As Jim Jarmusch put it in the documentary Blank City, the address is roughly between Bowery, Avenue B, 14th Street and Houston. This area of the city is steeped in art, film, and music history; so many hugely influential artists, film makers, and musicians still live and work here. For such a small area, I think it's had more concentrated influence on contemporary art and culture than anywhere else.

Warm and welcoming environment for dance.

1st Thursday of every Month from 6-9PM, I like to visit New York Art Center curated by Shane Townley, founder & director of the center and NYA Gallery. This is creative art public space in Tribeca where you can meet established, emerging artists, curators from all over the World and a nice and professional team of NYA Gallery and Gallery 104 - Lucy McCarron, Tony Huffman, Estefania Ochoa, and others - and introduce yourself to them. My solo exhibition New Tech Girls - Bikini Issue will open to the public on Thursday, July 4th with a reception the following week on Wednesday, July 10th from 6-9pm. The show will remain on view until Sunday, July 21st. Visitors may see my works during regular gallery hours: Monday through Sunday, 12-5pm.  -------------------------- On the photo: Olga Feshina's booth at NYAFAIR at New York Art Center May 02 - May 05 2019

Bill Brand presents an animated movie to passengers on the B and Q subway trains coming into Manhattan from Brooklyn. The project was modeled after the zoetrope, a 19th-century optical toy, which animated images inside a revolving cylinder, so that they appeared to move when viewed through narrow slits. Brand mounted 228 hand-painted panels in self-contained, illuminated units along the three-hundred-foot platform. Hop on a Manhattan-bound B or Q train at the Dekalb Avenue stop (corner of Dekalb Avenue and Flatbush Avenue Extension). Look out any window on the right side of the train.

In 1963, the Italian-born sculptor Costantino Nivola filled a playground that covers an entire city block with avant-garde abstractions. In the middle of an Upper Manhattan housing project, there are cuboid cutouts sculpted in cement, a fountain made with two diamond-shaped boulders, concrete play horses, and a sand-casted relief carved high into a wall. In the northeast corner, a matriarchal figure known as “The Nanny” rises from the ground. The artist’s sculptures were built in an era when urban development incorporated art in its effort to uplift communities and express democratic ideals. “A work designed for a public space is less a work of art than a civic act,” Nivola once said. “It concerns the ways in which we live together, and in which we influence each other.”