There was a time when eminent domain lawyers practiced in relative obscurity. Other than a select few, not many knew about condemnation or eminent domain law, or regulatory takings or inverse condemnation.
But ever since the U.S. Supreme Court’s decision in Kelo v. City of New London, 545 U.S. 469 (2005), which permitted the taking of a nonblighted home for economic redevelopment (someone else might make more economically productive use of your property than you do), “eminent domain” has become a household word.
These days, it even inspires art.
Brooklyn artist Bettina Johae’s new project is “eminent domain: nyc.” Here is the artist’s description:
Bettina Johae’s project, “eminent domain, nyc” (2010), investigates the use of eminent domain—for public and for private use—in New York City over the past centuries: from the creation of Central Park and the forming of New York’s streets in the 19th century, via the vast condemnations during the Robert Moses era for highways, railways, parks, office buildings, universities, cultural and convention centers, and public and private housing projects to more recent and future projects, such as the New York Times building, the Bank of America Tower, the Atlantic Yards project, Willets Point, and the Columbia University expansion. The project—which was produced as part of the VLA Art & Law residency—so far consists of a series of 10 postcards and a map of eminent domain from the 19th century to today.