By Sabina Mollot
On Friday afternoon, NSA leaker Edward Snowden made an appearance at Union Square Park. Although greeted with enthusiasm by some, he was nonetheless thrown out of the public space that has been home to countless political protests, by a government official.
Of course, it wasn’t the real Snowden, but a larger-than-life-size statue, which had been on display as part of the annual Art in Odd Places festival on 14th Street.
And as for the reason for its removal, it wasn’t anything political, according to the Parks Department, but the statue’s creator, Jim Dessicino, had apparently needed a permit to have the statue in the park, and he didn’t have one. The statue was scheduled to have been on display at the park from 9 to 5 p.m. but at around 1:45 p.m. the Parks Enforcement Patrol officer told Dessicino that Snowden had to go.
“It’s a funny way our parks are run; even our public spaces aren’t really public,” Dessicino later said. However, he also noted, in an interview with Town & Village, that the officer who told him to leave was very polite, allowing him ample time to cart the statue away to his nearby car. “He said, ‘Listen man, I love your sculpture, but you just can’t have it here. My boss will have my head,’” Dessicino said he was told.
A Parks Department spokesperson, Philip Abramson, later told T&V what Dessicino had been told, which is that the reason for the removal was the lack of a “special event permit.” “No permit was issued though so we asked for it to be removed,” Abramson said.
But prior to the statue leaving the park, it got plenty of attention from the press and passersby, especially international tourists. Those stopping to look and ask questions included a Swedish woman, a group from France, a group from Israel and a man from Tunisia. They also seemed to like the spot Dessicino picked to display the statue, he said, which was a few yards away from the Lincoln monument outside the playground.
The attention it was getting is why Dessicino believes he was singled out while other festival participants in the park got to stay.
At the time he was shutting down his installation, this reporter was in fact speaking to two other artists in the park, both of whom weren’t being confronted by police or Parks Enforcement.
However, one of the artists, Ienke Kastelein, had previously gotten kicked out of another space, the sidewalk in front of Stuyvesant Town. Kastelein’s installation was a bunch of traveling chairs that she was inviting people to sit on and, if they chose to, engage her in conversation.
“A lot of people were getting booted from their spots,” Dessicino said.
And apparently, that is nothing new. Ed Woodham, a teaching artist who’s the founder of Art in Odd Places, told Town & Village that the festival doesn’t apply for permits so artists getting shooed away from the park has happened many times before and artists are also often made to leave the sidewalks in front of various properties. Normally, the festival works around this by letting artists know which areas are typically problematic.
“This year it slipped through the cracks,” Woodham admitted.
Earlier, he’d spoken with Kastelein, who’s from the Netherlands, and who became concerned after being told by Stuyvesant Town’s Public Safety officers that she’d need to take her project elsewhere. At the time, some of the residents were sitting in the chairs.
“She was on the sidewalk in front of Stuyvesant Town and they told her to leave,” said Woodham. “They’re pretty protective.”
A spokesperson for CWCapital didn’t respond to a request for comment.
But, while Union Square Park has also been typically a place where artists are shooed away, Woodham said one artist had fought successfully for the right to display his piece, “Tourist in Chief” there. This was in 2011, and AiOP participant Leon Reid IV had initially been turned down by the Parks Department in his request to put a Yankees cap, camera and shopping bags on the Washington monument. So, “he got a lawyer and forced the issue,” Woodham said.
This year, he noted how one of the artists behind a project called “Complimentary,” Leah Harper, was also initially given the “private property” argument by a building’s management employees. The installation was a candy dispenser that gave out compliments on paper instead of candy. The employees had argued that the machine was attached to a beam that was part of the building. However, after speaking with a curator, they eventually changed their minds and let “Complimentary” stay.
“They said, ‘We’ve been looking to have art around here, anyway’,” said Woodham, who added that the owner even expressed interest in getting more art in the future.
Things also ended up working out for another artist, Kevin Townsend, who was told he couldn’t draw in chalk on the sidewalk. He ended up drawing in chalk on the windows of the 14th Street Y, after the Y gave him permission to do so, and the drawings remained on view throughout the weekend. Woodham added that the frequent resistance to the installations can sometimes work in artists’ favor. He called Snowden’s ouster from the park “wonderful” for the festival and the artist due to an article it got in the Daily News and other publications, including this one.
Additionally, by the next day, Snowden was back in action, appearing on 14th Street at 9th Avenue. After the festival ended, the statue left the city, with its next destination the Delaware Center for Contemporary Art. As for why Dessicino chose the National Security Agency whistleblower as his subject, the artist told T&V he had a few reasons.
“This person was important and I think will continue to be important,” said Dessicino. “Monuments are normally commissioned by governments, but (his) self-sacrificial action is not going to be recognized, and that’s why I stepped in.”
He added that he and Snowden are just a year apart in age. “I thought that he’s become representative of what millennials could do,” said Dessicino. “We often get termed as being self-serving and self-involved.”
As for Kastelein’s installation, during an interview, she said she’d gotten the idea for the traveling sit-down experiment from a residency she’d done at a psychiatric hospital. Patients there, she said, tended to be “disconnected” from their environment.
“In Dutch when you ask someone, ‘Where are you?’ you’re saying, ‘Where do you sit?’ They would say, ‘I’d rather be elsewhere,’ ‘so it’s ‘I’d rather sit elsewhere.’”
“Walking with Chairs,” she added, had been responded to positively by the public. Certain areas, like Union Square and Stuyvesant Town, were the most successful spots along 14th Street, in terms of getting people to actually sit down. “This is one place where people don’t hesitate to sit down,” she said of Union Square.
Meanwhile, in Stuyvesant Town, participants were interested in making conversation. “I connected to several people and had a very nice conversation about not communicating with neighbors, so this was a perfect way to communicate.”