An argument is presented for the truth of the conditional, ‘If New York is not in the United States, it's in California’. Several possible objections to this argument are then examined and evaluated. Further argument establishes that if the argument for the truth of ‘If New York is not in the United States, it's in California’ is sound, it follows that an indicative conditional is true if and only if it has either a false antecedent or a true (...) consequent. (shrink)

Two days following her arrest, a forty-four-year-old woman died in jail from aspiration pneumonia secondary to Untreated opiate withdrawal. The New York State Commission of Corrections concluded in its final report that had adequate medical evaluation and treatment been afforded, her death would have been prevented. A forty-six-year-old male with a history of alcohol dependence was arrested for trespassing and held in the county jail. Three days later he became agitated and aggressive. Following physician orders, deputies placed him (...) in restraints. He subsequently vomited and seized. Fifteen minutes later, he experienced respiratory arrest and died.These cases highlight a serious, but neglected problem in jails across the country: inadequate assessment and treatment of drug and alcohol withdrawal among arrestees. In this article, we show that untreated drug or alcohol withdrawal is associated with adverse outcomes including needless pain and suffering, medical morbidity, and in some instances, death. (shrink)

Two days following her arrest, a forty-four-year-old woman died in jail from aspiration pneumonia secondary to Untreated opiate withdrawal. The New York State Commission of Corrections concluded in its final report that had adequate medical evaluation and treatment been afforded, her death would have been prevented. A forty-six-year-old male with a history of alcohol dependence was arrested for trespassing and held in the county jail. Three days later he became agitated and aggressive. Following physician orders, deputies placed him (...) in restraints. He subsequently vomited and seized. Fifteen minutes later, he experienced respiratory arrest and died.These cases highlight a serious, but neglected problem in jails across the country: inadequate assessment and treatment of drug and alcohol withdrawal among arrestees. In this article, we show that untreated drug or alcohol withdrawal is associated with adverse outcomes including needless pain and suffering, medical morbidity, and in some instances, death. (shrink)

The association between New York City’s all-over structure and the play that unfolds within it relative to difference and identity is very pertinent but is not specific enough, in my opinion. On the one hand, all of Mondrian’s neoplastic works are constituted by an opposition between the variable and the invariable . On the other hand, the type of identity produced in New York City relies on repetition, a principle which, we know, explicitly governs a whole range (...) of paintings predating neoplasticism. New York City differs from the “classic” neoplastic works, as well as from the 1918-19 modular paintings with which it seems to have a good deal in common. It is, in part, because he never discusses this last point that Masheck doesn’t entirely grasp the amplitude of the reversal that Mondrian effected in his New York works.In fact, as James Johnson Sweeney realized quite early, one must go back o the 1917 works, which gave rise to modular grids for the two years that followed, in order to understand what happens not only in New York City but also in the two Boogie-Woogie paintings.3Everyone is aware of the extraordinarily rapid evolution of Mondrian’s work during the years immediately preceding the foundation of neoplasticism: under the influence of Bart van der Leck, he dopted the colored plane and the black dash on a white background as elements of his composition for the two Compositions in Color, A and B . Mondrian, who had not yet found a means of perspicuously relating these diverse elements , tied both plane and dashes together by way of an optical dynamism, based largely on their superimposition. The immediate consequence was to make the background recede optically. The next step was the five Compositions , all entitled “With Colored Planes” . Here all superimposition was eliminated, as well as all “line.” In the last two of these canvases, the background itself is divided without remainder in to planes of different shades of white. The colored rectangles are on the way to alignment. In spite of this, the rectangles fluctuate and, consequently, the background is hollowed out behind them. 3. See James Johnson Sweeney, “Mondrian, the Dutch and De Stijl,” Art News 50 : 63. Meyer Schapiro made a similar remark, at about the same time, in his courses. 4. When I refer to a number accompanied by “Seuphor,” it refers to the “catalog by group” included in Michel Seuphor’s book on the artist. See Seuphor [Ferdinand Louis Berckelaers], Piet Mondrian; sa vie, son oeuvre, 2d ed. . Yve-Alain Bois is associate professor of art history at the Johns Hopkins University. He has published a number of essays on twentieth-century art, architecture, and criticism and is currently working on Mondrian’s neoplastic years and on a history of axonometric perspective. Amy Reiter-McIntosh is a lecturer at the University of Chicago. Her previous contribution to Critical Inquiry was a translation of Ernesto Laclau’s “Psychanalyse et marxisme”. (shrink)

My association with Denis Dutton began almost exactly thirty years ago, at the 1981 American Society for Aesthetics (ASA) conference in Tampa, although in an inverse sort of way: he deliberately chose not to meet me.Let me explain. In late October 1981, I was a housewife living in Sri Lanka who certainly did not have the means to travel from South Asia to central Florida. The previous year, I had published a paper in the summer issue of the Journal (...) of Aesthetics and Art Criticism.1 Soon afterward, I received a letter in a somewhat shaky hand from a gentleman in New York, David Mandel, who identified himself as a former labor lawyer who was passionate about the subject of art and evolution, to the extent that he .. (shrink)

In the May, 1960, issue of the American Bar Association Journal (vol. 499), Morton Birnbaum, a lawyer and physician, argued for a legal right to psychiatric treatment of the involuntarily committed mentally ill person. In the 18 years since his article appeared,, there have been several key court cases in which this concept of a right to psychiatric treatment has figured prominently and decisively. It is important to note that the language of the decisions have had at least an (...) indirect effect in the recently enacted mental Hygiene Law of the State of New York. While I shall not seek to establish the historical thesis that Birnbaum’s article has been efficacious in bringing about both these court decisions and changes in statutory laws, I do want to examine Birnbaum’s article and some of the opinions for three cases: Wyatt v. Stickney (1972), Wyatt v. Aderholt (1974), and O’Connor v. Donaldson (422 US 563, 1975), in an effort to understand both the significance of these changes in our laws and the underlying philosophical and ethical notions of which they are an expression. Birnbaum observed that the notable feature of the legal situation at the time was that there had not been recognized a constitutional requirement that one who had been institutionalized for mental illness according to due process must receive treatment. Birnbaum argued that the effects of an omission of such a requirement to treat were that mental institutions typically offered only custodial care, that patients who were held only under custodial care typically did not improve, and that the result was that involuntary incarceration in a mental institution was, at least from the point of view of the patient, functionally no different than would be imprisonment for an unspecified period of time. Birnbaum argued for a recognition and enforcement in the courts of the right to treatment “...as a necessary and overdue development of our present concept of due process of law,” i.e., as required by the 14th Amendment to the U.S.. (shrink)

Contemporary public art is still in the process of defining its artistic and legal identity. Indeed to juxtapose the terms public and art is a paradox. Art is often said to be the individual inquiry of the sculptor or painter, the epitome of self-expression and vision that may challenge conventional wisdom and values. The term public encompasses a reference to the community, the social order, self-negation: hence the paradox of linking the private and the public in a single concept. A (...) goal of any general or jurisprudential theory concerning government sponsorship or ownership of art in the public context must reconcile, through state institutions and law, this tension between art’s subjectivity with hits potential for controversy and government’s need to promote the public good.This essay critically examines and discusses existing contemporary legal doctrine and its failure to accommodate or even adequately define the issues and competing values at stake in the public art context. Such failure may be attributed in part to the fact that neither legal theory nor art policy have been inspired by the vision of or located in the broader context of a sociopolitical public realm. Barbara Hoffman practices arts and entertainment law in New York and is counsel to the College Art Association. She is a former professor of constitutional law at the University of Puget Sound, and she has served as chair of the Public Art Committee of the Art Law Committee of the Association of the Bar of the City of New York, and president of the Washington Volunteer Lawyers for the Arts. (shrink)

Values and beliefs regarding communityfood security were investigated among participants in2–3 day participatory planning events related to thelocal food system in six rural counties from oneregion of upstate New York. The results of Qmethodology reveal three distinct viewpoints: a) theSocial Justice viewpoint, which is primarily concernedwith hunger and the potential harm caused by welfarereform; b) the Pragmatist viewpoint, which values thecontributions agriculture makes to local communitiesand is not concerned about environmental or socialexternalities of the dominant food system; and c) (...) theVisionary viewpoint, which also values agriculture inthe community but is very concerned aboutenvironmental and social externalities. After theplanning events, the Pragmatist viewpoint experiencedan 88% increase in members and the other twoviewpoints became less salient. Various categories ofprofessionals (e.g., nutrition, social welfare,agriculture, environmental) tend to express theviewpoints associated with their professions and/orthe client groups they serve. Despite thesedifferences among participants, the planning events inall six counties resulted in a wide range of goals andobjectives centered on a theme of re-localizing avariety of food system activities. These results arediscussed in relation to the desirability ofdeveloping an explicit philosophy of food andagriculture and the ideal processes required to doso. (shrink)

Presenting fifty projects from French-born, New York-based contemporary artist Pierre Huyghe's twenty-year career, this richly illustrated book provides an overview of his work across film, installation art, and live event. Since the 1990s, Huyghe's work has challenged the status of the exhibition format. With projects like the One Year Celebration and the foundation in 1995 of the collaborative Association of Freed Time, Huyghe developed a particular interest in the relationship between time and memory--an interest that has carried through (...) to his works, Untilled and the three-part The Host and the Cloud. Most recently, his projects include an untitled piece for the Documenta 13 in Kassel, Germany; Amidst Karlsaue Park's compost heap--an area detached from museums and cultural institutions and not intended to be seen--Huyghe installed common park objects from different moments in art history, as well as the Documenta in years past, from one of Joseph Beuys's uprooted oaks to Dominique Gonzalez-Foerster's pink bench. Published to accompany a major exhibition of Huyghe's work opening at the Los Angeles County Museum of Art in November 2014, this book offers the first comprehensive overview of the artist's career. The structure of the book brings to light Huyghe's creative process, with each step in the creation of featured projects amply illustrated with photographs, drawings, and preparatory sketches. (shrink)

It may seem odd to review a New York social club's yearbook, with its list of members’ addresses and series of committee reports. But such books sometimes contain material of more general interest. The latest one from the Century Association, for example, devotes 250 of its 685 pages to “Century Memorials”—that is, biographical sketches of recently deceased members, written by other members. Among the well-known figures taken up in these eighty-three sketches are the artists Richard Anuszkiewicz and Robert (...) Motherwell; the architects Henry N. Cobb and Charles A. Platt; the newspaper editors Harold Evans and Whitelaw Reid; the historians Henry F. Graff and William McFeely; the translator and literary scholar Donald Keene; the collector of literary and musical manuscripts Frederick Koch; the popular writer on Russian history Robert K. Massie; the clergyman James Parks Morton; the financier Felix G. Rohatyn; the lawyers Whitney North Seymour Jr. and Isaac N. Phelps Stokes; the literary editor Elisabeth Sifton; the university president Michael Sovern; the museum director Evan H. Turner; and the broadcast journalist Sander Vanocur. The sketches are generally well written and often richly evocative: the writers include Louis Begley, Kenneth T. Jackson, D. T. Max, and Honor Moore.The long shelf of Century volumes like this one clearly constitutes a valuable contribution to prosopographical literature. And the Century is not the only institution with such a tradition (other examples are the British Academy and the American Philosophical Society); but their publications are a frequently overlooked source, one not always available in research libraries. Unfortunately, it is also a source that seems to be diminishing: the American Antiquarian Society and the John Simon Guggenheim Memorial Foundation are examples of organizations, each with a history of providing biographical information, that are no longer doing so. Of course, the great previous runs of the former's Proceedings and the latter's Reports remain (one hopes) on the shelves for those who know to look for them. A step in the opposite direction has recently been taken by the Grolier Club, which has not had such a tradition (except for two biographical volumes in 1959 and 2000): its Gazette now includes a section of memorials in each issue. This is a welcome move, but one has to regret that so little scholarly use is made of this whole body of biographical detail and reminiscence. (shrink)