Pub Date : 2024-04-10DOI: 10.1080/00233609.2024.2337397
A. Skovmøller
{"title":"Nordic Women Sculptors at the Turn of the 20th Century. Formation, Visibility, Self-CreationLinda Hinners (ed.),\u0000 Nordic Women Sculptors at the Turn of the 20th Century. Formation, Visibility, Self-Creation\u0000 . Stockholm, Nationalmuseum Stockholm, 2022. 311 pp, ISBN 978-91-7100-913-5","authors":"A. Skovmøller","doi":"10.1080/00233609.2024.2337397","DOIUrl":"https://doi.org/10.1080/00233609.2024.2337397","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"327 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140719660","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}
Pub Date : 2024-03-27DOI: 10.1080/00233609.2024.2327862
Joanne Entwistle
{"title":"Fashion, Performance, and Performativity. The Complex Spaces of FashionAndrea Kollnitz, Marco Pecorari,\u0000 Fashion, Performance, and Performativity. The Complex Spaces of Fashion\u0000 , London, Bloomsbury Publishing, 2021. 232 pp, ISBN 9781350106185.","authors":"Joanne Entwistle","doi":"10.1080/00233609.2024.2327862","DOIUrl":"https://doi.org/10.1080/00233609.2024.2327862","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"10 19","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140374833","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}
Pub Date : 2023-07-03DOI: 10.1080/00233609.2023.2238689
Joachim Aagaard Friis
Summary In the present article, I analyse the process of making the artwork Machine Learning I II III (2018) by Danish artist Amalie Smith to examine how it conceptualizes a posthuman myth about computer vision and AI. Smith’s artwork investigates the phenomenon of computer vision through using a convolutional neural network to represent what this network is thought to “see”. The artwork is an aesthetic manifestation of the invisible operations of the machine learning algorithm in a form that is visible to humans, and thereby it engages aesthetic speculations about how computer vision works. The artist provides an insight into how machine learning algorithms interpret images in a way that is radically different from humans, but at the same time greatly affects human reality because of the algorithmic culture that permeates contemporary societies. I read Machine Learning I II III with posthuman thinkers Rosi Braidotti, Donna Haraway and N. Katherine Hayles to show how Smith imagines a co-creative relationship between human and technology that neglects a myth about “machine” and “human” as distinct and isolated categories; a myth where symbols, human and algorithmic intelligence, weaving, and written discourse intertwine to make the artwork. In this way, Machine Learning I II III moves towards a posthuman myth of computer vision and AI where it is impossible to unentangle human and technological forces.
在本文中，我分析了丹麦艺术家Amalie Smith的作品《机器学习III III》(2018)的创作过程，以研究它如何概念化关于计算机视觉和人工智能的后人类神话。史密斯的作品通过使用卷积神经网络来表示该网络被认为“看到”的东西，研究了计算机视觉现象。艺术品是机器学习算法以人类可见的形式进行无形操作的美学表现，因此它涉及关于计算机视觉如何工作的美学猜测。艺术家提供了机器学习算法如何以一种与人类截然不同的方式解释图像的见解，但同时由于渗透在当代社会中的算法文化，它极大地影响了人类的现实。我与后人类思想家Rosi Braidotti, Donna Haraway和N. Katherine Hayles一起阅读了《机器学习III III》，以展示史密斯如何想象人类与技术之间的共同创造关系，忽略了“机器”和“人类”作为不同和孤立类别的神话;在这个神话中，符号、人类和算法智能、编织和书面话语交织在一起，创造出艺术品。通过这种方式，《机器学习III III》走向了计算机视觉和人工智能的后人类神话，在这个神话中，人类和技术力量是不可能分离的。
{"title":"Menneske og drømmemaskine. Posthumane myteskabelser om AI hos Amalie Smith","authors":"Joachim Aagaard Friis","doi":"10.1080/00233609.2023.2238689","DOIUrl":"https://doi.org/10.1080/00233609.2023.2238689","url":null,"abstract":"Summary In the present article, I analyse the process of making the artwork Machine Learning I II III (2018) by Danish artist Amalie Smith to examine how it conceptualizes a posthuman myth about computer vision and AI. Smith’s artwork investigates the phenomenon of computer vision through using a convolutional neural network to represent what this network is thought to “see”. The artwork is an aesthetic manifestation of the invisible operations of the machine learning algorithm in a form that is visible to humans, and thereby it engages aesthetic speculations about how computer vision works. The artist provides an insight into how machine learning algorithms interpret images in a way that is radically different from humans, but at the same time greatly affects human reality because of the algorithmic culture that permeates contemporary societies. I read Machine Learning I II III with posthuman thinkers Rosi Braidotti, Donna Haraway and N. Katherine Hayles to show how Smith imagines a co-creative relationship between human and technology that neglects a myth about “machine” and “human” as distinct and isolated categories; a myth where symbols, human and algorithmic intelligence, weaving, and written discourse intertwine to make the artwork. In this way, Machine Learning I II III moves towards a posthuman myth of computer vision and AI where it is impossible to unentangle human and technological forces.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126607208","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}
Pub Date : 2023-07-03DOI: 10.1080/00233609.2023.2207539
Thomas Millroth
{"title":"Från Flux till Fest, Den internationella konsten i Lunds konsthall 1965-1967","authors":"Thomas Millroth","doi":"10.1080/00233609.2023.2207539","DOIUrl":"https://doi.org/10.1080/00233609.2023.2207539","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115425965","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}
Pub Date : 2023-07-03DOI: 10.1080/00233609.2023.2242836
Michael Yonan
Abstract This article analyzes the origins of an important artistic commission in eighteenth-century Sweden, the so-called Round Salon (Runda Salongen) at Gripsholm Castle, a room decorated with portraits of the reigning monarchs of Europe (a galerie contemporaine) commissioned by King Gustav III in the mid 1770s. Based on documents newly uncovered in the National Archives of Sweden, this essay demonstrates that the room emerged out of concerns about Sweden’s place in the European political system during the difficult years after the bloodless revolution of 19 August 1772, which restored absolutism to Sweden. Central to Sweden’s negotiation of this era’s political landscape was Austria. A portrait by Lorens Pasch the Younger was sent to Empress Maria Theresa in late 1774 to establish support between Stockholm and Vienna. The documentary record reveals how this portrait began a dialogue and exchange between the two nations that sheds light on the Round Salon’s early history. It further reveals how monarchical portraits were intended to stimulate feelings of empathy and sentimentality for their recipients, proposes a firmer chronology for the room, and posits the importance of the Swedish statesman Ulrik Scheffer (1716–1799) to its genesis.
{"title":"Portrait Exchange Between Stockholm and Vienna and the Formation of Gustav III’s Round Salon at Gripsholm Castle","authors":"Michael Yonan","doi":"10.1080/00233609.2023.2242836","DOIUrl":"https://doi.org/10.1080/00233609.2023.2242836","url":null,"abstract":"Abstract This article analyzes the origins of an important artistic commission in eighteenth-century Sweden, the so-called Round Salon (Runda Salongen) at Gripsholm Castle, a room decorated with portraits of the reigning monarchs of Europe (a galerie contemporaine) commissioned by King Gustav III in the mid 1770s. Based on documents newly uncovered in the National Archives of Sweden, this essay demonstrates that the room emerged out of concerns about Sweden’s place in the European political system during the difficult years after the bloodless revolution of 19 August 1772, which restored absolutism to Sweden. Central to Sweden’s negotiation of this era’s political landscape was Austria. A portrait by Lorens Pasch the Younger was sent to Empress Maria Theresa in late 1774 to establish support between Stockholm and Vienna. The documentary record reveals how this portrait began a dialogue and exchange between the two nations that sheds light on the Round Salon’s early history. It further reveals how monarchical portraits were intended to stimulate feelings of empathy and sentimentality for their recipients, proposes a firmer chronology for the room, and posits the importance of the Swedish statesman Ulrik Scheffer (1716–1799) to its genesis.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116871233","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}
Pub Date : 2023-07-03DOI: 10.1080/00233609.2023.2248959
Stina Fallberg Sundmark
Summary Late medieval personal belongings such as jewellery, costume details, weapons and tools are sometimes provided with direct and indirect prayers for help and protection, images of Christ and saints relating to motifs in the church interior and in prayer books, and image composition giving associations to altar-screens and shrines. Taken altogether these objects explicitly have a devotional character, which has been further strengthened through analysis of written sources such as exempla and preserved more extensive prayers. This point towards the relevance of talking about these objects as instruments of small-scale and everyday devotion. People were in constant need of help and protection from everyday threats. By relating to preserved prayers and exempla from late medieval Sweden, the article shows that these objects with prayers and holy images were regarded as transmitting divine help, protection, consolation and blessing. Due to the small size and portability of the personal objects carried on the body, divine intervention could take place irrespective of time and space. Lived religion and everyday devotion could therefore be performed anywhere, including on the move.
{"title":"Instruments of Devotion in Close Bodily Contact – Jewellery, Costume Details and Other Personal Belongings in Relation to Late Medieval Piety","authors":"Stina Fallberg Sundmark","doi":"10.1080/00233609.2023.2248959","DOIUrl":"https://doi.org/10.1080/00233609.2023.2248959","url":null,"abstract":"Summary Late medieval personal belongings such as jewellery, costume details, weapons and tools are sometimes provided with direct and indirect prayers for help and protection, images of Christ and saints relating to motifs in the church interior and in prayer books, and image composition giving associations to altar-screens and shrines. Taken altogether these objects explicitly have a devotional character, which has been further strengthened through analysis of written sources such as exempla and preserved more extensive prayers. This point towards the relevance of talking about these objects as instruments of small-scale and everyday devotion. People were in constant need of help and protection from everyday threats. By relating to preserved prayers and exempla from late medieval Sweden, the article shows that these objects with prayers and holy images were regarded as transmitting divine help, protection, consolation and blessing. Due to the small size and portability of the personal objects carried on the body, divine intervention could take place irrespective of time and space. Lived religion and everyday devotion could therefore be performed anywhere, including on the move.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"249 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133040458","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}
Pub Date : 2023-06-16DOI: 10.1080/00233609.2023.2223162
Charlotta Krispinsson
{"title":"Interpreting Art","authors":"Charlotta Krispinsson","doi":"10.1080/00233609.2023.2223162","DOIUrl":"https://doi.org/10.1080/00233609.2023.2223162","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"164 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132097238","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}
Pub Date : 2023-05-29DOI: 10.1080/00233609.2023.2214518
M. Olin
{"title":"Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s","authors":"M. Olin","doi":"10.1080/00233609.2023.2214518","DOIUrl":"https://doi.org/10.1080/00233609.2023.2214518","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129395767","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}
Pub Date : 2023-04-03DOI: 10.1080/00233609.2023.2200763
Monica Grini
ABSTRACT The article centres around a well-known artefact in Sámi history, the more than 300-year-old drum that once belonged to Poala Ánde/Anders Poulsen, that has recently been returned to Sápmi after a long restitution process. Sámi drums were deemed sorcerers’ devices and routinely confiscated and destroyed during seventeenth century Danish autocracy; their users prosecuted and sometimes executed. In the early 1690s, the drum was seized and sent to Copenhagen and the Royal Danish Art Chamber, whereas the owner was killed in custody while awaiting the judicial decision. The case involves one of very few preserved Sámi drums accompanied by a contemporaneous indigenous voice conveyed in the trial document. Paradoxically, at the same time as Sámi drums were confiscated and, in many cases, destroyed, some were embarking on journeys as attractive collectors’ items. Today, Sámi drums are frequently “arrested” in museum exhibitions as “shamanistic devices”, often echoing old tools and tropes of othering. The article argues that there is a tendency to translate actors like Poala Ánde/Anders Poulsen and the drum into categories that immobilise them, and which prevent historical configurations to enter the narrative. It also contends that discussions about what the figures on the drumhead represent have dominated the reception and steered attention away from individual aspects of the drum and its vibrant materiality. In line with the biographical approach of the exhibition Ruoktot – The Return of the Sámi Drums by the Sámi Museum in Kárášjohka, I explore the entangled agency of the drum to help consider material aspects and concurrent meanings.
{"title":"Arresting Actors: A Sámi Drum and its Complex Relations","authors":"Monica Grini","doi":"10.1080/00233609.2023.2200763","DOIUrl":"https://doi.org/10.1080/00233609.2023.2200763","url":null,"abstract":"ABSTRACT The article centres around a well-known artefact in Sámi history, the more than 300-year-old drum that once belonged to Poala Ánde/Anders Poulsen, that has recently been returned to Sápmi after a long restitution process. Sámi drums were deemed sorcerers’ devices and routinely confiscated and destroyed during seventeenth century Danish autocracy; their users prosecuted and sometimes executed. In the early 1690s, the drum was seized and sent to Copenhagen and the Royal Danish Art Chamber, whereas the owner was killed in custody while awaiting the judicial decision. The case involves one of very few preserved Sámi drums accompanied by a contemporaneous indigenous voice conveyed in the trial document. Paradoxically, at the same time as Sámi drums were confiscated and, in many cases, destroyed, some were embarking on journeys as attractive collectors’ items. Today, Sámi drums are frequently “arrested” in museum exhibitions as “shamanistic devices”, often echoing old tools and tropes of othering. The article argues that there is a tendency to translate actors like Poala Ánde/Anders Poulsen and the drum into categories that immobilise them, and which prevent historical configurations to enter the narrative. It also contends that discussions about what the figures on the drumhead represent have dominated the reception and steered attention away from individual aspects of the drum and its vibrant materiality. In line with the biographical approach of the exhibition Ruoktot – The Return of the Sámi Drums by the Sámi Museum in Kárášjohka, I explore the entangled agency of the drum to help consider material aspects and concurrent meanings.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"10 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":"130172051","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}
Pub Date : 2023-04-03DOI: 10.1080/00233609.2023.2213207
Anna Vestergaard Jørgensen
Abstract In 1870–71, the Danish painter Jens Erik Carl Rasmussen traveled to Kalaallit Nunaat (Greenland). Not much is known about the visit, yet his travels to Nuuk and Maniitsoq provided the artist with visual material for his paintings for more than twenty years afterwards. One outcome of Rasmussen’s travel was the work Midnight Atmosphere by the Coast of Greenland. The Danish Royal Gallery acquired this painting, an idealized imagination of a colonial setting, in 1872, where the work came to represent the first collection of a “Greenlandic” motif. Subsequently, this artwork continued to travel in and out of other political settings, such as the 1931 colonial exhibition in Paris. This article follows the trajectory of Rasmussen’s Midnight Atmosphere through the archives and through its institutional settings in order to consider how images travel and how travels create images. It is argued that while the itinerary of the artist remained entangled within the colonial system, the trajectory in and through various institutions was similarly central to the colonial control of Kalaallit Nunaat as both place and image.
1870年至1870年，丹麦画家延斯·埃里克·卡尔·拉斯穆森(Jens Erik Carl Rasmussen)前往格陵兰岛(Kalaallit Nunaat)。这次访问鲜为人知，但他前往努克和马尼茨克的旅行为他后来20多年的绘画提供了视觉素材。拉斯穆森旅行的一个成果是格陵兰海岸的《午夜大气》。丹麦皇家画廊于1872年获得了这幅画，这是一幅对殖民环境的理想化想象，在那里，这幅作品代表了“格陵兰”主题的第一个系列。随后，这些艺术品继续在其他政治环境中穿梭，比如1931年在巴黎举行的殖民展览。本文沿着拉斯穆森的午夜气氛的轨迹，通过档案和机构设置来思考图像是如何传播的，以及旅行是如何创造图像的。有人认为，虽然艺术家的旅程仍然纠缠在殖民体系中，但在各种机构内和通过各种机构的轨迹同样是Kalaallit Nunaat作为地点和图像的殖民控制的核心。
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