welded and painted steel, aluminum, cables and hardware, vinyl signage, nylon 23’ x 8’ x 8’ Installation view: Quote number 1-4 of 20 (city/spectacle/comfort/wander)
Installation view: Quote number 1-4 of 20 (city/spectacle/comfort/wander)
Installation view: Quote number 1-4 of 20 (city/spectacle/comfort/wander)Installation view: Quote number 1-4 of 20 (city/spectacle/comfort/wander)
Installation view: Quote number 1-4 of 20 (city/spectacle/comfort/wander)
welded and painted steel, aluminum, cables and hardware, vinyl signage, nylon 17’ x 6’ x 1’ Installation view: Quote number 5 and 6 of 20 (dispersion/vacant)
Installation view: Quote number 5 of 20 (dispersion)
Installation view: Quote number 6 of 20 (vacant)
Installation view: Quote number 7 of 20 (undesirable)Installation view: Quote number 8 of 20 (enlarge)Installation view: Quote number 9 of 20 (natural)
Installation view: Quote number 9 of 20 (natural)
Installation view: Quote number 10 of 20 (audience)
Installation view: Quote number 11 of 20 (honest)Installation view: Quote number 12 of 20 (landmark)
Installation view: Quote number 12 of 20 (landmark)
Installation view: Quote number 13 of 20 (stimulus)
Installation view: Quote number 13 of 20 (stimulus)
Installation view: Quote number 14 of 20 (vision)
Installation view: Quote number 15 of 20 (pleasure)Installation view: Quote number 16 of 20 (boscage)
welded and painted steel, aluminum, cables and hardware, vinyl signage, nylon 23’ x 8’ x 8’ Installation view: Quote number 17 to 20 (public/pastoral/limitations/motive)
Installation view: Quote number 17 to 20 (public/pastoral/limitations/motive)
Installation view: Quote number 17 to 20 (public/pastoral/limitations/motive)
Pastoral Mirage, 1993-1994 Prospect Park, Brooklyn, NY Prospect Park Alliance
Curated by Melissa Benson
Pastoral Mirage was a multi-site, one year long installation of fourteen large, yellow signs throughout the entire landscape of Brooklyn’s Prospect Park displaying enigmatic quotes from the park’s designer, Frederick Law Olmsted, as guides to the park as a work of art and vision. Challenging in their 19th-century language, ideas and context and bold, utilitarian design, Pastoral Mirage sought to restore the hidden narratives in Olmsted’s vision revealing the gap between his lofty intentions and the present-day park usage. Both interrupting Olmsted’s utopic ideal, and functioning as enlarged site-markers, park users were confronted with his intentions for particular areas of the park. The texts were researched and gathered from his notes and letters from the 1860’s.
