1 of 10

The Fishbowl

Co-owners Charlie Corwin and Ami James tapped architects Maria Berman and Brad Horn to create a space where customers could co-exist with—and observe—the taping of NY Ink. Berman and Horn designed a glass garage-door-like partition that can be unfurled midway into the main space to block unwanted noise from the cameras while production is under way. Producer Charlie Corwin has dubbed the production space, pictured here, “The Fishbowl.”

Photo: Danny Kim

Analog Goes Digital

Set designer Steve Harivel sourced this workstation from steampunk designer Bruce Rosenbaum of Maine. While the Mac computer, speakers, and rewired typewriter keyboard work like new, Rosenbaum began with a forties machinist’s work table and then engineered the piece with salvaged factory parts. “It probably took a year to put it together,” says Harivel. “When I have a client who has the cash, I call him, and he’ll transform anything. It’s kind of a little piece of art. He’s a high-end machinist with art skills and a good eye.”

Photo: Danny Kim

Magic Keys

A close-up of the reincarnated typewriter keyboard.

Photo: Danny Kim

Central Stations

“It’s the first time I’ve ever had to build a permanent set,” Harivel says. Outfitted with mid-century barbers’ chairs, this section of the space will welcome walk-ins, even while production is under way nearby. “It’s easy to find forties and fifties barber chairs,” continues Harivel. “But what’s nice is to find a mismatch of colors like we have here.” Here, Corwin (far left) with some of NY Ink’s cast and crew.

Photo: Danny Kim

Radical Transparency

Curious passersby peer into the Fish Bowl during filming. The motorcycle is James’s own custom-made ride, which Harivel urged him to bring into the space as a decorative piece.

Photo: Danny Kim

Boxing Room

The padded room where cast members duke out disagreements.

Photo: Danny Kim

Personalities of a Wall

Corwin and James hired a curator to oversee a rotating slate of exhibits in the gallery.

Photo: Danny Kim

Floor Art

The designers and owners share a favorite detail: The patterned floor tiles from the thirties, sourced from Belgium. “We had the tiles before we actually had the space,” says Harivel. “In my opinion, if you have a really strong floor, everything else will look good.”

Photo: Danny Kim

Taking Five

Cast and crew members on a break between shooting sessions.

Photo: Danny Kim

Giant Ambition

A work by Shepard Fairey presides over tattooists as they perfect their designs atop an illuninated light box.

Photo: Danny Kim

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Danny Kim

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Danny Kim

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Danny Kim

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Danny Kim

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Danny Kim

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Danny Kim

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Danny Kim

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Danny Kim

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Danny Kim

Slide Header

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Danny Kim
Advertising