Iran do Espírito Santo: Playground

October 3, 2013

Perched on the southern border of Central Park, Playground is a sculpture by Brazilian artist Iran do Espírito Santo. The work, a single piece of cast concrete, is incised to make it appear as though it was constructed of large blocks of stone, precariously stacked atop each other.

The artist describes Playground as a kind of “idealized ruin” and a metaphorical playground. Metaphor or not, the children (and many of the adults) who encounter Playground can’t resist climbing upon, and scrambling inside, the cool, inviting space.

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Public Art Fund
Designboom: Concrete Playground by Iran do Espírito Santo


Heydays in Bay Ridge

September 27, 2013

Some of the most charming works of art in New York City are hidden deep underground in subway stations.

The 86th Street Station in Bay Ridge, Brooklyn, is the site of a mosaic entitled Heydays. The wall-sized work by Amy Bennett pays homage to the neighborhood’s bucolic past, depicting three family homes and a church with a tall steeple, all surrounded by grass, trees and a winding brick pathway.

A close look at the pieces of glass reveals numerous finely-crafted details including a man peering through binoculars, empty lounge chairs upon a balcony, an old woman leaning out of a window, an umbrella-topped picnic table, and a dog sitting on a wooden porch.

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MTA Arts for Transit and Urban Design
Amy Bennett
New York Magazine: Neighborhood Profile, Bay Ridge


A Small Protest

March 13, 2013

Graffiti inside a bathroom stall in a Brooklyn grocery store.

Feed all people
Free the wage slaves
Question the system

The response.

And protest by
writing on a bathroom
stall instead of
actually doing something.

 

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The 21st Annual Hot Chocolate Festival

February 21, 2013

The holidays are over. The winter feels as though it will last forever. You long for an escape from the cold but you can’t leave the city.

In Manhattan, City Bakery has the solution. Every February, when the weather is at its bleakest, they host a  Hot Chocolate Festival. Now in its 21st year, the Festival celebrates the rich, creamy drink by featuring a different special flavor every day of the month. This year, the flavors range from Bourbon (February 8) to Vietnamese Cinnamon (February 10) to Creamy Stout (February 15th).

Today, I’m being a bit of a purist, with Darkest Dark Chocolate Hot Chocolate (so thick you can eat it with a spoon) topped with one of City Bakery’s home made marshmallows. And suddenly, February doesn’t seem long enough.

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The City Bakery
The City Bakery Hot Chocolate Festival


Sofia? Sophia? Sofia?

August 13, 2012

This handwritten sign was posted on the side of a bus shelter in Coney Island.

I can’t help wondering whether the author taped it next to the model’s face because he thought she resembled the woman he wanted to find.

I haven’t yet decided whether Joe’s note is sweet and romantic or stalker-ish and creepy. Or both.

Sofia? Sophia? Sofia — Sophia — Sofia

This is Joe. Good looking Italian U met on July !!4th!! on the “D” train in Coney Island  — U are Spanish very beautiful  — 30, 125 lbs  —  long brown hair  — U gave me your ph. number and I lost my phone the next day!! I looked 4 U that weekend by the subway entrance but there were to many people  — anyone know a beautiful Spanish Sofia I described  —  help bring us together. Joe 374-816-3984 Thanx

 

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Look, It’s The Misha Fruits Truck!

July 12, 2012

It’s just an old delivery truck that is used to transport fruit to the shops of New York City. But when the Misha Fruits driver is at work, people notice.

That’s because most of the vehicle is covered with an elaborate display of graffiti-style artwork.

The front of the truck is emblazoned with the name of the company, partially hidden by enormous oranges and grapes the size of a man’s head. The right side shows a green monster (perhaps it is a bit of mold) and a colorful, stylized word which is, to me, indecipherable.

The truck’s rear is painted with an humongous, glistening cherry and the word “fruit.” And the left side is shows a panorama of the sun setting behind a bustling city where the houses are shaped like pieces of fruit.

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The truck is parked on Court Street in Downtown Brooklyn.

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The writing, and the creature shown, are mysterious.

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The cherry looks delicious.

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I want to live in an lemon-shaped house.

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Another view of the fruity cityscape.


The SCAR Project

November 5, 2011

It began when David Jay learned that a 29-year old friend had been diagnosed with breast cancer. A fashion photographer, Jay’s instinctive response was to take her picture. The result was what he called a “beautifully disturbing portrait.”

That photograph, which unflinchingly displayed both the woman’s beauty and her mastectomy scar, was the genesis of the SCAR Project. Jay went on to photograph dozens of women who underwent mastectomies while between the ages 18 and 35. All of his subjects courageously displayed what is usually hidden from the world: the devastating physical changes wrought by their disease.

The SCAR Project images have been gathered into a book (The SCAR Project), a DVD (The SCAR Project documentary), and a traveling exhibition, which is currently at the Openhouse Gallery in Soho.

The gallery has two levels. There is a folding chair near the front door. A few votive candles are burning, a lucite box holds printed guides to the exhibit, and a table, draped in white, displays a visitors’ book, the DVD and the Scar Project book. A glass container for donations is perched on a nearby ledge.

Otherwise, the space is empty. There is nothing to distract from the portraits, which are blown up to much larger than life-size and hang against stark white brick walls. Each photo has a label with the first name and initial of the woman pictured and the age at which her cancer was diagnosed.

The women in the photos gaze directly into the lens of the camera and reveal their disfiguring scars, discolored flesh, misshapen breasts, puckered skin. The images are shocking, moving, powerful and beautiful.

The printed guide contains statements from each of the women on display. It also reminds us that these should not be considered a collection of pictures of cancer survivors — some of the women involved in the SCAR Project have died.

One lost her battle with cancer before Jay was able to shoot her photo; the place where her portrait would have been displayed is marked by a large black rectangle. Another died only days before the exhibit opened; a vase of flowers was placed below her portrait.

Below are excerpts from the participants’ statements:

I am glad I didn’t listen to people who thought I was too young to get breast cancer. I listened to my body instead.

I thought about my body, and all that it has been through. It almost felt like my body did not belong to me, but to the medical community.

A scar that marks me, separates me. Makes me wonder if anyone could love me and not be scared of my death.

My breasts did not define me as a woman, and without them, I am still curvaceous, sexy, and confident.

I never thought I would do a project like this, but I never thought I would have a mastectomy.

It is about demystifying the physical scars left, and even celebrating them as war wounds from a heroic battle.

Cancer took many things from me, but the one thing I may never get over losing is my sense of security.

With my participation in the SCAR Project, I hope that other women will find comfort in these images knowing what to expect …. having our breasts removed doesn’t make us any less feminine and we are all still beautiful.

I stare into the eyes of my corpse. But I still feel, so I know I still live. And for life, for my life, I will continue to fight.

I … see it as something to leave this world after I’m gone. Something for my family to look at and never forget the fight that I fought for my life.

The SCAR Project has replaced a huge piece that was missing within me and I feel in control of my life again.

I’d love to see a beautiful photograph of something I find so ugly. Maybe if my scars were viewed as art it would help me to heal.

As part of the SCAR Project, I can “just be me”. No covering up or masking the truth. No pretending that everything is fine. Here I am. This is me now. This is my life.

I am a force of femininity to be reckoned with even without the organs that have come to define womanhood in our culture.

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The poster for the exhibit

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The gallery door

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View from the street

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Reading the guide on the upper level

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The lower level

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Looking at the black “portrait”

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The table and guest book

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Diagnosed at 17, she died shortly before the opening

The SCAR Project
The SCAR Project Exhibition
Utne Reader: The SCAR Project
Openhouse Gallery


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