{"id":86760,"date":"2015-06-17T16:34:01","date_gmt":"2015-06-17T20:34:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=86760"},"modified":"2015-06-17T18:04:16","modified_gmt":"2015-06-17T22:04:16","slug":"mapping-central-park","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/17\/mapping-central-park\/","title":{"rendered":"Mapping Central Park"},"content":{"rendered":"

Desire Lines turns a walk in the park into an emotional map.<\/em><\/p>\n

\"TROUV<\/a>

Desire Lines<\/i>, 2015. A project of the Public Art Fund. \u00a9 Tatiana Trouv\u00e9. Photo: Emma Cole, courtesy Gagosian Gallery<\/p><\/div>\n

In 1654, Madeleine de Scud\u00e9ry produced a ten-volume philosophical novel called Cl\u00e9lie<\/em>, about the coaction between temperament and free will. Cl\u00e9lie<\/em> was a popular salon novel at the time, but it\u2019s now best remembered for the Carte de tendre<\/em>, often translated as \u201cthe map of love\u201d or \u201cthe map of the country of tenderness\u201d: a long description of a country that represents the landscape of human emotion, illustrated by a map in the first volume of the book. The country is divided by the \u201criver of inclination,\u201d and there are little hamlets, deserts, and mountains like \u201csincerity,\u201d \u201cassiduity,\u201d and \u201crespect.\u201d \u201cPassion\u201d is a dangerous-looking rocky outcrop, beyond which is unknown territory. To get from one end to another, one must avoid the \u201cLake of Indifference,\u201d and \u201cAffection\u201d has to be surmounted to arrive at deep spiritual love. The map is one of the premier examples of sentimental cartography, which has a niche spot in French literary history.<\/p>\n

In March, the Public Art Fund of New York City installed Desire Lines<\/em>, a new commissioned work by the French Italian artist Tatiana Trouv\u00e9, which mixes sentiment and cartography. Desire Lines <\/em>is at the southeast end of Central Park, in the Doris C. Freedman Plaza, where it will sit for the summer. The structure comprises three steel racks, nearly twelve feet tall, that hold spools of rope in different colors; there are 212 spools in all, each with a length that corresponds to a specific path in the park. Trouv\u00e9 mapped, named, and indexed every one of them, from the thoroughfares to the secluded, unnamed paths. From a distance, the installation resembles a giant\u2019s sewing kit, or an electrician\u2019s stock. Engravings on each spool suggest various acts of walking in the culture: \u201cWoman Suffrage Parade, March 3, 1913\u201d or \u201c \u2018Walk on By,\u2019 \u201d Dionne Warwick, 1964.\u201d Visitors \u201ccan choose a path by name and then undertake the walk as it describes, tracing the march of history in collective memory while discovering Central Park anew.\u201d <\/p>\n

Giuliana Bruno, a professor of visual and environmental studies at Harvard\u2019s Graduate School of Design, described the work as an archive of park history and \u201ca cultural atlas of walking.\u201d The work evokes the idea of an itinerary; it threads passages of experience through the park, allowing us to create our own emotional map, layering the place names with gestures or memories\u2014the place where I sat at lunchtime on Tuesday, the place I told my sister to meet me for a walk\u2014making the public space private for every walker. It\u2019s the same way in which each city dweller has her own map of habit\u2014a preferred subway exit, a route from work to home, from home to the bodega, from the bodega to a friend\u2019s apartment. Desire Lines <\/em>turns a walk in the park into an exercise in memory, a way to traverse sentiment. It encourages us, just as de Scud\u00e9ry did in 1654, to make emotion into a physical journey, to see the way a space becomes ours\u2014our own Cartes de tendre<\/em>.<\/p>\n

\"Carte_du_tendre_300dpi\"<\/a>

Fran\u00e7ois Chauveau\u2019s engraving of Madeleine de Scud\u00e9ry\u2019s Carte de tendre<\/em>, from Cl\u00e9lie<\/i>.<\/p><\/div>\n

On a recent Tuesday, I made a thread through the park with Elizabeth Barlow Rogers, a scholar of landscape design and the invisible force behind the transformation of the park over the last thirty years. In 1980, Rogers, who goes by Betsy, founded the Central Park Conservancy, an organization responsible for 75 percent of the park\u2019s fifty-seven\u00a0million dollar annual operation budget; in 1979, Ed Koch appointed her the first Central Park administrator since Frederick Law Olmstead, the park\u2019s architect.<\/p>\n

We entered at Grand Army Plaza and took a path that Desire Lines<\/em> maps out as \u201cfrom Scholar\u2019s Gate to a crossroad near Olmstead Flowerbed.\u201d Trouv\u00e9\u2019s engraving for this route said \u201cSelma to Montgomery March\u201d; the noise level dipped immediately, as the street was blocked off by one of the rocky outcrops of 460-million-year-old bedrock schist that punctuate the grass and bodies of water. We were briefly accompanied at a few feet by a woman playing a ukulele.<\/p>\n

\u201cOlmstead and Vaux would have hated having art in here,\u201d Rogers told me. \u201cThey had a really romantic nineteenth century notion of the garden.\u201d Putting art into the park can be a delicate thing. Trouv\u00e9 told the Times<\/em>, \u201cYou could see that it was not just land, but all the pipes and cables and lights and everything that is needed to run it. It\u2019s like a big machine, a lot of which you don\u2019t see. So making this, for me, was like putting a sculpture on top of another sculpture.\u201d Robert Smithson\u2019s 1973 essay, \u201cFrederick Law Olmstead and the Dialectical Landscape,\u201d describes Olmstead as \u201cAmerica\u2019s first Earthwork artist.\u201d As we passed Gapstow Bridge and skirted the Wollman Rink, Rogers said, \u201cIt\u2019s already something\u2014you don\u2019t need too many more things.\u201d The Trouv\u00e9 sculpture is unique in the way it works, Rogers said. It is about the park, not merely in the park.<\/p>\n

In the 1960s, Rogers recalled as we walked up toward the Dairy, the park was a mess: impromptu concerts, drug deals, areas filled in with asphalt, open spaces unregulated by vegetation. Rogers began working to resurrect it in 1975: \u201cI was a little missionary. I learned how to do fundraising. We just couldn\u2019t let the park rot.\u201d She likes to speak about the park as a center of civic consciousness: it is, she says, the greatest expression of American democracy, because it\u2019s a purpose-built people\u2019s park, \u201cnot like those in London that were royal parks, eventually opened to the public.\u201d<\/p>\n

\"9_TROUV<\/a>

Tatiana Trouv\u00e9, All Walks<\/i> (detail) (study for Desire Lines), 2015, ink on canvas, cotton, and paper, 78 3\/4″ x 27 9\/16″. \u00a9 Tatiana Trouv\u00e9. Photo: Robert McKeever. Courtesy Gagosian Gallery.Click to enlarge.<\/p><\/div>\n

We walked on beneath the mall\u2019s double rows of elm trees, which Rogers points out as \u201cprobably the greatest living plantation of American Elms,\u201d to the grand staircase taking us beneath the Seventy-second Street Cross Drive and through to the Bethesda Terrace. We went west around the Cherry Hill horse-drinking fountain and crossed the West Drive to enter the path that took us through Strawberry Fields: \u201cThe most important thing about the park is movement. It\u2019s experiential. You experience it by moving through it.\u201d<\/p>\n

To finish our walk we headed north, walking along the bridle trail until we got to Eighty-first Street and Central Park West. \u201cYou didn\u2019t see one piece of trash or graffiti on that that walk,\u201d Rogers said. And then: \u201cOf course, the park will never be finished, perfect. It\u2019s always ongoing.\u201d<\/p>\n

Trouv\u00e9\u2019s sculpture evokes the ongoingness of the park, not just in its use but in its evolution as a site. The work recalls the very construction of the park, what Betsy Rogers calls \u201ca great nineteenth-century achievement in drainage and irrigation. A great achievement in integrating traffic flow into the landscape, by dividing the park into five smaller parks.\u201d The bulky, industrial-looking spools, beautifully manufactured, don\u2019t look like the kind of art one affiliates with public works; it almost looks as though it could have something to do with the scaffolding just behind it, part of the thousands of miles of cable that route power through the city.<\/p>\n

Back at the plaza, people entering and exiting the park approach the spools, reaching their hands out to touch the coiled ropes, and then stoop to read the inscriptions. One of them, Baudelaire\u2019s poem \u201c\u00c0 une passante\u201d\u2014inscribed onto path P038, \u201cFrom the Merchant\u2019s Gate to Tavern on the Green via West Drive\u201d\u2014describes the kind of fleeting, longing encounter that everyone in the city has at some point, each following along on her own thread, occasionally intertwining. Being alone among others; being private in public. \u201cFor I know not where you fled, you know not where I go,\u201d William Aggeler\u2019s translation has it: \u201cO you whom I would have loved, O you who knew it!\u201d<\/p>\n

Anna Heyward is a writer and reporter in New York.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Desire Lines turns a walk in the park into an emotional map. In 1654, Madeleine de Scud\u00e9ry produced a ten-volume philosophical novel called Cl\u00e9lie, about the coaction between temperament and free will. Cl\u00e9lie was a popular salon novel at the time, but it\u2019s now best remembered for the Carte de tendre, often translated as \u201cthe […]<\/p>\n","protected":false},"author":794,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[35,18474,2700,18473,18476,18480,18479,16014,18472,15099,14643,18478,18477,18475,14737,15098,2629],"class_list":["post-86760","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-art","tag-carte-de-tendre","tag-central-park","tag-clelie","tag-desire-lines","tag-elizabeth-barlow-rogers","tag-frederick-law-olmstead","tag-gagosian-gallery","tag-madeleine-de-scudery","tag-parks","tag-public-art","tag-rope","tag-spools","tag-tatiana-trouve","tag-urban-design","tag-urban-planning","tag-walking"],"acf":[],"yoast_head":"\nTatiana Trouv\u00e9\u2019s \u201cDesire Lines\u201d Finds Art in 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