Subway-Color-Archive: Pre-Print
August-November 2024
Happy December. It has been a minute! Things are still in motion and progressing. Part of me felt it would be best to post updates in the new year, but after revisiting June/July “Final Parts,” I realized a lot has happened since. Part of writing the S-C-A bulletin is considering the context of this project, which means keeping up with current events and possible ripple effects. This attempts to note some things before they become overwhelming to write about and read.¹
Let’s kick off with some…
SERVICE ANNOUNCEMENTS
- Print material will be available in FEBRUARY 2025. If you request(ed) a reference book, a USPS tracking number will be sent to your submitted email. For those who have submitted their mailing addresses, thank you for your patience and understanding that good things take time!
- NEW items are in the Newsstand. 2024 samples and last calls posted. I have already gotten some nice comments on the entry arrow hat! (Samples available.) I am sourcing embroidered hats with an unstructured fit for a softer feel and will hopefully have those in early 2025.
- Service is restored on subway lines affected by the electrical room explosion last night. What an evening.
- Now that the election is over… congestion pricing may return! This is a good time to (re)watch the film End of the Line (2021).
8th Avenue Book
The 8th Avenue reference book will be just under 100 pages at 5.5"x8.5". There is hope for a future elongated edition; we want to share a lot of content, but staying within or around the $10,000 grant budget is necessary.²
When I say “we,” I refer to a collaboration with the brilliant graphic designer Mike Tully. I am happy to share this now that a few drafts have shaped up! So far, it’s better than anything I could have imagined. Mike is undoubtedly helping me identify the highlights of this research and the parts that might resonate with a public audience.³ We met in grad school at Yale, which, though rare, has some great crossovers between schools of art and architecture. This project now piggybacks on that collaborative mindset. I hope to see more architecture-graphic design crossovers!
The book aims to provide subway users with archival and new chromatic references for stations between 207th Street and Jay Street Metrotech on the 8th Avenue IND line. Each of these 31 stations has a chromatic reference spread. So, say you are stalled at Canal Street for a few minutes; pop out the book and get an idea of what color(s) that station was in 1946, along with a few other facts. Expect lots of color, many cool images, and few words.⁴
NOTE: there are 350 copies of this 8th Avenue book (first edition).
To reserve a copy for yourself (or a friend), request it here — or email subway.color.archive@gmail.com with your contact information and any notes. Personal information will not be sold or distributed. (…f*ck that.)
In addition to the book, we are putting together a poster. This poster will be distributed indefinitely. These will be available online and through future in-person events/ opportunities to interact with the S-C-A.
Conversations
MetroCards and Found Footage
In honor of the final commemorative MetroCard release this week, check out the Q&A Making with MetroCards with Felihans Studio. I still have hope that the cards (and their machines!) will endure, that this might be the second (or third) to last limited-run MetroCard. If you are a collector or artist, start expanding your stash now.
On working with these cards as a medium, Lena notes, “Because it is a material most people would throw away, it gives some freedom to try new things and learn from it. However, in the last year, there has been a sense of preciousness to them — they are going to discontinue the MetroCard and this thing that was garbage will now be an artifact. That’s why I’ve tried hard to collect as many as possible so that I don’t feel restricted in the part that makes this fun — experimenting.”
In October, the S-C-A conducted a Q&A with filmmaker Nicolas Umpierrez. His short film “Redbirds” uses found footage and the subway to help depict NYC during the first year of the millennium. A time of distinct change and charged nostalgia.
He notes, “I was totally at the mercy of the quality of these videos; they were all shot either on videotape or early digital cameras… Part of me feels that pixelization/loss of data is appropriate as it mirrors the decay of memories over time. If I think about riding the train with my mom back then, it also appears grainy and blurry.” The topic of image resolution has also come up in recent conversations with Mike. It is a looming element of archival work but something that, if embraced for its unique qualities, can say a lot about the time of creation and devices used. I hope to loop back and write about this at some point…
If you or someone you know would like to participate in an S-C-A Q&A, send over a pitch or work sample. All (or most) types of subway enthusiasts are welcome.
Coloring the Subway Map + Arts and Design
In October, I also had the opportunity to attend an event at the Transit Museum, A Life in Transit: Raleigh D’Adamo in conversation with Peter B. Lloyd. In 1964, before the iconic “Vignelli” map, D’Adamo’s winning proposal in a Transit Authority competition redefined the NYC subway map’s color scheme. This ultimately prompted his career shift from law to transportation. In addition, he contributed to the 1972 Unimark map and developed safer operating procedures, routing systems, and service proposals that are still influential today.
The event was moderated by historian Peter B. Lloyd, who is iconic in his own right for his extensive knowledge and collection of transit maps. I am particularly intrigued by his investigation into the delayed but eventual crediting of Joan Charysyn, who worked on the subway map at Vignelli Associates. I think all of us in the room were enchanted by D’Adamo and Lloyd, who also emanate calm and curious energy. Both reminded us that you do not need a serious personality to be taken seriously by others!
My favorite moment of that evening was when Riley pulled up the first sketch for his map, followed casually by a slide with many other iterations. There is an overlap between fascination and obsession that many people can connect with; it is impressive to see how the overlap turned into something necessary and practical. I found it refreshing, too, when he noted that had he seen what would become the Vignelli map before proposing his, he would have preferred what they came up with. I appreciate that humbleness, and it should be noted again that he provided some slight revisions to that map.
Around the same time, the Brooklyn Rail organized a virtual conversation on Contemporary Art Underground: MTA Arts & Design New York. This is the second time I have heard Sandra Bloodworth and Cheryl Hageman discuss the new Contemporary Art Underground book, and I wouldn’t mind hearing about it again…Brooklyn Rail has posted the whole conversation. Check it out!
New and Old Artifacts
This will be general because it veers off if I dig too deep. Still, this is interesting to consider because I have brought Haring up before concerning the representation (and commodification) of nostalgic subway/ NYC elements.
At the end of November, 31 Keith Haring subway drawings were sold by Sotheby’s for $9.2 million. This was more than they anticipated. The drawings came from the private collection of Larry Warsh, one of Haring’s foremost collectors. He first encountered Haring’s work on the subway near his residence on Astor Place in the 1980s and bought the drawings the following decade directly from people who removed them from the subway.⁵
Ahead of the sale, Sotheby’s unveiled Art in Transit: 31 Keith Haring Subway Drawings November 8–20, an immersive display with drawings from Warsh’s collection. These were presented in a recreated 1980s subway station and marked the first collective showing of the works in over a decade. Their site notes, “The space will also leverage cutting-edge Samsung technology — including the Samsung Neo QLED 8K and The Premiere 9 triple laser projector — to bring to life archival footage of Keith Haring creating his drawings to create the experience of viewing the works “in-situ” as when they were first created more than four decades ago.” While I appreciate the intent behind this exhibition, I wildly dislike the crossover with Samsung, which feels hypocritical. But I guess even establishments like Sotheby’s need funding (and screens) for exhibition work… and I prefer his work be seen than not…
A promo article⁶ recirculated this Haring quote, “My subway drawings became more of a responsibility than a hobby. Perhaps there is not another place in the world where people of such diverse appearance, background, and life-style have intermingled for a common purpose. This group of different people living and working together in harmony has always been my prime attraction to New York.”
In this spirit, I turn attention from the high-end auction house(s) to smaller-scale on-the-ground initiatives that reflect enthusiasm for the subway and its unique characteristics.
Last week, I came across the fifth issue of Public Transport Magazine on the uptown C. This is distributed in/ can only be found in the NYC subway! I swear they had a link to all the past issues, but I can’t find it anymore. Link me!
Commutes create tremendous energy and movement in the city and bring users together. They provide a much-needed time to daydream and think about your surroundings. It’s great to see people tapping into the positive or unique parts of subway culture. Parts which, while gritty, are reflections of optimistic intermingling and hold potential for new understanding. Also, the humor. I appreciate that. We need it.
Time to Evaluate
It is difficult to talk about the good without the bad, just as it is essential to talk about the positives that counter hostile forces. There is still so much to improve upon, and though New Yorkers prefer to keep to themselves, we should not avoid collective responsibilities. Cleaning up after yourself in a public space is level one; physically caring about others in said space, regardless of status, is a level above and reveals the true New Yorkers from those who refuse to put in the effort.
A lot happens in the subway that seeps in from the world outside. This is mentioned in previous bulletins, particularly when noting Malcolm Gladwell’s “Power of Context” section of The Tipping Point, which roughly outlines the evolution of policing in the MTA. To echo an old bulletin, there are times when I did feel unsafe while conducting this year-long study, both by users in the system and those assigned to protect it.
I wasn’t torn about Jordan Neely’s death; he should not have died. PTSD and aggression do seem to be prevalent issues in the ex-military community; it is sad (but not shocking) that Daniel Penny could not evaluate an intense situation, pause, and proceed with some level of compassion. The fact that no passengers were physically harmed other than the life that was taken is enough to convince me that brute force was unnecessary. Any level-headed passenger would prepare to exit a car at an upcoming stop if they felt unsafe. Many of my acquaintances have encountered sexual harassment and other gross sh*t on the subway, and yes, it’s the kind of stuff that sticks with you long term… but never did it cross their minds to enforce greater pain on the person causing them distress. There is a severe lag in this city when it comes to low stigma and long-term access to mental health services and shelter. We all know it’s our politicians, so keep your eyes and ears open because local elections are coming up next.
Still, there needs to be less performative action, obviously from our governor and mayor, but also from representatives like AOC who build their platform on social justice. I wondered where she was this week when the verdict was broadcast. This echoes some of what was said after the trial… but to highlight a comment from the Neely family attorney, we all need to act by doing something good for someone else. Let that be a challenge every day until it is no longer difficult.⁷
See you in 2025!
As this is probably the final 2024 bulletin, let’s end on a good note!
The memory portal never fails to remind me of something interesting. I haven’t been the greatest at promoting this extension of the project, but I hope to see it grow. Feel free to submit non-text (photo, video, audio) if that is more your jam.
Btw, this SNL skit is amaaazing…but W4 never had yellow columns! :)
As always, thank you for reading and supporting the S-C-A with your time!
The 2023–24 S-C-A route is supported by the 2023 Independent Projects program, a grant partnership of the New York State Council on the Arts and The Architectural League of New York. Independent Project grants are made possible with public funds from the New York State Council on the Arts, with the support of the Office of the Governor and the New York State legislature.
This project is not monitored by or affiliated with the MTA.
A study of 8th Avenue will hopefully build the framework for future chroma investigations that branch into other boroughs and neighborhoods — pending additional funding.
Questions, comments, thoughts? Please send them to subway.color.archive@gmail.com
¹I have never considered myself a writer. I do not think I ever will. Writing these updates has allowed my brain to breathe a little because there is so much information to retain and review. It might be the minor ADHD, light-hoarding mentality, or reaching my thirties that has me writing lists and taking notes for things I hadn’t previously. There can be a lot of stress tied to forgetting things.
This said, to anyone pursuing a long-term project (i.e., the new 2024 Independent Projects grantees!), keep a log of your process and key thoughts. You could allot a monthly two-hour time block to let thoughts solidify through writing. It’s ok to read it back later and feel stupid. Additionally, I like posting for public review because it allows for interaction and constructive feedback. It’s all kind of like building a digital lighthouse.
² Future editions require additional funding. Please get in touch with the S-C-A if you are interested in or would like to support future tangible outputs. Moreso, I appreciate word-of-mouth! If you get one of these 350 copies, lend it to a friend or two :)
³ Sometimes, it takes a different brain to remind you what is essential. One of the perks to working with someone well-versed in tangible outputs, in this case, graphically focused, is the recalibration of elements on the table. What comes to the forefront and moves to the background is fascinating.
⁴ Last month, I attended a great lecture at Pioneer Works, “Can Art Transform How We Experience Public Space? with Olafur Eliasson & Gloria Sutton” where Olafur described the importance of juxtaposing blurred images to the vivid, hyperactive media that seems to creep on human attention. His Lifeworld interventions counterbalance the rapid pace of commercial imagery experienced in public settings. This is all to note that I find it exciting that words have become secondary to color and shape in this upcoming book. It will be easy on the eyes. We are calibrating this to a softer frequency. Users do not need to think much and are encouraged to imagine space through the colors represented in print.
⁵ https://news.artnet.com/market/subway-haring-auction-2574129
⁶ https://hypebeast.com/2024/11/keith-haring-sothebys-subway-drawings-exhibition
⁷ The reception of this case reminded me a little of the murder of Kitty Genovese. She was stabbed to death outside her apartment building in 1964. The New York Times reported that 38 witnesses saw or heard the attack, but no one called the authorities because they thought someone else would. This is called the bystander effect. We all want to think we will do the right thing, but there is no guarantee.
