Tesis: "Art Commission of the City of New York"

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Earl, Samantha C. "The tilted trajectory of public art : New York City, 1979 - 2005". Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/69530.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2011.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 142-148).
This thesis explores the relationship between urban planning and public art, and questions the efficacy of past and current models, whilst pushing us to develop new ones. It strives to glean the most salient issues universal to all instances of public art, and uses four case studies to illuminate such issues in practice. Tilted Arc by Richard Serra and Metronome by Jones and Ginzel adhere to a conventional model of public art - an object in a public space, commissioned by a small group of "experts," with an essentially passive role accorded to audience. The Gates and the work of artist Mierle Laderman Ukeles emphasize ephemerality, integration and participation. While vastly different from one another, the latter two also strive to engage more directly with urban planning and political processes. Tilted Arc is the watershed public artwork, and sets the stage upon which the other three case studies unfold. Within the context of New York City's neoliberal transformation, this thesis seeks to situate public art's role in the process, capping the story with The Gates in 2005. With modernist notions of public art losing relevance, this thesis argues that unrealistic expectations are still all-too-often placed on public art, using vestigial notions of the relationship between artist and audience. Simultaneously such outdated ideas undermine the potential for us as urban planners and public art producers to find new ways of working together in the service of cities that are "revitalized, cosmopolitan, just and democratic."' Instead this thesis argues that we deconstruct concepts of form, process, and audience/intention, and reconstitute new models for public art in our cities. Optimistically I argue that such thinking is already underway in cities like New York. It is fundamental that we consider how to refine and consolidate what is working for public art, and integrate such aspects into urban planning and policy from the outset. With both public art and urban planning at a crossroads, the potential exists to think and act boldly as we move forward. Professional silos need to be regularly challenged - collaboration will be the most important ingredient needed to redefine and shape the trajectory of public art in the 21st century.
by Samantha C. Earl.
M.C.P.

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Ketcham, Christopher M. (Christopher Michael). "Minimal art and body politics in New York City, 1961-1975". Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/120870.

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Thesis: Ph. D. in Architecture: History and Theory of Art, Massachusetts Institute of Technology, Department of Architecture, 2018.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged student-submitted from PDF version of thesis.
Includes bibliographical references (pages 335-362).
In the mid-1960s, the artists who would come to occupy the center of minimal art's canon were engaged with the city as a site and source of work. These artists drew on the social, material, and spatial conditions of the surrounding environment, producing sculpture that addressed the problem of the city as a problem of the body. At the same time, minimal art was deployed by civic leaders, including New York City's mayor John V. Lindsay, as an instrument to organize a public and project a new urban image in the midst of sweeping social and economic change. The work of Carl Andre, Tony Smith, Dennis Oppenheim and many of their peers, informed by Merleau-Ponty's phenomenology, promised to heighten one's consciousness of self, others, and environment. The Lindsay administration and its allies positioned sculpture as an aesthetic rupture that could ameliorate the sensorial burden and alienation of urban life. The phenomenological and spatial claims of minimal art were adopted and mobilized by the city's power brokers as they sought to assert authority over New York. This dissertation assesses the intertwined agency of artists, political leaders, corporate stakeholders, and private developers as they made proprietary claims for urban space. In the canonical formation of minimal art, the city has been marginalized as a field of meaning. The phenomenological reading has become naturalized in historiography. Rather than perpetuate this historiographical opposition, this dissertation pursues an urban history of minimal art and a social history of its phenomenology. It focuses on artists and organizers whose work constitutes a sustained engagement with the social, material, and spatial realities of New York City in the 1960s. Merleau-Ponty's phenomenology resonated with artists in 1960s New York, in part, because it overlapped with a politics of the urban body that was developing simultaneously. The city's use of minimal art was closely related to the problematic visibility of politicized bodies. As Lindsay was confronted with issues of race, gender, and class that emerged in the wake of massive social and economic transition, his administration turned to minimal art to serve as a tangible sign of order. Sculpture was deployed as a tool to orient the body and the public within the city's new spatial realities.
by Christopher M. Ketcham.
Ph. D. in Architecture: History and Theory of Art

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Sills, Rachel Marianne. "The city, art and death in the poetry of Frank O'Hara". Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266142.

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Gluibizzi, Amanda. ""The Entire Visual World": Art, Design, and 1960s New York". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342617358.

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Vona, Viktoria. "The role of art and artists in contesting gentrification in London and New York City". Thesis, King's College London (University of London), 2016. http://kclpure.kcl.ac.uk/portal/en/theses/the-role-of-art-and-artists-in-contesting-gentrification-in-london-and-new-york-city(b7db0c51-6276-4094-8bce-77a72bab0c92).html.

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Gentrification, the contentious terrain where neo-liberalism meets housing, has been widely explored in urban geography, with few under researched areas remaining. This thesis fills one such gap by focusing on artists - a group who have been historically noted to contribute at all stages of gentrification, from triggering it to ultimately being displaced themselves. With increased consciousness of the process opening up their role in a new direction, artists are also more recently engaging in fervent activism and resistance in trying to control the aggressive spread of gentrification. This study concentrates on artists in situ in two cities with widespread gentrification, the international art hubs: London and New York City. The artists interviewed for this study have been resisting gentrification in non-violent ways, using their art to protest. Complementing in-depth interviews and a critique of art works, analysis is carried out to seek how and why artists are motivated to resist and how they reconcile themselves with the contradictions over their roles in gentrification. This thesis demonstrates the existence of new trajectories for the roles of artists in gentrification, particularly in terms of efforts of stalling, or finding an alternative for the process. Overall, artists are aware of what they represent in the gentrification process and are motivated to mitigate any adverse effects of this. On a broader scale, the study uncovers an incubating social movement: grassroots activism which finds itself colliding head-on with the top-down paradigm of economic value creation over social equality. Although the various individual actors in this struggle are not always connected or even aware of each other; some are organising themselves to fight the tide of gentrification, learning and sharing valuable lessons along the way, which have the potential to be useful to those positioning themselves against gentrification.

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Saint-Surin, Sandra. "Community Services by Haitian Churches in New York City as a Means of Fulfilling the Great Commission| A Qualitative Investigation". Thesis, Nyack College, Alliance Theological Seminary, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271737.

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The respective research focuses on Haitian Christian leaders’, particularly Millennials’, perception of commitment to community service in the metro New York City area in their churches’ neighborhood. Prior to this present study, Haitian Christian leaders’ perception commitment to community service in their churches’ neighborhoods were unknown. Therefore, this present research created a measuring tool – “Rubric for Evaluating Commitment to Community Service” (RECCS) to assess Haitian Christian leaders’ perception commitment to community service. The present research author interviewed three leaders (senior pastors and two youth leaders) from five different churches totaling fifteen participants to determine their level of commitment to community service. Afterward, the present research author did a second interview with senior pastors of each church and searched for indicators of common traits/factors that three highest and the two lowest scoring churches had in common. The present research author discovered that the level of commitment to community service differ among the five churches and between senior pastors and their youth leaders. In addition, the research found that there were no common trait/factors among the highest scoring churches, but there was one trait in common among the lowest scoring churches. Despite this, that trait/factor could not yield a conclusion making the research results be inconclusive. Lastly, the present research author offered ministry recommendations to future research and the Haitian church community.

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Smith, Steven C. ""The art of printing shall endure" journalism, community, and identity in New York City, 1800-1810 /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4906.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on January 10, 2008) Includes bibliographical references.

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Shiffrar, Genevieve Ruth 1966. ""Its future beyond prophecythe City of New Jersey, worthy sister of New York": John Cotton Dana's vision for the Newark Museum, 1909-1929". Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278461.

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A member of America's established cultural elite, John Cotton Dana (1856-1929) aimed to wrest cultural and economic authority from the nouveau riche through his role as the first director of the Newark Museum. In his favorite exhibition, "New Jersey Textiles," he encouraged local immigrant laborers to improve the design of goods that he simultaneously prompted middle-class women to purchase. He imagined that, as a result, Newark's manufacturing sector would blossom without nouveau-riche involvement; the region would soon rival its new-money neighbor, New York City. Under Dana's supervision, Jarvis Hunt (1859-1941) designed the 1926 Newark Museum building, employing the conventions of contemporary office architecture (predating a similar strategy at the Museum of Modern Art) to articulate this vision. The Metropolitan Museum of Art designed a series of exhibitions indebted to Dana's ideas. Ironically, the Metropolitan has received credit for innovations that Dana had designed to challenge New York's preeminence.

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Manzano, Raul. "Language, Community, and Translations| An Analysis of Current Multilingual Exhibition Practices among Art Museums in New York City". Thesis, Union Institute and University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10060087.

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This dissertation provides an analysis of current multilingual practices among art museums in New York City. This study is located within the current theoretical analysis of 1) museums as sites of cultural production and 2) the politics of language, interpretative material, and technology. This study demonstrates how new roles for museums embracing multilingual exhibitions and technology may signal new ways of learning and inclusion.

The first part is a theoretical-based approach. The second part consists of a mixed-method research design using qualitative and quantitative methods to create three different surveys: of museum staff, of the general public, and finally my observations of museum facilities and human subjects.

Multilingual exhibitions are complex and require changes at all levels in a museum's organizational structure. Access to museum resources can provide more specific data about language usage. The survey responses from 175 adults provides statistics on multilingual settings and its complexity. The survey responses from 5 museums reveals the difficulty, and benefits, of dealing with this topic. Visual observations at 36 museums indicate that visitors pay attention to interpretative material, while production cost, space, and qualified linguistic staff are concerns for museums. Technology is a breakthrough in multilingual offerings, for it can help democratize a museum's culture to build stronger cultural community connections.

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Moon, Jiyoung. "Satellite Dispersion in Narrow Spaces: A New Urban Campus Diagram". University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367938401.

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Lawson, Benjamin A. "Garbage mountains: the use, redevelopment, and artistic representation of New York City's Fresh Kills, Greater Toronto's Keele Valley, and Tel Aviv's Hiriya landfills". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1983.

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Garbage landfills are at the heart of debates over sustainable urban development. Landfills are the cheapest waste-disposal method, but have specific environmental problems and are a common target for citizen activism such as environmental justice and Not In My Backyard (NIMBY) protests. As a means of covering up the scars at recently closed landfills, it has been common for cities to redevelop landfills into parks. The ongoing redevelopment projects at New York City's Fresh Kills, Greater Toronto's Keele Valley, and Greater Tel Aviv's Hiriya landfills are uniquely ambitious and large-scale projects, because these three landfills were among the largest in the world at the time each of them closed around the turn of the twenty-first century. These three landfill-park redevelopments are positive projects, but there are more complexities involved than one would find discussed in booster rhetoric such as government press releases, local newspaper descriptions, and even museum exhibitions. The construction of Freshkills Park, North Maple Regional Park, and Ariel Sharon Park does little to address the ongoing waste-disposal policy concerns of New York, Toronto, and Tel Aviv; therefore, the redevelopments have more significance as “symbols” of a poor past policy being replaced by a “progressive” policy for a better future than as actual waste-disposal policies. Artists and landscape architects have created works based on the theme of parkland as a fresh start for these landfills, in gallery and museum exhibitions such as Hiriya in the Museum at the Tel Aviv Museum of Art in 2000 and artwork created by acclaimed environmental artist Mierle Laderman Ukeles for Fresh Kills.

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Costa, Andreia Paulina. "Downtown scene: arte e política no espaço urbano". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-10102016-094406/.

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Os modos, a um só tempo estéticos e políticos, pelos quais a arte se apropria do espaço urbano, adquirem na contemporaneidade enorme relevância não somente por permitir o questionamento do fazer artístico e de sua relação com o sistema das artes, mas também por ser a inscrição estética geradora de pensamento sobre a cidade, contribuindo para a sua produção. O confronto entre a criatividade e a transgressão inerente ao trabalho artístico e os limites e constrangimentos impostos pelas outras esferas, neste caso, pela dinâmica da própria cidade, torna-se, desta forma, ingrediente fundamental para o melhor entendimento deste inter-relacionamento. A presente pesquisa toma como objeto um dos momentos onde estas duas esferas foram articuladas de maneira bastante sugestiva e cujo conjunto de questões para a arte e para o pensamento urbano aí levantado ainda possui, cremos, grande relevância para a atualidade: a Downtown Scene - um movimento cultural situado numa região específica da cidade de Nova Iorque, entre meados dos anos 1970 e 1980.
The modes in the same time aesthetic and political, by which art appropriates urban space, acquire enormous importance in contemporary society not only by allow the questioning of the artistic work and its relation to the system of the arts, but also because the generative aesthetic description of thinking about the city, contributing for its production. The confrontation between creativity and the inherent violation of the artwork and the limits and constraints imposed by other spheres, in this case, the dynamics of the city, it is thus essential ingredient to better understand this interrelatedness. This research has the object one of the moments where these two spheres were articulated in a very suggestive manner and whose set of issues - for art and urban thinking - up there still has, we believe, very relevant for today: the Downtown Scene - a cultural movement located in a specific region of the city of New York from the mid-1970s and 1980s.

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Cappelle, Laura. "Nouveaux classiques. La création de ballets dans les compagnies de répertoire". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA157.

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Cette thèse a pour objet d’étude les processus d’élaboration de nouveaux ballets dans les compagnies de répertoire. À travers une enquête internationale, elle se propose d’interroger dans une perspective sociologique la situation de création spécifique qui est celle des chorégraphes de formation classique, insérés dans des institutions vouées principalement à l’entretien d’un répertoire d’œuvres existantes. Leurs trajectoires professionnelles et les différences genrées qu’elles mettent en évidence y sont élucidées, ainsi que la dimension fondamentalement collective d’un travail artistique qui implique la coopération d’autres acteurs, notamment les interprètes et les répétiteurs. À partir des formes d’incorporation et de circulation du mouvement, des logiques de création se dégagent, qui permettent d’interroger la nature de l’autorité créative du chorégraphe.Appuyé sur l’observation des répétitions de cinq créations au Ballet du Bolchoï, au Ballet de l’Opéra de Paris, à l’English National Ballet et au New York City Ballet, ce travail est complété par 29 entretiens et une base de données recensant toutes les créations des compagnies étudiées entre 2000 et 2016. Ces données croisées permettent de faire ressortir l’imaginaire commun qui sous-tend le travail des chorégraphes au XXIe siècle, les différences entre les quatre pays ainsi que les tensions propres à une forme de création identifiée comme classique
Creativity within classical art forms is often underrated, and little is known about what it takes to craft a new ballet. This thesis explores the process of making new works in ballet companies today from a sociological perspective. Drawing on original field work in four countries, it looks at the specificity of the creative endeavours of ballet-trained choreographers, who work in institutional contexts where creation is allowed only limited space in comparison to the existing repertoire. The career trajectories of classical choreographers are addressed along with gender biases in the field. An in-depth look at the ways in which movement is shared, shaped and incorporated in the studio reveals the collective nature of creative processes which closely involve dancers and ballet masters.In addition to sustained periods of observation related to five creations at the Bolshoi Ballet, English National Ballet, New York City Ballet and the Paris Opera Ballet, the data gathered includes 29 interviews and a database listing every ballet created by the four companies above between 2000 and 2016. These findings shed light on the classical imaginary – a network of images and models, I argue, underpinning the work of 21st-century ballet choreographers – and highlight the complexity of classical artistic identities today

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Kondo, Jennifer Mari. "The spatial and temporal diffusion of museums in New York City, 1910-2010". Thesis, 2013. https://doi.org/10.7916/D8W9589F.

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The aim of this dissertation is to understand and analyze the museum location decision, defined as where museum founders choose to establish or relocate their institution. The empirical case is the museum population of New York City from 1910-2010. In three substantive chapters, I explore this complex decision process from the organizational-level, the population-level, and the audience-level. In the first chapter, I argue that the museum location decision has evolved over the past century, and has experienced three major paradigm shifts. Out of each era, a new model of the museum location decision has taken hold, resulting in the current organizational landscape. I demonstrate how these eras emerged through historical, comparative case studies of two New York museums, the Museum of Modern Art and the Whitney Museum of American Art. In second chapter, I show that the location decisions illustrated through the histories of the Whitney Museum of American Art and the Museum of Modern Art are representative of New York's museum population overall. Using a dataset of all museums that have existed in New York City (and all of those museums' relocations), I chronicle the aggregated movements of the museum population between 1910 and 2010. I argue that the three eras of the museum location decision interacted with key demographic changes to create the unique distribution we observe today. The insights from these findings indicate that the spatial diffusion of museums in New York is systematically patterned in relation to demographic changes. The final substantive chapter is devoted to exploring the possibility that institutional location impacts audience composition. I argue that proximity to museums and other kinds of arts institutions is a significant, yet understudied determinant of attendance. The introduced concept of institutional exposure suggests that local access to arts institutions has cognitive, behavioral, and interactional consequences. Although directly testing the effect of institutional exposure is beyond the parameters of this dissertation, I show that there is a strong correlation between exposure and attendance. I illustrate the increasingly unequal access to arts between white and African American New Yorkers, which correlates highly with still-unexplained low attendance rates of African Americans. The observed evolution of the museum location decision explains when and how New York institutions adopted and then abandoned each institutionalized practice of museum location. In the Conclusion, I highlight several implications of this work, both of sociological theory and on current cultural policy.

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"The Role of Informal Transit in New York City: A Case Study of Commuter Vans in Eastern Queens". Master's thesis, 2017. http://hdl.handle.net/2286/R.I.46365.

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abstract: Informal public transport is commonplace in the developing world, but the service exists in the United States as well, and is understudied. Often called "dollar vans", New York's commuter vans serve approximately 120,000 people every day (King and Goldwyn, 2014). While this is a tiny fraction of the New York transit rider population, it is comparable to the total number of commuters who ride transit in smaller cities such as Minneapolis/St Paul and Phoenix. The first part of this study reports on the use of commuter vans in Eastern Queens based on a combination of surveys and a ridership tally, all conducted in summer 2016. It answers four research questions: How many people ride the vans? Who rides the commuter vans? Why do they ride commuter vans? Do commuter vans complement or compete against formal transit? Commuter van ridership in Eastern Queens was approximately 55,000 with a high percentage of female ridership. Time and cost savings were the main factors influencing commuter van ridership. Possession of a MetroCard was shown to negatively affect the frequency of commuter van ridership. The results show evidence of commuter vans playing both a competing and complementary role to MTA bus and subway transit. The second part of this study presents a SWOT analysis results of commuter vans, and the policy implications. It answers 2 research questions: What are the main strengths, weaknesses, opportunities and threats of commuter vans in Eastern Queens? and How do the current policies, rules and regulations affect commuter van operation? The SWOT analysis results show that the commuter van industry is resilient, performs a necessary service, and, with small adjustments that will help reduce operating costs and loss of profits have a chance of thriving in Eastern Queens and the rest of New York City. The study also discusses the mismatch between policy and practice offering recommendations for improvement to ensure that commuter vans continue to serve residents of New York City.
Dissertation/Thesis
Masters Thesis Urban and Environmental Planning 2017

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16

Gustin, Kelsey. "Picturing reform: Ashcan women and the visual culture of the progressive era in New York City". Thesis, 2020. https://hdl.handle.net/2144/41822.

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Between 1895 and 1925, social movements in New York City focused on improving the lives of the urban working classes. Progressive reformers maintained that the environment of the city, growing industry, and systems of exploitation threatened the personal sovereignty of the individual. I argue that the visual culture of the period marshaled documentary photography and styles of realism to comprehend such systemic problems through familiar, recognizable forms. By visualizing overcrowding and oppressive labor conditions on working-class bodies, these realities could be comprehended and reformed. Each chapter investigates a social movement—the playground movement, the consumer movement, and the birth control movement—in which artists and photographers mobilized pictorial evidence in targeted reform efforts. Period discourses from these movements infiltrated the aesthetic preoccupations of urban realist artists who embraced questions of individuality and artistic identity when depicting the working class. This dissertation takes as its secondary objective the rehabilitation of work by women artists. At the turn of the century, the gendering of realism as masculine by critics and male artists excluded women. Nevertheless, women artists pursued realist styles, not for their “masculine” flavor but for realism’s utility in illuminating humanistic concerns. Chapter one examines the playground movement and how immigrant children became symbolic figures for reformers and artists alike and a locus for anxieties about preserving individuality in the automated city. Whereas reformers presented in photographs the orderly playground as a cradle of independence, artists—William Glackens, George Bellows, Jerome Myers, and Abastenia St. Leger Eberle—imagined the freedom of the disorderly city and celebrated a child’s uninhibited exploration of its perilous topography. The second chapter analyzes Lewis Hine’s photographs of tenement homework for the National Consumers’ League and National Child Labor Committee. Such photographs educated middle-class female consumers on the unsavory origins of consumer products and their discounted prices. In contrast, Ethel Myers’s sculptures of unapologetic fashionable women resisted the era’s progressive critiques of female consumerism. The third chapter focuses on the birth control movement, which employed publicity photographs, film, and political cartoons by Lou Rogers to argue for contraceptive reform through representations of the working-class mother.
2022-12-16T00:00:00Z

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Tesis sobre el tema "Art Commission of the City of New York"

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