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  • 1.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    A Radical Academy of Fine Art?: Power and social dimensions in recruitment to the fine art professorships at the Royal College of Art in Stockholm, Sweden 1938-20002015In: Passepartout - Skrifter for kunsthistorie, ISSN 0908-5351, no 36, p. 117-138Article in journal (Refereed)
  • 2.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Att förbereda för rummet av möjligheter: om skolornas antagning, fria utbildning och starka fältberoende2012In: Konstens omvända ekonomi: tillgångar inom utbildningar och fält 1938-2008 / [ed] Martin Gustavsson, Mikael Börjesson, Marta Edling, Göteborg: Daidalos, 2012, p. 67-81Chapter in book (Other academic)
  • 3.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Att sätta sitt konstnärliga arbete i perspektiv = Placing artistic work in perspective: Konstnärlig forskning på Valand vid decennieskiftet 1990 = Artistic research at Valand around the turn of the 1990s2010In: Omskakad spelplan = A disarranged playing board: konsten i Göteborg under 1980- och 1990-talet = art in Gothenburg during the 1980s and 1990s / [ed] Jeff Werner & Kristoffer Arvidsson, Göteborg: Göteborgs konstmuseum , 2010, p. 138-159Chapter in book (Other academic)
  • 4.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Det naturliga broderskapet: professorstillsättningar vid Kungl. Konsthögskolan under 1980-talet2012In: Konstens omvända ekonomi: tillgångar inom utbildningar och fält 1938-2008 / [ed] Martin Gustavsson, Mikael Börjesson, Marta Edling, Göteborg: Daidalos, 2012, p. 305-342Chapter in book (Other academic)
  • 5.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    En tvångströja för måleriet?: Några reflektioner över den akademiska konstteorins historia2001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1-2, p. 88-92Article in journal (Refereed)
  • 6.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Fri konst?: Bildkonstnärlig utbildning vid Konsthögskolan Valand, Konstfackskolan och Kungl. konsthögskolan 1960-19952010Book (Refereed)
  • 7.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    From Margin to Margin?: The Stockholm Paris Axis 1944–19532019In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 88, no 1, p. 1-16Article in journal (Refereed)
    Abstract [en]

    The historical study of art in relation to geographical space has for a long time been biased by the “canonical logic” of the centre–periphery narrative. This text takes as its starting point a methodological critique of this binary framework by using an example from Swedish art history, namely the art historical narrative of 1950s Sweden as a slumbering Nordic province slowly being awoken by the heroic and foresighted efforts of the Swedish curator Pontus Hultén. The text analyses two local contexts between 1944 and 1953: a presumed periphery, Stockholm, Sweden, and a presumed centre, Paris, France, and the collaboration between individuals in these two spaces. In focus is a 1953 exhibition in Paris of Swedish abstract art from 1913 to 1953. The text concludes with a methodological discussion arguing that by considering “the material conditions of encounters and exchange”, it becomes clear that the transnational contacts in these cases were spurred by local competition and that they were mutually dependent, rather than a product of diffusions of aesthetic innovation from centre to periphery.

  • 8.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    Hur lär man sig forskningens praktik?: Konstvetenskapliga studenters erfarenheter av vetenskapligt uppsatsskrivande2003In: På rätt kurs?: Erfarenheter från "Pedagogik i högre utbildning, 20p" / [ed] Gunilla Härnsten, Britta Wingård, Stockholm: Lärarhögskolan i Stockholm , 2003Chapter in book (Other academic)
  • 9.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    "It smells of wildness, trouble a good fight": On experimental art and artistic education in the 1960s2010In: Det åskådliga och det bottenlösa: tankar kring konst och humaniora tillägnade Margaretha Rossholm Lagerlöf / [ed] Tomas Björk m.fl., Stockholm: Konstvetenskapliga institutionen, Stockholms universitet , 2010Chapter in book (Other academic)
  • 10.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    Konsten som forskningsområde: nedslag i diskussionerna kring ett konstnärligt forskningsbegrepp 1977-20012002In: Hjärnstorm, ISSN 0348-6958, no 76/77, p. 37-42Article in journal (Other academic)
  • 11.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Konstnärlig forskning och utveckling i Sverige 1977-2008: Några reflektioner över en historia som tycks upprepa sig2009In: Konst och forskningspolitik: konstnärlig forskning inför framtiden / [ed] Torbjörn Lind, Stockholm: Vetenskapsrådet , 2009, p. 16-31Chapter in book (Other academic)
  • 12.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Nils Wedel: Från avantgarde till formgivning - den mångsidige Nils Wedel2018In: En ny frihet: Sjutton konstnärer. Hundra år i Göteborg / [ed] Lena Boëthius, Björn Fredlund och Gudrun Nyberg, Stockholm: Carlsson Bokförlag, 2018Chapter in book (Other (popular science, discussion, etc.))
  • 13.
    Edling, Marta
    Konstvetenskapliga institutionen, Stockholms universitet.
    Om måleriet i den klassicistiska konstteorin: praktikens teoretiska position under sjuttonhundratalets andra hälft1999Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The character of the manual execution and material form of the art object were ascribed little value in the classicist theory of art. The practical act of painting was associated with handicraft and routine. The thrust of the theory was towards the literary and the philosophical and great value was ascribed to the artists' mental creativity and the philosophical treatment of the subject. It is my aim in this dissertation to investigate the separation between the manual/material and the mental/creative in the art of painting and to clarify the role of practice within this theoretical tradition during the second half of the eighteenth century. The texts studied are written by leading art theorists; Joshua Reynolds, Anton Raphael Mengs, Charles-Henri Watelet, Pierre-Charles Levesque, Johann Georg Sulzer, Christian Ludwig von Hagedorn, Charles-Nicolas Cochin and Roger de Piles. One of the most important findings of the study was that the mental and the material were regarded not only as essentially different in kind, but that the relation between them also was of central importance. The picture was regarded as a combination of two effective parts: a carefully formed idea was realized, or produced, through the mediation of a material structure. Practice was thus seen as a tool of thought, and as such it could be ascribed a complementary value. Consequently it was also possible, without contravening the established ranking of the mental and the material, to value and appreciate the material aspect for the important function it fulfilled in the production of the work as a whole. The idea of collaboration between to arts was just as axiomatic as the assumption that, by their very nature, they represented essentially different values. The practical and material aspect of painting should, according to the classicist art theory, draw no attention to itself. It should restrain the expressive powers of the brushwork and the handling of colors and subordinate itself to the mental creativity and the intellectual content. But it was recognized that paintings that did not live up to the highest aims was not for that reason necessarily "poor". In categorizations of styles, genres, national schools of painting and individual artists' works it is possible to see that the theorists did allow more lowly and less highly valued kinds of paintings to be considered and appreciated, without risking any challenge to the established ranking order.  The study shows that such deviations from the classical rules, or any refinements in these rules, need not be regarded as chance exceptions or a temporary suspension of the classical norm, rather, they represent a flexibility permitted within frames that remain intact. Some theorists exploited this freedom and took special interest in the manual and material components. Their texts demonstrate that it was possible to work upon the boundaries between the manual and material aspects. My study also suggests that, during the period studied, the idea of the art of painting as pictorial construction appear to be in question. Too much "artistry" in the technique and staging of the subject is said to obstruct the beholder's perception of the message that the picture has to convey. The distrust in the medium is indicated by these calls for an art both less theatrical and less concerned with its material make-up.

  • 14.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    [Recension av] "Konst Kunskap Insikt" och "Metod och praktik": Vetenskapsrådets årsbok 2004 och 2005 om konstnärligt FoU2006In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 2, p. 100-108Article, book review (Other academic)
  • 15.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    [Recension av] Kunstteori. Positioner i nutidig kunstdebat.2000In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1, p. 51-54Article, book review (Other academic)
  • 16.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    [Recension av] Lars O Ericsson: I den frusna passionens heta skugga. Essäer om estetisk teori2001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 4, p. 242-243Article, book review (Other academic)
  • 17.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    [Recension av] Sven Olof Wallenstein: Bildstrider. Föreläsningar om estetisk teori2002In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1-2, p. 62-65Article, book review (Other academic)
  • 18.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Symfonimusikens institutionalisering i Stockholm: Mia Kuritzén Löwengart, En samhällelig angelägenhet2019In: Historisk Tidskrift (S), ISSN 0345-469X, Vol. 139, no 1, p. 117-122Article, book review (Other academic)
  • 19.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Teaching abstraction?: Art historical and sociological perspectives on Nils Wedel and the basic form course at Slöjdskolan in Gothenburg, Sweden 1946–19572015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 4, p. 205-219Article in journal (Refereed)
    Abstract [en]

    From the perspective of art history and sociology, this article investigates the artist Nils Wedel (1897–1967) and his position as head teacher to the department of decorative painting at the art and design school Slöjdskolan in Gothenburg 1938–1953. The article argues that the recruitment of Wedel can be seen as a strategic outcome of combination of his deviant interest in abstract art (compared to his more successful expressionist contemporaries) and his modest career. Supporting his family as a graphic designer, he was, due to his abstract “inclinations”, isolated from the dominant networks of Francophile and well-tempered expressionist art in Stockholm and Gothenburg in the 1930s and 1940s. However, this homology of aesthetic and social characteristics that positioned him in the margins of contemporary Swedish art made him the perfect teacher to meet the increased demand in Sweden in the late 1930s for art and design artists tuned to modernist idioms and skilled in professional methods of visual design. In commercial work in visual imagery, such as advertisements, shop window displays, or even carpet design, abstraction had become fashionable by the early 1930s. Wedel's introduction of a basic form course in 1946 can be seen as a pedagogical confirmation of this attraction of modernist idioms. In the geographical, social and aesthetic periphery, it was possible to build a pedagogical setting that introduced students to the then historical avant-garde of abstract art and modern idioms while also training skills valuable for a commercial career. © 2015 The Author(s)

  • 20.
    Edling, Marta
    Uppsala universitet.
    The conspicous presence of visual conventions: Some reflections on the visual imagery in the archives of 20th century Swedish art schools2012In: IJHE Bildungsgeschichte, ISSN 2192-4295, Vol. 2, no 2, p. 247-249Article in journal (Other academic)
  • 21.
    Edling, Marta
    et al.
    Uppsala universitet, Historiska institutionen.
    Börjesson, Mikael
    Uppsala universitet, Institutionen för pedagogik, didaktik och utbildningsstudier.
    Om frihet, begåvning och karismatiskt lärande inom den högre bildkonstnärliga utbildningen2008In: Praktiske grunde. Tidsskrift for kultur og samfunnsvitenskab, ISSN 1902-2271, E-ISSN 1902-2271, no 1, p. 66-93Article in journal (Refereed)
  • 22.
    Edling, Marta
    et al.
    Uppsala universitet, Konstvetenskapliga institutionen.
    Görts, Maria
    Att vara student på en konsthögskola2003In: Den vildväxande högskolan: studier av reformer, miljöer och kunskapsvägar / [ed] Lillemor Kim & Pehr Mårtens, Stockholm: Institutet för studier av utbildning och forskning , 2003, p. 99-107Chapter in book (Other (popular science, discussion, etc.))
  • 23.
    Gustavsson, Martin
    et al.
    Stockholms centrum för forskning om offentlig sektor, Handelshögskolan Stockholm.
    Andersson, Barbro
    Konstvetenskapliga institutionen, Stockholms universitet.
    Börjesson, Mikael
    Uppsala universitet, Institutionen för utbildning, kultur och medier.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Lidegran, Ida
    Uppsala universitet, Institutionen för utbildning, kultur och medier.
    Melldahl, Andreas
    Uppsala universitet, Institutionen för utbildning, kultur och medier.
    Konsten att lyckas som konstnär: socialt ursprung, kön, utbildning och karriär, 1938-20082010In: Resultatdialog 2010: aktuell forskning om utbildning och lärande, Stockholm: Vetenskapsrådet , 2010, p. 74-79Chapter in book (Other academic)
  • 24.
    Gustavsson, Martin
    et al.
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Stockholms centrum för forskning om offentlig sektor (SCORE) .
    Börjesson, Mikael
    Uppsala universitet, Fakulteten för utbildningsvetenskaper, Institutionen för pedagogik, didaktik och utbildningsstudier.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Inledning2012In: Konstens omvända ekonomi: tillgångar inom utbildningar och fält 1938-2008 / [ed] Martin Gustavsson, Mikael Börjesson, Marta Edling, Göteborg: Daidalos, 2012, p. 11-36Chapter in book (Other academic)
  • 25.
    Gustavsson, Martin
    et al.
    Handelshögskolan i Stockholm.
    Börjesson, Mikael
    Uppsala universitet, Institutionen för pedagogik, didaktik och utbildningsstudier.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Konstens omvända ekonomi: Tillgångar inom utbildningar och fält, 1938–20082012Book (Other academic)
1 - 25 of 25
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