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Mural Depicting Medical History Faces Uncertain Future Amid Building Renovations

A significant mural celebrating both historical and contemporary figures in medicine, which has adorned the lobby of Pfizer’s original headquarters in New York City for over 60 years, may soon be dismantled if conservationists cannot secure a new location for it within a matter of weeks.

Titled “Medical Research Through the Ages,” this expansive metal and tile mosaic showcases notable scientists alongside representations of laboratory equipment. Since its installation in the 1960s, it has been a prominent feature of Pfizer’s midtown Manhattan office, viewed through the building’s high glass windows.

However, as the building undergoes extensive renovations to be repurposed as residential apartments, the new owners have mandated a deadline for the mural’s relocation as early as September 10. Conservationists and the artist’s family are now racing against time to find a suitable new home for this important piece of art.

Art conservationists, along with the daughters of the late artist Nikos Bel-Jon, are actively seeking a benefactor capable of funding the estimated tens of thousands of dollars required for the mural’s disassembly and installation elsewhere. Potential sites include hospitals or educational institutions. Andrew Cronson, an art historian and urban planner involved in these efforts, expressed a desire to see the work preserved as part of a future educational initiative or public art program for New York City.

Measuring 40 feet wide and 18 feet high (approximately 12 by 5.5 meters), Bel-Jon’s mural was a centerpiece when Pfizer’s headquarters opened in 1961, reflecting the era’s penchant for extravagant architectural and artistic statements as symbols of corporate success. The artist, who passed away in 1966, is known for leaving behind a legacy of large brushed-metal artworks commissioned by various organizations, many of which have been lost or destroyed over time.

In recent developments, Pfizer sold the building and shifted its headquarters to a modern workspace elsewhere in the city. The company indicated that resources needed for the mural’s relocation would be better utilized for initiatives directly benefiting patients.

The current property developer, Metro Loft, has expressed no interest in retaining the artwork but is cooperating with those attempting to rescue it, allowing appraisers access for valuation. Jack Berman, the company’s director of operations, acknowledged via email the necessity of removing the mural.

According to Rhea Bel-Jon Calkins, the artist’s youngest daughter, they have received inquiries from academic institutions and a Greek cultural organization, which may assist in fundraising efforts for the move. However, estimates suggest that just the removal could cost between $20,000 and $50,000.

Should a new home not be found promptly, the mural’s fate is grim. Calkins confirmed that, although it wouldn’t be discarded, it would need to be dismantled into its nine metal and eight mosaic sections and placed in storage, possibly with family members.

As demolition progresses, construction workers have been actively clearing debris from the building, highlighting the urgency of the situation.

While the mural’s metallic elements have faded to a dull gray over the years, Bel-Jon Calkins recalls its original vibrant colors, stating that the dynamic transformation of hues as viewers approached was a unique feat of design.

Richard McCoy, director of the Landmark Columbus Foundation in Indiana, noted that while Bel-Jon may not have achieved widespread recognition, the mural holds potential historical value that warrants preservation.

Bel-Jon Calkins meticulously maintains a record of her father’s work, with only about a dozen of his large-scale metal murals confirmed to still exist. Tragically, several pieces have been lost, including a 12-foot mosaic commissioned for a Greek Orthodox church, which was destroyed in the 1989 Loma Prieta earthquake, and a larger hubcap mural commissioned by General Motors that ended up being scrapped.

“Corporations value them enough to commission these works but not enough to ensure their preservation,” she lamented during a recent conversation.

Source
phys.org