Kayyali, Louay (1934–1978)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Mental Illness ◽  
Everyday Life ◽  
Fine Arts ◽  
Still Life ◽  
The Social ◽  
Art Scene ◽  
1960S And 1970S ◽  
The 1960S

Louay Kayyali was one of the leading painters of the emergent Syrian art scene during the 1960s and 1970s. His most admired works depict individual laborers as "types," illustrating the tragic humanism of everyday life. Kayyali began his career in Aleppo, exhibiting academic portraits and still life paintings locally. In 1956, he won a fellowship to study at the Academy of Fine Arts in Rome, where he became interested in fresco and other traditional techniques. After completing his studies in 1961, Kayyali settled in Damascus and joined the faculty at the new College of Fine Arts. For a period of five years, he exhibited his portrait types, flowers, and architectural landscapes—rendered in simple lines and color stains on pressed chipboard—regularly, to acclaim from collectors. From 1965 onward, Kayyali began to struggle with mental illness. In this later period, he turned to more overtly politicized themes, including a series of dramatic charcoal drawings of citizens under siege, which was sponsored by the Syrian government as a touring exhibition in support of the Arab liberation cause. He also continued to produce paintings of fishermen, street sellers, and mothers as representations of the social themes then preoccupying him.

The Politics of Banking and Social Democracy

2017 ◽  
Author(s):  
Aled Davies
Keyword(s):  
Banking System ◽  
Social Democracy ◽  
The Political ◽  
Social Democratic ◽  
Industrial Economy ◽  
The Social ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
Political Demand

This chapter concerns the politics of managing the domestic banking system in post-war Britain. It examines the pressures brought to bear on the post-war settlement in banking during the 1960s and 1970s—in particular, the growth of new credit creating institutions and the political demand for more competition between banks. This undermined the social democratic model for managing credit established since the war. The chapter focuses in particular on how the Labour Party attempted in the 1970s to produce a banking system that was competitive, efficient, and able to channel credit to the struggling industrial economy.

O początkach wychowania seksualnego w Polsce i kontestacji młodzieżowej na Zachodzie – zapis ostatniego wywiadu z Profesorem Andrzejem Jaczewskim

2021 ◽  
pp. 188-205
Author(s):  
Julia Stępniewska ◽  
Piotr Zańko ◽  
Adam Fijałkowski
Keyword(s):  
Sex Education ◽  
Auxiliary Function ◽  
Sexual Revolution ◽  
Sexual Education ◽  
The West ◽  
The Social ◽  
1960S And 1970S ◽  
The 1960S ◽  
The University ◽  
The Relationship

In this text, we ask about the relationship between sexual education in Poland in the 1960s and 1970s with the cultural contestation and the moral (including sexual) revolution in the West as seen through the eyes of Prof. Andrzej Jaczewski (1929–2020) – educationalist, who for many years in 1970s and 1980s conducted seminars at the University of Cologne, pediatrician, sexologist, one of the pioneers of sexual education in Poland. The movie “Sztuka kochania. Historia Michaliny Wisłockiej” (“The Art of Love. The Story of Michalina Wisłocka” [1921–2005]), directed in 2017 by Maria Sadowska, was the impulse for our interview. After watching it, we discovered that the counter-cultural background of the West in the 1960s and 1970s was completely absent both in the aforementioned film and in the discourse of Polish sex education at that time. Moreover, Andrzej Jaczewski’s statement (July 2020) indicates that the Polish concept of sexual education in the 1960s and 1970s did not arise under the influence of the social and moral revolution in the West at the same time, and its originality lay in the fact that it was dealt with by professional doctors-specialists. We put Andrzej Jaczewski’s voice in the spotlight. Our voice is usually muted in this text, it is more of an auxiliary function (Chase, 2009). Each of the readers may impose their own interpretative filter on the story presented here.

scholarly journals SPACE AS A CONTEXT IN DANIEL BUREN’S ART

2021 ◽  
Vol 11 (1) ◽  
pp. 301-322
Author(s):  
Tuğba RENKÇİ TAŞTAN
Keyword(s):  
World War Ii ◽  
Conceptual Art ◽  
World Order ◽  
Art World ◽  
Artistic Practice ◽  
Innovation Development ◽  
Traditional Art ◽  
The Social ◽  
Art Scene ◽  
The 1960S

20th century; it is a period in which two world wars took place and a new world order in human history occurred in many areas of innovation, development and transformation. After the war, the meaning, content and boundaries of art and the artist have been discussed, expanded and gained a new dimension and acceleration with the deep changes in the social, economic, political and cultural fields with the crisis brought on by the war. This complex period also manifested itself in the traditional art scene in France. The French artist Daniel Buren (b. 1938) has witnessed this process; by adopting the innovations in art with his productions, he has demonstrated his space-oriented conceptual works dating back to the present day in a period in which daily life accelerates with the mechanization of art practice and conceptual art movements are in succession. In this article, in order to comprehend the point of the artist and his productions from the beginning until today; the cultural environment in France after the World War II, the developments in the art world, the changes in the social field and the artistic dimensions of these changes are mentioned. The development and practices of the French artist Daniel Buren's artistic practice, policy, artistic attitude and style for the place, architecture, workshop and museum in the period from the second half of the 1960s to the present day are examined with examples with certain sources. In this context, the views and concepts that the artist advocates with his original productions are included. Finally, in the research, the evaluations were made in line with the sources and information obtained about the art adventure and development of the artist, and the innovations, contributions and different perspectives he offered about the art are discussed.

Ainslie, Bill (1934–1989)

2018 ◽  
Author(s):  
Jessica Stephenson
Keyword(s):  
South Africa ◽  
South African ◽  
Eastern Cape ◽  
African Art ◽  
Art Programs ◽  
Non Profit ◽  
Black Artists ◽  
The Social ◽  
1960S And 1970S ◽  
The 1960S

Born in 1934 in Bedford, Eastern Cape, South Africa, William (Bill) Stewart Ainslie was a painter and educator, and the founder of a number of visual art programs and workshops that countered discriminatory racial and educational policies in apartheid-era South Africa. These programs encouraged students to work in abstract and other modernist idioms not practiced in the country at the time. Until his untimely death at age 55, Ainslie melded his career as an artist with his vision of art as a means to combat apartheid. In the 1960s and 1970s, Ainslie fostered the only multiracial art programs in the country, culminating in a formal art school, the non-profit Johannesburg Art Foundation (1982). He helped found the Federated Union of Black Artists (FUBA) and the art schools Fuba Academy (1978), Funda Center (1983) (funda means "learn" in Xhosa), and the Alexandra Arts Centre (1986). The generation of modern African artists and educators trained at these institutions shaped the course of art after apartheid. Ainslie also organized short-term workshops, most notably the Thupelo Art Workshop (thupelo means "to teach by example" in Southern Sotho) in 1983. Thupelo linked local and international artists and focused on abstraction, a radical departure from the social realist style expected of politically engaged South African art of the 1980s.

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.

‘Visions of another world’

2020 ◽  
pp. 227-244
Author(s):  
Chantal Marazia ◽  
Heiner Fangerau ◽  
Thomas Becker ◽  
Felicitas Söhner
Keyword(s):  
Mutual Influence ◽  
Phenomenological Tradition ◽  
Psychiatric Reform ◽  
Medical Establishment ◽  
The Social ◽  
1960S And 1970S ◽  
The 1960S

This chapter explores Franco Basaglia’s relation with German psychiatry, from his early infatuation with the anthropo-phenomenological tradition to the disputes with the social psychiatric movement during the 1960s and 1970s. After an overview of Basaglia’s criticism of German psychiatric schools and institutions, the chapter focuses on his personal links, most notably with progressive psychiatrists and with the anti-psychiatric movement SPK (Sozialistisches Patientenkollektiv). Finally, it analyses Basaglia’s reception, by both the medical establishment and the actors of psychiatric reform. Contrary to the current narrative of a mutual influence, the chapter argues that Basaglia can hardly be regarded as a genuine inspiration for German psychiatric reform, and was retrospectively refashioned as such.

Improvisation, Democracy, and Feedback

2014 ◽  
Author(s):  
Daniel Belgrad
Keyword(s):  
Physical Environment ◽  
Social Philosophy ◽  
Feedback Loops ◽  
Self In Relation ◽  
Public Supply ◽  
Contact Improvisation ◽  
The Social ◽  
Social And Physical Environment ◽  
1960S And 1970S ◽  
The 1960S

In the 1960s and 1970s, improvisational artists explored the use of feedback, both as a creative method and a model of the self in relation to its social and physical environment. As an alternative to centralized authority structures, feedback loops could be used to organize decentralized events or activities. The result would be a self-informing system, or autopoiesis. This idea informed the new field of cybernetics and the social philosophy of Paul Goodman and Gregory Bateson. Max Neuhaus’s realization of John Cage’s composition,Fontana Mix—Feed, made use of this structure, as did his later broadcast works,Public SupplyandRadio Net, and the dance form of “contact improvisation” developed by Steve Paxton. In these works, attention to the dynamics of interaction (“deutero-learning”) fostered an improvisational style based on a heightened environmental awareness rather than an exteriorization of the internal psyche, thus pioneering the postmodern, networked self.

The Politics of Growth in South Korea

2015 ◽  
Author(s):  
Stephan Haggard ◽  
Myung-Koo Kang
Keyword(s):  
Developmental State ◽  
The Political ◽  
Policy Agenda ◽  
Korean Economy ◽  
The Social ◽  
Social Polarization ◽  
1960S And 1970S ◽  
The Government ◽  
The 1960S ◽  
The Welfare State

This article examines the political origins of South Korea’s rapid economic development in the 1960s and 1970s, with emphasis on the enduring effects of the developmental state era. It begins by considering developments since 1980, including the influence of democratization, the causes and consequences of the financial crisis of 1997–1998, and the market-oriented reforms pursued by the government in the wake of the crisis. It then discusses the legacy of the developmental state era in the coverage of the welfare state, along with the liberalization of the Korean economy beginning in the 1980s. The article documents South Korea’s transition into a market economy, marked by reforms in the financial sector and corporate governance, as well as reforms in foreign direct investment and even labor markets. Finally, it appraises a number of challenges that the Korean political economy must deal with, including growing economic and social polarization, inequality, and the social policy agenda.

The Labor Movement and Sugar Industry in Tucumán in the 1960s and 1970s

2019 ◽  
Author(s):  
Silvia Nassif
Keyword(s):  
Labor Movement ◽  
Total Population ◽  
Sugar Industry ◽  
Test Case ◽  
Detention Center ◽  
The Social ◽  
Sugar Mills ◽  
1960S And 1970S ◽  
The 1960S ◽  
Guerrilla Movement

The province of Tucumán, Argentina, has been used as a test case for the fallacious “theory of the two demons” because it is both where a guerrilla movement formed in 1974 and where the country’s first clandestine detention center was established in the “escuelita” of Famaillá during “Operativo Independencia” in 1975. This “theory” reduces the conflict in the province to a confrontation in the Tucumán hills between no more than 150 combatants of the People’s Revolutionary Army (Ejército Revolucionario del Pueblo, ERP) and 5,000 soldiers of the Argentine Army. This, however, largely conceals the social catastrophe suffered by Tucumán and the high levels of conflict that had already been taking place for more than a decade. Previously, in August 1966, the provincial territory had been militarized by the new dictatorial government led by Juan Carlos Onganía. On that occasion, militarization sought to guarantee the closure of sugar mills. This generated an unprecedented economic and social crisis. Between 1966 and 1968, eleven mills were closed out of a total of twenty-seven, more than 50,000 jobs were eliminated in the sugar agro-industry alone, medium and small sugarcane producers were severely affected, and more than a quarter of the total population of the province was forced to emigrate in search of new sources of work. Such were the root causes of social conflict, led mainly by the sugar working class assembled in the Tucumán Workers Federation of the Sugar Industry (Federación Obrera Tucumana de la Industria Azucarera, FOTIA), which the 1976 dictatorship was intent on reining in.

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