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This article examines the life and work of the nineteenth-century French-American artist Victor Prevost. While Prevost's name is familiar to photography historians, the diversity of his artistic accomplishments has not been fully appreciated. An artist celebrated for work in several mediums, Prevost was already making large-format calotypes in 1851 while living in New York City. He was also responsible for innovations in telescopic photography, joining with astronomers at the West Point Military Academy in 1854 to capture a solar eclipse on paper. This paper seeks to broaden knowledge of Prevost's life and work as a commercial artist in New York during the nineteenth century. [ABSTRACT FROM AUTHOR]

In tracing the controversy-ridden social history of the West Indian Labor Day Carnival in Central Brooklyn, the phrase 'Zoo York' emerged as a powerful descriptor of city life as a staged and enclosed spectacle, an ethos that is enunciated by Carnival. The term 'Zoo York' was coined by the hip-hop generation of the 1970s. Zoo York is said to have been inspired by the physical, literal zoo in Central Park, but might have been influenced by the major construction projects that enclosed the inner city of New York City decades prior. In this analysis, Carnival is shown to be a method and praxis for examining the racial and gender aspects of the city. This method places the West Indian Carnival within a larger narrative of enclosure that has been critical in the policing of Black cultural aesthetics in the United States and beyond. [ABSTRACT FROM AUTHOR]