I was happy to hear that “the gateway to SOHO” has triumphed due to a compromise. Something we don’t hear of in this american life under George Bush.
I was going to design school in nyc when this work was installed. I walked by it many times on my way to wander through galleries, shop at Pearl Paints on Canal Street, and scavage the dumpsers outside the small manufacturing that still existed in SOHO at the time. It was always wonderful to see this piece. I’m glad to know that I will get to see it again.
IN THE NEWS:
On Oct. 17 the New York Landmarks Preservation Commission voted unanimously in favor of protecting The Wall, a 1974 work by Forrest Myers located on the north face of 599 Broadway at Houston Street in SoHo [see “Front Page,” Jan. `98]. The familiar work is based on an existing set of 42 metal braces in a grid of seven down, six across, which were installed to secure the brick wall when an adjacent building was torn down decades ago to widen Houston. Myers attached a projecting 4-foot-long aluminum girder to each brace, and then painted the whole lavender and turquoise. Jennifer J. Raab, chairman of the Landmarks Commission, who champions the work, expressed the widely held sentiment that the work is the “gateway to SoHo.” Others who actively strove to protect the wall are City Council member Kathryn Freed, State Senator Thomas Duane, New Museum director Lisa Phillips, and artists John Chamberlain, Robert Rauschenberg, Richard Serra and Frank Stella. Read the full story here.
Morning Edition, March 15, 2005 · An acclaimed eight-story sculpture in New York City is at the center of a dispute headed to court today. The sculpture was made some 30 years ago and is attached to the outside wall of a condominium. The artwork is known as “the Gateway to SoHo” or simply, “The Wall.” Now, the owners of the building want to take it down and use the space as a revenue-generating billboard. you can listen to the broadcast here.
The original owner of 599 Broadway, Charles Tannenbaum, commissioned Mr. Myers’s work as a way of disguising an eyesore — naked joists that once were attached to a neighboring building that had been torn down. As its reputation grew, it became known as “The Gateway to SoHo.” New York Times article here.