Riverside Park and Issues of Historic Preservation

1984 ◽  
Vol 43 (3) ◽  
pp. 238-249 ◽  
Author(s):  
Elizabeth Cromley

Riverside Park and Riverside Drive in New York City were designated a Scenic Landmark in 1980 by the New York Landmarks Preservation Commission, but this designation raises some problems for historians. The Landmark designation is based primarily on the park's status as a Frederick Law Olmsted design. My research shows, however, that only a small part of the park as it stands today was actually designed by Olmsted, and that Riverside Park was rather the result of ad hoc decisions and compromises over several decades. The history of Riverside Park presented in this article is offered as an alternative to the Landmarks Commission's history in its "Designation Report." This alternative history of a "non-Olmsted park" shows that Olmsted's design, based on an aesthetic of nature, is preserved only in the layout of Riverside Drive on the high ground above the Hudson and in the parkland immediately adjacent to the Drive. The many sculptural monuments added to Riverside Park and Drive, beginning with a temporary Grant's Tomb in the 1880s and continuing through the 1920s, are the legacy of a City Beautiful conception of the park as an instrument for cultural uplift and education. In the 1930s yet another conception of parks as active recreation space led to doubling the park's size by landfill and expanding its facilities by building many sports grounds, children's playgrounds, and a tree-bordered promenade. In my conclusion, I consider what it means, to readers of history and to makers of parks policy, to choose one or the other of these histories. If Riverside is "an Olmsted park," preservation policies will take a different form than they will if it is a "non-Olmsted park." From this discussion, I also raise some general questions about the meaning and implications of constructing particular kinds of historical stories.

Author(s):  
Sotirios (Sam) Chianis

Long America’s premier port and urban center, New York City has always been a fulcrum of musical expression. In “Survival of Greek Folk Music in New York,” esteemed ethnomusicologist and musician Sotirios (Sam) Chianis sets the stage by ably delineating the many forms of Greek regional music from the islands and the mainland. He then traces the long history of music, musicians, venues, and instrument makers in New York. Among his topics are the men’s coffee houses, local Greek record companies and record producers, Greek newspapers, the Greek Musicians’ Union, musical instrument makers, and the rise of bouzouki-based music.


2021 ◽  
Vol 11 (2) ◽  
pp. 193-208
Author(s):  
Aslı Iğsız

Abstract How do we connect the past with the present to address structural problems? While the pursuit of a cause-and-effect past flowing into the present contributes to the understanding of an event or object, how that past is recalled, represented, related, disconnected, suppressed, and/or obfuscated in any given present matters. This article proposes palimpsests as a critical tool for analyzing the many histories of the present. To illustrate this theoretical practice, the article offers a palimpsestic reading of a museumized object, the Nubian Temple of Dendur, now at the Metropolitan Museum of Art in New York City. The structural nature of a history of the present comes into view only when one is able to discern multiple histories, presents, categories, and objects layered together within the palimpsest of history.


2020 ◽  
Vol 73 (3) ◽  
pp. 66-78
Author(s):  
Vince Schleitwiler ◽  
Abby Sun ◽  
Rea Tajiri

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.


1997 ◽  
Vol 7 (2) ◽  
pp. 195-223
Author(s):  
Lillian Taiz

Forty-eight hours after they landed in New York City in 1880, a small contingent of the Salvation Army held their first public meeting at the infamous Harry Hill's Variety Theater. The enterprising Hill, alerted to the group's arrival from Britain by newspaper reports, contacted their leader, Commissioner George Scott Railton, and offered to pay the group to “do a turn” for “an hour or two on … Sunday evening.” In nineteenth-century New York City, Harry Hill's was one of the best known concert saloons, and reformers considered him “among the disreputable classes” of that city. His saloon, they said, was “nothing more than one of the many gates to hell.”


1984 ◽  
Vol 18 (1) ◽  
pp. 126
Author(s):  
Olga Jimenez Wagenheim ◽  
Virginia Sanchez Korrol

2018 ◽  
Vol 12 (1) ◽  
pp. 103-106
Author(s):  
Thomas Wide
Keyword(s):  
New York ◽  

AbstractThomas Wide visits a recent exhibition on the history of New York City


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