Art in the Parks

Andrew Kuo is a NYC-based artist known for his data-informed abstractions. Covering one full and two half basketball courts, this mural is a flattened rendering of bodega flowers that the artist photographed at Rivington and Orchard Streets. The dots scattered across the mural are locations on the court that create a very loose idea of a “map” of the Lower East Side.

This exhibition is presented by Project Backboard.

This mural reimagines CITYarts’ Alice on the Wall mural, originally painted at this site in 2002. While the images are new, the new mural retains the theme of Alice in Wonderland on an adventure through the sights and sounds of New York City. The mural was designed and painted by students from Stuyvesant High School’s StuyCanvas program.

This exhibition is presented by the CITYarts.

This lenticular print alternately displays two photographs of 157th Street and Broadway, one archival and one contemporary. Pedestrians activate the alternating effect as they walk by, causing the image to flip between centuries. The archival image from 1909 is used with permission from the Museum of the City of New York. The contemporary image is a photograph taken by Adrian Sas in 2023.

To create Painful Arc II (Shoulder-High), Khan interviewed High Line staff members and photographed the numerous shipping boxes of supplies that circulate within the complex ecosystem of the park. Khan’s inscriptions on the archway include packaging labels and handwritten notes jotted down by staff members onto incoming cardboard boxes. This reimagined public monument paints a portrait of the park and the people who maintain it every day, as well as the people far away who manufacture the goods shipped to our door. While historically archways have been inscribed with the names and symbols of nobles and leaders, this archway is a monument to the ecosystem of labor and people around the world who make the High Line possible.

This exhibition is presented by Friends of the High Line.

Slave Market is an augmented reality installation that presents the 1711 slave market in New York City, where enslaved African Americans and Native Americans were sold or hired. Accessible through a QR code on a sign posted at the site, the artwork presents a representation of the structure of the market and the interior space crowded with enslaved peoples. This installation is a part of a larger decentralized memorial called Slavery Trails, which consists of interactive augmented reality exhibits throughout the United States.

Craig’s closet is a newly created artwork by Jim Hodges for the New York City AIDS Memorial's ongoing public art program. This sculpture was imagined explicitly for the New York City AIDS Memorial Park, which lies in the shadow of the former St. Vincent’s hospital and in proximity to many sites central to the HIV/AIDS epidemic. This replica of a domestic bedroom closet, in granite and painted bronze, invites viewers to forge personal connections between complex histories and individual and collective memories.

This exhibition is presented by the NYC AIDS Memorial.

Rethinking culture and art history, the relationship between humans, land, and the myth of universal operations has been imminently transformed into a chaotic hymn or hysterical tone. These 14 Taiwanese heritage artists have been chosen as addressing preservation of multiple cultures, renewal of the environment, and honoring the new multi-faceted unity. Potential political, economic, and cultural crises can be averted only by an emphasis on the diversity of life that promotes interactive relationships. Their work is presented over a series of 28 vinyl banners.

This exhibition is presented by El Taller Latino Americano and the Taiwanese American Arts Council (TAAC).

The work is the result of numerous observations, including Leonardo da Vinci’s nature drawings, Biblical passages about the wind as a transmitter of forces, and representations of natural phenomena in art history. Above all, the artwork is the result of Chaile’s observations of pre-Columbian archeological ceramics from northwest Argentina, gathered in a small museum in Tucumán. Combining these inspirations, Chaile conceived of an artwork for New York City and the High Line. Wanting to avoid competition with the surrounding skyscrapers and extreme weather found on the High Line, Chaile intends for his sculpture to come to life through its interactions with surrounding natural forces: wind, rain, snow, and vegetation, which will create music when in contact with the sculpture. The artwork is a sculpture-manifesto, one that plays with the wind’s memory as a transmitter of poetry.

This exhibition is presented by Friends of the High Line.

Simon Rigg's life-size standing terracotta kimono sculpture has been placed on one of the pond islands beneath a majestic willow tree. This sculpture adds a contemplative and serene presence to the surroundings, inviting park visitors to reflect and find solace in its beauty.

Watching Over You and its companion piece Pond Blossoms both serve as tributes to the passionate Harlem residents who fought ardently for their park in 1968, contributing to the establishment of the pond and its significance in the community. It symbolizes the celebration of their efforts and the enduring appreciation for the pond's existence today.

This exhibition is presented by Sculptors Guild.