Club 57 LINK
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 originally founded by Stanley Zbigniew Strychacki and enhanced by nightclub performer Ann Magnuson, Susan Hannaford, and poet Tom Scully. It was a hangout and venue for performance and visual artists and musicians, including The Cramps, Madonna, Keith Haring, Cyndi Lauper, Charles Busch, Klaus Nomi, The B-52s, RuPaul, Futura 2000, Tron von Hollywood, Kenny Scharf, Frank Holliday, John Sex, Wendy Wild, The Fall, April Palmieri, Peter Kwaloff (Sun PK), Robert Carrithers, The Fleshtones, The Fuzztones, Joey Arias, Lypsinka, Michael Musto, Marc Shaiman, Scott Wittman, Fab Five Freddy, Jacek Tylicki, and to a lesser extent, Jean-Michel Basquiat.
Other contributors included Shawn McQuate the Great aka AMMO, dancer, performance-artist and designer. Stacey Elkin and Shawn were known as the fashion designers of the club, and made costumes for many of the Club 57 performers, like Magnuson, Scharf, and model and artist Kitty Brophy. McQuate the Great/Shawn AMMO was John Sex's boyfriend for two years during the early club days. McQuate did several happenings, including having 50 performance artists performing at the same time, in Universal Interaction 1981. Also, Ande Whyland, Robert Carrithers, Minn Thometz-Sanchez and so many others played a vital role in the club's aesthetic.
Eva is very intelligent and loves to study. She is the president of Cristóbal Colón High School's science club, with strong interests in astronomy, physics, and chemistry. Eva is the typical girl of the twenty-first century, always attached to her cell phone, but she uses it to invent new apps and constantly update her video blog.
Though no doubt buoyed by the fact that Club 57's core first-generation membership (and it was a members-only club, as a way of getting around serving booze in a church basement) consisted of figures like Keith Haring, Kenny Scharf, Ann Magnuson, Joey Arias, Klaus Nomi, Tseng Kwong Chi, Stephen Tashjian, John Sex, and (most famously) Jean-Michel Basquiat have come to define that era more than anything on display in galleries at that time, the real treat of this show is all that has been unearthed through the obsessive preservation and research at the heart of this curatorial project. This wider embrace, showcasing not only the usual suspects but also those not so obviously associated with the frivolous, spontaneous, and fearlessly amateurish ethos of Club 57 (Donald Baechler, Michael Halsband, Ellen Berkenblit, Duncan Hannah, John Ahearn, Fab 5 Freddy, Dan Asher, and Richard Hambleton [who died on Sunday, aged 65]) and the amazing talents of artists like Frank Holliday, Peter Grass, Arch Connelly, Robert Hawkins, Bruno Schmidt, Marcus Leatherdale, Sur Rodney Sur, and M. Henry Jones, whose once formidable place in the downtown constellation has been sadly neglected. In its inclusiveness, democratic spirit, and abiding sense that anyone can do anything (here we enjoy watching painters like Haring and Scharf moonlight as performance artists, for example), MoMA's non-hierarchical assembly is true to the time.
MAGNUSON: In October 1980, Andy Rees took over running the program, and he brought in a more theatrical vibe. He did the play Bad Seed and cast our friend Scott Covert, who had this alter-ego drag character named Becky Rockefeller. It was Scott as Becky as Rhoda, the evil little girl. This was also when Scott Wittman and Marc Shaiman, who would later go on to win a Tony Award for Hairspray, started doing their musicals at the club. There were a lot of different iterations of Club 57, depending on the year and who was involved. It was always changing form.
DJ Since Keith Haring and Jean-Michel Basquiat both came to the club, I can see why a museum might be interested in it. I always thought the collection of talented people who passed through there was impressive. Mudd Club and Club 57 were both anything goes. I'm surprised by how much we all got away with.
Club 57 was the upbeat counterpoint to the more down, edgy nightclub life of the also famed Mudd club; both were seminal cultural meccas of the early early 1980s art scene where scores of now legendary artists and musicians showed, played and reveled in autonomous ecstasy. 041b061a72