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Haber, John. “Pure Plastic Painting.” Haberarts.Com. April 9, 2013
Haber, John. “Pure Plastic Painting.” Haberarts.com. April 9, 2013. Christian Haub calls his constructions Floats, at Kathryn Markel through April 13, for they seem to float away from the wall. I like them almost as much for how firmly they hold. Haub constructs them from dyed acrylic, cast or cut into rectangular sheets. A separate strip, bolted to the wall, holds up the art, which can easily weigh twenty-five pounds. The work gains in mass from its typically vertical dimensions and repeated horizontals, but it looks ever so much lighter—and not just because of one’s expectations for plastics. I wanted to lift one off its mount and carry it away. It looks so light because it collects light, like oils. The work may sound like sculpture, but Haub is still painting. No wonder Jeremy Gilbert-Rolfe has compared him to both media, in Charles Biederman and Ilya Bolotowsky. Haub’s broadest acrylic sheets are most often opaque, the narrower strips nearly transparent, with the simplicity of red, yellow, and blue. Both are at once his canvas and his color fields. They also allow a third dimension to the vertical and horizontal fields, coming right out of the picture plane—but they are first and foremost colors. Seeing them as color has its danger, too, though. One might mistake the hard edges, right angles, asymmetry, and all-over compositions for Piet Mondrian in Lucite. After all, Mondrian’s movement did call itself Neo-Plasticism. That (or Burgoyne Diller’s stringent adaptations of Mondrian to Joe Strummer Float, 2013, 52 x 48 x 4 inches America) would miss the third dimension and the luminous. -
Artist Archaeologist Gonzalo Fonseca ARTIST ARCHAEOLOGIST GONZALO FONSECA (1922-1997)
PUBLIC ART EXPLORER Artist Archaeologist Gonzalo Fonseca ARTIST ARCHAEOLOGIST GONZALO FONSECA (1922-1997) Sun Boat North Shore Drive Pylon 1965 Underpass 1965 Concrete 1965 Concrete N S D Map #1 Concrete Map #3 Map #2 B Trail N S D B Trail M D Gr Trail W P W M D 3 2 1 Gr Trail N S D S N 2 H C LEARN Who was Gonzalo Fonseca? A Budding Artist He was born and raised in Uruguay in South America. When he was eleven, Fonseca spent six months traveling in Europe with his family. The things he experienced and saw on this trip inspired him to become an artist. When his family returned home he set up an art studio in the basement. A Curious Mind Fonseca was a very curious person. He loved learning about history and languages (he spoke at least six!). Fonseca is often called a polymath*, or someone who knows a lot about many different things. He also traveled to continue his education. On his journeys, Fonseca climbed pyramids in Egypt, helped excavate ancient sites in the Middle East and Africa, and visited ancient Greek and Roman ruins. All of these experiences became a part of his artwork. An Inventive Sculptor Fonseca trained to be a painter but switched to sculpture because he wanted to work in three dimensions. The Lake Anne play sculptures are some of the only public art he ever made. They are molded from the same concrete used in the surrounding buildings. Fonseca was excited to have such big spaces to work with, places like the plaza by the lake and the underpass. -
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. -
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 -
Ramones 2002.Pdf
PERFORMERS THE RAMONES B y DR. DONNA GAINES IN THE DARK AGES THAT PRECEDED THE RAMONES, black leather motorcycle jackets and Keds (Ameri fans were shut out, reduced to the role of passive can-made sneakers only), the Ramones incited a spectator. In the early 1970s, boredom inherited the sneering cultural insurrection. In 1976 they re earth: The airwaves were ruled by crotchety old di corded their eponymous first album in seventeen nosaurs; rock & roll had become an alienated labor - days for 16,400. At a time when superstars were rock, detached from its roots. Gone were the sounds demanding upwards of half a million, the Ramones of youthful angst, exuberance, sexuality and misrule. democratized rock & ro|ft|you didn’t need a fat con The spirit of rock & roll was beaten back, the glorious tract, great looks, expensive clothes or the skills of legacy handed down to us in doo-wop, Chuck Berry, Clapton. You just had to follow Joey’s credo: “Do it the British Invasion and surf music lost. If you were from the heart and follow your instincts.” More than an average American kid hanging out in your room twenty-five years later - after the band officially playing guitar, hoping to start a band, how could you broke up - from Old Hanoi to East Berlin, kids in full possibly compete with elaborate guitar solos, expen Ramones regalia incorporate the commando spirit sive equipment and million-dollar stage shows? It all of DIY, do it yourself. seemed out of reach. And then, in 1974, a uniformed According to Joey, the chorus in “Blitzkrieg Bop” - militia burst forth from Forest Hills, Queens, firing a “Hey ho, let’s go” - was “the battle cry that sounded shot heard round the world. -
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. -
Christian Ricci Behind the Scenes in New York – Fall 2020 Assignment #1 October 05, 2020 1 Opened in 1973 on Bowery in Manhatt
Christian Ricci Behind the Scenes in New York – Fall 2020 Assignment #1 October 05, 2020 Opened in 1973 on Bowery in Manhattan’s East Village, CBGB was a bar and music venue which features prominently in the history of American punk rock, New Wave and Hardcore music genres. The club’s owner, Hilly Kristal, was always involved with music and musicians, having worked as a manager at the legendary jazz club Village Vanguard booking acts like Miles Davis. When CBGB first opened its doors in the early seventies the venue featured mostly country, blue grass, and blues acts (thus CBGB) before transitioning over to punk rock acts later in the decade. Many well know performers of the punk rock era received their start and earliest exposure at the club, including the Ramones, Patti Smith, Television, Blondie, and Joan Jett. During the New Wave era, performers like Elvis Costello, Talking Heads and even early performances from the Police graced the stage in the now legendary venue. Located at 315 Bowery, which is situated near the northern section of Bowery before it splits into 3rd and 4th Avenues at Cooper square, the original building on the site was constructed in 1878 and was used as a tenement house for 10 families with a shop (liquor store) on the ground floor. In 1934, 315 and 313 were combined into one building and the façade was redesigned and constructed in the Art Deco style, as documented in the 1940 tax photo. At that time, the building was occupied by the Palace Hotel with a ground floor saloon. -
Cecilia De Torres, Ltd. [[email protected]] En Nombre De Cecilia De Torres, Ltd
De: Cecilia de Torres, Ltd. [[email protected]] en nombre de Cecilia de Torres, Ltd. [[email protected]] Enviado el: jueves, 01 de octubre de 2015 12:49 p.m. Para: Alison Graña Asunto: The South was Their North: Artists of the Torres-García Workshop- Now open through January 2016 Cecilia de Torres, Ltd. invites you to The South was Their North: Artists of the Torres-García Workshop, an exhibition of paintings, sculpture, wood assemblages, furniture and ceramics by Julio Alpuy, Gonzalo Fonseca, José Gurvich, Francisco Matto, Manuel Pailós, Augusto Torres, Horacio Torres and Joaquín Torres-García, on view from September 2015 through January 2016. Related to the upcoming retrospective exhibition, Joaquin Torres-García: The Arcadian Modern at the Museum of Modern Art, Cecilia de Torres, Ltd. presents an aspect of the artist's endeavors that is inextricably associated with his personality and his career: the creation of a school of art that would realize “Constructive Universalism,” his theory of a unified aesthetic based on the visual canon he developed. Torres-García’s ambition was to establish an autonomous artistic tradition based on Constructive Universalism that would eventually expand to all the Americas. This utopian undertaking occupied the last fifteen years of his life as an artist and teacher to new generations, leaving a considerable body of work and an indelible mark on South America’s modern art. The works in this exhibition date from 1936 to the 1980s. Our intent is to present work by this group of exceptional artists that is emblematic of their individuality, works of mature achievement as well as of their constructivist origins. -
New Editions 2012
January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. -
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. -
View from the Street Neighborhood Overview: Manhattan
EASTERN CONSOLIDATED VIEW FROM THE STREET NEIGHBORHOOD OVERVIEW: MANHATTAN APRIL 2017 EASTERN CONSOLIDATED www.easternconsolidated.com VIEW FROM THE STREET NEIGHBORHOOD OVERVIEW: MANHATTAN OVERVIEW Dear Friends: Of the international investors, Chinese While asking rents for retail space on firms increased their acquisitions of major Manhattan corridors such as Fifth We are pleased to introduce the Manhattan properties to $6.5 billion in Avenue, Madison Avenue, East 57th inaugural issue of View from the Street, 2016, up from $4.7 billion in 2015. The Street, West 34th Street, and Times Eastern Consolidated’s research report most significant transactions included Square can reach up to $4,500 per on neighborhoods in core Manhattan, China Life’s investment in 1285 Avenue square foot, our analysis shows that which will provide you with a snapshot of the Americas, which traded for there are dozens of blocks in prime of recent investment property sales, $1.65 billion in May 2016, and China neighborhoods where entrepreneurial average residential rents, and average Investment Corporation’s investment in retailers can and do rent retail space for retail rents. 1221 Avenue of the Americas, in which under $200 per square foot. partial interest traded for $1.03 billion in As is historically the case in Manhattan, December 2016. Our review of residential rents shows neighborhoods with significant office that asking rents for two-bedroom buildings such as Midtown West, Investor interest in cash-flowing multifamily apartments are ranging from a low of Midtown East, and Nomad/Flatiron properties remained steady throughout $3,727 on the Lower East Side up to recorded the highest dollar volume 2016, with nearly 60 percent of these $9,370 in Tribeca.