Between 1999 and 2001, small old-fashioned landscapes painstakingly painted in oil started appearing on graffiti sites in New York City. The paintings were the work of well-known artist Ellen Harvey. Documented here are both the works and Harvey's diary-like experiences of painting illegally throughout the city. The narrative of her "beautification project" is both provocative and hilarious. It touches on serious issues, such as who is allowed to make art in our society and what distinguishes art from graffiti, while never losing touch with the frequently comical reality of creating a contemporary art project on the streets of New York.

Ellen Harvey's inspiring guerilla art project feels fresher and more relevant than ever Between 1999 and 2001, small old-fashioned landscapes painstakingly executed in oil started to appear on graffiti sites across New York City. The paintings were the work of the well-known Brooklyn-based artist Ellen Harvey (born 1967). Documented in this reprint of the sold-out first edition are both the works themselves and Harvey's diaristic accounts of painting illegally throughout the city. The narrative of her "beautification project" is both provocative and hilarious. It touches on such issues as who is allowed to make art in our society, and what distinguishes art from graffiti, while never losing touch with the frequently comical reality of creating a contemporary art project on the streets of New York.

Gallery director, artist, and lecturer Jackie Battenfield offers expert advice on how to develop a sustained and rewarding career as a visual artist.

In New York - wie auch in vielen anderen Großstädten - wächst die Zahl der öffentlichen Plätze, die Privatpersonen gehören und auch privat betrieben werden. Als Gegenleistung für die Schaffung dieser Plätze und Einrichtungen, erhalten die Erbauer von der Stadt Sonderkonzessionen (in der Regel für die Gebäudehöhe). Dieses Buch dokumentiert und beschreibt anhand von Fotos, Lageplänen und Karten über 300 öffentliche Plätze in New York, die in privater Hand sind. Zu den bekanntesten zählen u.a. das Trump Tower Atrium, die Sony Arkade und die Citicorp Mall. Jede Beschreibung enthält Informationen zu Größe, Fertigstellungsdatum, Architekten/Landschaftsarchitekten, Gebäudeeigentümer, Öffnungszeiten und Lage. Zu den Abbildungen gehört jeweils ein Foto sowie eine maßstabsgetreue Zeichnung, die verdeutlichen, wie sich der Bau in die angrenzende Gebäude-/Straßenlandschaft einpaßt. (y05/00)

Exploring professional passenger driving and the gig economy through feminist theories of labor Are taxi drivers in today’s era of the ride-hail app performing care work akin to domestic and household labor? So argue the authors of Spent behind the Wheel. Bringing together sociological and legal perspectives with feminist theoretical insights, Julietta Hua and Kasturi Ray examine the case study of contemporary professional passenger driving in the United States. On the one hand, they show, the rise of the gig economy has brought new attention to the industry of professional passenger driving. On the other hand, the vulnerabilities that professional drivers experience remain hidden. Drawing on interviews with drivers, labor organizers, and members of licensing commissions, as well as case law and other published resources, Hua and Ray argue that working for ride-hail companies like Uber and Lyft shares similarities with driving for taxi companies in the impact on driver lives. Lyft and Uber sell the idea of industry disruption, but in fact they entrench long-standing modes of extracting the reproductive labor of their drivers for the benefit of consumer lives. Reproductive labor—conventionally understood as feminized labor—is extracted, but masked, behind the masculinized, racialized bodies of drivers. Professional driving is thus best understood alongside domestic and other gendered service work as reproductive labors devalued and often demonetized to benefit the national economy. Spent behind the Wheel is a must for readers interested in critical studies of technological change and the gig economy, showing how drivers’ capacities are drained for the benefit of riders, corporations, and the maintenance of the racial state.