scholarly journals A New “Vision”: Early Works of Ahmad Aali and the Emergence of Fine Art Photography in Iran (1960s–1970s)

2016 ◽  
Vol 70 (4) ◽  
Author(s):  
Elahe Helbig
Keyword(s):  
World War Ii ◽  
Art History ◽  
Fine Art ◽  
History Of Photography ◽  
Artistic Medium ◽  
Art Photography ◽  
New Vision ◽  
1960S And 1970S ◽  
The 1960S ◽  
Social Agendas

AbstractThis article explores the emergence of fine art photography in Iran during the 1960s and 1970s, bringing to the fore the significance of Ahmad Aali and his early photographic works for this transformation. It sheds light on the confluence of the main trajectories that paved the way for the formation of fine art photography in Iran, firstly by exploring historical practices of photography, secondly by addressing the influences of transforming political and social agendas after World War II on photographic developments, and finally by underlining the involvement of photography in the artistic sphere of that time. Central to the latter is Aali’s contribution to theoretical discourses about photography as an artistic medium and the major role he played in the first photographic exhibitions in art spaces. In that perspective, this article argues for the pivotal role of Ahmad Aali in bridging the gap between photography and art for the first time in Iran’s long history of photography. It analyses Aali’s photographic works exhibited during the 1960s and 1970s to comprehend the circumstances of the emergence of fine art photography in Iran, and does so by discussing the modernist aesthetics in photography that emerged at the time. Going beyond Aali’s regional importance, it examines his conceptual approaches to overcoming the ‘static realism’ and the limitations of the medium. Aali’s novel photographic concepts of space and time that emerged therefrom should be accorded their full autonomy and uniqueness in the (re-)writing of a narrative of art history on their very premises. This article thereby seeks to support a critique of the narrow epistemological boundaries of the discipline of art history and its resulting marginalization of locally developed art forms and concepts.

scholarly journals Contextualizing the Rhode Island School of Design group portfolios and the state of art photography in the 1960s and 1970s

2021 ◽  
Author(s):  
Rachel E. Andrews
Keyword(s):  
Rhode Island ◽  
The State ◽  
Next Generation ◽  
Education Programs ◽  
Art Form ◽  
Artistic Medium ◽  
Art Photography ◽  
1960S And 1970S ◽  
The 1960S ◽  
State Of Art

The students and faculty of the Rhode Island School of Design produced fourteen annual group portfolios between the years 1967-1981. The George Eastman House collection contains nine of the fourteen group portfolios created. The group portfolios add to the discourse surrounding university photographic education programs in the late 1960s and 1970s. The tradition of annual university group portfolios creates a tangible link between photographic education programs, the photography market, and collecting art photography. The Rhode Island School of Design group portfolios demonstrate that professional art photographers taught photography to make a living while inspiring the next generation of art photographers. The seriousness of teaching photography further validated photography as an art form. Also during this time, the number of university photography programs increased, the photography market flourished, and institutions developed independent photography departments. The combination of these factors progressively led to photography’s acceptance as an autonomous artistic medium.

scholarly journals Contextualizing the Rhode Island School of Design group portfolios and the state of art photography in the 1960s and 1970s

2021 ◽  
Author(s):  
Rachel E. Andrews
Keyword(s):  
Rhode Island ◽  
The State ◽  
Next Generation ◽  
Education Programs ◽  
Art Form ◽  
Artistic Medium ◽  
Art Photography ◽  
1960S And 1970S ◽  
The 1960S ◽  
State Of Art

The students and faculty of the Rhode Island School of Design produced fourteen annual group portfolios between the years 1967-1981. The George Eastman House collection contains nine of the fourteen group portfolios created. The group portfolios add to the discourse surrounding university photographic education programs in the late 1960s and 1970s. The tradition of annual university group portfolios creates a tangible link between photographic education programs, the photography market, and collecting art photography. The Rhode Island School of Design group portfolios demonstrate that professional art photographers taught photography to make a living while inspiring the next generation of art photographers. The seriousness of teaching photography further validated photography as an art form. Also during this time, the number of university photography programs increased, the photography market flourished, and institutions developed independent photography departments. The combination of these factors progressively led to photography’s acceptance as an autonomous artistic medium.

scholarly journals Linen Boxes and Slices: Raoul De Keyser and American Modernism in Belgium in the 1960s and 1970s

Arts ◽  
2021 ◽  
Vol 10 (4) ◽  
pp. 80
Author(s):  
Steven Jacobs
Keyword(s):  
Three Dimensional ◽  
Pop Art ◽  
Free Standing ◽  
American Modernism ◽  
Hard Edge ◽  
Three Dimensional Objects ◽  
Color Field Painting ◽  
New Vision ◽  
1960S And 1970S ◽  
The 1960S

Before his international breakthrough shortly before the turn of the century, Belgian painter Raoul De Keyser (1930–2012) had a long career that reaches back to the 1960s, when he was associated with Roger Raveel and the so-called Nieuwe Visie (New Vision in Dutch), Belgium’s variation on postwar figurative painting that also entails Anglo-Saxon Pop Art and French nouveau réalisme. Dealing with De Keyser’s works of the 1960s and 1970s, this article discusses the reception of American late-modernist art currents such as Color-Field Painting, Hard Edge, Pop Art, and Minimal Art in Belgium. Drawing on contemporaneous reflections (by, among others, poet and critic Roland Jooris) as well as on recently resurfaced materials from the artist’s personal archives, this essay focuses on the ways innovations associated with these American trends were appropriated by De Keyser, particularly in the production of his so-called Linen Boxes and Slices. Made between 1967 and 1971, Linen Boxes and Slices are paintings that evolved into three-dimensional objects, free-standing on the floor or leaning against the wall. Apart from situating these constructions in De Keyser’s oeuvre, this article interprets Linen Boxes and Slices as particular variations on Pop Art’s fascination for consumer items and on Minimalism’s interest in the spatial and material aspects of “specific objects”.

Nabaa, Nazir (1938--)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Communist Party ◽  
Rural Schools ◽  
Art Criticism ◽  
Modern Art ◽  
Fine Arts ◽  
Fine Art ◽  
Political Mobilization ◽  
Puppet Theater ◽  
1960S And 1970S ◽  
The 1960S

Nazir Nabaa, a respected Syrian painter, made his greatest contributions to Arab modern art in the 1960s and 1970s, when he contributed to the graphic identity of progressive political causes and the Palestinian liberation struggle. He joined the Syrian Communist Party in the 1954 and in 1959 was briefly jailed for this affiliation. After his release, he traveled to Cairo on a fellowship to study painting at the Faculty of Fine Arts, there developing a heroic realist style around social and labor themes. After returning to Syria in 1964, Nabaa taught drawing in rural schools and worked with myth and folklife. Moving to Damascus in 1968, he worked as an illustrator and became involved in creative projects in support of political mobilization, including poster design, puppet theater, fine art painting, and art criticism. Between 1971 and 1975, Nabaa studied in Paris at the Academy of Fine Arts. Upon his return, he joined the faculty of the College of Fine Arts in Damascus. His later paintings became more fantastical, combining goddess figures with still lifes of fruits, tapestries, and jewelry. He also developed a parallel corpus of abstract paintings based on the exploration of texture and color.

Dupain, Maxwell Spencer (1911–1992)

2018 ◽  
Author(s):  
Helen Ennis
Keyword(s):  
World War Ii ◽  
Subject Matter ◽  
Technical College ◽  
World War ◽  
Entire Life ◽  
Sharp Focus ◽  
Man Ray ◽  
1960S And 1970S ◽  
The 1960S

Australian photographer Max Dupain distinguished himself as a professional and artistic presence from the 1930s well into the 1970s. His earliest works were in the Pictorialist style, but by the mid-1930s he had become an ardent modernist—using sharp focus, bold and geometric compositions, and contemporary subject matter. Dupain was strongly influenced by vitalist philosophy, the work of Australian artist Norman Lindsay, the photography of Man Ray, Margaret Bourke-White, and Edward Steichen, as well as writer D.H. Lawrence. The son of Ena and George Dupain, Max Dupain lived in Sydney his entire life. He joined the studio of Cecil Bostock in 1930, taking night classes at East Sydney Technical College and the Julian Ashton School of Art. In 1934 he opened his own studio and quickly established his reputation in fashion, advertising, and celebrity portraiture. After World War II he reoriented his practice towards industry and government assignments, favoring a documentary approach. During the 1960s and 1970s, he specialized in architectural photography. Dupain’s photography is distinguished by its physicality and embrace of Australian sunlight and conditions (as seen in Sunbaker, his best-known work). He also regularly wrote on photography, contributing spirited reviews to the Sydney Morning Herald. His work was widely exhibited and published and is held in numerous public collections.

Core Principles of Educational Multimedia

2011 ◽  
pp. 130-136
Author(s):  
Geraldine Torrisi-Steele
Keyword(s):  
World War Ii ◽  
Learning Experience ◽  
Instructional Television ◽  
Computer Assisted ◽  
Sound Motion ◽  
The 1950S ◽  
1960S And 1970S ◽  
The 1960S ◽  
Assisted Instruction ◽  
Computer Resources

The notion of using technology for educational purposes is not new. In fact, it can be traced back to the early 1900s during which school museums were used to distribute portable exhibits. This was the beginning of the visual education movement that persisted throughout the 1930s, as advances in technology such as radio and sound motion pictures continued. The training needs of World War II stimulated serious growth in the audiovisual instruction movement. Instructional television arrived in the 1950s but had little impact, due mainly to the expense of installing and maintaining systems. The advent of computers in the 1950s laid the foundation for CAI (computer assisted instruction) through the 1960s and 1970s. However, it wasn’t until the 1980s that computers began to make a major impact on education (Reiser, 2001). Early applications of computer resources included the use of primitive simulation. These early simulations had little graphic capabilities and did little to enhance the learning experience (Munro, 2000).

scholarly journals Art and History, 1969–2019

2020 ◽  
Vol 50 (4) ◽  
pp. 567-586
Author(s):  
Peter Burke
Keyword(s):  
Case Studies ◽  
Art History ◽  
Turning Point ◽  
Art Market ◽  
Half Century ◽  
The Reformation ◽  
Art Historians ◽  
1960S And 1970S ◽  
The 1960S

The 1960s and 1970s marked a turning point in the encounters between generalist historians and art historians regarding the study of art. Before that moment, art history, from its very inception as an independent department in universities, had been entirely distinct from the discipline of generalist history. However, three case studies—art and the Reformation, the rise of the art market, and the proliferation of political monuments—reveal the convergence between the two disciplines that has unfolded during the last half-century, culminating in recent discussions of agency and attempts to answer the question, What is Art?

‘Illiterate’ musicians: an historic review of curriculum and practice for student popular musicians in Australian senior secondary classrooms

2019 ◽  
Vol 36 (02) ◽  
pp. 155-171 ◽  
Author(s):  
Christine Carroll
Keyword(s):  
World War Ii ◽  
Music Education ◽  
Popular Music ◽  
Curriculum Reform ◽  
School Curriculum ◽  
Secondary Classrooms ◽  
Western Art ◽  
1960S And 1970S ◽  
The 1960S ◽  
Senior Secondary

AbstractThis article examines curriculum and practice in Australian secondary classroom music education, in order to trace the inclusion of, and provision for, students with learning orientations based on popular music forms. A 60-year period of curriculum reform, matriculation statistics and literature is surveyed with a focus on the state of New South Wales (NSW), where the ‘non-literate’ student musician was first acknowledged in curriculum documents dating from the late 1970s at the senior secondary level (Music Syllabus Year 11 and 12: New 2 Unit A Course. Draft Document). Three overlapping eras frame discussion. The first discusses the original post–World War II school curriculum established for Western art music (WAM); the second discusses the period of curriculum reform beginning in the 1960s and 1970s, which leads to the inclusion of popular music at junior secondary levels; and the third is the present era from roughly 1980 onwards, where separate pathways of instruction are maintained for WAM and students with interests in popular and contemporary musics. Legitimation Code Theory (LCT) from the sociology of education is employed, with analysis unveiling a series of historic code shifts and clashes with implications for present practice. An unveiling of these codes explains the cause of ongoing tensions surrounding the inclusion of popular music and musicians in Australian music classrooms and provides foundation for much-needed curriculum development in the NSW context, and potentially elsewhere, where similar dynamics underpin practice in secondary classrooms.

The Movement for Japanese American Redress

2019 ◽  
Author(s):  
Megan Asaka
Keyword(s):  
World War Ii ◽  
Civil Liberties ◽  
Japanese Americans ◽  
Japanese American ◽  
World War ◽  
1960S And 1970S ◽  
The Government ◽  
The 1960S ◽  
The Cold War ◽  
Redress Movement

The Japanese American Redress Movement refers to the various efforts of Japanese Americans from the 1940s to the 1980s to obtain restitution for their removal and confinement during World War II. This included judicial and legislative campaigns at local, state, and federal levels for recognition of government wrongdoing and compensation for losses, both material and immaterial. The push for redress originated in the late 1940s as the Cold War opened up opportunities for Japanese Americans to demand concessions from the government. During the 1960s and 1970s, Japanese Americans began to connect the struggle for redress with anti-racist and anti-imperialist movements of the time. Despite their growing political divisions, Japanese Americans came together to launch several successful campaigns that laid the groundwork for redress. During the early 1980s, the government increased its involvement in redress by forming a congressional commission to conduct an official review of the World War II incarceration. The commission’s recommendations of monetary payments and an official apology paved the way for the passage of the Civil Liberties Act of 1988 and other redress actions. Beyond its legislative and judicial victories, the redress movement also created a space for collective healing and generated new forms of activism that continue into the present.

scholarly journals Missionaries, the Monarchy, and the Emergence of Anglican Pluralism in the 1960s and 1970s

2018 ◽  
Vol 57 (3) ◽  
pp. 543-563 ◽  
Author(s):  
Daniel S. Loss
Keyword(s):  
Religious Communities ◽  
British Society ◽  
Religious Groups ◽  
Political Role ◽  
Late Twentieth ◽  
New Vision ◽  
1960S And 1970S ◽  
The 1960S ◽  
Late Twentieth Century ◽  
The Church

AbstractIn the late twentieth century, a new justification for the Church of England's establishment emerged: the church played an important social and political role in safeguarding the interests of other religious communities, including non-Christian ones. The development of this new vision of communal pluralism was shaped by two groups often seen as marginal in postwar British society: the royal family and missionaries. Elizabeth II and liberal evangelicals associated with the Church Missionary Society contributed to a new conception of religious pluralism centered on the integrity of the major world religions as responses to the divine. There were, therefore, impulses towards inclusion as well as exclusion in post-imperial British society. In its focus on religious communities, however, this communal pluralism risked overstating the homogeneity of religious groups and failing to protect individuals whose religious beliefs and practices differed from those of the mainstream of their religious communities.

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