Sunday, March 31, 2013

L'Upper East Side découvre les produits français au Moulin à café

GOOD ADDRESS for taking a coffee before or  after visiting the show which opens  thursday April 4 ...@ARTLAB78 (see previous posts with label Artlab78)

1439 YORK avenue
NY 10075 New YORK

En direct des ETATS-UNIS
paru dans le journal L'hotellerie Restauration,..a propos du salon de the et restaurant LE MOULIN A CAFE a 2 pas de notre appartement a NY ouvert par Yann N'DIAYE
(any relation to Marie N'DIAYE the writer ?)

New York (ETATS-UNIS) Véritable madeleine de Proust pour la communauté française de New York, l'établissement propose une offre qu'on ne trouve nulle part ailleurs dans ce quartier de Manhattan.


Saturday, March 30, 2013

Refresh your knowledge about Harlem Renaissance in English with Wikipedia or French with NewYork in French

An explosion of culture in Harlem

The first stage of the Harlem Renaissance started in the late 1910s. 1917 saw the premiere of Three Plays for a Negro Theatre. These plays, written by white playwright Ridgely Torrence, featured African-American actors conveying complex human emotions and yearnings. They rejected the stereotypes of the blackface and minstrel show traditions. James Weldon Johnson in 1917 called the premieres of these plays "the most important single event in the entire history of the Negro in the American Theater."[8] Another landmark came in 1919, when the poet Claude McKay published his militant sonnet, "If We Must Die". Although the poem never alluded to race, to African-American readers heard its note of defiance in the face of racism and the nationwide race riots and lynchings then taking place. By the end of the First World War, the fiction of James Weldon Johnson and the poetry of Claude McKay were describing the reality of contemporary African-American life in America.
In 1917 Hubert Harrison, "The Father of Harlem Radicalism," founded the Liberty League and The Voice, the first organization and the first newspaper, respectively, of the "New Negro Movement". Harrison's organization and newspaper were political, but also emphasized the arts (his newspaper had "Poetry for the People" and book review sections). In 1927, in the Pittsburgh Courier, Harrison challenged the notion of the renaissance. He argued that the "Negro Literary Renaissance" notion overlooked "the stream of literary and artistic products which had flowed uninterruptedly from Negro writers from 1850 to the present", and said the so-called "renaissance" was largely a white invention.
The Harlem Renaissance grew out of the changes that had taken place in the African-American community since the abolition of slavery, as well as the expansion of communities in the North. These accelerated as a consequence of World War I and the great social and cultural changes in early 20th century United States. Industrialization was attracting people to cities from rural areas and gave rise to a new mass culture. Contributing factors leading to the Harlem Renaissance were the Great Migration of African Americans to northern cities, which concentrated ambitious people in places where they could encourage each other, and the First World War, which had created new industrial work opportunities for tens of thousands of people. Factors leading to the decline of this era include the Great Depression.


A new way of playing the piano called the Harlem Stride Style was created during the Harlem Renaissance, and helped blur the lines between the poor Negros and socially elite Negros. The traditional jazz band was composed primarily of brass instruments and was considered a symbol of the south, but the piano was considered an instrument of the wealthy. With this instrumental modification to the existing genre, the wealthy blacks now had more access to jazz music. Its popularity soon spread throughout the country and was consequently at an all time high. Innovation and liveliness were important characteristics of performers in the beginnings of jazz. Jazz musicians at the time like Fats WallerDuke EllingtonJelly Roll Morton, and Willie "The Lion" Smith were very talented and competitive, and were considered to have laid the foundation for future musicians of their genre.[9][10]
During this time period, the musical style of blacks was becoming more and more attractive to whites. White novelists, dramatists and composers started to exploit the musical tendencies and themes of African-Americans in their works. Composers used poems written by African American poets in their songs, and would implement the rhythms, harmonies and melodies of African-American music—such as bluesspirituals, and jazz—into their concert pieces. Negros began to merge with Whites into the classical world of musical composition. The first Negro male to gain wide recognition as a concert artist in both his region and internationally was Roland Hayes. He trained with Arthur Calhoun in Chattanooga, and at Fisk University in Nashville. Later, he studied with Arthur Hubbard in Boston and with George Henshel and Amanda Ira Aldridge in London, England. He began singing in public as a student, and toured with the Fisk Jubilee Singers in 1911.[11]

[edit]Characteristics and themes

Characterizing the Harlem Renaissance was an overt racial pride that came to be represented in the idea of the New Negro, who through intellect and production of literature, art, and music could challenge the pervading racismand stereotypes to promote progressive or socialist politics, and racial and social integration. The creation of art and literature would serve to "uplift" the race.
There would be no uniting form singularly characterizing the art that emerged out of the Harlem Renaissance. Rather, it encompassed a wide variety of cultural elements and styles, including a Pan-African perspective, "high-culture" and "low-culture" or "low-life," from the traditional form of music to the blues and jazz, traditional and new experimental forms in literature such as modernism and the new form of jazz poetry. This duality meant that numerous African-American artists came into conflict with conservatives in the black intelligentsia, who took issue with certain depictions of black life.
Some common themes represented during the Harlem Renaissance were the influence of the experience of slavery and emerging African-American folk traditions on black identity, the effects of institutional racism, the dilemmas inherent in performing and writing for elite white audiences, and the question of how to convey the experience of modern black life in the urban North.
The Harlem Renaissance was one of primarily African-American involvement. It rested on a support system of black patrons, black-owned businesses and publications. However, it also depended on the patronage of white Americans, such as Carl Van Vechten and Charlotte Osgood Mason, who provided various forms of assistance, opening doors which otherwise would have remained closed to the publication of work outside the black American community. This support often took the form of patronage or publication.
There were other whites interested in so-called "primitive" cultures, as many whites viewed black American culture at that time, and wanted to see such "primitive" in the work coming out of the Harlem Renaissance. As with most fads, some people may have been exploited in the rush for publicity.
Interest in African-American lives also generated experimental but lasting collaborative work, such as the all-black productions of George Gershwin's opera Porgy and Bess, and Virgil Thomson and Gertrude Stein's Four Saints in Three Acts. In both productions the choral conductor Eva Jessye was part of the creative team. Her choir was featured in Four Saints.[12] The music world also found white band leaders defying racist attitudes to include the best and the brightest African-American stars of music and song in their productions.
The African Americans used art to prove their humanity and demand for equality. The Harlem Renaissance led to more opportunities for blacks to be published by mainstream houses. Many authors began to publish novels, magazines and newspapers during this time. The new fiction attracted a great amount of attention from the nation at large. Some authors who became nationally known were Jean ToomerJessie FausetClaude McKayZora Neale HurstonJames Weldon JohnsonAlain LockeEric D. Walrond and Langston Hughes.
The Harlem Renaissance helped lay the foundation for the post-World War II phase of the Civil Rights Movement. Moreover, many black artists who rose to creative maturity afterward were inspired by this literary movement.
The Renaissance was more than a literary or artistic movement, it possessed a certain sociological development—particularly through a new racial consciousness—through racial integration, as seen in the Back to Africamovement led by Marcus GarveyW. E. B. Du Bois' notion of "twoness", introduced in The Souls of Black Folk (1903), explored a divided awareness of one's identity that was a unique critique of the social ramifications of racial consciousness.,,,,,,,more on


Harlem 1934. Le Jazz coule à flot, le champagne aussi. On y dance, on s’amuse. C'est la Belle Epoque à L'américaine. Comme le chante Claude Nougaro "c'est tout noir et c'est tout blanc». Harlem aujourd'hui connait une renaissance qui rappelle le bon vieux temps mais  à la seule différence que la France y est dûment représentée. Une nouvelle cuisine, de nouveaux  restaurants français ouvrent chaque jour leur porte à des consommateurs à la recherche d'étonnantes nouveautés culinaires. Marcus Samuelsson, la vedette de la cuisine noire d'antan, fait ses preuves avec Le Red Rooster et devient un très grand succès à New York. Juste en dessous, chez Ginny's, l'Alcazar New Yorkais, on y trouve "Le Cabaret Noir" chaque Mercredi à 20h...On y chante "Paris", "La Mer", "La Vie en Rose». On célèbre la France avec des touches de Jazz, et tout comme en 1934 c'est le retour à la dance, c'est là où l'on s'amuse et ou une revue essentiellement noire séduit chaque mercredi une foule de New Yorkais venue des quatre coins de la ville pour y applaudir Celia Faussart (Les Nubians), reine de la nuit qui chaque mercredi entraine son public à la fois vers une nostalgie bien parisienne mais également dans un nouvelle frénésie de chansons et de mise en scène à l'américaine.

Next show April 24th at 8pm. Ginny's 310 Lenox avenue in Harlem between 125th and 126th st.
For dinner reservations please call: 212.421.3821
Nous sommes heureux d' inviter a dinner ce soir la, les premieres 4 personnes qui auront repondu a la question  suivante: " de quel artiste Francais Bansky s'est-il inspire pour creer son art , graffiti et autre?
Answer to Richard Temtchine in an email to Thank you.


Friday, March 29, 2013

on view in New ROCHELLE,NY Transform Gallery

Art Story ..Shopping ? Art?

read in

Art Story

Pratt students have the run of Rachel Shechtman's magazine-style boutique

by  in Culture on 22 March 2013

One of the things we've always loved about StoryRachel Shechtman's ever-changing store in NYC's Chelsea neighborhood—is that every iteration is a story in and of itself. Her latest venture is Art Story, a concept shop created with the help of and a group of eight masters students of interior design atPratt Institute. Project leaders LuzElena Wood and Kelly Rosen worked as part of a team of eight graduating students, collectively making the jump from classroom to client meetings.

"Art Story" will run through 16 April 2013. In the meantime, Wood, Rosen and the other 18 students in Pratt's Exhibition Design Intensive program have other projects to complete before their May graduation.

Thursday, March 28, 2013

Treasure and Bond ..Shopping in SOHO ..a NEW CONCEPT?

Something different in retail & philanthropy: 
100% of profits to charities benefiting children in NYC

Name: treasure&bond
Concept: All profits after expenses go to NYC non-profits; owned by Nordstrom, independently operated
Types of Merchandise: accessories, artwork, books, furniture, jewelry, stationery goods, and men’s, women’s and kid’s apparel
Address: 350 West Broadway (between Broome and Grand)
Telephone: 646-669-9049
Store Hours: Monday – Saturday, 10 a.m. – 8 p.m; Sunday, 11 p.m. – 7 p.m.
Square Footage: 11,137 square feet
Number of Vendors: About 150 give or take
Twitter:  @treasure_bond

If around Saint Tropez: invitation from Klaus Meister in

KLAUS MEISTER Vous invite au vernissage de son exposition le samedi
30 Mars à partir de 18 h au lavoir Charles Vasserot, rue Quaranta ( près de la place des Lices)
Adresse atelier : 149, chemin de la haute Gassinière Gassin par 83420 La Croix Valmer Mobile : 00 33 (0) 6 27 62 36 72 Mail :

Wednesday, March 27, 2013

Information on " Cherokee Appartment"

February 02, 2004

The Shively Sanitary Tenements

tenement.jpgAKA, my old apartment building.
In 1909, Mrs. W. K. Vanderbilt Sr. put up $1 million dollars to build the Shively Sanitary Tenements, otherwise known as the Vanderbilt Model Tenements, in an attempt to combat the growing problem of tuberculosis in New York City. At the turn of the century, urban families were crammed into cramped, dark apartments, the perfect breeding ground for the white plague. Her tenements were to house families with at least one member ill with tuberculosis as an alternative to seeking open-air treatment in the country (in essence, for families that could not afford to send their loved one upstate).
The three-year experiment sought to create hospital-based housing in a cooperative format. The creators felt that they could create a treatment plan where patients were able to maintain their normal life and, at the same time, receive treatment, housing, and food at a reduced cost for the city.
Imagined by Dr. Henry Shively, then a leading physician at the Tuberculosis Clinic of the Presbyterian Hospital, and designed by Henry Atterbury Smith, the Shively Sanitary Tenements (a.k.a. Cherokee Apartments, as referred to as today) were opened to the public in 1912. The Shively Saniatry Tenements were one of the first American attempts at constructing “thoroughly hygienic tenements”—that is, buildings that were based on the open-air principle, with no dark passageways, open stairwells, and full utilization of the building roofs.
The result yielded four tenements that stood at the center of East 77th/78th Street between Avenues A and B (now York Avenue and the FDR/John Jay Park). The four tenements were built as a hollow square, each with one elegant arched entranceway (two on E77th, two on E78th) with a courtyard in the center. Each building had its own spiral outdoor staircase that wound its way up to cupolas on the roof, giving each apartment its own front door that opened out onto the staircase. Seats were built into the staircases for rest stops (let’s remember that at least one person in each family had tuberculosis). The group of four tenements was to house between 350 and 400 families.
Every apartment is to be provided with a balcony. The tenements are to be six stories high and a row of balconies is to be erected for each story. To give access to them the windows will be built in three sections, so as to open from the floor to the ceiling. Tenants may sleep out on them, or, if the windows are thrown open to the top, the balconies will be practically incorporated in the rooms.
(Vanderbilt Million to Aid Consumptives; New York Times (1857-Current file), New York, NY; Feb. 25, 1909; pg. 7, 1 pgs.)
On the roofs of the four buildings, loggias were built out of windproof glass and tiled floors. Plants, steamer chairs, and toilets were made available there, as well, in an attempt to encourage open-air life to the fullest extent. A few years later, the City & Suburban Development opened another model tenement, almost identical (but a little uglier) on E78th and E79th Streets.
read more :

Tuesday, March 26, 2013

public Art on Times Square read on AMA website

Installation by Cuban artist Esterio Segura on Times Square

New York, 21 March 2013, Art Media Agency (AMA).
The installation, titled Goodbye My Love, will be on display from 18 March to 13 May 2013.
This event is intended to give Times Square’s visitors the opportunity to view major contemporary artworks, with a broad variety of mediums. The installation Goodbye My Love will be visible on Anita’s Way, which links West 42nd Street to West 43rd Street, between 6th Avenue and Broadway.
Esterio Segura is a pioneer of Cuban contemporary art. His installation refers to love in contemporary relationships, where partners often have to live at a distance. The work is therefore twofold, on the one hand the spectator feels joy, and on the other a kind of bittersweet emotion, linked to his affective experience. Works by the artist have a deep resonance with people who had to leave their families and homelands like he did. This installation had been exhibited at the Havana Biennial, which took place in 2012. The exhibition in Times Square offers further visibility to this major emerging artist.
According to the artist “Up until now the manifestations of this subject have been sad ones, even pessimistic, though artful, emphasising the social and political repercussions of migration, banishment and separation among others. In this case, Goodbye My Love uses these issues as well as memories to offer an optimist’s view pointing to the importance of good communication and the interaction of the cultures that have caused these circumstances. New York offers the added value of the enrichment of universal culture, or the globalisation of cultures which has resulted from the intersection of civilisations.”
The Cuban artist graduated in 1994 from the prestigious Instituto Superior de Arte in Havana. As he tries various mediums such as painting, sculpture and installations, Segura uses humorous images in order to convey a political and social view on Cuban history.

Monday, March 25, 2013


Sunday, March 24, 2013

Secret New york an Unusual guide....

thanks Florence for showing me this guide..sounds exciting...
check out ..

Saturday, March 23, 2013

Read in Artsy Shark

10 Free Ways Artists Can Get Publicity

Friday, March 22, 2013

Time to read..time to listen...time to create,...

this is worth taking some time to read.....

read more

A Time for Everything – Workshops at Columbia University