Carol Lamberg's Neighborhood Success Stories: Creating and Sustaining Affordable Housing in New York
Reviewed by Nicholas Dagen Bloom
Mayors LaGuardia, Wagner, Koch, Bloomberg, and de Blasio get all the attention for affordable or public housing. Lost in the “top down” approach are key figures such as NYCHA founder Mary Simkhovitch; the Rose family that was deeply involved in Mitchell-Lama; or the Koch-era HPD leader Felice Michetti who today manages thousands of subsidized units. New York’s deep bench in the private/public world of housing development and management was as important as the largescale programs.
By Jeffrey Patrick Colgan
And there is the Andy Warhol that portrayed the quotidian, that perceived and engaged with the latent power of public images and brands, and that worked to blur the boundary between art objects and everyday objects—what philosopher and critic Arthur Danto called mere real things.
Heidi Waleson's Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in America
By Joanna Steinberg
In 1968, Village Voice critic Jill Johnston proclaimed that between 1962 and 1964 a “revolution” had occurred at Judson Memorial Church. With its exhibition Judson Dance Theater: The Work is Never Done, MoMA brings visitors into this seminal moment when a collective of choreographers and downtown artists across disciplines came together to create and show new works in non-commercial spaces, works that transformed the definitions of art and how we experience it. MoMA pushes the boundaries and conventions of the museum space as well, beginning the exhibition in the Atrium, where a video installation and a series of live performances take place daily, showing the work of preeminent choreographers from Judson Dance Theater: Yvonne Rainer, Deborah Hay, David Gordon, Lucinda Childs, Steve Paxton, and Tricia Brown. As the subtitle suggests, “the work is never done.” The performances embody the idea that experimentation is ongoing, as is the interpretation by both artists and audiences who come together in the present moment.
By Stephen R. Duncan
The Marvelous Mrs. Maisel, Amazon’s Emmy-winning comedy series, doesn’t pull its punches. Within the first episode, the show’s titular character — an almost cartoonish 1950s middle-class, Upper West Side housewife — explodes into a drunken rant about the travails of family life during a profanity-laden performance that includes baring her breasts to the audience of a Greenwich Village nightclub. Miriam “Midge” Maisel’s impromptu comedic monologue packs quite a proto-feminist wallop, smacking down already-tenuous myths of midcentury domestic bliss. But what the show needs, if it truly wants to portray the New York underground nightclub milieu where Midge finds her comic footing, is a stronger left hook. The real history of the 1950s nightclub underground was far more radical than the hilariously foul-mouthed Midge would care to admit.
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