5,749 research outputs found
A propos d'Eva Klasson
No full textSimha Yolaine, Klasson Eva. A propos d'Eva Klasson. In: Sorcières : les femmes vivent, n°8, 1977. Fidélités. pp. 53-54
Eva Klasson : En analys av verk, karriär och reception
No full textThe Swedish photographer and artist Eva Klasson, based in Paris in the 1970s, gained attention for her series of black-and-white photography of her own naked body, which opened up for an international artistic career in the late 1970s. Despite a promising career she however abandoned photography and disappeared from the artistic sphere only a few years after her debut. There has been a renewed interest in Klasson’s work in Sweden the last decade where she has been exhibited at museums and galleries. Today she is represented at art museums and institutions including Moderna Museet, The Modern Museum of Art, in Stockholm. She is now presented as a pioneer and a forerunner to the later generation of Swedish women artists working with photo based art and staged photography in the 1990s. This historiographical study revisits Klasson’s work, career and reception in order to examine the prevalent understanding of the artist and her work. There is limited previous research on Klasson. This empirical study is therefore based on Klasson’s works that I have examined first hand at Moderna Museet and Borås konstmuseum. By tracing Klasson’s career and examining the contemporary reception in France and in Sweden one can see that Klasson not only enjoyed wider attention in France than in Sweden but also that she was received and understood differently in the two countries. Today’s prevalent reading of Klasson is to a large extent based on the contemporary reception, which disregards important aspects of her work. By discussing Klasson’s body of work in relation to photography of similar subject matter and aesthetics it become clear that one cannot only discuss her work in terms of photography. It is evident that Klasson’s work comprises of subtle elements that have largely been ignored so far. The prevalent understanding of Klasson also shows to be based on a narrow selection of her work. I argue that Klasson’s working method and artistic expression is formulaic. This becomes evident in the examination of her artist book, Le troisième angle (1976), which set off her artistic career. The artist’s book also forms a background against which this artistic project originally had been formulated and brings new light to Klasson and her work. Her two following series, Ombilic (1977) and Parasites (1978), are modeled on the artist’s book. Therefore these three series, following the same strategy, must be regarded in relation to one another. Furthermore I argue that one needs to pay attention to all parts of her artistic production that together comprise the works. In doing so, this essay, with its historiographical scope, suggests and opens up to new and alternative readings of Klasson’s work
Eva Klasson : En analys av verk, karriär och reception
No full textThe Swedish photographer and artist Eva Klasson, based in Paris in the 1970s, gained attention for her series of black-and-white photography of her own naked body, which opened up for an international artistic career in the late 1970s. Despite a promising career she however abandoned photography and disappeared from the artistic sphere only a few years after her debut. There has been a renewed interest in Klasson’s work in Sweden the last decade where she has been exhibited at museums and galleries. Today she is represented at art museums and institutions including Moderna Museet, The Modern Museum of Art, in Stockholm. She is now presented as a pioneer and a forerunner to the later generation of Swedish women artists working with photo based art and staged photography in the 1990s. This historiographical study revisits Klasson’s work, career and reception in order to examine the prevalent understanding of the artist and her work. There is limited previous research on Klasson. This empirical study is therefore based on Klasson’s works that I have examined first hand at Moderna Museet and Borås konstmuseum. By tracing Klasson’s career and examining the contemporary reception in France and in Sweden one can see that Klasson not only enjoyed wider attention in France than in Sweden but also that she was received and understood differently in the two countries. Today’s prevalent reading of Klasson is to a large extent based on the contemporary reception, which disregards important aspects of her work. By discussing Klasson’s body of work in relation to photography of similar subject matter and aesthetics it become clear that one cannot only discuss her work in terms of photography. It is evident that Klasson’s work comprises of subtle elements that have largely been ignored so far. The prevalent understanding of Klasson also shows to be based on a narrow selection of her work. I argue that Klasson’s working method and artistic expression is formulaic. This becomes evident in the examination of her artist book, Le troisième angle (1976), which set off her artistic career. The artist’s book also forms a background against which this artistic project originally had been formulated and brings new light to Klasson and her work. Her two following series, Ombilic (1977) and Parasites (1978), are modeled on the artist’s book. Therefore these three series, following the same strategy, must be regarded in relation to one another. Furthermore I argue that one needs to pay attention to all parts of her artistic production that together comprise the works. In doing so, this essay, with its historiographical scope, suggests and opens up to new and alternative readings of Klasson’s work
An Artist Unfolds : Contextualizations and Processes of Becoming in the Artistic Work of Eva Klasson During the 1970s
No full textThe subject of this dissertation is the practice, progress and conditions of the artistry Eva Klasson during the 1970s. The aim is to deepen and simultaneously broaden the understanding of the artistry by analysing Klasson's context and network, artistic method, and a large number of works she created during the 1970s. Prior scholarly inquires have focused on a photographic historical perspective resulting in interpretations that primarily place Eva Klasson in contexts where a photographic craftsmanship is predominant. By studying archival materials and paying special attention to artistic processes as well as corporeal themes within the artworks, this study demonstrates connections and affiliations with the French body art movement, art corporel. Three overarching questions focusing on the development of the artist, performative processes, and the relationship with contemporary artistic practices underpin the study. The first question addresses the development of the artist. It examines actors, places, processes, and networks that have influenced the shaping and direction of Eva Klasson's artistry. The second question investigates the relationship between verbal statements and practical methods in relation to Eva Klasson's performative and process-oriented artistic practice. The third question focuses on Eva Klasson's affinity with artists who also worked with the body as subject and material. The theoretical framework is built upon the concepts of performativity and becoming. Together, they form a theoretical framework that helps trace the processual nature of the artist, both in terms of the practice and the works created during the 1970s. The concepts operate on different levels and in various ways within the chapters. They illuminate the developments of the artistry in relation to a contemporary artist identity, while also allowing for a theorization and contextualization of Klasson’s works and methods as performative. The study introduces the term becoming camera as a lens through which to analyse Klasson’s conceptualization of the camera as an extension of her body combined with an integration of creative and technical aspects of the artistic method. Additionally, these concepts also enable analyses of the artworks in relation to performative photography, performance photography, and works that create performance. The dissertation, grounded in a material-centred approach, incorporates an extensive array of visual content, juxtaposing artworks with archival sources. Central to the analysis is Le troisième angle, a photographic series comprising 42 works (1975–1976) and an accompanying artist’s book featuring reproductions from the series (1976). These serve as a pivotal node, from which diverse materials and thematic inquiries radiate
An Artist Unfolds : Contextualizations and Processes of Becoming in the Artistic Work of Eva Klasson During the 1970s
No full textThe subject of this dissertation is the practice, progress and conditions of the artistry Eva Klasson during the 1970s. The aim is to deepen and simultaneously broaden the understanding of the artistry by analysing Klasson's context and network, artistic method, and a large number of works she created during the 1970s. Prior scholarly inquires have focused on a photographic historical perspective resulting in interpretations that primarily place Eva Klasson in contexts where a photographic craftsmanship is predominant. By studying archival materials and paying special attention to artistic processes as well as corporeal themes within the artworks, this study demonstrates connections and affiliations with the French body art movement, art corporel. Three overarching questions focusing on the development of the artist, performative processes, and the relationship with contemporary artistic practices underpin the study. The first question addresses the development of the artist. It examines actors, places, processes, and networks that have influenced the shaping and direction of Eva Klasson's artistry. The second question investigates the relationship between verbal statements and practical methods in relation to Eva Klasson's performative and process-oriented artistic practice. The third question focuses on Eva Klasson's affinity with artists who also worked with the body as subject and material. The theoretical framework is built upon the concepts of performativity and becoming. Together, they form a theoretical framework that helps trace the processual nature of the artist, both in terms of the practice and the works created during the 1970s. The concepts operate on different levels and in various ways within the chapters. They illuminate the developments of the artistry in relation to a contemporary artist identity, while also allowing for a theorization and contextualization of Klasson’s works and methods as performative. The study introduces the term becoming camera as a lens through which to analyse Klasson’s conceptualization of the camera as an extension of her body combined with an integration of creative and technical aspects of the artistic method. Additionally, these concepts also enable analyses of the artworks in relation to performative photography, performance photography, and works that create performance. The dissertation, grounded in a material-centred approach, incorporates an extensive array of visual content, juxtaposing artworks with archival sources. Central to the analysis is Le troisième angle, a photographic series comprising 42 works (1975–1976) and an accompanying artist’s book featuring reproductions from the series (1976). These serve as a pivotal node, from which diverse materials and thematic inquiries radiate
I Remember column in which author Eva LaPlante writes of her visits to sites a
No full textI Remember column in which author Eva LaPlante writes of her visits to sites associated with E. B. White and his book Charlotte\u27s Web
Eva Murray, author of Well Out to Sea , has been a resident of Matinicus Island
No full textEva Murray, author of Well Out to Sea , has been a resident of Matinicus Island since she moved there to teach at the island\u27s one-room schoolhouse in 1987. She discusses the differences between writing from an island and writing about an island as well as her efforts to dispel some stereotypes and myths about Matinicus through her writing
Obesity of Older School Age Children Based on Physical Activity and Eating Habits
No full textTITLE: Obesity of Older School Age Children Based on Physical Activity and Eating Habits AUTHOR: Bc. Eva Lamačová DEPARTMENT: Department of Education SUPERVISOR: PaedDr. Eva Marádová, CSc. ABSTRACT: This thesis deals with the obesity of older school age children and their dependence on eating and exercising habits. The theoretical part summarizes knowledge regarding overweight and obesity, disease diagnosis, epidemiological trends and complications related to obesity. Emphasis is put on the evaluation of reasons to why this problem occurs, such as disease prevention, dietary and exercise recommendations, its therapy and inclusion of the issue with the secondary school curriculum. The practical part contains research focused on the nutritional status, eating and exercise habits of pupils in secondary school. The survey results are designed for use in pedagogical practice. Usage is targeted for obesity prevention in this age group during Physical Education and Health Education subjects. KEYWORDS: Obesity, overweight, eating habits, exercising habit
ANALISIS PENDEKATAN ECONOMIC VALUE ADDED (EVA) TERHADAP KINERJA KEUANGAN PADA PERUSAHAAN MAKANAN DAN MINUMAN DI BURSA EFEK INDONESIA
No full textEconomic Value Added (EVA is one approach to measuring the financial performance of a company by focusing on the creation of value-added enterprises. EVA shows how big the resulting rate of return on the investment made by shareholders. In this paper, the object used by the author is wrong a company engaged in the food and beverage industry in Indonesia Stock Exchange. data used is the consolidated financial statements of the company in 2011-2012. purpose of this paper is to measure the financial performance of the EVA approach to food and beverage companies 2011-2012. Results analysis of the EVA calculation shows that by using the EVA approach, the financial performance of food and beverage companies can experience a volatile period 2011-2012. In 2011 the company's financial performance has improved food and beverage d in the presence of EVA is positive that the company has succeeded in achieving its goal create value-added enterprises. But in 2012 the company's food and beverage show poor financial performance since EVA generated negative worth. This means that in 2012, the company has not been able to create value for the rate of return expected by shareholders or the investment made. Keywords: Economic Value Added (EVA
Eva Urban. 'Lessing’s Nathan the Wise: from the Enlightenment to the Berliner Ensemble.'
No full textLessing's Nathan the Wise (1779), exemplary for its enlightenment and humanist ideals, assembles Jews, Christians, and Muslims in dialogue during the medieval crusades in Jerusalem. Their encounters allow them to transcend conflict, to recognize their common humanity, and to resolve their differences through dialectical discourse and group arguments. In this article Eva Urban looks closely at the representation of enlightenment in this play and examines the potential role of plays and theatre practice in developing autonomous citizenship and intercultural understanding. Particular reference is made to the 2013 Berliner Ensemble production of Nathan the Wise in relation to aesthetic debates about modern political drama. Eva Urban is a British Academy Postdoctoral Research Fellow at the Faculty of English, University of Cambridge, and an Associate of Clare Hall, Cambridge. She is the author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2010) and has published a number of articles on political drama and Irish studies
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