On President Donald Trump’s birthday, New York City artists held performances inside Trump Tower’s not-so-secret public gardens to issue a call-to-arms against the White House's proposed budget cuts to arts funding. The performances, which took place earlier today, are part of a rising trend where activists now use Trump Tower’s public gardens as spaces for political activism. The gardens and atriums inside Trump Tower were a part of Trump’s 1979 agreement with the city, which led to the creation of 15,000 square feet worth of public space in exchange for a zoning variance to build an additional 20 stories. The agreement also stipulated that these privately-owned public spaces (POPS) be accessible to the public from 8 a.m. to 10:00 p.m. daily. “Today in an act of resistance, we take back what is rightfully ours, the public space inside Trump Tower, and use the power of art to protest this administration,” said New York City Council Majority Leader Jimmy Van Bramer, who is also chair of the committee on cultural affairs. “There is an assault on the arts, culture, and thinking in this country right now.” Trump’s budget proposes eliminating federal funding for the National Endowment for the Arts, the National Endowment for the Humanities, and the Corporation for Public Broadcasting. “We gather as artists and citizens to celebrate our country's commitment to the freedom of expression and the exchange of ideas between all people,” said Lucy Sexton, an artist at the event. Performers used art as a way to cover a wide range of subjects that have been topics of hot conversation in Trump’s administration, including climate change and Russia. Trump himself was also a topic of interest, in performances like Brick x Brick, where participants wore brick-patterned jumpsuits adorned with statements of misogynistic violence made by Trump. The performance was a way to “demonstrate disdain to Trump’s policies,” according to Caterina Bartha, the event’s curator, adding that it was “a gift to New Yorkers who attended the free performance and a call to people across the country to fight to save the arts from Trump’s axe.”
Posts tagged with "New York City":
Seen staff mopping inside the World Trade Transportation Hub recently? No, they're not mopping up vomit from puking patrons sick at the sight of the Oculus' horrific detailing. No, no, they're mopping up puddles from leaks. In May, rain resulted in water drizzling down to elevators and balconies in both wings of the Oculus. At $4 billion, the transportation hub's leaks may even be more costly than the Russian kind the U.S. is currently more accustomed to experiencing. In early May, officials from the Port Authority of New York and New Jersey (the agency that owns the transit hub) blamed construction work going on at the adjacent 3 World Trade Center. At the time, legislators did call for an investigation into the issue as well. That didn't appear to do much, though. Perhaps, one supposes, the investigation slipped on some marble as the agency in a prepared statement on Friday, May 26, denied that the Oculus was indeed leaking at all. "There were no leaks in the Oculus this week," spokesman Steve Coleman said, despite a reporter witnessing the leaks with their own eyes. "We soak it up and drain it. It’s a lot of work. It’s nonstop," an Oculus mopper told the New York Post recently. "People do have accidents. Like the last rainy day, somebody almost broke their neck here on the marble,” the maintenance worker continued. The victim in question, a woman, was apparently walking down a set of stairs when she slipped on a puddle. "They slipped and they really hurt themselves because, you know, these are marble floors." Construction workers adding the final touches to Santiago Calatrava's billion dollar transit and retail behemoth have said building work was rushed. "Everything is not done so you’ve have to come back and do it,” Shawn Cumberbatch also told the New York Post as he was caulking an unsealed seam in the main room. "They just wasted a lot of cash over here. This should have been done. If they just took their time and got it right the first time, we wouldn’t have this problem." In April this year, two men sustained injuries after an escalator malfunctioned. Earlier in the year, a woman was killed in February when she fell off an escalator after reaching too far for her hat.
An extensive exhibition featuring works by Alexander Calder, who renowned for the use of kinetic movement in sculpture, is now on display at New York’s Whitney Museum of American Art. The exhibition, Calder: Hypermobility, offers visitors a rare opportunity to experience the artist’s works as they were meant to be—in motion. Previously, the dynamic pieces of art were thought to be difficult to show in museums and were often left static. The moving pieces of artworks are motorized and wind-propelled, creating a choreography of rotations and unpredictable movements. Some of Calder’s earliest works are on display, including his early motor-driven abstractions and wall panels with suspended active elements, as well as other major examples from his later years. While people could actually touch Calder’s works themselves during his lifetime, the sculptures at this exhibition can only be set in motion by ‘activators,’ people who are trained to handle the delicate pieces. There’s an intrinsic relationship between the art and the city that only a location at the Whitney can offer. The exhibition space on the eighth floor of the Whitney Museum, where the works are on display, opens up to the city and creates a connection between the city and the gallery space. “This is a show that can only happen in New York,” Jay Sanders, curator of performance at the Whitney, said at the press preview, adding that the exhibition exaggerates the inter-relation between the urban bustle and the artist’s works. “Calder’s works is a wonderful hinge between these realities.” In addition to the gallery display, there will also be a series of performances, concerts, screenings, and episodic, one-time demonstrations led by the Calder Foundation. These contemporary artists will work in dialogue with Calder’s works. Calder: Hypermobility is on view from June 9 to October 23, 2017, at the Whitney Museum of American Art.
The pension system provided by New York City will no longer invest in private prisons, Controller Scott Stringer has announced. Before yesterday, the city's pension fund previously held $48 million in stocks and bonds of three private prison companies: GEO Group, CoreCivic, and Group 4 Securicor. However, the controller's office revealed on Thursday that these stocks and bonds had been sold off after a unanimous vote from the fund's trustees. The three companies have a 20 percent-or-higher revenue yield from private prisons. New York City will reportedly keep track on the portfolios on a yearly basis to see if new private prisons are added. “Morally, the industry wants [to] turn back the clock on years of progress on criminal justice, and we can't sit idly by and watch that happen,” Stringer said in the New York Daily News. “Divesting is simply the right thing to do—financially and morally." The decision to sell off the investments in GEO Group, CoreCivic, and G4S was made after a federal audit of private prisons conducted in 2016 found that some were not meeting the standards set by the Bureau of Prisons (BOP). One of the findings was:
There were periods after [a] riot during which health services staffing levels failed to meet minimum contractual thresholds. Moreover, between December 2012 and September 2015, the approximately 2,300-inmate Adams County facility was staffed with only a single physician for 434 days (43 percent of the time) and a single dentist for 689 days (69 percent of the time). This resulted in inmate-to-provider ratios that were about double those specified in BOP program statements.In addition to this, the Daily News reported that eight immigrant detainees have died in the last fiscal year while in private immigration detention centers—these house 65 percent of Immigration and Customs Enforcement detainees, so said Stringer’s office. In a statement given to the Daily News, GEO Group said: "We strongly reject the baseless claims that led to this misguided decision. We're proud of our longstanding record providing high quality services, while treating the men and women in our care with the respect and dignity they deserve." Meanwhile, John Adler, chief pension investment advisor to the mayor, commented: "Private prison companies prioritize profits over humane treatment of immigrants and inmates, and their stocks' wild price swings over the past year show the risks inherent in their business model. The Mayor supports divestment from private prisons after thorough analysis from our outside investment consultants, the City Law Department, and the Bureau of Asset Management showed that it was a prudent step for our pension funds to take."
New York architect Robert Kliment passed away on June 3. Kliment cofounded Kliment Halsband Architects with his wife Frances; the firm received the AIA Firm Award in 1997 and an Honor Award the following year. Kliment Halsband Architects has received upward of 100 awards. In addition to his architecture practice, Kliment was a member of the faculty at Columbia University and the University of Pennsylvania. Best known for his work as a principal designer on the computer science buildings at Princeton and Columbia, the renovation of Yale Divinity School, and courthouses in Brooklyn and Gulfport, Mississippi, Kliment was considered to be a thoughtful, humanistic architect. On the firm’s site, it states, “Our clients are public and private organizations with ambitious educational, cultural, and civic goals.” In its citation for the Firm Award, the AIA jury described the work of Kliment Halsband Architects as “a quiet and persuasive architecture that speaks to the best traditions of our profession.” Most recently, the firm worked on the Sixth Avenue IFC Center in New York. Kliment’s approach could be attributed to his unusual childhood. Born in Prague, Kliment was one of the children rescued by Sir Nicholas George Winton at the beginning of World War Two and made it safely to England. From there Kliment attended school in France and Cuba before studying architecture at Yale for his B.A. After a stint serving with the U.S. Army, Kliment returned to Yale for his master’s degree and won a Fulbright scholarship to study the history and evolution of urban spaces in Italy. He joined Mitchell/Giurgola in 1960 and later opened its New York office. He and his wife founded Kliment Halsband Architects in 1972. Robert is survived by his wife, Frances; son Nick Morris-Kliment and his wife Jamie; son Alex Kliment and his wife Maya; and grandchildren Sam and Lydia Morris-Kliment, and Milan Hernández Kliment.
Instead of staring vacantly into a phone on the train, the MTA and New York City's three public library systems would like straphangers to bury their noses in e-books, gratis. Starting today, the New York Public Library, the Brooklyn Public Library and the Queens Library will be offering hundreds of free short stories, books, and book excerpts for download through each station's wireless network. Available for six weeks only, Subway Library will let you read titles in the library system as well as selects from five publishers' catalogues. And who doesn't like books? Even Governor Andrew I-don't-control-the-MTA Cuomo had kind words for the program. “I am thrilled that the New York Public Library, Brooklyn Public Library, and Queens Public Library are kicking off the summer reading season and offering free e-books to subway riders through the MTA’s TransitWirelessWiFi™,” Cuomo said, referring to the private wireless services provider for the subway system. “The Subway Library will encourage adults and children to explore new worlds through reading during their daily commute, while spreading awareness of our Wi-Fi and connectivity services underground.” To promote the program, the MTA's gone all out and decked out a real train: Inside, the promotional car is gussied up to resemble the Rose Main Reading Room at the New York Public Library's main branch on 42nd Street: The industrial grey-blue seats are transformed into faux wood benches as book-lined wallpaper edges the car, though the titles are more suggestive than substantive. Curious riders can catch the special train on the E and F lines' 6th and 8th Avenue corridors.
Performa, an organization dedicated to live performance across various disciplines, will be launching a new program centered around the relationship between architecture and performance in New York City for their seventh edition of the Performa Biennial. The program, titled Circulations, is comprised of site-specific live performances and architectural experimentations in iconic venues throughout the city. Through performance, Circulations aims to examine the movement of bodies in space while looking at how architecture exists in today’s built environment. “From our daily routines, to the spaces that Performa identifies as frame or backdrop for Performa Commissions, it is the built environment that shapes our behavior and impacts our understanding of space,” said RoseLee Goldberg, founding director and curator of Performa, in a press release. Projects by various architects will be brought to life. Montreal-based architect François Dallegret’s “The Environment-Bubble,” a blueprint envisioning a flexible dome capable of hosting multiple occupants, will become a (temporary) reality and roam the city as an inflatable structure, hosting dance workshops. Philip Johnson’s Glass House will be occupied by French artist Jimmy Robert, transforming the icon into a stage “that delves into the intersections of architecture, visibility, and black representation.” Other artists and architects will present installations and performances, including a collaboration between the Marching Cobras of New York, a Harlem-based after-school drum line and dance team, with Bryony Roberts and Mabel O. Wilson, architects and professors at Columbia University’s Graduate School of Architecture, Planning and Preservation (GSAPP). This performance, "Marching On," was commissioned by the Storefront for Art and Architecture. “New York, with its dense urban fabric and complex history—from its Downtown mystique to its real estate–driven present—is the ideal location for a program like this,” said Charles Aubin, principal curator of Circulations, in the press release. “The artists and architects treat the city as a platform for experimentation where human beings and their activities confront the built environment.” Performa will also be launching a publication focusing on historical and contemporary works by architects who have incorporated performance into their practice, as well as a symposium that further examines the historical relationship between buildings and cities. Circulations will take place from November 1 to 19, 2017.
In anticipation of the upcoming L train shutdown in 2019, the Department of Transit (DOT) and Metropolitan Transportation Authority (MTA) are examining the possibilities for a car-free busway for a portion of, or the entirety of, 14th Street in Manhattan. According to a Streetsblog NYC article, the agencies presented four potential options to a Manhattan Community Board 6 transportation committee last night. These options are meant to alleviate traffic that will inevitably result from the L train offload, which amounts up to 275,000 people daily. Here’s what was presented: A “standard” Select Bus Service (dedicated lanes with no physical separation), an “enhanced” Select Bus Service (additional turn and curb restrictions), a car-free busway in the middle blocks of 14th Street, and a completely closed-off, river-to-river street dedicated only to buses. The presentation also included three alternative bus route plans between Brooklyn and Manhattan; one would run from the Grand Street L stop and over the Williamsburg Bridge, heading up First Avenue to 14th Street, and the other two routes would link to the Broadway-Lafayette station. The MTA has already ordered an additional 200 buses for the duration of the 15-month-shutdown. They have anticipated that between 75 to 85 percent of the daily riders will use other subway lines, while only 5 to 15 percent of riders will turn to bus services—which could easily turn the J/M/Z and G subway lines into a nightmare. These new, “attractive” bus options could help increase bus ridership, officials said at the meeting. “The difference for the average user is really dramatic,” said Transportation Alternatives organizer Tom DeVito to Streetsblog. “They made the point loud and clear that they want those 200 buses to be moving people as efficiently as possible.”
New York–based architecture firm Fogarty Finger along with developers Charney Construction & Development, 1 Oak Contracting, and Tavros Capital Partners, unveiled its latest project: a new 22-story mixed-use tower integrated with the historic Dimes Saving Bank of Williamsburg in South Williamsburg, Brooklyn. The site, nicknamed “The Dime,” involves a 342,451-square-foot building at 263 South 5th Street, with over 100,000 square feet dedicated solely to office space, 50,000 square feet of retail, and 177 rental apartments. The project is aimed towards the increasing number of office tenants in the area and features an open-plan space with large floor plates. The building's streamlined aesthetic with ribbon windows and rounded corners is a nod to art moderne architecture, particularly Frank Lloyd Wright’s Johnson Wax building and New York’s Starrett–Light building, according to the architects. The facade will be clad in white terra cotta tiles in reference to the neo-classical bank, which will also be undergoing a renovation. “It was tying back to the bank building, but the idea that the bank building and what we were using for the new building are materials that were used at the same time,” Chris Fogarty, a partner at Fogarty Finger, said to Commercial Observer. The restoration of the 16,700-square-foot bank will involve revitalizing existing columns and maximizing natural lighting by replacing the current skylight. The plan is to let the old Dime bank become a flexible commercial area, with spaces for a showroom, an office lobby for tenants, or stand-alone retail. The project’s strategic location, which is close to the Marcy Avenue J/M/Z stop, offers commuters a solution to the upcoming L train shutdown, according to the architects. “The Dime building will create the perfect gateway to Brooklyn, welcoming inhabitants at the crossroads of the bridge, the BQE, and the elevated train tracks, creating an iconographic project that merges the past and future of the city,” the firm said in a press release. Construction is expected to begin in June 2017 and finish by 2019.
It looks like Pier 55, a $250 million construction project on the Hudson River, will be moving forward—for now—after receiving the required permit modification approval from the U.S. Army Corps of Engineers on June 5. This approval of the design changes is the latest development in this project’s history of lawsuits and controversy. In March, the federal court vacated the permit based on the Clean Water Act, citing concerns that the pier’s construction would impact the river’s estuarine sanctuary. In turn, the Hudson River Park Trust and the Army Corps of Engineers filed an appeal and a modified application addressing those issues. The revised application for the 2.7-acre public park and performance space proposed the use of non-concrete fill for the piles supporting the pier as well as the removal of an adjacent barge. Designed by Thomas Heatherwick and funded by Barry Diller and his wife, fashion designer Diane von Furstenberg, the project has been advertised as an extension of the Hudson River Park with ample recreation space. The project has prominent supporters, including New York Governor Andrew M. Cuomo, who applauded the decision to issue a modified permit. “The development of Pier 55 will ensure that the park continues to attract millions of residents, tourists and travelers each year, while showing off the very best that New York has to offer,” he said in a press release. The main opponent of the project, the City Club of New York, has been filing multiple lawsuits against the Trust in an attempt to halt construction. Besides the environmental issues of building on the river, the group argues that the development of the project has been kept out of the public eye. The new army permit contains many deficiencies and still violates the Clean Water Act, according to Richard Emory, the City Club’s lawyer. “You can’t avoid the Clean Water Act by simply not putting fills and piles,” Emory said to The Architect’s Newspaper. “We will continue to pursue opposition,” he said, adding that new litigation is “extremely likely.”
New York City's Carriage Trade gallery has had two homes in its short history and both were small spaces that director Peter Scott packed with intelligent, thoughtful exhibits. Scott is an artist who curates exhibitions as part of his practice and they have always had a strong organizing idea, engagement with issues of relevance, and connections to the current generation of New York artists. Now relocated to the Lower East Side, at 277 Grand Street, the gallery’s first show American Interior is a response to the recent Trump election. Theorizing that the U.S. media and psyche have avoided looking honestly into its character and habits that led us to the election of Donald Trump, Scott highlights images that open up to interiors that Americans would rather not highlight. These images take on a recognizable but haunting specter, he writes, because the “media increasingly saturates day-to-day life, [and] politics adopts its techniques, shaping reality to suit its goals.” The exhibit features recognizable but creepy domestic interiors, racism in its uniquely American expressions, and views into the American psyche. Taken on their own, many are striking—even seductive—images but together they raise the specter of a frightening uncomfortable reality we don’t like to see or admit on a daily basis. The exhibition American Interior runs through June 3, 2017. Carriage Trade is located at 277 Grand Street, 2nd Floor, New York, New York, 10002.
The board of the Metropolitan Transportation Authority (MTA) has approved a capital plan that gives money to roads and bridges but not to enhancing service on New York City's beleaguered subways. Out of a five-year, $32.5 billion capital plan, the board gave $3 billion in extra funding to projects that Governor Andrew Cuomo supports, including $1.5 billion for a new LIRR track, $400 million for cashless tolling for bridges and tunnels, and $700 million for phase two of the Second Avenue Subway. Cuomo is in charge of the authority and appoints six of its 14 members, more than any other entity. (In a quirk of home rule, the MTA, a state agency, oversees the subway, which serves New York City only.) Although the new plan adds more funding for these expansion projects, subway spending remained almost flat, the New York Times reported. As almost any commuter could confirm anecdotally, there are more straphangers than ever, with trips—especially during rush hour—marred by frequent delays. Part of the problem is that the MTA relies on an outdated signal system to move cars through the tubes. This new capital plan doesn't provide additional funding for a system that would allow trains to run more efficiently, even with the occasional sick passenger. “Investing in the M.T.A. is a good thing, but these changes won’t address riders’ core concern of the increase in crowding, breakdowns and delays,” John Raskin, executive director of passenger advocacy group the Riders Alliance, told the paper.