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The presence of arts and cultural institutions and networks is vital to the health of any global city, old, and new. But it is less apparent how we measure their contributions to quality of life issues in the rapidly changing mega cities of the global north or south. How do we develop quantitative and qualitative measurements to assess the impact of arts and culture on the quality of life in cities? How do we balance issues of social justice and creativity in cities where the super-rich and the ultra-poor of the world reside and often collide? What is the role of public and private sectors in creating a healthy cultural ecology in a global city? How do we measure value beyond the economic impact of the arts—numbers of tickets sold, number of tourists visiting the city, the gentrification of a neighborhood? What are the key ingredients for a healthy cultural ecology of the city, taking into account artists, large established institutions as well as smaller arts organizations? What are the barriers to the successful implementation of cultural policy in global cities? Columbia University’s Committee on Global Thought, in partnership with Ford Foundation and the New York City Department of Cultural Affairs (DCA), organized a one-day program to bring together scholars, policy makers, private sector and non-profit leaders, and practitioners—artists, architects, planners, community activists—to discuss some of these urgent issues around developing a better understanding of the role arts and culture can play in the social health of global cities.
Contemporary immigrants in New York City who arrive from the Global South are doubly marginalized by structural poverty and disenfranchisement, and arrive into pockets of New York City where they experience further loss of economic, social and political agency. What is the function of the arts in expressing the hardships of transition, marginality and hybridity, and in so many cases, the voicelessness of dispossessed newcomers? What methods or programs can museums in heavily immigrant neighborhoods, such as Queens, New York, utilize to help the transition of migrants into their new communities? Through a study of informal museum education programs in the Queens, New York area, this thesis seeks to uncover issues of class, ethnicity, representation, social and political power, and educational colonialism situated in a perspective of political and spatial economy using an ethnographic approach to understanding what community-based informal educational practices within museums can do to create an enhanced learning experience for adult learners that will result in greater engagement with the immigrant community and broader use of museum resources to advocate for community-based informal adult education practices that could be adapted to any museum's or cultural organization's outreach mission. This study will use the Queens Museum of Art’s New New Yorkers program as a model for integrating recently-arrived immigrants in New York City, as well as discuss how art provides an avenue for agency among the disempowered in immigrant communities. Finally, I will assess the program’s use of Communities of Practice and Situated Learning as potential methodologies for addressing the integration of newly-arrived immigrants into diverse urban communities in museums educational practices.
The Walls-Ortiz Gallery and Center (WOGC) is the research and arts arm of City Seminary of New York, and the seminary’s primary space for public engagement and hospitality in our Harlem neighborhood. Named for Andrew Walls and Manuel Ortiz, leading scholars of Christian mission, World Christianity, and the practice of ministry, it is a community space for conversation, for telling stories, for visualizing and engaging faith, and for new questions and unexpected appreciations. In line with City Seminary’s 2015-16 theme, “Welcome for the Peace of the City” (based on Jeremiah 29:7), WOGC launched our first juried exhibition of local NYC artists, entitled “Who is my Neighbor? NYC,” with the aim of creating dialogue around what it means to live well together in a diverse and changing community. As part of the exhibition programming, we began a series of "Community Conversations," bringing together old and new Harlem residents with City Seminary staff and faculty to share a meal, interact with the exhibition, and reflect on experiences of / dreams for the neighborhood through conversation and collaborative art-making. This presentation will describe our experience of public engagement through the exhibition and Community Conversations, as well as reflect theologically on the impact of the gallery as a place of welcome, listening, and fruitful dialogue with neighbors in a community undergoing socio-economic and cultural transition, as well as the centrality of the arts in public faith.
Ally, ed. Adrian Heathfield. Fabric Workshop and Museum/Hirmer.
Revolving Together Like Stars: The Art of Anna Halprin2017 •
Southeast Asia, often generalized as an “exotic destination,” is actually eleven distinct countries stretching over vast land and sea. While Southeast Asia (SEA) encompasses extensive natural landscapes, the biodiversity reflected in nature is mirrored in the complex social, cultural and economic transformation of each country.
This paper contributes to the creative city-community development arts policy debate by examining the association of arts organizations to various neighborhood contexts in New York City. Results from multivariate regression analyses show that arts organizations regardless of type are positioned to serve the creative class rather than play a community development role. Notably, only a small subset of locally focused organizations and organizations with smaller expenditures locate in disadvantaged and immigrant neighborhoods where they might play a direct role in community development. Instead, most arts organizations tend to locate in the most highly urbanized, amenities-rich areas with young working singles and creative industries. These findings raise important questions for incorporating the arts into neighborhood planning efforts.
This presentation contextualizes Neeson’s current artistic research, which since 1993 has been both venue specific and contained referential installations of mimetic works. By necessity, these projects take place outside the orthodoxy of the ‘white cube’ in order to include the transition of daylight at the sites in which they are both made and experienced. For Neeson, this liberates representation from a debilitation imposed on it from outside the form. Neeson’s projects initially grew out of an examination of the Still Life as a marginalised genre. Over the last five years, Neeson has worked to arrange and document Still Life in the streets and lanes of inner Melbourne using window ledges and blind niches that read as ‘Bodegóns’. In employing an attitude related to the dérive and the flâneur, he has more recently ceased practicing such interventions to simply record foundStill Life on his smartphone. Although this activity takes place outside traditional exhibition environments, Neeson nonetheless conforms to certain conventions of display and social commentary inherent to the Still Life canon—an activity which in turn addresses the role of authorship and intent within the genre. John R. Neeson is a current PhD candidate at the University of Tasmania. Previous research includes PhD, Monash, 2002, Royal College of Art, London- Samstag Scholarship Program 1996/97. Venue specific projects include Conical, WestSpace, Techno Park Studios, Melbourne, blackartprojects, Melbourne & Milan, AC Institute & Point B New York, Arthouse and GasWorks London, Ar.Co- Centro de Arte e Comunicação Visual, Lisbon (and forthcoming in 2015 at The Institut für alles mögliche, Berlin). Curated exhibitions include ‘Objectives‘ TechnoPark Studios. ‘Imaging the Apple’ AC Institute New York, ‘Arrangement - Australian Still life 1973 - 1993’ Heide MoMA.‘Projects One – VCA’ Gallery. Grants and Awards include American Australian Association, Australia Council, Australian Post Graduate Research Award.
Publication produced in conjunction with international conference event organised by Sean Lowry and Simone Douglas, November 13 -14, The Lang Center, School of Art, Media, and Technology at Parsons The New School for Design, a division of The New School, New York NY, USA. Published by Project Anywhere, Parsons The New School for Design and mThe University of Newcastle, November 2014, ISBN 978-0-692-32297-0.
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