| 1. |
- Bacon, Alex, et al.
(författare)
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Ted Stamm : Woosters
- 2018
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- The first major monograph on American painter Ted Stamm is a comprehensive survey of the entire Wooster series, including an essay by art historian Alex Bacon and an illustrated chronology of the artist’s career. Ted Stamm (1944 – 1984) was one of the most multi-faceted conceptual and dedicated artists working in SoHo in downtown Manhattan in the 1970’s. In his studio Stamm developed and researched focused series of paintings, works on papers and studies titled; Woosters, Dodgers, Zephyr, Concorde, Chance, Cancel, among others. Stamm’s practice extended beyond his studio, to areas including mail art, artists books, photography, site-specific installations and pre-graffiti street works documentation that Stamm titled Designators. Many of Stamm’s inspirations derive from observing everyday objects, experiences and events, such as finding an abstract shape on the street or lines on a baseball field. Stamm’s works are fully abstract, and it is unnecessary for the viewer to know the origins of what he or she is looking at in order to experience them the way the artist intended. Black is a consistent component of Stamm’s work, as it was a color associated with rebellion, rigor and reduction. Stamm created a rich oeuvre in his short lifetime which became influential for artists coming of age in New York over the past thirty years.
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| 2. |
- Krantz, Gunnar, Konstnärlig professor, 1962-
(författare)
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Från systematiskt klotter till serieforskning
- 2016
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Ingår i: Symposium: Tecknade serier – teoretiska och metodiska utgångspunkter för forskning.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Skiftet i den svenska seriekulturen har sin upprinnelse i 90-talets självbiografiska serier, ofta anklagade för att vara slarvigt tecknade av skapare som medvetet sänkte standarden på sina arbeten. Själv en av de utpekade har jag i efterhand reflekterat över varför mitt sätt att teckna förändrades så i grunden, från stiliserad realism till ”telefonklotter”. Omvandlingen skedde i ett försök att återskapa minnen på ett trovärdigt sätt, där en reducerad stil bättre uttryckte den eftersträvade realismen, än ett konventionellt och hantverkstungt bildspråk. Arbetet med denna berättelse fick mig i efterhand inse att min metod korresponderade med Töpffers tankar att avfärda all akademisk konstnärlig utbildning till förmån för ett ”systematiskt klottrande” och att vi idag ofta utbildar serieskapare utifrån ett (i det närmaste) tayloristiskt synsätt, anpassat efter det tidiga 1900-talets teknologi och samtidigt att dessa insikter (troligen) inte kunnat nås utan det föregående gestaltande arbetet. Om vi likt Groensteen betraktar serierna som ett eget språk, är då inte förutsättningen för att vi fullt ut ska kunna förstå det, att vi också kan kommunicera via det? Källor:Groensteen, Thierry (2007). The system of comics. 1. ed. Jackson: University Press of Mississippi
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| 3. |
- Krantz, Gunnar, Konstnärlig professor, 1962-
(författare)
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Recension : un/comics
- 2022
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Ingår i: Bild & Bubbla. - Malmö. - 0347-7096. ; 233:4, s. 48-55
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Recension (populärvet., debatt m.m.)
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| 4. |
- Krantz, Gunnar, Konstnärlig professor, 1962-
(författare)
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The emergence of the Swedish comics field
- 2016
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Ingår i: COMICS AND MEMORY An NNCORE Conference, University of Ghent – April 19-21, 2016.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- ABSTRACT: EMERGENCE OF THE SWEDISH FIELD OF COMICS 1965-1975Up until the mid 60s only a handful of Swedish intellectuals regarded comics as something worth serious attention and scholarly studies. This however changed dramatically as a result of pop-art’s success - especially after works of Roy Lichtenstein were shown in Stockholm in 1964. The year after, a leading avant-garde gallery in Stockholm showed comics in an exhibition that afterwards has become known as the starting-point for both organizational efforts vis a vis comics - and also as a direct inspiration for a fan-based community consisting primarily of comics collectors. This however is not enough to declare the existence of an autonomous cultural field in 1965 in Bourdieu’s sense. Since most of these activities were organized and headed by a one man alone, with an almost monopolistic access to mainstream media – (press, tv, radio and book-publications), it is not until other players on the emerging field engage in debates in amateurishly edited and crudely copied comics fanzines, that the hierarchized apparatus built around The Swedish Comics Academy is challenged in a discourse central to the field itself – the definition of comics – and related to that, which one should be regarded as the first ever.According to Bourdieu’s theory on cultural fields and with the help of Swedish Bourdieu translator Donald Broady's “rules of thumb” I have in an analysis of printed material consisting of debates, articles and interviews, come to the conclusion that the Swedish field of comics reaches an autonomous state in the mid 70s partly by distancing itself from the art-field that once was its origin. Gunnar Krantz, comics artist and senior lecturer in visual communication at Malmö University. Bourdieu, Pierre (1996). The rules of art: genesis and structure of the literary field. Cambridge: Polity pressBroady, Donald (1998) ”Inledning: en verktygslåda för studiet av fält” i Kulturens fält: en antologi av Broady, Donald & Albertsen, Niels (red.) Göteborg: Daidalos.
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| 5. |
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| 6. |
- Callahan, Sara, 1975-
(författare)
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Strategies of Critique in Contemporary Artistic Archival Practice
- 2024
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Ingår i: Archivo Papers: Journal of Photography and Visual Culture. - : Archivo papers journal. - 2184-9218. ; 4, s. 29-50
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Tidskriftsartikel (refereegranskat)abstract
- This essay proposes that selected artworks by Katarina Pirak Sikku, Kader Attia, Michael Rakowitz, and Kajsa Dahlberg exemplify a set of approaches within contemporary artistic practices that operate in ways that simultaneously align with and deviate from the main tenets of the “archival turn” in contemporary art. The author suggests that these artworks involve indirect reconsideration of what critical archival practice can involve. All four artists deal with specific instances of conflict, marginalization, and forms of oppression by actively reframing the confrontational, suspicious and undermining strategies that has characterized some archival discourse. The essay shows how these artistic practices stress notions of care, repair, empathy and permeability in ways that have specific methodological and conceptual consequences. By doing so they invite a rethinking of critical archive theory in the face of specific question and concerns of the current moment such as how to handle remnants of racist histories in present-day archives; the need for recycling and repair in the face of the environmental effects of rampant consumption; how to address those who hold diametrically opposed political position from oneself; and how to take serious people whose bodies operate in ways that tend to marginalize them as non-productive in the face of neo-liberal values like professional success and self-sufficiency.
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| 7. |
- Lund, Martin, 1984-
(författare)
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Moral Matters : Notes on the Naturalization of "Good" and "Evil" in Superhero Narratives and Their Reception
- 2021
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Superheroes are having a moment. It seems like they’re everywhere. Not just in our comics and our screens, but in the general, social and cultural, air we breathe. Social and political events and actors are often reframed with superheroic imagery, and social, cultural, economic, and political actors seem increasingly to call on images and tropes that connote superhero generic formations to stake their position on an issue or to claim how what they’re doing is right and good and just. This paper considers how the figure of the superhero can work to naturalize political positions and to make contingent values seem “natural” rather historical, and the effects this can have.
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| 8. |
- Wessels, Josepha, Associate Professor, 1973-
(författare)
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Subversive documentary cinema and people in concert prior to the Syrian Revolution
- 2023
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- My talk focused on the development of subversive documentary cinema in Syria since the early 1970s which is part of the multidimensional foundations for the popular uprisings and artistic protests that emerged in the streets of Syria in 2011. I read from my book "Documenting Syria", published in 2019. I argue that the subversiveness of Syrian documentary cinema is directly linked to the emergence of critical exchanges between Syrian and Palestinian filmmakers who collaborated artistically and experimentally on cinema and political dialogues in Damascus (Damascus Cinema Club) and Amman (Palestinian Film Unit). This nexus continued to influence a younger generation of Syrian filmmakers throughout the first decade of the rule of Bashar al Assad of whom some became icons and martyrs of the Syrian Revolution. I exemplified this cinematic development with several cinematic works by Mohammed Malas, Rami al-Farrah, and Bassel al Shehadeh and the 2021 film by Abdallah al Khatib “Little Palestine, Diary of a Siege” filmed in the biggest Palestinian refugee camp – Yarmouk, in Damascus, Syria.
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| 9. |
- Earle, Harriet E. H., et al.
(författare)
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Introduction
- 2023
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Ingår i: Identity and History in Non-Anglophone Comics. - Abingdon & New York : Routledge. - 9781032480879 - 9781003386841 ; , s. 1-15
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Comics are not fruits; they are more akin to vegetables. ‘Fruit' has a clear definition in botany. It is an ‘edible product of a plant or tree, consisting of the seed and its envelope'. Among the most commonly cited definitions of comics, as far as Anglophone comics studies are concerned, is the one proposed by the comics creator and theorist Scott McCloud in the mid-1990s. Decades before the late 1890s, when many date the ‘birth' of US American comics, sequential art from all over the world influenced the cultural landscape. Rather, there are many research questions that remain unprobed when it relates to these areas and their comics traditions. Comics are neither inherently revolutionary or regressive, liberating or oppressive. There can be no doubt that Anglophone comics studies is lopsided in its overall perspective. The chapter also presents an overview on the key concepts discussed in this book.
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| 10. |
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Identity and History in Non-Anglophone Comics
- 2023
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- his book explores the historical and cultural significance of comics in languages other than English, examining the geographic and linguistic spheres which these comics inhabit and their contributions to comic studies and academia.The volume brings together texts across a wide range of genres, styles and geographic locations including the Netherlands, Latin America, Greece, Sweden, Poland, Finland, Portugal, Ireland, the Czech Republic, among others. These works have remained out of reach for speakers of languages other than the original and do not receive the scholarly attention they deserve due to their lack of English translations. This book highlights the richness and diversity these works add to the corpus of comic art and comic studies that Anglophone comics scholars can access to broaden the collective perspective of the field and forge links across regions, genres and comic traditions.Part of the Global Perspectives in Comics Studies series, this volume spans many continents and languages. It will be of interest to researchers and students of comics studies, literature, cultural studies, popular culture, art and design, illustration, history, film studies and sociology.
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