Category: BLOG POST 2 (Page 2 of 3)

New York, the city of the inventors, comprised of distinctive and astonishing art that appears to be all over the place. From the eye-catching tall architectures to the aesthetic looking sculptures, but everything appears to be so ordinary as people just fast pace around the city and ignoring what is around them. The endless footsteps, the constant chitchatting, the pigeons flapping its wings, the car beeping, and the erection of the construction constantly reminds you that New York is a busy city that never sleeps. As you stroll through the city on the 23rd street in the Flatiron South Public Plaza, you will find yourself staring at a 15 feet hippo ballerina. If you continue to walk towards the entrance Union Square park, you will find yourself stepping on bronze plaques mapping out the street. You never know when you will encounter a piece of work; it can be right under your foot. If everyone takes a moment to stop and look around all the pieces of art might be right in front of your eyes. 

In February of 2017, NYC has shone its light on a newly arrived dancing ballerina, making its debut in Denta Park on 64th Street across from Lincoln Center. Standing 15 feet tall and over 2.5 tons, this bronze and copper hippo is nearly impossible for the people of the city to miss. The size of the Hippo Ballerina realistically match hippopotamus you would see in a zoo. The Danish artist Bjørn Okholm Skaarup created this sculpture as a result of inspiration and payment of homage to Walt Disney’s beloved ballet hippos in Fantasia, as well as French artist Edgar Degas’ famous statue, “Little Dancer Aged Fourteen.” The placement of the sculpture was coordinated with the New York City Art in the Park program as it was fund accordingly. Degas’s portrayals of the little dancer demonstrated the delicacy and gracefulness of stereotypical ballerina. Skaarup’s use of hippopotamus as ballerina precisely shows the irony of the art. When thinking about hippos, you would imagine powerful, enormous, and barren shaped bodies that are completely opposite of the body of a ballerina. “I think a fun way to revitalize themes from art history that have been forgotten lately is through animal allegories because we are so used to that through animation and fables,” said Skaarup. Inspired by the two pieces of art, Hippo Ballerina completely illustrated the artist’s intention of bestiary for animals in the ancient myths and art history that is closely related to the human culture. 

In August of 2019, the Hippo Ballerina has been welcome to the Flatiron District on 23rd street as part of the Flatiron Partnership program. The hippo has its eyes wide open with a gorgeously big smile welcoming as if it is welcoming the visitors of the city to have a dance with her. Its arms are placed at its back looking like the military at-ease stance. Dressed like a ballerina, the hippo is wearing a yellow button-up top with a white tutu and a pair of yellow pointe shoes. This statue is placed right in the middle of the street taking up space in the Flatiron South Public Plaza facing the Empire State Building. When referring to Miwon Kwon’s One Place After Another, the sculpture of this Hippo Ballerina would be considered as “Art in Space.” Being placed right in the plaza, the sculpture has been exposed to nearly everything around the area. There are people biking around it, people walking past it, and even people sitting in the plaza drinking their daily cup of coffee. This sculpture is site-specific as it is embraced by the public to show the significance of the artist’s installation. The Hippo Ballerina with its enormous size captures those that walk by and without the intent, they want to share the spotlight with the hippo. The visitors strike their favorite dancing pose with the hippo and post on their social media to mark their presence. Serving as the art in place, this sculpture has fully been integrated into the site as people are able to interact with pose with it. 

On the floor of Union Square Park, there lies a bronze plaque sculpted by Gregg Lefevre installed in 2002. People of the city are probably too busy trying to get to work, jogging, walking their dog, listening to music and talking to friends to even realized that they have stepped on this beautiful work of art. Near the sculptures, there are a countless number of shops nearby and people eating their food in the park. You can see the environment full of bushes, flowers, and trees. If you take a look down on the street near Union Square, you will find numerous sculpted plaques providing a unique lens of what has happened near the park in the past years. Everyone is however too distracted to take the time to look down, but if you do you will find the depicted history of art. One of the plaques in the west of Union Square, in front of the entrance to the parks, depicts a map of the place in 1872. It shows the location of 14th, 15th, 16th and 17th Street, as well as areas for each building that existed. It has specifically shown where the art is as respect to the park. For example, there is the James Fountain of 1881 on the left of the main fountain of 1842 right in the center of the map. There is also the Lafayette Statue right near the corner of the map, and outside the park, there is the Washington Monument. It is interesting to see how the place has changed compared to what has been depicted in the map of 1872. The bronze plaque is characterized as “Art as space” because it is part of the floor. People are able to step on it and walk past it without having the trouble of blocking anyone. Unfortunately, the art placed on the floor might be overlooked by many. Damages can also occur on the plaque. There pigeons and birds everywhere in the city; their urine and excretion of body waste might accidentally get on the sculptures. Most of the sculptures by Gregg Lefreve is funded by the National Endowment for Art. His works can be found underfoot in all types of pedestrian spaces, from plazas, parks, bike paths, and trails. Since he is contributing to the beautification of NYC, his installation is supported by the art commissions.

Both the Hippo Ballerina and the bronze plaques are part of the NYC public art. Both placed in the middle of the street presented to the public as a way of showing appreciation. Hippo Ballerina act as “Art in place”  where there is more interaction between the people and the artwork. Visitors, tourists, new yorkers, and students are able to enjoy the ironic sculpture of the hippo as a ballerina. On the other hand, the historical art of the bronze plaque is characterized as “ Art as the place”. It has been adopted into the environment. People can walk on it and pass it. Every day there is someone stepping on it. It has become the site itself.

Danielle Mastrions, Riegelmann Boardwalk (Coney Island).

The ocean is beauty incarnate. It’s mysterious, captivating, and breathtaking. Yet, many often defile and wound it. Danielle Mastrions mural, on Riegelmann Boardwalk (Coney Island), represents this paradoxical relationship. The artwork was commissioned by the New York Aquarium and its purpose was to convey the effect of waste on animal life.

The mural is relatively large and is painted on the side of a building wall. The first half of the mural is of the front of a fish. The fish’s head is a blend of pink and orange. Furthermore, black stripes run vertically across its face, similar to the white stripes of a popular clownfish known to be Nemo. Close to the face are the fish’s dorsal and pectoral fins. The dorsal fins go from a blend between pink and orange to purely orange. Whereas the pectoral fins are a rich pink color. Moving further along are the vibrant and magnificent scales. They are almost like a rainbow as the colors transition from pink to purple, to a dark blue. The scales end at the center of the mural. Then a transition to the anatomy of the fish begins. The fish’s insides are filled with plastic. From bottles to random debris, the refuse is overwhelming. Some of the fish’s fin rays pierce through the plastic, barely sticking out. Continuing on to the end of the mural, the lower vertebrate and caudal fin are the only things that remain. Panning from left to right, you see a transition from beauty and awe to absolute horror and sadness. Much like the ocean, the fish is defiled and wounded. 

Around the fish are names of others creatures (Dolphins, Sea Turtles, Sea Birds, & Whales) enduring a similar fate. There are also water bubbles — that are scattered around the fish — with text inside. Some of the text contains actions people can take to prevent a similar tragedies that the fish suffered through, for example one bubble says “Recycle all plastic waste.” Other bubbles offer information, another says “A single plastic bag can take 1,000 years to degrade.” This mural fits the “new genre public art” paradigm that Miwon Kwon discusses in One Place after Another: Site Specific Art and Locational Identity. It was created to shed light on the social issue of littering. The mural is integral to the site as its on a boardwalk right next to the beach. The issue it highlights directly affects the surrounding environment and the life of innocent animals near beaches/bodies of water. The artwork also interacts with people passing through the site in a vital way. Firstly, anyone strolling through the boardwalk cannot simply ignore a mural of this magnitude. Additionally, the mural represents the harsh reality of what happens when individuals litter. The waste gets carried out into the ocean and is mistakenly consumed by aquatic and animal life. This leads to fatality or a slow and gruesome death. The artist’s identity doesn’t really matter in this mural. However, the funding body known as the New York Aquarium matters a great deal. The aquarium contains and takes care of a plethora of aquatic life, of course it will be concerned for the wellbeing of it in the ocean. Its involvement in the creation of the mural is justified, as they are trying to raise awareness about the harm of littering. 

Dan George, Brighton Beach Train Station.

A couple of minutes away from the mural is the Brighton Beach train station. The Manhattan bound side of the station is home to aluminum sculptures dispersed on the platform. The sculptures were created by Dan George and were commissioned by the MTA. The sculptures are abstract in nature but one can make them out to be dolphins. The shape of dolphins body are carved into the aluminum. The fins are relatively outlined but the body is relatively metaphysical. The sculptures have a supple appearance similar to the aluminum material that they are made of. The obvious purpose of the sculptures is to intrigue individuals, but due to the busy lifestyle of an average commuter many may see the piece as a decorative attachment on a dull subway platform. Contrary to the mural, the sculptures fit the “art as space” paradigm discussed by Miwon Kwon. The sculptures are abstract and modernist. They seem to serve no other purpose than just being plainly decorative. Though the art work is close to the ocean, it doesn’t have the same compelling connection that the mural did. Dolphins do reside in the ocean but they are rarely seen in Brighton Beach. Additionally, commuters rarely interact with the sculptures as their plain and abstract nature isn’t often understood or appreciated.

Dan George, Brighton Beach Train Station.

The mural on Riegelmann Boardwalk and the sculptures on the Brighton Beach train station both take inspiration from the surrounding site. Yet they are essentially the antithesis of one another. The mural is lively and colorful and the sculptures are dull and gray. One has a strong message of preventing littering and harm to animal life. But the other is just viewed as a decorative piece on a dirty subway platform. One engages the community, as its sheer size draws the individual to the captivating message being portrayed. And the other is often brushed off as its abstract meaning isn’t understood or appreciated. Although, the two works of art are mere minutes away from each other, but only one seems to capture the people’s eyes and attention.

In the heart of New York’s Flatiron District, across from the famous Flatiron Building, there lies a remarkably tall and elaborately designed street clock with a light-brownish golden-like color. In fact, this iconic clock is made of gilded cast iron, while the wreath of leaves around the face of the clock is gilded in gold. The layout of this unique structure is a base consisting of several rectangular prisms stacked on top of each other, holding up a long column which connects to the actual clock, akin to a giraffe’s disproportional neck connecting to his head. The face of the clock consists of three circles. The inner circle encloses the words “FIFTH AVENUE BUILDING,” indicating the clock’s location on New York’s most recognizable avenue. Twelve large, black roman numerals telling the time of day to passersby lie between the innermost and the second circle. The outermost circle frames the clock in a lace-like pattern. The words, arrows, numerals, and circles of the clock are all black, in contrast to their white background. Around the clock, there is a thin, golden ring-like shape, with what seems to be a nail on the outer corner of every numeral. Connecting to the column below it, the outside of the clock is decorated with oak leaves and acorns, which are common symbols of patience and strength in many cultures. The column resembles a typical Greek Ionic column, distinguishable by the two scrolls on its capital. The entire clock structure lies on a base in the shape of several rectangular prisms stacked on top of each other. The tallest rectangular prism has what looks like a door with a doorknob, as well as an inscription describing the history of the clock. 

The Fifth Avenue Building Street Clock fits Miwon Kwon’s art as a public space paradigm the best. This street clock was built in 1909 and designated a New York City landmark in 1981. In fact, it was restored by Tiffany & Co. as a gift to the historic Flatiron District after the company moved its headquarters to 200 Fifth Avenue in 2011. This work of art was built around the same time as 200 Fifth Avenue, which was called the Fifth Avenue Building at the time. It can be classified as art as a public space because it was deliberately created for the Madison Square Park neighborhood. More importantly, the clock serves an essential purpose: it is a clock that tells the time to passersby, and is thus useful to native New Yorkers and tourists alike. For decades, this clock has been an integrated symbol of the neighborhood alongside the Flatiron Building. Although this clock could technically serve the same purpose in any other location, I believe that it is an integral part of this specific site, because it serves as a distraction for everyone in such a hectic urban environment. The area is filled with workers of every profession rushing to get to their jobs or get a cup of coffee, and tourists feeling confused in such an overwhelming place. In my opinion, the clock’s enormous size inspires people to look at it, reminding everyone of the time and making the city feel a little more personal. It was also obviously more useful back in the day, before people had personal cell phones, but even today a passerby can know the time without looking at a watch or phone, which would be useful if someone doesn’t have access to them. Nevertheless, I think that this clock could be just as useful to any other crowded neighborhood of New York City, such as Midtown for example. As I viewed the art, neither the artist nor the funding body’s identity were visible. However, it doesn’t seem to make much of a difference who built the clock, although it is definitely interesting to know who funded its construction. After doing more research, I discovered that the clock was built by a company called Hecla Iron Works and funded by the owners of the Fifth Avenue Building to stay in tone with their new office building in such a prominent location. 

On New York’s famous High Line, there is one unconventional clock that is more of a work of art than a clock. Instead of numbers to indicate the time, there are twelve capitalized letters that spell the word “organization.” In the center of the clock, there is a black gear-shaped circle with a smaller white circle inside it that holds the two arrows of the clock. The arrows are white with a black outline, and have a small arrow on one end and an unusual almost side-view head-like shape. The letters of the word “organization” are also black and are on a white background. Enclosing the letters, there is a black circle with another slightly larger circle right next to it. The outer circle has a total of 48 black triangles pointing outwards in pairs of two. The face of the clock is enclosed in a circular black frame, which connects to the base of the structure. Two black legs hold up the base and are screwed onto the tracks on the High Line. On both sides of the top of the base, there is a black cat with three long whiskers and pointy ears sitting facing away from the clock. The base of the clock is mostly back, but is outlined by small white dots all around. At the middle of the top of the base, there is a black trapezoid with a white outline and a white circle inside of it with a triangle pointing up above the circle. Inside the circle, there is the top half of a globe below two “W” letters with a star in the middle of them. Above, there are two stars, one to the left and one to the right of the letter “I”. To the left of the trapezoid, there is a white rectangle with the capitalized words “Organize Now” in black on two seperate lines. To the right of the trapezoid, there is a similar rectangle to the one on the left of the trapezoid, except with the words “Organize Right.” Below the trapezoid and two rectangles, there are the capitalized words “Time to Organize” in a bold white font, with the word “time” on the first line and the words “to organize” on the line below it. 

If I were to classify this clock as fitting one of Kwon’s three paradigms for public art, I would say that it is a form of “new genre public art.” After doing research about this work of art online, I learned that it was created by Ruth Ewan and is called “Silent Agitator.” Ewan researches various events in history related to activism and creates artwork based on them. As the website “High Line” states, “In both subject matter and approach, Ewan’s projects reveal the dignity and accessible reality of these discrete but profound social movements…Her understated style offers opportunities for learning about beautiful moments in the history of social resistance and the potential offered by alternative ways of thinking and organizing.” Ewan’s inspiration for her enormous clock on the High Line came from an illustration produced for the Industrial Workers of the World union, calling on workers to organize. This clock is a “new genre public art” because it serves as a reminder of the history behind the famous twentieth-century labor movement for better working conditions and shorter working hours. This art is certainly socially conscious and is meant to evoke emotions in the people that walk past it on the High Line. Furthermore, Ewan’s clock brings people both living in the community and passersby together to look at it and reflect on their life and the relevance of the IWW movement on workers’ rights, which in turn affected many people’s working conditions and lives today. The clock could really be anywhere else, but it is integrated well into the space in which it is situated, because of its placement where it is easily visible and the compatibility of the clock’s colors to its surrounding. Interestingly, when I first noticed and photographed the clock, I thought it was meant to motivate people to be organized in their daily lives, which is an important reminder in such a hectic city with such busy and stressed people. Nevertheless, when I read the true purpose of the clock, I realized that it is relevant to nearly everyone because the IWW movement and labor movements in general were a huge part of America’s history and the history of many other nations. Interestingly, this project was funded by various private donors, several foundations, and the New York city and state governments. However, this information was not visible as I viewed the art.

These two works of art are both large clocks in New York that the public can walk by any time they want and are actually visible from afar. Yet, there are several fundamental differences between the two clocks. The Fifth Avenue Building Street Clock is right next to the crosswalk of a crowded city street and has been an integral part of the Flatiron District for such a long time. Its main purpose is to tell the time and is thus highly practical, but it is definitely a lot fancier and ornate than the “Silent Agitator” clock on the High Line. Meanwhile, the “Silent Agitator” has more of a historical significance and is a reminder of the IWW and unions’ fight for workers’ rights and is meant to get people to ponder on its significance and relevance. Nevertheless, it is also a functioning clock and tells the time to passersby on the High Line, but in a more unique way. The Fifth Avenue clock fits in well in a wealthy neighborhood, while the High Line clock fits well in a less fancy place. In fact, it’s interesting that the clock is on former tracks, which can be an allusion to industry and labor, such as the labor related to the railroad industry of the late nineteenth and early to mid twentieth centuries. An interesting similarity between the two clocks is that both appeal to all types of people from around the world and around the city, especially since they have different histories and meanings but are geographically close to one another.

About a month ago I was fortunate enough to visit Nashville, Tennessee. I was walking near small part of town called the Gulch and I noticed a large group of people interacting and taking pictures with a massive mural. Through the crowd I was able to depict something that looked like an angels wings. I, along with my sister, decided to wait on the line and see for ourselves exactly what was so fascinating about this pair of wings. As we inched closer to the site, we could see the wings in their entirety. The wings were about 20 feet high by 15 feet wide. The wings were completely white, painted on black rectangular tiles. The fringes of the wings look like regular feathers, but as I took a deeper inspection I could tell it was much more intricate. Towards the middle of the wings, there were musical instruments, such as pianos and guitars. It was clear that these wings were meant to deliver a message regarding musicality and strength while having undertones of delicacy. After considering this piece of art, I believe it should be classified as public art. The wings are a major part of the town. People come specifically to view the wings, therefore making it an integral part of the community. It is clear that there is some musical influence behind this artwork. This may be due to the funding body, or it may be due to the culture of Nashville. The town is very centered on music and almost every venue has live music playing at all hours of the day. While it is possible that the mural is influenced by a funding body, I think the mural may simply be a depiction of Nashville’s culture and history.

A few days ago I was walking through Penn Station and I stumbled across a picture of fish. There were dozens of pictures and illustrations there, but this particular one really struck me. This may be because I really like fishing, but I actually think it is because of the precision used when creating this piece of art. Every detail is so accurately placed that I found it hard to resist staring at the piece. The picture illustrates about a dozen fish placed side by side. They are also layered to make it seem like there is depth to the piece. The attention to detail in this picture is amazing. Each scale is shown which gives the fish a natural look. Additionally, the illusion of shadow allows the viewer to see where the sun was striking the fish. The most amazing thing I noticed about this illustration is that although they are all the same fish, the way that the creator gave each fish a small nuance is surreal. For example, one of the fish has a slightly different shape of lips while another fish has a slightly larger eye and another one has a slightly different pattern on its skin. Each fish has something unique about it which helps add to the piece’s individuality. One other important thing to note is that the piece is in black and white. I believe that this piece of art is public art. While not as prevalent nowadays, New York used to be a major fishing port and this depiction may be the catch of a local fisherman. It illustrates the culture of New York and what it once was. However, it is not clear who the funding body is, so it is hard to understand what kind of message is meant to be portrayed through the piece.

While these two pieces of art share a major similarity in the fact that they are both public art, there are also many differences that set them apart. First of all, the angel wings are located in Nashville, while the picture of fish is in New York City. These two places each have such unique cultures and the meanings that the artworks portray are heavily influenced by communities around them. While Nashville’s musical culture is still very much present, New York’s history may be slowly dwindling away. People in Nashville constantly embrace music through innovation and recreation on a daily basis. Many New Yorkers, on the other hand, may not even know that their city was once home to thousands of fisherman. The picture reminds people of what was once there and it helps to keep the memories alive of what was around before us. That is why art is so important in everyone’s life, even if they don’t realize it.

Note: The people in the picture of the angel wings are my sister and I

On the way up the steep hill on 99th Street in Rego Park right next to one of the best pizzerias in this town, is the monotonous Saxon Hall, which spans to about sixteen stories. A grassy lawn with pink blooming flowers surrounds one of the oldest apartment buildings adding a tint to the dull brick. Two statues are on either side of the building; both depict naked men with wings. The medium used to make these statues seems to be copper, which has rusted over the years and left a very rough texture. The statue stands on a pedestal and a ring of flowers encircle it.

To me, this art seems to be an art-in-public-places model because I do not think that it really fits in with the environment. To me, it looks like something that was pulled out of a museum and placed in front of this building without a second thought. The piece of art does not really provide a sense of unity for the community and does not try to bring the community closer together. Even though this piece of art might not be something the community could bond over, it definitely does catch the attention of a person walking by. The building itself is very bland and dull without much to admire, but the position of these statues catches the attention of a person walking by from either side. It is a very random pose, making the person wonder why it is placed here. The eyes then go down to the flowers, adding a touch to the random beauty of this statue. They then travel to the grass and finally end up on the building, fulfilling the goal of trying to catch the person’s attention.

The artist’s identity and the funding body were not mentioned near the artwork. In fact, nothing about this artwork was mentioned. I do not think the knowledge of the artist or funding body is relevant when viewing this piece of art. It is a very random statue in front of a building just trying to catch the attention of people walking by. The work of art is not special or different in any kind of way, making its descriptions irrelevant to the viewer.

Rego Park is a bustling community with many stores, restaurants, and parks. The main library in this neighborhood is the Rego Park Queens Library. Right next to this library is the underpass of the LIRR. This underpass is very dark and it’s covered with a white community mural. On this white mural, multiple colors are used to draw trees, butterflies, birds, and other forms of nature. The different colors used make the mural pop and the white makes the dark underpass come to life. There are various pictures and descriptions installed on this mural describing the different parts of the community that make it unique.

The Rego Park Green Alliance had first created a “Real Good” mural in this very spot, which is what Rego Park actually stands for. After the “Real Good” mural started to fade away, the Alliance decided to create a new mural with installations of photographs taken by people of the community. The community members became the artists, and they spent about 400 hours scraping away the old mural and making this new one.

This artwork is definitely an example of new genre public art since it sheds light on different social issues. For example, one of the photographs installed on this mural has the description, “This board is inspired by over twenty women at Michigan State University and USA Gymnastics who used their voice to bring a sports doctor to justice in 2018 for his sex crimes.” Another one said, “This board is inspired by Maya Angelou, Eli Wiesel, and Malala Yousafzai who have overcome their oppressors and spread awareness through their words and actions.” Each photograph depicted a different issue that a community member thought of as important to integrate into this mural.

I thought the mural fit in really well with its location since people pass through this underpass everyday and seeing this mural reminds them of the unified community they live in. It brings back the memories of when the whole community was focused on doing this one thing, which was replenishing the old mural but still trying to remind themselves of the diverse community they live in. The artist’s identity and funding body are a core part of this mural because they encompass the essence of the community.

The two pieces of artwork I examined were vastly different. The first one did not really fit in with the environment; it was merely used to catch the attention of the people walking by the building. The second one brought a sense of unity to the community, reminding every Rego Parker what Rego Park signifies and stands for. Both of these artworks were beautiful and eye-catching in their own way. This was the first time I actually went out just to find and observe pieces of public art and I have to admit, it was a really thrilling experience seeing things I had not noticed before in my neighborhood.

Under the dark grey clouds that blanketed the sky, the streets of Coney Island seemed empty. The collection of murals I had always visited during the summer was closed and tucked away (but I was able to sneak a picture anyway). 

For many, Coney Island offers the antithesis to the seemingly bleak modern landscape of Manhattan with a colorful and vibrant collection of old buildings and a serene beach next to them. One of these colorful streets contains a collection of public murals. Similar to the format of a typical art museum, this open space contains huge walls as canvases: each one disconnected and scattered between the gate that encloses it. 

Among the sounds of amusement park rides, screaming children, and squeaking trains, there is a certain serenity to these murals located in a small lot behind the infamous Nathan’s. I would love to visit these murals under the heat and try to understand what the artist is conveying.

One of the first murals visible, once you enter the lot, is a large depiction of a futuristic Coney Island. This mural, titled “Untitled”, stands apart from the rest as it is painted and decorated with very delicate black stenciling on a white background. The absence of color in this mural caught my eye immediately as it contrasted heavily with the color of the neighborhood. At the center of this mural is a behemoth chimera, that seemingly floats above the grey monotonous ocean, with the outline of Coney Island in the background. This creature is a strange mixture of an elephant, a giant squid, and maybe even a whale. While seemingly terrifying and confusing this creature seems almost welcoming and peaceful. 

Its head is shaped similar to an elephant’s. The trunk is replaced with 3 large tentacles. Each tentacle twists and turns in a different direction. As if three tentacles from an elephant’s face wasn’t horrific enough, the artist depicted four more smaller and seemingly useless tentacles that jut out from just under the chin of this creature. The body of this creature is similar to a spiny dinosaur, as dozens of little spikes poke out from the segmented torso. The segments give the illusion that this animal’s skin is rough and coarse. Under the torso are two pectoral fins, resembling a humpback whale. To complete this monstrosity, the artist painted another set of tentacles, instead of legs, that most likely move this creature forward. And under this creature is a note that reads, “Coming Soon 2038!”.

This piece by Alexis Davis, a Puerto Rican painter and muralist, is a good example of Kwon’s idea of “art in a place”. This piece is not meant to be interacted with and its sole intention is to be gazed at. While, this piece of art does pay homage to the neighborhood it resides in, the central subject does not represent any issue or topic within the neighborhood. Last time I checked Coney Island did not have problems with giant elephant squids. Furthermore, this piece and most of the murals around it were curated by a real estate company (Thor equities) that has been working to revamp Coney Island into a tourist destination. These murals are meant to beautify the neighborhood and entice visitors to come and pay at one of the many attractions all around. For this reason, the art does not represent the community as it is curated to generate further profits for a real estate company.

The second piece of public art is much more serious and does not fit the traditional mold of public art in NYC. However, this piece of art plays a large role in my community. Located at the corner of the Sheepshead Bay canal, the Holocaust Memorial Park is a commerative monument to the atrocities commited by the Nazis during World War II. Unlike the previous piece, this memorial is very site specific as the neighborhood immediately surrounding it contains thousands of Jewish people, many of whom were immigrated shortly after the war. Just on West End ave. alone (the street where the memorial is located) there are four synagogues within four blocks.

This park serves not only as something to gaze at but something to interact with and learn from. The architect George Vellonakis, who is not Jewish, sought to create a monument that not only respects and commemorates the lives lost but serves as a beacon of hope and light for the future. The park is very small; it does not even take up a whole block. This park is covered in small trees and shrubs as well as short manicured grass. Before Hurricane Sandy, this park was covered in huge powerful trees that seemed to evoke the strength of the message found in the memorial itself.

The memorial consists of a symmetrical amphithere-like layout. At the center is a large beacon made out of granite with a bronze “flame”, ever lit, at the top. The granite structure is hollow and usually filled with flowers, tokens, and candles put there weekly by residents. The structure is reminiscent of the crematoriums found in many concentration camps. Around the side of the granite is carved a single word: “Remember”. This beacon stands on three granite rings that extend outward into the ground. The names of the countries where the victims of the Holocaust were orignally from are carved into these rings. Outward from the beacon is a long slab of granite which extends towards the canal and describes the history of this tragedy. The beacon and the slab are flanked on either side by trees and manicured shrubbery.

On either side of the beacon is a series of markers with a gravel path between them that leads back out to the canal side of the park. Each marker is a different height, shape, and many are purposely cracked and eroded. This is meant to resemble tombstones and to commemorate the different backgrounds of the victims. The gravel pathway is shut in by more shrubbery. The markers have inscriptions, in Hebrew and English, about many events of the War, the different groups of persecuted people, as well as quotations from survivors. Walking on one of these pathways separates you from the city around and immerses you into this horrific past. Fresh flowers and candles are always accompanying these markers so that the victims are never forgotten.

As tragic as the piece is, it provides a space for the community that immediately surrounds it. Many Jewish holidays are celebrated here. Congregations meet here for Chanukah, Tashlich, and Passover. It is central to the community around it. Even though it was funded by a non-Jewish mayor and built by a non-Jewish architect, it is a space that is enjoyed by many in the community. It fills the “art as a space” paradigm, as it is a piece of art that is meant to be used and interacted with by the community and requires that the community is socially conscious about the message the piece is trying to convey. The purpose of the memorial, as shown by the word around the beacon, is to remember what had happened so many years ago, but also for future generations to learn and support the Jewish community that lives in southern Brooklyn today.

“Untitled” by Alexis Diaz in Coney Island and the Holocaust Memorial Park in Sheepshead Bay are two very different examples of public art. “Untitled” is part of an outdoor museum for public murals in a neighborhood that is meant to attract tourists instead of residents. This piece of art, while very interesting and thought provoking, is not site specific and does not serve a purpose to the community around it. On the other hand, the Holocaust Memorial Park is a tribute to the community around it and is very site speicifc. The memorial is purposely designed to pay tribute to the victims of the past while complementing the canal waterway in front of it. It is designed as a community park where many Jewish residents come to pay their respects to their ancestors. Public art can be found in many forms throughout NYC but some of these forms are much more community oriented than others .

The streets were crowded and noisy as always. People minding their own business and walking fast. In between the lively streets of Broadway and W 64th Street, there was a little quiet place with a few tables and chairs. This location called Dante Park, where the busyness of New York seemed to stop had something hidden in it. On closer examination in the middle of the park, hidden away behind flowers and other shrubbery was a statue of a bird and its chicks. The statue of the Red-necked Grebe was brightly colored and seemed to be made of cheap wooden material. The three babies on the back of the eight-foot tall bird looked scared and terrified, looking around in every direction. Although the statue is of massive height, it is hidden from a person’s view unless they are looking through a small gated area in the front of the bird.

The art piece is part of a larger installation by the artist Nicolas Holiber, who was made and put 12 birds in small areas going down Broadway. Each piece is made of 100% reclaimed or recycled wood and shows 12 of the endangered species native to New York City. Under Kwon’s paradigm lense, I believe this art piece is a form of New Genre Public Art. I believe the Red-necked Grebe fits this category for the message the art piece has and the action it provokes in the community. The art piece shows the beauty of one New York City’s bird and the harsh truth that without any community involvement, the bird could go extinct. In particular with Red-necked Grebe, I found it very intriguing how hidden it was. It took me a couple of minutes to find the art piece because of its location hidden behind the park’s plants and flowers. I believe the artist did this on purpose to show how oblivious New Yorker’s can be to the issues in our city. If I was not looking for this particular structure, I would have walked right past it. The Grebe’s locations hit on the point of how hidden the issue is of the endangered species in New York and how people themselves must learn more about it and be more proactive. New York City Audubon, the nonprofit organization responsible for financing Nicolas Holiber’s work, message is also seen through the art. The group is an environmental organization that works for the protection and safekeeping of the native birds in New York.

The second art piece I visited, is a site I see almost every day. It has been a part of my life since I was very little and the statue is the main association to my area of Staten Island, called South Beach. Between the intersections of Sand Lane and Father Capodanno Boulevard, there is the entrance to the South Beach boardwalk and parking lot. It is a busy area and on the weekends it is crowded with families going to the beach to have fun. In front of the entrance is a large work of art depicting six dolphins jumping out of the water. The dolphins are made of bronze and are connected to poles which hold their bodies up in the air as if they were in mid-way jumping out of the water. The gated fountain can be seen from many parts of the boardwalk and is the central part of South Beach.   

The piece was created by sculptor Steven Dickey and architect Dana Hepler and was completed by June 20th,1998. I believe the sculpture at first fit as Kwon’s art in a place. When the structure was first built, it was meant to beautify Staten Island. Staten Island was the least popular borough and the Staten Island Borough President’s Office, who funded the project, wanted to attract more tourists and make the borough more popular. Originally, I do not believe the piece had a meaning other than to be pretty and keen to the eye. The statue was disconnected with the community and did not have any correlation to the area, but I believe in the 20 years since it has been built the message of the art has changed. I think today the dolphin statue fits more of Kwon’s description of Art as a Space. I believe the art piece has become more interactive with the community and now shows the growth of South Beach. Although the fountain has a fence around it, during the summer you could still see kids playing in the fountain and climbing the dolphins. Furthermore, the fountain had not only become more integrated but also now has a message which resonates with the community. The dolphin statue depicts the large change Staten Island had overgone and how it is now a beautiful communal place. Staten Island, like the dolphins, had risen out of the ground and become the great borough it is today.

Although both the sculptures I chose were animals they hold very different messages and connect very differently with the community around them. The Red-necked Grebe is a much more recent art instillation and is not a permanent work of art unlike the dolphin statue. Adding on the Grebe showed a part of New York City which is forgotten and not cared about, the conservation of birds, while the dolphin statue showed the beauty that can come of New York and the development of a borough to the exquisite place it is now. Furthermore, the bird statue is of little size and hits to a different audience than the dolphin. The dolphin fountain is much larger than the bird installation and can only really connect to the local community of Staten Island, while Holiber’s piece is meant to reach the hearts of every New Yorker. 

This statue is located at Midland Beach in Staten Island. The base of the statue looks like a hemisphere that has had the vertical direction reduced in size by about half. Protruding from the base, there are two separate cylindrical pillars, whose bases are comparable in size to large tree trunks, that wrap around each other almost like a DNA molecule. Although the bases of these two pillars are relatively large, as you look upwards, the width of each pillar decreases. These pillars hold up a life-size mimesis of a sea turtle, and the statue is designed to look like the pillars morph into two of the turtle’s flippers—one becoming the front left flipper, and the other becoming the rear right flipper. The turtle is tilted approximately 45 degrees so that its right side is higher than its left. The entire statue is around 10 feet tall, made out of rough metal, and, for the most part, takes on a mix of green and grey colors. On the bottom of the pillars, the color seems to resemble that of an old penny; this is most likely due to the fact that humans constantly touch it. Moreover, the base and pillars are decorated with many symbols of ocean life, including seashells, squids, fish, stingrays, and even fungus.

Of Kwon’s three paradigms of public art, this sculpture can be best categorized as art as a space. This statue displays a sea turtle, as well as a multitude of other sea creatures, and is located near the ocean—the natural habitat of these creatures. This makes it very clear that the sculptors had the location in mind when designing this statue. Around the fountain, there are sprinklers embedded in the ground that shoot water during the summer; this makes the statue a fun play area for small children. Also, this statue is oftentimes climbed on by kids; evidently, it is a very interactive sculpture. According to landscapeonline.com, the statue was funded by the former Staten Island Borough President, Guy V. Molinari, and was designed by the Parks design team, Jason Yu, Renata Sokolowski, and Mike Browne. Although the designers of the statue worked for the government and the funding came from a former politician, it doesn’t really have any effect on the purpose or the meaning of the sculpture as the statue isn’t intended to convey a political or social message.

This fountain is located at the start of the Staten Island boardwalk. The fountain is comprised of five separate levels of roughly equal height. Water pours from each layer down to the layer below almost like a waterfall. Each level contains only a very thin layer of water, excluding the final level where all the water is collected and stored to be recycled through the fountain through an automated system. Only the first and final levels contain flat surfaces. Every layer in between has an uneven surface that resembles a wave. There are several mosaic artworks on each level of the fountain that depict various creatures of the sea, including fish, sharks, seaweed, jellyfish, and much more. The color of the fountain is brownish-red and resembles the color of dry red clay. On the elevated boardwalk behind the fountain, there are 6 flagpoles arranged in a semicircle that each hoist older versions of the American flag. At the center of this semicircle is a 7th flagpole that hoists the current American flag, as well as a POW/MIA flag and two Parks Department flags.

This fountain can be categorized as art in a place. Although the mosaics represent sea life and the fountain is situated next to the ocean, that is the only connection that the fountain has with its location. The backdrop of the 7 flag poles seems out of place when looking at the fountain—they don’t share any connections or similarities. Additionally, this is just a waterfall fountain and can be placed in virtually any environment and still be appreciated just as much. Moreover, there is a sign in front of the fountain that forbids people from entering the fountain; therefore, it is not interactive. Knowledge of the artist that created the mosaics and the fountain is difficult to find and is not displayed anywhere near the fountain itself. The funding body is also not explicitly stated anywhere, but it can be assumed that the project was funded by the Parks Department as they are responsible for overseeing the development of the Staten Island boardwalk and beaches.

Although both of these works of public art are located near the ocean and contain symbols of sea life, they are very different from one another. One major difference between them is their relationship with the people that interact with each site. The waterfall fountain doesn’t permit entering and therefore people’s interactions with the site are limited to just viewing. The sea turtle fountain, however, is meant to be used as a play area and families often gather around the statue so their children can climb the statue together. This quality is what makes the sea turtle statue art as space; it connects the community by giving kids the opportunity to physically interact with art. During the summer, when the sprinklers at the sea turtle statue are activated, the site also serves another useful function to the community—it allows people to wash off after going to the beach. Although the water in the waterfall fountain flows year-round, it is too far away from the beach to serve this function, and, even if it was close enough, entering the fountain is forbidden. Evidently, the waterfall fountain isn’t meant to serve the community in the same meaningful ways that the sea turtle statue is, and, due to its lack of interactivity and functionality, is better categorized as art in a place.

Sources:
https://landscapeonline.com/research/article-a.php?number=7329

“The world always seems brighter when you’ve just made something that wasn’t there before,” as said by Neil Gaiman. We might not realize it, but every day we come into contact with public art. Whether we saw it with a glimpse of an eye as we were running late, or we purposefully went to view it. Public art is something that can be found in every country in various shapes, sizes, and colors. From statues, to murals, to playgrounds art is different for everyone. Likewise, each piece of artwork has its own meaning and purpose. Certain art makes us want to question something, while other art is meant to bring us joy. But how different is public art in two completely different parts of the world, where the cultures and the way people live differ greatly?

The sweltering heavy air overlooks New York City. Every step taken is another gasp of air. It becomes even more difficult as you walk on 1^stavenue from 23^rdstreet to 34^thstreet. Not because it is hotter or more humid there, but simply because of the infrastructure that occupies this area. Medical workers rush in and out of buildings in their green-blue scrubs as the sirens of ambulances conquer your ears. A simple walk places you into melancholy as the majority of the buildings here are hospitals, medical centers, etc. This ignites memories of the long visits to the doctors, the large needles pressing into your skin for blood work, and the endless vaccines that need to be done. Each person knows how dreading a visit to a doctor could be. Yet, everything changes on the corner of 34^thstreet where a single piece of public art shines. The thirty-foot-tall dog statue simply forces you to smile. This comedian piece of public art displays an enormous dog balancing a taxi cab on its nose. The taxi cab is not some small replica, but an actual yellow NYC taxi cab that just a couple of years ago was out in the streets. The dog stands graciously with his small black nose pointing to the sky. His eyes focus on the automobile as his acute ears point toward Earth from all the pressure. Likewise, through the creases that create the dog’s breast it is noticed that majority of the weight is placed on the dog’s front legs. What makes this dog even more engaging to look at are the black spots that the dog is covered in; they actually resemble thick strokes made with a paintbrush. However, this unusual piece of public art is here for a reason, as Kwon would say this is a “new genre type of art.” It definitely does not fit into the medical picture of this area, but it serves its purpose here. This dog whose name is actually Spot is right in front the Hassenfeld’s Children Hospital for Blood and Cancer Disorders. Spot’s goal is to change the dark atmosphere of this region into one that welcomes the children that visit this hospital. Spot is there to help the children feel a bit happier, adding light and color. Moreover, this piece of work is also art in space because if you were to take it out of this community and place it into another, it would lose its original reason for creation. While very different from the urban buildings, it beautifies it. The creator of this sculpture, Donald Lipski, says, “It’s a privilege to be able to do this for the kids. I wanted to make something so astounding it would distract even those arriving for the most serious procedures, and so lovable that young patients coming back again and again with chronic conditions would see it as an old friend. I like to think that the parents, the doctors and nurses and staff, the neighbors, will all be smitten by this playful, heroic young dog doing the impossible. Art has actual healing power. That’s a fact!” It was vital for this art to scream his message. Additionally, while it is important to know that he was the creator of this wonderful art, the knowledge of this does not add or take away from the importance of the piece itself.

Spot balancing the taxi cab.

Spot was just one example from a day of public art in NYC, but he was definitely unique. However, lets transport ourselves across the Atlantic Ocean, to city that is 4,664 miles away from NYC.  In Kiev, public art too is quite popular, yet in a way it is a bit different. A top-rated tourist attraction is the Park Landscape Alley.  A street is designated for artists to display all their art work from paintings, to portraits, to sculptures. Walking through this street is an unforgettable experience. In fact, you should always walk as slow as possible or you might lose detail of something significant.  That actually almost happened to me. When you reach the middle of this street there is an opening into an alley with a sign that welcomes you to Wonderland. An alley that is usually supposed to be dark and mysterious is filled with vibrant bold colors. What you see is a gigantic painted rabbit with a clock rushing to the other end of the alley. He leads you to a park that is even more colorful than that alley. This park is surrounded by four story buildings on every side, therefore there is only one entrance. That is when I reached true amazement and felt that I was no longer seventeen, but was again ten years old. The park was filled with benches and sculptures created from mosaic in the Alice in Wonderland theme. In the blasting sun, the mosaic heats up and when you press against it, the heat rapidly transfers to your hand as you feel the little indents between each piece of the mosaic. However, the benches also have a shade to hide from the sun as the benches are the mouths of characters from Alice in Wonderland. In order to sit on the bench, you have to climb into the mouth of the character. What was more exciting was the playground, also in the Alice in Wonderland theme. The first thing that catches attention is Alice herself slouching against the playground in the shade. Her blue flowery dress creates a sort of wave that in turn creates a seat for anyone that got tired. As you walk to the other side there is an entrance into a white tea cup that has a club and diamond on its sides. From there you can access that higher tea cups with slides or the head of the Cheshire Cat. It is as purple as in the movie, and its smile is just as big. Yet, its eyes create a welcoming and playful atmosphere. This all is public art that would be classified as the art as space paradigm. It was created with the purpose of interacting with the people or serving a useful purpose. The playground was created for the children to play in, while the benches were there as a place to sit. This area was built as a government project, and it was to make more tourists come to this region of Kiev. Nevertheless, when money was being collected in 2008, the people that lived in the surrounding buildings donated about fifteen percent of the needed amount. This park is something that brought pleasure to both them and the visitors. While the Alice in Wonderland themed park differs greatly from old European styled buildings around, this public art became its own site. The area is now in 2019 known for this park, therefore if removed the place would lose its significance.

Alice in Wonderland Landscape Park Alley

Overall, these two pieces of public art, Spot and Alice in Wonderland playground, were created in different countries, and for different purposes. Spot was made from fiber glass and steel while the playground from mosaic. Yet, one thing unites them. They both bring happiness in children. The context of these pieces of art is different. Spot was made to distract the children in the hospital from all of the procedures they have to go through. He should be remembered as a friend in their eyes. While the playground was made to attract tourists, it was made for children, for them to have fun and experience something different and new. Both make children smile and both bring feelings of joy. Thus, public art is something that can surpass any differences and barriers. It is something that can be seen anywhere you go and can add life to any area.