Introduction

2012 ◽  
Keyword(s):  
New York ◽  
Pop Art ◽  
Independent Group ◽  
Women's Art ◽  
Cultural Ideals ◽  
Art Scene ◽  
The 1950S ◽  
Post War ◽  
Art And Society ◽  
The 1960S

Lawrence Alloway (1926–1990) can be considered one of the founders of contemporary cultural ideals. One of the most esteemed art critics of the post-war years, Alloway was significantly involved with both the Independent Group and the Place and Situation painters in London during the 1950s. At the beginning of the 1960s, he moved to New York, where he became a leading interpreter of Pop art, ‘systemic’ abstraction, and the realist revival as well as women's art. He wrote more than 800 texts ranging from books to reviews and catalogues essays and displayed wholehearted commitment to pluralism and diversity in both art and society. In post-war London, Alloway witnessed an art scene that was impoverished but received a boost from the newly elected Socialist government's emphasis on culture. Art News and Review, a magazine launched by Richard Gainsborough in 1949, proved invaluable to Alloway as an aspiring art critic in the post-war years in London.

Art and Pluralism

2012 ◽  
Author(s):  
Nigel Whiteley
Keyword(s):  
New York ◽  
Vietnam War ◽  
Freedom Of Expression ◽  
Clement Greenberg ◽  
The 1950S ◽  
Post War ◽  
Art And Society ◽  
The 1960S ◽  
The Right ◽  
World Centre

Lawrence Alloway (1926–1990) was one of the most influential and widely respected (as well as prolific) art writers of the post-war years. His many books, catalogue essays, and reviews manifest the changing paradigms of art away from the formal values of modernism towards the inclusiveness of the visual culture model in the 1950s, through the diversity and excesses of the 1960s, to the politicisation in the wake of 1968 and the Vietnam War, on to postmodern concerns in the 1970s. Alloway was in the right places at the right times. From his central involvement with the Independent Group and the Institute of Contemporary Arts (ICA) in London in the 1950s, he moved to New York, the new world centre of art, at the beginning of the 1960s. In the early 1970s Alloway became deeply involved with the realist revival and the early feminist movement in art — Sylvia Sleigh, the painter, was his wife — and went on to write extensively about the gallery and art market as a system, examining the critic's role within this system. Positioning himself against the formalism and exclusivism associated with Clement Greenberg, Alloway was wholeheartedly committed to pluralism and diversity in both art and society. For him, art and criticism were always to be understood within a wider set of cultural, social and political concerns, with the emphasis on democracy, social inclusiveness and freedom of expression. This book provides a close critical reading of Alloway's writings.

scholarly journals Zofia Dwornik: Becoming a Female Film Editor

Panoptikum ◽  
2020 ◽  
pp. 63-76
Author(s):  
Paulina Kwiatkowska
Keyword(s):  
Professional Life ◽  
Creative Activity ◽  
First Choice ◽  
The 1950S ◽  
Post War ◽  
The 1960S

In this article the author intends to recall the figure of Zofia Dwornik, one of the most appreciated and nowadays rather forgotten female film editors of post-war communist Poland. For the twenty-five years of her creative activity, Dwornik cooperated in the production of more than thirty films with the most important directors of the Polish cinema in the 1950s, 60s and 70s. In the Polish post-war cinema, the profession of film editor was strongly feminised. In the case of Dwornik, her decision to choose this particular profession was, however, based on additional objective considerations, closely related to the context of the Stalinist period in Poland, and was not her first choice of career – she had wanted to become a film director. In this article the author takes a closer look not so much at the achievements of Dwornik in the 1960s and 70s, but at the complex circumstances that influenced her later career. Therefore, the author tries to reconstruct the most important moments in Dwornik’s student and professional life in the first years after WWII and analyse one of the film études she made at the Film School in Łódź, in order to examine the reasons for her decision to become a film editor. This allows also to formulate some hypotheses how her career might have developed, had she been given the chance to graduate and try her hand at directing.

The ‘Brazilian Connection’ in the History of American Linguistics

1999 ◽  
Vol 26 (3) ◽  
pp. 355-382
Author(s):  
Cristina Altman
Keyword(s):  
New York ◽  
The United States ◽  
South American ◽  
Columbia University ◽  
Structural Linguistics ◽  
History Of ◽  
Roman Jakobson ◽  
The 1950S ◽  
The 1960S ◽  
The One

Summary When mention is made of Brazil in connection with American linguistics, it usually amounts to a reference to the Linguistic Circle of New York, where Roman Jakobson (1896–1982) and Claude Lévi-Strauss (b.1908), who had come from Brazil where he had done ethnological work, met and exchanged ideas. This singular event has cast a shadow on other contacts between Brazil and American linguistics, of which, the one between Jakobson and the Brazilian linguist Joaquim Mattoso Câmara (1904–1970) was much more consequential, at least as far as the implementation of structural linguistics in Brazil and in South America generally during the 1950s and the 1960s is concerned. Mattoso Câmara came to the United States and spent most of his time in New York City (September 1943 till April 1944), where he got exposure to Praguean type structuralism, notably through Jakobson’s lectures he attended at Columbia University and at the École Libre of New York, which had been established by European refugees at the time. He also participated in the first meetings of the Linguistic Circle of New York in 1943 as one of its co-founders. Following his return to Rio de Janeiro, Mattoso Câmara proposed, in 1949, as his doctoral thesis a phonemic description of Brazilian Portuguese. The work was published a few years later, in 1953. His most influential work, Princípios de Lingüística Gerai, first published in 1954, had two more revised and updated editions (1958, 1967) and served to introduce several generations of Brazilian as well as other South American students to structural linguistics during the 1950s and 1960s.

Irish Girls in Liverpool (2)

2018 ◽  
pp. 162-182
Author(s):  
Samantha Caslin
Keyword(s):  
Young Women ◽  
Second World War ◽  
World War ◽  
Irish Immigration ◽  
Irish Women ◽  
The 1950S ◽  
Post War ◽  
The 1960S ◽  
Second World

This chapter focuses on the LVA’s efforts to engage with Irish women in Liverpool during the Second World War and post-war years. Despite a reduction in Irish immigration during the war, which saw the LVA’s staff reduced, the organisation was quick to raise concerns about the moral wellbeing of Irish young women once peace was resumed. As such, the LVA continued, throughout the 1950s and into the 1960s, to provoke concerns about the supposed moral vulnerability of Irish young women in Liverpool in a bid to generate support for their patrols.

Hopps, Walter (1932–2005)

2018 ◽  
Author(s):  
Ken D. Allan
Keyword(s):  
New York ◽  
Los Angeles ◽  
American Art ◽  
The United States ◽  
Art Museum ◽  
Pop Art ◽  
Marcel Duchamp ◽  
Robert Rauschenberg ◽  
The 1960S ◽  
Joseph Cornell

Walter Hopps was an American art dealer and curator of modern and contemporary art. Best known for organizing the first museum retrospective of Marcel Duchamp in 1963 at the Pasadena Art Museum (now the Norton Simon), Hopps was a pioneering example of the independent, creative curator, a model that emerged in the 1960s in the United States From his start as an organizer of unconventional shows of California painters on the cultural fringe of conservative Cold War-era Los Angeles, Hopps became one of the most respected, if unorthodox, curators of his generation, holding a dual appointment at the end of his life as 20th-century curator at Houston’s Menil Collection and adjunct senior curator at the Solomon R. Guggenheim Museum in New York. Some of his noted exhibitions include: in Pasadena, a 1962 group show that helped to define pop art, The New Paintings of Common Objects; the first U retrospectives of Kurt Schwitters (1962) and Joseph Cornell (1967); Robert Rauschenberg retrospectives in 1976 and 1997 at the National Museum of American Art and Menil Collection, respectively; a 1996 survey of Edward Kienholz for The Whitney Museum of American Art; and a James Rosenquist retrospective in 2002 at the Guggenheim.

Loft Life, Speaking Out, and European Vistas

2017 ◽  
Author(s):  
Cathy Curtis
Keyword(s):  
New York ◽  
Family Member ◽  
Pop Art ◽  
Death Row ◽  
Speaking Out ◽  
Car Accidents ◽  
The 1960S ◽  
Large Groups

During the 1960s, Elaine lived in a succession of New York lofts, where she painted, wrote, and entertained large groups of friends—including artists, writers, and athletes. She became caught up in the Death Row case of Caryl Chessman, one of several causes she vigorously pursued. Feminism was not among them. She was equally hostile to Pop Art, scorning it as simply “a way of making money.” The mid-sixties were a troubled time for Elaine: her mother died; Bill tried to divorce her. Her drinking escalated, leading to several car accidents and embarrassing scenes. (She stopped drinking in the mid-seventies.) Elaine spent summers in Paris as a teacher at the New York Studio School, bringing a family member or student along for city excursions. A Jules Dalou sculpture in the Jardin du Luxembourg prompted her Bacchus painting series, which captured the play of dappled light and foliage on the bronze figures.

The Cul-de-Sac of Social Democracy

2018 ◽  
Author(s):  
Alan M. Wald
Keyword(s):  
New York ◽  
Social Democracy ◽  
Left Wing ◽  
Social Democratic ◽  
New York Intellectuals ◽  
The Social ◽  
History Of ◽  
Irving Howe ◽  
The 1950S ◽  
The 1960S

A history of Irving Howe and Dissent magazine is used to examine the strengths and weaknesses of the social democratic alternative that became the Left wing of the New York intellectuals during the 1950s. This is followed by an examination of the life and work of Harvey Swados, which also express the ambiguities that would render this tradition problematic during the era of new radicalization in the 1960s.

scholarly journals Easy but not weightless – Pop Art, conceptual art, and politics: the progressive art of Miklós Erdély and Tamás Szentjóby in the second part of the 1960s

KÜLÖNBSÉG ◽  
2012 ◽  
Vol 12 (1) ◽  
Author(s):  
Péter Kőhalmi
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Pop Art ◽  
The Political ◽  
Art And Politics ◽  
Art Scene ◽  
The 1960S

Miklós Erdély’s theory of freedom can be analysed from the perspective of his general thoughts on the dichotomy of life and freedom.  However, the article focuses on the problem of Erdély’s theory of freedom in the context of the political. If, as he claims, freedom exists in art, then what is the relation of his art to the political, the actual conditions of freedom? This question can only be explored if his work is seen in context, in the context of the contemporary art scene of the 1960s. The paper claims that in comparison with the early neoavantgard art of Szentjóbi Tamás and company, Erdély’s work is tame or easy but surely not weightless.

Maas, Willard (1906–71)

2018 ◽  
Author(s):  
Laura E.B. Key
Keyword(s):  
New York ◽  
Virginia Woolf ◽  
Film Industry ◽  
The Body ◽  
Avant Garde ◽  
Experimental Art ◽  
Art Scene ◽  
Group A ◽  
The Media ◽  
The 1960S

Willard Maas (1906–71) was an American filmmaker and poet. He was known for his experimental style of filmmaking and was considered part of an avant-garde group of artists who worked in opposition to the commercial film industry. The types of films he made were sometimes referred to as "film poems" for their unconventional style, blurring the traditional distinction between the media of film and poetry. Maas was a literature professor by trade, working at Wagner College in New York City. Along with his wife, fellow filmmaker and artist Marie Menken, Maas was prominent in the New York art scene from the 1940s to the 1960s. Maas and Menken were founder members of the Gryphon Group, a set of like-minded artists who worked together on postwar experimental art and film projects. The couple was well-known for holding avant-garde salons at their Brooklyn apartment. Maas and Menken’s tempestuous relationship was well recorded, and they are cited as inspiration for the characters of George and Martha in Edward Albee’s play, Who’s Afraid of Virginia Woolf? (1962). Maas’s film credits as director include Geography of the Body (1943, with Marie Menken and George Barker), The Mechanics of Love (1955, with Ben Moore), Image in the Snow (1943–8), and Narcissus (1956, with Ben Moore).

The 1979 American Punk Art dispute: Visions of punk art between sensationalism, street art and social practice

2020 ◽  
Vol 9 (3) ◽  
pp. 443-466
Author(s):  
Marie Arleth Skov
Keyword(s):  
New York ◽  
Significant Role ◽  
Social Practice ◽  
Common Ground ◽  
Pop Art ◽  
Andy Warhol ◽  
Street Art ◽  
Social Art ◽  
The 1960S ◽  
Art School

In May 1979, a conflict arose in Amsterdam: the makers of the exhibition American Punk Art clashed with local artists, who disagreed with how the curators portrayed the punk movement in their promotion of the show. The conflict lays open many of the inherent (self-) contradictory aspects of punk art. It was not merely the ubiquitous ‘hard school vs. art school’ punk dispute, but that the Amsterdam punk group responsible for the letter and the Americans preparing the exhibition had different visions of what punk art was or should be in respect to content and agency. Drawing on interviews with the protagonists themselves and research in their private archives, this article compares those visions, considering topics like institutionalism vs. street art, avantgarde history vs. tabloid contemporality and political vs. apolitical stances. The article shows how the involved protagonists from New York and Amsterdam drew on different art historical backgrounds, each rooted in the 1960s: Pop Art, especially Andy Warhol, played a significant role in New York, whereas the signature poetic-social art of CoBrA and the anarchistic activity of the Provos were influential in Amsterdam. The analysis reflects how punk manifested differently in different cultural spheres, but it also points to a common ground, which might be easier to see from today’s distance of more than forty years.

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