scholarly journals Advancing American Art and Intercultural Confrontations in Germany, 1945–1948

2019 ◽  
Vol 7 (1) ◽  
pp. 971-990
Author(s):  
Frank Mehring
Keyword(s):  
United States ◽  
World War Ii ◽  
American Art ◽  
The United States ◽  
Early Years ◽  
Military Government ◽  
Art Exhibitions ◽  
Cultural Mediator ◽  
Post War

This article critically addresses the multivalent function of American art exhibitions in the period of de-Nazification and re-democratization. What kind of cultural and political parameters shaped the perception of American Art in Germany during the early post-war years? I investigate intercultural confrontations surrounding the project of advancing American art and the critical response of German audiences by first looking at the exhibition Advancing American Art from 1947. I then analyze the role of the transatlantic cultural mediator Hilla von Rebay to understand developments in the German perspective on American art. The German-born artist von Rebay emigrated in 1927 to the United States and organized the German tour of Zeitgenössische Kunst und Kunstpflege in U.S.A. (Contemporary Art and the Promotion of Arts in the U.S.A.) authorized by the Office of Military Government, United States (OMGUS) in 1948. The project of ‘advancing American art’ resembles a struggle with many setbacks due to lack of official support and finding a larger public in the early years after World War II.

The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches

2007 ◽  
Vol 5 (1) ◽  
pp. 12-32
Author(s):  
ShiPu Wang
Keyword(s):  
United States ◽  
Asian American ◽  
Financial Support ◽  
American Art ◽  
The United States ◽  
Community Leaders ◽  
Art Exhibitions ◽  
The Past ◽  
Critical Approaches ◽  
Racial Demographics

This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibitions and research of the important artistic contribution of AAPI artists to American art.

Anglo-american policy in Greece (1946-50)

2013 ◽  
Author(s):  
Spero Simeon Zachary Paravantes
Keyword(s):  
United States ◽  
Foreign Policy ◽  
American Foreign Policy ◽  
The United States ◽  
Early Years ◽  
United States Government ◽  
Anglo American ◽  
Dramatic Shift ◽  
Current Financial Crisis ◽  
Post War

While trying to understand and explain the origins and dynamics of Anglo-American foreign policy in the pre and early years of the Cold War, the role thatperception played in the design and implementation of foreign policy became acentral focus. From this point came the realization of a general lack of emphasisand research into the ways in which the British government managed to convincethe United States government to assume support for worldwide British strategicobjectives. How this support was achieved is the central theme of this dissertation.This work attempts to provide a new analysis of the role that the British played in the dramatic shift in American foreign policy from 1946 to 1950. Toachieve this shift (which also included support of British strategic interests in theEastern Mediterranean) this dissertation argues that the British used Greece, first asa way to draw the United States further into European affairs, and then as a way toanchor the United States in Europe, achieving a guarantee of security of theEastern Mediterranean and of Western Europe.To support these hypotheses, this work uses mainly the British andAmerican documents relating to Greece from 1946 to 1950 in an attempt to clearlyexplain how these nations made and implemented policy towards Greece duringthis crucial period in history. In so doing it also tries to explain how Americanforeign policy in general changed from its pre-war focus on non-intervention, to the American foreign policy to which the world has become accustomed since 1950. To answer these questions, I, like the occupying (and later intervening)powers did, must use Greece as an example. In this, I hope that I may be forgivensince unlike them, I intend not to make of it one. My objectives for doing so lie notin justifying policy, but rather in explaining it. This study would appear to havespecial relevance now, not only for the current financial crisis which has placedGreece once again in world headlines, but also for the legacy of the Second WorldWar and the post-war strife the country experienced which is still playing out todaywith examples like the Distomo massacre, German war reparations and on-goingsocial, academic and political strife over the legacy of the Greek Civil War.

scholarly journals THE ROLE OF AMERICAN AND SOVIET WOMEN REPORTERS IN COVERING WORLD WAR II: SPECIFICS OF COVERAGE OF MILITARY ISSUES IN 20th CENTURY JOURNALISM

World Science ◽  
2019 ◽  
Vol 4 (11(51)) ◽  
pp. 37-40
Author(s):  
Tsitsino Bukia ◽  
Nana Parinos
Keyword(s):  
United States ◽  
World War Ii ◽  
20Th Century ◽  
The United States ◽  
World War ◽  
Women Journalists ◽  
Advantages And Disadvantages ◽  
Soviet Space ◽  
Absolutely Closed

A war correspondent has no border, no gender, no religion or race. The only thing a war reporter has - the skills of delivering truth, reflection of the reality in the way it is.The soviet space was absolutely closed to journalism and combat women journalists’ involvement in wars. The field almost consisted of males. Consequently, it seems impossible to analyze and compare the technique of writing of American and SovietWomen. If America freely accepts women for being actively involved in covering war activities, the Soviets obviously refused to do so.The role of a war correspondent is much bigger than one can suppose. Being a war reporter is more than implementing their responsibilities. It goes deeper into the history. A professional combat reporter is a historian facing the history and keeping it for the next generation.The paper considers advantages and disadvantages of being a female combat correspondent in the Soviet space and the United States of America.The role of American and Soviet women reporters in covering WWII.

Merchants of Asianness: Japanese Art Dealers in the United States in the Early Twentieth Century

2009 ◽  
Vol 44 (1) ◽  
pp. 19-46
Author(s):  
CONSTANCE J. S. CHEN
Keyword(s):  
United States ◽  
Cultural Capital ◽  
American Art ◽  
The United States ◽  
Racial Identities ◽  
Japanese Art ◽  
Art Dealers ◽  
Cultural Intermediaries

This article explores the role of Japanese merchants within American art and collecting circles and analyzes the ways in which the construction of “Asianness” and, in particular, “Japaneseness” became intertwined with the classification of Asian art. In order to reconstitute the market for high art and to create their own positionalities as legitimate cultural intermediaries, Asian art dealers such as Bunkio Matsuki (1867–1940) and Sadajiro Yamanaka (1866–1936) used their connections to Japan as cultural capital. Ultimately, their experiences illuminate the complexities of the reconceptualization of ethnic–racial identities through the lens of aesthetic discourses.

Who Are the Immigrants?

2015 ◽  
Author(s):  
Richard Alba ◽  
Nancy Foner
Keyword(s):  
United States ◽  
World War Ii ◽  
The United States ◽  
European Countries ◽  
Immigration Laws ◽  
Economic Migration ◽  
Laws And Policies ◽  
Social Landscapes ◽  
Permanent Residents

This chapter explores the role of post-World War II immigration laws and policies of France, Germany, Great Britain, the Netherlands, United States, and Canada in giving rise to the mix of new social groups on their social landscapes. In one fundamental sense, the immigration regimes of European countries, the United States, and Canada are very much alike. All are restrictive in that they set limits on the numbers and type of people who can settle as permanent residents. There are, however, important transatlantic differences, lending some support to the common perception that Canada and the United States are more welcoming of immigration. Western European countries continue to be wary about immigration from outside of Europe. Their wariness is reflected in their attempts to make migration through marriages to the second generation more difficult as well as in immigration laws that constrain economic migration from the global South, keeping its numbers modest while seeking to select high human-capital immigrants.

The Evolution of Comics Art Exhibitions in the United States, 1930–1951

2020 ◽  
pp. 66-87
Author(s):  
Kim A. Munson
Keyword(s):  
United States ◽  
World War Ii ◽  
The United States ◽  
Comic Strip ◽  
Metropolitan Museum ◽  
World War ◽  
Art Exhibitions ◽  
Graphic Arts ◽  
Metropolitan Museum Of Art ◽  
Walt Disney

This 2018 essay by art historian Kim A. Munson shares the details of her research on exhibits of original comic art in U.S. museums and galleries from 1930-1954.  This chapter discusses several shows of the 1930’s from Thomas Nast at the Whitney (1932) to the display of the first Walt Disney animation cel purchased by the Metropolitan Museum of Art (1939). This chapter discusses World War II exhibits at the Metropolitan. This chapter discusses The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts by Jessie Gillespie Willing (AIGA, 1942), which is a touring exhibit with historical works, comics, and comic books. Milton Caniff was a pioneer and advocate of comics exhibits representing himself (The Art of Terry and the Pirates 1939-1946) and  later with the newly formed National Cartoonist Society organizing many shows including 20,000 Years of Comics (1949 Savings Bond Tour), and American Cartooning (Met Museum, 1951).

Community Services: Contrasts Between Resident and Nonresident Landowners in the Adirondack Region of New York

1975 ◽  
Vol 4 (2) ◽  
pp. 132-142
Author(s):  
Robert G. Craig ◽  
Harry P. Mapp
Keyword(s):  
United States ◽  
New York ◽  
World War Ii ◽  
The United States ◽  
Community Services ◽  
World War ◽  
Revolutionary Change ◽  
Role Of Government ◽  
The Public

“There is more than enough evidence to show that the states and localities, far from being weak sisters, have actually been carrying the brunt of domestic governmental progress in the United States ever since the end of World War II … Moreover, they have been largely responsible for undertaking the truly revolutionary change in the role of government in the United States that has occurred over the past decade.”–Daniel J. Elazar, The Public Interest

The Rate of Profit, Aggregate Demand, and the Long Economic Expansion in the United States since 2009

2019 ◽  
Vol 51 (4) ◽  
pp. 525-535
Author(s):  
David M. Kotz
Keyword(s):  
United States ◽  
World War Ii ◽  
Aggregate Demand ◽  
The United States ◽  
Jel Classification ◽  
World War ◽  
Economic Expansion ◽  
Asset Bubbles ◽  
Rate Of Profit

The current economic expansion in the United States, which began in the summer of 2009, has lasted for more than nine years as of this writing, making it the second longest expansion since the end of World War II. The previous two expansions, of the 1990s and 2000s, were prolonged by big asset bubbles, which have played a key role in the neoliberal era in promoting long economic expansions. However, the current expansion has not seen an asset bubble large enough to significantly affect the macroeconomy. This paper examines the expansion since 2009 by analyzing the movements of the rate of profit, and its determinants, and the role of aggregate demand, with the aim of determining the factors that have kept crisis tendencies at bay so far. JEL Classification: E32, E30, E11, E02

Brainstorming Revisited

2020 ◽  
Vol 16 (1) ◽  
pp. 50-69
Author(s):  
Claudia Mareis
Keyword(s):  
United States ◽  
Twentieth Century ◽  
World War Ii ◽  
The United States ◽  
World War ◽  
Creativity Research ◽  
Human Creativity ◽  
Self Actualization ◽  
History Of

This article discusses a particular strand in the history of creativity in the mid-twentieth century shaped by an instrumental, production-oriented understanding of the term. When the field of creativity research emerged in the United States after World War II, debates around creativity were driven not only by humanist intents of self-actualization but also by the aim of rendering individual creative potentials productive for both society and economy. Creativity was thus defined in terms of not mere novelty and originality but utility and productivity. There was a strong interest, too, in methods and techniques that promised to systematically enhance human creativity. In this context, the article looks at the formation of brainstorming, a group-based creativity method that came into fashion in the United States around 1950. It discusses how this method had been influenced by concepts of human productivity developed and applied during World War II and prior to it. Using the brainstorming method as a case in point, this article aims not only to shed light on the quite uncharted history of creativity in the mid-twentieth century, but also to stress the conducive role of allegedly trivial creativity methods in the rise of what sociologist Andreas Reckwitz has identified as the “creativity dispositif”: a seemingly playful, but indeed rigid, imperative in post-Fordist and neoliberal societies that demand the constant production of innovative outcomes under flexible, yet self-exploitative working conditions.

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