Censored at first by the NYC Department of Parks, the noose was considered ”problematic and a disturbance to the park’s visitors”. The artist was asked to come up with a replacement piece but before long, the Department reconsidered and agreed to display the artwork in its initial form. It was on display in Riverside Park until May 2017.
We were walking down Broome Street looking for Pi, a Greek bakery for a taste of nostalgia (it was approaching Christmas), when this shiny happy-creepy art display caught our attention. There were no accompanying tags, hence the working titles:
*From ”The Dancer”, a poem by Khalil Gibran
The cookies were good, if I may add. Provided Manhattan prices are not an issue or Astoria seems too far away just for a trip to the baker’s, Pi has your Greek phyllo-pie cravings well covered.
Going back to the roots and learning a bit more about Native Americans; peoples, traditions and art that were thriving here before America’s discovery by the Old World.
A sad necessity perhaps but such dedicated museums are the most effective means in rendering these cultures and their history more widely accessible to visitors.
In New York, the museum is housed in the Alexander Hamilton U.S. Custom House, one of the most splendid Beaux Arts buildings in the City with a magnificent rotunda dome.
”Shortly after the outbreak of the 1877 war with the United States, Chief Looking Glass declared that he wanted peace and moved his camp to Clear Creek on the 1863 reservation. Peo Peo T’olikt, who was in his twenties, was instructed by the chief to parley with militiamen and soldiers who came to the camp on July 1. The Indian camp raised a white flag, but was attacked and destroyed.
Peo Peo T’olikt was wounded in the leg, but escaped and was involved in all the subsequent battles of 1877. He lost a wife and young son in the war, but his exploits were many. Capturing the cannon at Big Hole, stealing General Howard’s mules and horses at Camas Meadows, and protecting the camp at Bear Paw are just a few.”
Allen Pinkham, Sr. (Ni Mii Puu)
Tribal historian and former National Museum of the American Indian trustee
”Susette La Flesche descended from Omaha tribal leaders on both sides of her family. As a child she lived in an earth lodge, though she also attended a mission school. La Flesche witnessed the expulsion of the Ponca tribe from their homeland to Indian Territory in 1877, and the subsequent imprisonment of Standing Bear and other Poncas who had attempted to return to Nebraska. These events launched La Flesche’s career as a nationally known activist who argued against the involuntary removal of indigenous people from their homelands and for Indian citizenship rights.
La Flesche found a soulmate in Thomas Tibbles, a newspaper reporter for the Omaha Herald who followed the Ponca case. Schooled in Western and Omaha culture and bilingual, La Flesche chose an elegant cream-colored wool skirt and jacket when she married Tibbles in 1881.”
Brenda J. Child (Red Lake Ojibwe)
Historian, University of Minnesota
Mebêngôkre men and women wear feather headdresses or capes during children’s naming ceremonies and boy’s initiation ceremonies.
This giant mural is the work of FAILE, a Brooklyn-based artistic collaboration between Patrick McNeil and Patrick Miller. It covers an entire side wall of a building that happens to be The Record Plant, a legendary recording studio on 44th St. in Hell’s Kitchen, active from the late sixties until 1987, when it closed.
Imagine bumping into Aretha Franklin, Frank Zappa, Jimmy Hendrix, John Lennon, Cyndi Lauper, among others – they all recorded here; these are but a few of the names that emerged when I looked up the address.
Today, it is a high-tech business centre and I am desperate for a time-machine.
This magnificent gilded bronze relief graces the entrance of La Maison Française, part of the Rockefeller Center. A token of friendship between France and the United States, it depicts the two Cities – Paris and New York – reaching towards each other, showered with the gifts brought by the Three Graces, underneath.
According to Greek Mythology, the Three Graces were daughters of Zeus and the Oceanid (daughter of the Ocean) Eurynome. They were:
For the purposes of said friendship they became Poésie, Beauté & Elégance, an unwittingly apt transformation judging by their strategic location, watching over Saks Fifth Avenue right across the street.
Sculpture by Alfred Janniot, ca. 1934 (more reading here & here)