Hofmann, Hans (1880–1966)

2018 ◽  
Author(s):  
Christa Noel Robbins
Keyword(s):  
New York ◽  
York City ◽  
Abstract Expressionism ◽  
Picture Plane ◽  
Depth Of Field ◽  
New York School ◽  
American Modernism ◽  
Core Group ◽  
The Core ◽  
Clement Greenberg

Hans Hofmann was a German–American painter associated with Abstract Expressionism. Known as much for his paintings as for his role as a teacher, Hofmann moved to New York City in 1932. Much older than the core group of New York School painters, Hofmann acted as a kind of bridge between European and American modernism. Hofmann’s paintings are highly recognizable: they feature large planes of thickly applied, bold color, often interspersed with expressionistic fields of gestural painting. The result, which can be seen in his 1962 painting Memoria in Aeternum, is a dynamic play with depth of field and colour relations. Hofmann referred to this spatial and optical play as the "push–pull" effect, indicating the manner in which areas of a canvas can appear to push back behind the picture plane and pull forward into the viewer’s space, while simultaneously reading as flat surface. The spatial and material relationality introduced through this device influenced a generation of New York painters and critics, both those taught directly by Hofmann and those who learned of his theories through second parties. Hofmann’s students from this period include Lee Krasner, Helen Frankenthaler, Frank Stella, Allan Kaprow and, importantly, Clement Greenberg. Many of their first lessons in modernist painting took place in his school.

Group Size, Social Class, Religion, and Politics

2017 ◽  
pp. 31-51
Author(s):  
Chaim I. Waxman
Keyword(s):  
United States ◽  
New York ◽  
York City ◽  
Jewish Population ◽  
Religion And Politics ◽  
The United States ◽  
Orthodox Jewish ◽  
Social Scientists ◽  
The Core ◽  
Jewish Demography

This chapter focuses on determining the size of the Orthodox Jewish population in the United States and difficulties related to the problem of estimating the Jewish population as a whole. It analyses the acceptance of the notion of the 'core Jewish population' among social scientists and Jewish communal professionals. It also looks at major debates relating to significantly different estimates of population size among those specializing in Jewish demography. The chapter addresses questions as to whether belonging to an Orthodox synagogue makes one Orthodox, or whether being Orthodox entails matters of faith and behaviour. It cites the UJA-Federation of New York, which estimated the total Orthodox population in New York City at 493,000 in 2013.

The Debs Way

2019 ◽  
pp. 35-40
Author(s):  
Leo Huberman
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
York City ◽  
The United States ◽  
Core Beliefs ◽  
Basic Principles ◽  
The Core ◽  
History Of

This reprise of "The Debs Way"—the text of an address Huberman delivered at the Debs Centennial Meeting held at the Fraternal Clubhouse in New York City on November 28, 1955—not only reminds us of the importance of Eugene Debs to the history of socialism in the United States, but also brings out some of the core beliefs of Huberman's own approach to socialism. Today's conditions are of course vastly different from when Huberman wrote this, more than sixty years ago. There is now a resurgence of the left in the United States, but the basic principles that Huberman derived from Debs remain relevant.

Lassaw, Ibram (1913–2003)

2018 ◽  
Author(s):  
Esther T. Thyssen
Keyword(s):  
New York ◽  
Abstract Expressionism ◽  
New York School ◽  
Jackson Pollock ◽  
Active Participant ◽  
Avant Garde ◽  
Founding Member ◽  
The Family ◽  
Galactic Cluster ◽  
Brooklyn Museum

A sculptor of the New York School, Ibram Lassaw was born to Russian parents in Alexandria, Egypt. The family immigrated to Brooklyn, NY, in 1921, where Lassaw learned modeling, casting, and carving. He discovered avant-garde art at the Brooklyn Museum in 1926, and continued to study sculpture at the Clay Club from 1927 to 1932. An active participant in New York modernist circles, Lassaw was a founding member of the American Abstract Artists Group (1935), and The Club (1949). Lassaw’s interest in cosmic and religious themes culminated in abstract sculptures for Jewish synagogues, such as Pillar of Fire (1953) at Temple Beth El, Springfield, MA. Known for his web-like structures, Lassaw dripped, fused, and spattered metal, embracing the resulting accidental contours that accrued on his gridded designs, as in Galactic Cluster #1 (1958, Newark Museum). He wielded the oxyacetylene torch like a paintbrush and the intricately structured wires twist, turn, and redouble like skeins of paint by Jackson Pollock. His work was included in the 1959 Kassel Documenta, which showcased American Abstract Expressionism.

Introduction to the Species Accounts

2018 ◽  
pp. 73-80
Author(s):  
P. A. Buckley
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Long Island ◽  
Quantitative Distribution ◽  
The Core ◽  
First Time ◽  
Extended Discussion ◽  
Winter Population ◽  
Quantitative Assessments

The core of this book, offering qualitative and quantitative assessments of the migratory, breeding, wintering, and resident avifauna of the Northwest Bronx, New York City back to 1872. The present and historical statuses of 301 study area species and another 70 potential species are described in detail for the Bronx, for New York City, for Long Island, and for Westchester and Rockland Cos. for the first time since 1964. Study area winter population changes are amplified by comparison to their numbers on 90 annual Bronx-Westchester Christmas Bird Counts from 1924. Extended discussion of pertinent identification, ecological, taxonomic, and distributional issues complements the quantitative distribution and occurrence data and update all 371 species to 2016.

Adult Education

2017 ◽  
Author(s):  
Philip Silva ◽  
Shelby Gull Laird
Keyword(s):  
New York ◽  
Adult Education ◽  
Environmental Education ◽  
York City ◽  
Environmental Literacy ◽  
Theory And Practice ◽  
Relationship Building ◽  
The Core ◽  
Urban Environmental Education ◽  
As Relationship

This chapter examines opportunities for developing urban environmental education experiences for adults. It first considers the core ideas of three influential adult education scholars—Paulo Freire, Malcolm Knowles, and Jane Vella—before describing two cases of adult environmental education in cities, one in New York City and one in London. It then reviews theory and practice through the binary categories of “emancipatory” versus “instrumental” environmental education, both of which have conceptual roots in the work of Freire, Knowles, and Vella, among others. It also explains how, through the use of andragogic methods such as relationship building, engagement in action, and a focus on the needs of the learner, adult urban environmental education initiatives can help promote environmental literacy and action.

Clement Greenberg, Harold Rosenberg, and Their Jewish Issues

Prospects ◽  
2005 ◽  
Vol 30 ◽  
pp. 651-664 ◽  
Author(s):  
Matthew Baigell
Keyword(s):  
New York ◽  
Art Criticism ◽  
Abstract Expressionism ◽  
Immigrant Parents ◽  
Left Wing ◽  
Jackson Pollock ◽  
The Social ◽  
Willem De Kooning ◽  
Clement Greenberg ◽  
Art Critics

Clement Greenberg (1909–94) and Harold Rosenberg (1906–78) were the two art critics most closely associated with abstract expressionism in the 1940s and 1950s. Neither began their careers as art critics, however. By the mid-1980s, Rosenberg had published literary essays and poems in left-wing magazines, and Greenberg's articles and reviews first appeared at the end of that decade. During the 1940s, Greenberg began to write art criticism, and Rosenberg's essays began to appear frequently in the 1950s. By that time, both had become part of the group known informally as the New York Intellectuals, many of whom were Jewish and children of immigrant parents.Highly verbal, vocal, argumentative, and politically left of center, they often published in magazines such as Partisan Review, Commentary, and Dissent. Although both Greenberg and Rosenberg ultimately rejected the more dogmatic and authoritarian aspects of leftist politics, they nevertheless supported the idea that society must move forward, but not necessarily by political means. Greenberg thought that such momentum could be maintained by the cultural elite, and Rosenberg, influenced by surrealism's concerns for the creative process, believed that individuals who were independent minded and creative could do the same. Both encouraged artists to turn from the social concerns that engaged many during the 1930s to apolitical, self-searching themes that came to characterize the art of the 1940s. In effect, they, especially Rosenberg, lionized the artist as an heroic individual. In the words of one historian, both “worked to find a safe haven for radical progress within the realm of individualistic culture.” And both, among the most perspicacious critics of their time, discovered, encouraged, and/or supported artists who ultimately became major figures, such as Jackson Pollock and Willem de Kooning.

The Bay Area Figurative Movement

2018 ◽  
Author(s):  
Eric Nay
Keyword(s):  
New York ◽  
World War Ii ◽  
San Francisco ◽  
Subject Matter ◽  
West Coast ◽  
San Francisco Bay Area ◽  
Abstract Expressionism ◽  
New York School ◽  
Bay Area ◽  
Human Figure

The Bay Area Figurative Movement, also commonly referred to as the Bay Area Figurative School, was an art movement in the 1950s and 1960s. It was made up of a group of artists working in the San Francisco Bay Area who, in a move away from the New York School mode of abstraction, abandoned painting in the established style of Abstract Expressionism. These West Coast artists focused predominantly on the human body as their subject matter and eschewed Abstract Expressionism’s rejection of representation. The artists’ concentration on figurative work ultimately lent the group its name, although its subject matter included landscapes, cityscapes and still lifes as well. The Bay Area artists shared mutual interests and evolved a shared stylistic vocabulary. They received significant critical recognition, and helped redefine figurative art following Abstract Expressionism through a uniquely regional interpretation of modernist painting. The evolution of the Bay Area Figurative Movement was also culturally associated with the rise of beat culture in San Francisco, West Coast jazz, and reactions to World War II. It remains highly contested whether the Bay Area Figurative Movement was a deliberate and rebellious break with Abstract Expressionism or simply a cyclical return to the human figure as subject matter.

Stella, Frank (1936--)

2018 ◽  
Author(s):  
Antonia Pocock
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Abstract Expressionism ◽  
Jasper Johns ◽  
Princeton University ◽  
Color Field Painting ◽  
Mark Rothko ◽  
Color Field ◽  
The 1960S

Frank Stella is a prominent American abstract artist whose deadpan aesthetic presaged Minimalism and Color Field painting. In contrast to the turbulent brushwork and improvisatory methods of Abstract Expressionism, Stella’s groundbreaking Black Paintings (1959) feature uniform surfaces and serial arrangements of forms. Born in 1936 in Malden, Massachusetts, Stella grounded his artistic education in non-objective painting. At the Phillips Academy, he studied with abstractionist Patrick Morgan, a pupil of Hans Hofmann. At Princeton University, he took studio courses with William Seitz, a scholar and practitioner of Abstract Expressionism; and Stephen Greene, an abstract painter and former student of Philip Guston. After graduating from college in 1958, Stella moved to New York City and produced gestural paintings of squares and stripes inspired by Mark Rothko and Jasper Johns. He soon abandoned painterly textures but retained the stripe as his signature motif. Stella’s work of the 1960s continued in the vein of his Black Paintings, but evolved to include metallic and Day-Glo pigments and shaped canvases. After 1970, his paintings assumed sculptural dimensions and incorporated expressionist brushwork and exuberant arabesques. Stella has continued to develop his exploratory practice to the present day.

scholarly journals The Curriculum and Community Enterprise for Restoration Science Partnership Model

2019 ◽  
Vol 8 (2) ◽  
pp. 1
Author(s):  
Lauren Birney ◽  
Denise McNamara ◽  
Brian Evans ◽  
Nancy Woods ◽  
Jonathan Hill
Keyword(s):  
New York ◽  
Citizen Science ◽  
York City ◽  
Social Awareness ◽  
Roles And Responsibilities ◽  
The Core ◽  
Partnership Model ◽  
Complex Interactions ◽  
Education Business

This paper identifies the complex interactions of a multi-member partnership and outlines the synergetic opportunitiesand challenges within the model. At the core of the partnership model is the restoration of the waterways surroundingNew York City through the reestablishment of the oyster into New York Harbor. The overarching goal was to connectmembers of the community to their environment to increase social awareness and responsibility. Stewardship of theharbor through involvement of education, business, and private sectors increased the citizen science involvement of thecommunity. The key to the success of this partnership model is the overlapping of roles and responsibilities as well asa strong “connector” serving to mediate the interactions among the stakeholders and enable the success of thepartnership. The partnerships were dynamic and evolving blurring lines and responsibilities. Serendipitous outcomesenhanced partnership relationships and in turn, the efficacy of the project.

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