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.

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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.

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The Division Between the Natural and the Artifical

This photo represents how man-made structures have the power to dominate over nature not only on the High Line, but throughout New York City. The very prominent metal ramp divides the surrounding forestry into two. The bright, green leaves have no choice but to hug the ramp, while the ramp stands strong and proud. It is the focus of the photo; the first thing that attracts the eye when the picture is first looked at. The ramp, most likely made of steel and/or various other metals, expresses how the High Line’s modern, metal, and man-made structures were built around organic plants and trees. Along the High Line, you can see a man-made structure and an element of nature anywhere you turn. Nature and man-made constructions live in unison. This is not only exclusive to the High Line, but also New York City. Overwhelming skyscrapers and other man-made structures engulf NYC while nature has no choice but to share it’s original home with these powerful structures. The photo has a crispness to it; the color palette is clean and simple. The bright greens and yellows of nature coexist with the dull gray and silver tones of the ramp, balancing each other out. The modern sensation the ramp provides eludes to the modernity of the High Line, which is surrounded by unique buildings with eccentric, but simple, designs. The ramp in the photo serves a similar purpose to the High Line; it carries visitors to the next point on the High Line, just like the High Line carries visitors to different parts of NYC. The necessity of the ramp parallels to the necessity of other man-made structures such as roads and sidewalks, which serve to carry visitors throughout the city. Further, the photo displays a person towards the back of the ramp who appears to be looking towards the ramp. This person represents the millions of people that come to visit NYC daily, that are surrounded by both natural and artificial structures, but whose attention is only drawn to the immense and compelling man-made structures that NYC is home to. While these structures may belittle the surrounding nature, nature is still prevalent in the city, alive and well. 

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Photography Chain

This picture that I took encapsulates the essence of the High Line which can be defined as a highly artistic atmosphere. The photograph illustrates the projection of each persons’ aesthetics, which can be seen by the coincidental photography chain. Every body has its own artistic expression which affects each space and area differently. They each have their own auras that somehow blends and adds to the overall aesthetic. The image is scenic and calm but there is an underlying theme regarding the creation of art without conscious thought. In addition, there are also warm, luminescent undertones around the passageway and the two main subjects of the photo. The yellow glow directs the eyes to analyze certain aspects of the photos aesthetics. In contrast, the buildings surrounding the High Line has a colder atmosphere, showing how the park is one of the many pockets of artistic expression in a bustling metropolis.

In addition, there is also a juxtaposition of nature and modern technology. The High Line is a creation of modern architecture that implements nature in its overall structure. Although the High Line is already elevated, the tall buildings that surround it loom over the structure, showing how human creation has surpassed nature in a way. However, the plants are healthy and their bright green is enhanced by the previously mentioned warm glow. To a degree, this represents how the implementation of nature amplifies the unique aesthetics of the High Line. The plants add a distinctive aura to the artistic space, distinguishing the High Line in a city that is ironically called a “concrete jungle.” In addition the buildings that surround the High Line are examples of function over form. The buildings have their own aesthetic appeal but that comes second to the original purposes they were built for. However, the High Line (which is also a creation of modern architecture) isa prime example of how form enhances function. The High Line is based around aesthetics, which just strengthens the appeal of its overall purpose.

 

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Details in Design

One of the many things that intrigued me about the High Line was the amount of detail and thought that went into the simplistic design. Many people focused on the art that is displayed along the manmade, cement path reminiscent of the railroad as well as the art displayed in the natural, self-sustaining shrubbery. However, art lies within the design as well. The design team, James Corner Field Operations, Diller Scofidio, and Renfro, was able to represent the High Line in even the most minute details such as the benches. As I walked along the cement slabs and viewed all of the art, I began to notice that every bench reminded me of the exact thing I was walking on. The bench, made of the same cement as the pathway, raised itself from the ground and flattened out much like the High Line rises into the air and supports itself. The natural and manmade elements that coexist on the High Line can be seen in the bench design as well. The bench uses the manmade cement to support something natural: People. The bright, yellow light underneath each bench represents the hustle and bustle of the Manhattan streets that one can only see when looking down. However, the light does not make its way past the cement seats of the benches, just as the constant liveliness of New York City cannot be heard from just a few feet above the streets.

Each bench had different people sitting on it, different thoughts, different actions going on all at once. This is exactly what, in my eyes, the High Line allows for; people coming together but managing to stay within their own world. Each person having their own thoughts on the pieces of art and experiencing each piece differently than the person next to them even if everybody is walking along the same exact 1.5-mile pathway in the sky.

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Humans and Nature

While strolling through the High Line, I came across a sculpture called Rest In by Guan Xiao. The materials, the way it was stacked together, and how it was presented in descending height caught my attention. After reading the plaque, I found out that Xiao included structures that were made of wheel rims and brass, which are manmade items, as well as a vertebrate structure and cast footprint designs that represented life and nature. Her piece served as a futuristic approach at the inseparability between organic materials and manmade products, which perfectly described the way the High Line was built.

Initially an abandoned train rail structure, the High Line was built to safely transport simple everyday commodities within New York. However, after being abandoned with overgrown weeds and wild flowers, the High Line was reconstructed and relaunched as an open space public park for visitors to appreciate the arts and nature within the area. Although the High Line was physically built by humans, many parts of it also encompass nature such as the plants that grew on the tracks over time. Xiao’s work stands tall along the route, within wild flowers and grasses, where visitors can stop by to admire the way it was constructed. The cast footprint that serves as a pedestal illustrates an image of an island and the indents collected the rain water from the day before. Her incorporation of the vertebrate acting as the supporting structure shows how nature becomes the backbone of the High Line despite it being built with metal parts. Just as her work portrays the relationship between humans and nature, the High Line serves as the perfect place for people to walk along not only to see Xiao’s work, but also many other sculptures, or “mutations,” and scenery that is around it.

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Breaking the “Threshold”

     This is a photo of a performer from the show that took place at the High Line. In the show, named “Threshold”,  the performers moved around at a slow pace to different places of their stage. They were either huddled all together or separated into groups. This particular part of the show captured my attention and I took a picture of it. Although it is not the most professional-looking photograph, I think it captures the spirit of the High Line.

     The performer is sitting still in one position. You can see the legs of other performers on the ground to the right of him and the legs of the audience behind them. During the performance, the audience moved around the performers for their own reasons, while the performers keep the show going. His eyes are facing toward the camera (me), which is what struck me as interesting. He is looking at me, with his own thoughts most likely focused on sitting still to keep the show going as other people are taking photos of it. He knows what this performance signifies and is willing to show it to others. Meanwhile, the audience and the camera (me), live in a different world and set of thoughts, most likely trying to figure out what the performers already know. As his eyes stare into mine and the camera, he tries to communicate his thoughts to me.

     The bridge of thought that his eyes create between the performer and the audience is what I believe the High Line represents: a bridge between two worlds. The High Line: a man-made overpass with a railroad looking out at the city skyline mixed with plants and trees, the magic of mother nature. It is a peaceful place where nature and industry coexist and make each other beautiful.

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The Highline

This sculpture, the work of Jon Rafman, is titled L’Avalée des avalés (The Swallower Swallowed). This piece recognizes the way of life that many New Yorkers, and teenagers especially, fall into. We are constantly being engulfed in various forms of mass media, from platforms such as Instagram and Snapchat to broadcast stations such as NPR or CNN. It is easy to be caught up in the events happening around us, and therefore, it is just as easy to forget to slow down and enjoy where we are, and what is truly important.

The Highline is a place where the fast pace of an NYC lifestyle does not have to be so fast, but instead, one can take the time to focus on what surrounds them. Instead of being “swallowed” up by the current affairs of other people or places, one can truly admire the green of the plant life lining the old railroad tracks or simply sit and stare out at the water for relaxation. The muted colors of this piece prevents it from jumping out at the viewer in an aggressive manner, but rather invite the individual walking through the Highline to take a closer look, or read the accompanying plaque to find out the artist’s intended meaning of this sculpture. So, although this particular image does not capture the crowd that this attraction draws in, it reminds its audience to take a step back, to look at the beauty of the architecture, the greenery, the other art exhibitions, and just admire them. We can forget about the bigger picture that constantly consumes us, causes us worry and distress, and focus on the calmness that it has to offer. The Highline, along with its function as a small art gallery, allow us to remove ourselves from the chaos of everyday life.

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new vs. old

The High Line – which used to be a railroad for trains to carry goods to and from Manhattan’s largest industrial district – is now a space where many people go to stargaze, view art, or just go for a walk, that opened to the public in 2009. As you walk down the High Line alongside old, rusted tracks with new plants growing between the metal rails, you will notice the small, old, and vandalized buildings with cracked exteriors standing right next to tall, sleek, and modern skyscrapers that seem to go on forever. The juxtaposition between the tracks and the plants as well as the styles of the buildings makes one appreciate their surroundings. When you look at them side by side you will notice the things that makes each of them unique. A flower is beautiful when on its own but when it is placed next to an old block of metal, its beauty is multiplied. Likewise, when you are surrounded by buildings that have the same features you can appreciate their characteristics but not the same way you would appreciate a petite, graffiti covered building with a rainbow flag hanging from the balcony standing next to mirrored building. Or seeing the sunset through a tall wire fence covered in vines and listening to the cicadas as you walk down a cement pathway. Or passing by a large patch of grass with a large statue of a winged lion right in the center. There is a great deal of contrast between manmade and natural, young and old. Each spectacle gives its counterpart more personality and the combined personality of everything you see at High Line is what gives it its charm and makes it the perfect place to go when you want to just take in your surroundings.

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Sept. 12th – The Highline

I selected this photo to advertise New York City’s famous Highline as a museum space as opposed to the park space it is typically promoted as. One of the major critiques against this spot is its most recently established function in contrast to its original intention. Built as a park to capture the traditional style of railways and the modern feel of NYC architecture and to welcome New Yorkers from all backgrounds, the Highline is now often identified as an upper class, Greenwich Village hang-out spot and prime location for luxurious, corporate development. This photo exhibits the Highline as this more critical interpretation. Even according to John Berger in Ways of Seeing, museums have become a place for the affluent. This photo conveys the Highline as a museum, as it depicts a label and description of Alexandra Pirici’s artwork. The ongoing construction in the back and endless scaffolds signal the building of more real estate. The geometry of the objects in the photo (buildings, windows, rectangular sign) also takes away from the natural feel that is usually associated with the Highline. It has truly taken on an elitist element in this sense.

This is not to dismiss its aesthetic value and disregard its clear acceptance of all people. The Highline’s emerging status as a kind of “museum” also indicates its statement of public display. It is for everyone to view. Even those who are not physically aboard the Highline can view it. For example, people down below or observing from the Whitney Museum’s outdoor gallery, can also see it. However, this also establishes the Highline as a tourist attraction. As someone who has been here many times, the crowdedness of the public space on a weekend or hot day can make it feel touristy and unappealing as opposed to open and welcoming.

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