The Gateway to the Nation: The New York Custom House

By Alexander Wood

The reign of Beaux-Arts architecture reshaped the landscape of the city at the turn of the century with grand public buildings that projected a new found sense of national power. The architects who embraced this style emphasized classicism, monumentality, and embellishment in their work, and were skilled at adapting historical precedents for modern building types. Following this mission to create civic symbols, Cass Gilbert conceived the custom house as a gateway to the nation. From its triumphal arched entry, and honorific statuary, to the heraldic imagery on its facade, it was expressly designed to evoke a passageway into a walled city. The allusion to a gate reflected a desire to proclaim the identity of the nation to the world, but it also suggested a point of controlled access through a border. It thus offered a suggestive precedent for the headquarters of the most important district of the federal customs service, which served as the guardian of the nation’s chief port of entry.

Built Environment, Manhattan, Progressive Era, Urban PlanningGuest UserSeptember 3, 2018Comment

Schlep in the City: Carroll Gardens From the Creek to the Point

By Benjamin Serby

The leafy Brooklyn neighborhood of Carroll Gardens is nestled between Degraw Street (or Sackett, depending on your source) to the north and Hamilton Avenue to the south, bounded to the east by either Hoyt or Bond Street (again, answers may vary) and Hicks Street to the west. It’s just a small slice of the borough’s “brownstone belt,” but it packs a wallop, as any pizza enthusiast will tell you. With its deep front lawns, stoop-sitters, and tiny pasticcerias, Carroll Gardens is a unique corner of the city, to be sure — but, in many respects, its past and present tell us much about New York City as a whole.

BrooklynGuest UserAugust 29, 2018Schlep in the CityComment

The Medium and the Message: Sara Blair's How the Other Half Looks

Reviewed by Aaron Shkuda

Visitors to Seward Park on Manhattan’s Lower East Side from July 2018 through July 2019 can view “Mom-and-Pops of the L.E.S.,” a project by the photographers James and Karla Murray. The installation is a trompe l'oeil storefront, a cube containing four large-format prints of the couple’s photographs of the vanishing businesses of the Lower East Side. These include a delicatessen modeled on the façade of the still-extant Katz’s, but meant to stand in for any of the shuttered Jewish delis across the city. This project, with its mix of Lower East Side iconography, nostalgia for a lost immigrant New York, and the complicated, multiply-mediated encounters it inspires, is an appropriate companion to Sara Blair’s powerful and compelling new book, How the Other Half Looks: The Lower East Side and the Afterlives of Images.

Politics, Poverty & Inequality, Progressive Era, ReviewsGuest UserAugust 28, 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

Working for the Public: Black Firefighters and the FDNY

Reviewed by Nick Juravich

David Goldberg’s Black Firefighters in the FDNY opens in court, where Judge Nicholas Garaufis of the Eastern District ruled in 2012 that the New York City Fire Department “knowingly and intentionally implemented and maintained racially discriminatory hiring processes throughout its history.” It is this history of segregation, and of resistance to it, that Goldberg chronicles masterfully, from firehouse fistfights to fraternal organizations to federal litigation. Black firefighters faced tremendous obstacles; as Goldberg explains in the introduction, “no group of white workers better exemplifies the prolonged nature of white resistance and recalcitrance to Black equality more than white firefighters and their politically powerful and influential union, the International Association of Firefighters.” Black firefighters responded by building “a tradition of resistance, militancy, and race consciousness” both inside and beyond their profession, which generated “intergenerational activism, civic and community-centered coalition building, and the immersion and intersection of their struggle with local and national Black freedom movements.”

Business & Labor, Reviews, Race & EthnicityGuest UserAugust 21, 2018Comment

"To make America live up to its ideals": Britt Haas on Youth Activism in the 1930s

Today on Gotham, Peter-Christian Aigner speaks with Britt Haas about her new book, Fighting Authoritarianism: American Youth Activism in the 1930s, exploring the lives of young radicals in New York City and their attempts to create a free, democratic society amid the Great Depression.

Interviews, Politics, Great Depression & New DealGuest UserAugust 15, 2018Comment

The Earliest Sculptures in Central Park

By Dianne Durante

In Olmsted and Vaux’s Greensward Plan, the only sculpture was one atop the fountain at the center of Bethesda Terrace. The commission for the sculpture was given in 1863 to Emma Stebbins (1815-1882), an American-born sculptor working in Rome who happened to be the sister of a member of the Board of Commissioners of Central Park.

This post is an excerpt from the author's new book, Central Park: The Early Years.

Built Environment, Urban Planning, Gilded Age, Manhattan, Nature & Environment, ExcerptsGuest UserAugust 14, 2018Comment

Lincoln’s Near Duel-to-the-Death with an Irish Rival

By Niall O'Dowd

Abraham Lincoln’s long-standing and colorful history with the children of Ireland played a major role in his political rise, his presidency, and ultimately the Union victory in the Civil War. Much of that history has never been told, such as the near duel between Lincoln and rival — and future Union general — James Shields, reminiscent of Hamilton — Burr.

Antebellum & Civil War, Politics, Reviews, Race & Ethnicity, ExcerptsGuest UserAugust 9, 2018Comment

"People of the City": Children in the City

“People of the City”: Children in the City

By Robert A. Slayton

The Ashcan artists viewed the people of the city from a unique perspective. Unlike the elites, they did not consider these individuals their biological inferiors. Yet they also differed from the reformers, in that they rejected the notion that the people who lived in dense city neighborhoods were inherently subjects of pity. Instead, Henri, Sloan, Myers, and the others painted children and women and men, each from these individuals' own, unique perspective, rather than imposing a worldview on them. By so doing, in their paintings and drawings, they gave working-class individuals agency, showing how these people adapted to the world around them in a myriad of ways, ways that often enabled them to attain a measure of control over some parts of their lives.

Arts & Culture, Excerpts, Progressive EraGuest UserAugust 7, 2018Comment

"Vision From An Ashcan": A Radical Exploration of New Subjects

By Robert A. Slayton

The Ashcan school represented a challenge to its era. In a fundamental reinterpretation of art’s appropriate subject matter, it threw down a gauntlet, of canvas and paint, to the art world both of the right and of the left. It did not see the city through the narrow peephole of the elites, instead introducing new landscapes, new characters. But these perspectives were also different from what the reformers saw. This new approach painted the rest of the city, with beauty, endowing urban and working-class individuals of all ages and genders with agency and will. In so doing, the Ashcan artists created one of the great American art forms.

Arts & Culture, Excerpts, Progressive EraGuest UserAugust 2, 2018Comment

Gotham

The Gateway to the Nation: The New York Custom House

By Alexander Wood

Schlep in the City: Carroll Gardens From the Creek to the Point

By Benjamin Serby

The Medium and the Message: Sara Blair's How the Other Half Looks

Reviewed by Aaron Shkuda

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

By Jeffrey Patrick Colgan & Jeffrey Escoffier

Working for the Public: Black Firefighters and the FDNY

Reviewed by Nick Juravich

"To make America live up to its ideals": Britt Haas on Youth Activism in the 1930s

The Earliest Sculptures in Central Park

By Dianne Durante

Lincoln’s Near Duel-to-the-Death with an Irish Rival

​By Niall O'Dowd

“People of the City”: Children in the City

By Robert A. Slayton

"Vision From An Ashcan": A Radical Exploration of New Subjects

By Robert A. Slayton

By Niall O'Dowd