5441 Ca Object Representations
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The Museum of Modern Art for Immediate Release July 1993
The Museum of Modern Art For Immediate Release July 1993 A PRINT PROJECT BY CHUCK CLOSE July 24 - September 28, 1993 An exhibition presenting American artist Chuck Close's most recent print project, Alex/Reduction Block, opens at The Museum of Modern Art on July 24, 1993. Organized by Andrea Feldman, curatorial assistant, Department of Prints and Illustrated Books, A PRINT PROJECT BY CHUCK CLOSE comprises fifteen large- scale screenprints that depict Close's friend and fellow artist Alex Katz. The screenprints replicate all stages of what was originally a reduction linoleum-cut print. The exhibition, on view through September 28, examines the complex process of printmaking and offers an in-depth view of Close's artistic conception. The reduction linoleum-cut technique requires the artist to use a single block for the entire printing process, in contrast to the conventional method of cutting separate blocks for each color in the print. Close became intrigued by the process after studying prints made by Picasso in the late 1950s. When Close anticipated problems with the paper he had chosen for his reduction linoleum-cut project, he printed a set of the states of the work on mylar, which he later used as templates for the screenprints on view in the exhibition. Ms. Feldman states, "Over the two year period that it took to complete this impressive project, Close ran into many technical problems that he transformed into artistic challenges. Without a flaw, Close maneuvered through the obstacle course that the project presented and created an image of enormous power and intensity. -
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 -
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. -
Emuseum of Modernart, 11 West 53 Street, Newyork, N, Y
..~ Museum of Modern Art No.4; 53 Street, NewYork, N.Y. 10019 Circle 5·8900 Cable, Modernart FOR RELEASE: Tuesday, May 11, 1965 PRESS PREVIEW: Monday,Mey 10, 1965 11 a.m, - 4 p.m. ICANCOLLAGES,anexhibition from The Museumof Modern Art's special program of traveling exhibitions, will interrupt its current tour end be shCMnat the Museum from May11 through July 25. Twice as manyexhibitions are circulated in the United States and Canada by the Museum'SDapartment of Circulating Exhibitions as are shown yearly at the Museum in NewYork. Last year the exhibitions "lere seen in 139 com- MoMAExh_0766_MasterChecklist munities. The same department, in charge of the Kuseum's foreign program of Circu- lating Exhibitions sponsored by the International Council of the Museum, has prepared 75 exhibitions secu in 65 countries. I The<lOrksin the collage sbow, dating from 1950 to the present, deal with a I i The term I mediumwhich has grown in importance only during the last fifty years. "collage," from the French for pasting or paper-hanging, has been broad ly interpreted I as a technique of cutting and pasting various materials which are aometimes combined with drawing, watercoloor or oil. The exhibition includes the work of someof the foremost makers of collage in I li I this country __ Robert Motherwell, Esteban Vicente, Conred Marca-Rel and Joseph Cornell _ as well as other artists who have broadened the medium. Kynaston McShine, whodirected the exhibition, writes, "[Collage] has been a means of creative liberation, leading us to recogGize not only the beauty of ephemera but also that of texture and spatial effects different from those of painting and sculpture. -
Alex Katz on 10 Artists Who Inspire Him
Search by artist, gallery, etc. Art Alex Katz on 10 Artists Who Inspire Him Alex Katz Nov 1, 2018 2:30 pm Portrait of Alex Katz. Photo by Ander Gillenea/AFP/Getty Images. “A lot of art books are very tiresome to most people,” admitted Alex Katz who, at 91 years young, is one of our most prominent living painters. ere’s nothing tiresome about Looking At Art With Alex Katz, a new volume in which the artist shares relatable, off-the-cuff impressions of dozens of his favorite artists, poets, and creatives, from Fra Angelico to Frank Lloyd Wright. “Everyone gets art on their own level,” he said in a recent interview with Artsy. “If you don’t know a lot about art history and you look at a picture, you’re not seeing the same picture that someone who knows something about art history sees. But that doesn’t mean you receive less from the picture. Art is very multifaceted that way.” Below, we share excerpts from the book that highlight nine eclectic artists who have amazed and inspired Katz over the years. Louise Bourgeois Follow Louise Bourgeois Spider, 1997 Louise Bourgeois Fée Couturière "… Sotheby's: Contemporary Art Day Auction “I rst heard Louise Bourgeois and Louise Nevelson on a Sunday afternoon in 1950, when I had just come to Manhattan. ey spoke in a loft on 10th Street and 4th Avenue. ey seemed arty and quite irresponsible, as they kept talking about the fth, sixth and seventh dimensions. However, when one looks at the body of work by Louise Bourgeois, one cannot help but admire the energy to go out and at the same time to reveal what is inside of her. -
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 -
143 ALLEN STREET HOUSE, 143 Allen Street, Manhattan Built C
Landmarks Preservation Commission February 9, 2010, Designation List 426 LP-2350 143 ALLEN STREET HOUSE, 143 Allen Street, Manhattan Built c. 1830-31 Landmark Site: Borough of Manhattan Tax Map Block 415, Lot 23. On June 23, 2009, the Landmarks Preservation Commission held a public hearing on the proposed designation of the 143 Allen Street House and the proposed designation of the related Landmark Site (Item No. 6). The hearing had been duly advertised in accordance with the provisions of the law. Four people spoke in favor of designation, including a shareholder in the property and representatives of the Historic Districts Council and the Society for the Architecture of the City. Summary The Federal style row house at 143 Allen Street was constructed c. 1830-31 as a speculative investment by George Sutton, a ship captain and counting house merchant. Originally part of a group of six similar residences, it is located in the heart of what is now known as Manhattan’s Lower East Side on land that was once part of the vast country estate of James De Lancey. The area developed rapidly following the turn of the 19th century and by the 1830s had become a bustling neighborhood composed in large part of brick and brick- fronted Federal style row houses. George Sutton had established himself in the early 19th century as a captain sailing the coastal trade route between New York City and Charleston, South Carolina. He eventually became ship master in the New- York and Charleston Packet Line, and later an agent and merchant working in a counting house on the East River waterfront. -
KS3-KS5 Summer Season 19 May – 23 September 2012
Teacher Resource Notes – KS3-KS5 Summer Season 19 May – 23 September 2012 Alex Katz: Give Me Tomorrow Alex Katz On The Tate Collection 1928: A Cornish Encounter These notes are designed to support KS3-5 teachers in engaging students as they explore the art work. As well as factual information they provide starting points for discussion, ideas for simple practical activities and suggestions for extended work that could stem from a gallery visit. To book a gallery visit for your group call 01736 796226 or email [email protected]. Season Overview This season Tate St Ives is showing paintings and collages by Alex Katz, plus an eclectic display of works which Katz has chosen from the Tate Collection in Lower Gallery 2. In the Studio there is a one-room archival display 1928: A Cornish Encounter, which documents this important year in the history of St Ives art. The display of Katz's work is a selected survey from the mid 1950s to 2011. Alex Katz is 85 and had his first solo show in New York in 1954. His paintings at Tate St Ives explore themes including family portraits, friends and social relationships, style and the American Dream, flowers, seascapes and beach life. Katz's process involves making small studies from life, which he scales up using the traditional charcoal cartoon and pin- hole 'pouncing' method, then paints the final large scale work in one go, working wet on wet. Katz's paintings can be regarded as an antithesis to his contemporary American Abstract Expressionists; Katz chose to represent the cultural context of New York style, fashion and glamour. -
David Diao’S Singular Abstraction by Mostafa Heddaya | Portrait by Kristine Larsen
modern painters BLOUINmodernpainters SEPTEMBER 2015 DAVID 15O DIAO TOP FALL EVEN MORE GALLERY ABSTRACT SHOWS RICHArd DAVI LONG’S D DANA Subtle D IAO IAO SCHUTZ’S Interventions / D Elevator Brawls ANA SCHUTZ THE VENICE SUE DE BEER BIENNALE: SHOOTS FROM A PHOTO ESSAY / & REVIEW SUE THE HIP D E BEER BLOUINARTINFO.COM SEPTEMBER 2015 SEPTEMBER fine lines tracing five decades of david diao’s singular abstraction by mostafa heddaya | portrait by kristine larsen David Diao’s 1972 acrylic on canvas Triptych, part of his 2014 retrospective at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut. 56 MODERN PAINTERS SEPTEMBER 2015 BLOUINARTINFO.COM tracing five decades of david diao’s singular abstraction BLOUINARTINFO.COM SEPTEMBER 2015 MODERN PAINTERS 57 Union after the first semester, because I felt it was taking away “Robert Smithson would from my studio time,” he says. In 1965 Diao settled into a 22- by-147-foot loft on Canal Street, and the following year, when the always say to me, ‘David, Kootz Gallery closed, he went freelance, working as a handler and installer, even storing artworks for various galleries in his you’re a smart cookie, why cavernous apartment. And so he came to share the space with works like Franz Kline’s monumental Cardinal, a painting he are you still painting?’” would later reference in his own work (the floor plan of that loft, recalls David Diao, who at 72 is still painting. This commitment too, would eventually surface in Diao’s art). His coffee table to canvas is, in fact, a rare constant in Diao’s career, now in for some time was a Tony Smith Corten steel box.