| 1. |
- Hagelqvist, Stina, 1969-
(author)
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Arkitekttävlingen som föreställning : Den svenska arkitekttävlingens ideologiska, institutionella och professionella villkor under 1900-talets första hälft
- 2010
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Doctoral thesis (other academic/artistic)abstract
- The dissertation explores the Swedish architectural competition as defined in the professional discourse of the architectural corps from the first half of the twentieth century. The purpose is to analyze what norms that defined, regulated and supported the use of the competition and the competition practice from ideological, institutional and professional point of view. In using Pierre Bourdieu’s field theory, the competition is positioned in the interface between organizer and the architectural corps. This illuminates the competition as both object and instrument of the negotiations of a field of architecture. The competition’s position makes clear the need of a common ideological foundation and the necessity of legitimizing not only the competition instrument but also the architectural corps’ definition of how to implement it. In departing from the concept of discourse, defined by Michel Foucault, I identify principal characteristics of the architectural competition and relate it to notions of freedom and vitality that was thought to be present in the competition. By analyzing the corps’s competition discourse the dissertation makes clear both short-term functions of the competition, such as accumulating esteem, and long lasting effects of the corps’ control of the competition activities by means of guidance, the system of sanctioned competitions and control of the architectural press. This competition system regulated the quality of the competition results and utilized the rivalry between architects by channelling it to the formal legitimate competition. The rivalry between architects, formalised in the competition situation, was thought to bring the competition spirit to the fore and was defined both as the necessary prerequisite of architectural progress and as a constituent property of the normative position of the free practitioner, which was reproduced as architects while competing entered the autonomous time space of the competition.
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| 2. |
- Hans, Hayden, 1965-
(author)
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Tid som realitet och metafor
- 2010
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In: Det åskådliga och det bottenlösa. - Stockholm : Konstvetenskapliga institutionen, Stockholms universitet. - 9789197631518 ; , s. 34-41
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Book chapter (other academic/artistic)
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| 3. |
- Hayden, Hans
(author)
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Contradicting Codes
- 2012
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In: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 81:3, s. 166-171
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Journal article (peer-reviewed)
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| 4. |
- Kimvall, Jacob, 1972-
(author)
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The G-Word : Virtuosity and Violation, Negotiating and Transforming graffiti
- 2014
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Doctoral thesis (other academic/artistic)abstract
- Contemporary public discussions on graffiti are characterized by co-existence of contradictory claims. On the one hand graffiti is described as vandalism, and on the other as an artistic movement. Michel Foucault’s discourse theory, and the concepts of discursive formation and discursive practice are operationalized in order to frame the object of study, and the contradictory claims regarding graffiti are studied as points of diffraction.The aim of the study is to investigate the construction of graffiti as a phenomenon dependent on diametrically opposite but also interdependent claims, as well as how and in which contexts these statements are enounced. Graffiti is thus understood as a transnational phenomenon produced by subcultural as well as and institutional agents, and the thesis analyzes visual and textual material produced within both subcultural and institutional situations. The study is conducted on material concerning three different cultural contexts: different descriptions on the development subcultural graffiti in New York City (circa 1972–1987); the framings of the graffiti on the Berlin Wall in English-language newspapers; and the adaptation of New York’s zero tolerance of graffiti in Stockholm, during the 1990s and early 2000s.The institutions in the studied material represent a wide array of sectors such as the police, art institutions, and public-transit companies, and they interact with graffiti from their own interests and perspectives. The claims of cultural institutions often fall within what in this thesis has been referred to as a consenting discursive practice, built upon the statement ‘graffiti is art’. It is also in relation to this discursive practice that most subcultural descriptions of graffiti are produced. The claims by institutions such as the police and public-transportation companies are almost exclusively found in the interdependent, rejecting discursive practice, built upon the statement ‘graffiti is a crime’.
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| 5. |
- Robach, Cilla
(author)
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Formens frigörelse : Konsthantverk och design under debatt i 1960-talets Sverige
- 2010
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Doctoral thesis (other academic/artistic)abstract
- This thesis explores a relatively unknown phenomenon in the design world. Here, the term den fria formen [the free form] is introduced as an analytical tool to narrow down this phenomenon, which was to be found in arts and crafts. The free form emerged in the 1950s, blossomed in the 1960s and lost in importance in the first half of the 1970s. The intention of the study is to analyse and explain the emergence and development of the free form, in the light of contemporary transformations of discourse, both within and without the design world. In the study, the free form is explored from four perspectives: object-oriented, aesthetic, social, and historiographical. The starting point has been a number of objects with an abnormal aesthetic expression. The term free [fri] has been borrowed from their contemporary context. I have defined the core based on three central aspects: an aesthetic dissociation from a normative concept of beauty, a rupture within the technical tradition of craftsmanship, and a subordination of the object’s practical function in favour of its aesthetic expression. However, the most important feature was a critical stance towards prevailing norms and structures. During the period a radical aesthetic transformation took place. This opened for a freer approach to the design world’s objects, which included an acceptance of a wider aesthetic concept. In the 1960s, the Swedish arts and crafts industry was compelled to undertake a major realignment to face an increased international competition. This meant that the platform, which had provided craftspeople with an income as well as a possibility to develop creatively, practically disappeared. Designers now had to refocus: either to become craftspeople or industrial designers. The study discusses arts and crafts’ position in history writing, not least in relation to the international debate pursued in recent years. Here, the area’s marginalisation has been emphasised. An efficient way of deconstructing this marginalisation has been to leave the aesthetic design vocabulary, the mystique of the material, and the object’s practical function – to, just as the free form, approach the visual art.
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| 6. |
- Udechukwu, Obiora, et al.
(author)
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Notes From the Field: Tradition
- 2013
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In: The Art Bulletin. - : Informa UK Limited. - 0004-3079 .- 1559-6478. ; 95:4, s. 526-527
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Journal article (other academic/artistic)
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| 7. |
- Öhrner, Annika, 1962-
(author)
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Barbro Östlihn och New York : Konstens rum och möjligheter
- 2010
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Doctoral thesis (other academic/artistic)abstract
- The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework.
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