Merchandising Modernism:
The End of the Downtown Scene
Jeffrey Patrick Colgan and Jeffrey Escoffier
Late in 1978, Peter McGough arrived in New York City, just when it was its most “dirty and dangerous.” He was 20 years old and had grown up in Syracuse. He came to attend the Fashion Institute of Technology but soon dropped out. He spent his tuition going to clubs like the Ninth Circle and Studio 54, drinking, taking drugs, and hanging out at the Chelsea Hotel with Village denizens like Cookie Mueller, the writer and John Waters actress, and fashion designer Michael Kors, a former classmate at FIT. For a while he made money doing odd jobs, sketching for fashion magazines, working at vintage shops, and eventually selling drink tickets at Danceteria. When he first became acquainted with the fledgling artist David McDermott, his friends warned him that McDermott was crazy.
Read MoreVisualizing New York City by the Numbers: An Interview with Kubi Ackerman
Interviewed by Hannah Diamond
Today on Gotham, Hannah Diamond interviews Kubi Ackerman, guest curator of Who We Are: Visualizing NYC by the Numbers, a special exhibition now on view and available online at the Museum of the City of New York. Who We Are examines the role data plays in shaping and reflecting the city around us. The exhibition examines New York City’s own history with the census and features works by contemporary artists and designers that illuminate our urban environment and our own identities.
Read More"Imagination Aided by the Painter's Brush": William Ranney and the Creation of the Purchase of Manhattan, 1844–1909
By Stephen McErleane
“Twenty-four bucks worth of beads and trinkets. This whole island.” One can easily imagine this remark from any of the more than 1,000,000 parade spectators on Fifth Avenue as they watched the “Purchase of Manhattan Island” float go by in the 1909 Hudson-Fulton Celebration. The fifteenth in a procession of fifty-four historical floats depicting notable events, persons, and places in the history of the Hudson River region, the thriftily constructed display of paper-mâché and painted canvas portrayed the legendary 1626 transaction in which the Dutch allegedly purchased the island for the paltry sum of twenty-four dollars.
Although it is now a fundamental piece of the city’s earliest history, it was not until 217 years after the event that New Yorkers first learned of the transaction. The story surfaced in 1844 and filled a void in a city largely ignorant of its earliest history, a city whose Dutch origins had, as Washington Irving wrote, left it with “an antiquity… extending back into the regions of doubt and fable.” Based on a single sentence in a contemporaneous letter reporting the news of the purchase, the story’s lack of detail and frequent retelling encouraged imaginative leaps. In the decades that followed the letter’s discovery, historians, artists, and others—who could now reach a larger audience due to a media revolution—obliged.
Read MoreHow Dinosaurs Came to New York
By Lukas Rieppel
On February 16, 1905, the American Museum of Natural History unveiled an enormous dinosaur skeleton measuring more than sixty-five feet in length: Brontosaurus. This lumbering behemoth was discovered in a remote part of Wyoming several years earlier, and curators had just finished assembling its gargantuan bones into a free-standing display that would serve as the centerpiece of the museum’s recently inaugurated dinosaur hall. Over the next several decades, Brontosaurus became one of the most iconic dinosaurs of all time, and throngs of visitors flocked to the Upper West Side to see its fossil remains with their own eyes.
Read MoreJump Up! Caribbean Carnival Music in New York City
Reviewed by Gage Averill
It is fitting that it was two New Yorkers in the early 1930s, Harold Arlen and Ted Koehler, who composed the showtune “I Love a Parade,” because for all the diversity and excess of its public processions, there is likely no city anywhere that has exceeded New York. The home of the renowned ticker-tape parades, the Macy’s Day Parade, the St Patrick’s Day Parade, NYC Pride the Village Halloween Parade, and numerous ethnic celebrations (modeled on St. Patrick’s), New York City’s streetscapes have conferred both prestige and visibility on those who have been able to muster the necessary funding and authorizations and crowds. It is not without a powerful sense of the current moment, the Covid-19 pandemic, that I’ve taken on the otherwise enviable, and the now more somber, task of reviewing a book about some of the most raucous, colorful, noisy and crowded events in New York: Brooklyn’s Caribbean Carnival celebrations.
Read MoreA Murky Mess of Monuments in Crisis New York
By Todd Fine
Gonzalo Casals, New York City's new commissioner of the Department of Cultural Affairs (DCLA), begins work this week after recovering from the coronavirus. Hired to replace Tom Finkelpearl, who resigned after repeated controversies over an ambitious effort to build at least a dozen new historical monuments, Casals was tasked to bring the initiative to the "finish line” in the remaining twenty months of Mayor Bill de Blasio's second and final term.
Read MoreThe Women of Atelier 17: Modernist Printmaking in Midcentury New York
Review by Jennifer Farrell
While there is certainly no dearth of scholarship on midcentury art in the United States, especially work made in New York City, this informative and important new book proves that there are still many areas in this period which demand further study. In The Women of Atelier 17, the independent historian Christina Weyl closely examines a world largely ignored in both art history and cultural studies—modernist printmaking and work done by female artists at the celebrated print studio when it operated in Gotham. Using archival sources, interviews, skillful visual analysis, as well as literature from a variety of fields (including art history, women’s studies, cultural studies, history, sociology, and other subjects), she considers both their work and influence, in this particular field and beyond it.
Read MoreThe Unstoppable Irish: Songs and Integration of the New York Irish, 1783-1883
Interview by Elizabeth Stack
Today on the blog, Gotham editor Elizabeth Stack speaks with Dan Milner about his recent book, The Unstoppable Irish: Songs and Integration of the New York Irish, 1783-1883 and the importance of music to the Irish people both in Ireland and New York.
The Unstoppable Irish follows the changing fortunes of New York's Irish Catholics, commencing with the evacuation of British military forces in late 1783 and concluding one hundred years later with the completion of the initial term of the city's first Catholic mayor. During that century, Hibernians first coalesced and then rose in uneven progression from being a variously dismissed, despised, and feared foreign group to ultimately receiving de facto acceptance as constituent members of the city's population. Dan Milner presents evidence that the Catholic Irish of New York gradually integrated (came into common and equal membership) into the city populace rather than assimilated (adopted the culture of a larger host group). Assimilation had always been an option for Catholics, even in Ireland. In order to fit in, they needed only to adopt mainstream Anglo-Protestant identity. But the same virile strain within the Hibernian psyche that had overwhelmingly rejected the abandonment of Gaelic Catholic being in Ireland continued to hold forth in Manhattan and the community remained largely intact. A novel aspect of Milner's treatment is his use of song texts in combination with period news reports and existing scholarship to develop a fuller picture of the Catholic Irish struggle. Products of a highly verbal and passionately musical people, Irish folk and popular songs provide special insight into the popularly held attitudes and beliefs of the integration epoch.
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The Unexpected Logic of Art Economics: Arts and Inequality in 1980s New York
By Sarah Miller-Davenport
When Richard Serra’s Tilted Arc was installed in Federal Plaza in Lower Manhattan’s Foley Square in 1981, it was meant to be a pioneering work of public art that would expose New York’s masses to post-minimalist sculpture. Tilted Arc would indeed become one of the most legendary sculptures in 20th century history—but not for its artistic merit.
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