During a two-week visit to New York City from my home in Sweden, I had the opportunity to immerse myself in the city’s vibrant art scene. As a sculptor, my natural inclination was to explore sculpture parks and museums, which didn’t disappoint. One notable stop was the Pratt Institute’s Sculpture Park in Brooklyn’s Clinton Hill. The park is home to over 70 sculptures, showcasing a diverse array of materials and techniques. While its educational purpose is clear, the works are thoughtfully selected and well-integrated into the surroundings. A standout piece is Ecstasy by Nova Mihai Popa, a dynamic work that masterfully balances positive and negative space.
Another highlight was the Noguchi Museum in Queens. Dedicated to the work of Japanese-American sculptor Isamu Noguchi, the museum provides a peaceful escape from the hustle of Manhattan. His sculptures, made from rough-hewn boulders and smooth, polished forms, effortlessly convey the raw beauty of stone. The presence of water in The Well (Variation on a Tsukubai) enhances the meditative quality of the space, reminding visitors that tranquility and intensity often exist side by side.
Of course, sculpture isn’t the only form of art that captivates in New York. The Faurschou Gallery in Brooklyn’s Greenpoint neighborhood was hosting solo exhibitions by Donna Huanca and Tracey Emin, each offering a distinct experience. Emin’s installation, Exorcism of the Last Painting I Ever Made, depicts her self-imposed three-week confinement in a Stockholm gallery. The performance explores the complex roles of women in art history, and the accompanying photos in Life Model Goes Mad evoke classic portraits of women while adding a fresh, reinterpreted narrative.
Donna Huanca’s Scar Tissue (Blurred Earth), while fitting the typical gallery format with its white-cube setting, offers something unique. The show features shiny metal sculptures, large semi-abstract paintings, and a cryptic performance. The paintings, created specifically for the exhibition, are bold in color, but it’s the texture that truly captures attention. The reflective metal surfaces and bright highlights on the canvas make the works feel alive, pulling viewers into their dynamic, tactile world.
The Whitney Museum of American Art offered a chance to experience the breadth of Ruth Asawa’s work in the exhibition Through Line. Her drawings, exploring the growth patterns of nature, offer a fascinating look into her creative process. On another floor, Henry Taylor’s B Side exhibition brought his rapid acrylic portraits to life, tackling themes like racial injustice and the humor found in everyday life. His ability to convey emotion through quick brushstrokes is nothing short of impressive, offering a raw, unfiltered view of humanity.
While my brief visit only scratched the surface of New York’s expansive art scene, one thing became clear: the city’s art world is as much a living, breathing entity as the city itself. The numerous museums, galleries, and studios, along with the sheer volume of work, make it impossible to summarize in a few words. However, my experience left me with a strong desire to return and dive even deeper into this rich artistic ecosystem.
