Wednesday, May 21, 2014

Grand Debacle at 42nd and Fifth


Public Library Is Abandoning Disputed Plan for Landmark
THE NEW YORK TIMES

Stacks to stay after New York Public Library halts plan to transform historic branch
DAILY NEWS

 NEW YORK POST

New York Public Library Scraps Redesign Plans
 WALL STREET JOURNAL

On the morning of Thursday, May 8, 2014, it was front page news in New York.
Thus came to a crashing end the much criticized plan of The New York Public
Library's administration and trustees to transform the classic structure, housing
millions of books, that had served generations of New Yorkers, into a virtual
honky tonk international visitor center replete with coffee bars  and souvenir
counters masking under the rubric of creating a 21st century library offering
enhanced services. Absurd as this had been, it was endorsed by the trustees, a
group of distinguished academics, major periodical editors and business executives
associated with some of the nation's most prominent enterprises. One must ask,
"How could a group of well-intentioned, intelligent, and in some cases, wealthy
people, have made such a blunder?"

Here's how what became known as the CENTRAL LIBRARY PLAN began. 
An internal NYPL document “Staff Briefings on New Strategy dated March 
2008,” states in part,  “The new strategy: Fundamentally transform NYPL to
drive increased use through better integrated service ...”

Among “Facilities Plan Goals” it states “Make our Fifth Avenue building a
greater international destination.” It further proposes, “A New Central Library,
Move books to high-density stacks under Bryant Park ... Remove stacks ...
Repurpose space for multilevel circulating library ... Draft Concept: Not
a Design Plan.” The esteemed British architect, Norman Foster, who heads
a firm of 1500, was engaged to design the physical transformation of the
building. It should be noted that his much criticized and generally unpopular
design of the transformation of The British Library in London has been
described as "architectural evisceration."

The perpetrators of this ill-fated scheme were former staff members: Paul Le Clerc, 
then President, and David Offensend, then Chief Operating Officer. LeClerc was 
a French literature scholar and former president of Hunter College in New York. 
David Offensend came from the world of investment and banking. He served as 
President and Chief Executive Officer of now defunct Lehman Brothers Merchant
 Banking Partnership.

In cultural organizations, it is an accepted practice that the staff create programs
and that the trustees endorse them and self-fund or find outside sources of funding.
It is my contention that the Board trusted the staff who obviously were malevolent
in the execution of their duties. Or, it might have been a rich and powerful trustee
who served as the motivator. Whoever was responsible afforded no respect for the
essential purpose of the building nor its architectural character. The removal of the
cast iron stacks which held the majority of the books was established as a high
renovation priority.The NYPL administrators  speak of "less used books" as though
they represented a plague to be obliterated.

At this point, there is no solid trail of evidence leading to the fiasco; therefore,
speculation is appropriate. New York's voracious real estate industry ran amok in
the Bloomberg years. The Library's properties in Midtown Manhattan were desirable
targets for developers. In addition to the Main Library Building at Fifth Avenue and
42nd Street, the NYPL controlled properties in Midtown Manhattan included: Donnell
Branch on West 53rd Street opposite the Museum of Modern Art, the Mid-Manhattan
Branch Library at Fifth Avenue and 40th Street, and the Science,  Industry and
Business Branch occupying several floors of the building on the Northwest corner of
Madison and 34th. One of the objectives of The Central Library Plan was to relocate
Mid-Manhattan plus Science, Industry and Business within the main library building
and to sell the two properties where these library services are currently located. The
Library does not have a good record in its real estate dealings. The Donnell property
was sold for less than the developer received from the sale of the penthouse in the
building constructed on that site.

As a result of the tireless efforts of a small group of dedicated library users, among
them the Committee to Save The New York Public Library and its allies, the David
and Goliath legend became a modern day New York legend. Along with that,
the election of populist Mayor Bill de Blasio, changed the equation from proposed
glitz to diversified community service. Rather than support the creation of a luxury
brand in Mid-Manhattan, New York City's library support was directed toward branch
libraries. Thus, $150,000,000 of city money promised by Mayor Michael Bloomberg
as part of his campaign to convert Midtown Manhattan into Singapore East was
no longer available. As criticism mounted, the loss of these funds was sufficient to
doom the Central Library Plan; however, it failed to curb the library's inane plans to
transform the main building from a research library into some undefined entity. The
millions of books that are the core of the research collections have been removed
from the stacks which remain empty. According to President Marx, the barren stacks
will be open to visitors to view as an historic relic.  (Can an adult professional be
taken seriously for making such a remark?)   It is proposed that the majority of the
research book collections will be housed in underground storage space beneath
Bryant Park that had once been planned as a parking garage. This space has
questionable climate control potentials. Yet, on another occasion, President Marx
said that the stacks would house the Mid-Manhattan's circulating collections. This
might have been  stated when the Mid-Manhattan building was being considered for
 sale. The situation has changed. If he is to be believed, President Marx said that the
Mid-Manhattan building will not be sold and that it will be renovated. We have
heard nothing recently about the fate of the stacks,

The past is history. The future is as equally as troublesome as the past. Since this
humiliating defeat, it is apparent that the administration and trustees have chosen not
to acknowledge the reality of the situation and are attempting to give this self-induced
fiasco a positive spin. If this is advice from The Library's public relations consultants,
they should be fired. So, what have we heard from The Library's representatives?
Contrition, definitely not. They are moving ahead with their righteous sense of unrestricted
authority as though nothing occurred.
           
President Tony Marx boasts of their opening up previously private spaces to the public;
however, there does appear to be any clearly articulated program for the use of these
spaces. In response to frequent criticism that The Library does not have an advisory
board of user representatives, Tony Marx announced recently that plans for such a board
are being promulgated.  Once before, he made a similar promise. To date, no such group
exists.  It should be noted that the Bibliothèque nationale de France in Paris hosts a
mechanism for monitoring the attitudes of its users. In the age of ubiquitous electronic communication and social media, there are many ways in which consumer attitudes can
be assessed. President Marx speaks glowingly of bringing The Library into the 21st century,
yet neglects to utilize some well-tested attitude assessment procedures.

The mantle of respect which this building generated for more than a century has been
fragmented to the point of oblivion. In the Wall Street Journal of May 14, 2014, Eric
Gibson, Leisure & ARTS Editor, proposed that the trustees rename the Schwatzman
Building (as the the Central Library is known in the wake of a multi-million dollar gift from
billionaire Stephen Schwartzman. Perhaps Eric Gibson is serious; perhaps it is a frivolous
joke? Given Tony Marx's proclivity for outlandish statements, sooner or later the NYPL
might become the subject of derision by late night tv hosts.

Although they appear to be coined by a public relations consultant, The Library's
pronouncements smack of cultural institutional arrogance and intransigence. This
is a malaise that appears to affect many institutions, often art museums where the
director appropriates a mantle of self righteous behavior, hauteur and denial. Yes,
this does not speak well for any and all such practitioners. In the case of The New
York Public Library, President Anthony Marx is a member of this despicable cadre.
Although it appeared to be apparent that the Central Library Plan had been defeated
and should be scrapped, President Marx continues to support its core philosophy
and planned implementation. Not to be overlooked, The New York Public Library
receives a considerable amount of its annual operating budget from the City of New
York. So, it must answer to all of the citizens of the city. In this respect, it hardly
warrants a passing grade.

Granted that he did not initiate the disastrous Central Library Plan, Tony Marx
embraced it becoming its champion. Given his errors of judgement, and contradictory
remarks, one is compelled to ask if Tony Marx should be allowed to continue to direct
the future of The New York Public Library? Although he received considerable praise
for his previous positions, it is becoming increasingly apparent that he is the wrong
man for this job. As Arthur Sulzberger decided recently, that he made the wrong decision
when he anointed Jill Abramson as Executive Editor, and the right one when he fired her.

The fate and future of 42nd Street Library is in the hands of the trustees; one must hope
that they function more responsibly in the future than they have in the past.


Note: See my previous blog post on this subject, dated:   TUESDAY, MAY 7, 2013.












 







































Wednesday, December 4, 2013

AN EXQUISITE CALDER EXHIBITION










































Since arriving in Los Angeles in January 2010, my visit today to the current 
Alexander Calder exhibition at LACMA was one of the  most satisfying museum 
experiences that I have had here. It is a combination of great art presented 
intelligently in a well-designed and sympathetic environment. Stephanie 
Barron of the LACMA staff was curator and Frank Gehry was exhibition 
designer. With approximately fifty works on display, it offers an abbreviated 
presentation of this artist's work. It does not purport to be a retrospective 
and draws heavily on the Calder Foundation http://www.calder.org
for loans. 



















In 1964, I had the good fortune to attend the opening of the
Calder retrospective at the Guggenheim Museum in New 
York organized by James Johnson Sweeney, a long time 
champion of Calder's work. Without question, it was an 
incredible experience to see Calder's work in this setting. 
To my eye, the museum never again looked so good. I
doubt that there has ever been an exhibition presented 
there that was more compatible with the space. Calder 
was present and very much in evidence.

Before the Guggenheim was completed, I had interviewed 
Frank Lloyd Wright asking him how it was going to be possible
to display art on curved walls. He replied, "That is not my
problem." I don't know if he was ever able to see the Calder 
show. If he had, I am certain that he would have rejoiced and
agreed that the space was ideal for Calder's work.

It is questionable that either Stepanie Barron or Frank Gehry saw 
the Guggenheim retrospective. No matter. On entering their exhibition, 
I said, "This reminds me of the Guggenheim show. The curved surfaces
and alcoves provide a perfect setting for the mobiles to float in space, 
focusing on them as objects and denying the presence of competing 
architecture."

The Guggenheim show was a retrospective. Consequently, one saw 
Calder's work in depth and multiplicity. Calder's "Circus" a seminal work 
was situated in the first floor niche. If I recall correctly, it was operating on 
opening night. Therewere multiple examples of stabiles and mobiles covering 
an extensive span of time. It was possible to witness the evolution of his 
from intimate to monumental. 

Paris in the 1920s was the innovative center of the then international art world. 
Calder was there for an extended period of time having made contact with some 
of the major figures: Duchamp, Miro and Mondrian among others. There is no 
question that their work had a significant impact on him. However, this in no way 
can detract from the originality of his creations.

Fortunately, this exhibition is not overloaded with gimmicky technological wonders 
that are purported to enhance the visitor experience. The focus is on the art itself 
and the design of the space complements that objective. There is an extensive
catalogue which I am certain provides a considerable amount of elucidating information. 

I resisted buying one because I have The Museum of Modern Art's book on Calder by James Johnson Sweeney published in 1951 - for which I then paid $3.00.  

This LACMA show confirms Calder's association with the museum 
since 1964 when Three Quintains (Hello Girls) was installed in the garden. 
Below top: Calder supervising installation. Below center: Poster designed 
by Calder for the opening of the museum. Below bottom: As seen today, 
fully restored.





 

Regrettably, there have been problems accompanying the continuing display of this work.


From Los Angeles Times Culture Monster
"Commissioned by a women's museum-support group when LACMA first opened on Wilshire Boulevard 44 years ago, the Calder was one bit of proof that digging a fountain into the La Brea tar pits could be a problem. Oily black ooze kept gumming up the works, and the reflecting pools that surrounded the new museum complex were eventually drained. The sculpture was moved into storage and then onto dry land, where the revolving paddles regularly got stuck in surrounding evergreens. For a while in the 1980s it was lent to Art Center College of Design in Pasadena. Finally it went back to LACMA and into a new pool. Still, the wind-and-water-sensitive sculpture didn't work quite right.
Actually there was a bad omen for the piece right from the start. Calder (1898-1976) came to Los Angeles to install the $30,000 sculpture (about $200,000 in today's currency) in December 1964; but the van that drove the work from the artist's Connecticut studio had problems and ended up in a storage barn. The sculpture, composed of three triangular bases with carefully balanced metal arms and paddles, was packed all the way in the back and couldn't be unloaded. Calder cooled his heels while a scheduled press event went on using only a model for the sculpture.
Now, according to LACMA's blog, Unframed, the water circulation issues have been solved. Next up: a paint job for the paddles, which should be vibrant red, yellow, blue, black and white but are currently somewhat faded."
The pool is at the southeast corner of the Leo S. Bing Theater, just to the right of the museum's east entrance on Wilshire Boulevard at Spaulding Avenue. See it before the purple jacaranda blossoms get into the recirculating system.
- See more at: http://latimesblogs.latimes.com/culturemonster/2009/05/calder-lacma.html#sthash.sgxWkDVO.dpuf













Tuesday, October 1, 2013

"STATION-TO-STATION HAPPENING" IN CONTEXT

































It is with both admiration and envy that I approach Doug Aitken's "STATION
TO STATION: A Nomadic Happening." I think that it is remarkable that he was
able to pull it together and to pull off a project of these dimensions. That he
managed to assemble vintage railway cars, orchestrate a functional itinerary with
events en route, and managed to find a sponsor to foot the bill, I find this not only
to be impressive, but inspiring. Unfortunately, I was unable see an event; however,
I have read detailed descriptions and have seen innumerable videos, so I can
formulate a very good sense of what occurred in some locations and how the melange
hung together.

http://www.thedailybeast.com/newsweek/2013/08/30/doug-aitken-s-station-to-station
is-art-without-borders.

htmlhttp://www.wmagazine.com/culture/art-and-design/2013/09/station-to-station-train/photos/slide/1

What can one say about the actual and potential audiences for these events. Clearly,
STATION TO STATION and its associated events were targeting a young "social
media oriented" audience.That Levi Strauss, a supporter of many emerging art events,
sponsored it, made all of it happen. Below are their press releases.

LEVI STRAUSS & CO. PRESS RELEASE


Station to Station: A Nomadic Happening
LOS ANGELES AND SAN FRANCISCO – Artist Doug Aitken today announced his newest project, Station to Station: A Nomadic Happening that will connect artists, musicians and creative pioneers with diverse communities, pushing art and culture outside of institutional constraints. A public art project made possible by the Levi’s® brand, Station to Station will raise funds through ticket sales and donations to support non-traditional programming at seven partner museums around the country.
Over the course of three weeks this September, a train will travel from New York City to San Francisco, making ten stops along the way. At each stop, Station to Station will curate leading figures from the art, music, culinary, literary, and film worlds for a series of cultural interventions and site-specific happenings.  The Aitken-designed train turned kinetic sculpture will act as a cultural studio — globally broadcasting unique content and experiences from the stops as well as on the moving train.  Long after departing the last station, Station to Station will leave an indelible creative mark on its local and global audience—opening eyes and shifting perceptions.
Artists scheduled to collaborate to bring Station to Station to life include Kenneth Anger, Olaf Breuning, Peter Coffin, Urs Fischer, Meschac Gaba, Liz Glynn, Carsten Höller, Christian Jankowski, Aaron Koblin, Ernesto Neto, Jack Pierson, Stephen Shore, Rirkrit Tiravanija, and Lawrence Weiner; musicians Ariel Pink, Charlotte Gainsbourg, Dan Deacon,    
David Longstreth of Dirty Projectors, Eleanor Friedberger, Nite Jewel, No Age, Savages, and Twin Shadow; writers Dave Hickey, Barney Hoskyns, and Rick Moody; and chefs Alice Waters and Leif Hedendal, and the Edible Schoolyard Project. More participants will be announced throughout the summer.
With funding for cultural programs and the arts increasingly compromised, Station to Station will establish a revolutionary endowment model to address this need. Station to Station will distribute funds from ticket sales and donations among its partner institutions to support programs and exhibitions in 2014 that embrace Station to Station’s pursuit of new artistic models and creative collisions.
Station to Station is being made possible by the support and collaboration of the Levi’s® brand.  For more than 140 years, the Levi’s® brand has been equipping pioneers with the clothing they need to “Go Forth” and change the world.  Yesterday’s pioneers explored on a journey from east to west, laying the tracks across the original frontier.  Today’s journeys are measured in ideas, not miles. History has shown that through collaboration of a few we can inspire action among many. Station to Station brings this spirit of collaboration to life and invites Levi’sfans around the globe to take part in a new exploration of the modern frontier.
Station to Station has the support of a wide range of institutions.





LEVI STRAUSS and CO. PRESS RELEASE / OPENING IN NEW YORK

Tonight marked the launch of Levi’s® extensive Station to Station, a public art project made possible by Levi’s®, campaign, a cultural outreach in conjunction with highly acclaimed artist Doug Aitken. Falling under this season’s #MakeYourMark initiative, the event held at Riverfront Studios, Brooklyn invited guests from all over to partake in a night of cultural intrigue ranging from music and performance art to installations and live artisanal work on display. Some of the names in attendance included Suicide, Ariel Pink’s Haunted Graffiti, Jonah Bokaer & AIRLOCKS, and the Kansas City Marching Cobras on the musical end while creatives such as Kenneth Anger, Urs Fischer, Liz Glynn, Kathryn Andrews, Olaf Breuning and Thomas Demand all provided ample visual stimuli. The next stop on the Station to Station, a public art project made possible by Levi’s®, tour will be Pittsburgh, which in addition to the slated Station to Station, a public art project made possible by Levi’s®, event will include a special Round Table discussion involving Eddie Huang of Baohaus and DJ So Super Sam, who will share their thoughts and insights into their process and craft.

Levi’s® Station to Station Schedule
New York, New York — September 6, 2013
Pittsburgh, Pennsylvania — September 8, 2013
Chicago, Illinois — September 10, 2013
Minneapolis / St. Paul, Minnesota — September 12, 2013
Santa Fe, New Mexico — September 18, 2013
Winslow, Arizona — September 21, 2013
Barstow, California — September 24, 2013
Los Angeles, California — September 26, 2013
Oakland/San Francisco, California September 28, 2013

Although this might be a minor point, I question calling this event a "Happening." Today,
I received two email program annoucmenets where the events were described as "happenings."

Aitken points out that Happenings originated in New York's Sixties art world. Perhaps Aitken is expressing nostalgia for that bye-gone era? Having been an active player in that scene, I would suggest that he adopt "After Happening" to describe this type of event and to distinguish it in time and place.

Some Precedents

Circuses





















Originated in 1875, the "Barnum and Bailey Greatest Show on Earth," was first called 
"P.T. Barnum's Great Traveling Museum, Menagerie, Caravan, and Hippodrome."
As seen in the above poster, everything was transported by rail cars and erected on
on site. Unfortunately, this circus no longer performs in tents. According to The
Huffington Post, there are fourteen extant circuses, most of which perform indoors in
auditoriums.

Prior Transportation Based Exhibitions / Events 

Had anyone done anything like STATION TO STATION before?  The answer is "yes."
Transportation based exhibitions, different in content and presentation, occurred
in the 1940s,  I960s, and 1970s. These projects were as much of their time as is
STATION TO STATION a product of today. Their focus was on social and cultural
history along with contemporary art. They were sponsored by federal
and state agencies. I was involved in some, not all, and will review them.

Freedom Train: 1947-1949

Created as a Post-World War II patriotic gesture, with original versions of the
Declaration of Independence, U.S. Constitution, and Bill of Rights, it visited
300 cities in all of the then 48 states.


Freedom Train: 1975-1976

Planned as a Bicentennial event, there were 10 display cars with diverse
historical exhibits. During a 21-month period, seven million visitors
were recorded.
 


















Erie Maid, 1967
As a staff member of the New York State Council on the Arts, I created an exhibition
on a barge, Erie Canal 1817-1967, documenting the canal's history. We called it the
"Erie Maid," after a notorious Syracuse burlesque queen of the 1880s. She became
our symbol and everyone who volunteered received a large button with her image.
The exteror of the barge was designed by George Nelson. He was responsible for
the design of major exhibitions in this country and abroad. Today, he is known for
his Herman Miller furniture designs,






Top: Erie Maid on the canal. Middle: An event in Albany on the
Hudson River. We used the roof of the barge as a performance 
stage. Here, Pete Seeger is singing. Below: 100,000th visitor.
Right below: In the exhibition area.

Between July 1, and September 17, a total of 138,250
persons visited the barge. averaging 240 per hour.
These attendance figures exceeded those of many
Upstate New York museums.

After having visited many of the towns along the
canal, Ken Dewey, a New York-based Happenings
artist, planned the itinerary. He found that each stop
offered different potentials. In some towns, we had
marching bands greet the barge. We always had
local volunteers serve as a welcoming committee.
There were folk singers, barbecues, dances and film
showings.

The operating philsophy was simple. We provided
a catalyst encouraging people to celebrate themselves.
Needless to say, that was the spirit of "The Sixties."
Somehow or other, that participatory spirit might
be extended to embrace social media - today's
governing principle.

Michigan Art Train: 1971 - today





















Artrain began in 1971 as a project of the "Michigan Council for 
the Arts," and initially toured Michigan, visiting small towns 
that did not have their own museums. 


It left Michigan for the first time in 1973. Currently, it visits
different regions, returning to that region once every four years.
It is on tour eleven months of the year, traveling about 12,000
miles annually. Ann Arbor, Michigan, is its home base. There,
the cars undergo maintenance, and the exhibit might be changed
if required.

Smithsonian Institution, Planning for the 1976
Bicentennial















In 1972, I was hired by the Smithsonian to develop National
Bicentennial programs. Full of enthusiasm and seeing endless
possibilities, I allowed my imagination to run wild. I was working
for The Feds; Nixon was President; the war in Viet Nam was in
full swing. I envisioned my assignment as being in the wake of
the 60s when anything seemed possible.

So, I canvassed Washington for opportunities. I wanted to
replicate the success of the Erie Maid across the country.
The formula would be the same, Develop catalysts and make
them available to unlimited audiences across the country.
Given a spark of incentive, I knew that people would develop
their own celebrations.

I went to the Pentagon to see about getting cargo planes to drop
off prepared exhibitions at domestic airports. I went to the
railroad association to see about getting empty freight cars to
house prepared exhibitions. Hopefully, we would be able to
park these freight cars at safe, accessible sites, possibly in
accessible freight yards. I went to the trucking association
with a similar request for trailers. Wherever I went, everyone
was interested, and in most cases, they were willing to donate
their services. However,  as with everything, there were associated
costs for personnel, fuel, supplies, etc. I developed a detailed
budget to accompany my auspicious plans.

To transform the cargo area of huge planes
and railway freight cars into informal mini-
museums, I developed "Information Core"
exhibitions. The would serve as catalysts
to activate community response. Information
Core exhibition would be dedicated to a specific
subject. Users would be encouraged to add
artifacts, additional panels, as well as
appropriate sound and images.

Multiple versions of Information Coare
Exhibitions were later produced by the
Smithsonian and distributed widely to
museums, libraries and educational
institutions.



When I made my presentation of the board of trustees of the
Smithsonian, S. Dillon Ripley, one of the most imaginative and
charismatic Secretaries of the Smithsonian to hold that office,
chaired the  meeting. The room was filled with august looking men:
business tycoons, politicians and what might appear to be some
ordinary people. They listened politely and did not ask any questions.
My proposed budget was in the neighborhood of $3,000,000, a lot
of money then. Mr. Ripley looked me straight in the eye and politely
said, "You are asking for the equivalent of our annual Congressional
appropriation. If we go to Congress with this request, and they
approve it, they will cut the budgets of all of our other programs
to make an adjustment." End of story!











































Saturday, September 28, 2013

ON BECOMING BROOKLYN BRIDGE PARK




Map of Downtown Brooklyn, 1939

"FULTON FERRY a waterfront hamlet in Brooklyn's earliest days,
is now an isolated sector of musty, dilapidated buildings nestling
in the shadow of the Brooklyn Bridge"

Map and quotation from,  The WPA Guide to New York City, 1939.




















 Above: View of  the Brooklyn waterfront looking north to FULTON FERRY 
neighborhood, c. 1945.  Below: Brooklyn Heights Promenade, c. 1951.

I have known the Brooklyn waterfront from Atlantic Avenue to
the foot of the Brooklyn Bridge since 1943. Once, it was a
thriving port area with cargo ships loading and unloading as well
as the terminus of barges conveying railway freight cars from
New Jersey across the East River. The areas most remarkable
architectural feature was a group of brick Civil War era brick
warehouses. (Seen in the first photo above.) Long gone, there are
similar extant brick Civil War era warehouses ("stores") to be
found in Red Hook, Brooklyn. On several occasions, I walked to
the foot of Joralemon Street hoping to get closer to the water's
edge, but access was restricted. When container ships began
to dominate international trade, the piers and their attendant
warehouses were abandoned.

Traditionally, Brooklyn Heights had been an upscale neighborhood
with stately brownstones, grand mansions and elegant apartment
houses.





























When the Brooklyn Heights Promenade (occupying a platform
above the Brooklyn-Queens Expressway) was completed in
1951, it added an incredible amenity to the neighborhood
providing a one-third of a mile longitudinal park affording
spectacular views of
Lower Manhattan.

http://en.wikipedia.org/wiki/Brooklyn_Heights_Promenade

"The Promenade, as it is known locally, is a fringe benefit
from the construction of this section of the Brooklyn-Queens
Expressway ... one of the few brilliant solutions for the
relationship of auto, pedestrian and city - was projected
from the crest of the Heights to overlook the harbor at a
fourth level, over two levels of a highway and a service
road for the piers below."

AIA Guide to New York City, Third Edition

"Brooklyn Bridge Park is a world-class waterfront park with
rolling hills, river front promenades, lush gardens, and 
spectacular city views. The park currently features sand 
volleyball courts, running and bicycle paths, a boat launch 
for non-motorized boating, several playgrounds, a picnic 
area, as well as a dog-run and pool. Our list of amenities 
continues to grow as we work each day to revitalize this 
previously deteriorated waterfront space and build a park 
that will allow New Yorkers to rediscover the waterfront.  

"Brooklyn Bridge Park partners with Brooklyn Bridge Park 
Conservancy to provide a programming schedule that 
contains over 400 free activities throughout the year 
ranging from children’s education programs and bike 
lessons, to performing arts and fitness classes. 
Whether seeking a day of physical activity or simply 
relaxing on our lawns, Brooklyn Bridge Park has something


















http://www.brooklynbridgepark.org

http://www.bloomberg.com/news/2011-10-11/

Interactive Map


Undoubtedly, The Promenade set a standard of imagination
and environmental design to be matched by new amenities
introduced to the neighborhood. When I made my first visit
to the yet-to-be-completed Brooklyn Bridge Park recently,
I would say that this objective is clearly in the process of
being completed.

Recently, I walked from the foot ot Atlantic Avenue to the
base of the Brooklyn Bridge. I found completed recreational
areas surrounded by some construction. The promise of a
spacious, user-friendly, well-designed urban recreational
space was evident. All of those who contributed to this venture
should be congratulated.










Tuesday, September 24, 2013

THOMAS HIRSHHORN / CULTURAL IMPERIALIST FASHIONISTA






                         

 


                         


On a Saturday afternoon in mid-September, we took the #5 subway to Prospect Avenue in the South Bronx and proceeded to walk North on Prospect Avenue to 163rd Street. After crossing Union Avenue, we turned right on Tinton Avenue and gained access to Forest Houses, a Post World War II public housing project. My friend, who encouraged me to go, had read a laudatory review in the New Yorker which described the Gramsci Monument as a must see art event. Sponsored by the Dia Foundation, it was billed as a significant work of art by a heralded Swiss artist.





So, what did we find? I would describe the ramshackle wooden structures that appeared 
to be the core of the project as an insensitive intrusion into the courtyard of a low-income 
public housing project. There was a library, radio station and a bank of computers 
linked to the internet. Where and how did Gramsci fit into this mess? Searching for some documentation, I found a faded typed biography on an 8 1/2 x 11 sheet of paper tacked to 
a wall. There was one in English and another in Italian.

Was this a bad joke? No, this was supposed to be a serious work of art. As I wandered from one tacky space to the next, I tried to image who was the so-called artist who had conceived of this entity and why it was sponsored by the Dia Foundation. Beyond that, I was compelled to ask what it had to do with Antonio Gramsci. Although I had not read him widely, I knew that he was the patron saint of left-wing Italian politicians. I kept asking myself what Gramsci had to do with this public housing project in the South Bronx.  Simple: Thomas Hirshhorn, the Swiss artist who had conceived this project, was enamored of Gramsci. Concurrently, I wondered if Gramsci had any relevancy for the residents of Forest Houses. My assumption is none.

I had an opportunity to talk to one of the residents who had established a table along the main pedestrian pathway where she was selling objects that she assumed might appeal to 
tourists visiting her neighborhood. She appeared to have little interest in the content of 
this so-called work of art finding it to be a positive element in her community because 
residents were compensated for working on the construction of its various elements. 

As we wandered around this desultory organized phenomenon, we came upon an open-air 
theater with about two hundred mostly middle-aged Caucasians seated in a semi-circle 
listening to an African-American man promote his book describing his experiences 
with the ANC (African National Congress) in South Africa. It did not appear that many, 
if any, project residents were in the audience.

We began to talk to three people, two women and a man, in their late twenties or 
early thirties, obviously not from the neighborhood. I asked what they made of this 
so-called work of art. They, too, were motivated by the "must see"  New Yorker  
article saying that they believed that the artist was trying to regenerate the participatory 
art spirit of 1960's as seen in Happenings where members of the audience were participants
in an art event. Being familiar with Happenings, I could not make the connection.

Although this personal event occurred in 1967, it bears some relevance to the Gramsci 
Monument. I had just published a book on the history of New York's Lower East 
Side. At that time, it was customary for publisher's to have a book publication party 
in a restaurant and  invite critics. I requested that my publisher give me the money 
that they would have spent on a lunch allowing me to create an event related to the 
book's publication in Seward Park on The Lower East Side. They agreed and I 
created a mini-festival on a Sunday afternoon in the park. 

  





 

Was my festival in Seward Park a manifestation of cultural imperialism? Definitely not!
It was an honest interpretation of community heritage in which the history of its residents
was celebrated. Since The Lower East Side was then becoming a hip neighborhood, we
had a "slum goddess" parade. (See photo on left immediately above.) Now, there are
hundreds of neighborhood block parties throughout all of the boroughs in which residents
celebrate their origins, history, heritage, religion and food. They are authentic community
events.


Thomas Hirshhorn could benefit greatly by visiting some of these neighborhood block 
parties. He might learn how (if he were so inclined) to contribute to a community rather 
than exploit it for ego gratification and personal gain. 

By now, the Gramsci Monument is a memory. On reflection, I would describe it as a 
gigantic hype involving a colossal waste of time, energy and money. Hopefully, Thomas 
Hirshhorn will restrain his cultural imperialistic ventures and avoid invading innocent communities.