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The Downtown Book: The New York Art Scene 1974-1984
 
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The Downtown Book: The New York Art Scene 1974-1984 [Paperback]

Marvin J. Taylor (Editor), Lynn Gumpert (Foreword), Bernard Gendron (Contributor), RoseLee Goldberg (Contributor), Carlo McCormick (Contributor), Robert Siegle (Contributor), Brian Wallis (Contributor), Matthew Yokobosky (Contributor)
3.5 out of 5 stars  See all reviews (2 customer reviews)

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Book Description

0691122865 978-0691122861 October 17, 2005

Downtown is more than just a location, it's an attitude--and in the 1970s and '80s, that attitude forever changed the face of America. This book charts the intricate web of influences that shaped the generation of experimental and outsider artists working in Downtown New York during the crucial decade from 1974 to 1984. Published in conjunction with the first major exhibition of downtown art (organized by New York University's Grey Art Gallery and Fales Library), The Downtown Book brings the Downtown art scene to life, exploring everything from Punk rock to performance art.

The book probes trends that arose in the 1970s and solidified New York's reputation as arbiter of the postmodern American avant-garde. By 1974, the hippie euphoria of the previous decade, with its optimism, free love, and paeans to personal fulfillment, was over. In its place emerged a new kind of experimentation--in art, sex, drugs, and rock and roll. The seven essays featured here examine from different perspectives how Downtown artists constantly pushed the limits of both traditional media and the art world. Art critic Carlo McCormick addresses the energy, power, drugs, and nonstop erotic motion that propelled the scene. Music historian Bernard Gendron explores how minimalism, loft jazz, and Punk all occupied the same Downtown spaces. RoseLee Goldberg, the noted scholar and critic of performance art, looks back at ten years of its ascendancy Downtown. English professor Robert Siegle casts a critical eye on the literature of the Downtown scene. Librarian and archivist Marvin J. Taylor surveys Downtown as both geography and metaphor, and grapples with the question of how best to organize and preserve materials that often challenge the very notion of the archive. The book also includes seminal essays on the critical theories underlying Downtown art, by Brian Wallis; and on Downtown film, by Matthew Yokobosky.

The essays are intercut with personal reminiscences by such renowned pioneers of the Downtown scene as Eric Bogosian, Richard Hell, Lydia Lunch, Ann Magnuson, Michael Musto, and Martha Wilson. More than 150 striking photographs feature Downtown denizens and galleries; works by Cindy Sherman, Keith Haring, and many other artists; and hotspots such as CBGBs and Club 57. Hip and provocative, The Downtown Book provides a rare glimpse into the cauldron of the New York artistic counterculture--and the colorful characters who inhabited it.

EXHIBITION SCHEDULE

Grey Art Gallery and the Fales Library

New York University

January 10 - April 1, 2006



The Andy Warhol Museum

Pittsburgh, Pennsylvania

Mid-May to September 4, 2006



Austin Museum of Art

Austin, Texas

November 11, 2006 - January 28, 2007 (tentative dates)



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Editorial Reviews

Review


The Downtown Book: The New York Art Scene 1974-1984 celebrates the era's creative commotion, much of it scattershot and under the mainstream radar. -- New York Times Style Magazine



For readers with an interest in New York's art history, the detailed chronology alone makes the book essential source material. -- Kenneth Baker, San Francisco Chronicle

From the Inside Flap


"This is a terrific and important book. It brings an interdisciplinary view to one of the most fecund decades in the history of avant-garde art."--Peggy Phelan, Stanford University

"In the late 1970s, when Gregory Battcock and I were both writing art columns for the Soho Weekly News, he divided Manhattan into two kinds of people: the Downtown Slouches and the Uptown Swells. This is a book filled with facts and anecdotes, told by astute eyewitnesses and not detached scholars, about the Downtown Slouches--and the wonderful crazy things they did, and made, over a remarkable ten-year period. All of the contributing writers and artists emphasize one crucial issue: for everyone living and working below Fourteenth Street at that time, identity was synonymous with geography--urban space was our mental space. We were refugees from the America of the 1950s and 60s, outcasts of the suburbs and the shopping malls. We wrote, painted, performed and played music in grateful homage to our spiritual home--and our offerings have borne fruit, as this book makes abundantly clear, by illuminating the history of American art."--Shelley Rice, New York University

"After the Vietnam War we thought we could change the world with a cultural revolution. Read this book and find out how we did it: Art and more Art and lots of Art."--Karen Finley, Visiting Professor, Tisch School for the Arts, New York University

"A magnificent, groundbreaking, blinding bright, really important book."--Dennis Cooper, author of The George Miles Cycle

"This is history still alive. More than memory, it is our identity. Did we know what we were doing? Yes. We were coming in on energy. And creating the ultimate conflagration. Some kind of end-times party. It's all over because it's all over everything we see, hear, and do now. These writings overflow with exquisite passion for a juiced time. Eventually they swept the streets. But we were already out of there."--Thurston Moore, singer and guitarist for Sonic Youth



Product Details

  • Paperback: 208 pages
  • Publisher: Princeton University Press (October 17, 2005)
  • Language: English
  • ISBN-10: 0691122865
  • ISBN-13: 978-0691122861
  • Product Dimensions: 7.9 x 7.8 x 0.6 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #477,272 in Books (See Top 100 in Books)

 

Customer Reviews

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7 of 7 people found the following review helpful:
3.0 out of 5 stars Uneven, January 28, 2008
This review is from: The Downtown Book: The New York Art Scene 1974-1984 (Paperback)
I agree with the previous reviewer: why no Basquiat? Yet that brings me to my major issue with the book, which is the uneven quality of the included essays. Berbard Gendron's essay on downtown music and Matthew Yokobosky's essay on no wave cinema are useful and interesting, yet the reader is punished with Robert Siegle's vague essay on downtown writing, an absurd essay about modernism vs postmodernism, and an absolutely awful essay by Carlo McCormick. Here's a sentence by McCormick:

"Between the communality of the great psychedelic orgy and the mortal dread of viral transmission, the concupiscence of youth proliferated a polymorphous perversity that explored the politics of desire, the social ideals of attraction, and the aesthetics of fetish in a carnal celebration of ideogrammatic Sexpressionism."

Someone get him a copy of _The Elements of Style_.

In any case, the book is filled with some really interesting photos and reproductions, so I'd say it's worth a look. I just wouldn't pay full price.
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7 of 8 people found the following review helpful:
4.0 out of 5 stars A great cross-section, but where's Basquiat???, November 29, 2006
This review is from: The Downtown Book: The New York Art Scene 1974-1984 (Paperback)
This book indeed contains a good cross-section of the artists, writers & performers navigating around the downtown NY art scene between 74 & 84. Great photographs & an excellent Chronology feature at the end of the book. BUT: How do you get by sub-titling a book The New York Art Scene 1974-1984 without showing one photo of or one piece of work by Jean-Michel Basquiat, or writing one full paragraph concerning him? There are only scattered mentions of him here & there & the only photo we get are a couple of stills from Downtown 81. It's true that I didn't buy this book expecting in-depth Basquiat coverage, but still, there could have been at least a bit more on him. I'm only knocking off one rating star for that since besides the lack of Basquiat pictures, this book is an excellent summary/chronology of an increasingly important & often overlooked period of American art.
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