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Posts in Arts & Culture
Cartooning the City: Roz Chast and Julia Wertz

Cartooning the City: Roz Chast and Julia Wertz

Reviewed by Martin Lund

When I was asked by Gotham to review Roz Chast’s Going into Town: A Love Letter to New Yorkand Julie Wertz’s Tenements, Towers & Trash: An Unconventional Illustrated History of New York City, I had no idea what to expect. Both writer-illustrators are known for tackling a wide variety of topics, albeit most commonly personal subjects. Both Chast and Wertz work in styles of art and storytelling that are readily identifiable, even as their work always delivers something new. With this in mind, all I knew for certain when I said yes to the request to review was that I would be getting two books of graphic arts that dealt with New York City, and that I would be able to tell who had done which book. Anything else, it seemed to me, was anybody’s guess. How the two would relate to each other was similarly up for grabs; they could be boringly similar or wildly different.

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Brooklyn-Queens Day: New York's Persistent Holiday

Brooklyn-Queens Day: New York's Persistent Holiday

By Katie Uva

It’s the first Thursday in June! To most people, that means little more than that it is almost the first Friday in June, and that it was just the first Wednesday in June. But to New York City school children, it means Brooklyn-Queens Day, a gratuitous day off to go to amusement parks, run through sprinklers, and monitor the steady progress of ice cream melting down one’s face and arms. Nowadays, this holiday is a citywide phenomenon and has been renamed Chancellor's Day, but those of us old-timers who went to school before 2006 remember when Brooklyn-Queens Day used to be only for kids in Brooklyn and Queens, the one day of the year when kids in Manhattan actually envied us. But what is Brooklyn-Queens Day anyway?

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Ruinous, Bleak and a Bitter Sense of Freedom

Ruinous, Bleak and a Bitter Sense of Freedom

By Jeffrey Escoffier

Photography, at least before the digital era, has a special relationship to history. Unlike other visual images, photographs are ‘traces’ of what they portray— they are the direct result of light reflected from objects in front of the camera onto a chemical emulsion. The photographic trace is recorded at a moment of time and then stored for future viewing; it is, thus, automatically an historical representation. According to cultural critic Siegfried Kracauer, the historical significance of photographs rests on their capacity to record things normally unnoticed at the time.

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Jennifer Packard's A Taste of Broadway: Food in Musical Theater

Jennifer Packard's A Taste of Broadway: Food in Musical Theater

Reviewed by Morgen Stevens-Garmon

“Food, glorious food” sing the workhouse boys of Lionel Bart’s musical Oliver!, and so too sings Jennifer Packard in her new book A Taste of Broadway: food in musical theater, the latest offering in Rowman & Littlefield’s series, Studies in Food and Gastronomy. Part food history, part musical theater analysis, and part cookbook, A Taste of Broadway presents a flavorful if slightly confused dish.

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Gordon Matta-Clark: Anarchitect at the Bronx Museum of the Arts

Gordon Matta-Clark: Anarchitect at the Bronx Museum of the Arts

By Craig Lee

In an unexpected but deft move, Gordon Matta-Clark: Anarchitect at the Bronx Museum of Arts (November 8, 2017 to April 8, 2018) begins in the lobby above the XM Café — a partnership with Fountain House, a community program supporting people with mental illness. Upon entering the museum, accessible to all through the free admission policy, visitors turn and see an open seating area filled with tables and chairs with the café’s food and beverage service counter against the back wall. Above, where one might find a menu display board, instead is the introductory wall panel for the exhibition. Rather than providing a comprehensive survey of Gordon Matta-Clark’s too brief (he died of pancreatic cancer in 1978 at 35 years of age), but prolific and influential creative practice in the 1970s, the exhibition is tightly organized around a handful of key projects and explorations.

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The Cultural Origins of the Urban Crisis: An Interview with Brian L. Tochterman

The Cultural Origins of the Urban Crisis: An Interview with Brian L. Tochterman

Today on Gotham, editor Nick Juravich interviews Brian L. Tochterman about his new book, The Dying City: Postwar New York and the Ideology of Fear, about the competing narratives that shaped the city after World War II, in the age of mass suburbanization and deindustrialization.

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Brooklyn’s Renaissance: Commerce, Culture, and Community in the Nineteenth-Century Atlantic World

Brooklyn’s Renaissance: Commerce, Culture, and Community in the Nineteenth-Century Atlantic World

Reviewed by Jocelyn A Wills

One never knows where a family heirloom will lead. Brooklyn’s Renaissance began with a cultural artifact that Italian Renaissance scholar Melissa Meriam Bullard’s mother inherited from a distant cousin: a portrait of Luther Boynton Wyman (1804-79), a forgotten shipping merchant for Liverpool’s Black Ball Line, long-time resident of Brooklyn Heights, and “guiding hand” in the founding of the “arts-friendly community” along Montague Street during the 1850s and 1860s (with the Academy of Music, now “BAM,” as Brooklyn’s cultural center).

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Daniel Kane's "Poetry and Punk Rock in NYC"

Daniel Kane's "Poetry and Punk Rock in NYC"

Reviewed by Louie Dean Valencia-García

Punk culture, like most subcultures, depends upon mythology. These mythologies are built around people, spaces, and events of the past, often reused to create something new — pieced together in what cultural theorist Dick Hebdige calls “bricolage.” Daniel Kane’s “Do You Have a Band?”: Poetry and Punk Rock in New York City attempts to demystify one particular aspect of the early days of the New York City punk scene: its connection to the New York poetry scene. In a way, this work functions much like a sequel to the author’s 2003 work, All Poets Welcome: The Lower East Side Poetry Scene in the 1960s, focusing primarily on the well-known. Kane gives just about equal time to both analysis of poetic influences and to biography, intertwining them in his narrative. Do You Have a Band? is divided into chapters that focus on The Fugs, Lou Reed, St. Mark’s Poetry Project, Richard Hell, Patti Smith, Eileen Myles, Dennis Cooper, and Jim Carroll. The author’s decision to focus on these individuals and places does not surprise — they all fit into a sort of mythologized New York proto-punk canon. When given the opportunity to talk about punk-poets outside the canon, Kane avoids researching the less-famous individuals who were part of the scene. This focus on the select few is particularly noticeable in choices such as Kane’s decision not to elaborate upon the lesser known poets that figured into the mimeograph punk poet magazine published by Richard Hell — leaving the mythology of the New York punk-poetry scene largely intact.

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Retrieved Rhythms: The Last Poets, Harlem, and Black Arts Movement(s)

Retrieved Rhythms: The Last Poets, Harlem, and Black Arts Movement(s)

By Christopher M. Tinson

In 1953, illustrator Bernie Robynson, in an effort to diagram the culturally diverse and magnetic appeal of Harlem, mapped some of the enchanting points of interest sure to attract wide-eyed tourists. The resulting map entitled “In the Heart of Harlem” calls that section of New York City: “The Largest Negro Community in the World. Its Culture Is An Integral Part of Americana.” Over 12 years later, Harlem’s place in the American imagination would take on a different meaning for its inhabitants of African descent.

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The Monumental Possibilities of Public Art: MCNY's ​“Art in the Open”

The Monumental Possibilities of Public Art: MCNY's ​“Art in the Open”

Reviewed by Erik Wallenberg

As hundreds of artists and scholars call for the removal of local monuments that celebrate racist figures, the Museum of the City of New York unveiled a new exhibit. “Art in the Open: Fifty Years of Public Art in New York” has arrived at an opportune moment. The Mayor's Advisory Council is presently examining city art, monuments, and markers. Groups like Decolonize This Place are pushing for the removal of statues that celebrate historical figures who advocated or practiced racism and genocide, including Christopher Columbus, Theodore Roosevelt, and J. Marion Simms. This fight raises the question of what to replace these statues with, and “Art in the Open” offers some enticing potential answers. The exhibit holds up public art as a medium to prod society into thinking about our current world and our history, a fifty-year retrospective on how public art can reflect societies values as well as push it to recognize injustices and inequalities.

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