Suchergebnisse

The American counterculture played a major role during a pivotal moment in American history. Post-War prosperity combined with the social and political repression characteristic of middle-class life to produce both widespread civil disobedience and artistic creativity in the Baby Boomer generation. This introduction explores the relationship between the counterculture and American popular culture. It looks at the ways in which Hollywood and corporate record labels commodified and adapted countercultural texts, and the extent to which countercultural artists and their texts were appropriated. It offers an interdisciplinary account of the economic and social reasons for the emergence of the counterculture, and an appraisal of the key literary, musical, political and visual texts which were seen to challenge dominant ideologies. Key Features: *examines the ways in which texts were seen to be countercultural*assesses the extent to which they represented real opposition to cultural orthodoxies*scrutinises the notion of the counterculture*examines the limits to and achievements of the counterculture*places key countercultural figures and texts in context of the shifting wider social and political climate of the United States*uses case studies to illuminate the text.

The American counterculture played a major role during a pivotal moment in American history. Post-War prosperity combined with the social and political repression characteristic of middle-class life to produce both widespread civil disobedience and artistic creativity in the Baby Boomer generation. This introduction explores the relationship between the counterculture and American popular culture. It looks at the ways in which Hollywood and corporate record labels commodified and adapted countercultural texts, and the extent to which countercultural artists and their texts were appropriated. I

A paper based around a selection of my own knitted works, Knitted Homes of Crime (2002), How to make a piece of work when you're too tired to make decisions (2004), It Sucks (2005) and the knitted banner series (2000 – 2005). The paper reflected on my use of knitting to explore and subvert the pervasive issues of the domestic, motherhood, gender inequality and the craft/fine art divide. Issues that are still pertinent over thirty years after Su Richardson was producing her crochet and mixed media works for "Feministo: Portrait of the Artist as a Housewife (1975 – 1977)", ICA, London, 1977. The paper was part of an event entitled, "Counterculture Crochet", organised by the Women's Art Library/Make to accompany the exhibition, "Burnt Breakfast and other works by Su Richardson", curated by Alexandra M. Kokoli at The Constance Howard Gallery and Special Collections Reading Room at Goldsmiths, University of London 6th July - 9 September 2012. "Simultaneously celebrating, exploiting and subverting the connotations of feminine craft skills such as crochet and embroidery, Su Richardson's home-made objects explore domesticity, femininity and their mutual implication from a distinctly feminist point of view. The exhibition, 'Burnt Breakfast and other works', includes the iconic crocheted 'full English', in which the womanly skill of crochet is used against the grain, to express in a humorous manner a growing dissatisfaction with patriarchal gender roles, and also to challenge the hierarchical division between art and craft. "Cooking and crochet cancel each other out, making this Breakfast into a mockery of more than one aspect of housewifely duties," explains the curator Alexandra Kokoli. To mark the opening of the event to the public, the College hosted 'Counterculture Crochet'; a Q&A with the artist, presentations on the work and its contexts by invited speakers Hazel Frizell, Janis Jefferies and Freddie Robins, and an open discussion with the audience (6 July, New Academic Building, Goldsmiths.) Su Richardson's work marks the intersection of feminist aesthetic, philosophical and political preoccupations. This exhibition reveals Su Richardson to be a key precursor to the recent and fast-expanding reclamation of craft techniques in fine art practice, exemplified in the work of Freddie Robins, Tracey Emin, Craig Fisher and Gillian Cooper among many others." http://www.gold.ac.uk/library/exhibitions/exhibitions-archive/

Book Chapter in Marjolaine Ryley's 'Growing Up in the New Age'. From the publisher: "'Growing up in the New Age' is an artist initiated research project that explores this alternative world, from communes in the south of France, squatting in South London and 'free school' education to the many forays into all things `New Age', set against the backdrop of social and political happenings of the era."

Cover -- Half Title -- Title Page -- Copyright Page -- Original Title Page -- Original Copyright Page -- Dedication -- Table of Contents -- Series Editor's Introduction -- Acknowledgments -- Introduction: First Person, Past Tense -- Part I: The Music -- Chapter 1: Gear -- Chapter 2: Shango Mick Arrives -- Chapter 3: Next Year in San Francisco -- Chapter 4: Harlequin in Neon -- Chapter 5: The Lizard King -- Chapter 6: More Mysterioso -- Chapter 7: Mover -- Chapter 8: San Francisco Bray -- Chapter 9: Bell-Bottom Blue Jeans -- Chapter 10: Je Fais Comme Je Veux -- Chapter 11: Ravi and the Teenie Satori -- Chapter 12: Giraffe Hunters -- Part II: The Mystique -- Chapter 13: The Psychedelic Psell -- Chapter 14: Maharishi Meets the Press -- Chapter 15: A Quiet Evening at the Balloon Farm -- Chapter 16: Catcher in the Haight -- Chapter 17: The Insulated Hippie Awakens -- Chapter 18: The Long Hot Summer on Blue Jay Way -- Chapter 19: The Head Freak Awaits a New Son -- Chapter 20: A Groovy Idea While He Lasted -- Part III: The Madness -- Chapter 21: Theater of Cruelty: King in Chicago -- Chapter 22: Theater of the Absurd: Insurrection at Columbia -- Chapter 23: Theater of Fear: One on the Aisle -- Chapter 24: Homecoming -- Chapter 25: C. J. Fish on Saturday -- Chapter 26: Love and Money and the Shoot-out in Marin -- Chapter 27: That Good Night -- A Note on the Text -- Index.

Three films circumscribe the counterculture of the last decade. These three films have as their subject the counterculture, and they themselves became cultural events. Woodstock, Easy Rider, and A Clockwork Orange: they define, warn, and predict. Woodstock (the event) and Woodstock (the film, which became the event for millions of the young) defined the counterculture of the 1960's. Of course, that definition did not begin the phenomenon of a youth culture that runs counter. Nor was Woodstock the first description of it. Anthony Burgess wrote his counterculture novel A Clockwork Orange over 10 years ago, and he has told us in a June 8, 1972, Rolling Stone article that he planned the book nearly 30 years ago. The droogs in that novel were some version of Teddy Boys or greasers or hipsters projected into an apocalyptic future: "The work merely describes certain tendencies I observed in Anglo-American society in 1961 (and even earlier)." Some of those tendencies, and several others, were exposed by the counterculture itself in Easy Rider, just before Woodstock. But Woodstock purified and refined the counterculture—and successfully made it self-conscious, mythologized it. And thus defined it.