<p>BI/Konst</p>

This thesis deals with the production of liturgical textiles in five Swedish studios between 1880 and 1930. It is based on a survey of what was delivered to and preserved in the buildings of the Church of Sweden, more than 4,000 recorded objects. Ecclesiastical liturgical textile art in Sweden forms part of an uninterrupted tradition from the Middle Ages. A new era in ecclesiastical textiles began in Sweden in five major studios in Stockholm and Göteborg. Earlier production during the 19th century had become increasingly stereotypical and there was little interest in ecclesiastical art and liturgy in the parishes of the Swedish church. My survey of this extensive material has enabled me to make conclusions about when new textiles were produced and where, as well as when important changes took place. The iconography, symbols, figurative motifs and texts used in the textiles reveal trends in the historical development of the church’s liturgy. It is also possible to see when the different liturgical colours began to come back into use. Differences in the designs of the textiles show which artistic figures had a dominant influence on ecclesiastical liturgical textiles at a certain time. Five sections in chapter IV deal with a few larger special commissions. The first were for two newly-built churches in the early 1910s by two eminent architects who also designed the textiles. The third church was provided with new textiles in 1917 in connection with an extensive restoration. The fourth case concerns a private initiative to acquire new textiles for an old church. Finally, the ecumenical archbishop’s robes were produced for the Archbishop Nathan Söderblom and worn at the ecumenical meeting in 1925. The archbishop had a firm opinion about its iconographic programme. The five colours were launched in practice on the west coast of Sweden during the 1880s and 1890s. The textile artist Agnes Bran­ting introduced them at the Stockholm Exhibition in 1897. Supplementary commissions for white and green textiles were made from the parishes, for both frontals and chasubles at the end of the 1920s. A wealth of different motifs and differences began to appear between the iconography of the various studios in the 20th century. By no means all liturgical textiles were provided with texts, but enough to make it possible to describe a new trend. Many women and a few male artists developed their aesthetic expression working with ecclesiastical textiles during the fifty years covered by this thesis. The work of the professional studios was fundamental for the development of many young women into resolute, modern professional practitioners. What was linked to the ecclesiastical, the sacred, found expression and was described in words such as beautiful, true and dignified. The textiles embodied an intention to enhance the aesthetic values of worship and ecclesiastical space, to add variation and solemnity. This involved a deeper and more widespread use of motifs and symbols, of high-quality material and of craftsmanship. This study has contributed new knowledge about the period, its aesthetics and its theology.

The artist Carolina Falkholt has during the recent years emerged as one of Sweden's most renowned artists, although she has a long background in graffiti and mural painting. During 2013 and in the beginning of 2014, there has been several media storms around her paintings. In the center of the conflict is both the subject, the female genitalia, and the placement, in the public sphere.    This thesis aims to investigate why Carolina Falkholt paints these types of murals, and why people get offended by them. I also study how the media portrays the debate. My study is a discourse analysis of the media discussions around five of Falkholt’s mural paintings. Around the works are two discourses that are in conflict with each other. They are the discourse of Falkholt’s defenders and the discourse of her critics. None of them seem to dominate the other, except locally in some places. Carolina Falkholt’s own way of speaking about her art also forms a separate discourse, as she emphasizes her feminist agenda more than what the defenders do. Critics emphasize the image’s unsuitability in the public environment and defenders emphasize art's aim to generate debate.     Carolina Falkholt’s works are public in two ways. Firstly, they are in the public domain, and secondly they generate mass media attention, placing them in the press publicity. We can see in my theory background that women are structurally deprived space both in the physical public sphere and in the media. Carolina Falkholt breaks this pattern, since she deliberately takes up space in both these spheres.

This thesis deals with the use of Disney's twelve animation principles in relation to Motion Capture. The purpose of the work was to investigate whether animation principles can be applied to finished motion capture animations to surpass the limitations of motion capture  by using animation layers, where each added layer is a new principle. To investigate this, motion capture data was retrieved with various movements from Mixamo, which was then imported into Maya where various animation principles were applied with the help of Maya animation layers. The result of this research will answer the following… Is it possible to surpass the limitations of motion capture by layering disney's animation principles on motion captured animations in Maya with the use of animation layers?

No description available.

No description available.

<p>The purpose of this thesis is to examine the narrative elements in three of the Swedish artist Karin Mamma Anderssons paintings and try to see what kind of stories that might be hidden in these paintings. I have chosen three different themes as tools for this study. They are: the meaning or the importance of the titles, painting as a medium and the narrative elements or components in the paintings. Furthermore I also use the semiotic method in my analysis based on the ideas of Roland Barthes combined with a feminist theoretical standpoint with a gender perspective. This means my study is based on the reception of these images and what kind of message they might carry. The knowledge that Andersson uses influences from different male artists in her work is the main reason to applying the gender perspective to my analysis. A comparison between the different images or paintings is also made to see whether or not they share the same kind of narrative structure and if that in some way makes us as viewers give them a certain kind of meaning that is similar, or even the same, in all three cases. The analysis is held as a discussion where I look at different parts of the images and by comparing them create an interpretation and understanding of the three images. I found that it is because there is no clear or obvious meaning when it comes to understanding the content of the three images which makes them so strong in their narrative aspects and what makes them appealing. Also, according to my analysis, there is something familiar about them, which I argue is mainly because of Anderssons subtle use of art historical references.</p>

No description available.

<p>Betraktarens delaktighet i Yayoi Kusamas (f. 1929) film Self Obliteration (1967) mäts genomen beskrivning och analys av collage, montage och narration ur ett ergodiskt perspektiv. Yayoi Kusama står för ett av de mest kända och omfattande konstnärskapen i vår samtid. Med målningar, film, mode, skulptur, performance, happening och böcker försöker hon förståsig själv och universum. Målet i Self Obliteration är att förinta sitt jag och uppgå i någontingannat. På samma sätt fungerar hennes konst, betraktaren upplever det som på engelska kallas immersion (djup mental involvering) att uppgå helt i verket, genom dess meditativa och repetitiva form. Ett sätt att mäta delaktigheten, inte hos betraktaren men i verkets materiella form, handlar begreppet ergodicitet om. Betraktaren förväntas här inte vara en passiv åskådare utan en aktiv medspelare. I denna uppsats svaras på frågan huruvida Sel fObliteration står för en hög ergodicitet i förhållande till sin betraktare. Filmens struktur går att jämföra med definitioner på det som kallas nya media, och deras förhållande till betraktaren. Genom att minska, eller allra helst utplåna avståndet mellan avsändare och mottagare uppstår nya sätt att se på konst. Det ergodiska perspektivet syftar till att mäta betraktarens förmodade delaktighet i text/verk. Således mäts inte den faktiska delaktigheten, utan möjligheterna till en eventuell delaktighet genom att undersöka själva verkets utformande. Det är verket och inte betraktaren som studeras, men hur kan man studera ett verk utan att det finns någon betraktare? I denna uppsats är betraktaren densamma somstuderar verket och upplevelserna redogörs tydligt och kritisk analys ställs mot varseblivning och upplevelse.</p>

I uppsatsen undersöks utbytet mellan populärkultur och konst genom en jämförande analys av Andy Warhols Marilyn Diptych från 1962 och en stillbild från Lady Gagas musikvideo Telephone från 2010, i vilken hon refererar till Warhol. Lady Gaga har flera gånger refererat till konstvärlden genom kostym och sceniskt uttryck vilket hos mig väckte associationer kring hur Andy Warhol och popkonstnärerna influerades av populärkulturen. Warhols användning av populärkulturens bilder är idag välkänd som ett sätt att bryta mot konstvärldens normer. Detta utbyte undersöks och diskuteras i relation till hur Lawrence Alloway, John A. Walker och Richard Hamilton definierar populärkultur, massmedia och popkonst. De visar på en upplösning mellan populärkultur och konst som olika kategorier, något som Theodor Adorno och Clement Greenberg vänder sig emot. Popkonsten skulle dock kunna uppfattas som populärkultur efter de definitioner jag använt då Warhol idag både brukas filitigt av populärkultur och massmedia, samtidigt som konstvärlden också använder honom för att tilltala en masspublik. Jag vill mena att Andy Warhols konstproduktion och skapandet av Lady Gagas image grundas i olika typer av konstnärligt arbete, men att bådas verksamhet genom massproduktion sprids som populärkultur. Lady Gaga verkar framgångsrikt genom masskommunikation och hon är idag välkänd inom populärkulturella sammanhang. Genom vad som kan tyckas vara absurd styling utmanar hon den populärkulturella normen kring skönhet, en norm som skapades med bland andra Marilyn Monroe. Reproduktioner av Andy Warhols bilder med Marilyn Monroe som motiv har idag fått enorm spridning och stor popularitet. Populariteten för Warhols bild av Marilyn och Lady Gagas refererande till den kan förstås genom Jean Baudrillards teorier om hyperrealism och simulacra. Lady Gaga stylad som Warhols Marilyn blir ett tydligt exempel på simulacra då hon framstår som en kopia utan original. Detta eftersom Warhols Marilyn är ett eget orignal, frikopplat från det fotografi av Marilyn Monroe som han från början utgick från. Warhol använder sig av ett välkänt ansikte från populärkulturen, ett ansikte som sedan influerar Lady Gaga. Influensen kommer dock inte från Marilyn Monroes ansikte, utan Warhols version av Marilyn. Lady Gaga använder sig heller inte av själva bilden, utan refererar endast till den genom sin styling. Någon anslutning till verkligheten finns inte. Referenserna mellan konstvärlden och populärkulturen sprids som ringar på vattnet, och den mittersta utgångspunkten blir allt svagare.