Sunsets are a common staple of the travel photo album. We tend to associate them with palm-tree-lined beaches, desert landscapes, and misty mountains. Yet this photo by Flickr user jameskadamson has nary a cactus or foothill in sight. Taken in New York City, it’s a beautiful perspective on the building’s architecture and the photographer’s favorite time of day. Want more sunsets? Check out yesterday’s video of the day for 365 sunsets around the world.
The reptile house closed immediately after her escape, and zookeepers are saying she could take weeks to come out of hiding. While we can’t vouch for the authenticity of the snake taking Manhattan, you can follow her adventures on Twitter, where @bronxzooscobra has been chronicling the travels of the errant snake with over 25,000 followers and counting. So where does a young snakess on the town go?
She first mused over a Broadway show, then taunted followers with her location in front of “the original” Ray’s Pizza (good luck checking all 46 locations claiming to be the first). After taking in the other wildlife at American Museum of Natural His(s)tory, she went downtown for a workout at Equinox Gym and a slither atop the High Line park. The Bronx Zoo cobra then tweeted about getting tickets for Jimmy Fallon before spotting Tina Fey at Rockefeller Center and heading back downtown to Wall Street. Despite asking for a vegan restaurant near Union Square, she ended up way uptown at Tom’s Restaurant from Seinfeld, where she may have found a hiding spot for the night in an unsuspecting apartment. Where will she go today?
Any New York travel tips for the cobress? Have you spotted any snakes, tweeting or just taking in the sights? While she is just 20 inches long, she is venomous, so watch your ankles!
In just under six minutes, you can take a (mostly) stop-motion trip to 1983 New York City in this short film called “N.Y.C. (No York City)” by Rick Liss with music by Laurie Anderson. The video follows a dizzying path through Manhattan, past familiar landmarks like the World Trade Center, the subway, and Central Park (check out the roller skaters!). While the clothes and cars may seem dated, in many ways, it’s not much different than 2011 New York City, except with more mimes.
We’ve covered Manhattanhenge on Gadling occasionally over the years, and each time it never fails to amaze us. The concept, in case you’re unfamiliar, plays off the juxtaposition of the sun setting across the east-west streets of Manhattan. On only a few days out of the year the sun sets exactly between rows of skyscrapers, resulting in long beams of sunlight tumbling across the city and reflecting off of buildings. It’s quite a site to behold.
If you happen to be in New York City late this spring be sure to keep an eye out for the phenomenon, it should happen over the days of May 30th and 31st and July 11th and 12th. It also might help to have Kings of Convenience’s version of Manhattan Skyline on the radio.
Not surprisingly, the same phenomenon happens in Chicago on their orthogonal streets as well, though they don’t have the same elevation dropoff (and subsequent visual effect) that the Hudson River allows in New York.
Dates for Chicagohenge haven’t yet been distributed on the web — if anyone has them off hand feel free to post in the comments and we’ll update this post.
Armory week is always an exciting time for New York City’s art community. In addition to the main show that occurs on the city’s west side, there are seemingly countless smaller shows that have popped up all over Manhattan and in Brooklyn. If you’re looking for options … you’ve got ’em. Of course, serious collectors are drawn to the Armory, where you’ll find five- and six-figure pieces from established investment-grade artists who are represented by major galleries – household names for this world. If you’re looking for the next big name, however, the sort of artist whose work has yet to really soar, you need to check out the satellite shows.
Traditionally, Pulse has been among the must-see art fairs in Armory week, and for good reason. This time around, unfortunately, it didn’t measure up. Quite simply, Pulse lacked what its name asserts.
I walked into the pavilion on W 26th Street expecting to see edgy, interesting and engaging artwork, the sort of pieces that stop you, make you think and leave you with a broader perspective. I left the show a tad disappointed.
The greatest problem with Pulse was that few artists seemed to be taking any risks. Much of the fare was conventional, and it felt as though the artists (or, rather, the show’s decision-makers) were trying to play it safe. The exhibition appeared to be catering to a different audience, one that wasn’t willing to put its assumptions on the line. To those inviting a challenge, Pulse fell short.
Much of the work was devoid of expression. Artists either tried too hard to find the abstract – such as a video piece of feet and ankles walking through heavy mud – or they relied too much on shocking color. I haven’t seen so much pink and other bright colors since similarly hued ski jackets were in vogue in the early 1990s. And, the display of an empty wine bottle with “MUTE” printed on the label simply defines uninspired.
There were a few bright spots, though, particularly the exquisite layered video created by David Ellis. Nestled in the “Impulse” section of the fair, upstairs, the previous Pulse standout offered a time-lapse video that encompassed the creation of several pieces, all intricately and seamlessly linked together to create an ongoing narrative nearly 20 minutes long. Called “The Animals,” it provided an array of morphing geographic designs that occasionally stopped to show a (what I took to be) a walrus before continuing on to show further creations. The action didn’t stop, and the work reflected the vision necessary to be a true thought leader as an emerging artist.
Aside from Ellis, Pulse was on life support this year, and my fingers are crossed for something more engaging in 2012. If we learned anything from the art market bust of 2008 and 2009, it’s that we need fresh, original and interesting talent to engage collectors and the public.
Otherwise, art investment dollars will be funneled into the known quantities (a la Pablo Picasso, Francis Bacon and Andy Warhol), driving up the price and creating a new bubble. We also learned that betting on the vapid creations of emerging artists who have “made it” – such as Damien Hirst – isn’t enough. The purpose of Pulse is to give the next wave of artistic geniuses a platform.
Now, we just need the next wave of artistic geniuses …