Galleries Bartoux

The sign above the entrance to PizzArte promises 'Cucina Napoletana', making it clear what is at the heart of the establishment: Naples. The enormous red pizza oven found inside is imported from Naples, and everyone working at the restaurant hails from there too, making for an especially authentic experience. The space is narrow and has a distinctly modern feel to it. As the name suggests, the restaurant doubles as a gallery for contemporary art by Neapolitan artists. The idea of using a meal as an opportunity to engage with art is refreshing, and the perfect pizza dough feels like an artwork in itself.

Although foreign missions and consulates are often hidden away behind locked doors in Manhattan, Argentina has opened its entire first floor to the public displaying the country's art, culture and natural beauty. The entranceway - easily missed among the restaurants and boutiques that dot the busy stretch of pavement between Fifth and Sixth Avenues - functions as a gallery and promotion center. For a serious diplomatic enterprise, the mood at the consulate was welcoming and lighthearted. When I arrived, a tango class was just finishing up, and I observed both foreigners and New Yorkers exiting the room together. Wandering around, first in the reception area, I found couches clustered around a coffee table covered with books about Argentina, and a station devoted to Argentine tourism. To one side of the room, an ornate staircase spiraled, one of the only reminders that the main purpose of the consulate lies elsewhere. I then walked into a beautiful wood-paneled room with a fireplace. On display was the work of Argentine photographer Lucia Fainzilber, her ultra-modern prints at odds with the nineteenth century aesthetic of the room.

The Art Students League was founded by National Academy of Design students who were seeking a new, independent source of instruction as the school was rumored to be closing. Though membership was initially slim enough to fit in one room on 16th Street, the League now teaches thousands of people using a nineteenth-century model that endures today. It serves as “a beacon for any artist with a dream, ” said the head archivist, Stephanie Cassidy. The building is filled with clay, paint, easels, and a constant hum of activity. Visitors can walk its halls and imagine a time when the likes of Jackson Pollock, Norman Rockwell, and Georgia O’Keeffe either took or taught classes at this New York City landmark. However, there is no need to be intimidated by the reputation of its more distinguished alums. Unlike many other serious art education programs that have become increasingly exclusive and expensive, Stephanie is adamant that “there is no gatekeeping here. It is what makes us unique. ” Equally as interesting is the League’s lack of a formal curriculum. Instead, most of its students are empowered to guide themselves and follow their specific passions. Aspiring photographers, graphic artists, animators, and more need only enter the building to find a cornucopia of opportunity.

Stepping inside Jim's Shoe Repair is like walking into a time capsule. At first glance, it appears that nothing has changed since the store opened in 1932. Wooden saloon-style booths line the wall opposite shoeshine chairs equipped with golden footrests and leather backrests, while the original cash register still stands proudly in the front of the shop. Jim's is the place for the customer who wants "the best shoe shine" with a bit of small talk or a glance through the daily newspapers. It is simple and unpretentious, which explains its long history of celebrity customers. Vito Rocco came to New York by way of Italy in the 1920s and opened up his shop in 1932, across the street from where it stands today. He called it Jim’s as an ode to America — short, simple, and recognizable. His son, Joseph, began working in the shop in 1940 and did not retire until 2019. “At age ninety, he still wants to come in, but I won’t let him anymore, ” his son, Joe, said lovingly. He and his son, Andrew, are now “honored” to be continuing this family business. Although Jim's has largely stayed the same since its inception, Joe noted that they no longer clean hats, as this was deemed a fire hazard in the 1940s. Joe emphasized, however, that their shoe repair is performed the traditional way, with most of it being done by hand. There are no nailing guns used and machine work is kept to a minimum — only for stitching and sanding. Walking through the back is like being granted a tour of Santa’s workshop. Joe strolls through the various departments of the repair services, patting his employees on the back and exchanging laughs along the way. There are rickety ladders to go up and down where one finds every nook and cranny converted into a cozy but busy workspace. “Even if we wanted to change up the place, our customers would never allow us. They appreciate it the way it is after four generations. ”

Directly across from the imposing statue of Christopher Columbus, marking both the epicenter of Columbus Circle and New York City as a whole, stands the Museum of Arts and Design. Founded in 1956 - and in this spectacular building since 2008 - the museum celebrates contemporary artists, designers, and artisans who apply the highest level of ingenuity and skill to their work. Inside the light-filled interior, this accessible museum explores a rotating series of exhibitions profiling makers, who work in a wide range of materials and processes, in an effort to explore the intersection of art, craft and design. When I visited the museum with members of the Manhattan Sideways team, I was thrilled to have them walk around with a dear friend who has been a docent at MAD for several years. We were fascinated by the global reach and depth of the Latin American exhibition, "New Territories, " as Felicia explained in detail what we were seeing. Our team was also intrigued by the museum's show celebrating its founder, Aileen Osborn Webb, entitled "What Would Mrs. Webb Do, " featuring objects from their permanent collection, curated by Jeanine Falino. We then went on our own to explore the technical skill made apparent in the neckpieces and sculptures of Joyce Scott in the exhibit, "From Maryland to Murano. " In addition to the shows on each floor, MAD invites guest artists to work in their studios, allowing visitors the opportunity to engage in conversation, and to observe them as they are sculpting, drawing or creating something unique with a mixture of materials. Having been to the museum many times, I consistently find myself absorbed in the variety of art displayed, and when possible, I make my way to the ninth floor where the innovative Robert restaurant allows guests a bird's eye view of Columbus Circle from its exquisite interior.

Guastavino's gets its name from the Spanish architect, Rafael Guastavino, who designed an arcade of Catalan Vaults to fit under the Queensboro Bridge in the early part of the twentieth century. Initially, the arcade was host to a year-round marketplace, but it was shut down during the depression. Not long after this, the NYC Department of Transportation took over the space. In 1973, Guastavino's was designated a landmark as part of the Queensboro Bridge. Terrance Conran opened his British home furnishings shop here for some time, and now on one side is the Food Emporium, while on the other is Guastavino's magnificent private event space. And a very special place, indeed, to one of my daughter's dearest friends, Jenny Posen Cohen, who got married here in 2012.