
Photo in Tompkins Square Park this March 1 via Vinny & O...
AT VARIOUS EXPOSURES OF EDUCATIONAL FACILITY, ORNAMENTAL FACADE ELEMENTS ARE IN A STATE OF DISREPAIR WITH VISIBLE CRACKS, GAPS, AND DETERIORATION. THESE ORNAMENTAL ELEMENTS HAS THE POTENTIAL TO FALL INTO THE STREET AND YARD. IN ADDITION, INTERIOR FIRE PROOFING ARE MISSING THEREBY EXPOSING STRUCTURAL STEEL MEMBERS. THESE CONDITIONS HAVE MADE THE ENTIRE BUILDING AND YARDS UNSAFE TO OCCUPY.
Mr. Singer visits P.S. 64 about once a week. The only part of the building not falling apart, abandoned, graffitied or coated with pigeon droppings seems to be his modest office on the first floor, decorated with pristine renderings of “University Square” — a “new college living experience,” as the brochures claim, where students would enjoy a theater, a game room, yoga studios and other amenities.
[Peter M.] Brant could have launched with a legacy show of his own trophy holdings, but he says the space’s proximity to Basquiat’s former stomping grounds compelled him to devote the opener to the neo-expressionist painter. Basquiat’s frenetic, poetic paintings of 1980s New York are getting more attention lately from both museums and the marketplace, with pieces selling at auction for as much as $110.5 million. That record-holder, an untitled skull painting from 1982 that’s owned by Japanese e-retailer Yusaku Maezawa, is in Brant’s show.
Other heavyweights include 1987’s Unbreakable, which has never been exhibited in New York, and 1983’s Hollywood Africans, which was lent by the Whitney Museum of American Art.
Half of the show’s roughly 70 pieces have also come directly from a Basquiat survey that recently drew nearly 680,000 visitors to Paris’s Louis Vuitton Foundation. These works will now be intermingled with 16 pieces from the Brant foundation as well as loans from other collectors like Dan Loeb, John Phelan, Eli Broad and Dimitri Mavrommatis.
A formidable new arts space opening in the East Village is cause for celebration. But what happens after the Basquiat show comes down? If the foundation becomes a repository for blue-chip art and big names, for showing off trophies acquired over a lifetime of collecting, that would be a painful development for the cultural life of this city. New York already has plenty of spaces to see such things. Instead, my hope — as I wrote back in 2014 — is that the Brant Foundation and its brethren will be willing to experiment, and to partner with other local organizations, serving as a forum for art and artists and ideas that have not been welcomed elsewhere.
I hope this doesn’t sound mean, but Sidewalk Cafe was not very good. That’s what makes its closing such a bummer. The restaurant, bar, and live music venue ... was grubby, unremarkable, and undeniably special to those of us who spent weekends camped out at its outside tables slurping down frozen margaritas.
Sidewalk was a quintessential New York City business because it was always there. That might sound like a slight, but think of all the things — and people — that come and go in New York. To live in this city for any real period of time is to feel bereaved at every corner, all of the time. We grieve for the friends that move to L.A., the places that close because the rent is too high or the guests are too few, and for the people we were when we first arrived.