How Dinosaurs Came to New York

By Lukas Rieppel

On February 16, 1905, the American Museum of Natural History unveiled an enormous dinosaur skeleton measuring more than sixty-five feet in length: Brontosaurus. This lumbering behemoth was discovered in a remote part of Wyoming several years earlier, and curators had just finished assembling its gargantuan bones into a free-standing display that would serve as the centerpiece of the museum’s recently inaugurated dinosaur hall. Over the next several decades, Brontosaurus became one of the most iconic dinosaurs of all time, and throngs of visitors flocked to the Upper West Side to see its fossil remains with their own eyes.

Arts & Culture, Progressive Era, Gilded Age, Manhattan, ScienceGuest UserJune 9, 2020Comment

Jump Up! Caribbean Carnival Music in New York City

Reviewed by Gage Averill

It is fitting that it was two New Yorkers in the early 1930s, Harold Arlen and Ted Koehler, who composed the showtune “I Love a Parade,” because for all the diversity and excess of its public processions, there is likely no city anywhere that has exceeded New York. The home of the renowned ticker-tape parades, the Macy’s Day Parade, the St Patrick’s Day Parade, NYC Pride the Village Halloween Parade, and numerous ethnic celebrations (modeled on St. Patrick’s), New York City’s streetscapes have conferred both prestige and visibility on those who have been able to muster the necessary funding and authorizations and crowds. It is not without a powerful sense of the current moment, the Covid-19 pandemic, that I’ve taken on the otherwise enviable, and the now more somber, task of reviewing a book about some of the most raucous, colorful, noisy and crowded events in New York: Brooklyn’s Caribbean Carnival celebrations.

Arts & Culture, Brooklyn, Race & Ethnicity, ImmigrationGuest UserMay 28, 2020Comment

A Murky Mess of Monuments in Crisis New York

By Todd Fine

Gonzalo Casals, New York City's new commissioner of the Department of Cultural Affairs (DCLA), begins work this week after recovering from the coronavirus. Hired to replace Tom Finkelpearl, who resigned after repeated controversies over an ambitious effort to build at least a dozen new historical monuments, Casals was tasked to bring the initiative to the "finish line” in the remaining twenty months of Mayor Bill de Blasio's second and final term.

Arts & Culture, Contemporary Era, PoliticsGuest UserMay 7, 2020Comment

The Women of Atelier 17: Modernist Printmaking in Midcentury New York

Review by Jennifer Farrell

While there is certainly no dearth of scholarship on midcentury art in the United States, especially work made in New York City, this informative and important new book proves that there are still many areas in this period which demand further study. In The Women of Atelier 17, the independent historian Christina Weyl closely examines a world largely ignored in both art history and cultural studies—modernist printmaking and work done by female artists at the celebrated print studio when it operated in Gotham. Using archival sources, interviews, skillful visual analysis, as well as literature from a variety of fields (including art history, women’s studies, cultural studies, history, sociology, and other subjects), she considers both their work and influence, in this particular field and beyond it.

Arts & Culture, ReviewsGuest UserApril 30, 2020Comment

The Unstoppable Irish: Songs and Integration of the New York Irish, 1783-1883

Interview by Elizabeth Stack

Today on the blog, Gotham editor Elizabeth Stack speaks with Dan Milner about his recent book, The Unstoppable Irish: Songs and Integration of the New York Irish, 1783-1883 and the importance of music to the Irish people both in Ireland and New York.

The Unstoppable Irish follows the changing fortunes of New York's Irish Catholics, commencing with the evacuation of British military forces in late 1783 and concluding one hundred years later with the completion of the initial term of the city's first Catholic mayor. During that century, Hibernians first coalesced and then rose in uneven progression from being a variously dismissed, despised, and feared foreign group to ultimately receiving de facto acceptance as constituent members of the city's population. Dan Milner presents evidence that the Catholic Irish of New York gradually integrated (came into common and equal membership) into the city populace rather than assimilated (adopted the culture of a larger host group). Assimilation had always been an option for Catholics, even in Ireland. In order to fit in, they needed only to adopt mainstream Anglo-Protestant identity. But the same virile strain within the Hibernian psyche that had overwhelmingly rejected the abandonment of Gaelic Catholic being in Ireland continued to hold forth in Manhattan and the community remained largely intact. A novel aspect of Milner's treatment is his use of song texts in combination with period news reports and existing scholarship to develop a fuller picture of the Catholic Irish struggle. Products of a highly verbal and passionately musical people, Irish folk and popular songs provide special insight into the popularly held attitudes and beliefs of the integration epoch.

Arts & Culture, Immigration, InterviewsGuest UserApril 16, 2020Comment

The Unexpected Logic of Art Economics: Arts and Inequality in 1980s New York

By Sarah Miller-Davenport

When Richard Serra’s Tilted Arc was installed in Federal Plaza in Lower Manhattan’s Foley Square in 1981, it was meant to be a pioneering work of public art that would expose New York’s masses to post-minimalist sculpture. Tilted Arc would indeed become one of the most legendary sculptures in 20th century history—but not for its artistic merit.

Arts & Culture, Contemporary Era, Urban Decline & Fiscal CrisisGuest UserMarch 5, 2020Comment

How The Volstead Act Ruined New York’s French Pleasure Palaces

By Alice Sparberg Alexiou

At the beginning of the twentieth century, when New York was rolling in dough but had a dearth of rarified places in which to spend it, enterprising immigrants who knew how to run restaurants began coming to New York. They knew because they’d grown up in France or Switzerland, in bistro-owning families. In New York, after working their asses off at one of the few already-existing luxury restaurants--Delmonico’s was the most famous—the newcomers then combined what they’d just learned about how to run a New York restaurant with their Gallic sensibilities around food, ambiance, and, most of all, drink—what French chef, after all, creates cuisine without the addition of alcohol, be it wine or brandy, and enlarged them to fit New York’s eye-popping scale. They opened big restaurants, then the trend in New York—“lobster palaces.” But these were different, because they were French, where New Yorkers were introduced to the joys of pate de foie gras and frogs legs, were taught them what wines to drink with these exotic dishes. And so was created a unique and scintillating French dining scene in New York , a product of a specific time in New York history, that is now largely forgotten.

Manhattan, Arts & CultureGuest UserFebruary 24, 2020 Comment

Henry Chalfant: Art vs. Transit, 1977-1987

Reviewed by Katie Uva

On October 30, 1975, The New York Daily News thudded onto curbs, newsstands, stoops, and doorsteps around the city trumpeting the (paraphrased, but nevertheless evocative) attitude of President Gerald Ford toward New York: “Drop Dead.” There was no question that New York was in trouble: rising crime, declining quality of life, mounting public debt, and arson all plagued the five boroughs.

Arts & Culture, Bronx, Urban Decline & Fiscal Crisis, ReviewsGuest UserFebruary 13, 2020Comment

Iconoclasm in New York: Revolution to Reenactment

Reviewed by Benjamin L. Carp

New York is a city of destruction. What doesn’t burn by accident, somebody tears down on purpose. When Chip asks Hildy to take him to the Hippodrome in Leonard Bernstein’s On the Town, she replies, “It ain’t there anymore,” which might as well be the city’s motto. Nothing is too sacred to shatter. Nothing is too exalted to escape the city’s brutal contests over money and power.

Reviews, American Revolution, Arts & CultureGuest UserJanuary 9, 2020Comment

The Piano in the Sukkah: Early Twentieth Century Immigrant Jewish Piano Culture in New York

By Sarah Litvin

In 1905, the Yiddish language New York newspaper Yiddishes Tageblatt reported on a new trend in the city’s Lower East Side, “The Greenhorn of Plenty: The Piano in the Sukkah.” Jewish families were hauling parlor pianos to rooftops to incorporate them into the fall harvest festival Sukkoth, the article explained. At the time, New York City was exploding as the center of the country’s bustling piano trade and its largest immigrant city. The peak year of immigration was in 1907 when 1.7 newcomers arrived, and the peak year of piano production was in 1909, when 364,545 pianos were sold. By 1910, more American homes had a piano than a bathtub.

Religion, Arts & Culture, Gender & SexualityPeter-Christian AignerOctober 15, 2019Comment