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The Future of the Upper West Side

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In the summer 2012 issue of City Journal, I examine "The Unending Battle of the Upper West Side," the Manhattan neighborhood's decade-long fight between the forces of gentrification and the social-services industry.

When I adapted this essay into "Homelessness, inc: The war on the Upper West Side" for The New York Post, I led off with the latest round in the battle: an "emergency" plan to move 400 homeless into a new supershelter on the residential block of West 95th Street by an organization called Aguila. In yet another example of the revolving door that exists between government service and the homelessness industry, Aguila is run by none other than New York's former commissioner of homeless services Robert Hess.

In recent years, the blocks around this Aguila facility have seen half a dozen proposals for homeless shelters and "supportive housing" for the mentally ill and chemically addicted (MICA). Currently on 94th Street, the Lantern Organization is nearing completion on the conversion of St. Louis Hall, which it announced in 2007 is being designed in part to house MICA patients.

On August 7, the office of Manhattan Borough President Scott Stringer called a press rally on 95th Street and West End Avenue to oppose the Aguila shelter. Speakers included New York State Assemblywoman Linda Rosenthal, New York City Councilwoman Gale Brewer, New York State Senator Adriano Espaillat, Nick Prigo from Community Board 7 Housing Committee, and Marti Weithman from the SRO Law Project. The assembly on the street included Neighborhood in the Nineties president Aaron Biller along with Mel Wymore and Ken Biberaj, both candidates for the City Council's sixth district. Videos of the speakers are below.

For anyone who cares about the continuing betterment of the Upper West Side, the pushback against the Aguila shelter is admirable and warranted. New York City's homeless and mental health policies are broken. Yet what was absent from the discussion are the steps that need to be taken to fix them.

The rally against the Aguila shelter is an uncanny repetition of much of what we saw in early 2011 for a building known as the Alexander on 94th Street. Many of the same politicians showed up saying much of the same things. In the Alexander's case, community resistance led to what appears to be the abandonment of the plan to convert the building into a 200-person shelter. This was a victory for the residential stakeholders of the neighborhood, especially for the working middle class and poor who reside in this building.

One now hopes that the neighborhood's energy can be summoned again to oppose the latest incursion. But the case of deja vu also shows how such proposals will continue until several underlying issues are addressed.

The neighborhood's politicians have been reluctant to look at one most obvious factor, because their own legislation has contributed (inadvertently, they say) to the crisis. In 2006, Brewer, Rosenthal, and other local and state politicians formed a "Working Group" to legislate against what they saw as the "illegal hotels" that were being operated for budget tourists out of the neighborhood's SRO (for "single room occupancy") apartment buildings. Once their legislation passed, the owners of these buildings lost a business model that could compete with the exorbitant tax-funded rental rates (up to $3000 a month per resident) that social services can command by warehousing the homeless and mentally ill in the same buildings, which opened the door for the organizations to move in.

In either case, the hotels and the shelters operate side by side with the SRO's existing long-term residents. In one case the building services improve through the introduction of hotel amenities. In the other a homeless, often drug-addicted population shares the hallways and bathrooms. Since the "illegal hotels" legislation directly precipitated this latest encroachment of social services providers, one obvious solution is to roll back the law and allow the SRO buildings to function again as tourist hotels while still honoring the leases of the existing tenants.

A second issue is the "fair share" mandate in the city's charter--a mandate which says that each neighborhood should carry its fair share of social services and that no one neighborhood should bear a disproportionate burden. With nearly 2,000 supportive housing units now on the Upper West Side compared to less than 100 on the Upper East Side, "fair share" is woefully disregarded. By calling a shelter an emergency facility, social-services developers can also bypass even the most basic community approval process and impact analysis. They can bus in hundreds of homeless, often in the dead of night, with little more than a letter of warning to the Community Board. If "fair share" had teeth and could be enforced, developers would be compelled to ensure that their facilities are distributed equally across neighborhoods in a "fair" way. Additionally, the "emergency" provision, which allows for no community review, must be abandoned.

Beyond fair share, another issue concerns the housing of dual diagnosis or "mentally ill chemically addicted" (MICA) populations, many of them homeless, in residential neighborhoods. While all neighborhoods might be expected to carry a fair share of social services, no residential community should be expected to take in this explosive population.

 "What's your solution to the mentally ill" has been a rhetorical weapon used against areas that oppose the social services industry, even though finding a solution to a problem the mental health community created should not be a residential neighborhood's responsibility. 

Here it is possible to see a sad narrative going back to the exposure and closing of Willowbrook State School on Staten Island. First the Kennedys and then Geraldo Rivera on ABC in 1972 publicized the truly deplorable conditions at this institution for

mentally retarded children. The backlash following these reports led to the mass deinstitutionalization of the state's mentally ill population and the movement towards community based social services. Meanwhile institutionalization became socially

stigmatized and advocates pushed for the "liberation" of the mentally ill. 

But now we see the disastrous outcome of this policy, as the pendulum has gone the other way. Community services for the mentally ill is a failure of its own. While the cost of community care is purportedly lower than institutionalization, not enough thought is ever given to the collateral damage to communities that must absorb it--increased crime, drain on other municipal resources, diminishing property values and tax base, plus the mental tax on community stakeholders. As Heather Mac Donald has written for City Journal, deinistitutionalization has led to "re-institutionalization," as care for the mentally ill have been transferred to the criminal justice system. At the same time, the industry designed to help at-risk populations has instead been helping itself to taxpayer money while failing to give their charges the care they need.

With the failure of deinstitutionalization, an argument can be made that what really needs to happen is the development a new generation of mental health institutions along with the political will to institutionalize a broken population. In fact, a movement in this direction is already taking place, and proponents has called it "FORMICA," because it is the one solution that would actually help the MICA population while also junking the failed community based mental health system.

But finally, the Upper West Side should look to its future. While the neighborhood spends its energy opposing the remaining forces of the social services industry, it also needs to consider how its wants to develop into the future. What are the kinds of people and businesses it hopes to attract? The cooperative revolution, and the neighborhood's beautification that has resulted, has already taken the Upper West Side far along in recovering its grandeur of a century ago. But with the outer boroughs now attracting a large share of the city's young talent and energy, the Upper West Side needs to find ways to compete with these other vibrant neighborhoods. One place to look may be the very SRO buildings that have been the cause of so much concern. With their tiny apartments, these SROs already have a dorm-like arrangement that would lend themselves to student living. With Lincoln Center on one side and Columbia University on the other, the city's young creative class is already drawn to the Upper West Side. Why not think creatively about these SROs and carve out new housing for a creative population?

A generation ago, the Upper West Side was a center for cultural innovation, much as neighborhoods in Brooklyn are today. Through new initiatives, the cultural legacy of the Upper West Side could be reinvigorated. But for that to happen, the leaders of the community need to advance a forceful forward direction that the rally on 95th Street regrettably lacked. 

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'There Are No Giants Upstairs' at Theodore:Art

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Gary Petersen, Before You Remember (2012)

Group shows are a dime a dozen come summer, but the best ones are more than rummage sales. They can expand our vocabulary of artists and draw connections between works, taking chances when the pressure to sell is off.

At Theodore:Art, a gallery that has recently moved from SoHo to a subterranean space in Brooklyn, the group show is called "There Are No Giants Upstairs." According to gallery owner Stephanie Theodore, the title comes from something a young patron once said, self-reassuringly, after hearing footsteps overhead. But it could just as well refer to the artists' desire to paint in their own ungoverned way.

This exhibition of work by Chris Baker, Mel Bernstine, Steven Charles, Harriet Korman, Gary Petersen and Andrew Seto is a tight little survey of contemporary abstraction, with work ranging from brushy (Mr. Seto) to hard-edged (Mr. Petersen), restrained (Ms. Korman) to anything goes (Mr. Charles). But whether it's Mr. Baker's rubbed-down surfaces or Mr. Bernstine's eye-popping bursts of color and line—the stars of the show—what these artists share is a deeply felt relationship to paint and an appreciation of the magic it can conjure.

Details:

There Are No Giants Upstairs
Theodore:Art
56 Bogart St., Brooklyn
(212) 966-4324
Through July 29

--adapted from The Wall Street Journal, July 7, 2012

 

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The New Barnes: Everything is Better Illuminated

James writes:

This week The Barnes Foundation opens the doors to its singular collection in a new purpose-built facility on the Benjamin Franklin Parkway in downtown Philadelphia. The inauguration caps a decades-long battle over "donor intent" and the indenture of trust of Dr. Albert C. Barnes. The wholesale relocation of the collection from Dr. Barnes's original campus in Merion to downtown Philly has been the subject of several books--most notably Art Held Hostage by John Anderson--and a popular documentary called The Art of the Steal.

No museum opening has therefore been more anticipated and (by many) loathed than the new Barnes. Here's ArtFagCity's article on "Why People are Upset" (thanks for the quotes, Whitney!). On Wednesday, the Barnes Foundation finally revealed its new building to the press.  

 

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Here is the original Barnes Foundation building designed by Paul Philippe Cret

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And here is the new Barnes designed by Tod Williams Billie Tsien Architects (all photographs by James Panero)

By basing an argument on "access" and constructing a much larger building than the original Cret design--complete with auditorium, restaurants, lounges, and LEED environmental certification--the new Barnes follows many of the trends I warned against in my article "What's a Museum?"

At the same time, my analysis of The Barnes Foundation for Philanthropy Magazine revealed that Dr. Barnes's rigid indenture was inherently brittle and bound to break in the decades after his death. So if his original intent could not be maintained, what was the best outcome for his collection?    

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The Friends of the Barnes led the legal campaign to prevent the move. 

 

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The stars of "The Art of the Steal" protest outside the Barnes entrance. 

 

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Rocky once broke an indenture of trust in a 10th round knockout. RIP donor intent!

 

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I don't think we're in Merion anymore, Fidèle-de-Port-Manech: Here is the entrance to the new Barnes. 

 

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At the preview I joined Michael J. Lewis, whom I've assigned to write about the Barnes for the June issue of The New Criterion. Derek Gillman, executive director and president of The Barnes, kicked off the proceedings. Also up: Stephen Harmelin, treasurer of The Barnes, who said the move was a "lonely decision"; and Aileen Roberts of building committee, who calls Dr. Barnes her "phantom client." Also spotted at the opening was Harvey Shipley Miller, the long-lost trustee of the Judith Rothschild Foundation. Meanwhile Bernard C. Watson, Barnes chairman, missed the press opening because he was stuck on a flight back from Florida.

 

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Like an enormous period room--a museum of a foundation--the dimensions of the Cret building and the hanging of the collection that existed there when Barnes died in 1951 has been transferred to the Philadelphia facility.

 

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But not everything is the same. The galleries now benefit from much better natural and artificial lighting. Here architect Tod Williams explains the new windows to Karen Wilkin.

 

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The architects pulled the new light-well out over the outdoor patio. 

 

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The building's finish is well articulated, but families of birds have already taken up residence in the gaps in the stonework. Shouldn't they have their own viral Twitter account by now? Representatives for the Barnes tell me they have ordered 70 rubber snakes to hide in the cracks to discourage nesting. 

 

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Wait, didn't Frank Stella invent shaped canvases? Here is Matisse's "The Dance" reinstalled in the new Barnes. (Could this image on the Barnes website be any smaller?) 

 

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One change has been to move Matisse's "Le Bonheur de vivre" from the stairwell to a dedicated alcove on the second floor. 

 

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Here's kinda where "Bonheur de vivre" would have been at the original Barnes

 

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Up close and better illumated, it's now possible to see the painting's color and details.

 

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An advertisement in Penn Station reminds New Yorkers about the Barnes's proximity to Wazoo.

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So is this The Triumph of the Broken Will?

The original Barnes was modernism's Chartres, incapable of duplication. The Merion campus had a reverential church-like aura that distinguished it from any other institution. But the new Barnes now employs a sensitive design and 80 years of updated lighting technology to illuminate a collection that, while undoubtedly disturbed, remains intact.

Only time will tell how we will come to regard the new Barnes--as an emblem of broken promises or another part of a rich cultural landscape. For now, starting on May 19, both facets are on display in downtown Philadelphia.         

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