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26
12 Neighborhood Buzz
The best eats and shopping
on the Upper West Side.   62 Interior Design Gary Paul
16 Food Resident food expert
Eva Karagiorgas explores the
gastronomical pleasures
of the neighborhood.
18 Opera Soprano Marina
Poplavskaya sounds off on
La Traviata.
21 Jazz Wynton Marsalis,
the man behind Jazz at
Lincoln Center.
26 Cover Meet Benjamin
Millepied, the man who
stole Natalie’s heart.
32 Food Per Se chef Thomas
Keller shares his secrets.
34 Art An insider’s view
on the Contemporary
Chinese Art market.
39 Artist Profiles Get
a taste of who’s showing
at New York Arts Week.
40 Art The Armory Show
highlights Latin America.
42 Art Events Catch these
under-the-radar art shows
during arts week.
44 Art It’s all about quality
at the ADAA Art Show.
CREATIVE DIRECTOR
PIERS PARLETT
SENIOR EDITOR
RACHEL MORGAN
DESIGN DIRECTOR
IVYLISE SIMONES
WRITERS
ALEX CACIOPPO
JOSEPHINE
CUSUMANO
NATALIE HOWARD
CHIU-TI JANSEN
EVA KARAGIORGAS
CHRISTINE LIU
DAISY PRINCE
ALEXIS THOMAN
RUDISILL
FASHION CONTRIBUTORS
PRISCILLA POLLEY
KATHRYN TYPALDOS
COCO MELLORS
CONTRIBUTING
PHOTOGRAPHERS
ALEXANDER WAGNER
DAVID JACQUOT
10 / MARCH 2011
contents
51 Fashion Street style in
the neighborhood has never
looked better.
52 Fashion Our style expert’s
best Upper West Side picks.
56 Interior Design John
Willey transforms a classic
15 Central Park West apartment.
designs a residence around a
unique art collection.
64 Architecture Lucien
Lagrange, architect of 535 West
End Ave., speaks out on recent
troubles.
68 Real Estate The experts
analyze the Upper West Side’s
market.
74 Exhibits Curator of the
American Museum of Natural
History’s Brain shares his
creative process.
76 Events See the
best parties, galas and
events this season.
78 Philanthropy
How one man left
his life as a club
promoter to bring
clean water to
struggling nations.
92 Wine The
legendary Kermit
Lynch gives his
advice on picking the
perfect bottle of red.
21
OBSERVER MEDIA GROUP
PUBLISHER
JARED KUSHNER
PRESIDENT
CHRISTOPHER BARNES
EXECUTIVE V.P.
BARRY LEWIS
ASSOCIATE PUBLISHER
JAMIE FORREST
V.P. SALES AND
MARKETING
DAVID GURSKY
CLASSIFIED
ADVERTISING DIRECTOR
Publisher
KEN NEWMAN
Robyn Weiss
MARKETING MANAGER
JILL GUTEKUNST
Sales V.P. CIRCULATION
Spencer Sharp KRATOS VOS
Betty Lederman
Dan D’Andrea
mitchell BEDELL PRODUCTION manager
David BENDAYAN Tyler Rush
Paul KORNBLUEH photo editor
Karen KOSSMAN Peter Lettre
Michele MERYN advertising
alexander NUCKEL production
DAVID M. WOLFF Lisa Medchill
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Photo © 2011 Bilyana Dimitrova.
m UWS neighborhood buzz
1. Decorative glassware from Avventura
2. Vase from Avventura
3. Rare shoe styles from West
4. Town Shop
5. Darryl’s Boutique’s smart sensibility
1 2
Best of the Upper West
3 4
For nearly 30 years Café Luxembourg
Our resident Upper West has been the quintessential bistro on the Upper
Side experts searched West Side. They boast a vivacious full-service
bar and a wine list that’ll make your sommelier
far and wide to bring giddy with joy. Cafe Luxembourg offers plenty of
you the very best the variety, from their savory Luxemburger to their
sweet assortments of homemade ice creams and
neighborhood has to offer sorbets. (200 West 70th Street, 212-873-7411)
Avventura (463 Amsterdam Ave., 212-
by Christine Liu, Alexis Thoman Rudisill 769-2510) has established itself as an Upper
and Josephine Cusumano. West Side fixture. But don’t let its unassuming
storefront fool you—this store-gallery hybrid
Photos by Michael Chimento contains a vast collection of Murano and other
artisan glassware and tableware. Inside, you will
find an exquisite and interesting collection of
Murano pieces by artists like Carlo Moretti and
Seguso, as well other glasswork by various eso-
teric craftsman you’ve never even heard of—and
12 / MARCH 2011
let’s be honest, we all want to get that one-of-a
kind piece from an artist who has yet to make
his mark. For those with more mainstream
tastes, Avventura sells a nice selection of Deruta
of Italy and Majolica. Prices range from $50 to
$1,400.
Darryl’s Boutique is an Upper West Side
staple when it comes to women’s clothing. The
store, with its inviting interior and varied stylish,
versatile and affordable brands, is a must-stop
shopping destination. Owner, stylist and some-
times impromptu psychiatrist Darryl Gamble
ensures that the women who enter his shop
leave with perfectly fitted ensembles, both for
their bodies and personal style. (492 Amster-
dam Avenue, 212- 874-6677)
This is no Victoria’s Secret. Town Shop is
the place to go for intimates, offering high-end
brands like Anita & Rosa Faia and La Perla. With
5
more than 100 years of bra-fitting experience,
Town Shop guarantees every woman will find
their perfect bra. (2273 Broadway, 212-787-
2762)
Harry’s Shoes is sort of a neighborhood
relic when it comes to your family’s shoe needs.
Offering an expansive selection of American and
European shoes, this neighborhood fixture has
been in the business of selling shoes since the
1930s. Now that’s street cred. (2299 Broadway,
1-866-442-7797)
If Harry’s Shoes doesn’t do it for you, try Tip
Top Shoes, a fourth-generation, family-owned
retailer of affordable, comfortable kicks—a must
in this city. (155 West 72nd Street, 212-787-
4960)
Älskling—“darling” in Swedish—is a darling
of a shop tucked away on Columbus Avenue
 C L A U D E
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m UWS neighborhood buzz
(228 Columbus Ave., 212-787-7066). Owned
by Swede Vivienne Tvilling and located on the
UWS for 15 years, the store offers wares ranging
from antique lace slips and camisoles to whimsi-
cal Swedish-designed frocks in vintage-inspired
styles and prints. But far and away Älskling’s
best sellers are the white baby onesies with “dar-
ling” printed on them—in your choice among
30 languages. A charming gift for the darling
Japanese, Romanian or Ethiopian baby in your
life. Prices from $19.
Get your hands dirty while embracing your
inner Picasso at Make Meaning. Express
yourself through soaps, candles, ceramics, glass,
jewelry and paper crafts—a great place for an
afternoon of crafts to keep the kids busy. (329
Columbus Ave., 212. 362.0350)
Jay-Z is blasting over the speakers as the hip
clientele of West (147 West 72nd St., 212.-787-
8595) browse the shelves. With walls covered
Trader Joe’s: The Future of Grocery Shopping
From California to the Upper West Side, Trader
Joe’s has taken the grocery world by storm. It’s
the chain that boasts gluten-free foods sharing
shelf space with fat-free goods. It’s where vegan
and vegetarian wares mingle with kosher and
tasty microwaveable meals.
New Yorkers first became enamored with
the brand in 2006, when Manhattan’s first store
opened in Union Square. Another location in
Chelsea popped up in 2010. Three months later,
Trader Joe’s expanded its holdings to include
the Upper West Side, opening a store at 2075
Broadway in a 48,000-square-foot retail space.
And just like that, TJ’s established itself as a
fierce competitor against beloved neighborhood
icons Fairway Market and Zabar’s.
Fairway and Zabar’s now compete with
Trader Joe’s low prices, organic and unique
14 / MARCH 2011
in framed photos of legendary locals Run DMC
and the Beastie Boys, West has become the Up-
per West Side’s urban Mecca. The Upper West–
only location sells sportswear, accessories and
unique sneakers like Quickstrikes, the limited-
edition Nike and Adidas kicks that are sold only
to small retailers. Selling covetous sneakers that
are nearly impossible to get elsewhere, West has
really carved out a place for itself in the market.
products and even Trader Joe’s own brand,
which makes up 80 percent of the store’s
inventory.
When it was announced in June of last year
that Trader Joe’s was moving in, Fairway chief
executive Howard Glickberg told The New York
Times that closing the Upper West Side staple
grocery store “wasn’t written in stone yet” and
the store was still “exploring all the possibilities.”
For now, Fairway remains open. And Upper
West Siders are torn between mobilizing to
save their beloved Upper West Side fixture and
singing Trader Joe’s praises.
“I love [Trader Joe’s] products, and it’s also
an added bonus that you never leave feeling
like you’re getting ripped off,” said Kaitlin
Tambuscio, 22. “I usually can’t believe how far
$25 goes at Trader Joe’s.”
Indulge your
inner artist child
at Make Meaning
Put it this way—when Kanye West released his
exclusive Nike sneaker, Air Yeezy, the store was
only one of five retailers in the city to get it. Nike
even collaborated with West, the store version,
on its own Quickstrike—the Lunar Glide, a sweet
cobalt, fuchsia and black shoe that you’ll have a
tough time one-upping with any run-of-the-mill
department shoe selection. Prices from $75.
Century 21 Is
Heading Uptown
The Financial District’s most coveted
shopping destinations will open another
branch on the Upper West Side, in the
61,000-square-foot building at 1972
Broadway that previously housed Barnes
& Noble, a relic in its own right.
“Century 21 presented the landlord
with the unique opportunity to replace
one New York icon with another New
York icon,” said Cushman & Wakefield’s
Gene Spiegelman, who brokered the deal.
And it seems Century 21 is in it for the
long haul—they signed a 20-year lease
for the space and moved in last month.
A seven-month renovation will follow
before the store’s opening.
A family business, Century 21 has
been working its way into the hearts of
native and non–New Yorkers alike since
it opened its flagship store on Cortlandt
Street more than 20 years ago. And New
Yorkers are quick to list just why this
discount chain store is so beloved.
“I’m all about the bargain hunt, and
Century 21 fulfills the adrenaline rush of
‘the find,’” said Chinatown resident Jodie
Love.
“This move represented a rare
opportunity for Century 21 to benefit
from a prime retail location that will
provide added convenience to many
of our customers,” said COO Raymond
Gindi. “We believe 1972 Broadway is
already a destination for our clients and
we are very excited to bring our brand of
retailing to the Upper West Side.”
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D E V E LO P E D BY
 m FOOD
For a quick tour of the West Side, chow
through these:

1. Fairway Market
FLICKR.com/ed yourdon

Act out a real-life videogame dodging carts,

narrow aisles, shoppers, falling produce and
cheese mongers at this temple of formidable
foodstuffs, otherwise known as Fairway
1 Market. Head to the cafe upstairs for New
York City’s least-talked about best burger.
3
(2127 Broadway at 76th St., 212-595-1888)

2. Jean-Georges
Jean-Georges Vongerichten’s eponymous
Upper West Side debut, Jean-Georges was

FLICKR.com/carendt242
one of the first’s to redefine the culinary
landscape of the Upper West Side. Jean-
FLICKR.com/kris.layon

Georges presents new French fare unlike any

2 other chef’s to this day. (1 Central Park West
at 60th Street, 212-299-3900)
4
FLICKR.com/rowdykittens

3. Zabar’s

FLICKR.com/doobybrain
An Upper West Side staple and a New
Yorker’s cure-all destination for smoked fish,
cheese, coffee, bread and most everything in
between. For the past 70 years, Zabar’s has
6 been the pearly gateway into any foodie’s soul
FLICKR.com/Gary soup

and the crux of what it means to grocery-shop

in New York City. (2245 Broadway at 80th St.,
212-787-2000)
Emiliano Granado

5
4. Barney Greengrass
Lying at the altar of the New York City lox
experience, the centurion Barney Greengrass

The true NY cuisine

Food columnist Eva Once known by the masses as a restaurant
wasteland, the Upper West Side has since
Karagiorgas, the restaurant churned out restaurant after restaurant,
offers a New Yorker’s New York deli—no-
nonsense service and some of the best hot
pastrami, knishes, whitefish salad, eggs and
smoked fish. (541 Amsterdam Ave. between
86th and 87th St., 212-724-4707)
5. La Caridad 78
A true international syndicate, La Caridad 78

curator for Gilt City New birthing seconds to other neighborhood’s

firsts—Fatty Crab, Ditch Plains, Sushi of Gari,
has provided Cantonese and Cuban dishes
like pork chops with garlic, chicharonnes and
York, takes us on a tour Accademia de Vino, A Voce and Blue Ribbon
have adopted the Upper West Side as their
arroz con pollo to the Upper West Side since
the ’60s. Not to be confused with fusion food,
of some of the best eats of second home. this authentic cartel has separate Cuban and
the Upper West Side. Fair But being inundated with stepchildren was
not the Upper West Side’s first act.
Cantonese menus to satisfy any heart-healthy
craving. (2199 Broadway at 78th St., 212-874-
warning—prepare to have What most gloss over is the neighborhood’s 2780)

your mouth water

history as a demographically unpredictable
and bohemian enclave for artists, writers, 6. Gray’s Papaya
musicians and families, all of whom contrib- Still iconic after all these years, Gray’s Papaya
uted to the diverse and accidental culinary lies in the gray area between fast-food chain
history of the Upper West Side. Gastronomes and street vendor. Famously open for 24
tend to forget that the true New York cuisine, hours and even more famously loved by
that of the smoked fish at Barney Greengrass, Anthony Bourdain and Mario Batali, Gray’s
the lox at Zabar’s, the ropa vieja at La Caridad offers up snappy hot dogs and a dubious
78 and the eponymous bagels at H&H Bagels, papaya drink. (2090 Broadway at 72nd St.,
originated on the Upper West Side. 212-799-0243)

16 / MARCH 2011
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 m OPERA

Marina Poplavskaya
in the Met Opera’s
La18Traviata.
/ MARCH 2011
 The enigmatic soprano Marina Poplavskaya sounds
off on New York, La Traviata and bad press by Rachel Morgan
I interviewed Marina Poplavskaya in
the press office of the Metropolitan Opera,
where everything is either covered in red
velvet carpet—even the walls and banisters—
or adorned with some sort of chintzy chrome
fixture.
Poplavskaya was dressed all in black, save
for a simple silver chain around her neck. Her
hair, that infamous curtain of thick blond, was
twisted back from her face in a simple braid.
She didn’t seem to want attention, unexpected
for the woman I have read to be a “diva,” an
unbelievably talented Russian soprano with a
personality that fills up a room, a woman who
as a 9-year-old traveled alone to audition for the
Bolshoi Theatre in Moscow.
Poplavskaya played the title role in the Met
Opera’s modernist production of La Traviata,
which ran earlier this year and was directed by
Willey Decker. This was her second consecutive
Verdi headliner for the Met Opera, as she played
Elisabeth in Don Carlo in November.
Onstage, Poplavskaya became Violetta, a
‘New York feels
like Moscow.’
fallen woman on the brink of death but on the
cusp of true love. She wore a vibrant red dress
and matching Stuart Weitzman heels onstage.
“Love, sacrifice—those are the main themes,”
Poplavskaya said. “It’s a theme of eternal, soul-
searing love. It strikes you in an embrace until
the end.”
And she is right—onstage, Poplavskaya truly
was Violetta, and there was neither a doubt nor a
crack in her perfect armor.
She describes opening night as if she weren’t
the seasoned performer she is.
“Petrifying, absolutely petrifying,” she said of
the opera’s New Year’s Eve debut. “I understand
I cannot always fulfill all these people’s expecta-
Ken Howard/Metropilitan opera
tions. People want to get something from you
that will stay with them.”
And does she quench an expectant audience’s
need for fulfillment?
“I can never allow myself to disappoint,” she
said simply.
But today, it seems Marina isn’t commanding
attention like her onstage persona. She doesn’t
articulate every thought and whim without a
second thought.
Perhaps she has learned her lesson.
In the December 6 issue of The New Yorker,
in Gay Talese’s essay “Travels With a Diva,”
Poplavskaya was painted as a very nearly insuf-
ferable diva, difficult and unyielding, someone
who complained about hotels, food, flies and just
about everything else.
“You have to understand that I felt a great
friendship with Gay and his wife. He’s an ex-
traordinary man,” she said.
And then, the truth.
“Sometimes you give an interview and you tell
the story of your life, and it doesn’t fit the page
and they chop it. Then it becomes a completely
different story.”
Poplavskaya seems perfectly aware of the
impression the article left.
“I think [he] left very strong points,” she said.
“He wrote everything, that’s the sad part. He
wrote in his article everything was my private
sharing as a friend with him, with the part of
him being the writer. I think it’s just very strange
it happened to me—when a very famous and
brilliant writer like Gay Talese lives next door
and goes to rehearsals with you, and just writes
every bit.”
As for the title, the primly printed “diva,”
a four-letter word to some, Poplavskaya isn’t
offended.
“People understand the word ‘diva’ in the
most opposite ways,” she said. “Diva comes from
divine; a diva is a god, something that is beyond
human understanding, something which is
extraordinary.”
And on that note, I’ll have to agree with Mr.
Talese.
As for her thoughts on New York, Poplavs-
kaya slipped easily into the role of a native. She
frequents eateries like Café Fiorello, Milo’s and
Marea. She stays with a friend in her Upper
West Side apartment and is friendly with the
neighbors.
“It feels like Moscow, it feels like all the other
intelligent cities—very busy,” she said. “I find
people extremely sensitive, although they are so
busy with their lives and pushing their business
forward. I think it counts as one of the best times
that I’ve had.”
Sounds like a rave review to us.
MARCH 2011 / 19
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 m UWS PEOPLE

Clay Patrick McBride

King of JAZZ
W Y N TO N M A R SA L I S

Jazz at Lincoln Center’s reigning king of

swing at home on the Upper West Side
by Chiu-Ti Jansen
m UWS people
I
Jazz at Lincoln Center first set foot in Wynton Marsalis’
Orchestra with Upper West Side apartment on a chilly
Wynton Marsalis November night in 2009. He sat at his
From left: Eliott Ma- kitchen counter, a pencil in his left hand,
son, Marcus Printup, working on the composition of Blues
Sean Jones, Ryan Symphony, which would premiere in
Kisor, Ali Jackson, Atlanta as part of an annual homage to
Dan Nimmer, Carlos Martin Luther King Jr.
Henriquez, Wynton Marsalis was in his Green Bay Packers T-shirt
Marsalis and jeans, wearing narrow-rimmed glasses. Ellis
Marsalis, Winton’s father, softly played the piano in
the background. Like his son, Ellis is also an accom-
plished musician, as are Wynton’s brothers, Bran-
ford, Delfeayo and Jason.
Barely one hour earlier, at the Cultural Services
of the French Embassy on Fifth Avenue, Ambassa-
dor Pierre Vimont delivered a speech that sounded
less like a diplomatic eulogy than a cultural theory.
Marsalis wowed guests with a performance by his
quintet after receiving Ordre National de la Lé-
gion d’honneur—the National Order of the Legion
of Honor—the highest award given by the French
government. Champagne flowed freely at the party,
hosted by the publisher of Elle magazine and the
chairman of Alcatel-Lucent, Philippe Camus, and
his wife, Betty, with guests such as Le Bernadin’s
chef, Eric Ripert; president of the French Institute,
Marie-Monique Steckel; and many jazz musicians
and Marsalis’ friends from New Orleans.
But here in this house, on this night, Wynton was
22 / MARCH 2011
quietly working away. “My kitchen counter is my
office,” he would later tell me.
Our interview for NYO Magazine was the day be-
fore Christmas Eve. Four days earlier, Marsalis and
the Jazz at Lincoln Center Orchestra had completed
a weeklong performance schedule with the Alvin
Ailey American Dance Theater.
A simply decorated Christmas tree protruded
from a sea of wrapped gifts. The kitchen counter was
serving its real function this time—Marsalis’ child-
hood friend Maurice was preparing a classic dish
from New Orleans. The fragrant waves of scallion,
shrimp, okra and rice filled the kitchen.
Marsalis was, literally, at home. His adopted home,
that is.
At 17, Marsalis relocated from his native New
Orleans to New York. It was 1978 and Marsalis was
attending the Juilliard School.
“I felt I was from a different culture,” he said. “I
was an Afro. I had never been around that kind of
wealthy people. It was a cultural shock.”
In his book To a Young Jazz Musician, Marsalis
wrote about that first year in New York, being known
as the “cat from New Orleans that can play.” He
wrote, “I’m hungry. I’m up here to straighten all this
shit out.”
And he did. Marsalis would go on to co-found Jazz
at Lincoln Center. In 1996, he was named the artistic
director of JALC, a title he still holds. He has sold
millions of copies of his recordings, has written five
Clay Patrick McBride
books and won nine Grammy Awards. Success, it
seems, was always in the cards for Marsalis.
On Marsalis’ 43rd birthday, the new $128 million
home of Jazz at Lincoln Center on Columbus Circle
opened with an inaugural program, Let Freedom
Swing.
Sitting among the audience, I was inundated with
the dramatic poetry and music, delivered with such
gravitas but rhythmically punctuated with Marsalis’
humorous touches. It seems the title of the piece, Let
Freedom Swing, was no accident.
‘I was known
as the ‘Cat from
New Orleans that
can play.’
“I come from a group of people with a tradition of
[experiencing] slavery, so freedom is always impor-
tant,” Marsalis later said.
While we’re on the topic, I asked Marsalis a hard
question. Has he ever been concerned that the rec-
ognition of his accomplishments would be viewed as
simply a “token success” in an era of social equality?
“Equality is not about a person being success-
ful, but about everybody being successful,” he said.
“Equality is about average means.”
Interesting, coming from a relative child prodigy From left: Chris
whose first job was cutting grass, until he was invited Crenshaw, Vincent
to play with the New Orleans Philharmonic at the Gardner, Victor
tender age of 14. Goines, Ted Nash,
Marsalis has played with such greats as Herbie Joe Temperley, Sher-
Hancock, Sonny Rollins and Dizzy Gillespie. He man Irby andWalter
seems to have a firm grip on the value of the history Blanding
of the genre.
“I think this is such a time of deep ignorance that
you have to preserve and innovate at the same time,”
he said. “That’s what I try to do. Try to come up
with new things, but also with old things that would
remind people of who we are—because without those
things, you can forget.”
When Marsalis first came to New York, he had a
significant amount of experience playing music, but
didn’t realize just how closely bound together the dif-
ferent genres were. By the time he composed pieces
like “Blood on the Fields” and “All Rise,” he knew a
lot more—from federal music to Anglo-American
hymns to spirituals to ragtime; jazz to orchestra
music; the relationship of John Philip Sousa to Scott
Joplin to Duke Ellington to Art Taylor to Thelonious
Monk.
And while Marsalis openly acknowledges his
indebtedness to his musical predecessors, he seems
less overwhelmed by the “anxiety of influence” than
many postmodernist artists.
“I always felt that I was original,” he said. “Nobody
can make me feel [that I lack] originality because I can
MARCH 2011 / 23
 m UWS people
EMMANUEL DUNAND/AFP/Getty Images

Hitting a top note:

Marsalis performs after
receiving the French
Legion of Honor in New
York, November 6, 2009.

always come up with so many new ideas all the time.” sophisticated in how I address harmonic progres- WYNTON’S PICKS
Marsalis’ home reads like an intellectual history of sion when I am playing [trumpet],” he said. “I always
the mankind—books everywhere, some lying around as notice new things about my playing—things that I can The biography most influential
if they were just read five minutes ago. His library em- improve.” on your life: Autobiography
bodies his wide-ranging curiosities—Proust’s Remem- Not surprisingly, Marsalis shares similar pieces of of a Yogi, by Paramhansa
brance of Things Past (in four volumes), Octavia Paz, advice on how to be a better musician, to the “young jazz Yogananda.
Richard Wilbur, D.H. Lawrence, Robert Farris Thomp- musicians” for whom his book was intended. Best Southern food in NYC:
son’s Flash of the Spirit: African & Afro-American Art & After meeting with Marsalis I came away knowing two Miss Mamie’s Spoonbread Too
Philosophy, books about Nelson Mandela, a biography things for sure—he has an unwavering belief in the power (366 West 110th St., 212- 865-
of Mozart, transcripts of Beethoven, even books about of art, especially jazz, to better life. It is comforting in a 6744) and Pink Tea Cup (88 7th
baseball, New Zealand and tango. And then there are world that expects very little from art’s ability to address, let Ave. South, 212-255-2124).
Johann Wolfgang Von Goethe’s Faust and Christopher alone answer, our ethical dilemma or human conditions. Favorite food in NYC:
Marlowe’s Dr. Faustus. Fitting, since the Germanic And two, Marsalis is single-mindedly dedicated to his Japanese. Masa (10 Columbus
mythic-folklore figure of Faust has become a metaphor art—a dedication that makes me wonder if music usurps Circle, 212-823-9800) is the best.
for the insatiable desire for knowledge. his own life. Most romantic place on the
Marsalis is an active participant in the literary world, “That is my life; I don’t really have a life outside of Upper West Side: The Allen
having penned five of his own titles. In his book To a that,” he said. “Nothing for me is outside of that, but I Room (33 West 60th St. at
Young Jazz Musician, Marsalis touches on his move have tried to use that to put my life in context.” It seems Lincoln Center, 212-258-9800) at
from New Orleans to New York and his mercurial rise a perfect answer from one of the city’s most notable night when the moon sits in the
to fame. He also addresses his critics, who have accused musicians—I can just imagine Marsalis living his life to window.
him of decreeing what it means to be a jazz musician the soundtrack of his own songs, the ebb and flow of the Best show in NYC:
from atop his post at Lincoln Center. trumpet notes guiding him through his missteps, his Anything produced by the Met
Despite these criticisms, Marsalis maintains that he successes, his experiences. Opera.
still learns every day what it takes to be a good musician. While Marsalis is not a native New Yorker, he has Favorite books: Thomas Mann’s
“I always discover things about myself, like I just very nearly earned the title. “Home might not be where Joseph and His Brothers and
discovered the other day that I should become more you grew up,” he wrote in Jazz in the Bittersweet Blues of Carter Godwin Woodson’s The
Life. “It might be where you’re going, because some- Mis-Education of the Negro.

‘Home might not be times it takes a lifetime to figure out what you know.”
And where is Marsalis’ home? After hearing my ques-
Favorite poet: William Butler
Yeats

where you grew up.’ tion, he replies without thinking, as only a New Yorker
would.
“New York.”
Favorite (no-work) vacation
spot: “I NEVER took a
vacation.”
24 / MARCH 2011
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 BE

26 / MARCH 2011
 All About

ENJA M IN by Daisy Prince

A
year ago, no one outside the ballet world
was talking about Benjamin Millepied.
Since Black Swan’s release in December,
Millepied has garnered a flurry of atten-
tion from devout tabloid followers, the press and
ballet enthusiasts alike. The public fascination with
Millepied, New York City Ballet’s resident star, cho-
reographer of Black Swan and newly minted fiancé
to one of America’s most beloved film stars, has only
increased as the film continues to sweep the awards
circuit.
Since his impending fatherhood and engagement
to Oscar-nominee Natalie Portman, Millepied has
seen his world tipped upside down. The press, the pa-
parazzi, suddenly everyone wants to know everything
about the dancer who won the affections of one of the
world’s most beautiful movie stars.
Although Millepied refuses to be drawn into the
subject of his future wife and mother of his child,
he says that when he thinks about fatherhood, he

p h o t o s b y A l e x a n d e r Wa g n e r

MARCH 2011 / 27
m Cover story
becomes “very, very excited.”
“It’s life-changing,” he said. “I can’t wait.
I dream about it at night.”
But it is in the field of choreography that
he’d like to make his mark. As fate would
have it, it’s also his choreography that
brought him to Portman.   but praise for the film’s director, Darren
The pair was first introduced after
Millepied was contacted by a producer of
Black Swan. The film’s producers needed
a choreographer and had seen a ballet
Millepied was working on at the time. They
liked what they saw and invited him to
read the script in one sitting—he was not
allowed to leave the room with it. Millepied
‘I can’t wait. I dream
about it at night.’
28 / MARCH 2011
liked what he read, and the next step was to
meet Natalie.   “It will present
And therein began a match made in
tabloid heaven.
While Millepied stays relatively tight-
lipped on his betrothed, he has nothing
Aronofsky.
“What impressed me most about Darren
was just how clear his vision for the film
was,” Millepied said. “He had such a spe-
cific vision for each scene; he described the
whole ending to me,” Millepied said.
Despite its dark undertones, Millepied
believes Black Swan has done well for the
Millepied in one of
world of ballet. the practice studios
at NYCB.
ballet to people who
would never have
gone to the ballet,” he said. “It’s stirred up
controversy, but that’s good. Ultimately, we
are all talking about ballet.”
Speaking of controversy,  Millepied is
censorious about the recent comment New
York Times’ ballet critic Alastair Macaulay
made about sugarplum fairy Jennifer Ring-
er, saying that she looked like a sugarplum
fairy who had eaten one plum too many.
“He’s said more than once that I’m out
of shape, and he was right,” Millepied said.
“But really, I think we are past the point of
calling someone fat in the newspaper. It’s
humiliating.”
Millepied himself claims not to care
what the critics think of his dancing or
choreography, a good thing since he has
a plethora of work opening in the coming
months.
He’s choreographing The Bartered Bride
for the Metropolitan Opera—for which The
New York Times gave a solid review and
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 m Benjamin millepied
‘I think
singled out his choreography—and also
is working on an unnamed ballet for the
American Ballet Theatre next month.
we are past
Despite his instant stardom, Millepied
remains grounded, even modest.
The day after our interview at the cover
the point
shoot for NYO Magazine, he couldn’t have
been more polite or gracious.  He was
kind to everyone, from the groomer—who
gave him an impromptu haircut—to the
of calling
photographer’s assistants. No matter how
many poses he was asked to do or jumps
he was required to execute without a
someone fat in
warm-up—which could have been danger-
ous as he was due to go onstage later that
night—he performed them with unfail-
the newspaper.’
ing grace. The only time he refused to do
anything was when he was asked to wear
a leather jacket, due in part to his semi-
vegetarian ways.
30 / MARCH 2011
Later that evening, Millepied was
due to perform in Concerto DSCH,
choreographed by Alexei Ratmansky of
the American Ballet Theatre and also
Millepied’s close friend. The segment that
Millepied danced was choreographed with
him in mind.
“We met first at one of the sessions of New
York Choreographic Institute,” Ratman-
sky said of Millepied. “I didn’t think much
of the piece he did then. The next time I
saw his choreography [for NYCB] was a
few years later. I was really amazed by the
progress he’d made.”
But now, Ratmansky has only praise
for his friend.
“Two things I admire in his works: his
masterful and inventive use of the big
groups—the corps—and his desire and
ability to be modern,” Ratmansky said. “As

a dancer, he is always inspiring. DSCH was
done for him.”
NYO Magazine was allowed backstage
before the performance that night, and as
we looked on, a group of female ballerinas
trooped by in full stage makeup, looking in-
congruous against the backdrop of pulleys,
wires and lighting. The ballerinas looked
more like greyhounds at the track, their
bodies so tightly sculpted that you could
see every muscle tightening as they lightly
flexed their shoulders.
When Millepied walked in, he seemed
less laid-back than he was at the morning
shoot. After a few gentle leg stretches at
the barre, he headed to his dressing room,
and we followed him there. He was much
less chatty, his mood focused and tense.
Later, just before the curtain call, an-
other reason emerged as to why Millepied
might have been a little keyed up. A slight
figure wearing a black sparkly top slipped
into the audience. Natalie Portman was
Photographer: Alexander Wagner; Stylist: Priscilla Polley at the Magnet Agency; Groomer: Losi at the Wall Group; Fashion Assistant: Caitlyn Leary; Photo Assistants: Nicolas Kern, Britta Leuermann;
Digital Technician: Sheri Manson. On page 32, Stylist: Brent Austin Coover; Fashion Assistants Michell Costa and Joe Reilly; Groomer: Rheanne White at See Management.
On page 28-29, Millepied is wearing a Robert Geller black jacket, Kai-aakmann grey tee; on page 30, Millepied is wearing Burberry navy pants and a Gap White T-shirt.
Millepied back-
stage before a
performance.
back in New York, fresh from her triumph
at the Golden Globes, just in time to
watch her fiancé strut his stuff.
Millepied seems born to play the ro-
mantic lead. Concerto DSCH is a brilliant
score with everything from elements of
Tchaikovsky to the British sailing ditty
“Drunken Sailor.” It is not your rigorous
George Balanchine classic. The choreog-
raphy veers from Broadway show tunes to
elements of jazz to more classic poses.
Millepied stands out as its star not
merely because of his ability as a dancer
but because he can act onstage. He con-
veys with complete sincerity a deep love
and feeling for Wendy Whelan, who plays
his partner in this complex and moving
piece.
After the ballet finished, we hoped to
get a quick after-show rundown of the Millepied with
evening from Millepied’s perspective, fiancé Natalie
Getty images
but alas, he and his pregnant fiancée had Portman
already slipped out into the night.
MARCH 2011 / 31
m UWS PEOPLE

32 / MARCH 2011
 What’s Cooking
Behind the Blue Door? would have been midflight back to New

Thomas Keller sits down with NYO Magazine to talk

about his start as a dishwasher, his newest venture
and what it’s really like to receive the rating of three
Michelin stars—twice by Daisy Prince
Perhaps most well known for Upper West
Side eatery Per Se, Thomas Keller is the only
American chef to have two restaurants with
three Michelin Stars each: the French Laun-
dry in Yountville, Calif., and, not surprisingly,
Per Se. He is due to open his latest venture,
Bouchon Bakery in Rockefeller Center, at the
end of March.
How did you get into the restaurant
business?
Growing up, my mother ran restaurants.
I started by washing dishes, which was a
wonderful way to begin in the restaurant
business. It taught me about myself, and I
learned about some basic qualities about
being a cook. It can become very chaotic in a
restaurant, but you become a part of the team
with a common goal and a common vision.
American and French systems. I loved the
phenomenal street markets full of steaming
beets, seasonal apples and peaches. Being a
chef is a profession for which the French have
a lot of respect.
After living in California, you came back
to New York and opened Per Se to
enormous acclaim. What was it like to
receive three Michelin stars?
It’s never about one person—I have an
exemplary team. The morning of the Mi-
chelin announcement, I was in Paris and
York when the call was due to come, so I
decided to stay in Paris. I was with Laura
[his fiancée], and we found out at about
4 p.m. It was a wonderful time; we had a
leisurely walk through Paris, and that night
we asked for a table at Taillevent restau-
rant, telling them that we’d just received
the highest ranking from Michelin. Not
only did they give us a table, but the chef
himself came out and sat down with us.
How did you come to chose Columbus
Circle for Per Se’s location?
It is an iconic location.  I always loved the
Upper West Side, lived there for 10 years
and used to go to Maurice’s for our sturgeon,
Zabar’s and Fairway. I loved Shakespeare
[& Co.] Bookstore. We had an inauspicious
beginning at Per Se; a fire broke out in the
kitchen a week after it opened. All my Asian
friends congratulated me, saying that it was a
good sign.
3

That’s the greatest advertisement for

being a dishwasher I’ve ever heard—you
must have been a precocious teenager.
[laughs] Of course, at 13 or 14, I wasn’t think-
deborah jones

ing these things. But learning to do things

over and over liberated me from the task
at hand. When you are a chef, you need to 1
be able to clean a salmon as well as observe
whatever else is going on around you to make 2
sure that the restaurant is run properly.

You started out in the 1980s in New

York—what was the food scene like at
that time?
Nouvelle cuisine had just taken off, and the
great chefs were all coming to New York.
The Department of Labor had just classified
‘chef’ as a profession, as opposed to just being
deborah jones

thought of as ‘help.’ I started the Polo Lounge,

moved to Raoul’s in Soho and then moved to
Paris.

Tell me about living and working in Paris. 1. Salmon Tartare with Creek Oysters and
GETTY/TOBY CANHAM

Michael Chimento

I was there a year and a half, living in the Sweet Red Onion Sterling White Stur-
15th Arrondissement and completed eight Crème Fraiche geon Caviar
different stages (culinary internships). There 2. “Sabayon” of Pearl 3. The entrance to
weren’t too many differences between the Tapioca with Island Per Se
MARCH 2011 / 33

ART m
East meets West
A New Yorker’s Encounter with Chinese art
by Chiu-Ti Jansen
Any New Yorker who wants to understand
what’s happening in China must first encounter
its contemporary art. Contemporary Chinese
art embodies all of the exploding promises and
brilliant contradictions in Chinese society—a
society full of raw energy but unsure about its
materialistic transformation, haphazard with
rough edges but tremendously fascinating.
Contemporary Chinese art is leading the
lifestyle-industry revolution in China—ahead of
fashion, design, architecture, music, dance and
literature, all of which are attempting to replicate
the contemporary art’s Cinderella rise from
obscurity and marginalization to the central
stage. Each of these fields is wrestling with the
same transition—from “Made in China” to
“Created in China.”
What does the rise of contemporary Chinese
art mean to New York? Look at the Art Dealers
Association of America Art Show, at which the
Pace Gallery is dedicating its entire booth to 12
new ash paintings by Shanghai-based Zhang
Huan. At the Armory Show, Carolina Nitsch and
Galerie Urs Meile are among others to show New
York veteran Ai Weiwei’s iconoclastic, conceptual
34 / MARCH 2011
1 2
Pace Beijing
works, Marble Chair and Sunflower Seeds.
Ai Weiwei, who lived in the West Village
in the early ’90s, seems to be constantly in
the spotligh—from the “Bird’s Nest” Olympic
Stadium in Beijing, which he co-designed, to
his politically charged blogs to his recent house
arrest. He studied and lived in the United States,
mostly in New York, from 1981 to 1993, where he
found inspiration from Duchamp’s conceptual
art based on altered ready-made objects. In
October 2010, he carpeted the Turbine Hall at
the Tate Modern in London with 100 million
porcelain “seeds,” each individually sculpted and
hand-painted in the town of Jingdezhen in China
by 1,600 Chinese artisans. The miniature version
of Sunflower Seeds shown at Carolina Nitsch
consists of a handful of seeds contained in an air-
sealed, wire-bail glass jar that is more commonly
seen in the United States than in China. It is as if
the work is trying to demonstrate how content
can be repackaged and re-contained in a foreign
context; the sunflower seeds are the mundane
objects re-manufactured through traditional
Chinese craftsmanship in an ancient city rich in
imperial patronage of its porcelain production.
Carolina Nitsch
By playing with the concept of “Made in China,”
the artwork is where “Made in China” and “Cre-
ated in China” converge.
Outside the art fairs, downtown’s Chambers Fine
Art, a gallery focusing solely on contemporary Chi-
nese art, is showing in its New York gallery recent
paintings and an installation by Xiaoze Xie. “Wang
Qingsong: When Worlds Collide,” currently on view
at the International Center of Photography in mid-
town Manhattan, showcases photographic works
by Qingsong that capture monumental staged
cinematic settings, often embedded in grotesque
allusions to classical artworks.
Surprisingly, only one of the 272 galleries at
the Armory Show is an indigenous Chinese gal-
lery. Chinese dealers are staying home, probably
because while many Chinese power players in
various fields have entered into the art business,
the industry is not mature enough for these new-
comers to venture outside China.
Last year while attending a reception, I met a
hedge fund manager who mentioned a few minutes
into our conversation that he had collected a few
pieces of contemporary Chinese art. He must have
thought that it was terribly sexy to mention that he
‘A S T E R L I N G C O L L E C T I O N ’
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MARCH 19 th - 26 th

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m XXXXXXX
collected contemporary Chinese art.
Yes, contemporary Chinese art is sexy.
After all, in our society, anything that is close
to money and its attendant power can be
considered so. According to the Artprice survey,
prior to the most recent financial crisis set
off by the Lehman Brothers’ bankruptcy, 11
Chinese artists accounted for the world’s top
20 best-selling contemporary artists based on
results from 2,900 auctions. Although Chinese
art was not immune to the downturn of the art
markets, at least the works by certain Chinese
artists actively traded in the auction-driven
secondary market have recovered handsome-
ly—they have routinely surpassed the highest
estimate as well as the highest price achieved
by the same artist prior to the financial crisis.
In the 12 months ending in June 2010, 15 of
the top-selling 50 contemporary artists in the
world were Chinese.
As contemporary Chinese art has gained
currency in China, the prices of contemporary
artworks are no longer quoted in U.S. dollars or
euros but in renminbi (RMB). This clearly re-
flects a gradual shift of the buyer base from the
non-Chinese to the Chinese. March 2011 marks
the fifth anniversary of Sotheby’s seminal sale
of contemporary Chinese art in New York, the
first of its kind to focus solely on contemporary
Chinese art. But since the fall of 2009, when the
art market seemed to be in a free fall following
the financial crisis, major international auc-
tion houses have shifted their contemporary
Chinese art auctions to Hong Kong—where
the mainland Chinese buyers are the drivers
36 / MARCH 2011
behind the revival of certain segments of the
auction markets.
It doesn’t take an economist to figure out
the math—the rise of the Chinese economy, in
full swing following China’s entrance into the
World Trade Organization in 2001, means that
the purchasing power of the emerging wealth
in China will dictate the shift of tastes in certain
cultural consumption.
Since “Inside Out: New Chinese Art” opened
at the Asia Society in 1998, contemporary Chi-
nese art has come a long way in New York City.
In the past, we have witnessed group shows
where artists of disparate styles were lumped
together under a China label with little or no
emphasis on individual artists’ idiosyncrasies.
By the time Zhang Huan had his solo show
“Altered States” at the Asia Society in 2007,
Yue Minjun his solo show “Yue Minjun and the
Symbolic Smile” at the Queens Museum of Art
in 2007 or Yin Xiuzhen his “Collective Subcon-
scious” at MoMA in 2010, these exhibits were
more than a ride on the China brand. They were
viewed as individual artists, each with their
own visual language and artistic vision. In 2010,
MoMA published Contemporary Chinese Art:
Primary Documents, which injected scholarly
rigor into the field of studies of the contempo-
rary Chinese art.
I am an art collector myself, and one of the
first assumptions about my art collection is that
I collect only Chinese art. I often thought to
myself, “Collecting only the art, especially only
that produced from one’s own country —how
boring is that?”
1. Song Dong’s Waste Not
2. Ai Weiwei’s Sunflower Seeds in Glass Jar
3. Wang Qingsong’s Competition
Having spent an equal amount of time in
American and Chinese culture, I often wonder
what is so compelling about contemporary
Chinese art. For me, it’s refreshing that, unlike a
debate that plagued the intellectual discourse in
early-20th-century China, many post–Cultural
Revolution artists are no longer obsessed with
the binary opposition between the Western and
Eastern mediums.
Chinese artists are still trying to make sense
of the spectacular historical changes that are
happening to their lives and society. China is
happening, and so is its art scene. And it is still
happening. I’d like to think that there is more
than an economic force behind New York’s
fascination with the Chinese
art scene. Beyond the simple
economic motivations and WHAT TO READ
blind trend-chasing, there is 1. Chinese Contemporary
also a fundamental human Art: 7 Things You Should
desire to be part of the next Know, by Melissa Chiu, 2008
big thing—and New Yorkers 2. New China, New Art, by
would naturally not want Richard Vine, 2008
to be left out of the next big 3. Mahjong: Contemporary
thing that is New China. Chinese Art From The Sigg
Collection, by Feng Boyi et
Chiu-Ti Jansen is the founder al., 2005
of CHINA HAPPENINGS, a 4. Young Chinese Artists:
multimedia and advisory platform The Next Generation, by
that focuses on the lifestyle and Christoph Noe et al., 2010
cultural industries in China.
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 ARTIST PROFILES
by Natalie Howard
Pat Steir talks
paints and prints
Pat Steir refuses to limit herself in
terms of the mediums she utilizes.
The New Jersey native is known
just as much for her installation
pieces as for her paintings and
prints.
Tell me about the print for the
ADAA show.
It’s a collaboration between me,
Dick Solomon at Pace Editions and
Adam Sheffer at Cheim & Reid.
It’s a series of monoprints as well
as an edition. Each monoprint is
different and has a lot of handwork
on it, and some of them will also be
made into editions. There will be
eight of them available at the art
show. They’re printed by silkscreen
in Brooklyn by Jo Watanabe Press,
which is part of Pace Prints.
Amy Sussman/Getty Images
I’ve heard you have an unusual
method of painting.
I pour the paint—sometimes from
brushes, sometimes from the can.
It evolved slowly over a really long
time. I began to get involved with
the ideas of chance and control,
nature and culture. We see nature
as chance. I have some control, but
I don’t have a specific system. My
system is just pouring. So it’s up to
chance and gravity. I want to make
a painting that makes itself.
What do you hope your art
communicates to its audience?
Whatever they need to find.
ALBERTO PIZZOLI/AFP/Getty Images
Iván Navarro: Lighting up the Armory Show
Iván Navarro, a Santiago, Chile, native, now lives and
works in Brooklyn, but the political climate of his
home country continues to influence his work.
Tell me about the installation piece you’re ex-
hibiting at the Armory Show.
It’s made out of neon lights, and it’s in the shape of a
fence. The piece will be installed in the perimeter of
the booth. It will be enclosing the booth and people
won’t be able to enter, so it will work as a real, actual
fence.
Why do you work so much with Minimalism?
Minimalism in New York is very well respected as
a historical movement, but I think it’s something
Thinking outside
the booth with
Jessica Stockholder
Jessica Stockholder is well known for her site-specific
pieces that take influence from their physical contexts.
Tell me about your pieces at the ADAA Art Show.
There’s a chandelier and some smaller sculptures mak-
ing their world premiere. They are all separate pieces.
They are related to one another in that I made them as
a group and, moving from one to another, they inform
each other, but they are single, autonomous pieces.
Where do you get the materials to use in your
pieces?
My studio is full of things that I can use, and sometimes
my work is generated by what things happen to be
there. People give me stuff or I get it from Goodwill, TJ
Maxx, Home Depot. I stumble upon things. This body
of work emerged from stuff I have here at the studio.
Chilean artist Navarro’s Death Row.
that should be criticized for the purity it involves,
the lack of relationship to social content. In Chile
the social content is so strong in art that working as
a Minimalist artist doesn’t really make any sense.
It’s almost like you’re forgetting about all the social
issues.
Do you want people to have that type of physical
interaction with your work?
I do, yes. It’s important to have unexpected interac-
tions between the public and from your pieces. That
makes it anti-Minimalism because Minimalism
doesn’t allow anything like that. For me, that’s what
happens; you take your pieces to the outside world
after making it in the studio.
PATRIK STOLLARZ/AFP/Getty Images
Stockholder’s ‘Bow-tied in the Middle’
Are you trying to communicate something spe-
cific to your audience?
I don’t make my works with the hope to communicate
something particular to somebody else. The work is an
endeavor to uncover, discover or shift a way of looking
at things and to share that with people. It’s a dynamic
and layered process of experiencing and understand-
ing that I’m engaged in for myself, and then my hope is
to share that with other people.
MARCH 2011 / 39
m ART
Armory Show 2011,
Focus on Latin America
1 2
Truly an international art fair, the Armory Art
Show spotlights Latin America with galleries
hailing from Argentina, Brazil, Chile, Colombia,
Mexico, Peru and Venezuela by Chiu-Ti Jansen
In the past few decades, art fairs have
proliferated throughout the world. They
have morphed from trade shows into cultural
spectacles and tourist destinations, complete
with one-of-a-kind installations, late-
night parties and even fashion shows. The
Armory Show is no exception.
Despite its name, the Armory Show is
not located in the Park Avenue Armory or
the Downtown Armory. The name traces
back to its roots—the show began at the
Gramercy International Art Fair, organized
by four dealers in 1993 to drum up sales in
the midst of a recession. The fair became
the Armory Show in 1999, when it was held
at the 69th Regiment Armory, the same site
of the legendary Armory Show of 1913 that
introduced modern art to America.
The proliferation of contemporary art
fairs globally means that there is an added
pressure to distinguish oneself from com-
petitors.
40 / MARCH 2011
“We distinguish ourselves by being sup-
ported by the most vibrant contemporary art
environment,” said Katelijne De Backer, exec-
utive director of the Armory Show. “Galleries
and museums in New York City are second to
none in the world, and they all come together
to provide concurrent exhibition offerings.”
But it would be a mistake to classify the
Armory Show as simply a “local art fair.” Af-
ter all, the art business is now by definition
global. To counteract this classification, the
Armory Show has increased and maintained
the presence of international participants
over the years.
For example, in 2010, the Armory Show
spotlighted Berlin as part of its geographi-
cal focus on a vibrant art community out-
side New York. This year, “Armory Focus:
Latin America” will feature a selection of
21 galleries from Argentina, Brazil, Chile,
Colombia, Mexico, Peru and Venezuela.
These are in addition to approximately 10
2
Latin American galleries that are already
part of the main contemporary and Modern
sections. According to De Backer, these pro-
grams are effective tools to cultivate new
exhibitors for the fair. Many of the galler-
ies showcased in last year’s “Armory Focus:
Berlin” will join the main fair the first time
this year. To complete the Latin America
theme and continue a tradition started in
2002, the Armory Show has also commis-
sioned Mexican-born, Belgium-based artist
Gabriel Kuri to create the visual identity for
the 2011 fair.
As a result of such efforts, out of the 272
participating galleries in the 2011 edition,
just about 40 percent are from the United
States, with the remainder hailing from all
over the world. According to the Armory
Show’s own statistics, last year the fair at-
tracted 60,000 visitors, of which 56 percent
were from outside New York City and more
than a third came from outside the United
States.
De Backer said that many galleries,
encouraged by the sales results at London’s
Frieze Art Fair and the Art Basel Miami
Beach last year, have opted to increase the
size of their booths. As a result, the number
of participating galleries is smaller this
year—272 compared with 289 last year—to

accommodate the increased space require-
ments of these exhibitors. Although the
scale may not measure up to its peak four
years ago, De Backer maintained that there
is a steady uptick in activity.
For a gallery to participate in the Armory
Show, it has to go through a managed peer-
review process. The selection committee is
typically reconstituted immediately after
the close of the Armory Show, with some
continuing members interacting with the
new ones. The current six-member com-
mittee consists of art dealers and galler-
ies representing different geographical
regions: New York, Los Angeles, Neth-
erlands, London, Paris and Dubai. Based
on the applications received through the
early summer, the selection committee will
determine the exhibitors by the end of Au-
gust. Then the production of the show will
be in full swing—charting a floor plan and
creating bespoke booth layouts and various
other preparatory activities.
How does a visitor navigate the sprawling
art fairs? De Backer has her own set of tips.
“Do your homework,” she said. “Come
prepared. Check out the information on
our Web site.” Also, visitors should take
advantage of the readily available gallery
representatives to ask questions and learn
1. Untitled by Brazilian
artist Anna Maria
Maiolino at Vivian
Horan Fine Art booth
on Pier 92
2. Gabriele Basilico’s
3 4
about the artists and artworks in an other-
wise overwhelming environment, she said.
Observing how the fair has evolved in the
10 years since she started getting involved,
the “decorating three walls” approach is
now passé, De Backer said. In fact, many
of the exhibitors view the Armory Show as
an opportunity to emulate the quality of a
curated museum exhibition. What’s more,
many galleries are opting for spotlighting
one single artist or one major installation
with a view to creating an indelible impres-
sion on the collectors and visitors, even at
the risk of compromising financial returns.
In the end, all the preparation is done
with the hope that this would be an art fair
to remember.
The Armory Show is open from noon to 8
p.m., March 3-5, and noon to 7 p.m. March
6. The show hosts a professional preview
on March 2 and is open to the public March
3-6. Contemporary art by living artists is
located on Pier 94 and a Modern section
focusing on secondary market is on Pier 92.
With a single $30 admission ticket, visitors
will have access to upward of 300 Modern
and contemporary dealers (Student tickets
are $10, group sales are $15, four-day passes
are $60.)
piece Contact, 1984 Daniel Templon
at the Oliva Arauna 4. Wave Bias, 2010,
Gallery by Cordy Ryman at
3. Iván Navarro’s new DCKT Contemporary.
optical “wall hole” All photos courtesy of
Pause at Galerie the artists
make sure not to miss
• Susanne Vielmetter Los Angeles Projects
will be presenting a massive painting by the
artist Rodney McMillian. The painting is 27
feet long and made from hand-sewn vinyl.
• Vera Lutter is presenting her most recent
works, which were taken on her trip to
Egypt last year and were made in a custom
fabricated suitcase/camera obscura at the
Carolina Nitsch booth.
• Ivan Navarro is creating a site-specific
installation in the Paul Kasmin Gallery
booth, titled Armory Fence, made of neon
lights with a parameter of 82 feet.
• New York gallery Lehman Maupin is pre-
senting a solo exhibition of never-before-
seen Urethra Postcard Pictures by Gilbert
& George.
• Ronald Feldman Gallery is presenting a
solo presentation by Sam Van Aken that
will transform the booth into an orchard of
live trees, with unusual genetically altered
properties. As designed by the artist, the
trunks and leader branches identify the
trees as being five different types: peach,
plum, cherry, nectarine and apricot. But
each tree has the capacity to
simultaneously grow all five fruits.
MARCH 2011 / 41
m ART shows
New York Arts Week
Jason Kaczorowski
Check out these Offering a deep exploration of a selected body
other art fairs of work, VOLTA NY showcases the works of
exclusively solo artists, from Aaron Johnson
happening this spring to Natasha Kissell to Robert Kunec, among
many others. Featuring stand-alone artist
as part of Armory exhibitions in exploration of differing ideas
Arts Week of contemporary art, this one is a must-see.
(March 3-6, 7W at 7 West 34th St., $15)
By Christine Liu
Fountain Art Fair returns for its sixth year
in New York City, boasting a wide array of ec-
centric artists and Brooklyn-based perform-
Art lovers at last ers and galleries. More than 20 projects will
year’s PULSE be featured at this envelope-pushing art fair,
Contemporary which features exhibits by Christina Ray
Art Fair Gallery, Greg Haberny and McCaig-Welles,
among others. (Pier 66 Maritime, 26th St. and
12th Ave., March 3-6, $10)
42 / MARCH 2011
The award-winning temporary exhibition fo-
rum INDEPENDENT is back for its second
edition. The free show hosts 40 artists show-
casing their work in an atypical style of the
art fair. (March 3-6, 548 West 22nd St., free)
The 2011 PULSE Contemporary Art Fair,
New York will be held in the newly built
venue Metropolitan Pavilion in the Flatiron
district. The fair, dedicated solely to contem-
porary art, has a brand new contemporary
venue to match. International galleries will
present works by leading contemporary art-
ists alongside up-and-coming artists. (March
3-6, 125 West 18th St., $20)
The Red Dot Art Fair features art from
galleries such as Art Gotham, Nine Gallery,
Gallery Edel and FAN Fine Art, among oth-
ers. The show is partnering with the Korean
Art Show, organized by the Galleries As-
sociation of Korea; 30 Korean Art Show
galleries will share the space with Red Dot’s
exhibitors. All funds garnered from the art
show will fund a breathtaking installation
by Patrick Singh, projected on the Manhat-
tan Bridge during the fair. (March 3-6, 82
Mercer St., free)
A 60,000-square-foot hall at 320 West
Street across from Pier 40 on the West Side
Highway is the venue of choice for Scope Art
Show. The New York Edition of the Scope
Art Show will showcase 50 international gal-
leries from four continents and 16 countries
extending from China to Canada. (March 3-6,
$20)
A stage for groundbreaking and exciting art,
Verge Art Fair serves to push the boundaries
in which art is appraised and presented to the
public. The show focuses primarily on emerg-
ing art and all that entails. (March 3-6, Dylan
Hotel, 52 East 41st St., $10)
Moving Image: An Art Fair of Contempo-
rary Art showcases contemporary instal-
lations of video, single-channel video, even
video sculpture. (March 3-6, Waterfront New
York Tunnel, 261 11th Ave., free)
PooL Art Fair is dedicated to providing a
platform for underrepresented artists and
originates from the 1863 Courbet’s Salon des
Independents. (March 4-6, Gershwin Hotel, 7
East 27th St.)
 N OHRA H AIME G ALLERY
at the Armory Modern
Sophia Vari

BASTIDAS BOLLA BOTERO CHIA DOWNEY

DUNOYER HEIZER HIRD MERLINO MUTAL
SAINT PHALLE SONNEMAN STRAUS SUTIL
PALADINO VARI

730 FIFTH AVENUE

NEW YORK, NY 10019
SOPHIA VARI: LA HAUT RIEN NE BOUGE, 1989, 212-888-3550 F:212-888-7869
bronze, ed. 3, 86 x 40 x 23 in. 218 x 102 x 60 cm. gallery@nohrahaimegallery.com

N OHRA H AIME G ALLERY

in Time Square

Niki de Saint Phalle

REPRESENTING THE NIKI CHARITABLE ART FOUNDATION

NIKI DE SAINT PHALLE: STAR FOUNTAIN installed at Garfield Park Conservatory, Chicago, 2007
polyurethane foam, resin, steel armature, stained and mirrored glass, glass, pebbles, ceramic tiles
118 x 80 x 80 in. 300 x 200 x 200 cm.
@ 2011 Niki Charitable Art Foundation, All rights reserved. Photo @ Thomas Marlow.

730 FIFTH AVENUE

NEW YORK, NY 10019
212-888-3550 F:212-888-7869
gallery@nohrahaimegallery.com
m ART
ADAA Show:
Quality, not Quantity
Currently the country’s
longest-running art show,
the ADAA show continues
to showcase a unique
and eclectic mix of artist
exhibitions. This year is
no exception.
by Natalie Howard
44 / MARCH 2011
1 2
The Art Dealers Association of
America Art Show is back for its 23rd
year, proving once again that it’s a show with
staying power.
“If there’s one thing we want, it’s interest-
ing, quality material,” said Linda Blumberg,
ADAA’s executive director. “Without a
doubt, I think we have a reputation for
showing really first-rate art, and that’s what
draws people year after year.”
The ADAA Art Show maintains that high
level of quality with a stringent application
process for exhibition hopefuls. The ADAA
sends out a request for applications and
also send out requests for proposals. Then
the ADAA members vote on which propos-
als to accept. The committee also selects
five additional artists that will appear at
the show, Blumberg said, to ensure that all
their bases are covered—American paint-
ing, Modernism, contemporary photogra-
phy, print.
Artists who will display work at the 2011
show include abstract painter David Reed;
Robert Motherwell, a former member
of the New York School and colleague
of Jackson Pollock; Dutch sculptor and
installation artist Mark Manders; installa-
tion artist and Yale University’s director of
graduate studies of sculpture Jessica Stock-
holder; and photographer and filmmaker
William Klein.
The placement of the 70 artists’ booths is
carefully considered.
“We want the exhibits to be mixed,” Blum-
berg said. “We’re very careful about trying
to place booths so that they’re interestingly
juxtaposed to each other. It’s not random.”
The ADAA Art Show’s main event is,
predictably, the art show, but there are sev-
eral other events for visitors to enjoy. Gary
Tinterow, Engelhard curator of European
paintings at the Metropolitan Museum of
Art, will host a collectors’ forum focusing on
Picasso March 5.
“There’s always pressure to make sure it’s

1. Irving Penn’s Truman Capote, New York, 1948; Pace/MacGill Gallery 2. Marilyn by Andy Warhol at David Tunick, Inc. 3. Jessica Stockholder, 2009, Plexi-
glass, plastic tray, gray plastic, hardware, African wood, foam, cloth, Styrofoam, ribbons, tape, 35 x 21 x 9 in. at Mitchell-Innes & Nash 4. Burgoyne Diller’s
Early Geometric (Abstraction), 1933. Oil on canvas 27 x 41 inches. Menconi & Schoelkopf Fine Art. 5. Repas Frugal by Pablo Picasso at David Tunick Inc.
fresh and interesting and not rest on your
laurels,” Blumberg said. “Every year we
make a conscious effort to make it better
and as interesting as we can.”
The show entices visitors and art collec-
tors with an intricate balance of excitement
and intimacy. While the ADAA’s show is
smaller like many other similar national art
fairs, garnering only 10,000 to 12,000 visi-
tors a year, Blumberg sees this as an asset
rather than a fault.
“We are a small show compared to some,
but that makes it so much easier to navigate
and actually talk with the dealers,” Blum-
berg said. “It’s a more intimate showcase.”
Entrance fees to the show directly ben-
efit the Henry Street Settlement, a social
service agency based in the Lower East
Side. Henry Street Settlement has been the
beneficiary of the show since its inception
23 years ago.
“Henry Street has been there from the
beginning,” Blumberg said. “Everybody
who buys a ticket, all of that entrance fee
3 5
‘We have a more
intimate showcase’
goes to the benefit of Henry Street com-
pletely, 100 percent.”
To raise additional funds for Henry
Street, the ADAA Art Show also commis-
sions an artist to create a unique print
specifically for sale during the show.
“This year, Pat Steir is doing the print,”
Blumberg said. “It’s a collaboration be-
tween Pace Prints Gallery and Cheim &
Read Gallery.”
Pace Prints and Cheim & Read aren’t the
only galleries teaming up this year. For the
first time in the ADAA Art Show’s history,
two galleries are joining forces to show the
works of one artist—Richard Grey Gallery
and Galerie Lelong will both exhibit the art
of Jaume Plensa, a Spanish sculptor and
mixed-media artist best known for creating
the Crown Fountain in Chicago’s Millen-
nium Park.
While the show garners tremendous pub-
licity for the ADAA, it is the artwork that
really takes center stage.
“We’re very sensitive to doing what is
best for the work being presented,” Blum-
berg said. “We ask, what makes the art look
best? How can we best present them so that
people can see them in the best light?”
And Blumberg is confident that the 23rd
year will be yet another successful one.
“We have proven ourselves over the years
to be a premier showcase for first-rate gal-
leries from around the country,” Blumberg
said. “We’re very proud of it, and we hope
people can come and enjoy it.”
The Art Show, held at the Park Avenue
Armory at 67th Street, runs from March 2-6
with a special preview on March 1. Admis-
sion to the show is $20 per day, which is open
from noon to 8 p.m. on March 2-5 and from
noon to 6 p.m. on March 6.
MARCH 2011 / 45
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THROCKMORTON FINE ART

GUANYIN
The Art of Compassion

March 10th - April 16th, 2011

Catalogue available: GUANYIN, The Art of Compassion, $75.00

Image: Water-Moon seated Guanyin, Late Yuan/Early Ming period, Polychrome wood, H: 31 1/2 in.

145 EAST 57TH STREET, 3RD FLOOR, NEW YORK, NY 10022

TEL 212.223.1059 FAX 212.223.1937
info@throckmorton-nyc.com www.throckmorton-nyc.com
 Streetbeat
FA S H I O N
1. Ariel
Engebretson
Favorite thing
you’re wearing?
My Maxfield Parrish
jacket
Best thing about
the Upper West
We wandered the streets on one of the coldest days in February to Side?

see how these Upper West Siders bundled up in style By Coco Mellors The beautiful
brownstone buildings

2. Chi
1 2 3 Favorite thing
you’re wearing?
The keys to my store
Best thing about
UWS?
Great people
watching

3. Irakli
Bukrashvili
Favorite thing
you’re wearing?
My new Hugo Boss
coat
Best thing about
UWS?
The amazing location

4. Ruth Muinde
Favorite thing
you’re wearing?
My Cole Haan
boots—they’re
keeping my feet
warm!
Best thing about
4 5 6 UWS?
You’re free to be
yourself here

5. Rodney
Ingram
Favorite thing
you’re wearing?
My sneakers from
Urban Outfitters
Best thing about
UWS?
The awesome
buildings and
churches

6. Britannie
Bond
Favorite thing
Photos by Coco Mellors

you’re wearing?
My hat
Best thing about
UWS?
Magnolia Bakery!
MARCH 2011 / 51
 m XXXXXXX

1. Ssemienne
for Think Closet
polka dot dress
with ruffles, $139
1

west sidestyle
Fa s h i o n

Fashion
Our resident style expert trolled the streets to find unique pieces that
you can only get on the Upper West Side Styled by Kathryn Typaldos
Photos by Ivylise Simones

2. Jennifer George
concho belt, $1,800

52 / MARCH 2011 Model: Michele Molina; Photo Assistant: E.F. Angel

 3 4 5

3. Urban Behavior 4. Creatures of Comfort 5. Malia Mills Coral

for Shi Shi military for Steven Alan striped Casino Romper in
jacket in olive, $98 maxi, $238 Noir, $345
Paige Braided Patricia Underwood (for jewelry, see 6)
Silverlake short, $143 for Malia Mills Ladies
Pookie & Sebastian Who Lunch hat, $355
Megan sheer one 7
pocket top, $38

7. Pookie and
6 Sebastian
Whitney grommet
shoulder dress in
poppy, $138
Marley Moretti
for Shi Shi
6. Jennifer George jewelry; turquoise, sterling
Lorne Michael’s Mortgage silver and pyrite
Full necklace, $1800; ring, $89
Drink Milk Bolo necklace,
$795; Tallahassee Laveliere
necklace, $595

Pookie & Sebastian, 322 Columbus Ave., 212-580-5844 Malia Mills, 220 Columbus Ave., 212-874-7200 Shi Shi, 2488 Broadway, 646-692-4510 MARCH 2011 / 53
Steven Alan Outpost, 465 Amsterdam Ave., 212-595-8451 Think Closet, 324 Columbus Ave., 212-877-9777 Jennifer George, www.jennifergeorgenyc.com, 917-657-2267
Paige Premium Denim, 245 Columbus Ave., 212-769-1503
 THE 23RD ANNUAL ART SHOW TO BENEFIT

Henry Street Settlement

GALA PREVIEW: TUESDAY MARCH 1
GALA TICKETS: 212.766.9200, EXT. 248 OR HENRYSTREET.ORG

ORGANIZED BY THE

Art Dealers Association of America

PARK AVENUE ARMORY AT 67TH STREET, NEW YORK CITY

March 2–6, 2011

ON PARK AVENUE

THE ART SHOW

Acquavella Galleries Richard Gray Gallery Jill Newhouse
Brooke Alexander Greenberg Van Doren Gallery David Nolan Gallery
Ameringer | McEnery | Yohe Howard Greenberg Gallery Odyssia
Gallery Paule Anglim Hirschl & Adler Galleries The Pace Gallery
John Berggruen Gallery Paul Kasmin Gallery Pace/MacGill Gallery
Blum & Poe Nicole Klagsbrun Gallery Pace Prints & Pace Primitive
Peter Blum Gallery Knoedler & Company Friedrich Petzel Gallery
Marianne Boesky Gallery Michael Kohn Gallery Regen Projects
Tanya Bonakdar Gallery Barbara Krakow Gallery James Reinish & Associates
Valerie Carberry Gallery Hans P. Kraus Jr. Susan Sheehan Gallery
Cheim & Read L&M Arts Manny Silverman Gallery
James Cohan Gallery Margo Leavin Gallery Skarstedt Gallery
CRG Gallery Galerie Lelong Sperone Westwater
D’Amelio Terras Jeffrey H. Loria & Co. Allan Stone Gallery
Maxwell Davidson Gallery Luhring Augustine Leslie Tonkonow Artworks+Projects
Tibor de Nagy Gallery Lawrence Markey David Tunick
Richard L. Feigen & Co. Barbara Mathes Gallery Michael Werner
Ronald Feldman Fine Arts McKee Gallery Worthington Gallery
Debra Force Fine Art Anthony Meier Fine Arts Donald Young Gallery
Fraenkel Gallery Menconi & Schoelkopf Fine Art Zabriskie Gallery
Peter Freeman Robert Miller Gallery Pavel Zoubok Gallery
Galerie St. Etienne Mitchell-Innes & Nash David Zwirner Gallery
James Goodman Gallery Moeller Fine Art
Marian Goodman Gallery Donald Morris Gallery

FOR VISITOR INFORMATION:

212.488.5550 OR VISIT ARTDEALERS.ORG/ARTSHOW
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Jimmy Brett’s Recently Sold and Rented Properties

15 West 67th Street 505 West End Avenue 15 West 67th Street

JIMMY BRETT
Senior Vice President/Associate Broker
M 917.687.4614
514 West End Avenue 205 West End Avenue 1 West 67th Street E jbrett@citi-habitats.com

“I Won’t Just List Your Apartment… I’ll Sell It.”

“The Sellers Broker”
Willey removed three
closets in the cor-
ridor leading to the
bedrooms to create
an inviting reading
room out of what was
formerly underutilized
space.
UPTOWN in style
INTERIOR DESIGN

See how interior designer John Willey worked his magic to

give this iconically addressed New York apartment a superbly
comfortable and functional feel by Rachel Morgan. Photos by David Jacquot

MARCH 2011 / 57
m interior design

1 1. Dramatic furnishings 3. Taking advantage

are juxtaposed with of the apartment’s
more humble accents. unparalleled views of
2. Turning the space Central Park, Willy
into a “modern Ver- opened up the dining
sailles,” Willey trans- and living rooms to
formed the gallery of create an open living
the residence. area.

T
he five-bedroom, 3,600-
square-foot residence at 15
Central Park West is a blank
canvas any interior designer
would love to get their hands
on. John Willey, owner and
founder of Willey Design, LLC was the man
who got to make it happen.
“The apartment has a lot of dramatic
furnishings and color, but I wanted to
combine all of the elements into a space
that wasn’t fussy and lends to entertaining
or movies at home with the family,” said
Willey. “For instance, if I used a vintage
high-gloss dresser, I paired it against a
more humble element, like woven rope
beds, or luxurious velvet against grass cloth
wallpaper. It takes the seriousness out of
58 / MARCH 2011
the equation, but still keeps it sophisticated
and polished.”
Completed over the course of a year, the
renovation included opening up the dining
and living room to make one cohesive
living space, taking full advantage of the
property’s park views and replacing the
wooden floors with a traditional European
custom gray limestone mosaic in the
gallery. It also included turning the existing
library into an additional bedroom to
accommodate the large family’s needs and
transforming a formerly “wasted space”
into a replacement library, a hidden
reading room.
“A dedicated space for books is vital, and a
home must have books to give it life,” Willey
said. “The corridor leading to the bedrooms
was dark and tunnel-like, so I ripped out
three unnecessary closets and created a
reading area with a 14-foot sofa against black
lacquered bookcases and inset antique mir-
rors. Instead of a pass-through, it’s now a
place that brings a pleasant surprise and lets
one can curl up with a book.”
The overhaul also included an asymmetri-
cal gallery space that was divided into two
separate spaces, one with a custom plaster
made to resemble terra cotta pots and the
other with framed inset mirrors.
“It’s my little homage to the Galerie des
Glaces, but done in a modern way,” Willey
said of the mirrored portion of the gallery.
Willey has his own unique creative process
when it comes to redesigns like this one.
“Every project is a true collaboration
 REPRESENTING MANHATTAN’S
NIKKI FIELD PREMIER RESIDENCES

45 WEST 67TH STREET, NEW YORK, NEW YORK OFFERED AT $8,700,000

NIKKI FIELD, SENIOR VICE PRESIDENT, ASSOCIATE BROKER | T 212.606.7669 | nikkifield.com

KEVIN B. BROWN, SENIOR VICE PRESIDENT, ASSOCIATE BROKER | T 212.606.7748
HELEN MARCOS, ASSOCIATE BROKER | T 212.606.7747
JEANNE H. BUCKNAM, ASSOCIATE BROKER | T 212.606.7717
ZOE HAYDOCK, SALES ASSOCIATE | T 212.606.7727

SOTHEBY’S INTERNATIONAL REALTY | EAST SIDE MANHATTAN BROKERAGE

38 EAST 61ST STREET,
STREE NEW YORK, NY 10065 | sothebyshomes.com/nyc

Operated by Sotheby’s International Realty, Inc. Sotheby’s International Realty® is a registered trademark.
m Interior design
design theme, it’s a fairly quick and easy
A dedicated
process coming up with the design direc-
tion and palette, but then the real work
space for books
begins by implementing the ideas into
reality.”
is vital. a home
One of the clients’ needs was bedroom
space for each child in the large family.
must have books
“A unique and pleasant request from my
client was that instead of designing bedrooms
for each specific child, they preferred for each
to give it life. child to pick a room when they’re in New
York,” Willey said. “That allowed me to create
a more grown-up and gender-neutral design
with my clients,” he said. “First, I walk for all the rooms, so that if an adult relative
through the space with them, listening to were staying over, they didn’t feel like they
their practical needs, and I also try to read were camping out in a child’s room.”
between the lines to decipher what they Another unique feature of the apartment
may not be able to express. Once I have a Willey took into account were the breathtak-
60 / MARCH 2011
ing views of Central Park throughout the
entire apartment.
“The residence overlooks Central Park,
including all the bedrooms, but I especially
wanted to take advantage of the views in the
main areas by opening up the dining and
living rooms to create an open living area,”
he said.
Mirrors were another key element in the
design scheme.
“I brought in mirrored or reflective items
to expand the existing light and park views
throughout, like a faceted mirrored screen
which then becomes a sculptural element in
the space,” he said.
We couldn’t think of a better addition to a
property that is very much a “modern Ver-
sailles,” right here in New York.
 Local Experts Worldw ide
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EAST SIDE 38 EAST 61ST STREET, NEW YORK, NY 10065 T 212.606.7660 F 212.606.7661
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Operated by Sotheby’s International Realty, Inc. Sotheby’s International Realty® is a registered trademark. Les Bords de l’Epte a Giverny, used with permission.
m interior design

Artsy apartment
has an eclectic taste
Interior designer Gary Paul creates a lively apartment with a bold palette
inspired by a unique art collection and a few statement pieces in a sought-after
Candela-designed cooperative on West End Avenue by Rachel Margan

photos: Harry Zernike

Designing the interior of an apartment
around an art collection isn’t something
interior designers face every day, but Gary
Paul, owner of GP Incorporated Design
Consulting, was up for the challenge.
“It is important to me to not dictate style to
my clients, but to find the style elements that
they respond to, that define them and bring
the style elements to a place that both sur-
prises and excites them but still allows them
to feel at home,” Paul said.
The apartment, located on the iconic Upper
West Side location that is West End Avenue,
was designed from 2002–08 and fully reflects
the clients’ busy lifestyle—and eclectic art
collection.
“The substantial parts of the alterations
were woven into the existing apartment but
conceived with an updated new spirit, even
when the design appears to be more tradition-
ally conceived,” Paul said. “The choices were
indeed selected with the artwork in mind—we
moved pieces around to highlight each piece
specifically and pulled colors that were found
in the paintings.”
The den and the living room were de-
signed with two specific pieces in mind—in
the living room, a piece by Shirley Kaneda,
a Japanese-born, New York City–educated
artist; and in the den, a piece conceived by
Victor Matthews.
But the renovation was also a product of
simply a new chapter in life.
“After years of parties, raising children
and an increasingly active lifestyle, it was
time to redesign the kitchen, bathrooms and
refurbish the spaces in between,” Paul said.
“My clients are both accomplished, work in
finance—largely in the public sector, finding
niches in the industry that give back. They
travel, have large extended families.”
The renovation, which included the kitch-
en, the breakfast room, the living room, the
master bedroom, an additional bedroom, the
den and three baths, needed to reflect that.
But sometimes renovations involve keeping
what works, as Paul learned.
“The Chinese Deco carpet in the living
room was a purchase I advised on for [the
client’s] first apartment, before she had a
husband, a child and a dog,” he said. “And it
became the centerpiece of the colorful living
room 20 years later.”
While the apartment may seem rather
bright to some, that was Paul’s intention.
“Color unites the rooms of this apartment,”
he said.

In the residence’s den (left), Paul designed the room around a piece of artwork by William Dutton and Victor Matthews. In the living room (right), the room’s
atmosphere was created around a piece by Shirley Kaneda, a Japanese-born, New York City–educated artist.

62 / MARCH 2011
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 m Architecture

The luxurious legacy

Nearly every day Lucien Lagrange walks
past 65 East Goethe near his home in the River
North neighborhood of Chicago, admiring

of Lucien Legrange
For 25 years, this French architect’s upscale condos
have been popping up in Chicago. Now, after 535
the gentle curves of its facade, the French
Renaissance–inspired, old-world charm of the
eight-story stone building. They simply don’t
make them like this anymore.
Except they do. Lagrange is an architect,
arguably Chicago’s most well known. In fact,
Lucien Lagrange Architects designed 65 East

West End Ave., the master builder sounds off on

Goethe, along with more than 16 other high-
end buildings in Chicago since the firm opened
his next step - bankrupcy by Rachel Morgan its doors, in 1985.
But he’s not just big in Chicago.
In 2008, Lucien Lagrange Architects, at
which Lagrange is one of four principals, made
the leap from the Midwest to the Northeast to
build the luxurious, 20-story prewar building
that is 535 West End Ave.
Nestled in New York’s historic Upper West
Side, the Extell-developed building meshes
seamlessly with the block and boasts features
such as full-floor units, kitchens designed by
England’s Smallbone of Devizes, custom baths,
an indoor pool, saunas and even a kosher
kitchen.
“It’s contextual,” Lagrange said of the build-
ing. “We curved the corner in a very gentle
way, which isn’t normally done in New York.
It’s very soft as you turn. We used brick, then
limestone to give it some accent. One thing we
did differently is we did larger windows, more
light coming in, so it’s a more modern building
in a way. At the top, we changed the window
proportions with the arches, acknowledg-
ing the fact that we are reaching the sky and
there’s an end to the building.”
According to Lagrange, designing high-end
residential housing is all about understanding
the clients wants and needs.
“You have to understand the culture, the
lifestyle,” he said. “Different societal groups
will have a different lifestyle. The blue-collar
guy goes home and watches TV and drinks
beer. The fancy, rich lawyer has different
needs.”
Despite initial trouble selling the luxury
apartments in the prewar building and some
units selling for just a fraction of their asking
prices, sales are being made nonetheless. Even
Matt Damon was rumored to have been apart-
ment shopping in the building.
But for Lagrange, 70, it seems to be the end
of an era. His firm filed for Chapter 11 protec-
tion in July 2010 and will close its doors some-
time in 2011, he said. The firm, once boasting
as many as 75 employees, has now dwindled.
Bill Zbaren

“We used to be at 75 [employees] at one

point, then 40, then 25,” he said. Now Lucien
Lagrange Architects has just four or five
64 / MARCH 2011
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m architecture

employees.
Lagrange himself is in the midst of retire-
ment and divorce.
“I’m getting divorced and that’s taking a lot
of energy,” he said, sounding a tad tired. “A lot
of life changes, going through a bad recession,
closing the office, getting divorced—that’s a lot
of stress for a 70-year old man.”
But he still remains committed to the craft,
on his way to finishing his firm’s last two proj-
ects, the Ritz-Carlton Residences and Lincoln
Park 2520, both in the windy city. Lagrange
estimates that both will be completed in two
years’ time.

Bill Zbaren
Despite his impending retirement, he still 2
talks about his French Renaissance architec-
ture with the passion of a young man, espe-
cially that of the Upper West Side’s 535 West 3
End Avenue.
“It’s a very simple building, but extremely
well done,” Lagrange said, not so modestly.
“I’ve been there several times, and the door-
men will tell me that every day someone
will stop by and talk to them and say this is a

beautiful building. It’s amazing how people
will notice, especially in New York.”
The building was met with some contro-
versy among its Upper West neighbors, who
are slow to accept new buildings along their
historic, tree-lined blocks.
But in Lagrange’s eyes, it is a work of art.
Lagrange designs mostly prewar buildings,
with a strong French Renaissance inspiration
paired with modern luxuries that have become
staples for high-end development.
“When you do high-end housing, you re-
ally have to understand the lifestyle,” he said.
“When you do cheaper buildings, you just
want the highest return. You don’t have to pay
that much attention to the layout; it’s pretty
standard. When you do the larger apartments,
you really have to understand the lifestyle.
I find it more challenging, interesting and
rewarding.”
Some of the most notable creations of the
firm with Lucien at the helm include the Park
Tower hotel-condo at 800 North Michigan
Avenue, Elysian Hotel and Residences at 11
East Walton Street and a condo building at 840
North Lake Shore Drive.
But Park Tower is perhaps Lagrange’s most
well-known creation, with the first 20 floors
a hotel and the top—a whooping 47 floors—
made up entirely of high-luxury condimini-
ums.
Lagrange comes alive when recalling the
Park Tower, completed in 2000 after nearly a
10-year lull in high-rise residential develop-
ment in Chicago.
“The opportunity to do a high-end build-
ing there was incredible,” he said. “We were
66 / MARCH 2011
Bill Zbaren
Bill Zbaren
1
allowed only 120 feet of frontage, but we found erwise obsolete 1. Iconic: Park Tower,
a way to do 16 rooms per floor, a 2,500-square- gems was also a Chicago
foot ballroom, 200-car parking, 15,000 square priority for the 2. Lagrange Architects’
feet of retail, a 208-room hotel, a restaurant firm, like the luxurious 20-story resi-
and 450,000 square feet of condos—838,000 Hard Rock Hotel, dential building at 535,
square feet of space used.” the Insurance West End Avenue, on
He rattles of the numbers from memory, Exchange Build- the Upper West Side
and it becomes strikingly obvious that he ing and a new 3. The breathtaking
played a vital role in the creation of Park J.W. Marriott neo-classical atrium
Tower, the building that more or less got Luc- Hotel, currently of 175 West Jackson,
ien Lagrange Architects noticed. under construc- Chicago
“Everybody had a view of the lake, that gave tion.
value to the building,” he said. “It was quite a “It is a chal-
task, very challenging, complex; the building lenge,” he said of the Hard Rock restoration.
ended up being so tall we had to design a (pen- “What we did is we took a building that was
dulum) on the roof to stabilize the building,” really obsolete, in its last years of life. We took
he said, pausing. a huge building that no one knew what to do
“There’s only a few in the world.” with and we gave it new life. It’s bringing new
The French-born Lagrange started off as an life to buildings.”
intern at Chicago firm Skidmore Owings and As for the next step in Lagrange’s life, per-
Merrill LLP in 1968. haps that question is a bit premature.
“It was really important because I was on a “First I have to close, then the divorce,
small team, three people working on a high- then see what I can do—what I want to do,” he
rise,” he said of his internship. “It really proved said. “I have to take it easy, relax. Then move
it was right to go into architecture.” forward.”
Lagrange graduated from McGill University For now, Lagrange still makes it a point to
in Montreal in 1972 and worked at various walk past 65 East Goethe.
other firms before starting at Skidmore, Ow- “It makes me feel good to walk by the build-
ings & Merrill LLP as a full-time employee. ing,” he said. “I’ve done something good. I’m
But it didn’t take long for him to venture off on leaving something behind of value and in 50
his own, starting Lucien Lagrange Architects years from now, it’s going to be there, the qual-
in 1985. ity is going to stay, the beauty is going to stay.”
But it seems Lagrange isn’t only about Perhaps that’s something that a Chapter 11
creating new buildings—restoring old, oth- filing can’t take away.
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r e a l e stat e
The Upper West Side:
History meets new luxury
When it comes to real estate on the Upper West Side, things are hopping
By Alexander Cacioppo and Rachel Morgan. Photos by Michael Chimento
New York Times reporter and neighborhood
expert Richard Shepard once described the
Upper West Side as “a complex character, one
fashioned of a multiplicity of ethnic shadings,
of buildings that range from ramshackle
tenements to fine apartment houses, of
age spans that embrace energetic young
upwardly mobiles and quiescent elderly
residents.”
These “ramshackle tenements” have
since been replaced with luxury high-rises
like Trump West, the Rushmore, 535 West
End Avenue, the Aldyn, the Ashley, 10 West
End Avenue, 845 West End Avenue, 200
West 72nd Street, 808 Columbus,
801 Amsterdam, 775 Columbus, 795
Columbus and 455 Central Park West,
the Laureate, and Ariel West and East,
just to name a few.
Add to the mix highly desirable
historic buildings like the Apthorp, a
Renaissance Revival luxury building
complex that takes up an entire
block at Broadway and 79th Street,
or major commercial developments
like Columbus Square and Riverside
Center, the Upper West Side seems
to have it all.
“The West Side is truly a diverse
market,” said Beth Fisher, a senior
managing director at Corcoran Sun-
shine. “You are literally surrounded
by millions of dollars in investment.”
Corcoran senior vice president
Lawrence Schier has definitely seen
an uptick in the interest in proper-
ties on the Upper West Side, but
that is paired with a more realistic
view on how much they’re willing to
spend.
“I see the UWS market as ex-
tremely active,” he said. “My open
houses were packed this weekend
and I am busy day and night with
showings. I see more properties re-
ducing prices as sellers become more
realistic about their pricing.”
 “UWS is booming with activity,”
said Howard Margolis, executive
vice president at Prudential Doug-
68 / MARCH 2011
Apthorp
las Elliman. “We have seen an increase in
activity and Web inquiries to book appoint-
ments at the properties over the past couple
month. Spring is in the air and people are
coming out of hibernation to see what the
real estate market is offering.”
Corcoran senior vice president Sherry
Matays said that price is really the tipping
point when it comes to buyer movement in
the neighborhood.
“When priced right, properties are hot,
hot, hot,” she said. “[We are seeing] a big
pool of buyers are still conscious of price
but very much want to buy. Many properties
It feels very residential
now – it didn’t always
feel that way.
are selling at or close to asking, so whereas
the asking prices might look similar to six
months ago, the agreed-upon prices appear to
be strong.”
The area’s beautiful setting is another
draw.
“The Upper West side is just very bucolic,”
said Cliff Finn, Citi Habitats managing direc-
tor of new development marketing. “It’s a
beautiful, tranquil setting. There are a lot of
open spaces, a lot of green space, it feels very
residential now and didn’t always feel that
way.”
Luxury residential buildings have become
a new trend for renters and buyers in
the area.
“Not just on the Upper West Side, but
everywhere, I would say, the higher lux-
ury rentals are doing extremely well,”
Finn said. “People have a lot of money;
some of them can afford to purchase
and are electing instead to rent for
numerous reasons. They want similar
or the same standards they would have
if they were buying. Buildings like the
Aldyn or the Ashley speak to that.”
Many of these new developments,
like the Aldyn, are part rentals, part
condominiums, and come with the stan-
dard luxury amenities—a gym, condo
finishes, even a pool.
“The amenities all over New York
City are crazy, the Upper West Side
included,” James Brettholz, senior vice
president at Citi Habitats. “The Ashley
and the Aldyn are prime examples of
this—they share a 40,000-square-foot
amenities level that includes a bowling
alley, rock climbing wall, indoor pool
and regulation basketball court.”
When it comes to renters and buyers,
the distinction is clear.
According to Schier, there are more
renters in neighborhood – but they ex-
pect the same amenities as they would
find when buying.
“Part of this is because some people
who have sold their apartments and
want to be liquid while they wait to see
how the market is progressing,” he said.
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m real estate
“Others are not sure where their next move
will be and prefer not to buy at this time so
they are renting in the meantime.”
The exception to that rule comes with
townhouse buyers, said Brown Harris
Stevens senior vice president and managing
director Wolf Jakubowski.
“Townhouse renters are the exception,” he
said. “Most people who want townhouse liv-
ing buy one. Because I have half a dozen for-
sale signs posted on townhouses on the UWS
at any  time; I have  a pretty good pulse on the
buyers looking.  My inquiry rate is back to
normal (contrasted with early 2009 when it
was virtually zero), and the number of serious
buyers with the resources to buy is high. 
Jakubowski said he expects to see 40 town-
house sales on the Upper West Side alone in
2011.
The only drawback of the area may be its
limited inventory.
“It’s a fresh, casual and friendly place to
live with a diverse housing stock, though right
now very limited inventory,” said Stribling &
Associates executive vice president and as-
sociate broker Cathy Taub.
But luxury high-rise living quarters are just
the beginning. Massive, all-encompassing
developments like Columbus Square and
Riverside Center have begun to move into the
Upper West Side, as well.
In December 2010, the plans for Extell’s
Riverside Center was approved by New York
City Council. While this development is still
in the early stages, it certainly is another
indicator that the area is still changing.
Columbus Square is another major de-
velopment in the area—perhaps the Upper
West Side’s biggest project in years. The 3.1
million–square–foot, juggernaut retail and
condo complex is a mini-neighborhood in
itself, spanning from 97th Street to 100th
Street.
“Our project, Columbus Square, is leading
the way in reenergizing the Upper West Side,”
said the director of development at Columbus
Square Management, Jeffrey Brett Davis.
“We built a vibrant new residential commu-
nity and a bustling retail corridor that draws
thousands of shoppers daily.”    Dec. 2009 12 600,000 688,608
Columbus Square’s five buildings contain
a Whole Foods, a TJ Maxx, a Petco, gardens,
two private schools and five-high rise rental
buildings—808 Columbus, 801 Amsterdam,
both of which are fully leased; 775 Columbus,
which opened in January and was 45 percent
leased as of press time; 795 Columbus, which
opens this month; and 805 Columbus, which
opens in April. The project’s developers
are Stellar Management Co. and Chetrit
70 / MARCH 2011
455 Central Park West
The table below presents recorded sales data of condos, co-ops and townhouses in
Manhattan and within the Upper West Side market. Data is from December 2008, 2009
and 2010. Overall, the volume of transactions in Manhattan this December has dropped
16.9 percent since the year prior but is up 19 percent since December 2008. Median price
increased 14.1 percent since the year prior and is relatively level since 2008 in overall
Manhattan. In the entire Upper West Side market, prices are down 13 percent since the
year prior and up by 5.1 percent since December 2008. PROVIDED BY STREETEASY
Manhattan sales of condos, co-ops or houses (as of 02/15/2011):
Manhattan Closed On Closing Count Median Price AveragePrice
Dec. 2008 933 895,000 1,540,426
Dec. 2009 1,336 782,026 1,457,980
Dec. 2010 1,110 892,500 1,622,814
Dec. 2010 v. Dec. 2009 -16.9 percent 14.1 percent 11.3 percent
Dec. 2008 19.0 percent -0.3 percent 5.3 percent
All UWS Closed On Closing Count Median Price AveragePrice
Dec. 2008 132 940,940 1,768,508
Dec. 2009 310 875,000 1,480,287
Dec. 2010 244 988,851 1,943,118
Dec. 2010 v. Dec. 2009 -21.3 percent 13.0 percent 31.3 percent
Dec. 2008 84.8 percent 5.1 percent 9.9 percent
Lincoln Square Closed On Closing Count Median Price AveragePrice
Dec. 2008 61 1,125,000 2,284,638
Dec. 2009 153 865,000 1,736,562
Dec. 2010 91 1,020,000 2,474,403
Dec. 2010 v. Dec. 2009 -40.5 percent 17.9 percent 42.5 percent
Dec. 2008 49.2 percent -9.3 percent 8.3 percent
Manhattan Valley Closed On Closing Count Median Price AveragePrice
Dec. 2008 22 502,500 993,845
Dec. 2010 15 617,500 829,133
Dec. 2010 v. Dec. 2009 25.0 percent 2.9 percent 20.4 percent
Dec. 2008 -31.8 percent 22.9 percent -16.6 percent
UWS Closed On Closing Count Median Price AveragePrice
Dec. 2008 49 940,000 1,473,787
Dec. 2009 145 929,000 1,275,391
Dec. 2010 138 990,380 1,713,864
Dec. 2010 v. Dec. 2009 -4.8 percent 6.6 percent 34.4 percent
Dec. 2008 181.6 percent 5.4 percent 16.3 percent
m REAL ESTATE
Group.
Columbus Square also offers a lot in terms
of amenities.
“Columbus Square offers not just beauti-
fully designed lobbies and lounge space but
state-of-the-art fitness centers, a 70-foot salt-
water swimming pool, children’s play rooms
and lusciously landscaped decks,” Davis said.
“Our amenities are more in line with what
you’ll find in some of the most-sought-after
condo buildings in Manhattan.”
Winick Realty associate director Kelly Gedin-
sky believes Columbus Square has already done
much to change the neighborhood.
“Columbus Square exemplifies the future,”
Gedinsky said. “We have created a market in
a section of the Upper West Side that did not
exist.”
The Upper West Side, once known for its
quiet residential streets and boutiques, has
undergone a systematic transformation when it
comes to commercial development as well. It’s
a stark departure from the 1970s, when Verdi
Square, the iconic triangle on the West 72nd
Street subway stop at which Broadway and Am-
sterdam diverge, was commonly referred to as
“needle park” due to the high volume of heroin
users who openly did drug deals there.
Upward of 40 years later, this area is a nexus
of a different kind—that of inventory, consumer-
ism and development.
“It’s been a destination market,” said James
Gricar, executive vice president at Brown Harris
Stevens, West Side division. The neighborhood’s
diversity also lends itself to the new develop-
ments, he said.
In January, the 66th Street Barnes & Noble
moved out because of the high rents—and in its
place will be discount fashion retailer Century
21, to open later this year.
Century 21 is joined by a new Upper West
Side neighbor, the gourmet chain grocery store
Trader Joe’s, which moved in a few months
before, driving a wedge between shoppers at the
Fairway, an Upper West Side staple.
And just why has the development in the area
been so successful?
Fisher attributes it to the Upper West Side
having the “best of both worlds.”
“We’re visual creatures,” she said. “The Upper
West Side provides every kind of input a city-
dweller seeks.”
Jakubowski agrees.
“It is a cultural and food haven,” he said.
“The buyers who come to me know this
already and know which they want to be close
to—Zabars, Citarella, Fairway, Trader Joes;
Lincoln Center, Central Park, Museum of
Natural History, Children’s Museum.”
Convenience is also a big seller, said Abby
72 / MARCH 2011
1
2 Lisa Lippman, senior vice president and
Plitt Gellert, executive director of West Side
Sales for Halstead Property, LLC.
“The neighborhood has facilities that appeal
to all aspects of buyers—it’s all here within a few
blocks and convenient to get around,” she said.
And who can argue with that? The Upper
West’s quiet, residential streets combined with
top-of-the-line retail and luxury living quarters
seems to be something of a trifecta in terms of
city living.
And when asked what the future of the area
may hold, Fisher maintains that the area is
already a pinnacle of development.
1. The Rushmore.
A luxury residential
high rise
2. Columbus Square.
3.1 million sq. ft. retail
and condo complex
3. The Aldyn
Luxury rental
and condo hybrid
3
‘The Upper West
Side is booming
with activity’
“Over the last ten years,” she said, “there’s
been a significant investment made to the West
Side that has catapulted it to the pantheon level
in New York City.”
Finn sees a continuation of current growth
for the area.
“I see a lot more building, a lot more retail,” he
said. “A finished Riverfront park. It looks fantas-
tic there. You’re talking to someone who grew up
here. I know what that used to look like.”
director of Brown Harris Stevens/Christie’s
Great Estates, thinks things can only go up
from here.
“I see it just getting better,” she said. “The
Upper West Side has many great schools, both
public and private, great parks, museums, and
architecture. We even have great restaurants
now.”
Despite the always-changing, dynamic real
estate market of the city, there are few things
that remain constant on the Upper West Side,
Schier said.
“Some things don’t change —everybody
would love to own a piece of Manhattan.”
 Heritage of

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More than 160
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Publication: NY OBSERVER MAGAZINE

center of Great
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 m exhibition
Rob DeSalle, brain behind ‘Brain’
Not everyone at the American Museum of
Natural History is a fan of dinosaurs.
“I hate dinosaurs,” said Rob DeSalle, curator
of the museum’s new exhibit “Brain: The Inside
Story.” “They get all the glory and somebody like
me who works on genes and genomes [is] just
sitting around waiting for a good topic to come
up.”
DeSalle, also curator at the museum’s Sackler
Institute for Comparative Genomics and co-
director of its molecular laboratories, knows
‘I hate dinosaurs.
They get all the glory.’
that when it comes to exhibits, some subjects
are simply more marketable than others.
And it’s hard to beat the museum’s showstop-
per—a giant Tyrannosaurus rex fossil on the
fourth floor. But “Brain” may give this dino a run
for his money.
The interactive and technologically advanced
exhibit starts with a bang, or more accurately, a
crackle. Visitors walk through the entry exhibit
by Spanish artist Daniel Canogar, a demonstra-
tion of the 100 billion neurons in the brain
and its more than 100 trillion connections, or
74 / MARCH 2011
As the Museum of Natural History unveils ‘Brain: The
Inside Story, we find out what inspired the curator
and what he has against dinosaurs’ by Rachel Morgan
synapses. In the exhibit, these connections are
represented by actual recordings of synapses
“firing”—half-disgusting, half-intriguing.
“Brain” is interactive, filled with flashing
lights, gargantuan models and games for visitors
to play—all while subconsciously picking up
the neuroscience and genetic lingo. “Brain” is a
21st-century exhibit, replete with 21st-century
technology to match, visually thrilling aspects
and touch sensor games. You don’t just see
“Brain.” You experience it.
The exhibit itself is divided into five sections—
your sensing brain, your emotional brain, your
thinking brain, your changing brain and your
21st-century brain. Its purpose was simple—
explaining the brain in terms of neurobiology to
the public in a way they could understand.
“Brain” was the brainchild of DeSalle, Co-
lumbia University’s Joy Hirsch and Rockefeller
University’s Maggie Zellner, both scientific co-
curators of the exhibition.  AMNH Department
of Exhibitions VP David Harvey and Lauri Hal-
derman, director of Exhibition Interpretation,
transformed DeSalle’s very scientific version of
“Brain” into something the public could absorb.
A high point within the exhibit is the mas-
sive model of the brain that accompanies a
video about a young dancer. While the dancer
undergoes the stress of a tough audition and the
excitement of gained acceptance into Juilliard,
different parts of her brain light up according
to her emotional and physiological responses—
motor cortex, auditory cortex, basal ganglia,
hippocampus, amygdala, prefrontal cortex are
some of the foreign sounding regions of the
brain that are detailed.
While it seems elementary, it works.
Also intriguing was an art piece by Devorah
Sperber.  It’s a wall of brightly colored spools of
thread that don’t look like anything in particu-
lar at first glance. But look at the wall through
a small glass ball, and the image becomes the
Mona Lisa. It’s a very much like what happens
in our brain when we see—our brain combines
images our eye detects and arranges them into
something recognizable. Well played, AMNH,
well played.
All in all, “Brain” seems to have accomplished
its goal—becoming one of the must-see exhibits
of the season, no easy feat in a city ripe with
museums.
DeSalle takes it all in stride, still beginning
his day with an early-morning stroll through
the massive, empty halls of the museum before
it opens.
“I come in and walk through the empty halls
downstairs,” he said. “No one else is there, and
it’s just the coolest part of the day.”
 Season 2010–2011
spring season opens March 22!
gaetano Donizetti

The elixir of love

March 22–april 9
“An irresistible opera: silly and
sweet and bubbling over with
whistle-able tunes.”
—The New York Times

Donizetti’s beloved bel canto classic

receives a modern update in Jonathan Miller’s
inventive production. Stefania Dovhan stars
as the heart’s desire of the underdog suitor,
sung by rising Mexican tenor David Lomeli
in his City Opera debut.
© Isaac Julien, Love, 2003

new production
John zorn/arnold SChoenberg/
morton feldman

monodramas
March 25–april 8
Music, visual art, design, and dance collide
in a triple bill of one-act operas by some of
the greatest composers of the 20th century.
Directed by theater visionary Michael Counts
and choreographed by Ken Roht, this
compelling dreamscape incorporates video
by Jennifer Steinkamp and designs inspired
by laser art pioneer Hiro Yamagata.
© Pipilotti Rist, Homo Sapiens Sapiens

new production/ny premiere

stephen Schwartz

séance on a
wet afternoon
april 19–May 1
“Terrifically involving and entertaining …
a riveting story for the stage.” —Variety

The composer of hit show Wicked creates a

new psychological thriller starring
Lauren Flanigan as an ambitious psychic who
orchestrates an elaborate kidnapping scheme
to win the fame she so desperately craves.
© Dash Snow, Untitled

Plus captivating concerts including John Zorn’s Masada Marathon,

Where the Wild Things Are family opera, and Defying Gravity: The Music of Stephen Schwartz
featuring Ann Hampton Callaway, Kristin Chenoweth, Raúl Esparza, and Victor Garber.

Tickets start at $12 Season support provided by The Peter Jay Sharp Foundation
and The Andrew W. Mellon Foundation

NYCOPERA.COM • 212.721.6500
David H. Koch Theater box office
(63rd & Columbus)
 m calendar
Hot tickets on the UWS
From ballet and opera to jazz and gala dinners, here is our definitive guide to the
Upper West Side’s lively art and entertainment scene by Rachel Morgan
The Armory Show 2011 Preview and
Party
WEDNESDAY, March 2, noon–11:30 p.m.
Be one of the first to see the show
everyone’s talking about this spring at this
exclusive preview and party. The preview
of the show starts at noon (Piers 92 and 94,
12th Ave. at 57th St.) and the party, with a
performance by Kate Nash, gets started at
8:30 p.m. at the Museum of Modern Art.
Additional support for the event provided
by Pernod Absinthe. Ticket packages range
from $10,000 (Lead Benefactor) to $5,000
(Benefactor) to $750 (Patron ticket) to just
$100 (Friend ticket). For more information,
call 212-708-9680.
Mahler’s Fourth Symphony
Thursday, March 3. 7:30 p.m.
The New York Philharmonic is celebrating
its former conductor Gutstav Mahler this
year, marking the 100th anniversary of the
famed conductor and musician’s death with
Mahler’s Fourth Symphony with Lisa Milne
and Szymanowski’s Violin Concerto No. 1
with Glenn Dicterow, conducted by Daniel
Harding. (Avery Fisher Hall; also showing
Friday, March 4, at 2 p.m. and Saturday,
March 5, at 8 p.m.)
1
1
Luca Piva
76 / MARCH 2011
Jazz at Lincoln Center Orchestra
with Wynton Marsalis: The Music of
Kurt Weill
Thursday, March 3, 8 p.m.
Jazz fans will delight in this production focusing
entirely on the music of German composer
Kurt Weill—performed by the always excellent
Jazz at Lincoln Center Orchestra with Wynton
Marsalis. (Rose Theatre; other performances
Friday and Saturday, 8 p.m., $30-$120)
Lucia di Lammermoor
FRIDAY, March 4, 8 p.m.
Catch Gaetano Donizetti’s tragic, three-act
opera put on by the Metropolitan Opera Guild.
Natalie Dessay returns as the heroine of this
nearly four-hour production and is joined by
Joseph Calleja. (Other performances on March
8, 12, 16, 19)
Kodo One Earth Tour
Sunday, March 20, 7 p.m.
Take in the rhythmic, pulsating sound of
the Japanese taiko drum at the Kodo One
Earth Tour. Kodo, in existence since 1981, is a
performance group that prides itself on teaching
its audience to accept one another and embrace
diversity, especially on this rapidly shrinking
planet (Avery Fisher Hall, $40-$75)
2
Met Gala Premiere:
Le Comte Ory
THURSDAY, March 24,
6 p.m. cocktail reception; 6:30 p.m. black-tie
dinner; 8 p.m. performance
Celebrate the premiere of the scarcely
performed masterpiece Le Comte Ory, starring
Juan Diego Flórez, Diana Damrau and Joyce
DiDonato, with Tony Award–winning director
Bartlett Sher. Maurizio Benini conducts. Prior
to dinner, enjoy cocktails and drinks, and during
intermission, enjoy Champagne and dessert
with your fellow opera-goers on the Mercedes T.
Bass Grand Tier. Gala benefit is a gift of the Sybil
B. Harrington Endowment Fund; underwriting
for event by Yves Saint Laurent.
Lecture: Capriccio: The Persuasive
Charm of Music
MONDAY, March 28, 6 p.m.
Unlock the secrets of Richard Strauss’ final
opera at this provocative lecture put on by
the Metropolitan Opera Guild. Led by Dr.
W. Anthony Sheppard, the lecture debates
the opera’s central question—which is more
important, words or music? (Metropolitan
Opera Guild Opera Learning Center, sixth floor
of the Samuel B. and David Rose building at
Lincoln Center, $16)
Ken Howard/Metropolitan Opera
 Die Walküre Panel Discussion
Friday, April 1, 5 p.m.
The second installment of Metropolitan Opera’s
epic production of Richard Wagner’s Das
Rheingold, directed by Robert Lepage, garnered
plenty of media attention when it first hit the stage.
After all, anytime an opera requires that the stage
be reinforced with steel to prevent collapse, it’s
bound to attract attention. Now, hear what the cast
and artistic team of this epic performance has to
say. Peter Gelb hosts. (Metropolitan Opera House)
Lincoln Center’s Atrium Gala
honoring Roy Furman
Saturday, April 4, 2011
6 p.m. cocktails; 7 p.m. dinner; 8:45 p.m. award
presentation and performance.
This fete supports Lincoln Center’s brand-new
public facility, the David Rubenstein Atrium.
With a performance by Broadway great Laura
Benanti, this gala is a must-attend event.
Another reason to attend? David Rubenstein
Atrium provides discount tickets. (Tickets,
$1,500, $2,500, Frederick P. Rose Hall at Jazz at
Lincoln Center, performance in the Allen Room,
60th St. and Broadway)
3 by philanthropic young professionals, benefits
1. Daniel Harding conducts
the New York Philharmonic
FLICKR/Wesley Oostvogels
Capriccio
THURSDAY, April 7, 8 p.m.
Perennial favorite Renée Fleming performs
composer Richard Strauss’ opera Capriccio, as
the countess, a nod to her earlier performance
on opening night of the Met Opera 2008–09
season at which she sang just the final scene.
Andrew Davis conducts the two-hour-and-15-
minute opera. (Other performances on March
28, April 1, 7, 11, 15, 19, 23).
Symphony Space’s Spring
Gala 2011
Saturday, April 16, 7 p.m.
Presented by Valentina Kozlova’s Dance
Conservatory, this spring gala showcases
the talents of young dancers performing
both contemporary ballets and classics like
La Bayadère. (Peter Jay Sharp Theater, $30;
seniors, children, $20)
American Museum of Natural
History Museum Dance
Monday, April 28
7-9 p.m. cocktails and dinner; 9 p.m.–midnight
dessert and dancing.
New York City’s longest-running junior benefit
is back for another year. The benefit, frequented
the AMNH’s scientific and educational program.
Dinner tables start at $5,000; dinner tickets
start at $500; and dancing tickets start at $200.
To purchase, call 212-313-7161.
Wallach Jones, Tinsley Mercer
Mortimer, Andrew and Zibby
Lincoln Center’s Spring Gala
Wednesday, May 4
5 p.m. cocktails; 6 p.m. dinner; 7:30 p.m.
performances.
This annual benefit honoring JPMorgan
supports the Lincoln Center—and as a bonus,
attendees can go to any performance held on
the Lincoln Center Campus the same night.
(Tickets $1,500, $2,500, the Tent at Lincoln
Center in Damrosch Park)
Apollo
THURSDAY, May 5, 8 p.m.
New York City Ballet presents the
lasting classic Apollo, the first collaboration
between Balanchine and Stravinsky that
tells the story of the god Apollo and his
inspiration by three muses—mime, dance and
poetry. (Other performance dates: May 7, 2 p.m.,
May 18, 7:30 p.m., June 12, 3 p.m., $20-$135)
New York City Ballet Spring Gala
Wednesday, May 11, 7 p.m.
The New York City Ballet’s Spring Gala
promises to be one of the must-see events of
the season. The gala includes a world premiere
of The Seven Deadly Sins, choreographed by
Lynn Taylor-Corbett,and George Balanchine’s
Vienna Waltzes ($130).
American Museum of Natural
History Junior Council Event
Thursday, June 23, 6:30 p.m.–9:30 p.m.
The AMNH’s season ends on a high note, with
this annual event that’s kicked off with a panel
discussion and followed by a cocktail reception
and live jazz music on the museum’s Arthur

2 . Natalie Dessay in Lucia di Right; and Nina Patterson

Lammermoor
3. Kodo at Avery Fisher Hall
4. At last year’s AMNH Dance
(from left) Blair Husain;
Elizabeth Grimaldi; Dana
Ross Terrace. This event benefits the AMNH’s
5. Juan Diego Flórez in Le scientific and educational programming.
Comte Ory (Tickets to each event are $80 in advance or $100
6. Apollo at the door; for reservations call 212-769-5256)

4 5

6
AMNH\D. Finnin
Paul Kolnik

MARCH 2011 / 77
 m Philanthropy
Source of inspiration
How one New Yorker abandoned a career in the
nightlife business to bring clean water to struggling
nations around the world by Natalie Howard
Scott Harrison is the founder and presi-
dent of charity: water, a nonprofit organi-
zation that brings clean drinking water to
developing nations. But for Harrison, the
path to service was a circuitous one. After
10 years of working as a nightclub promoter
in New York City, Harrison took a trip to
Uruguay that changed his life. He returned
to New York with a new focus—water. Since
its inception five years ago, charity: water has
raised upward of $32 million and has 3,800
water projects in 17 countries.
How did you get started as a nightclub
promoter in New York City?
At 18, I grew my hair long and moved to New
York City to play in a band. We immediately
broke up, and the guy who booked us was my
78 / MARCH 2011
4
Esther Havens
foray into nightlife. That ended at 28, after
a decade of filling up nightclubs with people
that would pay $16 for a cocktail or $500 for a
bottle of Champagne.
Tell me about the trip that changed your
life.
On a trip to Uruguay, I came face to face with
what a scumbag I was and what a selfish mess
I had made of my life. I wanted to find a way to
serve God and serve the poor, two things that I
hadn’t done for a decade. I started applying to
humanitarian organizations, and one, Mercy
Ships, decided to take a chance on me. They had
a position open as a volunteer photojournalist. I
asked them if I would be paid to go on this mis-
sion, but it turned out I had to pay them $500. I
can fully appreciate the irony.
Why did you decide to focus on water spe-
cifically?
I remember being so shocked and angered
that people were drinking out of scum-filled
ponds, water that I wouldn’t walk in, water
that I couldn’t even imagine letting an animal
drink from—and this was the community’s
only source of drinking water. One billion
people on the planet didn’t have access to
something I’d taken for granted my entire
life—clean water. In that moment, charity:
water was born.
What do you think sets charity: water
apart from other nonprofit organiza-
tions?
I wanted to reinvent charity, so the 100 per-
cent model was really important. We started
off with two bank accounts—one where 100
percent of the public money would always go,
and one to pay our staff. We also prove where
the money goes. For every water project
that we fund, we require our implementing
partners in the country to give us photos and
GPS, and then we make all of that informa-
tion public on Google Earth. We also created
a brand. Right after Mercy Ships, I traveled
around Africa meeting with local NGOs that
were bringing clean-water solutions into
these villages, but they were terrible at telling
their story. If we were going to bring clean
water to a billion people, we would need an
epic brand to do that.
With the 100 percent model, is it hard to
keep things going?
It’s difficult, but we’ve had some angel inves-
tors. We launched a donor program called
the Well. There’s more than 65 people in that
program, from Ed Norton and Adrian Grenier
to Blake Mycoskie of Toms Shoes to Steve
Sadove, CEO of Saks Fifth Avenue, to John
Tisch.
What are your goals for the future of
charity: water?
Our water projects have provided clean water
to 1.7 million people, which sounds like a
lot, but it’s really just a drop in the bucket
towards the billion. We’re aggressively trying
to reach a goal we’ve put out there of trying to
serve 100 million people with access to clean
water, and we’d love to do that by 2020.
For more information on charity: water and
how to get involved, visit www.charitywater.org.
 metro windo march 2 2011.pdf
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with a 10 year 421-A Tax Abatement. www.208W96.
com For more information, contact Frances Lucy
FLucy@halstead.com 212-381-2557
845 West End Avenue is a grand
corner building in the heart of the
Upper West Side.   Generous well-
proportioned homes and elegantly
restored classic details are found in
each of the six different layouts of
two to four bedrooms.   Features include new
modern conveniences like air-conditioning and
washer dryers in each home.   Condominium
pricing begins at $1.8 million, financing is
available.  www.845wea.com For sales information,
contact Elizabeth Unger or Mark Samsky of The
Corcoran Group, sales@845wea.com or 212-784-9845.
ACA Galleries, est. 1932,
specializes in Contemporary Art
19th and 20th century European
and American Art.ACA Galleries
529 West 20th Street, New York,
NY 10011 Tel. (212) 206-8080,
reception@acagalleries.com, info@acagalleries.
com, visit www.ACAGalleries.com
The Aldyn is Extell Development
Company’s newest luxury residence
in the vibrant Riverside South
neighborhood. Many of the 286
exquisitely crafted rental and
condominium residences enjoy
unobstructed views of the Hudson
River. Aldyn residents will be treated to over
40,000 square feet of amenities, including the LA
PALESTRA Athletic Club and Spa and a KIDVILLE
USA indoor playground. Corcoran Sunshine
Marketing Group is the exclusive sales and
marketing agent. For more information, please call
212.579.6006 or visit www.thealdyn.com
Algin Management is a family-
owned company that manages,
builds and owns some of
New York’s finest residential
properties, including the West
Side’s most striking rental building, Sessanta.
Sessanta’s apartments are unusually large and
offer breathtaking views. What sets Sessanta apart
is the attention to detail concerning amenities, one
being the desirable lighted outdoor tennis court.
Play a set, take a swim, or stroll in the English
garden, Sessanta is where you want to live. For
more information, visit www.alginny.com
For over a century, The Apthorp
has been a celebrated enclave in
the heart of New York’s Upper
West Side.   Today, a limited
selection of residences is available
90 / MARCH 2011
for purchase. The residences — spacious and
light filled, no two alike — have been newly
renovated and meticulously restored. Here is a
rare opportunity to live in a true New York City
landmark that must be seen to be believed.
Two to five bedroom condominiums priced from
$3,250,000. 212.799.2211. www.theapthorp.com
ALSKLINGS, a Columbus Avenue
staple, is known for its Specialty
Apparel. Whether it’s Mother/
Daughter outfits, or, the newly launched Alsklings
(Swedish for darling) line of t-shirts and onesie in 30
languages, this is the place to turn for unusual and
unique clothing. 228 Columbus Avenue, New York,
NY 10023, 212-787-7066, alsklings@mac.com
Brief Encounters Is your Lingerie
Closet on the corner of 71st and
Columbus. It’s in the FIT! Our forte
is Style and Comfort. Courteous
Professionals assist our clients in the selection of
Fine Fashion and Basic merchandise from a full range
of sizes. 239 Columbus Ave., New York, NY 10023,
212-496-5649, Hours: 11AM – 7 PM Daily
Lisa Lippman, Senior Vice
President and Director, is a
distinguished broker at Brown
Harris Stevens with over 13
years of experience selling real
estate. Lisa specializes in the sale
of high end cooperatives, condominiums and
townhomes. As is clear from her record, even in
tough times, Lisa excels in both selling and finding
homes for her clients. Her well-rounded approach
to navigating Manhattan’s real estate landscape,
brings to life the nuances and charms that the
City has to offer. For more information, please visit
www.bhsusa.com/lisalippman
Jimmy Brett, Senior Vice President,
Associate Broker with Citi Habitats
is a highly valued member and
consistent Top Producer throughout
his decade long career with the
firm.  Beginning in 2007, Jimmy has
been consistently recognized by NRT,
the nation’s largest residential real estate brokerage
holding company, as being amongst the top 1.4% of
NRT’s 54,000 sales associates; Jimmy’s team “Team
Brett” has also been acknowledged within the top
100 teams nationwide.   Please contact Jimmy at
917.687.4614 or jbrett@citi-habitats.com
Columbus Square, a collection of
five unique rental buildings and
over 500,000 square feet of prime
retail and community space rising
from 97th to 100th Streets between
Columbus Avenue and Amsterdam Avenue, has
become one of NYC’s most sought-after residences.
Each apartment is smartly designed with nine-foot
ceilings,piece-laidwhiteoakstripflooring,floor-to-ceiling
windows, and solar shades. Residents are surprised by
the elegant touches that are generally reserved for
condos, such as valet parking, acres of landscaped
roof decks, and a 70-foot salt water swimming pool.  in the Hudson River Valley—farms, estates, river
For more information log onto www.columbussq.com
or call 1-866-644-8813.
Sherry Matays, Senior Vice
President, Associate Broker, has
distinguished herself as a top
producer at The Corcoran Group
since the late 1980s, named
Corcoran’s #1 West Side Broker of
the Year for the last 11 years running and one of
Corcoran’s Top 25 Brokers, year in and year out. 
Ranked as one of  “Real Estate Top 400” nationwide
by The Wall Street Journal, Sherry garners attention
by consistently breaking records and is known
for her stellar reputation in the industry. For more
information, please visit www.corcoran.com/sam.
Showcasing the prestigious
Hunter Douglas Gallery,
a variety of hard and soft
window coverings, glass, mirrors and shower
doors, Crosstown Custom Shade & Glass has
delivered the highest level of customer service
and product knowledge for over twenty-five
years. For every step of design you can visit any
of their two convenient locations: Upper West
Side, 200 West 86th Street, between Amsterdam
and Broadway. Greenwich Village Location, 115
West 10th Street between Greenwich Avenue
and Sixth Avenue call now for store hours and
directions: (212) 787-8040. Or on the web:
www.crosstownshadeandglass.com. 
Georgia’s Café and Bakery
is a true European café in the
Upper West Side. The friendly
staff and warm ambiance of Georgia’s will keep you
coming back for more. The bakery provides an array
of artistic French pastries, decadent cakes, and a
full service barista. Full service dining (AM and PM),
delivery orders, carryout orders, special cake orders,
and private parties. Weekend brunch served 8:30
AM to 4:30 PM. Georgia’s Café and Bakery, 2418
Broadway at 89th Street, New York, NY. Tel: (212)
362-2000. www.georgiascafeandbakery.com
Welcome to Grimaldi & Associates
where Insurance and Financial
planning isn’t complicated. Since
1990 we have provided our clients
with a no hassle approach to doing
business. We pride ourselves in our
knowledge and taking time to understand your
needs. You’re not a number, but a part of our family.
Our fully licensed and knowledgeable staff is always
there to assist and looks forward to serving you
with the same care and personal attention you’ve
come to expect. Protecting the Present, Future
and Beyond. Barbara A. Grimaldi, 227 E 56th St /
212- 759 -3920.
H.H. Hill Realty Services Inc.
Founded almost 20 years ago by
life-long resident, Harry Hill, Hill
Realty is located in the heart of
Rhinebeck Village. Hill’s family has lived in Rhinebeck
for over 200 years, which gives him a unique
perspective on the development and evolution
of Dutchess and Columbia counties. Hill Realty
has listed and sold some of the finest properties
properties, town and country residences, and
unimproved land. The office is open seven days

a week -- staffed with experienced brokers and
sales associates. For both buyers and sellers, Hill
Realty offers state-of-the art brokerage. Hill’s
philosophy is that the acquisition of real estate is as
much about buying “life style” as it is about buying
“bricks and mortar.” HillRhinebeck.com
Established in 1938, Jaguar
of Great Neck was the first
Jaguar dealership in the
Country. Our experience has
led to a reputation of value,
personal service and after-sale support that is
unrivaled. For 70+ years we have been selling to
and servicing the New York area with the pride
and attention it deserves. Model for model, option
for option, no one is more competitive than us.
We will beat any advertised price in New York...
Guaranteed! Fulfill your passion for perfection with
one of our awesome 2010 Jaguar XF or XK models.
One is waiting for you at Jaguar of Great Neck.
www.GreatNeckJaguar.com or 888-263-4158
Le Fanion brings you dazzling
colored crystal fruit chandeliers
inspired by the tradition of the
French kings. Each chandelier is
unique in design and combination
of colors and fruit. Get one of
these gems and it will transform your house. The
store is open 7 days a week and is located at the
charming corner of West 4th and Bank Streets
in Greenwich Village. tel. (212) 463-8760 or go
to  www.lefanion.com for even more treasures
from the South of France.  pet health information, and more pet food brands,
The Lower East Side invites you
to discover some of the best art
in New York City during Third
Thursdays, a night to explore
the diverse art offerings of the
area. Area galleries stay open late from 6 p.m. to
9 p.m. on the following Thursdays in 2011: March 17,
April 21, May 19, June 16, July 21, September 15 and
October 20. Visit www.lowereastsideny.com for a
list of participating galleries.
Metropolitan Window Fashions
has been serving the metro
area for over 75 years—
specializing in custom window
fashions, Hunter Douglas shades, bedding and
reupholstery. Honored as the National Retailer
of the Year, by Draperies and Window Coverings
Magazine, Metropolitan is proud to be family
owned since 1934. Stop by our two convenient
locations 469 Amsterdam Ave. (bet. 81st and
82nd), 189 E. 79th Street (corner of 3rd Avenue)
or our fabric warehouse in New Jersey. Visit
windowfashions.com or call 212-501-8282 for a
FREE in-home decorating consultation.
Nancy’s Wines For 20
years, Nancy’s has served
the wine needs of the
Upper West Side and NYC. If you are seeking wines
that are somewhat off the beaten path, come to
Nancy’s. Free Delivery In Manhattan - Selection Of
Artisan Wines From Around The World Regular
Wine Tastings And Classes - Spirits, Sake And
NYO directory
Kosher Wines - Zagat Rated. 313 Columbus Avenue
at 75th Street - Open 7 Days - 212-877-4040
www.aocfinewines.com
Nikki Field, Senior Vice President,
Associate Broker, has been a
dynamic presence with Sotheby’s
International Realty since 1998,
consistently ranking among the
global agency’s top five producers
and accomplishing sales of over one billion dollars.
America’s Top 400 Real Estate Professionals,
an annual ranking sponsored by The Wall Street
Journal, ranked Nikki in the top 100 agents in America
and in the top 10 in New York City for Sales Volume.
For more information, visit www.nikkifield.com.
Does your
home or office
have a great view?   Explore and enjoy   it to the
utmost with Oberwerk Long-Range Binoculars
and Binocular   Telescopes.   Highest quality
optics provide Stunning clarity and   sharpness
at surprisingly affordable prices.   See us online
at   www.giantbinoculars.com For free catalog,
call 866-623-7937 or email to   info@oberwerk.
com OBERWERK CORPORATION 866-623-7937.
www.giantbinoculars.com.
PetHealthStore™ is a group
of professionals dedicated to
maximizing your pet’s health
through best diet practice. With
the evolution of more and better
there is an opportunity for you to maximize your
pet’s health by selecting their best diet that
matches your budget. Please look at our health
articles online, at www.pethealthstore.com, come
in and get more information and literature, or call
212-595-4200. We do this BECAUSE YOUR PET”S
HEALTH IS IMPORTANT.
For nearly a century, Prudential Douglas Elliman
has been recognized as a leader in the residential
real estate industry. With more than 3,500 agents
and over 60 offices from Manhattan to Montauk, the
company’s reach is unsurpassed. Prudential Douglas
Elliman offers its customers a comprehensive
array of services including residential sales and
rental brokerage, retail and commercial sales &
leasing, relocation, new development marketing,
property management, mortgage brokerage and
title insurance. So whether you’re in Manhattan,
Brooklyn, Queens, Westchester or Long Island,
including the Hamptons and North Fork, there is a
Prudential Douglas Elliman office and agent ready
to assist you in any of your real estate needs. Please
contact 1.800.ELLIMAN or visit elliman.com
The Sheffield Steps from
Central Park, Columbus
Circle and Lincoln Center, The
Sheffield’s Studio to 4 bedroom
homes feature  gracious
layouts, sophisticated materials,  and panoramic
views.   A spectacular package of world-class
lifestyle amenities awaits residents including
The Sky Club which features two social lounges,
children’s play room, a private enclosed swimming
pool with outdoor sundeck, roof deck with barbeque
grills and state-of-the-art fitness center with Pilates/
Yoga studio. Exclusive sales and marketing agent,
The Marketing Directors,Inc www.thesheffield.com
or 888-420-881
Sotheby’s The East Side
Manhattan office is just steps
away from Central Park in
one of the most desirable neighborhoods in
the city. It is known for its prime Manhattan real
estate, which includes some of the city’s most
elegant historic and prewar homes. Our brokerage
staff offers unsurpassed service to our clients.
Our agents are thoroughly familiar with the
neighborhoods in this area, and with all aspects
of sales, including the demands of the luxury
market. For more information, please visit
www.sothebyshomes.com/nyc
Did you know Stribling sells the
best of the West Side? From
Riverside Drive and West End
Avenue to Central Park West and
the West side of Fifth Avenue, from
the West 40’s to the West 140’s,
exceptional Stribling brokers bring exceptional
results. Stribling professionals sell the gem studios
to the dream penthouses and everything in
between. On the West Side, as all over town, the
right broker makes all the difference. Visit us at
stribling.com
The Mobile Shop- Fix your
broken phone or computer
now.  Along with selling top
name designer phones and
accessories, this while you wait tech shop also
repairs and unlocks most models of cellular phones.
For cracked screens, broken charging ports, mic/
speaker problems, trackball repair and even water
damage visit these tech experts now. Featuring
IPAD accessories and the new IPAD Keyboard
Case. 228 Columbus Avenue (Between 70th and
71st Streets) New York, NY. Tel: (212) 799-6500.
On the web at www.mobileshopny.com and
www.wirelesssolutionsny.com  
Town Shop Bras that
actually fit! Featuring the
“best of the best” in lingerie,
swimwear, hosiery and shapewear and sleepwear
Featuring Bras by Chantelle, Wacoal, Anita, Hanro,
and more. Swimwear by. Karla Colletto, Gottex,
Carmen Marc Valvo, Tommy Bahama, Miraclesuit,
and more. Hosiery by, Wolford, Spanx, Calvin Klein,
Donna Karan, and more. All your favorite brands
under one roof with spectacular customer service.
If you haven’t been to Town Shop you’re probably
wearing the wrong size. At Town Shop “Fitting a
bra is an art, not a science! 2273 Broadway (Bet
81st and 82nd) Tel: (212) 724-8160.
MARCH 2011 / 91
m WINE Q&A
Getting back to the roots
Wine aficionado and musician Kermit Lynch
tells NYO Magazine why a drop of wine is good for his soul music
How did you get started importing wines?
I opened a wine shop in Berkeley, Califor-
nia, in 1972 and slowly realized that I was
most taken with the wine cultures of Italy
and France. I went looking for good wines
where no one else was looking, and there
were plenty of them. I decided to apply for an
import permit so I could drink and sell what
I was finding. I was 30, trying to make it as a
rock ’n’ roll and blues musician without much
success.
So wine wasn’t your first love.
No. It was a hobby. So I opened a wine shop
12 hours a week as a hobby while I tried to
replace yet another drug-infested musician.
The end of the 1960s, you know. The business
took off and took me with it.
Would you say you’re a man of many
talents?
You can judge the talent for yourself. Maybe
a man of many interests. I have returned to
music, and my third CD, Kitty Fur (Dualtone
Records), will be released March 29. I sing,
I write, I interpret songs that mean a lot to
me. Somebody told me that the aesthetic of
my music is the same as for wines. When I
record, I play live with my band to get that
feeling of spontaneity and improvisation. The
Nashville players I record with tell me that
such sessions are rare these days. Now they
go alone into a booth and aren’t even playing
with other musicians as they record.
How is that like wine?
Roots music, I guess. I like wines that show
where they come from, the terroir, place of
origin. My music is the same. I do different
genres like country, rock ’n’ roll, rhythm and
blues, and I try to respect the roots while
creating a coherent whole.
 
So you like your wines natural, just like
your music?
I don’t like the technological when it comes
to wine. It screws them up, adding chemicals,
color, acidity or tannin, sterile filters, etc. I try
to convince my winemakers to stop filtering
entirely, to stop stripping their lovely wines
before they go into bottle. Think of a person
full of silicon and Botox. I like natural. But I
92 / MARCH 2011
didn’t go that route because I am a true be-
liever. I could tell by tasting. The real thing was
better than the pumped-up, phonied-up ver-
sion. Roots wine, roots music. Well, let’s throw
in roots women for good measure [laughs].
 
How old were you when you took your
first sip of wine?
I got into the habit of enjoying wine with
meals the year I graduated from high school.
That was in San Luis Obispo, California, and
a couple of UC Berkeley grads moved in next
door. They drank wine with meals, jug wines
bought in Berkeley from a Polish immigrant
by Rachel Morgan
who bought bulk wine in the Napa and
Sonoma valleys, blended them and bottled
them himself.
What’s your favorite?
I drink a lot of white burgundy, but aside from
my own domaine, Les Pallières in Gigondas,
the wine that I reach for more often than any
other is probably from Bandol in Provence.
The reds and rosés go with the kind of food
we cook at home.
Why do you think your book, Adventures
on the Wine Route, has been so popular?
Maybe because it is anecdotal, full of colorful
winemakers, instead of a guide or tasting
notes. You learn about wine down in the cel-
lars, where I learned.
Are you the French wine expert?
Am I the wine expert? I’m not sure about that,
but I have been accused of being a pioneer,
introducing a lot of French country wines and
keeping them as natural as possible. Before
I started, about the only French wines im-
ported were the famous Bordeaux châteaux
and Burgundy from negociants. I buy directly
from the vigneron.
Where is the best place to shop for wine
on the Upper West Side?
I have visited New York City quite a few
times in the past five years, but I’m more of a
tourist, not a guide. As for my selections and
blends, try 67 Wine (179 Columbus Ave. at
68th St.,) Whole Foods (wine store at 808 Co-
lumbus Ave.) and Pour Wines (321 Amster-
dam Ave. at 75th St.). Sometimes you have
to turn the bottle around to see that I am the
importer. I hope it is worth the trouble.
Does wine have to be expensive to be
quality?
To be blunt, NOT AT ALL. Price is due to fad
and wine critics and marketing, for the most
part. To find a bargain, though, it is easy—
just look where no one else is looking. Oaky
gigantic Chardonnays, for example, are no
bargain—but Muscadet can be if you find the
right winemaker. Look for my blend, Côtes
du Rhône, at around fifteen bucks for a good,
low-priced red.
  


   
 
  


 
 
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