112 pp.
21 x 27 cm
approx. 60 colour ills
ISBN: 978-3-89790-531-3
Available on 2018-10-15 | Order now!
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ARNOLDSCHE Art Publishers
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Charis Gullickson with essays by Bergljor Børresen, Harald Gaski, Anniken Greve, Charis Gullickson, Sandra Lorentzen, Sherry Farrell Racette, Nanita Gupta Wiggers and Sigrun Åsebø

A sphere encrusted with reindeer antler tines, an intricate bone-laden tapestry and sculptural flora integrating domestic textiles are only three of the many works unveiled in this first ever comprehensive look at tactile works by Norwegian artist Aslaug M. Juliussen (b. 1953). Self-reflections upon her life and everyday experiences with the Arctic landscape shape the imagery in her work, as evidenced by her choice of materials and techniques.
Juliussen explores materials that speak to culture and tradition in Northern Norway, and the Sámi culture in particular. The publication comprises engaging cross-disciplinary essays that illustrate the multifaceted aspects of Juliussen as an artist. Scholars from such diverse fields as biology, philosophy, gender studies and art history look at Juliussen’s art from multiple perspectives and thus enable a new dialogue on art in the context of a European indigenous culture.
Charis Gullickson, MA, The Arctic University of Norway, is a curator at Nordnorsk Kunstmuseum, Tromsø. She specialises in contemporary art from the circumpolar north and has curated several exhibitions on Sámi art and craft with accompanying publications, among others, I Craft, I Travel Light (2017), Sámi Stories (2014), Tech-Stiles (2012) and Iver Jåks (2010).
Exhibition: Nordnorsk Kunstmuseum, Tromsø (NO), 20.10.2018–31.3.2019; Blaafarveværket, Modum (NO), summer 2019; Anchorage Museum, Alaska (USA), autumn/winter 2019
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Posted 2 July 2018

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This perfectly made book brings you from the northern landscape and light, its materiality, patterns, structures and surfaces to the lifestyle within this natural surrounding as represented by Aslaug M. Juliussen. From childhood throughout her working life this environment and traditions rubbed off onto her work. 
Every story is result of her new intersections with nature, for example, eating both herded and hunted animals, using every part of the animal from the hide, wool, hair, bones, antlers, horns, blood and hooves to the bowels, bladder and tendons. Also from the world of flora, materials are gathered then used for food, crafts and garments that use techniques such as felting, embroidery and appliquation decoration, that are combined in large blanket-like hangings, adornments and clothing. Additionally, these materials are used to form sculptures and free standing visual art, as by using glass “icicles” and in embroideries.
This tension between nature and culture is tastefully and succinctly described by Juliussen.
All students and interested readers need to study this book and its works to understand how to use and work with found or gathered materials and animal parts, in an honest and contemporary way. In Juliussen’s works a nearly lost world is revived. The good texts clearly explain her vision in the most comprehensible way, where a circular use helps us to understand how to handle material in future to protect the esarth.
Angela van der Burght

Aslaug M. Juliussen
Antler chain, 2006

Aslaug M. Juliussen
afore hand Ball

Aslaug M. Juliussen
Frozen Flower

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