True or untrue, myths surrounding the early funding of the movement by the CIA in order to affect a form of
American cultural Imperialism stick to the group; as does the pivotal position it holds in the canon of art history, as the turning point when «art» migrated from Europe to America following the Second World War.
The correspondence between apparently formally similar works, remembered from one place to another, underscored the radical difference and cultural specificity of respective practices, for example the disorienting slippage between image and sound of Bruce Nauman's Lip Sync (1969), in relation to the sucking, swallowing, silencing and disgorging of mouths in Anna Maria Maiolino's Super-8 film In - Out (Anthropophagy)(1973), a critique of
American cultural imperialism.
Heron, Patrick, «Part Two of the Report by the British Painter Patrick Heron on How
American Cultural Imperialism Took Over Britain and the History Book Accounts», The Guardian, 11 October 1974
Not exact matches
The French who occasionally have expressed strong fears of US
cultural imperialism have received «this shrine of
American pop culture» enthusiastically despite some critics describing the Disney invasion as a «
cultural Chernobyl» (Marguerite Duras).
This splitting the CSI planned to overcome, along with any residues of
cultural imperialism brought by European and
American advocates of the gospel.
If you share a politically correct concern for
cultural imperialism, call it Native
American.
: CIA and the
Cultural Cold War) details how the CIA financed and organized the promotion of American abstract expressionists as part of cultural imperialism via the Congress for Cultural Freedom from 1950
Cultural Cold War) details how the CIA financed and organized the promotion of
American abstract expressionists as part of
cultural imperialism via the Congress for Cultural Freedom from 1950
cultural imperialism via the Congress for
Cultural Freedom from 1950
Cultural Freedom from 1950 to 1967.