Celebrating and Mourning the Northern White Rhinos at Astor Place

Visitors to Astor Place in Manhattan can currently see this sculpture by artists Gillie and Marc Schattner, titled The Last Three. The artists wanted to draw attention to the plight of the Northern White Rhino. At the time that the sculpture was created, there were only three Northern White Rhino still alive in the entire world, two females (Najin and Fatu) and one male (Sudan). What makes this sculpture even more striking is that Sudan died less than a week after the sculpture was dedicated. The Northern White Rhino is virtually extinct, as both Najin and Fatu are sterile. (Although scientists are considering whether Sudan’s sperm could be used to artificially inseminate a Southern White Rhino.) The sculpture is a solemn reminder of the devastating effect humans have had – and still continue to have – on wildlife in Africa.

A few additional interesting facts about this sculpture: It was crowdfunded and is valued at $200,000. The sculpture was cast at a foundry in Thailand, and the three rhinos were actually put together on site at Astor Place. The entire sculpture weighs almost seven tons! The sculpture has also experienced some controversy, as not all art critics have been impressed with its design, and wildlife conservationists have expressed concerned that the artists’ expressed goal of raising money to support conservation hasn’t had entirely transparent results. Still, the sculpture makes one think!

Want to see this sculpture for yourself? It is currently located at Astor Place in Manhattan, near the Cooper Union. It is easily reached by public transportation. If traveling by subway, take the 6 train to Astor Place, or the R train to 8th Street.

Art with a Message in Long Island City

A couple of years ago I wrote about a great art installation in Long Island City called the Top to Bottom Mural Project. For that project, dozens of street artists painted a variety of murals on all four sides of a three-story building. This spring, a new art installation appeared on the same building, covering the original murals. This project is a bit of a mystery. I’ve done some research, but I haven’t yet figured out who has painted it. It looks like the work of one artist or group of artists working together on a single concept. The murals appear to portray refugees from different geographic places and different eras. It’s a powerful work of art – there’s something different to see everywhere you look. Some are in color, while others are in black and white. The figures are woven throughout spans of glass windows. Some are small, no more than a single story in height. Others are as tall as the building.

Anything I might say about these murals is not nearly as effective as they are, so let me get to the photos. I’ve chosen a variety of shots to give you a sense of the project’s magnitude and impact, but there’s even more to see if you go there in person.

If you want to see these amazing murals for yourself, the building is located at 43-01 21st Street in Long Island City. If traveling by subway, the closest subway stations are the F train’s 21st Street/Queensbridge station and the E, G, and 7 trains’ Court Square Station. (The M stops at Court Square on weekdays, but not on the weekend.) If I ever figure out who the artist is, I will update the post later. Note: If you wish to take photos of the murals, I recommend going on a cloudy day. The sun casts shadows on the murals that make photography challenging!

Candy Flags at the Port Authority Bus Terminal

Anyone whose ever been to the Port Authority Bus Terminal in Manhattan knows that it is not our finest example of urban architecture, but it actually contains some great public art. I’ll leave the discussion of the permanent art installations for another day, but today I want to focus my attention on a temporary pop art installation of “Candy Flags” by artist Laurence Jenkell. Titled Crossroads of the World, the exhibition consists of large fiberglass sculptures in the shape of individual wrapped pieces of candy, each one decorated with a different country’s flag. The art is fun and whimsical, adding color to an otherwise drab space. (Although I couldn’t avoid random caution signs and cleaning supplies nearby the art occasionally!)

Here are just a few of the candy flags I found while exploring the Bus Terminal:

United States

Australia

South Africa

Germany

India

Turkey

Mexico

Great Britain

There is also a gallery space which is opened limited hours. Although it was closed the day I visited, I could still see into the space and spotted these intriguing works of art.

Want to see this installation yourself? It is located in the Port Authority Bus Terminal, near Times Square in Manhattan. It is easily reached by subway from either the Times Square/42nd Street/Port Authority subway stations. I believe the installation will be at the Bus Terminal until December 2018.

David Bowie Is Here: A Subway Station Installation

I often write about the public art in NYC subway stations, but the recent David Bowie installation in the Broadway – Lafayette subway station in Manhattan was a real treat. The installation, titled David Bowie Is Here, celebrated Bowie’s life and music in New York City. It was meant to draw attention to a David Bowie exhibition at the Brooklyn Museum. Unfortunately, the subway station installation just ended, but the museum exhibition continues until July 15.

Everywhere you looked in the station there was something to see – photographs representing Bowie’s albums and career, quotes about his views of living in New York City, even song lyrics on the station steps! There was also a map showing locations where Bowie lived and worked in the neighborhood surrounding the station. For anyone who loved David Bowie’s music, the installation was a real treat!

Here are some of the images I captured of the installation, but there were many more.

At some point, I’ll go to the points on the map and write a post about what I find. I’m also hoping to make it to the Brooklyn Museum exhibition before it closes!

A Return to the First Street Garden

More than a year ago I wrote about my discovery of the First Street Garden, a community garden supported by the Lower East Side Girls Club. (You can find that earlier post here.) What first drew my attention to the garden were the murals painted on the walls, but I only had a limited glimpse through the padlocked fence. I returned multiple times, hoping to arrive when the garden was open, and my persistence finally paid off! This time I got much better views of the murals, which commemorate women who have had an important influence on New York and United States history.

Here are some of the murals I discovered. First, there is this one of journalist and activist Dorothy Day, by an artist named Nicolina.

Next, there is this colorful portrait of Shirley Chisholm, by artist Lenora Jayne. A New Yorker, Chisholm became the first African-American woman elected to the U.S. Congress in 1968.

Peering from behind the ivy was this mural of Rosie Mendez, a former NYC councilwoman who served from 2006 to 2017. The artist’s signature says “Carolina.” Mendez was a leader of the LGBT Caucus within the City Council, and is also known for sponsoring the law that ultimately banned the use of wild animals in circuses in the city.

A ladder and more ivy partially obscured this portrait of African-American journalist and activist Ida B. Wells, most known for her covered of the terrible lynchings that took place in the late 19th and early 20th centuries. Unfortunately, I couldn’t find an artist’s signature on this one.

Here’s one of urban activist Jane Jacobs, usually credited with helping to save Greenwich Village from urban development in the 1960s. (Once again, there was no artist’s signature.)

There are murals of two major leaders in the suffragist and women’s rights movements, Alice Paul and Susan B. Anthony. There was no signature on the Paul portrait, but the Anthony portrait was painted by street artist Lexibella, with the help of Gianesina and Lizabeth.

This unsigned portrait of civil rights activist Rosa Parks may be a little faded, but I still loved it.

There are more portraits as well, but I will leave you to discover them when you visit. As I end this post, I wanted to share this important message that’s been added to the garden since my first visit.

The First Street Garden is located on First Street between First and Second Avenues. The closest subway station is the Second Street station, which is accessible from the F train. (Additionally, an access point for the First Street Green Cultural Park is located just down the street from the First Street Garden. You’ll always find original, fresh street art there.) According to the sign on the garden’s gate, the it is open on Friday afternoons, 4:00-6:00 pm, and Saturdays and Sundays from noon to 4:00 pm.

Pieces for Peace: A 2005 CITYarts Mural

On the north side of Manhattan the Jacob H. Schiff Playground, part of the NYC Parks system, is host to a special mural. Titled Pieces for Peace, the mural was created by artist Peter Sis with the help of community volunteers in 2005. I spotted the mural quite some time ago, but there are usually soccer players practicing – or even games – on the weekends when I have the chance to walk by. Finally I had the chance one day to edge my way around the soccer field to see the mural up close, and it was certainly worth my efforts.

Here are a few glimpses of the mural’s details. Time has dulled the mosaic tiles in some places, but the message of diversity still shines through.

If you’d like to see the mural yourself, the Jacob H. Schiff Playground is located on Amsterdam Avenue in northeastern Manhattan, between 136th and 138th Streets.

Photos on the Fence: Holocaust Survivors at the United Nations

Last weekend I had the chance to go see a special installation displayed on the fence outside of the United Nations headquarters in Manhattan. The photos are one half of an exhibition memorializing the victims and survivors of the Holocaust titled Survivors, Victims and Perpetrators, and were taken by Italian photographer Luigi Toscano as part of the Lest We Forget project. (I haven’t yet had the opportunity to see the other half of the exhibit, which is located inside the Visitors’ Center.)

The photos are larger than life and intensely powerful. The survivors’ faces engage the viewers; both hope and sorrow are visible in their gazes. Each one is accompanied by a small card that gives each survivor’s name, place and date of birth, date and details of arrest and detention, and information about liberation. Some cards had additional heartbreaking details about what happened to other members of the survivor’s family during the Holocaust. Two even had the caps they had worn in the concentration camps.

Here are some of the photos that stayed with me even after I left the site.

I’m going to stop with these, as I don’t want to ruin the exhibition for those who have the chance to visit it themselves. Hopefully from these you can understand why I found the photographs so gripping.

Want to see this powerful exhibition in person? It’s located at the entrance to the United Nations headquarters on First Avenue, between 46th and 48th Streets. (The M15 bus runs north along First Avenue, if you are traveling by public transportation.) Survivors, Victims and Perpetrators is only on view through the end of February 2018.

Subway Station Art: Grand Army Plaza Station

The art in the subway station at Grand Army Plaza in Brooklyn is both distinctive and beautiful. The installation, titled Wings for the IRT: The Irresistible Romance of Travel, is by artist and public-interest lawyer Jane Greengold.

Ms. Greengold has provided the following explanation of Wings for the IRT:

This project is based on the sculpture on the Soldiers and Sailors Memorial Arch in Grand Army Plaza, the dominant structure in the Plaza above the station. On the arch, winged victories lead in a chariot bearing Columbia, symbol of the victory of the North in the Civil War. In a subway station, commuters most want to celebrate the arrival of the train, so here, the victories lead in a train. The original logo for the IRT was a winged train, so I used the old-fashioned train and banner from that logo, thus making the image about both the surrounding neighborhood and the subway system itself. At each entrance to the station there is also an individual winged victory, and a small bronze plaque based on a winged woman from the stone work on the Arch.

Unfortunately, I somehow missed the one tile piece that included the train with the winged victories, but you can see an image of it here. I did find these lovely terra cotta tile wing victories however, as well as smaller bronze works.

If you want to see this beautiful art for yourself, the 4 and 5 trains go to Grand Army Plaza station. Once you’ve had the chance to see the art, head above ground to explore the park above.

Immigration and Art at the Museum of Chinese in America

The plight of undocumented immigrants has been in the news a lot recently, and there’s been much concern about the future of immigration in the United States. This issue particularly hits home for New Yorkers, who have tremendous pride in their city’s identity as a refuge for immigrants. Today, New York City’s population is approximately 8.5 million, and more than 35% of that is foreign-born. That diversity adds to the city’s rich cultural fabric, and gives us much to celebrate. It’s also a difficult time, as we see the worry of our immigrant neighbors in tough political times.

The Museum of Chinese in America (MOCA), located in Manhattan’s Chinatown neighborhood, has taken a subtle but powerful approach to the issues specifically faced by undocumented immigrants during these trying times. In October, MOCA opened a new exhibition titled FOLD: Golden Venture Paper Sculptures. The art in FOLD was created by undocumented Chinese immigrants who were arrested when the ship they were on, the Golden Venture, ran aground near the Rockaways region of the borough of Queens in 1993. Many of the ship’s 286 immigrants were detained in the York County Prison for multiple years. During their time in the prison, the detainees began making sculptures out of paper and other simple materials they had access to. The sculptures were first given as gifts to the lawyers and others who supported the Chinese immigrants as they sought freedom in the United States, and many more sculptures were made and sold to fund their legal efforts. FOLD contains 40 beautiful and unique sculptures that are now part of the museum’s permanent collection.

The sculptures are beautiful. Some are deceptively simple, while others are impressively detailed despite their humble materials. The artists used a variety of techniques to manipulate the paper – rolling, meticulously folding, paper mâché. There are American themes, especially bald eagles and the Statue of Liberty, as well as those with roots in the artists’ own Chinese culture. There are also caged birds, speaking to the situation the artists found themselves in.

Here are some of my favorite sculptures from the exhibition.

If you have the chance to visit the exhibition in person, I urge you to watch the short video on the Golden Venture as well. It was well worth the time. The exhibition is only open through March 25, 2018, so you still have time to see it. Instructions for getting to the museum, as well as other details important for planning a visit can be found on the museum’s website, located here.

Hunting a City-wide Art Installation: Ai Weiwei’s Good Fences Make Good Neighbors

Imagine an art installation with more than 300 separate pieces, scattered throughout all five boroughs of New York City. The scale seems almost impossible, but that is exactly what Chinese-born artist Ai Weiwei has accomplished with his new exhibition, Good Fences Make Good Neighbors. The exhibition, which is sponsored by Public Art Fund, draws its title from the line of the Robert Frost poem, “Mending Wall.” Ai Weiwei uses his art to draw attention to the plight of the millions of refugees around the world seeking shelter from violence in refugee camps and through immigration. Some of the sites symbolize the types of barriers that exist for refugees, while others personalize refugees’ experiences. Some are constructed of heavy, cold metals; others of flimsy panels that are moved by the breeze. It’s a rich treasure trove to discover, if one is persistent and has some endurance.

Because of the scope of the exhibition, I’ve focused my attentions so far on Manhattan, where the largest number of sites are located. Over the course of two days I walked more than 15 miles, scouring neighborhood after neighborhood: the Lower East Side; the Financial District near the World Trade Center site; Greenwich Village and Washington Square Park; the Flatiron District; Midtown and the southeast corner of Central Park; the Upper East Side; and East Harlem. During my walks, I found numerous parts of the exhibition, usually with the help of this online map, but I have so many more that I want to discover. I guess it’s a good thing that the exhibition continues through February 11, 2018. Each piece I found added another nuance to my understanding of the whole, and it was just as delightful to find a small banner as it was to see a large installation.

So let me give you a visual sense of the exhibition, starting with the larger, metal structures. My favorite of these is Gilded Cage, located on the southeast corner of Central Park. When I clicked on this site on the map, I found this explanation of Gilded Cage:

For the entrance to Central Park, Ai has created a giant gilded cage that simultaneously evokes the luxury of Fifth Avenue and the privations of confinement. Visitors are able to enter its central space, which is surrounded by bars and turnstiles. Functioning as a structure of both control and display, the work reveals the complex power dynamics of repressive architecture.

From the outside, Gilded Cage looks like this:

From the inside, the view depends on where you look. The installation very much feels like a cage, as you can tell from this photo (and makes a good backdrop for personal photos as well).

But when you look up, the view is different, with the open design at the top somehow giving me a sense of hope, an alternative perspective of the problem.

Then there is this 37-foot tall structure, titled Arch, placed in the center of the Washington Square arch.

Or how about Five Fences, with each “fence” covering a window of the Cooper Union building near Astor Place.

There are smaller structures built around certain bus shelters, less imposing, like the one visible here.

There are also Greek-style friezes and photos on advertising platforms around the city, but my favorite parts of the exhibition are among the more than 200 banners attached to lampposts around the city. Each one has an image from a different photograph, historical and modern, of immigrant and refugees. The online map provides more information about when and where each banner photo was taken, but I’m going to focus on the images on the banners in my photos below. These photos also show the interesting contrasts you’ll sometimes see between banners and nearby buildings, as well as the challenges associated with finding and photographing banners among the trees. The images are reach, showing the full range of human emotions.

For my last photos, I’ll show you the banners at the Essex Street Market on the Lower East Side. These banners are attached to the side of the building and are in stark contrast to the vibrant mural painted below. If you look closely at the banners, you can see a scene of refugees attempting to make their way to safety.

A final note: One of the benefits of writing this blog over the past couple of years is that I’ve had the opportunity to read many other blogs as well, and in the process of made some blogging friends around the world. Today’s post is dedicated to two of those blogging friends. First, to Meg, an Australian who writes the blog snippetsandsnaps ~ Potato Point and Beyond. Meg celebrated a birthday last week, and I want to wish her a happy birthday! She recently read a NY Times article about the subject of this post and has been patiently waiting for me to get my post up. Second, to Jo, an Englishwoman with Polish roots who craves the sun of the Portuguese Algarve region. Jo writes a wonderful blog called Restless Jo and hosts the weekly Jo’s Monday Walks. Since I walked so many miles on my hunt for Ai Weiwei’s installations, I will offer this post for next week’s Monday Walk as well. So here’s a blog toast to two blogging friends, Meg and Jo!