#43/44
- Contributors
- Aaron Timms, Mark Krotov, Eric Schwartau, Jennifer Kabat, Alternative Building Industry Collective, Samuel Stein, Estudio Teddy Cruz + Fonna Forman, Liza Featherstone, Thomas de Monchaux, Kate Wagner, Zach Mortice, Greta Rainbow, Zack Hatfield, Cassandra Rota, Christopher Hawthorne, Hayley J. Clark, Paige K. Bradley, Andrew Marzoni, Sharon Zukin, Andy Battle, Carolina Miranda, James Andrew Billingsley, Michael Casper, Marianela D’Aprile, Moze Halperin, Joseph Henry, Michael Abrahamson, Christine Pardue, Andreas Petrossiants, Carina Imbornone, Nicolas Kemper, Phil Coldiron, Steven Phillips-Horst, Ian Volner, Nick Murray, & Sarah Chekfa
- Editor
- Samuel Medina
- Managing Editor
- Chloe Wyma
- Publisher
- Nicolas Kemper
- Associate Publisher
- Nicholas Raap
- Art Director
- Laura Coombs
- Digital Director
- Seth Thompson
- Cover Illustrator
- Sean C. Suchara
- Illustrators
- Ben Nadler, Anna Haifisch, & Molly Fairhurst
- Operations
- Michael Piantini, Emma Schneider, & Sajina Shrestha
- Copy Editors
- Nick Murray & Don Armstrong
- Proofreader
- Peter Lucas
Articles
NYRA’s new column, which continues our tradition of shamelessly purloining the mastheads and editorial savior faire of long-out-of-print design publications (Architectural Forum, 1917–74.), aims to convene consequential voices in architecture, culture, technology, and politics on the issues of the day.
The Tenement Museum memorializes working-class families even as it evicts them.
Maligned and condemned, the Port Authority Bus Terminal will be missed after it’s gone.
At a time when socialism was widely considered a pejorative, Jacobin would be an outspoken champion on its behalf.
Reviews
Paradise Bronx: The Life and Times of New York’s Greatest Borough by Ian Frazier. Farrar, Straus, and Giroux, 576 pp., $35
What exactly is the “paradise Bronx” about which Frazier waxes poetic?
Luis Fernando Benedit: Invisible Labyrinths, cocurated by Laura Hakel, Bernardo Mosqueira, and Olivia Casa, is on view at the Institute for Studies on Latin American Art through January 25, 2025.
Why this artist? Why now?
Yes, Chef, curated by Zoe Lukov, and its affiliated restaurant concept, Black Caesar, are open at Water Street Projects through December 15.
Yes, Chef. Hail Caesar. Eat me. Incubate me.
The Complete Guide to Combat City by Julia Schulz-Dornburg. Jovis, 156 pp.,
$40.
The world is rapidly urbanizing, and the theater of battle is urbanizing with it.
Georgia O’Keeffe: “My New Yorks,” curated Sarah Kelly Oehler and Annelise K. Madsen, was on view at the Art Institute of Chicago from June 2 to September 22, 2024.
O’Keeffe’s New Yorks did not exist in an artistic vacuum; they live within an entire tradition of experimental art about modern architecture.
The Albright-Knox Art Gallery, designed by the New York affiliate of the Office for Metropolitan Architecture, opened in 2023.
What gave the best of OMA’s buildings their power was a lively, active intelligence that was at war, equally, with nostalgia and bourgeois taste.
Giorgio Morandi – Time Suspended II was on view at Galleria Mattia De Luca’s New York City pop-up on East 63rd Street from September 26 to November 26.
With such distancing, refuge—or so the curators believed.
Non-Design: Architecture, Liberalism, and The Market by Anthony Fontenot. University of Chicago Press, 376 pp., $54.
The desire for spontaneity was overtly political, a reaction to the perceived authoritarianism of the planners, broadly defined.
Villa E: A Novel by Jane Alison. Liveright, 192 pp., $24.
It’s August 1965; Eileen Gray is eighty-seven and blind in one eye, and she’s spending a week on the French Riviera to design an extension for a house she’d built decades ago.
Brooklyn Crime Novel by Jonathan Lethem. Ecco Press, 384 pp., $15.
Jonathan Lethem’s historical autofiction from below
The New York Film Festival ran from September 27 to October 14 at Lincoln Center and additional venues throughout the city.
Phillips’s musical sequel to his haggardly wrought early Scorsese pastiche more aptly encompasses the existential malaise of NYFF62 than the proudest members of its main slate.
