Razzle Dazzle
Ann Tarantino
From the artist: “Inspired by dazzle camouflage of the early 1900’s, Razzle Dazzle was commissioned by the New York City Metropolitan Transit Authority’s DOT Art program. It runs through lower Manhattan, protecting a bike line beneath the Brooklyn Bridge, and will remain on view into 2019.”
The piece is located on Frankfort St in lower Manhattan, just underneath the Brooklyn Bridge. The piece is composed of four ‘Razzle camouflage’ designs that tessellate and repeat along the course of the work.
Commissioned by New York City Transit Authority’s DOT Art Program
Credits: JP Morgan Chase & Co and New York Cares.
Artist: Ann Tarantino
Medium: Acrylic Paint on jersey barriers
Size: 400 ft² x 3 ft
New York City Transit Authority’s DOT Art Program | New York, New York | 2018
Work Performed
Design of artwork in collaboration with the lead artist, presentation drawings and images, and stencil digital design and cut files, tagging and ID system.
Project Development and Documentation
Inspiration for the piece was drawn from dazzle camouflage. Dazzle camouflage was a naval painting technique used extensively in the World War I era. Ships were painted with a variety of geometric shapes and lines, intersecting each other and continuing across multiple naval elements. The goal was not to hide, but to disorient. The patterns made it to distinguish naval elements such as a cockpit or hull. In addition the pattern made it difficult to determine a ship’s direction or speed.
Early tests and iterations of the possible pattern layouts.
Color studies on the selected forms.
Further tests showing a tessellation of the patterns. One barrier flows into the next, heightening the sense of motion for passerbys on the trail.
The quick time-line of the project compounded with a project team spread across three states necessitated a quick and simple fabrication method for the project. Laser cutting was selected to allow for both cutting and tagging the stencils in one process. The files were designed in Missouri, cut and assembled in Pennsylvania and shipped to New York for painting. The entire mural was designed, cut, and painted in one month.
The quick time-line of the project compounded with a project team spread across three states necessitated a quick and simple fabrication method for the project. Laser cutting was selected to allow for both cutting and tagging the stencils in one process. The files were designed in Missouri, cut and assembled in Pennsylvania and shipped to New York for painting. The entire mural was designed, cut, and painted in one month.
Inspiration for the piece was drawn from dazzle camouflage. Dazzle camouflage was a naval painting technique used extensively in the World War I era. Ships were painted with a variety of geometric shapes and lines, intersecting each other and continuing across multiple naval elements. The goal was not to hide, but to disorient. The patterns made it to distinguish naval elements such as a cockpit or hull. In addition the pattern made it difficult to determine a ship’s direction or speed.
Early tests and iterations of the possible pattern layouts.
Color studies on the selected forms.
Further tests showing a tessellation of the patterns. One barrier flows into the next, heightening the sense of motion for passerbys on the trail.
The quick time-line of the project compounded with a project team spread across three states necessitated a quick and simple fabrication method for the project. Laser cutting was selected to allow for both cutting and tagging the stencils in one process. The files were designed in Missouri, cut and assembled in Pennsylvania and shipped to New York for painting. The entire mural was designed, cut, and painted in one month.
The quick time-line of the project compounded with a project team spread across three states necessitated a quick and simple fabrication method for the project. Laser cutting was selected to allow for both cutting and tagging the stencils in one process. The files were designed in Missouri, cut and assembled in Pennsylvania and shipped to New York for painting. The entire mural was designed, cut, and painted in one month.
Project Photos
Razzle Dazzle shortly after completion, running under the Manhattan-side landing of the Brooklyn Bridge.
Volunteers from JP Morgan Chase assisting in painting the barriers.
A volunteer placing the finishing touches on a section.
A volunteer placing the finishing touches on a section.
Volunteers from JP Morgan Chase tacking a section of the mural.
The piece provides a much needed pop of color under the Brooklyn Bridge landing overpass.
The mural extends over 400 feet (120 meters) in length, providing a long viewing experience for joggers, cyclists and walkers alike.
Ann Tarantino, the artist, with the completed piece.
Razzle Dazzle shortly after completion, running under the Manhattan-side landing of the Brooklyn Bridge.
Volunteers from JP Morgan Chase assisting in painting the barriers.
A volunteer placing the finishing touches on a section.
A volunteer placing the finishing touches on a section.
Volunteers from JP Morgan Chase tacking a section of the mural.
The piece provides a much needed pop of color under the Brooklyn Bridge landing overpass.
The mural extends over 400 feet (120 meters) in length, providing a long viewing experience for joggers, cyclists and walkers alike.
Ann Tarantino, the artist, with the completed piece.