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The Direct Action Politics of US Punk Collectives
DIY Democracy 23 DIY Democracy: The Direct Action Politics of U.S. Punk Collectives Dawson Barrett Somewhere between the distanced slogans and abstract calls to arms, we . discovered through Gilman a way to give our politics some application in our actual lives. Mike K., 924 Gilman Street One of the ideas behind ABC is breaking down the barriers between bands and people and making everyone equal. There is no Us and Them. Chris Boarts-Larson, ABC No Rio Kurt Cobain once told an interviewer, “punk rock should mean freedom.”1 The Nirvana singer was arguing that punk, as an idea, had the potential to tran- scend the boundaries of any particular sound or style, allowing musicians an enormous degree of artistic autonomy. But while punk music has often served as a platform for creative expression and symbolic protest, its libratory potential stems from a more fundamental source. Punk, at its core, is a form of direct action. Instead of petitioning the powerful for inclusion, the punk movement has built its own elaborate network of counter-institutions, including music venues, media, record labels, and distributors. These structures have operated most notably as cultural and economic alternatives to the corporate entertainment industry, and, as such, they should also be understood as sites of resistance to the privatizing 0026-3079/2013/5202-023$2.50/0 American Studies, 52:2 (2013): 23-42 23 24 Dawson Barrett agenda of neo-liberalism. For although certain elements of punk have occasion- ally proven marketable on a large scale, the movement itself has been an intense thirty-year struggle to maintain autonomous cultural spaces.2 When punk emerged in the mid-1970s, it quickly became a subject of in- terest to activists and scholars who saw in it the potential seeds of a new social movement. -
Lower Manhattan
WASHINGTON STREET IS 131/ CANAL STREETCanal Street M1 bus Chinatown M103 bus M YMCA M NQRW (weekday extension) HESTER STREET M20 bus Canal St Canal to W 147 St via to E 125 St via 103 20 Post Office 3 & Lexington Avs VESTRY STREET to W 63 St/Bway via Street 5 & Madison Avs 7 & 8 Avs VARICK STREET B= YORK ST AVENUE OF THE AMERICAS 6 only6 Canal Street Firehouse ACE LISPENARD STREET Canal Street D= LAIGHT STREET HOLLAND AT&T Building Chinatown JMZ CANAL STREET TUNNEL Most Precious EXIT Health Clinic Blood Church COLLISTER STREET CANAL STREET WEST STREET Beach NY Chinese B BEACH STStreet Baptist Church 51 Park WALKER STREET St Barbara Eldridge St Manhattan Express Bus Service Chinese Greek Orthodox Synagogue HUDSON STREET ®0= Merchants’ Fifth Police Church Precinct FORSYTH STREET 94 Association MOTT STREET First N œ0= to Lower Manhattan ERICSSON PolicePL Chinese BOWERY Confucius M Precinct ∑0= 140 Community Plaza Center 22 WHITE ST M HUBERT STREET M9 bus to M PIKE STREET X Grand Central Terminal to Chinatown84 Eastern States CHURCH STREET Buddhist Temple Union Square 9 15 BEACH STREET Franklin Civic of America 25 Furnace Center NY Chinatown M15 bus NORTH MOORE STREET WEST BROADWAY World Financial Center Synagogue BAXTER STREET Transfiguration Franklin Archive BROADWAY NY City Senior Center Kindergarten to E 126 St FINN Civil & BAYARD STREET Asian Arts School FRANKLIN PL Municipal via 1 & 2 Avs SQUARE STREET CENTRE Center X Street Courthouse Upper East Side to FRANKLIN STREET CORTLANDT ALLEY 1 Buddhist Temple PS 124 90 Criminal Kuan Yin World -
A Lower East Side Gallery Guide
A LOWER EAST SIDE GALLERY GUIDE In the last 15 years, the scene on New York’s Lower East Side has slowly flourished—lower rents and the 2007 arrival of the New Museum being major factors. Just this month marks the arrival of an expansive new space from Richard Taittinger Gallery (yes, he’s an heir to the champagne dynasty of the same name), which joins a spate of big-name galleries (Sperone Westwater, Lehmann Mapuin, Boesky East) and early 2000s pioneers (Nicelle Beauchene, Invisible Exports, Miguel Abreu, Canada, Rachel Uffner). For gallery director Risa Needleman of Invisible Exports, the arrival of the more established guard is a great thing, bringing even more diversity, not to mention footfall, to the LES—there’s room for everyone here. Below is a guide to things up this weekend, as there are a lot of not-to-be-missed shows closing soon. Consider taking a spin on Sunday: While the Chelsea galleries all close that day, the LES is in full swing. WHERE THE GALLERISTS AND ARTISTS EAT & DRINK: While Vanessa’s Dumpling House and Cup & Saucer on Canal are popular and comfortingly kitschy choices for daytime eats, below are a couple of the insider’s after-hours haunts. Grey Lady: Lobster Rolls, Seafood Stew and Dark N’ Stormy’s are popular favorites at this Nantucket-inspired bar and restaurant. Fig. 19: Appropriately tucked behind Envoy Enterprises on Chrystie Street, many a gallery after party is known to take place here. BOESKY EAST !20 Clinton St. | 212.680.9889 Robert Elfgen: There and After All (March 29th through April 26th) Gallerist Marianne Boesky made her first entry east just last Spring, giving her stable of established artists—Roxy Paine, Melissa Gordon, Barnaby Furnas—a space to connect with a downtown crowd. -
Icp Focuses on Its Future Signs Deal with Delancey Street Associates to House Its Museum and School at Essex Crossing
MEDIA RELEASE ICP FOCUSES ON ITS FUTURE SIGNS DEAL WITH DELANCEY STREET ASSOCIATES TO HOUSE ITS MUSEUM AND SCHOOL AT ESSEX CROSSING Lower East Side Unification Slated for Completion in 2019 NEW YORK, NY (OCTOBER 2017) – The International Center of Photography (ICP), the world’s leading institution dedicated to photography and visual culture, today revealed its plans to reunite the ICP Museum and ICP School in one location on the Lower East Side. The center will be housed on Ludlow Street and will serve as the cultural anchor of Essex Crossing, a $1.5 billion mixed-use project. Essex Crossing is being developed by Delancey Street Associates, which comprises Taconic Investment Partners, BFC Partners, and L+M Development Partners. The ICP School, which serves more than 3,500 students each year, will make the move downtown in summer 2019. The ICP Museum will also shift from its current space at 250 Bowery to Essex Crossing in early 2019, following the close of its fall 2018 exhibition program. “We are thrilled to be reuniting the ICP Museum and the ICP School under one roof. This is something towards which we’ve been working for nearly twenty years,” says ICP Board President Jeffrey Rosen and ICP Board Chair Caryl Englander. “It’s gratifying to bring this exciting goal to fruition.” “ICP is that rare institution in today’s cultural landscape—we exhibit, we collect, and we educate. Thanks to the vision and support of our board, the synergy between these different elements of our mission and our identity will be strengthened by this move,” says ICP Executive Director Mark Lubell. -
151 Canal Street, New York, NY
CHINATOWN NEW YORK NY 151 CANAL STREET AKA 75 BOWERY CONCEPTUAL RENDERING SPACE DETAILS LOCATION GROUND FLOOR Northeast corner of Bowery CANAL STREET SPACE 30 FT Ground Floor 2,600 SF Basement 2,600 SF 2,600 SF Sub-Basement 2,600 SF Total 7,800 SF Billboard Sign 400 SF FRONTAGE 30 FT on Canal Street POSSESSION BASEMENT Immediate SITE STATUS Formerly New York Music and Gifts NEIGHBORS 2,600 SF HSBC, First Republic Bank, TD Bank, Chase, AT&T, Citibank, East West Bank, Bank of America, Industrial and Commerce Bank of China, Chinatown Federal Bank, Abacus Federal Savings Bank, Dunkin’ Donuts, Subway and Capital One Bank COMMENTS Best available corner on Bowery in Chinatown Highest concentration of banks within 1/2 mile in North America, SUB-BASEMENT with billions of dollars in bank deposits New long-term stable ownership Space is in vanilla-box condition with an all-glass storefront 2,600 SF Highly visible billboard available above the building offered to the retail tenant at no additional charge Tremendous branding opportunity at the entrance to the Manhattan Bridge with over 75,000 vehicles per day All uses accepted Potential to combine Ground Floor with the Second Floor Ability to make the Basement a legal selling Lower Level 151151 C anCANALal Street STREET151 Canal Street NEW YORKNew Y |o rNYk, NY New York, NY August 2017 August 2017 AREA FINANCIAL INSTITUTIONS/BRANCH DEPOSITS SUFFOLK STREET CLINTON STREET ATTORNEY STREET NORFOLK STREET LUDLOW STREET ESSEX STREET SUFFOLK STREET CLINTON STREET ATTORNEY STREET NORFOLK STREET LEGEND LUDLOW -
Courtesy of Theyood Family TABLE of CONTENTS
Courtesy of TheYood Family TABLE OF CONTENTS Introduction 3 MIGRATIONS 4 Daniel Soyer: Goldene Medine, Treyfene Medine: Judaism Survives Migration to America 5 Deborah Dash Moore: The Meanings of Migration: American Jews, Eldridge Street and Neighborhoods 9 PRACTICE 13 Riv-Ellen Prell: A Culture of Order: Decorum and the Eldridge Street Synagogue 14 Jeffrey Gurock: Closing the Americanization Gap between the Eldridge Street Synagogue’s Leaders 19 and Downtown’s Rabbis ENCOUNTERS 23 Jeffrey Shandler: A Tale of Two Cantors: Pinhas Minkowski and Yosele Rosenblatt 24 Tony Michels: The Jewish Ghetto Meets its Neighbors 29 PRESERVATION 34 Samuel Gruber: The Choices We Make: The Eldridge Street Synagogue and Historic Preservation 35 Marilyn Chiat: Saving and Praising the Past 40 MUSEUM AT ELDRIDGE STREET | ACADEMICANGLES 3 he Eldridge Street Synagogue is a National Historic Landmark, the first major house of worship built by East European Jews in America. When it opened in September of 1887 it was an experiment, a response to the immigrants’desire to practice Orthodox Judaism, and to do so in America, their new Promised Land. Today the Eldridge Street Synagogue is Tthe only building on the Lower East Side—once the largest Jewish city in the world—earmarked for broad and public exploration of the American Jewish experience. The Museum at Eldridge Street researches the history of the building, uncovering new ways and stories to bring the building and its history to life. Learning about the congregants and their history ties us to broader trends on the Lower East Side and in American history. To help explore these trends, the Museum at Eldridge Street asks leading scholars to lend their expertise. -
Notes CHAPTER 1 6
notes CHAPTER 1 6. The concept of the settlement house 1. Mario Maffi, Gateway to the Promised originated in England with the still extant Land: Ethnic Cultures in New York’s Lower East Tonybee Hall (1884) in East London. The Side (New York: New York University Press, movement was tremendously influential in 1995), 50. the United States, and by 1910 there were 2. For an account of the cyclical nature of well over four hundred settlement houses real estate speculation in the Lower East Side in the United States. Most of these were in see Neil Smith, Betsy Duncan, and Laura major cities along the east and west coasts— Reid, “From Disinvestment to Reinvestment: targeting immigrant populations. For an over- Mapping the Urban ‘Frontier’ in the Lower view of the settlement house movement, see East Side,” in From Urban Village to East Vil- Allen F. Davis, Spearheads for Reform: The lage: The Battle for New York’s Lower East Side, Social Settlements and the Progressive Movement, ed. Janet L. Abu-Lughod, (Cambridge, Mass.: 1890–1914 (New York: Oxford University Blackwell Publishers, 1994), 149–167. Press, 1967). 3. James F. Richardson, “Wards,” in The 7. The chapter “Jewtown,” by Riis, Encyclopedia of New York City, ed. Kenneth T. focuses on the dismal living conditions in this Jackson (New Haven, Conn.: Yale University ward. The need to not merely aid the impover- Press, 1995), 1237. The description of wards in ished community but to transform the physi- the Encyclopedia of New York City establishes cal city became a part of the settlement work. -
ALF.TNC.LESFA.2021.Artist List
ARTIST WORKS CONTACT TITLE MEDIUM DIMENSIONS PRICE ARTIST STATMENT Adrian 1,2,3 [email protected] “BATTLE” BONDED 7.5” DIAMETER $1200.00 DiMetriou BRONZE “A MIDSUMMER BONDED 3.25” X1.5” $150.00 NIGHTS DREAM” BRONZE X0.5” “QUARNTINOPLIS” BONDED 4” DIAMETER X $150.00 BRONZE .05” Andrew 1 [email protected] Breaking Point Oil paint, price upon I define my style as subconscious abstract, painting without consideration of the end result. I do not Charcoal, request believe in mistakes or editing the way I have manipulated the surface. Using music as a rhythm and flow Hockenberry to my paintings, I make each piece balanced while experimenting with alternative applications and string,Canvas, materials. It’s as simple as paint on surface, surface being anything to hold paint, paint being anything to wood, make an impression on surface. Anna Pasztor 1,2,3 [email protected] “Hidden Blue” Acrylic on 8” x 8” price upon ARTIST STATEMENT of ANNA PASZTOR for the Exhibition Canvas and request “SURVIVING COVID” The year spent under the lockdown because of COVID was a very strange year for me. I belonged to the Wood lucky ones. The lockdown opened up new possibilities for me that were life saving and life changing. In April of 2020, I joined the Lab Ensemble of NowNetArts and participated in weekly presentations through the Internet until the end of June. The ensemble was originated by a sound research program, “For Synthesis” Acrylic on Wood 8” x 8” price upon and most of the members are musicians. request Our “demonstration presentations” were concerts with structured music improvisation. -
William E. Jones
WILLIAM E. JONES born 1962, Canton, OH lives and works in Los Angeles, CA EDUCATION 1990 MFA, California Institute of the Arts, Valencia, CA 1985 BA, Yale University, New Haven, CT SELECTED SOLO / TWO PERSON EXHIBITIONS, ART (* indicates a publication) 2021 The Modern Institute, Glasgow, Scotland 2020 Screening Room 07: William E. Jones, Galleria Raffaella Cortese, Milan, Italy 2019 Southfield, Detroit, MI Nothing Special, Los Angeles, CA Perverted by Language, Private Places, Portland, OR 2018 Holes in the Historical Record, Galleria Raffaella Cortese, Milan, Italy 2017 Fall into Ruin, microcinema at the 37th Cambridge Film Festival, organized by James Mackay, Heong Gallery, Downing College Cambridge, Cambridge, England Fall into Ruin, David Kordansky Gallery, Los Angeles, CA The Modern Institute, Glasgow, Scotland 2016 The Long Take, curated by Suzy Halajian, Los Angeles Contemporary Archive, Los Angeles, CA 2015 *Model Workers, Wexner Center for the Arts, Columbus, OH Galleria Raffaella Cortese, Milan, Italy 2014 *Heraclitus Fragment 124, Automatically Illustrated, David Kordansky Gallery, Los Angeles, CA [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 2013 The Modern Institute, Glasgow, Scotland William E. Jones: “Killed,” Saint Louis Art Museum, St. Louis, MO *Midcentury, Wexner Center for the Arts, Columbus, OH Two Explosions, 80WSE Gallery, New York, NY 2012 *Inside the White Cube, White Cube, London, England 2011 Upstairs at The Modern Institute, Glasgow, Scotland David Kordansky Gallery, -
New York's Mulberry Street and the Redefinition of the Italian
FRUNZA, BOGDANA SIMINA., M.S. Streetscape and Ethnicity: New York’s Mulberry Street and the Redefinition of the Italian American Ethnic Identity. (2008) Directed by Prof. Jo R. Leimenstoll. 161 pp. The current research looked at ways in which the built environment of an ethnic enclave contributes to the definition and redefinition of the ethnic identity of its inhabitants. Assuming a dynamic component of the built environment, the study advanced the idea of the streetscape as an active agent of change in the definition and redefinition of ethnic identity. Throughout a century of existence, Little Italy – New York’s most prominent Italian enclave – changed its demographics, appearance and significance; these changes resonated with changes in the ethnic identity of its inhabitants. From its beginnings at the end of the nineteenth century until the present, Little Italy’s Mulberry Street has maintained its privileged status as the core of the enclave, but changed its symbolic role radically. Over three generations of Italian immigrants, Mulberry Street changed its role from a space of trade to a space of leisure, from a place of providing to a place of consuming, and from a social arena to a tourist tract. The photographic analysis employed in this study revealed that changes in the streetscape of Mulberry Street connected with changes in the ethnic identity of its inhabitants, from regional Southern Italian to Italian American. Moreover, the photographic evidence demonstrates the active role of the street in the permanent redefinition of -
Lower East Side Third Thursday Night – March 18, 2021, 4-8 Pm
LOWER EAST SIDE THIRD THURSDAY NIGHT – MARCH 18, 2021, 4-8 PM Freight + Volume Perrotin 56 HENRY Fridman Gallery Peter Blum Gallery anonymous gallery FROSCH&CO Peter Freeman, Inc. ASHES/ASHES High Noon PROXYCO ATM Gallery NYC James Cohan Rachel Uffner Gallery Arsenal James Fuentes LLC RICHARD TAITTINGER GALLERY Betty Cuningham Gallery Kai Matsumiya Sargent's Daughters bitforms gallery Karma Shin Gallery Bureau Klaus von Nichtssagend SHRINE Callicoon Fine Arts Krause Gallery signs and symbols CANDICE MADEY LICHTUNDFIRE Simone Subal Gallery Cindy Rucker Gallery Lubov SITUATIONS Company Gallery Lyles & King Spencer Brownstone Cristin Tierney Gallery M 2 3 Sperone Westwater David Lewis Magenta Plains steven harvey fine art projects DEREK ELLER GALLERY MARC STRAUS GALLERY The Hole Downs & Ross Martos Gallery Thierry Goldberg Gallery Ed. Varie McKenzie Fine Art THOMAS NICKLES PROJECT Equity Gallery Miguel Abreu Gallery Tibor de Nagy Essex Flowers Gallery Milton Resnick & Pat Passlof TOTAH Essex Street/Maxwell Graham Foundation Ulterior Gallery Eva Presenhuber Mizuma & Kips Van Der Plas Gallery FIERMAN Nathalie Karg Gallery Zürcher Gallery Foley Gallery Olympia 56 HENRY 56 Henry Street 56henry.nyc THANK GOD YOU'RE HERE Nikita Gale Through March 29th anonymous gallery 136 Baxter Street New York, NY 10013 www.anonymousgallery.com G'ordiavonte Fold David-Jeremiah G’ordiavonte (Gee-or-día-von-te) Fold is an exhibition about Black inclusion in contemporary art discourse, wherein the black body is made central, while not only circumscribed by, but ultimately subsumed by whiteness. March 4 - April 4, 2021 ASHES/ASHES 56 Eldridge Street wwww.ashesonashes.com Gerold Miller 02/19/21–03/28/21 ATM Gallery NYC 54E Henry Street www.atmgallery.nyc Soul States Scott Kahn In his first comprehensive exhibition of portrait paintings in NYC, Scott Kahn presents six works of family members and friends spanning from 1975 to 2015. -
United States Theatre Programs Collection O-016
http://oac.cdlib.org/findaid/ark:/13030/c8s46xqw No online items Inventory of the United States Theatre Programs Collection O-016 Liz Phillips University of California, Davis Library, Dept. of Special Collections 2017 1st Floor, Shields Library, University of California 100 North West Quad Davis, CA 95616-5292 [email protected] URL: https://www.library.ucdavis.edu/archives-and-special-collections/ Inventory of the United States O-016 1 Theatre Programs Collection O-016 Language of Material: English Contributing Institution: University of California, Davis Library, Dept. of Special Collections Title: United States Theatre Programs Collection Creator: University of California, Davis. Library Identifier/Call Number: O-016 Physical Description: 38.6 linear feet Date (inclusive): 1870-2019 Abstract: Mostly 19th and early 20th century programs, including a large group of souvenir programs. Researchers should contact Archives and Special Collections to request collections, as many are stored offsite. Scope and Contents Collection is mainly 19th and early 20th century programs, including a large group of souvenir programs. Access Collection is open for research. Processing Information Liz Phillips converted this collection list to EAD. Preferred Citation [Identification of item], United States Theatre Programs Collection, O-016, Archives and Special Collections, UC Davis Library, University of California, Davis. Publication Rights All applicable copyrights for the collection are protected under chapter 17 of the U.S. Copyright Code. Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Regents of the University of California as the owner of the physical items.