Cutting Up the City in Crisis: Gordon Matta-Clark and the Urban Commons

By Jeffrey Patrick Colgan and Jeffrey Escoffier

The traditional narrative of twentieth century urban living has often concerned itself only with the antipodal philosophies and practices of urban planner Robert Moses and critic Jane Jacobs. This binary conception of American urban life contrasted Moses’ radical projects that aimed to remake New York to suit the automobile with Jacobs’ admonishments that quality of life required small, organic neighborhoods of diverse inhabitants and independent businesses. These philosophies, however, were both time and space-specific. Moses’ vision of the ideal city was prompted by the ascent of the automobile and the crumbling infrastructure of immigrant, tenement neighborhoods; he acknowledged a fundamental change in the modes of production and consumption and sought to drastically reorient urban life accordingly. Jacobs’ ideal, alternatively, reacted against the raze and rebuild, top-down approach of Moses. Yet she depended upon historical continuity and assumed an element of permanence in the neighborhoods she studied and strove to protect.

Arts & Culture, Built Environment, Urban Planning, Urban Decline & Fiscal CrisisGuest UserNovember 29, 2018Comment

Relics of the Underground: The Afterlife of Cultural Spaces

By Jeffrey Patrick Colgan & Jeffrey Escoffier

In early 1974, members of the punk band Television spotted a newly reopened yet unavoidably dingy lower Bowery bar on their way home from rehearsal. Returning soon after, they approached the owner Hilly Krystal and asked if he would host performances by bands that were playing a different kind of rock music. After an initial four-week residency by Television, CBGB & OMFUG (Country, Bluegrass, Blues & Other Music for Uplifting Gormandizers) continued to host countless bands and fostered the emerging punk and No-Wave music scenes of the 1970s and 1980s. Even after its role in any identifiable and burgeoning music scene came to an end in the 1990s, it still hosted performances until its ultimate demise in 2006 — its final sendoff facilitated by Blondie and Patti Smith. By 2008 the former venue was occupied by clothing designer John Varvatos, who kept some of the graffiti, stickers, and concert posters as accents to the calculated ‘subversiveness’ of the items on sale.

Arts & Culture, Manhattan, Reviews, Urban Decline & Fiscal CrisisGuest UserNovember 8, 2018Comment

The Problem We All Live With: An Interview with Sarita Daftary-Steel

Today on the blog, editor Molly Rosner speaks to Sarita Daftary-Steel, founder of the East New York Oral History Project, an interview project documenting the experiences of people who lived in East New York during a decade of rapid change from 1960-70.

Brooklyn, Contemporary Era, Interviews, Race & Ethnicity, Urban Decline & Fiscal CrisisGuest UserOctober 23, 2018Comment

“Town Meetings by Television:" Regional Plan Association’s “CHOICES for ’76”

By Kristian Taketomo

Between Saturday, March 17 and Monday, March 19, 1973, every major television station in the New York urban region — from Hartford, Connecticut to Trenton, New Jersey — broadcast a one-hour, documentary-style program on housing in the tri-state region of New York, New Jersey, and Connecticut. “Housing — A Place to Live,” which aired at different times on eighteen channels, was the first of six “television town meetings” produced by Regional Plan Association, metropolitan New York’s private, citizen-led planning agency. Four other programs on transportation, the environment, poverty and urban growth followed the first, airing every other week. The sixth episode, on government, was slated for autumn.

Built Environment, Urban Planning, Urban Decline & Fiscal CrisisGuest UserOctober 4, 2018Comment

Days of Future Past: Dystopian Comics and the Privatized City

By Ryan Donovan Purcell

“The past: a New and uncertain world, a world of endless possibilities and infinite outcomes. Countless choices define our fate — each choice, each moment, a ripple in the river of time — Enough ripples and you change the tide, for the future is never truly set.” This is the lesson Dr. Xavier learns at the end of the Marvel film, X-Men: Days of Future Past(2014). It’s a science-fiction alternative history in which the X-Men send Logan (Wolverine) back to the year 1973 to change their fate. In order to prevent the sequence of events that leads to mutant annihilation Logan must break into the Pentagon, prevent a landmark arms deal at the Paris Peace Accords, and save Richard Nixon from mutant radicals (as one might expect). The comic on which the film was based, however, is a far different story.

Arts & Culture, Bronx, Politics, Urban Decline & Fiscal CrisisGuest UserSeptember 25, 2018Comment

Cracks in the Pre-Invented World: Disaster, Art and the Sublime in New York, 1970 to 1992.

By Jeffrey Patrick Colgan & Jeffrey Escoffier

When artist and writer David Wojnarowicz returned to New York City in 1979 from a lengthy stay with his sister in Paris, he used office equipment to print a large cutout of the face of poet Arthur Rimbaud, a cigarette to burn two narrow eye-holes, and a knife to carve out a gently sloping mouth. Long inspired by the French poet’s life and work, Wojnarowicz sought to impersonate the poet in order to stage his own coming-of-age among the city’s ruins and cultural underground. He used his friends as models and staged scenes that inserted the fragile, pale face of Rimbaud into the dirty confusion of 1970s New York.

Arts & Culture, Gender & Sexuality, Reviews, Urban Decline & Fiscal CrisisGuest UserAugust 22, 2018Comment

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.

Arts & Culture, Gender & Sexuality, Reviews, Urban Decline & Fiscal CrisisGuest UserApril 12, 2018Comment

After the Rent Strike: Neoliberalism and Co-op City

By Annemarie Sammartino

In mid-1976, a provisional settlement awarded control of Co-op City to its residents. Co-op City was, and is, a 15,382 apartment middle-income development located in the Northeast Bronx. The achievement of resident control represented the culmination of negotiations following a thirteen-month rent strike that destroyed the non-profit United Housing Foundation (UHF) that had built Co-op City and nearly bankrupted the New York State Housing Finance Agency. As the terms of the provisional settlement began to come out, the Wall Street Journal was apoplectic about what awarding resident control might mean:

If the state wants to regain its financial credibility, it will have, to put it brutally, to make an example of the Co-op City rent strikers… The state may find… that the rent strike will collapse after the first tenants lose their apartments. But in any case, it will be more humane to throw people out into the June sunshine than into the December snow.

Bronx, Housing & Realty, Urban Decline & Fiscal CrisisGuest UserApril 3, 2018Comment

Fifty Years of Struggle at NYC's Public University: An interview with Anthony G. Picciano & Chet Jordan

Today on Gotham, editor Nick Juravich sits down with Anthony Picciano, Professor of Urban Education at Hunter College and The Graduate Center, and Chet Jordan, Ph.D. student in Urban Education at the Graduate Center, to discuss their new book, CUNY's First Fifty Years, which traces the story of the nation’s largest urban university from its inception as CUNY in 1961 through the forces and events shaping it today.

Contemporary Era, Education, Interviews, Postwar New York, Urban Decline & Fiscal CrisisGuest UserMarch 29, 2018Comment

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