Arts Wire: The Nonprofit Arts Online

2016 ◽  
Author(s):  
Judy Malloy
Keyword(s):  
New York ◽  
Social Media ◽  
Interactive Art ◽  
Community History ◽  
The Arts ◽  
Online Laboratory ◽  
Internet Presence ◽  
History Of ◽  
Arts Administrators ◽  
Nonprofit Arts

Beginning in 1992, Arts Wire, a program of the New York Foundation for the Arts, was a social media platform and Internet presence provider, that provided access to news, information, and dialogue on the social, economic, philosophical, intellectual, and political conditions affecting the arts and artists. Initially led by Anne Focke and then by poet, Joe Matuzak, Arts Wire participants included individual artists, arts administrators, arts organizations and funders. This chapter focuses on Arts Wire's social media aspects, such as discussion and projects, including among others: AIDSwire, an online AIDS information resource; the online component of the Fourth National Black Writers Conference; the Native Arts Network Association; ProjectArtNet that brought children from immigrant neighborhoods online to create a community history; NewMusNet, a virtual place for experimental music; and Interactive, an online laboratory for interactive art. It also documents the history of the e-newsletter, Arts Wire Current (later NYFA Current).

Conclusion

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.

Erin Espelie

2019 ◽  
pp. 275-294
Author(s):  
Scott MacDonald
Keyword(s):  
New York ◽  
Digital Technologies ◽  
Cornell University ◽  
Avant Garde ◽  
University Of Colorado ◽  
Lanthanide Series ◽  
The Arts ◽  
Short Films ◽  
History Of ◽  
The University

Artist/scientist Erin Espelie was trained at Cornell University as a biologist, but turned down opportunities to study biology at the graduate level at Harvard and MIT in order to explore the New York City theater scene, before finding her way into independent, “avant-garde” filmmaking, first exploring her interests in biology and the history of science in a series of short films, then producing the remarkable essay-film The Lanthanide Series (2014), which explores the importance of the “rare earths” (the elements with atomic numbers 57–71) for modern communication and informational technologies. The imagery for The Lanthanide Series was recorded, almost entirely, off the reflective surface of an iPad. In her work as a moving-image artist, Espelie combines poetry, science, environmental politics, and modern digital technologies within videos that defy traditional knowledge categories. She is currently editor in chief for Natural History magazine and a director of the NEST (Nature, Environment, Science & Technology) Studio for the Arts at the University of Colorado-Boulder.

scholarly journals Follow Your Money: Who Gets it, Who Spends It, Where Does it Go? by M. Hlinka

2014 ◽  
Vol 4 (1) ◽  
Author(s):  
Patti Sherbaniuk
Keyword(s):  
New York ◽  
Raw Materials ◽  
Upper Elementary ◽  
University Of Alberta ◽  
Spider Web ◽  
Additional Information ◽  
The Arts ◽  
History Of ◽  
Pros And Cons ◽  
The University

Hlinka, Michael.  Follow Your Money: Who Gets it, Who Spends It, Where Does it Go?  Illus. Kevin Sylvester. Annick Press, New York, 2013. Print.Follow Your Money is a fairly basic yet informative examination of the economy and its complexities, aimed at older kids and teens. The book starts off with a quick synopsis of the “spider web” of the economy and a brief rundown of the history of money and the concept of profit.  The author then breaks down the costs of various activities (a bus ride for example) and objects (baseball caps, sneakers), from raw materials to manufacturing costs, labour, transport, store markups, profits, etc. The author (a CBC commentator on business) is clever in what he has chosen, selecting objects and activities that are of interest to older kids and teens (computers, designer jeans, chocolate, cell phones, music, etc.).  There are also a couple of pages on fuel and its importance to the economy. The book then takes a brief look at banking and the pros and cons of credit and debit cards, and then finishes with resource suggestions for additional information and an index.The cost breakdowns may be too numerous and a little dry for some readers (depending on their interest and attention level), but they are a very effective method of getting the reader to think about where things come from, how various economic factors affect prices, and who gets the profits. The author includes interesting sidebars of historical facts and trivia about particular subjects- tea, for example, or disposable bags-adding a bit of humour in the process.  The illustrations are colourful and quirky and help clarify the points the author is making.Ideal for upper elementary and teen readers.Highly recommended:  4 out of 4 stars Reviewer: Patti SherbaniukPatti is a Liaison Librarian at the Winspear School of Business at the University of Alberta. She holds a BA in English and an MLIS, both from the University of Alberta. She is passionate about food, travel, the arts and reading books of all shapes and sizes.

Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper.

2004 ◽  
Vol 45 (2) ◽  
pp. 286-288
Author(s):  
Gerald C. Wood
Keyword(s):  
New York ◽  
Pulitzer Prize ◽  
State University ◽  
Film And Television ◽  
Louisiana State University ◽  
Chapel Hill ◽  
The Arts ◽  
Production History ◽  
History Of ◽  
Southeast Texas

Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.

scholarly journals The Roots of Great Innovation

2020 ◽  
Vol 9 (1) ◽  
Author(s):  
B Kathleen Gallagher
Keyword(s):  
New York ◽  
Negative Binomial ◽  
Open Systems ◽  
New York Times ◽  
Negative Binomial Regression ◽  
Public Intervention ◽  
The Arts ◽  
Arts And Culture ◽  
Entrepreneurial Climate ◽  
Nonprofit Arts

What is the relationship between a city’s entrepreneurial climate and the sustainability of arts and culture nonprofits?  Business, the arts, and innovation do not exist in isolation.  New York Times writer David Brooks (2011) opined, “The roots of great innovation are never just in the technology itself.”   The significance and value of the arts as community assets has sparked public intervention to leverage the arts to generate a variety of instrumental benefits. The arts were famously positioned as being of significant value for knowledge workers, the creative class, and the entrepreneurs powering the knowledge economy.  This has been portrayed, largely, as a one-way relationship in which the arts benefit cities economic pursuits.  Such depictions fail to consider the influence of open systems and recognize how communities simultaneously influence the population of arts and culture organizations.  This paper asks, “How do entrepreneurship levels affect the population dynamics of arts and culture nonprofits?”  The interactions between the formation and exit of nonprofit arts organizations and entrepreneurial climate of the 50 US states for the period from 1989 to 2012 are analyzed using negative binomial regression.  Higher entrepreneurial climates are associated with lower incidences of nonprofit arts and culture formations and lower exits.  The implications of this and opportunities for additional research are discussed. 

scholarly journals “This Prodigious Frightful Fall”: An Exploration of Tourist Images of Niagara Falls in Stereography and on Instagram

2021 ◽  
Author(s):  
Victoria Grace Abel
Keyword(s):  
New York ◽  
Social Media ◽  
Literature Survey ◽  
Early History ◽  
History Of Photography ◽  
Niagara Falls ◽  
History Of

This thesis explores the development of tourist photography through stereography and Instagram utilizing Niagara Falls stereographs from three collections ranging in date from 1850-1905 and Instagram images geotagged to Prospect Point, Niagara Falls, New York, all posted in the same twenty-four hours from August 6-7, 2016. First, a literature survey explores the history of photography at Niagara Falls, the circulation of tourist imagery, and social media and the networked image. It then moves on to an early history of photography at Niagara Falls with an emphasis on stereographs. It continues into a brief history of social media and an explanation of the inner workings of Instagram. Finally, it concludes with comparisons of aesthetic choices, access, and circulation in stereographs and Instagram, all using the case study images. This thesis argues that Instagram follows the same photographic tradition as stereographs and serves many of the same purposes in tourist photography

Kofi, Vincent Akwete (1923–1974)

2018 ◽  
Author(s):  
Atta Kwami
Keyword(s):  
New York ◽  
Columbia University ◽  
Nature Study ◽  
Teaching Aids ◽  
The Arts ◽  
Pan Africanism ◽  
History Of ◽  
The Government ◽  
Bronze Casting ◽  
First World

Vincent Akwete Kofi was born in Odumasi-Krobo, Ghana. After training at Achimota College, which had the first and foremost art department in West Africa, he continued his studies at the Royal College of Art, London (1952–1955), and Columbia University, New York (1959). While in New York, he learned metal casting and, with the assistance of the Harmon Foundation, produced a film on bronze casting. Upon his return to Ghana he taught at the Winneba Teacher Training College (1961–1969) and was Head of Fine Art, College of Art (KNUST), Kumasi (1969–1974). He was a member of the Ghanaian delegation at the First World Festival of Negro Arts, Dakar, 1966, and in 1971 he visited India at the invitation of the Government. His early influences were his Krobo environment and his artistic father, the Presbyterian minister James Kofi (1890–1976), who made drawings and teaching aids for Nature Study classes. During the mid point of his career Kofi drew inspiration from his days at Achimota College (c. 1945–1951), where the pervasive atmosphere of optimism and hope for a new Africa fired Ghanaian nationalism and the independence struggle. Kofi believed that he could fuse lessons from the history of modernism in the arts, "creatively and objectively," only by an immersion in his Ghanaian heritage. His sculptures, Awakening Africa (1959–1960) and Blackman’s Stoicism (1964), highlighted Pan-Africanism, and the decolonization process that was spreading across Africa. 

Sign in / Sign up

Export Citation Format

Share Document