scholarly journals Lincoln Kirstein: An American Influence: The Photographs of Walker Evans & Henri Cartier-Bresson at the New York City Ballet

2021 ◽  
Author(s):  
Jessica Murphy
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
York City ◽  
Significant Contribution ◽  
American Art ◽  
Dance Company ◽  
Walker Evans ◽  
Art And Culture ◽  
First Time

This thesis explores the work of Walker Evans (1903–1975) and Henri Cartier-Bresson (1908– 2004) in relation to the New York City Ballet (NYCB) and its co-founder, Lincoln Kirstein (1907–1996). Kirstein, a respected author and critic, supported numerous creative mediums, artists, and photographers. However, despite his friendship and sponsorship of Evans and Cartier-Bresson, their photographs of Kirstein’s dance company have remained relatively unknown. This lacuna invites a reexamination of their work at the NYCB, with an emphasis on Kirstein’s influential relationship with each photographer. In addition to supplementing scholarship on Evans and Cartier-Bresson, this thesis is accompanied by an illustrated catalogue containing all known images related to the NYCB by both photographers, reproducing the majority of this work for the first time. This thesis thus aims to produce a significant contribution to not only our knowledge of Evans and Cartier-Bresson’s oeuvres, but also twentieth-century American art and culture.

scholarly journals Lincoln Kirstein: An American Influence: The Photographs of Walker Evans & Henri Cartier-Bresson at the New York City Ballet

2021 ◽  
Author(s):  
Jessica Murphy
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
York City ◽  
Significant Contribution ◽  
American Art ◽  
Dance Company ◽  
Walker Evans ◽  
Art And Culture ◽  
First Time

This thesis explores the work of Walker Evans (1903–1975) and Henri Cartier-Bresson (1908– 2004) in relation to the New York City Ballet (NYCB) and its co-founder, Lincoln Kirstein (1907–1996). Kirstein, a respected author and critic, supported numerous creative mediums, artists, and photographers. However, despite his friendship and sponsorship of Evans and Cartier-Bresson, their photographs of Kirstein’s dance company have remained relatively unknown. This lacuna invites a reexamination of their work at the NYCB, with an emphasis on Kirstein’s influential relationship with each photographer. In addition to supplementing scholarship on Evans and Cartier-Bresson, this thesis is accompanied by an illustrated catalogue containing all known images related to the NYCB by both photographers, reproducing the majority of this work for the first time. This thesis thus aims to produce a significant contribution to not only our knowledge of Evans and Cartier-Bresson’s oeuvres, but also twentieth-century American art and culture.

scholarly journals Nueva York 1916. La ciudad sin límites | New York 1916. Unlimited city

ZARCH ◽  
2017 ◽  
pp. 90
Author(s):  
José Durán Fernández
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Urban Planning ◽  
20Th Century ◽  
Urban Space ◽  
York City ◽  
Planning System ◽  
Siglo Xx ◽  
The City

La Ciudad de Nueva York fue pionera en la aplicación de un sistema de planificación de control urbano que pusiera orden y concierto a una ciudad que rebasa los 5 millones de habitantes a principios del siglo XX. Tal complejo organismo urbano, inédito hasta ese momento, fue objeto del más ambicioso plan urbano sobre una ciudad construida.Este artículo se destina al estudio de este originario plan urbano de 1916, el cual sentaría las bases, unas ciertamente visionarias otras excesivas, de la construcción de la Ciudad de Nueva York en todo el siglo XX. La Building Zone Resolution se creó con dos fines: resolver los problemas de congestión humana en un espacio reducido, la ciudad del presente, y proponer una visión del espacio urbano en las décadas venideras, la ciudad del futuro.El artículo es un compendio de diez textos cortos y un epílogo, que junto a sus respectivos diez documentos gráficos, construyen el corpus de la investigación. El lector pues se enfrenta a un ensayo gráfico formado por pequeños capítulos que le sumergirán en los orígenes de la primera ciudad vertical de la historia.PALABRAS CLAVE: Nueva York; Planeamiento; Visión urbana.The city of New York was a pioneer in the implementation of an urban control planning system that set in order a city that exceeds five million people in the early twentieth century. Such complex urban organism – invaluable until that moment – was the target for the most ambitious urban planning on a built city.This paper focuses on the study of this initial urban planning from 1916, which would set the basis, certainly some visionary yet others excessive, for the building of New York City throughout the 20th century. The Building Zone Resolution was created with two purposes: to solve the issues related to the human bundle in a limited space, the city of the present, and to aim a vision of the urban space in the forthcoming decades, the city of the future.The article is a compendium of ten short texts and one epilogue, which in combination with ten graphic documents, frame the corpus of this investigation. Thus, the reader will face a graphic essay composed by a series of brief chapters that highlight the beginning of the first vertical city in history.KEYWORDS: New York; Planning; Urban vision.

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....

American Abstract Artists

2018 ◽  
Author(s):  
Herbert R. Hartel, Jr.
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
Everyday Life ◽  
York City ◽  
American Art ◽  
The United States ◽  
Social Realism ◽  
Fernand Leger

The American Abstract Artists is a formally established organization of painters, sculptors, and printmakers that has been devoted to promoting abstraction in the United States since the late-1930s. The organization was established in New York City in 1936, at a time when American art was dominated by figurative, realistic styles, such as regionalism and social realism, which favored depicting everyday life and people and national historical subjects. It held several exhibitions over the subsequent years, including a large annual exhibition each winter from 1937 to 1941. It was most influential in the late-1930s through the mid-1940s. The membership grew to more than fifty artists at this time, and its most influential, its famous members have included Burgoyne Diller, Ilya Bolotowsky, George L. K. Morris, Balcomb Greene, Albert E. Gallatin, Alexander Calder, Suzy Frelinghuysen, Fernand Léger, Piet Mondrian, Josef Albers, Jean Hélion, Carl Holty, Ad Rinehardt, Gertrude Greene, Stuart Davis, Charles Shaw, Vaclav Vytlacil, Jean Xceron, and David Smith. The American Abstract Artists group is often thought to have advocated a rather homogenous abstract style that was geometric, linear, and planar, but this is a broad oversimplification of the diversity of its membership.

Trial by Jury: An Alternative Form of Theatrical Censorship in New York, 1921–1925

1985 ◽  
Vol 26 (1) ◽  
pp. 47-61 ◽  
Author(s):  
David K. Rod
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
York City ◽  
Alternative Form ◽  
American Theatre ◽  
Jury System ◽  
Legal Controls ◽  
Public Concerns

Between 1921 and 1925, an experimental form of nongovernmental censorship of the theatre was developed and practiced in New York City. Referred to variously as volunteer juries, citizens' juries, or the play-jury system, the experiment attempted to overcome the shortcomings of existing legal controls on the theatre and to relieve public concerns about the exploitation of sexually suggestive and obscene materials in stage plays. Although the play-jury system was short-lived, a review of its brief career reveals significant accomplishments and can provide a clearer picture of some of the issues confronting the American theatre in the first part of the twentieth century.

A Hotel of Her Own: Building by and for the New Woman, 1900-1930

2018 ◽  
Vol 45 (3) ◽  
pp. 517-541
Author(s):  
Nikki Mandell
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Real Estate ◽  
York City ◽  
Urban Landscape ◽  
Upper Class ◽  
Economic Role ◽  
The New Woman ◽  
A Site

This article examines the little-known phenomenon of apartment hotels built for single middle- and upper-class women during the early decades of the twentieth century. Focusing on New York City, where the first and most influential of these residences opened, this study argues that upscale women’s apartment hotels severed the Victorian equivalency between home and family, and reconfigured home as a site of women’s independence and self-fulfillment. They also helped redefine women’s economic role; rather than engaging elite women as consumers of household goods, apartment hotels engaged them as consumers of housing and as real-estate developers. As women’s apartment hotels moved from amusing experiment to markers of twentieth-century modernity, they etched the New Woman’s individuality, ambitions, sexuality, and civic engagement into the urban landscape.

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