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Outdoor Oysters and Beer? Still on Ice, With Summer Nowhere in Sight

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Via The New York Times, written by Pete Wells

The Sherman Zwicker, a 78-year-old wooden fishing schooner, returned to New York City at the end of March after spending the winter in dry dock in Connecticut, having parts of its hull replanked by shipwrights at the Mystic Seaport Museum. With some fresh paint, a new awning and a load of supplies, the schooner would be ready to cruise to Pier 25 in Hudson River Park, where every year since 2014 it has operated as an outdoor oyster bar called Grand Banks.

The first customers of 2020 were supposed to have boarded on April 15, but the Sherman Zwicker is still docked in Red Hook, Brooklyn. Next to it is an older schooner that also serves as an oyster bar in warm weather; called Pilot, it was scheduled to start up again in Brooklyn Bridge Park on May 1.

Alexander Pincus and his brother Miles own and run both restaurants along with Island Oyster, a nonfloating oyster bar on Governors Island they had meant to reopen the same day as Pilot. Other projects were in the works for later in the season, too, including a restaurant on a retired fireboat.

Those plans were laid before Americans began dying of a powerfully contagious new disease. Now, like millions of other people whose way of making a living is temporarily banned, Alexander Pincus isn’t sure what the future holds. He is at home in Brooklyn, recovering from what he calls “a very bad” respiratory illness that he believes was Covid-19, and wondering how long his savings will last.

“I’ve got a 5-year-old,” he said. “My girlfriend was laid off. And I’m hoping our season starts soon so we can keep it all together.”

Some of these businesses are fixtures of the warm-weather landscape — the ice cream stands, seafood shacks, beer gardens, open-air taquerias. Others follow a more recent entrepreneurial model, selling niche products out of banged-together stalls or eye-catchingly painted trucks at outdoor markets, festivals and concerts.

All of them depend on freedoms that are usually taken for granted but that the pandemic has placed in short supply, like the freedom to travel, the freedom to go to the beach and the freedom to stand in the hot sun eating out of paper cartons in the company of dozens of other people eating out of paper cartons.

Like the Pincuses’ oyster bars, thousands of seasonal food businesses around the country are still in winter storage while would-be customers remain holed up indoors.

Although many seasonal food businesses have a flyaway look, collectively they make a significant contribution to how people experience summer, and to the economy.

After hitting a low point around February each year, the number of restaurant employees tends to peak in June and July, when dining areas spill out to patios and gardens, tourism surges and beach towns come alive. Each summer for the past seven years, restaurants in the United States have added more than half a million jobs, according to the National Restaurant Association.

Nobody expects to see numbers like that in 2020. Chowder shacks that unlock their screen doors on Memorial Day weekend still have a chance to make their opening dates. But businesses that get off to an earlier start have already frozen new hiring.

The Pincus brothers, who had plans to bring on 425 workers for their oyster bars over the next few months, have furloughed 13 of their 18 year-round employees. Big Mozz, a New York company that was expecting to serve about half a million pounds of pecorino- and parsley-flecked mozzarella sticks at seasonal events this year, had planned to hire 200 people.

Big Mozz sells its fried cheese at Citi Field and other local stadiums, the summer-long Celebrate Brooklyn shows, a string of major music festivals around the country and catered events. But with baseball season postponed and one major music festival, the Governors Ball, already canceled, Big Mozz’s core staff of 25 people was furloughed last month.

Matt Gallira, who founded the company, said the money that people earn on short-term gigs at food stalls like his can be vital to them.

“When we travel to a music festival, we might hire 20 to 40 local staff just for the weekend, college kids home for the summer,” he said. “It’s people who depend on the hours with us to pay for their next semester at school. They also get a lot of tips at these jobs. These aren’t nothing jobs.”

Seasonal food businesses were generating temporary work decades before anyone used the term gig economy. A summer spent frying clams or scooping ice cream is a time-honored gateway to a hospitality career. The warmer months also bring a flowering of casual, low-stakes new ventures, from lemonade stands to more original ideas.

Last April, for instance, a recent graduate of Rhode Island School of Design named Ruby Schechter introduced her business, the Better Pop, at the Smorgasburg outdoor food market in Williamsburg. She sold $6 ice pops made from whole fruit and kombucha frozen in a mold she designed herself that gives the pops a futuristic, modular shape. (It resembles a carton that the Jetsons might use for quail eggs.)

The shape is meant to make it easier to bite off chunks of frozen fruit, but it also looks cool, and people walking around Smorgasburg with a Better Pop pop were always being asked what it was and where it came from.

“It was a huge success,” Ms. Schechter said. By the end of the summer she was being hired to bring her pops to corporate events put on by Saks Fifth Avenue, Google, LinkedIn and other businesses. “I made a lot of money in the first year, which for a lot of companies is very hard to do.”

This year was supposed to be even better — “really huge,” Ms. Schechter said. There would be Better Pop stalls at the Governors Ball and other outdoor festivals that look increasingly unlikely now. A collaboration with a fast-casual restaurant chain has been put on hold, she said.

The Better Pop had been scheduled to return to Smorgasburg last weekend, too, when its Brooklyn markets were supposed to reopen. They are on hiatus now, along with a year-round Los Angeles edition and a planned expansion of its World Trade Center market to two days a week from one. Many of Smorgasburg’s nearly 200 vendors are hanging in limbo, according to Jonathan Butler, one of the market’s founders.

Most Smorgasburg stalls take in more than $2,000 a day, he said, while some go up to $5,000. Most hire from two to six people to help out. The total daily sales was $150,000 for each of the two Brooklyn markets and less for the Los Angeles and World Trade Center markets.

While most vendors don’t have the rent obligations that restaurant owners do, “I suspect they’re feeling a similar level of panic,” he said. For many of the newer Smorgasburg vendors, “the thing they’re most qualified to do is go work in a restaurant. So it’s pretty grim. They don’t have a lot of prospects.”

Some seasonal vendors live all year on their summertime income. Others say the money is nice, but isn’t their first priority.

Like many of the people who sell food at the Queens Night Market, an outdoor bazaar of foods from around the world that has materialized every Saturday night from April to October for the past five years, Hendra Lie does not support himself with cooking. Serving the Indonesian food of his childhood from his stall, Warung Jancook, satisfied other needs.

“The Queens Night Market is my passion,” he said. “I like to cook. I like to present myself and the culture through food that I created.”

Still, the exposure and encouragement stirred his ambitions. Before the coronavirus descended on Elmhurst, Queens, where he lives, he had been planning an Indonesian restaurant. Now, he isn’t sure.

Over the past decade or so, outdoor markets like the Queens Night Market and Smorgasburg have become some of the most rewarding pathways to learning about cuisines and dishes. Beyond the money that changes hands, they have cultural benefits that can’t be put in numbers.

“Our largest events are about experience, community and connection between people,” said Matt Cohen, the founder and chief executive of Off the Grid, a San Francisco company best known for shepherding flocks of food trucks around the Bay Area, often in the company of musical acts and fire pits.

This year, Off the Grid had lined up more than 300 vendors to sell momos, lumpia, quesabirria tacos, Sichuan salt-and-pepper fish wraps and many other items. The largest and oldest of the organization’s 30 or so outdoor markets has been going on for 10 years at Fort Mason Center for Arts & Culture. This season it opened for one night, March 6.

As for reopening, Mr. Cohen said, even if San Francisco’s ban on large gatherings is lifted in early May, “we’re looking at midsummer at the earliest” before Off the Grid’s larger outdoor events will be back.

“That casual collision connecting people in unplanned ways is something we have found to be very powerful,” he added. “It’s the same thing that makes farmers’ markets very vibrant.”

Seasonal businesses tend to be streamlined. They are built to go dormant and then reawaken on cue. Employees are usually lined up and waiting for opening day. Budgets run low. Everything is timed for the money to start circulating again in April and May.

The only thing circulating this year is anxiety. Nobody knows when people will be free to move around again, or how long it will take for them to feel safe outside.

“A lot of us vendors are thinking about are how many people are going to show up to these social events,” Ms. Schechter, the fruit pop vendor, said. “How many people are still going to be scared, and not want to put themselves in situations where there’s a lot of people?”

Against this fear, seasonal vendors hold on to hope that when the crowds do come back, they’ll be ready for action.

“People do seem really excited about the prospect of getting outside again,” Alexander Pincus of the Grand Banks oyster bar said. “That’s the light at the end of our tunnel. It’s what keeps us going every day.”

tags: The New York Times
categories: Press
Tuesday 04.07.20
Posted by Alexander Pincus
 

Island Oyster, a Vast Seafood Restaurant, Opens on Governors Island

Via The New York Times, written by Florence Fabricant:

Headliner

ISLAND OYSTER This 32,000-square-foot mostly outdoor restaurant is opening on Governors Island. The island is home to food events during the spring, summer and fall, but this is its only stand-alone restaurant. And while its ambience couldn’t be more informal, with a raw bar, lobster rolls, fish tacos, corn and burgers, it has full waiter service for the 600 or so guests it can accommodate at a 100-foot stretch of bar, at banquettes and at tables. The kitchen is built into four shipping containers, and the chef, Kerry Heffernan, a seafood expert, will have oysters playing a major role. Alex and Miles Pincus, who run the restaurant, are supporters of the Billion Oyster Project, a nonprofit organization on the island. They also run Grand Banks, a restaurant on a schooner moored in the Hudson River. This month they also expect to open Pilot, an oyster bar on a historic schooner docked at Pier 6 in Brooklyn Bridge Park: The Ferry Landing, Governors Island, 917-268-0200, islandoyster.com; Pilot, Pier 6, Brooklyn Bridge Park, Dumbo, Brooklyn, 917-810-8550, pilotbrooklyn.com.

 

Opening

CITY ACRES MARKET Housed in a converted office tower in the financial district, this branch of the South Williamsburg grocery will have outside vendors. The lineup is Vanessa’s Dumpling House, Artichoke Basille’s Pizza, Beyond Sushi, the Cinnamon Snail and JuiceBrothers (Opens Tuesday): 70 Pine Street (Pearl Street), 917-261-4530, cityacresmarket.com.

DINING ROOM AT THE METROPOLITAN MUSEUM OF ART The elegant fourth-floor restaurant has been exclusively for members; last week it opened to the public. Fred Sabo, the chef, offers American food on à la carte lunch and dinner menus. There’s a tasting menu in the evening, frequently with a theme reflecting an exhibition. Open for dinner on Fridays and Saturdays only: Metropolitan Museum of Art, 1000 Fifth Avenue (82nd Street), 212-570-3975, metmuseum.org.

NARCBAR This bar next to Narcissa, a restaurant with food from the chef John Fraser in the Standard East Village hotel, pulls its name from its neighbor. It’s in the style of a New York hangout, with Tonia Guffey as the drinks consultant. Mr. Fraser’s bar food includes onion rings, peel-and-eat shrimp, green pea tostada, a burger and “obligatory kale salad” with avocado and Caesar dressing. (Thursday): The Standard East Village, 25 Cooper Square (Fifth Street), 212-441-3555, narcbar.com.

THE OFFICE NYC AT THE MANDARIN ORIENTAL NEW YORK The speakeasy-style Chicago bar owned by Grant Achatz, the acclaimed chef of Alinea in Chicago, and his partner, Nick Kokonas, has opened its New York outpost. It’s on the 35th floor of the Columbus Circle hotel in the space that was MOBar. The Aviary, its larger sibling, is to open in the hotel in the fall. For the Office, the designer Adam Tihany created a clubby space, finished in polished wood and leather, with 44 seats and lots of vintage details. “We scoured New York for antiques,” Mr. Achatz said. He said the Office looks back, while the Aviary will be about the future. Both are more about cocktails than food. “But there’s a strong culinary program in the context of a bar,” he said. The Office serves fare like steak tartare, caviar, oysters and salmon rillettes, and, along with $23 mixed drinks, it features “dusty bottle cocktails” made with rare aged spirits that can add more than $100 to the bill: Mandarin Oriental, New York, 80 Columbus Circle (60th Street), theaviary.com, reservations from tocktix.com.

OVENLY This home-style bakery in Greenpoint has opened another Brooklyn location: 210 Flatbush Avenue (Bergen Street), Park Slope, Brooklyn, oven.ly.

tags: The New York Times
categories: Press
Monday 07.03.17
Posted by Alexander Pincus
 

Island Oyster

Via The New York Times, written by Florence Fabricant:

ISLAND OYSTER The Trust for Governors Island, the nonprofit that runs the island, has announced that the season will open early this year, on May 1, and continue through the end of September with this new food and drink establishment. Described as an outdoor concession serving sustainable seafood in a beer garden setting, it will be run by the brothers Miles and Alex Pincus, who own Grand Banks, the seafood bar on the Sherman Zwicker, a historic schooner moored at Pier 25 at the Hudson River: Soissons Landing, Governors Island, islandoyster.com.
tags: The New York Times
categories: Press
Tuesday 01.17.17
Posted by Alexander Pincus
 

National Sawdust, a Music Space Years in the Making, Opens in Brooklyn

The vocalist Theo Bleckmann performed a Handel arrangement on Thursday at the opening of National Sawdust in Williamsburg, Brooklyn.

The vocalist Theo Bleckmann performed a Handel arrangement on Thursday at the opening of National Sawdust in Williamsburg, Brooklyn.

Via The New York Times, written by Zachary Woolfe:

Just over three years ago, a crowd gathered for a concert under the stars in the empty brick shell of an old sawdust factory in Williamsburg, Brooklyn. The program was a glimpse at the motley artistic philosophy behind the ambitious contemporary-music organization that was to grow within the shell: There were Syrian melodies and butterfly-shaped kites, flute duos and Mexican jazz singing. The building was to open in a year, and be called the Original Music Workshop.
Fund-raising hurdles being what they are, it took quite a bit longer than that. And by the time the $16 million space finally opened on Thursday, it had been renamed National Sawdust, in a nod to the original business.
National Sawdust, at the busy corner of North Sixth Street and Wythe Avenue, doesn’t give away its secrets all at once. It’s not unheard of, in condo- and design-filled 2015 Williamsburg, to encounter an old factory with some broad windows cut into the brick and a psychedelia-bright mural spreading across one side. At first glance the building could be … a tech firm? An avant-fashion boutique? An indie movie house?
But after you pass through a dark, glossy lobby, the main space comes as a soaring, distinctive surprise, vivid enough to mask the fact that it is, essentially, another black-box theater, which can be configured to fit an audience of 120 to 350. While New York knows black boxes well — a Sawdust competitor, BAM Fisher at the Brooklyn Academy of Music, opened in 2012 — this is a black-and-white box. Designed by the firm Bureau V, the intimate but airy, high-ceilinged space is lined with jagged white textured sound panels, separated to reveal thick black slashes of the wall beneath.
It feels, from the floor, like being in a futuristic forest clearing, and brings to mind what an experimental Brooklyn arts space might look like on a television show, all angular lines and moody lighting. The experience is even more disorienting up in the shallow balcony, with the angles of the walls seeming to stretch and crunch the room as you look at it.
National Sawdust in Williamsburg, Brooklyn.CreditRichard Perry/The New York Times

National Sawdust in Williamsburg, Brooklyn.CreditRichard Perry/The New York Times

Having raised money for construction costs, National Sawdust claims it will be solidly supported by what it says is a unique model of “philanthropic investors” who bought shares in the building that they can donate back to the nonprofit organization, which inhabits the space rent-free. (This is what you get when your founder, Kevin Dolan, is a tax expert.) Overseen by a creative and executive director, the composer Paola Prestini, and a team of artist-curators, the programming is still intentionally wide-ranging, poised at the intersection of pop, jazz and classical, of America and the world.
Heavy on Ms. Prestini’s own compositions and contributions from her husband, the cellist Jeffrey Zeigler (formerly of the Kronos Quartet), the mild, modest, even slapdash opening concert was a family affair that, at two-and-a-half hours, might better have been a more focused demonstration of the space’s possibilities. Instead it was a grab bag of harmless duos from the composer-pianist Nico Muhly and the violist Nadia Sirota; a muddled excerpt from Ms. Prestini’s “Yoani Songs”; a bit of propulsive percussion from Glenn Kotche; and the vocalist Theo Bleckmann’s lugubrious Handel arrangement.
The Gambian kora player Foday Musa Suso exuded gentle ease, backed by Mr. Zeigler and Philip Glass on piano; the Inuit throat singer Tanya Tagaq sounded like a satisfyingly demonic Björk. Most gala-ready was the charming mandolin virtuoso Chris Thile, confident as he alternated bluegrass songs and Bach arrangements: an apt summary of a typical young National Sawdust musician’s sprawling interests.
The acoustics, engineered by the firm Arup, were impressive in music both amplified and not, a difficult feat. When the pianist Stephen Gosling opened the concert with Ms. Prestini’s “Limpopo Songs,” the final note was radiantly clear as it died away. But just as lucid was the art-pop group Cibo Matto’s joyfully danceable yet easygoing set around midnight, with amplification that filled the space without overwhelming it.
National Sawdust’s next couple of months are jam-packed, with short festivals devoted to Terry Riley and John Zorn; an opera based on Bergman’s “Persona”; and a range of performances by searching musicians and ensembles like Emel Mathlouthi, Miranda Cuckson and Yarn/Wire.
The big Manhattan institutions, hungry for new audiences, are paying attention: National Sawdust will collaborate with Carnegie Hall and host installments of the New York Philharmonic’s Contact! new-music series. The challenge, with so many curatorial cooks hovering over the broth, will be making the offerings excitingly varied rather than merely scattered.
tags: The New York Times
categories: Press
Friday 10.02.15
Posted by Alexander Pincus
 

National Sawdust Prepares for an Oct. 1 Opening

Via The New York Times, written by Nate Chinen:

Paola Prestini, the creative and executive director of National Sawdust, stood in the space’s balcony one recent afternoon, looking over what would soon be a bustling concert hall. “The speakers just came in,” she said cheerfully, pointing at a rig hanging from the ceiling, still in its filmy protective covering. A geometric metal framework crisscrossed the room’s far wall, next to the hydraulic platforms that will make for a flexible stage.
National Sawdust, a nonprofit performance space, recording facility and creative hub in the shell of a century-old sawdust factory in Williamsburg, Brooklyn, opens on Oct. 1. It will be a significant addition to the musical landscape in New York — at least for a broadly defined constellation of artists working in the zone where compositional form, improvisational technique and global or technological savvy find ways to converge.
Founded by Kevin Dolan, a tax lawyer and amateur composer who contributed roughly $9 million to the project, National Sawdust has been in the works for years. (Its previous name was the Original Music Workshop.) Its centerpiece is an acoustically sealed theater, designed by the Brooklyn studio Bureau V with Arup, an engineering firm. A restaurant and lounge will be run by Patrick Connolly, a James Beard Award-winning chef.
The primary mission of National Sawdust is the incubation of new works through commissions, artist residencies and in-kind services like rehearsal space. Its first month of programming will include festivals devoted to the composers Terry Riley (Oct. 3-5) and John Zorn (Oct. 9-10 and 30-31); a screening of the silent film “Nanook of the North,” with a live score by the Inuit throat singer Tanya Tagaq (Oct. 2); the flex dancer Reggie Gray, known as Regg Roc, with the performance artist Helga Davis (Oct. 13); the mezzo-soprano Alicia Hall Moran (Oct. 19); and the vocal shape-shifter Theo Bleckmann, with the John Hollenbeck Large Ensemble (Oct. 22).
“It’s essentially artists who have very, very strong identities,” said Ms. Prestini, a celebrated composer herself. “They are more than just great performers; they’re auteurs. They’re bringing forward a very specific perspective on their field — and an international perspective, really treating New York as a bridge to different cultures.”
National Sawdust has held performances throughout construction, and Ms. Prestini seemed unfazed by the apparent unfinished business on site. She was looking ahead to an opening-night program, “Discover the Space,” whose early show would include performances by Ms. Tagaq, Mr. Bleckmann, the mandolinist Chris Thile and the composer Nico Muhly.
The late show will include the steel pan player Andy Akiho, the poet Roger Bonair-Agard, the explosive art-pop band Cibo Matto and a special unannounced guest.
“I feel really ready,” Ms. Prestini said. “Even if there’ll be some kinks to work out, we’re ready.”
 
tags: The New York Times
categories: Press, Archive
Monday 09.07.15
Posted by Alexander Pincus
 

An 1850s-Era Oyster Barge Is Saved for Yet Another Life on the East River

Miles and Alex Pincus, brothers and maritime preservationists, on the second floor of the barge, which will be returned to and restored in New York City. Credit Ángel Franco/The New York Times

Miles and Alex Pincus, brothers and maritime preservationists, on the second floor of the barge, which will be returned to and restored in New York City. Credit Ángel Franco/The New York Times

Via The New York Times, written by Corey Kilgannon:

NEW HAVEN — For years, a shoddy shed of dilapidated wood has cluttered up the boatyard of the Fair Haven Marina, a hub for recreational boaters on this stretch of the Quinnipiac River, just east of Yale University.
Brought up from New York City nearly a century ago, it is an 1850s-era oyster barge that has had various incarnations — as a speakeasy, a restaurant called the Old Barge and, finally, as a dive bar before closing for good in 1987. It was then left to languish in the boatyard, too leaky even to use as a storage shed.
“Most people wanted me to tear it down, but I said, ‘That can’t happen,’ ” the marina’s owner, Lisa Fitch, said. “Everyone who grew up around here had a beer here.”
She drank there too, as a young adult, she said, and had eaten there as a child, when the barge was still a restaurant.
But for the yard’s manager, Brett Seriani, it was more of a headache than a local landmark, and he urged Ms. Fitch to bulldoze it.
“She kept saying, ‘No, it’s historical,’ ” Mr. Seriani said. “But come on, there’s historical and there’s hysterical.”
Mr. Seriani can smile now because the old barge is finally departing, and not in a Dumpster. Instead, it is being carefully dismantled to be taken by truck to the Brooklyn waterfront, where it will be rebuilt it to its original grandeur, and, if all goes well, will float in the East River off Lower Manhattan within a year.
That is the plan envisioned by the Pincus brothers, Alex and Miles, maritime preservationists and Manhattan restaurateurs who specialize in the restoration of old boats.
Alex Pincus said the barge could become a maritime museum or a dining establishment like Grand Banks, an oyster bar the brothers opened last summer on a historic schooner that they restored and docked on the Hudson River at Pier 25 in Manhattan.
Mr. Pincus said he had read a newspaper article last summer that mentioned Ms. Fitch’s desire to sell the marina. It also said she was hoping to find a taker for what was perhaps the last of the many oyster barges that docked as floating markets along the East River, near the Brooklyn Bridge, in the late 1800s and early 1900s.
“We saw that it was the only one left, and potentially available, and it was something we had to do,” he said.
Numerous attempts over the years to move and preserve the barge had sputtered. But the brothers’ background and vision impressed Ms. Fitch, she said, so she sold it to them for $1.
A local, amateur historian, Robert S. Greenberg, said that the vessel was probably built in the mid-1800s and that its structure seemed to match one of the barges in historic photographs he had found.
Oystermen during that era would steer their small sailboats up to the rear of the barges and offload their catch, which barge operators would sell wholesale or serve fresh on the piers to lines of customers, he said.
“The barges were like processing plants,” Mr. Greenberg said. “The oysters came in one end and went out the other very quickly.”
The barges sprung up when New York City was still the oyster capital of the world and lower New York Harbor had about 350 square miles of oyster beds, where hundreds of millions of bivalves were harvested every year.
Around 1920, as the oyster industry in New York began to decline, Mr. Greenberg said, the barge was bought by Ernest Ball, who owned the Fair Haven marina property at the time. It was towed to Fair Haven, which still had a thriving oyster industry along the Quinnipiac River.
The barge was floated onto the property via a short canal, which was then filled in. During the 1930s, it was a speakeasy.
PhotoOyster barges moored on the Hudson River in 1912, before the industry in New York City began to decline, around 1920. Credit The Oysterman and Fisherman
“The reason it survived is because it got landlocked,” Mr. Greenberg said, saving it from storms and a rotting hull.
It still bears “Old Barge” restaurant signs — “Choice beer, wines and liquors, hot meals” — painted decades ago but preserved under shingle siding for decades. According to local lore, the second floor may have featured a bathtub and a brothel for the oystermen.
Mr. Greenberg showed buckets full of bottles and pottery and china shards that he excavated from a section of the barge’s hold.
“It had all these lives,” Mr. Greenberg. “And now it’s going home to the East River.”
Alex Pincus said the barge, which is 17 feet wide and 70 feet long, would be reconstructed by a shipwright and a team of boat builders at the Atlantic Basin in Red Hook, Brooklyn.
Mr. Pincus said they hoped to use as much of the barge’s original materials as possible, especially the larger support timbers and beams. But, he added, much of the wood and cladding are in poor shape and will have to serve as models for new versions.
The barge will be rebuilt along the identical structural lines, including the tapered shape that allowed it to rock without its roof crashing into adjacent floating barges and the bowed floor that allowed proper drainage.
The brothers’ plan is to pursue a docking location in a “historically appropriate” spot near where the original oyster barges once floated on the East River, Mr. Pincus said.
Of the barge, he said, “It’s harder to relate to, in a marina in Connecticut, but if you bring it back to New York, it just sort of unleashes the potential.”
This made sense to Mr. Seriani, the yard manager, who laughed when asked if he patronized the barge when it was a dive bar.
“I spent a week there one afternoon,” he said, dragging on a cigarette. “It was a real bucket of blood. They had to put a cage around the back deck because of the fights — people would get thrown off the deck into the water.”
The floor was uneven, he remembered, and “you knew you were too drunk to drive when it seemed level to you.”
Ms. Fitch said she had been willingly paying an extra $6,000 each year in property taxes to keep the structure on the property because, “I knew it would all fall into place somehow.”
tags: The New York Times
categories: Press, Archive
Friday 04.03.15
Posted by Alexander Pincus
 

A Negroni Summer

Via The New York Times, written by Alex Williams:

At the recent opening party for Grand Banks, a meticulously on-trend oyster bar on an old fishing schooner anchored at Pier 25 in Manhattan, all the colors of summer were on Technicolor display: the gold of the sunset, the steel-blue of the Hudson River and the red of the cocktails.
Yes, red. In every direction, partygoers fashionably clad in the season’s Vans slip-ons and Persol sunglasses could be seen sipping a fiery crimson Negroni, a bitters-based aperitif that is not only a signature cocktail of the restaurant, but also, it seems, of this summer itself.
“It’s like a pink polo shirt,” said Alex Pincus, an owner, who prowled the schooner’s decks that night, Negroni in hand. He explained further, “it’s sort of manly and colorful at the same time.”
Such enthusiasm for the Negroni is evident at craft cocktail bars, beach clubs and rooftop bars alike, where stylish tipplers have embraced this venerable Italian concoction as a latter-day Cosmo for the artisanal set.
The Negroni may look to the uninitiated like the stuff of Cancún spring-break frolics, with its Hawaiian Punch hue and festive shard of orange peel. But in classic form, it is a serious libation: a blend of Campari, gin and sweet vermouth with complex personality and unapologetic bitter finish that challenges you to love it.
The Negroni has also become a fashion statement of sorts for connoisseurs — a pledge of allegiance to la dolce vita, and a secret signal to fellow cognoscenti that you do not stoop to sozzle yourself in the fashion of the daiquiri-sipping masses.
Its nuance, in fact, is the basis of its charm, devotees say.
“The Negroni has this wonderful limpidity that few other cocktails contain: it’s cool without being too cold, and the mouth feel has this wonderful silk quality,” said Aaron Von Rock, the wine director at Lincoln Ristorante at Lincoln Center, which did its part to kick-start the current Negroni infatuation with a create-your-own Negroni bar featuring dozens of alternatives to the drink’s Holy Trinity of ingredients (a “training wheels” version for neophytes, for instance, features apple bitters, Lillet and blood-orange vodka).
The resurgence of the Negroni, a favorite of noted thinkers (and drinkers) like Kingsley Amis and Orson Welles, has been brewing for at least five years, said Jonathan Miles, the novelist and the former cocktail columnist for The New York Times.
Lately, it has reached the point that seemingly every self-respecting foodie haunt is expected to offer a signature Negroni (Parm, in SoHo, serves a beet version), if not a menu of them (see I Sodi in the West Village).
Pinterest boards are brimming with recipes of the ever-photogenic cocktail in seemingly infinite variations — the blood-orange Negroni; the amber Negroni, with amaro; the pomegranate Negroni; not to mention its first cousins the Boulevardier (mixed with bourbon) or the Americano (club soda). (Then there’s the popular Negroni Sbagliato at Grand Banks, which substitutes prosecco for gin.)
Will mass acceptance poison the esoteric air that helped propel the Negroni to prominence? During Negroni Week in June, a lounge in Los Angeles, the Varnish, whipped up Negroni Jell-O shots.
Cheeky, sure. But also, perhaps, a perilous step toward the Appletini.
tags: The New York Times
categories: Press, Archive
Thursday 08.21.14
Posted by Alexander Pincus
 

They’re on a Boat! Floating Restaurants Try to Redefine the Dinner Cruise

Via The New York Times, written by Liz Robbins:

As the early-evening sun blazed, the old Navy boat gently pushed into the East River and the 32 passengers were mindfully served cocktails, wine in tumblers and beer in cans. Life aboard the Revolution eased to two knots.
“In New York, we’re so fast-paced,” said Erik Gerlach, 37, a Brooklyn architect relaxing with his wife, Josa, in the cabin of the floating restaurant, the Water Table. “This is a way to slow down. When you’re in the moment, you want to make it last longer.”
In New York this summer, the artisanal meets the nautical, as a group of floating restaurants have claimed what had been uncharted territory in New York’s culinary world.
The ventures vary from a modest New England tavern to a French-Caribbean oyster bar to a three-deck lobster shack. But their challenges have been similar: They all had to navigate bureaucracy, bad weather and boat plumbing in an effort to redefine the dinner cruise.
The newest of the boat-restaurants does not actually leave the dock: Grand Banks, an oyster bar on the Sherman Zwicker, a 142-foot schooner tied up at the end of Pier 25 in the shadow of One World Trade Center in TriBeCa, will stay through October before it sails south.
With a capacity of 160 people, Grand Banks is envisioned as the Balthazar of boats, said Alex Pincus, who founded the Atlantic Yachting School on the Upper West Side with his brother, Miles, before selling it and founding Grand Banks with two other partners. Witness the $16 cocktails, the French bistro bar stools, the zinc and mahogany bars and the windswept patrons on a recent weekday afternoon, including the actress Marisa Tomei, ignoring the pitching waves.
The fashionable scene belied the travails below deck. “The challenge was not the idea,” Mr. Pincus said. “The challenge was making it happen.”
First, they had to find the right ship. When they found the Sherman Zwicker in Boothbay Harbor, Maine, the Pincus brothers established their own maritime education foundation to persuade the owner to donate the boat. As a museum, it cannot take passengers cruising, however, and that necessitated the right dock for seasonal mooring.
Because city construction foiled plans for a spot at East River State Park in Williamsburg, the group negotiated with Hudson River Park. The opening was originally scheduled for July 3, but storms delayed it until July 4. On the boat’s second day of operation, it ran out of oysters, and Mr. Pincus furiously called in favors for a rush weekend shipment.
Then, a couple of days later a pipe burst on the 72-year-old boat and there was no running water.
Still, the demand for $3.50 oysters and $17 fluke crudo remained strong.
“This is basically the grown-up version of the Frying Pan,” said Golnar Nassiri, 34, out with her husband on a recent evening. Ms. Nassiri, like others that night, could not help making comparisons to the Frying Pan, the lightship boat permanently docked at Pier 66, infused with a fraternity party vibe.
“I feel like I’m in the Hamptons or something,” said Matthew Glass, 53, drinking wine with his friend Ken Clark, 56, after their rides in spandex biking shorts — a bit underdressed, they acknowledged.
They might have felt more at home aboard the North River Lobster Company’s vessel, a former gambling boat called the Destiny, which is run by New York Cruise Lines, the parent company that also owns the Circle Line.
The idea is to take the usual dockside lobster shack — complete with lobster rolls ($16), peel-and-eat shrimp ($10) and one-and-one-quarter-pound Maine lobsters ($29) served on paper plates — and include free cruises. Mason jar cocktails run $12, and a bucket of beer is $24.
“When we started this thing, we didn’t know what we were going to get,” said Jason Hackett, the chief marketing officer for New York Cruise Lines, who said that because of the harsh winter, the crew had only two months to prepare for the late-April opening. “We were targeting New Yorkers, and thank goodness that’s what we got. People are really digging just being on the water.”
Jamie deRoy, 68, a producer, and her friend Sandra McFarland, 52, working in insurance, took a late lobster lunch. “I got some coupons in the mail and I thought it would be fun to try it,” Ms. McFarland said.
They had an array of raw bar selections, corn on the cob and the Maine attraction.
Like the other patrons, they had ordered their food and drinks on the enclosed second deck (air-conditioned) and taken a wooden buoy with a number. They sat on the top deck with picnic tables and white and red trash cans, as Top 40 radio crackled and Columbia Business School students celebrated the end of exams.
With three long blasts of the horn, the ship backed out of Pier 81 for one of its 35-minute jaunts up the Hudson, turning around at 72nd Street, almost over before it had really begun.
“That’s O.K.,” Ms. deRoy said, her long silver hair flowing in the wind. “It’s the gimmick.”
Of the three, the Water Table has been operating the longest. It opened in December and ran until ice clogged the East River and a ferry walkway collapsed in February at Greenpoint’s India Street Pier, where it had been docking. The boat resumed East River service in April from a seaplane dock at the Skyport on East 23rd Street. Kelli Farwell and Sue Walsh have spent their first year of marriage starting the business, dogged in their dream that began in 2011 on an East River ferry ride.
It was then that Ms. Farwell, a former wine director at Brooklyn’s DuMont, Dressler and Rye, who trained at Gramercy Tavern and Craft, decided to get her captain’s license. That led to the dinner boat idea.
“It would be very simple — just good ingredients, New England tavern food, on the water,” Ms. Farwell added.
In late 2012, the couple launched an Internet campaign, raising $26,956. After the purchase of a tugboat in Michigan fell through, the couple found a 62-foot Navy yard patrol craft, the Revolution, working as a tour boat in Boston in 2013. The ride back through Buzzard’s Bay in May was so rough, Ms. Walsh recalled, she thought they might not make it back for their June wedding.
Today she serves as first mate, filling in as server and deckhand, and designing the website and the menus, in addition to her full-time job as a graphic designer. A photo of Ms. Walsh’s grandfather, a former Navy lieutenant, hangs on the wall, with other vintage artifacts, maps and photos.
Ms. Farwell, 42, learned how to do many of the repairs herself, with help from YouTube. “You’re making changes to the wine list, and then you have to rewire a pump, and then you’re making the salad dressing,” she said.
Because of the 80 hours a week that her wife spends on the boat, Ms. Walsh, 35, has a cocktail named after her: “Captain’s Widow.”
The boat offers two-and-a-half-hour dinner cruises Thursday through Saturday, offering three courses for $75; a two-hour Sunday supper ($50) is just two courses: lobster mac and cheese or panzanella salad, followed by a root beer float.
On a recent Sunday night, a group of friends had booked passage to celebrate Lara Naaman’s 40th birthday. As the boat motored under the Roosevelt Island Bridge, the revelers made their way to the top deck to snap photos of the city skyline, as Stevie Nicks, George Michael and Bruce Springsteen played over the sound system. The Revolution went as far up as the northern tip of Roosevelt Island, until dinner was served, and then it turned back south.
As the boat pulled close to the dock, the Journey song “Don’t Stop Believing” came on. Passengers cheered wildly and honked their birthday horns.
Ms. Walsh smiled and looked for the captain.
“That’s our theme song,” she said.
tags: The New York Times
categories: Press, Archive
Friday 07.18.14
Posted by Alexander Pincus
 

No Place Like Home: Three New York City Waterfront Hotspots This Summer

Via The New York Times, written by Alex Williams:

Summer in the city used to mean open fire hydrants, barbecues on fire escapes and those dreaded street fairs. Lounging by the water? You were lucky if you made it to the freak show called Coney Island once.
But now, thanks to the revitalization of the city’s waterfront, it’s possible to spend a summer by the water without leaving New York. There are locavores at the Smorgasburg tents at Brooklyn Bridge Park’s Pier 5, taco-eating surfers at Rockaway Beach, clubgoers on Governors Island and TriBeCa moms pushing fancy strollers along Hudson River Park.
New Yorkers no longer feel compelled to ditch the sweltering city every weekend. Indeed, for some, there is a reverse snobbery to shunning the South Fork and enjoying the traffic-free attractions at home.
And just as Bridgehampton draws a different crowd from East Hampton, the city’s sun-kissed waterfront playlands are developing their own distinct tribal affiliations. Here are snapshots of three waterfront spots and the cosmopolitan creatures drawn to them.
Fort Tilden beach
Fort Tilden beach is remote, graffiti-scarred and a bit industrial; in short, it’s Bushwick by the sea. No wonder that this mile-long stretch of sand on the Rockaway Peninsula, which closed after Hurricane Sandy, has re-emerged this summer with an artsy makeover.
“It’s like a beer garden in Williamsburg transposed to the seashore,” Susannah Kalb, 28, who works in film production, said on a sunny Friday.
It does not take a Brooklyn sense of irony to appreciate the natural wonders of Fort Tilden. Ignore for a moment the nonnative fauna (that is, the two-legged visitors in aviator shades), and the landscape could be borrowed from a Hopper painting. Rolling dunes are blanketed in wildflowers. Battery Harris, a former concrete Army gun emplacement, offers stunning vistas of sun-dappled waves.
Part of the charm is its ruins; hollowed-out military buildings and machine shops from its Army days. Fort Tilden is beautiful in the complicated way that Detroit is. It’s a “Mad Max” aesthetic that feels like home to the average L train denizen.
Thanks to the efforts of the Rockaway Artists Alliance, as well as the much-publicized efforts by Patti Smith and Klaus Biesenbach, the director of MoMA PS1, those ruins are now a canvas for artists. Old barracks house photographs by Ms. Smith, sculptures by Adrián Villar Rojas and a sound installation by Janet Cardiff.
The fact that nude sunbathers have long favored this remote beach also lends it an air of art-world edginess, as if beachgoers are participating in their own Marina Abramovic performances. Last Friday, a burly man in his 30s with a red beard had flipped his bicycle onto its handlebars to perform seaside tire repair in the buff. On a nearby blanket, a topless woman chatted blithely with friends, as blasé as if she had just kicked off her sandals.
While clothing is optional, literature, it appears, is not. At Fort Tilden, Stephen King will not do. Reading options that day included The Paris Review, “Slaughterhouse Five” and “The Grapes of Wrath,” with two young actors thumbing through “The Autobiography of Malcolm X” for their book club.
Musical pursuits are welcome, too, so long as they are obscure and idiosyncratic. One 20-something Brooklynite sat alone on a blanket, plucking on his ukulele while staring out to sea.
To some beachgoers, the scene is a little too familiar. “You come down here and you’d see everyone you’d see on Bedford Avenue,” said Mikael Kennedy, 34, a photographer from Greenpoint.
And that, ultimately, may be its undoing. North Brooklyn creative types hate nothing more than when word gets out about their secret haunts. With Rockaway Beach, about a 30-minute bike ride to the east, already brimming with urban surfers, bohemian day-trippers and young partygoers, it may be a matter of time before Fort Tilden is declared over.
“Four or five years ago, you would come down here and it would only be fishermen — it was awesome, it was pretty much abandoned,” said Mr. Kennedy, who was tanning with friends. Then, “it blew up.”
“On Saturdays and Sundays,” he added ruefully, “you can barely fit on the beach.”
 
Pier 25 in TriBeCa
Aboard the Sherman Zwicker at Pier 25 in TriBeCa. Credit Karsten Moran for The New York Times 
Golf. Sailing. Celebrities. Throw in the conspicuous display of luxury timepieces and you have New York’s closest waterfront equivalent to Sagaponack.
For the young hedge-fund managers and analysts who inhabit the nearby finance dominions of TriBeCa and Battery Park City, Pier 25 — which juts out into the Hudson River near North Moore Street — has become the de facto spot to pregame for the Hamptons during the week, and to bring the South Fork closer to home on the weekends that they can’t make it out to their summer shares.
During the day, scrubbed young professionals with perma-tans and perfect teeth congregate at the pier’s myriad outdoor-sports opportunities like sand volleyball and outdoor dance-cardio. A mini-golf course, opened in 2011, is Manhattan’s only 18-holer. It’s the perfect place to give future traders a taste of Maidstone culture on their ninth birthday. The aspiring preppy class can also hone their yachting chops with the Offshore Sailing School.
Even the pier’s Eurocentric playground has become a place to see-and-be-seen, thanks in part to the celebrity parents. Ed Burns and Christy Turlington, Karolina Kurkova, and Leelee Sobieski have been spotted there. They are joined during the day by the freshly blown-out TriBeCa moms, with their Céline bags and their Valentino Rockstud sandals, who transform the playground into a Concours d'Élégance of high-end strollers, with displays of four-figure models by Bugaboo and Stokke almost de rigueur.
One thing that Pier 25 lacked was Hamptons-worthy night life. That’s no longer the case with this month’s opening of Grand Banks, a seasonal oyster bar aboard the Sherman Zwicker, a historic 142-foot fishing schooner docked at the pier’s tip.
During a soft opening over the Fourth of July weekend, the schooner was packed with young professionals with Panerai wristwatches, pink polo shirts and box-fresh boat shoes, who chased down sustainably harvested oysters and fried squash blossoms with nautical-themed cocktails like the Engine Room (lager, aquavit, ginger, lemon). Also spotted were the fedora-and-tattoo types, perhaps lured by the Brooklyn bona fides of Mark Firth, a former owner of Marlow & Sons and Diner.
The owners insist that they were not looking to create a floating version of the meatpacking district.
Continue reading the main story
“Up until about 1900, the entire downtown waterfront was surrounded by these little oyster barges, some guy selling oysters,” said Miles Pincus, another owner, sipping a negroni during the opening party last Thursday. “It was the everyday, common man’s food. It was not the elevated thing it is now. We thought, ‘Why does that not exist?' ”
Alongside the $3.50 oysters from the Long Island Sound and Huntington Bay, diners can fork over $17 for a small plate of fluke crudo.
Governors Island
“You have to take a ferry to get here, and you can’t leave unless you go by ferry,” said Quinton Kerns, 29, an architect from Harlem who was on his third summer outing to Governors Island last Sunday. “You have to want to get here. You have to earn it.”
Like most visitors to the island that day, Mr. Kerns did not look as if he was straining terribly hard. Wearing black Wayfarers, he stared into a cloudless blue sky from a supine position in one of the island’s 50 new red-rope hammocks, the much-publicized centerpiece of a 30-acre expansion this summer.
The hammock, in fact, is a fitting symbol for what Governors Island has become for many New Yorkers: a shared suburban backyard, a private sanctuary for quiet reflection and unfettered play. Situated only an 800-yard ferry ride from Manhattan (and a seven-minute ferry ride from Pier 6 in Brooklyn Bridge Park), the centuries-old military base — currently midway into its seemingly endless transformation into a 100-plus acre recreation area — offers a striking absence of cars, noise, grime and, seemingly, tourists.
The spirit of mass urban decompression was in evidence in every corner of the island last Sunday.
A 40-something dad in camouflage shorts lounged quietly on a blanket, nibbling on water crackers and Brie, as his two young children clambered on a steampunk-inflected sculpture by Oreen Cohen called “A Sharper Lens,” fashioned from reclaimed materials like tires. A Hasidic family in a six-person pedal surrey wheeled down a nearly deserted bike path toward the immaculate new ball fields, the Statue of Liberty looming on the horizon. Twenty-somethings in floral-print Vans browsed the foodie carts, sampling goat-and-fig jam baguettinis and maple grilled cheese sandwiches in the cool shadow of a red brick former Army building.
But as the sun begin to sink, the legions of solace-seeking New Yorkers began to depart, and an entirely different tribe emerged to make the island its own. A tide of 1,000-plus ravers in their early 20s poured off the ferry and streamed into the Gov’nors Beach Club, an open-air club that has held summer dance parties on the island for the last few years.
As Pan-Pot, a Berlin duo, played techno music from a stage at the far end of an open-walled tent, two leggy blond women in micro-cutoffs and white, eight-inch platform high-top sneakers strode toward the dance floor, where the crowd began to undulate as a single, 500-headed organism.
From time to time, the crowd, many sporting plastic bead necklaces and Day-Glo sunglasses, would part just enough for an enterprising young dancer to step out on his own and bust a few moves.
A young man in black sunglasses gyrated in dreamy circles beneath the giant disco ball, a three-foot inflated giraffe perched on his shoulders. A burly raver in a sweat-drenched tank top then broke free from the stonewashed mass and began stomping around furiously near the stage, as if trying to repel an invasion of ants.
“It’s totally B & T,” one man said, as he boarded the ferry back to Manhattan. “I mean, is anyone there from the city?”
As new columns of flesh-baring techno acolytes filed toward the club entrance, the sternum-rattling beat droned on, its internal dramas and crescendos a mystery to the uninitiated. (“It’s the same song, over and over,” said a fire department paramedic on duty, shaking his head.)
Such opinions would be lost on the assembled. Lulled by the hypnotic tempo, they bobbed on toward midnight.
tags: The New York Times
categories: Press, Archive
Wednesday 07.16.14
Posted by Alexander Pincus
 

Now Docking Downtown: An Oyster Bar on a Boat

The restaurant's partners, from left: Adrien Gallo, Mark Firth, Miles Pincus and Alex Pincus.

The restaurant's partners, from left: Adrien Gallo, Mark Firth, Miles Pincus and Alex Pincus.

Via The New York Times:

For Alex Pincus, the question wasn’t whether Manhattan needed a floating oyster bar and mini-maritime museum on a 72-year-old codfish schooner, but rather where to put it. Now, his vision has become reality in the form of Grand Banks, which will begin serving food and drinks Thursday afternoon on a boat docked off Hudson River Park in TriBeCa.
Pincus, who grew up sailing on Lake Pontchartrain and founded the Atlantic Yachting school on the Upper West Side with his brother Miles, had been reading about the city’s 19th-century oyster barges a few years ago when the idea occurred to him to build a modern-day version. Piled high with just-dug Crassostrea virginica, says Pincus, the vessels would sell their wares to hungry New Yorkers directly from the docks. “We thought, ‘why don’t we have that here?'” he says of a conversation with Miles that followed. The two gathered their restaurant-industry friends — including Mark Firth, a co-founder of the Brooklyn restaurants Diner and Marlow & Sons and Adrien Gallo, a former owner of downtown bars including Palais Royale and Double Happiness — and “started looking around for the spot.”
That spot turned out to be the park’s Pier 25, where the partners have a yearlong lease to park a 142-foot-long Nova Scotian wooden fishing vessel called the Sherman Zwicker. (Tentative plans are to stay until fall, says Alex Pincus, and then sail down to Florida for the winter.)
The Sherman Zwicker was once the property of the Maine Maritime Museum, where four decades ago a sailor and nautical-history buff named George McEvoy (“the ultimate old soul,” says Pincus) lovingly restored it. As of last week McEvoy’s pride and joy — the last of its kind used to fish among the Grand Banks of Newfoundland and now the largest wooden vessel in New York City — was docked in Red Hook, Brooklyn. There the Pincuses and their partners hustled to outfit the kitchen (formerly bunks where sailors slept) and to prepare marine-education exhibits in the stalls where just-caught cod was once buried in salt for the trip to South America.
Above decks, they also built out two bars, one for drinks (such as daily nautical-themed cocktails and ales from Red Hook’s Other Half Brewing Company), and another topped with zinc for a rotating menu of sustainably sourced oysters. Those, as well as the rest of the Grand Banks menu — lobster rolls, small plates of seasonally and locally available seafood — will be overseen by Firth, who is also the owner of Prairie Whale restaurant in the Berkshires.
It was in those landlocked mountains, where both Firth and Alex Pincus had moved a few years back, that the seed for Grand Banks was first planted. The two men, old friends from the city, crossed paths at the gym and got to discussing how they shared both a love of the urban waterfront and a desire to connect the rest of the city to it. It was that conversation that spurred Pincus to research old New York’s oyster barges. Now, both are splitting their time between the boat and the Berkshires. “It’s kind of ironic that we had to move away,” says Firth, “to figure this out.”
tags: The New York Times
categories: Press, Archive
Monday 06.30.14
Posted by Alexander Pincus
 

Factory Conversion Moves Forward

Via The New York Times, written by Michael Cooper:

The effort to turn a century-old sawdust factory in Williamsburg, Brooklyn, into an acoustically sound concert hall, recording studio, nightclub and center for composers is moving ahead, with organizers saying that they have raised the $16 million needed to finish construction. The space on North 6th Street, called the Original Music Workshop, has already drawn respected musicians and celebrities inside its weathered brick walls for concerts, even before it had a roof. Now its founder, Kevin Dolan, said that he had lined up what he called “philanthropic investors” to put up the money needed to finish construction. It is an unusual arrangement. Mr. Dolan said that the investors would become part owners of the building, which they would allow the Original Music Workshop, a nonprofit, to use rent-free. In the future they could then give their shares to the workshop, sell them to the workshop, or sell the building. Mr. Dolan, 62, said this would reduce the risk to people who might be reluctant to put money into a new organization without a long track record. He added that the space could open as soon as the fall of 2015.

tags: The New York Times
categories: Press, Archive
Sunday 05.11.14
Posted by Alexander Pincus
 

Original Music Workshop in New York Times, Again

Original Music Workshop's creative director, Paola Prestini, and the OMW Ex-Situ series are praised in this review by The New York Times. 

tags: Original Music Workshop, Paola Prestini, Vision Into Art, Ex Situ, The New York Times, River to River Festival, Cornelius Dufallo, Federal Hall, Amy Kauffman, Bureau V, PINC.US
categories: Press
Thursday 07.11.13
Posted by Alexander Pincus
 

OMW's Vocal Electrofolk in New York Times

OMW's Vocal Electrofolk in New York Times

The Original Music Workshop’s upcoming performance, Vocal Electrofolk, is mentioned in the New York Times today. The performance is this Saturday night at the Greene Space.

tags: The New York Times, Original Music Workshop, Bureau V, Vocal Electrofolk, Kevin Dolan, Greene Space, Netsayi, Black Pressure
categories: Press
Friday 04.05.13
Posted by Alexander Pincus
 

Cailliope Gets Great Review by New York Times

Calliope, a new restaurant by my friends Eric and Ginevra, received an amazing and well deserved review in today's New York Times.

tags: Restaurant, Bistro Cuisine, French Cooking, Eric Korsh, Ginevra Iverson, The New York Times
categories: Friends & Family
Tuesday 10.02.12
Posted by Alexander Pincus
 

Butterflies Roam at a Concert Hall in Infancy, Still Without a Roof

Via The New York Times, written by Zachary Woolfe:

You will not immediately be able to know, when it opens a little over a year from now, that there is anything very special about the Original Music Workshop. Aside from a few large windows, from the outside it will look like any of the old factory buildings scattered throughout Williamsburg.
Appearances can be deceiving. Nestled inside the building’s weathered brick shell will be a small concert hall with translucent ceiling and walls set at dozens of jagged angles: “a radiant jewel,” its architect, Bureau V, promises, in a scruffy postindustrial box.
On Thursday evening all that was still many months in the future as dozens of people gathered, surrounded by the factory’s looming brick walls under a clear, starry sky, for a glimpse of the raw space and a preview of the hall’s programming plans, which will be fleshed out in a series of concerts at the Greene Space over the coming year.
There has recently been a boom in fresh spots for new music in Brooklyn, including the brand-new BAM Fisher at the Brooklyn Academy of Music; Galapagos Art Space (which moved from Williamsburg to Dumbo in 2008); Roulette; and the Issue Project Room, situated, like the Original Music Workshop, in a kind of modern ruin.
PhotoA performance designed by the artist Erika Harrsch, with butterfly-shaped kites, was among the acts at Original Music Workshop in Williamsburg on Thursday. Credit Marcus Yam for The New York Times 
The workshop — led by the creative director Paola Prestini, herself a noted composer — will have in common with these other halls an emphasis on variety. Anchored by a select group of resident ensembles and artists, the programming will span opera, indie rock, electronica and Baroque. On Thursday, in a concert called “Skyful,” the quartet Brooklyn Rider’s performance of Gyorgy Kurtag’s icy, potent “Microludes” shared the bill with the sexily smoky voice of Magos Herrera, paying tribute to the great Mexican singer Chavela Vargas, who died last month.
Despite the high walls, the outside world was never too far away. One of two pieces written and performed by the excellent clarinetist Kinan Azmeh used melodies sung during the recent demonstrations in Mr. Azmeh’s native Syria. In a performance designed by the visual artist Erika Harrsch, butterfly-shaped kites were printed with blown-up images of American currency, a beautiful but melancholy accompaniment to works for flute duet by Mario Diaz de León and Julian Wachner. The intense soprano Tony Arnold sang fragments of popular song lyrics in a stratospheric register in the Talea Ensemble’s performance of Bernhard Lang’s “DW 16: Songbook 1,” her piercing notes matched by bursts of Geoff Landman’s saxophone.
The founder of the Original Music Workshop, Kevin Dolan, has donated $8 million of the project’s $14 million cost, but there are still significant fund-raising hurdles to clear. On Thursday, though, it was easy to feel hopeful and excited that the evening’s richness and range would be a fixture of the city for many years to come.
tags: The New York Times
categories: Press, Archive
Sunday 09.16.12
Posted by Alexander Pincus
 

Jose Parla Goes Big at BAM

Jose Parla with his painting “Gesture Performing Dance, Dance Performing Gesture.”

Jose Parla with his painting “Gesture Performing Dance, Dance Performing Gesture.”

Carol Vogel profiles my friend Jose Parla's new work in the New York Times:

For New Theater, BAM Commissions a Really Big Painting
A decade ago, when the Brooklyn Academy of Music restored its landmark exterior, the Brazilian photographer Vik Muniz decorated the scaffolding of the building’s second, third and fourth floors with images of a giant gingerbread house. It was a colorful confection: melted sugar outlined with giant jelly beans and slithering Gummi Worms recreated the building’s arched windows; giant M&M’s became its frieze.
Now, to enliven its newest theater – the Richard B. Fisher Building – which was unveiled in June and officially opens Sept. 5, the academy has asked the Brooklyn artist José Parlá to create its first permanent commissioned piece of public art for an interior space.
“Gesture Performing Dance, Dance Performing Gesture,’’ a painting measuring 37 feet by 7 feet, incorporates collage, acrylic, oil, ink, plaster and enamel and is slated for completion around the end of the month. The painting will cover the back wall of the lobby, which is visible from the street.
“This particular work will be informed by dance, movement and gestural communication,’’ Mr. Parlá said in a statement.
tags: BAM, Jose Parla, Painting, The New York Times
categories: Friends & Family
Thursday 08.02.12
Posted by Alexander Pincus
 

Jose Parla in T Magazine

Jose Parla in T Magazine

It's great to see another one of my guys written up in T. Here is a question and answer of Jose Parla, talking about his work and new show.

tags: Art, Jose Parla, Painting, The New York Times, T, The New York Times Style Magazine
categories: Friends & Family
Wednesday 03.23.11
Posted by Alexander Pincus
 

Tim Hull in T Magazine

Tim Hull T Magazine

My friend Tim Hull is profiled in the New York Times T Magazine.

tags: Art, Tim Hull, Drawing, The New York Times, T, The New York Times Style Magazine
categories: Friends & Family
Saturday 02.05.11
Posted by Alexander Pincus
 

Commonwealth on the Cover of New York Times Style Magazine

It’s great to see my friends and sometimes collaborators Zoe and David on the cover of the New York Times Style Magazine. See the article here.

tags: Zoe Coombes, Commonwealth, David Boira, The New York Times, T, The New York Times Style Magazine
categories: Friends & Family
Friday 11.05.10
Posted by Alexander Pincus
 

Ari Berman Editorial in the Sunday New York Times

Vote

Ari Berman has a great editorial in this Sunday’s New York Times:

Boot the Blue Dogs
By ARI BERMAN
Published: October 23, 2010
IN 2008, Barack Obama’s presidential campaign seemed to rewrite all the rules in electoral politics and herald a new progressive era in America. Democrats assembled a huge Congressional majority and, in the euphoria that followed the historic election, were poised to enact sweeping change. However, despite some notable successes the stimulus package, health care reform, tighter rules for the financial industry things have not gone according to plan. Just two years later, Democrats face a bad economy, a skeptical public, a re-energized Republican Party and a coming avalanche of losses in the midterm elections.
What happened? One important explanation is that divisions inside the Democratic coalition, which held together during the 2008 campaign, have come spilling out into the open. Conservative Democrats have opposed key elements of the president’s agenda, while liberal Democrats have howled that their majority is being hijacked by a rogue group of predominantly white men from small rural states. President Obama himself appears caught in the middle, unable to satisfy the many factions inside his party’s big tent.
Read at NYT

tags: Ari Berman, Blue Dog Democrats, Journalism, The New York Times
categories: Friends & Family
Monday 10.25.10
Posted by Alexander Pincus
 
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