That’s how that site is being treated.” Created & Produced by: Wesley Miller & Nick Ravich. Cinematography: Ian Forster, John Marton, & Nick Ravich. De Ville’s family roots in New York go back at least two generations; her interest in the city, and her work about it, is both personal and political.The Manhattan Mercury is the local newspaper for Manhattan, Kansas. After passing through four different owners, the newspaper was purchased by Fay N. He was the founder of the Seaton publishing group, which still owns the paper. During his time as publisher, The Mercury bought out all of its in-town rivals, beginning with the Morning Chronicle around 1915.In this film, artist Abigail De Ville stalks the streets of Harlem with a trash-laden push cart, creating temporary sculptural interventions along the way.Stopping at Lenox Avenue and 131st Street, Bronx-born De Ville tucks a smiling plaster cast of her face into an outdoor planter.
You’ll learn where Donald Trump’s grandfather first set foot on American soil, how a statue changed its nationality, and what a simple black fence has to do with the turmoil of the Revolutionary War.
Hopping from the Hamptons to the Manhattan dating world, the dog park to the red carpet, the Cardinals superfan and mama’s boy is the kind of star that fans are dying to be friends with. In this account of his escapades―personal, professional, and behind-the-scenes―Andy tells us not only what goes down, but exactly what he thinks of it.
In conversation with Senator Claire Mc Caskill of Missouri.
This unkempt and unceremonious site is the presumed location of a pre-colonial African burial ground where free and enslaved families buried their dead when Dutch settlers farmed upper Manhattan, dating back to the seventeenth century. Thanks: Steve Cossman, Antonio De Ville, Elizabeth Gwinn, Sean Hanley, Amanda Long, MONO NO AWARE, PAC LAB & Studio Museum in Harlem. De Ville often works with objects and materials sourced from the area surrounding the exhibition site.
Deville characterizes her sculpture as “an exercise in acknowledgment” and asserts that trash is the ideal material for talking about a forgotten history “because that’s how those people were treated. Though collected objects are essential to her installations, De Ville’s priority is the stories her installations can tell.