While the cultural complex’s leaders have emphasized their commitment to accessibility and using their vast funding wells for both artistic excellence and the public good-Poots emphasized the spot’s “civic responsibility” to serve “all audiences”-how that will play out in practice remains to be seen. The Shed also isn’t immune from the broader concerns about Hudson Yards as a “playground for the rich” and its use of public funds. Of course, the high-profile building has its pitfalls: while well-equipped for a variety of arts performances and installations, the space-much like Hudson Yards’ mall next door-doesn’t always seem to be designed for the large crowds it could attract, with relatively compact hallways and elevators that feel slight for 500-strong crowds. It’s an ambitious program, to be sure, and The Shed’s commitment to original, experimental work-and resources to attract top names-surely make it an exciting addition to New York’s arts scene. ![]() “This building will respond … the challenges brought on to it by artists, and hopefully it will challenge artists back.” “It’s always getting smarter, it’s always getting more agile,” Diller said. Architect Elizabeth Diller described the building to reporters as “all muscle, no fat,” and a “perpetual work-in-progress” that will respond to the demands brought on it. Griffin Theater, a 500-seat theater that can be subdivided into smaller spaces, and two gallery spaces. The building’s architectural centerpiece is its movable outer shell, which will allow the building’s indoor McCourt space, a 17,000 square foot hall that can be expanded even further through the adjoining galleries, to transition to an outdoor public plaza when the shell is rolled back. The Shed’s numerous cultural offerings are supported by the building itself, which was designed by Diller Scofidio + Renfo and the Rockwell Group to put flexibility at the forefront. “As stewards of an independent cultural organization on public-owned land, our civic responsibility is to reflect, respond, and support the diverse communities of New York City, to ensure they have equitable access to cultural activities,” McCaw said. Chief Civic Program Officer Tamara McCaw said the institution’s residencies have so far reached 700 residents annually, which have gone on to influence the institution’s regular commissions and programming. A FlexNYC program dedicated to “dance activism” brings hip hop dance to young New Yorkers, for instance, and a free DIS OBEY program encourages young people to explore themes of protest and resistance through poetry. In addition to its regular artistic slate, the educational wing of the cultural complex diversifies these offerings even further. At a press event, Poots emphasized his goal of “trying to create parity amongst art forms and audiences,” describing The Shed as “a place for invention, for curiosity, for risk-taking” for “all walks of life.” “We’re trying to create a place… where all artists and audiences can meet,” Poots said. One intermission.Led by Artistic Director and CEO Alex Poots, The Shed is being positioned as a broadly targeted arts space that commissions original work from artists across disciplines in the visual and performing arts, including theater, dance, music, visual art, and more. ![]() The brainchild of Chen Shi-Zheng, who was also behind the 2013 interdisciplinary schlock fest Monkey: Journey to the West, Dragon Spring Phoenix Rise is the second theatrical offering from the Shed, the new multimillion-dollar performance venue in Hudson Yards, and it's a perfect complement to its neighborhood: a soulless cash grab. With its gorgeous space and generous budget, the Shed should be delivering knockouts, not knuckleheaded nonsense like this. ![]() The leads can’t sing, the fights are lackluster, and the highly touted aerial sequences are done in slo-mo, so the only danger is that you’ll fall asleep. This would-be “kung fu musical” is a ludicrously awful dud assembled by a coterie of international artists who seem to have collaborated via Google Translate.
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