#Eastern Parkway -- Brooklyn Museum 2/3

[thejoyofviolentmovement]

Photography: MTA Eastern Parkway -- Brooklyn Museum 2/3, 12/9/23

Photography: MTA Eastern Parkway -- Brooklyn Museum 2/3, 12/9/23 @MTA @MTAArtsDesign @brooklynmuseum

Last Saturday, I was at Brooklyn Museum to catch their latest exhibit: Spike Lee: Creative Sources. More on that later. But what I will say is this: If you love Spike Lee’s work, you need to go. If you love film, you need to go. If you love music, sports and pop culture, you need to go. When you get off at the Eastern Parkway — Brooklyn Museum 2/3 Station, there is a stunning collection of…

[theloniousbach]

AUTUMN IN NEW YORK 2024

Bill Charlap told the story of composer Vladimir Dukelsky meeting George Gershwin who suggested he write popular songs as well as the works, not unlike Gershwin’s own, with sufficient “classical” ambition to be used by the Ballet Russe. As Vernon Duke, Dukelsky wrote April in Paris and, most notably here, Autumn in New York. It is an awfully good jazz standard, one with sufficient features to be a starting place in a video tutorial I keep meaning to pursue. It also is a peg to hang this travelogue but also to hope that it can become a habit to go to the metropolis over Fall Breaks in years to come.

It was bright and crisp but not too cold. It seemed so inviting and my thrill for first nighting was to see Bill Charlap and Noriko Ueda at Mezzrow’s, part of the Small’s Live operation whose streams coming out of Lockdown give me the chance to be a regular on the New York jazz scene. I’ve written about the impeccable performance with one of my typical souvenirs. That note also included clues to remember being in the cozy room among a small but consequential audience. It really was a pilgrimage. Because it is a religious act, I want it to become ritualized. I put my hand on the railing into the sister club, Small’s, and walked by the Village Vanguard. It’s a simple matter to take the 2 or 3 train between Franklin Ave in Brooklyn to 14th Street in the Village.

That first night though I was tired and not fully combobulated from walking around the Village, eating an Indian Kati Roll and then a slice and a half of Joe’s Pizza. I was glad that Ellen prevailed on our hosts so that they waited for my show to let out and we could all go back to Brooklyn. But, I won’t need supervision next time.

That Kati roll was lamb and that, somehow, is our Dear Boy’s preferred protein. We had it three different ways as part of a memorable Yemeni meal, well worth the hour wait on Atlantic Avenue. That hour on the sidewalk outside was fascinating as young and not so young men postured for one another while socializing and, undoubtedly, making deals. It all had the feel of a cafe or coffee shop on the edge of a Middle Eastern market. Bread appeared as soon as we finished tearing up the last of the flat, but the sweet tea (and water) required going to the stand by the counter. Other meals included eggplant shashouka, a pastrami lox everything egg bagel, and a meatball sandwich whilst Sam had lamb chili.

We walked quite a bit on the second day including traversing the Panama Day parade near Franklin and Eastern Parkway to get to the Farmers Market at Grand Army Circle (apples, cheese, and a wonderful sourdough bread). We ran out of steam at the Brooklyn Botanical Garden, but I have now finally seen it and have a strong impression.

As with the jazz shrines, coming back regularly can make this evermore familiar with multiple visits. We didn’t really get into Prospect Park this time and I have yet to go to the Brooklyn Museum, but we will as we apply the Door County ethos to these visits and take our time to get a sense of the place.

Brooklyn grows on me. There are lots of people but it is not as overwhelming as Manhattan. People clearly live there and commercial streets have brownstones nearby on the cross streets. Still, there is inevitable peopling just sitting on a subway car and engaging at a farmer’s market.

So taking our time later in the visit paid off. Our main purpose was to see Sam in his element—his nicely rehabbed apartment, his shape note singing (where he is now one of the elders), at his (virtual) work which is incomprehensible on several levels but clearer for being there.

With E worrying over me about getting back from the Village matched by me concerned at her getting light headed and dehydrated at the BBG to watching how Sam has inherited his own versions of this worry, it’s probably fitting that I watched Inside Out 2 on the plane flying back and saw Joy fret that maybe what it means for Riley to be an adult is that there is anxiety and less joy. I thought the plot truncated/telescoped some of the internalized character development, so it wasn’t quite as magical as the first one.

But it’s all Autumn in New York and I’m ready to live it again.

[whatsonmedia]

5 Colorful, Thought-Provoking, and Iconic Art Exhibitions to See!

This July, there are some amazing art exhibitions happening all over the world. From Banksy to Van Gogh to Matisse, there is something for everyone. So, whether you're a longtime art lover or just starting to explore the world of art, be sure to check out one of these exhibitions this month. 1. "The World of Banksy" at the Saatchi Gallery in London - When: July 12, 2023 - January 8, 2024 - Where: Saatchi Gallery, Duke of York's HQ, King's Road, London SW3 4RY, United Kingdom - Tickets: £22 for adults, £17 for concessions This major exhibition brings together over 70 original works by the elusive street artist Banksy, including some of his most famous pieces such as "Girl with Balloon" and "Flower Thrower." The exhibition also features interactive installations and a documentary about Banksy's work. 2. "Van Gogh and the Olive Trees" at the National Gallery in London - When: July 14, 2023 - October 9, 2023 - Where: National Gallery, Trafalgar Square, London WC2N 5DN, United Kingdom - Tickets: £25 for adults, £20 for concessions This exhibition explores Van Gogh's fascination with olive trees, which he painted over 100 times in his lifetime. The exhibition features over 40 paintings, drawings, and sketches from major museums around the world, including the Van Gogh Museum in Amsterdam and the Musée d'Orsay in Paris. 3. "Henri Matisse: The Cut-Outs" at the Tate Modern in London - When: July 17, 2023 - January 28, 2024 - Where: Tate Modern, Bankside, London SE1 9TG, United Kingdom - Tickets: £23 for adults, £19 for concessions This exhibition showcases Matisse's innovative use of cut-outs, a technique he developed in the late 1930s. The exhibition features over 130 works, including paintings, sculptures, and collages, from major museums around the world. 4. "The Murakami Revolution" at the Brooklyn Museum in New York City - When: July 15, 2023 - January 22, 2024 - Where: Brooklyn Museum, 200 Eastern Parkway, Brooklyn, NY 11238, United States - Tickets: $25 for adults, $19 for seniors and students This exhibition celebrates the work of Japanese artist Takashi Murakami, one of the most popular and influential artists working today. The exhibition features over 250 works, including paintings, sculptures, and anime, from major museums and private collections around the world. 5. "The Power of Color" at the National Gallery of Art in Washington, D.C. - When: July 16, 2023 - January 29, 2024 - Where: National Gallery of Art, 6th Street and Constitution Avenue NW, Washington, DC 20565, United States - Tickets: Free for all visitors This exhibition explores the role of color in art from the Renaissance to the present day. The exhibition features over 100 works from major museums around the world, including the Metropolitan Museum of Art in New York City and the Louvre in Paris. Read the full article

[wanderingnewyork]

The Eastern Parkway-Brooklyn Museum Station on the Nos. 2 and 3 Lines

@nytransitmuseum     @mtaartsdesign

[brooklynmuseum]

What a gift! Central Brooklyn just got a little more accessible for New Yorkers. The Eastern Parkway–Brooklyn Museum 2/3 Subway Station is now officially wheelchair accessible, making it easier to enjoy all the rich Brooklyn culture on and around Eastern Parkway—from Brooklyn Museum and Brooklyn Botanic to Brooklyn Library main branch and Prospect Park.

Photo by Jonathan Dorado

[aagdolla]

Eastern Parkway Brooklyn Museum Train Station ( #2 Train )

Eastern Parkway–Brooklyn Museum is a local station on Eastern Parkway Line of the New York City Subway. Located at the intersection of Washington Avenue and Eastern Parkway in Brooklyn adjacent to the Brooklyn Museum, it is served by the 2 train at all times, the 3 train at all times except late nights, and the 4 train during late nights

Neighborhood = Prospect Heights, Brooklyn NY 11238

Connection to buses when you exit station NYCT Bus: B45, B48, B99

Free transfer to the opposite platform.

99 years old station.

There are two local tracks with two side platforms. The express tracks pass underneath the station and are not visible from the platforms

📷by aagdolla ©2020

[supportblackart]

Soul of a Nation: Art in the Age of Black Power

Soul of a Nation: Art in the Age of Black Power

 Featuring over 150 works by more than 60 artists, the exhibition offers a sweeping view of the remarkable art made by Black artists during one of the most crucial periods in American history

September 14, 2018–February 3, 2019

 The Brooklyn Museum presents the critically acclaimed exhibition Soul of a Nation: Art in the Age of Black Power, an unprecedented look at a broad spectrum of work by African American artists from 1963 to 1983, one of the most politically, socially, and aesthetically revolutionary periods in American history. Soul of a Nation considers the varied ways that Black artists responded to the demands of an urgent moment and brings together for the first time the disparate and innovative practices of more than sixty artists from across the country, offering an unparalleled opportunity to see their significant works side by side. The Brooklyn Museum is the only East Coast venue for this exhibition, which was organized by Tate Modern in London and traveled to Crystal Bridges Museum of American Art in Bentonville, Barkley L. Hendricks, (American, 1945–2017). Blood (Donald Formey), 1975. Oil and acrylic on canvas, 72 x 50½ in. (182.9 × 128.3 cm). Courtesy of Dr. Kenneth Montague | The Wedge Collection, Toronto. © Estate of Barkley L. Hendricks. Courtesy of the artist’s estate and Jack Shainman Gallery, New York. (Photo: Jonathan Dorado, Brooklyn Museum) 200 Eastern Parkway, Brooklyn, NY 11238-6052 718.501.6354 press@brooklynmuseum.org May 30, 2018 2 of 3 Arkansas, in early 2018. Opening September 14, the Brooklyn presentation will remain on view through February 3, 2019. Soul of a Nation features more than 150 works of art in a sweeping aesthetic range, from figurative and abstract painting to assemblage, sculpture, photography, and performance. Among the influential artists of the time highlighted in the exhibition are Emma Amos, Frank Bowling, Sam Gilliam, Barkley Hendricks, Betye Saar, Alma Thomas, Jack Whitten, and William T. Williams. The Brooklyn presentation will also include several works by artist and scholar David Driskell, Suzanne Jackson’s Triplical Communications (1969), and a largescale draped painting by Sam Gilliam titled Carousel Merge (1971). In addition, a monochromatic work by Emma Amos will be on view, as well as two large-scale paintings by British Guyana–born artist Frank Bowling and an abstract push-broom painting by Ed Clark from the late 1970s, which recently joined the Museum’s permanent collection.

The exhibition goes on to trace how artists across the country continued to work in collectives, communities, and individually during the rise of the Black Power Movement. In Los Angeles, years of urban unrest propelled a number of artists to experiment with assemblage and sculpture. Artists such as John Outterbridge and Noah Purifoy made works inspired by the aftermath of the Watts Rebellion of 1965. Emory Douglas, who served as the minister of culture for the Black Panther Party, founded in Oakland, California, in 1966, created striking graphics and illustrations that became powerful symbols of the movement— twenty-four of which are included in the exhibition. In Chicago, a group of artists formed AfriCOBRA, whose manifesto and aesthetic philosophy aimed to empower Black communities. Works by its founding members are on display, including Gerald Williams’s Say It Loud (1969), whose vibrant colors, graphic lettering, and use of black figures were emblematic of the AfriCOBRA style. In New York, painters incorporated symbols of protest, solidarity, and Black pride, while many organized for institutional inclusion. Also featured is artist and professor David Driskell, who drew upon similar themes in his painting, as he worked to organize university art departments across the South and promote scholarship of African American art.

Soul of a Nation: Art in the Age of Black Power is organized by Tate Modern in collaboration with Brooklyn Museum and Crystal Bridges Museum of American Art, Bentonville, Arkansas, and curated by Mark Godfrey, Senior Curator, International Art, and Zoe Whitley, Curator, International Art, Tate Modern. The Brooklyn Museum presentation is curated by Ashley James, Assistant Curator, Contemporary Art, Brooklyn Museum. Leadership support for this exhibition is provided by the Ford Foundation, the Terra Foundation for American Art, Universal Music Group, and the Henry Luce Foundation. Additional support is provided by the Brooklyn Museum's Contemporary Art Committee, the Arnold Lehman Exhibition Fund, Christie’s, Raymond Learsy, Saundra Williams-Cornwell and W. Don Cornwell, Crystal McCrary and Raymond J. McGuire, Megan and Hunter Gray, the Hayden Family Foundation, Carol Sutton Lewis and William Lewis, Valerie Gerrard Browne, and Connie Rogers Tilton.

[vemprany]

Frida Kahlo: Appearances Can Be Deceiving

A dica do Pedro Andrade de hoje é uma das exposições mais lindas que já passou por Nova York.

“Frida Kahlo: Appearances Can Be Deceiving” (Frida Kahlo: Aparências Enganam) está no Brooklyn Museum e é a maior exposição dos EUA em dez anos dedicada à icônica pintora mexicana. É também a primeira nos Estados Unidos a exibir uma coleção de suas roupas e outros pertences pessoais, que estavam trancados desde a morte de Frida em 1954 até serem redescobertos e inventariados. Eles são exibidas ao lado de algumas de suas pinturas mais importantes, desenhos e fotografias, bem como filmes e outras peças da época. De quebra, há também obras de seu marido, o muralista Diego Rivera.

O estilo único e marcante de Frida Kahlo era parte integrante de sua identidade, definida por sua etnia, deficiência e política, aspectos fartamente retratados em seu trabalho.

Os objetos pessoais de Kahlo (que por muito tempo ficaram guardados na Casa Azul na Cidade do México, onde viveu por anos ao lado de Rivera) vão de roupas a jóias e alguns dos muitos espartilhos e próteses pintados à mão, peças que não deveriam ser exibidas até 15 anos após a morte de Rivera.

É uma oportunidade preciosa de viajar pela história e obra de Frida, seu desenvolvimento como artista e suas histórias pessoais. Na saída há uma lojinha onde você vai encontrar diversos livros e objetos inspirados nessa ilustre artista mexicana.

Além de belíssima a exposição “Frida Kahlo: Appearances Can Be Deceiving” é também bastante disputada, por isso os ingressos têm data e hora marcadas e a compra antecipada é altamente recomendada. Se preferir comprar na hora, estará sujeito à disponibilidade, seguindo a ordem de chegada. Em cartaz até 12 de Maio. Incrível e imperdível.

https://www.brooklynmuseum.org 200 Eastern Parkway

Entre as peças em destaque estão: (continua)

1. Primeira Comunhão Foto de 1920, quando Frida recebeu sua primeira comunhão e provavelmente tirada por seu pai, Guillermo, um fotógrafo profissional. Ele e Frida eram muito próximos, compartilhando a mesma veia criativa. Seu lado católico foi imposto por sua mãe, Matilde e abandonado quando adulta, já que Frida não se interessava por religião. Apesar disso, em muitas obras retratou-se como uma freira coroada ou como uma mártir com coroas de espinhos.

2. Huipil e saia O conjunto de huilpil (túnica típica) e saia era um traje bastante usado por Frida. Mas esse gosto não surgiu por acaso: em 1925, aos 18 anos, sofreu um acidente em um ônibus, fraturando suas costelas, pernas e coluna, gerando-lhe problemas de saúde que perduraram por toda sua vida. Por conta disso, foi obrigada a usar espartilhos apertados para endireitar sua espinha e usava os huipils para disfarçá-los. Além disso, com suas cores vibrantes e padrões tradicionais, ela fazia uma declaração de amor à cultura indígena mexicana.

3. Autorretrato como Tehuana Há muitas histórias (reais ou não) sobre a relação entre Frida Kahlo e Diego Rivera, dois dos mais famosos e influentes artistas de seu país e de seu tempo. Os dois, que se identificavam por sua inteligência, inclinação socialista e amor pelo México, se casaram em 1929 e passando por diversas separações - incluindo um divórcio em 1939 - e reconciliações. Ambos tinham muitos casos extraconjugais. Diego, que era mais famoso na época, ajudou a projetar Frida no mundo da arte. “Frida é a melhor pintora de sua época ”, dizia ele, que foi retratado por sua amada inúmeras vezes.

4. Frida Kahlo em Nova York Frida tinha um relacionamento de amor e ódio com Nova York e os Estados Unidos. Foi lá que ela conheceu algumas pessoas que impulsionaram seu trabalho e onde realizou sua primeira exposição individual em 1938. Mas isso não foi capaz de convencê-la a viver no país, como era o desejo de Rivera, já que ela tinha um grande desgosto pela desigualdade social impulsionada pelo capitalismo norte-americano.

5. Frida na Casa Azul Em 1940, Rivera mudou-se com Kahlo para a casa de sua família, La Casa Azul (a Casa Azul) na Cidade do México e a transformaram em um templo das tradições mexicanas, repleta de antigos artefatos maias, esqueletos de papel machê e outras esculturas e pinturas de arte popular. Seus jardins abrigavam muitos animais, como cachorros, papagaios, macacos e um cervo. Quase todas as obras de Frida foram pintadas nessa casa, que após sua morte foi transformada no Museu Frida Kahlo.

6. Espartilho com foice e feto Graças ao acidente com o ônibus, Frida esteve internada em hospitais durante toda a sua vida, sendo submetida a dezenas de cirurgias. Enquanto estava de cama, pintava em telas suspensas e nos espartilhos que usava para proteger a coluna. Um deles retrata dois temas importantes para ela: família e política. Como seu corpo era frágil, teve alguns abortos e nunca conseguiu ser mãe, o que a levou a representar ventres, fetos e crianças em muitas obras. Já a foice representava sua participação no ativismo comunista.

[abowlofmixedart]

Happy B Day Frida! ____________________________________ If you want to visit the Underhill Walls you can take the 2 or 3 trains to Eastern Parkway- Brooklyn Museum... Walls are located on the corner of Underhill ave. and St Johns Pl... Prospect Heights, Brooklyn ___________________________________ Frida piece by Albertus Joseph @albertusjoseph ____________________________________ #underhillwallsbk #streetart #mural #urbanwalls #frida #ProspectHeights #brooklyn #nyc #frankievelez

[biofunmy]

JR’s Street Gallery Comes Indoors

On a fall day at the Brooklyn Museum, it was hard for JR, the most recognizable anonymous artist in the world, to go more than a few steps without a wave of double takes and a trail of enthusiastic fans.

JR, who is 36 and was born in France, has been in the public sphere for at least a decade, yet still declines to give his full name and insists on appearing in public in a fedora and semi-rimless sunglasses, a bit of schtick that can make him look like he’s stepped directly out of a Godard film. This persona, combined with his work — monumental public photography projects often made in parts of the world wrenched by political strife or made inaccessible by military conflict — has lent JR the aura of an empathetic Houdini, magicking himself into unkind places and performing the dual trick of not getting killed while stirring warm feelings.

“JR: Chronicles,” his largest solo museum exhibition to date, tracks his by now well-documented actions from the Gaza Strip and the slums of Southern Sudan and Sierra Leone, to more recent work in the United States. Because his art is centered on portraiture and involves wheat-pasting oversize prints on building exteriors — the faces of women in Rio’s favelas splashed across their homes, or disembodied eyes in Havana, Istanbul and Los Angeles — JR is usually categorized as a photographer or a street artist, but neither really gets at his abiding interest, which is people, and connecting them.

“I don’t really like the term ‘street art,’” he said as we walked through the exhibition. “My studio was the street for a lot of years, just because I had to install my work anywhere I could, and I didn’t know anything else. For me it’s art whether it’s inside or outside. Sometimes it doesn’t work in a gallery. ”

JR doesn’t give away much about his past, aside from saying his parents emigrated from Tunisia and Eastern Europe and that he grew up in one of the “stable” banlieues outside Paris. When he was a teenager he would travel into the city center to write graffiti, using the tag JR, his real initials, or FACE 3, from his short-lived career as a D.J., until he realized he wasn’t good at either pursuit.

“I learned the climbing, I learned all the other stuff, except being a good writer,” he said. By his own admission, his art career began in near complete ignorance. “I came from an environment where there was no art at all. I didn’t know Keith Haring or Basquiat or Cartier-Bresson. I didn’t know there was a job of being an artist. The narrative of other people has always been more interesting to me than mine.” He shifted to documenting his friends’ talents, and pasting photocopies of his pictures of them on walls, complete with spray-painted frames and the heading “Expo 2 Rue,” for street gallery.

His first formal project, “Portrait of a Generation,” from 2004, featured close-ups of young people living in public housing in the Parisian suburbs of Montfermeil and Clichy-sous-Bois. JR asked them to make exaggerated faces, then pasted the images around the bourgeois neighborhoods of Paris. They’re playful but also confrontational, prodding at the conceptions of working-class immigrants in these communities as menacing. The portraits took on added gravity in the next year, as rioting by youths pointing to police abuse and inequality spread from Clichy, and JR’s pasted pictures became the background to burning cars. “JR: Chronicles” opens with a wall-size print of the French-Malian filmmaker Ladj Ly pointing a camera like a shotgun, a sly subversion of media portrayals of black men, but also the kinetic potential of images and the idea that social injustices could be remedied simply by making them widely visible, something that suggests JR’s working thesis.

Since then, JR has viewed his projects as correctives to durable stereotypes and incomplete characterizations of people who traditionally lack the representation to object. “What’s interesting is if you talk to a woman in Brazil and a woman in Palestine, you realize that often they have the same point of view: that they’re being misportrayed and they want to change that,” he said.

JR’s practice retains much of the graffitist’s instincts and moral center: the guerrilla application, the anti-authority ethos, the elevation of those shunted to the margins. “For me it’s really clear,” he said. “I was writing my names on walls to say ‘I exist,’ then I started pasting pictures of people with their names to say they exist. I feel safe when I see graffiti because it shows there’s life. When you go to countries and there’s not one single tag on the wall, you should be stressed.”

He doesn’t spend a lot of time discussing the technical aspects of his work. “Who cares if the photo is good or not good?” he said. He’s much more animated in retelling what happens after an image is pasted up and people start congregating and talking. The portrait is a provocation, an effective vehicle, but you get the sense he would happily switch to nautical flags or pottery if he knew those would take. The point is to get people to see each other, which for JR is the simplest route to understanding.

It can feel daunting to take in so many faces, each with its own history and struggle. But JR is all tightly coiled energy, bopping around the gallery, arms tracing connections in the air. He’s a gifted talker, but often, to punctuate a point he’s making, he’ll stab at your shoulder or jolt your arm. Aware both of his medium’s built-in ephemerality and a keen sense of self-promotion, he has been a consistent self-documenter from the beginning. Each of his interventions is accompanied by a short film, either made on the fly, or as his resources became more robust, with sophisticated production and a narrative assist from Robert De Niro.

For awhile, JR operated just at the outer edges of the art world, making a fairly straightforward but mostly unimpeachable kind of human interest photography that boosted empathy for his subjects. But in the last few years, under the representation of Perrotin — a global player that also represents blue- chip artists like Takashi Murakami and KAWS — produced gallery shows and the attendant sales, his work has invited institutional consideration, and criticism. There’s the knock that his persona feeds a mystique that gives his art a thrust it may otherwise not enjoy or deserve. JR defends his pseudonymous identity less for its performative affect than as a useful tool in a hostile reality.

“We live in a global world, but in most of the countries I go to no one knows me,” he said. “In Turkey or at the Mexican border, I would be stopped before I even started. I’ve been arrested in a lot of countries. The day that art is welcomed the same way everywhere, I guess I wouldn’t need this,” he says, gesturing to his camouflage. “You know, it’s kind of annoying to wear sunglasses all day.”

JR’s obvious analogue is Banksy, whose guerrilla art and success in remaining beguilingly anonymous have yielded eight-figure auction results. “For years I would be like that, completely covered,” JR said. “But I realized by not talking about the work, people would not understand the complexity of it, the layers. It implicates people, and so I wanted people to understand the subject’s intention.”

As his projects have evolved in complexity and reach, they’ve become a shorthand for the kind of citizen-of-the-world pluralism and inextinguishable optimism that can be hard to separate from naïveté. “Chronicles” includes JR’s most recent project, “The Chronicles of New York City,” a large-format mural featuring 1,128 people, whom JR and his team photographed and interviewed by way of a 53-foot-long trailer truck studio that trawled the five boroughs last summer. It’s the third in a series of Diego Rivera-style frescos, after a similar project in San Francisco, and a 2018 Time magazine and JR commission that took as its subject this country’s gun control debate.

He’s been dogged in declining funding from and association with commercial brands and government entities. Still, his pictures are deliberately noncommittal, allowing viewers to affix their own conceptions to the subjects, skimming the surface of deeply intractable social problems rather than engaging with them fully. It can be a frustratingly reductive vision, an Occam’s razor theory of world peace. “The first time I traveled, people told me I’m going to get killed,” he said. “I think being naïve is what has helped me the most.”

“People say, well they might need food, not art, and I’m like, all right, let me go check that, I want to hear from them. So I would go to Kenya or to Sierra Leone and say ‘this is what I do, but you tell me if it makes sense here.’” And the response was always the same: “ ‘Because we’re struggling we shouldn’t have access to art?’”

JR insists that his work doesn’t have a particular style, and so avoids a cult of personality. His “Inside Out: The People’s Art Project,” begun in 2011, invites participants to submit self-portraits, which his studio prints poster-sized and sends back for them to paste. It aims to transcend the artist’s hand entirely.

“I didn’t invent black and white or pasting,” he said. “I never sign my work in the street. So actually, more people don’t know who did it than people who do. I put my work in places where nobody knows me. Yes, it’s giant, but there’s nothing written on it. It’s there for whoever wants to know.”

JR: Chronicles

Through May 3 at the Brooklyn Museum, 200 Eastern Parkway; 718-638-5000, brooklynmuseum.org.

Sahred From Source link Travel

from WordPress http://bit.ly/2RJ4tcU via IFTTT

[wanderingnewyork]

The Eastern Parkway-Brooklyn Museum Station on the Nos. 2 and 3 Lines.

@nytransitmuseum

[marcrfranklinfl]

Permits Filed for 349 Prospect Place in Prospect Heights, Brooklyn

Permits have been filed for a four-story condominium building at 349 Prospect Place in Prospect Heights, Brooklyn. Located between Underhill Avenue and Washington Avenue, the lot is five blocks north of the Eastern Parkway Brooklyn Museum subway station, serviced by the 2 and 3 trains. Arik Bar-Chaim is listed as the owner behind the applications. source https://newyorkyimby.com/2019/04/permits-filed-for-349-prospect-place-in-prospect-heights-brooklyn.html from Genesis Companies is a full-service development and construction firm enhancing communities in NY https://genesiscompanies.blogspot.com/2019/04/permits-filed-for-349-prospect-place-in.html

[halsteadproperty]

New Rental Building in Crown Heights Offers Rooftop With Skyline Views, BBQ and Bocce Ball

At 11 stories tall, 409 Eastern Parkway casts a striking profile in the western pocket of Crown Heights, just steps from vibrant Franklin Avenue as well as many of Brooklyn’s most renowned attractions.

Taking cues from the surrounding brick and brownstone buildings of the neighborhood, Issac & Stern Architects created several setbacks atop a two-story stone base at the 186-unit building.

Developer Adam America went bold with three floors of amenities totaling more than 17,000 square feet.

Let’s start with the rooftop. The landscaped deck offers an unencumbered, surveyor’s-eye view of the city skyline — a dramatic backdrop for hanging out (literally) at the building’s hammock lounge, grilling and chilling at the barbecue stations, or competing on the bocce ball court. Residents can also keep their beverages cool at the roof’s wet bar.

Inside, dedicated co-working spaces are perfect for those enjoying today’s “gig economy,” and the library, fitness center with adjoining yoga alcove and game room provide an outlet for both the brainy and the brawny. There’s also a resident’s lounge with screening area, fireplace, kitchenette, pet spa and children’s playroom.

Throughout the units, oversized windows allow light to flood in, pointing up the kitchen details which include white lacquer shaker cabinetry, Caesarstone countertops, and brand-name stainless steel appliances from Beko, GE, Whirlpool, and Bosch.

The energy of Franklin Avenue’s vibrant bar and restaurant scene is a story unto itself. Butter and Scotch, a bakery that serves cocktails, is your closest local. There’s gourmet pizza at Barboncino, Burger’s at Dutch Boy and Franklin Park and prohibition-style knock-three-times ambience at Crown Inn. If coffee is your drink of choice, residents have plenty of options in Little Zelda’s, Café Forte, The Pulp & The Bean and Starbuck’s.

Being on the western edge of Crown Heights also means convenience to New York City — the commute to downtown Brooklyn and Manhattan is only 15 to 30 minutes on the 2, 3, 4, and 5 trains from Franklin Avenue. Also nearby are The Brooklyn Public Library, The Brooklyn Museum, Brooklyn Botanic Garden, Prospect Park and the Grand Army Plaza Greenmarket.

The Aguayo Team at Halstead Property Development Marketing, which is working the project, believes the lease-up will be swift, as the rental market in the neighborhood is among the hottest in the city.

According to Brendan Aguayo, SVP and Managing Director of Halstead Property Development Marketing, “The quality, layouts and amenities both in the building and surrounding neighborhood have created strong demand.”

Studios start at $2,360, one-bedrooms at $2,685 and two-bedrooms at $3,665. Private parking is available for a fee. Occupancy is expected to begin in September. For more information go to the website here.

[ms1fran]

5x5_ Day 1

Day 1_ Sunday 3rd of September, 2017

Defining my Personal Project Guidelines

So I’m beginning the process quite late. I’ve barely got time to get my 5x5 in, but also, I’ve been thinking a lot about what to I wanted to do and honestly, I’ve been so tired I really needed to recharge and get my zzz in.

As you can see on the “post-it brainstorm/gantt” (view Image 1), I want to do something that is meaningful and useful for me, hence I’m the client and user of my 5x5 projects. This is my first week in NYC and I’ve noticed that my biggest issue so far has been getting around (or second issue really, the first one was getting installed, settled and setting up my room, but it relates to getting around and knowing where stores are because I had to buy a lot of stuff).

I make a difference between Manhattan and Brooklyn, because one is where I work/study and the other is where I chill/home. So my home area urgently requires my attention, it’s where I need to be most comfortable at first (Manhattan can wait). I live in Crown Heights, which is not so large but it definitely has defined areas (and it’s also beautiful and I love it). I live 10 mins away from the Kingston station on Eastern Parkway (3 train), on the corner of Brooklyn and Prospect Place. It’s very different to the Brooklyn Museum or Franklin Avenue zone, since it’s more neighbourly and “less” affected by the “gentrification wave” (although it’s definitely near, Nostrand Av I’m looking at you).

So this problem became the opportunity for me to get out and map out my needs and also to get to know my neighbours better! In Chile we’re specially friendly to shop owners and I’m a really curious person who loves to know more about other people, so if I can begin to develop bonds with my neighbours that’d be great (plus I’d feel safer I think).

Oh also I defined a 10 mn walk radius because that’s as far as I want to talk in order to buy food, etc. It’s also how long it takes me to get to the subway at Kingston on the 3 in Eastern Parkway and the C on Fulton Av.

17:02 Update

After my first quadrant I went back home for lunch, took a nap and realized I was tired from all the walking. But also realised that I don’t have to go through ALL the streets, just the main ones, that’s where the all the shops are and other streets are homes, so I updated my routes.

Also, I showed my project to my roommate J*, I mentioned I had noticed a little “216 days without shooting” sign and she mentioned I could also document the community street art regards this topic. I thought this was a great idea and might take it as another project.

19:45 Update

I’m getting really good info and my feet are hurting, but it’s worth it. Finished 2 quadrants. I’ll do 2 more quadrants for Day 3.

[bitsmag]

Kaws: What Party está em cartaz em N.York

KAWS (American, born 1974). BORN TO BEND, 2013. Aluminum, paint, 120 × 75 × 42 in. (304.8 × 190.5 × 106.7 cm). © KAWS KAWS (American, born 1974). COMPANION (RESTING PLACE), 2013. Aluminum, paint, 60 1/2 × 63 × 80 in. (153.7 × 160 × 203.2 cm). © KAWS. (Photo: Jonty Wilde) KAWS (American, born 1974). UNTITLED (HARING), 1997. Acrylic on existing advertising poster, 68 × 48 in. (172.7 × 121.9 cm). © KAWS. (Photo: Farzad Owrang) KAWS (American, born 1974). M2, 2000. Acrylic on canvas, 68 × 48 in. (172.7 × 121.9 cm). © KAWS. (Photo: Farzad Owrang) KAWS (American, born 1974). NEW MORNING, 2012. Acrylic on canvas over panel, 2 parts, each: 72 × 45 in. (182.9 × 114.3 cm). © KAWS KAWS (American, born 1974). TIDE, 2020. Acrylic on canvas, 98 × 104 in. (248.9 × 264.2 cm). © KAWS. (Photo: Farzad Owrang) KAWS (American, born 1974). AT THIS TIME, 2013. Wood, 103 15/16 × 44 1/16 × 39 3/8 in. (264 × 112 × 100 cm). © KAWS. (Photo: Todora Photography, LLC) KAWS (American, born 1974). UNTITLED (KIMPSONS #2), 2004. Acrylic on canvas, 80 × 80 in. (203.2 × 203.2 cm). Courtesy of Larry Warsh. © KAWS KAWS (American, born 1974). UNTITLED (KIMPSONS), 2004. Acrylic on canvas, 80 × 80 in. (203.2 × 203.2 cm). Courtesy of Larry Warsh. © KAWS KAWS (American, born 1974). TAKE, 2019. Bronze, paint, 76 × 35 3/4 × 27 7/8 in. (193 × 90.8 × 70.8 cm). © KAWS KAWS KAWS (American, born 1974). WHAT PARTY, 2020. Bronze, paint, 90 × 43 5/16 × 35 3/8 in. (228.6 × 110 × 89.9 cm). © KAWS. (Photo: Michael Biondo) KAWS (American, born 1974). Interior spread from UNTITLED (Blackbook), circa 1993. Photograph, ink on paper, 12 1/2 × 8 in. (31.8 × 20.3 cm). © KAWS. (Photo: Brad Bridgers Photography) KAWS (American, born 1974). UNTITLED (Blackbook), 1991–92. Ink and stickers on paper, 8 3/4 × 5 3/4 in. (22.2 × 14.6 cm). © KAWS. (Photo: Brad Bridgers Photography) KAWS (American, born 1974). UNTITLED (KAWS), 1991–96. Ink on paper, 8 1/2 × 11 in. (21.6 × 27.9 cm). © KAWS. (Photo: Farzad Owrang) KAWS (American, born 1974). UNTITLED (KAWS), 1994. Pencil and ink on paper, 8 1/4 × 12 in. (20.9 × 30.5 cm). © KAWS. (Photo: Farzad Owrang) Brooklyn Museum sedia retrospectiva do artista até setembro Está em cartaz em N.York, no Brooklyn Museum, a mais recente retrospectiva de Kaws. A mostra faz um apanhado de toda a carreira do artista nos últimos 25 anos. Desenhos de graffiti, pinturas, colecionáveis, móveis, esculturas e projetos de realidade aumentada foram escolhidos para a mostra que está aberta até o dia 5 de setembro.  O Brooklyn Museum é a primeira instituição de arte de N.York a apresentar uma retrospectiva da carreira de Kaws, de suas raízes como artista de rua até sua fase atual como nome de ponta das artes plásticas no mundo.  A mostra passeia pelos temas recorrentes na obra do artista, baseado no Brooklyn, originário de Nova Jersey. Estão ali suas pinturas e esculturas de personagens inspirados pela cultura pop, bem como o uso da abstração ultra colorida. Kaws interpõe os mundos da cultura popular e do comércio com as artes plásticas, enquanto investiga nossa conexão com os objetos e entre nós. Kaws tem sua prática artística fincada em canais pouco ortodoxos, da arte de rua ao desenho, passando pelo cinema de animação.  Um personagem sempre presente na obra de Kaws é o personagem Companion. Nesta mostra ele está presente em edições em madeira.  No intinerário da exposição é possível interagir com a obra de Kaws através do projeto Acute Art, em realidade aumentada.  Paralela à mostra no Brooklyn Museum, uma escultura de Kaws está em exposição em Manhattan, no Rockefeller Center.  Para quem não estiver em N.York até o final da mostra, em setembro, é possível agendar uma visita virtual para grupo de no mínimo dez pessoas. O preço fica entre 250 e 300 dólares. A visita virtual acontece pelo aplicativo Zoom e tem a presença de um guia do Brooklyn Museum.  A mostra Kaws: What Party inclui também uma loja com vários produtos do artista, incluindo o catálogo da exposição.  KAWS: WHAT PARTYBrooklyn Museum, N. YorkQuarta, quinta e domingo das 11h às 18h. Sexta e sábado das 11h às 20h.Ingresso: US$ 25. US$ 16 idosos + 65 e estudantes; US$ 10 crianças de 4 a 12 anos. 200 Eastern Parkway, Brooklyn, N.YorkTel: 1-718.501.6354Metrô: Eastern Parkway/Brooklyn Museum Read the full article

[jennaschererwrites]

Prospect Park: secrets of Brooklyn’s beloved park | Curbed NY

This year marks the 150th anniversary of the founding of Prospect Park, Frederick Law Olmsted and Calvert Vaux's other great parkland masterpiece. (There's also that big central one in upper Manhattan, but we forget what it's called.)

What it lacks in size compared with its neighbor to the north, Prospect Park makes up for in ingenious landscaping, plenty of diversions and a refreshing lack of tourists. In modern times, the park's story has been one of neglect followed by restoration. Today, it maintains many of its historical elements while also constantly revamping and evolving—just like the borough that surrounds it.

Here's a rundown of some of Prospect Park's hidden corners and interesting byways, plus the stories of a few of its stranger artifacts. (And the less said about that "aggressive squirrel," the better.)

1 Mount Prospect Park

Off Eastern Parkway near the Brooklyn Museum, you'll find a staircase that leads away from the bustle to the second-highest point in Brooklyn. (The highest is Battle Hill in Green-Wood Cemetery.) To call it a "mount" is generous—it's only 200 feet above sea level—but it served as a lookout point for the Continental Army during the Battle of Brooklyn in the Revolutionary War as they defended the Heights of Guan (now the neighborhood of Gowanus) from the British. There's not much of a view these days thanks to the buildings that have sprouted up around it, but there's now a playground and a wide lawn for lounging high(ish) above it all.

2 The Rose Garden

Not all of Prospect Park is equally maintained; one area that until recently had fallen particularly into neglect was the Rose Garden, which sadly hasn't had a rose growing in it since the 1960s. But in its heyday in the 1880s, the garden bloomed and boasted a pool with goldfish swimming inside. Earlier this summer in honor of the park's 150th anniversary, the the Connective Project to install 7,000 sunflower-yellow pinwheels in the onetime flower beds. Keep an eye on this spot: It's the focal point of the Prospect Park Alliance's new restoration project.

3 Vale of Cashmere

This extravagantly named chunk of parkland takes its title from a Thomas Moore poem about a region of Northern India. It was once a children's play area and then a formal garden, but much like the nearby Rose Garden, it's fallen into disrepair. Since then, the area has come to resemble a fairyland, with flowers and trees growing wild in an abandoned fountain. It's also held an important place in the history of Brooklyn's gay cruising scene, as documented in photographer Thomas Roma's book In the Vale of Cashmere. The Prospect Park Alliance is beginning restoration efforts in the Vale, removing invasive weeds (using goats!) before beginning reforestation in the area.

4 Lefferts Historic House

Get a peek at Brooklyn's bucolic past at this Dutch Colonial farmhouse, built in 1783 by Pieter Lefferts. Originally located on Flatbush Avenue, the house managed to survive the Industrial Revolution before it was relocated to the park in 1918 to prevent it from being knocked down. Now it's a kid-friendly museum offering an immersive experience in the 18th-century farming lifestyle, complete with candle making and butter churning demonstrations.

5 The Ravine

Deep in the center of the park, this lush woodland holds the title of Brooklyn's only forest. Olmsted and Vaux designed the Ravine with Adirondack landscapes in mind, and as such it's an oasis of winding trails, waterfalls, rustic bridges and even a small gorge. Erosion and overuse threatened the forest until reclamation efforts began in the 1990s, and now it's almost back to its former glory. If you're looking for wildlife in the park, this is the place to find it.

6 Prospect Park Carousel

This carousel near Flatbush Avenue is a few notches above your average kid's ride. Built in 1912 by master carousel maker Charles Carmel, its elaborately decorated wooden menagerie includes 53 horses, a lion, a giraffe, two dragons, and a deer with inlaid with real antlers. The carousel was restored in 1987, and can be ridden today for $2 a pop.

7 Prospect Park Dog Beach

This small area off the Upper Pool is notable not so much for its beauty but for the park visitors who frequent it: Brooklyn's endless, varied parade of dogs. Particularly during off-leash hours in the early morning and evenings, the shallows of Upper Pool are swarming with frolicking canines cooling off after a run in the Long Meadow. The beach reopened after renovations just this summer, having replaced its ugly concrete entryway with stone slabs meant to mimic an Adirondack streambed.

8 Prospect Park Boathouse

Prospect Park's water features are actually all part of one water way, from the Lake in the south part of the park to the Upper Pool in the north. Perhaps its most picturesque portion is the Lullwater, a wide basin modeled after the Serpentine in London's Hyde Park. Beside it is a 1900s Beaux Arts boathouse designed by Helme & Huberty. In addition to being rented out as an events venue, the landmarked building is home to the Audubon Center, dedicated to bird conservation. The Boathouse was saved from demolition thanks to preservation efforts in 1964, and went on to be a filming location in Martin Scorsese's 1993 movie The Age of Innocence.

9 Camperdown Elm

If Prospect Park's weirdest tree looks like it came from another time and place altogether, that's because it did. This knotty, twisting elm was donated to the park in 1872, using a cutting from the singular trees that grew on the estate of the Earl of Camperdown in Dundee, Scotland. The elm fell into neglect until it was saved from the ax and restored to health thanks to Pulitzer-winning poet Marianne Moore, who used it as a symbol to help found the Friends of Prospect Park. Moore even wrote a verse ode to the tree, in which she dubbed it Brooklyn's "crowning curio."

10 Concert Grove

The park's extensive Lakeside project, which opened in 2013, included the restoration of several original Olmsted and Vaux landscape elements that had been bulldozed to make way for Wollman Rink in the 1960s. Among the revived areas is this shady grove facing out onto the lake, which originally served as a venue for live alfresco performance. Its musical legacy lives on in 19th-century busts of composers that dot the grove, including the likes of Beethoven, Mozart and Grieg. The grove also includes the dubiously named Oriental Pavilion, designed in the 1870s to approximate a Middle Eastern architectural style.

11 Friends Quaker Cemetery

Though it's closed to the public, you can still catch glimpses inside this small, 19th-century cemetery on the southwest side of the park. Opened in 1849 by the Society of Friends, the graveyard actually predates the park and is now private land within it. Among the prominent Quakers buried here are Raymond Ingersoll, former Brooklyn Borough President, and Montgomery Clift, the midcentury Hollywood heartthrob who died young in 1966 and was buried here at the behest of his Quaker mother.

12 Imagination Playground

This playground along Flatbush Avenue is the most visually interesting of Prospect Park's kid spaces. Among its diversions is a bronze dragon that spews water; and a statue of depicting Peter and his dog Willie, characters in children's books by beloved Brooklyn author Ezra Jack Keats. As its name suggests, this playground has nontraditional structures for kids to play on, like a stagelike area overseen by a giant eye and a curling bridge that resembles a piano.

13 Lookout Hill

The best views to be had in Prospect Park are from atop this 177-foot-high hill overlooking the Lake. At the bottom you'll find a monument erected to the memory of the Maryland 400, a company of American troops who held the hill while Washington's army retreated during the Battle of Brooklyn in 1776. There used to be a wide path for well-to-do Brooklynites to take their carriages up the hill, but these days you can go on foot via a stone staircase. On a clear day when the leaves are off the trees, you can see all the way to Coney Island.

14 The Peristyle

Also known as the Grecian Shelter, this neoclassical structure on the southern end of the park was designed in 1905 by legendary architect Stanford White. (He was murdered a year after its completion.) Open to the air and held up by limestone Corinthian columns, the Peristyle looks like it might have fallen through a time portal from Ancient Greece. It was added to the National Register of Historic Places in 1971.

15 Prospect Park Parade Ground

Situated at the very bottom of the park across Parkside Avenue, the Parade Ground is a 40-acre expanse dedicated to sports of all stripes, with public spaces for baseball, football, tennis and soccer. In the 19th century, the Parade Ground was used for military drilling by the Union Army and the Coast Guard. Today, it's famous for a different reason: The ballfields here have been early swinging grounds for dozens of World Series-winning MLB players, including Sandy Koufax, Tommy Davis and Joe Torre.