We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of New South Wales stands.

Film series: Lost New York 8 November 2017 – 4 February 2018

By Robert Herbert, curator, film (until June 2017)

Still from Midnight cowboy, 1969

Chronicles of a metropolis from the 1970s and 80s

During the 1970s and early 1980s New York was a city of contrasts: fractured, diverse and dramatic. It was already notorious for high rates of crime; economic stagnation saw it teetering on the edge of bankruptcy. The subway system suffered frequent breakdowns and sex workers and pimps dominated Times Square. Central Park was dilapidated and drug dealers occupied abandoned buildings. The New York City Police Department was subject to investigation for widespread corruption while the Guardian Angels, a volunteer organisation of unarmed citizens, patrolled the streets to combat widespread violence. The intimate, local world of downtown New York was in stark contrast to glitzy uptown and New Yorkers didn’t venture above 14th Street if they lived below.

The social disintegration of New York City had a flipside: a ferment of creative energy. An impoverished artist could afford to live in the city and many made it their destination. Photographer Robert Mapplethorpe studied art in Brooklyn and lived with his close friend, musician Patti Smith, in various locations including the historic Chelsea Hotel in Manhattan. Producing blatant, unapologetic and provocative images, Mapplethorpe radiated power. Attracting a marginalised audience, he also crossed over into elite circles and members of the establishment became friends and patrons.

This moment in New York inspired a distinctive, gritty filmmaking style: streetwise, tough, honest and shot on location. Breakthrough movies of the period such as Taxi driver, Dog day afternoon and Midnight cowboy capture the essence of this unruly city and offer a dark, authentic, electrifying slice of life. The story of a male hustler scraping by in Times Square, Midnight cowboy was said to give Mapplethorpe the idea of turning sexual favours on 42nd Street for a brief period. Looking back at the city as it once was, this film series offers piercing chronicles of a metropolis that, according to those who knew and loved it, has long ceased to exist.

Lost New York screens at the Art Gallery of New South Wales from 8 November 2017 to 4 February 2018 in conjunction with the exhibition Robert Mapplethorpe: the perfect medium.

Films

  • 8, 12 November – Midnight cowboy (director John Schlesinger, US, 1969, 35mm)

  • 15, 19 November – Mean streets (director Martin Scorsese, US, 1973, 35mm)

  • 18 November – Blank generation (directors Ivan Kral, Amos Poe, US, 1976, Digital)

  • 22, 26 November – Serpico (director Sidney Lumet, US, 1973, 35mm)

  • 25 November – Wild style (director Charlie Ahern, US, 1983, 16mm)

  • 29 November, 3 December – Taxi driver (director Martin Scorsese, US, 1976, 35mm)

  • 6, 10 December – The taking of Pelham One Two Three (director. Joseph Sargent, US, 1974, 35mm)

  • 13, 17 December – Dog day afternoon (director Sidney Lumet, US, 1975, 35mm)

  • 10, 14 January – Gloria (director John Cassavetes, US, 1980, 35mm)

  • 13 January – Variety (director Bette Gordon, US, 1983, 16mm)

  • 17, 21 January – Portrait of Jason (director Shirley Clarke, US, 1967, 35mm)

  • 20 January – Born in flames (director Lizzie Borden, US, 1983, 16mm)

  • 24, 28 January – The King of Comedy (director Martin Scorsese, US, 1982, 35mm)

  • 31 January, 4 February – Saturday Night Fever (director John Badham, US, 1977, 35mm)

A tall cowboy and a shorter man, both with light skin, in a long coat walk across a bridge.

Still from Midnight cowboy, 1969

Two people with light skin and black jackets stand behind a bar. One is smiling and the other is licking their finger.

Still from Mean streets, 1973

A woman with long bleached hair and light skin stands in front of a drum kit and microphones.

Still from Blank generation, 1976

A man with light skin and dark brown hair, moustache and beard is wearing a maroon beanie. Behind him is the New York City skyline.

Still from Serpico, 1973

A person in a red t-shirt with light brown skin does a backflip over a piece of cardboard. Four people watch and one is holding speakers.

Still from Wild style, 1983

Two men sitting in a New York taxi. The driver is looking in the rear-view mirror at the passenger.

Still from Taxi driver, 1976

A person wit hlight skin wearing a yellow necktie looks up. In front of them is a microphone.

Still from The taking of Pelham One Two Three, 1974

A person with light brown skin and a sweaty face holds a telephone to their ear.

Still from Dog day afternoon, 1975

A woman with blonde-curly hair and light skin holds a pistol in her right hand. Behind her is a young child holding her waist.

Still from Gloria, 1980

A neon sign that reads 'Variety' over seven framed images and a row of six doors.

Still from Variety, 1983

A person with dark skin with round glasses wears a feather boa. Their eyes are closed and one hand is raised.

Still from Portrait of Jason, 1967

A person with dark skin wears a pair of headphones looks directly into the camera.

Still from Born in flames, 1973

A person with light skin and a patterned suit holds up both hands. A rouched red curtain is behind them.

The King of Comedy, 1982

Two people dancing are looking into each others eyes. Above them is a glittering disco ball.

Still from Saturday night fever, 1977