Self-Patronage versus State Patronage: Polish and Polish-Jewish Artists React to the Trauma of March ’68

2020 ◽  
Vol 16 (1) ◽  
pp. 95-124
Author(s):  
Artur Tanikowski
Keyword(s):  
Fine Arts ◽  
Cultural Institutions ◽  
Soviet Government ◽  
Student Protests ◽  
Jewish Origin ◽  
National Theater ◽  
State Patronage ◽  
The University ◽  
Serious Injuries ◽  
Art Schools

Social tensions in communist Poland were exacerbated with the launching of anti-Zionist propaganda in June 1967. Warsaw students organized numerous protests after the authorities tightened censorship, and later banned the staging of Adam Mickiewicz’s Dziady at the National Theater, considering it to be anti-Soviet. Government forces stifled student protests with numerous arrests, at times causing serious injuries, dismissals from the university, and ultimately the expulsion of Polish citizens of Jewish origin from Poland. The restrictions affected Holocaust survivors who were employed in art schools and cultural institutions. This group included Artur Nacht-Samborski, Jonasz Stern, Eugeniusz Eibisch, and Gizela Szancerowa, among others. Notable artistic testimonies of the experience of March ’68 events and their effects were left by painters and sculptors from the Warsaw Academy of Fine Arts, its students, graduates, and lecturers: Witlod Masznicz, Artur Nacht-Samborski, Krystiana Robb-Narbutt, Ewa Kuryluk, Jerzy Jarnuszkiewicz, and others in his studio - Barbara Falender, Henryk Morel, Grzegorz Kowalski, and Krzysztof M. Bednarski. In Cracow, artists belonging to the Wprost (Explicit) group, including Maciej Bieniasz, Zbylut Grzywacz, Leszek Sobocki, and Jacek Waltoś, commented on the events of March ’68 boldly and on an ongoing basis.

scholarly journals SOVIET HOUSES OF SCIENTISTS: PRACTICES OF CAPTURING THE SOVIET CULTURAL SPACE BY THE UNIVERSITY INTELLIGENTSIA OF THE 1920s–1930s

2021 ◽  
pp. 158-164
Author(s):  
Olga A. Habibrahmanova
Keyword(s):  
Leisure Activities ◽  
Soviet Period ◽  
Cultural Institutions ◽  
Way Of Life ◽  
Cultural Space ◽  
Soviet Government ◽  
Cultural Traditions ◽  
History Of ◽  
The Moment ◽  
The University

The article considers the history of the first years in organizing and functioning of cultural institutions – Houses of Scientists – as a specific form of institutionalization of Soviet cultural traditions. The Houses of scientists from the moment of their creation were designed to cultivate the Soviet way of life. Attention is focused on creating new forms of leisure activities on weekdays and holidays. The activity of the Houses of Scientists was strictly regulated. The work of special cultural commissions, organization and holding Soviet holidays within the walls of the Houses of Scientists were supposed to contribute to the erasure of old traditions and the formation of new/Soviet ones. On the basis of archival sources and memoir literature, an attempt is made to study the reflection of the intelligentsia on the actions of the authorities. The specific position of the intelligentsia on the emergence of new cultural traditions is traced. A diverse palette of moods of the university intelligentsia is shown, which is based not only on the attitude to the new government, but on socio-psychological motivation as well. Various social practices of scientists and the degree of their influence on the formation and activity of newly created cultural institutions are considered. Using the example of the work carried out in the Houses of Scientists, the process and specifics of the “transition” of the universities intelligentsia to the Soviet norms and traditions are considered. The emphasis is placed on the peculiarities of functioning of the Houses of Scientists as a new cultural space in which the “Soviet” and pre-revolutionary traditions of the life and activities of the university intelligentsia collided and intertwined in a bizarre way. The place of the Houses of Scientists in the first post-revolutionary decades (1920s–1930s) was determined, which, as a result of the scientists’ activities, became centers not only and not so much ideological, but rather cultural and educational activities. The paper traces the direct connection between the policy of the Soviet government in the field of higher education and the transformation of the socio-cultural space of the university intelligentsia as a whole. The paper emphasizes a special influence of the socio-professional and cultural space on the formation of intelligentsia’s ideological positions in the 1920s–1930s. Ultimately, fundamental questions are raised about the place and the role of the university intelligentsia in the early Soviet period.

An Evaluation of the Fine Arts Center at the University of Massachusetts, Amherst

1978 ◽  
pp. 72-84
Author(s):  
Marion Brown ◽  
Tom Johnson ◽  
Yuji Kishimoto ◽  
Lynn Reynolds ◽  
Sumio Suzuki ◽  
...  
Keyword(s):  
Fine Arts ◽  
University Of Massachusetts ◽  
The University

Impact and Outcomes of a Flow Visualization Course

2009 ◽  
Author(s):  
Jean Hertzberg ◽  
Alex Sweetman
Keyword(s):  
Fluid Mechanics ◽  
Flow Visualization ◽  
Fine Arts ◽  
Scientific Discipline ◽  
Academic Communities ◽  
University Of Colorado ◽  
Technical Content ◽  
Students Attitudes ◽  
The University ◽  
Aesthetic Sensibility

For the past six years, a course on flow visualization has been offered to mixed teams of graduate and undergraduate engineering and fine arts photography students at the University of Colorado. The course has significant technical content on flow visualization and photographic techniques, and includes some emphasis on documentation and the interpretation of results, particularly with respect to atmospheric dynamics as revealed by clouds. What makes this course unusual is the emphasis on the production of images for aesthetic purposes: for art. While a number of art/science collaborations are growing worldwide, both in professional and academic communities, typically scientists are expected to contribute technical support while artists produce art. A particularly unusual aspect of this course is that all students are expected to demonstrate both aesthetic sensibility and scientific discipline. Another is that students are not constrained to study specific phenomena or use specific techniques; instead, creativity is required. A major outcome from this course is a series of stunning images. In addition, anecdotal evidence suggests that this course has a lasting impact on students’ perception of fluid physics, which can be contrasted to the effect of traditional introductory fluids courses. This raises the question of whether this impact is significant with respect to students’ understanding and appreciation of fluid mechanics, and if so, what aspect of the flow visualization course is most important? A survey instrument is being designed to quantify whether students’ awareness of fluid mechanics in the world around them changes when they take these courses and if students’ attitudes towards fluids is changed when they take these courses.

scholarly journals From Rebellion to Riots

2018 ◽  
Vol 3 (2) ◽  
pp. 93-114
Author(s):  
Nasser Tolba
Keyword(s):  
Political Violence ◽  
Critical Analysis ◽  
Muslim Brotherhood ◽  
Student Protests ◽  
Violent Behaviors ◽  
Underlying Causes ◽  
The Muslim Brotherhood ◽  
Effects Of Violence ◽  
The University ◽  
Forms Of Violence

This article aims to explore the phenomenon of political violence at Egyptian universities after the downfall of the Muslim Brotherhood regime on June 30, 2013.  It is a critical analysis to identify the underlying causes and factors leading to this excessive violence and its impact on the Egyptian universities.  The article drew on qualitative methods by interviewing 16 Muslim Brotherhood students from four public universities.  The results indicate that frustration, injustice, the collapse of democracy, and interference of the security in universities played an initial role in the students’ violent behaviors.  The forms of violence varied from clashes, throwing stones, and destroying university facilities and infrastructure.  The effects of violence on the university were large such as, cancelling study several times, eliminating student political and cultural activities, infrastructure losses, and many arrests, injuries and victims between students and staff.  Keywords: 30 June events 2013, political violence, Egypt revolution, student protests.       G M T   Sprache erkennen Afrikaans Albanisch Arabisch Armenisch Aserbaidschanisch Baskisch Bengalisch Bosnisch Bulgarisch Burmesisch Cebuano Chichewa Chinesisch (ver) Chinesisch (trad) Dänisch Deutsch Englisch Esperanto Estnisch Finnisch Französisch Galizisch Georgisch Griechisch Gujarati Haitianisch Hausa Hebräisch Hindi Hmong Igbo Indonesisch Irisch Isländisch Italienisch Japanisch Javanesisch Jiddisch Kannada Kasachisch Katalanisch Khmer Koreanisch Kroatisch Lao Lateinish Lettisch Litauisch Malabarisch Malagasy Malaysisch Maltesisch Maori Marathisch Mazedonisch Mongolisch Nepalesisch Niederländisch Norwegisch Persisch Polnisch Portugiesisch Punjabi Rumänisch Russisch Schwedisch Serbisch Sesotho Singhalesisch Slowakisch Slowenisch Somali Spanisch Suaheli Sundanesisch Tadschikisch Tagalog Tamil Telugu Thailändisch Tschechisch Türkisch Ukrainisch Ungarisch Urdu Uzbekisch Vietnamesisch Walisisch Weißrussisch Yoruba Zulu   Afrikaans Albanisch Arabisch Armenisch Aserbaidschanisch Baskisch Bengalisch Bosnisch Bulgarisch Burmesisch Cebuano Chichewa Chinesisch (ver) Chinesisch (trad) Dänisch Deutsch Englisch Esperanto Estnisch Finnisch Französisch Galizisch Georgisch Griechisch Gujarati Haitianisch Hausa Hebräisch Hindi Hmong Igbo Indonesisch Irisch Isländisch Italienisch Japanisch Javanesisch Jiddisch Kannada Kasachisch Katalanisch Khmer Koreanisch Kroatisch Lao Lateinish Lettisch Litauisch Malabarisch Malagasy Malaysisch Maltesisch Maori Marathisch Mazedonisch Mongolisch Nepalesisch Niederländisch Norwegisch Persisch Polnisch Portugiesisch Punjabi Rumänisch Russisch Schwedisch Serbisch Sesotho Singhalesisch Slowakisch Slowenisch Somali Spanisch Suaheli Sundanesisch Tadschikisch Tagalog Tamil Telugu Thailändisch Tschechisch Türkisch Ukrainisch Ungarisch Urdu Uzbekisch Vietnamesisch Walisisch Weißrussisch Yoruba Zulu                 Die Sound-Funktion ist auf 200 Zeichen begrenzt     Optionen : Geschichte : Feedback : Donate Schließen

scholarly journals The Studio in the School of Architecture and Urban Design of the University of Sao Paulo: the 1962 Reform and its contemporary issues

2013 ◽  
Author(s):  
Juliano Aparecido Pereira
Keyword(s):  
Urban Design ◽  
Architectural Design ◽  
Teaching Method ◽  
Design Method ◽  
Fine Arts ◽  
Sao Paulo ◽  
São Paulo ◽  
Architectural Practice ◽  
Architectural Production ◽  
The University

ENGLISHThe article presents and discusses an experience in Brazil on an architectural design method of teaching created by the School of Architecture and Urban Design of the University of Sao Paulo (FAU USP). We refer to a Pedagogical Reform proposed in 1962 and its consequences on the formation of Brazilian architects. Known as the 1962 Reform and having as its leader, in association with other professors, architect and professor João Batista Vilanova Artigas (1913-1985), the proposed new model for a method of project education ended up by being adopted, in some aspects, but not all, by the majority of Brazilian schools of architecture and urban design. The reform led by Vilanova Artigas proposed an overcoming of project teaching methods based either on the traditional model of architectural composition, by way of the School of Fine Arts, or on those for the formation of architect-engineers, by way of the Polytechnics. This new teaching method would be based on parameters for the comprehension of architectural practice, pointing to a generalist formation of the architect, thus instrumentalizing him to act within the various scales of architectural production: objects, buildings, cities and visual communication. In this context is manifested the intention for the creation of a University of Design, founded on the practice of investigation and studio research, thus overcoming the boundaries of a project scale in a school of architecture, limited between the realization of a building scale and, at most, of a city. To understand this generalist and plural outlook becomes a contribution to the discussion on the formation of contemporary architects and their awareness and instrumentalization for action before the complex professional demands of present day societies. PORTUGUÊSO artigo apresenta e discute uma experiência no Brasil de método e ensino de projeto de arquitetura, elaborado pela Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo, a FAU USP. Referimo-nos a uma Reforma Pedagógica proposta no ano de 1962 e as suas consequências à formação dos arquitetos brasileiros. Conhecida como a Reforma de 1962 e tendo como seu líder, associado a outros professores, o arquiteto e professor João Batista Vilanova Artigas (1913-1985), o novo modelo proposto de método de ensino de projeto passou a ser adotado, sob alguns aspectos, mas não todos, pela maior parte das Faculdades de Arquitetura e Urbanismo brasileiras. A reforma liderada por Vilanova Artigas propunha uma superação dos métodos de ensino de projeto baseados ou no modelo tradicional de composição de arquitetura, via Escolas de Belas Artes, ou então naqueles de formação de arquitetos-engenheiros, via Escolas Politécnicas. O método de ensino proposto iria se basear em novos parâmetros de compreensão da prática da arquitetura, apostando em uma formação generalista do arquiteto, instrumentalizando-o a atuar nas várias escalas de produção arquitetônica: objetos, edifícios, cidades e comunicação visual. Nesse contexto manifesta-se a intenção de criação de uma Universidade do Projeto, fundada na prática de investigação e na pesquisa do ateliê, superando assim o limite da escala de projeto de uma Faculdade de Arquitetura, limitada entre a realização da escala do edifício e, quando muito, da cidade. Compreender essa formação generalista e plural coloca-se como contribuição à discussão da formação do arquiteto contemporâneo e a sua sensibilização e instrumentalização para ação frente às complexas demandas profissionais das sociedades atuais.

scholarly journals Professor of the Kuibyshev Planning Institute Vasily Lvovich Pogodin: materials for the biography

2019 ◽  
Vol 8 (3) ◽  
pp. 214-222
Author(s):  
Yulia Aleksandrovna Zherdeva
Keyword(s):  
Far East ◽  
Special Role ◽  
Cultural Institutions ◽  
Military Career ◽  
The Far East ◽  
The Social ◽  
Planning Institute ◽  
The University ◽  
Far Eastern

The paper is based on archival materials about the activities of the Kuibyshev Planning Institute of the 1930s. It reconstructs the biography of the Russian and Soviet diplomat, military and academic of the first third of the 20th century, Vasily Lvovich Pogodin (1870 - after 1937). The study reveals a set of documentary evidence on the diplomatic and pedagogical career of V. Pogodin in the first years of the Soviet power, and determines the features of his pedagogical and party activities in Kuibyshev in 1933-1937. The author highlights a special role of the Planning Institute party committee materials as well as the high school workers trade union in the reconstruction of Pogodins biography. The paper emphasizes that Pogodin was considered to be one of the best lecturers of the Kuibyshev Planning Institute and a credible party worker. It is noted that his noble origin, service in the tsarist army and membership in the party of the Social Revolutionaries until 1937 were not the reason for penalties or prosecution by the party or the university administration. As a result, the author concludes that the fate of Vasily Lvovich Pogodin shows an extraordinary character of his personality. He made a brilliant military career in the years of the late Russian empire and became a major general of the Russian imperial army. Then he managed to integrate into the new Soviet system, radically changing the sphere of his activity and having achieved no less outstanding results in diplomacy and education. He became the plenipotentiary representative of the Far Eastern Republic in China, the director of a number of educational and cultural institutions of the Far East, then a professor of political economy in Kuibyshev.

The influence of the regional culture of Argentina in the 30—60s of the twentieth century on nationwide artistic culture and arts

2021 ◽  
pp. 67
Author(s):  
Natalya Rozenberg
Keyword(s):  
Cultural Policy ◽  
Art Criticism ◽  
Buenos Aires ◽  
Regional Culture ◽  
Cultural Institutions ◽  
History Of ◽  
New Type ◽  
Human And Nature ◽  
The City ◽  
Art Schools

The history of art in Argentina in the XX-XXI centuries is studied mainly in three directions: the genre system, the spiritual and content aspect of works and creative biographies of outstanding masters. Special attention is paid to the links between the art of the Old and New World. Nowadays, the issue of connecting the artistic culture of the regions of Argentina — the center of the country, the northeast, and the northwest - is becoming urgent. The provinces not only perceived the trends of the capital's cultural policy, but also built their own cultural institutions that contributed to the creation and translation of the meanings of works about the uniqueness of human and nature connections far from Buenos Aires, and what is especially significant - about the diversity of ethnic types and characters. Such outstanding masters as Lino Enea Spilimbergo, Antonio Berni, Raul Monsegur, Eddie Torre taught in provincial art schools. They moved quite often from city to city, from province to province. We can assume that in the 40-50s of the XX century. in Cordoba, Mendoza, Tucuman and Resistencia, there were already professionals in all kinds of art. Argentine domestic scientists began to study these processes not so long ago. In this article, special attention is paid to the analysis of cultural heritage and the museum collection of the association El Fogón de los Arrieros (EFA, "Hearth of teamsters", hereinafter - Fogón), located in Resistencia, the capital of the province of Chaco, now known in the country as the City of Sculptures. Fogón became famous for its diverse cultural, educational activities, which began in 1943 and continues to this day. In the history of Fogón, a new type of educator has developed in the person of Aldo Boletti, Juan de Dios Mena, Hilda Torres Varela. The study used the historical and typological method and the method of art criticism analysis.

Rise of the Black Campus Movement

2020 ◽  
pp. 67-103
Author(s):  
Matthew Johnson
Keyword(s):  
Black Student ◽  
University Of Michigan ◽  
Racial Justice ◽  
Black Activism ◽  
Student Protests ◽  
Student Activists ◽  
Successful Student ◽  
Black Campus Movement ◽  
Managerial Strategy ◽  
The University

This chapter looks at the rise of the black campus movement. University of Michigan (UM) leaders were not ready for black campus activism; they took comfort in the fact that black activism was still something unfolding off campus. That all changed in the late 1960s. Black activism that took over buildings and shut down classes threatened university operations. The black campus activists also offered more radical visions of inclusion than federal bureaucrats had. They wanted to create an institution that saw racial justice as the driving force of its mission. A new president led the University of Michigan through these protests. Arriving at the university in January of 1968, Robben Fleming introduced a new managerial strategy to co-opt activism. His efforts worked briefly to stem the tide of black student protests in the late 1960s, but they ultimately failed when Fleming did not provide the types of policies and initiatives that would satisfy activists. By 1970, black student activists organized the most successful student strike in the university's history, calling into question whether UM leaders could retain control of the meaning and character of racial inclusion.

al-Attar, Suad (1942--)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
Contemporary Art ◽  
Formal Education ◽  
Graduate Training ◽  
Fine Arts ◽  
California State University ◽  
State University ◽  
Art And Design ◽  
Geographic Regions ◽  
The University

Born in Baghdad, Iraq, Suad al-Attar moved to London in 1976. She holds a prominent position within the narrative of Iraqi modern and contemporary art as one of the nation’s leading female artists. In 1965, al-Attar became the first woman to hold a solo exhibition in Baghdad. This exhibition was the beginning of a prolific career that spans several decades and geographic regions. Al-Attar began her formal education at the Academy of Fine Arts in Baghdad and at California State University. She then pursued graduate training in London at the Wimbledon School of Art, where she studied printmaking, and the Central School of Art and Design. After the completion of her studies, al-Attar taught at the University of Baghdad before moving to London. Working within a graphic aesthetic, al-Attar’s work is flat, linear, and oftentimes monochromatic. Her canvases are filled with mythical creatures set in phantasmagoric spaces. The artist’s work is characterized as a manifestation of memory, at both a personal and collective level. Her characters emerge from Iraq’s literary past, but al-Attar also creates a personalized set of symbols based on memories of her homeland. Many of her works also offer introspective laments on the destruction of Baghdad during the turbulent years of the 1990s and 2000s.

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