A Social History of Art and Public Art Education in Quebec: The 1960s

Marxism has slowly declined in recent literature on the economic and social history of the ancient world. If one happens to run into the name of Marx or the term Marxism, it is generally within the context of polemical remark. In spite of recurrent attempts to resuscitate it as an ideal foil for anti-Communist polemic, Marxism made its final exit from the field of ancient historical studies in the 1960s, when new Marxist and Marxist-inspired historiography came to the fore. This chapter discusses the changing role of Marxism in Italian history-writing. It focuses on the historians who claim themselves as Marxists, and those who employ Marxist categories and draw on Marxist theory yet refuse to be defined as Marxists. The chapter examines the debates of the different groups on the historiographic phase marked by the circulation of Marxist concepts, analytical tools, and models outside the strictly Marxist milieu. One of the most striking aspects of this phase is the existence of a trend for the formation of research groups that shared not only an affinity or ideological adherence to Marxism, but also an interest in historical theory and a similar orientation in cultural politics. These interdisciplinary approaches stimulated the confluence of individual competences in group projects aimed at singling out new topics and developing investigational strategies. This historiographic phase also reflected a sense of community, a refusal of traditional academic hierarchies, a wish to keep individualism in check, and the rejection of erudite isolation. In Italy, these forms of association served as a means for ethical and political self-representation of cultural hegemony.

Download Full-text

The Social History of Art: Reinserting the Works into Society

The Passion for Music: A Sociology of Mediation ◽

10.4324/9781315085623-6 ◽

2017 ◽

pp. 101-117

Keyword(s):

Social History ◽

The Social ◽

History Of Art ◽

History Of

Download Full-text

Introduction

Singing and Survival ◽

10.1093/oso/9780190297039.003.0001 ◽

2019 ◽

pp. 1-13

Author(s):

Dan Bendrups

Keyword(s):

Human Rights ◽

Social History ◽

Rapa Nui ◽

History Of ◽

The 1960S

This introduction offers a social history of Rapa Nui that puts into relief the various forces that have effected change in Rapanui society, extending from precontact times to the 1960s—the point at which the Rapanui people were finally endowed with recognition of their basic human rights and the point at which tourism commenced in earnest. This history includes a short detour through the discourses of collapse and “ecocide” that permeate Rapanui scholarship. This is followed by a discussion of music and sustainability that provides a theoretical and disciplinary grounding for the study. Finally, the introduction provides an explanation of the structure of the book and the chapters that follow.

Download Full-text

Social history of art

10.1093/gao/9781884446054.article.t079457 ◽

2003 ◽

Author(s):

B. Aulinger

Keyword(s):

Social History ◽

History Of Art ◽

History Of

Download Full-text

Contemporary Art

Art History ◽

10.1093/obo/9780199920105-0007 ◽

2014 ◽

Cited By ~ 1

Author(s):

Terry Smith

Keyword(s):

Contemporary Art ◽

Modern Art ◽

Art World ◽

Local Language ◽

Early 21St Century ◽

Public Media ◽

History Of Art ◽

History Of ◽

The 1960S ◽

The Many

As an art-critical or historical category––one that might designate a style of art, a tendency among others, or a period in the history of art––“contemporary art” is relatively recent. In art world discourse throughout the world, it appears in bursts of special usage in the 1920s and 1930s, and again during the 1960s, but it remains subsidiary to terms––such as “modern art,” “modernism,” and, after 1970, “postmodernism”––that highlight art’s close but contested relationships to social and cultural modernity. “Contemporary art” achieves a strong sense, and habitual capitalization, only in the 1980s. Subsequently, usage grew rapidly, to become ubiquitous by 2000. Contemporary art is now the undisputed name for today’s art in professional contexts and enjoys widespread resonance in public media and popular speech. Yet, its valiance for any of the usual art-critical and historical purposes remains contested and uncertain. To fill in this empty signifier by establishing the content of this category is the concern of a growing number of early-21st-century publications. This article will survey these developments in historical sequence. Although it will be shown that use of the term “contemporary art” as a referent has a two-hundred-year record, as an art-historical field, contemporary art is so recent, and in such volatile formation, that general surveys of the type now common for earlier periods in the history of art are just beginning to appear. To date, only one art-historiographical essay has been attempted. Listed within Contemporary Art Becomes a Field, this essay (“The State of Art History: Contemporary Art” (Art Bulletin 92.4 [2010]: 366–383; Smith 2010, cited under Historiography) is by the present author and forms the conceptual basis of this article. Contemporary art’s deep immersion in the art market and auction system is profiled in the separate Oxford Bibliographies article Art Markets and Auction. This article does not include any of the many thousands of books, catalogues, and essays that are monographic studies of individual contemporary artists, because it would be invidious to select a small number. For similar reasons, entries on journals, websites, and blogs are omitted. A select listing of them may be found in Terry Smith, Contemporary Art: World Currents (Upper Saddle River, NJ: Prentice Hall, 2011; Smith 2011 cited under Surveys). Books on art movements are not to be found because contemporary art, unlike modern art, has no movements in the same art-historical sense. It consists of currents, tendencies, relationships, concerns, and interests and is the product of a complex condition in which different senses of history are coming into play. With regret, this article confines itself to publications in English, the international language of the contemporary art world. This fact obscures the importance and valiance of certain local-language publications, even though many key texts were issued simultaneously both in the local language and English, and many others have subsequently been translated. In acknowledgment of this lacuna, a subsection on Primary Documents has been included.

Download Full-text

Generation Crisis: How Population Research Defined the Baby Boomers

Modern American History ◽

10.1017/mah.2018.31 ◽

2018 ◽

Vol 1 (3) ◽

pp. 321-342 ◽

Cited By ~ 2

Author(s):

Dan Bouk

Keyword(s):

Social History ◽

Baby Boom ◽

Generational Conflict ◽

Baby Boom Generation ◽

History Of ◽

1960S And 1970S ◽

The 1960S ◽

Over Time ◽

Mature Population ◽

The Welfare State

This article presents an intellectual and social history of the concept of the baby boom. Researchers first invented the notion of a population bulge in the mid-twentieth-century United States to explain birth rates that were higher than predicted by their theories of a mature population and economy. As the children born during this “baby boom” entered schools in the 1950s, they were drawn into a pre-existing conversation about an educational emergency that confirmed researchers’ suspicions that the bulge would spread crisis over time throughout all of the nation's age-graded institutions. New sociological and demographic explanations of the bulge subsequently merged with heightened talk of generational conflict during the 1960s and 1970s to define, with journalistic help in 1980, the “baby boom generation” and the “baby boomer.” Crisis talk has pursued the boomers into the present, mobilized most effectively by opponents of the welfare state.

Download Full-text