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 .

Monday, September 14, 2015

Soho to Lower Manhattan: Madison Square Park

Soho to Lower Midtown:

Exploring Narratives:

Public Narrative #1 in Madison Square Park:

In a packed Madison square Park around 1:30 on a sunny afternoon, its almost impossible to find a seat. Due to the proximity of lunchtime, many people have stopped to eat, taking their breaks and small reprieve from a (probably) otherwise hectic day. The second a seat opens on a bench in the park, a persons will lock eyes with it and make a beeline towards it. The target has been engaged and there is no stopping them until they’ve acquired the precious seat. Sure enough, within fifteen second of the seat opening next to me, it was taken again, replaced by a stressed looking man. Though some people are here for leisurely purposes, it seems like for the most part, people are using this park for a purpose. The purposes range from having lunch, using the dog park, doing some work while outside, or simply using it to cut through the city. Very few people appear to just be “hanging out.” This creates an area of constant motion, engagement, activity and energy.  The passing through attitude is reflected heavily in the way people are dressed in the park as well. Many people are dressed in professional attire and therefore are not  ready to spend hours in the park.


Public Narrative #2 in Madison Square Park:

Madison Square Park has a large amount of grass, but it is closed off to the public. Many people are stopped along the grass edge, facing it, seemingly & silently begging to engage with it. Opening the grasses would certainly solve some of the seating issues, but also cause other problems to arise. The lack of grassy areas, I think, creates a space that discourages peoples to come and stay. Instead, it encourages people to come and enjoy the park, but only for a short period of time. You can see that on a particularly nice day like this, people are particularly wishing for this grass, wanting to sit down and absorb that sun while they have a few spare moments. The issue of how the public interacts with this grass may come with killing the grass that there is, trash, or social interactions the local authorities don’t want to deal with. Overalls, in comparison with many parks in the city, Madison Square was very clean and well kept. This is a little bit surprising given how many people are eating in the park on a day-to-day basis. You would expect littering or at the very least, trash pile up to occur. However, walking around, the park was fairly pristine.

Public Art Narrative #3 in Madison Square Park:


Looming at the main entrance of the park is the statue of William H. Seward, the man best known today for his purchase of Alaska from Russia. During his own lifetime, this purchase would be known as “Steward’s Folly.” This piece has a significant history for public narrative because it was the first ever piece of public art to go on display in New York City. This statue was merely a beginning for a long engagement between the public and art in the city. Now, it’s a statue that gets passed by thousands of people every day, but rarely noticed. I’d suspect that few people, even the ones who visit the park every day, know whom the statue is of, let alone the artist or the reason or significance of its placement. The placement of the statue also seems significant in relation to not only the park, but also the city. In the park, it is situated right at the main entrance, and impossible not to at least notice to some degree as you enter the park. This position commands a certain level of respect or entitlement, as opposed to a more hidden piece. Also, in relation to the city, once could argue that it is in a very central location. Madison Square Park is located almost directly in the center of Manhattan in term of East and West. When considering the statue was placed in 1876, it essentially was placed in the center of Manhattan at that time.



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