The Documentary Films of José Gómez Sicre and the Pan American Union Visual Arts Department

ARTMargins ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 34-56
Author(s):  
Claire F. Fox
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Cultural Policy ◽  
Cultural Development ◽  
Policy Framework ◽  
Heritage Sites ◽  
Pan American ◽  
1960S And 1970S ◽  
The 1960S ◽  
American Union

During the 1960s and 1970s, the Visual Arts Department of the Pan American Union, headquarters of the Organization of American States (OAS) in Washington, D.C., produced nearly fifty 16mm documentary short films on topics ranging from contemporary art to heritage sites and OAS member countries. This article focuses on a cluster of three titles about Peru directed by curator and critic José Gómez Sicre between approximately 1964 and 1968. Produced with funding from an international affiliate of Esso Standard Oil, the films were shot on location and demonstrate careful attention to the contexts of art production within an emerging cultural policy framework that cast art and heritage as engines of regional cultural development. The films further assert that the antiquities and modern art markets might be synchronized to become a generational taste formation, insofar as they identify classes of affordable artifacts that were finding their way to collectors relatively recently, and which had also inspired the work of postwar Peruvian artists. As an ensemble, the films reveal unexplored interactions between contemporary art movements, the development of heritage districts and site museums, and emergent cultural policies that continue to impact hemispheric American locations.

Contract Archeology in South Africa

2021 ◽  
Author(s):  
Ndukuyakhe Ndlovu
Keyword(s):  
South Africa ◽  
South African ◽  
Research Funding ◽  
Legal Requirements ◽  
Heritage Sites ◽  
Legislative Framework ◽  
1960S And 1970S ◽  
Potential Damage ◽  
Legislative Changes ◽  
The 1960S

The roots of contract archeology were laid even before the development of a legislative framework that prescribed the processes to be followed. Contract archeology was being seen by the museums and universities as the best avenue to the subsidizing of archeological research. The increased research funding of the 1960s and 1970s was on the decline in the 1980s. Universities, therefore, were at a disadvantage and needed to explore other avenues of funding. Legislative changes over the years, which made it mandatory for developers to fund impact assessments to mitigate potential damage of valuable heritage resources from their proposed activities, have led to a significant proliferation of private archeological companies. These have been established to provide developers with the expertise they need to satisfy these legal requirements. The approach used in South Africa is that the developer must pay to assess the nature of the likely impact of their proposed activity. Government entities are then tasked with the responsibility of reviewing studies undertaken by specialists subcontracted by developers. The subdiscipline of archeology has grown significantly in South Africa, specifically enabled by legislative changes over the years requiring that predevelopment assessments of heritage sites be undertaken prior to approvals being made. However, archeology has continued to be defined as racially unrepresentative of the South African demography. In addition, the management of heritage resources through the use of contract archeology has been characterized by a variety of administrative challenges.

Forging the “New” in Contemporary Art in Brazil, 1960s and 1970s

2021 ◽  
Author(s):  
Elena Shtromberg
Keyword(s):  
Information And Communication Technologies ◽  
Contemporary Art ◽  
The United States ◽  
Capital City ◽  
Military Coup ◽  
Brazilian Art ◽  
Art Object ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S

The history of exhibitions in Brazil during the 1960s and 1970s provides a key reference point for understanding how artistic vanguards and contemporary art unfolded in direct relationship to social and political contexts. The seminal exhibitions during these pivotal decades elucidate how the contemporary in Brazilian art stages and reframes conceptions of the “new” vis-à-vis the art object. The exhibitions in question trace the development of Ferreira Gullar’s não-objeto (non-object, 1959) and its path toward the idea-based artwork, an impulse that was prevalent throughout the 1960s in the United States and Europe as well. Inaugurated by the emergence of Brasília, Brazil’s new capital city in the formerly barren hinterlands of the state of Goiás, the 1960s witnessed a new model of artistic practice that pushed the boundaries between art and life, actively seeking out the participation of the viewer. This is most evidenced in the canonical work of artists Hélio Oiticica and Lygia Clark. By the 1970s, challenges to the utopian undertakings from the previous decades had become imbricated with political activism, as artists and intellectuals alike pronounced a commitment to the quest for democracy after the military coup of 1964. The 1970s also witnessed heightened artistic engagement with new information and communication technologies, including the use of video equipment and computers. Constructing the history of Brazil’s contemporary art via the most important moments of its display will not only historically and politically contextualize some of the groundbreaking artists and artworks of these two decades, but also introduce readers to the challenges that these artworks posed to the more traditional methods of institutional display and the criteria used to interpret them.

scholarly journals RABIZ: THE UNINTENDED CHILD OF 1960S' URBAN CULTURE

2019 ◽  
pp. 67-70
Author(s):  
G. Bayadyan
Keyword(s):  
Side Effect ◽  
Cultural Policy ◽  
Urban Culture ◽  
Cultural Conditions ◽  
Key Features ◽  
1960S And 1970S ◽  
Modernization Process ◽  
The 1960S

The article discusses the ideological, social and cultural conditions that made possible the formation and development of "rabiz," a form of ur- ban musical folklore, in the 1960s. Rabiz is described as an undesired result of the Socialist modernization process. It had received certain im- portant aspects from the preserved forms of pre-Soviet urban culture but for some of its key features owes to the soviet cultural policy of the 1930s and the socio-cultural tendencies of the Soviet Armenia of the 1960s and 1970s. Rabiz was a side effect of the industrialization and urbanization of the 60s and was then radically transformed and degraded during the process of post-Soviet deindustrialization.

scholarly journals Post-Digital Literary Studies

2016 ◽  
Vol 4 (1) ◽  
pp. 11-27 ◽  
Author(s):  
Florian Cramer
Keyword(s):  
Visual Arts ◽  
Graphic Design ◽  
Digital Humanities ◽  
Literary Studies ◽  
Boom And Bust ◽  
Contemporary Media ◽  
1960S And 1970S ◽  
The 1960S ◽  
Digital Literary Studies ◽  
Information Aesthetics

Digital humanities and digital literary studies face much the same challenges as contemporary media art: what will become of them once their media are no longer “new”, and the limitations of processing art as data have become more clearly and widely understood? This paper revisits information aesthetics and computer poetics from the 1960s and 1970s, casting them as precursors of today’s digital humanities, with many of the same issues, achievements and failures, and with their own hype cycles of boom and bust. Conversely, “post-digital” and “Post-Internet” trends in music, graphic design and visual arts may anticipate possible futures of digital humanities and literary studies after the hype has passed.DOI: http://dx.doi.org/10.14195/2182-8830_4-1_1

The Cultural Center

2015 ◽  
Vol 74 (4) ◽  
pp. 464-484 ◽  
Author(s):  
Kenny Cupers
Keyword(s):  
Cultural Policy ◽  
Primary Sources ◽  
Cultural Institutions ◽  
Cultural Center ◽  
Policy Makers ◽  
Cultural Centers ◽  
Postwar Europe ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Cold War

The Cultural Center: Architecture as Cultural Policy in Postwar Europe examines how culture became an explicit domain of state policy in postwar Europe and why the modern architecture of cultural centers and culture halls became central to such policy. Kenny Cupers uses a variety of archival and primary sources to analyze maisons de la culture in France and Kulturpaläste or Kulturhäuser in the German Democratic Republic during the 1960s and 1970s. Focusing on the roles of bureaucrats, policy makers, and designers, he reveals how architecture articulated cultural politics in which participation was harnessed to bolster the intervention of the state in everyday life—whether through unqualified support, as in France, or through often-oppressive regulation, as in the GDR. This premise is what shaped the design approaches of programmatic integration, polyvalence, and communication for new cultural institutions across the Cold War divide.

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 A POLÍTICA CULTURAL NA REVOLUÇÃO CUBANA: as disputas intelectuais nos anos 1960 e 1970

Caderno CRH ◽  
2019 ◽  
Vol 32 (87) ◽  
pp. 537
Author(s):  
Sílvia Cezar Miskulin
Keyword(s):  
Cultural Policy ◽  
Publishing House ◽  
Cuban Revolution ◽  
Cultural Institutions ◽  
Cultural Productions ◽  
Culture History ◽  
Cuban Government ◽  
1960S And 1970S ◽  
The 1960S ◽  
And Control

<p>A Revolução Cubana promoveu grandes transformações na sociedade da ilha. Novas publicações, instituições culturais e manifestações artísticas acompanharam a efervescência política e cultural ao longo dos anos 60. Esta pesquisa analisou o suplemento cultural Lunes de Revolución, a editora El Puente e o suplemento cultural El Caimán Barbudo, com o objetivo de mostrar o surgimento das novas publicações e manifestações culturais em Cuba após o triunfo da Revolução. O trabalho demonstra que o surgimento de uma política cultural acarretou a normatização e o controle das produções culturais pelo governo cubano desde os anos 1960, e mais ainda após 1971, quando se acentuou o fechamento e o endurecimento no meio cultural cubano.</p><p> </p><p>CULTURAL POLICY IN THE CUBAN REVOLUTION: intellectual disputes in the 1960s and 1970s</p><p>The Cuban Revolution promoted great transformations in the society of the island. New publications, cultural institutions and artistic manifestations accompanied the political and cultural effervescence throughout the 1960s.This research analyzed the cultural supplement Lunes de Revolución, the El Puente publishing house and the El Caimán Barbudo cultural supplement, with the aim of showing the emergence of new publications and cultural manifestations in Cuba after the triumph of the Revolution. However, the emergence of a cultural policy has led to the normalization and control of cultural productions by the Cuban government since the 1960s, and especially after 1971, when the closing and hardening of the Cuban cultural milieu became more pronounced.</p><p>Key words: Cuba. Revolution. Culture. History. Intellectual.</p><p> </p><p>LA POLITIQUE CULTURELLE DANS LA REVOLUTION CUBAINE: controverses intellectuelles dans les annees 1960 et 1970</p><p>La révolution cubaine a promu de grandes transformations dans la société de l’île. De nouvelles publications, des institutions culturelles et des manifestations artistiques ont accompagné l’effervescence politique et culturelle tout au long des années 1960.Cette recherche a analysé le supplément culturel Lunes de Revolución, la maison d’édition El Puente et le supplément culturel El Caimán Barbudo, dans le but de montrer l’émergence de nouvelles publications et manifestations culturelles à Cuba après le triomphe de la Révolution. Cependant, l’émergence d’une politique culturelle a conduit à la normalisation et au contrôle des productions culturelles par le gouvernement cubain depuis les années 1960, et encore plus après 1971, lorsque la fermeture et l’endurcissement du milieu culturel cubain se sont accentués.</p><p>Mots clés: Cuba. Révolution. Culture. Histoire. Intellectuel.</p>

scholarly journals Mapping intermediaries in contemporary art according to pragmatic sociology

2012 ◽  
Vol 15 (6) ◽  
pp. 695-702 ◽  
Author(s):  
Nathalie Heinich
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Cultural Policy ◽  
Art World ◽  
Historical Explanation ◽  
Pragmatic Sociology ◽  
Insight Into

The role and number of intermediaries involved in the process of artistic mediation tend to be all the more important as the art world becomes more autonomous, ruled by specific values, words and actions. This is particularly obvious in the case of contemporary visual arts, as this article demonstrates. The example of a French member of the Nouveaux Réalistes movement helps mapping the various categories of persons, institutions, gestures, objects owing to which a piece of scrap may be offered the career of an authentic artwork. The article concludes by providing a historical explanation of the growing role of intermediaries in modern and contemporary art, and insight into current French cultural policy concerning intermediaries in the visual arts.

Williams, Fred (1927–1982)

2018 ◽  
Author(s):  
Darren Jorgensen
Keyword(s):  
Contemporary Art ◽  
Landscape Painting ◽  
International Trends ◽  
1960S And 1970S ◽  
The 1960S ◽  
As If

Fred Williams was an Australian painter and printmaker who bridged the gulf between the country’s landscape painters and contemporary art. In the 1960s he turned the sparseness of the Australian countryside into pictures that resembled the international trends toward abstraction and minimalism. These were large, sparse canvases dotted with colorful blobs that alluded to the great spaces and minimal features of the Australian countryside. Williams’s other influential series include paintings of densely packed trees in Sherbrooke Forest in the late 1950s and early 1960s, as well as landscapes of the Pilbara region in the early 1980s, just before his death. The Pilbara Series would come to be his best known work, yet they were also the most conservative of Williams’s pictures, as they portray the ranges and riverbeds of this region with a naturalism redolent of classical landscape painting. In these works, it is as if the radical break that took place in Australian art in the 1960s and 1970s had never happened—that is, that the influence of contemporary art had not succeeded in making itself felt.

Ken Russell's Wartime Imagery

2015 ◽  
Vol 12 (4) ◽  
pp. 539-555 ◽  
Author(s):  
Kevin M. Flanagan
Keyword(s):  
Second World War ◽  
World War ◽  
War Films ◽  
Personal Style ◽  
American Cinema ◽  
1960S And 1970S ◽  
The 1960S ◽  
Second World ◽  
Wartime Experience ◽  
National Experience

This article traces Ken Russell's explorations of war and wartime experience over the course of his career. In particular, it argues that Russell's scattered attempts at coming to terms with war, the rise of fascism and memorialisation are best understood in terms of a combination of Russell's own tastes and personal style, wider stylistic and thematic trends in Euro-American cinema during the 1960s and 1970s, and discourses of collective national experience. In addition to identifying Russell's recurrent techniques, this article focuses on how the residual impacts of the First and Second World Wars appear in his favoured genres: literary adaptations and composer biopics. Although the article looks for patterns and similarities in Russell's war output, it differentiates between his First and Second World War films by indicating how he engages with, and temporarily inhabits, the stylistic regime of the enemy within the latter group.

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