“Untitled (America/Me)” by Glenn Ligon

For decades New York based artist Glenn Ligon has explored issues of race, sexuality, and identity in his art through a historical lens, drawing on literature and sources from the past. Using text in his work, he plays with language to make us think about shifting meanings in different contexts. Now, Ligon has once again drawn attention to what America means as our nation struggles to maintain unity.

“Untitled (America/Me),” is a new 25 x 75 foot billboard viewable from the High Line at 10th Avenue and 18th Street. The installation revisits Ligon’s iconic 2008 neon sculpture, “Untitled,” which featured the word AMERICA in bold neon caps that flickered on and off. Ligon has modified his original piece by crossing out most letters in AMERICA, leaving behind only the word “ME.” As the artist explains, “The word ‘America’ is eclipsed, and the blackening of the letters adds a layer of ambiguity… It’s timely as we reflect on our purpose as a nation and as individuals.” Timely indeed as we ponder the election this coming November 5th and what America means to each of us.

“Thank You Darling” by Lily Van Der Stokker

With its commitment to bringing contemporary art to all via public spaces, strolling through the High Line is a wonderful way to not only get our steps in but also to catch an array of ever-changing art installations. One of the newest additions along the High Line is a colorful, whimsical mural strategically painted on a building facing the High Line on 22nd Street stating “Thank You Darling” in bubble letters by Lily Van Der Stokker.

Ms. Van Der Stokker, who hails from the Netherlands, is known for using a confectioner’s pastel color scheme in her artwork to depict elements traditionally thought of as feminine such as clouds, flowers, and swirls as the backdrop to convey short messages like "Thank You Darling." Van Der Stokker’s work, which has been referred to as “feminist conceptual pop art,” is meant to be cheery but also aims to spark conversations regarding feminism and womanhood. "Thank You Darling" brings a moment of gratitude and joy to all who pass by it, serving as a delightful reminder to pause and take a moment of appreciation amidst the hustle and bustle of the busy city!

“What if They Bark?” by Cosima von Bonin

After a day filled with legal work, we decided to take a leisurely stroll along the High Line. To our surprise, we encountered a delightful scene—a school of fish engaged in a performance! Crafted by German artist Cosima von Bonin these fish are arranged like a military band, holding musical instruments and checkered missiles. Von Bonin, who has a deep interest in marine life, frequently incorporates these whimsical aquatic creatures into her art.

This light-hearted installation was inspired by the classical statue arrangements seen in ancient Greek temples. However, departing from the customary depictions of gods and heroes, the artist places sea creatures on land, engaging in human-like activities such as playing music. Fortunately for von Bonin's fans, she has created numerous similar installations and sculptures, which have been housed in the past at prestigious New York art institutions such as MoMA and the Petzel Gallery. 

"Old Tree" by Pamela Rosenkranz

With its roots planted upon the High Line Plinth and standing twenty-five feet tall at the Spur on 10th Avenue and West 30th Street, Swiss artist Pamela Rosenkranz has cultivated a beaming reddish pink hued tree at the elevated New York City Park. “Old Tree” prompts us to consider the interrelation between human and plant life as its color and shape “resembles the branching systems of human organs, blood vessels, and tissue.” Known for her juxtaposition of what is natural and what is human Ms. Rosenkranz’ “Old Tree” is rooted in such a way “as if the tree would like to leave its planter”, in a quest to escape the urban jungle it will call home for the next eighteen months.

“Freedom’s Stand” by Faheem Majeed

As we celebrate Black History Month, we look upon the work of artist, curator, community facilitator, and educator Faheem Majeed,  a modern-day Renaissance Man who creates works of art focused on institutional critique and cultural experiences. Mr. Majeed’s current installation on display at The High Line “Freedom’s Stand” pays homage to Freedom’s Journal, the first Black-owned-and operated newspaper in New York City that was launched in 1827 to counter act existing newspapers at the time that encouraged slavery and attacked African Americans. Drawing inspiration from a range of renowned, community driven work including Chicago’s Wall of Respect and the Community Mural Movement, the artist’s sculpture, modeled after West Mali’s Dogon Tribe granaries, exhibits  a sampling of headlines, photographs, ads, and articles from historical and present day Black newspapers. The monthly changing content educates spectators on vital issues, as Freedom’s Journal educated the Black community hundreds of years ago.

“NYC LOVE” by Nina Chanel Abney

Newly adorning the High Line on the West Side of Manhattan is a mural by artist Nina Chanel Abney, entitled NYC LOVE. The piece is an homage to and celebration of New York City via its iconography. Abney first moved to New York as a self-described Midwestern suburbanite in 2005, and found great comfort and joy in some of the city’s more tourist-oriented icons that many longtime New Yorkers take for granted. NYC LOVE brings these icons to the forefront, recreating the joys of first experiencing those stimulating sights and sounds in Abney’s signature bright colors and geometric forms. The work graces the High Line, an icon in and of itself, welcoming millions of New Yorkers and visitors alike to enjoy all that the city has to offer. Like Abney, we have only love and gratitude for this city we call home.  

The Musical Brain on the High Line

In New York City, you never know when or where Art might happen. From now until March 2022, you can take a stroll along the High Line and encounter “The Musical Brain.” The group exhibition, named for a short story by Argentine writer César Aria, reflects on the theme of the power that music has to bring people together. For his contribution, Brooklyn-based artist Raúl de Nieves has created colorful figures placed on park benches throughout the High Line to honor the magical and intricate stage costumes that musicians wear. To me, they are reminiscent of some of David Bowie’s magnificent costumes. Can you hear me, Major Tom?

"Untitled (Four Arches)" at the High Line

The beloved High Line has re-opened! Now requiring a timed ticket, the High Line has re-opened at reduced capacity and with additional safety protocols in place. For those who need to get out of the house for a walk outside, now is a perfect time to check out the High Line’s vibrant foliage and art, including work by American artist Sam Falls. For his piece, Untitled (Four Arches), Falls created four ceramic archways using original steel rail tracks from the High Line. Each of the four archways is dedicated to a different season in the park. To design the piece,  Falls collected plants from the High Line over one year, embedded the plants in ceramic, and fossilized them with colorful pigments. What else? Don’t forget to vote.

The Baayfalls

The mural The Baayfalls on the High Line is a double portrait of a sister and brother that the artist, Jordan Casteel, painted while at an artist residency at The Studio Museum in Harlem. Casteel, known for her vibrant portraiture, painted Fallou, who designs and sells hats, and her brother, Baaye Demba Sow. The title is a references to Baye Fall, a sect of the Sufi brotherhood Mouride, which Fallou’s brother belongs to, and the hand gesture Fallou is making signifies Allah among members of Baye Fall. With her portraiture, Casteel “adds deeply nuanced expressions of human experience to the expanding collection of images we see every day.” Which is just what we need in these trying times.

Silent Agitator

Silent Agitator by Scottish artist Ruth Ewan is a clock sculpture located off 24th street on the High Line. The “monumental” sculpture is based on an illustration originally produced by labor activist Ralph Chaplin for the Industrial Workers of the World (IWW) labor union. The illustration, a reference to the union’s round-the-clock organizing work and importance of the clock in labor negotiations including the fight for eight hour workdays, was one of many images that appeared on “stickerettes” (known as “silent agitators”) and distributed by union members. Ewan’s intention with the piece is to “provide a gathering space on the High Line, evoking the private vs. public separation of space and time we experience in capitalism, and a possible future where people gather together for their reclamation.”