Giant Pigeon Sculpture Positioned on the High Line Provides Aerial Perspective of New York City

### Iván Argote’s “Dinosaur” Sculpture: An Imposing Pigeon with a Purpose

Situated at the junction of 30th Street and 10th Avenue in New York City, a strikingly large figure will soon overlook the lively streets. Instead of a figure representing historical royalty or a stoic general on horseback, however, you will find a bird that is all too familiar to urban inhabitants: a pigeon. The 16-foot tall artwork is named *Dinosaur*, conceived by Colombian artist Iván Argote.

Scheduled to make its debut in October 2024 and remain on view until the spring of 2026, this High Line Plinth commission prompts onlookers to reconsider their connection to public spaces, monuments, and even the species that share urban habitats.

#### Uplifting the Pigeon: A ‘Monument’ for Modern Times

“For nearly two decades, I’ve delved into the dynamics of public spaces and our relationships with others and the city,” Argote states. Throughout this exploration, pigeons emerged as a recurring theme. The often underestimated pigeon, regarded by many as a nuisance or mere background character, takes center stage in *Dinosaur*, altering our understanding of these clever, loyal, and highly adaptable birds.

Pigeons are a common sight in New York City and many urban areas worldwide, thriving in conditions many others would deem harsh. To Argote, their ability to adapt to complex environments, alongside their omnipresence, serves as a metaphor addressing deeper societal issues. “I aimed to provoke thoughts about our interactions with different species in the city, about marginalization, and what a significant monument for New York in the 21st century could entail,” Argote notes.

By elevating the pigeon—both literally and metaphorically—Argote encourages viewers to reflect on how species typically seen as trivial or bothersome play crucial, often neglected roles in daily urban existence.

#### The Meaning Behind *Dinosaur*

The compelling title *Dinosaur* may appear puzzling for a sculpture depicting a pigeon, yet the artist intentionally imbues it with layers of significance. As Argote clarifies, “Pigeons, like all avians, are the remnants of the dinosaurs.” By titling the piece *Dinosaur*, he aims to forge a connection between the ancient past and the present. Birds are descendants of a lineage of small theropod dinosaurs, which ruled the planet millions of years ago. Through this relationship, Argote instills *Dinosaur* with a sense of continuity in evolutionary narrative, signifying that pigeons are heirs to these colossal predecessors.

Additionally, the title invokes the concept of extinction—drawing a comparison between the eventual demise of the dinosaurs and the ephemeral nature of human existence on Earth. “One day, we won’t be here anymore,” Argote muses. “But maybe a remnant of humanity will persist—as pigeons do—in the hidden corners and crevices of future worlds.” The artist appears to suggest that, just as these modern pigeons share a distant lineage with ancient species, facets of human culture may linger in obscure forms long after we have departed.

#### Challenging Human Domination

Argote also leverages *Dinosaur* to confront the concept of dominance, particularly human supremacy over nature. He points out that perceiving a single species as dominant is a distinctly anthropocentric viewpoint. “Dinosaurs once ‘ruled’ the planet—but now it’s pigeons.” The sculpture’s grand scale, with a simple pigeon towering over spectators, upends the usual size dynamics associated with public artworks. Traditionally, monumental sculptures depict leaders, heroes, or mythological entities dominating the viewer; here, it is the pigeon that surveys New Yorkers from above.

This inversion invites contemplation on the notions of power, authority, and significance. By creating an exaggerated version of a pigeon—an animal some might deem inconsequential—Argote not only elevates the bird’s status but also satirizes how certain species or symbols come to embody power. In *Dinosaur*, the bird looks down at humanity, reversing the conventional hierarchy.

Through this whimsical critique, Argote initiates a dialogue about the fluctuating nature of power—both in the realm of animals and in human society. What we view as powerful today may very well be transient tomorrow.

#### The Creation Process: A Technical Achievement

Realizing this artwork has not been an easy endeavor. It required almost five years of research and development to bring *Dinosaur* to fruition. As Argote points out, sculpting a 16-foot pigeon with detailed precision posed numerous challenges. The artist devoted extensive time to studying both the birds themselves and sculpting techniques capable of capturing the intricacies of these city birds on such a grand scale.

Argote acknowledges the challenges inherent in executing such a project, stating, “It’s