Certain transfers between subway lines, passageways of almost transcendent sordidness; certain sites of torn-down buildings where parking lots have silently sprung up like fungi; certain intersections created by illogical confluences of streets—these express with particular force the city’s penchant for the provisional and its resistance to permanence, order, closure. To get to the painter David Salle’s studio, walking west on White Street, you have to traverse one of these disquieting intersections—that of White and Church Streets and an interloping Sixth Avenue—which has created an unpleasantly wide expanse of street to cross, interrupted by a wedge-shaped island on which a commercial plant nursery has taken up forlorn and edgy residence, surrounding itself with a high wire fence and keeping truculently irregular hours. Other businesses that have arisen around the intersection—the seamy Baby Doll Lounge, with its sign offering GO-GO GIRLS ; the elegant Ristorante Arquà; the nameless grocery and Lotto center; the dour Kinney parking lot—have a similar atmosphere of insularity and transience.
What do You think about Forty-One False Starts (2013)?
