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1	Jon Rafman at Zabludowicz Collection : A study in Reception aesthetics Hansson, Amanda January 2015 (has links) In this study, I will be applying Art historian Wolfgang Kemp’s theory of the aesthetics of reception as described in the article The Work of Art and Its Beholder: The Methodology of the Aesthetic of Reception (1998) to the Jon Rafman solo exhibition at Zabludowicz Collection in London (2015). A close study has been carried out on a selection of exhibition objects, as well as the exhibition space, to investigate how they address and interact with the beholder. An examination of Rafman’s art practice will also be disclosed. Throughout the study I will answer the following questions; How are the influences that inspired the exhibition, presented in the exhibition?, How do Jon Rafman’s installations at Zabludowicz Collection engage the beholder? And, how can the composition of the exhibition space be described? Jon Rafman Zabludowicz Collection Department of Art History Reception aesthetics Wolfgang Kemp Humanities Humaniora Art History Konstvetenskap
2	The Medieval Myth of The Holy Grail and its Resonance in Contemporary Popular Culture : A Reception Theory Analysis of The Da Vinci Code by Dan Brown Juhlin, Johanna January 2018 (has links) This essay investigates why the Myth of the Holy Grail continue to occur within popular culture. Myths, tales and legends from ancient times have inspired authors throughout the centuries. The readers are not only served with a spectacular adventure, but the myths also contain messages with a moral and ethical guidance for us as beholders. This particular myth can be found within different media in our time and the essay will attempt to give some answers as to why the myth reappears in new forms over and over again. An analysis is performed by using the methodology of aesthetic reception within reception theory. The material chosen for the analysis is the work of art; The Da Vinci Code by author Dan Brown, where two different media forms will be represented, the novel and the film. The findings in the analysis revealed that the key to understanding the reasons for the occurrence of this medieval myth is the element of a quest that is present within the myth. This ingredient, where you embark on an adventure, will create feelings of excitement for the beholder. A second aspect found is that we as humans have an interest in our history. Therefore, myths and legends from our historical past will be naturally alluring for beholders and especially if they are linked to philosophical questions and ideas that can be applied to our modern society. The success that has followed The Da Vinci Code has its explanation in the fact that Brown has managed to make the myth of the Holy Grail more contemporary, the myth has then been rejuvenated. A suggestion for further research is to perform a study on beholders in focus group interviews in order to validate the findings in the analysis. Mythology The Holy Grail Reception theory Reception history Wolfgang Kemp Dan Brown Religious Studies Religionsvetenskap
3	Bo i kulturarv : En receptionsteoretisk studie av den gamla trähusarkitekturen i Elsborg / Live in Cultural Heritage : A reception theoretical study of the old wooden architecture in Elsborg Kåks, Ellen January 2022 (has links) This essay aims to investigate how the cultural heritage process and gentrification, that the Elsborg district in the city of Falun has gone through, is expressed in modern residents' reception of the architecture in the area, as well as to relate this to preceding ways of looking at the environment. In the study I examine two time periods; 1975 when Falun was appointed as pilot project for the European Architectural Heritage Year, and 2021 - the year in which this essay is written. The study is partly an analysis of texts produced in 1975 and partly an interview study with six current inhabitants of the Elsborg area. The analysis is based upon Wolfgang Kemp’s reception theory, which primarily argues for the focus being on the viewer instead of on the creator of the work or the work itself. The results of the study show that many of the thoughts that were formulated about the architecture in Elsborg during the European Architectural Heritage Year are repeated in the interviewees' experiences and uses of the environment today. Additionally, the observations of the respondents in the interview study highlight that the interviewees appreciate the old, traditional wooden architecture for its visual, historical and social values. Moreover, the participants view themselves as involved in preserving Elsborg and its cultural heritage. Keywords: Art history, architecture, Elsborg, Falun, reception theory, Wolfgang Kemp, cultural heritage, gentrification, wooden house Art history architecture Elsborg Falun reception theory Wolfgang Kemp cultural heritage gentrification wooden house Konstvetenskap konsthistoria arkitektur trähus gentrifiering kulturarv kulturarvsprocess receptionsteori Art History Konstvetenskap
4	Mörkrets Mästare : En studie i teknik och materialitet av Roj Fribergs bilder / The Master of Darkness : A study in technique and materiality of Roj Fribergs pictures Frykholm, Maja January 2022 (has links) Abstract This study concerns the Swedish artist Roj Friberg (1934–2016). The essay is based on a study of technique and materiality used by Friberg. He is quite marginalized and slightly forgotten in the Swedish art history and when mentioned merely described as a painter from the 1960´s who used graphite mixed with French turpentine, in order to work on the surface with an eraser attached to an electric drill. However, Friberg used other different and more complex painting techniques in his work, something this essay will notice and highlight. The used method is a biographical, dealing with the references to Friberg. To explain why he was considered an “outsider” in Swedish art, the theory of social capital by Pierre Bourdieu is applied. Also, Wolfgang Kemps concept of reception history, which focus on the arts beholder, rather than the artists itself. From the middle of 1970 Friberg also used an ancient painting technique called encaustic, heated beeswax mixed with pigment. Paintings which have received very little attention; therefore, the focus is on his use of encaustic in combination with his other techniques, such as melted graphite, melted wax crayons or drawn with wax crayons and graphite. The work with lasered layers and the typical method of working from darkness to light in Friberg´s pictures shows resemblance with the ancient encaustic portraits from Fayum, in the 50 AD. Art History Roj Friberg Encaustic Beeswax and pigment Technique and Materiality Swedish Modern Art Graphite Art Techniques Fayum Portrait Swedish Artists Pierre Bourdieu Social Capital Wolfgang Kemp Reception History Konstvetenskap Roj Friberg enkaustik bivax och pigment teknik och materialitet svensk modern konst konstnärliga tekniker grafit Fayumporträtten svensk konstnär Pierre Bourdieu socialt kapital Wolfgang Kemp receptionshistoria. Art History Konstvetenskap
5	Det filmiska ögat : En undersökning av konstbetraktandets natur i tunnelbanan genom fotomontaget ”Den dagen, den sorgen” på Karlaplans station Ljung, Bo January 2018 (has links) Uppsatsen undersöker konstbetraktandets natur i tunnelbanan genom en närstudie av fotomontaget ”Den dagen, den sorgen på Karlaplans tunnelbanestation i Stockholm. Uppsatsens huvudsakliga frågeställning är: Hur spelar ”Den dagen den sorgen” upp sin mening och hur tas denna emot av betraktaren i tunnelbanekontexten vid Karlaplan? Två underfrågor kompletterar frågeställningen: 1.Vilken är fotomontagets konstnärliga särart och hur är det organiserat narrativt? 2.Hur är tunnelbanans ”genius loci” och hur samverkar konstverket med platsen och rummet? Impetus för uppsatsen är konstverkets säregna och unika karaktär som konstverk. Det finns inget liknande verk i Stockholms tunnelbana. Det lockar, väcker frågor och involverar betraktaren på ett direkt sätt. Syftet med uppsatsen är därför att undersöka mekanismerna för denna betraktaraktiverande rörelse. En fråga som ofta saknas i den omfattande litteraturen om konsten i Stockholms tunnelbana är hur tunnelbanekonsten kommunicerar och tas emot av sina betraktarresenärer. Denna brist motiverar en undersökning av relationen mellan konstverk, betraktare och miljö. Uppsatsen är utförd med hjälp av en deduktiv och systematiskt tolkande arbetsmetod utifrån en receptionsteoretisk och semiotisk teoribildning. De valda frågeställningarna har riktat analysen och fotomontaget har studerats som konstnärligt och språkligt fenomen. Receptionsteorin utgår från Wolfgang Kemps begreppsanalys, vilken är strukturerad i interna och externa faktorer. Peter Gillgren kompletterar Kemp och visar hur betydelsefulla verkets interartiella referenser och den litterära meningen är för den receptionsteoretiska tolkningen. Roland Barthes semiotiska teckenanalys, där denoterande tecken omvandlas till konoterande i betraktarens medvetande, ligger också till grund för tolkningen Texten är uppbyggd av fem delar. De består av inledning, bakgrund, interna faktorer, externa faktorer samt avslutande diskussion med slutsatser och sammanfattning. Genom verkets många interartiella referenser framträder en samhällskritisk litterär mening. För att förmedla denna litterära mening har upphovsmannen medvetet sökt motverka en riskerad polysemi. Kompletterande performativa textremsor, det hyperrealistiska fotografiska bildmediet samt en återhållsamhet med fragment stramar åt och riktar bildens ”betydelse”. Bildens komposition och perspektiv samt en frekvent användning av vakanser och fokaliserande gestalter bjuder in betraktaren i bildens ”spel” och sätter dennes öga i rörelse. Verk, betraktare och miljö möts och förstår varandra i hastiga filmiska ögonblick. Sådan är konstbetraktandets natur på Karlaplans tunnelbanestation. bildkonst tunnelbanekonst politisk konst receptionsteori semiotik Wolfgang Kemp Roland Barthes Peter Gillgren fotomontage dada John Heartfield genius loci Metropolis Fritz Lang Apocalypse Now Mörkrets hjärta Joseph Conrad filmisk arkitektur Le Corbusier Bayeuxtapeten altarskåp Hieronymus Bosch Ebba Grön punk Karlaplan konstvetenskap visuell retorik Johan Eriksson. Larseric Vänerlöf Humanities and the Arts Humaniora och konst
6	Det omättliga ögat Ljung, Bo January 2020 (has links) This is a master thesis dealing with reception-theoretical aspects of the 96 meter long photomontage called That day and that grief, created by the Swedish photographer and artist Larseric Vänerlöf. The artwork is situated in the Karlaplan metro-station in Stockholm. The text is an extension of the master thesis that I wrote in 2017-2018, entitled The Cinematic eye. This new essay aims to deepen the understanding of how the photomontage reveals it´s meaning and how it is received by the viewer in the metro context at Karlaplan. Main questions: 1/ What is it in this big photomontage, that makes the viewing travellers, wanting to stay and watch it, even though they are in a hurry towards another place, in another matter? 2/ How does this artwork speak to me and how does it want me to watch it? 3/ What does the photomontage want to tell me? 4/ What does the work represents? Since my study focuses on the imagery and communication-act of the artwork, I find semiotics and reception-theory as the obvious theoretical tools. Part of the interpretation of the image relates to the semiotics of Roland Barthes and his statement that all images are polysemic and ambiguous and that they are culturally and historically conditioned. In my conclusion I discuss and to some extent challenge the mechanism and interaction between literal, denoting information and symbolic connotation in the viewer’s reception. The reception analysis is based on Wofgang Kemps conceptual apparatus formulated in The work of Art and its Beholder (1998), and Peter Gillgrens concept of interartial references. Hans Georg Gadamers view of art as a performative game complements the essays theoretical construction. I use a deductive and systematic interpretive working method. Based on the chosen semiotic and reception theoretical formation and through my questions, I have studied the phenomenology of the photomontage, i.e. as an artistic and linguistic phenomenon. Empathy in site/location, beholder and zeitgeist form the basis of the methodological work.The conclusions of the thesis are radically different from that of my former text from 2017-18. Imagery and symbolic ambiguities and focalics that refuse to reveal the "meaning" and content of the photomontage, activate the viewer in a performative way and creates a highly communicative work, which involves the viewer in the theatrical course. Through a deeper study of the “zeitgeist”, I have also concluded that the collective and political symbols from the 1970s in the work, have lost power and content at the time of the dismantling in 1982. The character that I previously perceived as "Art as weapon" has in this essay been transformed to "Art as visuality". The art of photography appears as the real subject matter for the photomontage at Karlaplan subwaystation. Larseric Vänerlöf Den dagen och den sorgen offentlig konst tunnelbanekonst politisk konst receptionsteori semiotik Wolfgang Kemp Roland Barthes Peter Gillgren Bengt Olvång Våga se Christer Strömholm Susan Sontag On Photography Hubert Damish The Origin of Perspective Kristina Fridh fotomontage dada genius loci Fritz Lang Metropolis Apocalypse Now Joseph Conrad Mörkrets hjärta Chatarina Dyrssen filmisk arkitektur Le Corbusier Bayeuxtapeten altarskåp Hieronymus Bosch The Garden of earthly Delights Ebba Grön Karlaplan konstvetenskap Johan Eriksson Bo Ljung Humanities and the Arts Humaniora och konst

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