Cecilia Alemani

JAE KIM: As the Donald R. Mullen, Jr. Director and Chief Curator of High Line Art, you’ve played a pivotal role in transforming the High Line into a dynamic public space for contemporary art. Could you elaborate on the evolving relationship between public art and community engagement in New York over the years?

CECILIA ALEMANI: At the High Line, we work very closely with all programming departments, including art, community engagement, and education. Art is often a trampoline to create forms of engagement with different communities near and far. While the public that comes to the High Line each year often reaches over seven million visitors from all over the world, we intentionally craft programs specifically for our local neighbors. We might organize walks to see how the art program changes with the seasons or might host a seated conversation in front of one of our sculptures for the population of older adults that live in Chelsea to provoke a debate. Art on the High Line is completely embedded in the landscape and is now a vital part of the experience of visiting this elevated park.

JK: High Line Art has been a catalyst for site-specific installations and performances, activating public spaces uniquely. Can you share a specific instance where a particular art installation or project profoundly impacted the community?

CA: One of our recent commissions –Faheem Majeed’s Freedom’s Stand (2020) – has been very popular. It is an architectural construction reminiscent of Dogon architecture from West Mali, covered with pages taken from Black-owned newspapers in the United States over the past two centuries. The work is named after the first such newspaper, Freedom’s Journal, founded in 1827. This work is an homage to the tradition of Black press and its role in America and offers a clear and striking alternative to the mainstream news cycle. Installed on the High Line in sharp contrast with Hudson Yards, this work offers an educational journey through America’s past and present.

JK: Your commitment to showcasing diverse and international artists is evident in the organization’s programming. How do you navigate the balance between local New York artists and those from around the globe, and what impact do you hope this mix has on the artistic dialogue within the city?

CA: Since the very beginning of High Line Art, we have been very explicit in wanting the program to be international, in part to mirror the global audience that visits the park. At the same time, we show and support artists who are local to our neighborhood and to our city. I firmly believe that the conversations among different artists from near and far, from different cultural backgrounds, and from different ages are what generate a thriving and healthy cultural city.

JK: New York City has a rich history of being an artistic melting pot. How do you see the role of High Line Art in fostering inclusivity and representation for underrepresented voices within the New York art scene?

CA: We are proud of commissioning and producing new artworks that are on view in the park for a year. It’s not just about exposure: we work closely with artists to support their visions and ideas, even when they have never done a public art project before. We share our expertise and know-how, we identify fabricators, and we work closely with them to realize their projects, especially for artists who might not have gallery representation or who have not shown that much in museums or art institutions, this is an incredible opportunity to learn about the many challenges of showing art in public space.

<Read the full interview from Issue Seven>