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TheTimesSquareShow

Streetnotes20:URBANFEEL.Spring2010

Streetnotes

MargoThompson

The
TimesSquare
Show

Inthespringof1980,sculptorsTomOtternessandJohnAhearnnoticedafor
saleorrentsignonanabandonedbuildingjustoffTimesSquare,at41st
Streetand7thAvenue.TheyweremembersofCollaborativeProjects,Inc.,or
Colab,anartistsorganizationwhoseapproximatelyfiftymembersconsidered
themselvessocialactivistsasmuchasartists.Severalmonthsearlier,
membersofColabhadworkedwithanaffiliategroupbasedintheLowerEast
Side,ABCNoRio,tomountTheRealEstateShowinanabandonedbuildingon
DelanceyStreetintheLowerEastSideofManhattanwithoutpermissionofthe
landlord.TheartistsbrokeintothebuildingonDecember30,1979,more
artistsandcommunitymembersjoinedthemtostageperformancesandinstall
artworks,andthreedayslaterthepoliceevictedthematthebiddingofthe
DepartmentofHousingPreservationandDevelopment(Committee).
Althoughrecordswerenotkepttodocumenttheidentityoftheparticipants,
theorganizersdeemedtheshowasuccessintermsofcommunityoutreach
andinvolvement.Theintentionhadbeentodrawattentiontobuildingsthat
languisheddecrepitatatimewhentheneedforaffordablehousingwasdire:
cityofficesandlandlordsseemedtoconspireinfavoroffutureprofitsrather
thanaddresstheimmediateneedsoflowincomeNewYorkers.Colab
recognizedthe41stStreetbuildingasanothersitefromwhichtocritique
systemsofpowerasarticulatedinthecontrolofproperty.TimesSquarewasa
vitalifseedypublicspacethatMayorAbeBeamehadtargetedforrenewal.
Withtheexhibitiontheyplanned,Colabwantedtospeaktoandforthe
neighborhoodsmultiracialandeconomicallydiversepopulationofresidents,
visitors,andcontributorstolegalandillegalenterprises.Theynegotiatedwith
thebuildingsownerMarkFinkelstein,whoagreedtolendthemuseofthe
spaceforamonthinJune(Deitch60).BackedwithfundsfromtheNational
EndowmentfortheArtsandadozenotherorganizations,Colabsolicited
proposalsforsitespecificinstallationsandreceivedalandslide(Lippard78).

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JohnAhearnexplainedtheappealoftheTimesSquaresitelikethis:Times
Squareisacrossroads.Alotofdifferentkindsofpeoplecomethroughhere.
Thereisabroadspectrum,andwearetryingtocommunicatewithsocietyat
large(Sedgwick21).TheTimesSquareShowwouldinvestigatehowartcould
communicateacrossrace,class,andgenderdividesandrepresentacomplex
urbanidentity.Colaborganizedtheshowwiththefoundersofanalternative
space,FashionModaintheSouthBronx,andbenefittedfromtheirexperience
practicingdemocraticoutreach.TimesSquarewasapotentrealizationoflate
capitalistculture,whereaneconomyofsignsdominated.Insuchan
environment,themesofsexandviolenceinaraunchyhandmadestylewere
mostlikelytostandoutamidstthecacophonyofcommerce.Paintingsbased
onpulpnovelcovers,drawingsofpolicemen,printsofdollarbillsandrats,and
lifecastsofthedisenfranchised:theseroughandreadyimagescommunicated
futilityanddesperation.Thus,TheTimesSquareShowestablishedamodelfor
collaborationandamodeforaddressingabroadaudiencethatshapedthe
downtownartworldoftheearly1980s.
ApproximatelyonehundredartistscontributedtoTheTimesSquareShow.
Somewereselectedonthebasisoftheirapplications,othersinstalledtheir
workguerrillastyleintheunsecuredbuilding.Therewerenowalltextsto
identifytheartists,whopickedwhateveravailablespaceappealed.
Recognizableimagerydominatedasdidadoityourselfaestheticfinishand
craftsmanshipwerestrenuouslyavoided.TheMoneyLoveandDeathroom
featuredpicturesofmoney,guns,plates,andratsaswallpaper
Money,LoveandDeathRoom,TheTimesSquareShow.
(AndreaCallardPapers,MSS156,Photobinder1A,Series
1B.TheFalesLibraryandSpecialCollections.NewYork
University.)

Money,LoveandDeathRoom,TheTimesSquareShow.(AndreaCallardPapers,MSS156,
Photobinder1A,Series1B.TheFalesLibraryandSpecialCollections.NewYorkUniversity.)

aportraitgalleryonthesecondfloorincludedMimiGrosssreliefsculpturesof
eightsoldierskilledinamissiontosavethehostagesheldinIranandplaster
castsofJohnAhearnsSouthBronxneighbors.

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PortraitGallery,TheTimesSquareShow.JohnAhearnssculpturesare
abovethedoortotheright.(AndreaCallardPapers,MSS156,Photobinder
1A,Series1B.TheFalesLibraryandSpecialCollections.NewYork
University.)

PortraitGallery,TheTimesSquareShow.JohnAhearnssculpturesareabovethedoortothe
right.(AndreaCallardPapers,MSS156,Photobinder1A,Series1B.TheFalesLibraryand
SpecialCollections.NewYorkUniversity.)

TherewasasinkoverflowingwithdirtysaltcrystalsandneedlesbyJamie
Summers
SculpturebyJamieSummers,TheTimesSquareShow.(AndreaCallard
Papers,MSS156,Photobinder1A,Series1B.TheFalesLibraryandSpecial
Collections.NewYorkUniversity.)

SculpturebyJamieSummers,TheTimesSquareShow.(AndreaCallardPapers,MSS156,
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Photobinder1A,Series1B.TheFalesLibraryandSpecialCollections.NewYorkUniversity.)

andapunchingbaghunginfrontofawallwithchalkgraffiticontributedby
visitors.ThefourthfloorfeaturedaFashionLounge.CharlieAhearn,Johns
brother,invitedsubwaywritersFab5FreddyandLeeQuinonestoexecutea
graffitimuralbythenearbysubwaystation(EhrlichandEhrlich).Tom
Otternessmadepostersthatlookedliketheycamefromacarnivalmidway,
withtersecomeonslikeRealMermaidandPunchingBagillustratedwith
crudelinedrawings.Musicblaredthroughtheopendoorsontothestreet.The
onlyguidelineColabestablishedwasthattheartcommentontheTimes
Squareenvironment:sex,money,andurbandecaywerethechief
preoccupations.
InconcerningthemselveswiththerealityofTimesSquare,withitsrundown
buildings,sexworkers,hustlers,anddrugdealers,theTimesSquareShows
organizersdeliberatelycritiquedmunicipaldesignstoimprovethe
neighborhood.TheTimesSquareShowwasintendedtospeaktoandforthose
whowouldbedisplacedbyplannedrenovations.NewYorkCity,likemany
otherU.S.citiesinthe1970s,wasengagedinacampaignofurban
revitalizationtoimprovetaxrevenuesandgeneralqualityoflifeforthe
employedmiddleclass.TimesSquarehadbeenconsideredthestarcaseof
urbancrisisforatleastadecade:rightinthecenterofManhattan,itcouldnot
beignoredasmarginalneighborhoodssuchastheSouthBronxortheLower
EastSidecould.Aboutonehundredbusinessestradinginsexandpornography
hadbeenclosed(Goldstein32),includingthemassageparlorattheTimes
SquareShowsite.Inthespringof1980,therewereplansunderconsideration
foraconventioncenter,twohotels,andanurbanthemeparktobecalledthe
Cityat42ndStreet(Eliot1834).Ironically,givenColabsintentions,atleast
onepatronthatTheTimesSquareShowattractedsawanopportunitytouseit
asleveragetoadvancetheseplans.NewYorkCityculturalcommissioner
HenryGeldzahlerpromisedpotentialsponsorsfortheTimesSquareShowthat
AnysupportyoucouldofferwouldaidintherevitalizationofTimesSquare
(Goldstein32).Butnotalltheartistsembracedtheirroleasurbanrenewers.
RichardGoldsteinreportedintheVillageVoice,Thereisavagueforeboding
amongtheartistsinTheTimesSquareShow,asensethatwerecaughtup
inabiggameplan.thetrompeloielapproachtourbanrenewalmightmean
replacingtherealthingwithitsrepresentation,therealpornographywithart
aboutporn(Goldstein32).Itisacommonplacethatartistsaretheshock
troopsofgentrificationandinthecaseofTheTimesSquareShow,the
mechanismwasclearlyvisibletotheartistsinvolved:theirrough,occasionally
sexuallyexplicitartwithitsveneerofculturalcritiquewouldbeaviable
substituteforthepeepshowsandlivesexrevuesintheeyesofredevelopers.
Thisacceptancewasasourceofconflict,asontheonehandtheartists
wantedtoadvancethemselvesprofessionallyandeconomically,yettheyalso
valuedthegrittyauthenticityofTimesSquareasitthenexisted.Colab
amendeditsroleinserviceofpowerfulinterestsbyalsoappealingandgiving
voicetopopulationswhowouldbedrivenoutasTimesSquarewasremadefor
moreaffluentconsumers.
TheTimesSquareShowdemonstratedtheculturalpossibilitiesthatexistedin
theneighborhoodalreadybyattractingbothartprofessionalsandlocal
workersthroughitsdoors.Unlikevirtuallyallmuseumsorcommercial
galleries,abouthalftheparticipantswerewomenandmorethanonetenth
wereartistsofcolor(Goldstein31).Womenandminoritieswerehighlyvisible
intheTimesSquaremarketplacetoadegreethattheywerenotinthe
establishedartworldinstitutions,soincludingtheirpointsofviewwasa
sensiblestrategyforcommunityoutreach.Somewomenandblackartiststook
theopportunitytoengageinidentitypolitics.AlineMayerandJaneSherry
mountedaprotestagainstviolenceagainstwomenwhich,theyimplied,was
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fueledbythepornographyindustryjustoutsideTheTimesSquareShows
doorsandreiteratedinlanguageusedtodemeanwomen.Theyhung
nightgownsanddressesslashedwithCUNTandWHOREinpaint,alongside
collagesofpornmagazinephotosofvaginas.Onecompellingelementintheir
installationwasagirlsfrockstrewnwithcandynipples,whichalludestothe
sexualexploitationofchildren,theinfantilizationofwomen,andcultural
pressureongirlstotakeontheaccoutrementsofadultwomen,allofwhich
wereconcernsthatoccupiedfeminists.Otherartistsexploredasexpositive
feministpoliticsasastrategyofempowerment.ErikaVanDam,inthepersona
ChiChiperformedastripteaseinTheTimesSquareShowlobby,wagering
thattheartshowcontextwassufficienttodifferentiateitfromsimilar
performancesinTimesSquarestripclubs.Oneofthemostpowerfulpiecesby
ablackartist,notedbyseveralreviewers,wasCandaceHillMontgomerys
large,multipaneldrawingofablackman,beatenandlynched.Itwasframed
inplexiglassandhungbychainsfromtheceiling,astrikingjuxtapositionof
formalrestraintandphysicalviolenceandametaphorforracism(Deitch63,
Lippard78).Alongsideprofessionalartists,untrainedartistsalsoparticipated,
suchasWillie(Bill)Nealewhosculptedcanesoutoftreebranches,andSAMO
(soontobebetterknownasJeanMichelBasquiat),whosegnomicgraffitiwere
familiarsightsonSoHowallsbutherecontributedanabstractcanvastothe
fourthfloorFashionLounge(Goldstein31).
FashionLounge,TheTimesSquareShow.SAMOscanvasisvisiblebehind
theshelving.(AndreaCallardPapers,MSS156,Photobinder1A,Series1B.
TheFalesLibraryandSpecialCollections.NewYorkUniversity.)

FashionLounge,TheTimesSquareShow.SAMOscanvasisvisiblebehindtheshelving.
(AndreaCallardPapers,MSS156,Photobinder1A,Series1B.TheFalesLibraryandSpecial
Collections.NewYorkUniversity.)

ArtscriticKimLevincomparedtheoverallinstallationtoKurtSchwittersDada
Merzbau,anenvironmentalcollagetheartistassembledoffoundmaterials
builtupontheinteriorwallsandceilingsofhisownhouse,whichwasa
commentaryontheencroachmentofindustrialdetritusonlifeintheWeimar
era.LiketheMerzbau,TheTimesSquareShowrecordedpresentconditions:it
featuredanartofplasticandrags,brokenglassandgarbage,celebrating
squalorandurbandecay[A]rtthatmergedwithitssurroundings,meltinginto
itssleazyTimesSquarecontextlikecamouflage(Levin88).Dadainthe
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1920swasnihilistic,batteringaestheticconventionsandbourgeoismoresby
usingchanceandcontradictiontocomposenonsensepoetryandcollage.It
wasmoreastateofmind,anattitudeofrefusal,thanapoliticalcritique,
however.AndaswithDada,anypoliticalcontentthreatenedtobelostinthe
visualandauralclamorofTheTimesSquareShow.VillageVoicecritic
GoldsteindubbedtheexhibitionTheFirstRadicalArtShowofthe80s,butit
wasreallymorepopulistthanradical,soinclusiveastoprovideeverypointof
viewitscounterpoint(31).
ArtcriticLucyR.Lippard,writinginArtforum,commentedincisivelyonthe
showspoliticalclaims.Shehadcredentialstodosoasafeministactivistand
formermemberoftheArtWorkersCoalitionwhohadcalleduponmuseumsto
developraceandgendersensitivedisplaypoliciesandtoreachouttoa
workingclassaudience.Asawhole,shewrote,theshowdidsuccessfully
appealtoafairlyvariedaudiencelocalsaswellasdisillusionedsophisticates,
cynicalradicalsandchicseekers.Thisaccomplishmentcantbe
underestimated(80).ButLippardwastroubledbytheformoftheartists
appeal.Whentheyselfconsciouslyidentifiedwithandimitatedresidentsof
TimesSquare,Lippardarguedthattheartistsactedascolonizers,imposing
theirvoicesandperspectivesonvoicelesssexworkersandofficedrones
(Lippard80).Shealsodisparagedartistswhoonlywantedtoshockthe
bourgeoisie,asinthepicturesofcopswithgunsbyColenFitzgibbon:

ColinFitzgibbonsPolicewithGunsseries,BabsEgans
Mao,TheTimesSquareShow.(AndreaCallardPapers,
MSS156,Photobinder1A,Series1B.TheFalesLibrary
andSpecialCollections.NewYorkUniversity.)

ColinFitzgibbonsPolicewithGunsseries,BabsEgansMao,TheTimesSquareShow.
(AndreaCallardPapers,MSS156,Photobinder1A,Series1B.TheFalesLibraryandSpecial
Collections.NewYorkUniversity.)

Manyseemtohavethoughtthatpicturesofguns,picturesofsex(actually
picturesofwomen,sincewomenandsexareinterchangeable,right?)
constituteastatementinthemselves(Lippard81).
GiventhevisibilityofheterosexualpornographyandthesextradeinTimes
Square,therepresentationofwomenintheshowcourtedcontroversy.Mike
Robinsonreproduceddetailsofpaperbackbodicerippercoversinacrylicon
masonite
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MikeRobinsonspaintingisintheupperright.TheTimes
SquareShow.(AndreaCallardPapers,MSS156,
Photobinder1A,Series1B.TheFalesLibraryandSpecial
Collections.NewYorkUniversity.)

MikeRobinsonspaintingisintheupperright.TheTimesSquareShow.(AndreaCallard
Papers,MSS156,Photobinder1A,Series1B.TheFalesLibraryandSpecialCollections.New
YorkUniversity.)

ineach,amanembracesandnuzzlesanecstaticwoman.Thesearerather
arch,andreservedcomparedforexampletoSherryandMayersinstallation
discussedabove.Robinsonspointseemstobethatrealemotionischeapened
bythepackaged,easilyconsumedmelodramaoftheromancenovel,andthat
weknowinglysuccumbtothealluringfantasythusproffered.Buthowdoes
thatmessagetranslateinthecontextofTimesSquare,whererealsexisalso
packagedandconsumed?Takeawaythemalefigure,andthewomenduplicate
posesfrompostersadvertisingnuderevuesorcenterfoldsavailableinnearby
stores.Womenartists,bycontrast,adoptedaggressivelysexualfashionsand
suggestiveimageryassymbolsofwomenspowerovermen,wrotereviewer
JeffreyDeitch(63).Lippardpointedoutthatfeministshavecritiquedimagesof
womenforyears,andthatpornographyhadsparkedfuriousdebateabout
whethersexuallyexplicitpicturesofwomenareinherentlyexploitative(83).
Shewastroubledbyaperformancebyapairoffeministartists,women
unnamedinLippardsaccount,whostrappedondildoesandassaultedan
inflatablesexdoll.ToaviewerlikeLippardwhowasfamiliarwithfeministart
strategiesandagendas,thepointwasclear:thebrutalpenetrationofthedoll
wasametaphorforwomensoppression.Toanaudiencefamiliarwithlivesex
shows,thepointwaslikelylost.AswithErikaVanDamsstripteaseasChiChi
andRobinsonsblownupbookcovers,thisperformanceborrowedthetropes
bywhichsexbecomesacommodity,andbeggedthequestionwhetherthe
newcontextanalternativeartshowissufficienttoestablishacritical
distance.Inshort,theseexampleswereambiguouswhenitcametotheir
reception:forsomepartoftheaudience,theyoperatedtoarouse,justlikethe
sourcestheyweresupposedtosubvert.
ColabmemberJohnAhearnsaid,Therehasalwaysbeenamisdirected
consciousnessthatartbelongstoacertainclassorintelligence.Thisshow
provestherearenoclassesinart,nodifferentiation(Sedgwick21).Buta
diverseaudienceisnotsosimplyorgliblyaddressed.ArthistorianCcile
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WhitingsinterpretationofClaesOldenburgsStore,installedinaBowery
storefrontin1961,appliestoTheTimesSquareShowaswell(whichwas
comparedtoOldenburgsStorebyseveralreviewers).Oldenburgmimickedthe
crowdeddisplaysofinexpensive,industriallyproducedclothing,accessories
andhousewareswithshelvesofhandmade,uniqueplasterandmuslin
dresses,shoes,andfoods.Whileplayingontheconventionsofneighborhood
retailers,itattractedartmavenshisobjectsforsalewerebargainpricedas
art,butexpensiveasunusableclothesorfood(Whiting2230).TheTimes
SquareShowsimilarlyplayedonthedistinctionbetweenartandconsumer
goods.Theimagerysex,money,andviolencepackagedascommodities
wouldbefamiliar[to]anyonewhowalksthestreetsofNewYork,wrote
JeffreyDeitchinArtinAmerica(60).Buteveniftheworkwasderivedfrom
massproducedcommodities,itwasnotkitschitself:itsmessinessenforceda
studieddistancefromitsmassmarketedsourcematerial.Ahearnscast
plasterportraitsofhisBronxneighborswerethesamemediumasreligious
statuaryproducedinmultiples.ButAhearnmadejusttwoofeachmodel,one
forthesittertotakehomeandoneforAhearntoexhibit,andhepaintedthem
inbright,nonnaturalisticcolors.Theircolorfulsurfacesdemandedan
aestheticresponseandinterpretationinadditiontorenderingrecognizable
portraitsofthesculptorsfriendsandacquaintances.Therewasa
differentiationofclassinplayinTheTimesSquareShowart:itwasmost
meaningfultoaviewerwhowasawareoftheinternationalmodernstyle
conventions,suchasabstractionandminimalism,whichartistslikeAhearn
deliberatelyflouted(Deitch62).
WhileTheTimesSquareShowartistsgenuinelywantedtocommunicatewith
localinhabitants,theydidnotneglectthepatronswhocouldmaterially
supportthem.Foranaudiencewithlittledisposableincome,therewasagift
shopwheresmallerversionsoftheartonviewcouldbepurchasedfor$10or
$15.CasualviewersmayormaynothavebeenattractedbyChristyRupps
plasterratsorBeckyHowlandsdeformedLoveCanalPotatoes(Deitch61),but
thegiftshopdisplaywasdesignedtobeunintimidatingtovisitorswhowere
moreusedtodimestoresthanfineartgalleries.Thesamephilosophyguided
theinstallationofTheTimesSquareShowasawhole.Ontheexhibitionwalls,
Lippardobservedthatnolistofartistsappeared,mostoftheworkwasnt
signed,andtherewerenonicetypedlabels(Lippard78).Thestatusofthe
artonviewascommoditiesforsalewasobscured,asweretheimplicitclaims
tooriginalityandmasterythatanartistsnamedesignates.Eventually,
however,floorplansweredrawnupsothatartistsworkcouldbeidentified
asmuchasTheTimesSquareShowartistsembracedpopulism,theyalsohad
professionalambitions.Colabplannedablacktiecollectorsnight,andsent
outembossedcardsfortheevent,heldonaTuesdaywhenbluechipgalleries
traditionallyheldtheirreceptions(Goldstein32Lippard86).TheTimes
SquareShowdemonstratedambivalenceaboutentrenchedartmarket
practiceswithitscrudeartinelegantlydisplayed,buttheartistscouldnot
affordtoturntheirbacksontheirbenefactorscompletely.
Anxietyaboutsellingoutalternatedwithacynicalembraceofcooptationin
downtownartanditsvenuesinthe1980s.TheTimesSquareShowenacted
thisconflictonalargescale,anditinfluencedsubsequentexhibitionsthat
weresimilarlyfraught,notablyNewYork/NewWaveatP.S.1inFebruary1981
wherecommercialartistswhoseworkwasmadeformechanicalreproduction
showedalongsideaspiringpainterswhoproducedoneofakinds.Fashion
ModaintheSouthBronxdevisedsuccessfulstrategiesforengaginganon
specialistaudiencefromitsinceptionin1978,whentheinauguralshow
includedcollectionsfromtheSouthBronx,objectsdonatedfordisplayby
neighborhoodresidents.CodirectorsStefanEinsandJoeLewisparticipatedin
TheTimesSquareShow.FashionModashowedgenuinelyvernacularart:They
organizedaSouthBronxShoweverysummerthatfeaturedneighborhood
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artists.Theyalsopresentedpaintingsbygraffitiwriterswhomadetheirartistic
reputationsonthesidesofsubwaycars.SubwaywriterCRASHsexhibition
GraffitiArtSuccessforAmericawasmountedatFashionModainOctober1980
andinitiatedthegraffitiartmovementthatflourisheduntil1983.TheLower
EastSidewaspepperedwithgalleriesbythemid1980s,casualartistrun
spacesthatatleastatfirstweremoreinterestedinexhibitingfriendsartthan
turningaprofit.Yetcriticsneverthelesstooknoteoflimousinesidlingoutside,
andshowswhereeveryworkwassold.Race,class,andgenderwereissues
thatartistsgrappledwithinthe1980s,implicatingthemselvesandtheir
audiencesinthosehegemonies.TheTimesSquareShowwasthefirst
spectaculariterationofadecadelonginterrogationofartinanurban,late
capitalistsociety.

WorksCited
CommitteefortheRealEstateShow.History:TheRealEstateShowManifesto
orStatementofIntent.ABCNoRio.N.p.,n.d.Web.18August2009.
Deitch,Jeffrey.ReportfromTimesSquare.ArtinAmericaSeptember1980:
5863.
Ehrlich,DimitriandGregorEhrlich.GraffitiinItsOwnWords.NewYork10
July2006:n.pag.Web.4March2009.
Eliot,Marc.Down42ndStreet:Sex,Money,Culture,andPoliticsatthe
CrossroadsoftheWorld.NewYork:WarnerBooks,2001.
Goldstein,Richard.TheFirstRadicalArtShowofthe'80s.VillageVoice16
June1980:1,312.
Levin,Kim.TheTimesSquareShow.ArtsSeptember1980:8790.
Lippard,LucyR.SexandDeathandShockandSchlock:ALongReviewof
TheTimesSquareShowbyAnneOminous.PostmodernPerspectives:
IssuesinContemporaryArt.Ed.HowardRisatti.EnglewoodCliffs,NJ:
PrenticeHall,1990.7786.
Sedgwick,Susana.TimesSquareShow.EastVillageEyeSummer1980:21.
Whiting,Ccile.ATasteforPop:PopArt,Gender,andConsumerCulture.
Cambridge:CambridgeUniversityPress,1997.

(c)MargoThompson2010

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