#vintage new york

[citizenscreen]

Exterior view of the RKO-Pathé New York Studio circa 1945.

[newyorkthegoldenage]

Grand Central dressed for Christmas, 1930.

Photo: George Rinhart via Corbis/Getty Images/Huffpost

[oldnewyork]

“ 1967, Manhattan, Girl jumping over a wall” by Mary Ellen Mark

[semioticapocalypse]

Diane Arbus. Woman at a counter smoking, NYC. 1962

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[earthangeal]

A mural of a forest in the South Bronx, New York. Captured by Thomas Hoepker, 1983

Mural Art by Alan Sonfist, 1978. The building still exists, however the mural is no longer there

[theyroaredvintage]

New York City, 1967. Photo by Garry Winogrand

[carolynbkennedy]

[luzzarm]

Jerry LEWIS and the radio personality Barry Gray swapping their ice cream cones at a Carvel stand

New York, 1961

[eightiesfan]

80's cars in New York

[mrskennedy]

Jacqueline Onassis attends a meeting at Grand Central Station aimed at fighting against its demolition. She became one of the most prominent New Yorkers who organized to save Grand Central. January 31st, 1975.

[citizenscreen]

New Yorkers lined up for the Radio City Music Hall opening of SINGIN’ IN THE RAIN with dignity, always dignity. Today in 1952.

[newyorkthegoldenage]

Edward Hopper, Approaching a City, 1946. Oil on canvas.

Travel is a recurring theme in Edward Hopper’s art. Actively seeking commonplace subjects, he often gave more significance to the journey than to the destination. “To me,” Hopper wrote, “the most important thing is the sense of going on.” Such is the arrested, lonely feeling of Approaching a City. Characteristically, Hopper did not reveal what lay ahead, and in referring to the work, the painter said he wanted to evoke the “interest, curiosity, (and) fear” that one experiences when entering or leaving a city.

Ultimately, Approaching a City conveys a paradox of contemporary life. The unseen traveler of the image is caught in a curious limbo and isolation between city and country. The railroad made faraway places accessible to ordinary people, but it also made those places less distinctive. Hopper, by asserting the anonymity of the place and not revealing the train’s destination, suggests a future that is at once both predictable and unknown.

Photo: Whitney Museum of American Art Text: Philips Collection

[oldnewyork]

Rialto Theater, opening of Jacques Tourneur's Cat People (1942)

[semioticapocalypse]

Danny Lyon. Beekman Street and the Brooklyn Bridge Southwest Project Demolition Site. 1967

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[fayegonnaslay]

Marilyn Monroe by Cecil Beaton, 1956.

[3-tearz]

Miguel & Friends

JEAN-PAUL GOODE