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  • Format

    Hardcover

  • Pages

    240

  • TRIM SIZE

    9-1/2 x 11-1/2

  • ON SALE

    October 29, 2019

  • ISBN

    9781580935258

  • ILLUSTRATIONS/PHOTOGRAPHS

    300

About the Author

Colin Miller is a photographer based in Brooklyn, New York. His photography focuses on architecture and interior design throughout the world. His work has been published in a variety of magazines, books, and websites including Elle Décor, Architectural Digest Germany, The New York Times, Town and Country, and Bon Appétit, among many others. He studied photography at Tisch School of the Arts in New York City.
Ray Mock is a graffiti documentarian, street art critic, zine maven, and founder of the street art/editions publisher Carnage (carnagenyc.com). He is the author of Banksy in New York (2014), a firsthand account of the internationally renowned street artist's month-long residency in the city. His photography has been featured in numerous books (Graffiti 365, Wild Art, Banksy: You Are an Acceptable Level of Threat), and is a frequent contributor to Juxtapoz, Vice, Mass Appeal, The Creators Project, and others.

Chelsea Hotel

Colin Miller and Ray Mock

An immersive photographic tour of the legendary Chelsea Hotel, whose residents share their stories and reveal the delirious history of this landmark.

Jackson Pollock, Robert Mapplethorpe, Patti Smith, Dylan Thomas, Arthur Miller, Bob Dylan, Arthur C. Clarke, Andy Warhol, William S. Burroughs, Janis Joplin, Eugene O’Neill, Rufus Wainwright, Betsey Johnson, R. Crumb, Thomas Wolfe, Jasper Johns–these are just a few of the figures who at one time occupied one of the most alluring and storied residences ever: the Chelsea Hotel. Born during the Gilded Age and once the tallest building in New York, the 12-story landmark has long been a magnet for artists, writers, musicians, and cultural provocateurs of all stripes.
In this book, photographer Colin Miller and writer Ray Mock intimately portray the enduring bohemian spirit of the Chelsea Hotel through interviews with nearly two dozen current residents and richly detailed photographs of their unique spaces. As documented in Miller’s abundant photographs, these apartments project the quirky decorating sensibilities of urban aesthetes who largely work in film, theater, and the visual arts, resulting in deliriously ornamental spaces with a kitschy edge. Weathering the overall homogenization of New York and the rapid transformation of the hotel itself–amid recent ownership changeovers and tenant lawsuits, about seventy apartments remain occupied while the rest of the units are converted to rental units (and reverting others on a hotel-stay basis, which had ceased in 2011).
For the community of artists and intellectuals who remain, the uncertain status of the hotel is just another stage in a rollercoaster history. A fascinating portrait of a strand of resilient bohemian New York and their creative, deeply idiosyncratic homes, Chelsea Hotel is a rich visual and narrative document of a cultural destination as complicated as it is mythical.