New Jersey
Color, Inside and Outside the Lines
Windows on the world: Allan Gorman in the city
Pity poor paper. It really wants to be glass. Ditto for canvas. It isn’t glass, either, and it rankles at its own opacity. Sometimes it feels like the entire reason painters add brilliant pigment to panels is to help stiff surfaces achieve the peaceable qualities of a windowpane. Glass doesn’t fight the light. It acquiesces to its demands for penetration. Glass lets the illumination in, and when it does, it amplifies its brilliant shine.
But painters are illusionists, not alchemists. Any windows that they open are in our minds. In “Color, Inside and Outside the Lines,” Prof. Beatrice Mady of the Fine Arts Gallery at St. Peter’s University (47 Glenwood Ave.) pairs Bryant Small and Allan Gorman, summoners of imaginary photons. Neither one has managed to transmute paper and canvas into glass — no Lite Brite bulb shines behind their frames — but they’ve bestowed an unusual translucency to their urban studies anyway.
To those who’ve followed his work, Gorman is more associated with things concrete than things transparent. But even appreciators of his post-industrial cityscapes and images of steely underbridge anomalies have noticed that he’s just as interested in the way in which light passes through girders as he is with the girders themselves. His prior shows have been busy with shadows and sun. For “Color, Inside and Outside the Lines,” he’s removed the realistic representations of tenements, bricks, and stairwells but left the play of illumination in place. He’s also changed his favored hues, switching from institutional greens and rust orange-brown to the colors of the urban undertone: pale yellow, daybreak pink, the light blue of the apartment skylight. Looking at his recent paintings feel a little like catching a glimpse of the code behind a 3-D computer simulation. If you’re familiar with what he does, the St. Peter’s show is a trip.
It’s even a trip if you’ve never heard of him. His recent canvases are full of childlike joy about what light can do: the way it radiates and bends over barriers, refracts, mixes colors, and alternately sorts, blends, and elevates objects in its path. It’s hard not to get swept up in his enthusiasm. “Through the Looking Glass,” an oil painting on a square panel, might remind you of an empty storefront window of a shop, or a revolving door, or a ticket-taker’s booth. Gorman’s angles his images of tinted, transparent sheets to draw the eye the past surface lines and into an undefined interior space. This is one of the special property of glass: it promises honesty. It lets us in. We may not know what we’re looking at, but we believe that there’s a space for observation and we’re seeing what there is to see.
Mystery in plain daylight: “Through the Looking Glass”
That same openness — and invitation to stare — is present in a Gorman triptych in which shapes that suggest a building corner on a wraparound sidewalk are visible through floating panes that are given dimension and presence through the inclusion of a black shadow. As we apprehend the colored blocks through the hovering frame, they make immediate sense to us. It’s uncanny, and maybe even a little disturbing, how familiar the scene feels, and how quickly it coheres into a streetscape.
Only someone attuned to the deep code of architecture and the relationship between light and the city could have painted “Metropolis,” with its radiance expressed as long see-through wedges brightening the rows and columns of the built environment. This is the urban core he’s showing us: diagonal lines suggestive of light intersecting with vertical ones suggestive of glass and concrete. It’s not so different from the shadow-play he’s given us in his paintings of specific bridges. It is merely, as he’s put it elsewhere, a different way of seeing.
Find myself a city to live in: Gorman’s “Metropolis.”
As Gorman gets elusive, Bryant Small has become more specific. He’s hung the names of global cities on his dramatic alcohol ink paintings, each with fields of vibrant color, smears, drips, and pressurized streaks that make it look like a squeegee was applied to the paper. “Berlin,” for instance, looks like a nest of long blue-gray thorns atop a nimbus of aqua, pink, and orange. Are we staring down a busy street that’s all angles, sudden illuminations, and brisk activity, or does Small mean to suggest something about the emotional weather in eastern Germany? Probably both. The mesmerizing “London” is all dazzling color in the background and grey horizontal lines in the foreground that resemble plane-window moisture pulled sideways through the force of acceleration. Visitors to England will surely sympathize. There’s lots to see, but it’s raining out.
Take my breath away: Bryant Small’s “Berlin”
Small is a chromatic maximalist, saturating every inch of his pieces with bright pigment and adding black lines and splatters to make his hot pinks and Caribbean greens all the more intense. Because of its evenness and its tendency to ripple and pool and dry that way, alcohol ink on paper bears an eerie resemblance to stained glass. Sensing an opportunity to take us to church, Small drenches his pieces so thoroughly it’s like he’s dipped them in a rainbow. In “Tokyo,” the most remarkable of his globetrotting series, an icy blue-green surface seems to mask neon lights, headlamps, and a downtown-district glow. It’s like we’re apprehending a streetscape, darkly, through a shattered pane. Cracks are everywhere, but the sheet of glass seems thick and unlikely to budge.
Dream in Shibuya: Small visits (or thinks about) Tokyo
Yet glass — or the impression of glass — will have its way. Even though much in “Tokyo” is obscured, the translucency that Small is able to generate puts us right in the scene. We feel like there are sources of light just beyond our apprehension. Like Gorman, he puts our faith in glass to narrative ends. There’s a city waiting for us on the other side of the window. We can trace its outlines and sense the contours of its architecture and the emotional experience of living there. Slip past the invisible barrier, if only with our eyes, and we can be part of it.
(Although it’s open during St. Peter’s regular hours, the MacMahon Student Center can be tricky to get into. Tell the security guard you’d like to go to the fifth floor to see the art exhibition. Or just wait for a friendly student to let you in.)
Tris McCall regularly writes about visual art (and other topics) for NJArts.net, Jersey City Times, and other independent publications. He’s also written for the Newark Star-Ledger, Jersey Beat, the Jersey City Reporter, the Jersey Journal, the Jersey City Independent, Inside Jersey, and New Jersey dot com. He also writes about things that have no relevance to New Jersey. Not today, though.
Eye Level is an online journal dedicated to visual art in Jersey City, New Jersey. A new review will appear every Tuesday morning at 8 a.m., and there’ll be intermittent commentaries posted to the site in between those reviews.
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PATERSON, New Jersey (WABC) — One person was killed and three others were injured in a shooting in Paterson.
The violence erupted around 6:30 p.m. Saturday near the intersection of East 29th Street and 10th Avenue.
Children nearby gasped in horror at the sound of rapid gunfire. They were just about to sing Happy Birthday to their 13-year-old friend at her backyard party, but instead of blowing out the candles, they ducked for cover when they heard gunshots in the distance.
“Just hearing it – it was scary to witness, to hear. Especially on my birthday. Like a time I’m trying to play with my friends, get together,” said the 13-year-old.
She also says she had a friend who was there who saw what happened.
“He was going to the bodega – he went running back, but he had saw two people come out of a car and then shoot, but it was like an automatic gun,” she added.
Bystanders watched in shock and panic as first responders treated the victims. One of them was lying in the street next to a car and another was on the ground next to a bicycle.
Local councilman Luis Velez says the City of Paterson has taken measures to reduce crime in this part of town – what he calls a ‘hotspot’ — in part by installing security cameras. He is encouraging the community to cooperate.
“Paterson Police is doing their job as I know, they’re doing a great job to reduce crime, but one again we, the police, nobody, not even the news media has a crystal ball to say this is going to happen now,” Velez said, “Some people see corners getting built up, they see activities and they’re afraid to come out and say something, but our police department is trained to keep it confidential and approach to bring the quality of life in this area.”
The 13-year-old hopes her next birthday party is not ruined by the sound of gunshots.
“First we thought it was fireworks, but then we heard sirens and everyone started going home because they were scared,” she added.
Copyright © 2026 WABC-TV. All Rights Reserved.
Let’s be honest, we didn’t need a national list to tell us this. New Jersey has the best restaurants, the best food, and some of the most talented chefs anywhere in America.
It’s something locals have been saying forever, and now the rest of the country is catching up. Still, it’s always nice to see that recognition on a big stage.
We Already Knew New Jersey Was the Best
USA TODAY’s 2026 Restaurants of the Year list highlights standout dining destinations across the country.
From humble roadside gems to chef-driven hotspots earning major buzz, the list celebrates places that truly stand out, and New Jersey showed up in a big way.
Three New Jersey Spots Earn National Recognition
This year, three Garden State restaurants made the prestigious list:
- The Pasta Shop – Denville
- Ram & Rooster – Metuchen
- Anjelica’s – Sea Bright
And yes, that includes a Jersey Shore favorite, because of course it does.
These restaurants represent everything people love about dining in New Jersey, quality, creativity, and flavors that keep you coming back.
A Jersey Shore Standout Shines
There’s something special about seeing a Jersey Shore restaurant included among the best in America. It’s not just about great food, it’s about the full experience, the atmosphere, and that unmistakable local charm.
Anjelica’s in Sea Bright earning a spot only reinforces what shore locals already know: some of the best meals you’ll ever have are right here, close to home.
No Surprise, Just Well-Deserved
At the end of the day, this recognition feels less like a surprise and more like confirmation. New Jersey’s food scene has always been top-tier, and lists like this just make it official.
Keep Reading: Beloved New Jersey Restaurant is Closing
So whether you’re heading to Denville, Metuchen, or down the shore, you already know, you’re in for something special.
PHOTOS: Step Inside a 1970s Kitchen — 34 Things You’ll Recognize
From Tupperware jugs (you know the ones) to those ever-present knife sharpeners, let’s take a nostalgic trip back to the quintessential ’70s kitchen.
Gallery Credit: Stephen Lenz
If You Grew Up in the ’70s and ’80s, These Foods Were Super Fancy
From Babybels to Toblerone chocolate, take a nostalgic bite out of these ‘fancy’ childhood foods that made us feel way more elegant than we really were.
Gallery Credit: Stephen Lenz
FIFA and New Jersey Gov. Mikie Sherrill have become embroiled in a war of words this past week as the prospect of $150 train tickets to travel to World Cup games and plans to close parts of New York’s Penn Station have angered residents.
The recent uproar began after reports surfaced April 6 that parts of Penn Station would be closed to NJ Transit commuters not attending World Cup games for four hours before kickoff during the eight matches at New Jersey’s MetLife Stadium.
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Moreover, round-trip train tickets between Penn Station in Manhattan and MetLife Stadium, where the final of the FIFA World Cup is set to be played, were announced by NJ Transit to come in at $150 per person.
A return ride on the same line typically costs $12.90, according to NJ Transit.
The FIFA World Cup Trophy is displayed during the Los Angeles stop of The FIFA World Cup 26 Trophy Tour by Coca-Cola at LA Live in Los Angeles on March 24, 2026.
In a press release on April 17, Sherrill said the move to increase prices was caused by FIFA’s decision to eliminate parking at MetLife Stadium. The Democratic governor said price increases happened because FIFA did not agree to cover the costs of transporting fans.
“We are committed to ensuring costs are shared fairly. As I have said repeatedly, FIFA should cover the cost of transporting its fans. If it won’t, we will not be subsidizing World Cup ticket holders on the backs of New Jerseyans who rely on NJ TRANSIT every day,” Sherrill said.
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More: Going to World Cup at MetLife Stadium? Expect $150 train tickets and no parking
FIFA, on the other hand, has said the price increase would have a “chilling effect” on fans attending games in New Jersey and said Sherrill’s demands asking FIFA to absorb transportation costs for fans were “unprecedented.”
“Elevated fares inevitably push fans toward alternative transportation options. This increases concerns of congestion, late arrivals, and creates broader ripple effects that ultimately diminish the economic benefit and lasting legacy the entire region stands to gain from hosting the World Cup,” Heimo Schirgi, COO for the 2026 FIFA World Cup, said in a statement to USA TODAY.
The NJ Transit logo is seen in the lobby of the New Jersey Transit headquarters ahead of a press briefing on the New York/New Jersey FIFA World Cup 2026 regional mobility plan in Newark, New Jersey on April 17, 2026.
What are other cities doing with World Cup transportation?
New Jersey has not been the only place where transportation costs have been the subject of discussion ahead of the World Cup. In Boston, round-trip train train tickets on the MBTA from Boston’s South Station to Gillette Stadium are being sold for $80.
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Special event trains to Foxborough for New England Patriots NFL games and New England Revolution MLS matches are usually $20 for a round trip, according to local news station CBS Boston.
Other cities have not seen increases like the ones in New Jersey and Boston. In Atlanta, for example, train fares on the city’s MARTA will be $2.50 per ride, with children able to travel for free with a paying adult.
Kansas City is offering $15 round-trip shuttle rides for fans parking in four different park-and-ride locations, as well as those coming from FIFA’s Fan Festival in the city. Los Angeles, on the other hand, is offering fans a $3.50 round trip train ticket on its Metro Train.
SEPTA in Philadelphia is also keeping its prices low, with fans set to pay the base $2.90 fare for a ride on its Broad Street Line, which takes riders to Lincoln Financial Field, set to host six matches.
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Katie Sobko from USA TODAY Network’s NorthJersey.com contributed to this report.
Fernando Cervantes Jr. is a trending news reporter for USA TODAY. Reach him at fernando.cervantes@gannett.com and follow him on X @fern_cerv_.
This article originally appeared on USA TODAY: World Cup fans going to MetLife Stadium to pay $150 for NJT ticket
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