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Journal articles on the topic 'Colombian art in the 1970s'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

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 Re

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2

NUSSIO, ENZO, and CORINNE A. PERNET. "The Securitisation of Food Security in Colombia, 1970–2010." Journal of Latin American Studies 45, no. 4 (2013): 641–68. http://dx.doi.org/10.1017/s0022216x1300117x.

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AbstractAfter the world food crisis of the early 1970s, food policies became a ‘national priority’ for Colombian development. Colombia was the first country to implement the multi-sectoral approach proposed by international organisations. However, in the past 30 years Colombian governments have presented nutrition as a minor health issue. During the recent world food crisis, the government insisted that Colombia was one of the most food-secure countries in the world. In seemingly similar circumstances, why was food policy made a priority in the 1970s and not in the new millennium? We address t

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3

Herrera, María Mercedes. "Musika viva en Beethovenianas Momentum 11: conciertos de música electrónica y ambientes en Casa de la Cultura, año 1970." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 9 (January 15, 2012): 91. http://dx.doi.org/10.26564/16926250.338.

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Resumen:Beethovenianas Momentum 11 fue un evento de participación organizado por Musika viva en Bogotá, el cual tuvo como invitado a Musika Viva Ensemble de Nueva York. En este se dieron conciertos de música electrónica y ambientes escultóricos construidos de sonido, en medio de la utilización de innovaciones tecnológicas. Este artículo analizará Beethovenianas teniendo como fuentes documentales el programa de mano impreso tipo fanzine, las fotografías y los testimonios de algunos protagonistas. Con ello se apuntará a reconstruir este evento de participación en su relación con los movimientos

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Ahmed, Jashim Uddin, Tasnim Tarannum, Asma Ahmed, and Kazi Pushpita Mim. "Miguel Caballero: Marketing Strategy of Colombian Bulletproof Fashion Brand." FIIB Business Review 10, no. 2 (2021): 102–13. http://dx.doi.org/10.1177/2319714520988833.

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Miguel Caballero is the epitome of what can be called a ‘Fashionable Protective Wear’. The brand was named after its brainchild Miguel Caballero himself during the raging times in Columbia. Back in the 1990s specifically, the political beliefs were compartmentalized into different violent groups in the country. Miguel envisioned this as a fancy business opportunity with a little bit of trick up his sleeve. His idea was to add fashion and pliability to a category of apparel that was once deemed to have been nothing more than a baggy, ugly-looking and inconvenient piece of must wear; not to ment

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5

Deffebach, Nancy. "Artist as Witness." Latin American and Latinx Visual Culture 3, no. 1 (2021): 30–59. http://dx.doi.org/10.1525/lavc.2021.3.1.30.

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After creating a substantial corpus of art that was political in the sense that the female body and social justice are political, but which had not dealt with national politics, the Colombian painter Débora Arango (1907–2005) embarked on an extended series of works that chronicled and critiqued politics and politicians during the undeclared civil war known as la Violencia (c. 1946 to 1965). This essay examines Arango’s first five paintings about the national politics of Colombia and, by extension, the role of the artist as witness. Arango’s earliest political paintings represent the Liberal po

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Reveron Peña, María Isabel, and Mario Antonio Parra Pérez. "Circunstancias y comienzo del arte erótico en Colombia: Débora Arango, Jim Amaral y Óscar Muñoz." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 12, no. 1 (2015): 164. http://dx.doi.org/10.26564/16926250.541.

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ResumenEl presente artículo se deriva de la investigación Artes visuales y narrativa erótica en Colombia (1970- 2010) realizada por Mario Antonio Parra Pérez y María Isabel Reverón Peña durante el lapso de enero de 2013 a enero de 2015 y financiada por el Sistema Universitario de Investigaciones (SUI) de la Universidad Autónoma de Colombia.En el presente artículo desarrollaremos brevemente el campo histórico de apertura de las artes plásticas hacia un desarrollo del arte erótico; luego señalaremos algunos aspectos en torno a los límites de lo erótico y de lo pornográfico para finalmente presen

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7

M.K. "Colombian Pre-Hispanic Art." Americas 49, no. 2 (1992): 236–37. http://dx.doi.org/10.1017/s0003161500019180.

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8

Botti, Giaime. "Influences, identity and historiography in Colombia: the reception of Brazilian modernism (1940s–1960s)." Journal of Architecture 24, no. 6 (2019): 731–55. http://dx.doi.org/10.1080/13602365.2019.1684971.

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9

Salazar, Edward. "Beauty has no age anymore: Fashion and youth in Colombia (1970–99)." International Journal of Fashion Studies 8, no. 1 (2021): 67–84. http://dx.doi.org/10.1386/infs_00037_1.

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This article analyses the cultural construction of youth and beauty as socially dominant values through an interrogation of Colombian fashion magazines produced between 1970 and 1999. To this end, the article analyses the role of fashion and the textile industry – including brands, textile companies and designers – within this key period to understand the transformation of male and female values in the process of establishing youth as an imperative standard for appearance and behaviour. The methodology used is discourse analysis applied to visual and textual advertising published by fashion ma

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10

Stoller, Richard. "Alfonso López Pumarejo and Liberal Radicalism in 1930s Colombia." Journal of Latin American Studies 27, no. 2 (1995): 367–97. http://dx.doi.org/10.1017/s0022216x00010798.

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AbstractThis article locates the first regime of Alfonso López Pumarejo (the Revolutión en marcha, 1934–8) within the social dynamics of Colombia's polarised party system, rather than the developmentalist and class dynamics that are frequently invoked. López's economic and political thought is shown to be far closer to the partisan and antistatist traditions of Colombian liberalism than is often assumed, and his rise to power is depicted as a victory of political strategy rather than class alliances. After surveying the role of the Acción Liberal group of intellectuals in the radicalisation of

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11

Becerra Bolaños, Antonio, and Nayra Pérez Hernández. "La “fuerza de los humildes”: Memoria e historia de otra Colombia en Vivan los compañeros." Alpha: Revista de Artes, Letras y Filosofía, no. 47 (January 2, 2019): 105–20. http://dx.doi.org/10.32735/s0718-220120180004700167.

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Aunque Carlos Arturo Truque (1927-1970) sigue siendo poco conocido, no podemos hablar de literatura afrocolombiana, ni colombiana, sin su aporte. Con una producción literaria dispersa en publicaciones periódicas, el chocoano apuesta por el cuento cuando este no era suficientemente valorado en su país. Vivan los compañeros recoge todos sus cuentos (25), en los que se acerca tanto a los personajes excluidos de la sociedad como a los episodios de la historia colombiana más “vergonzosos”, desde un lenguaje que se aleja de todo academicismo. Su obra, calificada en la época de “literatura sucia”, y

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Jaremtchuk, Dária Gorete. "Art Systems: Brazil and the 1970s." Hispanic American Historical Review 97, no. 1 (2017): 180–81. http://dx.doi.org/10.1215/00182168-3727755.

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13

Lee, Eunjoo. "A Study on Experimental Art and Media Art in 1960-1970s." Journal of History of Modern Art 48 (December 31, 2020): 33–65. http://dx.doi.org/10.17057/kahoma.2020..48.002.

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Martz, John D. "Party Elites and Leadership in Colombia and Venezuela." Journal of Latin American Studies 24, no. 1 (1992): 87–121. http://dx.doi.org/10.1017/s0022216x00022963.

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‘By studying political parties we imply that the party is a meaningful unit of analysis. Yet we go above the party as a unit, for we also study the party system. By the same token we can go below the party as a unit and study, thereby, the party subunits.’1 This statement by Giovanni Sartori, while published in 1976, might well have been a beacon for budding stasiologists of the early 1960s — certainly for those with a particular interest in Latin America. Following upon such Western European—orientated classics as the works of Maurice Duverger, Sigmund Neumann and Alfred Diamant,2 there seeme

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Desch-Obi, T. J. "The Art of Caucaseco: An Afro-Colombian Fight Book." Acta Periodica Duellatorum 8, no. 1 (2020): 173–82. http://dx.doi.org/10.36950/apd-2020-010.

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While most fight books were presumably written by elites or socially-honoured martial classes, this article will explore a fight book of an Afro-Colombian martial arts style that emerged just six years after the abolition of slavery. The Afro-Colombian martial arts of grima emerged in the Cauca region during the era of slavery and trained its exponents to fight using the machete, azagaya, or unarmed body as weapons. Over the course of the second half of the nineteenth century, grima began to proliferate into over thirty unique styles, each with its own special choreographies and approaches to

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Solano Roa, Juanita. "The Mexican Assimilation: Colombia in the 1930s - The case of Ignacio Gómez Jaramillo." Historia Y MEMORIA, no. 7 (July 1, 2013): 79. http://dx.doi.org/10.19053/20275137.2194.

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<p>During the 1930s in Colombia, artists such as Ignacio Gómez Jaramillo, took Mexican muralism as an important part of their careers thus engaging with public art for the first time in the country. In 1936, Gómez Jaramillo travelled to Mexico for two years in order to study muralism, to learn the fresco technique and to transmit the Mexican experience of the open-air-schools. Gómez Jaramillo returned to Colombia in 1938 and in 1939 painted the murals of the National Capitol. Although Gómez Jaramillo’s work after 1939 is well known, his time in Mexico has been barely studied and very few

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17

Sanzhieva, Elena G., and Maria V. Sanzhieva. "ART CREATIVITY IN BURYATIA CULTURE OF 1960–1970s." Scholarly Notes of Komsomolsk-na-Amure State Technical University 2, no. 38 (2019): 53–56. http://dx.doi.org/10.17084/iii-2(38).9.

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18

Curtis, Harriet. "art labor, sex politics: feminist effects in 1970s British art and performance." Feminist Review 117, no. 1 (2017): 212–13. http://dx.doi.org/10.1057/s41305-017-0073-8.

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19

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 ofte

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20

Zetterman, Eva. "Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s." American Studies in Scandinavia 48, no. 1 (2016): 61–83. http://dx.doi.org/10.22439/asca.v48i1.5361.

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Abstract: Originating in the context of the Civil Rights Movements and political activities addressing issues of race, gender and sexuality, the Women’s Liberation movement and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separation, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by

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21

Camarneiro, Fabio. "Art Systems: Brazil and the 1970s by Elena Shtromberg." Hispania 101, no. 1 (2018): 153–55. http://dx.doi.org/10.1353/hpn.2018.0098.

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22

Crahan, Margaret E. "Cuba: Religion and Revolutionary Institutionalization." Journal of Latin American Studies 17, no. 2 (1985): 319–40. http://dx.doi.org/10.1017/s0022216x00007914.

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Both before and after the 1959 revolution, the Catholic Church in Cuba deviated from the norm in Latin America. This is in large measure due to the unique historical and social experience of Cuba, as well as to the fact that the church remained until the early 1960s largely a missionary outpost of Spain. When the revolution occurred, the Catholic Church was frozen in a pre-Vatican II mold which was reinforced by an exodus of clergy, religious and laity. The economic and diplomatic embargo of Cuba further isolated the church from progressive trends within the international church. Thus, the fer

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González, Germán Muñoz, and Victoria Eugenia Pinilla. "Youth Studies in Colombia: State of the Art." YOUNG 20, no. 4 (2012): 399–414. http://dx.doi.org/10.1177/110330881202000406.

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This study is based on the most recent state of the art report about Youth in Colombia; the article summarizes the process of construction of youth as a specialized field of knowledge in Colombia. It reviews the researches and studies carried out during a period of 20 years (1985–2003) in 18 Colombian cities. This state of the art is a model that aims at transcending the cataloguing and abstract-type synthesis of research studies, in order to consolidate a more profound analysis that will account for the thematic treatment and the underlying notions of young subjects. The project has been prod

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24

Bao, Weihong, Natalia Brizuela, Allan deSouza, et al. "Reflections on Durational Art." Representations 136, no. 1 (2016): 132–72. http://dx.doi.org/10.1525/rep.2016.136.1.132.

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These short reflections, from UC Berkeley faculty in a variety of disciplines, respond to the following question: “What does the phrase ‘time-based art’ mean to you? What are the central stakes, conventions, challenges, and opportunities of durational art in the contexts in which you work?” Collectively, they probe a wide range of practices and contexts, including, for example, Mexican festivals and midwestern American carnivals, Syrian documentary films and the “image-event,” bystander recordings of US police and state harassment of black men, and the photographic interventions of the Colombi

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Lapin, Leonhard. "Objective Art." ARTMargins 2, no. 2 (2013): 172–85. http://dx.doi.org/10.1162/artm_a_00053.

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Leonhard Lapin's “Objective Art” was written for “Event Harku '75. Objects, Concepts” – an exhibtion and an accompanying symposium on the premises of the Institute of Experimental Biology in Harku, near Tallinn, Estonia, in December 1975. Objective art, in the artist's mind, answered to the industrialization and urbanization of the late 20th century, to the growing significance of not only mechanical but also electronic machines in everyday life, and to the emergence of the so-called artificial environment. Rather than representing this environment, new art had to intervene in it or even produ

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Cummins, Tom. "On the Colonial Formation of Comparison: The Virgin of Chiquinquirá, The Virgin of Guadalupe and Cloth." Anales del Instituto de Investigaciones Estéticas 21, no. 74-75 (1999): 51. http://dx.doi.org/10.22201/iie.18703062e.1999.74-75.1878.

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The studies of the history of Latin American art have used the comparative method while focusing on the period of evangelization and considering the European parameters of art as the models used by the first American artists. Cummins takes distance from this method which places the American artists at considerable disadvantage. Cummins studies the Colombian devotion of the Virgin of Chiquinquirá, one of the most studied and documented events in Hispanic America. He compares it to the creation and development of the Virgin of Guadalupe in Mexico. By studying the Mexican descriptions of the appa

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Coelho, Maria Luísa. "All Women Art Spaces in Europe in the long 1970s." Diacrítica 33, no. 1 (2019): 220–22. http://dx.doi.org/10.21814/diacritica.315.

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28

Roberts, Eleanor. "Renegotiating the Body: Feminist Art in 1970s Londonby Kathy Battista." Contemporary Theatre Review 24, no. 1 (2014): 124–25. http://dx.doi.org/10.1080/10486801.2013.864063.

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29

Craven, David. "Donald Kuspit's Achievement as an Art Critic During the 1970s." Konsthistorisk Tidskrift/Journal of Art History 78, no. 1 (2009): 27–42. http://dx.doi.org/10.1080/00233600802686499.

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30

Clark, John. "Contemporary Chinese Art, A History 1970s–2000s,by Wu Hung." Australian and New Zealand Journal of Art 16, no. 1 (2016): 106–8. http://dx.doi.org/10.1080/14434318.2016.1173618.

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31

Bryan-Wilson, J. "Dirty Commerce: Art Work and Sex Work since the 1970s." differences 23, no. 2 (2012): 71–112. http://dx.doi.org/10.1215/10407391-1629821.

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32

Arcaro Conci, Luiz Guilherme, and Konstantin Gerber. "Conventionality Standards for Children in Conflict Zones: Colombian Case study." Opinión Jurídica 17, no. 35 (2018): 171–83. http://dx.doi.org/10.22395/ojum.v17n35a7.

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The main objective of this paper is to identify the multilevel perspective of hu-man rights protection for children in armed conflicts. For that, the pro persona or pro homine principle may be applied. It consists of an interpretative instru-ment provided by art. 29 of the American Convention of Human Rights and by art. 41 of the Convention on the Rights of the Child. The present analysis tackles distinct levels of protection, both at an international level and at the national level in Colombia and uses the pro homine principle to resolve eventual conflicts between the International Human Righ

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33

Trokhym, Lidiia. "LVIV EASEL GRAPHICS OF 1970—1970s: CULTURAL AND ART INTERRELATIONS WITH CENTRAL EUROPEAN ART CENTERS." Ethnology Notebooks 137, no. 5 (2017): 1190–97. http://dx.doi.org/10.15407/nz2017.05.1190.

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Guy, Laura. "Art labor, sex politics: feminist effects in 1970s British art and performance by Siona Wilson." Visual Studies 32, no. 1 (2017): 83–85. http://dx.doi.org/10.1080/1472586x.2016.1271027.

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35

Berends, Susan. "Nasopharyngeal CPAP: A Nursing Art." Neonatal Network 20, no. 6 (2001): 9–16. http://dx.doi.org/10.1891/0730-0832.20.6.9.

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CPAP, the use of continuous positive airway pressure as a means of providing respiratory support to the infant, has been studied since the early 1970s. A variety of delivery methods has been used. One method, that of providing CPAP through a single nasopharyngeal tube, is reviewed here. The process of delivering nasopharyngeal CPAP can be technically difficult, and requires careful attention to the infant and the CPAP system. The ability to anticipate and troubleshoot problems is essential. Done well, this process truly shows off the art of nursing.

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Broome, Jeffrey, and Lisa Munson. "Introduction “Hip-Hop, Art, and Visual Culture: Connections, Influences, and Critical Discussions”." Arts 8, no. 1 (2019): 34. http://dx.doi.org/10.3390/arts8010034.

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37

Gil, Sabrina Soledad. "Oscar Muñoz In Lightning Flashes. Latin American Temporality And Colombian Contemporary Art." Mitologías hoy 12 (December 31, 2015): 119. http://dx.doi.org/10.5565/rev/mitologias.252.

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38

Burke, Peter. "Art and History, 1969–2019." Journal of Interdisciplinary History 50, no. 4 (2020): 567–86. http://dx.doi.org/10.1162/jinh_a_01486.

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The 1960s and 1970s marked a turning point in the encounters between generalist historians and art historians regarding the study of art. Before that moment, art history, from its very inception as an independent department in universities, had been entirely distinct from the discipline of generalist history. However, three case studies—art and the Reformation, the rise of the art market, and the proliferation of political monuments—reveal the convergence between the two disciplines that has unfolded during the last half-century, culminating in recent discussions of agency and attempts to answ

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Paul, Christiane. "Renderings of Digital Art." Leonardo 35, no. 5 (2002): 471–84. http://dx.doi.org/10.1162/002409402320774303.

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This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the t

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40

Turowski, Andrzej. "L’Imagination au pouvoir: Art History in the Times of Crisis, 1960s – 1970s." Artium Quaestiones, no. 30 (December 20, 2019): 243–56. http://dx.doi.org/10.14746/aq.2019.30.13.

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The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a w

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Olds, Kirsten. "Fannies and fanzines: Mail art and fan clubs in the 1970s." Journal of Fandom Studies 3, no. 2 (2015): 171–93. http://dx.doi.org/10.1386/jfs.3.2.171_1.

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42

O'Dell, Kathy. "Displacing the Haptic: Performance Art, the Photographic Document, and the 1970s." Performance Research 2, no. 1 (1997): 73–81. http://dx.doi.org/10.1080/13528165.1997.10871536.

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Tobin, Amy. "Moving pictures: Intersections between art, film and feminism in the 1970s." Moving Image Review & Art Journal (MIRAJ) 4, no. 1 (2015): 118–34. http://dx.doi.org/10.1386/miraj.4.1-2.118_1.

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Hake, Sabine. "Art and exploitation: On the fascist imaginary in 1970s Italian cinema." Studies in European Cinema 7, no. 1 (2010): 11–19. http://dx.doi.org/10.1386/seci.7.1.11_1.

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Brizuela, Natalia. "Book Review: Art Systems: Brazil and the 1970s by Elena Shtromberg." Latin American and Latinx Visual Culture 1, no. 3 (2019): 110–11. http://dx.doi.org/10.1525/lavc.2019.130010.

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Viren, Denis G. "Auteur fi lms about art in Polish cinema of the 1970s." Slavic World: Commonality and Diversity, no. 2020 (2020): 299–304. http://dx.doi.org/10.31168/2619-0869.2020.3.12.

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47

Vishmidt, Marina. "The Two Reproductions in (Feminist) Art and Theory since the 1970s." Third Text 31, no. 1 (2017): 49–66. http://dx.doi.org/10.1080/09528822.2017.1364331.

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48

Kirby, John. "The time traveller opens the bookcase: trends in academic art & design in the United Kingdom." Art Libraries Journal 18, no. 4 (1993): 11–14. http://dx.doi.org/10.1017/s0307472200008506.

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A time traveller visiting a British art school library in the 1840s, the 1970s, and the 1990s, would recognise a significant degree of continuity linking the library of the 1840s with that of the 1970s, but would be startled by the changes which have taken place in the last 20 years. Rapid change has resulted from several factors: increasing numbers of students; a growth in the demand from the public for art information; changes in the content and delivery of the curriculum; and not least, new technologies. This rapid pace of change is destined to continue into the foreseeable future, so much

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Tong, Darlene. "Contemporary art and fashion: from Pop to Populist." Art Libraries Journal 14, no. 4 (1989): 17–21. http://dx.doi.org/10.1017/s0307472200006477.

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During the 1970s and 1980s, a number of American artists have made use of clothing as an art medium. Their work constitutes a new art movement, drawing on, and straddling divisions between, Pop Art, performing arts, popular culture, and fashion; it merits more thorough and accessible documentation, and there is a need for art libraries to make available the elusive information which does exist.

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Laanemets, Mari. "Flight into Tomorrow: Rethinking Artistic Practice in Estonia During the 1970s (Leonhard Lapin)." ARTMargins 2, no. 2 (2013): 137–62. http://dx.doi.org/10.1162/artm_a_00050.

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This article observes how the new understanding of art which was introduced at the end of the 1960s by pop art influenced groups was pursued and radicalised in the second half of the 1970s, in a period generally referred to as the weakening of the avant-garde. It focuses on the texts by Leonhard Lapin, promoting art as a means of creating a new living environment. Taking Lapin's text as a framework, the author analyses the intervention in the official exhibition of monumental art in 1976.

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