Konsthistorisk tidskrift/Journal of Art History最新文献

{"title":"Mobility, materiality, and memory: Silas Sandgreen and the construction of Kalaallit cartography in the 1920s","authors":"Isabelle Gapp, Bart Pushaw","doi":"10.1080/00233609.2023.2197432","DOIUrl":"https://doi.org/10.1080/00233609.2023.2197432","url":null,"abstract":"Summary In 1925, Silas Sandgreen sent a map to the Library of Congress in Washington, D.C. Instead of ink on paper, Sandgreen’s map featured strands of sinew binding painted driftwood islands to an animal hide, articulating the islands Kitsissut and Imerissoq of Disko Bay off the western shore of Kalaallit Nunaat. In the near century since its completion, the map’s materials have become indexical of their maker’s Indigeneity, functioning as erroneous evidence of “authentic” Inuit cartographic practices. A repeated fetishizing of alterity has divorced the object from its original conditions of creation, obscuring its origins and cultural meanings. This paper seeks to restore the historicity of Silas Sandgreen’s map by taking a new approach to its materiality. Taking cue from recent scholarship that frames the map as an artwork, we locate the object at the intersection of various social, political, and environmental ideologies sweeping Kalaallit Nunaat, and Sandgreen’s particular home islands, in the 1920s. In order to do so, we restore the maker’s biography composed from new findings in Indigenous-language archives, and juxtapose that biography alongside a visual and material analysis of the most prominent media of the map: sealskin and driftwood. By charting these material histories alongside social and ecological ones, we aim to provide a template that advances multiple interdisciplinary methodologies in the nascent field of Arctic art history.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127869760","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":"Institutional Acknowledgements: Introduction to the Special Issue ‘The Art of Nordic Colonialism’","authors":"Mathias Danbolt, Bart Pushaw","doi":"10.1080/00233609.2023.2213677","DOIUrl":"https://doi.org/10.1080/00233609.2023.2213677","url":null,"abstract":"“Baajh vaeride årrodh!” Let the mountains live. This South Sámi phrase was one of the rallying cries that Sámi activists had painted on banners that blocked the entrance to the Norwegian Ministry of Petroleum and Energy in Ušllu/ Oslove/Oslo at their week-long occupation that started on February ,  (Fig. ). The protest was initiated by members of NSR Nuorat (Youth of theNorwegian SámiNational Association) and Natur og Ungdom (Young Friends of the Earth Norway) to mark the five hundred days of failure of the Norwegian government to act upon the ruling of its Supreme Court, which had deemed the building of wind turbines around Fovsen-Njaarke to be a violation of human rights, as the construction and operation of the wind turbines and their infrastructure destroyed winter pastures and disrupted reindeer migration routes. As long asdeliberate inactionby theNorwegian government persists, the activists from NSR Nuorat, Natur og Ungdom, and their allies made clear that they would continue protesting until their demands were heard and implemented: the wind turbines must be removed and the land restored to its caretakers. During the occupation, protestors mobilized multiple media to facilitate Sámi sovereignty, from disseminating photographs and streaming videos live across social media, as well as creating duodji (Fig. ). As they described themselves, “We have settled down with reindeer skins, banners, and traditional Sámi weaving, and fill the entire lobby”. Four days into the protest, one activist proudly wore their new gákti – completed in situ in the midst of the protest by another duojár – exclaiming their pride to allies gathered outside. As scholar and duojár LiisaRávná Finbog astutely noted, by preparing to enact their protest with the aid of woolen threads, looms, and sewing machines, NSR Nuorat tapped into a centuries-long custom of Sámi creative practices as resistance to colonization. In fact, many Sámi activists brandished jorggogákti, the deliberate reversal of gákti, worn inside-out. Deployed specifically, Finbog explains, in times of “great injustice and opposition”, jorggogákti is a refusal of access to the personal and cultural codes embedded in one’s gákti, thereby registering a silent and profound act of resistance. While haunting images of state police forcefully removing non-violent Sámi protesters circulated widely, headlines in the Norwegian art world appeared to be bewitched by a possible “culture war” brewing somewhere else in the same city and at the same time; was the beloved nineteenth-century Norwegian painter Christian Krohg “cancelled” for his colonial iconography at Norway’s newly","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129990975","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":"Primary Colors for the Fourth World: The Nonfigurative Sovereignty of Synnøve Persen and Frederik “Kunngi” Kristensen","authors":"D. Norman","doi":"10.1080/00233609.2023.2200384","DOIUrl":"https://doi.org/10.1080/00233609.2023.2200384","url":null,"abstract":"Summary This essay examines the anti-colonial conditions under which two artists gravitated toward radically reduced form. In 1977, Synnøve Persen (b. 1950) designed a tricolor screen print that inspired an iconic flag. The flag was hoisted at barricades along the Áltá river where water defenders blockaded the site of a planned hydroelectric dam and demanded recognition for the Sámi people’s ancestral rights to their homelands, and in 2017, it reappeared alongside nine monochrome paintings at documenta14. Across the same timeline, Frederik “Kunngi” Kristensen (1952–2021) charted another path for abstract form. While political organizers called for Indigenous self-determination in Kalaallit Nunaat in the mid-1970s, Kunngi began producing geometrically abstract images that had no basis in art historical or culturally specific precedents. For Persen, monochromy reconfigured collective memory, underscoring the Áltá struggle’s continued purchase on contemporaneity, while for Kunngi, who resisted comparison to avant-garde painting traditions, nonfigurative techniques indexed the new possibilities that an independent Greenlandic arts institution promised.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127053442","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":"Michelangelo","authors":"Hans-Olof Boström","doi":"10.1080/00233609.2023.2169755","DOIUrl":"https://doi.org/10.1080/00233609.2023.2169755","url":null,"abstract":"Horst Bredekamp, professor vid Humboldtuniversitetet i Berlin och Tysklands för närvarande kanske mest uppmärksammade konsthistoriker, riskerar knappast att bli motsagd när han betecknar Michelangelo som “den mest betydande konstnären efter antiken”. Citatet är hämtat ur Bredekamps nyutgivna bok Michelangelo, som redan i sin titel markerar att den behandlar både personen och hans verk. För den som är något så när insatt i de senaste decenniernas Michelangeloforskning framstår detta som snudd på sensationellt. Litteraturen kring Michelangelo är oöverskådlig och befinner sig i exponentiell tillväxt, men numera förmår enskilda forskare enbart behandla delaspekter på hans liv och verk, och bara forskargrupper klarar av att försöka greppa helheten. Men Horst Bredekamp har lyckats åstadkomma ett häpnadsväckande enmansverk. Redan bokens yttre format är imponerande: den väger tre och ett halvt kilo och omfattar över  sidor med drygt  illustrationer. Bara den tvåspaltiga notapparaten upptar  sidor och litteraturförteckningen  sidor (med  titlar av författaren själv). Boken är utgiven av Klaus Wagenbach i Berlin och har den sobra och gedigna utformning som kännetecknar förlaget. Här letar man förgäves efter tryckfel; bara i litteraturförteckningen hittar jag ett par stycken. Ett sådant storverk snos inte ihop i en handvändning. Bredekamp deklarerar att han påbörjade sin Michelangeloforskning redan . Han säger också att han valt att koncentrera sig på verket snarare än på livet. Men för Michelangelo gäller i högre grad än för de flesta konstnärer att kännedom om biografin ger nycklar till förståelsen av hans konst. Och vi får veta mycket om hans oroliga liv, också sådant som kan tyckas mer eller mindre ovidkommande i sammanhanget. Dit hör till exempel redogörelsen för hur det gick till då han fick sitt krossade näsben, något som dokumenterats på alla porträtt av honom. Som femtonårig elev i den bildhuggarskola i Florens, som Lorenzo de’ Medici (“il Magnifico”) inrättat tilldelades han ett knytnävsslag av hetsporren Pietro Torrigiano, som senare blev engelsk hovskulptör. Viktigare är väl frågan om Michelangelos eventuella homosexualitet. Som intäkt för denna har man velat se de erotiskt färgade sonetter som han längre fram i livet tillägnade sin mer än trettio år yngre vän Tommaso de’ Cavalieri. Men Bredekamp menar att dessa snarare ansluter sig till en nygrekisk topos, som i diktens form hyllar gossekärleken, än ger belägg för praktiserad homosexualitet. Detta är inte det enda exemplet på hur Bredekamp oförskräckt ifrågasätter mer eller mindre etablerade “sanningar”. Forskningen har länge velat se ett uttryck för nyplatonism i verk sådana som Michelangelos grav för påven Julius II eller Medici-gravarna i nya sakristian i S. Lorenzo i Florens. Bredekamp","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130441032","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":"Oskar Nordell, Arenaboom: En arkitekturstudie av idrottsarenor i Sverige under 2000-talets första decennier","authors":"Mattias Kärrholm","doi":"10.1080/00233609.2023.2184862","DOIUrl":"https://doi.org/10.1080/00233609.2023.2184862","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122064652","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":"Patronage, Collecting, and Critique. Athanasius Raczyński's Encounter with the Artistic Circles of Copenhagen","authors":"Martyna Łukasiewicz, Michał Mencfel","doi":"10.1080/00233609.2023.2207534","DOIUrl":"https://doi.org/10.1080/00233609.2023.2207534","url":null,"abstract":"Summary In this essay, an analysis is offered of Athanasius Raczyński (1788-1874), a Polish aristocrat in Prussian diplomatic service and an outstanding art connoisseur and collector, as well as his comprehensive activity in the field of art during his stay in Copenhagen from 1830 to1834. This activity included purchasing works by Danish painters, lending paintings from his collection for exhibitions in Charlottenborg Palace, commenting on exhibitions held in the Royal Gallery of Christiansborg Palace, and questioning the attributions of various works exhibited there. It is argued that Raczyński was an important point of contact for the artistic relations between Denmark and other countries, and some of his activities became exemplary, influencing the attitudes of Copenhagen's art lovers and diplomats.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130936080","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":"Anna Bortolozzi, Italian Architectural Drawings from the Cronstedt Collection, Nationalmuseum","authors":"Kristoffer Neville","doi":"10.1080/00233609.2023.2197860","DOIUrl":"https://doi.org/10.1080/00233609.2023.2197860","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127096564","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":"Performing Protest in Singapore: Performance Tactics in Brother Cane and Don’t Give Money to the Arts","authors":"Wei Hao Goh","doi":"10.1080/00233609.2023.2181864","DOIUrl":"https://doi.org/10.1080/00233609.2023.2181864","url":null,"abstract":"Abstract In the early hours of 1 January 1994, Josef Ng concluded his 25-minute performance artwork Brother Cane (1994) by snipping his pubic hair. The performance created a public furore, resulting in the cessation of public funding towards performance artworks for ten years. Undeterred by the backlash, Tang Da Wu created and performed Don’t Give Money to the Arts (1995) to protest the no-funding rule: during the opening of a state-sponsored exhibition, the artist approached the president of Singapore while wearing a jacket embroidered with the words “Don’t Give Money to the Arts”. Although it was as explicit in its criticism of the government and its policies, Tang was not penalised for his performance. In this paper, I conduct a comparative analysis of these two works to examine how protest art – with a focus on the performance art form – navigates the cultural hegemony in Singapore by comparing the tactics used in both performances by analysing how and why Tang managed to escape punishment for his scathing performance while Ng did not. Specifically, I look at how the performances navigated the “out-of-bound markers” and concealed their dissent, and how the artists controlled the documentations produced. The answers to this question provide us with important insights into how protest art continues to adapt to and resist the mutating systems of control within authoritarian states.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123652538","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":"Photography and the Organic Nonhuman: Photographic Art with Light, Chlorophyll, Yeasts, and Bacteria","authors":"Jane Vuorinen","doi":"10.1080/00233609.2023.2194276","DOIUrl":"https://doi.org/10.1080/00233609.2023.2194276","url":null,"abstract":"ABSTRACT The concept of nonhuman in relation to photography has recently been mostly theorized through technology, while organic nonhuman agents and processes at work in photography have received less attention. In this article, works by three contemporary Finnish artists who incorporate organic materials and processes into photography are analyzed to renegotiate the borders between photography, bioart, and science. This leads to a rethinking of the dichotomy between the concepts of technological and organic in the context of contemporary photographic art. Combining new materialist and posthumanist theories with photography history and theory allows for a multidisciplinary method that recognizes the worth of both human and nonhuman agents and processes at work. The artworks are analyzed as temporal and processual, taking into account their performative qualities.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126552988","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":"Göteborgs Konsthall – en hundraårig konsthistoria","authors":"Martin Sundberg","doi":"10.1080/00233609.2022.2143556","DOIUrl":"https://doi.org/10.1080/00233609.2022.2143556","url":null,"abstract":"Sometimes a study’s main benefit diverges from intentions and goals: it sheds light on other topics than expected, and these unintentional byproducts make reading even more valuable. A new publication on Göteborgs Konsthall makes this apparent. Published on the gallery’s centenary, the study, mostly written by Andreas Hagström, chronologically highlights the past hundred years. Yet even though this chronological account is decidedly interesting, the byproducts turn the book into a fascinating source. There is more to the historical account on a specific institution than expected because it sheds light on developments in Swedish cultural politics and art history during most of the th century. Moreover, the Gothenburg angle nuances, alters, and rectifies Swedish art history dominated by the capital’s perspective. Networks in the art world is one such topic that emerges from the text. A telling example is how the established gallery Svensk-Franska Konstgalleriet in Stockholm participated in the exhibition schedule. They had tight relations to Göteborgs Konstförening, especially to the curator Axel Romdahl, and were invited to show contemporary art in , selling well, and they did so again in  in the newly built Göteborgs Konsthall, now selling works to the art museum as well. What are the implications for Swedish art history? Is the art world merely small? Is Stockholm a looming presence and Gothenburg follows suit? How self-sufficient is Gothenburg? Oftentimes, connections to Great Britain and the US are mentioned preferably, but, as the example shows, other networks matter too. Obviously, the question of networks is complex and does not lie within the scope of the project on Göteborgs Konsthall, yet the rich presentation of archival material and lines of thought pave the way for future research. It becomes apparent that commercial interests are involved in an institution that is both freestanding and closely entangled in the art world. For Göteborgs Konstförening, commissioned art sales were a major source of income, as shown by Martin Gustavsson in his essay on economic aspects. However, art sales might have figured in a chapter of their own – now the question surfaces in various parts of the book and readers must draw their own conclusions. There are few surprises when it comes to finances. Costs for staff have risen over the years, with more specialized employees, especially within pedagogy. Importantly, there is a shift from private funding towards municipal funding over the course of the century. During the first fifty years, the society invested a lot in the purchase of art for their lotteries thereby supporting local artists. It would be interesting to take a closer look at financial implications for artists as well as the Gothenburg art scene in general and over time. The most important result by Gustavsson is, paradoxically, found","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"226 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116843809","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}