Konsthistorisk tidskrift/Journal of Art History最新文献

{"title":"Förlagd form: Designkritik och designpraktik i Sverige 1860–1890","authors":"Kjetil Fallan","doi":"10.1080/00233609.2019.1711162","DOIUrl":"https://doi.org/10.1080/00233609.2019.1711162","url":null,"abstract":"Berghaus’ volume by the simple strategy of listing all the countries in alphabetical order, thus avoiding standard Eurocentric hierarchies. A fuller and more realistic history must evidently include the relevant global versions of futurism and other -isms. That is convincingly demonstrated in this volume. After reading through this Handbook of International Futurism and comparing chapters on different countries one is left with a stimulating sense ofnotonly the global reachof futurism, but also the richness and versatility of perspectives raised by the range of essays viewing futurism from different corners of the earth.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"176 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128160865","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":"Handbook of International Futurism","authors":"Tania Ørum","doi":"10.1080/00233609.2019.1695661","DOIUrl":"https://doi.org/10.1080/00233609.2019.1695661","url":null,"abstract":"TheHandbook of International Futurism edited by Günter Berghaus is probably the most comprehensive volume on Futurism yet to appear, not least because it includes the legacies of futurism in  countries. It is not exactly a handy book: although printed on lightweight paper, the  pages in hardcover have enough weight and volume to require a table to rest the book on while you are reading. And even though the contents are often very interesting and entertaining, it takes some time to read through all these pages without a single illustration. So it is not exactly holiday or leisure reading. But once you have it you will have references handy for almost every aspect of futurism worldwide. The first part sums up “General Aspects of the History and Theory of Futurism” in just three chapters comprising  pages, which inevitably seems a bit short. Berghaus’ own chapter on the “Historiography of Studies on Italian Futurism” contextualises the historical trends in futurism studies, but is less a narrative than a useful bibliographical overview focused, as the title indicates, on Italian futurism. Italian futurism remains at the centre throughout the volume, while Russian futurism is less well covered. The second chapter in the first part on the vexed subject of “The Politics of Futurism” by Aleš Erjavec includes both Italy and Russia, but is too short to give the necessary information about futurism in both countries and adequately explain their complex relations to fascism and communism. Some of these political perspectives are taken up by the two more ample and nuanced essays on Italy by Luca Somigli (on literature) and Giorgio Di Genova (on the fine arts) in the third part of the volume, but their focus is primarily on aesthetic matters. The two very good essays on Russia by Henryk Baran and Christina Lodder in the third part of the volume also give more detailed contextual information on the historical relations between art and politics in the more heterogenous groups of Russian futurists and a good overview of the differences and similarities of Russian and Italian futurism. So together the chapters on Italy and Russia fill out some of the lacunae in Erjavec’s chapter in the first part. It is a great idea to have a third chapter in this section on the traditionally somewhat neglected subject of “Women Futurists”, but unfortunately this entry, divided into one part on Italian women (by Lucia Re) and one part on Russian women (by Charlotte Douglas), is equally short and in parts becomes just a listing of women associated with futurism. Fortunately, each article in the volume provides a long list of relevant references in several languages where the curious reader can find more information. The first part has probably been cut too short to make room for the second part on “Futurism in Different Aesthetic Media” and not least for the third part on “Futurist Traditions in Different Countries”, which takes up half the volume and expands the study of f","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"907 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113999288","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":"Moving altarpieces: tracing the provenance of Netherlandish carved altarpieces in Sweden","authors":"Hannah De Moor","doi":"10.1080/00233609.2019.1704862","DOIUrl":"https://doi.org/10.1080/00233609.2019.1704862","url":null,"abstract":"Modern-day Sweden houses 38 Netherlandish carved altarpieces, about ten retable fragments, and two poupées de Malines. Some Netherlandish carved altarpieces in Sweden are still preserved in their original location. The majority of these altarpieces, however, are no longer stored in their authentic environment, as many of them have moved from one location to another over the past centuries. Therefore, the aim of this article is to trace back as far as possible the provenance of Netherlandish carved altarpieces in Sweden. A first source that regularly reveals a retable’s provenance consists of archival documents. Secondly, antiquarians’ travel notes often either confirm an altarpiece has remained at its current location for several centuries, or unveil the artwork’s previous whereabouts. More frequently, however, no archival documents or antiquarians’ notes exist. In that case, the presence of these stunning works of art often awakened people’s fascination for their provenance and made them wonder how such high-quality Netherlandish altarpieces ended up in small Swedish churches. This fascination has given rise to multiple unfounded legends, asserting the altarpieces were incidental results of shipwrecks, carriage breakdowns or spoils of war, primarily from the Thirty Years’ War. In the course of the last five centuries, retables were taken out of their original context not only by moving from one church to another, but also because, from the nineteenth century onwards, they were included in museum collections. The present research thus reflects on the fact that most Netherlandish carved altarpieces in Sweden are decontextualised in their present-day environment.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"377 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127587702","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":"Antoni Tàpies’ Hybrid Conception of Work of Art: Thingness, Playfulness, and Experience","authors":"Mei-Hsin Chen","doi":"10.1080/00233609.2019.1708456","DOIUrl":"https://doi.org/10.1080/00233609.2019.1708456","url":null,"abstract":"Antoni Tàpies conferred new meanings to everyday things through his singular creative processes and material-object arrangements. Moreover, he brought the objects, materials, and subjects of art into a sensorial and intellectual play to achieve a sui generis view of art. The analysis of his hybrid conception of artwork has three points of exploration. First, he questioned the character of the thingness of artwork as well as thingness in work of art. Second, his artistic creations achieved an exceptional sense of playfulness through the recontextualisation of words, things, everyday objects, and matter. Third, influenced by East Asian aesthetic schools of thought, Tàpies’ works of art display change and transience as the essence of material things, which are, together with the idea of hybrid or hybridisation, the protagonists of his art. At the same time, Tàpies invited the audience of his art to question its meaning, to be its cocreator, and to meditate on it.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131013384","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":"My Body is Your Vehicle: Materialität als Reflexionsbegriff in den Werken von Janine Antoni","authors":"E. Zoidis","doi":"10.1080/00233609.2019.1699856","DOIUrl":"https://doi.org/10.1080/00233609.2019.1699856","url":null,"abstract":"Through the radical use of the sheer materiality of the artwork, including her own body, Janine Antoni intends a profound encounter between herself, the artwork and the viewer. The work of art becomes thereby a critical concept of reflection and an occasion for reflexive thinking regarding the identity of the subject in the contemporary postmodern consumer society. This essay examines where and how in the art historical reception is Antoni’s sculpture and performance art portrayed, due to its display of materiality, as a locus of reflection on the constitution of subjectivity.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"209 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115558603","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":"10.1080/00233609.2019.1715537","DOIUrl":"https://doi.org/10.1080/00233609.2019.1715537","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"2014 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127551165","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":"Nationalmuseum i offentlighetens ljus. Framväxten av tillfälliga utställningar 1866-1966","authors":"Per Widén","doi":"10.1080/00233609.2019.1682659","DOIUrl":"https://doi.org/10.1080/00233609.2019.1682659","url":null,"abstract":"Nationalmuseum i offentlighetens ljus. Framvaxten av tillfalliga utstallningar 1866-1966, Eva-Lena Bergstrom. diss., Umea, Umea universitet. Institutionen for kultur och medier, 2016. 420 sid. ISBN 9789176018644.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"12 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":"114590291","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":"Otto Pächt, ‘Hegelian’ Exile in Cold War England","authors":"Ian Verstegen","doi":"10.1080/00233609.2019.1691647","DOIUrl":"https://doi.org/10.1080/00233609.2019.1691647","url":null,"abstract":"Utilizing documents from his personal Nachlass, I sketch Otto Pächt’s career in Great Britain, from his emigration in 1936 to his call back to the University of Vienna in 1963. As a member of the Vienna School of Art History, who had contributed with Hans Sedlmayr to the elaboration of a methodological viewpoint based on immanent form and real historical processes, Pächt faced difficulties in England, heightened by the rise and hegemony of neo-liberal thought. In Pächt’s case this thinking affected him directly through the institutional role that E. H. Gombrich held at the Warburg and in British intellectual life in general.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"220 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":"122518759","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":"I motorens hjerte: Kartografisk visuelle dynamikker i moderne anthropocen kultur","authors":"Michael Kjær","doi":"10.1080/00233609.2019.1659409","DOIUrl":"https://doi.org/10.1080/00233609.2019.1659409","url":null,"abstract":"Artiklen undersøger etableringen og reproduceringen af et moderne antropocentrisk kartografisk blik på verden. Et blik, der på meget væsentlig facon har bidraget til den anthropocene forandring af kloden, vi er begyndt at opfatte omfanget af de senere år. Artiklens hovedtese er den, at den moderne oplyste 1600-tals kartografi korrellerede med en samtidig udvikling af et mørkt imaginært rum afkoblet fra omverdenslig sansning, et rum som den barokke billedkunsts clairobscur udfoldede. Til sammen dannede dette kompleks en kartografisk-visuel motor, der bidrog til at gøre det moderne menneske delvist ude af stand til at opfatte den faktiske verden, det befandt sig i og påvirkede. Analysen er vidensarkæologisk. Fokus er derfor på at afdække, hvordan dette kompleks epistemisk set bliver muligt, hvordan det fungerer, og hvilken verden, det tillader det vestlige menneske at opfatte. Artiklen åbnes med et eksempel, der illustrerer denne motor i dens stadige funktion: Den franske oceanograf Jacques-Yves Cousteaus (1910-1997) tidlige undervandsoptagelser. Efter dette analyseres henholdsvis den meracorianske navigationsfaste kartografi og barokkens mørke billedrum.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"57 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":"129262702","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":"Swedish Art History: A Selection of Introductory Texts","authors":"Renja Suominen-Kokkonen","doi":"10.1080/00233609.2019.1689165","DOIUrl":"https://doi.org/10.1080/00233609.2019.1689165","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"13 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":"130935961","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}