O que é este blog?

Este blog trata basicamente de ideias, se possível inteligentes, para pessoas inteligentes. Ele também se ocupa de ideias aplicadas à política, em especial à política econômica. Ele constitui uma tentativa de manter um pensamento crítico e independente sobre livros, sobre questões culturais em geral, focando numa discussão bem informada sobre temas de relações internacionais e de política externa do Brasil. Para meus livros e ensaios ver o website: www.pralmeida.org. Para a maior parte de meus textos, ver minha página na plataforma Academia.edu, link: https://itamaraty.academia.edu/PauloRobertodeAlmeida;

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Mostrando postagens com marcador New York. Mostrar todas as postagens
Mostrando postagens com marcador New York. Mostrar todas as postagens

quarta-feira, 8 de janeiro de 2014

O novo prefeito "frances" de New York: vai conhecer o mesmo fracasso que Hollande? - Nicole Gelinas

Os americanos já têm o melhor presidente "europeu" que eles poderiam querer: Obama estaria ótimo como líder socialista de algum país europeu, mas para azar dele, precisa enfrentar os conservadores republicanos e os ultra-conservadores do Tea Party dos EUA.
Bem, agora a maior cidade americana já tem um perfeito prefeito "francês", aliás de origem italiana, e portanto meio "comunista", para o gosto dos americanos.
Vamos ver como ele se sai. Mas essa mania de querer taxar os ricos vai acabar fazendo com que Wall Street se mude para o outro lado do rio, para New Jersey...
Paulo Roberto de Almeida

De Blasio’s French Lessons
Gotham’s new mayor sounds like François Hollande, and he risks similar results.
The City Journ7 January 2014

In his inaugural address last Wednesday, New York’s new mayor, Bill de Blasio, promised to “commit” the city he now leads “to a new progressive direction.” As Gotham embarks on a “dramatic new approach,” he promised, “the world will watch as we succeed.” De Blasio should be watching the world instead—particularly France. The policy prescription that brought de Blasio to office—higher income taxes on New York’s wealthy—is exactly what French president François Hollande proposed to win his own post nearly two years ago. Since then, Hollande’s approval rating has plummeted to record lows for a French leader. French citizens have grown tired of symbolic anti-rich gestures; they want real solutions to real problems.
Hollande, who won office in May 2012, was one of the first leftist Western politicians to benefit from two global trends after 2008: disillusionment with incumbent politicians and dismay at income inequality. Hollande’s opponent and predecessor, Nicolas Sarkozy, was well settled in office during the economic collapse of 2008—a toxic place to be for any Western leader. But Sarkozy, like former New York mayor Michael Bloomberg, was also practically a cartoon embodiment of the second target of anger. Sarkozy was the “bling-bling” president who outfitted the presidential jet with a top-of-the-line oven so that he could eat gourmet food in the air, the president who traded in his (second) wife for a model-turned-singer-turned-movie-star, the president who loved hanging out with the world’s 1 percent on yachts and private beaches. In expelling a sitting head of state for the first time in three decades, the French made it clear that they wanted change.
But victory came almost too easily. Hollande didn’t have to put forward any serious policy proposals to win. France’s problems were straightforward and remain so: persistent deficits, caused not by the economic crisis but by ever-growing retirement costs; plus high unemployment, caused by high taxes and heavy social mandates on employers—including the near-impossibility of firing a permanent worker. Hollande had little to say about these issues. Instead, his plan was simple: tax the rich. He increased top-bracket income taxes from 41 percent to 45 percent and imposed a temporary two-year levyof 75 percent on income above 1 million euros. In his inauguration speech, he said that “to put France back on her feet, in a fair way,” he would “discourage exorbitant income and remuneration.” Though he acknowledged France’s intractable problems, the closest he got to a solution was to say that “Europe needs projects.”
In the nearly two years that followed, Hollande clung to this platform even as France’s fiscal and economic situation worsened. Unemployment has risenfrom 10.2 to 10.9 percent, even as it has fallen slightly across the West (and fallen more in the United States and Britain). In November, Standard & Poor’s downgraded France’s credit from AA+ to AA. The cut was an explicit no-confidence vote in Hollande, with analysts saying that “we believe the French government’s reforms to taxation, as well as to product, services and labor markets, will not substantially raise France’s medium-term growth prospects and that ongoing high unemployment is weakening support for further significant fiscal and structural policy measures.” (France had lost its top AAA rating in Sarkozy’s waning days.) Meanwhile, toward the end of last year, Hollande’s approval rating fell to 25 percent as Sarkozy watched,possibly plotting a comeback.
Hollande’s disastrous performance in office stems from two factors. First, Hollande couldn’t levy a punitive tax on the rich without sending them or their money fleeing for at least two years. The new president’s tax hike, then, was always going to be largely symbolic. It likely won’t raise even 1 billion euros in the context of a nearly 400-billion-euro budget. Ineffectual though it may be as a revenue raiser, the new tax threatens to do huge damage to the French economy. Newspapers have run complaints from soccer teams worried that they’ll lose their best players and from tech entrepreneurs concerned that they won’t be able to raise start-up capital.
Imposing the tax has been an administrative headache as well. A year ago, France’s top court declared the tax unconstitutional. It took another year for Hollande to restructure the tax to pass constitutional muster. In the meantime, French citizens have watched their already precarious economic fortunes deteriorate while other taxes, including the broad-based value-added tax on goods and services, have risen to fund ever-higher spending. Now, in the face of public anger and frustration, Hollande is promising to cuttaxes on the middle class and on businesses. To do that, he’s finally getting somewhat serious about spending cuts.
De Blasio can take a lesson here. Yes, there are differences between France and New York. New York’s economy, having recovered all the jobs lost since 2008 and added 145,000 new ones, is in better shape than France’s (and most of America’s). The barriers to hiring workers in New York are not nearly as great as in France (though national mandates, such as Obamacare, have made them worse).
Still, the parallels are striking. Voters propelled de Blasio into office on little more than a vague notion of fixing inequality. Like Hollande, de Blasio’s fix is a tax increase, albeit a less extreme one. He would hike taxes by 14 percent on those making more than half a million dollars annually for five years. Like Hollande, de Blasio will have difficulty pushing the tax through: he needs Albany’s approval first. And even if he succeeds, de Blasio’s tax hike, like Hollande’s, will be little more than symbolic. The rich already pay more than their fair share; they earn about a third of the city’s income and pay more than 40 percent of income taxes. And education spending, which de Blasio wants to expand with the new revenues, has already nearly doubled over the past decade, reaching $24.6 billion during Bloomberg’s final year in office. This Monday, de Blasio made it clear that the tax hike is necessary politically, rather than economically or fiscally. When reporters asked him whether he’d drop the idea if New York governor Andrew Cuomo gives him another source of state money instead, the new mayor answered: “I want to go over this again: We have a goal. We believe in this goal. We believe it’s the right thing to do. We are sticking to this goal.” In other words, the means—a new levy on the rich—matter more than the supposed end.
New York has serious problems that the new mayor must address. Pension and health costs for city workers and retirees now consume one-third of the city-funded budget, double their share when Bloomberg took office. (Bloomberg himself recently called this growth one of urban America’s biggest challenges.) The city’s labor contracts all expired years ago. But New York cannot afford retroactive raises or future-year raises unless union members agree to big retirement-benefit and productivity concessions. These rising costs threaten New York’s ability to expand and modernize infrastructure and to maintain quality of life, as the city cuts its current workforce to take care of its retirees.
De Blasio ignored these issues in his inaugural address. His speech—though innocuous compared with what other speakers said that day—was notable mostly for its lack of content. As Hollande said of France, de Blasio said he’d make New York “a fairer, more just, more progressive place,” through a “tax on the wealthiest among us.” Let’s hope that it doesn’t take him as long to learn the lesson that Hollande has finally absorbed: soaking the rich may win elections, at least in today’s political environment, but it’s of little use once you’re in office.

sexta-feira, 8 de novembro de 2013

Queens Museum, former UN Flushing-Meadows first headquarters,reopening...

... para um passeio de fim de semana...
PRA

A Local Place for a Global Neighborhood

The Expanded Queens Museum Reopens


Byron Smith for The New York Times
The New Queens Museum: A look at renovations at the museum.


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The United Nations of voices we encounter on Manhattan’s streets is global but transient: Visitors from abroad come to town and they look, they shop, they leave.
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By contrast, the same range of accents we hear in Queens is global but local: People land from everywhere and stay, in one of the most ethnically diverse patches of residential real estate in the nation.
Given that mix today, it makes symbolic sense, at least, that for four years, from 1946 to 1950, the United Nations General Assembly had its first headquarters in Queens, in a low, pale slab of a building designed to be New York City’s Pavilion for the 1939 World’s Fair. Set on an edge of what is now called Flushing Meadows-Corona Park, with the Grand Central Parkway streaming by, it proved itself a versatile premises, suited equally to athletics and aesthetics. For many years, half the building was a skating rink. The other half, beginning in 1972, was home to the Queens Museum of Art.
Several months ago, the museum closed fully to complete a two-year, $69 million renovation that mostly took place while the museum remained open.
On Saturday it reopens, much changed. Its interior is now twice as large. By absorbing the former skating rink, it has gained about 50,000 square feet, which translates into extra galleries, studios for resident artists, storage room for a growing collection and — the pièce-de-résistance — a high-ceiling, sky-lit atrium that has the feel, in line with this museum’s democratizing spirit, of a community commons.
Until now, the museum turned its back on the parkway with a solid wall, but no more. The new design, by the Grimshaw architectural firm, includes big sheets of glass on both sides of the building, so you can see right through. Along with transparency comes a semi-logical layout. Over many years of visiting, I never really got my bearings; the floor plan seemed to jump around. Now, even with more ground to cover, I already sort of know my way.
The cost for the whole ambitious, expanding, revivifying job may sound like a lot for a smallish museum. But to add some perspective, the Metropolitan Museum is spending almost as much just to gussy up its Fifth Avenue plaza.
Along with the additions, the Queens Museum has also let something go: The words “of Art” are no longer part of its name. The institution’s executive director, Tom Finkelpearl, explained the rebranding in a news release. In his view, so-called outer-borough museums are faced with two basic options: Either shoot for a bridge-and-tunnel-phobic Manhattan audience or use the same energy to interact more with the immediate community, which is what they were meant to do.
For the Queens Museum, the choice was clear. Given the cosmopolitan breadth of its home population, and the lively history of the building itself — it also was the New York City Pavilion for the city’s second World’s Fair, in 1964 — Queens consciousness was the way to go, and so it has.
Long-favored features from the past have been retained. The giant, infinitesimally detailed relief-map panorama of New York City, commissioned by Robert Moses for the 1964 fair, is where it has always been, embedded in the building’s center like a captive spaceship, twinkling with lights. For the reopening, the museum has added some new elements to the old by surrounding the panorama with a suite of handsome, time-lapse photographs of the recent expansion in progress, taken by Jeff Chien-Hsing Liao, a young artist born in Taiwan and based in Queens.
Elsewhere, a new open-storage display brings some 900 vintage World’s Fair souvenirs out of attics, desk drawers, shoeboxes and the museum’s archive for perusal. They vary in size from admission buttons to a full-scale plaster cast of Michelangelo’s “Pietà.” The actual Pietà was the high-art highlight of the 1964 fair, shipped from the Vatican and seen by hundreds of thousands of conveyer-belt-riding viewers.
Some people call this stuff material culture, some call it junk. Whatever you call it, it’s history: loaded evidence of a time, a place and an era-defining event that happened miles away from big-deal Manhattan.
Finally, the museum’s Neustadt Collection of Tiffany Glass, once upstairs, has main-stage visibility in one of the six new galleries that surround the atrium. With 20 stained-glass lamps aglow, the display is like an Art Nouveau version of Chartres.
And who knew that the Tiffany Studios were once located a mere stone’s throw away, in Corona? Or that some of its most interesting designs were created by a phalanx of female workers known as Tiffany Girls?
The Queens Museum has a track record for making history as well as showing it. It has always given pride of place to contemporary art, often to work that few Manhattan museums noticed before Queens led the way. In the 1990s, Cai Guo-Qiang’s first United States museum solo show was there. And there were “Out of India: Contemporary Art of the South Asian Diaspora” and “Global Conceptualism: Points of Origin, 1950-1980s.” New York might not have paid much attention to such shows, but the international art world did, and they helped shape the increasingly cosmopolitan direction that art was taking.
The museum has assembled no fewer than four contemporary exhibitions for the reopening, two of them, in different ways, Queens specific and hard to judge as of this writing.
An installation called “The People’s United Nations (pUN),” by the Mexican artist Pedro Reyes, inaugurates the new atrium. The obvious reference is to the fledgling General Assembly meetings here, which promised much and embittered many. The decisions to divide Palestine and to separate North and South Korea were made here.
Mr. Reyes clearly intends his work as wry rebuke. Beneath an outsize, doctored version of the United Nations seal, he has placed miniature drones in the shape of doves and clocks made from twisted firearms. On Nov. 23 and 24, he will convene a mock-Assembly session, during which 193 New Yorkers from the 193 states that make up the United Nations will gather for a kind of boot-camp immersion in conflict-resolution techniques. The idea is to tackle serious issues in the disarming spirit of play, an approach I’ve become suspicious of. We’ll see.
The museum’s signature biennial show, the Queens International, is back, the 2013 edition put together, for the first time, by two curators: Hitomi Iwasaki, the resident director of exhibitions, and Meiya Cheng, co-founder of the Taipei Contemporary Art Center in Taiwan. The biennial has been built around artists who live and work in the borough, but this time includes participants from Taiwan, which has a large immigrant population in Queens.
Like Mr. Reyes’s piece, the show has crucial performance components, which will unfold over time, so a one-off look gives only a partial sense of the whole. Still, there’s a lot in place to see, and some artists — Nobutaka Aozaki, Kevin Beasley, Chou Yu-Cheng, Siobhan Landry, Arthur Ou — stand out.
At the same time, it may be a sign of art’s current global-melting-pot state that clear distinctions between work made in New York and work made anywhere else can be hard to detect. This suggests that avenues of international communication are strong, which is good. It also suggests that diversity has become generic, which is a problem.
A third show, “Citizens of the World: Cuba in Queens,” is, despite its title, less about a Cuban presence in the borough than about the significance of a particular selection of Cuban art in the museum. All the work is on loan from the collection of Shelley and Donald Rubin, for whom the gallery is named. The Rubins, who founded a museum of Asian art in Chelsea, are among the very few large-dollar donors who routinely write checks for art institutions beyond the Manhattan mainstream. In a heartening quid pro quo roundelay, the Queens Museum benefits from the Rubins’ largess, the Rubins get to air their collection in a museum, and we get to see a kind of alert, passionate art that the Met, MoMA and the Whitney continue to pass right over.
Out of all the inaugural bounty, though, the largest and most moving component is the exhibition called “The Shatterer,” the solo museum debut of the artist Peter Schumann. Mr. Schumann came to New York from Germany and founded the Bread and Puppet Theater, blending populist political happening and medieval mystery play, on the streets of the Lower East Side.
That was in 1963, 50 years ago, a time when America was at war with itself and the world, and most of Manhattan was still — as it is not now — working-class immigrant turf. In the 1970s, Mr. Schumann moved to Vermont, where he has stayed, his social vision undiminished, working collaboratively in theater and producing his own art.
The Queens show, organized by Jonathan Berger and Larissa Harris, demonstrates how thoroughly Bread and Puppet is Mr. Schumann’s creation. Its down-value look and activist ethos are evident in everything, from the black house-paint mural he has brushed across one of the museum’s new white walls to the hand-printed, hand-bound books he has placed in the gallery that he designates as both chapel and library. Every inch of this room is covered with figures and words: saints and ogres, exhortations and condemnations, art for one and for all, straight from the hand, right to the moral core.
The Queens Museum is a good place for it.
Mr. Finkelpearl’s interests have long centered on participatory, activist art — art as a form of instruction. He recently published a book on the subject, “What We Made:Conversations on Art and Social Cooperation.” Much of his museum’s programming revolves around this idea. It makes sense that he has known and loved Mr. Schumann’s art for many years; that’s why it’s here.
And where else would it go? At once poetic and preachy, modest and obsessive, satirical and spiritual, it’s probably too unfashionably “alternative” for anyplace else. But given the condition of passive, formalist dullness that has stalled art in New York, alternatives of all kinds are what we need. These days, at the end of the No. 7 train to Queens, you’ll find at least one.

quarta-feira, 2 de outubro de 2013

Companhia de Opera de NY decreta falencia e sai de cena

Atenção: o fato da Ópera de Nova York ter decretado falência e fechado as portas não tem nada a ver com a falta de orçamento do governo federal, que também teve de fechar as portas -- mas não indefinidamente, como a Ópera -- de muitas instituiçoes culturais e artísticas, pelo menos enquanto durar a queda de braço entre o Executivo e o Congresso.
Se fosse no Brasil, isso provavelmente não ocorreria , pois sempre teríamos parlamentares, e até o próprio governo federal, dispostos a dar uma "ajudazinha", transferindo alguns milhões dos impostos de todos os cidadãos -- mesmo daqueles do outro lado do país, e dos muitos milhões de pessoas que provavelmente nunca foram e nunca irão à ópera ou a essa Ópera -- para o que é, basicamente uma empresa comercial municipal (com ou sem objetivos de lucro).
O fato da companhia não ter obtido financiamento junto à própria população da cidade ou junto aos amantes de óperas indica, talvez, que ela não era tão apreciada de todos, e que talvez fosse considerada por todos como um empreendimento basicamente comercial, o que era um fato, e talvez não um dos do gênero cultural melhor administrados. Ou seja, a população, livremente, indicou que não se sentia motivada a continuar sustentando, não esse tipo, mas esse empreendimento especificamente. OK: decrete-se a falência e feche-se as portas.
Artistas talentosos encontrarão trabalho em outros musicais, um gênero de atividade absolutamente exitoso em NY. Outros poderão trabalhar nos muitos MacDonald's, ou qualquer outro tipo de atividade que não envolva dinheiro público. Assim são as democracias e governos responsáveis, mas isso, repito, não se passaria assim no Brasil: sindicatos de artistas e "inteliquituais" conseguiriam arrancar uma verba pública (ou seja, de todos nós) mesmo para companhias vagabundas e mal administradas, desde que enquadradas na "legitimação" cultural, o que permite todo tipo de falcatruas. O capítulo da cultura, por falar nisso, recebeu uma super-emenda constitucional, que praticamente estatiza todo o setor e promete boquinhas e boconas para todo tipo de vagabundo cultural. O governo cuida do seu lazer, leitor: ele sabe melhor do que você o que é bom na área cultural.
A propósito da ópera, ouvi numa rádio pública americana, a NPR (que está sempre pedindo contribuições de seus ouvintes), que depois da guerra, a ópera era o empreendimento humano de maior custo. Que seja: mas neste caso, existe uma opção não-estatal, os que desejarem ir à ópera precisam pagar por isso (talvez não no Brasil, em determinadas circunstâncias). Quanto à guerra, os "usuários" já decidem por ela em eleições regulares. Obama, aliás, ganhou porque disse que iria encerrar duas delas. Os eleitores contribuintes agradecem...
Paulo Roberto de Almeida

Ópera de Nova York fecha as portas e declara falência

Companhia não conseguiu levantar recursos suficientes para continuar em atividade

Apresentação da peça Anna Nicole, no New York City Opera
Apresentação da peça 'Anna Nicole', no New York City Opera (Getty Images)
Prestes a completar 70 anos, a New York City Opera declarou falência após uma frustrada tentativa de levantar recursos para continuar funcionando. Em uma ação emergencial, a companhia pediu por 7 milhões de dólares para manter as atividades, no entanto só conseguiu angariar 2 milhões em doações. “A New York City Opera não alcançou o objetivo do apelo e a administração dará início aos procedimentos necessários para encerrar a companhia”, disse em comunicado oficial o diretor geral e artístico, George Steel.
A última apresentação do grupo foi feita no sábado, com a peça Anna Nicole, baseada na vida da stripper e modelo americana Anna Nicole Smith, que ficou famosa ao se casar com J. Howard Marshall, magnata do petróleo, quando ela tinha 26 anos e ele 89.
Segundo o jornal The New York Times, o prefeito da cidade de Nova York, Michael R. Bloomberg, bilionário e conhecido por apoiar projetos artísticos, disse à imprensa na última segunda-feira que nem ele ou a cidade ajudariam a companhia. "O modelo de negócios utilizado pela Ópera não funciona", disse. 
Conhecida como a “Ópera do Povo”, a New York City Opera foi criada em 1943 e tinha como objetivo projetar novos talentos e tornar a ópera acessível aos moradores de Nova York. Um e-mail foi enviado, na última terça-feira, aos contatos cadastrados pela companhia, avisando sobre a decisão de encerrar as atividades e que pretendem reembolsar as pessoas que compraram ingressos para as três próximas produções agendadas.

terça-feira, 6 de agosto de 2013

Ah, essas bibliotecas escondidas de ratos de bibliotecas (como eu...)


CITY ROOM
A Library Where the Hush Is Over Its Very Existence
The New York Times, August 6, 2013
Nothing on the street outside says that it is there. First-time visitors must push through a revolving door of a court building in Lower Manhattan on faith, and hear their footsteps echo across a vast marble lobby before they finally glimpse a set of wooden double doors near a staircase leading down to a goblin-dark basement.
This is the entrance to the City Hall Library, open to all yet known to relatively few and visible to just about no one. “I didn’t even know this was here. Is it open to the public?” Ydanis Rodriguez, a City Council member from Manhattan, asked as he recently entered it for the first time, even though it is a short walk from his offices.
Relative obscurity is nothing new for this institution, which is actually housed inside the Surrogate’s Court building. It is over 100 years old, but in July 1898, The New York Times wrote of its predecessor, a hodgepodge of a library inside City Hall, “There are not many who know of its existence, and few who have heard of it know of its location.” An apt description for the current library, too.
Christine Bruzzese, the supervising librarian, said the library had 66,000 books on the shelves and in storage, and 285,000 periodicals, journals and volumes of clippings. The most popular request from the public is to research old land and property decisions by the city’s Board of Estimate, which ceased to exist in 1990.

But while book titles can be searched online, the books themselves cannot be downloaded or taken out. They must be read on site, in one of two large rooms: one is somewhat dark and filled with bookshelves and old newspaper clippings; the other has a few computers and the librarians.
The volumes stocked by the library are not the kinds of books most people would consider summer reading — “Financial Problems of the City of New York” is one title — and they also tend to be large and bulky.
“Sometimes they will say, ‘It’s a lot of reading.’ I always say, ‘Well, you know what, I wish I had time to sit and read it. I would love to do it,’” Ms. Bruzzese said. “I think a lot of people, too, are used to electronic things now, they expect to find something on a computer. They see a book this size, and they think, ‘Oh, it’s a lot to read.’”
Below the library are the cavernous storerooms and vaults that contain some of the maps, books, photographs and other items that are part of the Municipal Archives. They document the city’s government and leadership dating back to the unification of the boroughs into New York City in 1898, and back to the first mayor of the city, Thomas Willett, in 1665.

The history of the city is celebrated in old sepia photographs, wall-size topographical maps and reproduction manuscripts on display within the library and in a visitor center next to the library.
Yet there is not a hint of any of this on the granite exterior of the imposing Beaux-Arts building at 31 Chambers Street, behind City Hall. The sign says only “Surrogate’s Court,” with just a small brass plaque explaining that it once was the Hall of Records. That was the building’s original purpose when it was completed — at a cost of $7 million — in 1907.
The librarians who work for the City Hall Library, like the workers for the Municipal Archives, are employees of the city’s Department of Records and Information Services. The librarians say the courthouse’s status as a designated landmark means that they are not allowed to hang a sign on the building’s exterior.
Since April 2012, the city has made available online nearly 900,000 digitized images and other material from the archives and plans to add 1.5 million more items. A new era looms in December, with the end of Mayor Michael R. Bloomberg’s tenure. He will be the first mayor to provide his official documents in digital form.
The process of digitization — there are 840,000 annual visits to the Records Department Web sites — means that the obscurity of the site’s physical location is becoming less of an issue. Still, the library does attract visitors to its quarters.
Nicole Richer, 20, a British student, traveled from England to research organized crime during the Prohibition era. She found the library easy to find, despite the lacks of signs. “I used Google Maps,” she said.

quinta-feira, 9 de maio de 2013

Books, books, books! Mas onde vai parar esse vício incurável?

Que pergunta: ora essa, numa livraria, of course. 
Ou melhor, em várias delas.
Estas são para a próxima ida a New York...
Paulo Roberto de Almeida 

Do blog do Abebooks:

http://www.abebooks.com/blog/index.php/2013/04/26/bookstores-of-new-york/


Bookstores of New York


Last week I was in New York. The purpose of the visit was to attend two antiquarian book fairs, but I always try to make time to visit booksellers in their stores. Nothing can replace the touch and feel of a beautiful book and talking to someone that is passionate about what they do.
Walking into an antiquarian bookshop is a bit like opening a treasure chest; you never know what you are going to find and there are always hidden gems. I love knowing that I can walk into these stores and find something that I know has had a long and interesting life and belonged to people that cared enough to preserve and share them.
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One of the shops I visited was Argosy Books in midtown Manhattan. Argosy Books was founded in 1925 and is now in its third generation of family ownership. There are books on the shelves, books in stacks and piled on tables. All combined with great lighting and small pops of colour from flowers placed throughout the store to make you feel instantly comfortable and welcome.
Argosy specializes in Americana, modern first editions, autographs, art, maps & prints and books about the history of science and medicine. If those aren’t up your alley, you will also find many other books in a wide variety of topics and with a wide variety of prices. If you have the time and you’re in New York, Argosy is definitely a store you should visit.
Another shop I visited was the Complete Traveller Antiquarian Bookstore on Madison Avenue. This store evolved from The Complete Traveller Bookstore which was the first travel bookstore in the US. As the name states, this shop specializes in collectible travel literature and has one of the best collections of authentic Baedeker travel guides. Baedekers are considered to be the first modern travel guides and can be easily identified by their distinct red cover. The books were treasured for their detailed historic accounts and the many fold out maps they contain.
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This is a unique and specialized shop and definitely worth a visit if you love travel, history and culture.
No visit to New York is complete for me until I visit The Strand. Strand never disappoints and I always walk away with at least one, well really several books. This time I came home with something for my children, but I love it too: This is New York by Miroslav Sasek. We love these books in my house and have many others in the This Is…. series.
Most people know that Strand is a great place to go for affordable books, but it also has a fantastic Rare Book Room. Hop in the elevator and go up to the 3rd floor, and you’ll walk into a room filled with lovely old books, many of which can be found on AbeBooks.
Strand also has many affordable and collectible signed first editions. The day of my visit, they were getting ready for a book signing and talk with Pulitzer Prize-winning author Junot Diaz, discussing his newest book This is How You Lose Her.
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Bookstores in New York offer a slice of history and small pieces of beauty that will draw you in and make you love books even more.
Guest post compliments of Maria Hutchison, AbeBooks Account Manager for our rare and collectible segment.
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About Beth Carswell

I've been reading, selling, researching, loving and writing about books with AbeBooks since 2000.

terça-feira, 16 de abril de 2013

Antecipando visitas: NY - The China Institute - Dunhuang cave paintings


Algumas dessas cavernas já visitamos pessoalmente em Dunhuang, pois Carmen Lícia é uma excelente guia turístico-histórica-intelectual...
  
Dunhuang:
Buddhist Art at the Gateway of the Silk Road

April 19 – July 21, 2013
Dunhuang, the western gateway to China, is one of the world’s most esteemed art shrines and cultural heritage sites. Dunhuang: Buddhist Art at the Gateway of the Silk Road will address art and ritual practices of the Northern dynasties (420-589) and the Tang dynasty (618-907). The exhibition will feature excavated art works, high relief clay figures, wooden sculptures, silk banners, and molded bricks. A group of treasured Buddhist sutras from the famous Cangjingdong (The Library Cave) will illustrate the story behind Dunhuang’s historic discovery. A magnificent replica of the 8th century cave that houses the beautiful Bodhisattva of the Mogao Grottoes and an illustrious central pillar from the 6th century will also be prominently displayed to recall the actual cave setting.
This exhibition is organized by China Institute Gallery and Dunhuang Academy under the direction of Willow Weilan Hai Chang and is curated by Fan Jinshi, Director of Dunhuang Academy.

This exhibition is made possible, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and by the generous support of Blakemore Foundation, the E. Rhodes & Leona B. Carpenter Foundation, the Henry Luce Foundation and China Institute Friends of the Gallery.
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Detail: Celestial Music, mural from Mogao Cave 288
Western Wei dynasty (535-557), 52 x 522 cm
Image courtesy of Dunhuang Academy
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©2013 China Institute in America | Sitemap
125 East 65th Street, New York, NY 10065 212.744.8181

Antecipando visitas: Brooklin Museum, NY: Exhibition: John Singer Sargent Watercolors

Carmen Lícia descobriu, e eu vou atrás:

Brooklin Museum

Exhibitions: John Singer Sargent Watercolors

Sargent: Bedouins; Sargent: Simplon Pass: Reading John Singer Sargent (American, 1856–1925). (left) Simplon Pass: Reading, circa 1911. Opaque and translucent watercolor and wax resist with graphite underdrawing, 20 1/16 x 14 1/16 in. (51 x 35.7 cm). Museum of Fine Arts, Boston, The Hayden Collection—Charles Henry Hayden Fund. Photograph © 2013 Museum of Fine Arts, Boston; (right) Bedouins, circa 1905–6. Opaque and translucent watercolor, 18 x 12 in. (45.7 x 30.5 cm).
Brooklyn Museum, Purchased by Special Subscription, 09.814
April 5–July 28, 2013
Morris A. and Meyer Schapiro Wing, 4th Floor

This landmark exhibition unites for the first time the John Singer Sargent watercolors acquired by the Brooklyn Museum and the Museum of Fine Arts, Boston, in the early twentieth century. The culmination of a yearlong collaborative study by both museums, John Singer Sargent Watercolors explores the watercolor practice that has traditionally been viewed as a tangential facet of Sargent’s art making. The ninety-three pieces on display provide a once-in-a-generation opportunity to view a broad range of the artist’s finest production in the medium.
Brooklyn’s thirty-eight watercolors, most of which have not been on view for decades, were largely purchased from Sargent’s 1909 debut exhibition in New York. Their subjects include Venetian scenes (The Bridge of Sighs), Mediterranean sailing vessels, intimate portraits (A Tramp), and Bedouin subjects (Bedouins). Boston’s watercolors, purchased in 1912, are more highly finished than the Brooklyn works. They feature subjects from his travels to the Italian Alps, the villa gardens near Lucca, and the marble quarries of Carrara, as well as portraits. The exhibition also presents nine oil paintings, including Brooklyn’s An Out-of-Doors Study, Paul Helleu and His Wife (1889) and Boston’s The Master and His Pupils (1914).
New discoveries based on scientific study of Sargent’s pigments, drawing techniques, and paper preparation are featured in a special section deconstructing his techniques. Select works throughout the exhibition are paired with videos that show a contemporary watercolor artist demonstrating some of Sargent’s methods.
John Singer Sargent Watercolors is organized by the Brooklyn Museum and the Museum of Fine Arts, Boston. The exhibition is co-curated by Teresa A. Carbone, Andrew W. Mellon Curator of American Art, Brooklyn Museum, and Erica E. Hirshler, Croll Senior Curator of American Paintings, Museum of Fine Arts, Boston.
Generous support for the exhibition and catalogue was provided by The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts and the National Endowment for the Arts.
The presentation in Brooklyn was made possible by the Henry Luce Foundation, the Robert Lehman Foundation, Bank of America, Sotheby’s, and the Richard and Jane Manoogian Foundation. Additional support for the catalogue was provided by a publications endowment established by the Iris and B. Gerald Cantor Foundation and the Andrew W. Mellon Foundation.
Wednesday: 11 a.m.–6 p.m.
Thursday: 11 a.m.–10 p.m.
Friday–Sunday: 11 a.m.–6 p.m.