| 1. |
-
A Cultural History of the Avant-Gardes in the Nordic Countries 1925-50
- 2019
-
Samlingsverk (redaktörskap) (refereegranskat)abstract
- A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 is the first publication to deal with the avant-garde in the Nordic countries in this period. The essays cover a wide range of avant-garde manifestations: literature, visual arts, theatre, architecture and design, film, radio, body culture and magazines. It is the first major historical work to consider the Nordic avant-garde in a transnational perspective that includes all the arts and to discuss the role of the avant-garde not only within the aesthetic field but in a broader cultural and political context: the pre-war and wartime responses to international developments, the new cultural institutions, sexual politics, the impact of refugees and the new start after the war.
|
|
| 2. |
- Andersson, Lars Gustaf, et al.
(författare)
-
Gösta Hellström and Interwar Avant-Garde Film Culture in Sweden
- 2019
-
Ingår i: A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950. - : BRILL. - 1387-3008. - 9789004366794 - 9789004388291 ; 36, s. 664-670
-
Bokkapitel (refereegranskat)abstract
- Gösta Hellström was a prolific film critic who introduced new film movements into Sweden during the 1920s and 1930s. He also had a short career as a film director, and is especially known for his experimental short Tango (1932). Hellström is a representative of the early cinephilia and of a modernism that was never to be fulfilled in Sweden, at least not in terms of coherent film production. In the essay Hellström and his work are discussed as part of an ephemeral or fragmentary avant-garde.
|
|
| 3. |
|
|
| 4. |
-
Fashion and Modernism
- 2019
-
Samlingsverk (redaktörskap) (refereegranskat)abstract
- Art and fashion have long gone hand in hand, but it was during the modernist period that fashion first gained equal value to – and took on the same aesthetic ideals as – painting, film, photography, dance, and literature. Combining high and low art forms, modernism turned fashion designers into artists and vice versa.Bringing together internationally renowned scholars across a range of disciplines, this vibrant volume explores the history and significance of the relationship between modernism and fashion and examines how the intimate connection between these fields remains evident today, with contemporary designers relating their work to art and artists problematizing fashion in their works.With chapters on a variety topics ranging from Russian constructionism and clothing to tango and fashion in the early 20th century, Fashion and Modernism is essential reading for students and scholars of fashion, dress history, and art history alike.
|
|
| 5. |
-
Fashion, Performance & Performativity : The Complex Spaces of Fashion
- 2021
-
Samlingsverk (redaktörskap) (refereegranskat)abstract
- In the first comprehensive study of the interactions between fashion, performance and performativity, a group of international experts explore fashion as the ideal 'complex space' – or, in other words, the ideal space where performance and performativity come together, according to the works of seminal theorists Eve Kosofsky Sedgwick and Andrew Parker.Bringing together western and non-western, historical and contemporary case studies and theories, the book explores the magazines, photography, exhibitions, global colonial divides, digital media, and more, which have become key markers of the fashion industry as we know it today.Using existing literature as a springboard and incorporating perspectives from fashion studies, art history, media studies and gender studies, as well as from artists and practitioners, Fashion, Performance & Performativity is an innovative and essential work for students, scholars and practitioners across multiple disciplines.
|
|
| 6. |
|
|
| 7. |
|
|
| 8. |
|
|
| 9. |
- Kollnitz, Andrea, 1970-
(författare)
-
Konstens nationella identitet. : Om tysk och österrikisk modernism i svensk konstkritik 1908-1934
- 2008
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation investigates the reactions to German and Austrian modernism in Swedish art criticism between 1908 and 1934. It analyses the rhetoric of art-critical texts and examines the persuasive strategies and powerful verbal imagery of art criticism as well as its national interests. Earlier perceptions of a generally negative Swedish reaction to German art are revised. The analysis reveals a strong Swedish commitment to German art, which has been neglected or ignored by previous Francophile narratives in the writing on Swedish art history.In interpreting and defining German and Austrian art as both product and evidence of national character and as an antithesis to French art, Swedish art criticism is indirectly defining and manifesting Swedish art identity. Dramatic and metaphorically loaded descriptions of modern German exhibitions in Sweden present Swedish art identity as split between its racial and mental closeness to “Northern” German culture and “brutal” vigorous expressionism on one side, and its longing for the “beauty” and moderate harmony of “Southern” French and classicistic art on the other. The critics’ ambivalent feelings toward German modernism also hide a crucial conflict between modernizing and internationalizing tendencies versus conservative and nationalistic tendencies in the Swedish artworld. The textual analyses thus show a complex interaction between modernistic and nationalistic ideas, not least concerning the artist’s rôle. In case studies on the Swedish reception of German and Austrian expressionists – Emil Nolde, Egon Schiele, Oskar Kokoschka, Gabriele Münter, Die Brücke and Wassily Kandinsky amongst others – the avant-garde artist is revealed as not only striving for autonomy and international openness, but also as nationally bound and dependent on a national audience and nationalistic legitimation.
|
|
| 10. |
|
|
