EDITORIAL

PEDIATRICS ◽  
1949 ◽  
Vol 4 (5) ◽  
pp. 710-710
Keyword(s):  
New York ◽  
Kansas City ◽  
Special Section ◽  
University Of Kansas ◽  
New York University ◽  
Great Pleasure ◽  
New Members ◽  
The Public ◽  
Johns Hopkins University

PEDIATRICS takes great pleasure in announcing the addition of three new members to its Editorial Board: Dr. Herbert C. Miller, Kansas City, Kansas, Professor of Pediatrics, University of Kansas, Dr. Ralph V. Platou, New Orleans, Professor of Pediatrics Tulane University, and Dr. L. Emmett Holt, Jr., New York, Professor of Pediatrics, New York University. Also, Dr. Edwards A. Park has resigned from the Editorial Board after a long period of duty. Dr. Paul A. Harper, Baltimore, Johns Hopkins University, has been added to the Editorial Board in place of Dr. Park. Dr. Harper will continue to conduct the special section "The Pediatrician and the Public" and all correspondence relative to that column should be directed to Dr. Paul A. Harper, 615 North Wolfe Street, Baltimore, Maryland.

EDITORIAL

PEDIATRICS ◽  
1950 ◽  
Vol 5 (1) ◽  
pp. 170-170
Keyword(s):  
Annual Meeting ◽  
San Francisco ◽  
Great Pleasure ◽  
Chief Of Staff ◽  
School Of Medicine ◽  
Johns Hopkins University ◽  
Board Membership ◽  
Full Complement

PEDIATRICS has great pleasure to announce that Dr. Francis F. Schwentker has been appointed a member of its Editorial Board. Dr. Schwentker is Professor of Pediatrics, Johns Hopkins University School of Medicine, and Chief-of-Staff, Harriet Lane Home, Baltimore, Md. He succeeds Dr. C. Anderson Aldrich, deceased. His appointment brings the Board membership to full complement. His experience and ability should strengthen further the influence of the Board in service for Pediatrics and the Academy. The Eighteenth Annual Meeting of the Academy of Pediatrics in San Francisco from Nov. 14 to 17, 1949, was an outstanding one. The plans for the meeting were well made and location at the Palace Hotel was most satisfactory.

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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