For his 1999 hit single “Simon Says,” the Queens rapper Pharoahe Monch used one of the borough’s most sci-fi structures as a post-apocalyptic battleground.
The Great Hall at the New York Hall of Science in Queens was designed to give visitors to the 1964 World’s Fair the feeling of floating in deep space.
While the drive-in movie theaters of Kodak-colored dreams are cluttered with classic cars, their heavy bodies dunked in primary colors, the cars at Empire Drive-In are all recent cast-offs, the engines in their wrecked bodies silent, personal artifacts from previous owners left behind on the floorboards. The temporary installation at the New York Hall of Science in Flushing Meadows, Queens, is somewhere between a monument to reuse and a statement on waste.
“What’s Wrong With Technological Art?” was the vexing question posed by the tony New Museum panel assembled by Megan Heuer featuring Heather Corcoran, the new executive director of Rhizome, and art historians Judith Rodenbeck, and Gloria Sutton. The event indadvertedly dove tailed with the recent September Artforum issue about the frayed divide between the art world and technological art. The bon mot award for the evening came from rehashing the 1967 quote of Philip Leider, editor of Artforum, who once penned the uber snarky statement, “I can’t imagine Artforum ever doing a special issue on electronics or computers in art, but one never knows.”