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New York City Taxicab Drivers and the Immigrant Experience

100%
Hodges G. R. G.
Studia Migracyjne - Przegląd Polonijny
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2015
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vol. 41
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issue 4 (158)
215–227
EN
Taxi driving is a primary occupation for immigrants to New York City. Driving a cab in New York City, the home of a substantial majority of American cabbies is nearly a rite of passage for newly arrived male immigrants. For generations Americans have believed that the job helped an immigrant to learn the city, acculturate to American mores, earn sufficient cash to secure a better occupation, and ultimately insure that his sons will not have to wrestle a steering wheel twelve hours or more a day. During the 1950s that dream sometimes became a reality. More recently, cab drivers spend their work lives pushing a hack through the city streets. Still would-be cab drivers come from all over the world to push a hack in New York City. In this article, I will indicate how New Yorkers and cab drivers themselves perceive the trade as composed of aliens, criminals, acculturating new Americans, in identity politics or as part of a multicultural mosaic, and today as proletarians.
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OD DEJÍN UMENIA K VIZUÁLNEJ KULTÚRE? PRÍKLAD BROOKLYN MUSEUM OF ART V NEW YORKU

88%
Orišková M.
ARS
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2005
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vol. 38
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issue 1
42-52
EN
The case study of Brooklyn Museum of Art in New York is an attempt to discuss the issue of multiculturalism in art museums traditionally based on universalistic (Western) aesthetics. The story of Western art which once was central for the museum is now more complicated by the addition of non-Western art/objects. However, one of the biggest American museums - Brooklyn Museum of Art in New York goes beyond the polarities 'high art' vs. 'ethnographic object' showing the hybrid culture as the result of colonialism, migration, slavery, diaspora, conflicts or oppression. The authoress summarizes some important views at relations between art and ethnicity what is one of the main concerns in the museums in multicultural society, presented by Svetlana Alpers, James Clifford or Susan Vogel. Dismantling 'true representations' in the museum opened new issues: the issue of parallelisms and horizontal surveys, both promoted by Homi Bhabha as cultural paradigm during the exhibition 'Circa 1492: Art in the Age of Exploration'. Hybridity, the term used by Annie E. Coombes is articulated as a symptom of what is identified as postcolonial in a sense of the postmodern strategy of bricolage superficially reproducing and celebratory affirming that all are equal. Still, under the cover of celebration (and fast-food like consumption) of differences there is the inequality of access to economic and political power. And only the dominant groups articulate the ways in which such differences are constituted.
3

NEW YORK BOHEMIANISM IN THE SECOND HALF OF THE NINETEENTH CENTURY

75%
Smith M. S.
ARS
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2012
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vol. 45
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issue 2
212 – 222
EN
In the second half of the 19th century, artists in the United States were under social and economic pressures, which led many to live in poverty. As a consequence, Parisian Bohemianism was easily imported by expatriate artists and found a fertile ground in New York City. Traditionally, Paris and the Fine Arts were associated to vice and spiritual corruption and, at first, the bohemian lifestyle only reinforced these stereotypes. Yet, the growing capital injected onto the European art market brought the Fine Arts into a more acceptable sphere. As a result Bohemianism came to represent very contradictory values. Through novels, the printed press and paintings, Bohemianism came to be a vehicle for a wide variety of images which reflected the many changes which the United States were undergoing from the 1850s to the 1900s. For all these reasons, Bohemianism became in the United States a complex movement which underlined the complexities of a society entering its “Modern” age.
4

SIGURDS VIDZIRKSTE'S CYBERNETIC CANVASES: THE LOST CODE (Sigurda Vidzirkstes kibernetiska gleznieciba: Pazaudetais kods)

75%
Vanaga A.
Makslas Vesture un Teorija
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2007
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vol. 9
35-44
EN
Sigurds Vizirkste's (1928-1974) exhibition 'Cybernetic Canvases' was on view at the Foreign Art Museum in Riga from 12 September to 21 October 2007. The initiator of the show, painter Daina Dagnija, singled out works from the 1960s featuring dot-like protrusions. Vidzirkste gave them this title at the Kips Bay Gallery auction in New York in 1968. Vidzirkste was born on 10 February 1928 in Daugavpils (Latvia) where his father was a clerk at the Railwaymen Sickness Insurance Fund. He attended Daugavpils 2nd Elementary School. In Riga he graduated from the State Elementary School and continued his education at the Chemistry Department of Riga State Technical Secondary School. In autumn 1944 Vidzirkste and his family fled to Germany, emigrating to the USA in Christmas 1950 where he settled in New York City and soon joined the Will Barnett's workshop at the Art Students' League. Vidzirkste was mathematically oriented. He worked as an audiovisual specialist at the Federal Reserve Bank where he learned the principles of electronic calculation devices. Vidzirkste integrates knowledge of mathematics, chemistry and music in his art. His creative career started in the late 1950s and involved giving up polychromes and reducing composition to dark-and-light, basic formal relations. He organises information expressed as a point, line, circle and plane, creating an arrangement or iteration of elements where the same application uses different sizes and the element used in the application changes with each new painting. Vidzirkste was interested in absolute rhythm, the spontaneous and calculated, regular and irregular, symmetrical and asymmetrical, changing and unchanging intervals, grades of protruding dots as the indicators of distance and gradations of timbre, multi-layered polyphony and minimalist asceticism. Peering into his canvases, the musically oriented observer perceives an intonation analogous to serial music that ignores the motif, condensing all the information into a single sound.
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