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| 2. |
- Zetterman, Eva, 1957
(författare)
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A Mexican Icon Transgressing the Border – the Queen of Selfies in Visual Art
- 2018
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Ingår i: Open Covenants – Pasts and Futures of Global America. The 10th Biennial Conference ofthe Swedish Association for American Studies (SAAS). Panel: The Territoriality of Global America: The U.S.–Mexico Border in Contemporary Cultural Production. Chair: Eva Zetterman. Panel proposal: Birgit Spengler, University of Wuppertal, Markus Heide, Uppsala University, Eva Zetterman, University of Gothenburg. Stockholm University, Sweden. September 28–30, 2018.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 3. |
- Zetterman, Eva, 1957
(författare)
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Att skapa ett vi – gatukonst i Kalifornien
- 2006
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Ingår i: Dom – och vi. Humanistdagboken nr. 19. Red. Patrik J. Andersson m.fl.. - Göteborg : Göteborgs universitet. - 9173603473
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 4. |
- Zetterman, Eva, 1957
(författare)
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Bilden av Frida Kahlo: En omtolkning utifrån ett feministiskt perspektiv
- 1994
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Ingår i: Från runor till Modesty Blaise – Populärvetenskapliga föreläsningar hållna under Humanistdagarna den 22–23 oktober 1994. Humanistdagboken nr 7. Red. Patrik J. Andersson m.fl.. - Göteborg : Göteborgs universitet. - 9173602175
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 5. |
- Zetterman, Eva, 1957
(författare)
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Bodies, Menstruation Blood and Witchcraft: The Feminist Art Scene in Gothenburg in the 70s and early 80s
- 2021
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Ingår i: Conference: Gendering Transformations: Feminist Knowledge Production and Trans/National Activist Engagement. Panel Session: Gender Discourses on Embodied Experiences. Taipei, Taiwan (online), October 28–31, 2021. - : National Central Library of Taiwan (NCL).
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- With the second-wave feminism in the 1960s and 70s, women in various parts of the world started mobilizing in women’s movements, which sometimes could take different feminist directions. In Gothenburg, Sweden, several women that took part in the women’s movement were visual artists. These visual artists organized themselves in separatist constellations with different feminist agendas. Some focused on gender roles, women’s bodies and reproductive processes, some on the importance of class and solidarity with third-world women, and some on sexuality issues and lesbian identities. In their respective separate constellations, the visual artists created new kinds of feminist imagery that were spread and communicated on several arenas in Gothenburg simultaneously, such as art exhibitions in cultural institutions, street actions in public spaces, and activist manifestations in women-centered associations, bookshops and magazines. In this presentation, I focus on the feminist art exhibitions that feminist activists in the women’s movement in Gothenburg organized at cultural institutions. These feminist art exhibitions, held in the 1970s and early 80s at the Gallery Maneten, the Röhsska Museum, the Gothenburg Art Gallery and the Frölunda House of Culture, were from a national Swedish perspective unique and very radical. Drawing on oral history and archival research, I highlight some of the key actors on the feminist art scene in Gothenburg and some of their radical imagery that were displayed in these feminist exhibitions.
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| 7. |
- Zetterman, Eva, 1957
(författare)
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Chosen methodological issue – subject positions
- 2018
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Ingår i: Methodology workshop: Feminist methodologies and the issue of interpretation. Workshop proposal and chairs: Sabine Grenz, University of Vienna, and Mia Liinason, Unversity of Gothenburg. University of Vienna, Austria. April 24, 2018.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 8. |
- Zetterman, Eva, 1957
(författare)
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Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s
- 2016
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Ingår i: American Studies in Scandinavia. - : Copenhagen Business School. - 0044-8060. ; 48:1, s. 61-83
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Tidskriftsartikel (refereegranskat)abstract
- Abstract: Originating in the context of the Civil Rights Movements and political activities addressing issues of race, gender and sexuality, the Women’s Liberation movement and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separation, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by Chicana/o artists in Los Angeles. In so doing, the art activism by Anglo American feminists and Chicanas/os is comparatively investigated with Los Angeles as the spatial framework and the 1970s as the time frame. Four main components are discussed: their respective political aims, alternative art spaces, pedagogical frameworks and aesthetic strategies. The study found that the art activisms by Anglo American feminists and Chicanas/os differed. These findings suggest that a task ahead is to open up a dialogue with Chicana/o activist art, making space for more diverse representations of activities and political issues, both on the mainstream art scene and in the history of art.
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| 10. |
- Zetterman, Eva, 1957
(författare)
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Crossing literal and conceptual borders: Nepantla practices of the borderlands in performance projects by Guillermo Gómez-Peña
- 2021
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Ingår i: Online book presentation of Art, Borders and Belonging: On Home and Migration (Bloomsbury 2021). - University of Trento.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Abstract: Co-editors Maria Photiou and Marsha Meskimmon alongside chapters authors will talk about the book Art, Borders and Belonging: On Home and Migration. This volume brings together essays that explore the conditions of global migration as a process that is always both about departures and homecomings, indeed, homemakings, through which the construction of migratory narratives are made possible. Although the volume is centrally concerned with how recent and contemporary works of art can materialize the migratory experience of movement and (re)settlement, it also explores how the curating and exhibition practices, at local and global levels, can extend and challenge conventional narratives of art, borders and belonging.
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| 15. |
- Zetterman, Eva, 1957
(författare)
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En föregångare – inget offer
- 1994
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Ingår i: götheborgske SPIONEN. Red. Hans Rosén och Helena Utter. - 0345-4312. ; :1994: 3
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 17. |
- Zetterman, Eva, 1957
(författare)
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'feminismer'
- 1997
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Ingår i: Tvärtanten. Red: Lena Olson. - 0282-0153. ; :1
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Recension (övrigt vetenskapligt/konstnärligt)
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| 18. |
- Zetterman, Eva, 1957-
(författare)
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Frida Kahlo as subject for a doctoral thesis
- 1996
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Ingår i: Paper presented at the conference Reunión de investigadoras/es sobre la problemática de género y de la mujer en América Latina, May 13, 1996, HAINA/Nätverk för nordiska forskare som arbetar med kvinnofrågor i Latinamerika, Iberoamerican Institute, Göteborg University.. - Göteborg. ; , s. 1-3
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 21. |
- Zetterman, Eva, 1957
(författare)
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Frida Kahlos bildspråk – ansikte, kropp & landskap: Representation av nationell identitet (första utgåvan)
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation 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 to test the theory for Frida Kahlo’s self-portraits as a project connected to a general striving towards a new formulation of a 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 visualization 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 imagery. One chapter examines how her pictorial production in the 1920’s emerged in dialogue with contemporary art theory. One chapter deals with body themes based on the naked female body, and elements of sex education are related 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 dissertation, the self-portraits are discussed from a more general perspective. Some of the myths upon which earlier biographical interpretations are based upon are questioned. Instead, the themes 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 tradition, 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’s self-portraits so that they thereby communicate a construction of an 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 border to the United States.
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| 22. |
- 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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| 25. |
- Zetterman, Eva, 1957-
(författare)
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Frida Kahlo's painting : Marginality and transgression in Las dos Fridas (1939)
- 1997
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Ingår i: Paper presented at the conference Investigación Nórdica sobre la Mujer en Latinoamérica, May 17-16, 1997, HAINA/Nätverk för nordiska forskare som arbetar med kvinnofrågor i Latinamerika, the Iberoamerican Institute, Göteborg University.. - Göteborg. ; , s. 1-4
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 28. |
- Zetterman, Eva, 1957-
(författare)
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Från redaktionen : Visualitet & Representation
- 2004
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Ingår i: Kvinnovetenskaplig tidskrift. - Lund : Forum för kvinnliga forskare och kvinnoforskning. - 0348-8365. ; 25:4
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 29. |
- Zetterman, Eva, 1957-
(författare)
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Från redaktionen : Genus & Gud
- 2003
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Ingår i: Kvinnovetenskaplig tidskrift. - Lund : Forum för kvinnliga forskare och kvinnoforskning. - 0348-8365. ; 24:3-4
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 37. |
- Zetterman, Eva, 1957
(författare)
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Karin Parrows konstnärskap – med känsla för färg
- 2018
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Ingår i: En ny frihet - sjutton konstnärer: Hundra år i Göteborg. Red. Lena Boëthius, Björn Fredlund och Gudrun Nyberg. - Stockholm : Carlssons. - 978 91 7331 924 9 ; , s. 15-31
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 38. |
- Zetterman, Eva, 1957
(författare)
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Konst- och bildvetenskap vid Karlstads universitet
- 2006
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Ingår i: Nationell ämneskonferens i Konstvetenskap och Konst- och bildvetenskap 2006. Uppsala universitet. 17–18 november 2006.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 39. |
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| 40. |
- Zetterman, Eva, 1957-
(författare)
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Marginalitet och överträdelse : Frida Kahlo
- 1996
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Ingår i: Paper presenterat på konferensen Frö och Frukter: Nordisk kvinno- och könsforskning idag, 21-23 november 1996, Nordisk förening för kvinno- och könsforskning och NIKK/Nordic Institute for Women’s Studies and Gender Research, Oslo universitet.<em> </em>. - Oslo. ; , s. 1-4
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Konferensbidrag (refereegranskat)
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| 41. |
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| 42. |
- Zetterman, Eva, 1957
(författare)
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Myten Frida Kahlo
- 1994
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Ingår i: götheborgske SPIONEN. Red. Hans Rosén och Helena Utter. - 0345-4312. ; :1994: 2
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 43. |
- Zetterman, Eva, 1957-
(författare)
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Myten om Frida Kahlo : En kritisk granskning
- 1994
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Ingår i: Paper presenterat på konferensen Kvinnans liv och arbete, glädje och frihet (sektion Kvinnan, konsten och konsthistorien), 1–6 augusti 1994, Nordiskt nätverk för konsthistorisk forskning med könsperspektiv, Konsthistoriska institutionen, Åbo universitet.. ; , s. 1-3
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 44. |
- Zetterman, Eva, 1957
(författare)
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Myten om Frida Kahlo
- 1997
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Ingår i: Tvärtanten. Red: Lena Olson. - 0282-0153. ; :2
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 45. |
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| 46. |
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| 47. |
- Zetterman, Eva, 1957
(författare)
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Protesting invisibility. Post-coloniality, subject positions and otherness
- 2022
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Ingår i: Conference: SWEPSA [Swedish Political Science Association] Annual Conference. Workshop: Critical studies of power and the political. Örebro, September 28–30, 2022..
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Abstract: Transformations of political and social structures give rise to new social and political subject positions shaped by power relations. In societies affected by political and social unrest and by subject positions related to power relations are its colonial pasts often persisting as neo-colonial patterns in the present. In the US society with its cultural diversity, hegemonic norms and political antagonisms are social relations between various ethnic and racial groups played out through discrimination and we/them patterns. The impact of neo-colonial geopolitical processes and its contemporary sociocultural consequences are dealt with in various ways by different social groups and manifested in several ways in disparate kinds of venues. One kind of protesting discrimination and social power relations are manifestations by performance artists with radical street-performances in public places to unexpected audiences and by staging events at the very sites of power the performer seeks to transform. In this contribution I will present radical early street-performances by the Chicano artist Guillermo Gomez-Peña from the time when he was a young art student from Mexico in Los Angeles.
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| 50. |
- Zetterman, Eva, 1957-
(författare)
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The PST project, Willie Herrón's Street Mural Asco East of No West (2011) and the Mural Remix Tour : Power Relations on the Los Angeles Art Scene
- 2014
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Ingår i: Culture Unbound. - Linköping : Linköping University Electronic Press. - 2000-1525. ; 6:37, s. 671-695
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Tidskriftsartikel (refereegranskat)abstract
- This article departs from the huge art-curating project Pacific Standard Time: Art in L.A., 1945–1980, a Getty funded initiative running in Southern California from October 2011 to April 2012 with a collaboration of more than sixty cultural institutions coming together to celebrate the birth of the L.A. art scene. One of the Pacific Standard Time (PST) exhibitions was Asco: Elite of the Obscure, A Retrospective, 1972–1987, running from September to December 2011 at the Los Angeles County Museum of Art (LACMA). This was the first retrospective of a conceptual performance group of Chicanos from East Los Angeles, who from the early 1970s to the mid 1980s acted out critical interventions in the politically contested urban space of Los Angles. In conjunction with the Asco retrospective at LACMA, the Getty Foundation co-sponsored a new street mural by the Chicano artist Willie Herrón, paying homage to his years in the performance group Asco. The PST exhibition program also included so-called Mural Remix Tours, taking fine art audiences from LACMA to Herrón’s place-specific new mural in City Terrace in East Los Angeles. This article analyze the inclusion in the PST project of Herrón’s site-specific mural in City Terrace and the Mural Remix Tours to East Los Angeles with regard to the power relations of fine art and critical subculture, center and periphery, the mainstream and the marginal. As a physical monument dependent on a heavy sense of the past, Herrón’s new mural, titled Asco: East of No West, transforms the physical and social environment of City Terrace, changing its public space into an official place of memory. At the same time, as an art historical monument officially added to the civic map of Los Angeles, the mural becomes a permanent reminder of the segregation patterns that still exist.
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