Art

In celebration of the National Day of Listening, the Art and Picture Collections have been collaborating with StoryCorps to produce an all-day drop-in event to consider your art and your life.

We invited six artists to the StoryCorps booth to record the story of art in their lives. And, on the National Day of Listening (the day after Thanksgiving), we will hear excerpts from their tales as we look at images from their oeuvre. The artists will participate in a panel discussion about their StoryCorps experiences, while the audience will be invited to share what art means in their personal lives. And StoryCorps representatives will be on hand to explain how to record and document your own story.

Artists Michael Cline, Annette Cords, Anujan Ezhikode, Builder Levy, Justin Lieberman, and Charles Mingus III each traveled with a significant other to the StoryCorps booth in Foley Square to be interviewed about how art has influenced, molded, and changed their lives. Their stories were recorded by StoryCorps and will be archived in the Library of Congress, where their lives can be celebrated through the art of listening for years to come.

Excerpts from the recording session will be played throughout the day on November 27. As a bonus, join us at 2 pm for an artist panel, where they will share their stories and their recording experiences in person at NYPL for the National Day of Listening, a day to slow down and listen to the stories of the people in your life. We are also looking forward to hearing your stories in art. Whether you create doodles, mashups, crochet, or marble sculpture, we want to listen to where they come from.

When: Friday, November 27, 2009, 10 am to 5 pm
Where: South Court Auditorium, Stephen A. Schwarzman Building, 42nd Street & 5th Avenue

Schedule:
10 am Artist storytelling slideshow, followed by audience interviews
12 noon Artist storytelling slideshow, followed by audience interviews
2:15 pm Artist panel (arrive at 2pm to hear the artists in person), moderated by Arezoo Moseni
3:45 pm Artist storytelling slideshow, followed by audience interviews

We are really grateful to the wonderful folks at StoryCorps for making this event possible. Please join us and listen to the stories of six contemporary artists, and tell the story of what art means to your life.

You have nothing to do this weekend? I wish I could say the same, but its the 4th Annual NYABF and 2nd Annual CABC all under one roof at PS1.

A free opening preview is tonight from 6 to 8pm. And things really kick off tomorrow at 10:30 with the opening conference session. The Fair is entirely free and the bound-to-be intellectually stimulating Conference sessions are an affordable $20 each (or $100 for all 6 session and other assorted goodies).

In addition a slew of performances, talks and general fun have been arranged to concurrently happen in the Classroom at PS1.

Now what were your plans again?

Artists have long used the NYC subway system as a wellspring of ideas, using their experiences to express themselves by way of the written word, visually on film, in oils on canvas, pen to paper, prints and sculpture. Sometimes the artwork is officially sanctioned and sometimes it is not.

When I moved to New York the 1982 the subway system was like a traveling road show of urban expression. Graffiti covered the walls inside and out, where there was a space to make a mark a mark was made. It was a cacophony of visual noise, much of which I could not understand.

It was big, bold and brash, loud and lovely. The graffiti in the interior of the subway cars was mostly black and seemed to be signatures. However on the outside of the subway cars, the colors were vibrant, expansive and the voices unique. The artistic strokes that jacketed the cars were energetic and beautiful. The work was detailed, precise and great care was put into these displays. These were serious artists even if at the time their art was not considered serious but more of a nuisance. A visual revolution was taking place and much of it seemed inspired by the New York City subway system.

Early on, the New York City subway system commissioned artists and artisans to create beautiful designs to decorate the subway walls.

It was utilitarianism taken to its highest level, all for our pleasure. Grand decorative pieces of terracotta announce the station name and each station’s motif is different. Rich and varied colors accent the old crazed white subway tile. Interestingly the colors vary from station to station. In other stations not as grand but clearly as beautiful, wonderfully brilliant mosaics, made up of tiny squares imbedded into the walls create large rectangular plaques that display the station name. In one station the mosaics are made up of varying colors of matte finished squares and in another station the mosaics are of rich jewel tones and yet even another station’s mosaic could be of shimmery iridescent colors. These designs, though purposeful and formal are not in the least bit bland despite their context. On the contrary, they are lively, expressive and display a distinct individualism that is still refreshing a hundred years later.

In the early part of the 20th century, the mechanical wonder of the subway system was a catalyst for visual expression by some artists of the Futurist movement. The speed and power of moving trains lent itself nicely to the overall theme of this group which emabraced the energetic and accelerated pace of the world beginning at the 20th century. Paintings of the Futurists broke down motion in fractured slivers of color, like Max Weber’s 1915 painting Rush Hour, which is a visual display of the New York City rush hour commute done in kinetic geometric planes.

It is not unusual while riding the train to witness an artist sketching the passengers on the trains. In a number of quick fluid strokes, these artists capture the emotions of the people on the train. The sketches may be used later as a reference tool or may exist simply as lovely discreet items. Artists such as Marvin Franklin who as longtime subway worker used his first hand knowledge to create beautifully rendered paintings of the people who ride the trains. Elbow Toe is a street artist whose sketches of subways riders in lines of red ink are expressive and energetic.

Every morning thousands of people descend into the subway stations across the city, hundreds more wait on platforms for their trains to take them to their destination points. The train enters the station, doors open, people crowd into the cars, some sit, some stand, some read, some think and some look about, eventually the train moves, bumping along the tracks as it courses its way through the tunnels. It’s a scene repeated day in and day out, every month and every year for a hundred years. To the daily commuter it is simply a ride; to an artist it is a vast and endless opportunity.

Please join Tracy Fitzpatrick as she discusses her book Art and the Subway: New York Underground on Monday, Sept 14, at the Mid-Manhattan Library @ 6:30 PM

I have also included a link to javier hernandez-miyares blog featuring film clip of posterboy's art, an anonymous New York City based street artist whose only utensil is a razor. He is known for satiric college-like works created by cutting out sections of the self-adhesive advertisement posters in the platforms of New York City subway stations, and pasting them back in different positions.

A Map of the Known World (April 2009) is Lisa Ann Sandell's third novel (it was also the first book I have discovered that was edited by Aimee Friedman a neat-o YA author in her own right whom I met very, very, very briefly at a reading). She has two other critically acclaimed novels under her belt. According to her website, those previous books were written in verse. I feel like saying that now because I want to address the tone of the book, before saying anything else about it. At times the writing felt erratic--sometimes profoundly authentic, at other times very much like a writer writing as a teen. That might be due in part to Sandell's experience with free verse. It might also be because I was reading and uncorrected advanced proof. I don't know, but I wanted to point it out all the same. Now you know.  read more »

"Not to brag or anything, but if you saw me from behind, you'd probably think I was perfect."

After sixteen years, Terra Rose Cooper has mastered the fine art of hiding the cracks in the facade of her perfect life. Concealer and foundation quickly camouflage the port-wine stain on Terra's cheek. A rigorous exercise regimen gives Terra control over her body that she never had over her face. It also makes sure her body is one that her boyfriend, a beautiful and popular jock himself, will definitely appreciate.

It's harder to hide her family's flaws; her father's denigrating comments, her mother's compulsive baking (and eating), the flight of her older brothers' away from the family--and from their little sister. Terra is so focused on her plan to finish high school early and flee to an East Coast college that, sometimes, it's easy to forget that she bears marks from the household as clear as any birthmark.  read more »

We're pretty excited at the Library today, because tonight is the debut screening of a documentary short of Design by the Book at the Brooklyn Arts Council Film Festival!

Design by the Book began life as a series here at NYPL, co-produced by Grace Bonney of Design*Sponge. It follows the experiences of five local artists as they explore the Library's collections (and the building itself too!) in search of inspiration for their work. I was their resident reference librarian and had great fun helping them out in their searches. We're planning some super fall programming that will bring more crafty and artsy books out of the stacks and to the DIY-ing masses, so stay tuned if you want to get some hands-on library inspiration too. But in the meantime, come to tonight's event and see some great films and meet the makers!

What: Design by the Book will be screened as part of a curated collection entitled Artists in Residence
When: 9:00pm
Where: Galapagos Art Space in DUMBO (16 Main Street at the corner of Water Street)

As a librarian, I am a list maker, and lately I have been lucky enough to review the bibliography titles in the Mid-Manhattan Library Art Collection. Bibliographies are elaborate lists that contain citations, and sometimes abstracts, of other books, journal articles, etc., that relate to a focused subject. If you have ever written a research paper, you probably created a bibliography at the end, listing the publication information of the materials you used in your research process.

An example that I find particularly charming is a two volume work entitled Early American Book Illustrators and Wood Engravers 1670-1870 by Sinclair Hamilton. It contains a catalog of works about illustrators and engravers organized first by year, then by artist, of books and articles relating to the title. This bibliography is especially generous because it also reproduces illustrations of some of the works cited. The picture here is from The Progress of Sin, or the Travels of Ungodliness... by Benjamin Keach (click to enlarge).  read more »

I live for the day when some person who’s regarded as an arbiter of cultural taste is asked to name their favorite books. “I know you’re expecting an answer like Moby Dick, Don Quixote, Ulysses or Gravity’s Rainbow, but, truth be told, the one story that really sums up the human condition for me is issue number 55 of The Amazing Spider-Man.” They then proceed to deliver a literate, succinct defense of their preference which would do credit to an Oxford professor’s deconstruction of Beowulf. I know this might sound weird, but then I also hope for the day when the consumers of culture, and not a coterie of critics, decide what they want to read, see, and hear.

Hidden treasures are what make looking for materials on the Mid-Manhattan Library’s Art and Literature floor so interesting. Three-quarters of the books and DVDs that people request will be about art and plays and architecture and novels and cartoons and poems and buildings I’ve never heard of until today. That’s why it’s interesting to flip through the pages of each book that’s pulled from the shelves. I want to see what kind of sculpture Antoine-Louis Barye produced (more on this later), what factors influence the design of an airport, and just what sort of poem is “Aniara” by Harry Martinsson (more on this later, too).

A work of art has often inspired a poem, like The Starry Night by Vincent van Gogh, which sparked Anne Sexton’s poem of the same name; and likewise, a poem can inspire an artwork, as with Charles Demuth’s The Figure 5 in Gold, motivated by William Carlos Williams’ poem The Great Figure.

But, it is often the case that the artist and the poet are the same person. A few artist/poets of variety include William Blake, Marsden Hartley, Francis Picabia, Dante Gabriel Rossetti, and Chinese painters of the Song Dynasty. Movements of Western art and literature, including the Pre-Raphaelites, Dada, and Surrealism also have embraced the artist/poet as an inspired partnering.

In this spirit of creative duality, please join the Mid-Manhattan Library Art Collection on Monday, April 27, at 6:30 PM, as we celebrate Poem in Your Pocket Day with an images and poetry read by artists and poets Stephen Spretnjak, Johannes VanDerBeek, Geoffrey Young, and Bill Zavtasky.

Monday March 16th might just be the best day to visit Deirdre Donohue's art installation, Sevdah, at the Mid-Manhattan Library, because on that evening the artist herself will be there, in conversation with Bernard Yenelouis, curator and educator at the School of the International Center of Photography. This event begins at 6:30pm, Monday 3/16/09.

I'm drawn into Donohue's work because of the intensity of the details that she creates using a traditional medium, embroidery, on a large scale. When I visited the installation last week, I wanted to study each small fabric square's evocative imagery, patterns, and textures. You can read more about her work here. And even if you can't make it to the artist dialogue Monday the 16th, the art itself will remain on exhibition until April 22nd--don't miss it!

Image: from Sevdah, by Deirdre Donohue

Did you enjoy following the adventures of our Design by the Book artists as they found inspiration at NYPL? Do you want to dig in to the Library's collections too, to find materials to fuel your own creativity? If so, then check out my User's Guide to NYPL for DIY Designers and Artisans--it will get you up to speed on the treasures and the quirks of the entire Library system. And with it in hand you can start your own hunt for inspiring stuff. Once you get started in your handmade endeavors, please join our Design by the Book Group on Flickr! It’s an open group, and you can post pictures of your creations there, along with a caption explaining the part that NYPL played in your project!

Here's one completed project from the Design by the Book Group (thanks, egoldberg.rm, for sharing!)--a vintage image in the Library's Digital Gallery has been remade into a lovely blue-hued sunprint:

Now it's your turn! Get making and start sharing--I'll do the same!

What is the future for art and ideas in an age when practically anything can be copied, pasted, downloaded, sampled, and re-imagined?

LIVE from the NYPL and WIRED Magazine kick off the Spring 2009 season on February 26th with a spirited discussion of the emerging remix culture.

→ Remix: Making Art and Commerce Thrive in the Hybrid Economy ←
February 26th, 7pm (buy tickets)
Celeste Bartos Forum
The New York Public Library
5th Avenue and 42nd Street (enter on 42nd St.)
$25 general admission and $15 library donors, seniors and students with valid identification

*     *     *     *     *

Our guides through this new world—who will take us from Jefferson's Bible to André the Giant to Wikipedia—will be Lawrence Lessig, author of Remix, founder of Creative Commons, and one of the leading legal scholars on intellectual property issues in the Internet age; acclaimed street artist Shepard Fairey, whose iconic Obama "HOPE" poster was recently acquired by the National Portrait Gallery; and cultural historian Steven Johnson, whose new book, The Invention of Air, argues that remix culture has deep roots in the Enlightenment and among the American founding fathers.

Stay tuned for most posts about this event!

Shepard Fairey, often described as a street artist, first began to appear in the news for wheat pasting (adorning public spaces with the artist's own posters with a water and wheat mixture), sticker tagging, and the numerous accompanying arrests. His portrait of Barack Obama that came to symbolize the historic campaign of the president is now on display at the National Portrait Gallery in Washington, D.C. His artwork is also in the collections of the Museum of Modern Art, the Los Angeles County Museum of Art, and the Victoria and Albert Museum in London. A retrospective of Fairey’s work opened in February 2009 at the Boston Institute of Contemporary Art.

Steven Johnson is the author of The Ghost Map; Everything Bad Is Good for You; Mind Wide Open: Your Brain and the Neuroscience of Everyday Life; Emergence: The Connected Lives of Ants, Cities, and Software; and Interface Culture: How New Technology Transforms the Way We Create and Communicate. He is also the founder of several influential websites, including FEED, Plastic, and, currently, outside.in. His most recent book is The Invention of Air: A Story of Science, Faith, Revolution, and the Birth of America.

Lawrence Lessig is a Professor of Law at Stanford Law School and founder of the Center for Internet and Society. He writes in the areas of constitutional law, contracts, and the law of cyberspace, especially as it affects copyright. Lessig was named one of Scientific American's Top 50 Visionaries, for arguing "against interpretations of copyright that could stifle innovation and discourse online." He is the author of Code v2, Free Culture, The Future of Ideas, and Code and Other Laws of Cyberspace. His most recent book is Remix: Making Art and Commerce Thrive in the Hybrid Economy.

Photos of Shepard Fairey by Jill Greenberg and Steven Johnson by Nina Subin

This event is co-sponsored by Wired Magazine.

Buy Tickets: Smarttix or call 212-863-4444

Stay tuned for more posts!

It's been grand working with our Design by the Book artists Lorena Barrezueta, Rebecca Kutys, Mike Perry, John Pomp, and Julia Rothman. They never failed to surprise me in their interests and their unexpected uses of what they found at the Library. In this, the last episode, they share their Library-inspired creations. I hope that you've enjoyed this series. Stay tuned for future DIY and design projects from the Library!

Now that the art economy has collapsed and followed the mortgage derivative finance home boom bust buy now pay later consumption as a way of life whatever whatnot economy into the dumpster of ideas, I’d like to recommend a very sound investment for the young artist class: Get a Library Card and check out Lunar Follies by Gilbert Sorrentino. Or if you need a place to keep warm, get an Access Card and come read it here. & if you’re a contemplative fellow or gal and find yourself mulling over the heroic American Art-Culture Scene of the 50’s & 60’s: read Sorrentino’s Imaginative Qualities of Actual Things.

As my Fidelity Brokerage Services, LLC monthly statements used to say: “Be better informed, so you can make better decisions.”

The holidays are over, and our intrepid artisans are back at work. Check out the latest episode of Design by the Book to see what they are making!

A few days ago, I remembered that I liked Design Observer—a collective blog that occasionally includes posts from the great Steven Heller. Anyway, there was a post or a link or some other worm hole a few months ago that led to a Flickr page of book covers designed by Alvin Lustig for New Directions in the late 1940’s. Clean, with one or two colors, interesting use of typography or hand lettering, and abstracted shapes, Lustig’s designs are a revelation and respite from the lazy use of the photographic image and rote text layout (a problem then as now).

However, since NYPL, like most libraries, does not extensively collect book jackets, my forays into the stacks were for naught. That is until I ran across Alfred Young Fisher’s The Ghost in the Underblows. A 304 page arch-modernist poem that I won’t or can’t summarize, The Ghost in the Underblows was designed by Lustig and printed at the Ward Ritchie Press in Los Angeles in 1940. Lustig’s design for the title page and the section breaks are quite beautiful given the two-color palette (red and black) he utilized and vastly different from his later work. Each is a small symphony, composed of metal slugs and other odds and ends from the print shop where the positioning and edges of the components become visible on close inspection. Yet moving back the designs resemble a Frank Lloyd Wright window constructed by Malevich.

All of the images from Ghost as well as other information on Lustig are available here, but a close examination with the object provides a real delight.

Debuting at this years Macy's Thanksgiving Day Parade will be a 48-foot tall balloon titled Figure with Heart by the late artist Keith Haring.

The balloon is based on Haring's ink on paper drawing, Untitled (Figure with Heart), 1987 and will be part of the Macy's Parade's Blue Sky Gallery series, which aims to "inject contemporary art into a pop culture phenomenon". (Pop Art In The Sky)

The Blue Sky Gallery series began in 2005 with Humpty Dumpty by Tom Otterness, preceded by “Rabbit” by Jeff Koons in 2007.

To learn more about the artist Keith Haring visit the Library and look through our books in CATNYP, as well as go to the Keith Haring Foundation website at www.haring.com

Also take a walk down to Houston Street and Bowery to look at a recreation of a mural done by Haring in the summer of 1982. All in celebration of what would have been his 50th Birthday. So, Cheers to Keith and a Happy Thanksgiving to all…

In looking around for a keepsake to remind me of this historic election for President of the United States, I came across a pin of the Obama Progress poster. I was surprised to learn that the poster was done by a street artist named Shepard Fairey.

It is amazing to see how graffiti artists have come up in the art world, from Jean-Michel Basquiat and Keith Haring to Banksy and now Shepard Fairey, who will have his first museum retrospective at the Institute of Contemporary Art, Boston.

I came across the website ‘Pictorial Americana’ by the Print Division of the Library of Congress, which has presidential campaign images from 1836 to 1908. A number of these images were done by important lithographers, such as: Currier & Ives. Here is one for Abraham Lincoln’s candidacy for the sixteenth president of the United States…

For further information on political campaigns in the United States go to CATNYP, the Libraries online catalog and search ‘Political Campaigns United States’

To learn more: Check out a video discussing New York City’s role in presidential campaigns on the Museum of the City of New York website: Campaigning for President: New York and the American Election

http://discussions.mnhs.org/collections/?p=31

http://www.smithsonianmag.com/arts-culture/atm-objects-200811.html

http://www.digitalhistory.uh.edu/default.htm

Helene Berson's work is on display in the main reading room on Level 2 from July to August. Since we opened last May, six local artists have shown their work here.

Describe the kind of art you create.
My artwork is best described as collage and mixed media. The materials I rely on are myriad types of papers, photos and acrylic paint. Some of these come from quite ordinary contemporary sources, some are vintage, some are found objects, and some are specialty art papers. The works come together with the use of a variety of glues and gels. Frequently I incorporate details that have great personal meaning to me in addition to adding visual interest or suggesting the themes or subject of the work.

Talk about the scope of your show at the Mulberry Street Branch.The show consists of about 25 pieces of artwork. They range in size from 4 x 4" to 16 x 20. Most of these pieces were inspired by family photographs; many are of my parents. I found making these works of art gave me an opportunity to explore my feelings about family; family history and my roots. For this reason I coined the term “biollage” to suggest the connection between collage, biography, personal biology and history. Although much of the work contains very personal and mundane references I believe it evokes universal common human themes and experiences.

Where do you find inspiration?I have been deeply inspired by the good fortune of having many vintage family photos in my possession. For many years, decades actually, I treasured these photographs but was not actively relating to them. They were stored in boxes and bags and tucked away in a cupboard. Over the past several years they have revealed both a treasure trove of memories real and imagined and at the same time a Pandora’s Box of the mixed bag of my family history. This show at the library consists of one collection of my work. Other work reflects the inspiration of the sea; shapes--especially triangles; travel, and architecture.

How do you think the library setting affects the people who are experiencing your art?I believe that the Mulberry Street library is a particularly fitting setting for my show because it is a historic building that matches the vintage photographs and settings of my collages. I would like to think that when readers and researchers look up from their books or laptops my work provides a thoughtful resting place for the mind and eye.

Let's judge books by their covers. Describe the kinds of book jackets that have stuck in your artist's memory. I have certainly been drawn to look at a book because of its cover. I like bright, simple, dynamic and stylized designs and typefaces. One example is The Postman Always Rings Twice by James Cain. Generally speaking pulp fiction, Art Deco and styles popularized in the 1930s and 40s will almost always get a second glance from me.

Visit the Mulberry Street Branch to sign Ms. Berson's guest book and see the installation in person.

During the weekend of June 7th, the National Park Service literally moved the home of Alexander Hamilton, known as the Hamilton Grange National Memorial, two blocks over to the hillside corner of St. Nicholas Park.

The federal style country home built by the architect, John McComb Jr., was completed in 1802 and named "The Grange" after the Hamilton family's ancestral home in Scotland. Though this is not the first time that the Hamilton Grange has moved…in 1889 it was moved from its original location in upper Manhattan to Convent Avenue. The decision to relocate the home once again stemmed from the neighboring buildings that sandwiched the Grange and towered above it. Alexander Hamilton's "Country Home" on the Move in New York City  read more »