It was safer and easier to escape, were that necessary, from a blitzkrieg. LaGuardia left office in , after which five mayors moved in and out of Gracie Mansion, largely uneventfully. Then in , came Ed Koch.
Azra Dawood, a postdoctoral curatorial fellow at the Museum of the City of New York, says the newly elected Koch faced a classic New York real estate problem. Koch also weighed the move politically. I know where everything is in it. But Koch eventually gave in and settled uptown. And like any regular guy who finds himself living in a mansion, he got used to it.
He even established the Gracie Mansion Conservancy in , a public-private partnership that restored the house and manages it still. In , Rudy Giuliani took office and moved in straightaway. Six years later, he invited his girlfriend to join him. That's when Donna Hanover, his wife of 16 years and still in residence at the mansion, raised her hand to object. She found out about the end of her marriage after Rudy announced it at a press conference in May She told them that only one half of the city's first couple would be remaining on the premises.
She then turned on her heel and walked back inside, making it clear that it would be her. The mayor ended up crashing at the Midtown apartment of his friend Howard Koeppel, who later claimed that Giuliani reneged on his promise to preside at his wedding after gay marriage became legal in New York. Giuliani, classy as ever, threatened to show up for events at the mansion with girlfriend Judith Nathan on his arm, never mind that his wife and children were still living there.
Donna Hanover won a restraining order to keep them away. It becomes an emblem of Puerto Rican pride. That process for me has always been important. Miguel Luciano Embroided leather vest, vintage buttons Courtesy of the Artist. He often includes text in the form of literary fragments and evocative quotes from a selection of authors, especially those of African descent. These prints echo his painting, evoking the signs held by the Memphis Sanitation Workers marching with Dr.
Martin Luther King Jr. Black Like Me No 2 is in your personal quarters. But they had to move them out, because of the light. I really miss them. This is not some bullshit.
This is not on his talking points. I was super impressed. Photo: Dario Lasagni. Both Humankind and Bedroom Window include family photos, suggesting the one place where Khan feels truly at home.
Her work is often language-based, ranging from overt sarcasm to the subliminal messages of advertising. So many questions in her work, showing how we intersect and dialogue with each other and how much or little we are valued. Who is the bidder?
Black slaves, black culture, and now, black rage, on the auction block. How much are we worth? That the listed phone number directed callers to an automated bidding system was a final bittersweet flourish. In the s, Hujar took a series of portraits and self-portraits, similarly emotional, but achingly raw, of gay men dying of complications related to AIDS. I photograph those who push themselves to any extreme and people who cling to the freedom to be themselves.
He thought of her in the way that my mother thinks of her best friend or anyone she would meet, the most usual kind of person. Candy loved that. Link: For the Peter Hujar Archive, click here. Link: For a Dazed article about Peter Hujar, click here.
Link: For a Tate museum article about Peter Hujar, click here. In order to reach as many people as possible, her provocative statements have appeared on public buildings and billboards as well as in museums and art galleries. Her short texts range from inflammatory to personal and relate to issues like feminism, poverty, and AIDS, or to no issues at all. The only way I could write was by pretending to be any number of people.
That gave me enough shelter to show what inevitably was personal, but also to have the content be for and about others—since I was busy being somebody else. Link: For an article about Jenny Holzer in Interview magazine, click here. This march at the site, led by the prominent architect Philip Johnson, proved to be a seminal moment in the history of the landmarks preservation movement.
Just fifteen months later, the demolition began. I love industrial archaeology—they call it industrial archaeology—bridges, aqueducts, the glass and iron railroad stations in England. I felt that the architectural profession—not just a few architects—but the profession owed it to their own history to do something about it.
It was equivalent to the late Nineteenth Century train sheds of Paris, which, by the way, Napoleon III called les parapluies de Paris, the umbrellas of Paris, which they were. This duality gave great vitality to the experience of entering and going through Penn Station. Link: To read an oral history from Diana Goldstein, click here. Link: To read an oral history from Norval White, click here. These objects serve as personal signifiers of identity, while also exploring the greater economic structures at play in culture and consumption.
They are digitally printed images on fabric sheets that I cut out and sew onto a plush foam base. A Still Life is a genre of painting as well as an anthropological artifact.
Link: To read an interview with Lucia Hierro in Flaunt magazine, click here. Link: To watch a video interview of Lucia Hierro, click here. He created a visual language not only as something to enjoy, but as a means of spreading messages about global and social issues.
A number of his works include powerful visual statements about safe sex, AIDS awareness, apartheid, climate change and even the dangers of our increasing addiction to technology. Haring began his career as a graffiti artist, carrying his black marker with him everywhere, and creating simple cartoonish and surreal drawings outdoors for everyone to see. Beginning in , he made thousands of chalk drawings on empty black spaces in the subways.
Because he worked without permission on public property, he learned how to draw rapidly and with an economy of lines so he could finish an image before being caught by patrolling police.
He showed up one day with ladders and paints and completed the mural in one day. Unfortunately, the popular mural warning against the use of the addictive narcotic, crack, suffered from three decades of decay. However, it has been restored and very recently reclaimed its bright colors and important proclamation. Also in , Haring opened his Pop Shop on Lafayette Street in Soho where inexpensive items like mugs, posters, and t-shirts bearing his art were sold. He believed this was an appropriate extension of his opposition to the traditional view that art should be restricted to expensive galleries and museums and should be made accessible to all people.
Here, he has eschewed the traditional use of canvas and instead bought rolls of relatively cheap oaktag paper to work on. Individuality speaks for the individual and makes him a significant factor.
Art is individuality. The viewer creates the reality, the meaning, the conception of the piece. Link: To see the website of the Haring Foundation, click here. Link: To see the article about Keith Haring from Tate museum, click here. There he began producing cartoon-like pictures of crudity and violence giving rise to a new artistic vocabulary called Neo-Expressionism. This return to figuration permitted charged—often satirical—political content, reflective of a divided, war-weary nation in a year of presidential impeachment.
Some painters of the abstract movement — my colleagues, friends, contemporaries — refused to talk to me. Link: For a biography of Philip Guston on artnet , click here. They wear gorilla masks to maintain individual anonymity and to direct focus on the issues. Originally, they organized to challenge collectors, curators, dealers, and critics for their exclusion of women artists from mainstream institutions and publications. Membership in the group has been replenished over the years.
As their reputation has grown, the Guerrilla Girls, still wearing their masks, have taken up issues beyond the art community. This poster visually represents the stark pay gap between men and women. Link: For an article about the Guerrilla Girls from the Tate museum, click here. Link: For a video interview with the Guerrilla Girls, click here. Green surrounds her subjects with overgrown fields and forests of vibrant color and defies presumptions of where people of color belong in urban settings.
Green often invites her subjects to choose the setting for the photoshoot from among their favorite parks or even in their own lovingly planted gardens, another subversion of the perceived disconnect between people of color and Nature. When I first started talking about the concept, one of my former classmates asked me how this work would differ from images of slavery. The fact that that was his only framework for imagining black people in nature was exactly what stirred me to make my first portraits.
In , she created the Just Above Midtown JAM , a West 57 th Street art gallery and creative workshop dedicated to African American and other artists of color with limited opportunity elsewhere. The Food initiative brings together gardeners, farmers, food preparers, community wellness staff, and artists to teach local students and young mothers why and how fresh foods advance healthy living. Such educational outreach allows participants to take these new skills back to their home communities, spawning sustainable, citizen-operated food initiatives that will improve public health, provide employment, and stimulate local economies.
Linda Goode Bryant is working in Partnership with Gracie Mansion to provide content for the Greenhouse, including seasonal grade tours, student camps, and onsite training for communities on healthy cooking, eating, and lifestyles. Garden programs will be accompanied by select artist projects and workshops.
Hell no. But I figured it out. Creating what we need. Through the disappearance and regeneration of the candy spill, the installation embodies the cyclical nature of time, and the ways that specific histories wane and recur in our collective memory.
In this work, visitors are invited to take a piece of candy and eat it, and the pile is continually restocked to maintain its approximate ideal weight. Mimicking the color scheme of the American flag, the work references the newspaper USA Today, a widely circulated daily journal that is generally regarded as following a practice of reductive journalism, making the news convenient and easily digestible. Link: For information about a different version of this work by Felix Gonzalez Torres at the Hammer Museum, click here.
He then adds another hybrid layer of pop culture lyrics rendered in his self-designed lettering style. I would commission them to make parts of my sculptures because they had skills I did not. I would hear how beading saved their lives, how dancing, how drumming stopped them from doing drugs and alcohol.
These designs were ceremonial, owned, and passed down.. These artists were instead encouraged to paint with earthy pigments on natural materials such as hide or bark. The belief was that art by Native artists could only sell if it was recognizably Native in its content and material, simultaneously exotic and traditional.
Deeply concerned by the destructive effects of climate change on the natural world, Freelander captured natural wonders in resin, steel, and concrete, offering artistic durability to threatened resources. Geologic thinking offers an alternative to the climatologically destructive anthropocentric viewpoint, asserting the ultimate [im]permanence of us, and of Earth. I traveled to Antarctica and Iceland recently — both during the summer seasons — to explore the emotional implications of climate change on those landscapes.
I was really excited about making a sunrise or a sunset that would be here physically forever. The ice caps will melt, we will die, and our bodies will decompose, but our iPhones and the climatological damage imparted by them will last forever. Their inevitable presence in the fossil record will come to signify humanity, and we will be immortalized through our discarded technological artifacts. How can I express my deep appreciation and awe for these landscapes without destroying them? How can I communicate to them my love, my respect?
By becoming as vulnerable as possible, I hope to convince the Arctic of my genuine intentions, despite my participation in climate change as a carbon-consuming member of contemporary society. Link: For an article in Peripheral Vision Arts , click here.
Since , Fougeron has photographed century-old industrial steel production, new economy green roof builders, and artisanal family trades like baking, printing, and hand-made bedding. Her images highlight the skills and dedication of the laborers to the small businesses that have traditionally offered immigrants financial opportunities and a first-step toward American citizenship. It was moving, because these are often family businesses, with rarely more than 30 employees, many of who have been working for these companies for decades.
The owners are closely linked with the workers… The workers have an incredible pride in what they do and a camaraderie among themselves. You can feel it. Fougeron decided to cover photographically each trade in four different ways.
Her compelling portraits focus on the working people; her striking landscapes place the project geographically; her environmental pictures are both informative and reflective; and her close-ups are simply beautiful abstractions. Together it adds up to a remarkable artistic document of Port Morris and Hunts Point. Today, guests enter the blue foyer in the Wagner Wing through heavy wooden doors topped with an ornate semicircle window.
An ornate chandelier and crown molding overlook the room, as does another golden convex mirror — topped with a bald eagle sculpture and installed by Bloomberg — that was used for maximizing light in the space during historical times. The mirror hangs above a historic fireplace taken from the Bayard home where Alexander Hamilton died following his ill-fated duel with Aaron Burr. Through Sept. Lindsay added a yellow pine stockade fence just inside the wrought-iron fence, and Koch had a double fence as well.
The original residents of the house had shade trees and flower beds, according to the National Archives Catalog. Today, the front of the house is flanked by tulips, when in season. British Loyalist Jacob Walton built a house on the site in His home was commandeered during the Revolutionary War for its strategic position near the water and was destroyed in September , according to the NYC Parks website.
The house the family and I have the privilege of living in, Gracie Mansion, was built in by people who were enslaved and indentured servants, a fact that is not detailed in any of the official books about the residence that I have read.
Gracie lived there with his eight children, his wife Esther and three indentured servants. Among other measures, the act mandated that slaves would be called indentured servants, but essentially still treated them as slaves. Gracie finally released them from bondage in He completed a side addition on the house in before he ran aground with debts.
That year, Federalist statesman Rufus King, who signed the Declaration of Independence, took ownership of the house in exchange for loans he had given Gracie, according to the application. The house still bears the mark of the Wheaton family. The house became a public bathroom and concession stand for Carl Schurz Park before the Museum of the City of New York took it over in , according to the museum website.
Until then, mayors had lived in private residences. LaGuardia began his mayorship at Fifth Ave. After the bombing of Pearl Harbor, famed city planner Robert Moses convinced LaGuardia to move into the space for security reasons during his third term. Classic New York. Modern Style. Renoir House offers luxury living in one of Manhattan's most iconic neighborhoods. Open accessibility controls Jump to site navigation Jump to content Jump to footer Return to page.
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