THE ARTISTS OF ONE WORLD TRADE CENTER CURATED BY EDELMAN ARTS
PHOTOGRAPHED BY MICHAEL MUNDY
“The building has energy to it. The culture here is one of creativity. Employees just like being here.”
— Stephen McCarthy, CFO, XAD
“Inspiration surrounds us.”
— High 5 Games, #H5GWTC
THE ARTISTS OF ONE WORLD TRADE CENTER The Durst Organization, in collaboration with The Port Authority of NY & NJ presents a stellar collection of art, curated by Edelman Arts, for One World Trade Center. The diverse character and quality of the selections are fitting of One World Trade Center’s iconic stature in the New York City skyline. The collection includes works by José Parlá, Doug Argue, Fritz Bultman, Greg Goldberg, Bryan Hunt, and Donald Martiny. On view in the main lobby and sky lobby on the 64th floor, the installations can be enjoyed by more than 30,000 tenants and visitors per day.
DISCOVER THE EXPONENTIAL POWER OF ONE WORLD TRADE FOR YOUR BUSINESS
“The role of the art in One World Trade Center is to create life within the building. It’s not just about white marble walls, it’s about creativity and community within. From the building’s point of view, it’s about branding, and something that is beyond the simple walls. I hope we have accomplished our most important goal in the partnership formed by the Durst Organization, Edelman Arts, and these special artists—the incentive to raise heads and eyes from diverting handhelds, to look at the art, to respond, and to be inspired.” — Asher Edelman
â€œThe artists commissioned to create works for One World Trade Center were given only one guideline by the developers: the work had to be unifying.
â€”Anthony Mason, CBS News
JOSÉ PARLÁ ONE: Union of the Senses 2014 South Lobby
ONE: Union of the Senses, 2014 This painting symbolizes a synthesis and unity between José, the city, and ONE WTC. It is inspired by the energy of NYC. The lines and colors represent the diversity of the cultures in New York while the textures and layers represent the resilience of its people. “With the title, I wanted to convey unity among all people. I wanted to use as many colors as possible. The diversity of color represents people.” —José Parlá
JOSÉ PARLÁ Brooklyn, 2014
José Parlá’s 90 foot mural, his largest yet, and the largest painting to be mounted in any public space in New York City. Jose lives and works in Brooklyn. His paintings both large and small, are widely collected both privately and institutionally, including murals at Barclays Center and the Brooklyn Academy of Music.
JOSÉ PARLÁ Studio Brooklyn, 2014
“Donald Martiny’s work forces us to question the established definitions that form the backbone of our understanding of painting as both a pursuit and a product, and of paint as a medium. In challenging the viewer in these ways, it is not only visually exciting but intellectually invigorating.” Deborah Swallow The Courtauld Institute of Art
Lenape 2015 Polymer and pigment on aluminum South Lobby
A CONVERSATION WITH DONALD MARTINY Born in Schenectady, New York in 1953, Martiny studied at the School of the Visual Arts, The Art Students League in New York, New York University and the Pennsylvania Academy of Fine Arts. His work is widely exhibited and collected around the world. He lives and works in Chapel Hill, North Carolina. Martiny tells us about his inspiration for the two large scale paintings he created for One World Trade Center, and about his work process. The experience for me was quite unique and challenging on many levels. These were the largest pieces I had ever proposed to date for installation, and it took months to settle on a workable fabrication site, as my North Carolina studio could not accommodate the size we wanted. We ultimately decided it was best to make the works on site where they were to be installed. With this decision, I moved my entire studio into the west side of the south lobby of the building. The area was cordoned off, my materials and gear all passed stringent security levels, and for two months I built and completed the paintings in that lobby studio. Normally I always work alone in my
studio. So working behind a curtain with an estimated 25,000 people passing through that lobby every day was pretty new and took a bit of getting used to. I needed time to reestablish my normal intensity of focus and working rhythms. What was most remarkable for me was the emotional power of the site and the incredible light that streamed through the tall, vertical windows. Being on-site I was able to respond directly to that changing light, the space and the movement around me. Tell us what you were thinking about? First and foremost, I wanted the works to relate strongly to the building and place. I love New York City, and One World Trade Center is among the most iconic buildings in the Western Hemisphere. It is an exquisitely beautiful structure, pointing up and reflecting the sky. I see it as a symbol of hope. With this in mind, I turned to the Hudson River School painters: Frederic Church, Thomas Cole, etc. That was my starting point that made sense to me. I was attracted to the depictions of the light on the river in that region and particularly the sunrises that felt hopeful and forward-looking. I drew upon the feeling that those works invoked in me, and it was fitting
too that the building and site are situated at the mouth of the Hudson River. I have always felt strongly that painting is a language and have sometimes named whole series of works after extinct languages. For these two works, I named the paintings after the two extinct languages (Lenape and Unami) that were spoken in Lower Manhattan before European settlers arrived. I started by rejecting the use of a rectangular canvas or ground, preferring free-form gestural compositions. For me, rectangular shaped paintings have a historical reference to a window or portal that the viewer looks through to experience the work, resulting in a sense of observation and separation. I wanted these works at 1WTC to live in the same space and time as the viewer. Specifically, I wanted viewer and work to coexist, for the work to offer a direct and visceral experience without illusion or separation. For these two pieces, the figure or gesture is the painting and the painting is the gesture, with no other shapes or components to compromise the integrity and power of the brushstroke.
DONALD MARTINY Unami 2015 Polymer and pigment on alminum Lobby
The space between the viewer and the surface of the painting interests me; also how the paintingâ€™s form impacts its surrounding area, how each painting has a dialogue with the room or space. I wanted to be physically present in these works. That is why for these paintings I didnâ€™t use brushes, I painted directly with my hands. These works are a record of my physicality in this specific time and place. â€”Donald Martiny
DOUG ARGUE Genesis 2006-2009 North Lobby
The monumental painting, Genesis, measuring 13 by 19 feet, is one of three large scale paintings by Doug Argue that hang in the North Lobby. These works hold their own against the soaring 50-foot-tall space. In these works, Argue incorporates stenciled lettering, which he has appropriated from various literature, like Moby Dick. The text is stretched on the canvas until it is no longer decipherable. In this painting, he has extracted the letters from the Book of Genesis, symbolizing the beginning of something new, something extraordinary.
DOUG ARGUE Genesis 2006-2009 North Lobby
Randomly Placed Percentages 2009-2010 Oil on canvas North Lobby
Randomly Placed Exact Percentages and Isotropic hang side by side in the North Lobby and are evocative of the universe, exploring themes of science, mathematics, and language. “The paintings are about the possibilities of new combinations that expand the idea of how things can change in an infinite number of possible ways. I hope people like the paintings and see something different in them every time they look at them.” — Doug Argue DOUG ARGUE Isotropic 2009-2013 Oil on canvas North Lobby
DOUG ARGUE Isotropic 2009-2013 Oil on canvas North Lobby
Doug Argue’s current work expresses a sense of
He has been the subject of solo exhibitions at the
the infinite by fusing elements of the visual arts,
Richard Heller Gallery, Santa Monica; Edelman Arts,
science, and language, often in mural-sized works.
New York, Haunch of Venison, New York; and As-
He explores the tradition of painting while employ-
sociated American Artists, New York; among oth-
ing contemporary concepts of realism, abstraction,
ers. He has a solo exhibition to take place in Venice
and expressionism. Recently, he has incorporated
during the 2015 Venice Biennale.
computer-manipulated forms (notably individual letters) in many of his paintings. Earlier figurative
Argue was recipient of the Rome Prize (1977) and of
and representational works have included highly de-
a Pollock-Krasner Foundation grant (1995) among
tailed and often monumentally scaled depictions of
other awards. He attended Bemidji State University,
leaves, cock’s combs, books and other subjects that,
Bemidji, MN and the University of Minnesota, Minne-
at times, edge towards the conceptual. Throughout
apolis, MN and was born in St. Paul, MN. He lives with
his career, Argue has combined highly disciplined
his wife in New York City.
control and investigation of material with expansive and dynamic compositions that reflect his fascination with our ongoing evolution in the fields of art, language, and culture. Argue’s work is found in the collections of the Minneapolis Institute of Arts, Walker Art Center, Frederick R. Weisman Art Museum, and numerous corporate and important private collections.
DOUG ARGUE Randomly Placed Percentages
2009-2010 Oil on canvas North Lobby
Axis Mundi is a totem, a form in perpetual balance, a structure that holds light and air. Like Bryan Huntâ€™s early airships, it explores the metaphysical presence of floating and orbiting forms.
BRYAN HUNT Axis Mundi, 2014 64th Floor Lobby
BRYAN HUNT Axis Mundi, 2014 64th Floor Lobby
BRYAN HUNT Axis Mundi, 2014 Wainscott Studio Long Island
Bryan Hunt (b. 1947) has a formidable career as a modernist sculptor and painter with works acquired by over 50 public collections around the world. Including—the Museum of Modern Art, the Whitney Museum, the Guggenheim, and the Metropolitan Museum. Hunt’s work is also in many distinguished private collections around the world. Hunt attended the Whitney’s Independent Study Program in 1972, had his first solo exhibition at Jack Glenn Gallery in Newport Beach in 1975, and soon after at the Clocktower in New York City. Hunt’s first solo show in Europe, organized by artist James Lee Byars, was Empire State, Phobos, and Universal Joint at the Palais des Beaux Arts in Brussels. In 1978 Hunt was included in the Solomon R. Guggenheim Museum’s “Young American Artists.” He was in the Whitney Museum Biennials in 1979, 1981, and 1985, and was also featured at the 1980 Venice Biennale.
Hunt’s first commissioned sculpture was in 1979 when
of Art, and it was included in the museum’s Centenni-
Edgar Kaufmann Jr. asked him to create a sculpture
al exhibition (1900-2000). In 2006, the New York City
for Frank Lloyd Wright’s famous Fallingwater House
Parks Department commissioned an artwork, Coen-
in Western Pennsylvania. Hunt’s public commissions
ties Ship, for Lower Manhattan at the historic Coen-
are on an international scale. His work, Big Twist,
ties Slip. The 20-foot-high stainless steel and glass
was installed in the Museum of Modern Art’s Sculp-
sculpture was awarded the New York City Design
ture Garden in 1978; it was later loaned to the White
Excellence Award (2006). Hunt created and installed
House Rose Garden. In 1985 the City of Barcelona,
ten Waterfall sculptures on Park Avenue in New York
Spain commissioned a large scale sculpture. In 1992
City between 52nd and 57th Streets, in 2011, part of a
Fall Lake Falls, a public artwork, was installed at the
changing public art outdoor exhibition. He lives and
Mori building, Shiroyama Trust Tower in Minato, To-
works in Wainscott, New York, and also maintains a
kyo. Los Angeles philanthropist Eli Broad donated
studio in New York City.
Hunt’s Empire State Building to the Whitney Museum
GREG GOLDBERG Seven Paintings 64th Floor Lobby
As a response to the space and light of the Sky Lobby, Greg Goldberg divided his paintings into three groups each built on a primary color: red, yellow, and blue. Within the groups, webs of intense color serve as a counterpoint to the brilliant white space surrounding them. While each group has its own color identity and temperature, similar pigments appear in all three, providing a sense of continuity and flow.
Greg Goldberg works in natural light and his paintings develop over a number of months. The color choices are determined by the seasonal quality of light and the evolving structure of the piece. There is a tension between the structural order and the motion of the brushwork. As the paintings evolve, the intensity and density of color becomes a complex web, moving across and into space. The resulting visual history determines the character of each painting.
“My first impression of the 64th Floor Sky Lobby at ONE World Trade Center was how vast and luminous it was, like being in the clouds, but with a sense of structure. The space seemed to reflect the sky. The wall reserved for my work is separated into several units, parallel to a continuous ribbon of massive north-facing windows. It is my hope that the sensuality, richness, and complexity of the color structure are animated by the light and the viewer.” — GREG GOLDBERG
GREG GOLDBERG Studio Cornwall, CT. 2014
FRITZ BULTMAN Gravity of Nightfall 1961 Oil on canvas North Lobby
FRITZ BULTMAN Gravity of Nightfall 1961 Oil on canvas North Lobby
Gravity of Nightfall and Blue Triptych-Intrusion Into the Blue are the only works selected for One World Trade Center that is not by a living artist. The bold large-scale oil compositions fill the canvases with intense swirls of blue, red, yellow, and drips of paint. They adorn the tower’s north lobby. Bultman was an American first generation Abstract Expressionist artist who died in 1983. He was a member of a group nicknamed The Irascibles alongside his contemporaries Jackson Pollock, Willem de Kooning, and Mark Rothko. The American painter and printmaker Robert Motherwell called him “one of the most splendid, radiant and inspired painters of my generation.”
FRITZ BULTMAN Blue Triptych-Intrustion Into The Blue 1961 Oil on canvas North Lobby
“Nothing captures the spirit of the Abstract Expressionist moment like the two masterpieces: Gravity of Nightfall & Blue Triptych, epic examples of Fritz Bultman’s power and bold technique. The action and the intensely expressive colors take us right back to the moment when New York was the capitol of world art, the place to be if you were a genius of his magnitude and ready to make a major statement of this level of originality.” –Charles Riley
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