There is a Clock ringing deep inside a mountain. It is a huge Clock, hundreds of feet tall, designed to tick for 10,000 years. Every once in a while the bells of this buried Clock play a melody. Each time the chimes ring, it’s a melody the Clock has never played before. The Clock’s chimes have been programmed to not repeat themselves for 10,000 years. Most times the Clock rings when a visitor has wound it, but the Clock hoards energy from a different source and occasionally it will ring itself when no one is around to hear it. It’s anyone’s guess how many beautiful songs will never be heard over the Clock’s 10 millennial lifespan.
We love New York because there is the Museum of Sex and the Museum of Biblical Art with the exhibitions, ‘The Eve of Porn: Linda Lovelace’ and ‘Object of Devotion: Medieval English Alabaster Sculpture from the Victoria and Albert’, respectively.
We are having a real winter here in New York and our lobby fireplace has never felt so fine. Momofuku Má Pêche is serving up cold, briny oysters and some of the best fried chicken on the planet. Finish it with MilkBar crack pie and stellar single malt and it is off to dream land in one of our CocoMat suites.
Rizzoli is a block away, as are two of the very best cinemas in the city, Paris and Ziegfeld. One cannot ask for much more, except maybe a snowy walk through our back yard, all 843 acres of it, Central Park.
Photographer Ryan McGinley turns New York City into a golden-hour fantasyland in the new Sigur Ros music video for “Varúð. It captures a childhood innocence through a mysterious yellow-haired girl who skips through the city streets in wonder.
Andy Warhol was one of the most influential artists of the last 100 years and a NYC icon. On the anniversary of his birth we remember him with this great clip of Andy and Edie Sedgwick on the Merv Griffin Show in 1965.
As the title suggests, David Zwirner’s latest exhibition is a group show of artists who work at the gallery.
Curated by Brooklyn-based Rawson Projects, whose co-directors James Morrill and Chris Rawson also work at David Zwirner, the show bridges the emerging and established gallery scenes, two sides of the art world that are commonly thought of as isolated from one another. In turn, it plays on notions of inside and outside, art and work, center and periphery, while at the same time testifying to the interconnectedness of the New York art world and the relationships that exist between new and established artists and galleries.
You’ve seen their videos on our website and books in our rooms. Now let us take you inside Scott Newman and Marc Santo’s newest edition of Revel In New York.
In what the NY Times calls “freewheeling” and “a unique way of exploring the city”, Revel offers an authentic and personal look at our city through the eyes of notable artists, architects, chefs and filmmakers. The pocket-size guidebook is not typical — along with interviews and full page pictorials each subject shares personal recommendations for where to go and what to do.
The newest edition, Vol III, features many interesting people including costume designer Christian Joy, nightclub promoter Todd Pendu, chef Marcus Samuelsson and legendary photographer/filmmaker Jerry Schatzberg. Recommendations span the whole city including the Williamsburg, Brooklyn beauty shop Miomia, Ubu Gallery on 59th St, Maysles Cinema in Harlem, and Omen in Soho, which Schatzberg calls “a Japanese Elaine’s with good food”.
With contributions by past Revel subjects including Rolling Stones and AC/DC tour photographer Michael Halsband (Vol II), famed designer Jim Walrod (Vol I) and chef and TV host Eddie Huang (Vol II), Revel is a must read for curious travelers and locals alike.
New York City, 1961 'Late 1961, days before the Carnegie Recital Hall concert, I believe. A friend took this photo. I remember the soft, khaki sweater I loved. Since I was not pursuing fame, and was pretty pleased with my works in various media, I would say I was happy with myself'
Smiling at the end of Imagine, 21 June 1971 'No more words'
Whisper Piece, 1971 'You must guess what he is whispering to me!'
With Fred Astaire in New York, 1971 'Fred was so meticulous. It took three takes just to open the door. I respected him for that. That's how he became what he is, I thought'
With Andy Warhol in New York, 1972 'Andy, Fred, and me'
The Statue of Liberty said 'Come', 1971 'We believed in the country we joined!'
The collection of candid portraits from the early eighties depicts everyone who defined the neighborhood, from the spandex-clad sex workers to the hip-hop crews decked out in tracksuits and sneakers. Bill wasn’t an outsider the scene around 42nd St, he was one of them. He made a living selling his medium-format portraits, and in the process created a record of a time and way of life that the people walking around Times Square right now probably can’t imagine.
Prints from the book as well as an exhibition of never-before-seen shots are on view at the powerHouse Arena from June 12 through July 1.
Abbie Hoffman, Yippie, New York, September 11, 1968, undated
Allen Ginsberg, poet, New York December 30, 1963, 1963
Allen Ginsberg's family
Andy Warhol, artist, New York, August 29, 1969, 1975
An exhibition of Richard Avedon’s legendary photographic murals and related portraits are on exhibit at Gagosian Gallery. His visionary depictions of couture changed fashion in magazines and his commanding portraits of public figures were among the most venerated in the world.
In his large-scale murals and the smaller, related portraits of the 1960s and 1970s, Avedon sought to depict the spirit of the times. The transgendered Candy Darling and the naked Taylor Mead testify to the provocative countercultural behavior of the Factory. The spirit of political rebellion is embodied by the Chicago Seven mural, as well as the individual photos of writer Jean Genet, Weatherman leader Bernardine Dohrn, and former turf gang-turned-human rights group, the Young Lords. The expanding definition of the American family is represented by the mural of the Ginsbergs, while earlier images of Allen in nude embrace with his partner Peter Orlovsky, were found to be too shocking for most publications in 1963. Finally, the war administrators—the Mission Council—are juxtaposed with victims of the war: Vietnamese survivors of napalm attacks. Powerful and dynamic, Avedon’s images became icons of their embattled times that resonate for the present and future.