Photos by Steven
You've likely noticed the camper that has been parked on 10th Street just east of First Avenue.
Apparently, people who live nearby have had about enough of the camper. Some messages have arrived outside (H/T simcitymayor!) ...
"This used to be Love Saves the Day. I used to come in as a kid and get sparklers and sneak peaks at the vintage Playboys."
Join SOCCC-64, elected officials, community orgs, artists and activists this Valentine's Day eve to ask the City to return our beloved community and cultural center, CHARAS / El Bohio.This is an urgent call, as developer Gregg Singer, who purchased the building that housed CHARAS, former P.S. 64 at public auction in 2001, is now in default of his mortgage and is in foreclosure!We are rallying to urge the City to work with us to return our center, and we need everyone's help to make it a reality.
"Astor Place Hairstylists is a New York institution," said Gural, chairman and principal of GFP Real Estate. "As a long-time client I am delighted to see that the business has not only pulled through the worst of the pandemic but is able remain in the same location they've occupied for more than 75 years. They are an important tenant, and we look forward to their continued success."
Two helpless Trader Joe's staffers had followed the man up an escalator leading to the store's exit but only stopped him from taking a shopping basket outside — not the meat, the video shows.
"They basically just tell us not to do anything, just let them go," a Trader Joe's worker, who spoke on the condition of anonymity, later explained to The Post.
"We get in trouble if we do anything … It don't bother me, I've been working here for two years, I see it happen every day. After a while, you just don't care."The man initially told Hirsch that he paid for the items, but then "claimed that he was homeless and had stolen the food to eat."
Under the current proposal, eateries seeking licenses to operate outdoor dining would have to shell out $1,050 each and then pay a $525 renewal fee following a yet-to-be-determined time period. It also sets up various safety measures and other restrictions for the pop-up, al fresco dining spots to follow, including prohibiting use of advertising signage.
A permanent outdoor dining program drafted by the de Blasio administration was approved by the Planning Commission last November, but it never reached the Council for a vote before the term-limited mayor left office at year's end.
Open Restaurants ... serves us noise, mounds of trash, rats, fire hazards, blocked sidewalks. Ambulances and fire trucks can't access our homes from these narrow and cluttered, impassable streets. The problems were there from the beginning for all to see, yet the Mayor and the City Council chose not to look or listen.
CUEUP supports our neighborhood restaurants, and wants them to not only survive, but thrive. However, we oppose making permanent the Open Restaurants and Bars program. Policies regarding the future of restaurants also directly impact the lives of residents and small shops, who must be part of the decision-making process. The top-down process that created the permanent program was unjust and undemocratic.Nearly 100 people, including several local elected officials, such as District 1 City Councilmember Christopher Marte, attended the rally. You can find coverage at the Post ... Village Sun... and Bowery Boogie.
"340 E. 9th Street" is a painting of a photograph that accompanies an article published in the April 29, 1968 issue of New York magazine about the spread of public art across New York City. In the image, the building located at the titular address is shown in profile, adorned on its windowless side with a mural by pop-surrealist Allan D'Arcangelo (1930-1998). D'Arcangelo's untitled mural, completed in 1967, precipitated the formation of City Walls: a nonprofit, artist-led, city-spanning public arts initiative established in New York later that year.Facilitated by urban planner David Bromberg, City Walls murals came to fruition through direct conversations with building owners, who supplied participating artists with paint and access to walls.
The resultant murals, made by artists including Richard Anuszkiewicz, Tania, Jason Crum and Knox Martin, in addition to D'Arcangelo and several others, share a vibrant color palette across playful, occasionally psychedelic, abstractions. As of January 2022, one mural produced by City Walls remains intact [on West Third Street W. between Mercer and Broadway].Marrin is interested in the shifting intentions behind public murals in New York City, often questioning for whom these images and messages are created. D'Arcangelo's 1967 commission, a vertical roadway featuring plants, clouds and directional signage, is a quiet yet consequential entry into this history of public art.
In 340 E. 9th Street, Marrin resurrects and recasts D'Arcangelo's work as a hybrid of what she considers the two predominant modes of contemporary mural making to now be: memorials and advertisements.