Despite present day attitudes and practices in which combinations of photography and other mediums of art are readily accepted, this was rarely the case during the 1960s and 1970s. The pioneering 1970 Museum of Modern Art exhibition Photography into Sculpture, which is the focus of this dissertation, is a compelling exception. Organized by Peter Bunnell, the exhibition highlighted work by twenty-three artists that mixed photographic imagery with three-dimensional forms. The resulting objects often dislocated "straight" photography’s reliance on the image and optical description as its primary source of meaning, characteristics presumed to be fundamental and fixed by many at the time. Bunnell argued that the physicality of the works in Photography into Sculpture made the medium visible and available for critique. This dissertation establishes the archival record and an oral history for the exhibition. It also finds that Bunnell prepared this unorthodox exhibition with John Szarkowski’s endorsement, therefore contradicting enduring views that Szarkowski’s photography program at the Modern promoted a monolithic ideology that did not include experimental modes. Peter Bunnell and Robert Heinecken are the principal figures in Photography into Sculpture. Bunnell, as curator and historian, and Heinecken, as artist and professor of photography at University of California, Los Angeles, were both committed to the idea that the photograph was not only an image but also an object. In public statements they argued that the attention placed on straight photography by many critics and educators discouraged experimentation and excluded an emerging generation of photographers eager to challenge lingering modernist traditions that emphasized the integrity of the image and conventions of display. Both men and their contemporary Nathan Lyons worked from within photography’s established institutions and organizations–including the Museum of Modern Art, George Eastman House, and The Society for Photographic Education–to advocate for alternatives. This dissertation demonstrates that the revolutionary ideas of Bunnell and Heinecken were part of a long rebellion against photographic modernism.

This dissertation consists of three parts: the fourth chapter in my book Fotboll och frihet«. Studier i Max Lundgrens författarskap (Football and Freedom. Studies in Max Lundgren's Authorship), 1987, and the two studies that this volume contains: En undersökning av tillvaron. Gunnel Beckman's ungdomsroman Tillträde till festen (An analysis of existence. Gunnel Beckmans novel for young people, Tillträde till festen /Admission to the Feast/) and Barnbokskritik i förvandling. Debatt om litteratur och ungdomsläsning 1966-1970 (The transformation of children's literature reviews. The debate concerning literature and young people's reading 1966-1970). The time of the youth revolt, the late 1960s, with the year 1968 as an almost mythical period, is portrayed as part of an explanatory model for the three studies. In 1968, Max Lundgren received the Nils Holgersson Plaque for his books for young people Pojken med guldbyxorna (The Boy With the Golden Trou­sers) and Åshöjdens bollklubb (Åshöjden Football Club). I show through my interpretations of the above mentioned and Max Lundgren's other books of this time, that the texts hold an existential concept of freedom; life is not totally determined, man has a certain amount of choice. Through my interpretation of Gunnel Beckman's well-known youth novel from 1969, Tillträde till festen (Admission to the Feast) I show how the content of the story changes, in the same way as in the work of Max Lundgren, from that of the fear of death to that of the conditions and possibilities of existence. The late 1960s can be described as a golden age for Swedish literature aimed at young people thanks to Max Lundgren, Gunnel Beckman, and other authors like Hans Eric Hellberg and Sven Wernström. The debate centered a- round children's literature was at this time affected by the ideologies that were prevalent, but the critics of children's literature also showed a con­tinuous interest in aesthetic and educational aspects. / <p>Författaren beskriver sin avhandling som en sammanläggningsavhandling.</p><p>Till avhandlingen hör även kapitel 4 i boken Fotboll och frihet : studier i Max Lundgrens författarskap (Nr 25 i Skrifter utgivna av Svenska Barnboksinstitutet) författad 1987 av Lena Kjersén Edman.</p> / digitalisering@umu

<p>This dissertation explores the quotidian experience of economic development by studying both the material realities and discursive worlds of 1960s Argentina. I reveal the gendered relationship between economic development and an expanding consumer culture by analyzing the use, circulation, and meanings attributed to household appliances by journalists and public intellectuals. In the late 1950s, many economists, politicians, and intellectuals fervently believed they had found an economic model -- developmentalism -- that would finally provide the means of raising Argentines' standard of living and make the Argentine economy as robust as those of the United States and Northern European countries. Household appliances played a key role because they achieved both those goals, (supposedly) improving women's lives in the process by in part facilitating their increased participation in the workforce. Developmentalists believed their economic model to exist independently of ideology and cultural influences, but their model encountered cultural realities that limited its success. Consumerism--the way through which Argentines interacted with development--and its effects on family and gender relationships complicated the process. Both supporters and critics of developmentalism attacked women's roles as consumers to articulate many of their protestations against changes in women's status and to express anxieties about seemingly unrelated social and cultural changes. I argue that through the course of the 1960s the discussion about consumerism increasingly became a way through which different groups offered distinct visions of how "Argentine society" ought to be transformed.</p><p>This study draws on a broad array of written and oral sources. To trace the connection between economic development and consumer society, I interweave an analysis of economic and infrastructural data - such as production statistics or the availability of gas, water - with a study of socio-cultural discourses found in a wide variety of magazines, essays, films, and interviews. I juxtapose these sources in unusual ways to demonstrate two things. First, the cross-referencing of disparate sources to reveals a fuller, more complete picture of economic development and its effects--transcending macro-structural phenomenon to offer a view of quotidian change. And, two, this more complete pictures details how a narrative of hope and idealism evolved into one of anxiety and vitriol as the decade progressed.</p> / Dissertation

Abstract This thesis, conceived within a Marxist framework, addresses key conceptual issues in the writing and theorising on industry policy in post second world- war Australia. Broadly, the thesis challenges the way that industry policy on the left of politics (reflected in the social democratic and Keynesian positions) has been constructed as a practical, progressive policy agenda. Specifically, the thesis poses a direct challenge to the primacy of the ‘national’ in interpreting the history of industry policy. The challenge is to the proposition that conflicts between national industry and international finance arose only from the mid 1980s. On the contrary, as will be seen, this is a 1960s issue and any interpretation of the debates and the agendas surrounding industry policy in the 1980s must be predicated on an understanding of how the issue was played out two decades earlier. As was the case in the 1960s, industry policy in the 1980s has been isolated from two key areas of interrogation: the role of the nation state in regulating accumulation and the role of finance in industry policy. In the 1950s and more so in the 1960s and early 1970s there was a reconfiguration of financing internationally but it is one that did not enter into industry policy analysis. The central concern therefore is to simultaneously sketch the historical political economy on industry policy from the 1950s through to the early 1970s in Australia and to analytically and empirically insert the role of finance into that history. In so doing the thesis addresses the economic and social factors that shaped the approach to industry finance in Australia during this critical period. The analysis is supported by a detailed examination of political and industry debates surrounding the proposal for, and institution of, a key national intervention in the form of the Australian Industry Development Corporation (AIDC).

Abstract This thesis, conceived within a Marxist framework, addresses key conceptual issues in the writing and theorising on industry policy in post second world- war Australia. Broadly, the thesis challenges the way that industry policy on the left of politics (reflected in the social democratic and Keynesian positions) has been constructed as a practical, progressive policy agenda. Specifically, the thesis poses a direct challenge to the primacy of the ‘national’ in interpreting the history of industry policy. The challenge is to the proposition that conflicts between national industry and international finance arose only from the mid 1980s. On the contrary, as will be seen, this is a 1960s issue and any interpretation of the debates and the agendas surrounding industry policy in the 1980s must be predicated on an understanding of how the issue was played out two decades earlier. As was the case in the 1960s, industry policy in the 1980s has been isolated from two key areas of interrogation: the role of the nation state in regulating accumulation and the role of finance in industry policy. In the 1950s and more so in the 1960s and early 1970s there was a reconfiguration of financing internationally but it is one that did not enter into industry policy analysis. The central concern therefore is to simultaneously sketch the historical political economy on industry policy from the 1950s through to the early 1970s in Australia and to analytically and empirically insert the role of finance into that history. In so doing the thesis addresses the economic and social factors that shaped the approach to industry finance in Australia during this critical period. The analysis is supported by a detailed examination of political and industry debates surrounding the proposal for, and institution of, a key national intervention in the form of the Australian Industry Development Corporation (AIDC).

Abstract This thesis, conceived within a Marxist framework, addresses key conceptual issues in the writing and theorising on industry policy in post second world- war Australia. Broadly, the thesis challenges the way that industry policy on the left of politics (reflected in the social democratic and Keynesian positions) has been constructed as a practical, progressive policy agenda. Specifically, the thesis poses a direct challenge to the primacy of the ‘national’ in interpreting the history of industry policy. The challenge is to the proposition that conflicts between national industry and international finance arose only from the mid 1980s. On the contrary, as will be seen, this is a 1960s issue and any interpretation of the debates and the agendas surrounding industry policy in the 1980s must be predicated on an understanding of how the issue was played out two decades earlier. As was the case in the 1960s, industry policy in the 1980s has been isolated from two key areas of interrogation: the role of the nation state in regulating accumulation and the role of finance in industry policy. In the 1950s and more so in the 1960s and early 1970s there was a reconfiguration of financing internationally but it is one that did not enter into industry policy analysis. The central concern therefore is to simultaneously sketch the historical political economy on industry policy from the 1950s through to the early 1970s in Australia and to analytically and empirically insert the role of finance into that history. In so doing the thesis addresses the economic and social factors that shaped the approach to industry finance in Australia during this critical period. The analysis is supported by a detailed examination of political and industry debates surrounding the proposal for, and institution of, a key national intervention in the form of the Australian Industry Development Corporation (AIDC).

[From Introduction]: ‘Work’ is not a topic that much concerns contemporary novelists or fires the creative imagination. Today, writing about work is primarily done by investigative reporters like Elizabeth Wynhausen, whose Dirt Cheap: Life at the Wrong End of the Job Market (2005) is a striking – if rare – under-cover exposé of what ‘economic reform’ really means for menial Australian workers. There is certainly no literary equivalent now of the British and Australian novels, appearing in the 1950s and 1960s, preoccupied with the relationship between changing patterns of work and working-class experience: the lived transformations of traditional class and family ties; the impact of new consuming habits and popular cultural pursuits; the political situation of ordinary working people, and shifts in their attitudes and values. These British and Australian novels generally assumed that reorganisations of the working coal face or factory floor extended into the private sphere, informing or producing the stressful personal dramas played out in communities and at the kitchen sink.This thesis argues that these novels were elements of a broader dialogue in the 50s and 60s: one in which work and working-class life were significant subjects, articulated in a range of complementary discourses that were interlocutory – economic and political analysis, sociology, nascent cultural theory, popular newspaper commentary and literature. Consequently, a main objective of this thesis is to reveal how these representational forms or disciplines converged in the period 1950–1965: to examine their common themes and interests, and their collectiveresponses to questions concerning working-class life. The thesis argues that all these forms or disciplines shared the view that the condition of the working classes, in both Britain and Australia, crucially mattered to the overall social architecture of the time. It also argues that they all regarded the presence of America, the era’s pre-eminent global force, as central to such questions; and that America was complexly understood as an idealised political concept, a power-house of popular cultural production, and a very real engine of socio-economic change.

This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.

In recent years, there has been a noticeable rise in the use of walking in artistic practice. Artists explore, map, narrate, draw, follow and procrastinate through the use of pedestrianism. This rise in an artistic output that uses the walking body has coincided with a burgeoning literature in this field; a literature that, I argue, has yet to find its feet, frequently repeating, and so depoliticising, the dominant narrative that casts walking as a strategy of resistance to the high-speed technological demands of late capitalism. Beyond its role as emancipatory gesture, I show, walking is enmeshed in histories of gender, labour, punishment, power and protest; something that a focus on the art of the 1960s and ‘70s can help to uncover. Accordingly, this thesis seeks to place the recent rise of ‘walking art’ in a specific historical context, positing that the uses of walking by artists today find the key to their legitimation in moving image and performance work of the 1960s and ‘70s. Through chapters on the work of the Judson Dance Theater (1962-7) and Trisha Brown (early 1970s), Bruce Nauman’s studio films and videos (1967-9) and Agnes Martin’s only film Gabriel (1976), I argue that these artists used walking not only to deconstruct the mediums out of which they worked (dance, sculpture, painting), but also to negotiate the wider socio-political issues of the era, from protest marching and the moon landings to much more clandestine concerns such as surveillance and controlled viewership. These chapters reveal a walking body as supported by technology, subject to self-discipline, and negotiating a new relationship with the natural world. A final chapter on Janet Cardiff’s audio walks, which she first developed in the late 1990s, makes explicit a feminist problematic, as I ask where the female body resides in a long history of male walkers, and explore the broader question of how we write the history of ‘walking art’. Via Cardiff, I reflect on the place of the 1960s and ‘70s in our historical imagination today, arguing for a more uneasy reading of the art of these decades than we have previously been used to.

The 1960s have a special place in the cultural memory of the West Coast of Canada. They have informed its regional identity, the cityscape of Vancouver, and the social infrastructure of the modern state. But lost in the mythos that has surrounded Vancouver’s long sixties is the story of the Georgia Straight. Founded by a group of poets in 1967 to combat a campaign launched by the municipal government to discriminate against the counterculture, it is today, in 2018, the most prosecuted newspaper in Canadian history. Between 1967 and 1972, the municipal and provincial government deliberately took advantage of the legal justice system to censor an outlet for dissent, with the end goal of inhibiting it from publishing. This thesis challenges popular conceptions of the 1960s in British Columbia’s popular memory by demonstrating the extent to which the state deliberately censored freedom of expression by attempting to silence an outlet for dissent, and highlights how the municipal and provincial government infringed on the civil liberties of Vancouver’s counterculture community, in one instance in August 1971, threatening it with outright violence. / Graduate