
[EVG photo from yesterday]
In case you missed Stomp Day NYC this past Wednesday ... Stomp is throwing "a very special celebratory performance" tonight in honor of its
Winter storm watch: 4-6” expected for NYC. Snow starts after 3pm today. Heaviest 8pm to 3am. Snow ends by 8am Monday pic.twitter.com/4WykAINhIY
— NY1 Weather (@NY1weather) March 3, 2019
๐Last 2 days of Closing Sale... ALL SILVER Jewelry and Beads 30%-50% OFF!!! Store Closes March 3rd!๐ -#jewelry #silverjewelry #hilltribe #hilltribeaiover #karentribe #thailand… https://t.co/uoXfQZ4Hws
— LeekanDesigns (@LeekanDesigns) March 2, 2019
AT VARIOUS EXPOSURES OF EDUCATIONAL FACILITY, ORNAMENTAL FACADE ELEMENTS ARE IN A STATE OF DISREPAIR WITH VISIBLE CRACKS, GAPS, AND DETERIORATION. THESE ORNAMENTAL ELEMENTS HAS THE POTENTIAL TO FALL INTO THE STREET AND YARD. IN ADDITION, INTERIOR FIRE PROOFING ARE MISSING THEREBY EXPOSING STRUCTURAL STEEL MEMBERS. THESE CONDITIONS HAVE MADE THE ENTIRE BUILDING AND YARDS UNSAFE TO OCCUPY.
Mr. Singer visits P.S. 64 about once a week. The only part of the building not falling apart, abandoned, graffitied or coated with pigeon droppings seems to be his modest office on the first floor, decorated with pristine renderings of “University Square” — a “new college living experience,” as the brochures claim, where students would enjoy a theater, a game room, yoga studios and other amenities.
[Peter M.] Brant could have launched with a legacy show of his own trophy holdings, but he says the space’s proximity to Basquiat’s former stomping grounds compelled him to devote the opener to the neo-expressionist painter. Basquiat’s frenetic, poetic paintings of 1980s New York are getting more attention lately from both museums and the marketplace, with pieces selling at auction for as much as $110.5 million. That record-holder, an untitled skull painting from 1982 that’s owned by Japanese e-retailer Yusaku Maezawa, is in Brant’s show.
Other heavyweights include 1987’s Unbreakable, which has never been exhibited in New York, and 1983’s Hollywood Africans, which was lent by the Whitney Museum of American Art.
Half of the show’s roughly 70 pieces have also come directly from a Basquiat survey that recently drew nearly 680,000 visitors to Paris’s Louis Vuitton Foundation. These works will now be intermingled with 16 pieces from the Brant foundation as well as loans from other collectors like Dan Loeb, John Phelan, Eli Broad and Dimitri Mavrommatis.
A formidable new arts space opening in the East Village is cause for celebration. But what happens after the Basquiat show comes down? If the foundation becomes a repository for blue-chip art and big names, for showing off trophies acquired over a lifetime of collecting, that would be a painful development for the cultural life of this city. New York already has plenty of spaces to see such things. Instead, my hope — as I wrote back in 2014 — is that the Brant Foundation and its brethren will be willing to experiment, and to partner with other local organizations, serving as a forum for art and artists and ideas that have not been welcomed elsewhere.