Portrait of Alfred Lichtenstein's second wife Georgette Wegh; New York.

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Rose Wergert nee Herz on deck of the ship New York.

Rose, sister of Fred and Beatrice Herz

Family portrait of siblings Wladimir, Rosa, Lena and Georg Eliasberg; New York Portraits Family

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Studio portrait of Paula Pohl Rieser nee Wagner ; New York Portraits Women

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Studio portraits of Alfred Lichtenstein with his flute; New York.

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College of the City of New York (CCNY) Strike.

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Group portrait, 2nd reunion of the World War II 75th Station Hospital; Hotel Governor, Clinton, New York Portraits Groups

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Leo Baeck visiting the grave of Franklin Delano Roosevelt; Hyde Park, New York Portraits; Men

Page 26 of the "American Jewish Cavalcade" scrapbook of Leo Baeck in New York found in ROS 10 Folder 3

Leo Baeck with New York Mayor William O'Dwyer Portraits; Groups; Men

Page 68 of the "American Jewish Cavalcade" scrapbook of Leo Baeck in New York found in ROS 10 Folder 3

20th Anniversary of the United Nations Decisions to Establish the State of Israel Commemorative Medal

Obverse: Portraits of A.H. Silver and Harry S. Truman. Reverse: Statue of Liberty to the right, emblem of the United Nations, menorah.

Meeting of congregation for election of 6 trustees and to obtain a new charter

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Map of New Bowry and 21st Street Cemeteries and list

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Liberty

In terms of critical discourse, Liberty contributes to the ongoing aesthetic debate on ‘the sublime.’ Philosopher Immanuel Kant (1724–1804) defined the sublime as a failure of rationality in response to sensory overload: a state where the imagination is suspended, without definitive reference points—a state beyond unequivocal ‘knowing.’ I believe the events of September 11, 2001 eluded our understanding in much the same way, leaving us in a moment of suspension between awe and horror. It was an event that couldn’t be understood in terms of scope or scale. It was a moment of overload, which is so difficult to capture in art. With my work I attempt to rekindle that moment of suspension. Like the events of 9/11, Liberty defies definition. Its form is constantly changing; it is always presenting us with new layers of meaning. Nobody quite had a handle on the events that followed 9/11, because the implications were constantly shifting. In the same way, Liberty cannot be contained or defined at any moment in time. Like the events of 9/11, the full story cannot be told in a snapshot. One of the dictionary definitions for the word ‘sublime’ is the conversion of ‘a solid substance directly into a gas, without there being an intermediate liquid phase’. With this in mind, I would like to present Liberty as a work that is literally ‘sublime.’ But what’s really interesting to me about Liberty is that it presents the sublime on all levels: in its medium, in its subject matter (that moment of suspension), and in its formal (formless) presentation. On every level Liberty is sublime—subverting all tangible reference points and eluding capture entirely. Liberty is based on the Statue of Liberty in New York. However, unlike that statue which has stood in New York since 1886 and can be reasonably expected to stand for millennia, this work takes on diminishing proportions, carved as it is in carbon dioxide, a mysterious, previously unexplored medium—one which smokes, snows and dramatically vanishes into a harmless gas. Like the material this work is carved from, the civil liberties of the free world are diminishing fast, since 9/11 and before. This was my thought when I first conceived this work. Now it’s become evident that Liberty expresses a lot more than just this: it demonstrates the erosion of civil liberties, yes. However, it also presents the intangible, indefinable moments in the days and months that followed 9/11. The sculptural work will last for only a short time, and thereafter will exist only in documentation. During this time, the form is continually changing and self-refining, until it disappears entirely, to be inhaled, metabolised and literally taken to heart by viewers.

Liberty relighting, 20 years later

Recognized around the world as a powerful beacon for freedom, hope, and opportunity, the Statue of Liberty's light is not just metaphorical: her dramatic illumination is a perfect example of American ingenuity and engineering. Since the statue's installation in New York Harbor in 1886, lighting engineers and designers had struggled to illuminate the 150-foot copper-clad monument in a manner becoming an American icon. It took the thoughtful and creative approach of Howard Brandston-a legend in his own right-to solve this lighting challenge. In 1984, the designer was asked to give the statue a much-needed lighting makeover in preparation for its centennial. In order to avoid the shortcomings of previous attempts, he studied the monument from every angle and in all lighting conditions, discovering that it looked best in the light of dawn. Brandston determined that he would need 'one lamp to mimic the morning sun and one lamp to mimic the morning sky.' Learning that no existing lamps could simulate these conditions, Brandston partnered with General Electric to develop two new metal halide products. With only a short time for R&D, a team of engineers at GE's Nela Park laboratories assembled a 'top secret' testing room dedicated to the Statue of Liberty project. After nearly two years of work to perfect the new lamps, the 'dawn's early light' effect was finally achieved just days before the centennial celebrations were to take place in 1986. 'It was truly a labor of love,' he recalls.

Net phytoplankton and zooplankton in the New York Bight, January 1976 to February 1978, with comments on the effects of wind, Gulf Stream eddies, and slope water intrusions

Results are given of monthly net phytoplankton and zooplankton sampling from a 10 m depth in shelf, slope, and Gulf Stream eddy water along a transect running southeastward from Ambrose Light, New York, in 1976, 1977, and early 1978. Plankton abundance and temperature at 10 m and sea surface salinity at each station are listed. The effects of atmospheric forcing and Gulf Stream eddies on plankton distribution and abundance arc discussed. The frequency of Gulf Stream eddy passage through the New York Bight corresponded with the frequency of tropical-subtropical net phytoplankton in the samples. Gulf Stream eddies injected tropical-subtropical zooplankton onto the shelf and removed shelfwater and its entrained zooplankton. Wind-induced offshore Ekman transport corresponded generally with the unusual timing of two net phytoplankton maxima. Midsummer net phytoplankton maxima were recorded following the passage of Hurricane Belle (August 1976) and a cold front (July 1977). Tropical-subtropical zooplankton which had been injected onto the outer shelf by Gulf Stream eddies were moved to the inner shelf by a wind-induced current moving up the Hudson Shelf Valley. (PDF file contains 47 pages.)