meatpacking district

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Visit a Bodega Where Every Item is Made of Felt. Yes.

Credit: www.sewyoursoul.com

Have you ever fantasized about visiting a bodega where every sale item is an exact replica made of felt? No? Either way, as on June 5, you’ll now have the opportunity.

For your consideration: Next week British artist Lucy Sparrow will unveil her newest art installation– a 1,200-square-foot space she has conjured into an “immersive, fully stocked felt convenience store.” The store will contain 8,000 purchasable items, all made of felt. Snickers bar? Felt. Pack of Marlboros? Felt. Liter of milk? Felt. Bodega cat? Felt, probably.

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Luke’s Lobster, Gotham Poké,  and More Premiere at the New Gansevoort Market

(Photo: Luisa Rollenhagen)

(Photo: Luisa Rollenhagen)

After opening in 2014, Gansevoort Market was unceremoniously booted earlier this year so that Keith McNally could take over the food hall’s space for a revival of his Meatpacking District longtimer Pastis, which itself had become homeless due to development. If you’re keeping score in this game of musical chairs, Gansevoort Market has quietly reopened on 14th Street and 9th Avenue with a host of new vendors in addition to some returning favorites.

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Spend Some QT With Jazz Iconoclast Cecil Taylor at The Whitney

(Photos: Daniel Maurer)

(Photos: Daniel Maurer)

Let’s face it, Cecil Taylor’s music isn’t what you put on the hifi to unwind after a long day at work— google the pianist and composer and you’ll find words like frenzied, cacophonous, and “acquired taste” used to describe his particular brand of free jazz, a genre he pioneered – along with Ornette Coleman—during late-’50s performances at the legendary Five Spot Café on the Bowery.

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Honoring NYC’s Wild Nights of Go-Go Boys and ‘No Lips Below the Hips’

"A night at Danceteria," pictured are Ethyl Eichelberger, Keith Haring, Cookie Mueller & John Sex Danceteria, New York City 1984 (Photograph by Joseph Modica)

“A night at Danceteria,” pictured are Ethyl Eichelberger, Keith Haring, Cookie Mueller & John Sex Danceteria, New York City 1984 (Photograph by Joseph Modica)

A new exhibition at La MaMa brings together the various threads of New York City nightlife, art, and HIV/AIDS activism. The close ties were always there but curators, gallerists, and artists seem to be reassessing spaces that are thought to be reserved for escapism and debauchery. Osman Can Yerebakan and Emily Colucci (who has contributed to this blog in the past) are the curatorial team behind Party Out of Bounds: Nightlife as Activism Since 1980. The show has been in the works for two years, so Colucci and her curatorial partner have been able to compile an incredible array of archival materials, photographs, and work by artists who are long gone and contemporary artists and activists who are ensuring the party rages on.

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Asteroids Didn’t Land on the Meatpacking District, It’s Just José Parlá’s Latest

(Photo courtesy of The Standard, High Line)

(Photo courtesy of The Standard, High Line)

The Standard, High Line — last seen getting a nifty rooftop paint job from Romon “Rostarr” Kimin — has teamed up with another one of our favorite artists, José Parlá.

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Rostarr’s New Mural On the Roof Of The Standard Will Floor You

(Photos: Daniel Maurer)

(Photos: Daniel Maurer)

Rostarr, the artist who did a mural for our pop-up newsroom a little over a year ago, has taken things to a whole new level — the rooftop level of The Standard, High Line, to be exact. On Friday, friends of Romon Kimin gathered in the hotel’s gift shop to raise their champagne glasses at his epic new work covering the ground of Le Bain, the hotel’s 18th-floor lounge.
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The Last Brucennial, Featuring Only Women, Was Just Nuts

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

(Photos: Scott Lynch)

The preview of the Whitney Biennial was great and all. But did those uptown swells lay out endless garbage cans filled with free PBR at THEIR opening? Did they toss out free t-shirts to a rowdy, adoring crowd? Was there Ministry on the decks and naked people on the floor? And were there almost 600 different artists with works hung literally floor to ceiling, every square foot filled, every single one of them created by a woman?
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