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  • 1.
    Augustsson, Dennis
    Konstfack.
    Fotografiska representationer: om fotografiets roll och natur i ett digitalt bildsamhälle1996Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 2. Bacon, Alex
    Fox-Jensen, Elizabeth Ashley (Editor)
    Ted Stamm: Woosters2018Book (Other academic)
    Abstract [en]

    The first major monograph on American painter Ted Stamm is a comprehensive survey of the entire Wooster series, including an essay by art historian Alex Bacon and an illustrated chronology of the artist’s career. Ted Stamm (1944 – 1984) was one of the most multi-faceted conceptual and dedicated artists working in SoHo in downtown Manhattan in the 1970’s. In his studio Stamm developed and researched focused series of paintings, works on papers and studies titled; Woosters, Dodgers, Zephyr, Concorde, Chance, Cancel, among others. Stamm’s practice extended beyond his studio, to areas including mail art, artists books, photography, site-specific installations and pre-graffiti street works documentation that Stamm titled Designators. Many of Stamm’s inspirations derive from observing everyday objects, experiences and events, such as finding an abstract shape on the street or lines on a baseball field. Stamm’s works are fully abstract, and it is unnecessary for the viewer to know the origins of what he or she is looking at in order to experience them the way the artist intended. Black is a consistent component of Stamm’s work, as it was a color associated with rebellion, rigor and reduction. Stamm created a rich oeuvre in his short lifetime which became influential for artists coming of age in New York over the past thirty years.

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  • 3.
    Bengtsen, Peter
    et al.
    Department of Arts and Cultural Sciences, Lund University, Sweden.
    Hansson, Kristofer
    Department of Arts and Cultural Sciences, Lund University, Sweden.
    The Unbound Brain: A Thematic Introduction2018In: Culture Unbound. Journal of Current Cultural Research, ISSN 2000-1525, E-ISSN 2000-1525, Vol. 10, no 1, p. 4-10Article in journal (Other academic)
    Abstract [en]

    The brain has long been an object of curiosity and fascination. Partly as a result of technological advances, issues related to the brain have become ubiquitous points of discussion in our culture. Along with neurological disease and neuroscience, it is frequently featured in Hollywood block buster movies, self-help books, popular science documentaries and fictional TV-series. Once cast as grey and stable matter, the brain is now commonly represented as a glowing and colourful entity through the use of new imaging technologies. Further, it is often likened to a complex and adaptable machine that can be enhanced continuously through dedication and deliberate effort. In this special issue of Culture Unbound, scholars from a number of disciplines within the humanities and social sciences address the pervasiveness and influence of neuroscience and representations of the brain in everyday contexts. A common thread in the articles is the idea that knowledge and narratives about, and visualisations of, the brain change practices and processes in daily life. In addition, the articles, in different ways, explore the brain as something that is perceived and portrayed as constantly transforming; an unbound brain.

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  • 4.
    Callahan, Sara
    Stockholm University.
    Art + Archive: Understanding the Archival Turn in Contemporary Art2022Book (Refereed)
    Abstract [en]

    Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns. Deftly combining writing on archives from different disciplines with artistic practices, the book clarifies the function and meaning of one of the most persistent artworld buzzwords of recent years, shedding light on the conceptual and historical implications of the so-called archival turn in contemporary art.

  • 5.
    Callahan, Sara
    Stockholms universitet, Institutionen för kultur och estetik.
    Depletion of Identity, Productive Uncertainty, and Radical Archiving: New Research on the Archival Turn2017In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 86, no 4, p. 330-338Article, review/survey (Refereed)
  • 6.
    Callahan, Sara
    Stockholms universitet, Institutionen för kultur och estetik.
    I efterklangen av det omtumlande 60-talet2021In: Svenska dagbladet, ISSN 1101-2412, no 2021-05-01 Article in journal (Other (popular science, discussion, etc.))
  • 7.
    Callahan, Sara
    Stockholms universitet, Institutionen för kultur och estetik.
    Referenshantering: lager, ekon och reflektioner i Lina Selanders Model of Continuation2019In: Kontextualisering: teoretiska tillämpningar i konstvetenskap: 2 / [ed] Hans Hayden, Stockholm: Stockholm University Press, 2019, p. 171-202Chapter in book (Refereed)
    Abstract [sv]

    I ”Referenshantering: Lager, ekon och reflektioner i Lina Selanders Model of Continuation” diskuterar Sara Callahan ett samtida konstverk utifrån tre olika kontext- och referenslager. Som titeln antyder ligger fokus på Lina Selanders videoverk Model of Continuation (2013) som i texten fungerar som ett typexempel på en samtida konstpraktik som bearbetar och re-kontextualiserar existerande bilder och filmfragment, i det här fallet varvat med konstnärens nyfilmade material. Denna praktik kan sägas bygga vidare på 1970- och 80-talets approprieringspraktiker, men med en tydligare fokus på bilders funktion i historieskrivning och en komplex själv-reflexivitet där bilden blir synlig som just konstruerad bild, alltid filtrerad genom visuella teknologier. Här innefattar och innefattas varje bild av olika ramar, temporaliteter och referenser, vilket innebär en rad specifika utmaningar för den konstvetenskapliga tolkaren. Kapitlet diskuterar hur ett verk blir betydelsebärande genom att kontextualiseras utifrån tre olika infallsvinklar. Den första delen diskuterar kontextualisering i relationen mellan text och bild i verket. Den andra delen använder begreppet montage för att dels diskutera sammansättningen av olika bilder och filmfragment, dels för att analysera det specifika verket i relation till konstnärens hela oeuvre. Kapitlets tredje del analyserar verket i relation till vidare konst- film- och fototeoretiska diskussioner. 

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  • 8.
    Callahan, Sara
    Stockholms universitet, Institutionen för kultur och estetik.
    "The Analogue": Conceptual Connotations of a Historical Medium2018In: The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection / [ed] Sonya Peterson, Christer Johansson, Magdalena Holdar, Sara Callahan, Stockholm: Stockholm University Press , 2018, p. 287-320Chapter in book (Refereed)
    Abstract [en]

    This essay considers how a number of artworks mobilize what is tentatively termed “the analogue.” “The analogue” highlights artistic practices that implicitly or explicitly evoke themes and concepts associated with analogue photography. The essay argues that the so-called digital turn opens the possibility of tapping into analogue photography as a conceptual and cultural sensitivity distinguishable from the technique. It is the discourse of analogue photography that is key, not the technological process itself—therefore “the analogue” can be evoked also in works that are produced digitally. The essay explores how “the analogue” can be a productive way of analyzing specific artworks by artists such as Lotta Antonsson, Brian Ganter, Joachim Koester, Zoe Leonard, Vera Lutter, Joel Sternfeld, and Akram Zaatari. Contemporary artworks located within a postconceptual tradition can be said to have a built-in self-reflexive relationship to medium whereby the method and technique of production are always intimately intertwined with the artwork’s content and meaning. With that in mind, this paper shows how the selected artworks can be analyzed precisely in terms of this interplay between medium as technique and medium as concept and content. The essay adapts and modifies the analytical tools of intermediality to fit the specific conditions of contemporary photographic practices among artists, and shows that the artists considered in the text evoke both the documentary, evidentiary connotations 

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  • 9.
    Callahan, Sara
    Stockholms universitet, Institutionen för kultur och estetik.
    The Archive Art Phenomenon: History and Critique at the Turn of the Twenty-First Century2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation investigates the relationship between art and archive at the turn of the twenty-first century. The object of study is the phenomenon of archive art, understood as a combination of theories of the archive, artworks, and different kinds of texts (catalogues, scholarly articles, critical essays, etc.) delineating the art here called archive art. The study has been conducted by cross-reading the different elements that make up the phenomenon of archive art with various discourses and developments both within and outside the artworld. It investigates how the archive became a ubiquitous reference in art discourse and the functions and implications the notion has within an art context.

    Each of the dissertation’s six chapters adds to and builds on the previous, thereby examining an increasingly thickening web of conceptual relations. Chapter I examines five texts about archive art written between 1995 and 2008. Chapter II outlines writings about archives from other disciplines frequently referenced in art discourse, and shows how this “archive theory” (including works by Foucault, Derrida and others) overlaps in many ways with the Institutional Theory of Art. Chapter III analyses the archive art phenomenon by juxtaposing three different aspects of the tension between materiality and immateriality: the artwork as object or idea; connotations of analogue and digital technology; and different notions of traditional and poststructural forms of history writing. Chapter IV is concerned with the role of the artist as historian, archivist and researcher, and examines how the discourse around studio-based research overlaps with the different modes of historical truth-claims outlined in the previous chapter. This chapter also analyses references to research as process and form in archive art discourse. Chapter V examines different kinds of critique of institutions and shows how the archive art phenomenon intersects with a critical paradigm in the academy and beyond. Chapter VI ties together many results of the previous discussions by analysing the archive art phenomenon within a broader historical context. The chapter shows that history, the presumed subject of much archive art, can also be considered indicative of a shift away from a grounding of the art object within a teleological art history, toward an institutionally defined concept of art as an archival structure. In that sense the archive art phenomenon is analysed both as a resistance to, and a symptom of, what some have called the presentism of the current era.  

    The archive is an example of what Mieke Bal terms a “travelling concept”, as it moves between and within disciplines and contexts. The ubiquity of the concept in art discourse is part of a broader “turn” to the archive, however, this study shows that the archive takes on meaning specific to the contemporary artworld. The notion of the archive here functions as a short-cut for theorizing artists’ interest in the material traces of the past (the concrete, “dusty” archive) as well as their critical investigation of the post-1960s artworld (the archive as metaphor and structure). What may seem like a mere trend within contemporary art discourse, is thus shown to have functions and implications that interlock with the conceptual grounding of contemporary art.

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  • 10.
    Callahan, Sara
    et al.
    Stockholms universitet, Institutionen för kultur och estetik.
    Hällgren, Anna-Maria
    Stockholms universitet, Institutionen för kultur och estetik.
    Krispinsson, Charlotta
    Stockholms universitet, Institutionen för kultur och estetik.
    A Farewell to Critique? Reconsidering Critique as Art Historical Method2020In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 89, no 2, p. 61-65Article in journal (Other academic)
  • 11.
    Hansson, Kristofer
    et al.
    Malmö University, Faculty of Health and Society (HS), Department of Social Work (SA).
    Brenthel, Adam
    Division of Art History and Visual Studies, Department of Arts and Cultural Sciences, Lund University, Lund, Sweden.
    Imagining a post-antibiotic era: a cultural analysis of crisis and antibiotic resistance2022In: Medical Humanities, ISSN 1468-215X, E-ISSN 1473-4265, Vol. 48, no 3, p. 381-382Article in journal (Refereed)
    Abstract [en]

    The study presented in this article is about the role played by imagination when national and international organisations convey the idea of a dystopian crisis involved in the real transition to a postantibiotic era. The present is an era that can be defined as a time when no new antibiotics are discovered or developed, and existing antibiotics simultaneously become less effective since bacteria develop resistance against the active substances. Today, antibiotic resistance is an international fact; thousands of people die every year in Europe and the USA as a result of bacteria that have become resistant. Then, imagination can conjure up a different and a much more dystopian future. This article stems from a public debate concerning the global increase of antibiotic resistance; and will examine how the concept of fantasy and imagination is central in picturing such a future crisis in society. The article’s empirical basis mainly consists of reports from global and Swedish organisations, dating from the 1990s and onwards. These fantasies show that our society has a strong urge to always try to understand and explain present time and to identify how ‘our’ era relates to the past as well as the future. The concept of crisis plays an important role in these fantasies, it is key to use it when thinking about change. The analysis builds on texts and illustrations from global organisations like the WHO and also national authorities in Sweden that aim to convey the science behind the challenge. The aim is to develop a theoretical and empirical understanding, from the perspective of cultural analysis, of how fantasy and crisis are linked when the future is conceived.

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  • 12.
    Knudsen, Dino
    Malmö University, Faculty of Culture and Society (KS), Department of Global Political Studies (GPS).
    En kultur på markedskræfter, skjulte manøvrer og Marshallplan2021In: Dagbladet Information, no 2021-08-07Article, book review (Other (popular science, discussion, etc.))
  • 13.
    Krantz, Gunnar
    Malmö University, Faculty of Culture and Society (KS), School of Arts and Communication (K3).
    Fanzines and Swedish Comics Memory2018In: Comics Memory: Archives and Styles / [ed] Maaheen Ahmed; Benoît Crucifix, Palgrave Macmillan, 2018, p. 267-276Conference paper (Other academic)
    Abstract [en]

    Up until the mid 60s only a handful of Swedish intellectuals regarded comics as something worth serious attention and scholarly study. This however changed as a result of pop-art’s success, when works of Roy Lichtenstein (among others) were shown in Stockholm early in 1964, followed by an exhibition called “Seriernas Fantastiska Värld” in a small avant-garde gallery, in January 1965. This exhibition marks the starting-point for organizational efforts vis – a – vis comics in Sweden and is considered instrumental in the creation of Swedish fandom. This however is not enough to, at that time, declare the existence of an autonomous cultural field in Bourdieu’s sense. Since most of these activities (exhibitions, books, awards, articles, radio- and tv-shows) were organized and headed by one man alone, the journalist Sture Hegerfors, it is not until others start to debate in amateurishly edited and crudely copied fanzines, that polarities emerge, in a discourses central to the field: the definition of comics.

  • 14.
    Lund, Martin
    Malmö University, Faculty of Education and Society (LS), Department of Society, Culture and Identity (SKI).
    Moral Matters: Notes on the Naturalization of "Good" and "Evil" in Superhero Narratives and Their Reception2021Conference paper (Other academic)
    Abstract [en]

    Superheroes are having a moment. It seems like they’re everywhere. Not just in our comics and our screens, but in the general, social and cultural, air we breathe. Social and political events and actors are often reframed with superheroic imagery, and social, cultural, economic, and political actors seem increasingly to call on images and tropes that connote superhero generic formations to stake their position on an issue or to claim how what they’re doing is right and good and just. This paper considers how the figure of the superhero can work to naturalize political positions and to make contingent values seem “natural” rather historical, and the effects this can have.

  • 15.
    Mogren, Ida
    Malmö University, Faculty of Culture and Society (KS), School of Arts and Communication (K3).
    Cyborg Subject or Transformable Avatars?: A Study of Power, Body and Identity in Post-cyberfeminist Art2023Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay examines the body in post-cyberfeminist art to study possible changes in how the body is perceived in the shift from cyberfeminist to post-cyberfeminist art. I have studied the body by examining power and identity in four cases of post-cyberfeminist art, using postmodern feminist theories and concepts such as gender, gender performativity, heterosexual matrix and intersectionality. The essay consists of image, moving image and textual analysis and two shorter comparative analyses. In the first comparative analysis, I have compared the four cases of post-cyberfeminist art with each other. In the second analysis, I focus on a comparative analysis between the four cases of post-cyberfeminist art and earlier cyberfeminist projects. In the discussion, I present my results and elaborate on a possible shift in how the body's materiality is viewed within digital landscapes of post-cyberfeminist art. I argue that the cyborg, central to the earlier cyberfeminist project, might have been replaced by transformable avatars.

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  • 16.
    Salman, Karam
    Malmö University, Faculty of Education and Society (LS), Department of Culture, Languages and Media (KSM).
    Identitetsskapandets plats i bildundervisningen2022Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    För att bemöta, utmana och inkludera elevernas identitetsskapande i det mångkulturella klassrummet behöver läraren ta hänsyn till elevernas erfarenheter i undervisningen. Syftet med undersökningen är att belysa identitetsskapandets plats i bildundervisningen utifrån ett elevperspektiv. Utifrån Deweys tankar kring skola och samhälle besvaras frågeställningen: “Hur uppfattar elever arbetet med identitetsskapande i bildundervisningen och skolan?”. Det empiriska materialet består av enkäter baserade på sju öppna frågor besvarade av 21 högstadieelever. Studiens resultat visar att det finns yttre aspekter som påverkar elevers identitetsskapande i klassrummet som lärare bör vara uppmärksamma på. Vidare visar resultatet att eleverna har en vilja och en önskan att ytterligare inkludera identitetsskapande i bildundervisningen. Undersökningens slutsats är att läraren genom öppen kommunikation och en vilja att stanna kvar i svåra diskussioner öppnar möjligheter att tillvarata elevernas vilja att lära sig mer om sin identitet och hitta sitt utrymme både i klassrummet och i samhället.

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    Karam Salman
  • 17.
    Wessels, Josepha
    Malmö University, Faculty of Culture and Society (KS), School of Arts and Communication (K3).
    Multimodal data collection to document graffiti of the 2019 Sudanese Revolution2022Conference paper (Other academic)
    Abstract [en]

    This study aims to document and capture past and future visions of Sudan’s revolutionary youth. The 2019 Sudanese revolution ousted dictator Omar el-Bashir after decades of authoritarian rule. In the words of its own revolutionaries, this is thanks to a vibrant artistic public sphere on the streets and its connection to online digital dissidence. The Sudanese revolution caused an explosion of  vibrant urban art made by street artists who expressed their thoughts and voices through mural paintings and graffiti. In 2020 and 2022, I conducted fieldwork in Khartoum with the Sudanese revolutionary artists. My study focuses on the role of mural art and graffiti in the Sudanese protests, through digital ethnography, extensive digital photo documentation of revolutionary graffiti street art and photo elicitation interviews with Sudanese revolutionary artists, both on zoom and irl, in combination with organizing a collaborative visioning workshop. My geolocated photographic data are combined with regular and VR360 video data, embedded in a georeferenced ARcGIS storymap that enables everyone to digitally conduct an immersive tour through Khartoum city and virtually visit the sites of important political graffiti. My challenge is how to analyse and interpret the multimodal data to capture the visual cultures surrounding the Sudanese revolution.

  • 18.
    Zeidan, Jonas Tarek
    et al.
    Malmö University, Faculty of Culture and Society (KS), Department of Urban Studies (US).
    Bachi Bensaad, Yasin
    Malmö University, Faculty of Culture and Society (KS), Department of Urban Studies (US).
    Abdulal, Rima
    Malmö University, Faculty of Culture and Society (KS), Department of Urban Studies (US).
    Offentlig Konst och Deltagande2023Independent thesis Basic level (degree of Bachelor), 20 HE creditsStudent thesis
    Abstract [en]

    This thesis serves to elevate public art and civic influence. Theories and previous research has created an understanding of how art is a meaningful tool in the urban environment, which can be used to improve people’s experience of a place. Therefore, it is important to include people in the production of these artistic works. This inclusion has been investigated in the thesis through case studies on three specific art projects. Two of these projects were chosen as one of the authors had participated in them and was able to recount her experience. These projects are Street Art and Närlunda Tunneln, which were carried out by the municipality of Helsingborg. The third project was the state initiative Konst händer by the public art agency of Sweden. In the municipal projects, no documentation was found that described the process and results in detail. For this reason, interviews were done with participants in the respective projects. On the other hand, nuanced documentation was found that reported the process and results of Konst händer. The results of the study prove that all three projects included civil society in different ways. Individuals were a part of the design of both Street Art and Närlunda Tunneln. Through the interviews, it was further possible to ascertain how the municipal projects still inspire the participants to this today. Although, it is Konst händer that has included civic engagement to the greatest extent, by letting the people influence the project as a whole until the results were reached. The overall conclusion that is drawn is that the three projects succeeded following the research regarding public art and participation. The ambition of this study and its results is to encourage greater citizen influence in future art projects.

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