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EDUCATION MATERIALS TEACHER GUIDE Dear Teachers
TM EDUCATION MATERIALS TEACHER GUIDE Dear Teachers, Top of the RockTM at Rockefeller Center is an exciting destination for New York City students. Located on the 67th, 69th, and 70th floors of 30 Rockefeller Plaza, the Top of the Rock Observation Deck reopened to the public in November 2005 after being closed for nearly 20 years. It provides a unique educational opportunity in the heart of New York City. To support the vital work of teachers and to encourage inquiry and exploration among students, Tishman Speyer is proud to present Top of the Rock Education Materials. In the Teacher Guide, you will find discussion questions, a suggested reading list, and detailed plans to help you make the most of your visit. The Student Activities section includes trip sheets and student sheets with activities that will enhance your students’ learning experiences at the Observation Deck. These materials are correlated to local, state, and national curriculum standards in Grades 3 through 8, but can be adapted to suit the needs of younger and older students with various aptitudes. We hope that you find these education materials to be useful resources as you explore one of the most dazzling places in all of New York City. Enjoy the trip! Sincerely, General Manager Top of the Rock Observation Deck 30 Rockefeller Plaza New York NY 101 12 T: 212 698-2000 877 NYC-ROCK ( 877 692-7625) F: 212 332-6550 www.topoftherocknyc.com TABLE OF CONTENTS Teacher Guide Before Your Visit . Page 1 During Your Visit . Page 2 After Your Visit . Page 6 Suggested Reading List . -
La Mamelle and the Pic
1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson -
Grand Concourse Historic District Designation Report October 25, 2011
Grand Concourse Historic District Designation Report October 25, 2011 Cover Photograph: 1020 Grand Concourse (Executive Towers) (far left) through 900 Grand Concourse (Concourse Plaza Hotel) (far right) Christopher D. Brazee, October 2011 Grand Concourse Historic District Designation Report Essay researched and written by Jennifer L. Most Architects’ Appendix researched and written by Marianne S. Percival Building Profiles by Jennifer L. Most, Marianne S. Percival and Donald Presa Edited by Mary Beth Betts, Director of Research Photographs by Christopher D. Brazee Additional Photographs by Marianne S. Percival and Jennifer L. Most Map by Jennifer L. Most Technical Assistance by Lauren Miller Commissioners Robert B. Tierney, Chair Pablo E. Vengoechea, Vice-Chair Frederick Bland Christopher Moore Diana Chapin Margery Perlmutter Michael Devonshire Elizabeth Ryan Joan Gerner Roberta Washington Michael Goldblum Kate Daly, Executive Director Mark Silberman, Counsel Sarah Carroll, Director of Preservation TABLE OF CONTENTS GRAND CONCOURSE HISTORIC DISTRICT MAP…………………………………BEFORE PAGE 1 TESTIMONY AT THE PUBLIC HEARING .............................................................................................. 1 GRAND CONCOURSE HISTORIC DISTRICT BOUNDARIES .............................................................. 1 SUMMARY .................................................................................................................................................. 4 THE HISTORICAL AND ARCHITECTURAL DEVELOPMENT OF THE GRAND CONCOURSE HISTORIC -
Rockefeller Center ® New York City, New York, USA
Rockefeller Center ® New York City, New York, USA Booklet available on: Livret disponible sur: Folleto disponible en: Architecture.LEGO.com 21007_BI.indd 1 01/03/2011 7:25 PM John D. Rockefeller, Jr. John Davison Rockefeller, Jr. (January 29, 1874 – May 11, During the Great Depression he developed and was the 1960) was a major philanthropist and a pivotal member sole fi nancier of a vast 14-building real estate complex in of the prominent Rockefeller family. He was the sole son the geographical center of Manhattan, Rockefeller Center. among the fi ve children of businessman and Standard He probably gave more attention to the development of Oil industrialist John D. Rockefeller and the father of the Rockefeller Center than to any other project. fi ve famous Rockefeller brothers. In biographies, he was John D. Rockefeller, Jr., leased the space from invariably referred to as “Junior” to distinguish him from Columbia University in 1928 and began development in his more celebrated father, known as “Senior”. 1930. The land was cleared of more than 200 browstone After graduation, Rockefeller, Jr. joined his houses and other antiquated buildings. Rockefeller father’s business (October 1, 1897) and set up operations initially planned a syndicate to build an opera house in the newly-formed family offi ce at Standard Oil’s for the Metropolitan Opera on the site, but changed headquarters at 26 Broadway. He became a Standard Oil his mind after the stock market crash of 1929 and the director; he later also became a director in J. P. Morgan’s withdrawal of the Metropolitan from the project. -
Denying Genocide: “America's” Mythology of Nation, the Alamo
Denying Genocide: “America’s” Mythology of Nation, The Alamo, and the Historiography of Denial by Robert Anthony Soza A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Ethnic Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Patricia Penn Hilden, Chair Professor Ula Taylor Professor José David Saldívar Professor Paul Thomas Fall 2010 Denying Genocide: “America’s” Mythology of Nation, The Alamo, and the Historiography of Denial © 2010 by Robert Anthony Soza Soza 1 Abstract Denying Genocide: “America’s” Mythology of Nation, The Alamo, and the Historiography of Denial by Robert Anthony Soza Doctor of Philosophy in Ethnic Studies University of California, Berkeley Professor Patricia Penn Hilden, Chair History, the adage goes, is written by the victors. As a result, history represents the values, ideologies, and most importantly for this dissertation, the remembrances of the victorious. Their remembrances never remain ethereal or disembodied; they become the object lessons about the past for those living in the present. And these object lessons, the lessons of history, become the narratives and locations that transmit a nation’s idealized values and origin stories. It is in this confluence of remembrances, object lessons, values and origin stories that this dissertation examines in the Alamo. The Alamo represents a consummate site of memory for the United States. As a cultural narrative it persists from a mid-nineteenth century battlefield through the present day as a cinematic narrative. The Alamo is one of the historical watershed moments of the Westward expansion. However, the tales of the victors (ironically, in this case, the victors at the Alamo are the Euro- Americans who died in the battle) transmit values, lessons and stories steeped in narratives of denial. -
Download Our Qualifications Brochure
WASHINGTON SQUARE PARTNERS FIRM QUALIFICATIONS 675 THIRD AVENUE, 25TH FLOOR | NEW YORK, NY 10017 | 212-906-9090 | WASHSQUARE.COM WASHINGTON SQUARE PARTNERS Real Estate Developers and Advisors ABOUT US Washington Square Partners was founded in 1994 by a group of real estate professionals who believed that a critical gap existed between consultants who offered analytical research and reports and developers who created projects. Washington Square Partners provides previously unavailable development advisory services to private developers, property owners, retailers, governmental agencies, and not-for-profit institutions. The firm has tremendous experience in creating strategies for our clients to maximize the value of their assets through seeking, if appropriate, discretionary public agency approvals for development projects. The firm has tremendous experience in seeking discretionary RIVER PLAZA, BRONX, NY public agency approvals to maximize the value of our client’s assets. Our clients, who include some of the largest developers and public agencies in the New York City metropolitan area, hire Washington Square Partners because of the firm’s record of innovation in implementing development projects that require creative, strategic thinking and securing negotiations with difficult third parties. Our successful strategies for advancing projects through multiple discretionary public approval processes places us on forefront of developments in emerging markets. Our firm’s principals have guided some of the most complex, groundbreaking projects in the New York Metropolitan Area including City Point, 42nd Street/Times Square revitalization, MetroTech Center in Downtown Brooklyn, Cooper Union, 400 5th Avenue and River Plaza, the first new shopping center in the Bronx in decades. Additionally, the firm has and continues to serve clients in Long Island and Westchester County. -
Alvin Ailey's Embodiment of African American Culture
DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J. -
Salt River Valley, Arizona
A stratigraphic survey of pre-Spanish trash mounds of the Salt River valley, Arizona Item Type Thesis-Reproduction (electronic); text Authors Schroeder, Albert H. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 08:10:02 Link to Item http://hdl.handle.net/10150/191395 I / 3 .1-S I- , ,_ 4 4 0 + 'S S. a "5, 3 _4___ a 'a. 4 (S 0 4 S. ''S a. 7 LI. 01 OI. 'a I ''S THE SALT RIVER VALLEY IIaaV,ON ARIZONA U UI. .45 Is' -I' I. I U SI / > I. 0 I. SALT Rv(S INDIAN 5(3(RVAIION az .4. ,.., -- --- I. C. I C' 0 'S. II .4 IN )AN QE.(4VAT ION V YtI.aIda,eazti Ci. I - tI..._.. Li.AiA4AIJjgJ,. .4. SEND THE 'SI SALTRIVER VALLEY St $1 5V4051 4=J= ARIZ ONA u.( I A STRATIGRAPHIC SURVEY OF PRE-SPANISH TRASH MOUNDS OP THE SALT RIVER VALLEY ARIZONA by Albert Henry Sobroeder A Thesis submitted to the faculty of the Department of Anthropology in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate College University of Arizona 1940 Approved: Date ACKNOWLEDGEMENTS The writer is indebted to the faculty of the Department of Anthropology of the University of Axizona for a critical reading of the text and for valuable suggestions. -
Print and Picture File Index
Print and Picture File Index Aardvarks Africa – Cities Allegory - Fates See Africa – Kings and Rulers Allegory - Fortitude Animals, Aardvarks Africa - Native Races Allegory - Globe Abbeys Africa – Villages Allegory - Good Government See Also African Americans - Allegory - History Cathedrals Caricatures and Cartoons Allegory - Hope Churches African Americans – Social Allegory - Humility Convents and Nunneries Conditions Allegory - Immortality Monasteries and Convents African Americans - Social Life Allegory - Innocence Subdivided by name or place and Customs Allegory - Intemperance Abbeys - England Agricultural Machines Allegory - Jack Frost Abbeys - Europe See Allegory - Justice Abbeys - France Machines – Agricultural Allegory - Labor Abbeys - Ireland Agricultural Workers Allegory - Liberty Abbeys - Scotland Air Compressors Allegory - Life / Death Abbeys - Wales Air Pumps Allegory - Love Abyssinia See Allegory - Meditation See Machines - Air Pumps Allegory - Melancholy Ethiopia Airplanes Allegory - Months of the Year Acadians Alabama Allegory - Morning Accidents Alamo Allegory - Muses Acids Alarms Allegory - Music Acoustics Alaska Allegory - Night See Albania Allegory - Order Sound Alchemy Allegory - Painting Acrobats and Acrobatism Alcoholics Allegory – Patriotism Actors and Actresses Ale-House Allegory - Peace See See Allegory - Persuasion Actors - Portraits – A-Z Hotels, Taverns, Etc. Allegory - Poetry Actors - Theatrical Alexander the Great Allegory - Rain Actresses - Portraits – A-Z Algebra Allegory - Sculpture Actresses - Theatrical -
Kips Bay Greenwich Village Union Square East Village Gramercy Noho
Neighborhood Map ¯ 5 M1 99 101 131 133 199 201 299 Kips Bay Court Bellevue E 27 Street Hospital E 27 Street Bellevue E 27 Street Center Downtown 28 St South Bellevue only M101 LTD M101 M15 Park Hospital LTD SBS M15 Garden SBS 470 M101 97 Bellevue Sobriety 381 New York 372 M102 M101 M9 Garden Drive FDR Life Insurance M103 M15 M9 Waterside M102 Place Carmel Mount M34A Company Building M103 M15 SBS Plaza 101 133 135 199 201 301 323 399 499 E 26 Street E 26 Street SBS M34A E 26 Street 2 0 1 M 3 0 NYU College 1 Baruch M of Nursing 69th Regiment Hunter College 75 442 459 355 354 345 360 College Armory Brookdale Campus M34ASBS E 25 Street Bridge 3 Avenue 3 1 Avenue 25th Street Avenue 2 99 101 131 Plaza 199 201 299 399 M2 LTD M3 M1 LTDSouth Avenue Park E 25 Street Avenue Lexington E 25 Street E 25 Street M1 M15SBS M1 3 0 LTD 1 M2 M Baruch LTD Asser Levy 54 337 College 322 Manhattan NYU College Playground Waterfront M1 Kips Bay of Dentistry M2 2 Greenway M3 0 201 299 301 1 Veterans Administration M E 24 Street E 24 Street E 24 Street Medical Center Asser Levy East Midtown Plaza Recreation 31 318 399 38 411 315 310 Center 400 Downtown Uptown only only School of Visual Arts 101 133 135 M23 199 201 299 M23 399 401 SBS SBS M23SBS M23 SBS M23SBS M23SBS E 23 Street East River E 23 St M23 SBS E 23 Street M9 M23SBS M23SBS M23SBS M23SBS M34A SBS M34ASBS M23 M34ASBS M23 M9 M34ASBS M23 M9 SBS Epiphany SBS SBS Library M34A M34A SBS SBS 17 18 M15SBS 383 390 297 293 296 304 Solar One M23SBS 390 1 Avenue 1 3 Avenue 2 Avenue 2 99 101 129 131 199 201 299 301 399 FDR Drive E 22 Street Avenue Lexington E 22 Street Avenue C 23 St Church of the 1 2 Peter Cooper Village 374 369 275 272 270 Epiphany Calvary Episcopal 99 Church 50 48 199 201 295 297 399 Gramercy Park North E 21 Street Stuyvesant E 21 Street Cove Park 360 Peter’s Field 4 Gramercy Park 36 351 353 252 253 257 260 private access M23SBS Gramercy Park East Park Gramercy 401 699 99 107 West Park Gramercy 141 199 201 299 399 M23 SBS M23SBS M23SBS M9 M23 SBS E 20 Street Gramercy Park South E 20 Street Citi Bike E 20 Street Augustus St. -
2014-2015 Journal
SKOWHEGAN SCHOOL OF PAINTING & SCULPTURE 136 WEST 22ND STREET, NEW YORK, NY 10011 / T 212 529 0505 / F 212 473 1342 WWW.SKOWHEGANART.ORG JOURNAL Non-Profit Org. U.S. Postage 2014–2015 PAID New York, NY Permit No. 6960 Founded in 1946 by artists for artists, Skowhegan School of Painting & Sculpture is one of the country's foremost programs for emerging visual artists. The intensive nine-week summer 03 Summer 2014 16 Space Launch session, held on our nearly 350-acre campus in Maine, provides a collaborative and rigorous Why Are These Games So Bad? New York Space Fund environment for artistic creation, risk-taking, and mentorship, by creating a flexible Sharon Madanes (A '14) skowheganBOX no.2 pedagogical framework that is informed by the School's history and responsive to the Susan Metrican (A '14) individual needs of each artist. Skowhegan summers have had a lasting impact on the Sreshta Rit Premnath (A '09) Paper Negatives practices of thousands of artists, and the institution plays an integral role in ensuring the Inaugural Season Tei Blow (A '14) vitality of contemporary artmaking. 136 W. 22nd Street Selected Documentation Daniel Carroll (A '14) Bernard Langlais and Skowhegan 26 Alumni Programs & News Hannah W. Blunt 2015 Session June 6 – August 8 42 Support I see you, you see me. (2014) Resident Faculty Visiting Faculty Special Lecture LaToya Ruby Frazier (A '07) David Diao (F '70) Theaster Gates by Felipe Steinberg (A '14) Neil Goldberg Jonathan Berger Odili Donald Odita Lizzie Fitch & Ryan Trecartin Michelle Grabner Regina José Galindo Sarah Oppenheimer Julie Ault Bridging the Gulf Katie Sonnenborn & Sarah Workneh Co-Directors The summer of 2014 was tumultuous and dangerous in much of the world. -
Project B and the Charging Bull
Happy Bullish 2011!!!: Olek’s Project B Ingrid Asplund Project B and the Charging Bull Arturo Di Modica’s Charging Bull is imposing in scale. It is a model of muscular machismo and a popular tourist spot. It stands taller than most people in the middle of a very busy part of Manhattan, usually gleaming in the sun like a trophy of capitalist masculinity. Its scale is met with detail, as the Charging Bull features expressive eyes and eyebrows, a stance that exudes motion and energy, and a detailed musculature, from ribs to thighs. Very early Christmas morning (about three o’clock) in 2010, the artist Olek escaped from any potential sugar-plum fantasies and stole down to Wall Street to leave a Christmas gift for New York City.1 Olek had crocheted, by hand and without assistance, a covering for the Charging Bull, perhaps a sweater or a sort of “bull cozy” and installed it in the dead of night so as to avoid the authorities. She would later entitle this piece Project B (Wall Street Bull).2 The finished product was, like the object that it covered, imposing, even intimidating, but Project B contrasted Charging Bull with the comforting, warm, and cozy associations of yarn. The piece’s execution is impressive in several ways: the yarn suit fits the Charging Bull precisely from horn to tail with no room for slacking or sagging, and the viewer can see every curve, bulging belly and thighs included. It is not formed in one seamless piece, but rather by means of several blocks of crocheted yarn stitched together with thick seams.