
John Tauranac, designer of the iconic New York City subway map, has a new and improved map that he is selling at retail outlets, including the Wish House in West Cornwall. Photo by Cynthia Hochswender
Mapmaker John Tauranac (a part-time resident of Cornwall, Conn.) has taken the iconic New York City subway map (which he designed) and made it, if possible, even a little better.
This new version, published in August, is published by Tauranac Maps and can be purchased locally at The Wish House in West Cornwall, Conn. (www.wishhouse.com) for $5.95.
When Tauranac, a Cornwall, Conn., resident and a fairly low key gent, was asked if it lives up to its billing as “ultimate subway map,” he modestly confessed, “I am so vain as to believe that it is.”
The very first New York subway map was produced in 1904 as an advertising postcard issued by Wanamaker’s Department Store in Manhattan, which could be accessed by a subway station stop on its lower level.
Many map iterations followed, but it was the 1979 version that introduced the concept of color coding the subway lines.
Tauranac was already achieving acclaim for his 1972 and 1973 “undercover maps” of Midtown and Lower Manhattan, tracing the underground walking passages that thread through and under the city’s buildings.
He was employed by the MTA (Metropolitan Transit Authority) and in 1974 was working on creating an official travel guide and introducing a geographically accurate subway map.
By 1978, he was the chairman of the MTA subway map committee but had been unsuccessful in gaining approval for his ideas for the color-coding system.
That same year, though, bolstered by the support of socialite and powerhouse Phyllis Cerf Wagner, Tauranac’s concept of the quasi-geographic, color-coded system was approved by the MTA president.
The 1979 MTA map has provided the bones for all subsequent maps, Tauranac said. But with each new edition, the map has incorporated changes that render it more confusing.
Tauranac’s new MTA pocket map pack is self-published and conveys even more information in a clearer, color-coded and keyed presentation. For example,there is now a separate map on the reverse side with information about late-night service.
For any riders who have ever discovered that they were traveling north on a line when they meant to go south, Tauranac has added a no u-turn symbol to indicate stations where riders cannot cross the tracks without paying to go the other way. If you don’t see the symbol, you can use that station to correct your directional error.
The new map also answers the question of where the subway station is in relation to a station stop, particularly helpful when avenues are positioned diagonally to the normal street grid. To promote clarity, Tauranac explains that exercising geographic license makes the map “quasi-geographic.”
With the aid of a key guide printed at the top of the map, riders can tell a lot about a station by the color, its intensity and the geometric shape representing the subway line.
Access for handicapped riders is noted with a visual cue — although Tauranac notes that ease-of-access information is also helpful for riders with luggage or baby strollers.
For the first time, there is an index of stations within the subway system, with bus connections noted for each station, for example.
As for where the lifelong interest in the details of New York City transit and architecture began, Tauranac credits his childhood years when his father, who was the manager of a major hotel, took him on regular city walks in the 1960s.
Tauranac’s mother had died when he was very young, so these walks with his father were especially important. His father would often pause to point out who lived where along Fifth Avenue, for example.
“It sort of stuck,” Tauranac said.
To put together a more substantial gift of New York City lore, there are additional Tauranac works that offer a deep look into the city and what lies beneath its surface, including a poster version of the new map.
Although all authors love all their books, as parents love their children, Tauranac was especially pleased with a review of one of his books, from the New York Times. About “Manhattan Block By Block: A Street Atlas,” the paper said, it “offers just about all the critical information a site-seeker might need — and then some.’”
Sometimes more is more.
To find out about John Tauranac’s books and insights into New York City, go to his website at www.johntauranac.com.
Dancers from Pilobolus will perform at the NWCT Arts Council spring fundraiser on April 26 in Washington Depot, Conn.
On Saturday, April 26, the Northwest Connecticut Arts Council will host a special evening, Arts Connected, their spring fundraiser celebrating the power of creativity and community. Held at the Bryan Memorial Town Hall in Washington Depot from 5 to 8 p.m., this event brings together artists, performers, and neighbors for a magical night filled with inspiration, connection and joy.
Award-winning designer and arts advocate Diane von Furstenberg and her granddaughter Antonia Steinberg are honorary co-chairs of the event. Their shared love of the arts informs the spirit of the evening.
Antonia Steinberg, above, President of Bucks Rock Camp in New Milford that she first attended as a camper when she was ten years old. Antonia is co-chair, with her grandmother Diane Von Furstenberg of the NWCT Arts Council fundraiser.Provided
“As someone whose life was profoundly shaped by the arts — as a child at Buck’s Rock and now as President of its Board — I’ve seen firsthand the transformative power of the arts; how creative spaces can empower young people, build community, and nurture well-rounded problem solvers. That’s why I’m so honored to co-host the Northwest CT Arts Council Gala. Their work in supporting artists and cultural organizations across Connecticut is essential,” said Steinberg.
Von Furstenberg’s influence in fashion and culture, and Steinberg’s leadership at Buck’s Rock reflect the intergenerational impact of the arts,” said NWCT Arts Council board president Sunday Fisher. “Their participation underscores the power of creative expression as a defining force in our community.” Steinberg is the president of Buck’s Rock Camp, a non-profit performing and creative arts camp in New Milford that she first attended as a 10-year-old camper.
Diane Von Furstenberg, co-chair of NWCT Arts Council fundraiser.Provided
Steph Burr, executive director at NWCT Arts Council, added, “Events like Arts Connected are at the heart of what we do — bringing people together, lifting up artists, and reminding us of the essential role creativity plays in our lives. The Council works year-round to ensure the arts not only survive but thrive across our region.”
NWCT Arts Council is a nonprofit that serves as advocates for the arts. Through regranting efforts, public art support, legislative advocacy, and their regional events calendar, they work to ensure the arts are accessible and celebrated in every corner of their 25-town service area.
Burr continued, “The arts in Northwest Connecticut are vibrant, evolving, and deeply rooted in community. There’s a quiet but powerful creative pulse running through these hills — one that reflects the resilience, diversity, and passion of the people who call this region home. Over the past few years, artists and cultural organizations have navigated challenges with heart and determination, despite ongoing funding volatility. Through our advocacy and collaborative programming, we ensure the arts remain essential and accessible in our community.”
Highlights of the April 26 fundraiser include performances by Pilobolus, Sherman Chamber Ensemble, Ysanne Marshall & the Lotus Blues, hand pan musician Jeremy Driscoll, and a curated art exhibition, NW25 Gallery, featuring local artists. Sponsors Litchfield Distillery, Kent Falls Brewing Company, and Executive Cuisine catering will provide the food and drink.
Ticket prices are $125, open to guests 21 and older, available online at givebutter.com/artsconnected.For more information or to ask about sponsorship opportunities, email Katherine Pelletier at katherine@artsnwct.org or visit givebutter.com/artsconnectedsponsorship.
Arts Connected is made possible thanks to the generous support of sponsors; Antonia Steinberg is sponsoring all the artists for the event and Valiant Energy and Torrington Savings Bank are presenting the event.Additional sponsors include William Raveis Lifestyle Realty, Litchfield Magazine, Housatonic Heritage, Art Bank 7, Harney & Sons Teas, Aquarion Water, The Lost Fox Inn, George Home, NKYV Rituals, and Litchfield Distillery.
Lily Al-Nemri, founder and owner, and artistic director and painter Rudy Vavra at Tyte medispa and gallery in Millbrook.
The painter Rudy Vavra once created floor collages in Texas. You could, in theory, lie on them. Now, years later and much farther north, his work graces the walls of a medispa in Millbrook, New York where he also serves as the artistic director. You can still lie down, just not on the art. Instead, you might be undergoing an EmFace non-surgical facelift while surrounded by twenty-two of Vavra’s paintings.
The space, Tyte Medispa in Millbrook, is equal parts gallery and treatment center, the brainchild of Lily Al-Nemri, a medical aesthetician and now gallery owner. She also owns the nail salon, Bryte, down the street on Franklin Avenue. A few years ago, feeling she was outgrowing that space, she looked to expand and, just a few blocks away, found this rather sprawling maze of rooms with the gallery that now inhabits the grand central ballroom. “This used to be a gym,” she said. “It was way more than I was looking for, but I went for it.”
Vavra, a self-professed “painter’s painter,” has spent decades layering pigment in his barn-turned-studio in Milan, New York. “I find paintings as much as I make them,” he mused. “Some happen quickly, others are slow.” Of this latest collection, he said, “Some people call them busy. I think they’re slow.” His marks accumulate with a kind of devotional persistence, like petals left at a shrine. “A while ago, I saw a photographic image of a shrine,” Vavra said. “I don’t know if it was a Buddhist shrine or what, but there were colors on the ground all around it, and I realized they were the stains of flowers left in the worship. That’s very similar to the way I paint.”
The collection of paintings on view at Tyte — some as large as a shrine — are meditations on color, inviting the viewer to slow down. Or speed up. Whether viewers are activated or soothed by the images is neither Vavra’s intention nor within his control. Still, he said that watching people interact with the work has been a real treat. “Now that I have my paintings here, I get to see them all together,” he said. “It’s only when they’re all together that I see how they talk to each other. It’s interesting to see people come in and go to have a treatment and come out. It’s a very interesting connection.”
And what is the connection? What could be a disjointed pairing — aesthetics and aesthetic medicine — has become, improbably, a perfectly logical continuum. “They’re related in a sense,” Vavra said.
Aly Morrissey
Al-Nemri, a former radiologist who taught for over a decade at Westchester Community College, is no stranger to layering, precision, or the quiet rigor of care. Her incredible menu of services — Botox, body contouring, pelvic floor therapies — are the cutting edge of the industry. Of Vavra, Al-Nemri said, “I fell in love with his work, and we just hit it off.” It’s a kind of kismet that seems to hover over the place. Pilates mat classes take place twice a week in the main gallery space and both Al-Nemri and Vavra have loved watching clients pause, eyes caught by a stripe of cerulean or a vibrating cluster of brushstrokes. “Something will catch their eye,” said Vavra. “They’re looking for something in it.”
So, this gallery-meets-spa (or is it the other way around?) has plans. Vavra will be curating six shows a year. Laurie Adams’s photographs will be hung in June, a group show of local artists will share the space in July and August, and a Fall show will feature twenty women artists, which Vavra is eager to anchor with a piece by Judy Pfaff. “There’s nothing like this on this side of the county,” he said of the light drenched space. “It’s been a bit sleepier here. We want to wake it up.”
He means it kindly; sleep certainly has its place. But here in Millbrook, amid the low drone of machines designed to rejuvenate, something unexpected has emerged. Perhaps that’s what both Al-Nemri and Vavra are really after — not the quick fix or the final image, but the suspended moment, the long look. A face seen anew. A painting revealed slowly, in silence.
As for Vavra’s curatorial process? “I just unpack the paintings, lean them against the wall, and look,” he said. “Eighty percent of the time, they’re already where they’re supposed to be.”