Óvænt áfall eða fyrirsjáanleg tímamót?: brottför bandaríkjahers frá Íslandi: aðdragandi og viðbrögð
In: Alþjóðamálastofnun og rannsóknasetur um smáríki
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In: Alþjóðamálastofnun og rannsóknasetur um smáríki
In: Filozofski vestnik: FV, Band 29, Heft 1, S. 131-144
ISSN: 0353-4510
The author treats the topic of AIDS as a focal point for artistic politics in the United States and, eventually, in a larger international context as well. He considers a range of representations of AIDS in contemporary art since the 1980s & considers how AIDS became a pivotal point around which thinking about artists' activism & art as social intervention turned. He discusses AIDS as a paradigmatic case for a new global, biopolitical, & mediatized cultural phenomenon that bore with it a new ensemble of political, moral, & economic effects, in turn profoundly affecting conceptions of aesthetics & activist art. In the latter part of the essay, he develops a typology of strategies utilized by artists in addressing the problem of AIDS: 1) transcoding strategies; 2) media critiques and/or critiques of culture industry representations of AIDS; 3) alternative publicity; 4) AIDS exemplars; & 5) strategies of mourning & memoralization. Adapted from the source document.
In: Filozofia: časopis Filozofického Ústavu Slovenskej Akadémie Vied, Band 50, Heft 4, S. 211-217
ISSN: 0046-385X
In: Filozofia: časopis Filozofického Ústavu Slovenskej Akadémie Vied, Band 50, Heft 1, S. 37-40
ISSN: 0046-385X
In: Filozofia: časopis Filozofického Ústavu Slovenskej Akadémie Vied, Band 49, Heft 4, S. 244-250
ISSN: 0046-385X
In: Filozofia: časopis Filozofického Ústavu Slovenskej Akadémie Vied, Band 38, Heft 4, S. 491-501
ISSN: 0046-385X
In: Filozofia: časopis Filozofického Ústavu Slovenskej Akadémie Vied, Band 31, Heft 6, S. 592-606
ISSN: 0046-385X
In: Ritið; Kynbundið ofbeldi, Band 18, Heft 3, S. 187-215
ISSN: 2298-8513
Þórarinn B. Þorláksson (1867–1924) has been credited with being the first Icelandic professional painter. His reception, both during his lifetime and posthumously, is therefore an interesting indication of the changes in the outlook and ideology surrounding the reception of Scandinavian findesiécle art up to the present. He was honourably mentioned by his contemporaries and then was forgotten in the upheavals surrounding the adoption of modern styles, such as abstract art, in Iceland around the Second World War. He regained attention in the sixties and has since then been revered as an important, though problematic, pioneer of Icelandic painting. This has in recent years been especially evident in the way he has been mentioned in the context of the revival of Nordic and Scandinavian late 19th and early 20th century art in NorthernEurope and America. The paper reviews and analyses the historical reception Þorláksson has received and the way his work has been inscribed into the narrative of Icelandic and Scandinavian Art History. This process is an attempt to understand and contextualise Þorláksson's work in aesthetic terms, while at the same time function as a critical mirror of the trends and ideologies surrounding the Nordic revival in recent years.