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The share that were first-time homeowners was the lowest it’s been since at least 1981. Barbie’s body, careers, lifestyle and house — a hot pink monument of decadence and desire, now equipped with a swimming pool, slide and elevator — have all been qualities designed for children (and adults) to crave for themselves. Barbie has been the platonic ideal of what a young woman could and should be. “Every little girl needed a doll through which to project herself into her dream of her future,” Ruth Handler, the inventor of Barbie, told The New York Times in 1977. She named the doll after her own daughter (Ken was named after Ms. Handler’s son). After entering the townhouse, guests make their way up the winding Italian black marble staircase, admiring the jaw-dropping creations elegantly displayed in the many rooms.
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Young is no stranger to decade-spanning projects focused on single notes and pitches. His landmark 1964 minimalist masterpiece The Well-Tuned Piano is a 50-year work in progress. Partly improvisatory, it’s played on a grand piano that must sit in the performance space for at least three months to become settled into “just intonation.” The work can take up to 6 hours to perform, and Young has revived it multiple times throughout the years. The piece was also an early collaboration with Zazeela, who employed her famed light installation The Magenta Lights.
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It’s a powerful, all-encompassing experience perfectly complemented by Marian’s vivid neon atmosphere. The bulk of the experience comprises the fairly loud series of tones that are being generated by Young’s custom-built Rayna synthesizer on the second floor (where he and Zazeela live) and piped into the third floor (where Dream House is installed). These tones are based on microtonal adjustments, derived from prime numbers, which are basically impossible for most fretted instruments to achieve. Imagine less a piece of music than a demonstration of natural properties, an embodiment of what certain tunings can conjure. Young’s music moves so slowly in part to help the listener overlook the fact that it’s a composition.
Marian Zazeela
Young organized some of the group’s earliest events at Yoko Ono’s Chambers Street loft and created a set of instruction-based scores called Compositions 1960 during his stay in New York. The instructions of this score are to “draw a line and follow it.”3 Finding much inspiration and support for his art and music in New York, as well as a new found love, Young opted to stay. In 1963 Young moved into a loft apartment on Church Street with Marian Zazeela, an artist who was at the time working with calligraphically-inspired painted abstractions. In each other, Young and Zazeela found creative life partners, and have continued to work together ever sense.
Visiting the Dream House myself on several recent occasions, I encountered a social environment of people peacefully communing with each other and sound through the shared experience of listening. Carpeting and pillows invite visitors to find a comfortable space and stay a while, letting the droning tones wash over them. Over a time spent in the space, different frequencies emerge in one’s hearing; even though the sine wave generators are unwavering in their constancy the frequencies seem to undulate. Different parts of the room envelop listeners in different acoustical phenomena that occur from sound waves colliding in architectural space. Visitors can also “play” the room like an immersive instrument by moving their own bodies through the rooms to hear different effects; even a slight tilt of the head produces a dramatic difference. In 1960, Young was awarded a scholarship to study electronic music with composer Richard Maxfield in New York, and while in the city, Young fell in with the flourishing Fluxus art and performance scene.
More than 60 years of Barbie’s Dreamhouses have further instilled that in us from a young age. The stark reminders that it’s a fantasyland might put some viewers at ease. Aspects of the Dreamhouses are meant to appear “architecturally implausible” to keep things toylike, said Ms. Spencer. The four Dreamhouses had no walls, and there were also no toilets, no shadows, no color white. They used cheap fake grass — the higher quality fake grass appeared too realistic.
Turn your head to one side, or bend down, or raise an arm, and the tone will resonate in different ways throughout your body. Young’s student and disciple Jung Hee Choi, who is set to take over the project when the 88-year-old artist dies, adds that the Dream House is distinct from what most people think of as an art installation. Knowing the intimate and long-standing relationship of La Monte Young and Marian Zazeela to this work, makes the Dream House an incredibly special experience. Signs of their personal presence in the space are scattered about, and one has the feeling that they are sharing part of their home and part of themselves very generously with the world by keeping the Dream House open and freely accessible.
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The single bed and a framed photo of Ken further asserted that this was Barbie’s own, unshared domestic space. Financial institutions frequently turned down mortgage applications for women without male co-signers when Mattel debuted the Dreamhouse in 1962, three years after Barbie shook up the toy world, arriving in a one-piece bathing suit and kitten heels. On the ground floor, guests can relax at the Louis Vuitton café, which serves French pastries and a selection of beverages. Listen to Part 1 of La Monte Young’s 1974 record Dream House 78′ 17″ performed by La Monte Young, Marian Zazeela and members of the Theatre of Eternal Music.
The street-level door to the space is almost unmarked, so you have to seek it out -- which plenty of people do. "We get crowded on Friday nights," says Rebecca Lentjes, a music writer who has worked as a volunteer monitor at "Dream House" on and off for years. She says that she volunteers because coming to the space after a long day in the city relieves her stress. The buildings on Remsen Street’s south side are set back from the property line. To own a home at all, especially one with a three-story slide, can feel unattainable for most. From July 2021 to June 2022, home buyers were richer, whiter and older than they had been in decades.
Choi’s work is now the main player in the larger of the two ‘rooms’ fashioned from this Tribeca loft. Take off your shoes, hand over ten dollars and you, too, can lie on the white shag carpet and absorb it all. Choi’s Environmental Composition 2017 No.1 (2017) is, in short, a massive black sheet that bisects the main space. It has been pinpricked thousands of times to create flowery, organic shapes that admit light and video from the other side. As with everything in the installation, the fullness is not immediately visible and, if you don’t take time to stare at the work, you won’t see the light bubbling behind the pinholes, a world beneath a world.
Jeremy Lechtzin is the president of the Brooklyn Heights Association, an urban data historian and a lawyer. They met when Jeremy helped Aliza plan a tour of Brooklyn Heights to give to the guests at her wedding. Produced by Aliza Aufrichtig, Phaedra Brown, Gabriel Gianordoli and Earl Wilson.
The current Dream House installation has been a mainstay on Church Street since 1993, when it opened as a different iteration of an earlier Dream House supported by the Dia Art Foundation from 1979 to 1985. Though Dia acquired a separate iteration of the work that was presented in the Chelsea gallery district in 2015, the Church Street Dream House has been overseen by the MELA Foundation since its beginning. At 79, Mr. Young still operates as defiantly within his own sphere as he has since moving to New York from the West Coast in 1960, taking the avant-garde by storm. So Rockrose is moving ahead with its proposed redevelopment of the site — eight-foot setback included.
NYC squatter who refuses to leave couple's $2M dream mansion is 'wonderful' man who cares for infant son on ventilator: friend - New York Post
NYC squatter who refuses to leave couple's $2M dream mansion is 'wonderful' man who cares for infant son on ventilator: friend.
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One-of-a-kind eveningwear by Nicolas Ghesquière, women’s creative director; timepieces and bijoux by Francesca Amfitheatrof, artistic director for the category; and made-to-order jackets by Pharrell Williams, men’s creative director, have pride of place. Climb two flights of creaky stairs and you’ll find a volunteer sitting at a small desk in a cramped hallway. The door to the Dream House thrums with palpable vibrations from the sound within.
These performances coincided with the first Dream House installations, which eventually found a permanent residence in Young and Zazeela’s Church St loft in Tribeca in 1993. It’s still active today, and is among the most immersive sound rooms ever created — a space that, because of the array of specific pitches being multi-projected, makes sound become quite physical. The tones resonate so much that your whole body vibrates; with each small tilt of the head or minute movement, the overwhelming pitches modulate.
Young’s idea was to create a room that would play long, sustained tones, constantly, for 100 years. The current version, one floor above the same loft space, has been running since 1993. The couple’s Church Street loft hosted hours of collaborative improvisation between friends, and eventually, Young and Zazeela, along with John Cale, Tony Conrad (and occasionally Terry Riley) formed a musical group they called The Theatre of Eternal Music. The group gave performances and also recorded many sessions on tape, with Zazeela providing atmospheric light and images with multiple slide projectors. Immediately opposite the ovals is a light effect that weaves across a large sheet of graphite-covered paper. This piece is a video homage to incense smoke, according to Choi's description in the exhibition literature.
The official titles of the two sound pieces that play in Dream House – one by La Monte Young and one by Jung Hee Choi – would take up half of the word count of this text. Picking up a plush pillow from a stack near the door, I make my way into the apartment's front room, where two women sit with their legs crossed and eyes closed. Another couple is lying on the floor, holding hands, and gazing at the ceiling. Bass tones resonate through my body as I take a seat facing a video piece called "Rice," which consists of two swirly, pupil-shaped projections that seem to grow and shrink at once. Sometimes the movement of the video matches the "drone" and sometimes it doesn't. The projections appear to spiral inwards and dance outwards at once, a transfixing illusion.
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