Welcome to the T List, a newsletter from the editors of T Magazine. Each week, we’re sharing things we’re eating, wearing, listening to or coveting now. Sign up here to find us in your inbox every Wednesday. You can always reach us at tlist@nytimes.com. |
Chef Missy Robbins’s Pasta and Provisions |
 | | Clockwise from left: Fresh produce from local farms that have served Missy Robbins’s restaurants; a variety of fresh Misi pasta (clockwise from top left): mezze rigatoni, fettuccini, malloreddus, pappardelle, linguine and spaghetti alla chitarra; semolina-and-pecorino-crusted chicken from MP Specialties.Clockwise from left: Evan Sung; Rachael Lombardy (2) |
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The Williamsburg, Brooklyn-based chef Missy Robbins had long planned to use her restaurant Misi’s pasta-making room to create rotating sets of fresh noodles and sauces — linguine with pine nut pesto one week, mezze rigatoni with spicy pomodoro the next — for those who want to make her beloved dishes at home. Now that it’s officially launched, this side business has become a lifeline, both to housebound cooks weary of their regular recipes and to Robbins and her partners, who’ve yet to reopen Misi. In fact, they’ve expanded beyond their original plan, offering paper bags full of seasonal “from the garden” groceries or pantry staples, with the same Italian anchovies, fennel pollen and balsamic vinegar that the chef uses at her recently revived sister restaurant, Lilia. They’ve also added a new category of to-go items, MP Specialties, which grows by the week, with offerings such as jars of marinated grilled artichokes, sticky slow-roasted tomatoes in olive oil and, lately, semolina-and-pecorino-crusted chicken cutlets meant for sautéing in olive oil. As of August, these products and dishes are just for locals (though national delivery remains a dream), with many people, like me, undoubtedly checking the website each week as if it were a culinary version of Supreme, waiting for the next surprise drop. mpnewyork.nyc. |
Gregory Halpern’s Photographs of Guadeloupe |
 | | Two of Gregory Halpern’s “Untitled” (2019) photographs from his book “Let the Sun Beheaded Be" (2020).© Gregory Halpern |
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When the American photographer Gregory Halpern was awarded the Immersion — a French-American photography commission created by the Fondation d’entreprise Hermès — he chose to travel to the former French colony of Guadeloupe, hoping to find an indirect way of looking at France (a condition of the commission for any American photographer selected). He visited the Caribbean archipelago three times over the course of three months, producing a series of magnificent photographs that became the Aperture monograph “Let the Sun Beheaded Be” (the title is borrowed from the Martinican poet Aimé Césaire). A selection of these images will be displayed both at the Fondation Henri Cartier-Bresson in Paris this September and later this year at SFMOMA. Halpern’s use of light and color, of negative space and raw gestures create an unflinching and layered portrait of a place whose history is unavoidably present: A couple embrace on a sandy beach, conch shells surround a grave like flowers, the heads of goats burn on pyre-like wooden crates. “I’m sort of a sponge when I have the camera,” Halpern tells the photographer and writer Stanley Wolukau-Wanambwa in a thoughtful interview included in the monograph, “accepting just about any invitation, picking up hitchhikers, following stray cats down alleys.” His photographs induce us to wander in our imagination, but also to be aware of an island beyond its obvious associations to tourism. $45, aperture.org. |
One-of-a-Kind Pillows to Support Beirut |
 | | Left: Bokja’s Oxpecker & R and Eye Spy pillows in light pink velvet. Right: Bokja’s We Are Family pillow in neutral linen.Courtesy of Bokja |
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By Gisela Williams T Contributing Editor |
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Last year, Lebanon’s October Revolution began just as Maria Hibri and Huba Baroudi, the founders of Bokja — a Beirut-based design studio that produces unique pillows and furniture made from fabric embroidered by local artisans — began designing their most recent collection. Hibri and Baroudi would go to a protest, and then run back to their atelier to finish their designs. Inspired by the atmosphere of collective purpose, the duo decided to build the collection around the theme of Solastalgia, a neologism put forth in 2005 by the philosopher Glenn Albrecht to reflect the emotional distress people feel as a result of environmental change. One pillow is embroidered with a bird riding across a river on the head of an alligator, another is covered with the branches of Lebanese pine and cypress trees. A dozen pieces from the collection became available this month at Manhattan’s ABC Carpet & Home, just days before more urgent demonstrations, sparked by the deadly explosion in the city’s port on Aug. 4, led to the resignation of the current regime. Now, these pillows offer more than just physical comfort: A portion of the proceeds will be donated to various Lebanese NGOs feeding the nearly 300,000 Beirut citizens who are now homeless because of the blast. From $250-$450, bokja.com. |
Los Angeles Dance Project Goes Digital |
 | | Left: A screenshot of the L.A.D.P. Digital app. Right: Anthony Lee Bryant, a dancer with L.A. Dance Project.Benjamin Millepied |
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By Flo Wales Bonner T Contributor |
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“A large part of the dance world is for a very small audience who can both afford it and are invited,” explained Benjamin Millepied. “I want to emphasize that, invited.” Challenging ballet’s exclusivity is something that has long been on the celebrated choreographer’s agenda. In 2012, he founded the nonprofit collective Los Angeles Dance Project, which aimed to make the art of dance — and the discipline’s wellness benefits — accessible to the wider Los Angeles community and beyond. When L.A.D.P. had to contend with the canceling of live performances on account of the pandemic, Millepied was forced to think once more about accessibility. He has now taken the activities of the project’s diverse company of 12 full-time dancers to a broader audience still with the launch of a new app and online platform called L.A.D.P. Digital. The platform is updated daily with new expert-led dance classes, premieres of new works and talks with leading talents from Misty Copeland to Tamara Rojo; it’s both a welcome addition to our days and nights self-isolating at home and a window — flung wide open — into a very vibrant world. $9.99 per month or $69.99 annually, now.ladanceproject.org. |
The Art of the Crushable Hat |
Like many a would-be traveler, I had to put my plans to holiday in another country this summer on hold. Instead, long weekend walks to the park have been my main escapes, and I’ve even started to dress for them in beachwear to get into the spirit of vacationing. My favorite purchase has been a crushable summer hat from Shop Boswell. It’s made of straw and fits perfectly into my tote, somehow without losing its shape. I’m already looking forward to confidently putting it in my suitcase next year. If you prefer the silhouette of a bucket hat, check out the Brooklyn-based milliner Clyde and the L.A.-based designer Janessa Leoné, who makes packable hats in seagrass and raffia. For lightweight linen toppers also made to be worn or stowed, Hat Attack offers options with an oversize brim, as does the recently launched Spanish brand Maar. We may be limited when it comes to summer travel, but we can still practice sun protection. |
The Artists: Erica Deeman |
 | | Erica Deeman’s “Jonathan” (2016).Courtesy of the artist and Anthony Meier Fine Arts |
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In each installment of T’s series The Artists, we highlight a recent or little-shown work by a Black artist. Above is “Jonathan” (2016) by Erica Deeman (@erica_deeman), who focuses on portrait photography, exploring questions of race and identity. “Jonathan — a friend of my roommate at the time — was visiting the United States from London,” says Deeman. “I’d been working on my ‘Brown’ portraiture series for a while, which focuses on men from the African diaspora and is centered on what it means to see and be seen as a Black man in the United States and beyond. I asked if he would consider sitting for me, and thankfully he agreed. I set up the background and lights in my living room, and we began the collaboration. For me, coming to the U.S. has had a profound impact on my sense of self and belonging. The topics of race, gender and representation drove our conversation — sharing the familiarity of our homeland experiences, moments of joy, frustration and reflection. I wondered how he felt in the limited time he had spent here. This image was made in a moment of pause and deep thought.” See more from the series and follow us on Instagram. |
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