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- Linder, Johan, 1976-
(författare)
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Den lokala profilen : Person, plats och kulturarv
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this study is to examine the use of famous historical or fictional persons in place branding. It seeks to analyze the images of places that are produced, and the representations of persons that are used in branding practices. Largely this use is located within a tourist discourse, begging the question how tourists take part in the shaping of these cities. In sum, the study aims to examine constructions of the past and the present, as well as representations of gender. The main question is which parts of the history of a city are described and which sites are highlighted.Four cases studies are presented. First, the uses of the heritage connected with author Selma Lagerlöf in and around Sunne are examined, in particular her former residence, Mårbacka, now musealized. Second, Uppsala's and Småland's uses of the Carl Linnaeus heritage are surveyed. Third, the uses of inventor Johan Petter Johansson in Enköping are studied, and fourth the tourist and heritage practices around fictional police detective Kurt Wallander in Ystad are examined. Taken at face value, these examples differ from each other in many ways. The aim of the dissertation is to track these differences, but also the likenesses in practices, meaning production and visualizations. In sum, the aim of this dissertation is to examine how the productions of meaning are influenced through the use of these individuals. How do visitors influence the production on these heritage sites? Is there room for change in descriptions of persons and places? How are ideas of authenticity produced when places are viewed through one individual? What ideas of gender and masculinity are produced?
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| 2. |
- Nilsson, Håkan
(författare)
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Clement Greenberg och hans kritiker
- 2000
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation, using a genealogical perspective, examines American art critic Clement Greenberg and why he has become the foremost representative of modernism in much of contemporary, postmodern art criticism. The minimalist break with Greenbergian modernism (esthetic/formalism) during the Sixties has played, and continues to play, an important role in art theory. The break meant a shift from the esthetic/formalist concept that states that works of art can only be judged a media's specific standards-and that this is what makes it possible to talk about "quality"-to the less static concept of "interest," allowing for a pluralistic art scene. What is most important in this context is that minimalism brought about this change by building on a conflict inherent in the esthetic/formalist conception of art-that conflict being between the avant-garde's dynamic need for development, and the static notion of quality. Minimalism, then, transgressed modernism by embracing avant-garde's need for progress. And it is Greenberg's definition of modernism that eventually made this conflict appear.Minimalism's break with modernism is still of great importance in two ways. First, it provides arguments in defense of the pluralism of the Sixties against those who have claimed that this pluralism was only a vague copy of the avant-garde during the early twentieth century. It also allows for arguments in favor for certain expressions and against others in the pluralistic art filed-pluralism does not mean that anything goes.The notion of avant-garde is of great significance in this dissertation. It is the conflict between Greenberg's understanding of avant-garde and its need for development, and the static idea of the media-specific, that in the end allows minimalism to transgress modernism. The way in which minimalism transgresses modernism allows the "neo-avant-garde" of the Sixties to reconnect to the practices of the "historical" avant-garde from the early twentieth century. It remains important, even in the pluralistic art field, to differ between "true" and "false" avant-garde. All these arguments point to the importance of Greenberg, a figure so important that had he not existed, he would have to have been invented.
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| 3. |
- Tillberg, Margareta, 1960-
(författare)
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Coloured Universe and the Russian Avant-Garde : Matiushin on Colour Vision in Stalin's Russia, 1932
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Colour vision was of fundamental importance in modernist art. One reason its significance has been studied so little with regard to Russian art is that Soviet archives were inaccessible until the early 1990s. This work is the first close study on a so-called laboratory in an art- and science institute in the Soviet Union in the 1920s. It is based on extensive research in twenty different Russian archives, each including numerous archival funds, in addition to the Stedelijk Museum Prentenkabinet in Amsterdam and other unpublished material.Contemporary ideas from German Bauhaus and De Stijl in Holland have received deserved attention. In the Soviet Union, avant-garde artists were silenced as enemies of the people – their priorities were other than the class struggle.The implicit narrative of the book, is about a group of intellectuals who struggled to work with what they believed in, e.g. an expansion and change of innate possibilities to create something never seen before, despite political oppression.The aim of this study is to present and analyse the hitherto unknown colour theory of Mikhail Matiushin (1866–1934) published in Leningrad and Moscow in 1932.The work is divided into five parts. The first part, Colour, deals with the contexts of history, colour and art. During the 1920s a number of institutes for interdisciplinary scientific research in art, design and architecture were founded in the Soviet Union. One of them was the Institute of Artistic Culture in Leningrad – GINKhUK – where Malevich and Tatlin also worked. One goal was to formulate a universal language with mathematics as the ideal science, to be collected into an encyclopaedia for visual culture (art, architecture, design); another goal was to redesign the world for the masses outside the ‘dead’ museums, and to produce a new kind of human being, a third goal. There the artist, musician and theoretician Mikhail Matiushin supervised the Department of Organic Culture with his Laboratory of Colour.The second part, Vision, analyses Matiushin's training programme, a variant of synaesthetical union of the senses, which includes an extension of the visual angle to a complete 360°; i.e., the consciously amplified eye, defined in Matiushin’s peculiar way.The third part, Culture, compares Matiushin with the theosophist mystics Pëtr Uspenskii and C. H. Hinton, the painter Wassily Kandinsky and the philosopher Henri Bergson.Part four, Ideology, sheds light on colour from those whose perspective was based on the State philosophy of dialectical materialism. By the early 1930s, the innovative institutes were closed down due to centralization of all expressions of culture under the banner of Socialist Realism.The last part, Synthesis, provides a detailed discussion on what happened after the 1930s. It concludes with the colour theory text, both its Russian original and for the first time in English translation.The belief is that Matiushin’s colour theory was not given any consideration after its publication in 1932. The results of this study show, however, that his colour handbook has been and still is used in the colour design of St. Petersburg.
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