Gotham - 2015 - Issue 4 - Summer - Art of the City by MODERN LUXURY

ART OF THE CITY

FAILE ROCKS: FROM STREET ART TO THE BROOKLYN MUSEUM

FINDING THE NEXT BIG ARTIST IN BUSHWICK

PLUS IMAGINE DRAGONS IAN SCHRAGER PABLO SCHREIBER MATT STONE

gotham-magazine.com NICHE MEDIA HOLDINGS, LLC

COVER ARTIST: FAILE

old love

new Flame

old chase

new pursuit

old Stable

new horses

one can’t just build something truly Italian ONLY HISTORY CAN

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FRONT RUNNER Bob Dylan plays a Fender Stratocaster electric guitar while recording at Columbia’s Studio A in New York City.

ElEctrifying

Fifty years ago, Bob Dylan, one of the primary catalysts in the 1960s American folk music revival, walked into Columbia Records’ Studio A on Seventh Avenue in New York City to record an album that would change music forever. He had returned from a tour of the UK dissatisfied and disillusioned, and as he told journalist Nat Hentoff, “I was going to quit singing. It’s very tiring having other people tell you how much they dig you if you yourself don’t dig you.” The album he was working on, Highway 61 Revisited, was released in August 1965 and opened with “Like a Rolling Stone.” A few weeks after recording the song, he performed it live at the venerable—and previously all-acoustic— Newport Folk Festival. “Like a Rolling Stone” would become a signature for the young troubadour, but for some fans, Dylan had committed blasphemy by infusing his new music with a rock ’n’ roll electric edge. One critic wrote, “He electrified one half of his audience, and electrocuted the other.” Like all good rock ’n’ roll stories, controversy followed the debut of the

10 gotham-magazine.com

new Dylan. One scenario had folk icon Pete Seeger threatening to cut the microphone cable with an axe during Dylan’s set at the festival. Another had the audience booing and shouting for Dylan to leave the stage. Dylan himself said that Seeger’s disapproval was like a “dagger in his heart.” Seeger later stated that it was the sound quality that bothered him, because the Newport audience needed to hear Dylan’s lyrics. While the details of that day are disputed, one fact remains clear: Highway 61 Revisited changed the course of Dylan’s career, and “Like a Rolling Stone” entered the discography of the most influential rock songs ever written. It is cynical, it sneers at the candy-coated pop version of love, and in spite of its length (6:13), it climbed to number two on the Billboard charts and got extensive radio play. Rolling Stone magazine named it number one on its list of the 500 greatest songs ever written and said, “No other pop song has so thoroughly challenged and transformed the commercial laws and artistic conventions of its time, for all time.” G

photography by Michael ochs archives/getty iMages

In the summer of 1965, BoB Dylan shocked audIences wIth “LIke a roLLIng stone,” a song that wouLd become hIs sIgnature and change the course of pop musIc forever. by deborah l. martin

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Soho 138 Spring St, New York 212.226.8276 Madison 1025 Madison Ave, New York Coming Soon

contents

summer 2015 10 // front runner 20 // letter from the editor-in-Chief

22 // letter from

the publisher

24 // the list 56 // invited

style 28 // building inspiration Max Mara creative director Ian Griffths looks to the Whitney Museum for his latest handbag design.

30 // the glitter faCtor Swarovski celebrates 120 years of innovative design, shimmer, and shine.

32 // hot times New Yorkers go native this summer with sizzling, tribal-inspired pieces.

34 // style spotlight Ralph Lauren redefnes the oxford shirt, Brunello Cucinelli opens a new outpost, and summer sunglasses come full circle.

36 // petal perfeCt There’s a new and very rosy option for New York women lavishing time and dollars on head-to-toe skincare.

38 // fast forward Timepieces to get you across the fnish line.

culture 42 // a hard roCk life

Beguiling summer fashions with a tropical beat make for a season of hot style. Embroidered gown, Gucci ($5,700). 840 Madison Ave., 212-717-2619; gucci.com. Lauren bracelet, Jason Wu for Pluma ($210). Bergdorf Goodman, 754 Fifth Ave., 212753-7300; bergdorfgoodman.com

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44 // gym dandies The Brooklyn Museum looks at the history of the sneaker.

46 // Culture spotlight Lincoln Center gets eclectic, the Cooper Hewitt honors a provocative architect, and Raw Milk fows at Joe’s Pub.

photography by randall Slavin

Imagine Dragons embark on an epic tour, playing Barclays Center on June 30.

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INTO THE DREAM

KHAKI X-WIND

AUTOMATIC SWISS MADE

summer 2015

The innovative designs of Heatherwick Studio, including London’s Garden Bridge (pictured), are on view at the Cooper Hewitt.

Steven Kolb and the CFDA launch New York’s first Men’s Fashion Week.

people

Oysters on the half shell at Pier A Harbor House.

66 // MakinG Waves

48 // Clothes enCounters

Tim Barton and Douglas Gray toast their yacht business at Pier A Harbor House.

As CEO, Steven Kolb helped reinvigorate the Council of Fashion Designers of America, the group set to launch New York’s frst Men’s Fashion Week in July.

features

50 // You’ve Got Mail

70 // art oF the CitY

Danielle Weisberg and Carly Zakin celebrate the third anniversary of their e-newsletter, The Skimm.

In this special section, we spotlight and celebrate the freshest, boldest artistic talent from each of the 11 locales where Niche Media publishes.

52 // on the Brink Pablo Schreiber picks up a starring role on HBO’s buzziest new comedy.

54 // the FrenCh ConneCtion Bastille Week and French Restaurant Week join forces to beneft Action Against Hunger.

82 // oFF the Grid Street art meets high art in the multimedia mash-ups of Faile, the artist team of Patrick McNeil and Patrick Miller, whose Brooklyn Museum show this summer resonates with the spirit of New York. Interview by Matt Stone Photography by Shane McCauley

88 // sunnY side up

taste 62 // shore thinG At Santina, Italian gets a new dialect.

64 // Water, Water everYWhere

The summer’s best tables, with a side of riverfront views.

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Citrus hues and ethereal silhouettes are summer-ready from sunrise to sunset—perfect for New York women whether they are partying along the glittering shores of the Manhattan waterfront or at stylish new resorts like Baha Mar in the Bahamas. Photography by Randall Slavin Styling by Cannon

photography by Eric ryan andErson (Kolb); doug young (oystErs); courtEsy of arup (bridgE)

contents

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contents 82

Patrick Miller and Patrick McNeil of Faile, whose artwork has gone from the streets of the Lower East Side to the halls of the Brooklyn Museum.

summer 2015 96 // At the WAter’s edge With megayachts in the Hudson, Barry and Diane’s gift of a foating pier, and new riverside restaurants, condos, esplanades, and biking trails—New York returns to its roots as a waterfront city. By Suzanne McGee

haute property 104 // MAking gold out of grit Ian Schrager takes on the Lower East Side with a new condo-hotel, 215 Chrystie Street.

106 // over the Bridge Top Brooklyn developers and real estate executives talk about how the borough’s housing market keeps its heat.

110 // ABode spotlight Missoni Home launches a new collection, and “petri dish” takes on a sophisticated new meaning.

and finally… 112 // shrink WrApped

on the Cover:

Delicious, by Faile, 2011

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photography by Shane Mccauley

Say goodbye to dog-day psychoses— with text therapy, New Yorkers can link to their mind menders, even in August.

ISA BELLE A R MSTRONG www.isabellearmstrongny.com

CATHERINE SABINO Editor-in-Chief Managing Editor JENNIFER DEMERITT Editor-at-Large SAMANTHA YANKS Art Director ANASTASIA TSIOUTAS CASALIGGI Photo Director LISA ROSENTHAL BADER Associate Editor ERIN RILEY Senior Fashion Editor FAYE POWER Copy Editor WENDIE PECHARSKY Research Editor JAMES BUSS

DAWN DUBOIS Publisher Advertising Directors VICTORIA HENRY, JIM SMITH Account Executive MORGAN CLIFFORD Assistant Distribution Relations Manager BRACKETT BILODEAU Senior Director of Brand Development ROBIN KEARSE Director of Brand Development JOANNA TUCKER Brand Development Managers KRISTIN BARNES, JIMMY KONTOMANOLIS

NICHE MEDIA HOLDINGS, LLC Senior Vice President and Editorial Director MANDI NORWOOD Vice President of Creative and Fashion ANN SONG Creative Director NICOLE A. WOLFSON NADBOY Executive Fashion Director SAMANTHA YANKS ART AND PHOTO

Senior Art Director FRYDA LIDOR Associate Art Directors ALLISON FLEMING, JUAN PARRA, JESSICA SARRO Senior Designer NATALI SUASNAVAS Designers AARON BELANDRES, SARAH LITZ Photo Editors MARIE BARBIER, JODIE LOVE, SETH OLENICK, JENNIFER PAGAN, REBECCA SAHN Senior Staff Photographer JEFFREY CRAWFORD Senior Digital Imaging Specialist JEFFREY SPITERY Digital Imaging Specialist JEREMY DEVERATURDA Digital Imaging Assistant HTET SAN FASHION

Associate Fashion Editor CASEY TRUDEAU Assistant Fashion Editors CONNOR CHILDERS, LISA FERRANDINO Entertainment and Bookings Editor JULIET IZON COPY AND RESEARCH

Copy and Research Manager WENDIE PECHARSKY Copy Editors DAVID FAIRHURST, JOHANNA MATTSSON, JULIA STEINER Research Editors LESLIE ALEXANDER, JUDY DEYOUNG, KAREN MCCREE, AVA WILLIAMS EDITORIAL OPERATIONS

Director of Editorial Operations DEBORAH L. MARTIN Director of Editorial Relations MATTHEW STEWART Executive Editorial Assistant CHRISTINA CLEMENTE Online Executive Editor CAITLIN ROHAN Online Editors ANNA BEN YEHUDA, TRICIA CARR Online Editorial Assistant CATHERINE PARK Senior Managing Editors DANINE ALATI, KAREN ROSE, JILL SIERACKI Managing Editors MURAT OZTASKIN, OUSSAMA ZAHR Shelter and Design Editor SUE HOSTETLER Timepiece Editor ROBERTA NAAS ADVERTISING SALES

Account Directors SUSAN ABRAMS, MICHELE ADDISON, CLAIRE CARLIN, MICHELLE CHALA, KATHLEEN FLEMING, KAREN LEVINE, MEREDITH MERRILL, NORMA MONTALVO, DEVON MOORE, JEFFREY NICHOLSON, SHANNON PASTUSZAK, MIA PIERRE-JACQUES, VALERIE ROBLES, JESSICA ZIVKOVITCH Account Executives SUSANA ARAGON, LAUREN BROGNA, JANELLE DRISCOLL, VINCE DUROCHER, JAMIE FOX, IRENA HALL, SAMANTHA HARRIS, SARAH HECKLER, CATHERINE KUCHAR, JULIA MAZUR, FENDY MESY, RILEY O’NEILL, MARY RUEGG, ERIN SALINS, JACKIE VAN METER Sales Support and Development EMMA BEHRINGER, ANA BLAGOJEVIC, ERIN GLEASON, KRISTINE GUEVARRA, DARA HIRSH, EMERY HOLTON, KARA KEARNS, MICHELLE MASS, NICHOLE MAURER, RUE MCBRIDE, ELIZABETH MITCHELL, STEPHEN OSTROWSKI, MICHELLE PETRILLO, ALEXANDRA WINTER MARKETING, PROMOTIONS, AND PUBLIC RELATIONS

Vice President of Marketing and Public Relations LANA BERNSTEIN Promotions Art Designers KAITLYN RICHERT, CARLY RUSSELL Event Marketing Directors AMY FISCHER, HALEE HARCZYNSKI, LAURA MULLEN, KIMMY WILSON Event Marketing Managers KELSEY MARRUJO, CRISTINA PARRA, ASHLEY VEHSLAGE Event Marketing Coordinators BROOKE BIDDLE, BLAIR GOTTFRIED Event Marketing Assistant SHANA KAUFMAN ADVERTISING PRODUCTION

Director of Positioning and Planning SALLY LYON Positioning and Planning Manager TARA MCCRILLIS Director of Production PAUL HUNTSBERRY Production Manager BLUE UYEDA Production Artists MARISSA MAHERAS, DARA RICCI, ALISHA SMITH Director of Distribution Operations MATT HEMMERLING Distribution Relations Manager JENNIFER PALMER Fulfillment Manager DORIS HOLLIFIELD Traffic Supervisor ESTEE WRIGHT Traffic Coordinators JEANNE GLEESON, MALLORIE SOMMERS Manufacturing Coordinator KIMBERLY CHANG Circulation Research Specialist CHAD HARWOOD FINANCE

Controller DANIELLE BIXLER Senior Finance Directors AUDREY CADY, LISA VASSEUR-MODICA Director of Credit and Collections CHRISTOPHER BEST Senior Credit and Collections Analyst MYRNA ROSADO Financial Analyst NEIL SHAH Senior Billing Coordinator CHARLES CAGLE Senior Accountant LILY WU Junior Accountants KATHY SABAROVA, NATASHA WARREN Accounts Payable Coordinator NADINE DEODATT ADMINISTRATION, DIGITAL, AND OPERATIONS

Director of Operations MICHAEL CAPACE Director of Human Resources and Administration STEPHANIE MITCHELL Digital Producer ANTHONY PEARSON Facilities Coordinator ASHLEY GUILLAUME Chief Technology Officer JESSE TAYLOR Desktop Administrators ZACHARY CUMMO, EDGAR ROCHE EDITORS-IN-CHIEF

J.P. ANDERSON (Michigan Avenue), SPENCER BECK (Los Angeles Confidential), ANDREA BENNETT (Vegas), KATHY BLACKWELL (Austin Way), KRISTIN DETTERLINE (Philadelphia Style), LISA PIERPONT (Boston Common), JARED SHAPIRO (Ocean Drive), ELIZABETH E. THORP (Capitol File), DAMIEN WILLIAMSON (Executive Editor, Aspen Peak), SAMANTHA YANKS (Hamptons) PUBLISHERS

JOHN M. COLABELLI (Philadelphia Style), LOUIS F. DELONE (Austin Way), ALEXANDRA HALPERIN (Aspen Peak), DEBRA HALPERT (Hamptons), SUZY JACOBS (Capitol File), GLEN KELLEY (Boston Common), COURTLAND LANTAFF (Ocean Drive), ALISON MILLER (Los Angeles Confidential), DAN USLAN (Michigan Avenue), JOSEF VANN (Vegas)

Managing Partner JANE GALE Chairman and Director of Photography JEFF GALE Chief Operating Officer MARIA BLONDEAUX Senior Vice President and Chief Financial Officer JOHN P. KUSHNIR Chief Executive Officer KATHERINE NICHOLLS

Copyright 2015 by Niche Media Holdings, LLC. All rights reserved. Gotham magazine is published eight times per year. Reproduction without permission of the publisher is prohibited. The publisher and editors are not responsible for unsolicited material, and it will be treated as unconditionally assigned for publication subject to Gotham magazine’s right to edit. Return postage must accompany all manuscripts, photographs, and drawings. To order a subscription, please call 866-891-3144. For customer service, please inquire at gotham@pubservice.com. To distribute Gotham at your business, please e-mail magazinerequest@nichemedia.net. Gotham magazine is published by Niche Media Holdings, LLC, a division of Greengale Publishing, LLC. T: 646-835-5200 F: 212-780-0003

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LETTER from the Editor-in-Chief // this issue //

ON MY RADAR 1. Checking out Alta Linea, Joe Campanale’s new spot at the High Line Hotel. Loved his book, Downtown Italian, written with Katherine Thompson and Gabriel Thompson. 180 10th Ave., 212-933-9735; highlinehotel.com 2. The Faile exhibit at the Brooklyn Museum. Our cover artists (see page 82) have a big show, “Savage/ Sacred Young Minds,” starting July 10. 200 Eastern Pkwy., 718-638-5000; brooklynmuseum.org 3. US Open. An end-of-summer must. August 31–September 13. Arthur Ashe Stadium, 124-02 Roosevelt Ave., Flushing, 718-760-6200; usopen.org Renée Fleming attend our Women of Influence event; with Trish Martin, executive director of sales, Brooklyn, for Halstead, and Ryan Black, founder of R. Black Global, at the River Café.

IN THIS ISSUE, GOTHAM VENTURES INTO BROOKLYN IN A BIG WAY: There’s the cover story on Faile, an artistic team based in the borough whose work graces our cover for a special Art of the City initiative (the brains behind Faile, Patrick Miller and Patrick McNeil, are also having a major exhibit at the Brooklyn Museum in July); the report in Art Full on the “Rise of Sneaker Culture” show at the same museum; and our first real estate roundtable held “over the bridge” at The River Café. Like many Manhattanites, I know little of Brooklyn and can count on one hand the times I’ve been there—but each escapade has proved memorable. I traveled to Brighton Beach in search of well-priced caviar and a spring afternoon by the Atlantic with a French friend, and it was only the visual cue of an elevated subway track that reminded me I was not in Odessa. Another time I headed to downtown Brooklyn for a city tourism lunch that turned into something of a revival meeting when then Borough President Marty Markowitz, a redoubtable cheerleader for his part of the city, made Brooklyn sound like it was the only place in the world worth being; his speech was interrupted with wild applause more times than a State of the Union address. A dinner party invite from a friend who once wore the crown of an Asian country introduced me to the languorous charms of brownstone Brooklyn. My most recent visit was for the real estate developers and executives discussion you’ll find in this issue, and the conversation was among the most fascinating we’ve had for this ongoing feature. All the participants—heavy hitters in each of their sectors, like Forest City Ratner Companies CEO MaryAnne Gilmartin and Industry City CEO Andrew Kimball—agreed that Brooklyn has invented a new way to do New York and be a New Yorker. They explained how luxury has a different meaning here; how quality of life is a more desired “amenity” than luxe condo finishes (although there’s plenty of demand for that, too); and how the maker culture that helped turn Brooklyn into a global brand could very likely reinvent the way we do business in the city in the coming decades. While I’m a confirmed Manhattanite and not about to pull up stakes any time soon, I’m looking forward to racking up a lot more visits to Kings County to watch how Brooklyn finds new ways to move the city forward.

CATHERINE SABINO Follow me on Twitter @csabino and on gotham-magazine.com.

GOTHAM-MAGAZINE.COM

PHOTOGRAPHY BY ANDREW TOTH (FLEMING); TANYA MALOTT (ROUNDTABLE); SEAN PAVONE (HIGH LINE); MIKE STOBE/GETTY IMAGES FOR USTA (US OPEN); COURTESY OF FAILE (ARTWORK)

FROM LEFT: We were thrilled to have opera legend

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LETTER from the Publisher

// this issue //

ON MY RADAR New York becomes a different place in summer. Those of us who haven’t decamped for the Hamptons on the weekends enjoy a quieter city that invites us to savor life’s little pleasures, like fun new accessories or a leisurely riverside lunch. 1. A historic Parisian glove maker and ﬁne leather purveyor, Perrin Paris combines a tradition of ﬁne craftsmanship with a sense of whimsy and femininity.

Public Library for the Winemaker Tour and Tasting, where we raised over $21,000 for the Samuel Waxman Cancer Research Foundation. It was an honor to celebrate with Palm Bay President and CEO Marc Taub (LEFT) and Dr. Samuel Waxman. ABOVE: At Gotham’s first Brooklyn-themed Real Estate Roundtable, held at the River Café, with (FROM LEFT) David Von Spreckelsen, president of Toll Brothers City Living; Ryan Black, founder of R. Black Global; Trish Martin, executive director of sales in Brooklyn for Halstead Property; and Ofer Cohen, president of TerraCRG.

IN SUMMERTIME, NEW YORKERS MOVE OUTDOORS to enjoy the warmth of the sun, the

glimmer of our waterfronts , and the vibrant colors of our city. One year ago, we celebrated our first artist cover at Gotham with Peter Max, who dazzled readers with a playfully cosmic rendition of the New York City skyline. This issue we showcase local artists Patrick McNeil and Patrick Miller—aka Faile—who integrate comic book images, religious icons, and street art in large-scale works that speak to today’s themes of duality and struggle. Soon to be kicking off a comprehensive show of their work at the Brooklyn Museum, the duo reminds us that one of New York’s greatest assets is its creativity. Home to artists and unique industries, Brooklyn is experiencing a development renaissance, as we learn from our Real Estate Roundtable this issue—and it’s not driven by cost savings. Instead, the County of Kings hosts a rich “maker” culture, where one-of-a-kind small businesses offer a wealth of benefits to residents that simply cannot be found on the island of Manhattan. Neo-Brooklyn is not a backup plan, a tedious commute, or alternative lifestyle for the less affluent, but a conscious decision to live a well-styled life.

This summer our very packed events calendar includes Italian by Design at Asellina on Park Avenue with our partners Maserati, Ferrari sparkling wines, and Peroni. In mid-July we will host a Midsummer Night Soirée aboard a brand-new Hornblower Cruises yacht, with breathtaking views of Manhattan’s iconic skyline and a boat christening ceremony with Barón tequila. On a rooftop party in Soho, we will celebrate with consciousness, joined by our cover artists, Faile, to fundraise for Free Arts NYC, a local nonprofit that supports local education initiatives. My goal this summer is to catch up on reading (My Paris Dream by Kate Betts, The Emperor of All Maladies by Siddhartha Mukherjee, and Team of Teams by General Stanley McChrystal are on the top of my list), dine alfresco at least once a week, and catch up on the new Tony Award-winning shows while the city is deserted on weekends.

DAWN DUBOIS

Follow me on Twitter @dawnmdubois and on gotham-magazine.com.

GOTHAM-MAGAZINE.COM

PHOTOGRAPHY BYTANYA MALOTT (RIVER CAFÉ, BROKERS); EUGENE GOLOGURSKY/GETTY IMAGES (TAUB); LUC DELABORDE (BAG)

LEFT: Gotham partnered with Palm Bay International at the New York

2. I love to visit The River Café, where famed restaurateur Michael “Buzzy” O’Keeffe is still maintaining impeccable service along with the restaurant’s breathtaking views and a dynamic menu that always thrills and surprises. If you think you know The River Café too well, think again—there is always change afoot with the wine and menu programs.

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the list summer 2015 Robert De Niro

Joel Dictrow

Steve Neil

Ronald S. Lauder

Anne Pasternak

Swizz Beatz

Chris Wiley

Tatiana Trouvé

Paul Parkhill

Jeanne Greenberg-Rohatyn

Tali Lennox

Adrián Villar Rojas

Tamara Mellon

Leon Black

Matt Starr

Ron English

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Boychild

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Leonard Lauder

Matt Goldman

Gaetano Pesce

David Ganek

Daniel S. Loeb

Tom Finkelpearl

Vito Schnabel

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Liz Hopfan

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Mary-Kate Olsen

Esther Robinson

Jussi Pylkkanen

Trenton Doyle Hancock

Luke Diiorio

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24 gotham-magazine.com

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STYLE Tastemaker Ian Griffiths, creative director of Max Mara, at the company’s store in New York. He says he often draws on the city’s style for design ideas.

Building Inspiration By Adrienne GAffney

“New Yorkers think like Europeans. They like to be smart and fashionable, and they like the best of what’s available,” says Max Mara creative director Ian Griffiths, who admits he often draws on the city’s style for ideas and inspiration. “New Yorkers live this amazing life. They never stop, they work, they go out every night, and they are completely modern in the way they think.” Griffiths, who brings to the storied fashion house a bold creative vision paired with remarkable technical acumen, recently took inspiration from a very hot, new city treasure: The Whitney Museum of American Art, the Renzo Piano–designed masterpiece, which opened on May 1. To celebrate New York’s latest landmark, Griffiths spearheaded the creation of the Whitney bag, which

28 gotham-magazine.com

photography by Conor Doherty (griffiths); opposite page: photography by Courtesy of max mara

Max Mara Creative DireCtor Ian GrIffIths looks to the Whitney for his latest hanDbag Design.

The making of a Whitney bag. top right: The Whitney Museum, designed by Renzo Piano, and inspiration for the new bag. below, from left: The bag, designed in collaboration with Renzo Piano Building Workshop, in limited-edition slate ($1,750); sketches from Max Mara’s Pre-Fall 2015 collection.

“The bag is very liTerally relaTed To The physical appearance of The building iTself.” —ian griffiths

cleverly references Piano’s vision for the museum. Collaborating with Piano was easy, says Griffiths, who studied architecture before transitioning to fashion. “I think like an architect. I believe in a certain kind of rigor in the way that you approach design,” he explains. “Max Mara’s forte is coats, and the design of a coat is very similar to the design of a building. So for me it’s not alien at all to work with an architect. I love the logic of an architectural approach.” Griffiths says that he and the Renzo Piano Building Workshop wanted the bag to reflect the museum’s form. “It is very literally related to the physical appearance of the building itself,” Griffiths notes, explaining how the ridges on the calfskin shell echo the design of the building’s steel ribbing. And he is quick to point out how the bag’s metal hardware is faithfully reproduced from Piano’s sketches of the stanchions that hold the tension cables to the ground. While the bag comes in shades of black, bordeaux, and tan, a special limited-edition metallic version was created with the exact slate color of the Whitney façade. The Whitney bag is generating plenty of buzz, but so is Griffiths’s Pre-Fall collection for Max Mara. Among the standouts: a vibrant knee-length cashmere sweater in a bobcat-print motif. “We took the design from the markings of a bobcat, so it is faithful to its inspiration, and for me that represents something quite cool and new, and at the same time very chic,” he says. Griffiths also notes that, “A lot of people pinpointed the minimal theme and the red suit with red coat as highlights of the show and the collection.” Having worked with Max Mara since he left college, Griffiths has a clear idea of the woman he’s dressing. “It’s so easy for a man; you just wear a jacket—with or without a tie—or jeans. There are so few decisions. For a woman there are any number of possibilities: Do you wear a dress? Do you wear a suit? Do you cover up? Do you expose? What do you expose?” he wonders. “I think our responsibility at Max Mara is to give customers ways of dressing that are going to give them complete confidence to get on with their lives.” 813 Madison Ave., 212-879-6100; maxmara.com G

gotham-magazine.com

STYLE Heritage

The Glitter Factor

SwarovS celebrates 120 years of innovative design, shimmer, and shine. by NadiNe Schiff-RoSeN

30 gotham-magazine.com

crystal into the cultural mainstream. Giorgio Armani and Diane von Furstenberg laud her support of emerging artists as she backs them on their journey to the center spotlight of the world’s major runways. “We have worked with our Council of Fashion Design Awards to bring talents like Christopher Kane, Rodarte’s Kate and Laura Mulleavy, and Mary Katrantzou to the global stage,” Swarovski explains. “Design,” she says, “has been a huge focus of what we’ve done at Swarovski over the past 120 years. And I’m especially proud of the work we have done mixing different disciplines.” The company collaborates with such design giants as Zaha Hadid, Tord Boontje, Yves Behr, and John Pawson, the latter creating the Swarovski Optik lens installation that magnified the majestic beauty of the geometric staircase of St. Paul’s Cathedral during London Fashion Week in 2011. Swarovski also keeps her discerning eye focused on Hollywood. In 2007 the company partnered with the Academy Awards and created a 34-foot curtain made with more than 50,000 cascading crystals to illuminate the stage. And how is Swarovski celebrating its 120th birthday? “We’re publishing a stunning Rizzoli book that celebrates our creative collaborations, and we’ve also established the Swarovski Foundation, launching a number of new philanthropic initiatives across the three pillars of education, health, and environmental protection,” she

from top: Models during the Alexis Mabille show, wearing Swarovksi crystals; Manhattan open ring in neutral, Atelier Swarovski by Philippe Ferrandis ($340); the company’s Madison Avenue boutique.

says. In addition, 13 of the company’s milestone creations have been exhibited in New York, including an ensemble worn in a Victoria’s Secret runway show in 2014 in London. This same piece, called the “Fairy Tale” look, was one of many items on display at the Spring/Summer 2016 innovation launch event as part of a retrospective that kicked off a year of celebrating Swarovski’s 120th anniversary. As Swarovski heads into its 121st year, the brand continues to prove that diamonds (and crystals) are indeed a girl’s best friend. G

SPARKLE PLENTY A flagship that is always ready to dazzle. Swarovski’s 1,693-square-foot fagship store is the only one of its kind in the US—a playground where customers can experience the seductive allure of Swarovski’s wares. Noted designers such as Philippe Ferrandis have collaborated with the company to create sophisticated limited-edition collections, including the Manhattan-themed capsule collection being released for fall. Also, the fagship provides services for customizing jewelry. There is also a small lounge where you can go to relax or simply be inspired. 365 Madison Ave., 212-867-8741

photography by jason LLoyd Evans (modELs); richard grEEn (ring)

You don’t need a crystal ball to see that the future of Swarovski looks brilliant and bright. The company, founded by Daniel Swarovski in 1895, continues to dazzle in the worlds of jewelry, fashion, design, and collectibles as it celebrates its 120th anniversary this summer, a milestone that marks a rare achievement in business: success and longevity. It’s a track record that has made Swarovski an international treasure—the company’s headquarters, which still houses the original subterranean maze where Swarovski perfected the precise cutting technique that catapulted him to fame, has become a landmark in the Tyrol; it’s a cross between a museum and theme park for thousands of tourists. Since those earliest days, the brilliant glass crystals that once embellished the gowns of Queen Victoria have become more than twinkling eye candy for royal décolletages and tiaras. They encrusted Dorothy’s ruby slippers in The Wizard of Oz, and clung provocatively to Marilyn Monroe’s famous form while she sang “Happy Birthday” to President John F. Kennedy at Madison Square Garden in 1962. The sparkling crystals also illuminate the Christmas tree in Rockefeller Center, and they glitter on the Vegas Strip, highlighting a 14-foot starburst. And this year Swarovski’s famous Aurora Borealis stone adorns the glass slipper in the latest film version of Cinderella. Swarovski remains a family-owned business. In 2011 Nadja Swarovski, the great-great-granddaughter of the founder, became the first woman to sit on the executive board, and she has since become the face of the company. Nicknamed “The Crystal Medici,” she is a singular force, a 21st-century patron of design, intent on bringing everything

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Hot times

new yorkers go native this summer with sizzling, tribal-inspired pieces. PhotograPhy by Jeff Crawford Styling by faye Power

32â&#x20AC;&#x192; gotham-magazine.com

URBAN JUNGLE Go natural with tropical prints. Embroidered gown, Emilio Pucci ($19,300). 855 Madison Ave., 212-7524777; emiliopucci.com. Large raffia bangles, Alexis Bittar ($225 each). 465 Broome St., 212-625-8340; alexisbittar.com. Woven clutch, Salvatore Ferragamo ($5,800). 655 Fifth Ave., 212-759-3822; ferragamo.com

ProP and set styling by sharon ryan for halley resources; hair and MakeuP by Mahfud ibrahiM for exclusive artists ManageMent using oribe hair care and arMani cosMetics; Model: clara settje (truMP Models)

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1. Cheyenne bootie, Tamara Mellon ($995). Saks Fifth Avenue, 611 Fifth Ave., 212-753-4000; saks.com. Hollywood small fringe handbag, Max Mara ($840). 813 Madison Ave., 212-879-6100; maxmara.com. Resin bangles, Missoni ($300 each). 1009 Madison Ave., 212-517-9339; missoni.com. 2. Oasis sandal, Aquazzura ($1,100). Intermix, 98 Prince St., 212-966-5303; aquazzura.com. Kelly graphic shoulder bag, Bottega Veneta ($2,500). 699 Fifth Ave., 212-371-5511; bottegaveneta.com. Resin bangles, Missoni ($300 each). see above. 3. Kempner mule, Tory Burch ($395). 797 Madison Ave., 212-510-8371; toryburch.com. Intarsio Mini Lock bag, Valentino Garavani ($2,275). 693 Fifth Ave., 212-355-5811; valentino.com. Column C Slider cuff, Lele Sadoughi ($240). Sucre, 357 Bleecker St., 212-352-1640; sucrenyc.com. 4. Kattie sandal, Jimmy Choo ($1,575). 407 Bleecker St., 212-366-1305; jimmychoo.com. Jack convertible clutch, Elizabeth and James ($345). Saks Fifth Avenue, 611 Fifth Ave., 212-753-4000; saks.com. Necklace ($1,150) and bracelet ($1,150), Salvatore Ferragamo. 655 Fifth Ave., 212-759-3822; ferragamo.com

gotham-magazine.com

STYLE Spotlight good scents

some lIke It hot

Tomas maier’s Pre-Fall collection arrives at his newest boutique. Tomas Maier’s Pre-Fall collection of casual essentials, available this month, will fill the label’s newest outpost—a chic 19thcentury townhouse in the West Village. Similar to its shops in East Hampton, Palm Beach, and on Madison Avenue, the new boutique features furniture by designer Børge Mogensen, providing a perfect backdrop for the new collection, one noted for its exquisite detailing and luxury finishes. For example, oiled denim takes on a leatherlike texture in one shirtdress, and chunky sweaters are rendered in four-ply cashmere. “A little bit of the classic with a little bit of surprise,” says Maier of the collection, which will sit alongside pieces from his collaborations with Diptyque candles and jewelers Osanna Visconti and Florian. 407 Bleecker St., 212-547-8383; tomasmaier.com G

// eye candy //

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Steven Alan ($195). 103 Franklin St., 212-343-0692; stevenalan.com

34 goThAm-mAgAzINe.Com

Into the WIld

Luxury Italian label Brunello Cucinelli, which counts Leonardo DiCaprio and Prince William as customers, recently opened its third and largest New York outpost, in Soho. The well-reviewed Autumn/Winter collection, designed with streamlined shapes in mineral shades like stone, geyser, and lava, arrives in store in July and introduces Cucinelli’s newest innovation: cashmere fur, produced by craftsman in Solomeo, Italy. 134 Greene St., 212-3341010; brunellocucinelli.com Men’s oxford knit shirt, Polo Ralph Lauren ($98).

Buttoned up

There’s a new classic in the making. For the past 50 years, the oxford shirt has been a signature piece for Ralph Lauren, but the wardrobe mainstay gets a rethink this season with the introduction of the Polo knit oxford for men and women. The hybrid shirt, made from airy cotton mesh, has the look of an oxford, with mother-of-pearl buttons and button-down point collar, and wears with the ease of a polo. 711 Fifth Ave., 646-774-3900; ralphlauren.com Incense & Cedrat ($155).

Make a throwback statement with round, ’70s-inspired sunglasses.

Oxydo ($98). Solstice Sunglasses, 168 Fifth Ave., 917-267-5381; solsticesunglasses.com

Etnia Barcelona ($345). Intermix, 98 Prince St., 212-966-5303; etniabarcelona.com

Gucci ($395). 840 Madison Ave., 212-717-2619; gucci.com

Fendi ($395). Solstice Sunglasses, 168 Fifth Ave., 917-267-5381; solsticesunglasses.com

photography by jeff crawford (polo shirt)

Bleecker Boutique

Spritz Jo Malone London’s Incense & Cedrat and be ready for hot summer nights. Launching as part of the Cologne Intense collection, the fragrance was developed around Omani frankincense—an ingredient that comes from the Boswellia sacra tree in Dhofar. Since there’s a dwindling supply of sacra trees, the frankincense scent is replicated in a lab with NaturePrint technology. For sensuality and warmth, master perfumer Marie Salamagne added amber notes; the scent is classified as a woody Oriental, but also contains nuances of lemon, pepper, and cedrat. 946 Madison Ave., 212-472-0074; jomalone.com

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STYLE You, Even Better A treatment room at The New York Palace Spa. below, from left: Carmen Tal, cofounder of Moroccanoil; the brand’s Fleur de Rose hand cream and body butter.

Petal Perfect

“Consumers are looking for integrity and high performanCe.” —carmen tal

36 gotham-magazine.com

Summer and all the goodness that entails—glorious weather, rooftop cocktail hours as the sun sets over the Hudson, the latest strappy summer dresses from Chloé and Céline—puts a sharp focus on newly bare legs, arms, and shoulders that have been covered by layers of cashmere and well-bred wools all winter long. When balmy May breezes finally pushed New York’s never-ending winter into weary memory, body-conscious Manhattanites embraced the new season with gusto—and a trip to the day spa. But it wasn’t just to check out the latest antiaging facial. Buffing skin to new levels of smoothness to enhance that freshly exposed Core Fusion– toned body was a high priority, too. This hyperinterest in total-body skincare is a trend that city experts have seen grow rapidly over the past several years. Amelia Winfrey, spa and fitness director at The New York Palace hotel, says she is constantly getting requests for head-to-toe regimens “that leave skin with a great glow.” The body-care focus, in New York and other fashion-centric capitals, is borne out statistically. The creation of body-care products is growing faster than facial items, the usual mainstay of the skincare market, according to Lucintel, a global management and marketing research firm. One company addressing new consumer demand for head-to-toe maintenance is Moroccanoil. A relative newcomer in the cosmetics industry, it burst onto the beauty scene in 2006 with breakthrough hair treatments and products, and quickly built a loyal following worldwide. Its recently released Fleur de Rose collection, the company’s second foray into luxury skincare (its first being the Originale line in the

company’s signature scent), targets the new interest in body care with six products: a rich body soufflé, a hydrating body butter, a body buff that exfoliates and moisturizes with argan oil, an “on the go” hand lotion, and a creamy cleansing bar, all available now. (Shower milk will be released next year.) Fleur de Rose is also one of Moroccanoil’s most personal offerings, the result of cofounder Carmen Tal’s love of roses. “I worked with a talented aromatherapist who was extremely knowledgeable about essential oils and fragrances,” Tal says. “It was the Damask rose scent that really captured me. When I told her what I was looking for, she knew exactly where to go with it. Then our product development and R&D teams worked for several years to perfect the collection.” The time in the pipeline was well justified, Tal says, because she knows that customers are more knowledgeable and demanding about ingredients than ever before. “They are looking for integrity and high performance,” Tal explains. “With Fleur de Rose, we offer a complete regimen, with formulas made from the finest ingredients to help exfoliate, cleanse, and hydrate—three steps so important in creating beautiful skin.” Winfrey says she’s a fan: “I love Moroccanoil’s haircare products, but I was skeptical about its move into skincare. But the second I used the Fleur de Rose collection, I realized this made sense. And the products leave a light fragrance of summer rose that lingers beautifully.” Moroccanoil Fleur de Rose is available at The New York Palace Spa, 455 Madison Ave., 212-303-7777; moroccanoil.com. G

photography courtesy of moroccanoil (tal, products)

for New York womeN lavishiNg more time aNd skiNcare dollars oN head-to-toe regimeNs, there is a New aNd verY rosY optioN. by matt stewart

STYLE Time Honored

Fast-Forward

Timepieces To geT you across The finish line. Summer is the time to take to the roads, whether that means putting the top down on the hottest new convertible, tearing up the track with a high-performance auto, or cruising scenic byways on a custom-built motorbike. Regardless of how you plan to enjoy the season, or how far or fast you go, the finest Swiss watchmakers have timepieces that will help you enjoy the ride. Several top watch brands have closely aligned themselves with the automotive world: Baume & Mercier, for example, has created a Shelby Cobra line in celebration of the 50th anniversary of Cobra’s victory over Ferrari at the FIA International Championship, and Bovet enjoys a partnership with internationally renowned car design company Pinanfarina. Other watch brands do tie-ins with specific races, while a select few are inspired by motorcycle makers and competitions. Whatever your preferred mode of thrill-seeking, there is a watch to take you across the finish line. For more watch features and expanded coverage, go to gotham-magazine.com/watches. G clockwise from top left: From

Rolex, this 18k white-gold oyster perpetual Cosmograph Daytona watch ($26,650) takes its inspiration from the iconic Florida auto race. a stainless steel version has been worn by trophy winners of the le mans and the rolex 24 at Daytona. the CoSC-certified chronometer is equipped with a tachymeter scale for measuring speed and is powered by a high-performance chronograph movement. Wempe, 665 Fifth Ave., 212-759-8309; rolex.com Sleek, sophisticated automotive design inspired this Bovet by pininfarina Sergio Split-Second Chronograph ($34,500). It is crafted in shot-blasted stainless steel in the brand’s much-loved 45mm amadeo® Convertible case (which can transform from wristwatch to pocket watch

38 gotham-magazine.com

and table clock). the watch is powered by a self-winding mechanical movement and offers hours, minutes, and seconds, as well as a split-second chronograph function with a 30-minute counter. Just 250 pieces will be made. 50 Central Park South, 212-257-5015; bovet.com Inspired by Ducati motorcycles, the Tudor Fastrider Chrono ($4,100) is crafted in stainless steel and is water-resistant to 50 meters. the watch features a rapid date-change function and is powered by a self-winding mechanical movement. William Barthman Jewelers, 176 Broadway, 212-732-0890; tudorwatch.com Celebrating the 50th anniversary of the big win of a Shelby Cobra over a Ferrari at the 1965 FIa International Championship of gt manufacturers,

Baume & Mercier unveils the Capeland Cobra Chronograph ($4,450), crafted in stainless steel with a dial in Shelby guardsman Blue with subtle racing stripes. the subdials of the automatic watch recall the 427 Cobra’s epic win. Just 1965 pieces will be made to honor the year of the breakthrough victory, which brought the Shelby Cobra to international prominence. Wempe, 700 Fifth Ave., 212-397-9000; baume-et-mercier.com From Chopard, this mille miglia gtS power Control watch ($8,250) is crafted in steel and houses the brand’s self-winding Caliber 01.08-C, a CoSC-certified chronometer. It has 60 hours of power reserve and offers an hour-, minute-, second- and stop-second function. 709 Madison Ave., 212-223-2304; us.chopard.com

Styling by terry lewiS. Key ring ($160) and SunglaSSeS ($325), Salvatore Ferragamo. 655 FiFth Ave., 212-759-3822; FerrAgAmo.com. driving gloveS, HermèS ($730). 691 mAdison Ave., 212-751-3181; hermes.com. cafron tray, ralpH lauren ($195). 888 mAdison Ave., 212-434-8000; rAlphlAurenhome.com

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A Forgotten Mansion Becomes a Dazzling Hotel The Ivy Hotel, Baltimore By Erin Garrett-Metz

n the corner of Biddle and Calvert Streets, in Baltimore’s historic

Deep jewel tones, striking canopied beds, fine art, working

Mount Vernon neighborhood, a grand old brownstone mansion

fireplaces and abundant fresh flowers channel the property’s stylish

was languishing.

glamour, all brought into being by local artists and craftspeople.

Built for the banker John Gilman and his family in 1889, the

Much of the original mansion was kept intact—notably, a stunning,

house had long since fallen into disuse. There on the corner it stood,

hand-carved staircase lined with stained glass windows. The rest was

a totem to days gone by. It was up for sale, its future uncertain.

carefully re-envisioned with custom furnishings, rich fabrics, and

Then in 2011, at just the right time, two virtuosic Baltimore

hand-painted murals. Deeply comfortable, blissfully relaxing,

families—one in finance, the other in construction—spotted the old

gorgeous in every respect, the hotel was kept small, to further the

Mount Vernon house. They saw the story of their beloved city in that

impression of staying in a fine private home. Nine suites and nine

one handsome, forgotten edifice.

guest rooms each have a sumptuous private bath.

They worked together for years renovating and re-imagining the

After four years of renovation and renewal, Gilman’s old Mount

old Gilman mansion to create a truly dazzling Baltimore experience,

Vernon mansion has opened its doors to the public as The Ivy Hotel.

a hotel to reflect the renaissance of the Gilded Age in Baltimore,

It’s a renaissance not to be missed.

and the vibrant new city as well. A brownstone wall covered in lush greenery gave the new retreat its name: The Ivy Hotel.

The Ivy hoTel 205 East Biddle Street, Baltimore, Maryland 21202

443-503-4501

www.theivyhotel.net

culture Hottest ticket

A HArd rock Life

“It’s been one surprise after another,” says Wayne “Wing” Sermon, guitarist for Imagine Dragons, the Vegas-based rock band, of the group’s fast-forward trajectory through the music world. Good surprises, however—multiplatinum sales with their first album, Night Visions, the Grammy in 2014, and the chance to make broadcast history when the group performed live in a Target-sponsored commercial break during the Grammys last February. Sermon, along with bassist Ben McKee, drummer Daniel Platzman, and lead singer Dan Reynolds, are ramping up for a new summer tour, called Smoke + Mirrors (also the name of the band’s new album), which Sermon says will feature “things that have never been done before.” He can’t go into detail—trade secrets and all—but says there will be more lights (“hundreds!”), speakers, galactic visual effects, and overall phantasmic shenanigans, when the group performs on June 30 at Brooklyn’s Barclays Center. But they’re no strangers to what may be the buzziest entertainment arena on the planet. “We played a show there for Amnesty International,” McKee says. “It’s a cool place to play. Brooklyn has a certain vibe to it. You can feel it in the crowd.” The New York stop is one of the 39 cities where Imagine Dragons will be performing this summer during a tour schedule that will run for 58 days from June to August. The group says they’re upping their game for the Barclays performance. “We’ll be playing a lot of music that we’ve never played before,” McGee says. “Every time we have performed here, we have been met by passionate and attentive fans. New York City crowds are awesome.” Imagine Dragons have come a long way in the six short years since Sermon and Reynolds cofounded the band in Las Vegas. Before that, Sermon was studying at Boston’s Berklee College of Music, the world’s largest and best-known

institute for jazz and contemporary music, where he met future bandmate McKee. “He was the guy in the front row asking all of the questions,” Sermon recalls. “I was the one in the back row being quiet.” Before long, the yin-and-yang duo took to practicing together, along with another classmate, Platzman. “It’s a given that everyone can play at Berklee,” says Sermon, who graduated from the school in 2008, “but we got along.” They hit it off so well that when he joined forces with Reynolds a year later to form a band in Vegas, Sermon picked up the phone and called only two guys: McKee and Platzman, because he knew they were simpatico. “It cannot be overestimated how much you need to like your bandmates. They have to be your family.” The quartet named itself Imagine Dragons—an anagram based on a secret group of words unknown even to family members—and started to perform at tiny joints around Vegas. “We’d play four- to five-hour gigs and split the $400 pay between us. It was grueling, but we earned our chops.” The group also picked up fans, lots of them, followed by a record deal with Interscope Records, thanks to its catchy, often jubilant-sounding power-pop music with surprisingly heart-wrenching lyrics. Lead singer and sole lyricist Reynolds’ voice roars of apocalypse, dreams, demons, and fame. “Dan writes lyrics like journal entries,” Sermon says. “They are deep thoughts and extremely honest. He documents the hard stuff—sudden fame, the loneliness of touring. It’s therapy for him. It’s raw, but it’s real.” That honest style resonates with fans in a way the band never predicted. “We had no idea we would blow up to this extent,” Sermon says. “Our music is true to us. We write music that we would be okay with playing hundreds of times over and over.” June 30, Barclays Center, 620 Atlantic Ave., Brooklyn, 800-745-3000; barclayscenter.com G

“BArClAys CeNter is A Cool plACe to plAy. BrooklyN hAs A CertAiN ViBe to it. you CAN feel it iN the Crowd.” —ben mckee

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Bandmates (from left) Ben McKee, Wayne Sermon, Dan Reynolds, and Daniel Platzman are playing 39 cities in 58 days as part of the group’s Smoke + Mirrors summer tour. left: Dan Reynolds onstage at last year’s Amnesty International Human Rights Concert at Brooklyn’s Barclays Center.

photography by jeff gale (portrait); theo Wargo/gettyimages (performance)

ImagIne Dragons embark on an epic summer tour, playing the barclays center on June 30. By Lisa PierPont

gotham-magazine.com

culture Art Full Nike x Tom Sachs. NikeCraft Lunar Underboot Aeroply Experimentation Research Boot Prototype, 2008–12. Collection of the artist.

Gym DanDies

The traveling exhibit “The Rise of Sneaker Culture” hits the Brooklyn Museum this summer, offering a comprehensive overview of how this popular form of footwear evolved over the last 140 years, from simple canvas shoe with rubber sole to designer-generated lace-ups, trainers, and high-tops that can cost well into the five figures. “New York is the epicenter of sneaker culture,” says show curator Elizabeth Semmelhack, of the Bata Shoe Museum in Toronto. The city’s sneaker obsession started in the 1970s, when local basketball players and graffiti and rap artists embraced the shoes, modifying them to their liking. This cool customization created cult followings around certain styles and brands that fast spread to cities around the world. “I can’t imagine a better place to have the exhibition,” says Semmelhack, who first staged “Sneaker Culture” at the Bata Museum in April of 2013 and has refined it extensively for the Brooklyn show. The exhibit shows how sneakers’ earliest origins were posh—in 19th-century Britain, where the shoes first appeared, rubber was expensive; the shoes were made for tennis and croquet, pastimes enjoyed solely by those who could afford “playtime.” “Sneakers only became democratized at the end of the century and [then again] during the interwar period between World War I and World War II,” Semmelhack notes, pointing out that sneakers and the physical activity associated with them fed into an increased cultural emphasis on physical fitness as individuals prepared for war. (Henry Nelson McKinney, an advertising agent for N. W. Ayer & Son, is believed to have come up with the term sneaker in 1917, playing on the fact the rubber sole made the shoe stealthlike.) After World War II, the sneaker

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became associated with children’s footwear; it was only in the 1970s that the “status sneaker,” thanks to New York urban cultists, was born. To feature as many influential sneaker designs as possible, Semmelhack tapped archivists at Adidas, Reebok, Converse, Nike, and Puma, along with major collectors like Dee Wells of the popular podcast “Obsessive Sneaker Disorder,” Dion Walcott and Lee Joseph of the community organization Toronto Loves Kicks, and Darryl “DMC” McDaniels of rap group Run DMC. Visitors to the show can ogle more than 150 significant pairs—original versions of Converse All Stars from 1917; the original 1974 Nike waffle trainer and 1982 Air Force 1; the Reebok Pump prototype; high-fashion interpretations by Christian Louboutin and Prada; and styles from artists Damien Hirst and Shantell Martin. Archival design sketches and film footage round out the show. “For the last 33 years I’ve been a part of the sneaker culture,” says D’Wayne Edwards, former design director for Nike’s Jordan brand and founder of the Pensole Footwear Design Academy in Portland, Oregon. “To think a kid from Inglewood [California] would be recognized by the culture in this exhibit is humbling.” As for Semmelhack: “I hope that the history of the sneaker, along with so many issues central to sneaker culture, will surprise visitors. The expression of status and the construction of idealized masculinity go far back… all the way to the 19th century.” The gym shoe left the gym a long time ago, and the Brooklyn exhibit demonstrates how it became a totemic icon for people around the world. July 10–October 4. Brooklyn Museum, 200 Eastern Pkwy., 718-6385000; brooklynmuseum.org G

PhotograPhy Courtesy ameriCan Federation oF arts

The Broo lyn MuseuM looks aT The hisTory of The sneaker, from iTs 19Th-cenTury origins To how new york helped iT become The sTaTus fooTwear of Today. By Andrew C. Stone

July 9â&#x20AC;&#x201C;12, 2015 Fairview Farm at Mecox Bridgehampton

artmarkethamptons.com Objects made to be rejected 2014, by Linda Lopez, courtesy of Mindy Solomon Gallery

CULTURE Spotlight

Master Builder

on view

THE COOPER HEWITT SALUTES THE GROUNDBREAKING ARCHITECTURE OF HEATHERWICK STUDIO. BY JENNIFER DEMERITT Organic shapes that reference nature, along with a deep sense of social responsibility, define the architecture of Londonbased Heatherwick Studio, whose work is celebrated at a major exhibition at the Cooper Hewitt, Smithsonian Design Museum this summer. Headed by designer Thomas Heatherwick, the studio has achieved international prominence with arrestingly original structures like the UK Pavilion at the 2010 World Expo in Shanghai (aka the Seed Cathedral, which resembles a gigantic dandelion puff made of acrylic rods) and the Olympic Cauldron at the 2012 Olympic Games ( PICTURED). Curated by Brooke Hodge, the exhibition showcases Heatherwick’s architecture, infrastructure, and product designs. Through January 3, 2016. 2 E. 91st St., 212-849-8400; cooperhewitt.org G

in print

TRUE LIES The white lies we all tell are child’s play for compulsive fabulist Elizabeth Madigan, the protagonist of native New Yorker Janice Erlbaum’s searing new novel, I, Liar (Thought Catalog). Born to a privileged Manhattan family and sent to an exclusive boarding school, Madigan fakes cancer at age 8 and goes on to spin a web of deceit that threatens to overwhelm her. As an acclaimed memoirist (her first book, Girlbomb: A Halfway Homeless Memoir, earned a spot on New York Public Library’s “25 to Remember” list), Erlbaum has a keen understanding of how people re-create their identities through storytelling and of the complicated friendships that arise among women. Barnes & Noble, 33 E. 17th St., 212-253-0810; barnesandnoble.com

LINCOLN CENTER FESTIVAL RETURNS

From July 6 to August 2, Lincoln Center— normally a bastion of tradition—becomes a hotbed for the exotic and eclectic during its annual summer festival, hosting an array of international and experimental performing artists. Highlights this year include a theatrical adaptation of Haruki Murakami’s mindbending novel Kafka on the Shore by Japan’s Ninagawa Company, a lavish staging of the Ming Dynasty opera The Peony Pavilion by the National Ballet of China, and a live concert of Danny Elfman’s music for the ﬁlms of Tim Burton. More conventional offerings include Ireland’s Druid Theatre Company, and the Cleveland Orchestra performing the music of Messiaen and Beethoven. Performances throughout Lincoln Center; for schedule and ticket information, visit lincolncenterfestival.org. ABOVE, CLOCKWISE FROM TOP: The Peony Pavilion, performed by the National Ballet of China; the Metropolitan Opera House at Lincoln Center; Delusion of the Fury, composed by Harry Partch.

// a voce //

DOWNTOWN TROUBADOUR

Singer and Obie-winning playwright Ethan Lipton performs at Joe’s Pub on July 31 and August 14, singing behind his new album, Raw Milk. Lipton’s gravelly voice and his band’s natty blend of jazz, folk, and blues could be the perfect backdrop for a summer outing; the wry wit of his lyrics will make you want pay attention to every word. 425 Lafayette St., 212-539-8778; joespub.com Ethan Lipton & His Orchestra. FROM LEFT: Eben Levy, Vito Dieterle, Ian Riggs, and Ethan Lipton.

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PHOTOGRAPHY BY EDMUND SUMNER (HEATHERWICK STUDIO); COURTESY OF HEATHER PHELPS-LIPTON (ETHAN LIPTON); COURTESY OF THOUGHT CATALOG BOOKS (I, LIAR); COURTESY OF THE NATIONAL BALLET OF CHINA (THE PEONY PAVILION); SEAN PAVONE/SHUTTERSTOCK (METROPOLITAN OPERA); KLAUS RUDOLPH (DELUSION OF THE FURY ).

The Olympic Cauldron, from the 2012 Olympic Games, designed by Heatherwick Studio.

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PARRISH ART MUSEUM

Cheryl Maeder, “Hamptons Dunes”, 2012, archival photograph on plexiglas, Mark Hachem, Paris

people View from the Top Steven Kolb at his CFDA office. The painting 50 Stars of American Fashion was created by Laird+Partners in 2012 to celebrate CFDA’s 50th anniversary.

Clothes enCounters

As CEO, Steven olb hElpEd rEinvigOrAtE thE COunCil Of fAshiOn dEsignErs Of AmEriCA, thE grOup sEt tO lAunCh nEw YOrk’s first mEn’s fAshiOn wEEk in JulY. by mark ellwood photography by eric ryan anderson

“I didn’t know anything about fashion—not even that, in February, you show fall clothes and in September it’s spring. I mean, that’s fashion 101,” Steven Kolb says, recounting his first interview to become CEO of American fashion’s governing body, the Council of Fashion Designers of America. Grilled by a panel of luminaries, including Joseph Abboud and Diane von Furstenberg, he admits to being stumped by the final question. “Diane said, ‘What sign are you?’ and I said, ‘I’m a Libra.’ All at the same time, they closed their notebooks and put their pens down.” He was puzzled, but left and sent a customary follow-up thank-you note by e-mail to von Furstenberg. “Within two seconds, she e-mailed me back, saying, ‘We. Love. You!’” Kolb had aced the interview, especially with his admission to being a Libra—the sign renowned both for its tact and its appreciation of beauty. He learned a valuable lesson. “I now know horoscopes are a big deal in fashion.” That was 2006, and von Furstenberg (an ambitious, driven Capricorn) would soon be appointed head of the CFDA; since then, the astrologically inclined pair have transformed the organization. “We’re a volleyball team,” says Kolb. “She hits the ball in the air, and I’m responsible for spiking it and scoring the point.” Before the duo began its overhaul, membership of the CFDA was a prestigious, if somewhat pointless,

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Kolb was invited to take over the CFDA. Of course, almost 10 years into his tenure, he’s no longer the fashion rube he was at that interview, either. Just ask George Clooney. When the star was the cohost of Vogue’s glittering Met Ball with Julia Roberts, Kolb was progressing along the receiving line with Anna Wintour, who introduced him to the Oscar winner: “I was wearing a tuxedo that was little bit shrunken and gray—it was by Michael Bastian— and Clooney was in a traditional black tuxedo. I remember him saying, ‘I really like that suit you’re wearing.’ To this day, it’s still a pinch-me moment.” Kolb’s proudest professional sortie, though, was a recent trip to the White House. “Mrs. Obama hosted a reception to thank fashion for all it does for the American economy,” he says. For the kid from New Jersey who once dreamed of being the president’s press secretary, it was an indelible experience; he even ducked into the pressroom. “I saw the podium,” Kolb says, “but I didn’t make a play for it.” G

photography by NeilsoN barNard (fursteNberg)

Kolb checks his phone in his Downtown office, where he houses numerous fashion books (right). inset: With CFDA president Diane von Furstenberg.

plaudit. Today, membership is a powerful privilege. Boosting business for fashion brands is central to Kolb and DVF’s reinvigorated CFDA. They spearheaded several industry programs like the Fashion Manufacturing Initiative, an investment fund aimed at increasing business in the Garment District, and commandeered the scheduling of NYC’s fashion shows by purchasing industry bible the Fashion Calendar. Kolb’s newest project is perhaps the CFDA’s most ambitious: the stand-alone New York Fashion Week: Men’s, running July 13–16 at Skylight Clarkson Square and featuring shows from Tommy Hilfiger, Michael Kors, Rag & Bone, Billy Reid, and Michael Bastian, among others. There are smart business reasons for this midsummer catwalk—certainly by showcasing Spring/ Summer 2016, it aligns better with the menswear wholesale cycle. However, the launch of a men’s fashion week is as much a strategy as it is an economic decision. “There’s been a shift in American [men’s] fashion from just being this Ivy League approach to dressing. Menswear has become more creative, and guys are more interested in how they dress. Look at Carson Street Clothiers, or Odin, or online at Mr Porter,” Kolb raves. Retail markets are providing proof of the concept, too, via the successful launch of a similar male-skewing fashion week in London, and a surge of nascent talents focusing on menswear, like Public School, which won the CFDA/Vogue Fashion Fund Award two years ago, besting a passel of womenswear designers.

As a young man in New Jersey, Kolb may have been a natty dresser (“In high school I had Levi’s in every single color—burgundy, black, gray, blue, and tan”), but he never envisaged himself as a rag trade power broker. “At one point in college [Glassboro State, now Rowan University], my dream job was press secretary for the president of the United States,” he recalls. “But I knew that corporate America as a work environment didn’t have a lot of meaning other than feeding the machine.” Instead, inspired by a stint volunteering with a shelter for runaway kids, Kolb embarked on a career in the nonprofit sector. “For somebody who’s shy, it’s a much more welcoming environment than scary corporate America,” he admits. Kolb spent several years working for the American Cancer Society and living in New Jersey before his life was transformed. As a gay man in the 1980s, HIV loomed large, and its impact on his community inspired Kolb to switch roles to a staff position at DIFFA, the design industry’s HIV/AIDS organization. Crucially, it was in Manhattan. He remembers “one of the very first things was being part of Susanne Bartsch’s Love Ball at Roseland. Madonna was there, performing ‘Vogue.’” He pauses, chuckling at the memory: “All of a sudden, that was a very different kind of thing.” Kolb spent almost two decades running DIFFA before decamping to become the founding executive director of MTV’s Staying Alive Foundation, another charity aimed at HIV prevention and support. Not long after that, the stars aligned and

beyond the runway Stephen Kolb on:

Why a neWbie can make it here: “It’s

not just Madison Avenue; there are so many side streets where you can fnd a 300-square-foot shop and, with decent fnancials, move in and open something that grows pretty quickly. New York incubates talent that way.” success: “Designers aren’t artists. They say fashion is art, but in truth, it’s creative. If what you’re making just sits on a rack and nobody’s buying it, are you really successful? That’s the main validation of success or [failure] in fashion.” his Favorite Fashion hangout:

“I’ve been going to Sant Ambroeus (265 Lafayette St., 212-966-2770), and every time I’m there Mark Holgate or Brian Atwood or somebody from fashion is there. In the morning, they have a delicious baked egg and tomato dish with capers that Prabal Gurung turned me on to.” his go-to store:

“Right around the corner [from my offce] is John Derian (6 E. Second St., 212-677-3917). It’s not a clothing store, but it’s super cool, and that guy is so talented. I actually have a Wise Owl glass tray from there.” (Kolb is renowned for his vast collection of owls.)

gotham-magazine.com

PEOPLE Dynamic Duo INSIGHT

Danielle Weisberg (left) and Carly Zakin at an ice cream parlor in the West Village.

Danielle Weisberg and Carly Zakin skim the city. Business Time

CZ: “Cafe Cluny (284 W. 12th St., 212-255-6900; cafecluny.com) is perfect for a breakfast meeting. I always get the grapefruit brûlée.” DW: “Nourish Kitchen + Table (95 Greenwich Ave., 212-242-6115; nourish kitchentable.com) for their coconut macaroons and the detox kale salad.” DoWn Time

DW: “I love trying new coffee shops in the city. Lena (1 W. Eighth St., 917-6245166; lenacoffee) has awesome coffee.”

You’ve got mail

Danielle Weisberg and Carly Z in celebrate the third anniversary of their e-newsletter, the skimm, with fans like michelle obama, sponsors including netflix, and plans to expand to a new platform this year. By Erin rilEy

“The idea was the easy part. It was taking the role—dishing about the news with the right bit of snark— that we had always played for our friends and turning it into a business,” says Danielle Weisberg, 27, who with Carly Zakin, 28, founded The Skimm, the buzzy e-newsletter that marks its third anniversary this month. And quite a business it has become. More than 1.5 million readers—up 50 percent since the start of the year—have signed up for the news summary highlighting the day’s top stories with in-the-know analyses. Fans include Reese Witherspoon, Sarah Jessica Parker, Oprah Winfrey, and Michelle Obama—who recently “guest skimmed” (their version of an interview). “All Skimmers are created

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equal, but those are a few names we are extra excited to have,” says Zakin. When Weisberg and Zakin, both former NBC producers, founded The Skimm in July 2012 out of their West Village apartment (they were roommates), they chose prosaic e-mail as the medium for their message, rather than try to develop an app or Web destination. “Visiting a blog, website, or opening an app is a learned behavior, whereas The Skimm directly inserts itself into someone’s morning routine,” Weisberg explains. They initially targeted urban millennial women, but the audience has grown to include a broader demographic (20 percent of Skimm readers are male), no doubt a reason why, when they closed their Series A

funding at the end of last year, they raised more than $6.25 million from investors like RRE, Greycroft Partners, and Homebrew, as well as big names like Irving Azoff, the former chief executive of Ticketmaster, and even Chelsea Handler. “We still touch every single word,” say the duo, who have moved into a larger office in Soho to accommodate their growing staff of 10. “How we pick the stories goes back to our training at NBC,” explains Weisberg, “It’s about riding the wave—when [news is] breaking, and when we can feel confident to run with it.” While their mornings are filled with meetings, networking, and media appearances, come 4 pm, the team has a formal pitch meeting, then writes, edits,

fact-checks, and updates the stories until the newsletter goes out at 6 am EST. “Then we’ll go back to bed… for a little while, at least,” says Zakin. A Chicago native, Weisberg started in the DC bureau of NBC News after graduating from Tufts in 2008, then moved to New York in 2010 to help produce MSNBC’s The Last Word with Lawrence O’Donnell. Zakin began at NBC as an intern while still at Penn and was offered a full-time gig in New York upon graduation. Weisberg and Zakin say that their decision to start the newsletter wasn’t because they were unhappy with their jobs; they just couldn’t see a clear-cut career path in traditional broadcast journalism. “In order to stay with news, we knew we had to innovate,” explains Weisberg. Weisberg and Zakin remain focused on maintaining their record open rate (the number of subscribers who consistently open the e-mail), which is currently at 45 percent, as well as expanding lucrative partnerships. Netflix is the most recent sponsor to join an impressive list that includes ABC, HBO, Showtime, and the NBA. Later this year, Weisberg and Zakin will bring their voice to a different platform, the details of which they are keeping under wraps at present. “In order to keep something relevant, you have to stay creative,” says Weisberg. G

photography by rick Wenner

CZ: “Grand Banks (Pier 25, Hudson River Park, 212-960-3390; grand banks.org) on the West Side Highway for a drink and lobster roll.”

PEOPLE Talent Patrol Pablo Schreiber on the rooftop of the Refinery Hotel. He’s called New York City home since he graduated from college. Suede jacket, Michael Kors ($895). Bloomingdale’s 1000 Third Ave., 212-7052000; bloomingdales.com. Shirt, Theory ($195). Bloomingdale’s, see above. Jeans, Schreiber’s own

OutdOOrs and In Pablo Schreiber’s favorite public and private spaces. Ferry tale: “When the

Public iMage: “I’m

weather’s nice, I take my bike on the New York Waterway Ferry (nywaterway.com). That’s one of the great commutes in the world, pulling into the World Trade Center.”

a huge fan of New York’s public spaces. There’s a real commitment to giving people places to blow off steam and come together communally. I love the Brooklyn Bridge—it’s one of the treasures of the world for me.”

Mad Man: “My favorite cultural attraction in New York City is the installation art in Madison Square Park (madisonsquarepark.org). It’s the perfect marriage of outdoor public space and art gallery. I am always excited to see what treasures I will stumble upon next.”

Quiet, Please: “There

are so many good places in New York to drink, but one of my favorites for ambience and conversation is The Library in The NoMad Hotel (1770 Broadway, 212-7961500). Super-cozy, inviting, and never too loud.”

On the Brink

Pablo Schreiber loses his “pornstache” and picks up a starring role on hBo’s Buzziest new comedy. By Jennifer DeMeritt Fans (or anti-fans) of the character George “Pornstache” Mendez—the sleazy, sadistic, deliciously despicable prison guard on the hit Netflix series Orange Is the New Black—will have to find someone new to love to hate. Pablo Schreiber, the actor behind the infamous facial hair, is leaving the show and stepping into a starring role on The Brink, a sharp-witted political satire on HBO that airs in a choice Sunday spot, after the buzzed-about drama True Detective and the new comedy Ballers. Launching its first season on June 21, The Brink casts a gimlet eye on world politics, with Schreiber playing fighter pilot Zeke Tilson, Tim Robbins as a US Secretary of State bedeviled by indiscretions while in office, and Jack Black in the role of a jaded foreign service officer—all three embroiled in a military crisis that starts in Pakistan and threatens to turn into World War III. “One of the things that drew me to the project is the challenge of doing satire for a modern audience,” Schreiber says. “To do those elevated, smart takes on world events feels a little bit scary, a little bit dangerous, but potentially very valuable.” Though Zeke Tilson and Pornstache are both comedic roles, Schreiber cut his

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teeth on drama. His breakout role was playing the brooding longshoreman-turned-drug-trafficker Nick Sobotka on the acclaimed HBO series The Wire in 2003. More recently, he garnered a Tony nomination in the Broadway revival of the Clifford Odets play Awake and Sing! in 2013, and he played a sexual predator on Law & Order: SVU in 2014. “That was incredibly heavy and dark and hard to watch. I felt there was room for some lightness,” Schreiber says of his decision to join the cast of The Brink. The time was right too. “Because doors have opened up in the comedy world from Orange Is the New Black, it felt like a good time to take advantage of that; comedy wasn’t something I had been asked to do before.” (Schreiber returns to dramatic form in the upcoming movie 13 Hours, directed by Michael Bay, about the 2012 terrorist attack in Benghazi, Libya, which he signed onto earlier this year.) Schreiber grew up in Winlaw, British Columbia, “a town of 300 in the Canadian Rockies—a very, very tiny place,” to a stage actor father and a psychotherapist mother, then moved to Seattle with his father at age 12 when his parents divorced. His half-brother is the acclaimed actor Liev Schreiber, who is 10 years his senior. Schreiber feels nepotism played no part in his success. “We have distinct career paths. I am constantly seeing people on social media who are just finding out we’re related,” he says. But their connection did have a major impact on one aspect of Schreiber’s life: his decision to move to New York. “I was 16, and Liev was doing The Tempest in Central Park. I stayed with him, spent a week hanging out, and just fell in love with the city. I knew right away that I was going to live here.” After he completed his theater degree at Carnegie Mellon University in Pittsburgh in 2000, he moved to New York. “The amount of people stuffed into one tiny [geographic] place and the variation of culture and experience you get with that is just something I don’t ever want to be away from,” he says. “It’s home.” G

PhotograPhy by guillaume gaudet; Styling by CaSey trudeau; grooming by amy KomorowSKi for aXe at art dePartment

“One of the things that drew me to the project is the challenge of doing satire for a modern audience,” Schreiber says of his role on The Brink.

Opening Summer 2015

VACATION IN PARADISE. NO PASSPORT REQUIRED.

VISIT MARGARITAVILLERESORTS.COM OR CALL 1-844-5OCLOCK (844-562-5625) TO BOOK YOUR VACATION!

people Spirit of Generosity

The French Connection

Bastille Week and French restaurant Week join Forces to BeneFit action against hunger. by jennifer demeritt

When French joie de vivre takes over New York for the combined celebration of Bastille Week and French Restaurant Week, July 13–19, it’s about more than just raising a glass of bubbly. Proceeds from nearly two dozen French restaurants offering prixfixe meals that week (as well as a special wine tasting held at Clarkson on June 29) will benefit Action Against Hunger, a nonprofit organization based in

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France that has been fighting malnutrition around the world for 35 years. Here, Ketty Maisonrouge, a board member of the charity and president of the Luxury Education Foundation, and Bertrand Lortholary, consul general of France, talk about their commitment to Action Against Hunger, the upcoming celebrations, and the special connections between New York and France.

Why was Action Against Hunger chosen as the philanthropy to partner with for French Restaurant Week? Ketty Maisonrouge: In France, Action Against Hunger is one of the most renowned nonprofit organizations, and it is celebrating its 35th anniversary. French Restaurant Week is about food, and there is nothing more natural than to select an organization

photography by Sari goodfriend; oppoSite page: Lydia Lee

Bertrand Lortholary and Ketty Maisonrouge, here at the French Consulate on Fifth Avenue, discuss Action Against Hunger and Bastille Day celebrations in New York.

that has one of the most impressive humanitarian track records of fighting hunger. What part does the French Consulate play in French Restaurant Week and Bastille Week? Bertrand Lortholary: The purpose is to take the opportunity of Bastille Day, July 14, and the whole week around that date, to celebrate the French art de vivre, and also to benefit Action Against Hunger. It’s a very intense moment for the French Consulate because it’s our national day. Here in New York, we have a Bastille Day celebration in Brooklyn, one in Manhattan on 60th Street, and now—this is going to be the third year, I believe—a celebration in Harlem. For French Restaurant Week, we support the visibility of French restaurants and restaurateurs as much as we can. It’s a way to make France even more visible in the city that loves France. When did you become involved wit h Act ion Against Hunger? KM: When I joined the board 15 years ago. I’ve always known the organization, and basically 93 percent of what Action Against Hunger raises goes directly to the field [rather than administration]. That is a very rare, very impressive track record. Does the French Consulate support other philanthropies in the city? BL : We a lso suppor t Ent ra ide Fra nça ise, a n organization that helps the most distressed French citizens living in the city, and French-American Aid for Children, which raises money for organizations in France and the US whose goal is to help children in need. We have a partnership with the Harlem Academy, a school that helps young talented children who come from difficult backgrounds to really give the best of themselves. It is very close to our heart at the consulate, because we feel that we are part of the city, and we want to help the city get even better. What are Action Against Hunger’s most recent noteworthy achievements? KM: Besides the 35th anniversary, which is pretty amazing, we have been in Nepal for many years, so

above:

we were on site when the earthquake happened in April. We try to work long-term in places we go, and we are able to accomplish certain things that very few nonprofits can because of our strong local roots. It’s not only when they have an emergency that we show up and then leave. Our goal is to change fundamental things. Right now in Nepal, it’s not just about food, because the way people get sick is with poor sanitation. So we’re building latrines and digging for fresh water. In Africa and elsewhere in the world, we work with displaced populations. Many of them were farmers, but they come to a new land and don’t know how to farm it. So we teach them. What is Action Against Hunger’s fundraising goal for French Restaurant Week and Bastille Week? KM: To do better than the previous year. The events help us not just in terms of dollars, which of course is very important, but also in terms of recognition. When you know that with one dollar you can make sure a child is perfectly fed for one entire day, we realize that we don’t necessarily need that much money to make a big difference. How are you celebrating Bastille Week and French Restaurant Week this year? BL: For French Restaurant Week, I’ll try to participate at as many places as possible, to thank the restaurants that very generously proposed to be part of the operation. It’s important for us at the consulate to be there and try to strengthen the special relationship that exists between New York and France. On a yearly basis, we have about 600,000 French tourists visiting New York City. There is no equivalent anywhere—outside of Europe, New York is the number-one destination for the French. KM: My plan is to go to the 60th Street celebration by the Alliance Française. We’ll start there with the street fair, which is full of activities and my favorite street food—les gaufres, les crepes —and celebrate with everybody. It’s just a fun, happy event. action againsthunger.org; frenchrestaurantweek.com G

Severine Picquet, founder of French Restaurant Week, with Master Chef of France Antoine Camin of Orsay restaurant, which is participating in the event.

Charity register Opportunities to give. The New York Musical TheaTre FesTival Since 2004, The New York Musical Theatre Festival has nurtured new talent and premiered more than 350 shows, which have seen success on Broadway and at Off-Broadway venues. From July 7 to July 27, the nonproft will host 24 new productions, with proceeds benefting creative programs like the Student Leadership Program. When: Tuesday, July 7, to Monday, July 27 Where: 36 W. 44th St., Ste. 1010A Contact: nymf.org

Make-a-wish Put your endurance and teamwork skills to the test at Urban Mudder, a new fve-mile, city-based athletic event and all-day festival taking place on Randall’s Island. Urban Mudder will support Make-A-Wish, a foundation that grants wishes to children with life-threatening illnesses. When: Saturday, July 25 Where: 1 Randall’s Island Park Contact: metrony.wish.org

The Michael J. Fox FouNdaTioN Join Team Fox, the foundation’s grassroots community fundraising program, along with some great names in golf for the second annual Darry Norcross Team Fox Golf Tournament, benefting Parkinson’s research. All the funds raised through Team Fox will go directly toward fnding a cure for Parkinson’s and to support those afficted with the disease. When: Sunday, July 26 Where: The Barracks Golf Course, 24 Golf Course Road, Plattsburgh Contact: michaeljfox.org

huMaN righTs caMpaigN The Human Rights Campaign, the largest LGBT civil rights advocacy group in the nation, will host its 12th annual “Tee Off for Equality” golf outing at Glen Cove Golf Club on Long Island. Registration includes golf with a cart, lunch, admission to the open-bar cocktail reception, dinner, and an annual membership in the Human Rights Campaign. When: Monday, August 17

“We don’t need that much money to make a difference.”

Where: Glen Cove Golf Club, 109 Lattingtown Road Contact: hrc.org

—ketty maisonrouge gotham-magazine.com

INVITED

GoinG Social

Power bashes celebrating toP charities and the city’s key influencers.

Cover star Renée Fleming attends the Women of Influence cover party.

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PhotograPhy by andrew toth

Renée Fleming, Dina Habib Powell, Dr. Eva Andersson-Dubin, Lydia Fenet, Jane Gol, Shiba Russell, Jean Shafiroff, Carmen Tal, Rachel Sterne Haot, and Dr. Margaret Cuomo were among the distinguished women who graced Gotham’s Women of Influence issue and the cover party celebrating it.

RoseMarie Caporuscio and Jorge Lopez

Dina Habib Powell

WOMEN OF INFLUENCE COVER PARTY

Carmen and David Tal

ON JUNE 2, Gotham magazine celebrated its annual Women of Influence issue, with cover star and opera legend RenĂŠe Fleming, at the Loews Regency Bar & Grill. The power bash, sponsored by jewelry line Misahara and beauty brand Moroccanoil, brought together VIPs and tastemakers like Barbara Cirkva, Agnes Gund, Olga Vidisheva, and Matthew Modine, who toasted to the high-wattage scene.

Sarah Gargano and Ana Vujnic

Dr. Eva AnderssonDubin

Margaret Cuomo

Megan Peters, Kristi Blake, and Yvette Edwards

Jane Gol

Lepa Galeb-Roskopp

Guests fill the Loews Regency Bar & Grill.

GOTHAM-MAGAZINE.COM

INVITED

The Moroccanoil team.

Doreen Geiger and David Ushery

WOMEN OF INFLUENCE COVER PARTY AMONG THE MAGAZINE’S Women of Influence in attendance were Dina Habib Powell, president of the Goldman Sachs Foundation, Lydia Fenet, senior VP of strategic partnerships at Christie’s, Jane Gol, president of Continental Ventures, Shiba Russell, co-anchor for NBC 4 New York, philanthropist Jean Shafiroff, Moroccanoil cofounder Carmen Tal, Dr. Eva Andersson-Dubin, cofounder of the Dubin Breast Center of the Tisch Cancer Institute at Mount Sinai, and Rachel Sterne Haot, chief digital officer and deputy secretary of technology for New York state.

Each guest left with a gift bag of Moroccanoil products.

Rachel Sterne Haot Freddie Leiba and Lizette Kattan Pozzi

Meredith Gieskes and Olga Vidisheva

Lydia Fenet

Shiba Russell

Benedetta Pignatelli Jean Shafiroff

GOTHAM-MAGAZINE.COM

PHOTOGRAPHY BY ANDREW TOTH

Renée Fleming, Matthew Modine, and Agnes Gund

Alexandra Vintimilla and Robert Cullen

Kara Council, Sarah Sarpolis, and Marion Waxman

Marc Taub and Samuel Waxman

PALM BAY INTERNATIONAL WINE TASTING Mariam Karim

Alyssa Bierman and Elizabeth Steele

THE NEW YORK PUBLIC LIBRARY Italian sparkling wine Cantine Ferrari Trento was served at the tasting.

played host to wine importer Palm Bay International’s Wine Portfolio Tasting and Silent Auction, where more than 300 guests were treated to a walk-around tasting of the company’s 90 brands and savored vintage wines from around the world. Event attendees participated in a silent auction, which raised $18,000 to benefit the Samuel Waxman Cancer Research Foundation—a longtime charity partner of Palm Bay International and its owner, the Taub family. Harlem’s Streetbird Rotisserie, Madiba, and Settepani restaurants provided savory treats throughout the night.

Jacqueline Troccoli, Blaine Ashley, and Tara Bosert Roy Teeluck and Mehdi Eftekari

Meredith Wolff and Eric Herd

Milana Knowles and Krista MacDonald

One of the many wine displays.

Christa Chiever and Joe McHugh

GOTHAM-MAGAZINE.COM

INVITED

CANALI AND GOTHAM MAGAZINE CELEBRATE AN EVENING OF FASHION

Oshun Layne and Sadiq Murray

Hacik Girjikian

Tangie Murray and Glenn Pennell

LUXURY ITALIAN MENSWEAR

label Canali and Gotham magazine celebrated an evening of fashion to benefit the Rush Philanthropic Arts Foundation, marking its 20th anniversary this year, at the brand’s Madison Avenue boutique. Guests took in the Spring/Summer 2015 collection and artwork from the foundation, which provides inner-city children with access to the arts.

Jenny Holmes and Suzy Biszantz Myla Dalbesio Olivia Palermo

Allison Janae Hamilton and Charlotte Mouquin

Edward Barsamian

Tess Hellfeuer, Marihenny Pasible, Besa Tafari, Vanousa Savari, Kristy Kaurova, and Hanna Verhees

LA PERLA MADISON AVENUE FLAGSHIP REOPENING LA PERLA CELEBRATED the recent

grand reopening of its Madison Avenue flagship store on the Upper East Side. Olivia Palermo, Julie Henderson, Anastasia Ganias, and Bridget Helene were among the stylish guests who viewed items from the most recent runway Natalia Beber

GOTHAM-MAGAZINE.COM

The Canali boutique on Madison Avenue.

Snoh Aalegra

show, as well as the label’s first men’s collection, while enjoying a special performance by singer Snoh Aalegra and music by DJ Hannah Bronfman. Every guest left with a well-stocked goody bag, which included a bottle of La Perla’s popular perfume, Just Precious.

PHOTOGRAPHY BY EUGENE GOLOGURSKY/WIRE IMAGE (CANALI); CLINT SPAULDING/PATRICKMCMULLAN.COM (LA PERLA); OPPOSITE PAGE: PHOTOGRAPHY BY KEN GOODMAN (BEST BUDDIES); ANDREW TOTH/WIRE IMAGE (GALLEY 151)

Stanley Raynor and Shani Bess

Sujeet Desai and Elaine Kwon

A performance by Annmaria Mazzini.

Elaine Kwon, Ahmir “Questlove” Thompson, and Janina Gavankar

Andrew Bancroft and Carla Hall

BEST BUDDIES BENEFIT AHMIR “QUESTLOVE” THOMPSON, drummer for The Roots,

Carla Hall, cohost of ABC’s The Chew, and actress Janina Gavankar joined award-winning concert pianist Elaine Kwon and Friends for the Best Buddies New York Benefit Concert, held at Carnegie Hall. The event raised $300,000 for the charity’s New York initiatives, which promote social programs for people with intellectual and developmental disabilities.

Anthony Kennedy Shriver

Kelley Faulkner, Neil Degrasse Tyson, Alice Young, and Gerry Klingman

Evan Yee

Mary Louise Perlman, Michael Namer, and Helen Davies

A guest wears 3D glasses to watch a piece transform.

The StartUp installation.

GALLERY 151 PREVIEW OF STARTUP GALLERY 151, A POP-UP gallery that supports New York-based artists, joined Gotham magazine to host a preview of artist Evan Yee’s latest piece, StartUp, a conceptual mobile and immersive installation. Guests enjoyed cocktails while taking in the exhibit.

Alessandra De Benedetti

Gallery 151, a premier pop-up gallery in Chelsea, is sponsored by green building developer Michael Namer.

GOTHAM-MAGAZINE.COM

taste

Shore Thing At Santina, ItAlIAn gets A new dIAlect. If Santina were in the music business, it would be a tribute band for all things coastal and Italian. The menu salutes Italy’s Mediterranean shores, the dishes like push-pins marking places on or near the water (tortellini Sorrentina, bass Agrigento, insalata Pompeii, avocado Trapanese). But the emphasis on fish is also intended to highlight the restaurant’s location under the southern terminus of the High Line. This spot, in the 19th century, marked the Manhattan shoreline, and presumably there were fishermen around. Even the one red-meat dish (now extinct), bistecca Maggio, a 21-day, dry-aged T-bone, was named for a meat dealer who once occupied this spot. Let’s call it the Costa Carbone. It’s an eclectic seafood realm. The excellent whole

Blue crab spaghetti is one of seafoodcentric Santina’s most popular dishes.

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By Gary Walther PhotoGraPhy By JosePhine rozman

grilled porgy comes from Montauk, but the branzino is from Veta la Palma in Spain, which chef Mario Carbone says, “produces the most beautiful farm-raised branzino.” This coast prizes invention over authenticity. “We don’t in any of our restaurants duplicate Italian dishes,” explains Carbone. What restaurant in Italy would apply a mint and parsley salsa verde (roofed with Thai basil leaves!) to that porgy, or use a Japanese short-grain rice (tamaki) grown in California and usually used for sushi—and stir-fried, no less—in a trio of dishes? It’s that rice that gives the broccoli and pecorino its cheesy, buttery intensity but lighter-than-air texture, and it’s on the menu, says Carbone, “to keep within the vocabulary of Italy.”

On this coast, flavors are as bold as a Fauvist-red brushstroke, as in the chitarra Santina, in which mussels coexist happily with spicy lamb sausage. On this coast, we eat to have fun, and that starts with the first item on the menu, the cecina pancake, an import from Liguria, with a choice of toppings: Calabrian tuna, funghi, lamb tartare, and avocado Trapanese. The dedicated pescetarian will go for the Calabrian tuna (big-eye or yellowtail) in a fermented chili paste (lemon, pickled cucumber, parsley, and mint), and the gamberetti, shrimp lazing around in a bath of ginger, garlic, scallion, and chili flakes. It’s a dip fest for the table, a kumbaya Mediterranée, and the zippy overture to the rest of the menu. One of the surprising

aspects of Costa Carbone is the beauty quotient of the vegetable dishes. I nominate the squash carpaccio as Miss World in this category. It’s an astonishing mille-feuille of orange agrodolce (sweet and bitter), punctuated with marbles of sour mascarpone cheese and topped with toasted pumpkin seeds and chives. And the eggplant sesamo? Vegetarians with a repressed longing for steak, hear me! This is eggplant reincarnated as beef, fire-roasted in a spicy tomato vinaigrette and showered with—I couldn’t keep track—capers, dates, celery, olives, and sesame seeds. Just order it. You’ll come up with the word that describes how the eggplant flesh dissolves in your mouth. Above all, on this coast, the weather is always good. Santina occupies a glass box with retractable walls,

designed by Renzo Piano. It’s actually a pinky extension of the new Whitney Museum, a beach-club restaurant on a beach long gone. There are potted palms and a collection of frilly, hand-blown Venetian glass chandeliers (“some assembly required,” says Carbone). On the back wall is a collage of painted busted plates, a tribute to the Major Food Group’s connections: It’s by Julian Schnabel. The noise quotient is off the charts—this is a racquetball court in glass, after all. On a Saturday night, the high C of an Italian tenor on the nostalgia sound track was easily swallowed by the ocean-trench decibel of conversation. You can test your clout quotient by requesting one of the banquette-sofas, the top seats, one of which is right beneath the Schnabel collage. (Just don’t get the table right

inside the door.) One online wag called the space an aquarium—or maybe fishbowl is more apt given the schools of European and outerborough scenesters passing by on Washington Street and descending the High Line steps embedded in the roof of the restaurant. The servers’ Palm Beach tribal colors, white trousers, pastel polos (light purple, lichen green, coral), and Rod Laver sneakers are in the swim. Later, at dinner, a woman at the adjacent table, surveying the scene, says to her three Manhattan mates, all of them dressed in perfect black uniforms, “It feels Caribbean to me.” And well it might. But she’s just six time zones off: Santina is a Forte dei Marmi/Sardinia/and Porto Ercole of the mind. 820 Washington St., 212-2543000; santinanyc.com G

HigH seas at santina, cocktails cover the waterfront.

Among the cocktail shoutouts is the Amalf Gold, a bourbon-orange-ginger concoction sitting under a mountain of pebble ice. It’s a surprise, an homage to an erstwhile Playboy Club in Jamaica. Mixologist Thomas Waugh is a tikidrink fan, and he pulled this one from his collection of old cocktail recipes. At the other extreme is something more Italian, the

from left:

Squash carpacccio with mascarpone; the Amalfi Gold cocktail, made with bourbon, orange juice, ginger, and crème de pêche; the restaurant’s glass-box-style interior.

Basil Bellini (pictured). It’s usually a loquacious drink, but here it’s rendered taciturn, a refreshing plus. The surface is fat (Waugh crafts the peach purée himself to achieve the look), the taste slightly astringent, and the basil leaf foating on top expresses the reserve perfectly. The restaurant’s ecumenical spirit is also seen in the Manganelli Punch, a tropical margaritia (tequila, banana, pineapple, cinnamon). Gin lovers, rejoice: You’ve got four cocktails to choose from. As Waugh says, “I love mixing with gin.”

gotham-magazine.com

taste Cuiscene Selections from the raw bar at P.J. Clarke’s. right: Industry Kitchen’s dining room, which overlooks the East River.

p.J. cLar e’s on the hudson

Why the buzz: The venerated New York pub’s downtown location means you can enjoy your burger with spectacular harbor views. What’s on the summer menu: Along with its famous burger, sample seafood fare like oysters on the half shell or yellowfin tuna tartare tacos. Sunny sip: Patrick Joseph Clarke Sidecar with Hennessy VS cognac, Giffard curaçao, and fresh lemon juice. Best time to go: Always; the restaurant is open 365 days a year. 250 Vesey St., 212-285-1500; pjclarkes.com/hudson

This summer’s besT Tables, wiTh a side of riverfronT views. By Juliet izon

Industry Itchen

Why the buzz: The newest addition to the South Street Seaport, this American spot has killer views of the East River, thanks to its location underneath the FDR. What’s on the summer menu: Snag a pizza from the custom wood-fired stone oven, including a dessert version topped with caramelized chocolate and mozzarella. Sunny sip: The Gimlet Printemps with Dorothy Parker gin, fresh grapefruit, and lime juice. Best seat in the house: The bar, which has a postcard-perfect view of the Brooklyn Bridge. 70 South St., 212-487-9600; industry-kitchen.com north rIver Lobster company

Why the buzz: It’s a three-floor floating lobster shack. Need we say more? What’s on the summer menu: Lobster rolls are king here, of course, but the newly expanded menu also includes an

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intriguing lobster ice cream. Sunny sip: The Life Saver, with peach vodka, triple sec, and orange and pineapple juices served in a Mason jar. Best time to go: Sunset; snag a table on one of the outdoor decks. Pier 81, W. 41st St., 212-630-8831; northriverlobsterco.com

Why the buzz: Long considered one of the most romantic restaurants in all of New York, the River Café is especially beautiful during the warmer months. What’s on the summer menu: Poached Nova Scotia lobster with squid ink cavatelli and spinach gratin. Sunny sip: The wine list is so extensive and excellent, you’ll want head sommelier Edmund Pollard to guide you through it. Best seat in the house: Any; every table in the dining room has a view of the river. 1 Water St., Brooklyn, 718-522-5200; therivercafe.com Water’s edge

pIer a harbor house

Why the buzz: This summer is the first time in 128 years that Pier A has been open to the public. Harbor House features three separate floors of innovative eats and drinks. What’s on the summer menu: Day-boat codfish with pipérade, fingerling potatoes, and parsley emulsion. Sunny sip: The Annie Moore, named after Ellis Island’s first immigrant, features Champagne, Lillet rosé, ginger syrup, and muddled strawberries. Best seat in the house: Table 23 on the second floor. 22 Battery Pl., 212-785-0153; piera.com

Why the buzz: With a panoramic view of the Manhattan skyline, this Long Island City spot has long been a favorite for its impressive riverside location. What’s on the summer menu: Five different steak preparations are available, including the succulent bone-in rib-eye with Cabernet glaze. Sunny sip: Mixologist Kelly Luna has concocted an entire martini menu. Try the East River, made with Hendrick’s gin, lemon juice, club soda, and a lemon twist. Best time to go: Dusk, when the glittering lights across the river begin to glow. 401 44th Dr., Long Island City, 718-482-0033; watersedgenyc.com G

photography by oleg March (industry kitchen); courtesy of p.J. clarke’s (raw bar)

Water, Water, Everywhere

the rIver café

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and insurance documents to each object. In addition to giving the client access to the information from anywhere, the Homebook App gives the client the ability to email and print the information about any object in the client’s account and send it to an employee, decorator or friend. And for those clients who rent out their properties, it is an indispensable tool since they no longer need to keep track of the objects from memory, or have the uncertainty of not knowing what is missing or damaged, “the Homebook App will give you the peace of mind that you deserve”.

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taste On the town

DockinG for LuncH WHAT:

A seafood-centric lunch in a waterside restaurant at the southern tip of Manhattan with views of the Statue of Liberty. WHere:

Pier A Harbor House, 22 Battery Pl., 212-785-0153; piera.com

Making Waves

Tim BarTon and Douglas gray celebrate the 10th anniversary of their yacht-share business on the downtown waterfront. by erin riley photography by doug young Lifelong sailors Tim Barton and Doug Gray wanted to give yachtsmen what they desire most—more time on the water and less time dealing with boat upkeep. Seeing the success of NetJets and Zipcar with fractional membership models, the duo created a membership program for yachting and launched Barton & Gray Mariners Club in 2005. Gotham joined them recently at Pier A Harbor House as they toasted their 10th anniversary, their first international destination in the Bahamas, and the newly introduced Long Island Commuter for New York–based members, which runs Thursdays and Sundays to and from the Hamptons. Why did you choose Pier A Harbor House? Douglas Gray: We do most of our pick-ups and

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drop-offs for both our time-share boats and the newly launched Long Island Commuter at North Cove Marina right around the corner. We are also big foodies, and the sandy beach towns [we frequent] serve food like this. [Appetizers are served: a selection of oysters from Blue Point and Tomahawk on Long Island and Wianno in Cape Cod] DG: We’re both lifetime boaters. Tim Barton: I learned to sail at the Indian Harbor Yacht Club in Greenwich, Connecticut. From little Boston Whalers to sailboats, I always had something to play around with. DG: I grew up outside of Boston and summered in Cape Cod. I would go fishing in canoes and offshore fishing with my father all over the world.

For our families, boating revolves around food. When you are in these incredible places on incredible boats, there’s nothing better than sharing a meal with family and friends. [Entrées arrive: the oyster po’boy, with a glass of Chardonnay for Barton, and the Harbor House lobster cutters with a Dark & Stormy on tap for Gray] TB: I’m going to New Orleans for the jazz festival next week, so I have po’boys on the brain. I always pair oysters with Chardonnay because when you’re on a boat, you want to drink something light and you don’t want to overpower the seafood. What did you order? DG: The lobster cutters, which are sliders with lobster salad. It’s just the way I like it, with barely any mayonnaise and a lot of lobster.

“Instead of sIttIng In traffIc, you can spend a lovely few hours on a boat.” —tim barton

opposite page, clockwise from left: Tim Barton and Douglas

Gray chat at the oyster bar; Barton orders the oyster po’boy, garnished with smoked onion, shredded cabbage, and lime; Gray opts for the Dark & Stormy on tap. this page, clockwise from left: The oyster bar offers pick-and-choose platters that are freshly shucked before serving; Gray and Barton toast their new commuter service; a selection of clams, mussels, and oysters from Tomahawk, Fisher Island, and Blue Point.

TB: I hope they aren’t pulling the lobsters out of the Hudson. How did you meet? TB: Doug dated my sister-in-law 15 years ago. They went their separate ways, but we stayed in touch. I had a sailboat and Doug had a great little fishing boat. We would always fish or sail in Buzzards Bay, and we noticed how the boats never left the dock. We started talking about how we could put something together that would offer the best part of boating without the hassle. DG: This was 10 years ago, when the collaborative economy was just at its infancy. Companies like NetJets and Zipcar were still establishing themselves. We both worked in the high-tech industry and were seeing these new business models. It’s all those things coming together—creative thinking, understanding the pleasures and pains of boating, and having the exposure to technology. In 2009 we figured out a business model that would allow for unlimited access to the boats. TB: Doug came up with the tagline, “We’re your friends with yachts,” which is a play on the

expression, “The best boat is your friend’s boat,” in that it’s the one you don’t have to worry about. DG: We’re launching our first international destination this year in the Bahamas. We’re very excited about that because we love conch fritters. [Laughs] TB: It’s also incredible to see how much New York is embracing Miami. The number of New Yorkers who are buying homes in Miami is astounding. There’s a huge group of people who travel between Miami, New York, and the Hamptons—that’s a giant sector of our membership. DG: Once you get a taste for boating around Manhattan, you think, Why was I not doing this before? You are always in these canyons in the city, and people don’t realize that in four to five minutes, you can be in a pretty, quiet place. [Desserts arrive: Barton has the Key lime pie and Gray has the vanilla panna cotta] TB: The East River is narrow, and all of Long Island Sound is flowing through it, so you can be going full throttle against the tide but only

moving a few miles an hour because the water beneath you is moving so fast in the opposite direction, but the Hudson is great. DG: We are also rekindling an old New York boating activity called the Long Island Commuter. Back in the ’20s, when most of the big industrialists and Wall Street tycoons had homes in Oyster Bay on the North Fork, they would all commute by a boat called the Long Island Commuter. [Now our version of the Commuter] docks at North Cove Marina and Chelsea Piers. TB: Instead of traffic or loud helicopters that seem to be irritating everyone out East, you can spend a lovely few hours on a boat enjoying the baseball game on TV or views from the deck with friends. DG: New York’s waterfront is experiencing a similar transition to what Boston went through. It’s taking something nobody really thought highly of and turning it into a great asset. TB: A lot of it has to do we with how we have stopped polluting our rivers. They’re a renewed resource. North Cove Marina, 385 S. End Ave., 617-728-3555; bartonandgray.com G

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HOPE is in the bag.

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QVC ® Presents Super Saturday LIVE to benefit Ovarian Cancer Research Fund

Tune in and shop Saturday, July 25, 2pm ET Special thanks to Kelly Ripa for her support.

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*Based upon supplier’s representations of value. No sales may have been made at this price. **Purchase price excludes Shipping, Handling, and Tax. A public service announcement. Show dates, times, offers, and availability subject to change without notice. © 2015 QVC, Inc. QVC, Q, and the Q Ribbon Logo are registered service marks of ER Marks, Inc.

8th Annual

70 Top-tier Galleries from 14 Countries Exhibiting Over 400 Artists

July 3-5, 2015 Opening Night July 2 benefts Guild Hall + the Samuel Waxman Cancer Research Foundation Thurs., July 2, First Look ............5-7pm Opening Night Preview ...........7-9pm Fri., July 3 ....................... 11am-8pm Sat., July 4 ...................... 11am-8pm Sun., July 5 ..................... 11am-6pm

Moving 1 Mile East to Private Estate Grounds 900 Lumber Lane (at Scuttle Hole Rd.), Bridgehampton, NY Media Partner

Tickets available at: arthamptons.com

ARTof THE CITY IN THIS UNIQUE, inaugural Art of The City section, we spotlight and celebrate the freshest, boldest artistic talent from each of the 11 cities in which we publish. From Aspen to Washington, DC; LA to NYC; and for art connoisseurs and enthusiastic voyeurs alike, we’re delighted to reveal the diversity and richness of America’s emerging artists with in-depth proﬁles and a rare glimpse into the creation of their portfolios. Be sure to pick up our magazines when you visit our cities for the complete story on each of our featured artists (and how to support them)— together, they make a compelling collection.

GOTHAM-MAGAZINE.COM

ASPEN

LINDA GIRVIN

photography by shawn o’Connor (girvin)

Amid Aspen’s booming cultural scene, painter Linda Girvin’s visceral “Portraits” highlight an artist in transition.

For longtime Aspenite Linda Girvin, art is an exercise in duality. Her latest series, “Presence with Absence,” explores the boundary between life and death, realism and abstraction, movement and stillness. The striated shapes of the new works have a Richter-scale feel with Rorschach-test bursts of color. And like those tests, Girvin wants the audience to suspend rational thought and absorb the work more viscerally. But, the process is so interesting that even the most far-fromreality viewer will have a hard time resisting the urge to dig into each piece’s multiple layers. Quite simply, the series is composed of scanned images of dead birds mixed with acrylic paint and blown up to 48-by-56-inch posters. However, as an intensive artistic process they’re “two-minute performances” that straddle two- and three-dimensional shapes. To produce the images, Girvin uses bird carcasses as paintbrushes. She manipulates and moves their bodies while they’re being scanned to create discontinuous lines and amorphous shapes. The results are spontaneous, beautiful, and haunting. She says, “I like the beauty of birds,” she says. “I like their freedom, their gestures—they have such ‘ta-da’ about them.” Girvin is careful to point out that no birds are harmed in the creation of her work. While transition and movement have always been prevalent themes in her work, the current series didn’t come about until she and her husband started to spend more time in Mexico. “I feel closer to life and closer to death down there,” she says. “[I feel] the immediate quality, the palpable quality, and the heart down there.” That synchronicity with the cycle of life has allowed her to peaceably work with a medium as ostensibly grotesque as bird carcasses. “I don’t think I’m talking about death; I’m talking about life. I’m trying to push the boundaries of photography.” Visit aspenpeak-magazine.com for the full story.

Artist Linda Girvin at work in her Aspen studio. below, from left: Girvin’s Presence With Absence #42 and Presence With Absence #40.

Artist Beili Liu at work. A detail from Liu’s project “Stratus,” 2015.

below:

AUSTIN

BEILI LIU

Austin’s Beili Liu is dazzling the world with luminous, poignant installations.

The ghostly white tree hovering over Austin’s downtown Lady Bird Lake appeared at once to have risen from the water and drifted down from the heavens, a haunting memorial to the 300 million trees lost to the Texas drought in 2011. “Thirst,” a collaborative public art project by Women & Their Work Gallery (dreamed up and executed by visual artist Beili Liu, architects Emily Little and Norma Yancey, and landscape architect Cassie Bergstrom), was perhaps the city’s fnest moment demonstrating the beauty and reach of public art. Two years later, Liu, the toast of Austin’s emerging art scene and a professor at the University of Texas who has shows around the world, is readying another public art installation, this one to launch in San Francisco in August. She plans to transform a little-used pedestrian bridge (which connects Chinatown

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to the Chinese Culture Foundation within the Hilton Hotel) by affxing pieces of silver Mylar onto nearly 50,000 brick faces. “People will walk on it, and they’ll see their refection,” she says. “So then the bridge becomes a river with this rhythmic kind of energy.” Born in a rural farming village in China, Liu works with everyday materials like thread, paper, and incense to compose installations that seem effortless and exacting, weightless and profound. She moved to Austin seven years ago, and triumphant shows soon followed. This year she continued the climate conversation she started with “Thirst” with a more hopeful solo show called “Stratus.” “I’ve grown so much since I’ve moved here,” says Liu. “Imagine how wonderful it would be if our visual arts scene could catch up to our music scene?” Visit austinway.com for the full story.

The Starn Brothers, Doug (LEFT) and Mike. LEFT AND BELOW: The brothers’ Minotaur Horn Head, 2012, at Rome’s Museum of Contemporary Art, and Big Bambú: 5,000 Arms to Hold You, 2014, at Jerusalem’s Israel Museum.

BOSTON

STARN BROTHERS OPPOSITE PAGE: PHOTOGRAPHY BY ROMAIN BLANQUART (LIU). THIS PAGE: PHOTOGRAPHY BY SHANE MCCAULEY (STARN)

Doug and Mike Starn are skyrocketing to global acclaim for their multimedia masterpieces. When most of their classmates were grappling with puberty, 13-year-old Doug and Mike Starn had already realized their purpose in life. They discovered art. They learned they were talented. And, they understood that they naturally enjoyed working with no one but each other. They are identical twins, but over the past three decades, the Starns’s art has been anything but repetitive. Sculpture, video, photography, and painting are mixed and matched into pieces that resist categorization but captivate art critics and collectors alike. Just two years after graduating from Boston’s School of the Museum of Fine Arts (SMFA), the Starns garnered international attention at the Whitney Museum of American Art Biennial. Since then, they have won the SMFA Medal Award, two National Endowment for the Arts Grants, and The International Center for Photography’s Inﬁnity Award for Fine Art Photography. Their artworks are exhibited in La Bibliotèque Nationale, MoMA, the Guggenheim Museum, the Jewish Museum, La Maison Européenne de la Photographie, LACMA, the Metropolitan

Museum of Art, SFMOMA, the Whitney Museum of American Art, and the Yokohama Museum of Art, among others. The Starn brothers frequently explore duality: light and dark, technology and nature, past and present. They are no strangers to the dramatic statement: “Big Bambú: You Can’t, You Don’t, and You Won’t Stop,” which they installed on the roof of Manhattan’s Metropolitan Museum of Art, was created from 6,800 bamboo poles and measured 50 feet high by 50 feet wide by 100 feet long. Visitors strolled through the sculpture, while the Starns directed a brigade of rock climbers to continuously build out the piece to echo a wave’s movement. This summer at Boston’s Museum of Fine Arts, the brothers are exhibiting Manjushri, an intricate four-color carbon print of a bodhisattva, a Buddhist symbol of enlightenment, which, true to Starn form, expresses colliding concepts encased in artistic wonder. Visit bostoncommon-magazine.com for the full story.

Patrick Miller (left) and Patrick McNeil of Faile in their Brooklyn studio. below: Miller and McNeil’s Delicious, 2011.

NEW YORK

FAILE

Street art meets high art in the multimedia mash-ups of Brooklyn-based duo Faile. Patrick McNeil and Patrick Miller—better know by their nom d’art, Faile—started creating street art in New York City in the late 1990s, using stencils, wheat-pasting, and other media to emblazon the urban landscape with their bold, graphic images. “There was something exciting about that art form,” says McNeil. “It had a life to it. One day it was there and the next it was not, and every day you walked down the street there was something different.” At the time, McNeil and Miller weren’t trying to become famous or impress people in the art world (though they eventually achieved all that and more). “It was a way to participate in something that was inspiring and cool and immediate,” says Miller. Since then Faile has achieved major recognition (including auctions at Sotheby’s and a commission from the New York City Ballet)

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with vibrant, large-scale works that incorporate elements of graffti, religious iconography, vintage cartoons, and a healthy dose of punk rock attitude. This summer the Brooklyn Museum presents “Faile: Savage/Sacred Young Minds,” the duo’s frst solo museum show in New York City. Many of the artworks in the show take inspiration from the city itself—like layered paintings reminiscent of peeling subway posters, or wood-block installations that echo the streetscape’s quiltlike juxtaposition of contrasting images. It’s an approach, says Miller, that allows them to “look at the chaos that is the city visually and say there’s something beautiful here.” Visit gotham-magazine.com for the full story.

OPPOSITE PAGE: PHOTOGRAPHY BY SHANE MCCAULEY (MILLER). THIS PAGE: PHOTOGRAPHY BY SHANE MCCAULEY (MICHAEL); COURTESY OF THE ARTISTS (ARTWORK)

WASHINGTON, DC

MAGGIE MICHAEL

Maggie Michael is making a name for herself in the nation’s capital with her original approach to abstract art. As a painter, Maggie Michael’s work is always shifting. Her earliest shows in Washington, DC, featured pours of latex paint. These pools of dense, earthy colors were vivid and organic, but also viscous and methodical. It was as if she were trying to capture the body’s humors—sanguine, choleric, phlegmatic, and melancholic— through large, biomorphic, abstract paintings. Born in 1974, Michael began showing these paintings after she received her MFA from American University in 2002. Just a few years later, her poured paintings yielded to a different style altogether. She began using spray paints and other applications to strike the canvas in a new way. If her previous paintings were slow, these were swift. Once again, she seemed to be referencing another powerful system for organizing the world: the elements—earth, wind, air, and ﬁre—never by name, but through the textures, colors, materials, and applications of her paintings. The artist’s abstract paintings are totemic. She often paints in series, exploring an idea through several iterations. These series

Maggie Michael in her Washington, DC, studio. LEFT AND BELOW: Michael’s Colored Ground Series (Orange): How to Make (Frame) a Black Rainbow, 2014, and Colored Ground Series: Grey Cosscutting Silver (Delta), 2014.

summon powerful forces to mind—the compass rose, the zodiac, and the four seasons—again, never explicitly. For example, in Michael’s latest show at G Fine Art, her gallery in Washington, she showed a series of silver paintings that each repeat an “X” figure, as if they were stations of a cross of her own making. Michael and her husband, sculptor Dan Steinhilber, are two of the District’s favorite artists during a time when the local art scene is still settling into the pace of the city’s incredible growth over the past decade. As she prepares for a significant survey at the American University Museum, Michael is weaving new abstract narratives. The personal mythos she explores in her painting is broad, intimate, and, like the city itself, poised to change once again. Visit capitolfile-magazine.com for the full story.

MIAMI

JILLIAN MAYER

From an absurd message to her eventual grandchildren to envelope-pushing selfes, it’s hard not to watch what Miami artist Jillian Mayer will do next.

Visual performance artist and filmmaker Jillian Mayer. left and below: Mayer’s DIY Lap Top Case (brown), 2014/15, and Saving Space, 2013, a piece in which performers swung into a video projection of a computer-enhanced blue sky.

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Jillian Mayer’s frst computer was on the bedroom foor; she spent hours in front of it, her body folded over in some parody of prayer. “The computer is your shrine,” she says. “Think of the halo, Byzantine gold leaf—it’s now the glow of the screen.” Mayer, who works with anything from video to photos to other peoples’ pornography, has thrown our search history back in our faces, showing us who we are. And while you can fnd it on YouTube, her art is just as likely to be projected on the exterior of the Guggenheim, at Sundance, or on the streets of Montreal. By the time she graduated from Florida International University in 2007, followed by an internship at the nonproft Locust Projects, she’d had a full introduction to Miami’s art scene and become a favorite among those “in the know.” Her comic yet disturbing short flm, I Am Your Grandma, at once a message to her unborn grandchildren and a study in meme psychology, garnered more than 3 million views on YouTube, but it was her 400 Nudes, an art installation of both digitally and physically altered images, at the 2014 Montreal Biennial that received real notoriety. For Nudes, Mayer downloaded 400 nude selfes from around the Internet, Photoshopped her face onto them, and recirculated the images online at 400nudes.com, a site created especially for the project (tagged with search terms such as “revenge porn”) and on card stock around Montreal. The piece nimbly debates sexual politics and rights of representation and privacy as the online world proliferates. “These are the things I think about—the state of identity, the state of existence,” she says. Visit oceandrive.com for the full story.

PHILADELPHIA

opposite page: photography by camilo rios-white (mayer); courtesy of david castillo gallery and the artist; special thanks to elsewhere museum and the nea (lap top case). this page: photography by shane mccauley (burwell)

CHARLES BURWELL

As Charles Burwell prepares new work for a local exhibition this summer, the Philadelphia painter contemplates how the City of Brotherly Love informs his aesthetic, while his evolving style propels him onto the national stage. Abstract artist Charles Burwell represents a growing number of artists who not only live and work in Philadelphia, but also draw inspiration from the city itself. “A lot of my work has something to do with not being able to push your way through,” says Burwell, who grew up in West Philadelphia and has a studio in Kensington. “There’s certainly a connection to my living and working in Philadelphia with all of its visual complexity.” In fact, Burwell says he may not have pursued this career at all if not for the opportunities he had here growing up, like Saturday art classes during elementary school and then classes at Moore College of Art during high school. A graduate of Temple University’s Tyler School of Art with a master’s degree from Yale University School of Art, Burwell’s aesthetic is equal parts Jackson Pollock action painting and

Charles Burwell in his Philadelphia studio. left and below: Burwell’s Invisible Dialogue and White Temp #2, both from 2014.

Matisse cutout, with sprinklings of color feld, op art, Pop Art, and other styles. A drip technique characterizes many of his works, but his true signature is his ongoing exploration of geometric shapes: Over the years Burwell has created hundreds of templates, frst by hand and then in the last decade by computer. Once the templates have been traced onto the canvas, his fondness for stripes, dots, grids, and other shapes comes to life. Burwell’s work can be found in the Philadelphia Museum of Art, the African American Museum in Philadelphia, and the Studio Museum in Harlem. This summer, one of his latest works will be installed at the Delaware Center for the Contemporary Arts in Wilmington, where it will serve as a focal point for an exhibit called “Layering Constructs” (through September 7). Visit phillystylemag.com for the full story.

HAMPTONS

MELINDA HACKETT

above:

Melinda Hackett in her Southampton studio. right: Hackett’s Gravesend, 2012.

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Artist Melinda Hackett creates vibrant layered paintings of biomorphic shapes inspired by a combination of the landscape and light of the East End and 1960s Finnish textiles. Her paintings fuse together the play of interior and exterior spaces in oversize format pieces and represent a state of nonlinear time. Objects move through the picture plane at various speeds and directions, some gliding slowly and others spinning as if in a blender. Forms firt with the edges of the works, providing the sense that the activity continues outside the borders. Born and raised on the Upper East Side of Manhattan, Hackett spent her childhood summers in Southampton on Coopers Neck Lane with her parents and grandparents, who have been residents of the area since the 1940s. All three generations of her family have been heavily involved in supporting exhibits at the Parrish Art Museum and were instrumental in the institution’s move to its new Herzog & de Meuron space in Water Mill. Hackett was selected by fellow artist Gary Simmons to be a part of the museum’s Artists Choose Artists program in 2011. Before devoting herself to painting full-time, Hackett founded Realart Inc. in the East Village with literary critic Charles Finch, displaying the work of artists such as Phoebe Legere and Anthony HadenGuest. Hackett earned her MFA from Parsons/The New School while painting and exhibiting at the Charles Cowles Gallery in Chelsea in 2009. She is currently represented by Cade Tompkins Projects in Providence, Rhode Island, and her bold, colorful oils and watercolors are often displayed by interior designers like Jamie Drake, Jeffrey Bilhuber, Todd Alexander Romano, and Ashley Whittaker. She divides her time between her studios in New York City and Southampton. Proceeds from the sale of her work will beneft the Parrish Art Museum’s educational initiatives, programs, and artists-in-residence series, which support the talent of emerging artists. Visit hamptons-magazine.com for the full story.

photography by shane mccauley (hackett). opposite page: photography by kristie kahns (brantley); courtesy of the artist (six)

Elements of East End light infuence the sharp detail of artist Melinda Hackett’s “super nature” paintings.

Chicago native Hebru Brantley at his studio. below: Brantley’s Six, 2014.

CHICAGO

HEBRU BRANTLEY

With his vibrantly colorful, grafti-inspired paintings, Chicagoan Hebru Brantley is inspiring a generation of youth. Superheroes abound in the work of artist Hebru Brantley: a Batman and Robin here, a Captain America there, and—almost everywhere else—his own heroic fgure, Flyboy, the begoggled child, inspired by the Tuskegee Airmen of WWII, who has become his signature character (“My Mickey Mouse,” Brantley laughs). It makes perfect sense for this native of Chicago’s South Side, whose pop culture-heavy infuences range from comic books and graffti to Basquiat and who, at a towering sixfoot-eight, jokingly calls himself a “tall black nerd.” Nerd or not, Brantley’s star is rising incredibly fast in the art scene; celebrity fans include Jay Z and Beyoncé, Lenny Kravitz, Chicago Mayor Rahm Emanuel, and Star Wars director George Lucas, who recently snapped up several of Brantley’s paintings. He frst came to prominence

in 2012, when Red Bull and Bombay Sapphire both selected Brantley’s work to be displayed at the Scope Art Show, a sister event to Art Basel Miami Beach. Since then, his pop-inspired contemporary pieces have been exhibited in LA, London, New York, and Art Basel Switzerland, and he has done work for Nike, Adidas, and Swiss watch brand Hublot. What sets Brantley apart, in the end, are the stories his art tells: With spray paint, oil, acrylic, and watercolor, his paintings project a world of optimism, hope, and youth empowerment. For Brantley, though, the medium is just as important as the message. “Being able to express myself through different characters—some appropriations, some my own—is me being true to who I am.” Visit michiganavemag.com for the full story.

Austin Young (left) and David Burns of Fallen Fruit. below, from left: Fallen Fruit’s Walking In LA, 2014 and “Lemonade Stand,” 2014, part of a museum installation.

LOS ANGELES

FALLEN FRUIT

Emerging LA arts collaborative Fallen Fruit is reinventing the very notion of “public art.” Does art grow on trees? For the emerging Los Angeles–rooted arts collaborative Fallen Fruit—whose “Endless Orchard” will likely ripen into the world’s largest collaborative art project this month—the answer is an emphatic, organic yes. “We use fruit as a media to change how you see the world,” says cofounder Austin Young, with friend and fellow cofounder David Burns grafting on, “and as a material by which we can reimagine the world around us.” The collaboration frst germinated in 2004, when Young, Burns, and third cofounder Matias Viegener saw a call by The Journal of Aesthetics & Protest for proposals that addressed social or political issues positively rather than negatively. Or as Burns explains, “to show how it’s possible to be like-minded in a way that’s not a critique or in opposition to something.” As part of the resulting project, the trio created a map of their Silverlake neighborhood in Los Angeles, one that showed the location of all fruit trees growing in or over public property such as in streets or on sidewalks. It was a de facto invitation for drivers to get out of theirs cars, to walk, to experience the city differently, and even to grab an orange, lemon, avocado, or fg. It also was an exploration of the concept of “public,” what constitutes community, and how new interactions and exchanges between citizens can be both created and encouraged, and all this in relation to… fruit. “It’s transnational, transhistorical, transcultural; it crosses all classes, all ages, and moves through all geographies,” says Burns. Evidently. Fallen Fruit has since mapped fruit trees in cities nationally and internationally, and exhibited and curated wildly popular exhibitions and collaborative happenings at cultural institutions far and wide. But it’s the collaborative’s groundbreaking work in creating nontraditional forms of public art—California’s frst public fruit park in 2013, and, most recently, “Endless Orchard,” a noncontiguous online map of fruit trees in public space the world over (a project partially funded by the cultural philanthropy nonproft Creative Capital)—that will likely weather time’s seasons while benefting the emerging publics of tomorrow. fallenfruit.org Visit la-confdential-magazine.com for the full story.

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JK Russ at work in her Vegas studio. left and below: Russ’ Desert Bloom, 2013, and detail from the collaborative window collage (with P3Studio) House of Paper Birds, 2014/15, which is on display at The Cosmopolitan of Las Vegas in conjunction with Art Production Fund 2015.

opposite page: photography by stella berkofsky (young). this page: photography by jeff gale (russ)

LAS VEGAS

JK RUSS

Collage artist JK Russ creates a bawdy—and otherworldly— Vegas landscape. New Zealand–born artist JK Russ is known for her collages, surreal landscapes that are imbued with a disconcerting sensuality— imagine Dalí meets Georgia O’Keeffe. Now based in Las Vegas, she has two favorite hideouts in the city, both central to her work: secondhand bookstores and burlesque shows. She hunts down underground burlesque shows, often held in neighborhood bars, as a source of inspiration. In fact, she calls them places of creative expression and female empowerment. “I love showgirls, but in burlesque you can be all sizes and shapes,” Russ explains, though she says she’s never been tempted to join a troupe herself. As for secondhand bookstores, that’s where she trawls for the old

magazines that form the raw materials for those collages. She’ll buy anything she fnds visually arresting, but is especially keen on 1960s and 1970s pornography. With its color saturation and acres of fesh, it’s especially well suited to her aesthetic. And her composite worlds of fashion and the desert landscape in saturated hues evoke the overt sexuality and commerce in an otherworldly natural environment that is the reality of Las Vegas. Prepping for a piece, Russ will often rip through a pile of recent purchases, blade in hand. “I have envelopes with legs, arms, lips, and fowers,” she confesses, “Once they’re cut out, they get put in a little categorizing system.” Visit vegasmagazine.com for the full story.

Off the Grid Street art meets high art in the multimedia mash-ups of Faile, the artist team of Patrick McNeil and Patrick Miller, whose Brooklyn Museum show this summer resonates with the spirit of New York. Interview by Matt Stone

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Photography by Shane McCauley

GROOMING BY ROSEMARIE BERNARDO

Patrick McNeil and Patrick Miller at their studio in Greenpoint, Brooklyn. OPPOSITE PAGE: Held 1986 by Faile, 2014.

atrick McNeil and Patrick Miller—better known by their nom d’art, Faile, started creating street art in New York City in the late 1990s, using stencils, wheat-pasting, and other media to emblazon the urban landscape with their bold, graphic images. “There was something exciting about that art form,” says McNeil. “It had a life to it. One day it was there, and the next it was not, and every day you walked down the street there was something different.” At the time, McNeil and Miller weren’t trying to become famous or impress people in the art world (though they eventually achieved all that, and more). “It was a way to participate in something that was inspiring, and cool, and immediate,” says Miller. Since then Faile has achieved major recognition (including auctions at Sotheby’s and a commission from the New York City Ballet) with vibrant, large-scale works that incorporate elements of graffiti, religious iconography, vintage cartoons, and a healthy dose of punk-rock attitude. This summer the Brooklyn Museum presents “Faile: Savage/Sacred Young Minds,” the duo’s first solo museum show in New York City. Many of the artworks in the exhibit take inspiration from the city itself—like layered paintings reminiscent of peeling subway posters, or wood-block installations that echo the streetscape’s quiltlike juxtaposition of contrasting images. It’s an approach, says Miller, that allows him and McNeil to “look at the chaos that is the city visually and say there’s something beautiful here.” For Niche Media’s special emerging artists’ initiative this summer, Miller and McNeil’s friend Matt Stone, cocreator of South Park and the multiple Tony Award–winning Book of Mormon, interviewed them about their work, the changing nature of street art, and how a creative partnership can be greater than the sum of its parts. —jennifer demeritt

Matt Stone: What are you guys up to right now? Patrick Miller: We have a show at the Brooklyn Museum opening July 10. It’s really exciting—kind of a crazy moment, but good. MS: I can’t wait to come. I’ve been a fan for a long time and see your work all over. I have to admit I don’t know how you guys got together. Where does the name come from? PM: Patrick and I met the frst day of high school in Scottsdale, Arizona. We shared art classes in high school and started college at Northern Arizona University before splitting off. It’s been a really collaborative journey—always trading sketchbooks and sharing a lot of those early infuences. We have always liked this band-making-art idea, where we create something together. Patrick Mcneil: The name started out as Alife, but there was a shop

on the Lower East Side called Alife, which was one of the frst places to sell graffti paraphernalia and do retail and art shows. We had printed 70 or 80 posters that had alife on them, and the manager said, “You can do what you want, but it’s going to look like advertising for the store.” So we went back, looked at the word and the letters, and started shuffing them around and got faile. It was interesting—taking on this negative word and making something positive from it. You need to fail to succeed. MS: Trey Parker and I always liked to refer to ourselves as a band. There’s an image with bands that I love, which is this group of people going up to a cabin in the mountains and coming out with something when they’re done. I wonder if you guys see it that way. PM: There really is something about taking your individual talents and coming together, but it is so much about the process, and the creative struggle, and the things that happen in the studio when you’re really deep in it. PMc: One of the reasons we thought about you for this interview is because we love the parallels we probably share in collaboration. I think having a partner is something special. You’re able to go on that route together and ground each other through struggles. MS: What is your division of labor? What do you bring individually? With Trey and me—he’s more of the director, and I’m more the producer. PM: I think we’re a little bit analog and digital. McNeil is much more handson. He is the engine behind the studio and keeps everything moving. He does a lot more of the painting; whereas I spend more time on the computer with the black and white image-making and help push those along. Although we both make those equally, I tend to enjoy the ideation and planning how things might come together in a bigger way. MS: For Trey and me, it’s like a tennis match, doing things back and forth. I’ll do this for a second, then I’ll throw it to him, then he throws it back to me. I don’t know why I said tennis; I don’t play tennis. PMc: That’s very much how we work on images. MS: I’m going to switch gears. Do you see yourself as always being based in New York, or is it kind of like the whole world is a canvas? PMc: The whole world is a canvas. We’re in New York most of the time, so we tend to absorb a lot of that into the work. But wherever we go, we appropriate [local] cultural themes. Later, all these things get mixed into the pot; all the cultures come together. PM: One of the other things we’re doing this summer is a large installation in Times Square, a large prayer wheel. It’s a really nice moment to give homage to the things that have driven us to New York.

“Murals are the dominant language of street art these days.” —Patrick McNeil

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One of Faileâ&#x20AC;&#x2122;s large-scale installations, Tower of Faile, 2013, was created for the New York City Ballet Art Series and hangs in the lobby of the David H. Koch Theater in Lincoln Center.

“We’re analog and digital,” says Patrick Miller (LEFT) of his partnership with Patrick McNeil. “He does a lot more of the painting, whereas I spend more time on the computer.”

MS: The way New York treats you when you give something to it… Book of Mormon was such a great experience, and now when I walk by 49th Street, there’s something going on that my buddies and I did here. It changed our relationship with New York on a spiritual level. New Yorkers were really thankful, like, Oh, wow, you contributed something. I’m sure you guys have that going already. PM: Not yet. We’re working on it. A little bit. MS: There’s such an interesting line with street art—between what’s illicit and what’s accepted. Where do you guys think that line is? PMC: It has changed a lot from when we started. Earlier on it was just finding those crazy alleys and forgotten spaces to create something unexpected. I feel a lot of that culture has moved away to murals, the dominant language of street art these days. What was once illegal is now sanctioned, and people are asking artists to come do murals in their cities. Wynwood in Miami is a good example of that. PM: I think street art is popular because it communicates so broadly. It is a public art form on many levels. A lot of those things were a big part of how we started. PMC: How has the roller coaster been of almost 20 years working on South Park, and trying to find new content, and staying excited about it? Are you ever, like, How am I going to do another season? MS: There are constant moments of doubt. We do think about quitting often enough to make sure that we don’t want to. There are definitely times when I’m wobbling and Trey’s the one pushing ahead, and there are times he’s wobbling and I’m pushing ahead. I think that’s part of being a team. PM: It’s like running a marathon, right? MS: Most artists I know who continue working at a high level have forced themselves into some sort of larger meta-structure. So with you guys, it’s a studio, a brand called Faile, a friendship. You get up and you plug yourselves into

“We have always liked this band-making-art idea, where we create something together.” —Patrick Miller

that—you just go to the same address and you start working on what you did yesterday. For Trey and me, we have to go to South Park. There’s a show on the air, and I know on Thursday night when we’re fucked and we have no good ideas, I’ll just go to work on Friday. I don’t lose it. I don’t go out and have some big artist moment by the pond. I just go to work on Friday. Trey’s really good at that, too, because he’s more of a pure artist than I am. I feel the artists who don’t do that can become like shooting stars: brilliant, but we don’t hear about them anymore. It keeps you from burning out, you know?

PMC: For sure. MS: What’s next, beyond the Brooklyn Museum show and Times Square? PM: Right now it’s hard to see beyond them. We are showing “Faile Temple” at the Brooklyn Museum, along with “Deluxx Fluxx Arcade,” so it’s an interesting moment to bring together these two artworks that speak to each other and the way that we interpret graphic language and icons in really different ways. GOTHAM: Can you talk about the duality in your art—for example, some of the peace-war, love-hate motifs that you’re working with. Why is that meaningful to you? PM: Because of the way we grew up with religion, how it was presented to us, and how we identiﬁed with it. I didn’t grow up going to a lot of art museums. We grew up with the language of comic books, skateboard mags, fanzines, and sticker books. Some kind of mythology structure is underlying it all, and that’s always resonated with us. We try to make small narratives in our work that can speak to people and can also speak to these moments in life and the comedy of it. Life is this constant push and pull, a constant struggle between wanting to do this or that. It’s just something that I think we all identify with. MS: You see it in the work. July 10–October 4, Brooklyn Museum, 200 Eastern Pkwy., 718-638-5000; brooklynmuseum.org G

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BUREAU Known for: A diverse stable of artists with strengths in abstraction and mixed media. The gallery’s prime spot at May’s Frieze Art Fair put the spotlight on the sublime ink drawings of London-based Vivienne Grifﬁn. Don’t miss: “The Daily Show,” which includes the work of Cory Arcangel and Darren Bader, on view through July 31. Open Wednesday through Sunday, 11 AM–6 PM. 178 Norfolk St., 212-2272783; bureau-inc.com

The Minus Objects by Michelangelo Pistoletto, 1965-1966, at Luhring Augustine, Bushwick. FAR LEFT: Reality Bites by Maxson Eileen, 2015, at Microscope Gallery.

CLEARING Known for: Pushing the boundaries with expansive exhibitions (such as the recent sprawling solo show of Ryan Foerster) in its new 5,000square-foot, ground-ﬂoor space. Don’t miss: The otherworldly paintings of Belgian-born, New York–based Harold Ancart, on view through July 12. Open Wednesday through Sunday, noon–6 PM. 396 Johnson Ave., Brooklyn, 718-456-0396; c-l-e-a-r-i-n-g.com

INTERSTATE PROJECTS Known for: Supporting new artistic practices, such as the language-based multimedia work of Brooklyn-based Sara Magenheimer, through largescale exhibitions. Don’t miss: “U:L:O,” concurrent group shows in the gallery’s white-walled upper room (U), raw lower space (L), and the concrete CONTINUED ON NEXT PAGE

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HOW BUSHWICK BECAME THE LEADING EDGE OF THE CITY’S ART SCENE. BY STEPHANIE MURG

On a recent balmy evening in New York City, art lovers prowled the latest exhibitions of their favorite galleries, picking a path among warehouse-like spaces and more intimately scaled rooms before concluding their crawl at Luhring Augustine, where inky new canvases by Christopher Wool, one of the most important abstract painters working today, hung on pristine white walls. That this scene transpired not in the western reaches of Chelsea but in Bushwick, in northern Brooklyn, is a testament to the rising cultural status of a neighborhood that in recent years has emerged as both a creative hub and an art destination. Because of its growth and buzz, Bushwick is now at the leading edge of the New York art world, whose white-hot center over the last four decades has migrated from Soho to Chelsea to the Lower East Side to Williamsburg—as the neighborhoods, transformed by their cool factor, became hot real estate destinations and unaffordable to artists who helped put them on the map. A 20-minute subway ride away from Lower Manhattan,

the neighborhood dates back to the time of Peter Stuyvesant, who chartered “Boswijck” (“town of the woods” in Dutch) in 1661 as a late addition to the New Netherland colony, although the boundaries have been shifting ever since. The cartographically inclined can find it south of Flushing Avenue, bounded roughly by Broadway, the Queens border, and the Cemetery of the Evergreens. Bushwick’s artistic boom is easier to trace. “Bushwick Open Studios is the reason the ‘Bushwick art scene’ is referred to as the ‘Bushwick art scene,’” says Nicole Brydson, who, with husband and fellow artist Rhett Henckel, runs Bushwick-based Misfit Media, which works closely with local artists, filmmakers, and small businesses on digital promotion and online media projects. Established in 2006, Bushwick Open Studios is the annual festival of Arts in Bushwick (AiB), an all-volunteer organization. More than 600 studios participated in this year’s event, held over the first weekend in June. “For the artists, it is a humble and rich opportunity to share their work,” says Brazilian-born artist Cibele Vieira, an AiB organizer. “For the public, it’s a unique experience to go inside the most intimate space of artistic creation, on a grand scale.”

PHOTOGRAPHY BY FARZAD OWRANG, © MICHELANGELO PISTOLETTO, COURTESY OF THE ARTIST AND LUHRING AUGUSTINE, NEW YORK (THE MINUS OBJECTS). COURTESY OF THE ARTIST AND MICROSCOPE GALLERY (REALITY BITES). OPPOSITE PAGE: PHOTOGRAPHY BY PETER FOX (VIEIRA); COURTESY OF THE ARTIST AND LESLEY HELLER WORKSPACE (MAN IN ARMOR)

WHERE TO FIND EMERGING ARTISTS.

Vieira moved to Bushwick from Michigan nine years ago. In her photographs, elements of the urban landscape take on a dreamlike quality that is both playful and regal. She credits Bushwick Open Studios with helping her get her first solo show, and points to the “stronger sense of community” that has developed among Bushwick artists and galleries over the last several years. “It’s gotten bigger, deeper, and more professional,” says Vieira. The neighborhood’s now-flourishing gallery scene was seeded by local artists. Deborah Brown, a painter and installation artist and a seminal figure on the Bushwick art scene, recalls arriving in Bushwick in 2006 to find artists but few places to congregate in an area just beginning to recover from decades of depopulation, divestment, and neglect. “Artists like me started galleries as a way to create community by showing the work of our fellow artists in lofts and apartments,” says Brown, who runs Storefront Ten Eyck and is represented by Lesley Heller Workspace on the Lower East Side. The Bushwick-Ridgewood Gallery Group, which she founded three years ago, is now a 60-member organization. Brown’s most recent body of work, in which portraits emerge from colorful painted thickets, is directly related to her surroundings. “The figures are constructed of lines, colors, and marks whose origin and inspiration come from the junkyard material I observed around me in Bushwick,” she says of the abandoned buildings reclaimed by nature and the monumentlike mountains of crushed cars she discovered during early expeditions near her studio and gallery. In recent years, the spectrum of Bushwick galleries has broadened to encompass work in a range of media created by artists that run the gamut from emerging to blue chip. Microscope Gallery bridges the white cube and the black box, specializing in the moving image, sound, digital, and performance art. “We tend to like artists who take risks with their works, push boundaries,” says Elle Burchill, who founded the gallery in 2010 with fellow artist and curator Andrea Monti. Last fall, Microscope more than quadrupled its exhibition space by moving to a new location on Willoughby Avenue. Luhring Augustine, a Chelsea mainstay with a roster of contemporary art heavyweights including Wool, Rachel Whiteread, and Glenn Ligon, opened a Brooklyn outpost in 2012. The gallery acquired its Knickerbocker Avenue building to use for storage until several Bushwick-dwelling staff members suggested holding exhibitions there. “It felt like a natural progression and a welcome opportunity to open part of the space to the public and engage with the artists and active environment of the neighborhood,” says Caroline Burghardt, the gallery’s director of publications and archives. The rapid pace of change has made the question of “What is Bushwick art?” both popular and exceedingly difficulty to answer. Attempting to define the community through the type or style of artworks that are

courtyard outside (O). The six-week program runs through August 2. Open Saturday and Sunday, noon–6 pm and by appointment. 66 Knickerbocker Ave., Brooklyn, 718-412-8726; interstateprojects.org

JTT Known for: Fitting a lot of ideas into a 500-square-foot space, formerly an electrical store. The recent show of Jamian JulianoVillani’s massive, wonderfully chaotic paintings proved the outsize ambitions of this tiny gallery. Open Wednesday through Sunday, 11 am–6 pm. 170A Suffolk St., 212574-8152; jttnyc.com

Microscope Gallery Man in Armor, Deborah Brown, 2015.

Known for: The work of moving image, sound, digital, and performance artists. Don’t miss: Eileen Maxson’s solo show, opening July 10. The Bushwick-based artist will exhibit sculpture, video, and mixed-media work related to the 1994 flm Reality Bites. Open Thursday through Monday, 1 pm–6 pm and by appointment. 1329 Willoughby Ave., No. 2B, Brooklyn, 347-925-1433; microscopegallery.com

pieroGi

Brazilian-born artist Cibele Vieira, an Arts in Bushwick organizer, works on a sculpture in her wood shop.

Known for: Deep roster of emerging and mid-career artists, including Sarah Walker, Andrew Ohanesian, and Darina Karpov. Don’t miss: The Boiler (191 N. 14th St.), the gallery’s satellite exhibition space in a former factory boiler room. Open Tuesday through Sunday, 11 am–6 pm and by appointment. 177 N. Ninth St., Brooklyn, 718-599-2144; pierogi2000.com

sTorefronT Ten eycK produced within it is futile, according to Eric Heist and Kikuko Tanaka of Momenta Art, an artist-run, nonprofit exhibition space; they find the inability to align the neighborhood with a particular style or medium is invigorating. “Responding to globally synced artistic trends, there are many site-specific utopian projects, community art projects, and environmental projects. At the same time, Bushwick accommodates strong communities of formal art,” Heist explains. “In fact, Bushwick is a growing artistic chaos.” Long may it reign.

Known for: Showing the work of emerging local artists such as Derek Fordjour and Kate Elliot. Don’t miss: “Re/Post,” a group exhibition, organized by Ian Cofre, that explores personal approaches to the practice of painting, on view through July 19. Open by appointment in July. 324 Ten Eyck St., Brooklyn, 917-7143813; storefrontteneyck.com

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Printed silk dress, Roberto Cavalli (price on request). 711 Madison Ave., 212-755-7722; robertocavalli.com. Quadruple V bracelet, K/ller Collection ($529). Sucre, 357 Bleecker St., 212-352-1640; sucrenyc.com. Moray sandals, Jimmy Choo ($950). 407 Bleecker St., 212-366-1305; jimmychoo.com Location courtesy of Baha Mar, the new Bahamian Riviera, set on 3,000 feet of pristine beachfront in Nassau. The highly anticipated 2,200-room, $3.5 billion luxury lifestyle resort reflects the vision of its CEO and chairman, Sarkis Izmirlian. Architect Mike Hong master-planned and designed the 1,000-acre destination, while interior designer Dianna Wong translated the ocean, people, art, and glamorous history of the Bahamas’ 700 islands into a resort that celebrates them all. Baha Mar features four hotels; a luxury villa designed by Grammy Award–winning musician Lenny Kravitz; private residences; a world-class, Jack Nicklaus–designed 18-hole golf course and clubhouse; multiple restaurants and retailers; a nightclub; a lavish 30,000-square-foot spa; three 14-foot-deep blue-hole pools; and the Baha Mar Casino—the crown jewel of the resort, featuring 100,000 square feet of gaming and rivaling the best casinos in the world. For reservations or information, call 844-800-BAHA, or visit bahamar.com.

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Sunny Side up

Citrus hues and ethereal silhouettes are summer-ready from sunrise to sunsetâ&#x20AC;&#x201D;perfeCt for new york women whether they are partying along the glittering shores of the manhattan waterfront or at a stylish new resort like baha mar in the bahamas. photography by randall slavin

styling by cannon

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opposite page: Dahlia

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this page: Swimsuit,

Eres ($490). Barneys New York, 660 Madison Ave., 212-826-8900; barneys.com. Coconut necklace, Holst + Lee ($255). Cynthia Rowley, 376 Bleecker St., 212-242-3803; cynthiarowley.com

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opposite page: Yves Klein cascade dress, Adeam ($2,100). Saks Fifth Avenue, 611 Fifth Ave., 212-753-4000; saks.com. Single bar cuff, Jennifer Fisher ($497). 103 Fifth Ave., 212-625-2380; jenniferfisher jewelry.com this page: Embroidered

gown, Gucci ($5,700). 840 Madison Ave., 212-717-2619; gucci.com. Lauren bracelet, Jason Wu for Pluma ($210). Bergdorf Goodman, 754 Fifth Ave., 212-753-7300; bergdorfgoodman.com

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PhotograPhy assistance and video by noah schutz; styling assistance by izzy ruiz; hair and makeuP by craig honeycutt/utoPia; model: Pernilla/Q models; sPecial thanks to valentino lloyd, eureka smith, and karlyle harris; shot on location at baha mar casino & hotel, nassau, bahamas

opposite page: Mist embroidered dress, Bottega Veneta ($6,800). 699 Fifth Ave., 212-3715511; bottegaveneta.com. Kona fringe bracelet, Holst + Lee ($165). Cynthia Rowley, 376 Bleecker St., 212-242-3803; cynthiarowley.com this page: Bodysuit ($895)

and tulle skirt ($5,995), Ralph Lauren Collection. 888 Madison Ave., 212-434-8000; ralph lauren.com. Viti tube cuff, Pluma ($402). Bergdorf Goodman, 754 Fifth Ave., 212-753-7300; bergdorfgoodman.com beauté: Giorgio Armani Luminous Silk Foundation in No. 4 ($62). 717 Fifth Ave., 212-207-1902; giorgioarmani beauty-usa.com. Bobbi Brown Long-Wear Cream Shadow in Heather ($26). Bergdorf Goodman, 754 Fifth Ave., 212-753-7300; bergdorfgoodman.com. Nars Eyeliner Pencil in Mambo ($23). 413 Bleecker St., 646-459-2323; nars.com. Tom Ford Lip Color in Sable Smoke ($50). 845 Madison Ave., 212-359-0300; tomford.com. Oribe Après Beach Wave and Shine Spray ($39) and Thick Dry Finishing Spray ($39). L’Appartement Hair Boudoir, 5 E. 57th St., 212-355-2730; oribe.com

At the

Water’s Edge century ago the Lusitania set sail for England, on her doomed final voyage, from Manhattan’s Pier 54. Today that dilapidated pier seems to be as much a reminder of a once-glorious past, when New York’s waterfront was a vibrant and bustling place, as the Lusitania herself is of a long-vanished era of glamorous transatlantic travel on fleets of luxurious ocean liners. But appearances can be deceptive. Media tycoon Barry Diller and his wife, fashion design icon Diane von Furstenberg, have committed to spending $113 million to build Pier 55, a brand-new pier between the remains of Pier 54 and what little is left of Pier 56. That’s the single largest donation ever made to a public park in New York City, and one of the most ambitious and lavish proposals yet seen in the decades-long crusade to revive Gotham’s waterfront. The design calls for construction of what proponents of the project describe as an “undulating platform” and what observers refer to as a “floating island,” extending about 186 feet into the Hudson River. It will feature 2.7 acres of parkland and a 700-seat amphitheater for performing arts events—all supported by mushroom-shaped concrete columns, required to keep the edifice above the river’s floodplain, a design mandate in the wake of Hurricane Sandy. “New York has always reminded me of Venice,” von Furstenberg said at the time the couple announced their pledge to

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photography by Ilya S. Savenok/getty ImageS for the Carlyle (dIller). renderIng by heatherwICk StudIo/pIer55 InC.

With megayachts in the Hudson, Barry and Diane’s gift of a floating pier, and new riverside restaurants, condos, esplanades, and biking trails—New York returns to its roots as a waterfront city. by suzanne mcgee

This rendering of the West Side waterfront includes the proposed $130 million floating park and performance space at Pier 55, to be funded in large part by media mogul Barry Diller and his wife, designer Diane von Furstenberg (far left).

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The Lusitania, which set sail on its final voyage from Pier 54. opposite page, clockwise from top: A rendering of Barry Diller and Diane von Furstenberg’s Pier 55 project; the restored clock tower at Pier A Harbor House rings the time with ship’s bells; Barton & Gray, a NetJets-like yacht share business, now has three boats on the Greenwich-toNew York route and just introduced its Long Island Commuter service.

“I am happy The TIme has come To properly honor new york’s waTerways.”

—diane von furstenberg 98 gotham-magazine.com

underwrite the park’s operating costs for its first 20 years. “So I am happy the time has come to properly honor its waterways.” In fact, New York’s waterfront— especially on the Hudson River side—is getting a lot more attention from the city’s elite, who once firmly turned their backs on it as far too dangerous and decrepit. Doug Gray, whose Barton & Gray luxury yacht rental business offers a NetJets-like experience for those who prefer traveling on water along the Eastern seaboard, says his firm offered its first trip from Greenwich, Connecticut, to New York, and up the Hudson River, back in 2010. “Now we have three boats dedicated to that route,” he says, with some members choosing to take a longer loop around the southern tip of Manhattan to savor all the changes that have taken place along the waterfront: new restaurants, parks, and piers. Some millionaires and billionaires of the kind who make up Barton & Gray’s clientele are spending a lot more time on the water, too. Louis C.K. took fellow comedian Jerry Seinfeld boating on the Hudson for the latter’s award-winning Web series Comedians in Cars Getting Coffee. At the upper end of the wealth spectrum, there is Roman Abramovich, who quietly sailed Eclipse, his 536-foot megayacht, up the Hudson to dock at Pier 90 in Midtown (his boat is so big it needed an ocean liner berth). Aboard were Abramovich and his pregnant wife, Dasha Zhukova; he paid an estimated $2,000 a day in mooring fees alone to remain on the Hudson until his daughter was born. It’s a fair bet that no Russian billionaire would have been willing to spend time on the New York waterfront even a few years ago unless absolutely forced to do so—and it’s equally likely, Gray says, that other billionaires will follow in Abramovich’s wake. “They all kind of chase each other,” he explains. Reflecting that, Island Global Yachting just acquired the rights to manage the North Cove Marina in Battery Park City on behalf of Brookfield Property Partners. Island

Global—founded by Andrew Farkas, heir to the Alexander’s department store fortune—has a number of marinas in the Caribbean and North America that serve as ports for some of the world’s biggest yachts. The new deal gives Farkas’s clients access to 18 more slips and four megayacht berths, only a short stroll from some other brand-new waterfront amenities, like the justopened luxury boutiques at Brookfield Place itself and Pier A Harbor House, the lavishly refurbished Victorian eatery near the southern tip of Manhattan.

hat restaurant, like Diller’s floating pier, is another luxurious, one-of-a-kind renovation project that serves as an example of what can happen when creativity, capital, and energy come together. That’s not to say that the transformation of Pier A was smooth and painless. The departure of the marine divisions of both the Police and Fire Departments left the pier—the sole remaining waterfront structure of its vintage—vacant by the late 1960s, and it would take decades to hammer out an agreement on its future use. Then the city and Battery Park authorities spent some $42 million renovating and stabilizing the structure; its new lessees, downtown restaurateur Peter Poulakakos and his partners, have invested another $20 million to build out the collection of bars and restaurants the pier now contains. “The first area is the Long Hall, where we serve the kinds of beers that people coming from Europe in 1886, when the pier was first open, would have drunk at home, and pair them off with New York State offerings,” says Daniel McDonald, a partner in Pier A Harbor House, who has overseen the pier’s transformation into a setting for atmospheric restaurants and bars. (Its clock tower, silent for decades, has resumed ringing the time with ship’s bells.) Along with the beer, McDonald is serving up oysters. The shells are set aside for the Billion Oyster Project: By 1906, New Yorkers had devoured every oyster the harbor contained at the time, and pollution worsened the problem.

photography by ullstein bild/gettyimages (lusitania); opposite page: doug young (clock); rendering by heatherwick studio/pier 55 inc.

below:

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far left: Roman Abramovich’s 536-foot megayacht, Eclipse, is so large it has to dock at a pier that can accommodate ocean liners. inset: Abramovich with wife Dasha Zhukova.

The project aims to have a billion live oysters back on the city’s first new active reefs in a century by 2030—and achieving that goal entails using old oyster shells as mulch. “There are now oyster beds where we never thought we would ever see them again, and that’s only part of the recovery,” says an elated McDonald, who, from the walkway at the end of the pier, has spotted striped bass in the Hudson River waters beneath him.

photography by Christopher peterson (yaCht); DaviD M. benett/getty iMages (abraMoviCh)

hile those bass aren’t on the menu at any of the eateries at Pier A Harbor House yet (“We’re still checking the mercury levels,” McDonald notes), anglers routinely prowl the waterways of the Hudson and East Rivers looking for bass. Where garbage once floated, weekend sailors zip around in dinghies and kayakers paddle; the waters have become so clean, even the occasional humpback whale has swum in to feed on the returning fish. All of this is a far cry from the kind of waterfront that existed on the Fourth of July 2000, when then-President Bill Clinton sailed up the Hudson River aboard the aircraft carrier SS John F. Kennedy amid a flotilla of vessels to review the largest gathering of tall ships ever assembled in New York Harbor. Madelyn Wils, a founding member of the Hudson River Park Trust, was aboard one of those vessels and vividly recalls feeling embarrassed about the way Manhattan’s waterfront looked to visitors standing alongside her at the ship’s rails. “We were a waterfront city,” she says. “If Baltimore had managed to create an attractive waterfront, why couldn’t we?”

Happily, Wils was far from alone in her desire to do something about the dire state of the city’s once-bustling piers. By later in 2000, groups of individuals and organizations had begun, at last, to take action to reverse the steady decline of the waterfront—once the very reason for the city’s existence. Today the Hudson is a destination for megayacht owners, weekend sailors, and kayakers. Fashion shows take place on renovated piers, as does The Armory Show, one of the contemporary art scene’s top annual events, hosted at Piers 92 and 94. The New York State Legislature passed the laws to create the Hudson River Park in 1998; today, Gothamites can sunbathe in the five-mile-long stretch of riverfront parkland, play tennis or mini golf, or rent a kayak. It’s now possible to bicycle along a big portion of Manhattan’s perimeter or hail a water taxi to take you to your next destination on the waterfront. “It’s an amazing transformation, as New York and New Yorkers have suddenly re-embraced their waterfront heritage,” says Gray of Barton & Gray. “We are extremely excited about it all. When we tell people we’re active in New York, they’re puzzled and don’t understand. But there is so much potential here.” The East Side, however, is testament to how much remains to be done. For starters, the FDR Drive cuts off waterfront access completely for large swaths of the community. In Upper Manhattan is Pier 107, the only remaining pier that protrudes into the East River. Signe Nielsen, a principal in the New York landscape architecture firm Mathews Nielsen (veteran of many New York waterfront projects), is trying to find ways to finance its restoration. “It’s a stand-alone, fundable opportunity,” Nielsen says optimistically, noting that—just like the floating pier that Diller and von Furstenberg plan to construct—it requires no highway money. Should a willing donor step forward, the pier could become a venue for anything from nighttime movie showings to fishing; it could be a launch for canoes and kayaks and the base for educational facilities. “It could turn into a kind of community water-

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101

“New York waS borN aNd exiStS becauSe it’S a harbor.” —gonzalo cruz

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front living room,” Nielsen says. Most players involved in trying to redesign the waterfront, whether by creating new megayacht berths, luxury restaurants, or condo and retail complexes, will insist that the key is balance and scale. “This isn’t about spectacle or about [the projects becoming] a destination, but about being a way for people who live and work nearby to get closer to the water,” says Gonzalo Cruz, design director of the New York office of AECOM, the landscape architecture firm trying to solve one of the big gaps in waterfront access, along the East River Esplanade between 38th Street and 60th Street. Currently, pedestrians, cyclists, and other recreational users are forced back onto city streets by the United Nations buildings and by the FDR Drive; there’s no way to completely circumnavigate Manhattan along the water’s edge by foot or on a bicycle. AECOM’s new design creates a wide deck that literally extends over the East River, alongside the highway, with separate travel ways for bikes and pedestrians. “Special nodes will connect the city to the esplanade,” Cruz explains, with each offering a different kind of experience—a place where United Nations workers can eat their lunches by the river, for example, or an area dedicated to environmental learning. What Cruz had to avoid was anything that seemed likely to attract tourists, in the way the High Line does in Lower Manhattan. The High Line is fine for a neighborhood already awash in visitors, but not for the much quieter riverfront neighborhoods of Midtown on the East Side. “We can’t overwhelm any neighborhood by putting in place something unsuitable,” says Chris Ward, chair of the board of trustees of the Metropolitan Waterfront Alliance, a nonprofit group whose mission is to help strike a balance between all those with competing interests in New York’s waterways and waterfront—from sunbathers to giant shipping companies. “These can be complex issues.” A battle is already under way over the future of South Street Seaport, perhaps the corner of the city most closely

identified with New York’s maritime heritage. The Howard Hughes Corp. wants to spend $1.5 billion to shore up the seaport’s dilapidated piers and refurbish landmark buildings—and also to build a 494-foot-high condominium tower that critics say would block views of the Brooklyn Bridge. Ward, for one, isn’t a fan of the tower. There are even bigger challenges looming on the horizon (other than the aesthetics of the buildings). After New York City launched its master plan for the waterfront, called Vision 2020, in 2011, Hurricane Sandy swept up the Eastern seaboard, flooding large swaths of low-lying land in all five boroughs of New York. That served as a forceful reminder of the need to incorporate the potential impact of climate change on New York’s cityscape into the process of waterfront planning.

ome new projects already are addressing this. One of the largest is The Dryline, a proposal by Bjarke Ingels Group (aka BIG), a Danish design firm and winner of the initial stages of a competition to design a system to prevent the waterfront from flooding again and make it a more livable space for residents. BIG has received $335 million to begin engineering studies to discover precisely how to implement its design, which involves the creation of a lot of green space in what is (as the name implies) a large U-shaped protective barrier for Lower Manhattan. Ideas like this are daunting in the magnitude of their creativity and scope. But those watching New York return to its roots as a waterfront city as it moves further into the 21st century find it exhilarating, too. “New York was born and exists because it’s a harbor,” points out Gonzalo Cruz. “We’ve turned inward and away from that— working harbors can be noisy, smelly places.” But now the water and the waterfront beckon with ever more allure for New Yorkers seeking an escape from the concrete jungle. And with each new project or venture, there will be even more to discover in life on the (water’s) edge. G

RendeRings by AeCOM LAndsCApe And URbAn design stUdiO (eAst MidtOwn wAteRfROnt espLAnAde); big–bjARke ingeLs gROUp (dRyLine)

below: Flip-down panels designed for The Dryline, the project intended to prevent waterfront flooding in Lower Manhattan. opposite page, from top: A rendering of AECOM’s East Midtown Waterfront Esplanade; an aerial view of the design for The Dryline.

Water, Water everyWhere We’ve got more than 500 miles of coastline here in New York City. Now’s the time to take advantage of it. By Lucy Cohen Blatter Sail on New York Harbor. Membership in the brand-new Brooklyn Bridge Sail Club grants you access to a fleet of sailboats (for racing, recreation, and instruction). It’s located next to Pier 5 in Brooklyn Bridge Park Marina. 646-883-3930; bbsailclub.com Paddle on the Hudson. Downtown Boathouse offers free 20-minute kayak rentals from Pier 26 downtown and from two locations on the Upper West Side (56th and 72nd Streets). Manhattan Kayak Company offers lessons and tours, and rents kayaks (for a fee) as well as stand-up paddleboards. downtownboat house.org; Manhattan Kayak Company, 555 12th Ave., 212-924-1788; manhattankayak.com Go whale- and dolphin-watching off the Rockaways. yep, you read that right. the American Princess had a sighting rate of more than 90 percent during its four-hour tours last year. tours depart from riis Landing in Breezy Point. 718-474-0593; newyorkbeachferry.com Jet Ski on the Brooklyn Waterfront. Jetty Jumpers can take you on three different Jet Ski tours: a one-hour trip through Coney Island, a three-hour tour to the Statue of Liberty, and a 1.5-hour tour to the verrazanoNarrows Bridge. all three meet at Gerritsen Creek, off Sheepshead Bay. 917-734-9919; jettyjumpers.com Go yachting. Want to enjoy the high seas (or at least the hudson and east rivers) without the headaches of full-time yacht ownership? Consider a part-time program like Barton & Gray Mariners Club, a membership-based yachtshare initiative. the club is celebrating its 10th anniversary with the launch of the Long Island Commuter, which runs to the hamptons and back from North Cove Marina and Chelsea Piers. North Cove Marina, 385 S. End Ave., 617-7283555; bartonandgray.com Cycle along the Battery Bikeway. this brand-new bikeway links the hudson river Park Bikeway to the east river esplanade. Other enhancements include perennial gardens, replanted woodland areas, and new seating—ideal for a break from all that cycling. Have brunch or bubbly on New York Harbor. the 158-foot-long Clipper City and the classic schooner Shearwater offer specialty trips like a Champagne brunch and a jazz sail. Private charters are also available. Shearwater departs from the North Cove Marina at Brookfield Place, and Clipper City leaves from the south end of Battery Park. 212-619-6900; manhattanbysail.com

HAUTE PROPERTY Ian Schrager’s new condo-hotel was designed by Herzog & de Meuron. The building will top out at 25 stories and house 11 condos and 360 hotel rooms.

Making gold out of grit

Ian Schrager takes on the Lower east side with a new condohoteL, 215 chrystie street. by c. j. hughes

imagery by alex morris Visualisation ltd & eVan Joseph

The Lower East Side around Chrystie Street seems like the kind of place where the old Ian Schrager, an owner of Studio 54 and longtime nightlife impresario, might have opened a club. Juxtaposed against restaurant-supply shops that sell meat slicers on the sidewalk and warehouses stacked with lumber are trendy bars and bistros that on weekends thrum with packs of party-seeking millennials. But Schrager is betting the area is ready for something a little more refined: 215 Chrystie Street, a hotel-condo whose prices are almost twice that of new nearby condos, though the property has so far been somewhat of a tough sell with the neighborhood. “It’s a very special project, and either you are going to get it and want to buy it and live there, or you won’t,” Schrager says. “This is not some typical developer’s special.” It certainly won’t look like much of the brick streetscape around it. With 11 condos atop 360 hotel rooms, the 25-story tower layers raw concrete with tall windows whose bottom edges flare out slightly, recalling the profile of a pagoda, which

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A living room at 215 Chrystie with city views. Apartments come in two sizes: two-and fourbedroom. below: Ian Schrager

A judge dismissed the suit in October 2013. For his part, Schrager says he’s not bothered by the outcry: “I think what we’re doing is great for the neighborhood.” The building will open at the end of 2016. Sales, which began in September, have been slow. As of May, just three of 11 units had sold for prices starting around $7 million, or an average of $3,500 per square foot. The new-development average on the Lower East Side is $2,000 (see sidebar). “[The neighborhood is] a little gritty for those kinds of prices, so I imagine it will be challenging,” says Henry Hershkowitz, an associate broker with the brokerage CORE (646-780-5260; henry@core nyc.com), who frequently works in the area. “But Ian Schrager is an innovator, and if anybody can do it with those numbers down there, it’s probably him.” Douglas Elliman Development Marketing, 212-4660215; 215chrystie.com G

“WE WantED to MakE it fEEl likE you WErE taking a bath in thE sky.” —ian schrager may be appropriate for the property’s near-Chinatown location. Schrager, who is partnering with the Witkoff Group for the project, says those slanted surfaces are intended to reflect the sky, creating a shimmering presence. The reflected clouds will also give hotel guests and residents some privacy. But the views from the condos, at least, should be unfettered. Designed by Herzog & de Meuron, the firm behind Schrager’s 40 Bond Street, the apartments don’t have metal seams where the windows join at corners, turning those points into what could be considered right-angled fishbowls. Likewise, residents can soak in standalone tubs that are practically perched on window ledges, according to renderings. “We wanted to make it feel like you were taking a bath in the sky,” Schrager says. “I can’t think of anything more relaxing than that.” With chestnut-panel walls and 10-foot ceilings, the units come in just two sizes: two-bedroom, with 2,500 square feet, or four-bedroom, with 5,000 square feet. On the lower floors of the building will be a Public hotel, a lower-cost Schrager chain that will also cater to the condo owners, supplying them with room service and housekeepers. But views from its rooms might not be so sweeping, as the mid-block site is tight, squeezed between the back

of a Whole Foods and a red-brick affordable-housing apartment project, 10 Stanton Street. Building on that site wasn’t easy. Part of it contained a bench-lined garden for 10 Stanton Street, and residents did not want to see it razed. So in exchange for taking away their flower and vegetable patch, Rubin Schron, the owner of both the garden and 10 Stanton, said he would guarantee that the apartments would remain affordable for 30 years, even though its rent protections were scheduled to expire shortly. Schron also threw in a gym and bicycle room, among other upgrades to the 146-unit building. Then he sold the garden parcel to Schrager for $50 million. For Deborah Gonzalez, a Section 8 tenant at 10 Stanton and a head of the building’s tenants association, the deal was fortuitous, even if she’s wary of her new neighbors. “We can all be here together, but I feel like a building like this, they just want to be here by themselves,” Gonzalez says. Others wary of the tower include Keith McNally, the restaurateur behind Cherche Midi NY, around the corner on the Bowery. And Sperone Westwater Gallery, whose windows sit close to 215 Chrystie, actually sued to stop the project, which will “block the light that the gallery has enjoyed and depends on,” according to court documents.

Private soaking tubs on the condo’s terraces provide the ultimate in urban relaxation.

Hot NeigHborHood, Cool PriCes though it might be hipper than other parts of lower Manhattan, the lower East side, which fans out south of East houston street, lags behind other downtown locales price-wise, even if inventory of new condos is lower, too. from april 2014 to april 2015, 33 condos sold on the lower East side at an average of $1.11 million, according to streeteasy.com. in contrast, in nearby soho, 91 condos sold at an average of $4.34 million, the data show, while in Chelsea, 384 condos sold at an average of $2.42 million. looked at another way, the average price of a new condo in May on the lower East side—in buildings like 100 norfolk street, 204 forsyth street, and 50 Clinton street, which is on the site of the former WD-50 restaurant—was about $2,100 per square foot. yet in Chelsea, according to streetEasy, the new-condo average was $4,300 per square foot, suggesting the neighborhood’s cool vibe doesn’t translate into a hot market.

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haute property real estate roundtable

Over the Bridge

Top Brooklyn developers and real esTaTe execuTives Talk aBouT how a hoT housing markeT keeps iTs heaT. PhotograPhy by tanya Mallot

In the past decade Brooklyn has gone from Manhattan also-ran to global brand, an upstart borough that revels in its counterculture vibe and penchant for authenticity. Grandparents of Williamsburg scenesters may have once fought to get out of its immigrant enclaves, but today Brooklyn can boast one of the hottest real estate markets in the country. For Gotham’s frst Brooklyn Halstead’s Trish Martin and Industry City CEO Andrew Kimball. right: David Von Spreckelsen, president of Toll Brothers City Living. inset, above: Brooklyn’s legendary restaurateur Michael “Buzzy” O’Keeffe, owner of The River Café.

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real estate roundtable, we asked insiders long on the scene to tell us how and why Brooklyn “happened,” what it all means, and how long the boom can last. Why did Brooklyn take off in a way that Queens did not? Ryan Black: The question shouldn’t be why it is Brooklyn and not Queens, but why it is Brooklyn and Queens along the waterfront? For young people, the frst choice now is to come to more livable areas, be closer to where they work so they can walk or bike, be in communities where there are great parks. What is unique about Brooklyn is that the branding is off the charts. That’s because of the eclectic mix of the maker community. On the real estate side, the rezoning of downtown Brooklyn, capped by rezoning the Greenpoint and Williamsburg waterfronts—those were game changers. I think Queens may get there, but Brooklyn had a really big head start. Queens has always been seen as somewhat suburban. You have to take highways to get to places. Ofer Cohen: As someone who came here from another country, I can tell you that when you move to a place like New York, you move to capture a dream, and you want to own it a little bit. I think the opportunity to own your dream in Manhattan is very limited, and it doesn’t matter if you’re in real estate, or an entrepreneur, or involved in a tech start-up. MaryAnne Gilmartin: Today, more people are living in cities than ever before. When you look at what makes a city great, you look at Brooklyn in terms of real neighborhoods, the quality of life, the maker culture. Has Brooklyn become overpriced? We keep reading the push is to go deeper and deeper into the borough to fnd affordable housing. David Von Spreckelsen: It is getting very

expensive, but you still get more for your money than you do in Manhattan—more square footage, more trees, more light, and more air. But we’re seeing land prices now that blow our minds. The pricing we’re getting for some units at Pierhouse is more than $2,000 a square foot. Ofer Cohen: Land prices tripled since coming out of the recession. These are prices that you used to see only in Manhattan. One broker in a previous roundtable said that the level of luxury in other boroughs is not anywhere close to Manhattan levels. DVS: If you look at the projects we do in Chelsea or Flatiron, or in many other neighborhoods, it’s the same level that we’re providing at Pierhouse in Brooklyn Bridge Park. I would say that the levels there are as good as anything we would do in Manhattan, barring a project on Park Avenue, with a $70,000 kitchen by Christopher Peacock. But it also depends on how you defne luxury. To me, luxury is about livability and lifestyle as opposed to fxtures. Trish Martin: What’s changed is that people are looking for a lifestyle. I think that luxury as defned by Manhattan—that’s not the buyer. MAG: People in Brooklyn have a different defnition of luxury. The fact that you can have a coffee purveyor who is not on every corner but is in your neighborhood. In what other ways is the Brooklyn luxury buyer different? OC: Successful Brooklyn developers are thinking about more of an authentic lifestyle experience versus something that has a luxury effect. RB: I think there’s a different artistic interpretation of luxury than in Manhattan. It’s not the four-piece continued on paGe 108

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haute property real estate roundtable

Ofer Cohen, president of TerraCRG, raises a glass. inset: MaryAnne Gilmartin, CEO of Forest City Ratner Companies. below: The River Café, set in a waterside park.

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cornice trim set or the doorman. TM: It’s interesting, because I worked on one small project, a new development, and the developer said, “No one uses their kitchen, so it doesn’t matter.” In Brooklyn, people use their kitchen, and that’s a big difference. They don’t want them for show; they want them for use. I had to really position that strongly. DVS: We have a lot of buyers who come from Manhattan, so I would say the downtown Manhattan buyer is not so different. We’re also seeing a lot of people coming from the Upper West Side, where there are very livable neighborhoods. As much as we want to talk about Brooklyn, we’re overgeneralizing Manhattan. OC: We’re seeing investors and capital coming from all over the world, which is very different than 10 years ago. Are you getting the foreign buyer the way Manhattan is? MAG: We have Chinese partners, and for those of us who have international equity in these transactions, it becomes part of the conversation. For China right now, to come to the US for education is a real need. But this notion of ghost buildings where no one is home— that would be rejected in Brooklyn. G: Many Manhattan brokers say they see the most traction between the $3 million and $6 million price point. What’s the luxury sweet spot in Brooklyn? DVS: For us, and the building we’re doing right now—around $3 million for a two-bedroom apartment, and we have some really great units with a tremendous amount of outdoor space. RB: We have a lot of movement between $1.8 million and $2.7 million in the larger twobedroom units, family units where somebody can live comfortably with kids. TM: We can sell from $1 million to $3 million all day long—there’s just not enough product. There are also not enough townhouses, and those are in the $7 million to $11 million range. Buyers aren’t committed to a particular product type; they’re committed to being in a neighborhood and a certain amount of space. Where is Brooklyn in the price appreciation cycle? Do you anticipate a bubble? RB: I think it’s a different market than last time. It’s not a debt-driven market; there’s a lot of capital moving from international sources. If you look at the developer model, you’re borrowing at 65 percent to 75 percent loan to cost. It’s not as overheated as it was in the last cycle; there’s much more of a fundamental growth pattern. I think it has a long way to go. OC: I agree. The fundamentals are very strong in Brooklyn; there are so many people who want to

be here. Look at the park that David is developing [Brooklyn Bridge Park]; it wasn’t here three years ago. That’s a huge amenity to seven neighborhoods. MAG: It’s a global business now that’s not wholly dependent on one type of lender or investor. I have a lot of hope that it has more runway to it, and that we’re not headed to trouble. DVS: I agree. I don’t see a bubble, but I do see a leveling off in pricing. I think that’s because there was so much pent-up [demand] coming out of the downturn, that if you had a product on the market, you could raise prices every other week. I think that is gone for now, but at the same time, I don’t see prices going down. Retail luxury brands often follow luxury residential construction. What’s happening in the commercial luxury space in Brooklyn? Andrew Kimball: I can’t opine on luxury commercial, but I’ve been in the space of redeveloping old industrial assets for 10 years for the creative economy, and that’s just exploding. There’s huge demand. The retail is certainly coming, but Brooklyn is still under-retailed. OC: Some retail corridors are on the cusp of taking off toward what you would call luxury. But nobody in Brooklyn really wants luxury. Regarding the demand from these smaller companies, representing the maker culture—are you seeing any migration from Manhattan? AK: We’re seeing huge demand—folks moving out of Starrett-Lehigh, Chelsea, and Soho. We even have seen tech companies that started in Long Island but now want to be closer to a younger workforce who are knocking on our doors. That’s exciting and encouraging. Where there’s a bottomless pit of demand is for really small spaces—500 to 1,500 square feet. Those are mostly entrepreneurs who are starting their own businesses or stepping out of an incubator or accelerator. [Kimball is overseeing the development of Industry City, planned to be a huge hub for innovation-economy businesses.] MAG: So just to take what Andrew’s saying, if you have buildings like he has—interesting, lots of light, funky—then the issue becomes how to build a 21stcentury building that is responding to this maker culture but doing it in a way that allows the economics to pencil out. What about the construction of new hotels in Brooklyn? AK: Love that topic. There’s a lot of tension right now about hotels coming into M1 zones [manufacturing zones] without having to go through a special permit process. That’s why you’ve seen an explosion of hotel development, particularly in Queens but also in Brooklyn. People hate it because it usually isn’t people from the community but tourists; businesses around them hate it because it usually drives land values, and that hurts the industrial renters. In our project [Industry City in Sunset Park, Brooklyn], we

A skyline view from the restored River Café. below, from left: An appetizer of Wagyu steak tartare with quail egg; Ryan Black, founder of R. Black Global.

have two hotels as part of the development. DVS: We’re doing a hotel in Brooklyn Bridge Park, adjacent to our condos. The concern initially was that it’s off the beaten path and it may not interest tourists to stay in Brooklyn when most of the activities they want are in Manhattan. So we’re developing it with a very large component for banquet space to take advantage of the views. We’re really encouraged now, and we’re seeing so much interest. MAG: We have this portal of fun called Barclays Center with 18,000 to 19,000 people coming through who need places to stay. Even for the artists, there are no places to stay. They aren’t staying at the Marriott. They would like to stay at the Wythe Hotel, but there’s no capacity there. I think there’s so much room for improvement for the hotel product. It is well below where the demand will be, so I applaud you. I think it’s going to be a huge home run. G

the pAneliStS: Ryan Black: Founder, R. Black Global, 900 Broadway, Ste. 202, 646-397-9141; rblackglobal.com Ofer Cohen: Founder and President, TerraCRG, 592 Pacifc St., Ste. B, Brooklyn, 718-768-6888; terracrg.com MaryAnne Gilmartin: President and CEO, Forest City Ratner Companies, 1 MetroTech Center North, Brooklyn, 718-923-8400; forestcity.net Andrew Kimball: CEO, Industry City, 220 36th St., Ste. 2A, Brooklyn, 718-965-6450 Trish Martin: Executive Director of Sales, Brooklyn, Halstead Property, 150 Montague St., Brooklyn, 718-613-2011; halstead.com David Von Spreckelsen: President, Toll Brothers City Living, 99 Wall St., 212-742-0835;

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Haute ProPerty Spotlight in living color

print it

Weaving Greatness

legacy

Legendary furniture craftsman GeorGe Na ashima’s rug designs are reaLized more than 50 years after their conception. George Nakashima was one of the most important American furniture craftsmen of the post-war era. In 1959 he partnered with Edward Fields, a bespoke carpet designer beloved by celebrities during the ’50s and ’60s, to create a pair of rugs. Now, Nakashima’s daughter, Mira Nakashima, in a renewed partnership with the Edward Fields Design Studio, pays homage to her father’s legacy by collaborating on the design of six rugs and one tapestry based on his original drawings. “My father believed that the forms and colors of the natural world are the most pleasing and peaceful for the inside environment,” says Nakashima. “It is good to see that he is still guiding our footsteps.” D & D Building Co., 150 E. 58th St., No. 1101, 212-310-0400; edwardfields.com—matt stewart

Missoni is a fashion house whose signature style—colorful zigzag and geometric prints— translates particularly well into interior items, from rugs and upholstery fabrics to dinnerware. Rosita Missoni, matriarch of the global brand she and her husband, Tai, founded in 1953, has long had a passion for interior design, which spurred her to develop a home line more than 30 years ago. She recently came to town to launch the Missoni Home 2015 Collection at Bergdorf Goodman, introducing New Yorkers to her latest pieces, including striking ottomans, pillows, and table settings, interpreted in new design themes, many with vibrant floral patterns. 745 Fifth Ave., 212-753-7300; bergdorf goodman.com

Decorative pillows with painterly floral pattern from Missoni Home.

// the dish //

LiGHt FAntAStiC

Kenneth Cobonpue, the Phillippine-born designer who was Maison & Objet Asia’s Designer of the Year in 2014, is on a roll. He just opened a showroom at the New York Design Center, featuring his much-lauded furniture (Time magazine called him “rattan’s frst virtuoso”) and lighting fxtures for Design by Hive, where he is creative director. Most of Cobonpue’s pieces are available in indoor and outdoor versions. Of his new home base Cobonpue says, “It is wonderful to fnally have this kind of a presence in New York City, not only because it’s an important market, but because I attended design school at Pratt, so it feels like a homecoming of sorts.” New York Design Center, 200 Lexington Ave., 212-679-9500; nydc.com above: The Constellation 16 chandelier features woven buri-wrapped glass lamps that hang from metal rods and orbit around a central base.

SCIENCE CLASS

Brooklyn-Based artist Vik Muniz and MIT post-doctorate fellow Tal Danino teamed up during Muniz’s residency at the school in 2013, when the scientist introduced the artist to images visible only through the powerful lens of a microscope. The magnifed cells and bacteria on petri dishes gave Muniz the idea to translate them to porcelain, which he did in collaboration with Bernardaud for a line of seven limited-edition plates, called Petri, that are sure to be conversation starters at your next dinner party. Bernardaud, 499 Park Ave., 212-371-4300; bernardaud.fr—m.s.

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T H R O U G H N OV E M B E R 1

NYBG.ORG

U N M I S T E A K A B LY N E W YO R K “The meat was many wonderful things at once… or in rapid succession… crunchy, tender, smoky earthy… It induced a kind of euphoria.” New York Times

Frida Kahlo, Self-Portrait with Thorn Necklace and Hummingbird, 1940. Harry Ransom Center, The University of Texas at Austin. © 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

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NYC, Tribeca 409 Greenwich Street New York, NY 10013 212.925.0350

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AND FINALLY...

Say goodbye to dog-day pSychoSeS—with text therapy, New yorkerS caN liNk to their miNd meNderS, eveN iN auguSt. By Mark Ellwood New York has always been therapy’s spiritual home. At the apogee of analysis, there were more shrinks in just two buildings on the Upper West Side than in the entire states of Minnesota, Oregon, Delaware, Oklahoma, Vermont, Wisconsin, and Tennessee combined. From Woody Allen, the ultimate Oedipal wreck, to countless couch-based cartoons in The New Yorker, we’ve proudly paraded our egomania and id-iosyncracies to anyone who’ll listen (especially if he or she takes insurance). One month of the year, though, has often proven especially stressful in our shrinkwrapped lives: August. It isn’t the Calcutta-like heat and humidity that preoccupies true New Yorkers, though. It’s the fact that this is the month when doctors’ offices across the Upper East and West Sides empty out en masse. Those crucial counsels decamp to the country houses that our loyalty has helped them buy. But that, in turn, results in a special summertime psychosis: Once the dog days hit, our mind is on, well, our mind. Did our subsconscious help make “Summer of ’69” a Freudian hit, or was it a different kind of Jung love that helped us fall for Sandy and Danny’s “Summer Nights” (the iconic duet from Grease)? Worse, the delusions of candor we endured—perhaps we’ll snare an invitation to an ad hoc session on the porch?—never manifested. At least until now. Technology has helped us ditch our abandonment issues, moving us faster through the pleasure-pain principle. Therapists have started offering remote sessions, shrink-by-Skype, connecting remotely no matter where they are. One such company, Talkspace, has launched a monthly subscription service for textual therapy. Pay

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$100 and you can kvetch ad nauseam with one of its 100-strong staff psychologists via text; every time a pang of anxiety strikes, reassurance is just a brief iMessage away (for an extra $29, you can buy 30 minutes of video therapy, Skype-style, too). Where else would this start-up be headquartered but New York City? This is the Amazon Prime Now of therapy, instant gratification for our new need-it-this-minute culture. We may have sloughed off the junky allure of convenience food, but we’ve substituted it with instant mental gratification. This has been looming for some time—in 2003, a study of analysts here flagged the nascent trend: It reported that the number-one complaint was patients’ preference for short-term therapy, a need one described simply as “Help me now!” Digital doctoring addresses this concern and alleviates the anxieties of an August empty of hours spent on the couch. The new problem, of course, is that it creates a passel of fresh neuroses. Logging in a few minutes early, will I catch my Skyping shrink in a Speedo (and what does it mean if I do)? If they’re drinking a glass of Whispering Angel, should I crack open a bottle in solidarity (and what does it mean if I do)? If I’m sharing my innermost thoughts by text, might he or she share them with their spouse—perhaps even in amusement (and what does it mean if they do)? Treatment methods might change, but it certainly proves one thing: True New Yorkers can’t really be happy unless they have something to worry about. G

illustration by daniel o’leary

Shrink-wrapped

Virtual kVetching offers an amazon Prime now-like Version of theraPy.

ÂŠ 2014 Stark Carpet Corp.

New Location. Public Welcome. 170 Michael Dr. Syosset, NY, 11791 516-921-6669 www.starkcarpet.com #StarkTouch Rug: Nairamat Collection #107216A Drapery: Jean Paul Gaultier Collection Fabrics by Stark Room by Juan Montoya

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