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- Bydler, Charlotte
(författare)
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The Global Art World, Inc. : On the globalization of contemporary art
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- 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 The widening cultural labour-market supplies new and unfamiliar historical references to the authoritative literature and artworks of the “western art concept”.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.
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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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- Sandgren, Eva Lq, 1960-
(författare)
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The Book of Hours of Johannete Ravenelle and the Parisian Book Illumination Around 1400
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Within the French book of hours C 517e in the manuscript collection of the University Library in Uppsala, the name of the owner, Johannete Ravenelle, appears in a prayer. Examination of the decoration, miniatures and texts demonstrates that ms C 517e is consistent with Parisian art and books of hours around 1400. The main purpose of the dissertation is to document and present additional illuminated works by the painter of the Ravenelle Hours, identical with the Master of Paris BN fr. 159. For this purpose stylistic and iconographic criteria has been used. It has been possible to identify 25 extant manuscripts, of which 13 were illuminated solely by this artist. These comprise a representative sample of Parisian book production of the time. Several illuminators collaborated in 12 of the manuscripts. In some of them, the painters totalled more than four, but most of the works had two or three artists. Many of these illuminators are known from other works, and there is no reason to believe they constituted a workshop. Instead, other factors must have determined which artists worked together and when.The Ravenelle Painter is representative of Parisian contemporary art from both stylistic and iconographic perspective. He was not an innovator but worked within an established convention. At times his illuminations also reveal a greater familiarity with motifs found only within a limited group, that is, manuscripts illuminated by Jacquemart de Hesdin, Pseudo-Jacquemart, or their most immediate successors. The affiliation with these artists is displayed in style as well as in iconography. Motifs of particular interest are the Annunciation, Annunciation to the shepherds, Adoration of the Magi, Funeral Service, and St. John on Patmos. The figures and compositions of the Ravenelle Painter also show that he constantly utilized his own pictorial concepts, irrespective of for whom or with whom he worked. Simple modifications allowed the same figures or parts of compositions to be adapted to new ends.The Ravenelle Painter is a model representative of illuminators working in Paris at the turn of the 15th century. He worked within a two hundred-year tradition of book production, closely tied to the university. Many artisans combined various occupations within book production, thus creating a multi-faceted structure of cooperation within a fairly defined cadre of functionaries. In accordance with recent research, this study suggests that Parisian book illuminators not were organized hierarchically, with a master heading a group of more or less skilled assistants. Instead, it appears that the artisans cooperated within various coalitions in a much more loosely organized manner.
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