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At NYC's Chelsea Hotel, The End Of An Artistic Era?

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At NYC's Chelsea Hotel, The End Of An Artistic Era?

Art & Design

At NYC's Chelsea Hotel, The End Of An Artistic Era?

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  • <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">
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LYNN NEARY, host: The fabled Chelsea Hotel in Manhattan has served as a home and inspiration to artists and writers from Mark Twain and Virgil Thomson to Bob Dylan, Larry Rivers and Mark Rothko. Arthur C. Clarke wrote "2001 A Space Odyssey" there. Jack Kerouac worked on "On the Road" at the Chelsea.

It's a colorful past but the future of the hotel is uncertain, as NPR's Margot Adler reports.

MARGOT ADLER: Multimedia and performance artist Nicola L. has been at the Chelsea some 30 years. She came, she left for France, she had another apartment, and she returned.

NICOLA L.: You know, you come back to Chelsea as you go to your mother when something is wrong.


ADLER: But the building has been sold. Once filled with art by residents, the walls and stairwells are mostly bare now. Only the long-term residents remain. The staff - some there for decades -have been let go.

The Chelsea Hotel is unlike any other in New York, split between rental apartments and tiny hotel rooms, where people could stay for a night. Ed Hamilton, a writer who authored a book on the hotel, has lived here 16 years. The first room he had:

ED HAMILTON: Like our apartment was $500 a month; it must have been like about a hundred square feet.


ADLER: Now he lives with his wife in a room that's twice that size but seems minuscule. No kitchen, bathroom down the hall, clothes hanging on the walls.

HAMILTON: I came here to be a writer, 'cause it seemed like the place to go.


HAMILTON: It's - you know, I was in my mid 30s. You know, we'd always heard about this place because Thomas Wolfe had lived here and the Beat writers.

ADLER: The place is filled with ghosts. Not only Dylan Thomas who drank himself to death at the Chelsea, or Nancy Spungen, the girlfriend of Sid Vicious who was stabbed to death in their room, but all kinds of ghosts.

Sherril Tippins has spent six years writing a book on the Chelsea. She once brought a friend to the hotel who claimed she could see ghosts.

SHERRIL TIPPINS: And she was up all night. Every night we were there, talking to the ghost. So she told me they're in the elevators, they're in the lobby. They want attention so much. And apparently Larry Rivers was the leading ghost and he wouldn't let the other ghosts talk to her. He just chattered...


TIPPINS: ...on and on. He said he had a lot of advice for me. He said, Tell her it is not about the art, it is about the life. That's the important thing here.

ADLER: And that's what most residents will tell you. Scott Griffin, a theatre producer, is head of the residents association. He's lived at the Chelsea for nearly 20 years. He says Arthur Miller and Robert Altman nurtured him at the Chelsea and made his career possible.

SCOTT GRIFFIN: The core value of the Chelsea is not in steel and in bricks, but is in the life force that it has.

ADLER: Originally built in the 1880s by Philip Hubert, it was a socialist utopian innovation with communal dining rooms, artist's studios, even a hospital clinic. Sherrill Tippins says it was the first cooperative to have a mix on every floor.

TIPPINS: Of large rooms that people with more money can afford and people who are more successful, mixed in with the smaller rooms of aspirers, and of regular working people. That was a deliberate design. I think it's really been the reason the Chelsea has managed to remain the way it is.

ADLER: And part of the reason for its artistic ferment. The other thing that made the Chelsea unusual was its management. Everybody talks about Stanley Bard.


ADLER: At a tenants meeting I meet Timur Cimkentli. A one time photographer and resident, he became a bellman for the Chelsea in 1987 after he couldn't pay his rent. Bard told him maybe you're not a very good photographer, but I have a job for you.

TIMUR CIMKENTLI: It was a sanctuary for the artists; kids, who really couldn't pay their rent on time, and any other hotel or any other residence would have kicked them out. The manager Stanley Bard, he allowed that to flourish. He was kind of like a huge leaf that kids could go under away from the storm, and that was the rarity of this hotel, that he would keep you on.

You know, he would see you and you would owe him two months rent and you would cry to him. And he would say, don't worry about it, keep painting. Keep painting.


ADLER: Bard was ousted four years ago after conflicts with the minority shareholders. Managers came and went. Then this spring, real estate developer Joseph Chetrit bought the building for some 80 million dollars. Architect Gene Kaufman is in charge of the renovations, which he says will be subtle.

Tenants are scared it will become a condominium, but Kaufman and others say it will remain a hotel. He says the first priority is to preserve; the second, to make it safe and functional. Issues like fire safety are huge. And then there is an obligation to the current residents.

GENE KAUFMAN: The Chelsea is a very rare and special thing. And I think that both the new ownership team, the design team and everybody else that's on as a consultant understands that.

ADLER: The Chelsea's new owner, Joseph Chetrit, was called by the New York Observer the most mysterious big shot in New York real estate. He almost never talked to the media and calls to his office were not returned. Almost everyone I talked to wonders if Chetrit will fall in love with the Chelsea or run out of there screaming. Those are the exact words several different people used, including Sherril Tippins.

TIPPINS: People have run screaming from it over and over in the past five years or so. I, too, have been tussling with this building for years now. It takes you over and you struggle with it. It has a spirit of its own.

ADLER: But that makes her optimistic about the future of the Chelsea.

TIPPINS: I don't think you can defeat this building.

ADLER: After all, as architect Gene Kaufman says, if this was just a nice building of the period with no serious history, we wouldn't even be having this conversation.

Margot Adler, NPR News, New York.

NEARY: And to see photos of the Chelsea Hotel, go to

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