http://hdl.handle.net/10023/606 2013-05-24T23:54:51Z 2013-05-24T23:54:51Z Untiks, Inga. http://hdl.handle.net/10023/617 2010-12-07T15:22:01Z 2003-01-01T00:00:00Z

Abstract: This article will examine the marriage of art and nature in the Europos Parkas Open-Air Museum on the outskirts of the Lithuanian capital of Vilnius, which has become one of the most successful demonstrations of the transformative potential of artistic experience within a natural landscape. The inception of the museum coincided with the dramatic political and social changes of the late 1980s and early 1990s that were to affect both creative practice and aesthetic experience. During this period, contemporary art in the region developed a more pluralistic perspective, which included the use of a multitude of styles in the post-modern sense, such as object-oriented art, installation, performance, and an increased use of technology in artistic practice, such as photography, video, digital media. In response to this changed artistic atmosphere, many art and cultural institutions began to adapt their program in an effort to engage more fully in the dialogue of Western art discourses. Yet few have successfully transgressed the barriers separating the wider audience from Danto’s art world and its specific language of interpretation, whilst maintaining the integrity of the works on display. This article seeks to explore how the phenomenon of Europos Parkas has constructed and mediated the contemporary at a unique historical moment. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000370/; Article 6 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.

2003-01-01T00:00:00Z Untiks, Inga. This article will examine the marriage of art and nature in the Europos Parkas Open-Air Museum on the outskirts of the Lithuanian capital of Vilnius, which has become one of the most successful demonstrations of the transformative potential of artistic experience within a natural landscape. The inception of the museum coincided with the dramatic political and social changes of the late 1980s and early 1990s that were to affect both creative practice and aesthetic experience. During this period, contemporary art in the region developed a more pluralistic perspective, which included the use of a multitude of styles in the post-modern sense, such as object-oriented art, installation, performance, and an increased use of technology in artistic practice, such as photography, video, digital media. In response to this changed artistic atmosphere, many art and cultural institutions began to adapt their program in an effort to engage more fully in the dialogue of Western art discourses. Yet few have successfully transgressed the barriers separating the wider audience from Danto’s art world and its specific language of interpretation, whilst maintaining the integrity of the works on display. This article seeks to explore how the phenomenon of Europos Parkas has constructed and mediated the contemporary at a unique historical moment. Henriksen, Niels. http://hdl.handle.net/10023/616 2010-12-07T15:22:21Z 2003-01-01T00:00:00Z

Abstract: This article will examine the work of the Danish painter, potter and sculptor Asger Jorn (1914-1973). Although Asger Jorn is sometimes presented as the Scandinavian exponent of post war Abstract Expressionism, he was really a movement of his own, consciously working against such categorisations, and arguing against abstraction in art. From the beginning of the 1940s onwards Jorn was the initiator of periodicals and movements and always an ardent supplier of manifestos and articles. The best known of these movements are the COBRA-group and the Situationist International. In particular his work in the Scandinavian Institute for Comparative Vandalism and his project "10000 Years of Scandinavian Folk Art" will be discussed. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000369/; Article 5 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.

2003-01-01T00:00:00Z Henriksen, Niels. This article will examine the work of the Danish painter, potter and sculptor Asger Jorn (1914-1973). Although Asger Jorn is sometimes presented as the Scandinavian exponent of post war Abstract Expressionism, he was really a movement of his own, consciously working against such categorisations, and arguing against abstraction in art. From the beginning of the 1940s onwards Jorn was the initiator of periodicals and movements and always an ardent supplier of manifestos and articles. The best known of these movements are the COBRA-group and the Situationist International. In particular his work in the Scandinavian Institute for Comparative Vandalism and his project "10000 Years of Scandinavian Folk Art" will be discussed. Shepherd, Rachael. http://hdl.handle.net/10023/615 2010-12-07T15:22:39Z 2003-01-01T00:00:00Z

Abstract: This article will discuss the placing of art in schools in Sweden and the ideology behind this. The activities of Föreningen för skolornas prydande med konstverk [The Society for the Decoration of Schools with Artwork] and like-minded individuals will be examined. The Society was primarily concerned with children’s ability ‘to see’ works of art, aspiring “...to convey art to the youth and the youth to the art.” Positioning the works of art in question within communal spaces facilitated the regular access to art prescribed by the Society. Didactic messages were channelled through compositional devices such as scenes of familiar localities and the empathetic subject of the youth in Swedish nature. Discussion will focus on how these art works made a collective school identity compatible with lessons in fostering national identity. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000368/; Article 4 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.

2003-01-01T00:00:00Z Shepherd, Rachael. This article will discuss the placing of art in schools in Sweden and the ideology behind this. The activities of Föreningen för skolornas prydande med konstverk [The Society for the Decoration of Schools with Artwork] and like-minded individuals will be examined. The Society was primarily concerned with children’s ability ‘to see’ works of art, aspiring “...to convey art to the youth and the youth to the art.” Positioning the works of art in question within communal spaces facilitated the regular access to art prescribed by the Society. Didactic messages were channelled through compositional devices such as scenes of familiar localities and the empathetic subject of the youth in Swedish nature. Discussion will focus on how these art works made a collective school identity compatible with lessons in fostering national identity. Kurg, Andres. http://hdl.handle.net/10023/614 2010-12-07T15:22:56Z 2003-01-01T00:00:00Z

Abstract: This article will look at the early works of Estonian architect and artist Jüri Okas and will try to work between diverging languages and interpretations, reading works by Okas against the background of Anglo-american conceptualism and minimalism of the same period. The first part of the paper will analyse a print by Jüri Okas that paraphrases works by the American artist Donald Judd and will try to show how Okas’ concept of minimalism differed from the Western one and the reasons behind it. The second part of the paper will focus on a conceptual book by Jüri Okas, consisting of a series of photographs of everyday and banal architectural objects, and compare it to Rober Venturi’s book on Complexity and Contradiction in Architecture. Finally, a comparison will be made with works of Robert Smithson in the context of concepts of waste, excess and the remainders of industrial civilisation Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000367/; Article 3 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.

2003-01-01T00:00:00Z Kurg, Andres. This article will look at the early works of Estonian architect and artist Jüri Okas and will try to work between diverging languages and interpretations, reading works by Okas against the background of Anglo-american conceptualism and minimalism of the same period. The first part of the paper will analyse a print by Jüri Okas that paraphrases works by the American artist Donald Judd and will try to show how Okas’ concept of minimalism differed from the Western one and the reasons behind it. The second part of the paper will focus on a conceptual book by Jüri Okas, consisting of a series of photographs of everyday and banal architectural objects, and compare it to Rober Venturi’s book on Complexity and Contradiction in Architecture. Finally, a comparison will be made with works of Robert Smithson in the context of concepts of waste, excess and the remainders of industrial civilisation Talvistu, Tiiu http://hdl.handle.net/10023/613 2010-12-07T15:23:14Z 2003-01-01T00:00:00Z

Abstract: This article discusses Karin Luts, one of the first women artists to be trained in Estonia, she was among those who left Estonia in small boats on the eve of the Soviet invasion and started new lives in Sweden. She had to live through all the hardships and pains of moving to a new cultural environment, had to suffer losing her national identity, and find a new home and a new homeland. She left for good, never to return, not even when the political climate would have permitted it. Her relationship with Estonia was complicated and controversial, as was her relationship with Swedish culture and with the culture of her fellow refugees. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000366/; Article 2 of 6 in an issue devoted to the visual culture of the Scandinavian and Baltic region

2003-01-01T00:00:00Z Talvistu, Tiiu This article discusses Karin Luts, one of the first women artists to be trained in Estonia, she was among those who left Estonia in small boats on the eve of the Soviet invasion and started new lives in Sweden. She had to live through all the hardships and pains of moving to a new cultural environment, had to suffer losing her national identity, and find a new home and a new homeland. She left for good, never to return, not even when the political climate would have permitted it. Her relationship with Estonia was complicated and controversial, as was her relationship with Swedish culture and with the culture of her fellow refugees. Svede, Mark Allen. http://hdl.handle.net/10023/612 2010-12-07T15:39:58Z 2003-01-01T00:00:00Z

Abstract: This article focuses on book works by Latvian artists during the late-Soviet period, and also offers an initial discussion of the peculiarities of the Soviet publishing environment, as it existed shortly before the USSR’s annexation of Latvia at the end of World War II, and the roughly concurrent publication experiences of progressive artists in inter-bellum Latvia, the so-called First Republic. During its heyday in the 1960s and 70s the artist’s book was hailed by many practitioners in the West as the superlative democratic art form, due to the hypothetical possibility of the widespread ownership of the art object. An examination of how artist-authored books developed amid Latvian society's repeated, abrupt transitions between democracy and totalitarianism during the past century may further illuminate this concept of a democratic art medium. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000364/; Article 1 of 6 in an issue devoted to Scandinavian and Baltic visual culture

2003-01-01T00:00:00Z Svede, Mark Allen. This article focuses on book works by Latvian artists during the late-Soviet period, and also offers an initial discussion of the peculiarities of the Soviet publishing environment, as it existed shortly before the USSR’s annexation of Latvia at the end of World War II, and the roughly concurrent publication experiences of progressive artists in inter-bellum Latvia, the so-called First Republic. During its heyday in the 1960s and 70s the artist’s book was hailed by many practitioners in the West as the superlative democratic art form, due to the hypothetical possibility of the widespread ownership of the art object. An examination of how artist-authored books developed amid Latvian society's repeated, abrupt transitions between democracy and totalitarianism during the past century may further illuminate this concept of a democratic art medium.