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We Love New York

As New York City faces the Covid-19 pandemic, our community has come together via myriad acts of neighborly service, along with the tireless efforts of healthcare workers, grocery workers, delivery people, and so many more. The daily push for solidarity has shined a light on the constant resilience of a city that has served as a source of inspiration for many throughout the years. We love New York, and in this spirit we look to some of the artworks our artists created in the city’s honor.


John Sloan
Washington Arch, 1923
Image: 8 x 5 inches (20.3 x 12.7 cm)
Edition of 60

Collections: Delaware Museum, MoMA

Dwight Clinch

Mabel Dwight
The Clinch, 1928
Image: 9 x 11 5/8 inches (22.9 x 29.5 cm)
Paper: 10 3/8 x 13 inches (26.4 x 33 cm)
Edition of 50

With her usual eye for satire, Mabel Dwight depicts a crowded movie theater, in which a man picks up his coat and hat and decidedly pushes his way through the audience before the film is over. The audience members sitting behind him twist and stretch their bodies so that they can watch the final close up of two lovers passionately embracing, which was typically the final scene of films in this era. A man in the audience falls asleep as a woman behind him swoons at the silver screen.

A deceptively casual view on daily indignities of modern life, it is important to consider the context in which this lithograph is situated. In 1928, cinema was a new medium and social phenomenon that was indicative of an evolving, modernized society. The moving picture’s advent as an art form and channel for mass entertainment heralded an age of new technologies, changing social structures and urbanity. Though the scene Dwight depicts here—a man rudely encumbering a view at the cinema—might seem like a familiar issue in this age, it was one that, in context, implied the unstoppable progression of modernity and rapidly accelerating social change.

Collections: Bibliothèque Nationale, Fogg, MoMA, Philadelphia, Whitney, Wolfsonian, Yale

I _3 NY

Louis Lozowick
Madison Ave, 1929
Paper: 12 3/4 x 8 3/4 inches (32.4 x 22.2 cm)
This impression from early edition of 15 printed in 1929, a later edition of 10 (numbered I-X) was printed in 1972

Known for his work capturing a burgeoning urban American landscape, Louis Lozowick was deeply fascinated by the rapid evolution of New York City’s skyline. He was a pioneer of Precisionist and Constructivist aesthetics, and was fascinated by the dynamic modernism of American bridges and skyscrapers. Born in Ukraine, Lozowick first emigrated to the United States in 1912. In this print, Lozowick offers us a glimpse of Madison Avenue as it looked in 1929. Employing the visual indicators of modernity, Lozowick draws out his view of the city in rhythmic angles and patterns, interrupted by a smattering of automobiles and a water tank in the foreground. The tone is one of hope for America's industrial and urban future—it is a call to action that was effectively answered in subsequent years.

Collections: Smithsonian, Yale


Louis Lozowick
Snow Clearance (New York in Snow; Winter Morning-Snow Plow, N.Y.), 1934
PWAP Lithograph
Paper: 13 3/4 x 8 3/4 inches (35 x 22.2 cm)
Edition of 10

This is a rare print created as part of the Public Works of Art project (PWAP). The PWAP was a program created under President Franklin Roosevelt to employ artists, as part of the New Deal, during the Great Depression. As part of the New Deal and the WPA (Works progress administration), the PWAP put over 3,700 artists to work, creating paintings, prints, sculptures, drawings, photographs and murals. Louis Lozowick was one of the artists on the PWAP where he also was employed to supervise other artists.

Collection: Smithsonian

coney island

Paul Cadmus
Coney Island, 1935
Image: 9 1/8 x 10 3/16 inches (23.2 x 25.9 cm)
Edition of 50

Collections: FAMSF, Met, RISD, Yale

spider boy

James Allen
Spiderboy, 1937
Image: 11 x 8 1/2 inches (27.9 x 21.6 cm)
Edition of 40

Collections: Crystal Bridges, Met, Smithsonian

I _3 NY1

Armin Landeck
York Avenue Tenements, 1938
Image: 10 3/8 x 9 inches (26.4 x 22.9 cm)
Edition of 100, early impression

Collection: Library of Congress


Stow Wengenroth
New York Nocturne, 1945
Image: 9 5/16 x 15 15/16 inches (23.7 x 40.5 cm)
Edition of 85

Collections: Cleveland Museum, Met, MoMA, PAFA,

BB comes to america

Laurent De Brunhoff
Original published cover illustration for "Babar Comes to America", 1965
Watercolor, ink, and collage
12 3/4 x 9 3/4 inches (32.4 x 24.8 cm)


Richard Haas
Manhattan View, Battery Park Day, 1979-1980
Etching with aquatint
Image: 21 1/4 x 42 3/4 inches (54 x 108.6 cm)
Edition of 50

Publisher: Brooke Alexander Inc

Collection: Brooklyn Museum

holland hotel

Richard Estes
Holland Hotel, 1980
Image: 44 1/2 x 71 1/2 inches (113 x 181.6 cm)
Paper: 46 7/8 x 74 13/16 inches (119.1 x 190 cm)
Edition of 100

Publisher: Parasol Press

Collections: Addison Gallery at Phillips Academy, MIA, Tate

tar beach

Faith Ringgold
Tar Beach, 1983
Image: 12 x 11 inches (30.5 x 27.9 cm)
Edition of 60

Based on a painting and storybook of the same name, Faith Ringgold’s Tar Beach tells the story of a young African-American girl in New York, whose dreams of flight provide her with a sense of personal freedom and power over the city. In the story of Tar Beach, Cassie Lightfoot and her brother lounge on the rooftop of their apartment building in the summer, just as many New Yorkers trying to escape the heat before air conditioning. There, she spins a tale in which she can claim ownership over various city bridges and skyscrapers by flying over them. Via the act of imagined flight, Cassie escapes the distressing daily realities that a young black girl in 1939 Harlem would inevitably have had to face. Cassie’s dreamy domination of New York City is set only 76 years after the Emancipation Proclamation and 15 years before Brown vs Board of Education.

In a 1994 interview, Ringgold speaks of her own father and mother who “started out together, you know on the rooftop, in the twenties, playing their violins, going to church and with their dreams. And then they got married, they had three kids and my father got stuck in a dead-end job. [...] He didn’t have any choices and that’s what [Tar Beach] was about—it’s about not having choices.”

In this woodcut, the viewer is afforded a glimpse Cassie and her brother flying over the city—the George Washington Bridge, dazzling and bright, theirs for the taking. Ringgold’s signature line “Anyone can fly” is perfectly captured by this image.

Publisher: Mulberry Press

Collections: MoMA, Cornell Museum at Rollins College

Craig McPherson
FDR Drive, 1993
Image: 41 1/2 x 29 1/2 inches (105.4 x 74.9 cm)
Edition of 90

Collections: Blanton, FAMSF, Fitzwilliam Museum, MIA, National Gallery, Washington DC, Whitney, Wichita Art


Yvonne Jacquette
Chelsea, 1996
Silkscreen in 28 colors
36 x 31 3/4 inches (91.4 x 80.6 cm)
Edition of 75

Her first major print of the 1990s, Jacquette focused on her own backyard which she translated to silkscreen through the eyes of a longtime New Yorker. From a composite of views that include the artist’s own window, Chelsea is based on the intersection of 28th Street and 6th Avenue and the surrounding neighborhood, where Jacquette has lived since 1968. The scene is not a literal interpretation of the city. Jacquette chooses to change, manipulate, and delete physical buildings in order to form an effective, recognizable, yet ultimately imagined composition. While her elevated viewpoint suggests verticality—the ordered stacking of windows, singular tops of water towers, and the clinging, skeletal frame of a fire escape—this upward movement is tempered by a central wave of undulating, horizontal rooftops and the insertion of a bright, bustling city intersection.

Publisher: Mary Ryan Gallery

Collections: Cleveland Museum, Harn Museum, MoMA, Whitney


Red Grooms
Cyclone II, 2002
Color monotype
30 x 22 inches (76.2 x 55.9 cm)

Publisher: Shark's Ink

times square

Laurent De Brunhoff
"We love New York, but the traffic in Times Square..." published in Babar's Yoga for Elephants, 2002
Watercolor, pen and ink on paper
Image: 8 1/2 x 12 inches (21.6 x 30.5 cm)

An avid practitioner of yoga, de Brunhoff began his meditative practice while living in Paris, and this habit translated into a daily routine for over 50 years. In 2002, de Brunhoff combined the art of yoga with another of his lifelong passions: recounting the many adventures of Babar the Elephant, a saga that he began in 1946 with the publication of his first Babar book. In Babar's Yoga for Elephants, Babar instructs elephants on the practice of yoga, and is depicted stretching his limber body in various yoga positions all around the world. In lieu of following a narrative arc, Babar's Yoga for Elephants is a how-to yoga book that illustrates poses using pachyderms rather than people. In this drawing, two elephants find inner peace in the usual hustle and bustle of Times Square, exemplifying the meditative power of yoga.


Peter Sís
Untitled (whale), 2003
Etching and aquatint with hand-coloring
Paper: 16 x 42 5/8 inches (40.6 x 108.3 cm)
Edition of 75

Sís was among five artists chosen in 2001 to create a horizontal work to be showcased in the unused advertising spaces of subway train cars as part of an MTA commission for the Art Cards program. One of the most popular posters in the history of the MTA, it’s a rare find. Sis is known for his inventive maps and borders. Untitled (whale) is no different. The silhouetted New York skyline follows the whale’s spine, its cross-section a labyrinth of Manhattan buildings, including the World Trade Center. The blowhole of the whale is Bethesda Fountain in Central Park. A path within the belly of the animal shows subway train cars. Sis wrote The Ocean World in 1992, later explaining his fascination with whales as a product of his upbringing in the Czech Republic, a landlocked country.

Publisher: Mary Ryan Gallery

Collection: Eric Carle Museum


Yvonne Jacquette
Chrysler Building Flanked by High Rise Buildings, II, 2009
Woodcut on Okawara paper
35 5/8 x 23 1/2 inches (90.5 x 59.7 cm)
Edition of 75

Chrysler Building Flanked by High Rise Buildings II is a strikingly linear depiction of Midtown Manhattan architecture. Jacquette studied the building from a 20th-floor penthouse on East 37th Street. Combining gridded line work with varied grooves and notches, this latest woodcut is a powerful rendering of structure, light, and reflection. Rendered during twilight, the print plays with the language of New York through the vocabulary of lines, dashes, and cuts that Jacquette has built. A surprising view of the Chrysler building, this print is one of three images Jacquette completed in 2009 looking up at her subjects. This shift in perspective is one that Jacquette has been exploring as she is increasingly interested in being in the middle of a view. Like the majority of her woodcuts, which Jacquette typically spends a year or more hand-cutting, it is printed in black ink on Japanese Okawara paper. She prefers this material for its natural contrast and ability to smoothly absorb the dense ink.

Publisher: Mary Ryan Gallery

Collections: Center for Maine Contemporary Art, Palmer Museum at Penn State


Sangbin IM
People - Central Park, 2010
Lambda print
Each panel: 35 x 60 inches (88.9 x 152.4 cm)
Full dimension: 35 x 122 inches (88.9 x 309.9 cm)
Edition of 5


Kota Ezawa
Mondrian Meets the Beatles, 2017
Color aquatint
Image: 20 x 26 3/4 inches (50.8 x 67.9 cm)
Paper: 25 x 30 3/4 inches (63.5 x 78.1 cm)
Edition of 30

Publisher: Paulson Fontaine Press

Inspired by the Beatles landing at JFK Airport for their first US tour in 1964, Mondrian Meets the Beatles incorporates an iconic image from American Pop culture with the recognizable hues of Dutch painter Piet Mondrian. Ezawa explained his reasoning behind the intersection of the band and the artist: "The Beatles and Mondrian are both pioneers in their respective fields. Mondrian’s work radically impacted the trajectory of painting in the 20th century. The Beatles revolutionized rock and pop. Both of them also have a very classic style that I appreciate."