Sentences with phrase «cultural cold war»

2017 was the year the political and cultural cold war that has been simmering since the 2008 financial crash broke into the open.

The exhibition «Parapolitics» brings together artworks from the 1930s to the present by artists that prefigure and reflect the ideological and formal struggles arising from the cultural Cold War, but also works by contemporary artists critically reassessing the normalized narratives of modernism.

The CIA scandal confirmed that the CCF had been enlisted in shoring up an anti-Communist consensus in the service of U.S. hegemony during the cultural Cold War.

Commenting on the political role of AE, Saunders points out: «One of the extraordinary features of the role that American painting played in the cultural Cold War is not the fact that it became part of the enterprise, but that a movement which so deliberately declared itself to be apolitical could become so intensely politicized» (275).

[48] The book by Frances Stonor Saunders, [49] The Cultural Cold War — The CIA and the World of Arts and Letters, [50](published in the UK as Who Paid the Piper?

: 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 to 1967.

Not exact matches

«It is a cultural war, as critical to the kind of nation we shall be as the Cold War itsewar, as critical to the kind of nation we shall be as the Cold War itseWar itself.

One might suggest that the cultural revolution declared at the beginning of the twentieth century was delayed by the distraction of crises — from World War I («the Great War») through the end of the Cold War in 1989.

Beginning with the changes in Eastern Europe, the world is in the process of a «re-constellation» which is characterized by the breakdown of the cold war ideological polar structure, the realignment of the military powers, the reordering of the economic powers, and the rapid globalization of communication and cultural life.

The cultural changes that have taken place since the end of the cold war have the magnitude of a global cultural revolution.

Patriarshy Dom Tours, a Russian - American Cultural Center in Moscow, is operating as a full service travel agency, consistently enlarging the number of It sounded like a scene from a Cold War spy movie: Donald Trump Jr. was in a helicopter flying low on the outskirts of Russia's capital city.

But soon enough the cold war turns in to a cultural exchange, leaving just enough time for everyone to learn a little something before living happily ever after.

The plot description is a bit complicated to summarize, so let's use Holt's own words: «It's about friendship and loss, allegiance and betrayal, propaganda and advertising, fear and courage, the Cold War, secrets and surveillance, history — both personal and cultural, growing up female, and the stories we humans tell ourselves in order to cope.»

The exhibition tells the story of progressive ideas and aesthetics in the modern world through visual artifacts generated by the seismic events of 1917 and drawn from premier cultural institutions in California: the Getty Research Institute, the Wende Museum of the Cold War, and the Center for the Study of Political Graphics.

Later, with MoMA especially, the museum itself would become an arm of aggressive cultural diplomacy, promoting Abstract Expressionism as a campaign of the Cold War.

This In Focus offers a new reading of the painting in relation to the social and cultural mores of 1960s America, from the cold war space race to popular psychology.

The project draws attention to the roles that certain artefacts have played in the recent history of the Philippines, specifically in shaping the cultural legacy of former Philippine dictators Ferdinand and Imelda Marcos and the absurd postcolonial ideology they enforced under the auspices of capitalist democracies during the Cold War.

As such, his meanings are multivalent and shift fluidly from one locale to the next, at times satirizing Cold War - era fears of an «alien» Chinese invasion, critiquing notions of authentic cultural and touristic experience, or radically reordering the relationship of the subject to the landscape.

Monument to Cold War Victory will be juried by a distinguished panel of cultural and intellectual figures, including Vito Acconci, Susan Buck - Morss, Boris Groys, Vitaly Komar, Viktor Misiano, and Nato Thompson.

· Richard Wentworth (b. 1947 Samoa; lives London) will consider the Post-War period, modernism of modest means, the beach as a discursive site, the body, materials and making, new consumerism and Pop, the domestic, the start of the Cold War, militarisation, industrial design, and cultural memory.

2017 Parapolitics: Cultural Freedom and the Cold War, Haus der Kulturen der Welt, Berlin, Germany Figuratively Speaking, Michael Rosenfeld Gallery LLC, New York, NY 2018 Contraption: Rediscovering California Jewish Artists, Contemporary Jewish Museum, San Francisco, CA

Those years were years of Cold War, and the US wanted to gain the supremacy over the rest of the world, even in terms of scientific discoveries, literary achievements and of course new cultural ideas.

The recent exhibition «Parapolitics: Cultural Freedom and the Cold War» at HKW interrogated the intertwined re-canonization of modernism and the international propagation of a US - backed, anti-communist idea of «cultural freedom» put forth by the many - armed Congress for Cultural Freedom (CCF) from 1950 &mdasCultural Freedom and the Cold War» at HKW interrogated the intertwined re-canonization of modernism and the international propagation of a US - backed, anti-communist idea of «cultural freedom» put forth by the many - armed Congress for Cultural Freedom (CCF) from 1950 &mdascultural freedom» put forth by the many - armed Congress for Cultural Freedom (CCF) from 1950 &mdasCultural Freedom (CCF) from 1950 — 1967.

This group exhibition includes emerging and established artists whose work addresses issues, images, and themes related to the Cold War and its cultural impact.

«This Will Have Been: Art, Love & Politics in the 1980s» examines artists» responses to that decade's cultural upheavals, including the rise of gender politics, the fall of the Berlin Wall, Cold War anxieties, and President Ronald Reagan's malign indifference to the AIDS epidemic.

Thursday, March 3: Panel Discussion 7 - 9 pm English The panel discusses the works of Robert Motherwell, Tomie Ohtake, and Tang Chang as well as the international and national circumstances in the US, Brazil, and Thailand during the Cold War, in which abstraction was a key cultural pawn with ideological implications.

Parapolitics: Cultural Freedom and the Cold War, including work by Luis Camnitzer, at Haus der Kulturen der Welt (HWK) discussed in e-flux.

He received his PhD in art history from the University of Texas at Austin in 2012, where he specialized in modern and contemporary art, criticism, and Cold War cultural exchanges between Latin America and the United States.

Luis Camnitzer's work included in Parapolitics: Cultural Freedom and the Cold War, curated by Anselm Franke, Nida Ghouse, Paz Guevara, and Antonia Majaca at Haus der Kulturen der Welt (HKW), Berlin.

As ritual goes hand - in - hand with remembrance, and monuments along with memorials are often the centrepieces of ritualistic acts, the works in Monument to Cold War Victory proposed to change not only the landscape of our cultural heritage but also the routines of memory.

The reenactment also attempted to banish the myth that American cultural diplomacy during the Cold War focused particularly on abstract expressionism.

Fernando Bryce Parapolitics: Cultural Freedom and the Cold War curated by Anselm Franke, Nida Ghouse, Paz Guevara, Antonia Majaca and Michael Vazquez HKW — Haus der Kulturen der Welt, Berlin, Germany 3 November 2017 — 8 January 2018 info: www.hkw.de

A Poem on Abstraction, this panel discusses the works of Robert Motherwell, Tomie Ohtake, and Tang Chang as well as the international and national circumstances in the US, Brazil, and Thailand during the Cold War, in which abstraction was a key cultural pawn with ideological implications.

The US Cold War's cultural thrust utilized abstract expressionism and the New York School, and promoted the work of Latin American artists such as José Luis Cuevas, Edgar Negret, or Botero for instance, in exhibitions curated by José Gómez Sicre at the OAS Museum of Latin American Art in DC, or in the seminal texts on Latin American art by Marta Traba.

The cultural relationships between Africa, the Soviet Union and related countries during the Cold War (Bayreuth, Lisbon, Budapest); and MashUp at Iwalewahaus, Bayreuth.

Parapolitics: Cultural Freedom and the Cold War Haus de Kulturen der Welt, Berlin, Germany November 3, 2017 - January 8, 2018 https://www.hkw.de/en/index.php