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In 1935 the renowned photographer Berenice Abbott set out on a five-year, WPA-funded project to document New York's transformation from a nineteenth-century city into a modern metropolis of towering skyscrapers. The result was the landmark publication Changing New York, a milestone in the history of photography that stands as an indispensable record of the Depression-era city. More than sixty years later, New York is an even denser city of steel-and-glass and restless energy. Guided by Abbott's voice and vision, New York photographer Douglas Levere has revisited the sites of 100 of Abbott's photographs, meticulously duplicating her compositions with exacting detail; each shot is taken at the same time of day, at the same time of year, and with the same type of camera. New York Changing pairs Levere's and Abbott's images, resulting in a remarkable commentary on the evolution of a metropolis known for constantly reinventing itself.
Ninety-seven photographs accompanied by descriptive notes capture New York City life in the depression years.
Over 100 finest pieces from Gray s "Streetscape" column for The New York Times. 110 illus. Introduction. "
A re-release of an acclaimed volume features definitive images of 1930s New York, in a deluxe edition that features more than three hundred duotones as taken with the support of the WPA's Federal Art Project documenting Depression-era changes throughout the city. Reissue.
Integrating sophisticated demographic techniques with clearly written narrative, this pioneering book explores the complex social and economic life of a major colonial city. New York City was a vital part of the middle colonies and may hold the key to the origins of political democracy in America. Family histories, public records of births, marriages, and assessments, and records of business transactions and poll lists are among the rich sources Thomas J. Archdeacon uses to determine the impact of the English conquest on the city of New York. Among his concerns are the changing relationships between the Dutch and the English, the distribution of wealth and the role of commerce in the city, and the part played by ethnic and religious heritage in provincial politics.
The recreation of a landmark in 1930s documentary photography. The 1939 book Changing New York by Berenice Abbott, with text by Elizabeth McCausland, is a landmark of American documentary photography and the career-defining publication by one of modernism's most prominent photographers. Yet no one has ever seen the book that Abbott and McCausland actually planned and wrote. In this book, art historian Sarah M. Miller recreates Abbott and McCausland's original manuscript for Changing New York by sequencing Abbott's one hundred photographs with McCausland's astonishing caption texts. This reconstruction is accompanied by a selection of archival documents that illuminate how the project was developed, and how the original publisher drastically altered it. Miller analyzes the manuscript and its revisions to unearth Abbott and McCausland's critical engagement with New York City's built environment and their unique theory of documentary photography. The battle over Changing New York, she argues, stemmed from disputes over how Abbott's photographs—and photography more broadly—should shape urban experience on the eve of the futuristic 1939 World's Fair. Ultimately it became a contest over the definition of documentary itself. Gary Van Zante and Julia Van Haaften contribute an essay on Abbott's archive and the partnership with McCausland that shaped their creative collaboration. Copublished with Ryerson Image Centre, Toronto
An estimated 2 billion people around the world watched the catastrophic destruction of the World Trade Center. The enormity of the moment was immediately understood and quickly took on global proportions. What has been less obvious is the effect on the locus of the attacks, New York City, not as a seat of political or economic power, but as a community; not in the days and weeks afterward, but over months and years. New York after 9/11 offers insightful and critical observations about the processes set in motion by September 11, 2001 in New York, and holds important lessons for the future. This interdisciplinary collection brings together experts from diverse fields to discuss the long-term recovery of New York City after 9/11. Susan Opotow and Zachary Baron Shemtob invited experts in architecture and design, medicine, health, community advocacy, psychology, public safety, human rights, law, and mental health to look back on the aftereffects of that tragic day in key spheres of life in New York City. With a focus on the themes of space and memory, public health and public safety, trauma and conflict, and politics and social change, this comprehensive account of how 9/11 changed New York sets out to answer three questions: What were the key conflicts that erupted in New York City in 9/11’s wake? What clashing interests were involved and how did they change over time? And what was the role of these conflicts in the transition from trauma to recovery for New York City as a whole? Contributors discuss a variety of issues that emerged in this tragedy’s wake, some immediately and others in the years that followed, including: PTSD among first responders; conflicts and design challenges of rebuilding the World Trade Center site, the memorial, and the museum; surveillance of Muslim communities; power struggles among public safety agencies; the development of technologies for faster building evacuations; and the emergence of chronic illnesses and fatalities among first responders and people who lived, worked, and attended school in the vicinity of the 9/11 site. A chapter on two Ground Zeros –in Hiroshima and New York – compares and historicizes the challenges of memorialization and recovery. Each chapter offers a nuanced, vivid, and behind-the-scenes account of issues as they unfolded over time and across various contexts, dispelling simplistic narratives of this extended and complicated period. Illuminating a city’s multifaceted response in the wake of a catastrophic and traumatic attack, New York after 9/11 illustrates recovery as a process that is complex, multivalent, and ongoing.
Why do we need fiction? Why do books need to be printed on paper, copyrighted, read to the finish? Do we read to challenge our vision of the world or to confirm it? Has novel writing turned into a job like any other? In Where I’m Reading From, the novelist and critic Tim Parks ranges over decades of critical reading—from Leopardi, Dickens, and Chekhov, to Virginia Woolf, D. H. Lawrence, and Thomas Bernhard, and on to contemporary work by Peter Stamm, Alice Munro, and many others—to upend our assumptions about literature and its purpose. In thirty-seven interlocking essays, Where I’m Reading From examines the rise of the “international” novel and the disappearance of “national” literary styles; how market forces shape “serious” fiction; the unintended effects of translation; the growing stasis of literary criticism; and the problematic relationship between writers’ lives and their work. Through dazzling close readings and probing self-examination, Parks wonders whether writers—and readers—can escape the twin pressures of the new global system and the novel that has become its emblematic genre.
Since its emergence in the mid-nineteenth century as the nation's "metropolis," New York has faced the most challenging housing problems of any American city, but it has also led the nation in innovation and reform. Plunz traces New York's housing development from 1850 to the present, exploring the housing of all classes, discussing the development of types ranging from the single-family house to the high-rise apartment tower.