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Visualizing Genocide
Visualizing Genocide engages the often sparse and biased discourses of genocidal violence against Indigenous communities documented in exhibits, archives, and museums. Essayists and artists from a range of disciplines identify how Native knowledge can be effectively incorporated into memory spaces.
Landscape and Nature in Scandinavian Art
This edited volume foregrounds new and vital scholarship shaping Scandinavian art historical research on the representations of the natural world. Contributors deconstruct the interlinking of people and land through critical readings of the Scandinavian representation of nature, bringing to the fore how the traditional focus on the landscape as a manifestation of temperament has tended to obfuscate critical approaches to the representation of the landscape. Making interdisciplinary connections, this volume redresses the imbalance in scholarship on the region that often emphasizes teleological national narratives and instead situates encounters with nature and the landscape in relationship to more interdisciplinary perspectives. Each chapter serves as a specific case study on topics ranging from circumpolar exploration and colonial practices, deconstructing National Romanticism myths, and contemporary artistic responses to the history of the politics of land. The book will be of interest to scholars working in art history, visual culture, nature studies, and environmental history.
Sami Art and Aesthetics
During the last five decades we have witnessed an increase in activity among artists identifying themselves as Sami, the only recognised indigenous people of Scandinavia. At the same time, art and duodji (traditional Sami art and craft) have been organized and institutionalized, not least by the Sami artists themselves. Sami Art and Aesthetics discusses and highlights these developments and places them in historical and contemporary contexts for an international audience. At stake are complex, changing terms regarding the creative and the political agencies. The question is not how indigeneity, identity, people, art, duodji, and aesthetics correspond to conventional Western ideas, rather it is how they interact with the Sami and their neighbouring cultures and societies. The volume is written by some of the foremost art historians and literary scholars in Sami art, craft, architecture, culture, and indigenous studies. Artists presented include Johan Turi, Ivar Jaks, Outi Pieski, Folke Fjellstrom, Katarina Pirak Sikku, Geir Tore Holm, and Silje Figenschou Thoresen.
The A to Z of Norway
One of the smallest countries in Europe, Norway has created for itself a position in the world community, which is completely out of proportion to the size of its population. Originally the home of sub-Arctic hunters and gatherers, then of ferocious Vikings, it lost perhaps half of its population to the Black Death in 1349, ended up in a union with Denmark that lasted until 1814, and then became united with Sweden, gaining complete independence only as recently as 1905. Over the centuries the Norwegians eked out a meager living from stony fields and treacherous seas while suffering through hunger, darkness, and cold, however, its recent productive use of such natural resources as hydroelectr...
A Cultural History of the Avant-Garde in the Nordic Countries Since 1975
The Cultural History of the Avant-Garde in the Nordic Countries Since 1975 is the final volume of the four-volume series of cultural histories of the avant-garde movements in the Nordic countries. This volume carries the avant-garde discussion forward to present-day avant-gardes, challenged by the globalisation of the entertainment industries and new interactive media such as the internet. The avant-garde can now be considered a tradition that has been made more widely available through the opening of archives, electronic documentation and new research, which has spurred both re-enactments, revisions and continuations of historical avant-garde practices, while new cultural contexts, political, technological and ecological conditions have called for new strategies.
The End of Diversity in Art Historical Writing
The End of Diversity in Art Historical Writing is the most globally informed book on world art history, drawing on research in 76 countries. In addition some chapters have been crowd sourced: posted on the internet for comments, which have been incorporated into the text. It covers the principal accounts of Eurocentrism, center and margins, circulations and atlases of art, decolonial theory, incommensurate cultures, the origins and dissemination of the "October" model, problems of access to resources, models of multiple modernisms, and the emergence of English as the de facto lingua franca of art writing.
Historical Dictionary of Norway
The Historical Dictionary of Norway supplies a wealth of information that illuminates Norway's remarkable history, society, and culture. This is done through a chronology, a bibliography, an introductory essay, appendixes, and over 250 cross-referenced dictionary entries covering events and individuals of historical, political, social, and cultural significance. Both past and present political parties are discussed, major economic sectors are described, and basic economic facts are provided. Several entries describe the history and attractions of major Norwegian cities, and Norway's role in the international community is detailed as well providing a full portrait of this vibrant country.
Dressing with Purpose
Dress helps us fashion identity, history, community, and place. Dress has been harnessed as a metaphor for both progress and stability, the exotic and the utopian, oppression and freedom, belonging and resistance. Dressing with Purpose examines three Scandinavian dress traditions—Swedish folkdräkt, Norwegian bunad, and Sámi gákti—and traces their development during two centuries of social and political change across northern Europe. By the 20th century, many in Sweden worried about the ravages of industrialization, urbanization, and emigration on traditional ways of life. Norway was gripped in a struggle for national independence. Indigenous Sámi communities—artificially divided by...
Sámi Art and Aesthetics
Forside -- Titleside -- Colophon -- Contents -- Preface -- Introduction -- Unstable Categories of Art and People (Svein Aamold) -- Representations: Colonialism and the Struggle for Indigenous Self-definition -- Hybrid Iconoclasm: Three Ways of Picturing the Sámi as the Other (Rognald Heiseldal Bergesen) -- Art History in the Contact Zone: Hans Zakæus's First Communication, 1818 (Ingeborg Høvik) -- Representing the Hidden and the Perceptible: Johan Turi's Images of Sápmi (Svein Aamold) -- Traditional Sámi Culture and the Colonial Past as the Basis for Sámi Contemporary Art (Tuija Hautala-Hirvioja) -- The Sculpture of Iver Jåks and the Question of Sámi Aesthetics (Irene Snarby) -- Crit...
Art/ifacts and ArtWorks in the Ancient World
Art/ifacts and ArtWorks : De-Colonizing the Study and Museum Display of Ancient and Non-Western Things / Karen Sonik -- Beyond Representation : The Role of Affect in Sumerian Lamenting / Paul Delnero -- Seeing and Knowing: Cultural Concepts and the Deictic Power of the Image in Mesopotamia / Beate Pongratz-Leisten -- The Context(ualization) of Art in Non-Literate Societies : Images and Animal Bronzes in the Armenian Middle Bronze Age / Karen S. Rubinson -- To Be or Not to Be (Divine) : The Achaemenid King and Essential Ambiguity in Image, Text, and Historical Context / Matthew W. Waters -- Glyptic Images as Reflecting Social Order : Changes in Seal Iconographies from Egalitarian to Early Cen...
