
She Goes to Trader Joe's for the Art
Good morning. It's Monday. Today we'll look at the art shoppers can find when they go to a Trader Joe's in Manhattan.
Julie Averbach led the way into what she said was an art gallery.
It didn't look like one. There were no velvet ropes in front of the most valuable pieces, and no little labels on the wall saying who had created the art.
But this was not really an art gallery. It was a supermarket, the Trader Joe's at 2073 Broadway, near West 72nd Street, a place to experience 'the joy of finding beauty where we least expect it,' Averbach said. Above the refrigerated display cases and the fruit and vegetable bins. In the aisles. On the packages that sit on the shelves.
'When we typically go to a grocery store, we tend to look straight at the shelves, put the products in our carts, buy them and go home,' she said. 'I've come to look up, look down and go into a mode of art appreciation first and buying second. The store and the products themselves are art.' At Trader Joe's, she said, 'even a simple banana display becomes a 360-degree art installation' topped by King Kong, suspended from the ceiling.
She moved on to a mural scene above the avocados. It showed four figures dancing on the Lincoln Center steps, with the Metropolitan Opera House in the background: a package of Joe-Joe's chocolate-and-vanilla-cream sandwich cookies, a bottle of pink lemonade, a shaker of 'Everything but the Bagel' seasoning and a can of corn.
'The corn can is a recurring symbol through a lot of Trader Joe's artwork,' she said. It turned up in a narrow painting of the Statue of Liberty a few steps away. Lady Liberty is holding a can of corn 'as her torch of enlightenment,' Averbach said. In the other hand is a box of Joe's O's cereal. The actual statue holds a tablet inscribed with the date July 4, 1776, in Roman numerals.
Averbach is a Trader Joe's fan with an art historian's eye. She became so fascinated by what she saw in Trader Joe's locations that she wrote the book 'The Art of Trader Joe's: Discovering the Hidden Art Gems of America's Favorite Grocery Store' after devoting her thesis at Yale to Trader Joe's as a contemporary cabinet of curiosities. She did her research on her own, based mostly on 'what I could see in the stores as a regular shopper' who has visited more than 170 locations. She received no official help from the chain and put the word 'unauthorized' on the cover of the book to emphasize her independence. An email to Trader Joe's seeking comment went unanswered on Friday.
Looking for what had inspired the images in packaging like the label for the store's Caesar salad, she spent 'countless hours' eyeing Victorian ephemera and paging through 19th-century magazines. (It's not Julius Caesar on the salad's container; it's Augustus, Caesar's great-nephew and adopted son.)
And the image on the can of Trader Joe's French roast coffee? Averbach traced it to a 1913 book, 'The Spirit of Paris.'
Averbach said that Trader Joe's is unusual among supermarket chains: Each store has in-house artists who create handmade signs, she said, so no two Trader Joe's stores look alike. And as Averbach discovered, the artists do more than make signs.
In a Trader Joe's in Manchester, Conn., she found a chalk drawing of a figure that looked like the famous Mona Lisa by Leonardo da Vinci. But this one had a Trader Joe's employee name tag with 'Mona L.' written on it.
In other stores, Averbach found adaptations of Vincent van Gogh's 'Sunflowers,' Auguste Rodin's 'The Thinker,' Grant Wood's 'American Gothic' and Emanuel Leutze's 'Washington Crossing the Delaware.'
In a Trader Joe's in Chicago, she found a representation of the late-night diner in Edward Hopper's 'Nighthawks' with a Trader Joe's sign above the window. Hopper said the restaurant in his painting was inspired by one in Greenwich Avenue in Manhattan, but the Trader Joe's image paid tribute to the painting's longtime home, the Art Institute of Chicago.
Averbach talked about neighborhood references as she walked through the Trader Joe's on Broadway. That store is 'hands down the busiest Trader Joe's in the world,' the company said in 2021. Of the Trader Joe's locations in New York, it is her favorite aesthetically. But she also mentioned the store at 436 East 14th Street, where the illustrator Peter Arkle created more than 150 images called 'East Village Drawings.' They are keyed to a map in the store showing 'where you can find all the real things that inspired the drawings,' according to Arkle's website.
In the Broadway store, even the elevators doors are art, painted to show dinosaurs shopping, a nod to the nearby American Museum of Natural History. The artists have also made something of places that are off limits to shoppers, as Averbach realized after seeing the exhibition 'Cubism and the Trompe l'Oeil Tradition' at the Metropolitan Museum of Art a couple of years ago.
'They could have simply written 'staff only' on the door,' Averbach said. 'They instead used the door as a canvas for a trompe l'oeil painting,' with a green T-shirt on a coat hanger. 'Who does that? It's amazing.'
Expect a partly sunny sky, with the temperature reaching a high of 62. At night temperatures will drop to the low 40s.
In effect until Friday (Purim).
The latest metro news
Home for the holidays
Dear Diary:
Back home from Boston for the holidays, Dean and Dylan and I watched 'Anora' at the Angelika because we were the last ones still on winter break.
We walked uptown afterward, laughing about the movie and about the guy next to us who had laughed though the whole movie.
I was going to turn off at 23rd Street to go to the PATH station. Dylan and Dean were going to keep walking to 33rd Street to catch the Q train.
We walked a few blocks backpedaling as the cold wind blew hard at our faces.
'I'll see you guys again for spring break,' I said as I got ready to turn.
'I think I'll be on a spring break trip with some school friends,' Dylan said.
'All right,' I said. 'Well, some time else then. Love you bro, see ya.'
'No, bro,' Dean said. 'Keep walking to 33rd. There's a PATH station there, too.'
And so we kept walking uptown, the Empire State Building in the distance. At 33rd, we said our goodbyes, and I ran down the steps to the PATH station as I had all through high school.
I caught the last train home.
— Ryan Rizvi
Illustrated by Agnes Lee. Send submissions here and read more Metropolitan Diary here.
Glad we could get together here. See you tomorrow. — J.B.
P.S. Here's today's Mini Crossword and Spelling Bee. You can find all our puzzles here.
Hannah Fidelman and Ed Shanahan contributed to New York Today. You can reach the team at nytoday@nytimes.com.
Sign up here to get this newsletter in your inbox.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
a day ago
- Yahoo
'Extraordinary' sarcophagus discovered in Israel shows carving of Dionysus beating Hercules in a drinking contest
When you buy through links on our articles, Future and its syndication partners may earn a commission. A 1,700-year-old Roman sarcophagus depicting a legendary drinking contest has been discovered in Israel, the Israel Antiquities Authority (IAA) announced Monday (June 9). Archaeologists uncovered the artifact, which dates back to the second or third century A.D., near the ancient city of Caesarea along the country's northwest coast. The carved marble depicts a drinking contest between the demigod Hercules and Dionysus, the Greek god of wine and parties, who is equivalent to Bacchus in the Roman pantheon. Though similar scenes appear in mosaics from the same period, the find marks the first appearance of this particular story on a sarcophagus from the region. "This sarcophagus is an extraordinary work of art," Mark Avrahami, head of artistic conservation at the IAA, said in a translated video. "There are not many sarcophagi like this, even in the world." The 1,700-year-old sarcophagus was buried beneath a sand dune and fractured into pieces when archaeologists uncovered it as part of a series of excavations of the city. After the pieces were excavated, conservators cleaned and reassembled the parts to reveal the full scene. One unbroken side of the marble coffin shows Hercules depicted lying on a lion skin. "He's at the end of the contest holding a cup of wine in his hand, and of course he's in this position because in the contest Dionysus, the god of wine — whom no one can defeat — emerged victorious," Nohar Shahar, an archaeologist with the IAA, said in the video. Dionysus is shown as part of a joyful procession, surrounded by satyrs, female followers and Pan, the god of the wild. "In this case, it seems that the figures are not only celebrating — they are in fact accompanying the dead on his last journey, when drinking and dancing are transformed into a symbol of liberation and transition to life in the next world," Shahar said in a statement. "This sarcophagus offers an unusual perspective of the idea of death — not as an end, but as the beginning of a new path." Image 1 of 2 How the marble sarcophagus looked after its preservation. Image 2 of 2 Archaeologists found the sarcophagus in this excavation site outside the ancient walls of the city of Caesarea. RELATED STORIES —1,700-year-old Roman fort discovered in Germany was built to keep out barbarians —2,800-year-old structure unearthed in Israel was likely used for cultic practices and sacrifice, archaeologists say —2,200-year-old mysterious pyramid structure filled with coins and weapons found near Dead Sea Archaeologists found the sarcophagus outside the walls of Caesarea, an ancient city by the Mediterranean Sea, alongside other marble slabs with names inscribed on them. These discoveries suggest that Caesarea wasn't only confined to within its walls, and that the surrounding area was more densely populated and rich in artifacts than archaeologists previously thought, Shahar said in the video. "This is a thought-provoking discovery reflecting how life and faith were perceived in the Roman world," IAA director-general Eli Escusido said in the statement. The sarcophagus is undergoing thorough conservation before being made available for public viewing.


Los Angeles Times
a day ago
- Los Angeles Times
Brian Tyree Henry is going to start a fight over Wawa Hogies
'Dope Thief' star Brian Tyree Henry has strong opinions about Wawa hoagies and talks working with Ridley Scott during our Very Important Questions presented by Disney also told us about his favorite Trader Joe's treat and a tip for keeping it from making a mess. Watch The Envelope Roundtable with Henry, Elizabeth Banks, Renée Zellweger, Javier Bardem, Sacha Baron Cohen, Jenny Slate and Stephen Graham.


Chicago Tribune
2 days ago
- Chicago Tribune
At this museum, no one will shush you, and you can touch the objects
LONDON (AP) — A museum is like an iceberg. Most of it is out of sight. Most big collections have only a fraction of their items on display, with the rest locked away in storage. But not at the new V&A East Storehouse, where London's Victoria and Albert Museum has opened up its storerooms for visitors to view — and in many cases touch — the items within. The 170,000-square-foot building, bigger than 30 basketball courts, holds more than 250,000 objects, 350,000 books and 1,000 archives. Wandering its huge, three-story collections hall feels like a trip to IKEA, but with treasures at every turn. The V&A is Britain's national museum of design, performance and applied arts, and the storehouse holds aisle after aisle of open shelves lined with everything from ancient Egyptian shoes to Roman pottery, ancient Indian sculptures, Japanese armor, Modernist furniture, a Piaggio scooter and a brightly painted garbage can from the Glastonbury Festival. 'It's 5,000 years of creativity,' said Kate Parsons, the museum's director of collection care and access. It took more than a year, and 379 truckloads, to move the objects from the museum's former storage facility in west London to the new site. In the museum's biggest innovation, anyone can book a one-on-one appointment with any object, from a Vivienne Westwood mohair sweater to a tiny Japanese netsuke figurine. Most of the items can even be handled, with exceptions for hazardous materials, such as Victorian wallpaper that contains arsenic. The Order an Object service offers 'a behind-the-scenes, very personal, close interaction' with the collection, Parsons said as she showed off one of the most requested items so far: a 1954 pink silk taffeta Balenciaga evening gown. Nearby in one of the study rooms were a Bob Mackie-designed military tunic worn by Elton John on his 1981 world tour and two silk kimonos laid out ready for a visit. Parsons said there has been 'a phenomenal response' from the public since the building opened at the end of May. Visitors have ranged from people seeking inspiration for their weddings to art students and 'someone last week who was using equipment to measure the thread count of an 1850 dress.' She says strangers who have come to view different objects often strike up conversations. 'It's just wonderful,' Parsons said. 'You never quite know. … We have this entirely new concept and of course we hope and we believe and we do audience research and we think that people are going to come. But until they actually did, and came through the doors, we didn't know.' The V&A's flagship museum in London's affluent South Kensington district, founded in the 1850s, is one of Britain's biggest tourist attractions. The Storehouse is across town in the Olympic Park, a post-industrial swath of east London that hosted the 2012 summer games. As part of post-Olympic regeneration, the area is now home to a new cultural quarter that includes arts and fashion colleges, a dance theater and another V&A branch, due to open next year. The Storehouse has hired dozens of young people recruited from the surrounding area, which includes some of London's most deprived districts. Designed by Diller, Scofidio and Renfro, the firm behind New York's High Line park, the building has space to show off objects too big to have been displayed very often before, including a 17th-century Mughal colonnade from India, a 1930s modernist office designed by Frank Lloyd Wright and a Pablo Picasso-designed stage curtain for a 1924 ballet, some more than 30 feet high. Also on a monumental scale are large chunks of vanished buildings, including a gilded 15th-century ceiling from the Torrijos Palace in Spain and a slab of the concrete façade of Robin Hood Gardens, a demolished London housing estate. Not a hushed temple of art, this is a working facility. Conversation is encouraged and forklifts beep in the background. Workers are finishing the David Bowie Center, a home for the late London-born musician's archive of costumes, musical instruments, letters, lyrics and photos that is due to open at the Storehouse in September. One aim of the Storehouse is to expose the museum's inner workings, through displays delving into all aspects of the conservators' job – from the eternal battle against insects to the numbering system for museum contents — and a viewing gallery to watch staff at work. The increased openness comes as museums in the U.K. are under increasing scrutiny over the origins of their collections. They face pressure to return objects acquired in sometimes contested circumstances during the days of the British Empire Senior curator Georgia Haseldine said the V&A is adopting a policy of transparency, 'so that we can talk very openly about where things have come from, how they ended up in the V&A's collection, and also make sure that researchers, as well as local people and people visiting from all around the world, have free and equitable access to these objects. 'On average, museums have one to five percent of their collections on show,' she said. 'What we're doing here is saying, 'No, this whole collection belongs to all of us. This is a national collection and you should have access to it.' That is our fundamental principle.'