In The Wind (Artist Array/Jersey City USA)

In The Wind

In The Wind is the first major public arts installation funded by state money in Hudson County. Immersive on a sub-textual level, it’s emblematic of the city’s attitude towards art – artists as citizens and neighbors.

Artists are also a benefit, not just their art.  It’s what has driven Jersey City art policy at the municipal level for decades, Artists essential to the community and society. Other aspects of public art funding, such as enabling cultural public events or murals, fulfill other objectives of why art is an important public good. But from the ill-fated 111 First Street to the 150 Bay Street and the Jersey City Arts Fund, the objective of taxpayer expenditures was to ensure artists can live and create art in Jersey City.

Dozens literally of artists are represented. It’s major funding –  New Jersey State Council on the Arts, etc. – the city and the county received a state grant that was not just well deserved, but huge. Google if you want, but within the echelon of foundation funding of the arts, In the Wind’s a game changer.  State money for the arts simply was not coming into Jersey City like this before.

The concept seems brilliant in its simplicity.  Artists submitted work, which was made into a banner and put on a pole on the walkway of Lincoln Park – it’s a stunning park, spectacular fountain and soccer fields – from the corner I entered I sort of had to pleasantly traipse across vastness down one winding path that connected with the In The Wind walkway that wound through small, soft hills and an inlet fed pond with filtering sprinklers –  it’s a splendid walk – in fact, one of the nicest walks ever. I wish I had a dog on a leash or a hand to hold, that nice of a walk. A grand, green space.

I’m sure I’ll be back but the initial impression is invitation. Flags – that’s what banners are – from the rows of flags at Liberty State Park to the inexpensive banners denoting neighborhoods or organizations – these visual delivery systems for information we encounter daily and often, sublimely. Tiny sails fixed upon immobile masts. In The Wind begins with this concept, disrupting our preconceptions of banners and the purpose of flags.

We’re curious as what message the fabrics convey – but it’s not like recognizing the flag of a nation or a state or a nonprofit dance studio – all we know it’s art, we know it’s a public art installation – oh yeah, like The Gates – actually in its own way, just as important – like all art, we look or watch or try to see then we wonder about what we’re feeling. Banners flap and wave, furl and unfurl, droop and fold… sometimes the breeze is steady and any banner is star spangled.

As you follow the circuitous path, the poles proliferate. Now, immersive is the popular term, especially when it comes to public art. It’s become overused, like art should aspire to a sensory deprivation tank. But as you see more banners your attention is on the number of banners. Multitudinous.  I’m reminded of Jamborees when I was in Boy Scouts – every school and/or town had a troop – a celebratory gathering of the likeminded yet second glances reveal deeper identify. Okay, maybe if I had been to Burning Man I’d have a hipper analogy but the concept is similar. A gathering of the tribes, though because of the clique ethos of the Jersey City Art Scene I’m hesitant to use the t-word because my idea is more about the amount of artists. 

From some portions of the path you can’t of course see the actual banners, just the fact there’s many of them. It’s a Jamboree! Yes, I know many of the actual artist and know of several more – perhaps telling in and of itself – and it’s not as if I was shocked at the size of the mob – but in banner-form the obvious conclusion is just as a park is essential to a community, so must be art. Further contextualizing the public art aspect of In The Wind – the bucolic setting of a park, a pole and banner not only the least obstructive display mechanism, the banners conform to whatever breeze is blowing – art itself is incorporating itself into city life on dare I say, Subconscious level.

But unlike other public art, the actual work  is not immersive. The coalescence is theme-less. You begin to notice at different points you can see the front of some banners, then turn your head and see the back of others on the other side of the path. Printed on the back as one would expect is the title and artist name and social media handles and whatnot. The promotion – the gritty details – that’s the way of the world – to consider it was a component of In The Wind seems petty. But, actually the opposite is true.

Artists are among us. Lots of them, enough to flag up a park, no more apparent manifestation of Jersey City Plebiscite – the art fund, 150 Bay, policies by city government – than supporting individual artists – it’s how the public wants to spend their taxes on a much needed resource – the arts.  Art elevates community. It’s essential to humanity and we spend a fraction on art than we do on bombs or administering parking tickets.

Jersey City is not alone in this, thank God. However, the functioning democracy and related manifestations of public will dating back (maybe?) two decades that has only intensified here is that public funding of art must support individual artists. Art is – publically funded or not and broadly defined as can be – and as noticeably absent when it’s not there as when it’s all you can see – a daily yet lifelong aspect of living. Where there’s art, civilization functions, maybe even flourishes.

Citizen, voter – person – democracy is America – taxes fund this and that and you agree that budget item stays, so how should it be spent? Helping, recognizing and supporting individuals.  Our new Mayor ran on an anti-Pompidou platform. Art is essential to life and without artists there’s no art so artists are essential to Jersey City life.

Just so happens this concept also coincides with contemporary social media platforms and content-driven culture. Followers and Influencers. Individual and multitudinous, thus making In the Wind even more relevant. But it’s also a rather brilliant and grand-scale visualization of a city’s art scene and our time-tested reputation as home (and imperfect sanctuary) for artists.

But this was opening day, where was the crowd of artists and art lovers? I was directed to The View. A well-appointed conference center. In another life I was an editor of venue and meeting space magazines and I’ve seen the same fixtures, accents and other design details in two other spaces. It was very impressive, clean and comfortable and unlike In The Wind, could be anywhere.

I was the only person there who took the 80 bus. The down-home chapter of Jersey City arts is over. The new chapter has its moments and appeal. High-level art people made remarks – this grant is a milestone and likely turning point –  the mayor spoke, Art House people – the usual suspects – all very nice, lots of cheering – the crowd was too big and the event was more about the party than the art my constant Jersey City art lament.

I’ll come-back to view, it’s up like all summer and fall, fantastic park. Wind blows a different way each day. How we experience art often depends on the where and when. In The Wind we see not just an array of art, but the collective nature of Jersey City art  – what are the unifying aspects of the array – oh I get it,  it’s the array.