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Traces the history of the New York industrial district that was transformed into a center of American contemporary art and shows how the resident artist community has succeeded in preserving the character of the neighborhood
During the 1960s and 1970s in New York City, young artists exploited an industrial wasteland to create spacious studios where they lived and worked, redefining the Manhattan area just south of Houston Street. Its use fueled not by city planning schemes but by word-of-mouth recommendations, the area soon grew to become a world-class center for artistic creation—indeed, the largest urban artists’ colony ever in America, let alone the world. Richard Kostelanetz’s Artists’ SoHo not only examines why the artists came and how they accomplished what they did but also delves into the lives and works of some of the most creative personalities who lived there during that period, including Nam June Paik, Robert Wilson, Meredith Monk, Richard Foreman, Hannah Wilke, George Macuinas, and Alan Suicide. Gallerists followed the artists in fashioning themselves, their homes, their buildings, and even their streets into transiently prominent exhibition and performance spaces. SoHo pioneer Richard Kostelanetz’s extensively researched intimate history is framed within a personal memoir that unearths myriad perspectives: social and cultural history, the changing rules for residency and ownership, the ethos of the community, the physical layouts of the lofts, the types of art produced, venues that opened and closed, the daily rhythm, and the gradual invasion of “new people.” Artists’ SoHo also explores how and why this fertile bohemia couldn’t last forever. As wealthier people paid higher prices, galleries left, younger artists settled elsewhere, and the neighborhood became a “SoHo Mall” of trendy stores and restaurants. Compelling and often humorous, Artists’ SoHo provides an analysis of a remarkable neighborhood that transformed the art and culture of New York City over the past five decades.
Presenting the latest iteration of this crucial exhibition, always a barometer of contemporary American art The 2022 Whitney Biennial is accompanied by this landmark volume. Each of the Biennial's participants is represented by a selected exhibition history, a bibliography, and imagery complemented by a personal statement or interview that foregrounds the artist's own voice. Essays by the curators and other contributors elucidate themes of the exhibition and discuss the participants. The 2022 Biennial's two curators, David Breslin and Adrienne Edwards, are known for their close collaboration with living artists. Coming after several years of seismic upheaval in and beyond the cultural, social, and political landscapes, this catalogue will offer a new take on the storied institution of the Biennial while continuing to serve--as previous editions have--as an invaluable resource on present-day trends in contemporary art in the United States.
Reports for 1980-19 also include the Annual report of the National Council on the Arts.
112 Greene Street was more than a physical space—it was a locus of energy and ideas that with a combination of genius and chance had a profound impact on the trajectory of contemporary art...its permeable walls became the center of an artistic community that challenged the traditional role of the artist, the gallery, the performer, the audience, and the work of art. — Jessamyn Fiore 112 Greene Street was one of New York’s first alternative, artist-run venues. Started in October 1970 by Jeffrey Lew, Gordon Matta-Clark, and Alan Saret, among others, the building became a focal point for a young generation of artists seeking a substitute for New York’s established gallery circuit, and provided the stage for a singular moment of artistic invention and freedom that was at its peak between 1970 and 1974. 112 Greene Street: The Early Years (1970–1974) is the culmination of an exhibition by the same name that was on view at David Zwirner in New York in 2011. This extensively researched and historically important book brings together a number of works that were exhibited at the seminal space (including works by Gordon Matta-Clark, Vito Acconci, Tina Girouard, Suzanne Harris, Jene Highstein, Larry Miller, Alan Saret, and Richard Serra); extensive interviews with many of the artists involved in the space; a fascinating timeline of all the activity at 112 Greene Street in the early years; and installation views of the 2011 exhibition. The interviews in the book have been prepared by the exhibition’s curator, Jessamyn Fiore, and Louise Sørensen, Head of Research at David Zwirner, has contributed an introductory text that illuminates the space’s significance and critical reception during the prime years of its operation, as well as commentary on individual works in the show.
Lawrence Alloway (1926–1990) was a key figure in the development of modern art in Europe and America from the 1950s to the 1980s. He is credited with coining the term pop art and with championing conceptual art and feminist artists in America. His interests as a critic and as a curator at the Solomon R. Guggenheim Museum in New York were wide-ranging, however, and included architecture, design, earthworks, film, neorealism, science fiction, and public sculpture. Early in his career he was associated with the Independent Group in London and although he was largely self-taught, he was a noted educator and lecturer. A prolific writer, Alloway sought to escape the conventions of art-historical discourse. This volume illuminates how he often shaped the field and anticipated approaches such as social art history and visual and cultural studies. Lawrence Alloway: Critic and Curator provides the first critical analysis of the multiple facets of Alloway’s life and career, exploring his formative influence on the disciplines of art history, art criticism, and museum studies. The nine essays in this volume depend on primary archival research, much of it conducted in the Lawrence Alloway Papers held by the Getty Research Institute. Each author addresses a distinct aspect of Alloway’s eclectic professional interests and endeavors.
This book examines the writings of Lawrence Alloway (1926-1990), one of the most influential and widely-respected art writers of the post-War years. It provides a close and critical reading of his writings, and sets his work in the cultural and political context of the London and New York art worlds of the 1950s to the early 1980s.
A long overdue survey of this exceptional artist, a renegade in every sense of the word, celebrating her legacy as an original member of the Beat Generation in San Francisco and abstract painter in New York. This first comprehensive monograph on Remington (1930–2010) examines her extraordinary career through paintings, prints, and drawings. An enthusiastic participant in the Bay Area’s Beat scene in the early 1950s, Remington made her way to New York in 1965, where she joined the prestigious Bykert Gallery and quickly gained critical attention. Luminous and saturated, her hard-edged abstractions of the 1960s and 1970s are well known; yet the work from the last twenty-five years of her life is not as familiar to art world audiences. After a mid-career survey in 1983, Remington returned to a poetic, gestural sensibility that evoked the natural world and, eventually, her ailing body. This publication traces the arc of these evolutions through lavish illustrations as well as a broad range of texts that includes scholarly essays, remembrances, an interview, and a narrative chronology. Extensive research reveals the artist’s innermost thoughts, enhancing our understanding of the art world during her time. This long overdue examination of her career reveals a visionary artist untethered to the trends and art movements of her own lifetime and prime for rediscovery.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.