Konsthistorisk tidskrift/Journal of Art History最新文献

{"title":"Temporalitet i visuell kultur: Om samtidens heterokrona estetiker","authors":"Max Liljefors","doi":"10.1080/00233609.2019.1679878","DOIUrl":"https://doi.org/10.1080/00233609.2019.1679878","url":null,"abstract":"I sin doktorsavhandling Temporalitet i visuell kultur: Om samtidens heterokrona estetiker tar Ann-Louise Sandahl grepp om vår tids ödesfråga: klimatkrisen och antropocen. Hon gör så genom att undersöka hur ett antal konstverk och andra visuella uttryck (för enkelhets skull nedan “konstverken”) – huvudsakligen nutida – gestaltar denna fråga. Men det är Sandahls eget engagemang som driver boken framåt, minst lika starkt som konstnärernas, om vilka hon skriver. Detta är avhandlingens styrka och svaghet. De akademiska resonemangen underblåses av en genuin omsorg ommänniskan och världen, lika angelägen som existentiell. Men vinden blåser i en enda riktning och alla tolkningar leder till samma slutsats. I antropocen – ett begrepp som vissa tolkar som “människans tidsålder” – måste människan lära sig omfamna posthumana, planetära perspektiv. Temporalitet, dvs förståelsen och gestaltningen av tid, i konstverken är projektets fokus. Den moderna föreställningen om en kumulativ, kronologisk tid – “standardtiden”, klocktiden – är otillräcklig idag, hävdar Sandahl. Den kan inte mäta eller konceptualisera de flerfaldiga, olikartade temporaliteter över vitt skilda tidsskalor som människan idag, på grund av klimatkrisen, måste förhålla sig till. Därför, menar Sandahl, behöver vi nya narrativ och gestaltningar av tid som ger utrymme åt större temporal komplexitet. Sandahl tar utgångspunkt i ett antal teoretiska begrepp med det syftet, såsom heterokroni, ett begrepp från biologin som tagits över av konstvetarna Nicolas Bourriaud, Keith Moxie och Dan Karlholm; kronoskopi, Paul Virilios alternativ till “kronologi”; anakroni, en positiv omvärdering av begreppet “anakronism”; Brian Enos det långa nuet; och förstås själva begreppet antropocen, som kemisten och nobelpristagaren Paul Crutzen lanserade år  som beteckning på en ny geologisk epok präglad av människans påverkan på planeten. Med hjälp av dessa begrepp bygger Sandahl ett mångfacetterat men sammanhållet teoretiskt perspektiv på förståelsen av tid, utifrån vilket hon tolkar konstverkens gestaltningar av temporalitet. Avhandlingens främsta syfte är att pröva och visa hur undersökningsobjekten kan generera ny kunskap om “samtidens temporala väv i en klimatmässigt känslig tid”. Ett sekundärt syfte är att placera visuella studier (och underförstått konstvetenskap) i det växande akademiska fält som kallas miljöhumaniora eller grön humaniora (environmental humanities). Sandahls bok är ett exempel, menar jag, på vad man kan kalla “den nya sortens avhandling i konstvetenskap” (om än den ej längre är så ny). För det första har boken ett rimligt omfång. Med rimligt menar jag avpassat till det hårdare kravet på doktorander idag att genomföra doktorandutbildningen på fyra år. För det andra har den ett tema med hög samtida aktualitet. Dessa två aspekter gör avhandlingen läsbar och läsvärd, även utanför kretsen av ämneskolleger.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114719735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cover - Title Page","authors":"","doi":"10.1080/00233609.2019.1695731","DOIUrl":"https://doi.org/10.1080/00233609.2019.1695731","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128407024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hysteriets Anatomi. En diagnose af Jenny Nyströms Konvalescenten","authors":"Mette Bøgh Jensen","doi":"10.1080/00233609.2019.1604569","DOIUrl":"https://doi.org/10.1080/00233609.2019.1604569","url":null,"abstract":"Summary I 1884 malede Jenny Nyström billedet Konvalescenten forestillende en syg og en rask pige, der er placeret i det samme rum. Værket er langt fra det eneste værk i perioden af en syg pige, idet flere europæiske kunstnere beskæftigede sig med dette motiv, heraf flere nordiske kunstnere, men Nyström værk er slet ikke så kendt, som eksempelvis værker af Christian Krohg, Edvard Munch og Helene Schjerfbeck. Dette kan bl.a. skyldes, at værket traditionelt set er blevet tolket som et eksempel på, hvordan Nyström læner sig op ad det franske salonmaleri og dets faible for sentimentale emner, og dermed er det ikke blevet anset for at være et banebrydende eller nyskabende værk. En af artiklens teser er, at Nyströms værk adskiller sig fra hovedparten af de øvrige nordiske værker og ikke er en skildring af eksempelvis en tuberkuløs pige, men at værket i stedet er inspireret af det omfattende fotografiske materiale, der blev produceret af såkaldte hysteriske kvinder på sindssygehospitalet Hôpital de la Salpêtrière i Paris.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133920733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cover - Title Page","authors":"","doi":"10.1080/00233609.2019.1657694","DOIUrl":"https://doi.org/10.1080/00233609.2019.1657694","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133176180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Drawing Activities as Pedagogical Method in Art History","authors":"Ludwig Qvarnström","doi":"10.1080/00233609.2019.1624612","DOIUrl":"https://doi.org/10.1080/00233609.2019.1624612","url":null,"abstract":"Summary In recent years the availability of digital reproductions of present and past images has increased significantly, in many ways facilitating teaching in art history. Students of art history of today live in a society dominated by visual media and are supposed to be particularly adept to communicate through digital media. This seems as an ideal situation for teaching art history, and the use of drawing as pedagogical tool for students therefore seems to be irrelevant. This article describes the situation as more complex and problematic, due to the dislocation of the art object within the art historical knowledge system. In the article, the author also argues for the integration of drawing activities in art historical education as an important part in the multimodal discursive practice that art historical studies should be, alongside reading, writing, and speaking about art.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127954194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"De norske stavkirkenes svalganger i et internasjonalt perspektiv","authors":"Håkon A. Andersen","doi":"10.1080/00233609.2019.1634640","DOIUrl":"https://doi.org/10.1080/00233609.2019.1634640","url":null,"abstract":"Summary A large number of Norwegian stave churches with a portico were built in the period 1150–1250. This article examines these porticoes in an international context. From the same period, one can find parallels in a large number of smaller, European stone churches, predominantly in France and northern Spain. Norwegian and European churches have several functions in common. It would likely be relevant to look at the porticoes in light of developments in church history.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124052909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Archive Art Phenomenon: History and Critique at the Turn of the Twenty-First Century","authors":"Anna Orrghen","doi":"10.1080/00233609.2019.1566274","DOIUrl":"https://doi.org/10.1080/00233609.2019.1566274","url":null,"abstract":"This text is a critical review of Sara Callahan’sdoctoral dissertationThe Archive Art Phenom-enon: History and Critique at the Turn of theTwenty-First Century. The aim of the disser-tation is to in ...","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126279063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Margin to Margin? The Stockholm Paris Axis 1944–1953","authors":"Marta Edling","doi":"10.1080/00233609.2019.1576764","DOIUrl":"https://doi.org/10.1080/00233609.2019.1576764","url":null,"abstract":"The historical study of art in relation to geographical space has for a long time been biased by the “canonical logic” of the centre–periphery narrative. This text takes as its starting point a methodological critique of this binary framework by using an example from Swedish art history, namely the art historical narrative of 1950s Sweden as a slumbering Nordic province slowly being awoken by the heroic and foresighted efforts of the Swedish curator Pontus Hultén. The text analyses two local contexts between 1944 and 1953: a presumed periphery, Stockholm, Sweden, and a presumed centre, Paris, France, and the collaboration between individuals in these two spaces. In focus is a 1953 exhibition in Paris of Swedish abstract art from 1913 to 1953. The text concludes with a methodological discussion arguing that by considering “the material conditions of encounters and exchange”, it becomes clear that the transnational contacts in these cases were spurred by local competition and that they were mutually dependent, rather than a product of diffusions of aesthetic innovation from centre to periphery.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122569404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Kobro & Strzemiński: New Art in Turbulent Time","authors":"H. Nilsson","doi":"10.1080/00233609.2018.1564789","DOIUrl":"https://doi.org/10.1080/00233609.2018.1564789","url":null,"abstract":"The story of KatarzynaKobro (–) and Władysław Strzemiński (–), two of the most prominent artists of the Polish avant-garde, embraces many central aspects of early modernism and abstraction. This is reflected in the exhibitionNewArt inTurbulent Time at Moderna Museet in Malmö. The “turbulent time” the exhibition title refers to contain the complex issue of national identity, visible in the biographical story of the two artists, presented in a wall text at the exhibition entrance. A summary of both this and central concepts were also presented in the free booklet. Both artists were born in Russia: Strzemiński to Polish parents in Minsk in Belarus, Kobro to a German/ Latvian father and a Russian mother in Moscow. During the First World War, Strzemiński served in the Russian Sapper Army until he got heavily wounded in , eventually leading to him losing an arm and a leg. He moved to Moscow, where he met Kobro when studying art at the Free State Art Workshops (SVOMAS). They became a pair and moved to Smolensk where they ran the local branch of UNOVIS (“advocates for the new art”). In the shift – they fled the USSR’s increasingly hardened cultural climate that among other things, led to the closing of UNOVIS for Vilnius, which then was a part of the recently resurrected nation state of Poland. Being born to Polish parents, Strzemiński could claim citizenship. Kobro, on the other hand, had to enter as an illegal refugee and was compelled to move to Riga while waiting for the marriage to become valid in Poland, only to become, in time, a central part of the Polish avant-garde. When following how the story of Kobro and Strzemiński unfolds in the exhibition and catalogue, one is also struck of how emblematic it is of the early avant-garde. First, the struggling artists had to fight for recognition of their new art through self-organized exhibitions. In this case, we find the New Art Exhibition in Vilnius in , organized by Strzemiński with other Polish and Lithuanian artists. When moving to Warsaw, Strzemiński and Kobro formed the art group Blok, which had their first exhibition in an automobile showroom. Second, the internal turmoil that followed led the artists to regroup in other constellations, and third, the artists formed a theoretical position of their own, including a new concept: Unism. First discussed by Strzemiński in relationship to painting in the small book Unism in Painting, published by Praesens, the second group the two artists belonged to. Unism was later developed in the essay “Composing space: calculating space-time","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"247 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114605526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cover - Title Page","authors":"","doi":"10.1080/00233609.2019.1597587","DOIUrl":"https://doi.org/10.1080/00233609.2019.1597587","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115705232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}