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A seaplane out of Manhattan

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A seaplane out of Manhattan

THE SPECTATOR WORLD EDITION, October 2022

A seaplane out of Manhattan

In the awfulness of LaGuardia Airport, one terminal stands out as a reminder of better days

In the awfulness of LaGuardia Airport, the small 1939 Marine Air Terminal stands out as a reminder of earlier and better days. Today it is arguably the oldest American airport terminal in operation. Shuttered for decades, the building was resurrected by the Pan Am Shuttle in the 1980s, then the Eastern Shuttle, then the Delta Shuttle, and most recently JetBlue. Here was a terminal made for commercial aviation before the age of the “airbus.”

You might miss the Daily Planet details of the main hall if you only pass through the side door. Designed by William Delano of Delano & Aldrich, the terminal connects the classicism of the Beaux-Arts with the thrust of Art Deco. A 1942 WPA mural called Flight, by James Brooks, wraps around the interior to depict the grand history in which we are about to take part: from Icarus to da Vinci to the Wright Brothers to us. And just outside, originally, was not a runway but a dock.

There is a reason why LaGuardia Airport is located next to Long Island Sound: it was New York’s point of embarkation for what proved to be the final golden years of the seaplane. The luxurious Pan-American Clippers, those world-encircling “flying boats” with dedicated staterooms, dining rooms, lounges and on-board chefs, at one time lifted off here from Bowery Bay for Lisbon and points beyond — like the flying fish that decorate the terminal’s architectural frieze.

While the clippers are long gone from the airport that bears his name, Mayor Fiorello La Guardia ensured there was more than one aquatic hub in his metropolis. In 1936 he commissioned another small “seaplane base,” this one in the heart of the city at 23rd Street and the East River. Once it was completed, he argued, New York’s airmail could travel from Brooklyn’s Floyd Bennett Field to the branch post office on Lexington Avenue in under twenty minutes.

The mail service is no more, but the dock remains as the city’s last operating terminal for seaplanes. It doesn’t look like much from the outside. A 1962 parking garage via Robert Moses, with a control-tower folly on the roof, is today the only outward sign this is something more than a marina for party cruises. Two transportation companies, Blade and Tailwind, are now using it as originally intended. For these pilots flying out of “New York Skyports Sea Plane Base,” as it is now known, there is no hangar, no tower, just the instructions to taxi out 1,000 feet and “not to fly over the 59th Street Bridge.” With the East River as their natural runway, the airlines promise the “fastest way in and out of Manhattan.”

I like small boats. I also like small planes, the kind that ask for your weight before assigning your seat. So the eight-passenger Cessna Caravan “amphibious seaplane” operated by Tailwind sounded right to me as I was offered a flight to East Hampton. Tailwind began running regular seaplane service here last year by promising a return to the elegance of the Clipper era. Edmond Huot, who designed Tailwind’s “brand experience,” says he looked to the feel of the old Marine Air Terminal: “I am always trying to weave that nostalgia into the present day.” With no security lines, patdowns, or rush-hour traffic to contend with, Tailwind passengers are simply advised to arrive no less than ten minutes before departure. Tickets to Boston from New York go for $395, the South Fork from $695, and Provincetown from $799. You could also charter these birds to land on a Maine lake to pick up your kids from summer camp.

On the day of my departure, I took a Citibike to the base. Tied up on the floating dock just outside, the Cessna is more like a nimble water-skier than a flying boat. “We gotta go,” the pilots said, and suggested I watch my head on the wing. I walked onto one of its two pontoons, climbed a short ladder to the cabin, and took a seat behind the two pilots. We taxied out into the open waters of the East River, turned right, and gunned the engines, bouncing along the waves. A moment later we were airborne. The downtown Manhattan skyline dropped away in full splendor from the right windows. A quick pivot left around the Williamsburg Bridge and we were off.

Much like the old Clippers, with a range of a mere 400 miles, these planes might make an unexpected stopover or two. The day before my departure, Tailwind emailed to say my flight would need to make a “quick stop to drop off passengers in Shelter Island.” I then read the fine print: “*Flights to/from Shelter Island include a boat transfer from the beach (Sunset Beach) to the seaplane… Please be aware that you may need to remove shoes and get your feet wet while entering/exiting the boat launch out to the seaplane.”

After thirty minutes or so of cruising at 5,000 feet above Long Island Sound, we fluttered down to Shelter Island’s Peconic River by Pipes Cove. With the weather approaching 90 degrees, I thought of dipping my toes during the layover, but a launch boat had already rafted up to pick up the passengers. A moment later we were airborne again for a final, five-minute jump. When it came time to touch down on the tarmac at East Hampton, this time on the seaplane’s retractable wheels, the terrestrial landing seemed almost anticlimactic. Compared to the modern clipper, even the tony East Hampton airport, with its helicopters and jet planes, feels like economy-class commuting.

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Exile in Florida

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Exile in Florida

THE SPECTATOR WORLD EDITION, March 17. 2022

Exile in Florida

Palm Beach is more than Mar-a-Lago and hedgerow snobbery

For the New Yorker, touching down in Palm Beach is like visiting Taiwan from the People’s Republic of the Upper West Side. I am here for a few days. So is much of the American conservative movement. We are all fleeing to the sunny island like a government in exile.

Palm Beach is more than Mar-a-Lago and hedgerow snobbery. With a room at The Breakers now running $2,000 a night, I opt for a Vrbo at the Palm Beach Hotel. The old pile designed by Mortimer Dickinson Metcalfe in the Mediterranean Revival style in 1925 reminds me of the faded glory of the Grand Budapest Hotel in its Sovietized incarnation. The exterminator is a regular presence, but the price is right, and I like the overgrown pool deck. I watch a banana blossom shed its petals in the deep end as I read copy for the next issue of the New Criterion. For dinner I join friends by the fountain at Café Boulud, some fifty feet from their room at the Brazilian Court, the Sicilian castle designed by Rosario Candela in 1926. The air is wet with tropical fruit and old money. We admire the pecky cypress boards decorating the building like lace.

Back in the big city, just before my trip, I stumbled through the Columbus Circle subway station. A Putin apologist, a LaRouchite no less, then shoved a pro-Putin petition in front of me: “Will Carnegie Hall Denounce Nazism in Ukraine?” I lined up in the freezing cold on desolate 57th Street — Billionaires’ Row — for the check of my booster status. “How about your third shot?” the interrogator asked me, as I fumbled for my identification and medical papers. I felt like those huddled masses on Ellis Island awaiting the buttonhook to the eyelid to clear them of trachoma. As I arrived at my $250 seat to hear the Vienna Philharmonic, I convinced myself that Rimsky-Korsakov’s “Scheherazade” is worth it.

Now I am having second thoughts. It is 78 degrees and sunny and my first morning on the island. I am off to an “Ideas Summit” organized by the Manhattan Institute at the Colony Hotel. A colony of New Yorkers is more like it. I spot MI president Reihan Salam wheeling in his suitcase. “I’m a New York bitter-ender,” the Brooklynite tells me. “What do you need to do to get a crowd down here?” quips MI chairman Paul Singer. “Raise taxes in New York City.”

MI has brought down the heavyweights for its two panel discussions. For “Understanding America’s Cultural Revolution,” Heather Mac Donald rails against an obsession over structural racism in the museums: “There has not been a single institution that has pushed back against the lie. Even still lifes are coming under attack. They are still lifes, you idiots!”

Christofer Rufo, the David to the Critical Race Theory Goliath, says that Fortune 500 companies are repeating the same mantra: “A series of euphemisms to bully you into submission.”

Douglas Murray then suggests that “America is a projection device. You have to fight over every detail,” or else, “the rest of the world suffers for it.”

“We are headed to civilizational self-cancellation,” Heather concludes.

For a panel on “The Panic Pandemic,” John Tierney suggests that, “Using public health to grow government power and tell people what to do is a terrible precedent. It’s the left’s ‘long march through the institutions.’”

Dr. Joseph A. Lapado, Florida state surgeon general, agrees that it’s been wrong to ride out a pandemic on the lives of the young. At just that moment, I get a message from my daughter’s school that its mask mandate is ending. For the past year I have been insinuating that when her generation rises up to slaughter its elders, she should know that I was against all this. “Burn it,” I text her with a picture of a mask.

That evening, my colleagues and I gather for a cocktail reception at the home of friends. It is Fat Tuesday. A pianist starts playing some Rodgers and Hammerstein. I launch into my rendition of “Oklahoma.” Another singer joins me for some Cole Porter before I realize these are both professionals brought in for the evening and that this is not a group singalong. After the party and a casual dinner, we try to tune in to the State of the Union address. The horrific specter of war hangs over our entire visit, but Ukraine has already become the new superficial virtue signal of the Establishment, which will surely only hurt the cause of Ukraine. We lose our steam just as Joe Biden’s vitamin injections run low. Roger Kimball quotes that famous line from The Leopard, the great conservative novel by Giuseppe Tomasi di Lampedusa: “If we want things to stay as they are, things will have to change.”

The next morning, I walk out to the beach only to be blown inland by a sudden squall. It is Ash Wednesday, and Palm Beach is clearly not as anti-Catholic as it was once thought to be. At the intersection of Sunset Avenue and North County Road, I walk by St. Edward, the elegant 1926 church designed in the Spanish Renaissance style. Edward is one of the patron saints of difficult marriages. As the light changes, I spot a Mercedes with a license plate that says DON. I am reminded of the deposed ruler at the far end of the island. Will he run? Should he run? Will DeSantis run? A vote for “moving on” seems to be winning my straw poll, even if that means the former president should merely move on from the last election to focus on the next one.

Besides, we don’t want to give up DeSantis. Over lunch I see Karol Markowicz, Park Slope’s most famous dissident and a new Boca Raton transplant. She reflects the attitude of many Floridians who have reaped the benefits of their governor’s war with the pandemic status quo. “The moving vans only seem to be moving in one direction,” I observe. Over our lunch with media-in-exile, including David DesRosiers’s team at RealClearPolitics, we give thanks for the wisdom of federalism and the healthy competition of our states. It helps that Danielle Moore, the mayor of Palm Beach, is as cool as a Florida cucumber. I joined Dani for dinner and she tells me about her pet pig.

With what time remains, I take in the galleries on Worth Avenue and get a tour of the upstairs of Findlay, which had the foresight to settle here sixty years ago. I then head over to the Henry Morrison Flagler Museum. Whitehall, designed by Carrère and Hastings in 1902, is one of the most lavish extant mansions of the Gilded Age. This splendid house museum of the industrialist, railroad tycoon and hotelier speaks to the Gilded origins of Palm. Whitehall also serves as the genius loci of this golden island, where the gilding has never tarnished and the sun has never set.

New York is lucky that I like the cold.

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 Bursting With Color Late in Life

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Bursting With Color Late in Life

THE WALL STREET JOURNAL, September 9, 2021

Bursting With Color Late in Life

A review of ‘Alma W. Thomas: Everything Is Beautiful’

A traveling show brings together over 150 objects to explore the vibrant abstract work of the Washington painter who developed her iconic style in her 60s

Norfolk, Va.

Alma Thomas developed her unique abstract painting style only after retiring at age 68, in 1960, as a Washington, D.C., junior-high-school teacher. She called her forms “Alma’s Stripes” for their tessellated brushstrokes. Bold, rainbow daubs of paint weave together patterns of stripes and circles on canvas. Colors swirl and shimmer in these dazzling compositions. Vibrant hues react against one another. Active brush marks play off a tension between figure and ground. Suddenly garnering Thomas museum shows in New York and Washington, the paintings turned the unknown artist, a Black woman then in her 70s, into a trailblazer sought after by the country’s major collections. But where did it all come from? “ Alma W. Thomas : Everything Is Beautiful,” a new exhibition co-organized by the Columbus Museum in Columbus, Ga., and the Chrysler Museum of Art in Norfolk, Va., looks to fill in the background.

Alma Thomas’s ‘Blast Off’ (1970) PHOTO: CHRYSLER MUSEUM OF ART

Alma Thomas’s ‘Blast Off’ (1970) PHOTO: CHRYSLER MUSEUM OF ART

Curated by Seth Feman of the Chrysler and Jonathan Frederick Walz of the Columbus, the show adds an abundance of context while exhibiting some of Thomas’s best-known works, such as “Blast Off” (1970) and “Starry Night and the Astronauts” (1972), both inspired by the American space program. With over 150 objects spread across multiple thematic sections, Thomas’s paintings, drawings and early sculptures, ranging from the 1920s until a year before her death in 1978, are presented here alongside her photographs, letters, furniture, examples of the art that influenced her, and even her own handmade dresses and dolls. A 336-page exhibition catalog, featuring 17 essays on topics ranging from Thomas’s graduate studies in marionettes to her passion for gardening, gives extra meaning to the “everything” of the show’s title. Now on view in Virginia, the exhibition will continue on to the Phillips Collection in Washington and the Frist Art Museum in Nashville before finishing in Columbus.

Born in Columbus in 1891, Thomas as a teenager moved with her family north to Washington. She enrolled in Howard University and became its first fine-arts graduate in 1924. She earned a graduate degree in education at Columbia University and remained a student even as she taught, enrolling in courses in abstract painting at American University in the 1950s.

Alma Thomas with two students at the Howard University Art Gallery (1928 or after) PHOTO: THE COLUMBUS MUSEUM/CHRYSLER MUSEUM OF ART

Alma Thomas with two students at the Howard University Art Gallery (1928 or after) PHOTO: THE COLUMBUS MUSEUM/CHRYSLER MUSEUM OF ART

Thomas contended with arthritis just as she set out on her own abstract course. The condition became so acute she had to soak her hands in hot water before she could paint. Yet she was inspired by the late work of Henri Matisse, another artist who investigated color despite his infirmities. “Watusi (Hard Edge),” Thomas’s transitional painting from 1963, among her first in acrylic and the first to find her working in colorful abstract forms, pays direct homage to “The Snail (L’escargot),” Matisse’s cutout from just a decade before. Thomas pursued similarly distilled abstractions for the rest of her life.

A sculptor, costume designer, puppeteer and painter—in first a realistic and then abstract mode—Thomas ended up reflecting much of her earlier output in her distinctive breakout work starting with “Air View of a Spring Nursery” (1966). Through the show’s photographs of her Italianate townhouse and Washington neighborhood, we might see how the ashlar bricks of St. Luke’s, her local Episcopal church, reappear in the horizontal bands of this composition. Likewise her dress patterns can mirror the pieces and seams of “Orangery” (1973). The paving stones of her backyard garden path echo the sinuous forms of “Grassy Melodic Chant” (1976). The exhibition invites a search for such visual clues.

Alma Thomas, 'Air View of a Spring Nursery,' (1966) PHOTO: CHRYSLER MUSEUM OF ART

Alma Thomas, 'Air View of a Spring Nursery,' (1966) PHOTO: CHRYSLER MUSEUM OF ART

At times the presentation here focuses on the social at the expense of the aesthetic. An abundance of ephemera from the Thomas archive in Columbus leaves the show cluttered. A section meant to show the differences between Thomas and other Washington Color School painters, including Gene Davis, Sam Gilliam, Morris Louis and Kenneth Noland, better illustrates their affinities. To frame an opening room around a 1971 protest about racial exclusion at the Whitney, in which Thomas took no part, also distracts from the artist’s own achievements.

“I’ve never bothered painting the ugly things in life,” Thomas once observed. “No. I wanted something beautiful that you could sit down and look at. And then, the paintings change on you.” Her activism was pictorial rather than political. She identified as a painter of color chromatically more than racially. When asked if she considered herself a Black artist, she replied, “No, I do not. I am a painter. I am an American.” She read up on the theories of Bauhaus teacher Johannes Itten and energized her compositions through the use of complementary colors, such as between the red and blue of “Mars Dust” (1972).

Thomas appealed to the universal promise of modernism even in an age of protest. “Thomas ignored Black Consciousness all the while benefiting from it,” one critic, the retired Princeton historian Nell Irvin Painter, claims in an essay for the catalog. Yet “Everything Is Beautiful” cannot help but reveal the transcendence of Thomas’s paintings. Look closely and you can, in fact, see where it comes from. When the Phillips Collection acquired Paul Cézanne’s “The Garden at Les Lauves” in 1955—a seemingly unfinished landscape of colorful blocks included in this exhibition in a section called “The Field”—Thomas internalized the lessons of this work, with its minimum of forms building up into an all-over whole, just half a mile from her home. Cézanne “gave me the idea of using color to structure a painting,” she said. As with modernism itself, the story of Alma Thomas really starts with him.

Alma W. Thomas: Everything Is Beautiful

Chrysler Museum of Art
Through Oct. 3

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