Timeplan 2019 Høst - lærer Ingeborg Høvik - Førsteamanuensis

Vi bruker hele uka på å arbeide med pensum knyttet til outsider art:

Dubuffet, Jean, “In Honour of Savage Values”, oversatt av Kent Minturn, RES: Anthropology and Aesthetics, 2004: 259–268 (10 sider). URL (JSTOR) http://www.jstor.org/stable/20167652?seq=1#page_scan_tab_contents eller (The University of Chicago Press Journals) https://www.journals.uchicago.edu/doi/pdfplus/10.1086/RESv46n1ms20167652

Duncan, Carol, “Who Rules the Art World,” from The Aesthtics of Power: Essays in Critical Art History (Cambridge and New York: Cambridge University Press, 1993), 169-188. (19 s.)

Elkins, James, “Naïfs, Faux-naïfs, Faux-faux naïfs, Would-be Faux-naïfs: There is No Such Thing as Outsider Art”, 2006 (10 sider). URL, James Elkins’ hjemmeside, http://www.jameselkins.com/index.php/essays/253-there-is-no-such-thing-as-outsider-art )

Maclagan, David, Outsider Art: From the Margins to the Marketplace, London: Reakton Books, 2012: 6–59 (54 sider); dvs. ‘Introduction’ og kapittel 1, ‘Art Brut and the Search for the Source of Creative Originality’. URL (Oria), https://ebookcentral.proquest.com/lib/tromsoub-ebooks/reader.action?docID=618764&ppg=76

Pensum knyttet til outsider art:

Dubuffet, Jean, “In Honour of Savage Values”, oversatt av Kent Minturn, RES: Anthropology and Aesthetics, 2004: 259–268 (10 sider). URL (JSTOR) http://www.jstor.org/stable/20167652?seq=1#page_scan_tab_contents eller (The University of Chicago Press Journals) https://www.journals.uchicago.edu/doi/pdfplus/10.1086/RESv46n1ms20167652

Duncan, Carol, “Who Rules the Art World,” from The Aesthtics of Power: Essays in Critical Art History (Cambridge and New York: Cambridge University Press, 1993), 169-188. (19 s.)

Elkins, James, “Naïfs, Faux-naïfs, Faux-faux naïfs, Would-be Faux-naïfs: There is No Such Thing as Outsider Art”, 2006 (10 sider). URL, James Elkins’ hjemmeside, http://www.jameselkins.com/index.php/essays/253-there-is-no-such-thing-as-outsider-art )

Maclagan, David, Outsider Art: From the Margins to the Marketplace, London: Reakton Books, 2012: 6–59 (54 sider); dvs. ‘Introduction’ og kapittel 1, ‘Art Brut and the Search for the Source of Creative Originality’. URL (Oria), https://ebookcentral.proquest.com/lib/tromsoub-ebooks/reader.action?docID=618764&ppg=76

Svein Aamold, «Unstable Categories of Art and People», Sámi Art and Aesthetics…(2017): 13-27.

Hanna Horsberg Hansen, «Sámi Artist Group 1978-1983 – A Story About Sámi Traditions in Transition», Sami Stories…(2014): 89-105

Monica Grini, «Historiographical Reflections on Sámi Art and the Paradigm of the National in Norwegian Art History», Sámi Stories…(2014): 48-67.

Tuija Hautala-Hirvioja, «Expressionism in Sámi art: John Savio's woodcuts of the 1920s and 1930s» in The Routledge Companion to Expressionism in a Transnational Context, edited by Isabel Wünsche, 2019.

Secondary Literature:
Art in Place: the Teorifagbygget art collection at the University of Tromsø. Edited by Torild Gjesvik, Unni Grøneng, Søren Ubisch.

Svein Aamold, «The Role of the Scholar in Research into Indigenous Art».

Jimmie Durham, «The Vocabulary of Art, Why Beauty – (Why Not», and «And Yet».

Nils Oskal, «The Character of the Milk Bowl as Separate World, and the World as a Multitudinous Totality of References»

Charis Gullickson, «The Artist as Noaidi». Sámi Stories, 9-34.

Gunvor Guttorm, “The Power of Natural Materials and Environments”, Sámi Art and Aesthetics: Contemporary Perspectives (2017): 163-177

Rauna Triumf, “Small stories: A guide to learning and teaching Sámi arts and crafts”, Indigenous Research: World Indigenous Nations Higher Education Consortium: Journal 2011 (2010): 77-86

Bergesen, Rognald H. (2016 ). “Lapponia and the Drum, Instruments of Integration and the Construction of the Other during the Confessionalisation of Northern Sweden”. In: Berg, S.H., Bergesen, R. H. & Kristiansen, R. E. (eds.). The Protracted

Reformation in Northern Norway Vol. 2: Towards a Protestant North, TROLL 14.

Håkan Rydving, «The Saami drums and the religious encounter in the 17th and 18th centuries», Scripta Instituti Donneriani Aboensis, 01 January 1991, Vol.14, pp.28-51 (pdf in Canvas)

Husk å sende tekst for gjennomlesning innen mandag samme uke!

Robert Neuman. 2013.Baroque and Rococo art and architecture. First edition. Boston: Pearson, s. 222 - 229.

Husk å legge ut tekst for gjennomlesing innen mandag samme uke.

LECTURES TODAY WILL BE FROM 10.15-12, 13.15-14.00 AND 17.15-19.00 (Guest lecture with Charis Gullickson)

Literature

Rognald H. Bergesen, «Hybrid Iconoclasm: Three Ways of Viewing the Sámi as the Other», Sámi Art and Aesthetics: Contemporary Perspectives, edited by Svein Aamold et.al. (2017).

Homi K. Bhabha, "Postmodernism / Postcolonialism" (2003)

Gerardo Mosquera, "The Marco Polo Syndrome: Some Problems around Art and Eurocentrism" (1992)

Robert J.C. Young, “Postcolonial Remains?”, New Literary History (2012): 19-42

Clifford, James, “On Orientalism”, The Predicament of Culture: Twentieth-Century Etnography, Literature, and Art (1988): 255-276

James Elkins, “Art History as a Global Discipline”, Is Art History Global? (2007): 3-23

Frantz Fanon, “On National Culture” (fra The Wretched of the Earth, 1961)

Aslaug M. Juliussen : Intersections (2018) edited by Charis Gullickson.

Literature

Anne Heith, «Enacting colonised space; Katarina Pirak Sikku and Anders Sunna», Nordisk museologi, 69-83.

Linda Andersson Burnett, «The ‘Lapland Giantess’ in Britain: Reading Concurrences in a Victorian Ethnographic Exhibition», Concurrent Imaginaries: Postcolonial Worlds (2017), 123-143.

Cathrine Baglo, "Rethinking Sami Agency during Living Exhibitions: From the Age of Empire to the Postwar World." Performing Indigeneity: Global Histories and Contemporary Experiences (2014), 136-168.

Svein Aamold, “Representing the Hidden and the Perceptible: Johan Turi’s Images of Sápmi”, Sámi Art and Aesthetics: Contemporary Perspectives (2017): 69-97

Vi arbeider med kapittel 7 "Authorship and Identity" i Preziosi (2009) og kapittel 3 "Feminism, art, and art history" + kapittel 4 "Subjects, identities, and visual ideology" i Harris (2001).

Tekster fra kapittel 7 "Authorship and Identity" i Preziosi (2009).

Vi arbeider med kapittel 8, "Globalization and its Discontents" i Preziosi (2009) + "Conclusion" i Harris (2001) + Edward Said, “Empire, Geography, and Culture” (1994) (i kompendium i "Filer")

Vi arbeider med kapittel 8, "Globalization and its Discontents" i Preziosi (2009) + "Conclusion" i Harris (2001) + Said, “Empire, Geography, and Culture” (1994)

Husk å legge ut tekst for gjennomlesning innen mandag samme uke.

Brienen, Rebecca. 2006. Visions of savage paradise : Albert Eckhout, court painter in colonial Dutch Brazil . Kapitler: "Introduction” og kapitlene 2-4, plansjer og noter, 11-26, 49-129, 231-232, 238-252 og 17 fargeplansjer (133 s.)

Literature

Elin Haugdal, ”Strategies of Monumentality in Contemporary Sámi Architecture”, Sámi Art and Aesthetics: Contemporary Perspectives (2017): 211-238

Elin Haugdal, “‘It’s Meant to Decay’: Contemporary Sámi Architecture and the Rhetoric of Materials”, The Handbook of Contemporary Indigenous Architecture (2018). https://link.springer.com/content/pdf/10.1007%2F978-981-10-6904-8_30.pdf

Irene Snarby “The Sculpture of Iver Jåks and the Question of Sámi Aesthetics”, Sámi Art and Aesthetics: Contemporary Perspectives (2017): 121-137

Harald Gaski, “Nils-Aslak Valkeapää: Indigenous Voice and Multimedia Artist”, AlterNative: An International Journal of Indigenous Peoples (2008): 155-178

Ruth B. Phillips, “The Modern and the Modernist in Twentieth-Century Indigenous Arts”, Sámi Art and Aesthetics: Contemporary Perspectives (2017): 327-330

Literature

Anniken Greve, “Reopening Our Original Openness – Reflections on Landscape, Perception and Art”, Sámi Stories: Art and Identity of an Arctic People (2014): 68-87

Monica Grini, ’Contemporary Sámi Art in the Making of Sámi Art History…’, Sámi Art and Aesthetics: Contemporary Perspectives (2017): 297-323

Tuija Hautala-Hirvioja, “Traditional Sámi Culture and the Colonial Past as the Basis for Sámi Contemporary Art”, Sámi Art and Aesthetics: Contemporary Perspectives (2017): 99-120

Ulla Angkjær Jørgensen, Performing the Forgotten: Body, Territory, and Authenticity in Contemporary Sámi Art”, Sámi Art and Aesthetics: Contemporary Perspectives (2017): 249-265

Irene Snarby, “Sámi Art between the Local and the Global”, Sakahàn: International Indigenous Art (2013)