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Tag: Danny Meyer

  • A Collector’s Edit of Covetable Luxury Gifts

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    John Baldessari’s Nose/Silhouette: Green, 2020 Screenprint

    Last month, my friend Laura hosted a Dalí-themed dinner party at Main Projects, the gallery she owns with one-half of the Icy Gays duo, Eric Thomas Suwall. Between courses, an artist asked what kind of art I like, and I wasn’t sure whether he meant the art I like to see in museums, or put on walls, the art I like to experience, or simply like to think about. Whatever he meant, it didn’t matter because it was a question I have no interest answering—which I was polite about, of course. Defining art by style, medium, subject, school, technique, color or artist has always felt like a list-buiding exercise rather than providing another person with a greater understanding of who you are, which think is generally the purpose of any such question. I appreciate art that evokes an emotional response. It doesn’t need to be a fuzzy or inspiring feeling; art that makes me uncomfortable is often more compelling. With that, I’ll try to articulate how John Baldessari‘s Nose/Silhouette: Green, 2010, makes me feel and why I love it.

    My eyes like following the irregularities in the circumference of the green blob encompassing the nose—a facial feature that, unlike eyes or smiles, no human in the history of the world has ever held responsible for being the cause of love at first sight. And yet that is what Baldessari forces us to see when we aren’t doing laps around a face we’re trying to imagine. Baldessari died on January 2, 2020, and I can’t help but wonder how the generation-defining pandemic that unfolded three months after he passed would have shaped later works, had he lived through it. Baldessari’s legacy is multilayered, but the part I return to the most is that his art pushed thinking about how the meaning of an image shifts depending on the context. The world didn’t see noses for nearly year after Baldessari died (give or take, depending on your politics), which may have made some of us realize how much a nose can tell you about a person.


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    Merin Curotto

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  • Shake Shack to open in Selden with its first LI drive-thru | Long Island Business News

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    Shake Shack opens its first Long Island drive-thru in Selden on Nov. 20, featuring a two-lane system, digital menus, giveaways and a charity donation.

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    David Winzelberg

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  • The Chelsea Insider Guide: Post-Gallery, Pre-Gimmick, Always Hungry

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    Chelsea is one of the few Manhattan neighborhoods that feels deliberately built for the long game. Its borders are technical (Sixth Avenue to the Hudson, 14th to 34th), but its cultural footprint sprawls far beyond the map. What began as a Lenape village became a shipping stronghold, then a haven for immigrant labor, then a no-rules frontier for artists priced out of SoHo. Today, Chelsea folds all of it in: dockside grit, industrial bones, progressive politics and a post-gallery globalism that somehow still feels local.

    The neighborhood’s transformation wasn’t just about rising rent. It was infrastructure-led. The High Line reengineered the city’s relationship to public space. Piers became parks. Warehouses became megawatt galleries. Rail yards became real estate—some of the most ambitious on the continent. The Hudson Yards development may grab headlines, but Chelsea’s character lives in the contrast between a Dia installation and a 24-hour diner, a sidewalk flower stand and a Jean Nouvel façade.

    Chelsea didn’t get interesting by chasing what its other neighborhoods had to offer. It drew energy from what already existed, whether that was freight tunnels, factory space, counterculture or queerness, and built around it. The result is a neighborhood that knows how to absorb change without losing plot. It’s where Zaha Hadid landed her only New York project. Where a community board can still kill a billionaire’s plans. Where you can see work by the next big artist, and then see them at the bodega. Chelsea knows its value isn’t hype. It’s infrastructure, intent and staying power. You don’t need to understand art to get Chelsea. But give it 10 blocks, and you might start pretending you do.

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    Paul Jebara

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