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1	Wolfgang Tillmans : Konstnärlig utställningspraktik mellan tradition och alternativ Heuberger, Sarah January 2016 (has links) The thesis catches up a phenomenon in contemporary exhibition practice: the presentation of art beyond traditional platforms such as museums and galeries. It is the Berlin based nightclub Berghain that in this case study is object for an analysis of an alternative art space. The two photographies Ostgut Freischwimmer rechts and Ostgut Freischwimmer links of the german artist Wolfgang Tillmans were to be seen there after being sold to art museums in Switzerland exhibited together with other works of the collection at Fondation Beyeler. The comparison of the club as the new and alternative and the museum as the traditional and institutional is the specific concern of the work: on which institutional structures is the staging of art based on and how can they be altered and contrasted by means of place and exhibition features. The meaning of art is determined by its physical setting and the institutional and ideological constituencies that are lying behind it. This interconnection is examined by terms of Henri Lefebvre social space and Arthur C. Danto and George Dickie. Contextualisation, categorisation and the creation of an aura of theory as well as established roles and hirarchies determine the institutionalized artwold and are reverted in the attempt to create an alternative space. The creation of the new is based on its differentiation from the traditional and is therefore to be seen as a concept, a repetition of structures that is filled with new contents. In his function of curator to both of the exhibitions, Wolfgang Tillmans extends his artistical practice over the medium of photography - by this way, the pictures meaning is transcending its visuality and interacts with the space, communicating different values in different situations. The comparison of the the two exhibition sites shows: silence is replaced by sound, contemplation is replaced by movement, history and context by nowness and momentarity. But still is the exhibition of art is bound to structures. The question therefore should not concentrate on finding an alternative beyond institutional structures, but on which kind of institution it could be that expresses the intended meaning of an art work. By this terms, the argument can be traced back to Wolfgang Tillmans himself and both his personal, artistic and curatorial world view: imagining an anti-hirarchical culture in which no one is to claim the truth further than in its own immediate moment of experiencing it Wolfgang Tillmans Fondation Beyeler Berghain exhibiting alternative space curating institution institutional critique tradition museum
2	Some Account of the Art of Photogenic Drawing Minek, Joseph 23 April 2013 (has links) This thesis is an overview of the processes and procedures used in the production of my artistic practice. In my work, I explore notions such as the ambiguity of the photographic image, what constitutes an image or object as photographic, and the unexplored possibilities of the medium through surface and mark making. In addition, I draw inspiration from artists Wolfgang Tillmans, William Henry Fox Talbot, and Marco Breuer as entrance points to my conceptual interests. For viewers, my work generates an internal dialogue about the limits of the photographic medium. Minek Photography Photogenic Drawing Deconstruction Trace Reconstruction Residue Process William Henry Fox Talbot Wolfgang Tillmans Marco Breuer Arts and Humanities Fine Arts
3	Homoerotisk sensibilitet : Byggandet av homosexuell identitet genom konsthistorien / Homoerotic Sensibility : The Construction of Homosexual Identity Throughout the History of Art Varnauskas, Jacob January 2020 (has links) The question of homoerotic sensibility is, in the purpose of this thesis, a matter of visual language connected to the portrayal of male bodies. By identifying this sensibility throughout the western art canon the essay seeks to understand its origins, development and function in relation to expressions of power. With the introduction of theorists such as Alois Riegl, Laura Mulvey, Abigail Solomon-Godeau and Raewyn Connell, the aim is to deconstruct homosexual masculinity. Adapting formal analysis and parts of visual semiotics, the focus lies on the visual expression of power through the homoerotic gaze, and asks what consequences it has in forming homosexual identity. Greek antiquity is home not only to the ideals that foster western art history, but is also where we find early examples of same-sex affection being portrayed in the arts. Hence classical antiquity is so important for the homoerotic: whenever the classical language of style is popular throughout history, we are sure to find homoerotic sensibility. For reasons mentioned, the main periods analyzed are the Italian Renaissance, the French Neoclassicism and then, naturally the late 20th century onwards as this is the period of gay liberation and modern homosexual identity. By identifying classical acceptance of homosexual relations only in the form of a clear social hierarchy, we soon discover how homosexuality has appropriated the idea of binary difference within its masculinity throughout history. Accepting relationships only between erastes and eromenos, or man and ephebe, homosexuality is forced to exist only on the terms of difference of power. With classical ideals, these tendencies are recurring in the visual representation of male homosexuality, and becomes a big part of the liberation and forming of a modern identity in the late twentieth century. As a result of objectification of the male body, in combination with idealized and sexualized power, modern gay culture has in many ways embraced a destructive culture shaped by misogynist ideas of hegemonic culture, where sexual violence exists, but is not spoken of. art history homoerotic art homoerotic painting homoerotic photography homoerotic gaze male gaze power relations antiquity identity queer theory masculinity gay culture sexuality homosexuality male representation construction body bodies visual semiotics gender gender studies Renaissance Neoclassicism Postmodernism Michelangelo di Buonarotti Ganymede Wolfgang Tillmans Paul Cadmus Tom of Finland Jacques-Louis David Merry-Joseph Blondel Michael Leonard konsthistoria konstvetenskap homoerotisk konst homoerotiskt måleri homoerotiskt fotografi homoerotik homoerotisk blick manlig blick maktförhållanden antiken identitet queerteori manlighetsforskning maskulinitet maskulinitetsteori gay kultur bög kultur sexualitet homosexualitet manlig representation konstruktion konstruktivism kropp kroppar visuell semiotik semiotik genus kön genusvetenskap renässans nyklassicism postmodernism Humanities and the Arts Humaniora och konst Art History Konstvetenskap

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