Perspective: Along New York’s High Line, a $500 million effort to bring the arts to everyone
A view of the Shed from 30th Street in New York. The 200,000-square-foot performance space by the High Line aims to present new commissions in various media. By Anne Midgette Anne Midgette Classical music critic Email Bio Follow Classical music critic April 22 at 9:00 AM The arts are for everybody; the arts are elite.
The Shed presents “Reich Richter Pärt” in April. The two immersive live performances — one conceived by composer Steve Reich and painter Gerhard Richter, the other by Richter and composer Arvo Pärt — explored the shared sensory language of visual art and music. An arts center was always part of the plans for Hudson Yards, even when the development was no more than a twinkle in then-Mayor Michael Bloomberg's eye.
As for what the Shed itself will do: Alex Poots, the energetic Scottish-born artistic director and chief executive, has filled the first year with new work by emerging and big-name artists, a lineup that sounds like a Page Six mash-up of many arts worlds: the musicians Bjork, Steve Reich and Arvo Pärt; the visual artists Gerhard Richter, Trisha Donnelly and Agnes Denes; the poet Anne Carson; and the film director Steve McQueen .
Poots immediately made tweaks to the Shed’s initial concept. The building had to be soundproofed so that multiple performances could take place at the same time. There had to be parity between all the arts. And everything it presented had to be new.
“Reich Richter Pärt” at the Shed. In the arts, as in media, the biggest successes often come to those people or organizations who, rather than breaking new ground, are finding ways to amplify or reformulate ideas already resonating loudly in the world. By this measure, the Shed is poised to be a big hit.
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