BY ALEXA ALTMAN 37 Contemporary Art in Manhattan, eventually becoming its deputy director. With his sensitivity to the anxieties and needs of the artists and the skills he has acquired in strategic planning and management, he has an excellent combination of abilities to manage the park, which does not charge admission fees, is open 365 days a year and is in constant need of donations for its survival and future growth. “What I love about this park is its space, its openness, and particular moments of rare beauty, for example when the light changes, or it begins to rain. It is a perfect place to show sculpture and to encourage connection with art in its broadest sense and in the specifi c. One of the things I am most proud of is the free education we provide for 8,000 children, and grown ups too. I say ‘come here, see enjoy, admire, dislike’ make art part of the fabric of your life.” Hatfi eld is a man who considers art at two levels, the fi rst the management and success of the Socrates Sculpture Park. “We take risks, but the greater risks are taken by the artists themselves when they fi nally expose their work to the public.” The second is another passion. “We have to break the cycle of how art is being displaced in our lives,” he says. Photos Courtesy Troy Benson
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