DOCSLIB.ORG

The Frick Collection 1999

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Frick Collection 1999 The Frick Collection Report The Frick Collection Report On view in the Living Hall, this magnificent Mantel Clock (Pendule de cheminée), c. ‒, has a movement and dial signed by Thuret and a case by André-Charles Boulle. The clock case is made of hardwoods veneered with intricate and symmetrical marquetry designs composed of tortoiseshell and metal, the hallmark of Boulle furniture, and decorated with gilt-bronze mounts. It was bequeathed to The Frick Collection by Winthrop Edey in . The Frick Collection Board of Trustees Council of The Frick Collection Board of Trustees Contents Council of The Frick Collection Report of the President Henry Clay Frick II Nicholas H. J. Hall, Chairman Report of the Director Joseph L. Koerner, Vice Chairman Curatorial Julian Agnew Exhibitions & Lectures Helen Clay Chace Mrs. Russell B. Aitken Publications Jean A. Bonna Concerts W. Mark Brady Frick Art Reference Library Howard Phipps, Jr. Jonathan Brown Public Affairs, Development & Communications Christopher Burge Gifts during Mrs. William Stratton Clark Fellows of The Frick Collection L. F. Boker Doyle Peter Duchin Associates of the Frick Art Reference Library Mauro A. Herlitzka Sustaining Friends Diane Allen Nixon Corporate Members Paul G. Pennoyer, Jr. Richard E. Oldenburg Young Fellows Steering Committee Paul G. Pennoyer, Jr. Fête Galante Committee Samuel Sachs II, ex officio Financial Statements Margot C. Bogert Melvin R. Seiden Staff Deirdre C. Stam Credits I. Townsend Burden III Walter J. P. Curley Emily T. Frick Nicholas H. J. Hall, ex officio Enid A. Haupt Melvin R. Seiden The signs of a new vitality at The Frick Collection in that have received critical and popular acclaim over future. Your help is sincerely sought and deeply recent years, and particularly in , have been plenti- the last two decades. The debt that the trustees and appreciated. ful. Our heightened visibility in the community as well the institution owe to Clay is immeasurable. He has The second initiative is the launching of our first as in the press, engaging exhibitions such as The Medieval paved the way for the next generation of the family formal strategic planning process. This exciting Housebook, and fanciful evenings such as the enormously and their fellow trustees to continue the steady and endeavor has prompted a thoughtful review of our successful Fête Galante are all signs of renewal for an thoughtful development of this institution. Thus it is mission, values, and objectives and is already provid- institution that some had regarded as unchanging and with enormous gratitude and pride that I assume my ing clarity concerning the standards we seek to pre- rather staid. In truth, the Collection has been evolving responsibilities as president of The Frick Collection. I serve, even as we work to chart the course for steadily since its founding more than eighty years ago; can think of no greater honor or challenge than to tomorrow. I look forward, a year from now, to report- yet by staying true to the vision of Henry Clay Frick, dedicate myself to the preservation and animation of ing in depth on these initiatives, and I am confident Report of we have been able to guide change and maintain the this remarkable house, collection, and library. I am that the fruits of these efforts already will be evident Collection’s essence. Knowing what to preserve and confident that with the help and encouragement of in the way we conduct our programs and services. the President what to open to innovation in a museum that is my wonderful colleagues on the Board, and the superb I cannot close this report without words of grati- beloved by so many for its time-honored traditions is staff, The Frick Collection will continue to prosper. tude to some of the persons who have helped make one of the greatest challenges that we face—and we are I am happy to report that we are off to a very this a special year. My thanks again, above all, to my ever mindful of the balancing act that is crucial to our good start. From an operational perspective, was uncle, Clay Frick, who has assumed the title of chair- Helen Clay Chace , success. a banner year. Our attendance hit yet another record man. Thanks also to the trustees and to our wonder- One aspect of the Collection that has been steadfast high with , visitors, and the accompanying ful staff, under the imaginative and tireless leadership since the death of Mr. Frick in is the seriousness financials show an operating surplus of ,,.. of Sam Sachs. The Council of The Frick Collection with which his descendents have taken the obligation of While we continue to spend substantially in excess of has been a continued source of wisdom and encour- preserving his legacy. The responsibility to lead has that for capital repair and renovation, our cash flow agement, as well. I am extremely grateful to Patrick passed successively to his wife, Adelaide H. C. Frick; to has remained positive, and we are optimistic that our Gerschel, who steps down from the chairmanship of his son, Childs Frick; and, in , to his grandson, Dr. fundraising will allow this important work to con- that body after two years, for his friendship, spirit, Henry Clay Frick II. Uncle Clay, as I have called him tinue unabated in the years to come. We have nearly and generosity. Finally, my special thanks to one of all my life, has served as a trustee of this institution completed re-roofing the building, have begun the this city’s leading lights, a generous donor to The with passion and dedication for a total of forty-seven exterior stonework and shutter and window restora- Frick Collection, the honoree of the Fête Galante, and a years. tion, and have completed the renovation of the mentor of mine for many years, Brooke Astor. During his thirty-five-year tenure as president, he has Library offices. overseen accomplishments that are far too numerous to Two of the most significant initiatives for are list, but surely the highlights would include working largely unseen by the general public, and yet they hold with four distinguished directors, the appointment of great promise for the future of this institution. The the Collection’s first curator, the acquisition of such first is our successful application to the Internal Rev- notable works of art as Jean-Antoine Watteau’s The Por- enue Service for termination as a private operating tal of Valenciennes, a percent net increase in the value foundation and the approval of our status as a public of our endowment, the creation of the Friends and Fel- charity. This rather arcane-sounding change reflects lows membership programs, the second expansion of our commitment to be responsive to our public and the building in the s, the incorporation of the earn its support. We are determined to involve a Helen Clay Chace and Samuel Sachs II, Director Frick Art Reference Library in the s (and our first broader community in every aspect of our programs, successful fund drive to raise million to sustain it), development, and governance. Inherent in that resolve the publication of the first eight volumes of The Frick is the recognition that we must turn increasingly to Collection: An Illustrated Catalogue (as well as many other our members and donors, old and new, for the finan- publications), and a roster of extraordinary exhibitions cial support necessary to achieve our goals for the As I look back at , I am struck by the progress lections. I should like to express a particular note of no less than three single-painting loan shows that, by that we have made in increasing our accessibility, out- appreciation to Director Pierre Théberge and Deputy themselves or in conjunction with works of our own, reach, and collaboration with other institutions. It is a Director and Chief Curator Colin B. Bailey for their enabled us to highlight a special aspect of the Collec- year that will be remembered for our record number assistance. tion. With François-Hubert Drouais’s portrait Madame of visitors and exhibitions, our greatly expanded Following quickly on the heels of the aforemen- de Pompadour from the National Gallery, London, we involvement with teachers and students, and our tioned exhibition was The Medieval Housebook, a rare were able to put one of the glories of eighteenth- unprecedented bookshop sales. I am happy I can no opportunity to view a remarkable manuscript while it century French painting on public view in the United longer say that The Frick Collection is one of New was temporarily unbound and in sheets to enable a States for the first time. This was followed, in the York’s best kept secrets. Around the city, around the facsimile edition. We were extremely fortunate to be summer, by Manet’s The Dead Toreador and The Bull- country, and around the world, the word is out. We able to step in to retain a New York venue for this fight: Fragments of a Lost Salon Painting Reunited, which Report of are proud to make the artistic and intellectual riches exhibition, once destined for the Metropolitan brought together from The Frick Collection and the of this extraordinary institution available to an Museum of Art, and we are doubly grateful that National Gallery of Art, Washington, the two extant the Director increasingly diverse public, and we are dedicated to Timothy Husband, Curator, Medieval Art and The pieces of Edouard Manet’s monumental painting. making the experience of visiting the Collection— Cloisters, was able to organize the show for us and This was the first time the two pieces of this work whether in the galleries, in the Library, or through our write the catalogue for the exhibition.
Load more

Recommended publications
  • The Frick Collection, New York Works from the Permanent Collection
    THE FRICK COLLECTION, NEW YORK WORKS FROM THE PERMANENT COLLECTION PRESS IMAGE LIST Digital images are available solely for the purpose of reviewing and reporting on the permanent collection. Please contact the Press Office at 212.547.6844 or [email protected]. 1. Giovanni Bellini (c. 1430/1435–1516) St. Francis in the Desert, c. 1475–78 Oil on poplar panel, 49 x 55 ⅞ inches The Frick Collection, New York Photo: Michael Bodycomb 2. Hans Holbein The Younger (1497/98–1543) Sir Thomas More, 1527 Oil on panel 29 ½ x 23 ¾ inches The Frick Collection, New York Photo: Michael Bodycomb 3. El Greco (1541–1614) Purification of the Temple, c. 1600 Oil on canvas 16 ½ x 20 ⅝ inches The Frick Collection, New York Photo: Michael Bodycomb 4. Diego Rodríguez de Silva y Velázquez (1599–1660) King Philip IV of Spain, Painted in 1644 Oil on canvas 51 ⅛ x 40 inches The Frick Collection, New York Photo: Michael Bodycomb 1 5. Johannes Vermeer (1632–1675) Officer and Laughing Girl, c. 1657 Oil on canvas 19 ⅞ x 18 ⅛ inches The Frick Collection, New York Photo: Michael Bodycomb 6. Rembrandt Harmensz. van Rijn (1606–1669) Self-Portrait, dated 1658 Oil on canvas 52 ⅝ x 40 ⅞ inches The Frick Collection, New York Photo: Michael Bodycomb 7. Hilaire-Germain-Edgar Degas (1834–1917) The Rehearsal, 1878–79 Oil on canvas 18 ¾ x 24 inches The Frick Collection, New York Photo: Michael Bodycomb 8. Jean-Honoré Fragonard (1732–1806) The Meeting (one panel in the series called The Progress of Love), 1771–73 Oil on canvas 125 x 96 inches The Frick Collection, New York Photo: Michael Bodycomb 2 9.
    [Show full text]
  • Alex Katz Coca Cola Press Release
    Alex Katz Coca-Cola Girls 2 November – 21 December, 2018 Timothy Taylor, London, is pleased to present Coca-Cola Girls, an exhibition of new large-scale paintings by Alex Katz inspired by the eponymous, and iconic, figures from advertising art history. The Coca-Cola Girls were an integral component of the company’s advertising from the 1890’s through to the 1960’s, emanating an ideal of the American woman. Initially, the Coca-Cola Girls were reserved and demure, evolving during WWI, and through the era of the pin-up, to images of empowered service women in uniform, and athletic, care-free, women at leisure. In the context of pre-televised advertising, the wall decals and large-scale billboards depicting these figures made a significant impact on the visual language of the American urban landscape. For Katz, this optimistic figure also encapsulates a valuable notion of nostalgia; “That’s Coca-Cola red, from the company’s outdoor signs in the fifties… you know, the blond girl in the red convertible, laughing with unlimited happiness. It’s a romance image, and for me it has to do with Rembrandt’s ‘The Polish Rider.’ I could never understand that painting but my mother and Frank O’Hara both flipped over it, so I realized I was missing something. They saw it as a romantic figure, riding from the Black Sea to the Baltic.” 1 . The poses captured in these new paintings disclose a sense of balletic movement; a left arm extending upwards, a head twisted to the right, a leg poised on the ball of a foot, or a hand extending to and from nowhere - always glimpsed in a fleeting gesture within a dynamic sequence.
    [Show full text]
  • Eighteen Major New York Area Museums Participate in Instagram Swap
    EIGHTEEN MAJOR NEW YORK AREA MUSEUMS PARTICIPATE IN INSTAGRAM SWAP THE FRICK COLLECTION PAIRS WITH NEW-YORK HISTORICAL SOCIETY In a first-of-its-kind collaboration, eighteen major New York City area institutions have joined forces to celebrate their unique collections and spaces on Instagram. All day today, February 2, the museums will post photos from this exciting project. Each participating museum paired with a sister institution, then set out to take photographs at that institution, capturing objects and moments that resonated with their own collections, exhibitions, and themes. As anticipated, each organization’s unique focus offers a new perspective on their partner museum. Throughout the day, the Frick will showcase its recent visit to the New-York Historical Society on its Instagram feed using the hashtag #MuseumInstaSwap. Posts will emphasize the connections between the two museums and libraries, both cultural landmarks in New York and both beloved for highlighting the city’s rich history. The public is encouraged to follow and interact to discover what each museum’s Instagram staffer discovered in the other’s space. A complete list of participating museums follows: American Museum of Natural History @AMNH The Museum of Modern Art @themuseumofmodernart Intrepid Sea, Air & Space Museum @intrepidmuseum Cooper Hewitt, Smithsonian Design Museum @cooperhewitt Museum of the City of New York @MuseumofCityNY New Museum @newmuseum 1 The Museum of Arts and Design @madmuseum Whitney Museum of American Art @whitneymuseum The Frick Collection
    [Show full text]
  • Newsletter 2009
    NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists.
    [Show full text]
  • “Life” — Sam Rein Solo Exhibition at Barrett Art Center by RAYMOND J
    Inside: Raleigh on Film; Bethune on Theatre; Behrens on Music; Marvel’s ‘Art Byte’; th Critique: Sam Rein at Barrett Art Center; Year! Seckel on the Cultural Scene; Jeanne Heiberg & John Coyne ‘Speak Out’; Our 25 New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 25 No. 6 Jan/Feb 2009 “Life” — Sam Rein Solo Exhibition at Barrett Art Center By RAYMOND J. STEINER IT’S ALWAYS A distinct pleasure sional surface alive not only to the for this viewer to come across a eye, but also to the spirit and soul. working artist from the “old school” A humanist with wit, perception, — you know, someone who can draw, and sensitivity, Sam Rein could not manipulate a paint-laden brush, have chosen a more fitting title for compose a motif, vary a ‘signature’, this solo exhibition* since “Life” so avoid a hackneyed formula that aptly reveals his long love affair with “sells”…in brief, bring a two-dimen- the pathos and bathos of the human River View Watercolor condition. This is an artist who not imagery (“Track Three”; “Table Talk only loves his craft, but who also is Al Fresco” — a charming genre piece in sympathy with the nature of be- of three oldsters conversing around ing — whether it be person, object, an outdoor table) is compelling, in- or landscape. viting the viewer to enter, to partici- Some thirty-seven works — pate in whatever is unfolding before charcoals, pastels, watercolors, the eye. Especially “present” in their gouaches, acrylics and even a pencil “thereness” — what the early Ger- drawing (“Reclining Nude, Head on man aestheticians referred to as the Hand”) — make up this show, more ding an sich (the thing in itself) — than enough to showcase Rein’s ver- are his studies of the female figure, satility in motif, genre, and in style.
    [Show full text]
  • The Frick Collection
    THE FRICK COLLECTION Building Upgrade and Expansion Fact Sheet Project Description: Honoring the architectural legacy and unique character of the Frick, the design for the upgrade and expansion by Selldorf Architects provides unprecedented access to the original 1914 home of Henry Clay Frick, preserves the intimate visitor experience and beloved galleries for which the Frick is known, and revitalizes the 70th Street Garden. Conceived to address pressing institutional and programmatic needs, the new plan creates new resources for permanent collection display and special exhibitions, conservation, and education and public programs, while upgrading visitor amenities and overall accessibility. The project marks the first comprehensive upgrade to the Frick’s buildings since the institution opened to the public eighty-two years ago in 1935. Groundbreaking: 2020 Location: 1 East 70th Street, New York, NY 10021 Square Footage: Current: 179,000 square feet Future: 197,000 square feet (10% increase) * *Note that this figure takes into consideration new construction as well as the loss of existing space resulting from the elimination of mezzanine levels in the library. Project Breakdown: Repurposed Space: 60,000 square feet New Construction: 27,000 square feet* **Given that 9,000 square feet of library stack space is removed through repurposing, the construction nets a total additional space of 18,000 square feet. Building Features & New Amenities: • 30% more gallery space for the collection and special exhibitions: o a series of approximately twelve
    [Show full text]
  • Julius S. Held Papers, Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt.
    [Show full text]
  • Further Battles for the Lisowczyk (Polish Rider) by Rembrandt
    Originalveröffentlichung in: Artibus et Historiae 21 (2000), Nr. 41, S. 197-205 ZDZISLAW ZYGULSKI, JR. Further Battles for the Lisowczyk (Polish Rider) by Rembrandt Few paintings included among outstanding creations of chaser was an outstanding American collector, Henry Clay modern painting provoke as many disputes, polemics and Frick, king of coke and steel who resided in Pittsburgh and passionate discussions as Rembrandt's famous Lisowczyk, since 1920 in New York where, in a specially designed build­ 1 3 which is known abroad as the Polish Rider . The painting was ing, he opened an amazingly beautiful gallery . The transac­ purchased by Michat Kazimierz Ogihski, the grand hetman of tion, which arouse public indignation in Poland, was carried Lithuania in the Netherlands in 1791 and given to King out through Roger Fry, a writer, painter and art critic who occa­ Stanislaus Augustus in exchange for a collection of 420 sionally acted as a buyer of pictures. The price including his 2 guldens' worth of orange trees . It was added to the royal col­ commission amounted to 60,000 English pounds, that was lection in the Lazienki Palace and listed in the inventory in a little above 300,000 dollars, but not half a million as was 1793 as a "Cosaque a cheval" with the dimensions 44 x 54 rumoured in Poland later. inch i.e. 109,1 x 133,9 cm and price 180 ducats. In his letter to the King, Hetman Ogihski called the rider, The subsequent history of the painting is well known. In presented in the painting "a Cossack on horseback".
    [Show full text]
  • Frick to Present First Exhibition in Thirty-Five Years Devoted to Highlights of Its Sèvres Porcelain Holdings
    FRICK TO PRESENT FIRST EXHIBITION IN THIRTY-FIVE YEARS DEVOTED TO HIGHLIGHTS OF ITS SÈVRES PORCELAIN HOLDINGS FROM SÈVRES TO FIFTH AVENUE: FRENCH PORCELAIN AT THE FRICK COLLECTION April 28, 2015, through April 24, 2016 When Henry Clay Frick set out to furnish his new residence at 1 East 70th Street, his intention was to replicate the grand houses of the greatest European collectors, who surrounded their Old Master paintings with exquisite furniture and decorative objects. With the assistance of the art dealer Sir Joseph Duveen, Frick quickly assembled an impressive collection of decorative arts, including vases, potpourris, jugs, and basins made at Sèvres, the preeminent eighteenth-century Three Potpourri Vases, Sèvres Porcelain Manufactory, c. 1762, soft-paste porcelain, The Frick Collection; photo: Michael Bodycomb French porcelain manufactory. Many of these objects are featured in the upcoming exhibition From Sèvres to Fifth Avenue, which presents a new perspective on the collection by exploring the role Sèvres porcelain played in eighteenth-century France, as well as during the American Gilded Age. While some of these striking objects are regularly displayed in the grand context of the Fragonard and Boucher Rooms, others have come out of a long period of storage for this presentation. These finely painted examples will be seen together in a new light in the Portico Gallery. From Sèvres to Fifth Avenue is organized by Charlotte Vignon, Curator of Decorative Arts, The Frick Collection, and is made possible by Sidney R. Potpourri Vase “à Vaisseau,” Sèvres Porcelain Manufactory, Knafel and Londa Weisman. Through the year-long show, a number of c.
    [Show full text]
  • The American Brief: Philippe De Montebello
    #TheAmericanBrief The American Brief November 2020 Designed and launched by the Fundación Consejo España – EE.UU., The American Brief releases a monthly series of transcribed interviews on current topics to American personalities from politics, business, culture and academics. ··· PHILIPPE DE MONTEBELLO What was Archer M. Huntington’s vision when Chairman of the Board of Trustees of the Hispanic So- he founded in 1904 The Hispanic Society of ciety Museum & Library. America (HSA)? Philippe de Montebello was born in Paris and after the baccalauréat he attended Harvard College and the Institute He sought to found an institution, a museum of Fine Arts, NYU. With the exception of four years as director of the Museum of Fine Arts, Houston, he has spent his entire free to the public and a rare books and reference career at the Metropolitan Museum of Art, first as curator in the Department of European Paintings and later as the Museum’s library dedicated to the preservation, study, Chief Curator and then, from 1977 until 2008 as its Director, when he retired after 31 years as the longest-serving Director in presentation (exhibition), and promulgation of the Metropolitan Museum’s 150-year-long history. the arts, literatures, cultures, and aspects of daily Following his retirement, Mr. de Montebello became the first life of ancient Iberia, medieval Iberia (including scholar in residence at the Prado Museum in Madrid, and he launched a new academic career as the first Fiske Kimball the Islamic and Judaic cultures), Spain, Portugal, Professor in the History and Culture of Museums at the Institute Latin America, and all other areas of the world of Fine Arts of New York University.
    [Show full text]
  • Bachstitz, Inc. Records, 1923-1937
    Bachstitz, Inc. records, 1923-1937 Finding aid prepared by Adrianna Slaughter, Karol Pick, and Aleksandr Gelfand This finding aid was generated using Archivists' Toolkit on September 18, 2013 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Bachstitz, Inc. records, 1923-1937 Table of Contents Summary Information .......................................................................................................3 Biographical Note................................................................................................................4 Scope and Contents note.....................................................................................................5 Arrangement note................................................................................................................ 6 Administrative Information .............................................................................................. 6 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................8 Series I. Correspondence...............................................................................................8 Series II. General Administrative Records................................................................. 21 Series III. Inventory...................................................................................................
    [Show full text]
  • December 2018
    December 2018 Dear Neighbor, As we enter a season of giving and reflection, I want to share how wonderful it has been to serve you all over the past 12 months. We are coming into a time of year when we put aside differences in opinion to help those in need, give thanks, and celebrate all the good over the year. This year, I have introduced 27 bills focusing on housing, equal rights, criminal justice, and good government. My office has also served thousands of constituents on issues including housing, construction, quality of life, and more. I have a lot to celebrate as your Council Member, and I want to thank all of you for that. With the holiday season comes the arrival of many visitors to New York City, especially on Manhattan’s East Side and Midtown. While it is typical to complain about the overcrowding from tourists during the holiday, they have an undeniable impact on our city. Last month, I introduced legislation that would require the City to better track the economic benefits of tourism and allow New York to sustain and grow its multi-billion dollar industry. You can read more on the proposal in my op-ed in Crain’s. There is another constant of the season: snow. There are sure to be more storms like the one we experienced in November as winter approaches. While an anomaly for the fall, I heard from many of you regarding preparedness and issues stemming from downed trees. The City must be better prepared in response for future storms.
    [Show full text]