000			04356nam a22005775i 4500
001			202209
003			IT-RoAPU
005			20221214233316.0
006			m|||||o||d||||||||
007			cr || ||||||||
008			220524t20222017nyu fo d z eng d
019			_a(OCoLC)1302166100
020			_a9780823278053 _qPDF
024	7		_a10.1515/9780823278053 _2doi
035			_a(DE-B1597)9780823278053
035			_a(DE-B1597)623934
035			_a(OCoLC)1301546361
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aSOC026030 _2bisacsh
084			_aonline - DeGruyter
100	1		_aGoodwin, David J. _eautore
245	1	0	_aLeft Bank of the Hudson : _bJersey City and the Artists of 111 1st Street / _cDavid J. Goodwin.
264		1	_aNew York, NY : _bFordham University Press, _c[2022]
264		4	_c©2017
300			_a1 online resource (176 p.) : _b8 color and 24 black and white illustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aIn the late 1980s, a handful of artists priced out of Manhattan and desperately needing affordable studio space discovered 111 1st Street, a former P. Lorillard Tobacco Company warehouse. Over the next two decades, an eclectic collection of painters, sculptors, musicians, photographers, filmmakers, and writers dreamt and toiled within the building's labyrinthine halls. The local arts scene flourished, igniting hope that Jersey City would emerge as the next grassroots center of the art world. However, a rising real estate market coupled with a provincial political establishment threatened the community at 111 1st Street. The artists found themselves entangled in a long, complicated, and vicious fight for their place in the building and for the physical survival of 111 1st Street itself, a site that held so much potential, so much promise for Jersey City.Left Bank of the Hudson offers a window into the demographic, political, and socio-economic changes experienced by Jersey City during the last thirty years. Documenting the narrative of 111 1st Street as an act of cultural preservation, author David J. Goodwin's well-researched and significant contribution addresses the question of the role of artists in economically improving cities. As a Jersey City resident, Goodwin applies his knowledge of the city's rich history of political malfeasance and corruption, including how auspicious plans for a waterfront arts enclave were repeatedly bungled by a provincial-minded city administration. In writing this story, Goodwin interviewed thirteen artists and residents, two businesses, three government officials, and five non-profits, civic organizations, and community activists. The book chronologically explores the history and business of the P. Lorillard Tobacco Company, its evolution into a bustling arts community, the battle to preserve the warehouse as a historic structure, and the lessons to be drawn from the loss and ultimate demolition of the building in 2007, as well as the present state of the neighborhood. Setting the facts straight for future generations, Left Bank of the Hudson provides an illustrative lesson to government officials, scholars, students, activists, and everyday citizens attempting to navigate the "rediscovery" of American cities.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 24. Mai 2022)
650		7	_aSOCIAL SCIENCE / Sociology / Urban. _2bisacsh
653			_aArtists.
653			_aArts District.
653			_aCreative Class.
653			_aGentrification.
653			_aHistoric Preservation.
653			_aJersey City.
653			_aLorillard Tobacco Company.
653			_aNew Jersey History.
653			_aUrban History.
653			_aUrban Politics.
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9780823278053?locatt=mode:legacy
856	4	0	_uhttps://www.degruyter.com/isbn/9780823278053
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780823278053/original
942			_cEB
999			_c202209 _d202209