Course Description

This course will investigate the ways in which artists have presented narratives in the public realm and the organizations that have made the presentation of those works central to their curatorial practices over the last 40 years. Focusing on recent works presented in New York’s public spaces by Creative Time, The Public Art Fund, the Percent for Art Program, Arts for Transit and other non-profits organizations, this course will look at what it meant to tell stories and open discourses that challenged or interrogated widely-held value systems, the events and the politics of their time. In addition to the specifics of current and other key works and projects, we will discuss the conditions that governed the development of public performance, temporary and permanent installations, the ways in which those works were influenced by public approval processes and governmental agencies, media coverage and community response. Each student’s final project will be an on-line proposal for an exhibition that conveys a “narrative“ developed in the context of this course, referencing other relevant works .

Wednesday, September 9, 2015

Highline Response

Patricia Casey
Curating Public Narrative

As a public installation, The Highline serves as the framework that affects both the individual as well as the surrounding environment.

For commercial and advertising agencies, The Highline serves its purpose as the perfect location to display promotional billboards and posters for “the high life” offering great deals on luxury spaces and affordable rentals. Artists also utilize the space’s heavy foot traffic as an opportunity to network and make themselves known. A great example of this is a rooftop building around 26th Street, directly parallel to The Highline that displays a spray-painted mural with the artists Instagram account as a signature.

The Highline’s repurposed landscape is in direct dichotomy with its surrounding, which make the residents and tourists alike more visually aware of the space as it breaks up the monotony of concrete and ironwork they are used to seeing in their day to day lives. Several smaller structures within The Highline further bring this idea to fruition as the path veers off into quiet and intimate subsets where people go to lay down or read. Theses spaces serve as meditative domain in an otherwise clamorous metropolis. Artists have also constructed tremendous iron frames in the shapes of windows and monitors. These structures also have seats and benches placed in front of them which allows passersby’s to sit and look at the city through, quite literally, a new lens.







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