In the category of History, for a distinguished and appropriately documented book on the history of the United States, Ten thousand dollars ($10,000) was awarded to “Embers of War: The Fall of an Empire and the Making of America’s Vietnam,” by Fredrik Logevall (Random House), a balanced, deeply researched history of how, as French colonial rule faltered, a succession of American leaders moved step by step down a road toward full-blown war. Continue reading
With the annual meeting of the Association of Public Historians of New York State (APHNYS) fast approaching and the centennial of the local government historians law on the not so distant horizon, as Bruce Dearstyne just reminded us, it is appropriate to examine just what is expected from municipal historians.
One may ask the proverbial question, “How are you doing?” – and take an opportunity to address what the guidelines say, what is being done, and what should be done. Continue reading
New York’s long, rich, and vibrant state and local history has long been a source of pride and inspiration. As items on this website repeatedly confirm, there are many programs that provide creative interpretation and presentation of key events and developments.
But over the years, the New York historical community, particularly in publishing books, has sometimes tended to concentrate on certain topics and neglect or minimize others.
In 1670, New York had been New York for just six years—the name changed to honor the Duke of York when English forces seized control of the Dutch colony. But the city was open for business, and many back in Europe were curious about this center of trade across the Atlantic, open in the midst of the Age of Exploration.
Daniel Denton was a town clerk in Jamaica, Long Island, and from 1665-1666 served as justice of the peace for New York. He returned to England briefly in 1670, where he composed this pamphlet, “A Brief Description of New-York,” aimed at encouraging English settlers to come to the New World. Continue reading
One of the types of posts which I have writing is conference reports. The purpose is to share with people who have not attended a conference what I have learned by attending one. In this post I wish to deviate slightly by reporting on a conference I did not attend but from which relevant information still is available. The conference is the annual meeting of the American Historical Association just held in New Orleans.
It was long past the eleventh hour of my publication timetable and I still needed to get one last image to illustrate the article “‘-No Mortal Eye Can Penetrate’: Louis Ransom’s Commemoration of John Brown” which would be appearing in our Autumn issue. I turned to the Library of Congress’s website, found and saved the file along with the metadata in order to be able to cite it correctly, and sent the last of the material to our designer.
Six short weeks later, the Autumn 2012 issue of The Hudson River Valley Review was out to great acclaim, and just a few even shorter days after that I received my first correction. It was about that image, and it was from Jean Libby, who had been cited in the article as the curator and author of the John Brown Photo Chronology. It was clear that I had gotten something wrong. Continue reading
A Checker taxicab, a conductor’s (OK, not just any conductor but Leonard Bernstein) baton, the blue-and-white Greek coffee cups and the elevator safety brake. A subway token and a mastodon tusk. Inspired by the British Museum’s ”A History of the World in 100 Objects,” The New York Times recruited historians and curators to identify objects that embody the narrative of New York City. Now they’re expanding that list into a book and need your help!
The museum’s ”History of the World” was limited to objects in its own collection. We have no limitations, except that when we asked readers for their suggestions, we probably should have defined “objects” more specifically. Readers suggested a number of people (former Mayor Edward I. Koch, among others) and some things like Central Park, Grand Central Terminal, Kennedy Airport, the Statue of Liberty and the Empire State Building and the Unisphere, which wouldn’t fit in a museum.
Readers recommended the subway token (substituted for a NYC MetroCard), Bella Abzug’s hat, and a hearty helping of food, from pizza slices (triangular and square)- egg creams (made with Fox’s U-bet chocolate syrup)- pastrami sandwiches- Mello-Rolls and other ice cream treats- seltzer bottles- Ebinger’s blackout cake- the cream-cheese sandwiches at Chock Full o’Nuts- plantains- cheesecake from Junior’s and Lindy’s- Charlotte russes- a pickle barrel- and hot dogs from Nathan’s and from carts under the ubiquitous blue-and-yellow Sabrett umbrellas.
Only a few symbols summon the city more immediately than the ”I love NY” logo, designed by Milton Glaser in 1977 for a state campaign to spur tourism, but does that qualify as an object? Also, we are looking for quirky, other-than-obvious objects that don’t just evoke New York, but that also could be used to tell the story of the city: A lottery wheel from the Civil War draft, a crack vial from the 1980s, the 1-inch-by-3 inch Delaney card, the visual attendance record invented by a Bronx teacher that, the reader wrote, ”held the power of life and death over a student” and Con Edison’s orange-and-white chimneys placed over manholes to allow steam to escape without scalding passers-by or obscuring visibility.
Any suggestions would be very welcome. Send them to Sam Roberts at The New York Times (email@example.com).
“It is with a heavy heart that we announce our decision to cease publishing American Revolution Magazine, due to a variety of factors,” the publishers of the popularly oriented magazine of the Revolution have announced. The last issue of the magazine published was the September/October 2012 issue and mailed in August.
The magazine’s Editor David Reuwer, President of the American Revolution Association (ARA), helped found the periodical in January 2009 as a bi-monthly. About 5,000 copies were distributed in over 40 states and in England, according to ARA’s website. The magazine also used the name Patriots of the American Revolution.
Back issues can still be purchased for $4 each by calling 800.767.5828.
The Annual Hendricks Award is given to the best book or book-length manuscript relating to any aspect of the Dutch colonial experience in North America until the American Revolution. The Award carries a prize of $5,000 as well as a framed print of a painting by Len Tantillo entitled Fort Orange and the Patroon’s House. The prize-winner, chosen by a five-member panel of scholars, is selected in May or June. The Award is given at a ceremony in conjunction with the annual New Netherland Seminar, held in September. Reasonable travel expenses will be reimbursed.
Two categories of submissions will be considered in alternate years:
(1) recently completed dissertations and unpublished book-length manuscripts (2012), and (2) recently published books (2013). If there is no suitable winner in the designated category in any particular year, submissions from the alternate category will be considered. In addition, submissions from the previous year will be reconsidered for the Award.
Criteria: Entries must be based on research completed or published within two years prior to submission. Manuscripts may deal with any aspect of the Dutch colonial experience as defined above. Biographies of individuals whose careers illuminate aspects of the history of New Netherland and its aftermath are eligible, as are manuscripts dealing with literature and the arts, provided that the methodology is historical. Co-authored books are eligible, but edited collections of articles are not, nor are works of fiction or works of article length. An entry may be a self-nomination, an outside nomination, or in response to invitations to submit from Hendricks Award readers.
Submissions will be judged on their contribution to the scholarly understanding of the Dutch colonial experience in North America and the quality of their research and writing.
Three copies of a published book or three clear, readable photocopies of the manuscript must be submitted on or before March 15, with a letter of intent to enter the contest. Copies cannot be returned. Alternatively, submissions may be in pdf format.
Address entries to:
The Annual Hendricks Award Committee
New Netherland Institute
Cultural Education Center, Room 10D45
Albany, NY 12230
Send PDF submissions to firstname.lastname@example.org- use ‘-Hendricks award’ in the subject line.
The dramatic art of a significant emerging literary genre will be explored in the exhibition, “LitGraphic: The World of the Graphic Novel,” on view March 4 through April 29 in the Munson-Williams-Proctor Arts Institute Museum of Art.
In this look at the development and current practices of sequential art, also known as the graphic novel, “LitGraphic” showcases 200 original paintings, drawings, storyboards, notebooks, comic books, photographs, and a documentary film, offering insight into the lives of the artists and the nature of their work.
Featured artists and writers include pioneers Lynd Ward (“Vertigo”) and Will Eisner (“The Spirit”) as well as contemporaries including Sue Coe and Marc Hempel, whose illustrations for Neil Gaiman’s groundbreaking “Sandman” are on view also.
Mary E. Murray, MWPAI Curator of Modern and Contemporary Art, said comics have always been an important influence on modern and contemporary artists, from Lyonel Feininger, to Willem DeKooning and Roy Lichtenstein “The art of these publications is more than light entertainment, it is serious commentary on contemporary culture, and we are excited to present this important component of visual culture to our patrons,” she added. Murray noted that more than 60 years ago, the Museum of Art showcased an exhibition of drawings by cartoonist William Steig, creator of the character Shrek- and an exhibition of Milton Caniff’s Steve Canyon comics.
Published in book form, graphic novels employ words and pictures to address thought-provoking subjects that will serve as the thematic framework for the exhibition. Commentary by artists and curators focusing on recurring subjects, artistic and cultural influences, and the climate that impacts the creative process will be woven throughout the exhibition where contemporary art meets traditional America.
An increasing number of artists are choosing to express themselves through graphic novels, which have received increased recognition in the popular sector, in noted periodicals including “The New York Times,” “The New Yorker” and in classrooms, libraries, and bookstores throughout the United States and abroad. A graphic novel employs the technique of cinematographic narrative, developed by comic-book artists, telling the story through metaphors and visual images, particularly images of action.
Graphic novels, or long-form comic books, have started to gain the interest and consideration of the art and literary establishment. Graphic novels, with their antiheroes and visual appeal, are approaching the popularity of the novel. Focused on subjects as diverse as the nature of relationships, the perils of war, and the meaning of life, graphic novels comprise the fastest-growing sections of many bookstores.
“LitGraphic: The World of the Graphic Novel” is organized and toured by the Normal Rockwell Museum in Stockbridge, Massachusetts.
Illustration: Lynd Ward’s “Beowulf wrestles with Grendel”, 1933 (Courtesy Wikipedia).