Photo: The Rivington Garden as monument signalled the victorious end of art in the Lower East Side, 1987. Photo by Andre Laredo. ©2016 Black Dog Publishing Limited, the artist and authors. All rights reserved.
Back in the 1970s, the Lower East Side of New York City had been devastated by the government policy of “benign neglect,” which denied basic services to the community. Fires had destroyed buildings reducing them to rubble leaving vacant lots in their wake, while other buildings were abandoned and reclaimed by squatters, creating a new community born out of resilience and necessity.
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By the 1980s, a subculture was finding its way through acts of outlaw art. “Cowboy” Ray Kelly, founder of the No Se No Social Club, cultivated a space where patrons could express themselves in any way they wished. It was a space unlike any other in the city that combined the performance art with bar life to spectacular effect.
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From this world, the Rivington School came forth, an outdoor guerilla art gallery located across the street from No Se No, on the corner of Rivington and Forsyth Streets. The Rivington Sculpture Garden, which opened in 1985, began as a memorial to Geronimo, a homeless Puerto Rican man who died that year. It quickly developed into a space for exhibitions, concerts, performances, and festivals, taking the D.I.Y. approach to making art. Anyone could do anything they liked and they did, effectively sharpening the cutting-edge.
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Photo: Jack Waters, artist/former director of ABC No Rio, 1983. Photo by Toyo Tsuchiya. ©2016 Black Dog Publishing Limited, the artist and authors. All rights reserved.
