A look at the Public Art Fund’s project “Doors for Doris” by Sam Moyer. Located in Doris C. Freedman Plaza at the southeast corner of Central Park, it is Moyer’s tribute to Freedman, and to the city itself. Moyer spoke with NYC-ARTS about her work from her Brooklyn studio.

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> FOR THE PAST 43 YEARS, THE PUBLIC ART FUND HAS PRESENTED MORE THAN 500 WORKS OF ART ACROSS THE FIVE BOROUGHS.

THE NONPROFIT WAS FOUNDED BY DORIS C. FREEDMAN, THE CITY'S FIRST DIRECTOR OF CULTURAL AFFAIRS.

TODAY THE PUBLIC ART FUND CONTINUES FREEDMAN'S WORK.

THEIR MISSION IS TO BRING AMBITIOUS CONTEMPORARY ART TO A DIVERSE AUDIENCE AT NO COST TO THE PUBLIC.

EACH YEAR THE FUND PRESENTS A NEW INSTALLATION IN DORIS C.

FREEDMAN PLAZA LOCATED AT THE SOUTHEAST CORNER OF CENTRAL PARK.

CURRENTLY ON VIEW IS 'DOOR FOR DORIS.'

AN ARTIST TRIBUTE TO FREEDMAN AND TO THE CITY ITSELF.

MOYER SPOKE WITH US ABOUT HER WORK OVER ZOOM FROM HER BROOKLYN STUDIO.

'DOOR FOR DORIS' IS A PUBLIC SCULPTURE THAT'S CURRENTLY ON VIEW AT THE CORNER OF 60th AND FIFTH AVENUE AT THE ENTRANCE OF CENTRAL PARK.

AND IT'S NAMED FOR THE FOUNDER OF THE PUBLIC ART FUND, DORIS FREEDMAN.

THERE'S A MOMENT THAT NEEDS TO BE TAKEN TO THINK ABOUT WHAT HAD TO HAPPEN FOR YOU TO HAVE THE OPPORTUNITY THAT YOU'VE BEEN GIVEN AND WHO CAME BEFORE YOU AND WHAT WORK HAD TO BE DONE SO THAT THIS IS EVEN SOMETHING THAT'S POSSIBLE.

AND SO I JUST WANTED TO HONOR HER EFFORTS THAT SHE MADE STARTING IN 1977 TO MAKE THIS A PLACE TO BRING ART TO THE PUBLIC.

YOU'RE LIKE WHAT AM I MAKING, WHY AM I MAKING IT, WHAT IS THIS?

SO, THAT'S WHERE THIS IDEA OF THE ROAD HITTING DOORS CAME IN.

IT'S SUCH AN ON-THE-NOSE OBVIOUS SYMBOL OF THE CITY.

AS MUCH AS A DOOR CAN OPEN, IT CAN CLOSE.

AND IT CAN FEEL LIKE A WELCOME AND IT CAN FEEL LIKE A BLOCK, TAKING SOMETHING THAT'S IN CONSTANT MOTION LIKE A ROTATING DOOR AND ALL ABOUT THAT MECHANISM AND FREEZING IT AND EMPHASIZING IT.

IT'S DESIGNED TO BE ABLE TO WALK THROUGH IF YOU WANT TO, WALK AROUND, TOUCH THE STONES.

AND IT GIVES PEOPLE OF THE DIFFERENT IDEA OF THE MATERIAL IN THE BUILT WORLD, I THINK THAT THAT'S EXCITING.

IT'S A CELEBRATION OF THE THRESHOLD BETWEEN THE CITY AND THE NATURE OF CENTRAL PARK.

I WORK WITH STONE AND MAKE FORMAL ABSTRACT PAINTINGS OUT OF THEM.

AND SO I WANTED TO BRING THAT PART OF MY PRACTICE INTO THE PIECE.

BUT I ALSO JUST WANTED TO THINK ABOUT LIKE THE ESSENTIAL MATERIALS OF NEW YORK.

THERE'S THE CONCRETE THAT THE CITY'S MADE OUT OF, BUT THEN THERE'S ALSO LIKE THE BEDROCK OF THE EARTH THAT THE CITY IS SITTING ON.

AND ONE OF THOSE MATERIALS IS BLUESTONE, WHICH THE ARCHES ARE MADE OUT OF.

AND BLUESTONE IS FOUND IN CENTRAL PARK IN MULTIPLE WAYS, EXPOSED NATURAL STONE.

BUT IT'S ALSO THE PAVERS AND THE WALLS.

THE MARBLE REMNANTS ARE A BIG PART OF MY PRACTICE, AND I COLLECT THEM FROM MULTIPLE PLACES AROUND THE CITY.

I HAVE MY SOURCES.

THEY'RE CAST-OFFS FROM OLD COUNTERTOPS OR OFF-CUTS FROM THOSE PROJECTS.

WE HAVE THIS FRAMEWORK OF LOCALNESS.

AND THEN WE HAVE WHAT ACTUALLY, LIKE, BRIGHTENS UP AND BEAUTIFIES AND IGNITES THE CITY, WHICH IS THESE COMPONENTS THAT COME FROM ALL OVER THE WORLD AND SORT OF THE GLOBALNESS OF NEW YORK.

WHEN COVID HAPPENED WE JUST HAD TO SORT OF -- WE JUST NEED TO HOLD DOWN THE FORT AND BE HERE AND DO WHAT WE CAN TO BE ABLE TO PRESENT SOMETHING TO THIS BASICALLY NOW A SACRED SPACE WHICH IS OUR OUTDOOR PUBLIC SPACE FOR PEOPLE THAT ARE LIVING IN THE NEW YORK PARK AND ALONE.

OFTEN THE ONLY TIMES THAT YOU GOT TO SORT OF SEE YOUR OTHER FELLOW NEW YORKERS AND KNOW YOU WERE ALL IN IT TOGETHER WERE THESE MOMENTS WE WERE OUTSIDE TOGETHER.

SO, THAT WAS BIG OVERWHELMING GRATITUDE FOR GETTING TO MAKE THIS PIECE IN THIS TIME.