GUIDEBOOK VOL II CONTENTS
Dustin Yellin...06
Adam Kuban...18
Jacques Magazine...26
Michael Halsband...38
Vito Acconci...50
Eleonore Hendricks...62
Eddie Huang...74
Ray Tintori...82
Wes Eisold...92
Vena Cava...102 Founders & Editors Scott Newman [email protected] Marc Santo [email protected]
Writer Revel In New York Marc Santo Guidebook Vol II is published by Copy Editor Revel In, LLC Emily Youssef Copyright 2011 Staff Photographers James Kendi Revel In, LLC Nick Belton 4 S. Portland Ave #1 Jordan Alport Brooklyn, NY 11212 Scott Newman To advertise please contact Designer [email protected] Tim Harrington Special thanks to Associate Editors Cappy McGarr, Stephanie Kenan Gunduz Sirabian, Jim Walrod, Mandana Mofidi Anthony Sperduti, Breda Kellner, Kevin Gillooly, revelinnewyork.com Brendan Dugan, Robert Wright, Jerry Portwood, Steven Schoenfarber and Tom Allon
D E F G Dustin Yellin artist
Walking into Dustin Yellin’s 15,000 square foot Red Hook studio is a bit like walking into Willy Wonka’s chocolate factory. There are no Oompa- Loompas or rivers of chocolate, but there are plenty of rooms loaded with peculiar objects and remnants of unusual experiments in various states of completion. As many as a dozen assistants can be found in each of the rooms, working on projects that incorporate traditional painting techniques with elements of applied science Dustin teaches himself through trial and error. Scattered throughout his studio-cum-laboratory are Dustin’s trademark works of biological and anatomical drawings that, when encased in multi- layers of clear resin, look like three-dimensional specimens preserved in ice. Around the studio, gigantic trees seem to float frozen in time within large glass cubes. Skeletal remains, human hearts and severed heads rest preserved in layer upon layer of resin that change in scope or simply disappear depend- ing on the angle they’re viewed from. An internationally-exhibiting artist represented by the Robert Miller Gallery in New York, Dustin’s Tarkovskian trajectory, intent as it is on pre- senting things that are never quite what they appear to be, continues to gain momentum as his enthusiasm for alchemy is increasingly supported by his knowledge of science and technology. He recently invented a pixel-based rapid prototyping machine, and is currently in the research phase of developing photography and printing devices that will reinvent the way we take pictures. There’s talk of creating rooms full of clouds and a handful of clever experi- ments that, when realized, will likely add even more ingenuity to the fun.
7 Photo by TK by Photo The Inv The i s i ble Man, 2009 Man, ble
8 9 DUSTIN YELLIN DUSTIN YELLIN IM
RINY: How did you get started as that magnified aspects of the work A is a cloud room that will allow people water and a charming community of G an artist? and gave it the feeling of floating in E to go inside rooms and feel as though artists, engineers and musicians who : B e
space. A few years ago these boxes tt they’re inside a cloud. It’s a work in congregate at places like Sunny’s Bar
DUSTIN: I grew up in Los Ange- R er got larger and all the chemicals in progress because I have to teach and Jalopy’s. We’re surrounded by
les and dropped out of high school to t ed the resin began to freak me out, so I myself the technical and engineering water and I love going to sleep to the
hitchhike through New Zealand. I D han figured out a way to get a similar effect knowledge in order to realize it. I’m sound of birds and boats. was doing a lot of hallucinogens and with glass. Glass brought a new opti- also inventing a printer that will I ended up in Thailand on a bunch of Opp 2008 ead, RINY: Your space is an enormous cal quality that opened up a new set reinvent ways to make photographs. mushrooms. I was sitting on the most compound full of workshops, gal- of doors, and now I’m working strictly perfect beach eating coconuts and I RINY: You were Manhattan-based leries, living quarters and science within that material. I’m challenging thought to myself, “Why would I ever for so long. What brought you to experiments. What was the idea myself to push the limits of that mate- go back to civilization?” That thought Red Hook? behind it? rial and working on what will be the o
scared the shit out of me because I s
heaviest glass objects in the world. it DUSTIN: The work I was mak- DUSTIN: This place is like a knew I was capable of staying, but if e PA ing in my loft in Manhattan got lab and I’m constantly working on I stayed I would burn out. So I went G E
: S to be too heavy and if I continued something. I love having other art-
back to the States and began studying Po elf working there, it would have caved in ists around working on their own with a lunatic scientist who got me my floors. I needed ground space, so stuff. Ever since I came to New York r
really into the ideas of Tesla and Bucky t ra I moved to Brooklyn and now I love I had this crazy idea to bring people
Fuller. I was painting on the side and it it. I don’t want to come across like a together from multiple disciplines came to a crossroads in my life where patriot for Brooklyn, because patrio- under one roof. My friend Charlotte I thought, “Well, I have two options. I tism and religion are why the world is Kidd and I got this building together can go back to school for 10 years and so fucked up, but to me Red Hook is and started Kidd Yellin, which is a become a scientist, which is really just the closest place I could get to feeling space within this compound that an industry controlled by politics, or like I live in the country without shows our friends’ work who don’t I can take my painting seriously.” I’m having to live in the country. There’s a have the support of bigger galleries. essentially an autodidact so I knew I RINY: What else are you working on? single lane main drag that ends at the We set up residencies that give artists could learn what I needed, and even DUSTIN: I always have numer- studio space to make work, which we though my paintings were shit at the ous projects in different stages of show in our project room. We created time, I chose to work on them and development. I took a short break the Kings County Biennial, which never looked back. from painting to make a film in the shows 44 artists from Kings County. RINY: Describe your work. Amazon, and now I’m back to work- It’s a cool event with tons of talented ing with glass. I’m making a huge alle- artists and it’s a really great way for us DUSTIN: I’m focused on build- gorical landscape that can be viewed to give back. ing situations within clear spaces. I from both sides, and color field forests accidentally developed this language that are finally being realized on the by covering my paintings in resin, scale I want them to be. One of the which resulted in an optical quality more complex works I’m developing 10 11 12 13 DICTIONARY OF LOST POSITIVE DUSTIN’S NYC DUSTIN’S NYC
Prime Meats Frankies 457 Spuntino Obscura Antiques “Prime Meats is next door to Frankies “Frankies 457 is a restaurant that my Jalopy Theatre “I collect bones and wood bullets and 457 and the same people run it. They friend started several years ago in and School of Music all sorts of crazy things, and this place have a crazy selection of aged meats Carroll Gardens. They’re known for “The Jalopy Theatre is a tiny little in the East Village has tons of the and super clean food. Their spaetzle, their meatballs, which have raisins hole in the wall on Columbia Street weirdest stuff. It’s a great place to which is sort of like a German mac inside. I always order the cavatelli near Red Hook that looks like an old browse or buy things that you won’t and cheese, is so freaking good it’s and their braciole, which I’m a big timey theater. Their folk nights are find anywhere else.” ridiculous.” fan of. They have a spectacular amazing, but the music is excellent garden and I’m pretty sure I’m the every night of the week. They also do 280 E. 10th St. 456 Court St. only person who’s allowed to order a good job fixing guitars if you ever (btwn 1st Ave. & Ave. A) (btwn Luquer St. & 4th Pl.) takeout from there.” Brooklyn, NY 11231 need yours repaired.” New York, NY 10009 (212) 505-9251 (718) 254-0327 457 Court St. 315 Columbia St. www.obscuraantiques.com www.frankspm.com (btwn Luquer St. & 4th Pl.) (btwn Rapelye St. & Brooklyn, NY 11231 photo: Jordan Alport photo: Travis Kauffman Woodhull St.) (718) 403-0033 Brooklyn, NY 11231 www.frankiesspuntino.com (718) 395-3214 photo: Travis Kauffman www.jalopy.biz
photo: Jessi Bautista
14 15 DUSTIN’S NYC DUSTIN’S NYC
Fort Defiance Kevin’s Red Hook The Pace Gallery Lobster Pound “I feel ridiculous even saying this “Fort Defiance has great drinks, but “Kevin’s is my favorite breakfast joint their kale salad takes the cake. It’s in the city. Their eggs Chesapeake, because Pace is obviously on the “This is a little lobster shack in Red radar of everyone who goes to see one of my favorite things to eat which is basically eggs Benedict Hook that serves the best lobster anywhere. I love the atmosphere and with crabmeat instead of ham, is so art, but going to the Pace Gallery is rolls in the city. Don’t get the may- going to see the best of the best. They it’s become a regular local hang out delicious. The place has a real mom onnaise ones. Get the buttered ones for my friends and me.” and pop feel, and the food is always show most of the greats and walking and have them melt in your mouth.” in there is usually a jaw-dropping top notch.” 365 Van Brunt St. experience.” 284 Van Brunt St. (at Dikeman St.) 277 Van Brunt St. Brooklyn, NY 11231 (btwn Verona St. & Visitation Pl.) 534 W. 25th St. (btwn Pioneer St. & Visitation Pl.) (347) 453-6672 Brooklyn, NY 11231 (btwn 10th Ave. & 11th Ave.) Brooklyn, NY 11231 www.fortdefiancebrooklyn.com (646) 326-7650 New York, NY 10001 (718) 595-8335 www.redhooklobsterpound.com www.mooreparties.com (212) 929-7000 www.thepacegallery.com
photo: John Chamberlain All That Is Lovely In Men, 2002 chromed, painted and stainless steel 70” x 70” x 27” (177.8 cm x 177.8 cm x 68.6 cm)
16 17 P h oto by Ja m es Kend es ADAM i KUBAN
pizza expert
Adam Kuban’s pizza pedigree began as a recipe taster for his father’s piz- zeria in his hometown of Kansas City. After a brief stint in Portland, Oregon, Adam followed a group of friends to New York and never left. Plopping himself in the middle of Bay Ridge, Brooklyn, he embarked on a journey to eat at all the pizzerias in his neighborhood. “There’s an old adage that pizza is like sex. Even when it’s bad it’s good,” explained Adam. “But after six months of eating at least a slice a day, it got boring, so I set out to find the best stuff.” When it was time to raise the bar on his newfound obsession, he turned to the web. But this was 2000, and there was very little information on pizza, especially the kind he was looking for. Adam spent the next year waiting for one to appear, and when it didn’t, he did what any respectable Portland transplant would do: start one himself. “Coming from Portland in the late ’90s—which was basically ground zero for DIY culture—my original idea was to create Slice as a zine. I got as far as making the cover and a layout, but when I discovered blogs I thought, ‘Hm, if I could figure out this blog thing, it might be a lot easier.’” As one of the first wave of food bloggers to hit the net, Adam launched Slice in 2003, becoming the web’s first blog dedicated exclusively to pizza. Three years later he sold it to food critic Ed Levine, who added Slice to his growing Serious Eats family and enlisted Adam as the founding editor. With the guidance of Levine—the man who famously ate 1,000 pizzas in a single year while researching his preeminent book on the subject, “Pizza: A Slice of Heaven”—Slice evolved from a local blog that mapped pilgrimages to the borough’s deepest corners in search of the city’s best pizza, to a comprehensive source of reviews, recipes and innovations that span the world over.
19 ADAM KUBAN ADAM KUBAN
RINY: How has the pizza scene checked shifted from places with coal well it really works. Roman-style that way. You want to see a little char- changed since you came to New ovens to places with wood ovens. shops have begun popping up as well, ring on the crust and you don’t want York City in 2000? and they’re essentially a kissing cousin to see a blonde rim because then it’ll to a New York slice joint. The pies are be predictably bland, soft, and chewy, ADAM: In the late ’90s, Jim rectangular and thinner, but served but not crisp. Leff, who founded Chowhound.com, by the slice, which typically come as a released a book called “The Eclectic RINY: Which borough has the best plain tomato slice or one topped with Gourmet Guide to Greater New York pizza? potato or arugula. City,” and that became the Bible for ADAM: I don’t want to give them underground dining. Leff shouted RINY: California tomatoes seem swollen heads because Brooklynites out Di Fara’s, which was really only to be the new ingredient of choice. already have big heads, but overall on the map of the most extreme food Have they replaced San Marzano? Brooklyn has the best pizza. Brooklyn geeks, and locals from Midwood, RINY: What’s the current scene ADAM: San Marzano starts a has all the different varieties of pizza Brooklyn. Now of course, it’s on like? huge fight among pizza nerds. For a and they’re constantly ranked at the every single foodie’s map, but when number of years people were all about top or near the top in all categories. Chowhound first blew up, going out ADAM: In New York we have San Marzano, but there’s been a shift Best Pizza in Williamsburg does a for “destination pizza” meant going slice joints, which sell pizza by the from people being into San Marzano great New York-style pizza, and Paulie to a coal oven pizzeria. On the site’s slice that are usually cooked in gas to people being into Italian-style Gee’s in Greenpoint has excellent Nea- message boards, people would usually ovens, and we have whole-pie-only tomatoes and caring more about the politan style. L&B Spumoni Gardens be arguing the merits of one coal oven places, which are the coal or wood flavor of tomato than where it came in Bensonhurst makes quality Sicilian, place over another. Coal oven domi- oven places that only sell only whole from. We’ve done taste tests where and Lucali’s in Carroll Gardens does nated the scene for about 100 years, pies. Comparing a slice joint to the we’ve tasted San Marzano tomatoes, a hybrid of a high- and lowbrow but in the late ’90s La Pizza Fresca whole pie place is like comparing a California tomatoes and San Marzano pie. Franny’s is super highbrow, and quietly opened the first wood oven, hot dog stand to a steakhouse. A coal DOP tomatoes, which are the ultra- DeFara’s is always the elephant in Napoletana Pizzeria. They were the oven place is more family and tourist regulated regional tomatoes from the room. What’s more interesting is first pizzeria in New York to be certi- friendly, but still nicer than a typical Italy. California tomatoes did really the pop-up pizzerias that places like fied by the Associazione Vera Pizza slice joint. The Neapolitan places well, whereas the DOP style was near Pizza Moto and Roberta’s are doing, Napoletana, an organization in Italy are casual, but nice enough to bring the bottom. With a pizza, you want where they’re putting wood ovens on that oversees your pizzeria to make a date to and not feel embarrassed. to taste the sauce, but there are other the back of a cart and carting pizzas sure your dough is hand-pressed with There’s an artisanal pizza craze, which important factors to consider. You around the city. The volume of the Italian flour and that you’re using skews away from purist cheese pies don’t want to see a blob of cheese pizza scene is huge and so many people ingredients like San Marzano-style and is much more interested in unique that’ll sit in your stomach for the rest are competing in it that everybody is tomatoes and Bufala Mozzarella in and interesting toppings like Brussels of the day. You also don’t want to see constantly trying to outdo each other. precise ways. Around 2004 the wood sprouts and pancetta at Motorino, or so much grease that it’ll end up drip- That’s part of the reason why New burning and Neapolitan shops started the corn pizza at Co. Another good ping down your arm, although there’s York pizza continues to be so great. opening up in numbers, and all the trend is the lemon slice, which may definitely a group of people who like it marquee pizzerias that foodies name- sound weird on a pizza, but if it’s done
20 21 ADAM’S BEST WHOLE PIES ADAM’S BEST WHOLE PIES
Motorino John’s of Bleeker Street Adrienne’s Pizza Bar Paulie Gee’s “Motorino’s Margherita pizza is well “John’s of Bleecker Street takes knocks Restaurant “Paulie Gee’s, is a true neighborhood balanced, with a crisp-chewy crust from some of the city’s snobbiest “The Financial District is not known joint with a welcoming vibe that’s and a bright, fresh-tasting sauce. Their pizza snobs, but this tourist favorite as a pizza hot spot, but on pictur- serving world-class pizza. There are inventive topping combinations give really does have some great pizza. It’s esque Stone Street, near the New a surprising number of artisan food them the edge. My favorites are the made in a coal-fired oven, which can York Stock Exchange, you can find purveyors in Greenpoint and Paulie Brussels sprout and pancetta pie, reach the very high temperatures one of the best pizzas in the city. Gee’s makes it a point to use as many and the cherrystone clam pizza.” needed to make a great pie. It’s Adrienne’s signature old fashioned of their wares as possible. It’s one of thinner than the other coal-oven pizza is made like an Italian grand- the most delicious ways to sample 349 E. 12th St. pizzerias in the area, and unlike mother might do it—rectangular these products in one place.” (btwn 1st Ave. & 2nd Ave.) those others, they put on enough pan pizza with a judicious amount of New York, NY 10003 cheese to really satisfy.” cheese, and a puffy, airy crust with 60 Greenpoint Ave. (212) 777-2644 (btwn Franklin St. & West St.) spots that essentially fry in the pan.” www.motorinopizza.com 278 Bleecker St. Brooklyn, NY 11222 (347) 987-3747 pizza photos: Nick Belton (at Jones St.) 54 Stone St. www.pauliegee.com New York, NY 10014 (btwn S. Williams St. & Pearl St.) (212) 243-1680 New York, NY 10005 www.johnsbrickovenpizza.com (212) 248-3838 www.adriennespizzabar.com
22 23 ADAM’S BEST SLICES ADAM’S BEST SLICES
Best Pizza Joe’s NY Pizza Suprema South Brooklyn Pizza “Made in a wood-fired brick oven and “When a joint’s in every guidebook “Owner Joe Rizzio makes three dif- “The slices here are extraordinary. The covered with the best possible top- out there, you might be a little ferent sauces and uses them strategi- crust is crisp yet pliant, something a pings, the culinary school grads have skeptical. Is it really that great? Is it cally on his pizzas, depending on the lot of pizzerias just can’t get right. elevated the usual take-out slice, just hype at this point? Joe’s, though, crust style and toppings. My favorite Discrete areas of sauce and cheese improving it rather than frou-frou- deserves the accolades. It’s as classic is the upside down slice, a thick- (a combination of fresh mozzarella ing it up. The pickled vegetable pizza, a New York slice as you’re going to crust Sicilian pan pizza in which and the more-common commercial made with a variety of produce find. No single element overpowers sweet, thick tomato sauce is placed mozzarella) dot each slice. A dusting grown on a nearby rooftop farm, is a another. They’re properly thin, though, on top of the cheese. You probably of sharp, good-quality Parmesan must-eat. And the meatball sub here which means you’ll easily need two only need one of these to fill up, but cheese adds pungency and saltiness, is the best in the city.” to make a meal.” you can’t skip the regular slice there, and a drizzle of post-oven olive oil either.” gives these slices a rich, almost but- 33 Havemeyer St. 7 Carmine St. tery feel.” (btwn N. 7 St. & N. 8 St.) (at Bleecker St.) 413 8th Ave. Brooklyn, NY 11211 New York, NY 10014 (btwn 8th Ave. & 9th Ave.) 451 Court St. (718) 599-2210 (212) 366-1182 New York, NY 10001 (btwn Luquer St. & 4th Pl.) www.za.com www.joespizzanyc.com www.nypizzasuprema.com New York, NY 11231
pizza photos: Nick Belton 122 1st Ave. (btwn 7th St. & St Marks Pl.) New York, NY 10009
24 25 PH OTO © Ro ber t Wr Jacques ig h t Magazine
jonathan leder & danielle luft
Danielle Luft is a former fashion model whose editorial spreads by Terry Richardson and Bruce Webber have been featured in the pages of French Vogue. Jonathan Leder is a photographer who has shot for magazines like Nylon and A4. The two met on a photo shoot, and within a couple years they married and gave birth to a son, Jack, and a magazine, Jacques. Published quarterly from their Williamsburg loft, Jacques is a throwback to the classic days of Playboy and collectible pulp magazines. The retro art direction pulls equally from back issues of vintage skin mags like Oui and Nova, as well as obscure art magazines like Wet and Avant Garde. The photographs, shot exclusively on film and published without re-touching, conjure up the soft focused spirit of works by master erotic photographers like David Hamilton and Carlo Mollino. Each issue, released under themes that celebrate everything from sports to voyeurism, feature opinionated reporting, provocative interviews and soft-core pictorials that present the curvier, artier, girl we all wished lived next door. The culmination of Jacques’ highly stylized aesthetic is a masterfully crafted men’s magazine that brazenly announces itself as an analog project for the digital age. It may look like something that you’d expect to find stashed away under your father’s mattress, but it doesn’t quite feel like porn.
27 Watch Video: revelinny.com/JACQUES PHOTO © Robert Wright JACQUES MAGAZINE JONATHAN LEDER & DANIELLE LUFT
RINY: How did Jacques happen? RINY: Do you consider Jacques to JONATHAN: And the articles. beauty. If you ask a normal person if be pornographic? a Russian model is beautiful, they’ll JONATHAN: When I looked DANIELLE: Right, the articles probably say yes. I don’t think we around at the magazine industry, I JONATHAN: I think there’s too. There has be something in there subscribe to that kind of aesthetic. I got frustrated. There are so many something charming about our that I can tell my mom. think we shoot girls that nobody else things wrong with magazines that it’s nudity. I don’t think we’re doing RINY: What type of girls do you would shoot because they’re shorter embarrassing. nudity in a vulgar way. I think there’s look for? than your stereotypical model and something tasteful and elegant about maybe 2 sizes too big. They don’t fit it. And I hope that comes across. JONATHAN: We’re looking for that stupid spec sheet that modeling a special kind of quality. If they’re too DANIELLE: Compared to most agencies have, so they rarely work in overtly sexual, or more on the vulgar things nowadays, I think we’re actu- that industry, which is sad because edge, we stay away from that. We’re ally kind of wholesome. they’re beautiful girls. looking for something more innocent JONATHAN: Pornography has and a little bit more girl-next-door. RINY: How would you describe the a very dirty and cheap connotation, Jacques aesthetic? DANIELLE: We love American and I don’t see anything about our girls! Somewhere along the line the magazine being cheap or dirty. We industry shifted to Russians and have high production values and are Brazilians and we’re not into that. tame compared to other stuff that’s out there. I guess you could call it a JONATHAN: I don’t understand nudie mag but younger people don’t why girls have to be so foreign looking really understand nudie. We call it to be beautiful? erotic and maybe that’s worse, but in DANIELLE: They like them my opinion erotic doesn’t necessarily because they’re skinny. have to be showing anything. It’s DANIELLE: Most magazines are just a word that captures the feeling JONATHAN: During the second crap and people wonder why they’re behind the photos. half of the 20th century we had beauti- closing. ful American pinups, and in the ’70s DANIELLE: The great line is we had beautiful girls with freckles. It JONATHAN: They pander to that we’re a nudie magazine that’s was always very American. advertisers and worry about featuring fashionable. products that nobody needs. That DANIELLE: And then in the JONATHAN: We’re not a fashion model is broken and the magazine ’80s we had Naomi Campbell and magazine. I hope nobody puts us in today doesn’t matter, which is sad. Cindy Crawford, and that was really the category of being a fashion maga- For us this magazine is a reaction to the last of the American girls. zine. It’s really about the girls isn’t it? the status quo and the garbage that’s JONATHAN: In the last 15 years out there right now. DANIELLE: Yeah, the girls and we’ve been seeing an imported idea of the photography. 30 31 JONATHAN LEDER & DANIELLE LUFT
JONATHAN: Our aesthetic not airbrushed. Retouching is so differs significantly from what you’ll unnecessary. find on the newsstands today, but I JONATHAN: When I’m taking don’t think it differs from what you a photograph, I have a specific idea of would have found on the newsstand what I’m looking for. Everything is 40 years ago. We’re inspired by book planned out ahead of time, so by the and magazine design pre-1986. Some- time I’m actually pressing the button where around the late ’80s the quality the photograph is done and a monkey shifted and things became more plas- could take that picture at that point. tic. We’re going for a retro feel that’s A great picture is a great picture no bold. We don’t shoot anything digital. matter what format it’s shot on, but to Everything is film, so we’re definitely me film looks more elegant. Photog- trying to keep it analog. raphy is more of a state of mind than RINY: Why have you chosen to anything else, and it’s not particularly avoid digital photography and technical. If you can’t operate a cam- retouching? era, you’re going to have trouble with most things in life. JONATHAN: It’s a magazine, not something you see on your computer, and so the photography should echo that fact. If you look back to a French Vogue from the 1970s you can see the pores and the hairs on the skin. Sometimes when you look at the pictures of these girls, it’s these details and imperfections that get you going. What are we so afraid of today? Why does everybody have to be retouched? I have no idea where this came from! DANIELLE: There’s something honest about showing women how we really are. We have scars, pimples, stretch marks, and that shouldn’t be retouched. When you’re check- ing out a hot girl on the street she’s
32 33 JACQUES’ NYC JACQUES’ NYC
Mood Fabrics Hasaki The Costume Institute “Mood is my favorite fabric shop in “Hasaki is my favorite sushi in the East “I love looking at old school fabrics the city. They were always featured Kiki de Montparnesse Village, and one of my favorite sushi and I love costume history. The Cos- on ‘Project Runway’ and they abso- spots in New York. I used to work for tume Institute at the Met has one lutely have the best stuff in the city.” “This is one of the best lingerie shops a Japanese photographer and he would of the best collections of both. This –Danielle anywhere. They’re well curated and take me here all the time. It’s really place is so inspirational.” –Danielle have been really kind to us by provid- good.” –Jonathan 225 West 37th St. - 3rd Fl ing our models with elegant lingerie 1000 5th Ave. (btwn 7th Ave. & 8th Ave.) to wear.” –Danielle 210 E. 9th St. (at 82nd St.) New York, NY 10018 (btwn 2nd Ave. & 3rd Ave.) (212) 730-5003 New York, NY 10028 79 Greene St. New York, NY 10003 www.moodfabrics.com (212) 570-3828 (btwn Broome St. & Spring St.) (212) 473-3327 www.metmuseum.org New York, NY 10012 www.hasakinyc.com photo: Courtesy of www.kikidm.com photo: Jordan Alport The Metropolitan Museum of Art
34 35 JACQUES’ NYC JACQUES’ NYC
La Grenouille Shun Lee Palace “La Grenouille is a great old school “There’s a scene in Woody Allen’s New York restaurant from the ’70s ‘Husbands and Wives’ that takes that’s very famous. We got married Spoonbill & Sugartown place in this restaurant. It’s one of here and they have a room in the The Smile “This in one of my favorite bookstores the most famous Chinese restau- restaurant that used to be a painter’s “The Smile is owned by some friends in the city. They have an excellent rants in the world and we love it!” studio, so the place has a great feel to vintage porn collection that’s for –Jonathan it. The owner used to be friends with of ours. It’s a great cafe in the East Village that has a really nice look to sale but hidden in the back. If you’re a lot artists like Greta Garbo and interested in this type of stuff, you’ll 155 E. 55th St. it. We try to eat there at least once a Charlie Chaplin, and the creative have to ask them for it.” –Jonathan (btwn Lexington Ave. & 3rd Ave.) vibe is still there. Also, check out the week.” –Jonathan New York, NY 10022 fireplace. It’s amazing!” –Danielle 218 Bedford Ave. (212) 371-8844 26 Bond St. (btwn Lafayette St. & Bowery) (btwn N. 4th St. & N. 5th St.) www.shunleepalace.com 3 E. 52nd St. New York, NY 10012 Brooklyn, NY 11211 (btwn 5th Ave. & Madison Ave.) (646) 329-5836 (718) 387-7322 New York, NY 10022 www.thesmilenyc.com www.spoonbillbooks.com (212) 752-1495 www.la-grenouille.com photo: Steph Smith
36 37 PH OTO: J OTO: A M ES K END Michael I Halsband
photographer
The photo on the next two pages of this book is from a series of 180 pictures taken of Andy Warhol and Jean Michel Basquiat wearing boxing gloves. The series of portraits have become some of the most recognizable photos of Basquiat, and one of the most iconic of the two artists together. They made Michael Halsband, the photographer who took them, famous. It would take roughly three books this size to list all of the culturally relevant icons that Michael has photographed. From music and art to fashion and film, his extraordinary career includes exquisite portraiture of the best: James Brown, The Jesus and Mary Chain, Fellini, Blur, Bowie, Pacino, Cath- erine Deneuve, Jarvis Cocker and Yoko Ono. The list goes on. In his early twenties Michael became the official photographer for The Rolling Stones, living with the band on a farm in Massachusetts, and documenting 1981’s Tattoo You tour at Mick Jagger’s request. For decades his photography fluctuated from commercial assignments—fashion spreads for Vogue, musicians for Rolling Stone, interiors for Architectural Digest, icons for Vanity Fair—to personal portraits of celebrities, ballet dancers, sex workers and surfers. Throughout his career he has done dozens of album covers, music videos for Frank Black and Malcolm McLaren, a documentary on surf culture, and a random trip to Cuba with Hunter S. Thompson and Johnny Depp, which ended with Michael being written into Thompson’s book “Kingdom of Fear.” With a million questions to ask Michael, and only a few pages for him to answer, we had to strip our curiosity down to the essential question—how did all this happen?
39 A ndy Warh ndy o l & Jean-M i chel B chel asqu i a t #15, N e w Yo r k Cit y, July 10, 1985 B y, 1985 10, July y M i chael H chael alsband
40 41 MICHAEL HALSBAND MICHAEL HALSBAND A
RINY: How did you get started in to the head of admissions. I showed up Warh ndy was so sweet about the whole thing. old and would wait around outside to photography? with paintings I did in my childhood, After that I was watching “Saturday bum tickets for the show. I met these and she was pretty negative about my Night Live” and David Bowie was the kids whose parents worked for Atlan- MICHAEL: I went to a liberal o
work. She told me my skills weren’t l & Jean-M musical guest. He had Klaus Nomi tic Records and we started hanging arts college and was totally unhappy. up to the level for them to admit me, on with him, and I always wanted to around there. The Stones were signed I was upstate with my mom and I told but asked if I had any other work to photograph him. Klaus was still very to Atlantic and they came to town to her I was going to drop out of school.
show. I told her I had been doing pho- i Goats Head Soup, chel B chel street level and I would see him out do and that’s when She asked me what I was going to do tography since I was 10 years old. The everywhere, but when I saw him on I first met them. I became tight with and I was like, “I don’t know. Maybe next day I went back with my photo- asqu TV, it prompted me to act because the head of the publicity at Atlantic, I’ll just move back to New York and graphs and she accepted me. I was so I thought he’d become too famous who eventually became the head of i start a band.” Of course any mother a happy because all I wanted was to be t #143, N and I’d lose my access to him. My Rolling Stones Records, which was would’ve been horrified at that pros- accepted at anything at that point, so girlfriend at the time was a friend of The Stones’ label. Years later I ran pect, and without missing a beat she I signed up on the spot. By the end Joey Arias, who was working at Fior- into him and told him I was in art e said, “Imagine yourself at 55 years w Yo of my first year I was hooked, and by ruci and playing music with Klaus, school, and he asked for my number. old doing whatever it is you think you r
the end of my third year I was making k Cit so they made the introduction and it He called shortly after and offered me want to do.” When she said that, I enough money doing photography to started there. a few small jobs shooting musicians pictured myself in a rumpled tux play- Opp y, 1985 10, July buy my studio. like Peter Tosh and Jim Carroll. I ing “Hava Nagila” at a bar mitzvah, shot the back cover for Jim’s album, and was like “OK, what are my other RINY: Your early work is full of Catholic Boy, and that was my first big options?” My father was an art direc- iconic portraits of the downtown break. Later I got a call from “Rolling tor, so my mother suggested I learn to scene. How did you get access to Stone” magazine, who wanted me to be an art director and go work at an these people? shoot a cover with Keith Richards.
ad agency. I met a family friend who o
MICHAEL: New York in the late s When I accepted they whisked me off it
worked at SVA and he introduced me e P ’70s was an interesting place. It was to a farm in Massachusetts where The a g
the end of Max’s Kansas City and Nomi Klaus e: Stones were rehearsing. I spent weeks the beginning of 1 University Place waiting for Keith to give me the word and The Mudd Club. The punk scene to shoot, but it never quite happened, was happening at CBGB and Great so I continued with them through
Gildersleeves, and the music and art , N the first couple weeks of their tour. e scene would congregate at these clubs. w Yo As I was waiting for Keith, I started
People were always out, and it wasn’t r RINY: You’re known for your tour documenting the tour on the side. k uncommon to be walking the streets 1980 30, , Jan. photography, especially your work The portrait was taking forever and and see someone with white hair and with The Rolling Stones. How did “Rolling Stone” eventually lost faith a crazy costume on. I was doing an this happen? and killed the assignment. I was so assignment for Art News and I ran into bummed because I spent all this time MICHAEL: I’d been going to Andy Warhol on the street. I asked up there and had nothing to show for the Fillmore East since I was 11 years him if I could photograph him and he it. I felt like I blew it. Mick came to 42 43 MICHAEL HALSBAND the rescue and asked me to stay on them and they knew they couldn’t Mar with them to photograph the tour blow it. The Who’s fans are not flexible k G o and the next four months were like a and neither are The Stones’. I mean, I 8 x 10 Po 2008, 8, March nzales dream come true. watched them boo Prince off the stage, so these guys had a lot of pressure on them. They needed to make an impact, and obviously they did. RINY: Did this lead to AC/DC? MICHAEL: When AC/DC dropped Back In Black, I was instantly drawn r t to their music. I wrote their manager ra for years trying to get on a tour with o it them. Eventually the relationship with
their photographer came to an end and pp o s
they were looking for someone else. it Their manager told them there was this e pa g
guy in New York who kept bugging Coo LL e: him for the job and they said, “Well if he wants it that bad we should RINY: And then you went on tour give it to him.” They hired me sight F l J, with The Who? unseen, so my persistence paid off. 1986 4, eb. Photography and music have always MICHAEL: The Stones are just been equally important to me and so welcoming and make you a part I think the excitement of working of their thing, but with The Who, it with people that I admire is what never felt right. They never gave me carried me through. Early in my the access I needed and made me career the most dreaded thing for me travel with the opening band, which as was photographing someone who did it turned out was The Clash. This was nothing but act the way they really before they were huge, and they were are. Through my journey I’ve learned quiet and standoffish. They seemed to to embrace that. The portrait of be taking the whole thing way too seri- Mark Gonzalez is the perfect example ously. I remember thinking to myself, of how intimate you can get with who the fuck are these guys? Later I someone without trying too hard or realized they were just really focused. forcing something that’s unnecessary. This was a hugely important tour for The courage to do nothing is the future for me. 44 MICHAEL’S NYC MICHAEL’S NYC
Vanessa’s Keste Dumpling House “This is the best pizza in the city. The St. Marks Sounds mushroom pizza has just the right Strand’s “These dumplings are incredibly cheap amount of cheese and sauce. It’s “This record store has an odd selec- Rare Book Room and have super good flavors. The everything you want from a bite of tion of music that’s considered good overall vibe of the place is nice and pizza.” at the time. Whether it’s new stuff or “The rare book room in the Strand the secret sauce is amazing. You old stuff, it’s totally of the moment is the gem of New York. When I can stuff yourself to death for three 271 Bleecker St. and really cheap too.” go up there, I feel as though it’s the bucks!” (btwn Cornelia St. & Jones St.) best art bookstore that could ever New York, NY 10014 20 Saint Marks Pl. exist. It’s constantly changing and 118 Eldridge St. (212) 243-1500 (btwn 2nd Ave. & 3rd Ave.) consistently great. Whatever they’re (btwn Broome St. & Grand St.) www.kestepizzeria.com New York, NY 10003 featuring is on the threshold of (212) 677-3444 New York, NY 10002 being really important.” (212) 625-8008 photo: Jordan Alport photo: Matt Emond 828 Broadway (corner of E. 12th St.) New York, NY 10003 (212) 473-1452 www.strandbooks.com
46 47 MICHAEL’S NYC MICHAEL’S NYC
Souen Copper Chimney “Souen is a macrobiotic restaurant “This a great Indian restaurant that The Tea Gallery that treats clean, simple food in a has separate kitchens for vegetarians Mandoo Bar very simple way. I get the maize rice and meat eaters, so I can bring my “The Tea Gallery is the only place with a side of steamed vegetables. friends here and they’ll all be happy. I know of in New York City that’s “This a great spot in Koreatown. The I’ve never been to a place that can The food is amazing and the space is as authentic as places in China or front of the restaurant is glass and steam squash so perfectly.” amazingly designed. They also have Hong Kong. All of their teas are the women wear all white, so you a big mural of a surf scene I shot.” imported, and as far as tea drinking can see them prepare your dump- 210 Avenue of the Americas goes, it’s the real deal.” lings in the window. The food is (btwn King St. & Charlton St.) 126 E. 28th St. great, traditional Korean food that New York, NY 10014 (btwn Lexington & Park Ave.) 21 Howard St. comes out sizzling hot.” (212) 807-7421 New York, NY 10016 (btwn Crosby St. & www.souen.net (212) 213-5742 Lafayette St.) 2 W. 32nd St. www.copperchimneynyc.com New York, NY 10013 (btwn 5th Ave. & 6th Ave.) www.theteagallery.com New York, NY 10001 (212) 279-3075
48 49 Vito Acconci architect
Five decades into his career, Vito Acconci still provokes audiences to re-examine art and the ways people interact with it. From his days as an experimental poet in the ’60s through forays into bodyworks, performances and films that spanned the following two decades, Vito created a vast body of work that was often presented in controversial ways. As a pioneer of performance art, Vito’s prolific output includes over 200 performances that pushed the boundaries between artist and viewer, public and private, and the psychological relationships imposed by each. His daring ideas on what art is and where it can take place made him a conceptual art legend by the end of the ’70s, and an influence to many leading contemporary artists such as Matthew Barney and Paul McCarthy. In the 1980s, the work he was creating within an art context stopped, and architecture and design took over. His new choice of expression allowed him to create works for an active user, which, like his work in the art context, challenged the boundaries of public versus private space. Some of these works, like his 9-11 World Trade Center proposal, which featured a pre-exploded building filled with gaping holes, shocked the public. Others, like “House of Cars” and “Bad Dream House” (a series of three upside down houses stacked to form a pyramid), displayed a shift towards whimsical design. Over the last 25 years there have been dozens of groundbreaking works, including commis- sions for MIT, collaborations with Steven Holl and proposal after proposal that’s every bit as radical as one would hope.
51 PERF C O NVERS O R MI IO N G AR NS , 1971, S T S CEN uper 8 f uper T F ER O R A FL i l m , b/ OO 72 mi w 72 I DABLE n SLAND , H an g yan g Ri ver, S ver, e o ul, So ul, u t h K o rea 2005 - A 2005 rea cc o nc i St ud io
TK Image: HOUSE OF CARS #2, 1988 VITO ACCONCI VITO ACCONCI I m
RINY: With a name like Vito Acco- pay attention to things that insiders a cities that moved. Architecture is just VITO: Modernism was a big g nci, you must have been brought up take for granted. I admit that some- V e: too stable. I think the architecture thing for me, coming from a father I Italian Catholic. Italians, especially times I feel hesitant in the midst of S of the future is going to be a mobile who was very interested in art, music ITO
those working in the arts, draw other architects. I can’t help thinking RS architecture. and culture—and almost always Ital- ’ T
significantly from their cultural that they know more than I do, but I RA ian art, music and culture. One good J experience. Has this shaped your also feel that maybe I can go in direc- EC thing about Italians is that culture is work? tions they learned you’re not supposed TO part of everyday life. But Modernism RY
to go in. , P is a movement of the past. The idea of
VITO: I tried to resist my Italian O
R a Modernist building as a sculpture roots, because Italian-ness was so over- RINY: When I look at your work I B T DE set on a pedestal of grass is a part of praised in my family. I wanted to be an see a lot of science fiction references. O Modernism that I’m not so crazy American kid. I went to Holy Cross, Do movies influence your work? UL OG about. which is a very bad Jesuit College, but VITO: For me the most impor- NE -
I’d gone to Regis, which is a very good SUR RINY: What about the sustainable tant movie ever made was Alain
Jesuit High School. Jesuits are strict, -M sensibilities attributed to modern Resnais’ “Last Year at Marienbad.” I but they don’t exactly believe in the ER RINY: Archigram designed Walk- design? saw it when I was 21 years old and it - A 2006 , FRANCE Pope, so they’ve always been the rebel ing City, which was a mobile living foretold everything I ended up doing. VITO: Sustainability has become Catholics. They’re rigorous thinkers, pod. The first scene with the camera going a religion—not that there’s anything but they’re freer thinkers. I know a through the lobby of a spa made me VITO: Yes, they designed work wrong with it—but I think it has to number of Jesuits who said they really think right away that architecture is that wasn’t stable, but it wasn’t built work both ways. Everyone thinks weren’t sure whether they believed or cc
as much about time as it is space. I o either. Archigram was so important architecture has to be subservient to not, but what they believed in was nc think designers of my generation are to me because their stuff was part of sustainability, but what if we thought Pascal’s Wager: If the Catholics were i St
probably overly influenced by “Blade ud the everyday world. They forced me in the other direction, like, what can right, then they had a lot to lose, so Runner.” It showed an alternative io to question my motives for working sustainability do to make architecture they better live as though the Catho- future to Stanley Kurbrick’s “2001,” in an art context. You have to make more exciting? lics were right. But in the end, they which was never that important to a decision to be an art viewer, and usually ended up drinking themselves RINY: Earlier, we talked about me. Kubrick’s future is abstract and that always bothered me, but with to death. architecture as being outside of the white, but Scott shrugs his shoulders architecture, there’s never a time in art context, and how the sculptural RINY: Frank Lloyd Wright advised and says “Well come on, we can’t your everyday life that you’re not in aspect of Modernism may return Bruce Goff to avoid architecture really tear everything down and build the middle of it. some of those limits to the medium. school because it would curb his from the beginning, so why don’t we RINY: Archigram interpreted Le You also talk about sustainability individuality. You never studied ar- believe in parasites? Why don’t we live Corbusier’s idea that homes should imposing a set of limits. If we chitecture formally. Has this helped off existing buildings?” I like the idea be machines for living—almost imagine architecture without these or hindered your work? of arms and extensions. I wish build- literally—when they developed limitations, what can it do? ings could have tentacles to other VITO: Sometimes when you Walking City. Did the philosophies buildings, or that we could build VITO: Architecture is inherently come from outside a discipline you of Modernism influence you?
56 57 VITO ACCONCI VITO ACCONCI I m
a totalitarian activity. One thing we any physical objects to interrupt the a VITO: The premise was that There’s room to latch on to buildings g hate about it is that when you design flow of his spaces. NE e: nowadays, if a building is going to and take advantage of the resources
a space, you’re probably designing W WO be exploded anyways, then maybe we they have. I don’t think it’s so impor- VITO: We don’t know how to people’s behavior in that space. I should make one that comes already tant to complete buildings themselves do that yet, but that’s something don’t know if we know how to change T RLD pre-exploded. anymore, but tentacles or interludes we’re thinking about. We would that, but our goal is to make spaces CEN RADE that connect buildings to each other love a space that’s made up of pixels, RINY: What was the reaction to that? for people rather than people being can be interesting. Maybe what’s particles, grains, fibers and air. Can subservient to spaces. I wish we could VITO: People thought it was missing is something that sprawls or
architecture be just as much about T make buildings that could constantly ER sacrilegious and that it was against winds around something else. Build- sound and smell as it is about tangible , N
explode and come back in different e the people who died there. I hoped ings seem to keep their own place things? I think that’s why music influ- w Yo ways. The idea of a changing environ- it wasn’t. The important thing for us, and don’t melt into another. Maybe ences us so much. r ment suggests that if your environ- - A k 2002 which people didn’t even notice, was the architecture here has too much ment changes all the time, then maybe RINY: How does music fit into the that there were holes in the building individuality. your ideas will change all the time. I equation? so the rest of the city could come
cc RINY: Is there any part of the city’s think architecture should have loose inside. There could be parks and VITO: What connects archi- o design that you particularly like? ends. This might be another problem nc street vendors inside the building.
tecture and music is that neither i St with Modernism—it’s too complete A building can be built a few stories VITO: I like intersections. They’re one is really an object. It’s more like ud within itself. When something is so io higher if you have a public space out the nature of this city, and there’s an ambience, a surrounding and a complete within itself, I always think, front, so we thought, “Why don’t we always the possibility that when context. You can do other things “Why do I even have to go inside it?” mix public and private? Why isn’t you’re at one you can meet someone while you’re listening to music and of I would love to do architecture that public space a vein system that goes new. Have I ever met anyone new at course, you can do other things while people can have a free hand in the through a private space?” Public space an intersection? No, but I like the idea you’re in the middle of architecture. making of it. We’ve done spaces where can be a lot better with some private of it. I like cities because if you’re stop- The notion of multi-attention seems things are hinged and they can go out space to contradict it and vice versa. ping on the corner to wait for a light to me like it’s the keynote to the or in, but that’s not freedom. That’s It keeps the system alive. If the system to change, there’s the possibility that beginning of the 21st century. supermarket freedom, or the notion is just one thing, then it’s closed and it you and somebody else can talk. And that you can have anything you want RINY: Speaking of the 21st century, eventually dies. if you and that somebody else start to as long as the supermarket carries it. tell us about your 9-11 proposal. talk, then you can start to argue, and RINY: When you look at the New We would love to do a space where if you start to argue, you might start York skyline do you see a blank you go inside and there’s nothing a revolution. College campuses were canvas or a work in progress? there. You might have a seat and when like that before 1968, but afterward you don’t need it anymore you get up VITO: I don’t know if I can say they were built without cross-places and it disappears. the skyline needs this or that, but because they didn’t want 1968 to ever spaces are filled up and I think there’s happen again. RINY: Marcel Breuer was working space in between spaces where you on replacing chairs with rising don’t have to begin at the beginning. columns of air so there wouldn’t be
58 59 VITO’S NYC VITO’S NYC
Other Music Great NY Noodletown Solomon R. “This is my favorite record store Seagram Building “This is a place in my neighborhood Guggenheim Museum and everybody else’s too. They write “If there were one building I’d want that I’ve been going to for years. The descriptions about the music next to “I like the inside of the Guggenheim to connect to a building I designed, food is good, but I mostly go there the records, and it’s not that I agree because of the design. It’s a place it would be the Seagram building. because they’re open until 4 a.m. with them, but they do inform me where if you start at the top, you could It’s the perfect modernist building. and I tend to eat on the later side.” about music I might have otherwise probably see art faster than anywhere It sits on a pedestal and shows it not known about. They keep record else. They have these beautiful ledges columns well, which seems to invite 28 Bowery store hours and close early, which that are very tempting to jump from (btwn Pell St. & Bayard St.) a way to ruin it a bit. I don’t think really bothers me.” because the space is so beautiful that I’ve been past the lobby.” New York, NY 10013 you start think, ‘Maybe if I jump I (212) 349-0923 15 E. 4th St. could fly.’” 375 Park Ave. photo: Dave Hong (btwn Broadway & Lafayette St.) (btwn 52nd St. & 53rd St.) New York, NY 10003 1071 5th Ave. New York, NY 10152 (212) 477-8150 (at E. 88th St.) www.othermusic.com New York, NY 10128 (212) 423-3500 www.guggenheim.org
photo: David M. Heald, © SRGF, New York
60 61 PH OTO: J OTO: A M ES K END Eleonore I Hendricks
actress
Eleonore Hendricks comes from groovy stock. Her father is a Fluxus archivist, who staged “happenings”in the 1960s as co-founder of the Guerilla Art Action Group. Her mother sells unusual antiquarian cookbooks from the ground floor of their SoHo townhouse. And like her folks, Eleonore’s experi- ence has been one dedicated to bohemianism and art. After graduating from Smith College, Eleonore took a job as a casting director and spent four years on the streets of New York and Paris photograph- ing beautiful faces. The photographs would later become a photo series called “Lookers” and her experience would serve as the inspiration for her character in “The Pleasure of Being Robbed,” the first collaboration between Eleonore and Red Bucket Films director Josh Safdie. The film, which she co-wrote and starred in, premiered at South by Southwest, and was later chosen as the only American film to play in the prestigious Director’s Fortnight Festival at Cannes. With over a dozen features to her name, the actress, writer, producer and exhibiting photographer has become a rising star in New York’s independent film scene.
63 The Pleasure of Being Robbed ELEONORE HENDRICKS ELEONORE HENDRICKS
RINY: You grew up in an artistic people who were mirroring myself. A Andy for more money and he was in company that produced Harmony household. How has that shaped couple years ago I began photograph- full support. It was received fairly Korine’s “Gummo.” The rapper, RA your own work? ing my day-to-day, and I’ve since well at Cannes and he helped finance The Rugged Man, kept coming by amassed a body of personal work that “Daddy Long Legs,” which won the to push a script and we eventually ELEONORE: My father was a documents my life. Cassavetes Award at the Independent became friends. After college I ran political art actionist during the ’60s. Spirit Awards. into him on St. Mark’s Place and he He had a group called the Guerilla Art RINY: When did you transition asked me to play a crack whore in Action Group, and they staged anti- from photography to acting? RINY: You also acted in “A Guide to this movie he was doing with Frank art art movements that were against Recognizing Your Saints.” ELEONORE: Somebody sug- Henenlotter. I’d never seen Frank’s art as a consumerist product. My gested I audition for a student film ELEONORE: I get most of my movies, so I went to Kim’s Video and uncle Jeff Hendricks is a Fluxus art- and my performance was recognized. roles through word of mouth, but this rented “Basket Case” and “Franken- ist, and my father wrote the “Fluxus I was too nervous and uncertain about was a straight-up audition. Dito Mon- hooker.” I remember watching them Codex,” which was an early Fluxus myself to persue it, and it wasn’t some- tiel, who came up in the New York and thinking, “What the fuck is this book. I grew up attending happenings thing I wanted, either, so I pushed it City hardcore scene with his band craziness that am I getting myself and absurdist performances, some aside. After college I thought it would Gutterboy, directed it. I auditioned for into?” Of course I wanted to be a part of which were graphic and totally be fun to get into films and I figured a role in which I would have to play the of it and it ended up being an awe- beyond me. As a kid I thought the the best way to make myself useful sibling to Rosario Dawson, so for obvi- some experience. RA has an ability to adults and performances in my life on set was to use myself as an actor. ous ethnic reasons it didn’t work, and bring interesting people together. He were weird and I never really took When I met Josh Safdie, we decided I didn’t get the role. The film started got Prince Paul to do the soundtrack a major interest in conceptual art. to make “The Pleasure of Being shooting and I was at Port Authority and there were so many colorful char- While I certainly have the bug my Robbed.” We based my character on a about to board a bus for Maine to work acters involved. Frank’s considered an parents have, and an aesthetic that’s fictionalized version of what I did with on a documentary when Dito called auteur of cult cinema. He got his edu- been diffused from them to me, I’m “Lookers,” which was float through me and said, “I don’t have a character cation bouncing around the theaters more into photography. life photographing identities, only my for you, but I really want you in this on 42nd Street during the ’80s. It’s RINY: Tell us a bit about that. character in the movie floats through film. Just show up on set and I’ll write difficult to try to make a cult classic life stealing things to find her identity. you into the script.” I canceled my trip today, and making that movie seemed ELEONORE: In college I worked and acted in his movie. to take a lot out of him. I think his as a street scout, walking around the RINY: Andy Spade produced it. fans really liked it, even though I city and photographing people who How did that come about? RINY: You’ve done a lot of arty thought it was kind of strange. didn’t fit within the realm of beauty indie films, but also had a turn ELEONORE: It was an acciden- one would find at a modeling agency. in B-movies with “Bad Biology,” tal feature film that started out as a From that I did a series called “Look- which was directed by cult hero commissioned short for Kate Spade. ers,” which was about the period of Frank Henenlotter. How did you Andy’s a generous supporter of artists adolescence when kids are shedding get mixed up in that project? and he gave us a creative license to do off their childhood and becoming what we wanted. The project took off ELEONORE: When I was 16 adults. I was going through this phase in its own direction and we began to years old I interned for Cary Woods’ too, so in a way I was looking for see it as something bigger. We asked 66 67 both photos: Eleonore Hendricks ELEONORE’S NYC ELEONORE’S NYC
Housing Works Bookstore Cafe Russian & Turkish Baths “Even though it’s been around forever, Natori “This is a great bookstore and cafe Mercer Street I recently went here for the first time on Crosby Street in SoHo. Their Books & Records and loved it. It’s such a cool place “I love a place where you can sit and collection of photo books is random, and their aromatherapy room is so eat by yourself or where you can sit but I always find a rare gem at a great “This is one of the best bookstores to relaxing. Each week is run separately and spend hours talking with your price.” dig around in. They have a nice col- friends. It’s fairly inexpensive and lection of rare books and don’t mind by the owners Boris and David, so you can get a seven-course meal for 126 Crosby St. if you slide their glass cases open to depending on whose week it is, it about $15. The pancakes with squid (btwn Prince St. & check them out.” could be a totally different experi- are excellent, and you can order E. Houston St.) ence. The Russian room is so hot. It unfiltered sake in a clear bottle that New York, NY 10012 206 Mercer St. can cook you. It’s a great place to sit you can take to go. Go see a movie (212) 334-3324 (btwn Bleecker St. & back and evade thoughts because it’s at Anthology and drop by here www.housingworksbookstore.com W. Houston St.) too hot to think.” New York, NY 10012 afterwards.” photo: Jordan Alport (212) 505-8615 268 East 10th St. 58 Saint Marks Pl. www.mercerstreetbooks.com (btwn 1st Ave. & Ave. A) (btwn 1st Ave. & 2nd Ave.) photo: Kirsten Hively New York, NY 10009 New York, NY 10003 (212) 674-9250 (212) 533-7711 www.russianturkishbaths.com
70 71 ELEONORE’S NYC ELEONORE’S NYC
Anthology Film Archives Joanne Hendricks Ear Inn “This a film center in the East Village Caffé Dante Cookbooks “This is a really old school neighbor- that shows retrospective series and “I don’t like their prices, but they “My mother collects and sells rare, hood bar and a classic NYC dive obscure films. I’ve been turned on don’t kick you out either, so you can unusual and antiquarian cookbooks that serves comfort food. I love the to a lot of great films by going here get the most out of your $4 cappuc- from her shop on Greenwich Street. ambience and the fact that you can and the tickets are nicely priced. You cino. I go here a lot for meetings or She has a passion for collecting and draw on the tablecloths.” don’t have to be highbrow to sit and to sit and practice dialogue. There’s preserving things that are overlooked enjoy a movie here.” also this strange vibe that feels like and might otherwise be forgotten. 326 Spring St. anything can happen there. I kind Her collection is special and features (btwn Greenwich St. & 32 2nd Ave. of like that.” Washington St.) (btwn E. 1st St. & E. 2nd St.) books, art, ephemera and antiques you can’t find anywhere else.” New York, NY 10013 New York, NY 10003 79-81 Macdougal St. (212) 431-9750 (212) 505-5181 (btwn Bleecker St. & 488 Greenwich St. www.earinn.com www.anthologyfilmsarchives.org W. Houston St.) (btwn Canal St. & Holland Tunnel) New York, NY 10012 Still From “The Potted Psalm” New York, NY 10013 by directors Sidney Peterson and (212) 982-5275 James Broughton - 1947 (212) 226-573 www.caffe-dante.com joannehendrickscookbooks.com photo: Loren Gold, www.lorengold.com
72 73 EDDIE HUANG chef, baohaus
Xiao Ye, the second restaurant from Baohaus chef/owner Eddie Huang, closed its doors for good in 2010. The Taiwanese late night spot featuring black walls decorated with photos of the owner taking bong hits served up such classically-named delicacies as Poontang Pot Sticker, Trade My Daughter For Fried Chicken and the ever subtle Robster Craws, which were no doubt as dericious as they sound. Though the Xiao Ye party is over, the chef who catered to his bong-ripping fans by encrusting chicken with Cheetos and deep frying it, is anything but. His Lower East Side eatery, Baohaus, still makes some of the most innovative and delectable pork buns in town. His blog, Fresh off the Boat, which helped develop his maniacal fan base and usher him through the ranks of New York’s food hierarchy without any serious culinary training, is more entertaining than ever. There’s a book deal on the table, and a Food Network TV show in development. In a day in age when every up and coming chef with a knife fight story and a couple of fart jokes is pegged as the new Anthony Bourdain, Eddie might be the guy who is next in line for a legacy of his own.
75 EDDIE HUANG EDDIE HUANG
RINY: You started as lawyer and the type of music we play. I have all and Korean people will braise short ing about. I love blogs like Eater, Seri- now you’ve become a chef. How did types of people working here and I ribs with dates to get a fruit finish, but ous Eats and Fork in the Road because that happen? teach them to cook the way my mom I got a better finish with cherry cola, there’s integrity and standards to taught me to cook. Nobody was doing which Korean grandmothers have them. These guys don’t come in and EDDIE: The culture of a law firm Taiwanese food with Berkshire Pork, been marinating bulgogi with for introduce themselves and ask for free didn’t fit with me. Wearing a suit and and I do everything from making years. It tenderizes the meat and gives shit. They understand restaurants and tie and waking up at 9 a.m. just got the mustard relish to processing the it a fruit essence with a nice glaze. In the amount of work that goes into old. Law firms own you and they don’t peanuts myself. I braise with cherry the end, my food is Taiwanese street operating one, but most of these other respect you or your life. I felt like cola, rock candy, Szechuan pepper- food, and in most Southeast Asian bloggers are just straight up rude. I I was wasting my life trying to earn corns and chili peppers, and it creates countries, street food is where the opened a restaurant to serve people, dirty money. I love money but not to a fusion of Szechuan, Hunan and innovation is happening. In New not for you to come in and shit on that extent. So, I quit to do stand-up southern American cooking. I created York, most chefs making pork buns everything. comedy and was cast for a Food a flavor profile that’s different yet true are doing something original with Network competition show. I ended RINY: What’s the best trend hap- enough to the Chinese palate that it them, and there’s a lot of integrity up going to the finals and Guy Fieri pening in New York food? still gives the people from my culture and innovation happening. It’s really pulled me aside and was like “Yo, we what they expect from a dish. competitive and I do my best to bring EDDIE: Pop-up restaurants are get 15,000 submissions every year and different flavors and techniques to the probably the best trend happening at you’re really good at this. Nobody has conversation. the moment. They’re short-lived res- the skills you have. You should really taurants that are usually seasonal and open a restaurant.” Two years later I RINY: What do you think of New last for three months. When you’re opened BaoHaus and now I wake up York food bloggers? thinking long-term with a restaurant, at 1 p.m. and walk downstairs in my EDDIE: The New York food blog you have to think about how sustain- pajamas to go to work. scene is wack. A lot of these bloggers able the concept is, but with a pop-up RINY: What is the inspiration think they’re going to quit their day all you have to think about is if it’s behind BaoHaus? jobs because they’re blogging a recipe going to get fannies in the seat for the a day from their bullshit-ass kitchen, first three months, and this allows the EDDIE: I’m really into design teaching you how to make roasted chef to do something more exciting. and [the German design school/ RINY: You’re known for mixing potatoes with thyme. Every corny Patrons may not want to experience movement] Bauhaus’ philosophies bodega ingredients like Cheetos chick with a blog thinks she’s the the idea for 5 years, but they’ll totally about minimalism and sustainability. and cherry cola with quality ingre- next Rachel Ray. It’s ridiculous. Also, support it for one summer, and as I use sustainable and all-natural meat dients. What do processed foods every Asian kid all of a sudden thinks a chef that’s a license to get really because, politically and humanely, bring to the table? they’re an expert on food, but these creative, which is a definitely a dope it’s the right thing to do. I don’t agree food blogs hurt the industry more thing. with commodity meat so I won’t buy EDDIE: I use a lot of these than they help it. I think they should it. I’ve created an original environ- ingredients but it’s not a gimmick or leave blogging to the professionals ment at my restaurant. I don’t go to some hipster thing I do to be ironic. It who know what the fuck they’re talk- many Chinese restaurants that play makes the food taste better. Chinese
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As Old as Hills Houston Street bOb Bar Liquor Store Cake Man Raven Basketball Courts “This is my favorite late night sweat “This liquor store carries a lot of bar to go dancing at. They’re known “Cake Man Raven makes my favorite “It’s pretty simple really. You go to Chinese and Asian liquors you can’t for their DJs, who spin golden era cakes in the world. He’s famous Russ & Daughters and get a knish find anywhere else. They also carry a hip-hop, as well as the girls, who for his red velvet, but his pineapple or a bagel with whitefish salad full line of Boone’s Farm malt liquor aren’t that hot but hungry.” cream cheese cake is one of the best and head over to the best courts and Mad Dog 20/20, which is just things I have ever put in my mouth.” in the city. I’m there almost every about anything a Chinatown kid 235 Eldridge St. afternoon when the weather is good, could ever want.” (btwn Forsyth St. & Allen St.) 708 Fulton St. and there’s always a homeless or New York, NY 10002 (btwn S. Portland Ave. & 123 Delancy St. unemployed person willing to play if (212) 529-1807 S. Oxford St.) (btwn Essex St. & Ludlow St.) nobody else is around.” www.bobbarnyc.com Brooklyn, NY 11217 New York, NY 10002 (718) 797-2598 (212) 673-2405 1st Ave. & 1st St. www.cakemanraven.com New York, NY 10079
photo: Jordan Alport
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Angel’s Share No. 7 Bar Boulud 456 Shanghai “Angel’s Share is my favorite Japanese “I joke with the owners because “Hands down the best soup dump- Izakaya. They have great yakitori and they’re basically the ‘Cheers’ of Fort “This place serves really accessible lings in the United States, and outside their oysters are served Japanese-style Greene, Brooklyn. They run the French food for people who want of Thailand, probably the best in the with scallions and fish roe. They’re place like a family with a rotating to experience good French food world.” cheap too!” menu that’s become the essential without the fuss. Their sommelier, New American Restaurant. Their Michael Madrigale, guides you 69 Mott St. 8 Stuyvesant St. fried Schaller & Weber bologna through the restaurant really well. (btwn Bayard St. & Canal St.) (btwn 3rd Ave. & E. 9th St.) sandwich that’s soaked in a bulgogi- This place is a definite must.” New York, NY 10013 New York, NY 10003 style marinade is off the hook.” (212) 964-0003 (212) 777-5415 1900 Broadway (btwn W. 63rd St. & photo: Joohee Kim photo: umamimart.com 7 Greene Ave. (btwn S. Oxford St. & W. 64th St.) Cumberland St.) New York, NY 10023 Brooklyn, NY 11238 (212) 595-0303 (718) 522-6370 www.danielnyc.com www.no7restaurant.com photo: E. Laignel
80 81 PH OTO: J OTO: A M ES K END Ray I Tintori
filmmaker
In 2007, Ray Tintori took his Wesleyan thesis film to Sundance and returned with a handful of business cards from Hollywood types looking to attach the then 23-year-old director to a feature. Though the offers were enough to raise an eyebrow, Ray ultimately deemed their “mercenary” propos- als premature and declined. He released “Death to the Tinman,” his whip smart adaptation of an obscure L. Frank Baum novel on McSweeney’s DVD magazine, “Wholphin,” and spent the next couple years honing his craft directing music videos. Ray’s video for MGMT’s “Time to Pretend,” a lo-fi explosion of psyche- delic imagery in 3D, picked up a couple MVPA awards and landed him on Partizan’s roster next to music video greats like Michel Gondry. At Partizan the budgets got bigger and the videos got weirder, and with that, more awards followed. His third MGMT video, “Kids,” caught the eye of Spike Jonze, who tapped Ray to direct a feature-length adaptation of the Shane Jones novel, “Light Boxes.” The on-again off-again adaptation was eventually scrapped, but a newer, top-secret project between the two has supposedly taken its place. In the next couple years, expect to hear a lot more about Ray. In addition to the Spike collaboration, Ray has been busy finishing up a feature length script for Paramount. There’s another collaboration with Benh Zeitlin, whom Ray co-wrote the award winning “Glory at Sea” with in the works as well. “You’ve caught me at a weird time,” explains Ray. “There’s so much about to drop, but I can’t give anything away. Everything I’ve done in the past has prepared me for what’s coming next. All my short films and videos set the foundation for these new projects, which are going to be really big...and really good.”
83 MGMT, Time To Pretend Death to the Tinman RAY TINTORI RAY TINTORI PH
RINY: How did you get involved in RINY: I first saw “Death to the Tin- D OTO: wanted to make sure their project got RINY: There’s been a lull between film? man” when “Wholphin” released translated accurately to the public. your videos and now. I’m curious to
it, and I remember being completely ea The album wasn’t recorded yet, so know what you’re working on and
RAY: I went to LaGuardia High t blown away. Did that film’s success h to t I went upstate to Dave Fridmann’s why there hasn’t been a feature yet? School in Manhattan, and for my at Sundance lead to your video studio. Dave produced Mercury Rev senior show I made a short film T he RAY: I’m writing a script for work? and The Flaming Lips so just being up i presented with some of my drawings n Paramount and another personal m there was mind blowing. I bought a and sculptures. There was a guy there RAY: I made “Death to the Tin- an script, which I’ve been working on for green tablecloth at Kmart, and when who was doing a Fulbright with Jan man” as my thesis film in college. It was about five years now. When “Death Dave left for the night I’d shoot a Svankmajer, and after he saw my film an adaptation of a book from the “Oz” to the Tinman” went to Sundance, I bunch of green screen stuff that ended he asked me to work with him on series that nobody really knows. Most was 23 years old and all of the sudden up in the “Electric Feel” video. one of his projects. I decided not to people don’t like it very much because I had industry people trying to get go to college right away and ended Baum wrote it when he was very sick, me on a feature within six months. I up moving to Prague when I was 17 and the story drops off at a certain was a real filmmaker to them, but I years old to work with animators and point. It didn’t get an overwhelming really only made my film and worked Svankmajer’s people. I was working reaction at school, but it did do fairly on a couple of my friends’ movies. I on a stop motion project and we built well at Sundance. After college I tried didn’t want to take a job knowing I’d a cross section of a 747 in his apart- to get a job in New York, which went be the youngest and least experienced ment and all this other crazy stuff nowhere, and the thought of intern- person on set. I have friends that hit that I should have not been allowed ing somewhere just seemed stupid. on movies that were too big for them to do at that age. The guy who I was My friend Benh Zeitlin was in New and ended up getting their movies working with had a copy of Guy Mad- Orleans trying to make his film, taken away from them, and I didn’t din’s “The Heart of the World,” and it “Glory at Sea,” so I decided to act like want that to happen to me. The music blew me away. It was like hearing The I had a trust fund by getting a bunch RINY: At what point did Spike videos have been good practice and Ramones for the first time because I of credit cards and moved down there Jonze approach you about a feature? I feel like I’m getting to the point immediately thought, “Oh, I can do to work on his movie. I was super where I can actually do it. If I had a RAY: Spike liked the “Kids” this.” broke and basically living in a squat story to tell that was a Mumblecore video and started digging around to house when it got in to Sundance. film that could be shot in my friend’s find my other work. I had reached Around the same time, Andrew and apartment, I might have done it, but the end of what I wanted to do with Ben from MGMT got signed to what I make are cathartic adventure music videos and it was hard for me to Columbia Records. I’d known them films. I want to make populist films get excited about them. He originally at Wesleyan and we always talked that are action packed and subversive, contacted me to do an adaptation of about doing a video together. I had and unfortunately, big and expensive a book called “Light Boxes,” but after a façade of legitimacy because of to produce. we met in person we transitioned to Sundance and the budget was so low working on a feature that I’m cur- the label agreed to let me direct. I rently writing. was someone the band trusted and I
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Ziegfeld Theater Brooklyn Museum Punjabi BAM Rose Cinema “The Ziegfeld is a beautifully ornate “This is a small walk-down establish- old movie theater with a giant screen. “I grew up across the street from the “This is my favorite art house theater ment on Houston Street that caters I saw ‘Edward Scissorhands’ there Brooklyn Museum, and instead of in the city, and growing up in primarily to cab drivers. You can get when I was eight years old, and the going to summer camp every sum- Brooklyn, I always went to BAM on a variety of amazing Indian dishes opening sequence, flying through mer, I would go across the street and school trips. When I was 11 years old, on rice and a samosa for $2.75, 24 the old mansion, changed my life. take their exceptional art classes for I saw ‘The Passion of Joan of Arc’ in hours a day. You can also buy Indian They have a lot of movie premieres kids. If you go in the back by the the opera house with a full orchestra pop music and motor oil.” there and I was lucky enough to go elevators and take a left, you’ll come playing the score, which was prob- to the one for ‘There Will Be Blood.’ to area that looks like you’re not ably the most intense film-going 114 E. 1st St. supposed to be there, but it’s actu- experience of my life. My favorite Paul Thomas Anderson came out and (btwn 1st Ave. & Ave. A) ally totally OK. This is where you’ll thing about this theater is that they announced he had jacked the sound New York, NY 10009 system up to its loudest possible find the children’s art show. It’s not (212) 533-3356 have an excellent revival series, often setting. It was a similarly revelatory cutesy or pretentious. It’s solid work with really amazing Q&As. The one experience.” done by 7-9 year olds.” photo: Jordan Alport that I always remember was Serpico. It said on the calendar ‘Serpico: 141 W. 54th St. 200 Eastern Parkway Q&A with Frank Serpico.’ I just (btwn 6th Ave. & 7th Ave.) Brooklyn, NY 11238 loved that!” New York, NY 10019 (718) 638-5000 (212) 765-7600 www.brooklynmuseum.org 30 Lafayette Ave. www.clearviewcinemas.com artwork: Shuiwon Lee, fall 2010 (btwn Ashland Pl. & Saint Felix St.) photo: Caren Litherland Brooklyn, NY 11217 (718) 636-4100 www.bam.org
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Mid-Manhattan Sau Voi Library “Sau Voi is a place I highly recom- “The Mid-Manhattan Library is catty- mend. It’s a divey little Banh Mi corner to the main branch with the shop that also sells cool pop CDs Staten Island Ferry lions in front of it. Here you’ll and cigarettes, which I always like find the picture collection, which at restaurants. Their Banh Mi isn’t “The ferry is free, and in August, if as elaborate or meaty as some oth- Hook & Ladder #8 is a huge floor full of folders with you don’t have air conditioning and hundreds of pictures in them. The ers, but they’re the tastiest and, for “The Ghostbusters fire station is a it’s miserably hot and humid, you folders are organized by topics that my money, the best in the city. The must-see. I never had the toy fire- can go ride the ferry back and forth range from war to dragons. It’s easy ladies who work there are very nice house when I was a kid. I had one from Manhattan to Staten Island all to spend hours here, and you can and I always order the #1.” made from cardboard that my mother night. There’s a really strong breeze create your own folders and take made me, but if you grew up in the and you can sit outside and drink.” them home with you. I get a lot of 101 Lafayette St. ’80s you probably had a friend who reference images from here that I (btwn White St. & Walker St.) New York, NY 10013 had this toy. It’s the only real house Southern tip of Manhattan wouldn’t find on Google or Tumblr.” (212) 226-8184 in America I can think of that’s had (718) 876-8441 www.siferry.com a toy made after it, but seeing it in 455 5th Ave. person is otherworldly.” photo: Henryk J. Behnke (btwn E. 39th St. & E. 40th St.) New York, NY 10016 14 N. Moore St. (212) 237-8225 (btwn Broadway & Hudson St.) www.nypl.org New York, NY 10013 photo: Dinner In Honor Of Wu Ting-Fan... [Held By] Lotos Club [At] “Lotos Club, New York, NY”
90 91 PH OTO: J OTO: A M ES K END WES I EISOLD
musician, cold cave
As a troubadour of the underground, Wes Eisold has fronted some of the most well known bands in their respective scenes. After leaving his post as a roadie for the Boston-based hardcore band Ten Yard Fight, Wes formed American Nightmare, a hardcore act many fans of the genre consider to be one of the best of the last 10 years. In a scene associated with political bravado and militant ideologies, Wes delivered deeply personal lyrics and uncharacteristic poetry to one of the most notoriously violent scenes in the country. After the band’s demise, Wes joined the San Diego-based Grindcore outfit Some Girls—a super group of sorts that featured members of The Locust, Unbroken and Plans to Blow Up the Eiffel Tower. They released a string of EPs on various labels before signing to Epitaph and calling it a day. Transplanting himself to Philadelphia, Wes opened Juan & Juanita’s, a performance space and highly curated bookstore that specialized in under- ground literature and performances from the likes of Ian Svenonius and Kid Kongo Powers. His side project, Heartworm Press, an independent publishing house featuring limited edition books, became more prolific in its output, releasing rare works by countercultural icons and limited edition LPs. It was also in Philadelphia where Wes developed Cold Cave, a conceptual synth- driven project that would prove to be his most commercial work to date. Conceived as a project that would infiltrate the underground anony- mously, a string of new wave-inspired singles circulated on music blogs, and a cult-like following ensued. After a deal with Matador Records and a successful tour that included the Matt Groening-curated All Tomorrow’s Parties festival, Wes relocated to New York and planted himself in the East Village where he hopes to settle in, without settling down.
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RINY: How did Cold Cave happen? single to be obscured from facts so I Died, I wanted normal looking people RINY: You run Heartworm Press, didn’t put any credits on the record. on the cover without any explanation. which is a publishing house that WES: I had been in a number I wanted people on the cover, but I The back of that record features two puts out limited edition books by of bands and I was always the front didn’t want those people to be me. nude people on it, which I took from a esoteric musicians. How did that man. I wrote and sang lyrics on top I wanted it to exist as its own thing fucked up book on sexuality that was come about? of songs that other people wrote, so so when somebody randomly picked published in the ’60s. For me aesthet- I was constantly dependent on other WES: I felt there was nothing it up, they could judge it without ics are just as important as the music, people to write and play music for me. going on that really interested me, knowing anything about the person and I really wanted the cover to be one That became really frustrating and I and I wanted to give something back who made it. that I would pick up. wanted to do something that was my that was underground and more along own vision and not have to compro- RINY: I collect records, and I’d say RINY: Why are aesthetics so important? my tastes. I always made zines and mise at the end of day. I was tired about 90 percent of them I bought felt like it was time to do something WES: For me, Cold Cave is of trying to explain to other people because of the music, but there are more professional. The first book I put an aesthetic, more than just music. what I was thinking or how I thought quite a few I’ve bought solely based out was my own, and that was a col- Every musician I’ve ever met has been things should sound sonically, so I on the album art. I always look lection of zines and lyrics. I then put focused primarily on music, but I’m purchased a laptop and asked friends forward to your album covers. How out books by Eric Paul from Arab on more interested in the people making for pedals and synths and began important do you think cover art is? Radar, Jonathan Shaw and Boyd Rice, the music than the music itself. Music recording. I was living in Philadelphia and I have a book of early Genesis is just part of the idea and this project at the time and was really bored and P-Orridge poems coming out soon. encompasses a wide umbrella of manic so I decided to go for it. The For the most part, I work with people influences. Our sound has gone from only concept behind the music was I know or who have had an impact on noise to classic English Industrial to that it was restricted to the equipment me. The releases have to be special and synth pop and now pop, and to me I was able to play. I never wanted it something I believe in, which is a big the similarities of these seemingly to be a band and I never thought it theme in everything I do. drastic different genres can coexist. would be a band. On the one hand, I’m acknowledging RINY: What encouraged you to the bands that meant so much to me release your music? growing up, yet aesthetically I want Cold Cave to also encompass my WES: I wrote a few songs and favorite writers and filmmakers. Jean decided to release them under a Genet and Fassbinder made a point limited 12” with 100 copies because WES: I collect records as well of presenting themselves in a certain I couldn’t see more than 100 people and I’m always drawn to bold covers light and, like them, I’ve spent a good wanting to hear it. I gave one to Gibby with people on them. It’s weird how a amount of time thinking and caring Miller, who does Dais Records, and photo on the cover will shape what the about how this project should be pre- Dominick Fernow, who does Hospital record sounds like, and to me it’s such sented to an audience, which doesn’t Productions, and when they heard it an important part of the album. For happen too often in music. they wanted to release it. I wanted the our 12” The Trees Grew Emotions and
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Atelier Hospital Productions Odessa Bar “Atelier is located in the same building Dashwood Books “Hospital is my favorite record store as Matador Records and it’s my favor- “I don’t like crowded bars, so I tend “Dashwood is a well-curated bookstore in New York. It’s the premier record ite clothing store in the city. They to go drinking on weeknights or that has carried Heartworm releases shop for experimental noise and carry men’s avant-garde clothing by weekdays. Though Odessa does get in the past. I used to run a curated black metal, and they have thou- designers like Ann Demeulemeester, crowded, if you hit it at the right bookstore in Philadelphia and I know sands of cassettes and rare records Damir Doma and loads of unique time it’s a nice and inexpensive place how hard it is to do, so I really you can’t find anywhere else. It’s designers. It’s rare to find any store in to drink. It has a low-key vibe and appreciate what they’re doing with located in the space that Jammyland the world that carries their range of great old school atmosphere.” this place.” used to occupy, and it also serves as obscure pieces in a single place.” a record label and the headquarters 117 Ave. A 33 Bond St. for Cold Cave.” 304 Hudson St. (btwn 7th St. & St. Marks Pl.) (btwn Lafayette St. & Bowery) (btwn Vandam St. & Holland Tunnel) New York, NY 10009 New York, NY 10012 60 E. 3rd St. New York, NY 10013 (212) 253-1470 (212) 387-8520 (btwn 1st Ave. & 2nd Ave.) (212) 941-8435 www.dashwoodbooks.com New York, NY 10003 photo: Jordan Alport www.ateliernewyork.com www.hospitalproductions.net
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Angelika Kitchen “In the late ’90s, before I lived in New York, every time I’d come to town I Williiamsburg Bridge St. Mark’s Bookshop had two destinations that I made Juice Press “I love walking around, and one of sure to hit; Angelika Kitchen and “New York has a lot of great book stores my favorite walks is to go from the Kate’s Joint. Angelika’s has hung on “Juice Press is a little place I visit just but I tend to go to St. Mark’s Books. East Village to Brooklyn and back better over the years and I’m a big about every single day of the week. They’re well stocked and well curated. via the Williamsburg Bridge. It’s fan of their dragon bowl. This is a They have wonderful juices and make They also have the best range of new better at night because there are great place in general for vegetarians, raw food dishes directly on premise.” releases.” less people. I suggest when you’re vegans, macrobiotic enthusiasts and halfway across the bridge you take raw food eaters.” 70 E. 1st St. 31 3rd Ave. (btwn 1st Ave. & 2nd Ave.) the no-walk lane to catch a magical (btwn Astor Pl. & Stuyvesant St.) 300 E. 12th St. New York, NY 10003 and evil view of the skyline.” New York, NY 10003 (btwn 1st Ave. & 2nd Ave.) (212) 777-0034 (212) 260-7853 New York, NY 10003 www.thejuicepressonline.com Connects Lower East Side, www.stmarksbookshop.com Manhattan at Delancy Street to (212) 228-2909 photo: Walter Pacheco www.angelicakitchen.com Williamsburg, Brooklyn www.scorpyorising.blogspot.com photo: Steven Siegel photo: Nicole Carpenter www.anotheronebitesthecrustblog.com
102 103 PH OTO: J o rdan A lp VENA o r t CAVA
lisa mayock & sophie buhai
Three weeks after graduating from Parsons School of Design, Lisa Mayock and Sophie Buhai threw a backyard BBQ to show off the clothes they created from their Brooklyn apartments. Two years later they were in Vogue. Taking their name from the vein that carries blood from the body to the heart, the California-born designers behind Vena Cava use their eye for aesthetics to create clothes inspired by family heirlooms, found objects and a wide range of personal tastes. With inspiration boards that have explored everything from the bold Italian designs associated with Ettore Sotsass’ Memphis Design Movement to hieroglyphic and zodiac motifs of ancient Egypt, the label embodies a cultural awareness for haute design movements and thrift store treasures that trickle down to arty clothes girls look cute in. Since their 2003 launch, Vena Cava have expanded from a small line, largely supported by family and friends, to a versatile and consistent brand that has dressed everyone from Brittany Spears to Natalie Portman. As two- time CFDA /Vogue Fashion Fund finalists, the designers have collaborated on collections for a handful of mass-market brands that include the Gap, Bloom- indales and Via Spiga. They recently launched their more affordable Viva Vena line and plan to incorporate non-garment based products like books and films into their burgeoning lifestyle empire.
105 Lisa Mayock Lisa
PHOTO: Jordan Alport Sophie Buhai VENA CAVA LISA MAYOCK & SOPHIE BUHAI
RINY: When did you start Vena Cava? SOPHIE: Our aesthetic is basi- design and textile books. Last season creative and makes people want to be cally us. It’s the way we dress and the we developed an aesthetic inspired in on the story and participate in the LISA: We went to Parsons together. way our friends dress. It’s a mixture by Memphis Design, Art Deco and lifestyle they’re creating. At the time, Parsons would pick ten of vintage, hand-me-downs, designer things like Bauhaus. We mix our people to show their senior collections LISA: Our last show was ’90s- pieces and grandma’s jewelry. We interests with the inspiration we and we didn’t get picked. We were inspired, so we did a zine called Zina really design things that our friends get from our friends and people in frustrated because we worked so hard Cava and got a lot of contributions would buy. general. and didn’t have a forum to show our from very talented and creative people. work, so we decided to make a col- LISA: Most of the designers on RINY: A lot of celebrities have worn We’ve done small projects like these lection anyways and have our own our level who are receiving attention your clothes. Does that matter to you? and are always looking to do more. fashion show. Our line technically are male designers, and I think men There’s been a trend over the last SOPHIE: We’ve had a range of started two weeks after graduation in design completely differently for a couple of years with designers our size people from Woody Allen’s wife to 2003. We chose the name Vena Cava woman. We’re less trend-driven and designing for places like Target and Brittany Spears and Maggie Gyl- because we didn’t want to use our a lot less age-specific. It’s boring to Gap, but I think it would be really lenhaal. It’s cool to see, but it’s most own names in case we failed. It’s also design clothes for women with the cool to collaborate with designers like satisfying to me when our friends like an enigmatic word that looks good on body of an 18-year-old. Alexander Wang or Philip Lim, who something we make. paper. are at the same price point as us. SOPHIE: We spend a lot of time LISA: Personally I don’t think it’s RINY: What drew you to fashion? at the library looking at art history, SOPHIE: Collaboration would that important if Paris Hilton wears be a really cool thing because it would SOPHIE: In high school I was a our clothes, but it’s important to con- help develop a community. It doesn’t theater dork, but generally artsy and sumers, which makes it important to happen in fashion the way it does in always loved fashion and made my own stores. They use it as a tool to promote mediums like film or music, where clothes. When I went to art school, sales because some people need that as artists work independently and then fashion seemed like a way to do some- directive of what to buy. collaborate on a project together. The thing creative that I could actually turn RINY: What are some of the more New York fashion scene is cutthroat into a profession. You can always make innovative things happening in and most people just stick to their art on the side, but this seemed like a fashion today? own path, but it would be fun to bring way to get the most from my education. groups of designers together and cre- I find it gratifying because clothes have SOPHIE: The idea that brands ate a movement. the amazing power to change the way are becoming less about just making a woman feels. They can completely clothes and more about making change her mood and how she feels products that are extensions of their about herself, which is such a cool thing brand is really cool. Exciting brands to be able to design for someone. like Opening Ceremony and Acne are constantly creating different products RINY: What are you doing differ- that aren’t garment-based. It’s really ently with your aesthetic?
108 109 VENA CAVA’S NYC VENA CAVA’S NYC
Bemelman’s Bar Brooklyn Flea Amarcord Maryam Nassir Zadeh “The flea market part is OK, but the “Bemelman’s is the bar inside the Vintage Fasion “This is a store on the Lower East Side food is so amazing that most people Carlyle Hotel. The have the most “Amacord is a vintage store with one that’s owned by a close friend of ours. just go to eat. In fact, the food is so beautiful murals and a live piano location in SoHo and another in It’s a great store that features mostly good they opened a location in Wil- player. It’s a great place to play cards Williamsburg. The owner is Italian clothes and jewelry, but they also liamsburg that only serves the food.” while sipping an old fashioned cock- and the place is filled with old Ital- carry shoes and accessories. The way –Lisa tail. There’s always some amazing ian and European designers that he the merchandise is presented is totally 176 Lafayette Ave. person like Jack Nicholson walking sources in Europe. He has a very unique and doesn’t look like any (btwn Clermont Ave. & Vanderbilt Ave.) by in the lobby.” –Sophie specific aesthetic that reminds me of other place I’ve seen. It’s my favorite Brooklyn, NY 11238 a Fellini movie.” –Sophie store in New York to shop for clothes.” 35 E. 76th St. 27 North 6th St. –Sophie (at Madison Ave.) (btwn Kent Ave. & East River) 223 Bedford Ave. 123 Norfolk St. New York, NY 10021 Brooklyn, NY 11211 (btwn N. 4th St. & N. 5th St.) (at Rivington St.) (212) 744-1600 www.brooklynflea.com Brooklyn, NY 11211 New York, NY 10002 www.thecarlyle.com (718) 963-4001 (212) 673-6405 www.maryamnassirzadeh.com 252 Lafayette St photo: Uday Kak (btwn Spring St. & Prince St.) New York, NY 10012-4001 (212) 431-4161 www.amarcordvintagefashion.com
110 111 VENA CAVA’S NYC VENA CAVA’S NYC
Russ & Daughters Breukelen Bier Merchants Church Street Surplus “Russ & Daughters has the best lox I’ve “This is a tiny Army-Navy vintage ever had. They’re a very old family- “Breukelen Bier carries hundreds and store just below Canal Street that’s Jungle Garden run place and you can picture people hundreds of beers from all over the never picked. They have an awesome going in there 80 years ago and world, and all sorts of different foods “Jungle is a plant store in Williams- collection of military clothing and ordering the exact same timeless and products that are made using burg that lets you hang out in their dresses from the ’40s. Military classics that people order today.” beer. Just going inside to look at beautiful gardens. They have nights clothes never go out of style. War is –Lisa the packaging is amazing in itself.” where they throw parties with DJs, always relevant.” –Sophie and you can rent out their gigantic –Lisa 179 E. Houston St. and gorgeous gardens to throw a 327 Church St. (btwn Allen St. & Orchard St.) 182 Grand St. party of your own. They also have an (btwn Canal St. & Lispenard St.) New York, NY 10002 (btwn Driggs Ave. & amazing hot tub that’s operated by New York, NY 10013 (212) 475-4880 Bedford Ave.) (212) 226-5280 lighting a fire underneath it, which I www.russanddaughters.com Brooklyn, NY 11211 www.churchstreetsurplus.com just love.” –Lisa (347) 457-6350 www.breukelenbiermerchants.com 61 Kent Ave. (btwn N. 10th St. & N. 11th St.) Brooklyn, NY 11211
112 113 LISTING INDEX FOOD AND DRINK FOOD AND DRINK
456 Shanghai Cuisine BaoHaus bOb Bar Cake Man Raven 69 Mott St. 137 Rivington St. 235 Eldridge St. 708 Fulton St. (btwn Bayard St. & Canal St.) New York, NY 10002 (btwn Forsyth St. & Allen St.) (btwn S. Portland Ave. & New York, NY 10013 (646) 684-3835 New York, NY 10002 S. Oxford St.) (212) 964-0003 www.baohausnyc.com (212) 529-1807 Brooklyn, NY 11217 Recommended by Eddie Huang Recommended by Eddie Huang www.bobbarnyc.com (718) 797-2598 (pp.74-81) (pp.74-81) Recommended by Eddie Huang www.cakemanraven.com (pp.74-81) Recommended by Eddie Huang Adrienne’s Pizza Bar Restaurant Bar Boulud (pp.74-81) 54 Stone St. 1900 Broadway Breukelen Bier Merchants (btwn S. Williams St. & Pearl St.) (btwn W. 63rd St. & W. 64th St.) 182 Grand St. Copper Chimney Restaurant New York, NY 10005 New York, NY 10023 (btwn Driggs Ave. & Bedford Ave.) 126 E. 28th St. (212) 248-3838 (212) 595-0303 Brooklyn, NY 11211 (btwn Lexington & Park Ave.) www.adriennespizzabar.com www.danielnyc.com (347) 457-6350 New York, NY 10016 Recommended by Adam Kuban Recommended by Eddie Huang www.breukelenbiermerchants.com (212) 213-5742 (pp.18-25) (pp.74-81) Recommended by Vena Cava www.copperchimneynyc.com (pp.104-113) Recommended by Michael Halsband Angel Share Bemelmans Bar (pp.38-49) 8 Stuyvesant St. 35 E. 76th St. Caffé Dante (btwn 3rd Ave. & E. 9th St.) (at Madison Ave.) 79-81 Macdougal St. Ear Inn New York, NY 10003 New York, NY 10021 (btwn Bleecker St. & 326 Spring St. (212) 777-5415 (212) 744-1600 W. Houston St.) (btwn Greenwich St. & Washington St.) Recommended by Eddie Huang www.thecarlyle.com New York, NY 10012 New York, NY 10013 (pp.74-81) Recommended by Vena Cava (212) 982-5275 (212) 431-9750 (pp.104-113) www.caffe-dante.com www.earinn.com Angelica Kitchen Recommended by Eleonore Hendricks Recommended by Eleonore Hendricks 300 E. 12th St. Best Pizza (pp.62-73) (pp.62-73) (btwn 1st Ave. & 2nd Ave.) 33 Havemeyer St. New York, NY 10003 (btwn N. 7 St. & N. 8 St.) Frankies 457 Spuntino (212) 228-2909 Brooklyn, NY 11211 457 Court St. www.angelicakitchen.com (718) 599-2210 (btwn Luquer St. & 4th Pl.) Recommended by Wes Eisold www.za.com Brooklyn, NY 11231 (pp.92-103) Recommended by Adam Kuban (718) 403-0033 (pp.18-25) www.frankiesspuntino.com Recommended by Dustin Yellin (pp.6-17)
116 117 FOOD AND DRINK FOOD AND DRINK
Fort Defiance John’s of Bleeker Street La Grenouille New York Pizza Suprema 365 Van Brunt St. 278 Bleecker St. 3 E. 52nd St. 413 8th Ave. (at Dikeman St.) (at Jones St.) (btwn 5th Ave. & Madison Ave.) (btwn 8th Ave. & 9th Ave.) Brooklyn, NY 11231 New York, NY 10014 New York, NY 10022 New York, NY 10001 (347) 453-6672 (212) 243-1680 (212) 752-1495 www.nypizzasuprema.com www.fortdefiancebrooklyn.com www.johnsbrickovenpizza.com www.la-grenouille.com Recommended by Adam Kuban Recommended by Dustin Yellin Recommended by Adam Kuban Recommended by Jacques Magazine (pp.18-25) (pp.6-17) (pp.18-25) (pp.26-37) No. 7 Great NY Noodletown Juice Press Mandoo Bar 7 Greene Ave. 28 Bowery 70 E. 1st St. 2 W. 32nd St. (btwn S. Oxford St. & Cumberland St.) (btwn Pell St. & Bayard St.) (btwn 1st Ave. & 2nd Ave.) (btwn 5th Ave. & 6th Ave.) Brooklyn, NY 11238 New York, NY 10013 New York, NY 10003 New York, NY 10001 (718) 522-6370 (212) 349-0923 (212) 777-0034 (212) 279-3075 www.no7restaurant.com Recommended by Vito Acconci www.thejuicepressonline.com Recommended by Michael Halsband Recommended by Eddie Huang (pp.50-61) Recommended by Wes Eisold (pp.38-49) (pp.74-81) (pp.92-103) Hasaki Motorino Odessa Bar 210 E. 9th St. Keste Pizzeria 349 E. 12th St. 117 Ave. A (btwn 2nd Ave. & 3rd Ave.) 271 Bleecker St. (btwn 1st Ave. & 2nd Ave.) (btwn 7th St. & St. Marks Pl.) New York, NY 10003 (btwn Cornelia St. & Jones St.) New York, NY 10003 New York, NY 10009 (212) 473-3327 New York, NY 10014 (212) 777-2644 (212) 253-1470 www.hasakinyc.com (212) 243-1500 www.motorinopizza.com Recommended by Wes Eisold Recommended by Jacques Magazine www.kestepizzeria.com Recommended by Adam Kuban (pp.92-103) (pp.26-37) Recommended by Michael Halsband (pp.18-25) (pp.00-0) Paulie Gee’s Joe’s Pizza Natori Restaurant 60 Greenpoint Ave. 7 Carmine St. Kevin’s 58 Saint Marks Pl. (btwn Franklin St. & West St.) (at Bleecker St.) 277 Van Brunt St. (btwn 1st Ave. & 2nd Ave.) Brooklyn, NY 11222 New York, NY 10014 (btwn Pioneer St. & New York, NY 10003 (347) 987-3747 (212) 366-1182 Visitation Pl.) (212) 533-7711 www.pauliegee.com www.joespizzanyc.com Brooklyn, NY 11231 Recommended by Eleonore Hendricks Recommended by Adam Kuban Recommended by Adam Kuban (718) 595-8335 (pp.62-73) (pp.18-25) (pp.18-25) www.mooreparties.com Recommended by Dustin Yellin (pp.6-17)
118 119 FOOD AND DRINK FOOD AND DRINK
Prime Meats Sau Voi South Brooklyn Pizza 456 Court St. 101 Lafayette St. 451 Court St. (btwn Luquer St. & 4th Pl.) (btwn White St. & Walker St.) (btwn Luquer St. & 4th Pl.) Brooklyn, NY 11231 New York, NY 10013 New York, NY 11231 (718) 254-0327 (212) 226-8184 122 1st Ave. www.frankspm.com Recommended by Ray Tintori (btwn 7th St. & St Marks Pl.) Recommended by Dustin Yellin (pp.82-91) (pp.6-17) New York, NY 10009 Recommended by Adam Kuban Shun Lee Palace (pp.18-25) Punjabi 155 E. 55th St. 114 E. 1st St. (btwn Lexington Ave. & 3rd Ave.) The Tea Gallery (btwn 1st Ave. & Ave. A) New York, NY 10022 21 Howard St. New York, NY 10009 (212) 371-8844 (btwn Crosby St. & Lafayette St.) (212) 533-3356 www.shunleepalace.com New York, NY 10013 Recommended by Ray Tintori Recommended by Jacques Magazine www.theteagallery.com (pp.82-91) (pp.26-37) Recommended by Michael Halsband (pp.38-49) Red Hook Lobster Pound The Smile 284 Van Brunt St. 26 Bond St. Vanessa’s Dumpling House (btwn Verona St. & Visitation Pl.) (btwn Lafayette St. & Bowery) 118 Eldridge St. Brooklyn, NY 11231 New York, NY 10012 (btwn Broome St. & Grand St.) (646) 326-7650 (646) 329-5836 New York, NY 10002 www.redhooklobsterpound.com thesmilenyc.com (212) 625-8008 Recommended by Dustin Yellin Recommended by Jacques Magazine (pp.6-17) (pp.26-37) Recommended by Michael Halsband (pp.38-49)
Russ & Daughters Souen Restaurant (Soho) 179 E. Houston St. 210 Avenue of the Americas (btwn Allen St. & Orchard St.) (btwn King St. & Charlton St.) New York, NY 10002 New York, NY 10014 (212) 475-4880 (212) 807-7421 www.russanddaughters.com www.souen.net Recommended by Vena Cava Recommended by Michael Halsband (pp.104-113) (pp.38-49)
120 121 STORES STORES
Amarcord Vintage Fashion Brooklyn Flea Grown & Sewn Jungle Garden 223 Bedford Ave. 176 Lafayette Ave. 116 Franklin St. 61 Kent Ave. (btwn N. 4th St. & N. 5th St.) (btwn Clermont Ave. & Vanderbilt Ave.) (btwn W. Broadway & Church St.) (btwn N. 10th St. & N. 11th St.) Brooklyn, NY 11211 Brooklyn, NY 11238 New York, NY 10013 Brooklyn, NY 11211 (718) 963-4001 (917) 686-2964 Recommended by Vena Cava 27 North 6th St. www.grownandsewn.com (pp.104-113) 252 Lafayette St. (btwn Kent Ave. & East River) (btwn Spring St. & Prince St.) Brooklyn, NY 11211 Hospital Productions Kiki De Montparnasse New York, NY 10012 www.brooklynflea.com (212) 431-4161 Recommended by Vena Cava 60 E. 3rd St. 79 Greene St. www.amarcordvintagefashion.com (pp.104-113) (btwn 1st Ave. & 2nd Ave.) (btwn Broome St. & Spring St.) Recommended by Vena Cava New York, NY 10003 New York, NY 10012 www.hospitalproductions.net www.kikidm.com (pp.104-113) Carini Lang Recommended by Wes Eisold Recommended by Jacques Magazine 335 Greenwich St. (pp.92-103) (pp.26-37) As Old as Hills Liquor Store (btwn Jay St. & Duane St.) 123 Delancy St. New York, NY 10013 Housing Works Bookstore Cafe Maryam Nassir Zadeh (btwn Essex St. & Ludlow St.) (646) 613-0497 126 Crosby St. 123 Norfolk St. New York, NY 10002 www.carinilang.com (btwn Prince St. & E. Houston St.) (at Rivington St.) (212) 673-2405 New York, NY 10012 New York, NY 10002 Recommended by Eddie Huang Church Street Surplus (212) 334-3324 (212) 673-6405 (pp.74-81) 327 Church St. www.housingworksbookstore.com www.maryamnassirzadeh.com (btwn Canal St. & Lispenard St.) Recommended by Eleonore Hendricks Recommended by Vena Cava Atelier New York New York, NY 10013 (pp.62-73) (pp.104-113) 304 Hudson St. (212) 226-5280 (btwn Vandam St. & Holland www.churchstreetsurplus.com Joanne Hendricks Cookbooks Mercer Street Books & Records Tunnel) Recommended by Vena Cava New York, NY 10013 (pp.104-113) 488 Greenwich St. 206 Mercer St. (212) 941-8435 (btwn Canal St. & Holland Tunnel) (btwn Bleecker St. & New York, NY 10013 W. Houston St.) www.ateliernewyork.com Dashwood Books (212) 226-573 New York, NY 10012 Recommended by Wes Eisold 33 Bond St. joannehendrickscookbooks.com (212) 505-8615 (pp.92-103) (btwn Lafayette St. & Bowery) Recommended by Eleonore Hendricks www.mercerstreetbooks.com New York, NY 10012 (pp.62-73) Recommended by Eleonore Hendricks (212) 387-8520 (pp.62-73) www.dashwoodbooks.com Recommended by Wes Eisold (pp.92-103)
122 123 STORES STORES
Mondo Cane Russ & Daughters St. Marks Sounds 174 Duane St. 179 E. Houston St. 20 Saint Marks Pl. (btwn Greenwich St. & Hudson St.) (btwn Allen St. & Orchard St.) (btwn 2nd Ave. & 3rd Ave.) New York, NY 10013 New York, NY 10002 New York, NY 10003 (212) 219-9244 (212) 475-4880 (212) 677-3444 www.mondocane.com www.russanddaughters.com Recommended by Michael Halsband Recommended by Vena Cava (pp.38-49) Mood Fabrics (pp.104-113) 225 West 37th St. - 3rd Fl Strand’s Rare Book Room (btwn 7th Ave. & 8th Ave.) Russian & Turkish Baths 828 Broadway New York, NY 10018 268 East 10th St. (corner of E. 12th St) (212) 730-5003 (btwn 1st Ave. & Ave. A) New York, NY 10003 www.moodfabrics.com New York, NY 10009 (212) 473-1452 Recommended by Jacques Magazine (212) 674-9250 www.strandbooks.com (pp.26-37) www.russianturkishbaths.com Recommended by Michael Halsband Recommended by Eleonore Hendricks (pp.38-49) Obscura Antiques (pp.62-73) 280 E. 10th St. (btwn 1st Ave. & Ave. A) Spoonbill & Sugartown Books New York, NY 10009 218 Bedford Ave. (212) 505-9251 (btwn N. 4th St. & N. 5th St.) www.obscuraantiques.com Brooklyn, NY 11211 Recommended by Dustin Yellin (718) 387-7322 (pp.6-17) www.spoonbillbooks.com Recommended by Jacques Magazine Other Music (pp.26-37) 15 E. 4th St. (btwn Broadway & Lafayette St.) St. Mark’s Bookshop New York, NY 10003 31 3rd Ave. (212) 477-8150 (btwn Astor Pl. & Stuyvesant St.) www.othermusic.com New York, NY 10003 Recommended by Vito Acconci (212) 260-7853 (pp.50-61) www.stmarksbookshop.com Recommended by Wes Eisold (pp.92-103)
124 125 ART THEATER AND PERFORMANCE
Brooklyn Museum The Pace Gallery Anthology Film Archives Ziegfeld Theatre 200 Eastern Parkway 534 W. 25th St. 32 2nd Ave. 141 W. 54th St. Brooklyn, NY 11238 (btwn 10th Ave. & 11th Ave.) (btwn E. 1st St. & E. 2nd St.) (btwn 6th Ave. & 7th Ave.) (718) 638-5000 New York, NY New York, NY 10003 New York, NY www.brooklynmuseum.org (212) 929-7000 (212) 505-5181 (212) 765-7600 Recommended by Ray Tintori www.thepacegallery.com www.anthologyfilmsarchives.org www.clearviewcinemas.com (pp.82-91) Recommended by Dustin Yellin Recommended by Eleonore Hendricks Recommended by Ray Tintori (pp.6-17) (pp.62-73) (pp.82-91) The Costume Institute at The Metropolitan Museum of Art Solomon R. Guggenheim BAM Rose Cinemas 1000 5th Ave. Museum 30 Lafayette Ave. (at 82nd St.) 1071 5th Ave. (btwn Ashland Pl. & Saint Felix St.) New York, NY 10028 (at E. 88th St.) Brooklyn, NY 11217 (212) 570-3828 New York, NY 10128 (718) 636-4100 www.metmuseum.org (212) 423-3500 www.bam.org Recommended by Jacques Magazine www.guggenheim.org Recommended by Ray Tintori (pp.26-37) Recommended by Vito Acconci (pp.82-91) (pp.50-61) Kidd Yellin Jalopy Theatre and 133 Imlay Street School of Music (at Verona St.) 315 Columbia St. Brooklyn, NY 11231 (btwn Rapelye St. & Woodhull St.) (917) 860-1147 Brooklyn, NY 11231 www.kiddyellin.com (718) 395-3214 Recommended by Dustin Yellin www.jalopy.biz (pp.6-17) Recommended by Dustin Yellin (pp.6-17)
126 127 LANDMARKS AND OUTDOOR
Brooklyn Flea Seagram Building 176 Lafayette Ave. 375 Park Ave. (btwn Clermont Ave. & Vanderbilt Ave.) (btwn 52 St. & 53 St.) Brooklyn, NY 11238 New York, NY 10152 Recommended by Vito Acconci 27 North 6th St. (pp.50-61) (btwn Kent Ave. & East River) Brooklyn, NY 11211 Staten Island Ferry www.brooklynflea.com Recommended by Vena Cava Southern tip of Manhattan (pp.104-113) (718) 876-8441 www.siferry.com Recommended by Ray Tintori Hook & Ladder #8 (pp.82-91) 14 N. Moore St. New York, NY 10013 Williamsburg Bridge Recommended by Ray Tintori (pp.82-91) Connects Lower East Side, Manhattan at Delancy Street to Williamsburg, Brooklyn Houston Street Basketball Court Recommended by Wes Eisold 1st Ave. & 1st St. (pp.92-103) New York, NY 10079 Recommended by Eddie Huang (pp.74-81)
Mid-Manhattan Library 455 5th Ave. (btwn E. 39th St. & E. 40th St.) New York, NY 10016 (212) 340-0863 www.nypl.org Recommended by Ray Tintori (pp.82-91)
128 REVELINNEWYORK.COM
Cover: Klaus Nomi, New York, Jan. 30, 1980