On multiple platforms, NYC-ARTS aims to increase awareness of New York City’s nonprofit cultural organizations, whose offerings greatly benefit residents and visitors—from children to adults, and teenagers to senior citizens.
NYC-ARTS promotes cultural groups’ activities and events to tri-state, national and international audiences through nonprint media, using new technologies as they develop. Through web sites, television, mobile applications and social media, NYC-ARTS nurtures New York City’s position as a thriving cultural capital of the world, one that has both world renowned institutions and those that are focused on local communities.
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Aaron Wojack - Pigeon Flying (2013)
"On a calm day hundreds of pigeons can be seen flying over the rooftops of New York City’s boroughs in tight groups – tornados of birds. These are not the reviled creatures of the street; they are domestic pigeons raised on the roofs of NYC, cared for daily by their owners. Initially fascinated by the aesthetics of the coops and rooftop community, Wojack gained access to this community and discovered the nuance of caring for birds and watching them fly. Pigeon Flying is a visual documentation of the way people in ever shrinking physical and social spaces stretch the boundaries of their environment.”
Marina Abramovic and Ulay, Relation in Time (1977)
Duration: 17 hours
This piece started without the public. Marina and Ulay tied their hair together, sitting back to back for 16 hours in the gallery, with only the gallery staff present. Each hour, three minutes of video was taken and they were photographed. After 16 hours, when their bodies were close to total exhaustion, the public was invited to enter. Marina and Ulay wanted to know how they could use the energy of the public to push their limits even further. They performed for the public for one more hour, for a total performance time of 17 hours.
Courtesy Marina Abramović Archives
Santiago Sierra - Veterans (2011-13)
Local war veterans stand facing the walls of various museums and galleries in a two-year tour of performances.
“Sierra’s staged action, which mimics the common children’s punishment, can be seen as a representation of guilt and forced contemplation by an absent, invisible transgressor. Conversely, however, one may recognize the veteran’s occupation of the gallery as an act of silent protest. Silent, static and facing away from the viewer, the veterans continue Sierra’s complex use of negation to make visible opaque social situations. While remaining anonymous, each veteran brings reality and specificity into the viewer’s general perceptions of war and those who carry out its actions. The presence of the veteran references the relationship between power and guilt as well as the distance between the often cryptic political motives that lead to war and the experiences of those directly affected by its consequences.”