From the Stamps to the Bubble

ARTMargins ◽  
2016 ◽  
Vol 5 (2) ◽  
pp. 120-125
Author(s):  
Aracy Amaral
Keyword(s):  
Economic Development ◽  
Pop Art ◽  
Military Dictatorship ◽  
Avant Garde ◽  
Artistic Production ◽  
Cultural Milieu ◽  
Brazilian Art ◽  
Cultural Exchanges ◽  
The 1960S ◽  
The Military

The introductory text foregrounds the article “From the Stamps to the Bubble” (1968) by Brazilian historian and curator Aracy A. Amaral. It seeks to locate the primary document within a broader historiography of Brazilian art in the second half of the 1960s, and examine the ways in which the military dictatorship, along with certain cultural exchanges facilitated by Brazil's economic development in this period affected artistic production. Placing particular attention on the multiple terminologies that were in use when the article was written, the introduction focuses on the contiguities of Pop Art in the Brazilian cultural milieu. It argues that Pop was present inasmuch as it inspired artists to initiate a process of radical experimentation, which empowered them to depart from an avant-garde tradition founded on geometric abstraction.

scholarly journals Popau, Pop, or an “American Way of Living”? An Introduction to Aracy Amaral's “From the Stamps to the Bubble”

ARTMargins ◽  
2016 ◽  
Vol 5 (2) ◽  
pp. 105-119
Author(s):  
Sofia Gotti
Keyword(s):  
Economic Development ◽  
Pop Art ◽  
Military Dictatorship ◽  
Avant Garde ◽  
Artistic Production ◽  
Cultural Milieu ◽  
Brazilian Art ◽  
Cultural Exchanges ◽  
The 1960S ◽  
The Military

The introductory text foregrounds the article “From the Stamps to the Bubble” (1968) by Brazilian historian and curator Aracy A. Amaral. It seeks to locate the primary document within a broader historiography of Brazilian art in the second half of the 1960s, and examine the ways in which the military dictatorship, along with certain cultural exchanges facilitated by Brazil's economic development in this period affected artistic production. Placing particular attention on the multiple terminologies that were in use when the article was written, the introduction focuses on the contiguities of Pop Art in the Brazilian cultural milieu. It argues that Pop was present inasmuch as it inspired artists to initiate a process of radical experimentation, which empowered them to depart from an avant-garde tradition founded on geometric abstraction.

Flight into Tomorrow: Rethinking Artistic Practice in Estonia During the 1970s (Leonhard Lapin)

ARTMargins ◽  
2013 ◽  
Vol 2 (2) ◽  
pp. 137-162
Author(s):  
Mari Laanemets
Keyword(s):  
Pop Art ◽  
Living Environment ◽  
Artistic Practice ◽  
Avant Garde ◽  
The 1960S

This article observes how the new understanding of art which was introduced at the end of the 1960s by pop art influenced groups was pursued and radicalised in the second half of the 1970s, in a period generally referred to as the weakening of the avant-garde. It focuses on the texts by Leonhard Lapin, promoting art as a means of creating a new living environment. Taking Lapin's text as a framework, the author analyses the intervention in the official exhibition of monumental art in 1976.

scholarly journals Models of Modernization and geopolitical changes in Latin America

2016 ◽  
pp. 68-76
Author(s):  
István Szilágy
Keyword(s):  
Armed Forces ◽  
Military Dictatorship ◽  
The Past ◽  
State Apparatus ◽  
Political Forces ◽  
1960S And 1970S ◽  
Set Up ◽  
The 1960S ◽  
The Military ◽  
Radical Transformation

In South America in the 1960s and 1970s the contradictions of economic, social and political structures were deepening. In order to surmount the structural crisis the different political forces, tendencies and governments elaborated various strategies. These attempts aiming at reorganizing the society led to undermining the hegemony of ruling governing block and radical transformation of state apparatus. Progressive and regressi-ve forms of military dictatorship and excepcional states of the new militarism appeared on the continent because of the Brazilian military takeover of April, 1964. Formally these state systems were set up by the institutional takeover of the armed forces. The military governments strove for the total reorganization and modernization of the societies in their all - economic, political and ideological - territories. The study aims at analizing the diffe-rent models of modernization during the past sixty years.

Subversive literary representations of 1821 in the Metapolitefsi (1974–81)

2021 ◽  
Vol 7 (2) ◽  
pp. 259-279 ◽  
Author(s):  
Maria Nikolopoulou
Keyword(s):  
Transition Period ◽  
Literary Representations ◽  
Military Dictatorship ◽  
National History ◽  
Alternative Discourse ◽  
Avant Garde ◽  
The Public ◽  
War Of Independence ◽  
The Times ◽  
The Military

The article examines the afterlife of the Greek War of Independence during the Transition period in Greece (1974–81), focusing on literature. The military dictatorship (1967–74) presented itself as the heir of this national revolution. Representations of the 1821 were popularized and mediatized through film, paintings and the public spectacles organized by the regime, culminating in the 150-year anniversary in 1971. This triggered an alternative use of these representations, by songwriters, playwrights and writers who aimed to subvert them through mimicry. Focusing on three novels by young writers of the period, Yoryis Yatromanolakis’s Leimonario (The Spiritual Meadow) (1974), Nikos Platis’s Gkount mpai mister pap (‘Goodbye Mr. Pap’) (1976) and Takis Theodoropoulos’s Ο vios stin politeia tou Thodori Kotronithodorikolou (‘Life in the times of Thodoris Kotronithodorikolos’) (1977), the article examines how these young writers subverted the representations of heroism constructed by the dictatorship through the use of surrealist and avant-garde techniques. The use of pastiche, the corporeal and the fantastic by Yatromanolakis creates an alternative discourse of heroism. In the case of Platis and Theodoropoulos, surrealist techniques, and images of transgressive sexuality create a grotesque gallery of heroes, by emphasizing the hybridity and performativity of their identities. These writers also experimented with the ways in which history is represented in narrative, through reversal of temporality, the nightmarish, corporeality and the private. The article also examines the texts’ reception, at a time when new grand narratives of national history were being shaped.

scholarly journals Education in Brazil between 1930 and 1985: prioritizing quantity over quality in educational expansion

Perspectiva ◽  
2021 ◽  
Vol 39 (3) ◽  
pp. 1-25
Author(s):  
Gustavo Cunha de Araujo
Keyword(s):  
Elementary Education ◽  
Military Dictatorship ◽  
National Education ◽  
History Of Research ◽  
History Of ◽  
The 1960S ◽  
The One ◽  
The Military ◽  
Education In Brazil

In the history of research on Brazilian education, several studies address the expansion of elementary education over the years in the country, in addition to the historical pedagogical context that permeated this process of expansion in the period between 1930 and 1985. The main objective of this article is to analyze the process of expansion of Brazilian Elementary Education, based on the Laws of Guidelines and Bases of National Education (GBNE) no. 4.024/61 and no. 5.692/71. The article concludes that the educational policy of the military dictatorship in Brazil after the 1960s was supported by these two laws, and that their main objective was to ensure the expansion of vacancies in elementary education, aiming at the minimum qualification for entry into the labour market, prioritising the quantity and not the quality of education. Public education materialized in the formation of human resources is considered a way to guarantee productivity; attending, on the one hand, to the demands of qualified labor for the capitalist market, and on the other hand, to the improvement of wages and the distribution of income to the elites.

Pereira dos Santos, Nelson (1928--)

2018 ◽  
Author(s):  
Peter Baker
Keyword(s):  
Theoretical Treatment ◽  
Military Dictatorship ◽  
Popular Cinema ◽  
Brazilian Cinema ◽  
Critical Phase ◽  
Literary Adaptations ◽  
The 1960S ◽  
Political Films ◽  
The Military ◽  
Film Critic

Nelson Pereira dos Santos (born in 1928 in São Paulo) is a Brazilian actor, screenwriter, film critic and theorist, producer, and director. He can be considered the initiator of modern Brazilian cinema. His first feature, Rio: 40 Graus [Rio 100 Degrees F.] (1955), jump-started the cinema nôvo [New Cinema] movement that would dominate Brazilian vanguard cinema throughout the 1960s and early 1970s. Throughout more than fifty years of filmmaking, Pereira dos Santos has continued to shape the Brazilian screen. Como Era Gostoso o Meu Francês [How Tasty Was My Little Frenchman] (1971) is his most internationally known film; a departure from his earlier neorealist style, it started a more self-critical phase that reflects on the instability of all ideologies and registers the disappointment with the left in Brazil following the onset of the military dictatorship in 1964. The late 1970s films attempted to create what he called a popular cinema, rejected theoretical treatment, and sought to convey the views of ordinary citizens. He has continued to be an influential filmmaker in the so-called New Brazilian Cinema of the 1990s and today, with political films such as Brasilia 18% (2006). The majority of his films are based on literary adaptations from Brazilian authors. Since 2006 he have been a member of the Brazilian Academy of Letters—the first filmmaker to be nominated.

Brazilian Historiography in the 20th Century

2020 ◽  
Author(s):  
Thiago Lima Nicodemo ◽  
Mateus Henrique de Faria Pereira ◽  
Pedro Afonso Cristovão dos Santos
Keyword(s):  
20Th Century ◽  
Graduate Programs ◽  
Fine Arts ◽  
Military Dictatorship ◽  
1960S And 1970S ◽  
The Public Sphere ◽  
The 1960S ◽  
The University ◽  
Time Frames ◽  
The Military

The founding of the first universities in the first decades of the 20th century in Brazil emerged from a context of public education reforms and expansion that modified the relationship between intellectuals and the public sphere in Brazil. The representation of national pasts was the object of prolific public debate in the social sciences and literature and fine arts through social and historical essays, pushed mostly from the 1920’s to the 1950’s, such as Gilberto Freyre’s, The Master and the Slaves (Casa Grande e Senzala, 1936) and Sérgio Buarque de Holanda’s Roots of Brazil (Raízes do Brasil, 1936). Just after the 1950s, universities expanded nationally, and new resources were available for academic and scientific production, such as libraries, archives, scientific journals, and funding agencies (namely CNPQ, CAPES and FAPESP). In the field of history, these effects would have a greater impact in the 1960s and 1970s with the consolidation of a National Association of History, the debate over curricula and required content, and the systematization of graduate programs (thanks to the University Reform of 1968, during the military dictatorship). Theses, dissertations, and monographs gradually gained ground as long social essays lost their prestige, seen as not befitting the standards of disciplinary historiography as defined in the graduate programs such as a wider empirical ground and more accurate time frames and scopes. Through their writing in more specialized formats, which moved away from essays and looked into the great Brazilian historical problems, historians played an important role in the resistance against the authoritarian regime (1964–1985) and, above all, contributed to a debate on the role of silenced minorities regarding redemocratization.

scholarly journals Folklore and Cultural Policy in Brazil During the Military Dictatorship in the 1960s and 1970s

2019 ◽  
Vol 8 (1-2) ◽  
pp. 315-333
Author(s):  
Ana Lorym Soares ◽  
Eduardo Henrique Barbosa de Vasconcelos
Keyword(s):  
Cultural Policy ◽  
Military Government ◽  
Military Dictatorship ◽  
Cultural Policies ◽  
The Subject ◽  
1960S And 1970S ◽  
The 1960S ◽  
Cultural Sector ◽  
The Military ◽  
The Relationship

This article analyzes the relationship between political and intellectual action of a group of folklorists associated with the Brazilian Folkloric Movement, and the development and implementation of cultural policies within the context of the military dictatorship in the 1960s and 1970s in Brazil. The article focuses on a comparative analysis of these policies based on documents from the military government as well as material created by folklorists, particularly material found in the Revista Brasileira de Folclore. The mobilization around folklore and its consequences in the field of cultural policy confirms the contemporary relevance of the subject in Brazil. The article concludes that although few scholars in the cultural sector currently identify as folklorists, and that the term folklore is often avoided, the legacy of the Brazilian Folkloric Movement is still very influential in contemporary government cultural policies.

scholarly journals Из истории Людвиг Музеум – от коллекции к музею

2021 ◽  
pp. 164-175
Author(s):  
E.V. Orlova
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Art History ◽  
Pop Art ◽  
Avant Garde ◽  
German Art ◽  
The Status ◽  
Museum Of Contemporary Art ◽  
The 1960S

The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, established in 1976, presents German art from the first half of the 20th century, American and British pop art of the 1960s, Russian avant-garde, photorealism and contemporary art from the last third of the 20th century. It has departments of painting, sculpture, graphics and art photography. The role of the famous German patrons and collectors of Peter and Irene Ludwig in the formation and replenishment of the museum's funds is noted. Статья посвящена основанию Музея Людвига в Кёльне и представляет анализ процесса построения этого музея современного искусства в динамике — от начала формирования коллекции в стенах Музея Вальрафа-Рихарца до обретения статуса самостоятельного экспозиционного гиганта. В исследовании даны обзор коллекции и источники ее формирования, указаны отдельные крупные произведения искусства, сопровожденные искусствоведческим описанием, а также изложены причины и хроника выделения Музея Людвига из состава Музея Вальрафа-Рихарца. Вновь образованный в 1976 году музей представляет искусство Германии с первой половины XX века, американский и британский поп-арт 1960-х годов, русский авангард, фотореализм и актуальное искусство последней трети ХХ века. В нем созданы отделы живописи, скульптуры, графики и художественной фотографии. Отмечена роль известных немецких меценатов и собирателей Петера и Ирены Людвиг в формировании и пополнении фондов музея.

The Junta and the Jipis, 1960–1975

2018 ◽  
pp. 98-128
Author(s):  
Mark Rice
Keyword(s):  
Economic Development ◽  
Local Control ◽  
Military Coup ◽  
Economic Base ◽  
Regional Society ◽  
National State ◽  
Machu Picchu ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Military

Advances in jet travel ushered in Cusco’s first tourism boom in the 1960s and 1970s. However, a series of agrarian revolts and the collapse of Cusco’s traditional economic base threatened to unravel tourism. Increasingly, Cusco looked to the national state to use tourism as a source of economic development, especially after the 1968 military coup led by the left-leaning General Juan Velasco Alvarado. Working with transnational institutions like UNESCO and employing Machu Picchu as a populist symbol, the military sought to use cultural tourism with ongoing agrarian reform to remake Cusco’s regional society. Contrary to the military’s goals, these efforts ultimately failed. Plans to construct a modernist hotel at Machu Picchu provoked fights between development and preservation interests. In addition, the unexpected arrival of counter-cultural travellers shocked locals. Finally, the highly-technical strategies employed by the military and UNESCO only served to displace local control over tourism in favor of bureaucratic interests in Lima.

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