Director in Chief Curator of High Line Art, Cecilia Alemani, takes Urban Agenda through “the definitive book on the first five years of High Line art.”

By Sarah Emily Gilbert

Known as “the park in the sky,” the High Line has transformed into more of “a museum in the sky” thanks to the non-profit conservancy group, Friends of the High Line. Since 2009, they have raised funds to create a rich collection of art installations along the reclaimed elevated freight rail line that intersects New York’s Meat Packing District and Chelsea. The result of their efforts is a park meets public art gallery that is just as limitless, accessible, and awe-inspiring as the open air that surrounds it. With six million annual visitors and universal recognition, the High Line has become a symbol of the art-infused revitalization and gentrification efforts that are sweeping urban areas. As a way to celebrate the sixth anniversary of the High Line art program and extend the life of its yearlong art installations, the Friends of the High Line released their Skira Rizzoli book, High Art: Public Art on the High Line.

A miscellany of images and short texts by and about artists and their projects, the book features the groundbreaking art selected by the Friends of the High Line’s Director in Chief Curator of High Line Art, Cecilia Alemani. With 120 national and international artists’ works having been featured in the five full seasons since the program’s advent, Cecilia knows that communication is key to an installation’s success.

“It’s the artists that are willing to take on a dialogue and conversation with the other artists and their surrounding area that make the most successful pieces. It’s how they respond to the site. The High Line isn’t like regular public art; it’s curated art. The architecture, the planting, everything has been selected in a very specific way, so the artists that are willing to take on a dialogue with all the components have installations that make the most sense.”

According to Alemani, it’s not only how the artwork fits into the site, but also how it encourages passersby to “pause, take notice and become more aware, whether of their surrounding, themselves, or others.” And in her mind, it was “Skittles” by American artist, Josh Kline that effortlessly captured all these components. His industrial refrigerator stocked with appetizing-looking juices lured High Line visitors in the hopes of scoring a healthy drink. When they realized the bottles contained peculiar flavors like “venice, sand, flip-flop, coconut water, kale, patchouli, marijuana, and sarong,” people were forced to react and reflect. As a result, Kline’s installation provided social commentary on the fad-obsessed New York lifestyle while playing with people’s expectations.

From billboards and videos to sculptures and live performances, the High Line’s art is whimsical, intriguing, and sometimes downright bizarre, but it always seems to demand the attention of passersby. Acting as a futuristic art gallery, the High Line is helping to broaden people’s understanding of public art.

“It is important for me to deter from the notion of public art as being just heavy, bulky, steel structures that you see downtown in Manhattan. We try to think of the sphere of contemporary art, so we often work with artists that have never done public art before. There are always surprises. The High Line provides our artists a platform to experiment with something new.”

While the commissioned artists are eager to jump right into the world of public art, Alemani is all-too aware of the restrictions and limitations involved in outdoor art. Besides helping artists financially, she and her colleagues share their expertise and knowledge in fabricating work on the High Line. The outdoor elements sometimes create barriers, but Alemani’s learned that Mother Nature has a way of keeping the yearlong installations dynamic. New York’s blistery winter months can partially cover an artwork, giving it a sterile, industrious look. However, the same site can become a cohabitation of art and native grasses in the warmer seasons. This unique blend of natural and urban vantage points is one of the many reasons New York has seen a surge in public art:

“New York is a city that loves public spaces and loves art, but sometimes the notion of art is very connected to the private sphere. Museums or galleries can be somewhat intimidating, so New York tries to change that and bring art into a context which can be appreciated by everyone.”

Their newest installation called “Panorama,” responds to the breathtaking vista of the city that the suspended promenade provides its visitors. According to Alemani, the High Line’s vantage point, “is not the street level; it’s not the skyscraper level, but it’s a very intimate view that allows you to discover new things.” With the High Line’s only entry requirement being a good pair of walking shoes and an open mind, the Friends of the High Line are undoubtedly redefining the way we see art.

High Art: Public Art on the High Line is available on the Friends of the High Line e-shop, with all proceeds benefitting the High Line art program.