As usual, a visit to Independent Art Fair in New York doesn’t disappoint. On view this weekend at Spring Studios (50 Varick Street) in Lower Manhattan from 12-7 Sat 3/7 and 12-6 Sunday 3/8, this carefully curated fair is presented with minimal spectacle and maximum impact. Eschewing an the aesthetic of the uncontained, Independent N.Y. allows space for fair goers to step back and digest the diverse palettes presented by exhibitors.
Cannupa Hanksa Luger continues to push the envelope forward with human rights and indigenous visibility with a presentation at Garth Greenan gallery, while Company gallery stuns with a simultaneously personal yet abstracted group presentation. The insurmountable genius of Wolfgang Tillmans emerges at the Maureen Paley gallery presentation. Exhibitors have exhibited the ability to pull inspiration from multiple sources, sensorially and intellectually, without muddying the waters beyond comprehension.
Installation remains a key part of Independent presenters’ motive, with multiple perspectives available for visitors to access. Where the creeping influence of design and interdisciplinary approaches meets a surge in identity politics, the breath of fresh contemporary wonder that is Independent lies at the ready to strike into the heart of visitors’ imaginations.
A wealth of mediums and conceptual rigor greet the fair visitor. Make sure not to miss the chance to step into the refreshing space inhabited by Independent NY in 2020 before it closes this Sunday.
With an opening reception held on Tuesday, Nov 26 from 6:30-9 pm, “Life Living Life,” will debut exhilirating international photography by father-son duo Dr. Alan Sloyer and Michael Sloyer. The pop-up exhibit, located at 498 Broome Street, will be open for visitors from 10am to 7pm daily and features photography for sale, with 100% of the proceeds benefiting international nonprofit Ghana Make a Difference.
Please RSVP to attend the opening evening festivities on Tuesday, Nov 26 from 6:30-9 pm, featuring sriking photography, music, and refreshments provided by Wine Dog Imports and Four Fox Saké. This is the artists’ premiere dual exhibition in New York City, with photographs on view reflecting the rich diversity of human culture and natural environments in Africa, Asia, the Americas, and beyond.
Emphasizing the indigenous beauty scattered the world over, the Sloyers reveal the stunning links between disparate cities, regions and continents in quiet moments of contemplation. These compelling photographs delicately weave together the narratives that form everyday life for residents of diverse areas of the globe.”Life Living Life” is the rare exhibit which celebrates our communal unity and diversity through the medium of photography.
Michael Sloyer is a Tokyo and New York-based photographer dedicated to making the world a better place through his photography. By capturing humanity and the natural environment through a fuller range of available light, Sloyer’s photographs provide insight into the emotional essence distilled in the moment. These considerations elevate the viewer’s experience from simple observation to a more sensual and introspective reflection. Michael also takes great interest in spontaneous street portraiture. From stoop-sitting elders in Old Havana, to shoemakers in the bazaars of Istanbul and children running through the streets of Old Delhi, Michael seeks to capture “life living life.”
Dr. Alan Sloyer is an award-winning, New York-based photographer who specializes in travel, landscape, and street photography. Alan took up traveling early, and his parents always preached that “travel is the best education.” Alan’s photos have appeared in many publications including the New York Times, New England Journal of Medicine, Chronos, Annals of Internal Medicine, and Shutterbug Magazine. One of his photos was also selected by Nikon for its holiday card for North and South America. Alan has been fortunate to travel around the world to unique destinations and has experienced adventures in more than 70 countries
On view from Nov 26 – Dec 8, 2019, “Life Living Life” is an exhibit that captures the beauty latent in both the everyday and the exotic – all in the name of benefiting those in Ghana who are most in need. Come to the opening reception on Nov 26 at 498 Broome Street from 6:30-9 pm to witness this stunning survey of humanity in person!
Ghana Make a Difference (GMAD) is a US registered 501(c)(3) organization that is dedicated to sustainably improving the lives of the children of Ghana by providing shelter, job training, education, and medical care. GMAD’s philosophy is centered around preserving families and providing a path to self-reliance for the people it serves.
On view through October 12, 2019, “Montauk Love Song” captures, in loving detail, artist Joan Walton’s time spent soaking in the enduring remote seascape of Montauk. An artist who works with clay, Walton evokes the outlines of Montauk: the curling corners of seashells, sea glass and sea-tumbled stones inform the artist’s approach in “Montauk Love Song.” Ceramic works and photographs form a multi-dimensional encounter with Long Island’s South Fork from afar.
This harmonious blend of ceramic sculpture and photography on view captures the luminous beauty afforded by Montauk as captured through the adroit, perceptive lens of Walton’s practice. A talented ceramics artist and photographer, Walton has honed her nuanced, abstract approach to natural forms. The artist has exhibited both in NYC and abroad, as a visiting artist in nations with a storied ceramics culture such as Korea and China. Through this finely tuned artistic sensibility the artist explores themes of vulnerability and inaccessibility, intimacy and distance.
This recent work by Walton evokes natural forms while reimagining their composition, distilling the essence of sea ephemera into these detailed abstract creations. Walton’s photographs similarly capture fleeting impressions of Montauk’s singular atmosphere: leaving the rest to the viewer’s imagination. Visitors are invited to encounter Walton’s work as a portal to their wider imaginations, her poignant photography and incomparable sculpture leading the way to the shoreline.
“Montauk Love Song” celebrates its opening on Thursday, Sept 27 from 6-8 pm at Atlantic Gallery, suite 540, 547 W 27th street NYC. The opening is free and open to the public and the artist will be present.
The art world calendar is kicking into high gear- but don’t fret, we’ve pulled together a guide to help you navigate the zoo that is local and international art events happening from Feb 6-10. Call it an extended weekend survey. Take a look at the below, in NYC and beyond!
Mexico: Art Rising
This week in the zoo that is the art world, Mexico takes front and center as ZONAMACO Mexico opens in Ciudad Mexico (on view through Feb 10). Featuring the best and brightest in emerging talent, ZONAMACO Mexico is rapidly rising as a reliable barometer for art world trends and artists to watch on the international stage (with a focus, of course, on talent engaging with Latin America.)
Meanwhile, Frida Kahlo opens at the Brooklyn Museum on Frida(y), Feb 8 (yuk yuk). The retrospective marks a watershed moment for Kahlo, who went back and forth from Mexico to New York City during periods as an emerging artist. Tickets for the first few opening days caught fire – watch this space for our ANTE. review in mid-Feb!
Don’t fret if you’re stuck in the City this week without tickets to Frida – or even if you managed to snag some, know that there is plenty to occupy your time!
Starting on Thursday, 2/7 MIRROR|MIRRORhosts an artist reception from 6-8 pm (RSVP is required, email@example.com). Featuring February James and Shona McAndrews, the exhibit is organized by LatchKey Gallery in collaboration with Select World’s S 12 Studio. On view by appointment through February 15, 2019, MIRROR|MIRROR explores two artists whose depiction of women offer a counter narrative to beauty norms and standards.
Located at the prestigious Anna-Maria and Stephen Kellen Gallery (Sheila C. Johnson Design Center / 2 W 13th St, NYC), the opening reception for the exhibit takes place Thursday, 2/7 from 6-8 pm and will be attended by the exhibiting artists including The artists in this exhibition include Morehshin Allahyari (IR/US), Scott Benesiinaabandan (CA), Matias Brunacci, Yu Hong(CN), Francois Knoetze (ZA) and Erin Ko (US) & Jamie Martinez (CO/US) in a joint project, who – intriguingly – create a journey to the afterlife inspired by the Egyptian Book of the Dead.
Saturdayand Sunday are dominated by talks and performances, with Saturday hosting the bulk of the fare.
Saturday 2/9 events include at artist talk at Lesley Heller Gallery in conjunction with Jim Osman’s The Walnut Series at 2:30 PM.
DUMBO plays host to Smack Mellon‘s artist talk, “Bonnie Collura: Prince & Rachelle Mozman Solano: Metamorphosis of Failure”: free & taking place from 4-5pm, while over in Long Island City, Queens, SculptureCenter hosts viewings into the Late Night of current exhibiting artist Banu Cennetoğlu’s Moving Image Work (RSVP required; entry from 6-10 pm with event ending midnight).
While Sunday is a mostly slow day, there is an intriguing, Chinese New Year-appropriate event at Pearl River Mart featuring a performance by Arlan Huang & Mee Mee Chin: “Cantonese Opera Makeup” for “Closing Distances”, free 1-3 pm at Pearl River Mart Gallery.
Enjoy your long, extended-art-weekend in NYC and beyond!
With a wink to contemporary aesthetics while unabashedly pushing the envelope, interdisciplinary artist Katie Hector, who lives and works in New York City, has rooted her emerging practice in painting with a focus on two main bodies of work: large-scale paintings on canvas and three-dimensional wall sculptures. In addition to her studio practice, Hector works as an independent curator and the Co-Director of Sine Gallery. She has worked to organize and fundraise a variety of projects, including an international exhibition in 2017, multiple collaborative and environmental installations, and over two dozen group shows, screenings, pop up events, and panel discussions.
Hector, who holds a BFA from the Mason Gross School of the Arts at Rutgers University in 2014, has lectured at Mason Gross on professional development in the arts all while gaining recognition through scholarships, residencies, and awards including the 2017 Picture Berlin International Residency, the 2016 Merit-Based Scholarship from Urban Glass, the 2014 Scott Cagenello Memorial-Prize, and the 2013 Ruth Crockett Award. We sat down with Hector to get an update on her current artistic endeavors, scope out her upcoming projects and learn about whose work inspires her own experimental practice.
ANTE.Your practice examines, conceptually, parameters of virtual engagement across social media and the implications of modern technology on society. Can you talk us through your two series, FOMO and Interface, and how each examines these phenomena through a particular lens?
KH.I believe both series attempt to describe how new technologies and interfaces, specifically smartphones and social media have created shifts within communication and the contemporary psyche. Through large-scale painting the FOMO Series seeks to address social anxieties and how they relate to internet culture through utilizing abstract mask-like imagery. Repeating ovoid forms allude to a floating face with large staring eyes that take up most of the picture plane. For me, these mask-like forms reference selfie culture, emojis, and online personas while also signifying ancient desires to capture one’s likeness or establish a legacy.
The Interface Series meditates on the fetish object itself, that being smartphones and personal devices. To determine the scale for this series of work I utilize the dimensions of various tablets and monitors as a template. These pieces are comprised of two to three layers of geometric forms cut from various materials and collaged onto each other. I typically slather the base shape in a high gloss industrial enamel, which in effect mimics the sleek reflectiveness of a black screen. Additional layers are then affixed to this base surface and are three dimensional casting real shadows. I think of these subsequent layers as computer tabs, each containing their own set of painterly information and surface qualities. Palette as well as content unite these parallel bodies of work. Hyper-saturated prefabricated colors are sourced from commercial advertisements, anime, clickbait, and memes to create visual lures.
ANTE.You consider pop culture and the presence of the internet in society today through your work, specifying that you “anthropologically observe and document.” Can you walk us through this process and what drew you to this subject matter?
KH.I am acutely aware of the time and place I am a part of. I am a twenty something, a proper millennial, who was taught in grade school how to write a postal address and use the Dewey Decimal System in one class followed with how to type and proofread an email the next. I am a female, mixed-race American: born and raised in a capitalist democratic society. These are my personal truths and they all come into play at various points in the work, sometimes they’re subtle, but it’s all there.
There was a time I felt insecure about my subject matter, that speaking about social media was too Pop-ish and wouldn’t have any lasting impact, but time and time again I couldn’t help coming back to it. Looking back at my experience growing up it was radical to come of age during a time in which sending a handwritten letters became novelty and infinite spans of information seemingly became ubiquitously available. I am particularly fascinated with how we as a society are dealing with this incredible access to information. We essentially have free education where all of human history, the known world, any workshop, or book is downloadable, Google-able. We are living in an age where no one has to wonder anymore it’s all right there, at your fingertips, and one click away. However most people tend to use the internet for pleasure, entertainment, and communication. In American society we have subconsciously ascribed a hierarchical moral value system to how we utilize our internet time, one that is tied to puritan and capitalistic ideologies. Anything that falls outside of the parameters of smut-less, dutiful, goal-oriented work makes us feel kind‘ve undefinably bad: guilty, weird, gluttonous and indulgent. I take note of these patterns of behavior both in myself, and broadly speaking and focus my work on describing this failure to cast off the physicality of our humanity, namely our insecurities, even during our cognitive assertion into a virtual realm.
ANTE. Works from your FOMO series were recently on view in Brooklyn’s culture neighborhood of DUMBO, sponsored by DUMBO BID, as part of an arts + culture event. How were you hoping that visitors would interact with your works and did this transpire?
KH. The space was truly unusual and fun to navigate. Noted as, “likely the tiniest, most inconsequential gallery in NYC, maybe on the face of the Earth”, it was a 32-square foot pop up cubicle erected within the archway of the Manhattan Bridge in DUMBO. The This Friday or Next Friday Space Station is a pure product of NYC, and the limited spaces available to artists. It’s a testament to the fact that anything is possible anywhere and that lack of space is not a roadblock, but rather an invitation for innovation. When I was first invited to show in this space I immediately envisioned an installation; however, in the weeks leading up to the show I was particularly obsessed with making large-scale paintings on drop cloth as the latest extension of the FOMO series. I choose five of these paintings to show and installed them on the interior of the gallery making an effort to completely cover any white wall space. I covered up the cobblestone ground as well with a colorfully speckled soft insulation material that transformed the space into a hyper saturated cubicle. Considering the tiny confines of the gallery itself set within a high traffic public space the level of public engagement with the work was any artist’s dream. It was pure joy watching kids stomping and rolling around on the carpeted ground, people taking selfies in the space, and passersby coming back to peek into the space three or four times like moths drawn to a rainbow flame.
ANTE. Can you walk through how your work has evolved? How did your education in the art field evolve and what mediums do you work within?
KH. In a way I am making the same paintings I always have. I was fairly skilled at rendering faces during high school, and I guess the FOMO paintings can be interpreted as a portrait of a mental state. In that regard the largest shift in the work has been one towards abstraction over the years. Instead of describing an individual the work now comments more broadly on the human condition, the psyche, and asks whether humans are bad or whether they are simply creatures of folly.
I find myself constantly chasing the work, pursuing anything this body of paintings requires. For example I needed to scale up the image to see how gestures would translate at 10’ which was not possible in my first studio, “well I guess I have to move studios and get a bigger wall then.” Each time I take that leap of faith to follow the work and make a big change I become significantly more sure of myself and my ability to make the right decision when it needs to be made. In school I used to think that I wasn’t a serious painter because I didn’t toil over layering and sanding down primed canvases, practice drafting my compositions, or fuss over mixing my paints. I learned each lesson of course, but secretly didn’t care too deeply about those particular processes. Eventually over time all those things fell to the wayside and I realized that they were someone else’s methodology and although it’s cool, and works, it had no place in my practice, so I was able to let them go. I am quite grounded in my content at this point and feel satisfied that it is focused yet will leave enough meat on the bone to sustain my curiosity later down the road. I’ve come to a wonderful point where I am confident about my process, the materials I use, and the speed at which I work. So it’s more or less full steam ahead for now.
ANTE. Work from your Interface series is on view in Burlington, Vermont as part of the “Optimist Prime” group exhibit at New City Gallery. Which works are included in this show and how do they fit the theme?
KH. “Clickbait”, “Double Tapping Moon Vibes”, and “Tumblr Grl 2”, are the three works which are included in the “Optimist Prime” exhibition. Curated by Michael Shoudt, a long time friend and talented painter, the show focuses on gesture and surface in a way that walks the line between painting and object. I’m certain that Michael would dig his heels in the ground and declare that this was purely a painting show, but to me there is a playful testing of those boundaries and a “who says this isn’t a painting” spirit to the collection of work.
ANTE. What other exhibits are your works a part of currently and what do you have upcoming?
KH. I currently have four works (“Golden Toupee” (2015), “Filter Bubble” (2017), “Untitled” (2017), and “Versace Versace” (2018)) all from the Interface series included in an exhibition entitled “Small Paintings(ish)” at BS Projects in Houston, TX. I’m tickled that my work made it to Houston before I did.
Along with being a painter I am also an independent curator, and Co-Director of Sine Gallery. We recently teamed up with Light Year and the DUMBO bid to curate a massive public screening of six interdisciplinary artists: Damien Davis, Patricia Brace, Yali Romagoza, Dominique Duroseau, Jesus Benavente, and Joiri Minaya. The videos will be cast onto the side of the Manhattan Bridge Aug 2nd, 8-10 PM in DUMBO, with the best vantage point being from 155 Water Street. I am extremely passionate about this collection of artists and am so please to represent their work in DUMBO, a community which has time and time again embraced my alternative white cube curatorial slant. Huge thanks to 68 Jay Street and Ardele Lister and Steve West for being eternally supportive.
I am also a Curatorial Assistant for Art in Odd Places 2018: BODY and will be helping to organize various aspects of this year’s performance art festival under the vision of Katya Grokhovsky and Ed Woodham. BODY marks the first exclusively female, non-binary, and trans line-up in the festival’s 14 year history and will include the work from 45 artists from all over the world in a four day performance art festival along 14th Street Manhattan October 11th – 14th. In conjunction with the festival there will be an exhibition and public programming held at Westbeth Gallery throughout the month of October.
As far as upcoming shows go, I have a few projects in the works for the studio this Fall, stay tuned.
ANTE. Can you walk us through some of your contemporary influences? What artists are you looking to as you develop your own practice?
KH. I love Joyce Pensato, I love her imagery, process, her use of gesture. Katherine Bernhardt is another contemporary favorite. I look to her as a example of how an artist can glean new sensibilities from travel and blend them into an ongoing work. Poly Apfelbaum is a classic and I frequently look to her installation-based work, her color, and use of commermerically sourced materials. I have profound respect for the trailblazing forms of Susan Murphy, and what she introduced to painting, and can’t help but gush over the sleek graphic refinement of Tauba Auerbach. Along with these giants I have the deepest respect for the work of my peers: Amie Cunat, Denise Treizman, Katie Bell, Leah Guadagnoli, the list goes on.
Culture Push, an innovative NYC-based nonprofit arts organization promoting civic engagement, is hosting their annual benefit on Tuesday, June 26 from 6-9 pm at the Abrons Art Center, 466 Grand Street (#201) New York, NY. This fundraising event honors Art in Odd Places Founder Ed Woodham while raising funds to support one of the nonprofit’s central missions, the Fellowship of Utopian Practice, which funds artists to create socially-engaged projects across a range of mediums and with a variety of audiences in mind. Tickets are still available here – there’s still time to join in and be a part of innovative and experimental social practice Culture Push brings to life! Tickets to the party start at $25, with a $75 option to enter the raffle and leave with a fabulous limited edition artwork!
Works are available in the raffle by innovative artists such as Chloë Bass, Caroline Woolard, Aricoco, Todd Shalom and so many more! The Benefit not only continues to support Utopian Practice fellows including Clarivel Ruiz, Chris Ignacio, Kanene Ayo Holder & Jodie Lyn-Kee-Chow, Theodore Kerr, Hidemi Takagi, the Chinatown Art Brigade and more. All artists call attention to the intersection between social and civic participation and the arts. This is a sentiment also advanced by Art in Odd Places founder Ed Woodham, the honoree of the event. Art in Odd Places, a nonprofit arts festival taking place along 14th street in New York City, is in its 14th year and has allowed experimental practice along the length of this public corridor in Manhattan.
Imaginative problem-solving and the genesis of social art lie embedded in the foundation of Culture Push’s mission. Flexible, responsive and avant-garde, Culture Push is celebrating its ten-year anniversary of producing innovative art projects in public for a wide audience. Founded by Clarinda Mac Low, Aki Sasamoto and Arturo Vidich, the founders have mined their respective backgrounds in visual and performing arts to create a platform for artists engaging with creative expression within the public context. Come and attend the Culture Push benefit, win a great artwork, meet inspiring artists and celebrate what is almost ten full years of experimental public art – with many more to come!
There are countless gallery guides exploring the cultural events happening throughout NYC, but how many can you find within walking distance or bus ride of your nest? How many events happen right down the street that you could swing by after a nice dinner with a friend? Why does every single blog profile seem to profile events happening in the art areas of Chelsea and the Lower East Side?
With these thoughts in mind, here at -1 Below we take a look at cultural events happening around New York City, minus one boro: Manhattan.
Below we consider upcoming cultural highlights with five not-to-miss events from Brooklyn, Queens, Staten Island and the Bronx… with some cultural events to entice guests willing to venture farther afield.
“Night Regulation” Radiator Gallery, 10-61 Jackson Ave, Long Island Cityfeat. artists Loren Britton, Maria Dimanshtein, Nicholas Fraser, JF Lynch and Andrew Prayzner – curated by Patrick Neal. An exhibition touching on the fraught and complex relationship between conceptual and formal elements present in contemporary art. Opening: Feb 2nd from 6-9 pm
“Incision: Feminist in Residence” Project for Empty Space, 2 Gateway Center, Newark, NJ(across from Penn station skybridge) feat. artists Chaya Babu, Christen Clifford, Camille Lee and Katherine Toukhy. Profoundly feminist, this exhibition explores the personal and political presence of being a woman artist in a complex, hierarchical art world pantheon. Opening: Jan 31st from 6-8 pm.
“Know Your Mushrooms: Mycology 101” Earth Arts Center, 936 Madison Street, Brooklyn, NYfor artists with a taste for the wilder side of nature, this class, led by expert agriculturalist and PDC practitioner Oliver Bolotin, covers key points outlined by Paul Stamets in the tome “Mycelium Running”. This class will cover wild mushrooms as well as growing your own fungi colony at home. Event takes place Sat, Feb 3rd: doors open at 8 pm with discussion beginning at 8:30.
“Reenactment” gallery talk, BRIC (The Stoop @ BRIC Arts) 647 Fulton Street, Brooklyn, NY.Coffee + Conversation discussing current BRIC exhibition “Reenactment” with curator Jenny Gerow and exhibiting artists Maria Hupfield and Farideh Sakhaeifer on how certain histories are privileged, stifled, and/or eventually re-examined. The exhibition features artworks by Ken Gonzalez-Day, Crystal Z. Campbell, Alicia Grullon (pictured in cover image), Hupfield, Sakhaeifer, and Marisa Williamson. Feb 3rd from 12-1 pm.
“Coming to America” Free Screening @Brooklyn Bazaar, 150 Greenpoint Ave, Brooklyn, NY.A light-hearted look at America (specifically, Jamaica Queens) through the eyes of a visitor from our current administration’s so-monikered “shithole countries”, come laugh off our current xenophobia with Eddie Murphy and Arsenio Hall’s devastatingly witty performance, with turns by the commanding James Earl Jones and Madge Sinclair in the classic 1988 film directed by John Landis. No RSVP required, seating first come first serve. Jan 31st from 8-11 pm.
Ai Wei Wei and Nicholas Baume at Doris C Freedman Plaza for Good Fences Make Good Neighbors (press preview)
It was 9:07 AM, and the artist was discreetly standing to the right of his Gilded Cage sculpture in Doris C. Freedman plaza in Central Park. Ai Wei Wei, artist behind Good Fences Make Good Neighbors – an immersive public art experience around NYC’s Five Boros – was standing next to the Central Park behemoth which was realized with the support of the Public Art Fund. The Fund is currently celebrating 40 years, with Wei Wei’s project as their central focus celebrating this momentous milestone. Wei Wei was deep in conversation with a city official when the photographers swarmed him, creating a buzz of activity near a path of curious dog walkers and joggers.
Wei Wei can similarly expect that his art installations, situated throughout New York City Parks including Central Park, Washington Square Park, and the Unisphere at Corona, Queens, will be swarmed by visitors during its duration from October 12, 2017 through February 11, 2018. Each site-specific work responds to the surrounding architecture, echoing themes of immigration and inclusivity. Wei Wei has planned discreet references to the personal faces of immigration and global migration visible on lampposts throughout the City – including near the Gilded Cage work – featuring documentary portraiture from Wei Wei’s visits to over forty refugee camps in twenty-three countries. Additionally, graphics echoing themes related to the refugee crisis will be installed at bus stations and public sites throughout the City.
Wei Wei himself was kept under home arrest for years in his native China after a stint living as an artist for twelve years on New York City’s Lower East Side, and this return to NYC is a triumphal return for him as well as a personal tribute to the residents of the City. After recovering his passport in 2015, the artist relocated his studio to Berlin and resumed talks with Public Art Fund’s Nicholas Baume that began in 2011 on a large-scale public art project based in New York City. Baume notes that the various iterations of Ai Wei Wei’s Good Fences Make Good Neighbors “form different articulations of fences as a motif resonating throughout the City.” By meditating on the different ways we can experience and exercise inclusion within our communities, Wei Wei breaks down perceptions concerning who belongs where, facilitating new environments where people can relate to one another on a personal level.
Ai Wei Wei’s “Arch” in Washington Square Park, New York City
Wei Wei himself noted of the project, “We are living in a divided time; I’ve learned so much from [my time in] this City: here, you never feel like you’re a foreigner.” He notes that this feeling of inclusion is crucial to New York City as a global beacon of hope for those who call this city home. By supporting our diverse ecosystem of international communities throughout the five boros, we can better reflect on how to be a good neighbor to those who call on us in a time of need and break apart the stereotypes that stand between us.