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 editor’s note

W
elcome to the third issue of NYO Magazine, the downtown
issue. Our cover star is New York’s resident Mad Man John
Slattery, who opened up about his life behind the suits. For-
mer AdAge editor26 Jonah Bloom offered insight into the real Mad Men of
New York. We also talked to dynamic downtown personalities like Casey
Kaplan, founder of New York Gallery Week, architect Richard Meier and
fashion icon Diane von Furstenberg.
Another power personality, Diana Picasso, shared her insight into the
newest exhibit at the Gagosian, “Marie-Thérèse.” The exhibit is a bit of a
family affair for her, as the famed artist was her grandfather, and Marie-
Thérèse, her grandmother.
And what would a downtown issue be without exploring the many
peculiarities of the neighborhood? Our writers decoded the social scenes
in downtown’s many bars and even explored the current locations of the
city’s former brothels. We hope you enjoy our exploration of Manhat-
tan’s most eclectic neighborhood.

Rachel Morgan ,
Senior Editor

SENIOR EDITOR OBSERVER MEDIA GROUP

RACHEL MORGAN PUBlISHER
JARED KUSHNER
EDITORIAl DIRECTOR
DESIGN DIRECTOR
ELIZABETH SPIERS
IVYLISE SIMONES
PRESIDENT
CHRISTOPHER BARNES
WRITERS EXECUTIVE V.P.
MEREDITH BARRY LEWIS
BENNETT-SMITH
BLAZE BERDAHL ASSOCIATE PUBlISHER
JAMIE FORREST
JONAH BLOOM
CHARLOTTE GARDEN SENIOR DESIGNERS V.P. ADVERTISING
ANDREW GUARINI LAUREN DRAPER STEPHEN GOLDBERG
MEREDITH HOFFMAN SCOTT DVORIN V.P. SAlES AND
NATALIE HOWARD MARKETING
CHIU-TI JANSEN DAVID GURSKY
PUBlISHER
EVA KARAGIORGAS ClASSIFIED
ROBYN WEISS
CHELSIA MARCIUS ADVERTISING DIRECTOR
RACHEL OHM KEN NEWMAN
LYSS STERN SAlES MARKETING MANAGER
LIZ WAGNER SPENCER SHARP JILL GUTEKUNST
SYDNEY SARACHAN BETTY LEDERMAN
V.P. CIRCUlATION
FASHION CONTRIBUTORS DAN D’ANDREA KRATOS VOS
MARLEY LYNCH MITCHELL BEDELL
COCO MELLORS DAVID BENDAYAN
PRISCILLA POLLEY PAUL KORNBLUEH PRODUCTION MANAGER
KAREN KOSSMAN TYLER RUSH
MICHELE MORGAN PHOTO EDITOR
CONTRIBUTING
ALExANDER NUCKEL PETER LETTRE
PHOTOGRAPHERS
DAVID M. WOLFF
MICHAEL CHIMENTO ADVERTISING
CHAD GRIFFITH PRODUCTION
JAMES BERNAL LISA MEDCHILL
CIRCUlATION
ALExANDRA ENDERLE
PETER PARRIS
CARLOS RODRIGUEZ

8 | may 2011
 Gerhard richter (b. 1932)
Abstraktes Bild · oil on canvas · 24 3/8 x 20 1/2 in. (62 x 52 cm.) · Painted in December 1991
$300,000 – 500,000

© Gerhard Richter 2011

Post-War and Contemporary Art

Featuring Property from an Important Private European Collection Afternoon Session
New York · 12 May 2011

Viewing Contact christies.com

7–11 May Andrew Massad
amassad@christies.com
+1 212 636 2100
20 Rockefeller Plaza, New York, NY 10020

Jim Hodges (b. 1957)
A Model of Delicacy
white brass chain, silk and wire
56 x 64 x 17 in. (142.2 x 162.5 x 43.2 cm.)
$800,000-1,200,000
20
14 NEIGHBORHOOD
BUZZ Our picks for
downtown’s best
shopping, dining and
dancing.
16 PARTY PAGES The best
spring fetes, through
the eyes of Patrick
McMullan.
20 COVER Mad Men’s John
Slattery opens up about
Sterling, his fellow Mad
Men and why he loves
New York.
26 COVER Jonah Bloom,
former editor of AdAge,
staffs a modern-day
Sterling Cooper.
Post-War and Contemporary Art
28 ART Our resident
Evening Sale
expert talks about doing
11 May 2011 business in China.
Viewing: 7–11 May
Contact
Robert Manley
rmanley@christies.com
+1 212 636 2100
christies.com
48
10 | may 2011
02192-15_NYO Mag_Pwc.indd 1 4/28/11 12:55:53 PM
contents
32 GALLERIES Diana
Picasso curates her
grandfather’s newest
exhibit.
36 ARTIST PROFILE Trey
Speegle resurrects
paints by numbers.
38 ARTIST
PROFILE
Michael Glancy
strives for
perfection with
his glass-blown
works.
40 ARTIST
PROFILE Rene
Pierre Allain’s 32
steel manipulations.
42 GALLERIST Casey
Kaplan talks about
founding New York
Gallery Week
44 PEOPLE
Ballerina Michele
Wiles opens up about
finding happiness
onstage and off.
48 FASHION Diane
von Furstenberg’s
fashion-inspired
exhibit at Pace
Bejjing.
54 FASHION Gaby
Basora of Tucker
makes her mark.
 vegetable-dyed hand-knotted in Afghanistan

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 PHILIP CATANIA contents
CROSSING OVER
56 FASHION Rachel 82 INTERIOR DESIGN
Antonoff brings back Brad Ford designs a
old-school style. rustic-chic downtown
apartment.
58 FASHION The dreamy
designs of Erin 88 PLACES The city’s
Fetherston. brothels: Where are they
now?
60 FOOD Culinary
entrepreneur John 90 PLACES A community
McDonald talks Tasting garden thrives on the
Table and Lure Fishbar. Lower East Side.
64 FOOD COLUMN Our 92 ARCHITECTURE
food expert picks the Enrique Norten talks
eateries frequented by about heading up two
pretty young things. firms —one in Mexico,
one in New York.
68 WINE Andy Fisher,
owner of the massive
downtown Astor
Wines, shares his vino
OIL ON WOOD 12” X 10.25” expertise.
70 PLACES Our analysis
of the best downtown
bars —and
ENCHANTED GARDEN their
clientele.
72 FITNESS Celebrity
trainer David Kirsh
shares his get-fit tips.
74 PARENTING Lyss
Stern’s family-friendly
picks for spring.
76 ARCHITECTURE
Richard Meier talks 96 REAL ESTATE
about the iconic glass Brokers analyze
towers, the Pritzker and the current state
his signature style. of the downtown real
estate market.
80 PEOPLE The luxe
bathrooms of one 112 PHILANTHROPY Rich
OIL ON CANVAS 19” X 19” bachleor’s downtown Palermo and the Anti
apartment. Violence Project.

ON DISPLAY AT
AMSTERDAM WHITNEY GALLERY
511 WEST 25TH STREET, CHELSEA NEW YORK, NY 10001

APRIL 29 TO MAY 31, 2011 66

58
WWW.PHILIPCATANIA.COM
T I M I N G F O R C H A M P I O N S

www.edox.ch
1 866-425-9882
NYO downtown Buzz

1 Adeline Adeline caters to the urban

biker—functional without sacrificing
style. The store is stocked with classic
1970s designs and brings glamour and
femininity back to the bicycle, as it re-
cently partnered with Kate Spade to offer
customers a bike in that classically perfect
shade of green (147 Reade St., 212-227-
1150).

MooShoes has a storied history. A decade

ago, two sisters from Queens bought
an old butcher shop in Gramercy Park,
intending to open the city’s first “cruelty-
free” vegan shoe store. The result was
MooShoes, which sells non-leather/vegan
shoes, clothing, books, wallets, belts and
bags. There are vegan cookbooks, too (78
Orchard St., 212-254-6512).

A gastronome’s dream, Broadway

Panhandler carries wares ranging from
beginner cookware to industrial items
to top-of-the-line espresso makers. And
it’s a family business—owner Norman
Kornbleuth is the son of a Lower East Side
restaurant supply store owner (65 East
8th St., 212-966-3434).

Need a new topper? Head to Arth, which

carries nearly every type of hat you can
imagine, men, women and unisex (75 West
Houston St., 212-539-1431).

We’d go anywhere with a slogan like “We

make balls.” The Meatball Shop, headed
up by Daniel Holzman and Michael Cher-
now, have a wide array of tasty nuggets,
from classic beef to spicy pork balls to
vegetable balls (84 Stanton St., 212-982-
8895).

Discover If you dream of ninjas jumping out at you

while you dine, Ninja New York is your

Downtown
spot. Enough said (25 Hudson St., 212-
274-8500).

Get alterations on the cheap at Orchard

Express, the incomparable downtown
tailor. Opened by Ramon Jimenez in 1975,
this place has staying power—and with
prices that run generally 50 percent less
Our picks for the best shopping, eats and deliciously ($4 for a hem, $20 to take in a jacket) than
downtown dives. It’s the coolest neighborhood any tailor in the city, we can see why (136
Orchard St., 212-677-1099).
in Manhattan for a reason
And who can forget downtown staple
By Charlotte Garden & Blaze Berdahl o Photos by Michael Chimento
Strand (828 Broadway, 212-473-1452)?
Yes, it’s been around for a while, but it’s a
classic for a reason. o

14 | may 2011
 2

3
1. Adeline Adeline
4 2. Broadway Panhandler
3. The Strand
4. Arth
5. Ninja
6. The Meatball Shop

The
Short
List
Our other favorite
downtown spots
Aedes 6
de Venustas
9 Christopher St.,
212-206-8674
Darling
1 Horatio St.,
646-336-6966
Odin
199 Lafayette St.,
212-966-0026
Edon Manor
391 Greenwich St.,
212-431-3890
The New
World Order
13 Avenue B,
212-777-3600
Mxyplyzyk
125 Greenwich Ave.,
212-989-4300
Babycakes
248 Broome St.,
212-677-5047
Lomography
Gallery Store
41 W. 8th #1,
212-529-4353x212
Pas de Deux
328 East 11th St.,
212-475-0075
Banchet Bianca
Flowers
809 Washington St.,
212-989-1088

May 2011 | 15
 NYO EVENTS

PATRICK McMULLAN’S STEVE BUSCEMI, FISHER STEVENS,

CELINE DANHIER

favorite New Yorkers

MAX WINKLER,
HENRY WINKLER

LINDSAY LOHAN AT
THE AFTER-PARTY OF
MAGNOLIA PICTURES’
CEREMONY

NUR KHAN,
ERIN FETHERSTON

HEIDI BIVENS, JUSTIN THEROUX

BRITNE OLDFORD, TERRY

DANNY FLAHERTY RICHARDSON

MAY ANDERSON

16 | MAY 2011 DAVID ARQUETTE AND CURTIS 50 CENT DREE HEMINGWAY

AT A PRIVATE SCREENING OFSCREAM 4
 Jeff Zucker anD kevin pollack aTTenD
carnegie Hall’s 120TH anniversary gala

BeTTe miDler
anD James Taylor

nickolas
asHforD,
valerie
simpson
regina spekTor Tom Brokaw micHael Douglas

name Hereggg name Hereggg

anDrew saffir, BeTH sTern anD Daniel

BeneDicT aT new yorkers for cHilDren eigHTH
annual spring Dinner Dance, “a fool’s feTe” geralDo rivera, erica rivera

lara meilanD sHaw,

cHrisTian siriano,
mereDiTH melling Burke
seliTa eBanks, mary alice sTepHenson, kerry wasHingTon,
amy sacco, wyclef Jean, amy mcfarlanD, coralie cHarriol paul
Patrick mcmullan’s favorite New Yorkers

donavan green, ayana

green, LiSa oz, dr. mehmet
oz at dr. oz’S heaLth CorpS
gaLa to fight ChiLd oBeSity

aLonzo
mourning,
Star JoneS

Ben vereen hugh JaCkman

tom CoLiCChio eriC ripert, meLanie dunea, nigeL parry keLLy rutherford,
KeLLy
marCuS ernst
MarCus ernSt

Stephanie
WinSton
WoLkoff

Cynthia nixon, BiLL koenigSBerg Stefan oppenheimer, arnie arnaSon,

attend City harveSt’S 17th annuaL Bonnie arnaSon, aLiSon kaLLman, Jim kaLLman
an evening of praCtiCaL magiC
 Courtney Love

Keanu reeves and vera farMiga at

the after Party for “henry’s CriMe”

Lee PaCe Mary aLiCe

stePhenson

ParKer Posey

Kevin Zegers

taj MahaL attends jaZZ

at LinCoLn Center’s
gaLa after Party

george wein

wynton MarsaLis, john Legend, ashLey may 2011 19

gayLe King, newarK
sChiff-raMos with guest Mayor Cory BooKer
NYO XXXXXXX

Groomer, Valissa Yoe;

Stylist, Priscilla Polley ; Leather
jacked by Bruno Cuccinelli;
Tshirt by James Perse
20 | APRIL 2011
XXXXXXX NYO

APRIL 2011 | 21
NYO COVER STORY
J
ohn Slattery has a bit of an
obsession with Collyer Brothers
Syndrome.
The longtime actor turned Mad
Men icon talked animatedly about
the hoarding disorder at a photo
shoot as he posed in a gray hooded
sweatshirt and thick black-rimmed
glasses, his trademark silver locks ruffled.
The conversation quickly shifted to stalkers.
“I had a stalker once,” he said. “It was an older
guy and he would travel around by bus to all my
shows. He’d write me like 16 postcards a day.
And every time I would see him, he was missing
a few more teeth and he would never be wearing
a coat. And I would say to him, ‘Where’s your
coat?’” and he’d say, ‘I don’t need no coat!’” Slat-
tery said in his best codger accent, as far from the
silver-tongued, silver-haired Roger Sterling as
he could get.
“Finally, I said to him, ‘Look, here’s my
number’—which was probably not a good idea—
‘Call me if you are ever in trouble.’ A few months
went by. I was sitting in my apartment and was
in bed, reading. I heard the phone ring, but it was
across the apartment, so I just let the machine
pick up.”
The caller was a police officer, who had found
the body of the stalker. “He was actually an
over-enthusiastic fan,” Slattery later quantified.
The officer had called the only number found
inside the apartment, which was packed so full
a hole had to be cut in the door in order to gain
entrance. It turns out the man suffered from
Collyer Brothers Syndrome, named after the
first documented case of hoarding—two broth-
ers who lived in a Harlem brownstone who were
found deceased in their home, buried by their
own belongings.
“Inside the apartment, within the piles and
piles of shit, the only number they found was
mine,” Slattery said. The man was later buried
in a military ceremony, as he was an honorably
discharged veteran. The fact that Slattery even
cared where and when this man was buried
spoke volumes. The fact that he remembered
the man and was telling the story, years later,
said more.
This, it seems, is John Slattery—a far cry from
his drinking, smoking, fucking, alter ego Roger
Sterling. While Slattery had always been rela-
tively well known on the small and big screens,
it was really his foray into the 1960s that thrust
him into stardom.
At the close of the last season, Sterling was
struggling with an unfulfilling marriage, an
affair with an ex-fling and the feeling of becom-
ing obsolete in an increasingly modernizing
profession. As for what’s next for Mad Men’s
resident silver fox, Slattery is either tight-lipped
or uninformed.
“I don’t know,” he said. “I hope he doesn’t
22 | MAY 2011
commit suicide. I don’t think that would be the
course of action, but I really don’t even know one
thing. I think Matt [Weiner] is trying to figure it
out.”
Any Mad Men fan worth his salt has no doubt
been following the conflict between show
creator Matthew Weiner and studio Lionsgate
TV and AMC. And the irony isn’t lost on us—the
creator of a show about advertising locked in a
massive conflict with its studio, who ironically
wants, well, more advertising. Fans have alter-
nately hated Weiner for delaying the next season
and lauded him for maintaining the show’s
integrity, characters and length.
“I don’t know the ins and outs of it, but what
I know is that it wasn’t all on Matt Weiner’s
shoulders,” Slattery said.
As far as Roger Sterling’s womanizing ways.
Slattery, a happily married man, has no qualms
about playing the character. In fact, he sort of
enjoys it.
“That part of it is terrific,” he said. “Being able
to work with somebody like Christina Hendricks
(who plays the enigmatic secretary–turned–
office manager and Slattery’s on-again, off-again
love interest, Joan), who is obviously beautiful
and such a good actress, is a pretty good perk of
this character.”
Friends of Slattery paint him as a humble,
normal guy, quite unlike his television
counterpart.
“The first time I met John was at a lunch in
Grand Central around Christmastime,” said
Brian Kolb, longtime boyfriend of Slattery’s
niece, Maggie Kinnealey. “After lunch, we were
helping John shop for his son’s Christmas pres-
ent. John said he wanted to get a Nintendo Wii
for his son but was having trouble finding one.
I thought that was a joke since I remembered
Wii being the popular gift the year before, so I
figured it should be easy to find. As those words
came out of my mouth, we took a corner and saw
a huge line coming out of Best Buy. John went
up to the first girl in line and asked her what they
were in line for. The girl replied, ‘Nintendo Wii,
of course. Hey, aren’t you that actor guy?’”
This is something that happened quite often
to Slattery in the years before his Mad Men fame,
Kolb said.
“John replied, ‘Yeah, I am that actor guy. Can
I cut you in line?’ The girl looked at him, thought
about it for a second and politely declined his
offer,” Kolb said. “He looked back at me and said,
‘I should have told her I was Steve Carell.’’
Steve Carell or not, Slattery has built up
a rather impressive résumé of his own. He’s
directed several episodes of Mad Men and is
currently writing a short film, not surprising for
an actor who seems to have mastered the trifecta
of the entertainment business—film, television
and Broadway.
“I’ve realized it’s good to stay busy—you
 Sweatshirt by Mollusk
Brooklyn; Shirt by Hickey
Freeman; Glasses by Ray
Ban; Jeans by APC

MAY 2011 | 23
 XXXXXXX
MiCHAEl YAriSH/AMC
Actors Vincent Kartheiser,
Jon Hamm and John Slattery
on the Mad Men set last season.
can’t count on much in this business and in this
economy,” he said. “It’s good to keep your hand
in a couple of things, see what pans out.”
But it seems Slattery hasn’t had trouble keep-
ing busy—his résumé boasts a steady stream of
work since 1988. Today, Slattery is past the point
of simply taking any job that is offered. Pre–Mad
Men, Slattery didn’t always have that option.
“In the beginning, I did things because they
were offered and I was surprised that I got the
job at all,” he said. “I don’t want to denigrate
anything. They were all valuable experiences. I
couldn’t pick one out and say, ‘I shouldn’t have
done this.’ You’re trying to find material that you
feel an emotional and intellectual connection to,
that excites you. That’s what anybody wants, and
there’s only so much of it to go around. There
24 | MAY 2011
was a while in the beginning where I wasn’t as
discerning as I might have been—I don’t even
know if I could have been. In the beginning of
any career, you’re a kid. You take what people
give you.”
Now, Slattery faces the problem of separating
himself from the trademark suits of Mad Men.
In fact, he opted out of wearing any sort of suit at
all for the photo shoot.
This slight aversion notwithstanding, Slattery
is quick to point out that Mad Men is simply a
damn good show.
“It was so obviously a good script,” he said.
“You read a good novel, a good screenplay, a good
play, and suddenly the whole world is right there
in front of you.”
The show’s cultlike following agrees—in fact,
Sweater by Ermenegildo
Zegna; Jeans by APC
it’s hard to discern if they are more obsessed
with the show or its characters.
Upon news that I would be interviewing
Slattery, my Facebook page was inundated with
praise for the historically accurate series, mostly
from men. Perhaps they all wish they could live
the life of Roger Sterling. Or maybe, Don Draper.
“Roger Sterling is one of the best roles in tele-
vision history,” one Facebook friend remarked.
Another was more forthcoming in his praise.
“Ask him if I could one day be Don Draper. Ask
him if I can touch Jon Hamm. Ask him how
badass it is being the silver fox. Ask him if I can
touch his hair. Ask him if he’s my real dad. Tell
him I love him. Ask if he’ll send me an advance
copy of this season of Mad Men.”
Speaking of John Hamm, Slattery originally
read for the part of Don Draper. Once he was
at the studio, producers told him they actually
wanted him to play the part of Roger Sterling, a
part so minor they were afraid he wouldn’t even
come in to read for it.
“I didn’t find out until down the line that they
had brought me in for Roger,” he said. “It was in
the room that they said, ‘We actually have this
person [to play Draper.]’ That happens all the
time: You’re reading for someone and then you
find out that they’ve already offered it to so-and-
so. That’s frustrating, but it happens.”
We couldn’t help but wonder—in an alternate
universe, could Slattery have been Don Draper
and Jon Hamm been Roger Sterling?
“Absolutely not,” Hamm said. “John’s mixture
of humor and pathos is the perfect counterpoint
to Don’s guarded world-weariness. I couldn’t
do what he does nearly as well. Now Peggy, I
Astor Place: the Intersection of Arts and Style
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399 BLEECKER STREET I BONDNO9.COM I 1.877.273.3369
NYO COVER STORY
would’ve knocked out of the park.”
Despite the initial casting snafu, Hamm
maintains that the pair gets along famously.
“After the first day of shooting we were
pretty close,” Hamm said. “There’s always a
feeling-out period within a cast that doesn’t
know one another, and I’m very happy to
say that with us, that period lasted about the
length of two or three takes. At least that’s
what he tells me.”
At the time, no one had any idea just how big
the show would be.
“It’s hard to figure out how any show gets
the attention it gets, especially now, with
everything that’s out there, with all the venues,
all the shows, all the cable channels and new
networks popping up all over the place,”
Slattery said. “It’s hard to know how anyone
gains a foothold.” Lucky for Slattery, Mad Men
seems to be have done just that.
In spending time with Slattery, it becomes
obvious fairly quickly that he has a sense of
humor, much like his onscreen persona. So
did Slattery affect Sterling, or did Sterling
mold Slattery? Turns out, a bit of both.
“The character’s sense of humor develops
along the way. The lines get blurry between
what’s written, and the writers will see you
do things with certain actors and they’ll say,
‘Well, they work well together, let’s write a
scene for them,’” he said. “Ideas happen, story
lines change. It isn’t because of any one thing.
Sometimes, the writers will see an actor do a
certain thing or the story line goes a certain
way.”
SIXTY SECONDS WITH SLATTERY
What’s the last book you bought?
Jennifer Egan’s A Visit From the Goon Squad
Squad.
Do you read The Observer?
No. I’m not going to lie.
What’s the last piece of art you bought?
I bought a drawing by an artist named
Jonas Wood.
Describe yourself in three words.
I can’t. I have no interest.
I heard you’re a Red Sox fan and your son is
a Yankees fan.
Yes, and my wife was born in New York, too, so
I’m outnumbered.
So you buy your wife shoes to romance her?
I have before; it’s not like I’m a shoe buyer. My
father is in the shoe business, the leather busi-
ness. So I have a leg up.
Hamm will also vouch for Slattery’s sense
of humor—and sheer acting prowess, for that
matter.
“The funniest look I’ve ever seen on Slat-
tery’s face may have been when a piece of
the set fell and hit me on the head and blood
started dripping down my neck,” Hamm said.
“The mixture of sheer what-the-fuck humor,
turning to shock, [then] horror and, ultimate-
ly, compassion was an acting master class.”
Slattery, a Boston transplant–turned–true
New Yorker—he’s lived here for a quarter
of a century, so he’s earned the title—lives
downtown with his wife, Talia Balsam—who
plays his bitter ex-wife Mona Sterling on the
show—and their 11-year old son, Harry. He’s
earned attention over the years for his involve-
ment in the community, a fact he doesn’t see
as particularly out of the ordinary, or even
laudable.
“Like anyone, you’re involved with your
community because it’s where you live,”
he said. “This sanitation situation that was
going on in my neighborhood, I thought and
still think that there is a better alternative to
what the Sanitation Department and the city
decided to do. I’m not in it for the civic duty
necessarily, but it’s my community.”
Slattery is referring the stink surrounding
the Department of Sanitation’s controversial
facility —120 feet tall with a $400 million price
tag, no less —at Spring Street and the West
Side Highway, Slattery’s hood. The proposed
building, which would include truck and salt
storage, is still on track for completion, despite
protests by Slattery, Kirsten Dunst and James
Gandolfini.
It’s hard not to be impressed that a suc-
cessful actor and a New Yorker would be that
interested in his own neighborhood. But Slat-
tery doesn’t see it as out of the ordinary.
“Most of the actors I know, when they’re not
working are just doing the same things every-
body else is,” he said. “They take their kids to
school. They get up and go to work. When they
come home from work, they put their kids to
bed, even the really, extremely successful ones.
Everybody just wants to live their life.”
I ask him again about his stalker.
“That guy wasn’t really a stalker,” he said.
“He was just a guy who was an enthusiastic
fan and seemed to be having some difficulties.
Anybody would have done the same thing, I
think. Someone once asked me, ‘You live in
New York City?’ And I said, ‘Yeah.’ And he
said, ‘Day in and day out?’ Like New York City
is such a grind to live in. Every time someone
gets stuck in a subway door or falls down on
the street, there are about four people to help
them up. New York City is a nice neighbor-
hood.” o
THE MAD MEN
(AND WOMEN)
OF NEW YORK
We’d pick these five
Madison Avenue luminaries
to staff a modern-day
Sterling Cooper.
By Jonah Bloom
Bob Greenberg, Chairman and CEO, R/GA
Clients: Nike, Wal-Mart
Mad Men alter ego: I’m tempted to compare Bob
Greenberg to Bert Cooper, the iconoclastic, bow-tied
senior partner at Sterling Cooper with a penchant for
Japanese culture and a habit of wandering around
the office in just his socks. Yet Greenberg could school
Cooper in eccentricity. From the wavy gray locks to
his berets to his ninja-style black outfits finished off
with a belt holstering his wire-rimmed spectacles
and an array of digital devices, Greenberg is clearly
not your regular adman. Yet dismiss Greenberg at
your peril—he’s become arguably New York’s most
successful adman in the last decade.
Why he’d make the cut: Greenberg has mastered
the art of re-creating a business on the fly, having
morphed his outfit from an Oscar-winning special-
effects and motion graphics studio in the late ’70s,
into a TV and film production studio in the ’80s, into
an interactive ad agency in the ’90s, and later into
an integrated, technology-driven marketing shop
with a plethora of awards and more employees than
any other agency in New York. Greenberg and his
lieutenants at R/GA espoused the theory that you
had to put aside the old-media marketing approach of
making ad campaigns and instead build real, always-
on products and platforms for the client that actually
enhance the consumer’s experience—like the Nike
Plus run-tracking and sharing tool.
Tom Carroll, President and CEO, TBWA
Worldwide
Clients: Adidas, Apple, Nissan
Mad Men alter ego: Tom Carroll might just be the
last of the Mad Men as Matthew Weiner intended.
Now in his mid-50s, Carroll generally limits himself
to a few glasses of wine rather than an endless stream
of vodka gimlets. But he still has the silver drink

platter in his office and counts Absolut and Jameson
Whiskey among his key accounts. Carroll has a Roger
Sterling twinkle in his eye, and is as likely to make you
laugh. But unlike Sterling, he’s not prone to morose
moments or regrets.
Why he’d make the cut: As CEO, he oversees
8,000 employees in more than 200 offices around
the world, but remains a hands-on ad account guy,
adored by clients and creatives alike. Carroll has
somehow turned a mishmash of once-independent
shops into an integrated global network, without
forcing them all to look and behave the same way.
It’s not unusual for him to be in Europe one day
and Asia the next and the tales of his randomly timed
sleepless-in-Seattle/Shanghai/Hamburg phone calls
are myriad.
Lori Senecal, President and CEO, Kirshenbaum
Bond Senecal + Partners
Clients: BMW, Vanguard, Armani
Mad Men alter ego: The haze of cigarette smoke
has given way to gym memberships, the art of persua-
sion through TV ads to the art of engagement through
multimedia efforts, but one thing hasn’t changed
too much—white men still monopolize the top jobs
on Madison Avenue. Perhaps that’s why people took
notice when Lori Senecal took her current post.
Full disclosure: I work at KBS+P, so it probably
wouldn’t be behoove me to compare her to one of the
women in the secretarial pool at Sterling Cooper. It
also wouldn’t be accurate. Senecal drinks modestly,
dresses in all black and eschews a corner office for
long hours at an open-plan desk alongside the rank
and file.
Why she’d make the cut: In recent years, Senecal
defected to Kirshenbaum Bond from global giant
McCann-Erickson, where she’d been running their
flagship New York office. McCann had always been
perceived as the ultimate boys club—to be fair, it
is now changing—and somewhat inevitably her
departure spawned a legal spat with McCann charg-
ing that she’d poached executives and tried to poach
business too. And she riled a few of the Kirshenbaum
Bond old guard when she set out reinventing the
agency that now bears her name by bringing in new
talent—notably a host of creative technologists—and
launching initiatives such as a Client Stock Index
that aligns employee rewards with client financial
performance.
Andrew Robertson, CEO, BBDO Worldwide
Clients: AT&T, FedEx, GE
Mad Men alter ego: Andrew Robertson cuts per-
haps the most Don Draper–ish dash of any of today’s
Madison Avenue luminaries, yet also has a bit of Mad
Men’s quintessential Englishman Lance Pryce about
him. From the schoolboy haircut to the perfectly
tailored suits to the BBC-newsreader elocution,
everything about Robertson screams English gent.
Why he’d make the cut: Robertson was brought
in for his current role of running the 287-office
BBDO Worldwide in its New York headquarters
from his previous post in London, where he’d been
running the U.K. outpost of the agency. His task
was to transform the most American of ad agen-
cies from a 30-second commercial factory into a
more media-agnostic, future-forward shop that
could continue to thrive in a digital world. He set
about that rather daunting job in an unflappable,
no-nonsense type of a way—he had to fire several
industry stalwarts in order to make the change—
that certainly had a little old-school British
sangfroid about it. And in the economic maelstrom
of late 2009, BBDO was particularly badly affected
XXXXXXX NYO
From left: Drogas, Greenberg,
Carroll, Robertson, Senecal.
ILLUSTRATION BY SCOTT DVORIN
because Chrysler was its biggest client. There were
several times when Robertson seemed so saddened
by the cuts he had to make that I couldn’t help
wondering whether he might just walk away. But
he didn’t. Now he and his agency have regained the
spring in their step.
Dave Droga, Founder and Creative Chairman,
Droga5
Clients: Activision, Method, Prudential
Mad Men alter ego: He hasn’t stolen anyone’s iden-
tity and coming from Australia only sort of qualifies
as having a dark past, but if someone has got to be our
modern-day Don Draper, then Droga’s our man.
Why he’d make the cut: In a city that had for many
years proven strangely inhospitable to start-up
creative agencies, Droga and his partners have built a
shop revered for its creativity that is now growing at
a clip—and has become arguably the most influential
independent agency in the United States. Such
success always begets criticism in the perennially in-
secure ad business, but Droga —a reformed smoker,
like Draper—is one of those friendly guy-at-the-bar
types that almost everyone, especially the ladies,
professes to like. He’s always enthusing about some
fascinating new idea that’s popped into his head,
works as hard as he expects others to work, gives
credit it where it’s due and can still laugh at himself.
Last time I saw him he was just on his way to be
interviewed for CNN’s Icon series, which featured
a number of luminaries from various fields. “I think
it’s me and Rem Koolhaas,” he said “Pretty fucking
ridiculous.” o
Jonah Bloom is the executive director of content strat-
egy at KBS+P. He was formerly the editor of Advertis-
ing Age. Follow him on Twitter @jonahbloom.
MAY 2011 | 27
CHINA
Happenings
A
By Chiu-Ti Jansen
chicken and a pig were about to
enter into a joint venture. The
chicken said to the pig, “Why
don’t we talk over breakfast?”
The pig said, “Great! What would
you like to eat?” The chicken
responded, “Bacon and eggs.” This is a classic fable
about Sino-foreign joint ventures, which have his-
torically become storied examples for star-crossed
marriages. Tackling the Chinese markets is an
imperative for most businesses in today’s world. But
many entrepreneurs remain mystified by the rules of
the game in China. The apprehension and attendant
mistrust are often mutual from the perspectives
of the non-Chinese and the Chinese alike. Wang
Qingsong, a contemporary Chinese artist, illustrated
this tenuous relationship with his photographic
work Can I Cooperate with You?, which pits China’s
five-star flag against the logos of McDonald’s and
Coca-Cola. Wang Guangyi, another prominent
contemporary Chinese artist, juxtaposed Western
pop art and advertisement iconography with Chinese
socialist propaganda visual language in his Great
Criticism series.
The effect is striking—while the poses of the
socialist soldiers speak of physical violence, the
predominant Western brand exerts silent aggres-
Can I Cooperate With You?
by Wang Qingsong.
28 | MAY 2011
Seven deadly sins
when doing business
in one of the world’s
fastest-growing
economies.
sion. It’s an uneasy marriage between the socialist
and capitalist ideologies.
Surely many Western businesses have entered
into joint ventures or partnerships with the Chinese
involuntarily due to the Chinese government’s
restriction on foreign investments. There are also
examples of voluntary collaborations that yield
successful results. Unlike manufacturers of con-
sumer products or mass market goods, Western art
galleries do not necessarily need to rely on a Chinese
partner to assist with the distribution, especially in
the early stage of contemporary art that is catered
to the Western collectors. Unlike auction houses
which are off-limit to foreign investments, wholly
owned foreign galleries are permitted to operate in
China. Arne Glimcher, founder of the Pace Gallery,
has teamed up with Leng Lin, a prominent professor
and art scholar–turned–art dealer. While I am not
privy to their commercial arrangements, Leng Lin
retains his own gallery, Beijing Commune. Glimcher
also works with blue chip Chinese artists on a non-
exclusive basis, taking away the pressure from these
artists to commit themselves to a business model
that they are yet to be accustomed to.
Given my own Wall Street background, I often
cringe over any business practice in China that does
not meet the highest standard of “best practice.”
I have discovered that the Chinese may act in a
certain way informed not only by their cultural >
photo courtesy wang qingsong

BreathTaking (2006), by shi Xinning.
Cheat
SHEET
for doing
business
in China
1. Regional differences can
mean varying degrees of busi-
ness sophistication.
2.
Things can happen much
faster in China. One needs to
work harder to keep up.
3. Just as many things in
China can disappoint you, there
are many things in China that
can delight you.
4. In terms of technology
application, China has migrated
to hand-held devices faster than
the West.
5. For timely communica-
tions, text messaging is more
effective than email. Most
Chinese do not use voice mail.
30 | may 2011
upbringings, but also by their historical circum-
stances. I’ve found that these “seven deadly sins”
could undermine Westerners’ effectiveness to do
deals in China.
•Telling the Chinese how to build
Rome. While we all know the old adage, “When
in Rome, do as the Romans do.” It seems that
when in China, many Westerners tend to tell the
Chinese what to do based on an assumption that
the Westerners know better. That may have held
true 30 years ago, but no more. Seiji Ozawa, one of
the first foreign-born conductors to take helm at a
prestigious American orchestra, once talked about
his own experience. He said, if you are a foreigner,
they will not hire you if you are as good as them. You
have to be better .
•Mistaking lack of sophistication for
lack of intelligence. It’s a common human
tendency to underestimate an individual coming
from a business environment that is perceived as less
sophisticated. For instance, within the past decade,
Chinese art markets leapfrogged from a handful of
commercial galleries to high-flying art funds and
art exchanges without the critical support of an
established infrastructure made up of museums, art
professionals, art critics, art laws and so forth.
Chinese are very keenly aware of its tumultuous
history in the past 200 years and the West-centric
worldview that has until recently largely dictated
international politics and economics. Anyone
who wants to do business with the Chinese must
first embrace the idea that they are very proud of
the recent rise of China, despite some misgivings
about certain unwelcomed social consequences.
•Handing off all China strategies to
one’s “China Head.” Many CEOs of multination-
als reasoned that, out of the respect for the Chinese
cultural differences, business or otherwise, they
would be better off to hand their China strategy
over to their “China Heads.” Then they often found
how wrong they were.
Given the importance of China market to most
of the Western businesses, business leaders are
well advised to stay engaged at the very top level. It
would be oversimplifying it to apply one represen-
tative’s viewpoint to the China as a whole.
•Believing that Guanxi is a talisman.
One of the first Chinese expressions that a West-
AwAsiA
erner would learn about China is guanxi—roughly
translated as “connections” or “networks of influ-
ence.” As a result, foreigners new to the game tend
to think that guanxi is everything in China. There
is no free lunch, even in China. Guanxi is part of a
complex web of bartered give-and-take’s that are
passed through generations or circles of relation-
ships. To manage a project in China, whether to
establish an art museum or a cultural foundation,
you typically would need to manage guanxi at the
national, provincial and local levels. Good guanxi
alone cannot supplant fundamental business logics.
•Expecting risk-free returns. I often found
many Western businessmen unwilling to take any
risk in China. They are so wrapped up in their view
of China as a ruthless, dangerous place that they feel
paralyzed to take any action or reasonable risk assess-
ment. Their desire to achieve a risk-free return that is
not even possible in their own homeland, let alone in a
business environment of its own distinctive charac-
teristics, is puzzling to me.
•Trading common sense for cultural
differences. A long lineage of literature on doing
business in China has attributed countless horror
stories and cautionary tales to two perceived cultural
polarities: socialism vs. capitalism and Western vs.
Chinese. While there is certain truth to these polari-
ties, we cannot succeed in any transnational setting
unless we find common ground in our humanity.
•Taking a short-term view about China.
Chinese people, like people elsewhere, respond less
favorably to opportunistic investors with no long-
term commitment to their market. Many Chinese
business leaders often observed that some foreign
investors were unwilling to “pay tuition” to study
and learn about their market. Success in China, as in
any other business environment, is not always based
on getting an upper hand over one’s counterparty.
Interestingly, sometimes the Chinese themselves are
not even free from their own versions of these deadly
sins. Perhaps this is the lesson from the chicken
and pig fable—in any relationship, one is never sure
whether one is the chicken or the pig.
Chiu-Ti Jansen is the founder of China
Happenings™, a multimedia and advisory platform
that focuses on the cultural and lifestyle industries in
contemporary China. o
Experience
the divine

June
June 23–26
23–26 |
| LinCoLn
LinCoLn CenteR
CenteR ||
DAviD H. KoCH
DAviD H. KoCH
tHeAteR
tHeAteR
CenterCharge 212-721-6500 | www.ChineseArtsRevival.org
CenterCharge 212-721-6500 | www.ChineseArtsRevival.org
Based in New York, Shen Yun Performing Arts is the world’s premier Chinese dance and music company.
Based in New York, Shen Yun Performing Arts is the world’s premier Chinese dance and music company.
NYO XXXXXXX

32 | may 2011
 ART NYO

A P i c A s s o fA m i ly
A f f A i r
Art historian Diana Widmaier Picasso curates the newest Picasso exhibit at the Gagosian Gallery with Picasso biographer John
Richardson. Picasso—one of the first in her clan to really delve into the arts—sounds off on the inspiration for the exhibit—her grandmother,
Maya, no less – her favorite of the more than 80 works in the exhibition and how it really feels to have the surname Picasso
By Rachel Morgan

Why the decision to do the Picasso exhibit now? Encounter of Pablo Picasso and Marie-Thérèse
This project has been a dream for many years. “The Walter (1927)”; “Thoughts on a Historiographical
Marie-Thérèse years” were a period of exceptional Revision” (Chemnitz, Kunstsammlungen, 2003);
creativity in Picasso’s life. One can establish parallels and “Marie-Thérèse Walter and Pablo Picasso:
with the early Cubist years and work from the 1950s, New Insights Into a Secret Love” (Munster, Picasso
© 2011 estate of PaBlo Picasso/aRtists Rights society (aRs), New yoRk. Photo By BéatRice hatala. couRtesy gagosiaN galleRy”.

three phases in which Picasso threw himself into the Graphiksammlung, 2004).
most fecund experimentations of his artistic life.
Which work in the exhibition is your favorite?
How does it feel, knowing your grandmother was The monumental original plaster from Boisgeloup,
Picasso’s muse? Bust of a Woman (1931), is one of my favorites. I
There is something magical about the way they also love an incredibly intimate drawing of Marie-
met. Some kind of providence was cast upon them Thérèse made in 1935, just after she gave birth to my
when Picasso noticed the curious beauty of the mother, Maya. There are so many exceptional works
17-year-old girl and immediately hastened to enlist that it is difficult to choose.
her as his model. I never met my grandparents, but
strangely—because Picasso’s work is a diary unto How did you select the works to appear in the
itself—I have become a voyeur of their relationship. exhibit?
The works presented are from one of the most
When did you begin to work with John Richard- astonishing periods of Picasso’s oeuvre. From
son? It was very intense. 1927 to 1941, Marie-Thérèse was the subject of
We organized it in less than a year with Valentina numerous sensual metamorphoses. We wanted
Castellani, the director of the Gagosian Gallery. the exhibition to reflect the remarkable variety
For both John and I, Marie-Thérèse was already of techniques—painting, sculpture, drawing and
very much at the center of our research. In the print—and materials—plaster, charcoal and pastel,
third volume of his biography on Picasso, A Life of among others. Painting and sculpture seem to
Picasso: The Triumphant Years, 1917-1932, published confront each other in the artist’s representation of
in 2010, John wrote about his new findings. I have Marie-Thérèse, which is shown in the exhibition’s
also written several articles on the subject— “The assortment of works. >
getty iMages

Pablo Picasso, Marie-Thérèse au béret rouge et

au col de fourrure, left. Diana Picasso, right.
May 2011 | 33
 Pablo Picasso, Femme écrivant une
lettre, top left. Pablo Picasso, Fille
dessinanat á l’in´trieur, bottom left.
Pablo Picasso, Buste de femme, below.

© 2011 EstatE of Pablo Picasso/artists rights sociEty (ars), NEw york.

Photo by béatricE hatala. courtEsy gagosiaN gallEry
© 2011 EstatE of Pablo Picasso/artists rights sociEty (ars), NEw york. Photo by rob MckEEvEr. courtEsy gagosiaN gallEry”.
Have these works been shown anywhere
else? The exhibit?
Most of the works have never been
exhibited in United States. We are so pleased
to show loans from major institutions such
as the Metropolitan Museum of Art, the
Museum of Modern Art, the Guggenheim,
the Tate, and the Foundation Beyeler.

What is it like to have the surname

Picasso?
He was an artistic genius. You just want
to share in the experience of a man with an
insatiable curiosity and constant need to chal-
lenge himself.

I suppose it goes without saying that your

ancestry inspired your career path?
Maybe so. I love art. I always have. Music
and movies are also very much part of my life.

Did you ever meet Picasso?

Unfortunately, I didn’t. He died when I was
© 2011 EstatE of Pablo Picasso/artists rights sociEty (ars), NEw york. thE MusEuM of ModErN art/

just born.

Why choose the Gagosian Galley to show

the exhibit in?
I was impressed when I saw the exhibition
“Mosqueteros,” which took place in 2009 at the
licENsEd by scala/art rEsourcE, Ny. courtEsy gagosiaN gallEry”.

Gagosian Gallery in Chelsea. I suggested that

the gallery organize an exhibition on Marie-
Thérèse and Larry Gagosian loved the idea.

Picasso and Marie-Thérèse: L’amour fou will be

on display at the Gagosian Gallery through June
25 (522 West 21st St.) The exhibit embodies the
period of Picasso known as the “The Marie-
Thérèse years” (1927-1941) and is accompanied
by a fully illustrated catalog with essays by Rich-
ardson, Diana Picasso and Elizabeth Cowling,
Professor Emeritus of History of Art at Edin-
burgh University; and never before published
family photographs of Marie-Thérèse. o

34 | may 2011
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 NYO art
trey speegle.
Paint By
num8ers
Trey Speegle brings
back an old classic
By rachel morgan
The artist sounds off on
his paint-by-number
work, what inspires him
and his Texas roots.
Tell me about your re-
cent exhibition at Benri-
mon Contemporary, ‘It’s
Not About You.’ What
were the major themes
behind the work? The
inspiration?
Every piece has the word
“you” in its title. Hence, ‘It’s
Not About You.’ It’s ironic
and a bit subversive at the
same time. Everyone is
always coming from their
own perspective and living
in their own head. The ten-
dency is to take the world
personally. This may be the
time we live in or perhaps
it’s a uniquely American
trait, always making
downtown’s best GALLeRIes
Sperone WeStWater (257 Bowery, 212-999-7337) • GaGosian Gallery (522 west 21st st., 212-741-1717) • Cheim & read (547 west 25th st., 212-242-7727)
The PaCe Gallery (534 west 25th st., 212-929-7000) • david Zwirner (525 west 19th st., 212-727-2070) • Casey KaPlan (525 west 21st st., 212-645-7335) >
36 | may 2011
everything about us.
What was theme of your
show, ‘What Are You
Waiting For?’
As with ‘It’s Not About
You,’ ‘What Are You Wait-
ing For?’ is both ironic
and earnest, speaking to
the viewer and my own
internal dialogue at once.
The surface and paint-by-
number is the hook that
pulls you in; once enticed,
hopefully, you will linger
enough to find some per-
sonal meaning.
How does being from
Houston influence your
aesthetic?
I’m not sure it really
does. But being gay and
getting out of Texas
probably influenced a lot,
though.
So you also collect
paint-by-number
paintings—why do
they speak to you?
This all started when
I inherited a collec-
tion of some 200-plus
vintage paint-by-number
paintings from Michael
O’Donoghue, a great friend
and the original head
writer of Saturday Night
Live. When he passed
away suddenly, his widow,
Cheryl Hardwick, gave
the collection to me. Now I
have something like 3,000.
I use them as a visual
vocabulary to informs the
work, but my work is not
about paint-by-number[s.]
What book is on your
nightstand right now?
Clear Your Clutter with
Feng Shui.
Where did you eat your
last meal?
I ordered from my favor-
ite West Village sushi joint,
Sakura, and ate it in bed
What specific artist do
you collect, if any?
Warhol, Keith Haring,
McDermott & McGough,
Mark Morrisroe, Charles
Lutz, Wayne Coe, Doug &
Mike Starn, David Byrne,
Lawrence Weiner. I also
participate in Art Jambo-
It’s Later Than You
Think, top, It’s Not
About You, below.
ree, which is a downtown
artist’s collective—
everything is $50 and
under. I have gotten some
great work there— Scott
Lifshutz, Leah Durner,
Maripol, Joshua Jordan,
Richard Haines.
If you weren’t an artist,
you would be?
I always thought it
would be nice to run a
flower shop somewhere,
but after having already
been an art director and
designer for Vogue, Vanity
Fair, Us Weekly, etc. It took
me decades to actu-
ally even consider calling
myself an artist and now I
can’t imagine not wearing
that hat.
Anything else?
I have to tell you, this
makes me think of a line
my late friend Quentin
Crisp once said. He was
being interviewed at great
length when he finally said,
‘You must stop this inter-
courtesy Benrimon contemporary; arian camileri
view now as I have come
to end of my personality.’
Me too.
Speegle will appear at the
Chelsea Market Anthro-
pologie May 7 from 10 a.m.
to noon. He has a group
show at Fair Folks and a
Goat in New York opening
June 1. o
 ART

EST. 1870
WALLY FINDLAY

Hugo Grenville
r e c l ining n u d e w i t h s c a r f
38 X 46 INCHES
OIL ON CANVAS

NEW YORK CITY E XHIBITION OPENING May 2011

WA L LY F I N D L AY G A L L E R I E S
PA L M B E A C H • N E W Y O R K • B A R C E L O N A

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T : ( 2 1 2 ) 4 2 1 5 3 9 0 F : ( 2 1 2 ) 8 3 8 2 4 6 0 • W W W. WA L LY F I N D L AY. C O M
NYO art
quest for
perfection
Michael Glancy’s science-infused glass and
metal sculptures steal the show.
By Andrew Guarini
Fifteen years of Michael
Glancy’s glass and metal
sculptures take the stage
at Infinite Obsessions at
Barry Friedman, Ltd. This
Rhode Island School of
Design professor discusses
his first New York exhibi-
tion in more than five years
and his newest literary
venture.
Why use glass as a
medium?
It’s all about smoke and
fire. Man’s involvement
with glass spans from
obsidian, volcanic ash used
to make spears and ar-
rowheads for 10,000 years
or molten glass, which is
refined glass that is five
millennia old.
Why make the leap from
the art world to the liter-
ary one?
The book [Infinite
Obsessions, edited by Barry
Friedman] gives a glimpse
into my creative process
for the last 15 years, which
will hopefully enrich the
exhibition for viewers.
Tell me about teaching
at Rhode Island School
of Design—why do you
do it?
I’m a graduate of RISD
and I’ve been teaching there
since after receiving my
master’s [degree.] I think
it’s incredibly stimulating
to surround myself with
downtown’s best GALLeRIes TaxTer & Spengemann
paul KaSmin ( 293 10th Ave., 212-563-4474)
38 | may 2011
young, creative people. I do
it because they contribute
to my reality as much as I
contribute to theirs.
What do you hope to
convey to the literary
world?
In a world of e-books,
our goal is to show that
there are people who still
believe in beautifully pro-
duced books as cherished
objects that are a rewarding
experience. Books outlive
artists, so we take them
seriously.
What is the inspiration
behind your art?
The natural world, na-
ture and the physical world.
Albert Einstein said, ‘What
I see in nature is a grand
design only imperfectly,
one which a responsible
person must look at with
humility.’
How does your work
relate to science?
I think science informs
• Sean Kelly
the work by inspiring
the artist. In 1968, I was
exposed to a very powerful
film by Charles and Ray
Eames called Powers of Ten.
Essentially it deals with
macro and micro phases
in nature, and I believe my
work is an abstraction of
either inner or outer space.
Do you feel that you
are on a quest for
perfection?
I do. I began my explora-
tion of the material of glass
Biologic star X.
MArty doyle
(459 West 18th st., 212-924-0212)
(528 West 29th st., 212-239-1181)
in 1970 and it took a decade
before I had a show in
Manhattan. It’s an impos-
sible goal to master the
material of glass. Perfection
is a quest.
When did you first real-
ize that you wanted to be
an artist?
I don’t know. Probably
in first grade when I made a
clay sculpture of an owl that
my mom still has. She’s 93.
I didn’t realize I wanted to
be an artist until I came to
college and hated business
school and began taking art
classes for therapy.
What book is on your
nightstand?
The Shape of Time by
George Kubler and Explor-
ing the Invisible by Lynn
Gamwell.
What is the last piece of
clothing you bought?
• Gary Snyder (250 West 26th st., 212-929-1351)
• Friedman Benda (515 West 26th st., 212-239-8700) >
Chris roqué
Michael Glancy.
A fleece by Under
Armour. My son works for
them as a designer.
The last meal you ate?
Grilled lamb chops,
which I made with
mashed potatoes.
What is the project you
have always wanted to
do but never got around
to?
Building a classic
wooden sailboat. I race
sailboats during the sum-
mer, namely my Beetle
Cat, which is a beautiful
little boat made in the
1920s in Massachusetts.
It’s too big a learning
curve to build, unfortu-
nately, so I don’t think I’ll
ever have the chance.
“Infinite Obsessions” runs
from May 5 through July
15 at Barry Friedman,
Ltd., 515 West 26th St. o
spirit of hawaii
opENiNG rECEptioN MaY 5, 6:00 - 8:00 pM
rsVp at 212 586 9800 or EVENts@aNatzarEV .CoM

aNa tzarEV
24 wEst 57 strEEt, NEw York 10019

anatzarev.com
NYO art
Burning
metal
Rene Pierre Allain manipulates his
steel ‘canvases’ with chemicals and acid.
By Rachel Morgan
Rene Pierre Allain shares
the story behind his mini-
malist works—and how he
manipulates acid, fire and
chemicals to burn images
on steel.
Tell me about your new-
est exhibit, ‘Steel Bars.’
‘Steel Bars’ is the latest
series of what I call steel
paintings—paintings
made on steel without
any use of pigments or
paint. They are painted
with steel-blackening
compound and a heat
torch on steel panels. In a
departure from my more
characteristically flatly
painted finish, in this
new work, brush strokes,
gestural marks and drips
interact with the hard
edges of the geometry.
Why use steel? What
does the use of this
material convey?
Steel is just another
material, one that I have
become comfortable
working with. People think
of steel as cold, unfriendly
and unyielding—but I see it
as totally malleable. I like
it when it looks like it floats
on the wall, somewhat
dematerialized, while still
retaining [the]characteris-
tics [of] metal.
downtown’s best GALLeRIes Mitchell-innes & nAsh
marLborough (545 WeST 25Th ST., 212-463-8634)
40 | may 2011
Rene Pierre Allain.
Tell me about the
process.
In the current work, the
metal surface is prepared
to a silvery satin finish
on which some parts of
the image are created
with gun blue and other
parts are made with heat
from a torch. Gun blue is a
mild acid that chemically
blackens steel and is usu-
ally applied as a patina.
But in these works, I am
• mary boone
painting it on using a
paintbrush.
What is your
inspiration?
Architecture, bunkers,
frescoes, heraldry, insignia,
disruptive patterns, gar-
dens, abstract art, African
masks, Chinese land-
scapes, Japanese temples.
In this series, rhythmic
patterns.
When did you first real-
ize that you wanted to be
an artist?
I [have] made drawings
and paintings since grade
school, but it was at age 27
(534 WeST 26Th ST., 212-744-7400) • Lehmann maupin (540 WeST 26Th ST., 212-255-2923)
(541 WeST 24Th ST., 212-752-2929) • benrimon Contemporary (514 WeST 24Th ST., 212-924-2400)
Steel Bar No. 32-5; below, Steel Bar No. 32-2.
while working as a news
photographer and photo-
graphing artists in their
studios that I decided to go
to art school and pursue art
full-time.
What exhibit or work
of yours are you most
proud of? Why?
What I’m working on is
always what I like the best .
Did you start off in
photography and sculp-
ture? Why the move to
painting?
In the first years of my
art practice, I was mainly
making sculpture. When I
moved to New York in 1984,
my small studio forced me
to make sculptures closer
to the wall and then on the
wall. They were construct-
ed with wood and steel
and a pigmented plaster
coating. Working on the
wall kindled my awareness
of the picture plane and
other issues of painting.
I subsequently called my
fabrications ‘constructed
paintings.’
What book is on your
nightstand?
A book on African art.
What is the last piece of
clothing you bought?
A Carhartt shirt at my fa-
vorite clothing store, Dave’s
New York (581 Avenue of
the Americas).
The last meal you ate?
Crepes made by my
15-year-old daughter.
“Steel Bars” runs
through May 14 at Ricco
john BeRens
Maresca Gallery at 529
West 20th St. o
 rader Galleries
     





 
 
 
  
 












       

CARY WHITTIER Art NYO

Exhibition view of Liam Gillick’s “Discussion

Bench Platforms, A Volvo Bar + Everything

Artistic AffAir
Good Goes,” Casey Kaplan, New York, NY,
February 18 - March 27, 2010.

Casey Kaplan, founder of New York Gallery Week and of Casey Kaplan Gallery, sounds off on the week-
long arts event, his own art background and how collecting starts early in his family. By Rachel Morgan

Casey Kaplan.
How did you get started
in the art world?
I grew up in New York
surrounded by the art
world. No one in my
family is in the business,
but everyone collected art.
They all bought art and put
it on their walls, but once
their walls were full, they
were done. I grew up going
to art galleries, going to
museums, things like that.
It just took.
What’s the earliest
piece of art you remem-
ber seeing?
My grandparents had
a Basquiat when I was a
kid that they bought from
Mary Boone. I remember
that was a really big deal
because no one else had art
quite like that.
How did the idea for
Gallery Week come to
fruition?
It started under this idea
that when the recession
initially hit, [we] felt that
people stopped coming to
galleries. It occurred to me
that if people stop coming
to galleries exclusively for
financial reasons, then we
as dealers were not pre-
senting ourselves correctly.
If everyone was only look-
ing at art commercially,
then we were at fault and
we needed to band together
and show that the gallery
is much more of a site of
education.
What does Gallery Week
entail?
On Friday, all the galler-
ies in Chelsea and uptown
who are participating
will stay open late until 8
p.m. On Saturday, there’s
going to be an event at the
Whitney from 7 p.m. to 9
p.m. On Sunday, the galler-
ies on the Lower East Side,
the Bowery and Soho will
stay open late until 8 p.m.
During this entire time,
galleries will be having
various events to augment
the shows that they’re
already having.
What’s the motivation
behind having the gal-
leries open later?
It’s to create more
possibilities for people to
come. Certainly people
who work can come after
work. It’s also to give it a
more opening type of feel,
more celebratory.
Is your daughter
interested in art as well?
Will she carry on the
tradition?
Absolutely. Her mother
is a fashion designer. I’m an
art dealer. So she’s around
art and artists. Her room is
filled with art. She already
has somewhat of her own
collection. A lot of it’s been
given to her from gallery
artists and some things I’ve
bought for her. She’s 7. She’s
around it every day.
What kinds of trends
are you seeing in terms
of sales?
There are many clients
and collectors that have
come back to the galleries.
They’ve gotten used to the
way things are in terms of
the economy. There are
also people who are inter-
ested in putting money
in art rather than in real
estate or in other things.
No matter what, if you have
a great piece by the right
artist and it’s priced right,
there’s always someone for
that.
The second annual New York
Gallery Week takes place
May 6-8 and features 60
contemporary art galleries
and not-for-profit spaces in
addition to the free events and
programming. NYGW will
benefit the Whitney Museum.
For a full list of events, visit
www.newyorkgalleryweek.
com. Casey Kaplan Gallery is
located at 525 West 21st St. o

42 | may 2011
 Vincent
Van gogh

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Still Life with Two Sacks and a Bottle Canvas: 12” high x 16” wide
Frame: 191/2” high x 231/8” wide

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NYO people
The
e volution
Ballerina
The American Ballet Theatre’s principal dancer Michele Wiles talks about
finally finding happiness in her own success. By Liz Wagner
American Ballet Theatre principal dancer Mi-
chele Wiles found herself performing for an unusual
audience one October morning—a small group of pot-bellied,
frizzy-haired little girls in pink tights, at the Bedford-Stuyve-
sant YMCA. Wiles, 30, taught the “Tiny Toes” class how to
execute a chaînés without getting dizzy. She showed the girls
how to look at a fixed point in the mirror for as long as possible
before whipping their bodies around, and encouraged them to
try it with her. They concentrated, but wobbled like zombies,
spinning in circles. Wiles—Amy Adam’s blonder, thinner dop-
pelgänger —evaluated their attempts, nodding and smiling
politely. “Very good,” she finally pronounced.
After the children made a few passes across the room she
demonstrated what the turns could look like after some prac-
tice. She placed her hands on her slender hips and catapulted
into motion, spinning like a dreidel on ice, impossibly fast yet
utterly composed. The girls burst into applause, and when
Wiles stopped, she erupted with laughter. She got a kick out of
them getting a kick out of her. She was happy.
“I’m not stuck anymore,” she said later referring to her new
attitude toward ballet, which took years of self-evaluation to
acquire. She is among the most experienced ballerinas in the
world today and has spent 13 years—nearly her entire adult
life—at the American Ballet Theatre, which Mikhail Barysh-
nikov made famous in the 1980s.
Wiles, a Pasadena, Maryland, native, joined the corps de
ballet at age 18. Two years later she moved up to soloist. And at
age 25, she was promoted principal dancer—the highest rank
in the ballet world. Since then she’s toured the globe dancing
countless lead roles, and has secured a spot among New York
City’s artistic elite.
Currently, she is rehearsing the part of Kitri in Don Quixote,
which she will perform at the Met in May. She is also prep-
ping for her latest turn in Swan Lake, where she will yet again
dance the part of angel-and-devil twins Odette and Odile—the
same role Natalie Portman’s character, dancer Nina Sayers,
portrayed in the movie Black Swan.
Wiles is all too familiar with the film’s theme of self-induced
pressure, though she has yet to experience a psychotic meta-
morphosis from ethereal ballerina to paranoid demon-bird.
But she recently went on her own transformative journey. All
she ever wanted was to become the ultimate ballet dancer—but
44 | may 2011
of a
didn’t expect to be completely confused when she succeeded.
“I thought that balloons were going to drop from the sky,”
she said. “I thought that the white horses would come in. Actu-
ally quite the opposite. I went through these crazy emotional
outpourings after I was promoted. For so long, it was like,
I want to be principal. [I was] promoted and then years of
emotional backup came pouring out. I was forced to take a look
at myself.”
A few days after her YMCA appearance, Wiles spent the
morning at the Manhattan Movement & Arts Center on the
Upper West Side, rehearsing her part in Theme and Variations,
which she performed last November in Cuba.
She left the practice studio pink-faced and flushed, red Ly-
cra leotard stained with sweat below her breasts, blond hairs
sticking out of her once-tight French twist. Still, she looked
stunning, tall—she’s 5-foot-8—lean, muscled yet delicate,
porcelain skin. She untied her size-8 Pointe shoes, slipped on
a pair of black boots and wrapped a knitted sweater around
her shoulders. Susan Jaffe, one of Wiles’ ballet coaches—and
retired ABT principal dancer and Baryshnikov’s former
protégé—followed Wiles out of the studio. Jaffe seemed to ap-
preciate that Wiles was in the throes of dissecting her life.
“She is searching to be a real artist,” Jaffe said, “an artist
with depth.”
When Jaffe left, Wiles headed for the center’s cafe and
grabbed a coffee and sesame bagel with cream cheese (yes,
dancers do eat; they have to, to replenish the massive amounts
of calories lost, Wiles said), plopped down on a chair and
began to retrace her personal odyssey.
She recalls her parents taking her to the Kennedy Center
in Washington, D.C., to watch the Royal Ballet’s production of
Swan Lake with Darcey Bussell dancing the lead.
“I fell in love with the ballet and I fell in love with her,”
Wiles said. “I thought it was so beautiful and elegant and
magical and a world I thought I wanted to be in.”
Her father, a home builder, constructed a ballet studio
in the basement of their house, which she rarely left. She
agonized over missed steps and—perhaps channeling Nina
RosaLie o’ConnoR
Sayers—practiced until she was nearly perfect. She dismissed
her parents’ demands to go to sleep in favor of staying up late
to study ballet tapes and rehash routines she learned in class.
“She was relentless with it,” Larry Wiles said of his >
Michele Wiles as Kitri
in Don Quixote.
NYO people
daughter during a phone conversation. “She
would come home and practice at night what
she learned for hours.”
She convinced her parents to enroll her at
the Kirov Academy of Ballet in D.C., a school
specializing in classical Russian techniques.
She received a full scholarship to attend, which
obliged her to board full time at the institu-
tion—at age 10.
Being an hour and a half away from her
parents and older brother tore Wiles up, but
the determination to dance won out over
homesickness. “It was something inside of me
making me do it.” She took normal academic
courses for five hours in the morning, but the
majority of the curriculum involved ballet:
dance class from 2:30 p.m. to 7 p.m., indi-
vidual rehearsal from 8:30 p.m. to 10 p.m.
Even at a school of exceptional dancers,
Wiles stood out. “She was extremely outstand-
ing when she was here,” John Dougherty,
Wiles’ social studies teacher said via phone.
“When she took an [dancing] exam everyone
went to go watch her because she was better
than everybody else. Her legs could go higher
than anybody’s.” Wiles entered three dance
competitions during her last year at Kirov and
won awards at all three, including the Gold
Medal prize at the prestigious International
Ballet Competition in Varna, Bulgaria.
At 16, Wiles left Kirov Academy and headed
straight to New York City to take on the Ameri-
can Ballet Theatre. But after a four-month ap-
prenticeship with ABT, Wiles didn’t make the
company. Instead she was placed in the studio
company, a lesser ensemble, which groomed
dancers who had potential.
“I came from a school where I was a star,”
she said. “Prodigy. I got the attention. I came to
[American Ballet Theatre] and I wasn’t really
anybody here yet. It [was] like starting all over
again.”
Her family believed in her talent and made
sacrifices to nurture it—Wiles’ mother staying
with her two weeks a month for about two years,
her father sometimes sleeping in his car at the
Vince Lombardi Service Area just north of the
New Jersey Turnpike to rest during long treks
back to Pasadena. But, as Larry Wiles puts it, “I
felt totally energized because I was doing this
for someone who wanted to do it so bad.”
Within a year, Wiles worked her way into
the main company. She leapt into a manic
rehearsal schedule, dancing up to 12 hours
some days. Her body ached constantly. Since
ABT is primarily a touring company—the New
York season only lasts from May through July—
Wiles quickly adapted to life on the road. She
46 | may 2011
will give performances in London, Washing-
ton, D.C., Miami, Los Angeles and parts of Ja-
pan this year, on top of class and rehearsal. She
has graced the stage at the world’s most famous
opera houses and has seen her name printed in
international newspapers next to words such
as “powerful,” “talented” and “impressive.”
Wiles’ current dance partner, Cory Stearns,
said he was slightly intimidated by her star
status when they began working together three
years ago. He was 21 at the time, and still a solo-
ist. (He was promoted to principal in January).
Ballet became Wiles’ identity. Wiles was ballet.
But soon she realized she wasn’t O.K. with that.
“I remember one day literally standing
on the stage thinking, ‘What am I doing
here?’” she said. “I think up until now I just
went through this period of searching.” She
described herself as an “automaton” ballerina
who did everything for the ballet and said she
often cried before performances to calm her
nerves. “It was almost like I was searching for
my soul in a way, you know?”
Her personal journey was played out on-
stage, and critics took note. A big blow came
after a March 2009 London performance of
Swan Lake, the same ballet, ironically, that
Wiles fell in love with as a girl. She danced
Odette/Odile, which requires both mechani-
cal and emotional commitment, as reinforced
in spectacularly manic fashion in Black Swan.
While nearly every review praised Wiles’
technical prowess they also panned her acting.
The Times in London cited her lack of “striking
dramatic personality.” A Telegraph reviewer
wrote he didn’t “buy her” as delicate Odette or
as flirtatious Odile. A critic from The New York
Times penned that she had a “reluctance to
carry the story” as if it were her own, also opin-
ing that she was “on the music but never in it.”
Wiles admits that it’s difficult to hear nega-
tive criticism, but concedes the London per-
Wiles as
Myrta in Giselle.
formance was a bit hollow. She says the crisis
of faith in her career was a big reason why. As
Wiles plucked oversize bobby pins from her
updo and let her thick hair fall just past her
shoulders, she looked completely unaffected by
that tough time in her life.
Bigger things have transpired since then.
Primarily, James McCullough, her husband.
Her “soulful businessman, Jamessss.” Wiles
said, lingering on the “s” just a bit. The couple
was set up by one of ABT’s board members.
McCullough, CEO of biotechnology com-
pany Exosome Diagnostics, said he knew Wiles
was utterly dedicated to her career but was
surprised to learn she had dimension beyond
the ballet. On that first date, they discussed
their shared love of history and philosophy.
“She’s a big thinker,” McCullough said on
the phone.
After two years of dating, they wed in early
October at Madison Avenue Presbyterian
Church. They recently returned from their
honeymoon road-tripping across northern
Italy. Now it seems Wiles isn’t drowning in
dance now that the marriage is her focus. She
no longer obsesses over titles—corps member,
soloist, principal, star.
She has also learned how to convert negative
drivers—like the strife for perfection—into
helpful energy. “That’s when you find your real
confidence,” Wiles recently wrote in an email.
“I like to ask myself how I want to feel and then
I picture myself dancing in a positive way—this
is a great technique to overcome pre-perfor-
mance anxiety.”
McCullough noticed the maturity in his
wife’s dancing when she reprised the role
of Odette/Odile at the Met last June. Wiles
noticed the change in herself as well.
“I feel like my dancing has flipped,” she said.
“Like it’s coming from the inside out instead of
the outside with nothing in.”
During an early scene in Black Swan, ar-
tistic director Thomas Leroy, played by Vin-
cent Cassel, encourages high-strung Nina to
take a chill-pill. “Perfection is not just about
control,” he tells her. “It’s also about letting
go.” Wiles recently had a similar revelation.
She explained that she had heard someone
say that if you clutch sand in your hand too
tightly, it will slip away. She demonstrated,
extending a graceful arm punctuated with
a clenched fist. Wiles believes the same is
true of the ballet. “If you can let it go,” she
said, slowly opening her hand like a rosebud
GENE SCHIAVONE
in bloom, “I think there’s something else
that happens. You have space. Space to go to
another dimension. Be an artist.” o
 Richard Serra Drawing
A Retrospective

Through August 28 metmuseum.org

The exhibition is made possible in part by the Jane and Robert Carroll Fund. Richard Serra, September, 2001, paintstick on handmade paper,
It was organized by the Menil Collection, Houston. Private collection. © Richard Serra. Photo: Rob McKeever.
NYO FASHION
Fa S H I O N ’ S a R T
mUSE
Diane von Furstenberg on China, New York and her new exhibit
at the Pace Gallery in Beijing.
By Chiu-Ti Jansen
W
hen Diane von Furstenberg published her
autobiography Diane: A Signature Life in 1998, I
rushed out to get myself a copy and devoured it
overnight. I did not grow up with her wrap dress—although
now I do own one in her vintage reprint—but I was drawn to
her free spirit, which travels between the old countries and
the new world, between fashion and art. But little did I ever
expect that someday I would interview her in China.
For von Furstenberg, China was not a surprising destina-
tion. I caught up with her in the few hours counting down to
the opening reception for her “Journey of a Dress” exhibi-
tion that opened at Pace Beijing in Beijing’s trendy 798 Art
District on April 2. The exhibit, which highlights the 40-
plus years of von Furstenberg’s career, includes 80 pieces.
The original wrap dress from 1973, photographs, letters and
von Furstenberg’s art collection, including a Warhol, will all
be on display through May 14.
In Shanghai, where I attended Pearl Lam’s dinner for von
48 | may 2011
Furstenberg’s family and friends and her black-tie Red Ball,
I had plenty of opportunities to observe her in her interac-
tions. Surrounded by her family members, including her
only brother, Philippe, who flew in from Belgium, she spoke
alternatively in French and in English, looking simultane-
ously engaged and relaxed.
“China inspires me today in the same way that New York
has inspired me,” she said. She went on to explain that when
she first moved from Europe to America at the age of 22,
she was drawn to America because it seemed anything was
possible. She said she feels very much the same way about
China today.
“Journey of a Dress” is a journey of an exhibition. It ends
with China. The designer believed that the show would give
the Chinese, who in the past four decades lived through a
world very different from America, a window to an Ameri-
can cultural history.
Born to a Russian-born father and a Greek-born mother >
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Craig Filipacchi
Gramercy. Excl. Sun drenched 3 bedroom/2.5
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every amenity. $2.65M. WEB# 1189054.
Sarah Orlinsky-Maitland 212-906-0573
Sharri Kane 212-906-0532
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We are pledged to the letter and spirit of U.S. policy for the achievement of equal housing opportunity throughout the Nation. We encourage and support an affirmative advertising
and marketing program in which there are no barriers to obtaining housing because of race, color, religion, sex, handicap, familial status or national origin.
 The Highline.

features—and neighborhood feel—are what eastward,” they said.

winner. Mostly things with character.” makes it enduringly popular, some brokers said.
In terms of real estate popularity, downtown “Less density, cobblestone streets, original
has always emerged as somewhat of a front- loft buildings interspersed with new buildings
runner. When asked why, brokers’ pointed out within the context of the neighborhood,” said
the neighborhood’s unique feel. Kenneth Malian, senior executive vice presi-
“[What makes the neighborhood unique dent and director of sales at Prudential Douglas
is] the close proximity of neighborhoods with Elliman. “Downtown still feels like a neighbor-
distinct personalities,” Grant said. “Soho has hood; we have a new Hudson River Promenade,
a totally different feel from its neighbor Little unique product, more light and air and terrific
Italy, which is different from Chinatown.” public transportation.”
Zollinger also names area amenities as a Shii Ann Huang, senior vice president
major draw. and associate broker at Corcoran, also sees a
“The downtown real estate market is unique neighborhood-like atmosphere downtown.
because it offers exciting new areas for recre- “There is a real village or small-town feeling
ation and entertainment, including the High about many of the downtown areas that buyers
Line, Hudson River Park, celebrity architecture often cite as the reason they are buying in the
and exciting new restaurants,” he said. “These area,” Huang said. “Cobblestone streets and
kinds of neighborhood attractions bring buyers the charm of old New York contribute to that
because they don’t exist anyplace else.” feeling. That and easy access to amenities draws
Jill Mangone, vice president in a broad crowd.”
and director at Brown Harris As for what’s next for the
Stevens also said the High Line
brokers’ neighborhood, continued
was a major plus for the area. pick: growth seems to be the answer.
“The High Line has had a
Iconic “With section two of the
A plethora of new buildings has also popped
up downtown.
The Financial District is marked by hot new
developments like the Gehry-designed rental
building 8 Spruce Street and condominiums
developments 99 John, 88 Greenwich, 20 Pine
Street, 67 Liberty Street, 75 Wall and the Wil-
liam Beaver House.
In fact, some brokers think this area is on its
way up.
“I really think that FiDi is going to be the
next big thing,” Hedaya said. “The value and
building quality are really thing[s] that will
emerge once more conveniences and retailers
come down there.”
In Battery Park City, the Visionaire and 1
Rector Park are in high demand. Soho boasts
the Trump Soho Hotel Condominium with a
hefty number of penthouse residences—11 to
be exact—and amenities to match. Soho Mews
is another luxury high-rise popping up in the
trendy hood. Soho’s Jean Nouvel–designed 40
Mercer is also hot.
Brokers point to One Jackson Square in

tremendous effect on West
Chelsea,” she said. “I think it has
humanized what was a desolate
and gritty area.”
An eclectic group of people is
what makes this area hot, some
brokers said.
“There is a juxtaposition [be-
tween] young and old, wealthy
and middle class, creative types
and business execs, all harmoni-
ous together,” said Meg Siegel,
senior vice president at Sotheby’s
International Realty.
The neighborhood’s unique
100 | may 2011
down-
High Line opening in June Greenwich Village as a standout. Palazzo
and Related’s soon-to-begin Chupi is another fan favorite.
towners Hudson Rail Yards construction,
West Chelsea has tremendous
Developments along the waterfront in
Greenwich Village are other marks of the area’s
Robert De Niro continued growth opportu- development—like Richard Meier’s Perry Street
Andy Warhol nity,” Zollinger said. “The new condos or Superior Ink at 400 West 12th St.
Avenues School, set to open in “The Richard Meier towers on Perry Street
Ian Schrager
2012, will make downtown an instigated waterfront development along the
Lou Reed
even greater home destination West Side Highway,” Grant said.
Serge Becker
for families wanting proximity It’s no wonder that potential renters and
Andre Balazs to a school on par with Dalton, buyers are flocking downtown now more than
Sarah Jessica Parker Collegiate and Spence.” ever—with the abundance of shops, eateries and
Julian Schnabel Stimpson and Hanja predict brand-new green space like the High Line, life
Susan Sarandon growth as well. down south (in Manhattan of course) is looking
Edward Burns “[It] will continue to expand better and better. o
Christy Turlington
Anna Wintour
Joey Ramone
introducing

The Zollinger Collection

For Sale: 450 West 17th Street, 1509 For Sale: 450 West 17th Street, 1508/1509 For Sale: 450 West 17th Street, 1508
3BR | 3BA | 1637sf Interior; 1753sf Terrace 4BR+ | 4BA+ | 2900sf Interior; 1753sf Terrace 2BR | 2BA | 1266sf
Asking: $4,750,000 (CC. $2,110.49) Asking: $7,145,000 (CC. $2,110.49) Asking: $2,395,000 (CC. $1,225.55)

For Sale: 450 West 17th Street, 1705 For Sale: 404 West 48th Street, 3B Sold: 450 West 17th Street, 2507
Conv. 2BR | 2BA | 827sf Interior; 196sf Balcony 1BR | 1BA | 500sf 2BR | 2.5BA | 1885sf
Asking: $1,675,000 (CC: $875.21) Asking: $429,000 (Maint. $485.00) Asking: $4,575,000 (CC. $2,007.15)

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Visit ZOLLINGERNYC.COM PRESIDENT • LICENSED REAL ESTATE BROKER
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 NYO MARKETPLACE
A NOTE FROM
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MAY 2011 | 111
NYO PHILANTHROPY
Keeping
the Peace
Rich Palermo of the Anti-
Violence Project makes it his
mission to eradicate violence
within the LGBTQ community.
By Natalie Howard
Palermo, who was chairman of the board for three years and received
the Stonewall Foundation’s Allan Morrow Prize for Excellence in Board
Leadership, sounds off on what it’s really like to work at the largest
LGBTQ anti-violence organization in the country.
Why did you decide to become involved
specifically with AVP?
I felt that any work I did with AVP would re-
ally make a difference. AVP is the largest LGBTQ
anti-violence organization in the country—and
we only have 23 employees. Their mission also
really drew me in. AVP is a safety net for our
community, for people who are vulnerable, for
people who are the victims of hate crimes or
domestic violence.
What is your role at AVP?
AVP has five standing committees, and I’m
on the development committee. We’re in charge
of organizing and planning events and reaching
out to new supporters. In September, [I’ll be]
co-hosting the Courage Awards, our biggest
fund-raiser of the year.
Tell me more about the Courage Awards.
The Courage Awards is AVP’s largest annual
fund-raiser, where AVP honors outstanding in-
dividuals, organizations and corporations whose
work on behalf of the LGBTQ and HIV-affected
communities has made a difference. This year,
the 15th Annual Courage Awards will take place
112 | MAY 2011
JAMES BERNAL
on Sept. 22 at Studio 450 (450 West 31st St.). I
am serving as a co-host of the event, with Kyle
Blood, Brenda Bello and party promoter Daniel
Nardicio.
Why is this event so important?
It gives us a chance to honor the great work
being done by the honorees in the past, we have
honored politicians, Fortune 500 companies,
activists, journalists and bloggers. It offers our
supporters and people new to the organization
a fun way to get together and learn more about
AVP and its important work.
How does AVP serve the community?
Our direct client services include provid-
ing support for victims of violence. There’s
an entire spectrum of violence that runs the
gamut, from walking down the street in Chelsea
holding hands with your boyfriend and feeling
scared to instances far more serious, like getting
beat up. Through our community outreach,
we’re working hard to make people safe. We
offer training in things like safe online dating
and we work with the police to understand our
community better.
What is the most important service AVP
offers?
Definitely our 24-hour bilingual hot line. It’s
important to realize that our number is available
for anyone with any problem at all. You can call
it if you’ve just been called a fag; you got punched
in the face; you had an argument with your part-
ner; or you’re feeling scared, depressed, suicidal,
anything. On average, our hot line receives one
call every four hours.
What is the most memorable moment of
your time with AVP?
Years ago, an acquaintance of mine was leav-
ing a bar in Chelsea with friends. They left and
got in a cab. While he was waiting for another
cab, a group came over to him, called him a fag
and punched him in the face, breaking his jaw.
When I found out, I reached out to him. I sent
him an email, telling him about AVP. He emailed
me back saying that when it happened, he had
remembered my talking about AVP and had
contacted them. They brought him in, gave him
counseling, took him to the police station and
made sure it got classified as a hate crime—and
they already had someone in custody.
From where does AVP get its funding?
More than 50 percent of our funding comes
from our amazing donors and private founda-
tions. The rest is from the government—city,
state and federal.
What is the most difficult part of being a
part of AVP?
Day after day, dealing with people who are
victims of hatred and fear takes a toll. It’s a really
hard thing. As soon as you’ve finished help-
ing someone and you’re feeling good, you get
another call.
What book is on your nightstand right
now?
A Confederacy of Dunces by John Kennedy
Toole. It’s been sitting on my nightstand for
quite some time.
Where did you eat your last meal, and what
was it?
My last meal was a great, traditional, Sunday
Italian dinner on Long Island at my parents’
house.
For more information about AVP, visit
www.avp.org. o
 C H A M B E R O R C H E S T R A

HONORING
Kim Bleimann and Laurie and Richard Brueckner
ARTISTIC HONOREE
Toby Perlman and the Perlman Music Program

Debut F E AT U R I N G

Performance Ryu Goto violin

AT JAZZ AT LINCOLN CENTER R O S S I N I Overture to L’Italiana in Algeri
S I B E L I U S Valse Triste
Excerpts from
MENDELSSOHN
A Midsummer Night’s Dream

“Ryu Goto is a sterling S A R A S AT E

Zigeunerweisen, Op. 20
with violinist Ryu Goto
violinist with impeccable M O Z A R T Ave verum corpus, K. 618
T C H A I K O V S K Y Serenade in C for Strings, Op. 48
technical credentials and
a personal music air.” MONDAY
— LORIN MAAZEL
MAY 16, 2011
7:00 PM
Rose Theater in Frederick P. Rose Hall
Home of Jazz at Lincoln Center

Tickets: $25, $50, $75

Jazz at Lincoln Center Box O∂ce
Broadway at 60th Street, Ground Floor
Monday–Saturday, 10am-6pm; Sunday, 12pm-6pm
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e ecutive dual time
Self-winding. Patented time zone quick setting.

Black ceramic bezel and 18 ct rose gold case.

Water-resistant to 100 m. Rubber band.

W W W . U LY S S E - N A R D I N . C O M F O R A C ATA L O G , C A L L 5 6 1 - 9 8 8 - 8 6 0 0 O R E M A I L : U S A 8 9 @ U LY S S E - N A R D I N . C O M
 Hai Bo anD Pace Beijing, © 2010

Diane von Furstenberg,

2010, by Hai Bo.
NYO FASHION Diane von Furstenberg,
1974, by Andy Warhol.
who was a Holocaust survivor, von Fursten-
berg grew up in Belgium and moved to New
York after she married the late Prince Egon
von Furstenberg of Germany. Before she of-
ficially became a princess, she vowed to retain

By AnDy WArhol. © DiAne Von FurstenBerg stuDio© 2011 the AnDy WArhol FounDAtion For the VisuAl Arts, inc. / Artists rights society, neW york
her independence by having a career.
Despite no formal training in fashion
design, she has an instinct for “mak[ing] life
elegant and easy for women” and a good busi-
ness acumen befitting for an economics major
at the University of Geneva in Switzerland,
where she met Prince von Furstenberg. In
1973 she introduced the iconic wrap dress. By
1976, five million dresses had been sold, land-
ing her on the cover of Newsweek.
In 1985, she moved to Paris, where she
started the French publishing house Salvy.
She returned to America in the early ’90s,
finding herself a stranger again to New York.
She reintroduced the wrap dress in 1997,
writing her own comeback story. When von
Furstenberg first set up her design studio and
showroom in the then backwater meatpack-
ing district in the late ’90s, she led the pack of

China inspires
me today in
the same way
that New York
has inspired DVF danced at the Pace
Beijing opening after-party.

me.
fashion designers who eventually migrated
downtown. She told me that she was often
asked if she would have thought about ending
up in China. Growing up in Europe, she was
always fascinated with China: from the The
Adventures of Tintin, a series of comic strips
known as a quintessential story about China—
to 18th-century chinoiserie aesthetics to the
Cultural Revolution.
The retrospective at Pace Beijing was a
well-timed branding strategy for von Furst-
enberg’s dream of “selling every Chinese a T-
shirt.” Currently, her DVF brand operates two
boutiques in Beijing and Shanghai. Before the
brand announces a major nationwide rollout,
von Furstenberg would be building on her
celebrity draw to create a following among the
DVF stuDio

seasoned buyers in Beijing and Shanghai. >

50 | may 2011
 THROCKMORTON FINE ART

PORTALS OF TRANSFORMATION
MEZCAL A TEMPLES

May 11th - June 4th, 2011

Hardbound catalogue available: $75.00

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 NYO Fashion
DVF with her wrap dresses
prior to her Pace Beijing
retrospective opening.
The wrap dress is, physically and meta-
phorically, a journey for von Furstenberg. The
garment itself is an embodiment of freedom—
free from a zipper, buttons, iron and the
dictate of a ’70s feminist bow-tie pant suit.
The wrap dress means freedom to feel like a
woman. I asked the designer why freedom
was so important to her.
“Maybe it came from my mother—when
she was 20 she was a prisoner [at a concentra-
tion camp] in Germany. She was reduced to
nothing. It was a miracle that she survived. I
was a miracle that was born 18 months later.
My pursuit of freedom, strength and inde-
pendence and [my determination to] never be
a victim very much came from my mother’s
experience.”
While celebrating women’s confidence
and independence, she did not subscribe
to a she-man version of womanhood. “Feel
like a woman, wear a dress”—the slogan that
von Furstenberg has made popular—was a
52 | may 2011
breakthrough of the false dichotomy between
he and she and between career track and sex
appeal. She taught women that it was possible
to be sexy and powerful at the same time.
Von Furstenberg was one of the first fash-
ion designers who significantly intersected
with the world of contemporary art. Andy
Warhol painted her in both the ’70s and the
’80s. Francesco Clemente painted a portrait
the day she first became a grandmother.
The Beijing show has incorporated new
artworks that did not exist in its previous
incarnations in Russia and Brazil. She re-
cently posed for Hai Bo’s photographic por-
trait in the artist’s studio in the outskirts of
Beijing. She also sat for Chuck Close in his
New York studio, who took a picture of her
swollen face and bruised cheekbones right
after a bad skiing accident.
“The last thing I would want to do [after the
accident] was to be photographed. But it came
out great,” she told me.
Zhang Huan created three ash paintings,
Chen Lei
applying ashes collected from Buddhist
temples in Shanghai to canvases of an
American flag, a Chinese flag and a portrait of
von Furstenberg inspired by fashion photog-
rapher Peter Lindbergh’s photograph of her
for the October 2009 issue of Harper’s Bazaar.
Li Songsong’s thick impasto portrait of her
was based on a photograph that appeared on
the cover of Interview magazine in March
1977. (She did not sit for Zhang and Li.) In the
artistic renderings as well as in real life, she
was glamorous, but with a European noncha-
lance and bohemian flair that reminded me
of a Parisian artist. There was no trace of a
plastic beauty from Hollywood.
There could be no better example of how art
and fashion intersect than through the lens of
von Furstenberg and her iconic designs, a fact
she is well aware of.
“Art is a reflection of our time,” she said.
“Fashion is a reflection of our time.” o
“Bright Day”, Oil and Acrylic on Canvas, 2011, 82 x 62 inches

America Martin
N e w Wo r k s

M
G Mark Gallery 11 Grand Avenue, Englewood, NJ 07631
www.mark-gallery.com T: 201-568-6275
Mon. through Sat. 10 am to 6 pm or by appointment
NYO fashion

MotherTucker
Tucker designer Gaby Basora talks print
inspiration, designing for Target and what’s next
for New York’s most colorful brand. By Coco Mellors
Designer
Gaby Basora.

You started out in the fashion industry

as a stylist. What made you take the leap
from styling to designing?
When I was styling, I was always trolling
through vintage and fabric stores finding pieces
for jobs. I would buy fabrics that appealed to
me and keep them in my closet until one day
I would decide that I needed a trench coat
and [would] make one out of it. People started
asking me on the street where I got my clothes.
I think that little bit of attention compelled me
to think about designing for other people.
You have four sisters. Did growing up
around so many women influence the
feminine aesthetic of your clothing?
I grew up in Los Angeles in a house filled to
the brim with my sisters and our girlfriends, so
there is femininity to the brand. At the same
time, there’s also versatility.
Where do you draw inspiration from for
your designs?
The women that I love and constantly refer-
ence in terms of aesthetic are Monica Vitti,
Julie Christie and Brigitte Bardot.
a look from
Tucker.
line so imbued with color?
I love to wear black and think there’s a real
beauty and simplicity to it. But I think a lot
of people wear black because they’re scared
to risk color or make mistakes and not look
sophisticated.
How has the line developed?
It started with the top and then it was a bit
like “This is the House that Jack Built” in the
sense that the blouse became a dress, which
became a skirt, and so on. I don’t have formal
try to operate like a small business where
there is a real thoughtfulness to everything
we do.
Why did you decide to make all your gar-
ments in New York?
I think there are only a handful of designers
that are committed to more local production,
and for me it just feels right. I have a deep
affinity towards the woman who owns the fac-
tory that sews most of our collections. There’s
something about the process that is really
alexey yurenev

training, so the first blouse came from work- artistic. The way that the clothing is produced
New York is a city dominated by black ing on a dress form and pinning it together. is the way luxury goods are, minus certain
clothing; why did you choose to create a Even though we’ve grown so much, I always finishings that would raise our price point. o

54 | may 2011
 Participating Galleries Nicelle Beauchene Gallery
and Not for Profits Marianne Boesky Gallery
Tanya Bonakdar Gallery
303 Gallery Bortolami Gallery
Miguel Abreu Gallery Gavin Brown’s enterprise
Alexander and Bonin CRG Gallery
Artists Space Canada
Cheim & Read
James Cohan Gallery
Lisa Cooley
Creative Time
D’Amelio Terras
Elizabeth Dee Gallery
The Drawing Center
Eleven Rivington
Derek Eller Gallery
Feature Inc.
Zach Feuer Gallery
Foxy Production
Friends of the Highline
James Fuentes LLC
Laurel Gitlen
Marian Goodman Gallery
Alexander Gray Associates
Greenberg Van Doren Gallery
Greene Naftali
Jack Hanley Gallery
Harris Lieberman
Hauser & Wirth
Casey Kaplan
Sean Kelly Gallery
Anton Kern Gallery
Kimmerich
The Kitchen
Nicole Klagsbrun
Andrew Kreps Gallery
Lehmann Maupin Gallery
Galerie Lelong
Luhring Augustine
Metro Pictures
Mitchell-Innes & Nash
David Nolan New York
On Stellar Rays
The Pace Gallery
Participant
Friedrich Petzel Gallery
Printed Matter
Public Art Fund
Andrea Rosen Gallery
SculptureCenter
Jack Shainman Gallery
Sikkema Jenkins & Co.
Swiss Institute
Taxter & Spengemann
Team Gallery
Rachel Uffner Gallery
Wallspace
White Columns
Tracy Williams, Ltd.
David Zwirner

Participating Artists
Radcliffe Bailey
Kim Beck
Frank Benson and Ken Price
Ashley Bickerton
Fernando Bryce
John Chamberlain Donald Judd
Olga Chernysheva Matt Keegan
Steven Claydon William Kentridge
Caetano de Almeida Martin Kippenberger
Folkert de Jong Jakob Kolding

www.newyorkgalleryweek.com
Willem de Kooning Leon Kossoff
Brian DeGraw John Knight
John Divola Sean Landers
Cheryl Donegan & Tom Louise Lawler
Meacham Judy Ledgerwood David Ratcliff
Debo Eilers Nate Lowman Alexander Ross
Roe Ethridge Florian Maier-Aichen Salvatore Scarpitta Stephen Vincent
Josh Faught & William J. O’Brien Robert Mapplethorpe Joan Semmel Kara Walker
Ori Gersht Katy Moran Dasha Shishkin Gillian Wearing
Amy Granat Robert Moskowitz Alan Shields Garth Weiser
Renée Green Carter Mull Xaviera Simmons Jesse Willenbring
Mark Grotjahn Naoto Nakagawa Li Songsong Michael Williams
Subodh Gupta Jaume Plensa Richard Tuttle Ivan Witenstein
Hilary Harnischfeger Raha Raissnia Juan Usle Aaron Young

NYGW 2011 benefits the A special thanks to the NYGW Sponsors and Partners
Whitney Museum of American Art Founding Sponsor
NYO fashion

a rachel
antonoff
look.

Old School Style

Rachel Antonoff designs inspire a sense of nostalgia By Priscilla Polley

Lifelong New Yorker Rachel
Antonoff
started off her collection with just three
dresses. Since then, her nostalgic pieces
have become a go-to for fashion’s latest set of
ingenues.
Antonoff’s first stint in fashion was work-
ing in public relations at Rebecca Taylor. She
left for a career in writing, vowing never to
return to the world of fashion. But it seems it
was inevitable that she do just that.
“One magical summer I was living in the
West Village with my equally clothing-ob-
sessed roommate Alison Lewis,” Antonoff
time we thought it was an amazing deal for
us to get the pieces out of our closets and into
a store.” Jane Keltner of Teen Vogue wrote a
piece on the collection, and their 16-piece or-
der at I Heart quickly turned into a 300-piece
order at Barneys. rachel
“It felt like one of those dreams where you antonoff
show up to school and you didn’t know it was
the day of the final,” Antonoff remembers.
“We weren’t prepared. It was crazy. Everyone
loved the clothes, but we had zero idea how to
produce a collection, and we made one mis-
take after another.” Fortunately, the duo were
quick learners.
Sarra Fleur aBou-el-Haj @ lVa+ lindSey ByrneS

said. “Every night we would get dressed up
and go out on the town. We had all these
ideas for dresses that we wish we had, so we
decided to make them.” Thus, a fashion label
was born.
The pair convinced the now-defunct Nolita
boutique I Heart to sell their wares under the
collection name Mooka Kinney.
“Our first dresses cost us $125 to make,
and we sold them for $100,” she said. “At the
They worked together for three years until
they decided to part ways in 2008. Since then,
Antonoff has quickly built up a steady fan
base and her collection, Rachel Antonoff, has
taken off in a dramatic way.
Recent collections have centered on nos-
talgic themes such as high-school dances and
slumber parties. For her fourth presentation
in February, Antonoff created an elaborate
dance setting at LaGuardia High School com-
plete with disco balls, streamers and a kissing
couple on the dance floor. The result was a
multi-dimensional spectacle that blurred the
lines between the models and attendees—
which included the crème de la crème of
editors, It Girl fan Alexa Chung and super-
bloggers Tavi and Susie Bubble. And that was
exactly Antonoff’s intention.
“My goal has always been to bring the
world alive that I feel the clothing lives in.” o

56 | may 2011
RobeRto beRnaRdi

MAY
luci ed ombre, 2011
oil on canvas
23 3/4 x 25 1/2 inches

RapHaella spence

il canale di san marco, 2010, oil on canvas, 21 1/2 x 47 1/2 inches

Rey Milici Thom and ann’s, 2011

oil on canvas
42 1/4 x 47 3/4 inches

G a l l e R y a R t i s t s , l o u i s K. M e i s e l G a l l e R y , s o H o
NYO fashion

fetherston.

Ethereal Erin
Fetherston talks her aesthetic, her
inspiration—a tutu, no less—and her
new, affordable line By Marley Lynch
Erin Fetherston inhabits a par-
ticular New York City, a modern fairy
tale defined by whimsy and romance. But
don’t be fooled by her taste for the fanciful.
Fetherston is an astute businesswoman with
a practical sensibility, lauded for creating
pieces as beautiful as they are wearable. She
grew up in the San Francisco Bay area and
received her B.A. from UC Berkeley before
moving to Paris to attend Parsons School of
Design. She debuted her haute couture line,
Erin Fetherston, six years ago.
She traces her dream of being a fashion
designer back to her childhood. She recalls beg-
ging her parents to sign her up for ballet class
for the sole purpose of acquiring a tutu. “I didn’t
continue the classes, but I wore my purple tutu
outfit every day for a long time,” she said.
Despite the challenges of building a
Looks from the fall
business in a foreign country, Fetherston 2011 presentation.
maintains that Paris was the ideal place to
establish her aesthetic.
“I feel like it’s a good place to daydream,” and Peter Pan collars. “There’s so much more support here available
she said. In 2007, Fetherston won the Ecco Domani for young designers, and one can feel really
Fetherston quickly gained notoriety for her Fashion Foundation Award, was nominated embraced.”
unique designs and made the move to New York for a Council of Fashion Designers of America Fetherston’s next venture is her new line,
in 2007. It seems her success has only grown (CFDA) Swarovski Award for Womenswear and Erin. The contemporary collection was pre-
since. It began with the GO International line made it to the final round of the CFDA/Vogue sented during this spring’s Fashion Week and
she created in collaboration with Target, which Fashion Fund. will be available this July at much lower prices
made the Fetherston line available to a broader She credits a big part of her success to the than her original designs. Fetherston describes
fan base. The limited-edition collection con- “nurturing” environment of New York City—at it simply:
erin fetherston

sisted of chiffon party dresses, oversize heart least in the fashion industry. “The clothes are for that girl who always
handbags and ruffled blouses, finished with “The way that the industry rallies around its wants to feel pretty, but wants something that
signature Fetherston details like velvet bows young designers is quite exceptional,” she says. isn’t overly saccharine.” o

58 | may 2011
BLOOMFLOWERS.COM

May 2011 | 59
NYO restaurateur profile

Lunch at
Lure Fishbar
The restaurateur and founder of Tasting Table, John McDonald, eats lunch with NYO.
By Meredith Hoffman o Photography by E.F. Angel

J
ohn McDonald welcomed me to a curved leather booth
at the center of Lure Fishbar, whose teak ceilings and
orange-tinted windows resembled the inside of a private
yacht. As Gawker execs passed by and a waiter placed
fresh sushi rolls on a nearby table, McDonald ordered up
a round of raw oysters and ripped open a bright orange
packet of EBoost energy drink.
“We’re going to boost your tea!” he said, pouring the low-calorie,
all-natural powder into my beverage. “No one drinks this more than
my partner and I—that’s the way I am about everything, I think, ‘What
would I want to eat or drink?’”
Lure and EBoost are two in a long line of McDonald’s creations,
including the Web site Tasting Table and three other successful
restaurants. And now, with even more energy thanks to his EBoost
drink invention—found in every W Hotel room and in Dean and Deluca
stores—he seems unstoppable.
“You catch yourself saying you’re not going to open another restau-
rant, but at the end of the day you never know,” he said. “My work isn’t
any harder than the street vendor who wakes at 7 a.m. to haul out his
espresso cart. It’s just different work. It’s like I’m setting traps and then
checking, ‘What do we have here?’”
Three of those “traps” are on the same block—Lure Fishbar is
down the street from Burger and Barrel, opened in October, and
MercBar, open since 1993. Chinatown Brasserie, the fourth restau-

60 | may 2011
Restaurateur John
McDonald at Lure
Fishbar, one of his
many restaurants.

May 2011 | 61
NYO chef profile
rant, is still close by, on Lafayette and Third Street. Every day McDon-
ald hops between the restaurants, each filling a basic gustatory desire.
“I want to answer the question of what’s for dinner or lunch—so if
you feel like oysters and Champagne, come to Lure, or a burger, come
to B and B.”
And though he spends the most time monitoring his newest venture,
Burger and Barrel, McDonald seems to enjoy Lure the most of all his
culinary children.
“I could eat here every day, because of the diversity of the food,” he said,
slurping down a Kumamoto oyster from its spoonlike shell. McDonald
envisioned the Lure concept to fill his own personal desires for such
cuisine, and he decided on aesthetics of the 140-seat space with designer
Serge Becker.
And when the “diverse” seafood options don’t match his desires,
McDonald orders half a turkey sandwich.
“Half, just half,” he told the waiter and turned to me. “It’s not on the
menu, but that’s the beauty of having my own kitchen.”
McDonald’s resolute request for his sandwich seems to mirror the
confident choices he’s made to get him this far in his career. Beginning
as a “beach bum” at a Southern Californian college, he said he had an
“epiphany” that ne needed to move to New York, so he transferred to Co-
lumbia for his final two years of college. Then, though his plan was to work
in finance, McDonald let “naïve” confidence and creative friends spur him
to open MercBar at age 23. With no previous restaurant experience, he
relied on his own preferences as a customer—a strategy he still employs.
A true believer in the power of the restaurant experience, McDonald
maintained that social media was unimportant in his business and
boasted that he doesn’t even have a Facebook account.
“In the past, broadcast mechanisms were slower but people had less to
consume,” he said. “It still boils down to what you’re doing and the experi-
ence you’re generating.”
He then complained about distracting cell phone use at the dinner
table, and has even written a lamentation piece called “The Death of
Dinner?” for the Huffington Post. But McDonald was quick to open up his
62 | may 2011
Lure Fishbar.
laptop with me at the lunch table to show off his restaurants’ Web sites
and of course Tasting Table, a site he began three years ago for food news
and criticism.
Tasting Table began with McDonald’s idea to model a dining newslet-
ter and site after the online culture newsletter Daily Candy. Now Tasting
Table has one million subscribers, but McDonald said he doesn’t handle
the content or site management. His focus remains on his restaurants,
and he constantly snaps photos for their respective sites, using Tumblr to
update pictures and popular menu items.
“Restaurant sites are often like static brochures—but it’s gotten to
the point where you can find menu items and prices by visiting places
like Yelp, so why go to the site?” explained McDonald. David Karp, head
of Tumblr and devoted Lure customer, helped him remake his online
presence.
Karp isn’t the only media man to visit Lure. In fact, from the table next
to us, Rufus Griscom, cofounder of nerve.com and babble.com, peeked
over a low partition and struck up a conversation.
“I’ve started ordering the salmon avocado roll,” he told McDonald.
“No more Cobb salad?”
Griscom, who visits Lure biweekly, smiled at his new culinary
discovery.
“I may get in trouble for saying this … but, oh well,” Griscom began to
tell me. “Balthazar used to be where I’d go, but now Lure’s the new online
media club. I think it’s the free edamame,” he joked. “Really, it’s warm and
comfortable. You have a little more privacy to have a conversation.”
Of course, it’s still social enough to chat with the other media execs at
surrounding tables—or to snap a photo of Alec Baldwin at the bar, like a
recent photographer did (you can see the picture on Lure’s Tumblr).
“When I opened MercBar the only people who knew about the restau-
rant were the people there,” said McDonald.
Now, we can all be voyeurs. And when you see celebrities and model-
esque women dining at the restaurant, maybe you’ll crave the oysters and
Champagne even more. Maybe not. Either way, McDonald will be there,
dreaming up his next venture. o
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NYO food

ASHION PLATES
F The timeless dilemma of the pleasure-seeking New Yorker
is where to go to dine with the beautiful people.
Shallow as it may seem, you know you want the answer.
By Eva Karagiorgas o Gilt City Restaurant Curator

Burning white-hot in all its retro
glory, Indochine must be mentioned in any
article advising on where the pretty people
dine. Ancient in its 27-year reign and immune
to the fickle fashion world, this French-
Vietnamese restaurant is a true icon. Nary a
fashion trend has had lasting power like this
eatery (430 Lafayette St., 212-505-5111).
Scott Sartiano and Richie Akiva resurrected
the ghost of nightlife past with The Darby,
aptly housed in the former Nell’s space, and the
newest ode to the eat-until-you-party trend (a la
La Esquina). With Alex Guarnaschelli, formerly
of Butter, at the helm of the kitchen, this supper
club guarantees a pretty spectacular meal and a
place to dance with reckless abandon (24 West
14th St., 212-242-4411).
The newest restaurant servicing the >

Indochine
IndoChInE

64 | may 2011 Chilean Sea

Bass.
The

design: ahoystudios.com
Affordable
Art Fair
New York
City

Let art take you places

May 5-8, 2011
7 W 34th Street

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 Clockwise from top left: Rubirosa
Alexander Wang’d and ombre’d set, The Fat arugula pizza; Fat Radish cheeseburger
Radish is a hot restaurant in every way. A with duck fat fries; Indochine raviolli.
British-inspired menu is served in a room
attractive enough for a photo shoot among
diners cast for the part. Don’t miss out on the
duck rillette or thick fries cooked in duck fat
(17 Orchard St., 212-300-4053).
Always a classic, La Esquina is more than
just a gathering place for the pretty young
things. Chef Akhtar Nawab has re-created this
eatery’s menu and turned the venue into a
true food destination, serving what may be the
best tacos in the city to the most devastatingly
good-looking crowd to boot. After dinner in the
moody dining room, head to the bar for tequila
or a margarita, and get your fill of the pretty
people (106 Kenmare St., 646-613-7100).
For the morning hangover, there’s no better
place to congregate than Peels. Brought to
you by the team behind the still-popular
Freemans, this new venture delivers a hip
and sometimes hipster breakfast and brunch
crowd. It’s questionable whether the outfits
were worn the night before. Try out the very
appealing signature build-a-biscuit (325
Bowery, 646-602-7015).
Naturally, a collaboration between the
RUBIROSA; KYLE DEAN REINFORD; INDOCHINE

former gatekeeper of Beatrice Inn and the

legends behind Joe & Pat’s Pizzeria of Staten
Island births Rubirosa, the lovechild of
red sauce Italian food and red-hot diners.
The pizza is one of the best in the city (235
Mulberry Street, 212-965-0500).

Follow Eva on Twitter at @gastrogirls or

email her at ekaragiorgas@observer.com o

66 | may 2011
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NYO wine
How did you get started in
wine? I know this was a family
business, as it used to be Astor
Liquors.
The business my father,
Edwin, built was a chain-store
business. It began in 1950 in New
Jersey under the name Home
Liquors (now Home Wines and
Liquors) and grew to 24 stores
in northern New Jersey; the
furthest south was in Union, the
furthest north in Hackensack,
with a healthy number in Essex
County. To continue growing,
my father bought Astor Wines &
Spirits in 1968. He subsequently
bought a store in Maryland in 1973,
bringing the total number to 24 in
three states.
How did you get involved in the
family business?
I was [at law school at] N.Y.U.
and I lasted a week. I said, ‘I don’t
know what’s happening in my life,
but it’s not going to be this.’ So I
contacted Brown, whose graduate
program I’d been accepted to, and
asked to join the next semester,
but in the meantime, I had noth-
ing to do. So I started working at
the store to kind of fill time.
Did you ever make it to Brown?
No. It was the Brown Graduate
School for Art History. Anyway,
what I loved about art I found
in wine; and what I loved about
lacrosse I found in retail. No
regrets. And I’m sure no one at
Brown cares much either.
What does ‘biodynamic’ mean
in terms of wine?
The idea behind it is that you
think of the farm as a self-sus-
tained unit. Let’s say you’re using
manure. One of the techniques
is taking cow manure, putting it
into the horn of the cow, planting
it during the vernal equinox. The
idea is that you’re doing something
sustainable. There is the timing of
68 | may 2011
Andy Fisher.
gene with me. It’s always been
my feeling that customers are the
experts. I think [ratings] cheapen
the dialogue that you want to have
for humans to understand what
they’re buying.
What do you drink at home?
I have been mostly enjoying fla-
Down to Earth
vorful white wines. By that I mean
white wines that have had some
exposure to air, wines that might
have been left in contact with
Wine
the skins and developed some
richness of flavor. But of course,
we’re getting to the summer and
I’ll start drinking rosé.
Andy Fisher, the owner of Astor Wines & Spirits Does the wine distributor play
and a wine educator, talks about the evolution of a role in what you sell?
the family business, biodynamic wines and how he Different people will present
wines: small producers, import-
picks the wine for his colossal store downtown ers, wholesalers. But more and
By Rachel Morgan more we choose our own wines
because there’s nothing they
know about selecting wines that
the treatments with the moon. If How do you pick the types of we don’t know about selecting
you think about it, there are cer- wine you stock in your store? wines.
tain things we can agree upon; we I have the fabulous wine-buying
understand seasons, group run by Lorena How has the Internet changed
we understand that Ascencios, and she has your business?
winter is a time of andy’s a team of people, and It’s made it a whole lot more
rebirth, things fall off,
the ground re-charges
Picks they taste and they
decide. She is assisted
fun. It’s the ability to inform.
We’re in that business all the time,
itself with what falls Morgon “Cuvee by Elizabeth Patrick, but for example now you can
off and that spring is Les Roches” 2009 Valerie Corbin and go on the site and look at video
by Chatelard
a time of growth. And Angela Aguirre. As tastings with different members
we also understand Gamay they used to say in of the staff. We’re also in a position
from the Loire
with the moon that the ’60s, sisterhood is to know more quickly what our
Touraine Gamay customers think. Twitter is a great
we have tides, that powerful.
“Boudinerie” 2009
there’s a basic flow by Noëlla Morantin way for people to say what they
of things. There Piedmont, Ebaluce
Do you pay atten- like.
are ways in which “Cariola” tion to any wine
timing treatments 2008 by Ferrando critics when choos- What are your favorite books
to the position of the “Timpune” Grillo ing your wines? about wine?
moon can maximize 2008 by Caruso Never. We have The best writer ever on the
and Minini
their effectiveness. never used a score, subject of wine is Gerald Asher.
All of this sounds Côtes de Provence not from The Specta- He was a great man for wine and
Rosé “MiP” 2010 by
out there—but it’s Dom. Sainte Lucie
tor, not from Parker, his writing is just beautiful.
working. Biodynamic nor from anybody.
Txakoli Rosé from
companies have been the Basque region And let me tell you Astor Wines & Spirits is located at
used in New Zealand, this mostly proves 399 Lafayette St., 212-674-7500.
Txakolina Rosado
in Austria and in “Rubentis” that the gaining of For more information visit
France. 2010 by Ameztoi wealth is a recessive www.astorwines.com. o
Pamela Luss with Houston Person at

BirdLand
Christopher Loudon of JazzTimes described Pamela and Houston as
“an exalted partnership, meshing like the jeweled movement of
a Patek Philippe,” and Pamela’s voice as “intoxicating.”

“and that band! Luss’s polish and the zip of Person,

Burr, atkinson, Jr. and Weber add up to musical party time.”
- Elizabeth ahlfors, Cabaret Scenes

Monday, May 23rd, 2011 7:00 pm

Cover Charge: $25, $10 minimum
315 West 44th Street (between 8th/9th aves)- NYC
*Reservations Required* 212-581-3080
www.birdlandjazz.com
www.pamelaluss.com
Pamela Luss (vocals) • Houston Person (tenor saxophone) • Jon Weber (piano)
Jon Burr (bass) • & Alvin Atkinson, Jr. (drums)
For the last four years, the partnership of vocalist Pamela Luss and tenor saxophonist Houston Person has been
one of the most exciting teams on the contemporary jazz scene. It’s not simply that she sings and he plays, but
that they truly create music together, like two minds with but a single thought. Whether swinging on standards,
jamming on the blues, or instilling a romantic mood on a beautiful ballad, singer and saxist are completely in
sync with each other throughout. At Birdland, they’ll perform favorites from their four releases together (the
three albums, Your Eyes, Magnet, and Sweet & Saxy, and the single Bewitched) along with new numbers, both
classic and contemporary that they are constantly adding to their repertoire, to the delight of their many fans.

MAY 2011 | 69
NYO inebriation
Downtown
Bars Decoded
Our very scientific analysis of
downtown’s best bars. By Sydney Sarachan
Bar Westside Tavern
(360 West 23rd St., 212-366-3738)
attire Casual. We’re talking flannel here.
Best drink Any cocktail; you’ll thank the
heavy-handed bartender. Jack and Coke is a
good bet.
Bar anthem “Save Tonight,” Eagle Eye
Cherry
the crowd Westside Tavern is a place fre-
quented by corporate softball teams, N.Y.U.
types and the occasional closeted actor for a
game of pool and a shot of anonymity.
Bar Rose Bar at the Gramercy Park
Hotel (2 Lexington Ave., 212-920-3300)
attire Cocktail chic.
Best drink Ginger Fig Martini.
owner Ian Schrager.
Bar anthem “Cosmic Love,” Florence and
the Machine
the crowd Rose Bar employs a macabre
theme, with behemoth works of art, sky-
high ceilings, $20 drinks and a crowd to
match. As the evening unravels inside Rose
Bar, so do its patrons, the crowd devolving
from formal wear into loosened ties and
falling dress straps.
70 | may 2011
Westside Tavern
Rose Bar
Blue & Gold
Bar Wilfie and Nell
(228 West Fourth St., 212-242-2990)
attire After work, biz-casual.
Best drink Witte Beer cocktail.
owner Mark Gibson.
Bar anthem “Keep the Car Running,”
Arcade Fire.
the crowd The lure of Wilfie and Nell is that
it’s billed as an “Australian bar,” though on the
occasions I’ve frequented the place, I’ve seen
nary a single Aussie. The watering hole attracts
professional types, post-collegiate girls and
30-something Village dwellers. There’s a
distinct casualness to the crowd that frequents
it and imbibers are known to strike up long
conversations with fellow patrons.
Bar Blue & Gold
(79 East Seventh St., 212-777-1006)
attire Whatever you show up in.
Best drink Shot of Southern Comfort plus an
IPA, $5.
owners When we called to inquire, the
information volunteered was, “They’re
Ukrainian.” Very strange, indeed.
Bar anthem “Crazy Bitch,” Buckcherry.
the crowd With $3 drinks and tables
carved with former drinkers’ names, their
spiritual guidance and a stray unmemorable
PhoToGRaPhS By Michael chiMenTo foR nyo; Blue and Gold By JaMeS BeRnal
crass phrase, the place is grimy yet somehow
charismatic. The bartenders are notoriously
indelicate, as are a number of the patrons.
Bar Chloe 81 (81 Ludlow St., 212-677-0067)
attire Downtown hipsta.
Best drink The Chloe.
owner Sebastian Maczko.
Bar anthem “Some Girls,” the Rolling Stones
the crowd Gaggles of 20-somethings line
Ludlow in bright miniskirts and towering
heels to gain entry and teeter down a perilous
set of stairs and into the black-and-white-
tiled den of Chloe 81. Artists, wannabe artists,
hipsters in strange hats and a flock of Russian
expats may very well populate the round
booths on the subterranean level. o

BROADWAY CHOREOGRAPHER
Rob Ashford - How to Succeed in Business
Without Really Trying
Marguerite Derricks - Wonderland
Danny Mefford - Bloody, Bloody Andrew Jackson
Kathleen Marshall - Anything Goes
Jerry Mitchell - Catch Me if You Can
Casey Nicholaw - Book of Mormon
Toby Sedgwick - Warhorse
Susan Stroman - Scottsboro Boys
Anthony Van Laast - Sister Act
2001 NOMiNEEs
FEMALE DANCER, BROADWAY
Rachel de Benedet - Catch Me if You Can
Sutton Foster - Anything Goes
Jennifer Frankel - Catch Me if You Can
J. Elaine Marcos – Priscilla, Queen of the Desert
Patina Miller - Sister Act
Laura Osnes – Anything Goes
Angie Schworer – Catch Me if You Can
Megan Sikora - How to Succeed
Samantha Zack – How to Succeed
MALE DANCER, BROADWAY
Nick Adams - Priscilla, Queen of the Desert
Norbert Leo Butz - Catch Me if You Can
Colman Domingo - Scottsboro Boys
Colin Donnell - Anything Goes
Josh Gad - Book of Morman
Joshua Henry - Scottsboro Boys
Daniel Radcliffe - How to Succeed in Business
Without Really Trying
Aaron Tveit - Catch Me if You Can
NYO fitness
Master
of ass
David Kirsch talks
about his new business
ventures, his celebrity
clients and how he lifts
and tones the most
notable behinds in New
York By Rachel Morgan
What’s your workout routine?
As a single father, I don’t work
out at the crack of dawn anymore.
I wake up and, generally, the girls
are in bed with me. I get out of
bed, take a shower and make them
breakfast every day—steel cut
oatmeal, organic eggs, fruit. I have
oatmeal and one of my protein
shakes and I’m ready to start.
Tell me about your newest one
business venture.
I just launched my own protein
bar, the Kirschbar, and it’s some-
thing I’m very, very passionate
about.
Why go the protein bar route?
I wasn’t satisfied with anything
on the market. I was getting asked
at least five times a day from
different clients what bar we
recommend, and there aren’t any
that I would recommend. I came up
with a bar that not only is the right
profile, but is amazingly tasty and is
like real food.
What celebrities do you work
with?
Currently, I’m working with
Anne Hathaway, Liv Tyler, Ellen
72 | May 2011
Barkin, Jimmy Fallon and Heidi
Klum.
How is training celebrities dif-
ferent than any other client?
Celebrities are often in more of a
time crunch when they’re working
out. They’re getting ready for a role
or a magazine shoot or an event
where there are going to be a lot of
eyes on them, like on the red carpet.
But their bodies are bodies just like
everyone else. People are people.
What’s your personal workout
routine?
I work out five days a week. I’ve
always been passionate about it. I
was born with a gift and I recog-
nized it in my 20s and developed it
and it became what it is now.
What’s the most common
mistake people make in terms
of exercise?
The most common mistake
people make is that they go about
exercising the wrong way. They
might want a body they’re not
meant to have— they‘ve looked at
someone in the gym whose body
they want and follow whatever that
person’s doing. One of the things
Personal trainer David Kirsch works with a client.
that makes me unique as a trainer
is the mindfulness of the training. I
really force my client to think about
what they’re doing, why they’re do-
ing it and what effect they’re trying
to achieve.
What do people do wrong when
it comes to diet?
People are always looking for
that quick and easy fix. People
starve themselves really badly, they
don’t eat all day and only have din-
ner. They’re shutting their bodies
down and then they scarf down
everything they can get a hold of.
They use products that are not
incredibly safe sometimes, like diet
pills. I have a line of supplements
that are all natural and that achieve
certain things, so I do think there
are products and amino acids and
vitamins that will help keep you
healthy. But then there are things
that are out there on the market
that are advertised and are not very
safe.
What’s the worst excuse you’ve
heard for avoiding a workout?
I could write a book full of the
excuses I’ve heard for not showing
up, for showing up without gym
DaviD KiRsch
clothes, or using the traffic excuse.
Or that the subway broke down
and I’ve had five other clients come
in on the same subway. Women
will come in and say to me, ‘Oh my
God, I can’t do it. It’s that time of
the month.’ So I’ll remind them
that they’ve used that excuse three
times in a month.
How do you use social media in
your business?
I Tweet. I Facebook. I don’t
always do in a timely way because
I have a life, but I do try to do it
regularly. My daughters are 19-and-
a-half-month-old twins. They keep
me busy, they keep me young, they
keep me focused and they keep my
priorities where they should be.
If you had 30 minutes to spend
with a client, what would you
have them do?
I’m the master of the ass. And
people know this, so they come in if
they want their asses lifted, toned,
firmed. I would give them exercises
right out of [David’s Butt Book] the
sumo lunge, the platypus walk, the
crossover lunge, single leg dead lift,
jump rope and very body-specific
circuit training. o
Book Your EvEnt

54 West 21st Street, Between 5th and 6th Avenues, nYC

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NYO PARENTING

new
DOWNTOWN
HOTSPOTS

Crib
Sheets
Our resident parenting
At Peels (325 Bowery), your kids
will love the food—and building
expert shares her Sarah Jessica Parker takes
their own customized meal on a
delicious biscuit. And you’ll love
expertise on the her twin daughters Samantha the relaxed atmosphere, the peo-

MARCEL THOMAS
kid-friendliest places and Tabitha Broderick to
local Manhattan parks.
ple watching and the restaurant’s
undeniable but definitely unpre-
downtown. By Lyss Stern tentious cool.

I often get asked for advice from families on

what to do downtown, and I’m always happy What’s your ideal weekend downtown day?
to say that there are loads of fabulous things Is there anything better than strolling
to enjoy and explore in the area with your on a sunny day in New York with your kids?
kids. Here are some of my favorites. That’s really the best way to spend any day;
and it’s easy to maximize the fun downtown.
Where should I go for weekend brunch I love heading down with my kids to the
with the family? Bleecker Playground (Hudson St., Bleecker
When you think of a weekend family meal St. and West 11 St.,) where chances are, you’ll
below 14th Street, places like Bubby’s Pie spot a celebrity or two—Sarah Jessica Parker
Company (120 Hudson Street) immediately and Kate Hudson are fans—as you’re watch-
come to mind. Bubby’s definitely had delicious ing your little ones on the swings. If it’s
food, but I love to think of weekends as a time to rainy, I take my boys to the New Museum
discover new places in the city—and that’s even (235 Bowery), which has a welcoming and
more fun with the kids. It can be the perfect unintimidating atmosphere—and a branch
time to squeeze into a hot new restaurant like of City Bakery in the lobby, for yummy
The Lion (62 West Ninth St.,) Maialino (2 pretzel croissants. Imperial No. Nine (9 Crosby St.)
Lexington Ave.) and Minetta Tavern (113 And of course we squeeze in some deli- at the new Mondrian SoHo is sur-
MacDougal St.) all have delicious brunch menus cious treats, too, whether it’s the incredible prisingly kid-friendly, particularly
with options for even the pickiest little one. And ice cream from il laboratorio del gelato on early weeknights and week-
if your kids’ favorite treat is pizza, try Mario (95 Orchard St.), Sigmund pretzels from ends. And don’t miss breakfast—
Batali’s OTTO (1 Fifth Ave.), Pulino’s Bar & Sigmund Pretzelshop (29 Ave. B) at the the banana bread Panini stuffed
Pizzeria (282 Bowery) or one of the funky pie Hester Street Fair (Hester and Essex with homemade peanut butter,
specialists in the East Village. And don’t forget St., Saturdays 11 a.m.-6 p.m.) or just a clas- honey and a fried egg is definitely
how easy, enjoyable and inexpensive dim sum in sic cupcake from Magnolia Bakery (401 the breakfast of champions.
Chinatown is. Bleecker St.) o
Crewcuts Tribeca (50 Hudson
Lyss Stern is the founder and president of Divalysscious Moms St.) is another great spot. If you’re
(www.divamoms.com,) the premiere luxury lifestyle company like me, you’re already addicted
for New York City moms, and is an expert on family, parent- to Crewcuts’ adorable and so-
ing, beauty, fashion and anything on the “mommy radar.” This phisticated clothes for little boys
mother of two boys—Jackson and Oliver— is also the co-author and girls—and coveting them for
or If You Give a Mom a Martini … 100 Ways to Find 10 Blissful yourself.
Minutes for Yourself.

74 | MAY 2011
NYO architecture
When in
Glass Houses
Architect Richard Meier talks about his signature
purist style, his favorite New York buildings and
where he keeps his Pritzker Prize By Rachel Morgan
Tell me how you got started in
architecture.
I was a young person, like 13 or 14 years
old, and I remember my parents had guests
for dinner that asked me, what do you
want to do when you grow up? And I said, I
want to be an architect. I don’t know how I
decided on that, but I just said that’s what
I want to do. And I’ve never, ever turned
back. I probably didn’t know exactly what it
meant to be an architect at that time, but it
seemed like something that was interest-
ing. I liked making things, I liked drawing. I
had a place in the basement where I would
make models of different things, model
airplanes, model boats, even model houses.
You’re lucky that you knew what you
wanted to do at such a young age.
I feel very lucky about that because when
I was in college, I had a roommate who was
really talented. He could do so many differ-
ent things well, but he could never decide
which one he wanted to do. In some ways,
I feel badly for him. He studied psychol-
ogy and so he got a degree in that. Then he
decided he wanted to be a lawyer, so he got
a law degree. Then he decided he wanted to
be a writer, so he starting writing. So I feel
very lucky.
How would you describe your style? Do
you consider yourself a purist?
I would love to be a purist. I’m trying
to have as much clarity in the work as
possible. I don’t want to cover it with
overlays and other things. The structure is
expressed as structure, the transparency
76 | may 2011
and the openness and glazed surfaces are
related to opaque surfaces or wall planes.
So this relationship of the architecture be-
tween opaque and transparency, between
solid and void, are issues that I think are
important. And of course, if there’s light,
how light plays upon these things, how
the buildings reflect light and refract light.
That’s also very important to me.
How do you hope the people interact
with the buildings?
So many people have come up to me
after they live in a building and say how
wonderful it is. Light is so important to
them, important in their lives, in where
they live. You become aware of the differ-
ence of season and the difference of color
throughout the day.
Do you think it takes a certain type of
person to live in one of your buildings
because of your style?
I don’t think it takes a certain type of
person. It takes a person who appreciates
their environment, who’s excited for their
environment and who feels like their envi-
ronment it is important in their lives.
Do you feel like having a signature
style traps you in that way?
Things change over time. What I do now
is very different from what I did 10 years
ago. There are certain principles that exist
in all of the works, like my attitude about
nature, about light, about space, about how
you move through space, how you relate to
space, how you experience your environ-
ment in relation to everything that’s
around you.
Over your 50-year career, how has
your style evolved?
Times have changed. What I did 20 or
30 years ago is certainly impactful on what
I would do today. We’ve always been very
concerned about the environment, about
sustainability and all of our work. We’re
equally concerned about the issues of
sustainability and textures and what goes
into the building, but also in terms of how
the environment will last for a long time.
Natural light has always been important
in my work and a certain openness and the
ability to relate the interior to the exterior
space. All these things are part of what I do
and always have been, but we do it differ-
ently today.
Do you think the design of a building
can make the people that live inside it
happier?
Absolutely. I’m an optimist in that
respect. I believe that, I really do.
What did you do when you found out
you had won the Pritzker Architecture
Prize?
I said to my daughter, ‘We have to cel-
ebrate.’ So I had dinner with my daughter
and had a glass of wine.
How do you think winning that prize
IngRId Von KRuse
changed your career?
In some ways, I don’t think it did, but
maybe it did and I don’t know about it. >
 architecture NYO

Richard Meier.

May 2011 | 77
NYO architecture

Where do you keep it?

I have it in a drawer. It came with a
small sculpture, which I keep in my living
room.

How many people are in your firm

here?
Here in New York, we’re 60 people, and
in Los Angeles, we’re 40.

How involved are you in the design of

each project?
I’m very
involved with
Meier, what we do

in short
here in New
York and
What book is on my partner,
your bedside table Michael Pal-
right now? ladino, is really
I’m reading John the one who
Richardson’s three
volumes [A Life of takes care of all
Picasso ]. I can’t wait the work in our
for the fourth volume Los Angeles of-
to come out. fice. I’m not as
What inspires you? involved there
The Picasso as I am here.
mark selinger

exhibition at the Ga-

gosian inspired me
enormously. What build-
ings do you
Who in the architec- meier’s iconic three glass towers — 173 and 176 Perry st. and 165 Charles st.
ture world is doing love in New
things really well? York City?
I think there are a There are so many they enjoy that space. A building has a respon- You designed the interior at Charles
lot of really talented good buildings here. I sibility not only in terms of function but also in Street but not at Perry Street. Why?
young architects.
I’m still working on love the Guggenheim terms of how it relates to its context. It was collaborative decision. At Perry
my list. Museum. I love the Street, we wanted people to come in, in a
Do you use social
Seagram Building. I Do you see a shift moving from big-name sense, and make their own apartments. If
media in terms of love the Lever House. firms toward more collaborative firms? they wanted to live in a three-bedroom,
your career? Downtown, I think A lot of good, young architects are doing work they could do that. If they wanted to live in
I don’t, but I should. One Chase Manhat- in New York City now, which is very encourag- a one-bedroom, we could make a different
Someone here is in
charge of our Face-
tan Plaza is very good. ing. You can go downtown and see a lot of things kind of configuration. You could do what
book account. I look out my window happening there and a lot of good, young firms. you wanted. But that proved to be a lot more
and I see the Empire I’m an optimist, so I think you’re going to see a difficult than what we had anticipated, so at
What was the last
item you bought, State Building, so lot of people doing interesting things. Charles Street we designed everything. It
other than food? there are a lot of really was different. I think in the long run, it made
New pots and pans. terrific buildings in You’re part of the New York Five. Do you more sense.
My daughter picked New York. I wish think there’s going to be a new generation
them out.
there were more, but like that popping up? What is the most frustrating thing about
Are you getting into I appreciate what we Well, the times are different. We got together your craft?
cooking now?
No, but she is.
have. because we were friends and respected each It’s a long process. You sit and you work
other’s work. I don’t know if people are doing and you design something, and sometimes it
What’s the one thing
that’s always in your
What does it take to that today. Maybe they are and I don’t know takes 12 years, like with the Getty Center in
refrigerator? be a good building? about it. Los Angeles. It’s not something that happens
Grapefruit juice. It needs to relate to quickly. It happens over a long period of time
What’s your most its context. Take, for Tell me about the process behind Perry and you have to stick with it.
prized possession? instance, the Seagram Street and Charles Street.
My library. It’s actu- Building. It’s not just They’re not necessarily my biggest projects What’s your design process like?
ally two rooms. Only the building itself, but here, but they’re very influential. I’m very proud I have music at home when I work, but not
one of the rooms
has a ladder with the plaza and how that that people realize that good architecture is in the office. I don’t want to have coffee or tea
wheels. private space is given sellable and is profitable and they’re not just on my desk because if I spill it, it would get all
to the public and how buildings. over the papers and the drawings. o

78 | may 2011
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NYO XXXXXXX

The outdoor shower on

the 2,100 square-foot
80 | may 2011
rooftop deck.
 interior design NYO

castle
in the sky
Matt Blesso designs top-of-the-line,
lush bathrooms in his downtown apartment
By Rachel Morgan

Matt Blesso, the president and founder of Blesso Properties,

has the ultimate bachelor pad. The 3,100-square-foot residence is a
design collaboration between Blesso and architects Joel Sanders and
Andrea Steele.
While his downtown apartment is pretty innovative in itself, it’s really the
bathrooms that steal the show. Of Blesso’s three bathrooms, the first has a
hidden drain in the sink and a shower that seems to magically appear out of
the ceiling. When the sink’s faucet is turned on, it trickles down the slightly
angled slab of a “sink” and down the wall, into a before-unnoticeable crack
where the wall meets the floor. Same with the shower. Turn it on and the an interior view
water runs over the cork flooring toward the hidden drain. The only thing of the master
you have to do is move the toilet paper—the toilet is immediately adjacent to bathroom.
the shower —so it doesn’t get wet.
Next up is the master bathroom—a glass-walled room that is completely
visible from the rest of the apartment. But, as Blesso demonstrates, when
he flicks a switch, the glass becomes frosted, thus allowing some semblance
of privacy. The centerpiece of this bathroom is a living, breathing green wall
surrounding the mirror, comprised of lush peace lilies, ferns, peperomia and
prayer plants .
But upkeep on this wall proved to be a bit of a challenge.
“I have a gardener come once a month to prune it,” he said. “It died a
couple of times, the irrigation didn’t work or during installation dust got all
over it.”
So why a green wall in a bathroom?
“I guess because I could,” he said. “I thought why not have it in a bath-
room? It’ll be like an oasis. A lot of what I did is blur the lines between inside
and outside.”
Teak sinks, a heated toilet seat and a shower with a teak and rock-flooring
finish off this bathroom.
Next up is a bathroom immediately off the kitchen. A “hatbox toilet,” and
cylindrical sink are offset by the
symmetry of the room.
“I like doing the round element
in a square room,” Blesso said.
But the proverbial high point
of the apartment has to be the
photogRaphs By Michael chiMento FoR nyo

2,100-square-foot rooftop deck,

complete with lush landscaping, a
hot tub, grill and—you guessed it—
an outdoor shower. I look around
Matt Blesso. the skyline, noting a number of
windows immediately adjacent to
the shower, which is very much out in the open.
Don’t you worry about people seeing you when you shower? I ask. Blesso
seems undeterred.
“If it makes their day then all right, go ahead and take a photo.” o
the greenwall
and teak sinks in
the master bath.
NYO interior Design

the Brad Ford-designed

one Jackson Square
penthouse boasts an
open living area.

82 | april
may 2011
2011
 interior design NYO

Back to His Roots

How one urban designer integrates Arkansas country and urban chic.
By Rachel MoRgan o PhotogRaPhy By Scott FRanceS

april 2011 | 83
NYO interior Design

Right: Ford utilized

rustic accents like a
Vladimir Kagan ot-
toman upholstered
in zebra skin and a
biomorphic bubble
light fixture by Jeff
Zimmerman. Below:
interior designer
Brad Ford.

B
rad Ford hasn’t forgotten
where he came from. The
Arkansas native uses the
landscape of his home state
to inspire the casual elegance
that infuses his urban
designs.
One of Ford’s projects, a One Jackson Square
penthouse, incorporates the feel of natural
embellishment and comfort in the midst of an
urban landscape.
“It’s a great building and the architecture is
pretty phenomenal, but at the end of the day it
still just had white walls and glass,” Ford said of
the Kohn Pedersen Fox–designed Greenwich
Village building. “So one of the things I was
trying to do with the space was really warm it up
and bring a little bit of earthiness to it. Just give it
some texture.”
Ford incorporated rustic items like a biomor-
phic bubble light fixture by Jeff Zimmerman,
vintage bar stools with Mongolian lamb seat
covers and a vintage Vladimir Kagan floating
ottoman upholstered in zebra skin.
“I think that it’s nice to try to bring some
earthy elements into a more urban environ-
ment, especially for me because I miss a lot of
those elements by being in the city,” Ford said.
But a magnificent George Nakashima piece
takes center stage.
“One thing that was definitely one of the first
things we picked out was the dining room table,”
he said. “It’s a George Nakashima table that has
a live, organic edge. It’s like a slab of a tree. That
was the centerpiece of the apartment, and I
thought that it instantly brought the outdoors
in.”
The two-story penthouse’s floor plan is
extremely open, which did pose a bit of an issue
in designing a cozy, livable space.
“My biggest challenge with this particular
space was the fact that it was so open,” Ford said.
“It was hard to create a sense of intimacy, which
is why I created the different seating areas.”
Ford also incorporated several pieces of art in
the design scheme.
“I worked with a great art consultant, Ellen
Kern, and her company, Ellen Kern Fine Arts,”
he said. “We collaborate and talk about what I’m
looking for or what the client would be look-
ing for. She has relationships with all of the art
galleries and can go out and pull pieces and put
together a range for a client or I to look at.”
And he’s right—the space has pieces by Roni
Horn, Donald Moffett, James Welling, Jeff
Chien-Hsing Liao and Vera Lutter, among
others.
Ford has a bit of a storied history in the way of
design. He established Brad Ford I.D. in 1998 and
has been bringing his rustic, outdoorsy designs
into New York’s residential spaces in the decade
since. And it seems these unique designs have
gotten him noticed. Ford was named one of the
“10 New Designers to Watch” by both New >

84 | may 2011
 L O C A L E X P E RT S W O R L D W I D E

47 WEST 9TH STREET: Impeccably renovated 28’ wide, 4 story plus 50 WEST 15TH ST, MODERN DUPLEX PENTHOUSE: Enjoy
basement brownstone townhouse in the heart of Greenwich Village. panoramic views extending to the North and South. Features include
Designed in 1910, today the house has undergone complete renovation. 6- zone heating and AC, 3,000+/- sq ft rooftop oasis, 3 bedrooms, 3 baths.
$28,500,000 WEB: NYO0017455. Serena Boardman, 212.606.7611 $7,995,000 WEB: NYO0016890. Eric Malley, 212.606.7625

LOFT ON PARK AVE S.: Renovated by renowned Charles Gwathmey. 109 GREENE STREET: Penthouse perfection awaits you in this duplex
Sunny 50’+/- living/dining room with fireplace, master bedroom with loft featuring 1,600+/- sq ft of outdoor entertaining areas and open city
double dressing and baths, library with bath, staff room. $5,395,000 WEB: views. Living room with gas fireplace, open chef’s kitchen, 3 bedrooms, 2
NYO0017576. L. Summers, 212.606.7789, G. Deviln, 212.606.7729 baths. $5,250,000 WEB: NYO0017556. Stan Ponte, 212.606.4109

PRIME SOHO PENTHOUSE, 210 LAFAYETTE ST: Dramatic and THE CALEDONIA: Spectacular Hudson River and skyline views from
bright penthouse with expansive East and South views. This 2-bedroom, 2 every room of this high-floor, triple mint, 3-bedroom, 3-bath condo. Sun-
½ baths was designed by Richard Gluckman. 12’ ceilings, modern appli- flooded living room, open kitchen. $3,950,000 WEB: NYO0017506.
ances. $3,950,000 WEB: NYO0017081. Eric Malley, 212.606.7625 Debra Peltz, 212.606.7635, Gabriele Devlin, 212.606.7729

EAST SIDE MANHATTAN BROKERAGE I sothebyshomes.com/nyc

38 EAST 61ST STREET NEW YORK, NY 10065 T 212.606.7660 F 212.606.7661

Sotheby’s International Realty and the Sotheby’s International Realty logo are registered service marks used with permission. Operated by Sotheby’s International Realty, Inc. An Equal Opportunity Company.
NYO interior Design

York magazine and New York Spaces magazine, Above: The

as well as one of America’s Top Young Designers bedroom of
by House Beautiful and one of the Rising Stars of the penthouse
Interior Design by the International Furnish- residence. Right:
ings and Design Association. the apartment
But Ford’s very first project wasn’t in New had a plethora of
York—rather, it was his own home in Arkansas. windows, open
“It was nothing extravagant by any means, it space and light.
was just a small house, but I could afford it, and
I just loved the process,” he said. “That was what
really got me started thinking about [pursing
design as a career].”
And from there, he never looked back. Unless,
of course, it’s to garner new inspiration from his
home state.
“Arkansas’ state nickname is ‘the Natural
State,’ and I don’t think a lot of people realize
how gorgeous it is,” he said. “It had a really big
influence.”
This natural philosophy helped Ford stand
out in a sea of urban designers.
“I have a very particular aesthetic,” he said. “If
you look at a range of my work, there’s definitely
my thumbprint on each of the projects. There’s a
sort of natural, casual elegance that is somewhat
sophisticated but still approachable and not
off-limits. I definitely feel I have a very distinct,
different point of view. And in this industry,
in order to stand out, you have to have a really
strong point of view.” o

86 | may 2011
 L O C A L E X P E RT S W O R L D W I D E

D’ARTE HOUSE CONDO PENTHOUSE: Private house in the sky with 137 DUANE ST: Spectacular 2 bedroom TriBeCa Loft. Renovated by
open city, park and river views. 2,800+/- sq ft sundrenched loft with 11’6” award winning Jamie Drake and published in Interior Design Magazine.
ceilings, 2 bedrooms, 2 baths, 2 private terraces, 2,500+/- sq ft private roof 3,000+/- sq ft, 16’ ceiling, iron columns, custom kitchen. $3,195,000 WEB:
deck. $3,350,000 WEB: NYO0017163. Robson Zanetti, 212.606.7658 NYO0016596. Lee. Summers, 212.606.7789, Gabriele Devlin, 212.606.7729

STUNNING DESIGNER LOFT: Art’s lovers dream. This exceptional loft 125 WEST 21ST STREET: Rare and unique home that is blend of style,
is 2,500+/- sq ft of perfection. Architect-designed home with 22’ gallery, design and privilege. This duplex has 2 bedrooms, 2 baths, new chef’s
26’+ wide living/dining with gas fireplace, 11+ ft ceilings, 2 bedrooms, 2 kitchen with modern appliances, 11’ ceilings, 836+/- sq ft rooftop garden.
baths. $2,950,000 WEB: NYO0017341. Anne Corey, 212.606.7733 $2,695,000 WEB: NYO0017079. Eric Malley, 212.606.7625

100 ELEVENTH AVE, JEAN NOUVEL CHELSEA: This brand new 221 CENTRE STREET PENTHOUSE: Sleek one-bedroom duplex
1 bedroom, 1½ bath is the only unit of its kind available on the high penthouse apartment boasts stunning open city views from every room
southwest corner floor. Dramatic panoramic views. $2,550,000 WEB: and access to an entertaining terrace. Flooded with sunlight throughout.
NYO0017473. Royce Pinkwater, 212.606.7718, Jeffrey Firth, 212.606.7673 $2,500,000 WEB: NYO0017491. Serena Boardman, 212.606.7611

EAST SIDE MANHATTAN BROKERAGE I sothebyshomes.com/nyc

38 EAST 61ST STREET NEW YORK, NY 10065 T 212.606.7660 F 212.606.7661

Sotheby’s International Realty and the Sotheby’s International Realty logo are registered service marks used with permission. Operated by Sotheby’s International Realty, Inc. An Equal Opportunity Company.
 TATIANA SUAREZ
NYO PLACES
A Storied
History
We explore the current
addresses of what used
to be the city’s most
risqué establishments.
By Meredith Bennett-Smith
A
ccording to Loyola University
Chicago professor Timothy J.
Gilfoyle’s essay “City of Eros:
New York City, Prostitution,
and the Commercialization
of Sex, 1790-1920,” there were close to 500
brothels in Manhattan by 1790. With so many
options, it comes as little surprise that books
like The Gentleman’s Directory would exist to
guide pleasure-seekers. This little black book
exists for one purpose only—to assist would-
be johns in making informed decisions about
which brothels to frequent, which to avoid
and which keeps a bear in its cellar.
Locale 1: 83 Crosby St.
The brisk, well-groomed British woman
introduced only as Loreen looked suspicious
at the revelation that her current employer,
the swanky Crosby Street Hotel, stands on the
site of what was once a rather lauded brothel.
In 1859, during the heyday of the city’s down-
town red-light districts, The Gentleman’s
Directory listed 83 Crosby Street as one of the
more refined options. It claimed the institu-
tion, operated by one Miss M. Stewart, was
“one of the safest retreats in town, conducted
principally on the assignation order.” Miss
M. received rave reviews herself, with the
88 | may 2011
guidebook praising her as a “lady possessed of
pleasing manner. Gentlemen wishing to enjoy
the comforts of connubial bliss with their
wives intended would do well to call here.”
One would think Loreen would be honored
to share a partial address with such a historic
provider of connubial bliss. Quite to the con-
trary, she sniffed that she “doubted we would
be interested in being in that kind of piece
anyway” and provided the number of a PR
company in London. Safest retreats, indeed.
Locale 2: 111 Spring St.
The crumbling white facade of 111 Spring
Street is at least superficially closer to its
carnal origins than the Crosby Hotel. But
this Spring Street establishment was panned
in The Gentleman’s Directory. Hattie Taylor,
the proprietor of the place, would not have
appreciated its classification as a “third class
house where may be found the lowest class
of courtesans.” It is patronized by roughs and
rowdies, and gentlemen who turn their shirts
wrong side out when the other side is dirty.”
Inside the storefront is the current tenant
Fossil, purveyor of watches and leather goods.
The girl working behind the counter seemed
mildly interested upon hearing the location
used to cater to the city’s less sophisticated
johns. “I’ve never heard anything about that,”
she said. “But it doesn’t surprise me. This is
New York.”
Locale 3: 127 West 26th St.
Apparently, sex was not the only thing for sale
along these narrow streets. Some of our more
interesting finds were Madame Buemont’s 127
West 26th Street “boarding house,” which re-
portedly included a caged bear in the cellar. The
guide did not speculate as to why. The building’s
first floor is currently animal-free, occupied
instead by a dimly lit bar called the Black Door.
The second floor is a now a church. No one an-
swered the buzzer for the First Alliance Church
on a recent Monday afternoon, but the patrons
of the Black Door, lounging along the sills of its
large, open windows, were more than happy to
discuss the building’s former sins of the flesh.
“No wonder I come here so often,” said Sean
Barkulis, 29, a frequent guest of the hangout. “I
see some shady stuff go down in the bathroom
stalls. They’re keeping true to the brothel
tradition.”
The Gentleman’s Directory still exists in its
original, pint-size form, locked away behind
the climate-controlled doors of the New York
Historical Society. o

MANHATTAN &
BROOKLYN PROPERTIES
15TH STREET OASIS: Enormous loft condo in prime
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bring stunning light to this full floor. High ceilings,
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(or 4), 2 baths. WEB: NYOM0135509. $3,995,000.
Stephen McRae, 212.431.2424
GOLD COAST PRE-WAR: Beautiful bright and quiet
corner 2 bedroom/1bath, wood burning fireplace in
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DOWNTOWN 379 WEST BROADWAY, NEW YORK, NY 10012 T 212.431.2440 F 212.431.2441
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Local Experts Worldw ide
NOHO STAR: Gravitas, NoHo full floor loft. Over-sized
windows, 11’3”± ceilings, Carrara marble baths, central
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CHELSEA FULL FLOOR LOFT: Sun flooded through
3 exposures (South, North, and West) and 14 windows.
Open kitchen, two wood-burning fireplaces. 3 possibly
4 bedrooms, 3 baths. WEB: NYOM0135554. $2,850,000.
Glenn Norrgard, 212.431.2456, John Tenore, 212.431.2473
CORNER 1 BED WITH HARBOR VIEWS: High-
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views and a spacious floorplan. Greenwich Club is the pre-
mier building in Financial District. WEB: NYOM0135561.
$899,000. S. Dawson, 212.810.4975, B. Ingalls, 212.431.2457
PERFECT RIVER AND PARK VIEWS: DUMBO.
Unique, renovated, sprawling Clocktower Condo corner
loft. Chef’s kitchen, 2 bedrooms with en-suite baths plus
den. Oversized windows. Full service. $4,100,000
WEB: NYOM0135336. Karen Heyman, 212.810.4990
CHIC DUPLEX IN THE POLICE BUILDING:
Newly renovated sun-filled 1 bedroom, 1.5 bath duplex in
SoHo. 18’ ± ceilings, western exposure, fireplace and more.
Full service landmarked co-op. Offered furnished. WEB:
NYOM0135573. $2,695,000. Christina Visca, 212.431.2443
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one bedroom with east and north open views, a large
dining alcove and windowed kitchen. Full service build-
ing with a renovated roof deck. WEB: NYOM0135566.
$699,000 Yvonne DeNigris, 212.431.2429
NYO places
Peter Cramer, one of the founders of Le Petit Versailles.
diamond in the rough One neighborhood turns an abandoned lot into a thriving square of green.
Le Petit Versailles, a community
garden on the Lower East Side, wasn’t always
a bright spot in the neighborhood.
Peter Cramer and Jack Waters both lived on
Second Street, next to the garden’s lot. But that
space didn’t always boast the flora and fauna it
does now.
“The lot used to be an illegal auto-body chop
shop,” Cramer said. “It was also a center for a
lot of the neighborhood’s drug trade.”
The city had no plans for the space when it
was cleared in 1995, but Cramer and Waters
could see a diamond in all that roughage. So
they proposed their idea of turning the lot into
a garden to the community board.
“We thought it would be a great opportunity
to do something that could involve the whole
community,” Cramer said. “It was a chance to
combine the ideas of creating a public space
and creating a green space.”
Though Le Petit Versailles officially opened
in 1996, it took some time for it to actually
start to look like a garden. Cramer and Waters
90 | may 2011
By Natalie Howard
called upon local volunteers and the program
GreenThumb, in conjunction with their own
company, Allied Productions Inc., a nonprofit
organization that facilitates communica-
tion and collaboration between artists and
agencies.
“GreenThumb was placed under the
jurisdiction of the New York City Depart-
ment of Parks & Recreation in 1995,” said
Parks Department Deputy Commissioner for
Community Outreach Lance Scott Blackmon.
“[The program] assists community gardens
by providing materials, advice and workshops
to help the gardens’ volunteers become better
stewards for the community.”
The program only aids parks that fall under
the leadership of the Parks Department, but
fortunately for Le Petit Versailles, it does.
“GreenThumb provided us with all the
soil, wood and plants we needed to create
the garden,” said Cramer. “It took a good
number of years to get things into place and
get everything planted because the manual
James BerNaL for Nyo
labor is all on a volunteer basis.”
Le Petit Versailles really hit its stride in 2001.
“We met a whole new generation of artists
and activists interested in becoming involved
with the garden,” Cramer said. “They inspired
a whole new renaissance of artistic activities,
like what Allied Productions used to do in the
’80s. It was exciting to have a new generation
coming in, wanting to do things spontaneously
and for themselves.”
The garden nurtured this feeling and helped
it to grow by hosting public events and the work
of local artists.
“It’s a place to come and get involved in
performances and workshops,” Cramer said.
“Le Petit Versailles hosts film screenings, music
concerts, theater performances, workshops in
yoga, herbal medicine, bookmaking, film and
video. Film students often use the garden as the
setting for their pieces and then screen them
there. We’ve held a lot of birthdays here, and
even a wedding.”
Sounds like a marriage of the minds to us. o
 BEAUTY ON
BEDFORD STREET
Greenwich Village
$6,800,000
Behind this classic
restored façade awaits
an extraordinary art-
ist’s residence. Open,
modern, light filled 70 JANE STREET 2,300 SF OF PRIVATE ROOFDECK
and utterly private Far West Village • $6,950,000 • Rarely do houses come Soho • $7,500,000 • Mint penthouse duplex condo 4
home is perfect for available with this sense of warmth and family enjoy- bedrooms, 2.5 baths. 4,850 sf interior, 2,300 sf terraces.
quiet contemplation. ment. Surprisingly spacious & open for a 15.8 ft house. Huge kitchen, 3 wood burning fireplaces, 3 exposures,
Web# 1333488. South facing garden, original wood floors, 5+ bedrooms. skylight, high ceilings, low CC/RET. Web# 1346843.
Leslie Mason, SVP Web# 1322806. Jan Hashey, EVP 212.206.2804 Josh Rubin 212.321.7111
212.206.2810 Steve Halprin 212.206.2803

SUN-FILLED
140 PERRY STREET ELEGANT 4-STORY
Far West Village RESTORATION TOWNHOUSE
$4,500,000 Chelsea West Village
Built 1909. Converted $5,995,000 $6,295,000
to residential condo This 22 ft wide 1830s Sun-filled four story
1997. 2,700± sf main townhouse is in townhouse built in
level, 1,500± sf lower excellent condition, 1851. Currently a
level, 16 ft concrete has fabulous historic duplex and two floor
beamed ceiling, large detail, high ceilings, throughs. Amazing
wood burning fireplace. and 3 wonderful potential but does need
Residential with live/ outdoor spaces, TLC. Delivered vacant.
work. Web# 1328318. single family or Web# 1347353.
Jan Hashey, EVP high-income rentals. Debra Kameros
212.206.2804 Web# 1336541. 212.242.6800
Steve Halprin Leslie Mason, SVP Susan Weiner
212.206.2803 212.206.2810 212.598.3196

LIGHT FILLED 3 BEDROOM
West Village • $2,895,000 • Totally renovated with large
open kitchen, top appliances, 2 baths, master bedroom
suite with balcony, 2 additional balconies, washer/dryer,
custom built-ins, hardwood floors, and excellent closets.
Web# 1345331. Debra Kameros 212.242.6800
Susan Weiner 212.598.3196
DUPLEX LOFT/PRIVATE GARDEN
Soho • $3,195,000 • Sun-flooded duplex with private
landscaped garden. 2 bedroom, 2 bath, den, chef’s
kitchen, home office, central AC, washer/dryer. Tasteful
design with original preserved details. Garden facing
South/East. Web# 1350160. Rise Cale 212.206.2825
ENORMOUS ARTSY LOFT IN SOHO
Classic Soho • $4,000,000 • Massive duplex loft is the
epitome of downtown loft living. Cast iron columns, ex-
posed brick with an eclectic blend of historic and modern
artistic features. 16 ft ceilings. Web# 1346317. Anne
Chang 212.769.9852 I Lisa Gilroy, VP 212.965.6030

LONG ISLAND MANHATTAN BROOKLYN QUEENS THE HAMPTONS THE NORTH FORK RIVERDALE/BRONX WESTCHESTER/PUTNAM

©2011. An independently owned and operated member of the Prudential Real Estate Affiliates, Inc. is a service mark of Prudential Insurance Company of America. Equal Housing Opportunity. All material presented herein is intended for information
purposes only. While, this information is believed to be correct, it is represented subject to errors, omissions, changes or withdrawal without notice. All property outlines and square footage in property listings are approximate.
NYO architecture

Cross-cultural
design
Mexican architect Enrique Norten
talks about splitting time between
New York and his native Mexico City;
conjunctly operating TEN Arquitectos
and his New York office; and his newest
project o By Andrew Guarini

You split time between

New York and your
native Mexico. How do
you feel your buildings
in Mexico reflect or
inspire your work in
New York?
I don’t know if one
would inform or not the
other; I would definitely
say that both inform each
other. It’s many things
that inform the work.
Obviously, my having been
brought up in Mexico and being here all my life
had some impact in my architectural vocabu-
lary and my general outlook. I guess it’s sort
of like a continuous fabric where everything
informs the rest.

What would you say are the big differ-

ences between crafting architecture in a
place like New York City compared to just
about anywhere else?
PhOtOGrAPhS BY EdwArd huEBEr / ImAGES COurtESY ENrIquE NOrtEN/tEN ArquItECtOS

New York would be at one end of the spectrum

and Mexico would be at the other end—highly
developed technological and economic societies
versus emerging societies. One of the big differ-
ences in Mexico is the work is very much based
on very good, inexpensive labor with handmade
conditions, whereas in New York or certain parts
of Europe you sort of rely on technology and fabri-
cated products lines with not-so-good and very
expensive labor. In one place you design knowing
you can use more labor like handcrafted condi-
tions, whereas in the other you try to avoid it.
One York
Street, one What was your inspiration for the zigzag-
of Norten’s ging design of the Mercedes House?
designs. There are many issues that led to that >

92 | may 2011
A ROOF OF ONE’S OWN
West Village • $2,272,000 • Penthouse triplex 3
bedroom, 3 bath in Far West Village, plus about 500 sf
private roof space. Loft like living/dining; Full-floor
master suite; and two striking stairways unifying the
home. Web# 1349770. Armanda Squadrilli 646.824.8379
SPACIOUS CONDOMINIUM
East 60s • $1,325,000 • Estate sale. 2 bedroom, 2 bath
easily converted to 3rd bedroom in luxury doorman
building. X-large bright corner unit. Bring your Architect.
Great opportunity and value. Web# 1344972. Laura Matiz
212.891.7252 I Julie Weintraub 917.612.2809
RIVER VIEWS, PRIVATE GARDEN
167 Perry Street, #1P • $899,000 • Rarely offered one
bedroom duplex on Hudson River with rose garden in
fully serviced co-op. Multiple dogs, subletting allowed.
Maintenance $1,591. Web# 1349378. Catherine Spencer
212.891.7681
LONG ISLAND MANHATTAN BROOKLYN
©2011. An independently owned and operated member of the Prudential Real Estate Affiliates, Inc.
purposes only. While, this information is believed to be correct, it is represented subject to errors, omissions, changes or withdrawal without notice. All property outlines and square footage in property listings are approximate.
2 BEDROOM RIVERFRONT LUXURY
West Village • $2,350,000 • Spectacular Hudson River
views from every room of this glorious 2 bedroom, 2 bath
apartment with 2 balconies and wood burning fireplace.
Cook’s kitchen, washer/dryer, custom closets galore.
Web# 1347302. Harry Kendrick 646.489.8760 I Susan
Wexford 212.627.0610
1927 CONDO LOFT
Chelsea • $2,150,000 • 1,626 sf sleek and sun-drenched
condo loft with expansive living space, 10 ft ceilings, open
kitchen, 2 full baths on quiet tree-lined block. Spectacu-
lar. Web# 1347175. Monique Silberman 212.891.7120
MINT CONDITION 2 BEDROOM, 2 BATH
165 Christopher Street • $1,250,000 • Corner renovated
South and East facing home with spacious layout and
gorgeous city views in the West Village/Meatpacking
District. Flexible co-op allows subletting. Web# 1335121.
Jessica Cohen, EVP 917.501.6350 I Maria Milkova
859.230.5493
QUEENS THE HAMPTONS THE NORTH FORK
is a service mark of Prudential Insurance Company of America.
PRIME PREWAR SOHO LOFT
Soho • $2,499,000 • Spacious full floor loft with lots of
light and oversized windows. Top-of-the-line kitchen,
hardwood floors, restored tin ceilings, washer/dryer,
and tons of storage. Web# 1325690. Brett Forman
212.891.7194 I 917.837.6358
LIGHT, AIR AND VIEWS
Prime Soho Condo • $2,195,000 • Chic, loft-like corner
home boasts oversized windows, 10 ft+ ceilings, maple
strip floors, chef’s kitchen, spa baths, a top luxury full-
service building. A quality offering in a finest location.
Web# 1345809. Lucien Lidji 212.727.6166 I 917.566.4601
PRIME PREWAR LOFT
Flatiron • Unique opportunity to buy 2 neighboring
units at the distinguished full service 15 Madison
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RIVERDALE/BRONX WESTCHESTER/PUTNAM
Equal Housing Opportunity. All material presented herein is intended for information
 NYO architecture
Right and left:
Two separate
views of Zorten’s
zigzagging
Mercedes House
in Hell’s Kitchen.
consideration and they’re all very site-specific
conditions. One, obviously, we had this very big
site where we were suggested by the com-
munity boards to keep a certain scale on 11th
Avenue and then on the back, going east of the
site, we had some not very attractive high-rises
that were much higher. We understood we
needed to negotiate between these conditions
by producing height in the back and reduc-
ing height in the front. On the other side,
because it was such a big block, we also wanted
to obtain exterior apartments and interior
apartments. We sort of are working and trying
to create a solution where most apartments,
basically all of them, have quite interesting
views.
Hell’s Kitchen isn’t known for stunning
works of architecture, residential or
otherwise. Do you think Mercedes House
could set a precedent and begin a trend for
the area?
I think it’s a very interesting area, one I
would say is a bit abandoned.
Recently you’ve been dubbed a ‘starchi-
tect’ in the architecture world. How do
94 | may 2011
you feel about this descriptor?
I really don’t listen to those things. It really
doesn’t matter to me. It’s not important. It
really doesn’t mean [anything] to my work
process.
‘For us, it’s always sort
of a dream condition
to accomplish things
in New York.’
After having some projects not come to
fruition in New York City, how did it feel
to finally get your chance with projects
like One York Street and 580 Carroll
Street?
It’s a very rewarding thing. For all of us, it’s
always sort of a dream condition to accomplish
things in New York. I feel very, very proud to
have been able to complete these projects .
How was the planning and building
process for the Hotel Americano differ-
RendeRings CouRTesy enRique noRTen/Ten ARquiTeCTos
ent from your work on One York? Did you
find yourself thinking about the process
differently because it was a hotel?
There are never two projects that are
similar processes—it’s a hotel and the clients
were very different. The clients at the Hotel
Americano are people I’ve been working with
for 10 years; we know each other very well and
I know their concepts very well. It was a very
different thing. One York was sort of a secret
residential building that was going to be sold at
a big expense and [Hotel Americano] is a much
more fun and free, a place where people can
stay for a night or couple of nights, have fun
and leave. It’s a very different experience you
want to create.
In architect years, you’re still young. Do
you have any long-term goals or ideas for
projects in New York City?
Unfortunately in [this] profession, you can’t
always choose or design your own project. I
end up having to respond to opportunities that
come to me. I’d be very happy if I was able to
keep getting new opportunities. That’s where
it enriches my life; it gives me the possibility to
keep acting and being creative. o
195 HudSon Street, 5B • $4,995,000
The heart of this 4 bedroom, 3 bath TriBeCa loft is the high-end, sun-filled corner
eat-in kitchen. Enjoy north and east exposures, 16 oversized windows, 11'3" ceilings,
decorative fireplace in the grand living room, vented washer/dryer, large on-floor
private storage and a deeded parking space. 195 Hudson Street is a 24-hour doorman
condo. Web# 1351385.
58 reAde Street, PH • $9,950,000
Over 4,400 sf interior and 1,200 sf exterior make this triplex TriBeCa penthouse an
architectural dream. Masterfully renovated with the highest standards of luxury and
taste, and offering 3 bedrooms and 3.5 baths, this property is truly a turn-key home.
Web# 1345310.

77 Bleecker Street, PH1414 • $4,499,000 166 Perry Street, 1A • $4,450,000

This light-filled penthouse offers sweeping city views and impeccable design throughout Desirable West Village location, 166 Perry Street now offers this 2,588 sf duplex
the home including 12 ft ceilings, fireplace, enormous great room, Miele and Sub-Zero maisonette with 3 bedrooms and 3.5 baths exquisitely designed with high-end details
kitchen, West-facing greenhouse overlooking Washington Square Village, 3 bedrooms + mirroring the building’s elegant architecture and luxurious amenities. Web# 1253731.
office and a full-floor master suite with a 273 sf planted terrace. Web# 1336193.

Raphael De Niro, Managing Director

690 Washington Street, New York, NY 10014
212.460.0655 TheDeNiroGroup@Elliman.com www.elliman.com/rad
#1 TEAM NATIONWIDE IN THE PRUDENTIAL NETWORK

©2011. An independently owned and operated member of the Prudential Real Estate Affiliates, Inc. is a service mark of Prudential Insurance Company of America. Equal Housing Opportunity. All material presented herein is intended for information
purposes only. While, this information is believed to be correct, it is represented subject to errors, omissions, changes or withdrawal without notice. All property outlines and square footage in property listings are approximate.
NYO real estate

with
digs
like
these
Dowtown real estate
market heats up just
in time for summer.
By Rachel Morgan
o
Photographs by Michael Chimento

T
he downtown real estate
market is bouncing back with
a vengeance.
“The downtown real estate
market is healthy and growing
stronger by the deal,” said
Eric Zollinger, president of
Zollinger & Associates. “In West Chelsea, for ex-
ample, once-stalled condo projects are coming
back to life and being remarketed and sold. In-
ventory in new developments has been absorbed
with resale prices higher than their original
contract prices. In the Caledonia, located at 450
West 17th Street and adjacent to the High Line,
there were 11 resales in 2010 with an average
price 22.52 percent higher than the original sale,
with an average price per square foot of $1,616.
This sort of measured growth is a strong indica-
tor of the market’s growing strength.”
High demand paired with tight inventory
seems to describe the downtown real estate
market quite well.
“[The market is] great,” said senior vice presi-
dent of Halstead Property Anna Shagalov. “If
anything, I just wish there was more inventory.”
Nick Gavin, vice president and salesperson at
7 Hubert Street. Corcoran, agreed.
“Downtown is seeing high demand due to a >

96 | may 2011
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NYO real estate
166 Perry Street.
“There is a real village or small-town feeling about many of the downtown areas
that buyers often cite as the reason they are buying in the area.”
lack of inventory,” he said.
Richard Grossman, executive director of
downtown sales at Halstead Property, said
the lack of inventory in tandem with the right
pricing is key.
“There is a scarcity of properties and many
buyers,” he said. “Correctly-priced properties
are selling.”
The rapid pace of downtown real estate
transactions are causing many potential
downtowners to seek out brokers when finding
a residence.
“Downtown Manhattan continues to be
the most desirable area of the city to live in,
hence the low vacancy and inventory rate,” said
Omari Toomer, senior associate salesperson
at Citi Habitats. “The lack of inventory and
high demand are making for an atmosphere
similar to three years ago. Both buyers and
renters seem to be getting frustrated with the
speed and intricacies of downtown [real estate]
transactions and seeking out professionals to
guide them through the process.”
William Matias, senior associate salesperson
at Citi Habitats, sees similar pressure to secure
a good place.
“Higher demand and lack of inventory have
renters signing leases before their current
leases expire in order to secure a good space,”
he said.
Corcoran Senior Associate and Salesperson
Bernice Leventhal puts it simply.
“Downtown real estate stands out because
98 | may 2011
Jackson Square.
not only do we have unique and charming
apartments, we also have limited inventory,
and what’s rare is desirable,” she said. “People
who live here don’t want to leave, and those who
don’t live here want to.”
When considering downtown, one has to
wonder—is the quintessential loft still the most
coveted of all the properties? The answer, in
short, is yes.
“Lofts are always the most coveted,”
Shagalov said.
Tom Doyle, senior vice president at Sotheby’s
International Realty, agreed.
“Buyers love the high ceilings, oversized
windows and original detailing of former
factories,” he said. “Lofts are hot as well as the
new ‘starchitect’ buildings on the West Side
Highway in the West Village and Chelsea.”
But lofts can sometimes only appeal to a
certain type of buyer, said Raphael De Niro,
managing director at Prudential Douglas
Elliman.
“Downtown, the loft apartment still reigns,”
he said. “It’s not for everyone, but many buyers
want those original details reminiscent of
downtown’s industrial past.”
But lofts don’t always make the cut.
“Traditional long, narrow lofts with only
front or rear exposures are not as popular as
other types of layouts with more square footage
and large living and common areas,” said Bill
Grant, vice president and director at Brown
Harris Stevens.
Confidence Stimpson and Siim Hanja, both
senior vice presidents at Stribling & Associ-
ates, would call it a draw between classic lofts
and high-rise luxury buildings in terms of
popularity.
“While the new and shiny condos are still
highly sought after, artist’s lofts in original or
close to original condition are becoming more
popular,” they said in a joint statement. “Many
people don’t want to live in a building where
everybody has the exact same layout, the same
kitchen, etc. Also, if you want privacy, you need
a full floor with an elevator opening directly
into the loft, and these are almost always in
smaller buildings.”
In terms of what downtown buyers want,
Shagalov named “open space and high ceilings”
as coveted features.
“Apartments with large living areas and
open kitchens in full-service buildings” attract
renters, Grant said.
Gavin said the most sought after features are
“light, charm or volume.”
And downtowners are no different in terms
of wants or needs.
“Space, light and a good price—like every-
one else,” said Daniel Hedaya, executive vice
president at Platinum Properties.
It all comes down to character, at least ac-
cording to Jeffrey Wachtenheim of TDG / The
Real Estate Group.
“Lofts and townhouses [are popular,]”
he said. “Renovated prewars are always a >