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Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/3171
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Title: Graphic revolt! Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS
Authors: Glomm, Anna Sandaker
Supervisors: Howard, Jeremy
Keywords: Poster art in the twentieth-century
Political art
Propaganda
Social realism
Socialist realism
Røde Mor
GRAS
Folkets Ateljé
Norwegian twentieth-century art
Danish twentieth-century art
Swedish twentieth-century art
Scandinavian twentieth-century art
Pop art
Conceptual art
Figuration
Abstraction
1968
Popular movements
Transnational study
Op-art
EEC 1972
Communism and art
Marxist-Leninism and art
Underground and sub culture
1970s Scandinavia
Marxism and art
Grassroot movements
Collectivism
Graphic art
Silkscreen
Serigraphy
Lino-cuts
Offset print
Linoleum print
Atelier Populaire
Art Workers Coalition
Modernism
Postmodernism
Social art history
Russian avant garde poster art
Neo-avant garde
Activism and art
Comparative study of art
Non-figuration
Scandinavian 1968
European 1968
Political pop-art
Youth rebellion and uprising
Capitalism and art
Street art
Scandinavian model and art
Nordic model and art
Social democracy and art
Globalisation
Chinese Cultural Revolution
Third World and anti-imperialism
Issue Date: Jan-2012
Abstract: This thesis examines the relationship between the three artists’ workshops Røde Mor (Red Mother), Folkets Ateljé (The People’s Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups’ poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968’ it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups’ it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.
URI: http://hdl.handle.net/10023/3171
Other Identifiers: uk.bl.ethos.558103
Type: Thesis
Publisher: University of St Andrews
Appears in Collections:Art History Theses



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