Port Issue 20: Out Now

The New York issue is now on sale, featuring artist Julian Schnabel, the New Yorker’s Adam Gopnik, Olympic fencer Peter Westbrook and more

Issue 20 of Port is our tribute to New York – a city that looms large in politics and popular opinion and larger still throughout style, culture and design. In it, we have gathered people and portrayals as big as the Big Apple itself.

Mounting a successful return to New York, our cover star for issue 20 is Brooklyn-born artist Julian Schnabel, who speaks to Kyle Chayka about his reputation as “the carnival man of contemporary art”, his recent exhibition at Pace Gallery and a film in the works. 

In the style section, we include our favourite looks from the Spring Summer 2017 Collections, and an editorial styled by Alex Petsetakis captures the colourful spirit of David Hockney’s poolside paintings with stripes and soft focus. Elsewhere, a design still-life shoot sees New York-native birds from the Wild Bird Fund photographed with organic designs including an Eames mobile for Vitra and a silver branch broach from Louis Vuitton.   

In the feature well, our design editor Will Wiles and photographer Robin Broadbent explore New York’s architectural motifs – from water towers to fire escapes – in a sprawling 38-page photo essay. Next, Adam Gopnik, a staff writer for the New Yorker for over 30 years, invites us into his home and shares an excerpt from his forthcoming memoir, At the Stranger’s Gate. We also meet Peter Westbrook, the first black fencer to win an Olympic medal and founder of the Peter Westbrook Foundation.

Highlights from the Porter include a intimate guide to New York, with recommendations and anecdotes from Port readers and contributors including designer Philippe Starck, writer Will Self and restaurateur Alessandro Borgognone. Also in this section, Studio 54 legend Giorgio Moroder shares his experience producing Donna Summer’s ‘I Feel Love’, Matthew Combs considers the city’s relationship with rats, and architect Daniel Libeskind muses on the drama and energy of the subway. 

Port Issue 20 is available from 12 April. To subscribe, click here

New York City Now: art and technology

In the final instalment of our three-part series, William Kherbek surveys the New York exhibitions highlighting the link between technology and art

Lynn Hershman Leeson – Origins of the Species' at Bridget Donahue, New York
Lynn Hershman Leeson – Origins of the Species at Bridget Donahue, New York

The sense that the future of visual cultural has an irreducible digital component is palpable in London’s art scene; in New York, the legacies of Abstract Expressionism and Color Field painting still loom large. In a city as wired as New York, you don’t have to look long before the New Aesthetics find you. At Pulse Art Fair, Jamie Zigelbaum’s interactive work Pixel physicalised the sometimes overwhelming human-digital interface by presenting the viewer with a screen bearing an instruction to ‘please touch’. When the viewer obeys, the screen changes colour with retina-frying velocity – it’s like being mugged by a James Turrell piece.

Lynn Hershman Leeson – Origins of the Species
Lynn Hershman Leeson – Origins of the Species

Also notable at Pulse was Ova Satellite, a video work by Peruvian artist Alessandra Rebagliati. At first, it resembles a thousand holiday videos you’ve seen before – tourists on beaches, nature as a backdrop instead of an ecosystem – and is soundtracked by a karaoke-style rendition of Beatles hit Ticket to Ride. Amidst the revelry, a turtle is seen flipping its painful way along a beach towards the sea, trying to catch the tide. The advance of technology, as rapid as the turtle’s advance to the sea is laboured, is a key concern of the artist. When I spoke with Rebagliati, she stressed the paradoxical way technology can connect and isolate simultaneously, particularly in her own life as an artist.

“I’m so dependent on technology,” she tells me. “I wouldn’t be able to do all of the logistics for the work without a smartphone and Whatsapp.” However, Rebagliati also acknowledges that such potential carries with it a capacity for darkness. “It’s going to change so much in the future as well, and I’m really so curious,” she adds. “I want to be here to see it, and I want to be a part of it, but I want to be sure it doesn’t ruin my life.”

Ova Satellite by Alessandra Rebagliati
Ova Satellite by Alessandra Rebagliati

The New Museum’s 2015 Triennial, organised by Lauren Cornell and Ryan Trecartin, was largely concerned with the interface between digital technology and art and, as with any show of 51 artists, it was something of a grab bag. Among the standout works was a powerful video by Shadi Habib Allah centred on Bedouin commercial and smuggling networks, which aptly questioned the fetishisation of digital networking through the use of sharp, but oblique, camerawork and poetic dialogue. Every piece in the exhibit nodded towards emerging technologies or social discourses, but, curiously, it was the lo-tech works that somehow resonated more with me.

Eloise Hawser’s delicate origami swan, which was perched on a stolid grey wave of roller door shutters, could have been made any time, but the tensions such a work highlights in its impassive limpidity seemed to speak more urgently to the present tense than some of the more ambitious, multimedia extravaganzas on show. Sometimes, an Oculus Rift can blind you to what’s happening right before your eyes…

Lynn Hershman Leeson – Origins of the Species
Lynn Hershman Leeson – Origins of the Species

Kerry Doran, a writer and event producer for the New Museum’s NEW INC. project, believes the digital realm influences visual culture by helping to redefine time and labour. “We are constantly producing ‘content’ for corporations and speaking through companies to our ‘friends’ or followers, always building our brand under the guise of ‘connecting’,” she says. “It’s no wonder mindfulness has become such a craze; we are always thinking of the next rather than the now.”

Lynn Hershman, Room of One's Own, 1990-1993
Lynn Hershman, Room of One’s Own, 1990-1993

“For more than forty years, Hershman has been making works that turn the tables on the technologies of surveillance”

Doran also highlighted how the web is altering the notion of ‘creation’ and ‘creators’ in ways that upset traditional understandings. “The Internet supposedly promises that work is more visible there than if it were being shown in a gallery. However, images can be remixed and re-appropriated more easily because of this,” she suggests. “Artists are also providing content for platforms, like any other user of a site like Facebook, Tumblr, or Instagram. This transfers the rights of the image into the company’s hands before the artist even has a say. Participation is obligatory.”

This dichotomy of giddy liberation mixed with doom-laden foreboding reared its head in a number of other recent shows in New York. Among the most forward-looking was Saya Woolfalk’s ChimaTek: Hybridity Visualisation System. Its narrative centred on a human-plant hybrid species known as Empathics. The works included a hypnotic video that could best be described as a quasi-balletic infomercial. Woolfalk’s optimistic vision, informed by intersectional feminist theory and speculative fiction, was a lot more bright-eyed than a powerful retrospective of the work of the artist, Lynn Hershman Leeson, whose work was displayed at the inaugural exhibition of Bridget Donahue’s gallery.

Looking through the peephole in Lynn Hershman's Room of One's Own
Looking through the peephole in Lynn Hershman’s Room of One’s Own

For more than forty years, Hershman has been making works that turn the tables on the technologies of surveillance. In a piece entitled A Room of One’s Own, a diorama/sculpture/video/performance/installation, the viewer is invited to gaze into the intimate space of a woman. Behind a viewing aperture, the viewer sees a mini-flat complete with bed, shoes, and a mirror, in which the viewer/voyeur meets their own reflection. From a screen at the back of the ‘room’ the Germanic voice, which the viewer must assume is the flat’s resident, directs some of the most difficult questions one can ask to the viewer: ‘Who are you? What do you want?’.

In the work Bio Printer Ear, viewers see Dolly the sheep, Snuppy the Afghan dog, a glowing bunny and summer squash that will probably see out the next ice age, displayed among other bioengineered marvels with the dates of their creation plastered in lustrous high-finish images on the north wall of the gallery. The ambivalence, as in so many other works I saw, is clear: the future may be bright, but only if you like glowing bunnies.

Jean-Michel Basquiat: wild intuition

Dr. Irene Cioffi Whitfield looks at the turbulent life of neo-expressionist artist Jean-Michel Basquiat

Photo by Paul Tschinkel
Photo by Paul Tschinkel, 1980s

In 1984, when London’s Institute of Contemporary Arts (ICA) hosted an exhibition dedicated to Jean-Michel Basquiat (1960 – 1988), he was already an art world superstar. Today, most of his works – which were largely ignored by major museums – are held in private collections and achieve astronomical prices at auction. His position as one of the most innovative artists of the 20th century art is assured. “I think I know I’m going to be famous and I think I’m going to die young,” he once told childhood friend, Al Diaz. Basquiat, in his wildly intuitive way, and while still a teenager, knew exactly what was in store.

Basquiat was an explosive genius that worked at breakneck speed, as if gripped in a hurricane of creation. During his short life, which was extinguished by a heroin overdose at the age of 27, he produced nearly 2,000 paintings, drawings and sculptures, many of them on a gigantic scale. His themes were suitably grand: royalty, heroism and the streets. His artistic enterprise took in high and low and everything in between, and his ambition for personal legacy knew no bounds – he wanted to be king of the contemporary art world and he achieved this in his lifetime.

In terms of academic art history, he ascended to the highest echelons of painting practiced by Goya, Picasso, and Anselm Kiefer. The Undiscovered Genius of the Mississippi Delta of 1983 is one such work. Multilayered in context and content, its complex meaning speaks across generations. All of Basquiat’s subjects are expressed in his singular and electrifying style – a brilliantly coloured mix of punk, cartoon, classical, linear, linguistic, and symbolic notation. Like the jazz musician Charlie Parker, who was one of Basquiat’s cultural heroes and features in his paintings, the artist’s extraordinary access to the ecstatic and destructive powers of creation extracted a terrible price on his perishable human life.

Swiss psychiatrist Carl Jung once described the dangerous psychological dynamics of creative energy, when he said: “The unborn work in the psyche of the artist is a force of nature that achieves its end either with tyrannical might, or with the subtle cunning of nature itself, quite regardless of the personal fate of the man who is its vehicle.”

Akin to the ‘big dreams’ revealed to shamans by the unconscious, Basquiat’s painted images mirror both his tumultuous inner life and the complex collective world he lived in. His inner and outer vision matured in the nexus of New York City in the late 1970s and 1980s – a time of economic bust and boom and the terror of AIDS, then a relatively unknown and deadly disease. Out of this collective political, social, economic and psychological depression, new and expressive art forms took hold.

A zenith of punk, new wave and neo-expressionism emerged from the underground scene made up of creative individuals now nostalgically known as the ‘Downtown 500’. Basquiat was a central and mercurial figure in that vibrant clique, which included Andy Warhol, Lou Reed and the Velvet Underground, William S. Burroughs, Patti Smith, Blondie, Madonna, Talking Heads. It also included the gallery owners Leo Castelli, Annina Nosei and Mary Boone, who fuelled the skyrocketing downtown art market. It was a potent alchemical mix, and, for Basquiat, both life-giving and life-taking.

Dr. Irene Cioffi Whitfield will be giving a lecture on Jean Michel Basquiat at the ICA, London, on April 25 2015.

New York City Now: art and the urban environment

In the second instalment of a three-part series, William Kherbek examines the New York art attempting to seek out responses to urban space

Jonathan Calm, Scudder Towers Down, Special Pulse Project
Jonathan Calm, Scudder Towers Down, 2008

At this year’s Pulse Art Fair in New York, one of the special project pieces was a video work by Jonathan Calm entitled Scudder Towers Down, comprised of slow-motion video footage of the controlled implosion of a housing estate. Watching it, I couldn’t help but be reminded of the episode of the HBO drama The Wire in which a hated housing development is demolished to the cheers of residents.

Once upon a not-very-long-ago time, starry eyed and socially aware architects planned utopian projects in which communities would not simply dwell, but where they would have all the conveniences of modern life, shopping, laundry, recreation and green space. What went so wrong that these projects ended up becoming a byword for deprivation, disenfranchisement, and, as many notorious estates in the US and UK attest, found associations with violence? The answer, it seems, lies not in our star architects, but in ourselves. Something such utopians didn’t appear to count on was how little human nature was likely to change just because it was housed differently. Indeed, few stopped to consider the resemblance of such projects to another well-known example of architecture wherein all of a person’s needs are met by the state: prisons.

The tendency of human beings to exclude, to create hierarchies, and to put problems out of sight so that they can slowly fade out of mind, is now impossible to ignore. New York, which is facing a housing crisis that rivals the problems of London, presents one of the great crises/opportunities available to artists concerned with examining the contemporary urban condition.

A show at New York’s Gagosian Gallery brings together works by the late sculptor, John Chamberlain, and French industrial designer, Jean Prouve, and looks back to the ‘good old days’ of better living through urban planning. Chamberlain’s twisted metallic totems served as an elegant counterpoint to astonishing Prouve creations like the Villejuif Demountable House – a construction originally intended to create an IKEA-style ready-to-assemble schoolhouse.

In many ways, Prouve’s vision is completely distinct from the fixity of housing projects like those shown inScudder Towers Down. The optimism his work embodies feels equally distant from the contemporary urban political discourse, so there’s a winsomeness inscribed in such works that Prouve, the clear-eyed solution seeker, would probably have hated. But, history seldom confers the legacy an artist seeks for their work.

Charlotte Becket, Curdle, Beyond 1.1
Charlotte Becket, Curdle, Beyond 1.1

In Beyond 1.1, an exhibition currently running at New York’s Tanja Grunert Gallery, Charlotte Becket’s Curdle suggets mobility was not conceived as the prerogative of the city, nor its residents. Becket’s work, a kind of kinetic sculpture of geometric forms, was not a million miles from something Toby Ziegler would do. It is something like a geometer’s nightmare, a multisided automated black mass, reshaping itself in a corner of the room as a motor whirs noisily away: part boulder, part trash-monster. Humourous, yes, but also deeply evocative of a conurbation where refuse always seems to be taking over. It invoked the character of New York’s downtown scene of the 1970s – a marriage of the low-fi and sci-fi sensibilities of Gordon Matta-Clark and Robert Smithson.

“I am interested in the slippage between place and experience, and the collapsing boundary between tangible physicality and hallucinogenic perception,” Becket told me, reiterating the importance of geography in the structuring and conception of her piece. “Geographic structures speak to temporality, mutation, beauty and violence and are totally indifferent to our existence,” she added. “We impact our environment, but it always finds its equilibrium, even if we can no longer survive in the circumstances we’ve created.”

“We impact our environment, but it always finds its equilibrium, even if we can no longer survive in the circumstances we’ve created.”

Gregor Neuerer, Various Tones,  Cathouse FUNeral
Gregor Neuerer, Various Tones, Cathouse FUNeral

Space is at a premium in New York, and in Manhattan in particular. Over the river in Brooklyn, Gregor Neuerer‘s show, Various Tones, at an erstwhile funeral home-cum-gallery called Cathouse FUNeral was a meditation on colour in space. The show consisted of a number of large canvases placed over the gallery walls, forming a room within a room.

The panels were varying shades of green, greens Neuerer encountered in public spaces from billboards, adverts and the like, many for health products or services. Neuerer’s literal green room had the ominous insinuation that everything’s supposed to be good for you and was both eerily calm yet menacing – do something healthy or else, it hinted. The emerald shades were anything but organic, yet they had an ecology of their own; the smooth and rough melding of various hues against one another seemed to generate a palpable physical tension.

Sebastian Lloyd Rees, Vendor, Room East
Sebastian Lloyd Rees, Vendor, Room East

The work of the city itself was a key feature of Sebastian Lloyd Rees’ exhibition Vendor at Room East in Manhattan’s Lower East Side. Vendor could be thought of as a material haiku composed of the ephemera and efflorescence of urban life, including shipping boxes, lottery tickets, flyers, shop adverts, all presented in a deliberate but deadpan fashion, veering just on the right side of pretension masquerading as anti-pretension.

The weathered hoardings in the upstairs gallery behaved like a simultaneous manifestation and critique of the ‘found object’ culture that a lot of post-recession art embraces. In their deformations and discolourations caused by urban pummeling – from both humans and mother nature – the hoardings espouse a terse eloquence that, in being presented without comment or artistic manipulation, only grows with attention.

Read part one of New York City Now: art and politics

The Small Universe of New York Cricket

Port’s US editor, Alex Vadukul, explores what cricket means to a small group of dedicated sportspeople in NYC

Ricky Singh, owner of Singh's Sporting Goods in Brooklyn
Ricky Singh is the owner of Singh’s Sporting Goods, one of a handful of shops in New York that specialises in cricketing hear. His shop has been in Ozone Park, Queens, for 15 years.

Brooklyn

After living in New York for 18 years I travelled two hours to a park on the borders of Brooklyn to watch one of the world’s most popular sports – which, through a twist of irony, remains practically invisible in a metropolis known as ‘the world’s city’.

An hour-long subway ride from Manhattan placed me at a boulevard of Eastern European restaurants and shops, where I boarded a lonely bus. We blurred through avenues of brown houses. An old man sat near me with a fishing rod, presumably for catching striped bass in muddy Jamaica Bay. A West Indian man sat farther away speaking on his cell phone. “I’m on my way,” he said before hanging up. “Let’s have some Saturday cricket.”

When I got off I heard the cries of children. Marine Park, a large, choppy grass-covered expanse, encapsulates everything they say about New York’s diversity. The place feels preserved in time, a scene from an early Martin Scorsese movie. A playground with water-spouting fountains was overrun with kids. Mothers gossiped in Spanish. Orthodox Jewish fathers, sweating in dark suits, pedalled their infants around on bikes. Big men with borough accents slammed at balls on one of the baseball diamonds. But in the field’s heart, taking up a surprising amount of space, was a perfectly adequate, if ragged and uneven, cricket pitch. The Jamaican men in crisp white uniforms appeared to shimmer mirage-like under the hot sun.

Cricket exists here because immigrants refuse to part ways with it. Players hail from the West Indies, India, Bangladesh, Pakistan, England, New Zealand and Australia
Cricket exists here because immigrants refuse to part ways with it. Players hail from the West Indies, India, Bangladesh, Pakistan, England, New Zealand and Australia.

Their wives and friends watched from a distance, sitting in lawn chairs while sipping rum cocktails from plastic cups. A batsman beat his willow blade against the rocky turf. The bowler dashed and hopped, his arm swinging like a well-greased axle. The red ball, sharp against a blue sky punctuated by planes soaring into JFK Airport, travelled across the pitch. Willow cracked. The ball flew in the direction of one of the baseball diamonds. Teammates clapped. A man stopped playing catch with his son to watch with fascination.

The rich multicultural tapestry of New York has always interested me, and I’ve tried to see as much of it as I can: lavish Indian weddings in Long Island, giant Chinese dim sum halls in Queens, red-sauce joints in the Italian-American enclaves of the Bronx, vodka bars filled with tattooed men in Brighton Beach. But this scene felt so out of place, especially to me. Although I hardly know the rules of cricket, I’ve lived in the sport’s shadow my whole life.

My father, Max, grew up in North London, in Enfield, and as a teenager was an impressive player respected for his fast bowling. The esteemed Middlesex league picked him up and he became a star bowler, dreaming of playing professionally and escaping his dull terraced house-lined street. But his career ended one day when a ball was bowled into his face, leaving his nose hanging from strands of bloody skin. His face still bears signs of the battering, yet his passion has endured despite having immigrated to a skyscraper-filled city whose denizens confuse the sport with the name of an insect.

I have seen him watch countless televised matches, heard him kick up conversations about cricket with any Pakistani cab driver who will listen to him, and will never forget returning from house parties during high school to find him wide awake in the dark living room, sipping a cup of tea, staring at the glowing television airing a game in Australia. Nonetheless, the sport has remained gibberish to me. But here I was, in Brooklyn, transfixed and calmed, witnessing a match in the flesh.

Marine Park in Brooklyn
Around 80 league games occur in parks around New York any given summer weekend. Here, the grounds at Marine Park in Brooklyn.

Cricket exists here because immigrants refuse to part ways with it. Its players hail from the West Indies, India, Bangladesh, Pakistan, England, New Zealand and Australia. They play outside of Manhattan, the city’s cosmopolitan centre, in the more culturally diverse and less expensive parts of Brooklyn, Queens, Staten Island and the Bronx. A sport with more fans worldwide than any other (save football) exists on the fringes here, mutated by urbanity, defined by adaptation, and shunned by a country that doesn’t play the game. Yet cricket predates baseball in America by over 150 years, when it followed its English forefathers to the New World. A 1751 newspaper article is considered the first record of a match in New York, and the game was at one point even played in Central Park.

Cricket in New York is trashcans as wickets in Bronx pickup games; taxi drivers playing with tennis balls in dimly lit parking lots during night-shift breaks; tournaments in rusty-fenced parks beside basketball courts alive with the sounds of skidding sneakers and trash talk.

Winters are long here, so the season is short. Five-day test cricket is an absurd concept in a town that spawned the expression ‘in a New York minute,’ so the game’s faster Twenty20 format is the standard. (Each team has a single innings, batting for a maximum of 20 overs; play lasts about three hours.) At a match in the Bronx one coach told me: “You’d have to be retired or unemployed to play test cricket in New York.”

Most parks have badly tended grounds that obligate the use of jute mats rolled across pitches to create a semblance of flatness. They are kept in large rusty lockers on park grounds and their removal signals a game’s start. They also protect the batsman: a bowled ball that ricochets off a stray rock or piece of glass can turn dangerous and unpredictable.
But the game is now perhaps better organised and more popular in this small universe than ever before. About a thousand people play cricket seriously in New York (hundreds more play casually), and Queens alone has 16 weekend leagues. There are players who have competed professionally in their home countries, though the majority are passionate amateurs: accountants, cabbies, auto mechanics, doctors, engineers and bankers who await their weekend league games with the same itch Upper East Siders have for driving out to the Hamptons.

Fifty-nine cricket grounds exist in the city (vs. 634 baseball diamonds). Websites like newyorkcricket.com and dreamcricket.com chronicle the scene hungrily, posting game schedules and commentary. In 2008 the New York City Department of Education created the country’s first competitive public school cricket program, which now has 30 teams. Whispers exist even of a potential cricket stadium in Queens, though it’s worth noting America’s only internationally recognised cricket stadium, Florida’s Central Broward Regional Park, has yet to impress with its profits and attendance numbers.

New York Cricket
Manhattan

I spent June exploring the spectrum of New York cricket. I witnessed informal practices in parks, met players who once competed for Caribbean national teams, hung out with the 18-year-old star of the high school cricket scene, and visited a cricket shop in an area of Brooklyn so industrial and unwelcoming that I was certain I’d come to the wrong place: I found a business stocked with hundreds of bats and balls run by two Guyanese brothers who distribute a majority of all cricket products used across America.

Early on, the Columbia Cricket Club invited me to a Wednesday morning practice in a park on the west side of Manhattan. It was at 6 a.m. so members, some in finance, could make it to work. Manhattan has the smallest cricketing presence of all the boroughs, and I am confident this was the only place on the island where the sport was being played that morning. “I’d bet my house on it,” one of its members told me.

The sun had just risen. Players arrived wearily, setting their gear bags on a bench beside the baseball diamond’s cage. I sipped coffee and ate an egg sandwich. One member set up a plastic wicket near the cage. Another put on his pads and helmet. Jackhammers drilled in the distance. Nearby, a woman practiced tai chi.
The group moved far away enough so that they could have a decent run-up to bowl to the batsman. Some were not much better than me; others bowled with marksman-like precision, hitting the plastic wickets squarely, making them shake about like an inflatable child’s toy.

Josh Webb was one of the fastest and fittest bowlers. He moved from New Zealand six years ago and works in media. “I don’t really care, or think it matters, if others don’t understand what we’re playing,” he said of the inquisitive passersby. “If people ask, we tell them it’s like baseball, even though it really isn’t.”

Eager to show I possessed some knowledge of the game, I asked about ‘bodyline’ bowling. My father has an almost gleeful obsession with this aggressive technique in which, as I understand it, the bowler aims for the batsman’s body, rather than the wickets, thus intimidating him and breaking his concentration. I’ve concluded that my father, in his youth, probably enjoyed having a socially justifiable way to injure someone. Did the New York cricketers share that proclivity? “We’re just trying our best not to bowl a wide,” said Webb. “You won’t see bodyline bowling in New York. Most players aren’t good enough.”

A heavyset batsman started pounding balls into the far reaches of the field, creating a sad procession of sleep-deprived men jogging to collect them. He walloped another, sending it near the park’s public restroom.

“Cricket was once the national pastime, people forget that,” a long-time member, Madhura Gunasekera, told me. “Washington, Franklin, all those guys played cricket. The first international game was Canada versus the USA.” Old teams in Boston and Philadelphia, he said, once boasted players of the same calibre as the best in England.

A historic cricket club in Philadelphia, he told me, keeps a framed article about Babe Ruth, the legendary baseball player, meeting Australia’s Donald Bradman, his cricket equivalent. “It’s about them together for the first time,” he said. “They both knew about each other’s fame.” But ‘The Babe’ was surprised by Bradman’s modest height. “I expected you to be bigger,” he said. ‘The Don’ replied by commenting on Ruth’s trademark paunch: “I expected you to be fitter.”

Clarence Modeste, president of the Staten Island Cricket Club
Clarence Modeste is president of the Staten Island Cricket Club and a figurehead in the New York cricketing community. He moved to the city from Tobago in 1959 and joined the club in 1961.

Staten Island

Cricket’s early American origins intrigued me. It was hard to picture hundreds of people showing up for a test match in prerevolutionary Brooklyn. This led me, improbably, to Tom Melville, a 59-year-old scholar who lives outside Milwaukee, Wisconsin. His book, The Tented Field, is a comprehensive look at the history of cricket in America. He travels around the country to American history reenactment festivals, where he wears Civil War-era clothing and teaches adults and children how to play their country’s original national pastime.

“It’s probably the oldest sport in the country,” he said when I reached him by phone. The earliest record of organised cricket on which most scholars agree comes in 1709, in the form of a diary entry by one William Byrd, a Virginian plantation owner. Records show important early Americans played: George Washington, one of Ralph Waldo Emerson’s sons and, in Iowa, Ernest Hemmingway’s great-grandfather. It was a game favoured by the rich and privileged, senators and congressmen. “What makes a game American?” Melville mused. “Who plays it? How old it is? Well, in that case, cricket wins in America. Hands down.”

Cricket’s US popularity peaked between the 1850s and 60s, when bigger games could draw thousands of spectators. Gradually, however, baseball became the bat-and-ball game of choice. The skill level of American cricketers was far from second-rate. “The 1898 team in Philadelphia? They could have easily beat England or Australia,” said Melville.
But if cricket was so popular, how did it fade away so definitively, ending up relegated to overgrown parks in distant parts of Queens? Perhaps it had to do with Americans wanting a national sport without a British imprimatur. “Historians have spilled a lot of ink on that question,” Melville told me, growing heated.

Some cricket scholars agree that the sport’s British connection hastened its demise; others believe the game’s length did not suit impatient Americans and still others say that baseball was simply less expensive to play and host. Melville’s verdict? “Cricket failed in America because it did not establish an American character. I think that’s what’s holding it back today. It carries too much cultural baggage.”

As for New York, he told me: “Cricket is an immigrant game there, and that is positive and negative. It is positive in that it maintains a presence. But the downside is that it has remained an immigrant sport. An invisible sport.”
One relic of New York’s cricket history exists. To see it, head to Staten Island, cruelly dubbed the ‘forgotten borough’ by some New Yorkers. Walker Park is home to the Staten Island Cricket Club, founded in 1872, the oldest continuous cricket club in the United States.

While other historic clubs have closed, cricket has endured in this modest park, situated in an Italian-American suburb. The club does not look as if it echoes with cricket history, but Donald Bradman once played here, as did such other greats as Gary Sobers and Everton Weekes. In its heyday, the Staten Island team competed internationally. It was once composed of wealthy British Wall Street men. Hundreds of fans would sit on its then well-manicured lawn to watch games. The club, and New York’s cricket scene, enjoyed a brief burst of international attention when the Irish-born novelist Joseph O’Neill featured it in his 2008 best-selling novel, Netherland.

It’s also the only cricket ground in New York with a clubhouse. The city has owned Walker Park since 1930, so much of the clubhouse has been repurposed, but faint traces of its cricket past are still there: its majestic redbrick Tudor-style architecture, two changing rooms (one for the home team, one for the visitors), and a large space that once housed a bar.
I went to see a game one Saturday in July. Most team members were middle aged. One man who appeared to be in his late 60s bowled with the gusto of a 20-year-old. The players changed into their whites in the locker room. A wooden scoreboard was set up (in most leagues players must keep mental tallies). Plastic chairs were brought out. Someone started smoothing the pitch with a rake-like instrument. Six men dragged the heavy jute mat from the clubhouse to the field.

Disagreement arose over where to rest the mat. Charu Choudhari, a 62-year-old who has been with the team since 1985, insisted there was a depression in the pitch and that it would interfere with the ball’s trajectory. He was correct: a dent had appeared – perhaps from abusive football studs earlier in the week – and after five minutes of moving the mat back and forth they nailed it into place. “This is bush cricket,” Choudhari said.

The club’s president is a tall, elegant 80-something man from Tobago named Clarence Modeste. If a revered figurehead in the New York cricket community exists, it is he. Five interviews ended with the question, “Have you spoken with Clarence yet?” Modeste moved to the city in 1959 and joined the club in 1961.

“Even though there are what appear to be these stark differences between a lovely English cricket club somewhere in the countryside and the rough and tumble and noisy New York,” he said, “there’s not enough of this rough and tumble character to discourage cricket from being played here.”
“The game came into my life early,” he added. “If I shouldn’t play cricket, if I dismiss myself from the cricket scene, it would be like losing a good friend, like cutting off an important part of myself and floating it off to sea.”

Players watch a game from stands at Baisley Pond Park in Queens. The park is an undisputed nucleus of the Queens cricketing community.
Players watch a game from stands at Baisley Pond Park in Queens. The park is an undisputed nucleus of the Queens cricketing community.

Queens

Until this summer I don’t think my father had ever gone to Queens for any reason other than to catch a flight from LaGuardia Airport, but I dragged him there to see a match at Baisley Pond Park. I also had something else in mind. I was going to take him to the city’s only indoor cricket batting cage so that he could bowl for the first time in 30 years. I would bat.
As we drove through the far reaches of Queens, Max talked of his cricketing youth.

“I used to do a very short run-up and I was always very successful at destroying them,” he said of his bowling abilities. “We used to use briefcases as wickets. I thought that was going to be my future,” he said wistfully. (Improbably, he became a portrait and fashion photographer.) When we arrived my father looked at the pitch: “What the hell is that?”

Baisley Pond Park is among the scrappiest of all New York’s cricket grounds, with shabby overgrown grass and many littered patches, but it’s an undisputed nucleus of the sport’s Queens community. The granite stands were filled with Guyanese players. A family had pulled the backseat row from their parked van out onto the street to use as a couch. When a truck sped past, the driver yelled from his window: “Hit a six!”

“This is guerrilla cricket,” my father said, somewhat shocked. He was out of place, as though the word ‘Manhattan’ was stamped to his forehead; but he quickly made friends and chatted with Derick Narine, 18, the star of the high school cricket scene. By the game’s end he was impressed. “Those guys weren’t mucking around,” he said. “All they need is a decent turf.”

The batting cage was in the middle of Queens. It was a ratty and poorly air-conditioned establishment – effectively a baseball batting cage. Its longhaired owner, Ross, decided to capitalise on cricket’s rise in popularity, so he repurposed two lanes for the sport. He gave us balls, a wicket, a helmet and leg pads, before returning to his heavy metal.
We entered our lane and I put on my padding. I breathed heavily in the cage-like helmet. The first balls were warm ups. But then he moved back and introduced a short jog before his throws. The fluid arc of his arm was remarkable – a natural talent that has remained intact after all these years. The balls now stung, battered and bruised me. They zipped into the wickets. One ball rang right into my helmet.

“That’s what we call chin music,” he said – pleased with himself. “I’m going to throw a short one now. Don’t be afraid.”
In this sweaty dim-lit cavern we connected with something that had long escaped our bond. On the drive home I thought back to the match at Marine Park and felt closer to my city as well. I had watched the Jamaican cricketers, and the diverse scene anchored around them, from a quiet patch of grass. I was absorbing the full swell of New York’s immigrant story and was reminded again, for the first time in a while, of its capacity for miracles.

Photography Benjamin Norman