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 |  The Charging Bull, located in the Financial District between Morris and Broadway, was created by artist Arturo Di Modica in 1989 to symbolize a sign of hope and recovery after the Wall Street crash in 1986. Nevertheless, the physical detail of this statue often brings about a comical and humorous reaction from the public, thus undermining its true value to New York City's history. New York United States of America |
 | Fearless Girl, a recent addition to the Charging Bull statue in Bowling Green, was created by artist Kristen Visbal to encourage gender equality and diversity in society. A relatively small structure compared to its massive opponent just several feet away, Fearless Girl has brought about a major change to the aura of Bowling Green, as the public becomes more inquisitive to its connection in accordance with the Charging Bull, and less disrespectful to the bull's physical form and detail. Manhattan New York, United States of America |
 | The 9/11 Memorial and Museum serves to commemorate the individuals who have passed in the aftermath of the terrorist attacks, as well as the fallen Twin Towers that had once stood there majestically. Inscribed along the metal frame of each pool are the names of the victims who had suffered from the events in 2001, as well as the six victims who had died in the 1993 bombings. Unfortunately, such a monument is also subject to unconscious disrespect from the public. 180 Greenwich Street New York, United States of America |
 | Currently located in the outskirts of Battery Park, The Sphere was initially created by artist Fritz Koenig to symbolize world peace and unity. Although it was originally located in the Austin J. Tobin Plaza where the Twin Towers had once stood, its structure was damaged in the aftermath of the 9/11 attacks, resulting in its broken appearance today. While it now serves as a tribute to the events that occurred in 2001, its current location leaves its presence to be forgotten and isolated from society. New York United States of America |
 | The Public Art Atlas, created by artists Lee Lawrie and Rene Chambellan, is currently located in Rockefeller Center. The statue depicts a Greek Titan, Atlas, who was subject to carry the world on his shoulders as punishment for his uprising against the Greek Gods. Representing the philosophical theories behind the Objectivism movement in American history during the late 1980's, this statue experiences a large amount of tourism for its well-know location perhaps more than its intended significance. Rockefeller Center New York City, United States of America |
Technology and Social Behavior
Currently living in a century known for its “selfie” culture and advanced technology, it is quite common to observe that nearly four out of five pedestrians in New York City are completely immersed into their cell phones or tablets. With such products increasing in annual demand, mobile phones “go beyond being a mere technical device, to becoming a key social object in every aspect of a user’s life.”[1] From waking up every morning to the sound of your iPhone alarm, to paying for your lunch via the payment feature on your Apple Watch, one can conclude that mankind is forming a heavy dependence on these luxuries that seem to make inconveniences disappear with the touch of an app. With such attachment comes major changes in social behavior, as communication shifts from physical interaction to more electronic-based contact. Furthermore, we tend to live solely in the spheres of our personal bubbles and are senseless to our actions in public spaces. Such social behaviors are thus clearly evident at the scenes of various monuments and statues in New York City.
New York City is home to countless inspirational works of public art forms that preserve the city’s deep-rooted history and development. Such these structures range from the distinguished Statue of Liberty, which has served as a symbol of relief and recovery to millions of immigrants from around the world, to the majestic Empire State Building that attracts hundreds of excursionists on a daily basis. Nevertheless, these works must often fight for the attention of the public, which seems to be predominantly immersed into the latest devices of technology. Thus, the monuments that makeup New York City’s culture are often undermined and valued as mere backdrops for a family photo, rather than as essential historical souvenirs. Take for example, the 9/11 Memorial and Museum. On any given day, one may observe crowds of people surrounding the breathtaking memorial pools, which seem to extend endlessly into the earth’s surface. A number of people lean against the metal borders of the pools with cameras in their hands, to get a better glimpse of their thirty-foot deep architecture. A sea of camera phones and “selfie sticks” are suspended in the air to capture photographs of families smiling next to the memorial and enjoying their time at this attraction. However, it is important to consider that this location is still a memorial. Thus, more often than not, those who visit this memorial do so not commemorate the lost or obtain more knowledge on the events of 9/11, but to experience the beauty of its architecture, as well as keep their social media viewers intrigued on their whereabouts.
If not to attract visitors through their unique physical design, what main purpose do these monuments actually serve to show? First and foremost, public art structures serve as crucial markers that preserve historical timeline of Manhattan’s development. Without their presence, the memories that these historical tokens hold would otherwise be forgotten and our society would undeniably be culturally malnourished.[2] Just as fossils and other artifacts provide testimonies to the diverse creatures that once roamed the earth billions of years ago, structures such as The Sphere and the 9/11 Memorial provide records of the terrorist attacks that took place in one of America’s darkest historical moments. Consequently, so long as these landmarks continue to prevail, the obstacles that the nation had to overcome in its past remains fresh in the minds of New Yorkers and tourists, and hopefully never forgotten. New York City’s landmarks may also inspire the public to be more inquisitive about the purposes they serve to show. Statues such as The Sphere in Battery Park, or the Public Art Atlas in Rockefeller Center for instance, demand attention due to their large size and abstract design. As a result, those who come across these sculptures will want to obtain more knowledge on the memories that the artists who created them chose to depict and encourage a more educated society. “Without the efforts of artists, without sculpture in public places, our society would be culturally malnourished…[art] enhances community values while raising human awareness. Public art is essential for any civilization that calls itself civilized.”[3]
Perhaps the dismissiveness of the public to these structures is not only at the fault of technology. According to art historian Andrew Butterfield, every successful landmark should attain to several specific qualities that will engage the public and promote a respectful setting. These factors include an appropriate location, “the memoranda, or the biographical information preserved by the marker”[4] and the architecture or physical makeup of the landmark. For instance, suppose one was put in the following circumstance. You have created a work of art and desire to showcase this piece to the public. If given the option, would you choose to have it placed in an area of large population and tourism, or a secluded area subject to more privacy? Undeniably, one would most likely choose a highly populated area to increase the awareness of the artwork, as well as you, the artist, who created it. If one were to put the work in an area that is not accustomed to much diverse visitation however, its presence will not be acknowledged. Such is the case with The Sphere and the Public Art Atlas located in Battery Park City and Rockefeller Center, respectively. Due to its location in the heart of the city’s largest region of commercial complexes, the Public Art Atlas receives a larger amount of visitors on a daily basis, thus spreading the knowledge if it’s existence. The Sphere however, has been nearly cast out of the typical New York chaos, as it is located at the very peak of Battery Park that is not accustomed to a large variety of tourists. Thus, it is often forgotten and underappreciated, despite its significance as one of the only artifacts that survived the 9/11 attacks on the Twin Towers.
Similarly, one could argue that architecture plays just as big of a role in engaging the attention of the public as does location. If one is taken the 9/11 Memorial for example, many argue that this landmark is too up-to-date for its historic purpose. “If it is a monument, it cannot be modern, and if it is modern, it cannot be a monument”[5], as the design of the monument should reflect the moment in time that it is meant to capture. While the grounds of the memorial would make an impressive attraction for mere tourism, the significance of this location must overpower the urge to admire the beauty of its construction. Although the names of all the victims of the 9/11 and the bombings in 1993 are inscribed around the borders of each of the pools, the memorial registers “only an extremely narrow spectrum of information about the object of our affection.”[6] In addition, despite the presence of a few stones and flowers wedged in the spaces of the metal borders, the border’s tilted structure makes it almost impossible for such acts of tribute to stay very long and sufficiently commemorate the victims. Given that 9/11 resulted the destruction of the Twin Towers and thousands of deaths, wouldn’t a more typical monument site with gravestones and solitude be more appropriate way to truly “Never Forget 9/11?”
While these factors may possibly influence mankind to put down their cell phones for a few moments, it is clear that technology is more powerful then we think. With Apple and Samsung products on the rise, seventy-seven percent of all Americans currently possess a smartphone and twelve percent are “smartphone only users”, meaning they rely solely on these devices for information.[7] Furthermore, with such a case at hand, it is reasonable to expect that a large portion of New Yorkers and tourists present at the city’s historical sculptures will, in one way or another, incorporate these electronics into their daily actions. Whether this be through camera phones, social media or even interacting via Facetime, a domino effect of these social behaviors evolves, and just like that, the “social norm” of this location is established. “When people enter any given interaction… the first thing they need to know is ‘what is going on here?’ They need to know the ‘definition of the situation’…. which is a simple concept that is used to describe the complex dynamics of encounters and the rules that govern them.”[8]
For example, the Charging Bull statue located in Bowling Green. Intended as symbol of hope and recovery after the Wall Street Crash in 1986, the Bull first made its appearance directly in front of the New York Stock Exchange in 1989 before being moved to its current position. If one goes to visit this structure however, one will notice that the majority of people tend to focus around the bull’s backside, as it’s detail and appearance serve to provide comical photographs to many viewers. Consequently, as more and more people follow in each footsteps and continue this social trend, such actions become acceptable. Hence, just as the 9/11 Memorial, one can also notice the very strong presence of cell phones at this statue and thus feel the urge to join the crowd, as “little conscious calculation is needed to adapt to most situational definitions within a culture because, at any given time, a society’s situations tend to be highly conventionalized and finite in number…”[9] Fortunately, the recent addition of the Fearless Girl statue has slightly changed the aura typically seen here, as it influences society to think more about the connection between a statue depicting gender equality, and a sign of renewal from a major setback in new York’s history.
By incorporating a good location with appropriate architecture and design, the chances that the public will undermine and overlook New York City’s treasures may significantly decrease. While technology will continue to play a major role in the everyday lives of society, perhaps people will feel a greater urge to value these works for their existence if enough information on their history is provided, such as through the addition of plaques or other visual sources of information. Moreover, perhaps it is also worth establishing a “no cell phone” policy in select locations, in order to establish the proper respect that these locations deserve and control the powerful impact that cell phones have on our psyche and sense of individuality. If such aspects are not considered however, mankind will evidently resolve to consume themselves in a source of entertainment that they know will never disappoint: the products of technology.
[1] Srivastava, L. “Mobile phones and the evolution of social behaviour.” Behaviour & Information Technology 24, no.2 (March 2005): 111.
[2] Sussman, Jeffrey. 2013. “Art in Public Spaces.” National Civic Review 102: 46.
[3] Sussman, Jeffrey. 2013. “Art in Public Spaces.” National Civic Review 102: 47.
[4]Butterfield, Andrew. 2003. “Monuments and Memories.” NewRepublic 228: 30.
[5] Butterfield, Andrew. 2003. “Monuments and Memories.” NewRepublic 228: 27.
[6] Butterfield, Andrew. 2003. “Monuments and Memories.” NewRepublic 228: 30.
[7] (http://www.pewinternet.org/fact-sheet/mobile/)
[8] Meyrowitz, Joshua. No Sense of Place: The Impact of Electronic Media on Social Behavior. Oxford University Press, 1986. 663.
[9] Meyrowitz, Joshua. No Sense of Place: The Impact of Electronic Media on Social Behavior.Oxford University Press, 1986. 676.
