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Samisk kunst og norsk kunsthistorie

Sápmi, the Sámi area, is transnational; it transcends four nation states, Norway, Sweden, Finland, and Russia. Art and art history has been considered natural parts of a nation state’s inventory at least since the 19th century and has contributed to the production and maintenance of national identit...

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Hovedforfatter: Monica Grini
Format: Online
Sprog:Norsk
Udgivet: Stockholm University Press 2021
Fag:
Norwegian art
Sámi art
Representation
Reception
Historiography
Art History
thema EDItEUR::Q Philosophy and Religion::QD Philosophy::QDT Topics in philosophy::QDTN Philosophy: aesthetics
thema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGA History of art
thema EDItEUR::6 Style qualifiers::6P Styles (P)::6PJ Prehistoric styles
thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBC Cultural and media studies::JBCC Cultural studies
thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBC Cultural and media studies::JBCC Cultural studies::JBCC9 History of ideas
thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBS Social groups, communities and identities::JBSL Ethnic studies::JBSL1 Ethnic groups and multicultural studies::JBSL11 Indigenous peoples
thema EDItEUR::5 Interest qualifiers::5P Relating to specific groups and cultures or social and cultural interests::5PB Relating to peoples: ethnic groups, indigenous peoples, cultures and other groupings of people::5PBA Relating to Indigenous peoples
thema EDItEUR::G Reference, Information and Interdisciplinary subjects::GL Library and information sciences / Museology::GLZ Museology and heritage studies
Online adgang:ONIX_20211111_9789176351529_17
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Summary:Sápmi, the Sámi area, is transnational; it transcends four nation states, Norway, Sweden, Finland, and Russia. Art and art history has been considered natural parts of a nation state’s inventory at least since the 19th century and has contributed to the production and maintenance of national identities and narratives. What is the role of the nation state in art history, and how has the national paradigm affected the presentation of Sámi art, historically and today? Focusing on the discipline of art history in Norway, the volume exposes the prevailing representation of Sámi art, duodji, and dáidda as ethnographic material and relates it to the politics of nation building in the nineteenth and early twentieth century. The book examines the representation of Sámi art, artefacts, practices, materialites, actors, concepts, and themes in Norwegian Art History, to uncover some of the established disciplinary mechanisms and narratives. The central method is historiography in combination with fieldwork in archives and museums, aimed at doing art historiography in the expanded field – to move beyond the traditional textual focus and question naturalized institutional and disciplinary boundaries. This is one of very few historiographical studies of the art historical discipline in Norway, and the only one that does this by centring on Sámi traditions, items, actors, and conceptualizations.

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