Tiffany Washington and Tamika Young, owners of I.M. Pastry Studio. (Photo courtesy of I.M. Pastry Studio)
A new boozy bakery just moved into the Lower East Side. The shop, I.M. Pastry Studio, relocated from its large space in Prospect Lefferts Gardens to a smaller stall in the lengthy Essex Street Market.
The in-store menu is loaded with treats named after boss ladies like Michelle Obama, Rihanna, and Oprah, which owner Tiffany Washington says is her favorite cupcake– it’s banana pudding flavored. When deciding between “lit” Bailey’s-infused cupcakes named after Mariah or Cardi B carrot cakes, customers often embrace Cardi B’s “I can get ’em both, I don’t wanna choose” sentiments, buying several at a time.
For three years, Italian artist Andrea Mastrovito and a dozen assistants have slaved away on NYsferatu: a Symphonie of a Century, a remake of the 1922 vampire classic Nosferatu, but made out of 35,000 hand-drawn pictures. “This movie is my second wife right now,” Mastrovito told us. “We are always together, me and NYsferatu. And even if I love it, I love and hate it. NYsferatu has sucked my blood.”
At last, this Monday, the film will premiere at Pier 63.
Ever felt the urge to wine and dine on the deck of a 93-year-old ship with good ol’ Lower Manhattan rising behind your glass every time you toast to the beauty of the setting sun? Well, check out Pilot, a new schooner-bar that opened today at Pier 6 in Brooklyn Bridge Park.
Does government surveillance really get your goat? (To be honest I have never really understood that expression but I am just going to run with it.) Is your ideal evening spent watching documentaries on the deep state? If so, then you’re in luck.
In a new film fest running today through Aug. 5 — ominously titled “Spy vs. Us” — the Museum of Reclaimed Urban Space (MoRUS) in the East Village takes on national security and the surveillance state. Even better, like last year’s MoRUS-sponsored film and theater festivals, this year’s festival screenings will occur in the lovely environs of several community gardens. Tonight’s opening screening takes place in the roof garden of Alphabet City’s fabled Umbrella House.
Last month we wrote about Limited to One, the soon-to-be-unveiled 10th St. vinyl collectors’ haven that hopes to shake up the stereotype of the dusty East Village record shop. Created by the people behind the podcast and cult Instagram RecordNerdz, Limited to One says it plans to focus on contemporary limited-edition and rare vinyl runs — and in the process perhaps become “the Flight Club of record stores.”
Ian Schrager’s Public Hotel opened on Chrystie Street last month with a Patti Smith performance in its basement club, Public Arts. Since then, the venue, which modestly bills itself as “the first new idea since [Schrager’s] Studio 54 forty years ago,” has hosted performers like Slick Rick as well as the “late-night hot, sweaty dancing” it promised on its webpage. But we haven’t heard all that much about the hotel’s rooftop bar.
Deborah Kass‘s iconic OY/YO sculpture made its triumphant return to Brooklyn two weeks ago, and it’s proving irresistible Insta bait.
The sculpture — which reads YO (“I am” in Spanish) or OY (as in the Yiddish “oy vey”) depending which way one faces it — was previously installed in Brooklyn Bridge Park. Now, a year later, it’s back — this time at the Williamsburg waterfront at the end of N. 5th Street.
Following on the heels of Whole Foods, Equinox, Flywheel, and other aspirational bourgeois health brands that have planted their flags in once-edgy Williamsburg, Lululemon today unveiled its first North Brooklyn location.
McDermott & McGough, “Oscar Wilde in Prison, 1895 (MMXVII)” (detail), 2017. Oil and gold leaf on linen. Courtesy of the artists.
Legendary New York art team McDermott & McGough — known, among other things, for spending 15 years living in the East Village while dressed as top hat-wearing Victorian gentlemen — are back with an ambitious new project to be unveiled at The Church of the Village this September.
The new art installation combines several of the artists’ motifs and preoccupations — the Victorian era, Ireland, gay culture, LGBT rights, time — in a giant homage to Oscar Wilde, the turn-of-the-century Anglo-Irish writer and bon-vivant famously condemned to prison for refusing to hide his sexuality.
The Oscar Wilde Temple “combines painting, sculpture, and site specific elements in a functioning environment that recalls the beautiful and provocative sensuousness of the Aesthetic Movement [that] Wilde championed,” according to a press release. It will transform The Church of the Village‘s chapel into a shrine to Wilde. In the center will be a four-foot statue of Wilde in the manner of a religious icon. On the walls will be paintings in the style of the Stations of the Cross, but instead of depicting Christ’s persecution they will illustrate Wilde’s journey from arrest to incarceration.
Peter McGough and David McDermott — who, after their East Village days, threw elaborate parties in the Williamsburg bank building where they resided — evidently first began discussing the idea of the Oscar Wilde Temple more than 20 years ago. In keeping with the duo’s fondness for “time experiments,” the Temple will painstakingly replicate the aesthetics and atmosphere of Victorian England through the use of “specially made fabric wall coverings, architectural and decorative details, furnishings and lighting.”
The Temple will also include a secondary altar conceived as a shrine to those struggling with or killed by AIDS, as well as a series of portraits by McDermott & McGough of homophobia “martyrs,” such as Harvey Milk and Alan Turing, and lesser-known victims of AIDS or homophobia including Sakia Gunn, a teenage African-American lesbian stabbed in Newark in 2003, and two figures from The Church of the Village’s own history — Rev. Paul M. Abels and Rev. C. Edward Egan, ministers forced out for being gay.
Sponsored by The Church of the Village and the New York LGBT Center, the Temple will also be available to rent for weddings, memorial services, and other private functions, with the proceeds benefiting the LGBT Center.
The installation will run concurrently with “I’ve Seen the Future and I’m Not Going,” a McDermott & McGough retrospective opening at the Dallas Contemporary in Texas on October 1st.
The installation will be open Sept. 11th through Dec. 2nd at The Church of the Village at 201 W. 13th St. at 7th Ave., viewable Tuesdays through Saturdays from noon – 7:00 pm.