Work permits point to a "renovation at the fourth floor."
The Urban Umbrella, made of recycled steel and translucent plastic panel, made its first NYC appearance in the fall of 2017.
A bit of a misleading title, but it's rats, rats and rats galore. This "fence" (especially in quotes compared to the former grand one) is an invitation for garbage dumping, and the rat situation in the courtyards behind the building is dire.
This is just the sidewalk; the lot is a mess. Do readers have suggestions or tips for how to get the lot better secured from dumping and trespassing? Or who to call to come to issue a fine? Or how to get this turned into a community garden for the time being? It's only been what, 40-plus years?!
We are revisiting this city sooner than we expected. Back in February, we signed a contract for a beautiful location in East Village and our first location will be an open and beautiful sourdough bakery combined with a coffee bar.
We recently started the renovations and together with our local partner we look forward to welcoming you this summer with bright coffees, sourdough bread and handmade pastries.
Vinnie, very beloved, very friendly, and very dumb, not sure he knows his name but responds to treat-shaking. Gray and white striped. Wearing collar/nametag, microchipped. Probably got over wall to East 2nd Street cemetery or East 3rd Street backyards. Reward!!! 917-446-8822. Missing since late Saturday night, 4/10/21.
It is unusual to uncover an artist of his pedigree for which so little is publicly known after establishing himself amidst the visual arts most notable institutions. Shostak cloistered himself in his downtown loft relentlessly working and opting for a less mainstream practice. This exhibition is the first look at many of his late works.For those who are interested in reconsidering the parallel arcs of art history, examining and expanding the boundaries of the established canon of Post War art, Shostak's work will be a revelation. His work addressed so many of the known formal and conceptual concerns from that period, but through a queer lens.Eventually, he abandoned convention, favoring a more expansive view of the possibilities that an artist's practice could include by embracing a queer social practice and advocacy for the transgender community.This presentation is not a retrospective of his artwork but is comprised of completed sculptural works, drawings, studies, performance, documentary images and films to illustrate and map two key aspects and threads of continuity throughout Ed Shostak's artistic career and life.While the imagery may have changed over the decades, the exhibition is organized to map these threads regardless of the subject matter, form or media. In fact, it becomes apparent that his personal life and art practice were inextricable — one and the same — and ultimately, the artist became both the subject and the art.Shostak had gone full circle from his childhood performances in the family living room to navigating the art world as a gay man and then to activism and politics to become not only his alter ego, but to be himself— transgender.