Jersey City's Railway Preservation Project

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The Harsimus Stem Embankment, Sixth Street and Monmouth in Downtown Jersey City. It once carried seven tracks of the Pennsylvania Railroad to the Hudson River Waterfront.

* Jersey City has a railway preservation project of its own, however one different in many ways from the High Line. Unlike the 1930‘s Deco steel framework of the High Line, the Embankment was built at the turn of the century and is a massive segmented stone structure. The extant Embankment is three times wider than the High Line (100 feet to 30 feet), but one third as long (1/2 mile as opposed to 1-1/2 miles). Since it runs through National Historic Districts in Downtown Jersey City, it won't have new buildings rising up along it, though there may be new construction at each end.

From the Embankment website: the top of the Embankment,
6th Street Between Erie Street & Jersey Avenue.

In September, 2004, the Jersey City Municipal Council unanimously passed an ordinance enabling the taking of the Embankment by eminent domain for a passive park and greenway. This action followed six years of effort by the Embankment Preservation Coalition to promote preservation, development of the top as nature habitat and passive park, creation of a tree-lined, lighted walkway along its base, and use of the park as a segment of the East Coast Greenway,
a 3000-mile walking and bicycling trail from Maine to Florida. The Embankment, at least until light rail is implemented, will be wilder and more secluded than the High Line, with much area reserved for natural habitat. (See below for a conceptual rendering taken from the Embankment website).

Entrance to Embankment Park at Luiz Munoz Boulevard
Cassandra Wilday Landscape Architects
604 Bloomfield Street, Hoboken, NJ 07030
201-714-4853 or cassandra.wilday@gmail.com
Cassandra Wilday, Demetri Sarantitis and Jason Gould

Alley between Jersey Avenue and Coles Street

More recently, the Coalition has worked with the City of Jersey City to contest the sale by Conrail of the right of way to a developer, before obtaining a required federal permit to abandon the rail line. In addition to the goals of historic preservation, park, and trail, the City wants to preserve the corridor for light rail to relieve increasing traffic congestion.


* Most of the above information came from the website of the Embankment Coalition (the non-profit dedicated to the preservation of the Embankment). For more on the history of the Embankment, see Rick James' Nomination of the Embankment to the State and National Register of Historic Places on the Jersey City Landmarks Conservancy Website.

The High Line -- WOW!

(Click on a photo to enlarge it)

For those of you who don’t know, the High Line is an elevated steel railway trestle built in the 1930’s. It runs along 10th Ave. from Gansevoort Street in the Meatpacking District, through the gallery area of Chelsea, and ends at 34th Street. After 10 years of lobbying, fundraising, planning and construction by the Friends of the High Line, the first of three sections of the old railway has been converted to an elevated promenade, and it far surpasses my highest expectations.

I’ve been following the progress of the High Line since its beginning, and all the drawings and photos I saw didn’t prepare me for the experience itself. The intentionally ragged beauty of the landscaping, the attention to delightful details, the surprise of seeing familiar streets from a different angle, and the tranquility in spite of the parade of people -- they all contribute to create a magical promenade reminiscent of Central Park when Christo’s Gates were there.

The new Standard Hotel literally straddles the High Line at 13th Street.
Serrated paving suggests weeds growing through cracks in the pavement.

A lot of the credit goes to landscape architects James Corner Field Operations, and architects Diller Scofidio + Renfro. They kept some of the scruffiness of an abandoned rail line by using mostly wild, native plants, many from species that originally grew there when the line was abandoned, and integrating it beautifully with refined paving details, elegant street furniture and the existing structure. As Nicolai Ouroussoff writes in the Times, “It is one of the most thoughtful, sensitively designed public spaces built in New York in years."

Here’s an example of the simple but elegantly designed street furniture.
Some of these lounges are on wheels on the tracks.

The light in this tunnel changes according to the weather. It’s a dim blue now
because the weather was cloudy, but it got brighter when the sun came out.

Typical of the ingenious and playful architectural ideas is this amphitheater
carved out of a side track spur. The windows overlook 10th avenue.

I want to go back soon. The water feature, a sort of reflecting pool/stream, wasn’t working when I went; and I also want to see it at night. The lighting is intentionally kept below waist level so it illuminates the pathway without interfering with the view of the city and the night sky.

The High Line is open from 7:00 AM to 10:00 PM daily.
The best place to enter is at the park’s southern end, at the corner of Gansevoort and Washington Streets in the Meatpacking District near where the Whitney will be building a satellite designed by Renzo Piano. Elevator service is available at 16th Street.
The High Line website: http://thehighline.org/ or call (212) 500-6035

Next: Jersey City’s own Railway Embankment.

Sophie Calle at Paula Cooper

©Sophie Calle/ARS. Courtesy of the Paula Cooper Gallery, New York. Photo: Ellen Wilson

I meant to post this when the exhibition was still on view but, good intentions simply being what they are, I got a little side-tracked. Bad blogger! Perhaps there are some of you out there who wouldn't mind thoughts after-the-fact...

Sophie Calle has a history of creating works of art that test relational boundaries. Her newest show at Paula Cooper, the first US presentation of the exhibition selected to represent her native France at the 2007 Venice Biennial, continues the artist’s tradition of challenging our definition of public and private space—while still managing to be fun.

“Take Care of Yourself” is an exhibition inspired by a seemingly impossible break-up email Calle received from a former lover. The translated letter: convoluted, hyper-intellectualized, full of subtle blame-filled phrases, is the first thing you pick up as you walk into the gallery--it’s not the original (that’s in French) but this translated version, duplicated with all the telltale streaks left by a cheap photocopier, feels like it could have come right out of the printer. We read the letter.

Now beings an exercise in empathy (or in some cases, empathic rage). Calle sent copies to women all over France, asking them to develop a response and send it back. She solicited the opinions of lawyers, psychologists, secret service agents, singers, sharp-shooters; all of whom were either photographed or filmed reading the letter, performing it, destroying it, memorizing it, dissecting it. They, as much as the mysterious “x” (the sender remains anonymous) become characters in an emotional pantomime, as Calle puts her own personal experience on stage and invites us to commiserate.

She steps back and lets others play the lead—and that is what keeps the ensemble of vignettes from becoming overly mired in self-reflection. It feels like each piece is a part of a larger attempt to analytically classify her own feelings through the responses of others—like Calle was so thrown by this bizarre form of separation as to have literally needed to engage in a worldwide examination of its possible meanings. Not to say that there isn’t an element of stick-it-to-him-ness to the show (nothing like a universal, public denouncement of personal ineptitude to make melting into the floor seem like a pretty good option for Monsieur “x”), but Calle avoids making “the breakup” an international soap opera.

What is odd about the show is that none of the written responses that Calle received from other women are translated. The texts of these often hand-annotated, color-coded return letters are blown up and hung below the photograph of the women who sent them, becoming purely aesthetic elements rather than meaningful writings. Yet they’re not gibberish: one lawyer describes how Calle’s ex could be considered in breach of contract for misrepresenting himself as a writer when the poor quality of word choice and syntax in his letter practically refute that claim; another highlights the number of times “x” switches from formal to informal personal pronouns (another grammatical zing). These documents do enhance the overall show experience, but not being able to understand them does not necessarily detract from Calle’s fundamental exploration of collective empathy. The point here is not arriving at an ironclad breakup conclusion, but working though the emotional consequences, both real and imagined, of a hurtful (and slightly absurdist) situation. Calle is a conceptual artist; her visual products are ultimately secondary.

What made the show for me was Calle’s video of her and “x”’s letter at an appointment with a conflict mediator. As Calle explains the circumstances surrounding her breakup with “x”, I couldn't help but be touched by her honesty, her genuine search for closure, and her own desire to document something that would normally be lived out quietly in private. Not to mention her carefully controlled hatred of “x”.

I'd say "see it", but you can't and I'm sorry. But you can wikipedia her.

Tris McCall is back from his road trip and is writing about it in his quirky and entertaining blog, Stompbox. Tris is a smart and funny writer, and he has an encyclopedic knowledge of pop music. Enjoy!

Top art picks for tomorrow's JC Friday (June 5)

There are a ton of events going on for this first summer installment of JC Fridays, and I've weeded through the listings to bring you my top art picks (in no way comprehensive); notes on why I selected these shows follow each entry. It's probably not possible to see all of this amended list in one night (unless you have superhuman art-viewing powers), but keep in mind that a lot of these shows/pieces will be on view at their respective locations through the end of the month: don't despair if you miss something tomorrow.

Presented by relative location (from JC Friday's brochure):

5pm-6:30pm ART HOUSE PRODUCTIONS and COSI CAFÉ AND RESTAURANT present an Opening Reception for Hoboken artist Marni Fylling. Fylling combines her love of the natural world, art, and sometimes food, in colorful block prints. Curated by Emily Helck. 1 Exchange Place (directly across from the Light Rail stop), (201) 451-0535. Barrier-free. Map

Why: because Marni is a wonderful scientific illustrator and I've never seen any of her print-work; it will be interesting to see how the two mediums compare

6pm-8pm JERSEY CITY MUSEUM at THE MAJESTIC THEATRE CONDOMINIUMS invites you to an Opening Reception for “Fluid,” a painting installation by Marti Lawrence. The exhibition will be on view by appointment at The Majestic Theatre Condominiums through August 30, 2009. Refreshments will be served. The Majestic Theatre Condominiums, 222 Montgomery St (Grove/Barrow Sts), 201-413-0303 ext. 144. Barrier-free. Map

Why: because I want to know what this "painting installation" looks like--and hopefully see Marti's artist statement

7pm-11pm 58 GALLERY presents an Opening Reception for “United Saints of Oil,” new works by Dylan Egon, documenting the new religion of American pop culture in the traditional art of oil painting. Our new icons...true, or false. Live performance by Flaming Fire at 10 pm. DJ Street Justice all night. 58 Coles St (3rd/4th Sts), 917-349-1693. Map

Why: because 58 is probably where you'll see the most artists and JC arts aficionados in one place. Pop icons may not be your thing, but the process of cannonization can say some powerful things about the values of hip contemporary folk; maybe this show will be revealing.

7pm-10pm ATELIER PRODUCTION presents an Opening Reception for “at:muss:feer,” a multi-media exhibition. Paintings are acrylic on canvas and appear as “collisions of color,” bright & bold with no representations to religion, politics, or nudity. Wooden sculpture exults intriguing cuts & fits the space as if made specifically for it. Mixed-media works seemingly ask the viewer, without words, to consider recycling. After party hosted by Ox Restaurant. The Wells Fargo Building, 299 Pavonia Ave, Loft 2-9 (Coles/Monmouth Sts), 551-226-3632. Map

Why: because I honestly have no idea what that paragraph just said.

11am-10pm SAWADEE THAI CUISINE presents “The Final Frontier: Photographs by Edward Fausty,” April 10 – June 6, 2009. Come explore the artwork in Sawadee’s dining room and enjoy their exciting Thai menu. 137 Newark Ave (Grove/Barrow Sts), 201-433-0888. Barrier-free. Map

Why: because I've seen this already and, aside from presenting excellent group of photographs, Ed worked with Sawadee to change the lighting and layout specifically for these pieces (yes!). An example of what a restaurant show can become if artists and owners are willing to work together.

7pm-9pm FISH WITH BRAIDS GALLERY presents an Opening Reception for “Animal Pharm” by Lee Johnson. Animal Pharm: An exploration of pharmacotherapeutics and modern medicine as it impacts the environment, humanity, and society. Are all equal, or are some more equal than others? June 4th – June 18th, 2009 (Opening reception June 4th and 5th, 7-9pm both days). 521 Jersey Ave (Columbus Ave/Newark Ave), 201-451-4294. Map

Why: because this is a show topic I haven't seen very often and I want to hear more about the political and artistic inspirations for this body of work; I hope the conceptual element here is as instinctively engaging as the physical aesthetic of the pieces themselves.

5pm-8pm D.E.E.N. DESIGNER BOUTIQUE and 140 GALLERY present “Powerhouse Arts District Local Artist Displays.” Join us for a demonstration of the best local artist of the Powerhouse Arts District. You will enjoy amazing art, wine & cheese, and live music (local DJ). Stop by between 5-8 and you might get a chance to meet some artists. 140 Bay St (Provost/Warren Sts), 908-296-7679. Barrier-free. Map

Why: because I want to see who has the guts to call him/herself the "best local artist" in the PAD

7pm-11pm THE J.A. PROJECT GALLERY invites you to their Grand Opening event, located in the heart of downtown Jersey City. Complimentary wine all night. Music provided by DJ Unkle Chips. Launched with the idea to showcase artwork of superlative quality by up and coming artists. We are dedicated to introducing and promoting diverse artists looking to express their voice through various mediums of contemporary art. 341 Marin Blvd (Morgan St/Bay St), 973-981-5991. Map

Why: because this is a new gallery, they've launched a website, and I'm thrilled to learn more about them and see what they're about.

11am-8pm JERSEY CITY MUSEUM invites you to enjoy free museum admission with extended gallery hours. 6pm: A special evening featuring “Investigations of Place,” curated by Natalie McKeever and featuring short videos that use experimental imagery to explore how personal narratives are imprinted on landscapes. Short films shown on rotation, ambient music performed by Jeff Thompson and Matt Ortega in the atrium throughout the evening. Refreshments will be served. 350 Montgomery St (@ Monmouth St), 201-413-0303 ext.144. Barrier-free. Map

Why: because I'll be speaking to the curator for a feature article about the show later in the evening, and the concept could produce some different types of work. Not exactly sure what to expect.

6pm-7:30pm LILA STUDIO invites you to a Figurative Drawing Session. Please bring your own materials (bringing a drawing board is recommended). No photography allowed. Live music at The Barrow Mansion hosted by The Attic Ensemble will follow this event. The Barrow Mansion, 83 Wayne St (Barrow St/Jersey Ave), thelilastudio@gmail.com. Map

Why: free figure drawing? Sounds great!

Art Markets (and Creative Grove): Democratising or Demeaning?

The brand new Creative Grove art market kicked off yesterday at the Grove Street PATH, and it got me wondering about the social standing of such pedestrian (literally) events within the artistic community.

From a "fine art" perspective (aside from selling your work on a street corner) an outdoor booth is about as low on the totem pole as you can get. People: normal, common-denominator people, stop by, talk about your pieces, and--heaven forbid--sometimes try to touch them. But why does this sort of public display strike so many artists as demeaning, rather than as an opportunity for community engagement? Is it the nature of fine art to want to ascend into some otherworldly cloud and escape the prying eyes of the "less-enlightened", does wanting to withdraw really just highlight the fears these artists have about how the general public will react to their work, or is it merely pragmatic (how much do they actually sell-really)?

Showing in a gallery, or even at an established fine art fair (outdoors or not), is not the same thing as popping up a table at a major-transit-hub art market that also sells baby t-shirts. It all comes down to audience, and it's in this sense that Creative Grove is extremely democratic. Who knows what it will become as it continues (hopefully) to grow, but for the moment it is really smack dab at the intersection of art and life--and I like that.

Perhaps it's a romantic notion, but I really believe--or want to believe--that someone off the street can walk up to a great work of art, recognize its communicative or aesthetic value, and be moved enough to take it home. And I don't think that's anything for an artist to be ashamed of. I'm really not talking commercial design, or even screen-printed t-shirts, though they are an important first step in getting people comfortable with the idea of fine art, but rather drawings or paintings that aren't as instinctively functional. Jersey City isn't quite there yet. I think we need more jewelry and decorative wall-hangings before we can fully jump into the swampy territory of fine art markets and develop the more limited audience they rely on to survive.

Ultimately I think this type of market can serve as a source of civic artistic empowerment, but what's your take?

Note: Creative Grove will continue to run every Friday with a rotating group of artists and craftspeople throughout the summer.

The Hudson Current is dead

The bells have tolled for the Current. In more disappointing news on the local print media front, I heard today that the Hudson Reporter newsgroup will no longer be publishing the arts/ entertainment weekly. According to the editor, the Hudson Reporter will instead become a bi-weekly publication with some cultural listings. It's nice to see that the Reporter will be coming out more frequently, but...Jersey City has just lost its only dedicated arts publication.

UPDATE: Sean Allocca (former Current writer/editor) will no longer be on staff, but may be contributing freelance to the new bi-weekly Reporter. All future cultural or arts submissions should go straight to the chain's editor: editor@hudsonreporter.com

As my personal rants about the lack of arts coverage in the press seem to be falling on deaf ears, I'm taking this one step further. From now on, I am declaring myself Jersey City art media guru. Call it what you will, but I'll be posting the reviews (go ahead and demonize me) and features I've been longing to see right here.

The Met’s New American Wing

The New Engelhard Court

Every renovation the Metropolitan Museum made in the last twenty years or so has made the art experience better and better (unlike another museum I could mention). The light brought into the Greek and Roman Galleries is so beautiful, and their collection looks so stunning, I literally get high walking around. The new 19th C. galleries are harmoniously proportioned, richly warm spaces that were cleverly carved out of the Polynesian Wing’s soaring ceiling, and the catacombs under the grand staircase are an absolute delight. And of course the Chinese, Japanese and Egyptian galleries are some of the best in the world.

The old Engelhard Court (from the Bridge and Tunnel Club website).

But I’m sorry to say I’m disappointed with the renovation of the American Wing, at least with the Engelhard Court. Without the greenery, the sunken areas and the different color pavements that used to break up the space, the new court feels too large, too public and too empty. It lost the warm ambiance of the older space (see below) and it’s now more of a dull open plaza than an inviting sculpture garden. The new space does allow more sculpture to be displayed but, not being a fan of this period of American art (which I think is provincial, pretentious and sometimes downright silly), I don’t see that as worth the trade-off.

South Wall with loggia designed by Louis Comfort Tiffany

East Wall with the Vanderbilt Mantelpiece

The five-story south wall housing the pillared loggia designed by Louis Comfort Tiffany for his own home is especially blank looking, and ridiculously out of scale with the art. (Fortunately the opposite wall, the facade of Martin E. Thompson’s Branch Bank of the United States, hasn’t changed.) Likewise, the east wall (coming in, on the right) is comically out of scale with what’s installed there - the Vanderbilt Mantelpiece and Tiffany’s Garden Landscape and Fountain -- but at the same time these works feel weirdly cramped in the space.

This disturbing, contradictory combination of simultaneously being too open and too cramped extends to the Cafe. It is no longer separated from the main space by a lattice fence, so it feels too much a part of the larger court; nevertheless it feels confined because of the low ceiling needed to accommodate the new mezzanine. This is made even more of a problem because the windows overlooking Central Park have been temporarily frosted to hide an ugly staging area for construction they’re doing on the second floor galleries (see photo of staging area below). They promise the view will return in 2011.

Which brings me to another complaint: there are no comfortable places to sit and rest at the Met anymore. A cement bench or busy cafe just won’t do it. Before the cafe was added a few years ago, they had comfortable chairs overlooking Central Park where people could sit quietly, read, maybe take a nap, and rest up. The Brooklyn Museum has lately created many comfortable areas to sit, and the Frick is unsurpassed in that way (as well as every other possible way). In spite of all the past great additions and renovations, I’m beginning to get the feeling that the Met just wants to move the crowds along, maybe feed them in an efficient manner, sell a few books and art chachkas, and move 'em out.


Finally, speaking of cramped spaces, I’m reluctant to spoil the surprise, but an unintended (I assume) surreal treat awaits you in the newly renovated period rooms. Take the new glass elevator in the northeast corner of the Court to the oldest period rooms on the top floor, and you'll see what I mean. You might find a portal into John Malkovitch’s mind there.

Getting off at floor number 2 1/2.

My Favorite Record Album Covers

A recent post by Jonathan Jones, a passionate and insightful blogger about art for The Guardian discusses the banning of the Manic Street Preachers’ new album cover painted by Jenny Saville because it is so shocking (see above). It is a very powerful image, and it got me thinking about how I used to savor a great album cover as much as the music. Anyway here are my top ten favorites: