How could a designer ever allow that to be a problem?
But there’s also a responsibility that goes alongside that to not create places of harm. What is its purpose? How does it relate to the city? I understand follies and I am a big promoter of creative people and artists broadening our imaginations. As my son said, it’s an artifact of stupidity because of its own self-importance. What building or object do you want to redesign every time you see it? I’m into weird, outdated, anachronistic architectural elements in New York and one of the things I especially like about the view from my building is that you can see water towers everywhere. It’s a more human-scaled view than the ones coming from great heights. It’s not spectacular, but we have a 360-degree view of the river, New Jersey, and downtown. I live in one of the older, taller buildings in Chelsea - around 14 stories - and the view from my roof is pretty good. What do you always have next to your computer?Ī glass of water. It’s magical during Christmastime and the park is really gorgeous during the summer. I grew up on Long Island, and we’d make an annual pilgrimage there. The Cloisters is always a touchstone for me because it was my first job. What New York City museum do you always go back to? I feel slightly virtuous for giving these vintage bags a good home. I also have a rich salmon-colored snakeskin bag, a Python bag, and a lime-green one. I use a rather plain, very dark purple cross-body bag almost every day. Now, nobody seems to care about them ,so I can find beautiful ones.
They were ridiculously expensive and chic back then and I couldn’t afford one. I think part of this is because they were a thing when I was in high school. I have a slight obsession with vintage Carlos Falchi handbags from the 1970s and 1980s. Is there one thing you own multiple versions of? There are certain patterns that you sew with thick, white thread and I have at least 50 samplers that I’ve done. I’ve been obsessed with this for over five years and have been known to do embroidery in meetings or on retreats because it helps loosen my mind. It’s about recycling scraps of fabric and patching holes in fabric. I do sashiko, which is a Japanese style of embroidery. What’s the last thing you made with your hands? That is some deep analysis at the moment!” We were taking one of our walks during the pandemic and passed by the Vessel in Hudson Yards and he just looked at it and said, “This is an artifact of stupidity.” We weren’t even talking about the Vessel. My son is at this magical moment where he’s still a kid, but is also a little bit grown-up, so he has access to this space of imagination that’s really intense and beautiful. My son and his friends because they’re all 13 and have come of age in this incredibly strange and difficult time. Which New Yorker would you want to hang out with?
He died a couple of years ago, and the table has been sitting at my mother’s house. My dad wasn’t an architect, so it was always weird to me that he had this architect’s table. I like my desk to be a little higher than the average table. I decided that my dad’s drafting table would be the perfect desk because I could adjust the height. Right before the pandemic, I was refiguring out how and where I work in my apartment. What art or artifact are you most surprised you own? They’re bodily colors and interior, in a sense. I gave tours to day campers and worked really closely with the visitors services staff, some of whom I’m still friends with today.ĭeep reds and burgundies. She came up with this ingenious way of suffocating the bugs with plastic bags she put all over the sculptures and sucked the air out and they died. The conservator at the time, Michele Marincola, was in the midst of this crazy project to get these bugs out of medieval polychrome sculptures without damaging the wood or the paint. I had no idea of all the jobs that existed inside a museum. I was an intern at the Cloisters after my first year of college. What’s the first job you had in New York? The pieces I have are related to projects I worked on or have been gifted to me. A drawing by Rico Gatson and prints by Shahzia Sikander, Mickalene Thomas, Elizabeth Peyton, and Paul Ramirez Jonas.
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