This essay revolves around the organization Mobile Art Production, MAP, and their artexhibition Street View shown on Kungsportsavenyn, Gothenburg two weeks in April 2010. Beingan alternative to traditional art institutions, MAP sets out goals for their activities and the aim ofthe essay is to examine whether the main goals of the organization were fulfilled through theexhibition. In Street View six Swedish artists participated with a total of seven Artworks.The theoretical framework is formed using Arthur C. Dantos today classic essay ?The Art World?,Anne Ring Petersens definition of installation art and Nicolas Bourriauds term and bookRelational Aesthetics.

This paper is an inquiry that is trying to establish four young musicians' views of art and music.To define the boundaries of music and art and explore the possible similarities. The musicians were confronted with an Artwork by Marcel Duchamp and a composition by John Cage, and have recieved a questionnaire where they were asked to express their views. They were also asked to point out qualities that define music and art and their boundaries. Follow up questions then try to futher clearify their definitions. The findings show that the group has a similar point of view where emotion and feeling rule over intellectualisation in relation to the creation of art..

In my paper I adress the question of what happens in the relationship between the beholder, the Artwork and the artist when they meet in the era of Web 2.0. The new smartphone based medium that I write about is Instagram. The artist i write about is the Swedish illustrator Jesper Waldersten. My purpose with this paper was to explore how the the beholder, pictures and artist relate to one another i relation to Instagram and how the interface of the smartphone and the app affect the beholder in these relationships. I also seek out to understand the difference between how Instagrams interface affect the beholder in comparison to the interface of the artists web page and his book.

The main purpose of this essay is to examine, in what way the paintings by Karin Broosand Markus Åkesson are images of autentic situations and furthermore in what way themediespecific essence is performed photografically. Questions occuring: 1) How are thecreations of reality shaped in the two chosen photorealistical paintings? 2) In what waycan you distinguish the iconicity and indexicality in the paintings Den vita klänningenand The Passage? 3) How does the photografic presence occur in the paintings andfuthermore how can you distinguish the mentioned parts above according to thepaintings? The theoretical standpoint is based upon Charles Sanders Peirces ideasconcerning iconicity and indexicality. The methods used are based on thoughtspresented by Andrew Benjamin and Mieke Bal. The signs of iconicity and indexicalitycan be studied in various ways in the two paintings, depending on how abstract andobvious different parts occur in the paintings.

The main purpose of the culture is to serve people and represent the people's social will and freedom. Culture does not exist in a vacuum but shaped and framed by political and artistic structures that are not neutral, and this is why the Artwork itself cannot be an independent business. The public function of art can be understood as a defense of the ideals of democracy. But today, when political power is often replaced by hegemony, the role of art and functions are changing. How these changes reflect to the identity, reality and truth of society? What political functions are fulfilled when art becomes ?public?? The issue of democracy is linked question of people?s power in a democratic society where power is legitimized in social space.

How can the object based art help us, as viewers and as makers, to access a supplanted emotional state?One way of positioning yourself within the corpus-field is to step outside the traditional borders of the field and aim for other values within the objects, such as a visible working process, a storytelling or an emotional relationship to the object.  It is a way of taking a step from the traditional silversmithing towards some kind of free undefined corpus-art.  To reach for suppressed feelings is one way to find an importance within the artistic work, to give it a purpose.By investigating the concept of the sublime and the surrealist movement I try to find examples on how you, both as a viewer and as a maker, can put yourself in an emotional/intuitive state.  Through interviews with Jewellery and corpus artists I get a maker?s perspective which I compare with my own reactions to their work.Works of art can be used as a catalyst to reach, and maybe also to process, unattended feelings. This creates a strong emotional connection to the work.  As a maker you can, for example, do this by working with it as a theme, or by using an intuitive working method.

This thesis examines and attempts to develop the theory of yakuwarigo as introduced by Kinsui (2003) by integrating both the visual and linguistic aspects of characters found in manga. We seek answers to what extent Japanese native speakers are capable of matching linguistic and visual characteristics of characters in manga. As well as whether they are consciously aware of how yakuwarigo affects their choices. Furthermore, it aims to present a framework capable of classifying, and categorizing different types of characters by their language use. This is accomplished by analyzing the motivation behind choices, by natives, whom were asked in a survey to match lines and Artwork of characters in manga to form pairs.

How can I make art that face people in their everyday lives, which is integrated into their lives, becoming a part of the discussions both in the mundane and in the room of society? Can I do this by working with performative interpretations that are participatory driven? I have explored how artists and participants can create spaces that are both open and confiden- ce-building, and how they at the same time enable us to question established norms. How to engage in dialogues concerning social, political and existential issues like; What is freedom for me - What is freedom to you? What is it that is important? Which topics are never upraised for discussion?The project is about putting thoughts, experiences and bodies (my own, the participants and the viewer?s) in relation to each other and to the location and context they are in. It ?s about creating a broader perspective where everyone?s voice is important and can take place.

The purpose of this study was to analyze recent appropriations of works of art in advertising. Why was art infused into magazine advertisements, how were the works of art tampered with to achieve commercial goals, how well did they function together with the ad copy? What did these advertisements want? What did the Artwork contribute to the commercial message? These were some of the questions asked in the study that involved a closer look at four appropriations: one based on a battle painting by the Swedish 1900th century artist Carl Wahlbom, with a commercial message printed on top;  one a collage including an 18th century portrait of Marie Antoinettte by Elisabeth Vigée-Lebrun; one advertisement was influenced by Dutch 1700th century still lifes, and, finally, one paraphrased Velázquez?s famous painting Las Meninas from 1655. Companies behind the advertisements featured a Swedish trade journal, a fashion exhibition in Paris, a shop for kitchen utensils in Stockholm, and an up-scale department store in Madrid.The ads, in different ways based on works of art, were evaluated as reasonably successful commercial messages. These ads, however, hardly qualified as works of art in their own right ? if that was the intention.

The purpose of this study was to analyze recent appropriations of works of art in advertising. Why was art infused into magazine advertisements, how were the works of art tampered with to achieve commercial goals, how well did they function together with the ad copy? What did these advertisements want? What did the Artwork contribute to the commercial message? These were some of the questions asked in the study that involved a closer look at four appropriations: one based on a battle painting by the Swedish 1900th century artist Carl Wahlbom, with a commercial message printed on top;  one a collage including an 18th century portrait of Marie Antoinettte by Elisabeth Vigée-Lebrun; one advertisement was influenced by Dutch 1700th century still lifes, and, finally, one paraphrased Velázquez?s famous painting Las Meninas from 1655. Companies behind the advertisements featured a Swedish trade journal, a fashion exhibition in Paris, a shop for kitchen utensils in Stockholm, and an up-scale department store in Madrid.The ads, in different ways based on works of art, were evaluated as reasonably successful commercial messages. These ads, however, hardly qualified as works of art in their own right ? if that was the intention.

The study aims to describe and analyze the image of Mary Magdalene as expressed in the French Artwork from 1400 and 1600s that this study deals with. The study also examines the historical context in order to find explanations for why the images of Mary Magdalene have changed. In the study Erwin Panofsky?s iconographic method is used to analyze the Artworks and finding their underlying meaning. Delimitations are made that only works of art made by French artists from the 1400 and 1600s are analyzed and delimitations are also made that Mary Magdalene will act on her own in the works of art.

The aim of this thesis is to study Viking Eggeling?s Artwork Diagonal Symphony together with Eggeling?s own art theoretical writings. This method of reading Eggeling?s art theoretical writings with the aim to try and create a deeper understanding of his art and especially Diagonal Symphony is a new approach in Eggeling?s art historical discourse. The thesis starts with a description of how the field of art history has understood Eggeling and his art primarily through art historical research aimed at Hans Richter.

The purpose of the thesis is to examine the relation between art, politics and ideology in contemporary art, focusing on the drawings depicting Mohammed the prophet as a dog, made by the Swedish artist Lars Vilks. His work is contextual in accordance with current art practice, thus letting everything related to the Artwork become part of it, a circumstance the thesis tries to grasp in the widest respect possible. The drawings were published and spread throughout Swedish media, where they were later defended and criticized by a number of writers. Many debaters argued that the art work represents Western freedom of speech, and that to criticize them is to criticize fundamental democratic rights. This discourse tended to disqualify all arguments that questioned why such force was put into defending and spreading offensive pictures.

The aim of this thesis is to examine interactivity in the context of performance-based interactive art. The questions asked are: what are the conditions of interactivity, how interactivity happens, and what artistic results it may yield. The method is an analysis based on close studies of three performance-based interactive Artworks by applying theories of interactivity, audience participation, and collaboration.First, current theories are outlined, after which, the three Artworks are introduced in detail. Next, the Artworks are examined, thematically rather than individually, expanding on parameters such as the degree of artistic direction of the Artwork, the degree of agency allowed to the spectator in their interaction with the work, and the idea of the ?passive? spectator as being ?activated? by interactive art.

This essay, Pictures from a death-bed, expands on the pictorial genre called post mortem portraits, a field with long history in the western society. A post mortem portrait is an Artwork where the artist paint or photograph the model after her or his dead. My survey delineates to treat two specific pictures, one from the seventeenth century and one from the twentieth century. Both of them are portraits of dead boys on their death-beds, but the first one is a painting and the other one is a photo. By this survey I wanted to find both similarities and differentials between the pictures; if they were made by the same reasons, if you could see anything different between the portraits by children and by the portraits of adults, and finally, if there were any cultural or religious connections between the pictures and their existents.