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).1 During the 1960s, many people who had experienced the Hiroshima and Nagasaki atomic bombings, along with other residents of those cities, participated with fervour in the anti-nuclear movement. Hiroshima and Nagasaki, self-designated as the Cities of Peace, became destinations for anti-bomb political protestors from around the world, an odd sort of Cold War pilgrimage. The mantra-like threat of nuclear annihilation due to the Superpower’s development and stockpiling of the next generation of nuclear weapons made a visit to Hiroshima strangely alluring.2
1990s works such as Alÿs’s To R.L. or Paradox of Praxis I, like Hirschhorn’s Raymond Carver Altar, occupy a specific field within contemporary art that can be traced back to 1960s art practices. Moving away from the ephemeral associated with natural materials, whether in nature or in the gallery, I would like to broaden this comparison between the transient and the precarious by drawing two examples from the field of non-sculptural performance. In the first instance, visitors were invited to participate in Marina Abramović’s performance, entitled The Artist is
system of clear principles and guidelines for all types of objects and for professionals of all affilia- KARPOVA 9781526139870 PRINT.indd 94 20/01/2020 11:10 Objects of neodecorativism 95 tions who designed them. At the beginning of the 1960s, applied artists and artists-engineers all assumed the role that Susan Reid calls ‘accredited taste professionals’: they were equipped with specialist knowledge and employed by the state to improve material culture and particularly the modern home.7 This was the apogee of the Khrushchev-era aesthetic turn. However, what
2 Michael Harloe A child of its times: the ‘new urban sociology’ in context and its legacy In 1955 Ruth Glass, chair of the International Sociological Association’s (ISA) Research Committee on Urban Sociology, published a Trend Report on current developments (Glass 1955). She wrote, ‘the faces of cities have been lined by competitive economic interests, by social and ideological cleavages’. Dismissively, she then added, ‘[b]ut this can be taken for granted’ (Glass 1955: 49). And so it remained, with few exceptions, until the late 1960s. Then a remarkable
2 Ian Ramsey, theology and ‘trans-disciplinary’ medical ethics During the 1960s and 1970s Anglican theologians increasingly endorsed ‘trans-disciplinary’ discussion of new procedures such as IVF in societies and journals dedicated to medical ethics.1 Although theological engagement with medical ethics was by no means new, it increased from the 1960s thanks to a decline in religious belief. Figures such as Ian Ramsey, an Oxford theologian and later Bishop of Durham, endorsed greater engagement with social and moral issues to maintain the Church’s relevance in
allegory about the legacy and significance of the 1960s. I am interested in two related issues. At one level, I want to consider how the film operates in the contested field of meaning that, in the 1990s, came to debate the memory of America’s postwar past. This leads to a different, but overlapping, concern: namely, to what effect postmodern technologies and forms of representation impact upon the way
, pottering at home, is serving mankind to the [best of her ability]. (The Townswoman, February 1963) T he 1950s and early 1960s have often been portrayed as a time when women succumbed to the prevailing ideology of domesticity, spurred on by post-war affluence, the rise of mass consumption and fears that mothers going out to work would give rise to a generation of juvenile delinquents.1 Lynne Segal writes that the 1950s were represented by a ‘tense domesticity and anxious conformity … when a seemingly endless and all embracing consensus held sway throughout almost
reason to suppose that in many instances the women’s political attitudes are simply those of their husbands’ as reflected in a female mirror’. If women had been included, he concluded, ‘the data would probably be much the same as that of the male workers except for a higher frequency of conservative and politically passive attitudes’.2 It says much about the political science of the 1960s that such a substantial research project, grounded firmly in the contemporary methodologies of the American academy, could have so complacently ignored half of the working
professions had a more immediate impact. Nevertheless, progress in the early part of the twentieth century remained slow. Between 1928 and the 1960s, therefore, the women’s movement retreated into the background of British politics. When it re-emerged in the 1960s, the impetus came from the USA. Radical feminism and the New Left A crucial event in the development of the modern women’s movement was the publication of an American book – The Feminine Mystique – written by Betty Friedan in 1963. Friedan’s work was a devastating criticism on a culture which had come to be
as Fury at Furnace Creek and Gunga Din as Sergeants Three . But the original 1930s imperial epics had a new lease of life in the 1950s and 1960s when the Hollywood studios sold their film libraries to television, thus exposing a whole new generation to these favourable images of the Empire. The outbreak of the Second World War put an end to the 1930s cycle of