Over the next two weeks, one of New York City’s most reputable landmarks will transform into the city’s largest public art installation in decades. Continue until October 19 Dear New York The Grand Central Terminal was reconceived, and the subway station below, as a “visual love letter” to the people of New York.
“The general argument is that the whole of New York is a place all over the world,” Brandon Stanton, the creator of the installation and the photographer behind it. People in New York,Tell Artnews last week. “And there is almost something sacred – like a microcosm, the concept that humans can get along with even if pushed into the smallest space.”
In the memory of life, for the first time, every inch of the Grand Central advertising was replaced by art. More than 150 digital screens (for commercials and transit announcements, all retained on specific digital screens), now showcases thousands of portraits and stories People in New YorkHuge archives. The installation marks the first time the Metropolitan Transportation Authority has unified its digital display in the dock and its subway halls.
“This beautiful art installation turns the terminal into a photography display for New Yorkers, telling stories from all walks of life,” Mary John, director of commercial venture capital at MTA, said in a statement. “This is a powerful reminder of our common humanity.”
Stanton said his hope for the project is to encourage people to stop and feel something. “I just want to create a lot of these little intersections and interventions in the lives of people that are circulating,” he said. “I can’t change anyone’s life, but even one person will stop and feel something – connection, loneliness, ideas they never had before, and that’s my artistic goal.”
Brandon Stanton’s Two Weeks Dear New York Will take over the Central Committee.
Taurat Hossain
core Dear New York It is a collaboration between Stanton and a group of leading designers and artists. David Korins serves as Experience Creative Director Hamilton,,,,, Dear Evan Hansenand Immersive Van Gogh– Designed an experience designed to merge storytelling and wonders on an unprecedented scale of citizenship.
“We intentionally captured ads per square foot (plus, more surface area) instead of bombing people, but eating them.” Artnews. “We want to do this to wash you like meditation. For some, it will be a mirror; for others, the portal is trapped in deep compassion.”
Collins said the project is a free and creative fall. Once Stanton gained the MTA partnership, the two began to sketch out how visitors can travel through the big center—images, stories and music would be an experience rather than a static display. From the hall to Vanderbilt Hall, they perfected the show in what Collins calls “building the plane downward.”
The main hall anchors the installation, a 50-foot prediction around commuters and visitors in a panoramic view of the New York story. The space features over 100 hours of music programmed in collaboration with Juilliard School and performs live performances by students, alumni and faculty in classical, jazz and history programs. The piano in the center of the dock, by Steinway & SonsWill remain accessible throughout the runs of the exhibition.
Juilliard student Joshua Mhoon, who is studying for a master’s degree in music, performs piano performances on Grand Concourse Dear New York.
Taurat Hossain
Three days before the project started, Stanton took me through the main hall of the Grand Center. This is an experience in itself. As he described Dear New Yorkit’s easy to see that it might change Straphanger’s regular commute, even if it’s just for a moment. As we spoke, the newlyweds were photographed in a photo just a few feet away from the information booth. The groom lowered his bride and stared into her eyes, her wedding train glowing on the ground in the hall. A group of nuns point to the Information Commission. A man in blue and orange Darsiki with a shiny leather briefcase walked into the earplugs and walked. From above, the hall must have looked like a sea of life. However, the installation is not only in the lobby, but also in the large center.
Downstairs, the metro station offers the same ambitious installation, designed by Andrea Trabucco-campos, a partner at Pentagram, and a creative director of design Dear New York. His team worked on Bono to conceive what MTA said was the widest physical metro space in its history.
“Designing a public gallery (without real entrance or exit points) in a place where four subway lines merge, is not the same as anything we did before,” Trabucco-campos said. “You can’t build a linear story there. The space needs something dynamic – you can go in and still understand it.”
Trabucco-campos and his team built a 3D subway section on Pentagram to understand its scale and visual process. They approached it like a citizen experiment – drawing corridors, shooting “column jungle”, and creating printing systems inspired by the station’s early mosaics. The goal is to let images and stories speak first, and design is the framework rather than the brand, he said. From sequencing portraits to rhythms of type, every decision is designed to maintain immediacy People in New York At the same time, it turns it into a common physical experience.
“It’s an immersive art installation for people, about people, people and people who consume it,” Stanton said. “Through all the content, the unified thread is where we concentrate and platform others.”
Install lens Dear New York Vanderbilt Hall in the Grand Central Terminal.
Taurat Hossain
In Vanderbilt Hall Dear New York Expanded to community display cabinets, displaying the works of emerging artists and the works of more than 600 New York public school students. Student work is selected through public telephone calls, reflecting the spirit of inclusion and civic pride that defines Stanton’s project.
“We are proud to provide all of our young artists with a shining space and share their perspectives through photography and visual storytelling,” New York City Public Schools Principal Melissa Aviles-Ramos said in a statement. “I’m excited to see our students’ art celebrated through this partnership.”
Exceeding its size, Dear New York What kind of public art has also been reimagined. It is both a cultural statement and a charitable act: Stanton is donating all the proceeds from his companion books, Dear New Yorkin addition to installation costs, New York City charities.
In scope and ambition, Dear New York remember doorChristo and Jeanne-Claude’s 2005 transformation of Central Park, but door Stanton turned nature into a canvas, creating a monument from everyday life. Both projects have a belief that art belongs to everyone, but Stanton’s version of this moment is clearly: a city-wide self-portrait presented in pixels rather than fabric, derived from the faces and stories that define the place itself.
“If it’s beautiful, it won’t fail,” Stanton said. “Whatever happens, it’s worth it.”
