Word: manhattanization
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Dates: during 1990-1999
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Whether he's a valuable informer or an agent provocateur, Fitzpatrick has a way of popping up wherever a fuse is burning. As a teenager at the United Nations International School in Manhattan, where Shabazz was also a student, Fitzpatrick, the son of an Irish union organizer and a Jewish businesswoman, joined the radical Jewish Defense League. He was convicted in the 1977 bombing of a Soviet bookstore in Manhattan. Soon after, Fitzpatrick turned government informer. According to court documents he was paid about $10,000 by the FBI to inform on two members of a j.d.l. splinter group...
MARY MCCARTHY MET HANNAH Arendt at a Manhattan bar in 1944. Wartime New York was jumping, especially for jazz musicians, black marketeers and left-wing intellectuals. McCarthy, then a 32-year-old short-story writer, reviewer and wife of critic Edmund Wilson, was making the most of it. She had come to the red-hot center by way of Seattle and Vassar, class of '33. Arendt, a German Jew, had been an outstanding student at Marburg University, where she was the lover of her mentor, the philosopher Martin Heidegger. She arrived in the U.S. in 1941, escaping probable death...
...videos rather than rent them, so he doesn't have to take them back. (His latest purchase was Philadelphia.) For a social life, he has "the Mosbachers -- that's it as far as New York society goes -- and they're friends." The one thing he likes about Manhattan is that everything can be delivered...
...Serra, for instance, whose dark walls of steel and thickly scrubbed-on black-crayon drawings evoke the same urban-industrial landscape that inspired Kline, or Brice Marden, or Cy Twombly, who lent this show a bunch of Kline's quickly brushed, frail sketches done on now crumbling pages of Manhattan telephone directories. These studies, not incidentally, dispose of the myth that Kline was a wholly spontaneous painter who staked everything on the one-shot gesture. He would make them, mull over them, choose one and then, just like a 19th century painter enlarging a drawing through a grid, project...
...energy of movement. Such structures have a lot to do with the way New York City and industrial America generally were described by photography. When Walker Evans looked at the Brooklyn Bridge or Margaret Bourke-White at the Hoover Dam, they saw hieroglyphs of power; so, moving through Manhattan, did Kline. The graininess and stark contrast of Robert Frank's photos in the '50s belong, as Anfam points out, to the same take on America as Kline's paintings -- a place of raw visual possibility, of collision of opposites and continuous flight...