Seattle’s Safeco Field gets food concession with local ingredients, menus by award-winning chefs

by Laurel Miller on

Buh-bye, limp hot dogs in soggy buns. Baseball season starts April 1st, and Seattle’s Safeco Field–go, Mariners–is celebrating its first home game on the 8th with some serious food.
Centerplate, the leading hospitality provider to North America’s premier sports stadiums, has developed a partnership with award-winning Seattle chef Ethan Stowell, as well as chefs Roberto Santibañez, owner of Brooklyn’s Fonda/culinary director of Hoboken’s The Taco Truck, and Bill Pustari, chef-owner of New Haven’s Modern Apizza.

The revamped Bullpen Market at Safeco Field will feature fresh, local ingredients and easy-on-the-budget prices. In addition to an Apizza outlet, there is chef Stowell’s Hamburg + Frites, and La Crêperie, and Flying Turtle Cantina/Tortugas Voladoras from Santibañez.

Says John Sergi, Chief Design Officer of Centerplate, “Our mission was to create a restaurant-style experience–the anti-fast food–in a concession environment. We (brought in) Ethan as our consulting chef…in order to help us make the food ‘restaurant-real.’

Stowell is the executive chef and owner of Ethan Stowell Restaurants, which includes Tavolàta, Anchovies & Olives, and How to Cook a Wolf. He is the acting chef at eight-month-old Staple & Fancy Mercantile, in Seattle’s gorgeously revamped Kolstrand Building in the Ballard neighborhood.

Best-known for his use of local ingredients and simple, seasonal food, Stowell was named one of the 2008 Best New Chefs in America by Food & Wine magazine and has been honored with multiple James Beard Award nominations for “Best Chef Northwest.” Santibañez and Pustari were added to the line-up to create programs featuring the signature concepts for which they are both nationally acclaimed–Mexican food and pizza. I might get into sports if this is the future of stadium food.

What are the top five cities for business travel?

by Tom Johansmeyer on

Some cities are better for doing business than others, it seems. Of course, business travelers (well, professionals in general) all have their preferences. Having done my time in Omaha, Winnipeg and London (Ontario), I can tell you that some places are better than others. So, I was pretty excited to see think tank Z/Yen put out its Global Financial Centres Index (PDF), which shows the top five cities in the world in which to do business.

There aren’t many suprises at the top end of the list, which comes out twice a year. The rankings are determined using “five key areas of competitiveness,” according to Inside Investor Relations: people, business, environment, market access, infrastructure and general competitiveness.”

So, what are the top five?

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1. London
2. New York
3. Hong Kong
4. Singapore
5. Shanghai

As you can see, 60 percent of the top of the heap are in Asia, which signifies a spike in recent years. Inside Investor Relations reports that there were only three Asian cities in the top 20 when the index was first published in March 2007. Now, there are not only three in the top five but eight in the top 20, while North America has only six and Europe five.

Interestingly, the study notes that the top three are effectively tied. Inside Investor Relations notes:

According to the study, however: ‘there remains no significant difference between London, New York and Hong Kong… respondents continue to believe that these centers work together for mutual benefit.’

The top financial center in the Middle East is Dubai, which comes in at 28th overall. It is two places above Qatar. Next are Bahrain at 49th and Riyadh at 70th, still way back in the distance.

[Photo by TJ Morris via Flickr]

Manhattanhenge 2011 comes to New York City: May 30-31, July 11-12

by Grant Martin on

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.

[via NewYorkology]

Pulse Art Fair in New York: Flatline

by Tom Johansmeyer on

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 …

Fountain Art Fair: This Is the Future of the Creative Mind

by Tom Johansmeyer on


It isn’t unusual to see emerging artists speak angrily and earnestly about the evils of capitalism. They are hungry, struggling to be heard and eager to attain some degree of notoriety and success. Their voices, expressed on various forms of media, seek an understanding audience in a world increasingly programmed to reject the abstract and difficult in favor of that which can be digested comfortably and without risk of intellectual choking. So, it’s ironic to see such messages come with price tags that can reach into the thousands of dollars.

This is what occurred to me as I stepped off the in Manhattan, returning to terra firma from the dangerous, insightful and sometimes shocking Fountain Art Fair.

Fountain was among the Armory week satellite art fairs in Manhattan this weekend, though it won’t be confused with the rest of them. I was eager to visit Fountain. Rather than stumble through the same big names you see at the Armory, I prefer to spend my time with the artists who are fighting to become known. At Fountain, the pieces on display showed a violent desperation to be heard, with strong cultural and political messages that were impossible to be missed.

I left Fountain excited about emerging art again.


Some pieces, doubtless, were a bit heavy handed, and I do wonder how long the original messages can endure. One artist, for example, created a triptych lamenting the importance the art community places on an artist’s resume, bio and statement. Ironically, his rep was speaking from all three, at least implicitly, when explaining the work. And, if some possibility of commercial success emerges, I also wonder how long it would take the artist to polish up these documents for a major gallery or museum to review.

Another, in the “American Gangster” space, crowded the walls with as much work as possible, as if he wouldn’t have another chance to reach an audience of this magnitude – an assumption that, in itself seems tragic. While works such as “Snow White and the Seven Crackheads,” which actually included two (seemingly used) crack pipes, were a bit too blatant for my tastes, works such as an American flag devoid of color inscribed with “MADE IN CHINA” did a better job of hitting the mark.

Aside from these minor missteps, Fountain was full of work that would make you reconsider the world around you, with stunning photographs from depressed communities, street art that stretches the practical application of spray paint and performances that leave you paralyzed, unwilling to take another step before seeing what comes next.

So, will anything I saw really hit investment grade? I regret to say that I doubt it … but that’s not the point of it. Hell, it shouldn’t be the point of an art purchase anyway. After all, you purchase art to enjoy it, to derive pleasure or inspiration or understanding. If you’re looking for the sort of appreciation that comes in monetary form, you’re missing the point.