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Anna-Maria Hällgren

Forskningsredaktör

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Arbetar vid Områdeskansliet för humanvetenskap
E-post annamaria.hallgren@su.se
Besöksadress Universitetsvägen 10 A, plan 2
Rum 251
Postadress Områdeskansliet för humanvetenskap 106 91 Stockholm

Om mig

Anna-Maria Hällgren (FD) disputerade våren 2013 med den konstvetenskapliga avhandlingen Skåda all världens uselhet: Visuell pedagogik och reformism i det sena 1800-talets Sverige (Gidlunds). Utöver det sena 1800-talets konst och visuella kultur intresserar hon sig också för samtidskonsten idag, inte minst mot bakgrund av frågor om ekologi och ekonomi.

Hällgren har ägnat sig åt undervisning på både grundnivå och avancerad nivå och är för närvarande verksam som forskningsredaktör.

Publikationer

I urval från Stockholms universitets publikationsdatabas
  • 2017. Anna-Maria Hällgren.
  • 2017. Anna-Maria Hällgren. Scandia 83 (2), 132-134
  • 2016. Anna-Maria Hällgren. Salongsmåleri?!
  • 2016. Anna-Maria Hällgren. Svenska dagbladet (11 november)
  • 2015. Anna-Maria Hällgren. Svenska dagbladet (30 maj)
  • Avhandling (Dok) Skåda all världens uselhet
    2013. Anna-Maria Hällgren (et al.).

    This doctoral dissertation analyzes practices of looking within popular culture during the late nineteenth century. Visual attractions, illustrated press and traveling amusement shows included representations of social ills, such as poverty, criminality and prostitution. These representations were criticized in the Swedish public debate, because of their presumed negative impact on society. They were considered “far too realistic” and thus demoralizing, allegedly causing faulty ideals and creating inaccurate understandings of society. However, others emphasized the importance of beholding images, tableaus and depictions of this kind. I argue that by governing vision, certain practices of looking enabled otherwise problematic representations to become a valuable resource.

    While the governing of vision in educational contexts has been frequently analyzed, the way in which vision was also governed in popular culture is less well understood. This is not surprising. At the time, it was often assumed that popular culture endangered the attentive spectator, generating an uncaring, detached mind. In addition, popular culture contained various representations of social ills, which were not educational in any obvious way. However, I argue that even these representations were potentially instructional. They were part of the creation of an orderly, responsible citizen – aware of the social problems generated by the rapidly developing society and aware of his or her responsibility to actively engage in their solutions. Hence, I argue that the governing of vision within popular culture became a means of social reform during the late nineteenth century.

  • 2012. Anna-Maria Hällgren. Dragomanen 14, 167-174
  • 2011. Anna-Maria Hällgren. Okonstlad konst?, 137-152
  • 2008. Anna-Maria Hällgren. Valör (1), 24-33
  • 2019. Anna-Maria Hällgren. Mutating Ecologies in Contemporary Art, 127-132
  • 2019. Anna-Maria Hällgren. Konsthistorisk Tidskrift 88 (1), 33-42

    In order to broaden the possibilities for further, in-depth analysis of contemporary art in the light of climate change, the essay identifies and explores a recurrent phenomenon within contemporary art today: The frequent use of rocks and stones. Stones have, of course, played a quite significant role in the history of art, not least through skillfully crafted marble and grand earthworks. Within contemporary art today, however, everyday pebbles, cobbles and boulders have become a means to address the ecological crisis. By drawing upon the ongoing debate about the reorganization of knowledge, fostered by the awareness of climate change and discussed by Matthew Omelsky and Ian Baucom amongst others, this essay examines when and how stones became such a means. By reflecting upon artworks by Jimmie Durham, Adriane Wachholz, Silvia Noronha and Julian Charrière, it is suggested that stones are often used as a medium to transgress habitual and anthropocentric notions of time and temporality. Further, through their work, these artists have the potential to make us believe, in times of make-believe: Not only in the urgency of climate change, but also in a future to come.

Visa alla publikationer av Anna-Maria Hällgren vid Stockholms universitet

Senast uppdaterad: 28 maj 2019

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