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.

Arts & Culture, Bronx, Reviews, Urban Decline & Fiscal CrisisGuest UserMarch 20, 2018Comment

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.

Arts & Culture, Interviews, Politics, Postwar New York, Urban Decline & Fiscal CrisisGuest UserMarch 1, 2018Comment

Grassroots Anti-Crack Activism in the Northwest Bronx

By Noël K. Wolfe

During the 1970s and 1980s, the Bronx was a national symbol of urban decay, used as a political backdrop to send messages of despair, governmental failure, the decline of urban spaces and other racialized messages of fear. Drug addiction and drug selling became a national, state, and local political battleground that reflected differing political ideologies. Even at the community level, a tension existed within New York City neighborhoods about how best to respond to drug crises. In 1969, New York Black Panther Party member Michael “Cetewayo” Tabor warned Harlemites about the long-term implications of inviting police, who he described as “alien hostile troops,” into their community to address heroin addiction and drug-related crime. While Tabor did not deny that those addicted to heroin were committing “most of their robberies, burglaries and thefts in the Black community against Black people,” he challenged community members to be suspicious of the motives behind “placing more pigs in the ghetto.” Tabor sought a community-driven solution to heroin addiction — one that did not include the police. Similarly in the Bronx, members of the Young Lords Party responded to heroin addiction by occupying the administrative offices of Lincoln Hospital in November 1970 and successfully demanding a drug treatment program for community members. The Lincoln Hospital Detox Program, a “community-worker controlled program,” paired political education with therapeutic support to assist those seeking help to overcome addiction.

Bronx, Crime & Policing, Medicine & Public Health, Urban Decline & Fiscal CrisisGuest UserJanuary 18, 2018Comment

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.

Arts & Culture, Manhattan, Reviews, Urban Decline & Fiscal CrisisGuest UserJanuary 11, 2018Comment

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.

Arts & Culture, Politics, Postwar New York, Race & Ethnicity, Urban Decline & Fiscal CrisisGuest UserJanuary 9, 2018Comment

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.

Arts & Culture, Contemporary Era, Reviews, Urban Decline & Fiscal CrisisGuest UserJanuary 2, 2018Comment