A Guide to
Public Art
in Battery Park City
Rector Gate
Pylons
Battery Park City Authority was the 2002 recipient of the Doris C. Freedman Award
Irish Hunger Memorial
Tony Cragg
Resonating Bodies, 1996
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Bronze 15’x 5’8”, 5’x 6’x15’ Created by British artist Tony Cragg, Resonating Bodies consists of a pair of bronze sculptures resembling giant musical instruments. One resembles a lute, the other, a tuba. This playful work is based on the concept that all physical bodies – including ourselves – are constantly enveloped by various energy forms from heat, light, sound, and gravity to magnetic waves, x-waves even radio and TV signals. The sculpture displays these forces with a wave-like relief on its surfaces. The work is set on the ground at the end of the tree-lined walks at the entrance to Robert F. Wagner, Jr. Park. With its whimsical design and gargantuan scale, the work invites touching and interaction.
rom the earliest stages the planners of Battery Park City were intent on integrating artists, and artwork into the design process. Rather than inserting the artworks as a decorative afterthought they sought to weave them into the very fabric of the urban scheme.
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Because so many of the artworks occupy Winter Garden pivotal spots where park, street, and river converge, several artists used their sites as places to meditate on the eclectic nature of their surrounding terrain, or to create a symbolic observation point or passageway. All of them are meant to provoke curiosity, to draw new meanings from their site and to enhance the viewer’s experience of the landscape.
Tony Cragg is one of Britain’s most inventive contemporary sculptors; his works are known for embracing a wide variety of materials, textures, and conceptual approaches. He created World Events, a statue for the 1996 Olympics in Atlanta and was the recipient of the Turner Prize in 1988 .
Jim Dine
Ape & Cat (At the Dance), 1933
Bronze and wood 6’7” x 4’6 1/4” x 5” Although they do not have human features, Jim Dine’s Ape & Cat (At the Dance) exude the sort of civility and tenderness to which many urbanites aspire. Made of cast bronze, the figures are at once amusing, allegorical, and unabashedly romantic. The work derives from a series of Dine’s 1990s drawings and sculptures that follow the relationship of this unlikely but adoring couple. Their sheltered placement along the promenade lends a sense of intimacy, joyousness, and unexpected grace to the site.
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Louise Bourgeois
Eyes, 1995
Granite 37” x 37” x 37”
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Eyes marks a departure for the artist in that the subject,
unlike previous treatments, is explored as two large units representing eyes separated from any suggested surrounding physiognomy. Resting directly on the ground a calculated distance from each other, they occupy considerable volumes of space between and around them which the viewer is invited to fill in with his or her own imagination. Thus a giant's head emerges in one's mind. The works are carved in granite with pupils suggested by large polished nodules. These are not inset but are an integral part of the whole granite “eyeball”.
Jim Dine first came to prominence with the Pop Art movement in the 1960s. His work combines a romantic, expressionist style with figurative subjects often drawn from history.
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Andy Goldsworthy
Garden of Stones, 2003
Vermont Granite and Hemlock Trees The Memorial Garden at the Museum of Jewish Heritage – A Living Memorial to the Holocaust, is an outdoor space devoted to contemplation and reflection, dedicated to the memory of those who perished in the Holocaust and honoring those who survived. The eloquent garden plan of trees growing from stone is the artist's metaphor for the tenacity and fragility of life.
Andy Goldsworthy's outdoor sculptural interventions and indoor installations impart a sense of wonder, drawing attention to the inherent power, beauty, and mystery of the physical world.
Louise Bourgeois, born in France, has lived in New York for over half a century and is one of the most influential American artists of the past three decades. Her sculptures are known for their emotional immediacy, impressive workmanship and memorable symbolic imagery.
Mary Miss, Stanton Eckstut, Susan Child
South Cove, 1988
Dimensions variable
Richard Artschwager
Sitting/Stance, 1988
Granite, steel, wood Dimensions variable You’d be excused for not noticing Richard Artschwager’s artworks at first: they are purposefully designed to mimic and emerge from – and some might say, deconstruct – the utilitarian props of their surrounding environment. Titled Sitting/Stance, Artschwager’s installation consists of five separate pieces situated at the junction of West Thames Street and the Esplanade. At the center is a street lamp shrunken to squat proportions, surrounded by a wooden armature imitating its crown and girded by an upraised circular bench and table. A second circular seating area resembles an enlarged tree grating. The ensemble is completed by a throne-like seat made of granite, and a pair of reclining, slatted wooden deck chairs. Together, these works transform their cul-de-sac into an eccentric public recreation deck and mark a witty reflection of their urban environment.
South Cove is an unusual, meditative recess along the
waterfront. Considered one of the country’s most significant public artworks, the work is the result of a unique collaboration between environmental artist Mary Miss, architect Stanton Eckstut and landscape architect Susan Child. South Cove encompasses everything from– carefully sited rocks, natural plantings, and atmospheric blue lights along the Esplanade – to the water-racked pilings and the large, arching wooden jetty at the southern corner of the cove that extends into the Hudson like a pier. The jetty gently curves inward, back toward shore, as if in meditation of the city from which it sprung. Overlooking the view is a raised metal tower recalling the prow of a boat or the crown of the Statue of Liberty visible beyond. At once dramatic and serene, South Cove is a place where land and water, nature and metropolis, past and present, gently coalesce.
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Mary Miss is one of the leading environmental artists in the United States and a pioneer of architectural sculpture. Architect Stanton Eckstut is the principal planner and designer of Battery Park City’s waterfront Esplanade and co-designer of the 1979 master plan. In addition to the South Cove, landscape architect Susan Child (with Steven Goldberg) also designed Battery Park City’s Belvedere. Richard Artschwager has been among the country’s most influential conceptual artists since the mid-1960s. Adept at painting, sculpture and installation, he was awarded the Carnegie Prize at the Carnegie International exhibition.
Ned Smyth
The Upper Room, 1987 Concrete with aggregate, colored glass, brass, gravel, bluestone 34’ x 67’ x 14’4”
Designed by Ned Smyth, The Upper Room is a handsome collonaded court marking the entrance to the Esplanade at Albany Street. At once dignified and playful, reverent and inviting, this self-contained sculptural environment suggests a contemporary reimagining of an ancient Egyptian temple offering stylized sanctuary from the surrounding city even as it formally echoes the rhythms of its urban environment. On its sides the work is girded by ruddy red pillars made of gravelly concrete aggregate recalling a fusion of decorative palm trees and Near Eastern architecture. Inside, it features a long table adorned with chess boards and twelve stools and an altar-like pergola sheltering an iconic palm tree. Like the tree form rising out of the table, this pillar is inlaid with colorful mosaic tiles. Designed to be both functional and symbolic, The Upper Room lends an appealing air of ceremony, harmony, and mystery to its site overlooking the waterfront.
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R.M. Fischer
Rector Gate, 1988 Stainless steel, bronze, granite, lighting 50’ x 28’
R.M. Fischer’s Rector Gate is a festive archway marking the intersection of Rector Place and the Hudson River Esplanade. Built of steel, bronze, and granite, and rising 50 feet high, the gateway draws its inspiration both from past and future, from Constructivism and Science Fiction, in the artist’s signature style. It is part Gotham, and part Metropolis: and one almost expects to see bolts of electricity rising up its shafts to the skeletal cupola and fanciful spires of its crown. In its energetic, theatrical design, Rector Gate brings the romantic grandiosity of New York’s early skyscrapers and engineering feats down to human scale. The arch features seating at its base and is illuminated at night to add to it’s drama.
R.M. Fischer is widely known for his imaginative fusions of contemporary art and pragmatic design. His other prominent public artworks include the clock at the entrance to the Brooklyn Battery Tunnel in New York City and the State house Clock in Boston.
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Ned Smyth has created public artworks across the Untied States. His work is well known for its Byzantine formal elegance and for its innovative use of industrial materials.
Stuart Crawford
Police Memorial, 1997 Granite, Fountain and Flume 4,087 square feet
The design of the memorial is composed of two distinct parts using water as a metaphor. A fountain serves as the genesis of the memorial and represents the rookie police officer’s first day while a linear flume acts as the time line of the officer’s career. Water flows gently over the spit face bottom of the flume leading to a slot in the granite wall. Finally the water comes to rest in a shallow pool marking the police officer’s death.
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Ugo Attardi
Ulysses,
Bronze on Marble Base 5’ 8” Ugo Attardi’s Ulysses, a figure of warmth and energy is defined by the artist as “Modern Baroque”. The body, fierce with beauty and Hellenic elegance is united to, and contrasted with, the helmet-mask, which hides and reveals weakness and complexity in the face of the warrior-hero. The dark mask, a chameleon-like piece of armor, resounds with aggressiveness and outrageous pride. Through the bronze, Attardi has tried to give life to the figure’s daringness and vitality as well as geometry of dance and the unrelenting thirst for knowledge.
The death of the police officer is commemorated in an outdoor room defined by two parallel granite walls and depressed thirty inches below the esplanade. A wall along the western edge holds the names of the officers and dates on which they were killed. Constructed of green granite, the stone is rendered with a split face finish facing outward and polished surface facing inward reinforcing the sacred nature of the space. Outside the room three flagpoles stand as sentinels.
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Stuart Crawford has received the AIA Award for Excellence in the Study of Architecture and the Edward D. Stone Award for Excellence in Design. Crawford was chosen to design the Police Memorial from 180 submissions in an open design competition.
Italian born Ugo Attardi co-founded Forma Uno in 1948, a movement with abstract tendencies, and the il Pro e il Conto movement in 1961. A truly well rounded artist, Attardi authored the novel Savage Heir, winning the prestigious Viareggio Prize for fiction in 1971.
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North Neighborhood & The Governor Nelson A. Rockefeller Park
20 19 18 17 16 15 14 John Hatfield Story Pattern Michelle Stuart Tabula Kristin Jones & Andrew Ginzel Mnemonics Tom Otterness The Real World Demetri Porphyrios The Pavilion Ann Hamilton Teardrop Park Sol LeWitt Loopy Doopy, Embassy Suites Atrium
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12 Martin Puryear Pylons 11 Siah Armajani, Scott Burton, Cesar Pelli, M. Paul Friedberg World Financial Plaza
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10 Stuart Crawford Police Memorial 9 Ugo Attardi Ulysses 8 Ned Smyth The Upper Room 7 RM Fischer Rector Gate 6 Richard Artschwager Sitting/Stance
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Siah Armajani, Scott Burton, Cesar Pelli, M. Paul Friedberg
World Financial Center Plaza, 1986
Dimensions variable Projecting from the glittering vault of the Winter Garden and the base of the World Financial Center to the marina of the North Cove and the Hudson waterfront, World Financial Plaza is the center of Battery Park City. It is also the result of a singular collaboration between artists Siah Armajani and Scott Burton, architect Cesar Pelli and landscape architect M. Paul Friedberg. From the earliest stages these individuals joined forces to create a welcoming, celebratory public landscape that would look to the past and future alike. The design spans from the gently curving contour of the cove to Burton’s stone seating and the fountains girding the plaza. Wooden benches tucked along tree-lined pathways provide a more secluded setting. Inset into the metal railings overlooking the cove are quotes from poets Walt Whitman and Frank O’Hara celebrating the exhilarating spirit of New York City. At once formal and congenial, World Financial Plaza is an ebullient stage set for New York City at the dawn of the 21st century.
More World Financial Center Plaza on next page
Siah Armajani is well-known for his architectural structures celebrating American democracy through the language of its architecture, history and poetry. Scott Burton was a passionate believer in creating functional artwork for the public realm. He was widely acclaimed for his geometric, figuratively suggestive tables, chairs, and benches. Burton died in 1989.
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Cesar Pelli is one of the United States’ most distinguished architects. The World Financial Center, located in the heart of Battery Park City, is among his most prominent building designs.
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M. Paul Friedberg is an internationally renowned landscape architect.
Brian Tolle
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Irish Hunger Memorial, 2002 Glass, fossilized Irish limestone, Native Irish plants Dimensions variable The Irish Hunger Memorial is designed to raise public
awareness of the events that led to the famine of 1845-52 and to encourage efforts to address current and future hunger worldwide. One and a half million Irish were lost through famine related death and the Diaspora. The design expresses a desire to react and respond to changing world events without losing its focus on the project's commemorative intent. Central to Tolle's project is an authentic Famine-era cottage donated to the Memorial
Martin Puryear
Pylons, 1995 Granite, stainless steel 73’ x 5’3”; 56’ x 8’3”
Martin Puryear’s stately Pylons rise along the waterfront of the Belvedere, framing the sightlines of the Winter Garden. Both columns are made from stainless steel and are composed from six segments. In their contours they are a study in opposites. One is solid and all angles, thrusting downward; the other, an airy, volumetric weave of steel mesh gracefully spirals upward. Situated between the ferry dock and the North Cove Harbor, the Pylons are designed to be viewed from either land or water as a symbolic portal connecting the two. By day, they give the waterfront an identifiable landmark. By night, the two opposing columns are dramatically illuminated like beacons.
Martin Puryear is one of the foremost abstract sculptors in the United States, His artworks combine elements of biomorphic abstraction and simple, sinuous geometry through the traditional craftsmanship of the laborer. Puryear received the Grand Prize at the Sao Paolo Biennale in 1989 and was awarded a prestigious MacArthur Foundation fellowship.
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by his extended family, the Slacks of Attymass, County Mayo, Ireland. The cottage has been painstakingly reconstructed on the Memorial's half-acre site as an expression of solidarity to those who left from those who stayed behind. From the cottage, visitors to the Memorial meander along paths winding through a rugged landscape thickly planted with native Irish flora – plants often found growing in fallow fields. Ascending to an overlook twentyfive feet above the ground, the visitor confronts a breathtaking view of the Statue of Liberty and Ellis Island beyond.
More Irish Hunger Memorial on next page
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(Irish Hunger Memorial cont’d.)
This landscape is cantilevered over a stratified base of glass and fossilized Irish limestone, presenting a theater of historical and modern sentiments about famine worldwide. Layers of mutable text, appearing beyond touch as shadows upon the glass, wrap around the exterior of the Memorial and into the passageway leading to the cottage while accounts of world hunger are heard from an audio installation overhead.
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Sol LeWitt
Loopy Doopy (Blue and Purple), 1999
Acrylic Paint 100’ x 80’ Sol LeWitt’s new wall drawing for the expansive atrium is the most dramatic of the commissioned artworks at the Embassy Suites Hotel. LeWitt’s Loopy Doopy (Blue and Purple)takes his wall-drawing to a monumental scale. Measuring 100’x80’, LeWitt’s undulated lines of blue and purple mesmerize the viewer as they enter the hotel. Rising 13 stories above the atrium level and filling this grand space with vibrant purple and royal blue, LeWitt’s Loopy Doopy gracefully transforms the atrium into a swirling aquarium of twisting color.
Internationally recognized as one of the founders of conceptual art, Sol LeWitt has exhibited throughout the world at such museums as the Museum of Modern Art, New York; the Walker Art Center, Minneapolis; and the Israel Museum, Jerusalem. A major retrospective in 2000, organized by San Francisco Museum of Modern Art, travelled to the Museum of Contemporary Art, Chicago and the Whitney Museum of American Art, New York.
Brian Tolle is an internationally renowned sculptor and public artist. His recent public works include Waylay for the Whitney Biennel in Central Park (2002), Man’s Achievements on a Shrinking Globe in an Expanding Universe for the Queens Museum of Art (2001) and WitchCatcher at MetroTech Center Brooklyn (1997) reinstalled in New York City Hall Park (2003). Using a variety of media, his works draw themes from the scale and experience of their surroundings provoking a re-reading by cross-wiring reality and fiction. In much of his work he uses cutting-edge technology in unexpected ways, blurring the border between the contemporary and the historical.
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Demetri Porphyrios
The Pavilion, 1992 Granite, wood, brick, copper 20’5” x 37’
Rising from the scenic lawns of The Governor Nelson A. Rockefeller Park below the junction of River Terrace and Warren Street, The Pavilion occupies a unique position in the landscape, as if negotiating a common ground between the greensward and the city beyond. Because the structure has no walls, both the park and the hubbub of downtown are eminently visible through its posts. The Pavilion is crowned by a handsomely crafted square wooden roof, supported along its edges by twelve thin wooden pillars and at its center by four Doric style brick columns. Between the columns is an upraised platform girded by a bank of low stone steps, which provide ground-level seats for people-watching, hiding from the sun and looking out on the great lawn below. With its pared-down, classical elegance and appealing mix of styles, The Pavilion is a functional and symbolic waystation and a gracious response to the architectural cacophony of the surrounding city.
Michael Van Valkenburgh Associates Ann Hamilton with Michael Mercil
Teardrop Park, Fall 2004
Architectural Landscape Teardrop Park is a 2-acre public urban neighborhood park whose edges are defined by 4 residential high-rises. Linking Rockefeller Park and the Ballfields, it features prominent rock outcroppings, a bluestone “ice wall”, and places for contemplation. The design creates a topography with a sunny concave valley at one end and a shaded convex hill at the other. There, a twelve-foot-tall wall of vertical stone is lodged, oozing moisture in the summer and accumulating ice in the winter. The art of Teardrop Park does not stand out as an autonomous object in the landscape, but lies imbedded within the visual and physical structure of rock, water, earth and plant.
Michael Van Valkenburgh is a professor of Landscape Architecture at Harvard University. His recent projects include a courtyard at the New School in New York City and the redesign of Harvard Yard in Cambridge, Mass. Ann Hamilton creates sensory environments that combine sound, text, video, photography and performance with enormous accumulations of material substance. The sculptures, drawings and installations of Michael Mercil often propose a geography of American culture.
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Demetri Porphyrios is an internationally known architect, teacher, and theorist. He is the author of numerous publications on architectural style and methodology.
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Kristin Jones & Andrew Ginzel
Mnemonics, 1992 Glass, stainless steel, mortar, miscellaneous materials 400 components each 8”x 8”x 4”
Kristin Jones and Andrew Ginzel created Mnemonics, an installation consisting of four hundred glass blocks built into the walls of the Stuyvesant High School. These blocks contain artifacts of symbolic value from around the world such as water from the Nile and a fragment of the Great Wall of China as well as relics tracing the history of the school. Other blocks have been left empty for future graduating classes to fill.
Tom Otterness
The Real World, 1992
Bronze Dimensions variable Taking over its corner of the park with gleeful abandon, Tom Otterness’ whimsical sculptural installation entitled The Real World is one of New York’s most popular public artworks. Cast in bronze, the sculptures feature Otterness’ signature cartoonish figures: animals and people, bankers and robbers, laborers and pilgrims, predators and prey, all rubbing shoulders in his delightfully loopy narrative world. There is an entire bustling society in miniature including frogs wrestling over a moat, a tilting tower and diminutive workers rolling giant pennies toward a multi-armed idol. Scattered nearby are a giant fist and feet and a bulbous-nosed creature seated on a bench pondering a bound animal that may be his next meal. Even as Otterness’ characters erect their monuments and enact their wile they remain oblivious to the giant viewer. Mixing levity and discord, biology and social commentary, Otterness’ fanciful world is always vividly entertaining.
Tom Otterness’ other public commissions include the Los Angeles Federal Court Plaza and the 14th Street/ 8th Avenue subway station, in NYC.
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Mnemonics, by Kristin Jones and Andrew Ginzel, and Tabula by Michelle
Stuart (on the following page), were commissioned for Stuyvesant High School by the New York City Department of Cultural Affairs Percent for Art Program and by the New York City Board of Education Public Art for Public Schools Program.
Michelle Stuart
Tabula, 1992
Marble 30 panels; 24”x 24”; 24”x 28” Michelle Stuart’s Tabula features thirty panels of different colored marble from around the globe inset into the school’s walls. In the main lobby are six marble panels inscribed with drawings that refer to systems of discovery ranging from the origination of Arabic numerals to early maps of cosmos.
John Hatfield
(Cat in the Hat, Little Prince, Bert, Dorothy, Piglet, Eloise, Harry) 7 Mosaic Panels; each 30” x 120” (26,000 hand laid tiles)
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Story Pattern, 2001
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Located on the playground of PS/IS 89, the colors and patterns of the mosaic panels are based upon characters of children’s stories – the blue and white checkered dress of Dorothy from the Wizard of Oz, the black jumper of Eloise, the red and white of Cat in the Hat, the pink striped belly of Piglet and others. Parents and children alike have read these stories countless times and consciously (or unconsciously) the colors and patterns of these characters have become etched into their imaginations.The abstract designs become illustrations on a large and exaggerated scale full of mystery, exuberance and playfulness.
John Hatfield received a Penny McCall Foundation artist grant and has participated in numerous solo and group exhibitions dating back to 1986.
Temporary Public Art
In addition to the permanent commissions to be found throughout Battery Park City there are many temporary exhibitions of public sculpture organized by the Public Art Fund. Since 1992, New York’s Public Art Fund has collaborated with the Battery Park City Authority to invigorate and enliven the public spaces of Battery Park City. The temporary program has included the work of artists Roy Lichtenstein, Beverly Pepper, Barry Flanagan, and Tyrone Mitchell. Creative Time’s Art on the Plaza is an on-going public sculpture series featuring new works by internationallyacclaimed artists on the The Plaza of the Ritz-Carlton New York, Battery Park.
Featured here is Gary Hume’s Back of a Snowman, installed between October 2002 and April 2003. Mayor Michael R. Bloomberg presented the 2002 Doris C. Freedman Award to Hugh L. Carey Battery Park City Authority. Established in 1982 by Mayor Edward I. Koch the Award serves to recognize individuals and organizations for their contributions to the people of the City of New York which have greatly enriched the public environment.
Directions to Battery Park City:
Bus M22: Madison Avenue to City Hall, X25: Grand Central Terminal to World Financial Center, X26: Penn Station to World Financial Center, X90: Upper East Side to World Financial Center Subway 4,5 trains to Fulton Street, 1,9,A,C,E trains to Chambers Street, 2,3 trains to Chambers Street or Park Place, N,R trains to Cortlandt Street New York Waterway Ferries to World Financial Center (1-800-53-FERRY): Ferries from Hoboken, Jersey City (Colgate), Port Imperial (Weehawken) Staten Island Ferry (718) 815-BOAT
Photo credits Pylons: Jeff Goldberg/ESTO Irish Hunger Memorial cover photo: Peter Mauss/ESTO Sitting Stance: Donald Penny All other photos: Stan Reis