At New Year’s Eve 2020, two award-winning NYC high school science teachers and four students — all from New York City’s public schools — will push the crystal button on the main stage in the center of Times Square, signaling the lowering of the Waterford Crystal Times Square New Year’s Eve Ball. Viewed by billions around the world, this moment officially begins the 60-second countdown to the New Year and is historically seen as a celebration as the human spirit.
Each year, thousands flock to Times Square for the annual New Years Eve Confetti + Ball Drop. Each piece of falling confetti is a hope and a wish for the new year ahead, written by thousands of people on the NYE Wishing Wall.
Times Square Arts has announced that MODU and Eric Forman Studio’s Heart Squared is the winner of this year’s annual Times Square Valentine Heart Design Competition curated by Cooper Hewitt, Smithsonian Design Museum. As this year’s winning design, Heart Squared will be unveiled on January 30 at 11am at Father Duffy Square, between 46th and 47th Streets. The installation will remain on view for the month of February. Interested in renewing vows? Proposing? How about getting married ~ all on Duffy Square, info below.
While we have seen images of the Kehinde Wiley sculpture, Rumors of War, the images don’t do justice to this stunning, visually imposing new installation on the plaza at 46th Street and Broadway in Times Square.
Did you know that Saturday, September 28th, 2019 is Plant a Tree Day? As part of Facebook’s More Together Campaign, the company is hosting a weekend pop-up greenhouse experience, open to the public, in times Square, September 28-29.
Kehinde Wiley’s first monumental public sculpture, Rumors of War, will be installed this fall on the Broadway Plaza between 46th and 47th Streets before it is permanently installed on historic Arthur Ashe Boulevard in Richmond at the entrance to the VMFA, a recent acquisition to the museum’s world-class collection in 2020.
The installation is a larger-than-life sculpture cast in bronze, of a massive horse mounted proudly on a large stone pedestal, with a young, African-American rider dressed in urban streetwear. It is Wiley’s direct response to the critical national debate around Confederate monuments, and continues the artist’s career-long investigation of representation, race, gender, and power through portraiture.