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.

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.

Family and Childhood

2010 ◽  
Author(s):  
Margaret L. King
Keyword(s):  
World War Ii ◽  
World War ◽  
Cambridge University ◽  
Theoretical Perspectives ◽  
Childhood And Youth ◽  
The Social ◽  
The Family ◽  
History Of ◽  
The 1960S ◽  
Annales School

Scholars largely neglected the history of the family until after World War II, when they began to employ theoretical perspectives imported from the social sciences. In the 1960s, two principal figures triggered its study: Philippe Ariès, associated with the French Annales school, and Peter Laslett, cofounder at Cambridge University, England, of the Cambridge Group for the History of Population and Social Structure. Since that period, studies have proliferated on the history of family and household in Europe and its subregions and on the related topics of childhood and youth.

scholarly journals Racial and Social Prejudice in the Colonial Empire

2019 ◽  
Vol 28 (2) ◽  
pp. 23-44
Author(s):  
Patrícia Ferraz de Matos
Keyword(s):  
World War Ii ◽  
Interracial Marriage ◽  
World War ◽  
The Social ◽  
Colonial Empire ◽  
Late Nineteenth ◽  
The 1960S ◽  
Social Prejudice ◽  
Scientific Fields

This article analyses the issue of miscegenation in Portugal, which is directly associated with the context of its colonial empire, from late nineteenth to mid-twentieth centuries. The analysis considers sources from both literary and scientific fields. Subsequently, aspects such as interracial marriage, degeneration and segregation as well as the changes brought about by the end of World War II and the social revolutions of the 1960s are considered. The 1980s brought several changes in the attitude towards Portuguese identity and nationality, which had meanwhile cut loose from its colonial context. Crossbreeding was never actually praised in the Portuguese colonial context, and despite still having strong repercussions in the present day, lusotropicalism was based on a fallacious rhetoric of politically motivated propaganda.

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.

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 Realism of Modernisms/The Modernism of Realisms: an Example from Bulgaria

2019 ◽  
Vol 3 (1) ◽  
Author(s):  
Irina Genova ◽  
Keyword(s):  
World War Ii ◽  
Socialist Realism ◽  
World War ◽  
Short Article ◽  
New Realism ◽  
Italian Futurism ◽  
Native Art ◽  
Art Scene ◽  
Figurative Art ◽  
The 1960S

In this short article I will try to outline the problematic use of the concepts of “realism“ and “modernism“ in Bulgaria during the twentieth century, and especially in two concrete moments – in the 1930s and in the 1960s. The main example is the artist Ivan Nenov (1902–1997) – one of those names that are associated with modernism in the canonical narrative of Bulgarian art from XX century. In the late 1920’s, when Nenov appeared on the art scene, the peak of the Native Art Movement had already passed. The return to the picture in the early 1930’s in Bulgaria was related to the association of the New Artists, to retrospective interest in Cézanne and introduction of the concept of “New Realism”. Nenov was one of the protagonists of this movement. In the same decade, in 1932–1933 and 1936–1937, he stayed in Italy – in Turin and Albisola Marina – with his friend, the artist Nicolay Diulgheroff. Diulgheroff was part of the second Italian Futurism and introduced Nenov to these circles. In Nenov’s works from that time – paintings, drawings, and sculptures – we recognize his enthusiasm for Fillia, Carlo Carrà, Enrico Prampolini, and Diulgheroff himself. After World War II, under the Communist rule in Bulgaria, Nenov initially found a “refuge“ in the field of ceramics. In 1950 he was forced to leave his teaching post at the Academy of Arts. Later, his work, along with the work of other central artistic figures from the 1930s, was appropriated by the invented genealogy of (Socialist) Realism in a broader, liberal understanding. Nenov himself wrote in support of figurative art. Thus, in the case of the artist Ivan Nenov, the concepts of futurism, valori plastici, new realism in the 1930s – at one moment of his career, and socialist realism, realism, figural art – during the Communist rule, paradoxically intertwine with each other and hold relation to phenomena elsewhere in Europe.

Jeanne Lee's Voice

2006 ◽  
Vol 2 (1) ◽  
Author(s):  
Eric Porter
Keyword(s):  
Vocal Music ◽  
The Political ◽  
Art World ◽  
Cultural Significance ◽  
Artistic Practice ◽  
Performance Practices ◽  
Avant Garde ◽  
Jazz History ◽  
Social Visions ◽  
The 1960S

This essay attempts to recuperate the legacy of Jeanne Lee, an important artist whose work has gone largely unnoticed by scholars, while simultaneously examining the broader social and cultural significance of her work. Using Lee’s 1979 performance of her poem “In These Last Days” as a point of reference, I explore her multidisciplinary artistic practice that extended the parameters of improvised vocal music. “In These Last Days” exemplifies a cultural politics that was both a product of the political moments in which she lived and her interactions with a variety of thinkers and artists. This piece helps situate Lee’s work within the post-nationalist and post-cultural nationalist imaginary —an ethical, political, and cognitive remapping of the world -- informing the creative work and social visions of other African American improvisers during the 1970s. The recording showcases the ways that her incorporation of elements from intermedia performance practices enabled her social vision while implicitly commenting upon the deracinating incorporation of improvisation by the avant-garde art world during the 1960s. Additionally, Lee’s performance of gender on the piece raises a host of issues pertaining to the terrain female improvisers had to negotiate in different improvising communities and ultimately disrupts the privileging of masculinity when defining improvisational artistry. I also consider the ways in which her work encourages us to rethink jazz history as field and method.

scholarly journals Ambivalent Identity: Kusama Yayoi’s Intersectional Body Art of the 1960s

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Lisa Braitner
Keyword(s):  
World War Ii ◽  
Vietnam War ◽  
Visual Analysis ◽  
Historical Background ◽  
Body Art ◽  
Art World ◽  
Social Critique ◽  
Master's Thesis ◽  
The 1960S ◽  
The One

Abstract The article discusses how identity was negotiated by the intersectional Japanese artist Kusama Yayoi. I focus on her body-centred works of the 1960s to showcase how she addressed various aspects of identity during her time in the U.S., and how she expressed social critique by means of bodily performance. In this article I will analyse and interpret one photograph by the artist previously discussed in my master’s thesis, an image of the so-called Presidential Orgy, a series of happenings staged in Kusama’s studio in 1968. I apply the method of visual analysis and draw on a variety of sources, both literary and visual, to give insight into the historical background, since it is crucial not to look at Kusama’s artworks as isolated objects. Rather, we need to understand that rapid changes in the art world, as well as in gender relations, the rise of popular media, and major societal events like the changes in the aftermath of World War II on the one hand, and the ongoing Vietnam War on the other, were pivotal factors causing cultural upheavals that became important themes in Kusama’s art in the 1960s.

Ideology and General Theory: The Case of Sociological Functionalism

1986 ◽  
Vol 28 (1) ◽  
pp. 34-54 ◽  
Author(s):  
George A. Huaco
Keyword(s):  
World War Ii ◽  
General Theory ◽  
Symbolic Interaction ◽  
Social Psychological ◽  
Talcott Parsons ◽  
World War ◽  
Face To Face ◽  
American Sociology ◽  
The Social ◽  
The 1960S

It is a commonplace of our recent past that functionalism and the second system of Talcott Parsons (a distinctive version of functionalism) rose to power or attained hegemony in American sociology shortly after the end of World War II, retained this hegemony through the 1950s and 1960s, and lost a near-exclusive hold in the early 1970s when many of the younger sociologists abandoned a holist or transindividual perspective in favor of an interpersonal face-to-face context (associated with the social psychological concerns of symbolic interaction and ethnomethodology). What accounts for this? Why did functionalism and the second system of Parsons capture the intellectual allegiance of so many intelligent men and women in American sociology precisely at the end of World War II? What explains the almost total hegemony of this persuasion of general theory for more than two decades? Finally, what accounts for the fact that many younger sociologists withdrew their allegiance to these views at the end of the 1960s or early 1970s?

Artist brand building: towards a spatial perspective

2014 ◽  
Vol 4 (1/2) ◽  
pp. 10-24 ◽  
Author(s):  
Jenny Sjöholm ◽  
Cecilia Pasquinelli
Keyword(s):  
Brand Management ◽  
Visual Artists ◽  
Artistic Practice ◽  
Spatial Perspective ◽  
Content Type ◽  
Brand Building ◽  
The Social ◽  
Art Scene ◽  
The Empirical Analysis ◽  
Depth Interviews

Purpose – The purpose of this paper is to analyse how contemporary artists construct and position their “person brands” and reflects on the extent to which artist brand building results from strategic brand management. Design/methodology/approach – A conceptual framework proposes a spatial perspective on artist brand building to reach an analytical insight into the case of visual artists in London. The empirical analysis is qualitative, based on serial and in-depth interviews, complemented by participant observations. Findings – Artist brand building relies on the creation and continuous redefinition of “in-between spaces” that exist at the blurred boundaries separating an individual and isolated art studio, and the social and visible art scene. Artist brand building is a bundle of mechanisms that, mainly occurring without strategic thinking, are “nested” within the art production process throughout which learning, producing and performing are heavily intertwined. Research limitations/implications – This study was undertaken with a focus on visual artists and specific operations and spatialities of their individual art projects. Further empirical research is required in order to fully explore the manifold of practices and spatialities that constitute contemporary artistic practice. Practical implications – This study fosters artists’ awareness of branding effects that spillover from artistic production, and thus potentially opens the way to a more strategic capitalization on these. Originality/value – The adopted spatial perspective on the process of artist brand building helps to uncover “relatively visible” and “relatively invisible” spatialities that, usually overlooked in branding debate, play a significant role in artist brand building.

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