Thoughts on “Urban Planning: Art and the City 1967 – 2017,” an exhibit at CAM STL

In one scene a pair of female dancers, one black and one white, stand sideways ready to begin choreography. Costumes—black shorts and sleeveless black tops—suggest this piece as hip and abstract. As they begin to dance, so does the position of each of their arms, angular in front and bent at the elbow as if to engage in a sort of cooperative, artistic combat. As the dancers continue, they often twin their iterative movements in both angular and lyrical motions, with encircled arms and bent knees and twisted torsos, positions in tension with how their legs often stay planted in a stationary place.

Image from Liquor Store Theatre

What distinguishes this choreography are not just these movements but also the location. Staged in front a liquor store in Detroit, MI, this dance is from Liquor Store Theatre. Conceived of by Detroit native Maya Stovall (who performs in much of the choreography) Liquor Store Theatre, is according to her website, “a four-volume, thirty-plus episode meditation on city life in Detroit … a four-years-running series of documented performances and conversations with people in the streets, sidewalks, and parking lots surrounding Detroit liquor stores.” The work includes both video of the choreography (set to atmospheric, rhythmic music) and videos of interviews with residents inside or in front of the liquor store. Some residents talk about changes in Detroit: tearing down abandoned residential buildings and development to existing abandoned commercial structures. When I watched the video, one interviewee, a young black man, talked about how tourists often likely mis-perceive him and his friends as up to no good when they are in fact just hanging out and spending time together.

I learned of Liquor Store Theatre at the Contemporary Art Museum St. Louis as part of the museum’s “Urban Planning: Art and the City 1967-2017” a group exhibition with work by 24 artists; the exhibit opened earlier this month and runs through August 13, 2017. This past weekend I visited, watched Liquor Store Theatre, and engaged with the exhibition’s other works. (Earlier in May, the museum hosted Critical Spatial Practice St. Louis (CSPSTL). I attended “Performance and the City,” a panel with Maya Stovall, other exhibition artists Abigale Deville and David Hartt, and the curator Kelly Shindler.)

Literature for the exhibit thematizes much of the work as either “photography as a tool to document a rapidly changing nation,” sculpture, or “several moving image works.” In my interaction, I thought of three more takeaways.

First, although other cities are referenced, most works consider one of three cities: New York, Detroit, or St. Louis. It is useful to pause and ask why the focus on these three cities, especially in the last 40 years? Planning and development in New York City—from the 1916 Zoning Resolution, to the late 20th century and early 21st century loft laws that legalized illegal occupation of artists in commericial buildings, to the 2005 Greenpoint-Williamsburg Land Use and Waterfront Plan that transformed the neighborhoods’ skyline and displaced many residents with market-rate high rise buildings and scant affordable housing options—not only changed the function of buildings and skyline in the city, but also set rubrics for other local and national conversations and policies on density, zoning, gentrification, displacement, and “renewal,” and the racial impact of these urban planning efforts.

I particularly thought about zoning and race in Glenn Ligon’s Housing in New York (2007), which curator Shindler describes as “expos[ing] gentrification as an assault on African-American neighborhoods.” In the series of five silkscreens, Ligon narrates the story of each place he has lived throughout his life all in New York City. Ligon’s story is one of growing up in housing projects in the Bronx; living in brownstones with no-heat and flooded ceilings in Brooklyn and Manhattan; and later, as he became a more established artist, living in converted lofts in Brooklyn and Manhattan.

Glenn Ligon, Housing in New York (2007)

Ligon, Housing in New York (2007), Frame 1

Ligon, Housing in New York (2007), Frame 2

Ligon, Housing in New York (2007), Frame 3

Ligon, Housing in New York (2007), Frame 4

Ligon, Housing in New York, Frame 5

As of 2010 New York City had a population of more than 8 million that was about 25% black (with Harlem no longer majority black); St. Louis City had a population of 319,000 that was about 49% black; and Detroit had a population of 713,000 that was about 82% black. Detroit and St. Louis are also the cities with the two largest shrinking populations (2015 estimates situate the population of St. Louis at 315,000 and of Detroit at 677,000).

But some art revealed the sociality and life beyond this “decline” and beyond how black urban areas are often demarcated in policy and discourse as in ruin. There was a through line of liquor and inebriation in much of the art, such as Martha Rosler’s The Bowery in two inadequate descriptive systems, 1974-75.

Closeup of Martha Rosler’s The Bowery in two inadequate descriptive systems, 1974-75

But other works revealed a rich sociality to where alcohol gets bought and consumed as a way to tell the story of those often ignored by urban planners. In Maya Stovall’s Liquor Store Theatre, for example, the commercial place to buy liquor becomes a backdrop for residents–mostly black–to tell stories about their home.

Second, some works articulated the role of the rural in the making of the urban. Images from Juan William Chávez‘s Pruitt-Igoe Bee Sanctuary (2010) situated an imaginary of turning the land in the Pruitt-Igoe forest in St. Louis City into a bee sanctuary.

Images from Juan William Chávez’s Pruitt-Igoe Bee Sanctuary (2010 and 2011)

In Agnes Denes’s Wheatfield–A Confrontation, the artist documents the wheatfield she and others planted at the Battery Park landfill in May 1982; in August 1982 she and others harvested more than 1000 pounds of wheat delivered to 28 cities. As Denes wrote in her artist statement: “Planting and harvesting a field of wheat on land worth $4.5 billion created a powerful paradox. Wheatfield was a symbol, a universal concept; it represented food, energy, commerce, world trade, and economics. It referred to mismanagement, waste, world hunger and ecological concerns. It called attention to our misplaced priorities.”

Agnes Denes, Wheatfield–A Confrontation (1982)

Third, the exhibition particularized attention to art about urban space and planning, rather than art (such as public sculpture) that exists within urban space. There is much overlap between the two categories and the exhibit attuned to how art about urban space often focuses on urban aesthetics and imaginaries. Mark Bradford’s Untitled (2012) “create[d]” according to the curator “ghostly etchings, a palimpsest of merchant posters sourced around Los Angeles that refract the area’s crucial informal economies.” Note how his articulation situates the sparse and novice-esque aesthetics of the block letters alongside messages of “Homeless Prevention Program” and “We Buy Houses Cash.”

Closeup on Mark Bradford’s Untitled (2012)

Another closeup on Mark Bradford’s Untitled (2012)

Ultimately and collectively the works in this exhibit re-orient how we might study, document, and analyze urban space by situating the aesthetics, narratives, and sociality of, and imaginations for, the city.

Urban Planning: Art and the City 1967-2017” runs at the Contemporary Art Museum St. Louis until August 13, 2017.

Stephen Vilaseca’s Barcelonan Okupas [new book just published]

Barcelonan Okupas book cover

Barcelonan Okupas: Squatter Power! is the first book to combine close-readings of the representations of Spanish squatters known as okupas with the study of everyday life, built environment, and city planning in Barcelona. Stephen Vilaseca broadens the scope of Spanish cultural studies by integrating into it notions of embodied cognition and affect that respond to the city before and against the fixed relations of capitalism. Social transformation, as demonstrated by the okupas, is possible when city and art interrelate, not through capital or the urbanization of consciousness, but through bodily thought. The okupas reconfigure the way thoughts, words, images and bodily responses are linked by evoking and communicating the idea of free exchange and openness through art (poetry, music, performance art, the plastic arts, graffiti, urban art and cinema); and by acting out and rehearsing these ideas in the practice of squatting. The okupas challenge society to differentiate the images and representations instituted by state domination or capitalist exploitation from the subversive potential of imagination. The okupas unify theory and practice, word and body, in pursuit of a positive, social vision that might serve humanity and lead the way out of the current problems caused by capitalism.

[Click here to listen to a podcast interview with Stephen Vilaseca]

[Click here to go to the book’s Amazon page]

001 – Valencia/Bilbao/Barcelona – Vilaseca on Street Art in Spain – Urban Cultural Studies Podcast

UCS 001 Stephen Vilaseca on Street Art in Barcelona Valencia and Bilbao Spain (28 June 2013)   Conversational interview inspired by scholar Stephen Vilaseca‘s recent article “From Graffiti to Street Art: How Urban Artists Are Democratizing Spanish City Centers and Streets,” originally published in the journal Transitions: Journal of Franco-Iberian Studies (8, 2012). Topics include: public space, graffiti vs. street art, artists Escif, Frágil and Dr. Case, Valencia, Bilbao, and Barcelona. [LINK TO ORIGINAL PUBLISHER]

Wallhunters: The Slumlord Project (Baltimore)

WallHunters: The Slumlord Project

a89b757230f34a1283fa92c

[Watch the 5 minute video here]

[this post follows up on previous posts on artist Gaia posted on this blog]

The project will install 15 large street art pieces with posted info that reveals/publicizes the ownership of dilapidated vacant houses.

Using radical methods, our project will unite three forces to catalyze discussion of Baltimore’s vacancy problem and how to solve it:

  • Wall Hunters Inc, a recently  created, street  artist run non profit organization
  • Baltimore Slumlord Watch
  • a film being made that gives voice to the ignored on the topic of vacancy and the power of street art.

In short, the project will bring together 15 artists from around the country, each of whom will install a large piece on a dilapidated vacant house. QR codes and text detailing the ownership information that is uncovered by Slumlord Watch will accompany the art. Voices of the people who live in these neglected areas of town, will be heard Continue reading

CFP-edited book on Marxism and Urban Culture

CFP-edited book on Marxism and Urban Culture

Submissions are invited for an edited book on Marxism and Urban Culture that has received initial interest from an international publisher known for their strength in Marxian-themed series and titles.

While all abstracts using a Marxian framework to approach culture in urban contexts are welcome, it is anticipated that submissions will conform to one of two subtypes reflecting the division of the book into Continue reading

Urbanista on Istanbul

I came across an interesting blog titled PLACEBLOG, with a link to a series of Urbanista columns written by Linda Carroli, begun in 2009 and running through 2011 (not sure it the column has stopped or if it just hasn’t been updated in a while).

I reproduce her column on Istanbul which you can read in the original context here.

URBANISTA
Istanbul :: cultural heritage in a changing city

by Linda Carroli
Arts Hub, March 2011

Graffiti in Beyoğlu, Istanbul

During the opening remarks of the Sea of Marble Symposium at the repurposed warehouse Antrepo 5 in Istanbul, one of the speakers declares “the city is being erased right now”. This conversation, which addressed considerations of culture and the sea, repeatedly folded back into anxieties about the state of cities, particularly their waterfronts and ports, encroached upon by ‘neo-liberal’ reclamation of the land for privilege and profit in the name of urban renewal entangled in the rhetoric of creative cities. As another speaker asserts, this idea of the ‘creative city’ is false because the powers that drive these forces of change “steal our imagination”. Istanbul’s mayor, Kadir Topbaş, has said, “Istanbul should shed its industrial profile … Istanbul should, from now on, become a financial centre, a cultural centre, and a congress tourism centre.” Reflecting the wintery sky, the waters of the Bosphoros, buoying a chaotic flotilla of fishing boats, tankers and freighters, are like liquid steel lapping against the shores of the walled city. In the parks and crevices around those walls, the city’s homeless and destitute gather.

Teeming with nearly 13 million people, there is unsettlement in this city that seems perennially jostled in the tensions between destruction and creation, past and future, east and Continue reading

CFP–new Journal of Urban Cultural Studies launched

Visit the new Journal of Urban Cultural Studies site here.

Call for Papers

The Journal of Urban Cultural Studies is a new peer-reviewed publication cutting across both the humanities and the social sciences in order to better understand the culture(s) of cities. The journal is open to studies that deal with culture, urban spaces and forms of urbanized consciousness the world over.

Although we embrace a broad definition of urban cultural studies, we are particularly interested in submissions that give equal weight to: a) one or more aspects of urban studies (everyday life, built environment, architecture, city planning, identity formation, transportation…) and b) analysis of one or more specific forms of cultural/textual production (literature, film, graphic novels, music, art, graffiti, videogames, online or virtual space…) in relation to a given urban space or spaces.

Essays of 7,000-10,000 words (including works cited and notes) should be sent by attachment to the Editor at urbanculturalstudies@gmail.com. JUCS is also open to proposals of special issues by guest editors working individually or in teams of two. All citations in other languages should be translated into English for the journal’s international reading public, in addition to including the original text.

While the journal does not publish book reviews, we do publish review essays—which should discuss 3-5 recent books on a shared topic or theme (or place) and run from 2,500 to 4,000 words. Review essays of urban-themed installations or other works of art are also welcome. These essays will be reviewed in house. Given our visual focus, we are interested in original, unpublished artwork on the topic of cities and in publishing articles accompanied by images where appropriate.

We encourage a variety of approaches to the urban phenomenon—the strengths of the editorial board run from urban geography to literature and film, photography and videogames, gender and sexuality, creative economy, popular music, Marxist approaches, fashion, urban planning, anthropology, sociology, Deaf culture, built environment, philosophy, architecture, detective fiction and noir, and more…