Brooklyn is experiencing changing neighborhoods—with their cornucopia of coffeehouses, bars, trendy restaurants, galleries, boutiques, and artisanal ventures—are a magnet for the businesses and young workers of the 21st century’s evolving “knowledge economy.” As Brooklyn became a major technology hub, employment in its technology sector increased by more than 57 percent between 2009 and 2017.
Buildings account for approximately two-thirds of greenhouse gas emissions in New York City and Mayor de Blasio has pledged to address these emissions as part of his plan to make the city carbon neutral by 2050.
Local Law 97 is one of the most ambitious plans for reducing emissions in the nation. Local Law 97 was included in the Climate Mobilization Act, passed by the City Council in April 2019 as part of the Mayor’s New York City Green New Deal.
Under this groundbreaking law, most buildings over 25,000 square feet will be required to meet new energy efficiency and greenhouse gas emissions limits by 2024, with stricter limits coming into effect in 2030. The goal is to reduce the emissions produced by the city’s largest buildings 40 percent by 2030 and 80 percent by 2050. The law also established the Local Law 97 Advisory Board and Climate Working Groups to advise the city on how best to meet these aggressive sustainability goals.
Local Law 97 generally covers, with some exceptions:
That unusual triangular shape has captured the eyes of photographers, tourists and directors for decades.
But in recent years, this world-famous structure has sat empty and under scaffolding only for a New York court to then order it be put up for grabs at auction in early 2023 – an auction that seems to have turned into a bit of a farce.
It’s the latest uncertain chapter in the long story of this building – a building that’s seen so much of New York’s history unfold and endured so much already.
This is how one of the city’s strangest towers came to be, how it went on to become iconic and why the current struggles around its sale will probably only make it more famous.
On the 54th floor of a skyscraper overlooking downtown Manhattan, the space starts small, but the moving walls expand into an office pod and a walk-in closet and the bed drops from the ceiling to convert the living room into a bedroom. Setting up for the night in an apartment made for two was an experiment. We had single air mattresses and expanding rooms.
Hasier’s colleague at Ori suggested opening the Pocket Closet and Pocket Office to create bedrooms. The closet was a few inches too small, but the office was just the right size. Our 10-year-old claimed the window seat for his bed, with the best view in the house. Hasier told us to test the furniture. He said it wouldn’t break and would stop when it sensed an obstacle. Our 10-year-old spent a lot of time sitting on the bed while his sisters tried to raise it (it wouldn’t) and getting in and underneath moving parts that left him without a scratch.
All the transforming took a few extra minutes, but being able to tuck away the bed without having to make it was a bonus. The whole experience felt a bit nautical with adapt-as-you-need-it furniture and panoramic views.
Ori Studio Design in Brooklyn, NY: https://www.oriliving.com/
Many of the thirteen works have not been on view since they were shown at one of her five solo exhibitions at Betty Parsons Gallery, including the large-scale center piece to the show entitled, Prometheus (1959). Ethel Schwabacher: Woman in Nature(Paintings from the 1950s) focuses on Schwabacher’s unique brand of abstraction, which is characterized by both automatic drawing and sweeping brushstrokes that swirl across the surface of the canvas and which explores themes of motherhood, landscape, and creativity.
As part of the resurgence of women artists, Ethel Schwabacher was one of the twelve women artists included in the landmark traveling exhibition Women of Abstract Expressionism organized by the Denver Art Museum in 2016. Concurrently with the Berry Campbell exhibition, Action! Gesture! Paint! is on view at the Whitechapel Gallery in London featuring 91 international women artists, including a major Ethel Schwabacher painting from the 1950s.
François Ghebaly Gallery, New York City (April 27, 2023) – François Ghebaly is proud to present Station by Matt Bollinger. Ithaca-based artist Matt Bollinger works from a complex interdisciplinary base: as painter, draftsman, animator, and elegist, he creates work that straddles the projects of both visual art and narrative fiction.
April 22 – May 27, 2023
His stories, by and large, are of America’s rural working class–each is told through a bricolage of memory, family history, direct observation, art-historical research, and literary invention. For his latest exhibition, Bollinger chronicles the semi-fictional inhabitants of a rural central Missourian community, offering in the process ruminative, disillusioned vignettes of the real ‘American Dream.’
Spanning the far wall, Uncle Dave (2023) is the most ambitious work in Bollinger’s show–with its impressive vertical dimension, some eight feet-tall, the painting acts as an anchor to the New York gallery space, drawing the eye in and upward. The work depicts three sanitation workers surrounding the bright yellow cab of a dump truck. Framed by wildflowers underfoot and the scintillating glare of another truck’s headlight, the men are shown in progressive life stages.
At the far right, the youth holds a rake and stares listlessly out of view. The middle-aged man, partially obscured, gestures forward with a lighter and a yellow traffic flag, while the eldest is positioned above the other men and descends from the cab, directly confronting the viewer’s gaze. The work’s triadic symbol of labor, class, and the passage of time ––alongside compositional affinities, somewhere between Courbet and religious genre painting ––underscores many of the themes latent both in the exhibition title and in the artist’s work at large.
April 9 to August 12, 2023
Reuniting works on paper that are often seen individually, along with key paintings, this exhibition offers a rare glimpse of the artist’s working methods and invites us to take time to look.
Over her long career, O’Keeffe revisited and reworked the same subjects, developing, repeating, and transforming motifs that lie between observation and abstraction. Between 1915 and 1918, a breakthrough period of experimentation, she made as many works on paper as she would during the next four decades, producing progressions of bold lines, organic landscapes, and frank nudes, as well as the radically abstract charcoals she called “specials.”
Even as she turned increasingly to painting, important series—including flowers in the 1930s, portraits in the ’40s, and aerial views in the ’50s—reaffirmed her commitment to working on paper. Drawing in this way enabled O’Keeffe to capture not only nature’s forms but its rhythms: tracing the sun’s spiraling descent in vividly hued pigment, or committing to velvety black the shifting perspective as seen from an airplane window.
Discover the important role working on paper played in Georgia O’Keeffe’s life and career.
April 6, 2023: This week: Ben Luke talks to Melanie Gerlis about the recent turbulence in the banking sector, as US banks go under, an ailing Credit Suisse is acquired by UBS and Deutsche Bank shares fall at one point by 14%.
What are the implications for the art world? Melanie also explains the figures in the latest Art Basel and UBS Global Art Market Report. The Baltimore Museum of Art in the US this week opens the exhibition The Culture: Hip Hop & Contemporary Art in the 21st Century.
We speak to Asma Naeem, the director of the BMA and co-curator of the show, about what she’s called “the second pop art movement”. And this episode’s Work of the Week is The Calling of Saint Matthew by the 17th-century Afro-Hispanic artist Juan de Pareja. He is best known as the subject of one of the greatest ever portraits, by Diego Velázquez, the artist who enslaved Pareja for two decades before his manumission in Rome in 1650.
David Pullins and Vanessa K. Valdés, the curators of a new exhibition about Juan de Pareja at the Metropolitan Museum of Art in New York, tell us about the painting.The Culture: Hip Hop and Contemporary Art in the 21st Century, Baltimore Museum of Art, until 16 July; St Louis Art Museum, 26 August-1 January 2024.Juan de Pareja, Afro-Hispanic Painter, Metropolitan Museum of Art, New York, until 16 July.
Cecily Brown: Death and the Maid assembles a select group of some fifty paintings, drawings, sketchbooks, and monotypes from across her career to explore the intertwined themes of still life, memento mori, mirroring, and vanitas—symbolic depictions of human vanity or life’s brevity—that have propelled her dynamic and impactful practice for decades. On view April 4th, 2023 through December 3rd, 2023.
Learn more about the exhibition: https://www.metmuseum.org/exhibitions…
Boomers Daily 