New York School

This book discusses the role of gesture painting and the sculpture related to the painting in the development of distinctive artistic tendencies by the members of the second generation of the New York School during the second part of the fifties.

Maggie Nelson provides the first extended consideration of the roles played by women in and around the New York School of poets, from the 1950s to the present, and offers unprecedented analyses of the work of Barbara Guest, Bernadette Mayer, Alice Notley, Eileen Myles, and abstract painter Joan Mitchell as well as a reconsideration of the work of many male New York School writers and artists from a feminist perspective.

Despite its image as an epicenter of progressive social policy, New York City continues to have one of the nation's most segregated school systems. Tracing the quest for integration in education from the mid-1950s to the present, The Battle Nearer to Home follows the tireless efforts by educational activists to dismantle the deep racial and socioeconomic inequalities that segregation reinforces. The fight for integration has shifted significantly over time, not least in terms of the way "integration" is conceived, from transfers of students and redrawing school attendance zones, to more recent demands of community control of segregated schools. In all cases, the Board eventually pulled the plug in the face of resistance from more powerful stakeholders, and, starting in the 1970s, integration receded as a possible solution to educational inequality. In excavating the history of New York City school integration politics, in the halls of power and on the ground, Christopher Bonastia unearths the enduring white resistance to integration and the severe costs paid by Black and Latino students. This last decade has seen activists renew the fight for integration, but the war is still far from won.

New York School Painters & Poets charts the collaborative milieu of New York City poets and artists in the mid-twentieth century. This unprecedented volume comprehensively reproduces rare ephemera, collecting and reprinting collaborations, paintings, drawings, poetry, letters, art reviews, photographs, dialogues, manifestos, and memories. Jenni Quilter offers a chronological survey of this milieu, which includes artists such as Willem de Kooning, Robert Motherwell, Alex Katz, Jasper Johns, Fairfield Porter, Larry Rivers, George Schneeman, and Rudy Burckhardt, plus writers John Ashbery, Bill Berkson, Ted Berrigan, Joe Brainard, Edwin Denby, Larry Fagin, Frank O’Hara, Charles North, Ron Padgett, James Schuyler, Anne Waldman, and more. “Giving us for the first time a full picture of the scene these artists and writers shared,” writes Carter Ratcliff in his foreword, “this book illuminates the unities and tensions, the playfulness and glamour and startling authenticity of their collaborations. Here we not only see evidence of a modus operandi. We also feel the exuberance of a certain modus vivendi, a way of life.” By Jenni Quilter, Edited by Allison Power, with Advisory Editors: Bill Berkson and Larry Fagin, and Foreword by Carter Ratcliff.

Named one of the Ten Best Books about New York City by the New York Times

For nearly a decade, parents have looked to Clara Hemphill to help them find a great public school for their child. For this third edition, Clara and her staff visited nearly 500 of New York City's elementary schools and chose 200 of the best schools to recommend, with more than 70 new school profiles not included in the previous edition! This essential guide uncovers the inside scoop on schools (the condition of the building, homework, teacher quality, etc.), includes a checklist of questions to ask on a school tour, and incorporates new listings of charter schools and magnet programs.

FROM 1947 TO 1951, more than a dozen Abstract Expressionists achieved "breakthroughs" to independent styles. 1 During the following years, these painters, the first generation of the New York School, received growing recognition nationally and globally, to the extent that American vanguard art came to be considered the primary source of creative ideas and energies in the world, and a few masters, notably Pollock, de Kooning, and Rothko, were elevated to art history's pantheon. Younger artists who entered their circle in the early fifties-the early wave of the second generation-such as Larry Rivers, Helen Frankenthaler, Grace Hartigan, Allan Kaprow, Joan Mitchell, Robert Rauschenberg, and Richard Stankiewicz (to list some of the better known), were also acclaimed, but with a few exceptions, their reputations had gone into decline by the end of the fifties. In the following decade, the second generation was eclipsed by a third generation, the innovators of Pop, Op, Minimal, and Conceptual Art. (Any notion of a generation of artists is necessarily arbitrary, of course. The term "generation," as it is used here, refers to a group of artists close in age who live in the same neighborhood at the same time, and to a greater or lesser degree, know each other and partake of a similar sensibility, a shared outlook and aesthetic.)