Founded in 1947 by Henri Cartier-Bresson, Robert Capa, George Rodger and David “Chim” Seymour, Magnum’s photographers have served as eyewitnesses to history: from the Spanish Civil War to the liberation of the concentration camps; from the growth of democracy in India to the civil rights movement in the United States; from the genocide in Rwanda to every major armed conflict of modern times. Magnum’s ranks - of more than seventy photographers - include contemporary masters such as Rene Burri, Josef Koudelka, Elliott Erwitt, Gilles Peress, Martin Parr, Bruce Davidson and Susan Meiselas, as well as a generation of rising young stars. Despite their diverse styles, attitudes, and areas of interest, Magnum’s photographers remain united by the organization’s core values: integrity, independence, and an unwavering dedication to honest and humanistic photography.
Founded in 1995 by Dale Fitzgerald and Roy Hargrove, The Jazz Gallery's stellar programming has enabled a reputation as "The most imaginatively booked jazz club in New York." (NY Times) and "The best place to hear live music in New York." (TimeOut NY). As a nonprofit, it has the ability to allow musicians to take creative risks that other jazz venues would be likely to avoid - therefore, The Gallery is a hub of creativity, a home to jazz musicians/composers, many of them from all over the world but now permanently settled in the United States.
The Jazz Gallery serves an ethnically diverse, international audience that represents a cross section of New York City residents and travelers to New York. The Gallery has many loyal audience members from the region, as well as those who come from all over the world and allocate time during their travel to specifically come to hear performances. Audiences represent all ages -children are comfortable attending since no alcohol is served, and many young college students from NYU and the New School frequent the venue regularly alongside adults of every age. One of the best bargains in NYC, the average ticket price is $10-$20 (occasionally, some special events are $35 or $40). The Gallery is open 3 to 5 nights per week, 50 weeks per year and produces an average of 175 events per year. In 2009 its audience was in excess of 11,000.
The Jazz Gallery produces most of its programming in it’s own venue, a loft space with walls that also serve as a gallery for artwork relating to jazz. It seats 70 people. The rented space is on the fifth floor of 1160 Broadway,accessible by elevator. The Jazz Gallery recalls Soho loft spaces of the 1960's and 70s, and conveys an intimacy and warmth that many newcomers comment on.
Thematic series include the Thursday Night Debut Series, a Commissioning Series supported by the Jerome Foundation, large ensemble presentations, and Composer Workshops with Steve Coleman. Funding in 2009 and 2010 included grants from the Rockefeller Brothers Fund, the Jerome Foundation, The Greenwall Foundation, the New York Community Trust, Meet the Composer, the Aaron Copland Fund for Music, New York State Council on the Arts, New York City Department of Cultural Affairs, and The National Endowment for the Arts, among others. In June 2010, The Jazz Gallery presented six concerts at its venue as part of the New York City CareFusion Jazz Festival. Two of the six concerts were webcast by NPR and WBGO. In addition, as part of the CareFusion Jazz Festival, The Jazz Gallery All -Stars appeared at Symphony Space's Peter Norton Theater, launching an initiative to create opportunities for jazz musicians at other larger performance venues.
Over the past fifteen years The Jazz Gallery presented nine of the last eleven winners of the Thelonious Monk Jazz Competition PRIOR to their winning this competition. This year, in 2010, Jason Moran, a formidable pianist who has frequented the stage of The Gallery for more than 10 years, won a MacArthur Award; in 2008, Miguel Zenon, another musician whose emergence began at The Jazz Gallery, was a MacArthur Recipient. (Miguel is in residence at The Gallery this year.) Every jazz musician appearing at The Jazz Gallery, emerging and established, knows that this is a venue where they can experiment, try out new material, and grow and develop as artists. The Jazz Gallery's 2009/2010 season included, among many others, emerging artists such as Andy Milne, Pedro Giraudo, Ambrose Akinmusire, Dafnis Prieto, Darcy James Argue, John Escreet, Yosvany Terry, Ben Williams and Linda Oh, as well as established artists such as Ravi Coltrane, Roy Hargrove, Steve Coleman, Henry Threadgill, Oliver Lake and Fred Hersch.
Red Bull Studios New York is a multidisciplinary contemporary art project space featuring a state-of-the-art recording studio, a radio broadcast studio, a lecture hall and exhibition space, which supports cultural production across fine art, recorded music, and broadcast disciplines.
This new inter-disciplinary creative project space is located in the Presbyterian Building, a French Gothic chateaux-inspired office building on lower Fifth Avenue. In this architectural jewel with its diverse history, the organization is programming events and exhibitions in which young artists and seasoned curators have the chance to meet, engage and promote new collaborative projects.
Please contact Aaron Zulpo at [email protected] to subscribe to our mailing list or for more information.
Gallery is located at 156 Fifth Avenue, Suite 308 NY
Founded in 1987, Ethan Cohen Fine Arts (ECFA) was one of the first galleries in the United States to specialize in Chinese Contemporary Art. The gallery now works with contemporary artists from all over the world, with a specialty in Chinese Contemporary Art.
We are a gallery of contemporary art, whose focus is to show emerging artists from the United States and abroad who work in the various media of painting, sculpture, photography, drawing, video, and installation art.
Gallery Church NYC is a growing community of New Yorkers seeking to follow Jesus and share his love with our city. Admittedly, we are a mess. But wondrously so, Jesus takes us in, removes our shame, makes us new, and gives us power to live brand new lives. True hope.
Join us as we gather every Sunday for worship @ 10:30am /// 230 W 29th St. in Chelsea.
Small Groups meet seasonally in homes and coffee shops all across the city.
Life Gallery was founded in September 2012 by Nicolas Saint Grégoire. The Company is looking to develop artistic creation, representation and distribution in Galleries, art fair and cultural venues of contemporary art in the USA and internationally, through the association with published artists. Initially, the Company will be working in association with Nicolas Saint Grégoire as Artistic Director to represent his creation and looking to expand on his branding. Long term, the Company will expand its reach in Interior decoration and creation of accessories related to Art.
Initiated as an organizing effort by a coalition of LGBTSTGNC People of Color, The Audre Lorde Project was first brought together by Advocates for Gay Men of Color (a multi-racial network of gay men of color HIV policy advocates) in 1994.
The vision for ALP grew out of the expressed need for innovative and unified community strategies to address the multiple issues impacting LGBTSTGNC People of Color communities.
ALP secured and moved into its Fort Greene home, in the parish house of the Lafayette Avenue Presbyterian Church, during the summer of 1996.
UNITE HERE boasts a diverse membership, comprising workers from many immigrant communities as well as high percentages of African-American, Latino, and Asian-American workers. The majority of UNITE HERE members are women.
Through organizing, UNITE HERE members have made apparel jobs in the South, hotel housekeeping jobs in cities across North America, and hundreds of thousands of other traditionally low-wage jobs into good, family-sustaining, middle class jobs.
Fighting Discrimination against Gender Non-Conforming People: Focusing on People of Color and Poor People
Transgender, transsexual, intersex and other gender non-conforming people face persistent and severe discrimination in employment, education, health care, social and legal services, criminal justice and many other realms. Simultaneously, all low-income people, and particularly those in communities of color, are suffering from the severe cutbacks to anti-poverty programs, increasing militarization of the police, and rising rates of incarceration. Low income people and people of color who experience gender identity discrimination are particularly vulnerable in this climate. Low-income people and people of color are overrepresented in systems such as prisons, group homes, shelters and detention facilities. Because so many of the systems are sex-segregated, many people face serious problems of inaccessibility, harassment or violence if their gender identity or expression does not conform to their birth sex. Many are turned away outright from essential services like homeless shelters, drug treatment or mental health services, while others experience discrimination or violence in these settings because of their gender identity or expression. Police harassment and violence, and mistreatment in juvenile and adult justice systems, are widespread in our communities. Furthermore, those who seek legal and social services to help get on their feet or fight for entitlements often encounter ignorance or discrimination at the door. The result is that transgender, transsexual, intersex and gender non-conforming people are disproportionately poor, homeless, and incarcerated, and are 7-10 times more likely to be a victim of murder. The Sylvia Rivera Law Project’s work seeks to address both the root causes and effects of discrimination and violence on the basis of gender identity and expression. The right to self determine gender identity and expression and be free from violence is only one facet of a multi-issue movement for justice and self-determination of al people. We believe that justice does not trickle down, and that those who face the most severe consequences of violence and discrimination should be the priority of movements against discrimination. Our agenda focuses on those in our community who face multiple vectors of state and institutional violence: people of color, incarcerated people, people with disabilities, people with HIV/AIDS, immigrants, homeless people, youth, and people trying to access public benefits. We work through a collective structure built on the idea that our work should be by and for our community, and should be focused on maximizing political voice and power while providing desperately needed services.
The International Alliance of Theatrical Stage Employees (full name: International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada) was founded in 1893 when representatives of stagehands working in eleven cities met in New York and pledged to support each others’ efforts to establish fair wages and working conditions for their members. Our union has since then evolved to embrace the development of new entertainment mediums, craft expansions, technological innovations, and geographic growth.
Today, the IATSE is the largest union representing workers in the entertainment industry. Our members work in all forms of live theater, motion picture production, television production, television broadcasting, trade shows, exhibitions, and concerts, as well as the equipment and construction shops that support all these areas of the entertainment industry. We represent virtually all the behind-the-scenes workers in crafts ranging from motion picture animation to theater ushering.
During a period when private sector union membership has been in sharp decline the IATSE has continued to flourish. Since 1993 our membership has increased from 74,344 to over 125,000 in 2016. This growth is attributable to our willingness to adapt our structure to protect our traditional jurisdiction and accommodate new crafts. But that alone is insufficient. The IATSE has maintained and enhanced its position in the vanguard of the entertainment industry through effective rank and file empowerment, political engagement, and our dedication to grass roots organizing. On both the International and local union levels, the motivating principle of the IATSE is to represent every worker employed in our crafts.
The Asian American Writers’ Workshop is the preeminent national literary arts nonprofit dedicated to the belief that Asian American stories deserve to be told. We’ve garnered coverage from the Wall Street Journal, New York Times, Huffington Post, Associated Press, Atlantic, Slate and NPR. Invited to the White House, named one of the top Asian American groups nationally, we seek to invent the future of Asian American intellectual culture. Check us out at http://www.aaww.org.
1. WE CURATE UNFORGETTABLE ART EVENTS. We hold fifty events a year at our Chelsea space. They’re fresh, progressive, funny, interdisciplinary, and community-based. We have curated events with Salman Rushdie, Jhumpa Lahiri, Michael Ondaatje, Zadie Smith, Maxine Hong Kingston, Ha Jin, Das Racist, Eddie Huang, Tea Obreht, Junot Díaz, Roxane Gay, and other writers, activists, and scholars.
2. WE PUBLISH THE ONLINE MAGAZINES THE MARGINS AND OPEN CITY. The Margins magazine (aaww.org) seeks to invent the future of Asian American arts and ideas and imagine ethnic identity as counterculture, both aesthetically and politically. We have published Pulitzer Finalist Chang-rae Lee, National Book Award Finalist Jessica Hagedorn, and MacArthur Genius Vijay Iyer. Open City magazine (opencitymag.com) publishes stories about communities of color, those excluded from traditional power structures, and incubates the underprivileged writers who can write about them. Almost a third of a million readers have read our magazines.
3. WE INCUBATE EMERGING WRITERS OF COLOR. We give out grants to eight emerging Asian American writers a year. We hold open mics, writing workshops, and a big publishing conference. As Pulitzer Prize-winner Jhumpa Lahiri, arguably the most celebrated novelist in America, said at our 2009 PAGE TURNER literary festival: “I felt that AAWW was a secret door that opened and cared about and supported my work as a writer.”