Sigrid Lien
Biographic Data
| ID | 1505527 |
|---|---|
| NAME | Sigrid Lien |
| GIVEN NAMES | Sigrid |
| FAMILY NAME | Lien |
| SIGNATURE | LIEN S |
| AFFILIATIONS | University of Bergen |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Knowing and Not Knowing
The only thing missing is the theme song from The Pink Panther. On 5 January, thieves break the window of West Norway Museum of Applied Art1 (now part of the KODE art museums). Dressed in black and wearing headlamps, they climb in among ancient, fragile art objects. In the semi-darkness between the sculptures and shiny, small Buddhist figures, the thieves walk determinedly toward specific display cases. Urns teeter before some of them fall and br…
Contact Zones
Contact Zones
The role of photography in U.S. migrant histories\nSince the mid-nineteenth century photography has played a central role in cultural encounters within and between migrant communities in the United States. Migrant histories have been mediated through the photographic image, and the cultural practices of photography have themselves been transformed as migrant communities mobilise the photographic image to navigate experiences of cultural dislocati…
Ragnhild’s Images
This article address photography’s embeddedness in histories of emigration and relocation. Photographs are integral pieces of life stories that take on new meanings as they circulate in history, while being told and retold. As catalysts of memories and postmemories they have the capacity to bring the hidden or difficult truths to the surface. This capacity is by no means limited to stories on the personal level. The article argues that settler im…
Permanent Displays' as Unsettling Layers of Epistemologies, Politics and Aesthetics
This article argues that museum exhibitions often are formed through multiple layers. It presents readings of two contrasting exhibition narratives, the ethnographic display at the Museum of Cultural History in Oslo and the national history exhibition at Lillehammer Museum. While the latter speaks about the national self, the museum in Oslo addresses the nation's radical other. In spite of this contrasting thematic focus, they have much in common…
Performing academic Masculinity in the Arctic
This article discusses photographs of Sámi people produced in 1883 and 1884 by the Danish-Norwegian scholar and photographer Sophus Tromholt (1851–1896) and G. Roche, the expedition photographer of the French prince, Roland Bonaparte (1858–1924). While Tromholt’s photographs have been understood as an example of how Sámi people were portrayed as individuals, and how they adapted the medium of photography for their own purposes, Roche/Bonaparte’s …
Negotiating the past
Negotiating the past
View correction statement:ErratumView republished version of this article:Negotiating the past: addressing Sámi photography
Absence and Presence
RiddoDuottarMuseat-Sámiid Vuorká-Dávvirat (RDM-SVD) in Karasjok, the first Sámi museum in Norway, was established in 1972 as part of the political struggle and cultural mobilization of the Sámi population. Since the beginning, the museum has collected both cultural history objects and contemporary Sámi art. The Sámi museum practices reflect an awareness of how the Sámi people's photographic legacy is dominated by the gaze of others. Perhaps the S…
Photographic Legacies
The three photoCLEC PIs are the guest editors of this Theme issue, november 2012, of Photography and Culture, with nine articles from PhotoCLEC research
Norway, Kingdom of
Absence and Presence
RiddoDuottarMuseat-Sámiid Vuorká-Dávvirat (RDM-SVD) in Karasjok, the first Sámi museum in Norway, was established in 1972 as part of the political struggle and cultural mobilization of the Sámi population. Since the beginning, the museum has collected both cultural history objects and contemporary Sámi art. The Sámi museum practices reflect an awareness of how the Sámi people's photographic legacy is dominated by the gaze of others. Perhaps the S…
Performing academic Masculinity in the Arctic
This article discusses photographs of Sámi people produced in 1883 and 1884 by the Danish-Norwegian scholar and photographer Sophus Tromholt (1851–1896) and G. Roche, the expedition photographer of the French prince, Roland Bonaparte (1858–1924). While Tromholt’s photographs have been understood as an example of how Sámi people were portrayed as individuals, and how they adapted the medium of photography for their own purposes, Roche/Bonaparte’s …
Norway, Kingdom of
Absence and Presence
RiddoDuottarMuseat-Sámiid Vuorká-Dávvirat (RDM-SVD) in Karasjok, the first Sámi museum in Norway, was established in 1972 as part of the political struggle and cultural mobilization of the Sámi population. Since the beginning, the museum has collected both cultural history objects and contemporary Sámi art. The Sámi museum practices reflect an awareness of how the Sámi people's photographic legacy is dominated by the gaze of others. Perhaps the S…
Photographic Legacies
The three photoCLEC PIs are the guest editors of this Theme issue, november 2012, of Photography and Culture, with nine articles from PhotoCLEC research
Performing academic Masculinity in the Arctic
This article discusses photographs of Sámi people produced in 1883 and 1884 by the Danish-Norwegian scholar and photographer Sophus Tromholt (1851–1896) and G. Roche, the expedition photographer of the French prince, Roland Bonaparte (1858–1924). While Tromholt’s photographs have been understood as an example of how Sámi people were portrayed as individuals, and how they adapted the medium of photography for their own purposes, Roche/Bonaparte’s …
Negotiating the past
Negotiating the past
View correction statement:ErratumView republished version of this article:Negotiating the past: addressing Sámi photography
Permanent Displays' as Unsettling Layers of Epistemologies, Politics and Aesthetics
This article argues that museum exhibitions often are formed through multiple layers. It presents readings of two contrasting exhibition narratives, the ethnographic display at the Museum of Cultural History in Oslo and the national history exhibition at Lillehammer Museum. While the latter speaks about the national self, the museum in Oslo addresses the nation's radical other. In spite of this contrasting thematic focus, they have much in common…
Contact Zones
The role of photography in U.S. migrant histories\nSince the mid-nineteenth century photography has played a central role in cultural encounters within and between migrant communities in the United States. Migrant histories have been mediated through the photographic image, and the cultural practices of photography have themselves been transformed as migrant communities mobilise the photographic image to navigate experiences of cultural dislocati…
Ragnhild’s Images
This article address photography’s embeddedness in histories of emigration and relocation. Photographs are integral pieces of life stories that take on new meanings as they circulate in history, while being told and retold. As catalysts of memories and postmemories they have the capacity to bring the hidden or difficult truths to the surface. This capacity is by no means limited to stories on the personal level. The article argues that settler im…
Contact Zones
Knowing and Not Knowing
The only thing missing is the theme song from The Pink Panther. On 5 January, thieves break the window of West Norway Museum of Applied Art1 (now part of the KODE art museums). Dressed in black and wearing headlamps, they climb in among ancient, fragile art objects. In the semi-darkness between the sculptures and shiny, small Buddhist figures, the thieves walk determinedly toward specific display cases. Urns teeter before some of them fall and br…
Art (8 works) · History (8 works) · Visual arts (8 works) · Sociology (7 works) · Art history (6 works) · Photography (6 works) · History (5 works) · Museums and Cultural Heritage (5 works) · Photography and Visual Culture (5 works) · Archaeology (4 works)