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All Of It with Alison Stewart
100 Pieces of Art' with the Queens Museum
00:28:40
Sarah Cho, assistant curator at the Queens Museum, recommends 10 pieces of art you should go see in New York City.
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- [00:00]
Alison Stewart
All of it is supported by Progressive Insurance.
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David
You chose to hit play on this podcast today.
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Sarah Cho
Smart Choice.
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Alison Stewart
Make another smart choice with Auto Quote Explorer to compare rates from multiple car insurance companies all at once. Try it@progressive.com Progressive Casualty Insurance Company and affiliates not available in all states or situations. Prices vary based on how you buy. This is all of it on wnyc. I'm Alison Stewart. Coming up later in the week, we're going to learn about Toni Morrison's career as an editor. We'll be joined by Professor Dana Williams. Her new book is titled Tony at the iconic writer's Legendary Editorship. It includes stories about the authors she shaped and her efforts to change publishing for the better. Plus, this summer marks the 50th anniversary of when Jaws first terrorized a generation in the movie theater. Radiolab is commemorating the anniversary with a week of program dedicated to sharks. We'll hear from two of their producers. Plus, we want you to call in and share your memories of seeing Jaws. That's in the future. Let's get this hour started with the final installment of our 100 pieces of art series. In honor of WNYC's 100th birthday, we've been asking experts from across the art world to share 10 pieces of art in New York City that they think you should make time to see. From famous world museums to hidden gems of public art. Over the course of the year, we've heard from Thelma golden of the Studio Museum, Art News editor Sarah Douglas, New York Times critic Will Heinrich, and so many more. In fact, once we finish, we have a surprise headed your way. So stay tuned for that today. For the final installment in the series, we're joined by Sarah Cho, assistant curator at the Queen's Museum. Hi, Sarah.
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Sarah Cho
Hi, Alison. How are you?
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Alison Stewart
I'm doing. Well. Listeners, this is your final chance to shout out your favorite pieces of art that you think everybody should see in New York City. It could be in a museum. It could be art you see in the subway. It could be public art on the street. Our phone number is 212-433-WNYC 212-433-9692. You can call in and join us on air or you can text that number as well. 212-433-WNYC 212-433-9692. Let's jump into your list. The Panorama of the City of New York, 1964 at the Queen's Museum. Apparently, it took more than 100 people three years to complete the panorama. First of all why was such a large team needed?
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Sarah Cho
There are so many, many tiny, tiny little buildings that comprise, you know, the beautiful city of New York. Well, many big buildings that comprise the beautiful city of New York that have been miniaturized for the panorama. And it was compiled or created by Lester and associates and was the brainchild of Robert Moses, who is the unelected public official and city planner whose 40 year career shaped New York City. And actually it was Last updated in 1992, so it has taken hundreds of more people to continue updating the panorama. And so when you go visit, you'll see buildings that no longer are part of the New York City landscape today, such as the World Trade Center.
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Alison Stewart
When you go see the panorama, what perspective does it give you on the city?
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Sarah Cho
So it's built on a scale of 1 to 1,200. So really you walk in and you're like, oh my gosh, I can see all of New York in one viewing. And as you enter, there is a pathway that takes you on a glass pathway that takes you all around the panorama so you can really see the city almost beneath your feet. And you know, the scale of 1 to 1200, it's kind of hard to like comprehend conceptually. So, you know, for comparison's sake, the Empire state building is 15 inches tall in the panorama. So being able to see the city at that scale is really wonderful. Yeah. And then, you know, there's also the panorama goes cycles through night and day with lights that dim on and off. And so, you know, at Moses instructions, you know, there are different parts of the map that indicate different public services. And so when the lights dim to nighttime, the public park areas light up in a fluorescent green and public recreation center is in a neon orange. And so you get to see all of these public services available in New York City. But also a little other fun fact is he finished building bridges and highways as the head of department of Transportation at the time. And so are built tunnels, bridges, authority, tbta. Yes. And so when you go see the panorama, you'll actually see that the bridges and the highways are a little bit bigger than scale to emphasize those achievements. Just like a whole thing.
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Alison Stewart
Do you have a favorite part of the panorama?
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Sarah Cho
Oh my gosh. Okay. So I was born and raised in Queens, so I have to say, you know, being able to find where I grew up is fun, but the actual answer to this is actually Staten island. Because I, I every single time I walk through the panorama, I am always astounded by how large Staten island is. And being able to see it at the scale makes you realize that it's a big island.
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Alison Stewart
Yeah, I like when the little planes come flying in.
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Sarah Cho
Oh my gosh. That is really, really fun coming in and out of LaGuardia. Yeah.
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Alison Stewart
That is the panorama of the city of New York, 1964. You also highlighted a model of Queen's Museum by Jessica Rylan.
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Sarah Cho
Yeah. So this is kind of an Easter egg of the panorama. Over the years, many artists have been responding to the panorama for exhibitions at the museum. So there's Mel Chin, Stephanie Dinkins, among others, including an artist that I worked with last year, Cameron Granger, who included a film excerpt of highway edited highway footage to address segregated urban design, which really points to Robert Moses legacy. But on the panorama there is an artwork that is permanently there by electronic musician Jessica Rylan entitled Nano qma. And she made a scale model of the panorama that fits inside the model of the museum on the panorama. So it's kind of like a Russian doll.
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Alison Stewart
That's cool.
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Sarah Cho
It's a much smaller to scale version. So in terms of scale, it's 40 micrometers wide, which is roughly 1 25th the size of a grain of salt. So super, super tiny. And it's made from two photon polymerization, which is a technique used in manufacturing NAN technology.
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Alison Stewart
Very interesting. Wow. Let's take a call from David from Manhattan who is calling in. Hey David, thank you so much for calling all of it.
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David
Thanks for having me.
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Alison Stewart
What would I. What should I go see?
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David
You should go see the Invisible man monument in Ralph Ellison Plaza at 150th street and Riverside Drive.
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Sarah Cho
Why?
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Alison Stewart
Why do you think I should go see?
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David
Why?
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Alison Stewart
Yes, tell me why you should see.
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David
It's fantastic. It's by. It's a piece by Elizabeth Sculpture, Elizabeth Catlett, who just had a retrospective at the Brooklyn Museum. Fantastic artist. And it's a big beautiful sort of outline of a silhouette, sort of representation of the invisible man. And that park is also a great place to hear live music and just enjoy the wonderful park.
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Alison Stewart
Thank you so much for calling, David. Let's talk to Tristan from Chelsea. Hey Tristan, thanks for calling all of it.
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David
Hi there. Very happy to be on.
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Alison Stewart
Tell us what we should go see.
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David
So I was just listening to the co curator of the Queen's Museum talking about that wonderful panorama which is actually would have been my first suggestion. But the second suggestion is also at the Queen's Museum and it is the Neustadt collection of Tiffany glass, which is a wonderful collection that is also a really interesting slice of New York City history, Tiffany, Louis Tiffany, who's who's buried in New York. A lot of people know as a, you know, they know Tiffany as jewelry, but really the kind of advent of the Tiffany name started in Corona Park, Queens, not far from where the museum is right now. And the glass manufactory and a lot of the opalescent glass that we now celebrate all over the world in churches from Edinburgh to Tokyo was produced there kind of almost on the same grounds as the museum. And so going to see that collection is a wonderful way to kind of tap Into New York's 19th century Industrial history and also to get to taste a little bit of the neighborhood, which has changed so much since then, but has still a really extraordinary kind of presence.
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Alison Stewart
And I'm going to out you as an architectural historian, PhD student. He knew quite a bit.
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Sarah Cho
Yes, that's correct.
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Alison Stewart
Thank you for calling in, Tristan. Our guest is Sarah Cho, assistant curator at the Queens Museum. She's joining us for the final installment of our WNYC Centennial Series, 100 pieces of art you should see. If you live in New York City, give us a call. Shout out your favorite piece of art. Art. Our number is 2124-3396-9221-2433. WNYC. Let's move over on to Harlem. Harlem Renaissance sculptors. The first is. Well, I'm going to explain let you explain this. It's Lift Every Voice and sing from 1939 by Augusta Savage. First of all, what should people know about her?
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Sarah Cho
Augusta Savage was born in Florida, moved to New York City, attended Cooper Union. She helped found the Harlem Artists Guild and was the director of the Harlem Community Art Center. And that's actually when she received a Commission in 1939 to create the sculpture that we're about to talk about.
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Alison Stewart
All right, so tell us a little bit about the sculpture and what we can see of it.
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Sarah Cho
Yes. So originally, the sculpture was 16ft tall and was created in plaster and then painted in a dark color. And the piece looks like a harp, except for the strings of the harp is made up of 12 standing black chorus singers who wear long gowns that make them look like columns and steadfast in time. And much like a harp, the chorus singers are all varied in height. And the tallest one in the front, the shortest one in the back, and they're standing on a curved base that takes the shape of a godlike omnipresent hand. And at the front is in front of the singers is a kneeling black man who holds a music sheet. So there is A lot of musicality in this sculpture because lift every voice.
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Alison Stewart
And sing, as people know, is the black national anthem. So what happened to the original sculpture?
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Sarah Cho
Right, so it was commissioned for the 1939 World's Fair, and it was located next to the Contemporary Arts Building on the grounds that is now Flushing Meadows, Corona Park. And much like a lot of the temporary artworks that were on temporary display at the fair, this one was also destroyed at the end of the fair. So, you know, along with Savage's piece, works by Salvador Dali, Arshel, Gordon, Alexander Calder, and so many more great artists were unfortunately destroyed. However. However, this work does live on through maquettes created by Savage's studio that were, you know, originally sold as souvenirs, but have now turned into artworks of their own. Right. And that, like, immortalize the artist's vision and contribution. And so the one that we have at the Queen's museum is a 10 by 9 by 4 inch sculpture that is a light colored metal. Though I've seen some in other museum collections that are more bronze, so you'll. They're peppered out throughout the country. But please come to the Queen's Museum to see ours.
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Alison Stewart
Another piece by Richmond Bartet, Exodus and dance, from 1939. It's in Crown Heights. It's an outside piece.
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Sarah Cho
Yes, yes. It's a public mural. And it was created by Bartet, who's, as you said, a Harlem Renaissance artist commissioned by the WPA to create a mural for one of New York City's public housing projects. And it's this created in cast stone, so it's actually like poured concrete. And it features black Americans who are dancers and actors from two separate performances. So on the left is inspired by Mark Connolly's 1930s play, the Green Pastures, which portrays scenes from the Old Testament from the perspective of a black child in the South. And Bartet here reimagines it in a frieze like fashion. So we've got a linear progression of black folks moving from right to left across five panels. There's 19 women, children and men that are processing, robed in a biblical style, many of whom are carrying a bundled bag over their shoulder. And so that also speaks to the great migration, especially because Bartay was born in Missouri and experienced that great migration himself, moved up to Chicago and then to New York city in the 30s.
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Alison Stewart
Let's take a couple calls. Let's talk to David, who's calling from Windsor Terrace. Hi, David, thank you for calling all of it. You're on the air.
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David
Hi. Good to be here. Thank you. For having me, I want to nominate the little modest rosary bead in the Cloisters Museum up in northern Manhattan as much for itself as for people to see the gem that is the Cloisters, which often gets forgotten. But the rosary bead opens and shows incredible scenes of the Magi and the Crucifixion. The characters are, I want to say, about a 30 second of an inch high in complete 3D detail. And I once heard a young high school student on a tour next to me say, man, whoever made that always knew what he was going to do on Saturday night.
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Alison Stewart
Thank you so much for calling. Let's talk to Christina from Staten Island. Hi, Christina. Thank you for calling all of it.
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David
Hi. Oh, love your show. I'm into miniature, so I. And I also do day trips and I take people different places. And I get. Got so excited when they restored the Stettheimer Dollhouse in the Museum of the City of New York. And it's from the twenties. And Florine, one of the three sisters, was an artist in her own right. Her work is in MoMA, which I remember discovering saying, oh, my gosh, that's her. So it's worth seeing. Oh, it's so beautiful. They completely restored it from the twenties, this beautiful dollhouse.
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Alison Stewart
Thank you so much for calling in. We really appreciate it. I want to ask about one more piece before we go to a break. It's the side of Rockefeller Center. It's called News by Noguchi. It's his first public commission in the United States. What does it look like? And what was the inspiration for this piece?
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Sarah Cho
Sure, it's 22ft tall, and it's made entirely of steel. It's vertically oriented, features an Art deco style of relief. And there are five people in action as they report on the news. There's someone photographing someone, jotting down notes, typing on a teletype, picking up the phone and also observing. And there's such a sense of motion and rush with diagonal lines or rays that increase in thickness as it goes from top left to bottom right. And the people are piled on top of the lines. They seem to be clamoring, rushing and climbing over each other to get to the news. They're quite muscly, and so it adds to the sense of movement as they bristle forwards. You know, they seem to be unafraid of harm or censorship or anything in their path.
- [16:09]
Alison Stewart
My guest is Sarah Cho. She's assistant curator at the Queens Museum. We're talking about 100 pieces of art you should see in New York City. She's giving us 10 of her picks to close out this series. We're talking to you as well. It's your last chance to give us a call. 2124-3396-9221-2433. WNYC. Shout out your favorite piece of art. We'll have more after a quick break. This is ALL OF it. You are listening to ALL OF IT on wnyc. I'm Alison Stewart. My guest in studio is Sarah Cho, assistant curator at the Queen's Museum. She's joining us for our final installment of WNYC's Centennial Series, 100 pieces of art you should see in New York City. Listeners, we've been asking you to call in. Paula from Oyster Bay has called in. Hi, Paula. Thanks for calling all of it. Hi, you're on the air.
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David
I should be saying this. Two of the other items relate to it. So Gaston Lachaise is related, is represented in the step. So many of the other artists that describe.
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Alison Stewart
You know, Paula, I'm going to have to dive in. You're going in and out on your phone. She was going to also shout out the Rockefeller center limestone carvings. Thank you for calling in. Your phone was breaking up, though. Jake. Let's talk to Jake in Jersey City. Fingers crossed. Your phone sounds okay. Jake?
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David
Yeah. Can you hear me?
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Alison Stewart
I hear you. Great. Go for it.
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David
Okay. My name is Jacob and I'd like to recommend the Renee and Chaim Gross Foundation Museum on LaGuardia Place. Chaim Gross was a kind of an important American Jewish sculptor in the 20th century. And so there's a really nice collection of his work which is like in beautiful wood or stone. And then also he had a collection of his contemporary artists. You know, I think there's Rayfield Sawyer. I think there's various things like that. So there's that. And then he had a collection of African, he collected African and pre Columbian work. So it's a really wonderful, nice, really nice place to go visit.
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Alison Stewart
Jake, thanks so much for calling in. This says my favorite artwork for over 35 years is Rembrandt's Self Portrait at the Met. It's like visiting a wise, empathetic old friend.
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Sarah Cho
So gorgeous.
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Alison Stewart
I want to ask you about this. I don't know what to call it. It's called Functional Vibrations at Hudson Yard.
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Sarah Cho
Yes. It's a, I think we can call it a mural.
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Alison Stewart
We call it a mural. It's called a mural. Okay.
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Sarah Cho
By Zenobia Bailey. It's one of the many subway artworks that you can courtesy the NTA and it's this. It features, you know, beautiful, bright, colorful, concentric, circular patterns that were originally crocheted by Zenobia Bailey. She's a textile artist. And I was actually really excited about this commission when it was announced because I was really curious to see how the usual texture found in fiber arts, you know, the strands, the loops, the thread might Translate to the MTA's tried and true subway tiles and glass mosaics. And of course it does, because glass is so versatile. And so each mosaic was handcrafted for this installation. So there are different gradations and sparks of color that give dimensionality to a flat mural. And so these circular patterns butt up against each other like bursts of color and joy. And when you ascend up into the Hudson Yards from the seven, it really does feel almost like a religious experience. Looking up at the ceiling, to me. They also read like fireworks in the sky, especially since they're bursting against a rich blue background. But if you do look closely, some of these fireworks or sunbeams radiate out from old Atlantic records. And so there is a visual hint to the musicality in these colors, patterns, and forms, which makes a lot of sense because the artist studied ethnomusicology and is influenced by a whole range of philosophies and designs from global majority cultures.
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Alison Stewart
This text says encounters in the Milky Way at the Hayden Planetarium in the American Museum of Natural History, Art and Science on display. Also on your list is Science Spiral for a Shared dream. It's from 2022 at MoMA. It's such an interesting piece. What is it made of?
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Sarah Cho
So Carolina Caicedo's work is made up of fishing nets, 11 fishing nets that are created through vibrantly colored threads, and they're suspended in the air above you, and they almost seem to be dancing in the air. To me. It also seems like you're seeing skirts or petticoats twirling around and dancing, and they really do move because the wind weaves through them.
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Alison Stewart
Oh, I bet it's cool.
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Sarah Cho
And so these fishing nets are called atarayas, which are often handmade and then cast by hand to catch seafood. And Caicedo collaborated with Mexican fishing collectives to create these works and recorded interviews with them that expand upon the environmental and political struggles these Mexican fishers face, including dam and levee creation that, you know, endangered the fish and fishing communities and long term effects of pollution, but also speaks to the ways these communities have banded together to preserve indigenous practices and fight for the environment. I saw this installed in 2022 at MoMA. And I love it so much. They had it in their atrium, and they had all these circular sofas that you could lay down and look up at them.
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Alison Stewart
Oh, that must have been great.
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Sarah Cho
So similar to what you, the collar or the texture had just said about going to see the constellations. It's almost as if you're looking at the constellations in the sky and they spiraled down from the ceiling almost like a constellation. And, you know, I feel like what I love so much about this work is, you know, the artist has been long working collaboratively with community collectives and groups and speak up against, you know, intertwined sociopolitical and ecological issues. And so the work, you know, is not only grounding and breathtaking, but it uplifts community connection. It reminds us that together is the way forward.
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Alison Stewart
Let's talk to Gillian in downtown Manhattan. Hey, Jillian, what should we go see?
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David
Hi, I'm in lower Manhattan and I'm an artist and an art lover. We have lots of public art in Lower Manhattan. We have a Jean de Buffet four trees. It's incredible. We have a huge Louise Nevelson black sculpture. We have a Noguchi red cube alongside Tom Sachs. We have, like, a hello Kitty statue and a big rabbit. And you can just explore lower Manhattan and see lots of huge public art displays for free.
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Alison Stewart
Love that. Thank you, Gillian. We appreciate it. We've got two video artists, Pipolote Rist, Selfless in the Bath of lava. It's at MOMA Psych 1, and a video installation from Christine Sun Kim Close Readings 2015 at the Whitney Museum. I'm really interested in Rhys piece because you might miss it.
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Sarah Cho
You totally might miss it. And I missed it for quite some time until, you know, someone pointed it out to me. You know, when you walk into PS1, you walk into their building, you have to check out, check the floor. It's not something you often do. There is a hole in the floorboard boards. It's a tiny, tiny hole. And you look deep inside and there is a video playing. The artist is in the nude and seems to be swimming in a digital landscape of lava. And she looks up to you as you peer down into this hold, and she reaches up to you, saying things like help in multiple languages. Her eyes are wide and she kind of rotates around and around looking up at you while treading this orange hot lava. And there's the sense of voyeurism, power, and it's all super tongue in cheek. And she comically and over the top, swims and says, you know, intensely self deprecating phrases, as is implied in the title, selfless. She says things like, I am a worm and you are a flower. You would have done everything better.
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Alison Stewart
Let's talk to Louise, who's calling from upper Manhattan. Hey, Louise, thanks for calling, all of it.
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David
Hi. Thank you, everybody. No doubt as you're driving southbound on the Harlem River Drive as it merges onto the fdr, you see that great mural that Keith Haring contributed to our neighborhood. The crack is whack. You know, Keith was like drawing his stuff all over the subways back in the day. And then, you know what I think is so beautiful is that we can remember him and the whole fight of the crack epidemic, the AIDS epidemic. And, you know, it's a beautiful piece of art. And for those of us who love modern art, to see Keith displayed is just a beautiful thing.
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Alison Stewart
Thank you so much for calling. All right, we're down to your last two, Sarah. Cobalt blue. It's at the Museum of Art and Design. It's a ceramic piece. Who is this by?
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Sarah Cho
Toshiku Takaezu.
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Alison Stewart
It's not a useful jug. It's not a useful piece. Or a pot. It's a closed form.
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Sarah Cho
Yeah, it's called a closed form. It's almost, you know, when she's throwing it on the. When she threw it on the wheel, she finished it off by almost as if like, you know, bud vases that have just one little hole to put a tiny little stem in. This one closes all the way. And what's actually so fun about this is in a lot of her closed forms, she includes a tiny little rattle. It's a small piece of clay. And so as you hold it and lift it up, it dings as it rattles around. And it started off as an accident for her, but then she started to intentionally recreate it in her work. And my wonderful colleagues at MAD went to storage to double check that it does rattle for me and sent me some pictures of it. And I think that really brings the artwork to life as it was intended to be experienced.
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Alison Stewart
And your last piece is at the Brooklyn Museum. It's called seneca New Beginnings 2022. It's a bag created by two Native American people. What's the bag made of? What does it look like?
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Sarah Cho
Sure. So the bag is made. It's a flat bag. It's made of. I'm gonna list it. Fawn hide, brain tanned buckskin velvet, gunmetal hardware, mother of pearl, Czech beads, vintage German beads, moose hair, dyed deer hair, moose antler and whitetail deer antler. And the bag features this, this fawn fur tanning, and it was sourced from a fawn that was killed in a road crossing. And the reuse of the fawn fur and creation of this beautiful bag honors its life. And so Hayden Haynes and Samantha Jacobs, who are the two artists who collaborated to create this, really thought about new beginnings in that way. And the story of the fawn also comes across in the design of the comb that is on the front of the purse. It features two deer, perhaps the fawn's parents themselves, looking at each other in a beautiful, knowing way.
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Alison Stewart
And we've got time for one more call. Marissa is calling in from Manhattan. Real quick. Melissa, what do you want to say?
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David
Oh, yes, hi, it's Marissa. Thank you so much for this. This is so interesting. Anyway, my father in the probably early 60s produced a mural which is sitting still to this day by the Police station on 42nd street and 7th Avenue. 7th Avenue and Broadway, where they fork off. Anyway, it is a map. It's mosaic, a map of New York. And it's in two colors, orange and blue for the water. And I'm just so excited that it's still there. Whenever I go to Broadway to see a show, I always pass by and kind of, you know, put a thumbs up to it. Anyway, I'm so lucky to be living here with so much art.
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Alison Stewart
And what's your dad's name?
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David
Yeah, oh, it's, well, they always called him Mondo. M O N D o was his last name. But, you know, and to this day, to see the proliferation of mosaics in the subway system is just astounding. Whereas at that time, that was really the only thing that I can remember besides what he worked on in the Bronx High School of Science. There's a very large mosaic there.
- [28:51]
Alison Stewart
Anyway, Monda, Marissa, thank you so much for calling in. We love that call. And thank you to Sarah Cho, assistant curator at the Queen's Museum. Thank you for your list.
- [29:00]
Sarah Cho
Thank you for having me. For 140 years, MultiCare has been in Washington prioritizing long term solutions, partnering with local communities and expanding access to care.
- [29:13]
Alison Stewart
Together, we're building a healthier future.
- [29:15]
David
Learn more@ multicare.org I'm Ira Flato, host of Science Friday. For over 30 years, our team has been reporting high quality news about science, technology and medicine. News you won't get anywhere else. And now that political news is 24 7. Our audience is turning to us to know about the really important stuff in their lives. Cancer, climate change, genetic engineering, childhood diseases. Our sponsors know the value of science and health news. For more sponsorship information, visit sponsorship wnyc. Org.