She’s created graphic identities for Citibank, Tiffany, the Public Theater, and, well, everybody, but will be remembered for one album cover, she tells the Museum of Arts and Design. “It was dumb; it was a dumb idea; the whole thing was dumb.” The triumphs and discontents of a great designer. Music: Piedmont Bluz.
Two generations of New York City Ballet luminaries. The latter is currently a soloist and principal; the former joined that company nearly 70 years ago as a Balanchine protégé and went on to found the National Dance Institute. Music from Jerry Korman, music director of the NDI, and Susan Walters.
Actor, writer, singer, transgender activist, she argues surprisingly (and persuasively) that anti-LGBTQ laws need not arise from animosity toward LGBTQ people but from something even more cynical. With music from, well yes, Shakina Nayfack.
This cultural historian regards Coco Chanel as a titan of fashion but notes, “Like Picasso or Wagner, she was really really brilliant and just an absolutely despicable human being.” Anti-Semite, union-buster, Nazi spy: when great artists are bad people. Plus music from Eléonore Weill and Ali Dineen. Photo credit: ©2019 The Museum at FIT
I expected this opera director to be astute and eloquent, and he was. I did not expect him to do first-rate impressions of Tom Waits, William Burroughs, and his own father. (Be honest: neither did you.) At Pratt Institute, his alma mater. Music by Pat Irwin and Walter Hawkes.
The choreographer of Hadestown and an all-around theater guy, he grew up in a house designed by his father – not an architect, a member of Mabou Mines. “It pointed me toward a creative proces which is partially planned and partially improvised.” And away from the words “beneath a heap of rubble.” A conversation at the Baryshnikov …
This neurogeneticist esteems Rita Levi-Montalcini, who won a Nobel Prize for her work on human growth factor. She experimented with eggs, and then she ate the eggs. Science during wartime. In hiding. In a basement lab. Great stories at KGB’s Red Room, produced with Lori Schwarz. Music from Leslie Goshko.
The designer of widely-used typefaces, including Surveyor, Tungsten, and Retina, he draws on the history of his native Brooklyn: old subway signs, old newspapers. More surprising, his fonts are also inspired by Walt Whitman. A conversation at the New York Transit Museum. Music from Rahiem and Amiri Taylor.
This Canadian producer, celebrated for Little Mosque on the Prairie, wanted to do a show about death, too often “depicted as this morbid sad thing. We wanted to do a comedy about death.” The Hollywood (Toronto?) suits rejected her. A merry chat about mortality at the New York Baha’i Center. Music from Gloria Thomas Gassaway and the …
The author of How to be a Stoic describes that philosophy’s central precept: “We should live according to nature.” Happily, this demands less involvement with squirrels than you might think. A conversation at the Society for Ethical Culture, with music from David Gracia, Margaret Determann, and Barbara Carlsen.
Sustainable business practices can make a company more profitable, so why resist them? Ignorance? Madness? Alien mind-control? A deft explanation from the former president of the Rainforest Alliance and current director of the NYU Stern Center for Sustainable Business. Music from Sid Whelan and Trevor Bridgewater. Photo by Kahn, courtesy of the NYU photo bureau.
The shift in usage from “garbageman” to “sanitation worker” was not cosmetic but an acknowledgement of what – and who — helps a city survive, says the artist-in-residence of the New York Department of Sanitation. Music from Hubby Jenkins. Photo by Harry Wilks.
This landscape architect embraces the principles that underpin Olmsted’s Central Park. “He wanted the wealthy to mix with the poor; this was supposed to be a place where everybody came together.” Public parks as an institution of democracy, a conversation at the Center for Architecture. Music from Hubby Jenkins. Photo: Harry Wilks