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Irving Sandler
FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism. -
Development News Highlights MANHATTAN - MID-2ND QUARTER 2019 PLUS an OUTER BOROUGH SNAPSHOT
Development News Highlights MANHATTAN - MID-2ND QUARTER 2019 PLUS AN OUTER BOROUGH SNAPSHOT Pictured: 315 Meserole Street Looking Ahead U.S. Treasury Releases Additional Opportunity Zones Guidelines On April 17th the U.S. Department of the Treasury issued a highly anticipated second set of proposed regulations related to the new Opportunity Zone (OZ) tax incentive. Created by the 2017 Tax Cuts and Jobs Act, the tax benefi t is designed to drive economic development and create jobs by encouraging long-term investments in economically distressed communities nationwide according to the Treasury department’s press release. The latest 169-page release reportedly delivered guidance in a broader range of areas than many expected, hoping to provide investors who have been on the fence with the clarity needed to begin developing projects in distressed areas nationwide. Some government offi cials anticipate the program could spur $100 billion in new investment into the more than 8,762 zones nationwide, of which 306 are located in New York City; however there exist some concerns among critics that the program will incentivize gentrifi cation, or provide added benefi t to developers for projects they would have been pursued anyway. According to the press release by the Internal Revenue Service (IRS), a key part of the newly released guidance clarifi es the “substantially all” requirements for the holding period and use of the tangible business property: • For use of the property, at least 70% of the property must be used in a qualifi ed OZ. • For the holding period of the property, tangible property must be qualifi ed opportunity zone business property for at least 90% of the Qualifi ed Opportunity Fund’s (QOF) or qualifi ed OZ business’s holding period. -
Press Release Al Held
PRESS RELEASE AL HELD Black and White Paintings 1967–1969 Opens Thursday February 18 from 6-8 pm Exhibition continues through March 26, 2016 Cheim & Read is pleased to present eight monumental black and white paintings, dating from 1967 to 1969, Al Held (1928–2005). An exhibition of Held’s “Alphabet Paintings,” made between 1961 and 1967, was exhibited at the gallery in 2013. This exhibition focuses on the unique series of paintings Held began in 1967, in which various geometric forms, arranged in multiple perspectives, are rendered within the strict confines of a black-and-white palette. Perhaps inspired by the India ink drawings of lines, circles, triangles, and squares that he made in 1966, Held had already begun moving away from the flat, boldly-colored shapes of his earlier work. Using charcoal and white acrylic directly on canvas, he started sketching multi-dimensional, interlocking configurations, surrounding them with colored ground. In late 1967, this B/W V 1967-68 acrylic on canvas experimentation yielded to an increasingly graphic, complex, and illusory 114 x 114 in 289.6 x 289.6 cm space. While compositions were still worked out on the canvas, often in several iterations, Held’s soft-edged charcoal was replaced by the sharply defined contours of uniformly painted forms, their thick black outlines positioned against a stark white field. The paintings featured in this exhibition encompass the initial phase of this new body of work. The “B/W series” is comprised of Held’s first fully realized canvases in his new style and limited palette, while works from the “Phoenicia” series are more explicit in their development of multiple perspectives and vanishing points, resulting in evermore ambiguous spatial relationships. -
Arnold Fisher Senior Partner, Fisher Brothers Honorary Chairman, Intrepid Fallen Heroes Fund
Arnold Fisher Senior Partner, Fisher Brothers Honorary Chairman, Intrepid Fallen Heroes Fund Arnold Fisher is a Senior Partner at Fisher Brothers, one of the city’s largest and most respected real estate firms. Among his contributions to the New York City skyline have been such signature buildings as 299 Park Avenue, 605 Third Avenue, 1345 Avenue of the Americas, Park Avenue Plaza, Imperial House and 50 Sutton Place South. Arnold became Chairman of the Board of the Intrepid Air, Sea and Space Museum Foundation in May 2003 and served through December 2006. Centered around the historic aircraft carrier Intrepid, the Foundation educates 700,000 annual visitors about sea, air and space history and technology. The Foundation serves as a monument for all who have served in our nation’s defense. He also spearheaded the efforts of the Intrepid Fallen Heroes Fund (IFHF), which provided financial support for spouses and children of fallen U.S. service members. The Fund changed direction and constructed The Center for the Intrepid, a state-of-the-art physical rehabilitation center at Brooke Army Medical Center in San Antonio, Texas, which opened in January, 2007. Arnold also led the construction of the National Intrepid Center of Excellence, in Bethesda, Maryland, which opened in June, 2010. NICoE is a 72,000 square foot, two-story facility located on the Navy campus in Bethesda, Maryland, adjacent to the new Walter Reed National Military Medical Center. NICoE is designed to provide the most advanced diagnostics, initial treatment plan and family education, introduction to therapeutic modalities, referral and reintegration support for military personnel and veterans with traumatic brain injury (TBI), post-traumatic stress (PTS) and complex psychological health issues. -
Fisher Brothers Holds “Night on Park Avenue” Event at 299 Park Avenue
FISHER BROTHERS HOLDS “NIGHT ON PARK AVENUE” EVENT AT 299 PARK AVENUE New York, NY (October 4, 2017) –– Fisher Brothers hosted more than 300 of New York City’s top brokers for its Night on Park Avenue event at 299 Park Avenue on September 13. The event showcased the iconic 42-story Plaza District tower, which is set to undergo a renovation starting in early 2018. During his remarks, Fisher Brothers Partner Winston Fisher noted that the firm’s work on 299 Park Avenue will be the final piece of an ambitious $165 million program to reimagine and modernize its entire 5.5 million square foot Manhattan office portfolio. “Each of our buildings has undergone or is currently undergoing an extensive renovation that goes much deeper than a standard refresh,” said Mr. Fisher. “We’ve worked with top designers and architecture firms to totally transform the aesthetic of our buildings with updated entrances, more welcoming lobbies, and enlivened outdoor spaces.” Mr. Fisher told those in attendance that the 299 Park Avenue project will include a reimagined lobby with a high-end design and more open feel; a transformation of the entrance that will allow natural light to fill the lobby; and an illuminated plaza backed by a new exterior lighting system. “Working with David Rockwell and his team, we are reinventing the building with a sleek, stylish design that truly reflects its prestigious Park Avenue address,” said Mr. Fisher. Fisher Brothers has appointed Newmark Knight Frank as the exclusive leasing agent for 299 Park Avenue. In conjunction with the Fisher Brothers leasing team, Newmark Knight Frank is currently marketing over 341,000 rentable square feet of office space across four contiguous floors at the building. -
Chapter 5: Shadows
Chapter 5: Shadows A. INTRODUCTION This chapter presents the detailed shadow study that was conducted to determine whether the proposed One Vanderbilt development would cast any new shadows on sunlight-sensitive resources. Sunlight-sensitive resources can include parks, playgrounds, residential or office plazas, and other publicly accessible open spaces; sunlight-dependent features of historic resources; and important natural features such as water bodies. Since the preparation of the shadow analysis in the Draft Environmental Impact Statement (DEIS), the height of the proposed One Vanderbilt development was increased. The shadow analysis in this Final Environmental Impact Statement (FEIS) has been revised to reflect this change including Figures 5-1 to 5-22 and 5-27. PRINCIPAL CONCLUSIONS This analysis compared shadows that would be cast by the proposed One Vanderbilt development, which would be built to a floor area ratio (FAR) of 30, with those that would be cast by the 15 FAR building that would be developed absent the proposed actions (the 15 FAR No-Action building). As described below, the analysis concluded that the proposed 30 FAR One Vanderbilt development would cast new shadows on Bryant Park, the west windows of Grand Central Terminal’s main concourse and several other sunlight-sensitive resources. However, the new shadows would be limited in extent, duration and effects and would not result in any significant adverse shadow impacts, as demonstrated in detail below. B. DEFINITIONS AND METHODOLOGY This analysis has been prepared in accordance with CEQR procedures and follows the guidelines of the 2014 City Environmental Quality Review (CEQR) Technical Manual. DEFINITIONS Incremental shadow is the additional, or new, shadow that a structure resulting from a project would cast on a sunlight-sensitive resource. -
277 Park Ave-Marketing Booklet-FINAL.Indd
277 PARK AVENUE Where Excellence Connects With Modern Elegance 50 49 48 300,000 SF Available Spring 2021 47 CONTIGUOUS 46 73,252 RSF 45 Located between 47th and 48th Street, this Emery Roth + Sons designed building has been re-mastered by 24,580 RSF 44 award winning architect Bohlin Cywinski Jackson (“BCJ”). Owner occupied and under management of the 24,338 RSF 43 24,334 RSF 42 Stahl Organization, 277 Park Avenue is the corporate address to some of the world’s most successful companies CONTIGUOUS 41 including JPMorgan Chase, Sumitomo Mitsui Banking Corp, Visa, ANZ Bank and Agricultural Bank of China. 73,051 RSF 40 24,329 RSF 39 The building’s proximity to landmarks and transportation hubs such as Grand Central and Rockefeller Center 24,329 RSF 38 makes 277 Park Avenue optimally located for organizational success. 24,393 RSF 37 36 35 34 Under the guidance of Bohlin Cywinski Jackson, 277 Park Avenue is undergoing a +$100M Capital Improvement CONTIGUOUS 69,541 RSF 33 Program transforming Park Avenue: 23,235 RSF 32 23,158 RSF 31 » New expanded Park Avenue entry and lobby with 30’ ceilings heights 23,148 RSF 30 29 » New Park Avenue plaza with green space 28 » New ground level façade and entrance canopies 27 » 26 New destination dispatch elevators (including mechanical systems and cabs) CONTIGUOUS MECHANICAL 69,496 RSF 25 23,162 RSF 24 23,167 RSF 23 23,167 RSF 22 21 17 20 16 CONTIGUOUS 46,652 RSF 19 15 14 23,509 RSF 18 23,143 RSF 13 12 11 10 9 8 7 6 5 4 3 2 MECHANICAL Newly expanded Park Avenue entry and lobby with 30’ ceiling heights Re-mastered -
Chapter 2: Land Use, Zoning, and Public Policy
Chapter 2: Land Use, Zoning, and Public Policy A. INTRODUCTION This chapter examines the potential effects of the proposed 53 West 53rd Street project (the proposed project) on land use and development trends, its compatibility with surrounding land uses, and its consistency with zoning and relevant public policies. The project site is located in Midtown Manhattan on the block bounded by West 53rd and 54th Streets and Fifth and Sixth Avenues. The project site consists of a combined zoning lot comprising the development site (Lots 5, 6, 7, 8, 66, 69, 165, and a portion of Lot 58 on Block 1269) the American Folk Art Museum (Lot 9), the Museum of Modern Art (MoMA) (Lots 11, 12, 13, 20, 58), a residential high-rise building (Lot 7501), and St. Thomas Church (Lot 30). The development site is vacant. The proposed project would develop these seven vacant lots with a mixed-use building including museum, restaurant, hotel, and residential components. To construct the proposed building, the applicant is seeking a special permit to allow the transfer of development rights from the University Club at 1 West 54th Street to the development site and an additional special permit to modify certain bulk and other zoning requirements in connection with the use of excess development rights from St. Thomas Church. This chapter provides an assessment of the existing and future conditions with and without the proposed project within the ¼-mile land use study area surrounding the combined zoning lot. As described below, this analysis concludes that the proposed project would be consistent with the mixture of land uses found in the surrounding area. -
Appendix A: Shadows
Appendix A: Shadows Appendix A: Shadows A. INTRODUCTION As discussed in Chapter 6, “Shadows,” a detailed analysis comparing shadows in the future with the proposed project with the shadows in the future with the Previously Approved Project and with the Expanded Development Scenario was undertaken on each of the four analysis days, consistent with the methodology outlined in the CEQR Technical Manual. For a substantial number of open space and historic resources, the proposed project would not result in any incremental increase in shadow. In addition, there are a number of resources that would receive incremental shadow for fewer than 30 minutes. These resources are described in detail in this appendix. B. ASSESSMENT OF INCREMENTAL SHADOWS: PROPOSED PROJECT COMPARED WITH PREVIOUSLY APPROVED PROJECT OPEN SPACES THAT WOULD NOT RECEIVE ANY INCREMENTAL SHADOW THE SHEFFIELD RESIDENTIAL PLAZAS These plazas, located on the block bounded by Eighth and Ninth Avenues and West 56th and 57th Streets, are fully in existing shadow during the first 15 minutes of the December 21 analysis day, when the proposed project’s shadow would otherwise affect them. No incremental shadow would fall on these spaces at any time of year, and no shadow impacts would occur as a result of the proposed project. MCCAFFREY PLAYGROUND This playground is located on the north side of West 43rd Street between Eighth and Ninth Avenues. Shadow from the proposed project would be long enough to reach this playground from 6:57 AM to 7:15 AM on the June 21 analysis day; however, the portions of the space that could be affected are already in shadow at this time, and so no incremental shadow would occur. -
Robert Berlind
LENNON, WEINBERG, INC. 514 West 25th Street, New York, NY 10001 Tel. 212 941 0012 Fax. 212 929 3265 [email protected] www.lennonweinberg.com Robert Berlind (1938 – 2015) EDUCATION 1963 Yale School of Art and Architecture, MFA Painting 1962 Yale School of Art and Architecture, BFA Painting 1960 Columbia College, BA Art History 1959 Arts Student’s League (Summer) 1952-56 Philips Academy of Andover SOLO EXHIBITIONS 2016 Lennon, Weinberg, Inc., New York, NY 2010 David Findlay Jr. Fine Art, New York, NY 2008 Huntington Museum of Art, Huntington, WV 2005 Tibor de Nagy Gallery, New York, NY Alexandre Hogue Gallery, The University of Tulsa, Tulsa, OK 2001 Tibor de Nagy Gallery, New York, NY 1998 Tibor de Nagy Gallery, New York, NY Neuberger Museum of Art, Purchase, NY: Robert Berlind: Paintings 1982-1996 The Picker Art Gallery, Colgate University, Hamilton, NY: Robert Berlind: Paintings 1982-1996 1997 University Art Galleries, Wright State University, Dayton, OH: Robert Berlind: Paintings 1982-1996 1996 Reynolds Gallery, Richmond, VA Tibor de Nagy Gallery, New York, NY 1995 Hampshire College Gallery, Amherst, MA 1994 Tibor de Nagy Gallery, New York, NY 1992 Delaware Arts Center Gallery, Narrowsburg, NY 1990 Ruth Siegel Gallery, New York, NY 1988 Ruth Siegel Gallery, New York, NY St. Peter’s Church (at Citicorp), New York, NY (4 month installation) 1986 Ruth Siegel Gallery, New York, NY Warren Wilson College, Swananoa, NC 1985 Gallery One, Toronto, Ontario, Canada 1984 Ruth Siegel Gallery, New York, NY Virginia Polytechnic Institute, Blacksburg, VA Virginia Western Community College, Roanoke, VA 1983 Tomasulo Gallery, Union College, Cranford, NJ Anna Leonowens Gallery, Halifax, NS, Canada 1982 Alexander Milliken Gallery, New York, NY 1981 Alexander Milliken Gallery, New York, NY 1978 A.R.C. -
Bands, Frequency, Data 9.25.12
Band How Often Played? Year Formed City (State, County, Province…) Country 1 Nightwish 14 1996 Kitee Finland 2 Amaranthe 11 2008 Gothenburg Sweden 3 Firewind 11 1998 Thessaloniki Greece 4 Iron Maiden 11 1975 London England 5 Primal Fear 11 1997 Esslingen Baden-Württemberg Germany 6 Lullacry 10 1998 Helsinki Finland 7 Megadeth 10 1983 Los Angeles California United States 8 Charon 9 1992 Raahe Finland 9 Trivium 9 2000 Orlando Florida United States 10 Avenged Sevenfold 8 1999 Huntington Beach California United States 11 Deathstars 8 2000 Stockholm Sweden 12 Dream Evil 8 1999 Gothenburg Sweden 13 Sentenced 8 1989 Muhos/Oulu Finland 14 Skid Row 8 1986 Toms River New Jersey United States 15 The Cult 8 1983 Bradford West Yorkshire England 16 The Slot 8 2002 Moscow Russia 17 Bullet For My Valentine 7 1998 Bridgend Wales 18 Epica 7 2002 Reuver Limburg Netherlands 19 In Flames 7 1990 Gothenburg Sweden 20 Riot 7 1975 New York City New York United States 21 Staind 7 1995 Springfield Massachusetts United States 22 Bayside 6 2000 Queens New York United States 23 Entwine 6 1995 Lahti Finland 24 Eye Empire 6 2009 Florida/Georgia/Ohio United States 25 HIM 6 1991 Helsinki Finland 26 Park Lane 6 27 Racer X 6 1985 Los Angeles California United States 28 Rammstein 6 1994 Berlin Germany 29 Ratt 6 1976 San Diego California United States 30 Scattershock 6 1989 Berkeley California United States 31 Sevendust 6 1994 Atlanta Georgia United States 32 Bad Religion 5 1979 Los Angeles California United States 33 Black Veil Brides 5 2006 Cincinnati Ohio United States 34 Bloodbound 5 2004 Bollnäs Sweden 35 Close Your Eyes 5 2005 Abilene Texas United States 36 Coheed & Cambria 5 1995 Nyack New York United States 37 Dead Letter Circus 5 2004 Brisbane Queensland Australia 38 Dokken 5 1976 Los Angeles California United States 39 Danger, Ltd. -
Women of Abstract Expressionism
WOMEN OF ABSTRACT EXPRESSIONISM EDITED BY JOAN MARTER INTRODUCTION BY GWEN F. CHANZIT, EXHIBITION CURATOR DENVER ART MUSEUM IN ASSOCIATION WITH YALE UNIVERSITY PRESS NEW HAVEN AND LONDON Published on the occasion of the exh1b1t1on Women of Abstract Denver Art Museum Expressionism. organized by the Denver Art Museum Director of Publications: Laura Caruso Curatorial Assistant: Renee B. Miller Denver Art Museum. June-September 2016 Yale University Press Mint Museum. Charlotte. North Carolina. October-January 2017 Palm Springs Art Museum. February-May 2017 Publisher. Art and Architecture: Patricia Fidler Editor Art and Architecture: Katherine Boller Wh itechapel Gallery. London.June-September 2017 . Production Manager: Mary Mayer Women of Abstract Expressionism is organized by the Denver Art Museum. It is generously funded by Merle Chambers: the Henry Luce Designed by Rita Jules. Miko McGinty Inc. Foundation: the National Endowment for the Arts: the Ponzio family: Set in Benton Sans type by Tina Henderson DAM U.S. Bank: Christie's: Barbara Bridges: Contemporaries. a Printed in China through Oceanic Graphic International. Inc. support group of the Denver Art Museum: the Joan Mitchell Foundation: the Dedalus Foundation: Bette MacDonald: the Deborah Library of Congress• Control Number: 2015948690 Remington Charitable Trust for the Visual Arts;the donors to the ISBN 978-0-300-20842-9 (hardcover): 978-0914738-62-6 Annual Fund Leadership Campaign: and the citizens who support the (paperback) Scientific and Cultural Facilities District (SCFD). We regret the A catalogue record for this book is available from the British Library. omission of sponsors confirmed after February 15. 2016. This paper meets the requirements of ANS1m1so 239.48-1992 (Permanence of Paper).