The cover of Prudence Peiffer’s latest book, The Slip, showcases a captivating photograph that embodies the essence of New York City’s dreams. The image, taken in 1958 by Hans Namuth, captures a bohemian group, many of whom would later become influential figures in American art, as they relax on a Manhattan rooftop. The backdrop is a collage of greyscale apartment blocks and art nouveau buildings, creating a visually striking scene. Among the group are renowned artists such as Ellsworth Kelly, Agnes Martin, Robert Indiana, and Jack Youngerman, as well as Delphine Seyrig, the Lebanese-French actor, and their young blonde son, Duncan.
This photograph was taken on the roof of 3-5 Coenties Slip, a warehouse located in a small street within Manhattan’s Financial District. During the late 1950s to the late 1960s, artists found a haven in the Slip, residing there inexpensively, albeit often illegally, within warehouses that previously served the maritime industry. According to Peiffer, their time spent in the Slip had a profound impact on American art.
Peiffer, an esteemed art critic, historian, and the director of content at New York’s Museum of Modern Art, embarked on her research of the Slip in 2016. Her curiosity was sparked by a photograph depicting Robert Indiana and Ellsworth Kelly riding bicycles together in the area. This peculiar image led Peiffer to question the purpose of their presence in that particular location.
Coenties Slip, situated between Pearl Street and Water Street, played an integral role in New York City’s maritime history. Originally an inlet for boats, it served as a thriving port and marketplace during the city’s early years as a maritime trading hub. Herman Melville even referenced Coenties Slip in his iconic work, Moby Dick, describing it as a place where countless individuals would lose themselves in thoughts of the vast ocean.
Peiffer’s extensive research over seven years revealed that artists flocked to the Slip during a crucial stage in their careers. The community, which included artists like Lenore Tawney and pop artist James Rosenquist, consisted of individuals at similar stages of early career development. They were enticed by the affordable rent and ample space available in the warehouses. Peiffer’s research, including interviews with the late Jack Youngerman and access to personal correspondence and journals, offered a firsthand account of the artists’ motivations and dedication to their uncertain craft.
Many artists experienced significant breakthroughs during their time in the Slip, often driven by the support and competition within the community. For instance, Robert Indiana’s influential incorporation of language into his work was partly inspired by his desire to challenge Ellsworth Kelly, with the typography on his living space serving as additional inspiration. One of his most recognizable works, the colorful and stacked LOVE sculpture, would later become an emblem of pop art.
According to Peiffer, Agnes Martin regarded her time in the Slip as a turning point in her artistic journey. After two decades as an artist, she finally felt a sense of freedom to create the paintings she had always envisioned. Additionally, Martin benefited from her connection with Betty Parsons, an influential gallerist who played a significant role in her career. The Slip provided a unique setting where artists could network and have the space and solitude necessary for creative exploration.
Living in the Slip was not without its challenges. The warehouses were dilapidated, requiring the artists to rely on inventive solutions to combat the cold. They would repurpose pallets from the nearby Fish Market to generate heat. Showering often involved using a dishwashing basin with a hose, and hot meals and showers were sought at the nearby Seamen’s Church Institute.
The artists also embraced their surroundings, finding inspiration in the buildings and waterfront location. Ellsworth Kelly, for example, began his daily practice of creating exquisite plant drawings while living in the Slip. The rooftop provided an opportunity to grow plants, and images of small clusters of rubber and avocado plants serve as testament to the artists’ shared affinity for nurturing greenery. The Slip’s influence even extended to culinary trends, as avocados became popular among urbanites in this community, inspiring dishes like guacamole.
As more artists relocated to the Slip, sailors raised concerns about safety and desolation in the area. The neighborhood was already slated for demolition, as the city shifted from industry to commerce and developers such as Robert Moses and David Rockefeller aimed to accommodate financial institutions with towering structures. The artists found themselves surrounded by rubble, experiencing the intense changes occurring in the city.
Ultimately, the artists were forced to leave as their buildings faced eviction and demolition. However, soon after their departure, zoning amendments allowed artists to legally inhabit commercial loft buildings in SoHo and Tribeca. This new location and era gave rise to a more openly commercial art scene in New York City.
Today, affordable housing is scarce, and the concentration of artists in New York has shifted to the boroughs. While some may think that the spirit of creativity has vanished from these neighborhoods, Peiffer remains optimistic. She believes that artists possess a remarkable ability to adapt and hopes that the surplus of office space, resulting from the rise of remote work, may present new opportunities for artists. Peiffer mentions a gallery called Parent Company located in downtown Brooklyn, nestled between two high-rise buildings inside a shipping container. Although temporary, it embodies the spirit of finding space amidst ongoing development.
As our interview concludes, Peiffer leads me to the sole remaining building on Coenties Slip. This building, where Ellsworth Kelly and Agnes Martin once resided, stands as a testament to the artists’ presence. The surrounding landscape has transformed drastically, with towering office blocks and neon signs replacing the once-uninterrupted view of the river. Amid the constant changes and construction noise, Peiffer’s exploration of the Slip serves as a reminder of the vibrant artistic history that once thrived in this neighborhood.
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