Tuesday, November 9, 2010

ABC No Rio's Unlikely History


Only a few minutes from the tenement at 97 Orchard Street, ABC No Rio, the venue for art, activism, and raucous punk concerts, is an arresting part of the Lower East Side. Recently, I decided to go beyond the graffiti and junkyard gates of 156 Rivington Street to explore the roots of the building, how it evolved into its striking image today, and where it might go next. 

Artist's Rendering of the Current No Rio
Courtesy of abcnorio.org.
ABC No Rio began on New Year's Eve 1979 when a group of artists created "the Real Estate Show" in an abandoned showroom on 123 Delancey Street.

After months of attempts to obtain the space legally from the Department of Housing Preservation and Development (HPD), the group of squatters decided to enter the building, clean the space, and hold their exhibition without city permission. Hoping to show the brutal ways in which disinvestment and the city's policies regarding low-income neighborhoods had turned the Lower East Side into a ghost town, they planned for their makeshift art gallery to occupy the space for two weeks. Yet after a single day, it was shut down by the police.

Once the building was sealed and locked, the artists campaigned to retrieve their work and entered talks with the HPD to secure their own space at 156 Rivington Street. After living and working there on shaky legal grounds for decades, they became official owners of the building in 2006.

But the history of the 156 Rivington began long before No Rio.

Prior to the current tenement's construction in 1917, families lived in a more ancient building. Though records of the structure are hard to come by, we know a one-year-old infant, Feiga, died there in 1902.

In 1917, the old structure was demolished and a new tenement rose at 156 Rivington. Wittmayer Photographers, a photography business at street level, was a tenant from the beginning. Twenty-six years later, in 1943, business owner Gustave "Gus" Wittmayer purchased the three-story building at 158 Rivington (previously a bank) and expanded his business into a space next door.

Wittmayer was a well-respected photographer and took many portraits of the immigrants who flooded the Lower East Side at the turn of the century. His studio's sign could be seen in the window of the ABC No Rio building until 1978, when he left both 156 and 158 Rivington Street for Atlanta.

After Gus left and ABC No Rio moved in, 158 Rivington became a beauty supplies store, distributing goods to local hairdressers. Meanwhile, the basement of 156 Rivington housed a small upholstery shop, and all street-level rental space became a part of No Rio. During the '80s, its front window, once home to Gus' sign, was smashed by local troublemakers.

In the early '90s, No Rio became a haven for squatters and disenchanted punk rockers. Grassroots activists like Food Not Bombs began meeting there, and concerts were held in the dingy, cramped basement around exposed beams.

These advertisements for the punk shows held at No Rio during that time give you a real feel for the era - click for a larger view (the flyers feature some crude cartoons and bad language).


The worth of the building in monetary terms tells you something about neighborhood change: 156 Rivington was valued at $24,000 in 1939, and by 1998, ABC No Rio entered a deal with the city to acquire the space for $1.

It was only during the last decade, as massive redevelopment and expensive new housing took hold of Rivington Street, that the eccentric building began to look foreign in its own gentrified neighborhood.

Despite the layers upon layers of paint, artwork strewn on its walls, and melded metal decorations adorning its entrance, the old structure is not as lively as it appears. Years after providing the necessary renovation to secure the space, the city and the volunteer collective that run No Rio have both accepted that the wood and brick building is dilapidated.

Director Steven Englander says the timber walls cannot support a restoration attempt. Because the cost of another renovation would be only slightly less than starting over, he and the collective decided that it's time to rebuild.

Artist's Rendering of the New No Rio.
Courtesy of abcnorio.org.
As envisioned by architect Paul Castrucci, an expert renovator of historical buildings, the new ABC No Rio building will share little in common with its current grimy facade. Instead, it will continue the sleek aesthetic of modern structures on the Lower East Side while maintaining pieces of its tried and true character.

The stories of sloped glass topped by a wall of solar panels, all covered in vine-like greenery, will dramatically reduce the energy needed to run the concert space, art gallery, darkroom, computer lab, library, office, and other facilities on site. And according to No Rio's official website, the new plans include provisions for upgrades to one day power the building entirely from renewable resources.

Construction is set to begin this fall and be completed in just over a year.

Shedding its funky image, 156 Rivington will once again fit in with its surroundings, at least superficially, but the original structure will be lost to history. From photo store to art gallery, stoic old New York holdout to proposed energy and design trendsetter, ABC No Rio has seen incredible change even for the shape-shifting neighborhood of the Lower East Side. What do you think about the redesign?


You can discover how other landmarks on Rivington Street and the surrounding Lower East Side neighborhood have evolved through generations of renewal on Next Steps: A Neighborhood Walking Tour.

-Posted by Joe Klarl

Monday, November 8, 2010

Tenement Museum Snaps

Stay tuned for a full recap of our Snapshot! event on Thursday... in the meantime, enjoy some photos from our talented group of photographers:

Tenement Museum-1538
By cyntata2072

Tenement Museum-1557
By cyntata2072

WHITE CROSS 2
by mister paul larosa

WALLPAPER
by mister paul larosa

tenement
by mistahle

Tenament Museum 029
by brennajanjigian

Friday, November 5, 2010

Visitors of the Week: Alice and Emily From Chicago

From left: Alice and Emily
[Editor's Note: Guess the Artifact will be back next Friday! In the meantime, enjoy an interview with two of our visitors...]

We're always looking to learn about the many, diverse visitors who stop by the Tenement Museum each week. Planning a visit? Send us an email and be our next Visitor of the Week!

Meet Alice Kroll and Emily Franz, childhood friends from Chicago who contacted us about being the next Visitors of the Week. We're lucky they did because Alice, who works in business development and sales, and Emily, an artist and mom of five kids, had a lot to say. I met them in our Museum Shop at 108 Orchard Street just before they took their very first tour at the Tenement Museum.

What brings you to New York City?
AK: Fun. Just fun and adventure.

EF: I love New York City. I can't get enough of it so this is my fifth or sixth time here.

Have you ever been to the Lower East Side before?
AK: Around this area, no, we haven't.

What are your first impressions of the neighborhood?
EF: You know, it looks a little worn. It probably looks kind of like what it would have looked like fifty or sixty years ago: a little dirty, a little worn, a little smelly.

What part of Chicago are you from?
AK: We grew up on the southwest side of Chicago around Midway Airport. And we went to grammar school together so we've known each other since we were five years old.

EF: We're southsiders, the more down-to-earth side of Chicago (laughs).

Is this your first time at the Tenement Museum?
EF: Yes.

How did you hear about it?
AK: From Emily!
EF: I saw it on a map and I also found a really old magazine from '92, and they did a whole feature on this museum. I forget which magazine it was but it was like a five-page spread. And I thought, wow, that must be really cool to see how the immigrants lived.

What tour are you taking today?

AK: Getting By, a walk-up tour.

Why did you decide to take that tour?

AK: Well, we took this tour because it was the next tour that was available when we got here. We landed at LaGuardia this morning and we wanted to hit the streets running.

So we're the first stop on your trip?

AK: Absolutely.

EF: The very first thing.

AK: My grandparents immigrated from Poland to Chicago so these next two days in New York, we 're going to visit the Tenement Museum, Ellis Island, and the Statue of Liberty to just get a sense of what it was like for the immigrants to arrive at the turn of the twentieth century.

EF: And I have a real interest in vintage things and how the immigrants lived. I just want to be able to see how the apartments looked, just to get a feel for...

AK: A museum that you can be in, that you can experience firsthand.

EF: It's the unglamorous side of New York. It's rough. Life was hard.

Before you take your tour, what are your assumptions about immigrant life in New York City?
AK: That it was hard, that they had to buck a lot of prejudice from the different immigrant groups. In some ways, they may have been taken advantage of. I'm sure they worked low wages for hard work. But there was that enduring spirit that it was better here than the country they had left. And I'm really thankful that those people built the cities, the buildings and the culture. It was on their backs that all the best parts of New York City were built.

EF: I think the immigrants lived a really difficult life. When I think of them, I think of how close they lived together. They probably lived a better life at home and when they came here, it was dirty, it was close knit, and they didn't have privacy. But like Alice said, it was a nice trade off for what was to come later on.

Alice, did your grandparents ever talk to you directly about their experiences?
AK: No, and that's the interesting thing. When my grandparents immigrated in the early 1900s, they really didn't talk about their experiences back in the homeland. They fully adopted their American life. So there aren't a lot of stories. They didn't want to talk about the hard times. That's one of my interests about coming here, to understand what they wouldn't talk about.

Emily, you're a blogger yourself. What do you blog about?
EF: Just personal experiences and thoughts, nothing specific to history. I love it though.

And what's the focus of your art?
EF: I'm a doll designer, a painter, I collage. I do all kinds of stuff and I love to be creative. I make primitive dolls so I'm very interested in the historic toys small children brought with them, whether it was on the Oregon Trail or on a boat to America.

AK: And as a true artist, you get your inspiration from everywhere and anywhere.

EF: That's right! The world is a sponge. I'm a sponge to the world.

- Posted by Joe Klarl

Thursday, November 4, 2010

Meet the Educators: Pedro Garcia

I was fortunate to recently sit down with Pedro Garcia, a great member of the Tenement Museum staff who juggles a few different roles here. He discussed his job, his own struggles as a young boy adapting to America, and how the immigration experience is ongoing.

Could you introduce yourself to our readers?
I'm Pedro Garcia. I work at the Tenement Museum as education associate for training and outreach.

How long have you been working here?
In total, I've been at the museum for five years.

What does your job entail?
I have two main roles. Training involves teaching all staff of the Tenement, both part-timers and full-timers, to lead public tours of the museum. So that's the bulk of my job. And outreach involves managing our ESOL (English Speakers of Other Languages) program called Shared Journeys and promoting the education program that we have to offer to the community of the Lower East Side.

What exactly is the mission of the Shared Journeys program?
Well, it's a program that was developed at the museum a few years ago, and the idea is to use history to teach English. Existing ESL classes from around the city can come visit the museum and in a two hour workshop, they will learn about immigration of the past and share their own experiences. Hence the name.

What do you find most gratifying about your job?
It's very rewarding when I teach someone how to do a tour and that person excels. It's also great when Shared Journeys accomplishes its mission, when the students come and they feel that, yes, my immigrant story is very similar to those from a hundred years ago.

Before you worked at the Tenement Museum, what did you do?
I used to work in education. It wasn't really history or museum stuff. I worked teaching for non-profits. Basically, I was an educator in small settings for children who had behavioral problems.

Did that help you prepare for your work here?
Yeah. It helps a little bit because I used to be a trainer there, too. It's very similar and helped me to build some of the skills I use here.

I know you have an immigrant story of your own. Where did you grow up?
Well, I was born in Venezuela. My family came to the United States when I was very young. I was about eight or ten years old. We came straight to New York, and I've been here ever since.

What year was that?
The late eighties, like '88 or '89.

When you got to New York, I assume you weren't an English speaker...
No, no, none of us spoke English.

How did you learn the language?
The great benefit that I always cherish is that I went to school in the Bronx where they have bilingual education. That helped make the transition easier for me... not easy because learning English is never really easy. It's actually one of the hardest languages to learn. But I was able to have a little bit of support and that helped me to transition and grow.

I heard you were recently on a panel where you spoke about being bullied as a kid because of your English skills. Can you tell me about that?
The panel was about professionals in New York City who grew up as immigrant kids, and we spoke to New York City teachers. And the question was, "What is the hardest part about being an immigrant kid newly arriving to school?" I said the hardest part is being bullied because you don't know the language and you don't know where to go. It becomes a very terrifying experience. I went to school in the Bronx and at that time, the neighborhood I lived in was very dangerous. Shootings and violence were all around me. That made it even scarier. I was trying to convey to the teachers one thing that can be done to resolve some of the fear experienced when immigrants arrive - they should have a buddy. There should be another immigrant kid helping them to get adjusted because sometimes, kids can be mean.

Did you have that?
No.

You felt like you were on your own?
I was on my own. My sister went to a different school, and my brother was very young, so he wasn't in my school either. Like I was telling the teachers at the panel, when immigrants come, it's a whole new world. It can be very scary already. It's very daunting to be in a new place. Why make it harder? Why not help them a little bit with a buddy?

Do you feel that your own immigrant experience was similar to the families that we feature here at the museum?
I've always felt that way, yeah. When I tell my own stories about how difficult it is coming to the United States, I think of the Baldizzi family. It was very hard for the parents to come over. It was very hard for the whole family. The Baldizzis had to share a one bedroom apartment with four of them. We had to share a one bedroom apartment with five of us. So I think more and more, our experiences are very similar. My parents wanted us to get the best out of being in the U.S., to learn English, to be Americans. It's the same thing the Baldizzis taught their children. I truly believe there are a lot of similarities.

What do you hope visitors to the museum take away from it? What do you hope they learn about immigration?
Well, I hope that they get to think about the immigration experience and how hard it was while realizing that it hasn't gotten easier. There's a bad misconception that everyone who came to this country in the last twenty or thirty years had it very easy. It's hard, but a different type of difficulty. If visitors pause for a second and just think about what they're seeing around them and what they just heard about the past, they can see a lot of similarities. I hope that by the time they leave a tour that I lead or a tour that is lead by one of my trainees, they at least think about it. I don't want to force anybody to change their minds or their opinions. I just want them to start discussing it. You just have to stop and think.

- Posted by Joe Klarl

Wednesday, November 3, 2010

Tuesday, November 2, 2010

How am I Doing?

On Tuesday, October 26 we hosted a Tenement Talk unlike any other. Historian Jonathan Soffer discussed his research—the Former Mayor Ed Koch—with his research subject himself. Introduced by New York Times journalist and writer Sam Roberts, the mayor and his biographer reflected on Koch’s entire political career in less than two hours.

The charismatic mayor told the audience that he had loved “belonging” to New York City and believed being its mayor was the greatest job imaginable. He told us what he thought of as his triumphs, including restoring NYC’s credit and bringing to life an economy long in decline. Koch felt that his ability to brush off failures, his willingness to put aside politics to assemble a talented staff, his respect of others rights—including his critics—and a sense of humor which saved him from harping on failures to the point of debilitating disappointment were all at the root of his success.

But with a critical historian face to face with a controversial and tell-it-like-it-is New York icon, the conversation predictably moved on to the negative aspects of Koch’s career. More than 20 years after his mayoral term came to an end, Koch tried to justify to the Tenement Talk crowd the decisions that led some to believe he was apathetic to the plight of the poor and people of minority, choosing instead to use available resources to privilege the rich and white.

Impassioned, he insisted that an audit of the numbers shows that the majority of the budget in the 1980s was channeled towards programs that overwhelmingly existed for the poor, the elderly, or people of color. But in a quieter tone, Koch confessed to Soffer and the Tenement Talk audience that although Sydenham hospital in Harlem was offering a degraded level of care in 1980, he regretted his decision to close it down because, in the end, the amount of money the city saved can not compare to the symbolic value of the hospital that was the first to admit black physicians.

At the heart of the talk was the question of what Koch meant to New York, for better or for worse. Here at the Tenement Museum, we are constantly trying to trace the lines between past and present New York, asking ourselves how the experience of New Yorkers, especially immigrants, through the years have changed. I was born only a year before Koch’s last in the Mayor seat and can’t imagine the dirtier, more chaotic, and less functioning New York of the 1970s that Soffer, Roberts, and Koch described, but many people in the room knew it first hand. Whether you believe that Koch revived the “greatest city in the world” or that he entrenched a socially unjust status quo, to what degree do you think today’s New York was molded by the brazen forces of the Koch era?

- Posted by Julia

Monday, November 1, 2010

And the Artifact is...

Last Friday we asked you to figure out what this artifact is:


It looks rather formidable, but it's actually a stove lid lifter. In the days when wood and coal stoves were common, every household would have had at least one of these. On top of the stove sat four or six round, cast iron lids that could be removed to put extra fuel into the stove or to expose your pot directly to the heat. You'd use the bottom of this tool, fit into a notch in the lid, to lift the lid out. Here's a picture in an old Popular Mechanics magazine (1937) which gives you a visual (bottom right of the page). Today you can find a plethora of these inexpensive gizmos on Ebay. I'm partial to this fancy one.

Tenants in 97 Orchard street would have consistently used coal stoves for cooking through the start of the 20th century. They were used as the main source of heat for the apartments, too.

- Posted by Kate