:: PROJECTS > When it opens like this, up is not over

Rena Leinberger public art photos
CMYK on Sintra
image size: 48 x 72 inches; wall size approx 9 x 100 feet
2012
Rena Leinberger public art photos
CMYK on Sintra
image size: 48 x 72 inches; wall size approx 9 x 100 feet
2012
Rena Leinberger public art photos
CMYK on Sintra
image size: 48 x 72 inches; wall size approx 9 x 100 feet
2012
Rena Leinberger public art photos
CMYK on Sintra
48 x 72 inches
2012
Rena Leinberger public art photos
CMYK on Sintra
48 x 72 inches
2012
Rena Leinberger public art photos
CMYK on Sintra
48 x 72 inches
2012
Rena Leinberger public art photos
CMYK on Sintra
48 x 72 inches
2012
Rena Leinberger public art photos
CMYK on Sintra
48 x 72 inches
2012
Rena Leinberger public art photos
CMYK on Sintra
48 x 72 inches
2012
When it opens like this, up is not over
CMYK on Sintra
image size: 48 x 72 inches; wall size approx 9 x 100 feet
2012
Rena Leinberger public art photos
CMYK on Sintra
image size: 48 x 72 inches; wall size approx 9 x 100 feet
2012

February 03, 2012 - May, 2013

Commissioned by ISCP and the New York City Department of Transportation’s (DOT) Urban Art Program

When it opens like this, up is not over is a new temporary site-specific work installed on a 50-foot fence at Queensboro Plaza and Vernon Boulevard, directly under the Queensboro Bridge.

Corrugated fences, walls and other barricades are commonly used in urban environments to conceal functional aspects of the city. The fence utilized in Leinberger’s work obscures construction supplies along with the dramatic base of the Queensboro Bridge and a view of Manhattan.

Taking its location as a departure, When it opens like this, up is not over creates a liminal space, simultaneously real and fictive, a continuation of Leinberger’s ongoing investigations of artifice. Here Leinberger transposed images of the veiled environment behind the fence onto its face. Six photographs were shot in documentary fashion of the view beneath the bridge, which is normally gated and hidden from the public. These photographs were then re-photographed with cut emergency blankets and blue latex gloves captured in a falling state, suggesting precipitation, celebration, and elusiveness. Neither the images nor the scene can ever be viewed in entirety, partially obscured by the flurry.

- text courtesy NYC DOT Urban Art Program