Gone But Not Forgotten: Sharon Watts’ SoHo

February 6, 2016
John Baeder copy

John Baeder Postcard

The tagline for this blog is “shaping our collective memory one post at a time.” Which is to say that, although we have been remembering SoHo’s past together, these remembrances have been (with a few exceptions) through my own posts, via my voice.

I am therefore pleased to present a new perspective today, a real treat! The following is an excerpt from Hell’s Kitchen and Couture Dreams, an impressionistic memoir-in-progress/archival scrapbook by Sharon Watts of her art student years in NYC, 1971-1974. Here, we follow Watts on her remembered meanderings around SoHo, Chinatown, Little Italy, and The World Trade Center. These vivid descriptions of the downtown New York art scene of the early-1970’s, as seen through the eyes of a young transplant from Pennsylvania, are illustrated with pieces of ephemera from her scrapbook and offer us a backward glance at a New York long gone but not forgotten.

Please feel free to share your own memories of coming to SoHo for the first time, whenever that was, in the comments box below. I would love to hear from you and to add your story to this growing collection!

Sharon in front of her Bleecker Street building, May 1972

177 Bleecker Street, May 1972

From Hell’s Kitchen and Couture Dreams by Sharon Watts:

Periodically during that summer of 1972, visitors showed up on our Bleecker Street doorstep. Into town trooped our just-past-the-cusp hippie generation, armed with backpacks and incense, en route to Transcendental Meditation seminars in a nondescript hotel on West 44th Street, or Woodstock-spawned outdoor music festivals, further upstate. High school friends would come and flop for a few days, and out of the confines of our provincial background we explored who we were now and where we were heading. Turntables wore thin the Chicago Transit Authority’s hit single, “Does Anybody Really Know What Time It Is?”, befitting our metaphysical musings over cheap Almaden rosé and tokes of weed. It was as close to a communal lifestyle as I was prepared to get.

FOOD Menu

FOOD Menu

SoHo was definitely on the itinerary for our impromptu walkabouts, a convenient way to experience the fact that we were not in the ’burbs of Central PA anymore. Cheap, often illegal housing and vast, open floor space with uninterrupted natural light lured artists to the waning industrial neighborhood in the late ’60s and early ’70s. The new moniker stood for “south of Houston,” a street that I had quickly learned not to pronounce like a tourist. Other than Fanelli’s Bar, a former speakeasy lined with boxing photos from the 1920s yellowed from time and cigar smoke, there were few businesses to serve the fledgling community. And so, Food was born: a cafeteria-style healthy-wholesome restaurant on the corner of Prince and Wooster that was managed and owned by neighborhood artists. Brewer’s yeast, carob powder, buckwheat groats, and lentil loaf entered the lexicon of the New Age culture, as well as our Bleecker Street pantry. I might have sat obliviously slurping split pea soup shoulder to shoulder with Chuck Close, the photorealist portrait artist, or some future famous Minimalist, but I was unfamiliar with the current art scene’s protagonists. No one was recognizable except to each other, and everyone had long hair and was democratically covered with splatters of paint.

Below Houston Street, you never knew what you’d encounter that you had never seen before.

A letter to a high school friend:

6 May 1972

Dear D____,

I hit the downtown art galleries today–went in one & immediately got offered a joint. In another some old man with whiskers on his nose came up, hugged & kissed me, & squeezed my cheek asking how I got so beautiful without using “cosmetics.” What a farce–I felt like the fattest, ugliest blob alive. You’ll have to come and see the galleries, they’re a 10 min. walk away & some of them are really weird. Like walking down West Broadway I see an inflated red volkswagon “parked” in front of the O.K. Harris gallery. Inside there was a Mack truck, a sports car, & a tractor–all inflated but made out of weird, bumpy mushy plastic with flat tires. I just wanted to run & jump on them.

In another gallery, Duane Hanson’s life-size hyperrealistic sculptures of the average American, overweight and touristy-garish, forgettable in real life, unforgettable here in resin, fiberglass, and fabric.

Hanson

Image of Duane Hanson piece, scrapbook clipping from The Village Voice.

Or under a tilted floorboard: a man hidden, prone, masturbating while people walked above, the footsteps fueling his fantasies which he broadcast over a speaker. Vito Acconci’s Seedbed, and I was part of it. Of course, I didn’t really get it conceptually in any way, shape or form, and have no memory of what seedy thought I might have spawned. I was darting around the surface of the New York art world, not yet sure where I wanted to alight or what I wanted to absorb in depth.

Acconci, Hanson, and so many others were staking claim on that fertile patch of real estate in lower Manhattan, pushing boundaries in the minds of critics and the public alike. Photorealist John Baeder’s diner paintings charmed me; the seeds of nostalgia were already embedded, and the subject matter connected me to my roots. Growing up, we always drove by a tiny chrome eatery in Lemoyne, just before crossing the bridge into Harrisburg on the way to church. But I wasn’t drawn to any one specific artist or trend. The idea that it all was perking and popping and bubbling onto the stovetop of a city grid just a few blocks away was exciting enough. I felt like a cultural scout, first discovering it on my own, then being a tour guide for my friends.

Acconci Behavior Fields postcard

Vito Acconci Behavior Fields Postcard

After the gallery trawl, we’d walk the short distance further east and south to Chinatown, its pagoda-topped telephone booth on Canal Street a surefire Instamatic photo op. Averting my eyes from the roast ducks hanging in restaurant windows, I instead focused on exotic trinkets spilling out of storefronts and onto the sidewalk. President Nixon had just visited China a few months earlier, opening up trade for the first time since the People’s Republic was formed in 1949. Soon the phrase “Made in China” would take on a whole new meaning.

We would stop for a cheap meal in a noodle shop on one of the crooked streets (but eat with forks, as none of us could maneuver chopsticks), then cross Canal Street again and polish it off with pastry and cappuccino at Ferrara or Cafe Roma on Mulberry Street. Some more meandering, on to Fanelli’s or its hip younger sister, the Spring Street Bar (where I might run into my favorite teacher, Kes Zapkus), then back to home base.

Spring Street Bar Wine List

Spring Street Bar Wine List

The New York neighborhoods I discovered were distinctive and separate patches of a quilt. The Lower East Side was historically Jewish, with its discount goods, crumbling synagogues, and Streit’s matzoh factory. Hispanic threads were embroidered in, and bodegas coexisted with bagel and bialy shops, Spanish commingling with any remaining Yiddish wafting from tenements and onto the streets. Chinatown was virtually all contained (though straining at the seams) below Canal Street and east of Mott, with Little Italy to the north, nestled cozily under red, white and green tinsel street bowers. Benign-looking social clubs harbored the kind of family business that I had only just witnessed on the big screen in The Godfather. I would work up the nerve to steal a peek inside, seeing only a few old Italian men sitting around a card table. Still, it was hard to shake the image of that horse head in the bed. Just that April, the mobster Crazy Joe Gallo was shot five times in Umberto’s Clam Bar while dining with his family, then stumbled to the street and died. Of course I had to walk over to the scene of the crime a few days later, not sure if I would see dried blood and a chalk outline, or if I even wanted to.

Part of the connecting stretch between these colorful, ethnic blocks and Greenwich Village was Lafayette Street, empty and desolate on weekends, its sooty windows showcasing mysterious tool and die industry machines, quietly at rest. On the East River, the South Street seaport was not yet a tourist destination, and barely changed in two hundred years.

The World Trade Center

The World Trade Center, 1971

Only to the far south was there any evidence of the future, a double exclamation point to the city’s evolution from the days of Dutch commerce. The World Trade Center was nearly finished, looming mirage-like, our own Oz. One afternoon I decided to walk down West Broadway from Houston Street, until I was standing just below the towers. Along the way, quiet brick-surfaced side streets crowded my peripheral vision with ghosts of factory workers hurrying to punch the clock, and massive buildings, once proud dowagers of the industrial age, loitered as shadows of their former selves. Dumpsters were attached in front like aprons, overflowing with fabric scraps from sweatshops, and perched high above were water towers–tiaras from another time. It was the eeriest, emptiest walk I could remember, with the end always a bit further away than it seemed, just out of reach. Iconic: but of what? I didn’t know, in 1972.

Step by step I stitched myself into the fabric of this quilt I now called home.

For more information about Sharon Watts:
www.sharonwattswrites.com
www.sharonwattscreative.com

Welcome to Year Six: The SoHo Memory Project in 2016

January 2, 2016
The SoHo Memory Project Portable Historical Society is ready to roll!

The SoHo Memory Project Portable Historical Society is ready to roll!

On January 1, 2011, I started writing this blog without a clue about where it would lead. I began almost grudgingly, thinking that someone ought to be preserving SoHo’s important and endlessly interesting history, but not me. Five years later, I am very happy that I took the plunge, as this project has only reinforced my conviction that preservation in all of its forms is not only important, but essential to how we situate ourselves in the present and how we envision our future.

2015 was a very busy year for The SoHo Memory Project. After a successful Kickstarter fundraising campaign and a fabulous article by Kyle Spencer in The New York Times, my project expanded in leaps and bounds, keeping me busy with exciting new developments. Here’s an overview of what’s to come and nja recap of highlights from the past few months.

Many thanks to all of you for your continued support in input!


LOOKNG FORWARD

The SoHo Memory Project Portable Historical Society

A visitor watches a film at the SMP Portable Historical Society

A visitor watches a film at the SMP Portable Historical Society

It’s finally finished and ready to hit the streets! Thanks to a grant from the New York Council for the Humanities, The SoHo Memory Project Portable Historical Society will be popping up at SoHo Arts Network (SAN) member organizations throughout 2016 beginning with four dates at Judd Foundation in January and February. The Judd sessions require a reservation, and we are currently fully booked, but the mobile museum will be at The Drawing Center two weekends in February and March, open to all:

Saturday, February 20, 12-4pm
Sunday, February 21, 12-4 pm

Saturday, March 5, 12-4pm
Sunday, March 6, 12-4pm

For a full schedule of events, please click here. I hope to see you at one (or more) of these sites in 2016! Read the rest of this entry »

SoHo Past, Present, …Future?

December 5, 2015

What a year it’s been for The SoHo Memory Project! We’ve made so much progress toward preserving and sharing the history of SoHo during this first few months of programming. There has been a recent groundswell in interest in SoHo history, and I so appreciate everyone’s enthusiasm to come together to celebrate our neighborhood’s rich history. I will do my usual annual “recap and look forward” post next month, but wanted to first share my more general ideas about where we stand as a community today.

new-york-city-subway-crime-1970s.jpg

NYC Subway 1970’s (Photo: Anthony Casale/New York Daily News)

It seems to me that SoHo, and perhaps New York City in general, is at a tipping point. I have had the same discussion with a number of people lately about how our city is at a critical juncture. On the one had, there seems to be a lot of looking back, especially at the 1970’s, going on (see Edmund White’s NYT piece “Why Can’t We Stop Talking About New York in the Late 1970s?”). A nostalgia for a time that was, yes, dirty, dangerous, and dire, but also full of potential. Our fair city was on the brink of bankruptcy and was on the verge of complete chaos (remember the blackout of ’77?), but it was also a time pre-AIDS, pre-Bloomberg, pre-Superstore, pre-internet, when hardship bred true creativity and passion. A circumstance so bleak could have led to a contagion of apathy, but the opposite happened in SoHo, innovation, stemming from a place of pure hope, flourished.

28veto_lgWhat a stark contrast between that SoHo and the SoHo (and New York) of the present. If the 70’s was a time when the world was ready to leave us all to crash and burn, this present decade has thus far been a time when developers and foreign interests have made New York soar and shine. It seems that investors cannot throw enough cash at us and just when you think development has reached its peak, yet another high rise or mega store peeks up over the skyline. A far cry from the days of “Ford to City: Drop Dead”. Here in SoHo, we have soaring real estate prices, a continued influx of luxury brands opening flagship stores, and large retail chains in search of ever-larger spaces to set up shop. The sparkle, or perhaps some would say glare, of these establishments have made all but invisible the other SoHo, the SoHo that emerged back when all was darkness and doom (see my post Is there art in SoHo?).

So what next? We are at a (critical!) juncture in SoHo, where our neighborhood has all but lost its creative soul while it has gained oodles of commercial vitality. How does SoHo celebrate what remains of its past while bolstering the new? How does it remain relevant and not become too vanilla, just one of many successful American commercial hubs?

sephoraThe brands that inhabit the ground-floor commercial spaces on our main thoroughfares and side streets are brands that can be found in many commercial districts in many American cities. This is what people refer to as the “mallification” (or mollification?) of SoHo. In addition, many in the media claim that only a negligible number of artists remain in SoHo. I beg to differ. It is certainly true that SoHo is way past its heyday as an artists community, but the arts still thrive in SoHo, albeit quietly.

Mullican Installation View 1

Installation view of “Matt Mullican: A Drawing Translates the Way of Thinking” at The Drawing Center, New York, 2009

Read the rest of this entry »

Going Greene—The Greene Street Project: A Long History of a Short Block

October 31, 2015

 

What can one block, a span of less than 500 feet of a New York City street, tell you? If you look closely enough, you can see 400 years of economic development. In a new website entitled, “Greene Street Project: A Long History of a Short Block,” (http://www.greenestreet.nyc/), William Easterly and Laura Freschi of NYU and Stephen Pennings of the World Bank have created an interactive timeline covering 400 years that charts the economic evolution of one NYC block, Greene Street between Houston and Prince, that reflects the broader evolution of the entire SoHo area from rural farmland to high-end retail hub, thus placing current day SoHo in the context of New York City’s history.

bayard

From the site: “By 1700, the block was part of the large Bayard farm. The farm stretched from what is now Chinatown to the southern part of Greenwich Village, around 200 acres.” (Thomas Howell, ‘Greenwhich Village painting,’ 1768. Via Greene Street Project)


In many ways, the objective of this site mirrors the mission of The SoHo Memory Project. The website preserves and shares the history of this one block, explaining how its communities evolve due to the changing economic forces that continue to drive growth in New York City today. NYU professor William Easterly, co-author of the paper and this companion website, explains in a recent article in Wired Magazine:

Most research on economic development takes a very broad view, focusing on a country or other relatively big region, Easterly says. Very few studies have tried to investigate how the fortunes of much smaller areas map onto broader trends.

Indeed, the timeline illustrates quite clearly how this block, once inhabited by half-free slaves from the Dutch colonial era, became British-owned farmland, a wealthy residential area, an entertainment district that included a red light district, a factory hub, a deserted area declared by some as obsolete, an artists community, and then the wealthy residential and commercial area that it is today.

Red markers show the locations of brothels in 1870 and 1880. (image: G.W. BROMLEY & CO. / DAVID RUMSEY COLLECTION)

Red markers show the locations of brothels in 1870 and 1880. (image: G.W. BROMLEY & CO. / DAVID RUMSEY COLLECTION)

Is it true that history repeats itself? Does this timeline hold clues to what is next for SoHo? Mega retailers have taken over Broadway as the popularity of online shopping continues to rise. What will happen once everyone is a half-free slave to Amazon Prime? Who will shop in SoHo? What will become of these vast commercial spaces? The answer to this question will surely affect what will become of its residential real estate as well.

Market value of the real estate on the Greene Street block, from 1830 to 2010. (image: WILLIAM EASTERLY, LAURA FRESCHI, AND STEVEN PENNINGS)

Market value of the real estate on the Greene Street block, from 1830 to 2010. (image: WILLIAM EASTERLY, LAURA FRESCHI, AND STEVEN PENNINGS)

Remember, SoHo as a residential neighborhood with a catchy name is only 50 years old, a long span in a person’s lifetime, but a blip in the lifetime of New York City. SoHo’s pioneers invented to concept of adaptive reuse by converting factories into homes and art galleries. But as long as time goes on, New York City will continue to change, and there is nothing anybody can do to stop it. That is not to say that we, as a community, cannot have a say in how it changes. SoHo pioneers proved that by fighting off Robert Moses and powerful real estate developers—and winning. What can we do to shape SoHo’s future?, Learning about its past will inform how we shape its future, and the Greene Street Project is a great place to start!

Is there art in SoHo?

October 3, 2015
Walter De Maria, The Broken Kilometer, 1979. Long-term installation, 393 West Broadway, New York City. Photo: Jon Abbott

Walter De Maria, The Broken Kilometer, 1979. Long-term installation,
393 West Broadway, New York City. Photo: Jon Abbott

Many people lament the fact that SoHo is no longer a cultural destination, that it has lost its creative soul. I beg to differ. SoHo may no longer be the center of New York’s art and gallery scene, but there is still a vibrant creative community here, though it is sometimes obscured by the more visible retail establishments. This is evidenced by the recent formation of three organizations in SoHo that work to highlight SoHo’s continuing connection to the world of art and design. The SoHo Arts Network, SoHo Strut, and the SoHo Design District have a diverse array of programming that highlight cultural sites and resources throughout our neighborhood that might otherwise be overlooked.

SANThe SoHo Arts Network (SAN) is a new partnership launched in March 2015 with a mission to support SoHo’s creative history and growing artistic community. Did you hear that? Yes, growing! According to the SAN press release:

Created in part in response to the misperception that SoHo has lost its arts community, the network provides an important platform to increase awareness of the neighborhood’s continued importance as an arts district, especially for non-profit organizations. … In addition, the network seeks to further ignite the growth of the arts in the neighborhood through public programs and events exploring SoHo’s rich cultural history. Future events being planned by the group include walking tours of SoHo’s artistic past and present, and a series of talks on SoHo in the 1970s.

The founding members of SAN include: Apex Art, Art in General, Artists Space, Center for Architecture: AIA New York Chapter, Center for Italian Modern Art, Dia Art Foundation, The Drawing Center, The Renee & Chaim Gross Foundation, HarvestWorks, Judd Foundation (101 Spring Street), Leslie-Lohman Museum of Gay and Lesbian Art, Recess, Soho Photo Gallery, Storefront for Art and Architecture, and Swiss Institute. Click here for a map showing the locations of all member organizations.

Leslie Lohman Museum of Gay and Lesbian Art at 46 Wooster Street NYC

Leslie Lohman Museum of Gay and Lesbian Art at 46 Wooster Street NYC

SAN introduces us to relative newcomers to SoHo’s arts scene, such as The Center for Italian Modern Art (CIMA, pronounced cheemaa), a nonprofit organization established in 2013 to promote public appreciation and advance the study of modern and contemporary Italian. SAN also reminds us that we are home to many long-established arts organizations, such as the Dia Art Foundation, The Leslie + Lohman Museum of Gay and Lesbian Art, and The Drawing Center among many others. When was the last time you visited the Earth Room or The Broken Kilometer? So close to my house, yet I have not been in years! Read the rest of this entry »

You are What You Eat….or is it Wear?

September 5, 2015
(image via domesticgeekgirl.com)

(image via domesticgeekgirl.com)

A couple of months ago, I walked past 127 Prince Street at the corner of Wooster and was surprised to see that a Lululemon men’s store had opened. Lululemon for men? It had probably been there for months and I had just not noticed. What a leap, I thought, from the old days.

In 1971, that same space was home to a restaurant called Food. Founded by artists Gordon Matta-Clark, Carol Goodden, and Tina Giroux, Food was a social and culinary hub where artists could find employment, nourishment, and camaraderie. It was, for a long time, one of the only places to eat in SoHo, other than Fanelli’s and a few greasy spoons that were only open for lunch to serve the neighborhood factory workers.

foodfacadeAt Food, there was no wall between the kitchen and dining room—food preparation was a performance for all to see, and its consumption was a delight to mind and body. In truth, it was a revolutionary way to eat. SoHo was a community of counter-culture back then that included food and Food. Sometimes scarce, food was an integral part of SoHo life, often celebrated and raised to the level of art at Food. The restaurant’s founding was part of a culinary revolution that centered upon fresh, locally grown and often organic food in an open kitchen, common today but unheard of back then. Read the rest of this entry »

Crosby Street

August 1, 2015

 

Are you ready to go back? WAY back? Here we go….

Filmaker Jody Saslow contacted me recently about a film he made when he was at NYU film school called “Crosby Street.” It is a beautiful portrayal of everyday life on Crosby Street in 1975 that profiles workers and residents alike at a time when gentrification was just peeking its head around the corner.

This film resonated with me in so many ways. As an archivist and historian, this film is an essential resource that documents our neighborhood’s heritage. These firsthand accounts are “proof” of what SoHo was like back then. Read the rest of this entry »

And The Survey Says,… Part II

June 23, 2015
Crosby lunch

Crosby Lunch, the coffee shop on the corner of Crosby and Prince, where my mom would get me grilled cheese and milkshakes, is one of the places I miss most from my childhood.

A couple of years back, I did a roundup of responses to my SoHo Memory Survey that ended up being one of my most popular posts (see And the survey says, ….).

Today, I am revisiting the survey, as many people have submitted profiles since 2013 (If you have not yet submitted a profile, please go to the “Your SoHo Profile” page and fill out the form). Reading through the responses, I felt myself transported to another time, when things were most certainly quieter, dirtier, colder, friendlier, and more surprising.

Not that there aren’t surprises in the SoHo of today. The ever escalating number of shops that open in SoHo is surprising to me. I thought it would have plateaued years ago. The ever escalating property values in SoHo. I thought that, too, would have leveled off at some point (it has to at some point, doesn’t it?). The fact that Jon Bon Jovi’s loft in the New Museum Building sold for $37.5 million. But I’m not sure that was even surprising, just a stark contrast to the fact that people I know bought their lofts for $5,000, but that was in a different time, though in the same place.

I suppose that’s the takeaway of this post. That we have fond memories, good and bad, of old SoHo, but that is not to say that we are not fond of our present, though perhaps in other ways. The very fact that there are high-end stores and high property values is what has allowed me and my family to continue living in SoHo, through income from commercial tenants and the security of owning property in this highly desirable neighborhood. It’s just that our present is so very different in ways we could not have possibly imagined, back when SoHo was young.

2013_3_2_ 036

The corner of Greene and Prince Streets, ca. 1978, back when the Richard Haas mural was new. Photo: MCNY

What do you miss most about SoHo in the 1970’s?

Everything. It was the real New York. I remember a store called Barone, that was a fabulous make up store. I loved “Let their be Neon” that was great. The lights in some of the steps and the sidewalks. I miss Food, the restaurant. I miss the street cats. I miss the smell of the bakery on Prince Street.

The quiet.

The vibrant arts community. The building of our lofts to make them livable. The help neighbors gave each other in trading construction skills. Building the lofts together. Seeing each other’s art and encouraging each other. Sharing ideas and materials. Knowing everyone when you walked down the street or went to the store for groceries. Having my named called out when I entered Spring Street Bar or Magoo’s or Fanelli’s,

The other artists, the ability to interact and learn from one another, building a community of fellow artists, using our studios to show each other’s work, the peace and quiet to make art and think creatively. I miss the all night diners. I miss gathering at Fanelli’s when Mike was still alive and his sons worked there. I miss the manufacturing community that worked here, though many in sweatshops. Yet it made the neighborhood real.

It was a discovery everyday. Artists. Buildings etc. Today it is too “precious” for my taste but NYC never stays the same and I love that too.

The uniqueness, the awesome shops unlike anything else, the grottiness, that flea market in the empty lot, the shop where they sold only postcards.

The mix of cultures, of working class and middle class, families, and single folks, old and young, and artists, and real life. The streets at night, barren but full of promise and fun. So many characters.

Walking around the neighborhood and running into friends and acquaintances. The community of artists. The quieter streets and fewer stores.

  1. Discarded cardboard rolls from textile mills, which were good for sword fights and construction projects.
  2. AYH bike joint on Spring St.
  3. Walking thru galleries with my parents on Saturday morning and seeing all their unusual friends (men who kissed men! People who painted pictures as a job! Poets whose poetry never rhymed! Who were these people!??)
  4. Expedi Printing and Sam Chen (maybe was 80s?)

The entire neighborhood.

I still love the old buildings, the urban landscape. I’m sad it’s so commercialized. I loved the remoteness, the outlaw feeling. I remember going home from the bar at night, walking down the empty center of the street instead of the sidewalk, because it was safer.

The feeling that I wasn’t in Kansas anymore.

Mercer Street at Prince Street, Onetime Guggenheim SoHo, now Prada SoHo. Photo: MCNY, Edmund V. Gillon

Mercer Street at Prince Street, Onetime Guggenheim SoHo, now Prada SoHo. Photo: MCNY, Edmund V. Gillon

Read the rest of this entry »

Moving Forward Toward the Past

May 31, 2015
420 West Broadway back when it was the center of SoHo's gallery scene in the early-1970's

420 West Broadway back when it was the center of SoHo’s gallery scene in the early-1970’s

We did it!  And we did it SoHo style.  Everyone in our community came together this past month and gave what they could to fund The SoHo Memory Project’s Portable Historical Society through Kickstarter.  We could not have done it without each and every donation.  Thank you all so much for your support!

Things are moving forward! I am already busy thinking about how to adapt the Uni Project’s Portable Reading Room to accommodate a fabulous exhibit about SoHo.  I am compiling a list of possible popup spots. I’m talking to people about donating items to our archive.  I am meeting with old-timers as well as newcomers with stories to tell.

I will be spending the summer making plans and making contacts and making new SoHo friends so that we can hit the ground running come Fall. If all goes well, our portable historical society will begin popping up around SoHo in Spring 2016, with possible previews this coming winter. Read the rest of this entry »

Yes, The SoHo Historical Society!

May 1, 2015

So here it is—my big plan. Drumroll please….. I plan to design and build a portable historical society that can navigate the bustling urban environment of today’s SoHo while showing a glimpse of its past. and today I am kickstarting a fundraising campaign through Kickstarter, an online crowdfunding platform for creative projects. Kickstarter-Logo- Read the rest of this entry »


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