The High Line is one of our favorite spots in the city, and we are enjoying the last sunny days of fall by exploring the current contemporary art exhibitions on view. The installation “Secondary Forest” by Italian artist Giulia Cenci stands at 24th street, welcoming visitors to investigate the intersection of human forms and organic elements. The sculptures depict animals, plants, and human appendages created from melted down scrap metal to create a forest that has regenerated after human-caused disturbances, much like the Highline itself. In fact, the artist described how the unique location of the exhibit, which hovers above NYC’s Meatpacking District, where slaughterhouses once stood and chic restaurants and shops now line the streets, influenced her work. As the artist explains, “[T]he High Line is a beautiful work itself; I immediately loved the way nature has been growing and devouring a manmade infrastructure. I started to fantasize about an area where different people, animals, plants, machines, and invisible entities are meeting and crossing.” Cenci’s thought-provoking work will be displayed through March 2025.
Dinosaur by Iván Argote
Not to be outdone by our friend in London, “Dinosaur” has made its debut on The High Line. The 16-foot-tall aluminum pigeon sculpture is the newest High Line installation, surveying the city from 30th street. The name “Dinosaur” serves as a nod to the humble pigeon’s incredible origins, as the common birds descended from dinosaurs.
Artist Iván Argote noted that when developing the piece, he wanted to make something strange, funny, and provoking. With this installation, Argote places the pigeon on a pedestal, the kind of space usually reserved for leaders, heroes, or historical figures, and by doing so pushes New Yorkers to question who and what we commemorate. Pigeons, like many of the city’s residents, migrated here from abroad, and Argote highlights that “even the pigeon, a New York fixture, migrated here and made the city their home.”
“Graft” by Edra Soto
Welcoming visitors at the Fifth Avenue entrance to Central Park stands a new sculpture, “Graft” by Puerto Rican artist Edra Soto. “Graft” is part of a series of installations by Ms. Soto that brings to life the exploration of the relationship between our private lives and what we choose to share with the world. The four screens are sculpted out of corten steel and terrazzo, which are inspired by rejas, or iron screens commonly seen outside of homes in Puerto Rico. The rejas replicate geometric patterns that may be traced back to West Africa’s symbol systems known as Yoruba and pay homage to the island’s Black heritage which is often overlooked by Puerto Rico’s Spanish Colonial history and architecture.
Visitors can stand on the outside of the sculpture, peering across towards the park, or on the inside, where they are invited to sit at tables and seating that mirror the welcoming interior of a home in Puerto Rico. By welcoming us inside, Soto invites New Yorkers to connect to Puerto Rico and its communities across the city.
“The Great Elephant Migration” by The Coexistence Collective
After a long journey, “The Great Elephant Migration” has finally made its way to New York City. The herd will call the Meatpacking District home for the next few weeks, inviting us all to walk alongside the elephants as they explore the neighborhood. The traveling herd of 100 pachyderm models are each inspired by an individual living elephant in the Nilgiri Hills region of Southern India, and the sculptures are constructed by indigenous artisans and contemporary artists. The majestic elephants are meant to mimick “how it is when you’re in India, with the elephants walking through the streets” according to Dodie Kazanjian, the founder of the Rhode Island nonprofit Art&Newport, who curated the elephants’ US tour.
We last caught up with the elephants in London back in 2021 and are thrilled to visit them again in our backyard! A must see for kids of all ages, the installation will leave us October 20th and travel throughout the US through 2025.
“Wildlife Wonders” by Gillie and Marc
We can never get enough (see our Wildlife, Paparazzi Dogs, and most recently Herd of Hope posts) of artists Gillie and Marc’s works. Now, Rabbitwoman and Dogman have returned to The World Trade center, bringing along some endangered friends to shine a light on wildlife conservation efforts.
At the center of “The Arms of Friendship,” sits the world’s largest octopus sculpture. Surrounded by a group of his wild animal friends, he welcomes all to climb aboard and explore. If climbing is not your thing, feel free to sit at “The Wild Table of Love” alongside bronze sculptures of various animals currently facing extinction enjoying teatime. We encourage you to go enjoy these immersive sculptures as Gillie and Marc bring us face to face with wildlife, urging us all to take action and protect the wild before we lose these beloved creatures.
“Les Voyageurs” by Bruno Catalano
Photos by Misia Delgado
Walking along Park Avenue in Manhattan, you may notice people are missing parts of themselves. Fortunately, you have not taken a turn into the Twilight Zone but have come across “Les Voyageurs”, or The Travelers, an installation by Bruno Catalano.
The artist, who settled in Marseille after leaving his homeland of Morocco at the age of ten, was a sea traveler who worked on boats. His first torso-less statue was the result of a casting accident, but now the gaps in these bronze statues are a signature of the sculptor.
Drawing from his own immigration journey when creating “Les Voyageurs”, Catalano’s statues depict the bodies of weary travelers, clutching onto a piece of luggage with a gap in their torso. Despite losing a part of themselves, these travelers move forward, luggage in hand.
“GRANDSLAM” by David Begbie
Photos by Protima Daryanani
After another exciting Wimbledon Championships, (Congratulations Carlos Alcaraz on the brilliant tennis in the final!!), we were reminiscing and recall this unique mesh sculpture, “GRANDSLAM” by David Begbie inside the Centre Court building.
Begbie described his desire to capture the spirit of tennis, explaining “it is the action and attention and burst of athleticism… I needed to get that sense of movement.” To bring the actions of the players to life he used steel mesh, which allows light and shadow to come through and enhance the feeling that the sculpture itself is in motion.
“GRANDSLAM” lives permanently in the Centre Court building atrium, and “resonates with the soul of The Championships past, present and future.”
“Curtain Call” by Karon Davis
Hovering thirty feet above Manhattan’s west side on our beloved High Line is Karon Davis’ graceful sculpture of a ballerina taking her final bow at the end of a performance aptly named “Curtain Call”. Known for her sculptures and installations that incorporated dance, theater, and moving images, for this piece Ms. Davis drew inspiration from her family, crafting the sculpture as an homage to her parents and sister who were all professional dancers.
The artist’s sculpture of a ballerina at the end of a grueling performance captures the mental and physical toll a dancer goes through to put on a show. To bring the dancer’s experience to life, Davis leveraged a mix of 3D scanning technology with traditional sculpting techniques, creating a bronze figure based on a plaster cast of ballerina Jasmine Perry. The work is part of Davis’ series Beauty Must Suffer, which examines the “life and labor” of Black ballerinas. This installation will be available at the High Line at 23rd Street until its last bow in November 2024.
“In every language there is Land/En cada lengua hay una Tierra,” by Nicholas Galanin
As we prepare to celebrate Indigenous Peoples Day this coming Monday, we thought it apt to share this magnificent thirty-foot tall steel sculpture presented by the Public Art Fund currently at home at Brooklyn Bridge Park, artfully spelling out the word "LAND." Created by indigenous artist Nicholas Galanin, “In every language there is Land/En cada lengua hay una Tierra” is reminiscent of Robern Indiana’s 1966 sculpture, “LOVE.” Galanin's perspective, emphasizing that "barriers to Land directly reflect barriers to love, love for Land, for community, and for future generations," underscores the thematic resonance between the two artists' works.
Galanin, a respected member of the Sitka Tribe of Alaska, incorporates his heritage into his art, fostering a dialogue between Native and non-Native communities. His sculpture, crafted from the same material as the U.S.-Mexico border wall, challenges the concept of border walls and advocates for Indigenous approaches to land ownership and national borders, promoting freedom of movement .
The title, “In every language there is Land/En cada lengua hay una Tierra,” is in both English and Spanish to represent both languages imposed by colonial powers on either side of the U.S.-Mexican border. This artwork serves as a poignant reminder of the resilience and enduring presence of Indigenous peoples, persisting and transcending borders despite the unjust loss of rights, languages, and access to their ancestral lands.
"Minotaur and Hare on Bench" by Sophie Ryder
While walking around Canary Wharf in London, we found this intriguing sculpture. Crafted by the globally acclaimed sculptor, Sophie Ryder, this monumental, wired artwork called “Minotaur and Hare on a Bench” is a captivating invitation to the realm of imagination.
The Lady-Hare, adorned with a hare-like head and a womanly body, stands as an alluring counterpart to the legendary Minotaur of ancient Greek myths. The sculpture embodies a poetic blend of femininity and nature, offering a mesmerizing glimpse into the artist's interpretation of mythology. Although often portrayed as a fearsome and violent creature that preys on humans for sustenance throughout Greek mythology, Ryder's rendition of the Minotaur transforms it into a figure that, rather than being menacing, embodies strength, love, and protection, designed to complement her Lady Hare sculpture.
These sculptures make a profound statement in the urban landscape. Their simplicity allows light to elegantly interact with their intricate forms, creating a captivating dance of shadows and highlights that further breathe life into Sophie Ryder's imaginative world, inviting all of us to explore the depths of our own creativity.