Wednesday, November 30
|Photo: Office Links|
photo of Calarava plan
The MTA has erected permanent art in over 150 locations throughout the Triborough area. Many of these locations make homage to it’s location in the city. Around Canal Street, Bing Lee made a tiled work entitled Empress Voyage, which looks at the history of trade between Asia and the United States. At Inwood 207th Street Sheila de Bretteville created a work entitled To The Start…At Long Last in an attempt to recognize the multinational community in Brooklyn. In many there are depictions of the struggle New York City has faced with race. In Brooklyn While there are many of these commemorations in the stations, one was destined to take up the task of remembering September 11th. Besides the constuction site downtown, the only other memorial to September 11th is on the 69th Street Pier in Greenpoint, it was erected in 2005 and is entitled Beacon, “Brooklyn remembers September 11th” is inscribed in the bronze
MTA’s Art for Transit makes up less than 1% of the total $130 million operation, with minute budget of $1 million, according to the 2011 MTA Final Proposed Budget.
In terms of remembering September 11th, Port Authority is taking a much larger role, as the PATH station stops at the World Trade Center Stop. With MTA’s income at zero for this fiscal year, after continually dropping since 2008, and a PATH station next to the new September 11th memorial, Port Authority is working to make a ‘Transit Hub’ at the corner of Vesey Street and West Street to replace the existing one that boarders the 8 acres of the 9/11 memorial.
Construction began in September 2005. The opening will be in 2014 at an estimated budget of $3.2 million rising from a previous budget of 2.2 million. According to the Port Authority annual report of 2010, the station will be “the Grand Central Station of Lower Manhattan.” In 2004 Spanish Architect, Santiago Calatrava unveiled his design of a white, wing-like structure that would rise from the spine of the hub, creating the shape of a bird, however, since then, the cost of the wings has been too high and they have been clipped from the plan according to the Architectural Record. The structure is now the ribcage of a large beast, letting light in four stories down. The new station promises to be the perfect subway station flush with stores and “climate controlled platforms” according to the Port Authority World Trade Center site. It will serve 250,000 voyagers a day.
Calatrava’s now-ghost wings represent the weight of the project for New York City. Whether they are outwardly political or not, transportation authority of New York City is in many ways responsible for raising awareness of events in public spaces. Perhaps in 30 years from now, a New Yorker will be able to walk by an MTA, arts for transit piece on September 11th with a short glance and a whisp of a thought. But until then, Lower Manhattan is still a crowded construction area whose importance seems to be bigger than any dollar sign amount. Manhattan photographer, Carlton Davis suggests, it is “a fresh wound in the minds of New Yorkers.”
The Town Hall Meeting in the Kellen Gallery ended in a manner consistent to other discussions on the New School Occupation – lacking resolve.
Amidst the freshly-painted walls covering the defacement performed over Thanksgiving, the University Student Senate, President and Provost met with members of the student body, faculty and staff in order to find a solution to the New School Occupation.
In the meeting, a variety of New School students, faculty and staff members all echoed sentiments similar to those of the frustrated Financial District residents who wanted the occupiers cleared out, in that it isn’t the entire movement they were against, but they way some were conducting it and how that was negatively effecting them. Others however countered with opinions in full support, almost claiming the progressive nature of the school made it their (our) prerogative to produce aggressive, “political” art.
Ultimately, the meeting ended having accomplished little, if anything at all.
First, in attempting to convey a classic, “All-American” theme, it comes off looking like a Civil War recruitment poster or a bourbon advertisement.
Content wise, this poster should probably be split into to separate banners. As it stands both the top and bottom half have the weight, removing any clear and natural direction for the eye to follow. The result of this is it seems jumbled – the framing doesn’t even really match from top to bottom, with the bottom corners wider than the top, as well as being different stylistically.
The top half in itself is a fairly effective poster; its message is clear and consistently worded. The bottom half however is a mess. As it is, the three levels (WE, ARE, 99) are in limbo. Through the size and spacing, our eyes are drawn immediately to the large “99”, which, as the focal point should be centered with even spacing and clear lines up both sides or should be a dramatically different size. Of those three levels, either one needs to be demonstrated as the most important and set out dramatically, or they should all be given equal weight and the focus should be consistent.
A well-designed graphic should effectively utilize the negative space (basically blank space), where this designer simply inserted small graphics and increased the size to almost entirely eliminate any negative space, which is why it feels cluttered and disjointed.Also, the font and design appear to be trying to convey an “All-American” sentiment, however it ends up feeling more like a civil war recruitment poster or a bourbon ad.
As an image, this is framed nicely. Content-wise, it isn’t exactly clear. As this isn’t necessarily an advertisement, its message doesn’t have to be obviously understood, however some clarity (or at least something standing) would be nice and effective. The poster needs some oomph to it. Perhaps changing the white lettering to a bold, fiery red would go well with the serenity of the general image – also, increasing the font size would draw more focus to the purpose behind the image and it would seem less like just a pretty picture.
This is a well-created poster. The message is clear and it is an effective take-off of the British, “Keep Calm and Carry On” posters from World War II. Technically the distance between both the camera and “#occupy*” and the letters should be reduced, thereby moving them further away from the outer borders (even the crown in the original poster is rather close to the words and not way off towards the top). However, it works perfectly fine as is.
This poster could have been very good. Utilizing old propaganda-type formats works very well with a movement of this type and could be incredibly effective, however this poster needs to work on its negative space and special movement. Reducing the size of the “1%” man and moving him further into the corner while increasing the amount of people, tightening the gaps between them and spreading them further into the main focal space of the poster would effectively demonstrate the percentages they are attempting to convey. The entire piece could also be centered, demonstrating a sense of isolation, as one man stands alone with a mass of people before him. Also, the text box is unnecessary and aesthetically, should be removed. The text inside doesn’t say anything that visual itself isn’t already saying and so removing it wouldn’t take anything away from the message.
Graphically, this poster has major spacing issues, but aesthetics are probably not its primary focus. While the message can be understood, reducing the space between lines and pulling the letters in and away from the edges could simplify it. Using multiple fonts is fine, however it is an awkward transition between the two which could be remedied through spacing adjustments. Also, the line beneath “WE ARE” is redundant; the largest writing on a poster will inherently have the greatest focus, and by using such strong lettering the designer has given it all the emphasis it needs.
This poster is awkward. While it utilizes the bold, fiery red text missing in the other bull poster, it also opens up several additional issues. The lines framing “What is our one demand?” seem unnecessary and could be removed without detracting from the overall message, however, so could those words. They carry significance relating to many of the critical responses of the movement, however, “JOIN US” itself sort of does that on its own. On the “JOIN U.S.”, the periods abbreviating U and S are aesthetically detracting, and as far as the message goes, this doesn’t come off as a natural or effective place for wordplay and therefore appears unnecessary as well. Then, as with the other posters, the white text is very close to the bottom edge, which could be remedied by moving it up, however they could also just delete “Bring Tent” as it seems like an after-thought – or a joke. “JOIN US. September 17th. Bring Tent.”
Before discussing the matters of Kellen Gallery, University Student Senate secretary Melissa Holmes announced that the "open dialogue" will begin with people "telling their stories."
Adam Rodriguez, a Parsons student and Kellen Gallery worker, was first to speak. Without a doubt, Rodriguez displayed his anger towards the occupiers, continuously blaming them for the "defacement of the gallery."
While Rodriguez was still speaking, a graduate student sitting in the crowd interrupted him and questioned his choice of words, specifically choosing to call the occupier's work "graffiti" and not "art."
"Shouldn't art be political?" the graduate student asked.
Many agreed, until the graduate student randomly began questioning the University Student Senate's position.
"Who are you guys?" he questioned. "Are you administrators?"
A bit taken a back, Holmes quickly answered the graduate student that the University Student Senate are the "mediators" for the open dialogue. While all of this was going on, President Van Zandt and Provost Marshall said nothing.
For an hour and thirty minutes, Parsons faculty, Kellen Gallery workers, and occupiers continuously expressed their opinions, with many wanting the space to be restored as a gallery.
With 30 minutes left of the allotted 2 hour time, a huge portion of the audience had already left. Holmes asked the rest if it would be appropriate to "vote" on what to do with Kellen Gallery and the occupiers.
Many agreed that it would be ridiculous to have 30 people "vote" for the whole university. The University Student Senate agreed and decided that the best way would be to send out a mass e-mail to all university students to either "cast their votes" or "send suggestions for a new space the occupiers can use."
At the end of the open dialogue, nothing was accomplished.
|The Panel: Austin Scarlett, Annika Connor, Bill Indursky, and Patrick McMullan|
|Photo Credit: publicagenda.org|
Opinions ranged from indignant to hopeful, but the one wish everyone seemed to agree on was simple: something needs to happen, and fast. Many speakers noted that the school’s reputation as a radical one gives an advantage for civic engagement, but also builds pressure to react. One student compared the school’s situation to that of UC Davis, where peaceful student protestors were pepper sprayed by university police earlier this month. “We have this amazing opportunity where our president is actually offering us a chance to express ourselves and be involved,” the student said, drawing supportive nods from Van Zandt. Those speaking in support of the Occupy movement expressed regret about the fact that the actions of a few individuals can taint the image of the whole movement. “Let’s not talk about what happened here in the gallery anymore,” one pleaded. “Instead, let’s talk about what’s going to happen now."
As the gallery’s latest exhibition was being noisily cleared out in the back, the meeting slowly fell apart as well. After heated opinions turned into repetitive complaints, most of the crowd cleared out well before the two-hour mark and left the student senate with no choice but to promise to propose a way of voting for the movement’s future. “Use these next two weeks to do something radical,” a member of the faculty said to the students, “You have been given a gift - use it. Please.”
"All this for fashion?" A woman exclaims as she walked pass the 250 or so people lined up outside of H&M on Fifth Avenue and 51st Street. While the middle-age woman, donning a white puffy knee-length coat, ill-fitted jeans, and running sneakers may not understand how serious the Versace for H&M collection may be, these fashionistas definitely do.
"Versace is one of the most important brands of recent times," Margareta van den Bosch, creative advisor at H&M, said in a press release.
This past summer, the Swedish retail-clothing company announced that Versace would be designing their 11th guest-designer collection.
"I am thrilled to be collaborating with H&M and to have the opportunity of reaching their wide audience," Donatella Versace, creative director of Versace, said in a press release.
Widely considered one of the world's leading international fashion houses, the Italian fashion label, founded by Gianni Versace in 1978, has always been recognized for creating provocative styles from classical themes. With the exclusive collection, Donatella Versace continues to showcase the heritage of the brand.
"The collection [is] quintessential Versace," Donatella Versace adds. "Perfect for H&M and Versace fans everywhere."
With a total of 45 pieces, the women's collection includes fitted dresses, leather skirts, printed leggings, and gold accessories ranging from $19.95 to $299, while the men's collection fairs a little less with 34 pieces including bold colored suits, graphic shirts, and studded shorts as low as $17.95 and up to $299.
Since the Versace for H&M collection costs only a fraction of what regular Versace retails for, shoppers speculate that the collection will sell out. In order to give everyone the opportunity to get their hands on the exclusive collection, H&M has implemented some restrictions.
According to Fashionista.com, a leading New York-based fashion blog, the first 280 shoppers in line will receive 1 of 14 different colored bracelets with specific entrance times. Twenty people will enter the designated are every 30 to 45 minutes with a 15 minute shopping time limit.
While the restrictions only apply for the women's collection (the men's collection is a first come first served basis) shoppers are limited to purchasing up to two of the same item. But some shoppers still feel like they will not be able to get even one finger on the exclusive collection.
"Since it is more organized I still feel like I have a slim chance," Tiara Briggs, 27, said.
At approximately 8 a.m., security guards began to slowly let people inside the store and within 30 minutes, shoppers began to walk out of the store with bags full of clothes. According to Racked NY, the biggest purchase was $9,000.
Despite all the hype, Versace for H&M failed to sell out. A small selection of printed dresses, leather pants, studded bags, and metallic shoes are still available.
Tuesday, November 29
|Amar'e Stoudemire and Carmelo Anthony hope to make New Yorkers care about the Knicks.|
Monday November 28th, students and faculty attended a University wide Town Meeting at 2 West 13th Street, aimed address a case of vandalism that had occurred in that specific room on Saturday by a select few of a group of occupiers who had moved from their original location at the Student Study Center on 90 5th Avenue. The Student Senate who aimed to have, what Co-chair Melissa Holmes referred to as, “an informal town hall” monitored the meeting. Holmes added, “the meeting aims to look at how we are going to move forward, not only in terms of this space, but in terms of this community,” the meeting would decide if the students would be allowed to occupy the space, or any space in the school.
The meeting revolved around a queue of speakers from the audience. Many feared that the occupation was out of control. “They are writing demands that don’t make any sense,” student and worker, Adam Rodriguez said of the graffiti. Of the atmosphere within the occupation, one speaker referred the aggressive atmosphere within the occupation as being a “psychological pepper spray.” However, many agreed that The New School hosting an occupation was in accordance with The New School’s relationship to political activism. Occupier and Masters student, Ted, called the occupation a “revitalization of politics.”
Through a jungle of complaints and comments, a theme arose to support the occupation, though not in the Kellen Gallery. The Kellen Gallery is a semi-public ‘state-of-the-art gallery’ used for school events and art exhibits. The occupation would force the curator and people in charge of the space to reorganize their events.The end of the two-hour meeting did not find a decision and the room had emptied to a group that could not represent a majority. A couple of forms of voting were proposed, one to create a class where voters would sign up, another was in email form. The Student Senate promised to email the student body an update as to where the occupation would go and how the final decision would be carried out.