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  • 1.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    An Alternative Madonna2000Conference paper (Refereed)
  • 2.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Att skapa ett vi: Gatukonst i Kalifornien2006In: Dom - och vi, Humanistdagboken, nr 19, Göteborg: Göteborgs universitet , 2006Chapter in book (Other academic)
  • 3.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Border Imagery: Reflections on Redefinitions of Idenity and Place2010In: Paper presented at the conference Global Americas - SAAS Sixth Biennal Conference 2010, September 17-18, 2010, Mid Sweden University, Härnösand., 2010, p. 1-9Conference paper (Refereed)
  • 4.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Charlotte Bydler, The Global Art World Inc: On the Globalization of Contemporary Art, Acta Universitatis Upsaliensis, Figura Nova Series 32, Uppsala 2004, 346 s2006In: Konsthistorisk tidskrift / Journal of Art History, ISSN 00233609, Vol. 75, no 2Article, book review (Refereed)
  • 5.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Crossing Visual Borders of Representation: Images of 'Nordicness' in a Global Context2011In: Globalizing Art: Negotiating Place, Identity and Nation in Contemporary Nordic Art / [ed] Bodil Marie Stavning Thomsen & Kristin Ørjasæter, Aarhus: Aarhus Universitetsforlag, 2011Chapter in book (Refereed)
  • 6.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    En väv av bilder: Graciela Iturbides fotografi2009In: Fotografi i fokus - Fotobiennalen i Skåne / [ed] Kajsa Lindskog, Kristina Jensner Edon, Johan Sterner, Stockholm: Fotografi i fokus , 2009Chapter in book (Other academic)
  • 7.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Formation of identity processes on the walls of California2006In: Paper presented at the conference III congreso Nol@an & VI Taller de la Red Haina (sobre Globalización y genero en América Latina), June 8-11, 2006, Gothenburg University., Göteborg, 2006, p. 1-9Conference paper (Refereed)
  • 8.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Fredsminnen och monument i Karlstad2009In: Miljömagasinet - Alternativet i svensk pressArticle in journal (Other (popular science, discussion, etc.))
  • 9.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education.
    Frida Kahlo as subject for a doctoral thesis1996In: Paper presented at the conference Reunión de investigadoras/es sobre la problemática de género y de la mujer en América Latina, May 13, 1996, HAINA/Nätverk för nordiska forskare som arbetar med kvinnofrågor i Latinamerika, Iberoamerican Institute, Göteborg University., Göteborg, 1996, p. 1-3Conference paper (Other academic)
  • 10.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Frida Kahlo och Diego Rivera: En ambivalent konstnärsrelation med starka band2011In: Frida Kahlo & Diego Rivera: Verk ur Jacques and Natasha Belman Collection of Mexican Art / [ed] Per Dahlström, Göteborg: Göteborgs konstmuseum , 2011, p. 22-36Chapter in book (Other academic)
  • 11.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Frida Kahlo. Tate Modern, London 9 June-9 October 2005: Catalogue: Frida Kahlo, eds. Emma Dexter and Tanya Barson, Tate Publishing, London 20052006In: Konsthistorisk tidskrift / Journal of Art History, vol. 75, nr. 3, ISSN 00233609Article, book review (Refereed)
  • 12.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Frida Kahlo's Abortions: With Reflections from a Gender Perspective on Sexual Education in Mexico2006In: Konsthistorisk tidskrift / Journal of Art History, ISSN 0023-3609, Vol. 75, no 4, p. 230-243Article in journal (Refereed)
  • 13.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Frida Kahlos bildspråk - ansikte, kropp & landskap: Representation av nationell identitet2003Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis is about the Mexican artist Frida Kahlo (1907-1954) and her works, with emphasis on her painted self-portraits. The objective is to place Frida Kahlo’s pictorial production in relation to a place and time specific context and test the theory of Frida Kahlo’s self-portraits as a project connected to a general striving towards a new formulation of national identity. The majority of Frida Kahlo’s pictorial production coincides with a historically delimited era in which there was a break from earlier role models and ideals, politically, culturally and ideologically. This phase was an artistically dynamic period with a redefining view of art and the history of the nation, a visualisation of the mythology and symbolism of the Indian cultures of origin, and an emphasis on the Indian ethnicity of the nation. Two chapters describe the ideological context in which Frida Kahlo’s works were created. The visual markers around which the post-revolutionary national discourse came to revolve are identified and certain concepts related to race are examined. The subsequent chapters are devoted to Frida Kahlo’s pictures. One chapter examines how her pictorial production in the 1920’s emerged in a dialogue with contemporary art theory. One chapter deals with body thematics based on the naked female body, and elements of sex education are put in relation to an ongoing debate on sex education in Mexican schools. Thereafter new features are explored that are introduced in her self-portraits during the late 1930’s and that came to be consistent features in her continued production of self-portraits. In the concluding section of the thesis, the self-portraits are discussed from a more general perspective. Some of the myths upon which earlier biographical interpretations were based are questioned. Instead, the thematics of suffering found in the self-portraits are related to the reconstruction of the nation’s ethnic identity and problematic issues based on the 16th century Spanish Conquest of the indigenous Indian population. In her complex imagery, Frida Kahlo refers to a broad spectrum of disparate pictorial traditions, stylistic epochs, categories of motifs and symbolic imagery, and to historical, religious and mythical female personages such as Malintzín, la Chingada, Sor Juana, and the Virgin of Guadalupe. These references from different epochs represent the two fundamental components of Mexico’s cultural heritage – the Spanish and the Indian – and these are merged in Frida Kahlo self-portraits so that they thereby communicate a construction of identity based on a national heritage. The time perspective of the discussion reaches backwards to before the Spanish Conquest in the 16th century and forwards to the contemporary Chicana/Chicano movement north of the border to the United States.

  • 14.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Frida Kahlos bildspråk - ansikte, kropp & landskap: Representation av nationell identitet (andra utgåvan)2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis is about the Mexican artist Frida Kahlo (1907-1954) and her works, with emphasis on her painted self-portraits. The objective is to place Frida Kahlo’s pictorial production in relation to a place and time specific context and test the theory of Frida Kahlo’s self-portraits as a project connected to a general striving towards a new formulation of national identity. The majority of Frida Kahlo’s pictorial production coincides with a historically delimited era in which there was a break from earlier role models and ideals, politically, culturally and ideologically. This phase was an artistically dynamic period with a redefining view of art and the history of the nation, a visualisation of the mythology and symbolism of the Indian cultures of origin, and an emphasis on the Indian ethnicity of the nation. Two chapters describe the ideological context in which Frida Kahlo’s works were created. The visual markers around which the post-revolutionary national discourse came to revolve are identified and certain concepts related to race are examined. The subsequent chapters are devoted to Frida Kahlo’s pictures. One chapter examines how her pictorial production in the 1920’s emerged in a dialogue with contemporary art theory. One chapter deals with body thematics based on the naked female body, and elements of sex education are put in relation to an ongoing debate on sex education in Mexican schools. Thereafter new features are explored that are introduced in her self-portraits during the late 1930’s and that came to be consistent features in her continued production of self-portraits. In the concluding section of the thesis, the self-portraits are discussed from a more general perspective. Some of the myths upon which earlier biographical interpretations were based are questioned. Instead, the thematics of suffering found in the self-portraits are related to the reconstruction of the nation’s ethnic identity and problematic issues based on the 16th century Spanish Conquest of the indigenous Indian population. In her complex imagery, Frida Kahlo refers to a broad spectrum of disparate pictorial traditions, stylistic epochs, categories of motifs and symbolic imagery, and to historical, religious and mythical female personages such as Malintzín, la Chingada, Sor Juana, and the Virgin of Guadalupe. These references from different epochs represent the two fundamental components of Mexico’s cultural heritage – the Spanish and the Indian – and these are merged in Frida Kahlo self-portraits so that they thereby communicate a construction of identity based on a national heritage. The time perspective of the discussion reaches backwards to before the Spanish Conquest in the 16th century and forwards to the contemporary Chicana/Chicano movement north of the border to the United States.

  • 15.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Frida Kahlos bildspråk - ansikte, kropp och landskap: Representation av nationell identitet (tredje utgåvan)2011Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis is about the Mexican artist Frida Kahlo (1907-1954) and her works, with emphasis on her painted self-portraits. The objective is to place Frida Kahlo’s pictorial production in relation to a place and time specific context and test the theory of Frida Kahlo’s self-portraits as a project connected to a general striving towards a new formulation of national identity. The majority of Frida Kahlo’s pictorial production coincides with a historically delimited era in which there was a break from earlier role models and ideals, politically, culturally and ideologically. This phase was an artistically dynamic period with a redefining view of art and the history of the nation, a visualisation of the mythology and symbolism of the Indian cultures of origin, and an emphasis on the Indian ethnicity of the nation. Two chapters describe the ideological context in which Frida Kahlo’s works were created. The visual markers around which the post-revolutionary national discourse came to revolve are identified and certain concepts related to race are examined. The subsequent chapters are devoted to Frida Kahlo’s pictures. One chapter examines how her pictorial production in the 1920’s emerged in a dialogue with contemporary art theory. One chapter deals with body thematics based on the naked female body, and elements of sex education are put in relation to an ongoing debate on sex education in Mexican schools. Thereafter new features are explored that are introduced in her self-portraits during the late 1930’s and that came to be consistent features in her continued production of self-portraits. In the concluding section of the thesis, the self-portraits are discussed from a more general perspective. Some of the myths upon which earlier biographical interpretations were based are questioned. Instead, the thematics of suffering found in the self-portraits are related to the reconstruction of the nation’s ethnic identity and problematic issues based on the 16th century Spanish Conquest of the indigenous Indian population. In her complex imagery, Frida Kahlo refers to a broad spectrum of disparate pictorial traditions, stylistic epochs, categories of motifs and symbolic imagery, and to historical, religious and mythical female personages such as Malintzín, la Chingada, Sor Juana, and the Virgin of Guadalupe. These references from different epochs represent the two fundamental components of Mexico’s cultural heritage – the Spanish and the Indian – and these are merged in Frida Kahlo self-portraits so that they thereby communicate a construction of identity based on a national heritage. The time perspective of the discussion reaches backwards to before the Spanish Conquest in the 16th century and forwards to the contemporary Chicana/Chicano movement north of the border to the United States.

  • 16. Zetterman, Eva
    Frida Kahlo's Painting: Marginality and Transgression1998In: América Latina: ¿Y las Mujeres Qué? / [ed] Maria Clara Medina, Göteborg: Red. Haina/Instituto Iberoamericano , 1998, p. 69-83Chapter in book (Refereed)
  • 17.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education.
    Frida Kahlo's painting: Marginality and transgression in Las dos Fridas (1939)1997In: Paper presented at the conference Investigación Nórdica sobre la Mujer en Latinoamérica, May 17-16, 1997, HAINA/Nätverk för nordiska forskare som arbetar med kvinnofrågor i Latinamerika, the Iberoamerican Institute, Göteborg University., Göteborg, 1997, p. 1-4Conference paper (Other academic)
  • 18.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Från passiv jungfru till feministisk Chicana: Yolanda López' Guadalupebilder2008In: Moderniteter: Text, bild, kön / [ed] Åsa Arping, Anna Nordenstam & Kajsa Widegren, Stockholm/Göteborg: Makadam , 2008, p. 233-251Chapter in book (Refereed)
  • 19.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Från redaktionen: Genus & Gud2003In: Kvinnovetenskaplig tidskrift, ISSN 0348-8365, Vol. 24, no 3-4Article in journal (Other academic)
  • 20.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Från redaktionen: Visualitet & Representation2004In: Kvinnovetenskaplig tidskrift, ISSN 0348-8365, Vol. 25, no 4Article in journal (Other academic)
  • 21.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Från teori till konstnärlig gestaltning2009Conference paper (Other academic)
  • 22.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education.
    Från teori till konstnärlig praktik: Några exempel på pedagogiska utmaningar2011In: Genuspedagogiska gärningar: Subversiv och affirmativ aktion / [ed] Maria Carlgren m.fl., Göteborg: Kultur i Väst , 2011, p. 55-70Chapter in book (Refereed)
  • 23.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Hur ser en nordisk identitet ut?: Några exempel på överskridanden av normbundna föreställningar2008In: Paper presenterat på konfferensen Genusrelationer och förändringsprocesser: Nordisk feminism och genusforskning 2008, 6-8 oktober 2008, Karlstads universitet., Karlstad, 2008, p. 1-10Conference paper (Refereed)
    Abstract [sv]

    Hur ser en nordisk identitet ut? Några exempel på överskridanden av normbundna föreställningarSession: Främjande av och motstånd mot normerings- och normaliseringsprocesserKonstbilden är av tradition ett manligt kodat medium, länkat till en historisk konstruerad konstnärsmyt om det skapande manliga geniet och en hierarkisk uppdelning i tekniker och motivkategorier. Samtidigt är konstbilder kraftfulla verktyg i förmedlingen av könsbundna normer, konstruktionen av identiteter och föreställningar kring sexualitet och etnicitet. Visuella markörer för t.ex. hudfärg, etnicitet, plats och historiskt arv fungerar som led i normaliseringsprocesser av nordisk identitet. I denna studie undersöks hur samtida konstnärer bearbetat ett historiskt visuellt arv med ett överskridande av normbundna föreställningar om kön, sexualitet, plats, nordisk identitet och av konstbilden som ett på förhand könskodat medium.

  • 24.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education.
    Interventions in public spaces in Los Angeles: Performative actions by Asco2012In: Paper presented at NORDIK 2012 Conference, October 24-27, 2012, Stockholm University, Södertörn University, Moderna museet and Nationalmuseum, Stockholm, 2012, p. 1-7Conference paper (Refereed)
  • 25.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Karlstads universitet2011In: Framtid och identitet: Konstvetenskaplig ämneskonferens 2010 / [ed] Bengt Lärkner och Gary Svensson, Linköping: Linköpings universitet , 2011, p. 39-44Chapter in book (Other academic)
  • 26.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Konstmuseum som arkiv utifrån ett genusperspektiv: Att göra arkiv - arkivens kulturpolitik2011In: Paper presenterat på den 5:e Nordiska konferensen för kulturpolitisk forskning, 23-25 augusti 2011, Linköpings universitet, Tema Q, campus Norrköping., Norrköping: Linköpings universitet, Tema Q , 2011, p. 1-14Conference paper (Refereed)
  • 27.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education.
    Legacies of performative actions in Los Angeles: West goes East2012In: Paper presented at the conference The 1960s in America: Legacies, May 11-12, 2012, the American Studies Center, University of Warsaw, Warsaw, 2012, p. 1-8Conference paper (Refereed)
  • 28.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Maktstrukturer: Om maktstrukturer och härskartekniker, om motstrategier och lite olika tankemodeller2005In: artFOG (utställningskatalog), Museum Anna Nordlander, Skellefteå, 2005Chapter in book (Other academic)
  • 29.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education.
    Marginalitet och överträdelse: Frida Kahlo1996In: Paper presenterat på konferensen Frö och Frukter: Nordisk kvinno- och könsforskning idag, 21-23 november 1996, Nordisk förening för kvinno- och könsforskning och NIKK/Nordic Institute for Women’s Studies and Gender Research, Oslo universitet. , Oslo, 1996, p. 1-4Conference paper (Refereed)
  • 30.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Mellan nordisk profil och platsbunden identitet: Göteborgs konstmuseum2011In: Representation och regionalitet - Genusstrukturer i fyra svenska konstmuseisamlingar: Kulturpolitisk forskning #3 / [ed] Anna Tellgren & Jeff Werner, Stockholm: Statens kulturråd , 2011Chapter in book (Refereed)
  • 31.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Mural Painting in Mexico and the USA2010In: Skissernas Museum and Mexico (Museum Catalogue English version) / [ed] Malin Enarsson & Elisabet Haglund, Lund: Skissernas Museum , 2010Chapter in book (Refereed)
  • 32.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Muralmåleri i Mexiko och USA2010In: Skissernas museum och Mexiko (museikatalog version på svenska) / [ed] Malin Enarsson & Elisabet Haglund, Lund: Skissernas museum , 2010Chapter in book (Refereed)
  • 33.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education.
    Myten om Frida Kahlo: En kritisk granskning1994In: Paper presenterat på konferensen Kvinnans liv och arbete, glädje och frihet (sektion Kvinnan, konsten och konsthistorien), 1–6 augusti 1994, Nordiskt nätverk för konsthistorisk forskning med könsperspektiv, Konsthistoriska institutionen, Åbo universitet., 1994, p. 1-3Conference paper (Other academic)
  • 34. Zetterman, Eva
    New Deal-projekten för konstnärer under 1930-talet: Försvunna bilder och en bortglömd epok2001In: Valör, ISSN 0283-751X, Vol. 3-4Article in journal (Other academic)
  • 35.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Representations of Identities from a Mexico/US Perspective2005In: Paper presented at the conference Negotiating Gender Justice, February 19-March 2, 2005, Center for Global Gender Studies, Gothenburg University., Göteborg, 2005, p. 1-8Conference paper (Refereed)
  • 36.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Signs of Identity Processes: Street Art in California2007In: Género y globalización en América Latina / Gender and Globalization in Latin America / [ed] María Clara Medina, Edmé Domínguez, Rosalba Icaza Garza, Göteborg: Red Haina/Instituto Iberoamericano, Gothenburg University , 2007Chapter in book (Refereed)
  • 37.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013).
    The Los Angeles art scene & the Feminist Movement in the 1970s: Inclusions/Exclusions2014Conference paper (Refereed)
  • 38.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education.
    The PST project, Willie Herrón's Street Mural Asco East of No West (2011) and the Mural Remix Tour: Power Relations on the Los Angeles Art Scene2014In: Culture Unbound. Journal of Current Cultural Research, ISSN 2000-1525, E-ISSN 2000-1525, ISSN 2000-1525, Vol. 6, no 37, p. 671-695Article in journal (Refereed)
    Abstract [en]

    This article departs from the huge art-curating project Pacific Standard Time: Art in L.A., 1945­–1980, a Getty funded initiative running in Southern California from October 2011 to April 2012 with a collaboration of more than sixty cultural institutions coming together to celebrate the birth of the L.A. art scene. One of the Pacific Standard Time (PST) exhibitions was Asco: Elite of the Obscure, A Retrospective, 1972–1987, running from September to December 2011 at the Los Angeles County Museum of Art (LACMA). This was the first retrospective of a conceptual performance group of Chicanos from East Los Angeles, who from the early 1970s to the mid 1980s acted out critical interventions in the politically contested urban space of Los Angles. In conjunction with the Asco retrospective at LACMA, the Getty Foundation co-sponsored a new street mural by the Chicano artist Willie Herrón, paying homage to his years in the performance group Asco. The PST exhibition program also included so-called Mural Remix Tours, taking fine art audiences from LACMA to Herrón’s place-specific new mural in City Terrace in East Los Angeles. This article analyze the inclusion in the PST project of Herrón’s site-specific mural in City Terrace and the Mural Remix Tours to East Los Angeles with regard to the power relations of fine art and critical subculture, center and periphery, the mainstream and the marginal. As a physical monument dependent on a heavy sense of the past, Herrón’s new mural, titled Asco: East of No West, transforms the physical and social environment of City Terrace, changing its public space into an official place of memory. At the same time, as an art historical monument officially added to the civic map of Los Angeles, the mural becomes a permanent reminder of the segregation patterns that still exist.

  • 39.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    The Virgin and the Serpent: Resonances of Visual Signs between Old and New Worlds2011In: P, Oslo, 2011, p. 1-11Conference paper (Other academic)
  • 40.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Political, Historical, Religious and Cultural Studies.
    Traumatic Social Memories and Visual Practises of Representation: A Case Study of Performances by Chicano artist Guillermo Gómez-Peña2014In: , 2014, p. 1-10Conference paper (Refereed)
  • 41.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Utbildning på avancerad nivå inom kunskapsområdet humaniora vid Karlstads universitet: En omvärldsanalys2007Report (Other academic)
  • 42.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education.
    Visual Narratives: Currents and countercurrents on the urban map of Los Angeles2013Conference paper (Refereed)
  • 43.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Visual representations of reformulated identities: Exemplified through the Virgin of Guadalupe2005In: Paper presented at Primera Conferencia de la Red Europea de Estudios Amerindios, sobre Estudios Amerindios en le contexto Europeo, October 26-29, 2005, Museum of World Culture, Museion and Gothenburg University., Göteborg, 2005, p. 1-4Conference paper (Refereed)
  • 44.
    Zetterman, Eva
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
    Whose culture?: Fine art and representation2015Conference paper (Refereed)
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