When I first started hanging out in the East Village in the mid-1970s, it was loaded with unofficial monuments to an older Lower East Side: Boarded up Yiddish theaters and a largely unused bocce ball court on Houston Street were reminders of the days when an immigrant community flourished.
An anonymous work of protest art appeared on Jackson Avenue in Long Island City on Wednesday morning, but unlike much of the protest art that has been seen on the streets of US cities lately, this one targeted a very local and specific issue: Another work of public art.
I’ve never seen a spoiler alert for an art show, but I learned two unexpected facts as I perused the Greer Lankton exhibition at Participant Inc.
Robert Marbury’s Taxidermy Art could easily be divided into a couple of books, both larger than this volume. Integrated, as they are here, these subjects make for a disjointed but nevertheless visually and intellectually stimulating read.
When I became a bike rider back in the late 1970s, the very notion of New York Bike Style — now the title of a book by Sam Polcer (Prestel, 2014) — seemed like a contradiction in terms.
About thirty years ago, I met William S. Burroughs and had him sign my hardcover copy of Naked Lunch, which I duly lost. By contrast, R. Luke Dubois met Burroughs and found a clever idea. He came up with a literary art exhibition that basically out-Burroughed Burroughs.
Last Sunday afternoon, as baffled tourists watched, an old-fashioned “Happening” occurred under the Manhattan side of the Brooklyn Bridge.