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IAC Building

2007 establishments in New York CityChelsea, ManhattanEleventh Avenue (Manhattan)Frank Gehry buildingsIAC (company)
Office buildings completed in 2007Office buildings in ManhattanWest Side Highway
Edificio IAC InterActiveCorp
Edificio IAC InterActiveCorp

The IAC Building, InterActiveCorp's headquarters located at 555 West 18th Street on the northeast corner of Eleventh Avenue in the Chelsea neighborhood of Manhattan, New York City, is a Frank Gehry-designed building that was completed in 2007. The building was Gehry's first in New York and featured the world's largest high definition screen at the time in its lobby.Reminiscent of several other Gehry designs, the building appears to consist of two major levels: a large base of twisted tower-sections packed together like the cells of a bee hive, with a second bundle of lesser diameter sitting on top of the first. The cell units have the appearance of sails skinned over the skeleton of the building. The full-height windows fade from clear to white on the top and bottom edges of each story. The overall impression is of two very tall stories, which belies its actual 10-story structure. Vanity Fair commented that the building is perhaps one of the world's most attractive office buildings. Barry Diller, the head of IAC who was intimately involved with the project, mandated that the facade be covered in smooth glass rather than wrinkling titanium, as Gehry had originally planned. Diller said he chose Gehry to design the building because he wanted a space where workers "could collaborate and be in an open atmosphere" which he did not think could be done as easily in a typical boxy building.

Excerpt from the Wikipedia article IAC Building (License: CC BY-SA 3.0, Authors, Images).

IAC Building
11th Avenue, New York Manhattan

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Latitude Longitude
N 40.745555555556 ° E -74.007777777778 °
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IAC Building

11th Avenue
10011 New York, Manhattan
New York, United States
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Edificio IAC InterActiveCorp
Edificio IAC InterActiveCorp
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Venus (mural)

Venus is a twelve-story-high mural painting by Knox Martin on the south side of Bayview Correctional Facility at 19th Street and Eleventh Avenue in Manhattan, New York City. Venus was commissioned by Doris Freedman of CityWalls (later the Public Art Fund) in 1970. Knox Martin chose this wall for its unique location, next to Eleventh Avenue (West Side Highway), and visible from the Verrazano-Narrows Bridge, the Statue of Liberty, the New Jersey shore of the Hudson River, and the West Side Highway itself.Venus was restored in 1998 with the support of the Public Art Fund. A new weather-resistant acrylic paint developed in collaboration with the artist and donated by Golden Artist Colors was used, which will last at least 75 years.The prison is a facility of the New York State Department of Correctional Services. The Department made this statement in 2001: In 1970, prior to the rejuvenation of the district, Bayview's entire south wall was decorated with a red and pink abstract painting, called "Venus" by artist Knox Martin. The mural, conspicuous for its size and beauty, has often been used on post cards. It is also conspicuous – in a culture that regards large, exposed surface as prime advertising space – for not being a billboard. Not surprisingly, advertisers call from time to time with proposals to lease the wall for commercial messages, but Bayview doesn't want its beautiful Venus covered over with a beer or jeans ad. Besides, it's state property. Marilyn Kushner of the Brooklyn Museum wrote: Traditionally the goddess of love and fertility, Venus represents woman, erotic and supple, but it also conveys Knox Martin's love affair with New York. Venus is his love poem to the city where he has always lived, a place that is part of his being. The feminine, curvilinear shapes of the image are in direct contrast with the straight forms that intersect the composition. The overwhelming size of this enormous mural only intensifies the experience of female shapes, the linear aspects of the painted composition, and of the surrounding architecture. In an era when art was reaching out to the masses with pop culture, this huge mural was Knox Martin's way of touching a public that would never venture into an art gallery. Today, Venus is almost entirely obscured by the neighboring building 100 Eleventh Avenue, completed in 2010.

The Kitchen (performance venue)
The Kitchen (performance venue)

The Kitchen is a non-profit, multi-disciplinary avant-garde performance and experimental art institution located at 512 West 19th Street, between Tenth and Eleventh Avenues in the Chelsea neighborhood of Manhattan, New York City. It was founded in Greenwich Village in 1971 by Steina and Woody Vasulka, who were frustrated at the lack of an outlet for video art. The space takes its name from the original location, the kitchen of the Mercer Arts Center which was the only available place for the artists to screen their video pieces. Although first intended as a location for the exhibition of video art, The Kitchen soon expanded its mission to include other forms of art and performance. In 1974, The Kitchen relocated to a building at the corner of Wooster and Broome Streets in SoHo, and incorporated as a not-for-profit arts organization. In 1987 it moved to its current location. The first music director of The Kitchen was composer Rhys Chatham. The venue became known as a place where many No Wave bands like Glenn Branca, Lydia Lunch and James Chance performed. Notable Kitchen alumni also include Philip Glass, Laurie Anderson, Rocco Di Pietro, John Moran, Jay Scheib, Young Jean Lee's Theater Company, Peter Greenaway, Michael Nyman, Steve Reich, Pauline Oliveros, Gordon Mumma, Frederic Rzewski, Ridge Theater, The Future Sound of London, Leisure Class, Elliott Sharp, Brian Eno, Arthur Russell, Meredith Monk, Arleen Schloss, Vito Acconci, Keshavan Maslak, Elaine Summers, Lucinda Childs, Bill T. Jones, David Byrne/Talking Heads, chameckilerner, John Jasperse, Bryce Dessner, Nico Muhly, Dave Soldier, Soldier String Quartet, Komar and Melamid, ETHEL, Chris McIntyre, Sylvie Degiez, Wayne Lopes/CosmicLegends, Cindy Sherman, and Swans. Today, The Kitchen focuses on presenting emerging artists, most of whom are local, and is committed to advancing work that is experimental in nature. Its facilities include a 155-seat black box performance space and a gallery space for audio and visual exhibitions. The Kitchen presents work in music, dance, performance, video, film, visual art, and literature.