Category Archives: Urban

Jeanne-Claude and Christo, The Gates (1979-2005)

orange gates in NYC central park

Jeanne-Claude and Christo – The Gates

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“The installation in Central Park was completed with the blooming of the 7,503 fabric panels on February 12, 2005. The 7,503 gates were 4.87 meters (16 feet) tall and varied in width from 1.68 to 5.48 meters (5 feet 6 inches to 18 feet) according to the 25 different widths of walkways, on 37 kilometers (23 miles) of walkways in Central Park. Free hanging saffron colored fabric panels, suspended from the horizontal top part of the gates, came down to approximately 2.1 meters (7 feet) above the ground. The gates were spaced at 3.65 meter (12 foot) intervals, except where low branches extended above the walkways. The gates and the fabric panels could be seen from far away through the leafless branches of the trees. The work of art remained for 16 days, then the gates were removed and the materials recycled.”

Bas Jan Ader, “In Search of the Miraculous (One Night in Los Angeles)” (1973)

Bas Jan Ader (1942-1975)

“In Search of the Miraculous (One Night in Los Angeles) (1973) is a series of fourteen photographs [on paper with text in ink] documenting artist Bas Jan Ader’s walk into the LA night. It was the first part of a proposed three part project, which culminated in Ader being lost at sea attempting to undertake a solo crossing of the Atlantic in 1975. Both works engage with romantic notions of the sublime and reference German Romantic painting…”

“The often indistinct, occasionally banal images that constitute In Search of the Miraculous (One Night in Los Angeles) have a spectral, mysterious quality heightened by the shadow cast by later events; a man walks alone into the night, and eventually the sea. However, the pathos of the images is disturbed by the inclusion of pop lyrics and there is a tragic humor in much of Ader’s work that alludes to the silent cinema of Buster Keaton and Charlie Chaplin.” [credit]

 

Francisca Benítez, “Property Lines, New York” (2008)

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76 floor rubbings
made on the sidewalks of New York
18″ x 24″, graphite on paper, 2008
Edition of 3

There are seventy rubbings in the series and they were installed as a grid on the wall, with varying dimensions depending on the location. The simple act of tracing in this set of walking-based drawings asks questions about borders, public versus private space, and how people mark space.

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“Francisca Benitez (b. 1974, Chile) lives and works in New York. Recent solo exhibitions include Cuchifritos Gallery + Project Space, New York (2014); Museo de Artes Visuales, Santiago, Chile (2013); Die Ecke, Santiago, Chile (2011); and Nada.Lokal, Vienna, Austria (2009). Notable group exhibitions include Mapping Brooklyn, Brooklyn Historical Society and BRIC House, Brooklyn (2015); Efemérides, Museo Histórico Nacional, Santiago, Chile (2014); Pier 54, High Line Art, New York (2014); One Minute Film Festival 2003 – 2012, MASS MoCA, North Adams, Massachusetts (2013); The Street Files, El Museo del Barrio, New York (2011); and Contaminaciones Contemporáneas, Museu de Arte Contemporánea da USP, Sao Paulo, Brazil (2010). Her work has been featured in major international exhibitions including the Bienal de la Habana, Cuba (2015); Lisbon Architecture Triennale, Portugal (2013) the Beijing Biennale, China (2009); and the LA Frewaves 10th biennial of film, video and new media, Los Angeles (2006).” (credit)

Carmen Papalia, Mobility Device (2019)

Carmen Papalia with a 18-piece band

Carmen Papalia – Mobility Device – 2021

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“Carmen Papalia is an artist and disability activist who uses organizing strategies and improvisation to navigate his access to public space, art institutions, and visual culture. His socially-engaged practice expresses his resistance of support options that promote ablest concepts of normalcy, like white canes and other impairment-specific accommodations that only temporarily bridge barriers to participation in an otherwise inaccessible, policy-based system. Papalia designs experiences that invite participants to expand their perceptual mobility and to claim access to public and institutional spaces.

For the High Line, Papalia presents Mobility Device, an innovative, collaborative performance in which he is accompanied by a marching band that plays a site-reactive score as guidance for navigating his surroundings. The work transforms the white cane—a symbol of someone with visual impairment—into a collective, sonic experience that opens up ways of thinking about care, collaboration, and a normative hierarchy of the senses. Papalia will bring Mobility Device to the High Line with the Hungry March Band, an 18-person ensemble founded in 1997 for the Mermaid Parade. With this work, he urges visitors to experience public spaces through the non-visual world.”

Christy Gast, Goldenrod Transect (2021)

Woman pausing during walking performance

Christy Gast – Goldenrod Transect – 2021

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Christy Gast presented a durational performative walk around a native plant found in several locations throughout the High Line, goldenrod. Gast brought her giant soft sculpture of a goldenrod, as a prop for educational, creative, and interactive collaboration with the public. They met on the High Line at Gansevoort Street, and traveled to 16th Street. Gast unfurled a monumental goldenrod stalk and revealed lessons from the hundreds of insect species that call it home.

woman with bug eye and mic

Christy Gast – Goldenrod Transect (2021)

Tim Brennan, iAmbic Pedometer: Ur Manoeuvre (2013)

“‘iAmbic Pedometer : Ur Manoeuvre’ [runs over 1.5 hours and] revolves around the report of Wordsworth’s mode of composition in which he would walk and utter aloud for hours on end. The work is an iPhone video of a walk made by the artist from his former home in Sunderland. Moving through inner city, suburban and open spaces, Brennan’s mumblings emerge from the sound of the traffic, shifting between semi-cogent announcement to that of the concrete poem. They collide Kurt Schwitters’ ‘ur poetry’ (another Cumbrian resident) with that of the pentameter (we hear snatches of ‘a. b. b. b. a’ – the rhyme scheme of iambic form). The artist sees this fusion as proposing Wordsworth’s early writing mode as bearing a relation to that of the Shaman, who, once induced into a separate reality may then speak in a variety of tongues to provide insight.” [credit]

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“Tim Brennan’s performance-led practice has been based around walking for over two decades. He has created over forty major works, which have ranged from a re-walking of the Jarrow March entitled, ‘Crusade’ to what might be described as guided tours concerning subjects and locations, from all of the angels on display in the British Museum (‘Museum of Angels’) to St Mark’s Square in Venice (‘Vedute’). Brennan has created such cultural counter-histories for both elevated and unexpected situations by inhabiting received stories as well as forging wholly new ones.

More recently, he has examined the idea of Northumbria as a distinct cultural region, walking through and photographing the territories defined by that ancient term. This broadened into an investigation of ‘the idea of North’, as colleague Peter Davidson has described it. In 2012, Brennan created a digital guided tour for the Durham Miners Gala, to be followed from one’s phone or mobile device.

In ‘Walk On’, Brennan presents several works including his longest completed walking work, ‘Vedute Manoeuvre’, and ‘iAmbic Pedometer’, a durational iPhone video that records his walking through Sunderland with semi-coherent mumblings that refer to both Wordsworth’s compositional strategy and to the sonic poetry of Kurt Schwitters.

Brennan’s current project – one might almost call it a campaign – entitled ‘Roman Runner’ involves the artist envisaging running the entire circumference of the Roman Empire. To date, he has traversed Hadrian’s Wall and the Antonine Wall as ultra-marathon manoeuvres. He also presents a compendium of his publications and guide books. Publishing, in tandem with walking, have been critical components of Brennan’s practice throughout his career. The two are inextricably bound together in his oeuvre.” [credit]

Tim Brennan, Vedute Manoeuvre (2011)

Tim Brennan performing his ‘Vedute’ Manoeuvre outside the Gervasuti Foundation on 01/06/2011 as part of ‘The Knowledge’ exhibition at the 54th Venice Biennale, curated by James Putnam, assistant curator Eiko Honda

“This performance and publication formed an aspect of the Exhibition ‘The Knowledge’ (a group exhibition of international artists curated by James Putnam) exhibited in the 54th Venice Biennale at Gervasuti Foundation. Brennan was specifically interested in the idea of the physical and psychological ‘view’ of an environment and how it might affect our knowledge of a place. This is especially pertinent to Venice when one considers the development of Venetian art. Canaletto was an exponent of what was to become known as ‘Veduta’ – a view painting (Plural: Vedute).

Brennan adopted a number of Canaletto images of St. Marks Square as way-markers to form the spine of a route to be walked by participants. The walker utilized a collection of view-cards (15x8x6” in all) each of which presents a different Canaletto (reproduction) view of the Palazzo. The reverse of each view-card carries a quotation that contrasts that of Caneletto’s image whilst keying into the City’s fictional and factual past. (e.g.the Camponile/bell tower is coupled with a Marinetti quote relating to the Futurist manifesto being launched from the site in 1910).

‘Vedute’ has been performed on several occasions by groups to tour St. Mark’s Square
This involves them reading the cards aloud. The periods of travel between each station enables conversational exchanges, attention to the built environment and everyday phenomena. In this way the artwork sucks the ‘everyday’ into its framework.

A performance at the opening of ‘The Knowledge’ involved Brennan orchestrating participants to read from the cards aloud whilst being transported on a workman’s barge” [credit]

person holding an image of a Venetian tower in front of the tower

Tim Brennan – Vedute Manoeuvre (2011)

“Tim Brennan’s performance-led practice has been based around walking for over two decades. He has created over forty major works, which have ranged from a re-walking of the Jarrow March entitled, ‘Crusade’ to what might be described as guided tours concerning subjects and locations, from all of the angels on display in the British Museum (‘Museum of Angels’) to St Mark’s Square in Venice (‘Vedute’). Brennan has created such cultural counter-histories for both elevated and unexpected situations by inhabiting received stories as well as forging wholly new ones.

More recently, he has examined the idea of Northumbria as a distinct cultural region, walking through and photographing the territories defined by that ancient term. This broadened into an investigation of ‘the idea of North’, as colleague Peter Davidson has described it. In 2012, Brennan created a digital guided tour for the Durham Miners Gala, to be followed from one’s phone or mobile device.

In ‘Walk On’, Brennan presents several works including his longest completed walking work, ‘Vedute Manoeuvre’, and ‘iAmbic Pedometer’, a durational iPhone video that records his walking through Sunderland with semi-coherent mumblings that refer to both Wordsworth’s compositional strategy and to the sonic poetry of Kurt Schwitters.

Brennan’s current project – one might almost call it a campaign – entitled ‘Roman Runner’ involves the artist envisaging running the entire circumference of the Roman Empire. To date, he has traversed Hadrian’s Wall and the Antonine Wall as ultra-marathon manoeuvres. He also presents a compendium of his publications and guide books. Publishing, in tandem with walking, have been critical components of Brennan’s practice throughout his career. The two are inextricably bound together in his oeuvre.” [credit]

Larsen Husby, Long Trace of Minneapolis (2016-18)

//longtraceofminneapolis.com/

Turkeys crossing Stinson Blvd

Larsen Husby “Turkeys crossing Stinson Blvd”

Watch video footage via MN Originals

“On October 3rd, 2016, I [Larsen Husby] decided to walk every street in Minneapolis. The parameters of this undertaking were as follows:

  • I must walk the entire length of every street within the city limits of Minneapolis, with the exception of streets which do not allow pedestrians, such as interstates and private streets.
  • Every walk must start with the intention of being a walk for the sake of the project; intention may not be applied retroactively.
  • I must record the route, length, and duration of every walk; however, failure to record one aspect of a walk does not disqualify it from counting towards the ultimate goal.

Following these rules, I walked 1,315 miles, finishing on June 26th, 2018.

The title, Long Trace of Minneapolis, addresses two crucial aspects of the work. ‘Trace’ refers to the piece as an act of drawing: my feet are a pencil, drawing invisible lines across the city. If one could see them, these lines would add up to form a trace of the entire street network, a map of Minneapolis the size of Minneapolis. ‘Long’ describes the temporal nature of the piece, which is a lived experience, not an object.  Those invisible lines are drawn not only along the ground, but through minutes, hours, and days.

This website is a document of the piece. It contains records of the project in the form of maps, photographs, measurements, and written reflections.”

JeeYeun Lee, Walking Detroit (2017-18)

This book brings together documentation of work made in and about Detroit from 2017 to 2018. It includes writing and images from pieces including: “Walking Detroit” (2017-2018), “Michigan Avenue: Hart Plaza, Detroit, MI to 47330 Michigan Avenue, Canton, MI” (2017), “Unsettling: A Walk through Cranbrook” (2018), and “Architextural Disruptions” (2018). Appendices include slides from a research presentation on Detroit history, and a bibliography.

TABLE OF CONTENTS

Acknowledgments
Introduction

SECTION 1: DETROIT

Walking Detroit (2017-2018)
Woodward Avenue
Interlude: Installation April 4, 2017
Jefferson Avenue
Gratiot Avenue
Grand River Avenue
Interlude: My Mother’s Store
Michigan Avenue
Michigan Avenue: Hart Plaza, Detroit, MI to 47330 Michigan Avenue, Canton, MI (2017)
Interlude: Installation December 8, 2017
Dearborn & Inkster
Bloomfield Hills
Interlude: Installation August 25, 2018

SECTION 2: CRANBROOK

Unsettling: A Walk through Cranbrook (2018)
Architextural Disruptions (2018)
Interlude: All Times Exist Now

APPENDICES

Appendix A: Research Presentation
Appendix B: Bibliography

Mike Collier, Prints and Billboard


 

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“Part of Mike Collier’s practice involves curating walks for groups of people, often with the natural historian Keith Bowey; walks that are also collaborations – slow-moving, meandering explorations of urban ‘edgelands’, those marginal and often unsung places where rural and urban coincide. The shared information recorded when ‘botanizing on the streets’ with participants is layered intuitively into the fabric of his abstract paintings and drawings constructed back in the studio. Text is important in the architecture of Collier’s work; the familiar unfamiliarity of vernacular names, dialects of birds and plants once known but fleetingly remembered, hinting back to the specificity of places and their ecological frameworks.

Recently, Collier has embarked on a collab­oration with the Wordsworth Trust, working closely with the manuscripts of William and Dorothy Wordsworth (both inveterate walkers, whose walking is often vividly portrayed in these manuscripts). In the prints here (Daffodils 1 & 2 and Good Friday 1 & 2), he works simply, directly and intuitively over the image/text from the journals of Dorothy Wordsworth, responding not only to the words on the page, but to the place the words describe. He has walked these landscapes she describes many times over and understands them well.

MS JJ is a key ‘text’ in the history of Romanticism. The manuscript looks ahead to William Wordsworth’s “Two Part Prelude”, a poem with many references to Wordsworth’s extensive habit of walking and its importance in helping him to make sense of his life and art – indeed, it could be argued that this is where the West’s culture of walking began.”