Sculpture by Michel de Broin made from discarded batteries.
Located on the Rockaway Peninsula Brooklyn, NY, Fort Tilden is mostly a natual area that was a former United States Army installation. Fort Tilden today is largely a natural area of beach, dunes and maritime forest. Most of the old military installations are abandoned, though some buildings have been renovated and are used by local arts groups. Atop one of the old batteries, Battery Harris East, is a viewing platform offering 360-degree views. Fort Tilden includes some of the most secluded beaches in New York.
“Biopsy” photograph series by Yedda Morrison
This work takes as its starting point the human desire for permanence, a desire made acute by the inevitability of our passing. If photography itself is a manifestation of this desire, our attempt to arrest or “still life,” plastic plants and flowers are a low-rent corollary. Suspended mid bloom and scattered throughout graveyards and empty parlors, they offer the promise of perennial youth, an eternal flowering, life ever after. Fake flowers both immortalize and render static the natural world. As such, they articulate a crisis between beauty and horror, desire and loss, artificiality and “the natural.” In our fall from the “pre” or “no” time of Eden, we have landed squarely in the artificial garden, the stilled remains of paradise. These sights of frozen or no time and the scale, duration and technology that make them possible, work to articulate a world where boundaries between the real and the artificial are increasingly blurred. If, in our contemporary moment, we are experiencing a gradual substitution of the machine for the body/mind, the image for the thing, and the simulation of the environment for the environment itself, then perhaps we are realizing Robert Smithson’s “frozen actuality,” the hallucinatory disjunction where “nothing is known but the impenetrable surfaces,” where “the artificial ingenuity of time allows no return to nature.”
Old rusty bike found on garage sale restored and repainted in the Gzhel style of ceramics. Gzhel is a Russian style of ceramics which takes its name from the village of Gzhel and surrounding area, where it has been produced since 1802.