The Living Collage
It’s a rather ironic fact that most tourists, when visiting New York City, flock to Central Park. Ironic considering that Central Park, for most residents, is a refuge from the city itself– a place where foliage insulates from the din of car horns and the sing-song sales pitches of street vendors, where the rounded crowns of elms soften the harshness of the piercing city skyline. Central Park is as far as you can get from modern urban life while still being in the heart of Manhattan.
The High Line is not Central Park.
The High Line is almost not a park at all. It’s a living collage.
French artist Marguerite Humeau’s “SPHINX JOACHIM,” which can be found standing guard over West 24th street
This idea of collage can be seen in the above photograph, which is split into three spatial and thematic sections. The lower third contains tall grass, the middle third a sculpture of a sphinx, and the upper third city buildings. So distinct are these three elements, both visually and thematically, that the photo almost appears to be a well rendered collage.
The photograph above, and indeed all of the High Line, operates on the interplay between these thirds. First, there is the dissonance between the perceived opposites of nature and civilization, as seen in the upper and lower thirds. This dissonance is expressed visually in the contrast between the unstructured greenery of nature and the strict geometry of civilization. Where the upper third is composed of straight vertical lines, the lower third consists of curves of varying intensity.
Though this contrast is engaging, the real visual interest of the photo lies with Humeau’s sculpture in the middle third. It is distinct from the surrounding thirds, with more structure than the grass beneath it but lacking in the simple severity of the skyline. The sphinx could be seen as straddling the two worlds of nature and civilization, but instead it synthesizes the photo into one surreal image.
This motif of the bizarre melding with the contradictory characterizes the High Line as the unique space (park, ar
Life on the High line
Going to the High Line was an unforgettable experience for I have never witnessed such surreal performances. The most memorizing performance was the first one and it was called “Alexandra Pirici”. This performance consisted of several actors of all kinds of racial backgrounds. They stood together and moved slowly in an unorthodox manner. You would be completely intrigued by their acting for you do not know what to expect nor have you seen anything of a similar fashion before. When you read the description of the play, you realize that their movements are referencing “images of war, loss, vulnerability from art history.” They also bring to mind “The separations that we build between people and areas of privilege that are sustained at the expense of others”. Essentially, the play seems to be indirectly showcasing the flaws of the modern world. Today, the gap between the rich and the poor is increasing and there is still a war on terrorism all around us.
Another interesting part about the high line was looking at art pieces. One in particular, showed what it looked like a person eating an animal that was eating another animal and another animal after that. The artwork really caught your eye due to the fact that, similar to the play, it was an unexpected sight. The High line walk brought about a lot of nostalgia from Bulgaria due to the smell of all the plants and small trees that surrounded the walk. Finally, the nose brought the trip to an end. An unexpected finish to an extraordinary exhibit where open-mindedness is accepted and judgments are not tolerated.
Nature’s Undying Conquest
The park that really never should have been. One of those strange success stories that no one really ever imagined was possible. An old, rundown freight railroad slated for demolition saved by nature itself. In 2001, photographer Joel Sternfeld published a book titled, Walking the High Line, showcasing the wild beauty of this railroad. Nature had taken over: grasses and flowers grew around the track and through the ties, even trees began to grow above the streets of Manhattan below. It brought color and life to urban decay, inviting and inspiring. Rallying the public via public and private organizations, some organized by local residents, such as Friends of the Highline, revived the railroad in the public eye, allowing us to experience its wonder.
I believe this photograph captures said essence: nature taking back the railroad, and bringing beauty with it. The flowers and plant life are the priority, taking the center stage, sitting directly in the focal point of the camera. As one shifts their focus to the background, railroad tracks are visible, extending into the distance and fading away under the curtain of the grasses. Nature has taken over, and only left remnants of the structure that stands. The colors are vibrant but warm, bringing a sense of comfort to the scene, belonging. A soft green is present everywhere, also signifying nature is the most important part of the photograph.
Both the photograph and the High Line to me symbolize the power of nature in all aspects. It has the power to take back what we have built, taking over piece by piece, in between every railroad tie. But it also has the power to bring people together. Without its beauty, we would have never seen this park ever built. With its help, an important piece of New York’s history has been saved, and with it came the opportunity to bring a little of the outdoors to the middle of the concrete jungle.
Life as Art
Upon our arrival to the High Line, I searched frantically for an example of architectural significance in the space to which I could attach my analysis of art among one of New York City’s most celebrated highlights. I fruitlessly took many photographs of the space until coming to rest my gaze on Alexandra Pirici’s “Threshold,” where I finally saw what the unique structure and architecture of the High Line provides: quotidian life as art.
When looking upon the scene of the image I photographed, I was perplexed by the performance, for I could not completely tell who in the image was not a performer. I could perceive that the two individuals at the left corner of the foreground and the people lying on the ground like fallen soldiers were the dancers. However, I struggled in accepting that the people in the background were spectators. The embracing couple had been resting in that position for many minutes. The family with the two infants interacted with one another in a cyclical fashion with a performative, seemingly fabricated warmth. I theorized that these seemingly ordinary audience members must have, too, been a part of the performance, to show the fine and invisible threshold between performer and spectator, between art and life.
While I came to realize my theory was false, this showed me, however, a significant aspect of the High Line as a structure. The elevated, open, stage-like nature of the High Line allows one to look upon their fellow citizens as art. Like the guest of the high line travels along the modern path that once was that of a railroad one can appreciate the life that shapes and experiences the passage of time: the visitors of the high line, themselves. The High Line is therefore able to serve a purpose in showing the art, nuance, and beauty in everyday life and society. The visitor of the high line is concurrently the appreciator of art, the artist, and the art itself.
There is Nothing Untouched by Materialism Even Here
To walk on the high line is to experience dynamism. The bridge’s floor is composed of straight hard lines the color of concrete. These concrete colors are then juxtaposed by soft purple flowers and untamed green grass. The green and pastel blues and pink of the flowers provide us with the illusion of an urban meadow, something natural and purely a gift of serendipity. The green and the purple, the various colors sprout as expected though. Nothing is truly untouched by human influence. Everything on the High Line is intentional. The plants do not grow wild on their own accord. There are openings on the ground which appear to purposefully let the plants grow through, there are sections of dirt along the walkway fostering growth. I find that the designers of the High Line made no point to hide their hand in cultivating this nature. It seems that they intend to send the message that in this city there is no true nature that is not in one way or another man made. You are not in a “new world” here, it is the same one with the same values and the same manufactured experiences.
This idea is emphasized by the image above. I found this image to encompass the high line experience well. In this image is a section of the High Line where there is a gate and beyond that gate is a screen where various video advertisements for Coach are playing. This advertisement is a vibrant red which is quite different from the gentle colors of the flowers scattered along the bridge. Red is typically used by companies to have their products associated with feelings of excitement. The gate in the image seems to separate us from the influence of the advertisement, just as the plants on the bridge seem to separate us from the influence of human will. However, the holes in the gate allow us to view the ad. The gate allows us to become distracted by something manufactured to be distracting. This calls to mind the inescapable presence of our urban society’s true values. Consumerism surrounds us and this image reminds us of how there is no place in this city that is untouched by this value, just as there is no place in this city completely free of human influence. Thus, we are not in a “new world.” Instead, we are faced with the same experiences manufactured to enchant us.
NYC Underwater
Man and nature have long been thought to be adversaries, caught in a continuous struggle for dominance over the landscape in which they exist. Yet, they persist in harmony together along the tracks of the High Line. This paradoxical state appeals to observers with its uncanny marriage of two dualities, and entices us to consider how two chaotic forces that are so different can coexist as one entity. This image is a physical embodiment of that question, compelling the viewer to examine such possibilities in depth. There is a clearly defined clash between the natural and manufactured, very literally split in two by a glare of light. The bottom half of the photo is drowned in murky green water, turning what once was a bustling New York City street into a lake. This could be thought of as the re-appearance of nature in the urban space, much like the evolution of the train tracks from a synthetic man made structure to a park bursting with greenery. Both spaces still retain their old metallic and concrete elements, yet now they also share their areas with more organic components. The water does not fill the entirety of the space in the image, once again portraying the concept of compromise by allowing the upper half of the photo to remain as it was. In making such allowances for each other’s existence, nature and man have found a way to live together. This principal can also be applied to New York itself. We are a melting pot of different cultures who now have to learn to live with each other, and this endeavor has been something we’ve been struggling to achieve for decades. Yet, the High Line shows that coexistence is a possible and worthy goal, which if accomplished can result in something beautiful that we can all appreciate.
The Garden Among Skyscrapers
The High Line continues to be one of the most iconic features of lower Manhattan, and its importance as a green space continues to be more paramount than ever in a rapidly developing downtown. In a part of a city that aims to be “trendy” or different at every turn, many people overlook the unique aesthetic and nature of the High Line – Chelsea’s answer to Central Park.
The particular experience of such a beautiful location can be captured in this photo looking out of the High Line towards a street that is steadily filling with people. Rule of Thirds is present, which I think help demonstrate how powerful this park is, the bottom layer of flowers and greenery representing the natural aspect of the High Line, juxtaposing it with the busy street and bustle below, symbolic of the city. The photo then melds with a grey sky that plays off the color contrast of the scene below it – a combination of green, brown, and yellow. The toned colors also help represent the “sleepy” nature of the High Line on this particularly rainy day.
In this, the charm and character of the High Line can be captured because the entire area is a place of contrasts. While the throngs of people, buses, and cars below the tracks emit a buzz of noise, the High Line is a place of people who are reading, speaking in hushed tones while on a walk with a friend, or simply staring at the sky. Highlighted by the steel railing, apartment buildings, and construction in the back, there is more emphasis placed on green spaces, trees, and stunning flora.
I noticed that on the street, everybody was in a massive rush to get wherever they were going but once you step foot on this platform, the world seems to get a lot slower. This photo demonstrates the natural beauty that is left behind in a big city and compels people to just stop and take a long look.
THE HIGH LINE: WHERE PAST MEETS PRESENT
The High Line is a rejuvenated part of the rich history of New York City. What was once a barren railroad track is now a beautiful repurposed elevated urban park. Even though the Highline has become a park now, its essence and charm stays true to its roots and past. The High Line has become an expression for artists of all kinds. Part of the experience of the High Line is the art that is seemingly ubiquitous throughout it. It has become a place for artists to showcase their chosen mediums. While I was walking on the High Line I was particularly captivated by these objects seemingly floating.
What the eye first travels to in the picture is those odd colorful objects, personally, I was really confused about their meaning as art which is why I decided to take a picture. I finally decided that the objects represent the different types of people who walk on the High Line, they all come in different shapes, sizes and colors. On the left side of the image, you see a new modern building which heavily juxtaposes the old vandalized building in the background. What is interesting is that on the vandalized building there is actually a famous mural titled “the floaters.” I thought that it was somewhat ironic that my picture focusses on the colorful objects rather than the famous artwork right next to it. Also to be noted is the expansive wooden walkway and the beautiful sun kissed greenery along the railing. The greenery was chosen by the designers of the High Line to reproduce the types of flora that used to exist on the old rail lines. You might also notice how the sky and the walkway are angled and sort of frame the other parts of the picture almost geometrically. Also to the right side, you might notice the blurred out people taking pictures of the artistic environment surrounding them. These people seem very small when taking the entire picture into consideration, but I view them as a significant part because they tell us part of the purpose of the High Line is. The High Line is a stage for artists and people go there to experience the art. This is what I imagine a person would perceive this exact place. The other people simply become a given part of the Highline, an extension of its essence as it was meant to be seen and appreciated. The extraneous human stimuli, like conversations between people, people taking pictures, people sitting down, are all drowned out and they simply focus on art that catches their eye whether it’s a natural form or a man-made form. While it can be a place to be alone and just enjoy some privacy it is quite the social area. People come with others to watch performances, enjoy the artwork, or simply because they backdrop for their personal pictures! The High Line is one place where humans are not the focus of the experience, the focus is heavily on nature, the artwork, the buildings-both new and old- and the unique experience the repurposed space gives to every person that sets foot on it.
Love and Loners
This image embodies the spirit and aesthetic of the High Line. Initially, the photo seems filled with the image of the old, vandalized, red-bricked building. On second glance, there’s the juxtaposition of the old building with the new skyscrapers complete with intricate designs and expensive materials. There’s an obtrusive tree that overlaps the old and the new, but the reason I chose this picture to represent the High Line is because of the people in it.
On the left, you see a couple. There is a girl dressed in dark colors who angles her body towards the boy she is with. They are both grinning and if you look closely enough, you can see the stems protruding from a bouquet of flower next to the boy dressed in bright blue. They are completely unaware that I, like a creep, am taking a picture of them. They are immersed in their own world, utilizing the High Line as a romantic location. It almost even goes into the history of the High Line- the spot was supposed to be one that imbued culture, but turned into a hot, new tourist attraction acting less like a park and more like a business . The High Line became something romanticized.
Just next to them, is a lone young man on his phone. He, or at least his shirt, almost blends into the background. On the High Line, you become a part of the High Line -a part of the art that everyone observes. We passed a man with a pink umbrella, a bunch of performers, a pride flag, sculptures and other objects that were all equally a part of the experience of the High Line. It seemed like everyone in the High Line was either there with their significant other, their family or alone, but everyone still blends into High Line. Even with the performers, sometimes I couldn’t tell if the people watching were a part of the performance.
We, as a class, were a little more like the obtrusive tree in the picture-at least at the very beginning. We blocked the path for other people and some people even stopped and watched us take our picture, almost like we were performers. But by the end, when we found benches to talk on or spots to marvel at, we became equal parts of the High Line.
Human Anatomy and The High Line
When I returned to the High Line for a second time, I came upon this sculpture that I hadn’t spotted the first time around. Before reading the plaque, I immediately noted its similarity to a human hand. I took a picture because this grabbed my attention; what was it about the High Line- or even that spot at the High Line- that had anything to do with human anatomy? I soon recognized that the sculpture was located towards the beginning (or end) of the public park, adjacent to 14th St and 10th Ave. A hand is an extremity of the human body, located at the very ends of our arms, so this sculpture’s placement actually seemed fitting. Unlike a human hand, however, the sculpture’s “fingers” are unusually linear. I noticed they’re near-perfectly straight lines. This reminded me of the linear wooden boards that make up The High Line’s walkway. The walking path is not made of concrete, nor is it made of one giant wooden plank. Instead, the walkway consists of multiple linear boards, with space in between them, just like the fingers on a hand. I felt the straight lines also resembled the train tracks on which the High Line was founded.
When I first walked by this piece, I almost didn’t realize it was a part of the park and that it was meant to be art. I thought it might’ve been part of some construction work (the fingers resembled construction tubes or beams). Also, the color of the hand is white, giving it a natural presence to the viewer. It’s a soothing, calming color that actually resembles the color of clouds or parts of nature. This is another reason I wasn’t sure the sculpture was meant to be art.
But this wasn’t enough for me. I still had to know what it was about a hand that made this sculpture an important part of The High Line? Then I recalled something Professor Gillespie mentioned in class: “…you don’t see art, you experience it.” If one is supposed to “experience” art, one needs to utilize one or more of his five senses. A hand is used for touching or feeling, one of humans’ five senses. I came to the conclusion that this sculpture bolsters the theme of the High Line as a whole. Don’t just view The High Line. Feel the High Line, observe it closely, and even give it a sniff or two if you have to. Juana Manna’s sculpture Amulet is a constant reminder to experience all the art that is The High Line.
