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​The Art Students League of New York, one of America’s premier art schools, presents the Model to Monument Program (M2M), a collaboration with the New York City Department of Parks & Recreation that has culminated in the installation of one monumental sculpture, Mask, at Van Cortlandt Park.

The sculpture was created by an international team of seven selected League students during a nine-month program led by master sculptor Greg Wyatt.  The decision to sculpt a theatrical mask grew out the artists’ visits to Van Corltandt. The site is near the Red Steps below the Van Cortlandt House Museum, where public theater events are being introduced by Van Cortlandt Park Conservancy. The artists are: Elizabeth Allison, John Balsamo, Allston Chapman, Akihiro Ito, Selva Sanjines, Noa Shay, and Matthew White.

Model to Monument provides a project-driven program, site-specific for the students that focuses their artistic and professional development and their ability to respond to an environment. The artists’ experience working with the City gives them the ability and background to create new public works for people to contemplate and enjoy in the years and decades to come.

Mask is made possible by the Art Students League’s Model to Monument Program

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​McKerrell’s three sculptures, originally made of reclaimed Styrofoam, have been cast in aluminum, giving them a timeless presence reminiscent of traditional garden statuary. Two sprightly goats and an alert deer will animate this welcoming space. Attracted to the naiveté and purity of animals, McKerrell has focused on them in her recent drawings and sculptures.  A native of Scotland, she frequented local farms as a child and even owned a pet goat, which inspired Goatie Boy. A regular visitor to the Central Park Children’s Zoo, she creates studies from direct observations, as well as historical paintings, and anatomical reference books.  However, her final works are made entirely from memory, working intuitively as she imbues her playful subjects with plasticity, life, and undeniable charm.  McKerrell is attracted to the “freeness and rawness” of her modeling materials, which permit her to work spontaneously, and comments that they enable her to “create textured surfaces suggestive of an animal’s tactile form.”

McKerrell is the recipient of the Clare Weiss Emerging Artist Award. Clare Weiss (1966-2010) was the former Public Art Curator for Parks. During her tenure she curated more than 100 outdoor public art installations throughout the city and organized complex, thought-provoking, and visually compelling thematic exhibitions for the Arsenal Gallery. The Clare Weiss Emerging Artist Award will be granted annually to one emerging artist. The location will change annually, and will be determined based on the site’s visibility and location within a neighborhood historically underserved by public art.

This exhibition was made possible through generous support by the Claire Weiss Emerging Artist Award and the Myrtle Avenue Brooklyn Partnership.

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Brooklyn Utopias: Park Space, Play Space at the Old Stone House is an exhibit and event series that brings together 19 artists and arts groups to consider the history, politics, and planning surrounding public parks and recreation spaces in Brooklyn and beyond. Exhibiting artists tackle issues such as parks’ relationship to eminent domain and gentrification, the process behind public space design, and debates involving the use of public/private space raised by the recent Occupy protests. Projects in all media include abstract “utopian” maps, whimsical visions of imaginary play spaces, a virtual reality park design smartphone app, a text-based public art installation, and photo and video journaling Brooklyn’s lesser-known natural environments. The exhibit corresponds with re-opening of the newly renovated Washington Park/J.J. Byrne Playground.

Exhibiting Artists: Stephanie Beck, Lynn Cazabon, Center for Urban Pedagogy, Tamara Gayer, Christine Gedeon, Groundswell Community Mural Project, Rebecca Hackemann, Husk, Bettina Johae, Karen Kaapcke, Jess Levey, Cheryl Molnar, Will Pappenheimer, Marina Zamalin

Please see below and visit http://brooklynutopias.wordpress.com for more information!

And be sure to join us for our Park Space, Play Space events!

• Saturday, April 28, 5 – 8 pm: Circle Rules Federation brings you a new kind of football
• Saturday, April 28 , 5-7 pm: Collective sky-gazing with Kat Shchneck
• Saturday, April 28, 5-7:30 pm: Public Voice/Public Dream mural workshop with Triada Samaras and CORD
• Saturday, May, 19, 12 pm: Eminent Domain Bike Tour with Bettina Johae
• Saturday, May 19, 5-10 pm: Interactive Games with Gigantic Mechanic
• Saturday, May 19, 5-7 pm: Augmented Reality Workshop with Will Pappenheimer
• Saturday, June 16: 5 pm: Pining For You – a collective wedding ceremony celebrating queer culture with artist Tracy Candido
• Tuesday, June 19: 7 pm: A closing reception and discussion with the Old Stone House, Groundswell Community Mural Project and the Center for Urban Pedagogy.

Project Director and Curator: Katherine Gressel

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Lilliput will reflect on the traditional role of public art by offering a counterbalance to the monumental scale often employed for plaza sculptures and other outdoor installations in public spaces. As the first project in the HIGH LINE COMMISSIONS series for spring, 2012, Lilliput will feature miniature sculptures installed in unusual and unexpected places at the High Line – amongst the vegetation and along the pathway – to create an art treasure hunt for visitors. Lilliput takes its title from Jonathan Swift’s Gulliver’s Travels, conjuring a magical world populated by fairy tale creatures, mysterious idols, and dreamlike landscapes.

Lilliput will feature installations by six artists from around the globe:
Oliver Laric, Alessandro Pessoli, Tomoaki Suzuki, Francis Upritchard, Erika Verzutti, llyson Vieira

This exhibition is presented by the Friends of the High Line.

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For the High Line, Uri Aran presents a sound work that explores how we use personification and animal metaphors to define human behavior in our daily conversations. Working with a professional voice actor who uses a formal, slightly affected pronunciation, Aran has created a sound track that will emanate softly from the planting beds below the elevated pathway on the High Line between West 25th and West 26th Streets. The sound track features the actor reading a list of creatures, from common ones, like the household cat and the spider, to more wild ones, such the platypus and the shark, each described as “good” or “bad.” Serious and at times comical, the expressionless tone of the actor’s voice will clash with the definition of these creatures as either “good” or “bad,” sparking dialogue about the arbitrary nature of classification in language.

“Uri Aran’s imaginative works have always amazed me,” said Cecilia Alemani, the Donald R. Mullen, Jr. Curator and Director of High Line Art. “I look forward to watching visitors experience this installation and how they react to it as they walk along the High Line.”

This exhibition is presented by the Friends of the High Line.

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​Known for using materials like wood, clay, plaster, steel, and bronze, Houseago creates monumental sculptures that reveal the process of their making through unique details – the varying texture of a molding, the hidden creases within a cast – despite their imposing size and towering forms. His sculptures also incorporate drawing in the form of sketches on plaster and wood panels. Houseago’s work explores abstract lines and figurative forms, and in doing so he joins a long tradition of sculptors that spans from Giacometti to Picasso, engaging viewers with qualities that are at once impressive and enchanting.

For the High Line, Houseago presents Lying Figure, a 15-foot-long bronze sculpture of a headless giant resting on its elbows on the wooden rail ties between the High Line’s original rail tracks. As the third project in the HIGH LINE COMMISSIONS series for spring, 2012, Houseago’s Lying Figure will juxtapose Lilliput, the group exhibition that debuted on Thursday, April 19. Lilliput takes its title from Jonathan Swift’s Gulliver’s Travels, and conjures a magical world populated by fairy tale creatures, mysterious idols, and dreamlike landscapes. Houseago’s Lying Figure will introduce the presence of a giant – the park’s own Gulliver – into Lilliput’s diminutive sculptures installed along the park’s pathway and amidst the plants.

This exhibition is presented by the Friends of the High Line

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From the monuments of ancient Egypt to the Statue of Liberty, public art has been a means to represent a society’s beliefs, values, and ideals. However, in our own diverse and pluralistic culture, we tend to value art most highly as the expression of a unique individual vision. Common Ground brings together the work of ten international contemporary artists, each with a strikingly original artistic language and a strong engagement with its civic context and traditions.

Several works in the exhibition create a dialogue with the history of art, finding contemporary metaphors in classical forms. Over time, such forms have lost much of their original authority, yet they continue to resonate for artists today. The civic monument, long dominated by representations of the heroic male, is reinvented through the use of abstraction, irony, and satire. The democratic notion of public space as a forum for ideas is explored through text, objects, and performance. The role of the artist becomes a theme in works that imply both the transience of life and the timelessness of art. Together, these very different works remind us that contemporary art offers us both opportunities for personal reflection and shared moments of collective expression.

Artists include:  Michael Elmgreen and Ingar Dragset; Ian Hamilton Finlay, Roger Hiorns, Jenny Holzer, Matthew Day Jackson, Christian Jankowski, Justin Matherly, Paul McCarthy, Amalia Pica, and Thomas Schutte.

This exhibition is presented by the Public Art Fund.

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​To celebrate the 100th Anniversary of the founding of Republic of China, New York’s Chinese-American community has erected a statue of Dr. Sun Yat-sen, the leader of the Chinese revolution in 1911. Dr. Sun lived in America and visited New York City a number of times before the Revolution. In fact, in the months leading up to the Revolution, he lived in New York City’s Chinatown where he finalized the plans for the Revolution and delivered an important speech at the Chinese Consolidated Benevolent Association (CCBA) in March 1911.

The Republic of China (Taiwan) government donated the statue to the community.  Designed by Mr. Lu Chun-Hsiung, famous Taiwanese sculptor, the statue was manufactured in Taiwan.  The Chinese-American community in New York City graciously contributed donation for the base of the statue, designed by local architect Michael Kang.

This project is proposed and managed by the Chinese Consolidated Benevolent Association (CCBA) of New York.

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​Robert Sestok spent most of his career living and working in downtown Detroit, Michigan, which greatly influenced his artistic methods. As part of Detroit’s Cass Corridor arts community, a vibrant movement of artists, musicians, poets and writers during the 60s and 70s, Sestok frequently used found objects and other non-traditional materials, tearing things apart and reconstructing them. This deconstructivist process reflected the reality of the city at the time, and can still be seen today.  Though hailing from the Motor City, Sestok frequented New York throughout his life and stated that First Street Iron is “a tribute to my past associations with the city of New York.”

This ten-foot-tall, welded steel sculpture will be placed in the formerly inaccessible property at 33 First Street acquired by New York City’s Parks & Recreation the in 1935. Since 2008, First Street Green (FSG) has worked with Parks Department to revitalize the fallow lot adjacent to First Park—with the goal to remove the rubble and create a plaza and cultural space. The lot was fully renovated with a newly stabilized and paved plaza, landscaping and cast-iron fencing in 2011 when the park hosted the BMW Guggenheim Lab, a three-month temporary pavilion and public forum in which a varied range of cultural activities occurred.  During this period 55,000 visitors attended—reinforcing First Street Green’s original observation of a strong need and broad interest in an ongoing cultural space open for public use.

This exhibition is presented by First Street Green.

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The Randall’s Island Park Alliance (formerly the Randall’s Island Sports Foundation), The Bronx Museum of the Arts, and Made Event are pleased to present FLOW, a two-part environmental art exhibition on view during the summers of 2011 and 2012 along the shoreline at Randall’s Island Park. The project is aimed at fostering appreciation of the shoreline through artistic expression, while calling visitors to interact with and care for the Park’s island environment. FLOW features ten site specific art projects, five each summer, by participants in the Bronx Museum’s Artists in the Marketplace (AIM) program for emerging artists.

FLOW.11 was a great success, fostering a coalition of environmental, musical and artistic partners. Summer park visitors and concertgoers visited the artworks alongside the river, looking out across the city’s skyline. FLOW.12 – this year's exhibition – will be open to the public from June-September, and will feature five new site-specific installations, all reflecting and encouraging interaction with the Park’s history and environment. FLOW.12  includes Gabriela Bertiller’s Glamorous Picnic, Nathan Gwynne’s Famous Faces of Randall’s Island, Michael Clyde Johnson’s Untitled (Two Viewing Rooms, Offset), Laura Kaufman’s Meters to the Center, and Sean Wrenn’s Awakening Asylum.

FLOW has been made possible through a generous grant from the Rockefeller Foundation’s New York City Cultural Innovation Fund (CIF) and through support from Made Event, proud producers of The Electric Zoo Festival, NYC’s largest electronic dance music festival, held annually at Randall’s Island Park.

The FLOW exhibitions express the confluence of art, music and environment at Randall’s Island Park, in the midst of one of the world’s greatest cities.

This exhibition is presented by Randall’s Island Parks Alliance, The Bronx Museum of the Arts, and Made Event.

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Petrosino Park offers respite from the heavily trafficked streets and sidewalks of New York City and Feuerman works to achieve a similar effect in her sculpture by capturing peaceful moments that are universally appealing. This tranquil swimmer resting in a dripping inner tube offers the public the opportunity to pause, even just for a moment, engaged and inspired by what stands before them. Survival of Serena seems like a moment frozen in time and exceeds the bounds of mere mimicry to become a larger than life symbol that invites us to consider our physicality and our own stories and commonalities.

Originally debuted in painted resin at the 2007 Venice Biennale, Survival of Serena was named in honor of Venice’s former name La Serenissima, which literally means 'the most/very serene’, a theme which transverses much of Feuerman's body of work. The sculpture went on to win first prize in the Beijing Biennale the following year. The artist has Petrosino Square to unveil her new bronze Survival of Serena for the first time given its proximity to many cultural institutions and diverse neighborhoods. 

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Pet Sounds is an interactive, large-scale, mixed-media installation by acclaimed California-based artist Charles Long. Sited on Madison Square Park’s expansive Oval Lawn, Pet Sounds introduces a snaking network of vibrantly colored pipe railings creating new paths as they wind across the urban oasis. As these railings converge around a common seating area, each railing begins to grow into a unique fantastic form. While the shape of each blob suggests a different set of associations, their uncanny semblances remain wonderfully elusive. As viewers smooth their hands over the undulating biomorphic surfaces, the act of touching produces a variety of sounds and vibrations coming from within the sculptural forms.

The exhibition is presented by Mad. Sq. Art.

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Abakanowicz is recognized as one of the most potent and unique voices in contemporary art with a distinct sculptural vocabulary that expresses a philosophical quest. The sculptures exhibited at Dag Dag Hammarskjold Plaza are titled Walking Figures, 2009. This group of ten headless, armless bronze figures, each approximately 8 1/2 feet tall, stands facing in one direction, with one foot forward, giving the impression of an advancing and forbidding army. The figures are all unique, as the intricately rippled surfaces differ on each, imparting individuality. Viewed from behind, the skin-like texture gives way to a smooth, concave surface, reminiscent of an empty husk. Dag Hammarskjold’s notable quote, “Never look down to test the ground before taking your next step; only he who keeps his eye fixed on the far horizon will find the right road” seems a perfect conceptual foundation for the Walking Figures which are at once beautiful and unsettling, a reminder of the fragile nature of the human condition.

This is exhibition is presented by Marlborough Gallery.

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Peter Woytuk on Broadway brings to the Broadway Malls the vigorous yet endearing sculptures that Woytuk is known for worldwide. This is the artist’s first outdoor exhibition in New York City. The exhibition begins in Columbus Circle at 59th Street, the start of the Broadway Malls, with the monumental, life size Elephant Pair. A bronze Woytuk menagerie of sheep, ostriches, crows, hens and other fanciful sculptures continues at intervals along the Malls, concluding at Mitchel Square at 168th Street with two 2,500-pound seated Bulls.

Peter Woytuk (American, b. 1958) is recognized internationally for his sculptures of animals. Woytuk cleverly reduces their shapes to essential forms, allowing the power and elegance of his subjects to become both graceful and whimsical expressions of mass. Using a style that is at once descriptive and expressive, Woytuk also enjoys altering the scale of everyday objects such as tools or fruit, which in his hands are transformed into animated participants in the composition.

Sculptures can be found along Broadway at: 72nd Street, Verdi Square; 73rd Street, Verdi Square; 75th Street; 79th Street; 86th Street; 96th Street; 103rd Street; 107th Street; 114th Street; 117th Street; 137th Street, Montefiore Park; 139th Street; 157th Street; and 168th Street, Mitchel Square.

The ambitious exhibition is a collaboration by the Broadway Mall Association, the New York City
Department of Parks & Recreation, and the Morrison Gallery of Kent, CT.

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Venezuelan artist Rafael Barrios will exhibit nine monumental sculptures on Park Avenue. Many of these pieces will be exhibited for the first time, created from experimental works that Barrios has kept reserved.

The pieces range in form, shape, color and dimension and are all representational of  Barrios’ forty-plus years of creating art that alters our perception and state of mind. Barrios experiments with volume and mass in his sculptures—at a distance they appear to have significant volume, but as you approach the pieces, they reveal their slimness.   As Barrios states, the sculptures are about “dislocating our perception in such a way that our mind’s eye will insist that you are seeing something that you are not.”

This exhibition was made possible by Art Nouveau Gallery. Exhibitions on Park Avenue are presented under the auspices of New York City’s Department of Parks & Recreation and The Fund for Park Avenue Sculpture Committee.

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​Artist Sarah Sze is world-renowned for her intricate installations that shape space with hundreds or thousands of interconnected sculptural elements.

For the High Line, Sze will create an elaborate metropolis of perspectival architectural models that will be bisected by the High Line path itself. The sculpture forms an open archway that visually frames the views to the north and south, as well as allows park visitors to physically enter and pass through the space it outlines. The architecture, complex and dynamic, will act as a bird, butterfly and insect observatory, with perches, feeding spots and birdbaths throughout.

Emerging from the shooting perspective lines of the landscape of the High Line, the sculpture will extend through space like a perspective drawing in three dimensions. The structure will climb, spin and accelerate emphasizing the open trajectory of the High Line and modeling systems of development and growth. The artwork is simultaneously an observatory, an experiment, and a metropolis, evoking urban construction, scientific models, and attempts to capture nature in situ.

This High Line Art Commission is presented by Friends of the High Line.

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​Julianne Swartz's sound installation, Digital Empathy, will greet High Line visitors with a variety of messages. At some sites, computer-generated voices will speak messages of concern, support, and love, intermingled with pragmatic information. In other sites, those same digitized voices will recite poetry and sing love songs to park visitors.

Installed in 11 different locations throughout the park, the sound will be transmitted through the park's bathroom sinks, water fountains, and elevators. These sites are not only unexpected places in which to encounter public art, they are places designed for individuals or small numbers of people, allowing for intimate encounters within an otherwise sprawling, communal space. The locations for Swartz's sound interventions will be indicated by graphic—based signage created by the artist that mimics standard public information signs.

Digital Empathy plays on the notion that, in our culture, we turn to technologies like online social networking, blogs, and instant messages to meet our basic human need for friendship and personal connection.

This High Line Art Commission is presented by Friends of the High Line.

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Sculptor Peter Bulow is displaying a dozen of his subway portraits to Fort Tryon Park’s open-air gallery in upper Manhattan. Hand-picked from the close to 400 miniature clay sculptures Bulow has created on the New York City subway system over the past four years, these 12 life-sized heads were fired in terra cotta exclusively for the exhibition.

In a sense, Bulow’s subway portraits began developing decades ago, “I grew up in Berlin and every weekend my grandmother took me to the zoo where I’d model the lions and tigers in clay. By doing this, I felt like they became part of me.” Bulow’s family immigrated to the United States when he was eight. Bulow muses, “As an adult, I was drawn to psychiatry, perhaps by the desire to know people from the inside out, to learn who they really are. A few years ago, I began to make sculptures of fellow passengers on the subway--I wanted to capture all of those passing faces. That old feeling from my childhood, of being able to connect to a living energy through clay, came back to me.”

Bulow views his subway portraits as a cross-section of America, that strange and wonderful land his parents took him to and he became part of. He explains, “I see my subway sculptures as Roman portraits of the 21st century, a time capsule capturing the personalities of our time. Most were created on the A line, between 59th Street and 168th Street. Sometimes I have an entire train ride to do a portrait, and sometimes my model gets off at the next stop.”

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Placed in Manhattan’s Dag Hammarskjöld Plaza, the historic “Gateway to the UN” and designated protest site, this piece is composed of dissembled parts from two replica "kit" military Hummer shells, recomposed and welded together in a monumental pyramid-shaped stack. Sprayed with metallic icy-white paint, the piece also evokes the form of an iceberg. Additional parts welded between the two create a more cohesive form and refer to extra armaments that American soldiers have recently added to their own Hummers and equipment.

The moody songs of whales will emanate from the speakers – the haunting sounds act as a universal cry. In accordance with this soundtrack, the headlights of the cars will be set to dim and brighten.

With its rearranged parts, Inveterate Composition also places itself in recent art history dialogue. The crashed car has become an iconic form of the violence and excesses of contemporary culture as seen in work from John Chamberlain's car part sculptures and Andy Warhol’s infamous Death and Disaster series, to Charles Ray’s Untitled sculpture and Jeremy Deller’s Conversations about Iraq. Summoning references from the political strife and conflict overseas to our planet’s general discord, Rachel Owens’s latest sculpture continues this discourse, while adding focus on environmental distress to the pile of ruins. However, her abstract, melodious form also has a hulking beauty and calming presence that speaks to an undertone of optimism and the potential for change and renewal.

This work was originally developed with the enthusiastic support of the late Clare Weiss, curator for the New York City Parks Department, who passed away in January 2010 after a long battle with breast cancer. This piece is dedicated to her.

This project was completed with ZieherSmith Gallery.

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​La Montagne (The Mountain) was modeled in 1934 by American Modernist sculptor Gaston Lachaise (1882-1935). The sculpture is the culmination of a series begun in 1913 by Lachaise in New York, where he lived and worked from 1912 until his death in 1935. The work represents at once a landscape and the figure of Isabel Dutaud Nagle, the artist’s muse, model and eventual wife. Lachaise envisioned a piece that was “great and solemn.” He later admitted, “You may say the model is my wife. It is a large, generous figure of great placidity, great tranquility.” Some recognize in Lachaise a revival of the feminine ideal that had flourished for centuries in the voluptuous stone carvings on Hindu temples. Lachaise’s wife inspired virtually all of Lachaise’s sculptures of the female form. “You are the Goddess I seek to express in all my work,” he wrote to her in 1915-16.

This exhibition was made possible by The Lachaise Foundation and The Frelinghuysen-Morris Foundation.

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The Art Students League of New York, one of America’s premier art schools, presents the Model to Monument Program (M2M), a collaboration with the New York City Department of Parks & Recreation that has culminated in the installation of seven sculptures on view along Riverside South from 59th to 72nd Streets.
 
The sculptures were created by an international team of seven selected League students during a nine-month program led by master sculptor Greg Wyatt.  The pieces, one by each artist, range from abstractions conjuring New York City’s past and future, to a life-size bronze of a girl and her dog looking out on the Hudson River. The exhibition includes: River Gazers by Elizabeth Allison, The New Age by John Balsamo, Looking Up by Allston Chapman, Forever by Akihiro Ito, Flight: Past to Future by Selva Sanjines, Wish by Noa Shay, and Seiren by Matthew White.

A collaborative sculpture created by the team is also on concurrently on view in Van Cortlandt Park in the Bronx. The artwork, a monumental mask, was inspired by the regular performances programmed behind the Van Cortlandt House Museum.

This work was made possible by the Art Students League’s Model to Monument Program.

Description:

​Barcelo’s immense Gran Elefandret, balances upright on its trunk, its four massive legs outspread searching for equilibrium. At twenty-six feet tall the sculpture brilliantly portrays an extraordinary, if not impossible physical and cultural feat; this contemporary monument believably captures with humor, scale and Spanish courage the essence of what a public monument can be today.

To further communicate the gravity-defying feat beyond the surprisingly slim trunk and large body, Barceló imparts the mass and weight of the creature through the downward sag of the heavily wrinkled skin, the off-kilter positioning of the huge legs, and the complete overturning of the floppy ears. The highly textured surface of the elephant recalls the artist’s tactile paintings, in which he creates rich topographic, sculpted surfaces on canvas.
 
Barceló, born in Mallorca in 1957, has spent considerable time in West Africa, and his paintings and sculptures often are often concerned with the natural life cycle.

This is a project by Marlborough Gallery, in cooperation with the Union Square Partnership.

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​Civic Action features the work of artists Natalie Jeremijenko and xClinic, Mary Miss, Rirkrit Tiravanija, and George Trakas - all known for their innovative works in the public sphere. Civic Action is the second half of a two-part exhibition with The Noguchi Museum and is curated by Amy Smith-Stewart. The artists were asked to proffer alternative visions and an imaginative future for the northern industrial stretch of Long Island City, Queens that encompasses both organizations ­ Socrates and Noguchi. In 2011, each artist formed a team (listed below) comprised of architects, urban planners, writers, historians, and other consultants to re-imagine the area in response to increasing residential development, rezoning, and ecological threats. Their findings were exhibited as models, installations and drawings at The Noguchi Museum from October 13, 2011 to April 22, 2012. Now at Socrates, their ideas, which address accessibility, sustainability, community building, and urban environment, will be realized through sculpture, site-specific installations, earthworks and participatory, social activities.

This exhibition is presented by Socrates Sculpture Park and the Noguchi Museum.

Description:

Part of Civic Action: A Vision for Long Island City at Socrates Sculpture Park, this project looks at the former Sunswick Creek as an armature to explore and learn about Ravenswood’s history and its influence in New York City.

The intention of this project is to engage citizens in the development of their community by revealing the histories that have helped to shape present-day Ravenswood, Long Island City, and Astoria. Sunswick Creek was a substantial lifeline for the surrounding area that aided in social and agricultural growth. Through this past, historic connections can help to provide insight into growth in the area and suggest how a natural ecology changes with local development.

This exhibition is presented by Socrates Sculpture Park and the Noguchi Museum.