Artists put their stamps on Lincoln Center

when David Geffen Hall reopens On Lincoln Center Campus This Fall, Two New Artworks – By Nina Chanel Abney and by Jacoby Satruite It will be split across the 65th Street frontage and a 50-foot-high media wall renovated lobby.

These highly visual pieces, commissioned by the Center for the Performing Arts in partnership with Studio Museum in Harlem and the Public Art Fundto help reintroduce the home of the old New York Philharmonic Orchestra to the city and will open a rotating program for invited visual artists to put their stamp on Lincoln Center.

“One of the overriding goals of the new David Geffen Hall is to find ways to connect more meaningfully with the outside—not just to open up but to connect,” said Henry Thames, president and CEO of the Lincoln Center for the Performing Arts. . “We were very keen to think of different voices, different audiences, and more people seeing themselves at Lincoln Center. The Studio Museum was the perfect partner for that.”

to the museumwhich has been organizing temporary installations for public art since 2016 in Harlem while Building 125th Street Under constructionThelma Golden, Studio Museum Director and Principal Curator, said this collaboration was a “great opportunity to expand our involvement in the site’s artwork.” It also allows the museum to complete work at Lincoln Center “to broaden, deepen, and broaden their program and the ways in which they engage audiences.” Golden drew in the Public Fund for the Arts for the organization’s resources and expertise in undertaking large-scale public projects.

Together, the two institutions developed the organizational vision and identified the two notable locations for the art—10,000 square feet of space on the building’s north facade and a new mixed-use media wall that runs through the lobby. This space has been redesigned as a kind of living room, open to the public all day long with drinks. Non-bearers will be able to view the art on the media wall which will also broadcast the philharmonic to the lobby when it is played upstairs. Abney, 39, known for her bold and large-scale paintings, and Satterwhite, 36, a multidisciplinary artist who combines digital media and painting, were selected from more than six artists of color invited to submit site-specific proposals.

“That facade has been seen for a long time as the empty back side of the building and it kind of hides out in plain sight,” said Nicholas Bohm, Artistic Director and Executive of Public Art Fund. “It’s right there at this intersection of all these major streets and could express this concept that Lincoln Center wanted to open itself up to the city and address some of this symbolic castle-like elevation in the original set of buildings.”

In a dynamic constellation of colorful shapes, symbols, and patterns that will be printed on vinyl and applied across a grid of 35 windows on that north facade, Abney will respect San Juan Hilla largely black and Puerto Rican neighborhood that was demolished to make way for the federally supported 14-acre Lincoln Center project, which began in 1959.

Said my son, who works with Schaumburg Center for Research in Black Culture To study San Juan Hill, which is considered the birthplace of Charleston and Bebop, and home to musicians including a jazz pianist Thelonious monk. “It’s an appreciation and celebration of what was there.”

In parallel, Lincoln Center commissioned the composer Etienne Charles To explore the neighborhood’s heritage in the piece “San Juan Hill” will be performed by the Philharmonic in the new auditorium for free on October 8.

“This is part of the necessary engagement in our history,” Thames said. “This is not a one-off.”

In a poetic, digitally animated spectacle that unfolds across the 50-foot-high wall of media in the lobby, Satterwhite plans to tell a story about the past, present, and future of the New York Philharmonic Orchestra. “The history of the Lincoln Center is very masculine and white — that’s what it’s seen as,” said Satterwhite. He works with archivists there to extract footage of conductors and performers of different races working more on the margins of the Philharmonic Orchestra, to weave seamlessly into a sort of pastoral concert with 100 student musicians and dancers from ali schoolProfessional Performing Arts School and other students portrayed by Satterwhite.

“I want to revive the timeline that might ordinarily be said, without any kind of hierarchy,” said Satterwhite. He feels that the pandemic has provided an opportunity for “culture and society to reshape and think about themselves. I want this piece to be about moving forward.”