Brooklyn

July 22, 2008

Adobe Creative Suite 3.3 Updates, Crashes and Bugs

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Since updating my Adobe CS2 to CS3.3 last week, it seems as though almost all of my creative time and energy has been spent reading tech blogs, downloading patches and updates, resolving conflicts, getting advice from geeky friends and asking myself, why so many bugs?

After all, we do pay a hefty price for these licensed products, but still, it is not remotely close to the price I have paid in terms of billable hours and emotional stress. Good lord, is this the plague we have brought upon ourselves? Are the four horsemen now called; Update, Restart, Patch and Crash? Is Adobe a cleverly conceived acronym for the Antichrist? Are the locust coming trough the Airport Extreme?

Thankfully my soul was saved during rebooting pilgrimages to our terrace to enjoy the analog world of our garden. While observing the tangible fruits of my labor, the result of simple mulching and watering, I was met with more bugs. Dragonflies to be precise. (Not to be confused with the damselfly, which holds their wings behind them when at rest, while the dragonfly keeps them perpendicular to their body.)

Although ancient and sinister in appearance (compared to the modern and inviting branding of the Adobe Suite), these cold blooded creatures are a welcome sight since they spend their days devouring mosquitoes, midges and various other insects that hurt our plants and give Natasha giant throbbing welts all over her body. And unlike Adobe Suite, they are friendly, helpful and don't waste my time or money.

July 10, 2008

Lizz's Blueberry Muffins

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"How good is she?", to borrow Darren's often used phrase when referring to his lovely Lizz, creator of this blueberry-a-licious muffin. Brought to our door at 8:45 yesterday morning, this gorgeous piece of baking was just further proof that we live in the best building in Brooklyn. While most New York apartment dwellers can barely trade glances or "good mornings", we exchange baked goods, vegetables, recipes and dinner invitations. Hell, we have even gone on vacations with our neighbors, our friends.

Lizz is one of the best bakers I have ever known as was evident by this light and delicate muffin packed with sweet juicy blueberries picked in Pennsylvania this weekend. Could I ever leave this building, this cornucopia of gastronomic interchange? I'd rather see a church burn.

July 07, 2008

July 4th on the roof terrace

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No, Manhattan isn't burning, this is the view of the fireworks from our terrace in DUMBO. My nephews from California were delighted to see the fireworks bursting over the Williamsburg bridge and the view of Manhattan and the view over Brooklyn and the South Street Seaport.

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June 23, 2008

Stinky Brooklyn Weekend

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As Natasha ran off this morning to contribute to a struggling American economy and the need to put food on our personal table, I was left here at my computer to contemplate our weekend. Or as voiced in a more simple directive from Natasha, "Isn't it about time you did a post for the blog?"

I sit here now, well into my second cup of tea, attempting to pen an ever-so-brief and compelling documentation of our weekend together, I begin to wonder why we write these posts at all. Where do we find the value in throwing out photos and snippets of our lives and experiences into the flotsam and jetsom of a self-important and indulgent sea of blogs? Are we modern day Samuel Pepys or pathetic individuals tossing out keywords and topics into the void in hopes of finding ourselves on the top five listing of someone's Google search, or at the receiving end of a reader's comment?

By creating content, do we create meaning for others, or even ourselves? By showing our person do we create friendships or only networks that offer our art and opinion as just another way of creating commerce? When does sharing become a labor, and not a love?

Anyway, here is something I did love this weekend, a treat well-deserving of my labors in the form of pictures from "Stink Fest 08" that took place yesterday on Smith Street in Carroll Gardens. Plenty of New York City-style street fair crap, but also some rather good eats offered up by The JakeWalk on the second day of summer. Fish tacos, fried cheese curds, fresh coleslaw and pickles and even Raclette served up by a guy Jen thinks is hotter than the strange iron that heats up the cheese into a bubbling goo.

June 10, 2008

Atlantic Avenue and Red Hook

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It started on Friday evening with dinner. It ended on Sunday evening with rosé. My friends were only supposed to come over for the evening.

But our "night out" included David Lebovitz's chocolate mousse and rhubarb cocktails on the roof terrace, complete with hats and sunglasses. After falling asleep while watching The Incredibles, we woke up and I decided to make brownies and we went off with them "cooling" in hand in the 100 degree weather for a picnic in the park. After that there were more cocktails, The Incredibles (again) and us falling asleep, again.

Sunday morning found us walking in the sustained 100 degree heat over to Red Hook, a fantastic brunch at on the roof at Alma, with white sangria and the best margarita I've ever had (pineapple and vanilla bean – I know it sounds sweet and sickly but it wasn't) and then we ambled down Van Brunt, hopping into Saipua, the splendid Erie Basin and the renowned Lenell's.

We then found ourselves in a cab over to Atlantic Avenue, won over by the beauties at Darr, their sister – or should I say brother – men's store across the street, Hollander and Lexer. We then found ourselves at Butter, dizzily trying on shoes we couldn't afford and sunglasses we lusted after. Shored up by Vietnamese sandwiches and Vietnamese coffees from Nicky's, we walked back through Downtown to DUMBO. I realized that not only had my friends not left my house since Friday, but we hadn't left the borough. Brooklyn bloody rocks! While I'm at it, I'll list some of the places to go in Red Hook and Atlantic Avenue after the jump.

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Continue reading "Atlantic Avenue and Red Hook" »

June 04, 2008

A garden grows in Brooklyn

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As I waited in the doctor's surgery today, marveling at how strange it was that I couldn't understand what anyone was saying due to my lack of foreign tongue, I opened The Botany of Desire at exactly the right time. I had just come from the Green Market, where I went a little crazy buying vegetable plants. You have to understand that teetering on the edge of what is a fairly prolific vegetable growing season for someone with only plant pots in the sky of Brooklyn, this is very exciting.

I realize this is strange from the looks my friends give me when I enthuse, over and over again, about growing tomatoes. And this love and strange pull towards growing plants, as Pollan tells me, is not my fault. If they weren't so goddamn tasty, I wouldn't want to grow them again, now would I?

So in the "ground" are all heirloom tomatoes; eight Purple Cherokees, a Ceylon (I'm Sri Lankan, I had to), a Purple Calabash and a Jaune Flamme. We also got a Wonderberry husk tomato, Kamo eggplant, Red Rib chicory, red mustard greens and Wallonne endive.

But probably the most exciting thing we bought was a Feherozon paprika plant, which grows as a pepper which you dry and crush into powder. Most exciting thing. Ever!

Pictured is also some red sorrel, lemongrass and random herbs floating around. We got all of our vegetable plants from the outstanding people at Silver Heights Farm who have by far and the away the best list of rare and heirlooom vegetables. They have five different kinds of brussel sprouts, for God's sake...

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May 19, 2008

Better Living by Steve Butcher

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A graduated 4 week/4 fork program
Week 1: the four tine introduces a new fork to the user to think of the purpose of the program
Weeks 2, 3, 4: step down efficiency of the fork - smaller bites, smaller meals.
Meals that take longer to eat help with the digestion and promote conversation.

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May 16, 2008

How sweet it is

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Here is my project for the Bring it to the table exhibition. I have had a lot of fun playing with sugar in all it's forms! See below for the outcome. Hope to see you on Sunday at the opening – spring, 126a Front Street, Brooklyn, New York, 11am-2pm.

Sugar is a food product that teeters somewhere between good and bad. Like salt, it is a product that is used by most of the world, regardless of development, infrastructure or GNP. However, its production has led to exploitation and clearing of forests to make way for planting more sugar cane in developing countries and its growth in popularity has led to the onslaught of obesity in both children and adults in developed countries. Conversely, sugar cane has also been developed as a feasible alternative energy source, making its very existence something we may depend upon more heavily in the future.

Considering the many faces that sugar takes, Natasha Chetiyawardana has explored sugar in its many forms for Spring gallery’s Bring it to the table project. Taking sugar in its original form, a pen was whittled from a piece of sugar cane, ready to chew on in that moment of thought and contemplation, hopefully there to provoke thought itself. Secondly, a sugar bowl was made from the by-product of sugar production, bagasse, the fibre that is left when the juice is extracted from the cane. The fibers were mixed with soy resin to create a new life for a waste product that is usually just burned. The third exploration was looking at sugar in its usually-consumed form, the sugar cube. As a nod to the ships that haul sugar across rivers and over oceans, a small boat made of sugar floats momentarily on the foam seas of a cappuccino and eventually sinks. A sugar man sits on the precipice that is the edge of a cup, dipping his feet into the drink to test the waters. A little poke from a sugar-hungry finger pushes him over the edge.


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Chow Chart by Brett Snyder

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The first of a few of the pieces we are exhibiting on Sunday at spring that I thought you foodies would be interested in.

CHOW CHART by Brett Snyder, Designer, Visiting Assistant Professor, Pratt School of Architecture and The University of the Arts, www.chengsnyder.com

The food we eat is part of a vast network of global production and consumption. On Chow Chart, a placemat, adjacent maps trace the path, from farm to table, of the ingredients in a typical home-cooked dinner. Total mileage that ingredients have travelled are represented by the color coded ‘spokes.’ These distances comprise only a portion of the whole story. Once food is consumed, the by-products continue on various trajectories, from the network of sewage pipes, to water treatment facilities, to landfills, and to recycling centers where discarded food packaging material is transformed once again. Chow-Chart suggests that in addition to measuring food by cost and calories, we may also begin to think about food in terms of its global impact.

May 15, 2008

Bring it to the table!

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spring is a gallery in DUMBO, Brooklyn whose next show stems from the table as a place where we sit, eat, discuss. The need to readjust and focus towards a more enjoyable, clean and responsible way of living is best represented by the philosophy behind projects as such as slow food and how it reflects a collective, contemporary thinking that can be applied to other disciplines; the slow revolution! Through curation, Anna Cosentino and Steve Butcher of spring would like to 'bring to the table' results of successful collaborations, examples of design that gives back, show the importance of artisanal skills and their application in design and art; and ultimately the new interpretation of luxury. Featured in this selling exhibition are the brilliant paintings by Justin Richel (see images above) and the much-lauded Sorapot (images below) by Joey Roth.

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Alongside this show is an exhibition co-curated by Michael and I with spring. Reserving a space at the table for a group of designers, artists, art directors and thinkers we have asked them to bring something to the table to provoke thought/discussion/action. We are very lucky to have the following people participating (and more may be added to this list): Ralph Ball; Davide Cantoni; Will Carey; Peter Cole; Heather Cox; Otis Kriegel; Michael McGinn; Maxine Naylor; Stijn Ossevoort; Brett Snyder; Cecilie F. Egeberg; Jessica Peterson; Rob Price; Douglas Riccardi; Charlie W. D. Marshall; Rich Brilliant Willing; Zoe Sheehan Saldana. This exhibition explores creative thinkers' approaches to the table environment and their work will be exhibited along a dining table. I'll post some of the pieces involved tomorrow. If you are in the new York area, come and join us this Sunday, May 18th from 11am-2pm for some bloody marys and see what we have at our table!

April 09, 2008

Jack the Horse Tavern, Brooklyn Heights

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Brooklyn Heights repels and attracts me. I half see it as an enclave whose sole purpose is to house rich white families who can't quite bring themselves to move to the suburbs. I half see it as one of the few places in New York City that you can go and wander around the streets and feel like you've stepped back in time, to a place where you can peer in the windows and see people sitting down to dinner or watch them ensconced on a sofa watching 60 minutes.

Either way, it's quiet. In my beloved DUMBO, it's also rather quiet. And we don't have any restaurants. Sure, sure, we have a few, but we can count them on one hand. And once you've been to each of the five restaurants, oh I don't know, 25 times each, you just give up and never go again.

Jack the Horse Tavern isn't somewhere I would normally go. It looks like a typical Brooklyn Tavern, and it's full of people that either look like they live in Brooklyn Heights (they do) or like they have just come from the small but beatifically art house cinema on Orange Street (they have).

But in their very standard tavern-ness, JTHT appeals to me. The food is rather good, and I can't argue with a good steak, cooked exactly as I ask for it (rare, rare, rare) and their cocktail list. Due to the seeming ubiquitousness of it, they have dispensed with their very nice Brooklyn, a version of the Manhattan, and replaced it with the Man of Leisure. Which I took great pleasure in ordering, you know, being a girl. It's the small victories, I guess. Apart from their signature layer of ice on the top of each drink (it looks like a mistake), the cocktail was right on, and it was all I could do to not order a Red Hook as well. But there's no point in overdoing a good thing on one night. I'll be back to sit with the proper people that live up the road, and share a drink or two at the bar. Perhaps tonight.

April 03, 2008

Mast Brothers Chocolate

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Generally I am hesitant to spend money. I am a penny pincher, a piggy banker, and a rainy-day saver. Those inclinations did not stop me from practically throwing money at Rick and Michael Mast when I encountered their handmade chocolate bars at a Williamsburg, Brooklyn flea market. Their chocolate bars are exquisitely wrapped in beautifully patterned paper, sealed with eco-friendly labels, and topped off with their trademark gold stamp. But with products this good, they could be wrapped in dirty newspaper and I would still buy their chocolate. Each bar is handmade in Williamsburg where they toast the nuts in olive oil or maple syrup, dust the chocolate with fleur de sel, temper the single origin beans, and wrap it all up in their beautiful packaging. Apparently they are opening a chocolate shop this summer and there is no doubt that I will be there on opening day with my piggy bank in hand.

March 31, 2008

Lunch with Steve and Anna

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We had a lovely lunch with Anna and Steve from Spring here in DUMBO on Thursday. And I do like a civilized lunch. And by civilized I mean we had wine with our food. Isn't that how one makes anything civilized?

We have long been following Anna and Steve's lunches and were honored to be part of the event. We had a sublime watercress, radicchio and apple salad with a mustard orange dressing, spicy pecans and some finocchiona salami and gorgeous gorgonzola dolce from our friends over at Di Palo's.

Steve and Anna post a picture of their lunch everyday on their website, www.spring3d.net. Photograph courtesy of Spring.

February 29, 2008

Marc Dennis at Hirschl & Adler Modern

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You are probably going to ask yourself, what kind of person would not post about a friend's new show at Hirschl & Adler Modern until 16 days after it opened, and 15 days before it closes? My answer to you is an idiot like myself who can't seem to find the time of day to get a post or two into a foolhardy weekly schedule filled with travel, teaching, clients and excuses. But enough about me.

I met Marc Dennis through friends Richard and Penny down at DUMBO's General Store last spring. With Marc's long time association with the area, sharing studio space with an old college soccer mate of mine (that's you Manny), and a mutual admiration for a pint or two, I don't know how it was possible that we hadn't met years ago. Regardless, when we did meet, we bonded like two old sailors stuck in Kansas.

Unlike his paintings, when Marc is observed from a typical viewing distance, he appears unrefined, a rough around the edges blue collar type armed with an unforgiving Massachusetts accent. From this perspective there is no romance in his style, flair to his dress or an apparent necessity for social niceties. For those unwilling to look further or engage (if Marc so chooses) they will miss the beauty, intelligence, knowledge, cutting humor and quick wit of this man who has slashed a distinct pathway to considered vision and creative passion. 

As with Marc, his paintings are there for those who spend the time to engage. Taken at face value, his work seems simple and easy to understand as interesting subjects of nature's beauty deftly executed in a photorealistic manner. Both his large and small canvasses feature a rich pallete, powerful compositions and a depth that calls for the viewer to reach out and touch. BFD, right? No, not right. As with the person who sticks around to to discover the value and essence of Marc's words and character, so will the viewer who stays long enough to find the message and reward in his paintings.

For example, at the opening there was an older couple hovering around Diptych of Earthly Delights, an 2007 oil on canvas that measures 30 x 60 in, depicting an arial view of poppy flowers and buds. As the couple moved back and forth observing the buttock-like buds, the woman was overheard by Marc to say, "Are those anuses"? To which Marc replied in passing, "Yes, they are". Moving beyond gimmickry to deliver a dose of reality and humanity as evident in his Melodius Merrius Giganticus which transforms beautifully-rendered buds into a gaggle of curious pink characters with green snouts with the simple application of dots, or Venus Giganticus where mehndi/henna (Lawsonia inermis) styled stems lurk behind a foreground of gloriously patterned and detailed flowers.

I would be going out on a limb to state that to know Marc is to know his paintings or visa versa. However, I would say that in viewing these recent pieces that Marc has come to the conclusion that with all of his skill and artistry it would be a fruitless folly to try and fully capture the evolutionary beauty and intelligence of nature by applying pigment to canvas. By studying nature day in and day out he has found something most of us have missed. By dissecting and recreating nature he has discovered and connected his individual human nature and traits to his subject to create an intimate and knowledgeable relationship where the humor is an insider's joke between Marc and his subjects.

Anyway, my dad Bio Bob thinks Marc it the greatest thing since saprophytes and I don't think he is bad either. Marc, I owe you a few beers.

Shown above: Melodius Merrius Giganticus, 2007, oil on canvas, 50 x 50 in. Venus Giganticus, 2008, oil on canvas, 50 x 50 in.

Hirschl & Adler Modern, 21 East 70th Street, through March 15, 2008

February 01, 2008

Snowbound—Lisa M Robinson at Klompching Gallery

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There would be relatively few reasons for me to leave the comfort of my apartment or the warmth of my bog-standard builders tea on this miserable Friday afternoon. However, reason and rational have little traction when one is called by an unnamed force to act, and act I did.

Poorly armed with a $3 street umbrella and red-laced low-top trainers I fought my way through fitful winds and pulsing streams water falling from the Manhattan bridge on my way to Klompching Gallery here in DUMBO. And what did I find at the end of my soggy vision quest? Snow.

Unexpectedly, I found myself swept up and enveloped by Lisa M Robinson's "Snowbound", a five year undertaking to photograph ice and snow. Having been raised in Binghamton, New York, I know something about snow as I know something about winter. And in my expert opinion, so does Lisa M Robinson. You don't see winter, and capture images of snow like she does unless you do.

She understands that winter is a suspension of life and a point of no return between the memory of fall and the hope of spring. Within her photographs you hear the ghostly whispers of summer's glory as winter winds carry them across a thinly veiled landscapes that attempt to hide the presence of those who make it their home. Multiple colorful huts and a single figure become an abstract vision painted with life's frozen elixir in Robinson's "Invisible City" as shown above. While "Solo", as seen below, teeters between a brutality of fact and the romanticism of fiction.

I found comfort in being alone with this show's 16 pieces as I often found myself comforted by walking through the winter nether-world of my youth. Their familiarity brought my senses to life, and life to memory. Here's to you Lisa M Robinson.

The show runs through February 29th.

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November 29, 2007

The Big Picture

I have been off painting and sculpture of late and now find myself drawn to big photos much in the same way I am drawn to tapioca pudding. In both cases I am fascinated by mankind's vision and technology to create such wonders, but disappointed that each has the tendency to leave me with a sugary taste in my mouth and empty feeling in my stomach considering such a high calorific intake.

I really didn't put this new pursuit into perspective until yesterday afternoon when I stumbled upon a meaningful show, Motherland by Simon Roberts, at the Klompching Gallery here in DUMBO. As you can imagine, it was a giant relief to see a photo show, specifically a large format photo show where the size of the prints was in direct relation to the quality, impact and meaning of the subject and story. And as one can imagine, this is something that doesn't happen much in this age of large format Digital Type C Prints. You know what I mean, we have all walked into a gallery or even a museum and said to ourselves, "Wow, those are big, they must have cost a lot to print". No matter what those spam emails tell me on a daily basis, bigger is not always going to impress the ladies. In fact, I have been downright miffed by some the big photography I have seen at ground level, big name, Chelsea galleries the season. Although it's not worth the time and effort to name the galleries or photos that suck (or to answer the hate comments left on the Nova Clutch blog), I will go with the spirit of the season and share the stuff I really loved. How's that?

1. Edward Burtynsky: Quarries at Charles Cowles Gallery (Closed)

Know him, love him, can't live without one of his prints, but I will have to for now. Initially I didn't know how to look at these photos. I walked around quickly to take them all in and then made a second and third round to move beyond the size of the prints and the vastness of the space captured within to bring me to a place where I could enjoy the composition, color, details and story. Talk about the will to move mountains, the ingenuity, the technology and the brute strength compared to the smallness of the cars, trucks and buildings. Now this is modern sculpture on a massive scale, not just the palace where the stone actually went. Art capturing life creating art, yes.

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2. Amir Zaki: ? at Perry Rubenstein Gallery (Closed)

As my dearly departed friend George once told me at the age of 80, "I think I really started to see last month when I saw beauty in an ugly town that I never really looked at before". I think this may be what Amir Zaki has thankfully discovered at a much earlier age. I was immediately struck by the monumental format and presence of this photographer's urban landscapes. Like ruins of an ancient civilization, these images, anonymous residue of urban sprawl and strip mall culture, are singled out and made worthy of their existence. Adorned with hypothetical logo marks and signage, the buildings are taken further from their original and forgotten purpose and transformed into a relic of some parallel universe. Although some of the logo marks can come off as a bit too Stargate ( http://stargate.mgm.com/ ) for may taste, his accompanying digitally informed "scribble" sculptures are intriguing on their own accord.

 

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3. Simon Roberts: Motherland at the Klompching Gallery (Closes December 23)

For me the Motherland was the mother load. Here the large format captured the vastness, simplicity and complexity, hope, struggle and heart of the Russian territories, peoples and cultures. It would have been easy for this talented young Briton to take exceptional yet expected shots, however, even when he takes a picture of the ubiquitous Brutalalist Soviet apartment blocks he captures something different; a serene acknowledgment of deterioration without sentimentality or apology. Each and every photo created connection between this viewer and the subject because the Roberts has engaged the land and its inhabitants over the course of a 365 days, 75,000 kilometers and 11 time zones.

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Can these men help save the world of large format photographic prints? Da, pravda.

All photos are from the photographer's respective websites.

November 26, 2007

Make Time for a Green Cause at Spring Gallery

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We mentioned earlier that we were taking part in a new project set by Spring Gallery in DUMBO, with judging by those from Treehugger, Core 77, Apartment Therapy and Good Magazine.

Pictured is our outcome for the brief – create a clock conscious of recycling that incorporates a green element. Our thought with these pieces was that we didn't want to make a clock out of recycled materials for the sake of it. Because that would just be a clock made out of garbage, wouldn't it?

Our solution was to make three clocks, all made out of the packaging that a clock came in, illustrating that the packaging itself is enough to perform the function of the product inside. Luckily for us, we won a prize for the polystyrene clock and the paper bag clock sold for a nice sum, with proceeds going to benefit Trees of the Future. We won the very unusual prize of playing ping pong with Ron Gilad, and will certainly post photos of our game!

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November 13, 2007

Grandfather clock by Rob Price for Spring

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To make the present better, we need to learn from the past. Obvious statement, right? Knowing what's come before means that you can learn from the mistakes of others, from the things in history that were good and the things that were bad.

However, the resurgence of a nod to the past, to an era where objects were made properly by craftsmen and artisans, has been rife in the design world. Chandeliers abound, and the details of the old-fashioned have taken on not an artistry but have been relegated to merely a wink, a detail for the sake of detail.

Someone breaking out of the swampy territory of trend is Rob Price and his design for our local, Spring. Rob's piece is not merely a nod to the past, but quite literally a chunk of it. Taking the impracticality of having a huge grandfather clock in one's tiny New York studio, Rob has created a slice of one, complete with walnut and glass, the hands breaking free of their traditional home. The outcome is a poetic and beautiful piece, steeped in history yet relevant today.

Rob's piece has led to a green clock project set by Spring and Core 77 to a number of artists and designers, of which Michael and I are two of. The opening is this Friday at Spring Gallery on Front Street in DUMBO. Hope you can make it!

Photograph by Spring

November 06, 2007

Body by Brooklyn Spa and Lounge (A Fancy Russian Bath)

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Last Friday proved to be an evening of breaking numerous New York City (this includes Brooklyn) stereotypes.

1. New Yorkers don't hang out with their neighbors, let alone speak to them in the elevator.

Here in our DUMBO building we are like family, well maybe a college dorm. It's a building of impromptu dinners, club nights, spontaneous summer parties and even holidays together beyond the confines of our domicile. Therefore it was no surprise when our neighbor The Fitness Guru ask us and a number of others to join him and his lovely Guress for a relaxing evening at the "Russian Baths".

2. Nothing relaxing or legal could possibly take place under the BQE.

Yes, even I was caught off guard when I was told there was a great spa, Body by Brooklyn, located Park Avenue and Washington Avenue. How could this be? After all, Natasha and I walk by there every week on our way to teach at Pratt Institute and we had never experienced anything other than abandon cars, broken pavement and a continuous swirling cloud of exhaust and dirt. But The Guru was right, although a tree couldn't grow in this section of Brooklyn, a spa certainly did.

3. Russian baths are disgusting and vile homes to bacteria, men with hyperactive hair follicles and questionable endings to treatments.

OK, I'm not exactly sure how many other spas/baths offer private suites with a Jacuzzi, steam room and plasma screen TV for $200 an hour, but it all seemed in keeping with this quirky establishment. A year and a half old, it was so clean that even this man from the world of OCD didn't think twice about putting on, or taking off his communal flip-flops. Surprisingly enough, we weren't met with any hirsute men or women, nor hulking frames that one would expect to be lumbering around such a place. And for better or worse, funny business was kept to jokes over drinks at the well-stocked bar. The restaurant was clean and health code conscious as well. In fact, The Guru saw a head of lettuce fall on the floor expecting it to be put right back into the food supply only to witness it being picked up and thrown directly into the garbage. No five second rule at Body by Brooklyn!

4. New Yorker skepticism keeps us from spending our money and trying new things.

As a New Yorker I am always alert, ready and aware of the scam, the smooth talker and the deal. This goes double when the person proposing the great opportunity has an foreign accent other than a proper, Queen's English. But this night my pores and mind were open to anything. Therefore when "Ben" the Turkmenistan masseur approached me to explain the "special offer" of a Dead Sea Salt Exfoliating and Traditional Russian Platza (a.k.a. Jewish acupuncture), I caught him off guard and before the hard-sell I said yes.

The experience was well worth the price of $80 (the deal was anything over $40 would waive the night's fee of $40). First this slight 110 pound man, a former 190 pound man, took me to the steam room for the exfoliation. And as Ben explained, the salt was from the Jordanian side of the the sea due to a huge price gap with the Israeli salt. Under the watchful eye of the rest of the room, he began a massage that gave me the strange sensation of being rubbed down like a side of short ribs.

Now, soft and tingly I was sent off for a soak and warm up in the hot tub before I entered the Hot Room where the Platza would take place. The hot room should be called the "I just died and went to Hell" room. At 190 degrees, even the walls and floor are too hot to touch. In fact, it is so hot that Ben had to wear a Soviet star emblazoned wool cap soaked in water to keep his head cool, and his hair follicles from burning to a crisp during the entire session. As he prepared the treatment bed by pouring ice cold water on a blanket I tried to acclimate my lungs to the light and searingly invigorating air. Lying face down on the bed Ben covered my head with a cool wet towel that was soon to take on the heat of the room. I could hear the rustle of the oak leaf branches that he would soon be beating my arms, trunk, legs and feet with. Fifteen seconds into the treatment I thought I was going to die as my lungs failed to provide me with amounts ample of air. This was similar to the unsettling feeling I experienced the time I was ascending the heights of Mount Kilimanjaro.

This uncharted course quickly turned to relaxation and otherworldliness. As I turned over the rhythmical beating of the leaves took me further away while dead skin cells were whisked from my limbs. After a final beating while sitting on a bench with my arms extended like Jesus, Ben instructed me to journey to my salvation, the ice pool. As I plunged into the water the cells of my body sang a song and joined the universe. I felt everything and nothing, but I was certain I was very much alive. After the pool I was swaddled and place on lounge chair to take it all in. Ben suggested a vodka shot and a drink to finish the treatment. Now that's a happy ending.

October 16, 2007

Ellis's shadow art, DUMBO

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Thankfully we're not the only ones doing street art around DUMBO, Brooklyn. We're always on the look out for new street art, and one of our favorites popped up during the Art Festival the other week.

Ellis is an undercover shadow artist; he traces the shadows of objects on the street such as a bicycle propped against a fence, a tree, a lamp post. The next morning the shadow has moved, but the trace is still there, a reminder of the shadow that once was. If you're lucky enough, you'll pass by at the right time, and see the shadow fit perfectly into the tracing.

We've taken a few pictures of the work around DUMBO, which unfortunately is no longer, my favorite being the writing captured outside Bo Concept, mirrored and shadowed, non-sensical both in its reality and its shadow.

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October 08, 2007

Illegal Art at the DUMBO Art festival

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Amongst the open studios and performances, some small white stickers garnered a little attention plastered onto the sides of walls around DUMBO this week. And the people responsible were Nova Clutch's own Michael and our friend Otis, the Illegal Art duo.

The stickers simply said on them "I spy with my little eye" left blank and unassuming to be filled out by passers by. Here are some of the results.

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October 05, 2007

Is.Man at St. Ann's Warehouse

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Is.Man

I am plagued by codes. Computer codes. Safety codes. Genetic codes. And codes of conduct. I am overwhelmed by the noise in my head, the constant buzzing, the crossing of wires and the failure of human connection. Good codes that protect us, bad codes that separate us. But who is to decide which is which? Why are we torn from our human family and separated into rooms of culture and religions? And what do we find when we are forced to leave the limited space of our rooms to subject ourselves to the codes of another room?

Maybe some of the answers lie in Adelheid Roosen's Is.Man that opens tonight at St. Ann's Warehouse.

Is.Man is a raw, 90 minute look into one family's experience of moving from one room (Turkey) into the next (Holland), a story partially based on the writer's interviews of Muslim men convicted of crimes in the latter. The four character production focuses on three generations of Turkish men struggling with the concept of namus (honor) and its impact on women and a society whose laws and ethics do not include honor killings designed to determine the sexual purity of their women and a clan's integrity.

Thoughtfully written and powerfully delivered on a stark stage where one of the few indications of female presence comes in the form dress-like pillars that are hung on actual clothes hangers, the story is played out by conversations taking place out of time and out of context by a grandfather playing instruments, singing and speaking in Turkish, a father writing and lamenting from his prison chair, a mystical Sulfi Imam who silently meditates or twirls his way to center stage, and a son who translates and interacts with the audience as he tries to make sense of his father's familicide.

One of the most powerful moments comes when the father, after having his back to the audience for almost the entire play turns around and asks the audience to challenge the concept of namus for the sake of the children. He urges us, the audience, to join him in chanting, "our children, our children". But the audience, not knowing what to do or say, uncomfortably sits in silence. Maybe this is the code of the theater, or maybe a code of our society to be suspicious of this stranger's invitation to heal our differences and embrace a future that is more humane.

By crossing into to our room we are forced to look at their room through their eyes, actions and words, and in turn, our own room. As our world gets smaller, and more doors are opened, interaction with other cultures and religions will become more frequent and more personal than we might like. Regardless, a code of silence is no longer applicable. It's time to look to a genetic code that knows no god, no cultural, no borders, no law, no hate and no shame. It's time to tap in that PIN and buy some tickets to see Is.Man that will be running through October 14th.

October 02, 2007

Clifford Shikler at Art Under the Bridge Festival

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I have to be honest and say that although I love DUMBO, open studios around the neighborhood can mean that finding art gems is a bit of the old needle in a haystack. But when you find some it's certainly very gratifying. Walking around DUMBO, slightly disgruntled because the few food establishments are inundated and overwhelmed and because you have to spend long stints of uncomfortable silences in elevators with other people searching for good artwork, you can get, well, a little moody. Well I can anyway.

Then I found two fantastic painters in one space. A nook of a studio in 55 Washington is where Clifford Shikler, part owner of the local organic food market Foragers, paints and draws. His work is technically good, mainly portraiture, with uncanny observations of people's quirks and personalities. Not pictured here, but on his website, Shikler's beach paintings have a stange nostalgia about them. With the language of family snapshots, mostly with a vacational feel, the pieces give your a voyeuristic sense of unease, as you are witness to at once familiar but private moment. I for one am looking forward to looking in on more of those moments in the future.

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September 30, 2007

Jane's Carousel opens in DUMBO

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Friday night signalled the opening of of this year's DUMBO Art Under the Bridge Festival . We began it with the opening of Jane's Carousel on Water Street. Dating back to 1922, Jane Walentas purchased the carousel in 1984 and has had it painstakingly restored and brought it up to an amazing condition.

Although I have seen the carousel spinning slowly and quietly within the old and stuningly beautiful old Smack Mellon site, this was the first time I have ever seen anyone ride it. The effect of such a huge, beautiful carousel spinning in such a magnificent building, with old merry-go-round music playing is quite stunning. It made even me hop on it for a spin.

Jane's Carousel is located at 65 Water Street, yes, right near Jacques Torres.

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September 20, 2007

Birthday dinner at L'épicerie

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We like birthdays, well other people's anyway. And we had to do something special for Thérèse's birthday, particularlybecause she hates her birthday. Dinner at our place was an option, but isn't that what we do all the time? We wanted to go out for a meal, but wanted to keep the intimacy of having dinner at home, just without having to load the dishwasher. A fancy meal in an uncomfortable setting with mediocre food seemed to be what the options were, and that didn't sound very special.

Then Sweetu told us about Brooklyn's best kept food secret. L'épicerie is a small French grocery (hence the name) in Fort Greene. Small, quaint and surprisingly rustic considering the location, L'épicerie serves sandwiches, charcuterie and produce during the day. And if you have a party of ten or more, you can book a dinner in the grocery where they put a large farmhouse table amongst the produce and they will take care of everything.

This doesn't sound so unique, but what's lovely is that it isn't too fancy. It's done in the way we would do it – they go to the farmer's markets, go to the Bronx to the fish market and make everything from scratch. While you're at work that day, unable to be shopping for fresh food and scouring the city for the best of what's in season, they do it for you, and they start cooking a few hours before you get there. You work out the menu with them the day before and they take care of the rest, and you bring the wine. A perfect situation when we brought two bottles each, picked for the birthday girl's taste.

What was lovely about this was that it was really simple, food we may have made ourselves, and just very good, very fresh ingredients. We started with some champagne and olives, milling around the baskets of peaches and potatoes. We then sat for our first course, placemarkers being Simpsons avatars of each person. Jen's avatar was complete with a moustache tattoo on her finger, Michele's with a blonde stripe in her hair (don't ask).

We started with a summer vegetable risotto which was simple and cooked perfectly al dente. The bottles were being passed and emptied very quickly at this stage, everyone trying a little of each bottle (the glass debris was quite amazing at the end of the night). We then had slow cooked eggplant, tomato and onions with roasted cod and deliciously creamy mashed potato. Basic, hearty and lovely. By this point we might have been quite raucous because the neighbors upstairs asked us to turn our music down (bring your ipod to L'épicerie and you control what you listen to. We listened to a playlist I quickly remembered to put together on the subway on the way there). After this a beautiful lemon cake arrived at the table, complete with a candle and a birthday song that must have really bothered the neighbors. The cake was definitely the pièce de résistance, and they had just taken the layers out of the oven when I got there to set up the meal. Springy, fluffy cake with beautifully tart-and-not-too-sweet frosting makes my mouth water thinking of it now. I asked for the recipe, but was denied. Perhaps they knew I would put it on the blog...

We left in a haze of good food, too much alcohol and a lack of understanding of where we actually were in the world. We were unfortunately thrown out of there a little before we were ready, but with a baby on the hip that really needed to go to bed, we kind of understood. I guess it's just like at home.

L'épicerie is at 270 Vanderbilt Avenue, Fort Green, Brooklyn. The phone number is 718.636.1200. All photos by Michael or Jane.

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September 19, 2007

The last tomato sandwiches from the garden

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The weather has literally snapped and I think that's it. It's autumn, it's cold and the tomatoes are at their last. We have eaten tomato sandwiches every single day since July and I'm still not bored of them. Michael introduced the sandwiches to me with our heirlooms last year – crusty bread, tomatoes, homemade mayonnaise and salt. Nothing else. I was baffled. No olive oil, no basil? An unequivocal no. And he was right. They are absolute perfection and I am sad to be eating my last. On our bread this summer we had the following tomatoes: Summer Cider Apricot, Marianna's Peace, Black from Tula, Orange Strawberries, White Beauties, Pink Ice, and my favorite, Purple Cherokee. The farmer's market had nothin' on these rooftop Brooklyn beauties, and today I mourn their passing.

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September 05, 2007

Illegal Art in the New York Times