of different kinds of prefabricated material such as articles, films and documents. These kinds of material are often considered to stand in the way of the aesthetic experience, maybe because they are supposed to be closer to reality and therefore to truth. The thesis of this study is that the truth in art is inscribed in the aesthetic framework of each art piece and also in the technical support it uses. If for example the support consists of an investigative journalist’s documentary research, in Rosalind Krauss’ description, the truth might be found in the authenticity of the documentary material. If the technical support has to do with sampling instead, as in the re-use of existing materials to create new works of art, the truth can probably not be found in the different pieces of material but in the work ofart in itself. It does not matter then if the different pieces of material it consists of is traditionally considered unaesthetic. The conclusion of this study is that Gmelin’s Gentleman’s agreement, Farbtest, Die Rothe Fahne II and Tools and Grammar 2.5 actually discuss what truth is and if there is an aesthetic truth.

  • 98.
    Hyvönen, Joni
    Södertörn University, School of Culture and Communication.
    En dekonstruktion i ljud: J.O. Mallanders Extended Play2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    J.O. Mallander’s Extended Play (1968) is a sound recording, a readymade, of the counting of votes in two presidential elections in Finland, during 1962 and 1968. A voice repeats monotonously: “Kekkonen, Kekkonen, Kekkonen, Kekkonen, Kekkonen…” Although the Finnish president Urho Kekkonen represents, almost personifies, the politics of the post World War II period in Finland, Extended Play does not explicitly address the political. Rather, as this essay argues, it engages in the discourses of power and politics by providing a temporalization of its fixedness, or what Jacques Derrida terms the proper.

    Extended Play is, in parallel with Derrida’s critique of western metaphysics, a deconstruction in sound that challenges the state ideologies conveyed in the process of the counting of votes, where the presuppositions of the presence of the voice characterizes the ambiguities of power that Kekkonen’s politics of neutrality represent.

    Mallander’s readymade emerges as a double of the game theory strategies of the Cold War, a mimetic surplus of the administrative control mechanisms of sound recording. Through overturning the dialectics of the original and the copy, where repetition of sound also temporalizes the representation of the proper, it does not unequivocally reproduce its content. As an aural document, repeated and mass-produced as a record, it devalues, therefore, presumptions of origin. Derrida’s idea of “sous rature” initiates, in the discussion of Extended Play as a specific form of conceptual sound art, the notion of sound under erasure, which is not reducible to an auditory or medium-specific practice.

  • 99.
    Hyvönen, Joni
    Södertörn University, School of Culture and Education.
    Ett brev från Herr P: om det personliga hos Björn Lövin2013Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    For the Swedish artist Björn Lövin, the personal was a problem. In his first exhibition in Moderna Museet, Lövin observed through the fictitious character Mr. P (for »Personality«) the ruptures in the Swedish welfare state. The exhibition Konsument i oändligheten och Herr P:s penningar (Consumer in Infinity and Mr. P’s Money) (1971) was composed of two environments, through which a veridical working class apartment and a high street with life-sized mannequins and furniture characteristic of its time, visualized the societal discrepancies in the welfare state as well as the art world of the early 1970s. Lövin was as much a dystopian observer as a utopian thinker, where art must, according to him, engage the whole of society, and in essence change reality rather than act upon aesthetic experience.

    The personal is always contemporary, this essay argues. It concerns a question about the now, what Michel Foucault called »the ontology of actuality«, which means that, for Lövin, art must engage in the historical and critical questioning on how the present is configured, in its blind spots and hidden potentialities. Here, another element in the exhibition foregrounds the ontological questioning of the now: the fact that the two environments were designed as archaeological excavations in the future, representing an era before a catastrophic event. Lövin challenged us to look upon our times as if struck with amnesia. This remarkable displacement of perspective makes it possible for Lövin to not only reveal the inherent contradictions in the social conditions of the 1970s, through the harsh conditions that Mr. P represents, but to regard potentially everything, the consumer culture and all ephemeral expressions of our society – through the eyes of the future scientists – as art.

    Challenging the problematic notions of persona, socially determined beings or citizens, we are guided by Lövin, in a way that is not unusual of his time, to look upon »the art of the people« as synonymous with »the life of the people«. In this essay, which is one of the first in-depth analysis of Lövin, who Lars Nittve has called »the creator of some of the most important Swedish exhibitions in the last decades«, the allegorical meaning of »the art of the people« is seen as the nexus where the personal is pushed through its boundaries, to its ostensibly opposite meaning, the impersonal, in which a social utopia of the now emerges.

  • 100.
    Håkansson, Fredrik
    Södertörn University College, The School of Culture and Communication.
    Att välja perspektiv: "Arkitektur i Sverige - Funktion, konstruktion och estetik genom tiderna".2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    This essay tries to show how The Swedish Museum of Architecture, Stockholm, with the exibition Architecture in Sweden - Function, Design and Aesthetic through the Ages, presents and represents architecture. It is stated that this is done in a multi-perspectival, multimedial fashion, with the aid of, for example, photography, models and mixed material surrounding the wide concept of ’architecture’. One chapter discusses the relationships between the exhibition on site, the exhibition catalog and the museum´s website. Another chapter argues that there can be no essential or perfect representation of architecture, although this utopian wish most certainly exists even today. A general idea is that the problems regarding architectural representation has something to do with its double position within art history as well as its multi-dimensional characteristics. In addition to this, our daily encounters with architecture is also said to contribute. Furthermore, it is argued that exhibitions understood as site-specific and temporal events, need further research.

1234567 51 - 100 of 386
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • harvard-anglia-ruskin-university
  • apa-old-doi-prefix.csl
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf