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HOLY vertical view on Manhattan ( New York, in 1944). By Andreas Feininger pic.twitter.com/sDutQ4WdSI
Charles W. Cushman, “amateur” photographer traveled extensively in the U.S. and abroad capturing daily life from 1938 to 1969.
I love his photos.
Read more here.
Bad Brains, Beasties, CBGB. It’s all amazingly simple – 80′s style.
(via: nyhc chronicles)
A treasure trove of New York photos – black and whites, industrial, postcards, clock towers, The World Trade Centers. You name it’s here. I love the 70′s style abandonment issues. It’s like a junkyard.
On a cold and blustery day on October 28, 1961, shovels broke ground in Queens for the first stadium to be built in New York City since 1923. The steel and concrete structure that grew in Flushing was originally going to be named “Flushing Meadows Stadium” but in the fall of 1962, civic leader Bernard Gimbel spearheaded a campaign to rename the facility Shea Stadium in honor of the man (popular attorney William A. Shea) who was the driving force in bringing a National League team back to the Big Apple.
The architectural firm of Praeger-Kavanagh-Waterbury designed the stadium to be the second all-purpose facility in the country capable of hosting baseball and football games, seating 55,300 for baseball and over 60,000 for New York Jets games. D.C. Stadium in Washington, opened in 1962, was the first all-purpose facility built just a year earlier. In June of 1962, steel grids began crawling skyward. Six months later the shell of Shea was completed and by July of 1963 pre-cast concrete units covered the steel framework.
Two bitterly cold winters in 1962 and 1963 and more than 17 different labor strikes forced Shea to open a year later than planned. The 45-acre plot where the young Mets could finally feel at home was the same land the city offered to Dodgers President Walter O’Malley in the mid 1950′s before he bolted for the comforts of Los Angeles. (Folklore stories have long rumored that when city officials scouted out stadium sites, they went during the winter, when flight paths into LaGuardia are different, so they never anticipated the amount of aircraft noise during the summer).
Read more: here.
Drawing upon the New Museum’s Bowery Artist Tribute archive and the online archive of Marc H. Miller, 98bowery.com, this exhibition features original artwork, ephemera, and performance documentation by over fifteen artists who lived and worked on or near the Bowery in New York.
Coleen Fitzgibbon installing the exhibition “Income and Wealth” at 5 Bleecker Street, 1979. Courtesy Coleen Fitzgibbon
During these two decades, the Bowery was commonly identified with the furthest extremes of metropolitan decline—municipal neglect, homelessness, and substance abuse. As landlords and civil services abandoned the neighborhood, the subsequent cheap rents and permissive atmosphere drew artists downtown. The Bowery’s lofts provided a social network where painters, photographers, performance artists, musicians, and filmmakers exchanged ideas and drew inspiration from this concentration of creative activity.
(READ MORE: via :New Museum)
Pure underground noir.
Danny Lyon is a self-taught American photographer and filmmaker. He was born in 1942 in Brooklyn, New York and is the son of Russian-Jewish mother Rebecca Henkin and German-Jewish father Ernst Fredrick Lyon. Self-taught, and driven by his twin passions for social change and the medium of photography, the power of Lyon’s work has often derived from his willingness of immerse himself entirely in the cultures and communities he documents.
To Frank O’Hara
Sometimes when my eyes are red
I go up on top of the RCA Building
and gaze at my world, Manhattan—
my buildings, streets I’ve done feats in,
lofts, beds, coldwater flats
—on Fifth Ave below which I also bear in mind,
its ant cars, little yellow taxis, men
walking the size of specks of wool—
Panorama of the bridges, sunrise over Brooklyn machine,
sun go down over New Jersey where I was born
& Paterson where I played with ants—
my later loves on 15th Street,
my greater loves of Lower East Side,
my once fabulous amours in the Bronx
paths crossing in these hidden streets,
my history summed up, my absences
and ecstasies in Harlem—
—sun shining down on all I own
in one eyeblink to the horizon
in my last eternity—
matter is water.
I take the elevator and go
and walk on the pavements staring into all man’s
questioning after who loves,
and stop, bemused
in front of an automobile shopwindow
standing lost in calm thought,
traffic moving up & down 5th Avenue blocks behind me
waiting for a moment when …
Time to go home & cook supper & listen to
the romantic war news on the radio
… all movement stops
& I walk in the timeless sadness of existence,
tenderness flowing thru the buildings,
my fingertips touching reality’s face,
my own face streaked with tears in the mirror
of some window—at dusk—
where I have no desire—
for bonbons—or to own the dresses or Japanese
lampshades of intellection—
Confused by the spectacle around me,
Man struggling up the street
with packages, newspapers,
ties, beautiful suits
toward his desire
Man, woman, streaming over the pavements
red lights clocking hurried watches &
movements at the curb—
And all these streets leading
so crosswise, honking, lengthily,
stalked by high buildings or crusted into slums
thru such halting traffic
screaming cars and engines
so painfully to this
countryside, this graveyard
on deathbed or mountain
never regained or desired
in the mind to come
where all Manhattan that I’ve seen must disappear.
— New York, October 1958
Another treasure trove of NYC photos:
NYC, c. 1985,” a group exhibition including artworks by Armand Agresti, Amy Arbus, Janette Beckman, Larry Clark, Janet Delaney, Andrew Garn, Nan Goldin, Arlene Gottfried, Keizo Kitajima, Catherine McGann, Jeannette Montgomery Barron, Mark Morrisroe, Christine Osinski, Gunar Roze, Les Simpson, Gail Thacker, and Brian Young.
Through a wide range of photographic images by both established and less-familiar artists, the exhibition represents a major metropolis in transition. Compared to the 1970s, a restrained optimism prevailed to a certain extent in New York City over the next decade with the Wall Street boom and a general decline in unemployment. However, such appalling blights as homelessness, violent crime, and racial tensions—not to mention the explosion of the AIDS epidemic—all served to shred the very social fabric of the city.