| 1. |
- Watz, Anna, 1974-
(author)
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Maternities : Dorothea Tannings Aesthetics of Touch
- 2022
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In: Art History. - : John Wiley & Sons. - 0141-6790 .- 1467-8365. ; 45:1, s. 12-34
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Journal article (peer-reviewed)abstract
- This essay explores the concern in Dorothea Tannings work of the late 1960s and early 1970s with touch, contiguity, and the concept of maternity. In addition to a series of paintings and drawings that connote intimacy and whose titles allude to maternity, during this period Tanning also gave form to a group of soft sculptures, which similarly evince a preoccupation with closeness and touch, and indicate a form of intimacy that challenges the limits of the individual subject. Tannings engagement with these themes, the essay argues, resonates closely with the feminist poetics developed around the same time by poststructuralist theorists such as Helene Cixous, Julia Kristeva, and Luce Irigaray. I propose that Irigarays theories of maternity, subjectivity, and non-phallocentric language offer a particularly rich set of analytical tools with which to understand Tannings work. Through establishing the affinities between Tanning and Irigaray, I suggest, we can better understand the intellectual currents that flowed between poststructuralist feminism and surrealist womens work of this period.
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| 2. |
- Karlholm, Dan, 1963-
(author)
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Aesthetics : Art and Non-Art
- 2014
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In: Art History. - Wiley : John Wiley & Sons. - 0141-6790 .- 1467-8365. ; 37:5, s. 1005-1009
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Review (other academic/artistic)abstract
- Review of Jacques Rancière, Aisthesis: Scenes from the Aesthetic Regime of the Arts, London & New York: Verso, 2013
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| 3. |
- Karlholm, Dan
(author)
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Reading the virtual museum of general art history
- 2001
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In: Art History. - : Wiley. - 0141-6790 .- 1467-8365. ; 24:4, s. 552-577
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Journal article (peer-reviewed)abstract
- The representation of general art history in the nineteenth century is the centre of attention of this essay. It examines, in particular, the structural characteristics from 1845 to 1856 of Denkmaler des Kunst (Monuments of Art), a collection of engravings which constitutes the visual supplement to the first text of general art history, Handbuch der Kunstgeschichte (1841-42) by Franz Kugler. The impact of this largely neglected pictorial 'atlas', early on metaphorized as a 'museum'. is connected to comparable visual regimes of a later date, especially Malraux's photographic 'museum without walls', but also Warburg's Memory Atlas, the open-ended possibilities of the post-photographic practices and the web. Intersected is an argument with Danto's Hegelian 'end of art' thesis, ushering in a more closely contextualized reading of the 'end' of art history from a contemporary, media-saturated viewpoint. It all begins, and ends, with Warhol's postmodern version of Raphael's vision: the Sistine Madonna.
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| 4. |
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| 5. |
- Eliasson, Sabrina Norlander
(author)
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A 'faceless society'? : Portraiture and the politics of display in eighteenth-century Rome
- 2007
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In: Art History. - : Wiley. - 0141-6790 .- 1467-8365. ; 30:4, s. 503-520
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Journal article (peer-reviewed)abstract
- In eighteenth-century Europe portraiture held an important function within the art collections of the elite. The genre had an aesthetic purpose but also a strong social one. Portrait displays were frequent within domestic spaces that held a particular dignity but also offered public accessibility. Portraiture constituted in this sense the elite families a social guarantee and manifested the continuity of their social achievements. However, this general overview may be questioned if we move beyond the all-too-often cited examples of the monarchies of Britain and France. Instead, this article examines the social use of portraiture in eighteenth century Rome with particular reference to the structures of social manifestations of certain papal families.
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| 6. |
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| 7. |
- Karlholm, Dan
(author)
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Surveying Contemporary Art : Post-War, Postmodern, and then what?
- 2009
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In: Art History. - : Wiley. - 0141-6790 .- 1467-8365. ; 32:4, s. 712-733
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Journal article (peer-reviewed)abstract
- This article looks at influential survey texts on world art history since c. 1980, and considers how they have dealt with the art nearest to them in time. I examine the terminology used, and problems of classification, periodization, and history writing at large. In order to describe how these texts struggle with the terms contemporary and postmodern, I focus on their treatment of conceptual art and two artists: Joseph Beuys and Cindy Sherman. The symbolic and economic consolidation of contemporary art during the last decade or so prompts me to establish a broader frame of understanding, linking it to constructions of the contemporary in the nineteenth century and to the idea of co-existing temporalities for art.
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