The youth movement, the civil-rights movement, the sexual revolution — it all occurred while I was at my best. In his early reading, Riggio had focused primarily on Classic Comics, he says. But he never took to sitting in class. I am already there! At his new store, Riggio let student radicals print antiwar materials on the Gestetner duplicating machine in the basement. His own life began to move faster. He married, had two daughters, and was divorced within six years.
The store was drawing students from as far away as Columbia, in Morningside Heights, and St. By , he had managed to parlay its success into contracts to manage about a half-dozen other campus bookstores. His father and two brothers all worked in the store. Riggio soon demonstrated a knack for throwing his weight around the industry.
Publishers had previously sold textbooks to college stores at a 20 percent discount off the cover price.
When Riggio controlled enough college stores to give him leverage, he led a store-owners campaign to push the discounts to 25 percent. He bought a home on Long Island, with room for his parents and brothers. I was supporting my family. It felt like a responsibility, rather than a sense of what you want to become. Back then, the press loved him, and the feeling was mutual. In , Riggio gave one of his first interviews, to the trade publication College Store Executive.
He invited its editor, Louise Altavilla, to a coffee shop across the street from the Fifth Avenue store. They met again at a San Francisco book fair, and in , he married her.
Fragments of a Crucifixion
Riggio appeared in this magazine for the first time in R iggio graduated to the big leagues in , when he met Dr. Anton Dreesmann, chief executive of the Dutch retail giant Vendex International. The third-generation heir to a department-store fortune, Dreesmann was a bookish sort of businessman who considered himself an intellectual; he held two doctoral degrees and had written a few volumes himself. He had some new ideas about running large-scale trade-book stores, like offering deep discounts on best-sellers to get shoppers in the door.
The two men quickly hit it off. Riggio feverishly sketched out designs for the mammoth new stores he hoped to build, and Dreesmann loved the idea. Dayton Hudson Corp. Despite the dispute with Drexel, Riggio and Milken became friends. I n some ways, Riggio still runs his company like a giant mom-and-pop store. Curtis Gray, a former executive who is now a vice-president at Starbucks, recalls watching Riggio open his wallet and take out several hundred dollars to buy an aging office worker a set of false teeth.
After the last San Francisco earthquake, Riggio reimbursed out of his own pocket any employee, from regional manager to store clerk, who lost property, Gray says. I am always exhorting our people to learn from their mistakes, as opposed to dwell on their success. I tend to be negative.
Occupy Wall Street
I and the company are really rooted in negative self-criticism. Retailers have to be. Riggio admits he sets high standards. His father died in His friend Angelo Volpe lost touch for a time and called to say that he had left a job as a professor. As it happened, Volpe had stopped teaching to become a college president. He soon happened upon his book in not just one but every window of the store. In , he threw his muscle behind Bill Clinton, but has since grown alienated over his stance on capital punishment. Riggio is also a staunch Giuliani opponent.
Then we have got to kill them, so we have capital punishment. School vouchers?
I mean, come on! He became interested in modern sculpture in , when an architect Riggio hired to design a new pool house in Bridgehampton took him to the Socrates Sculpture Park, in Long Island City.
Within months, he had helped forge a deal to turn an abandoned cardboard factory in Beacon, New York, into a capacious new Dia gallery space bigger than the Museum of Modern Art. Even I feel intimidated. I hate museum architecture too. It overwhelms the work within it.
The New York Times played as front-page news the revelation that Amazon. Without promotions, titles can get lost easier on a Website than in a superstore. And searching by subject always leads to the most popular book in any category — reinforcing the rich-get-richer, winner-take-all trend in book sales.
The Story Behind The Legendary Charging Bull
I see connections between books and bookstores and networks. Her writings are characterized by a comic detachment, observing rather than interpreting. Driving her work is a desire to find a connection between people and to identify a locus of aspiration that is essentially utopian. This often evolves through the process of a journey. From the expedition to the road movie, this is a narrative form that presupposes a quest, the search for Mandalay, El Dorado, Shangri-la, Hollywood.
Los Angeles reiterates the strategy she evolved in The Bronx. Where the Bronx is synonymous with fear of the ghetto, Los Angeles symbolizes a form of Occidentalism, and its concomitant association with pioneering. He decides instead to send her instructions to be carried out on the streets of New York.
These involve smiling at and talking to strangers, helping beggars and homeless people and cultivating a spot. In , on the streets of Manhattan, Calle sets to work. These range from appreciation to abuse. The project is an act, a work of fiction and an anthropological experiment. But the mission is broadly successful. Art is not instrumentalized, rather its instrumentalization becomes the subject of the work of art.
In she embarked on the third of her psychogeographic city tours titled The Detachment. I asked passers-by to describe the objects that once filled these empty spaces. Despite their confidence in recollecting shape, material or colour, they are often visually inaccurate. The absence of the symbols that once defined the public realm in ideological terms, also elicits sadness, annoyance and relief — few are indifferent.
The monuments and signs that are part of the fabric of the city and that become invisible with familiarity are, paradoxically brought sharply into focus by their absence.
Calle elicits reflections from the citizens of East Berlin on how ideology shaped not only their urban environment but also their sense of identity. With the removal of the propagandist symbols of the state, history appears to have been erased. Calle relocates it within the memories of her subjects.
The unreliability of their visual recall makes this history a subjective one, giving it a veracity and a complexity that transforms it into a narrative of lived experience. In the new dawn of unification, there is no illusion about the triumph of capitalism. As traces. A work where her subjects were unable to talk back generated a fifteen year crisis in its making. In , invited by an American bank to make a project, the artist gained access to the surveillance films taken by hidden cameras, of clients using cash machines. Years pass. Calle interviews tellers, she photographs money, she talks to security agents and policemen.
In she asks Jean Baudrillard to help out. She visits a hypnotist.