Monday, March 21, 2022
March 21
The fruit vendor is BACK on 1st Avenue and 6th Street
H/T Steph and Isa!
Himalayan Vision is closing on 2nd Avenue
Tenzin, the owner, says his last day will be March 26. Until then, he has discounted items by 20 to 80 percent ...
Tenzin said he simply couldn't make the rent anymore and decided to close. (There was not a rent increase, and at the same time, the landlord was not going to negotiate a lower rate.)
Himalayan Vision and Millie, the store cat... will be missed... 
Himalayan Vision is open noon-8 p.m. ... and closed on Wednesdays.
And we were told that Tenzin won't be able to keep Millie. So if there's anyone interested in adopting her, please reach out to Tenzin at the shop. [Updated 3/26: Millie has a new home!]
Top two photos by Steven... Millie photo by Lola Sáenz
Checking in on the USA Super Stores, opening soon on 3rd Avenue and 10th Street
Workers have been filling the space with large displays of items, including Marcal toilet paper ...
... and tins of McKenzie & Lloyds Danish Style Butter Cookies ...
We first reported on this pending arrival on Feb. 3. Looks like the place will be open SOON.
USA Super Stores have been opening in former Duane Reade/Walgreens outposts around the city, including Avenue D and Second Street.
This Duane Reade by Walgreens closed in early March 2020 ... several years after expanding and gobbling up several small storefronts, forcing Excel Art and Framing Store and East Village Cheese (which was never the same) to relocate.
A'more Caffè coming to 2nd and A
The sign promises premium coffee roasted in NYC.
The business has a new Instagram account that notes "something good is coming."
This retail space was previously BikeFix NYC, which relocated to a larger storefront on Sixth Street.
The former Barnyard Cheese Shop is for rent on Avenue B
In early December, Beatriz Gutierrez decided to reopen her popular sandwich shop/market for weekend-only service at 168 Avenue B between 10th Street and 11th Street. It was done by the end of January.
This past week, the smaller for-rent sign on the storefront was joined by a much-larger banner.
Barnyard closed in October after Gutierrez could not find someone to helm her kitchen. Her longtime cook, who lost a brother during the pandemic, left to be with his family in Mexico.
Barnyard Cheese Shop's companion business next door, Brix Wines, remains open.
The white and red stripes: The new-look KFC on 14th Street
Sunday, March 20, 2022
Week in Grieview
• Holyland Market is closing on St. Mark's Place; owner to focus on hummus biz (Monday)
• A visit to Archie's Press on 10th Street (Thursday)
• Gaia Italian Café Shop is coming to the East Village (Thursday)
• Cooper Union: Longtime Stuyvesant Street businesses "informed us of their decision to vacate the property" (Wednesday)
• Report: Relief supplies for Ukraine stolen from 2nd Avenue nonprofit (Wednesday)
• 9th Precinct now issuing tickets to anyone parking in Neighborhood Loading Zones (Tuesday)
• Gallery Watch: Emily Oliveira at Geary on the Bowery (Friday)
• Longtime East Village artists bring 'Double Trouble' to the Tompkins Square Library branch (Tuesday)
• A broken gate at 89 1st Ave., where permits are still pending for a new building (Wednesday)
• La Fleur Café to set up shop on 9th Street (Monday)
• The taco cart is BACK on 2nd Street and Avenue A (Thursday)
• Indoor service is back at Abraço (Sunday)
• Openings: Nudibranch on 1st Avenue (Wednesday) ... Openings: Essex Squeeze on 5th Street (Tuesday)
• A new restaurant for the Papilles space on 7th Street (Tuesday)
• Avenue A Deli and Grill shapes up (Monday)
... and from EVG reader David Sippel from Friday on Second Avenue at 14th Street — a mini-tree discard for the books...
Support for Ukraine at Archie's Press
Photos by Stacie Joy
Owner Archie Archambault, an East Village resident, is donating the proceeds of his Little Ukraine print (available in-store only) to humanitarian aid for the war-torn country. (He was also going to distribute them to any shop to display in their windows)...
We featured Archie's Press this past week in a post here. Since EVG contributor Stacie Joy's previous visit, Archie created the Ukraine flyers.
Meanwhile, while Stacie was at the shop yesterday, Archie worked on a new flyer with his Vandercook SP-15 letterpress...
... and the final product...
Archie's is at 219 E. 10th St between First Avenue and Second Avenue.
Store hours:
Monday 1-6 p.m.
Tuesday-Wednesday Closed
Thursday-Friday 1-6 p.m.
Saturday-Sunday noon- 6 p.m.
Sunday's opening shot
Per this cut-n-paste:
In 2022, the March equinox happens on Sunday, March 20, at 11:33 A.M. EDT. This marks the return of spring to the Northern Hemisphere.
Saturday, March 19, 2022
A 'Wild Style' anniversary
Here's a climatic scene filmed at the now-demolished East River Park amphitheater...
New at MoRUS: 'Fighting Words: Political Pictures (New Voices in Comix)'
Details via the EVG inbox...
MoRUS celebrates the subversive power of comics with a group show of works by artists who participated in ABC No Rio’s Comix as Political Expression course at the museum. "Fighting Words: Political Pictures (New Voices in Comix)" will open on Saturday, March 19 with a reception beginning at 4 pm. The show will be available for viewing through Sunday, April 3 on Saturdays and Sundays from noon to 6 p.m., or by appointment.Participating artists are Yasmeen Abdallah, Mark He, Annabelle Heckler, Vanessa Glynn, Sam Johnston, Ariel Kleinberg, Adi Talwar, Seth Tobocman and Tamara Wyndham.
Varying in focus and medium, the works were created during the ABC No Rio course led by Tobocman at MoRUS in the fall of 2021. The exhibited works grapple with and uplift contemporary social and political struggles from the climate crisis, police brutality and worker organizing to emotional and physical health and social isolation.
MoRUS is located at 155 Avenue C between 9th Street and 10th Street.
Poster by Mark He
Friday, March 18, 2022
Friday's parting shots
Sweetness and light
Blushing was a standout band from last week's New Colossus Festival — playing five showcases, including a shoegaze extravaganza at Arlene's Grocery... the Austin, Texas-based quartet recruited shoegaze legend Miki Berenyi from Lush for this single, "Blame."
CB3's full board meeting in March will be virtual
Gov. Hochul has extended the state of emergency and suspended the Open Meeting Law until April 15.
EVG Etc.: The continued support for Veselka; the history of The Portable Lower East Side
New art on AvenueA by Winston Tseng (background)
• More on the overhwhelming support for Veselka (CBS News)
• EV bars The Gray Mare, Slainté and Cooper's Craft + Cocktails are hosting happy hours in support of Ukraine today, March 18, from 4-7 p.m. (Pursuitist)
• Lawsuit alleges that upstate woman was swindled out of $160,000 by psychics on Avenue A (The Post)
• Kurt Hollander on publishing The Portable Lower East Side (1983-1993). Back issues are now on sale at Printed Matter on St. Mark's Place and Second Avenue (Literary Hub)
• A feature on the vintage shop Cobblestones on Ninth Street (CBS 2)
• Details on La MaMa Moves! Dance Festival, back next month for its 17th annual edition (The Lo-Down)
• Inside an East Village brownstone "where every floor encourages a different energy" (domino)
• A tour of the recently opened Bronx Brewery on Second Avenue (Untapped Cities ... previously on EVG)
• Art by Anna Sorokin among the work featured in a group show, titled "Free Anna Delvey," at 176 Delancey St. through March 24 (The Art Newspaper ... The Daily Beast)
Gallery Watch: Emily Oliveira at Geary on the Bowery
Interview by Clare Gemima
Photos courtesy of Geary
Captivated by the Brooklyn-based Emily Oliveira’s bold and saturated exhibition, I was lucky enough to speak to Geary’s gallery director Poppy DeltaDawn about “Red Velvet, Orange Crush.” The show in the gallery at 208 Bowery is packed with color, varying mediums and an innumerable amount of fascinating visualizations.
In an attempt to understand more about the artist’s process and broader practice, I reached out to Emily to ask about their research, studio time and exciting plans for the future.
As soon as you walk into Geary’s building, a painted orange and yellow, to blue and purple gradient covers the walls from floor to ceiling. Can you explain the intention behind transforming the gallery so boldly, and speak to how it affects the position of each of your works?
I wanted to give the viewer the feeling of standing on the precipice of something, possibly gazing at a light or a portal opening up onto another world. The colors in the gradient are also ones that are found together at sunset or sunrise, when our pupils are dilated and our eyes are starved for light, which heightens that sensory experience of color, of being at the threshold of something shifting and changing as you look at it.
One of my favorite things about the way we painted the space is that the gradient is built out of translucent layers of color — your eyes don’t stop at a flat color the way they do on most painted walls. Light passes through the layers of color and increases the feeling that the surfaces you’re looking at are in flux somehow.
The quilts in your show are all different shapes and sizes, some ovular and some more circular. There is even one that appears more “eyelid” in shape. Is this aspect something you pre-plan in your studio, or is it something that occurs accidentally?
I started to play around with the shape of my quilts last spring, and since then I’ve realized that the impulse toward a curved or oblong shape has to do with making the viewer aware of the earth in space, and the picture plane of the quilt recalling vision more that it recalls an interior window or a framed painting. I tend to plan these shapes in my sketchbook, but I also try to respond to the materials as much as possible in the studio and do not try to make the fabric do things that it doesn’t want to do. I respond to the ways that it wants to pucker or drape.
Poppy, Geary’s gallery director, mentioned you have an interest and knowledge in the concept of hydromancy, a ritualistic practice that channels signs and warnings from water. Can you elaborate on how this idea inspired “Listening Bowl with Two Figures” (2021) and “Listening Bowl with Reclining Figure” (2021)?
I started making those small sculptures after a show last year when I wanted a little break from making quilts, and I thought about them immediately as vessels and tools for hydromancy. I think the idea of hydromancy relates to the gradient on the walls, and the water and the portals depicted in the quilts — a vision of something just beyond our reality appearing momentarily in a shifting liquid.
Speaking to notions of tradition and folklore, one of your quilts depicts the resurrection of an ox, which presumably references Brazil’s famous yearly celebration, Bumba Meu Boi, or perhaps the story behind it. Have you ever participated in its traditions outside of your immediate art-making?
I am interested in the idea of an ox shared by a community as a collectivist symbol, and its resurrection as a way of talking about the resiliency of leftist movements in Latin America. My connection to Bumba Meu Boi is primarily through heritage, the objects created for use in the performance, and an ongoing interest in the emancipatory potential of participatory performance.
Was it more human, animal or other that inspired the creation of “I am weak with much giving, I am weak with the desire to give more” (2022)? And, what soft or hard sculpture artists do you gravitate toward in your research?
I’m very influenced by practical effects (puppetry, miniatures, animatronics) in science fiction and horror movies from the 1970s-90s, and particularly that their general disappearance from film has nothing to do with obsolescence and everything to do with labor (workers in CGI are not unionized but fabricators and designers of practical effects are).
The film influences on this particular sculpture are “Species,” “Alien” and “Jumanji,” with the horror of the first two based in the monstrous feminine, and the last one the colonial trope of the “hungry jungle” — two concepts pretty near and dear to my practice.
So, as a roundabout way of answering your question, I’m interested in taking the horror associated from the blurring of boundaries between the “human, animal, or other” and turning it inside out, and hopefully into something tantalizing, erotic and post-human.
The writer for your catalog, Kyle Dacuyan, claims that visual mythologies, ecological considerations and the cosmos are all areas that “Red Velvet, Orange Crush” explore. They also poetically write that the work rides on reverie. Do you feel as though all of your work deals with sentiments that Dacuyan describes? And, will you adopt this vernacular moving forward with your artistic practice?
I’ve been working with interlocking mythological and science fiction narratives in my work for several years now, and the work is invariably informed by present ecological collapse. The cosmos comes into play in a way that relates to your question about the shape of the textiles — trying to call attention to our own subjectivity and that we are caught between two parentheses: a living earth and an infinite cosmos.
You’ve used processes such as hand-dying, sewing, stitching and cyanotype. You have also used silks, velvets, linens and sequins, to name a few of your materials. While making the work for the show, what process or materials did you struggle with the most, and how long — roughly — did “Red Velvet, Orange Crush” take until it was ready to hang as a show?
All of the work for the show came together in a little less than a year. I think I continue to struggle the most with time and the time-consuming process of appliqué and quilting. Hand dyeing is a fast and loose process that requires a lot of preparation and a lot of steps, but I really enjoy all of the different processes that my studio practice allows me to engage in. I think if I was only doing one process every day I would not feel as excited to go to the studio.
Is there anything extremely important to know before a viewer sees your work for the first time in person?
I think other than knowing that the works in the show are all handmade textiles (with the exception of the two small paper pulp sculptures on the mantle), I ideally would want the viewer to have an unmediated sensory experience of the work! I also think the work and the painting on the wall are particularly beautiful in the daytime, with sunlight coming in from the windows.
What do you hope to focus on after you have finished your studies? What do you have in store exhibition/show wise?
After I graduate in 2023, I’m going to be in Rome for a year at the British School at Rome, which I’m really thankful and excited for. Right now I have a mural that’s at the Lena Horne Bandshell in Prospect Park until early May, and in the fall, I’m going to have another solo exhibition at LaMama Galleria that’s opening in September 2022.
I’ll also have my thesis exhibition sometime next year, both in New Haven and at a space in New York. I’m excited to continue exploring textiles and expanding my practice. I also want to continue exploring videos and performances that have been set aside for a while since I’ve been in school.
~~~~~~
Clare Gemima is a visual artist and arts writer from New Zealand, now based in the East Village of New York. You can find her work here: claregemima.com
Thursday, March 17, 2022
A visit to Archie's Press on 10th Street
Text and photos by Stacie Joy
I’m eager to meet Archie Archambault, the mind behind Archie’s Press, a newly opened letterpress-printed retail art and map shop at 219 E. 10th St between First Avenue and Second Avenue.
An East Village resident as well, Archie greets me at the shop before business hours, shows me the prints, maps, and pressed art pieces, and patiently answers my questions about the letterpress machine and process, his conception and design methods, and what’s it’s been like opening a retail space during the pandemic.
Can you provide a brief primer on letterpress — including the part about potentially crushing every bone in your hand?
Between 1492-1980, anything printed for mass consumption was produced using letterpress technology. Every size of every font was cast in little metal letters that were strung together and printed into advertisements, newspapers, books…everything. For disseminating information, this was the most important technological development until the internet.
EV Grieve would be typeset by hand if it was around in the 1970s. [Ed note: YES!]
Digital typesetting made it mostly obsolete and many presses were left to rot or destroyed. In the late 1990s, people started rehabbing presses to make beautiful stationery and art books. Letterpress actually presses the design into the paper, leaving a strong indentation. It’s up to 600 pounds of pressure, which can easily crush every bone in your hand — watch out!
How did your interest in letterpress come about?
I took a letterpress course in college and got hooked. I’m not sure exactly why. It’s a very “liberal arts” craft. It’s composed of words, so you become a poet. The type needs to be laid out so you become a designer. The colors need to be mixed, so you become an artist. The press is going to break, so you become a mechanic.
There are so many different parts of the brain at work when executing a project. I’m impatient, so it forces me to slow down, think carefully, and stay cool when things don’t go smoothly. When I started selling my work, it became my full-time job, and I haven’t looked back.
Please tell us a little about the Vandercook SP-15 that you use in the shop.
This model is the lightest flatbed press available at about 700 pounds. It was designed to make one perfect copy of something like a newspaper sheet using hand-set type. That one perfect copy would be made into a film for offset printing, which runs very quickly (it’s the machine you see in old movies during newspaper montages).
Remember, there were no computers, so this was the only way to get that one perfect copy. Vandercooks are the most common flatbed presses for doing larger letterpress prints because they are reliable and bulletproof. My press operates without a motor, so it can be used during the apocalypse, which is exciting.
What’s the concept behind your city/state maps?
New research indicates we’re underutilizing the navigational parts of our brains because of GPS. Turns out that’s a problem. This is a hugely powerful part of our brains. When was the last time you felt so lost you thought, “uh oh?” Google Maps is constantly coming to the rescue.
I’m trying to explain the city in the major gestural terms on a map that taps into the “map from the mind.” There’s a great book called “Image of the City” by Kevin Lynch that describes our mind’s vision of our urban spaces. We do not think in birds-eye view. We create our mind’s map with pathways, boundaries, landmarks, nodes and neighborhoods.
I try to draw a map that brings all these things together and omits everything else. I want the viewer to engage with the map and feel the city when they explore it. Keeping it simple prevents a “dazzle” effect. Making it beautiful encourages more engagement.
To get to that sharp gestural drawing, I work with people who are from the city to arrange it like it is in their minds. States are much larger areas, which are harder to wrap one’s head around, but still, there are important roads and landmarks in states that keep our minds constantly orienting themselves.
What design vision guides your work?
I have no formal graphic design education, but letterpress is essentially the foundation of graphic design. All the physical rules of letterpress created the visual language we take for granted on our screens. There’s a reason we keep lines evenly spaced. The personality of each font is much louder when it’s cast in metal.
Everything I know about design I learned by typesetting and printing. I do most of my designing on the computer now because it’s so much more efficient, but the vision comes from letterpress. I’ve expanded to many other ideas, all based on organizing information in a way that is simple and beautiful.
Why decide to open a storefront for your products — instead of relying solely on an online operation?
I opened the store for a few reasons: I wanted to start making new work and get people’s reactions right away. Now I can get something from the idea to the shelf within a week rather than months.
After an isolating 18 months due to COVID, I really wanted to see more people and rejoin the community. I live nearby, and I’ve never felt more at home. And I wanted to collaborate with artists and designers, and having a storefront gives me the venue to produce and celebrate their work.
What has been the reaction to the shop so far?
Everyone who comes in is supportive and delighted. Most people who come immediately go for the print racks, flip through every print and then stare at the walls for a while. It’s a feast and everything in the shop is special for one reason or another. I love it when people ask, “Did you make everything in here?” If I did, I would be a wizard.
Why choose the East Village for your shop?
I’ve lived in the neighborhood for five years and love our robust ecosystem of small unique businesses. For some reason, I felt like the East Village would “get it” and appreciate it. I was right! I cannot imagine this shop anywhere else.
Any future plans you care to share?
We’re just starting to take custom print jobs, so if you have a wedding invitation or business cards to get letterpress printed, we’re the place! We’re also starting to collaborate with artists and designers, so we’ll be having a new show every month or two starting in the spring.
You can keep an eye on the presses here.
Store hours:
Monday 1-6 p.m.
Tuesday Closed
Wednesday Closed
Thursday-Friday 1-6 p.m.
Saturday-Sunday noon- 6 p.m.
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