“Steel is King of all building materials. Plywood is the Queen,” says the narrator. A short film by the artist and provocateur Tom Sachs, A Love Letter to Plywood instantly captivates the viewer with its deadpan delivery and whimsical enchantment à la Wes Anderson. Directed by Van Neistat, the film implores you to learn about the virtues of this “studio matriarch” via a step-by-step construction process in Sachs’s Brooklyn-based studio. Albeit a little quirky, the film illustrates Sachs’s creative muse: Ostensibly ordinary objects (cue plywood) mixed in with abstract cultural phenomena. Watch it and you are guaranteed to want to sand something afterwards.
Manhattan blamed it on the media campaign drummed up by a newspaper known as The New York Times, which Brooklyn had met at a party in, of course, Brooklyn. (Manhattan had not been invited, and so stayed home listening mournfully to Coldplay and thinking of the good old days, when everyone talked about Manhattan, not Brooklyn, when the parties were in Manhattan, not Brooklyn.) After that party, during which Manhattan suspected that something illicit had occurred between the paper and her sister (Brooklyn had notoriously bad taste in men, and was, how shall we say, a bit free with her charms), The New York Times would not shut up about Brooklyn. Of course, Brooklyn had been talked about before; she was quite the social butterfly and knew all sorts of people in high places, but suddenly, Manhattan began to see her sister’s Toms shoe footprints everywhere, in articles about everything from Paris to Nashville to something else entirely unrelated to Brooklyn or even cities in general. Whether it was true or not! Where were the journalistic ethics? Frankly, the phrase Brooklyn-style made Manhattan want to puke. Manhattan tried to be a little more like Brooklyn despite herself. The move was widely criticized. She opened an artisanal water business, thinking it would help matters. Cruel people just laughed.
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