This tropical-themed Pink Garbage Bin, with its lovely stenciled palm tree motif, was spotted on the sidewalk out front of a Carribean-style take-out restaurant in or near SoHo NYC. My iPhone is telling me it’s on Crosby Street, but I’m not sure how many blocks it is below Houston. Also, I do not know the name of the restaurant, but next time I am in that neighborhood I’ll get my shit together and update this post!
This abstract street art ‘portrait’ with the words “Rebel” at the top — which is an obvious nod to David Bowie’s Aladdin Sane album cover — is painted at end of the trash bin corral adjacent to Alternative Apparel clothing store at 281 Lafayette Street. It’s just a short stroll down the block from Bowie’s former residence at 285 Lafayette Street, where his widow, Iman, and daughter Lexi still reside. Daniel Winchester is the artist. A friend who used be the family’s dog nanny told me that this piece actually went up a week after David died. I can’t believe I just noticed it, and how great it stills looks. David Bowie Forever.
OK, whoever thought of this real life Post No Bills Meme street art installation is a genius. I spotted this on a construction site wall (inside a temporary sidewalk detour) located on Second Avenue near 20th Street, on the west side the block, and had to take quick picture so I could commemorate all of these Bills! From upper left and clockwise they are:
Former President Bill Clinton
Microsoft Founder Bill Gates
Actor /Comedian Bill Murray
Unidentified Bill (He May Be a Sports Guy) — Update: This man has now been identified by Mark Morton as Bill Belichick, Coach for the New England Patriots!
Bill Nye the Science Guy
Comedian Bill Burr
and Actor Bill Paxton (RIP)
Cuban American Geometrical Abstract painter Carmen Herrera (b. 1915, Havana) waited a very long time to get her hard-earned props from the art world. The artist’s first career retrospective, 2016– 2017 Lines Of Sight at New York City’s Whitney Museum finally provided a showcase for her minimalist, color field paintings, alongside a selection of her geometric, monochromatic sculptures — which she simply calls Estructuras (Structures). While it’s disappointing to realize that, at 104 years of age, Carmen Herrera isn’t quite a household name, the NYC-based Public Art Fund is doing its part to expose her works to a wider audience by sponsoring Estructuras Monumentales, Herrera’s first major exhibition of outdoor sculptures, which are currently on view in City Hall Park. This park is a short walk from my office, to so I walked over on my lunch hour to check it out.
Herrera’s Estructuras series of sculptures, informed by her architectural training, date back to the 1960s with a group of diagrammatic sketches. She envisioned large-scale monochromatic sculptures that would extend the experience of her luminous paintings into three dimensions. Until recently, these historic proposals have remained unrealized. With Estructuras Monumentales, this remarkable artist is now able to share her powerful structures with public audiences for the first time. Here are the five structures located in City Hall Park.
Herrera still paints and creates every day, but Angul Rojo (2017) is the first Estructura that she has designed in more than three decades. Its red chevron composition conveys movement and rhythm with a bold dynamism reminiscent of many of her most iconic paintings.
Herrera originally conceived Pavanne, (1967/2017) as a monument to her younger brother, Mariano, who was then dying of cancer. The three tightly fit, interlocking elements of this solemn work encourage quiet contemplation, while the title references the musical term for a slow processional dance with funereal overtones.
Amarillo Tres, 1971/2018. In the late 1960s and early 1970s, Herrera began to work with a carpenter to translate her drawings into wooden sculptural Estructuras. That resulted in the important smaller Azul ‘Tres’ (1971), on which this monumental Estructura is based. Herrera was forced to temporarily halt this endeavor when the carpenter she worked with passed away and the grant stipend that had supported the work began to dwindle.
Estructura Verde (1966/2018) most clearly expresses the evolution from Herrera’s paintings to her Estructuras. Her breakthrough Blanco y Verde (1966–67) series of paintings on canvas created long, acute wedges of dark paint among white expanses. This sculpture translates and inverts that arrangement, with two bold green interlocked L-shaped forms, which encompass slivers of negative space, incorporating the sculpture’s surroundings into its dynamic composition.
Untitled Estructura (Red), (1962/2018). Carmen Herrera’s Estructuras can be appreciated for their formal poetry, yet they can also be seen in the context of her life. In October of 1962, the confrontation between the United States and Cuba escalated to the Cuban Missile Crisis, during which Herrera and her husband Jesse Lowenthal were deeply involved in helping friends, family, and refugees escape the conflict. The overhanging cantilevered arrangement of this Estructura might abstractly allude to the tensions between Herrera’s adopted and native countries at the moment she conceived this work.
Carmen Herrera: Estructuras Monumentales, Curated by Public Art Fund Curator Daniel S. Palmer, Will Be On View in City Hall Park (Located in Lower Manhattan) Through November 8th, 2019.
Unless I am in some kind of crazy hurry, getting temporarily lost or misdirected in NYC is always a blessing, because it allows me to stumble upon amazing finds like this fantastic Neon Tiger. I spotted this beauty, from the sidewalk, inside a casual menswear boutique called Blue In Green, which is located on Greene Street, one block above Canal, in SoHo. Grrr.
I saw this fabulous Pink Metallic Mesh Dress in a store on Greene Street in SoHo when I was party-hopping during the Open Showrooms evening that closes out the two-week long NYCxDesign event.
Here’s a detail shot of the mesh that I managed to get, even though at this point I was already too tipsy to remember to note the name of the store I was in. Oops.
The camera roll on my phone tells me that pictures of the dress were taken at 31 1/2 Greene Street, but I looked up that address and I am pretty sure it was south of that exact location. It sure is a great-looking dress. I would wear it.
Artist Curtis Kulig’s popular Love Me campaign can be found on everything from Tote Bags and Baseball Caps to Jewelry and Nike sneakers. But sometimes you just see it out on the street, where it originated.
This minimalist mural, which just says Love twice in black and again in pink paint, was spotted while I was headed uptown on Sixth Avenue, somewhere between Dominick and Spring Street in SoHo, NYC.