The stickers under our projecting Junction House sign box irk me, but otherwise we’re all really happy with the way the video turned out. We wanted it to feel real and authentic.
I am also thrilled to announce that we have partnered with a few local artists for this project.
The first is Leeay Aikawa. She is a multidisciplinary artist who moved to Toronto from Japan in 2003 and now works and resides in the Junction. We’re excited to have the opportunity to exhibit her work. You’ll find it in our “sales gallery” when that space opens.
The stickers under our projecting Junction House sign box irk me, but otherwise we’re all really happy with the way the video turned out. We wanted it to feel real and authentic.
I am also thrilled to announce that we have partnered with a few local artists for this project.
The first is Leeay Aikawa. She is a multidisciplinary artist who moved to Toronto from Japan in 2003 and now works and resides in the Junction. We’re excited to have the opportunity to exhibit her work. You’ll find it in our “sales gallery” when that space opens.
The next artist will remain a
Artist - Brandon Donnelly - Page 2
secret
for now (though that’s a hint). Stay tuned to the blog and the socials.
I took it into Lightroom. Fixed the alignment of the building. Whitened it, but brought out the beautiful warm sunset light on the north elevation. And I took the greenery in the foreground out of the shadows.
The balconies remind me of one of Donald Judd’s “Untitled” pieces. He was one of my favorite artists. I also like the one dude leaning over that upper balcony. It gives the photo a tranquil feel, which is not usually how one would describe Miami Beach.
The New York Times ran an interesting piece this past week about the rise and fall of Bleecker Street in the West Village.
The synopsis of the story is as follows:
Bleecker was once a quaint West Village street. Then the yuppy cupcake shop and big brands (Marc Jacobs) came in to cater to the “Black Card-wielding 1-percenters”. But eventually rents got so out of hand that even the big brands started closing up shop. Now the street is filled with empty storefronts.
Bleecker Street, Mr. Moss said, is a prime example of high-rent blight, a symptom of late-stage gentrification. “These stores open as billboards for the brand,” he said. “Then they leave because the rents become untenable. Landlords hold out. And you’re left with storefronts that will sit vacant for a year, two years, three years.”
Nobody likes vacant storefronts. But it is a perfect example of the kind of cycles that neighborhoods and cities can and will continue to go through. Understandably though, there is a real concern that New York could be losing its soul. And really that’s a question and challenge for all global cities.
What happened to the New York where the artist Donald Judd was able to buy a five-story cast-iron building in Soho for under $70,000 (1968)? It’s gone.
And here is the after:
I took it into Lightroom. Fixed the alignment of the building. Whitened it, but brought out the beautiful warm sunset light on the north elevation. And I took the greenery in the foreground out of the shadows.
The balconies remind me of one of Donald Judd’s “Untitled” pieces. He was one of my favorite artists. I also like the one dude leaning over that upper balcony. It gives the photo a tranquil feel, which is not usually how one would describe Miami Beach.
The New York Times ran an interesting piece this past week about the rise and fall of Bleecker Street in the West Village.
The synopsis of the story is as follows:
Bleecker was once a quaint West Village street. Then the yuppy cupcake shop and big brands (Marc Jacobs) came in to cater to the “Black Card-wielding 1-percenters”. But eventually rents got so out of hand that even the big brands started closing up shop. Now the street is filled with empty storefronts.
Bleecker Street, Mr. Moss said, is a prime example of high-rent blight, a symptom of late-stage gentrification. “These stores open as billboards for the brand,” he said. “Then they leave because the rents become untenable. Landlords hold out. And you’re left with storefronts that will sit vacant for a year, two years, three years.”
Nobody likes vacant storefronts. But it is a perfect example of the kind of cycles that neighborhoods and cities can and will continue to go through. Understandably though, there is a real concern that New York could be losing its soul. And really that’s a question and challenge for all global cities.
What happened to the New York where the artist Donald Judd was able to buy a five-story cast-iron building in Soho for under $70,000 (1968)? It’s gone.
