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  • 51.
    Bydler, Charlotte
    Södertörn University, Institutionen för medier, konst och filosofi, Art history.
    The Art world and the collected knowledge of the world’s art = Konstvärlden och det samlade vetandet om världens konst2005In: Samtidskonst för lärare och andra intresserade / [ed] Karin Malmquist, Matilda Olof-Ors, Stockholm: Lärarförbundets förlag , 2005Chapter in book (Other (popular science, discussion, etc.))
  • 52. Bydler, Charlotte
    The artist in the age of post-colonial theory: Jamelie Hassan according to Gayatri Chakravorty Spivak1998In: Art Orbit, Vol. 1Article in journal (Other academic)
  • 53.
    Bydler, Charlotte
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    The Global Art World Inc.: On the globalization of contemporary art2004Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This study examines certain segments of the art world-system in which geographical distances seemed to vanishing as a result of faster and more intense interaction levels. This particular art world-system has been conceptualized in contradictory ways. It has been called a “global village”, and has been seen as homogenized and diversified, as well as both expanding, and contracting. Experiences of mutual understanding and shared artistic values underly the possibilities of particular art world expanding. This premise was identified as a “western art concept”, so-called institutional art theory. However, the expectations of audiences, critics, and artists are changing. The widening cultural labour-market supplies new and unfamiliar historical references to the authoritative literature and artworks of the “western art concept”. I have sought out both shared and diverse authorities through case studies of contemporary art biennials held in Venice, Havana, Istanbul, and Kwangju, as well as the itinerant Manifesta. All of the above constitute an important labour-market for the increasing numbers of freelancing art world professionals.

    The thesis derived from these examples is that the identification of the art concept as a western phenomenon, which is based on claiming the origins and even the ownership of practices represented within historical (historicist) institutions, is untenable. The avant-garde art world, in contrast, attempts to globally break with art concepts. It seeks out resistance to art world discourse, that which sits on the walls of educational institutions, museums, and the knowledge represented therein. Art worlds, however, are connected regionally. They are not stable, and are even less identifiably western. It is thus difficult to historicize the art concept in order to create this resistance. Nevertheless, it may be legitimate to attempt this, in order to provide a means of inspection and comparison. Individuals within the art world-system are nevertheless interpelled as subjects of history in reference to institutionalized precedents. This calls for a re-writing of art history, taking into account multiple discontinuities instead of relying on chronology.

  • 54. Bydler, Charlotte
    The monster of memory1999In: Nu. The Nordic Art Review, ISSN 1404-207X, no 1, p. 66-71Article in journal (Other academic)
  • 55.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    The Place of Play in an Anthropocene Public Sphere: On Vril Båt Sten/Fijfere Vanás Geaðgi : (Burl Boat Stone) by Joar Nango and Anders Rimpi2023In: Renegotiations: The Role of Public Art in the New Millenium / [ed] Håkan Nilsson, Huddinge: Södertörns högskola, 2023, p. 120-133Chapter in book (Refereed)
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    The Place of Play in an Anthropocene Public Sphere
  • 56.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Gedin, AndreasSödertörn University, School of Culture and Education, History and Theory of Art.Ringarp, JohannaSödertörn University, School of Historical and Contemporary Studies, Institute of Contemporary History.
    Pontus Hultén på Moderna Museet: Vittnesseminarium Södertörns högskola, 26 april 20172018Collection (editor) (Other academic)
    Abstract [sv]

    Den 9 maj 1958 invigdes Moderna Museet i marinens gamla Exercishall på Skeppsholmen i Stockholm. Museet var inte en självständig institution utan Nationalmuseums avdelning för modern konst med Bo Wennberg som chef. Året därpå tog Pontus Hultén över.

    Under Hulténs ledning blev Moderna ett av Europas viktigaste museer för modern konst. Men det var också något av stockholmarnas kulturhus, bland annat inspirerat av Stedelijk Museum i Amsterdam, med plats för film, musik, teater, happenings och modevisningar.

    Efter de första årens framgångar möttes Hultén av ett kulturpolitiskt motstånd mot slutet av 1960-talet. Hultén kritiserades för ointresse för den svenska konsten, för bristande politiskt engagemang och för att gå den amerikanska imperialismens ärenden.

    Den 26 april 2017 anordnade Samtidshistoriska institutet tillsammans med forskningsprojektet Levande arkiv: Pontus  Hultén på Moderna Museet (1957-73), fiansierat av Vetenskapsrådet och placerat vid ämnet Konstvetenskap, Södertörns högskola, ett vittnesseminarium om Pontus Hulténs tid på Moderna Museet.

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    Pontus Hultén på Moderna Museet: Vittnesseminarium Södertörns högskola, 26 april 2017
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  • 57. Bydler, Charlotte
    et al.
    Lira, Rodrigo Mallea
    Malm, Magdalena
    Svenska hjärtan: folkdräkt eller tvångströja?2004Book (Other (popular science, discussion, etc.))
  • 58.
    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.))
  • 59.
    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.

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    Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization
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  • 60.
    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)
  • 61.
    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. 

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  • 62.
    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
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    fulltext
  • 63. Curman, Sofia
    et al.
    Larsson, Camilla
    Klara Kristalova2012Collection (editor) (Other (popular science, discussion, etc.))
  • 64.
    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.

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  • 65.
    Dahlgren, Anna
    et al.
    Stockholm University, Sweden.
    Hansson, Karin
    Stockholm University, Sweden.
    The Diversity Paradox: Conflicting Demands on Metadata Production in Cultural Heritage Collections2020In: Digital Culture & Society, ISSN 2364-2114, E-ISSN 2364-2122, Vol. 6, no 2, p. 239-256Article in journal (Refereed)
  • 66.
    Dahlgren, Anna
    et al.
    Stockholm University, Sweden.
    Hansson, Karin
    Stockholm University, Sweden.
    Reichert, Ramón
    Kunstuniversität Linz, Österreich.
    Wasielewski, Amanda
    Universiteit van Amsterdam, Niederlande.
    Introduction: The Politics of Metadata2020In: Digital Culture & Society, ISSN 2364-2114, E-ISSN 2364-2122, Vol. 6, no 2, p. 5-16Article in journal (Other academic)
  • 67.
    Dahlgren, Anna
    et al.
    Stockholm University, Sweden.
    Hansson, KarinStockholm University, Sweden.Reichert, RamónKunstuniversität Linz, Österreich.Wasielewski, AmandaUniversiteit van Amsterdam, Niederlande.
    The Politics of Metadata2020Collection (editor) (Refereed)
    Abstract [en]

    The design and use of metadata is always culturally, socially, and ideologically inflected. The actors, whether these are institutions (museums, archives, libraries, corporate image suppliers) or individuals (image producers, social media agents, researchers), as well as their agendas and interests, affect the character of metadata. There is a politics of metadata. This issue of Digital Culture & Society addresses the ideological and political aspects of metadata practices within image collections from an interdisciplinary perspective. The overall aim is to consider the implications, tensions, and challenges involved in the creation of metadata in terms of content, structure, searchability, and diversity.

  • 68.
    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)
  • 69.
    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
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    FULLTEXT01
  • 70.
    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)
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    Radical Academy
  • 71.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Art for All! : Nordic Art and Cultural Democracy, 1945–19592022In: Artl@s Bulletin, ISSN 2264-2668, Vol. 11, no 2, p. 56-69, article id 5Article in journal (Refereed)
    Abstract [en]

    The article will by emphasizing a transnational and geopolitical approach, investigate eight exhibitions of modern art from Denmark, Finland, Iceland, Norway and Sweden presented in Nordic cities 1946–1959. The text highlights the importance of this regional context and argues that the artworks can be seen as socially interconnected signs mediated through the communicative agency of the exhibitions. By focusing on subject matter and artwork titles presented, the article suggests that the exhibitions can be viewed as part of interacting artistic, civic, and political agendas aiming to democratize culture in the postwar Nordic welfare states.

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    fulltext
  • 72.
    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)
  • 73.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Building New Collaborations With Old Networks: The Early Years 1945-592020In: 75 YEARS – The Nordic Art Association’s Swedish Section / [ed] Björn Norberg, Camilla Larsson & Jonatan Habib Engqvist, Stockholm: Orfeus Publishing, 2020, p. 17-21Chapter in book (Other academic)
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    fulltext
  • 74.
    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)
  • 75.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Fri konst?: Bildkonstnärlig utbildning vid Konsthögskolan Valand, Konstfackskolan och Kungl. konsthögskolan 1960-19952010Book (Refereed)
  • 76.
    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.

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    fulltext
  • 77.
    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)
  • 78.
    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.

  • 79.
    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)
  • 80.
    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)
  • 81.
    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)
  • 82.
    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)
  • 83.
    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)

  • 84.
    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)
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    fulltext
  • 85.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Utforskandet av det observerbara: Om verklighetsavbildning före och efter 18392022In: Fotografihistorier: Fotografi och bildbruk i Sverige från 1839 till idag / [ed] Anna Näslund Dahlgren, Stockholm: Natur och kultur, 2022, 1, p. 24-31Chapter in book (Refereed)
  • 86.
    Edling, Marta
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Öhrner, Annika
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Entanglements and Cross-Border Connectivity of the Nordic-Baltic Region2022In: Artl@s Bulletin, ISSN 2264-2668, Vol. 11, no 2, p. 4-6, article id 1Article in journal (Other academic)
    Abstract [en]

    At the center of attention of this issue is trans-local, transnational, regional, and worldwide contacts inside and outside the Nordic-Baltic region from the late 1800s to the late 1900s. As an introduction, this text attempts to give an overview of some of its major themes and findings. It highlights how the interactive function of cross-border contacts is demonstrated by cases of art and design transfers, artistic travels, Scandinavian intellectual contacts, and cross-border connections over 100 years. Together, the texts published in this issue reflect the interdependent nature of international relations and the vital function of intermediate positions.

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  • 87.
    Edling, Marta
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Öhrner, AnnikaSödertörn University, School of Culture and Education, History and Theory of Art.
    Nordic-Baltic Cross-Border Connectivity2022Collection (editor) (Refereed)
  • 88.
    Edling, Rasmus
    Södertörn University, School of Culture and Education.
    Fönster mot evigheten?: Nationalmuseums ikonsamling genom tid, rum och kropp2021Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This bachelor thesis looks at some of the Russian icons from the Nationalmuseum collection in Stockholm, currently on display. It analyses the icons’ potential to affect the viewer as religious objects in a secular environment. The study is two-fold: first it analyses the icons through the reception by a secular viewer. Secondly, the layout of the exhibition is analysed from a narratological perspective as a form of text. The thesis explores ways in which the secular context is dependent on and shaped by different art historical discourses and that the social programming of the museum space affects the ability of the icons to work on the viewer as religious objects. Furthermore, it indicates that the museography of the exhibition privileges an official theological interpretation of icons, at the cost of the historicity of both the icons and of the collection.

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  • 89.
    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.

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  • 90.
    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.

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  • 91.
    Ehne, Sandra
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Att skapa bilden av en sexualpolitisk pionjär: Anna Riwkins porträtt och reportagebilder av Elise Ottesen-Jensen 1938-19702021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Anna Riwkin photographed Elise Ottesen-Jensen over three consecutive decades. The aim of the thesis is to examine what Riwkin’s photographs of Ottesen-Jensen portray, how they have been used, and how Ottesen-Jensen is visually produced as a political subject through the same photographs. By examining a material selected through extensive research in personal-, magazine- and newspaper archives, exhibition catalogues and research, an image of – and story about – Ottesen-Jensen has taken shape. In the process, a collaboration and joint agency with Riwkin have materialized. The story about Ottesen-Jensen is presented through the suggested concepts of the talker, the listener, the traveler, the teacher, and the president. The thesis makes visible how that story was shaped and received, as well as how it is reproduced and evolving today.

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    Att skapa bilden av en sexualpolitisk pionjär – Anna Riwkins porträtt och reportagebilder av Elise Ottesen-Jensen 1938-1970
  • 92.
    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
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  • 93.
    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.

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  • 94.
    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.

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    Gränser och passager
  • 95.
    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.

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  • 96.
    Elgh, Caroline
    Linköpings universitet, Sverige.
    Skogen under vattenytan: Ingela Ihrmans algkroppar i en tid av ekologisk kris2024In: Ekologisk konstvetenskap / [ed] Anna-Maria Hällgren; Dan Karlholm, Huddinge: Södertörns högskola, 2024, p. 75-99Chapter in book (Refereed)
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    Skogen under vattenytan: Ingela Ihrmans algkroppar i en tid av ekologisk kris
  • 97.
    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.

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  • 98.
    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.    

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  • 99.
    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.

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  • 100.
    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.

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