BGuthrie Photos: NY -- NYC -- High Line -- Art: title (by artist)

BGuthrie Photos: NY -- NYC -- High Line -- Art: title (by artist) NY -- NYC -- High Line -- Art: title (by artist):

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. HIGCVB_231015_01.JPG: The following pictures are from the page 2023_NY_High_Line_Bark NY -- NYC -- High Line -- Art: What If They Bark? (by Cosima von Bonin) (22 photos from 2023)
  Cosima von Bonin WHAT IF THEY BARK? September 2023 – August 2024 Location On the High Line at 17th Street Cosima von Bonin is a conceptual artist working across painting and sculpture. Von Bonin is a collector—of found objects, materials, images, stories, and references that she assembles with irreverence and dark humor. While in her early paintings the artist used found fabrics to compose scenes populated with beloved Looney Toons and Disney characters, in more recent sculpture installations she focuses on more generalized myths, historical figures, and pop culture references, from Pinocchio to Jacques Lacan. For many years, she created plush, colorful ocean creatures, a series of works that talks about the human destruction of the natural world found underwater. Von Bonin brings her ongoing work WHAT IF THEY BARK? (2022) to the High Line, installing a group of anthropomorphic fish sculptures above the park’s iconic 10th Avenue Square. Assembled like a military band ensemble, the fish wear theatrical costumes, play musical instruments, and hold checkered missiles. Featured this past year on the façade of the Central Pavilion at the Venice Biennale, von Bonin’s installation continues the artist’s long-running interest in marine life. This humorous composition recalls the statue arrangement of ancient Greek temples, but instead of gods and heroes here the artist places sea creatures on land interacting with one another and doing human activities such as playing music. The figures adorn the top of the railing of the Sunken Overlook as if playing a concert for visitors resting on the seating steps below, adding a playful element to the striking view up 10th Avenue. Artist bio Cosima von Bonin (b. 1962, Mombasa, Kenya) lives and works in Cologne, Germany. A major figure of contemporary art from Germany, von Bonin has been the subject of solo exhibitions at institutions including CCS Bard, Annandale-on-Hudson, New York (2018); Sculpture Center, New York, New York (2016); MUMOK, Vienna, Austria (2014); Museum Ludwig, Cologne, Germany (2011); Musée d’Art Moderne et Contemporain, Geneva, Switzerland (2011); and Museum of Contemporary Art, Los Angeles, California (2007). Additionally, von Bonin has participated in group exhibitions such as Mae, House of Gaga, Cologne, Germany (2022); There Is Always One Direction, de la Cruz Collection, Miami, Florida (2021); Sustainable Museum: Art and Environment, Museum of Contemporary Art, Busan, South Korea (2021); La mer Imaginaire, Villa Carmignac, Porquerolles Island, France (2020); and Play Time, Musée des Beaux-Arts de Rennes, Rennes, France (2014). Von Bonin has participated in major international exhibitions include the 59th Venice Biennale, Venice, Italy (2022); Glasgow International, Glasgow, Scotland (2016); and Documenta XII, Kassel, Germany (2007). Her work is included in many notable collections worldwide, including Tate Britain, London, England; Museum of Modern Art, New York, New York; Stedelijk Museum, Amsterdam, the Netherlands; Mildred Lane Kemper Art Museum, St. Louis, Missouri; and the Museum Ludwig, Cologne, Germany.
2. HIGHBK_231015_02.JPG: The following pictures are from the page 2023_NY_High_Line_Arc NY -- NYC -- High Line -- Art: Painful Arc II (by Baseera Khan) (7 photos from 2023)
3. HIGHBK_231015_11.JPG: Baseera Khan Painful Arc II (Shoulder-High) June 2023 – May 2024 Location on the High Line at Little West 12th Street Baseera Khan’s practice uses the lens of their own body to investigate how desire and surveillance shape subjectivity, including the construction of the artist’s own gender and Muslim identity. Khan assembles references from ancient Middle Eastern cultures found in museums and archaeological archives, abstracting architectural scale and humanizing ostensibly objective collections of art and artifacts. Khan’s large-scale installations are inviting – often incorporating sumptuous colors and radical adornments – and encourage viewers to think about challenging topics such as xenophobia, spirituality, and invisible labor. For the High Line, Khan installs a monumental archway made of inscribed tablets under The Standard, High Line. To create Painful Arc II (Shoulder-High), Khan interviewed High Line staff members and photographed the numerous shipping boxes of supplies that circulate within the complex ecosystem of the park. Khan’s inscriptions on the archway include packaging labels and handwritten notes jotted down by staff members onto incoming cardboard boxes. Perforating the sculpture are patterns referencing punctuation symbols from the Quran, drawn with motifs inspired by the park’s flora and fauna. The archway is made from recycled granite and a man-made stone-like composite commonly used for countertops in home kitchens. In their material choices, Khan points to the circulation of materials in the park, and to the unseen domestic labor largely performed by women. Khan’s reimagined public monument paints a portrait of the park and the people who maintain it every day, as well as the people far away who manufacture the goods shipped to our door. While historically archways have been inscribed with the names and symbols of nobles and leaders, this archway is a monument to the ecosystem of labor and people around the world who make the High Line possible. Artist bio Baseera Khan (b. Texas) lives and works in Queens, New York. Recent solo exhibitions include: Statements with Simone Subal Gallery, Art Basel, Switzerland (2023); Hirshhorn Museum and Sculpture Garden, Washington D.C. (2023); Georgetown University, Washington D.C. (2023); Contemporary Arts Center, Cincinnati, Ohio (2022); Moody Center For The Arts, Houston, Texas (2022); Brooklyn Museum, Brooklyn, New York (2021); and Simone Subal Gallery, New York, New York (2019). Selected group exhibitions include: Kiran Nadar Museum of Art, New Delhi, India (2023); Sharjah Art Foundation, Sharjah, United Arab Emirates (2022); the Wexner Center for the Arts, Columbus, Ohio (2021); NOMA, New Orleans, Louisiana (2020); The Kitchen, New York, New York (2018); SculptureCenter, Queens, New York (2018); and Aspen Art Museum, Colorado (2018). Baseera Khan’s work is in the public collections of the Brooklyn Museum, Brooklyn, New York; Solomon R. Guggenheim Museum, New York, New York; Whitney Museum of American Art, New York, New York; and the Walker Art Center, Minneapolis, Minnesota, among others.
4. HIGHGC_231015_01.JPG: The following pictures are from the page 2023_NY_High_Line_Blows NY -- NYC -- High Line -- Art: The wind blows where it wishes (by Gabriel Chaile) (14 photos from 2023)
5. HIGHGC_231015_09.JPG: GABRIEL CHAILE The wind blows where it wishes, 2023 Adobe and steel May 2023 - April 2024 Gabriel Chaile (b. 1985, San Miguel de Tucumán, Argentina) lives in Lisbon, Portugal. Gabriel Chaile makes large sculptures, drawings, and installations that reference his ongoing research around rituals and popular communal gatherings that occur on the periphery of cities. Chaile uses archetypal materials, forms, and symbols associated with pre-Columbian cultures to create objects and installations that blend Indigenous mythologies with contemporary social themes in a poetic and humorous way. Chaile's large adobe sculpture conceived for the High Line is the result of numerous observations, including Leonardo da Vinci's nature drawings, Biblical passages about natural forces, rain, steam, and speed in Caspar David Friedrich's paintings, spatial continuity in Umberto Boccioni's sculptures, and Hayao Miyazaki's film Nausicaä of the Valley of the Wind. Above all, Chaile was inspired by pre-Columbian archeological ceramics from northwest Argentina gathered in a small museum in Tucumán. The artist imagines these ceramics, as ceremonial objects, wind instruments, kitchen containers, planters, and so much more. Chaile wanted to avoid competition with the surrounding skyscrapers and extreme weather. Instead, he intends for his sculpture to come to life through its interactions with its surrounding natural forces: wind, rain, snow, and vegetation, which will create music when in contact with the sculpture. The artwork is a sculpture- manifesto, one that plays with the wind's memory as transmitter of poetry.
6. HIGHGR_231015_05.JPG: The following pictures are from the page 2023_NY_High_Line_Rickey NY -- NYC -- High Line -- Kasmin Sculpture Garden: George Rickey (Two Open Trapezoids Excentric III, Four Lines in a T, IV, Conical Segments Gyratory Gyratory IV - Seven Axes) (7 photos from 2023)
7. HIGHGR_231015_07.JPG: George Rickey American Sculptor, 1907-2002 Left: Two Open Trapezoids Excentric III, 1977 Center: Four Lines in a T, IV, 1983 Right: Two Conical Segments Gyratory Gyratory IV - Seven Axes, 1980 @kasmingallery #kasminsculpturegarden
8. HIGHJI_231015_01.JPG: The following pictures are from the page 2023_NY_High_Line_Ji NY -- NYC -- High Line -- Art: Column-Untitled No.3 (by Yu Ji) (6 photos from 2023)
9. HIGHJI_231015_05.JPG: Yu Ji Column-Untitled No.3 April 2023 – March 2024 Location On the High Line at 20th Street Yu Ji creates installations and sculptures that come alive over the course of their exhibition. Her installations incorporate changing elements like liquids and live plants that shift and morph from day to day. Yu’s sculptures often hold a tension between their anthropomorphic forms—such as arms, thighs, and knees—and the solid building materials like cast concrete and rebar they’re made from. Yu thinks of making sculptures as a performative process, as she decomposes the gestures and steps of sculptural practice into her videos and performances. An extensive interest in the natural living world can be seen in many of Yu’s works. For the High Line, Yu creates a new set of sculptures in conversation with the plants in the park’s renowned gardens. Column-Untitled No.3 comprises two twisting columns whose design reflects magnified images of the Equisetum—an over 100 million-year-old family of ferns—growing on the High Line. The work references the practice of early 20th-century photographer Karl Blossfeldt, known for his highly detailed black-and-white photographs of plants, as well as the teachings on botanical architectural ornamentation by early 19th-century German theologian Moritz Meurer. Drawing on Blossfeldt’s research on ancient forms of plants, Yu opens the question of whether plants are themselves a pure form of art. The column structures Yu makes are cast in concrete and soap, which will change in color and form over the 12 months of the installation in the open air, coming to life as the nearby plants transform around the sculpture. This project is Yu's first public art commission and her first major project in New York City. Artist bio Yu Ji (b. 1985, Shanghai, China) lives and works in Shanghai, China. Yu has presented solo exhibitions at institutions internationally, including Chisenhale Gallery, London, England (2021); Centre Pompidou x West Bund Museum, Shanghai, China (2021); Project Terrace, Shanghai, China (2020). Recent group exhibitions include INCORPOREA 03, Basement Roma, Rome, Italy (2021); Soon enough: Art in Action, Tensta Konsthall, Stockholm, Sweden (2018); Entropy, Faurschou Foundation, Beijing, China (2018); and INSIDE CHINA. L’Intérieur du Géant, Palais de Tokyo, Paris, France (2014). Yu Ji has participated in numerous international art exhibitions, including the 10th Asia Pacific Triennial of Contemporary Art, Brisbane, Australia (2021); New Museum Triennial, New Museum, New York, New York (2021); 58th Venice Biennale, Venice, Italy (2019); 11th Gwangju Biennale, Gwangju, South Korea (2016); and the 11th Shanghai Biennale, Shanghai, China (2016). In 2017, she was shortlisted for Hugo Boss Art Asia Award. She undertook a fellowship sponsored by Asian Cultural Council to live and work in New York for six months in 2022.
10. HIGHJP_231015_01.JPG: The following pictures are from the page 2023_NY_High_Line_Observed NY -- NYC -- High Line -- Art: Observer, Observed (by Julia Phillips) (10 photos from 2023)
11. HIGHJP_231015_04.JPG: Julia Phillips Observer, Observed September 2022 – February 2024 Location On the High Line at 26th Street Julia Phillips works in ceramics and metal to create objects and scenes that are intimately connected to the body. Her sculptures propose support structures for the human form while emphasizing its absence. She makes impressions of the body in the form of casts of limbs, handprints, and other corporeal traces. Though evocative of physical functions and experiences, her work highlights power relations between individuals— and between individuals and institutions—functioning as a metaphor for social and psychological experiences. For example, for her recent Observer II, Phillips cites Alfred Hitchcock’s Rear Window as a source of inspiration. The sculpture, a set of ceramic binoculars on a stainless steel stand, questions the responsibility inherent in the act of observing, whether in an intimate situation or an anonymous one, like lurking on social media. For the High Line, Phillips expands on this previous work with Observer, Observed, playing on publicly accessible binocular towers commonly found at tourist and scenic destinations. Phillips crafts a custom shape set of binoculars, cast in bronze and attached to an adjustable metal support structure, installed on the Flyover at 26th Street. Visitors can interact with the sculpture by looking through the binoculars onto the adjacent streets and buildings—while a nearby LED screen transmits live footage of the visitor’s eyes, captured by a camera inside the binoculars. The title of the work, Observer, Observed, refers to the power dynamics at play between perception and spectatorship in public space. Organized by Cecilia Alemani, Donald R. Mullen, Jr. Director & Chief Curator of High Line Art. Artist bio Julia Phillips (b. 1985, Hamburg, Germany) lives and works in Chicago, Illinois and Berlin, Germany. Recent solo exhibitions of her work have been featured at institutions including Kunstverein Braunschweig, Braunschweig, Germany (2019) and MoMA PS1, Long Island City, New York (2018. Her work has been featured in notable group exhibitions including The Milk of Dreams, 59th International Art Exhibition of La Biennale di Venezia (2022), Grief and Grievance: Art and Mourning in America, New Museum, New York, New York (2021); Smashing into my heart, The Renaissance Society, Chicago, Illinois (2021); Feminist Histories: Artists After 2000, Museum of Art of São Paulo, São Paulo, Brazil (2019); We don’t need another hero, 10th Berlin Biennale for Contemporary Art (2018), 2018 Triennial: Songs for Sabotage, New Museum, New York, New York (2018); and We Go As They, The Studio Museum in Harlem, New York, New York (2017).
12. HIGHPR_231015_01.JPG: The following pictures are from the page 2023_NY_High_Line_Tree NY -- NYC -- High Line -- Art: Old Tree (by Pamela Rosenkranz) (9 photos from 2023)
13. HIGHPR_231015_15.JPG: Pamela Rosenkranz Old Tree May 2023 – Fall 2024 Location On the High Line at the Spur, at 30th St. and 10th Ave. For the third High Line Plinth commission, Rosenkranz presents Old Tree, a bright red-and-pink sculpture that animates myriad historical archetypes wherein the tree of life connects heaven and earth. The tree’s sanguine color resembles the branching systems of human organs, blood vessels, and tissue, inviting viewers to consider the indivisible connection between human and plant life. Old Tree evokes metaphors for the ancient wisdom of human evolution as well as a future in which the synthetic has become nature. On the High Line—a contemporary urban park built on a relic of industry—Old Tree raises questions about what is truly “artificial” or “natural” in our world. Made of man-made materials and standing at a height of 25 feet atop the Plinth, it provides a social space, creating shade while casting an ever-changing, luminous aura amid New York’s changing seasons. Pamela Rosenkranz creates sculptures, paintings, videos, and installations that reflect on the human need to anthropomorphize our surroundings in order to understand them. In doing so, she investigates the codes through which people give meaning to the natural world. Her projects center synthetic materials created in the image of nature: a swimming pool filled with viscous fluid, collections of mineral water bottles filled with silicone, or a kitchen faucet streaming water colored with E131 “sky blue” synthetic dye. Color is paramount for Rosenkranz, who employs fabricated colors intended to reflect unblemished and idealized nature. She elaborates on the condition of the body as a malleable system. Questioning the worldview that centers human beings, Rosenkranz addresses our relentless attempts to domesticate and tame the other living beings around us, as well as our own bodies. Artist bio Pamela Rosenkranz (b. 1979, Uri, Switzerland) lives and works in Zürich, Switzerland. She has held solo exhibitions at institutions including Kunsthaus Bregenz, Bregenz, Austria (2021); Fondazione Prada, Milan, Italy (2017); Kunsthalle Basel, Basel, Switzerland (2012); and Centre d’Art Contemporain, Geneva, Switzerland (2010). Her work was featured in recent group exhibitions at the Schinkel Pavillon, Berlin, Germany (2021); Institute of Contemporary Art, Los Angeles, California (2021); Sharjah Art Foundation, Sharjah, United Arab Emirates (2020); Garage Museum of Contemporary Art, Moscow, Russia (2019); Centre Georges Pompidou, Paris, France (2019); and Museo Espacio, Aguascalientes, Mexico (2016). She has participated in major international group exhibitions including the Okayama Art Summit, Japan (2019) and the 15th Biennale de Lyon, France (2019). In 2015, she presented the Swiss Pavilion at the 56th Venice Biennale. Her work is featured in the collections of major institutions around the world, including K11 Art Foundation, Hong Kong; Kunsthaus Zürich, Zürich, Switzerland; Museum of Contemporary Art, Chicago, Illinois; Museum of Modern Art, New York, New York; and Museum für Moderne Kunst, Frankfurt, Germany.
14. HIGJHF_231015_01.JPG: The following pictures are from the page 2023_NY_High_Line_JHF NY -- NYC -- High Line -- Art: Noah's Ark in the Coachella Valley & Blowout (by Jessie Homer French) (5 photos from 2023)
15. HIGNCA_231015_06.JPG: The following pictures are from the page 2023_NY_High_Line_Love NY -- NYC -- High Line -- Art: NYC LOVE (by Nina Chanel Abney) (5 photos from 2023)
16. HIGNCA_231015_15.JPG: Nina Chanel Abney NYC LOVE November 2022 – November 2023 Location Adjacent to the High Line at 22nd St. Nina Chanel Abney creates paintings, prints, and large-scale mural installations that reflect the frenzied pace of contemporary life. In a single painting, she may merge influences from news and politics, celebrity culture and gossip blogs, social media, art history, and popular television shows, all layered together to express the overabundance of contemporary culture. Layering spray paint and acrylic paint, Abney composes scenes of everyday life with graphic, angular figures posed in narrative scenes against bright, geometric backgrounds. In one of her recent series of works, Abney sets out to realize a rural Black queer utopia, inspired by the time she spent escaping New York City during the pandemic. For the High Line, Abney realizes NYC LOVE, a new mural that celebrates the feeling of first arriving in New York City. NYC LOVE is a whimsical take on New York City’s classic iconography. When the artist moved to New York in 2005, she would meander through the city streets from Chelsea to Times Square, seduced by the hustle and bustle, bright lights, and the idea of a sleepless city. All of the “touristy” icons that most lifetime and long-time New Yorkers take for granted were gratifying and glossy to Abney, a self-described Midwestern suburbanite. NYC LOVE is representative of Abney’s first years as a student and tourist in New York City—an ode to the feeling of newness and unfamiliarity that breeds excitement and possibility. Featuring the many icons of New York—pizza slices and the Statue of Liberty, plenty of pigeons, and one Big Apple—Abney’s mural rides the subway, floats along the waterfront, and takes in all the city has to offer. NYC LOVE graces the High Line, an icon in itself that welcomes millions of New Yorkers and visitors alike to enjoy the many offerings of the bustling metropolis. Organized by Cecilia Alemani, Donald R. Mullen, Jr. Director & Chief Curator of High Line Art. Artist bio Nina Chanel Abney (b. 1982, Chicago, Illinois) lives and works in New York, New York. Abney has presented solo exhibitions at ICA Miami, Florida (2022); The Contemporary Dayton, Ohio (2021); Institute of Contemporary Art, Boston, Massachusetts (2020); Norton Museum of Art, West Palm Beach, Florida (2019); and Palais de Tokyo, Paris, France (2018). Her work has been exhibited in group exhibitions including Men of Change: Power. Triumph. Truth., National Underground Railroad Freedom Center, Cincinnati, Ohio (2019), traveling to Washington State History Museum, Tacoma, Washington (2019–2020); California African American Museum, Los Angeles, California (2020); and The Thomas Gilcrease Institute of American History and Art, Tulsa, Oklahoma (2020–2021); 30 Americans, Barnes Foundation, Philadelphia, Pennsylvania (2019–2020); and the 12th Gwangju Biennale, South Korea (2018).
17. HIGHBA_221007_04.JPG: The following pictures are from the page 2022_NY_High_Line_Baayfalls NY -- NYC -- High Line -- Art: The Baayfalls (by Jordan Casteel) (5 photos from 2022)
18. HIGHBA_221007_13.JPG: Jordan Casteel The Baayfalls December 2019 – Summer 2022 Location Adjacent to the High Line at 22nd St. Jordan Casteel is best known for her portraiture. Her vibrant, larger-than-life canvases portray the gazes, gestures, and lives of the individuals who surround her, including family, friends, her students, fellow subway riders, and people she meets on the sidewalk. Casteel works from hundreds of photographs, which allow her to spend hours incorporating the many small details that bring her paintings to life. She paints her subjects as they choose to be seen in their homes or places of work—with friends or family, and the objects that surround them. Inspired by painters such as Alice Neel and Faith Ringgold, Casteel thinks through histories of portrait painting and the ways it creates the world as much as reflects it. The mural The Baayfalls recreates a painting on canvas of the same name originally made in 2017. The Baayfalls is a double portrait of Fallou—a woman Casteel befriended during her artist residency at The Studio Museum in Harlem—and Fallou’s brother, Baaye Demba Sow. The pair are pictured outside the museum at Fallou’s table, where she sold hats she designed. When Fallou’s brother arrived in New York from Senegal, Casteel asked the two to sit for a portrait. The title references Baye Fall, a sect of the Sufi brotherhood Mouride, of which Fallou’s brother is a member. The gesture Fallou makes with her left hand signifies Allah among members of Baye Fall. Casteel’s work for the High Line extends the Harlem sidewalk to the park, connecting public spaces of different neighborhoods across the city. Through her portraiture, Casteel adds deeply nuanced expressions of human experience to the expanding collection of images we see every day. Artist bio Jordan Casteel (b. 1989, Denver, Colorado) lives and works in New York, New York. Casteel has presented solo exhibitions at the New Museum, New York, New York (forthcoming, 2020); Cantor Center for Visual Arts, Stanford, California (2019); and Denver Art Museum, Denver, Colorado (2019). Notable group exhibitions include New Time: Art and Feminisms in the 21st Century, UC Berkeley Art Museum, California (forthcoming, 2020); She Persists: A Century of Women Artists in New York, Gracie Mansion, New York, New York (2019); Crystal Bridges Museum of American Art, Bentonville, Arkansas (2019); One Day at a Time: Manny Farber and Termite Art, MOCA, Los Angeles, Los Angeles, California (2018); The Half-Life of Love, MASS MoCA, North Adams, Massachusetts (2017); and Regarding the Figure, The Studio Museum in Harlem, New York, New York (2017).
19. HIGHDR_221007_09.JPG: The following pictures are from the page 2022_NY_High_Line_Drone NY -- NYC -- High Line -- Art: Untitled (drone) (by Sam Durant) (10 photos from 2022)
20. HIGHDR_221007_17.JPG: Sam Durant Untitled (drone) May 2021 – October 2022
21. HIGHDR_221007_27.JPG: What Is A Drone?
22. HIGHDR_221007_30.JPG: Who Flies Drones?
23. HIGHDR_221007_37.JPG: Learn More About Drones
24. HIGHFR_221007_01.JPG: The following pictures are from the page 2022_NY_High_Line_Freedoms NY -- NYC -- High Line -- Art: Freedom’s Stand (by Faheem Majeed) (25 photos from 2022)
25. HIGHFR_221007_04.JPG: Faheem Majeed Freedom’s Stand September 22, 2022 - August 2023 Location On the High Line at 30th Street Faheem Majeed is an artist, educator, curator, and community facilitator. In 2016, Majeed founded the Floating Museum, an art collective that creates new models for exploring relationships between art, community, architecture, and public institutions. He has also been the Executive Director and Curator for the South Side Community Art Center, the oldest African American art center in the US. Majeed blends his experience as an artist, non-profit administrator, and curator to create artworks focused on institutional critique; his exhibitions leverage collaboration to promote meaningful dialogue among his immediate community, as well as a broader one. In his sculptural practice, Majeed often makes portraits of specific places: through rubbings of walls, floors, or even farm fields. In some cases he recreates the cultural spaces where he works as an administrator. He stages events, performances, and conversations within his installations, balancing between creating art objects and platforms for new cultural experiences. For the High Line, Majeed presents Freedom’s Stand, an homage to the role of Black newspapers in the US. The work draws inspiration from a range of influential, community-driven work, including Chicago’s Wall of Respect and the Community Mural Movement, and emphasizes the importance of community-generated news and self-representation. Freedom’s Stand is named after Freedom’s Journal, the first Black-owned-and-operated newspaper in New York City, founded in 1827, which offered a counter-narrative to newspapers that attacked African Americans and encouraged slavery. The sculpture is modeled on the Dogon granaries of West Mali. The walls of the sculpture showcase headlines, articles, photographs, and advertisements from historical and contemporary Black newspapers, such as the ongoing South Shore Current in Chicago; these selections rotate monthly. Artist bio Faheem Majeed (b. 1976, Chicago, Illinois) lives and works in Chicago. Majeed has presented solo exhibitions at Hyde Park Art Center, Chicago, Illinois (2020); South Side Community Art Center, Chicago (2020); Corvus Gallery, University of Chicago’s Laboratory School, Chicago (2019); SMFA at Tufts University, Boston, Massachusetts (2019); and Museum of Contemporary Art, Chicago (2015). His work has been featured in group exhibitions at institutions including Palais de Tokyo, Paris, France (2017); DuSable Museum, Chicago (2017); P!, New York, New York (2017); and School of the Art Institute of Chicago, Chicago (2016). Majeed has received The Field and MacArthur Foundation’s Leaders for a New Chicago Award (2020), Joyce Foundation Award (2020), the Harpo Foundation Award (2016), and the Joan Mitchell Painters and Sculptors Grant (2015).
26. HIGHLL_221007_01.JPG: The following pictures are from the page 2022_NY_High_Line_Lalanne NY -- NYC -- High Line -- Kasmin Sculpture Garden: Les LaLanne (Lapin a Vent, Sanglier de Villepinte, Pomme Dh'iver) (14 photos from 2022)
  Les Lalanne French sculptors Claude Lalanne, 1925-2019 Francois-Xavier Lalanne, 1927-2008 (Left) Lapin a Vent, 2007 (Center) Sanglier de Villepinte, 2006 (Right) Pomme D'Hiver, 2008
27. HIGHLL_221007_03.JPG: LES LALANNE AU GRAND AIR Kasmin is delighted to announce the first exhibition of work by French sculptors Les Lalanne to be presented in the Kasmin Sculpture Garden on the rooftop of Kasmin Gallery in Chelsea, New York. Opening during the first week of May, Les Lalanne: Au Grand Air is timed to mark the beginning of the spring season and is staged in anticipation of the inaugural New York Art Week. Comprising two large-scale bronze sculptures by Francois-Xavier Lalanne, Sanglier de Villepinte (2006) and Lapin à Vent (2007), and one major work by Claude Lalanne, Pomme d’Hiver (2008), the outdoor exhibition encourages audiences to consider their relationship with nature, art, and the way in which the two are connected. The presentation will continue with additional works inside at Kasmin’s 28th Street location, such as François-Xavier’s seminal work Ane Bâté (grand) (1985). The works on view celebrate the artists' kinship with the natural world, demonstrating their surrealist philosophy and mirroring the verdant gardens of the studio and home where the couple lived and worked together for over three decades. From their earliest exhibition in 1964 entitled Zoophites—a reference to objects with a mixture of animal and plant characteristics—the artists repeatedly drew inspiration from flora and fauna, transforming natural references into inventive creations that meld the material elegance of art nouveau metalwork with phantasmagorical formal inventions more akin to the realm of myth. Les Lalannes' outdoor sculpture epitomizes the surrealist methodology of intervening in public space, creating juxtapositions that destabilize expectation. In conversation with the The High Line and the Hudson River and set against the backdrop of the biomorphic Zaha Hadid building, the works speak to the unexpected connections that define the life force of the city. Kasmin is dedicated to the presentation of large-scale sculpture and continues to support public art projects around the world. Previous offsite exhibitions of Les Lalanne in New York City organized by the gallery include the popular Sheep Station at The Getty Station, Chelsea (2013) and Les Lalanne on Park Avenue presented by the New York City Parks Public Art Program in cooperation with the Fund for Park Avenue Sculpture Committee (2009). Additional public displays of Les Lalanne's outdoor sculptures at at the Palace of Versailles, France; The Raleigh Gardens, Miami; and Fairchild Tropical Botanical Gardens, Coral Gables, have offered the opportunity to view their work in far-off pastures. In conjunction with the exhibition, Kasmin will release a fully-illustrated publication bringing together documentation of outdoor exhibitions by Les Lalanne in the United States and new scholarship on the work. François-Xavier Lalanne Lapin à Vent 2007 bronze 69 5/7 x 104 1/3 x 21 5/8 inches 177 x 265 x 55 cm Edition of 8 (#8/8) Francois-Xavier Lalanne Sanglier de Villepinte 2006 bronze 35 3/8 x 65 x 15 inches 90 x 165 x 38 cm Edition of 8B + 4 AP (#8/8) Claude Lalanne Pomme d'Hiver 2008 bronze 66 1/8 x 84 1/4 inches 168 x 214 cm Edition of 8 + 4 APs (#7/8) ABOUT THE ARTISTS Claude Lalanne (b. 1924-2019) and François-Xavier Lalanne (1927–2008), known individually and collectively since the 1960s as “Les Lalanne,” are remembered for their unique mélange of inventive, practical, poetic, and surrealist sculptures. Having rediscovered the Renaissance art of casting forms from life, Claude Lalanne employed contemporary electro-plating techniques, achieving a delicacy and sensitivity in her work unparalleled in cast bronze. François-Xavier Lalanne (1927–2008) similarly found inspiration in nature, accomplishing a streamlined elegance in his work’s profound simplicity. Following his tenure as a guard at the Musée du Louvre, the artist incorporated Egyptian and Assyrian characteristics into his sculpture, paying close attention to the animal form in ancient wall reliefs and idolic sculpture. As with both of the artists' works, his sculptures have functional value, creating a sense of accessibility that contradicts the sacred treatment of the ancient objects in the museum. Works by Les Lalanne in public forums include a giant peace dove mounted to an obelisk in Jerusalem (1978); sculptures, walkways, and playgrounds for the Forum des Halles in Paris (1979-86); topiaries and fountains for the Place de l’Hotel de Ville in Paris (1982); a fountain in homage to Brancusi near Impasse Ronsin (1984); a large-scale fountain sculpture in Hakone, Japan (1987), and six large dinosaur-shaped topiary fountains in Santa Monica (1989). Most recently, Les Lalanne have been the subject of the solo exhibitions, Claude & François-Xavier Lalanne: Nature Transformed at the Clark Art Institute, Massachusetts, and Les Lalanne à Trianon at The Palace of Versailles, France. The artists' work has been spotlighted previously in a retrospective at Les Arts Decoratifs in Paris, a large-scale public exhibition at the Fairchild Tropical Botanic Garden in Coral Gables, Florida, on New York’s Park Avenue and Getty Station, and in the sale of the collection of Yves Saint Laurent. Their work is included in major collections worldwide including the Cooper Hewitt Museum in New York, the Museé Nationale d’Art Moderne/Centre Georges Pompidou, the Museé d’Histoire Naturelle in Paris, the City of Paris, the City of Santa Monica, and the City of Jerusalem.
28. HIGHUK_221007_01.JPG: The following pictures are from the page 2022_NY_High_Line_You_Know NY -- NYC -- High Line -- Art: You know who I am (by Paola Pivi) (7 photos from 2022)
29. HIGHUK_221007_14.JPG: Paola Pivi You know who I am April 2022 – March 2023 Location On the High Line at 16th Street Paola Pivi’s interdisciplinary artistic practice combines the familiar with the bizarre. She is known for transposing live animals and common objects—ranging from helicopters to cappuccinos—to unexpected settings. Some of her best-known striking tableaux include Untitled (zebras), two zebras standing on a snowy mountain—shown on the High Line Billboard in 2012—as well as 84 goldfish flying coach, and a gallery filled with frolicking feathered polar bears in highlighter-bright hues. In all her work, Pivi uses strategies of displacement and overabundance to disorient and shift viewers’ expectations of rules, categories, and boundaries. Her parallel universes offer opportunities to shift points of view on divisions we take for granted. You know who I am is a large-scale cast bronze replica of the Statue of Liberty wearing various cartoonish masks. The masks are stylized portraits of individuals whose personal experiences of freedom are directly connected to the United States. The masks will change every two months, representing six different people over the course of the exhibition. The work stands twenty-three feet above the High Line on the Northern Spur Preserve. From this vantage, visitors can also see the original Lady Liberty to the south in New York Harbor. Pivi’s replica was manufactured at Fonderia Artistica Battaglia, a bronze casting foundry established in Milan in 1913. This replica follows a direct line to the original sculpture by Frédéric-Auguste Bartholdi. To create a scale replica, Pivi worked from a historic plaster cast of the original bronze model created by Bartholdi himself, which is now on view at the Musée d’Orsay in Paris. The six emoji-inspired masks are playful and colorful, contrasting the streamlined, lighthearted portraiture of personalized digital cartoons with the staid monumentality of the statue. Each mask represents an individual whose experience of freedom is connected to the United States, offering the sentiment that anyone could be represented within the symbol of the statue. For this commission, Pivi, an Italian artist who has lived in Alaska since 2006, was inspired by her family’s experience. Pivi’s son had been living stateless in India when he adopted Pivi and her husband. The three of them endured a four-year legal battle in India to bring the boy home, a journey that concluded with her son gaining a pathway to citizenship in the US. During this struggle, the Statue of Liberty became an invaluable beacon for Pivi’s son, a symbol of the human rights and freedom that could be possible for him in the US. For You know who I am, Pivi expands on her family’s experience, depicting in the masks five additional individuals whose freedom has been connected to the US, and inviting them to share their own stories. For some, their story may be about having gained or hoping to gain greater freedoms upon entering the US; for others, the US may represent a denied dream of freedom. Stories from the six people pictured, beginning with Pivi’s son, will be available for visitors on the High Line’s website. You know who I am engages conversations about legal and symbolic freedoms available in the US, and how these freedoms are sought by people living around the world. In Pivi’s engagement with this subject matter, the artist also considers the US’s limitations on freedom. Paola Pivi, You know who I am is organized by Cecilia Alemani, Donald R. Mullen Director & Chief Curator of High Line Art and Melanie Kress, High Line Art Associate Curator. Mahnaz Akbari was born in Mashhad, Iran in 1985, to an Afghan refugee family, and lived in Kabul, Afghanistan from 2011 to 2021. Mahnaz was among the limited number of Afghan women who were evacuated in August 2021 after the withdrawal of the United States military from Afghanistan. Mahnaz, along with her two nieces she managed to evacuate with, are currently in the process of applying for asylum in the United States. Mahnaz is the second youngest of five children. When Mahnaz grew up in Mashhad, her father had a grocery store and her mother took care of the house and raised her and her brothers. At age 16, Mahnaz wanted to be a surgeon and later wanted to be in the army. She worked as a calligraphy instructor and a supply chain manager at her friend’s clothing store. Mahnaz and her family returned to Kabul, Afghanistan, after the Soviet-Afghan war had long ended, when she was 25 years old. Mahnaz attained a Bachelor’s degree in Political Science at Kabul’s Gawharshad University. She joined the Afghan National Army in 2011. She quickly excelled as a soldier and was selected to serve and command the first Female Tactical Platoon (FTP) of the Afghan Special Operations in the Afghan National Army. She worked on missions alongside US soldiers across Afghanistan from 2011 to 2021. Recently, just before fleeing Afghanistan, Mahnaz had accepted a higher ranking position as a Coordinator Officer and had started her Masters degree in Sociology at Kabul’s Kateb University. Following the military withdrawal of the United States and other nations from Afghanistan, the subsequent fall of the Afghan government and the Taliban occupation of Kabul in 2021, Mahnaz suddenly found herself in life-threatening danger. She and her two nieces spent three days at the Kabul airport before being evacuated with other FTP members and some of their families on one of the cargo flights that were visible in the media. They arrived at Fort McCoy, Wisconsin, where they spent the next two months living in a military barracks, before finally settling in Riverdale, Maryland. Despite working with the US army in Afghanistan for over ten years, Mahnaz is not eligible for the protection of the Special Immigrant Visa (SIV) program that the US has provided since 2009 to Afghan nationals who assisted the US government. The program offers admission to the US, resettlement services, and legal permanent residence for approved applicants and their family members. Since Mahnaz was not contracted by the US government she does not qualify for the SIV program and therefore is caught in a precarious position. Mahnaz was granted humanitarian parole upon her arrival in the US, which allows her to stay in the US for 2 years. During this limited time, she and her nieces must go through the difficult process of applying for asylum in the US, a complex procedure that requires legal support. Finding a lawyer and organizing the asylum application is especially difficult for those who have had to suddenly flee and leave behind all possessions and funds, and cannot readily access records which may be needed as evidence for their asylum cases. Mahnaz has also received a temporary employment authorization and is currently working for a non-profit organization, Immigrant ARC, as an Afghan Reassessment Project Manager to help other Afghan refugees resettle in the US. Her goal is to one day create an orphanage or a non-profit organization back in Afghanistan. Despite the fact that Mahnaz is grateful to have been able to flee the current situation in Afghanistan, she experiences daily anguish and distress for her family and community who were not able to leave Afghanistan. Artist bio Paola Pivi (b. 1971, Milan, Italy) lives and works in Anchorage, Alaska. Recent solo exhibitions have been featured at institutions including Arken Museum of Modern Art, Ishøj, Denmark (2020); The Bass Museum, Miami Beach, Miami, Florida (2018); Savannah College of Art and Design, Savannah, Georgia (2018); La Rinascente, Milan, Italy (2017); Dallas Contemporary, Dallas, Texas (2016); FRAC Bourgogne, Dijon, France (2014); National Gallery of Victoria, Melbourne, Australia (2014); Witte de With, Rotterdam, Netherlands (2013); and Rockbund Art Museum, Shanghai, China (2012). Public solo commissions include High Line Art, New York, New York (2012) and Public Art Fund, New York, New York (2012). Notable group exhibitions include Io dico Io – I say I, Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, Italy (2021); Trittico, Fondazione Prada, Milan, Italy (2016); and Senso Unico, MOMA PS1, New York, New York (2007). Major international exhibitions include the Yokohama Triennial, Japan (2018) and the 48th Venice Biennale, Italy (1999).
30. HIGHWI_221007_01.JPG: The following pictures are from the page 2022_NY_High_Line_Windy NY -- NYC -- High Line -- Art: Windy (by Meriem Bennani) (5 photos from 2022)
31. HIGHWI_221007_05.JPG: Meriem Bennani Windy June 2022 – May 2023 Location On the High Line at 24th Street Merging magical realism, absurdist humor, and techniques from a wide range of moving image genres, Meriem Bennani creates video series that tell stories about human behavior and our experiences on- and offline, tackling subjects such as language, displacement, and diasporic living. Employing production aesthetics and storytelling methods found in recognizable forms such as reality television, home videos, documentary film, cell phone videos, and animation, Bennani welcomes the viewer into narratives that feel like an amplification of reality. Bennani shares her videos in a variety of traditional and creative formats, from immersive projection installations, to screens embedded in colorful, cartoon-like sculptures, to social media platforms like Instagram. On the High Line, Bennani realizes her first public sculpture, Windy, co-commissioned by High Line Art and Audemars Piguet Contemporary. Windy is a spinning sculpture in the shape of a tornado made from black foam. The work plays with various traditions and ambiguities of public sculpture. In many cases, the public is asked to walk around public sculpture, taking in its grandeur from a safe distance. Bennani’s sculpture spins itself, and at a speed that makes the details of the work almost impossible to grasp—both visually and physically. The work continues Bennani’s practice of creating large, geometric steel sculptures, which to date she has built to house her videos. Windy marks Bennani’s first sculpture that exists on its own terms, while the object’s movement continues her fascination with animation and the way that drawn and still characters come to life. In her conceptualization of the work, Bennani was inspired by the dynamism and constant movement on the High Line, wishing to make a sculpture that could capture and work within this urban energy. About Audemars Piguet Contemporary Audemars Piguet Contemporary, established in 2012, commissions international artists to create contemporary artworks. The art programme of Audemars Piguet—the oldest fine watchmaking manufacturer still in the hands of its founding families—engages with and commissions artists to create new work across a variety of scales and media, which may enable them to explore new territories in their practice. The curatorial team accompanies each commission process from inception to development to exhibition and builds experiences for audiences to engage with the work around the world. The resulting artworks belong to the artists and contribute to their body of work. Artist bio Meriem Bennani (b. 1988, Rabat, Morocco) is an artist based in New York. She has presented solo exhibitions at the Renaissance Society, Chicago, Illinois (2022); Nottingham Contemporary, Nottingham, England (2022); Julia Stoschek Collection, Berlin, Germany (2020); Fondation Louis Vuitton, Paris, France (2019); The Kitchen, New York, New York (2017); and MoMA PS1, Long Island City, New York (2016). Her work has been featured in group exhibitions at institutions including LAX, Los Angeles, California (2020); Kunsthal Charlottenborg, Copenhagen, Denmark (2020); and MAXXI National Museum of XXI Arts, Rome, Italy (2018). She has participated in major international exhibitions including the Whitney Biennial, Whitney Museum of American Art, New York, New York (2019); Biennale de l’Image en Mouvement, Turin, Italy (2019); Centre d’Art Contemporain, Geneva, Switzerland (2018); Biennale de Rennes, France (2018); and 11th Shanghai Biennale, China (2016).
32. HIGH4A_191220_01.JPG: The following pictures are from the page 2019_NY_High_Line_4Arches NY -- NYC -- High Line -- Art: En Plein Air: 4 Arches (by Sam Falls) (10 photos from 2019)
  Sam Falls (b. 1984, San Diego, California) makes dynamic layered paintings, ceramic sculptures, video, and dance works that reflect the natural elements he uses to make them. For the High Line, Falls creates four ceramic archways supported by the steel rail tracks from the High Line's original railway; each archway is dedicated to a different season in the park. For one year, Falls collected plants from the High Line, embedded them in ceramic, and fossilized them with colorful pigments.
33. HIGH5C_191220_01.JPG: Lubaina Himid (b. 1954, Zanzibar, Tanzania) creates life-size portraits cut into silhouettes that stand freely as flat sculptures. These works have a theatrical quality, referencing stage sets and the flatness of the simplified histories that dominate our world. With Five Conversations, Himid introduces five reclaimed wooden doors from traditional Georgian townhouses painted with portraits of everyday stylish women who enjoy talking to each other. The doors are installed at the Gansevoort Woodlands, where a small birch grove provides an intimate setting for communing with and learning from Himid's figures. In her signature way, Himid brings the two-dimensional medium of painting into our three-dimensional world.
34. HIGHBB_191220_01.JPG: Ryan Sullivan (b. 1983, Malone, New York) makes work that reflects a dynamic approach to abstract painting. His latest paintings are the result of an industrial casting process guided by spontaneity and improvisation: he applies pigment and resin in multiple layers to an open-faced mold. The resulting works use traditional painting concepts of figure and space, while also probing the limits of the medium. For the High Line, Sullivan installs four new resin paintings in conversation with the surrounding cityscape and plantings at 29th Street.
35. HIGHBF_191220_01.JPG: The following pictures are from the page 2019_NY_High_Line_Baayfalls NY -- NYC -- High Line -- Art: The Baayfalls (by Jordan Casteel) (15 photos from 2019)
36. HIGHBF_191220_16.JPG: The outline shows what is still to come.
37. HIGHSR_191220_01.JPG: Lara Schnitger's (b. 1969, Haarlem, Netherlands) work crosses the boundaries of installation, sculpture, fashion, architecture, and collage. The physicality of her works celebrates the female body and frames femininity as a complex and powerful force. Schnitger's large-scale sculpture Sister of the Road, made in painted aluminum, floats along her own path, unconfined by the structures around her. With her head thrown back in a moment of ecstasy, the towering figure appears worry-free, breaking loose from of the train tracks laid before her on the Northern Spur Preserve at 16th Street.
38. HIGHTR_191220_01.JPG: Ei Arakawa (b. 1977, Iwaki, Fukushima Prefecture, Japan) is known for performances that often incorporate previous artwork or collaborations with other artists. For the High Line, Arakawa installs at 26th Street two new singing LED paintings, a translation of Gustave Courbet's 1872 and 1873 paintings, both titled La truite (The Trout). Brought to life by an electric current, the trout emerges from the lush vegetation of the park as an illuminated canvas. The paintings perform a song that suggests connections between the art world of 19th century France -- contemporary to Courbet -- and the global art world today. The song's lyrics were written by Ei Arakawa & Dan Poston; the music was composed by Forrest Nash.
39. HIGHXO_191220_01.JPG: Vivian Suter (b. 1949, Buenos Aires, Argentina) creates abstract paintings that mirror the lush landscape of Panajachel, Guatemala, her home of over 30 years. Suter makes her paintings outside where they are transformed by the changing elements. In this way, the artist actively invites the natural elements to become a part of her paintings, allowing mud, leaves, wind, rain, and falling fruit to leave marks on her canvases. In Xocomil, Suter introduces a series of unstretched canvases to the landscape above the southernmost entrance to the park. "Xocomil" is the name for the wind that blows over Lake Atitlán near Suter's home, and translates to "the wind that carried away sin" in the indigenous Mesoamerican language Kaqchikel. Suter installs her unframed canvases one in front of the other as joyful welcome banners to visitors entering the park that echo the gardens' changing colors.
40. HIGIWC_191220_01.JPG: The following pictures are from the page 2019_NY_High_Line_Chelsea NY -- NYC -- High Line -- Art: In/With Chelsea (by multiple artists) (32 photos from 2019)
41. HIGIWC_191220_05.JPG: In/With Chelsea Through a series of artworks, In/With Chelsea inserts local memory and advocacy within the streetscapes near the Spur at 30th Street, the newest section of the High Line. Artists Lizania Cruz, Shannon Finnegan, Alicia Grullon, and Betty Yu were commissioned to work with local service providers and businesses to engage in storytelling workshops, interviews, and conversations with local residents and workers. As you walk through Northern Chelsea, you'll find moments of these interactions and neighborhood histories on street signs; signage produced and installed by the New York City Department of Transportation's Art Program and Sign Shop. After six months of engagement with partners including Hudson Guild, The Center, Center for Independence of the Disabled, New York, National Domestic Worker Alliance, Esposito Meat Market, GMHC, Fountain House Gallery, and the International Ladies' Garment Workers' Union, each artist created a series of street signs to make the historical and social landscape of long-time residents visible to the broader public.
42. HIGIWC_191220_23.JPG: "These are stories from workers who recount the neighborhood before the millionaires, luxury towers, big box stores, and expensive art took over." -- Betty Yu
43. HIGIWC_191220_28.JPG: "We would go around the shops when we had a rally, a picket line or protest. We got everybody to come down to the rally, so that was fun too." -- May Chen, Union Organizer, ILGWU local 23-25
44. HIGIWC_191220_30.JPG: Walk with each other in the moment of fear Taking the struggle and pain and using it towards making a change Just another day in the 99%
45. HIGIWC_191220_32.JPG: Don't ask me to be police When I'm asking for My fundamental rights
46. HIGIWC_191220_38.JPG: "How can you tell the lesser known stories of LGBTQ+ Chelsea -- stories of seniors, queer youth, people of color -- folks who have lived here, worked here, hung out here, and shaped the neighborhood?" -- Lizania Cruz
47. HIGIWC_191220_44.JPG: Something about her leopard printed tights and panties older than me make me want to salute her and call her maatheraa
48. HIGIWC_191220_48.JPG: The neighborhood raised us, okay. When I was 14 years old, I smoked a cigarette out the window. Somebody saw me and told my mother. Boy, did I get it!
49. HIGIWC_191220_50.JPG: "It was nice. I like it 'cause I like the open space. I mean, when you looked up here, when you looked to the north and the west, you had open sky." -- Penn South resident in conversation with artist Alicia Grullon
50. HIGIWC_191220_53.JPG: It's all becoming the land of no. They closed the local bodega. Rent increase. That was the only place you could get what you needed.
51. HIGIWC_191220_55.JPG: We had a parent group. A new lady came over to us & said, 'I just moved in & have no money or food.' So we gave her food. I saw her twice after & she came up to me & said, 'I still remember you helped me. Thank you.'
52. HIGIWC_191220_57.JPG: It's become the valley of the classes. Chelsea has risen, but what are they dong for the kids? The area is building up around us ,but what's happening to us?
53. HIGIWC_191220_59.JPG: Kumhee: I grew up around non-disabled people. So I've learned how to deal with their discomfort.
54. HIGIWC_191220_61.JPG: Ernest & Marla: Someone on SSI used to be able to afford an apartment in this neighborhood. Housing is always a fight.
55. HIGIWC_191220_63.JPG: "Sometimes I'm waiting for the bus and someone walks up to me and says, 'Oh, do you need help?' I'm like, 'I'm waiting for the bus like everyone else.' I don't need help all the time."
56. HIGIWC_191220_66.JPG: People with disabilities don't always need help. You can ask us for help.
57. HIGIWC_191220_68.JPG: Amy: I had to stay at a Holiday Inn in my own neighborhood because my building has one elevator and it broke.
58. HIGIWC_191220_71.JPG: Mario: Public benches, how wonderful, you know. You can actually walk and sit and catch your breath and have a sandwich, soda, or cup of coffee.
59. HIGHBH_191006_08.JPG: Collective Design The High Line listened to what people wanted for features of the Spur. That means James Corner Field Operations (Project Lead), Diller Scofidio + Renfro, and Planting Designer Piet Oudolf -- the same design team behind the first three sections of the park -- created a space for public programming, art, restrooms, access points, food, and plants.
60. HIGHBH_191006_12.JPG: Design Features
61. HIGHBH_191006_20.JPG: Simone Leigh Brick House Bronze; 9 x 9 x 16 feet June 2019 – September 2020 Simone Leigh presents Brick House, a 16-foot-tall bronze bust of a Black woman with a torso that combines the forms of a skirt and a clay house. The sculpture's head is crowned with an afro framed by cornrow braids, each ending in a cowrie shell. Brick House is the inaugural commission for the High Line Plinth, a new landmark destination for major public artworks in New York City. This is the first monumental sculpture in Leigh's Anatomy of Architecture series, an ongoing body of work in which the artist combines architectural forms from regions as varied as West Africa and the Southern United States with the human body. The title comes from the term for a strong Black woman who stands with the strength, endurance, and integrity of a house made of bricks. Brick House references numerous architectural styles: Batammaliba architecture from Benin and Togo, the teleuk dwellings of the Mousgoum people of Cameroon and Chad, and the restaurant Mammy's Cupboard in Natchez, Mississippi. The sculpture contrasts sharply against the landscape it inhabits, where glass-and-steel towers shoot up from among older industrial-era brick buildings, and where architectural and human scales are in constant negotiation. Resolutely facing down 10th Avenue, Leigh's powerful Black female figure challenges us to consider the architecture around us, and how it reflects customs, values, priorities, and society as a whole. Leigh works across sculpture, video, installation, and social practice, stitching together references from different historical periods and distant geographical locations. As a sculptor, Leigh works predominantly in ceramics -- a medium that she mastered early in her career -- continually pushing the boundaries of her chosen material by working in new methods and larger scales. In her intersectional practice, Leigh focuses on how the body, society, and architecture inform and reveal one another. She examines the construction of Black female subjectivity, both through specific historical figures such as Josephine Baker and Katherine Dunham, and more generally through overlapping historical lineages across Europe, Africa, the US, and the Caribbean. The High Line Plinth presents a series of art installations that rotate every eighteen months. Designed as the focal point of the Spur, the newest section of the park that opened in spring 2019, the Plinth is the first space on the High Line dedicated solely to new commissions of contemporary art.
62. HIGHTR_191006_01.JPG: Ei Arakawa (b. 1977, Iwaki, Fukushima Prefecture, Japan) is known for performances that often incorporate previous artwork or collaborations with other artists. For the High Line, Arakawa installs at 26th Street two new singing LED paintings, a translation of Gustave Courbet's 1872 and 1873 paintings, both titled La truite (The Trout). Brought to life by an electric current, the trout emerges from the lush vegetation of the park as an illuminated canvas. The paintings perform a song that suggests connections between the art world of 19th century France -- contemporary to Courbet -- and the global art world today. The song's lyrics were written by Ei Arakawa & Dan Poston; the music was composed by Forrest Nash.
63. HIGHTR_191006_05.JPG: In Vinculis Faciebat Lyrics: Ei Arakawa & Dan Poston Music: Forrest Nash
64. HIGH19_190601_04.JPG: The following pictures are from the page 2019_NY_High_Line_19 NY -- NYC -- High Line -- Art: En Plein Air: 19.604692 (by Firelei Báez) (6 photos from 2019)
65. HIGH5C_190601_04.JPG: The following pictures are from the page 2019_NY_High_Line_5Conv NY -- NYC -- High Line -- Art: En Plein Air: Five Conversations (by Lubaina Himid) (13 photos from 2019)
66. HIGHAG_190601_01.JPG: The following pictures are from the page 2019_NY_High_Line_Agitator NY -- NYC -- High Line -- Art: Silent Agitator (by Ruth Ewan) (7 photos from 2019)
67. HIGHBB_190601_04.JPG: The following pictures are from the page 2019_NY_High_Line_BB NY -- NYC -- High Line -- Art: En Plein Air: Blue, Brown, Pink, Red Painting (by Ryan Sullivan) (21 photos from 2019)
68. HIGHBH_190601_01.JPG: The following pictures are from the page 2019_NY_High_Line_Brick NY -- NYC -- High Line -- Art: Brick House (by Simone Leigh) (15 photos from 2019)
69. HIGHDB_190601_04.JPG: The following pictures are from the page 2019_NY_High_Line_Garlands NY -- NYC -- High Line -- Art: En Plein Air: Garlands (by Daniel Buren) (8 photos from 2019)
70. HIGHIL_190601_01.JPG: The following pictures are from the page 2019_NY_High_Line_I_Lift NY -- NYC -- High Line -- Art: I Lift My Lamp Beside the Golden Door (by Dorothy Iannone) (6 photos from 2019)
71. HIGHLV_190601_07.JPG: The following pictures are from the page 2019_NY_High_Line_Love NY -- NYC -- High Line -- Art: Love (by Robert Indiana) (15 photos from 2019)
72. HIGHSR_190601_04.JPG: The following pictures are from the page 2019_NY_High_Line_Sister NY -- NYC -- High Line -- Art: En Plein Air: Sister of the Road (by Lara Schnitger) (9 photos from 2019)
73. HIGHTR_190601_04.JPG: The following pictures are from the page 2019_NY_High_Line_Trout NY -- NYC -- High Line -- Art: En Plein Air: La truite (by Ei Arakawa) (13 photos from 2019)
74. HIGHXO_190601_04.JPG: The following pictures are from the page 2019_NY_High_Line_Xocomil NY -- NYC -- High Line -- Art: En Plein Air: Xocomil (by Vivian Suter) (7 photos from 2019)
75. HICREA_180815_01.JPG: The following pictures are from the page 2018_NY_High_Line_Cream NY -- NYC -- High Line -- Art: Agora: C.R.E.A.M. (by Sable Elyse Smith) (3 photos from 2018)
76. HICREA_180815_05.JPG: Sable Elyse Smith C.R.E.A.M., 2018 Sable Elyse Smith (b. 1986, Los Angeles, California) examines the complex language and emotional landscapes embedded in systems of surveillance and structures of constraint, and the often invisible ways in which they shape our minds and direct our bodies. For the High Line, Smith creates C.R.E.A.M. (titled after the Wu Tang Clan song), an altered replica of the Hollywood Sign that reads IRONWOODLAND -- a reference both to the Ironwood State Prison and to "Hollywoodland," the segregated real estate development that was advertised by the original sign. The piece draws attention to the contradictory nature of institutions that not only develop real estate, but prisons as well.
77. HICREE_180815_05.JPG: The following pictures are from the page 2018_NY_High_Line_Cree NY -- NYC -- High Line -- Art: Agora: pêyakotênaw (by Duane Linklater) (4 photos from 2018)
78. HICREE_180815_06.JPG: Duane Linklater pêyakotênaw, 2018 Duane Linklater (b. 1976, Moose Factory, Canada) is an Omaskêko Ininiwak artist from Moose Cree First Nation. He explores the relationship between indigenous people and museums, especially the differences in how the two value indigenous institutions and art objects. For the High Line, Linklater presents a series of towering tripods that reference the elemental structure of teepees. Linklater describes the teepee as a form of provisional, mobile architecture that is set in contrast to the bombastic development happening throughout New York and along the High Line. The title of his piece, pêyakotênaw, comes from the Cree word for family, which is formed from peyak, which means number one, combined with otenaw, the word for city or town.
79. HIGHBB_180815_06.JPG: The following pictures are from the page 2018_NY_High_Line_Bunk_Bed NY -- NYC -- High Line -- Art: Agora: Void Ratio of a Bunk Bed (by Naufus Ramirez-Figueroa) (3 photos from 2018)
80. HIGHBB_180815_10.JPG: Naufus Ramirez-Figueroa Void ratio of a bunk bed, 2018 Naufus Ramirez-Figueroa (b. 1978, Guatemala City, Guatemala) creates sculptures, videos, and performances that explore absence, presence, and the way our bodies interact with the built environment. For the High Line, Ramirez-Figueroa casts a bunk bed in aluminum, referencing the fraternity of a shared space, while also evoking a sense of loss. The fragility of the structure reflects the precariousness of childhood, and in particular, the experiences of the children in the illegal orphanages that appeared in Guatemala during the civil war from 1960–1996. Specifically, the work is influenced by the Buddhist belief that "form is emptiness; emptiness is form," and that all things are interconnected.
81. HIGHCH_180815_01.JPG: The following pictures are from the page 2018_NY_High_Line_Change NY -- NYC -- High Line -- Art: Agora: Forgiving Change (by Timur Si-Qin) (4 photos from 2018)
82. HIGHCH_180815_09.JPG: Timur Si-Qin Forgiving Change, 2018 Timur Si-Qin (b. 1984, Berlin, Germany) creates artwork that posits advertising and commercial marketing as a result and extension of biology. Across his practice, Si-Qin works to combat essentialism -- whether in branding, language, or nature itself. He often builds seemingly organic environments whose underlying industrial structures can be easily seen, thus calling into question the things we take for granted as "natural" or "unnatural." For the High Line, Si-Qin presents Forgiving Change, aluminum casts of a burned tree branch from Pepperwood Preserve, which was the site of one of the many forest fires that crossed the west coast of North America in 2017.
83. HIGHGI_180815_08.JPG: The following pictures are from the page 2018_NY_High_Line_Dig NY -- NYC -- High Line -- Art: Agora: The Dig of No Body (by Mariechen Danz) (7 photos from 2018)
84. HIGHGI_180815_14.JPG: Mariechen Danz The Dig of No Body (soil sample), 2011/2018 Mariechen Danz (b. 1980, Dublin, Ireland) is a Berlin-based artist who researches representations of the body, investigating the way it has been given meaning in various cultures, epochs, and fields of knowledge. In her installations, performances and music, often in collaboration with other artists and musicians, the human body emerges as a contradictory structure and a scene of conflict -- an utterly contaminated zone, both politically and historically. For the High Line, Danz presents a new iteration of The Dig of No Body, a sculpture that references anatomical learning models segregated into individual parts, like a life-sized soil sample in movable layers.The work evokes our changing relationship to the earth, as well as the popular contemporary name "Anthropocene," which suggests humans' creation of a new geological era.
85. HIGHLA_180815_04.JPG: The following pictures are from the page 2018_NY_High_Line_Lamp NY -- NYC -- High Line -- Art: Agora: I Lift My Lamp Beside the Golden Door (by Dorothy Iannone) (2 photos from 2018)
86. HIGHLA_180815_11.JPG: Dorothy Iannone I Lift My Lamp Beside the Golden Door March 2018–March 2019 Dorothy Iannone is a Berlin-based artist whose works focus on eroticism and the female sexual experience. Inspired by Egyptian frescoes, Byzantine mosaics, and ancient fertility statues, Iannone depicts the act of lovemaking not as an act of taboo, but rather as an act of spiritual union and transcendence. While now commonly lauded as transgressive and radical, her work, which often portrays her love affair with the late artist Dieter Roth, has been subject to frequent censorship since the 1960s. Iannone and Roth began creating work side-by-side after Iannone moved to Europe in 1967, and the two artists influenced each other's works greatly for almost a decade. Overlooked for much of her career, Iannone's magnetic and highly influential work finally began to receive widespread recognition in the late 2000s. For the High Line, Iannone creates a new, large-scale mural installation at 22nd St. Iannone's mural features three colorful Statues of Liberty. Between them runs the words, "I Lift My Lamp Beside the Golden Door," which is the final line from Emma Lazarus's poem "The New Colossus," the ode to the freedom promised by immigration to America engraved on a bronze plaque mounted inside the statue at Liberty Island. Iannone's piece was conceived before the recent months of upheaval in the United States around immigration, an already contested topic; these recent debates have raised the Statue of Liberty anew as a symbol of the openness of New York City and the United States to those seeking asylum, freedom, or simply a better life. Iannone's vibrant Liberties bring a bit of joy to an often exhausting and demoralizing political debate.
87. HIGH4C_171221_03.JPG: The following pictures are from the page 2017_NY_High_Line_Forecast NY -- NYC -- High Line -- Art: Mutations: The Forecast (New York Situation) (by Dora Budor) (3 photos from 2017)
  Mutations Dora Budor The Forecast (New York Situation), 2017
88. HIGH95_171221_01.JPG: The following pictures are from the page 2017_NY_High_Line_95Horatio NY -- NYC -- High Line -- Art: 95 Horatio Street, 2017 (by Do Hu Suh) (3 photos from 2017)
89. HIGH95_171221_09.JPG: Do Ho Suh 95 Horatio Street, 2017
90. HIGHA2_171221_01.JPG: The following pictures are from the page 2017_NY_High_Line_Amulet NY -- NYC -- High Line -- Art: Mutations: Amulet II (by Jumana Manna) (3 photos from 2017)
91. HIGHA2_171221_11.JPG: Mutations Jumana Manna Amulet II, 2017
92. HIGHCA_171221_01.JPG: The following pictures are from the page 2017_NY_High_Line_Canary NY -- NYC -- High Line -- Art: Mutations: The Emperor’s Canary (by Joanna Malinowska and C.T. Jasper) (5 photos from 2017)
93. HIGHCA_171221_08.JPG: Mutations Joanna Malinowska and Ct. Jasper The Emperor's Canary, 2017
94. HIGHCH_171221_01.JPG: The following pictures are from the page 2017_NY_High_Line_Chess NY -- NYC -- High Line -- Art: chess: relatives (by Darren Bader) (6 photos from 2017)
95. HIGHCH_171221_11.JPG: Darren Bader Chess: Relatives, 2017
96. HIGHCH_171221_13.JPG: Darren Bader Chess: Relatives, 2017
97. HIGHCH_171221_18.JPG: Darren Bader Chess: Relatives, 2017
98. HIGHCT_171221_01.JPG: The following pictures are from the page 2017_NY_High_Line_CTrap NY -- NYC -- High Line -- Art: Mutations: Avian Bird’s-Eye Burl Perch Camera Trap (by Larry Bamburg) (3 photos from 2017)
  Mutations Larry Bamburg Avian Bird's-Eye Burl Perch Camera Trap: hinged, galvanized and grounded, 2017
99. HIGHDE_171221_06.JPG: The following pictures are from the page 2017_NY_High_Line_Deliciosa NY -- NYC -- High Line -- Art: Mutations: La Deliciosa Show (by Radamés “Juni” Figueroa) (5 photos from 2017)
100. HIGHFL_171221_02.JPG: The following pictures are from the page 2017_NY_High_Line_Floaters NY -- NYC -- High Line -- Art: the floaters (by Henry Taylor) (5 photos from 2017)
101. HIGHFL_171221_07.JPG: Henry Taylor The Floaters
102. HIGHGI_171221_01.JPG: The following pictures are from the page 2017_NY_High_Line_Giantess NY -- NYC -- High Line -- Art: Mutations: Giantess (by Sascha Braunig) (3 photos from 2017)
103. HIGHGI_171221_10.JPG: Mutations Sascha Braunig Giantess, 2017
104. HIGHHS_171221_01.JPG: The following pictures are from the page 2017_NY_High_Line_Hop NY -- NYC -- High Line -- Art: Hop, Skip, Jump, and Fly: Escape From Gravity (by Sheila Hicks) (6 photos from 2017)
  Sheila Hicks Hop, Skip, Jump, and Fly: Escape from Gravity, 2017
105. HIGHIT_171221_01.JPG: The following pictures are from the page 2017_NY_High_Line_Tidal NY -- NYC -- High Line -- Art: Mutations: Section of Intertidal Landscape (Hair Metastasis) (by Max Hooper Schneider) (3 photos from 2017)
106. HIGHIT_171221_08.JPG: Mutations Max Hooper Schneider Section of Intertidal Landscape (Hair Metastasis), 2017
107. HIGHLC_171221_04.JPG: The following pictures are from the page 2017_NY_High_Line_Locus NY -- NYC -- High Line -- Art: Mutations: Locus of Control (by Alisa Baremboym) (6 photos from 2017)
108. HIGHLC_171221_19.JPG: Mutations Alisa Baremboym Locus of Control, 2017
109. HIGHRI_171221_01.JPG: The following pictures are from the page 2017_NY_High_Line_Rest_In NY -- NYC -- High Line -- Art: Mutations: REST IN (by Guan Xiao) (5 photos from 2017)
110. HIGHRI_171221_10.JPG: Mutations Guan Xiao Rest In, 2017
111. HIGHSA_171221_03.JPG: The following pictures are from the page 2017_NY_High_Line_Salam NY -- NYC -- High Line -- Art: Mutations: Salamanderbrunnen (by Veit Laurent Kurz) (6 photos from 2017)
112. HIGHSA_171221_06.JPG: Mutations Veit Laurent Kurz Salamanderbrunner, 2017
113. HIGHSP_171221_01.JPG: The following pictures are from the page 2017_NY_High_Line_Sphinx NY -- NYC -- High Line -- Art: Mutations: SPHINX JOACHIM (by Marguerite Humeau) (5 photos from 2017)
114. HIGHSP_171221_06.JPG: Mutations Margguerite Humeau Sphinx Joachim, 2017
115. HIGHSW_171221_01.JPG: The following pictures are from the page 2017_NY_High_Line_Swallower NY -- NYC -- High Line -- Art: Mutations: L’Avalée des avalés (The Swallower Swallowed) (by Jon Rafman) (6 photos from 2017)
116. HIGHSW_171221_12.JPG: Mutations Jon Rafman L'Avalee des avales (The Swallower Swallowed), 2017
117. HIGHBA_161220_03.JPG: The following pictures are from the page 2016_NY_High_Line_Bathers NY -- NYC -- High Line -- Art: Sunbathers I & II (by Kathryn Andews) (6 photos from 2016)
  Beyond this point you may encounter nude sunbathers
118. HIGHBL_161220_01.JPG: The following pictures are from the page 2016_NY_High_Line_Blind NY -- NYC -- High Line -- Art: Untitled (Blind Idealism Is...) (by Barbara Kruger) (4 photos from 2016)
119. HIGHBL_161220_13.JPG: Blind Idealism is Reactionary Scary Deadly
120. HIGHBP_161220_01.JPG: The following pictures are from the page 2016_NY_High_Line_BlueP NY -- NYC -- High Line -- Art: Blue Portrait (Nokia N82) (by Torbjørn Rødland) (2 photos from 2016)
121. HIGHHS_161220_03.JPG: The following pictures are from the page 2016_NY_High_Line_HS NY -- NYC -- High Line -- Art: Heritage Studies #10 (by Iman Issa) (3 photos from 2016)
122. HIGHHS_161220_05.JPG: Heritage Studies #10 Column from the Great Colonnade of the Newly Founded Capital Samarra Mesopotamia (Iraq) Column shows springing acanthus leaves that spiral downwards. The International Museum of Ancient Wars and Culture Collection. Limestone 383-3/4 x 30-11/16 inches AD 839
123. HIGHPR_161220_01.JPG: The following pictures are from the page 2016_NY_High_Line_Pres NY -- NYC -- High Line -- Art: I want a president (by Zoe Leonard) (4 photos from 2016)
124. HIGHPR_161220_03.JPG: I want a dyke for president. I want a person with AIDS for president and I want a fag for vice president and I want someone with no health insurance and I want someone who grew up in a place where the earth is so saturated with toxic waste that they didn't have a choice about getting leukemia. I want a president that had an abortion at sixteen and I want a candidate who isn't the lesser of two evils and I want a president who lost their last lover to AIDS, who still sees that in their eyes every time they lay down to rest, who held their lover in their arms and knew they were dying. I want a president with no air-conditioning, a president who has stood in line at the clinic, at the DMV, at the welfare office, and has been unemployed and laid off and sexually harassed and gaybashed and deported. I want someone who has spent the night in the tombs and had a cross burned on their lawn and survived rape. I want someone who has been in love and been hurt, who respects sex, who has made mistakes and learned from them. I want a Black woman for president. I want someone with bad teeth and an attitude, someone who has eaten that nasty hospital food, someone who crossdresses and has done drugs and been in therapy. I want someone who has committed civil disobedience. And I want to know why this isn't possible. I want to know why we started learning somewhere down the line that a president is always a clown. Always a john and never a hooker. Always a boss and never a worker. Always a liar, always a thief, and never caught. Zoe Leonard, 1992
125. HIGHRE_161220_01.JPG: The following pictures are from the page 2016_NY_High_Line_Red NY -- NYC -- High Line -- Art: The Red Inside (by Paulo Nazareth) (4 photos from 2016)
126. HIGHSL_161220_01.JPG: The following pictures are from the page 2016_NY_High_Line_Sleep NY -- NYC -- High Line -- Art: Sleepwalker (by Tony Matelli) (9 photos from 2016)
127. HIGHSM_161220_01.JPG: The following pictures are from the page 2016_NY_High_Line_Smart NY -- NYC -- High Line -- Art: Smart Tree (by Nari Ward) (6 photos from 2016)
128. HIGHST_161220_01.JPG: The following pictures are from the page 2016_NY_High_Line_Steel NY -- NYC -- High Line -- Art: Steel Rings (by Rayyane Tabet) (3 photos from 2016)
129. HIGHSW_161220_01.JPG: The following pictures are from the page 2016_NY_High_Line_Swan NY -- NYC -- High Line -- Art: Untitled (Swan) (by Matt Johnson) (3 photos from 2016)
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