Dan Karlholm
Södertörn University
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Featured researches published by Dan Karlholm.
Konsthistorisk tidskrift | 2017
Dan Karlholm
This -page study on the phenomenon of installation art from the s until today is in many respects a massive achievement. Well-written and theoretically well-informed, the book is also beautifully illustrated with the usual suspects; from Olafur Eliasson to Mona Hatoum, from Pippilotti Rist to Ilya Kabakov, from Annika von Hauswolff to Superflex. Why, then, do I also find it so problematic? It all begins with the following questions:
Konsthistorisk tidskrift | 2015
Dan Karlholm
Filtering Futures : La Biennale di Venezia. 56th. International Art Exhibtion 2015. All the Worlds Futures. Artistic Director and Curator: Okwui Enwezor.
Art History | 2014
Dan Karlholm
Review of Jacques Ranciere, Aisthesis: Scenes from the Aesthetic Regime of the Arts, London & New York: Verso, 2013
Konsthistorisk tidskrift | 2012
Dan Karlholm
[Review of] e-flux journal What is Contemporary Art? + Lind & Velthuis (eds.), Contemporary Art and its commercial marketsolder original structure, the sloped wooden ceiling with its unusual trusses evokes a new and modern construction. They capture the sense of reconstruction, and their poetic form beautifully symbolizes the sense of rebirth the building embodies. Säynätsalo was a remarkably moving symbol for a reborn post war Finland. But it can also be seen as a personal homage on Aalto’s part to Östberg. Asplund and Aalto and a number of other excellent Nordic architects where to carry on in modernized form Östberg’s firm commitment to architecture as artistic and aesthetic enterprise. In their plan compositions Östberg was a very direct influence; in their pursuit of symbol; mood and associations they can be said to have followed in Östberg’s footsteps but using more modern means. In conclusion one can say that there is a strong and distinct Nordic modernist tradition that has its roots in Ragnar Östberg’s Town hall. We can all be most grateful for Ann Katrin Pihl Atmer’s monumental study.
Konsthistorisk tidskrift | 2011
Dan Karlholm
[Recension av] Ludwig Qvarnstrom. Vigselrummet i Stockholmsradhus och det tidiga 1900-taletsmonumentalmaleri: historia, reception, historiografi : Diss. (Acta Universitatis Upsaliensis),Ars Suetica 22, Uppsala, 2010, 511 s.ISBN 978-91-554-7872-8
Konsthistorisk tidskrift | 2009
Dan Karlholm
The article discusses some basic elements of drawing, along with some equally basic behavior with respect to drawing. Considering one of the most repeated assumptions or stereotypes of the Western ...
Konsthistorisk tidskrift | 2007
Dan Karlholm
[Recension av] Helen Fuchs. Glasmaleri, modernitet, modernism : studier i glasmaleriets (konst)historia 1851–1955. Lund 2005.242 s. ISBN 91-628-6677-X.
Konsthistorisk tidskrift | 2003
Dan Karlholm
No Abstract available.
Konsthistorisk tidskrift | 2002
Dan Karlholm
Konsthistorisk Tidskrift, Volym 70, Häfte 1-2, 2001
Konsthistorisk tidskrift | 2001
Dan Karlholm
[Utstallnings recension] Renassansteckningar fran Florens ur Giorgio Vasaris samling : Nationalmuseum, Stockholm23 mars-10 juni 2001In February 2015, a protracted law suit between the University of London and the Warburg Institute was finally resolved after years of disagreement. The matter in dispute concerned a possible change of the terms originally set up in 1944, when the library was made part of the university after a dramatic move from Hamburg and Nazi-Germany. The court judged in favour of the Warburg Institute to keep the original terms, avoiding the threat of having to converge the volumes of their famous library to the library of the London University. This ensured that the unparalleled taxonomy of Aby Warburg’s (1866–1929) original system do not have to dissolve into the standard categories of the bigger university library’s cataloguing system. However, before this juridical outcome, an online petition to save the Warburg Institute succeeded in raising about 25,000 signatures. It has arguably made more people concerned than just staff, scholars and students actively using the library for research purposes. But why did the online petition become so successful? According to a recent article in The New Yorker, Warburg, because of his original way of thinking, outsider position and the famous Mnemosyne atlas, has now become »hip« and »trendy«. Even if these are perhaps not the words that a scholar would choose to explain the motifs behind his or her research interest, it is true that Warburg and his work have come to attract much attention from art historians as well as scholars from other disciplines in the humanities and the art world outside academia. During the past decade, the bibliography on Warburg has also increased with about 700 titles, which have prompted Christopher Wood to write about Warburg as the »Homo victor« in an ancestor cult of art historiography. There are however good reasons for Warburg’s popularity. His original approach to images, dubbed iconology, is known through key concepts such as Pathosformel and Nachleben der Antike to describe how an expressive formula of emotions as a part of an afterlife of antiquity could be traced in the symbols of high art and popular culture alike. Another, less well-known metaphor coined by Warburg is Bilderfahrzeuge, which could be translated as »image vehicles«. This is also the key theoretical concept as well as title of the interdisciplinary and international research group »Bilderfahrzeuge. Aby Warburg’s Legacy and the Future of Iconology« that held their first annual conference at the Warburg Institute in March 2015. In what follows, I will identify topics and sum up arguments from a few of the 16 papers given at the conference. The conference began with an introductory paper by Andreas Beyer from the University of Basel and Deutsche Forum für Kunstgeschichte in Paris, one of five professors that direct the research project as representatives of a collaboration of five institutions located in four different countries. Even though it is an international collaboration, it is also quite clear how the theoretical foundation of the project is a continuation of the
