#MARIONI

[mentaltimetraveller]

Joseph Marioni Yellow Painting 1997 Acrylic and linen on stretcher 139 x 129 cm

[blueiscoool]

Dante Marioni Multigreen Gum Tree Leaf, 2019

[lillyli-74]

Monica Marioni

[topcat77]

Marioni Monica

[real-fire-emblem-takes]

Marihilda is nice and all but to me that is NOTHING compared to marionie. I might get hate for this but I don't even care Marianne/Leonie SOLOS and if you don't see my vision then like. Skill issue or w/e. My horse girls. The Butch/Femme of it all. And before anyone calls me out for calling Leonie butch, I am COPING. You can't make fun of me I'm literally coping with the lack of butches in fire emblem by making her more butch in my head ok. Anyway the way Leonie calls Marianne's smile pretty unprompted got to me. Their supports only going up to B is criminal. If people don't start appreciating marionie I'm going to nuke the White House. (/J for legal reasons.)

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[huariqueje]

Manhattan   -   Tom  Marioni , 1996.

American , b. 1937  -

Color direct gravure with aquatint  , 28 1/4 × 32 1/2 in  71.8 × 82.6 cm. Ed. 25

[maertyrer]

Paolo Marioni after a model by Eugenio Pattarino Saint George slaying the dragon

Glazed terracotta, 37 cm, 1970s

[moradadabeleza]

Monica Marioni

Ira – Digital Paintins

[feeding-the-coffins]

[ankhlesbian]

FE Scuffle Fic Round-Up: FE Three Houses Femslash

Dorothea x Edelgard Social Media AU -

Mystical_Songstress_61 and EdelgardPoliticalEssays are DATING and i can PROVE it

Edelgard x Bernadetta Soul Eater AU (can be read as romantic or platonic) -

Resonance of the Soul – Will Bernadetta Become a Meister?!? 

Edelgard x Constance - Academy era spell gone wrong shenanigans -

You’ve cat to be kitten me!

Marianne x Leonie - Post-Canon Visit to Leonie's Home Village -

helianthus annuus 

Bernadetta x Leonie - 5 + 1 Kisses Spanning Canon -

so hold my hand 

Marianne x Hilda - misc AU snippets

coffeeshop Au - domestic modern AU - college fake dating - high school cultural festival ft maids

Hapi x Constance - modern magic coffeeshop AU

[hellopiotrzieba]

Katy Marioni

[mentaltimetraveller]

Joseph Marioni, Barnett Newman, 2024, acrylic on linen. Installation view, the artist’s studio, Tamaqua, PA. Photo: Kevin Smith II.

[withinthesplendor]

Monica Marioni

[myobt]

Repost: Dante's Glass Inferno!

[longlistshort]

“Jeff Way In His Tribeca Loft”, 2023; “Turtle Owl Death Mask”,2018 and “Egyptian Violet Gorilla Mask”, 2017

Kimiko Fujimura “Party-3 (Party at Peter’s)", 1990, and “Kimiko Fujimura in her Chinatown Loft”, 2023

For his current exhibition, Loft Law, on view at Westwood Gallery, documentary photographer and filmmaker Joshua Charow photographed artists living and working in the remaining spaces still protected by Loft Law in NYC. The well-crafted portraits offer a chance to see how the artists have made these spaces home over the years.

The gallery has also included artwork by eleven of the artists featured in the photos- Carmen Cicero, Loretta Dunkelman, Betsy Kaufman, Kimiko Fujimura, Joseph Marioni, Carolyn Oberst, Marsha Pels, Gilda Pervin, Steve Silver, Mike Sullivan, and Jeff Way.

From the gallery-

In 1982, Article 7-C of the Multiple Dwelling Law, also known as the Loft Law, was passed in New York City. The law gave protection and rent stabilization to people living illegally in manufacturing and commercially zoned lofts. Hidden behind this legislation were thousands of artists who needed a live/work environment at an affordable rent. These artists protected by the Loft Law changed the trajectory of New York’s cultural landscape.

Three years ago, Charow found a map of the remaining buildings with Loft Law protection. He rang hundreds of doorbells to find and photograph over 75 Loft Law tenants across the city to document the last of these incredible spaces and the creative individuals who made them home. Charow’s interest in the Loft Law and the vanishing history of New York stemmed from his early teenage years when he became immersed in a subculture called ‘Urban Exploring,’ the practice of illegally climbing skyscrapers, bridges, and abandoned subway stations. One of the rooftops he visited was an old factory building in South Williamsburg, where a tenant explained to Charow about the building’s remaining tenants under Loft Law protection.

The photos are a living visual document of the expansive spaces: old flophouses on the Bowery, garment factories in Tribeca and SoHo, glass factories in Greenpoint, and even a former ice cream factory in DUMBO. From the 19th to the 20th century, many buildings in NYC, including SoHo, were manufacturing centers for items from sewing machines to textiles to printing houses. The massive light-filled loft spaces with high ceilings were left empty when these businesses vacated in the mid-1900s and moved to other areas outside of New York City. The industrial-zoned lofts were not legal to live in, as they did not meet the building requirements for residential use, and oftentimes were completely raw spaces without a kitchen, shower, plumbing, or even heat. However, artists were attracted to these large spaces where they could work and create at any hour of the day. At the end of the 1970s, loft living started gaining attention in the media and the wealthy started to become attracted to this lifestyle. Soon landlords began to evict the artist tenants in favor of a wealthier clientele. A group of artists formed the Lower Manhattan Loft Tenants and spent years lobbying in Albany to gain legal protections and rent stabilization. At the time the Loft Law was first passed, there were tens of thousands of artists living in lofts across the city. Today, only a few hundred artists protected under the original 1982 Loft Law remain. This exhibition marks one of the first documentary insights into this vanishing history.

The majority of Charow’s images depict painters, sculptors, photographers, musicians, and filmmakers captured amidst their industrial loft spaces. Notable portraits include experimental music and film artists Phillip (Phill) Niblock (1933-2024) and Katherine Liberovskaya (b. 1961); Phill was instrumental in the avant-garde music and film scene from the 1960s to the present. Visuals artists include 97-year-old abstract and figurative expressionist Carmen Cicero (b. 1926), who has works in the collections of the Guggenheim Museum, Museum of Modern Art, and Whitney Museum; Kimiko Fujimura (b. 1932), who in 1965 was selected as “Japan’s Top 5 Female Painters in Contemporary Art” by Geijutsu-Shincho, a Japanese monthly art magazine; minimalist painter Loretta Dunkelman (b. 1937), a co-founder of the all-female artists cooperative A.I.R. Gallery; and Gilda Pervin (b. 1933), whose studio occupies the top floor of a 1790s Quaker building linked to the Underground Railroad and happens to be the old studio space of famed sculptor Eva Hesse, who worked there from 1965-70. Also included is Chuck DeLaney, co-founder of the Lower Manhattan Loft Tenants, an early activist group that was responsible for the lobbying and passing of the Loft Law.

This exhibition closes on 7/13/24.

[artspaume]