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- Öhrner, Annika, 1962-
(författare)
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Barbro Östlihn och New York : Konstens rum och möjligheter
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework.
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Rome and the guidebook tradition : from the Middle Ages to the 20th century
- 2019
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Almost everyone has used a guidebook, when travelling or in the armchair at home. But how and when was the guidebook born? In this book, seven scholars from various disciplines argue that the guidebook emerged in Rome in the late Middle Ages, to form a surprisingly consistent model for guidebooks up to our time. The descriptions of must-see monuments, recommended routes, practical information and value-laden instructions have guided travellers to Rome through more than 1000 years.
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- Rosenqvist, Johanna
(författare)
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Könsskillnadens estetik? Om konst och konstskapande i svensk hemslöjd på 1920- och 1990-talen
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The main objective of this PhD thesis, "An Aesthetics of Sexual Difference? On Art and Artistry in Swedish Handicraft of the 1920s and 1990s", is to investigate the field of handicraft in relation to a wider field of cultural production. Its aim is to contribute to a mapping of interrelated outlines of handicraft and art based on empirical studies of artistic creation in two local Swedish handicraft organizations during the modernism of the 1920s and the postmodernism of the 1990s. Aesthetics is here seen as notions about expressions of art and limits for artistic creation, thus not as separated from ideas about gender differences but rather as dependent on them. This implies a social practice in which boundaries between institutional practices and individuals are created in relation to each other over time. A theoretical starting point is formed in gender studies, with reference to Luce Irigaray's An Ethics of Sexual Difference (1984). The critical imperative that lies in questioning what difference it makes if a work of art is made by a woman, comes from feminist art historians like Marsha Meskimmon, while Pierre Bourdieu's sociological theories about the fields of art has inspired the discussion of distinctions between handicraft and art. Comparisons are made between Swedish handicraft and its international counterparts, where concepts like ?Folk art? and ?ornament? are investigated and the Art Déco-exhibition in Paris 1925 forms a point of departure. Methodologically the two case studies include analysis of individual artworks as well as the artist's context, based on archival research. Aesthetics of sexual difference is not evident in individual works of handicraft but rather in their being organized differently as compared to art. More importantly: difference has been maintained through the way of writing about the works ? or rather not writing about them ? and their creators. From the case study of the 1920s it is concluded that textile handicraft production was part of modernist aesthetics. But rather than being seen as individual innovators, as would modernist artists, women who produced handicraft were looked upon as representatives of a tradition and therefore not always mentioned by name. This ran partly counter to contemporary laws that strengthened the right of designers. Ideologically, however, it fitted the prevailing complementary gender order to have the female-dominated handicraft organization differently structured from the male-dominated professional field of art. In the 1990s an eclectic attitude towards tradition was a key element in postmodernist aesthetics and transgressing of genres was legion, in handicraft as well as in the arts. During the decade, handicraft was exhibited in several shows, for example at the Liljevalchs art gallery in Stockholm. Compared to the earlier period, individual artists within the handicraft organization were more visible. Parallel to an ideological and statutory work for gender equality, the number of men in the organization increased, as did the use of materials traditionally thought of as masculine, and focus was now on the making of ?sloyd? instead of earlier emphasized connections to household production and the home.
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- Bengtsen, Peter
(författare)
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The Street Art World
- 2014
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In recent years, street art has become embedded in popular culture and received growing attention from the art market and art institutions. Work by street artists has entered galleries, auction houses and museums, and some artists have been given the opportunity to create large-scale sanctioned public art projects. Simultaneously, widespread photographic documentation of street artworks and the circulation of images online have provided artists with a potentially global audience. The Street Art World investigates street art as a relatively newly established field within contemporary art. With the American sociologist Howard S. Becker’s notion of “art worlds” as a central point of departure, the book seeks to characterise street art by studying and participating in the everyday interaction among the artists, gallerists, collectors, critics, curators, bloggers and street art enthusiasts that make up the social environment (the street art world) in which the term street art is continuously given its meaning. Major themes addressed in the book include: (1) The social construction of the meaning of the term street art and the resulting difficulties in formally defining what street art is. (2) The often contradictory attitudes within the street art world towards art history and the institutions of art. (3) The relationship between street art, the art market and the institutional art world. (4) The relationship between street art and public art. (5) Street art’s potential to affect the viewer’s perception of public space, and the possible challenges the increasing digital mediation of street art may pose to bringing this potential to fruition. While the book presents central characteristics of the street art movement, it also acknowledges that it is not feasible to pin down the nature of street art once and for all, since street art is a product of complex social processes.
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- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
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Artistic Research: Being There, Explorations into the Local
- 2017
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Ingår i: Nordicum-Mediterraneum. - : The National and University Library of Iceland. - 1670-6242. ; 15:1
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- How does artistic research engage with the concept of local? In what ways can art practice be an intervention into traditional notions of history and culture? How does it engage with local and global identities? This book raises questions about transient art practices and site-specific works within communities, as well as art and research based experiences localized in urban and rural spaces, within the body and memory. Being There is a wide-ranging anthology that demonstrates the field of artistic research has never been stronger. The essays and meditations are by visual artists, writers, performers, filmmakers, historians, sound artists, and activists who have worked together in the Nordic Summer University and who share a desire to unite their creative practices with critical enquiry. Their contributions were generated within twice-yearly symposia that moved between Nordic and Baltic countries over a three year cycle of practice-based research. Some contributions are enigmatic meditations on place, whilst others, paradoxically, address the question of what is local through the notion of the nomadic. Whether describing quests of individual artists, or relating to collective endeavours, these works are engaged with the spaces in between. Each offers the reader a thoughtful encounter with the aesthetic, and the political, within a myriad of art practices across a rapidly evolving Europe. A part of the series NSU-press and the subject areas Philosophy and Art
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Scripts of Kingship : Essays on Bernadotte and Dynastic Formation in an Age of Revolution
- 2008
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.
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