Search results
Europe, where two German states – the Federal Republic founded in May 1949 and its Communist rival, the German Democratic Republic, established in October of the same year – stood on what for much of the 1950s and the early 1960s seemed to be the brink of all-out war. From 1955 they were also integrated into rival military alliances – the American-led NATO in the case of the FRG
We don’t even get the chance to hate the museum. – Ivan Moudov, 2012 The 1960s and 1970s in the West were a time of great civic protest and challenging of the status quo. The institution of art was not immune to these challenges, and as numerous received ideas such as gender and racial equality were questioned by activists in the social sphere, artists likewise began to contest the long-held assumptions concerning art itself and the institutions that developed and promoted art. As art historian Alexander Alberro writes, it was at this
superpowers. This chapter will first outline the most important international events of the 1960s and 1970s. It will then consider how the major issues of the age were addressed by International Relations scholars who developed new concepts and approaches to grasp and understand them. Authors like Keohane, Nye, Krasner and North expanded on liberal approaches to co-operation and order. Authors like Baran, Sweezy, Gunder Frank and other radical authors elaborated on Marxist theories of exploitation, conflict and revolution. The turbulence and changes that marked
the intense involvement of the private agencies. In part these were missionary societies and philanthropic bodies that had lengthy experience of work beyond Europe in sectors like health or education. As well as these there were the organisations started for the post-war relief – mostly in the post-Second World War period – which broadened their areas of expertise, including in development. But above all, the idea of freeing the ‘backward’ countries from poverty and hunger was the stimulus for setting up new associations that during the 1960s contributed to
This book represents the first attempt to write a comprehensive account of performance art in Eastern Europe – the former communist, socialist and Soviet countries of Central, Eastern and Southeastern Europe – since the 1960s. It is indebted to groundbreaking studies on the subject such as Zdenka Badovinac’s Body and the East: From the 1960s to the Present (1998), the first exhibition to examine body art practices in the region, which was accompanied by a catalogue that serves as a precursor to the present volume. As this book will demonstrate
suggests one of the main differences between the Marxist criticism of the 1960s and 1970s and the cultural materialist and new historicist criticism ( Chapter 9 ) which came to the fore in the 1980s, since the latter very often dealt closely with specific historical documents, attempting, in an almost archaeological spirit, to recreate the ‘state of mind’ of a particular moment in history. ‘Leninist’ Marxist criticism A much harder line about literature than Marx and Engels themselves would have approved of was generally pursued by officially sanctioned Marxists, at
there, she traces a neat trajectory through Surrealist games such as the Exquisite Corpse and automatist drawings, to Jackson Pollock’s action painting and, ultimately, to the happenings and performances staged by Allan Kaprow in the 1950s and 1960s. While Goldberg identifies these earlier traditions as inspiration for the development of performance art in the latter half of the twentieth century – a reiteration of the historical avant-garde then occurring across North America and Western Europe – throughout much of Eastern Europe, these avant-garde traditions were
footage. Many of us who began making films in the 1960s were intent on producing films of a new kind, but we were just as determined not to make films of the old kind. We rejected the authoritarianism of didactic films, which told the audience exactly what to think about a subject. Accordingly, part of structuring these films meant either avoiding voice-over commentary altogether or at least substituting for it a specific, identifiable voice. The motive force was now to be based on the images and
considered technically to be asylum seekers, the UNHCR provided displaced persons in Africa with basic assistance when, from time to time, it was given a specific assignment by the General Assembly; the extent of such emergencies grew by such a degree that by the end of the 1960s the organisation was spending in Africa two-thirds of its budget for field operations. 2 The wars that were devastating the Great Lakes region neither won the attention of the Western media nor became high-profile points on the international community’s agenda. They did, however, make
certain dominance. However, at the same time as realism was re-establishing itself after the turn to modernism, art and literature were taking another twist. Postmodernism Towards the end of the 1950s and beginning of the 1960s a new aesthetic came to dominate, called ‘postmodernism’. The term itself gives an indication of its relationship to modernism as one which, in part, continues the project while going beyond it. However, if modernism and Realism had some common points of contact, the relationship between Realism and postmodernism is completely antithetical