Sculpture In Gotham

Public sculpture is a major draw in today’s cities, and nowhere is this more the case than in New York. In the Big Apple, urban art has become synonymous with the municipal “brand,” highlighting the metropolis as vibrant, creative, tolerant, orderly, and above all, safe. Sculpture in Gotham tells the story of how the City of New York came to be committed to public art patronage beginning in the mid-1960s. In that era of political turbulence, cultural activists and city officials for a time shifted away from traditional monuments, joining forces to sponsor ambitious sculptural projects as an instrument for urban revitalization. Focusing on specific people, agencies and organizations, and both temporary and permanent projects, from the 1960s forward, Michele H. Bogart reveals the changing forms and meanings of municipal public art. Sculpture in Gotham illustrates how such shifts came about at a time when art theories and styles were morphing markedly, and when municipalities were reeling from racial unrest, economic decline, and countercultural challenges—to culture as well as the state. While sculptural installations on New York City property took time and were not without controversy, Gotham’s processes and policies produced notable results, providing precedents and lessons for cities the world over.

In this utterly immersive volume, Mike Wallace captures the swings of prosperity and downturn, from the 1898 skyscraper-driven boom to the Bankers' Panic of 1907, the labor upheaval, and violent repression during and after the First World War. Here is New York on a whole new scale, moving from national to global prominence -- an urban dynamo driven by restless ambition, boundless energy, immigrant dreams, and Wall Street greed. Within the first two decades of the twentieth century, a newly consolidated New York grew exponentially. The city exploded into the air, with skyscrapers jostling for prominence, and dove deep into the bedrock where massive underground networks of subways, water pipes, and electrical conduits sprawled beneath the city to serve a surging population of New Yorkers from all walks of life. New York was transformed in these two decades as the world's second-largest city and now its financial capital, thriving and sustained by the city's seemingly unlimited potential. Wallace's new book matches its predecessor in pure page-turning appeal and takes America's greatest city to new heights.

This book maps the presence of moving images within the field of public art through encounters with passersby. It argues that far from mere distraction or spectacle, moving images can produce moments of enchantment that can renew, intensify, or challenge our everyday engagement with public space and each other. These artworks also offer frameworks for understanding how moving images operate in public space—how they move viewers and reconfigure the site of the screen. Each chapter explores a mode of address that examines how artists and curators leverage the moving image’s attentional power to engage audiences, create spaces, make place, and challenge assumptions. This book also examines the difficulties and compromises that arise when using urban screens for public art.

This volume reframes the development of US-American avant-garde art of the long 1960s—from minimal and pop art to land art, conceptual art, site-specific practices, and feminist art—in the context of contemporary architectural discourses. Susanneh Bieber analyzes the work of seven major artists, Donald Judd, Robert Grosvenor, Claes Oldenburg, Robert Smithson, Lawrence Weiner, Gordon Matta-Clark, and Mary Miss, who were closely associated with the formal-aesthetic innovations of the period. While these individual artists came to represent diverse movements, Bieber argues that all of them were attracted to the field of architecture—the work of architects, engineers, preservationists, landscape designers, and urban planners—because they believed these practices more directly shaped the social and material spaces of everyday life. This book’s contribution to the field of art history is thus twofold. First, it shows that the avant-garde of the long 1960s did not simply develop according to an internal logic of art but also as part of broader sociocultural discourses about buildings and cities. Second, it exemplifies a methodological synthesis between social art history and poststructural formalism that is foundational to understanding the role of art in the construction of a more just and egalitarian society. The book will be of interest to scholars working in art history, architecture, urbanism, and environmental humanism.

Uncovering the lost history of gay, lesbian, bisexual, and transgender artists in New York City. Queer people have always flocked to New York seeking freedom, forging close-knit groups for support and inspiration. Gay Gotham brings to life the countercultural artistic communities that sprang up over the last hundred years, a creative class whose radical ideas would determine much of modern culture. More than 200 images—both works of art, such as paintings and photographs, as well as letters, snapshots, and ephemera—illuminate their personal bonds, scandal-provoking secrets at the time and many largely unknown to the public since. Starting with the bohemian era of the 1910s and 1920s, when the pansy craze drew voyeurs of all types to Greenwich Village and Harlem, the book winds through midcentury Broadway as well as Fire Island as it emerged as a hotbed, turns to the post-Stonewall, decade-long wild party that revolved around clubs like the Mineshaft and Studio 54, and continues all the way through the activist mobilization spurred by the AIDS crisis and the move toward acceptance at the century’s close. Throughout, readers encounter famous figures, from James Baldwin and Mae West to Leonard Bernstein, and discover lesser-known ones, such as Harmony Hammond, Greer Lankton, and Richard Bruce Nugent. Surprising relationships emerge: Andy Warhol and Mercedes de Acosta, Robert Mapplethorpe and Cecil Beaton, George Platt Lynes and Gertrude Stein. By peeling back the overlapping layers of this cultural network that thrived despite its illicitness, this groundbreaking publication reveals a whole new side of the history of New York and celebrates the power of artistic collaboration to transcend oppression.

During the rise of New York from the capital of an upstart nation to a global metropolis, the visual language of Greek and Roman antiquity played a formative role in the development of the city’s art and architecture. This compilation of essays offers a survey of diverse reinterpretations of classical forms in some of New York’s most iconic buildings, public monuments, and civic spaces. Classical New York examines the influence of Greco-Roman thought and design from the Greek Revival of the late eighteenth and early nineteenth centuries through the late-nineteenth-century American Renaissance and Beaux Arts period and into the twentieth century’s Art Deco. At every juncture, New Yorkers looked to the classical past for knowledge and inspiration in seeking out new ways to cultivate a civic identity, to design their buildings and monuments, and to structure their public and private spaces. Specialists from a range of disciplines—archaeology, architectural history, art history, classics, and history— focus on how classical art and architecture are repurposed to help shape many of New York City’s most evocative buildings and works of art. Federal Hall evoked the Parthenon as an architectural and democratic model; the Pantheon served as a model for the creation of Libraries at New York University and Columbia University; Pennsylvania Station derived its form from the Baths of Caracalla; and Atlas and Prometheus of Rockefeller Center recast ancient myths in a new light during the Great Depression. Designed to add breadth and depth to the exchange of ideas about the place and meaning of ancient Greece and Rome in our experience of New York City today, this examination of post-Revolutionary art, politics, and philosophy enriches the conversation about how we shape space—be it civic, religious, academic, theatrical, or domestic—and how we make use of that space and the objects in it.

The first guidebook devoted exclusively to New York City’s Art Deco treasures. Of all the world’s great cities, perhaps none is so defined by its Art Deco architecture as New York. Lively and informative, New York Art Deco leads readers step-by-step past the monuments of the 1920s and ’30s that recast New York as the world’s modern metropolis. Anthony W. Robins, New York’s best-known Art Deco guide, includes an introductory essay describing the Art Deco phenomenon, followed by eleven walking tour itineraries in Manhattan—each accompanied by a map designed by legendary New York cartographer John Tauranac—and a survey of Deco sites across the four other boroughs. Also included is a photo gallery of sixteen color plates by nationally acclaimed Art Deco photographer Randy Juster. In New York Art Deco, Robins has distilled thirty years’ worth of experience into a guidebook for all to enjoy at their own pace. “A wonderful, warmhearted, exceptionally knowledgeable and detailed guidebook that takes you firmly by the hand along fifteen thoughtfully planned itineraries through New York’s most exuberant and optimistic architectural heritage—those much-beloved Art Deco skyscrapers, apartment houses, shops, and theaters that stand out as the showy orchids and magnificent birds-of-paradise of the city’s building stock. Anthony W. Robins’s New York Art Deco is an essential introduction to hundreds of structures that are, as the book says, ‘waiting impatiently for you to visit.’” — Tony Hiss, author of In Motion: The Experience of Travel “Anthony W. Robins has produced what will surely stand as the definitive guide to New York City’s Art Deco architecture. The book is an authoritative as well as entertaining tour de force, drawn from the author’s encyclopedic knowledge of the subject.” — Jules Stewart, author of Gotham Rising: New York in the ’30s “Anthony Robins’s New York Art Deco fills a void in the design library of New York. Well organized by itineraries that begin at the very tip of Manhattan and work their way into the other four boroughs, it is filled with invaluable information on the monuments of Art Deco and French moderne structures whose design perfectly expresses the streamlined era when speed and movement were celebrated. This is a must-have book for every lover of Art Deco, whether you are a New Yorker or a visitor from New Zealand.” — David Garrard Lowe, author of Art Deco New York “The Art Deco style fits New York like a glove, from the skyscraping Chrysler Building to the little, eye-popping Lane Theater on Staten Island, and nobody knows it like Anthony Robins. If you thought you knew Art Deco—as I did, before I read his New York Art Deco—then buy this book and be surprised.” — Christopher Gray, author of the former New York Times Streetscapes column “Buy this book, take a few wonderful walks around the entire city (discovering some fine New York neighborhoods you probably have never been to), from the Grand Concourse and Washington Heights’ treasure trove of Deco to the Chrysler Building to Flatbush in Brooklyn, and ask yourself, do all those new glass towers in Manhattan leave you as delighted as Art Deco’s confections, whether seven stories or seventy? That generation knew how to make buildings that you really want to live in, work in, and walk by. Thank you, Anthony Robins, for giving us the keys to that kingdom.” — Barry Lewis, architectural historian “With the publication of New York Art Deco everyone, from the city explorer to the armchair reader, can now experience Anthony Robins’s dynamic Art Deco walking tours. Robins not only discusses the city’s famed Deco skyscrapers, but also identifies the spectacular but little-known Deco gems spread across the city. This book is a must for those who love New York and thrill to Art Deco architecture.” — Andrew Scott Dolkart, author of The Row House Reborn: Architecture and Neighborhoods in New York City, 1908–1929

DC heroes and villains are reimagined as bikers in this new series inspired by the DC Collectibles statue line, GOTHAM CITY GARAGE VOL. 1! It's been decades since Governor Lex Luthor turned Gotham City into a modern utopia, saving his people from the devastation that made the rest of the continent a wasteland. But his city isn't paradise for everyone. If the Lexes Network misfires, and a citizen wakes up and steps out of line, the Bat and his minions are brutal in restoring the status quo. So when young Kara Gordon, whose ridealong tech has never functioned optimally, rushes headlong into the Freescape, she's shocked to find Gotham City Garage--where new friends might become family, if she lives long enough! A new world featuring the greatest characters from the DC Universe is born in GOTHAM CITY GARAGE VOL. 1! Collects GOTHAM CITY GARAGE #1-6