Monday, January 23, 2012

Geology Among Us

I walk by a boulder countless times a week on my way to and from my building on 114th and Riverside. Couched between the back of a Cuban restaurant and an apartment building, this huge chunk of rock rests innocuously behind a gated fence blocking the restaurant's storage entrance from the street. Many people walking by don't even register its presence; the iron fence obscures the rock's dark face. Two stories tall and 100 feet wide, the rock takes up what must be valuable Morningside Heights real estate.

Looking at photographs of the neighborhood from a century ago, there was much more open space to be developed. Hundreds of similar rocks must have been blasted to make way for the construction of the crowded blocks of today's New York, but for some reason this one was overlooked. According to a New York Times article, the rock was simply never removed in the course of the neighborhood's development. "'When the row houses were built around it in 1896, leaving the rock was no big deal because there were hundreds of acres to develop,'' said William Scott, vice president for institutional real estate at Columbia. 'But now, it's just this huge ugly rock in the middle of our neighborhood.'"

It serves as a reminder of what Manhattan looked like before we drastically altered its appearance. I mean no judgment in that statement, but I appreciate the two senses of the city evoked by the sight of the rock.

On one hand, Manhattan is defined by its city blocks, myriad stores and residences, and strictly delineated property lines. The rock on 114th is tamed by its iron fence, and made mundane by the stacks of beer kegs and trash cans lining its eastern side. On the other hand, this rock clearly renders unusable one of the most cherished commodities in the city - space. It reminds us that the nature that we cordon off in city parks was once all that Manhattan consisted of. Millions of years of geological time seep into our everyday experiences of New York. The city before human occupation is not gone, just buried under concrete in most places. But sites where its earlier form remains, like with this rock on 114th st., are not static reminders of the past. A tree grows out of one crack in the rock's street-facing surface, oblivious to the lack of greenery around it.

On a larger scale, it appears that every part of the city was intentionally placed, but when experienced on a day-to-day level each neighborhood and street reveals idiosyncrasies that fell through the cracks of urban planning. Walking by that boulder every day gives me a little twinge of delight, like I'm experiencing the land's response to human occupation.

Images from: The Fed, The Harlem Eye, Columbia College

Further information: NYTimes, The Fed

Saturday, January 21, 2012

t r a c e | w o r k: Claiming [Space] for Altruistic Motives

t r a c e | w o r k: Claiming [Space] for Altruistic Motives

Claiming [Space] for Altruistic Motives





In 2006, while photographing New York City I came across a graffiti script on the walkway of the Williamsburg Bridge. Though I thought it was interesting, I did not capture that image; however, as I continued walking, I saw the identical “i love you” phrase on a beam obviously difficult to reach but much more striking. This was intent…this was claiming space that offered the reader a moment to possibly reflect or at the least question. Often, graffiti was used to claim space for territorial gangs. Other groups would then retaliate and cross out, tag over or otherwise reclaim space for their own. Since the late 80’s, there has been a shift from simply tagging and claiming space for the ‘hood’ to recognizing tags as an early form of street art. It was; however, visibility versus the static graffiti art that became important…city and commercial trains were the media that lent exposure to these unknown artists.

To now consider this somewhat newer (static) graffiti art with a message; “i love you”. Certainly New York City is known as a transient city which would lend to exposure. The artist now becomes the traveler, echoing their known art. In this case…I, as the photographer of this graffiti am perpetuating the exposure and dialogue. The message is simple and is easily applied to anyone’s personality or disposition. When we juxtapose Robert Indiana’s Love sculpture we add another element to question. Commissioned work, though trending a similar message, does not hold the same impact nor impress the same audience. 

So the question is posed look at the script upon the bridge, "I love you", if you were to encounter this in public, what would you think, feel or do? Would you have a response?
Response: I see man's creation, and know instantly that it is man who has tackled the challenges of the world. Coffee House: DreamscapeVisions Photography & Poetry

Is it the ambiguity that transmits the message? Is it the bridge that underlines a message of conquering men or the bridging of humanity? Is this the taming of a wild city or fulfilling moments for individual encounters? Do we need a back story to accept the message or can we claim the space as simply purposeful for our own wants of the moment?

Included below is an excerpt of an interview with a street artist which from the script, would appear to be the same artist, whose work I photographed on the bridge. 

Much of the paint has faded or has been removed, but Nathan Reimer's altruistic message to New Yorkers dissolved some heavy urban cynicism. Photographs carrying the same high energy live on.
Why, "I love you"?

What three words have had a more profound effect on any of us? Nothing makes you feel better than hearing those three words. I really put my heart into writing every single one of those words. I meant it all. I love people, I love this city, I loved the experience and I wanted to get that message across above everything else.

It was also a really good shot at people who hadn't been able to previously grasp the larger concepts of street art as a social commentary and sort of public notice board. It's like killing folks with kindness. I used to really get off on getting up in front of people and I'd walk out into Astor Place and get up a big silver I Love You on the cube in front of twenty or thirty people. I think that had a lot of effect on different types of people. I think so many people who wanted to be mad couldn't help but feel good.

More of the interview and gallery content can be found at Artist's page-iloveyougraffiti.com

Daniel Molina

Thursday, January 19, 2012

Occupy Wall Street Archaeology

A number of Columbia University archaeologists and anthropologists have created a small-scale archaeological project at Occupy Wall Street.

We have created a weblog, where we will post about our findings. Furthermore, we are inviting abstracts for our session at the upcoming TAG-USA (Theoretical Archaeology Group) conference, in Buffalo, NY, May 17-20, 2012.

 (serving spoon in a storm drain at Zuccotti Park on morning after the eviction, Nov 15, 2011)

Tuesday, January 10, 2012

Moon Archaeology

Image from New York Times

Great to see that people are starting to think about archaeology on the moon. Greg Fewer wrote a paper about this a few years ago, in a book called Digging Holes in Popular Culture, edited by Miles Russell. His paper is 'Towards a Lunar and Martian Sites and Monuments Record'