by Jonathan Blaustein
I awoke to the bleating ring of the landline, ruining a perfectly good dream. Lacking coordination, I smacked at the phone, glancing at the clock as I pulled the handset to my ear. It was 6:30 in the morning, Pacific Standard Time. Too early for good news. On the other end of the line, my mother started yelling at me. She was crazed, like a fanatic speaking in tongues. “We’re under attack. We’re under attack. The towers are gone. The towers are gone.”
“Mom,” I replied, “calm the fuck down. I can’t understand what you’re saying. There are no aliens. We’re not under attack. And it’s really not funny.”
“Oh, Jonathan, it’s so horrible. We’re under attack by terrorists. They flew airplanes into the twin towers, and they’re not there anymore. They’re just gone. The Pentagon too,” She finished. “Turn on the television. You’ll see.” So I did.
I would have been there, like so many people reading this, but I almost chopped my thumb off while opening a can of tomatoes. (Lots of blood.) The incident, or accident, occurred just after I was accepted into Pratt, in early 2001. The recovery was such that I deferred a year, planning to move to New York in July of 2002 instead. So if not for the jagged edge of a Muir Glen tomato can, I would have been living in Brooklyn during the tragedy. But I wasn’t. My girlfriend and I were living in San Francisco instead, 3000 miles away, and only heard about the thing after the fact. Kind of the opposite of having been there.
It’s ten years later, and if there’s anything I’ve learned in my life, it’s that people like round numbers. (This from the dollar guy.) The memorial services are done. The names of the victims were read. Candles were lit; Tears absorbed into shoulders and hair. And of course, the anniversary exhibitions are up on the wall. It so happened that I was in New York in the end of October, and had the chance to see the September 11 show at MoMAPS1 in Long Island City, Queens, just across the river.
I might have neglected to mention that the particular New Jersey suburb in which I was raised was just a few miles down the road from Atlantic Highlands, the tallest point on the East Coast (At a meager 300 feet or so.) We had hills in my town as well, and were close enough to the bay to see the Twin Towers presiding over the city across the water.
My family rarely went into New York, it being the dicey late 70’s and early 80’s, and I was a bit of a wimp about the whole thing, truth be told. But those towers… I saw them at least three times a week. Two big, phallic, shiny symbols of the wealth and power of Wall Street, New York City, and by extension, the United States. They dominated. And now they’re not there.
The skyline has seemed imbalanced to me ever since, the midtown skyscrapers taunting Wall Street, perhaps enticing a Napoleon complex that begat the Great Recession. And, really, what has changed? We take our shoes off at the airport. We color code our fear like stripes on a lollipop. Fanatical loonies tried to blow up airplanes with bombs in their shoes, underpants, and even a printer cartridge. But so far we’ve been lucky.
We have a bi-racial President now. That’s big news. And geeks run much of the known world. (Seriously. Mark Zuckerberg gets laid on a regular basis. Enough said.) We went to war, twice, and are thoroughly in hock to the Chinese. All because we had to have those two wars, and some tax breaks to boot. Not a lot of value out of those purchases, if you ask me.
Now it’s nearly 2012, and so we might ask, with all the 9/11 hullaballoo, “Why an art show?” Why go to the trouble to collect items from around the world, paint the walls, pack and unpack the shipping boxes, spend a fortune on Fedex, re-write press releases until your carpal tunnel gives you a migraine, just to invite some people in once the lights are on, to look at some photographs, videos, paintings, sculptures, and drawings?
Why indeed? I suppose, as I describe the work I saw that day, the answer will become evident. One would hope.
Lets’ be honest: these articles always seem to run long. I’m aware of that. Perhaps I have a hard time expressing myself in few words. Who knows? In case you don’t feel like reading to the end, let me break it down succinctly. If you live anywhere near New York, you ought to go see this show. How’s that for brevity? Just go. Swipe your Metrocard, drop the $10 at the front entrance, and go inside.
The exhibition begins on the second floor of the former school building, and the wall card announces that almost none of the work was made in response to the September 11 attacks. Much of it was even made before the event. I was curious, and a tad dubious, to tell the truth. If the work was decontextualized, then clearly the curator’s POV would dominate the show. The entire exhibition would be one giant installation by Peter Eleey, the curator in charge. Pretty ambitious.
Normally, in these reviews, this would be the point where I meticulously detail each and every thing I saw. But I don’t want to do that. It seems forced, as I sit here at my kitchen table, 2000 miles and six weeks removed from the actual experience. There was a surreal poetry and magic to my time in the September 11 exhibition, and I’d rather try to recreate a fragment of it. I can conjure the best of that day in my mind, easily, so let’s start there.
One of the first pieces to slam me in the belly was a pair of framed, 4 foot square bulletin boards affixed to the wall, replete with pin holes, staples and paper scraps. (“Nothing prevents anything,” -07-09, by Harold Mendez.) Each sat on the wall on opposite sides of an entry way, like lions guarding the gate. Bulletin boards? If I saw them in a gallery in Chelsea, I’d probably giggle, and shake my head at how far people will go to be the first to call something art. But here, in this context, they felt empty, vacant, purposeless, forgotten, as if they were hanging in an Elementary School during Summer session. I thought about the kids who started that Summer, in 2001, with Dads and Moms, and then, shortly after Labor Day, they were gone.
Normally, we see work like this in quiet. People in galleries and museums are more silent than a tennis audience. Here, though, in this very room, there was music piped in. A grand, emotional, film score, by the great John Williams. (Yeah, the guy who did Star Wars.) A wall card explained that the music was the theme from the forgettable Mel Gibson crap-fest, “The Patriot.” (Which was apparently then appropriated by Barrack Obama during his 2008 victory speech.) So. Ironic. That. My. Head. Almost. Exploded. All the same, the emotional music definitely made the viewing experience more poignant.
What else? In the middle of the room, there was a nearly 20 foot long sculpture on the floor, made of ash. Long and narrow, the material was configured into the undulating form of a lunar-scape, with faux mountains and valleys seen from above. Astonishing. It looked a little like a 3D, gray-scale version of one of Motherwell’s Spanish Elegy Paintings. But it gets better. A look at the wall text explained that the ash sculpture, by Roger Hiorns, “Untitled 2008,” was actually an atomized passenger aircraft engine. Ash, the dominant symbol of that horrible day, here literally made out of a plane engine. That’s about as good as it gets.
Except that it was just a part of a larger whole, the gestalt of the entire gallery. The ash led the viewer, like a psychedelic arrow, straight up to a George Segal sculpture called “Woman on a Park Bench.” A lady sits, eternally, white patina over bronze, on a black bench. Waiting. The sculpture has been placed before a vaulted archway, and is backlit, like a knave in a Gothic Cathedral. It’s not hard to see her as a symbol of a grieving widow, immobilized by sorrow. Forever.
And in case you weren’t paying perfect attention, all of the above is simply one gallery in a much larger exhibition. I can’t think of a more touching tribute, and yet it was the work of the curator, as much as the aggregate artists. If you don’t believe me, just look up George Segal on Wikipedia. He died in 2000.
I enjoyed seeing a painting by Maureen Gallace, a drawing by Mark Lombardi, and a photograph by Thomas Demand. All good, for sure. But the next great thing was a worn, black suitcase on the floor, sitting in the corner of another gallery. It reminded me of the room of shoes at Yad Vashem, the Holocaust Museum in Israel. Those little, human details that bring Geo-Political horror down to the human level. Seeing the suitcase, we can imagine it belonging to some random guy who never made it back to Penn Station with his claim ticket. Or sitting on a sidewalk somewhere, after having been blown out an open window.
It was a piece of found sculpture by Lara Favaretto. The object was part of an ongoing, obtuse project where she buys one suitcase a year at a flea market, locks it, and then never opens it. Just the sort of boring conceptual project that gets far too much attention, but in this context, it was brilliant.
Diane Arbus, perennially popular, was represented on the wall with “Blowing Newspaper at a Crossroads, NYC, 1956.” The photo was dark, fuzzy, abstracted and a bit menacing. One I’d not seen before. Here, it spoke of the itinerant trash roaming the empty streets in the aftermath, hours after everyone still standing had gone home.
In a similar vein, a room otherwise full of black and white images and objects contained a dash of color, courtesy of William Eggleston: “Untitled (Glass in Airplane, 1965-74). A single plastic cup of Coke sits on a lowered tray table, backlit by gleaming light streaming in through the window. Anywhere else, it reminds of a stained glass window. Pretty. Contextualized, it puts you in the first person position of someone sitting on one of the planes, quaking at the thought of the crazy dudes holding box-cutters in the cockpit. What a horrible fucking way to die.
Elsewhere in that gallery, the walls were covered by a collection of B&W photos by John Pilson, from the series “Interregna” from 1998-2000. Mr. Pilson apparently worked for an investment bank in Lower Manhattan, across the street from the WTC, and made documents of the office experience in the late evening and early morning hours when no one was around. They were literal, and well-made, but in the show, one thought immediately of the empty offices, abandoned while people streamed screaming down the stairwells in the moments after impact.
To finish it off, a white pedestal sits in the middle of the room, with a glass vitrine on top. Inside, “Snapshots from Baghdad,” from 2007, by Roman Ondak: A matte black disposable camera with undeveloped, exposed film. All black, it looked a bit like a gun, just another way to shoot. Undeveloped, it spoke of unfulfilled potential. Baghdad, it reminded of the War rounded up like a posse in the victims’ names. And that was not the only Iraq reference in the house.
From there, I wandered upstairs, towards an abandoned looking section of the Museum. I ran across a man, coming in the opposite direction, who snickered, “It’s nothing but empty rooms. You might like it more than some of the art.” Classy. I pushed on anyway, and found that he was right. Empty rooms only. Early stage installation in progress. The galleries were the same as the ones below, but they lacked the life, the light, and the energy of a finished exhibition. A small moment, I gained even more appreciation for how much work it takes to make the trains run on time.
From there, I descended a few flights of stairs into the basement. As this was once a functioning school, the basement contains the innards of the structure. It’s cold, and feels like the opposite of every gleaming Art Museum you’ve ever visited. It also contains, for now, one of the single most powerful art installations I’ve ever experienced. No. Exaggeration. Necessary.
The boiler room is where it’s at. Down a few short rickety stairs, you enter the physical-plant-nerve-center of the former public school. It’s dirty, cold, and cave-like. Creepy doesn’t quite do it justice. In the far corner, I saw some speakers, a chain hanging from the ceiling, and a place to sit down. So I did.
The speakers were blasting some random, ambient sounds; unfamiliar and disturbing. I sat there, waiting, thinking, and then all of a sudden, I saw the flash of a shadow. My neck swiveled, and my liver almost imploded. No lie. Frightening. But I stayed. A minute or so later, there was a clanking, crashing sound, and another shadow flash. Bang. The hanging chain started to sway, so I knew that I hadn’t imagined it. Slowly, I realized that I was sitting in a simulacrum of a dungeon. Abu Ghraib? Some nameless CIA black-site hole-in-the-ground in Afghanistan? Does it matter?
The experience was real, and confusing. Then, I looked up at the ceiling and saw skylights onto the street level. The room sits below the sidewalk, and whenever a Queens resident or visiting passerby walked over me, I heard the crash. When they walked only near the skylight, shadow no sound. Are. You. Kidding. Me.
After a few minutes of simulated torture, I walked back up the stairs, and looked for the wall text explaining the music. (If you could call it that.) Stephen Vitiello, the artist, once had a studio given to him through a residency program. In the World Trade Center. 91st Floor. He recorded the sound of the building swaying in the wind during Hurricane Floyd in 1999.
I’m running out of exclamations here to describe my overtaxed brain, upon reading that information. The swaying, creaking, buildings, no longer in existence, providing the backdrop for a simulated torture chamber, representing a major war that was launched because the buildings were destroyed by terrorists from another country. Well played, Peter Eleey. Well played.
After that, emotionally drained, I spent the better part of a half an hour trying to get permission to take the one photo I’m including here. They’re beyond strict about prohibiting photography, so you really will have to go see this for yourself. Then I walked through the freezing Queens rain, and dropped down underground again to grab the subway. The train’s recording, with each stop, reminded me that it was a World Trade Center-bound E train. As if I could forget.
