Meet the Mets
When I read “Los Mets,” by Chris Smith [March 7], I thought, Finally, an article about the Mets that’s positive. But what do you do? You feature a sidebar about the Yankees! This sounds like another case of a non–New Yorker writing about New York traditions, clueless as to what it is to be an authentic New Yorker. Obviously you have no sensitivity to how Mets fans feel about the Yankees.
—William Belida, Manhattan
In “Lizzie Grubman’s Star Vehicle” [March 7], Adam Sternbergh nails it when he says that for Grubman, the goal of Power Girls is to help people forget how she got so famous in the first place: backing her car into a crowd of people. But the article fails to point out how distorted is the portrait of the public-relations profession in Power Girls. Younger people watching the show will be left with the false impression that PR is an endless party, and that getting ink in “Page Six” is the ultimate prize. Get real.
—Matthew Schwartz, Manhattan
I recently read Ken Tucker’s review of the documentary Gunner Palace [“Movies: Hit Job,” March 7]. I know the soldiers who served in the 2/3 Field Artillery; my brother was a captain. If this movie is pro-anything, it’s pro-soldier. This war is slowly slipping into second-page news, behind Michael Jackson, Martha Stewart, and Social Security. If anything, this movie puts names and faces to the anonymous casualty figures you hear on the news. And that’s important.
—Patrick Powers, Buffalo, N.Y.
Many of those “kids” whom Ken Tucker writes about in his review of Gunner Palace are like me. They wanted to serve their country, and so they enlisted; nobody, nothing forced them into service. It’s that simple.
—Darren Court, Las Cruces, N.M.
I’d Rawther Not
Last summer, I dined at the Oak Room and felt like a poor man’s Ivana Trump [“Intelligencer: When Eloise Met Norma Rae,” by Greg Sargent, March 14–21]. The history and romance of the Plaza is the stuff dreams are made of. Condos? No!
—Charlotte Wilson, Philadelphia, Pa.
In his profile of Oscar de la Renta [“Dynasty,” February 14], David Amsden writes about “wrinkled seamstresses hunch[ing] over draft tables stitching the clothes.” We feel that, while picturesque, this unfair characterization of our colleagues minimizes their importance. This company’s greatest strength is its people.
—Alexander L. Bolen, Manhattan
CEO, Oscar de la Renta
They’re gone; having flimflammed New York, the Christos will apparently move on to attack a river in Colorado [“The Passion of the Christos,” by Adam Sternbergh, January 24–31]. Good luck to them. It was certainly an amusing show. However, the only “art” this affliction on our park can be compared to is one of Marcel Duchamp’s surreal jokes. It was a small idea blown way out of proportion, a crude extravaganza.
—Stuart Silver, Scarsdale, N.Y.
In christopher mason’s “She Can’t Be Bought” [March 7], there is a small but hurtful misrepresentation when he writes that I am represented by the Gagosian Gallery. I am represented by the Mary Boone Gallery, and have been since joining her gallery in 1982. Your article implies that I had left her gallery when the art market collapsed in the nineties. Nothing could be further from the truth. She has stood by my work and by me as an artist through the best and the worst of times. What more could an artist ask from a dealer?
—Eric Fischl, Manhattan
In “She Can’t Be Bought,” previously reported prices for an Eric Fischl work conflated sales figures for two separate paintings. According to gallery records, the first time Fischl’s dealer, Mary Boone, sold a work by Fischl for $1 million was in 2002, and no Fischl work sold by Boone has been resold for less.