The severe financial austerity imposed on New York City during the 1975 fiscal crisis resulted in a city falling apart. Broken windows, crumbling walls, and piles of bricks were everywhere. While, for many, this physical decay was a sign that the postwar welfare state had failed, for others, it represented a site of risky opportunity that could stimulate novel forms of creativity and community. In this book, Andrew Strombeck explores the legacy of this crisis for the city's literature and art, focusing on one neighborhood where changes were acutely felt—the Lower East Side. In what became a paradigmatic example of gentrification, the Lower East Side's population shifted from working-class people to Wall Street traders and ad agents. This transformation occurred, in part, because of high-profile local artists such as Jean-Michel Basquiat, Keith Haring, Jeff Koons, and Kiki Smith, but Strombeck argues that neighborhood writers also played a role. Drawing on archival research and original author interviews, he examines the innovative work of Kathy Acker, David Wojnarowicz, Miguel Piñero, Sylvère Lotringer, Lynne Tillman, and others and concludes that these writers still have much to teach us about changes in the nature of work and the emergence of a do-it-yourself ethos. DIY on the Lower East Side shows how place and politics shaped literature, and how New York City policies adopted at the time continue to shape our world.

“Mr. Patterson’s world has been the downtown demimonde of squatters, anarchists, graffiti taggers, tattoo artists, junkie poets, leathered rock ’n’ rollers, and Santeria priests.”—The New York Times For the first time ever, legendary photographer and videographer Clayton Patterson—who Anthony Bourdain described as the “archivist of all things Lower East Side”—is the subject of a biographical graphic novel anthology. Like no other, Clayton has documented the often-overlooked people and cultural contributions of New York’s Lower East Side—sometimes finding himself in perilous situations as a result. For decades, Clayton has, as his friend Ai Weiwei puts it, “relentlessly devoted himself to a kind of culture that examines authority.” Best known for his documentation of the Tompkins Square Riots in 1988, Clayton lived at the intersection of numerous underground cultures, from drag queens to punks, gangbangers to tattoo artists, breathing in the same creative energy that gave life to Keith Haring, Jean-Michel Basquiat, the Talking Heads, Blondie, and other New York icons. In a time when the future of the city is threatened by hyper-gentrification, Clayton, whose work has documented the creative DIY underbelly of the Lower East Side, has become an icon of an increasingly vanishing New York. Now, in the tradition of Harvey Pekar’s American Splendor, eighteen artists pay tribute to him in this graphic novel anthology—the first biography of this iconic artist intertwined with a rich history of the Lower East Side over the last thirty years. With artwork from Miles Anderson, Nancy Calef, Roberto Castro, Seanne Catedral, Maegan Dolan, Esteban Erlich, Ray Felix, Max Hirnbock, Sasha Kimiatek, Jesse Lambert, Summer McClinton, Ben Moody, Natania Nunubiznez, Fabrice Sapolsky, Dov Smiley, and Chris M. Wilson.

After being kicked out of her apartment in Brooklyn in 1992, and unable to afford rent anywhere near her school, young art student Ash Thayer found herself with few options. Luckily she was welcomed as a guest into See Skwat. New York City in the '90s saw the streets of the Lower East Side overun with derelict buildings, junkies huddled in dark corners, and dealers packing guns. People in desperate need of housing, worn down from waiting for years in line on the low-income housing lists, had been moving in and fixing up city-abandoned buildings since the mid-80s in the LES. Squatters took over entire buildings, but these structures were barely habitable. They were overrun with vermin, lacking plumbing, electricity, and even walls, floors, and a roof. Punks and outcasts joined the squatter movement and tackled an epic rebuilding project to create homes for themselves. The squatters were forced to be secretive and exclusive as a result of their poor legal standing in the buildings. Few outsiders were welcome and fewer photographers or journalists. Thayer's camera accompanied her everywhere as she lived at the squats and worked alongside other residents. Ash observed them training each other in these necessary crafts and finding much of their materials in the overflowing bounty that is New York City's refuse and trash. The trust earned from her subjects was unique and her access intimate. Kill City is a true untold story of New York's legendary LES squatters.

Avant-Gardes in Crisis claims that the avant-gardes of the late twentieth and early twenty-first centuries are in crisis, in that artmaking both responds to political, economic, and social crises and reveals a crisis of confidence regarding resistance's very possibility. Specifically, this collection casts contemporary avant-gardes as a reaction to a crisis in the reproduction of life that accelerated in the 1970s—a crisis that encompasses living-wage rarity, deadly epidemics, and other aspects of an uneven management of vitality indexed by race, citizenship, gender, sexual orientation, class, and disability. The contributors collectively argue that a minoritarian concept of the avant-garde, one attuned to uneven patterns of resource depletion and infrastructural failure (broadly conceived), clarifies the interplay between art and politics as it has played out, for instance, in discussions of art's autonomy or institutionality. Writ large, this book seeks to restore the historical and political context for the debates on the avant-garde that have raged since the 1970s.

“The fascinating and little-known tale of the Lower East Side squatters of the Eighties . . . a radical, European-inspired housing movement” (The Village Voice). Though New York’s Lower East Side today is home to high-end condos and hip restaurants, it was for decades an infamous site of blight, open-air drug dealing, and class conflict—an emblematic example of the tattered state of 1970s and ’80s Manhattan. Those decades of strife, however, also gave the Lower East Side something unusual: a radical movement that blended urban homesteading and European-style squatting in a way never before seen in the United States. Ours to Lose tells the oral history of that movement through a close look at a diverse group of Lower East Side squatters who occupied abandoned city-owned buildings in the 1980s, fought to keep them for decades, and eventually began a long, complicated process to turn their illegal occupancy into legal cooperative ownership. Amy Starecheski here not only tells a little-known New York story, she also shows how property shapes our sense of ourselves as social beings and explores the ethics of homeownership and debt in post-recession America. “There are many books about the Lower East Side and its recent transformation, yet none has included engagement or oral history with primary organizers in the way Starecheski has. Ours to Lose is a unique and substantive contribution to our understanding of a most distinct practice in the shaping of urban space.” —Metropolitiques “What is significant is that the author demonstrates how some New Yorkers addressed the housing crisis in an unconventional manner. Recommended.” —Choice

a history of Street Gangs on the Lower East Side of New York City.