Much of the fervor of the past week recalls France's tumultuous and bloody history of riot and revolt. The difference is that the disaffected rioters were not burning down government headquarters, they were burning their neighbor's car and their local grocery.
Sara White Wilson is a curator of the sidewalk. Her photographs capture the palimpsests naturally created in the urban environment through the constant changes of a neighborhood. Wilson captures the accidental as well as the intentional layering of meaning — graffiti on a storefront, a partially torn billboard poster. The build-up of visual representation happens quickly in a city, and Wilson practices a subtle art in choosing the decisive moment at which intervention has brought a climax of meaning, but before decay has set in, and a new cycle begun.
"The phrase 'the city that never sleeps' doesn’t refer to nightclubs and bars, but to work and labor. At all hours is the city building, selling, changing, working; that is what it means to live in the city that never sleeps."
Famed punk club CBGB may be on its the way out, a victim of the unlikely new interest in gentrification of its landlord, a homeless group that's planning on doubling the venue’s rent. All of which made for an ironic backdrop to the CBGB 313 Gallery’s new photography exhibit, Back to the Bowery.
These photos, less famous than the subway shots that became Many Are Called, but nearly as impressive, were taken in the Summer of 1938 on 61st Street between 1st and 3rd Aves by Evans for the WPA.
…a very white protest, even as such things go, full of youngsters who spent an awful lot of time cheering wildly for things that happened 20 blocks further north, as applause no longer connected to events snaked its way backward.