The White Problem in Planning
RE VI E W | U RBAN LEGENDS : The South Bronx in Representation and Ruin
AUTHOR/ PETER L’OFFICIAL Review by Veronica Brown
Harvard University Press, 320 pages
90
A few televised moments speak to their era so well that they surpass television history and stand in for an entire period in American history. Surely the 1988 World Series, in which the camera panned from Yankee Stadium to a burning building in the South Bronx as Howard Cosell announced, “Ladies and gentlemen, the Bronx is burning,” is such a moment. Except for the fact that Cosell never said his most famous line. Peter L’Official debunks this story in the introduction to Urban Legends: The South Bronx in Representation and Ruin, an exploration of how during the late twentieth century, various media constructed a South Bronx that stood in for both the concept of urban decline and for the place itself. When presidents visited the rubble of Charlotte Street, as L’Official writes, they “did not visit the ‘South Bronx’ as much as they did the site of the nation’s shorthand for urban ruin” (129). Through thoughtful analysis of the period’s visual art, books, and movies, L’Official provides a necessary reexamination of the South Bronx’s history that also serves as a compelling argument that places are constructed not only through plans but through their artistic representations. In the strongest two chapters of the book, L’Official pairs the photographs of Jerome Liebling and Roy Mortenson and the conceptual work of Gordon Matta-Clark with examples of what he terms “municipal art” (14), or work with a function that is bureaucratic as much as aesthetic. This “art, at work” (46) includes the Department of Finance’s project to photograph every lot in New York City from 1983 to 1987 in order to standardize the city’s tax assessment system. In this “administrative mode” (77) of photography, life emerges at the corners of straight-on photos of South Bronx buildings caught in the process of abandonment. Passersby move from one photo to the next as the city photographer progresses down the block. Situating these tax photos within a rich tradition of artists depicting urban ruin, including through conceptual photography, L’Official creates a “dualpurposed ethic of viewership” (76). This mode of looking considers the art-historical canon as well as sociopolitical upheaval in the urban environment. In another inspired pairing, L’Official uses the work of Gordon Matta-Clark and the Occupied Look program, two forms of urban trompe l’oeil, to demonstrate how perception and perspective shaped understandings of the South Bronx. Through Occupied Look,
