Founded by editor Leonard Abrams in 1979, the East Village Eye was an “avant-pop” hybrid magazine-newspaper dedicated to documenting the cultural discourse and happenings of the East Village. Each month until 1987, a rotating ensemble of contributors presented and discussed events, news, issues and notable persons involved in the energetic local art, music and fashion scenes. In fact, the publication was not merely a site to record the distinctive community’s goings-on, but actively shaped and added to the now infamous character and energy of the East Village in the 1980s. The East Village Eye featured artists such as Keith Haring, David Wojnarowicz, Barbara Kruger, Colab and Kiki Smith; musicians like Run DMC, Rock Steady Crew, Beasties Boys and Iggy Pop; and fashion designers and influencers Animal X, Patricia Field, Betsy Johnson and Manic Panic. This collection now functions as an invaluable “time capsule,” transporting readers to the bygone underground cultural scene of the East Village circa 1980.
David Byrne of the Talking Heads headlines the April 1982 issue of the East Village Eye, which pictures his very striking, but not talking head on the cover. In fact, Bethany Haye steers the interview away from his best known group effort and instead directs it towards a variety of heavy-hitting intellectual subjects, including how new media technologies are affecting culture, contemporary violence and religion. Leonard Abrams encourages social and political activism over ambivalence in a letter from the editor: “Look at the big picture. Art thrives on limitations. Limitations is what politics is all about. At this point the human folly that is attacking all of us, whether on the job, in housing, in the media or in the world, is what’s going on. Doing something about it is today’s recommended thrill” (5). The issue focuses on crime, providing coverage of the Jack Abbott trial and other recent impassioned murders around the country. Additionally, the Eye reprints Bob Marley’s last American interview from black culture magazine Class on the first year anniversary of the musician’s death. Rebecca Howland decorates the centerfold with a scribbly political landscape. Miron Zownir documents the punk scene in Berlin with a photo report entitled “Punk in Berlin: Violence, Destruction, Self-Destruction.” Like most issues, several columns catalogue recent neighborhood gossip, music shows and art exhibits with cheeky attitude.
