Philanthropic Partnerships in the Just City: Parks and Schools

2019 ◽  
Vol 56 (6) ◽  
pp. 1811-1847
Author(s):  
Elizabeth Nisbet ◽  
Susanna Schaller
Keyword(s):  
New York ◽  
New York City ◽  
Nonprofit Organizations ◽  
Public Investment ◽  
Democratic Governance ◽  
Private Funding ◽  
State Legislation ◽  
Potential Harm ◽  
Executive Action

The role of private funding and management in U.S. urban public services has expanded through the auspices of private nonprofit organizations in formal relationships with government and aided by large gifts from wealthy donors with visions for their cities, leading scholars to raise concerns about potential harm to democratic governance and displacement of public investment. Where do these private efforts fit into current policy initiatives to improve equity in schools and parks? Employing Susan Fainstein’s Just City framework, this article analyzes cases in which policy actors sought constraints on private dollars in an attempt to institutionalize equity into public private partnership (PPP) regimes. The Portland, Oregon, school board required that school foundations share funds with a districtwide foundation for reallocation. In New York City, unsuccessful state legislation proposed reallocating private funds but executive action redirected public city funds, and largely nonmonetary private resources. These cases can inform policymakers striving for just cities.

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

scholarly journals John Lindsay, the Association for a Better New York, and the Privatization of New York City, 1969-1973

2018 ◽  
Vol 45 (3) ◽  
pp. 557-577
Author(s):  
Joe Merton
Keyword(s):  
New York ◽  
New York City ◽  
Law Enforcement ◽  
Urban Space ◽  
Urban Policy ◽  
Urban Governance ◽  
Labor Relations ◽  
Street Crime ◽  
Urban Problems

Focusing on the collaboration between Mayor John Lindsay and business advocacy group the Association for a Better New York (ABNY), this article illustrates the utility of public and elite anxieties over street crime in legitimizing new, privatized models of urban governance during the early 1970s. ABNY’s privatized crime-fighting initiatives signified a new direction in city law enforcement strategies, a new “common sense” regarding the efficacy and authority of private or voluntarist solutions to urban problems, and proved of lasting significance for labor relations, the regulation of urban space, and the role of the private sector in urban policy. It concludes that, despite their limitations, the visibility of ABNY’s initiatives, their ability to construct a pervasive sense of crisis, and their apparent demonstration of public and elite consent played a significant role in the transformation of New York into the “privatized” or “neoliberal” city of today.

Chicago's Auditorium Building: Opera or Anarchism

1998 ◽  
Vol 57 (2) ◽  
pp. 128-159 ◽  
Author(s):  
Joseph M. Siry
Keyword(s):  
New York ◽  
New York City ◽  
Social History ◽  
Chicago School ◽  
Paris Opera ◽  
Metropolitan Opera ◽  
History Of ◽  
Opera House ◽  
Opera Houses

Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multiple tiers of boxes for privileged patrons. This tradition was represented by the Metropolitan Opera House in New York City (1881-1883). Turning away from works like the Paris Opéra, Peck and his architects perhaps sought to emulate ideas of other European theaters of the period, such as Bayreuth's Festspielhaus (1872-1876). Sullivan's interior had an ornamental and iconographic program that was innovative relative to traditional opera houses. His design of the building's exterior was in a Romanesque style that recalled ancient Roman monuments. It is here compared with other Chicago buildings of its era that represented high capital's reaction to workers' culture, such as Burnham and Root's First Regiment Armory (1889-1891), Peck's own house (1887), and the Chicago Athenaeum (1890-1891). The Auditorium's story invites a view of the Chicago School that emphasizes the role of patrons' ideological agenda rather than modern structural expression.

Christopher Wheeldon

2021 ◽  
pp. 735-753
Author(s):  
Rachel Straus
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Broadway Musical ◽  
The Press ◽  
Michael Jackson

In 2000, English-born Christopher Wheeldon became the first artist-in-residence at New York City Ballet (NYCB). The press compared his choreography to George Balanchine’s. This chapter discusses Wheeldon’s critically acclaimed NYCB ballet Polyphonia (2001) in relation to the “thick narrative” of the company’s history. It argues that Wheeldon’s collaborations with NYCB dancers Wendy Whelan and Jock Soto, in Polyphonia and other works, produced a unique aesthetic, one that transcended Balanchine’s neoclassical legacy. The chapter ends by considering how Wheeldon’s controversial decision to direct the Broadway musical about Michael Jackson is not out of character, but emblematic of his propensity to embrace the role of an outsider, who works to understand the unfamiliar and who surpasses what is expected of him.

The Import of a Narrative : The Role of Aesthetics and Discursive Elements in Fabricating Change in the Centre of São Paulo

2021 ◽  
Author(s):  
Beatriz Kalichman ◽  
Beatriz Rufino
Keyword(s):  
New York ◽  
New York City ◽  
Real Estate ◽  
York City ◽  
Central Area ◽  
Sao Paulo ◽  
Urban Transformation ◽  
São Paulo ◽  
The Past

This chapter examines the use of aesthetic and discursive elements in the production of a narrative about República, a district in the central area of São Paulo (Brazil) that has been transformed through a real estate boom in the past ten years. We focus on newly built studio apartments, and on the efforts to differentiate them from the quitinetes, apartments with similar features built in the 1950s and 1960s that have been heavily stigmatized. We situate our analysis of this purposeful urban transformation within a context intertwined with urban marketing, publicity, and image making. Our research shows the strong presence of an industrial aesthetic in the area, which we understand as being a deliberate echo of the gentrification process that took place in SoHo in New York City in the 1970s.

Support at Any Distance? The Role of Location and Prejudice in Public Opposition to the “Ground Zero Mosque”

2013 ◽  
Vol 46 (04) ◽  
pp. 753-759
Author(s):  
Brian F. Schaffner
Keyword(s):  
New York ◽  
New York City ◽  
Public Opinion ◽  
York City ◽  
Survey Experiment ◽  
Ground Zero ◽  
Multicultural Center ◽  
Public Opposition

AbstractIn 2010, a debate erupted about plans to construct a mosque (as part of a larger multicultural center) approximately two blocks from Ground Zero in New York City. The main justification given by those who opposed the mosque was that building it so close to Ground Zero would appear to be insensitive. Public opinion appeared to support this notion, as large majorities of Americans registered their opposition to the mosque in surveys conducted at the time. In this article, I examine whether distance was, in fact, an important factor influencing citizens' opposition to the mosque. Using a survey experiment, I asked for opinions on the building of a mosque while randomizing how far the mosque was located from Ground Zero. Results from the experiment indicate that opposition to the mosque was unaffected by how far the mosque would be located from Ground Zero, but strongly influenced by factors such as partisanship, ideology, and tolerance for out groups.

Corporate Role of New York City in the Metropolitan Hierarchy

1990 ◽  
Vol 80 (4) ◽  
pp. 370 ◽  
Author(s):  
James O. Wheeler
Keyword(s):  
New York ◽  
New York City ◽  
York City
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