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- Edling, Marta, 1959-
(författare)
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Art for All! : Nordic Art and Cultural Democracy, 1945–1959
- 2022
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Ingår i: Artl@s Bulletin. - : Purdue University Press. - 2264-2668. ; 11:2, s. 56-69
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Tidskriftsartikel (refereegranskat)abstract
- The article will by emphasizing a transnational and geopolitical approach, investigate eight exhibitions of modern art from Denmark, Finland, Iceland, Norway and Sweden presented in Nordic cities 1946–1959. The text highlights the importance of this regional context and argues that the artworks can be seen as socially interconnected signs mediated through the communicative agency of the exhibitions. By focusing on subject matter and artwork titles presented, the article suggests that the exhibitions can be viewed as part of interacting artistic, civic, and political agendas aiming to democratize culture in the postwar Nordic welfare states.
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- Edling, Marta, et al.
(författare)
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Att vara student på en konsthögskola
- 2003
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Ingår i: Den vildväxande högskolan. - Stockholm : Institutet för studier av utbildning och forskning. - 9157804451 ; , s. 99-107
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Bokkapitel (populärvet., debatt m.m.)
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- Edling, Marta, 1959-, et al.
(författare)
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Entanglements and Cross-Border Connectivity of the Nordic-Baltic Region
- 2022
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Ingår i: Artl@s Bulletin. - : Purdue University Press. - 2264-2668. ; 11:2, s. 4-6
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- At the center of attention of this issue is trans-local, transnational, regional, and worldwide contacts inside and outside the Nordic-Baltic region from the late 1800s to the late 1900s. As an introduction, this text attempts to give an overview of some of its major themes and findings. It highlights how the interactive function of cross-border contacts is demonstrated by cases of art and design transfers, artistic travels, Scandinavian intellectual contacts, and cross-border connections over 100 years. Together, the texts published in this issue reflect the interdependent nature of international relations and the vital function of intermediate positions.
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- Edling, Marta, 1959-
(författare)
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From Margin to Margin? : The Stockholm Paris Axis 1944–1953
- 2019
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Ingår i: Konsthistorisk Tidskrift. - : Routledge. - 0023-3609 .- 1651-2294. ; 88:1, s. 1-16
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Tidskriftsartikel (refereegranskat)abstract
- 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.
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- Edling, Marta, et al.
(författare)
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Inledning
- 2012
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Ingår i: Konstens omvända ekonomi. - Göteborg : Daidalos. - 9789171733887
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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- Edling, Marta
(författare)
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Ljuger kameran?
- 1989
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Ingår i: Konsthistorisk tidskrift. - 0023-3609. ; :4, s. 166-172
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Tidskriftsartikel (refereegranskat)
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- Edling, Marta
(författare)
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Om måleriet i den klassicistiska konstteorin : Praktikens teoretiska position under 1700-talets andra hälft
- 1999
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- 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 treatment of the subject. It is my aim in this dissertation to investigate the separation between the manual/material and the mental/creative aspects 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: Reynolds, Mengs, Watelet, Levesque, Sulzer, von Hagedorn, Cochin and de Piles.One of the most important findings of the study is 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 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 practical and material aspect of painting should restrain the expressive powers of the brushwork and the handling of colours 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 their 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 need not be regarded as temporary suspensions 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 mental 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.
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- Edling, Marta
(författare)
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Teaching abstraction? : Art historical and sociological perspectives on Nils Wedel and the basic form course at Slöjdskolan in Gothenburg, Sweden 1946–1957
- 2015
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 84:4, s. 205-219
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Tidskriftsartikel (refereegranskat)abstract
- 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)
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| 41. |
- Gustavsson, Martin, et al.
(författare)
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Inledning
- 2012
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Ingår i: Konstens omvända ekonomi. - Göteborg : Daidalos. - 9789171733887 ; , s. 11-36
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 42. |
- Gustavsson, Martin, et al.
(författare)
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Inledning
- 2012
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Ingår i: Konstens omvända ekonomi. - Göteborg : Daidalos. - 9789171733887 ; , s. 11-36
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 43. |
- Gustavsson, Martin, 1966-, et al.
(författare)
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Inledning
- 2012
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Ingår i: Konstens omvända ekonomi. - Göteborg : Daidalos. - 9789171733887 ; , s. 11-36
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 46. |
- Inzaina, Anna Brodow, 1965-
(författare)
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Konstnärliga projekt & experiment : Beviljade projektbidrag ur Sveriges bildkonstnärsfond 1976-2007
- 2014
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is about a state-funded artist subsidy granted to visual artists and intended for costly artwork and projects. The project subsidy with its administrative framework is to be found in the intersection between the artistic and political fields. On the board of Sweden’s Visual Artists’ Fund, which is an independent decision-making organ within the Swedish Arts Grants Committee, there are representatives for the art scene appointed by the government for a limited period.The aim of the study is to investigate the relationship between the two fields in the processes which led to the enactment of the subsidy. But also to highlight the changes over time in such relationships on the art scene which concern the relative strengths between positions in the artistic field and the relationship between the state and the artists. Furthermore, the aim is to answer the question of which types of projects have been granted means in the years 1976-2007 and how these relate to the guidelines for the subsidy.Two major changes in the power structures of the artistic field have been identified during the period. These form the basis of the division of the thesis into two parts which mirror each other in three chapters each. The description of two phases in the granting of the subsidies is the main result of the thesis. In the first part the artistic field is influenced by forces from without which affect the relative strengths within the artistic field, while in the second part it regains its autonomy and closes itself off from outside influences.The empirical investigation through cross-sections and sample studies has shown that the project subsidy was widely issued. However, changes on the art scene after the post-modern shift towards a conceptual and process-oriented art came to be of significant importance for the understanding of what a project is. The thesis has shown how the entire basic understanding of the project subsidy has changed and influenced the distribution in spite of the ordinance not having been changed since it was formulated in 1976.
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| 47. |
- Kollnitz, Andrea, 1970-
(författare)
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Konstens nationella identitet. : Om tysk och österrikisk modernism i svensk konstkritik 1908-1934
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation investigates the reactions to German and Austrian modernism in Swedish art criticism between 1908 and 1934. It analyses the rhetoric of art-critical texts and examines the persuasive strategies and powerful verbal imagery of art criticism as well as its national interests. Earlier perceptions of a generally negative Swedish reaction to German art are revised. The analysis reveals a strong Swedish commitment to German art, which has been neglected or ignored by previous Francophile narratives in the writing on Swedish art history.In interpreting and defining German and Austrian art as both product and evidence of national character and as an antithesis to French art, Swedish art criticism is indirectly defining and manifesting Swedish art identity. Dramatic and metaphorically loaded descriptions of modern German exhibitions in Sweden present Swedish art identity as split between its racial and mental closeness to “Northern” German culture and “brutal” vigorous expressionism on one side, and its longing for the “beauty” and moderate harmony of “Southern” French and classicistic art on the other. The critics’ ambivalent feelings toward German modernism also hide a crucial conflict between modernizing and internationalizing tendencies versus conservative and nationalistic tendencies in the Swedish artworld. The textual analyses thus show a complex interaction between modernistic and nationalistic ideas, not least concerning the artist’s rôle. In case studies on the Swedish reception of German and Austrian expressionists – Emil Nolde, Egon Schiele, Oskar Kokoschka, Gabriele Münter, Die Brücke and Wassily Kandinsky amongst others – the avant-garde artist is revealed as not only striving for autonomy and international openness, but also as nationally bound and dependent on a national audience and nationalistic legitimation.
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- Löwengart, Mia
(författare)
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En samhällelig angelägenhet : Framväxten av en symfoniorkester och ett konserthus i Stockholm, cirka 1890–1926
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation studies the processes which lead to the creation of the necessary preconditions for establishing institutions of high culture in Stockholm, between 1890-1926.How and Why these specific processes resulted in Stockholm establishing a permanent symphony orchestra and a purpose-built concert hall are the primary objects of this study.My theoretical framework was shaped by Paul DiMaggio’s model for the creation of high culture. In this model DiMaggio identifies three concurrent but analytically distinct processes, which he argues must act in unison in order for institutions for high culture to be realized. Utilizing this model the main developments in Stockholm are sketched out, by the examination of four fields, the categories for the analysis:1) Music; 2) The performance, external conditions and venues; 3) Audiences; 4) Cultural entrepreneurship and institution-building.The primary sources used are principally concert reviews, concert programmes, and the records of board meetings and other primary materials in the archive of Konsertföreningen i Stockholm.This study shows that, around 1917, a distinction had been made between “art” and “entertainment” in Stockholm’s concert life and a symphony orchestra had been established capable of performing key works from the international standard repertoire. Public attitudes towards music had been ritualized, with musical education and an aesthetic perspective providing the rituals´ ideological basis. Symphony concerts’ audiences, regardless of their social composition, now followed the code of conduct specified in the concert programmes available.In this regard, Stockholm´s development was distinct from many other cities. For Stockholm to finally acquire a permanent symphony orchestra and a purpose-built concert hall, appreciation of serious (or classical) music had to evolve from being a matter of concern only for the bourgeoisie to becoming a matter of social urgency. In addition, a manifested desire to provide musical education to the lower-classes, alongside the on-going process of democratization, led the state to legitimate symphony music. In a spirit of understanding between politicians and the business elite concert institutions were established, and symphony concerts became accessible to a socially broader audience. Crucially, these factors coincided with both prosperous times and a supportive social climate.
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- Nisser Dalman, Margareta, 1957-
(författare)
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Antiken som ideal : Det antikiserande inredningsmåleriet och dess sociala funktioner i högreståndsmiljöer i Dalarna och Gästrikland 1791-1818
- 2006
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis focuses on classical style wall painting in the late 18th and early 19th centuries. The study specifically involves the governor's official residence in Falun and nine manor houses in the Swedish provinces of Dalarna and Gästrikland, all of which were decorated in the classical style by local artist Johan Nils Asplind between 1791 and 1818. The patrons were early industrialists; all but one were ironworks owners. The main purpose of the thesis is to describe and analyse the classical style ornamentation and its social functions in the above-mentioned buildings. The thesis comprises four main chapters, the first of which briefly deals with the origins and development of 18th century classical style decorative wall painting in Sweden, its influences, and its ideals. The next chapter describes and analyses the Governor’s official residence in Falun in terms of its historical furnishings and decorated interiors. The third of the main chapters describes and analyses the classical style wall painting and its social functions within the nine manor houses. The last of the main chapters analyses the art of Louis Masreliez, in particular the studies created during his twelve-year-long stay in Italy in the 1770s and 1780s. The analysis arrives at a new interpretation of Masreliez’s extensive collection of Italian studies. Contrary to previous research, the thesis claims that the studies are the work of a history painter, not a decorative painter. This allows for a new understanding of the origins of the artist’s classical style interiors, where the use of ornamental engravings is emphasized as a complement to the many studies of the human body. Together with the earlier chapters, this interpretation also results in a less static understanding of the use of models, and the thesis examines them in a more multifaceted way than hitherto has been the case in art history.
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