In a drawing by Erik Werenskiold entitled “Ma and Thinka” a pale, agonized woman sits beside a bedridden girl, equally marked by despair. The work shows affinity with Munch concerning both form and theme. Was Werenskiold influenced by Munch when he drew this image? The two artists are not usually associated with each other. Werenskiold is connected with sober naturalism, Munch with expressive symbolism. This article nonetheless argues that Werenskiold here was consciously inspired by Munch.
This article discusses how and why the prostitutes in Ernst Ludwig Kirchner’s street scenes from Berlin have been seen as symbols of the dehumanizing aspects of modern metropolitan life. But, most importantly, it offers a deeper investigation into the role of the prostitute in the eroticized utopianism of German Expressionism, which, I argue, seems more relevant in Kirchner’s case. This reading suggests that the prostitute had a far more life-affirming symbolic status, and thus provides a new and viable alternative to earlier research.
During the eighties, it became more and more common to work with site-specific art in Norway. Already in the early seventies, Bård Breivik and Gerhard Stoltz, two artists from Bergen, inspired by artists like Richard Long and Robert Smithson and stimulated by an exciting and challenging artistic environment like Group 66 in Bergen, began their own experiments related to site-specificity. One could argue that the method the two artists were using to investigate the concept of art, also contributed to expand the concept of art itself in a Norwegian context.
This article investigates public architecture in Sápmi from the 1970s until today, with particular emphasis on building materials and their discourse. Although the materials chosen for clothing or for revealed construction follow Nordic and international architectonic trends, the wood, stone, concrete and glass are ascribed a set of meanings to fit the Sami context. The question is to what degree these materials mediate conventional and even stereotypical understandings of Saminess, or produce awareness of new Sami architecture and identity.
This article is based on new source material for the cottage ”Sæterhytten” in the park at The Royal Manor of Bygdø in Oslo which was presented in Kunst og Kultur 1/2012. The small building incorporates several important aspects in the development of Norwegian architecture: typical German influence of this period, introduction of the bathing house, a very early veranda which was to become a trademark in Norwegian wooden architecture, important details on the path towards National Romanticism and painted exterior ornamentation to a degree hitherto not known in Norway.