38real estate Who’s Shooting & Searching It’s been awfully hot lately, and BY DAVID DYNAK violent, sudden rainstorms followed by sun and rainbows make us wonder Courtesy of Plaxall Long Island City JULY ARTS EVENTS Calendar Plaxall.com LICProperties.com 2013 MoMA PS1 Noguchi Museum 22-25 Jackson Ave., LIC, NY 11101 718.784.2084 MoMAPS1.org 9-01 33rd Rd. (at Vernon Boulevard) JULY 2013 I LIC COURIER I www.queenscourier.com Long Island City, NY 11106 718.204.7088 • www.noguchi.org Sculpture Center April 22 - July 22, 2013 Better Homes Jonathas de Andrade, Neïl Beloufa, Keith Edmier, LaToya Ruby Frazier, Robert Gober, Tamar Guimarães, Anthea Hamilton, E’wao Kagoshima, Yuki Kimura, KwieKulik, Paulina Olowska, Kirsten Pieroth, Josephine Pryde, Carissa Rodriguez, Martha Rosler, and Günes Terkol You will express yourself in your house, whether you want to or not....” - Elsie de Wolfe, The House in Good Taste, 1913. Better Homes brings together a group of artists who examine the construction of the interior through design and homemaking from critical perspectives. As the notion of home shifted in the 19th and early 20th centuries, and interior space was being redefined and redecorated according to the aspirations of modernity, the interior became integral to the construction of the subject. Interiors were an extension of identity, representing gender, fashion, and class, and re-establishing what constituted the private and the public. Now, in the 21st century, interior design has been professionalized and packaged for the mass market. With the proliferation of department stores and publications instructing consumers on how to make the best dinners, living rooms, and lifestyles, how has the notion of domestic space, and all it encapsulates, been redefined in contemporary culture? What are the impacts of shifting ideas of family, identity, politics and consumerism in the private realm? Touching on the history of the interior to its present iterations, the artists in the exhibition examine displays of domesticity, as constructed through spaces and things. Better Homes is curated by Ruba Katrib, SculptureCenter Curator. The exhibition is accompanied by a full color publication with a text by Katrib and a contribution by poet Ariana Reines. 44-19 Purves St. LIC, NY 11101 718.937.0727 • www.sculpture-center.org MAY 12–SEP 2 EXPO 1: New York The concept of EXPO 1: New York was developed by Klaus Biesenbach, Director, MoMA PS1 and Chief Curator-at-Large, MoMA, with Hans Ulrich Obrist, Co-Director of the Serpentine Gallery; and advised by Paola Antonelli, Senior Curator, Department of Architecture and Design and Director of Research and Development, MoMA; Peter Eleey, Curator, MoMA PS1; Pedro Gadanho, Curator, Department of Architecture and Design, MoMA; Laura Hoptman, Curator, Department of Painting and Sculpture, MoMA; Roxana Marcoci, Curator, Department of Photography, MoMA; and Jenny Schlenzka, Associate Curator, MoMA PS1. EXPO 1: New York is organized by Klaus Biesenbach, Director, MoMA PS1 and Chief Curator-at-Large, MoMA with Christopher Y. Lew, Assistant Curator, MoMA PS1; and Lizzie Gorfaine, Curatorial Assistant, MoMA PS1; with specific curators for several of the modules and exhibitions, assisted by Eliza Ryan, Assistant Curator, MoMA PS1; Jocelyn Miller, Curatorial Assistant, MoMA PS1; and Margaret Aldredge, Curatorial Assistant, MoMA PS1. The 2012-13 Volkswagen Fellows are Sophie Diehl, Alhena Katsof, Lynn Maliszewksi, Alex Sloane, and Nick Yarbrough. Highlights from the Collection: Reworked Wednesday, June 5, 2013 - Sunday, September 1, 2013 This summer’s installation of highlights from the collection is organized around four instances in which Noguchi returned to an earlier body of work to rethink, redevelop, reproduce or restore it. The first example includes two groups of objects Noguchi made inspired by Constantin Brancusi in the 1930s, following his apprenticeship in Brancusi’s studio, when he was still very much under the Romanian’s influence and two decades later, in homage to his mentor, following Brancusi’s death in 1957. Highlights from the Collection: Recent Acquisitions Wednesday, June 5, 2013 - Sunday, September 1, 2013 These pieces come from two major Japanese collections. Highlighted by the stunning “Love of Two Boards” is a major gift of works from Noguchi’s friend and collaborator, Tsutomu Hiroi, a famous kite-maker who helped Noguchi develop his Akari light sculptures. The other group comes from the family of an assistant of Noguchi’s and features a small centipede which relates to his “Even the Centipede,” the great masterpiece of his work in clay, now in the collection of the Museum of Modern Art. Area 5: Cut and Fold Wednesday, June 5, 2013 - Sunday, September 1, 2013 Noguchi’s spatial intelligence (his ability to visualize in three dimensions) was extraordinary. He was capable not only of constructing an object composed of many elements in his mind, but rotating it on three axes and placing it in an environment. We live in an age when the wide availability of sophisticated imaging programs has made this ability seem somewhat less exceptional - making it hard to appreciate the difficulties involved in moving an idea from the mind’s eye to realization at full scale with graph paper, hand tools and the occasional help of a friend or assistant if this South Floridian weather is a harbinger of more tropical storms to come. Perhaps it is such weather, combined with summer holidays, which have kept movie crews away. It was only this past spring and fall that it seemed like every week a new notice about a movie shoot was being posted along two to four blocks in LIC, essentially shutting off street parking for eight to 24 hours. For local residents who already compete with commuter parking crowds during weekdays, these movie sets are nothing but a nuisance. Sure the studios pay good money into City Hall’s coffers, but has anyone thought about paying the community where movie sets are set up larger share of the permit fees? It is only fair, especially that only some areas in the city are target of these repeated events. And if you think that LIC gets some kind of recognition, you’d be disappointed. Most of the time the movie plot takes place somewhere else. We love our local fi lm industry and I think it is terrifi c for NYC’s economy to continue providing them with tax incentives so they grow. After all, the four largest movie studios in town are major employers and real estate players, not to mention consumers of many affi liated services. But if we have to close our blinds at night to block out the ridiculously bright fi lm set lighting just to sleep, I think we are entitled to a larger share of revenue than those neighborhoods that only get to enjoy the fi nished product. But enough complaining and onto some good news and something about the Good Guy concept to bring this column back into real estate. I received a call from a broker the other day that a college relocating from Manhattan needs 40- to 80,000-square-feet of space in LIC, Sunnyside or Woodside for classrooms and dormitories, and would either buy, lease or partner with a local landlord if a whole building near the subway and LIRR can be found. If the art scene is more up your alley, a national art and crafts store is close to signing a lease in Long Island City/Sunnyside border to cater to the already-established but apparently also newly expanding, art and student communities. Even a serious, high-end bikini retailer with stores on Madison Avenue has come across some of our listings and is said to be looking to leave Manhattan to form new headquarters and roots east of the East River in Queens. Dave’s Simplifi ed Real Estate Glossary: Good Guy Guarantee (abbreviated as GGG by brokers and attorneys) is a limited personal or corporate guarantee by one or more of the tenant’s principals to pay rent through the date the tenant surrenders premises to a landlord. Such agreement protects both the landlord and the tenant. Once the premises are returned to the landlord in good condition, the guarantors are released from personal liability. This is not to be confused with Personal Guarantee, which is rarely obtained, or corporate guarantee. We don’t jail or enslave folks for their business failures any more in this part of the world, but landlords still fi nd a way to limit their risk with security deposits, guarantees and requiring tenants to contribute towards construction costs. After all, what good is a lease if it can be broken? Well, if the property owner’s up-front expenses are mostly covered or paid off before the lease is either completed or broken, as long as the property can be rerented, the risks are manageable. That is, in a nutshell, a good guy agreement. A fairly “good” ending , for both sides, as long as the property, in its existing condition after tenant vacates, can rent again quickly without too much new construction . David Dynak is a real estate broker at First Pioneer Properties and an LIC resident. He’s lived in Western Queens since 1993.
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