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Piers 17 and 18, on the east side of lower Manhattan (now the South Street Seaport), were the sites of a number of artistic events in 1971. Amongst the earliest artists on the piers were Vito Acconci and Robert Whitman who mounted performance pieces or staged ‘happenings’ on the piers. He has followed the activities on the piers, both the artistic and the sexual, since he was a teenager in the 1970s, then as an art history student, and now brings together the findings of this lifelong project into his captivating and wide-ranging book.Īs the piers were abandoned, they were taken over by different groups-some were converted to new purposes, by the NYPD water police or by the Department of Sanitation, but others were inhabited by gay men cruising for sex, by runaway teenagers, and by artists of one kind or another.
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In 2012, with Darren Jones, he curated The Piers: Art and Sex Along the New York Waterfront also at the Leslie-Lohman Museum. Weinberg, a painter and art historian, was the lead curator of Art After Stonewall, 1969-1989, the joint exhibition at NYU’s Grey Art Galley and the Leslie-Lohman Museum of Gay and Lesbian Art that marked the fiftieth anniversary of the Stonewall riots earlier this summer.
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He documents the work of artists such as Gordon Matta-Clark, Vito Acconci, Shelley Secombe, Morgan Greenwald, Alvin Baltrop, Cindy Sherman, David Wojnarowicz, Peter Hujar, Arthur Tress, and many more as they photographed, painted, and mounted performances on the abandoned piers. Inspired by Walter Benjamin’s Arcades project, Weinberg uses his exploration of art and sex at the piers to untangle the interconnections between culture, social life, and sexuality during the decline of the welfare state and the emergence of a new stage of capitalism in the 1970s and 1980s.
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Drawing on interviews, literary texts, even his own memories as well as the incredibly rich photographic archive of the art of the piers’ denizens, he meticulously documents what took place there. Jonathan Weinberg’s Pier Groups: Art and Sex along the New York Waterfront, just out from Pennsylvania State University Press, serves as a guide into this extinct and exotic world.
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Like Walter Benjamin’s Parisian Arcades the piers emerged as an iconic series of sites-symbolic of a unique stage in New York City’s history, where abandoned and derelict structures resulted from profound economic changes and became a mélange of urban ruin, sexual wilderness, and cultural frontier. They were also physically dangerous: rotting wooden floors, interiors exposed to the elements, and muggers lurking in dark corners. These piers-totally abandoned, barely guarded or fenced in-were then utilized by men cruising for sex, small-time criminals, and, perhaps surprisingly, artists. The thriving industrial past reduced to rotting husks.
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By 1970, most of the Manhattan piers along the Hudson River had been abandoned. Without adequate rail and road access and the space to operate cranes and stack containers, most of the port’s Manhattan-based business moved to New Jersey where new container facilities were being built.Įxacerbated by suburbanization, demographic changes, and the city’s consequent fiscal issues, this shift led to the collapse of New York City’s industrial base. Plagued with racketeering, traffic congestion, and outmoded facilities, the invention of container shipping was the final straw. Nevertheless, even then there were signs of the port’s impending doom. In the early 1950s, the docks in New York City, by far the country’s busiest, directly and indirectly supplied, according to the City’s Department of Marine and Aviation, livelihood for almost 10% of the city’s population. New York City was for many years one of the world’s leading ports.