I love this place. It’s almost always empty. I can think here, and look at the New York City skyline which is amazing and exciting and always inspiring and reminds me of how lucky I am to live here.
Address
My Rooftop, Franklin Avenue & Lexington Avenue, New York, United States
Current city: New York
Aaron Graubart is an award winning still life and food photographer based in New York City. Born and raised in London, Aaron studied painting at the Sir John Cass School of Art and later photography at the London College of Communication. He has been creating beautiful, graphic, powerful images for advertising and editorial clients for more than a decade. A passion for the history and language of painting often informs and influences his work, however a love for all things contemporary, graphic, powerful and photographic keeps his work firmly rooted in the present. Aaron lives in Brooklyn with his 14 guitars, two blue bicycles and his beloved 1972 Triumph Bonneville.
 

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Try it out rooftop-cycling and find magical cactuses on the road!
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Daytime café, nighttime bar. Nothing stronger than 30-proof. Delicious beer and really good wine. Kind people run & staff the place. The garden in the Summer is perfect. I make near-daily visits.
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Otherwild carries a little bit of everything: small-batch beauty products, artist-made ceramics, witchy necessities like incense and sage, punchy graphic tees, and everyone’s favorite feminist activity book: The Cunt Coloring Book. The LES shop is a great place to find unique gifts, but it also bills itself as a community gathering place.
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Its quite a trip out there but so very worth it if you wanna have the very special beach-experience! You can go there by car and then take the ferry either to Pines or Cherry Grove (I would prefer Pines!) or you do all by public transportation - there a "getaway tickes" for 36Dollars and the transfer works really smooth - may even be faster than by car!
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In 1963, the Italian-born sculptor Costantino Nivola filled a playground that covers an entire city block with avant-garde abstractions. In the middle of an Upper Manhattan housing project, there are cuboid cutouts sculpted in cement, a fountain made with two diamond-shaped boulders, concrete play horses, and a sand-casted relief carved high into a wall. In the northeast corner, a matriarchal figure known as “The Nanny” rises from the ground. The artist’s sculptures were built in an era when urban development incorporated art in its effort to uplift communities and express democratic ideals. “A work designed for a public space is less a work of art than a civic act,” Nivola once said. “It concerns the ways in which we live together, and in which we influence each other.”
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