| 1. |
- Chatzittofis, Andreas, et al.
(författare)
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HPA axis dysregulation is associated with differential methylation of CpG-sites in related genes
- 2021
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Ingår i: Scientific Reports. - : Springer Nature. - 2045-2322. ; 11:1
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Tidskriftsartikel (refereegranskat)abstract
- DNA methylation shifts in Hypothalamic–pituitary–adrenal (HPA) axis related genes is reported in psychiatric disorders including hypersexual disorder. This study, comprising 20 dexamethasone suppression test (DST) non-suppressors and 73 controls, examined the association between the HPA axis dysregulation, shifts in DNA methylation of HPA axis related genes and importantly, gene expression. Individuals with cortisol level ≥ 138 nmol/l, after the low dose (0.5 mg) dexamethasone suppression test (DST) were classified as non-suppressors. Genome-wide methylation pattern, measured in whole blood using the EPIC BeadChip, investigated CpG sites located within 2000 bp of the transcriptional start site of key HPA axis genes, i.e.: CRH, CRHBP, CRHR-1, CRHR-2, FKBP5 and NR3C1. Regression models including DNA methylation M-values and the binary outcome (DST non-suppression status) were performed. Gene transcripts with an abundance of differentially methylated CpG sites were identified with binomial tests. Pearson correlations and robust linear regressions were performed between CpG methylation and gene expression in two independent cohorts. Six of 76 CpG sites were significantly hypermethylated in DST non-suppressors (nominal P < 0.05), associated with genes CRH, CRHR1, CRHR2, FKBP5 and NR3C1. NR3C1 transcript AJ877169 showed statistically significant abundance of probes differentially methylated by DST non-suppression status and correlated with DST cortisol levels. Further, methylation levels of cg07733851 and cg27122725 were positively correlated with gene expression levels of the NR3C1 gene. Methylation levels of cg08636224 (FKBP5) correlated with baseline cortisol and gene expression. Our findings revealed that DNA methylation shifts are involved in the altered mechanism of the HPA axis suggesting that new epigenetic targets should be considered behind psychiatric disorders.
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| 2. |
- Edling, Marta, et al.
(författare)
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Att vara student på en konsthögskola
- 2003
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Ingår i: Den vildväxande högskolan. - Stockholm : Institutet för studier av utbildning och forskning. - 9157804451 ; , s. 99-107
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Bokkapitel (populärvet., debatt m.m.)
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| 3. |
- Görts, Maria, 1956-
(författare)
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Att skolas i historiemåleri
- 2014
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Ingår i: En målad historia. - Göteborg : Göteborgs konstmuseum. - 9789187968860
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 4. |
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| 5. |
- Görts, Maria
(författare)
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Up the stylish staircase. Situating the Furstenberg Gallery and the art collection in a late nineteenth-century Swedish art world
- 2016
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 85:2, s. 199-203
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this thesis is to show how Furstenberg's gallery and collection were both a part of and product of what has been called the modern breakthrough in Swedish art. The analysis is based on the established narrative in art history literature, also known as the master narrative, and how Furstenberg's gallery and collection has represented this rendering. This study has a sociological perspective as a framework, but the focus of the analysis is the visual; from how the home environment portrayed a bourgeois subjectivity and identity to museum practitioners, and art exhibitions' exhibits and paintings' representations of the Furstenberg collection and their home.
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| 6. |
- Nordström, Charlotta
(författare)
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Up the Stylish Staircase : Situating the Fürstenberg Gallery and Art Collection in a Late Nineteenth-Century Swedish Art World
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation investigates the establishment (in 1885), the influence, the critical reception, and the legacy of the Fürstenberg Gallery and Art Collection in Gothenburg, Sweden. The aim of this research is to demonstrate how the gallery and the collection were products and producers of specific art-historical situations, within a particular nineteenth-century Swedish art world. This art world presents itself as a complex network of influences, in which social and economical forces are influencing art production of the time and its assimilation within the cultural fabric of society. Through five chapters, a careful examination of the collection’s artworks in their expanded environment is undertaken. A wide range of images, archival material and primary sources are presented, analyzed, and contextualized. The Fürstenberg Gallery and Art Collection are first discussed through Swedish art-historical accounts that have shaped the image of Pontus Fürstenberg as an art lover and a generous patron of modern, Swedish art. In this master narrative, the reputation of the Fürstenberg home and gallery as a base for Swedish artists working in Paris during the 1880s is established. Continuing from the gallery’s and collection’s place in art history, issues related to the emergence of the “interior” in the nineteenth century as a concept focus on how the collection was housed within a domestic setting – the Fürstenberg residence – that functioned as a public space through its gallery. The dynamic relationship between the Fürstenberg home (including the gallery) and the urban surroundings is also undertaken. The gallery becomes more than a private endeavor – as a central component of the city’s economical, cultural and social life.Through analysis of exhibitions and collecting practices, connections between the Fürstenberg Gallery and a broader segment of the Swedish art scene are examined. A special focus is brought on the year 1885, and the moment of identification of a “modern breakthrough” in Swedish art. Artistic manifestations organized in Stockholm and Blanch’s Art Salon with the exhibitions of the Opponents are directly linked to the art scene in Gothenburg and the Fürstenberg Gallery. Finally, the dissertation demonstrates how the Fürstenberg Art Collection is the outcome of three interwoven collecting efforts: 1) a collection built on inheritance, 2) Pontus Fürstenberg’s collection from before 1880, and 3) Pontus and Göthilda Fürstenbergs joined collecting practices. The collection with apparent focus on art from the 1880s and 1890s is prominently viewed (and promoted) as representing a “young” generation of late nineteenth-century Swedish artists. However, investigations into the core of the collection points to its greater diversity. Older works (from before 1880s) are included, although many of them were never made public through display in the actual gallery. The small number of female artists represented in the collection is called into question. This study revises a prevailing view on the gallery and the collection linked to a modernist art-historical perspective. It also explores how the art world related to the modern breakthrough in Swedish art was not solely the autonomous effort of a group of artists working in exile in France. It was entangled with local art collecting and exhibition practices.
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| 7. |
- Pettersson, Jimmy, 1984-
(författare)
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Film på konstmuseum : Nationalmuseums möten med filmmediet 1945–1950
- 2019
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation presents a number of previously-forgotten practices and ‘expected opportunities’ which surrounded film at the Swedish National Museum of Fine Arts (Nationalmuseum), between 1945 and 1950. The dissertation is structured around three projects and each project has its own chapter. The three projects are: (1) the educational film production entitled Möte med konsten which took place in connection with the exhibition entitled God konst i hem och samlingslokaler; the exhibition entitled Viking Eggeling 1880–1925 which included (2) showings of Viking Eggeling’s abstract film called Diagonalsymfonin (Diagonal Symphony) in the exhibition and (3) the related film series called 30 år experimentfilm (30 years of experimental film) which included films by Maya Deren, Man Ray, Fernand Léger, Jean Cocteau, Hans Richter and Viking Eggeling. The purpose of this dissertation is primarily to investigate the areas of use and ‘expected opportunities’ associated with film in these film projects as well as the prerequisites and implementation of working with film at the museum.Because media technologies are closely interwoven with human life, a number of individuals have been identified as important figures with respect to the curation and exhibition of film at Nationalmuseum between 1945 and 1950. The analysis of these figures’ speculations, their administration, and ‘expected opportunities’ has resulted in the creation of new knowledge with respect to the museum’s operations in post-war Sweden.In summary, the present dissertation highlights the medium of film’s role and importance for those individuals inside Nationalmuseum who, in response to contemporary needs (but also with an eye to the future) worked towards developing the museum. Film was seen as an answer to the question of how an art museum such as Nationalmuseum might be able to revitalise its operations and remain relevant to a new generation’s tastes and habits with respect to the consumption of art- and culture. In their work with film, they opened up the museum’s art division to working with modern abstract art in non-conventional forms, attempted to reach new sectors of the public and reinforced the contemporary relevance of the museum in a local cultural context. This dissertation thus does not only present new knowledge about the history of film at the art museum, of which it is an obvious part of today, but also new knowledge about Nationalmuseum. From a broader perspective, this dissertation also demonstrates how it is possible take the field of art museum research in a somewhat different and relatively unexplored direction, namely, in the direction of media history.
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