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

[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.

Taxidermy as a Cultural Object: Notes on Preservation, Death and Art

2020 ◽  
pp. 59-65
Author(s):  
Montse Morcate
Keyword(s):  
New York ◽  
New York City ◽  
Contemporary Art ◽  
York City ◽  
Academic Research ◽  
Central Element ◽  
Cultural Object ◽  
The Aesthetic ◽  
New Generation

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 style or contemporary art based on taxidermy practises, in order to address questions such as: Is ethical taxidermy possible? Is commemorative taxidermy of a beloved pet acceptable? Why does taxidermy appeal or disgust? Is taxidermy controversial just because it questions the limits of life, death and decay? What is the contribution of the new generation of taxidermists? Keywords: art, death, New York City, preservation, taxidermy

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.

Performing aesthetic confidence: how contemporary art collectors maintain status

2019 ◽  
Vol 18 (1) ◽  
pp. 215-233 ◽  
Author(s):  
Hannah Wohl
Keyword(s):  
New York ◽  
New York City ◽  
Contemporary Art ◽  
York City ◽  
Privileged Access ◽  
Art Collectors ◽  
Good Taste ◽  
Cultural Markets ◽  
Lower Status ◽  
Status Signals

Abstract In cultural markets, where value is highly uncertain, intermediaries and consumers select products by using status signals, including public metrics and informal recommendations. However, certain intermediaries and consumers risk their statuses and access to informal recommendations if they appear to rely on these status signals. Drawing upon the case of contemporary art collectors in New York City, I reveal that collectors work to maintain their statuses while utilizing status signals through performances of ‘aesthetic confidence’. In these performances, they claim a willingness to choose artworks based on their independent and good taste. Collectors flexibly cite multiple and sometimes opposing qualities of their purchases and interactions as evidence of aesthetic confidence. Higher status collectors reinforce status hierarchies through their privileged access to resources for displaying aesthetic confidence and their policing of lower status collectors’ claims. Performances of aesthetic confidence are both influenced by status and necessary for displaying status.

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 The Institute for Southern Contemporary Art (ISCA)

1970 ◽  
Vol 2 (2) ◽  
Author(s):  
João Enxuto ◽  
Erica Love
Keyword(s):  
New York ◽  
New York City ◽  
Mexico City ◽  
Contemporary Art ◽  
York City ◽  
South Florida ◽  
Art Magazine ◽  
Film Archives

João Enxuto and Erica Love are artists and writers living in New York City. Their writing has appeared in Art in America, Mousse Contemporary Art Magazine, Wired, and X-TRA Contemporary Art Quarterly. They have given talks and exhibited work at the Centre Pompidou, Whitney Museum of Art, the New Museum, Anthology Film Archives, Walker Art Center, Yossi Milo Gallery, Carriage Trade, Louisiana Museum in Denmark, ArtCenter/South Florida, and the Tamayo Museum in Mexico City.

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.

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.

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