Cornelia Parker’s site-specific sculpture, “Transitional Object (PsychoBarn),” is strangely at home on the Met’s rooftop garden, high above Central Park. I recently watched the sunset while leaning against the PscyhoBarn’s roped-off porch. Sipping beer and chewing expensive chips, I noted — once again — that New York is one weird city, especially at dawn or dusk when subterranean worlds collide with the respectable daytime veneer. Parker expertly caught the shadowy mood with her installation inspired by the Bates’ family home, the classic American red barn, and by the lonely paintings of Edward Hopper.
I just happen to be reading The Stand these days, a perfect summer epic about a world-wide pandemic. As a red sun flared through the trees and pleasant buildings of the Upper West Side, I thought of Rita Blakemoor and Larry Underwood stepping over dead bodies in the Lincoln Tunnel during a hail storm.
Like Parker, Stephen King knows a thing or two about fear.