108 An East Village Review, July/August 1987. Issue #7, p. 7. Published and edited by Janet Gillespie, Patty Harris, and Calvin Reid. The three editors resided at 108 from 1981-87, their address inspiring the name of the journal. Courtesy the editors EAST VILLAGE GALLERIES 1987

Published by When artists move into a neighborhood, Painters weren’t the only artists who and the , all Lower East no matter how dilapidated, they benefitted from this community; Side residents, took advantage of the transform it into a vibrant, safer sculptors, photographers, writers, and neighborhood’s permissiveness and community. is full of musicians also flocked to the Bowery. creative energy to launch a revolution. successful examples such as Soho, Some, like sculptor Doris Licht, took With the rise of in the 1980s, newmuseum.org Chelsea, the Bowery, and Williamsburg. advantage of the Lower ’s the Bowery’s walls were bent to Editor: Ethan Swan Not only does artistic vitality attract lawlessness, installing an illegal kiln another use as Jean-Michael Basquiat, Designed by: Thomas Rennie Printed by Cosmos Communication, NYC commercial interests but art has the in her backyard. Others, like Sandy Fab Five Freddy, and all

Cover: Adam Purple, The Garden of Eden, 1975-1986. potential to cut across barriers and Gellis, took inspiration from the roamed the neighborhood. Earthwork. Forsyth and Stanton. Photo: Harvey Wang, to bridge dislocations. Following the neighborhood’s manufacturing district, December 30, 1978. Second World War, the first artists that collecting malformed bottles and In recent years, the Bowery has Back Page: Bowery and Delancey , 2010. came to the Bowery were painters, plastic scraps from the endless heaps of remained a site of creative activity. The Photo: Thomas Rennie drawn by the inexpensive, large spaces garbage. Artists built meeting spaces in physical space that once supported so and light. Abstract Expressionists were their lofts, or transformed neighborhood much painting has, in many cases, © 2010 of Contemporary Art especially fond of downtown living, fixtures into creative hubs. evolved into a state of mind that informs

All rights reserved. No part of this as the scale of their paintings thrived artistic practices from poetry to new publication may be reproduced, stored in 4000 square foot lofts. In 1957, the At the north end of the Bowery, Amiri media art. New galleries and non-profit in a retrieval system or transmitted in any form or by any means, electronic painter John Opper returned to New Baraka and Hettie Jones co-edited the venues provide locations for dialogue mechanical, photocopying, recording York after five years of teaching in literary journal Yugen from their loft and reflection, and zoning regulations or otherwise, without the prior permission of the publisher. North Carolina and discovered a former at 27 , pulling their have insured that ample light can still

The Bowery Artist Tribute is made possible by an YMCA building at 222 Bowery that contributors from the be found on the Bowery, nourishing endowment from Hermine and David Heller. would become his studio for nearly four community. One block away, The Five a new generation of painters. To decades. As his daughter, Jane Opper, Spot hosted live jazz, packing the acknowledge this continuum, The described in her 2008 Bowery Artist house with artists for performances by Bowery Artist Tribute was inaugurated Tribute interview, the building provided Thelonious Monk, Charlie Parker, and by the New Museum in 2007, with the a precious resource for his practice: Billie Holiday. Moisha’s Luncheonette, opening of our home on the Bowery. “Working in the big space on the at Bowery and Grand, became an Through an interactive website, a Bowery gave him the ability to stretch unofficial meeting place for artists in the series of in-depth artist interviews, out the canvases and really explore neighborhood, with Sol LeWitt, Sylvia public programs, and publications, what he wanted to do,” she explained, Plimack-Mangold, Roy Lichtenstein the Bowery Artist Tribute continues to “which was work with color.” and others appearing almost daily for grow as we record more oral histories tomato soup and cheese sandwiches. and more information comes to light. Other painters followed, and over The interviews presented in this the next five years the artists Mark While the Bowery’s reputation for publication are excerpts from longer , Wynn Chamberlain, Michael alcoholism, , and poverty discussions, available on our website: Goldberg, and Angelo Ippolito all held strong throughout the 1970s, the boweryartisttribute.org. began working at 222 Bowery. By artist population in the neighborhood 1965, there were over one hundred quietly continued to grow. As the Pop We are indebted to Hermine and painters living along the Bowery, artists and Abstract Expressionists David Heller for funding the research, among them , Robert departed, a new generation took their development, and presentation of this Indiana, Al Loving, and Elizabeth places. Building a much different archive, and for providing endowment Murray. The lure of cheap rent and relationship with the Bowery’s space funds for its future. We are also grateful vast lofts drew a steady stream of and sunlight, conceptual artists, to a number of individuals who have artists to the neighborhood, many performance artists, and filmmakers been instrumental in the research of whom occupied space illegally. began filling its lofts. Max Neuhaus and coordination of these efforts over While the lofts themselves remained envisioned his first sound installations the past four years, especially Eungie the primary attraction, with each new from his Bowery loft, while Archie Joo, Irving Sandler, Ethan Swan, NYU artist’s arrival a second draw emerged: Shepp developed a new, Afrocentric fellows Matthew Israel, Jovana Stokic, the growing artistic community of the vocabulary for jazz at Cooper Square. and Matthew Levy, Travis Chamberlain Bowery. As Opper himself recalled in The bebop of The Five Spot gave way and Becky Brown. Finally, we owe a 1968 interview with art historian to the avant-garde improvisation of the many thanks to the artists, relatives, Irving Sandler, it wasn’t the space that Tin Palace, the preeminent jazz club and friends who have shared their brought the artist to New York, it was the of the 1970s, and in the mid-1970s the studios, photographs, and memories culture: “I missed the companionship Bowery hosted the birth of American of the Bowery. of the artists,” he explained, “I missed and new wave at CBGB. the discussions.” The , Blondie, Television,

Lisa Phillips, Toby Devan Lewis Director (1) Yuji Tomono in his studio at (2) Joe and Carole Bascetta’s wedding day, 1974 (3), (4) Interior of The Tin (5) CBGB, 315 Bowery, 1991. (6) Artist in Residence sign at 188 Bowery, 2010. (7) Keith Haring, subway (8) John Opper in his Bowery 151 Canal (at Bowery), 1971. Exterior of Pelican Footwear, 219 Bowery. Left Palace, a jazz club located at Photo: Clayton Patterson The Artist in Residence (AIR) sign was a New drawing, circa 1981. Taken at the Studio, 1965. Photo courtesy Photo courtesy Doris Licht to right: David Johansen, Cyrinda Foxe, Carole 325 Bowery from 1970–80. York City requirement for legal loft living. The station, just north of Jane Opper Reidford (Bascetta), Joe Bascetta. Pelican Footwear Photos courtesy Paul Pines sign indicates that the building is occupied, with the Bowery. Keith Haring artwork was a custom shoe store founded by the Bascettas, residents on the 3rd floor. Photo: Thomas Rennie © Keith Haring Foundation with all design, fabrication, and sales occurring at their Bowery loft. Pelican’s clients included David Bowie and The New York Dolls, who featured their shoes on the cover of their debut LP. Courtesy Joe and Carole Bascetta. Photo: Bob Gruen © Bob Gruen / www.bobgruen.com

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VOL. 2 (5)

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(2) (6) (1) Roddy Bogawa, I Was Born, (2) Roddy Bogawa’s 16mm (3) Roddy Bogawa, I Was Born, (4), (6) Interior of Roddy (5) Roddy Bogawa, Junk, 1999. But…, 2004. Still from16mm film bin in his studio, 2004 But…, 2004. Still from16mm Bogawa’s studio, 2004. Still from 16mm film, 85 min. film, 90 min. Objects left in Photo: Alex Yalakadis film, 90 min. Courtesy the artist Photo: Alex Yalakidis Courtesy the artist. tribute to at CBGB after his death. Courtesy the artist

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PAGE 06 RODDY BOGAWA (4) GREAT JONES + (1993–PRESENT)

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New York filmmaker Roddy Bogawa (b. 1962) makes work known forits Excerpt from the investigation of history and culture via lyrical low-fi means and innovative Bowery Artist Tribute narrative structures. He has made three feature films and numerous shorts. He interview with Roddy Bogawa studied art and played in punk bands before turning to filmmaking, receiving January 18, 2008 his MFA degree from the University of California, San Diego where he made Video available at his first two short films. In 1991, he directed his first feature, the experimental boweryartisttribute.org narrative Some Divine Wind. A mixture of fictional and documentary material, this expressionistic film focused on the paradox of assimilation while trying to “I think there were these landscapes and able to walk and see these places that I framing a shot, where I was laying on there in silence for awhile…reading (6) hold on to one’s cultural perspective. The film was selected for the Sundance places that were either mythological or had studied in art school or things like the ground in front of , and this note that this girl had written, and Film Festival, the Mannheim International Film Festival, the Asian American things that I could experience and tell that were very important and I think there was a note that a girl had written how deeply it affected me emotionally International Film Festival, the Hawaii International Film Festival, and the Fukuoka my friends about, and that was kind of an influence to a lot of my filmmaking that was just in blue and red crayon. literally sent me off on this whole Asian Film Festival. I Was Born, But..., a look back at punk music in the late ’70s key. I think a lot of my work is rooted in after that. My last feature that I finished And my face, I was looking through feature project. I raised some funding, and early ’80s, and its intersection with race and identity, premiered as the closing psychological landscapes and physical was a film that literally started from the camera, was about three inches and I ended up going back to Los night film at the New York Underground Film Festival where it won the Festival landscapes, so it’s very nice to be able the sidewalks of the Bowery. It was a away from the sidewalk and literally Angeles, shooting the punk clubs Choice Award. His awards and grants include Creative Capital Foundation, the to walk around and witness New York film that I started after Joey Ramone I was smelling decades of vomit and that I went to as a kid. I shot some in American Center Foundation, the Jerome Foundation Independent Filmmaker like that. The Bowery is always kind died, when all the kids had been blood, piss, and I wasn’t even really Hawaii where my family was from, grant, and New York State Council on the Arts. of chaotic just from traffic because leaving stuff in memory of Joey in paying attention to the shot so much and it became this whole journey people are driving to the bridges and front of CBGBs. There were things like other than timing it, and I started starting from this one moment. I’ll things like that, and then you have this Valentines, beer cans, sneakers, notes, reading the note: ‘Dear Joey, my life never forget that, the idea of literally quality of a kind of emptiness at the and things like that. So I woke up one was boring in Columbus, Ohio, and being in such proximity to the Bowery end of it. That was intriguing to me, day at six in the morning, and I took then I discovered the Ramones.’ It was sidewalk completely setting me off on you could sort of walk around, and, a 16-millimeter camera down there, a very amazing Proustian moment this whole emotional journey.” I think, experience New York. I grew and I started shooting just the objects for me, because I started sobbing as I up in Los Angeles, so I was always in that the kids were leaving, just to have. was taking the shot, and I turned off a car. Moving to New York and being I took a couple rolls of film, and I was the camera and I basically just sat

(5) (1) , Life is a (2) Rirkrit Tiravanija, JG Reads, (3) John Giorno, “Black (4) John Giorno, Everyone is (5) Interior of John Giorno’s Killer, 2010. Graphite on 2008. Still from16mm film, 606 Paintings and Drawings.” a Complete Disappointment, studio, 2008. paper, 13 x 13 in (33 x min. Courtesy the artist and Installation view, 2010. Graphite on paper, Photo: Travis Chamberlain 33 cm). Courtesy Nicole Gavin Brown’s enterprise Nicole Klagsbrun Gallery, 8 1/2 by 8 1/2 in (21.6 x Klagsbrun Gallery New York, 2010. Courtesy 21.6 cm). Courtesy Nicole Nicole Klagsbrun Gallery Klagsbrun Gallery

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PAGE 08

JOHN GIORNO (2) 222 BOWERY (1966–PRESENT)

John Giorno (b. 1936) was drawn to poetry at a young age, studying art and Excerpt from the literature at Columbia College. In the early 1960s, he became acquainted with Bowery Artist Tribute the Pop art movement, an encounter that would compel him to abandon his interview with John Giorno job as a stockbroker and dedicate his life to poetry. Inspired by the tactics of his June 20, 2008 friends Andy Warhol (who featured Giorno as the star of his 1963 film Sleep), Video available at (5) , and Jasper Johns, Giorno brought the act of appropriation boweryartisttribute.org to his work, presenting found texts as poetry. In 1963, Giorno gave his first public reading at a union building on , beginning an energized, “Where we are now is at 222 Bowery, “I’m seventy-one years old right now. and he invites all these people.... About had no idea that these eighty people vibrant practice that has inspired many historians to describe him as the father of facing the New Museum. I first came And in 1963, on the top floor [of 222 eighty people come. So you have Andy would be the greatest artists, painters, performance poetry. Giorno met William S. Burroughs and Brion Gysin in 1965; into this building in 1962. A friend of Bowery], Wynn Chamberlain gave me and the Pop artists…. Jim Rosenquist, sculptors, dancers, and musicians of they introduced him to the Cut-Up technique. In exchange, Giorno shared his mine, Wynn Chamberlain, a painter, a birthday party and he invited all our , and Roy Lichtenstein. the twentieth century. They didn’t come experiments with tape recording and looping. In 1965, Giorno founded Giorno had a loft on the top floor. I often went friends. In 1962 and 1963, nobody was Bob Rauschenberg comes with his new to be with me, as I said a minute ago, Poetry Systems, a not-for-profit organization. Utilizing such media as LPs, CDs, to parties there, and got drunk, and took famous. Andy Warhol had just had his boyfriend and they stayed for an hour. they couldn’t care less about me—they videos, and films, Giorno Poetry Systems has shared the works of more than drugs, and sometimes I would spend first show the year before in November And then Jasper Johns comes—this is came to be together. And the art would forty poets, including John Ashbery, William S. Burroughs, Denise Levertov, two or three days, go on a Friday and 1962. I met him at the first group show only two years after Bob and Jasper have was small enough, and it was early and Bobby Seale. In 1968, Giorno expanded this reach even further with Dial- leave on Sunday afternoon. I moved he was in at the Sidney Janis Gallery, broken up so it’s miraculous that one enough, that they went out to parties. A-Poem, a service that allowed listeners to call a local telephone number and into the loft just above here, I’ve been on October 31, 1962. We became very left and the other came…. And then the By 1965, or 1967, nobody would go hear a randomly selected poem. During its three year existence, Dial-A-Poem living here since 1966. I moved here good friends, and he shot the filmSleep poets, Frank O’Hara, and John Ashbery, to a party like that, for an unknown received over one million calls, offering over 700 selections by fifty-five different after I got back from Tangier, thinking in the summer of 1963. Kenneth Koch…and Jonas Mekas, person. But I’m saying this because poets. In 2008, he collaborated with Rirkrit Tiravanija on the latter artist’s work, that I was going to be here for a month, and all these other people who were that’s the way the Bowery was in these JG Reads (2008), a ten-hour film in which Giorno performs works from the five- or at the most three months. I had no “So December 4, 1963, Wynn decides friends of ours, like Frank Stella, and years of 1962, 1963, and 1964. It was decade span of his career. Since 1970, Giorno has exhibited an evolving set idea that I was going to spend the rest to give a part for this young poet who Terry Riley, and Max Neuhaus, were all just beginning.” of drawings and paintings based on his poetry, most recently in the exhibition of my life here. also was the star of Andy Warhol’s Sleep there, because there was a party. We “Black Paintings and Drawings” at Nicole Klagsbrun, New York (2010).

(4) (1) 10 roof (3) Mary Heilmann, Red, (4) Chatham Square studio garden, 1970s. Left to right: Yellow, Blue, Too, 1976. Acrylic window, 1970s. Photo Dicky Landry, Norman Fisher, on canvas, 60 x 60 in (152.4 x courtesy Mary Heilmann Mary Heilmann, and Gerard 152.4 cm). Courtesy the artist; Merrill. Photo: Tina Girouard. 303 Gallery New York; and (5) Chatham Square studio Photo courtesy Mary Heilmann Hauser & Wirth. view, 1970s. Photo courtesy Photo courtesy Mary Heilmann Mary Heilmann (2) Mary Heilmann, Vanishing Point, 2008. Oil on canvas, 42 1/8 x 42 1/8 in (107 x 107 cm). Courtesy 303 Gallery New York; and Hauser & Wirth. Photo courtesy Mary Heilmann

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PAGE 10 MARY HEILMANN (2) 10 CHATHAM SQUARE (1970–77)

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Mary Heilmann (b. 1940) is one of the preeminent artists of her generation—a Excerpt from the pioneering painter whose work injects abstraction with elements from popular Bowery Artist Tribute culture and craft traditions. A “painter’s painter,” her straightforward, seemingly loose interview with Mary Heilmann and casual approach belies a witty dialogue with art historical preconceptions. June 4, 2010 Video available at Heilmann’s work has been deeply influenced by her personal experiences, boweryartisttribute.org including a childhood and adolescence moving from Los Angeles-area beaches to Bay Area beatnik clubs. The impact of this thoroughly West Coast childhood “It was just this wrecked, rough scene, always looking out the window, in the building, without a certificate believe that it’s true, and I don’t remember out to a and just get drunk and get is seen in the vibrant, lusty color palette, sense of boundless possibility, and building. There was a cigar store on the influenced how my work developed. I of occupancy. It was a culture of exactly how it all fit together—somehow in a fight and then sleep all morning experimentation for which Heilmann’s paintings are known. The sense of movement ground floor, and the whole building started there in 1970, and by the end lawlessness. We really tried to not pay the weed plants disappeared before and get back into it. That changed in and rhythm evident in the work—as well as many of the paintings’ titles—are was for rent for $500. I got Tina of the ’70s, I was thinking in terms of taxes. We didn’t make any money, so it the police showed up. Other than that, those years.” connected to Heilmann’s enthusiasm for popular music ranging from Brian Eno Girouard and Dicky Landry to come in having a narrative in the painting, and wasn’t really an issue. nothing bad ever happened. to the Sex Pistols, to k.d. lang and beyond. Her free abstractions, combined with on the deal with me, so the three of us I think that was influenced by looking an element of autobiography, have made Heilmann’s paintings highly influential rented it—four floors and a little half out the window and constantly seeing “I never felt unsafe. One time, a guy “Living in Chatham Square, on the to a younger generation of artists. Ultimately, Heilmann’s practice can be seen floor on the top, the penthouse. And I everything going on. climbed into my window, off of the roof. Bowery, and constantly going up and as an all-encompassing network linking genres, styles, friends, locations, and got the penthouse. Tina and Dicky had He took a ring from my little dressing down the Bowery to get to Max’s histories—enabling each individual work to speak eloquently on its own terms as the first two floors. We moved in there “I always used to think that for table, you would never think to go Kansas City and to the , to well as in a larger chorus. in 1970. prospering—for moving from one level in there because it was so rough! But Norman [Fisher]’s house where we of life to another, making a living and anyway, it was a diamond ring, and I all hung out, was the beginning of my Heilmann’s museum retrospective “To Be Someone,” organized by Orange “What was a big influence was the getting more money, that you simply called the cops. The cops were going to having a sense that community was an County Museum of Art, Newport Beach, CA toured the USA from 2007–09. view that I had out of my window can’t do it strictly legally. You have come over and I realized I had this huge important part of the work. Before, my Her work has been seen in solo exhibitions at Secession, Vienna; Douglas Hyde onto Chatham Square. It was this to break the law to get past that, and garden of marijuana on the roof so John model for being an artist was this sort of Gallery, Trinity College, Dublin; and Camden Arts Centre, London, as well as in big open square, so I did get a lot of get from one class to another. And Duff and I had to hurry out there and lone-person up in a garret, where you numerous one-person gallery shows. nice lighting there in my studio. That we were sort of doing that by living get all these pots of weed down. I can’t work all alone all day and then you go

(5) (1) Kellie Jones (foreground) (2) Elizabeth Murray, Morning is (3) Archie Shepp, Attica , (4) Yugen, 1962. Issue 8. Edited and Lisa Jones at Paula Cooper Breaking, 2006. Oil on canvas 1972. The photograph on by (formerly Gallery, New York, 1969. on wood,110 ½ x 121 x 2 ½ the front cover of the LP LeRoi Jones) and Hettie Jones. Paintings by Ed Ruda in (280.7 x 307.3 x 6.4 cm). was shot in Shepp’s loft at This issue of Yugen was edited Photo: Ellen Labenski. Courtesy 27 Cooper Square and published from their loft at The Pace Gallery. © The 27 Cooper Square Murray-Holman Family Trust, courtesy The Pace Gallery

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PAGE 12 KELLIE JONES (2) 27 COOPER SQUARE (1962–81)

Kellie Jones (b. 1959) arrived on the Bowery at the age of three, with her and Conference Center in Bellagio, Italy. Dr. Jones’s writings have appeared Excerpt from the parents Amiri Baraka (formerly LeRoi Jones) and Hettie Jones. The family in numerous exhibition catalogues and the journals NKA, Artforum, Flash Art, Bowery Artist Tribute (4) settled in an illegal loft building at the north end of the Bowery, a situation Atlantica, and Third Text among others. Current book projects include Eye- interview with Kellie Jones that Hettie Jones would later recall in her memoir, How I Became Hettie Minded, a book of collected essays and family collaborations, and Taming the September 10, 2007 (3) Jones: “As far as the city knew, 27 Cooper Square was a vacant, cold-water Freeway and Other Acts of Urban HIP-notism: African American Artists in Los Video available at rooming house. ‘Loft living,’ considered a fire hazard, was illegal. Artists hid Angeles in the 1960s and 1970s. Dr. Jones has worked as a curator for over boweryartisttribute.org their beds and kitchens—even built false walls—while landlords turned their two decades and has more than twenty-five major national and international heads and held out their hands.” From 27 Cooper Square, her parents wrote exhibitions to her credit. She has organized shows for the Johannesburg “In my classes, I usually welcome in 1986. And even the late Elizabeth “As a child, you think the world is people of color you talk about. Once and published a variety of works, including poetry, plays, music criticism, and Biennale (1997) and São Paulo Bienal (1989), the latter of which won the artists in because I always think that for Murray. That’s another part of the story. like your world. You think the whole you get into people who are alive, or children’s literature. The building’s central location, and the couple’s literary grand prize for best individual exhibition. She was co-curator of the exhibition budding artists, young artists, to be in a My elementary school, she was my art world is like that. I remember going to even from the fifteenth century on, journal Yugen, established the building as a nerve center for the Beat writers “Basquiat,” which toured New York, Los Angeles, and Houston in 2005–06. room with young art historians, and to teacher… along with her first husband, college, I mean, I had no idea, I was they’re gone. I couldn’t understand and the of poetry, creating a vibrant, creative environment Her exhibition “Energy/Experimentation: Black Artists and Abstraction, 1964– start having the dialogue now, is really Don Sunseri, who was the wood shop always around artists. When I went how you could really teach that, for Kellie Jones and her sister Lisa to grow up in. 80” opened at the Studio Museum in in April 2006. In the fall of 2011 great. I always tell my students, ‘look, teacher. And they lived in our building. to high school, I went to the school and yet we’re sitting in the class with her latest curatorial project “Now Dig This! Art and Black Los Angeles, 1960– these are the people you’re going to be I’m sure mom has told you about who of music and art—more artists! And people who are artists, like Whitfield Today, Dr. Kellie Jones is associate professor in the department of art history 80” will premiere at the Hammer Museum in Los Angeles. The exhibition is writing about. If you think you’re not, lived in the building: Elizabeth Murray the important thing about that for me Lovell, who was a classmate of mine and archaeology at Columbia University. Her research interests include African part of the Getty Foundation’s initiative, “Pacific Standard Time,” which aims to you’re wrong.’ I met Lorna Simpson and her husband Don, when they first now, looking back, is that it was a very in high school. So art was just part American and African Diaspora artists, Latino/a and Latin American artists, and revive and supplement neglected aspects of the rich artistic history of Southern when we were interns at the Studio moved from . The saxophone diverse, multicultural place. I never, of my life. When I went to college, I issues in contemporary art and museum theory. She received her PhD from California between 1945 and 1980. Museum in Harlem in 1980. We were player Archie Shepp, we had free jazz as a child growing up, thought that was really shocked that people didn’t Yale University in 1999. Dr. Jones was named an Alphonse Fletcher, Sr. Fellow just friends, you know, we ended up rehearsals underneath our , artists were only meant to be white. I know artists, that everybody hadn’t in 2008 for her lifetime of writing on visual art. The fellowship commemorates vibing on each other—oh friends, you know, as part of growing up.” had no concept of that. It was really a grown up with artists…. I began to the landmark Brown v. Board of Education ruling of 1954, which struck down oh cool, hey, I like your work…. Or shock when I started taking art history, realize, say, between the ages of legal segregation; it recognizes candidates whose work honors and furthers even Whitfield Lovell who I knew for actually in high school, and I thought, eighteen and twenty-two, that this the spirit of the statute. In 2005 she was the inaugural recipient of the David C. so long, or Fred Wilson. Fred Wilson why is it that the artists of color, they’re was a real gift that I had been given, Driskell Award in African American art and art history from the High Museum gave me one of my first exhibitions in very ancient. They’re pre-Colombian, to actually grow up on the Bowery, to of Art, ; and a scholar in residence at the Rockefeller Foundation’s Study the Bronx, at the Longwood Art Center, or they’re Egyptian. Those are the only grow up the way I did.” (1) Adam Purple, The Garden (2) Adam Purple, 1982. Photo: (3) Adam Purple with corn crop (4) Destruction of The Garden of Eden, 1975–86. Earthwork. Harvey Wang in The Garden of Eden. Photo: of Eden’s protective wall Photo: Harvey Wang, Harvey Wang, August, 1985 supporting public black September 23, 1979 raspberry patch, September 1985. Photo: Harvey Wang

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PAGE 14 ADAM PURPLE 184 (1972–98))

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Adam Purple (b. 1930) is a social activist, philosopher, and urban gardener/ Excerpt from and it would expand and the circles On the map for the block I was in, all food. So, all of our human rights were revolutionary. He created the world-famous earthwork The Garden of Eden, interview with Adam Purple and would bump into buildings and knock the area where The Garden of Eden violated, when the garden was handled which flourished on Manhattan’s Lower East Side from 1975–86. By the early Amy Brost for the buildings down, metaphorically, existed, it was labeled vacant. It was the way it was by the city. I think it was 1970s, much of Manhattan’s Lower East Side had become a desolate, crime- StoryCorps Oral History Project, which of course they did. I mean the never officially recognized by the the late Martin Luther King, Jr. who said ridden place. In the midst of this, Purple started a garden in the backyard of his November 22, 2006 buildings fell down, and the city saw city as existing. They called it vacant. that injustice to anyone, anywhere, tenement building at 184 Forsyth Street. In time, the surrounding tenements what was happening and decided, When in fact it was a work of art is a threat to justice everywhere, to were torn down and Purple’s The Garden of Eden grew to 15,000 square feet “In Missouri there’s an old saying— well we gotta kill this for sure. there, an earthwork. And, incidentally everyone, something to that effect. We and included forty-five fruit and nut trees. He carted off tons of refuse and ‘You can take a boy out of the country earthworks and performance art, as I don’t live in isolation of everyone else. created virgin topsoil with horse manure from as well as his own but you can’t get the country out of “We had cucumbers, and cherry understand my art history, are referred “night soil.” To create the garden, he used simple tools and raw muscle power. a boy.’ I grew up about a half a mile tomatoes, and asparagus, and black to as antiestablishment for the very “I said at the time, and I still feel that it His circular design had mathematical and metaphysical meaning: The Garden outside the city limits of Independence raspberries on on Eldridge simple reason that the owning class would have been better to kill me and of Eden grew exponentially with the addition of each new ring of plant beds, [Missouri]. Although I was born in Street, and forty-five trees, including cannot buy them and put them in a leave the garden because, well, that’s and at its center was a double yin-yang symbol. Purple “zenvisioned” the Independence, I grew up mostly in eight black walnut trees, half of which gallery somewhere and make them the way I view it.” garden expanding until it replaced the asphalt and skyscrapers of New York. the country with cows and ducks were fruiting. In fact, there’s still a black unavailable to the general public. Though the city was presented with numerous alternatives that would have and chickens and frogs and snapping walnut tree that I transplanted into the There’s a lot of artwork that’s in private spared it or incorporated it into the new structure, The Garden of Eden was turtles and blue herons and whatever, back of what is now also called 184 hands that the public never sees. And, bulldozed in 1986 to make way for a federally funded housing project, which and learned to have some respect for Forsyth Street. In their backyard in the so when you do something that is free, did not include an apartment for Purple or space for a new garden. He is also the natural life processes. northeast corner of their yard, I don’t open, and costs nothing in terms of the author-inventor of of Zentences, an exponential (nonlinear) book. A unique know if they know it, and if they did money, except human labor, you are a copy of this work may be studied in the Miniature Collection of the Rare Books “I had started the garden in ’75 and the they’d probably run in and kill it. threat. That is antiestablishment. And, Division at the . landlord left in ’76, as I remember, but obviously, I was aware of that. I had already started the garden and I “If you look at the city maps there wasn’t going to abandon that because was a so-called community garden “It was a work of art that was also I could see other buildings were going across the street, and on the maps for ecologically based, in terms of a (4) to come down, and so it was circular that particular block it said ‘garden.’ human right to make earth and grow

(3) (1) Arleen Schloss in the (3) Flyer wall outside of 330 (4) Kyong Park at the opening (5) Unknown attendees at the sculpture garden at 330 Broome. Photo: Ethan Swan of “The Asia Show,” A Gallery, opening of “The Asia Show,” A Broome, circa 1981. Photo: 1985. On the wall behind him Gallery, 1985. The work above Michael Morse is a work by Shirin Neshat. them is by Tehching Hsieh. Photo courtesy Arleen Schloss Photo courtesy Arleen Schloss (2) Arleen Schloss (standing) and Alexander Hahn at A’s, 1981. Photo courtesy Arleen Schloss

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PAGE 16

ARLEEN SCHLOSS (3) 330 BROOME (1970–PRESENT)

Arleen Schloss (b. 1943) has worked interchangeably in a variety of mediums These workshops demanded a dedicated location for performance, and in 1979, Excerpt from the Rivington School here in Manhattan. resource for City as School, which was it they rushed here because the Mudd since the 1970s, including performance art, sound poetry, new music, paintings, A’s was born. Each Wednesday night, Schloss opened her loft to the public, offering Bowery Artist Tribute We were all experimental artists, here in . I worked Club was on the expensive side. The film, and video. Presented in spaces as varied as the Kitchen, the Museum of a diverse program of dance, music, and performance, including such artists as interview with Arleen Schloss testing and trying different things. with high school students that couldn’t public were artists, basically from the Modern Art, the Ars Electronica festival in Austria, and her own home, Schloss’s Jean-Michel Basquiat, Phoebe Legere, Glenn Branca, Berhard Heidsieck, Eric July 24, 2008 work in regular classrooms. I would ’hood, and also from Europe. Everyone performances possess a spirit described by Linda Burnham as “a contagious Bogosian, Alan Vega (Suicide), and Y Pants. On weekends, the space doubled as Video available at When I first arrived here I was painting take them out to , was open and loving what was going on sense of wonder.”1 These presentations, which could involve Schoss’s cyclical A Gallery, offering space for visual artists as well. Especially notable were two boweryartisttribute.org with my feet because there was no wall we would do Art Around the Park [a because everyone was experimenting. recitation of the alphabet, live painting, closed-circuit video, and music all at group shows in 1985: “The Asia Show,” which included works by Nina Kuo, Bing space. That turned into performance art live action public art project during It was a chance to try your ideas. The once, combine the anti-art whimsy of Fluxus, scientific exploration, Cageian Lee, Ai Weiwei, Tehching Hsieh, and Shirin Neshat; and “The Friends Show,” Even though it was the late ’60s, we workshops. In 1970 I did a performance Howl Festival] and they would paint as first band that played here was Grey, indeterminacy, and a site-specific empathy that made every act unique. which involved over one hundred artists, including Willoughby Sharp, Kim Jones, kind of knew that SoHo was going called Feet in an experimental space part of the whole outdoor institution. Jean-Michel Basquiat’s band. He came and Schloss’s parents. to become fashionable and turn into on Prince Street. I did a large workshop in to play in his pajamas. Everything Schloss trained as a painter, a pursuit that was fractured by the relocation to something, and we wanted to be off with a number of people to take off their A’s formed because I was giving was on the edge and people were her loft, which did not provide adequate wall space. Turning In the 1990s, A’s ended its regular schedule and Schloss developed a new platform to the side. We were all being thrown shoes and socks and walk in mounds of performance art workshops and just doing whatever they were doing. instead to the floor, Schloss began painting with her feet, a practice that led her for hosting performance—A’s Wave. Utilizing New York’s first Internet service out of where we were living on East hot pink Play-Doh. It was like you were working with friends and other people Mania D, a German all-women band to performance with the painting Arleen’s Dance (1970). Recognizing that the provider, Panix, founded in 1988, Schloss established an online series of live because the building had hanging out on the moon. to help develop works using their played the same night. The whole point execution of the work, which involved moving across a ten-by-eight-foot canvas, music, videos, performance and interactive projects that continues to develop on been bought. There was no one in voice and sound and experimenting about A’s was loving what you do. And was as valid an artistic gesture as the finished painting, Schloss began hosting her Web site, panix.com/~atel/flash/. this building, and we moved in as a I was working in the neighborhood with creative ideas. The workshops if you’re serious, and you love what you performance workshops to develop this idea and support her peers. group of artists. One of the people in with children that didn’t speak English. increasingly became more popular do, then you do it. And I’m open. 1. Linda Burnham, “Arleen Schloss,” in High Performance, issue 19, vol. 5, no. 3, 1982. the group was a dancer who danced I was experimenting then too, trying to and grew quite large so I opened it as a with Merce Cunningham. One was find creative ways to teach language. space for creation of works by different the artist Ray Kelly, who founded the This was in the early ’70s. I became a artists. As soon as people heard about (1) Billy Sullivan, Texas Wall (2) Billy Sullivan, Natasha, (3) Billy Sullivan, Colin (4) Interior of Billy Sullivan’s 1972 -1992, 2008. Studio 2009. Oil on linen, 30 x 22 in Studying, 2008. Oil on linen, studio, 2010. installation, 120 x 180 in (76.2 x 55.9 cm). Courtesy 30 x 22 in (76.2 x 55.9 cm). Photo: Paul Kennedy (304.8 x 457.2 cm). Courtesy Billy Sullivan Courtesy Billy Sullivan Billy Sullivan

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PAGE 18 BILLY SULLIVAN 250 BOWERY (1978–1980)

105 BOWERY (1980–PRESENT) (4)

The paintings, drawings, and photographs of Billy Sullivan (b. 1946) are tributes Excerpt from the “I slept in the front of the studio—one “You came here because it was cheap there, and Burroughs used to live there. to the beauty of fleeting moments. Each portrait acts as a document of time, Bowery Artist Tribute day, I must have been waking up, I felt to live and no one wanted to live on Artists always lived here. When I was freezing such natural acts as eating, reading, or resting. Beginning with a series interview with Billy Sullivan like my studio was on fire. They had the Bowery. There were these big at the School of Visual Arts, I worked of unhurried photographs, taken over the course of a conversation, a meal, or October 9, 2007 painted the outside of my building red buildings—this was an old . for Malcolm Morley, who had a studio simply hanging out, Sullivan is able to condense his impressions of a subject Available at as I was sleeping. I woke up and it was And they cleaned it up. There’s still on the Bowery, Roy Lichtenstein had into the finished work, creating what he describes as “a psychological take on boweryartisttribute.org bright red. some marble partitions in the bathroom a studio on the Bowery. And now their time spent together.” These subjects are drawn primarily from Sullivan’s where the men, they used it as a public we have Whole Foods? I would have social circle: his friends and the people he encounters as a part of the downtown “My family moved to Brooklyn, but “I moved to this space, 105 Bowery, bathroom, on the floor. never believed that this would happen. New York scene. This personal relationship with each individual lends a calm, my parents are from here. My dad in December 1980. I had to go speak There are doormen on the Bowery. It’s intimate quality to his portraits, evoking a caring, romantic tone. Sullivan’s said when he was a kid that the to Jack Klein, who dealt in studios “It was the greatest place to live. changing. The sad thing is that young vibrantly colored paintings capture the golden tones of the late afternoon sun Bowery was an exciting place, it was in those days, he was great. I went Jake Berthot lived in this building at people can’t come here. It’s impossible sinking over the Bowery, or the red hues of flashing lights, his palette fancy. For his time, it was the biggest to speak to him, and he told me the one point. I got my studio from Brice unless, you know, you already have a reflecting both the radiance of his surroundings and the warmth and emotion he in New York. The Astors price. I was nervous, I said, ‘sure, I’ll Marden, who was in this building. lot of money. I came when you didn’t carries for each of his subjects. lived here. pay,’ and he said, ‘Aren’t you gonna Alan Uglow lives across the hall and have to have money, and you could bargain with me?’ I had no idea that down one flight. These buildings used have a dream.” Sullivan has been exhibiting since 1971 and recently mounted his first one- “I moved on the Bowery in 1978, I people did things like that. I didn’t to be connected so you could walk person museum survey at Guild Hall Museum in East Hampton, NY (2007). His rented a studio at 250 Bowery. I think know where I was going to get the back and forth, he lives in 103. Eve work was shown in the 2006 Whitney Biennial, “Day For Night,” and recent solo the person who was in it before me was money to pay for the studio, it was Sonneman used to live across the exhibitions include “Billy Sullivan: East End Photographs 1973-2009,” Salomon Joseph Kosuth. It was a great studio, it like $400 or something. I didn’t have street, with Bob Yucikas. Lynda Benglis Contemporary, East Hampton, NY (2010); “Conversations,” Nicole Klagsbrun had great light. The building doesn’t money. I mean, I went out every night lives up the Bowery, the building with Gallery, New York (2009); Galerie Sabine Knust, Munich, Germany (2009); and exist anymore, it was over Paragon and I partied, and drove a taxi once in Mike Goldberg and Lynn Umlauf that Regen Projects, Los Angeles (2008). Restaurant Supplies. a while. But I got it together. used to be a YMCA. John Giorno’s in

(3) (1) , Untitled (THREE (2) Dash Snow, Slime the (3) Dash Snow, Untitled, 2007. (4) Dash Snow (foreground) (5) Dash Snow, Gangbang at DAYS NO SLEEP BUTT HEY Boogie, 2007, detail. Artist’s Collage, 11.75 x 11.75 in (28.6 and Brendan Fowler. Still from Ground Zero, 2006. Artist’s WHOS COUNTING), 2007, detail. book. Offset print, black and x 28.6 cm). Courtesy the Dash BARR, “The B Side is Silent” book, detail. Photocopied, black Self portrait polaroids mounted white, 420 pages. Courtesy the Snow Estate music video, 2007. Directed by and white, 144 pages. Courtesy on paper, tape, artist’s pubic hair, Dash Snow Estate Endless Friends the Dash Snow Estate typewritten text, 4.5 x 44.5 in (11.5 x 113 cm). Courtesy Peres Projects and the Dash Snow Estate

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PAGE 20 DASH SNOW 138 BOWERY (2007-2009)

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Dash Snow (1981–2009) worked Snow began his creative activity as Alongside these desolate panoramas, in the same neighborhood two for friends and family. Often running desire. These works, while occasionally in semen and glitter, scratch through with spray paint, newspaper a prolific graffiti writer, notorious Snow began to document his other decades earlier, Snow used snapshots hundreds of pages long, these zines imbued with the amusement and strata of violence—war, execution, state clippings, photography, and his own both for his intensity and his ability nighttime activities—the bare skin, to document his extended family, to revel in secret affinities: handwritten thrill of his photography, exposed terror, bloodthirst—but ultimately resist body to create work that stretched to access remote spots. He rejected consumption, and exhaustion that commemorate intimate situations that notes mirror excessive New York Post a cynical, troubled side of Snow, any conclusion of good or evil. Snow from the condemned territories of the late 1990s tendency towards colored his life. Giuliani’s mayoral normally pass without notice. The tone headlines and familial snapshots complicating notions of the artist as treated such judgments as unnecessary, downtown New York to countless extreme technical skill and avant- reign, which extinguished Chelsea’s of his photographs never approached exhibit the same rapt facial expressions party documenter. even divisionary, preferring instead to exhibitions around the world. His garde character design, instead setting mega-clubs and neutered , objectification or spectacle; like as found photos of occult gatherings. build a dynamic between confrontation restless, enthusiastic spirit drove Snow dominance and daring as his goals. corralled Manhattan’s youth culture Goldin he was a part of the community Throughout Snow’s installations and of the constant maelstrom of violence to combine and mutate materials, His word, SACE, always executed in downtown once again—concentrated he documented, and the work was a In Snow’s collage works, the impulse publications, his key compositional and the shelter of a loved one’s face. obsessively modifying arrangements and legible, sharply defined letters, was that particular culture of drugs, sex, reflection of his relationships with the towards collecting and contrasting elements—debauched flesh, prurient correlations in his collage, portraiture, applied relentlessly throughout the and mayhem into a limited patch south subjects. The photos portray moments reveals much darker fascinations. Built clippings, and adoring portraits—jostle and self-published artist books. city, either brashly applied to the of 14th Street. This was Snow’s turf, of revelation, tinted with an open spirit upon a foundation of aged, mildew-toned one another much in the same way that front door of a twenty-four-hour deli marked clearly by his tag at every block. of welcome. paper, these rigorous compositions these energies struggle in life. Viewed or unfathomably high on a building’s The sites that people spent entire nights combine depraved headlines and at this scale, Snow’s consideration of façade. A stolen camera acquired at the (or summers) searching for—the fading Snow’s generosity was best deftly edited photos to create sharp- this balance is savagely conspicuous. (5) age of sixteen accompanied Snow on dive bars; the basement rock clubs; the disseminated through his self- edged, deeply frustrated commentaries. In one collage, 1930s pornographic these outings, capturing the proscribed 5 a.m. loft make-out parties—Snow produced, photocopied zines. Snow would often splice together two photos are combined and drawn upon, sites and unseen views of the city that found every one, and photographed Recording photos, sensational news sentences, alternating the words in a forming a crass, aggressive orgy; but in his graffiti adventures provided. His the ensuing fistfights, drunken kisses, stories, typewritten fragments, and manner that reinforced the brutality of a second work, the same naked bodies transient passage through subway and triumphs. Just as Nan Goldin rescued debris, Snow’s publications current events while surrendering to splash through a pond, cast with a , rooftops, and abandoned documented the drug use and collage disparate materials into their absurdity. Collages without text Waldenesque freedom that is reinforced buildings was solitary, but his prints transgression of her own community an intensely personal narrative, edged together images of battlefields, by the glued-in words, “Have Fun.” fixed his view of the city in a format illuminating his sense of humor, his celebrities, and consumer goods: an Front-page photos of Saddam Hussein that could be openly shared. morbid fascinations, and his adoration architecture of suffering and misplaced with a noose around his neck, doused

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268 Bowery 342 Bowery 135 Bowery 10 Chatham Square 108 Bowery 262 Bowery 217 Bowery MARY ABELL (1979–present) STEPHANIE (1977–present) ALAN FINKEL (1970–77) MARY HEILMANN (1970–77) MONICA LEON (dates unknown) KENNETH NOLAND (1969–?) NICHOLAS SPERAKIS (dates unknown) 217 Bowery Great Jones and Bowery Bond and Bowery 262 Bowery 222 Bowery 108 Bowery The Bowery Artist Tribute is an VITO ACCONCI (1965–66) CHERNIKOWSKI CAIO FONSECA (dates unknown) CASPAR HENSELMANN (1970–present) MARILYN LERNER (dates unknown) JOHN OPPER (1958–?) ANYA SPIELMANN (1999–2002) ongoing project. 246 Bowery 219 Bowery Great Jones and Bowery 134 Bowery 119 Bowery 137 Bowery 98 Bowery (1973–present) (dates unknown) ALICE ADAMS (1969–75) ANDREW T. CHIN GONZALO FONSECA (1963–70) LES LEVINE (dates unknown) MICHAEL ORUCH (1993–present) DARCY SPITZ (1994-present) The New Museum welcomes Bond and Bowery Bleecker and Bowery 255 Bowery 217 Bowery Hester and Bowery 185 Bowery Canal and Bowery EDWARD ALBERS (dates unknown) PING CHONG (dates unknown) ROBERT FOSDICK (1968–2006) CHARLIE HEWITT (1988–2007) SOL LEWITT (1954–74) JOE OVERSTREET (1974–79) TERRY STEADMAN (dates unknown) additional information about artists 134 Bowery 268 Bowery Forsyth and Rivington 188 Bowery 356 Bowery Forsyth and Grand 163 Bowery who have lived or worked on the BILLY APPLE (1964–65) CARMEN CICERO (1971–present) BRENDAN FOWLER (2007–present) CHARLES HINMAN (1965–1971); DORIS LICHT (1968–2000) PAT PASSELOFF (1963–present) CAROL STEEN (dates unknown) Bowery, past and present. 356 Bowery 270 Bowery 142A Bowery 231A Bowery 190 Bowery 99 Bowery Bowery and Spring ARMAN (1965–75) MICCI COHAN (1996–2001) RICHARD J. FRANCISCO (late 1960s–early 1970s) (1971–present) ROY LICHTENSTEIN (1965–67) CLAYTON PATTERSON (1981–83) GLEN STEIGELMAN (1970s) 221 Bowery Rivington and Bowery Bowery 108 Bowery 98 Bowery 185 Bowery 142 Bowery Please return the form below to the MARLENE ARON (dates unknown) ARCH CONNELLY (1990–92) MARY FRANK (dates unknown) VIRGINIA HOGE (dates unknown) MAYA LIN (1988–97) PETER/PEDRO PEREZ (dates unknown) RUDI STERN (1936–2006) New Museum: 295 Bowery 189 Bowery 184 Bowery 308 Bowery 163 Bowery 134 Bowery 108 Bowery 235 Bowery, MICHAEL BAKATY (dates unknown) JOHN COPLANS (dates unknown) (1970–73) (2002–present) LUCY LIPPARD (1963–66) GILDA PERVIN (1982–present) KERRY STEVENS (1994–present) 27 Cooper Square 261 Bowery 7 266 Bowery Hester and Bowery Canal and Bowery New York, NY, AMIRI BARAKA (1962–66) LINUS CORAGGIO (1984–89) (dates unknown) () RO LOHIN (1983–present) ADRIAN PIPER (1968–74) CARL STUCKLAND (dates unknown) 10002 USA Forsyth and Rivington Third Street and Bowery 273 Bowery First Street and Bowery Forsyth and Rivington Fifth Street and Bowery 105 Bowery (2004–present) STEPHEN BARKER (dates unknown) STANLEY CROUCH (dates unknown) WARNER FRIEDMAN (1962–69) MICHAEL HOLMAN (1981–82) ANDREA RICHARD PITTS (1963) BILLY SULLIVAN (1973–present) Or by email: 215 Bowery, 94 Bowery 222 Bowery 215 Bowery 134 Bowery Great Jones and Bowery 142A Bowery BURT BARR (1960s–1970s) MARK DAGLEY (1987) DOROTHY GALLAGHER (dates unknown) ETHELYN HONIG (1963–1964); LONGACRE–WHITE AMOS POE (1983–2005) PAULA TAVINS (1968–78) [email protected] 268 Bowery Bond and Bowery 219 Bowery 135 Bowery 357 Bowery 32 Cooper Square 94 Bowery BILL BARRETT (1969–78) JAMIE DALGLISH (1974–91) MARILYN AND (1965–69) (1964); ANDREW LORD (dates unknown) RONA PONDICK (1977–present) AL TAYLOR (dates unknown) 231 Bowery 188 Bowery 136 Bowery 262 Bowery 295 Bowery; 231 Bowery 189 Bowery FRANCES BARTH (dates unknown) PETER DEAN (dates unknown) ARNOLD GANELES (1968); AL LOVING (1968–75) HARVEY QUAYTMAN (dates unknown) DONNA TAYLOR (1969) ARTIST’S NAME 350 Bowery 187 Bowery 185 Bowery 189 Bowery 262 Bowery 108 Bowery First Street and Bowery BELA BARTOK (1940s) ROBERTA DEGNORE (dates unknown) FRANK GARDNER (1983–93) (1971–73); WYN LOVING (1968–75) CALVIN REID (1981-1987) NICK TAYLOR (1981–present) 219 Bowery 35 Cooper Square 185 Bowery 246 Bowery 98 Bowery 354 Bowery 189 Bowery JOE AND CAROLE (early 1970s) DIANE DI PRIMA (1962–65) JOAN GARDNER (1983–93) (1972–73) CHRIS LUCAS (dates unknown) KATE RESEK (1972–2007) WAYNE TAYLOR (1969) 268 Bowery Forsyth and Broome 98 Bowery Bowery 99 Bowery Rivington and Bowery BASCETTA MARTHA DIAMOND (dates unknown) DAVID GEERY (dates unknown) CURT HOPPE (1975–present) DANNY LYONS (dates unknown) ELSA RENSAA (1981–83) BOB THOMPSON (1963–late 1960s) 108 Bowery 231A Bowery Bond and Bowery 108 Bowery Bleecker and Bowery 98 Bowery Elizabeth and Grand MICHELE BASORA (dates unknown) DAVID DIAO (1971–74) SANDY GELLIS (1970–present) SAMANTHA HOWARD (dates unknown) CYNTHIA MACADAMS (1970s–present) BETTIE RINGMA (1976–82) SAM THURSTON (dates unknown) ARTIST’S ADDRESS ON/NEAR Great Jones and Bowery 219 Bowery 103 Bowery 163 Bowery 190 Bowery Stanton and Bowery Great Jones and Bowery THE BOWERY JEAN–MICHEL (1983–88) RICHARD DIMMLER (1969–73); EVA GETZ (dates unknown) JANINE HUMPHRIES (dates unknown) (1966–present) BRIAN ROSE (dates unknown) JULIUS TOBIAS (1968) 356 Bowery 219 Bowery 356 Bowery 98 Bowery 231A Bowery Canal and Bowery BASQUIAT (1974–75); STEVEN GILBERT (1985–present) BRYAN HUNT (1976–77) MIKE MALLOY (1971–72) JAMES ROSENQUIST (1973–75) YUJI TOMONO (1968–74) 215 Bowery 330 Bowery 108 Bowery 188 Bowery 163 Bowery 246 Bowery Forsyth and Rivington TOM BAYLEY (dates unknown) (1976–81) JANET GILLESPIE (1981-1987) ROBERT INDIANA (1964–78) ROBERT MANGOLD (dates unknown) STEVEN ROSENTHAL (1969–75) KON TRUBKOVICH (2010–present) Bond and Bowery 219 Bowery 231A Bowery 188 Bowery 163 Bowery 222 Bowery 98 Bowery DAVID BECKER (dates unknown) SUZANNE (1969–73); MAX GIMBLETT (1974–present) WILL INSLEY (1966–67); SYLVIA PLIMACK (dates unknown) (1958-62) PAUL TSCHINKEL (1968–72) 222 Bowery 356 Bowery 222 Bowery 231A Bowery 156 Bowery 356 Bowery DATES THAT THE ARTIST (1974–75); (1966–present) (1974–present) (1984–87) LYNDA BENGLIS (1972–present) LAVELLE-DIMMLER JOHN GIORNO MANGOLD ANNIE RUSSINOF CY TWOMBLEY (1960s) OCCUPIED THIS ADDRESS 107 Bowery 330 Bowery 10 Chatham Square 222 Bowery Bond and Bowery 163 Bowery 103 Bowery JAKE BERTHOT (1976–96) (1976–81) TINA GIROUARD (1970–77) ANGELO IPPOLITO (dates unknown) (1972–?) ROBERT RYMAN (1963–66) ALAN UGLOW (dates unknown) Third Street and Bowery 135 Bowery Bleeker and Bowery 255 Bowery 276 Bowery; 105 Bowery 193 Bowery 222 Bowery GEOFFREY BIDDLE (dates unknown) RAY DONARSKI (dates unknown) PHILIP GLASS (dates unknown) GERALD JACKSON (1968–2001) (1985–99) WILL RYMAN (dates unknown) LYNN UMLAUF (1978–present) Great Jones and Bowery 135 Bowery 222 Bowery 261 Bowery 273 Bowery 163 Bowery Second Street and Bowery RODDY BOGAWA (1993–present) JANE MILLER DOYLE (1967–70); MICHAEL GOLDBERG (1962–2007) TONY JANNETTI (1975–present) RALPH MARTEL (1964–69) JANINE SADE (early 1980s) ARTURO VEGA (dates unknown) 189 Bowery 189 Bowery Forsyth and Grand Bowery 306 Bowery 111 Bowery 35 Cooper Square BRUCE BOICE (1979–91) (1963–76) GAIL GOLDSMITH (1973–present) JIM JARMUSCH (dates unknown) LUCIANA MARTINEZ (dates unknown) TOMIJO SASAKI (dates unknown) J. FORREST VEY (dates unknown) 188 Bowery 134 Bowery 94 Bowery 27 Cooper Square Bowery and Spring 156 Bowery ARTIST’S (OR ESTATE) CONTACT ANDREW BOLOTOWSKY (dates unknown) TOM DOYLE (1963–67); BRENDA GOODMAN (1976–present) HETTIE JONES (1962–present) DE LA ROSA ANGELO SAVELLI (dates unknown) DAVID WANDER (1978–2003) 188 Bowery 135 Bowery Bowery and Kenmare 27 Cooper Square 111 Bowery 142A Bowery 135 Bowery PHONE (1960s–91) (1963–70); GUY GOODWIN (dates unknown) KELLIE JONES (1962–81) MARK MASTROIANNI (dates unknown) ELFI SCHUSELKA (1964–66); GRACE WAPNER (1960–64) 98 Bowery 189 Bowery Fifth Street and Bowery 27 Cooper Square 188 Bowery 111 Bowery 108 Bowery PETER BOYNTON (dates unknown) (1970–76) SAM GORDON (2003–present) LISA JONES (1961–85) DINAH MAXWELL SMITH (1969–74) (1970–71) ANNE WATSON (dates unknown) Spring and Bowery 184 Bowery 190 Bowery Rivington and Bowery 108 Bowery 100 Bowery 330 Bowery GLENN BRANCA (late 1970s–early 1980s) SARA DRIVER (dates unknown) ADOLPH GOTTLIEB (1966–70) BRAD KAHLHAMER (1991–present) STEVE MCCULLUM (dates unknown) LIBBY SEABURG (1993–2004) BOB WATTS (dates unknown) 189 Bowery 354 Bowery 108 Bowery Sixth Street and Cooper 100 Bowery 108 Bowery Bowery EMAIL BRUCE BRECKENRIDGE (1965–68) PETER DUDEK (1977–80) TERENCE GOWER (2006–07) ALEX KATZ Square (1950–53) MEDRIE MCPHEE (dates unknown) MARTHA SERMIER (dates unknown) DAVID WEINRIB (dates unknown) 96 Bowery 9 Chatham Square 269 Bowery Bowery and Spring 98 Bowery 108 Bowery Bond and Bowery BRECKER BROTHERS (1973–86) JOHN DUFF (1971–present) RALPH GRANT (dates unknown) WILLIAM KATZ (1965–72) MARC MILLER (1969–89) ROGER SHEPHERD (1994–99) ANNETTE WEINTRAUB (1974–present) 163 Bowery Canal and Bowery 189 Bowery 304 Bowery 295 Bowery 27 Cooper Square 330 Bowery GLORIA GREENBERG (1967–75) LORETTA DUNKELMAN (dates unknown) JAN GROOVER (1979–91) LENNY KAYE (dates unknown) (dates unknown) ARCHIE SHEPP (dates unknown) TOM WESSELMANN (1966–72); ADDRESS 221 Bowery 299 Bowery 295 Bowery 27 Cooper Square 185 Bowery 231 Bowery BRESSLER JEAN DUPUY (dates unknown) BARBARA GROSSMAN (1969–72) SOPHIE KEIR (dates unknown) GEORGE MINGO (dates unknown) ROBERT SHERMAN (dates unknown) (1972–95); 163 Bowery Rivington and Bowery 108 Bowery 189 Bowery Bowery and Prince 30 Cooper Square MARTIN BRESSLER (1967–75) JASON DUVAL (2001–present) (BOWERY GALLERY) LORI KENT (dates unknown) AHZHA COHEN MOORE (1967–92) MELISSA SHOOK (1964–65) (1995–2004) Rivington and Bowery 108 Bowery 111 Bowery 302 Bowery 98 Bowery 139 Bowery Bowery and Spring TOM BRONK (dates unknown) BARBARA EDELSTEIN (1990–present) ERNEST GUSELLA (dates unknown) JOANNE KLEIN (1979–95) ALAN MOORE (1974–76) FRAN SIEGEL (1993–2002) WILLIAM T. WILLIAMS (dates unknown) 222 Bowery 108 Bowery 264 Bowery 306 Bowery 110 Bowery Fifth Street and Bowery 134 Bowery (dates unknown) BRUCE EDELSTEIN (dates unknown) FRED GUTZEIT (1970–present) KEN KOBLAND (1979–present) (JOHN) VINCENT MOORE (1958–62), JACK SILBERMAN (1986–present) ANN WILSON (1967); 103 Bowery 276 Bowery Bowery 187 Bowery 189 Bowery 306 Bowery Canal and Bowery YOUR CONTACT VIRGINIA BUCHAN (dates unknown) CARMEN EINFINGER (1998–present) HANS HAACKE (dates unknown) MELISSA KRETSCHMER (1989–93) (1963–92) E. JAY SIMS (1990–present) (dates unknown) 222 Bowery 229 Bowery Rivington and Bowery 108 Bowery Rivington and Bowery 108 Bowery 266 Bowery (if different than artist) WILLIAM BURROUGHS (1974–98) (1870s–93) RICHARD HAMILTON (1980s) BARBARA KRUCHIN (dates unknown) JIM MONTE (1968–present) LUCY SKAER (dates unknown) KEVIN WIXTED (1983–present) 270 Bowery Elizabeth and Houston 87 Bowery 330 Bowery 223 Bowery 142A Bowery 9 Chatham Square PHONE PETER CAIN (1992–96) RAYMON ELOZUA (1969–2003) HARMONY HAMMOND (1972–76) GERALD LAING (dates unknown) MALCOLM MORLEY (1970s–80s) LOUISE P. SLOANE (1973–79) CHRISTOPHER WOOL (1976–2001) 94 Bowery 98 Bowery 136 Bowery 94 Bowery 184 Bowery 246 Bowery 119 Bowery SAM CADY (dates unknown) CARLA DEE ELLIS (early 1970s–73) ROBERTA HANDLER (dates unknown) (1967–69) ANNETTE MORRIS (1976–84) ROBERT SLUTZKY (dates unknown) JIMMY WRIGHT (1975–80) Canal and Bowery Rivington and Bowery Bowery and Third Street 10 Chatham Square 108 Bowery 300 Bowery 100 Bowery PAT CARYI (dates unknown) MITCH EPSTEIN (1986–present) AL HANSEN (dates unknown) DICKY LANDRY (1970–77) AMY MOUSELEY (dates unknown) PHILIP SMITH (1975–1977); CARRIE YAMAOKA (1988–present) 215 Bowery Spring and Bowery Broome and Bowery 184 Bowery Suffolk and Rivington 269 Bowery 307 Bowery EMAIL LAWRENCE CALCAGNO (1960–93) BARBARA ESS (late 1970s–early 1980s) KEITH HARING (1981–86) JUNE LEAF (1970 – 73) STEVE MUMFORD (1992–present) (1977–80) FUMIO YOSHIMURA (dates unknown) 359 Bowery Suffolk and Rivington Broome and Bowery 7 Bleecker Street 27 Cooper Square 135 Bowery 94 Bowery DOMENICK CAPOBIANCO (1959–71) INKA ESSENHIGH (1992–present) HILARY HARKNESS (dates unknown) (dates unknown) ELIZABETH MURRAY (dates unknown) RICHARD SMITH (1964–65) PETER YOUNG (1965–70) 108 Bowery Houston and Bowery 108 Bowery 111 Bowery 35 Cooper Square 103 Bowery Fifth Street and Bowery ELIZABETH CASTAGNA (dates unknown) SCOTT EWALT (1994–present) PATTY HARRIS (1981-1987) ANN LEDY (1986–93) BILLY NAME (dates unknown) STEVE SMULKA (1973–91) SALLY YOUNG (1990–present) ADDRESS 222 Bowery 137 Bowery Bowery 222 Bowery 300 Bowery 138 Bowery 98 Bowery WYNN CHAMBERLAIN (1961–68) ROYA FARASSAT (2008–present) DEBBIE HARRY (dates unknown) FERNAND LEGER (1941–45) ROGER LAUX NELSON (dates unknown) DASH SNOW (2006–09) BOB YUCIKAS (1972-present) Great Jones and Bowery 306 Bowery 198 Bowery 99 Bowery 137 Bowery 35 Cooper Square Bond and Bowery SARAH CHARLESWORTH (dates unknown) PATRICIA FIELD (dates unknown) DON HAZLITT (1974–76) DOUGLAS LEICHTER (1969–71); MAX NEUHAUS (1966–67) STAN SOBOSSEK (dates unknown) KES ZAPKUS (1971–present) 302 Bowery 32 Cooper Square Bowery 156 Bowery Stanton and Forsyth 98 Bowery 108 Bowery HILO CHEN (dates unknown) ROBERT FEINTUCH (1977–present) WILLIE HEEKS (dates unknown) (1978–2001) SHALOM NEUMAN (1984–present) EVE SONNEMAN (1972–89) JIANG JUN ZHANG (1990–present)