Byrdcliffe is located in Woodstock, NY; a town known for its impact on social change through art, music and non-violent measures. Set against the background of a rapidly changing America, the exhibit concentrates on the arts and crafts created at Byrdcliffe from the colony's earliest days, until the death of co-founder and chief investor Ralph Whitehead in 1929. The colony drew especially large crowds for its 'Maverick' music festivals which were filled uninhibited, bohemian song and dance.
Milton Rogovin (b. 1909) is one of this nation's most accomplished and important social documentary photographers, although until now he's remained virtually unknown to the public outside of his adopted hometown of Buffalo, New York. His last New York City exhibition, Lower West Side, was at the International Center of Photography in 1976. At the age of 93 Rogovin continues to document the neighborhoods of Buffalo with passion, artistry and commitment.
All these dispatches, whether conveyed through the intimacy of letters, the intention of journalism or with at least a small desire for profit, were dependent on revolutionary developments in technology: the creation of vast networks of railroads, the recent invention of the telegraph, sophisticated printing techniques that made illustrated newspapers possible, and an increased use of cameras. These technological advances lent an immediacy and vividness to the depiction of the war never before possible.
The city’s landmarks embrace New York’s history as told not only through documents such as those in the collections of the New-York Historical Society but also through the buildings where its citizens have lived, worked, and worshipped; through the parks which have provided respite from the city streets; through public monuments which adorn neighborhoods; and even the cemeteries which tell stories of those buried there.
The exhibition presents a selection of photographs taken by professional and amateur photographers in the immediate aftermath of the attack on the World Trade Center (originally collected in the independent exhibition here is new york: a democracy of photographs), as well as letters written to police officers and firefighters; objects that were placed in makeshift shrines around New York; images and texts from the New York Times “Portraits of Grief” series; photographs of the Tribute in Light; and drawings of the National September 11 Memorial, designed by arch
His subjects were not glamorous or affluent New Yorkers, but those in the middle and lower class—Bowery bums, burlesque queens, Coney Island musclemen, park denizens, subway riders and post-flapper era sirens. Marsh was fascinated by the crass glamour, gaudiness and sexuality these city inhabitants exhibited in public, as well as by the humanity expressed by those living under severe economic and social duress.