Bahá’u’lláh’s Influence on the New York School of Painting: The “Unapprehended Inspiration” of Newman and Rothko

1991 ◽  
Vol 4 (1) ◽  
pp. 67-89
Author(s):  
Ross Woodman
Keyword(s):  
New York ◽  
Divine Revelation ◽  
New York School ◽  
The World ◽  
Mark Rothko ◽  
The Veil ◽  
The City

As members of the New York School of painters, Barnett Newman and Mark Rothko announced not only the passing away of an entire creation but also the bringing forth of a new one. Though unaware that they were living and painting in the City of the Covenant whose light would one day rise from darkness and decay to envelop the world even as their painting of light consciously arose from the void of a blank canvas, Newman’s and Rothko’s work may nevertheless be best understood as a powerful first evidence of what Bahá’u’lláh called “the rising Orb of Divine Revelation, from behind the veil of concealment.” Their work may yet find its true spiritual location in the spiritual city founded by ‘Abdu’l-Bahá on his visit to New York in 1912.

The Starfish and the Strange Attractor: Myth, Science, and Theatre as Laboratory in Maria Irene Fornes' ‘Mud’

1997 ◽  
Vol 13 (51) ◽  
pp. 214-220 ◽  
Author(s):  
Cara Gargano
Keyword(s):  
New York ◽  
New York School ◽  
Modern Drama ◽  
New Science ◽  
Theatrical Space ◽  
The World ◽  
Far From Equilibrium ◽  
Triangular Relationship ◽  
The City ◽  
Maria Irene Fornes

Cara Gargano sees the plays of Maria Irene Fornes as reflecting ‘nucleate disorder in a system far from equilibrium’ – a theatrical response to the overturning by the new science of the Aristotelian as of the Newtonian paradigm. Comparing the wildly divergent critical interpretations of Fornes' Mud since its premiere in 1983, she suggests that in this overtly simple dramatization of a far from simple triangular relationship, Fornes ‘uses the theatrical space as her laboratory – a place to explore the interface between our society's construction of the world and our evolving artistic and scientific vision’. Cara Gargano is a writer, teacher, and choreographer who took her doctorate at the City University of New York, was on the faculty at the New York School of Ballet, and is presently Chair of the Department of Theatre, Film, and Dance at the C.W. Post Campus of Long Island University. She has written extensively on the Quebecoise playwright Marie Laberge, and her articles on performance, quantum mechanics, and chaos theory have been published in Modern Drama, L'Annuaire Théâtrale, and Dance and Research.

Bringing the Real World of Science to Children: A Partnership of the American Museum of Natural History and the City University of New York

2008 ◽  
Vol 12 (1) ◽  
Author(s):  
Anthony G Picciano ◽  
Robert V. Steiner
Keyword(s):  
United States ◽  
New York ◽  
Natural History ◽  
Local Governments ◽  
Compulsory Education ◽  
Development Program ◽  
The United States ◽  
American Museum ◽  
The World ◽  
The City

Every child has a right to an education. In the United States, the issue is not necessarily about access to a school but access to a quality education. With strict compulsory education laws, more than 50 million students enrolled in primary and secondary schools, and billions of dollars spent annually on public and private education, American children surely have access to buildings and classrooms. However, because of a complex and competitive system of shared policymaking among national, state, and local governments, not all schools are created equal nor are equal education opportunities available for the poor, minorities, and underprivileged. One manifestation of this inequity is the lack of qualified teachers in many urban and rural schools to teach certain subjects such as science, mathematics, and technology. The purpose of this article is to describe a partnership model between two major institutions (The American Museum of Natural History and The City University of New York) and the program designed to improve the way teachers are trained and children are taught and introduced to the world of science. These two institutions have partnered on various projects over the years to expand educational opportunity especially in the teaching of science. One of the more successful projects is Seminars on Science (SoS), an online teacher education and professional development program, that connects teachers across the United States and around the world to cutting-edge research and provides them with powerful classroom resources. This article provides the institutional perspectives, the challenges and the strategies that fostered this partnership.

Introduction

2018 ◽  
pp. 1-14
Author(s):  
Catherine Keyser
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
The World ◽  
First Time ◽  
The City

In The Great Gatsby (1925), Nick Carraway gazes upon the New York City skyline: Over the great bridge, with the sunlight through the girders making a constant flicker upon the moving cars, with the city rising up across the river in white heaps and sugar lumps all built with a wish out of non-olfactory money. The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and beauty of the world....

Bishop, Isabel (1902–1988)

2018 ◽  
Author(s):  
Regina Palm
Keyword(s):  
New York ◽  
Fine Arts ◽  
Working Women ◽  
Young Female ◽  
Urban Life ◽  
New York School ◽  
Art Students ◽  
Applied Design ◽  
Union Square ◽  
The City

Born in Cincinnati, Isabel Bishop spent her childhood in Detroit, where she attended life-drawing classes at the John P. Wicker School of Fine Arts. In 1918, Bishop enrolled in the New York School of Applied Design for Women to study illustration, but transferred to the Art Students League in 1920. Bishop is associated with the realist painters of the Fourteenth Street School. She is best known for her depictions of young female office workers of the 1930s and 1940s, whom she observed as they navigated their way through Union Square (the location of Bishop’s first studio). Bishop, like other Fourteenth Street artists, sought to capture contemporary urban life. Her depictions of working women are notable for their time, as she did not glamorize them or transform them into sexualized stereotypes, but rather strove to portray these young, modern women as they traversed the city in daily life. Bishop was granted her first one-woman show in 1933 at the Midtown Galleries and in 1941 was elected to the National Academy of Design.

The VC Office and the Concentration of Capital

2020 ◽  
pp. 104-139
Author(s):  
Sharon Zukin
Keyword(s):  
New York ◽  
World War Ii ◽  
Venture Capitalists ◽  
Wall Street ◽  
Investment Funds ◽  
Bases Of Power ◽  
The World ◽  
History Of ◽  
Business Establishment ◽  
The City

Profiling New York–based venture capitalists and VC firms that have been established in the city since the early 2000s, the chapter examines their risky but privileged perch between Wall Street and Silicon Valley. Interviews with VCs are juxtaposed with the post–World War II history of venture capital as a distinctive form of investment and management. The VCs’ equally distinctive commitment to New York is then contrasted with the increasing geographical dispersal of their investment funds to other regions of the world. Meanwhile, the integration of some corporate and VC members of the tech “community” into New York’s business establishment suggests the formation of a local tech-financial elite, updating C. Wright Mills’s critique of the institutional bases of power.

“A Season in Hell”

2017 ◽  
Vol 86 (4) ◽  
pp. 632-660 ◽  
Author(s):  
Anne Rees
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Daily Life ◽  
Modern Life ◽  
Early Twentieth Century ◽  
The World ◽  
Women Travelers ◽  
The City ◽  
Travel Accounts

Australian women travelers in early twentieth-century New York often recoiled from the frenetic pace of the city, which surpassed anything encountered in either Britain or Australia. This article employs their travel accounts to lend support to the growing recognition that modernity took different forms throughout the world and to contribute to the project of mapping those differences. I argue that “hustle” was a defining feature of the New York modern, comparatively little evident in Australia, and I propose that the southern continent had developed a model of modern life that privileged pleasure-seeking above productivity. At a deeper level, this line of thinking suggests that modernization should not be conflated with the relentless acceleration of daily life; it thus complicates the ingrained assumption that speed and modernity go hand-in-hand.

scholarly journals Doxiadis and the ideal dynapolis: The limitations of planned axial urban growth

2002 ◽  
Vol 69 (415-417) ◽  
pp. 316-330
Author(s):  
Ray Bromley
Keyword(s):  
New York ◽  
State University ◽  
Planning History ◽  
Urban And Regional Planning ◽  
Development Policies ◽  
The World ◽  
History Of ◽  
International Planning ◽  
The University ◽  
The City

The author is a Professor in the Department of Geography and Planning at the University at Albany, State University of New York, where he directs the Masters Program in Urban and Regional Planning. He is a member of the World Society for Ekistics (WSE), the American Institute of Certified Planners, the American Planning Association, the International Planning History Society, and many other professional and scholarly associations, and he has served as a consultant with the United Nations, UNICEF, USAID, and various projects funded by the World Bank and AID. His research and publications focus on: the history of ideas in planning and community development; metropolitan and regional development policies; the revitalization of old neighborhoods; disaster avoidance and relief; and, micro-enterprise development. The text that follows is a revised and extended version of a paper presented at the WSE Symposion "Defining Success of the City in the 21st Century," Berlin, 24-28 October, 2001.

scholarly journals Observation, speculation, spectacle: visual culture(s) at the observation deck, 1968-2020

2021 ◽  
Author(s):  
◽  
Philipp Röding
Keyword(s):  
New York ◽  
Urban Space ◽  
World Trade Center ◽  
Interdisciplinary Approach ◽  
Paradigm Shifts ◽  
Experience Economy ◽  
Economic Paradigm ◽  
The World ◽  
The 1960S ◽  
The City

The project investigates how economic paradigm shifts that occur at the beginning of the 1970s (primarily the abandonment of the gold standard and the endlessly increasing pool of capital awaiting investment that succeeded it) led to the emergence of a unique building type: the high-altitude observation deck. Part investment vehicle, part iteration of an ongoing fascination with the view from above, the project presents the observation deck as the point where three distinct paradigms intersect: observation, speculation and spectacle. Tracing the emergence of the observation deck through a series of case studies (Top of the World atop the World Trade Center (NYC), One World Observatory (NYC), The Tulip (London) the project enriches its interdisciplinary approach with archival research and fieldwork. Re-telling the complicated collaboration between architect Warren Platner and graphic designer Milton Glaser at the end of the 1960s, the project lays out how the observation deck is conceived at a time when the perceived “crisis” of New York results in a rapidly accelerating neoliberalization of urban space. An avatar of this emerging ideology the observation deck is heavily invested in making the city visually comprehensible. Incorporating a sort of neoliberalist geometry, the deck transforms the city into a product to be consumed instead of a reality to live in and thus paves the way for other ventures of what has been called the “experience economy.” Thus, it signals the ongoing shift away from an architecture that possesses any use value, towards one that, as Barthes put it with regards to Eiffel Tower, is centered only on viewing and being viewed. A speculative machine, the observation deck renders the city into a product.

“Hints That Are Revelations”

2021 ◽  
Vol 27 (2) ◽  
pp. 173-200
Author(s):  
Davy Knittle
Keyword(s):  
New York ◽  
Urban Space ◽  
New York School ◽  
Planning Strategy ◽  
Social Forms ◽  
The Social ◽  
The 1950S ◽  
The City ◽  
Us Cities ◽  
James Schuyler

This article reads the transformation of urban space in US cities during and since the urban renewal of the 1950s and 1960s in dialogue with queer and disability theories of access to the social and the built environment. Knittle focuses on obsolescence as an urban planning strategy used to justify the removal of buildings and people from the present, as he explores how queer and disability studies have negotiated and advocated for access to the present and the future while refusing assimilation to normative social forms. He reads across body and city scales to consider access as dynamic and to map how the ableist expectations projected onto disabled bodies in what Alison Kafer describes as a “curative imaginary” appear on the city scale as an “urban curative imaginary.” To explore resistances to obsolescence that refuse assimilation while demanding access, Knittle reads the “window poems” of queer New York School poet James Schuyler. In these poems, Schuyler documents small and large forms of urban transformation from his Manhattan apartment during the 1950s and 1960s. Schuyler’s poems, Knittle argues, model strategies for how to identify the obsolescence of normative space rather than the obsolescence of queer and disabled bodies. He uses the poems’ focus on the queer potential of how urban spaces change to argue for a queer disability urbanism that takes the dynamism of access as a precondition for negotiating equitable forms of social participation and public life.

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