The High Line wants the public’s feedback on its next major art commissions.
Simone Leigh, Brick House, 2019, on the High Line plinth. Photo by John Lamparski/Getty Images.
As public monuments around the world are being torn down and scrutinized for celebrating the history of colonization, New York City’s elevated High Line park is inviting the public to weigh in on 80 proposals for artworks to be installed on its plinth, a highly visible platform suspended over Tenth Avenue, in 2022 and 2024. Earlier this week, High Line Art—the nonprofit organisation that commissions public art to be displayed throughout the Chelsea park—launched a platform featuring artists’ proposals where the public can leave comments on the work to be reviewed by the curatorial staff.
The final decision will be made by Cecilia Alemani, the director and chief curator of High Line Art, and her staff. Alemani told The Art Newspaper that it is “both an exciting and challenging time to think about the role public art plays in our cities and in our lives.” Alemani also noted that public art spaces have an increased responsibility to facilitate discussions about our society.
Among the artists whose proposals for the plinth are under consideration are established figures like Nick Cave, Mona Hatoum, and Alfredo Jaar, as well emerging and mid-career artists like Rafa Esparza and Kapwani Kiwanga. The proposed artworks cover a wide breadth of sculptural work, ranging from a large-scale vitrine and traditional ceramics, to a giant sculpted QR code that can be scanned on your phone.
The inaugural commission for the High Line plinth, which was unveiled in June of 2019 and is scheduled to remain on view through next month, is Brick House (2019), a towering bronze sculpture by Simone Leigh.
Kapwani Kiwanga, rendering of On growth. Courtesy the artist and High Line Art.
Mary Sibande, rendering of Old Wars are Out and a New Reason of Humanity is In. Courtesy the artist and High Line Art.
Banu Cennetoğlu, rendering of right?. Courtesy the artist and High Line Art.