This is the fourth volume in architect and historian Robert A. M. Stern's monumental series of documentary studies of New York City architecture and urbanism. The three previous books in the series, New York 1900, New York 1930, and New York 1960, have comprehensively covered the architects and urban planners who defined New York over the course of the twentieth century. In this volume, Stern turns back to 1880 -- the end of the Civil War, the beginning of European modernism -- to trace the earlier history of the city. This dynamic era saw the technological advances and acts of civic and private will that formed the identity of New York City as we know it today. The installation of water, telephone, and electricity infrastructures as well as the advent of electric lighting, the elevator, and mass transit allowed the city to grow both out and up. The office building and apartment house types were envisioned and defined, changing the ways that New Yorkers worked and lived. Such massive public projects as the Brooklyn Bridge and Central Park became realities, along with such private efforts as Grand Central Station. Like the other three volumes, New York 1880 is an in-depth presentation of the buildings and plans that transformed New York from a harbor town into a world-class metropolis. A broad range of primary sources -- critics and writers, architects, planners, city officials -- brings the time period to life and allows the city to tell its own complex story. The book is generously illustrated with over 1,200 archival photographs, which show the city as it was, and as some parts of it still are.

Recovered Memory: New York and Paris 1960-1980 is a meditation on time and place: before the internet and 24/7 news; when one could visit the Eiffel Tower without seeing police and automatic weapons, when a ride on the New York subway cost 15 cents, when the smell of fresh-baked baguettes wafted over nearly every Parisian neighborhood, and when the Coney Island parachute ride still thrilled thousands. Van Riper's striking black and white photographs spanning twenty years, coupled with his eloquent texts, capture the 20th-century romance and grit of New York more than a half century ago, and Paris, some forty years ago. It was a time when the pace of life was slower and somehow less threatening, people talked to each other instead of texting on their iPhones, and you literally had to stop and smell the coffee.

A groundbreaking history of pioneering alternative art venues in New York where artists experimented, exhibited, and performed outside the white cube and the commercial mainstream. This groundbreaking book—part exhibition catalogue, part cultural history—chronicles alternative art spaces in New York City since the 1960s. Developed from an exhibition of the same name at Exit Art, Alternative Histories documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites—including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others—that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated. Through interviews, photographs, essays, and archival material, Alternative Histories tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context. Contributors Jacki Apple, Papo Colo, Jeanette Ingberman, Melissa Rachleff, Lauren Rosati, Mary Anne Staniszewski, Herb Tam Interviewees Steve Cannon, Rhys Chatham, Peter Cramer and Jack Waters, Carol Goodden, Alanna Heiss, Bob Lee, Joe Lewis, Inverna Lockpez, Ann Philbin, Anne Sherwood Pundyk and Karen Yama, Irving Sandler, Adam Simon, Martha Wilson

Documenting more than 400 pairs of sneakers in a highly illustrated, chronological format, this expanded edition includes new sneakers, as well as a new foreword, introduction, and afterword.

With the same wit and perception that distinguished his stylish books on Paris, London, and Rome, M. Sasek pictures fabulous, big-hearted New York City in This Is New York, first published in 1960 and now updated for the 21st century. The Dutchman who bought the island of Manhattan from the Native Americnas in 1626 for twenty-four dollars' worth of handy housewares little knew that his was the biggest bargain in American history. For everything about New York is big -- the buildings, the traffic jams, the cars, the stories, the Sunday papers. Here is the Staten Island Ferry, the Statute of Liberty, MacDougal Alley in Greenwich Village, Times Square, Rockefeller Center, Harlem, Chinatown, Central Park. The brass, the beauty, the magic, This Is New York!

Clarence Taylor is Professor of History and Black and Hispanic Studies at Baruch College and Professor of History at the Graduate Center, City University of New York. --Book Jacket.

Highly esteemed by architects and New York history enthusiasts, 'New York 1930' focuses on the development of many of the landmark structures and the built environment of New York, including the parks, highways, and entertainment districts.