Hugh Ryan's When Brooklyn Was Queer

Reviewed by Benjamin Serby

“Pick a random book about ‘New York City’ history, and chances are, it will mention Brooklyn… sporadically if at all. The chance that it talks about the queer history of Brooklyn? Nearly zero.” Thus writes Hugh Ryan, a curator and author whose new book, When Brooklyn Was Queer, marks a first attempt at correcting the ingrained Manhattan-centrism of queer studies and recovering the stories of queer Brooklynites in particular.

New York Sports: Glamour and Grit in the Empire City

Reviewed by Tony Collins

2018 wasn’t a great year for sports fans in New York. It ended with the Jets and Giants finishing last in their conferences, while the Knicks and the Nets spent the 2017-18 season fighting over the keys to the Atlantic Division’s cellar. And, with the exception of the Yankees, baseball and hockey fared little better.

But everyone in the city knows that things will change. This, after all, is the city that pretty much invented modern American sports.

The New York Pigeon: Behind the Feathers

Reviewed by Leslie Day

Nature & Environment, ReviewsGuest UserFebruary 12, 2019Comment

Art's Great Good Place? Warhol's Silver Factory and Its Legacy

By Jeffrey Patrick Colgan

Andy Warhol is a famous artist. With his platinum blonde wig, cosmetic surgery, and cool gaze resting atop impossibly high cheekbones, his visage alone is known by almost every American. So too his art, with its repetition, immediacy, bold splotches of non-gradated color, and mass-culture subject matter. For many outside of the art world he alone represents 20th Century visual art. Within the art world, and the adjacent fields of art history and the philosophy of art, the biography and artistic output of Warhol—endlessly examined and discussed as it is—primarily repeats the same few narratives.

—
Andy Warhol—From A to B and Back Again, Whitney Museum of American Art
November 12th, 2018 - March 31st, 2019

Arts & Culture, Postwar New York, ReviewsGuest UserJanuary 24, 2019Comment

John Strausbaugh's Victory City: A History of New York and New Yorkers During World War II

Reviewed by Steven H. Jaffe

In recent years writers and historians have turned their attention to New York City’s experience in World War II. Contributions to the field have included Lorraine B. Diehl’s Over Here! New York City During World War II (2010), Richard Goldstein’s Helluva Town: The Story of New York City During World War II (2010), my own New York at War: Four Centuries of Combat, Fear, and Intrigue in Gotham (2012), and Kenneth T. Jackson’s WWII & NYC(2012), the latter accompanying an exhibition of the same name at the New-York Historical Society. Other scholars have tackled specific aspects of the story, including the crucial military role of the city’s port (over 3 million GIs and 63 million tons of materiel departed from the harbor’s piers to the North African and European fronts), and the volatile political, ethnic, religious, and economic tensions that vexed relations between New York’s Jewish, German, Irish, Italian, and African-American communities before and during the war.

Politics, Reviews, Great Depression & New DealGuest UserJanuary 10, 2019Comment

Heidi Waleson's Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in America

Reviewed by Lily Kass

Heidi Waleson’s Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in Americatakes us behind the scenes at a long-beloved, and recently resurrected, New York cultural institution. The New York City Opera was founded in 1944 when the New York City Council and Mayor Fiorello H. LaGuardia inaugurated the City Center of Music and Drama. As one of the center’s constituent performance ensembles, the opera company’s original mission was to bring opera to the people through affordable ticket prices and popular repertoire. Waleson recounts the company’s struggle to survive through the decades as views changed about the importance of opera, both in New York City and around the country. Readers of the book are made constantly aware that City Opera, even from the start, was only barely cheating death and that its demise was preordained.

Arts & Culture, Contemporary Era, Reviews, Urban Decline & Fiscal CrisisGuest UserJanuary 3, 2019Comment

“The Work Is Never Done:” Judson Dance Theater Transforms MoMA

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.

Arts & Culture, Postwar New York, ReviewsGuest UserDecember 18, 2018Comment

Ninth Street Women

Reviewed by Marjorie Heins

Mary Gabriel's group biography of five leading women artists in the Abstract Expressionist movement — Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler — weighs in at 722 pages (892 if you count endnotes and bibliography), yet leaves the reader (or at least, this reader) hungry for what is left out. Gabriel spends almost as much time recycling well-known stories about the men these five "Ab Ex" stars married, bedded, or hung out with, as it does on the women themselves. In the process, it pays scant attention to dozens of other female artists of the time.

Arts & Culture, Gender & Sexuality, Postwar New York, ReviewsGuest UserDecember 6, 2018Comment

Mrs. Maisel is Indeed Marvelous — Mostly

By Stephen R. Duncan

Arts & Culture, Manhattan, Postwar New York, ReviewsGuest UserDecember 4, 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