Through collaborations with a diverse group of arts organizations and artists, Parks brings to the public both experimental and traditional art in many park locations. Please browse our list of current exhibits below, explore our archives of past exhibits or read more about the Art in the Parks Program.
Celebrating 50 Years of Art in the Parks
Join us in celebrating the 50th anniversary of our Art in the Parks program! Visit more than 50 public artworks currently on view in our parks, and celebrate with us at our upcoming anniversary events!
Talking Statues July 12, 2017 to January 12, 2018 Various Locations
Talking Statues brings together internationally acclaimed authors and actors to give voice to carefully selected statues worldwide. Started in Copenhagen, Denmark in 2013 by documentary filmmaker David Peter Fox, the project has since expanded to Helsinki, London, San Diego, Berlin, and Chicago. The New York installation of this project will feature 35 monuments throughout the city’s five boroughs that share stories via smartphones. Signs printed with QR codes will be posted near the participating statues, which will prompt the statue to “call” the visitor. The monuments will “speak” 18 different languages and represent more than 20 nations.
Participating statues can be found in Columbus Park, Continental Army Plaza and Steeplechase Park in Brooklyn; D’Auria-Murphy Triangle in the Bronx; The Battery, Bryant Park, Central Park, Kimlau Square, Riverside Park, Stuyvesant Square and Union Square Park in Manhattan; Athens Square, Columbus Square and Flushing Meadows Corona Park in Queens; and Tompkinsville Park in Staten Island. For a full list and map, please visit www.newyorktalkingstatues.com.
Painted along the walls of this community playground, this installation consists of three murals by Lady K Fever. Birds Eye View offers a seasonal journey through the eyes of a soaring red–tailed hawk overlooking the park. Located on the park’s entrance ramp, Soaring transforms Bronx skies into a fantastical scene of hot air balloons, butterflies, dragonflies, moths, and ladybugs. Natural Elements presents a narrative of the seasonal life cycle of leaves as well as recognizable flora and fauna like the ruby–throated hummingbird and daylily, Bronx’s official flower.
Inspired by American novelist Richard Bach’s bestseller Jonathan Livingston Seagull, Patricia Cazorla and Nancy Saleme use oversized, colorful sculptures of the city’s sparrows as a metaphor for the search for equality. Sparrows are creatures of resilience, audacity, intelligence, and beauty that mirror many of the qualities of New York City’s communities.
Lovie Pignata activates a blacktop with a bold, painted replica of the nearby Bronx River, highlighting the importance of this waterway. She has also installed retired canoes from local non-profits, which will be retrofitted with seating, chessboards, planters, and wayfinding signage.
Walking the line between respectful homage and brazen appropriation, Brooklyn-based artist Deborah Kass mimics and reworks the signature styles of iconic 20th century, often with a feminist twist. OY/YO is sourced from urban and Brooklyn slang, the statement “I am” in Spanish, and the popular Yiddish expression. OY/YO has been a significant and reoccurring motif in Kass’ work since its first appearance in 2011, taking form in paintings, prints, and tabletop sculptures. In a provocative gesture, OY/YO, measuring 8 x 17 x 5 ft and painted bright yellow on aluminum along the Williamsburg waterfront, is visible from Manhattan’s skyscrapers including the Empire State Building.
Circadia is an interactive luminescent sculpture and seating system made from concrete and glow-sand, which will act as a guide to the park entrance. Resembling a historic building foundation, Circadia also mimics the park’s rolling hills and natural rhythms found in nature.
Musa Hixson’s steel sculpture includes several stools enclosed within a flower-shaped frame, which provide a space for intimate conversation in the public park. The sculpture’s horticultural form references the park’s mature landscape.
Jane Manus’ strongly geometric aluminum sculptures, personally welded by hand, draw their primary inspiration from the angularity and structure of architecture. With the play of its cheery, vibrant yellow paint and a dynamic use of negative space, Danielle transforms its surroundings and inspires an interactive viewing experience. The sculpture’s angular lines and joyful hue spring forth from the green lawns and trees surrounding it.
One Map of Many Moments is an artist led, community generated project that transforms trash into inspiring public art by turning hundreds of broken glass shards collected from Fort Greene Park into a mosaic map of the park. Drawings from park visitors depicting everything from historic figures of Fort Greene to the current day activities and horticultural wonders of the grounds are sprinkled throughout the map. Each piece of the larger whole offers a contemplative view of our neighborhood’s waste and deep dedication to our park and highlights the role of community in preserving urban green spaces.
Cecile Chong’s installation is based on the myth of the lost treasure of El Dorado. Over the centuries the story has been told in many ways, often as a metaphor for an ultimate prize that one might spend a lifetime seeking. In this updated version of the story, El Dorado is discovered in Sunset Park as a contemporary archeological site. This installation promotes ideas of transformation, immigration and community. It honors the opportunities that this city offers to newcomers, but most of all, it acknowledges the labor and efforts that immigrants contribute in return.
This installation consists of 100 metallic-colored sculptures scattered within a fenced-in triangle near the northwest corner of the park, close to the entrance on 5th Avenue at 41st Street. The sculptures are modeled after tightly swaddled babies, or “guaguas,” that the artist saw while living in Ecuador. Forty-nine sculptures will be gold, referring to the 49% of New Yorkers who speak a language other than English at home.
Jordan Morales, Hamairi Alvarez and Jordy Victor, Enlightenment, Unity and Freedom June 17, 2017 to November 20, 2017 Hope Ballfield, Brooklyn Map/Directions (in Google Maps)
During the school year, artist Raul Ayala worked with three students at El Puente to create a series of three designs based on the themes of freedom and community empowerment. These designs are then cut into different geometric shapes on plywood, and hung from chain link fence. El Puente has been a force in Bushwick for the last 25 years developing powerful youth leaders through its El Puente Bushwick Leadership Center. For the past four years, El Puente has been leading the transformation of Hope Ballfield for the community.
Divergence is a sculpture about experimentation with the human form, positive and negative relationships, and the interplay between the figure and a sculptural environment. In his art, William Soltis experiments with shapes, images, patterns, and lines, allowing the construction process to create the idea, rather than forcing a completely formed idea into becoming an object. As a subject, the human figure lends itself well to this open process. It can be left representational or made abstract. Its form can be smooth, angular, sharp, or curved, with active, passive, or emotive gestures. He often works with welded metal due to its versatility, permanence, and strength and ability to survive indoor, outdoors, in gardens, or urban settings equally well.
Conrad Stojak, 4 Seasons of Lindens at the Linden Sitting Area July 30, 2017 to October 29, 2017 Linden Sitting Area, Brooklyn Map/Directions (in Google Maps)
4 Seasons of Lindens at the Linden Sitting Area consists of four decommissioned parking meters, each outfitted with a small diorama of linden trees throughout the seasons. The meters pay homage to the trees that this small park is named after. These works are part of an ongoing series of work, The Parking Meter Project, by artist Conrad Stojak. Stojak works with obsolete New York parking meters, many of which can be found out on the city streets and in warehouses, by upcycling them into public works of art. Each one is an individualistic, self-contained micro-world depicting New York City scenes in the form of urban dioramas that are community specific.
Nancy Borowick, The Family Imprint June 10, 2017 to October 2, 2017 At Washington and Prospect Streets Anchorage Plaza, Brooklyn Map/Directions (in Google Maps)
The Family Imprint is an intimate story of family, as the humanitarian photographer Nancy Borowick’s parents underwent parallel treatments for stage-four cancer. The story is about life and love more than cancer and death. In a sense, it reads and feels like a scrapbook—and is filled with decades of saved loved letters, keepsakes and other clues about her family members’ lives, enriching the larger story which she had been photographing for a few years already. The project, which was formally known as Cancer Family Ongoing, was published nationally and internationally, has received international awards and recognition, most recently a World Press Photo award in 2016. Here, Borowick’s images are reproduced on vinyl banners. While deeply personal, this work touches all who pass by it in this public space.
Hell Gate Cairns is a series of stacked stone pillars, or cairns, that stand watch over the western coastline of Riverside Park. By focusing on the forms of natural stone, the piece draws attention to the boulders that line the waterfront, remnants of the great earthmoving projects of the 20th century that cleared the city’s waterways, including the perilous “Hell Gate”. The monument’s placement at the water’s edge recalls these feats of human engineering, while further calling upon the cairns’ symbolism as an ancient sign of treacherous waters. Their verticality a reflection of the nearby skyline, the Hell Gate Cairns aim to embody the human impulse to imaginative construction – stacking stones first in play, then as architecture.
Consisting of photographs taken in the neighborhood around Spring Street Park, this exhibition features the work of students from Chelsea Career & Technical Education High School. Magic Box Productions teaching artist Jon Appel and visiting artist Martin Crook worked closely with the senior students as a photography, documentary team on this project. Magic Box Productions addresses the growing need for exemplary media arts education in New York City’s public K-12 schools, particularly those serving disadvantaged students with limited access to art and technology. The images capture the unique aspects of history, commerce, architecture and other features of the Hudson Square neighborhood.
Through her colorfully crocheted, intensively worked, and oversized flowers, Naomi Lawrence believes that small artistic gestures can lead people into a new imagination about their home environment. She uses ubiquitous chain-link fences to frame color and texture in surprising ways, creating interaction between fiber, color, fence, sidewalk, and passing pedestrians and validating under-recognized and unappreciated corners of neighborhoods. At Anibal Aviles Playground, she created a giant magnolia–a seasonal Parks flower–which was installed in June. A crocheted hibiscus tree to be installed on the fence of J.H.S. 054 Booker T. Washington across the street in September, following a series of community workshops to make the leaves.
Constellation is an architectural sculpture, performance, and panel series that activates the underused plaza in Seward Park as a transformative community public space. The site-specific sculptural pavilion is composed of interlocked wooden modules that will be re-arranged and transformed seasonally in three different configurations over the course of the exhibition.
From 2008 to 2012, Capucine Bourcart walked every street in Manhattan, from State Street to 220th Street, taking photographic details of walls along her route. This collection of photographs is used to create a photo-assemblage made of 4,170 metal squares that hang from a chain link fence in a design inspired by those of Native Americans’, the island’s first inhabitants.
Located on the High Line at 13th Street, New York-based artist Darren Bader’s chess: relatives consists of a large-scale chessboard designed by the artist. Visitors are invited to take part in chess games during open park hours in which they take the place of chess pieces, their positions determined by their familial relationships to others. In order to play, visitors bring a group of 32 people together, who will be “played” by two additional people. Visitors are encouraged to assemble teams with their own friends or family, or to branch out and recruit strangers also visiting the High Line. Referring to the onsite instructions, the group self-organizes according to chess: relatives rules.
Once the group is organized into the pieces they fit into, the two players play the game, moving the human “pieces” as in a standard game of chess. Once the game begins, the players are no longer allowed to ask for clarification on what kind of piece each person represents. As one of the most interactive artworks exhibited on the High Line, chess: relatives will spark new connections, conversations, and debate amongst visitors. The piece also gives visitors the chance to become a part of an artwork that aims to ask more questions about art than it can answer.
Henry Taylor is a painter known for his intimate depictions of people, capturing a wide range of subjects that span from his close friends and family, to strangers whose appearances strike him, to celebrities within the African American community. His color–blocked compositions evoke compassion and a sense of shared space, setting the viewer in close conversation with those pictured.
For the High Line, Taylor presents a new version of a self-portrait adapted specifically for its setting on the side of a building at West 22nd Street. The work depicts the artist and a friend “blissed out,” relaxing in a swimming pool at a friend’s house in Palm Springs. Reminiscent of David Hockney’s paintings of Los Angeles swimming pools from the 1960s, the floaters, a title which references the eponymous Detroit R&B group, portrays the artist in a moment of pure, leisurely happiness.
Mutations is an open-air group exhibition that explores the relationship between man and nature, looking at how the boundaries between the natural world and culture are defined, crossed, and obliterated. The exhibition is inspired by the High Line as a controlled environment that encapsulates, on the one hand, the modern dream of humans taming nature, and on the other, the promise of nature reclaiming its control.
Artists who are part of this exhibition include Larry Bamburg, Alisa Baremboym, Sascha Bruanig, Dora Budor, Radamés Juni Figueroa, Guan Xiao, Marguerite Humeau, Veit Laurent Kurz, Joanna Malinowska, Jumana Manna, Jon Rafman, and Max Hooper Schneider.
For over 50 years, American artist Sheila Hicks has redefined the boundaries of fiber as a medium, creating a distinctive body of work that falls between the fields of fine art, craft, design, and architecture. For her High Line Commission, Hicks draws inspiration from the many kinetic elements that dance around the High Line: the ballet of construction vehicles at the Rail Yards; the multitudinous interwoven layers of construction mesh that cover buildings, scaffolding, and streetscapes; unfinished architectural lattices; and lace of hanging crane cables. Her vibrant installation comprised of twisting tubes of various types of colored fiber will crawl along the rails at the Western Rail Yards, surprising and delighting passersby.
Romanian artist Leonard Ursachi’s “What a Wonderful World” is a large, egg-shaped sculpture woven from branches, on which a world map has been sketched with pigmented cement. It has two recessed embrasures, each inset with a stainless steel mirror. The form and woven branches evoke nests, birth, history, and nature, while the map may be read as humanity’s trace. The title can be interpreted as ironic, cautionary, or celebratory, depending on the viewer’s perspective. Ursachi’s art often addresses the impact of people and their governments on the earth, in addition to examining the impact of borders on individuals and societies.
Rose DeSiano, Island of Empirical Data and Other Fabrications, FLOW.17 May 6, 2017 to November 30, 2017 Randall's Island Park, Manhattan Map/Directions (in Google Maps)
Rose DeSiano’s Island of Empirical Data and Other Fabrications uses historical records, statistical data, photo archives and government documents - data points portraying a web of American values and struggles - to explore the complexity and reflexivity of culturally-constructed histories. Focusing on Randall’s Island Park as a microcosm of urban planning and transformation, DeSiano will photograph buildings, sites, and landmarks representing this data, mining the city’s archives to fill in gaps.
Welcoming park visitors at the touchdowns of crossings from East Harlem and the South Bronx, each series will comprise a multi-paneled, oversized photographic predella, visualizing the Island’s historical and socioeconomic data. The predella structure will reference Northern Renaissance altarpieces, elaborately-painted panels using Biblical characters to display challenges facing kingdoms. DeSiano’s panels will loom over Park visitors, extending the periphery and enveloping them within the city’s history of challenges and triumphs; at the same time, their own images will be reflected and superimposed upon the scene, in turn updating the archival images within modern-day Randall’s Island Park.
Joy Brown, Joy Brown on Broadway May 17, 2017 to November 17, 2017 Broadway Malls from 72nd Street to 166th Street Broadway Malls, Manhattan Map/Directions (in Google Maps)
The Broadway Mall Association celebrates its 30th anniversary with Joy Brown on Broadway, a sculpture exhibition of nine bronze works on the green malls at the center of Broadway from 72nd Street to 166th Street. The exhibition is the 10th sculpture show that the Broadway Mall Association has presented on the malls since 2005. Brown’s rounded forms and use of bronze convey the heavy gravity of stone. The playful expressions and gestures of her figures transcend that weight, suggesting warmth and lightness of being. Simplicity of form and earth-toned patina evoke a feeling of stillness and peace. The influence of the Japanese aesthetic on Brown’s sculpture springs from her childhood in Japan and apprenticeship in traditional Japanese ceramics.
New York Made: Stanton Street Courts by KAWS encompass two side-by-side full basketball courts (approximately 116 by 80 feet), as well as four hoops. “My approach to the courts was very similar to how I would work on canvas. I wanted to create something that was true to my language, but also considerate of this being a court that people are playing on,” the Brooklyn–based, world–renowned artist Brian Donnelly (KAWS) explains. “I wanted to find the sweet spot where it works visually and functionally – how its broken up by the game’s lines and works with my images. It will have an intimate effect on the players that use the court.”
KAWS first moved to Manhattan in 1996, and lived on the corner of Clinton and Stanton Street. His familiarity with the park and its neighborhood is thus extremely personal.
With a background in architecture and design, William Logan has focused on large scale public sculpture for the past 15 years. Drawing and model-making have been constant endeavors while his experience in engineering and boat-building has given him an intuitive feel for structure. Flame is the result of experimental work with carbon fiber and lightweight structures. The intricate surface texture reflects the laborious effort that went into the fabrication of the piece by hand and allows the piece to catch the light in unexpected ways. The open lattice of the upper element lends the work a diaphanous quality, while its construction in aluminum gives it structure.
City consists of a multi-chambered structure made of glass, steel, and cast aluminum. Each chamber is at least partially see-through, with some revealing their enclosed contents through clear glass, while others are empty or partially obscured by swaths of colorful silkscreen ink. With its tower like components, this sculpture refers to the ambition of building skyscrapers, of setting out, of going from one place to another, in search of success. It is a poetic sea and strata of bold colors filled with art history reference, pop influence, noise of the streets, billboard imagery, and the signage and literature of the city. As with much of Fischer’s work, City will change over time, creating a singular and ever-evolving experience.
EARTH POTENTIAL is an exhibition of new works by artist Katja Novitskova that explores the relationships among science, technology, fiction, and our image-based culture. Scattered throughout the park are seven large aluminum sculptures featuring online-sourced, digitally-printed images of the Earth, celestial objects, and enlarged, seemingly alien but terrestrial organisms. These striking images were originally created through advanced imaging techniques like a microscope that can magnify an organism by 10,000 times or a satellite orbiting the Earth. These new sculptures explore worlds unseen by the naked eye by employing photography, scale, and juxtaposition to transform the park into a seemingly Sci-Fi landscape. Through both scientific and poetic lenses, Novitskova invites us to reflect on the ways in which we see–and comprehend–the potential of the Earth.
Prismatic Park features three large sculptures of painted wood and prismatic glass by artist and MacArthur Foundation Fellow recipient Josiah McElheny. The minimal, almost architectural forms create new spaces within the Park for the creation of music, dance, and poetry: a curvilinear, translucent blue sound wall for experimental music; a circular, reflective green floor for vanguard dance; and a vaulted-roofed luminous red and yellow pavilion for poetry. Each will refract the surrounding natural light, beckoning the passerby and regular Park visitor. The three structures will form open, stage-like platforms for the collaborating choreographers, dancers, musicians, and poets who will be working next to them, on them, and under them in the summer of 2017.
Throughout the exhibition, three nonprofit art organizations based in New York–Blank Forms, Danspace Project, and Poets House–will “inhabit” the Park to realize new commissions. The resident artists will create ambitious new work that summons the potential for imagination, creativity, and performance inspired by spontaneous audiences and chance encounters that only a public place, like an urban park, can offer.
This exhibition is presented by Madison Square Park Conservancy.
Wishing Well, a playful, site-specific, interactive sculpture, is an updated, technological interpretation of a fairy tale wishing well, a popular theme in European folklore. Wishing wells were believed to grant requests by way of magical waters or deities residing within. Visitors of all ages are encouraged to speak a wish into the well. The words are translated into a video ripple inside, and an echo repeats the words back. Turning the well’s crank activates video and microphone recordings, which are captured in a database inside the sculpture. The recordings will be curated and presented on a dedicated website, wishingwellnyc.org, bringing the artwork beyond the physical space of the park.
The Dyckman Farmhouse, a Dutch Colonial style farmhouse built c. 1784, was opened as a museum in 1916. Today it is nestled in a small garden and is an extraordinary reminder of early Manhattan and important part of the diverse Inwood neighborhood. The original well has long been absent from the house, although a replacement well-head was constructed around 1915-1916 during the restoration of the farmhouse. This well-head was removed sometime in the 1980’s and replaced by a simple wood platform. Installed at the site of the original well on the Dyckman property, Long’s video sculpture enlivens the vacant well site as a fantasy restoration.
Reflections is a grouping of three interactive public sculptures that utilize the collective ideas of art and yoga as platforms for healing, harmony, and reflection while simultaneously encouraging inclusivity and diversity in two practices that are historically non-diverse. The sculptures utilize readily-available materials such as PVC pipes and Mylar flag canopies to create environments for contemplation and reflection. Each of the three canopies has circular openings that reveal a view of the sky above. A non-profit community partner, Three and A Half Acres Yoga, will present free introductory community yoga classes around the structures on the second Saturday of each month throughout the exhibition.
“Hippo Ballerina,” a copper tutu-clad bronze sculpture standing over 15 feet tall, by Danish artist Bjørn Skaarup plants her sizable slippered feet across from Lincoln Center. Inspired by Degas’ “Little Dancer Aged Fourteen” and the dancing hippos of Walt Disney’s “Fantasia,” “Hippo Ballerina” vividly illustrates the artist’s ability to reinterpret subjects and themes found in ancient myths, art history, modern animation, and contemporary popular culture in playful ways that engage the viewer. This is Skaarup’s first US public art installation.
Daniele Frazier’s exhibition The Giant Flowers consists of five giant flowers made of rip-stop nylon fabric that will inflate and move hypnotically in the wind. Each twelve-foot-long brightly colored flower will be a unique design and will tower above the park twenty feet off the ground. Not only will these joyous flowers be an unexpected sight to behold, but they will provide park-goers a real-life illustration of the changing weather conditions.
Sam Holleran, Patrick Rowe and Mobile Print Power, Conocer y Compartir-We Find Each Other June 20, 2017 to June 19, 2018 Flushing Meadows Corona Park, Queens Map/Directions (in Google Maps)
Inspired by the luminaires of the 1964/65 World’s Fair, a series of illuminated sculptures guides parkgoers with graphic images that symbolize a specific place or potential experience within the park. Mobile Print Power facilitated two multilingual drawing and silkscreen printmaking sessions to create the images for the luminaires. The project builds on wayfinding suggestions that came out of The World’s Park, a project of the Design Trust for Public Space in partnership with the Queens Museum and NYC Parks.
Consisting of a grid of interconnected picnic tables with tiled mosaic surfaces, Common Ground is an interactive sculpture that literally brings people closer together. The shared tabletops and benches each have a different mosaic design inspired by the neighborhood’s unique mix of cultures, as well as by the patterns within the adjacent King Manor Museum. Common Ground is a celebration of harmony through diversity, imbued with the ideals of the park’s namesake, Rufus King.
These ceramic tiles were created through a series of children’s art workshops at Sunnyside Community Services at Woodside Housing. Inspired by the artwork of Romare Bearden, Red Grooms, Faith Ringgold, children carved city scenes into ceramic tiles while flank the iron columns at the entrances to Rainey Park.
This exhibition is presented by The Friends of Astoria Heights Park with support from Sunnyside Community Center at Woodside Houses.
Jennifer Cecere, Double Doily November 18, 2016 to November 17, 2017 PS1 Greenstreet (Jackson Avenue and 46th Avenue), Queens Map/Directions (in Google Maps)
Jennifer Cecere’s artwork aims to integrate a feeling of domestic handiwork into the built environment. Doilies were invented by industrious women to hide and protect worn and frayed furnishings (maybe feelings too). Through the variety of materials that they can be made from, the ways in which they can be displayed, and their references to a variety of subject matter makes doilies very diverse. This double–sided, doily–shaped bench enlivens this small park in the midst of a busy thoroughfare and new construction by taking something intimate and domestic and placing it outdoors. The handicraft of the bench demonstrates a familiarity with domestic materials that ties us with our fragile environment and revives traditions that when integrated with art and architecture reflect our hopes and dreams.
Various Artists, On the Rock 2017: An Exhibition of Sculpture June 3, 2017 to October 9, 2017 Rockaway Beach and Boardwalk, Queens Map/Directions (in Google Maps)
This group exhibition includes 16 sculptures by 15 artists at 14 sites adjacent to the newly completed boardwalk on Shore Front Parkway, spanning from Beach 73 Street to Beach 108 Street. The sculptures celebrate the spirit and beauty of the Rockaways and range from the intimate to the monumental. Artists in this exhibition include Dan Bergman, Allan Cyprys, Febrications, Esther A. Grillo, Bibiana Huang Matheis, Christina Jorge, Sui Park, Siena Gillann Porta, Carl Rattner, Herb Rosenberg, Stan Squirewell, Anne Stanner, Chuck von Schmidt, and collaborative artists Carmen Frank and Laura Frank. During each month of the exhibition, arts and cultural events, special programs and tours will be offered free to the public. For more information on related programming, please visit 14sculptors.com.
With their park is under renovation, Friends of Astoria Heights Park (FoAHP) continues to look for ways to keep families engaged with each other and their park. They have held an annual book swap within the park to share their love of literacy and to support families who may not have a personal library at home. FoAHP would like to extend this idea to the installation of a Little Library on park property so local residents can continue to spread the joy of books.
Inspired by Gabriel García Márquez’s Cien Años de Soledad, Montoya’s illuminated sculptures redefine the monarch butterfly as an icon of migration and freedom. This work is part of the series La Isla Bonita, a beautification project that seeks to transform public spaces through public art and community engagement.
Eyes’ intersecting steel shapes are derived from the simple silhouettes of hillsides and stairs, and frame the park’s historic Village Hall. The integrated play feature provides a chance to engage with the work in a way that most sculptures do not allow, appealing to the community in a fundamental way.
Tree Reflections is a series of clay tiles cast from two Osage Orange trees combined with mosaic pieces that tells the story of two parks. The main components of this artwork are cast from an Osage Orange tree in Marcus Garvey Park near the artist’s home in Harlem. After visiting Conference House Park, Stair cast four clay extensions from the Osage Orange tree there, which were added to the existing artwork. Stair’s aims to create portraits of trees through her work. The clay that she presses onto living trees records their species, age, and strength. She was particularly attracted to the trees’ remarkable patterns, bending forms, and endurance, physical qualities that demonstrate the unique historical importance of this species.
An additional exhibition of Stair’s work in the Conference House Park Visitor Center’s Lenape Gallery will open on November 25 as part of Native American Heritage month.