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ABC No Rio
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Alternative Art, New York, 1965-1985
A sweeping history of the New York art scene during the 1960s, 1970s, and 1980s reveals a powerful "alternative" art culture that profoundly influenced the mainstream. Simultaneous. (Fine Arts)
Counter Institution
In the midst of current debates about the accessibility of public spaces, resurfacing as a result of highly visible demonstrations and occupations, this book illuminates an overlooked domain of civic participation: the office, workshop, or building where activist groups meet to organize and plan acts of political dissent and collective participation. Author Nandini Bagchee examines three re-purposed buildings on the Lower East Side that have been used by activists to launch actions over the past forty years. The Peace Pentagon was the headquarters of the anti-war movement, El Bohio was a metaphoric “hut” that envisioned the Puerto Rican Community as a steward of the environment, and ABC ...
Art-Rite
This facsimile edition collects all 19 issues of 'Art-Rite' magazine, edited by art critics Walter Robinson and Edit DeAk from 1973 to 1978. Robinson, DeAk and a third editor, Joshua Cohn, met as art history students at Columbia University, and were inspired to found the magazine by their art criticism teacher, Brian O'Doherty. 'Art-Rite', cheaply produced on newsprint, served as an important alternative to the established art magazines of the period. 'Art-Rite' ran for only five years, and published only 19 issues. But in that time the magazine featured contributions from hundreds of artists, a list that now reads like a who's-who of 1970s art: Yvonne Rainer, Gordon Matta-Clark, Alan Vega (Suicide), William Wegman, Nancy Holt, Jack Smith, Dorothea Rockburne, Robert Morris, Adrian Piper, Laurie Anderson, Carolee Schneemann and Carl Andre; critics such as Lucy Lippard contributed writing. Through its single-artist issues and its thematic issues on performance, video and artists' books, 'Art-Rite' championed the new art of its era.
The Defiant
"The history of the United States is a history of oppression and inequality, as well as raucous opposition to the status quo. It is a history of slavery and child labor, but also the protest movements that helped end those institutions ... In this ... book, Dawson Barrett calls our attention to the post-1960s period, in which [he posits that] US economic, cultural, and political elites turned the tide against the protest movement gains of the previous forty years and reshaped the ability of activists to influence the political process"--Amazon.com.
ABC NO RIO
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Rivington School
Rivington School: 80s New York Underground documents the work of the Rivington School group of artists that emerged during the turbulent 1980s in the heart of the Lower East Side. The book explores the underground scene that formed around the Rivington School, taking its name from an abandoned public school building on Rivington Street. Here, like-minded street artists, sculptors, performers, set about to create works that refuted and challenged an increasingly commercialised art world. Situated across the road from the school, the No Se No social club--also run by Rivington School founder "Cowboy" Ray Kelly--acted as a meeting and performance space for many of the artists involved, such as ...
Counter Institution
Counter Institution is a history of three re-purposed buildings in the Lower East Side--Peace Pentagon, ABC No Rio, and El Bohio--that have been used by activists as their headquarters to launch various actions over the past forty years.
Radical Gotham
New York City's identity as a cultural and artistic center, as a point of arrival for millions of immigrants sympathetic to anarchist ideas, and as a hub of capitalism made the city a unique and dynamic terrain for anarchist activity. For 150 years, Gotham's cosmopolitan setting created a unique interplay between anarchism's human actors and an urban space that invites constant reinvention. Tom Goyens gathers essays that demonstrate anarchism's endurance as a political and cultural ideology and movement in New York from the 1870s to 2011. The authors cover the gamut of anarchy's emergence in and connection to the city. Some offer important new insights on German, Yiddish, Italian, and Spanish-speaking anarchists. Others explore anarchism's influence on religion, politics, and the visual and performing arts. A concluding essay looks at Occupy Wall Street's roots in New York City's anarchist tradition. Contributors: Allan Antliff, Marcella Bencivenni, Caitlin Casey, Christopher J. Castañeda, Andrew Cornell, Heather Gautney, Tom Goyens, Anne Klejment, Alan W. Moore, Erin Wallace, and Kenyon Zimmer.
