Hopps, Walter (1932–2005)

2018 ◽  
Author(s):  
Ken D. Allan
Keyword(s):  
New York ◽  
Los Angeles ◽  
American Art ◽  
The United States ◽  
Art Museum ◽  
Pop Art ◽  
Marcel Duchamp ◽  
Robert Rauschenberg ◽  
The 1960S ◽  
Joseph Cornell

Walter Hopps was an American art dealer and curator of modern and contemporary art. Best known for organizing the first museum retrospective of Marcel Duchamp in 1963 at the Pasadena Art Museum (now the Norton Simon), Hopps was a pioneering example of the independent, creative curator, a model that emerged in the 1960s in the United States From his start as an organizer of unconventional shows of California painters on the cultural fringe of conservative Cold War-era Los Angeles, Hopps became one of the most respected, if unorthodox, curators of his generation, holding a dual appointment at the end of his life as 20th-century curator at Houston’s Menil Collection and adjunct senior curator at the Solomon R. Guggenheim Museum in New York. Some of his noted exhibitions include: in Pasadena, a 1962 group show that helped to define pop art, The New Paintings of Common Objects; the first U retrospectives of Kurt Schwitters (1962) and Joseph Cornell (1967); Robert Rauschenberg retrospectives in 1976 and 1997 at the National Museum of American Art and Menil Collection, respectively; a 1996 survey of Edward Kienholz for The Whitney Museum of American Art; and a James Rosenquist retrospective in 2002 at the Guggenheim.

Fried, Michael (1939--)

2018 ◽  
Author(s):  
Danielle Child
Keyword(s):  
New York ◽  
Art Criticism ◽  
Three Dimensional ◽  
American Art ◽  
Art Museum ◽  
Late 20Th Century ◽  
Princeton University ◽  
Clement Greenberg ◽  
The 1960S ◽  
Canonical Texts

Michael Fried is an American art critic, literary critic and art historian. Fried is most well-known for his art criticism, which contributed to the debates on modernist painting and sculpture that were played out in the pages of American art journals, such as Artforum, during the 1960s. In 1958, while studying English as an undergraduate at Princeton University, Fried met Clement Greenberg, whose theories on modernist painting influenced Fried’s subsequent writings and art criticism. He later studied under Richard Wollheim while at Oxford University. The formalist influence of Greenberg’s art criticism is prevalent in Fried’s two canonical texts on modernist art: "Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella" (1965), the catalogue essay for an exhibition curated by Fried at Harvard’s Fogg Art Museum; and "Art and Objecthood" (1967). The former focuses upon three second-generation New York School painters, considered to be "high modernist." The latter is a defense of modernist painting against a new form of three-dimensional work that he terms "literal," now known as minimalist, sculpture. The argument initiated in these two essays formed a key moment in the debates that defined late-20th-century modernist art history. In the late 1960s Fried moved away from writing art criticism, focusing instead on modernist art in the 19th and early-20th centuries. He recently returned to contemporary art with his text Why Photography Matters as Art as Never Before.

Readymades

2018 ◽  
Author(s):  
Danielle Child
Keyword(s):  
New York ◽  
John Cage ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Jasper Johns ◽  
Robert Rauschenberg ◽  
The Status ◽  
The 1960S ◽  
Common Understanding ◽  
Bicycle Wheel

In 1916, the French artist Marcel Duchamp coined the term "readymade" to describe a body of his own work in which everyday and often mass-produced objects were given the status of a work of art with little or no intervention by the artist beyond signing and displaying them. He began to produce these works in Paris, beginning with Bottle Rack (1914) and Bicycle Wheel (1913). (Duchamp, however, did not explicitly acknowledge these works until his move to New York in 1915.) These two works present examples of the two distinct types of readymades: readymade unaided and readymade aided. The most well-known readymade is Duchamp’s Fountain (1917), which was famously refused entry into an exhibition with no entry conditions. Much later, Fountain became symbolic of the emergent shift from modernism to postmodernism in the 1960s, with the group of artists who gathered around the composer John Cage, including Robert Rauschenberg and Jasper Johns, sometimes referred to as the neo-avant-garde. It was during this period that Duchamp’s account of the function of the readymade was consolidated into the now common understanding, which is that "readymade" constitutes an object chosen by an artist and declared to be art.

scholarly journals Rap Music

2017 ◽  
Author(s):  
Austin McCoy
Keyword(s):  
New York ◽  
Los Angeles ◽  
Hip Hop ◽  
Rap Music ◽  
Mass Incarceration ◽  
The United States ◽  
Hip Hop Culture ◽  
Cultural Form ◽  
The 1960S ◽  
Latinx Youth

Rap is the musical practice of hip hop culture that features vocalists, or MCs, reciting lyrics over an instrumental beat that emerged out of the political and economic transformations of New York City after the 1960s. Black and Latinx youth, many of them Caribbean immigrants, created this new cultural form in response to racism, poverty, urban renewal, deindustrialization, and inner-city violence. These new cultural forms eventually spread beyond New York to all regions of the United States as artists from Los Angeles, New Orleans, Miami, and Chicago began releasing rap music with their own distinct sounds. Despite efforts to demonize and censor rap music and hip hop culture, rap music has served as a pathway for social mobility for many black and Latinx youth. Many artists have enjoyed crossover success in acting, advertising, and business. Rap music has also sparked new conversations about various issues such as electoral politics, gender and sexuality, crime, policing, and mass incarceration, as well as technology.

Early Music and Popular Music

2020 ◽  
pp. 508-529
Author(s):  
Elizabeth Randell Upton
Keyword(s):  
United States ◽  
New York ◽  
Los Angeles ◽  
Popular Music ◽  
The United States ◽  
Early Music ◽  
The Past ◽  
Beach Boys ◽  
Rolling Stones ◽  
The 1960S

In the 1960s, recordings and performances of preclassical music brought new sounds to musical performers, creators, and audiences. Through play with new sounds and with ideas about the past, medievalist popular music helped to shape the range of meanings associated with “the medieval” for scholars as well as audiences. At first, early music sounds, especially that of the harpsichord, were used for their novelty, becoming fashionable and hip by the mid-1960s, first in London (as seen in recordings by the Beatles, the Rolling Stones, the Zombies, and Procol Harum; this trend fed into 1970s prog rock) and then, following the British Invasion, in the United States (particularly the Left Banke in New York and the Beach Boys and the Doors in Los Angeles). Some folk-rock performers used early music sounds to signal the past, drawing on tropes of nostalgia and medievalist fantasy (e.g., Simon and Garfunkel’s “Scarborough Fair/Canticle” [1966] and the Beatles’ “Penny Lane” [1967]).

The “Japanese Turn” in Fine Dining in the United States, 1980–2020

2020 ◽  
Vol 20 (2) ◽  
pp. 45-54
Author(s):  
Samuel H. Yamashita
Keyword(s):  
United States ◽  
New York ◽  
Los Angeles ◽  
San Francisco ◽  
San Francisco Bay Area ◽  
The United States ◽  
First Century ◽  
Further Training ◽  
Bay Area ◽  
Wide Acceptance

In the 1970s, Japanese cooks began to appear in the kitchens of nouvelle cuisine chefs in France for further training, with scores more arriving in the next decades. Paul Bocuse, Alain Chapel, Joël Robuchon, and other leading French chefs started visiting Japan to teach, cook, and sample Japanese cuisine, and ten of them eventually opened restaurants there. In the 1980s and 1990s, these chefs' frequent visits to Japan and the steady flow of Japanese stagiaires to French restaurants in Europe and the United States encouraged a series of changes that I am calling the “Japanese turn,” which found chefs at fine-dining establishments in Los Angeles, New York City, and later the San Francisco Bay Area using an ever-widening array of Japanese ingredients, employing Japanese culinary techniques, and adding Japanese dishes to their menus. By the second decade of the twenty-first century, the wide acceptance of not only Japanese ingredients and techniques but also concepts like umami (savory tastiness) and shun (seasonality) suggest that Japanese cuisine is now well known to many American chefs.

The Constitutionality of Involuntary Civil Commitment of Opiate Addicts

1988 ◽  
Vol 18 (4) ◽  
pp. 641-661 ◽  
Author(s):  
Michael P. Rosenthal
Keyword(s):  
New York ◽  
Supreme Court ◽  
Civil Commitment ◽  
The United States ◽  
Involuntary Treatment ◽  
Large Numbers ◽  
Narcotic Trafficking ◽  
The Supreme Court ◽  
Opiate Addicts ◽  
The 1960S

This paper deals with the constitutionality of involuntary treatment of opiate addicts. Although the first laws permitting involuntary treatment of opiate addicts were enacted in the second half of the nineteenth century, addicts were not committed in large numbers until California and New York enacted new civil commitment legislation in the 1960s. Inevitably, the courts were called upon to decide if involuntary treatment was constitutional. Both the California and New York courts decided that it was. These decisions were heavily influenced by statements made by the United States Supreme Court in Robinson v. California. The Robinson case did not actually involve the constitutionality of involuntary treatment; it involved the question of whether it was constitutional for a state to make addiction a crime. Nevertheless, the Supreme Court declared (in a dictum) that a state might establish a program of compulsory treatment for opiate addicts either to discourage violation of its criminal laws against narcotic trafficking or to safeguard the general health or welfare of its inhabitants. Presumably because the Robinson case did not involve the constitutionality of involuntary treatment of opiate addicts, the Supreme Court did not go into that question as deeply as it might have. The California and New York courts, in turn, relied too much on this dictum and did not delve deeply into the question. The New York courts did a better job than the California courts, but their work too was not as good as it should have been.

The ‘Brazilian Connection’ in the History of American Linguistics

1999 ◽  
Vol 26 (3) ◽  
pp. 355-382
Author(s):  
Cristina Altman
Keyword(s):  
New York ◽  
The United States ◽  
South American ◽  
Columbia University ◽  
Structural Linguistics ◽  
History Of ◽  
Roman Jakobson ◽  
The 1950S ◽  
The 1960S ◽  
The One

Summary When mention is made of Brazil in connection with American linguistics, it usually amounts to a reference to the Linguistic Circle of New York, where Roman Jakobson (1896–1982) and Claude Lévi-Strauss (b.1908), who had come from Brazil where he had done ethnological work, met and exchanged ideas. This singular event has cast a shadow on other contacts between Brazil and American linguistics, of which, the one between Jakobson and the Brazilian linguist Joaquim Mattoso Câmara (1904–1970) was much more consequential, at least as far as the implementation of structural linguistics in Brazil and in South America generally during the 1950s and the 1960s is concerned. Mattoso Câmara came to the United States and spent most of his time in New York City (September 1943 till April 1944), where he got exposure to Praguean type structuralism, notably through Jakobson’s lectures he attended at Columbia University and at the École Libre of New York, which had been established by European refugees at the time. He also participated in the first meetings of the Linguistic Circle of New York in 1943 as one of its co-founders. Following his return to Rio de Janeiro, Mattoso Câmara proposed, in 1949, as his doctoral thesis a phonemic description of Brazilian Portuguese. The work was published a few years later, in 1953. His most influential work, Princípios de Lingüística Gerai, first published in 1954, had two more revised and updated editions (1958, 1967) and served to introduce several generations of Brazilian as well as other South American students to structural linguistics during the 1950s and 1960s.

Bacterial Infecfions: Changes in Their Causative Agents—Trends and Possible Basis (Bayer—Symposium III), edited by M. Finland, W. Marget, and K. Bartmann. New York/Heidelberg/Berlin: Springer-Verlag, 1971, 231 pp., $15.00

PEDIATRICS ◽  
1972 ◽  
Vol 50 (5) ◽  
pp. 833-833
Author(s):  
John D. Nelson
Keyword(s):  
United States ◽  
New York ◽  
Great Britain ◽  
Los Angeles ◽  
Infectious Diseases ◽  
Bacterial Infections ◽  
The United States ◽  
New Haven ◽  
Causative Agents ◽  
Changing Patterns

Almost two years ago a group of eminent international authorities in the field of infectious diseases gathered near Cologne, Germany, for a week of reflection and discussion concerning the changing patterns of bacterial infections in recent decades and the possible reasons for the changes. The United States was represented by Drs. M. Finland and E. H. Kass of Boston, F. Daschner of Los Angeles, and A. von Graevenitz of New Haven. Other scientists were from Germany, France, Sweden, Great Britain, Switzerland, and Denmark.

Introduction

Stirrings ◽  
2019 ◽  
pp. 1-25
Author(s):  
Lana Dee Povitz
Keyword(s):  
New York ◽  
Nonprofit Organizations ◽  
Low Cost ◽  
New Left ◽  
The United States ◽  
Community Control ◽  
Female Leaders ◽  
Food Activism ◽  
History Of ◽  
The 1960S

Using the conceptual lens of terroir, this chapter provides an overview of hunger and poverty in the United States, starting with the urban liberalism of the 1960s and tracing the onset of austerity politics from mid-1970s through the early 2000s. It shows how New York City food activism was connected to an array of apparently unrelated social movements, including American Communism, community control, the countercultural New Left, feminism, Black Power, and AIDS activism. As governments reduced spending on social programs, leaders from these movements formed nonprofit organizations geared toward providing services, such as emergency meals and low-cost groceries. This chapter offers an overview of why and how service provision came to absorb the attention of late-twentieth century activists and shows how nonprofit kitchens and offices became sites of mentorship. As charismatic, overwhelmingly female leaders passed on values and strategies forged in earlier eras, they enacted activist genealogies that helped sustain political involvement over decades. Powerful interpersonal bonds and people’s own sense of being transformed by their activism illuminate the underappreciated role of emotion in the history of left-progressive movements.

“It was a jet. It was a jet. It was a jet.”

2021 ◽  
pp. 3-21
Author(s):  
Jessica DuLong
Keyword(s):  
New York ◽  
The United States ◽  
Staten Island ◽  
Creative Problem ◽  
1960S And 1970S ◽  
The 1960S ◽  
Maritime Infrastructure ◽  
Maritime Community ◽  
The U.S

This chapter provides a background of the waterborne evacuation that happened after the events of 9/11. New York harbor was, and is, a busy place — the third largest container port in the United States and a vital connection between New York City and the rest of the world. Manhattan is an island, and the realities of island real estate are what ushered the port's industries off Manhattan's shores and over to Brooklyn, Staten Island, and New Jersey in the 1960s and 1970s. By late 2001, maritime infrastructure had been replaced with ornamental fencing. On September 11, 2001, as the cascade of catastrophe unfolded, people found their fates altered by the absence of that infrastructure and discovered themselves dependent upon the creative problem solving of New York harbor's maritime community — waterfront workers who had been thrust beyond their usual occupations and into the role of first responders. Long before the U.S. Coast Guard's call for “all available boats” crackled out over marine radios, scores of ferries, tugs, dinner boats, sailing yachts, and other vessels had begun converging along Manhattan's shores. Hundreds of mariners shared their skills and equipment to conduct a massive, unplanned rescue. Within hours, nearly half a million people had been delivered from Manhattan by boat.

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