Jam packed with images ranging from paintings and performance to club flyers and nightlife photos, this is the roller-coaster story of the late 1970s - early 1980s New York City East Village club, film, music and art scenes as told through the history of Club 57 on St. Marks Place.
ABOUT THE NIGHTCLUB: Club 57 was a nightclub located at 57 St. Mark's Place in the East Village, New York City during the late 1970s and early 1980s. It was founded by Stanley Zbigniew Strychacki. It was a hangout and venue for performance- and visual-artists and musicians. Keith Haring had his first New York show at Club 57; Guest DJs included Johnny Dynell and Afrika Bambaataa; Club 57 hosted movies, Drag Queens, Punk Rock shows, art exhibitions, fashion shows, poetry readings, new wave bands, no wave cinema, and performance art. Performers and artists include: Madonna, Kenny Scharf, Jean Michel Basquiat, Klaus Nomi, Joey Arias, John Sex, John Ahearn, Divine, Taboo!, John Epperson (Lypsinka), Tseng Kwong Chi, Kitty Brophy, Fab Five Freddy, Cookie Mueller, Steve Buschemi, The Fleshtones, and B52s. Theme Nights included: Monster Movie Club.
ABOUT THE BOOK: Curators at MOMA researched every single event at the club for 4 years - 1978-1983. Includes a day-by-day chronological timeline of club events, illustrated with club flyers, film stills, posters, photos, and artworks. The Book starts with high manic energy but ends with AIDS and gentrification. Can be shelved in CULTURAL history, MUSIC, FILM, or ART.
PRESS & PROMO: Exhibition at MOMA opens October 2017 through April 2018
ABOUT THE AUTHORS: Ron Magliozzi, Sophie Cavulacos, Laura Hoptman, Lucy Gallun are MOMA curators. J. Hoberman, is an American film critic, who worked at The Village Voice from the 1970s to 2012. He is the author of Film After Film: (Or, What Became of 21st Century Cinema?) (Verso). Jenny Schlenzka is Director of Performance Space 122. Ann Magnuson, Performance artist, is writer now based in LA; she was the manager of Club 57 from 1979-1989.
QUOTE: Ann Magnuson describes Club 57 as a place for "pointy-toed hipsters, girls in rockabilly petticoats, spandex pants, and thrift-store stiletto heels...suburban refugees who had run away from home to find a new family...who liked the things we liked--Devo, Duchamp, and William S. Burroughs--and (more important) hated the things we hated--disco, Diane von Furstenberg, and The Waltons."
Club 57: Film, Performance, and Art in the East Village, 1978–1983
Edited with text by Ron Magliozzi, Sophie Cavoulacos. Text by J. Hoberman, Jenny Schlenzka, Laura Hoptman, Lucy Gallun, Ann Magnuson.
How one small, no-budget club became a crucible of East Village creativity
New York’s East Village was alive with artistic activity in the 1970s and ’80s, fueled by low rents, resistance to the Reagan presidency and the desire to experiment with new modes of art, performance, fashion, music, and exhibition. Club 57, located in the basement of a Polish church at 57 St. Marks Place, began as a no-budget venue for music and film exhibitions and quickly became a center of the neighborhood’s constellation of countercultural venues, with artists such as Keith Haring, Ann Magnuson, Klaus Nomi, Tseng Kwong Chi, John Sex, Fab 5 Freddy, John “Lypsinka” Eppperson, and Lisa Baumgardner. Fabled but not widely known until now, Club 57 is said to have influenced virtually every club that came in its wake.
Published to accompany the first major exhibition to examine this scene-changing alternative space in full, Club 57: Film, Performance, and Art in the East Village, 1978–1983 features rarely seen artwork, film stills, photographs, posters, flyers, and zines to create a uniquely detailed portrait of unbridled creativity before the dawn of the digital age.
“Untitled (Cabinet Door for Joey Arias)” (circa 1980) by Keith Haring is reproduced from 'Club 57: Film, Performance, and Art in the East Village, 1978–1983.'
PRAISE AND REVIEWS
Vogue
Lynn Yaeger
Opened in 1978, it quickly became a center for all manner of creative experimentation: photography, video, zines, performance, music, and theater, and more than a few important artists emerged from its damp depths: Keith Haring, who used to perform from inside a fake TV set; the painter Kenny Scharf; the team of Marc Shaiman and Scott Wittman, who would go on to write the music and lyrics for Hairspray.
Huck
Sara Rosen
The cult club that transformed New York’s art world from 1978 to 1983.
Crave
Sara Rosen
The book is a phenomenal achievement in publishing, equal parts art and cultural history.
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If you’re looking for a crash course on what it was like to be an artist, or at least an after-hours flaneur in alt-downtown NYC during the late 70s and early 80s, MoMA’s vibrant new survey, Club 57: Film, Performance, and Art in the East Village, 1978–1983 is an excellent source, as noted by the New York Times, the Observer and Architectural Digest, among others. Presenting artwork and ephemera that survived the legendary underground club at 57 St. Mark’s Place, this volume collects paintings, collage works, film stills, photographs, posters, flyers, and zines by the likes of Keith Haring, Kenny Scharf, Fred Brathwaite (aka Fab 5 Freddy), Ann Magnuson, Jean-Michel Basquiat, David Wojnarowicz and John Sex, whose 1981 silkscreen for the first annual group Erotic Art Show is reproduced here. continue to blog
FORMAT: Hbk, 9 x 10.5 in. / 176 pgs / 225 color. LIST PRICE: U.S. $40.00 LIST PRICE: CANADA $54 ISBN: 9781633450301 PUBLISHER: The Museum of Modern Art, New York AVAILABLE: 10/24/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Club 57: Film, Performance, and Art in the East Village, 1978–1983
Published by The Museum of Modern Art, New York. Edited with text by Ron Magliozzi, Sophie Cavoulacos. Text by J. Hoberman, Jenny Schlenzka, Laura Hoptman, Lucy Gallun, Ann Magnuson.
How one small, no-budget club became a crucible of East Village creativity
New York’s East Village was alive with artistic activity in the 1970s and ’80s, fueled by low rents, resistance to the Reagan presidency and the desire to experiment with new modes of art, performance, fashion, music, and exhibition. Club 57, located in the basement of a Polish church at 57 St. Marks Place, began as a no-budget venue for music and film exhibitions and quickly became a center of the neighborhood’s constellation of countercultural venues, with artists such as Keith Haring, Ann Magnuson, Klaus Nomi, Tseng Kwong Chi, John Sex, Fab 5 Freddy, John “Lypsinka” Eppperson, and Lisa Baumgardner. Fabled but not widely known until now, Club 57 is said to have influenced virtually every club that came in its wake.
Published to accompany the first major exhibition to examine this scene-changing alternative space in full, Club 57: Film, Performance, and Art in the East Village, 1978–1983 features rarely seen artwork, film stills, photographs, posters, flyers, and zines to create a uniquely detailed portrait of unbridled creativity before the dawn of the digital age.
