On View

‘City as Canvas: Graffiti Art From the Martin Wong Collection’ at the Museum of the City of New York

Wicked Gary's tag collection, 1970–72. (Courtesy the Museum of the City of New York)

Fifteen years after his death of AIDS in San Francisco, painter Martin Wong continues to nourish the cultural foundation of New York, where he lived from 1978 through 1994. Last year, the Danish-Vietnamese artist Danh Vo presented thousands of tchotchkes Wong once owned as a single heartbreaking artwork at the Guggenheim. And now we get an illuminating, much-needed look at the graffiti collection that Wong donated to the Museum of the City of New York just before he left for the Bay Area. Read More

Museums

The City as Canvas: Bored With Models and Drawing, Museums Turn Artists and Designers Loose on the Streets

Long Island City 2.0. (The Noguchi Museum)

Imagine that, in the spring, Long Island City is transformed by the artists who have for decades called the neighborhood home.

Running down Broadway, one of the Long Island City’s main axes, is a green lawn from curb to curb. It stretches from the shore to the elevated subway station three-quarters of a mile away. A High Line at street level, the refashioned road is traversable by cars and trucks, thanks to special pavers installed by Rirkrit Tiravanija. Occasionally, the east-west thoroughfare is closed, for movie nights and flea markets, all the hallmarks of a burgeoning post-bohemian neighborhood.

A few brave souls, rather than ambling along the new grassy causeway, fly over it, suspended in one of Natalie Jeremijenko’s hang-glider like Flightpaths, a project she successfully installed two years ago in Toronto. There are mechanized duck decoys floating in the channel between here and Roosevelt Island, monitoring the biodiverCITY. Visitors take in the East River from a new waterfront esplanade designed by George Trakas, stretching from the Ed Koch Queensboro Bridge, along the old industrial waterfront and past Socrates Sculpture Park.

From the esplanade, visitors observe the new quality-of-life indicators installed by Mary Miss on the Big Allis stacks. The red-and-white striped chimneys have dominated the Ravenswood skyline since 1965, when the power plant, then the world’s largest, opened. (As a name for the neighborhood, Ravenswood dates back almost two centuries. Ms. Miss and her collaborators are trying to revive it, setting the northern half of the neighborhood off from its condo-covered south.) Read More