Only a 40-minute subway ride from my apartment and a world unto itself, Coney Island is always a new experience and like seaside weather, it’s always different. I stumbled upon this kite festival one grey fall afternoon. Other visits have yielded dance parties on the boardwalk, roller coaster rides, shandies in plastic cups on the beach, a trip to "Little Odessa", and a myriad of interesting characters and experiences.
In 1963, the Italian-born sculptor Costantino Nivola filled a playground that covers an entire city block with avant-garde abstractions. In the middle of an Upper Manhattan housing project, there are cuboid cutouts sculpted in cement, a fountain made with two diamond-shaped boulders, concrete play horses, and a sand-casted relief carved high into a wall. In the northeast corner, a matriarchal figure known as “The Nanny” rises from the ground.
The artist’s sculptures were built in an era when urban development incorporated art in its effort to uplift communities and express democratic ideals. “A work designed for a public space is less a work of art than a civic act,” Nivola once said. “It concerns the ways in which we live together, and in which we influence each other.”