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Home , ABC No Rio, Alex Katz, Angelo Ippolito, Bowery, Broome Street, Caio Fonseca

(1) Robin Winters and Christy Rupp at the (2) Arleen Schloss at the opening reception for (3) Anton van Dalen, Two-Headed Monster (4) Dave Sander and Ethan Swan at the opening reception for “Come Closer: Around “Come Closer: Art Around the , 1969– Destroys Community, 1981. Aerosol paint on opening reception for “Come Closer: Art the Bowery, 1969–1989,” , 1989,” New Museum, , September 19, paper, 29 x 23 in (73.7 x 58.4 cm). Installation Around the Bowery, 1969–1989,” New New York, September 19, 2012. Photo: Jesse 2012. Photo: Jesse Untracht-Oakner view: “Come Closer: Art Around the Bowery, Museum, New York, September 19, 2012. Untracht-Oakner 1969–1989,” New Museum, New York, 2012. Photo: Jesse Untracht-Oakner Courtesy the artist. Photo: Jesse Untracht-Oakner

Published by When we announced that the New To date, the Bowery Artist Tribute has We are indebted to Hermine and Museum would construct a freestanding conducted over seventy interviews David B. Heller for funding the research, building on a parking lot at 235 Bowery, with artists, curators, and authors who development, and presentation of this one of our first concerns was finding a helped build the creative community archive, and for providing endowment newmuseum.org way to acknowledge the rich history of of the Bowery for the past seventy funds for its future. We are also grateful creative activity in our new neighbor- years. We’ve encountered artists who to a number of individuals who have Editor: Ethan Swan Designer: Chelsea Amato hood. We thought about 222 Bowery, were grateful for the opportunity to tell been instrumental in the research and Copy Editors: Frances Malcolm and Olivia Casa Printed by: Linco William Burroughs’s “Bunker” that shel- their Bowery stories for the first time, coordination of these efforts over the tered , , Mark and others who weren’t convinced past nine years: Ethan Swan, Eungie Cover: on the roof of her Grand , and a dozen more. And CBGB, there was anything interesting about Joo, , Travis Chamberlain, building, 1965. Photo: John Sherman a birthplace for American punk. Every this “depressing” neighborhood. We’ve and NYU fellows Matthew Israel, Jovana conversation about the neighborhood heard from artists who felt cheap rent Stokic, and Matthew Levy. Most im- © 2015 New Museum, New York revealed more history: Sol LeWitt’s near- was the only draw, and artists who were portantly, we owe many thanks to the All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted daily lunches at Moishe’s on Bowery lured instead by the promise of commu- artists, relatives, and friends who have in any form or by any means, electronic, mechanical, and Grand; Diane di Prima’s formative nity. For us, the most important part of shared their studios, photographs, and photocopying, recording, or otherwise, without the prior permission of the publisher. years at 35 ; the Ornette this project has been providing a space memories of the Bowery. (1) The Bowery Artist Tribute is made possible by an Coleman Quartet making its New York for artists to share these impressions (2) endowment from Hermine and David B. Heller. debut at the Five Spot, just above 4th and memories, to reveal how the view Street. It seemed that every strain of out a window, the trash on the street, Lisa Phillips avant-garde production found a home or the World War II veteran who slept Toby Devan Lewis Director on the Bowery. in their doorway affected their practice.

At the same time, this history was largely The great limit set by this structure, uncollected. Exhibitions and histories of of course, is that oral histories confine neighboring SoHo and the East Village us to the individuals still with us. The absorbed the artists while neglecting Bowery Artist Tribute will forever be the specific qualities of the Bowery. The haunted by its missing voices. While popular image of the Bowery was as a these poignant reminders run through- site of and addiction, a out this project, they also underscore vision that didn’t allow space for the the importance of every interview long-standing community of artists. conducted for the Bowery Artist Tribute. Even photographers and filmmakers Repetition is scarce—the multitude of who lived and worked on the Bowery stories only expands the variety of often turned their lenses outward, away experience offered by the Bowery. With from their own neighborhood. How this in mind, we encourage anyone with could we reconstruct this narrative? We additional information about artists who decided the best way to excavate this have lived or worked on the Bowery, history and discover why the Bowery past and present, to share it by email drew so many artists was to ask the ([email protected]) artists themselves. or by completing the form on the last page of this publication.

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(4) (1) Bowery and as viewed from (2) Marilyn Ganeles, New York, 1965. Courtesy (3) “New York’s Changing Scene,” in the New (4) Ed and Sheryl Valentine at 217 Bowery, (5) Dinah Maxwell Smith in her studio (6) , Sylvia Plimack Mangold, the windows of Stephen Aiken’s third-floor loft at Marilyn Ganeles-Colvin York Sunday News, May 14, 1967. Courtesy 1985. The in the background is The at 2 Spring Street, circa 1971. Photo: and on the roof of their Grand 186 Bowery, 1976. Photo: Stephen Aiken Marilyn Ganeles-Colvin Temptation of St. Anthony’s Cartoonist by Ed George Bennett Street apartment building, 1965. Photo: John Valentine, 1984. Oil on canvas, 60 x 60 in Sherman (152.4 x 152.4 cm). Photo: Cliff Beringer (7) Dinah Maxwell Smith in her studio at 2 Spring Street, circa 1971. Photo: George Bennett

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(4) (1) Martha Diamond in her studio at 268 (2) Martha Diamond, Cityscape With Indian (3) Martha Diamond, City With Red No. 1, 2004. (4) Martha Diamond, Cityscape With Blue (5) Martha Diamond and her neighbors on the Bowery, circa 1972. Courtesy the artist Yellow, 2001–05. Oil on linen, 96 x 48 in Oil on linen, 72 x 48 in (182.9 x 121.9 cm). Shadow No. 1, 1994. Oil on linen, 96 x 48 in Bowery, circa 1980. Courtesy the artist (234.8 x 121.9 cm). Courtesy the artist Courtesy the artist (234.8 x 121.9 cm). Courtesy the artist

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(1) soon returned with two large shopping of the street there were many empty bags full of damaged tubes of oil paint lots. Sammy’s Bowery Follies used to be he had gotten from the Bocour [Artist next to where the Whole Foods is now. PG. 06 ] paint factory. Leonard Bocour It was a where old ladies would would give artists damaged tubes for perform and where I would (4) free. The tubes might have been dented buy my cigarettes. Gambling would or soiled on the outside, but the paint take place in bodega basements, and was fine. Howard thought oil paint drug dealers would stand at the corner would better suit my efforts. He was of Bowery and . correct, and he gave me enough materi- als to experiment freely. He opened the We did have some stores: three butch- paths for me. Thank you, Howard! ers, a hardware store, three bodegas, MARTHA DIAMOND a doughnut shop, a pharmacy, and a Many local people would hang out in few Italian bakeries. There were also 268 BOWERY (1969–PRESENT) garden chairs on Elizabeth Street with Bella’s Café and Buffa’s Luncheonette open fire hydrants when the weather that had been there since 1927. There was warmer. They would barbeque were no clothing stores and nowhere in the hallways indoors. The building to buy newspapers or yoghurt. It was a north of me was mostly empty, and neighborhood. There were no general Martha Diamond (b. 1944) is a painter who is best known for her large, sweeping Excerpt from the Bowery Artist Tribute when I went to a party of theirs. They homeless people would make fires on art supply stores, but you could buy portraits of urban architecture. These gestural cityscapes explore the intersection interview with Martha Diamond, May lived three doors south in a building the wood floors in cold weather. paint and brushes locally from people of abstraction and representation, pushing skyscrapers and bridges to the edges 13, 2014. Video available at with four other painters, one sculptor, a who manufactured their own. of familiarity. In her New York Times review of the artist’s solo exhibition in 1988, boweryartisttribute.org. dancer, and two children. You couldn’t Nights on the Bowery were very dark. wrote, “Ms. Diamond’s whole approach to painting is deceptively tell from the outside, but painters, poets, There were almost no cars and very few One day I came across a few overturned simple, full of hidden skills and decisions that only gradually reveal themselves, I moved into my loft on the Bowery musicians, and students filled up the streetlights. When it was late at night cardboard boxes on the sidewalk, and along with a good deal of humor and very little pretension.” in 1969. Half of the space I used as a next two blocks. The rent was so low. you would walk near the curb, never up on top was a pink floral glass pitcher painting studio. There are still marks At night there were terrific artist parties against the buildings or doorways, so and four matching glasses. Somebody A native New Yorker, Diamond attended Carleton College in Minnesota. She has on the floor from when it used to be from building to building. that no one could grab you. The second had just left them after sitting to drink. been the subject of numerous solo shows, including a midcareer retrospective a and people would build or third night in my place, I looked out Those pink glasses were a sign that the at the New York Studio School in 2004. Her work is in the permanent collection divisions with chicken wire and two by Howard Buchwald was very generous my window and saw in the middle of neighborhood was improving. I took of numerous institutions, including the Museum of , New York; the threes and stay for less than a dollar a to me and had a big effect on my work. the Bowery a large chalk outline of a them home. Pérez Art Museum Miami; the Museum; and the North Carolina night. This was early on. One day, he came to my studio to take body. Someone had been hit by a car. Museum of Art, Raleigh. a look. I had been painting with acrylic. I found my loft through Al and Wyn After just a few minutes Howard left, The tallest buildings at the time were Loving, two painters from Michigan, saying he would be right back. He about five-stories high. On the (5) (1) Interior of David Diao’s studio, 1973. (2) David Diao, Looking 3, 2000. Acrylic (3) David Diao, Carton d’invitation, 1994. (4) David Diao, Wealth of Nations, (5) David Diao, The Unfinished of Photo: David Diao on canvas, 48 x 108 in (121.9 x 274.3 cm). Acrylic, silkscreen, and vinyl on canvas, 1972. Acrylic on canvas, 84 x 132 in Barnett Newman, 2012. Acrylic on canvas, Courtesy the artist and Postmasters Gallery 76 x 96 in (193 x 243.8 cm). Courtesy the (213.4 x 335.3 cm). Courtesy the artist 78 x 39 in (198.1 x 99.1 cm). Courtesy the artist and Postmasters Gallery and Postmasters Gallery artist and Postmasters Gallery

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DAVID DIAO It wasn’t much a particular attraction separate studio, more and more I think 231A BOWERY (1971–74) [to the Bowery], it was just a need for artists think in terms of where they live cheap space and lots of space. I don’t and where they work. The idea of actu- (5) think my wife was crazy about moving ally having separate spaces, I don’t get real distance, and I wanted to have to the Bowery, but we managed. It was it. I like being able to wake up to what that face-to-face engagement again just a happenstance of opportunity and I’ve been working on. I was lucky, I with the work as I was working on it. whatever is available. I might say that managed to have good spaces, rents Also, thinking about Pollock—it was David Diao (b. 1943) is a painter whose work has often been described as Excerpt from the Bowery Artist Tribute least two generations of New York artists. I’m very sad that the city doesn’t have that I could afford. his space to work on the floor, and at Conceptual Abstraction. Grounded in monochrome fields and flat, geometric interview with David Diao, July 17, With Wesselmann, Rosenquist, and that kind of possibility for younger peo- some point it felt like I was just taking forms, Diao’s works look critically at narratives—personal, political, and art 2007. Video available at Hinman being of a slightly earlier gen- ple starting out. When I came in 1964, The studio was so large and I guess the it in in some very callow way. In a way historical. Frequently including text, maps, and architectural plans, these paintings boweryartisttribute.org. eration, and Harvey and myself being it was possible to find cheap places, actual living part was no more than I wanted to, if you think of it that way, combine personal registers with broader identifications. His best-known works of the generation of the ’60s. which means you didn’t have to work to one thousand square feet. So I basically get back to basics. To work with just explore the formulation of value in art and the construction of art history. Diao I was kicked out of my big loft on support your life; it was possible to work had four thousand feet of flat putting that thing on directly. often uses his own career as an example in this body of work, pointing to his in 1969, and I ended up It was a great space, over five thousand a couple days a week, some marginal upon which to work. Because it was a And that helped me to make the transi- actual market performance and exhibition history. on for a year and a half. square feet, quite raw. The interior felt work—waitering, bartending, what have concrete floor and impervious to mois- tion from the Bowery to where I am I was on the Bowery by 1971. The like a grotto because it had been badly you—and sustain your life and work. ture and liquid, I was working a lot on now. Half the space, but double the In 1969, mounted Diao’s first solo exhibition. Since then, building was owned and operated by renovated. They were trying to fire- platforms on the floor. I managed to do height of the walls. his work has been shown widely both nationally and internationally. In 2014, the Standard China. The building has six proof the steel columns and they must It was certainly the biggest place I’ve a lot of work because I physically had Aldrich Contemporary Art Museum presented “David Diao: Front to Back,” a floors, and Standard China was quite have found somebody, maybe some of ever had. Quite raw. But you know, in that much landscape. And I sometimes midcareer retrospective exhibition, and the Whitney Museum of American Art willing to give up the upper floors be- the down-and-out people right off the a way we were pioneers of loft living. thought of that work almost as tending included his work in its biennial of the same year. Diao’s art is in the permanent cause they didn’t need them. So there sidewalk, and they literally slathered We made very comfortable settings for different patches of my garden. I would . collections of the Hirshhorn Museum and Garden, Washington, DC; the were quite a few of us: I was on the top concrete plaster around the columns. ourselves; as raw and brute as the con- come and spread one layer of paint over High Museum, ; the Albright-Knox Art Gallery, Buffalo, NY; and the Vancouver floor, the sixth floor; So it had a kind of, if one were to be crete floor and grotto-like space of the one canvas in progress, go to another Art Gallery, Canada, among others. was on the fifth floor, and is still there; kind about it, a kind of Gaudí-esque Bowery loft was, we had nice settings patch, lay another layer, letting them below that was Harvey Quaytman on quality. And it was quite a great place, for places to sit and read, and places to dry. I might say that one of the reasons the fourth floor; and then below that, and in some ways I miss it. I ended up work, and places to sleep and entertain I decided to leave was that I was keen initially, was Jim Rosenquist; and below giving my space over to Will Insley, and what have you. It’s a kind of whole to get back to working on the wall. At him was . So it’s inter- who is still there. lifestyle I guess. Because of that ex- some point, it felt like, by virtue of it esting because right there, there are at perience, I’ve never wanted to have a being on the floor, there was a kind of (1) Sara Driver in her Bowery loft, 1989. Photo: (2) (3) Sara Driver, Sleepwalk, 1986 (stills). Film, (4) (5) Sara Driver, Bowery – Spring, 1994, © Kate Simon 75 min. Courtesy the artist 1994 (stills). Film, 19 min. Courtesy the artist

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Later, beds were crammed onto each say to me each day. I incorporated (1) floor. We found the blueprint for the some of that into Sleepwalk. It’s funny; layout of the beds. I feel like I’m more in danger now with the well-off drunken people on the Before moving in we shot my first feature Bowery who are going to clubs than PG. 10 Sleepwalk in the empty loft. We used I did then. It is also a whole lot less to take whatever food was left from the interesting. and depraved. They want that kind of each other from the scene—the clubs shoot and set up tables outside. The history to disappear. Some of the most Tier 3, Mudd Club, CBGB, Area, Reggae homeless guys would politely line up Anyway, we moved from Prince Street interesting political times and history in Lounge, Madame Rosa, Palladium. We and take their turns filling their plates. to the Lincoln Hotel. We moved all of NYC took place here. all witnessed, helped, and supported We’d put out the condiments—ketch- our possessions in trash bags. With the each other. Carlo McCormick did a up, mustard—and they would help help of a few friends, we walked all our There were four beautiful buildings great show [“The Downtown Show,” themselves to the hamburgers, salad, worldly belongings over. We didn’t have across the street from us that were built 2006] at the Grey Art Gallery. It kind and pickles. any “real furniture,” all of our furniture between the 1820s and the 1860s; of blew my mind. There, I suddenly SARA DRIVER we found on the street. Tuesday night one was truly unusual and looked understood how much we all cross- In 1980 or ’81, the Bowery changed. we called furniture night, the night you almost like a French château with a pollinated each other. We were not BOWERY AND SPRING STREET (1985–PRESENT) President Ronald Reagan decided to could leave and find large items on the very sculpted Victorian roof. It was separated by medium or form—people release all the mental patients out of the curb, waiting for garbage pickup. That really heartbreaking to watch those were filmmakers, painters, dancers, public mental health institutions. I’d see was how we furnished our tenement historic buildings be demolished. I musicians, etc. We were all mixed Sara Driver (b. 1955) is a filmmaker who emblemizes the wildly imaginative Excerpt from the Bowery Artist Tribute appear on the roof, releasing them, a lot of guys walking around with hos- apartment. I remember seeing Louise wrote to the Landmarks Preservation together. Anything you wanted to be, independent cinema born out of 1970s downtown New York. To the mundane interview with Sarah Driver, September using colored flags to control their pital bands on, not knowing where they Nevelson, the wonderful sculptor. She Commission and pleaded with them to you could be. Even if you didn’t do settings of her films—tenement , dive bars, and desolate neighborhoods 15, 2014. Audio available at flight.) I thought, “This is unbelievable.” were. It changed from being alcoholics, lived on the corner of Mott and Spring save the buildings. I looked up all the it well, why not try it? There weren’t —Driver brings a supernatural, dreamlike quality, at times joyful and at times boweryartisttribute.org. It had a courtyard in the back surrounded and guys trying to flee their pasts, to a . She’d be out on furniture night, historical relevance and forwarded it to restrictions. There was this great feeling unnerving. Her deftness in blurring these margins was described by Luc Sante as on three sides by tenements, with a combination of people with drug prob- wearing her long mink eyelashes and them. They wrote me that they didn’t that nothing could really stop or hinder her “patented blend of the throbbingly bizarre and the sweetly domestic.” We were living around the corner on huge flowering tree in the middle. I lems and the mentally ill, who really chinchilla cape, collecting thrown- have time. you—if you wanted to test something Prince Street, under constant harassment signed the lease. We paid our rent to needed some kind of medical attention. away wood scraps and furniture parts out, you could. It was an empowering Driver has directed four films:You Are Not I (1981), Sleepwalk (1986), When Pigs by a criminal thug landlord. In 1985, a former boxer, Mr. Cambareri. I had for her artwork. When we first moved Somebody bought them and tore all feeling, I don’t know why we felt that Fly (1993), and Bowery – Spring, 1994 (1994). Her films have been screened at a musician friend called and told me to take our check to the flophouse he The streets were rough. I was young; into the loft we only had a bed, a table, four buildings down, and now for the way, but we all did. Between the many festivals, including the Cannes Film Festival, New Directors New Films at the about a loft on Bowery. He wanted owned down the street. I cut my hair very short so I looked and a few chairs. We’d play wiffle ball past two or three years it’s been a vacant dancing, drama, and drugs, as a group , the New York Film Festival as part of the Masterworks to take it. He and his very pregnant androgynous. I wanted to be left alone in the large open space. Often friends lot, a rat haven. It’s interesting, to watch of people we produced a lot of work. section, and the Sundance Film Festival. They are available in a boxset through wife already had a two-year-old, and The Lincoln Hotel was converted into and navigate the streets without any would stop by for a quick game. nature quickly take over. Every once in a the distribution company filmswelike. In addition to her directorial work, Driver understandably she couldn’t handle a residential lofts in 1968. It was one of problem; I remember you really had while a man or two wearing orange vests I have to thank the Bowery bums for produced Permanent Vacation (1980) and Stranger Than Paradise (1984) for Jim walk-up. the first artist loft buildings in lower to sense and be sensitive to the people The Bowery was a forgotten place, come by and cut back the plants. that too. They always seemed to me Jarmusch. Driver has also written, directed, and acted for the stage. . Before that, it had been a around you. Some of the guys on the and up until very recently if a person to have a spontaneous, genteel, child- I went over to the building, the former men’s hotel/flophouse. It cost a penny Bowery just wanted a hello, or just to emerged from the past, from one In the ’70s and ’80s, nobody wanted to like quality. On the Bowery there was Lincoln Hotel, and saw the loft—it had a night. In the ’20s and ’30s, the men be seen. And then there were the ones hundred years ago, they would have be on the Bowery or on the Lower East always a code of respect. Keep your east-west light and a huge twelve-by- would sit on a long bench with a rope you did say hello to that maybe you recognized where they were immedi- Side. That was a gift for us—to have this distance but have respect. nine skylight. The shadow of pigeons stretched from one end to the other. shouldn’t have. ately. But that’s quickly changing. The part of NYC to ourselves. It formed our crisscrossed the walls as they flew past. The penny bought them the right to rest Bowery could have easily been made community and gave us inspiration. (Later, I found out they were trained their head on their elbows on the rope. We all sort of watched out for each into one long museum of architecture, pigeons living in a coop on the tenement In the morning, the taut rope would be other. There was a real beauty in that. celebrating its seedy and riveting history. Because we were such a small commu- roof behind us. Every day a man would released and everyone would wake up. I kept journals of things people would But nobody wants to celebrate the wild nity below , everybody knew (1) , Landscape 1, 1950. Oil on linen, (2) Alex Katz, Landscape 2, 1950. Oil on linen, (3) “Alex Katz,” 2014. Exhibition view: (4) Alex Katz, Kathy, 1960. Oil on (5) Alex Katz, Nabil’s Loft, 1976. Oil on linen, (6) Alex Katz, circa 1953. Courtesy Alex Katz 11 5/8 x 46 3/4 in (29.5 x 118.7 cm). Courtesy 10 5/8 x 40 1/2 in (30 x 102.9 cm). Courtesy 356 S. Mission Rd., Los Angeles. Courtesy linen, 79 x 59 in (200.7 x 149.9 cm). 72 x 144 in (182.9 x 365.8 cm). Courtesy the the artist and VAGA. Photo: Paul Takeuchi the artist and VAGA. Photo: Paul Takeuchi the artist, 356 S. Mission Rd., and VAGA. Courtesy the artist and VAGA. Photo: artist and VAGA Photo: Fredrik Nilsen Studio Paul Takeuchi

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ALEX KATZ (6) 210 EAST 6TH STREET (1950–53)

The big, bold paintings of Alex Katz (b. 1927) monumentalize common moments Excerpt from the Bowery Artist Tribute I thought it was totally depressing. There community of homeless people, and a house in , with lots of trees of everyday life. His and portraits are consistent in their simple, direct interview with Alex Katz, May 17, 2014. was a weird Catholic school across the lot of them ended up along the Bowery. around. There were all these crazy style and precise, unmodulated bands of color. Katz’s distinctive oeuvre emerged in Video available at boweryartisttribute.org. street, a repressed, awful place. And Today, I get over there occasionally. people in my tenement. The place was response to the most persistent concerns of post–World War II American art, running there was another place where they It’s changed completely. The Salvation clean, but the other tenants would parallel to Abstract and Pop while always working independently I remember a story on the Bowery. I were slaughtering animals down the Army’s moving. scream and stuff. When I left, I gave my of these movements. Insisting on space in a similar manner as the Abstract forget the guy’s name, but he brought a block, and the streets were loaded with place to this guy who was really rough. Expressionists, Katz expands his subjects to a scale that implies heroism, but his girl up to his place, and he asked her, grease from that. And then there was the I hung out at the Five Spot. I remember At that time, the toilet was in the hall, subjects are always drawn from his surroundings: views of his SoHo neighborhood “Why don’t you remove your coat? Is it Bowery, so many unfortunate people. and Morton Feldman and you’re all supposed to share cleaning or portraits of his family, fellow artists, and poets. These modern images are rendered too cold here?” And she says, “Oh, it’s doing a parody on jazz and poetry that it. And this lady in the building said to in an idyllic and simplified world, with an emphasis on skin-deep surfaces. As the not the cold, it’s the wind.” There were guys sleeping in their own was very funny. There’s that great Frank him, “You don’t clean the toilets.” And artist explained in the Village Voice, “I like life to be pleasant and simple.” vomit—it was just really disgusting. O’Hara poem “The Day Lady Died.” he replied, “Yes, I don’t clean toilets, I lived on 6th Street, off the Bowery, for There were all these bars that these That’s the best thing that remains from you clean toilets. If you send your Katz attended the School of Art from 1946 to 1949 and was at the three years, and there were artists living guys were in all the time. There were the Five Spot, that poem. By that time at husband out, I’ll beat him up.” It was Skowhegan School of Painting and Sculpture from 1949 to 1950. Katz’s first one- there. I remember a loft that a couple five hundred people on the street, all the Five Spot, drugs came in and liquor my revenge! person show was held at the Roko Gallery in 1954. Since that time, his work has of painters had by the station where the bums. I think some of them went other was going out. The whole time period been the subject of more than two hundred solo exhibitions and nearly five hundred elevated train would stop. So in the loft, places and came to New York in the changed. Marijuana and heroin came group exhibitions internationally. In 1986, the Whitney Museum of American Art you had the blinking lights of the train winter. During the Depression, there in, and the bums went out. mounted a midcareer retrospective, followed in 1988 by a print retrospective at the going by—it was very romantic. People were guys that just dropped out and of Art. Staatliche Kunsthalle in Baden-Baden, Germany, exhibited who had lofts then were paying sixty became hobos and went on trains all I was there from 1950 to 1953, and then I (4) a painting retrospective of his work in 1995, and a major survey of Katz’s printed dollars a month in rent. There were over. There was a newspaper called went to 28th Street. I was in a cold-water works was presented by the Albertina, Vienna, in 2010. Works by Katz can be found artists all over the place. the Hobo News—actually, I went out flat. The place was really depressing. in over one hundred public collections worldwide. with the daughter of the editor. It was a I came from a nice, big, eight-room (1) Robert Mangold, Red Wall, 1965. Oil on (2) Robert Mangold, Yellow Wall (Section 1 & 2), (3) Robert Mangold and Sylvia Plimack (4) Robert Mangold in his (3) Masonite, 96 ½ x 96 ½ in (245 x 245 cm). 1964. Two panels, oil and acrylic on plywood and Mangold in their Grand Street apartment, apartment, 1966. Photo: John Sherman Courtesy Pace Gallery, New York, and Tate, metal, 96 x 96 in (244 x 244 cm) overall; 96 x 1966. Photo: John Sherman London; presented by the American Fund for 48 in (244 x 122 cm) each. Photo: Bill Jacobson. the Tate Gallery. Photo: Ellen Page Wilson Courtesy Pace Gallery, New York; National Gallery, Washington, DC; and The Nancy Lee and Perry Bass Fund

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PG. 14 ROBERT MANGOLD 163 BOWERY (1962–71)

Robert Mangold (b. 1937) has been one of America’s most significant Minimalist Excerpt from the Bowery Artist Tribute At MoMA, Lucy Lippard (who worked painters for over four decades. His large-scale abstract paintings present simple interview with Robert Mangold, July 12, there intermittently) told me that there area at that time. Somehow, all of these paint their signs right over the brick, so elements assembled through complex means. A longtime fixture in the New York 2012. Video available at were going to be three floors of a former spaces seemed to be available around the brick would be coming through. art world, Mangold was a part of the now-legendary circle of artists that worked boweryartisttribute.org. button factory available above them. that time. I loved . The as security guards at the Museum of Modern Art, alongside Robert Ryman and Sol Lucy was living with Bob Ryman on place I saw a lot was around the Bowery I felt so great getting out of school and LeWitt. His work is included in many museum collections, including the Whitney In the summer of ’62, we moved to the second floor, and on the first was because I’d go there to work. What I being in Lower Manhattan. I used to Museum of American Art, the San Francisco Museum of Modern Art, and the Tate New York. We had a few months where probably a lamp store—there were a lot loved about it was that you saw every- love the smell of the subways, that elec- Collection in London. we shared some space in the 20s. Then, of lamp stores there at that time. So we thing in bits and pieces, you never saw tric kind of smell. I loved being there, it we were superintendents of an apartment went down and looked at it. The three a whole building, you saw a fragment, was great. house on , near Central floors were available at $60 a floor or a part. Or you would see part of a truck Park. I was working at MoMA in the $180 for all three, so we tried to find go by, and that truck would have lettering library (first, I started as a guard). Sylvia other people to share them. on the side that would go over the [Plimack Mangold] was working at corrugated metal. Sylvia’s been looking Arthur Brown’s art supply store. I don’t There must have been some reason that for this picture that I took of these wall think it’s there anymore. all the factories were moving out of that paintings on the Bowery. They would (1) “XFR STN,” 2013. Exhibition view: New (2) Marc H. Miller, Portrait of Alan Moore, (3) Cardboard Band, performance as part of “The (5) TV, “,” a Potato Museum, New York. Courtesy New Museum 1974 (detail). Color photograph and felt pen Island of Negative Utopia” at the Kitchen Center Wolf cablecast, 1980 (still). Digital video, sound, inscription on illustration board, 12 x 10 ¾ in for Video and Music, New York, 1984. Left to right: color; 30 min. Courtesy Alan W. Moore (30.4 x 27.3 cm). Courtesy Marc H. Miller Alan W. Moore (in barrel), Walter Robinson, Bebe Smith, Feliz Perez, and Ellen Cooper. Courtesy (6) “Colab Presents: Potato Wolf Show,” 1982. Alan W. Moore. Photo: Teri Slotkin Exhibition view: Hallwalls Contemporary Art Center, Buffalo, NY. Courtesy Alan W. Moore (4) Left to right: Becky Howland, John Morton, Alan W. Moore, Filippo, and Robert Goldman (aka Bobby G) in front of ABC No Rio, following a performance held in conjunction with the exhibition “Murder, Suicide & Junk,” 1980. Courtesy Alan W. Moore. Photo: Tom Warren

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(5) PG. 16 other, smaller apartment, which had onto a screen to photograph, making no bathroom, he rented to Dick Miller an analog version of a digital layout. It and Terry Slotkin. Terry’s a photographer, didn’t work. I did some narrative and and Dick is a sculptor. Dick needed to performance films—we were really get off the Bowery because he had sub- lucky because , just off stance abuse problems, and so he and the Bowery, had the Young Filmmakers Terry moved to the Lower . Studio so you could rent video and They got a great space, and then I got film equipment. Basically, I didn’t have that apartment, which was pretty much the chops for making films, so I used ALAN W. MOORE just about the size of the cubicle at Super 8, and as soon as I could get into Marc’s, but with more light. video, I did. Eventually, when I hit cable 98 BOWERY (1974–76) | 73 EAST (1976–93) television and the possibilities of using Houston Street was really intense. The studios, then I really hit my stride in bums were distributed all up and down terms of video production. the Bowery, but Houston Street was the epicenter. We were upstairs from a I distributed video for many years out of Intermix and Video Data Bank sold Alan W. Moore (b. 1951) is an art historian and activist whose work addresses Excerpt from the Bowery Artist Tribute guys. Basically, I felt like I was involved whole row of businesses that basically my 73 East Houston loft. From 1986 to tapes for one hundred dollars to three cultural economies and groups, and the politics of collectivity. His first engagement interview with Alan W. Moore, July 25, in all sorts of titanic struggles in the “real served and exploited the bum commu- 2000, I distributed artist videos. I have hundred dollars. We didn’t like that, with New York’s art world came as a writer for Artforum, but during his time on the 2012. Video available at art world” where there was a bunch of nity. Guys would receive their checks a massive collection of untransferred and most of the people we distributed (6) Bowery, Moore developed a and installation art practice, leading to his boweryartisttribute.org. artists, and that was very nice, but really at Willie’s Clothing, a clothing store analog tapes—I think about eight couldn’t get into that world anyway. We involvement with the artist group Colab (Collaborative Projects, Inc.). He went on it was about the Museum of Modern that had mountains of used clothing, hundred. I don’t know what’s going basically stayed local and stayed in the to help found ABC No Rio after participating in Colab’s “Real Estate Show” (1980). I moved to New York in January of 1974 Art and William Rubin [former Director but basically Willie was cashing checks to happen to it—I have an exhibition Colab group. and lived in SoHo. It was a room on the of MoMA’s Department of Painting and and taking a piece of it and that was proposal about it, basically, to transfer Moore established the Monday/Wednesday/Friday Video Club, which showed and corner of Broome and West . Sculpture] and how we were going to his business. The guy downstairs from this material: hire a couple of engi- We were full bore into retail sales. sold artists’ independent films and videos on VHS at consumer prices. In 2013, the I was renting from a big-time cocaine fuck him! John [Coplans, former Editor- us was the famous Nick the Fence. But neers, buy a bunch of old machines, We didn’t get New York Council New Museum hosted Moore’s exhibition workshop “XFR STN” (Transfer Station). dealer, a little kind of ship’s berth apart- in-Chief of Artforum] really used me the other guy, next to Nick, was mobbed and just continually transfer it. And then support because every time we’d This open-door, artist-centered media-archiving project worked directly with artists ment. It was a weird joint, and I was a lot, and pretty ruthlessly. I was the up and handled a lot of truck freight and open the door to other artists who have come up on a video distribution panel, to digitize creative productions stored in aging and obsolete audiovisual formats. happy when Marc [Miller] offered me torpedo for Coplans, and I didn’t realize truck operations. Somebody told me that analog material before it disappears. everybody who was running these the chance to get out of there. Marc had that until later. I felt like a mobster the street was featured in a Soviet docu- high-end, state-subsidized distribution Moore has contributed chapters to Collectivism after (University of little cubicles in his loft and one in the hanging out with a bunch of bums. I mentary on the iniquities of capitalism. I In 1986, I turned my little shoe-box projects would say, “Fuck these guys! Minnesota Press, 2007), Resistance: A Radical Social and Political History of the back was vacant. was a young punk—punk for power. don’t know if that’s urban legend. apartment into a video-rental display They’re dangerous!” It was an ideologi- (Seven Stories Press, 2006), and Alternative Art New York (University and we had a salon every Monday cal venture on that level—and like many of Minnesota Press, 2002). He is the author of Art Gangs: Protest & Counterculture Because I was working for Artforum, Marc hooked up with Bettie [Ringma] I was really interested in ultra-left action, night for two years. People would come ideologues, doomed to fail. in (Autonomedia, 2011), which explores the work of artist groups people would talk to me with great and wanted to reformulate the loft, so he anarchist direct action, and European show videos, and we expanded the col- formed after 1968. interest, but they didn’t really like me wanted me out. I was offered a place in terrorist movements. I created the lection. It was a rental collection first, because I had power and I was, like, Robin Winters’s apartments. He had two “Terrorist News Annual.” That was the then we started selling artist videos at twenty-two years old. It’s very weird apartments at 73 East Houston Street. performance at Coleen’s [Fitzgibbon]— consumer prices. No tape more than to think about that time, working for He had one side, the larger side, which producing a publication using an eight- fifty bucks. And this was at a time (and Artforum and hanging out with those he used fundamentally as a studio. The by-ten-inch view camera projecting it it continues today) when Electronic (1) Sylvia Plimack Mangold in her Grand (2) Sylvia Plimack Mangold, Floor with Laundry (3) Sylvia Plimack Mangold, Floor I, 1967. Acrylic (4) Sylvia Plimack Mangold in her Grand Street apartment, 1966. The painting on #2, 1970. Acrylic on canvas, 36 x 46 in (91.5 x on canvas, 39 x 52 in (99 x 132 cm). Courtesy Street apartment, 1966. Photo: John Sherman the left is by Plimack Mangold and the 116.8 cm). Courtesy of Alexander and Bonin, Alexander and Bonin, New York. Photo: Jason sculpture on the right is by Frank Lincoln New York. Photo: Joerg Lohse Mandella Viner. Photo: John Sherman

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PG. 18

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SYLVIA PLIMACK MANGOLD (4) 163 BOWERY (1962–63) | GRAND STREET (1965–67) | (1967–71)

Sylvia Plimack Mangold (b. 1938) studied at the Cooper Union and . Excerpt from the Bowery Artist Tribute a son, and so I would stay home at our She began exhibiting her paintings in the late 1960s, and her work has since been interview with Sylvia Plimack Mangold, apartment with him when Bob the subject of more than thirty solo exhibitions, including three museum surveys at July 12, 2012. Video available at [Mangold] would go to work at our the Madison Art Center, Madison, WI (1982); the University of Michigan Museum boweryartisttribute.org. studio on the Bowery. When we left of Art, Ann Arbor (1992); and the Albright-Knox Art Gallery, Buffalo, NY (1994); our building uptown and moved to the each of which was accompanied by a monograph. “Solitaire,” a 2008 exhibition at I think it’s important for artists to have penthouse on Grand Street, I would do the Wexner Center for the Arts, Columbus, OH, included approximately twenty a community because their existence my painting in our apartment. I began paintings by Plimack Mangold that were juxtaposed with bodies of work by Lee is so much about their work. We have the floor paintings on Grand Street Lozano and Joan Semmel. A solo exhibition of her work, titled “Recent Works: normal family lives, but we also have where the wood floors were painted parquet floors, and I was inspired by with Light at 10:30 am (1972) and Floor Sylvia Plimack Mangold,” was presented at Alexander and Bonin, New York, in the this passion that fuels our daily lives. grey. At first I would include furniture— this pattern of the floorboards and the at Noon (1972). I also found an old oak spring of 2012. In 2012 and 2013, her solo exhibition “Sylvia Plimack Mangold: And in order to pursue these goals one chairs and a table—and eventually I grain of the wood. The paintings that I mirror that provided me with another Landscape and Trees” was displayed at the Norton Museum of Art, West Palm needs time and an affordable place to removed the objects and focused on the did in this apartment were included in element to expand the idea of the floor Beach, FL. She currently lives and works in Washingtonville, NY. live and work, so we all tend to gravi- floors and walls. I was teaching myself a show at Knoedler Gallery in 1971. and interior space. I have always wanted tate to the same neighborhoods. And to paint the interior space, and I wanted Also in 1971, we moved full-time to my work to be about specific space and Many of Plimack Mangold’s most significant paintings are included in the per- within this community we find other the paintings to be about that particular an old house we renovated in Sullivan painting. And each time I found a new manent collections of museums, including the Museum of Fine Arts, ; the artists who are interested in our work, space and to be about painting. At this County, NY. I had a wonderful studio in element to help me expand on this goal I Brooklyn Museum, New York; the Albright-Knox Art Gallery, Buffalo, NY; the Art and this is supportive and inspiring and time my influences were very diverse: this house. There was sunlight streaming felt very fortunate. Institute of ; the Walker Art Center, Minneapolis, MN; the Yale University often competitive. from to . through the windows and making shad- Art Gallery, New Haven, CT; the Whitney Museum of American Art, New York; and ows on the wood floors. I thought about Kunstmuseum Winterthur, Switzerland. My experience on the Bowery was In about 1968 or ’69 we moved to an the juxtaposition of light and the floor short-lived because in 1963 we had apartment on Eldridge Street that had structure as poetic, and so I made Floor (1) Jason Dill and Dave Sander, Dill With Fuck (2) Dave Sander, Eat Shit Die, 2010 (spread). Artists’ (3) Maggie Lee and Dave Sander, MDMA, (4) (5) (7) Interior of Dave Sander’s studio, 2014. (6) Dave Sander, Fuck This Life 17, 2013 This Life, 2011. Artists’ book. Courtesy the book. Courtesy the artist and OHWOW 2013 (spread). Artists’ book. Courtesy the Courtesy the artist. Photos: Ethan Swan (spread). Artists’ book. Courtesy the artist artists and OHWOW artists

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PG. 20

DAVE SANDER (7) Before I moved here, [my wife] Jo fire. Like Elizabeth and Kenmare, 158 (2010–PRESENT) [Sander] lived here from 2005, so I there are three of the same type of was in this neighborhood coming to restaurant—rustic, heritage-type shit. visit her. We were always around this But if you’re out here, you can find neighborhood—Bowery, Elizabeth, affordable, grimy, cutty spots. There’s Prince Street, Spring Street—because still a lot of the neighborhood that of the shops. We’d be at Supreme, we’d caters to people who have been here be at Union, we’d be at Clientele, or when it wasn’t fashionable, and they For the past ten years, Dave Sander (b. 1977) has carried out a vast range of Excerpt from the Bowery Artist Tribute with cheap materials. That’s your reality Eleven. That’s where I met Rich Jacobs, are trying to be just cheap and pleasant. creative activity under the name Fuck This Life. This includes works on paper, interview with Dave Sander, May 18, and that’s what creates your art because at Prince and Elizabeth. That was the I can relate to that part a lot more. So installations, T-shirts, and an eponymous series of publications. Fuck This Life 2014. Video available at it’s your life. prequel to being here. If it wasn’t where I fuck with that part more. began in 2005 as a photocopied , distributed by hand in limited quantities. boweryartisttribute.org. we lived, it was where we hung out. Each volume compiles hundreds of found images: stills from horror movies, pho- At the time, I just thought, “Thank God Bowery, to me, means a lot, but it’s the tos of cult heroes, and sordid headlines organized in a claustrophobic grid. The In my life and my existence in New it’s New York.” There ain’t no better You see changes like, okay, now there’s Bowery below Houston. I didn’t move impact is harsh, but modulated by a rallying, celebratory energy, an uneasy bal- York, poverty saved me from a lot of garbage in the world than in New York. a buzzer. Before, you had to walk here for the East Village, I wasn’t an ance that Sander compares to “dancing without a smile on your face.” options. Like, not being able to buy And that means people too. It’s the only down all these stairs to let your friend East Village type—no offense, but it’s hella drugs, not being able to buy place where you can meet a million- in, and then walk back the fuck up. To not my shit. Sander has published two books compiling out-of-print issues of Eat Shit Die rounds of drinks, or not being able to aire and become friends. Or run into get the buzzer, that was great. But all (2010) and Fuck This Life: Fatal (2008). Sander’s work has been exhibited nation- take a car service—meaning I can’t take people who can find drinks. Even if you the red decorations, all the good luck I definitely have had plenty of good with each other. We’ve probably seen lady carrying eight thousand aluminum ally and internationally. In 2013, he presented a solo exhibition at Home Alone a girl home. Living in Crown Heights, had a craze job that was shitty, maybe Chinese things, are gone now—now the moments in the East Village, but the the same shit over the past however cans? As an Asian person, I’ve seen Gallery, New York, a project space curated by the artists Leo Fitzpatrick, Hanna not living in Williamsburg, not living in your personal life was different. Like, walls are brown. It went from looking lineage and the tradition, it’s just not many years we’ve been alive. Here’s these things for so long. But to these Liden, and Nate Lowman. In 2011, New Image Art, Los Angeles, presented “2 of the party zone. Constantly forty minutes you know people in bands, so you can familiar, and mystical, to being boring, mine; I don’t get in there because I don’t the beauty of it: Of course we’re not people, they look at it like it’s a zoo still. Amerika’s Most Wanted,” a two-person exhibition by Fuck This Life and Neckface. away from shit saved me from staying go to shows. And that’s cool, because which is what it takes for it to be toler- fit in there. My Bowery is definitely identical people, but broke is broke. Issues of Fuck This Life were also included in the New Museum’s Live Archive that out late with the waking-up-at-noon you meet people through nightlife. And able for the new residents here. That below Houston. Where Chinatown We can relate to each other. I hate the accompanied the inaugural Triennial, “Younger Than Jesus” (2009). crowd, the slumming-it-but-I-got-a- you feel like, maybe this is where your was depressing as fuck. bleeds into it. whole, “I had to come here because I fallback-plan crowd. But poverty also life falls into the New York tradition. I can’t afford anything else” attitude—I brought me to making Fuck This Life. I wasn’t trying to find a Mudd Club or You see new shops now, it’s like: coffee The big thing is just being around love to be here. Why do these people did as a kid. Coming to New York, a CBGB, but what we did have, what shop, coffee shop being built, coffee people who look like me. Usually, you take the time to find this street, to find my reality brought me to unfashionable came out of the people I met and the shop/barista school, coffee shop. There don’t have that luxury, but I’m so glad this neighborhood? To look at the fish Brooklyn, living in one room, making influence at that time, that’s important aren’t that many people that want a I look like the landlady’s little kid, so swimming in the tank, to look at the small art. Starting with zines, starting to me. latte. It’s crazy, and it’s going to back- we can be a little closer or more open old Chinese lady in her floral print, or the PG. 22 PG. 23 268 Bowery 108 Bowery 302 Bowery 87 Bowery 187 Bowery 295 Bowery 41 Bleecker 280 Bowery MARY ABELL (1979–present) ELIZABETH CASTAGNA (dates unknown) PATRICIA FIELD (2006–12) HARMONY HAMMOND (1972–76) MELISSA KRETSCHMER (1989–93) (1950s–2004) DAVID ROSENBLOOM (1978–82) JANE SUAVELY (1984–present) Third and Bowery 222 Bowery 306 Bowery 164 Bowery 108 Bowery 27 Cooper Square 231A Bowery Grand and Bowery CECILE ABISH (1970s–present) WYNN CHAMBERLAIN (1961–68) (2012–present) HISAO HANAFUSA (1968–77) BARBARA KRUCHIN (dates unknown) GEORGE MINGO (dates unknown) JAMES ROSENQUIST (1973–75) LIZ SWOPE (dates unknown) Third and Bowery Grand and Bowery 32 Cooper Square 136 Bowery Chrystie and Stanton 189 Bowery 246 Bowery 115 Bowery WALTER ABISH (1970s–present) (dates unknown) ROBERT FEINTUCH (1977–present) ROBERTA HANDLER (dates unknown) MARGARET KRUG (1998–present) AHZHA COHEN MOORE (1967–92) STEVEN ROSENTHAL (1969–75) SANDRA TAGGART (1967–70) 217 Bowery 184 Bowery 135 Bowery Bowery and Third Forsyth and Rivington 98 Bowery 222 Bowery 115 Bowery VITO ACCONCI (1965–66) MICHELLE CHARLES (1992–93) ALAN FINKEL (1970–77) AL HANSEN (dates unknown) LA II (dates unknown) ALAN W. MOORE (1974–76) (1958–62) WILLIAM TAGGART (1967–70) 246 Bowery Great Jones and Bowery Bowery Broome and Bowery 262 Bowery 110 Bowery 156 Bowery 142A Bowery ALICE ADAMS (1969–75) SARAH CHARLESWORTH (dates unknown) (dates unknown) (1981–86) SKIP LA PLANTE (1976–2014) (JOHN) VINCENT (1958–62) ANNIE RUSSINOF (1984–87) PAULA TAVINS (1968–78) 186 Bowery 302 Bowery Bleecker and Bowery Broome and Bowery 306 Bowery 189 Bowery 163 Bowery 94 Bowery STEPHEN AIKEN (1975–78) HILO CHEN (1971–99) COLEEN FITZGIBBON (1977–79) HILARY HARKNESS (2006–07) KEN LAUBER (1964–67) MOORE (1963–92) ROBERT RYMAN (1963–66) AL TAYLOR (dates unknown) Bond and Bowery 342 Bowery 188 Bowery 108 Bowery 219 Bowery Rivington and Bowery 193 Bowery 189 Bowery EDWARD ALBERS (dates unknown) STEPHANIE (1977–present) ROLAND FLEXNER (1982–present) PATTY HARRIS (1981–86) SUZANNE LAVELLE– (1969–72) JIM MONTE (1968–present) WILL RYMAN (dates unknown) DONNA TAYLOR (1969) 134 Bowery 262 Bowery 266 Bowery Fifth at Second Centre and Grand First and Bowery BILLY APPLE (1964–65) CHERNIKOWSKI JOEL FORRESTER (1976–present) (late 1970s) DIMMLER JURI MORIOKA (late 1980s–present) TOM SACHS (?–present) NICK TAYLOR (1981–present) 356 Bowery 219 Bowery Great Jones and Bowery 33 Cooper Square 330 Bowery 223 Bowery 163 Bowery 189 Bowery ARMAN (1965–75) ANDREW T. CHIN (1973–present) (dates unknown) JASON HARVEY (1963–80) GERALD LAING (dates unknown) MALCOLM MORLEY (1970s–’80s) JANINE SADE (early 1980s) WAYNE TAYLOR (1969) 221 Bowery Bleecker and Bowery Great Jones and Bowery 198 Bowery 94 Bowery 83 Canal Great Jones and Bowery Rivington and Bowery MARLENE ARON (dates unknown) PING CHONG (dates unknown) (dates unknown) DON HAZLITT (1974–76) (1967–69) RON MOROSAN (1980–91) JAMES SALTER (1967–70) BOB THOMPSON (1963–late ’60s) Grand and Bowery 268 Bowery 255 Bowery Bowery 10 184 Bowery 158 Mott Elizabeth and Grand PATTI ASTOR (1980) CARMEN CICERO (1971–present) ROBERT FOSDICK (1968–2006) WILLIE HEEKS (dates unknown) DICKY LANDRY (1970–77) ANNETTE MORRIS (1976–84) DAVE SANDER (2010–present) SAM THURSTON (dates unknown) Bowery Bond and Lafayette 15 Bowery 10 Chatham Square 184 Bowery 108 Bowery 98 Bowery Great Jones and Bowery HOPE ATHERTON (dates unknown) (dates unknown) STEPHEN FOSTER (?–1864) MARY HEILMANN (1970–77) JUNE LEAF (1970–73) AMY MOUSELEY (dates unknown) TOMIJO SASAKI (1969–72) JULIUS TOBIAS (1968) 295 Bowery 270 Bowery Forsyth and Rivington Bond and Bowery 111 Bowery Suffolk and Rivington 118 Forsyth Canal and Bowery MICHAEL BAKATY (1970–2004) MICCI COHAN (1996–2001) BRENDAN FOWLER (2007–present) CASPAR HENSELMANN (1970–present) ANN LEDY (1986–93) STEVE MUMFORD (1992–present) (1972–2004) YUJI TOMONO (1968–74) Great Jones and Bowery Rivington and Bowery 142A Bowery 134 Bowery 222 Bowery 27 Cooper Square 186 Bowery Forsyth and Rivington FRED BAKER (1967–70) ARCH CONNELLY (1990–92) RICHARD J. (late 1960s–early ’70s) (1963–70) FERNAND LEGER (1941–45) ELIZABETH MURRAY (dates unknown) ANGELO SAVELLI (1965–88) KON TRUBKOVICH (2010–13) 27 Cooper Square 189 Bowery 217 Bowery 99 Bowery 9 Stanton Bowery 98 Bowery (1962–66) JOHN COPLANS (1970s–2003) FRANCISCO CHARLIE HEWITT (1988–2007) DOUGLAS LEICHTER (1969–71) TERRY R. MYERS (1990–94) GERALDINE SCALIA (1982–2008) PAUL TSCHINKEL (1968–72) Forsyth and Rivington 261 Bowery Bond and Bowery Bowery 156 Bowery 35 Cooper Square Broome and Bowery 356 Bowery STEPHEN BARKER (dates unknown) LINUS CORAGGIO (1984–89) JAN FRANK (dates unknown) EF HIGGINS (dates unknown) (1978–2001) BILLY NAME (dates unknown) ARLEEN SCHLOSS (1970–present) (1960s) 215 Bowery, 94 Bowery Grand and Allen Bowery Chrystie and Delancey 108 Bowery 300 Bowery 142A Bowery Bowery BURT BARR (1960s–70s) WILL COTTON (1997–present) MARY FRANK (dates unknown) KAY HINES (1974–present) MONICA LEON (dates unknown) ROGER LAUX NELSON (1970s–present) ELFI SCHUSELKA (1964–66) JACK TWORKOV (1960s) 268 Bowery Fifth and Bowery 184 Bowery 188 Bowery 262 Bowery 137 Bowery 111 Bowery 103 Bowery BILL BARRETT (1969–78) LOUIS CREMMINS (1982–85; 2009–present) (1970–73) CHARLES HINMAN (1965–71) MARILYN LERNER (1969–77) MAX NEUHAUS (1966–67) (1970–71) ALAN UGLOW (dates unknown) 231 Bowery Second and Bowery Bleecker and Bowery 231A Bowery Bowery Stanton and Forsyth 39 Great Jones 222 Bowery FRANCES BARTH (1972–80) STANLEY CROUCH (1970–?) (dates unknown) (1971–present) ALFRED LESLIE (dates unknown) SHALOM NEUMAN (1984–present) ILKA SCOOBIE (1993–present) LYNN UMLAUF (1978–present) 350 Bowery 222 Bowery 195 Chrystie Grand and Bowery Stanton and Bowery Spring and Mott 100 Bowery Third and Bowery BELA BARTOK (1940s) MARK DAGLEY (1987) CHRIS FRANTZ (1974–77) KRISTIAN HOFFMAN (1978–84) JILL LEVINE (early 1980s–90) (1958–88) LIBBY SEABURG (1993–2004) MARY ANN UNGER (1975–99) 219 Bowery Bond and Bowery 147 Second 115 Bowery 119 Bowery Bowery 108 Bowery 195 Chrystie JOE BASCETTA (early 1970s) JAMIE DALGLISH (1974–91) JACQUELINE FRASER (2005–06) SANDY HOFFMAN (1970–80) LES LEVINE (dates unknown) CADY NOLAND (dates unknown) MARTHA SERMIER (dates unknown) MICHAEL USYK (2004–08) 108 Bowery 264 Broome 273 Bowery 108 Bowery 217 Mott 262 Bowery 184 Bowery 217 Bowery MICHELE BASORA (1999–2001) LUCKY DEBELLEVUE (1989–present) WARNER FRIEDMAN (1962–69) VIRGINIA HOGE (dates unknown) JOE LEWIS (1976–89) (1969–?) DANNY SEYMOUR (1969–72) EDWARD VALENTINE (1981–1991) Great Jones and Bowery 11 Prince Bowery 308 Bowery 206 Bowery 139 Bowery Delancey and Eldridge 33 Cooper Square JEAN–MICHEL (1983–88) TONY DEBLASI (1988–92) ROBERT FRIPP (1977–?) (BOWERY (2002–present) RALPH LEWIS (2001–present) DANIAL NORD (1993–2002) EDWARD SHALALA (1978–present) FRITZ VAN ORDEN (1978–2005) 188 Bowery Chrystie and Delancey Hester and Bowery Third and Bowery 108 Bowery Second and Bowery BASQUIAT PETER DEAN (dates unknown) DIETER FROESE (1968–2006) POETRY CLUB) SOL LEWITT (1954–74) NATAN NUCHI (dates unknown) ROGER SHEPHERD (1994–99) ARTURO VEGA (1973–2013) 215 Bowery 187 Bowery Elizabeth and Bleecker First and Bowery 356 Bowery Mott and Houston 27 Cooper Square 35 Cooper Square TOM BAYLEY (dates unknown) ROBERTA DEGNORE (1980–2008) MAUREEN GALLACE (1993–present) MICHAEL HOLMAN (1981–82) DORIS LICHT (1968–2000) GLENN O’BRIEN (dates unknown) ARCHIE SHEPP (dates unknown) J. FORREST VEY (940s–57) Bond and Bowery Bowery 215 Bowery 99 Bowery 190 Bowery 222 Bowery 185 Bowery 163 Bowery ROBERT BEAUCHAMP (1950s) JOSEPH DE GIORGIO (dates unknown) DOROTHY GALLAGHER (dates unknown) HAAVARD HOMSTVEDT (2005–09) ROY LICHTENSTEIN (1965–67) JOHN OPPER (1958–?) ROBERT SHERMAN (dates unknown) FRANK LINCOLN VINER (1963–74) Bond and Bowery 35 Cooper Square 219 Bowery 134 Bowery Bowery 137 Bowery Bowery and Prince 137 Bowery DAVID BECKER (dates unknown) DIANE DI PRIMA (1962–65) ARNOLD GANELES (1965–69) ETHELYN HONIG (1963–64) BOB LIIKALA (1960–2006) MICHAEL ORUCH (1993–present) MELISSA SHOOK (1964–65) KATARINA WALLIN (1969–76) 222 Bowery 268 Bowery 142A Bowery 135 Bowery 98 Bowery 185 Bowery 139 Bowery 131 Bowery LYNDA BENGLIS (1972–present) MARTHA DIAMOND (1969–present) MARILYN (1965–69) (1964) MAYA LIN (1988–97) JOE OVERSTREET (1974–79) FRAN SIEGEL (1993–2002) JOAN WALTERMATH (1970s–present) 98 Bowery 231A Bowery 136 Bowery 163 Bowery Forsyth and Grand 83 Canal 156 Bowery ELISABETH BERNSTEIN (2006–present) DAVID DIAO (1971–74) GANELES–COLVIN (1968) LUCY LIPPARD (1963–66) PAT PASSELOFF (1963–present) JAMES SIENA (1989–present) DAVID WANDER (1978–2003) 107 Bowery 219 Bowery 185 Bowery 189 Bowery 108 Bowery 99 Bowery Fifth and Bowery 135 Bowery JAKE BERTHOT (1976–96) RICHARD LOUIS (1969–73) FRANK GARDNER (1983–93) (1971–73) RAMIRO LLONA (dates unknown) CLAYTON PATTERSON (1981–83) JACK SILBERMAN (1986–present) GRACE WAPNER (1960–64) Third and Bowery 356 Bowery 185 Bowery 246 Bowery 266 Bowery 185 Bowery 2 Bleecker 108 Bowery GEOFFREY BIDDLE (1975–present) DIMMLER (1974–75) JOAN GARDNER (1983–93) (1972–73) RO LOHIN (1983–present) PETER/PEDRO PEREZ (dates unknown) KATHRYN SIMON (1980) ANNE WATSON (dates unknown) 222 Bowery 330 Bowery Forsyth and Broome 98 Bowery Forsyth and Rivington 134 Bowery Chrystie and Delancey 330 Bowery REGINA BOGAT (1960–?) (1976–81) DAVID GEERY (dates unknown) CURT HOPPE (1975–present) ANDREA (2004–present) GILDA PERVIN (1982–present) CHARLES SIMONDS (1970–77) BOB WATTS (dates unknown) Great Jones and Bowery 219 Bowery Bond and Bowery 108 Bowery Broome 306 Bowery Bowery RODDY BOGAWA (1993–present) SUZANNE (1969–73) SANDY GELLIS (1970–present) SAMANTHA HOWARD (dates unknown) LONGACRE–WHITE HOWARDENA PINDELL (1983–87) E. JAY SIMS (1990–present) DAVID WEINRIB (dates unknown) 189 Bowery 356 Bowery 103 Bowery 163 Bowery 357 Bowery Hester and Bowery 108 Bowery Bond and Bowery BRUCE BOICE (1979–91) LAVELLE-DIMMLER (1974–75) EVA GETZ (dates unknown) JANINE HUMPHRIES (dates unknown) ANDREW LORD (dates unknown) ADRIAN PIPER (1968–74) LUCY SKAER (dates unknown) ANNETTE WEINTRAUB (1974–present) 188 Bowery 330 Bowery 219 Bowery 27 Essex 262 Bowery Fifth and Bowery Third and Bowery Houston and Bowery ANDREW BOLOTOWSKY (dates unknown) (1976–81) STEVEN GILBERT (1985–present) SU–LI HUNG (1991–present) AL LOVING (1968–75) RICHARD PITTS (1963) THEODORA SKIPITARES (1975–present) ROGER WELCH (1977–present) 188 Bowery 135 Bowery Bowery 356 Bowery 262 Bowery 163 Bowery 142A Bowery 330 Bowery ILYA BOLOTOWSKY (1960s–91) RAY DONARSKI (dates unknown) ANN GILLEN (1958–72) BRYAN HUNT (1976–77) WYN LOVING (1968–75) SYLVIA PLIMACK (1962–63) LOUISE P. SLOANE (1973–79) TOM WESSELMANN (1966–72) 98 Bowery 135 Bowery 108 Bowery 188 Bowery 98 Bowery 27 Essex 231 Bowery PETER BOYNTON (dates unknown) JANE MILLER DOYLE (1967–70) JANET GILLESPIE (1981–87) (1964–78) CHRIS LUCAS (dates unknown) MANGOLD RICHARD SLOAT (1991–present) (1972–95) Spring and Bowery 189 Bowery 231A Bowery 188 Bowery Spring and Mott Great Jones and Bowery 87 Houston 30 Cooper Square GLENN BRANCA (late 1970s–early ’80s) (1963–76) MAX GIMBLETT (1974–present) WILL INSLEY (1966–67) BONNIE LUCAS (1979–present) AMOS POE (1983–2005) (1978–present) (1995–2004) 99 Bowery 134 Bowery 222 Bowery 231A Bowery Bleecker and Bowery 32 Cooper Square 73 E Houston 195 Chrystie SHARON BRANT (1970–73) TOM DOYLE (1963–67) JOHN GIORNO (1966–present) (1974–present) CYNTHIA MACADAMS (1970s–present) RONA PONDICK (1977–present) TERRY SLOTKIN (dates unknown) TINA WEYMOUTH (1974–77) 189 Bowery 135 Bowery 10 Chatham Square 222 Bowery 190 Bowery Grand and Bowery 246 Bowery 195 Chrystie BRUCE BRECKENRIDGE (1965–68) (1963–70) TINA GIROUARD (1970–77) (dates unknown) (1966–present) KID CONGO POWERS (dates unknown) ROBERT SLUTZKY (dates unknown) LILI WHITE (2002–03) 96 Bowery 189 Bowery Bleeker and Bowery 255 Bowery 98 Bowery 184 Forsyth 300 Bowery 137 Bowery BRECKER BROTHERS (1973–86) (1970–76) PHILIP GLASS (dates unknown) GERALD JACKSON (1968–2001) MIKE MALLOY (1971–72) ADAM PURPLE (1969–86) PHILIP SMITH (1975–77) IAIN WHITECROSS (1969–76) 163 Bowery Bowery and Spring 222 Bowery 261 Bowery 163 Bowery 295 Bowery; 231 Bowery 269 Bowery Bowery GLORIA GREENBERG (1967–75) SARA DRIVER (1985–present) MICHAEL GOLDBERG (1962–2007) TONY JANNETTI (1975–present) ROBERT MANGOLD (1962–71) HARVEY QUAYTMAN (dates unknown) (1977–80) JOHN WILLENBECHER (dates unknown) 354 Bowery Bowery Bowery and Spring Bond and Bowery Elizabeth 135 Bowery Bowery and Spring BRESSLER PETER DUDEK (1977–80) NAN GOLDIN (dates unknown) JIM JARMUSCH (1985–present) ROBERT (1972–?) LIZ WHITNEY QUISGARD (2008–present) RICHARD SMITH (1964–65) WILLIAM T. WILLIAMS (dates unknown) 163 Bowery 9 Chatham Square Forsyth and Grand 27 Cooper Square Second and Bowery 103 Bowery 270 Bowery MARTIN BRESSLER (1967–75) JOHN DUFF (1971–present) GAIL GOLDSMITH (1973–present) HETTIE JONES (1962–present) MAPPLETHORPE DEE DEE RAMONE (1974–80) STEVE SMULKA (1973–91) SUE WILLIS (1980–2003) Rivington and Bowery Canal and Bowery 94 Bowery 27 Cooper Square 276 Bowery; 105 Bowery Second and Bowery 280 Bowery 134 Bowery TOM BRONK (dates unknown) LORETTA DUNKELMAN (dates unknown) BRENDA GOODMAN (1976–present) KELLIE JONES (1962–81) (1985–99) (1974–80) JOAN SNITZER (1982–present) ANN WILSON (1967) 222 Bowery Bond and Bowery Bowery and Kenmare 27 Cooper Square 342 Bowery 250 Bowery 138 Bowery 239 Elizabeth JAMES BROOKS (dates unknown) JOSEPH M. DUNN (1975–present) GUY GOODWIN (dates unknown) LISA JONES (1961–85) FRANCO MARINAI (1979–present) (1970s) (2006–09) GAVIN WILSON (1995–present) 35 Cooper Square 221 Bowery Fifth and Bowery 163 Bowery 273 Bowery Seventh and Bowery 35 Cooper Square 73 E Houston CLAUDE BROWN (dates unknown) JEAN DUPUY (dates unknown) SAM GORDON (2003–present) CARTER JONES (1987–93) RALPH MARTEL (1964–69) CAROLE ANNA (1965–present) STAN SOBOSSEK (dates unknown) ROBIN WINTERS (dates unknown) 103 Bowery Rivington and Bowery 190 Bowery Rivington and Bowery 9 Chatham Square 33 Cooper Square 266 Bowery VIRGINIA BUCHAN (dates unknown) JASON DUVAL (2001–present) ADOLPH GOTTLIEB (1966–70) BRAD KAHLHAMER (1991–present) ALFRED MARTINEZ (1976–present) RANDALL STANLEY SOMERS (1979–82) KEVIN WIXTED (1983–present) 97 Second 108 Bowery 108 Bowery 214 Bowery 306 Bowery 108 Bowery 98 Bowery 36 Fourth DOMENICA BUCALO (1994–2007) BARBARA EDELSTEIN (1990–present) TERENCE GOWER (2006–07) CHERYL KASS (1971–79) LUCIANA MARTINEZ (1994) CALVIN REID (1981–87) EVE SONNEMAN (1972–89) DAVID WOJNAROWICZ (1981–85) 250 Bowery 108 Bowery Eldridge and Grand Sixth and Cooper Square 219 Bowery 217 Bowery 9 Chatham Square IAN BURN (1970s) BRUCE EDELSTEIN (1984–95) (dates unknown) ALEX KATZ (1950–53) DE LA ROSA CAROLE REIDFORD (early 1970s) NICHOLAS SPERAKIS (dates unknown) CHRISTOPHER WOOL (1976–2001) 269 Bowery 276 Bowery 269 Bowery Bowery and Spring 111 Bowery 354 Bowery 108 Bowery 119 Bowery HARRISON BURNS (1977–91) CARMEN EINFINGER (1998–present) RALPH GRANT (dates unknown) WILLIAM KATZ (1965–72) MARK MASTROIANNI (1990–2003) KATE RESEK (1972–2007) ANYA SPIELMANN (1999–2002) JIMMY WRIGHT (1975–80) 222 Bowery 229 Bowery Forsyth and Broome 304 Bowery Chrystie and Delancey 99 Bowery 98 Bowery Great Jones and Bowery WILLIAM S. (1974–98) (1870s–93) JOANNE GREENBAUM (1978–91) LENNY KAYE (dates unknown) GORDON MATTA-CLARK (1970–78) ELSA RENSAA (1981–83) DARCY SPITZ (1994–present) AHMED YACOOBI (1970–85) Bowery 189 Bowery Houston and Bowery 78 Orchard Houston and Bowery Canal and Bowery 100 Bowery BURROUGHS ELIOT ELISOFON (dates unknown) JAN GROOVER (1979–91) POOH KAYE (1973–75) TIM MAXWELL (2003–present) MARCIA RESNICK (1973–75) TERRY STEADMAN (dates unknown) CARRIE YAMAOKA (1988–present) 262 Bowery Elizabeth and Houston 299 Bowery 295 Bowery 188 Bowery 324 Bowery Houston and Bowery 307 Bowery DEENA BURTON (1984–2005) RAYMON ELOZUA (1969–2003) BARBARA GROSSMAN (1969–72) SOPHIE KEIR (dates unknown) DINAH MAXWELL (1969–74) JOYCE REZENDES (dates unknown) ALAN STEELE (1977–present) FUMIO YOSHIMURA (dates unknown) 195 Chrystie 98 Bowery Broome and Bowery 13 Third 163 Bowery 94 Bowery DAVID BYRNE (1974–76) CARLA DEE ELLIS (early 1970s) (BOWERY GALLERY) RAY KELLY (1970–present) SMITH BILL RICE (1953–2006) CAROL STEEN (dates unknown) PETER YOUNG (1965–70) 270 Bowery Rivington and Bowery 98 Bowery Forsyth and Rivington 108 Bowery Grand and Bowery Bowery and Spring Fifth and Bowery PETER CAIN (1992–96) MITCH EPSTEIN (1986–present) ERNEST GUSELLA (1969–72) TOM KENDALL (dates unknown) STEVE MCCULLUM (dates unknown) TERRY RILEY (dates unknown) GLEN STEIGELMAN (1970s) SALLY YOUNG (1990–present) 94 Bowery Spring and Bowery 118 Forsyth 108 Bowery Grand and Bowery 98 Bowery 266 Bowery 98 Bowery SAM CADY (dates unknown) BARBARA ESS (late 1970s–present) (1972–2004) LORI KENT (dates unknown) DAVID MCDERMOTT (dates unknown) BETTIE RINGMA (1976–82) CHRIS STEIN (1970s) BOB YUCIKAS (1972–present) Canal and Bowery Suffolk and Rivington 264 Bowery First and Bowery Grand and Bowery Bond and Bowery 142 Bowery 186 Bowery PAT CARYI (dates unknown) INKA ESSENHIGH (1992–present) FRED GUTZEIT (1970–present) JULIUS KLEIN (2000–present) PETER MCGOUGH (dates unknown) SAM RIVERS (1969–?) RUDI STERN (1936–2006) TINO ZAGO (1982–86) 215 Bowery Houston and Bowery Bowery 302 Bowery 100 Bowery Broome and Bowery 108 Bowery Bond and Bowery LAWRENCE CALCAGNO (1960–93) SCOTT EWALT (1994–present) HANS HAACKE (dates unknown) JOANNE KLEIN (1979–95) MEDRIE MCPHEE (dates unknown) DOROTHEA ROCKBURNE (dates unknown) KERRY STEVENS (1994–present) KES ZAPKUS (1971–present) 184 Bowery 137 Bowery 255 Bowery 306 Bowery Bond and Bowery 222 Bowery 215 Bowery 108 Bowery JOHN CAMPO (1967–present) ROYA FARASSAT (2008–present) BRUNO HADJADJ (dates unknown) KEN KOBLAND (1979–present) CHARLES MEYERS (1971–present) UGO RONDINONE (dates unknown) TODD STONE (1974–80) JIANG JUN ZHANG (1990–present) 359 Bowery Houston and Bowery 14 Delancey 131 Chrystie 73 E Houston Fourth and Bowery Canal and Bowery DOMENICK CAPOBIANCO (1959–71) MICHAEL FAUERBACH (dates unknown) JOHN HALPERN (1976–80) HARRIET KORMAN (dates unknown) DICK MILLER (dates unknown) BRIAN ROSE (1977–92) CARL STUCKLAND (dates unknown) 47 Delancey Rivington and Bowery Grand and Bowery 98 Bowery Stanton and Bowery 105 Bowery LYNDA CASPE (1966–74) RICHARD HAMBLETON (mid–1980s) STEVEN KRAMER (1980) MARC H. MILLER (1969–89) (1992–present) BILLY SULLIVAN (1980–present) The Bowery Artist Tribute is an ongoing project.

The New Museum welcomes additional information about artists who have lived or worked on the Bowery, past and present.

Please return the form below to the New Museum: 235 Bowery New York, NY 10002 USA

Or by email: [email protected]

ARTIST’S NAME

ARTIST’S ADDRESS ON/NEAR THE BOWERY

DATES THAT THE ARTIST OCCUPIED THIS ADDRESS

ARTIST’S (OR ESTATE) CONTACT

PHONE

EMAIL

ADDRESS

YOUR CONTACT (if different than artist)

PHONE

EMAIL

ADDRESS