Pale Riders: How a Band of Radical Outsiders Briefly Stole the New York City Art World (for the Better)

2010 ◽  
Vol 33 (3) ◽  
pp. 407-409
Author(s):  
G. Sholette
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Art World

[no title]

1992 ◽  
Vol 17 (1) ◽  
pp. 30-31
Author(s):  
Halina Rusak
Keyword(s):  
New York ◽  
New York City ◽  
Contemporary Art ◽  
Visual Arts ◽  
York City ◽  
Art History ◽  
Art World ◽  
Full Spectrum ◽  
Insight Into

My involvement as an artist and as an art librarian allows me to see a full spectrum of art history from its inception by an artist to its assessment by an art historian. It enables me to better understand the needs of faculty and students in the field of visual arts, as well as to interface effectively with faculty and scholars in art history. My gallery membership at SOHO 20 in New York City provides me with insight into art trends in the making. It demonstrates well a woman’s place in the contemporary art world, and a role of a critic in promoting or establishing an artist. I feel that this knowledge makes me a better librarian.

Leveraging Youth: Overcoming Intergenerational Tensions in Creative Production

2019 ◽  
Vol 82 (4) ◽  
pp. 386-406
Author(s):  
Alexandre Frenette
Keyword(s):  
New York ◽  
New York City ◽  
Collective Action ◽  
York City ◽  
Knowledge Extraction ◽  
Art World ◽  
Recording Industry ◽  
Bottom Up ◽  
Sociological Literature ◽  
Agents Of Change

The sociological literature on creativity would suggest that collaboration between newcomers and more experienced members of an art world results in the fruitful combination of novelty and usefulness, though not without some conflict. Drawing on fieldwork and interviews with workers from the popular recording industry (rock/pop) in New York City, this article extends the literature on creativity as collective action by showing how three types of intergenerational tensions (aesthetic, technological, and career) are embedded in the ways newcomers and experienced workers see themselves and each other as agents of change and stasis. I propose a new variable—leveraging age—a mechanism intergenerational collaborators use to resolve or override these tensions to ultimately maximize creativity in group contexts. Leveraging age, as a form of knowledge extraction, occurs in creative bureaucratic organizations and describes how newcomers and experienced workers dualistically draw on each other’s respective strengths (novelty and tradition). I primarily examine the bottom-up part of this process—how experienced workers draw on the insights of newcomers—by analyzing five leveraging-youth practices, which vary by level of formality and intentionality, but mostly limit the interactional challenges between the two groups.

Jazz Jobbing

2017 ◽  
Author(s):  
Thomas H. Greenland
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Active Participation ◽  
Art World ◽  
Doing Business ◽  
Music Scene ◽  
Live Music ◽  
The Way

This chapter examines jazz jobbing professionals' attraction for and attention to jazz, their roles as creative improvisers and co-performers, and their relationships with other jazz scene participants in New York City. It first considers how jazz entrepreneurs meet the challenges of doing business, suggesting that their lifestyle is an outgrowth of their ongoing enthusiasm for and commitment to the music. It then looks at professionals as co-improvisers and goes on to explain how their attention is influenced by job-related contingencies, and how this affects the way they hear and understand music. It also discusses professionals' active participation in the live music scene as well as their involvement in collaborative expressions of art in improvised jazz communities. The chapter shows that jazz professionals, as workers in the jazz art world, provide crucial services and support for performers, fans, venue operators, and each other while also “performing” off-stage for their own constituencies of viewers and readers.

scholarly journals New York, the Mecca of the Art World. Initial Study on Polish Migrant Artists who Left for the United States, 1986–1995

2021 ◽  
Vol 47 (3 (181)) ◽  
pp. 101-118
Author(s):  
Anna Rudek-Śmiechowska
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
York City ◽  
Research Problem ◽  
The United States ◽  
Initial Study ◽  
Art World ◽  
Visual Artists ◽  
Late 20Th Century

The paper strives to characterize the circle of Polish visual artists who left for the United States in the late 20th century and settled in New York City, where they continued their careers. For the purposes of the paper, the subject matter has been focused on an excerpt from an ample research problem i.e. the analysis of the history of the Polish American Artists Society (PAAS,) operating in New York from 1986 through 1995. Their activities form the basis for the analysis and constitute a database to construct a more profound picture of the organization. Therefore, the years in which PAAS operated shall also constitute the paper’s framework. To foster simplicity, the term ‘artist’ and ‘artists’ shall be used to refer to visual artists born in Poland who came to New York City mainly in the 1970s, 1980s, and 1990s, permanently resided in the United States, and worked as visual artists, regardless of the technique they adopted, be it painters, sculptors, photographers, graphic artists, illustrators, performers, artistic fabric weavers, or video artists. The paper uses their micro-stories to illustrate the phenomenon behind the prolific community of Polish artists in New York City from 1986 through 1995. It is based on research on PAAS, which has become the basis for a monographic book about the Society.

Contemporary Art-World Bias in Regard to Display Holography: New York City

Leonardo ◽  
1989 ◽  
Vol 22 (3/4) ◽  
pp. 419 ◽  
Author(s):  
D. Tulla Lightfoot
Keyword(s):  
New York ◽  
New York City ◽  
Contemporary Art ◽  
York City ◽  
Art World

An Important Armenian MS. with Greek Miniatures

1942 ◽  
Vol 74 (3-4) ◽  
pp. 155-162
Author(s):  
H. Kurdian
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Christian Iconography

In 1941 while in New York City I was fortunate enough to purchase an Armenian MS. which I believe will be of interest to students of Eastern Christian iconography.

Hospitals: N.Y. Appellate Court Denies Move to Privatize Public Hospital

1999 ◽  
Vol 27 (2) ◽  
pp. 202-203
Author(s):  
Robert Chatham
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Public Health System ◽  
Municipal Hospital ◽  
The Public ◽  
Public Benefit ◽  
For Profit ◽  
Benefit Corporation ◽  
The City

The Court of Appeals of New York held, in Council of the City of New York u. Giuliani, slip op. 02634, 1999 WL 179257 (N.Y. Mar. 30, 1999), that New York City may not privatize a public city hospital without state statutory authorization. The court found invalid a sublease of a municipal hospital operated by a public benefit corporation to a private, for-profit entity. The court reasoned that the controlling statute prescribed the operation of a municipal hospital as a government function that must be fulfilled by the public benefit corporation as long as it exists, and nothing short of legislative action could put an end to the corporation's existence.In 1969, the New York State legislature enacted the Health and Hospitals Corporation Act (HHCA), establishing the New York City Health and Hospitals Corporation (HHC) as an attempt to improve the New York City public health system. Thirty years later, on a renewed perception that the public health system was once again lacking, the city administration approved a sublease of Coney Island Hospital from HHC to PHS New York, Inc. (PHS), a private, for-profit entity.

Cultural Competence Needed to Distinguish Disorder from Difference: Beyond Kumbaya

2015 ◽  
Vol 22 (2) ◽  
pp. 64-76 ◽  
Author(s):  
Catherine J. Crowley ◽  
Kristin Guest ◽  
Kenay Sudler
Keyword(s):  
New York ◽  
New York City ◽  
Public Schools ◽  
Cultural Competence ◽  
York City ◽  
Cultural Sensitivity ◽  
Graduate Program ◽  
Language Disorder ◽  
New York State ◽  
Deep Understanding

What does it mean to have true cultural competence as an speech-language pathologist (SLP)? In some areas of practice it may be enough to develop a perspective that values the expectations and identity of our clients and see them as partners in the therapeutic process. But when clinicians are asked to distinguish a language difference from a language disorder, cultural sensitivity is not enough. Rather, in these cases, cultural competence requires knowledge and skills in gathering data about a student's cultural and linguistic background and analyzing the student's language samples from that perspective. This article describes one American Speech-Language-Hearing Association (ASHA)-accredited graduate program in speech-language pathology and its approach to putting students on the path to becoming culturally competent SLPs, including challenges faced along the way. At Teachers College, Columbia University (TC) the program infuses knowledge of bilingualism and multiculturalism throughout the curriculum and offers bilingual students the opportunity to receive New York State certification as bilingual clinicians. Graduate students must demonstrate a deep understanding of the grammar of Standard American English and other varieties of English particularly those spoken in and around New York City. Two recent graduates of this graduate program contribute their perspectives on continuing to develop cultural competence while working with diverse students in New York City public schools.

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