Welcome to the T List, a newsletter from the editors of T Magazine. Each week, we share things we’re eating, wearing, listening to or coveting now. Sign up here to find us in your inbox every Wednesday, along with monthly travel and beauty guides, and the latest stories from our print issues. And you can always reach us at [email protected].
Eat Here
An Elegant New Restaurant in Hudson Serves Produce From the Owners’ Farm
When Ivy Nallo and Zack Nussdorf moved to Taghkanic, N.Y., in 2020, they envisioned having a small garden where they could grow enough produce to host dinners on the screen porch. Four years later, the 625-square-foot plot has grown into a one-acre farm with greenhouses and a herd of Mangalitsa pigs, known for their lard. At the end of October, Nallo and Nussdorf opened Restaurant Manor Rock in Hudson, N.Y., a 20-minute drive from their farm. Much of the produce, like the patchwork peppers and the Barbarella eggplants, comes from their land, as does the pork for their loin chops and charcuterie. Nussdorf briefly worked as a line cook at the Michelin-starred Brooklyn restaurant the Four Horsemen. Here, he and the chef Diego Romo, previously of Gem and Estela in Manhattan, are making simple, seasonal dishes, like grilled squid with turnips and potatoes cooked in Mangalitsa lard. Before it hosted a string of restaurants, Manor Rock’s Warren Street space was a townhouse. It was overhauled earlier this year by the design and architecture firm Charlap Hyman & Herrero, who outfitted the restaurant with porcelain sconces, cream-colored walls and a red-oak bar made of trees from Manor Rock Farm. “We wanted it to feel like it’s been here for the last hundred years,” Nallo says. instagram.com/manorrockfarm.
See This
Peter McGough’s Cyanotype Alphabet, on Display in Downtown Manhattan
The American artist Peter McGough, who for four decades beginning in the early 1980s served as one half of the art duo McDermott and McGough, has long employed antiquated media and methods of photography. One of his favored techniques is cyanotype, a 19th-century invention in which objects or photographic negatives are placed against paper covered in photosensitive chemicals. When exposed to UV light, the paper turns a brilliant blue, with the image appearing in white negative space. This month, McGough’s first solo exhibition in New York at Karma Gallery in downtown Manhattan features 26 cyanotype prints, each depicting a letter of the Latin alphabet formed by either individuals or groupings of nude male models (both “M” and “W” required four sitters). Most models appear completely unadorned, though some sport floral crowns; rare props include a ribbon representing the upper arm of “T,” and two skulls placed at one model’s feet, creating the serif of an uppercase “I.” Though these are new images, cyanotypes require a lengthy exposure that results in imagery with a softly blurred quality reminiscent of 19th-century portraiture. To coincide with the exhibition, Karma is releasing a catalog of the suite of works, which is fittingly bound in blue linen. “Alphabet” is on view through Dec. 21, karmakarma.org.
Stay Here
In Crescent Head, Australia, a New Hotel for Artsy Surfers
In 1999, George Gorrow launched the denim label Ksubi in Sydney with a few surf buddies. Five years later, with one of his Ksubi partners, he opened the Slow, a 12-room hotel in Canggu, Bali. This week, Gorrow, along with his wife, the German model Cisco Tschurtschenthaler, debuted his latest project: the 25-room Sea Sea hotel in the tiny surf town (population about 1,600) of Crescent Head in Australia’s New South Wales. It took Gorrow and his crew about two years to renovate the faded remains of a conference motel into what he describes as a “’70s surf shack meets eclectic alpine hunting lodge,” complete with a gallery for art exhibitions and concerts, as well as an outdoor pool, sauna, cold plunge and fire pit. He brought on his friend Wesley Herron, one of the D.J.s behind the L.A.-based podcast Reverberation Radio, to curate the music in the rooms and asked the surf company Wild Things Gallery to supply rental boards. The hotel’s restaurant, Sane Kitchen, which showcases ingredients from farms in the surrounding Macleay Valley, is headed up by Daniel Medcalf, the former chef from the Slow, while rooms are decorated with touches from artist friends, like photographs by Kate Bellm, graphic bed covers by Romon Yang and hand-chiseled wood sconces by Aleph Geddis. From $275 a night, seaseahotel.com.
Visit This
Fifteen Years of Rubber Sculptures, on View in New York
Over her four-decade career, the artist Chakaia Booker has worked with ceramics, textiles and paper. But since the 1980s, she’s been linked to one particularly unconventional medium: rubber tires. A resident of New York’s East Village during that era, Booker found that abandoned tires were plentiful in the neighborhood. “Availability in the early days was an asset, but where I really saw rubber tires’ potential was as a raw material,” she says. “I could really do anything with it, just as I could with wood, steel or clay.” Over the years, Booker’s work with tires has expanded to include large-scale abstract sculptures — one of which is 35 feet tall and currently on view in Manhattan’s garment district — as well as pieces that can be appreciated within the boundaries of a gallery, like those that comprise “Chakaia Booker: Empty Seat,” a New York solo show of Booker’s rubber-tire sculptures created between 2006 and 2021. Whether shredded into graceful ribbons, chopped into jagged spikes or molded to resemble a human torso, each creation reveals the medium’s potential and pliability. “The only limitation with the material is imagination,” Booker says. “Chakaia Booker: Empty Seat” is on view through Dec. 21 at David Nolan Gallery, New York, davidnolangallery.com.
Gift This
Vintage Textiles From Around the World
Jess Maybury first became interested in collecting textiles because of her mother, Louisa, a British-Pakistani collector and shopkeeper whose fascination with kilims and kanthas brought the family on research visits that spanned from India to Moldova. Today, Maybury, a fashion model who has walked runways for designers like Marni and Acne, is continuing the family tradition with her own textiles collection and showroom, JMaybury. Visitors to the East London studio will find an eclectic assemblage featuring everything from vibrant patchwork Pakistani ralli quilts to costumes from a 19th-century opera company. On the walls, swathes of gauzy, indigo-dyed Japanese mosquito netting swoop across intricate Thai batiks and midcentury tapestries. Maybury is more interested in celebrating use — and the fraying, distressing and layers of repair that come with it — than conservation in the traditional sense. “Yes, these are works of art, especially with all the labor and craftsmanship that goes into each of them, but they’re also objects that people would have on their floor or wrap themselves up in,” she says. “I wanted to create an environment where textiles wouldn’t be treated as a cold, sculptural object, but where they are allowed to be soft, practical, even nurturing.” From about $195, jmaybury.com.
Go Here
Swedish Grace, a 1920s Decorative Arts Movement, Gets a Spotlight in New York
At the 1925 International Exhibition of Modern Decorative and Industrial Arts, in Paris, the Swedish Pavilion caused a quiet stir. The building itself evoked a stately temple, with fluted columns along the portico and a rectangular reflecting pool. Inside, the collection of furnishings continued that theme, with gracefully sloped armchairs, etched glass and a figurative frieze by the designer Anna Petrus. “Here was beauty of proportions, of simple masses, of clean lines,” wrote Joseph Breck, the assistant director and curator of decorative arts at New York’s Metropolitan Museum of Art. When the institution mounted a landmark 1927 show of Swedish design, Petrus’s frieze made the voyage — this time reworked as the intricate cast-iron base of a monumental table, produced in a run of three. Nearly a century later, Petrus’s table is headed back to Manhattan this month as part of “Swedish Grace,” an exhibition at TriBeCa’s Galerie56 co-organized by its founder, the architect Lee F. Mindel, and the Stockholm-based gallery Jackson Design. Swedish Grace, as this decorative movement is known, arose as a reprieve from post-World War I upheaval and mechanized production. “Sweden sought to return to a period of civility and literacy through design,” Mindel says. The show spans furniture and handwoven textiles, ceramics and sculpture, all available for sale. There’s a ceiling lamp designed in 1927 for the architect Gunnar Asplund’s Stockholm Public Library. A pair of cast-iron shells adorns Folke Bensow’s 1920 bench; nude figures dance across a 1933 vase in Wilhelm Kåge’s Argenta series. The through line to classicism “provides a sense of serenity and security,” Mindel says, against a new backdrop of geopolitical tumult. “Swedish Grace,” at Galerie56 in New York, runs from Nov. 15 through Jan. 31, 2025, galerie56.com.
From T’s Instagram
At MoMA, a Singing Sculpture Made From Mushrooms
The post A New Farm-to-Table Restaurant in Upstate New York appeared first on New York Times.
