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Family Law Section Chair Mitchell Y
NEW YORK STATE BAR ASSOCIATION Family Law Section Chair Mitchell Y. Cohen, Esq. Johnson & Cohen LLP White Plains Program Co-Chairs Rosalia Baiamonte, Esq. Gassman Baiamonte Gruner, P.C. Garden City NYSBA Dylan S. Mitchell, Esq. Blank Rome LLP New York City Family Law Section Peter R. Stambleck, Esq. Aronson Mayefsky & Sloan, LLP Summer Meeting New York City Family Law Section The Newport Marriott Hotel CLE Committee Co-Chairs Rosalia Baiamonte, Esq. 25 Americas Cup Ave. Gassman Baiamonte Gruner, PC Garden City Newport, RI Henry S. Berman, Esq. Berman Frucco Gouz Mitchel & Schub PC July 13–16, 2017 White Plains Charles P. Inclima, Esq. Inclima Law Firm, PLLC Rochester Peter R. Stambleck, Esq. Aronson Mayefsky & Sloan, LLP New York City Under New York’s MCLE rule, this program may qualify for UP Bruce J. Wagner, Esq. TO 6.5 MCLE credits hours in Areas of Professional Practice. This McNamee, Lochner, Titus & program is not transitional and is not suitable for MCLE credit for Williams, P.C. newly-admitted attorneys. Albany SCHEDULE OF EVENTS Thursday, July 13 9:00 a.m. – 10:30 a.m. Officers Meeting 12:00 p.m. Registration and Exhibits — South Foyer 2:00 p.m. – 4:30 p.m. Executive Committee Meeting — Salons II, III, IV 6:00 p.m. – 10:00 p.m. Kid’s Dinner & Activities — Portsmouth Room 6:15 p.m. Shuttle will leave for the reception/dinner at the Newport Yachting Center (Bohlin); The shuttle will run a continuous loop 6:30 p.m. – 9:30 p.m. Reception and lobster bake at the Newport Yachting Center (Bohlin) Friday, July 14 7:30 a.m. -
GORHAM BUILDING, 390 Fifth Avenue, Aka 386-390 Fifth Avenue and 2-6 West 36Th Street, Manhattan
Landmarks Preservation Commission December 15, 1998, Designation List 300 LP-2027 GORHAM BUILDING, 390 Fifth Avenue, aka 386-390 Fifth Avenue and 2-6 West 36th Street, Manhattan. Built 1904-1906; architect Stanford White of McKim, Mead and White. Landmark Site: Borough of Manhattan Tax Map Block 837, Lot 48. On September 15, 1998, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Gorham Building and the proposed designation of the related Landmark Site (Item No. 2). The hearing had been duly advertised in accordance with the provisions of law. Seven witnesses representing Manhattan Community Board 5, the Murray Hill Association, the New York Landmarks Conservancy, the Beaux Arts Alliance, the Society for the Architecture of the City, the Municipal Art Society, and the Historic Districts Council spoke in favor of designation. The owner of the building submitted a letter asking that the hearing be adjourned to another date. The hearing was closed with the proviso that it could be reopened at a later date if the owner wished to testify. The owner subsequently declined to do so. There were no speakers in opposition to this designation. The Commission also has received a letter in support of the designation from a local resident. Summary This elegant commercial building, constructed in 1904-05 for the Gorham Manufacturing Company, contained its wholesale and retail showrooms, offices, and workshops. Designed by Stanford White of the prominent architectural firm of McKim, Mead & White, the eight-story building is an adaptation of an early Florentine Renaissance sty le palazzo incorporating a two-story arcade, a four-story mid-section, and a two-story loggia. -
Louis Comfort Tiffany: a Bibliography, Relevant to the Man, His Work, and His Oyster Bay, Long Island, Home.”
Please cite as: Spinzia, Judith Ader, “Louis Comfort Tiffany: A Bibliography, Relevant to the Man, His Work, and His Oyster Bay, Long Island, Home.” www.spinzialongislandestates.com Louis Comfort Tiffany: A Bibliography Relevant to the Man, His Work, and His Oyster Bay, Long Island, Home compiled by Judith Ader Spinzia . The Charles Hosmer Morse Museum, Winter Park, FL, has photographs of Laurelton Hall. Harvard Law School, Manuscripts Division, Harvard University, Cambridge, MA, has Charles Culp Burlingham papers. Sterling Library, Yale University, New Haven, CT, has papers and correspondence filed under the Mitchell–- Tiffany papers. Savage, M. Frederick. Laurelton Hall Inventory, 1919. Entire inventory can be found in the Long Island Studies Institute, Hofstra University, Hempstead, LI. The Schlesinger Library, Radcliffe College, Cambridge, MA, has Edith Banfield Jackson papers. Tiffany & Company archives are in Parsippany, NJ. “American Country House of Louis Comfort Tiffany.” International Studio 33 (February 1908):294-96. “Artists Heaven; Long Island Estate of Louis Tiffany To Be an Artists' Home.” Review 1 (November 1, 1919):533. Baal-Teshuva, Jacob. Louis Comfort Tiffany. New York: Taschen Publishing Co., 2001. Bedford, Stephen and Richard Guy Wilson. The Long Island Country House, 1870-1930. Southampton, NY: The Parrish Art Museum, 1988. Bing, Siegfried. Artistic America, Tiffany Glass, and Art Nouveau. Cambridge, MA: MIT Press, [1895-1903] 1970. [reprint, edited by Robert Koch] Bingham, Alfred Mitchell. The Tiffany Fortune and Other Chronicles of a Connecticut Family. Chestnut Hill, MA: Abeel and Leet Publishers, 1996. Brownell, William C. “The Younger Painters of America.” Scribner's Monthly July 1881:321-24. Burke, Doreen Bolger. -
Artists Are a Tool for Gentrification’: Maintaining Artists and Creative Production in Arts Districts
International Journal of Cultural Policy ISSN: 1028-6632 (Print) 1477-2833 (Online) Journal homepage: http://www.tandfonline.com/loi/gcul20 ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts Meghan Ashlin Rich To cite this article: Meghan Ashlin Rich (2017): ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts, International Journal of Cultural Policy, DOI: 10.1080/10286632.2017.1372754 To link to this article: https://doi.org/10.1080/10286632.2017.1372754 Published online: 06 Sep 2017. Submit your article to this journal Article views: 263 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=gcul20 INTERNATIONAL JOURNAL OF CULTURAL POLICY, 2017 https://doi.org/10.1080/10286632.2017.1372754 ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts Meghan Ashlin Rich Department of Sociology/Criminal Justice, University of Scranton, Scranton, PA, USA ABSTRACT ARTICLE HISTORY This study investigates the relationship between arts-themed development Received 7 June 2017 and the strategies used by neighborhood stakeholders, including artists Accepted 16 August 2017 and other marginalized populations, to maintain their place in gentrifying KEYWORDS arts and cultural districts. Using a case study of a state-sanctioned Arts & Artist communities; creative Entertainment District in Baltimore, MD (U.S.A.), I find that the organizations placemaking; gentrification; that are ‘thoughtful’ in their development actively seek to maintain the urban planning and policy production of arts and the residency of artists in the neighborhood into perpetuity. -
The Beacon March 2016 First Unitarian Church News
First Unitarian Church NewThes BeaconMarch 2016 The MarchBeacon 2016 1 First Unitarian Church of Baltimore HOPE,, SSOCIAL JUSTICE AND LIBERAL RELIGIOUS VALUES Corner Charles & Franklin Streets March Services March 20 “I Love a Parade—Hosannah!” 2015/2016 Theme: Rev. David Carl Olson A Whole People on a Journey Together The equinox comes and with it, the expectation that spring has fully arrived. The arrival of this mete- Services begin at 11:00 A.M. in our historic sanctuary orological moment in the life of the earth dances with notions of the Christian religion, of the arrival of Je- March 6 sus in Jerusalem to do a work only he could do. What “The Lone Wild Bird” are our “mission and vison” conversations leading us Revs. John Manwell and Phyllis Hubbell, Co-Ministers to take on as our unique task in this season of life? emeritus (“Soul-to-Soul” spiritual reflection circle at 9:30 We come together out of our longing for oneness A.M.—Trust) with all that is—ourselves, others, the universe itself, some would say with God. Can we imagine ourselves as March 27—Easter Sunday the “lone, wild bird” of our song, soaring high and far, “The Cosmic Christ and the Liberating Community” yet always at one with the spirit of love that joins all Rev. David Carl Olson life? The church then is where we grow ever more fully Our traditional and nontraditional telling of the into that spirit and stretch our vision of what it asks of us. Easter story and a chance for all of us to wear an Easter “bonnet” or boutonniére or carry a bouquet. -
Bronx Community College University Heights Campus
Bronx Community College University Heights Campus The University Heights Campus of Bronx Community College, a 19th century gem, is the first community college campus to be named a national historic landmark. Announcing the designation on Oct. 17, 2012, Interior Secretary Ken Salazar called the original buildings “a nationally significant example of Beaux-Arts architecture in the United States, and among the most important works by Stanford White, partner in McKim, Mead & White, the preeminent American architectural firm at the turn of the 20th century.” The New York City Landmarks Preservation Commission first designated the buildings a landmark in 1966. The City University of New York bought the University Heights Campus from New York University in 1973 as a new home for Bronx Community College. In 1979, the buildings joined the National Register of Historic Places. In 2012, CUNY completed Stanford White’s quadrangle – first conceived in 1892 – with the architecturally harmonious and technologically advanced North Hall and Library, designed by Robert A.M. Stern. What follows comes from the college’s National Historic Landmark application. It was written by Easton Architects, a consultant to Bronx Community College on historic preservation. The University Heights Campus is a tour-de-force of Beaux-Arts influenced American Renaissance architecture. Stanford White of the renowned firm of McKim, Mead & White designed the campus for New York University in a bucolic setting on a bluff in the Bronx overlooking the Harlem River. NYU’s desire for a more spacious and architecturally unified campus followed important design trends for academic institutions of higher learning at the end of the nineteenth century and the beginning of the twentieth. -
Charm of the Baltimore Region HOST COMMITTEE’S GUIDE
DISCOVER THE Charm of the Baltimore Region HOST COMMITTEE’S GUIDE The Maryland City/County Management Association and ICMA’s 2018 Conference Host Committee are excited to welcome you to Baltimore for ICMA’s 104th Annual Conference. From the bustling Inner Harbor, where the Baltimore Convention Center is located, to the city’s many historical sites, renowned museums, inspiring architecture, and diverse neighborhoods, Baltimore has something for everyone. So get out and discover the many reasons why Baltimore is known as Charm City! wrote some of the early stories that would make him the father of the modern short story, creating and Historical Sites defining the modern genres of mystery, horror, and History abounds in Baltimore. A must-see stop while science fiction. you’re in town is Fort McHenry. During the War of 1812, Westminster Hall is a beautiful building troops at Fort McHenry stopped a British advance into located at the intersection of Fayette and the city, inspiring Francis Scott Key to pen our national Greene Streets in downtown Baltimore. anthem. Administered by the National Park Service since This restored historic church features 1933, Fort McHenry is the only area of the National Park stained glass windows, an 1882 pipe System to be designated as both a national monument organ, cathedral ceilings, and raised and a historic shrine. balconies. The Westminster Burying History enthusiasts may also want to visit the Star-Spangled Grounds, one of Baltimore’s Banner Flag House, Mary Pickersgill’s 1793 home where oldest cemeteries, features the she made the 30-by-42-foot flag that flew over Fort gravesite of Edgar Allan Poe. -
BOWERY BANK of NEW YORK BUILDING, 124 Bowery (Aka 124-126 Bowery, 230 Grand Street), Manhattan Built: 1900-02; Architect(S): York & Sawyer
Landmarks Preservation Commission June 26, 2012, Designation List 457 LP-2518 BOWERY BANK OF NEW YORK BUILDING, 124 Bowery (aka 124-126 Bowery, 230 Grand Street), Manhattan Built: 1900-02; architect(s): York & Sawyer Landmark Site: Borough of Manhattan Tax Map Block 470, Lot 64 On May 15, 2012, the Landmarks Preservation Commission held a hearing on the proposed designation as a Landmark of the Bowery Bank of New York Building and the proposed designation of the Landmark Site (Item No. 2). The hearing had been duly advertised in accordance with provisions of law. Four people testified in favor of designation, including representatives of City Councilmember Margaret Chin, the Bowery Alliance of Neighbors, the Historic Districts Council, and the Metropolitan Chapter of the Victorian Society in American. The Commission has also received a letter from the owner in opposition to designation. Summary Completed in 1902, the Bowery Bank of New York is the earliest surviving building by the architectural firm of York & Sawyer in New York City. Located at the northwest corner of the Bowery and Grand Street, it is flanked on both sides by the former Bowery Savings Bank, a designated Landmark that was constructed during the years when both York and Sawyer were employed by the building’s architect, McKim Mead & White. While the neighboring facades are distinguished by massive pediments and Corinthian columns that suggest an ancient Roman temple, the straightforward monumentality of the Bowery Bank expressed its function as a modern place of work. The New York Daily Tribune praised the building when it opened, saying it “ranks with the best of our modern New York banks.” Edward P. -
American City Flags, Part 1
Akron, Ohio 1 Akron, Ohio Population Rank: U.S..... # 81 Ohio...... # 5 Proportions: 3:5 (usage) Adopted: March 1996 (official) DESIGN: Akron’s flag has a white field with the city seal in the center. The seal features an American shield, which recalls the design of the All-America City program’s shield, awarded to cities meeting the pro- gram criteria. Akron’s shield is divided roughly into thirds horizontally. At the top of the shield are two rows of five white five-pointed stars on a dark blue field. In the center section is AKRON in black on white. The lower third displays six red and five white vertical stripes. Around the shield and the white field on which it rests is a dark blue ring on which 1981-ALL-AMERICA CITY-1995 curves clockwise above, and CITY OF INVENTION curves counterclockwise below, all in white. 2 American City Flags SYMBOLISM: Akron, having twice won the distinction of “All-America City” (in 1981 and 1995), has chosen to pattern its seal to commemo- rate that award. The ten stars represent the ten wards of the city. CITY OF INVENTION refers to Akron as home to the National Inventor’s Hall of Fame at Inventure Place, a museum of inventors and inven- tions. HOW SELECTED: Prepared by the mayor and his chief of staff. DESIGNER: Mayor Don Plusquellic and his chief of staff, Joel Bailey. FORMER FLAG: Akron’s former flag also places the city seal in the center of a white field. That former logo-type seal is oval, oriented horizontally. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
184 Maryland Historical Magazine Thomas Poppleton’S Map: Vignettes of a City’S Self Image
184 Maryland Historical Magazine Thomas Poppleton’s Map: Vignettes of a City’s Self Image Jeremy Kargon ritten histories of Baltimore often refer to thePlan of the City of Baltimore, published originally in 1823. Typically but imprecisely credited to Thomas WPoppleton, this map illustrated the city plan he produced between 1816 and 1822. City politicians had commissioned a survey just before the War of 1812, but Poppleton began his work in earnest only after the conflict ended. Once adopted, the work determined the direction of Baltimore’s growth until well after the Civil War.1 Although this street layout significantly influenced the city’s nineteenth-cen- tury development, a second feature of this document has also attracted historians of the city’s architecture. The map’s publisher’s arranged thirty-five small engravings around the border of the map illustrating public buildings in use or under construc- tion at the time of the original publication. They gave each illustration a simple title and provided additional descriptive information about the building, including the architect’s name, the building’s date of completion, and the building’s cost. These pictures are a useful record of Baltimore’s earliest significant architecture, particu- larly for those buildings demolished before the age of photography. Historians’ treatments of these images, and of the map itself, have typically looked at these illustrations individually.2 Consideration of their ensemble, on the other hand, provides evidence for discussion of two broader themes, the public’s perception of architecture as a profession and as a source of shared material cul- ture, and the development of that same public’s civic identity as embodied in those buildings. -
Space and Governance in the Baltimore DIY Punk Scene: An
Wesleyan University The Honors College Space and Governance in the Baltimore DIY Punk Scene An Exploration of the postindustrial imagination and the persistence of whiteness as property by Mariama Eversley Class of 2014 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in Anthropology Middletown, Connecticut April, 2014 Table of Contents Images of Baltimore 3 Introduction 5 I: COMMON SENSE, CITIZENSHIP, AND HORIZONTALISM 16 A) DIY ethics and Common Sense 30 B) Insurgent Citizenship and Grassroots Space making 46 C) Horizontalism: Leaderlessness and Empowerment 67 D) Conclusion to Chapter I 83 II: BALTIMORE AS THE SETTING OF THE PUNK SCENE 87 A) Social History and Cheap Space 91 B) The effects of Neoliberalism in Baltimore 108 C) Whiteness as Property 115 D) Conclusion to Chapter II 133 III: CONCLUSION 136 2 1: Olson, Sherry H. Baltimore, The Building of an American City. Baltimore: Johns Hopkins UP 1980: 59 3 2: Olson, Sherry H. Baltimore, The Building of an American City. Baltimore: Johns Hopkins UP, 1980: 398 3: Olson, Sherry H. Baltimore, The Building of an American City: Johns Hopkins UP, 1980: xvi 4 Introduction The first Do-it-yourself (DIY) music show I ever went to was in my senior year of high school. I went with two other friends from my private high school in Baltimore County to see two local bands; a punk set from Dope Body and a hip-hop duo called The Rap Dragons. We drove from my friend’s white wealthy suburban enclave called Homeland toward east Baltimore, not too far from Johns Hopkins University.