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Stay safe in the heat: Drink plenty of water, spend time in the shade, and visit the first aid station at Soissons Landing if you feel unwell. Click here for important warm weather visitor information.

Stay safe in the heat: Drink plenty of water, spend time in the shade, and visit the first aid station at Soissons Landing if you feel unwell. Click here for important warm weather visitor information.

Rock, Mos­qui­to and Hum­ming­bird to be unveiled in his­toric Fort Jay

Rock, Mos­qui­to and Hum­ming­bird: A Pre­his­to­ry of Gov­er­nors Island’ by artist David Brooks to be unveiled in his­toric Fort Jay

Instal­la­tion will be open to vis­i­tors every day from August 19-Octo­ber 31

David Brooks’ Rock, Mos­qui­to and Hum­ming­bird digs down to the core of the place we now call Gov­er­nors Island, expos­ing the stra­ta of his­to­ry of this float­ing rock at the entrance of NY Har­bor– lay­ers stretch­ing down to a foun­da­tion of Man­hat­tan Schist that pre­dates com­plex life on earth. Prob­ing three sites on the north­ern side of the orig­i­nal foot­print of the Island, Brooks bored through the ground sur­face to a range of 90 to 125 feet in depth, telling a sto­ry of this ancient place in cob­bles, soil, silt, shells, clay and bedrock. This exca­vat­ed nar­ra­tive uti­liz­ing core sam­ples of the grounds leads vis­i­tors beyond the dom­i­nant mil­i­tary his­to­ry of the site, to imag­ine a land­mass that for mil­lions of years played a part in a larg­er strate­gic oper­a­tion – the ori­gin of land and life itself. 

The sto­ry of Gov­er­nors Island is one of many lay­ers, and our art pro­gram trans­lates and reveals the myr­i­ad con­nec­tions the Island has to the his­to­ry of New York, this coun­try, and the ani­mals and peo­ple that have inhab­it­ed the region,” said Mered­ith John­son, Vice Pres­i­dent, Art and Cul­ture of the Trust for Gov­er­nors Island. David Brooks’ new site spe­cif­ic work Rock, Mos­qui­to and Hum­ming­bird starts at the very begin­ning, pre-dat­ing the human his­to­ry of this place and weav­ing a sto­ry from the very strands of mag­ma that formed the land­mass we now know as the arch­i­pel­ago of New York Har­bor. This project is in many ways a first act in the epic nov­el that is Gov­er­nors Island, told through art and the voice of the artist.” 

From August 19 to Octo­ber 31, 2017, vis­i­tors to Gov­er­nors Island can enter the sub­ter­ranean mag­a­zine of his­toric Fort Jay to find Brooks’ wind­ing sculp­ture. Three long con­tin­u­ous rock core sam­ples are assem­bled in con­trast­ing tra­jec­to­ries ref­er­enc­ing slow time (the cre­ation of bedrock) and fast time (the flight of a mos­qui­to and hum­ming­bird), the piece engages the vis­i­tor with a series of objects one must nav­i­gate through, around, and under – much like time itself. 

Accom­pa­ny­ing the instal­la­tion are a series of bronze mark­ers around the Island, at the sites of Brooks’ rock core extrac­tions. In July of 2017, core sam­ples were tak­en from three loca­tions on the his­toric north side of the Island by a roto­son­ic drill that bored through the ground sur­face to depths of 90 to 125 feet. A core sam­ple is a cylin­dri­cal sec­tion of earth obtained by drilling into the ground with a hol­low steel tube called a core drill.” The ear­li­est core drills were used by the ancient Egyp­tians in 3000 BC to build the pyra­mids. Brooks’ drill sites on Gov­er­nors Island, moments of pen­e­tra­tion into the earth, pro­pose a glimpse into a hole of deep time that is inti­mate­ly linked to the crea­tures that still call this place a hunt­ing, fish­ing, and nest­ing ground. 

Gov­er­nors Island is a place that inter­sects so suc­cinct­ly with my own inter­ests, but in a not so obvi­ous way,” said David Brooks. It’s not its mil­i­tary, colo­nial or civil­ian his­to­ry that I’m inter­est­ed in high­light­ing, but rather a much big­ger pic­ture of its nat­ur­al his­to­ry. The Island itself, its non­hu­man inhab­i­tants, and the man­made struc­tures that dot the Island all owe their exis­tence to a tur­bu­lent geo­log­ic his­to­ry that gives us a much more dra­mat­ic and vis­cer­al under­stand­ing of what makes it so unique.” 

Rock, Mos­qui­to and Hum­ming­bird is the first work com­mis­sioned direct­ly by the Trust since 2014, and is the first work by David Brooks on Gov­er­nors Island. The recip­i­ent of sev­er­al pres­ti­gious awards, includ­ing a Smith­son­ian Artist Research Fel­low­ship, Brooks cre­ates works that con­sid­er the rela­tion­ship between the indi­vid­ual and the built and nat­ur­al envi­ron­ment. Major com­mis­sions include the Aldrich Con­tem­po­rary Art Muse­um, CT, MOMA/PS1, NY, Storm King Art Cen­ter, NY, de Cor­do­va Muse­um, MA and Cass Sculp­ture Foun­da­tion, UK, as well as Desert Rooftops in Times Square, a 5,000-square foot urban earth­work com­mis­sioned by Art Pro­duc­tion Fund. Brooks cur­rent­ly lives and works between New York City and New Orleans. 

Gov­er­nors Island offers a one of a kind oppor­tu­ni­ty for artists to expand their audi­ence and cre­ate mem­o­rable pub­lic art tied to the rich his­to­ry of this spe­cial place,” said Michael Samuelian, pres­i­dent of the Trust for Gov­er­nors Island. With the exten­sion of our pub­lic sea­son through the end of Octo­ber, New York­ers will have even more oppor­tu­ni­ties to enjoy our first art com­mis­sion this year, and many oth­er cul­tur­al, food and recre­ation­al expe­ri­ences dur­ing the fall.”

Through site spe­cif­ic com­mis­sions and its sig­na­ture Open­House­GI Pro­gram, Gov­er­nors Island has a his­to­ry of engag­ing the pub­lic through free pub­lic art and pro­gram­ming. Pre­vi­ous com­mis­sions on Gov­er­nors Island include Cab­in by Rachel Whiteread, a per­ma­nent, site spe­cif­ic con­crete cast of a New Eng­land-style wood shed at Dis­cov­ery Hill, as well as long-term tem­po­rary instal­la­tions by Mark Hand­forth and Susan Phillip­sz. Rock, Mos­qui­to and Hum­ming­bird is the first work on Gov­er­nors Island curat­ed by Mered­ith John­son, the Trust’s Vice Pres­i­dent for Art and Culture. 

This year’s com­mis­sion was made pos­si­ble through pri­vate dona­tions to the Trust’s Art­Com­mis­sion­s­GI pro­gram. The com­mis­sion was pro­duced in col­lab­o­ra­tion with the Nation­al Parks Service.