Category: BLOG POST 2 (Page 1 of 3)

At the entrance of Canal Street stands the Map of Chinatown. The kiosk is painted bright red, a traditional lucky color in Chinese culture. On top of the kiosk is a dull beige gold dragon that symbolizes power and strength. Finally, on the kiosk is the map, specifically the map of Chinatown, decorated in vibrant shades that makes it even more eye-catching. On the map, one can see many iconic features of Chinatown. For example, the well-loved bubble tea, dim sum restaurant, Asian supermarket, and the Chinese grannies that dance to pop music in the park. It also includes the rustic $5 haircut barbershops that are given by young aspiring hairstylists and old uncles that can still give you a clean cut with fuzzy vision. Once again, one can spot a red dragon but this time paraded by young men in matching outfits. This is a form of traditional dance performance in Chinese culture, similar to the lion dance. Overall, this art paints a vivid picture of the Chinatown community. It highlights the cuisine, the language, the traditions, and how everyone has a role in the community. This artwork is illustrated by Dingding Hu, who was commissioned by the Museum of Chinese in America and Art department of NYC DOT. This documentation of the daily life of the people highlights the signature business throughout the neighborhood and is one of the Chinatown Public Art series named “Welcome to Chinatown” launched at the end of October 2017. The other artworks are of similar fashion, the artist’s representation of Chinatown, and can be found on Walker Street as well as underneath Brooklyn Bridge on Pearl Street in hope of attracting more visitors to Chinatown. 

Not far off from the Map of Chinatown lies another artwork. A side-view of a man with his hood up and staring upward is made with dark and gloomy hues. Underneath him is a sea of three-dimensional hearts and upon close look, one can find “Hart Island” written on the bottom right heart. Above the man is a cloud of similar colors: white, black, and gray. However, surrounding the cloud is the color of the rainbow or LGBTQ pride with a big white X behind it and crown on top. (Turns out there was another part in this mural that I left out in the picture) The mural “Hart Island” was created by the Nomad Clan in 2019 as a dedication to NYC Pride, a non-profit organization that produces the official LGBTQIA+ Pride events in New York City, and produced by thelisaprojectnyc. Next to the mural reads, “Dedicated To the lost, to the forgotten. To the beaten and trodden. To the oppressed, the brave. To the anonymous who lay in mass graves, We see you! To the numbers and the names. To the battles and the gains. To the quiet, the unseen. The kings and queens We see you!!!” This ties to the name of the art, “Hart Island”, which is an actual place and is a burial ground for over a million people in Bronx, New York. Burials on Hart Island include individuals who were not claimed by their families, homeless, and poor. In 1985, sixteen bodies infected with AIDS was buried at the southern tip of Hart Island, meaning away from other corpses. It was believed that the dead AIDS victim would spread the disease to other corpses, hence the separation. The only single grave on Hart Island was given to the first AIDS victim they got. However, with time, thousands of AIDS victims have been buried on Hart Island. 

Both of the artworks I have chosen represent a community. The Map of Chinatown represents the daily lives of those who come together to create the Chinatown we know fondly of.  On the other hand is Hart Island, a mural that embraces and dedicates to the LGBTQIA+ community. Both are composed very differently and gives contrasting vibes. The Map of Chinatown was cheerful and fun since it was made with promoting Chinatown and attracting more visitors in mind. There wasn’t any deeper message because it was a representation of what was there instead. Hart Island, however, was painted with a sense of sadness. The story that this mural holds was simply incredible and it taught me and hopefully others too who saw this mural as well a history lesson. Street art became a messenger of the stories that must be told to us, the public, with beauty and grace. This made me realize how powerful art can be, as it became a integral mean of expression for many communities, including the LGBTQIA+. There is a lot of possibility as to what art can do and there is no right or wrong because it is the interpretation of the artist.

The “Alamo” sculpture resembles a rubix cube in its shape. The geometric parts do not align perfectly with circles interrupting the flow of the box. When looked at from different angles, the faces of the sides are different. It appears as though it is a puzzle, all sides being different. The sculpture stands on one corner of the cube, making it appear as though it is balancing. It is also a moving sculpture, allowing people to physically push it in a circle, however it is not light in weight. The entire piece is black, made of painted steel, and rests on a small black platform.

The “World Pride Mural Project” is a painted mural with a vast black background. The mural reads “today your love, tomorrow the world”. In terms of the writing, the phrase is in all capitals. The mural also depicts two hands holding the world. Rather than holding a typical globe, the countries are represented within a rainbow heart. The arms lead off of the wall, only truly showing the hands. Both the writing and the countries are in white, while the heart and hands are the only colorful components in this piece. The mural is large in size reaching from the top of the wall to the bottom of the wall, however the artwork does not extend as far out to the sides in comparison.

Kwon’s definition of art in public places is representative of the “Alamo” sculpture. This sculpture is both abstract and acts as a decoration. It is not a typical sculpture and it seems to be there for art and interaction. The sculpture best fits this area of Kwon’s three paradigms as the sculpture is not part of the site nor is it based off of a social issue for awareness. The artwork interacts with its site as its capability to be moved invites people to physically touch the piece and change the way it is facing, also allowing for a mental interaction. The sculpture is across from the 6 subway in a public area untouched by its surroundings. The piece is indifferent to the space as it could be placed anywhere and still serve the same purpose. The artwork interacts with the people as it occupies a relatively empty space, inviting people to both touch it and wonder about it. The artist’s identity is not extremely important in the presentation of the piece nor is the funding body as the sculpture does not promote this information at first glance. The information it provides is on a plaque similar in color on the platform of the sculpture. 

The mural could be considered as art in the public interest under the relative guidelines of Kwon’s paradigms. The piece incites the public to consider social issues, specifically calling on the people to spread love, not hate, in order to better the future of our world. The artwork is placed on a solid black wall within a gap between stores, making it indifferent to the site, as it could be placed elsewhere and still spread the same message. The work of art interacts with the community of SoHo, allowing its message to reach those who may be more fortunate and able to help others. The vastness of the artwork allows it to also interact with the individual as the large space forces one’s eyes to it. The artist’s identity does not necessarily matter here, however the funding body matters as it is a global pride initiative. The information on the funding body is available, but it is placed in the corner of the mural so as not to detract from the message itself.   

The two pieces, the “Alamo” and the “World Pride” mural project differ immensely in terms of their paradigm in relation to Kwon, their meaning, and the medium in which they are expressed. The artwork and space differ in terms of their relation to the public. The sculpture did not serve an inherent purpose, it served more as a decoration, whereas the mural’s intent was a call to the public to spread love within the pride community. The site of the mural in SoHo insinuates the message is intended for the privileged. Unlike the mural, the sculpture’s location in Astor Place leaves the artwork for the enjoyment of the overall community. These two pieces are alike however in their role as public art, serving the public and also being accepted by the communities they are in. Despite being two completely different mediums, they each serve their own purpose in the art world.

Harlem is an epicenter for black art and culture in New York City. Some of the greatest artists lived and worked there. Buildings like the Apollo Theatre and the Cotton Club were places where some of the greatest artists performed. The Harlem Renaissance was a period of artistic renewal and revival for the black community in and around New York. Harlem and the people who live here serve as an artistic inspiration even today. Art can be found on nearly every corner here in Harlem, on my block alone there are three of four pieces that fulfill Kwon’s 3 paradigms for public art. There are monuments to important figures of black history and murals celebrating and uplifting the people who help keep our community safe.

The Harriet Tubman statue is made of dark green metal. Harriet Tubman is featured standing tall, walking forward with a purpose, face set and determined. Her clothes are woven with the faces of runaway slaves and broken shackles, tree roots stretch from her back connecting into the pedestal upon which she stands. There are pink flowers clutched in her hand, reminiscent of the torch wielded by the Statue of Liberty. The entire statue is, in fact, reminiscent of the Statue of Liberty.

The statue functions as both art as space and “new genre public art”. The Harriet Tubman statue is situated on an island where people in the community can stop and wait for the light to change or stop and take a break. There is never an instance where you don’t see at least one person perched on the edges of the statue sitting or standing on the crosswalk waiting for the light to change. The statue is user-friendly and interacts with the community, but at the same time, it reflects and connects with the community itself.

It means something to the people who live in the area. Harlem, which is where the statue is located, is a predominately black neighborhood, and, as a result, the image of Harriet Tubman holds great significance for the people who live there. The imagery of the faces and broken chains remind the people of the community to never forget their roots, to never forget where they came from. The statue is a beacon, a symbol of the liberty that our ancestors fought and died for. Neither the identity of the artist nor the funding body matter here because the art isn’t meant to reflect the artist or the funding body, it is meant to reflect the past, present, and future of the people living in the community. That information, the identity of the artist and the funding body, isn’t immediately apparent, and that’s a good thing. As a piece of “new genre public art” it isn’t meant to promote the artist or the funding body, it is supposed to put the community front and center.

The mural on the side of the 28^th precinct building shows a burgundy colored sky fading into a yellowish-orange. This sunset scene is painted over with images of police officers serving and protecting. In one image a police officer is comforting a small child, in another, a police officer is standing watching over the area protectively. These images are surrounded by squad cars and the New York skyline. Above the mural, is the phrase “We Are Here When You Need Us”, and a single eye.

The mural functions, partly, like art in a place and “new genre public art”. The mural isn’t fully art in place, however. While it does help to beautify the community and expose the public to art, due to the subject of the mural, it has an innate and clear link to the space it occupies. It is a mural uplifting policer officers as saviors and protectors painted on the side of a precinct building. The mural also has a humanizing influence on the alienation of the drab, gray building. It adds a splash of color where otherwise there’d be none at all. The mural can be classified as art in a place but where other pieces that occupy the same paradigm are just art for the sake of art, this piece serves a purpose within the community.

The mural has a certain significance within the community in which it is painted. Similar to the statue, the mural is located in Harlem, a predominately black neighborhood. Police officers and the black community have always had a rather strenuous relationship, punctuated by violence and distrust on both sides. By painting a mural depicting police officers not only as belonging to the community they serve but as protectors of said community, it shows that the people can trust them. The people within the community are encouraged to trust the ones who are charged with protecting them by seeing the faces of people who look like them reflected at them. It promotes cooperation between the community and the NYPD. Both the artist and the funding body are clear when viewing the art, but it doesn’t negatively affect the impact of the art is meant to have. In this case, the art is meant to promote the funding body, the NYPD, so it is to be expected that the identity of the funding body is evident when viewing the mural.

While both the mural and the statue have meaning within the community and the space they occupy, they should still be viewed through different lenses. The Harriet Tubman statue, is a piece of, seemingly, anonymous work. The artist and the funding body are not being promoted or advertised in any way. The lack of self-promotion from either party allows for a more authentic and meaningful viewing of the Harriet Tubman statue. The community’s viewing of it is not tainted or influenced in any way. The mural, on the other hand, is paid for by the NYPD and is meant to depict them in a good light. This prevents the community from drawing any meaningful conclusion from the mural because it’s spelled out for them: the police are here to protect and serve. The mural, while it is promoting a positive and meaningful message, feels disingenuous and inauthentic; it seems more like propaganda.

Although one may first notice the large mural on the side of a building, I decided to pay greater attention to the blown-up photograph hooked onto a fence surrounding the said building. This black and white photograph displays dozens of people lined up in the middle of a New York City street. In each of these four lines, the people appear militant, dressed in warm clothes with caps and badges. With their mouths open as if they are chanting and their right arms lifted in unison, it is evident these people are protesting but unclear what commonality brought them all to this place. In the background of the photograph, there is a large banner being held in the center of two lines of people. Unfortunately, I was unable to discern what the words say on the banner, but there is a bearded man’s face displayed to the left of the words. With the help of a small sign next to the photograph, I learned this photograph was taken by Hiram Maristnay, a member and photographer of the Young Lords in East Harlem. The Young Lords were an impactful organization of Puerto Rican activists who “were committed to the liberation of all oppressed people… with an emphasis on issues of health, food, housing, and education” during the late 1960s and 1970s. Miwon Kwon would agree this work would fit the paradigm of new genre public art as its intent is socially conscious in that it acknowledges the impact the Young Lords had on the neighborhood. Moreover, the placement of the photograph is certainly deliberate because the Spanish Methodist Church across the stress was occupied by the Young Lords and used to provide a variety of services to the community, such as clothing drives and cultural programming. The site of the work, therefore, emphasizes the significance of the art because the Young Lords helped shape that area. Moreover, the placement of the work and use of the description next to it help educate the larger community about the mission and impact of the Young Lords. While the artist’s identity is certainly significant because the photographer was a member of the Young Lords, the funding body El Museo del Barrio is also significant because it is lauded for recognizing the works of Hispanic artists.

Also in Harlem, I found the work of Naomi Lawrence “La Flor De Mi Madre”. This installation is also attached to a fence; however, it is not a photograph. Bright and colorful, Lawrence knit yarn through the fence in a multitude of flowers. To the left, there are small, red flowers with yellow middles and green leaves. Directly to the right of those small ones, there is a huge red and pink flower with each of its petals varying in color. Above the large flower, there are medium-sized, white flowers. To the right of all the previous flowers, there is a large, white orchid with pink around its edges and a large yellow middle. Preceding the large orange orchid to the right of the white one, there are smaller pink and white flowers. Finally, there is a collection of small, pink flowers outlined in black at the very right of all the other flowers. Although the flowers vary in color, size, and shape, the work appears cohesive and interesting to the eye. Interestingly, the description of the plaque next to the work solely provides thanks to the funding body, the New York City Department of Cultural Affairs and the New York State Council on the Arts. This fact was interesting to me because before going to the mural, I actually read an article online about the meaning behind the piece. According to “GothamToGo”, the artist made the deliberate decision of representing different national flowers. Even though they appear as a random collection of flowers, the different ones represent Mexico, Columbia, the Dominican Republic, and more. If I had not known this, I would believe the work fits the paradigm of “art in places”, but the work is in fact “new genre public art” because Lawrence’s work represents the different ethnicities of people living in Harlem. The art seemingly does not interact with the site very much, but considering the diversity of the area, I believe the site contributes to the meaning of the piece. Since this art appeals to the pride people have for their home countries, this art certainly interacts with the local community. However, the art does not interact with the larger community who are unaware that the flowers are connected to specific countries. The artist’s identity is presumably Hispanic, and while that is significant given the meaning behind the work, the plaque would suggest the funding body is more significant to the integrity of the piece. In my opinion, the plaque should have been more informative about the importance of the artwork itself. 

For both works of art, I decided it would be best to explore the area of Harlem since I live nearby and I had yet to explore the area. While walking through this neighborhood, I found the art to be much more abundant than on the Upper East Side where I live. Moreover, the artwork was generally centered around different ethnic groups, thus fitting categorically with “new genre public art”. The two works I focused on differed, however, in that they were created to represent minority groups at different periods in history. While the photograph acknowledged the impact the Young Lords had on Harlem in the past, the knitted flowers served to acknowledge the people of varying nationalities who are contributing to the community of Harlem today. While they are meant to represent the community at different periods, both make the point of interacting with the community and site in very deliberate ways. Consequently, both works contribute to the pride of many communities in Harlem. 

Work Cited 

Afinelyne. “’Naomi Lawrence: La Flor De Mi Madre’ to Unveil in East Harlem.” GothamToGo, 4 July 2019, gothamtogo.com/naomi-lawrence-la-flor-de-mi-madre-to-unveil-in-east-harlem/.

You can’t think about New York City and not think about the beautiful artwork all over the city. The art culture in New York City is essential to New Yorkers’ culture. There are several excellent museums in New York City but you do not need to go to art galleries in order to increase your art knowledge. Public art is prevalent and breath taking throughout the city. According to Kwon, there are three types of public art: art In Places, art as spaces, and new genre public art. Art in places has no relation to the space and has a humanizing aspect to a depressing urban environment. Art as spaces is artwork created for the site and the community. New genre public art is artwork that combats social issues and promotes action by the community.

You enter 14^thsquare park and immediately are drawn to the trees and plants all around you. The loud cries of joy from the kids in the playground and the dogs playfully barking at one another. City buildings and traffic surround the park and the car horns can still be heard. A large statue is surrounded by a green chairs with people talking and eating their food. The smell of their food along with the smell of groceries from the front of the park is in the air. Standing in the shade I can now admire the tall statue. It has a large concrete base. Across the base is stars all around the base. As my eye shifts upward I see a tall individual which is easily recognizable as Abraham Lincoln. He is made of bronze which has decayed to almost a dark green color. Uniquely, he was dressed in a cape over his suit. He is standing with confidence and one arm bent and his hand placed right where his chest and abdomens meet. In his other hand he is holding an envelope with his arm straight. His seriousness and his strong personality can be shown in his face features. His wrinkles demonstrates his wise appearances and his hair looks clean and dignified. The size of the statue demands the audiences’ attention in the beautiful park.

The artwork is entitled Abraham Lincoln was created by Henry Kirke Brown in 1869. I think this artwork is art in places. Abraham Lincoln has no direct relation to the location and wasn’t made for the community. Initially the statue was not located in the park. It originally stood on southwest corner of Union Square. The artwork has some interaction with the site. The artwork is situated in the middle of the walkway. People passing by are forced to pay attention to the statue. There are also chairs for individuals to sit and eat but they can also admire the statue too. The artist and the funding body, initially the Union League Club, does not play a role in the meaning of the piece. I believe that the statue was built to honor one of our great presidents and to teach the youth about him.

You get off at bowling green station and walk through battery park. You admire the scenery which is filled with trees and beautiful plants. As you walk by you can see the ocean and the Staten Island Ferry. As you approach the artwork you have a beautiful sight of the World Trade Center and the buildings surrounding it. Bikers pass by you going towards the bike trails. The air smells like oysters from the restaurant near by and the ocean in the distance. The Ferry horn and the helicopters distract the viewers attention momentarily. As you shift your attention towards the artwork your eye may see a spark of green. There are several tilted aluminum objects with holes in them. At first they look like cheese graders which are all different sizes. At a second glance you get hit with several small bright colors. The holes on the aluminum objects are filled with small clear glass balls. These glass balls reflect different bright lights into your eyes. As you move your eyes you see blue, green, purple, red, orange, and yellow lights. These lights give off a glare like street lamps at night.

The artwork entitled “Sunrise, Sunset (Revolution)” was created by Autumn Ewalt & Dharmesh Patel in partnership with Battery Park City Authority. I believe this artwork is art in places. The artwork does not connect with the site or the community. I originally viewed it as all the secret beauties in the city. With all the magnificent things in the city there is still small beauties in the city. However, upon further research the aluminum panels reflect the earth is spinning on axis traveling around the sun. The artwork is scattered in an empty space an seems random to viewers. People passing by are draw to the bright lights. This artwork attracts viewers and often makes them stand and look to see if they can see different colors. The artists identity does not play a role in the viewers understanding of the piece.

The artworks I encountered had similarities and differences. Both works were art in places but differed in the type of art. The Abraham Lincoln statue was a realistic life like statue. While the Sunrise, Sunset (Revolution) is an abstract form of art. The statue makes clear what they want the viewer to see and take away from the piece. The Sunrise, Sunset (Revolution) allows the viewer to interpret any way they chose. The artwork allows the viewer to input their own interpretation of the artwork. Both artworks had their own beauty and deserve admiration from the communities.

Almost every child during their early school days enjoyed spinning the miniature world globe in their history class. However, there is one globe that cannot be easily played with, the Unisphere. Through the entrance into Flushing Meadows Corona Park, and across the lake, you will see a giant globe towering over the trees on the west side of the public park. As you walk closer, the rows of trees clear into an open space with clean lawn surrounding the stairs leading up to the Unisphere. The metallic sphere situated itself inside an even bigger fountain bowl, surrounding itself with spray jets that shoots water up to two stories high.

I’ve been to the Unisphere multiple times in the past because it is my backyard. This summer I visited this landmark again while on a casual stroll in the park, right before the US open was going to start. I went during the morning time but the summer heat was already starting to toast the people in the park. I do not know if the park officials opened the spray jets of the Unisphere to help people cool off or welcoming the upcoming US Open. However, I know that this was not the original mission of my friendly neighborhood landmark. This artwork was built for the famous world fairs hosted in Corona Park. The Unisphere represented the world with the continents and countries with metal plates. What always fascinates me was how the architects and engineers took geography into account with levels of metal plates.

Not only do I like to visit the Unisphere, but my family also enjoys it too. Nowadays, the Unisphere serves not only a community function but also a very practical use: a place for kids to play, a cooling place, and a tourist attraction. Hence, I believe this landmark counts as an art as space. In the past, it served as the unifying factor of the world fairs and it continues to do so, especially in a very diverse borough, Queens. It’s also another spot to cool down for kids who like water and also a nice view to take pictures.

Another place I visited this summer was the Pepsi-Cola sign in Gantry State Park in Long Island City. Again, it is a famous landmark within a public park yet the only difference is, it is a leftover of a Pepsi-Cola bottling plant. I went during the late afternoon, just before the sun was setting giving the massive sign a nice neon red view. The sign sits right on the waterfront overlooking the city. When I took a picture next to sign, I felt so small standing next to it. The sign was at least three stories tall, towering over me. It was as if the size was talking to the people in the city across the river to acknowledge its existence.

However, this sign is just a reminiscence of a history of Long Island City. The neighborhood community is no longer industrial and the Pepsi-Cola company is gone from the area too. As I walked through the park, it looked newly renovated. Benches and tables were new, the lawn was clean, and the boardwalk next to the river was newly built. I thought this was one of the best parks in the city and I wondered why there was such a nice park in Long Island City until I walked through the neighborhood. Once an industrial area became an area for luxury development. Skyhigh condominiums filled in the vacant spots of the old plants. All these features in the park and the Pepsi-Cola sign are just to complement the neighborhood. These days, people go to the park and visit the sign to take photos and admire it only. There is no practical use for the sign or an accurate portrayal of the surrounding neighborhood. Thus, I believe the Pepsi-Cola sign to be an art in place because the landmark just brings aesthetic value and tourism to the park and the neighborhood. There is no significant communal value and integration with the community.

The two places I traveled to over the summer were very alike in certain features yet differed on a very important factor, the landmark’s integration with the community and the value it brings to them. The Unisphere represents the world as one and how small the world is if everyone came together as they did during the world fairs. On the other hand, the Pepsi-Cola sign is just a decor for the park, for the luxury neighborhood. Another major difference was that the Unisphere was commissioned by the government, whereas, the Pepsi-Cola sign was made by the company itself. In the end, both places are very enjoyable and a good place to take nice photos.

In the middle of New York City’s Astor Place lies a peculiar sight: A giant steel, black cube balanced on one of its corners that surprisingly revolves! It’s not a perfect cube, however, and appears to actually be separated into eight smaller, individual cubes that have clearly defined outlines. Even each of the smaller cubes are imperfect, and have seemingly random but uniform trenches and protrusions running along their sides. The cube itself is situated on a black pedestal and is placed directly in the middle of the Astor Place block.

This public artwork is called Alamo (named after the Alamo in San Antonio, Texas) and was sculpted by Bernard (Tony) Rosenthal. Perhaps at first glance, it fits Kwon’s Art in Places paradigm, being a work of art with no inherent relationship with its surroundings. In its simplest form, it is a steel cube smack in the middle of a public area that serves no practical purpose, other than spinning. And yet it was so integral to the local community, that they successfully petitioned for it to remain in the square after it was scheduled to be taken down (it was originally a temporary artwork).

If we look back to the history of Astor Place, the cube’s presence becomes a little clearer. Astor Place used to be the home of the Astor Opera House, a popular destination for New York City residents for nightly entertainment. It is also the home of Cooper Union, where Abraham Lincoln gave an electrifying speech opposing the expansion of slavery. In more recent years, it has become a public gathering place.

A more accurate paradigm for Alamo would therefore be Art as Spaces. Alamo does indeed serve a purpose: to bring people together, even for a brief moment, and foster human interaction. The cube can be turned for a reason, and the fact that it is too heavy to be turned by one person fosters collaboration amongst its viewers. People must work together to turn the cube, and this makes for a pleasant experience, picture-taking opportunities, and a great way to have fun with friends or even strangers. The Alamo remains today a popular tourist attraction and, yes, no one can help but turn the cube!

Alamo itself does not give any indications as to who its creator is. Neither is there any evidence of its curator: the NYC Department of Cultural Affairs. Perhaps, though, it isn’t necessary to include these details, as this work of art serves a more practical purpose than to look pretty.

In nearby Union Square, there is another, larger work of art but this time in the form of a giant facade on the One Union Square building. It appears as if a wand is tapping into empty space, and a ripple effect is being emitted from the tip of the wand. There is a concentration of yellow particles near the tip of the wand, which abruptly decreases further away from the source. Towards the bottom of the facade, there is a (relatively) small rock with a clearly defined rough surface.

This work of art is called Metronome and was created by Kristin Jones and Andrew Ginzel. Technically, it fits in the Art in Spaces paradigm: according to Jones and Ginzel, it is “an investigation into the nature of time,” simultaneously representing the infinity and astronomical sequence as well as evoking contemplation of the dynamic flux of the city. There is even a clock directly adjacent to Metronome, day the current time of day.

This, however, is not immediately apparent to the typical viewer. The passerby may see this coming out of Union Square Park or the 4, 5, 6 train station, give it a quick glance, and then continue walking. There is no opportunity for interaction with Metronome because the facade is well out of reach, and the art itself does not exude any of the aforementioned qualities. Rather, it appears as a wand radiating light and ripples in water–beautiful, but serving no other purpose other than admiration. Therefore, it would be more appropriate to place Metronome in the Art in Places paradigm.

Like Alamo, Metronome does not give any indications of its creators or commissioners (Related Companies). Again, it leaves the viewer to search for some deeper meaning in the artwork. In this case, it is the enigma of time and the energy of New York City, though this is difficult to grasp for the average viewer.

The most obvious difference between Alamo and Metronome is that one is a sculpture that can be interacted with while the other is a facade hanging beyond the reaches of passersby. While Alamo goes well with the “gathering place” atmosphere of Astor Place, Metronome feels disconnected from Union Square and appears to be there just for looks. This very well may be the reason why Alamo is generally well-received while Metronome has been criticized as a “grotesque modern nightmare”. Still, both can be appreciated aesthetically and certainly are pleasing to admire from a distance.

Upon descending into the intricate underground network of tunnels and subway lines, with the eyes of hundreds of New Yorkers engraved into the walls watching your every step, I am greeted by a grand stone and glass mosaic at the bottom. An assortment of colors break the dull aesthetic of the MTA system, as a vortex of differing shades of blue, meant to represent the sea, encapsulates an oval area spanning at least 35 feet in width and 20 feet in length. At the middle of the vortex lies a singular blue eye outlined by a yellow ring amidst the sea of blue. Rings radiate from the center of the piece. If the single eye were to be the nucleus of the mosaic element, the tan and green continents surrounding it would be the electrons. The landmasses fit in a uniform fashion, into an “electron shell”.

This stone and glass mosaic, “Occulus” (not to be confused with the larger “Oculus” in the World Trade Center), fits Kwon’s second paradigm, “Art as a Space”. Although it may seem like just a break from the monotonous subway look, this art work utilizes its location deep within New York City to its advantage. The eyes on the walls leading to the main mosaic were based off of hundreds of real New Yorker’s eyes. They are literally New Yorkers watching other, real life New Yorkers take the train to work, which makes the eyes personable and relatable. The “Occulus” itself depicts a single eye at the center, or overlooking, the entire world, which symbolizes how any New Yorker can “see” the vast variety of cultures within New York City. And what a better place to showcase the interconnectedness of the city than within the underground train system that connects every corner of the Big Apple. The funding body is clearly visible upon examining the artwork. The fact that this artwork has been commissioned by Metropolitan Transportation Authority Arts for Transit and MTA New York City Transit is made apparent in its location in the MTA system. However, the plaque is the only indicator of the artists, Kristin Jones and Andrew Ginzel. The latter has made other site-specific works throughout the world.

After leaving the 72nd Street stop from the 2/3 train station, I am greeted by a grand statue of Giuseppe Fortunino Francesco Verdi on top of a cylindrical structure. There are four people, who are separated by 90 degree intervals, by the base of the structure. At the foundation lies three steps towards the four figures, Falstaff, Leonora of La Forza del Destino, Aida, and Otello, who are on stone pedestals above the steps but below the main cylindrical structure. Between each of the figures, there are limestone string instruments. The man, who is one of the world’s most renowned composers, is on his feet, as if proclaiming the land his own, seeming to exuberate confidence. Decked out with a suave stone trench coat, and his left hand on his waist whilst carrying a robe, Verdi gazes upon those walking about West 72nd Street.

This Carrara marble and Montechiaro limestone statue of Giuseppe Fortunino Francesco Verdi in Verdi Square is an example of what Kwon refers to as “New Genre Public Art”. The art itself is the centerpiece of a triangular plot of land consisting of a train station and a small outdoor place to sit. At a glance, this monument seems indifferent to the site at hand. However, this statue is integral to the larger Italian community. It was through the efforts of this Italian community, who supported the funding body, Carlo Barsotti, that the presence of this sculpture could be erected in the first place. This artwork celebrates the cultural and artistic heritage of the Italian-American community.

These two works, the “Occulus” and the statue within Verdi Square, both exemplify the value of art in relation to where it is situated. However, there are also glaring aspects of both pieces that distinguish them from one another. The first difference comes in the medium through which the art is expressed. The first utilizes glass and stone to create a stunning two-dimensional mosaic while the other uses a combination of marble and limestone to construct a foreboding three-dimensional sculpture. The types of artwork used compliments where they are located. The mosaic is a part of the bustling underground of Chambers Street where people can choose to appreciate it but can also simply go about their busy life. On the other hand, the monument in Verdi Square is in a wide, open space which has to be walked around but is accompanied by park greenery and aesthetic chairs and tables. Lastly, the mosaic reaches out to the overall New York City community while the statue specifically targets the Italian-American community.