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Hvordan er samisk kunst fremstilt i norsk kunsthistorie? Så enkelt og så komplekst er spørsmålet som driver denne boken frem. Utgangspunktet er en nysgjerrighet omkring hvordan samisk transnasjonalstatelighet slår ut i kunsthistorien; et spørsmål som ikke tidligere har blitt fremhevet som eksplisitt innfallsvinkel i undersøkelser av samisk kunst. Dette er en av svært få historiografiske analyser av kunsthistoriefaget i Norge, og den eneste med samisk historiografi som omdreiningspunkt.
What is the role of the nation state in art history, and how has the national paradigm shaped the presentation of Sámi art? This book examines the representation of Sámi art, artefacts, practices, materialities, actors, concepts, and themes in Norwegian art history, to uncover some of the prevailing disciplinary mechanisms and narratives. This is one of very few historiographical studies on the art historical discipline in Norway, and the first comprehensive monograph on the representation of Sámi art.
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Anyone who studies the history of modern art—in art museums, in the classroom, in art historical handbooks or specialist surveys—will soon be aware of a certain recurrent pattern governing the selection of objects and forming a certain type of narrative where the history of modern art is presented as a variety of different -isms that dissolve into each other in the coherent sequence that constitutes the history of modern art as modernism.
But why is this pattern so similar in all different places and contexts? Is it possible to distinguish between the history of modern art and the history of modernism? And if so, when, where and how did modernism become synonymous with art of the modern era?
With a dual perspective—regarding art as well as the discursive perception of art—Modernism as an Institution attempts to answer these questions by studying the frameworks for the institutional establishment, as well as the historiography, of modern art.
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