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Journal articles on the topic 'Art Commission of the City of New York'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Cohen, Michele. "Boys' and Girls' High School: Art and Politics in the Civil Rights Era." Prospects 30 (October 2005): 715–49. http://dx.doi.org/10.1017/s0361233300002246.

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The story of public art in the United States is also the story of American democratic institutions. Our public schools in particular, malleable and shifting under changing societal expectations, provide clues about the nature of our educational enterprise in their very design and the commissioned art that enhances them. In New York City, home to the nation's largest public school system and one of the first, art in schools is a barometer of aesthetic preferences and a measure of larger social issues. The constellation of events that led to the decentralization of New York City's schools in 1970 also led to the creation of an outstanding collection of work by African-American artists at Brooklyn's Boys' and Girls' High School.Better known for its athletics and as the school that hosted Nelson Mandela than for its public art, Boys' and Girls' High School first opened its doors as the Central School, with a Girls' department on Nostrand Avenue and a Boys' department on Court Street. In 1886, the Girls' department moved into a new building on Nostrand Avenue and in September 1890 school officials changed the official organization of the school to two schools, with Girls' High School on Nostrand Avenue (with added wings under construction) and Boys'High School (under construction) on Marcy Avenue. By 1960, efforts were under way to build a replacement school. The planning of the new Boys' and Girls' High School coincided with the fight by New York City minority groups for local school control, and the commissioning of art for the new building was paradigmatic of this struggle.

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2

Betts, Mary Beth. "Review: Guide to New York City Landmarks, New York City Landmarks Preservation Commission by Andrew S. Dolkart; The Architecture of New York City: Histories and Views of Important Structures, Sites and Symbols by Donald Martin Reynolds; New York: A Guide to the Metropolis by Gerard R. Wolfe." Journal of the Society of Architectural Historians 54, no. 1 (March 1, 1995): 79–81. http://dx.doi.org/10.2307/991028.

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3

Rabinowitz, Richard. "Eavesdropping at the Well." Public Historian 35, no. 3 (August 1, 2013): 8–45. http://dx.doi.org/10.1525/tph.2013.35.3.8.

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Tracing the history of northern slavery in a narrative exhibition at the New-York Historical Society required overcoming the silence of archival and museum collections. Despite the centrality of slavery to the colonial city, the first two centuries of black lives left few traces. In the archival record, African voices were unheard and never registered. A careful deployment of interpretive media—display techniques, audio-visual programs, graphic annotations, commissioned art objects, and architectural design—aimed to bring visitors physically and emotionally ever closer to the experience of New York blacks, while staying rooted in primary sources. The sequence of media elements thus itself paralleled the historical narrative.

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4

Akehurst, Ann-Marie. "Wandesford Hospital, York: Colonel Moyser and the Yorkshire Burlington Group." Architectural History 51 (2008): 111–35. http://dx.doi.org/10.1017/s0066622x0000304x.

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Richard Boyle, third Earl of Burlington (1694–1753), was a Yorkshireman, and his role in the north of England was significant, both as a designer and as an authoritative arbiter of taste. His position as Lord Lieutenant of both East and West Ridings of Yorkshire paralleled his land holdings at Londesborough near Beverley, the location of his family seat, and at Bolton Abbey, in Wharfedale. Significantly, his acceptance of a commission to supply the Corporation of the City of York, the social capital of the north, with a design for the new Assembly Rooms resulted in one of his most radical works. Burlington’s authorship of the Assembly Rooms is established, but less well known is how he also worked collaboratively in the county, alongside a group of craftsmen and gentlemen amateurs. One of these collaborators, James Moyser, can now be shown to have been responsible for the execution of Wandesford Hospital in York (Fig. 1).

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5

Ayres, Jennifer. "A Fashion Exhibit Without Fashion." Fashion Studies 1, no. 1 (2018): 1–35. http://dx.doi.org/10.38055/fs010114.

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In this review, I critically examine the fashion and art exhibition “fashion after Fashion,” April 7–Aug 27, 2017 at the Museum of Arts and Design in New York City, curated by Hazel Clark and Ilari Laamanen. The exhibition design was commissioned work by six interdisciplinary artists/designers who incorporated a mix of sculpture, performance, and audiovisual material into their installations. The different installations, taken together and experienced together, acted back and upon each other in interesting ways in the exhibition, which was a strength of the curators’ method; the use of commissions exclusively acted as a kind of artistic method in itself. The first and most notable thing about the exhibit was that there were no clothes on mannequins. While the exhibition’s premise was on fashion, the intentional absence of clothing was a risky strategy the curators pursued to intervene in how viewers think about fashion. The installations were purposely amorphous and abstract as well to inspire a broader consideration of what fashion can be and what bodies can do. Though the relationship between fashion and the body has been a constant topic in fashion scholarship, this exhibition offered a new perspective through commissioning and showcasing the category-defying work of recent fashion and art school graduates and performance artists.

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6

Siry, Joseph M. "Seamless Continuity versus the Nature of Materials." Journal of the Society of Architectural Historians 71, no. 1 (March 1, 2012): 78–108. http://dx.doi.org/10.1525/jsah.2012.71.1.78.

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Gunite, or concrete shot through a hose, helped to shape twentieth-century modernist architecture, yet its history is largely unwritten. In 1927–29 Richard Neutra pioneered the architectural use of Gunite in the Lovell House in Los Angeles. Frank Lloyd Wright praised Neutra's house, and he later used Gunite with a light steel frame in his Community Church in Kansas City, Missouri (1939–42). In Wright's next public commission, the Solomon R. Guggenheim Museum (1943–59) in New York City, he proposed that the great spiral gallery be wholly of Gunite set on a pre-stressed steel frame, in order to achieve his ideal of plasticity and continuity; the material was used to form the Guggenheim's exterior walls as built. In Seamless Continuity versus the Nature of Materials: Gunite and Frank Lloyd Wright's Guggenheim Museum, Joseph M. Siry narrates the manner in which the design of the Guggenheim's wood formwork, its joints, and the choice of its exterior coating challenged Wright and his collaborators to achieve a form for the spiral that was consistent with his aesthetic ideal.

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7

Law, Mark D., and Gary Robson. "A Case Study For Accounting Information Systems A Business Continuity Plan For Protecting Critical Financial Information In The NYC Financial Services Industry." Review of Business Information Systems (RBIS) 18, no. 1 (April 23, 2014): 15–22. http://dx.doi.org/10.19030/rbis.v18i1.8539.

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This case study outlines a project launched by the Wall Street West organization, a data redundancy system in Northeastern Pennsylvania which provides backdrop for financial institutions located in New York City. The purpose of this study is threefold. First, the history on the importance of business continuity plans in a post 9/11 world is explored. Second, the Federal Reserve Board, the Office of the Comptroller of the Currency, and the Securities and Exchange Commission recommendations regarding Disaster Recover, in addition to the requirements of The Sarbanes-Oxley Act, are reviewed. Lastly, an overview of Wall Street Wests effort is provided, looking at some of the strategic advantages to locate in Northeastern Pennsylvania and demonstrating the important resources provided by Wall Street West to protect the nations national security. Conclusions and case use recommendations are presented as this case is ideally suited for use in an Accounting Information Systems course at either the undergraduate or graduate level creating an awareness of the importance of business continuity planning.

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8

Miller, Edward H. "They Vote Only for the Spoils: Massachusetts Reformers, Suffrage Restriction, and the 1884 Civil Service Law." Journal of the Gilded Age and Progressive Era 8, no. 3 (July 2009): 341–63. http://dx.doi.org/10.1017/s1537781400001304.

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This essay examines why Richard Henry Dana III and other Boston reformers supported the Massachusetts civil service law of 1884, an even stronger measure than the federal Pendleton Act of 1883. Historians have uncovered two purposes behind civil service reform. First, reform limited the “spoils system” and curtailed the power of political parties. Second, reform increased efficiency in government. This essay argues that restricting the suffrage of Irish laborers was another purpose. Therefore, the essay runs counter to prevailing historical opinion by demonstrating that support for suffrage restriction remained an undercurrent in the 1880s, even after the failure of the Tilden Commission to implement property qualifications in New York City in the late 1870s. This exploration of a neglected topic also reminds urban historians of the deep ethnic conflict that gripped Boston in the 1880s and of the crucial role of patronage and bossism in Boston and other cities, a reality that historians since the 1980s have tended to downplay.

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9

Linden, Diana L., and Larry A. Greene. "Charles Alston's Harlem Hospital Murals: Cultural Politics in Depression Era Harlem." Prospects 26 (October 2001): 391–421. http://dx.doi.org/10.1017/s0361233300000983.

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In 1936, the Works Progress Administration/Federal Art Project (WPA/FAP, 1935–43) appointed New York City artist Charles Alston (1907–77) to be the first African American to supervise a New Deal mural project. Alston, five other artists, and their assistants designed narrative, celebratory images of Harlem, African-American life, children's fairy tales, and stories for New York's Harlem Hospital. In paired panels exploring the theme of healing, Alston depicted an African past beyond exotic and barbaric stereotypes in Magic in Medicine for the foyer of Harlem Hospital Women's Pavilion, and a racially egalitarian American present in its companion panel Modern Medicine (each 17 × 9 feet) (Figure 1). Initially, white hospital authorities rejected the works on the basis that they “contain too much Negro subject matter,” which would make them unappealing to residents of Harlem. This judgment angered Alston, since his designs were consistent with project guidelines. Because the building was a hospital in Harlem, Alston selected the theme of medicine and depicted black figures in his two panels. Yet the seeming suitability of images that looked like the people who used Harlem Hospital and referred to their collective history met with loud objections from Harlem Hospital's white administration. While it was common for muralists to base their subject matter on the local community and its history, and in fact the WPA/FAP encouraged artists to do so, officials tried to cancel Alston's commission on these very grounds. Their attempt to prevent artistic self-representation in the 1930s followed on the heels of prolonged racist hiring policies at Harlem Hospital. Alston ultimately painted his mural designs as planned; final approval of the murals did not come until 1940.

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10

Ho, Truc-Nhu. "Art Theft in New York City." Empirical Studies of the Arts 16, no. 1 (January 1998): 41–46. http://dx.doi.org/10.2190/frbj-ula8-wny5-nxa8.

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This exploratory study was conducted to examine the extent of art theft in New York City. The study includes secondary analyses of 229 police complaint reports and twelve completed investigative cases of the NYPD's Art and Antique Investigation Unit collected during the period from January 1985 to December 1988, and personal interviews with a randomly selected sample of forty-five art dealers in New York City. Results from the analysis of police data and the survey were compared, leading to the conclusion that contrary to popular belief, the majority of art theft losses are not substantial and that official records greatly underestimate the extent of this crime.

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11

Deutsche, Rosalyn. "Uneven Development: Public Art in New York City." October 47 (1988): 3. http://dx.doi.org/10.2307/778979.

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12

Meyer, Gerald. "Red Art on Display in New York City." Socialism and Democracy 30, no. 1 (January 2, 2016): 173–84. http://dx.doi.org/10.1080/08854300.2015.1092336.

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13

Haw, Richard. "Michele H. Bogart.The Politics of Urban Beauty: New York and Its Art Commission.:The Politics of Urban Beauty: New York and Its Art Commission." American Historical Review 113, no. 3 (June 2008): 848–49. http://dx.doi.org/10.1086/ahr.113.3.848.

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14

Myers, Kenneth John, Catherine Hoover Voorsanger, and John K. Howat. "Art and the Empire City: New York, 1825-1861." Journal of American History 88, no. 1 (June 2001): 157. http://dx.doi.org/10.2307/2674926.

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15

Cornog, Evan. "Review: Art and the Empire City: New York, 1825-1861." Journal of the Society of Architectural Historians 60, no. 2 (June 1, 2001): 211–13. http://dx.doi.org/10.2307/991707.

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16

Molotch, Harvey. "Book Review: The Politics of Urban Beauty: New York and Its Art Commission." City & Community 6, no. 3 (September 2007): 252–54. http://dx.doi.org/10.1111/j.1540-6040.2007.00221_3.x.

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17

Lucker, Amy. "Exploring bibliographic resources for Latin American art in New York City." Art Libraries Journal 37, no. 4 (2012): 36–38. http://dx.doi.org/10.1017/s0307472200017739.

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Librarians at Columbia’s Avery Library, New York University’s Institute of Fine Arts, and the Research Division of the New York Public Library are working together to offer a two-day symposium directed towards bibliographic resources for the study of Latin American art in New York City. The symposium, Latin American art bibliography: a continuing conversation, will celebrate the collections of these three institutions, placing them within the context of the field and the larger bibliographic and library landscapes. Supported in part by the Humanities Initiative at NYU and the Institute on the Study of Latin American Art the symposium will feature papers and talks, as well as tours of local landmarks.

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18

Palmer, Joni M. "The Politics of Urban Beauty. New York & Its Art Commission. Michele H. Bogart." Urban Geography 29, no. 3 (April 2008): 291–92. http://dx.doi.org/10.2747/0272-3638.29.3.291.

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19

Lightfoot, D. Tulla. "Contemporary Art-World Bias in Regard to Display Holography: New York City." Leonardo 22, no. 3/4 (1989): 419. http://dx.doi.org/10.2307/1575409.

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20

Pratt, Andy C. "The Warhol Economy: How Fashion, Art, & Music Drive New York City." Journal of the American Planning Association 75, no. 3 (June 30, 2009): 380–81. http://dx.doi.org/10.1080/01944360902967251.

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21

Carrascal Pérez, María F. "Art and Urban Regeneration in New York City. Doris C. Freedman’s Public Project." VLC arquitectura. Research Journal 8, no. 1 (April 30, 2021): 97. http://dx.doi.org/10.4995/vlc.2021.12709.

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<p>Given its positive economic, social and urban impact, even with low-cost or low-tech materialization, the urban creativity encouraged by the arts is of great interest today. This narrative reviews one of the most prolific careers in this regard addressing the pioneering work by Doris C. Freedman. The late 1960s and the 1970s, in the context of two financial crises, saw a groundbreaking effort to formalize innovative artistic programs that recycled the obsolete city and integrated local communities in the processes. Doris C. Freedman was the first director of NYC Department of Cultural Affairs, the Public Arts Council, and leader of the organization City Walls. These institutions promoted an unprecedented improvement of the public urban life through the cultural action. Such experiences led Freedman to the conception of her last project, the relevant and, still, ongoing Public Art Fund of New York City. This article focuses on her early professional years, when she began and consolidated herself in the task of legitimizing art as an urban instrument for shaping the city. This research provides a contextualized critical analysis on Freedman’s less-known experimental projects before the foundation of the Public Art Fund, enabling an extraordinary source of inspiration for a current creative city-making.</p>

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22

Cavlovic, Melita, Mojca Smode-Cvitanovic, and Andrej Uchytil. "Art nouveau in Zagreb: The new movement's significance to the profession of architecture." Spatium, no. 44 (2020): 37–44. http://dx.doi.org/10.2298/spat2044037c.

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This paper traces the implications of Semper's Bekleidung theory on working processes in the field of architecture in Zagreb. The idiosyncrasies of the work of freshly graduated architects in a peripheral Austro-Hungarian city are analysed, both in the context of developing and spreading the city block system and the appearance of the new Art Nouveau style. Buildings in this new modern style, which appeared in 1897, were built sporadically throughout the city's urban fabric, which generally consisted of historicist residential buildings at the time. Parallel to historicism, the demand for Art Nouveau from clients grew, especially around the turn of the 20th century. At the time, typical migration processes resulted in the arrival of a well-educated populace that would commission Art Nouveau buildings in the coming years. The unique characteristics of Art Nouveau style, especially its ability to directly engage citizens and transmit messages of modern times, proved to be an important determinant in its increasing popularity in the city. Many professions and products were advertised on the fa?ades and ornamentation of buildings, the main bearers of Art Nouveau style.

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23

Hackemann, Rebecca. "The Public Utteraton Machines: Recording What People Think of Public Art in New York City." Leonardo Music Journal 28 (December 2018): 48–50. http://dx.doi.org/10.1162/lmj_a_01031.

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In 2015–2016 the author installed interactive public artworks on sidewalks in Brooklyn and Queens using ordinary city permits. The locations were chosen in counterbalance to the dominant choices of location for public art in New York, which tends to be placed in Manhattan or other tourist-concentrated areas. The works are entitled the Public Utteraton Machines and enable passersby to utter their opinions about other public art in the city as well as art’s role in society. The device’s earpiece recorded over 100 open-ended narratives and 391 responses to quantitative data questions via an integrated e-paper display screen. This public art project combines social practice with object-based public art into a conceptual public art practice that forms a commons or civic art. Sound archives of the responses can be found at local libraries in Queens and Brooklyn and at http://utteraton.com/ .

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24

Sun, Dong. "Report on the First “In Art We Trust” Chinese Opera in New York Forum, New York City, USA, 2016." CHINOPERL 36, no. 2 (July 3, 2017): 120–22. http://dx.doi.org/10.1080/01937774.2017.1337842.

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25

Gibson, David. "Digital Asset Symposium: Museum of Modern Art, New York City, April 25, 2008." Moving Image 8, no. 2 (2008): 86–89. http://dx.doi.org/10.1353/mov.0.0023.

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26

Ward, Sue. "Sharon Gallagher, DAP (Distributed Art Publishers) New York City, talks to Sue Ward." Art Book 10, no. 2 (March 2003): 62. http://dx.doi.org/10.1111/1467-8357.00334.

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27

Ingram, Mrill. "Washing urban water: diplomacy in environmental art in the Bronx, New York City." Gender, Place & Culture 21, no. 1 (February 20, 2013): 105–22. http://dx.doi.org/10.1080/0966369x.2013.769429.

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28

Klein, Rachel N. "Art and Authority in Antebellum New York City: The Rise and Fall of the American Art-Union." Journal of American History 81, no. 4 (March 1995): 1534. http://dx.doi.org/10.2307/2081648.

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29

Hills-Nova, Clare. "Researching fashion in New York libraries and beyond." Art Libraries Journal 29, no. 3 (2004): 22–27. http://dx.doi.org/10.1017/s0307472200019027.

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By the 1990s, fashion studies’ relegation to the marginalia of art historical discourse had greatly diminished. During the same period, US fashion itself emerged from European domination, with the action centring on New York City. Conveniently, New York’s art, design and fashion libraries, archives and special collections were already the most wide-ranging anywhere and, propelled by multi-disciplinary-, multi-media-driven interests, they have continued to expand their collections in all areas of fashion research and design, as well as in fashion’s innumerable contiguous fields. While discussing the multiple research resources available to New York-based historians of dress, fashion designers and clothing industry affiliates, this article examines issues of choice and magical serendipity in the context of an at-times overwhelming plethora of information.

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30

Factor, Stephanie H., Sandro Galea, Lucia Garcia de Duenas Geli, Megan Saynisch, Suzannah Blumenthal, Eric Canales, Michael Poulson, Mary Foley, and David Vlahov. "Development of a “Survival” Guide for Substance Users in Harlem, New York City." Health Education & Behavior 29, no. 3 (June 2002): 312–25. http://dx.doi.org/10.1177/109019810202900304.

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The community advisory board (CAB) of the Harlem Urban Research Center, which includes community service providers, Department of Health workers, and academics, identified substance users’health as an action priority. The CAB initiated the development of a wellness guide to provide informational support for substance users to improve access to community services. Focus groups of current and former users engaged substance users in the guide development process and determined the guide’s content and “look.” Focus group participants recommended calling this a “survival” guide. The guide will include three sections: (a) health information and how to navigate the system to obtain services, (b) a reference list of community services, and (c) relevant “hot-line” numbers. The design will incorporate local street art. Substance users continue to shape the guide through ongoing art workshops. Dissemination and evaluation of the guide will continue to involve substance users, community service providers, and academics.

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31

Trumble, Ruth, and Micheline van Riemsdijk. "Commodification of art versus creativity: The Antagonist Art Movement in the expanding arts scene of New York City." City, Culture and Society 7, no. 3 (September 2016): 155–60. http://dx.doi.org/10.1016/j.ccs.2016.06.003.

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32

Holzman, Laura. "Bogart, Michele H. Sculpture in Gotham: Art and Urban Renewal in New York City." Public Art Dialogue 9, no. 1 (January 2, 2019): 119–20. http://dx.doi.org/10.1080/21502552.2019.1574190.

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33

Sharpe, William Chapman. "The Disappearance of Objects: New York Art and the Rise of the Postmodern City." Modernism/modernity 17, no. 3 (2010): 685–86. http://dx.doi.org/10.1353/mod.2010.0016.

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34

Wald, Alan. "The Brazen Age: New York City and the American Empire; Politics, Art, and Bohemia." Journal of American History 104, no. 1 (June 2017): 238–39. http://dx.doi.org/10.1093/jahist/jax098.

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35

MOLOTCH, HARVEY, and MARK TRESKON. "Changing Art: SoHo, Chelsea and the Dynamic Geography of Galleries in New York City." International Journal of Urban and Regional Research 33, no. 2 (June 2009): 517–41. http://dx.doi.org/10.1111/j.1468-2427.2009.00866.x.

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36

Richard, Frances. "The disappearance of objects: New York art and the rise of the postmodern city." Sixties 2, no. 2 (December 2009): 276–79. http://dx.doi.org/10.1080/17541320903360834.

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37

Roodhouse, Simon. "Elizabeth Currid, The Warhol Economy, How Fashion Art & Music Drive New York City." Journal of Cultural Economics 32, no. 2 (February 27, 2008): 155–57. http://dx.doi.org/10.1007/s10824-008-9061-3.

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38

Van Capelleveen, Remco. "Die Transformation der metropolitanen Ökonomie. Karibische Migranten in New York City." PROKLA. Zeitschrift für kritische Sozialwissenschaft 15, no. 60 (September 1, 1985): 125–41. http://dx.doi.org/10.32387/prokla.v15i60.1405.

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Dieser Artikel zielt auf einen spezifischen Aspekt des US-karibischen Wanderungsprozesses, der erst in jüngster Zeit ins Blickfeld der wissenschaftlichen Analyse geraten ist: das Verhältnis der 'neuesten' Migrationsbewegungen von Menschen karibischer Nationalität und Herkunft nach New York City und der gleichzeitig stattfindenden Reorganisation der metropolitanen Ökonomie. Paradoxerweise wird nämlich der Wanderungsprozeß aus der Karibik nach New York City gerade in dem Augenblick zu einer Massenbewegung, als die Stadt - als Resultat von Produktionsverlagerungen in den US-amerikanischen Sunbelt, nach Südostasien und in die Karibik - von einem schwerwiegenden ökonomischen Niedergang und dramatischen Beschäftigungsverlusten (vor allem in der verarbeitenden Industrie) erschüttert wird. Angesichts der Tatsache, daß die meisten der neueren Migranten offensichtlich in der Lage sind, irgend eine Art von Beschäftigung zu finden, stellt sich die Frage nach der Qualität dieses ökonomischen Niedergangs und dessen Auswirkungen auf die soziale und ökonomische Situation der Einwanderer.

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39

Neto, Amir B. Ferreira, Adam Nowak, and Amanda Ross. "Do Tourists Tip More Than Local Consumers? Evidence from Taxi Rides in New York City." International Regional Science Review 42, no. 3-4 (September 11, 2018): 281–306. http://dx.doi.org/10.1177/0160017618798431.

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Given the resurgence of cities as consumer centers and the importance of amenities, we revisit the differences in tipping in taxis between tourists and locals in New York City. Taxi service is an endogenous service; however, taxis also contribute to the demand and provision of other amenities. We compare locals and tourists who are theatergoers to control for education and income, as these factors are likely to affect tipping behavior. Using data from the New York City Taxi and Limousine Commission on yellow taxis, we identify tourists as those trips leaving from or going to a hotel and theatergoers as trips where the drop-off or pickup is near Broadway within thirty minutes of the beginning or end of a show. We find that tourists and theatergoers tip more than locals and nontheatergoers, and tourists who are theatergoers tip even more. These differences between tourists and locals may affect the allocation of taxis throughout the city and hence the provision of other amenities.

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40

Rawlings, Craig M. "‘Making names’: The cutting edge renewal of African art in New York City, 1985–1996." Poetics 29, no. 1 (April 2001): 25–54. http://dx.doi.org/10.1016/s0304-422x(00)00034-6.

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41

Browne, Ray B. "The Warhol Economy: How Fashion, Art & Music Drive New York City by Elizabeth Currid." Journal of American Culture 31, no. 1 (March 2008): 129–30. http://dx.doi.org/10.1111/j.1542-734x.2008.00667_31.x.

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42

Power, Dominic. "The Warhol Economy: How Fashion, Art, and Music Drive New York City - By Elizabeth Currid." Economic Geography 85, no. 1 (December 17, 2008): 101–2. http://dx.doi.org/10.1111/j.1944-8287.2008.01006.x.

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43

Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33." Prospects 27 (October 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.

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During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items not easily categorized as modern nor properly considered art, MoMA admitted such local antiques and curiosities as weather vanes and amateur paintings into spaces otherwise reserved for the likes of Cézanne and Picasso.

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Morcate, Montse. "Taxidermy as a Cultural Object: Notes on Preservation, Death and Art." Instinct, Vol. 4, no. 1 (2020): 59–65. http://dx.doi.org/10.47659/m6.059.art.

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This essay, based on academic research on the representation of death, grief and science, deals with the new resurgence of taxidermy in New York City, where a new generation of artists and artisans explore the aesthetic and ethical limits of this practice. As taxidermy deals with lifeless bodies of animals it becomes a delicate issue for many, in which the central element of debate would be around the legitimacy of using the corpse of an animal and the need for preserving or exhibiting it. Different perspectives of this practice are analysed by means of classical taxidermy, the anthropomorphic style or contemporary art based on taxidermy practises, in order to address questions such as: Is ethical taxidermy possible? Is commemorative taxidermy of a beloved pet acceptable? Why does taxidermy appeal or disgust? Is taxidermy controversial just because it questions the limits of life, death and decay? What is the contribution of the new generation of taxidermists? Keywords: art, death, New York City, preservation, taxidermy

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COLE, ROSS. "‘Sound Effects (O.K., Music)’: Steve Reich and the Visual Arts in New York City, 1966–1968." Twentieth-Century Music 11, no. 2 (July 30, 2014): 217–44. http://dx.doi.org/10.1017/s1478572214000085.

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AbstractThis article explores Steve Reich's relationship with New York City's downtown artworld during the latter half of the 1960s, aiming to nuance aspects of early minimalism by tracing diachronic connections with the Park Place gallery, the exhibitionAnti-Illusion: Procedures/Materials, Richard Serra, Sol LeWitt, and movements such as process art and conceptualism. I suggest that, rather than revealing Reich's prior compositional philosophy, his 1968 treatise ‘Music as a Gradual Process’ demonstrated aesthetic cohesion with the stance of a particular milieu, mirroring a broader linguistic turn in contemporaneous art and revealing a certain discrepancy between theory and praxis. Drawing on newspaper reception, I explore Reich's compositions fromMelodica(1966) toPendulum Music(1968), arguing that these pieces gained both aesthetic value and institutional credibility through being understood in relation to concurrent artwork and ideas, affording productive horizons of expectation.

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H. Jones, Sophie. "Steadily Attached to His Majesty? Varieties of Loyalism in Revolutionary New York." Journal of Early American History 9, no. 2-3 (December 10, 2019): 163–98. http://dx.doi.org/10.1163/18770703-00902009.

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This paper responds to most recent works on the complexity of loyalist identities during the American Revolution. It forms a close reading of over 400 claims submitted by self-identified loyalist claimants from the former colony of New York to the Loyalist Claims Commission. Through a case study of three New York counties (the city and county of New York, Albany County and Tryon County), the paper demonstrates that the loyalist experience differed greatly between the three distinct geographic regions; different counties entered the war at different stages, while demonstrations of loyalism and the range of services provided by loyalists to advance the British cause varied considerably. The paper also outlines (and justifies the use of) the potential of three broad categories by which to analyze loyalist claimants: namely, ‘active’, ‘reluctant’ and ‘passive’. Ultimately, this paper concludes that the varying nature of loyalism was largely the product of local contextual circumstance.

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Ismail, Hassan Ahmed. "Public Art Development." Academic Research Community publication 1, no. 1 (September 18, 2017): 7. http://dx.doi.org/10.21625/archive.v1i1.139.

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Please allow me to express my interest in participating in the event; the agenda and objective are of high significance for discussing the maturity and development of a sustainable "cultural and creative infrastructure" powered by cultural policies and practices. Involvement and lobbying for such topics is essential for the cultural and creative dynamics where creative cities attract creative people.While navigating through a search engine and typing a name of a city, the first images to appear visualize the built environment of the city. For instance when you type Cairo into Google, you will be mainly looking at the Pyramids and built environment around the Nile in addition to the Old City of Cairo. If you type in New York you will find images of skyscrapers positioned around the natural landscape of the city, and so on and so forth.Thus tourism depends a lot on the built environment and the touristic standard is subject to the built environment, type and quality of tenants attracting the general public and of course the natural landscape.Arts and architecture play an important role among the built environment having both tangible and intangible economic impacts resulting from touristic attractions as well as other means; Cairo was once described as the most beautiful city in the world with the rich urban fabric and prosperity of the arts and architecture.In a country like Egypt where segmentation between the different social levels is becoming a real threat for future generations, it is crucial to work with all stakeholders including the authorities, civil society and the general public with objectives that would aim to serve all interests and gain a positive public opinion.

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Grams, Diane. "Neo‐Bohemia: Art and Commerce in the Postindustrial City. By Richard Lloyd. New York: Routledge, 2005." American Journal of Sociology 112, no. 3 (November 2006): 936–37. http://dx.doi.org/10.1086/511398.

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Indych, Anna. "Made for the Usa: Orozco´s Horrores de la Revolución." Anales del Instituto de Investigaciones Estéticas 23, no. 79 (August 7, 2012): 153. http://dx.doi.org/10.22201/iie.18703062e.2001.79.2087.

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This paper traces the development of a body of drawings by José Clemente Orozco known upon their commission as Los Horrores de la Revolución (1926-1928), and their relation to his murals at the Escuela Nacional Preparatoria, in light of the political pressures of the post-revolutionary regime in Mexico, and the demands of the New York art market.

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Nitzsche, Sina A. "Routledge Handbook of Graffiti and Street Art, Jeffrey Ian Ross (ed.) (2016)." Global Hip Hop Studies 1, no. 1 (June 1, 2020): 162–65. http://dx.doi.org/10.1386/ghhs_00011_5.

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Review of: Routledge Handbook of Graffiti and Street Art, Jeffrey Ian Ross (ed.) (2016)New York City: Routledge International HandbooksISBN 978-1-13879-293-7, h/bk, £160.00, p/bk, £31.99, ebook, £25.99

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