Kehinde Wiley’s backlit, hand-painted, stained-glass triptych called “Go” depicts sneaker-clad break dancers who appear to float across a blue sky. The woman’s pointing finger nods to the Sistine Chapel’s “Creation of Adam.” Andrew Moore for The New York Times
In the mid-1980s we lived a few blocks south of Penn Station, and avoided it studiously. If I could right now, I would rush to see it, thanks to Ian Volner’s essay below. I recommend reading it in full because it is neither puff piece nor fashion statement, but a comment on important issues of our day. Like the two essays I referenced earlier by Casey Cep, this essay makes me believe in the importance of this project, as if the project itself is a public statement of intent. The description of the stained glass mural was more than sufficient, but still I had to find an image of it (the one above is from a review I missed a few weeks ago in the New York Times).
The Moynihan Train Hall’s Glorious Arrival
The new transit hub redeems the destruction of the original Penn Station. Photograph by Mark Kauzlarich / Bloomberg / Getty
The film noir “Killer’s Kiss,” from 1955, is an almost perfect dud. But because it was filmed on location in New York—and because its director was a twenty-seven-year-old photographer named Stanley Kubrick—it’s worth watching for the first scene and the last, which occur in the same place: the passenger concourse of the original Pennsylvania Station in Manhattan, where the protagonist, having escaped from shadowy thugs, waits impatiently for his lover. Kubrick captures the hero from a low angle, and, overhead, the arched trusses holding up the station’s glass-and-iron roof seem impossibly high. The building looks very dirty, but the ambient soot in the air catches the sunshine as it streams down from above, making the light appear more abundant, almost solid. Continue reading
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