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Artículos de revistas sobre el tema "Art Commission of the City of New York"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 28 de julio de 2025

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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 197

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2

Rabinowitz, Richard. "Eavesdropping at the Well." Public Historian 35, no. 3 (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

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3

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 (1995): 79–81. http://dx.doi.org/10.2307/991028.

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4

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 commiss

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5

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 work

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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 (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

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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 (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. Lastl

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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 (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 re

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9

Kincaid, Megan, and Summer Sloane-Britt. "H-E-L-L-O in Five Notes." Nka Journal of Contemporary African Art 2022, no. 51 (2022): 98–110. http://dx.doi.org/10.1215/10757163-10127209.

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This article is an expanded version of a catalogue essay written for the 2021 exhibition Cauleen Smith, H-E-L-L-O: To Do All At Once, Great Hall Exhibition, Institute of Fine Arts, New York University. The event was the first online exhibition of the series, due to COVID-19 restrictions, and featured the multimedia artist’s 2014 film H-E-L-L-O, commissioned for the multi-year curatorial project En Mas’: Carnival and Performance Art of the Caribbean. H-E-L-L-O. Set in post-Katrina New Orleans, Smith performs a deconstructed ceremonial procession through the city, activated by individual bass-cl

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10

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 ra

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11

Ho, Truc-Nhu. "Art Theft in New York City." Empirical Studies of the Arts 16, no. 1 (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

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12

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 (2008): 848–49. http://dx.doi.org/10.1086/ahr.113.3.848.

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13

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

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14

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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15

Vilchinskaya-Butenko, Marina E. "Street art and theatre: the pervasive art of JR." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2022): 161–74. http://dx.doi.org/10.35852/2588-0144-2022-3-161-174.

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In this article, street art is understood as an alternative comparing to institutionalized art in the city space. In this context the article discusses a number of art projects of the French street artist JR. His street art projects are analyzed: “Women Are Heroes” (Rio de Janeiro, 2008–2009), “Portrait of a Generation” (Paris, 2004–2006), as well as collaborative projects – the art series “New York City Ballet Art Series” (New York, 2014), the film ballet “Les Bosquets” (New York, 2015). It is noted that the specifics of the pervasive art of JR is determined by: (1) the synthesis of arts – an

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16

Katz, Kyle. "Book Review / Art and Design in 1960s New York." Interdisciplinary Journal of Signage and Wayfinding 5, no. 2 (2021): 63–66. http://dx.doi.org/10.15763/issn.2470-9670.2021.v5.i2.a95.

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In Art and Design in 1960s New York, Amanda Gluibizzi, explores the intersectionality of art, design, advertising, and signage during the period of great social unrest. The 1960s were a challenging time for New York. High poverty, widespread crime, and economic decline culminated in New York City defaulting on its credit in 1975. This social turmoil coincided with the flourishing of art and design in New York, as both fields responded to an urban environment in flux. It is within this context, a city in crisis, that Gluibizzi examines the ways in which artists began to incorporate elements of

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17

Zinman, Gregory. "Fugitive Video: Art in 1980s New York Nightclubs." JCMS: Journal of Cinema and Media Studies 62, no. 4 (2023): 104–29. http://dx.doi.org/10.1353/cj.2023.a904629.

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abstract: This article examines the untold history of video art in New York City nightclubs of the 1980s. Shaped by communal practice, fueled by narcotics, and backed by the mob, clubs provided a radically different milieu than the art world for the making, exhibition, and reception of video art.

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18

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 (2001): 157. http://dx.doi.org/10.2307/2674926.

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19

Yang, Ziye. "Immigrant Artists and How They Affected the World Art Center (NYC) in the 1900s." Communications in Humanities Research 3, no. 1 (2023): 870–74. http://dx.doi.org/10.54254/2753-7064/3/2022643.

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This research is based on the population migration that is located in New York in the 1900s, where, at that time, numerous immigrants from all around the world arrived and dwelled, seeking chances and a place to live. Such a social context promoted interpersonal exchange and cultural diffusion and made New York the world center of art at the time. The paper focuses on the immigrant artists in New York city in the 1900s and how they affected New York city in that time period, giving examples of artists. This research views art from the perspective of immigration and cultural fusion and the impa

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20

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

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21

Lapin Dardashti, Abigail. "Abdias do Nascimento in New York." MODOS: Revista de História da Arte 6, no. 1 (2022): 471–93. http://dx.doi.org/10.20396/modos.v6i1.8666899.

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This essay examines the life and work of the Afro-Brazilian activist, politician, and artist Abdias do Nascimento in 1968–70, when he lived in New York City. I argue that, in this new space, Nascimento employed painting as both a vehicle to address his migratory experience and a tool to continue his anti-racism activism. Engaging with African American art both from the 1930s Harlem Renaissance and the 1960s Black Power movement, Nascimento produced images representing transnational Black solidarity within a cultural space that operated beyond national confines. Ultimately, Nascimento’s work un

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22

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

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23

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

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24

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

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25

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 (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

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26

Zeidman, Steven. "To Elect or Not to Elect: A Case Study of Judicial Selection in New York City 1977-2002." University of Michigan Journal of Law Reform, no. 37.3 (2004): 791. https://doi.org/10.36646/mjlr.37.3.elect.

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This Article examines the process of judicial selection in New York State in light of the recent court decisions in White and Spargo, which have paved the way for increased campaign speech in judicial elections. Relying on empirical data to compare judicial elections and appointments in New York City between 1977 and 2002, the Article finds that elections produce a judiciary that is more beholden to interest groups than one generated through appointments. The consequence of this greater special interest involvement is an erosion of public trust and confidence in the judiciary. Moreover while e

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27

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 integ

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28

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

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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 discussin

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30

Indych, Anna. "Made for the Usa: Orozco´s Horrores de la Revolución." Anales del Instituto de Investigaciones Estéticas 23, no. 79 (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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31

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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32

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

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33

Bignami, Silvia. ""Negro eating watermelon": pitture murali, cronache e controversie a New York. 1933-1936." L'uomo nero. Materiali per una storia delle arti della modernità 19, no. 19-20 (2022): 45–53. http://dx.doi.org/10.54103/2974-6620/uon.n19-20_2022_pp45-53.

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Il saggio analizza la presenza del ritratto di un nero sorridente e con un cocomero in mano - una delle trecento figure del ciclo Law through the Ages dipinto tra 1934 e 1936 da Attilio Pusterla nella cupola della rotonda della County Court House di New York – che fu motivo di proteste della comunità nera locale (politici, avvocati, artisti, imprenditori e uomini di chiesa) che ne richiedeva la rimozione a Samuel Levy, presidente del distretto di Manhattan, e a Ernest Peixotto, pittore e membro della Municipal Art Commission di New York: "a Negro eating watermelon wasn't sufficiently dignified

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34

Iakovleva, Elena. "The City and the Artist: The Influence of Skyscrapers on Warhol's Lifestyle and Work." Logos et Praxis, no. 3 (November 2024): 26–38. https://doi.org/10.15688/lp.jvolsu.2024.3.3.

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The object of the study is New York and the influence of its architectural forms on the life and work of Andy Warhol. Biographical and analytical methods, semiotic and comparative analysis helped to identify the consonance of the New York urban landscape to Warhol's nature. A distinctive feature of New York was skyscrapers, the perception of which influenced not only the artist's vision of the city but also his algorithms of actions and manifestations. The city's skyscrapers symbolized power, innovation, greatness, economic growth, hard work, the pursuit of success, and, at the same time, the

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35

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 (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 theate

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Sung, Hyojin. "A Study on the New Direction of Public Art in Everyday Life: Focusing on Antony Gormley’s Public Artwork, Event Horizon,." Korean Society of Culture and Convergence 45, no. 10 (2023): 419–30. http://dx.doi.org/10.33645/cnc.2023.10.45.10.419.

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The purpose of this paper is to explore a new direction for public art through Antony Gormley's “Event Horizon”, a public art work introduced into urban life. Therefore, Chapter 2 deals with how Antony Gormley's representative public art works harmonized with the local community. Chapter 3 sheds light on the fact that “Event Horizon” expanded the gallery into an urban space and established itself as a public art encompassing the cultural topography of the city. In Chapter 4, the meaning and implications of public art were identified through the “Event Horizon” that led to New York. Through thi

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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

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38

Frame, Allen. "A Pietà for the 80s." Public 33, no. 65 (2022): 65–73. http://dx.doi.org/10.1386/public_00092_1.

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Fleming, Bridget. "Signals: How Video Transformed the World, curated by Stuart Comer and Michelle Kuo, Museum of Modern Art, New York City, 5 March–8 July 2023." Moving Image Review & Art Journal (MIRAJ), The 13, no. 1 (2024): 126–32. https://doi.org/10.1386/miraj_00134_5.

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40

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 (2017): 120–22. http://dx.doi.org/10.1080/01937774.2017.1337842.

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Sun, Dong. "Report on the First “In Art We Trust” Chinese Opera in New York Forum, New York City, USA, 2016." CHINOPERL: Journal of Chinese Oral and Performing Literature 36, no. 2 (2017): 120–22. http://dx.doi.org/10.1353/cop.2017.0010.

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42

Sulaiman, Nursuliana. "Installation Art in Public Spaces as Socio-Spatial Framing of Place: Case Study Loominous River Installation Art (2022)." International Journal of Creative Multimedia 4, no. 1 (2023): 22–44. http://dx.doi.org/10.33093/ijcm.2023.4.1.2.

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As a means to revitalise sluggish cities, public and private investment agencies have taken a keen interest in public installation art. As place-making initiatives endeavour to attract valuable trained human talent to their cities, local governments and city councils have deemed art in public spaces indispensable. Installation art in public spaces is crucial for revitalising run-down areas of a city. By placing the individual's perception at the centre of the aesthetic experience, installation art has the potential to help people perceive the city in a different way. Through novel corporeal ex

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Factor, Stephanie H., Sandro Galea, Lucia Garcia de Duenas Geli, et al. "Development of a “Survival” Guide for Substance Users in Harlem, New York City." Health Education & Behavior 29, no. 3 (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 incl

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

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

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Carrascal, Pérez María Fernanda. "Art and Urban Regeneration in New York City: Doris C. Freedman's Public Project." VLC Arquitectura 8, no. 1 (2021): 97–118. https://doi.org/10.4995/vlc.2021.12709.

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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 (1995): 1534. http://dx.doi.org/10.2307/2081648.

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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 (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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Emblidge, David. "Scribner’s Bookstore." Logos 31, no. 4 (2021): 39–43. http://dx.doi.org/10.1163/18784712-03104003.

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Abstract In 1989, a literary landmark in New York City closed. Scribner’s Bookstore, 597 Fifth Avenue, stood at the epicentre of Manhattan’s retail district. The Scribner’s publishing company was then 153 years old. In the 1920s, driven by genius editor Max Perkins, Scribner’s published Fitzgerald, Hemingway, and Wolfe. Scribner’s Magazine was The New Yorker of its day. The bookshop and publisher occupied a 10-storey Beaux-Arts building, designed by Ernest Flagg, which eventually won protection from the New York City Landmarks Preservation Commission. Medallions honoured printers Benjamin Fran

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