Relevant bibliographies by topics / 1970s Art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic '1970s Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "1970s Art"

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Ilfeld, Etan J. "Contemporary Art and Cybernetics: Waves of Cybernetic Discourse within Conceptual, Video and New Media Art." Leonardo 45, no. 1 (2012): 57–63. http://dx.doi.org/10.1162/leon_a_00326.

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This paper aims to highlight the interplay of technology and cybernetics within conceptual art. Just as Lucy Lippard has illustrated the influence of information theory within 1960s conceptual art, this paper traces the technological discourses within conceptual art through to contemporary digital art—specifically, establishing a correlation between Katherine Hayles's mapping of first-, second- and third-wave cybernetic narratives and, respectively, 1960s–1970s conceptual art, 1970s–1990s video art and new media art. Technology is shown to have a major influence on conceptual art, but one often based on historical, social and cybernetic narratives. This paper echoes Krzystof Ziarek's call for a Heideggerian poiesis and Adorno/Blanchotnian “nonpower” within conceptual art and advocates Ziarek's notion of “powerfree” artistic practices within new media and transgenic art.
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Bishop, Claire. "The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney." Dance Research Journal 46, no. 3 (2014): 63–76. http://dx.doi.org/10.1017/s0149767714000497.

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This article argues that the art world's current fascination for dance follows on from a previous high point of interaction in the late 1960s and 1970s, and before that, a moment in the late 1930s and early 1940s. It traces these first, second, and third waves of dance in the museum at three institutions: the Tate in London, and the Museum of Modern Art and the Whitney Museum of American Art in New York. Three institutional histories are sketched, drawing out the differences between their approaches. The conclusion presents the four most pressing possibilities/problems of presenting dance in the museum: historical framing, spectatorship, altering the work's meaning, and financial support.
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Lavrov, Dmitrii Evgen'evich. "P. D. Bazhenov, I. K. Balakin, V. A. Belov – the artists-innovators in Russian lacquer crafts of the XX century." Человек и культура, no. 2 (February 2021): 38–50. http://dx.doi.org/10.25136/2409-8744.2021.2.32765.

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The subject of this research is the analysis of works of the three prominent artists of various Russian manufacturing centers of lacquer miniatures of the XX century – P. D. Bazhenov (Palekh), I. K. Balakin (Mstyora), V. A. Belov (Kholuy). The goal of this article consists in the attempt to create a “comparative biography" of the artists of various lacquer crafts, as well as demonstrate fruitful work of the miniaturist-innovator in different fields of art that are not a part of the traditional folk art. Among the manifestations of such innovation, the author indicates that the listed miniature artists found themselves in other fields of fine art, such as easel paintings, stage performance, posters, caricatures. The application of biographical method of research allows focusing attention on experimentation and innovation as the key feature that unites all three masters of lacquer crafts: P. D. Bazhenov in Palekh (1930s), I. K. Balakin in Mstyora (1940s – 1950s), V. A. Belov in Kholuy (1960s – 1970s). The scientific novelty lies in studying the practices of implementation of peculiarities of the aforementioned types of art in the works of lacquer miniatures. The main conclusion consists in the fundamental provision on justification of the artistic pursuit by any artist of folk art, which was oppugned during the Soviet period of the history of Russian folk art.
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Кукулин [Kukulin], Илья [Ilya]. "Приватизация бунта: “вторая жизнь” раннесоветского монтажа [Privatization of a riot: “Second life” of the early Soviet montage]". Sign Systems Studies 41, № 2/3 (2013): 266–311. http://dx.doi.org/10.12697/sss.2013.41.2-3.08.

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Privatization of a riot: “Second life” of the early Soviet montage. This paper deals with montage in the broad sense of the term: it is discussed not as a principle of film editing, but as an aesthetic method based on the contrasting combination of elements; in the case of literary narrative, montage can be defined as a contrasting parataxis. Being understood in that sense, montage became an international “grand style” of the post-WWI epoch. In the Soviet Union this new method had many ideological connotations. It represented history (the historical process as such) as creative and cruel violence. Otherwise, art montage was a method of designing the utopian vision. The following development of montage in Russian culture could be defined as a change of its semantic. It was expelled from the Socialist Realism mainstream (excluding poster graphics), but survived in unofficial art of the 1940s and became postutopian. During the “Thaw” period (the late 1950s to the early 1960s) montage methods could indicate the connection of an author with the Soviet or Western European avant-garde of the 1920s. The reconsideration of those methods followed two different ways: imitation of the “resurrection of revolutionary impulses” or deconstruction of Soviet historical and social imagination – also with the tools of montage. This very intensive dialogue with the aesthetic tradition of the 1920s came to an end at the beginning of the 1970s. The authors of uncensored art and literature in that period polemicized not with the 1920s, but with the 1960s. The “living” translation of the early Soviet montage aesthetics has been settled.
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Sereda, Oksana. "«True art» — «the need for the soul to express itself»: Hryhoriy Smolsky’s publicism." Proceedings of Research and Scientific Institute for Periodicals, no. 9(27) (2019): 422–36. http://dx.doi.org/10.37222/2524-0331-2019-9(27)-26.

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The article deals with the journalistic achievements of the Ukrainian artist, local historian and publicist Hryhoriy Smolsky, analyzes the problems and genre of his articles in the Lviv press during the 1920s and 1970s. The long and thorny path of H. Smolsky to art was revealed. It is highlighted that this artist managed to restore his historical and artistic studios in Lviv only at the age of 28 years due to the then military situation in the Western Ukraine. It is emphasized that H. Smolsky was one of the five first students of the O. Novakivsky Art School and this was the defining moment in the formation of his artistic priorities. It became clear that the young artist’s collaboration with the Lviv press began in the late 1920s — he was part of the editorial board of «Literaturni Visti» and published two reviews on its pages. His publications about the history of the beginning and activities of the O. Novakivsky’s Art School in the «Novy Chas» newspaper and the «Svit» journal were rediscovered. It is accentuated on another facet of H. Smolsky’s talent — the writing of travel notes, which appeared in the 1930s in the «Dilo» and «Nazustrich» periodicals. It is highlighted that these features comprehensively revealed the artist’s journalistic talent. The H. Smolsky’s articles written during the German occupation, specifically in the «Lvivski Visti» diaries, were also introduced into the scholarly circulation and analyzed. It is revealed that with the advent of Soviet rule, the artist kept «silent» for 15 years and was not present in artistic life. A number of publications by H. Smolsky of the late 1950s and 1970s were studied. They prove that the author was able to maintain his socio-cultural position even in the conditions of the rigid ideological framework. The artist’s significant contribution in illuminating the history of the O. Novakivsky Art School’s achievements is highlighted. It is summarized that H. Smolsky is a talented publicist, and although his journalistic legacy (rediscovered today) has only 22 articles, those are an important source of study of the Ukrainian artistic environment of Galicia in the 1920s–1940s. Key words: H. Smolsky, journal, article, art, O. Novakivsky Art School.
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Jurriëns, Edwin. "Social Participation in Indonesian Media and Art: Echoes from the Past, Visions for the Future." Bijdragen tot de Taal-, Land- en Volkenkunde 169, no. 1 (2013): 7–36. http://dx.doi.org/10.1163/22134379-12340021.

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Abstract This article uses a critical and historical perspective to examine some of the achievements of Indonesian community media, the problems they have encountered, as well as the solutions they are offering. It analyses the similarities and differences with earlier genres with an explicit participatory agenda, including certain forms of LEKRA literature and art of the 1950s and 1960s, ‘people’s theatre’ since the 1970s, and ‘conscientization art’ since the 1980s. One of the main challenges for contemporary community media has been to reconcile class differences in the collaboration between media or art facilitators and local communities. These and other factors have affected the accessibility, distribution, sustainability and reach of their ideas, activities and outputs. The article demonstrates how facilitators and practitioners have tried to solve some of these problems through the exploration of alternative media networks, formats and content.
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Bashilov, V. A., and V. I. Gulyaev. "A Bibliography of Soviet Studies of the Ancient Cultures of Latin America." Latin American Antiquity 1, no. 1 (1990): 5–22. http://dx.doi.org/10.2307/971707.

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The study in the Union of Soviet Socialist Republics of the earliest history of native Latin Americans falls into two distinct periods. The first, associated with an interest in the ancient Mexican and Peruvian civilizations, can be divided into two stages: the 1920s to the early 1940s, when Soviet scholars first acquainted themselves with antiquities from the region and used them for historical parallels; and the late 1940s and early 1950s, when Soviet historians turned to an analysis of Latin American materials. The second period went through three stages: the first, from the early 1950s to the early 1960s, mainly was dominated by Yury Knorozov, who was engaged in deciphering the language of the Maya, and Rostislav Kinzhalov, who studied their art and culture. During the second stage, the early 1960s to the mid-1970s, more scholars and research institutions undertook studies of the early cultures of Latin America. The thematic range became wider as well, covering—besides Mesoamerica and the central Andean region—the Intermediate region and the Caribbean. The third stage, which started in the late 1970s and continues to the present day, witnesses ethnographers and archaeologists pooling their efforts in studying the region. There were several conferences in which specialists engaged in various fields of Latin American studies participated. Their contacts with foreign colleagues became wider; Soviet archaeologists and ethnologists took part in fieldwork in Latin America. The primary aims today are to introduce Soviet readers to archaeological materials from a number of cultural-historical regions (such as the southern fringes of Mesoamerica, Amazonia, the southern Andes, etc.), to detail Soviet studies of cultural complexes and historical processes in ancient America, and to compare them to the processes that took place in the Old World, with the aim of establishing shared historical “laws” and patterns.
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Rodríguez, Juanita. "Picturing the Peasant in Orlando Fals Borda’s Work 1950s-1970s." Master, Vol. 5, no. 2 (2020): 60–69. http://dx.doi.org/10.47659/m9.060.art.

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Orlando Fals Borda, a renowned Colombian sociologist, who worked for both the academia and the government from the 1950s to 90s, wrote two works on Colombian peasantry and its relation with big landowners that were published with a selection of photographs of peasants, landowners, and grassroots movements. These works and their images have had an impact on the construction of peasant- and landowner visual icons in recent Colombian history, as they have been used in books, primers, and exhibitions since their creation, and they had a crucial influence on the visual propaganda of the Agrarian Reform project in Colombia. As a result of Fals’s fieldwork, there are two photograph collections kept at two institutions in Colombia that have organized and catalogued the images: The Central Bank in Montería and the National University in Bogotá. These institutions are prime creators of the visual memory of rural Colombia and I analyze Fals’s fieldwork as part of a jigsaw puzzle in which peasants, landowners, and intellectuals, like Fals, both consumed and created visual icons of land, rurality, and peasantry in Colombia’s recent history. Keywords: Agrarian Reform, Colombia, landowners, Orlando Fals Borda, peasants, photography.
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Phillpot, Clive. "Twentysix gasoline stations that shook the world: the rise and fall of cheap booklets as art." Art Libraries Journal 18, no. 1 (1993): 4–13. http://dx.doi.org/10.1017/s0307472200008178.

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The term ‘artists’ books’ has been used since about 1970 to denote inexpensive booklets produced by artists in ‘unlimited’ editions, but can legitimately embrace a variety of artefacts; the word ‘bookwork’, coined in 1975, carries the more specific meaning of a work of art in book form. Ed Ruscha’s Twentysix Gasoline Stations, published in 1963, was a pioneering bookwork; it was followed by more bookworks from the same artist through the next ten years; however, Ruscha’s innovatory productions had been preceded by a number of experiments with the book format, by Bruno Munari, Åke Hodell, and others, during the 1950s and early 1960s. Bookworks flourished in the 1970s as a means of making actual works of art available to a wide audience, but in the 1980s this ideal was gradually overtaken by a growing tendency towards making bookworks as precious, costly collectables, in limited editions, while some of the earlier, once cheap bookworks began to sell for inflated prices on the secondhand market. Nonetheless, many artists are continuing to produce relatively inexpensive bookworks, sometimes using photocopiers, or to publish artists’ magazines. The work of Telfer Stokes demonstrates that the multiple book format remains an exciting and accessible medium in the hands of a committed artist.
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Bronshtein, Mikhail M. "Uelen hunters and artists." Études/Inuit/Studies 31, no. 1-2 (2009): 83–101. http://dx.doi.org/10.7202/019716ar.

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Abstract Uelen is a settlement inhabited by coastal Chukchi and Yupik people who do not only hunt sea animals but also carve their ivory. Archaeological excavations in Uelen testify that ivory carving has existed there at least since the beginning of our era. When whale hunters and traders came in Uelen in the 19th century, traditional ivory carving turned into an ethnic handicraft. In 1931, Uelen residents were the first to open an ivory carving workshop in Chukotka. In the mid-1930s, they benefited from the valuable help of the Russian artist and art critic Alexander Gorbunkov, who encouraged them to develop their own artistic potential. By the end of the 1930s, Uelen carvers and engravers had acquired their particular artistic style based on their deep knowledge of the Arctic hunters’ customs, expressive images of polar animals, and the natural beauty of walrus tusk. The involvement of a large number of Uelen inhabitants in ivory carving was the main reason for its preservation during the Second World War and the difficult aftermath. New tendencies, including human and folklore themes, emerged in the 1950s-1970s alongside traditional hunting depictions. In the 1980s and 1990s, Uelen artists included in their art some patterns from prehistoric ornaments. While many Chukotka artists are using new creative ways in the 2000s, Uelen carvers in general keep closer to tradition. For them, ivory carving has become a symbol of the vanishing culture of their ancestors.
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Dissertations / Theses on the topic "1970s Art"

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Derro, Brad, and Brad Derro. "Get Close: Interpersonal Art in the 1970s." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/621835.

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This thesis centers on an analysis of Allan Kaprow's Activities (1970-1979)-works that gauged how people interact when following a script that often involved ostensibly banal, everyday routines; for example, brushing one's teeth, or walking through a doorway. These pieces, as suggested in the artist's writings, were influenced by a range of philosophical and sociological theories. While Kaprow associated his Activities with the sociological and philosophical inquiries of John Dewey, Erving Goffman, and Ray Birdwhistell, I will also suggest that concepts related to interpersonal psychology and social transaction theory were just as significant. In particular I will discuss the parallel development of Transactional Analysis, a concept defined by the psychologist Eric Berne. Kaprow's works aligned interpersonal events and an early form of "relational aesthetics," a term coined later by contemporary art critic Nicolas Bourriaud. The resulting works were art that bordered on sociological and psychological experimentation.
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Feldman, Paula. "Made to order : American minimal art in the Netherlands, late 1960s to early 1970s." Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414492.

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Shaffer, Michael J. "Dan Graham's Video-Installations of the 1970s." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/56.

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This dissertation examines the video-installations created by American artist Dan Graham in the 1970s. It investigates the artist's relationship to Minimalism by analyzing themes Graham highlights in his own writings and in interviews. In particular, I explore how the artist's understanding of Herbert Marcuse, Walter Benjamin, and R.D. Laing informed his post-Minimalist work and how concepts gleaned from these sources are manifest in his video-installations. Also undertaken are discussions of the artist's interest in aestheticized play, the just-past present, the debate between Behaviourism and phenomenology, surveillance, and Modern architecture. In addition, I investigate Graham's position in Conceptual art, use of site-specificity, and the practice of institutional critique. At the outset, I provide an in-depth analysis of two of Graham's magazine pieces, Schema (March 1966) and Homes For America, that ties together the artist's reading of Marcuse and his rejection of Minimalist phenomenology. Next, I give an account of the artist's connection to early video art and his use of time-delay in works such as Present Continuous Past(s) and Two Viewing Rooms as a means to highlight the just-past present. Finally, I examine Graham's architectural video-installations Yesterday/Today, Video Piece for Showcase Windows in a Shopping Arcade, and Video Piece for Two Glass Office Buildings as instances of site-specific art and as part of the artist's practice of institutional critique. I also explore his references to the notions of art-as-window and art-as-mirror as an expansion of his engagement with Minimalism. Throughout, my discussion includes comparisons between Graham's work and that of other artists like Vito Acconci, Bruce Nauman, and Hans Haacke. In sum, this study offers an expanded understanding of how Graham employed video and installation in his art as a means to move beyond Minimalism and to interrogate contemporary American society.
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McCredie, Athol. "Going public New Zealand art museums in the 1970s /." [Palmerston North, N.Z.] : Massey University Library, 2006. http://hdl.handle.net/10179/250.

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Burgon, Ruth Amy. "Pace, rhythm, repetition : walking in art since the 1960s." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25512.

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In recent years, there has been a noticeable rise in the use of walking in artistic practice. Artists explore, map, narrate, draw, follow and procrastinate through the use of pedestrianism. This rise in an artistic output that uses the walking body has coincided with a burgeoning literature in this field; a literature that, I argue, has yet to find its feet, frequently repeating, and so depoliticising, the dominant narrative that casts walking as a strategy of resistance to the high-speed technological demands of late capitalism. Beyond its role as emancipatory gesture, I show, walking is enmeshed in histories of gender, labour, punishment, power and protest; something that a focus on the art of the 1960s and ‘70s can help to uncover. Accordingly, this thesis seeks to place the recent rise of ‘walking art’ in a specific historical context, positing that the uses of walking by artists today find the key to their legitimation in moving image and performance work of the 1960s and ‘70s. Through chapters on the work of the Judson Dance Theater (1962-7) and Trisha Brown (early 1970s), Bruce Nauman’s studio films and videos (1967-9) and Agnes Martin’s only film Gabriel (1976), I argue that these artists used walking not only to deconstruct the mediums out of which they worked (dance, sculpture, painting), but also to negotiate the wider socio-political issues of the era, from protest marching and the moon landings to much more clandestine concerns such as surveillance and controlled viewership. These chapters reveal a walking body as supported by technology, subject to self-discipline, and negotiating a new relationship with the natural world. A final chapter on Janet Cardiff’s audio walks, which she first developed in the late 1990s, makes explicit a feminist problematic, as I ask where the female body resides in a long history of male walkers, and explore the broader question of how we write the history of ‘walking art’. Via Cardiff, I reflect on the place of the 1960s and ‘70s in our historical imagination today, arguing for a more uneasy reading of the art of these decades than we have previously been used to.
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Christofides, Sheila School of Art History &amp Theory UNSW. "The intransigent critic: reconsidering the reasons for Clement Greenberg???s formalist stance from the early 1930s to the early 1970s." Awarded by:University of New South Wales. School of Art History and Theory, 2004. http://handle.unsw.edu.au/1959.4/20562.

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This thesis investigates the reasons for Greenberg???s aesthetic intransigence ??? that is, his adherence to a formalist/purist stance, and his refusal to countenance non-purist twentiethcentury avant-garde trends evident in the art he ignored or denigrated, and in the art he promoted. The most substantial body of work challenged is Cold War revisionism (exemplified by the scholarship of Francis Frascina, Serge Guilbaut, and John O???Brian) which casts Greenberg as a politically expedient party to the imperialist agendas of various CIA-funded organisations. The major conclusions reached are that: Greenberg???s aesthetic intransigence was driven by a similarly intransigent ethico-political position, and that his critical method reflected patterns of argumentation set up in ???Avant-Garde and Kitsch??? (1939). This essay, and Greenberg???s ethico-political position, derived, not least, from his direct encounter with American Nazism and anti-Semitism which led him to realise that America (with what he saw as its decadence, cultural apathy, and low-level mass taste) was as vulnerable to the threat of totalitarianism as Europe and Russia. Reflecting this fear, ???Avant-Garde and Kitsch??? had juxtaposed a stagnant, impure culture with a vigorous avantgarde culture of impeccable vintage ??? in the process infusing politics into a formalist, historical conception of modernism Greenberg first devised in the early 1930s and then augmented, during 1938-9, with Hans Hofmann???s theories and others. Thus established, this rudimentary paradigm for Greenberg???s art writing was elaborated upon and made canonical in ???Towards a Newer Laocoon??? (1940), and entrenched after the war concurrent with the entrenchment of his ethico-political position. In the face of a Stalinist/capitalist war of wills, continuing anti-Semitism, and what Greenberg perceived as increasing decadence, he continued to argue for a serious, professionally-skilled (predominantly abstract) art, which would be resistant to the ersatz, yet not dehumanized by excluding the natural. By promoting this as the only genuine avant-garde art (while ignoring or denigrating playful, humorous and anarchic avant-garde tendencies), and by reiterating in the 1950s his pre-war Marxist sympathies, Greenberg was effectively demonstrating his continued hope for a utopian culture (luxuriant, formal, informed and socialist) first visualised in the late 1930s.
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Wark, Jayne Marie. "The radical gesture, feminism and performance art in the 1970s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0001/NQ27749.pdf.

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Dauterive, Jessica A. "Picturing the Cajun Revival: Swallow Records, Album Art, and Marketing an Identity of South Louisiana, 1960s-1970s." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2138.

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In South Louisiana in the late 1950s, Ville Platte native Floyd Soileau joined a network of independent recording companies across the United States that provided an opportunity for local entrepreneurs and artists to profit from the global music industry. This paper analyzes the album covers of Floyd Soileau’s Cajun recording label, Swallow Records, during the 1960s-1970s. This period overlaps with a movement to subvert a negative regional identity among Louisiana Cajuns that is often referred to as the Cajun revival. Through a consideration of album covers as objects of business strategy and creative expression, as well as oral histories with individuals who worked with Swallow Records, this paper argues that Floyd Soileau shaped the perception of Cajun music and people through the channels of the global music industry. On the album covers of Swallow Records, Floyd Soileau marketed a Cajun identity that was rural, white, masculine, and French-speaking, and became an accidental facilitator of the social and political goals of leaders in the Cajun revival.
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Mincher, Sally. "The Chicano art movement in American art history : post-1970s evolutions in the Los Angeles context." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573017.

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The history of the Mexican American population of the United States has involved a succession of socio-political phases since the beginning of the twentieth-century. One phase termed the 'Chicano era' emerged in mid-century culminating in the 1960s period of civil-rights activism. In this unified social movement acting for change of the historical situation of oppression, the crucial role of the arts contributed to the formation of the Chicane art movement. This thesis concerns developments in Chicano art production following the civil rights era from the 1970s to the present day. Through its examination of the complexities of the strategic purpose of Chicano cultural production this thesis critiques established narratives of the genealogy of art history. It addresses how the Chicano art movement has contributed to a dismantling of late twentieth-century rigid paradigmatic art-historical structuring and has continued to generate a critique of the social system of the United States. This central premise draws on formative theoretical and ideological perspectives in the fields of Chicano Studies, Border Studies, postcolonial theory and cultural theory. Focusing on the California region and the urban centre of Los Angeles, it selectively examines the philosophical approaches and methodologies of individual artists and collaborative groups relative to transitional social processes and ongoing cultural evolutions in this growing heterogeneous community. This examination of the trajectory of the Chicano art movement into the twenty-first century indicates its significance for a future generation of artists.
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KIM, EUN KYUNG. "PATTERN ANALYSIS ON THE WORKS OF BONNIE CASHIN FROM THE 1960S TO THE 1970S." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021996954.

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Books on the topic "1970s Art"

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Sots art: Soviet artists of the 1970s-1980s. Craftsman House [in association with] GB Arts International, 1995.

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Andreeva, E. I͡U. Sots art: Soviet artists of the 1970s-1980s. Craftsman House, 1995.

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Psychedelic collectibles of the 1960s & 1970s: An illustrated price guide. Wallace-Homestead Book Co., 1990.

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Everything seemed possible: Art in the 1970s. Yale University Press, 2003.

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Helme, Sirje. Popkunst forever: Eesti popkunst 1960. ja 1970. aastate vahetusel = Estonian pop art at the turn of the 1960s and 1970s. Eesti Kunstimuuseum, KUMU, 2010.

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Helme, Sirje. Popkunst forever: Eesti popkunst 1960. ja 1970. aastate vahetusel = Estonian pop art at the turn of the 1960s and 1970s. Eesti Kunstimuuseum, KUMU, 2010.

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Smith, Travis. Kitschmasland: Christmas decor from the 1950s through the 1970s. 2nd ed. Schiffer Pub., 2008.

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Ettinger, Roseann. Psychedelic chic: Artistic fashions of the late 1960s & early 1970s. Schiffer Pub., 1999.

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Mathey, François. American realism: A pictorial survey from the early eighteenth century to the 1970s. Portland House, 1987.

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Museum, Fleischer, ed. Hidden treasures: Russian and Soviet Impressionism, 1930-1970s. Fleischer Museum, 1994.

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Book chapters on the topic "1970s Art"

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Franco, Francesca. "The 1970s." In Generative Systems Art. Routledge, 2017. http://dx.doi.org/10.4324/9781315581637-3.

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Jones, Amelia. "Strategic Oblivion: 1970s Feminist Art in 1980s Art History." In Memory & Oblivion. Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_124.

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Preda, Caterina. "The Two Modern Dictatorships in Romania and Chile 1970s–1989." In Art and Politics under Modern Dictatorships. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57270-3_2.

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Featherstone, Lisa. "Institutions: Disclosure and Failure To Act." In Sexual Violence in Australia, 1970s–1980s. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73310-0_9.

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Franco, Francesca. "The 1960s." In Generative Systems Art. Routledge, 2017. http://dx.doi.org/10.4324/9781315581637-2.

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Franco, Francesca. "The 1980s." In Generative Systems Art. Routledge, 2017. http://dx.doi.org/10.4324/9781315581637-4.

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Franco, Francesca. "The 1990s." In Generative Systems Art. Routledge, 2017. http://dx.doi.org/10.4324/9781315581637-5.

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Stassinopoulou, Maria A. "Scenes from A Marriage: The Thessaloniki Film Festival Between Mainstream and Art Cinema from its Beginnings to the 1970s." In Cultural Transfer and Political Conflicts. V&R unipress, 2017. http://dx.doi.org/10.14220/9783737005883.109.

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Grobe, Christopher. "Self-Consciousness Raising." In Art of Confession. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479829170.003.0005.

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Two narratives dominate existing accounts of feminist art in America in the 1970s. One says that this art was politically and aesthetically naïve, based too firmly in consciousness raising. The other selects a few artists or works to rescue from this decade and celebrate as precociously deconstructive. In feminist theory of the 1980s and 1990s, the favored model for such anti-confessional, ironic performance is drag. This chapter focuses on the work of two performance and conceptual artists of the 1970s who fit neatly into neither of these stories. Linda Montano and Eleanor Antin each blended self-revelation and roleplay, confession and drag into a single practice, which they insisted was basically “autobiographical.” Placing these two artists in their West Coast feminist context (e.g., in relation to the Feminist Art Program), and rereading the history of drag performance itself, this chapter theorizes “camp sincerity” as, in fact, the signature style of self-performance in the 1970s.
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"The Significance of the 1970s." In Black Artists in British Art. I.B.Tauris, 2014. http://dx.doi.org/10.5040/9780755603343.ch-003.

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Conference papers on the topic "1970s Art"

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Kosenkova, Yulia. "Changes in the Idea of a Soviet City in 1960s — Early 1970s." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.122.

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Malich, Kseniya. "Reprogramming of Urban Environment: the Work of Mohsen Mostafavi in London Architectural Association Between 1970s – 1980s." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.85.

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Kononchuk, Konstantin, and Anna Pokrovskaya. "New information on the restoration-construction works at the site of rock art Tomskaya Pisanitsa in the late 1960s – mid-1970s." In Field session of the Institute for History of Material Culture Russian Academy of Sciences. Institute for the History of Material Culture Russian Academy of Sciences, 2018. http://dx.doi.org/10.31600/978-5-907053-11-3-2018-8-215-218.

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Kumar M., Vijay, A. N. N. Murthy, and K. C. Chandrashekara. "The State of Art on Scheduling of FMS: A Comprehensive Survey." In ASME 8th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2006. http://dx.doi.org/10.1115/esda2006-95077.

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Flexible manufacturing systems (FMS) have already proved their great success in a large number of manufacturing industries. Realizing the importance of FMS in increasing productivity, quality, the high investment and the potential of FMS as a strategic competitive tool makes it attractive to engage in research in this area. Scheduling of flexible manufacturing systems (FMSs) has been one of the most attractive areas for both researches and practitioners. A considerable body of literature has accumulated in this area since the late 1970s when the first batches of papers were published. A number of approaches here been adopted to schedule FMS. The FMS scheduling problem has been tackled by various traditional optimization techniques and non-traditional approaches. The traditional method can give an optimal solution to small-scale problem; they are often inefficient when applied to larger-scale problem. The non-traditional approaches such as genetic algorithm generate optimal schedule to large-scale problems. Articles emphasizing many methodological perspectives are critically reviewed. The review is done from multiple viewpoints covering different approaches like simulation, artificial intelligence and genetic algorithm. Comments on the publications and suggestions for research and development are given. A comprehensive bibliography is also presented in the paper.
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Pioro, Igor. "Heat-Transfer at Supercritical Pressures." In 2010 14th International Heat Transfer Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/ihtc14-23403.

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The first works devoted to the problem of heat transfer at supercritical pressures started as early as the 1930s. E. Schmidt and his associates investigated free-convection heat transfer to fluids at the near-critical point with the objective of developing a new effective cooling system for turbine blades in jet engines. In the 1950s, the idea of using supercritical “steam”-water appeared to be rather attractive for steam generators / turbines to increase thermal efficiency of fossil-fired power plants. Intensive work on this subject was mainly performed in the former USSR and in the USA in the 1950s–1980s. Therefore, the most investigated flow geometry at supercritical pressures is circular tubes with water as the coolant. Currently, using supercritical “steam” in fossil-fired power plants is the largest industrial application of fluids at supercritical pressures. At the end of the 1950s and the beginning of the 1960s, some studies were conducted to investigate the possibility of using supercritical water as a coolant in nuclear reactors. Several concepts of nuclear reactors were developed. However, this idea was abandoned for almost 30 years, and then regained momentum in the 1990s as a means to improve the performance of water-cooled nuclear reactors. Main objectives of using supercritical water in nuclear reactors are increasing the efficiency of modern nuclear power plants, which is currently 30–35%, to circa 43–50%, and decreasing operational and capital costs by eliminating steam generators, steam separators, steam dryers, etc. Therefore, objectives of the current paper are to assess the work that was performed and to understand specifics of heat transfer at supercritical pressures.
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Lehnert, Sigrun. "Music and Voice in German Newsreels of the 1950s/1960s." In RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.15.

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LOBJAKAS, Kai. "Between art and Industry: the Art Products’ Factory in Tallinn in the 1950s and 1960s." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-051.

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Varga, Audrey L., Matthew R. Chandler, Worth B. Cotton, et al. "Innovation and Integration: Exploration History, ExxonMobil, and the Guyana-Suriname Basin." In Offshore Technology Conference. OTC, 2021. http://dx.doi.org/10.4043/30946-ms.

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Abstract Exploration in the Guyana-Suriname Basin has been a decades-long endeavor, including technical challenges and a lengthy history of drilling with no offshore success prior to the Liza discovery. The 1929 New Nickerie well was the first onshore well in Suriname, and was followed by 30 years of dry holes before the heavy-oil Tambaredjo field was discovered in the 1960s. In the 1990s, nearly 40 years after the Tambaredjo discovery, ExxonMobil utilized the 1970s-vintage, poor-to moderate-quality, 2D seismic and gravity data available to create a series of hand-drawn, level-of-maturity (LOM) source and environments-of-deposition (EOD) maps over the basin to move their exploration efforts forward. This work established the genetic fundamentals necessary for understanding the hydrocarbon system and led to negotiation for and capture of the Stabroek Block in 1999. The Liza-1 success in 2015 spurred extensive activity in the Basin by ExxonMobil and the Stabroek Block co-venturers, Hess Guyana Exploration Limited and CNOOC Petroleum Guyana Limited (Austin et al. 2021). The collection of extensive state-of-the art seismic data has been leveraged to enable successful exploration of multiple play types across the Guyana-Suriname Basin. Further data collection, including over 2 km of conventional core and additional seismic data acquisition and processing, has enabled ExxonMobil to adopt interpretation techniques that are applied across the entire basin to characterize and understand the subsurface better. From initial hand-drawn maps to the use of advanced technology today, ExxonMobil's work in the Guyana-Suriname Basin has relied on integration of geologic and geophysical understanding as well as the ability to leverage new technology to continue a successful exploration program with 8 billion barrels discovered to date.
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Shinta, Diesta Noor, Trie Hartiti Retnowati, and Hadjar Pamadhi. "Contemporary Socialist Realism Within Indonesian Local Toss up Cards in the 1940s–1950s Era." In 4th International Conference on Arts and Arts Education (ICAAE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210602.026.

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Ulyanova, Svetlana. "MASS SPORTS IN THE USSR IN 1920S-1930S: HISTORIOGRAPHY AND RESEARCH METHODS." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/21/s05.007.

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Reports on the topic "1970s Art"

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Blank, Rebecca. Why are Wages Cyclical in the 1970's? National Bureau of Economic Research, 1987. http://dx.doi.org/10.3386/w2396.

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Lazonick, William, Philip Moss, and Joshua Weitz. The Unmaking of the Black Blue-Collar Middle Class. Institute for New Economic Thinking Working Paper Series, 2021. http://dx.doi.org/10.36687/inetwp159.

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In the decade after the Civil Rights Act of 1964, African Americans made historic gains in accessing employment opportunities in racially integrated workplaces in U.S. business firms and government agencies. In the previous working papers in this series, we have shown that in the 1960s and 1970s, Blacks without college degrees were gaining access to the American middle class by moving into well-paid unionized jobs in capital-intensive mass production industries. At that time, major U.S. companies paid these blue-collar workers middle-class wages, offered stable employment, and provided employees with health and retirement benefits. Of particular importance to Blacks was the opening up to them of unionized semiskilled operative and skilled craft jobs, for which in a number of industries, and particularly those in the automobile and electronic manufacturing sectors, there was strong demand. In addition, by the end of the 1970s, buoyed by affirmative action and the growth of public-service employment, Blacks were experiencing upward mobility through employment in government agencies at local, state, and federal levels as well as in civil-society organizations, largely funded by government, to operate social and community development programs aimed at urban areas where Blacks lived. By the end of the 1970s, there was an emergent blue-collar Black middle class in the United States. Most of these workers had no more than high-school educations but had sufficient earnings and benefits to provide their families with economic security, including realistic expectations that their children would have the opportunity to move up the economic ladder to join the ranks of the college-educated white-collar middle class. That is what had happened for whites in the post-World War II decades, and given the momentum provided by the dominant position of the United States in global manufacturing and the nation’s equal employment opportunity legislation, there was every reason to believe that Blacks would experience intergenerational upward mobility along a similar education-and-employment career path. That did not happen. Overall, the 1980s and 1990s were decades of economic growth in the United States. For the emerging blue-collar Black middle class, however, the experience was of job loss, economic insecurity, and downward mobility. As the twentieth century ended and the twenty-first century began, moreover, it became apparent that this downward spiral was not confined to Blacks. Whites with only high-school educations also saw their blue-collar employment opportunities disappear, accompanied by lower wages, fewer benefits, and less security for those who continued to find employment in these jobs. The distress experienced by white Americans with the decline of the blue-collar middle class follows the downward trajectory that has adversely affected the socioeconomic positions of the much more vulnerable blue-collar Black middle class from the early 1980s. In this paper, we document when, how, and why the unmaking of the blue-collar Black middle class occurred and intergenerational upward mobility of Blacks to the college-educated middle class was stifled. We focus on blue-collar layoffs and manufacturing-plant closings in an important sector for Black employment, the automobile industry from the early 1980s. We then document the adverse impact on Blacks that has occurred in government-sector employment in a financialized economy in which the dominant ideology is that concentration of income among the richest households promotes productive investment, with government spending only impeding that objective. Reduction of taxes primarily on the wealthy and the corporate sector, the ascendancy of political and economic beliefs that celebrate the efficiency and dynamism of “free market” business enterprise, and the denigration of the idea that government can solve social problems all combined to shrink government budgets, diminish regulatory enforcement, and scuttle initiatives that previously provided greater opportunity for African Americans in the government and civil-society sectors.
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Blanchard, Olivier, and Jordi Gali. The Macroeconomic Effects of Oil Shocks: Why are the 2000s So Different from the 1970s? National Bureau of Economic Research, 2007. http://dx.doi.org/10.3386/w13368.

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Ryder, Marianne. Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.1096.

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Chay, Kenneth, and Michael Greenstone. Air Quality, Infant Mortality, and the Clean Air Act of 1970. National Bureau of Economic Research, 2003. http://dx.doi.org/10.3386/w10053.

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Zarnowitz, Victor. Theory and History Behind Business Cycles: Are the 1990s the Onset of a Golden Age? National Bureau of Economic Research, 1999. http://dx.doi.org/10.3386/w7010.

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Blanchard, Olivier, and Marianna Riggi. Why are the 2000s so different from the 1970s? A structural interpretation of changes in the macroeconomic effects of oil prices. National Bureau of Economic Research, 2009. http://dx.doi.org/10.3386/w15467.

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Tweet, Justin S., Vincent L. Santucci, Kenneth Convery, Jonathan Hoffman, and Laura Kirn. Channel Islands National Park: Paleontological resource inventory (public version). National Park Service, 2020. http://dx.doi.org/10.36967/nrr-2278664.

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Channel Island National Park (CHIS), incorporating five islands off the coast of southern California (Anacapa Island, San Miguel Island, Santa Barbara Island, Santa Cruz Island, and Santa Rosa Island), has an outstanding paleontological record. The park has significant fossils dating from the Late Cretaceous to the Holocene, representing organisms of the sea, the land, and the air. Highlights include: the famous pygmy mammoths that inhabited the conjoined northern islands during the late Pleistocene; the best fossil avifauna of any National Park Service (NPS) unit; intertwined paleontological and cultural records extending into the latest Pleistocene, including Arlington Man, the oldest well-dated human known from North America; calichified “fossil forests”; records of Miocene desmostylians and sirenians, unusual sea mammals; abundant Pleistocene mollusks illustrating changes in sea level and ocean temperature; one of the most thoroughly studied records of microfossils in the NPS; and type specimens for 23 fossil taxa. Paleontological research on the islands of CHIS began in the second half of the 19th century. The first discovery of a mammoth specimen was reported in 1873. Research can be divided into four periods: 1) the few early reports from the 19th century; 2) a sustained burst of activity in the 1920s and 1930s; 3) a second burst from the 1950s into the 1970s; and 4) the modern period of activity, symbolically opened with the 1994 discovery of a nearly complete pygmy mammoth skeleton on Santa Rosa Island. The work associated with this paleontological resource inventory may be considered the beginning of a fifth period. Fossils were specifically mentioned in the 1938 proclamation establishing what was then Channel Islands National Monument, making CHIS one of 18 NPS areas for which paleontological resources are referenced in the enabling legislation. Each of the five islands of CHIS has distinct paleontological and geological records, each has some kind of fossil resources, and almost all of the sedimentary formations on the islands are fossiliferous within CHIS. Anacapa Island and Santa Barbara Island, the two smallest islands, are primarily composed of Miocene volcanic rocks interfingered with small quantities of sedimentary rock and covered with a veneer of Quaternary sediments. Santa Barbara stands apart from Anacapa because it was never part of Santarosae, the landmass that existed at times in the Pleistocene when sea level was low enough that the four northern islands were connected. San Miguel Island, Santa Cruz Island, and Santa Rosa Island have more complex geologic histories. Of these three islands, San Miguel Island has relatively simple geologic structure and few formations. Santa Cruz Island has the most varied geology of the islands, as well as the longest rock record exposed at the surface, beginning with Jurassic metamorphic and intrusive igneous rocks. The Channel Islands have been uplifted and faulted in a complex 20-million-year-long geologic episode tied to the collision of the North American and Pacific Places, the initiation of the San Andreas fault system, and the 90° clockwise rotation of the Transverse Ranges, of which the northern Channel Islands are the westernmost part. Widespread volcanic activity from about 19 to 14 million years ago is evidenced by the igneous rocks found on each island.
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Edwards, Sebastian. The End of Large Current Account Deficits, 1970-2002: Are There Lessons for the United States? National Bureau of Economic Research, 2005. http://dx.doi.org/10.3386/w11669.

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Wierup, Martin, Helene Wahlström, and Björn Bengtsson. How disease control and animal health services can impact antimicrobial resistance. A retrospective country case study of Sweden. O.I.E (World Organisation for Animal Health), 2021. http://dx.doi.org/10.20506/bull.2021.nf.3167.

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Data and experiences in Sweden show that it is possible to combine high productivity in animal production with the restricted use of antibiotics. The major key factors that explain Sweden’s success in preventing AMR are: Swedish veterinary practitioners were aware of the risk of AMR as early as the 1950s, and the need for prudent use of antibiotics was already being discussed in the 1960s. Early establishment of health services and health controls to prevent, control and, when possible, eradicate endemic diseases reduced the need for antibiotics. Access to data on antibiotic sales and AMR made it possible to focus on areas of concern. State veterinary leadership provided legal structures and strategies for cooperation between stakeholders and facilitated the establishment of coordinated animal health services that are industry-led, but supported by the State.
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