By Richards Burroughs

August 12, 2015, 11:02 am

 

The official dream team of people and professions that we love to hate can vary from person to person, because we’re all different. Some people hate everybody, and some people love everybody. But a good starting five on this particular team could easily be lawyers, telemarketers, Wall Street executives, Congressional members and Williamsburg coffee baristas.

Yet, there’s another profession bucking to make it into that starting lineup, and that is the real estate developer.

What’s their credentials for being put on the most hated-Dream Team, you ask? Well, for starters, real estate developers are sometimes loathed by entire communities, sparking full-on demonstrations against their projects. Yet, they also tend to be a bit faceless, with the hate often directed at the company and not an individual.

Cities often give developers sweetheart deals and abatements on taxes, which raises the ire of taxpayers. But most sinister of all, they’re often the voice in the back room, puffing a cigar and convincing the government to seize private land through eminent domain, and then turn that land over for their development project.

But since hate is only embraced by rappers and WWF heels, real estate developers, in New York City, looked into the eyes of the hate, and in it they saw public art. Since their professional emoji might as well be a beloved, neighborhood building getting demolished, developers saw public art as a bridge to humanizing their profile, while beautifying the block before the twelve months of jack hammers and catcalls commenced, at their construction site.

You Can Hate Me Now

You Can Hate Me Now

In fact, real estate developers utilizing public art to strategically humanize their image, has been trending up for the last few years. Yet, it’s a bit of Jedi Mind Trick that’s inherent to the developer & street art marriage. For the most part, the street artists don’t get paid to provide cover, while the neighborhood gets thrown a bone that shows the heart of the developers. Publicists are losing clients, when developers can use street art to soften their image as overlord. It looks like a marriage made in heaven, when heaven has jumped the shark and it’s several illustrative examples of this peculiar trend.

The Suzuki Capital purchase of the former police precinct on East 22nd street in Manhattan, comes to mind. In its latter years, it was a half-way house for LGBT youth. But it was built in 1863, as the police station and prison for the 21st precinct, which was in a neighborhood known as the Gas house District. Suzuki purchased the building and staged a super dope, street art exhibition called 21st Precinct, curated by Rob Aloia, for Outlaw Art. It was amazing.

There were fifty local and international artists in the show, and they put aerosol and wheat paste art across the entire 4 floors of the building. It was a powerful and the exhibition stayed up until the building was knocked down, to make way for condos.

You Have The Right To Remain Defiant

You Have The Right To Remain Defiant

Same for the project at 436 and 442 east 13th street in the East Village, that was featured on the Bravo TV show Million-Dollar Listing. The two buildings are scheduled for a fall 2015 demolition, and were given to Art Battles, an art organization, to curate a group of artists to create murals on the outside walls and the inside walls of the upstairs, outdoor deck. The art looks amazing and will stay up until the two structures get demolished this September, making way for more condos.

Thor Equities has taken this same route out on Coney Island, but with a remix twist at the home of America’s first roller coaster. Instead of endearing themselves to a community, before tearing down an existing building and raising a new, behemoth structure, the Manhattan based real estate developer and investment firm is priming the community for a full offensive, with Coney Art Walls…though no one is sure what that offensive will be.

C.I. Walls For All Of Y'all

C.I. Walls For All Of Y’all

With an extra large portfolio of land in Coney Island, the company and i’s controversial owner, Joe Sitt, have been lauded as both neighborhood killers and saviors. Coney Art Walls, done in conjunction with legendary artman Jeffrey Deitch, brought 30 artists to create murals on 30, temporary, concrete slabs, within a pop-up Smorgasburg food court. Buff Monster, Kenny Scharf, Lady Pink, Daze, Aiko, KATSU, and Ron English amongst others are the artists, and some people take Coney Island Walls as an olive branch to the community, even if it’s an overpriced, artisanal olive branch sold in an hipster hangout.

All of those instances of public art, put on by real estate developers, will pale in comparison to what’s happening this coming weekend August 15th, at Pacific Park, on Dean Street in Prospect Heights, Brooklyn. Pacific Park, formerly titled Atlantic Yards, is the undeveloped, promised to be developed project, by Greenland Forest City Partners, the new iteration of the project developers previous name, Forest City Ratner. The mere mention of their name brought people to disgust and rage, so changing the name made a ton of sense. Take note Ms. Azealea.

DSC04319

The good news is that the Pacific Park Art project has been put in the hyper-creative hands of the artist Mike Perry, who curated nine other artists to put amazing murals up on the incredibly humungous wall that runs on Dean Street, from Carlton to Vanderbilt.

A talk with Mike Perry is on deck, so check back soon for the interview with one of the hardest-working artist in Brooklyn, who you may know from creating the titles for the hit show Broad City on Comedy Central, or his numerous art exhibitions, illustrated books or amazing beach towels!

 

 


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About The Author

It's variations on my name, but it's the same human. I'm Richard Chandler Burroughs, novelist (A Rendezvous With Destiny) and blogger (Uncontrollable Urges). Richard Burroughs as a marketing strategist, where I've serviced clients that include Sam Adams Beer, adidas, Coca-Cola and Moet & Hennesy. I'm Dick At Nite as a DJ, spinning magic from Bed-Stuy Bars to Boutique hotels and as an art curator, with a recently closed show at Rush Corridor Gallery. I'm anything you want to call me as long as you appreciate (and buy!) the work of the artists I present. Follow me on Twitter: @dickburroughs

It's variations on my name, but it's the same human. I'm Richard Chandler Burroughs, novelist (A Rendezvous With Destiny) and blogger (Uncontrollable Urges). Richard Burroughs as a marketing strategist, where I've serviced clients that include Sam Adams Beer, adidas, Coca-Cola and Moet & Hennesy. I'm Dick At Nite as a DJ, spinning magic from Bed-Stuy Bars to Boutique hotels and as an art curator, with a recently closed show at Rush Corridor Gallery. I'm anything you want to call me as long as you appreciate (and buy!) the work of the artists I present. Follow me on Twitter: @dickburroughs

7 Responses

  1. Kenny Hardwork

    Dope article Richard Burroughs i liked it alot, to bad alot of artist and curators dont realize that they are selling their souls and the rest of the art community out for fame and a few dollas. The sad part is the art community has no solid plan to rise and stop being exploited by every industry, or may be there isnt a community at all.

    Reply
  2. Pat

    “For the most part, the street artists don’t get paid to provide cover, while the neighborhood gets thrown a bone that shows the heart of the developers.”

    The main projects you’re talking about here, Coney Island Walls and Pacific Park, the artists were paid. For Coney Island Walls, the artists were paid well. I understand your disappointment with the artists for taking the gigs, but the idea that they weren’t compensated for the commission is silly.

    Reply
    • Richards Burroughs

      There’s been numerous occasions where the artists have no received a commission,though not all of them. I know that the artists involved in the project on east 13th street were compensated. I also spoke to several artists at the 21st Precinct project that mentioned to me that they were not compensated. The Pep boys project in Jersey City did not compensate the artists beyond providing materials. The Coney Art Walls compensated artists, even though it was originally said that they were doing it for the “love”.

      I did not say the Coney Art Walls were uncompensated and any inference that the project was uncompensated was unintentional. I was highlighting that many of the developer-street art projects don’t pay, which is true.

      Reply
      • Pat

        What do you think is a fair price?
        $5k $10k $15k? Inclusive of labor and materials or on top of?

  3. Peter Krashes

    It will be a pleasure to see the artists painting on the Atlantic Yards/Pacific Park wall, and it is always good (although more rare than it ought to be) to see the developer supporting local businesses. But what the community– and the public — need in relation to this project is proper and empowered public oversight. There is little transparency about the project’s financing, its implementation and plan, and most important for the community immediately near the project, its construction oversight. Follow this link to read a statement from a coalition of many of the local civic organizations near the project, including those representing the area directly impacted by the construction fence: http://www.atlanticyardsreport.blogspot.com/2015/08/on-eve-of-dean-street-block-party.html

    It has been ten years since the first demolitions in the Atlantic Yards footprint, and nine years since the first serious construction accident at the site. In the last six months alone, a delivery worker was killed on-site accidentally, and the developer in essence implemented the required construction noise mitigation plan months late. There has been inadequate dissemination of information, with changing truck routes that depart from NYC regulations without community notice, local residents’ cars ticketed because of a contractor’s mistakes, and unsafe pedestrian conditions maintained far longer than originally detailed in public notices. Many in the community feel that their well-being is not being properly monitored or taken into consideration. Over the years the community has documented one lapse in oversight after another.

    Like with so much of Atlantic Yards/Pacific Park, the “Green Monster” construction fence, (as a representative of the developer has called it), was planned without consideration of the existing residential and commercial street life that occurs outside it, and art as its mitigation was not the product of public input. Although in 2006 Forest City Ratner was given control of the 22 acres that comprise the Project’s footprint because of their promise the project would be complete in ten years, the local community is likely to be exposed to adverse construction impacts and the risks they entail for at least twenty years. It is long past due for Governor Andrew Cuomo and Mayor Bill de Blasio to put in place the oversight that the public’s stake in the project merits, and the health of the impacted community requires.

    Reply
  4. Norman Oder

    You write that “Greenland Forest City Partners [is] the new iteration of the project developers previous name, Forest City Ratner.”

    Not quite. Greenland Forest City Partners is a joint venture between Greenland USA, a subsidiary of the Greenland Group, and Forest City Ratner. Greenland owns 70% of the project (excepting the Barclays Center arena and one tower), including towers and infrastructure under construction, and full 15 towers (excepting the one previously mentioned).

    Greenland is majority owned by the government of Shanghai, which is taking advantage of the tax breaks, override of zoning, direct subsidies, utility discounts, cheap public land, and other public assistance from New York taxpayers.

    That’s a little more than an iteration.

    Reply
    • Brooklyn Reader

      Thanks for that info, Norman. We appreciate your research on this.

      Reply

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