These are some of the public street narratives that I discovered this past week. I particularly enjoy the graffiti on the base of the street lamp that reads "slow." What's interesting to me about it is that its the same word often used for construction worker signs directing drivers to slow down for construction sights. But it seems clear that this is not done for something construction related, which makes me ask why this was written? The message is so specific. So perhaps someone painted it because they felt people were driving too fast? walking too fast? living life too fast? maybe it doesn't mean anything at all.
My favorite, however, is the mailbox located in front of an empty lot at 150 W 14th Street. Inside the gate is a single lone bench. Who owns this? Do they actually receive mail? I'm hoping that one day I walk by this lot to see a fancy dinner party happening inside.
This project was created by the Dreamland Artist Club that in 2004 and 2005 created signs, murals, and scenic backdrops to "enliven a range of Coney Island Attractions." The project was completed by more than 50 emerging and established artist, working in a wide range of styles, which created a vibrant and wonderfully disparate aesthetic. I like this project because I enjoy the concept of having artists help give a facelift to a crumbling landmark. The reason that this seems successful to me, as opposed to the idea of some corporation ceasing control of the theme-park and rebranding it for modern visitors, is because it speaks to the character of Coney Island--weird and eclectic.
The project I'm highlighting was done by Spencer Finch and Paul Ramirez Jonas in 1991 titled Masterpieces without the Director. It was an unconventional tour of the 19 best-known masterpieces at the Met Museum that was led by the 2 artists who added public commentary, sound collage, and thoughts on the architecture, history, and myths of the institution. They also offered opinions of media celebrities, politician, and military leaders. I love this piece because it challenges the status quo for exactly who prestigious museums are intended for. They are meant to be public, yet the vast majority of people who attend museums are middle class or wealthy individuals. The idea of reformatting the information provided on tours suggests the idea that by simply reimagining the way they present their collections, museums could perhaps be more welcoming for all people.
These projects, For New York City: Planes and Projections and For the City, were created by artist Jenny Holzer. She projected poems, information, and sayings created by the artist herself. On the Bobst museum she projected recently declassified US government documents released under the Freedom of Information Act. I love Jenny Holzer's work, and I really love this project. I personally enjoy the power of words, and I love how in this project she turned New York building facade's into giant canvasses, with the words as her paint, helping to shape society through messages.
This was three different poster projects that were created in the early 2000's: Focus on Peace, Untitled, and Time to Consider: The Arts Resond to 9.11. When I read about these projects I was reminded of the artist JR's work. I personally enjoy posters, and I loved the idea of blending conceptual and progressive-message-based posters within the visual fabric of the city. I like the idea of using posters, which are both ubiquitous yet still provocative, to send messages out among the public.
No comments:
Post a Comment