The Politics of Disgust: The Public Identity of the Welfare Queen By Ange-Marie Hancock New York University Press, 2004. 210 pages. $65 (cloth), $20 (paper)

Social Forces ◽  
2007 ◽  
Vol 85 (3) ◽  
pp. 1446-1448
Author(s):  
C. Broughton
Keyword(s):  
New York ◽  
New York University ◽  
Public Identity ◽  
The Public ◽  
Welfare Queen

DISGUST, VISIBLE VENERATION, AND ROSA PARKS: African American Visions of a Democratic America

2005 ◽  
Vol 2 (2) ◽  
pp. 303-317 ◽  
Author(s):  
Dianne Pinderhughes
Keyword(s):  
New York ◽  
New York University ◽  
Public Identity ◽  
Black Freedom Movement ◽  
The Public ◽  
Princeton University ◽  
Chapel Hill ◽  
Black Freedom ◽  
Black Political Thought ◽  
Freedom Movement

Melissa Victoria Harris-Lacewell, Barbershops, Bibles, and BET: Everyday Talk and Black Political Thought. Princeton, NJ: Princeton University Press, 2004, 336 pages, ISBN: 0-691-11405-6, Cloth, $37.95.Barbara Ransby, Ella Baker and the Black Freedom Movement: A Radical Democratic Vision. Chapel Hill, NC: University of North Carolina Press, 2003, 496 pages, ISBN: 0-8078-2778-9, Cloth, $34.95, ISBN: 0-8078-5616-9, Paper, $19.95.Ange-Marie Hancock, The Politics of Disgust: The Public Identity of the Welfare Queen. New York: New York University Press, 2004, 210 pages, ISBN: 0-814-736-580, Cloth, $60.00, ISBN: 0-814-736-70X, Paper, $20.00.

City of Forests

2017 ◽  
Author(s):  
Lindsay K. Campbell
Keyword(s):  
New York ◽  
Human Resources ◽  
Urban Forest ◽  
Urban Forestry ◽  
Private Land ◽  
Organizational Governance ◽  
Public Identity ◽  
The Public ◽  
Hybrid Governance ◽  
New Guidelines

Chapter three describes the heart of the MillionTreesNYC campaign: planting one million trees. It focuses on the organizational, governance, and material arrangements involved in transforming the city’s urban forest. A formal public-private partnership was created to run the campaign, an example of truly hybrid governance at work. The prominence and scale of the initiative led to major organizational changes in the two core partners. They both garnered and expended massive amounts of financial and human resources in the planting of a million trees. Counting the number of trees planted was central to the public identity and internal functioning of the campaign. The conduct of urban forestry in New York City was radically altered by the MillionTreesNYC campaign. New guidelines, routines, and procedures were developed to alter the practice of urban forestry on streets, in parks, in “natural areas,” on public housing grounds, and on private land.

Brought on the Feels: A roundtable debrief of the public art project, We They

2019 ◽  
Vol 8 (2) ◽  
pp. 105-138
Author(s):  
Pato Hebert ◽  
Anooj Bhandari ◽  
Leesa Tabrizi ◽  
Sol De La Ciudad ‘Patches’ ◽  
Ky’Naisha (Nene) Severe
Keyword(s):  
New York ◽  
Urban Space ◽  
Public Art ◽  
Transformative Pedagogy ◽  
Youth Services ◽  
New York University ◽  
Queer Youth ◽  
The Public ◽  
Greenwich Village ◽  
Learning Institutions

We They was a public art project created by staff and young people from queer youth services organization Hetrick-Martin Institute (HMI)<xref ref-type="fn" rid="fn0001">1</xref> in collaboration with a faculty member, alumnus, undergraduate and graduate students from New York University (NYU)<xref ref-type="fn" rid="fn0002">2</xref>. HMI and NYU are two different kinds of learning institutions located a mere block apart in New York City’s Greenwich Village neighbourhood. In the following roundtable discussion, project collaborators discuss their experiences working on the project and how the resulting artwork impacted them. Their discussion addresses themes such as transformative pedagogy, photographic portraiture; young queer people of colour, activating urban space and trust.

Reading Publicity Photographs through the Elizabeth Robins Archive: How Images of the Actress and the Queen Constructed a New Sexual Ideal

2015 ◽  
Vol 57 (1) ◽  
pp. 109-131
Author(s):  
Elizabeth M. Bonapfel
Keyword(s):  
New York ◽  
Twentieth Century ◽  
The Body ◽  
New York University ◽  
The Public ◽  
Photograph Albums ◽  
Feminine Beauty ◽  
Public Role ◽  
Late Nineteenth ◽  
Elizabeth Robins

In this article, I trace the origins of the normalization of pornographic tropes as the new sexual ideal in contemporary visual culture to late nineteenth- and early twentieth-century publicity photos of actresses and monarchs by examining one prominent transatlantic actress's collection of publicity photos, the Elizabeth Robins Papers at the Fales Library at New York University. As I show, around the turn of the twentieth century, a new standard of idealized feminine beauty was produced by the combination of two contradictory images of celebrity: the distant decorum of the monarch and the perceived erotic sexuality of the actress. The mass production of publicity photographs, which took the form of cartes-de-visite in the 1860s and cabinet photos in the 1870s, broadened the spectrum of sexuality by positioning these two quintessential celebrity types—the actress and the monarch—in relation to the tableau vivant and to existing and emerging tropes of portraiture. The image of the actress existed in relation to several mutually dependent discourses in the late nineteenth and early twentieth centuries: the rise of photography in relation to other art forms; the rise of theatrical spectacle in relation to advertising, consumerism, and fashion; the rise of women's public role in relation to sexuality, the body, and beauty culture; and the paradoxical democratization of celebrity culture as related to the monarchy. All of these factors center on a figure who lived so vividly in the public imaginary that she could be found in multiple spaces: on the stage, in stationers’ shops, on postcards, in newspapers, in photograph albums.

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