The document discusses the roots of pop art in post-World War 2 Britain and America. It explores the social, political and economic changes of the time including the rise of mass consumerism, expanding education, and new technologies. This led artists like Richard Hamilton to embrace popular culture and commercial imagery in their work. British pop art had an ambivalent relationship with consumerism and Americana, simultaneously attracted and skeptical. American pop art was more avant-garde, taking sides with the popular against elitist culture. Artists like Andy Warhol used commercial techniques and portrayed themselves as anti-modern heroes.
Past Representations and the Cultural RevolutionZoe Lorenz
Youth subcultures emerged in post-war Britain as younger generations rebelled against social norms and embraced new styles and music. Influenced heavily by American culture, British youth in the 1950s formed groups like the Teddy Boys who rejected mainstream fashion through unique outfits and hairstyles. Subcultures continued to develop in the 1960s with the Mods, known for their focus on music and fashion, and Skinheads, who were inspired by Jamaican culture. Punks in the 1970s further pushed boundaries with anti-establishment ideologies and punk rock music.
This document provides an overview of the Pop Art movement and its influence on home decoration and gender roles from the 1950s-1960s. It summarizes that Tom Wesselmann's collage artwork, such as "Bathtub Collage #1", were purchased by collectors and displayed prominently in their homes, helping to normalize Pop Art aesthetics and themes of consumerism, celebrity, and bright colors in domestic spaces. However, some critics dismissed Pop Art as it blurred hierarchies between high and low art and embraced popular culture, while others saw it as a way to showcase social status through interior design choices.
'Bad' Painting and the work of Anton HenningJames Clegg
This lecture users the theme of taste to explore the subject of postmodernism, building to a consideration of 'Bad' Painting and the work of German artist Anton Henning. By James Clegg
This document discusses subcultures and countercultures and their relationship to mainstream culture. It defines mainstream culture as forms of culture that are widely accessible and intended for mass consumption, while subcultures and countercultures consciously challenge the values, ideas, and structures of mainstream culture through their actions and practices. Subcultures tend to be youth-oriented groups that exist outside of the mainstream, while countercultures have the explicit goal of changing the world through their cultural objects and political views. The document also examines how popular representations influence perceptions of subcultures and how subcultures articulate complex politics through demanding attention, connecting to other modes of politics, and engaging with social spaces.
Australian Popular Culture: 2013 - 2014 Top 50 Australian ‘Pop Culture’ Ico...Yaryalitsa
The TOP 50 Australian 'Pop Culture' Icons of 2013 - 2014
Informs about what is CULTURE, POP CULTURE, COUNTERCULTURE, SUBCULTURE, HIGH AND LOW CULTURE, etymology of the word and attempts to inform 'its understanding' in society/community.
Downloading the PowerPoint will show full animation and transition of slides.
The document discusses various ways in which Americans rebelled against conformity in the 1950s. It describes how some social critics viewed the rapid suburbanization of this time as creating bland, conformist lifestyles. However, the document also outlines several currents of nonconformity, such as Beatniks rejecting conventions, the rise of rock and roll youth culture, and abstract expressionist art rebelling against realistic styles. Overall, while the 1950s are often seen as conformist, the document shows there were also undercurrents of rebellion through subcultures, music, art, and literature.
20 conformity and rebellion in 1950s to mid-1960s americaKera Nichole
Here are some potential study questions to consider:
- In what ways did international influences (like Soviet propaganda) affect Americans' responses to postwar American society?
- How would you distinguish "individualism" from "rebellion" in this period? Individualism seemed to be expressed through art forms while rebellion challenged social/political norms.
- What is the significance of the co-existence of both conformity and rebellion? It shows the tensions between wanting social acceptance but also expressing one's individuality.
- Why did the government send jazz musicians around the world? To promote American values of racial equality and counter Soviet propaganda about racism in the US.
- What is the "unattainable ideal"? The ideal of
The document discusses the tensions in 1920s American society between traditional and modern values. Older, rural Americans clung to fundamentalism and nativism while younger, urban Americans embraced new social freedoms and consumer culture. This tension manifested through conflicts over issues like religion and science education, Prohibition, and immigration restrictions. The Scopes Trial highlighted the divide between those who wanted to modernize education and those who fought to maintain traditional religious teachings.
Past Representations and the Cultural RevolutionZoe Lorenz
Youth subcultures emerged in post-war Britain as younger generations rebelled against social norms and embraced new styles and music. Influenced heavily by American culture, British youth in the 1950s formed groups like the Teddy Boys who rejected mainstream fashion through unique outfits and hairstyles. Subcultures continued to develop in the 1960s with the Mods, known for their focus on music and fashion, and Skinheads, who were inspired by Jamaican culture. Punks in the 1970s further pushed boundaries with anti-establishment ideologies and punk rock music.
This document provides an overview of the Pop Art movement and its influence on home decoration and gender roles from the 1950s-1960s. It summarizes that Tom Wesselmann's collage artwork, such as "Bathtub Collage #1", were purchased by collectors and displayed prominently in their homes, helping to normalize Pop Art aesthetics and themes of consumerism, celebrity, and bright colors in domestic spaces. However, some critics dismissed Pop Art as it blurred hierarchies between high and low art and embraced popular culture, while others saw it as a way to showcase social status through interior design choices.
'Bad' Painting and the work of Anton HenningJames Clegg
This lecture users the theme of taste to explore the subject of postmodernism, building to a consideration of 'Bad' Painting and the work of German artist Anton Henning. By James Clegg
This document discusses subcultures and countercultures and their relationship to mainstream culture. It defines mainstream culture as forms of culture that are widely accessible and intended for mass consumption, while subcultures and countercultures consciously challenge the values, ideas, and structures of mainstream culture through their actions and practices. Subcultures tend to be youth-oriented groups that exist outside of the mainstream, while countercultures have the explicit goal of changing the world through their cultural objects and political views. The document also examines how popular representations influence perceptions of subcultures and how subcultures articulate complex politics through demanding attention, connecting to other modes of politics, and engaging with social spaces.
Australian Popular Culture: 2013 - 2014 Top 50 Australian ‘Pop Culture’ Ico...Yaryalitsa
The TOP 50 Australian 'Pop Culture' Icons of 2013 - 2014
Informs about what is CULTURE, POP CULTURE, COUNTERCULTURE, SUBCULTURE, HIGH AND LOW CULTURE, etymology of the word and attempts to inform 'its understanding' in society/community.
Downloading the PowerPoint will show full animation and transition of slides.
The document discusses various ways in which Americans rebelled against conformity in the 1950s. It describes how some social critics viewed the rapid suburbanization of this time as creating bland, conformist lifestyles. However, the document also outlines several currents of nonconformity, such as Beatniks rejecting conventions, the rise of rock and roll youth culture, and abstract expressionist art rebelling against realistic styles. Overall, while the 1950s are often seen as conformist, the document shows there were also undercurrents of rebellion through subcultures, music, art, and literature.
20 conformity and rebellion in 1950s to mid-1960s americaKera Nichole
Here are some potential study questions to consider:
- In what ways did international influences (like Soviet propaganda) affect Americans' responses to postwar American society?
- How would you distinguish "individualism" from "rebellion" in this period? Individualism seemed to be expressed through art forms while rebellion challenged social/political norms.
- What is the significance of the co-existence of both conformity and rebellion? It shows the tensions between wanting social acceptance but also expressing one's individuality.
- Why did the government send jazz musicians around the world? To promote American values of racial equality and counter Soviet propaganda about racism in the US.
- What is the "unattainable ideal"? The ideal of
The document discusses the tensions in 1920s American society between traditional and modern values. Older, rural Americans clung to fundamentalism and nativism while younger, urban Americans embraced new social freedoms and consumer culture. This tension manifested through conflicts over issues like religion and science education, Prohibition, and immigration restrictions. The Scopes Trial highlighted the divide between those who wanted to modernize education and those who fought to maintain traditional religious teachings.
1) Mass culture refers to culture that is mass produced and marketed to large audiences through mass media. It aims to appeal to mainstream values and tastes.
2) Theorists like Adorno were critical of mass culture, arguing it produced standardized cultural products that manipulated audiences and discouraged independent thinking.
3) However, others saw popular culture as a site of resistance where subordinate groups could challenge dominant ideologies being pushed by mass media outlets. Mass culture remains a topic of ongoing debate around its social and political impacts.
Here are two things that most shaped 1920s culture:
1. Automobiles - The widespread availability and adoption of affordable cars like the Model T transformed American society, enabling new freedoms and the growth of suburbs.
2. Jazz music - Emerging from New Orleans and cities of the Great Migration, jazz became immensely popular nationwide in the 1920s. It reflected and influenced social changes through its improvisational and syncopated style.
The post-World War II period in Britain saw a cultural revolution as increased affluence and American influence led to greater consumerism and youth culture. Younger generations embraced American pop culture through movies, TV and music and had more disposable income to spend on consumer goods that expressed their identities. Rising education levels also contributed to social mobility and a blurring of class lines as traditional cultural norms were increasingly challenged and questioned.
Women's roles changed significantly during the 1920s. The 19th amendment granted women's suffrage in 1920, though initially only about 35% of eligible women voted. "Flappers" questioned social norms by wearing shorter dresses and gaining more independence. More single women entered the workforce, though professional careers remained difficult. Many people migrated to cities for new industrial and commercial jobs, changing the rural/urban divide. African Americans migrated north in the "Great Migration" but still faced racism, while Hispanics settled in ethnic neighborhoods in cities like New York. Charles Lindbergh and Amelia Earhart became national heroes through their pioneering aviation achievements, though Earhart mysteriously disappeared on a flight. Sports also grew in popularity
The counterculture movement of the 1960s originated from young Americans rebelling against mainstream values and priorities. They believed society's values were hollow and its focus was misplaced. Inspired by the Beat generation of the 1950s, the counterculture movement grew out of opposition to the Vietnam War, racial discrimination, and environmental pollution. They advocated for a culture based on peace and love as an alternative to the mainstream.
This document provides information about Portrait of America, a public art exhibition project by photographer Joe Standart. The project features large-scale portraits displayed across various cities, with the goal of celebrating community and promoting understanding. It summarizes the first exhibition in New London, Connecticut, transforming the city into an outdoor gallery. Future exhibitions are planned for Detroit, Hartford, Minneapolis, New Orleans, and Santa Barbara. The portraits depict a diverse range of individuals and aim to honor human dignity. The project brings art and community development together to enrich cultural experiences and public spaces.
11.1 culture of the roaring twenties 1920-1929jtoma84
The document discusses various aspects of social, economic, and political life in the United States during the 1920s, including the economic boom following WWI, rise of radical politics, passage of restrictive immigration laws, Prohibition and rise of organized crime, Scopes "Monkey" Trial, growth of consumerism fueled by mass production and advertising, and new technologies emerging during the decade. Fears of communism and xenophobia led to suppression of civil liberties and discrimination against immigrants and political radicals. The period was one of social change, economic growth, and cultural transformation in American society.
The document discusses the rapid urbanization and growth of American cities in the late 19th century. It describes how the urban population tripled between 1870 and 1900, with 4 out of 10 Americans living in cities by 1900. The growth of large cities like New York and Chicago was spectacular during this period. This urban growth brought both opportunities and problems, including overcrowded tenement housing, lack of infrastructure, and public health issues.
This document contains information about the effects of territorial expansion on Native Americans, including the Indian Removal Act which forced them on the Trail of Tears. It discusses artists like George Catlin who recorded Native American cultures before expansion. Maps show the movement of settlers and the decline of Native American populations. The document also addresses how expansion affected Plains tribes and their link to the buffalo. It discusses the mythic Western landscape in American art and contains pictures and descriptions of Native American art forms like basketry and weaving that were influenced by European contact.
Globalization enables the distribution of American cultural products worldwide. The spread of American pop culture through movies, music, TV and consumer goods has led to its immense global popularity in recent years. However, some view the near take-over of cultural industries in other countries by American pop culture, especially for younger audiences, as a concern.
The document discusses several social and political events of the 1920s. It describes the Harlem Renaissance, where many African Americans migrated north bringing new culture. It discusses civil rights leaders W.E.B. DuBois and organizations like the NAACP. Prohibition began in 1920, banning alcohol sale and manufacture. The 19th amendment gave women the right to vote. Immigration acts set quotas that aimed to restrict immigration from southern and eastern Europe. The Scopes Trial involved a teacher prosecuted for teaching evolution.
Girolamo Savonarola was a Dominican friar in 15th century Florence who began preaching against the corruption of Renaissance culture and the ruling Medici family. He developed a large following that temporarily expelled the Medici from power and reorganized Florence's government. Savonarola organized "Bonfires of the Vanities" to destroy works believed to promote an unchristian lifestyle, and was eventually executed in 1498.
This document provides a detailed overview of youth culture and popular spaces in South Korea since the early 1990s. It focuses on two areas in particular - "the Hongik University Area" and Apgujungdong in Seoul. It describes how these areas emerged as hubs for youth culture, with cafes, clubs, and shops catering to young people. It discusses how youth expressed themselves through fashion, music, and socializing in these spaces. While some criticized these areas as superficial or capitalist, the document argues they also provided spaces for progressive self-expression as youth explored new identities outside of traditional Korean norms. The document uses these areas as a lens to examine the transformations in Korean popular and youth culture over recent decades.
This document is a 7-page essay analyzing the 2013 film Iron Man 3 and discussing whether it contains any political or propaganda messages about terrorism. The essay examines similarities between the film's villain The Mandarin and Osama Bin Laden in their culture, attitudes, and goals. It argues the film subtly portrays America's military power and resolve to fight terrorism through entertainment. In conclusion, the essay states that while Hollywood produces all types of content, it continues to influence audiences and fulfill prophecies about current trends like terrorism, instilling confidence that threats can be protected against.
Herbert Gans: Popular Culture and High CultureDustin Kidd
Herbert Gans discusses the concept of culture wars between high culture and popular culture. He argues that this debate is really about the nature of the good life and class conflict. It also concerns whether consumer choice or an educated elite should determine what types of culture are produced. Gans defines culture broadly as practices, goods, and ideas related to arts, education, entertainment and more. He discusses the cultural hierarchy of taste cultures like highbrow, middlebrow and lowbrow. Factors like class, age, gender, and race influence cultural choices but do not fully explain them. Changes in recent decades include convergence of some cultures, divergence of new tastes, and more people consuming multiple, omnivorous cultures.
The document discusses the impact and evolution of the feminist movement in the 1970s. It highlights key events and achievements that advanced women's rights, such as the passage of Title IX banning gender discrimination in education, and the 1973 Roe v. Wade Supreme Court decision legalizing abortion. While the Equal Rights Amendment failed to pass, the feminist movement brought significant changes including more women pursuing higher education and careers outside the home.
Mass Culture Theory holds that through the process of "atomization", individuals exposed to mass media and popular culture become vulnerable to exploitation and manipulation. The theory critiques how mass culture is produced through industrial techniques for profit, creating standardized, formulaic products to passively influence audiences. The Frankfurt School, including Theodor Adorno and Walter Benjamin, were influential critics of mass culture theory. They argued popular music and culture represses true individual expression and needs through commodity fetishism and the concept of "false needs". However, others have critiqued mass culture theory as elitist and argued audiences actively interpret mass media in creative ways to construct their own identities.
Popular culture can have both positive and negative effects depending on its content. It influences people's lives through movies, music, television and other media. Studies have shown that upbeat music can reduce depression, while violent content in games and movies can negatively influence children. The document concludes that while popular culture always has some influence, it is up to individuals to use good judgment to choose media with positive rather than negative impacts.
Popular Culture as an Act of ResistanceDustin Kidd
This document discusses how popular culture can be used as a tool for resistance against social inequalities. It outlines 4 types of resistance - defensive, offensive, failed, and false resistance. As a case study, it analyzes and compares the songs "Video" by India.Arie and "Your Revolution" by Sarah Jones, which seek to resist prevailing cultural messages about women. While "Video" reaches a large audience with a weaker message, "Your Revolution" offers a stronger message of resistance but to a smaller audience. The document argues that message strength and audience size often have an inverse relationship in acts of cultural resistance.
The document discusses the history and key characteristics of installation art. It began as a reaction against the modernist "white cube" gallery space which demanded formal purity and separation of art from everyday life. Installation art aims to be more immersive and interactive for viewers. It uses a variety of materials and invites narrative interpretations. Viewers experience multiple perspectives rather than focusing on individual art objects, making the experience more democratic. Major influences came from Dada, Surrealism, Happenings, Performance, Land Art and Minimalism.
1) Mass culture refers to culture that is mass produced and marketed to large audiences through mass media. It aims to appeal to mainstream values and tastes.
2) Theorists like Adorno were critical of mass culture, arguing it produced standardized cultural products that manipulated audiences and discouraged independent thinking.
3) However, others saw popular culture as a site of resistance where subordinate groups could challenge dominant ideologies being pushed by mass media outlets. Mass culture remains a topic of ongoing debate around its social and political impacts.
Here are two things that most shaped 1920s culture:
1. Automobiles - The widespread availability and adoption of affordable cars like the Model T transformed American society, enabling new freedoms and the growth of suburbs.
2. Jazz music - Emerging from New Orleans and cities of the Great Migration, jazz became immensely popular nationwide in the 1920s. It reflected and influenced social changes through its improvisational and syncopated style.
The post-World War II period in Britain saw a cultural revolution as increased affluence and American influence led to greater consumerism and youth culture. Younger generations embraced American pop culture through movies, TV and music and had more disposable income to spend on consumer goods that expressed their identities. Rising education levels also contributed to social mobility and a blurring of class lines as traditional cultural norms were increasingly challenged and questioned.
Women's roles changed significantly during the 1920s. The 19th amendment granted women's suffrage in 1920, though initially only about 35% of eligible women voted. "Flappers" questioned social norms by wearing shorter dresses and gaining more independence. More single women entered the workforce, though professional careers remained difficult. Many people migrated to cities for new industrial and commercial jobs, changing the rural/urban divide. African Americans migrated north in the "Great Migration" but still faced racism, while Hispanics settled in ethnic neighborhoods in cities like New York. Charles Lindbergh and Amelia Earhart became national heroes through their pioneering aviation achievements, though Earhart mysteriously disappeared on a flight. Sports also grew in popularity
The counterculture movement of the 1960s originated from young Americans rebelling against mainstream values and priorities. They believed society's values were hollow and its focus was misplaced. Inspired by the Beat generation of the 1950s, the counterculture movement grew out of opposition to the Vietnam War, racial discrimination, and environmental pollution. They advocated for a culture based on peace and love as an alternative to the mainstream.
This document provides information about Portrait of America, a public art exhibition project by photographer Joe Standart. The project features large-scale portraits displayed across various cities, with the goal of celebrating community and promoting understanding. It summarizes the first exhibition in New London, Connecticut, transforming the city into an outdoor gallery. Future exhibitions are planned for Detroit, Hartford, Minneapolis, New Orleans, and Santa Barbara. The portraits depict a diverse range of individuals and aim to honor human dignity. The project brings art and community development together to enrich cultural experiences and public spaces.
11.1 culture of the roaring twenties 1920-1929jtoma84
The document discusses various aspects of social, economic, and political life in the United States during the 1920s, including the economic boom following WWI, rise of radical politics, passage of restrictive immigration laws, Prohibition and rise of organized crime, Scopes "Monkey" Trial, growth of consumerism fueled by mass production and advertising, and new technologies emerging during the decade. Fears of communism and xenophobia led to suppression of civil liberties and discrimination against immigrants and political radicals. The period was one of social change, economic growth, and cultural transformation in American society.
The document discusses the rapid urbanization and growth of American cities in the late 19th century. It describes how the urban population tripled between 1870 and 1900, with 4 out of 10 Americans living in cities by 1900. The growth of large cities like New York and Chicago was spectacular during this period. This urban growth brought both opportunities and problems, including overcrowded tenement housing, lack of infrastructure, and public health issues.
This document contains information about the effects of territorial expansion on Native Americans, including the Indian Removal Act which forced them on the Trail of Tears. It discusses artists like George Catlin who recorded Native American cultures before expansion. Maps show the movement of settlers and the decline of Native American populations. The document also addresses how expansion affected Plains tribes and their link to the buffalo. It discusses the mythic Western landscape in American art and contains pictures and descriptions of Native American art forms like basketry and weaving that were influenced by European contact.
Globalization enables the distribution of American cultural products worldwide. The spread of American pop culture through movies, music, TV and consumer goods has led to its immense global popularity in recent years. However, some view the near take-over of cultural industries in other countries by American pop culture, especially for younger audiences, as a concern.
The document discusses several social and political events of the 1920s. It describes the Harlem Renaissance, where many African Americans migrated north bringing new culture. It discusses civil rights leaders W.E.B. DuBois and organizations like the NAACP. Prohibition began in 1920, banning alcohol sale and manufacture. The 19th amendment gave women the right to vote. Immigration acts set quotas that aimed to restrict immigration from southern and eastern Europe. The Scopes Trial involved a teacher prosecuted for teaching evolution.
Girolamo Savonarola was a Dominican friar in 15th century Florence who began preaching against the corruption of Renaissance culture and the ruling Medici family. He developed a large following that temporarily expelled the Medici from power and reorganized Florence's government. Savonarola organized "Bonfires of the Vanities" to destroy works believed to promote an unchristian lifestyle, and was eventually executed in 1498.
This document provides a detailed overview of youth culture and popular spaces in South Korea since the early 1990s. It focuses on two areas in particular - "the Hongik University Area" and Apgujungdong in Seoul. It describes how these areas emerged as hubs for youth culture, with cafes, clubs, and shops catering to young people. It discusses how youth expressed themselves through fashion, music, and socializing in these spaces. While some criticized these areas as superficial or capitalist, the document argues they also provided spaces for progressive self-expression as youth explored new identities outside of traditional Korean norms. The document uses these areas as a lens to examine the transformations in Korean popular and youth culture over recent decades.
This document is a 7-page essay analyzing the 2013 film Iron Man 3 and discussing whether it contains any political or propaganda messages about terrorism. The essay examines similarities between the film's villain The Mandarin and Osama Bin Laden in their culture, attitudes, and goals. It argues the film subtly portrays America's military power and resolve to fight terrorism through entertainment. In conclusion, the essay states that while Hollywood produces all types of content, it continues to influence audiences and fulfill prophecies about current trends like terrorism, instilling confidence that threats can be protected against.
Herbert Gans: Popular Culture and High CultureDustin Kidd
Herbert Gans discusses the concept of culture wars between high culture and popular culture. He argues that this debate is really about the nature of the good life and class conflict. It also concerns whether consumer choice or an educated elite should determine what types of culture are produced. Gans defines culture broadly as practices, goods, and ideas related to arts, education, entertainment and more. He discusses the cultural hierarchy of taste cultures like highbrow, middlebrow and lowbrow. Factors like class, age, gender, and race influence cultural choices but do not fully explain them. Changes in recent decades include convergence of some cultures, divergence of new tastes, and more people consuming multiple, omnivorous cultures.
The document discusses the impact and evolution of the feminist movement in the 1970s. It highlights key events and achievements that advanced women's rights, such as the passage of Title IX banning gender discrimination in education, and the 1973 Roe v. Wade Supreme Court decision legalizing abortion. While the Equal Rights Amendment failed to pass, the feminist movement brought significant changes including more women pursuing higher education and careers outside the home.
Mass Culture Theory holds that through the process of "atomization", individuals exposed to mass media and popular culture become vulnerable to exploitation and manipulation. The theory critiques how mass culture is produced through industrial techniques for profit, creating standardized, formulaic products to passively influence audiences. The Frankfurt School, including Theodor Adorno and Walter Benjamin, were influential critics of mass culture theory. They argued popular music and culture represses true individual expression and needs through commodity fetishism and the concept of "false needs". However, others have critiqued mass culture theory as elitist and argued audiences actively interpret mass media in creative ways to construct their own identities.
Popular culture can have both positive and negative effects depending on its content. It influences people's lives through movies, music, television and other media. Studies have shown that upbeat music can reduce depression, while violent content in games and movies can negatively influence children. The document concludes that while popular culture always has some influence, it is up to individuals to use good judgment to choose media with positive rather than negative impacts.
Popular Culture as an Act of ResistanceDustin Kidd
This document discusses how popular culture can be used as a tool for resistance against social inequalities. It outlines 4 types of resistance - defensive, offensive, failed, and false resistance. As a case study, it analyzes and compares the songs "Video" by India.Arie and "Your Revolution" by Sarah Jones, which seek to resist prevailing cultural messages about women. While "Video" reaches a large audience with a weaker message, "Your Revolution" offers a stronger message of resistance but to a smaller audience. The document argues that message strength and audience size often have an inverse relationship in acts of cultural resistance.
The document discusses the history and key characteristics of installation art. It began as a reaction against the modernist "white cube" gallery space which demanded formal purity and separation of art from everyday life. Installation art aims to be more immersive and interactive for viewers. It uses a variety of materials and invites narrative interpretations. Viewers experience multiple perspectives rather than focusing on individual art objects, making the experience more democratic. Major influences came from Dada, Surrealism, Happenings, Performance, Land Art and Minimalism.
Mike Selna, Chair of Environmental Engineers of the Future and President of AAEES, gave this presentation at the AEESP Department & Program Chairs Conference
Ernest Hemingway was an American novelist and journalist born in 1899 who is considered one of the greatest American writers of the 20th century. He received the Nobel Prize in Literature in 1954 for his novel The Old Man and the Sea, and other notable works include A Farewell to Arms, For Whom the Bell Tolls, and The Sun Also Rises. Hemingway had a distinctive writing style characterized by economy and understatement, featuring simple and declarative sentences.
Thank you for calling Star company. For sales, press 1. For technical support, press 2. For accounting, press 3.
2
For technical support, press 2.
Technical support group is being called.
3
For accounting, press 3.
Accounting group is being called.
0
To repeat the menu, press 0.
Welcome to the Star company. For sales, press 1. For technical support, press 2. For accounting, press 3.
The IVR system guides the caller to the required department.
The document summarizes key cultural developments in the United Kingdom during the second half of the 20th century. It discusses the transition from modernism to postmodernism in literature. It also describes the formation of the influential Royal Shakespeare Company theater group and the Young British Artists art collective. Additionally, the document outlines trends in music during this period like the Beatles advocating peaceful revolution and the Rolling Stones symbolizing rebellion. It analyzes fashion changes across different decades as well as the influence of counterculture movements like hippies.
The Modern Movement occurred between 1915-1950, during the post-WWI and WWII eras. Modernism rejected 19th century optimism and presented a pessimistic view of culture in disarray. World War I influenced Modernism by changing views of heroism and ideals. The Industrial Revolution brought new concepts like pollution. Modern literature used techniques like stream of consciousness and symbolism to capture fragmented society and inner thoughts. Modern art became more conceptual than realistic.
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This document provides an overview of British culture from the mid-20th century to the present. It discusses key events and movements that shaped British culture, including the end of the British Empire, the postwar social reforms of the 1940s-50s, the rise of youth subcultures like mods and rockers in the 1960s, immigration and the debates around it, and the development of universities and fields of cultural study. It profiles several important cultural theorists and historians from this period in Britain, including Raymond Williams, E.P. Thompson, and Richard Hoggart, and their perspectives on class, culture, and the role of education and mass media.
Modernism emerged in the late 19th century as a rejection of traditional forms of art, literature, and social organization that were viewed as outdated in the new industrialized world. It grew out of earlier movements like Romanticism, Realism, and Aestheticism that emphasized individualism and subjective experience over established rules and conventions. Modernist artists and thinkers believed the modern industrial environment should inspire new forms of creative expression. While Modernism was originally a European phenomenon, it gained widespread prominence and was heavily promoted internationally by the United States in the mid-20th century.
The document provides an overview of Pop Art, which emerged in the mid-1950s in England and late 1950s in America. Pop Art used popular and commercial imagery as subject matter, challenging the divide between high and low art. Key Pop Artists mentioned include Warhol, Johns, Lichtenstein, Oldenburg, and Rauschenberg. The document also discusses the related postmodern movement and how Pop Art influenced underground arts through its critique of consumer culture and American ideals.
The Pop Art Movement began in the 1950s in Britain and the US and lasted until the late 1960s. It featured bold, colorful works depicting popular culture and mass media imagery. A key work was Andy Warhol's 1962 painting Marilyn Diptych, which depicted Marilyn Monroe. The movement reflected the increasing influence of advertising, celebrities, and consumerism in postwar Western culture. While initially popular, it declined as the Vietnam War intensified and social values shifted in the late 1960s.
[Prof anthony d_smith,_anthony_smith]_nationalism_(book4you-1WaqarAshraf25
This document summarizes Anthony D. Smith's book Nationalism and Modernism, which provides a critical survey of recent theories of nations and nationalism. The book explores the dominant modernist approach and its varieties, as well as the main criticisms and alternatives to modernism. It aims to give students an overview of the debates in this complex field and help orient them among the differing perspectives and paradigms. While acknowledging his own theoretical leanings, the author strives to outline both the insights and problems of each major approach.
This painting gives the viewer a bird's eye perspective looking down on Lower Manhattan from above. This high vantage point makes the buildings, streets and people below seem small, giving a feeling of looking down on an intricate model cityscape. The energetic brushwork and bright colors also make the scene feel lively and active when viewed from above. Overall, Marin's unique aerial perspective imbues the painting with a feeling of dynamism and movement.
“Everything is beautiful. Pop is everything.”- One of Any Warhol’s famous quotes rightly explains the rage with which Pop Art had taken over the world. The pop art movement, started in the mid-1950s has redefined the visuals of art and given it a whole new dimension. Following the abstract art popularity, pop art emerged as a complete contrast to the former.
Pressure notes and screening questionsBelinda Raji
1) Racial tensions erupted across British cities in the 1970s and 1980s, as seen in events like the Brixton Riots.
2) Pressure was made to represent the experiences of black British youth coming of age during this time of social and political change.
3) Pressure represents examples of racism like police harassment and discrimination in the job market experienced by black British people.
The document provides context about the 1976 British film Pressure directed by Horace Ove. It summarizes that the film was released during a time of social unrest and rising racial tensions in Britain. Pressure depicts the social awakening and political radicalization of young black British men in the 1970s, a time when issues like police harassment, racism, poor housing, and employment discrimination were common. The film uses elements of culture like food, language, music and fashion to represent the formation of a black cultural identity in Britain during this era and the conflict between first and second-generation immigrants.
The document summarizes the key developments in literature between 1915-1946 known as the Modern Age. It describes how World War I shattered optimism and faith in social institutions, leading writers to experiment with fragmented styles reflecting the modern world. Modernist works often rejected traditional narratives and forms in favor of stream-of-consciousness, free verse, and techniques from surrealism and imagism to depict psychological realities. Notable movements included the Lost Generation expatriates and the Harlem Renaissance, while authors like Hemingway, Fitzgerald, and Faulkner gained international recognition.
The document summarizes some key characteristics of the modern age. It began with a sense of disillusionment with Victorian attitudes of certainty, conservatism, and objective truth. Modernism questioned established beliefs and nothing was considered fixed or final. Some defining events included the rise of feminism, new nations emerging, technological advancements, and both World Wars. Modernist thought focused on renewal in art and challenged ideas that man was primarily spiritual or that industrial problems threatened European peace. Literature of this time also reflected new psychological theories, a focus on social problems over individual perfection, and the internationalization of issues beyond just England.
Culture - AS Communications and CultureGordon Graham
This document discusses the historical development of the concepts of "high culture" and "low culture". In the 19th century, Matthew Arnold separated British cultural production into these two categories, with "high culture" referring to works like Shakespeare that were meant to civilize the masses. This idea was developed further by critics like F.R. Leavis and the Frankfurt School, who saw popular or low culture as something to be discouraged or that numbed people. However, postwar thinkers like Raymond Williams and Richard Hoggart argued that popular culture is part of a society's cultural conversation and should be studied seriously rather than dismissed. This led to the emergence of new academic fields like cultural studies that consider all aspects of culture rather than dividing them
The document discusses the history and evolution of the avant-garde art movement. It begins by outlining some key features of modernist avant-garde art such as shocking/transgressive subject matter and an oppositional stance to social norms. It then examines how the avant-garde changed after World War 2 with the loss of its bourgeois enemy and the rise of popular culture. More recent incarnations of avant-garde, such as the works of Jeff Koons, Sylvie Fleury and Takashi Murakami, further blurred boundaries between art and commercial culture.
The document discusses the changing nature of sculpture in the 1980s in response to societal trends toward increasing commercialization and consumerism. It focuses on two responses from British and American sculpture of the time. British sculptors like Tony Cragg and Bill Woodrow transformed found objects to critically engage with issues of production and consumption. Meanwhile, American sculptors like Jeff Koons and Haim Steinbach embraced consumerism and appropriated popular culture in ways that were seen as complicit with consumerist values rather than critical of them. Koons in particular provoked debate through his unapologetic celebration of popular culture and embrace of self-promotion.
The document discusses the emergence of "everyday art" in Britain in the 1990s. Artists during this period sought to engage directly with popular culture and the experiences of everyday life, rejecting the intellectual detachment of earlier postmodern art. Their work incorporated elements seen as lowbrow, vulgar or abject. This represented a critique of social structures and capitalist relations through a celebration of the ordinary and mundane. The work was also seen by some critics as "dumbing down" or being anti-intellectual through its embrace of popular culture.
Alice was bored sitting by her sister and not having anything to do. She peeked at her sister's book but found it uninteresting without pictures or conversations. The document then discusses various debates around conceptual art including whether art should engage socially or focus on its own rules and forms. It provides summaries of key features and artists of conceptual art as well as criticisms and reactions against it. The summary discusses the return of painting and focus on aesthetics in reaction to dominant conceptual trends.
Minimalism emerged in the 1960s as both an extension of and reaction against modernist art. It embraced industrial materials and serial production techniques, rejecting a focus on individual craft. Minimalist works displayed no signs of the artist's touch, instead prioritizing the viewer's experience of the physical object in space over visual expression. While some saw it as replicating an alienating capitalist aesthetic, minimalism shifted the role of the viewer in important ways. Conceptual art further developed these ideas by emphasizing ideas and language over finished objects, challenging notions of what constitutes a work of art. Both movements reflected broader social and political critiques of the postwar era.
The document discusses representations and reality in postmodern thought. It argues that representations now precede and construct reality, with emotions, desires, politics, and identities being shaped by media images rather than originating from within individuals. People imitate emotions and desires seen in films, ads, and other media. Our sense of self has become a collection of these outside images rather than something of our own making.
The document discusses the history and development of performance art from the 1960s onwards. It explores how performance art moved the body out of the frame and into physical space, challenging passive spectatorship and notions of disembodied viewing. Many early performance artists used the body to confront issues like gender, sexuality, and political power through provocative and sometimes shocking acts.
This document discusses the relationship between art and politics. It begins with two quotes about the importance of being of one's time. It then discusses how neoliberal theory uses positive language like freedom and rights to hide realities of restoring class power. The document asks if art can intervene in the world and initiate change through protest or alternative depictions. It discusses how radical art may get absorbed by institutions and questions what it means to be an artist. The rest of the document provides examples of art from different time periods that engaged with politics and social issues in various ways.
This document discusses the concept of formalism in art, which emphasizes the visual form and aesthetic qualities of a work over its representational content. It describes how formalism was promoted in the early 20th century by critics like Clive Bell and Roger Fry, who argued that a work's "significant form" produced an emotional response in viewers. The document then outlines how formalism influenced Modernist art movements and was later challenged by anti-formalists who argued it had become too detached from social and political issues. It provides examples of how Minimalism, Conceptual art, and other movements reacted against the dominance of formalism.
The document discusses the evolving concept of the artist from pre-modern to modern times. Prior to the Renaissance, artists were seen as anonymous craftsmen fulfilling commissions from patrons. In the Renaissance, artists had more independence but were still constrained by contracts. The modern concept of the unique, individual artist emerged in the 19th century with Romanticism. This saw the artist as a troubled genius existing outside of society. In the 20th century, postmodern and conceptual art challenged the notion of the singular artistic author/genius through ideas like collaboration, appropriation, and deconstruction.
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An astonishing, first-of-its-kind, report by the NYT assessing damage in Ukraine. Even if the war ends tomorrow, in many places there will be nothing to go back to.
El Puerto de Algeciras continúa un año más como el más eficiente del continente europeo y vuelve a situarse en el “top ten” mundial, según el informe The Container Port Performance Index 2023 (CPPI), elaborado por el Banco Mundial y la consultora S&P Global.
El informe CPPI utiliza dos enfoques metodológicos diferentes para calcular la clasificación del índice: uno administrativo o técnico y otro estadístico, basado en análisis factorial (FA). Según los autores, esta dualidad pretende asegurar una clasificación que refleje con precisión el rendimiento real del puerto, a la vez que sea estadísticamente sólida. En esta edición del informe CPPI 2023, se han empleado los mismos enfoques metodológicos y se ha aplicado un método de agregación de clasificaciones para combinar los resultados de ambos enfoques y obtener una clasificación agregada.
Here is Gabe Whitley's response to my defamation lawsuit for him calling me a rapist and perjurer in court documents.
You have to read it to believe it, but after you read it, you won't believe it. And I included eight examples of defamatory statements/
Acolyte Episodes review (TV series) The Acolyte. Learn about the influence of the program on the Star Wars world, as well as new characters and story twists.
2. The Roots of Pop - Social, Political and economic changes
Post War Britain America
3. The Roots of Pop - Social, Political and Economic changes
Festival of Britain 1951
I remember that the whole
experience was like being on
another planet, in a Sci-Fi way. The
modernity of the Festival was a
wonderland to us all, coming as we
did from a very poor background
around the bombed sites of the area
around the Festival grounds.
(David Nissen, aged 9 in 1951)
4. The Roots of Pop - Social, Political and Economic changes
The Birth of Mass Consumerism
5. The Roots of Pop - Social, Political and Economic changes
The Birth of the Teenager - baby boomers come of age
“in the 1950’s we were living
under the mythology of the
American film”
Jean Luc Godard
6. The Roots of Pop - Social, Political and economic changes
Q: Are you a mod or a rocker?
Ringo Starr: Errr I’m a mocker...
7. The Roots of Pop - Social, Political and Economic changes
The White Heat of Technology and the Welfare State
• The post-war establishment of the
Welfare State, and the economic
and technological advances of the
1960s, led to a building boom.
The period from the late 1950s to
the end of the 1960s saw
unprecedented growth in new
public housing, educational
facilities, motorways and entire
city centres.
8. The Roots of Pop - Social, Political and economic changes
Education expansion 1950s - 1960’s
By 1969 there were three times as
many universities as there had been
thirty years before – while state
contribution to education rose form
7million in 1947 to 157 million in 1966 –
the number of students in the sixties
doubled form 7 to 14% of the
population.
“Britain had by accident bred a class of
young people from ordinary homes who
now had some idea of the privileges
previously enjoyed only by boys from
upper-class families.”
Shawn Levy
‘Ready Steady Go:Swinging London and the Invention of
Cool (london 2002), pg. 66
9. The Roots of Pop - Social, Political and economic changes
Cold war and the Atomic Bomb
10. The Roots of Pop - Social, Political and Economic changes
New Stories for New Times
11. The Roots of Pop - Social, Political and Economic changes
The Assault on Culture with a Capital C - The Barbarians are at the Door
12. The Roots of Pop - Social, Political and Economic changes
Responses - The Culture Industry
• Culture industry is a term coined by
Theodor Adorno (1903-1969) and Max
Horkheimer (1895-1973).
• The idea that the factory style production
of popular culture produces standardised
products that manipulate and seduce the
consumer (or masses) with quick,easy
gratification that leaves the consumer
passive and ultimately unhappy.
• A central idea in Adorno and Horkheimer
critique of mass culture is that it creates
false needs - needs which are
manufactured and of course satisfied by
capitalism
13. The Roots of Pop - Social, Political and Economic changes
Responses to
“The effectiveness of the
culture industry depends
not on its parading of an
ideology, on disguising the
true nature of things, but
on removing the thought
that there is an alternative
to the status quo. “
Theodore Adorno
The Culture Industry
14. The Roots of Pop - Social, Political and Economic changes
Responses to - A Cultural Cold War? High versus Low
“Our culture, on its lower and
popular levels, has plumbed
abysses of vulgarity and
falsehood unknown in the
discoverable past; not in Rome,
not in the Far east or anywhere
has daily life undergone such
rapid and radical change as it
has in the West in the last
century and half”
Clement Greenberg ‘The Plight of Culture’
15. The Roots of Pop - Social, Political and Economic changes
Responses to -
“Art could only
survive by
disengaging itself
from ideological
confusion and
violence”
Jackson Pollock. (American, 1912-1956). One:
Number 31, 1950. 1950. Oil and enamel on
Clement Greenberg
unprimed canvas, 8' 10" x 17' 5 5/8" (269.5 x
530.8 cm). MOMA
16. The Birth of Pop - Independent Group
• Richard Hamilton, Nigel Henderson, John
Mchale, Eduardo Paolozzi, Reyner Banham
(architectural critic), Lawrence Alloway (art
critic) -closely connected with the I.C.A
London. (1952-56)
• Principle aims: to create cross discipline
discussion, research ‘mass culture’, the impact
of new technology, the possibilities of new
forms of display and design. ‘Culutral
Collage’
• Reacted against the perceived elitism and
parochialism of the British establishments
attitude towards the new forms of mass or
popular culture. A non -hierarchal conception
of culture.
• An ambivalent, paradoxical infatuation with
the glamour, techno futurism of Americana as
opposed to the austerity of post war Britain.
• Key exhibition “This is Tomorrow’
17. The Birth of Pop - British Pop’s Ambivalent Populism
“The definition of culture is changing as a result of the
pressure of the great audience, which is no longer new
but experienced in the consumption of its arts.
Therefore, it is no longer sufficient to define culture
solely as something that a minority guards for the few
and the future (though such art is uniquely valuable and
as precious as ever). Our definition of culture is being
stretched beyond the fine art limits imposed on it by
Renaissance theory refers now, increasingly, to the
whole complex of human activities. Within this
definition, rejection of the mass produced arts is not, as
critics think, a defence of culture, but an attack on it.”
Lawrence Alloway “The Arts and the Mass Media”
18. The Birth of Pop - British Pop’s Ambivalent Populism
19. The Birth of Pop - British Pop’s Ambivalent Populism
It were grim in Britain….
“The American magazine
represented a catalogue of
an exotic society, bountiful
and generous, where the
event of selling tinned
pears was transformed into
multi coloured dreams,
where sensuality and
virility combined to form, in
our view , an art far more
subtle and fulfilling than
the orthodox choice either
the Tate or the Royal
academy”
Eduardo Paolozzi
20. The Birth of Pop - British Pop’s Ambivalent Populism
Marcel Duchamp/Richard
Hamilton The Bride Stripped Bare
by her Bachelors, Even
[The Large Glass] (1915-1923;
21. The Birth of Pop - British Pop’s Ambivalent Populism
“Popular,
transient,
expendable, low
cost, mass
produced,
young, witty,
sexy, gimmicky,
glamorous and
big business.”
Richard Hamilton
22. The Birth of Pop - British Pop’s Ambivalent Populism
You’ve never had it so good - 60’s Pop
• The use of pre existing, ready
made, mass media imagery
within ‘fine art’. The conflation of
the ‘low’ with the ‘high’. British
pop is often hand painted pop.
• Often expresses a paradoxical
relationship with the pleasures,
materials and forms of post war
consumerism - simultaneously
attracted and skeptical..looks
forward and back…
• This commitment to using
popular imagery has broader
connotations -it signals a desire • Peter Phillips
• The Entertainment Machine 1961
for a transformed cultural
landscape -one where the old
hierarchies of taste and value
are questioned.
23. The Birth of Pop - British Pop’s Ambivalent Populism
Derek Boshier
The Identi-Kit Man 1962
24. The Birth of Pop - British Pop’s Ambivalent Populism
Pauline Boty “The Only Blonde in the World” 1963
25. The Birth of Pop - British Pop’s Ambivalent Populism
Joe Tilson Peter Phillips
Vox Box 1963 Custom Print No. 1 1965
26. The Birth of Pop - British Pop’s Ambivalent Populism
Patrick Caulfield
Patrick Caulfield
Black and White Flower Piece 1963 After Lunch 1975
27. The Birth of Pop - British Pop’s Ambivalent Populism
Allen jones
Table 1969
28. The Birth of Pop - British Pop’s Ambivalent Populism
Richard Hamilton
Towards a Definitive Statement on the Coming Trends in Men's Wear and
Accessories (a) Together Let Us Explore the Stars 1962
29. The Birth of Pop - British Pop’s Ambivalent Populism
Colin Self
Leopardskin Nuclear Bomber No. 2 1963
32. Peter the Painter - Artist as Fan
There was always an interesting
dimension in Blake’s work with
regards to how the American
dream of freedom, fast cars,
shiny surfaces got somewhat
tarnished and spoiled by the
drizzle and parochialism of
Britain – the culture clash and
glaring gap between the allure
and sexiness of his heroes and
his picturing and sense of his
own self, as in this self portrait
imbue his work with a pathos
and wry humour. It also of
course gets to the heart of part
of the desperate attraction
towards American glamour and
sparkle prominent in Britain at
the time – the rather desperate
desire for escapism.
34. American Pop - ‘Modern’ Hard Edged Pop
• While sharing British artists
fascination with the ephemera
of the mass media, American
pop was formally far more
progressive / avant garde - not
least in its use of commercial, Edward Ruscha. (American, born
1937). Standard Station. 1966.
mechanical techniques (silk- Screenprint, composition: 19 5/8
screening, acrylic etc.) x 36 15/16" (49.6 x 93.8 cm);
• Taking ‘sides’ with the popular
against the idea of ‘elite’ culture
still has the socially
revolutionary inflection of British
Pop, but in America , this spirit
fo democratizing culture is more
pronounced.
35. American Pop - ‘Modern’ Pop
“I am for an art that is
political-erotical-mystical, that
does something other than sit
on its ass in a museum.
I am for an art that embroils
itself with the everyday crap
and still comes out on top. “
Claes Oldenburg
36. Roots of American Pop
• Dada’s use of ready made
material - Duchamp's urinal -
Hannah Hoch’s collages
• Neo Dada (Jasper Johns
and Robert Rauschenberg's)
updated use of ready-
mades..
37.
38. American Pop - ‘Modern’ Pop
Andy Warhol’s Factory - Artist as Pop Producer
39. American Pop - ‘Modern’ Pop
A New Kind of Artist? The anti modern hero
40. “I never fall apart because I never fall together”
Andy Warhol in the Philosophy of Andy Warhol (1975)
42. “the work of these artists “comprise[s] a
very different modality of self
expression from that of the abstract
expressionists - one that queers the
ways in which a (homosexual) self
might find expression in art.The self in
the work of these artists is one that -
perversely and paradoxically - emerges
hardly as a self at all:it is one that
speaks through silence ; that appears
through disappearing; and that makes
its presence felt precisely through the
forms of solicitous and affecting
absence.”
Gavin Butt
“How New York queered the idea of Modern
Art” in
Varieties of Modernism edited by Paul Wood
43.
44.
45.
46. “The thesis of the present essay is
that Warhol, though he grounded his
art in the ubiquity of the packaged
commodity, produced his most
powerful work by dramatizing the
breakdown of commodity exchange.
These were instances in which the
mass-produced image as the
bearer of desires was exposed in its
inadequacy by the reality Andy Warhol, Marilyn Diptych (1962)
of suffering and death.”
Thomas Crow
‘Saturday Disasters:Trace and
Reference in Early Warhol’ in
‘Modern Art in the Common Culture
Andy Warhol, Elvis I & II , 1963
Silkscreen ink and spray paint on linen
(silver and blue canvas) 82 x 82 in. (208.3 x 208.3)
47.
48.
49.
50.
51.
52. “If you can’t beat it, Warhol
suggests, join it. More, if
you enter it totally, you
might expose it you might
reveal its automatism,
even its autism, through
your own excessive
example. Deployed first by
Dada, this strategic
nihilism was performed
ambiguously by Warhol,
and artists such as Jeff
Koons have played it out
since.”
Art Since 1900
53.
54.
55.
56. The Birth of Pop - British Pop’s Ambivalent Populism