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Church of the Ascension, Episcopal (Manhattan)

1827 establishments in New York (state)19th-century Episcopal church buildingsChurches completed in 1841Churches in ManhattanEpiscopal church buildings in New York City
Greenwich VillageNational Historic Landmarks in ManhattanProperties of religious function on the National Register of Historic Places in ManhattanReligious organizations established in 1827Richard Upjohn church buildingsSandstone churches in the United StatesStone churches in New York CityUse mdy dates from April 2019
Church of the Ascension by David Shankbone crop
Church of the Ascension by David Shankbone crop

The Church of the Ascension is an Episcopal church in the Diocese of New York, located at 36–38 Fifth Avenue and West 10th Street in the Greenwich Village neighborhood of Manhattan New York City. It was built in 1840–41, the first church to be built on Fifth Avenue and was designed by Richard Upjohn in the Gothic Revival style.: 55  The interior was remodeled by Stanford White in 1885–88.: 55 The church's parish house, at 12 West 11th Street between Fifth Avenue and the Avenue of the Americas (Sixth Avenue), was originally built in 1844 as a residence, and was altered to its current state in 1888–89 by McKim, Mead and White in a Northern Renaissance-inspired style.: 55 The church became a National Historic Landmark in 1987.Both the church and parish house are part of the Greenwich Village Historic District, designated by the New York City Landmarks Preservation Commission in 1969.: 145–146 

Excerpt from the Wikipedia article Church of the Ascension, Episcopal (Manhattan) (License: CC BY-SA 3.0, Authors, Images).

Church of the Ascension, Episcopal (Manhattan)
West 10th Street, New York Manhattan

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Latitude Longitude
N 40.733694444444 ° E -73.996166666667 °
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West 10th Street 10
10011 New York, Manhattan
New York, United States
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Greenwich Village townhouse explosion

The Greenwich Village townhouse explosion occurred on March 6, 1970, in New York, New York, United States. Members of the Weather Underground (Weathermen), an American leftist militant group, were making bombs in the basement of 18 West 11th Street in the Greenwich Village neighborhood, when one of them exploded. The resulting series of three blasts completely destroyed the four-story townhouse and severely damaged those adjacent to it, including the then home of actor Dustin Hoffman and theater critic Mel Gussow. Three Weathermen—Ted Gold, Diana Oughton and Terry Robbins—were killed in the blast, while two survivors, Kathy Boudin and Cathy Wilkerson, were helped out of the wreckage and subsequently fled.Responding firefighters initially believed the blast to have been an accidental gas explosion, but police suspicions were aroused by the two survivors' apparent disappearances, and by that evening other bombs the Weathermen had built were found. They had been meant for several targets: a noncommissioned officers' dance at Fort Dix in South Jersey that night, and the administration building at Columbia University. The unexploded dynamite found in the ruins could have destroyed all the houses on both sides of the block had it detonated in the blast. Robbins and Oughton were in the basement building the bomb intended for Fort Dix, later described as the largest explosive device ever found in Manhattan, when it exploded prematurely; Gold had just returned from running an errand and was killed by the collapse of the building's facade. Boudin and Wilkerson were on the upper floors and survived with only minor injuries. It took nine days of searching to find the explosives and bodies; Oughton and Robbins' were so badly dismembered and mutilated that they had to be identified through dental records. The two survivors, already facing assault charges in Chicago for their actions during the Weathermen's Days of Rage there the preceding October, were charged with unlawful possession of dynamite. After their bail in the Chicago case was revoked when they failed to show up for trial shortly after the explosion, Boudin and Wilkerson remained fugitives from justice for a decade. Wilkerson voluntarily surrendered in 1980 and served 11 months in prison on the charge. Boudin eventually was apprehended in 1981 and pleaded guilty to felony murder and robbery in the Brink's case in exchange for a sentence of 20 years to life in prison. Robbins, recalled as an inexperienced bombmaker who refused to take any suggestions that might have improved safety and stuck to the way he had been told to build the bombs, had hoped that the bombings would do serious damage and inflict enough casualties for the Weathermen to be taken seriously by their putative allies in the Black Panthers as revolutionary opponents of the Vietnam War and institutionalized racism, since the group's previous bombings had generally done little more than inconvenience their targets. The self-destructive failure of their plot had the opposite effect: most of the members left, and most support from the greater radical left-wing community evaporated. Those who remained, including Wilkerson, learned more about explosives and bombmaking; their campaign continued for another six years. A new, modernist house similar in appearance was built on the site in 1978; its value has risen into the millions.

Tenth Street Studio Building
Tenth Street Studio Building

The Tenth Street Studio Building, constructed in New York City in 1857, was the first modern facility designed solely to serve the needs of artists. It became the center of the New York art world for the remainder of the 19th century.Situated at 51 West 10th Street between Fifth and Sixth Avenues in Manhattan, the building was commissioned by James Boorman Johnston and designed by Richard Morris Hunt. Its innovative design soon represented a national architectural prototype, and featured a domed central gallery, from which interconnected rooms radiated. Hunt's studio within the building housed the first architectural school in the United States.Soon after its completion, the building helped to make Greenwich Village central to the arts in New York City, drawing artists from all over the country to work, exhibit, and sell their art. In its initial years, Winslow Homer took a studio there, as did Edward Lamson Henry, and many of the artists of the Hudson River School, including Martin Johnson Heade and Albert Bierstadt. Perhaps the most famous tenant of all was Frederic Edwin Church, who held a landmark single-picture exhibition of The Heart of the Andes in the building's central atrium.In 1879, Johnston deeded the building to his brother John Taylor Johnston, who later became the first president of the Metropolitan Museum of Art. In that same year William Merritt Chase moved into the main gallery, and was joined in the building by Walter Shirlaw and Frederick Dielman. Chase's studio in particular represented the sophisticated taste which came to characterize the building.In 1895, Chase departed the studio, and the building subsequently lost its prominence as an art center. Kahlil Gibran lived on the third story from 1911 until his death in 1931. In 1920, the building was purchased by a group of artists in order to forestall commercial takeover. From that time forward, a number of New York City artists rented studio space in the building. In 1942, the building's basement became the meeting place for the Bombshell Artists Group, an alliance of 60 modernist painters and sculptors, a number of whom had studios in the building. Henry Becket, writing in the New York Post newspaper on March 2, 1942, noted that "The artists meet in a cellar that they call The Bomb Shelter at 51 West 10th Street." He also stated that the Bombshell Group's "exhibition chairman" was Joseph Manfredi and the Group's first show was then on display at the Riverside Museum.In 1956, the Tenth Street Studio Building was razed to make way for an apartment building. A penthouse apartment in the subsequently constructed apartment building, 45 West 10th Street, was purchased by the actress Julia Roberts in 2010.

New York Studio School of Drawing, Painting and Sculpture
New York Studio School of Drawing, Painting and Sculpture

The New York Studio School of Drawing, Painting and Sculpture at 8 West 8th Street, in Greenwich Village, Manhattan, New York City, New York State is an art school formed in 1963 by a group of students and their teacher, Mercedes Matter, all of whom had become disenchanted with the fragmented nature of art instruction inside traditional art programs and universities. Today it occupies the building that previously housed the Whitney Museum of American Art. From its start, the Studio School was founded on the principle that drawing from life should form of the basis of artistic development. Furthermore, rather than attending a series of disjointed classes, students were encouraged to develop their artistic practice along lines similar to the "atelier" approach favored by European art schools. Faculty has included painters Charles Cajori, Louis Finkelstein, Philip Guston, Rosemarie Beck, Alex Katz, Earl Kerkam, George McNeil, and Esteban Vicente; sculptors Peter Agostini, Sidney Geist, Ophrah Shemesh, Reuben Nakian, and George Spaventa. Nicolas Carone and Mercedes Matter focused on drawing instruction and Meyer Schapiro and Leo Steinberg taught art history. Former deans of the school have included the renowned composer Morton Feldman and artist/critic/curator Robert Storr. The present dean, since 1988, is the British-born painter Graham Nickson who instituted the two-week intensive Drawing Marathon, staged twice a year ahead of each semester and which is now fixture of the academic program.When founded, the school did not—by intention—offer formal degrees. However, today, students are able to obtain a Master of Fine Arts. The MFA program's first graduating class was in 2005.The School presents an Evening Lecture Series in the Fall and Spring semesters, generally twice a week, featuring an international roster of speakers including artists talking on their own work and critics and scholars covering a range of historic subjects. The School's exhibition program, in its committed gallery space, was described by critic Mario Naves in the New York Observer as "one of the city's most significant venues for contemporary art."In 2005, the school was among 406 New York City arts and social service institutions to receive part of a $20 million grant from the Carnegie Corporation, which was made possible through a donation by New York City mayor Michael Bloomberg.