For HEARD•NY, Chicago-based artist Nick Cave transformed Grand Central Terminal’s Vanderbilt Hall with a herd of thirty colorful life-size horses that broke into choreographed movement—or “crossings”— twice a day, accompanied by live music.
In late spring of 2014, Creative Time presented the first large-scale public project by Kara Walker, one of the most important artists of our era. Sited in the sprawling industrial relics of Brooklyn’s legendary Domino Sugar Factory, Walker’s installation responded to the building and its history.
Artist Tom Sachs took his SPACE PROGRAM to the next level with a four-week mission to Mars that recast the Park Avenue Armory’s 55,000 square foot Wade Thompson Drill Hall as an immersive space odyssey with an installation of dynamic and meticulously crafted sculptures.
In March 2006, Marilyn Minter’s seductive and hyperrealistic photographs towered over four art galleries in Chelsea as spectacular billboards. Recreating the lush images she shoots for fashion magazines, Minter substituted mud for water, transforming an ideal fashion object into a messy, flawed and human form.
The moving projections of Jenny Holzer's For the City, akin to credits scrolling at the end of a film, were installed at the Rockefeller Center and The New York Public Library, where poems by Wisława Szymborska, Yehuda Amichai, Henri Cole, Mahmoud Darwish, and other celebrated writers moved across the nighttime facades of landmark buildings, encompassing the reader with the power of language to educate and console.
Immaterial, yet powerfully resonant, Julian Laverdiere and Paul Myoda's Tribute in Light reaches out into the stratosphere—the ultimate symbol of how Creative Time’s unique approach to public art is capable of something both profound and transformative.