On Saturday evening, a rare NYC pop-up concert by the in-demand Ahn Trio marks the end of the first year of the Rizzoli exciting Music Aperitivo Series. The programme for the concert will feature music from BLUE, the trio’s latest album showcasing its wide-ranging interests and influences, as well as other releases from the Ahn Trio’s wide-ranging discography.
The Ahn Trio is made up of three Juilliard-trained Korean-American sisters, pianist Lucia, violinist Angella, and cellist Maria. The LA Times has hailed the Ahn sisters as “exacting and exciting musicians,” and New York Newsday nicknamed them “Classical revolutionaries,” because of their ever-evolving vision of being 21st century musicians and their wide-ranging collaborations with modern dance companies, film directors, rock bands, DJs, singers, and others.
Pat Metheny and other luminary composers such as Michael Nyman, Maurice Jarre, Kenji Bunch, Mark Baechle, Mark O’Connor, DJ Spooky, Chiel Meijering have written music for them. In 2011 President Obama invited Ahn Trio to perform at the White House. The Ahns have performed at the prestigious TED conference and was the only classical group to be invited to perform at iTunes Festival 2008 in London.
The Trio has released nine critically acclaimed albums on EMI Classics, Sony, and Warner. The Ahn Trio’s album Lullaby for My Favorite Insomniac released by Sony, was No. 8 in the Billboard Charts for 26 weeks. The group’s Dvorak, Suk, and Shostakovich album on EMI won Germany’s prestigious ECHO Award.
Experience something out of the ordinary this Saturday. Take advantage of this unique opportunity to hear Ahn Trio’s cutting-edge musical performance in the intimate setting of Rizzoli’s beautiful salon . . . while sipping prosecco.
Please rsvp to email@example.com or simply reply to this email. Tickets may be purchased at the door for $20 and include complimentary prosecco.
Gotham Glow has built a stellar reputation as one of the most trusted names in the airbrush tanning business, landing on numerous lists of the best salons in New York City, including lists prepared by Goop, Allure, and Haute Living. The salon is renowned for its superior and tasteful airbrush work; making sure every client ends up with a glow that looks natural. That may be why the client list is vast and varied, including brides, models, public figures, celebrities, and firms such as Victoria’s Secret, Sports Illustrated, and Ford Models.
Superior Service and Identifying a Niche Leads to Success
Tamar began her career 17 years ago at one of the first airbrush tanning salons in New York City honing her skills over time. After a couple of years, she noticed an untapped niche market – the need for mobile tanning services and after-hours availability, perfect for busy New Yorkers. Tamar developed her own proprietary tanning formula and using her own unique tanning techniques she stepped out on her own, and 14 years ago Gotham Glow was born.
Tamar’s splendid work, round-the-clock availability, and deep dedication to her clients’ needs soon won her a cult following and a wealth of referrals. You’d catch her at all hours heading out to or returning from a client call with her equipment. This skill and dedication led to press coverage.
Tamar recalls, “One day, TheNew York Times contacted me out of the blue for an article about mobile beauty services. I thought it was just going to be a little snippet.” To her surprise, the Times featured her photo on the front page of the Style section.
Expanding to Meet the Demand for a Great Tan
As Gotham Glow continued to flourish, Tamar decided to open her own salon here in the Townsend Building at 1123 Broadway, adding in-salon services to her ever-popular house call service. She and her staff have been here for the last nine years and have upsized within the Townsend as the business continued to expand. “I absolutely love the architectural beauty and history of the Townsend building and the dedication of the staff makes this the perfect home for Gotham Glow. We have expanded and grown just as the NOMAD neighborhood has developed so much over the past decade.”
Today, Gotham Glow’s team offers in-salon and mobile tans for all skin tones and ages. They provide multi-tan packages as well as services for tanning parties, bridal parties, corporate events, film/video shoots, editorials, and more. And, Gotham Glow welcomes guys, too. As men have become more comfortable with facials, manicures, and eyebrow shaping, they can be seen headed toward Gotham Glow before a special date or summer weekend.
In order to keep up with growing demand, over the years Tamar has developed a wonderful team of skilled technicians whom have been trained intensively to ensure that the salon’s brand of expertise and attention to detail is always maintained. “Technicians are trained for months before they’re allowed to tan clients,” she explained.
But Gotham Glow isn’t so busy that it doesn’t stop to care for others, in the tradition of many of Kew’s tenants. The firm has an admirable mission: to share the Glow by promoting health and wellness across the globe through our continued affiliation with the Association to Benefit Children, International Rescue Committee, Sanctuary for Families, J.T. Martell Foundation, and other charitable and social organizations.
We would say to keep an eye out for Gotham Glow’s work while you’re watching celebs walk the red carpet at the Oscars during the West Coast’s award season, but the whole point is: you’ll never know. You’ll just see a lovely glow.
Special Introductory Offer for Kew Tenants
We urge all tenants, gals and guys, who are interested to look into Gotham Glow. Gotham Glow is offering Kew tenants an introductory offer of $10 off your full body tan. Appointments can be booked through GothamGlow.com. Make sure to mention you are a Kew tenant.
Gotham Glow 1123 Broadway (at 25th Street), Suite 417 New York, NY 10010 (917) 512-9854
One of the exceptional things about our neighborhood is the number of specialty stores and one-of-a-kind shops located here—places where you can find special gifts you won’t easily find anywhere else. If you’re shopping for an especially meaningful gift this holiday season, NoMad is the place to do it. There are dozens of such shops in NoMad, such as Todd Snyder, Cocktail Kingdom, Opening Ceremony, Dover Street Market, Antique Showplace, Sebastian Grey and Marimekko, but here we are highlighting five treasure troves where you might start your hunt for that special something for that special someone.
To label this a home and hospitality boutique is to vastly understate the case. This is a one-of-a-kind home and lifestyle design destination, birthed from the creativity of one of the country’s premier event designers, Jung Lee. Here you’ll find elegant serveware, dinnerware, hospitality items, home décor, and more, curated and displayed in an inviting showroom that feels more like a home than shop. Jung Lee’s eye is masterful and in one glorious store you’ll find a special collection of items you’d have to scour the city for.
Jung Lee 25 West 29th Street New York, NY 10001 (212) 257-5655
If you are shopping for someone who is interested in Americana artwork, vintage graphics, historic engravings, or antiquarian maps, check out The Old Print Shop on Lexington Avenue. This remarkable gallery hosts a wealth of art pieces and prints from the eighteenth through the twenty-first centuries that would enhance the collection of even the most prolific collectors or provide a one-of-a-kind piece to adorn a special friend’s home and remind them of you.
The Old Print Shop 150 Lexington Avenue New York, NY 10016 (212) 683-3950
A tack shop in New York City? Absolutely. In fact, Manhattan Saddlery is the only tack shop in NYC, and it’s right here in NoMad. Shop for the finest riding clothes, footwear, helmets, grooming supplies, crops, whips, girths, bridles, and of course, saddles—basically all things equestrian. (Except the horse.). It’s not for just for riders either, there are exquisitely made shoes, jackets and accessories anyone would be glad to own.
Manhattan Saddlery 117 East 24th Street New York, NY 10010 (212) 673-1400
Themed around old-country Italy, this combination grocery store, cooking supply shop, and international food court is a destination any time of year. In the spirit of the season, Eataly has even set up a special Holiday Market at its nearby cooking school, offering themed gift boxes and daily complimentary tastings. Or, perhaps you can pick up an unusual combination of preserves and jams (including pink grapefruit and sweet pepper), an extra fine olive oil or a unique vinegar that you know that someone on your list wouldn’t buy for themselves. If your loved ones love Italian food or cooking, you might be able to check off your entire list just by going here first.
Eataly 200 Fifth Avenue New York, NY 10010 (212) 229-2560
Located in the heart of NoMad at 1133 Broadway, Rizzoli has been a New York City fixture for over 50 years. Besides being widely recognized as one of the preeminent independent booksellers in America, this store is known for its unique inventory of illustrated books on fashion, architecture, interior design, photography, and other arts, as well as remarkable fine literature and foreign language selections. If you’re shopping for a book lover (or if you are one yourself — you deserve a gift too), be sure to stop here. An added bonus is that Rizzoli’s stunning and peaceful store will provide you a welcome respite amid the holiday bustle.
Rizzoli Bookstore 1133 Broadway New York, NY 10010 (212) 759-2424
During past holiday seasons, have you spent time foraging around for boxes, bubble wrap, the right size box, tape, and labels? Then, did you ask yourself: “Should I go to the post office, Fedex or UPS? How can I not spend a fortune? Will they get my packages there in time?” And finally, you probably lugged boxes in one or more trips to finally send them off.
Not this year. We have a solution for you. There is a way to make your holidays much less harried, particularly if you have lots of relatives and friends you have to ship presents to. Right here in 1133 Broadway, Suite 221, the Business Center can make shipping gifts a breeze.
Aurelio and Andris will:
Take care of you right here — no reason to trudge around with packages in cold weather.
Help you fit your shipment into the correct size box and wrap it securely for you.
Messenger one package or a large quantity of client gifts anywhere in town, same day.
Have all the shipping forms, envelopes, and boxes you will need, for packages going long distances.
Provide you with varying costs of alternate ways of sending a package via USPS and Federal Express so you can decide how much you’d like to pay and when you want your gift to arrive.
Make sure your gifts go off with the Post Office or FedEx the same day.
While the Center does not ship UPS, there is a UPS drop off box near the front door of the Business Center, where you can drop envelopes and parcels that already have prepaid labels.
Those of you who use the Center regularly know that Aurelio and Andris are very helpful and they want to ease you through the holiday crunch. While they suggest that the sooner you are ready to ship and can bring your packages to them the better, they do advise that all shipping at standard rates should be completed at least a week before you want your gifts to arrive.
What do Ashton Kutcher, Michael Bloomberg, Maria Bartiromo, Phyllis Diller, Elliot Spitzer, and former Treasury Secretary Robert Rubin have in common? They’re among the many cultural, business and political heavyweights whose portraits have been captured by virtuosic New York photographer David Lubarsky.
Over a career spanning more than three decades, David has seen and done it all— from portraits of the rich and famous to corporate and architectural photography. His photographs have appeared in such exalted publications as The New York Times, The Wall Street Journal, Money, Forbes, Business Week, and Barron’s, among others. Today, operating from his studio and office at Suite 1404, 1133 Broadway, David is always in high demand. He says, “Most of my work today is for law and financial services firms. “Executive and environmental portraits, corporate lifestyle images for websites, annual reports, brochures and corporate collateral materials.”
Among the clients for whom David has worked are: Cravath Swaine & Moore, Sidley Austin, Jones Day, Goldman Sachs, Morgan Stanley, Skadden Arps, Mercedes-Benz, Edelman Worldwide, NYU Langone Medical Center, Museum of Modern Art and New Museum of Contemporary Art. These represent a small fraction of an enormous list that attest to the quality of his work.
How does a seasoned pro like David flourish in the highly competitive photography field when anyone with an iPhone can claim to be a photographer? The answer: thorough preparation, persistence at getting every detail right, innovation and, perhaps most importantly, connecting with people.
Persistence and Innovation
Every photographic situation involves a challenge and some may seem insurmountable–but not for David. The reason is simple: he will not settle for second best no matter what it takes – leaning out over the edge of a building, jerry-rigging equipment, moving furniture or studying light patterns before the shot. His goal is never to just get a shot taken, it is to make each exposure noteworthy and finished to the highest professional standards.
Recently, David has completed several photoshoots for Kew Management, including photos for the company’s website. Richard Falk from Kew who worked with David on these assignments noted, “I have worked with renowned photographers for more than 40 years, and David is the most detailed-oriented photographer I have worked with, and the one with the keenest sense of composition and insight. He’s easy to work with, because he is committed and resourceful.”
Making a Personal Connection
David has a winning personality that puts people at their ease, but with years of experience he also has many ways of making the tensest sitter loosen up.
When David was preparing to photograph former New Jersey Governor Jon Corzine for a magazine cover, he had allotted 30 minutes for the shoot. The governor (and former senator) not only arrived late but said gruffly that he’d only sit for five minutes. While powdering Corzine’s face, David said he admired legislation to repeal the death penalty that Corzine had sponsored. The governor immediately changed his tune. “You know about that?” Corzine asked, surprised. “Take as much time as you need!”
Similarly, when David was preparing to shoot a portrait of Robert Klein for A&E Network, the iconic comedian was not entirely enthusiastic. But David knew Klein had grown up in the same Bronx neighborhood as his parents and told the celebrity he had even been to the David Marcus Theater on Jerome Avenue, where Klein spent countless hours as a kid. “He was surprised and thrilled I knew about the old neighborhood theater, and his tone completely changed,” David recalls. “Klein then said, ‘I’m yours!’ The shoot went very well.”
The key is to “do your homework,” David says. “Take the time to find out what makes your subject tick–connect with people as people.” The results are clear in David’s portraits. Subjects look their best: relaxed & engaged.
His Drive has Led to Success in Photography and Life
David’s success is no chance occurrence. His indomitable spirit has resulted in great work for his clients and success for himself.
In the late 1970s, before he had even finished his fine arts degree in photography from the School of Visual Arts, he was taking on freelance assignments photographing works of art for museums and galleries. “As a new freelancer, I could apply my technical and aesthetic skills and still making a living, with the hope that some gallery owner would notice my work.”
Then he received a challenge that would have defeated others. “Within six weeks of opening my first studio, I had a brain hemorrhage. It’s called an AVM, an arteriovenous malformation.” David was one of the first AVM patients to receive microsurgery, and one of the few who actually survived without any lingering problems. But the health crisis forced him out of work for several months. “Fortunately, my clients stayed with me. I still had work when I came back.”
Finding New Business Models to Succeed
More determined than ever, he spent the next two years building up three new portfolios of work: An editorial/portrait/portfolio, an architectural interior/exterior portfolio and a public relations portfolio.
David recognized that by shooting editorial, the photographer owns the copyright for the one-time use in a magazine. Additionally, the subject of a portrait, or their company, often wants to purchase the rights to use the photo elsewhere, which provides an additional source of income for that image.
That’s what happened when David photographed Robert Rubin, then the chairman of Citicorp, for a magazine cover. A year after the shoot, Rubin’s staff wanted to use the image again for the cover of his upcoming book on his earlier time as treasury secretary in the Clinton Administration. By owning the copyright to the image, David could charge a licensing fee for each use. “Controlling the image’s use is a key factor in generating additional exposure & income,” he says. “Artists should never give away their copyrighted work.”
Meanwhile, many of the companies observed how David worked with the executives during the editorial shoots, so he started picking up assignments from them directly. “It was a great business model, and soon enough I had a collection of clients in the law and financial world.
Continuing to Meet Challenges
What bigger challenge has there been to the entire creative world than the digital revolution? It affected all art expression, but perhaps, none more so than photography. On one hand, there was so much new to learn, from the enhanced results produced from digital cameras to the innumerable details of how to size images, store them, send them to clients in online galleries, and alter them post-production. David, with his enthusiasm, sense of wonder and computer savvy, made all of these transitions easily. But the change also had an impact on his bottom line . . . at least temporarily.
David recalls, “When affordable digital cameras hit the market, some of my clients said, ‘Well, you know, we don’t really need your services anymore. We’re just going to hand the point-and-shoot digital camera to our IT guy to get the shots.’” “I said, ‘Please keep in mind that it’s not the camera that makes a good photograph, it’s the creative eye behind the camera.’ Within six months, those same firms came back, saying, ‘You know, you’re right, it’s not the camera.’”
Inspired by NoMad
In 2014, after 31 years at his 20th Street studio, David was forced to move when the building was sold and his rent quadrupled. That led him to the NoMad neighborhood, a move which he says has been both convenient and inspiring.
Madison Square Park has been the Mecca of modern photography. “Alfred Stieglitz and Edward Steichen made those iconic pictures of the Flatiron building at the turn of the 20th Century; Steiglitz also founded the famous 291 Gallery and The Photo-Secession movement, which met in the neighborhood. For me, it’s a meaningful connection and an inspiring place.”
Beyond his commercial photography, David has always pursued his own fine art work.
Among his favorite subjects is his interest in “transit”-themed images. Some of the images from this study are in the permanent collections of the Museum of the City of New York and the New York City Transit Authority. You may have even seen them in subway ads. David’s transit photos also garnered him a one-man show. Awarded by MTA Arts for Transit (now called MTA Arts & Design) the show was entitled “InTransit” @ Grand Central Terminal’s 42nd Street East Passage, July 1992.
Soon after settling into his studio space in 1133, David found a new personal fine-arts project to pursue. “I had this beautiful view of the St. Sava Serbian Orthodox Cathedral from my fifth floor office, so I started shooting images every day–from various angles at different times and seasons, capturing the changes in lighting and weather,” he says. Then, in May 2015, the church was destroyed by fire which David continued to photograph the aftermath. “About a year and a half ago, I moved from the fifth floor to the 14th, on the same side of the building, so now I’m looking down at the church and photographing its reconstruction, a progression I hope to present in a book or show.”
As Always, Looking Forward
I’m incredibly fortunate to have an amazing partner, my wife Sarah, and I have two grown daughters who are gems, both married to artists, too. I continue to be excited by the challenge of my assignments and the thrill of so many new technological advances. It’s been a rewarding career, which I hope to enjoy for a long time to come.
2018 has been quite stellar for Kew tenant Glenn Gissler. Besides having one of his projects featured in Dering Hall back in September, the noted interior designer recently collected a 2018 Innovation in Design Award (IDA). He has also been interviewed in two notable industry publications and was recently named one of the Top 100 Luxury Home Architecture Firms in North America.
Each year, New York Cottages & Gardens presents the prestigious IDA Award celebrating top examples of design in New York. Submissions are evaluated, and awards are granted by an exclusive panel of industry experts and influencers. This year, Glenn Gissler Design received the IDA for Garden Design in collaboration with landscape designer Billie Cohen.
In addition to receiving the IDA, Glenn’s work and expertise have been recognized by several other industry outlets over the past several months:
He was recently interviewed by Nick May for The Chaise Lounge, a weekly podcast discussing relevant trends and topics in interior design. Largely a success-story episode, Nick May talks with Gissler about how he got his start in the field of design and how he arrived where he is today.
He was also profiled recently by The Native Society, a website and collective that shares insight and inspiration from thought leaders and business professionals.
And finally, Glenn Gissler Design was recognized by Bond, a firm dedicated to creating effective one-to-one meetings forums which educate, stimulate and assist Principal Architects and Interior Designers from the largest firms to better serve their clients, as one of the Bond Custom Top 100 Luxury Home Architecture Firms in North America.
Kew Management congratulates Glenn Gissler, for both his remarkable designs and the broad industry recognition he received this year. We hope that fellow tenants will get to know Glenn’s accomplishments and talents; he could prove to be a wonderful resource and collaborator.
You know how it is. You start the morning with deadlines staring you in the face, and you can’t spare an hour to go out and find lunch. Or you get into a real groove of productivity mid-morning and you don’t want to break the flow. Whatever the reason you feel you can’t leave the office for lunch, you still need your strength to avoid the afternoon slump.
Fortunately, this is New York City, and you’re in NoMad with great restaurants on every block. Many offer delivery through apps like Seamless and Caviar. If you simply can’t get away from the office today, here are five standouts that will bring lunch to you. Try them and the many more like Fresh & Co., &Pizza, Dr. Smood, Num Pang, The Little Beet.
Dig Inn says it is “changing the food game” and that’s no idle boast. With a deep respect for ingredients, Dig Inn works with 102 farmers and partners to bring recipes to life, planning crops specifically for its menus. Buying from minority-run and small-scale farms, Dig Inn uses its purchasing power to support sustainable growing practices and invest in the future of farming. The result is an incredibly adventurous and delicious menu, so step out of the ordinary without stepping out of your office.
With a wide variety of healthy grain and veggie bowls (also available with your choice of protein)—and with most bowls priced around $10, Inday feels tailor-made for a nutritious lunch. And for Kew tenants, since Inday is right downstairs, you can feel confident your lunch will arrive fast and fresh.
5 West 15th Street New York, NY 10010 (646) 657-0747
Luke’s Lobster makes some of the best lobster and crab rolls in New York City, and you can get them in a hurry. There is a $20 minimum to have lunch delivered, but it’s worth splurging once in a while. In the ground floor of 1123 Broadway (just around the corner on 25th), Luke’s can deliver in a jiffy.
The Smith offers an upscale version of café/bistro dining. The restaurant has a fun atmosphere, but if you can’t get there, you can have their terrific burgers, salads, chicken potpie, salmon and even steaks delivered to your desk. There’s a $15 minimum to order, but delivery is free.
210 Fifth Avenue New York, NY 10010 (212) 920-6233
Hot, fresh and popular, Wagamama reminds us there’s more to Japanese cuisine besides sushi. Delicious teppanyaki, donburi and curry dishes are available, along with generous portions of ramen and a vegan menu. And on Seamless, there’s no order minimum, so treat yourself to something that will spice up your day.
If you’re like most of us who work in the NoMad neighborhood, you spend the morning working up an appetite. NoMad is known for some of the finest dining establishments in the city, but you don’t want to spend that much money (or time) every day, especially at lunch. Where can you find a great lunch on a budget? Here are five suggestions to get you started.
Fast, healthy and affordable, Inday’s location in 1133 Broadway (around the corner on 26th Street) offers Indian-inspired bowls that will energize you for the rest of the work day. Make-your-own bowls start at $8.25 and include three grains/veggies, two garnishes, one sauce and one “crunch,” with the option of adding a protein for a modest upcharge.
Inday NoMad 1133 Broadway New York, NY 10010 917-521-5012
If you’re craving south-of-the-border flavors, Choza Taqueria’s tasty versions on Mexican street food will fill your stomach without emptying your pocketbook. Choose from chicken, carnitas, barbacoa, chorizo or “garbanzo y hongos” (chickpeas and mushrooms) prepared as a bowl, salad, taco, burrito or torta, with nothing over $12.
Choza Taqueria 66 Madison Avenue New York NY 10016 212-213-0708
Num Pang is Cambodian for “sandwich,” so you can guess what’s popular with this New York chain. Combining healthy ingredients with the bold flavors of Southeast Asia, this counter-service restaurant gives plenty of guilt-free dining options that are easy on the wallet, from the specialty Five-Spice Pork Belly Sandwich to the Coconut Tiger Shrimp Rice Bowl. Most sandwiches are priced in the $10 – $12 range, with nothing on the menu that is over $16.
Num Pang Kitchen NoMad 1129 Broadway, New York, NY 10010 212-647-8889
No list of great NoMad lunches would be complete without mentioning the first and original Shake Shack in Madison Square Park. Now a New York tradition, this place serves delicious burgers, crinkle-cut fries, delicious shakes, frozen custard and the occasional specialty sandwich—all available at budget-saving prices. The only caveat: be prepared to stand in line.
Shake Shack Southeast corner of Madison Square Park (Madison Ave. and 23rd Street) New York, NY 212-889-6600
Over the past several years, prinkshop has made a name for itself as a purveyor of cause-centric clothing and accessories, partnering with not-for-profit groups and major corporate brands to create memorable products intended to spark meaningful dialogue.
Through “creative wordplay, eye-catching designs, and question-prompting graphics,” prinkshop’s pieces convey messages about a range of social and political issues, such as gender equality, disability advocacy, and gun control – their tagline aptly reads: “we’ve got issues.” In partnering with not-for-profit organizations they believe in, prinkshop creates products to generate awareness while donating a portion of their proceeds back to these organizations.
Pamela Bell, prinkshop’s founder, cut her teeth in the fashion and design world as a founding partner of global brands Kate Spade and Jack Spade. After her time there, Pamela brought her experience in the fashion business to the not-for-profit sector and, soon enough, prinkshop was born. Today, from prinkshop’s current offices in the Townsend Building at 1123 Broadway, she continues her mission to help “turn bystanders into activists” by creating fun products that promote the issues they care about. We recently had a conversation with Pamela, along with Karen Fechter, prinkshop’s Head of Business Development, about prinkshop’s beginnings, current projects, and future direction.
Could you tell us about the history of prinkshop – when, how, and most importantly, why it was founded?
Pamela: When I sold my previous business, I had a long term non-compete, so I started working with not-for-profits. I saw an opportunity for them to offer products to their customer base and their supporters, so I tried to get some of the not-for-profits to make their own products. They could make a margin on it and create awareness at the same time. In the not-for-profits—there was no manufacturing experience, having inventory was difficult, they didn’t know how to sell—they didn’t have the business mind for it, because it’s sort of a for-profit mentality. So, I decided to do it for them myself. And that’s how I started.
What would you say is prinkshop’s brand philosophy?
Pamela: To boil it down to a couple of words: it’s doing good. Being responsible with the way that you’re working. I’ve worked in companies where there was so much waste, and everyone was just completely focused on the bottom line, and I think that our brand philosophy is focusing on everything before the bottom line. Focusing on everything every day.
Karen: Building communities of activists. We say that we’re turning bystanders into activists, and we’re giving them this tool that makes it so easy for them to become activists. That’s a big part of it: how you create a community of likeminded people who want to stand up for something they believe in.
Pamela: Most of our manufacturing is in Long Island in a factory that was created to employ adults with autism, so it’s really the full cycle. That was the other thing. I wanted to manufacture in a way that was responsible; that would employ people that were otherwise unemployable. This factory is a not-for-profit factory.
How long has prinkshop been in business?
Pamela: I’d been tinkering around with it for about seven years, but for the last three years it’s been a vibrant business.
What was your first partnership?
Pamela: The first partnership was with Donors Choose, which is a nationwide organization—it’s one of the first public school platforms where individuals can go online and donate directly to a classroom teacher. So, we did totes and t-shirts with them in a collaboration, and that was around five years ago, like a one-off. We did a campaign and sold out of the units, and then, we stopped. So, it was like a test, and that went really well. Then, I did one for The Edible Schoolyard, an organization that goes into schools and builds gardens. The kids take care of the gardens and eat from the gardens. That was with Edible Schoolyard and Madewell, and it was our first big collaboration.
How would you describe your approach to creating designs for these organizations?
Pamela: We create a design for a not-for-profit based on its mission. We try to come up with something that’s provocative and fun, something that speaks to what they’re doing but doesn’t spell it out. We don’t do things like “save the whales”—not that straightforward. “1973” is probably our largest campaign to date. That was the year that Roe v. Wade went into effect. Those products have been consistently steady. With the U.N. Girl Up Foundation, we did, “You see a girl, I see the future,” with Cara Delevingne. Those are our biggest sellers, those two and “BANG” – for gun control.
How would you say prinkshop has grown or changed over time?
Karen: I think the recognition of work that we do – we just have some really interesting people coming to knock on our door. Luckily, we’re in a position where we’re not hustling and trying to get business; we have people coming to us. I think we’ve seen the growth of some of the campaigns that have been around for a long time. When Pamela started, she was giving money and services to some of these organizations without even having a legitimate partnership with them. She was designing items and putting them out there, and just sending them checks. And now that they’ve seen what we can do, they’re actually legitimizing those relationships – now it’s becoming more of a triangle, they’re promoting it as well and actively putting the campaigns in front of their audience, which I think makes a big difference.
Pamela: I think a lot of the not-for-profits are seeing it as a legitimate model for awareness and revenue for them, so they’re joining in with us, which is great.
Could you tell us more about your philanthropic partnerships?
Pamela: NIRH (the National Institute for Reproductive Health) is the “1973” partnership. Their core work is fighting legislation to keep women’s reproductive care and rights intact, and they work at the state and local government level. We donate back to them, I think, around $5 a shirt. It depends, if it’s more expensive, we donate more. They also buy from us, for example: their goodie bags for their gala are from us. They keep promoting “1973,” too.
If an organization comes to us and we like what it’s doing, we’ll join with it, but if we don’t feel that the organization’s work is something that we want to support, we’ll politely say no. A lot of our organizations are pretty nimble, and they’re on the ground, really rolling up their sleeves and showing up to do things. We haven’t done large NGOs (non-governmental organizations) with a lot of overhead. We like that the money that we give goes straight to helping the victims or preventing bad things from happening.
Do they present certain ideas to you, or is the creative aspect all in your hands?
Pamela: I would say the creative aspect is all in our hands. We present to them.
Karen: We do an initial interview where we’ll just gather thoughts—they just talk and we take notes, we digest that, and Pamela and the design team turn that into slogans that speak to the work that they do without, as Pamela said, being super obvious. We want it to evoke a dialogue, it shouldn’t be completely obvious, it should be more provocative.
Pamela: That’s the concept: you walk down the street and someone says, “Oh, what is 1973?” and then you can have a conversation about it.
What about collaborations with other brands?
Pamela: We’ve worked with J.Crew, Madewell, Diane von Furstenberg, Kule, West Elm, Theory… Those are more real collaborations because the brands also have their own identity. So, they’re not less prinkshop, but there’s a little more design input from the fashion collaborations.
Which of your designs do you find yourself wearing most?
Pamela: 1973. Plus, people think I was born that year, so I really like it (she chuckles)
Any projects in the works that you can tell us about?
Pamela: Right now, we’re doing a big ongoing collaboration with J.Crew which is a licensing deal. We design for them, they give us a royalty, and they give an even larger royalty to the charity of choice, which we love. They do the manufacturing, we do all the creative, and then they donate. We’re also working on something with the Child Mind Institute, which is a mental health organization. Their mission is to illustrate the intensity of mental illness in kids. One in five children have some kind of mental illness, and we’re going to try to help them illustrate the physicality of it, because a lot of people think mental illness is something you can just get over. So, our campaign is meant to encourage people to support children with mental health issues.
Where was your last office, and how does it compare to your new office at 1123 Broadway?
Pamela: My last office was in the ground floor of my 1858 townhouse in the East Village which I sold. So I had an office inside of our house, and though it was helpful to be home sometimes, it’s nice to actually come somewhere to work. I love it; love coming to the office. We’re more focused here. I love having the doorman, and it’s just great. I’ve been telling everyone, this is the best building! And I love meeting our neighbors.
What is the meaning behind the name prinkshop?
The word “prink” was short for “printed ink.” Then we looked it up in the dictionary, and it actually means “to gussie up,” which I thought was so interesting.
We were going to call it just “prink,” but prink.com was taken—people just go in and buy up all these URLs without even owning the company—and they wanted an exorbitant amount of money for the domain. So, a friend of mine who’s in graphic design said, “Why don’t you just add ‘shop’ to the end so you don’t have to buy the URL?” So I said, “Okay, we’ll go with prinkshop – that’s it!”
Where do you hope to see prinkshop moving in the future?
Pamela: I think just generating more awareness, working with more partners, going a little bit deeper with some of the relationships that we already have. We enjoy the fact that we manufacture in the factory because it’s creating jobs, so the more shirts we get out there, the more jobs we create. We also really like the design piece of it. I think that doing more licensing agreements and collaborations is really our goal. We like the idea of a collaboration a lot. It also gives us the opportunity to educate other brands on how we manufacture, and sometimes they take them into their best practices, which is very rewarding.
When Chrissy Crawford Corredor founded ArtStar in 2010, her mission was to make high-quality art accessible for young, new collectors, especially at a time when funds were tight for many in the wake of the recession. She saw there was “a gap in the market between poster-based wall décor and blue-chip fine art,” and in response, started ArtStar as a pioneering source for contemporary art in that niche.
In the years since, ArtStar has built a strong reputation, as well as an impressive corporate and hospitality client roster that includes WeWork, Soho House, Bonobos, Four Seasons, and Cole Hahn, among others. The company has also been featured in publications such as Elle Décor, The New York Times, Glamour, The Economist, Apartment Therapy, The Wall Street Journal, Fashion Magazine, and Refinery 29.
Since moving ArtStar’s office to the St. James Building at 1133 Broadway just a few months ago, Chrissy says the new location has made such a difference for them that they are already looking to expand within the building and open up a showroom space. Chrissy is a big fan of the NoMad neighborhood, and lives in the area as well. She loves being able to walk to work with her dachshund, Brian, who has come out of retirement to assist in the office.
We recently sat down with Chrissy to learn about the history of ArtStar, the state of her industry, and where she sees things going from here.
How did ArtStar come about, and how has it grown since you founded it in 2010?
ArtStar was a product of the recession. I was working with a lot of young collectors and I saw their budgets depleting. I also saw a lot of artists really struggling; they would go from having a waiting list to having maybe one sale a year. We started ArtStar as a way for young collectors to still be able to access art – make it easy, make it affordable, put it online, offer framing, offer free shipping. And it’s another revenue stream for artists. We do all the printing and framing, and then, we send the artists a check once a month so they can continue to make money off of their work.
We moved more towards a B2B model in 2014. We do work with a lot of interior designers on residential projects. We also work with larger companies like WeWork, Convene, The Palms Las Vegas, Cole Hahn, Bonobos, Peloton, and more, to help with the art for their showrooms, retail spaces, and hotels.
What makes ArtStar stand out as a source for fine art?
Everything on our website is curated. We’re different from other art sites that have thousands of images and thousands of artists. We carefully vet each artist and image on our site. Every artist on ArtStar is a professional – most of our artists have MFAs and gallery representation – so you know what you’re buying is a good piece of art. Also, everything on the site is a limited edition. It’s all numbered, and it comes with a Certificate of Authenticity signed by the artist. It does sell out and it does hold its value – it’s not a poster. Also, all of the art is exclusive to us. We’re not exclusive with the artists, but we are exclusive with each piece that we sell.
How do you find these artists and pieces? Are there certain criteria that you look for?
We go to art fairs, galleries, studio visits… We’re constantly searching for new artists. We rarely take submissions, because we do have such an aesthetic. We find that people come to us for a certain look, and we’re very good at curating that look. We only take artists that we personally would want in our home. Every time we’ve taken an artist that we’re not crazy about, they just don’t sell. It’s very much our curation and our vision that guides our success.
How would you describe the look and brand that people come to you for?
It’s really fun, young, poppy, and colorful. We love color. A lot of our work has a sense of humor. We find that if we do generic abstracts, they just don’t sell as well. We like things that have neon, or text, or some sort of wit or whimsy to them. People come to us because they like our sense of humor and our work has a sense of personality.
Tell us more about your work with corporate and hospitality clients. How does the process work?
We have a trade program on our site that you can use if you are a member of the trade, which is primarily residential. We also have a hospitality art program and a corporate art program. You can sign up, and we send you an exclusive discount and different membership benefits. You get free shipping and you have a dedicated sales person.
For some projects, they want us to curate for them and send a proposal of ideas. For other projects, the designer knows what they want — they just take their promo code, load their cart, use their code, get the discount, and they’re done. It all depends on how you want to work: we can be really high-touch, or we can be completely hands-off.
How has your current location helped your business grow?
I think being based in New York has been helpful, and especially being in a building like this. Everyone is in your building. Interior designers, architects, graphic designers, businesses of all sorts… You can easily interact with people who make decisions for their companies and their clients.
Since we’ve been in this building, we find we’re constantly having designers just stop by, whereas we could not do that on the Lower East Side—we could not get anyone in that office. Here, people come in all the time, both from outside as well as from within the building community.
We’ve already started working with other tenants. Everyone in the building sort of uses each other. It’s also a good way to put a face to the name with your vendors and your clients. It’s been a real asset for us—besides the close proximity to Starbucks!
Do you have a favorite trend going on in today’s contemporary art scene? What patterns have you noticed within your industry?
We’ve noticed Europe is interested in and is more open to e-commerce now, so our European sales have grown. And, we find a lot of artists through Instagram now. Instagram is a huge marketing tool for artists. They can experiment with different ideas and get feedback from a lot of people. They can launch new work and immediately have feedback, orders, praise, and then they can tweak their art if people don’t like it. I think it’s an interesting platform now for artists, and they really need to use it as a tool to market themselves.
What works do you find yourself gravitating toward most on a personal level?
I love photography. I have a lot of our work in my home. I love work by Ludwig Favre — I have his rainbow piece in my kitchen. We have Ruth Adler… I like things with color. We have a very monochromatic home, and we use art as our color.
Where do you hope to see ArtStar going in the future?
We would like to expand our office and open a showroom. Also, we would like a deeper presence in California. It’s our second biggest market, and we just really believe in it. Expanding to the West Coast would be really valuable to us. And, we’re just constantly looking to grow our portfolio of artists.
Do you have advice for someone who doesn’t have experience, who wants to start decorating and collecting with purpose, and graduate from the poster level?
I think prints are a really good solution for new collectors, because their taste is going to evolve over time. When they start collecting, a lot of people spend their entire budget on one piece of art, like one oil painting, but they’ll want to be able to evolve. So, I think a print is a really good idea because of the price point. I would just buy whatever you like. I wouldn’t overthink it or try to make it a good investment. I would just buy what you want in your home and what you want to live with every day.
The Townsend Building was built simultaneously with the St. James. Both buildings express very different but wonderful designs because they were created by noted figures in the history of architecture — design leaders of their day. Cyrus L. Eidlitz, who designed the Townsend in a more retrained classical style than the exuberant St. James, was the son of an influential New York architect, Leopold Eidlitz, one of the founders of the American Institute of Architects. Cyrus was educated in New York, Geneva, Switzerland and Stuttgart, where he studied architecture at the Polytechnic Institute.
Eidlitz is noted for several important buildings, including the Buffalo Library (demolished), the Dearborn Railroad Station (demolished), and the Association of the American Bar of the City of New York at 42 West 44th, which is still occupied by its original occupant — an oddity in New York.
However, he is probably best known for designing One Times Square, the former New York Times Building on Times Square. When the Times moved from Park Row to 42nd Street in 1905, the square was known as Longacre Square, but Eidlitz’s building would eventually give its name to the square. The building, where the ball has dropped on New Year’s Eve since 1907, was resurfaced in 1963 and has been covered with signage for decades, but the original building is still under there somewhere.
In many ways, just as impressive as these architectural gems are the influences Eidlitz had on the building industry. Eidlitz partnered with structural engineer Andrew C. McKenzie in 1900 to form one of the first firms to put architecture and engineering on an equal footing. It was the ideal team for its day, because new challenges were appearing all the time — such as building the Times building on an incredibly small slice of property (only 4,000 sq. ft.) over subway lines. Not only did they create the second tallest building in the city at the time, but also they connected it to a subterranean infrastructure, incorporating the subway stop being built underneath into the basement levels.
Their dual expertise also allowed them to be pioneers in a completely new category of building — the telephone building, something that the firm and its successors would be known for down to the present day. Their Bell Laboratories building at 463 West Street was for a time the largest industrial research center in the United States. It was listed on the National Register of Historic Places and further designated as a National Historic Landmark.
Many early technological inventions were developed in the Bell building, including automatic telephone panel and crossbar switches, the first experimental talking movies (1923), black-and-white and color TV, video telephones, radar, the vacuum tube, medical equipment, the development of the phonograph record and the first commercial broadcasts, including the first broadcast of a baseball game and the New York Philharmonic with Arturo Toscanini conducting. It served as the headquarters for the company from 1925 to the early 1960s. The site was also the home for part of the Manhattan Project during World War II, and shortly after the war, the transistor was invented here. Richard Meier refitted it in 1970 as the Westbeth Artists Community.
Eidlitz withdrew from the firm in 1910 and died in 1921, but the firm he began with McKenzie would march on through many changes of partnerships over the century. During these years, the firm became noted for its particular expertise in the technical building field, creating many new Bell buildings, the outstanding deco-styled Western Union Building at 60 Hudson Street, Columbia’s School of Engineering, and The Goddard Space Center, to name only a very few. Today, Eidlitz’s firm still exists under the name of Haines, Lundberg & Waehler (HLW), and its ancestral line is clear. Just a look at recent projects noted in Wikipedia confirms the firm’s deep involvement with technical buildings and their challenges:
“Exactly 100 years after the firm’s beginning with a commission to design the first telephone building in New York, a new project for NYNEX Corporation was initiated . . . the firm (HLW) has extended to broadcast, film and television industries. For Fox Studios in Los Angeles, HLW created a 50-acre . . . campus that housed the first fully digital network broadcast center. Additional 21st century work include the United Nations Secretariat Building and . . . and Google’s East Coast Headquarters at 111 Eighth Avenue.”
The gentleman who designed our building left us and the world quite a legacy.
In preparation for this year’s Veteran’s Day Parade, which will celebrate the 100th anniversary of Armistice Day, marking 100 years since the end of hostilities in World War I, the Madison Square Park Conservancy will hold an opening ceremony for the park’s new entrance at 24th street on Monday, October 15th.
A recent renovation project removed fencing around the base of the Eternal Light Memorial monument, in order to create an open plaza, designed by Lichten Craig, that will be the park’s newest entrance.
If you are interested in attending the October 15th opening ceremony, please RSVP by clicking here.
In celebration of her new book, The Best American Food Writing 2018, distinguished food critic and author, Ruth Reichl, will be joined in conversation by major food writers Helen Rosner, Francis Lam, and Silvia Killingsworth. The tasty talk starts at 6pm.
Luke’s Lobster in NoMad is celebrating National Lobster Day with $14 lobster rolls.
National Lobster Day, an official holiday declared by Congress, was on September 25th. This month, Luke’s Lobster, located in the heart of NoMad, is celebrating the company’s 9th birthday. In celebration of both of these milestones, Luke’s Lobster is selling lobster rolls at their original 2009 price of $14.
This special promotion is available for walk-ins and orders through the Luke’s Lobster app at the company’s NoMad location, as well as for all catering orders. It is not available through Seamless, GrubHub, or other third-party ordering platforms.
We will be enjoying one, and hope you can, too!
Luke’s Lobster (NoMad) 5 West 25th Street New York, NY 10010 (646) 657-0747
When The Townsend (12 floors) and St. James (16 floors) were built they were among the tallest buildings in the city at the time, but in those days height came with certain reservations. People simply weren’t used to high buildings and elevators were a new invention. Also, there was public anxiety about the possibility of fire in taller structures, because fire departments weren’t equipped to reach above the sixth and seventh floors.
The Townsend’s initial offering to the public in 1897 included this claim: “The fronts are of stone and it is fireproof throughout.” The boast would be sorely tested in less than three years by a severe fire. While the claim to fireproofing was made often, Christopher Gray the late architectural writer for The New York Times, noted that The Townsend lived up to its claims: “In an age when supposedly fireproof buildings regularly burned to the ground, The Townsend Building fire provided an object lesson that fireproof construction, when properly carried out, was not a fiction.”
On the morning of January 1, 1900, a fire broke out in Room 1104 on the eleventh floor of The Townsend at 1123 Broadway, most probably in a desk drawer. The room was 14 ft. wide by 30 ft. deep. Although small, it was subdivided into three smaller rooms by hardwood and glass partitions and filled with desks, papers, cabinets, shelving and furniture — all of which combined to provide a dense amount of flammable material.
It was a holiday so no one was around to notice the fire for some time. When the building staff became aware they tried to extinguish it with two streams of water, but it had become too severe for them to make any headway. The fire department came, took charge, and eventually quelled the fire being able to access the floors with the building’s elevators.
Accounts at the time say that sufficient heat was generated that it destroyed everything in the office, warped an iron safe, cracked glass transoms and windows (even at a distance from the fire), and melted the copper cornice on the building’s cornice two floors up. However, the raging fire was contained within Room 1104. Of course, there was smoke and water damage to rooms nearby and below, but the fire never spread because the fireproofing remained intact around the columns, walls, arches of the floor above, and the floor beams.
The Real Estate Record & Guide noted the significance of the limited damage in an article on January 27th, 1900: “The recent fire on the 11th Floor of the Townsend Building, at the corner of 25th St. and Broadway, is of more than passing interest as it demonstrates what has often been claimed for first-class fireproof construction — that a fire can be practically confined to a single room, without damage to the structural parts of the buildings, when properly protected by fire-resisting materials.”
In fact, in 1911, there was tremendous loss of life in the Triangle Waistcoat Factory fire. The great loss of life was due to the fact that it took place on the eight, ninth and tenth floors. The fire department could not reach it, because elevator tracks warped and fire escapes collapsed due to poor pinning into the structure of the building. There was also poor fireproofing and emergency planning.
So, what was different in the Triangle Waistcoat Factory fire (which took place 11 years later) from that in the Townsend (built four years before the Asch Building?) Nothing, except that the Townsend was so superiorly fireproofed. In fact, The Townsend would become an example of the safety of high-rise construction as the city began to reach higher and higher in the early part of the 20th Century.
When a project completed by an interior designer still holds up after a quarter of a century, you know you’re looking at a master artisan. Recently, Kew tenant Glenn Gissler was featured on Dering Hall’s website for an interior he did 25 years ago—an interior that looks as fresh and timeless today as when he completed it.
The featured interior was of a home in Westchester County, NY. Gissler successfully combined traditional and modern furnishings with vintage and early American pieces to create a look that is truly timeless. The clients were passionate art collectors, and Gissler interwove this aspect into his design as well, with works by artists such as Richard Serra, Jim Dine, Claes Oldenburg and Jean Dubuffet—and even an etching by Matisse.
Gissler, who keeps his offices at 1123 Broadway, holds degrees in Architecture and Fine Arts, and he draws from a diverse palette of inspiration ranging from the vintage to the contemporary—and even exotic—to evoke visual appeal while reflecting his clients’ aesthetic. His architectural background even enables him to design custom furniture pieces for specific projects and functions. His work has also been recognized on a national scale, as he has been named among the “100 Top Designers” in House Beautiful and New York Magazine.
Glenn Gissler is just one of several highly talented designers with offices at 1123 and 1133 Broadway, and the quality of their work has shaped NoMad into a designer destination in recent years.
We congratulate Glenn for his achievements and his recognition by Dering Hall, which is clearly well-deserved.