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Exploring the Legacy of Westbeth and Its Artists

In his latest work, The Twilight of Bohemia: Westbeth and the Last Artists of New York, Peter Trachtenberg delves into the history of Westbeth, a unique artist housing initiative in Manhattan that opened its doors in 1970. This landmark in the West Village has served as a home for a diverse range of celebrated artists, including jazz legend Gil Evans, renowned photographer Diane Arbus, and actors Danny DeVito and Rhea Perlman. Trachtenberg’s personal connection to the building, stemming from his eleven-year residency, informs his narrative, which intertwines personal memories with thorough research and interviews.

Trachtenberg explains that the idea for the book originated from an essay he wrote reflecting on the tragic suicide of his friend, Gay Milius. The deeper he explored Milius’s life, especially concerning the environment in which they both lived, the more he realized that understanding the wider artistic community was essential to grasping the implications of his friend’s death. He states, “If Gay’s death was to have a larger meaning, it derived from his context: the context of the building where he lived and worked for 25 years, and where he returned to die.” The experiences of the artists surrounding Milius become vital in piecing together the poignant narrative of loss and the creative struggle inherent in their lives.

Addressing the complexities of Milius’s personality presented a challenge for Trachtenberg. He reflects on the dual aspects of Milius’s character—his brilliance and kindness juxtaposed with destructive tendencies. “Writing about him meant being honest about the barbs of his personality while capturing what made him so loveable,” he articulates. This delicate balancing act of personal affection and literary critique is similar to navigating a minefield, demonstrating the intricacies involved in memorializing a friend.

Unlike a traditional memoir, Trachtenberg opted to incorporate interviews with other Westbeth residents to provide a richer tapestry of perspectives. He conveys this decision: “I was never a member of the Westbeth community… the only way I could write about my former neighbors was as a journalist and historian.” His approach seeks to connect with the other inhabitants of this art community, sharing their voices and experiences.

Selecting individuals to feature in the narrative was impacted by the COVID-19 pandemic, which restricted in-person interactions. He initially intended to conduct on-site interviews but adapted to virtual formats due to safety concerns, particularly as many residents were elderly. Trachtenberg emphasizes that introductions from other artists helped him connect with tenants, leading him to document those whose stories resonated with him.

Among the notable figures captured in his exploration is Black-Eyed Susan, a prominent figure in Charles Ludlam’s Ridiculous Theater. Trachtenberg also sought to interview Lorraine O’Grady, yet logistical challenges arose as her celebrity grew following her retrospective, illustrating the evolving dynamics within the artistic community at Westbeth.

A significant theme in the book is the experience of raising children within this artistic enclave, an aspect that included childhood memories of actor Vin Diesel. Trachtenberg notes the importance of acknowledging that Westbeth was not just a haven for aging artists but also a vibrant place for families. “It’d be easy to misrepresent Westbeth as a senior center… a number of the residents were parents with young children,” he remarks, highlighting the building’s historical and ongoing relevance to New York’s middle-class families.

Today, as Westbeth’s population ages and housing costs in Manhattan rise, questions about the future of the community emerge. During a recent reading at Westbeth, attendees expressed concern over perceived neglect of the younger artists who have begun moving in. Trachtenberg reassures that financial stability exists within Westbeth, with tax benefits providing some protection against the broader housing crisis in the city. Yet, apprehensions linger regarding the potential threats posed by urban policies that target affordable living arrangements for artists and their families.

Ultimately, Trachtenberg’s reflections serve as a testament to the resilience of artistic communities like Westbeth, capturing both the challenges they face and the enduring spirit of creativity that thrives despite external pressures.

Source
www.publishersweekly.com