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Papers by Anna Sandaker Glomm

Cooperation and Conflict, 2018

This article looks at a project involving nine internationally acclaimed street artists who agree... more This article looks at a project involving nine internationally acclaimed street artists who agreed to make murals in Oslo, following the 22 July 2011 attacks. Resting on the art project’s aims (‘to promote universal human rights and to counter the intolerance and xenophobia that can give rise to violence and justify terrorism’) and the art community’s reaction, the article argues that street art’s visibility and agency offer alternative ways of thinking about, and approaching, international relations (IR). The article examines the streets as the space where artists express and engage the ‘everyday’; and as the medium that allows artists to bring art to the public (as opposed to galleries or exhibitions the public chooses to visit). We argue that the incorporation of street art’s spatiality and aesthetics into ‘everyday IR’ supports more critical frameworks that (a) expose the exceptional logic(s) of illiberal governance; (b) enable the visibility of marginalised and/or dissenting vo...

This article presents an overview of the Norwegian graphics workshop GRAS with a focus on its soc... more This article presents an overview of the Norwegian graphics workshop GRAS with a focus on its socio-political influence, of which its 1971 folder exhibition was indicative.

I, Anna Sandaker Glomm, hereby certify that this thesis, which is approximately 85,000 words in l... more I, Anna Sandaker Glomm, hereby certify that this thesis, which is approximately 85,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2004 and as a candidate for the degree of Ph.D in September 2005; the higher study for which this is a record was carried out in the University of St Andrews between 2004 and 2010. date ………. signature of candidate …………………. I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Ph.D in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. date ………. signature of supervisor ………………… In submitting this thesis to the University of St Andrews we understand that we are giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. We also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. We have obtained any third-party copyright permissions that may be required in order to allow such access and migration, or have requested the appropriate embargo below. The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: Embargo on both printed copy and electronic copy for the same fixed period of five years on the following ground: publication would preclude future publication; publication would be in breach of law or ethics Permanent embargo of part of electronic copy of thesis on the grounds that the Appendices contain copyrighted material, such as reproductions of prints, paintings, sculpture and photographs, and interviews with living artists which were given in confidence that these would not be published electronically.

North Street Review Arts and Visual Culture, 2006

T]he poster is a printed design of images and words on paper, produced in large numbers for the p... more T]he poster is a printed design of images and words on paper, produced in large numbers for the purposes of publicizing its subject through visual display.

This thesis examines the relationship between the three artists’ workshops Røde Mor (Red Mother),... more This thesis examines the relationship between the three artists’ workshops Røde Mor (Red Mother), Folkets Ateljé (The People’s Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation.
The aim of this transnational study is to reveal common denominators to the three groups’ poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968’ it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia.
To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups’ it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.

In the autumn of 1972 Norway and Denmark held national referenda in connection with both countrie... more In the autumn of 1972 Norway and Denmark held national referenda in connection with both countries’ pending applications for membership to the European Economic Community. The art historical comparative case study of GRAS (Norway) and Red Mother (Denmark) reveal contrasting artistic responses to the debate. Situated politically on the far left the groups approached the campaigns against the EEC from a similar standpoint, however, the artistic output and commitment was symptomatic of their inherent national conditions. Political and national traditions, as well as artistic influences, are means to understanding the imagery produced up until the referenda. The art posters produced on either side of Skagerack displayed precursory indications of the national outcome of the EEC membership issue through subject matter, scale, size and output. Furthermore the national ad hoc campaigns against European membership were structurally embedded in the national political landscape, which is reflected in differing ways in both the Norwegian and the Danish artists’ work. This case study from my research on Scandinavian artist workshops at the end of the sixties, discusses a direct link between the artist and the people, in what can be seen as propaganda, which reveals that in certain national cases in the West artists can propagate movement of the people in differing directions although they operate under similar circumstances and politics.

Cooperation and Conflict, 2018

This article looks at a project involving nine internationally acclaimed street artists who agree... more This article looks at a project involving nine internationally acclaimed street artists who agreed to make murals in Oslo, following the 22 July 2011 attacks. Resting on the art project’s aims (‘to promote universal human rights and to counter the intolerance and xenophobia that can give rise to violence and justify terrorism’) and the art community’s reaction, the article argues that street art’s visibility and agency offer alternative ways of thinking about, and approaching, international relations (IR). The article examines the streets as the space where artists express and engage the ‘everyday’; and as the medium that allows artists to bring art to the public (as opposed to galleries or exhibitions the public chooses to visit). We argue that the incorporation of street art’s spatiality and aesthetics into ‘everyday IR’ supports more critical frameworks that (a) expose the exceptional logic(s) of illiberal governance; (b) enable the visibility of marginalised and/or dissenting vo...

This article presents an overview of the Norwegian graphics workshop GRAS with a focus on its soc... more This article presents an overview of the Norwegian graphics workshop GRAS with a focus on its socio-political influence, of which its 1971 folder exhibition was indicative.

I, Anna Sandaker Glomm, hereby certify that this thesis, which is approximately 85,000 words in l... more I, Anna Sandaker Glomm, hereby certify that this thesis, which is approximately 85,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2004 and as a candidate for the degree of Ph.D in September 2005; the higher study for which this is a record was carried out in the University of St Andrews between 2004 and 2010. date ………. signature of candidate …………………. I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Ph.D in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. date ………. signature of supervisor ………………… In submitting this thesis to the University of St Andrews we understand that we are giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. We also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. We have obtained any third-party copyright permissions that may be required in order to allow such access and migration, or have requested the appropriate embargo below. The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: Embargo on both printed copy and electronic copy for the same fixed period of five years on the following ground: publication would preclude future publication; publication would be in breach of law or ethics Permanent embargo of part of electronic copy of thesis on the grounds that the Appendices contain copyrighted material, such as reproductions of prints, paintings, sculpture and photographs, and interviews with living artists which were given in confidence that these would not be published electronically.

North Street Review Arts and Visual Culture, 2006

T]he poster is a printed design of images and words on paper, produced in large numbers for the p... more T]he poster is a printed design of images and words on paper, produced in large numbers for the purposes of publicizing its subject through visual display.

This thesis examines the relationship between the three artists’ workshops Røde Mor (Red Mother),... more This thesis examines the relationship between the three artists’ workshops Røde Mor (Red Mother), Folkets Ateljé (The People’s Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation.
The aim of this transnational study is to reveal common denominators to the three groups’ poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968’ it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia.
To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups’ it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.

In the autumn of 1972 Norway and Denmark held national referenda in connection with both countrie... more In the autumn of 1972 Norway and Denmark held national referenda in connection with both countries’ pending applications for membership to the European Economic Community. The art historical comparative case study of GRAS (Norway) and Red Mother (Denmark) reveal contrasting artistic responses to the debate. Situated politically on the far left the groups approached the campaigns against the EEC from a similar standpoint, however, the artistic output and commitment was symptomatic of their inherent national conditions. Political and national traditions, as well as artistic influences, are means to understanding the imagery produced up until the referenda. The art posters produced on either side of Skagerack displayed precursory indications of the national outcome of the EEC membership issue through subject matter, scale, size and output. Furthermore the national ad hoc campaigns against European membership were structurally embedded in the national political landscape, which is reflected in differing ways in both the Norwegian and the Danish artists’ work. This case study from my research on Scandinavian artist workshops at the end of the sixties, discusses a direct link between the artist and the people, in what can be seen as propaganda, which reveals that in certain national cases in the West artists can propagate movement of the people in differing directions although they operate under similar circumstances and politics.