2025Photo: Quinn WhartonSave this storySaveSave this storySaveThe creation process is challenging enough for an independent choreographer vying for grants and rehearsal space and attention in a scattered environment and suddenly the ordeal of daily existence takes on a palpable weight That is the premise of SISSY a luminous new dance-theater work by Celia Rowlson-Hall premiering this weekend at New York’s Baryshnikov Arts Center with a cast that includes Marisa Tomei and Lucas Hedges toils not in the rocky underworld but at a run-down artist’s residency in the Hudson Valley where an indefatigable director (Zoë Winters) and her six dancers are about to present the final showing of their two-week workshop The audience—both the fictional one upstate and the real one in Manhattan—soon slips into a world where human-scale beach balls and painter’s buckets become a playground for physical investigation where the tragicomedy of real life slips in through the cracks “Somehow I’ve always had a layer of protection between me and my work even though it’s always been very personal,” says Rowlson-Hall who has forged a career telling stories through movement that does not exist.” SISSY marks her return to the stage after nearly two decades as a filmmaker and choreographer for the screen It’s also her first creative project after giving birth to Romeo the now two-year-old son she shares with her wife the director (and SISSY dramaturg) Mia Lidofsky The work initially took root during a residency at Baryshnikov Arts Center in September 2023 would walk up the High Line to the studio each day with six-month-old Romeo in tow Rowlson-Hall was dealing with the spiraling health crisis of her “angel-here-on-earth” father: a longtime public school teacher and practicing Christian Scientist who had largely lived outside the medical system As he was shuttled between care facilities and hospitals in Virginia—a “losing uphill battle,” Rowlson-Hall says—plans for an evening-length iteration of SISSY were paused about the millennia-old universe beneath our feet; another book described how “grief is like pushing through rock,” she says True to Rowlson-Hall’s own buoyant sensibility the central boulder in SISSY takes the form of a brightly colored beach ball deftly navigating around the studio’s overhead lights during a recent rehearsal as in a guided improvisation onstage: “Are you a pebble in a shoe?” Winters’s character asks “Under a naked butt cheek on a nude Italian beach?” The play-with-a-play structure means the cast is composed of six dancers (led by the transfixing Ida Saki) and three actors but the beauty rests in the blurred distinctions brings an animated physicality—and a full split—to the role and she’s speaking a language I understand,” says Tomei sees his hard-hat exterior unexpectedly soften by the play’s end who takes salsa lessons and Gaga movement classes in his regular life SISSY is a kind of dreamscape you “want to get lost in,” he says “Celia has brought her subconscious to all of us But it’s motherhood she credits with ushering in a new sense of creative flexibility “Sometimes when you put something in motion you have to let it tell you where it’s headed and not try to hold on too tight,” she says Saki brings up the first lunch break of the SISSY residency in 2023 when she told Rowlson-Hall—by then a friend and collaborator—that she was newly pregnant “The whole story shifted for her,” says Saki describing how the choreographer folded the news into the central solo a complicated investigation of weighted anticipation and transferred innocence Saki slips into a pair of pants with an attached belly but the psychological vulnerability is what proves most important “If you are not actually going through the storytelling and the emotive qualities in that present moment There is one other uncredited performer who has been in the room since the very beginning of SISSY is periodically trotted out on Winters’s hip a sometimes babbling manifestation of everything her character is juggling Winters remembers the first time she heard she’d be holding a baby onstage like a baby-baby,” Rowlson-Hall responded.) unpredictable element illustrates Rowlson-Hall’s approach to embracing life in all its beauty and complications Enzo’s occasional vocalizations have a soft-spoken foil in the piece via an overheard voicemail from Rowlson-Hall’s late father And there’s a slipperiness between fact and fiction which gives the performances a translucent clarity who lost her own dad a decade ago while working with Rowlson-Hall on another project describes their common vocabulary around loss “Grief is so surprising and comes out sideways in so many ways,” the actor says yet so often it’s “side-by-side to humor.” where half-assembled folding tables become slides and air-traffic wands light the way “There’s incredible imagination and magic and suspension of belief and oddness,” Winters says “Moments that you maybe don’t intellectually understand but can feel so fully.” A duet between two of the dancers comes to mind where each of Aliza Russell’s footsteps land in Jacob Warren’s hands It recalls what Rowlson-Hall said after rehearsal seeing Winters take on the role of the director: “I had this feeling SISSY runs through April 26 at Baryshnikov Arts Center Ryan Murphy Has Finally Found His Carolyn Bessette-Kennedy The Best Books of 2025 So Far Here’s Everything You Need to Know About Adolescence, the British Netflix Drama That’s Quickly Gone Viral “I Didn’t Want to Box Myself In”: On Mayhem, Lady Gaga Crafts Perfect Pop for a Chaotic World Listen to The Run-Through with Vogue a weekly podcast featuring the most exciting stories and hot takes from the worlds of culture Never miss a Vogue moment and get unlimited digital access for just $2 $1 per month This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page The Zurich-based company Energie 360° has installed new fast-charging stations from Kempower in the car parks of three Coop shops in Switzerland The new charging stations are located in Winterthur in Riddes and at the Regensdorf shopping centre The site in Winterthur has one charging station with two charging points The site in Riddes has two charging stations with a total of four charging points with a total output of 600 kW while the shopping centre in Regensdorf even has seven chargers with one arm each This location has a total capacity of 1050 kW Kempower states that the charging stations were installed by Energie 360° from Zurich Coop locations in Haag and Dietlikon had already been equipped with Kempower fast chargers ‘The collaboration with Energie 360° and the associated provision of Kempower satellites at Coop locations in Switzerland is valuable for us because together we are driving the future of electromobility forward,’ says Philipp Oppolzer Regional Business Development Director Central Europe at Kempower we are setting new standards for a reliable and user-friendly charging infrastructure that will accelerate the transition to electromobility in the region Kempower states on its website that further Coop supermarkets will be equipped with Kempower charging infrastructure by Energie 360° in the coming months kempower.com I agree with the Privacy policy electrive has been following the development of electric mobility with journalistic passion and expertise since 2013. As the industry's leading trade media, we offer comprehensive coverage of the highest quality — as a central platform for the rapid development of this technology. With news, background information, driving reports, interviews, videos and advertising messages. featuring relics by the likes of Jeanne Lanvin It all started with a shared address on East 70th Street where Etéreo’s Zabrina Estrada at the time rented a showroom one floor below Patricia Voto “We have the same sensibilities of slow fashion and old-world feel,” says Estrada known for sleuthing out early-20th-century European couture who honed her ready-to-wear chops at Altuzarra operates at the bespoke end of fashion—at times reworking heirloom wedding dresses into custom bridal looks or creating made-to-order pieces using an unearthed clutch of fabric The two neighbors decided to work on a rarefied upcycling project built around vintage treasures that were in an otherwise unwearable state As Voto gamely puts it: “Challenge accepted.” as seen during a recent visit to ONE OF’s studio are as much alchemy as they are reverent translation Voto holds up a silk-wool kimono with an elaborate nuit de chine scene—originally a 1920s dress attributed to Jean Patou “The tulle was completely broken; the beads were starting to fall off,” says Voto using coral beads and other materials from unsalvageable sections to restore the rest the decoration unfolds in landscape across the back of the belted Another Parisian dress from the early 1920s wide-leg pants—proof again of Voto’s unconstrained vision for seeing the antique garments as raw material she has married practicalities (keeping the inner legs clear of beading) with verve (adding a wispy beaded fringe to the outer seam) there’s a through line back to her early days at Parsons where a professor took note of her interest in 2D and 3D work and suggested she study product design “I’m so grateful I did because it allowed me to approach design from a problem-solving lens,” she says Fragility was one such recurring problem here featuring gold filigree threadwork on silk recalling her commutes upstairs to the ONE OF atelier “The material was just kind of falling apart in their hands.” Voto and her team added an interlining to stabilize the fabric; she pruned back the top to reveal a square neckline and introduced a dynamic hem that follows the contours of the decoration a 1930s New York design made of a striped velvet devoré with oversize black flowers there’s a bandeau top fashioned from three recreated flowers; the little bolero can be worn on top its velvet ribbons dyed a deep chocolate to match the precise fade of the original fabric something Margaret Qualley might frolic in with the right amount of insouciance joking about our email thread: “cc: Margaret!” What’s most satisfying about the capsule is the inability to discern where old becomes new only the round satin appliqués were sturdy enough to be saved Voto transferred them onto an existing ONE OF dress style with a similar fitted bodice amplifying the skirt with 10 layers of silk gauze whose chinoiserie panels originally wrapped in horizontal bands has been deconstructed and remade with a vertical configuration; each of those floor-skimming golden panels is now capped off with a piece of its repurposed fringe A pair of pants made from technical scuba fabric is layered under a 1930s piano shawl Voto dreamed up a sleeveless ostrich-feather top—she gives a shout-out to Dersh a family-run supplier in the Garment District—to pair with an intricately beaded 1920s silk dress from Rhode Island rendered anew in silk gauze with the original satin appliqués If there was any piece that gave Estrada pause it was the 1950s Madame Grès dress in pale yellow chiffon: a rare well-preserved find describing a push-pull over the questions of preservation versus adaptation “I really do believe in the circularity of these pieces we want it to live a new life.” The Grès is now rendered as a discreet two-piece ensemble—“even more modern,” Estrada says its original label now joined by the capsule’s new one A 1920s beaded dress from Rhode Island (right) fashioned into a skirt and paired with an ostrich-feather top Even with all this exactingly preserved craftsmanship and ornament what runs through the 10 looks is a palpable sense of ease It’s the thread that connects the present day to the changing era a century ago when restrictive corsets fell away and trousers came onto the scene certain parameters are welcome in today’s breakneck There’s something more creative about working within those,” Voto says explaining that there’s no room for error with one-of-a-kind materials whose constraints are baked into her perpetual hunt they’ve managed to take a handful of treasures out of retirement and put them back on the town Photos courtesy of Etéreo Vintage and ONE OF I Just Got Back From L.A. and Everyone Was Wearing Autry Medalist Low Sneakers Amal Clooney Is All About Rib-Grazing Denim for Spring How to Dress Like the Olsen Twins This Spring and Summer 2025 Rihanna Dresses Cozy and Classic to Solo Dine at Her Favorite Restaurant Sign up for Vogue Shopping to receive the insider’s guide to what to shop and how to wear it as well as new features like our Runway Genius quiz Explore the Runway Image Archive where you can access over 1.2 million runway images from past and present fashion shows. jumping away from Arnaud De Lie (Lotto Dstny) in the final 150 metres as the Belgian suffered the most untimely mechanical when starting his sprint sticking in the wheels until the very best moment after latching onto De Lie’s last lead-out man and outlasting the charge from Michael Matthews (Jayco AlUla) in second and De Lie after he got going again De Lie was the heavy favourite coming into the day and looked set to take the win after his Lotto Dstny team reeled in a late attack from Alberto Bettiol (EF Education-EasyPost) with 1.2km to go but dropping his chain in the final sprint left him banging the handlebars across the line as he settled for third Coquard was yet to win in 2024 despite a whole host of top-five finishes and the win in Regensdorf was his first at WorldTour level since January of last year when he took a stage at the Tour Down Under Yves Lampaert (Soudal Quick-Step) held onto the leader’s yellow jersey after his stage 1 victory coming home safely just behind the bunch sprint despite some splits forming over the crest of the final climb "It's my biggest victory today," said a delighted Coquard post-race "It's a difficult stage with a hard climb just before the final Today we knew with the team it was a good opportunity for me "I'm a good sprinter but with the big guys it's more difficult for me and today was a perfect opportunity We arrived with a little bunch and I did a perfect final with a perfect sprint." Coquard will head to next month's Tour with the aim of fulfilling his career goal of a stage win at the Tour de France even referencing the closest he has come in the past during an uphill battle to the line with Marcel Kittel in 2016 "A lot of times I finished second in Tour de France for example 28mm with Marcel Kittel in Limoges," said Coquard when asked why today was his biggest triumph "I'm really happy because I went to an altitude training camp for three weeks in preparation for the Tour de France and I won today The longest stage of the 2024 Tour de Suisse kicked off again from Vaduz in Liechtenstein with 176.9km in the way of a potential chance for the sprinters A five-man breakaway formed after an initial attack by Gerben Kuypers (Intermarché-Wanty) Roberto Carlos González (Team Corratec-Vini Fantini) and Félix Stehli (Swiss Cycling) before they were bridged across to by Antoine Debons (Team Corratec - Vini Fantini) and Luca Jenni (Swiss Cycling) After the short stage 1 individual time trial Jenni was the closest on GC at 24 seconds and went into the virtual lead as the break built an advantage over the four-minute mark in the opening 50km González dropped over the second categorised climb of the day to Ricken (6.1 km at 5.9%) and he was swallowed up with 65km to go leaving a quartet at the head of the race with a 4:40 advantage to defend Alpecin-Deceuninck and Soudal Quick-Step took up the mantle of pacing on the front around the 60km to-go mark and the deficit started to melt down intermediate sprints and Tissot bonus second EF Education-EasyPost - as the bunch began eyeing up the final climb the pace was heating up and the gap was down to around one minute causing Mark Cavendish (Astana Qazaqstan) to drop and fight to get back on as he looks to get some climbing in the legs ahead of the Tour de France GC teams began moving up in the kilometres preceding the Regensburg Cat.3 climb but there wasn't too much urgency in the pace with the gap stabilising around 1:14 This was made worse by a small crash in the peloton going through narrow technical roads and a lot of road furniture making it hard to carry speed through the corners Jenni took off from the four-man break as they hit the 3.5km climb which averaged a 5.7% gradient with a 50-second advantage in hand EF picked up the tempo on the climb with 13km to go to ensure Marijn van den Berg had an opportunity to fight for victory Q36.5 went on the attack with David de la Cruz after no team took up full authority on the lower slopes of the climb But this prompted Alpecin to get back into gear and really light up the inclines to put the pure sprinters in pain De la Cruz and Jenni were quickly reeled in with 11km to go with this new injection of pace and from then on in Alpecin continued their effort with splits forming all down the climb after the crest Søren Kragh Andersen (Alpecin-Deceuninck) took off on the descent with Mauro Schmid (Jayco AlUla) as those behind fought to get back on they were quickly pulled back once the road flattened out again giving Bettiol the chance to launch an opportunistic move It looked like the Italian had a chance of making it to the line with only splintered groups trying to chase him down That was until Lotto Dstny came to the fore alongside Decathlon AG2R La Mondiale with De Lie sat in ready to sprint and he was done just before reaching the flamme rouge The Belgian squad got the technical run into Regensdorf just right navigating the multiple 90-degree corners with De Lie still in third wheel the talented young sprinter couldn't finish the job as he dropped his chain allowing Coquard to get a gap and sprint to victory Results powered by FirstCycling during which time he also wrote for Eurosport Prior to joining the team he reported on races such as Paris-Roubaix and the Giro d’Italia Donne for Eurosport and has interviewed some of the sport’s top riders in Chloé Dygert he spends the majority of his time watching other sports – rugby the Adimora Investment Foundation completed a new building with 31 maisonette lofts designed by Lütjens Padmanabhan Pensimo has built 31 affordable maisonette lofts with room heights of up to six meters on the Zwhatt site in Regensdorf for the Adimora investment foundation Completion took place in the middle of last year "The concrete walls remain unfinished and the furnishings are limited to the bare essentials," is how Pensimo describes the concept The floor plans allow for individual extensions The residential building is stepped upwards and has the shape of an urban row of terraced houses - but in the form of an urban terraced house The apartments are not divided into types S L and XL with 40 to 93 square meters of living space The new brand identity makes the municipality's sharpened positioning tangible and is intended to strengthen Regensdorf's role as one of the most modern and attractive municipalities in the canton of Zurich in the long term Process is responsible for the implementation the municipality of Regensdorf will develop into one of the most modern municipalities in the canton of Zurich In addition to major infrastructure projects over 2,000 apartments are planned or already under construction businesses are moving in and extensive investments are being made in the quality of life within the municipality In order to do justice to all these changes in terms of communication and to convey the attractiveness of the municipality to the outside world in a targeted manner over the next few years the Regensdorf brand was strategically realigned developed and implemented in close cooperation with the Process agency the entire brand architecture within the municipality was sharpened reorganized and prioritized in terms of communication The old figurative mark was completely renewed and the entire corporate design was redesigned and redefined across all channels This included developing and implementing templates for all communication channels and media including official documents and templates that are implemented and rolled out within the municipality it is crucial that our communication is clear uniform and consistent," says Sandrine Rickli "Our new image enables us to meet the communication requirements and convey our messages in an appealing and understandable way." an annual event along New York’s Rockaway Beach “You have to be really patient and follow your intuition in a way but you’re never sure of what’s going to happen You don’t know what you’re going to see.” That’s the mindset she hopes the audience brings to this year’s performance on Saturday: magic hour serving as lighting designer The ninth iteration of the summer program features not one but two innovative artists: the late Merce Cunningham with a response shaped by her experience in the ’90s as part of the broader Cunningham community some onlookers will make a pilgrimage and others will happen upon a magic moment “I've been calling it a ‘natural occurrence,’ which is something that birders talk about,” Okshteyn says “It’s something that you experience and you’re like which begins with a closeup of dancers’ torsos: arms outstretched there’s no doubt about it,” Lent says of bringing Beach Birds to the beach The fact that it has already migrated from stage to screen helps pave the way for this latest iteration Mitchell adds: “It’s not bound to the rules of the theater so we can stretch it and amplify certain aspects.” The setting demands sly adaptations there are no entrances and exits when the Atlantic Ocean is the backdrop—the only wings belong to the errant birds overhead taking away a sonic cue helpful for dancers when choreography doesn’t adhere to music Repeated jumps prove difficult on soft sand; likewise lifting to the ball of one’s foot in relevé fails to register when the ground gives way underneath so the choreography has shifted in subtle ways “But it’s remarkable how much you can do,” Lent says Several of the original 1991 cast members moonlighted in the rehearsal studio sharing recollections from Merce himself and teaching sections of the choreography “Just to be able to watch that transmission process is really reflecting on a few favorite gestures: “I think about this specific leg-shaking movement that feels kind of like a flutter I think about these beautiful head movements that are sharp and somehow animalistic.” But the avian world wasn’t the only inspiration for Beach Birds The two trustees staging the work got to pore over Cunningham’s original notes where he privately named each of the dance’s four sections they're lined up in roughly two rows across the back and he's labeled each of the dancers with a chess piece,” Lent explains they move in roughly the same way that the chess piece would.” Dancers featured: Arielle Francois and Marc Crousillat If the Cunningham flock is set to hit the sand at Beach 108th Street Michelson’s follow-up performance takes place on the nearby boardwalk at Beach 102nd Street who presented her first dance in the ’90s at the Cunningham Studio is newly represented by David Zwirner—a reflection of the rising stature of those working in the performance realm She shared little about her response in advance keeping it a surprise even for those closely involved in this year’s event Whatever transpires will draw a crowd far more heterogeneous (children underfoot sunscreen-caked passersby) than a high-brow dance event normally convenes can you save me two seats?’ or ‘Are there tickets?’” Okshteyn says with a laugh Her response: “It’s general beach seating.” That informal approach is a mainstay for Beach Sessions “I always consider the beach quite democratic—at least Rockaway,” says Okshteyn when the weather and waves and birds are left to chance “It’s wonderful to me how beautiful stillness reads in such a lively space,” Lent says reflecting on the quieter sections of Beach Birds “It doesn’t feel like nothing’s happening because there’s so much movement in the landscape.” How Miriam Adelson Went From Big MAGA Winner to Casino Loser in Trump’s First 100 Days Trump’s Lies Are Finally Catching Up to Him The UK Has Found Another Reason to Be Mad at Meghan Markle “It’s About Him”: How Trump Is Perverting the Presidential Photo Stream The Ballad of Bill Belichick and Jordon Hudson The Truth Underlying Pete Hegseth’s Job Security Why Are Americans So Obsessed With Protein How Sebastian Stan Became Hollywood’s Most Daring Shape-Shifter Every Quentin Tarantino Movie Meet Elon Musk’s 14 Children and Their Mothers (Whom We Know of) From the Archive: Sinatra and the Mob I'm happy, and feel privileged, to be selected as the new restaurant reviewer for St. Lucie County and it comes with an added benefit. We both spell Lucie the same way, so my name will be easy to remember. Food has always been a passion for me. I love researching recipes and cooking techniques, creating menus, hosting small and large dinner parties, and sampling restaurants. Prior to moving to the Treasure Coast, I lived in Miami where I was a trial lawyer for many years. Entertainment always included food, whether it was exploring restaurants or cooking for large and small gatherings. In 2006, my husband and I moved to North Central Florida, so I could live my dream — owning and operating a bed and breakfast.  As innkeepers, we frequented every restaurant in the area to better guide our guests in their dining choices. I prepared creative breakfasts every morning and catered city, charity and other events. I cooked farm-to-table dishes at the farmer’s market and hosted cooking demonstrations at a local olive oil store. After selling our bed and breakfast, we moved back to south Florida to be closer to family. Since moving here in July, dining out has been our first choice of entertainment. I love being introduced to all the wonderful Treasure Coast restaurants. I enjoy a variety of cuisines and consider service, taste, presentation and atmosphere important components of a successful dining experience. For the past eight years, I have been writing a column called “Food Focus” for The Observer, a North Florida newspaper. My column is about cooking skills, food trends, and curated and personal recipes. It has been very popular and I will continue to write it to keep me tuned in to the preparation side of food. As a food critic for TCPalm and its readers, I will dine anonymously to assure that when I review an establishment's food, service and atmosphere, I will experience them in the same manner you would. I am looking forward to hearing from fellow restaurant connoisseurs. It’s easy to find the “big name” players in the local restaurant game, and I want to review as many of these as I can for my column. But it’s the smaller places — the cafés, the ethnic restaurants, the “hole-in-the-walls,” the “dives”, the unique places — that I am most eager to visit. To hunt them out, I would greatly appreciate your help. Please send me your thoughts and suggestions for my next visit and let me share your dining secrets with our neighbors. You can email me at Lucie@theloveofcooking.com, or find me on Twitter at @LucieLovesFood According to Pensimo, the second stage of the major project is being planned by Donet Schäfer Reimer Architekten and Salathé Architekten. The study contract for the second stage of the transformation of the former Gretag site in Regensdorf, which is now being developed under the name "Zwhatt", has been awarded to the two teams led by Donet Schäfer Reimer Architekten (DOSCRE), Zurich, and Salathé Architekten from Basel. Together, they are responsible for the development of the two building plots in the second stage, as announced by Pensimo. The owners also imposed conditions on the outdoor spaces. The planners hope that a "Tiny Forest", a densely planted small forest, will have a positive impact on the microclimate and water balance in addition to biodiversity benefits. Special emphasis is also placed on the reuse of usable building components. Around 230 apartments and approx. 3,000 square meters of commercial space will be built on the four sub-plots F1, F2, F3 and F4. If everything goes according to plan, the buildings will be ready for occupation in 2030. All in all, around 650 apartments and 15,000 square meters of commercial space are to be built by 2030 as part of the "Zwhatt" site development. The "Längsbau" property has already been occupied and the letting of the apartments in the timber high-rise H1 and the "Querbau" has begun. A further residential tower is currently under construction. (aw) This website is using a security service to protect itself from online attacks. The action you just performed triggered the security solution. There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data. You can email the site owner to let them know you were blocked. Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page. Spirit animal: Snowbird. Between an interminable winter and a four-month-old niece in Fort Lauderdale, my southward migrations are averaging once a month. Current mood: Easy, breezy. Back in my home state, I can finally shed the layers—molt, if you will. The patterned bands on this Suno skirt remind me of traditional Seminole clothing (a collection of which is currently on view at Gainesville's Florida Museum of Natural History). A simple braid feels right; so does a white shirt that billows like a main sail. What I'm wearing: Suno skirt, Rachel Comey shirt, Porselli x A.P.C. ballet flats, Classic Specs sunglasses, SkinCeuticals sunscreen (invisible but essential!), and a Baby Gap dress on baby Lila. On my agenda today: A morning class at the Yoga Joint; strawberry and tomato picking with my family; afternoon pit stop at Laser Wolf, a friend's gem of a craft-beer bar; and, in true Florida fashion, a feast of super-fresh stone crabs from our favorite seafood shop, the Fish Peddler. The Treasure Coast is filled with wonderful restaurants and new ones are opening — and family-owned restaurant that has been around for decades Ask Ruffino’s Italian Restaurant & Pizzeria in Port St They met while working at a restaurant on Long Island got married and moved to Florida to open their own Italian restaurant a large model of a smiling man sporting a white shirt apron and chef’s hat greets you at the door while holding an empty skillet All things food: New restaurants, reviews, inspections & best bets We were welcomed instantly by Daniella and seated at a table with comfortable black chairs and yellow vinyl tablecloths The divine aromas emanating from the kitchen are immediately apparent One whole wall is a mural of the sea with boats seen bobbing on the water through stone archways It makes you feel as if you are sitting on a terrace in Italy As we sipped our drinks and studied the menu Each yummy bite was like a taste of heaven The menu contains authentic Italian dishes made with fresh ingredients My husband and I started with clams casino ($11.95) This was a hard sell since my husband would eat bruschetta every day of his life But even he loved the perfectly seasoned flavors of this appetizer Entrees are served with a salad or soup of the day my husband ordered the tortellini in brodo (for a slight upcharge of $2.50) and was served a large bowl of cheese tortellini pasta in a mild chicken broth for dinner he ordered chicken Parmesan with spaghetti ($20.95) which he has ordered in every Italian restaurant he has ever eaten at in the past 30 years New restaurants: 3 new ones have opened on the Treasure Coast Hook and cook: These seafood restaurants will cook your fresh catch Thin chicken cutlets are dipped then breaded sauteed and smothered with slowly simmered rich marinara sauce and crowned with melted fresh mozzarella The deliciously seasoned broth was packed with cannellini beans I ordered linguine in white clam sauce ($20.95) fresh clams was heaped onto a pile of pasta in a luxuriant broth of clam juice I employed the warm garlic sticks to soak up the briny Desserts are Italian favorites such as tartufo Perhaps it’s the love of a family working together and a wonderful variety of authentic and consistently mouthwatering Or maybe it’s a secret kept by the chef at the door  Lucie Regensdorf dines anonymously at the expense of TCPalm for #WhatToDoIn772. Contact her at Lucie@theloveofcooking.com during a sunset viewing of James Turrell’s Meeting at MoMA PS1.Photo: Courtesy of Laura RegensdorfSave this storySaveSave this storySaveI am leaning back against a teak-paneled banquette watching a cotton ball pelican drift across the sky sat around the perimeter of this square-shaped room all have their eyes fixed on a rectangular hole in the ceiling—like a high-def TV with one strange channel A computer-programmed cycle of LEDs starts up bathing the interior in chartreuse (mood-lifting and a blue-gray so pale it makes the sky look wan A tiny plane zips through the lower left corner of the frame I think to myself—because there is suddenly so much space to think—I have found my meditation chapel Of course, this isn’t a meditation chapel at all. We’ve come for a 45-minute sunset viewing of James Turrell’s Meeting a permanent installation inside a former classroom at MoMA PS1 when a thirtysomething Turrell lugged a jackhammer to the roof of the fledgling art space—pummeling through what turned out to be a 42-inch-thick slab of concrete—the California artist had previously created just one oculus work for a private commission in Italy to his own Quaker roots; he even pitched a tent in the open-air room during construction (“I lived outside inside PS1,” Turrell put it.) The scale was intimate—and the infrastructure occasionally problematic—but the impact was enormous informing what turned out to be a series of such “Skyspaces.” Here the cut-out rectangle is less a viewfinder than a shapeshifting bridge “The sky’s no longer out there anymore,” Turrell once explained “but it seems to be brought close in touch with you and [the space] where you sit.” An installation view of James Turrell’s Meeting at MoMA PS1.Photo: Pablo Enriquez / Courtesy of MoMA PS1Or as I sometimes feel during the slow-evolving sunset I imagine the windows that astronauts peer through as darkness falls and the portal takes on a fuzzed-out gray it reminds me of that staticky television in Poltergeist—ready for someone to walk right into if only the room would rotate 90 degrees like some Fred Astaire dance number the way Turrell can take a chunk out of a building and spark a kind of mental road trip empty of day-to-day narrative and attuned to shifting color fields finally catches a moment to take stock and observe followed by the rumble of a faraway jet engine I think I see a star stitched into the platinum sky At a time when anxiety seems to blanket the country it’s no small feat to inspire a sense of marvel in your backyard like the fact that PS1 then was a little bit rough,” Turrell said in an oral history of the project explaining that Meeting “just made such a pure sky out of New York which was kind of unexpected.” A slice of clouds between tall buildings—or a 45-minute window of time in an overscheduled day—has an outsize effect in the city “It made [Meeting] more transcendent than it was ever intended to be,” Turrell continued having warped the sky from familiar blue into shades of indigo and gunmetal and gray has transformed into a black felt rectangle seemingly tacked to the ceiling People begin to unpeel their backs from the teak-clad walls as though the carnival ride Gravitron were slowing to a halt and releasing its grip Tickets for sunset viewings in September and October go on sale later this month at momaps1.org Jennifer Lopez Reveals Birthday Abs in a Bikini—Read More How to Grow Out and Take Care of Pubic Hair, According to Experts—Read More Ryan McGinley’s New Photography Show, “Mirror, Mirror,” Is an Empowering Riff on Selfie Culture—Read More Kylie Jenner Will Unseat Mark Zuckerberg as the Youngest Self-Made Billionaire in History—Read More Demi Lovato’s Road to Sobriety in the Public Eye Was Inspiring and Exhausting—Read More which I’m always interested in,” the artist explains offering up an example: “One person’s beauty is another person’s disgust.” It’s a thread running throughout four decades of jarring she photographed her prescription-pill-addict mother at home in Fort Lauderdale dyeing her eyebrows in bed and fastidiously applying makeup Manicured hands pry apart a langoustine or a ripe orange in 100 Food Porn a prescient 1989–1990 series soon followed by hard-core (and hot-button) subject matter Minter riffed on cosmetics advertising with a suggestive lipstick bullet in 1994’s Rouge Baiser; a decade later she exploded the norms of conventional makeup use in her close-cropped during a moment of calm between installing her gallery show and the museum retrospective Minter spoke with Vogue.com about the downside of laser hair removal and how “Pretty/Dirty” seems to find kinship with another timely two-word phrase: “nasty woman.” “Isn’t that great Your work has drawn such a wide mix of opinions over the years Isn’t it interesting how yesterday’s smut is today’s erotica I just assumed everyone else thought just like I did and was a pro-sex feminist I was reclaiming sexual imagery from an abusive history and it really frightened a lot of feminists; they couldn’t wrap their brain around it why won’t you make images for your own pleasure Now your retrospective is part of a larger series at the Brooklyn Museum called “Reimagining Feminism.” Is there more room in the definition of feminist art these days I love the title of Roxane Gay’s book: Bad Feminist The idea that you had to be a certain kind of feminist to be a good one—there’s no ideological right way You can be a sexual being and be a feminist attractive women owning sexual agency is so powerful and so threatening—to both male and female You couldn’t possibly have any serious ideas Was that reaction the same when you were younger Did that affect how you styled yourself in terms of makeup But I’ve always been interested in the paradox about fashion: It’s so easy to criticize and have contempt for fashion and glamour and at the same time it’s one of the giant engines of the culture You have more confidence and you’re taken more seriously if you feel good about the way you look Women are judged all the time to such standards that you’re going to be constantly failing What do you look for in terms of models for your work I’m not interested in making another pretty girl but I am interested in women with character to their faces—and nobody seems to notice I love the idea of an Asian girl covered in freckles because she’s Chinese and Irish or something And I love blue-eyed or green-eyed or hazel-eyed black people but I like the idea that we’re all going to be a shade of brown at some point in the future Maybe that is when we’re going to get along a lot better How did you arrive at the decadent makeup looks like the turquoise glitter eyes in Blue Poles You don’t shy away from things that are usually perceived as flaws They’re really just images that everybody knows—everything I paint It’s just nobody’s ever made a picture of it before We all know what armpit hair looks like growing in We all know what it looks like to have freckles I think the eye craves what it doesn’t see—like this last body of work in my painting show [at Salon 94] and in the Brooklyn Museum show Pubic hair has been erased from the culture so I wanted to make a case to women: Shave all you want make topiary out of it—but don’t laser because fashion is fleeting and laser is forever I tried to make the most beautiful pictures of pubic hair There is a movement again for it—I’m thinking of Petra Collins’s generation In recent years you’ve supported Planned Parenthood organizing a benefit auction and collaborating with Miley Cyrus What prompted you to take activism to the next level I’ve always been an activist—I was just another marcher But that was so easy after watching the TRAP laws being enacted I was outraged because I remember when abortion was illegal and women got unsafe abortions and I saw [access to care] being systematically erased It’s going to be on the ash heap of history.” That just makes me crazy I got my birth control at a Planned Parenthood clinic I got my abortion at a Planned Parenthood clinic This was the only safe place back when I was a college student the retrospective includes photographs you took of your mother at that time—applying makeup That’s what she did: She was a groomer [laughs] She was at one point a very beautiful woman but she was a drug addict—a Southern belle who didn’t know what hit her And she had a fungus under her acrylic nails because she didn’t take care of them that could be the thread that runs through everything Did you share her grooming habits or rebel against them so they could go to the bars and buy booze