Mariechen Danz (b. 1980, Dublin, Ireland) is a Berlin-based artist who researches representations of the body, investigating the way it has been given meaning in various cultures, epochs, and fields of knowledge. In her installations, performances and music, often in collaboration with other artists and musicians, the human body emerges as a contradictory structure and a scene of conflict — an utterly contaminated zone, both politically and historically.
Torso Section, Detail
For the High Line, Danz presents a new iteration of The Dig of No Body, a sculpture that references anatomical learning models segregated into individual parts, like a life-sized soil sample in movable layers.
Arm Section, Detail
The work evokes our changing relationship to the earth, as well as the popular contemporary name “Anthropocene,” which suggests humans’ creation of a new geological era.
The Dig of No Body is Part of the Group Exhibition Agora, On Display Along The High Line Through March of 2019.
I’m guessing not everybody will notice that the backside of this otherwise ordinary Stop Sign, located at the corner of Gansevoort and Hudson Streets in the Meatpacking District, gives a subtle endorsement of The Green.
I haven’t walked much on the High Line this winter, and I specially try to stay away from it at night, when there could be hidden ice or slippery conditions, or when isolation could make for unsafe circumstances. But this past week I was at an opening on 28th Street and decided on the spur of the moment to just walk the few blocks along the elevated park until I reached 23rd Street and could walk down to a bus. What scary fun it was to come upon this sculpture waiting in the semi-darkness at 24th Street!
This imposing figure is called Sphinx Joachim, and he is creation of artist Marguerite Humeau (b. 1986, France). Humeau is fond of using her artworks to weave factual events into speculative narratives, enabling unknown, invisible, or extinct forms of life to erupt in grandiose splendor. For the High Line, Humeau has proposed a sphinx as a winged lion that protects the site against potential enemies. Equipped with motion detectors, Sphinx Joachim roars as an alarm every time it senses a human presence. Scary, especially in the dark!
Sphinx Joachim is part of the High Line’s Mutations series and will be on display through March, 2018.
Nari Ward (b. 1963, Jamaica) creates sculptural installations from materials he collects in his neighborhoods, ranging from his original hometown in Jamaica, to Harlem, where he has lived since 1983. Ward’s compositions wrestle with memory and belonging, and address topics from justice to health care.
For his High Line commission, the artist reconfigures a childhood memory. Returning to his father’s home in Jamaica after 15 years away, Ward remembers finding an abandoned car in the front yard, [which was] sprouting a lime tree. He reimagines this story for the High Line with Smart Tree; the form of a Smart Car refinished with tire treads, propped up on cinder blocks, and sprouting an apple tree from its roof.
With the car’s cinderblock base representing stasis, and its coating of tire treads suggesting perpetual movement, Smart Tree holds up a mirror to the flux surrounding the High Line itself and reminds viewers of the park’s history as a major transportation artery in Manhattan.
Smart Tree will be on view at the High Line Park Through March of 2017.
Geoffrey and I took a walk on the High Line (aka The Highlands) this past Saturday evening to get from his place on West 30th Street down to the Jonathan LeVine Gallery on West 20th Street. We definitely saw a few signs of Spring. Check it out.
I love the purple tree against the detail of the brick wall.