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Om Netværket

Nordisk Netværk for Avantgardestudier er et nordisk forskningsnetværk støttet af Nordforsk 2004-2007. Nordisk Netværk for Avantgarde Studier vil styrke og koordinere mindre og spredte nationale forskningsmiljøer, bidrage til at fremme udveksling af viden om forskelle og ligheder mellem de nordiske lande og gøre nordisk avantgardeforskning internationalt synlig. Nordisk Netværk for Avantgardestudier afholder en årlig konference. Netværket danner også ramme for udarbejdelsen af De nordiske avantgarders kulturhistorie i 4 bind og et elektronisk arkiv for dokumenter fra de nordiske avantgarder. Det nordiske forskningsnetværk er en videreudvikling af det danske forskningsnetværk ”Avantgardernes genkomst og aktualitet” støttet af Det humanistiske Forskningsråd 2001-2004. Under forberedelse er et Europæisk Netværk for Avantgarde og Modernisme Studier, EAM, hvis første konference afholdes i Ghent, Belgien, maj 2008.

About the Network

The Nordic Network of Avant-Garde Studies is supported by Nordforsk 2004-2007. The Nordic Network of Avant-Garde Studies aims to support and coordinate small and dispersed national centres of research, help promote the exchange of knowledge about differences and similarities among the avant-garde currents and research in the Nordic countries, and make Nordic avant-garde research visible in a European and international context. The Nordic Network of Avant-Garde Studies has a yearly conference. Within the Network an editorial group is preparing a four-volume Cultural History of the Nordic Avant-Gardes and an electronic archive of documents from the Nordic avant-gardes. The Nordic network is an extension of the Danish research network ”The Return and Actuality of the Avant-Gardes” supported by the Danish Research Council 2001-2004. A European Network of Avant-Garde and Modernism Studies, EAM, is under preparation and will have its first conference in Ghent in May 2008.
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EAM Newsletter

The second EAM newsletter can be downloaded here. Number 3 will apear in May 2010.

Annika Öhrner - Barbro Östlihn och New York

Annika Öhrner - BARBRO ÖSTLIHN & NEW YORKDissertation presented at Uppsala University to be publicly examined in Ihresalen. Engelska Parken - Humanistiskt Centrum, Uppsala universitet, Thunbergsvägen 3 H, Uppsala, Friday,  January 29, 2010 at 10:15 for the degree of Doctor of Philosophy. The examination will be conducted in Swedish.


Öhrner, A. 2010. Barbro Östlihn och New York. Konstens rum och möjligheter. Makadam förlag. 250 pp. Stockholm. ISBN 978-91-7061-068-4. The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930- 1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives

Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden.

In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production.

The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework.

Keywords: Barbro Östlihn, post World War II Art History, American post World War II art , Swedish Art History, pop art, feminism, painting, photography, art criticism, avantgarde, neoavantgarde, NUNSKU, Moderna Museet, Konstfack School of Arts Crafts and Design, The Royal Academy of Art, Aspect 61, Pentacle, New York, Manhattan , urban renewal, space theory, Öyvind Fahlström, Roy Lichtenstein, Robert Rauschenberg, Jasper Johns, Billy Klüver, Donald Judd, Barbara Rose, Dore Ashton, Pontus Hultén, Pierre Bourdieu, Michel Foucault.