A Conversation between Jesse Stewart and Michael Snow.

2007 ◽  
Vol 3 (1) ◽  
Author(s):  
Jesse Stewart
Keyword(s):  
New York ◽  
Film Maker ◽  
Improvised Music ◽  
Visual Artist ◽  
Jazz Band ◽  
The 1960S

Improvising percussionist and visual artist Jesse Stewart converses with renowned artist, film maker, and improviser Michael Snow. Snow's relationship to improvisation began with his early roots in swing, his presence in the New York loft scene of the 1960s, and his involvement with two influential improvisation ensembles in Toronto: the Artists' Jazz Band, and CCMC. Stewart asks Snow about the role of improvised music in his broader arts practice.

“It was a jet. It was a jet. It was a jet.”

2021 ◽  
pp. 3-21
Author(s):  
Jessica DuLong
Keyword(s):  
New York ◽  
The United States ◽  
Staten Island ◽  
Creative Problem ◽  
1960S And 1970S ◽  
The 1960S ◽  
Maritime Infrastructure ◽  
Maritime Community ◽  
The U.S

This chapter provides a background of the waterborne evacuation that happened after the events of 9/11. New York harbor was, and is, a busy place — the third largest container port in the United States and a vital connection between New York City and the rest of the world. Manhattan is an island, and the realities of island real estate are what ushered the port's industries off Manhattan's shores and over to Brooklyn, Staten Island, and New Jersey in the 1960s and 1970s. By late 2001, maritime infrastructure had been replaced with ornamental fencing. On September 11, 2001, as the cascade of catastrophe unfolded, people found their fates altered by the absence of that infrastructure and discovered themselves dependent upon the creative problem solving of New York harbor's maritime community — waterfront workers who had been thrust beyond their usual occupations and into the role of first responders. Long before the U.S. Coast Guard's call for “all available boats” crackled out over marine radios, scores of ferries, tugs, dinner boats, sailing yachts, and other vessels had begun converging along Manhattan's shores. Hundreds of mariners shared their skills and equipment to conduct a massive, unplanned rescue. Within hours, nearly half a million people had been delivered from Manhattan by boat.

Sites of Subjectivity: Robert Morris, Minimalism, and Dance

2004 ◽  
Vol 36 (1) ◽  
pp. 113-130
Author(s):  
Virginia Spivey
Keyword(s):  
New York ◽  
Three Dimensional ◽  
Active Role ◽  
Object A ◽  
Avant Garde ◽  
Robert Morris ◽  
Dance Theater ◽  
Art Object ◽  
Visual Artist ◽  
The 1960S

Robert Morris's danceSite(Fig. 1) premiered in February 1964 at the Surplus Dance Theater in New York City. Choreographed and performed by Morris,Sitealso featured the visual artist Carolee Schneemann and several sheets of four-by-eight foot plywood. Although it may seem odd to include these wooden panels among the performers, they assumed an active role in the choreography. Ironically, it was Schneemann who provided the background scenery. Nude and covered in white paint, she sat motionless throughout the performance, recreating the pose and persona of Edouard Manet's famous 1863 painting ofOlympiawhile Morris manipulated the large wooden boards. In a graceful duet with inanimate partners, Morris spun the rectangular planes from a point on the ground, maneuvered them around his body, lifted them over his head, caressed their even form as he slowly moved his hand across one edge, and balanced the panels on his back as he moved across the stage. Not only did Morris never dance with Schneemann, he did not even seem to notice her.In a career spanning over forty years, Robert Morris has produced theoretical articles, paintings, videos, installations, and environmental art in addition to his work in dance; nevertheless, the American artist remains best known for his Minimalist sculptures of the 1960s (Figs. 2 and 3). Like the works of his colleagues Donald Judd and Carl Andre, Morris's spare, geometrical objects of that period were three-dimensional and called attention to issues of site and artistic context. They also resisted past artistic conventions based in subjective methods of composition, expressivity, and metaphor. Morris, however, distinguished himself among this group of visual artists by the emphasis he placed on the viewer's bodily relationship with the art object, a distinction that derives directly from his unique involvement in avant-garde dance.

The Studio

2018 ◽  
Author(s):  
Adam Patrick Bell
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Hip Hop ◽  
Contemporary Music ◽  
Musical Instrument ◽  
Collaborative Process ◽  
Music Production ◽  
Beach Boys ◽  
The 1960S

Chapter 2 discusses the role of the producer, the concept of instrumentality, and how the recording studio has come to be conceptualized as an instrument since the mid-twentieth century. As exemplified by the practices of producers in the 1950s (Jerry Leiber and Mike Stoller) and the 1960s (Phil Spector, the Beach Boys’ Brian Wilson, and Motown’s Berry Gordy), early iterations of the studio as musical instrument entailed a collaborative process of working with musicians and studio personnel. In the early 1970s playing the studio as musical instrument took on a new meaning in the hands of Jamaican dub producers like King Tubby, who forewent working with musicians in the studio and instead reimagined and remixed prerecorded tracks by playing the equipment of the studio. This approach was furthered by hip-hop producers in New York, notably the Bomb Squad, who incorporated the sampler into their studio-playing practices. Finally, a glimpse into the practices of Max Martin demonstrates that in contemporary music production DAWs are the de facto instrument.

Stella Chess and the History of American Child Psychiatry

2020 ◽  
Author(s):  
Laura D Hirshbein
Keyword(s):  
New York ◽  
Child Psychiatry ◽  
Working Women ◽  
Early Years ◽  
American Child ◽  
History Of ◽  
1960S And 1970S ◽  
Children’S Behaviour ◽  
The 1960S

Summary Throughout its history, American child psychiatry has been a hospitable specialty for women physicians. In its early years when practitioners were often steeped in psychoanalysis and influenced by theorists such as Anna Freud, many leaders within the field were women. By the 1960s and 1970s, child psychiatry was moving away from analysis and towards more research-based practice. The biography of an important leader in this area, New York University’s Stella Chess, illustrates the mechanism of that transformation and the role of ideas about mothers and working women. Chess, along with her husband and collaborator Alexander Thomas, gathered data to disprove the popular notion that mothers were to blame for children’s behaviour problems and demonstrated instead that issues resulted from a poor fit between a child’s temperament and his/her environment. Chess not only demanded that facts support theory, but also used her own parenting experiences and common sense to guide her work.

Focus on Trina Robbins

2018 ◽  
Vol 4 (3) ◽  
pp. 119-134
Author(s):  
Trina Robbins ◽  
Jennifer K. Stuller
Keyword(s):  
New York ◽  
Creative Work ◽  
East Village ◽  
The Creation ◽  
Role Of Women ◽  
The 1960S

This interview with Trina Robbins took place during a panel at the 2016 Comics Arts Conference conducted by Jennifer K. Stuller. Robbins, known both for her work as a groundbreaking cartoonist and for her histories of female comics creators, discusses her early days in New York during the 1960s, owning a clothing boutique and writing comics for the East Village Other; the creation of It Ain't Me, Babe, the first all-female comic compilation, and Wimmen's Comix, the long-running feminist underground comix series; and her work both as a “herstorian,” uncovering the overlooked role of women in comics production, and as a mentor to female creators. Fashion provides a through-line in Robbins's histories, underpinning her creative work and her feminist critiques.

scholarly journals “I live a hope despite my knowing better”: James Baldwin in Conversation with Fritz J. Raddatz (1978)

2018 ◽  
Vol 4 (1) ◽  
pp. 144-153
Author(s):  
Gianna Zocco
Keyword(s):  
New York ◽  
Civil Rights ◽  
English Language ◽  
The United States ◽  
James Baldwin ◽  
English Language Publication ◽  
1960S And 1970S ◽  
The 1960S ◽  
Literary Archive

This is the first English-language publication of an interview with James Baldwin conducted by the German writer, editor, and journalist Fritz J. Raddatz in 1978 at Baldwin’s house in St. Paul-de-Vence. In the same year, it was published in German in the weekly newspaper Die Zeit, as well as in a book of Raddatz’s conversations with international writers, and—in Italian translation—in the newspaper La Repubblica. The interview covers various topics characteristic of Baldwin’s interests at the time—among them his thoughts about Jimmy Carter’s presidency, his reasons for planning to return to the United States, his disillusionment after the series of murders of black civil rights activists in the 1960s and 1970s, and the role of love and sexuality in his literary writings. A special emphasis lies on the discussion of possible parallels between Nazi Germany and U.S. racism, with Baldwin most prominently likening the whole city of New York to a concentration camp. Due to copyright reasons, this reprint is based on an English translation of the edited version published in German. A one-hour tape recording of the original English conversation between Raddatz and Baldwin is accessible at the German literary archive in Marbach.

Short Films from a Small Nation

2018 ◽  
Author(s):  
C. Claire Thomson
Keyword(s):  
Public Information ◽  
Industrial Process ◽  
Actor Network Theory ◽  
Documentary Films ◽  
Wide Range ◽  
Short Films ◽  
Post War ◽  
The 1960S ◽  
Art And Architecture

The first book-length study in English of a national corpus of state-sponsored informational film, this book traces how Danish shorts on topics including social welfare, industry, art and architecture were commissioned, funded, produced and reviewed from the inter-war period to the 1960s. For three decades, state-sponsored short filmmaking educated Danish citizens, promoted Denmark to the world, and shaped the careers of renowned directors like Carl Th. Dreyer. Examining the life cycle of a representative selection of films, and discussing their preservation and mediation in the digital age, this book presents a detailed case study of how informational cinema is shaped by, and indeed shapes, its cultural, political and technological contexts.The book combines close textual analysis of a broad range of films with detailed accounts of their commissioning, production, distribution and reception in Denmark and abroad, drawing on Actor-Network Theory to emphasise the role of a wide range of entities in these processes. It considers a broad range of genres and sub-genres, including industrial process films, public information films, art films, the city symphony, the essay film, and many more. It also maps international networks of informational and documentary films in the post-war period, and explores the role of informational film in Danish cultural and political history.

38. Max Brodel (1870-1941): His artistic influence on surgical learning at John Hopkins Medical School

2007 ◽  
Vol 30 (4) ◽  
pp. 47
Author(s):  
P. Pace-Asciak ◽  
T. Gelfand
Keyword(s):  
New York ◽  
Neck Surgery ◽  
The United States ◽  
Spoken Word ◽  
Medical Illustration ◽  
3 Dimensional ◽  
Teaching Anatomy ◽  
Computer Based ◽  
Pathological Disease

Medical students depend on illustration to learn anatomical facts and details that may be too subtle for the written or spoken word. For surgical disciplines, learners rely on tools such as language, 2-dimensional illustrations, and 3-dimensional models to pass on important concepts. Although a photograph can convey factual information, illustration can highlight and educate the pertinent details for understanding surgical procedures, neurovascular structures, and the pathological disease processes. In order to understand the current role of medical illustration in education, one needs to look to the past to see how art has helped solve communication dilemmas when learning medicine. This paper focuses on Max Brodel (1870-1941), a German-trained artist who eventually immigrated to the United States to pursue his career as a medical illustrator. Shortly after his arrival in Baltimore, Brodel made significant contributions to medical illustration in Gynecology at John Hopkins University, and eventually in other fields of medicine such as Urology and Otolaryngology. Brodel is recognized as one of America’s most distinguished medical illustrators for creating innovative artistic techniques and founding the profession of medical illustration. Today, animated computer based art is synergistically used with medical illustration to educate students about anatomy. Some of the changes that have occurred with the advancement of computer technology will be highlighted and compared to a century ago, when illustrations were used for teaching anatomy due to the scarcity of cadavers. Schultheiss D, Udo J. Max Brodel (1870-1941) and Howard A.Kelly (1858-1943) – Urogynecology and the birth of modern medical illustration. European Journal of Obstetrics & gynecology and Reproductive Biology 1999; 86:113-115. Crosby C. Max Brodel: the man who put art into medicine. New York: Springer-Verlag, 1991. Papel ID. Max Brodel’s contributions to otolaryngology – Head and Neck surgery. The American Journal of Otology 1986; 7(6):460-469.

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