LaurieAnnie's photos with the keyword: Broadway

Ad for the HBO series, Rome, featured on Broadway in Times Square, New York during August, 2005.

Denzel Washington lights up the "Great White Way" as Brutus in Shakespeare's Julius Caesar. Photo taken in June, 2005.

A view down Broadway in Times Square, New York in the summer of 2003.

World of Disney New York City 711 Fifth Ave. (at 55th St.) New York, NY 212-702-0702

World of Disney New York City 711 Fifth Ave. (at 55th St.) New York, NY 212-702-0702

World of Disney New York City 711 Fifth Ave. (at 55th St.) New York, NY 212-702-0702

World of Disney New York City 711 Fifth Ave. (at 55th St.) New York, NY 212-702-0702

Astoria is a neighborhood in the northwestern corner of the borough of Queens in New York City. Located in Community Board 1, Astoria is bounded by the East River and is adjacent to three other Queens neighborhoods: Long Island City (bordering at Broadway), Sunnyside (bordering at Northern Boulevard), and Woodside (bordering at 50th Street). There is some debate as to what constitutes the geographic boundaries of Astoria. Traditionally, Broadway was the southern-most limit, however many residents and businesses south of Broadway identify themselves as Astorians for convenience, since Long Island City is considered to be a strictly industrial area. The eastern section of Astoria, with Steinway Street as its main thoroughfare, is sometimes referred to as "Steinway" and considered to be a separate neighborhood. Text from: en.wikipedia.org/wiki/Astoria,_Queens

Piet Mondrian. (Dutch, 1872-1944). Broadway Boogie Woogie. 1942-43. Oil on canvas, 50 x 50" (127 x 127 cm). Given anonymously Gallery label text 2006 Escaping to New York after the start of World War II, Mondrian delighted in the city's architecture, and, an adept dancer, was fascinated by American jazz, particularly boogie–woogie. He saw the syncopated beat, irreverent approach to melody, and improvisational aesthetic of boogie–woogie as akin to his own "destruction of natural appearance; and construction through continuous opposition of pure means—dynamic rhythm." Bands of stuttering chromatic pulses, paths of red, yellow, and blue interrupted by light gray suggest the city's grid and the movement of traffic, while the staccato vibration of colors evokes the syncopation of jazz and the blinking electric lights of Broadway. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 187 Mondrian arrived in New York in 1940, one of the many European artists who moved to the United States to escape World War II. He fell in love with the city immediately. He also fell in love with boogie-woogie music, to which he was introduced on his first evening in New York, and he soon began, as he said, to put a little boogie-woogie into his paintings. Mondrian's aesthetic doctrine of Neo-Plasticism restricted the painter's means to the most basic kinds of line—that is, to straight horizontals and verticals—and to a similarly limited color range, the primary triad of red, yellow, and blue plus white, black, and the grays between. But Broadway Boogie Woogie omits black and breaks Mondrian's once uniform bars of color into multicolored segments. Bouncing against each other, these tiny, blinking blocks of color create a vital and pulsing rhythm, an optical vibration that jumps from intersection to intersection like the streets of New York. At the same time, the picture is carefully calibrated, its colors interspersed with gray and white blocks in an extraordinary balancing act. Mondrian's love of boogie-woogie must have come partly because he saw its goals as analogous to his own: "destruction of melody which is the destruction of natural appearance; and construction through the continuous opposition of pure means—dynamic rhythm." Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Piet Mondrian. (Dutch, 1872-1944). Broadway Boogie Woogie. 1942-43. Oil on canvas, 50 x 50" (127 x 127 cm). Given anonymously Gallery label text 2006 Escaping to New York after the start of World War II, Mondrian delighted in the city's architecture, and, an adept dancer, was fascinated by American jazz, particularly boogie–woogie. He saw the syncopated beat, irreverent approach to melody, and improvisational aesthetic of boogie–woogie as akin to his own "destruction of natural appearance; and construction through continuous opposition of pure means—dynamic rhythm." Bands of stuttering chromatic pulses, paths of red, yellow, and blue interrupted by light gray suggest the city's grid and the movement of traffic, while the staccato vibration of colors evokes the syncopation of jazz and the blinking electric lights of Broadway. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 187 Mondrian arrived in New York in 1940, one of the many European artists who moved to the United States to escape World War II. He fell in love with the city immediately. He also fell in love with boogie-woogie music, to which he was introduced on his first evening in New York, and he soon began, as he said, to put a little boogie-woogie into his paintings. Mondrian's aesthetic doctrine of Neo-Plasticism restricted the painter's means to the most basic kinds of line—that is, to straight horizontals and verticals—and to a similarly limited color range, the primary triad of red, yellow, and blue plus white, black, and the grays between. But Broadway Boogie Woogie omits black and breaks Mondrian's once uniform bars of color into multicolored segments. Bouncing against each other, these tiny, blinking blocks of color create a vital and pulsing rhythm, an optical vibration that jumps from intersection to intersection like the streets of New York. At the same time, the picture is carefully calibrated, its colors interspersed with gray and white blocks in an extraordinary balancing act. Mondrian's love of boogie-woogie must have come partly because he saw its goals as analogous to his own: "destruction of melody which is the destruction of natural appearance; and construction through the continuous opposition of pure means—dynamic rhythm." Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Piet Mondrian. (Dutch, 1872-1944). Broadway Boogie Woogie. 1942-43. Oil on canvas, 50 x 50" (127 x 127 cm). Given anonymously Gallery label text 2006 Escaping to New York after the start of World War II, Mondrian delighted in the city's architecture, and, an adept dancer, was fascinated by American jazz, particularly boogie–woogie. He saw the syncopated beat, irreverent approach to melody, and improvisational aesthetic of boogie–woogie as akin to his own "destruction of natural appearance; and construction through continuous opposition of pure means—dynamic rhythm." Bands of stuttering chromatic pulses, paths of red, yellow, and blue interrupted by light gray suggest the city's grid and the movement of traffic, while the staccato vibration of colors evokes the syncopation of jazz and the blinking electric lights of Broadway. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 187 Mondrian arrived in New York in 1940, one of the many European artists who moved to the United States to escape World War II. He fell in love with the city immediately. He also fell in love with boogie-woogie music, to which he was introduced on his first evening in New York, and he soon began, as he said, to put a little boogie-woogie into his paintings. Mondrian's aesthetic doctrine of Neo-Plasticism restricted the painter's means to the most basic kinds of line—that is, to straight horizontals and verticals—and to a similarly limited color range, the primary triad of red, yellow, and blue plus white, black, and the grays between. But Broadway Boogie Woogie omits black and breaks Mondrian's once uniform bars of color into multicolored segments. Bouncing against each other, these tiny, blinking blocks of color create a vital and pulsing rhythm, an optical vibration that jumps from intersection to intersection like the streets of New York. At the same time, the picture is carefully calibrated, its colors interspersed with gray and white blocks in an extraordinary balancing act. Mondrian's love of boogie-woogie must have come partly because he saw its goals as analogous to his own: "destruction of melody which is the destruction of natural appearance; and construction through the continuous opposition of pure means—dynamic rhythm." Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Piet Mondrian. (Dutch, 1872-1944). Broadway Boogie Woogie. 1942-43. Oil on canvas, 50 x 50" (127 x 127 cm). Given anonymously Gallery label text 2006 Escaping to New York after the start of World War II, Mondrian delighted in the city's architecture, and, an adept dancer, was fascinated by American jazz, particularly boogie–woogie. He saw the syncopated beat, irreverent approach to melody, and improvisational aesthetic of boogie–woogie as akin to his own "destruction of natural appearance; and construction through continuous opposition of pure means—dynamic rhythm." Bands of stuttering chromatic pulses, paths of red, yellow, and blue interrupted by light gray suggest the city's grid and the movement of traffic, while the staccato vibration of colors evokes the syncopation of jazz and the blinking electric lights of Broadway. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 187 Mondrian arrived in New York in 1940, one of the many European artists who moved to the United States to escape World War II. He fell in love with the city immediately. He also fell in love with boogie-woogie music, to which he was introduced on his first evening in New York, and he soon began, as he said, to put a little boogie-woogie into his paintings. Mondrian's aesthetic doctrine of Neo-Plasticism restricted the painter's means to the most basic kinds of line—that is, to straight horizontals and verticals—and to a similarly limited color range, the primary triad of red, yellow, and blue plus white, black, and the grays between. But Broadway Boogie Woogie omits black and breaks Mondrian's once uniform bars of color into multicolored segments. Bouncing against each other, these tiny, blinking blocks of color create a vital and pulsing rhythm, an optical vibration that jumps from intersection to intersection like the streets of New York. At the same time, the picture is carefully calibrated, its colors interspersed with gray and white blocks in an extraordinary balancing act. Mondrian's love of boogie-woogie must have come partly because he saw its goals as analogous to his own: "destruction of melody which is the destruction of natural appearance; and construction through the continuous opposition of pure means—dynamic rhythm." Text from: www.moma.org/collection/browse_results.php?object_id=78682