Our work started in Chelsea, which, like many areas in the city, underwent a dramatic period of gentrification, transforming a working class neighborhood into the epicenter of the contemporary art world but in turn marginalizing many long-time, low-income residents.
More Art was granted non-profit status. A major work during that time was "The Chelsea Project" which included three collaborations between artists with local students and residents: AWGTHTGTWTA with Tony Oursler; Neighborhood, with Anthony Goicolea; and Sleeping Monster Produced by Reason, with Nicola Verlato. The projects were inspired by the neighborhood's past and present, as well as its future prospects.
More Art expanded beyond Chelsea and the West Side of Manhattan with Krzysztof Wodiczko's Abraham Lincoln: War Veteran Projection in Union Square. The project was created with the testimony of veterans of wars in Iraq and Afghanistan, which were projected upon the statue of Abraham Lincoln. Speaking through the mouth of Lincoln, the participants made their experiences starkly public thereby asking the audience to face the wider implications of war, particularly the fate of traumatized war veterans.
The Engaging Artists (EA) program was established in 2014, beginning as an offshoot of Andres Serrano's project Residents of New York, which featured portraits of unhoused individuals living near Washington Square. EA was introduced as a way to further the capacity of More Art's artists and programming to facilitate art for social change. As a model for social participation, the program encouraged artists to take part in volunteer social work and host gatherings that brought together people from different fields such as activists, advocates, and policymakers.
Moving across the East River, working in Brooklyn for the first time ever, More Art produced Dread Scott's On the Impossibility of Freedom in a Country Founded on Slavery and Genocide. This one time performance saw Scott engaged in a Sisyphean attempt to walk into the battering force of water jetting from a fire hose, in part referencing the 1963 Civil Rights struggle in Birmingham Alabama, during which city officials used high-pressure water canons to disperse non-violent protesters and bystanders in an effort to maintain segregation and legalized discrimination.
Our first publication, More Art in the Public Eye was published with distribution by Duke University Press. Presented through the lens of More Art's fifteen year history, the book features interviews with artists, and essays from thinkers and actors in the field that help situate the projects and mission of socially engaged art in terms of greater cultural and political paradigms.
Our most ambitious project to date, Fred Wilson's Mind Forged Manacles/Manacle Forged Minds was on view in Downtown Brooklyn for one year. The installation featured a 10-foot-tall sculpture, composed of layers of decorative ironwork, fencing and statues of African figures, serving as a metaphor for both structural and psychological barriers to freedom. Throughout the year, the installation was activated by performances, talks, music, and poetry that explored the themes of the project from the perspectives of different artists and thinkers.
In 2024, More Art celebrates 20 years of producing socially engaged public art. We look forward to sharing what we have in store!