The re-invention of the former International Toy Center at 200 Fifth Avenue is the ideal integration of landmark architecture,
modern design and green technology to
form an incomparable Midtown South business
address.
A more
modern form of love and justice triumph, and Aznavour, the musical soul of Paris, takes us out in a glorious direct -
address, pan-up-the-Eiffel-Tower crescendo.
Featuring: Amna Asghar, Dana Davenport, Umber Majeed, Tammy Nguyen, Ke Peng, Sahana Ramakrishnan, Sheida Soleimani Amna Asghar speaks on the construction and translation of disparate references, cultures, geographies, and generations from Pakistan and America; Dana Davenport
addresses the complexity of interminority racism within her own community and institutions from her experiences as a Black Korean American; Umber Majeed's practice attempts to unpack the temporalities within South Asia as site, familial archival material, popular culture, and
modern national state narratives; Tammy Nguyen interrogates natural sciences and non-human
forms to explore racial intimacies and US military involvement in the Pacific Rim; Ke Peng documents the feeling of alienation and disorientation from urbanization and immigration by taking a journey into an imagined childhood in China, Hunan, where she was born and Shenzhen, a
modern city where her family relocates to; Sahana Ramakrishan explores myths and religion from Buddhist and Hindu tales to speak upon the magic of childhood and the power dynamics of sexuality, race, and violence; Sheida Soleimani is an Iranian - American artist and a daughter of political refugees, making work to highlight her critical perspective on the historical and contemporary socio - political occurrences in Iran.
Nearly 100 years ago, Virginia Woolf
addressed both the demands and the delights of the
form in her essay, The
Modern Essay.1 Woolf notes there is no «room for the impurities of literature in an essay,» and that «the essay is the one which least calls for the use of long words.»