A journey in collections management : the creation of a finding aid for the Black Star Ephemera Collection at the Ryerson Image Centre

10.32920/ryerson.14660712 ◽

2021 ◽

Author(s):

Lauren N Potter

Keyword(s):

New York ◽

Twentieth Century ◽

New York City ◽

York City ◽

Collections Management ◽

Significant Events ◽

History Of ◽

Textual Material ◽

The Creation

This applied project involved the creation of a finding aid for the Black Star Ephemera Collection held at the Ryerson Image Centre (RIC) at Ryerson University in Toronto. This little known and un-catalogued collection was originally part of the Black Star Agency photographic collection founded in New York City in 1935. Black Star is a well known photo agency that has served as a resource for the picture press during the twentieth century, providing photographs of significant events, people, and places. This ephemeral collection is made up of all the textual material originally used by the agency to organize and support the photographic collection. In addition to the finding aid this paper discussed the significance of this collection and its relationship to the history of photojournalism as well as providing a summary of the rational and methodology for the applied project.

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Messy, Energetic, Intense: A Roundtable Conversation among New York's Asian American Experimental Filmmakers of the Eighties with Roddy Bogawa, Daryl Chin, Shu Lea Cheang, and Rea Tajiri

Film Quarterly ◽

10.1525/fq.2020.73.3.66 ◽

2020 ◽

Vol 73 (3) ◽

pp. 66-78

Author(s):

Vince Schleitwiler ◽

Abby Sun ◽

Rea Tajiri

Keyword(s):

New York ◽

New York City ◽

Asian American ◽

York City ◽

American Film ◽

The Sixties ◽

History Of

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.

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Conclusion

10.1093/oso/9780199342235.003.0009 ◽

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.

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