The world’s largest art parade is in trouble because the organizers were hit hard by hurricane Sandy. They’ve launched a Kickstarter to help save it.
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In late October 2012, three feet of water crashed through Eyebeam, a technology and new media non-profit located in a vast warehouse space on 26th Street in Chelsea. The ground floor location proved catastrophic as the flood poured over from the Hudson: Eyebeam sustained damage to just about every part of its operation, from studio space and galleries to the institution’s all-important archive, stored on vulnerable media formats like hard drives and storage cassettes.
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After sustaining significant damage in Hurricane Sandy, the Coney Island History Project is reopening their reconstructed space on March 24, Coney Island’s Opening Day, and are already looking at ways to capture the story of the storm as part of their mission to chronicle the area’s history.
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Sequestered by the sea and the A train still out until at least June, the Rockaways and the continued rebuilding there from the devastation of Hurricane Sandy can be easy to overlook. MoMA PS1 along with MoMA’s Department of Architecture and Design are holding a call for ideas for what could be a more sustainable waterfront for the Rockaways. The open call is, in large part, an effort to remind people that help is needed, explained Klaus Biesenbach, director of MoMA PS1, and to grab the attention of architects and artists in considering a stable infrastructure for the future of the area.
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In the aftermath of Hurricane Sandy, Rockaway Beach’s iconic boardwalk is all but destroyed. “It’s sheer devastation,” said Queens Parks Commissioner Dorothy Lewandowski. The remains of the structure between Beach 110th Street and Beach 88th Street is a wreckage of concrete frames and sheets of wood. The question that remains is, what should be done to restore the heavily used public space?
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Five galleries sit in a row on the northern edge of Chelsea, lined up on 27th Street between Eleventh and Twelfth Avenues. All of them are fairly small, by Chelsea standards, and a bit rougher around the edges, perhaps a bit more experimental, than your average neighborhood space. Unfortunately, all of them were also hit incredibly hard by Hurricane Sandy.
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The damage Hurricane Sandy did to the art world may have been submerged during the holidays, but if there was any single statement to remind us of the disaster, it’s this: a Reuters report noting that losses from the storm may reach $500 million.
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Isabel Borgata is not an octogenarian: she’s 91. She’s also a sculptor who’s been working professionally for the past 70 years. Borgata is not entirely healthy — she has Parkinson’s disease — but she is clear-eyed and resolute, and continues to work everyday.
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“I think nobody believed something like that could happen,” said artist Nancy Goldring. Vibrant and incredibly young looking at 68, Goldring was talking about Hurricane Sandy and the enormous flooding it caused. We were sitting in her spacious 11th-floor apartment in Westbeth, an artists’ housing community that towers over the West Side Highway. Designed by Richard Meier, Westbeth was the first artist’s colony to receive federal funds. It opened its doors in 1970, welcoming all kinds of creative types — artists, dancers, filmmakers, and musicians. Goldring, who makes elaborate photo-projection pieces through a process that involves drawing, slide projection, and photography, moved in in 1972.
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MIAMI — Today, the Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC) announced that on Monday, December 10 they will be opening a temporary facility to provide volunteer assistance and work space to museums, libraries, archives, historic sites, galleries, collectors, and artists impacted by late October’s Hurricane Sandy.
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