Brooklyn Magazine, March 2013 by Deirdre Hering

T h e

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Spring 2013

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EXECUTIVE EDITOR

BROOKLYN MAGAZINE [Spring 2013] is published quarterly by Northside Media Group, 45 Main Street, Suite 806, Brooklyn, NY 11201. Application to mail Periodicals postage rates is pending at Brooklyn, NY and additional mailing offices. POSTMASTER: Send address changes to BROOKLYN MAGAZINE PO Box 5063, Ft. Lauderdale, FL 33310 The entire contents of Brooklyn Magazine are Copyright 2013 by Northside Media Group. No portion may be reproduced in whole or in part by any means, including electronic retrieval systems, without the expressed written permission of the publisher. Brooklyn Magazine is published quarterly by Northside Media Group, 45 Main St., Suite 806, Brooklyn, NY 11201.

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06 T h e N ei g h b o r h o o d Po w e r R a n k i n g s : A rts E d ition

08 Me , Yo u a nd Eve ryo ne We Kn o w : A Brooklyn Web of Literary Connection

Home Invas ion: Th e Visual Suspects

G e ar i n g Up : T he Art of E very d ay T hings

by Joanna McClure and Hayden Dunham

Th e Br o o k ly n 20: Arts Ed ition

ASKA: Ideas of North by Kristin Iversen

68 The Art of the Intercourse by Kristin Iversen

Je mima Kirke, Accid ental TV Star by Amanda Park Taylor

fas hion: Death Becomes Th em by Christian Larsen

92 FICTIO N : A Redisco v ered Story by Ben Greenman

84 Fa s h i on: A N igh t at t he O pera

106 Shelter: A Personal Essay by Helen Phillips

How to B u y a B rooklyn Home

112 Must- See Arts Ev ents for Spring

COLLAGE

Rachel Day

p r o f i l e s

N e i g h b o r h o o d

P o w e r

R a n k i n g s

The 12 Best

NO. Red Hook

Brooklyn Neighborhoods for Culture

DUMBO Park Slope After being hit hard by Hurricane Sandy, Smack Mellon is back and is one of the 16 galleries playing host to the international collaboration, Brooklyn/Montreal, in which artist Aude Moreau makes a Persian rug out of sugar cubes.

With the long-awaited opening of The Intercourse—Dustin Yellin’s cooperative art space—finally here, the neighborhood officially becomes an international destination for artists of just about any medium. Plus us. It’s a new destination for us. (See page 68.)

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South B r o o k ly n

Two of our favorite artists, Oliver Jeffers and Aaron Ruff, collaborate for a show at one of our favorite galleries, Cobble Hill’s The Invisible Dog Art Center. We love when worlds collide like this.

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Big chain bookstores might be shutting down all over the country, but this neighborhood supports several independent bookstores, including rare bookseller, Honey & Wax. (See page 29 for more.)

Bushwick The Silent Barn art collective moved here from Queens, further cementing Bushwick’s status as the place to be in the New York art world. (See page 30 for more.)

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Ditm a s Pa rk / F l at b u s h

In a sort of amazing melding of pop culture and Brooklyn culture, the National recorded songs for the upcoming season of Game of Thrones. This is art, because it is beautiful.

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The Observatory—part of Proteus Gowanus— celebrates its fourth year and we celebrate the fact that there is a place in Brooklyn where we can learn about Victorian death jewelry and how to taxidermy a raccoon head.

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W i l liamsburg Street artists Faile collaborate with the New York City Ballet for the NYCB Art Series, resulting in the visually arresting Les Ballets de Faile.

Clinton Hill

Acclaimed choreographer Trisha Brown staged the premieres of her final two dances at BAM. Which is great for BAM, sad for the world of dance.

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Documentary My Brooklyn highlights this somewhat maligned neighborhood and portrays it in a way that forces us to rethink everything we thought we knew. (See page 18 for more.) b

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Triple Canopy hosted its second annual marathon reading of Gertrude Stein’s The Making of Americans. Stein once wrote, “It takes a lot of time to be a genius. You have to sit around so much, doing nothing, really doing nothing.” Which has been our plan all along.

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Prospect Heights

The Brooklyn Museum goes to court because they are receiving too many unwanted donations. I guess, don’t look a gift horse in the mouth, unless that horse was painted by Bob Ross?

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SHANNON

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Pure Dance, Pure Dancer

Here’s how you can tell someone is a dancer. You see the way they sit. You see the way they rise from that seated position. You see the way they move their arms, tucking back a piece of hair, or reaching for the coffee. It is a beautiful thing because in each movement, you see the grace the human body is capable of. And when they are not moving? Even when they are just sitting and they are quiet as the surface of a lake on a calm day? You still see the grace the human body is capable of. All of this is to say that even without seeing Shannon Gillen dance, you know she’s a dancer. Gillen is also the director of Shannon Gillen + Guests, a contemporary dance company, whose performance this year at Triskelion Arts Center of A Colored Image of the Sun is emotionally compelling and takes the audience on a harrowing journey of life and death and rebirth. Gillen grew up in Columbia, Maryland in “a very culturally advanced, diverse community” and started formally studying dance at the age of four, which took her on the path to studying at Juilliard, a hugely intense, though ultimately rewarding, experience which left her somewhat at a loss when she graduated. Gillen tells us, “It’s like you emerge from this dark room after so many years. You wind up shell-shocked, the real world doesn’t make any sense.” Instead of getting swept up in a world that strictly revolved around dance, Gillen studied Rolfing and the Meisner technique and as a result, explored the emotional connections that happen when two bodies are close to one another. Gillen says this type of connection seems

“obvious, but rarely happens” in dance, due to its somewhat meticulous nature, which can lead to a lack of spontaneity, or at least a lack of the appearance of it. Gillen’s choreography reflects these types of emotional connections but also focuses so strongly on the body and her own feeling of “being deeply inspired by what the body is capable of—those questions that live only in the body” that it transcends the things it references and achieves a sort of platonic ideal of intelligent and elevated movement. Much like it is easy to see with a glance that Shannon Gillen is a dancer, it is also easy to see that she is so much more, that she is also constantly looking for ways to respond to the “questions that live only in the body.” We are lucky to get to see her look for the answers. shannongillen.com

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K E L LY A N D E R S O N : Documenting Downtown Brooklyn

Filmmaker Kelly Anderson has lived all over Brooklyn since moving here from Montreal in 1988. Having been a resident of Boerum Hill, Fort Greene, Clinton Hill, and Park Slope, Anderson now lives in Sunset Park, and has seen the borough change dramatically in her time here. It is these changes that became the premise for the documentary film My Brooklyn, an autobiographical look at the gentrification of Brooklyn and what it’s meant for the borough’s economic, ethnic and cultural makeup. Anderson directed the documentary as a collaboration with producer Allison Lirish Dean as a way to explore the shifting dynamics of the borough she calls home. “Brooklyn has attracted a lot of artists historically because it’s been more affordable in terms of housing, and it has great local character,” Anderson tells us. “Unfortunately, those same artists have paved the way for the gentrification we’ve seen happen, which has displaced a lot of artists and people of color. Developers have long used artists to pave the way for big development projects like the crazy condo booms we’ve seen in Williamsburg and Downtown Brooklyn. The 2004 Downtown Brooklyn Plan has largely replaced what was interesting and vibrant about that area with luxury high-rise condos and generic chain retail.” b

A large part of My Brooklyn is focused on the controversial plans to demolish the Fulton Mall, an area which is—perhaps surprisingly—revealed to be New York City’s third most profitable shopping district. The film shows the area to be something of a cultural mecca, and delves into the emergence of early hip-hop culture at the Mall. Anderson’s investment in maintaining Brooklyn’s character is an example that all of us can follow. She is quick to point out all the positive things about the borough, but also admits the high cost of living here is unsustainable, saying, “It needs to be gotten under control or we won’t be the wonderful, artsy, hip, diverse place that Brooklyn is known for being. We need to get engaged in our community boards, and in the neighborhood organizations, she urges, “It might not be sexy to sit around talking about zoning or subsidies, but it’s the only way to preserve life as we love it in Brooklyn. ph o t o

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J A L O P Y T H E AT R E : The Beating Heart Of Brooklyn Folk

ph o t o s

Austin McAllister

There's a major folk music renaissance taking place in Brooklyn, and its beating heart is in Red Hook. The Jalopy Theatre serves as the de facto core of Brooklyn's bluegrass, oldtime, and roots scene. Established in 2006 by Chicago transplants Geoff and Lynette Wiley, the Jalopy has quickly become a staple on Columbia Street and one of the most talkedabout folk venues in New York. In fact, it's a scene unto itself—in addition to being a performance space, the Jalopy features an art gallery, café, instrument repair shop, and record label, while also offering music lessons and workshops. And for the last five years it's hosted the Brooklyn Folk Festival, curated by Eli Smith, a musician, folk musicologist, and host of the web-based Down Home Radio Show. All this is geared toward cultivating a sense of musical community, much like the one that existed in Greenwich Village in the 1950s and 60s during the original folk revival. "The community here is amazing, and made us feel welcome from the very beginning," says Lynette—who married Geoff here in 2007. "Brooklyn is a wealth of talent, with world-class musicians and artists

living on almost every block, it seems." It's not just Brooklyn talent that's taking note of the Jalopy, though—groups from as far away as North Carolina and Cincinnati have come up for the Folk Festival in recent years. Such popularity may seem unlikely, given that Brooklyn isn't the first place that comes to mind when you think of banjos and jug bands. But after considering Portland, San Francisco, and other musical hotbeds, the Wileys saw the most potential for traditional music in New York City. "We looked all over the country for a home," says Lynette, "and were thrilled to find Red Hook." jalopy.biz

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IRINA ROZOVSKY: Into the Brooklyn Wilds

Photographer Irina Rozovsky felt compelled by something intangible and unexplainable to move to Brooklyn. Rozovsky, who was born in Moscow but brought up in Boston where she lived for twenty years, had started to feel “sedentary and restless” and “noticed a centripetal force pulling” her toward New York. She says, “I’m inspired and energized by chance and accident, when things pop up unexpectedly, unplanned, but make sense in a cosmic sort of way.” So, it seems almost like fate that she would end up not only living in Brooklyn, but documenting it in her ongoing series “In Plain Air,” which captures the unique convergence of urban life in a natural setting. Rozovsky’s subjects come alive in the verdant heart of Brooklyn in an unexpected way, released from the normal constraints of the city, they flourish. Rozovsky tells us, “For me photography is primarily a way to look outwards and inwards at the same time

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and make these two views relate, which they often refuse to do. The camera is good at showing me what life looks like and allows me a sort of quiet response, a chance to put a spin on it. And I love that photography offers a speechless invitation to create a story. There’s a universality to its language that’s shared by everyone who has ever lived and seen.” When we ask Rozovsky what it is about photography that appeals to her so much as an artistic medium, she replies, “Well, it’s fast and easy—a photo usually only takes around 1/125 of a second to make—which is good because I’m impatient. But then things get hard. And therefore interesting.” It seems that the same things she loves about photography—its speed and difficulty and variability—are the same things that would appeal to anyone about Brooklyn. irinar.com

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REBECA RANEY Fashioning Art Rebeca Raney creates art that is perhaps simple in form, but that quickly takes the mind and imagination to complex places. Her use of vivid colors and pared-down shapes is deceptively simple, when, actually, it is as deliberately crafted as a song you feel you’ve known forever or a sentence you can’t believe you didn’t once write yourself. Based in Williamsburg, Raney came to Brooklyn in 2004 for the reasons that many people have “It was the only affordable option at the time, but it ended up being the nicest and most spacious place,” she tells us. But she quickly grew to appreciate living near Marlow & Sons and Mast Brothers because of how all of “North 3rd Street smells like chocolate.” Raney’s Brooklyn inspiration extends past the “foodie people making great art” and into the many Brooklyn clothing shops she visits for inspiration. Raney says, “I am inspired by textiles and fashion. My favorite store is Beacon's Closet because of the dresses section. There are a lot of fruity colors and patterns and a huge range of decades... it's easier to touch everything and see how it was made at Beacon's. In my own practice I do a lot of embroidery so I am especially interested in sewing and researching that type of thing.” This interest in textiles and fashion resulted in a collaboration with Madewell in late 2012 that produced a line of imaginative, pastel-dotted tops and accessories showcasing Raney’s ebullient work. Raney plans to stay in Brooklyn, spending her days “listening to the radio while making drawings” and people-watching, because, she says, “I like the crowds. People watching is always helpful for making art.” rebecaraney.com

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LENA CORWIN Finding Her Way Through Design

Artist Lena Corwin makes maps. Oh, it's not all she does—Corwin is prodigiously talented and does everything from textile design to illustrations to teaching to writing books. And one of the books she published is simply called Maps and is a collection of Corwin’s illustrations of forty cities. From New York to Paris to Copenhagen to San Francisco— each map is a fantastical interpretation of a very specific place. Corwin herself is a California native who came to Brooklyn in 2005 after a stint in Manhattan. She tells us, “My boyfriend (now husband) and I had a great, but tiny, rent-stabilized apartment in the West Village. We loved it there but wanted a change... more space. We decided to look for a multi-unit building to buy

and found a three family brownstone in Fort Greene.” As an artist, finding the right community to live and work in is of vital importance and, for Corwin, inspirations abound in Brooklyn’s arts scene. She says, “People here are really ambitious and hardworking—this is not a community of slackers. That energy can be contagious.” Although Corwin admits that, “there might be a move back to California in our future,” saying, “it will break my heart to leave Brooklyn,” we have no doubt that, even if she leaves, she will always be able to illustrate a singularly, art-filled life for her and her family, wherever she is. lenacorwin.com

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S la u ghterho u se 9 0 2 1 0 Best Tumblr Evr

How is a Tumblr born? This is a question that has long plagued us, although, perhaps, we should rephrase that and ask, How is a good Tumblr born? Or, even, how is the best Tumblr born? Well, in the case of Slaughterhouse 90210—which is, in our humble opinion, the absolute best Tumblr—the answer, according to creator Maris Kreizman, is, “I was bored at work and looking for a distraction.” Ah, boredom. Boredom we think, is so frequently at the root of all great literary endeavors, Slaughterhouse 90210, which is nearing its fourth anniversary and has more than 100,000 followers, is a place where literature and television come together—at last! Kreizman tells us, “I’ve always been a voracious reader and a TV addict and I never thought those passions had to be mutually exclusive, so creating the blog was a way to celebrate both. A big buzzword in the book world is discoverability—how people find the books they want to read—and I guess I wanted Slaughterhouse 90210 to be a brand new venue where I could promote the crap out of the books I love and maybe bring a new audience to my favorite writers.” Kreizman pairs scenes from shows like Mad Men, Freaks & Geeks, and 30 Rock with quotes from authors ranging from Walt Whitman to Jennifer Egan. Her process in pairing a show with a book varies. One time, Kreizman tells us, while reading “Junot Diaz’s This Is How You Lose Her, I found this quote and immediately thought of Angela Chase [My So-Called Life]: ‘She's sensitive, too. Takes to hurt the way water takes to paper.’” And on another occasion, Kreizman found herself working in reverse, “When Liz Lemon got married in b

her Princess Leia costume I knew I wanted to find a quote about fashion and comfort, so I searched and found an incredible F. Scott Fitzgerald quote that did the trick: ‘When a girl feels that she’s perfectly groomed and dressed she can forget that part of her. That’s charm.’” Kreizman has lived in Brooklyn for the last three years and worked “in the book industry for my entire career” but says that “it wasn’t until I started my blog that I felt like I was part of a real community (both on- and offline) of writers, editors, booksellers, critics, and readers. I feel really grateful to have found that.” And, as her readers, we feel really grateful to have found her. slaughterhouse90210.tumblr.com k

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B R O O K S AT W O O D In Search of the Perfect Chair Designer Brooks Atwood of P OD DESIGN, the award-winning design studio based out of Clinton Hill, moved to Brooklyn from Manhattan two years ago, and now considers himself a permanent Brooklyn resident. “The most unique thing about the artistic commu-

nity in Brooklyn is the avant-gardeness of the work that’s happening now and that the community is all about design,” he says of his new environment. Last year, Atwood, along with his team at P OD, designed the Sylkie, a lightweight chair made out of a single sheet of recycled metal. The idea was to create a design that reduces as much cost and waste as possible while producing a sturdy, durable, and innovative final result. Not only is the chair economically- and environmentallyconscious, but twenty percent of all its sales go to Hurricane Sandy relief efforts. “I’m inspired by the everyday, by the lost, unnoticed objects,” Brooks says of his designs. “I’m inspired by all of our failed experiments, failures and tests gone haywire.” Brooks tells us that he gets much of his inspiration from his students at the New Jersey Institute of Technology, where he is an Assistant Professor of Industrial Design. “Teaching is a huge creative outlet,” says Brooks.”You get to challenge yourself constantly because you’re questioned all the time... I try to curate creativity both at school and at my office.“ Brooks also finds the city itself reflected in the geometric and architectural lines used in his designs. But it’s the communal feeling of the neighborhoods in Brooklyn that have inspired Brooks to make his home here. “There’s an insatiable appetite for creativity and involvement both by artists themselves and the local community,” Brooks notes. “Who knows what will happen next?” pod-design.com

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H oney & W a x B ooksellers Rescuing the Classics

Heather O’Donnell, founder of Honey & Wax Booksellers, came to Brooklyn in 1997 to finish her dissertation. “Sixteen years later,” she says, “and I’m still here.” O’Donnell tells us, “I was always a big reader, and a great admirer and accumulator of books: the kind of kid who approached a secondhand library sale as though it were Disneyland. In college, I worked at the Strand, and in grad school, at the Beinecke Library. I worked for Bauman Rare Books for seven years, and then, in 2012, I launched Honey & Wax Booksellers, specializing in literary classics.” Honey & Wax is the perfect answer to anyone who questions print’s relevance in a b

world of ebooks. O’Donnell’s inspiration is the fascinating, if obscure, “Abbie Pope, an eccentric Brooklyn book collector at the height of the Gilded Age. In 1885, when she was 27, she outbid the British Museum for the only complete copy of Morte d’Arthur printed by William Caxton in 1485: the most famous in a series of amazing acquisitions. She died young a decade later, and her library was sold. The Caxton Malory landed at the Morgan, and is going nowhere, but I’d love to bring one of Abbie’s books back to Brooklyn.” O’Donnell has seized upon the fact that “Everyone talks about Brooklyn as a literary destination, home to new writers and a

small presses and little magazines and independent bookshops,” and offers something unique to the Brooklyn lit scene—a sense of not only the history of the printed word, but also its future. Last year, she founded the first Brooklyn Holiday Book Fair, an event that she looks forward to expanding in the years ahead. And while we can’t all relate to the lofty literary goals that O’Donnell has set her sights on, we can’t help but be familiar with her favorite type of Brooklyn day—one “that ends with a stack of odd books rescued from brownstone stoops. You never know what you’ll find here.” honeyandwaxbooks.com

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S ilent B arn

For more extensive interviews with members of Silent Barn, please go to bkmag.com

Brooklyn's Latest Collective The Silent Barn is a new arrival in Brooklyn. Originally located in Queens, but with an abrupt move across the Ridgewood/Bushwick border late last year, the Silent Barn is a community of artists and musicians who work and live and perform in an interactive venue and residence they describe in their manifesto as being a “multi-functional, all-ages incubation space... a petri dish in which to cultivate culture, art, performance, community, residence, curation, and science experiments.” Silent Barn has been around since 2004 and now has almost fifty people who help to make their collaborative mission a reality. The collective hosts everything from music performances to cooking performances to art installations to a gardening project to a video arcade. We spoke with many of the members of Silent Barn about what makes a space like this so conducive to creative production. Not surprisingly, the answers were as varied as the roles of each person in the group, but it was easy to see how vital each person’s role is to the collective as a whole. Alison Sirico, who works as a kitchen meeting leader, volunteer chef, and in outreach, tells us that she is inspired by the, “resourcefulness and resilience, and pure appreciation of physical space. Brooklyn is very expensive but artists still find unique opportunities to install and showcase work. That against all odds—art will still happen. The geographical setup and b

pure magnitude of people also affects the community. There are so many artists on top of each other and so much culture happening all the time. We [at Silent Barn] are oversaturated, constantly communicating ideas, and naturally collaborating.” And Brandon Zwagerman, who contributes by working in outreach and public meetings, adds, “Finding small communities that you can understand and feel a part of within the massive matrix is one way to sanely interact with the whole. The Silent Barn has always felt that way to me. It humanizes ‘New York City’ and all the great baggage of meaning and expectation and branding attached to it.” That does seem to be exactly what Silent Barn is all about— giving people the venue to explore what they want to do creatively without having to worry about the pressure cooker that is typical of modern society. And they do it all together, as creative and social pioneers. silentbarn.org ph o t o s

Austin McAllister

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thing was that since we were in Ohio and very isolated she actually ended up starting a fashion line with my grandmother, who went to Pratt. It was just a very artistic family. My grandmother was super-stylish. Always in black leather pants, totally done. And this was in Ohio.” Kiechel still has some of the shirts from her family’s fashion line, which she wears today and says that when she does, “I always get stopped.” Before launching her eponymous handbag line, Kiechel worked in the corporate world for designers like Kate Spade and Reed Krakoff and also had her own swimwear line for a time before going ahead with the handbag line. Her bags are the perfect blend of utilitarianism and, as Kiechel puts it, “shine.” There is a balance to her collection that makes it clear that the woman is wearing the bag, rather than the other way around. Kiechel’s home is full of beautiful things that she picked up in her travels around the world, all of which—from an intricate clasp on a coin purse from Italy to a vintage Lanvin bracelet from the 70s— serve as inspiration to her when she designs her line. She tells me, “I love vintage, and jewelry-inspired things. I’m inspired when I see girls on the street, because to me, style comes from how people express an attitude. Trends are not so important. You lose sight of what you’re doing if you pay too much attention to them. It’s all about authenticity. The really authentic people, they are the people who you’re drawn to, the ones with the best personality and sense of self. Who cares if it’s on trend or not? It comes down to you. I mean, sure, I’m influenced by vintage photography and all that stuff but it’s all about how it translates to everyday wear and who you really are.” This concept of authenticity is apparent in not only the way that Kiechel designs, but also the way she lives her life— with purpose and beauty and in a way that is completely her own.

K AT I E K I E C H E L Third-Generation Style

Designer Katie Kiechel seemed almost predestined for a career in fashion. Although she now lives and works out of a high-ceilinged loft-like space in DUMBO, Kiechel hails from Ohio. While the Midwest might

not automatically seem like the most fashion-savvy of places, Kiechel tells us, “My mom was a jewelry designer and a metalsmith and was uber-creative. She designed lamps and sculptures, just very talented. The amazing

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GINNY CASEY An Artist's Search for Meaning

It’s easy to get lost in one of Ginny Casey's paintings; easy to think that each brushstroke and each decision that she made, were all part of some long, thought-out, meticulously crafted plan. But, according to Casey, that’s not exactly right. “What drives my paintings isn't strategy or plans, concepts or a narrative,” she says. “Even though I often depict figures and things, it’s colors and shapes that lead the way. Sometimes I'll find the nameable stuff in the process of making a painting as though I'm searching the clouds for pictures.” An apt description from an artist whose work has been described as “organic, biomorphic, and curvilinear.” In fact, it’s not uncommon in any art form for meaning to follow method. Casey’s work subordinates any central notion to its component parts: the brush strokes, the hues and tones, the sense of motion. Casey, who graduated from the Rhode Island School of Design in 2008, has lived in Brooklyn for three and a half years, in which time she’s become a staple of the borough’s gallery scene. By all accounts she’s a seasoned professional; but what’s especially telling is the fact that she’s still amazed by art itself. “When I first learned to paint, reflective color blew my mind,” she says. “Over a decade later I'm confounded by the rectangle, so prudent and yet so infinite. I like to think of each rectangle as a little stage. b

Sometimes I put on a show; sometimes I just set up props.” That sense of wonder extends beyond the canvas and into the every day. She recounts a recent experience when, after staring at a painting for several hours, the world outside became unusually vivid and three-dimensional. “I realized the complexity in the world was so much more beautiful than any painting could ever be,” she says. “It's like we want to fail just to remind ourselves how ungraspable and mysterious the world really is.” ginnycasey.com

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SHANTELL MARTIN And The Art Of Spontaneity

Shantell Martin has lived and worked all over the world, but now calls Brooklyn home. Martin is an internationally-praised visual artist whose inspired and unconventional work is acclaimed for its stream-of-consciousness, improvisational style. Her work seems to flow out of her in a natural, unforced way that is reflected in the way Martin lives her life. Nothing seems predetermined, so everything is a beautiful surprise—sort of like the way Martin found herself in Brooklyn. She tells us, “It actually took me a little while to find myself here. I moved from Tokyo to New York/Manhattan a few years ago and then really didn’t know much about Brooklyn. Slowly, after visiting friends who lived in Brooklyn and checking out some events, I realized it was just a very short train ride away and had so much to offer. Knowing that you live around the corner from so many talented and creative people is pretty b

amazing. The people, the talent, the pace of many parts of Brooklyn, the little things here like people saying hello when you walk down your street.” Martin’s work is celebrated for its spontaneous and almost impermanent qualities, but does she feel like her time in Brooklyn is also bound to be temporary? “I’d like to always keep my room in Brooklyn, but I do have an image of building an awesome minimal art house somewhere outside of New York.” Which, really, isn’t that all a part of our Brooklyn dreams? Never leave, but always have a way to escape. shantellmartin.com

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VIDEOLOGY: When Videostores Become Bars

what you are, what you want to express by the way you

dress.” With the idea of exploring the way in which personality and character are conveyed through style, we asked a range of creative individuals to share an

Everyone is creating things everywhere you look. I love that our borough is known as a creative capital of sorts. Everyone makes fun of all the artisanal producers but at the same time making your own products from scratch in a big city is pretty impressive. It feels like people everywhere are carving out their own communities based on their interests, which in a city of millions of people is a feat.” Despite the fact that Dossier and Parrott are still based out of Brooklyn, Krause actually just made the move to San Francisco this past year. She is quick to point out, though, that, “I am in Brooklyn all the time for work and family reasons and I love watching my relationship with my hometown evolve and grow. The further I get away from Brooklyn the more I realize I carry it around inside of me. Being from New York I think by definition, you don't care what other people think about you because there are so many other people that if you cared what strangers thought, you could never accomplish anything. I feel privileged to have grown up knowing that if someone doesn't like what I am doing, someone else will.” dossierjournal.com

A master of spectacular fashion gestures, Gianni Versace once said, “You decide

FASHION MOMENTS

Founded in 2008, by Katherine Krause and Skye Parrott, Dossier Journal is a biannual publication which serves as a beautifully curated place for fashion, writing, photography, music and anything that falls under the aegis of arts and culture. Definitely a trendsetter, Dossier has always called Brooklyn home and continues to draw from and be inspired by the resident cultural scene. Krause tells us, “I was born and raised in Brooklyn. I just went for the first time recently to my great-grandmother's grave in Bushwick. Both of my parents are from Brooklyn and my entire family lives in Brooklyn. Nowadays people are always shocked to hear that I am from Brooklyn, which I find funny. Everyone says that Brooklyn is so cool now, but Brooklyn was always cool. I remember as a child knowing that I was from somewhere special and being very proud to be from Brooklyn. I grew up knowing you had to be tough to live here.” Despite Krause’s defense of Brooklyn as a place which was always cool—which is, of course, totally true—she also thinks there is more happening now than ever before. She says, “There is so much going on right now in Brooklyn. The energy is tangible.

DOSSIER

From Brooklyn, with Love

ISSUE 9 - page 13 portfolio

DOSSIER JOURNAL:

DOSSIER

ISSUE 9 - page 12 portfolio

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If you ever find yourself nostalgic for the almost extinct corner video store, you can at least take heart in the ongoing presence and new incarnation of Videology in Williamsburg. In its new form, Videology offers the opportunity not only to find all your favorite rentals, but also to stay for a screening in the recently renovated back room along with some friends and some beers. And popcorn. There is really good popcorn. We spoke with Wendy Chamberlain of Videology about why she feels a place like this can thrive in Brooklyn. She tells us, “I experience a uniquely passionate and open-minded community of people [in Williamsburg] who are so positive and excited about art and film and life in general. I'm energized every day by living where I live.” And although Videology has changed from its days as a strict movie-rental place, Chamberlain assures us, “Our motto has always been ‘Helping people who love movies find movies to love.’ That mission still holds true today.” videology.info

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K AT I E D E L L A M A G G I O R E Brooklyn Storyteller Filmmaker Katie Dellamaggiore received much-deserved acclaim for her 2012 documentary Brooklyn Castle, which chronicles the triumphs and struggles of the chess team from Williamsburg's I.S. 318. The film is a remarkable achievement, not least because it captures the difficulties inherent in this city’s public school system—particularly in terms of funding—without failing to celebrate all the things that Brooklynites have in their power to make our schools a success. Dellamaggiore is perfectly suited to make a Brooklyn-centered documentary because, as she tells us, “I was born and raised in Brooklyn, so I’ve lived here my whole life. I never thought I would stay in Brooklyn I think as a kid you always imagine living somewhere other than where you’re from. But now, as an adult, I’ve really fallen in love with Brooklyn in a different way than I knew it as a kid.” Part of the reason that Dellamaggiore loves being here now is because of the strength of Brooklyn’s film community and, she says, “even more specifically the documentary community.

There are just so many filmmakers living and working in Brooklyn from young people fresh out of college to film and industry veterans. It’s so easy to just grab a coffee with someone to discuss ideas and projects. It’s those personal interactions— when so much of what we do happens over email—that add to Brooklyn’s special kind of small-town vibe. My best kind of inspiration comes from meeting interesting people—no lack of those in Brooklyn—and hearing their unique stories. I can never predict where a good story will come from, so just having open ears and eyes on the subway, at the supermarket, walking the dog these are the everyday moments when great ideas sometimes reveal themselves.” Dellamaggiore lives here with her husband, Nelson, who edited Brooklyn Castle and their baby daughter—just born on January 26. She tells us, “I can imagine staying in Brooklyn to raise our daughter—maybe she’ll even attend I.S. 318, home to the Brooklyn Castle champion chess team! The only real challenge to living in Brooklyn is traffic and parking. If there was some way to ensure there would never be traffic and there would always be parking then Brooklyn would be a truly perfect place to live.” brooklyncastle.com

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S hannon F u nchess of L ight A syl u m Integrity and Intensity, Note By Note Shannon Funchess moved to Brooklyn over a decade ago, and soon found herself among a vibrant community of artists and musicians in Williamsburg. After collaborations with the likes of TV on the Radio, !!!, and Telepathe, Funchess worked with late TVOTR bassist (and all-round beloved Bedford Avenue musical genius) Gerard Smith as A Rose Parade. Funchess was expansive when we asked about her musical roots in Brooklyn, looking beyond geography: "The hope for any artist is to continue to evolve, expand their audience and fan base outside of where they live and work. I hope to influence other young artists looking to move to Brooklyn to keep the DIY music scene going with their integrity fully intact out of love for what they do." Now, of course, Funchess is best known as the woman behind Light Asylum or, rather, the voice behind Light Asylum, which has variously been described as darkwave, industrial synth-pop.... even goth. Whatever you choose to call it, Light Asylum (which also features Bruno Coviello) is anchored by Funchess's fierce and powerful stage presence, as she attacks each track with almost otherworldly intensity, lending gravitas to songs that juxtapose politics and synths in a way that's never really been done before. Look for an upcoming collaboration with Swedish duo, The Knife, and artist Emily Roydon, on the former's forthcoming LP. lightasylum.com

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U P S TAT E Comes to Brooklyn

Kalen Kaminski and Astrid Chastka design and are the creative force behind Upstate, a line of shibori-inspired women’s clothing and accessories. Shibori is a Japanese tradition of dyeing cloth, which relies on the folding, binding, and compressing of fabric in order to create an infinite variety of patterns, each piece unique from the next. Both women came to Brooklyn in 2006, and both came for reasons that resonate with anyone who has thought about coming to New York. Basically, they came for work, for inspiration, and for love, which Kaminski is quick to point out is “a little cheesy, but true.” Chastka tells us, “I think that the people who are living and creating here are so driven and passionate about what they do and that energy is inspiring. It’s not the easiest place to be creative because of the competition and the expense of the b

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ALEX ROSS PERRY NYC Auteur

city, but those who stick it out have a special kind of intensity that I love being around.” Kaminski agrees, saying, “I can’t imagine being part of any other artistic or fashion community! Brooklyn has such a unique supportive vibe and I feel so lucky to be a part of it. The convenience of being able to learn any craft, art or design is a very special aspect of this community. I agree with Astrid that the intensity and competition of this city can be overwhelming but if you stick to it and do a lot of work you start to see the results.” Although the designers are based in Brooklyn, the name Upstate is obviously evocative of, well, somewhere a little more rustic. But both Chastka and Kaminski are quick to point out that while they are both, as Chastka tells me, “really inspired by nature and handcrafted items of all

Director Alex Ross Perry is explaining the concept of his new movie, Listen Up Philip to us. Even though Perry has lived in Brooklyn for five years and Manhattan for even longer, it will be the first time that he shoots a film completely in New York. Perry tells us, “Everyone I know who’s made the New York movie, has made them all kind, of sorts, architecture romantic and magical and fun and creative and funny, but for someis still very inspirone who’s not from here, who came here for school like me and got ing, as is the city thrown into everything I’ve been a part of here, I haven’t seen the itself. You can see movie that’s, like, it sucks here. A lot. Everyone you meet in every the most bizarre and field you’re in, at least in creative endeavors and probably others that inspiring things just I don’t know about, is super competitive and super petty and every living your everyday good thing you make happen for yourself comes with negativity life here.” Kaminand bad feelings from everyone else. And I’m not saying that to be ski adds, “I am very negative and I’m not saying that to be funny I’m saying that because inspired by this city; it’s genuinely true.” Listen Up, Philip, Perry tells us, will say “A both the layout and New York Movie” beneath the title. And, from the sound of it, that is the people living exactly what it will be. Perry is the very young and very talented diin it. I have always rector of Impolex and The Color Wheel, which are both films that toy been a big people with and then reject the conventions of current independent filmmakperson and love beers. The Color Wheel in particular seems to be laughing at everything ing around a mix of an audience thinks it might know about what an indie film that centers inspiring characters. around a road trip and a girls with bangs ought to be. And it does I find inspiration this brilliantly, in a completely new way that makes the film seem in small things like both fresh and familiar. Perry first came to New York to study film a tiny earring on a at NYU and from there he worked at the now-gone-but-never-everwoman in a photo, forgotten Kim’s Video, where he connected with some of the people, a cuff of a blouse like Sean Price Williams and Kate Lyn Sheil, with whom he continues or a vein on a leaf.” to collaborate today. Despite having a truly encyclopedic knowledge Both women have of film, when asked about who if anyone is a cinematic inspiration, the ability to see the Perry says, “The idea of an inspiration on each project doesn’t really small things in the exist. It’s more about what makes me excited in general. Some people larger picture, the might inspire me because they make good movies but not because I forest for the trees, want to do what they’ve done. It’s like walking around New York and which is reflected in looking in people’s windows and wanting to do what they’re doing. their work. Although That’s just mimicry, not inspiration. If you look at my movies, they using a centuries-old seem really different. The lines—the dots—don’t connect so easily. technique, they make But if you see everything all at once, it makes sense.” And, really, that something new every is what Perry’s films, and kind of what everything, are about. Decontime. Never repeatstruct things scene by scene, or moment by moment, and you’ll find ing themselves, long periods of excruciating discomfort or the agony of humiliation. always proving that, Moments that are “deeply sickening but so unavoidable.” But step in art—and in life back a little bit and you see the arc, you see the movement forward. the possibilities are Life still might be awful. You might, as the main character in Perry’s infinite. next film does, “lose things because they become uninteresting to you.” But, actually, as Perry tells us, “It’s a comedy.” And it is. It is youreupstate.com all a comedy. A truly smart, dark comedy. The very best kind. b

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STOREFRONT BUSHWICK Art, Open to the Street

Artist Deborah Brown had lived in New York since the early 80s, but it was not until 2006, when Brown was helping her niece move, that she first visited Bushwick. Brown tells us, “At that time, the blocks around the Jefferson stop were deserted and forbidding—boarded-up factories, weed-strewn lots, and little foot traffic. Eating dinner that night at the Northeast Kingdom, I had one of those ‘Aha!’ moments when I realized that this area held immense potential for an artist. For me, Bushwick was the undiscovered country, and I wanted to go in search of what it had to offer. Three weeks later I signed the contract to buy a vacant factory building on Stockholm Street to renovate as my studio, and that was the beginning of the Brooklyn chapter in my artistic life.” That chapter is ongoing and has culminated in Brown’s gallery Storefront Bushwick and in her involvement in the Bushwick art scene through things like Bushwick Open Studios. Brown finds working in Bushwick to be a singular and rewarding experience and says, “Brooklyn offers artists the freedom to break out of established hierarchies and create new models for visual art, performance, dance, theater or new music. In programming the shows for Storefront Bushwick, I mix the work of young artists with that of more established artists, something that would be hard to do in a more commerciallydriven, stratified art environment like Chelsea.” Brown’s investment in the community is obvious—even her rescue dog Trout is from Bushwick, she found him on Troutman Street. Brown knows that being a part of such a vibrant, collaborative community is essential for her practice, saying, “Seeing so much good artwork by my peers sets a high bar and makes me work harder—as an artist, as a curator and as a gallerist. Close to home, I am inspired by my block where my neighbors on Stockholm Street share what they have with each other and look out for one another. These long-time community members helped hold Bushwick together in tougher times. They inspire me and give me an appreciation of Bushwick’s history.” storefrontbushwick.com

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I N V ASIO N

The Visual Suspects by

Catherine Lacey

photos

ClémentPascal

When Deborah Johnson told me to keep an eye out for the blue house that “looks like a broken cake,” I wasn't sure what I'd find, but as I approached her Clinton Hill home, the description made perfect sense. The sky-blue house slumped as if it had been over-frosted by a child. Johnson is no stranger to translating images into words and more often, music into stunning visuals. If you've been to a Sufjan Stevens, M. Ward, Wilco, St. Vincent, Lambchop or Calexico concert in the last ten years there's a good chance you've seen her work. b

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Gabriela Grskovic

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Johnson, a Florida native who attended Maryland Institute College of Art with “art star” aspirations, was gradually drawn away from traditional forms toward event installations and collaborative efforts. While focused on video during her senior year at MICA, she found herself inspired by projections at scratch DJ concerts, like Kid Koala and DJ Shadow. “I don't know what's going on,” she told herself, “but I want to do that.” Rather than hustle to get her work into sterile, silent galleries, Johnson began putting her efforts toward live projections at concerts in Chicago, her newly adopted city. Johnson was only 25 when Wilco hired her to transform their formerly simple concerts into multi-media spectacles during their A Ghost Is Born tour. The first year was spent “throwing spaghetti at the screen,” she says, recalling the creative process, but after a year on the road and “a lot of humiliation and learning” she became comfortable as a visual performer. After two more years of work with Wilco, Johnson headed to New York where she set up her first apartment in Clinton Hill and began working with Lambchop and Calexico. Eventually that

I N V A S I O N

work led her to a meeting with Sufjan Stevens, her longest collaboration to date and one that is still on-going. At first Stevens just wanted Johnson to do a straightforward slideshow of photographs he already had. “Oh, you don't really need me for that.” she said, “You could use PowerPoint.” But once Stevens understood the breadth of Johnson's skills,

he changed his tune. That collaboration birthed several more, including her current project: a performance at the Brooklyn Academy of Music entitled Planetarium, with Stevens, Nico Muhly and Bryce Dessner which premieres at BAM March 21. From the decorative and ornate visuals of Steven's Avalanche and Illinois tours to the “apocalyptic

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space rock opera” of The Age of Adz, Johnson appreciates the chameleon-like requirements of teaming up with one of the most prolific and admired musicians working today. Johnson is also working with the New York-based string quartet ETHEL on large-scale project entitled Documerica— based on the massive photo archive of the same name commissioned by the EPA in the 1970s. She’s just received word that the production has been invited to BAM’s Next Wave festival this fall. “I was jumping up and down with joy in my kitchen when I found out.” At home, however, Johnson has the luxury of collaborating only with herself. After a series of apartments throughout the city (everywhere from East Williamsburg to Midwood to Soho) she's landed in Clinton Hill again. There she lives the creative professional dream of having a studio that does not double as her living or bedroom. Her decorating ethos involves keeping herself constantly visually inspired and creating small narratives with the artwork she's collected over the years. “So often I'm taking a lot of disparate things, like music, lyrics and imagery and figuring out how I can make some kind of narrative arc with it. So it's nice to have that spill out into the space.” b

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Of course there are plenty of concert posters around the apartment too, which remind Johnson of how far she's come in only a decade. She's recently finished up work with St. Vincent, one of the rare but prized opportunities she has had to work with a woman performer. It was also one of the only times her technology was limited almost exclusively to lights, though that didn't stop Johnson from thinking big. The requests she posed to her lighting designer, Ben Stanton, required lots of creative leaps. “Can you make the lights look like the Rockettes? Ok, now I want the lights to look like an Elizabethan headdress.” Johnson showed me a rubric in which she

“I do n' t k n ow w h at 's g o i n g o n,” s h e to l d h e r s e l f, “b u t I wa n t to do t h at.”

had assigned each song a set of images, patterns and colors to dictate the lighting movements. “I would love to work with more female artists,” she said, citing the legendary Siouxsie Sioux as a dream artist. In past collaborations with women she's had the opportunity to come at a project from a different angle, with a whimsy and softness that is evident in her apartment. While working with the Japanese pop star, Chocolat, Johnson says they were just “giggling the whole time.” “But my other fantasy is doing visuals for Nine Inch Nails or White Zombie,” she admitted, wide-eyed and giddy, “White Zombie would be awesome!” •

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aska: Ideas of North by

Kristin Iversen

Rory Gunderson

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It’s a Wednesday afternoon when I meet Aska chef Fredrik Berselius at the Union Square Greenmarket. It’s the kind of winter day where the sun hangs weak and silver overhead and the sky is so low that the branches of the park’s trees scratch at it, trying to let in some light. The air is wet and heavy and when I look around and look up, everything I see is black and gray and white. We are hunting for food.

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The concept of eating both seasonally and locally has been around for awhile now but has lately been distilled into that purist of locavore trends, foraging. But there is little to forage amid the cracks of a New York sidewalk, so Berselius makes do with frequent trips to his favorite Greenmarket vendors to find the best of what our local farms have to offer. Berselius knows exactly where to begin searching. Weaving his way through tables laden with radishes and beets, carrots and sunchokes, he selects what looks good with the intuitive ease of a musician figuring out the notes of a song. Berselius moves through the market seemingly unhurried, but this is somewhat deceptive, because the choices he’s making are deliberate and his focus is direct. He is composing the night’s menu for Aska while he selects perfectly nubby potatoes from the people at Mountain Sweet Berry Farm. It is improvisation at the highest level.

As we head back to Brooklyn, back to Aska, Berselius tells me that, “Every day is its own day. You start from scratch each time. You can have a good day or a bad day, but every plate of food you put out, it’s gone.” In that sense, cooking is like any kind of performance, all of the work and effort and energy that Berselius and his talented crew exert no longer belong to the artist once they are released to the world. And the success of the work is always contingent on the perception of the audience. At Aska, the stage is an open kitchen where you can see Berselius plating perfect herring and pearl-like potatoes before sending it all out to the people gathered in the 18-seat dining room, perched under a mural of a descending bird-of-prey. Both the public and critical reception for Aska, which is run by Berselius and partner Eamon Rockey, has been overwhelmingly warm and positive. A dinner reservation is highly coveted and hard to come by, but there is usually room to sit at the long bar, so anyone can come in from Wythe Avenue and linger over a Warm Swedish Punsch and some Scandinavian bar food.

WINTER GARDEN available for private dining EMAIL : INFO@CAFE-COLETTE.COM OR

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"I spend e v ery day t hink ing a bo u t f ood." Although any performance requires a certain amount of order—a rhythm that diminishes the potential for mistakes—true artists know that greatness is achieved through malleability and spontaneity. Berselius told me, “There’s so many things to it. The creative part. The actual physical work. There’s

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a lot of emotion. I spend every day thinking about food and ingredients. There’s consistency and then moving forward. You have to keep moving forward. Some days things don’t work the way you want them to. If you get to the point where you’re happy with what you’re doing... well, that never happens really. But maybe that’s just life, you know?”

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“ I f yo u g e t t o the point where yo u ’ r e h a p p y w i t h w h at yo u ’ r e d o i n g ... w e l l , t h at never happens r e a l ly.”

This balance of pragmatism and emotion, of order and improvisation, is what makes the most complex performances seem simple and pure. Berselius says, “Everyone eats food. It’s a simple way of looking at it. It’s something we do every day. But you have to challenge yourself every day to look at things and look at food differently. I feel what we’re doing here is that we’ve created an environment where we can do whatever we want. Not only on behalf of the guests, but at the same time for ourselves.” And so at Aska, where things are pared down to an elemental beauty, like the blacks and whites and grays of a winter’s day, perfection appears in the simple things, transcendence in a slip of silvery-herring skin.•

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Jemima Kirke Artist, Accidental TV Star

"You are from New York, therefore you are just naturally interesting." Jemima Kirke is a New Yorker's New Yorker: raised, if not born, in the city, she comes from a West Village-based family filled with interesting characters, a more creative version of Wes Anderson's Tenenbaums. Her mother Lorraine is a clothing designer, decorator, and proprietor of Geminola, a vintage clothing shop, in the West Village. Her father, Simon, is a drummer (Free, Bad Company); her sister Domino is aÂ Brooklyn doula and singer/songwriter.Â

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And she, of course, is one of the stars of HBO's Girls, the much-discussed TV show written by Lena Dunham and produced by Judd Apatow, probably the most "New York" of shows to ever hit the small screen (Sex and The City was, at best, a fantasy New York. And they never left Manhattan). But you already know all that: you probably also know that she's an old (high school) friend of Dunham's, and that Dunham's breakout film Tiny Furniture was Kirke's first acting gig. It's a particularly New York success story: not the discovered-at-Schwab's-Drugstore fantasy of Hollywood that you might assume from Kirke's Veronica Lake-meetsBrigitte Bardot mien, but a less simplistic tale of two young women who, having both gone to St. Ann's in Brooklyn Heights, left the city, came back after college, and got down to the business of being creative. Even if, in Jemima's case, the medium wasn't quite the one she had planned on, but one her friend pushed on her. Ambushed by success, in many early interviews post-Tiny Furniture, she insisted she wasn't an actress, but a painter, a graduate of the Rhode Island School of Design. "Perhaps [my] reluctance toward acting has been a bit overstated. I never meant for this protest to define me and what I do. I felt compelled to say it in some interviews because I had a hard time accepting that this TV show had become my career."

"The worst stuff that you say sounds better than the best stuff that some other people say." But what a career. Dunham has written a great vehicle for her old schoolmate (and costars Zosia Mamet and Allison Williams), and Jemima knows it: "I am so happy and honored that Lena sees me as a tool to help b

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realize her writing. And I have never had so much fun as I do when I'm acting out her scenes." Almost everyone seems to be obsessed with the idea that Jemima is her character, Jessa, or that Jessa is Jemima, but given Kirke's drive and ambition, not to mention talent, it's hard to believe there isn't a fair amount of invention. Still, like Jessa, she has had some crappy jobs—plenty of crappy jobs—and maybe a whisper of a Jessa-ish attitude: "I had a lot of jobs for about five minutes… basically until I stopped showing up. My favorite was the fish-and-chips shop. The only one I got fired from. Maybe I fucked up a few delivery orders k

but I don’t think I was that bad at it. I’m still a bit resentful about that one, actually." And, like the Girls girls (well, most of them) she does live in Brooklyn, having fairly recently moved from Brooklyn Heights to Carroll Gardens. But that wasn't part of the master plan either.

"I am never coming back to Bushwick, ever." Asked if she'd wanted to become a Brooklynite when she was younger, Kirke laughs at the idea: "I swore it off after high school. As soon as I graduated I was like, 'I'm outta here! Never coming back again!' Guess I was

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somewhat short-sighted. A few years ago I started to realize all the possibilities that come with having a Brooklyn home." And a sweetly conventional, Brooklyn lifestyle. Jemima is married to Michael Mosberg, an attorney—they have two kids, Rafaella, 2, and Memphis, 4 months. And unlike a lot of New Yorkers, she's very happy where she is, and can't name another part of Brooklyn, or the city, she'd rather live in: "I’m perfectly content where I am. I'm not going anywhere any time soon." That sense of contentment, and taking things in stride, pervades everything she talks about. Discussing the travails of being a working mother, she sounds almost spookily down-to-earth: "God, it's tough. Nothing I can say will make it easier. Don’t try to be the best. As far as parenting goes, sometimes 'good enough' is all you can do." Much of her non-acting life revolves around her kids, and her neighborhood; a favorite local hang is the charmingly kid-centric Brooklyn Farmacy & Soda Fountain on Henry Street. Other family destinations are the library, The Painted Pot, and the Brooklyn Botanic Gardens, which "is good whether you’re with ten people or no people. We’re always finding new things to do. And a lot of what we like to do revolves around eating. There are so many delicious restaurants in my neighborhood."

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“I'm always so impressed by what you do with what you got.”

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Luckily, she seems to have her life/ work balance pretty well in hand. While confessing that "after I’ve finished on set I come home and I feel guilty for having missed out on time with my children," she adds, "I don’t see that as a bad thing though. It just means I don’t feel I can contribute as much through acting." And being in the painting studio "is lonely, for sure. But when I’ve been working in there I come home at night and I feel full. My mind feels exercised. I am a better mother and a better wife." It's a remarkable balance of public and private, ambition and introspection, for a woman who's still a few years shy of 30. And her deepest ambition, now that she's a hometown superstar? It's one only her role on Girls can help her achieve, the ambition of countless New York children and more than a few adults: "I really just wanna get my picture on the wall of a restaurant next to a greasy picture of Dom DeLuise or Michael Bolton or someone. I figure if I go to a place regularly enough that could happen." We're amazed it hasn't happened yet. •

ac ce p t ing t h at t h i s T V s h ow h a d bec o m e m y c a r e e r ."

“It's because I'm painting someone I love so much and I'm really used to painting things I hate.” The other key part of Kirke's non-TV life is her painting, a practice that remains unchanged, if less frequently enjoyed, from what it was before Girls. She's a fairly traditional studio painter of portraits, explaining, b

"I paint people. I use oil on canvas. Mostly they sit before me and we hang out and I just listen and I look at them. I try my best to capture them just sitting there in that room on that day in that moment. Sometimes I even get a likeness. Everyone who comes in brings me something different. That’s why I never have to plan what I'm going to paint ahead of time.” And the recent move, and recent baby, haven't made anything easier, though between filming and baby-having, she did still manage to participate in a group show at Half Gallery last fall. "My studio is in my home. I'm still moving stuff in and setting up. My work space is so important to me. So that’s a whole project in and of itself." Though she denies having any greater ambitions for her acting career, Jemima says of her painting, "I just want to get better and better."

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The Art of the intercourse by

Kristin Iversen

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I’m looking at a flood of epic proportions, an apocalypse behind glass. Inside this massive, multiton triptych, destruction lies just beyond reach. Inside, ephemera is tossed around, foam curls up, waves thrash. You can only stand and look. And it’s hard to look away. I don’t look away. I want to press against the glass and see if

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it will break. I want to see if the waters will flow out. I want to see if everything will be washed clean and disappear. Instead I step back. The flood remains inside, forever wreaking havoc, a Bosch-like scene set in the middle of the cavernous, Civil War-era building that houses The Intercourse.

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The Intercourse—and the triptych—is the creation of artist Dustin Yellin, who bought the 24,000-square-foot brick factory on Pioneer Street in Red Hook a year and a half ago with the intention of turning it into both a large-scale exhibition space and a workspace for artists and scientists. I visit The Intercourse on a clear, cold day. Outside, on Van Brunt Street, striking school bus drivers withstand the cold, and the wind whips pieces of garbage up and down the sidewalk. Inside, "I don’t think artists can ever e d i t t h e m s e lv e s enough — good to look to Mother N at u r e t o d o i t f o r u s."

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the sounds of construction are ever-present. People move up and down the stairs, working together on this enormous project. Yellin is sitting, rolling a cigarette, and I am standing and we are both positioned under the suspended jaw bone of a sperm whale. It is white and smooth and very long. Yellin tells me, “It’s a challenge, an extreme challenge to make an alternative art space at this scale. I’ve been thinking about it for twenty years now, and it’s had many incarnations, almost infantile incarnations. I don’t know if I ever imagined it would be this scale. It’s very much an interdisciplinary cultural experience of sorts, a residency program for artists and scientists and also the beginnings of a school, so we have lots of classes, lectures, screenings, performances.” As much as any space is informed by the people who inhabit it, people are also necessarily influenced by whatever space they are in. The Intercourse is one of those places that changes you, that makes you feel both like it’s not exactly real, but that by being there and working there, you can make a new reality. Walking around the building with The Intercourse's Director of Operations Gabriel Florenz, he tells me, “When I’m here all alone, it’s like I’m in a museum, like it’s someplace I’m not supposed to be.” Which is exactly right. That’s exactly what this space does—it inspires a certain amount of awe and

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"E v ery t hing da m ag ed has eit her been s av ed or dis ca rded. E v ery t hing wor t h s av ing h a s been p u t back in side ."

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" i t ’s l ik e I’m in a m u s e u m , l i k e i t ’s s o m e p l ac e I’m n ot s u p p o s e d to b e."

Work on The Intercourse was delayed last fall, with the arrival of Hurricane Sandy and the accompanying flood that most definitely did not remain contained behind glass. Yellin, who has lived in Red Hook for about eight years, was at his studio across the road as the waters started to rise. He tells me, “The water was up to our necks. It was so beautiful and we were taking pictures and then the water started to come inside. We tried to stop it thinking we might only get six inches of water, so we were picking things up and putting them on tables but then the water kept coming in and coming in. We’re still sorting it all out, rebuilding it all. It’s been trying, to say the least, but it’s also been great because I don’t think artists can ever edit themselves enough—good to look to Mother Nature to do it for us.” And so there have been delays and salvage efforts, but The Intercourse is now on track to continue what began last year, with performances, classes, and events. Recovery—rebuilding—is a funny thing. You don’t always get the chance to decide what to save. Yellin tells me that, in the days after Sandy, “People’s lives were all pulled outwards. The inside of everyone’s existence was now out on the street.” To visit Red Hook now is to see things with a certain clarity—things are gone. Everything damaged has either been saved or discarded. Everything worth saving has been put back inside. It is, therefore, perhaps more important than ever to go inside and see what can be possible, after such devastation, to see what was saved, to see what kind of people did the saving. The Intercourse shows you what is possible. The constructed apocalypse stays behind glass, and reality morphs into whatever vision the artist can imagine. And that reality feels unlimited.•

a sense of the surreal. But then, if you are not alone, if you are there when the different artists in residence are walking around, talking to each other, laughing, you understand better the utopian possibilities for both the building and the people involved. Yellin tells me, “It’s very much community-building, a serendipitous thing. We don’t push relationships, we just kind of let them happen. One of our artists was talking to the scientist, and they decided to come up with an algorithm for printmaking. It’s a great way for these things to happen naturally. I just want to help bring all these people together and inform the vision and help sustain the vision and add to that—add fuel to the fire of the vision. It’s a delicate balance, and I look at this very much as a social sculpture. We have an incredible group of people involved to help make this a reality.” b

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Death Becomes Them FEATUR I N G D u š a n T ý n e k D A N CE COM PA N Y

Death confers upon its subject a gravitas impossible to achieve in life— it clarifies that which preceded it. Death is the beginning of history. And if life is short and art is long, the death of an artist is longer still. Isadora Duncan, Francesca Woodman, Paul Thek, Sylvia Plath: famous in life, mythic in death.

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Lauren Schaefer for Production-11 p h o t o a s s i s t a n t Derin Thorpe Naveen Murad and Helena Eisenhart h a i r Joseph DiMaggio m a k e - u p Jonathan Young a pp e a r a n c e ) Elisa Osborne, Alexandra Berger, John Eirich, Ned Sturgis, and Emily Gayeski L OCAT I O N Production-11

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The inventor of the â&#x20AC;&#x153;selfieâ&#x20AC;? threw herself out of a New York window at the age of 22 after, her father speculates, an application for funding was turned down by the NEA.

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This provocative and critically-acclaimed painter and sculptor who was close with Susan Sontag, Eva Hesse, and Peter Hujars, died of complications from AIDS. Although not as celebrated in the later stages of his career, Thek never stopped producing art.

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At 4:30am, while her two children slept, Plath sealed her kitchen with wet towels and put her head in the oven. She described her sorrow as â&#x20AC;&#x153;owl's talons clenching my heart.â&#x20AC;?

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aT the opera Behold the children of paradise, before they fall to Earth.

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Despite my suspicion regarding the novel, I have written a few. My newest, The Slippage, comes out in May from Harper Perennial. When people ask “What’s it about?” I turn and walk the other way. If my escape route is blocked, I answer, trying to conceal my sense of defeat. The novel is about a man and a woman and their marriage. It’s about the way that fidelity, emotional and sexual, is understood and misunderstood. It’s about suburban life in America, and how it’s filled with emptiness. Usually by this point in the process the person who has asked is sorry to have done so. Sometimes people ask about the characters rather than the plot. This is firmer ground to stand on, and so I am less likely to feel terror standing there. The reason I am more comfortable discussing char-

Emma was not nervous for long because there were signs that calmed her. Morning light blossomed as a form of greeting. A bird was perched just outside the front door. A cat yowled halfway across the field, sounding as if it were asking a question. She was at the house on the lake on Antonio’s birthday. She felt something in her hand and remembered suddenly what it was: a car key. She had been given instructions and now meant to carry them out. She closed her fist around the key and remembered the time years earlier when she had first arrived at the lake. It was Antonio’s birthday that day also, and she had two identical boxes in the passenger seat of her car. One held a present and the other held a cake, and the whole way there she kept looking at the top box, the one with the cake. She was worried that something would happen to it, preoccupied to theApoint When storyof bymadness. TK she arrived at the house by the lake, she had lifted the box gingerly, only to find that the top box contained Antonio’s present, a pair of shoes she had paid a man an exorbitant sum to make. That meant that the cake was in the bottom box, and this tipped her into panic. How had that happened? Hadn’t she taken care to put the cake on top? Was it crushed now? Was his name smudged or smeared? She opened it

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with a sense of falling. The cake was fine. She was not. She went inside, hugged Antonio weakly, and collapsed on the sofa, where she stayed for most of the afternoon. She had never married Antonio, and she told herself that the only reason for this was that she had never married. There was a line, even if it she could not quite trace it, and he was first in it, for now and forever more. She thought about how long she had known him. It had been years, though it did not seem possible given the freshness in her memory of even their earliest meetings. The first time they had met, they had been in the city. A week had passed. They were in love. Antonio’s birthday was only days away. “Come to my house,” he said. “It is in the country.” She nodded mutely, thinking everything. She found a shoemaker and paid him to make shoes for Antonio. She acquired a cake. She drove out to the house, unsure which box was on the top and which was on the bottom. That night, they had eaten the cake and he had told her he loved the shoes and would try them on, though instead he took her to bed. The next morning, Antonio had done what he often did: he told her what to do. He planted a flag out in the yard, some distance from the house, and told her to go get it. When she returned, he gave her a handful of money and told

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her to count it. The money was only a fraction of the larger reward, which was Antonio’s love. He had so much love to give. He had, some years before, buried a wife and it was unclear whether she was still somewhere on the property. She carried out orders. That was how she presented herself to Antonio, in that helpful spirit. Every once in a while she objected to his tone, or to the specifics of a task, but she preferred to increase her power by doing what he told her to do. Days were long and satisfying. Days had orders in them and then periods where orders abated. Days ended with Antonio standing, stretching, and announcing that he was going upstairs to sleep. She stayed downstairs, stayed away, thought of Antonio up there sleeping. She had given her life to a man who was asleep. She was in love with a man who was not awake. She went upstairs, stood by the door of the bedroom, and watched him. His chest moved only slightly and if she blurred her vision she could imagine that he was not breathing at all. She was the living among the dead, and she thrilled to her special status. Antonio’s sleep was filled with dreams. When he woke, he told Emma about them. “This is a full account,” he said. “I am leaving nothing out.” In any other man, this would have

driven her away. But Antonio’s dreams fascinated her. They were filled with stories of distant lands in which terrifying events occurred, and sometimes she would get into bed with him and close her eyes and think about how thankful she was to be safe at home. She listened to Antonio’s stories until they took root in her mind and grew until they threw shade over her own thoughts. This was, for her, the purest form of relief, and she thanked him for this gift. Afterwards, he pulled the sheet up over their bodies and went to sleep to dream again. *** When she had first come out to the house by the lake, she had planned on staying only for a night or two—and then, when that period had passed, a week or two, and then a month. After two months she understood, with a mix of resignation and triumph, that she would never leave the house. Because Antonio was observant, he sensed these feelings in her. Because he was loving, he let her experience her triumph. And because he was cruel, he made it clear that she was not the source of her own power. He kept her in the house, not exactly trapped but not free either, supplying a steady stream of orders and forcing her to leave the house only one day a year,

acters than plot is that most of the characters were born from short stories. The protagonist, William, is a copywriter at a financial services company, though a few years ago a version of him was an aging rock star in a short story called “Oh Lord Why Not?” His wife, Louisa, was a minor character in a story called “I Put It On The Counter And When I Turned Back It Was Gone.” Louisa’s brother, Tom, is a graph artist, and he emerged out of “Plot,” an experimental short story told as a series of graphs. Some of the stories were published, some were not, but to understand these characters, I had to put them in short stories first. It was how I came to know them. One of the main characters, Emma, was an exception. She is, briefly, William’s lover. The plot turns on her to some degree. And while other characters are forthcom-

f i c t i o n

ing about their younger years, she is mysterious to William. For most of the time I was writing the book, she was mysterious to me as well. She was always half in shade, because she was the only main character who didn’t emerge from a short story. I made her up as I went, which made her more impulsive, less stable. And then I found out that I was wrong. Last winter, after finishing the novel, I was looking through old folders, and I discovered a story I had written about Emma years before. I had no memory of writing it. I did not consult it during the process of composing the novel. And the Emma in this story, a decade younger than the one in the novel, is considerably different. Her world is darker and more menacing, more painful but also more efficient at extracting pleasure from that pain. There are explicit (if

on his birthday. She came to master the place. She felt calm there because she knew the house as if it were her own body. There were windows that were poorly sealed and let in too much outside air. There was a first-floor doorframe that creaked when she leaned against it. There was a doorknob upstairs that was loose. The first time Antonio’s birthday came around, he woke her up early in the morning. “This is the day,” he said. “It is time to go.” She was reluctant to wake up. She pulled him down into the bed with her. But when they finally emerged from the bed, it was time to do what had to be done. That year, leaving was mostly notional. She opened the front door and walked out into the middle of the meadow, with Antonio watching from one of the highest windows of the house. The next year, she went up the road on foot, though when she reached the first big bend sheAturned andTK ran home. The story by third year, she sat in the car, running the engine and listening to the radio. Each time, she had ended the day by asking him if he had enjoyed the birthday, and each time he had simply nodded, which was more powerful than speaking could ever be. This year, things were different. He had woken her up early, as usual. He had stood by the bed, as usual. But this time he told her to stand up next to him, and

Title TK

to close her eyes, and then he told her to take the car into town. “Open your eyes now,” he said, and she did. When he held out the car keys to her, she felt her legs go watery beneath her. She walked downstairs without him and noticed the signs that calmed her: the morning light, the yowling cat. A bird landed by the front door. In the car, her nervousness returned. The small familiar things that calmed her in the house were not available to her now. She drove to town, her heart tumbling inside her. She had, in the house, in the morning, in the moment after Antonio had given her the keys, pulled him down into the bed to forestall the moment of departure. Over him in bed, watching his face pass rapidly through youth and old age, an idea came to her. She would celebrate his birthday. The weather was not menacing and she reached town quickly in the car. The first store on the small main street sold tools. The second sold books. The third sold weapons. She parked in front of the fourth, a bakery, and went inside. The woman behind the counter took her order without writing anything down. “I’ll have it ready in no time,” she said. “You can sit and wait.” Emma waited. It was not no time. She began to worry that Antonio was missing her. What would he do without her? Was he walking up and down the stairs,

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screaming her name? Was he even thinking of her? Finally, the woman called her back to the counter. “Here,” she said. The box went onto the front seat of the car. The fifth store sold maps, and she found a small, ancient map of the land just outside of town, the land on which Antonio’s house was located. She bought the map and drove straight back to Antonio. There was no mistaking which box it was this time, and as a result no fear of crushing it. She went into the house quickly, brushing past the bird that was still perched on the rail just outside the front door and had possibly been there all day. She placed the cake on the table. She called Antonio’s name but he did not answer and she assumed that he was upstairs, sleeping, dreaming. There was a note next to it that told her to do several other things, and she went into the yard to start in on them. She pulled up weeds, working hard, not worrying about the small cuts on her hands. She hammered a nail into a board and then the board into the wall. She tied a rope around a tree. Most of the afternoon went into the list of tasks that she had been told to do. When she returned to the house, there was still no sign of Antonio downstairs, but there was a piece missing from the cake. She called his name again. There was no answer again. She went to the

front door and watched the afternoon light drain out of the sky. She called Antonio’s name a third time. Again, no answer. A cat yowled, this time so faintly that she believed it was on the other side of the meadow. The cake sat on the table, the missing piece looming. She could not touch it. She walked out to the car, touched the hood, and walked back to the house. She sat down on the sofa. The stairs behind her were insurmountable. Was Antonio upstairs? She did not know and did not know how to find out. She called his name. She stood next to the cake. She picked up the car key and then remembered that she had already touched the hood. The light in the room was gone now, and the day with it. There were lamps but she could no more turn them on than she could walk upstairs. She called Antonio’s name, her voice breaking a bit now so that she sounded more like an animal than like anything else. She went to the front door to look for the bird, only to find another bird in its place. She could not be calm because everything was making her afraid. •

fantastical) issues of control that are implicit (and realistic) in the novel. Still, it is clearly the same woman, not just in name but in temperament, in appearance, in her tendency to act from a tricky mix of self-annihilation and almost thoughtless daring. Rereading it—which felt like reading it for the first time—clarified certain things about her, and made other things even more satisfying in their mystery. I was happy to have found it.

S P ECIAL

REAL

E S TATE

S ECTION

everything you need to know about

buying a brooklyn home Rachel Day

collage

Other than maybe marriage or having children, buying a home is the biggest commitment you can make. Don't worry, though, because we are here to hold your hand. We understand that beyond all the practical considerations, there is a very real emotional component involved too. And emotions can be hard to deal with, we've heard. So we've gathered some experts to give you some patented expert advice and we also have a beautiful and heartwrenching essay by Helen Phillips about her first home-buying experience. So, don't worry. Close your eyes, take our hand, and we'll jump together into the world of home-ownership.

Appraisals + Inspections 101 by Erica S chwartzberg, Tu ngsten Pr operties

What Every New Buyer Needs to Know i n Today 's H y p e r- C om p e t i t i v e M a r k e t b y David Ma u ndr e ll, P res id en t, Apts an d Lo fts.co m

N o. 1

First and foremost, it is a seller's market again, and it's appreciating weekly. That means comparable sales from even as recently as two months ago do not apply to what is happening today. The real information is behind the scenes right now, with the brokers and sellers—Streeteasy won't be able to tell you if the property sold above asking price while still in contract. That's why working with a broker who knows the market, and who you can trust, is always a good idea. N o. 2 Don't be turned off by bidding wars and offers above asking price. Some brokers purposely price the property lower than what makes sense for the market, with the express purpose of creating a bidding war. However, buyers can never truly know the seller's strategy. So make your final and best offer each time you bid on a property.

No. 3 Unfortunately (for buyers at least!), you need to realize that the appreciating market means that anything less than 20-25 percent down payment is going to have a tough time competing right now. Granted, financing is there for less than 20 percent but the competition is very stiff with high down payments and all-cash offers becoming increasingly common—even all-cash offers above the asking price. So if you're serious about buying, you have to save, borrow from family, and basically pull out all the stops to make a good offer. And I really don't see the market declining anytime soon. No. 4

All of the above might seem a little daunting to new buyers, but it just means you need to be committed and flexible. Try expanding your search a little. Start looking at areas close to your target neighborhood or in your price range, because you never know what you might find: a place you end up calling home. b

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As with any business transaction, it is important to do your research and know the ins and outs of the property you're interested in purchasing—for many, buying a new home is the biggest financial decision they'll ever make, so having as much information as possible is crucial. The main goal with appraisals and inspections is to provide itemized details, from top to bottom, of the property in question. As a potential buyer, the more information you have upfront, the more likely you'll be saved from serious headaches later on in the game— think of Tom Hanks and Shelley Long in every real estate broker's favorite movie, The Money Pit. Real estate is a business of trusted relationships, so you should rely on recommended appraisers and inspectors from your broker (if you work well together) or a home-owning friend who's had a good experience. It is also important that the appraiser is very familiar with the neighborhood, the local market, uses public records, and that he or she has access to MLS (Multiple Listing Service).

Five Tips Remember, an appraisal is an objective value of the property (or at a least a highly informed estimate) and only includes permanent structures in the home—so while those might be some particularly beautiful ABC Home furnishings, they won't increase the appraisal value. Many times, an appraisal can be bank-ordered when applying for a mortgage loan, as a way of protecting the lender (bank) and buyer from potentially dodgy investments. An inspection, on the other hand, is more focused on the nuts and bolts of a property, a thorough structural checklist that takes a close look at the condition of, among other things, the roof, the foundation, and the plumbing. The goal of an inspection isn't to valuate anything, but rather to ascertain what repairs might be needed. While this is often not completed until the time of a contract (this checklist should be included in the purchasing contract), it would do you a service to have a pre-inspection, which can also be advantageous in your negotiations. Plus, this can save you from a Tom and Shelley situation. The sky is falling? No, that's the roof caving in. Appraisals and inspections better help you understand the true value of the property and give you (and your friend, the bank) a thorough grasp of your potential investment, and only take up a few hours and cost just a few hundred dollars a pop. Research, research, research. p hot os A u s t i n M c A lli s t e r

f o r S e ll e r s t o G e t t h e B e s t P r i c e f o r T h e i r H o m e in the Shortest Time

b y K r is S ylv ester, Halstead Properties

No. 1 HIRE A TRUS TED BR OKER FROM A RE SPECTED FIR M

A good agent will know your neighborhood and have recent sales and closings in your building as well as your area. The agent should also give you a listing report of all similar homes currently on the market. Ask them about their career and their firm. How will the agent and the agent’s firm promote your property? They should also have a comprehensive marketing strategy that includes the internet, video, print and storefront exposure, and be willing to share exclusive listings with all licensed brokers so everyone will see your home. No. 2

PRICE IT RIGHT

Price is the number one consideration. If your price is right, it will sell. The agent you hire should have a good sense of what price will help sell your home sooner rather than later. The agent should look at the average number of days homes in your area are on market; how your home compares to others in terms of features and condition. You should think of pricing as a strategy. A below-market price that will bring about a bidding war may be the best way to achieve the highest price. No. 3 EVERY SELLER WANTS THEIR HOME TO SELL FAS T AND BRING TOP D OLLAR

Luck does not make this happen. Planning and preparation make the difference between success and failure. De-personalize: Pack up those personal photos and family heirlooms. Buyers get involved with personal items—you don’t want them to be distracted from the property itself. Rather you want buyers to imagine their own photos on the walls—you want them to think, “I can see myself living here.” De-clutter: People collect an amazing quantity of stuff. Remove most books and knickknacks from bookcases, clean everything off kitchen counters and put essential daily items away in a convenient closet or cabinet. b

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Rearrange closets and cabinets: When a buyer sees that you have everything organized and neat, it says you probably took good care of the rest of the property as well. Neatly stack dishes, pots and pans, hang shirts together facing the same direction and line up shoes. Put excess items in storage so that closets show ample room; use under-bed storage to take pressure off closet space. Remove or replace favorite items: If you want to take your chandelier or other “attached” furnishings with you take them out and replace them with a leave-behind item. Once you tell a buyer it’s not included, a deal could be soured. Make minor repairs: Replace cracked tiles and patch holes in walls, fix leaky faucets, doors that don’t close, caulk tubs, showers and sinks, and paint walls neutral colors. Make the home sparkle: Clean windows (inside and out) chrome and mirrors, clean out the refrigerator and organize contents, wax floors, clean carpeting and hang fresh towels. Flowers and fresh-baked cookies are a nice touch. No. 4 CREATE AN AD JUS TABLE S ALES P LAN AT THE OUTS ET

Come up with a sales strategy that is flexible. The first three to four weeks in the life of a listing are critical. Conversely, properties that languish on the market attract few or lower bids. Having a plan in place will help you react quickly to buyers’ reactions or lack of action with regard to your property. A good broker creates a marketing plan for each home and reviews it with the seller. No. 5 LAS T AND MOS T IMP ORTANT

Think of your home as a product to be sold. Make the mental and emotional decision to let go. Focus instead on the fact that soon you will be moving on to a new home and opportunity.

lines and custom products. We got our start working in association with Doban Architecture, and work together on many projects.

Think Fabricate: Making Your Home Your Own b y K r ist in Ive r se n

If there’s anything that’s as intimidating as buying a house or apartment, it’s moving into it and making it feel like it belongs to you. If that doesn’t seem intimidating to you, then you’re really not using your imagination. After all, this place is now yours. This isn’t a rental. You need to have it make sense to you. You need to feel like it's your home. Intimidated yet? Wondering how exactly to do that? We spoke with Susan Doban, the founder/CEO of Doban Architecture and co-founder of Think Fabricate, and Jason Gorsline, the design director of Doban Architecture and co-founder of Think Fabricate, so that we could find out what they think everyone should keep in mind when

designing and furnishing the interior of a new home. 1. Can you tell us a little bit about Think Fabricate and what it is you do? Think Fabricate is a multi-disciplinary design studio. We work at many scales, designing everything from furnishings and products to interior projects and site-specific installations. We enjoy finding the design solution in everything we do. We have a fabrication shop in East Williamsburg that affords us the “hands-on” opportunity to explore function, detail and character through color, texture, decorative imagery in creating our furniture

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2. What are your backgrounds in design? Jason: I went to University of Virginia School of Architecture but it took me 11 years before I started working as part of an architecture firm. After college I found an interest in furniture. I welcomed the opportunity to wrap my hands around the entire project and focus on every detail. I had been working with my hands since 10th grade so I figured I could blend that experience with everything I learned about design in architecture school. During the next few years, I worked designing and building furniture, but also took advantage of all that New York has to offer, going into every showroom I could, and studying the pieces I admired. I co-founded an earlier business, A&G Designs, with a fellow furniture designer in 2002, and we presented our first furniture designs at BKLYN DESIGNS in 2006. The next year, I met Susan through the show. She saw the color green in our furniture, which she loves, and a sofa that was the right fit for her home. We both enjoyed exploring the use of color, but also the process of developing the design together and enjoying the result, so we began working on more and more projects together, some as part of larger architectural projects. It was also the beginning of a relationship that took us through not only projects for her house but projects for clients of hers, and then she asked me to work on an architectural project designing cabinet details for a cafeteria in a college dorm, which also led to the cafeteria’s dining area and even the reception and lobby for the same multi-use building. Through all of these projects we had realized that we worked well together and had a connection that eventually led us to starting Think Fabricate in November 2009. Now I am the Design Director at Doban Architecture and we are partners and work together on all of our designs for Think Fabricate. Interestingly, I feel now

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that I have been working as part of an architecture firm and leading the design studio, I feel like it has helped me to become the furniture designer I sought to be when I left architecture school! Susan: It’s been great to work so closely with someone who brings commitment to design on every project scale and combines design rigor with an appreciation of what I would call the human element. Although I have had my own architectural practice since 1996, working together as a team, with the dialogue and play of ideas and new viewpoints, has been a new chapter in my own design education. Although I have a Master’s degree in Architecture from Columbia, my background is in the humanities. I was an undergraduate English major at Harvard, but enjoyed the printmaking workshop there and many other aspects of the arts there. Working now with the capability of a shop and introducing printing and graphics to our work has given me the opportunity to bring all aspects of my visual and architectural training into play. Working together, we have sought to bring a focus to materials and detail even in our institutional projects, where we have custom designed and fabricated furnishings and even art works for spaces we have designed. It’s really satisfying to be able to work at so many scales, to incorporate a range of design influences, and to have a partner who is willing to engage in a critical dialogue on all of these projects. Even though I have more experience in years as a designer, Jason has been my

teacher when it comes to the power of details and materials on the furnishings we design. 3. What are some of the most interesting/challenging customized projects you've had to work on? Jason: I like any project I am asked to design and then build. But the ones that really stick out are those that have a really specific function and I get the opportunity to really solve a specific design problem. One that sticks out is a corner cabinet that had a really specific program, and very little space. They wanted towel storage, a tilt out hamper, and his and hers drawers and cabinets. That same client also needed a valet in the men’s closet that also had a really specific program: watch storage, cufflink storage, belt storage, and even a safe. It was gratifying to take these small spaces, pack them with function, and have them look great as well! I guess you can say I really like the extra details. More than that I like to give the client what they’ve asked for, then a little something more. Another favorite of mine

was an entertainment/bar built-in where I added a bottle opener with a builtin catch that was housed in a small pullout drawer in the side of the cabinet. We have developed something of a specialty in designing for collectors, and this has led to a series of wall-mounted cabinets that take a collection which might be repetitive or even overwhelming, and gives it a home. Our Shift series of cabinets evolved from the needs of our clients: in one case, it was to store an inherited collection of cookbooks; in another case, it was a collection of antique toys. We took that basic practical need and it evolved into a whole new furniture line. Susan: I love the custom work for the Pastry Lab project that we are currently working on for Monroe College. It’s a place where the students at the culinary school prepare and serve food to gain practical experience in running and working at a restaurant. We have designed everything from the kitchen to wall-art to furniture, and even the graphics. We took an ordinary wooden spoon and painted it bright pink as an accent when staging the space for the opening, and now it has evolved into a series of wall panels that give the place a unique character that is welcoming for faculty and students. 4. What are some of the goals that you keep in mind when designing furniture, customized or not? Jason: I always strive for balanced material composition that gives the piece some unique quality. Susan: We aim for quality, functionality, and to reflect something about ourselves and our time. 5. What specifications are most important to keep in mind? Jason: I pay a lot of attention to woodgrain patterns and cuts, to material selection, and hardware selection and lo-

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cation on the piece. All of these factors are important to creating the look and level of quality that is characteristic of our work. Susan: We source environmentallyfriendly materials with care, and enjoy trying new finishing techniques and exploring color options in our work. 6. What are some of the future trends that you anticipate in home design? Jason: Many of our clients have an appreciation for the old and the new. They might love a brownstone or historic neighborhood, but they want to make it work for them and their lifestyle. Whether it’s an existing home, or a new apartment, often there is a lack of functional storage that makes people feel good about how they organize themselves. So, we have developed a lot of furnishings that enable people to be more organized in a way that is appealing and fun. This applies to basics like where to put your gym clothes or how to keep track of all of your electronic devices and their chargers. Our Fleur de Tech charging station is a unique way to integrate a place to charge your phone within a chest of drawers. 7. In your own homes, what do you find to be the most functional piece of furniture? Jason: The closet organization system. Susan: The chest of drawers that Jason designed when we first started working together. It has all sorts of custom features to accommodate my silverware collections as well as pots and pans and granola bars—with a custom decorative motif and eco-friendly materials! It’s a visual focal point in my dining room filled with functionality and unique character! 8. What do you think every home should have? Jason: A convertible sofa that you can convert to a sleeper in order to relax and watch a movie with your significant other. Susan: Our furniture!

Five Tips

f o r th e H o m e B u y e r i n 2 0 1 3 by Kris S ylv ester, Halstead Properties ph otos A ustin Mc All ister

No . 1 Assemble your team: Find a licensed real estate agent you trust who lives or works in (or close to) the neighborhoods you are interested in; speak with a mortgage lender/broker and obtain pre-approval for a loan; select a New York City real estate attorney. The market is moving so fast, a prospective buyer with a team in place greatly increases the chances of finding and most importantly closing on a dream home.

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No. 2

No. 4 Understand the

Review your credit report and remove all disputed claims. Reduce your debt, especially outstanding credit card balances. Do not open or close any accounts unless instructed bya credit professional.

difference between, co-ops, condos, and new development. The costs of ownership before and after the transaction can vary widely. For example there are no mortgagerecording taxes for co-op loans. Of course, townhouses have their own pros and cons when it comes to finances.

No. 3

Have at least 20-30 percent of the purchase price available in liquid assets.

No. 5 Listen to your

instinct, when you find the right home you will know. I like to tell my buyer’s to use a rating system of 1 to 20 and you should only pull the trigger if they can rate their potential new home an 8 or higher.

P ER S ONAL

E S S AY

Shelter b y He le n Ph illips

On the morning of my 28th birthday, I woke up and realized I was pregnant. What else could explain this strange, hot, buzzing feeling? I elbowed my husband, asleep beside me on my brother-in-law’s futon. “Adam,” I said, “I’m pregnant.” “Really?” he said dubiously, suddenly wide awake. The timing was abysmal. We were in an unmoored and uncertain state, having spent the past six weeks moving among the apartments of various friends, bouncing back whenever necessary to Adam’s brother’s place. The $7000 Obama tax credit for first-time homebuyers, coupled with the foreclosure crisis, had suckered us into believing that we (a writer/CUNY adjunct married to an artist/CUNY adjunct) ought to seize this opportunity to become apartment-owners. Assured that we’d close by mid-July

on the 650-square-foot Ditmas Park fixer-upper, we gave notice to the beloved landlords of the envyprovokingly cheap and charming Kensington apartment we’d rented for the last five years. It was the affordability of that apartment, paired with money saved from our wedding two years before, that enabled us to get the down payment together. But now here we were. Late September, and it was starting to look quite likely that we’d never close, the property tied up in all sorts of mysterious red tape. We were waiting (at least, we thought we were—the dealings with the bank were inscrutable) for the paperwork to come through so the foreclosure could be completed so the property could be purchased. We’d already handed over half of the down payment; the fear that we’d never see that money again kept me up at night. Weeks passed without b

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any progress, and meanwhile we wandered from borrowed bedroom to borrowed bedroom. We kept finding ourselves on street corners waiting for cabs to carry us to the next temporary housing solution, the mess of our life piled around us, suitcases and canvas bags exploding with unopened mail and half-eaten boxes of cereal. So often, it seemed, these transitions took place on rainy nights. And whatever umbrella we had was always busted. It was a disorienting time, marked by irrationality and mystical thinking. I became convinced that since this was a foreclosure, and thus a sad chapter in the life of the previous owner, we’d been cursed for getting so excited about acquiring the apartment. I developed a superstitious side, walking around Brooklyn with my fingers crossed and asking my parents to send sage sticks from New Mexico. The most dramatic instance of this irrationality occurred one evening when Adam strode through the door of yet another borrowed apartment and announced that he’d seen an utterly charming baby on the subway and was ready to have one of his own. I was the right audience for this declaration; since we’d started dating at age 21, we’d fantasized about having kids together, I always a step ahead of him in terms of timing. His delightful spontaneity catapulted the looming problems (So little income! Nowhere to live! And weren’t we, by college-educated standards, too young for parenthood?) into a distant sphere. Ignoring the protests of the sensible voice in my head, I laughed and opened my arms wide. It was impossible to imagine a life growing out of such a capricious moment. Yet here it was, the blue line on the pregnancy stick confirming that evening what I’d told Adam that morning. We were crouched together on the floor of my brother-in-law’s bathroom. We didn’t seize each other up in a life-affirming hug. Instead, we stared at each other in shock. A sublime feeling of terror and joy split me in half, a feeling that manifested itself as a panicky giggle. That night on the futon, my heart pounded so hard I couldn’t sleep. “My heart feels like a tin can being kicked down a street,” I said. “Yeah,” Adam said, also sleepless. “Tell me about it.”

P ER S ONAL

What surprised me was how passionate I became, and how swiftly. Never mind that it had been a whimsical conception. After that first night of fear, a maternal ferocity overcame me. The ferocity of: I love you, future child, and will do anything that needs to be done for you. Your dad and I will take three buses to an unfamiliar neighborhood on a rainy night to get to an OB/GYN with an open slot who accepts our insurance. We will go out for cheap Thai food to celebrate you and will reassure each other of our scrappiness. After giving up a morning of work to try and find a midwife, I will cup my stomach and think of you and let that brilliant flash of happiness burn away the logistical headache. We will find a home for you. By then we were staying in Chelsea, in the penthouse of Adam’s former boss, who, unbeknownst to his wife, had given us permission to squat there while they were in Europe. It was by far the finest accommodation we’d had. Meanwhile, things were looking ever grimmer on the real estate front. Nearly two months had passed and still no closing date. After 60 days we could legally extricate ourselves from the contract. I started to search for rentals. I became obsessed with finding a place to settle, the homing instinct stronger by the day. I was astonished by my resolve, by my ability to take this development in stride, by the protective animal love I already felt. “It’s incredible to think,” I said to some friends, strolling in Greenwich Village after the dinner at which we’d told them prematurely about the pregnancy, “that one of the most important people in our lives is growing inside me right now.” On a Friday in October, the 59th day of the contract, the foreclosure paperwork suddenly, inexplicably, came through at last. Now we had to close, even though we were hours away from signing a lease on a rental. The closing was scheduled for Tuesday morning. That Sunday, I began to bleed. The Internet’s explanations were less alarming than one might expect: “Bleeding can occur frequently in the first trimester of pregnancy and may not be a sign of problems.” Still, my midwife suggested an ultrasound. Much to my relief, I was up all night vomiting. ‘Perfect!’ I thought. ‘Everyone knows pregnant women suffer from nausea!’ “Hey, lookee there!” the ultrasound tech said the next morning. “The pregnancy sac.” The tiny

E S S AY

black cloud on the screen filled me with awe. “You’re fine,” the doctor assured me. “Totally normal for a four-to-five week pregnancy.” I pretended I wasn’t confident about when I’d gotten pregnant. But I knew it should have looked more like six to eight weeks. By Monday evening, the bleeding had worsened. Riding the subway home after work, I was scared I might pass out. It seemed obvious that we had indeed been cursed for trying to purchase a home predicated on someone else’s failure. It was a cold night. My coat was in storage, and I was wearing one of the five summer dresses I’d been cycling through since August. The three blocks between the subway and the penthouse felt insurmountable. I stepped into a deli, struck by a desperate craving for soup (pregnant women have cravings, don’t they?). Then I limped onward, clinging to the warm container. ‘I’ve got you,’ I told my fetus, ‘and I’m not going to let you go.’ I envisioned myself cupping a candle in the wind. A few hours later, I was in the bathroom. When I screamed, Adam rushed in. “Are you okay?” But all I could do was stare and scream. The shrieks rose from some primal place within me, blotting out my capacity for language. The next morning found us on a street corner yet again, laden with bags and trying to hail a cab that would accept such chaotic cargo. We were fleeing the penthouse in the nick of time; its owners returned that afternoon. It was a clear, luminous morning, but as we soared over the Brooklyn Bridge, I was numb to the sight of Manhattan’s radiance. The real estate lawyer’s secretary eyed us warily as we piled b

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all our stuff in the waiting room. Typically I’d have apologized, but as it was I stared her down. Interminable stacks of paperwork were signed and checks exchanged. I never could have imagined that closing on our first home would feel so dismal. “I had a miscarriage too,” our real estate lawyer whispered to me on our way out. And the realtor, who’d also had a miscarriage, offered to give us a ride. In the next weeks, women from all different parts of my life told me about their miscarriages. Considering how common it is to lose a pregnancy (an estimated 30 percent of conceptions end in miscarriage), I was shocked I’d heard so little about it. Miscarriage is in a strange category of grief—a loss that lies somewhere between death and the mere sloughing off of potential. Perhaps because the feelings of women who miscarry land at many different points along that spectrum, it’s difficult for family and friends to gauge what attitude to take toward the loss, and the miscarrier—confronted by the well-intentioned imperative to move on—can end up feeling solitary in her grief. Because the experience is so rooted in the woman’s body, it is somewhat more abstract for her partner, or so we found. While Adam was deeply concerned about me, and ever supportive, he did not grieve the loss of the child as I did. But he held my hand as we stepped into the apartment we’d owned for the past 23 minutes. The kitchen was a wreck, there were no closets, and I’d never been so tired. Yet the sun was glowing across the wooden floorboards, and I had the brief bright ferocious thought: We will be okay here, in our new home. •

Neighborhood guide

Brooklyn Directory 1 of a Find

6 3 3 V a n d e r b i l t Av e n u e B r o o k l y n , NY 1 1 2 3 8 718-789-2008 w w w. 1 o fa F i n d V i n ta g e . c o m

1 of a Find Vintage specializes in rare & designer vintage clothing & accessories. “One of the Best Indie Shops in Prospect Heights” - Time Out New York. “A TOP PICK for Vintage Clothing in NYC” Black Book magazine, Open Daily noon–8pm

Artists & Fleas

B y B r o o k ly n

2 6 1 S m i t h S t. B r o o k l y n , NY 1 1 2 3 1 t. 7 1 8 - 6 4 3 - 0 6 0 6 w w w. b y b r o o k ly n . c o m

The finest goods made in Brooklyn. A one-stop boutique in Carroll Gardens that carries food products, stationery, jewelry, adult and kids clothing, books, ceramics and all the best Brooklyn artisans have to offer. Local folks selling local wares!

Dewey’s Candy

141 Front Street 718-422-1344 w w w . d e w e y s c a n d y. c o m

7 0 N o r t h 7 t h S t r e e t, btwn Kent & Wythe B r o o k l y n , NY 1 1 2 1 1 w w w. a r t i s t s a n d f l e a s . c o m

Williamsburg’s weekly year-round indoor artist, designer & vintage market, where emerging artists, indie designers, vintage collectors, handmade crafters & artisanal foodmakers come together to hang out, check out, and set up shop. Open SatSun:10am-7pm

Barbara Campbell

E d g y. F a s h i o n - F o r w a r d . B k l y n M a d e .

4 3 2 M y r t l e Av e n u e . B r o o k l y n 1 1 2 0 5 718-855-4383 w w w. g r e e n i n b k ly n . c o m

The one-stop shop for a greener home & life featuring eco-friendly solutions for everyday living. Including Brooklyn crafts, solar stuff, kid things, home goods, beauty products, stationery, books, candles, vintage stuff & more, Green in BKLYN helps make it convenient & easy to live gently on this earth. Join us in BKLYN, where green grows.

Julia James Boutique 200 Franklin Street B r o o k l y n , NY 1 1 2 2 2 347-763-0065 w w w. j u l i a j a m e s b o u t i q u e . c o m

A favorite destination for any candy lover! Named “Best Sweet Shop” in New York magazine! A vast assortment of nostalgic candies, everybody’s favorite gummy or sour. Featuring a 21-color M&M machine. Great for birthday parties, photo shoots, and gift giving.

Gabriela De La Vega 8 8 S . P o r t l a n d Av e n u e 718-858-1152 w w w. g a b r i e l a d e l a v e g a . c o m

P a r k S l o p e , B r o o k l y n , NY 1 1 2 1 5 w w w . B a r b a r a C a m p b e l l NYC . c o m info@barbaracampbellnyc.com

Barbara Campbell Accessories are for women who love unique, affordable, hand-crafted, luxury jewelry & deconstructed handbags.

G r e e n i n B KLYN

Offering women’s clothing and accessories, Julia James specializes in fun, casual pieces that are easy to wear. From comfy tees to pzretty dresses, you will find the perfect outfit for your next brunch outing here!

Liloveve

457 Grand Street B r o o k l y n , NY 1 1 2 1 1 718.388.2190 w w w. l i l o v e v e . c o m

Sought-after jewelry designer Gabriela de la Vega, whose handcrafted jewelry has graced the pages of Paris, American and German Vogue, Elle, Glamour, WWD, In Style and many others, has opened a new boutique in fashionable Fort Greene. The boutique features beautiful clothing and unique gifts, as well as de la Vega’s iconic jewelry. The store “is an intimate space where people can discover something new amidst de la Vega’s wellcurated collection of treasures.”

Voted New York Magazine’s BEST OF NEW YORK Engagement Ring LILOVEVE is based on the philosophy of channeling passion beyond design to a way of life. Handcrafted Wedding & Engagement Bands and bespoke jewelry in Platinum, Gold, Silver, Diamonds and Gemstones.

Poppy

Slope Cellars

Slope Cellars is a warm and user-friendly wine and spirits shop. The well-curated selection features great everyday values as well as geeky treasures from off the beaten path. Friendly, knowledgeable staff loves to help you choose the perfect bottle for your wallet and palate. Generous case discounts and a loyalty card sweeten the deal. Cheers!

repop

Escape Guesthouse

p a r k s l o p e * 2 1 7 5 t h a v e * b r o o k ly n * 347.599.1793 n o l i ta * 2 8 1 m o t t s t * n y c 212.219.8934 w w w . p o pp y n y c . c o m @ p o pp y n y c

1 4 3 R o e b l i n g S t, W i l l i a m s b u r g 718-260-8032 w w w . r e p o p n y. c o m

RePop is a vintage wonderland curated with the charm of an old-fashioned Parisian boutique. Curious oddities, midcentury furnishings, art salon. Tuesday thru Sunday 11am -7pm.

Sc o s h a

64 Grand Street B r o o k l y n , NY 1 1 2 1 1 718-387-4618 w w w. s c o s h a . c o m

4 3 6 S e v e n t h Av e n u e B r o o k l y n , NY 1 1 2 1 5 718-369-7307 w w w. s l o p e c e l l a r s . c o m

168 Bergen Street B r o o k l y n , NY 1 1 2 1 7 R e s e r vat i o n s : 7 1 8 - 2 4 3 - 1 1 7 1 w w w. e s c a p e g u e s t h o u s e . c o m

Formerly a private residence, this elegant guesthouse on a quiet street blends classic with contemporary and brims with comfort. Five unique guestrooms, private garden, parlour with piano and games. Continental breakfast, concierge service, complimentary hi-speed internet access. Fully licensed. three-night minimum for all stays.

Mobile Mutts

d o g wa l k i n g a n d c at s i t t i n g 2 5 7 3 r d Av e , G o w a n u s 718-722-9336 w w w. m o b i l e m u t t s . c o m

SCOSHA is a collection of jewelry by Australian-born artist and designer, Scosha Woolridge. Woolridge is a story jeweler, using travel tales as inspiration to create jewelry that combines the modern and ancient worlds, suitable for both men and women. SCOSHA draws from a mix of global influences and explores the romance, adventure and freedom within everyday life. “Ultimately, the goal is lived-in style. It should feel as effortless as it looks,” says Woolridge, “and it’s that natural sensibility that is really attractive.” Scosha’s atelier is in Williamsburg, New York City. For more information, please visit our website.

Mobile Mutts is a fully-insured dog walking and cat sitting service with the BEST team of walkers in Brooklyn! We are available for dog walks & cat visits 365 days a year & have been caring for Brooklyn pets for over 9 years. We currently serve Brooklyn Heights, Cobble Hill, Boerum Hill, Carroll Gardens, Columbia St Waterfront District, DUMBO, Prospect Heights, Park Slope, Fort Greene, Gowanus and parts of Clinton Hill, Windsor Terrace, South Slope, Williamsburg, East Williamsburg and Greenpoint. Please check out or website mobilemutts.com for more info, rates, walker bios and references

Pimps and Pinups

1 0 1 S ta n t o n S t r e e t LE S , N e w Y o r k 1 0 0 0 3 646-861-3766 w w w . p i m ps a n d p i n u ps . c o m

Pimps & Pinups offers a visual experience unlike any other. Black-walled elegance meets 1950’s Hollywood glamour. The space attracts the fashion elite, yet at Pimps and Pinups you don’t have to be a star to be treated like one. The incredibly talented staff ensures that everyone is made to look and feel special.

AlMar

111 Front Street 718-855-5288 w w w. a l m a r d u m b o . c o m

DUMBO’s latest culinary edition brings quality regional Italian with original brunch favorites. Dinner changes seasonally, with whole-roasted fish, handmade pasta, specialty crostinis and slow-braised meats always available. Open space makes for an ideal event venue. Enjoy a cappuccino, 12-year-old scotch, or homemade tiramisu while watching classic cinema.

The Counting Room

4 4 B e r ry S t r e e t ( at N . 1 1 t h ) B r o o k l y n , NY 1 1 2 1 1 718-599-1860 w w w. t h e c o u n t i n g r o o m . c o m

Set in an old Quinine factory with the raw elements of exposed brick and 16-foot ceilings, The Counting Room’s two floors make it a perfect place for gatherings from two to 40+. Serving cocktails with a twist, an old world wine list, and a 30 craft-beer list that changes seasonally. Kitchen is open late seven days a week. Saturday and Sunday, join us for our $15 Prix Fixe Brunch at 12pm. A private event space is available for birthday parties and other special events. Reservations are taken for groups of 10 or more.

G r a z i e l l a’ s

2 3 2 V a n d e r b i l t Av e n u e B r o o k ly n , N y 1 1 2 0 5 718-789-5663 w w w. g r a z i e l l a s m e n u . c o m

Graziella’s is Fort Greene’s most popular Italian restaurant. We are known for our famous wood burning pizzas & our Italian specialty dishes like Mediterranean grilled octopus, chick pea panelle and our homemade meatballs.

Hill Cafe

1 7 P u t n a m Av e n u e B r o o k l y n NY 1 1 2 3 8 718-230-3471 w w w. h i l l c a f e . n e t

Cozy American Bistro delivering more than just food. We offer an enjoyable experience with attentive service, a seasonal wine and food menu, and specialty juice cocktails. Garden dining, outdoor fire-pit, Wed Night Live music. Daily Happy Hour (5-8) $1 Oysters, $5 Calamari & Wings, $2 off All Drinks! Brunch Sat- Sun. Open Tues-Thurs:5pm-12am, Fri:5pm-1am, Sat:11am-1am, Sun:11am-10pm

No. 7

One Girl Cookies

The casual rustic dining room, contemporary American menu and dimly lit marble bar combine to make No. 7 in Fort Greene a destination for dinner, a late night snack or a lingering cocktail.

Two charming Brooklyn cafes offering sweet treats (cookies, cupcakes, whoopie pies, cakes) and coffee, plus a continental breakfast. Other specialties include event desserts and favor boxes, and monthly baking classes. Cobble Hill (68 Dean St) & DUMBO (33 Main St). Open 7 days a week.

7 G r e e n e Av e n u e , B r o o k l y n NY 1 1 2 3 8 718-522-6370 w w w. n o 7 r e s t a u r a n t. c o m

Mauzac

1 3 6 D e k a l b Av e n u e B r o o k l y n , NY 1 1 2 1 7 718-694-2044 w w w. m a u z a c b a r . c o m

Perched at the edge of Fort Greene Park, with a view of the changing seasons, the intimate Mauzac wine bar is the perfect place to enjoy a variety of wines in a warm and inviting setting. Brunch Saturdays & Sundays.

M i s d e m e a n o r at N u H o t e l 85 Smith Street B r o o k l y n , NY w w w. n u h o t e l b r o o k ly n . c o m

Henry Public

3 2 9 H e n r y S t r e e t, B r o o k ly n 718-852-8630 w w w. H e n r y P u b l i c . c o m

Old Time Brooklyn Saloon done up in Handsome Style. Serving the Finest & Best in Food & Cocktails, Etc. Oysters • Hamburger Sandwiches Steaks & Chops Our Famous Turkey Leg Sandwich Open daily for Supper & Late Night Dining Weekend Brunch • Now Open For Lunch

Inventive signature cocktails and a low-key atmosphere make this a hidden neighborhood gem! Open to hotel guests and residents of the neighborhood too, Misdemeanor is a great spot to meet up for drinks before dinner on Smith Street or for a relaxed after-work cocktail. Come have a drink!

3 3 M a i n S t , DUMBO 6 8 D e a n S t r e e t, C o b b l e H i l l B r o o k l y n , NY 1 1 2 0 1 212.675.4996 w w w. o n e g i r l c o o k i e s . c o m

W at t y & M e g

2 4 8 C o u r t S t. , B r o o k ly n 718-643-0007 w w w. w at t ya n d m e g . c o m

Located on the corner of Court Street and Kane Street in historic Cobble Hill, Brooklyn, this 72 seat restaurant offers two dining rooms, an intimate & elegant setting with warm lighting, reclaimed church pews from Harlem and mahogany shelving. Owner Sosie Hublitz and Chef Mary McGrath helm the ship of Watty & Meg serving contemporary American fare inspired by seasonal and local ingredients. Watty & Meg is open 7 days a week for lunch, brunch & dinner. Happy Hour is Monday through Thursday from 5pm-7pm. Every Monday is Burger Night with the unbeatable $10 Burger (beef or veggie), hand-cut fries and can of beer special. Watty & Meg is available for private dinner parties, events and receptions. Call for inquiries,

! w o N le a S On

Northside june 13 - 20, 2013 music • next • film

, t x e N s ’ t a h W klyn? o o r B www.northsidefestival.com

@NorthsideFest

facebook.com/NorthsideFest sponsors

founding sponsor

#nside

S P R I N G

AR T S

May 3 John n y Marr at M u si c Hall of Williamsb u r g

4/10 10 ca n't m i s s

March 20

Ap ril 10

Jon athan Lethem at Greenligh t

Julius Caesar, performanc es begin at BAM

Brooklyn's native son has spent the last few years teaching out in California, but he comes home at least for a night to talk to author and LIU creative writing professor Jessica Hagedorn. They'll be signing books after, too!

Brooklyn Arts Events This Spring

3/05

The Royal Shakespeare Company visits Fort Greene with a new production of this bloody political classic set in present-day Africa and featuring an all-black cast.

4/28 4/07 Ap ril 28

March 5

APRIL 7

S a m L i psy t e at Bo o kCo urt

S trin gs an d S lam P oets w ith th e Br ooklyn Ph ilh armonic

He's one of those rare novelists and storywriters that, when he puts out a new book, and you edit the books section of a magazine, all your freelancers start emailing you to ask if they can get an advance copy for review. The new book is The Fun Parts, which he'll be signing and reading from in South Brooklyn tonight.

While our hometown Phil had to cancel most of this season's full-orchestra concerts, it continues its community-outreach chamber programs, including this one, which will feature the New York Youth Poet Laureate, a Bed-Stuy native, as well as a performance of a piece by Zach Condon of Beirut, among others.

March 17

Last c h anc e to see Raw/Cooked : Marela Zacarias at Brooklyn Museum

The seventh exhibition in this ongoing series that presents the work of Brooklyn artists showcases Gowanus-based Zacarias, who created four sitespecific, crazy-sounding sculptural works for it.

Morrissey's solo career has been ok, sometimes pretty darn good, but you can tell that he's not what made The Smiths greatâ&#x20AC;&#x201D;it was his collaboration with guitarist Marr that made them such a great band. See for yourself when Marr comes to Brooklyn.

5/11 May 11 The Thrill in g Ad v en ture Hour at Th e Bell Hous e

Funny people like John Hodgman, James Urbaniak and others put on an oldfashioned staged radio program in the latest iteration of this show visiting from Los Angeles.

May 12 The Master Builde r begins performan ce s at BAM

Every BAM season has at least one high-profile production starring a high-profile actor, and this season it's Brooklynite John Turturro doing Ibsen. Don't be like those jerks who've missed Cate Blanchett doing Tennessee Williams, or John Hurt doing Beckett.

A p r i lM ay Th e L Magaz ine's Searc h for Poc ket Fic tion: Literary Upstart

Las t chan ce to see Th e Wild B r ide at St. An n 's

Our editors are already hard at work sorting through the slush-pile submissions to our sister publication's annual short-fiction death match, in which many talented writers compete for publication in our summer fiction issue by reading out loud in front of literary-world judges.

Kneehigh, responsible for the celebrated production of Brief Encounter that played Brooklyn and then Broadway, makes its highly anticipated return to St. Ann's for this adaptation of a Grimm fairy tale, "The Girl With No Hands."

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WORLD-CLASS SPORTS AND ENTERTAiNmENT iS BACK

In Brooklyn

Bernard Hopkins vs. Tavoris Cloud

2013 Buick Atlantic 10 Basketball Championship

Mar. 9 - 5pm

Mar. 14 - 17

World Championship Boxing

Multiple tiMes

Ringling Bros. and Barnum & Bailey Circus

Mar. 20 - Apr. 1

Alicia Keys

Apr. 5 - 7pm

Multiple tiMes

Barclays Green Day

Apr. 7 - 8pm

Bob Seger & The Silver Bullet Band Special Guest: Joe Walsh

Daily News Golden Gloves

World Championship Boxing

Apr. 18 & 19

Danny Garcia vs. Zab Judah

The National

The Postal Service

Jun. 5 - 8pm

Jun. 14 - 8pm (sold out) Jun. 15 - 8pm

Apr. 16 - 7:30pm

Rihanna

Special Guest: A$AP ROCKY

May. 4 & 5 - 8pm

The Killers

May. 18 - 8pm

Apr. 27 - 4:30pm

Tickets on sale

Go to barclayscenter.com, ticketmaster.com, or call 800.745.3000 to purchase tickets. For information on group ticket sales please contact the Barclays Center Group Sales Department at 855.GROUP.BK. facebook.com/barclayscenter

@barclayscenter