We recently took a spellbinding 90-minute tour of Chelsea with David Behringer, founder of The Two Percent Gallery Tours(917/727-7687; $200 with a private group of three or less). The focus was his five favorite exhibitions—a godsend for art-world rookies—but also included some little-known facts about the area (for example: did you know 19th-street is filled with starchitecture by everyone from Frank Gehry to Jean Nouvel? And that the Oreo cookie was born in Chelsea market in 1912?). For more Behringer's favorite gallery stops, check out this Weekend Getaway. Here are some of the gallery highlights:
I’m a sucker for time-lapse photography. I’m also a sucker for the Pacific Northwest. Combine the two and you have this mesmerizing work—some 260,000 stitched-together pics—from Portland-based photographer John Eklund, who was kind enough to let us share it.
Rich Beattie is the executive digital editor at Travel + Leisure.
When Diana Vreeland was making her first forays into her career as a fashion editor, she wrote her dear readers the now oft-quoted suggestion, “Why don't you paint a map of the world on all four walls of your boys' nursery so they won't grow up with a provincial point of view?” All things considered, this was one of her more realistic tips, as compared to her enquiring why we don’t wear violet velvet mittens with everything or rinse our children’s hair in dead champagne.
In “Diana Vreeland: The Eye Has to Travel,” a fashion documentary in theaters today, Sept. 21, Ms. Vreeland’s ascendance from middle-school dropout to the most iconic fashion editor to date is largely attributed to her extravagant global vision. Never one to be confined, Ms. Vreeland saw no reason not to use the world as a catwalk and spearheaded legendary shoots, such as the 26-page spread of a fur-swaddled Veruschka scaling the mountains of Japan with a seven foot tall sumo wrestler. No one reads magazines just to see their own backyard, so why not blast them with images of France? Egypt? Or—her personal favorite—Russia?
Paris’s oldest cabaret is popping up in London this fall, performing Forever Crazy within a purpose-built venue on South Bank, behind the National Theatre, between September 18 (it kicks off during Fashion Week—the dancers’ shoes are custom-designed by Christian Louboutin) and December 16.
First there was the High Line, an elevated park that brought new life to a rusty, unused-for-decades elevated subway rail on Manhattan’s west side. Well now there’s an idea floating around that would turn the whole concept upside down, literally. A subterranean park created from the long-abandoned Williamsburg Trolley Terminal, on Delancey Street in NYC’s Lower East Side. The station hasn’t been in service, or even used, since 1948.
The brain child of Dan Barasch and James Ramsey, this park—the Lowline—would be the first of its kind, and one of the very few green spaces on the LES. The first reaction people have, aside from fascination, is the more rational, “But how the heck are you gonna get plants to grow underground, away from the rays of the sun.”
If you’re excited about something that we should consider for the 2013 awards, please drop us an email at firstname.lastname@example.org or fill out an application here. The deadline for nominations is Monday, October 1.
The winning entries will be published in our March 2013 issue.
It’s the birthplace of the Cuban sandwich, invented in the suburb of Ybor City in the 19th century by cigar-factory workers, who stuffed flaky white bread with ham, pork, salami, Swiss cheese, mustard, and pickles. Try one at the Columbia(2217 E. Seventh Ave.; $), Florida’s oldest restaurant.
Set on the waterfront, Bayshore Boulevard has the world’s longest continuous sidewalk, measuring 4 1/2 miles. It’ll take you by the marina and some of the city’s most historic houses.
No, a UFO hasn’t landed on Houston’s Rice University campus—it’s the latest Skyspace from artist James Turrell. Named the Suzanne Deal Booth Centennial Pavilion (for a Rice alumna and Turrell’s former assistant), the ethereal installation frames the sky through an aperture in a thin steel roof; at dawn and dusk, colored lights transform the structure, creating a mesmerizing effect. The space also hosts concerts—fitting, since the renowned Shepherd School of Music is next door.
Far from the frenzied hype of most art-world capitals, contemporary art’s utopian aspirations come to rest 25 miles north of Copenhagen. There, the Louisiana Museum of Modern Art strikes that rarest of balances between landscape, architecture, and art. In 1958, visionary Danish manufacturer Knud W. Jensen transformed a 19th-century villa on the Øresund strait into a Modernist oasis, adding low-slung glass pavilions and a surrounding sculpture park (the name is derived from the previous owner’s three successive wives, all called Louise). Today, despite numerous expansions, visitors still arrive through the villa’s modest entrance hall, as if coming to see an eccentric, slightly stodgy country uncle. But the latest in video art and photography await, alongside masterpieces by Alberto Giacometti, Henry Moore, and Alexander Calder, in dialogue with spectacular light and views, the wind, and the sounds of the sea.
One of the cultural highlights in London this spring was the exhibition Lucien Freud: Portraits, which encompassed seven decades of the work of one of the most important artists of the twentieth century, and arguably the greatest postwar portraitist. Happily for American travelers, the show, organized by the National Portrait Gallery, London, and the Modern Art Museum Fort Worth, opened last month in Texas—its only other venue—and is on view through late October.