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1	torget, berget och den vita kuben / The square, the mountain and the white cube Molitor, Emma January 2016 (has links) Examensarbetet ”Torget, berget och den vita kuben” utgår från nyöppnade Österängens konsthall i en förort utanför Jönköping. Projektets huvudfrågeställning handlar om hur utställningsrum för samtidskonst ser ut och skapas idag. Formgivningen har resulterat i en sekvens specifika miljöer som refererar och kontrasterar mot den vita kuben, normen, och undersöker korrelationen mellan samtidskonsten som ställs ut och arkitekturen bakom. Rummet är inte passivt, det är en aktiv aktör som både producerar och selekterar den konst som ställs ut. / The project is about a recently established art gallery in Österängen, a suburb to Jönköping. The main interest concern how spaces for contemporary art function and are created today. My design for Österängens art gallery is a sequence of specific environments that refers or contrasts to the white cube, the norm, and is investigating the correlation between contemporary art and architecture. The art gallery is not passive; it is an active actor in producing and selecting the art exhibited. Konsthall Jönköping Österängen inredning vita kuben Architecture Arkitektur
2	Från vägg till canvas : Värderingar kring Banksy´s bilder genom byte av omgivande kontext / From wall to canvas : Values around Banksy´s images by changing the surrounding context Julén, Josefine January 2011 (has links) This thesis in Art History and Visual Science is about values to graffiti and graffiti artist Banksy. I have studied values relating to Banksy´s graffiti images through which context they are placed in and where they are located. I have selected two different images of Banksy as an example on the basis of a transnational phenomenon, where the images that circulate in the public arena by street art and other images and imported into the galleries and consumption market. My conclusion is that the values of the images are based on the context in which each room have its surroundings and that therefore the impression will increase. The public space context, signal availability and the white cube context indicates art, and the commercial context signals goods and items that can be bought. Therefore the values for the images are based on the context in which each room says to the environment and the surrounding impressions accruing to the picture. Hence, when Banksy's images circulate in these three rooms they are received and valued based on which place the pictures are in, based on context and the background ideas you have for the expression. Det offentliga rummet Den vita kuben Den kommersiella marknaden Banksy Värderingar Kontext Gatukonst Graffiti Galleri
3	Graffiti : kontextualitet, platsbundenhet och innehåll Bachelder, Miranda January 2010 (has links) <p>The focus of this essay is to investigate if there lies a difference between graffiti art that is placed in the public spaces and graffiti art that is sited in an institutional art setting; in this essay exemplified in a gallery space. My thesis is that graffiti art derives a great deal of its meaning and substance from its situation consequently making a change of cultural context also a change of connotation and understanding of the graffiti art itself. Meaning that graffiti art situated in a communal space is different from graffiti art situated in the gallery space. They share aesthetic expression but their connotations differ; i.e. one being illegal and the other permissible making their meanings dissimilar. I have used a comparison between site-specific art and graffiti art to further strengthen my thesis concerning the importance of understanding how a change of context critically changes the substance of graffiti art.</p> Graffiti gallery space public spaces site-specific art context substance change the white cube institutional art theory canon Graffiti galleri offentliga utrymmen platsspecifik konst sammanhang innehåll förändring den vita kuben institutionell konstteori kanon. Art Konstvetenskap
4	Graffiti : kontextualitet, platsbundenhet och innehåll Bachelder, Miranda January 2010 (has links) The focus of this essay is to investigate if there lies a difference between graffiti art that is placed in the public spaces and graffiti art that is sited in an institutional art setting; in this essay exemplified in a gallery space. My thesis is that graffiti art derives a great deal of its meaning and substance from its situation consequently making a change of cultural context also a change of connotation and understanding of the graffiti art itself. Meaning that graffiti art situated in a communal space is different from graffiti art situated in the gallery space. They share aesthetic expression but their connotations differ; i.e. one being illegal and the other permissible making their meanings dissimilar. I have used a comparison between site-specific art and graffiti art to further strengthen my thesis concerning the importance of understanding how a change of context critically changes the substance of graffiti art. Graffiti gallery space public spaces site-specific art context substance change the white cube institutional art theory canon Graffiti galleri offentliga utrymmen platsspecifik konst sammanhang innehåll förändring den vita kuben institutionell konstteori kanon. Art Konstvetenskap

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