Anemones: An Air Aquarium

by Ezra Xia

Project: Anemones / Air Aquarium

Artist: Otto Piene

Material: Polyethylene, Air

This piece of public art was inspired by I.M. Pei's architecture at 88 Pine Street as a fish tank. Otto Piene created a space filled with giant lobster, fish, and many other sea creatures. They are made out of polyethylene, inflated with air. They stood on the ground and hang with strings, filling the space completely. They are either transparent or in red color. Viewers are suppose to feel unexpected and surprised. Also, the objects are inflated and deflated according to a timer, which would make the sea creatures seem alive since they are "breathing."

“When measured against the daily concerns of surrounding businesses, the Anemones project may seem frivolous, but it brings to an essentially urban situation a whiff of nature’s elements. For the passersby, Anemones is an unexpected lunchtime air aquarium. The theme of this venture is scale, along with movement,” said Piene.

The Peace Piece, Leap, and Neon Rainbow

Adelle Lutz

The Peace Piece

New York City

2003

In reaction to the spring 2003 declaration of the American war with Iraq, costume designer and artist Adelle Lutz conceived a project designed to remind the public that the victims of war are overwhelmingly children and women. The Peace Piece therefore consisted of women, dancers, and teachers who slowly walked through select public spaces in New York City while wearing hand-painted burkas depicting UN statistics—such as “23 million people live in Iraq. Half are children” and “90% of war casualties are civilians”—while other burkas bore a hand-painted full-term fetus.

 

I like it because Lutz’s performance intended to encourage unsuspecting audiences on the street to pause, reflect, and consider the current global situation. Also, it is a really powerful and elegant performance art. It opened a fresh perspective on world events, encouraged dialogue, and resonated within our individual and collective memories, making a difference to the viewer and wearer alike. The words are really clear, simple, but strong, and make people think a lot.  

Leap

by Chris Doyle

2000

Installation at 2 Columbus Circle, Manhattan, and in the New York City subway system.

LEAP began with the video taping of 420 New Yorkers who live at the end points of all the subway lines that pass through the Columbus Circle. Each participant was asked to stand in front of a black backdrop and jump as high as possible. Each was then interviewed about his or her hopes and aspirations. The video jumps were slowed and edited so that each person was projected one at a time, standing at the base of the building and then leaping up across the height of the facade, disappearing into the night sky. Close-up photos of the faces of the jumpers and quotes from the interviews were combined on subway car cards that were posted throughout the system for the two months surrounding the project.

https://vimeo.com/13269671

I like it because all the people can actually join into the process, and interact with this installation art. Each participant was ask about their hope and dreams, and was given a chance to jump. It is so interesting to see the that whole process is showing everyone the possibilities of what everyone can do. 

new york city sky events: Neon Rainbow 

Otto Piene and Alejandro Sina

1976

central park

Neon Rainbow, the second New York Sky Event in the summer of 1976, consisted of a three-hundred-foot polyethylene arc that soared 150 feet above the 59th Street Pond in Central Park and was visible for miles.
In collaboration with light artist Alejandro Sina, artist Otto Piene attached seventy-five slender, red neon tubes—each two feet in length—to the polyethylene arc. This created a dual visual effect: during the day, the outline of the arc predominated, but as night fell, the lights, programmed for a strobe effect, illuminated the summer sky.

I like this work because, first, it is a really large sculpture which can make a lot of people participate; second, it combined electricity and technology in an expressly kinetic, natural and visual manner which is really impressive and creative. Also, it showed the different features in daytime and night, and gave people the different feelings to look at it, and different  ways to interact with it. 

-Reven 

Creative Time Response

Plan B
Rudolf Stingel 2004

Plan B was an installation done by rudolf stingel in 2004, carpeting Grand Central Terminal's Vanderbilt hall. The carpet is a floral blue and pink custom commercial carpet you might see at a casino or hotel. Stingel brought a new concept upgrading the creative potential to ordinary materials such as carpet. Stigel plays across site contexts mixing a carpet with such an old and monumental building as Grand Central. This allows viewers to see the space in a different light, and offer a change in perspective upon commute. I don't know if id consider it aestetically appealing, but the concept speaks to a reinvented concept of displacement that I admire.

Building Sweeps

Michael Bramwell 1995

Building Sweeps involves Michael Bramwell cleaning a city owned Harlem tenemant building for a year. Actions included sweeping and moping of a neglected building, which served as a kind of performance art and activism. Bramwell caught the attention of others, which resulted in a contracted return of services the superintendent neglected to perform during his absence. The beauty in the mundane task is the context. The performing being done is an action out of context, which is suddenly given meaning due to its replacement. This indivual and personalized piece is very effective in promoting activism, others are inspired to care as well. 

https://vimeo.com/43698088

Light Cycle

Cai Guo-Giang 2003

Light Cycle invloved a series of firework explosions, producing circular arieal drawings in different parts of Central Park, celebrating its 150th anniversary. Artist Guo-Giang wanted to symbolize the fireworks like a halo, inverting the violent symbolism of gunpowder. He considered his work as a medaphor for renewal, timelessness, benediction, and wholeness. I think this paradox is interesting, but it reffers to contexs in which we use fireworks to celebrate, such as the 4th of July. Although the light is an incredible and inspiring sight to see, I still find it coming across as violent. 

Creative Times Response

FREEDOM OF EXPRESSION NATIONAL MONUMENT

This monument was done by Laurie Hawkinson, John Malpede, and Erika Rothenberg. The monument was drawn upon the iconography of Soviet agitprop which I was not sure of what it meant. Upon doing research, the Soviet agitprop is a series of propaganda posters that closely reminded me of the communist posters done in China. The solid red color of the monument is a homage to the styles and style of those posters. 

The design of the monument is in the form of a ramp that leads up to a giant loudspeaker. The people are meant to stand at the edge of the elevated podium and speak into the large microphone speaker which symbolizes speech. I believe the scale of the loudspeaker is meant to express the right of the freedom of speech because it amplifies the volume of the speaker as they talk into it. I think this public art is inspirational and successful because it is bold and stands out with its solid red color. 

FOR NEW YORK CITY: PLANES AND PROJECTIONS and FOR THE CITY

This series of projects was done by Jenny Holzer which had planes flying through the skies pulling banners with texts across the sky in 2004. At night, there were projections of xenon poetry. I think back in those years, it was an interesting sight to see because nowadays, we are more focused on looking at mobile devices. Looking at the sky now is more of a chance when there is an open space. I think the quotes were meant to inspire thoughts as well as focusing on reflections of the real world. 

In the For the City project, poems of celebrated writers were projected on the facade of the Rockefeller Center and the New York Public Library at night. In addition, she also projected recently declassified U.S. government documents released under the Freedom of Information Act. What I like about this project is the fact that she addresses the issue of government secrecy and transparency. 

TRIBUTE IN LIGHT

The Tribute in Light was created to honor the deaths as a result of the attack on the World Trade Centers on 9/11. In celebration and for hope in the country, The idea was from a team with the Julian LaVerdiere, Paul Myoda, John Bennett, Gustavo Bonevardi, Richard Nash Gould, and Paul Marantz. What the monument does is create remembrance of the twin towers by shining searchlights into the sky from where the structures stood which creates an spectral sight of the present-day nonexistent buildings. 

The simplicity of the idea creates a serene and transient moment in the night. Unlike a physical monument in which one needs to physically see, this light is shone on the anniversary of the attack which makes it a one night sight to behold. The atmosphere of the night makes the experience very solemn and it contrasts to the light that comes from the lights because it becomes a shining ray of hope. 

Creative Time Response

LEAP by Chris Doyle

A celebration of hope and pure pleasure, Doyle translates “having a leap of faith” in your aspirations into a literal representation with 420 New Yorkers jumping skywards. Using the subway infrastructure as a map for the project, artist Chris Doyle solicited people who live at the end points of all the subway lines that pass through the Columbus Circle. Each was then interviewed about his or her hopes and aspirations. I really like the fact that Doyle plays with the temporality of space and time. By slowing down the jumps, each person was projected one at a time, standing at the base of city-foot building in Columbus Circle and then leaping up across the height of the facade, disappearing into the night sky. Ascension is a way of expressing just how very briefly we animate this planet with our presence.Each building has its own expressive quality and its potential for expression. Doyle is looking for ways to imbue a building with some kind of animated presence.

The Dreamland Artist Club

The Dreamland Artist Club is the perfect demonstration of the power of art and how it can transcend a place. Coney Island has an interesting history and in the past two centuries went through many economic and social changes. Largely neglected by historical preservation and urban redevelopment efforts, the area has fallen on hard times. The neighborhood suffered rapid ethnic and racial succession in the 1960s, thinned out considerably in the 1970s, and crashed in the 1980s. Presenting artists from a wide variety of visual practices, The Dreamland Artist Club’s confluence of design and contemporary art revives Coney Island and functions as a critical urban renewal. Working with the proprietors of roller coaster rides, arcade games, and greasy food stands to integrate art into the boardwalk, The Dreamland Artist Club refreshes and transforms the visual landscape of Coney Island, bringing the reality a little bit closer to the fantasy. The hand painted signs, murals, and scenic backdrops with vivid use of colors and illustrations give the space a fun, nostalgic and exciting vibe. Each mural is full of context and narrative that mirror the rich culture and history of Coney Island. 

Masterpieces Without the Director by Spencer Finch and Paul Ramirez-Jona

The idea behind Masterpieces Without the Director was simple but the impact and outcome were unprecedented. Using an existing, formal object, adding your own elements and turning it into a more approachable tool for the public.  Every time when I go to a museum, I am never appeal to getting an audio tour because they are usually really dry or not interactive, thus making my experience of viewing art less entertaining. For most of the time, I would even prefer my own music than the official audio tour. I think all the audio tours at museums ought to be produced like the way Spencer Finch and Paul Ramirez-Jonas did. Opinions offered by celebrities, politicians, military leaders, and the general viewing audience were included. By adding public commentary, sound collage, and thoughts on the architecture, history, and myths of the institution, artists Spencer Finch and Paul Ramírez-Jonas represented varied aesthetic and political positions, as well as drew parallels between the classic artwork and contemporary popular culture, calling into question the didactic modes of traditional museum audio guides.

STREET NARRATIVES & BOOK SELECTIONS

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. 

Informal Narratives. Williamsburg Bridge

Williambsburg bridge is a part of my daily commute whether I'm biking or walking across. Until recently, I never noticed that the bridge has become a robust platform for public art.
People converted the asphalt into the canvas for conversation. They weren't simply tagging the surface with names as it usually happens, but leaving meaningful messages for fellow bikers and walkers often telling very personal stories.

Somebody drew a set of comic cells on the ground leaving blank spaces for other people to fill in creating an opportunity to tell a personal narrative.

 Another interesting I encountered was this mask which was placed on the police telecommunication booth.

 At first I didn't think much of it, dismissing it as something accidental, until  I came across a similar mask in Williamsburg (319 Bedford Ave) placed on the both sides of the door way of the main entrance.

Doing research I found out that masks were art pieces designed by CRISP, an Australian artist based in Bogota, Colombia. The artist had a great appreciation for graffiti and other forms of street art. In his art, he wants to give people something more interesting to look at other then traditional medium through the use of stickers, stencils, carving, ceramic masks, posters and murals. He placed numerous mask throughout different neighborhoods of Brooklyn, marking the streets with his creativity.

Another interesting piece I came across was on the Brooklyn side of the bridge. This installation is located on the roof of one of the adjacent to the bridge building. The placement of the installation is odd, unexpected and, at first, looks like a playfully joke. The installation is the replication of a book cover Baton Rouge Death March, describing the life of a hurricane Cathrine survivor. The installation is only visible for people crossing the bridge, making it a work of art rather then an advertisement.