Stitching the Seams Between Past & Present: A Conversation with a Modern NYC Garment Shop

Photo by Lafayette 148 New York

It’s impossible to talk about New York City’s Chinatown and the Lower East Side in the middle of the 20th century without talking about the garment industry. So when the Tenement Museum knew we would be telling the story of Chinese immigration in the 1960s and 70s in our exhibit Under One Roof, we began to look at ways of incorporating this important aspect into the story we wanted to tell. And since we’re all about our neighborhood, we called on the designers at Lafayette 148 New York to help bring this story to life. 

Since the garment industry is vital to the story of Chinese immigration to New York, we knew we had to incorporate it into our new exhibit, in a way unlike anything we’ve ever done before. To properly share this integral part of Mrs. Wong’s life, we have built an interactive garment shop inside 103 Orchard Street. Visitors will have the opportunity to sit down at sewing machines like the ones Mrs. Wong used, and learn about the daily lives of these women who worked tirelessly to provide for their families, who joined the International Ladies Garment Workers Union to bolster their community, and whose work ethic and determination are deserving of recognition and admiration. 

Photo by Lafayette 148 New York

And that’s where Lafayette 148 comes in. A local garment shop and fashion boutique in the heart of Chinatown, their story resonates with the one we will be telling at 103 Orchard Street.  They’ve generously donated some of the materials that will be viewed in our recreated garment factory, helping us to share this unsung story with everyone. These reproduced 1980s style jumpsuits will help us demonstrate how production of these garments sold all over the world went from assembly to finished product. 

In Sweatshop Workers, another Tenement Museum tour, we show how one family, the Levines, ran a small garment shop from their home in 97 Orchard at the turn of the century. The garment factory Mrs. Wong worked in decades later differed drastically in size, with new technologies increasing the scale and speed of the garment productions. So, too, does Lafayette 148 differ from the factories of the garment industry in its heyday. Their shop is 11-stories tall, designed to be bright and open to inspire creativity among their team, who not only manufacture the clothes but design them, too. Similar to how the industry operated in Mrs. Wong’s day, the operation at Lafayette 148 is just as large, with a quick turnaround rate. But they’re also capable of producing special order and custom fits, which has more in common with Mr. Levine’s sweatshop, or even Nathalie Gumpertz’s seamstress business, seen on our Hard Times tour.  

We sat down with Deidre Quinn, CEO of Lafayette 148, to share the company’s story, and how their history and mission coincides seamlessly with that of the Tenement Museum. 

Photo by Lafayette 148 New York

Tenement Museum: What about the Museum’s mission, and our new exhibition Under One Roof, speaks to your brand? 

Deirdre Quinn: The story of immigrants coming to the United States from China to open a factory and support other immigrant families by providing jobs is a direct reflection of our history as a company. Our founder Mr. Siu, brought his family to the United States and opened a factory in Chinatown. For many years before we became Lafayette 148 New York, we were a garment factory producing clothes for some of the best-known companies in the fashion industry.  

Photo by Lafayette 148 New York

TM: How did the garment factory culture of the 1960s & 70s influence the modern Lafayette 148 New York?  

DQ: Founded in 1996 by Shun Yen Siu, Ida Siu, and myself, Lafayette 148 New York fuses the energy of its cosmopolitan New York roots with strong Chinese heritage. Our namesake Manhattan street address is home to our company’s headquarters, where our design studio, showroom, merchandising, brand communication, and sales departments thrive together under one roof. Our New York team works seamlessly with our talented team of artisans in Shantou, China resulting in an alluring combination of craftsmanship with our modern, minimal designs.  

TM: What kind of other work do you do with education nonprofits, and why do you think this work is important? 

DQ: Education is at the core of Lafayette 148 New York’s philanthropic ventures. In 2007, our founder, Shun Yen Siu, provided excellent employment to migrant workers with the creation of the company’s state-of-the-art design and manufacturing facility. When he realized that many of the children in his hometown of Shantou, China, had difficulty entering good schools to obtain a proper education, he felt an overwhelming urge to help the next generation and sponsored a local school which we call the School of Dreams. The School of Dreams is 100% supported by Lafayette 148 New York, and each season, the company holds multiple events to raise funds.  

TM: What do you hope people will come away with after viewing Under One Roof, many of whom might be learning about the garment industry for the first time? 

DQ: We hope that people will be reminded of the American Dream, and that when you work hard to pursue your dreams, you can achieve anything. We also believe in the importance in giving back to the community, so to be able to support the Tenement Museum and its’ efforts to preserve the history of Chinatown.  

Photo by Lafayette 148 New York

Sharing a Journey on the Ave. of Immigrants

photo from

Peeking around the corner of Allen and Delancey Streets is a lone figure. Standing seven-stories high, it has no gender, no age, no race or religion, and so it encompasses them all. The only thing one can tell by looking at it is the feeling of anxiousness and anticipation. It is both seeking something in front of it and apprehensive about what it might find.  

It is “Migrant,” the latest mural painted by British street artist Stik. This is Stik’s third mural in New York City, and they all draw on the city’s rich history. His piece “Liberty” in Tompkins Square shows solidarity with the workers riots of 1874, as well as the 1988 housing riots. The mural in Union Square on a water tower, of people joined hand in hand, is a symbol of unity with the men and women who marched in the first Labor Day Parade in 1882.  

Stik came to the Lower East Side to paint, and became inspired by the diverse and vibrant history of the neighborhood, after discovering that Allen Street is also known as the “Avenue of the Immigrants.” He recently donated the proceeds from his gallery showing at Fat Free Art to the Tenement Museum, and took a Shared Journeys tour of the museum. Shared Journeys is a free program we offer to not-for-profit ESOL classes, which creates unique connections between past and present immigrants. The tour offers an important contextual level which really resonated for Stik. 

When did you start painting, and why? 

I started painting my simple stick figures on the street back about 15 years ago in the East-End of London, as a way of making me and my community visible in the city. The figures have no mouths, which represent the people who live in the area making their presence felt, and humanising the changing city as a gentle form of resistance. People from the neighbourhood started to invite me to paint their walls, and so I had more freedom to create larger murals. Years later I am invited to paint with communities all over the world. 

 How did you come to paint a mural on the Lower East Side? 

The Lower East Side is going through a similar change to my own neighbourhood, and I feel a special resonance with the people who call it home. I was invited to paint by my friends at Fat Free Art, and you can see the working drawings for the mural at their gallery on Allen Street.  

What inspired you to paint “Migrant”? 

When I arrived to start painting, I sat in the café opposite [where the mural would be] and saw a signpost reading ‘Avenue of the Immigrants’. Nobody seemed to know about it, so I asked at the Tenement Museum, who gave me a potted history of why Allen Street is dubbed ‘Avenue of the Immigrants’ and the history of migration in the area. I decided there and then to make this the theme of the mural.  

Did you visit the Tenement Museum before you began work on “Migrant”? 

I knew about the museum and had seen the tour groups passing by the wall, but it wasn’t until I started digging that I found out how important the place actually is. They were helpful with my research into the history of the area I was painting in, and gave me a lot of their time. 

How did our mission to tell America’s story through the history of immigration through the personal experiences of the generations of newcomers who settled in and built lives on Manhattan’s Lower East Side, affect what you decided to paint? 

The Tenement Museum is so positive and pro-active, I was inspired to paint something that reflected that. The classical architecture and shape of the building was also a challenge that dramatically shaped the finished piece. 

The proceeds of your work are supporting the Tenement Museum’s “Shared Journeys” program, which offers free classes for English Language Learners. You recently had the opportunity to sit in on a “Shared Journeys” class, join them for a tour, and talk to them about your work. Tell us about your experience. What did you discover about immigration history or about your fellow tour members you hadn’t previously known?  

The Shared Journey’s tour opened my eyes to how people struggled to settle here in the past and the challenges they still face, their stories often tragic but told candidly and with humour. Taking the tour with a group of people who are going through that exact same process right now, and being an outsider myself, was a moving experience. I’m happy to have been able to support the project. 

What kinds of emotions are you hoping to evoke with “Migrant”? 

The giant figure is nervously looking around the corner, emerging into an unknown city but with hope in his chest and eyes cast upwards towards a brighter future. The figure is simple, an everyman transcending gender, religion and race, symbolising our universal wish to be accepted as human beings. 


Joys and Sorrows: Lewis Hine at Ellis Island

All photos courtesy of the New York Public Library

Lewis Hine was a social photographer, whose work literally changed the world. His most famous work captured, with great risk to his own safety, the invisible child laborers who worked difficult and dangerous jobs at the turn of the century. The newness of the photography medium combined with Hine’s beautiful and haunting portraits of working children led to fundamental changes in child labor laws in the United States.

But a few years before he began his work for the National Child Labor Committee, he worked at the Ethical Culture School in New York City as a teacher and school photographer. His first assignment was to photograph contemporary immigrants arriving at Ellis Island. Some of these photos are available to view in the New York Public Library’s digital collections. Many of these photos were taken between 1905 to 1909, but Hine also returned to Ellis Island in 1926 to take pictures, after immigration quotas were implemented.


As he did later with his child laborer photos, Hine made sure to photograph his subjects with respect and dignity. Because of the limitations on photography equipment at this time, candid pictures in this collection are few and far between. Hine’s photos are more like modeled portraits, his subjects posed but no less authentic and honest. Not to mention, getting permission from these immigrants would have been exceptionally difficult, considering both the many language barriers between Hine and his subjects, as well as the magnitude of people passing through Ellis Island at the time (about 5,000 immigrants per day at its peak).

Not unlike today, popular opinion of immigrants at the time wasn’t the most flattering. Hine’s work didn’t set out to reproduce the same old stereotypes of the day, nor create a spectacle of the “foreign” or “exotic.” He wanted to show immigrants as everyday people, just like “you and me,” trying to work hard and provide a better life for their families. His hope was for people to look upon his photos and feel, as Hine himself said, “the same regard for contemporary immigrants as they have for Pilgrims who landed at Plymouth Rock.”

His photos emphasize the relatability of his subjects, whether they’re front-facing portraits or grouped family photos, whether they’re dealing with the tireless bureaucratic processes or the unending wait. Like the Tenement Museum, Hine sought to humanize immigrants, to make their journeys, their wants, their struggles indistinguishable from any American.

Hine would later go on to photograph the living and working conditions of immigrants, but his Ellis Island work serves to preserve a specific moment, and capture the spirit of migration. Everyone photographed had already endured an arduous journey to arrive at Ellis Island, but their odyssey was far from finished. Hine was able to focus on those complicated and human feelings of anxiety and hope, exhaustion and anticipation, as these men, women, and children stood at the way station between their old world and a new one.


The Life of a City: Early Films of New York City

A young man tosses an apple in the air as he chats with a vendor. Pushcarts are piled high with wares. Children in blouses and pantaloons rush into the busy street. Women subtly hitch their skirts up, just enough to stay modest while keeping dirt off their hems. An elevated train bustling in the background. A cartoonish policeman swings his baton around, trying to keep the peace.

In the last century, film has become an American institution. From being seen as just a novelty at its inception, movies are now considered high art, or at the very least respectable form of pop culture (okay, and some of them are still very much just a novelty). Laying the groundwork for motion pictures to become what is it today, were artists, inventors, and engineers, perfecting the art all over the world.

Two production companies, Thomas A. Edison, Inc. and American Mutoscope and Biograph Company, were based in New York City at the turn of the century. A collection of their films dated from 1898 to 1906 are available to everyone on the Library of Congress online archive, from the Paper Print Collection. These films were called “actualities” or what we know of today as documentary films. Typically, they’re only a couple minutes long, but they are filled with a wealth of fascinating information. They might have been used as newsreel footage that became a popular way to spread the news after the advent of moving pictures, or later used as stock footage as movies because longer and more narrative-driven. We at the Tenement Museum love to recreate life on the Lower East Side as it used to be, and these actualities offer us a real two-minute window into the everyday.

We’re familiar with scenes like the one above, recreated in movies, retold in stories, captured in grainy photographs. Described on a Tenement Museum tour. City life at the turn of the century. This “actuality” from the Thomas A. Edison, Inc., dated October 27, 1903, presents a sight likely familiar to all the residents of 97 Orchard – crowded streets, overflowing pushcarts run by Jewish and Italian vendors, and policemen attempting to keep order. It’s nice to know, even a hundred years ago, New Yorkers were not bothering to obey traffic laws.

Along with the scene above, which is just an average day in the lives of New Yorkers at the time, they also produced films that hold more significant value, even if they might not have realized it at the time. Actualities that this one featured below, titled “Emigrants [i.e. immigrants] landing at Ellis Island” provide real historical context for the journey to becoming Americans, to be witnessed by people over a hundred years later.

Some of the films were also produced by the Biograph Company. Biograph, in operation from 1895 to 1916, switched their focus in 1903 from actualities to narrative-driven works. Even so, in 1906, they were also capturing the moments of immigrants landing in America, like the one shown below. Much like the Edison film three years earlier, the people are ladened with heavy bags, luggage, and children – all struggling to stand upright with the weight of everything they value. In both moving pictures, the newly arrived immigrants are lining up, waiting for instructions, crowding together, looking for the right places to go.

Perhaps the fact that there is no recorded sound is what makes these people seem both stressful and hopeful. We know from history that these captured moments are the first time they are stepping foot on American grounds, after travelling for weeks in an overwhelming crowded and dirty ship. They’re stretching their legs for the first time in a long time, breathing in fresh American air. Yes, only the first part of their journey is finished – the hard part, building a life for themselves, is just beginning, and nothing is guaranteed even after arriving. But even with the confusion and doubt, they still made it here.

The earliest films couldn’t tell a story, not the way we’re used to now. Watching these two-minute movies is literally the way to watch history unfold. Not only are the subjects illuminating a long-gone time, but the motivations of the men behind the camera is fascinating to contemplate. Could they ever imagine they were developing techniques and equipment that would one day lead to a billion dollar film industry? Did they foresee the historical treasure they were capturing as they filmed their surroundings, did they know even back then that their era was worth preserving for future generations? And what’s more, were they aware of how beautiful, how awe-inspiring their everyday was, deserving of being seen for years to come?

The Tenement Museum Summer 2017 Reading List


School may be out for summer (and, for some of you, forever), but that’s no reason to slack on your summer reading! Here are our book recommendations that are perfect for any occasion that pops up this hot and hazy summer, available at our widely popular Tenement Museum bookstore and gift shop.


Bowery-Boys-Book-Cover4Book to read at the beach/pool/lake/soaking in a cold bathThe Bowery Boys: Adventures in Old New York: An Unconventional Exploration of Manhattan’s Historic Neighborhoods, Secret Spots and Colorful Characters by Greg Young & Tom Meyers.

The official companion to their award-winning podcast, Young and Meyers provide an in-depth and exclusive look into the New York City of yesterday. In between cooling off with dips in the body of water of your choice, become absorbed in these strange and memorable guides through Hell’s Kitchen, Columbus Circle, The Bowery, Astor Place, Foley Square, Little Italy, Chinatown, and more. So stay hydrated: quench that thirst for fascinating urban history, and also drink plenty of water if you’re going to be in the sun for too long.

Also recommendManhattan Mafia Guide by Eric Ferrara


upintheoldhotel_webBook to read when the inevitable afternoon thunderstorm traps you inside for the rest of the dayUp in the Old Hotel by Joseph Mitchell, David Remnick

This anthology of essays written in the 1940s and 50s by Mitchell for The New Yorker offers a peek into the lives of some of New York’s most interesting and colorful characters. A bearded lady, street preachers, gypsies, saloon-keepers, steel-walking Mohawks – all will keep you riveted as the storm rolls overhead. Mitchell’s darkly humorous but respectful observations create the perfect tone to portray the city in all its oddness.

Also recommend –  City of Dreams by Tyler Anbinder


waterfront_1Book to read when you’re stuck underground in a sweaty, delayed train car for over an hourWaterfront: A Walk Around Manhattan by Philip Lopate

If you can’t just get out and walk already, let Lopate describe the city you’re missing as he walks over every inch of it – East Side, West Side, from the Little Red Lighthouse to Battery Park City. Explore the city you can’t see underground, as he shows you the history of each spot, while appraising today’s developers and environmental activists. If yet another signal problem doesn’t encourage you to walk part of your commute, perhaps these stories of Captain Kidd and Robert Moses will.

Also recommendMole People: Life in the Tunnels Beneath New York City by Jennifer Toth


brisket_1Book to make you the STAR of your next barbecue or neighborhood potluck – The Brisket Book by Stephanie Pierson

Hotdogs and hamburgers? Those guys are fine, sure, whatever. But delicious brisket will have a line forming at your grill for miles. Pierson provides more than just your average cookbook. She offers color photos, cooking tips, chef interviews, illustrations, graphics and butcher wisdom, all aimed to ensure your best brisket ever. Some of the recipes include Barbecue Brisket Sandwiches with Firecracker Sauce, Scandinavian Aquavit Brisket, and a 100% Foolproof Bride’s Brisket. Get cooking!

Also recommendThe Meatball Shop Cookbook by Daniel Holzman, Michael Chernow and Lauren Deen.


citizenshipquiz_1Book to read if you want to be extra patriotic this Fourth of JulyThe Great American Citizenship Quiz by Solomon M. Skolnick.

Civics, geography, history – the best of middle school social studies all come together to compile the official USCIS citizenship quiz. Though they ask you to study over 100 facts about America, you’re only expected to answer, verbally, six out of ten randomly chosen questions. This is a great addition to any Independence Day party. I can say from experience, having had to study for the real test only a couple years ago, there’s nothing more entertaining than watching native-born citizens trying to answer these after having a few drinks in them.

Also recommendMachine Made: Tammany Hall and The Creation of Modern American Politics by Terry Golway


howtobeanexploreroftheworld_1Book to read if you want to keep your kid busy for more than five minutes – How to be an Explorer of the World by Keri Smith.

This isn’t your average activity book. It’s a portable life museum, and the mission is simple, “Document and observe the world around you. As if you’ve never seen it before.” Kids will be instructed to take notes, collect things, document findings, notice patterns, copy, trace, focus, record. They’ll acted as scientists, researchers, artists, and historians with interactive, beautiful presented prompts. It’s never too early to encourage wonder at the world around you.

Also recommendLet’s Make Some Great Art by Marion Deuchars


Your purchases help support the Lower East Side Tenement Museum. And great books help support yourself. Take advantage of those extra daylight hours, and get reading!

The Millennials Are Our Future


Millennials are the most frequent and most loyal attendees to cultural institutions, according to recent data from the National Awareness, Attitudes, and Usage Study. Engaging and cultivating this audience into future museum members is why the Tenement Museum founded the Lower East Siders Circle, a new way for young professionals to participate with everything the Tenement Museum has to offer.

Melissa Stone, Membership and Events Associate at the Tenement Museum, discusses our young professionals program, and how Millennials can serve as ambassadors to the community, advisers to the museums, and cultural leaders in supporting the arts and the political issues that are more important than ever.


What is the Lower East Siders Circle?

MS: The Lower East Siders Circle is a patron group of young professionals who support the mission of the Museum. They have programmatic opportunities beyond our regular tours to engage with Lower East Side history and actively fundraise to support the work of the Museum.

How does the LES Circle differ from other young professionals clubs?

MS: While it is similar in some ways, as LES Circle offers networking opportunities and social components to the programming, the group remains focused in the mission of the Museum. The members are excited by the stories we tell and appreciate the work of the Museum to present the important contributions immigrants have made to the United States.

Why is it important for young people to engage with the Tenement Museum, or institutions like the TM?

MS: It is important for young people to engage with the Tenement Museum, and arts and cultural institutions in general, in order for them to understand the important work of these institutions. These institutions preserve and interpret art, history, and cultural anthropology. They are a source of public education on topics ranging from science and math, to music and dance. Supporting the arts brings fulfillment and offers opportunity for personal growth through self-reflection. The Tenement Museums and institutions like it serve the public good and it is important for Millennials to engage and support this work.

Conversely, why is it important for the Museum to have an organization of young people dedicated to it?

MS: It is important for the Tenement museum to have an organization dedicated to young professionals, as they are the future of the Museum. These patrons will be the champions of our work, help us grow and expand our opportunities, and financially support us in the near future. It is important for the Tenement Museum to keep this audience in mind as new programs and exhibitions are planned and make sure we engage them in our presentation. It is mutually beneficial for us to engage Millennials and for Millennials to engage with us. This is how we can continue to present America’s story to future generations.

What kinds of events do members get to do that others might not?

MS: LES Circle member events expand on regular programming. In March, the members toured the Schneider’s Saloon in 97 and then came back to a reception that featured a Germanic Beer flight hosted by Top Hops. The programs are experiential in design. The next event will be July 26, and the LES Circle members will have the opportunity to participate in Snapshot. This exclusive tour allows photography inside the 97 Orchard Street building, something that is not allowed on general tours. Additionally, LES Circle members will have a series of programming going behind the scenes that will offer them the opportunity to learn more about the operational aspects of the Tenement Museum. They will come away with greater knowledge of the complexities of Museum work in general and the importance of supporting it.

What other benefits do members receive?

MS: Depending on the level of membership, LES Circle members receive an Individual or Dual membership to the Museum, reserved seating at Tenement Talks, and discounts on tickets to Tenement After Dark: Gala After Party. Patron level LES Circle members receive a ticket to Tenement After Dark: gala After Party with their membership.

Head here to learn more about joining the Lower East Siders Circle!

Becky, Melis, Tatyana, Francesca

Evenings at the Tenement: This Land is Made for You and Me


We tell the stories of the everyday people who made their way on Orchard Street, but we’re always encouraging visitors to create their own memorable experiences here, and one of the best ways to do so is by holding your own event at the Tenement Museum!

On May 4, the Huntington’s Disease Society of America (HDSA) hosted a fundraising event for Huntington’s Disease Awareness Month at the Lower East Side Tenement Museum. Over a hundred guests enjoyed The Guthrie Sessions Live, with fantastic performances from star of NBC’s The Voice Brendan Fletcher, New Jersey singer/songwriter Bryan Hansen. and Brooklyn-native Lizzie No.

Along with the live musical performances, guests at the event were treated to a variety of Tenement Museum tours after-hours, food from some of the Lower East Side’s favorite restaurants, and a preview of Her Mother’s Daughter, a documentary produced by the HDSA to spread awareness and understanding of Huntington’s Disease. The guests were also invited to bid on exciting auction items, and by the end of the night, the event had raised almost $40,000 towards their cause.

The evening ended with a beautiful performance of the Woody Guthrie classic “This Land is Your Land.” It was led by Woody’s daughter Nora and Helen Jean Russell from the show Woody Sez, along with the other artists in attendance, right in the Museum shop. It was absolutely a moment to remember, and not just because I’ve had that song stuck in my head for the last couple weeks.

Whether it’s a nonprofit, corporate, alumni event, or a social occasion, make it one for the history books by taking advantage of everything the Museum has to offer.

Not only do you have use of our beautiful event spaces, but your guests can also enjoy private tours of our historic tenement buildings, as well as top notch catering services from several local dining establishments. We work with you to create vibrant, long-lasting memories your guests will be talking about for years to come.

Book your special event at the Tenement Museum, and ensure that your occasion leaves an impression as enduring and unforgettable as a classic American folk song.

Painting Grand Street

Tenement Museum President Dr. Morris J. Vogel and artist Hedy P posing with Grand Street NYC.

Tenement Museum President Dr. Morris J. Vogel and artist Hedy Pagremanski, with Grand Street NYC.

In 1973, Hedy Pagremanski’s daughter Joannie asked her what she really wanted to do with her life. At the time, Hedy was 44-years old. “I used to draw in a way where nobody could see me,” she recalled while speaking at the Tenement Museum last Friday, May 12. She told Joannie, “I’d like to sit on a street…with a canvas, and not hide anymore.”

Hedy, now 85-years old, is a prolific painter of New York City, and was at the Tenement Museum to donate a print of Grand Street NYC. The painting is part of a series, which showcase the history of a vanished New York City. The two 100-year old tenements shown in the painting were located at 400 and 402 Grand St. on the Lower East Side. The buildings were the last to be demolished to make way for the new Essex Crossing residential and commercial space.

This painting, which took two years to complete, is unique from Hedy’s other works. As she sat on the street corner with her canvas, she was often approached by people asking to be included in the painting. Her husband, Eric, told everyone that in order to be added in, they had to share their story with Hedy, and what the area she was painting meant to them. Much like our Your Story, Our Story online exhibition, Hedy collected and recorded the stories of every individual painted on her busy street, including the Ng family, who were also present at the painting’s donation on Friday. Charissa Ng was the first to meet Hedy on the street and ask to be in her painting, and eventually got her whole family involved.

Posing with some of the subjects of Grand Street NYC. From let to right are: Sharanne Ng, Charissa Ng, Jessie Page, Joannie Pagremanski, Ken Page, Hedy Pagremanski, Ken Page, Candace Feio, Larry Ng, Annie Chu.

Posing with some of the subjects of Grand Street NYC. From let to right are: Sharanne Ng, Charissa Ng, Jessie Page, Joannie Pagremanski, Ken Page, Hedy Pagremanski, Ken Page, Candace Feio, Larry Ng, Annie Chu.

Hedy was born in Vienna in 1929. A Holocaust survivor, she fled with her family to Panama as World War II was breaking out, before eventually settling down in New York. Hedy has dedicated almost half a century to painting New York City as she remembers it, before it disappears completely. As the neighborhoods change and the histories fade from the buildings and streets, Hedy’s work seeks to capture the rich cultured history of the Lower East Side, which she views as the gateway to the immigrant experience.

Her son, Ken Page, spoke about how often his mother was approached by people on the street who wanted to be included in her project. “The size of her heart has created this,” he said at the dedication. “I just look around at what people have given her. People just flock to her and say, ‘I love what you’re doing, and I want to [help] make this happen.”

The painting is dedicated to Eric Pagremanski (Hedy's husband, who was a holocaust survivor and Jewish immigrant) and Wah Theung (Tommy) Ng (Larry's father who was an immigrant from China).

The painting is dedicated to Eric Pagremanski (Hedy’s husband, a Holocaust survivor and Jewish immigrant) and Wah Theung (Tommy) Ng (Larry’s father, an immigrant from China).

Hedy’s goal was to help people remember New York’s important past, and by collecting the stories of the people she encountered while painting, she succeeded in adding more layers to the history of this vivid and diverse neighborhood.

“I missed people’s voices,” Hedy said, “so no one gets to be in a painting unless they give me a story.”

Grand Street NYC

Grand Street NYC

Did You Know: LES Stories

Did you know that the Lower East Side is home to the oldest Jewish cemetery in America, founded in 1683, and that it has Revolutionary War soldiers interred there? Or that Canal Street once actually had a canal, that helped drain the Collect Pond? Did you know that during the 1850s, the Lower East Side was overrun by the fearsome Dead Rabbits gang, or that the whole neighborhood celebrated with a parade at 4 in the morning after electing Meyer London in 1914, the first Socialist in Congress?

If you’re walking through the Lower East Side this month, look down and learn all these facts and more. Kicking off LES History Month is the organization’s two-day chalking event, LES Stories. Completed from Sunday, May 7 to Monday, May 8, the chalking project shared the long history of the Lower East Side on city sidewalks, available for any and all to learn. Volunteers, coordinated by FABnyc and Downtown Art, chalked trivia, drawings, stories, and historical facts on local heroes, major events, and the socio-political ups and downs of this diverse neighborhood.

Look down, and discover how the evolution of 76 acres of farmland, belonging to Jacobus Van Corlaer in the 17th century, transformed into a bustling neighborhood, with an approximate population of 166,000 in 2015. And though the Lower East Side has drastically changed in those four centuries, the urge to keep growing things hasn’t disappeared with the farms, as LES residents still enjoy almost 40 community gardens spread throughout the area.

Melanie, who works for the Lowline, chalking outside Sara D. Roosevelt Park

Melanie, who works for the Lowline, chalking outside Sara D. Roosevelt Park

LES Stories is just the first of many events taking place over the month of May to celebrate the Lower East Side’s vibrant history. Check out the rest of the celebrations here!


Look For the Union Label: Chinese Immigration in America

For the other parts of this series highlighting the new ethnic groups featured in Under One Roof, you can read Becoming “Nuyorican” and Of Memory and Survival: The Jewish American Identity
Garment factory in NYC's Chinatown. Photo: Bud Glick

Garment factory in NYC’s Chinatown, 1983. Photo: Bud Glick

May is Asian/Pacific Heritage Month, marking the considerable contributions made by Asian- Pacific Americans in the arts, sciences, technology, politics and more, as well as celebrating the immense and richly layered cultures of those Asian and Pacific Island countries.

May 6 is also the 135th anniversary of the Chinese Exclusion Act, signed into law in 1882 by President Chester A. Arthur. This is the only non-wartime federal law which discriminates against an entire nationality, and has had lingering side effects to this day.

Mrs. Wong and her daughter Yat Ping, subjects of our new exhibition "Under One Roof"

Mrs. Wong and her daughter Yat Ping, subjects of our new exhibition “Under One Roof”

The law was passed because of rising Anti-Chinese sentiment sweeping through the United States, and the reasons for that are not all that unfamiliar to what other ethnic groups dealt with in the past, and what they deal with today. Originally, Chinese laborers came to the west coast during the Gold Rush of the 1840s and 1850s. They were hired to help construct the Central Pacific Railroad, but once it was completed, and the gold mines had all but dried up, many Chinese immigrants stayed in the U.S., taking other labor jobs for less money, wanting to provide for their families back home. Of course, this led to that familiar xenophobic rhetoric – they’re taking our jobs, and they refuse to assimilate to American culture.

The Chinese Exclusion Act did exactly as it said it would. It banned the immigration of anyone from China who didn’t have a special work permit, including the families of those already living in the U.S. Beyond that, those who were already here were unable to become naturalized citizens. Many Chinese at this time were experiencing discrimination and violence in those small towns of the west. So of the few immigrants left in the country, many migrated East to denser cities like New York, places with much higher diversities. Today, the metropolitan area of New York is home to the largest ethnic Chinese population outside of Asia.

Photo: Bud Glick

Photo: Bud Glick

During the ban, only immigrants with specialized work permits were allowed in the country, those who were listed as merchants on documentation. So many enterprising immigrants started businesses with friends and family as partners, to allow them to travel to the U.S. — businesses like restaurants, laundromats, and garment factories, which are often still owned by Chinese American families.

New York’s garment industry is almost synonymous with the city’s immigrant history. Prior to the first major wave of immigrants in the mid-19th century, clothing was typically made in the home, or custom-made by tailors for the upper class. But fashions evolved and expanded, and an influx of skilled craftsmen coming into the country created a confluence of events, whereby 1910, an estimated 70% of clothing worn by American women originated in the garment factories of New York City.

In 1943, a repeal of the Chinest Exclusion Act allowed a small quota of Chinese immigrants into the country, in part due to China being a U.S. ally during World War II. Before, the Chinese population in America had steadily declined since 1882, but it was now starting to rise again, albeit at a much slower pace. In 1965, the Immigration and Nationality Act, also known as the Hart-Cellar Act, was signed by President Lyndon B. Johnson, and it officially lifted the quota, but still placed caps on per-country and total immigration across the board. Even so, the population of immigrants, especially Chinese immigrants, skyrocketed over the next few decades, and the quota was eventually removed altogether in 1968.

President Lyndon B. Johnson signing the Immigration and Nationality Act, 1965

President Lyndon B. Johnson signing the Immigration and Nationality Act, 1965


It was in 1965 when the Wong family, highlighted on our new tour Under One Roof, moved to the Lower East Side. Around the same time, the garment factories had diminished in the city, with much of production being outsourced to other places with cheaper manufacturing costs. But adapting Chinese entrepreneurs created a niche market in New York City, and developed factories that could reproduce high-demand clothing found in Manhattan department stores and have them on the shelves in a matter of days.  A few years after moving to the United States, Mrs. Wong would be one of the thousands of immigrants working in New York City’s garment industry.

The garment factories are an integral part of the recent history of Chinese American immigrants. On our new tour at 103 Orchard Street, visitors will step into a recreated, interactive garment factory instillation. They will learn about how Mrs. Wong, along with some 20,000 other Chinese immigrants, developed communities over their sewing machines. It was where they brought their children after school,  and where they spent most of every day. It was where they took a fierce pride in the quality and speed of their work, and took part in strong Labor Unions, such as the International Ladies’ Garment Workers Union, to ensure fairness for themselves and their colleagues.

The garment factory is a representation of the Chinese immigrant experience in New York City during the latter half of the 20th century. It encompasses the culture – family, food, work ethic, values – of their communities while displaying the advancement of technology and the integration of American culture into their own. You will be able to visit our garment factory in our new exhibition, Under One Roof, slated to open this fall.