Shawna Ankenbrandt

Lela in Supai

Antibes Lighthouse, 1956

Guy Le Querrec, Magnum

That's the key question

Maurizio Cattelan, 2010

Nancy forever

Maad Design

The best way to test any cuisine is to eat it in the company of a fastidious sixteen-year-old girl on a perpetual diet.

Le Veau d’Or was, and remains, Manhattan French. Reviews written thirty-five years ago (it opened in 1937 and has changed hands only a few times since) confirm its unwavering nature: those same banquettes, the same Paris street signs, and a bar up front where a few people murmur and drink vermouth. Men in sweaters and women in longish skirts make up the clientele these days, and, if they seem not exactly meatpacking-district chic, they still lean into each other happily on a cold night, obviously in the presence of a treat.

The menu is mostly unchanged, too—but does this make it timeless or merely dated? The best way to test any cuisine is to eat it in the company of a fastidious sixteen-year-old girl on a perpetual diet. There will be no polite mmms—each mouthful means too much to fake it. With one such teen-ager in hand, we test first the classic starters, asparagus with vinaigrette and a simple green salad. The vinaigrette, distinctly mustardy yet custardy, too, is good enough to induce a sigh in memory of Paris brasseries. You order duck breast with cherry sauce—because who sees that anymore?—and it is delicious, a sliced grilled breast, with the cherry sauce just a little sour. (Are cherries remotely in season? That is a question for another kind of place, and another time closer to this one.) The chicken en cocotte is tasty: if its sauce is a little dull, the unpretentious gratin of potatoes alongside is just what it ought to be, cheesy-sharp but creamy-rich.

You order dessert in threes, and here the sixteen-year-old cannot deny herself: the îles flottantes with crunchy burnt caramel, meringue with coffee ice cream, and a hot apple tart. (“Super good,” she says, between mouthfuls.) Add a half bottle of Beaujolais for the adults, and if that and an espresso and Calvados cannot make you happy, nothing will. You leave and hope that the place continues as is, justifying the ways of a Manhattan fantasy of France to future generations of sad and hungry shoppers.

Adam Gopnik pour The New Yorker, décembre 2015 (Photograph by Lauren Lancaster)

Biennale et noyaux de cerises

Sonia Kacem, Le Flâneur

Galleria T293, Napoli, 2015, photo Maurizio Esposito

Last Supper

Andy Warhol, Skateboard Triptych.

Félixitations

Mark Leckey, Madre Museum, Napoli, 2015.

Ernie Bushmiller

Une page de pudicité

Presse iranienne

... le reste je m'en fous

Hans-Peter Feldmann

Miroslav Tichý

Eric Rohmer

Irina Ionesco

4x4

Thomas Bernhard

Le bonheur sans selfie

Harvey Stein, The Hug Closed Eyesand Smile, 1982

Un léger penchant pour le Reclining chair des Day.

The 'Reclining chair' was originally designed by Robin and Lucienne Day in 1952.

The chair is now in production with London design store Twentytwentyone.

Shadu Ghadirian

Qajar, 1998

HM

The New yorker

Pozzuoli, 2015 © crea etc.

L'Eclisse, Antonioni.

Joan Brossa

La sour de la cadira (poema objeto,1994, Museo Reina Sofia

Claude Lévêque

Joseph Hoflehner

Jet Airliner, 2012. (Saint-Martin)

Est-ce que...

Guerillas Girls

Red!

Volker Giencke architec, 2015

Amber Concert Hall in Liepaja is set to become a symbol for the Latvian city.

Squares & dots

Paris Photo, 2015

Didier Faustino s'éclate

The stage, Londres, 2015

Richard Wentworth, Indianapolis Museum of Art

False Ceiling, 2015

1964

Bruce Davidson, Los Angeles, 1964.

Le Sexe

David Poullard & Guillaume Rannou  / Éditions Le Monte-en-l’air, 2015

Derrida

Derrida z serii Grafiki teoretyczne, 1995.

AW

Women are different from men

Brigitte Zieger, Galerie Odile Ouizeman, Paris

L'été, les heures immobiles

Je veux la même

Vespa 400, Piaggio, 1957.

Titien vs Rubens : le jeu des 7 erreurs

Hans Peter Feldmann, renversant.

Volvo

510

Créée en 1947 par Gaston Cavaillon et fabriquée par la société Mullca jusqu’en 1996, la 510 est un prodige technologique pour l'époque : tube d’acier, soudures par brasage, assise formée. Robuste et empilable, elle connut un franc succès, particulièrement dans les écoles.

Miss KO m'a mis KO

Le luxe, c'est le vide