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Apokalypse--Send.Pdf (1.360Mb) Apokalypse En analyse av Hariton Pushwagners maleri Jobkill i lys av popkunstens estetikk Linda Ottosen Bekkevold Masteroppgave i kunsthistorie Institutt for idé - og kunsthistorie og klassiske språk UNIVERSITETET I OSLO Høst 2014 II Apokalypse En analyse av Pushwagners maleri Jobkill (1990) i lys av popkunstens estetikk. III © Linda O. Bekkevold 2014 Apokalypse Linda O. Bekkevold http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Sammendrag Pushwagner blir ofte omtalt som popkunstner og Norges svar på Andy Warhol (1923-1987) og Roy Lichtenstein (1923-1997). Sammenligningen begrunnes med hans benyttelse av tegneserieestetikk. Med stiliserte former og fargeflater. Dette er en gjenkjennende karakteristikk av den amerikanske popkunsten klisjéfylte tegneserieuttrykk. Denne oppfatningen nevnes ofte i en bisetning uten at det foreligger noen kunsthistorisk analyse som har undersøkt dette. Pushwagner samarbeidet med den norske forfatteren Axel Jensen (1932- 2002) på 1960-tallet, og sammen skapte de et tegneserieunivers som skulle bli grunnlaget for Pushwagners kunstnerskap. På 1970-tallet og 1980-tallet arbeidet de med flere utkast og upubliserte bokprosjekter som ble utviklet til billedromanen Soft City, silketrykkserien En dag i familien Manns liv og malerifrisen Apokalypse. I denne avhandlingen søker jeg svar på hvordan Pushwagner benytter seg av tegenserieestetikken i sitt kunstuttrykk. Hva slags tradisjon benyttes i hans verk? Og kan man med rette karakterisere Pushwagner som popkunstner? Problemstillingene er verksorientert, og jeg tar utgangspunkt i maleriet Jobkill (1990), men det vil bli trukket paralleller til andre verk av kunstneren. I oppgavens tolkningsdel vil jeg trekke inn komparativt materiale fra popkunsten. V VI VII Forord I 2010-2012 hadde jeg gleden av å jobbe i et av Norges nyoppstartede gallerier, Galleri Pushwagner. Publikum strømmet inn hver dag og gikk fornøyde ut. Pågangen ble stor, og mange skoleklasser og grupper ville ha omvisninger. Derfor gjorde jeg et omfattende litteratursøk etter tekster om Pushwagners billedkunst. Det var mye informasjon å finne, men lite som gikk utover det biografiske. Jeg ble derfor inspirert til å skrive denne avhandlingen. Jeg håper at du vil oppdage noe nytt ved Pushwagners billedkunst ved å lese denne avhandlingen, og at den kan fungere som en åpning til forståelsen av hans billedverden. Jeg vil benytte anledningen til å takke min veileder Erik Mørstad for konstruktiv kritikk og fine samtaler. En spesiell takk til Pushwagner, Stefan Stray og de ansatte ved Galleri Pushwagner. Tusen takk til min mor for husly i skriveprosessen. Takk til Sindre. Takk, Cornelius. Og en stor takk til alle mine venner og familie for all støtte underveis. Linda O. Bekkevold Lillehammer, desember 2014 VIII IX Innholdsfortegnelse 1 Innledning ......................................................................................................................... 1 1.1 Tema ........................................................................................................................... 1 1.2 Problemstilling ........................................................................................................... 4 1.3 Avgrensning ............................................................................................................... 5 1.4 Teori og metode ......................................................................................................... 7 1.5 Litteratur .................................................................................................................. 10 1.7 Introduksjon av kunstneren ................................................................................... 11 2 Presentasjon av verket ................................................................................................... 15 2.1 Jobkill ........................................................................................................................ 15 2.1.1 Beskrivelse ......................................................................................................... 16 2.1.2 Teknikk og materiale .......................................................................................... 19 2.1.3 Komposisjon ....................................................................................................... 19 2.1.4 Tid, repetisjon og bevegelse ............................................................................... 21 2.2 Tegneserieestetikk i Jobkill ..................................................................................... 23 2.3 Motivanalyse ............................................................................................................ 26 2.3.1 Metafor og symbolikk ........................................................................................ 26 2.3.2 Narrenes skip ...................................................................................................... 28 2.3.3 Robinson Crusoe ................................................................................................ 30 2.3.4 Apokalyptisk forestillingstradisjon .................................................................... 34 2.4 Jobkill som allegori .................................................................................................. 38 3 Tolkning .......................................................................................................................... 43 3.1 Jobkill i lys av Soft City ............................................................................................ 43 3.1.1 Axel Jensen ........................................................................................................ 43 3.1.2 Soft City – et litterært-visuelt samarbeid ........................................................... 44 3.1.3 Tegneseriekollektiv og undergrunnsmiljø .......................................................... 48 3.1.4 Science fiction – framtidens narrespill ............................................................... 50 3.2 Sivilisasjonskritikk .................................................................................................. 51 3.2.1 Marcuse, Benjamin og Adorno .......................................................................... 51 X 4 Jobkill i lys av popkunstens estetikk ............................................................................. 55 4.1.1 Om modernisme og postmodernisme ................................................................. 55 4.1.2 Om amerikansk popkunst ................................................................................... 56 4.1.3 Om popkunst i Norge ......................................................................................... 59 4.1.4 Appropriasjon som del av popkunstens praksis ................................................. 60 4.1.5 Om parodi og satire ............................................................................................ 61 4.2 Roy Lichtenstein og tegneserien ............................................................................. 64 4.2.1 Introduksjon til Roy Lichtenstein ....................................................................... 64 4.2.2 Whaam! .............................................................................................................. 65 4.2.3 Lichtensteins teknikk .......................................................................................... 67 4.3 Sammenlignende analyse ........................................................................................ 69 4.3.1 Jobkill og Whaam! ............................................................................................. 69 4.3.2 Tegneserien som kunst ....................................................................................... 72 5 Avslutning ....................................................................................................................... 78 Litteraturliste .......................................................................................................................... 82 Vedlegg .................................................................................................................................... 86 XI 1 Innledning 1.1 Tema «Det som ble selvsagt, var, at hva kunsten angår, er ingenting selvsagt lenger, verken i kunsten selv eller i dens forhold til enheten, ikke en gang at den har rett til å eksistere.» 1 Slik åpner Theodor Adorno (1903-69) sitt verk Ästhetische Theorie (1969). Det han formidler er tanken om at kunsten er i stadig bevegelse, derfor må begrepene som følger den også følge forandringene. På den måten unndrar kunsten seg definisjon; det å definere er å bruke begreper, og når man bruker begreper tvinger man noe mangetydig til å bli noe entydig, man reduserer noe til noe annet enn det opprinnelig var.2 Dette er noe de fleste kunsthistorikere reflekterer over i sine arbeider og analyser, allikevel så dannes det ofte entydige forestillinger om et kunstverk eller kunstnerskap. I denne oppgaven stiller jeg noen spørsmål ved de etablerte forestillingene om den norske kunstneren Hariton Pushwagners (1940-) kunst. Utgangspunktet for denne avhandlingen startet med en undring rundt fraværet av vitenskapelige tekster og akademisk forskning på et nokså velkjent kunstnerskap som mange har en mening om. I de siste ti årene har vi blitt presentert for avisoverskrifter som: «Fra rennesteinen til stjernene», «Narkoman kunstner åpner eget galleri», «Kunstner vant rettsak mot egen agent», dette er velkjente eksempler
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