Randy Kennedy

The author of the "Tunnel Vision" column from The New York Times journeys beneath the streets of New York City to reveal the subterranean world of the subways and its colorful inhabitants, wildlife, customs, and politics, and looks at the meaning of the subway in terms of the life of the city. Original.

Adventures in the World Beneath New York

Subwayland

Published on the occasion of the exhibition Errãancia poâetica.

Entre Pausas

Anna Maria Maiolino

Shepard Fairey

Sara And Marc Schiller

Caroline Rafferty

Enjoy this stunning limited edition, including an exclusive 8 x 10 inches digital print signed by Swoon "Artists covered the interior walls with their latest, most ambitious efforts, transforming a casual auld-lang-syne get-together into a state-of-the-art statement that ranged from classic tagging to new adventures in papering, printing, varnishing, installation and, in one impressive instance, crayon. There were lines around the block." Roberta Smith, The New York Times In December of 2006, an unlikely group of nearly 100 street artists from all over the world came together to participate in an art show celebrating Eleven Spring Street, long a premiere destination on the international Street Art map. The New York Times wrote, "One of the best shows of the season flamed past just before Christmas: a weekend long display of graffiti created by artists from around the world at, and in honor of, 11 Spring Street." The methodology was mixed media to the max: Wheat paste, paper, spray paint, house paint, markers, metal objects, found objects the result was chaotic yet undeniably arresting. Marc and Sara Schiller of the Wooster Collective curated the three-day event, calling the show Wooster on Spring. It featured street art superstars like Shepard Fairey and Swoon as well as emergent talents including JR, Prune, and Doze Green. The result was a potent mix of artists who brought the street inside by re-claiming the walls for themselves, and a tipping point for what has become an international art world phenomenon. The three-day public viewing session was a landmark downtown event that drew crowds in the thousands, with people waiting up to five hours to get inside. With an Introduction by Shepard Fairey, an Afterword by JR, and an essay from Randy Kennedy of The New York Times, Eleven Spring captures an important moment in Street Art s history. All the works that were created for the show were subsequently covered up or destroyed by renovation. Eleven Spring allows these vibrant works to live again, ready for a new generation of admirers to enjoy and celebrate."

A Celebration of Street Art

Eleven Spring Ltd Ed: Swoon

Enjoy this stunning limited edition, including an exclusive 8 x 10 inches digital print signed by Shepard Fairey! "Artists covered the interior walls with their latest, most ambitious efforts, transforming a casual auld-lang-syne get-together into a state-of-the-art statement that ranged from classic tagging to new adventures in papering, printing, varnishing, installation and, in one impressive instance, crayon. There were lines around the block." --Roberta Smith, The New York Times In December of 2006, an unlikely group of nearly 100 street artists from all over the world came together to participate in an art show celebrating Eleven Spring Street, long a premiere destination on the international Street Art map. The New York Times wrote, "One of the best shows of the season flamed past just before Christmas: a weekend long display of graffiti created by artists from around the world at, and in honor of, 11 Spring Street." The methodology was mixed media to the max: Wheat paste, paper, spray paint, house paint, markers, metal objects, found objects...the result was chaotic yet undeniably arresting. Marc and Sara Schiller of the Wooster Collective curated the three-day event, calling the show Wooster on Spring. It featured street art superstars like Shepard Fairey and Swoon as well as emergent talents including JR, Prune, and Doze Green. The result was a potent mix of artists who brought the street inside by re-claiming the walls for themselves, and a tipping point for what has become an international art world phenomenon. The three-day public viewing session was a landmark downtown event that drew crowds in the thousands, with people waiting up to five hours to get inside. With an Introduction by Shepard Fairey, an Afterword by JR, and an essay from Randy Kennedy of The New York Times, Eleven Spring captures an important moment in Street Art's history. All the works that were created for the show were subsequently covered up or destroyed by renovation. Eleven Spring allows these vibrant works to live again, ready for a new generation of admirers to enjoy and celebrate.

Eleven Spring Ltd Ed: Shepard Fairey

Since the doors of the first subway train opened in 1904, New Yorkers and tourists alike have been fascinated, amused, amazed, repelled and bewildered by the world-within-a-world that lies beneath the city. Now, in Subwayland, as the subway celebrates its centennial anniversary, creator of The New York Times's award-winning "Tunnel Vision" column Randy Kennedy leads us on an extended tour of this storied subterranean land, revealing: * Its inhabitants: the Tango Man, the traveling magician, Mayor Bloomberg * Its wildlife: the subway-riding pigeons, the Fulton Street cat, the blind mules * Its customs, taboos and secret histories: door blocking, leg spreading, pole hugging, even, yes, token sucking * Its government: the sheriff of Grand Central, the Ethel Merman of the shuttle, the motorman who drove the last No. 1 train beneath the World Trade Center on September 11, 2001 * Tips for the first-time traveler: how to get a seat, how to get a date, the fine art of "pre-walking"

“Fluent, mordant, authentic, propulsive…wonderfully lit from within” (Lee Child, The New York Times Book Review), this critically acclaimed, stunningly mature literary debut is the darkly comic story of a car thief on the run in the gritty and arid landscape of the 1970s Texas panhandle. In this “stellar debut,” (Publishers Weekly) car thief Troy Falconer returns home after years of wandering to reunite with his younger brother, Harlan. The two set out in search of Harlan’s wife, Bettie, who’s left him cold and run away with the little money he had. When stealing a station wagon for their journey, Troy and Harlan find they’ve accidentally kidnapped a Mennonite girl, Martha Zacharias, sleeping in the back of the car. But Martha turns out to be a stubborn survivor who refuses to be sent home, so together, these unlikely road companions haphazardly attempt to escape across the Mexican border, pursued by the police and Martha’s vengeful father. But this is only one layer of Troy’s story. Through interjecting entries from his journal that span decades of an unraveling life, we learn that Troy has become so estranged from society that he’s shunned the very idea of personal property. Instead of claiming possessions, he works motels, stealing the suitcases and cars of men roughly his size, living with their things until those things feel too much like his own, at which point he finds another motel and vanishes again into another man’s identity. Richly nuanced and complex, “like a nesting doll, [Presidio] continually uncovers stories within stories” (Ian Stansel, author of The Last Cowboys of San Geronimo). With a page-turning plot, prose as gritty and austere as the novel’s Texas panhandle setting, and a determined yet doomed cast of characters ranging from con artists to religious outcasts, this “rich and rare book” (Annie Proulx, author of Barkskins) packs a kick like a shot of whiskey. Perfect for fans of Cormac McCarthy, Denis Johnson, and Larry McMurtry, who said that Kennedy “captures the funny yet tragic relentlessness of survival in an unforgiving place. Let’s hope he keeps his novelistic cool and brings us much, much more.”

Randy Kennedy

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