New York–New York: installation view at the Hamburger Bahnhof, Berlin, 2003.
New York–New York: model in a special vitrine with two drawers at each end with explications of the project, 72 × 24 × 45 in.; 183 × 61 × 114 cm, 1999. Edition: 3. See Editions.
New York–New York: Electrostatic Generators at the Hamburger Bahnhof, Berlin, 2003
New York–New York: the Electrostatic Generators in a specially constructed brass vitrine; these generators power the Integrated Circuit, brass, bakelite, rubber, and polycarbonate, 66 × 72 × 24 in.; 168 × 183 × 61 cm, 1990–94.
New York–New York: left: New York Hot, (front and rear views), 1986–90, brass, 84 in.; 213 cm high; left: New York Cold, aluminum, 86 in.; 218 cm high, 1990–92.
New York–New York: New York Hot and New York Cold with the Lake, Hamburger Bahnhof, Berlin, 2003.
New York–New York: the Integrated Circuit, constructed from brass and aluminum with multiple layers of insulation made from woven silica. The circuit is based on the 1959 Fairchild “flip-flop” integrated circuit. The circuit converts high-frequency current from the generators to alternating current used by both New York Hot and New York Cold, 1989.
New York–New York: New York Ten at the Hamburger Bahnhof, Berlin, 2003.
New York–New York: the telephone on top of a numerical counter, this telephone controls the entire installation of New York–New York by receiving the time signal from Bolder, Colorado, each day, 2003.
New York–New York: New York Ten, Hamburger Bahnhof, Berlin, 2003.
New York–New York: at left the French Horn Gramophone and Instrument case containing the tools for changing the Influence Isolators on the four Influence Generators, 2003.
New York–New York: French Horn Gramophone for recording the records used as isolators on the Influence Generators, c. 1995.
New York–New York: detail of the Influence Generators, 2003.
New York–New York: instruments for changing the Influence Isolators on the four Influence Generators, 2003.
New York–New York: Influence Isolators in the Record Vitrine, brass, aluminum and Bakelite, 66 × 72 × 24 in.; 167 × 183 × 61 cm, 48 specially prepared records comprise this audio archive, 1994–2003.
New York–New York: Performance of New York–High in front of a geothermal power station using extremes in temperature to play three minutes of John Philip Sousa’s The Stars and Stripes Forever in high frequency, filmed in Iceland, 1991. See Music
New York–New York: Vitrine holding New York High (brass phonograph), New York High–New York Low, (record edition), and New York Low (aluminum phonograph), 1986–89. See Music
New York–New York: The Field, eighty-six cast brass Buick car horns, installation view Hamburger Bahnhof, Berlin, 2003.
New York–New York: Two Mechanical Symphonies for Two Cities, Sousaphonograph, the Record Vitrine containing 48 prepared recordings, the Record Timelines, a record presented in a vitrine and the costume for the Influence Assistant, 2003.
New York–New York: Two Mechanical Symphonies for Two Cities, Sousaphonograph, the Record Vitrine containing 48 prepared recordings, the Record Timelines, a record presented in a vitrine and the costume for the Influence Assistant, 2006.
New York–New York: Two Mechanical Symphonies for Two Cities, Sousaphonograph, the Record Vitrine containing 48 prepared recordings, the Record Timelines, a record presented in a vitrine and the costume for the Influence Assistant, installation view Christine Burgin Gallery, New York, 2006.
New York–New York: Sousaphonograph, 2005–2006.
New York–New York: Sousaphonograph, 2005–2006.
New York–New York: Performance of the Influence Assistant demonstrating the insertion of Influence Isolators in an Electrostatic Generator, Christine Burgin Gallery, New York, 2006.
New York–New York: pigment print, 53 × 35 in.; 135 × 89 cm, edition: 30. 2006 See Print
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ABOUT NEW YORK–NEW YORK (1986–2003)
New York–New York is an intricate system of interrelated mechanisms forming a history of key industrial breakthroughs, from the electrical to the information age in Manhattan. It employs historical technologies, not to construct a detailed technological archeology, but rather a metropolitan, elegiac metaphor for the city over a sixty-year period, approximately 1920–1980.
The work is intended to function only once, during a precisely structured performance spread across six ten-hour days. Thus far New York–New York has only been shown in its complete (albeit non-functioning) form in a solo museum exhibition at the Hamburger Bahnhof, Berlin, 2003.
Begun in 1986, its three main structures, New York Hot, New York Cold, and the Lake, were scaled in approximate proportion to Central Park. Both New York Hot and New York Cold use water from the Lake and transform it with self-generated electricity (employing the Electrostatic Generators) to form steam (in the case of New York Hot) and ice bonds (in New York Cold, employing the New York Ten). This metaphor, simply explained here, is enlarged by many further elements and processes within the entire installation, creating a portrait of Manhattan with water its central focus. The project, the most ambitious to date, has over thirty sculptures involved in mechanically and metaphorically dealing with its subject. New York–New York has an alchemical quality to it, built entirely from brass on the hot side and aluminum on the cold side; water is manipulated as transformative material in its portrayal of its subject. For further reading consult The Metropolis of Metaphorical Intimations. SEE BOOK
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