The Daily

Posts Tagged ‘Chelsea’

You Won’t Get Anywhere Taking the Stairs, and Other News

September 15, 2016 | by

Thomas Heatherwick’s Vessel, in a rendering by Forbes Massie-Heatherwick Studio.

  • The Paris Review’s offices are in Chelsea, where we attract hundreds of thousands of tourists every day. (What, you thought all those people were here for the High Line?) But now there’s a new attraction in town: stairs. Lots and lots of stairs, beautifully arranged, and going nowhere. It’s part of an ambitious new sculpture that some have dubbed “the social climber”: “Big, bold and basket-shaped, the structure, Vessel, stands fifteen stories, weighs 600 tons and is filled with 2,500 climbable steps. Long under wraps, it is the creation of Thomas Heatherwick, forty-six, an acclaimed and controversial British designer … Mr. Heatherwick said Vessel was partly inspired by Indian stepwells, but he also referred to it as a climbing frame—what Americans would call a jungle gym—as well as ‘a Busby Berkeley musical with a lot of steps.’ ”
  • If you’re not into steps, just visit the city for the pavement. There’s a lot of it—and if you squint a bit or take the right drugs or just give it a good long think, you’ll see how interesting it is. Edwin Heathcote argues that “the pavement is the skin of the city, a membrane that separates the veneer of civilization from the darkness of the earth … The pavement is a paradoxical thing. It begins as a symbol of civilization and liberation but also becomes a kind of final resort, the domain of the homeless, of beggars and of defecating dogs. A city’s attitude to its street surface reveals much about its ideas of civic space, of ownership and generosity … ‘I think that our bodies are in truth naked,’ wrote Virginia Woolf in The Waves. ‘We are only lightly covered with buttoned cloth; and beneath these pavements are shells, bones and silence.’ ” 

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The Last of the Mohicans

January 14, 2016 | by

Remembering Giorgio Gomelsky, 1934–2016.

Giorgio Gomelsky, NYC 1999 © GODLIS

I met Giorgio through Robert Fripp in 1980. He thought Giorgio should work with me on the single my band was getting set to record. At the time, Giorgio was living in the loft that housed Squat Theatre, an Eastern European guerilla theater collective on West Twenty-Fourth Street. They put on strange events and pornographic puppet shows at their loft, ten dollars at the door, stay all night. And they sponsored Polish punk bands, held rallies protesting rent and sodomy laws, dealt dope, and more or less lived a wild East Village life, despite being in Chelsea. 

Giorgio was a big, beefy character with a mane of thick greasy black hair, a goatee, and a thick Russian accent that grew more and more pronounced as he drank or expounded on his various theories on life and music and the evils of the bourgeoisie. Fripp had told me stories of how Giorgio had shown up at the Marché International du Disque et de l’Edition Musicale, the music business trade show, one year with a parrot on his shoulder, and how, anytime he was approached by a label about licensing material, he’d confer with the parrot in Russian before shaking his head and turning down the offer with a show of disdain. In this way, he was able to generate more attention, double his offers, and confound various labels into thinking he was a genius. Fripp also implied that, at the close of MIDEM, Giorgio had eaten the parrot. Read More »

And to All a Goodnight

December 18, 2015 | by

Easy there, big guy.

The Paris Review’s offices are close to a small square of green space called Clement Clarke Moore Park, at West Twenty-Second and Tenth Avenue. Moore, a scholar and theologian, owned the piece of land—he donated a large part to the General Theological Seminary, which still stands there—and indeed, his forebears had owned the estate simply known as Chelsea. And of course, Moore’s poem “A Visit from St. Nicholas” is essentially responsible for our contemporary notion of Santa Claus: “a right jolly old elf,” drawn by reindeer, who arrives on Christmas Eve to swoop down your chimney. Moore is said to have been inspired by a local Dutch handyman—this 1926 New York Times piece explores the creation legend. Read More »

Aesop and The Paris Review

December 7, 2015 | by

A concentrated treatment to reinvigorate intellect and imagination.

How to Use

Read attentively from cover to cover at least once; repeat as desired. For best results, pair with a responsible intake of red wine.

Ingredients

Erudition, insouciance, concision, onomatopoeia, allegory, exposition, allusion, anastrophe, synecdoche, metaphor, ekphrasis, irony, verisimilitude, euphony, assonance, litotes, caesurae, alliteration, metonymy.

What to Expect

Aroma: ink, paper
Product texture: smooth, substantial
Feel: stimulated, transported

We recommend pairing this stimulating read with application of a facial cleansing masque. 

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The Little Shrimp

October 27, 2014 | by

littleshrimp

A postcard of the Little Shrimp.

One imagines that lots of Dylan Thomas devotees are marking his centenary by making a pilgrimage to the White Horse Tavern, where the dissolute poet famously downed those last fatal eighteen whiskeys. For their sake, we hope the White Horse is not thronged with frat boys, although I guess they have as much right to pay their respects as anyone. More, maybe. 

Naturally, any Thomas-themed New York walking tour—and there are several, guided and otherwise—includes the White Horse, the sites of his other watering holes, and perhaps St. Vincent’s hospital, where he died. Personally, I prefer to focus on a happier landmark from Thomas’s New York days: the Little Shrimp. This restaurant—a favorite of the poet’s when he was in residence at the Hotel Chelsea—is where, in 1952, the young, audacious Barbara Cohen and Marianne Rooney approached Thomas about making recordings for their new line of spoken-word records. The result was Caedmon Records—the source of many of Thomas’s iconic recordings—and the classic record A Child’s Christmas in WalesRead More »

Incident / Resurrection

July 29, 2014 | by

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Roxy Paine, Incident / Resurrection, 2013, neon, 6' 9 9/16" x 15' 11 1/4" x 10". Courtesy of the artist and Marianne Boesky Gallery, New York © Roxy Paine. Photo: Jason Wyche

My commute takes me past Paul Kasmin Gallery, at the corner of Twenty-seventh and Tenth, less than a block from The Paris Review’s offices. Every morning for the past month, I’ve paused there to stare at an installation through the window, a pair of illuminated silhouettes. I watch as one red neon man thwacks another with a red neon two-by-four. Every time, the second red neon man falls to the ground; every time, he rises again, on hands and feet, retracing the ungainly arc of his fall; and every time, the first red neon man thwacks him again.

Thwack, fall, rise, repeat. Like many forms of suffering, this one goes on ad nauseam—and like many forms of suffering, it burns itself into your retinas. I watch the cycle four or five times and then walk the two-thirds of a block to the office carrying an afterimage of neon trauma. I find this strangely buoyant.

Only today, after more than a month of doing this, did I decide to find out what exactly I’d been seeing. It’s Roxy Paine’s Incident / Resurrection (2013), which the artist’s Web site characterizes as “a visual loop of pure narrative movement”: Read More »

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