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| 2. |
- Zetterman, Eva, 1957-
(författare)
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Frida Kahlos bildspråk - ansikte, kropp och landskap : Representation av nationell identitet (tredje utgåvan)
- 2011
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is about the Mexican artist Frida Kahlo (1907-1954) and her works, with emphasis on her painted self-portraits. The objective is to place Frida Kahlo’s pictorial production in relation to a place and time specific context and test the theory of Frida Kahlo’s self-portraits as a project connected to a general striving towards a new formulation of national identity. The majority of Frida Kahlo’s pictorial production coincides with a historically delimited era in which there was a break from earlier role models and ideals, politically, culturally and ideologically. This phase was an artistically dynamic period with a redefining view of art and the history of the nation, a visualisation of the mythology and symbolism of the Indian cultures of origin, and an emphasis on the Indian ethnicity of the nation. Two chapters describe the ideological context in which Frida Kahlo’s works were created. The visual markers around which the post-revolutionary national discourse came to revolve are identified and certain concepts related to race are examined. The subsequent chapters are devoted to Frida Kahlo’s pictures. One chapter examines how her pictorial production in the 1920’s emerged in a dialogue with contemporary art theory. One chapter deals with body thematics based on the naked female body, and elements of sex education are put in relation to an ongoing debate on sex education in Mexican schools. Thereafter new features are explored that are introduced in her self-portraits during the late 1930’s and that came to be consistent features in her continued production of self-portraits. In the concluding section of the thesis, the self-portraits are discussed from a more general perspective. Some of the myths upon which earlier biographical interpretations were based are questioned. Instead, the thematics of suffering found in the self-portraits are related to the reconstruction of the nation’s ethnic identity and problematic issues based on the 16th century Spanish Conquest of the indigenous Indian population. In her complex imagery, Frida Kahlo refers to a broad spectrum of disparate pictorial traditions, stylistic epochs, categories of motifs and symbolic imagery, and to historical, religious and mythical female personages such as Malintzín, la Chingada, Sor Juana, and the Virgin of Guadalupe. These references from different epochs represent the two fundamental components of Mexico’s cultural heritage – the Spanish and the Indian – and these are merged in Frida Kahlo self-portraits so that they thereby communicate a construction of identity based on a national heritage. The time perspective of the discussion reaches backwards to before the Spanish Conquest in the 16th century and forwards to the contemporary Chicana/Chicano movement north of the border to the United States.
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- Arvidsson, Kristoffer, 1977
(författare)
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Den romantiska postmodernismen. Konstkritiken och det romantiska i 1980- och 1990-talets svenska konst : The Romantic Postmodernism. Art Criticism and the Romanticin Swedish Art in the 1980s and 1990s
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Den romantiska postmodernismen. Through a study of the reception that art critique gave the exhibition project Ibid. ( Stockholm 1982 1983 ) and the oeuvres of the artists Ola Billgren, Dick Bengtsson and Max Book, this thesis examines the way art critics dealt with the romantic in Swedish art during the 1980s and 1990s, the time when post-modernism was debated in Swedish cultural life. I reconstruct reviews on art as situated in a cultural field, with Pierre Bourdieu s terminology, where a battle on authority of interpretation is taking place. With focus on the romantic, characterised as an anomaly in post-modernism, it is possible to reveal, not only what the critics disagree on but also the common ground, that discursive horizon which they share. Using Michel Foucault s theory on discourses I study Swedish art criticism in the 1980s and 1990s as a discursive practise. I choose to focus on the romantic for two reasons. Firstly references and allusions to romanticism occur repeatedly in Swedish art during this time. The second reason is that post-modernism has an ambivalent, and therefore, from a discourse-analytical perspective interesting, relation to romanticism. On one hand post-modernism is anti-romantic in distancing itself from a romantic modernism, the latter including the idealisation of the authentic and original, on the other hand, romanticism is repeatedly referred to in post-modernism. Other aspects than those inherited by modernism is then being highlighted. Among them we find the fragment and the romantic irony. Critics influenced by post-modern theory, mainly post-structuralism, like Lars Nittve and Lars O Ericsson, define the art of Billgren, Bengtsson and Book as pictorial deconstructions of romantic notions of the creative self, the transparent sign, the immediate expression. In their eyes, the romanticism of these artists is not authentic but simulated. Billgren, Bengtsson and Book are using a romantic style with irony for the purpose of an immanent criticism of the artistic medium, of signification and subjectivity. Other more existentialist-modernist oriented critics, like Douglas Feuk, Mårten Castenfors and Ingela Lind, remark that stressing the deconstructive aspect of the work of these artists has resulted in a neglect of existential themes. According to these critics Billgren, Bengtsson and Book do not just refer to romanticism but are themselves romantics. The dispute on whether Billgren, Bengtsson and Book are authentic romantics or just using romanticism for another purpose extends beyond these particular artists. It gives us a picture of the positions vis-à-vis post-modernism in Swedish art criticism during the 1980s and 1990s. Romanticism is revealed as the denied other of post-modernism, something extraneous which it defines itself in relation to, besides modernism. However romanticism is also revealed as something internal in post-modernism, impossible to expel. By acknowledging the role played by romanticism in post-modernism, the notion of modernism and post-modernism as absolutely opposed terms is being challenged. Keywords: post-modernism, romanticism, modernism, art criticism, romantic landscape, romantic irony, fragment, deconstruction, simulation, quotation, collage, painting, Implosion, Ibid., Ola Billgren, Dick Bengtsson, Max Book, Lars Nittve, Lars O Ericsson, Ingela Lind, Douglas Feuk, PierreBourdieu, Michel Foucault.Kristoffer Arvidsson, Department of Art History and Visual Studies,Box 200, SE-405 30 Gothenburg.
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Contemporary Feminist Studies and its Relation to Art History and Visual Studies: Proceedings from a Conference in Gothenburg, March 28-29, 2007
- 2010
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this conference was to discuss and to elucidate the effects of the last thirtyfive years of feminist studies within art history and visual studies. Since Linda Nochlin published the essay "Why Have There Been No Great Women Artists?" considerable research has been made and published. But is the gender perspective included in contemporary research and teaching? Or is it still marginalized? Except for the feminist perspective, gender and queer theories and ethnicity will be discussed in relation to contemporary research in art history and visual studies, and adjacent disciplines.
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- Häikiö, Tarja, 1962
(författare)
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Barns estetiska läroprocesser; Atelierista i förskola och skola : Acta Universitatis Gothoburgensis, Art and Architecture, nr 24. Göteborgs universitet.
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Barns estetiska läroprocesser behandlas i denna avhandling utifrån ett mångvetenskapligt perspektiv med utgångspunkt i konst- och bildvetenskap. Avhandlingen är ett bidrag till forskningen på det bildpedagogiska fältet både nationellt och internationellt. En bildpedagogisk praktik beskrivs utifrån fallstudier gjorda inom förskola och skola i Sverige och jämförs med liknande verksamhetet främst i Italien men också i Finland. Avhandlingen presenterar arbetet som bildpedagog/atelierista och pedagogisk handledare/pedagogista utifrån Reggio Emilias pedagogiska filosofi. Denna pedagogiska filosofi återfinns som en grundläggande utgångspunkt i arbetet. I avhandlingen beskrivs och analyseras deras verksamhet, ateljéarbete, dokumentation, pedagogiska miljöer och förhållningssätt liksom barnsyn. Avhandlingens teoretiska bas finns hos utvecklingspsykologen Lev Vygotskij vars fantasibegrepp och tankar kring minnets och föreställandets komplementära funktion antas utgöra en förutsättning för barns lärande. Utifrån Vygotskijs teori om fantasin som medvetandeform lyfts detta fram som en avgörande del i pedagogisk utveckling och dokumentation beskrivs som en metod för att medvetandegöra pedagogisk praxis.
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- Nikolaeva, Olga
(författare)
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Audiovisual Constructions: Material Interrelations in Live Rock Performances
- 2019
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation examines and analyzes the material interrelations in audiovisual constructions of live rock performances. It explores the interrelations that take place among four key modes of a live rock performance’s material modality, namely: the musicians’ bodies, screens, screen visuals, and sounds. According to the analysis conducted in this dissertation, an audiovisual construction is understood both as a process that describes the confluence of a performance’s modes and as a momentary result of their interrelations that creates the performance as a whole. Rather than exploring the ways audiences perceive performances, the central focus in this dissertation is to investigate the relations and potentialities of the performance’s modes by focusing on the assemblage and display of the audiovisuality of three selected case studies. The three case studies that form the empirical material for this research study each consist of a song performed by a rock music band. The specific performances are: “Angel” by the British band Depeche Mode, “The Handler” by the British band Muse, and “Óveður” by the Icelandic band Sigur Rós. Relying upon the concepts of performative materiality (Johanna Drucker), the vitality of materials (Jane Bennett), and an understanding of a live rock performance as a scenographic spectacle (Joslin McKinney, Scott Palmer), this study explores the perspective of the materiality’s performative potentialities, which emerge and develop in the audiovisual construction. The analysis of each particular case study reveals that processes of audiovisual construction create conditions under which a performance’s modes continuously activate and renegotiate each other’s individual material potentials, while creating new forms of scenographic assemblages of vital materialities. Furthermore, understanding the material potentials of modes gives rise to new considerations of the roles these modes play in live rock performances.
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- Philpot, Elizabeth, 1943
(författare)
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Old Testament Apocryphal Images in European Art
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation deals with representations in European art from the Old Testament Apocrypha. The OT Apocrypha are books of the Bible which are not part of the Hebrew Canon. Four Books from the Apocrypha have been chosen for an in-depth study - The Book of Tobit, the Book of Judith, Additions to the Book of Esther and Additions to the Book of Daniel with the stories of the idol Bel, the dragon god, Susanna and the Elders, the Three Men in the Fiery Furnace and Daniel in the Lions’ Den. The main aims are to trace the different developments of Apocryphal images in both Roman Catholic and Protestant parts of Europe from one century to another, beginning with the catacombs in Rome, and to see to what extent the biblical and apocryphal texts have influenced or inspired artists, sculptors, printmakers and other artisans. This process of change moves from the typological during the medieval period, in the case of Judith and Esther to the civic and historical during the Renaissance, especially in Florence, and then to the gruesome and horrific images in the case of Judith during the Baroque period, the more restrained images during the Rococo and then finishing with the more realistic depictions during the nineteenth century when much of the religious content had been lost. The main emphasis, however, is on representations from before, during and after the Reformation when the greatest number of images were produced. Consideration is also given to apocryphal images, especially to wall paintings, broadsheets, bonader, bonadsmålningar and dalmålningar in three of the Scandinavian countries – Norway, Sweden and Denmark, including an assessment of why there are so few images from the Apocrypha in Scandinavia, whereas in the rest of Europe there is a superfluity of images. These four books have been chosen because these have attracted the greatest number of paintings. The main focus of discussion centres, therefore, in the first instance, around paintings and then draws on representations of stained glass, illuminated manuscripts woodcuts, prints and church woodcarvings. The reasons for the different functions of Apocryphal images in both the Roman Catholic and Protestant worlds are discussed. The thesis is made up of seven chapters. The first chapter gives an explanation of the Old Testament Apocrypha and sets out an account of Bibles containing the Apocrypha. The second chapter looks at prints and illustrated Bibles and the use which artists might have made of these in formulating their images. Chapters three to six discusses representations from the books outlined above and chapter seven focuses on the paintings of Dalecarlia (dalmålningar) from the period 1750-1870. These images are examined and analysed from a art historical and theological perspective.
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| 17. |
- Rosen, Astrid von, 1964
(författare)
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Knut Ströms scenografi och bildvärld. Visualisering i tid och rum
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- von Rosen, Astrid, Göteborg 2010. University of Gothenburg. Department of Cultural Sciences. Doctoral dissertation in Art History and Visual Studies. A pioneer in his field, Knut Ström (1887–1971) was a Swedish scenographer and director, who became the first professional scenographer in Sweden. He had an early international career in Düsseldorf during the 1910s but later worked in Göteborg for 41 years. He made visual revolution in Swedish scenography putting his name at stake to navigate between technology, critique and audience. There are thousands of visual statements left from Ström’s extensive production, such as scenographic sketches, costume sketches, scenographic models, photographs and posters. Earlier studies have not to any great extent taken an interest in visual material of this kind. This thesis presents a model for how to deal with such an extensive visual material in relation to the long period of time encompassed by the study. The aim is to expose, understand and explain Knut Ström’s scenography and visual world. Three questions – who was Knut Ström, what did he strive for and what did he do? – have helped in the work. The thesis, with its ten chronological chapters is geographically grounded. Case studies with scenographic angles are alternated with analyses of Ström’s personal experiences, professional positions and staging of himself. A selection of Ström’s scenographic work at Schauspielhaus Düsseldorf, Lorensbergsteatern and Göteborgs stadsteater is examined. Gordon Craig’s and Adolphe Appia’s theories about dramatic art and a formal analysis based in art history have been used as methodological tools in combination with a semiotic approach in the exposure and analysis of these. Theoretically the study has been carried out using the idea of a translating place inspired by Jacques Lacan’s concepts the symbolic, the imaginary and the real. Ström’s theatrical works are related to their contextual connections in a stepwise historically based process. It has been essential to illuminate political, aesthetic, economic, media, and class factors. In the concluding discussion some signifiers, such as film, technology, and visualization, are used to develop the scenography and visual world of Ström. Keywords. Knut Ström, scenography, image, visualization, translation, Jacques Lacan, the symbolic, the imaginary, the real, signifier, Gordon Craig, Adolphe Appia, Max Reinhardt, August Strindberg, Schauspielhaus Düsseldorf, Lorensbergsteatern, Göteborgs stadsteater, scenographic sketch, costume sketch, scenographic model, production photograph, poster. Title: Knut Ströms scenografi och bildvärld. Visualisering i tid och rum. (Knut Ström’s Scenography and Visual World. Visualization in Time and Space.) Language: Swedish with an English summary. ISBN: 978-91-7346-691-2 ISSN: 0348-41114
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| 18. |
- Sandahl, Ann-Louise, 1962-
(författare)
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Temporalitet i visuell kultur : Om samtidens heterokrona estetiker
- 2016
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In contemporary society temporalities in different scales coexist, cooperate and collide. Clock time serves as a main reference for time, although a lot of processes have nothing to do with clock time and can’t be measured by its scales. One of the dissertation’s points of departure is that temporal narratives is a key factor for affecting how people act and think, and therefore there is a need for visualizations, conceptual figurations and cognitive objects for complex forms of time. The dissertation evolves around art works, visualizations and theories that deal with today’s multiple temporal forms and narratives. One of the questions the dissertation sets out to answer concerns how temporality is visualized in contemporary art and visualizations. It also aims to demonstrate the relevance of visual studies in the new field of environmental humanities. A number of temporal concepts are explored in relation to art works. One such concept is heterochrony, a term referring to a multifaceted temporality, that art theorist Nicolas Bourriaud claims is common in contemporary art. Another is timescapes, a term for an entangled temporality, described by sociologist Barbara Adam, and chronoscopy coined by philosopher Paul Virilio, referring to an extremely short-termed perspective. Space of flows and space of places are concepts formulated by sociologist Manuel Castells, denoting the spatiotemporal logics that have emerged in the network society, where citizens simultaneousley can exist in physical and virtual spacetimes. Also two concepts for a vast time span are discussed: anthropocene, a suggested new geological era, and the long now, a perspective formulated by the artist and musician Brian Eno. One conclusion is that complex and sensous understandings of temporality can be accomplished through art works and visualizations. Artistic expressions have the potential to inspire, worry and affect viewers and produce narratives of the multiple temporalities embedded in climate changes. Multiple forms of temporality can be found in the discussed works, and the narratives that emerge are entangled and heterogenous and speak of heterochrony, chronoscopy, and anthropocene, that is, of temporal forms that cannot easily be related to a human lifetime or to everyday understandings of time.
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- Stahre, Ulrika, 1964
(författare)
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Beundrad barbar. Amasonen i västeuropeisk bildkultur 1789-1918 : Admired Barbarian. The Amazon in Western European Visual Culture 1789-1918
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of the thesis is to study the Amazon as a motif in relation to a sex/gender hierarchy during the period 1789-1918. The myth of the amazons was an inheritance from Greek antiquity and told of a female warrior-people who were ruled by a queen. The Amazons are said to have lived in Northern Turkey or in the Caucasus, it is also claimed that they cut or burnt off their right breast in order to facilitate their fighting. In the thesis the myth is examined in its visual form in six separate chapters. In the first chapter the definition of the concept Amazon is presented through the analysis of encyclopaedias and other texts. The definition is broad and includes women who resemble the Amazons of antiquity, i.e. women with influences, and is broadened further in the chapter two through a study of the visual world of the French revolution. In chapter three and four the Amazon is analysed in relation to public, first as a motif exhibited in Worlds fair and then as public sculpture, primarily in Berlin. The two final chapters are devoted to visual analyses of groups of motifs: the large Amazon battles painted between the end of the 19th century and the World War I and Amazon as a motif. Seen in relation to a sex/gender hierarchy this shows that the Amazon worked both as a projection of desires- she was all one could desire and as a valve, a leak in a queer theoretical terms, of what was hidden, i.e. the transgressive. The Amazons, defined as barbarians by the Greeks, were admired caused the unfamiliar to become visible.
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| 22. |
- Vipsjö, Lars, 1959
(författare)
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Den digitala konstens aktörer. En studie av datorintegrering i svensk konstundervisning : Actors in digital arts: A study of the integration of computers in Swedish art education
- 2005
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this thesis is to study the establishment and development of two Swedish art education programmes that focus on digital technology. The first The computer as Artistic Tool, was started in 1989 at the University of Skövde, and the second, Fine Arts and New Media, was started in 1995 at the Valand School of fine Arts at Göteborg University. The study document how the participating actors began to use computers in their artistic practice and the roles they adopted in disseminating knowledge about the new tools. The thesis includes a brief survey of the early Swedish context of this new artistic medium. The study shows that in the early 1990s there was a widespread need for education in artistic applications of computer technology that was not being met within the traditional art academies. The thesis reveals a generational difference in artists approach to the computer medium. Whereas the early generation emphasised the computer as a tool to be applied primarily within artistic areas in which they wee already established, the later, younger generation are not restricted by traditional fields and make more strategic use of digital communication media in connection with different kinds of artistic projects.
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- Wallin Wictorin, Margareta, 1958
(författare)
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Föreningen Original-Träsnitt. Grafik och grafiker på ett tidigt modernistiskt fält : The Swedish Society of Original Wood Engravers. Graphic Art and Graphic Artists in an Early Modernistic Field of Art
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is about Föreningen Original-Träsnitt, which was founded in 1912, at a time when new photographic methods of image reproduction contributed to differentiation of graphic visual culture in Sweden and Europe. In the field of art a notion was spread that now when a picture could be reproduced mechanically, there was no need for the wood engraving, the technique which had been used for art pictures and illustrations in book, magazines and newspapers. Now demands of special type of originality began to arise into eh field of art. A movement striving tom promote the original print was formed in Europe. This movement, which include The Swedish Society of Original Wood Engraves, defined original print as a picture that was created by the same person in every step of production. With regards to woodcut, this meant that the same person should have designed, cut and most preferably even printed the picture. The 1910´s was a decade when different modernistic ideals of art were launched in Sweden. The fact that also the Swedish woodcut was a medium of an early modernistic syntax has hardly been noticed before. In this thesis is presented the pictorial styles that were applied by The Swedish Society of Original Wood Engravers, and in which contexts their prints were exhibited and received. I also give an idea about the conditions under which artistes of this time and place are working, and what it could be like to appear in public, especially as a women artist.
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