Is that neon signage outside Barclays Center "Art or Advertising"? Or an "unmistakable message of inclusion" & "visual reflection" of Tsai/SJF philanthropy?
In recent weeks I've written about the possible--er, likely--extension of the You Belong Here"/"We Belong Here" neon art (or is it marketing?) installation outside Barclays Center past the end of 2024, which is three years and two months after it was installed on a "temporary" basis.
It was installed by the Joe and Clara Tsai Foundation's Social Justice Fund, launched by the owner of the Brooklyn Nets and arena company in the wake of 2020 protests, with a purported $50 million commitment over ten years.
The signage, to me, serves both as art and advertising, as I wrote for The Indypendent in December 2021, encouraging people to buy tickets for arena events.
If it's also supposed to be a "visual reflection" of the couple's philanthropy, as explained below, it's likely they'd want it up for a full decade.
Getting to an extension
"Visual reflection" of social justice?
That means $125,000 (and, possibly, up to $500,000) investments in 12 firms in the first year and six in the second year, with the requirement that the founders "commit to building their startup full-time in Brooklyn for the entirety of the 10-week program."
Surely it's good to help diversify the world of start-ups. But it's as much investment as philanthropy ("in exchange for 7% equity on a SAFE note, with the opportunity to earn follow-on investments within 12 months of program completion") and it's hardly Brooklyn-focused.
An extension is apparently an internal decision by Empire State Development (ESD), the state authority that oversees/shepherds the project, with no requirement for public notice or public input.
The installation “should continue to adhere to the terms of the MGPP [Modified General Project Plan], Arena Lease, including all legal requirements and guidelines, Design Guidelines, and building permit requirements,” I was told.
But why, I argued, should ESD grant an extension for an art/advertising project that was never publicly discussed before installation? After all, it's another leverage point to get Joe Tsai to compensate the public for the profitable plaza, which has been ceded to the arena operator and likely will be made permanent.
But why, I argued, should ESD grant an extension for an art/advertising project that was never publicly discussed before installation? After all, it's another leverage point to get Joe Tsai to compensate the public for the profitable plaza, which has been ceded to the arena operator and likely will be made permanent.
The authorizing document
ESD’s consent for a request under the authorizing document for extension does not require public notice, I was told.
After filing a Freedom of Information Law request, I got a copy of that document, posted at bottom and excerpted below. (They responded fairly quickly, to a simple request.)
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| Highlight added |
Most of the document is unexceptional, though it is notable that the terms "on a temporary basis, not to extend, without the prior written consent of ESD and BALDC, beyond December 31, 2024," probably understates the likelihood of renewal.
An "unmistakable message"?
Notable to me was this paragraph, excerpted above:
Tavares Strachan's You Belong Here / We. Belong Here is a work of art planned for exhibition at the Barclays Center plaza. Its unmistakable message of inclusion, diversity, equality, and unity will resonate in the Brooklyn community and beyond and serve as a visual reflection of the goal of the Brookiyn-focused $50M social justice and equality initiative announced by Clara Wu Tsai and Joe Tsai last year. The artwork is comprised of neon tube letters, steel framing, acrylic letter backing, and required wiring and transformers. It will measure approximately 45' long and between 15' and 19' high.
(Emphases added)
I'm not so sure it's an "unmistakable message of inclusion, diversity, equality, and unity."
As I wrote for The Indypendent, previous versions of Strachan's message were seen as provocations, while in Brooklyn, they're treated rather as “an affirmation of belonging as well as a call to unity in the heart of Brooklyn.”
However, as I wrote, when I periodically asked people working at/for the arena about the signage, they expressed bafflement, though one, his eyes lighting up, suggested, “They’re probably telling the people that go in to spend their money.”
However, as I wrote, when I periodically asked people working at/for the arena about the signage, they expressed bafflement, though one, his eyes lighting up, suggested, “They’re probably telling the people that go in to spend their money.”
Since then, my periodic questions to arena passers-by similarly evince confusion.
As to a visual reflection of the Tsais' Social Justice Fund, well, that's murky. Yes, the SJF supports arena plaza parties and relatively small prizes and contributions to local charities. But that doesn't get to $5 million a year.
As far as I can tell, their biggest investments have been up to $2.5 million in loans to assist "Brooklyn’s BIPOC Small Business Owners," as well as similar--possibly more--spending to BK-XL, "an early-stage, industry-agnostic startup accelerator program focused on underrepresented founders based in Brooklyn."
That means $125,000 (and, possibly, up to $500,000) investments in 12 firms in the first year and six in the second year, with the requirement that the founders "commit to building their startup full-time in Brooklyn for the entirety of the 10-week program."
Surely it's good to help diversify the world of start-ups. But it's as much investment as philanthropy ("in exchange for 7% equity on a SAFE note, with the opportunity to earn follow-on investments within 12 months of program completion") and it's hardly Brooklyn-focused.
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