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| 15. |
- Granath Lagercrantz, Mari, 1966-
(författare)
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Terrakottaföremål från Ghana på British Museum : Materiella och immateriella assemblage
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of the thesis is to identify, describe and interpret two series of terracotta objects from southern Ghana originally donated by Robert P. Wild to the British Museum in London between 1933 and 1936. The dissertation does not seek to answer questions of origin, intention and meaning, but seeks instead to show how phenomena such as production, distribution and consumption may better be understood as processes and situations that the object passes several times in its “social life”. The terracotta items donated by Wild to the British Museum can be related to what is commonly referred to as “Akan terracottas”, “Memorial terracottas” or “Terracotta funerary sculptures” in art- and cultural history-literature. These names identify a group of terracotta objects (mainly sculpture heads but also vessels) from southern and central Ghana, which have come to hold iconic positions in global cultural history, but also in the international art trade. As many researchers have shown, such terracotta objects are likely to be linked to some kind of funeral tradition, but they may also have had a number of other functions throughout their history. The dissertation is based on the study of a variety of materials relating to the institutional practices at the British Museum, and analyzes both material impressions left on the objects and also intangible aspects of them. By examining and analyzing the museal ethnographic object, the study highlights and discusses how such concepts as time, geographical space and institutional space have been materialized throughout history. In the study, the aim is related to Deleuze and Guattari’s thoughts about assemblage, rhizom and agency, which also assume that each body or object is a combination of different materials, ideas, and their abilities to connect to other bodies, objects, categories and concepts. The investigation also turns to the contemporary artist El Anatsui. The aim here is to show how El Anatsui’s work allows for a new interpretation of the terracotta objects. In the dissertation, it is shown that the circulation of the terracotta objects leaves its marks on them, transforming them, and that it is this ongoing process which creates the objects over and over again.
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- Hedlin Hayden, Malin, 1968-
(författare)
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Out of Minimalism
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The dissertation involves a threefold investigation of sculpture. Firstly, the interpretations are focused on particular artworks by three British sculptors: Antony Gormley (b. 1950), Anish Kapoor (b. 1954), and Rachel Whiteread (b. 1963), respectively. The notion of applied minimalism is tentatively applied to their sculptures. A primary argument is that these works are idiomatically, thematically, and theoretically founded on the heritage of American Minimalism from the 1960s. The sculptures by these three artists are seen as readings and transformations in themselves of the Minimalist sculptural idiom. Secondly, the dissertation aims at an investigation of the notion of sculpture, which is explored as a discursive term, i.e. as a working notion. Therefore, each specific sculpture in the study is analysed in terms of the means it is manifested as such. Thirdly, interpretation per se is recognised as a performative act inscribed and restricted by specific contextual features. The constituent aspects are acknowledged and employed in terms of the white cube gallery locality, minimalist theory, sign theory, sculpture as staged, and the crucial recognition of a/the corporeal viewer's own presence and movements within the gallery space. Especially pertinent to the interpretations are Michael Fried's notion of theatricality, notions of performativity, and meaning as site-specific, respectively. The dissertation argues that the notion of sculpture, specifically in the wake of Minimal sculpture and the artworks inscribed by that category in art critical discourse, relies on the imperative of a corporeal acknowledged viewer/interpreter and that significant relations as regards the notion of sculpture are therefore external to a high degree.
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| 19. |
- Jones, Mark Ian
(författare)
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Vicke Lindstrand On the Periphery : Mid-Twentieth Century Design and the Reception of Vicke Lindstrand
- 2016. - 1
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Vicke Lindstrand On The Periphery is the first English language publication to examine the life and work of the Swedish artist and designer Vicke Lindstrand and his place in Swedish and Scandinavian design history. The richly illustrated text focusses on English language discourse on Swedish and Scandinavian Design during the 1950s and the reception and profile of Vicke Lindstrand. It reconstructs the context in which narratives and rhetoric emerged and analyses its effect on Lindstrand, between 1950–1970. Swedish and Scandinavian design are described in terms of a pared-down, clichéd aesthetic associated with 1950s ‘Scandinavian Design’, now held as a ‘construct’, continuously emphasising the same preeminent exemplars. Informed by extensive field study in Sweden, detailed archival research, informant interviews, object and text analysis, the book is divided into two parts. Part I investigates the disproportional impact of a small actor-network associated with twentieth century English language discourse on Swedish and Scandinavian design. The author argues that this demonstrates the pervasive influence of the construction of a national ideal (Swedish design) that was loosely translated to fit a regional ideal (Scandinavian Design) by the formation of an exclusive filter that determined the fit of what was included in the promotion of a cohesive identity. This filter emphasised an ideology that shaped perceptions and has influenced the subsequent reception and visibility of individual designers. Not all designers were treated equally. Nationalist, regionalist and internationalist influences had an impact upon the critical reception of their work further complicated by past associations. The actor-network operated at the level of selective solidarity, which was exclusive rather than inclusive. Part II examines the consequences of this fit through an analysis of the position and reception of Lindstrand. Preeminent exemplars, familial influences and the agency of an actor-network were profoundly influential in shaping perceptions and determining taste in 1950s Sweden, presenting a filtered view of design from the region. Lindstrand was strongly affected by the activities of this network. An interesting outcome of this study was the realisation that our understanding of Swedish design is incomplete, and that there is another more pluralist aesthetic concealed behind that officially promoted and exhibited during the 1950s. This investigation brings unique and unprecedented readings of a peripheral individual in the context of English language representation, and of the Scandinavian milieu.
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