hotel CEOs met with the White House on March 17 to discuss urgent economic
recovery solutions needed to protect millions of U.S. hotel employees and
33,000 small businesses as travel grinds to a virtual halt across the country
because of the coronavirus health crisis. From Main Street to major
cities across the country, hotels everywhere are on the verge of shutting their
doors in the coming days – many by the end of this week. With 1 in 25 jobs
supported by the hotel industry, the rapid pace of booking cancellations is
having an immediate, negative ripple effect that risks seeing mom and pop hotel
owners shutter, furlough their employees, hurting community
hotel industry is an industry of people and the current human toll is proving
to be catastrophic. Based on current occupancy estimates, the American Hotel
& Lodging Association (AHLA) says four million total jobs have been
eliminated already or are on the verge of being lost in the next few weeks. In
certain affected markets, including Seattle, San Francisco, Austin and Boston,
hotel occupancy rates are already down below 20 percent and individual hotels
and major operators have already shut down operations.
AHLA, the nation’s leading and largest trade association for hotel industry,
made the case that the economic impact on the hotel industry is already more
severe than 9/11 and the 2008 recession, combined. “The impact of the
coronavirus pandemic on our 33,000 small business owners who operate 66 percent
of hotel properties across the country has been extremely severe with many
considering shuttering and closing their doors for good within days if they
haven’t closed already.”
Rogers, AHLA President and CEO, said the burgeoning COVID-19 health
crisis is unprecedented in its size and scope, and it represents the single
largest decline in travel in modern times.
impact to our industry is already more severe than anything we’ve seen before, including
September 11th and the great recession of 2008 combined,” stated Rogers.
“The White House and Congress can take urgent action to protect countless jobs,
provide relief to our dedicated and hardworking employees, and ensure that our
small business operators and franchise owners – who represent more than half of
hotels in the country – can keep their doors open.”
to an Oxford Economic Study, a 30 percent decline in hotel guest occupancy
could result in the loss of nearly 4 million jobs, with $180 billion of wages
and a $300 billion hit to the GDP – crippling the hotel industry, the local
communities they serve and the U.S. economy.
unprecedented public health crisis has quickly become a catastrophic economic
crisis as well,” said Roger Dow, President and CEO, U.S. Travel
Association President. “The losses for the travel industry alone are
projected to double the unemployment rate over the next two months and plunge
the country into recession. Small businesses, which make up 83% of travel
businesses, need relief right now if they’re going to be able to keep paying
Oxford study estimates the hotel industry supports 1 in 25 American jobs,
totaling 8.3 million jobs, paying more than $97 billion in wages and salary
income, and contributes nearly $660 billion to the U.S. GDP annually. In
addition to major hotel brands, the hotel industry includes more than 33,000
small businesses, which represent 61 percent of hotel properties in the U.S.
hotel industry leaders laid out several immediate actions the White House and
Congress could take to help the hotel industry protect jobs and help small
business operators. The group focused on two critical goals – retaining and
rehiring employees and keeping hotels from shutting down through access to
liquidity and low interest loans, including for small businesses.
CEOs who participated in the roundtable discussion today at the White House
were hopeful that President Trump and Members of Congress will work together
urgently to provide relief and ensure the industry is positioned to rebound
from the unprecedented impact from the Coronavirus pandemic.
Western Hotels & Resorts President and CEO, David Kong said, “For
nearly 75 years, Best Western has been a brand with small family businesses at
our core. Most of our hotels are owned and operated by hardworking men and
women with their children growing up in the business. For them, their hotels
represent their families’ legacy and their future. Many are being forced to
close their doors with no assurance of when they will be able to reopen. Their
employees are left with no gainful employment and the resultant financial
hardship. It is imperative that the government step in immediately with loan
programs that provide capital and liquidity to help small businesses survive as
well as other employment programs to help the impacted employees. The situation
Hotels International President & CEO, Pat Pacious said, “The
majority of our 13,000 franchisees are small business hotel owners who have to
meet payroll, pay their mortgages every month, and support their families
during this crisis – as well as take care of their guests. As I told the
Administration today, while Choice Hotels is acting to assist our franchisees,
the federal government has a critical role to play in helping minimize the
impact and disruption to the livelihoods of small business hotel owners and
their employees, as well as stabilizing the economy during this difficult and
President and Chief Executive Officer, Christopher J. Nassetta said, “In
Hilton’s 100-year history, we have never seen anything like the current
situation. I am hearing directly from hotel employees concerned about their
mortgage payments and hotel owners worried about making payroll. Nearly eighty
percent of the hotels in our U.S. network are franchise properties that employ
less than 50 people, and we are using every tool in our toolkit to keep these
small businesses viable. Ours is an industry of people serving people, and
that’s why we’re asking Congress and the Administration to help shield them
from the economic impact of the coronavirus, so they can be part of the
recovery that will follow.”
president and CEO, Mark Hoplamazian said, “In our industry, success depends
entirely on the passion and dedication of our people. It is critical that we
take swift action to ensure that our workforce is protected with the proper
healthcare and financial support so that the industry can return in full force
following this unprecedented degree of business interruption.”
Hotels Group CEO Americas, Elie Maalouf said, “The coronavirus
represents a global economic emergency as well as a global health emergency,
and the impact it will have on the hospitality industry is unprecedented. Even
as we’re currently managing this issue to keep our guests and colleagues safe,
and hotel owners secure, we’re committed to doing everything we can to protect
the future of the millions of Americans employed by the hotel industry and
prepare to expedite a return to normal once this crisis passes. We appreciate
the administration’s engagement in this issue and look forward to continuing
this important discussion in the weeks ahead.”
International President and CEO, Arne Sorenson said, “The COVID-19
pandemic has resulted in an unprecedented decline in demand impacting our
hotels and our associates. We are looking to government to support the
hospitality industry through this period of time so we can assist our
associates and hotel owners, many of whom are small businesses.”
Resorts International Chairman & CEO, James Murren said, “Within
days we have transformed from a vibrant industry welcoming people from around
the world, to one experiencing a total shutdown of business. Addressing
this public health emergency required major collective action which is why MGM
shut down our operations. But it comes at a cost to our tens of thousands of
employees, small businesses and communities who depended on us. We look
forward to a productive dialogue on how to ensure that when it is safe, the
gaming industry can be in a position to open our doors so that we and the 2
million jobs that depend can be part of the economic recovery that is to come.”
Hotel Trust is a REIT with 54 hotels with over 13,000 rooms and over 8,000
employees around the country. Our hotels are in most of the hardest hit cities
– Seattle, San Francisco, here in Washington, DC, NYC, Boston, Chicago and
more. As of today, we have had to make the difficult decision to let go over
4,000 employees,” noted Jon Bortz, Board Chair, AHLA and Chairman &
CEO, Pebblebrook Hotel Trust.
the end of the month, we expect another 2,000 employees will also be let go,
representing over three quarters of our employees. We are looking at closing
the doors at more than half of our properties. This is the reality we, and
countless other owners and operators around the country are facing in the wake
of this public health situation.”
New York City’s major cultural institutions are
temporarily closed to help minimize the spread of coronavirus, but many are
making their exhibits and programs available virtually, and have websites that
really engage, that make the time spent in enforced hibernation that much
richer and more productive, and frankly, less maddening.
When the Met reopens,
it will offer a series of special exhibits marking its 150th anniversary:The exhibition Making The Met, 1870–2020 will present
more than 250 works of art from the collection while taking visitors on a
journey through the Museum’s history; The reopening of the galleries for
British decorative arts and design will reveal a compelling new curatorial
narrative; Transformative new gifts, cross-cultural installations, and major
international loan exhibitions will be on view throughout the year; and special
programs and outreach will include a birthday commemoration on April 13, a
range of public events June 4–6, and a story-collecting initiative.
galleries may be closed, but never fear! Social media never sleeps.”
Follow @metmuseum on Instagram for Tuesday Trivia, #MetCameos, and daily art
Being confined to home is a perfect time to take advantage of the Museum of Modern Art’s free massive open online course What Is Contemporary Art?, available now on Coursera. This course offers an in-depth look at over 70 works of art from MoMA’s collection—many of which are currently on view in the expanded Museum—from 1980 to the present, with a focus on art produced in the last decade. Learners will hear directly from artists, architects, and designers from around the globe about their creative processes, materials, and inspiration. What Is Contemporary Art? can be found at mo.ma/whatiscontemporaryart.
I can’t wait for MoMA to
reopen so I can see Dorothea Lange: Words & Pictures,
the first major solo exhibition at the Museum of the photographer’s incisive
work in over 50 years. The exhibition includes approximately 100 photographs
drawn entirely from the Museum’s collection. Dorothea Lange: Words
& Pictures also uses archival materials such as correspondence,
historical publications, and oral histories, as well as contemporary voices, to
examine the ways in which words inflect our understanding of Lange’s pictures.
These new perspectives and responses from artists, scholars, critics, and
writers, including Julie Ault, Wendy Red Star, and Rebecca Solnit, provide
fresh insight into Lange’s practice. (Scheduled through May 9, 2020).
American Museum of Natural History while closed, the
website is a treasure trove of information and engaging photos and ways to
explore and interact on your own. At the section of its site labeled “Explore” https://www.amnh.org/explore, there are
videos, blogs and OLogy: The Science Website for Kids, where kids of all ages
can play games, do activities, watch videos and meet scientists to learn more
about fossils, the universe, genetics, and more. (Check out https://www.amnh.org/explore/ology/brain)
New-York Historical Society is closed so you will have to wait to experience “Women March,” presidential/election exhibits (take a selfie in Reagan’s Oval Office) and “Bill Graham” (phenomenal and surprising exhibit with fabulous musical accompaniment about this iconic concert impresario). Meanwhile, the N-YHS website offers sensational online exhibitions featuring some of their important past exhibits, including ‘Harry Potter; A History of Magic,” and “the Vietnam War: 1945-1975” and Chinese American: Exclusion/Inclusion (https://www.nyhistory.org/exhibitions/online-exhibitions). You can also delve into its digital collection, with selections from the N-YHS Museum and Library’s holdings paintings, drawings, photographs, manuscripts, broadsides, maps, and other materials that reveal the depth and breadth of over two centuries of collecting. (http://digitalcollections.nyhistory.org/). (See: Many Pathways to Mark Centennial of Women’s Suffrage)
some outdoor venues are open, as of this writing (the situation has changed
The Brooklyn Botanic Garden remains open to
the public, having implemented stringent cleaning protocols and posted new
signage on-site about best practices in personal hygiene. “We hope that the
Garden might offer you some comfort and beauty even during a particularly
stressful time.” (https://www.bbg.org/visit)
Central Park, Prospect Park and Flushing Meadows may well provide needed respite. However, the Wildlife Conservation Society has temporarily closed the Bronx Zoo, Central Park Zoo, Prospect Park Zoo, Queens Zoo and New York Aquarium, effective Monday, March 16. Check wcs.org for updates.
Travel is vitally important to rejuvenating one’s body and soul,
not to mention providing life-enhancing experience, new learning and new
understanding; it offers a chance for bonding with loved ones, making new friends
and building new relationships. Concern for the coronavirus is causing many of
us to withdraw and miss out. But because travel offers a universe of
possibilities, there are options that might better suit the circumstances, and
many travel suppliers are doing their best to accommodate travelers and
Many are waiving cancellation penalties, reissue and change fees
if destinations become impacted or allowing changes and rebooking for future
As a rule of thumb, we are suggesting people think Great Outdoors
where you can be active in clean fresh air and avoid crowds, density and
proximity. And if concerned about mass travel (even though airlines are doing
their level best to assure passengers of healthy environments), choosing
destinations that are within driving distance. Indeed, this is a great time to
enjoy spring skiing in the Northeast’s many world-class mountain ski areas and
resorts, from New England to New York State.
Resorts like Windham Mountain are being scrupulous about health
precautions, even limiting crowds to promote social distancing.
Also, look for deals as this season winds up: ski areas like Gore Mountain
are inviting people to pre-purchase next season’s passes at discounted prices
and have free skiing for the rest of the season.
By Dave E. Leiberman and Laini Miranda
Travel Features Syndicate, goingplacesfarandnear.com
This past Sunday, we were lucky enough to ski Windham Mountain in New York’s Catskills on a windless, bluebird spring-like day. After a few colder nights and some flurries during the week, every trail was covered by a snow pack that managed to maintain just the right level of softness, from our first run almost through to last chair. The combination of perfect weather, enjoyable snow conditions, great demo skis, and an idyllic lunch on the terrace picnic tables at the midmountain Wheelhouse Lodge made it a truly memorable ski day.
We woke up at 5:30am (which felt like 4:30 due to Daylight Savings Time) in the Manhattan Financial District, slid onto the FDR drive, grabbed delicious bagels on Route 4 in Jersey, and were at the Windham Demo Center next to the D lift by 9am. Whether you are in the market for new skis or just interested in cruising on the highest performance skis, renting from the demo center is an easy and worthwhile experience. Ideally positioned next to the D Lift, the Demo Center shack lets you ski in and out to test a range of top quality skis without losing any time on the slopes.
Like Nascar drivers at a pit stop, we popped in to swap skis a few times throughout the day, stepping our boots onto the platform for them to quickly change the bindings and send us on our way. Peter and Dave are extremely knowledgeable and set us up with Volkl Yumi’s and a gorgeous pair of Stockli Stormrider’s, a “Windham classic”. (The ski and boot package is $90 for the day). While the rental shop just a few steps away carries a great line of Rossignols (changed out every three years so that one-third of their fleet is always new), the Demo Center has a huge range of new season skis (Armada, Atomic, Blizzard, Dynastar, Head, Kastle, Nordica, Salomon, Stockli, Rossignol, Volkl, etc.). Our Rossignol Alltrack Elite 100 AT boots felt brand new too.
For a great start to the
day, we took Upper Wraparound (Blue) to Wolf’s Prey (Blue-Black), down to the
mid-mountain G lift (the East Peak Express Quad), which took us to a group of
nice wide Blacks. (East Peak also offers a leisurely 1.4-mile perimeter Green,
Wanderer, which we also enjoyed.) On soft snow, intermediate and advanced
skiers will enjoy skiing every level trail at Windham, and it’s easy to pop
between East and West peaks because everything converges to the same base. The
efficiency of the mountain’s design was also reflected in our chairlift wait
times, which ranged from zero seconds (most common) to a maximum of two
minutes. We loved zig-zagging from West Peak F lift (the Westside Six) to the
East Peak G. The slightly slower (and quieter) B Lift (the Wheelchair Double)
will take you to a series of fun double blacks on the West Peak, including the
long and windy Wide Connection to Upper Wipeout. Lower Wipeout will take you
through a lovely village of slope-side houses that will give you real estate
envy (5 home sites are still available to buy!
And at least one is available to rent on VRBO). The Whisper Creek ski-in,
ski-out condominiums are also available for sale or rent.
Windham started out as a
private club and continues to offer that ambiance. It is just the right size to
offer lots of variety in skiing, but compact enough to make you feel very
Windham offers 1,600
vertical feet from a summit of 3,100 feet. Its 54 trails and six terrain parks
provide 285 skiable acres, accessed by 12 lifts including a new high speed
six-passenger detachable lift and two high-speed quads. Windham also offers
night skiing on six trails (45 acres).
In the spirit of the
low-key social club vibe, Wheelhouse Lodge is a no-frills, mid-mountain dining
option with fantastic hearty chili, a new taco bar (open on weekends and
holidays), and an unbeatable view. On a warm sunny day like the one we had, a
lunch on the patio with almost 360 mountain views is hard to top.
In the last two years,
the resort has spent $12 million to improve the guest experience.
“In a time of
industry consolidation, strong, independent resort competition continues to
carve out unique guest-focused experiences and provide an alternative to
crowding and other downside impacts of acquisitions and mergers,” the
resort states. “A passion-powered outdoor community with the support of an
active investor group, Windham is well-positioned to continue offering a more
boutique and personal experience to skiers and riders in the Catskills. Windham
Mountain is a place to get lost and found again, to find stunning adventure
close to home, and to be reminded of how good it feels to be alive with family
and friends in the fresh air.”
Among the improvements
for this season, snowmaking was increased, which is reaping benefits for
keeping the base robust for spring skiing. There’s also a brand new, 33-foot
diameter European-inspired “Umbrella Bar” with an enclosed, heated dome in the
center of the reenergized patio area between the base lodge and the lift
lodging area. Other improvements include renovated rooms at The Winwood Inn, a
quaint lodging property in the village of Windham owned and operated by the
mountain; a newly renovated an reinvented restaurant at the inn called Tavern
23 (classic American comfort food); an upgraded booking system with new
software that allows guests to bundle lodging stays with lift tickets, lessons,
and even rentals in one easy transaction; and an expanded Guest Services
department and on-site call center.
A second new building
houses a unique ski and snowboard simulator that offers guests the chance to
ski or ride downhill race venues from around the world virtually while
supporting the Adaptive Sports Foundation. This building will also house a new
equipment valet and quick tune up station. Windham also offers Terrain Based
Learning™, beginner packages, an Adventure Park, and the full-service Alpine
For experts only, the
Windham “First Tracks” program provides ultra-exclusive snow moments before
lifts open to the public every Saturday, Sunday, and Holiday morning, weather
and conditions permitting. This is a guided mountain experience for ages 14 and
up ($20 tickets, free for season pass holders). Call 518-734-4300 x1515 or
The Spring Daze Pass is available starting at $104. With this pass you’ll get unlimited skiing and riding from this Friday, March 13, 2020 to the end of the season. For current conditions, check the Mountain Report page or call Windham’s Snow Report Hotline at 1-800-729-4766.
Note: To insure the health and safety of
Windham’s guests in light of concerns over Covid-19 (coronavirus) and New York
State’s restrictions on large gatherings, Windham Mountain is limiting indoor
gatherings and augmenting food and beverage offerings on the patio area,
limiting the number of people in certain areas at one time and closing the
Alpine Spa and Children’s Learning Center for the remainder of the season.
In the summer months,
Windham Mountain Bike Park is famous for its World Cup course, but also features
a three-mile-long beginner trail. Windham Mountain Country Club is an 18-hole
public golf course with a private club atmosphere.
Aside from our relaxing mid-mountain lunch break and our occasional cycle through the demo center to try new skis, we skied through the day and were surprised that, on only a couple hours of sleep, we made it comfortably to the last chair. By 4:30 we were on the road to dinner in Albany, and by 5:30 we had apres ski drinks and appetizers in hand. It was a perfect day!
(Skiing weekends and holidays 8am-4pm, Monday-Friday 9am-4pm).
Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com
2017 Women’s March may have been the largest single protest in history, but
women have been marching literally and virtually for 200 years. And for 200
years, the march, the campaign for women’s rights has been shorthand for
voting, education, health care, equal pay, workers rights, civil rights,
environmental justice, gun safety. Yes, there was that period when temperance
was a priority, as well. But it has only been in the 1970s, that Feminism – the
fight for women’s equality – took hold, and with it, the fight for the
essential right: reproductive freedom.
new exhibit at the New-York Historical Society simply
called “Women March” (part of The Women’s Suffrage NYC Centennial
Consortium, www.WomensSuffrageNYC.org) traces
this long arc which has not always moved toward justice or equality. Indeed,
progress, on just about every front, has been in brief spurts of enlightenment.
In reality, that long arc is more zig-zags and a maze with brick walls to block
the beginning, women directed their activism to abolition of slavery, labor
rights, working conditions and pay equity, civil rights, health, education,
property rights, custody, rights for Native Americans – issues regarded as “moral imperative.”
“Women seized on the notion that women had a moral power, beyond home, a moral imperative to effect public policy,” said Jeanne Gardner Gutierrez, curatorial scholar in women’s history at the New-York Historical Society.
Without the right to vote, they took
advantage of the Constitution’s right to petition Congress – until Congress
said they would ignore any anti-slavery petition.
“It was infuriating. The one right
available to women, guaranteed by Constitution, swept away. They realized that
moral suasion has limits.”
rights was not at the core of the women’s activism, which was hardly a movement
then. Even at the 1848 Seneca Falls Convention, the women leaders – mainly
Quaker women who already had a measure of equality within their religious
society – had to be persuaded (by
Frederick Douglass) to include the right to vote among their demands, enunciated in the Declaration of Sentiments, that
mimicked the Declaration of Independence. Their demands centered on equal pay
and rights to own property and have control of one’s own earnings, a growing
issue for women who were being employed in factories and for the first time
earning their own wage. Many women did not sign on. It may surprise many to
learn (as I did when visiting the Roosevelt historic site at Hyde Park) that
Eleanor Roosevelt was not an early supporter of suffrage.
the Civil War – as in the Revolutionary War and later World War II – women took
on roles that had been reserved for men: they managed their farms and
businesses while husbands and fathers were off fighting, they were nurses, and
organized fundraisers showing they could manage large financial projects (Sanitary Fair raised $1 million for union, the treasurer was
After the Civil War, there was a
great debate over whether women should seek the vote, whether under the 15th
amendment which said that men could not be denied the right
to vote simply based on their race,
voting should be a right of citizenship. Women were considered citizens, but
the Supreme Court found that citizenship did not automatically bestow voting
But a section of the exhibit labeled “Go West Young Woman” notes that in the Western territories, women did have right to vote (and apparently, women had the right to vote briefly in New Jersey, from 1776 to 1807 when the vote was restricted to white men. (See:On the Trail of America’s First Women to Vote)
those who think that Hillary Rodham Clinton was the first woman to run for
president (she was the first to run as a major party candidate) might be
surprised to learn that even before women won the right to vote, Victoria
Woodhull was the first woman to run for president as the Equal Rights Party
candidate in 1871. “Despite questions about eligibility to vote, women, she
reasoned, still could run for political office,” the notes read. Lawyer Belva
Lockwood, the first woman to argue before the Supreme Court, followed in 1884
and 1888 on the National Equal Rights Party
ticket and was the first woman to appear on
official ballots, endorsing equal rights, temperance, civil service
reform and citizenship for Native Americans; she won some 4,000 votes.
at a certain turning point, the women’s movement realized that moral suasion
wasn’t going to effect real change; the key to getting any of the changes and
rights they wanted was the right to vote.
used the latest techniques and technology to build support. Film was new in
1915, and a newsreel agency, Universal Animated Weekly, captured a 1915 strike
for workers rights (we get to see the film on a screen almost life-sized). The
films were distributed and shown in nickelodeons (small movie houses), and were an inexpensive
way to reach working-class people.
only in the 1960s-1970s, it seems, that women’s rights became equated with
reproductive rights, or more precisely, abortion, and coming almost
simultaneously with The Pill and sexual freedom that broke down gender
barriers. The threat to male domination became much starker – uprooting the
concept of women in the home, being consumers of appliances and cosmetics,
caring for children while men held the economic reins. Women could be fired for
becoming pregnant, could be paid a fraction of the same wage, and relegated
into specific jobs. Check out the classified job listing in the 1970s, and you
will see “male” and “female” listings.
really only comes to play in the 1980s, when the right to control one’s own
body, make one’s own choices, have the same right as men to self-determination,
takes hold. The outrage at women as
property, chattel, of objectification comes into focus.
you see a display with the first issue of Ms. Magazine, an organizing force
which reinforced women’s yearning for equal status.
in the earliest stages of activism, women’s issues were those that were
considered the “moral imperative” – abolition, workers rights – now it boiled
down to self, individual rights, but exploded back up again: women’s rights are
for others, feminism boiled down to one word: abortion.
Magazine publishes an amazing call to sign on to “a campaign for honesty and
freedom” along with a long list of 53 famous women who declared, “We have had
abortions” On the list: Gloria Steinem, Nora Ephron, Judy Collins, Susan
Sontag, Lillian Hellman, Lee Grant, Gael Greene, Billie Jean King.
exhibit follows to the 2017 Women’s March, with some of the posters.
just to emphasize the importance of Women’s Suffrage, just outside the exit
door is a computer where you can check on your voter registration.
For as long as there has been a
United States, women have organized to shape the nation’s politics and secure
their rights as citizens. Their collective action has taken many forms, from
abolitionist petitions to industry-wide garment strikes to massive marches for
an Equal Rights Amendment. Women March celebrates the
centennial of the 19th Amendment—which granted women the right to vote in
1920—as it explores the efforts of a diverse array of women to expand American
democracy in the centuries before and after the suffrage victory.
On view in the Joyce B. Cowin
Women’s History Gallery, Women March is curated by Valerie
Paley, the director of the Center for Women’s History and New-York Historical
senior vice president and chief historian, with the Center for Women’s History
curatorial team. The immersive exhibition features imagery and video footage of
women’s collective action over time, drawing visitors into a visceral
engagement with the struggles that have endured into the 21st century.
The exhibition begins with the many
ways women asserted political influence long before they even demanded the
vote. Objects and images demonstrate how they risked criticism for speaking
against slavery, signed petitions against Indian Removal, raised millions to
support the Civil War, and protested reduced wages and longer days. A riveting
recreation of an 1866 speech by African American suffragist and activist
Frances Harper demonstrates the powerful debates at women’s rights conventions.
Absence of the vote hardly prevented women from running for political office:
one engaging item on display is a campaign ribbon for Belva Lockwood, the first
woman to argue before the Supreme Court, who won around 4,000 votes in her own
Multiple perspectives on the vote,
including African American and working-class activism, are explored, upending
popular assumptions that suffragists were a homogenous group. The 19th
Amendment is hailed as a crucial step forward, but recognized as an incomplete
victory. One photograph shows an African American women’s voter group in
Georgia circa 1920, formed despite wide disenfranchisement, and another shows
women of the League of Women Voters who sought to make suffragists’ goals real
with legislation that addressed issues such as public health and child welfare.
A digital interactive monitor invites visitors to explore the nuances of voting
laws concerning women across the entire United States.
Offering an examination of women’s
activism in the century after the Amendment, the exhibition concludes by
showing how women engaged with issues such as safe workplaces, civil rights,
reproductive justice, and freedom from violence. Photographs and video footage
of women building warships, boycotting segregation, urging voters to register,
and marching for the Equal Rights Amendment convey the urgency of their desire
for full citizenship. The dynamism of women’s collective action continues to
the present day with handmade signs from the 2017 Women’s Marches and footage
of a variety of marches and speeches on topics ranging from reproductive
justice to indigenous peoples’ rights to climate change. Visitors can also
learn about many individuals who have been instrumental in women’s activism
over the past 200 years in an interactive display compiled by New-York
Historical’s Teen Leaders program. Meanwhile, young visitors can explore the
exhibition with a special family guide.
on view through August 30, 2020, is one of four major special exhibitions
mounted by the New-York Historical Society that
address the cornerstones of citizenship and American democracy.
the Presidentswhich opened on President’s Weekend, is where you can
discover how the role of the president has evolved since George Washington with
a re-creation of the White House Oval Office, decorated “thread by thread”
exactly as it was during Ronald Reagan’s tenure, and a new gallery devoted to
the powers of the presidency.
Colonists, Citizens, Constitutions: Creating the American
Republic explores the important roles
state constitutions have played in the history of our country.
The People Count: The Census in the Making of Americadocuments
the critical role played by the U.S. Census in the 19th century—just in time
for the 2020 Census.
To encourage first-time voters to
learn about our nation’s history and civic as they get ready to vote in the
presidential election, New-York Historical Society offers free admission to the
exhibitions above to college students with ID through 2020, an initiative
supported, in part, by History®. This special program allows college students to
access New-York Historical’s roster of upcoming exhibitions that explore the
pillars of American democracy as they prepare to vote, most of them for the
“The year 2020 is a momentous time
for both the past and future of American politics, as the centennial of the
19th Amendment, which granted women the right to vote, coincides with both a
presidential election and a census year,” said Dr. Louise Mirrer, president and
CEO of New-York Historical. “This suite of complementary exhibitions showcases
the ideas and infrastructure behind our American institutions that establish
and protect our fundamental rights to make our voices heard and opinions count.
We hope that all visitors will come away with a wider understanding of the
important role each citizen plays in our democracy.”
New-York Historical Society is located at 170 Central Park West at Richard
Gilder Way (77th Street), New York, NY 10024, 212-873-3400, nyhistory.org.
The Women’s Suffrage NYC Centennial
One hundred years ago, women earned
the right to vote with the ratification of the 19th amendment. To honor their
fight and commemorate this moment in history, a collective of New York City
cultural organizations has formed the Women’s Suffrage NYC Centennial
The Women’s Suffrage NYC Centennial
Consortium is a collaboration of cultural
organizations citywide that foregrounds exhibitions and programs that,
together, offer a multi-dimensional picture of the history of women’s suffrage
and its lasting, ongoing impact. The consortium has launched www.WomensSuffrageNYC.org to highlight the activities being presented across New
York City throughout 2020.
Founding members are the New-York
Historical Society, the Staten Island Museum, the New York Philharmonic, The
New York Public Library, Brooklyn Historical Society, the Museum of the City of
New York, the Schomburg Center for Research in Black Culture, the Brooklyn
Museum, Park Avenue Armory, and Snug Harbor Cultural Center and Botanical
Announced programming includes the
exhibition Women March at the New-York Historical
Society, which explores the efforts of a
wide range of women to expand American democracy in the centuries before and
after the suffrage victory (February 28 – August 30); Women
of the Nation Arise! Staten Islanders in the Fight for Women’s Right to Vote at
the Staten Island Museum, which presents the remarkable stories of local
suffragists acting on the grassroots level to create the momentum necessary for
regional and national change and the bold tactics they employed to win the vote
(March 7 – December 30); the New York Philharmonic’s Project 19—a
multi-season initiative to commission and premiere 19 new works by 19 women
composers, the largest women-only commissioning initiative in history, which
launched earlier this month and continues in the spring (May – June) and
beyond; and 100 Years | 100 Women a partnership of Park
Avenue Armory with National Black Theatre and nine other cultural institutions in
New York City to commission work exploring the complex legacy of the 19th
Amendment 100 years after its ratification from 100 artists who identify as
women or gender non-binary (showcase of commissions on May 16).
The consortium is committed to
showcasing women’s contributions to the past, present, and future. Though many
women were given access to the right to vote 100 years ago, the fight for
equality continues. Their goal is to expand the conversation through meaningful
cultural experiences that convey that all women should be seen, heard, and
The Women’s Suffrage NYC Centennial
Consortium is co-chaired by Janice Monger, president & CEO of the Staten
Island Museum, and Valerie Paley, director of the Center for Women’s History
and senior vice president and chief historian at the New-York Historical
Society, to bring together a group of vital New York City cultural
organizations with a shared vision to honor the Women’s Suffrage Centennial.
“We are so proud to bring together
this collective of organizations and colleagues who share the vision that
women’s stories are important and need to be told. All of these activities
represent multi-faceted, nuanced cultural and historical insights into the
early 20th century movement and equality in progress today,” said Janice
Monger, consortium co-chair and Staten Island Museum president & CEO.
“In an effort that was many decades
in the making, a century ago, women came together to fight for and win the
right to vote. While that right was not fully and immediately extended to all
women, their continued collective action galvanized movements to expand and
give substantive meaning to American democracy after the suffrage victory,”
said Valerie Paley, consortium co-chair and senior vice president and chief
historian at the New-York Historical Society, where she directs the Center for
Women’s History. “Through these cultural experiences across New York City, we
hope New Yorkers and visitors alike will be inspired by the women who made
history and the women who are making history now,” she added.
The Women’s Suffrage NYC Centennial
Consortium will continue to grow as new programs and exhibitions are announced
during the year.
the National Trust for Historic
is compiling a catalog of 1000 sites associated with women of accomplishment and
is more than halfway to the goal of
identifying places Where Women Made History
and is inviting people to submit entries (go to the site to submit a photo and
year the United States commemorates the 100th anniversary of women gaining the
right to vote, providing an important opportunity to celebrate the place of
women in American history. While history, of course, is complicated, and voting
rights for many women continued to be denied because of discriminatory
practices, we at the National Trust want to tell the full history—to uncover
and uplift women across the centuries whose vision, passion, and determination
have shaped the country we are today. Our goal: discover 1,000 places connected
to women’s history, and elevate their stories for everyone to learn and
to do this, we need your help. What places have you encountered where women
made history? They can be famous or unknown, protected or threatened, existing
or lost. No matter their condition or status, these places matter, and we
encourage you to share them with the world.
a place you’d like to share? Submit a photo and a short description.”
checking the listings in New York State, I see already listed is Grange Hall, Waterloo,
NY, associated with Belva Ann Lockwood; Harriet Tubman House and Gravesite,
Auburn, NY; the former Triangle Shirtwaist Factory, New York City, “Little
Nellie,” Newspaper Editress, Penfield, NY; Alice Austen House, Staten Island;
and Matilda Joslyn Gage Center for Social Justice Dialogue, Fayetteville, NY.
Rubin, Travel Features Syndicate, goingplacesfarandnear.com
Out of 1200 artifacts, photos, video testimonies, it comes down to one:
a tiny, well-worn leather child’s shoe, the sock still hanging out of it. Was
it taken off in anticipation the child was just going to a shower, or was the
child ferociously pulled out of the shoe and sock?
Shoes take on special significance at the “Auschwitz: Not so long ago.
Not far away.” landmark exhibit at the Museum of Jewish Heritage in
downtown Manhattan, which has been extended through August 30, 2020 before
touring to other cities.
As you first walk in, there is a single red shoe in a glass case that perversely sparks an image of the ruby slippers in “Wizard of Oz.” set against a grey-toned wall-mural sized photo of piles of shoes. Further on as you walk through the three-floors of exhibits, there is the pair of hardened leather clog-looking shoes in a case with a prison uniform so rough and raw they would irritate, then infect and swell the feet, a death sentence for the hapless prisoner.
Another display case in the “Selection” section contains shiny leather boots, much like those that the prisoners would see Mengele wearing as they were forced out of the freight cars minutes after being unloaded at Auschwitz, beneath the sign that said. ‘Work Sets You Free.” He was the doctor who selected out twin children for his medical experiments. The rest of the children – 200,000 of them – were immediately sent to the gas chamber along with their mother, aunt, sister, grandmother or friendly stranger who had accompanied them on their journey. The tiny leather shoe with the sock still in it is the only evidence this child existed at all, his life extinguished.
800,000 more Jews were immediately sent to their deaths in the gas
chambers, 2000 at a time, their bodies thrown into crematoria that worked 24/7
to keep up with the factory-scale exterminations, their ashes thrown into a
Out of the 1.1 million “deported” to Auschwitz, the largest of the Nazi
killing camps, only 200,000 were “selected” not for immediate death but to
become slave labor in the concentration camp. They too were immediately marched
into showers, their hair shaved, their arms tattooed, their bodies stripped of
any dignity or humanness. Few lived more than a month or two under the
atrocious conditions – dying of starvation, disease, overwork, beatings or
simply shot on the spot. Some became so infirm, they settled into their fate,
and welcomed being carried by stretcher to end their daily terror and pain.
Others, packed six to a wooden plank in the barracks, would wake up to find a
dead person next to them.
“Auschwitz: Not long ago. Not far away.” offers a different perspective on the Holocaust, a horror on a scale that is incomprehensible, by focusing down to the most personal elements.
This exhibit, which focuses down to one “tiny dot” on a map that was the
largest killing camp in the Nazi’s network – makes it as personal as is
possible. You walk in their shoes. And yet, as well as they show the faces, the
horrors, the personal objects, the testimonials of survivors, the drawings and photos,
an actual freight car and an actual barracks, even so, it is still hard to
Indeed, the incomprehensibility of the horror was key to its success – along
with secrecy and deception. People could not imagine the level of brutality,
cruelty, savageness. So they packed up what they could in suitcases, expecting
they were being resettled to places free of anti-Semitism, where they could
work and live out their lives.
It is also the danger that such dehumanization, genocide, industrial-scale
killing can happen again. Indeed, Auschwitz was not that long ago, nor that far
“Auschwitz” isn’t just a look back with graphic evidence to plant a marker in the history books that others are working so hard to erase . It is a look at now, a look at where the trajectory can lead. That is what is embodied in the phrase. “Never Again.”
I had been steeling myself to visit the Auschwitz exhibit at the Museum
of Jewish Heritage. I recognized that I had an obligation, a responsibility to
be a witness to the extent possible. A NYC-Arts special on PBS helped
enormously because I could visualize, know what to expect and better prepare
for the horror – unlike the millions who were sent to the killing camps. Then
there was that television screening of the story of Irena Sendler, a Warsaw
nurse who smuggled 2,500 children out of the Ghetto to safety – the film so
graphic, her courage and nobility so palpable. Surely I could summon the
courage to face the past. To Remember. Never Forget.
If you thought you knew about the Holocaust and the Nazis’ Final Solution
that exterminated 6 million Jews and too many (40% of adults and 65% of young
people) don’t know anything at all, this rare exhibit, with artifacts gathered
from 20 institutions around the world, focuses just on Auschwitz – from how a
simple Polish village, Oswiecim where half the population was made up of Jewish
families who had lived there for centuries, was turned into the largest of six
killing factories in Poland. Original artifacts – documents, personal items,
posters, photos – show the roots of anti-Semitism and how being Jewish was
converted from a religion to “an inferior race,” a sub-human species, stripped
of legal, political, property and professional rights. That’s the first floor.
You see and hear from survivors how families were stuffed 100, 150 into a
box car (like the one outside the museum), with the ploy of telling them they
were being resettled to a better place free of anti-Semitism, then locked in
with just one pail as a toilet and one pail for water, so crowded, one had to
stand up in order for someone to sit down. And then they arrive on the “ramp”,
where they are “selected,” crossing under a wrought iron sign that said, “Work
Makes You Free.” That’s just the middle of the second floor.
Here you see stacks of suitcases, a pram (a rare artifact) that eerily reminds
you of the display as you enter Ellis Island, the gateway for millions of
immigrants into the United States. But here, it shows how unwitting the victims
were. Because they were only moments away from being sent to their death. And
because access to safe harbors like the United States were shut off to them.
Turn the corner in a room shrouded in darkness and you come upon a white
door of a gas chamber, a metal mesh chimney down which the Zykon B poison was
sent, a gas mask. In another case, one of the innocuous looking showerheads
that survived the fire the Nazis set to destroy evidence of their Final
Solution. Extraordinarily powerful and horrifying drawings by survivor Alfred Kantor depict how women and
children were told to undress and hang up their clothes on a numbered hook so
they would find them again – “Remember your number.” And then they would be
locked into the gas chamber.
They, too, were told they were going to shower to be de-loused. The Nazis
made a show of having them undress in a changing room, have them put their
clothes on numbered hooks so they could find them again. They were shoved 1000
at a time into a shower room, the doors clanked shut, and Zykon B poison pumped
in. It took barely 15 minutes to exterminate them all.
The door would open at the other end and a group of Jewish prisoners, called
Sonderkommandos, would pull the bodies out one by one, drag them to a dumbwaiter
to the crematoria. To keep the secret safe, the Sonderkommandos were kept
isolated from the rest of the camp, living in barracks above the crematoria. A
rabbi among them, a Hungarian, took each child and said Kaddish before placing
the small body in the crematorium.
But one of the Sonderkommandos, working with Polish resistance, smuggled
a camera and film and took photos of bodies being burned in vast fields with
the overflow that couldn’t be handled in the crematoria, working night and day.
There are four of these photos on display.
The Nazis harvested their victims. As the bodies were pulled from the gas
chamber, a Sonderkommando designated “The Dentist” would pull out their gold
teeth. Their clothes and meager belongings had already been plundered and sent
to “Kanada” – vast warehouses named for a country that was considered rich but
out of reach. Between the various business enterprises that the Nazis used
their slave labor and the looting, it is estimated that each prisoner returned
$794 in profit to the SS.
How were the Nazis able to lead 11 million including 6 million Jews to
slaughter like sheep? The secret is how they kept such a massive killing secret,
and who could have imagined such diabolical cruelty, such grotesque brutality,
who could have imagined a Final Solution?
How did they keep such a monstrous secret? How they managed to move
people by the thousands – trapping them into the freight cars when the people
thought they were being resettled to a pleasant village where they would be
allowed to work. They kept it a secret when immediately upon arriving at
Auschwitz, they were separated into two groups. One line was pushed to showers,
told to strip and were turned into slave labor – their hair shaved, arms tattooed,
all their property stripped away along with their identity, their personhood,
stuffed into a prison uniform with an appropriate identifying symbol as to
You continue on to learn what life was like in Auschwitz for the 200,000
who were not immediately murdered. You listen to harrowing testimonials by survivors,
see part of an actual barracks.
death toll of 1.1 million was the largest
among all the German death camps. But it also had the greatest number of
survivors – some 200,000 people brought to Auschwitz were sent to other camps
before the war ended, and some 7,000 prisoners were liberated at Auschwitz in
You leave this section, which is dark, almost completely black, into a
room called “Persistence and Resistance,” which is off-white, round, with
natural light streaming from a domed ceiling.
Persistence took the form of ways that the prisoners preserved their
Resistance took the form of getting the story of what was going on in
Auschwitz out to the world, in the hopes that the Allies would bomb the killing
center or disrupt the deportations, and preserving evidence that would
ultimately hold perpetrators of such colossal evil accountable.
This is the most moving section of all –
when I can finally start breathing again.
Auschwitz SS aimed to destroy any possible solidarity between prisoners…‘Resistance’
in Auschwitz therefore consisted of acts in which prisoners, against all odds,
showed solidarity with others. It included heroic actions made with a view to
the larger world outside of the camp, grand gestures of generosity and small
acts of kindness and charity, along with spiritual resistance. And it was
expressed in the determination that-despite the best efforts of the SS – death
in Auschwitz would not remain anonymous, and the victims would not remain
I learn the amazing story of Witold
Pilecki, a Second Lieutenant in the Polish Army who had himself arrested under
the name Tomasz Serafinski and sent to Auschwitz in 1940 (prisoner no. 4859) in
order to spy for the Polish government.
managed to smuggle out messages about life and death in the camp while organizing
fellow prisoners. In April 1943, Pilecki escaped, and returned to Warsaw to
convince the Polish Resistance to attack Auschwitz in a coordinated effort with
prisoners. But the commander who had sent him on his mission had been arrested,
and the new leader judged an attack on the large and well-armed Auschwitz
garrison to be suicidal. They also realized they wouldn’t be able to shelter
the tens of thousands of inmates who might be freed. Pilecki wrote the first
full report on conditions of Auschwitz and the mass murder of Jews in the gas
chambers. The allies received the report but ignored it. Pilecki continued to
fight the Germans, participating in the 1944 Warsaw Uprising.
Outrageously, in 1947, he was arrested
by the Polish Communist government, tortured, and executed in 1948.
It was so critical to
get information out that several risked their lives to smuggle information out.
I learn the story of The
Auschwitz Protocols: In March 1944, Slovakian Jewish inmates Walter
Rosenberg (aka Rudolf Vrba) and Alfred Wetzler observed the Nazi’s preparations
for the arrival of transports from Hungary. With a lot of planning and luck,
they escaped from Auschwitz on April 7, 1944 and fled to Slovakia in the hopes
of warning the Jews of Hungary.
The testimony of Vrba and Wetzler, along with
information supplied by Czeslaw Mordowicz and Arnost Rosin, who escaped Auschwitz
on May 27, 1944, yielded the first substantial report of the use of Auschwitz
as a death factory. It became known as the “Auschwitz Protocols” and detailed
the continuing massacres in the gas chambers. But the information didn’t reach
the Hungarians in time: beginning in May, over 400,000 Jews were deported and
murdered. A summary of the report arrived in the US in July. That same month,
the Red Army’s liberation of the Majdanek camp led to the publication in the US
of sensational reports written by well-known journalists in America media.
Though it didn’t succeed in its primary objective, the Auschwitz Protocols led
to diplomatic pressure that forced the Hungarian government [the leader now
fearing he would be tried for war crimes] to stop further deportations, saving
the lives of over 150,000 Jews. It also triggered a debate among the Allies:
what parts of Auschwitz could or should be bombed.
On August 20, Allied bombers attacked the IG
Farben factory, but not Auschwitz camps.
“I firmly believed that [the daily killing in
the crematoria] was possible because the victims who came to Auschwitz didn’t
know what was happening there,” Auschwitz survivor Rudolf Vrba wrote in 1985.
“I thought that if this would be made known by any means within Europe, this
might stir up the Resistance outside and bring help directly to Auschwitz. And
thus the escape plans are finally formulated and the escape took place on April
organized an ill-fated revolt in October 1944.
Roza Robota recruited women prisoners working in
the munitions factory operating next to the camp to smuggle gunpowder off-site.
Robota passed it to Timofei Borodin, a Russian technician, who carried it to
the Sonderkommandos. Their aim was to destroy the crematoria and spark a
But the uprising went awry. The Sonderkommandos
of Crematorium 5, hearing they were to b e gassed, revolted ahead of schedule.
On October 7, they killed 3 SS, wounded 12 and burned down Crematorium 4. At
the same time, the Sonderkommandos of Crematorium 2 attempted a breakout.
In retaliation the SS killed 451
Sonderkommandos. The camp Gestapo identified Robota and three other Jewish
women – Regina Sapirstein, Ala Gertner and Ester Wajeblum – as plotters. After
weeks of torture they were hanged publicly. As the noose was placed around her
neck, Robota cried out ‘Nekama;’ (Revenge!)
Sonderkommando Zalman Groiadowski (Sept 6, 1944), leaves a note. “Dear finder,
search everywhere, in every inch of soil. Tons of documents are buried under
it, mine and those of other persons, which will throw light on everything that
was happening here. Great quantities of teeth are also buried here. We, the
Sonderkommando workers, have expressly strewn them all over the terrain so that
the world should find material traces of the millions of murdered people…”
This groundbreaking 18,000-square-foot exhibition takes up three
floors, 20 thematic galleries. Through the artifacts and Holocaust survivor
testimony, it brings you inside and re-creates the experience as best as possible,
raising the alarm how the unimaginable, the inconceivable happened and can
happen again. The commentary notes that one demagogue like Hitler could not
have produced the Holocaust.
“Genocide is a social
act,” the audio guide says toward the end of the exhibit. “It requires a
society who conspires…But the same society can resist.”
But there is one question that is not answered: who, what and how those
who administered torture, who beat and murdered and presided over such intense
suffering. That is a critical question to knowing whether such a thing could
happen again. Just what percentage of a given population are sociopaths?
There are some clues provided in the statements that are presented:
Once Hitler had decided that the “Final Solution”
would be enacted, one important question remained: Who was to be in charge of
the genocide? Heinrich Himmler sought this responsibility as he believed it
would help him consolidate his power.
Auschwitz commandant Rudolf Hoss (1946)
testified, “I visited Treblinka to find out how they carried out their exterminations.
I did not think his methods were very efficient. I used Zykon B, a crystallized
prussic acid dropped into the death chamber from a small opening. It took from
three to 15 minutes to kill the people. Another improvement we made over
Treblinka was that at Treblinka the victims almost always knew that they were
to be exterminated and at Auschwitz we endeavored to fool the victims into
thinking that they were to go through a delousing process.”
“The children, they’re not the enemy at the
moment. The enemy is the blood inside them. The enemy is the growing up to be a
Jew that could become dangerous. And because of that the children were included
as well.” (Former Auschwitz SS man Oskar Groning explaining in a 2004 interview
why he condoned killing Jewish children).
The exhibition explores the dual identity of the camp as a
physical location—the largest documented mass murder site in human history—and
as a symbol of the borderless manifestation of hatred and human barbarity.
Consider this: Jews had lived in Germany for 1000 years before the
Holocaust; they had lived in the Polish town of Oswiecim.that the Germans renamed
Auschwitz and repurposed for a killing factory for hundreds of years. It was
only 10 quick years between when Hitler was democratically elected Chancellor
in 1933, to the Final Solution in 1942. By the time Germany surrendered, two
years later, 6 million Jews – two-thirds of Europe’s Jewish population – had
That’s how fast things can descend into unimaginable evil.
Produced by the international exhibition firm
Musealia and the Auschwitz-Birkenau State Museum in Poland, the groundbreaking
exhibition is the largest ever on Auschwitz with more than 700 original
objects and 400 photographs. The New York presentation of the exhibition allows
visitors to experience artifacts from more than 20 international museums and
institutions on view for the first time in North America, including hundreds of
personal items—suitcases, eyeglasses and shoes—that belonged to survivors and
victims of Auschwitz. Other artifacts include: concrete posts that were part of
the fence of the Auschwitz camp; part of an original barrack for prisoners from
the Auschwitz III-Monowitz camp; a desk and other possessions of the first and
the longest-serving Auschwitz commandant Rudolf Höss; a gas mask used by the
SS; Picasso’s Lithograph of Prisoner; and an original German-made
Model 2 freight train car of the type used for the deportation of Jews to the
ghettos and extermination camps in occupied Poland.
The exhibition also features 10 artifacts on
loan from the Anne Frank House in Amsterdam, which include the spilled, dried
beans Anne wrote about in her diary and that were later discovered lodged
between the cracks of stairs in the home where she hid from the German Nazis.
The beans have never been displayed anywhere before. Most recently, the Museum
announced the exhibition’s incorporation of a shofar (a ram’s horn that is made
into a special wind instrument used during Jewish High Holiday services) that
was hidden and clandestinely blown in the Auschwitz. The shofar was newly added
to the exhibition on the cusp of the High Holy days and temporarily transported
to two New York City synagogues to be blown on Rosh Hashanah and Yom
The Museum of Jewish Heritage has incorporated
into the exhibition nearly 100 rare artifacts from its collection that relay
the experience of survivors and liberators who found refuge in the greater New
York area. Alfred Kantor’s sketchbook and portfolio that contain over 150
original paintings and drawings from Theresienstadt, Auschwitz, and
Schwarzheide; the trumpet that musician Louis Bannet (acclaimed as “the Dutch
Louis Armstrong”) credits for saving his life while he was imprisoned in
Auschwitz; visas issued by Chiune Sugihara, a Japanese diplomat in Lithuania
often referred to as “Japan’s Oskar Schindler”; prisoner registration forms and
identification cards; personal correspondence; tickets for passage on the St.
Louis; and a rescued Torah scroll from the Bornplatz Synagogue in Hamburg,
postcards sent home in order to deceive family members as to what was really
going on at the camp.
Most profound is a
film that has survived showing a killing field in which the killers are so
casual, even bored by the routine as villagers look on, and the four photos of
Crematorium 5 smuggled out by Alberto
Errera, a Jewish-Greek army officer who joined the resistance during the German
occupation, assuming the name Aleksos (Alex) Michaelides. Captured, Errera was
sent to Auschwitz in April 1944 and selected for the Sonderkommando. On August
9, Errera attempted an escape but was captured, tortured and killed.
Most poignant are the video testimonials of
survivors describing their personal experiences.
Also on display from the Museum of Jewish
Heritage collection is Heinrich Himmler’s SS helmet and his annotated copy of
Hitler’s Mein Kampf, as well as an anti-Jewish proclamation issued
in 1551 by Ferdinand I that was given to Hermann Göring by German security
chief Reinhard Heydrich on the occasion of Göring’s birthday. The proclamation
required Jews to identify themselves with a “yellow ring” on their clothes.
Heydrich noted that, 400 years later, the Nazis were completing Ferdinand’s
work. “These artifacts stand as evidence of a chapter of history that must
never be forgotten.”
information is presented as clearly, simply, directly, forth-rightly and in
excruciatingly personal terms, but it is all still so hard to comprehend, to
process, the magnitude, the scale of cruelty.
The artifacts and materials in the exhibition
are on loan from more than 20 institutions and private collections around the
world. In addition to the Auschwitz-Birkenau State Museum and the Museum of
Jewish Heritage – A Living Memorial to the Holocaust, participating
institutions include Yad Vashem in Jerusalem, Anne Frank House in Amsterdam,
United States Holocaust Memorial Museum in Washington, Auschwitz Jewish Center
in Oświęcim, the Memorial and Museum Sachsenhausen in Oranienburg, and the
Wiener Library for the Study of the Holocaust and Genocide in London.
Auschwitz. Not long ago. Not far away. was conceived of by Musealia and the Auschwitz-Birkenau State
Museum and curated by an international panel of experts, including
world-renowned scholars Dr. Robert Jan van Pelt, Dr. Michael Berenbaum, and
Paul Salmons, in an unprecedented collaboration with historians and curators at
the Research Center at the Auschwitz-Birkenau State Museum, led by Dr. Piotr
“When we, the Musealia curatorial team set out
to design the Auschwitz exhibition, we realized that we faced a difficult
problem. In Auschwitz over a million people, mostly Jews, were murdered shortly
after their arrival or suffered and died in unimaginable circumstances. How
does one create an exhibition about such a dark chapter in human history that,
in our understanding, is not long ago and happened in a place not far away? How
does one make the public, that has so many opportunities to explore a great
city like New York, decide that it would want to see such an exhibition? Our
tools were straightforward: a narrative told through more than 700 original
artifacts, 400 original images, 100 stories, made present by means of filmed
testimonies and quotes – all revealing individual experiences of a history we
must learn from,” said Dr. Robert
Jan van Pelt, Chief Curator.
Following the New York presentation, the
exhibition will tour to other cities around the world.
You need 2 ½ to four hours to see just this
exhibit (I was there five hours before I realized it). hours).
Entry is by timed ticket available at
Auschwitz.nyc. Audio guide (available in 8 languages) is included with
admission. Tickets are $25 Flexible Entry (entry any time on a specific day); $16
Adults; $12 Seniors and People with Disabilities; $10 Students and Veterans; $8
FREE for Holocaust survivors, active members
of the military and first responders, and students and teachers through grade
12 in schools located in New York, New Jersey, and Connecticut (with valid
The Museum of Jewish Heritage – A Living
Memorial to the Holocaust is
New York’s contribution to the global responsibility to never forget. The third
largest Holocaust museum in the world and the second largest in North America, since
1997, the Museum of Jewish Heritage has welcomed more than 2.5 million
visitors; it maintains a collection of more than 40,000 artifacts, photographs,
documentary films, and survivor testimonies and contains classrooms, a 375-seat
theater (Edmond J. Safra Hall), special exhibition galleries, a resource center
for educators, and a memorial art installation, Garden of Stones,
designed by internationally acclaimed sculptor Andy Goldsworthy. Set in
the southernmost tip of Manhattan overlooking the New York Harbor, the Museum completes
the cultural and educational triad with the Statue of Liberty and Ellis Island,
visible from its balcony.
The Museum also partners with Jewish Heritage Travel – offering heritage trips to Germany & France; Poland; The Baltics; Germany; Spain & France; Argentina; and India (jhtravel.org, 845-256-0197).
The Museum is closed on Saturdays, Jewish
holidays, and Thanksgiving.
of Jewish Heritage – A Living Memorial to the Holocaust, 36 Battery Place, New
York City, 646-437-4202, mjhnyc.org.
There is a special allure at Central Vermont’s Magic Mountain. On the one hand, the vibe is retro and frill-less, with two cozy double chairs (that founder Hans Thorner imported from Europe) and some free-spirited bluegrass/groovegrass playing through the speakers at the Black Line Tavern. On the other, it’s a quiet, nearly private skiing experience. Considering how rustic and unpretentious Magic Mountain is, this actually feels like the ultimate in luxury.
This past Thursday, we
had the pleasure of a Magic day trip. We hit the road from Schenectady at
6:45am, stopped as we approached the mountain area to pick up some delicious
breakfast sandwiches at Hapgood’s General Store in Peru, and were on the lift
with stress-free rental skis by 9:30. You park your car and walk to the lift in
a minute flat.
As we explored our first
run, one of a handful of long slopes carved 50 years ago to match the contours
of Vermont’s Green Mountains, we quickly realized that we have this enchanting,
snowy gem of a mountain to ourselves. It had just snowed, and because
Magic Mountain is only open Thursdays to Sundays, we were reveling in fresh
powder, laying down our own tracks.
Thorner was among the
first to bring skiing to New England. In the late 1950s, when he discovered
Glebe Mountain, he saw ridge lines and steep topography that reminded him of
his native Swiss Alps. Our new friend in the rental shop, Peter, who grew up in
Londonderry, made this sincere analogy: The major mountain resorts are “the
Porsche Cayenne or the Range Rover. Magic is the ‘61 Jaguar XKE that’s been
kept hidden away in a barn.”
This Thursday (for most
of the season, Thursdays have a special price of $29), we were amazed at the
quality of the powder we found. The slopes – there are 50 of them on 205
skiable acres, with a vertical drop of 1,500 truly vertical feet – carry across
the “Magic” theme with names like Sorcerer, Talisman (a favorite of Magic
regulars), Twilight Zone (a great glades trail with lots of snow), Broomstick,
and Slide of Hans (a punny tribute to Hans Thorner). Magic offers
boundary-to-boundary tree skiing and few distractions.
The runs are great,
especially for intermediate (13 trails) and advanced skiers (17 trails). There
are 11 glade trails, including some that are even welcoming for those who are
new to skiing through the trees. There are 13 easy trails, mostly in the center
of the mountain, and one terrain park. It’s also easy to cross between black to
blue to green on one long run if you go with a mixed-level group.
At the base, Black Line
Tavern is as laid-back as the rest of the mountain, with a friendly atmosphere
that feels like your neighborhood bar/restaurant. A song by Vermont acoustic
group Jatoba was playing as we strolled in for lunch. (A poster on the wall
listed them as one of the upcoming bands performing at the tavern.) The beef
chili was excellent, and the Korean BBQ Pulled Pork sandwich with fries was
Magic Mountain, which
remains fiercely proud in being independent and a throwback to Vermont’s ski
heritage, continues to make major investments in lifts and snowmaking, this
year spending $2 million in improvements to ensure an uncrowded, soulful ski
“Our future is as an independent,” owner Geoff Hatheway said at a recent Ski Vermont event told us. Hatheway purchased Magic four years ago, drawn by the community feel.
“The major investments
we are making in smoothing out some of the prior rough edges here are always
balanced by maintaining our unique ‘throwback’ character,” Hatheway said. “We
love natural snow here—it just skis better than man-made. So while we continue
to make major investments in snowmaking, lift service and grooming equipment,
we will let mother-nature do what she does best on our more advanced terrain.
Powder days are legend here and it’s why we have special openings when a storm
hits mid-week. It’s why we continue to expand the best tree-skiing in southern
Vermont. It’s why we’ve always supported uphill alpine touring. There’s truly
something for everyone here who is into the original feel and adventure of the
sport of skiing.”
In order to handle more
guests yet keep its lift line wait to under 10 minutes even during the busy
holiday periods, Magic is replacing its Black Double summit lift with a
fixed-grip Quad from base to summit to complement its Red Lift. The new Black
Line Quad was hoped to be completed for this season, but more likely will be
next season. With the addition of the new summit lift, Magic is adding another
double-diamond expert summit trail named Pitch Black. There is also a new East
Side glade created by the “Friends-of-Magic” work-crew this year.
In addition, Magic is
repairing a snowmaking pipe and re-energizing its Thompsonburg Brook pond to
better re-fill and supply water. They plan to expand snowmaking coverage to
over 50% of trails on both the East Side and famed expert West Side.
There is also a tubing
park that is open weekends.
Magic is a northern
Vermont mountain in southern Vermont, more challenging than its neighbors. But
a new mid-mountain chair improves access for intermediate and novice skiers
(there is no beginner trail from the summit, but a low-intermediate can take
the 1.6 mile trail from the top).
The plan is to “create a
future that harkens back to a golden age of skiing,” Hatheway, who brings a
background from marketing and advertising Internet and tech startups, said.
Asked how Magic can
compete against bigger resorts with bigger marketing budgets and seasonal
passes that span the globe, Hatheway pointed out, “We can appeal to the
‘uncommitted’ market. We have a passionate group of committed people, but there
is opportunity to peel off those who don’t want to commit to an $800 season
Magic Mountain offers a variety of options on passes: Sundays only, Midweek, 18-29s, a Throwback Card ($149 gets you $29 tickets all season long). “These are crazy affordable but the skier makes some commitment. We try to be as creative as possible – we even have a holiday pass when others are blacked out elsewhere.” Skiers can also purchase discounted lift tickets on Liftopia.com.
“We hope you take the
road less traveled with us. It will never be perfect. But it will always be
authentic and interesting,” Hatheway said.
by Karen Rubin, Travel
Features Syndicate, goingplacesfarandnear.com
The HSMAI Adrian
awards are the CLIOs of the hospitality, travel and tourism industry – the
nation’s third largest industry which people don’t readily recognize as being
so integral to everyday life, so fundamental to the sustainability of local economies
and communities, and so critical to global commerce, diplomacy and human progress.
These awards honor the advertising, public relations and digital marketing
campaigns that excite, engage, inform and ultimately spur millions of us to
venture out and experience new places, people, activities and ideas.
Travel bolsters local,
state and national economies – the travel industry generates $2.5 trillion in economic output and
supports 15.7 million American jobs. It creates
an economic underpinning for communities that sustains heritage, culture and
the environment – globally, travel and tourism generates $8.8 trillion (10% of all global economic activity)
and 319 million jobs (10% of all jobs). An
enterprise which relies disproportionately on people, rather than robots, the
travel industry has provided extraordinary upward mobility, especially for
women and minorities – it is still one of the few industries where stories of a
bellman rising to senior sales executive of a $5 billion hospitality company
are not unusual.
And while travelers are themselves enriched, often with life-enhancing, life-changing experiences; travelers become ambassadors, opening lines of communication and understanding between people that break down the barriers that promote conflict, in effect, winning the battle for “hearts and minds.” And going back to the age of Marco Polo, travelers help the free exchange and spread of ideas and innovations that foster progress.
This year’s theme for
the Adrian Awards was “The Future” and many of the campaigns rewarded messages
of sustainability, responsible tourism, social responsibility. Just as the
travel industry pioneered e-commerce (electronic ticketing), branding and
loyalty campaigns, the industry, from the airlines and cruiselines that are
cultivating lower, if not zero-carbon emissions technologies, to the hotels
that are building to LEED standards, and tour companies that employ and educate
local people and bolster and give back to local economies, they are the leading
edge for wider application of sustainable strategies.
More than 800 hospitality sales and marketing leaders gathered at the Hospitality Sales & Marketing Association International (HSMAI) annual Adrian Awards Dinner Reception and Gala at the New York Marriott Marquis to recognize excellence in travel advertising, digital marketing, and public relations.
The highly anticipated Best of Show awards were chosen from the Platinum Award winners for three divisions: digital marketing, public relations, and advertising. The 2019 Best of Show winners are:
Digital Marketing “Best of Show”:Super 8
by Wyndham; Citizen Relations, Questus, Mullenlowe Mediahub, for its Super
8 #JOURNEYSAFE campaign
Public Relations “Best of Show”:The
National WWII Museum and its agency, MMGY NJF, for The National WWII Museum
| Owning an Entire News Cycle: D-Day with The National WWII Museum campaign
Advertising “Best of Show”:Ritz-Carlton
Marriott International for its Stellar Dining Series
“The 2019 competition was fierce — entries had bold ideas and brilliant execution,” said Robert A. Gilbert, CHME, CHBA, president and CEO of HSMAI. “The winning Adrian Award campaigns went above and beyond, leading the future of hospitality marketing with impactful and dynamic campaigns that achieved measurable success for their brands.
“This year’s award winners are making the future of hospitality brighter and better with their thought leadership and creative approaches to marketing challenges.”
Winning campaigns launched new products, repositioned brands, addressed disasters, inspired social responsibility and environmental sustainability.
Advertising Platinum Winners:
Best Western Hotels & Resorts; Ideas Collide; Initiative (2019 Disney Summer
Partnership – 3300 display media clicks, +241K completed Youtube views, +10.7M
social post impressions)
Discover Puerto Rico; Miles Partnership (“Have We Met Yet?”
Discover Puerto Rico Brand Repositioning – 41% increase in meeting bookings,
+34% increase in room nights, +6% increase in likelihood to visit)
Newfoundland and Labrador Tourism; Target (Place of Stories – 700,000 Youtube
views, 25,000 ebook downloads, +5.3% increase in trip planning, +9.3% increase
in social followers)
Ritz-Carlton Marriott International (Stellar Dining Series – 749M PR impressions,
170 media clippings, 3M+ social media engagements)
The Aruba Tourism Authority; Concept Farm, USIM (Aruba goes “Local” in
Grand Central Station – 10M impressions, 500+ sweeps entries, uploads &
comments, +7% increase in US visitation))
Digital Marketing Platinum Winners:
AccorHotels, Fairmont Hotel and Resorts (Fairmont’s Canine Ambassadors, Fairmont
Hotels and Resorts – 2.5M social media impressions, 1M social media views, 1M in-room
The British Virgin Islands Tourism Board &
Film Commission; MMGY
Myriad (Today’s Secret – 20M impressions, 2328% increase in website traffic,
245% YOY increase in unique visitors)
Red Roof (Pet Travelers Social Media Campaign – 91% increase in
instagram engagement, 2.8% increase in instagram follows, 16% increase in
United Airlines; 360i (United Airlines Carbon Cutback: “Our goal is to be the most environmentally conscious airline in the world.” – 100 M social impressions in 24 hours, 1000% increase in twitter replies, +62K influencer content impressions)
Visit Seattle; PB& (Experience the Stories of 5 Immigrant Chefs
Transforming Seattle’s Culinary Scene – 6.5% favorability increase, 7.%
increase in visit intent, 6.5M views)
Super 8 by Wyndham; Citizen Relations, Questus, Mullenlowe
Mediahub (Super 8 “Don’t Drive Drowsy #JourneySafe campaign – 110M earned media
impressions, 49K Waze naviations, 6.4M digital video impressions)
Public Relations Platinum Winners:
Contiki; The Decker/Royal Agency (#VoteWithNoRegrets Campaign – 63
stories, 4B editorial/digital impressions, +2,310 hashtag social posts )
DoubleTree by Hilton; Edelman (Cookies In Space: Taking Hilton Hospitality
Out of this World, Doubletree by Hilton – 276 placements, 3.69B impressions,
+422% WOW increase in brand conversation)
TWA Hotel, MCR and MORSE Development; BerlinRosen (Up, Up and Away
with TWA Hotel – 1,260 stories, 42 countries, 5.1B impressions)
Travel Michigan; Weber Shandwick (Pure Sounds of Michigan –
88K album streams/downloads, +190 media placements, +10M impressions)
The James New York – NoMad; MMGY NJF (Breaking Through the
Rainbow – 25 stories; 151M impressions, print, online, digital video; 9M social media impressions )
The National WWII Museum; MMGY NJF (Owning an Entire News Cycle: D-Day
with the National WWII Museum – 1.3B media impressions, +$46M ad equivalency;
132 national broadcast segments; 102 online placements = 1.12B impressions;
record-breaking 480K site visitors in June)
Visit North Carolina & Discover South
Carolina; Luquire George
Andrews (#Careolinas, Visit North Carolina & Discover South Carolina, “We
Share More than a State Line”, a campaign undertaken after Hurricane Florence
to show strength and resilience of the Carolina spirit)
VisitScotland; Laura Davidson Public Relations (The Comeback Kid: Dundee: How Scotland’s Fourth Largest City Became the Kind of Cool” – 100 pieces of coverage; +146M impressions, 20% growth from North American market – +34K visits to website, +2700 downstream referrals, +94K hashtag engagements)
Integrated Marketing Campaign Platinum Winners:
Marriott International – Marriott Bonvoy Global Launch, Marriott Bonvoy.
Agencies: Mother Design, M1M –Publicis, The Lacek Group, Observatory (7.5%
increase in enrollment, 820 packages redeemed)
The Aruba Tourism Authority; Concept Farm & USIM for Aruba Local
All-Star Xander Bogaerts (300,000
organic video views; 80,000 sweepstakes entries, 72,000 lead generating emails)
HSMAI Foundation Talent & Leadership Award
SALT Hotels; MMGY NJF; Attracting new talent
Marriott International; Mitchell Communication Group; Developing emerging talent
Terranea Resort; Engaging existing talent
“This year’s Adrian Awards winners showed remarkable ingenuity and truly embraced new techniques in their campaigns,” said Fran Brasseux, HSMAI’s executive vice president.
HSMAI also honored
two industry leaders with HSMAI Lifetime Achievement awards. Bjorn Hanson, Ph.D., executive vice
president, 795 Fifth Avenue Corporation, and director, Summit Hotel Properties,
was recognized with the 2019 Winthrop W. Grice Award for
“From my first day
working a hotel to tonight, HSMAI has been among the most important influences
in my career,” said Hanson. “Thank you for this wonderful moment and memory for
my family and me.”
Leland “Lee” Pillsbury, managing director, Thayer Ventures, was the
recipient of the 2019 Albert E. Koehl Award for Hospitality
Marketing. “We are in a service business, and that will never change”,
said Pillsbury. “HSMAI has always stood for those values, and that is what
makes this award so meaningful for me. I’m honored and humbled to receive this
award and to join the extraordinary list of previous award winners.”
The Facebook Mobile Video Award went to DoubleTree
by Hilton for its Cookies in Space campaign.
In addition, the Corporate
Social Responsibility Award was presented to Rosen Hotels & Resorts for its Tangelo Park Program.
For 63 years the Adrian Awards have
spotlighted excellence in hospitality advertising, digital marketing, and
public relations. This year’s award winners were selected from more than 1,100
entries by senior industry and media experts for the following entry
categories: advertising, digital marketing, public relations, and integrated
Gold Award winners
across each category were recognized during the Adrian Awards Dinner Reception,
which was co-sponsored by HSMAI, Google, and TravelClick, an Amadeus Company.
Platinum winners receive the highest honor among each category’s Gold Award
HSMAI’s Adrian Awards Gala is featured in BizBash’s Top 100 Events in New York. Access this year’s event photos to view the winners at the Adrian Awards Dinner Reception and Gala.
Hospitality Sales and Marketing Association International (HSMAI) is committed to growing
business for hotels and their partners and is the industry’s leading advocate
for intelligent, sustainable hotel revenue growth. The association provides
hotel professionals and their partners with tools, insights, and expertise to
fuel sales, inspire marketing, and optimize revenue through programs such as
the Marketing Strategy Conference, Adrian Awards, Sales Leader Forum, and HSMAI
ROC. Founded in 1927, HSMAI is a membership organization comprising more than
5,000 members worldwide, with 40 chapters in the Americas Region. Connect with
HSMAI at hsmai.org, HSMAI Facebook, HSMAI Twitter, and HSMAI YouTube.
by Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com
“Solar Impressions,” a new art exhibit featuring works using the innovative Solarplate print-making process, has opened at the Gold Coast Arts Center in Great Neck, Long Island. The exhibit, which runs through April 10, 2020, brings together the works of more than 40 artists including internationally acclaimed American painter Eric Fischl. Each work of art is a representation of an ongoing exploration of the Solarplate etching process developed by Dan Welden, and reflects the extraordinary diversity of applications of the technique.
Noted artist, master printmaker, educator, and author, Dan Welden, was among scores of artists and art lovers on hand at an opening reception that took place on Sunday, January 26. Welden, director of Hampton Editions, Ltd., in Sag Harbor, is the developer of the Solarplate etching process, which uses light-sensitive material applied to a metal plate, and then hardened by the sun. The innovative process is a simpler and safer alternative to traditional etching that uses corrosive acids and is now used at universities and art schools all over the world.
sunlight and water to fix an image from a photograph or drawing into a steel
plate which has been treated with polymer. Artists can apply color by hand into
the ridges and grooves, or use a silk-screen process.
What is impressive is
the versatility of the Solarplate process for artists across various media –
photographers, painters, printers, collage makers – as well as the materials
they use – paper, textured paper, Mulberry paper, fabric – which is very much
on view in the Gold Coast exhibit.
“Rather than using all of these harmful materials that get inside an artist’s lungs and immune system, solarplate etching uses sunlight and water,” Welden said in an interview with Robert Pelaez of Blank Slate Media. “It’s pretty easy to grasp for people of all ages, and you don’t need an extensive artistic background for this.”
Solarplate is a light-sensitized steel-backed
polymer material. Artist can work on the plate directly, with opaque materials
in nonwater-based pigments, or by expose the plate through a transparent film
with artwork on it. The artwork is printed on the plate through UV exposure for
2 to 5 minutes depending on light exposure, time of day and other variables.
Welden first developed the technique, he called fellow artist Jude Amsel. and
current Gold Coast Gallery Director Jude Amsel. More than 30 years later,
Amsel, the Gold Coast Gallery Director, brought together 40 pieces of
solarplate etching from across the country for the Gold Coast exhibit.
first I definitely had some questions about the process,” Amsel told Pelaez
during a studio tour. “But once I did it, I realized how revolutionary an art
form this would be for artists all over the world.”
a common ground of personal creativity,” Amsel said. “Some feature nature,
traveling, or aspects of life that resonate with an artist, but there’s no
limit to what can be done with solarplate etching. It’s one of the many things
I think is fascinating about it.”
said artists from all backgrounds are able to use the technique. Even
photographers can use the art form by reprinting and then shading in the
outline of their subject through etching.
of them, photographer Kelli Glancey, has two pieces in the exhibit. Using the
process, she has created photo images – shot in color on a phone – that harken
back to Steichen and Stieglitz. Two of her works, “Freedom Tower, Pier A”
(2019) and “The Conductor” (2019), are images taken from the 1907 Lackawana
train depot in Hoboken, NJ, pay homage to Steiglitz who lived in Hoboken.
herself as a “newbie” to solarplate, Lori Horowitz said, “Artists are so
fixated on making art we poison ourselves. This is safe process for print
making.” She holds up the original color photograph from which she made the
realm of possibilities is really endless with solarplate,” Amsel told Pelaez.
“My personal relationship with Dan makes this exhibit even more special.
Watching him work and being a part of the early stages of this art is a
innovated the process but says he has not patented it. “I did it to
share, not to own.” He travels around the world giving workshops in the
which is almost 2,000 years old, developed in China with the invention of
paper, is a process used in art to transfer images from a template onto another
surface. The design is created on the template by working its flat surface with
either tools or chemicals. Traditional printmaking techniques include
engraving, etching, woodcut, lithography and screen-printing. In the 1970’s,
Dan Weldon, a Long Island printmaker created Solarplate, a new printmaking
with Solarplate is a simple approach and safer alternative to traditional
etching and relief printing,” Amsel writes in the introduction to the exhibit. “Solarplate
is a prepared, light-sensitive polymer surface on a steel backing for artists
to produce fine prints. Since Dan Welden’s development of the process in the
1970s, printmakers, painters, photographers and art teachers interested in
multiple impressions have found printmaking with Solarplate a new tool. All an
artist needs is inspiration, a graphic image crated on a transparent film
(acetate or glass), sun or UV light, and ordinary tap water. Both positives and
negatives can be utilized; intaglio and relief printing techniques can be
“Universities and art schools all over
the world are using Solarplate as part of their curriculum. The simple,
spontaneous approach also makes it faster and more economical for use in
professional printmaking workshops and collaborations with artists. Educators
are replacing traditional acid techniques with Solarplate because of safety
regulations. Photographic in nature, Solarplate incorporates a broader range of
techniques than any other printing medium,” Amsel writes in the introduction to
Welden’s 50-year career
includes collaborations with numerous artists, including Willem and
Elaine de Kooning, Jimmy Ernst, James Brooks, Kurt Vonnegut, and Eric
among those on display at the Gold Coast Arts Center Gallery. Fischl’s work
graces the cover of the “Solar Impressions” souvenir catalog guide.
Artworks in the exhibit are available for sale to the public, according to Regina Gil, Founder and Executive Director of the Gold Coast Arts Center. The artists have priced the art well to make them affordable to art lovers and collectors.
presents the public with a display of unique and creative works of art using
Dan Welden’s innovative process now used by artists and art students around the
world,” Gil said. “This is an opportunity for everyone to acquire some of these
The gallery is open to the public and is free. For more information about “Solar Impressions,” including gallery hours, visit www.goldcoastarts.org. For tour information or to register for classes, visit https://goldcoastarts.org/art-gallery/ or call 516-829-2570.
Gold Coast Arts Center is a 501(c)(3) multi-arts organization dedicated to promoting the arts through education, exhibition, performance, and outreach. For a quarter-century, it has brought the arts to tens of thousands of people throughout the Long Island region. Among the Center’s offerings are its School for the Arts, which holds year-round classes in visual and performing arts for students of all ages and abilities; a free public art gallery; a concert and lecture series; film screenings and discussions; the annual Gold Coast International Film Festival; and initiatives that focus on senior citizens and underserved communities. These initiatives include artist residencies, after-school programs, school assemblies, teacher-training workshops, and parent-child workshops. The Gold Coast Arts Center is an affiliate of the John F. Kennedy Center for the Performing Arts “Partners in Education” program and the National Gallery of Art in Washington, D.C.
Rubin, Travel Features Syndicate, goingplacesfarandnear.com
Always a show of support, solidarity and respect for the Chinese and Asian community in New York City, this year’s Lunar New Year parade in Chinatown in downtown Manhattan, welcoming the Year of the Rat, took on added urgency because of the coronavirus afflicting Wuhan, China, and the recent fire that destroyed a building housing much of the collection of the Museum of Chinese in America.
held up signs, “Stay Strong Wuhan,” but even though there have been no
instances of the coronavirus in New York City, visits to Chinatown, normally at
peak during the Lunar New Year celebration, have declined and business has been
parade route went just passed 70 Mulberry Street, where on the night of Thursday,
January 16, a fire destroyed most of the 85,000 items stored there for the
Museum of Chinese in America, housed nearby in a new building on Centre Street
since 2009. The rare and cherished items preserved the rich and challenging
story of the Chinese migration to the United States through such personal
objects as textiles, restaurant menus, handwritten letters, tickets for ship’s
passage, traditional wedding dresses (cheongsam).
The building, a former school that educated generations of
immigrants, is a community center that housed a senior center, the Chen Dance
Center and several community groups, in addition to storing the museum’s artifacts
that were not on display.
Political and parade officials praised the New York Fire
Department, which had a prominent place – bagpipers and all – in the parade.
Meanwhile, fear over the virus has kept people from Chinatown
and Chinese restaurants during what should have been the busiest time of year,
the Lunar New Year celebration.
Elected officials are urging the public to take normal
precautions against illness, but not to let fears concerning coronavirus stop
them from participating in the event. “It’s really important in this
moment where everyone is understandably worried about the coronavirus, we need
to be factual, we need to be scientific, and we need to be calm,” NYC
Council Speaker Corey Johnson said.
The annual event has not only paid tribute to the
contribution the Asian community has made to the city, state and nation, but
immigration as a whole.
New York City Mayor Bill De Blasio, reading from a
proclamation, said, “As a city built by immigrations, New York is the proud
home to residents who hail from every corner of the map and speak a multitude
of languages. This unparalleled diversity is the source of our singularity and
strength and it is exemplified by our thriving population of Asian Americans
that has made invaluable contributions to the cultural, civic and economic life
of the five boroughs. On the occasion of the 21st Chinatown Lunar
New Year Parade and Festival, hosted by Beter Chinatown U.S.A. I am pleased to
recognize the indelible imprint this vital community has made on our great and
“New York is fortunate to have an abundance of organizations
devoted to advancing positive change. Established in 2001, Better Chinatown
U.S.A. is guided by its mission to improve quality of life in Manhattan’s
Chinatown and promote it as a destination of choice for our diverse residents
and visitors. Its annual Lunar New Year Parade is a much anticipated event
attracting thousands of spectators from far and wide for a pageant of traditional
lion dances, music ensembles, and dancers in colorful folk costumes, followed
by a party in Sara D. Roosevelt Park featuring Chinese food and cultural performances.”
Congresswoman Nydia Velázquez,
one of the Grand Marshals, spoke of the resilience of the Chinese community,
and how the community “contributes to the fabric of our city, our nation.”
“I’m here to say that Chinatown is open for business and we
are behind you and we will remain strong,” Velazquez said. “Last night, I was
here dining in a restaurant in Chinatown. I welcome everyone to come here and
celebrate the culture and beauty of this community.”
China’s Consul General Huang Ping said “China is doing
everything to confront the coronavirus. We have mobilized forces. We have
strong leadership, resources, are working with the international community. Be
strong China. Be strong Wuhan.”
Lt Governor Kathy Hochul, “We stand together at one family. Stay strong China. Stay strong Wuhan.”
Other dignitaries participating State Senator Brian
Kavanaugh, Brooklyn Borough President Eric Adams, Manhattan Borough President
Gale Brewer, City Council Speaker Corey Johnson, Public Advocate Jumaane D. Williams, Assemblyman David Webrin.
New York City Mayor Bill De Blasio declared the city
stands in solidarity with China and the Asian community, “no matter what is
thrown at us.” New York has the largest Chinese community outside Asia “and we
are proud of that.” The city made the Lunar New Year a school holiday and
teaches Mandarin as early as pre-K, and is actively promoting participation in
the 2020 Census.
“In China, there
are so many of loved ones, faced with coronavirus and we stand together as
community,” De Blasio said. “We celebrate New Year together – we are united,
and we celebrate this extraordinary Chinese community the largest of any city
outside of Asia.”
He also presented a
Proclamation to parade organizer Steven Ting day for his continued work on the
parade, proclaiming February 9 “Steven Ting Day.”
US Senator Charles Schumer used a bull horn as he marched in
the parade to cheer for immigration. “New Yorkers are proud people, who come
from all over the world. We fight those who oppose us.”
And on that score, the parade was also used to promote the
importance of being counted in the 2020 Census, with one group of even handing out
flyers to recruit census takers ($28/hr, flexible hours).
The census, De
Blasio stressed, will make Chinatown better represented if everyone takes part.
Here are highlights from the 21st Annual Lunar New
Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com
Deadwood, South Dakota – the endpoint of the 109-mile Mickelson Trail on the Wilderness
Voyageurs’ six-day “Badlands and Mickelson Trail” bike tour – is a shrine to
the Old Wild West, Rapid City is what the American West is today.
The Wilderness-Voyageurs Badlands trip (800-272-4141, Wilderness-Voyageurs.com) starts in Rapid City where I cleverly organize my trip to arrive the day before, staying at the famous, historic Alex Johnson Hotel (famous on its own, but made eternally famous for the part it played in Alfred Hitchcock’s classic film, “North by Northwest” – an autographed caricature of Hitchcock is behind the front desk).
Indeed, the Alex Johnson Hotel is a major attraction in itself (it’s red and white sign atop the building is iconic symbol of the city) – the hotel, still the third tallest in South Dakota, even provides a walking tour of many artifacts and architectural features that in their own way tell the story of Rapid City.
The Alex Johnson Hotel is listed on the National Register of Historic Places and a member of Historic Hotels of America, which means that successive owners have recognized their responsibility as stewards of these place-making hotels that harbor the story of their respective destination. To be accepted into the prestigious HHA program, which has nearly 300 members, a hotel has to faithfully maintain authenticity, sense of place and architectural integrity, be at least 50 years old; designated by the U.S. Secretary of the Interior as a National Historic Landmark or listed in or eligible for listing in the National Register of Historic Places; and recognized as having historic significance. (More information at HistoricHotels.org)
The Alex Johnson Hotel is all of these things and more. The hotel
was built by Alex Carlton Johnson (1861-1938), who was vice president of the
Chicago and Northwestern Railroad. Johnson was unusual for his time in that he
respected and admired the Native Americans who lived in the area and developed
his hotel as a tribute to the Sioux Indian Nation and honor its heritage. The
structural design of the hotel integrates the heritage of the Plains Indians
and the Germanic Tudor architecture representing German immigration into the
Construction began in 1927, coincidentally, just the day before work began on nearby Mount Rushmore. The hotel opened less than a year later, on July 1, 1928.
follow the walking tour:
the entrance of the hotel are sculpted Indian heads, taken from the design of
Indian-head nickels and pennies.
The entrance has an “AJ” tepee symbol embedded in the entry walkway. The lobby itself is designed in Native American tradition with “Sacred Four Directions” integrated in the lobby tiles. The Lakota Sioux people believed their four sacred powers were derived from the four directions: north (white) a symbol for the “Cleansing Snow.”; east (red), the “Morning Star” which gives “Daybreak Knowledge”; south (yellow) is “Warm Winds” which replenishes the land; west (black) is “Thunder Being,” giving strength and power in times of trouble. Among the signs is a symbol that resembles a swastika, but was long used by Native Americans since prehistoric times.
Suspended with chains, the chandelier that dominates the center is actually formed of war lances. It is in the shape of a teepee and made of concentric, decreasing-sized copper-clad wooden rings. The rings are decorated in authentic Sioux patterns.
The exquisite ceiling incorporates stenciled Sioux designs between open beams. The brightly-colored patterns, originally painted with natural materials, are in the traditional “box and border” design. There are eight plaster-cast busts of Indian men that hold the beams.
The fireplace is formed of Black Hills stones. A huge rock in the keystone was selected for its resemblance to a buffalo head. The mantle is decorated with brands of local ranchers. Above the fireplace is a striking portrait of Alex Johnson in Sioux attire. Johnson was made an honorary blood brother of Chief Iron Horse in 1933, and named “Chief Red Star.” Another portrait of Johnson, in a more typical businessman pose, was commissioned by the 580 members of the Chicago Rotary Club in appreciation for his service as president (1924-25).
There are two bison heads mounted over the southwest entrance of the AJ’s Mercantile shop (American buffalo are apparently not buffalo at all, but one of two species of bison). I learn that “buffalo” was a corruption of “boeuf,” the name the French explorers used for the animal.
mezzanine and second floor are graced with carved wood railings and provide a
gorgeous vantage point to appreciate the Indian busts, ceiling painting and
The ballroom, which also served as a nightclub back in the day, has four murals painted by Max Rheiner, an artist from Chicago, that realistically depict four well known areas of the region: Harney Peak, the Needles (which we will soon visit on the bike tour), the Badlands (we will soon visit) and Spearfish Canyon.
Lincoln Room, the site of the original restaurant, has been restored to its
original elegance. The ceiling lights are original. The wallpaper custom,
hand-printed paper and the same design used in Abraham Lincoln’s home in
Springfield Illinois. An original 19th century Lincoln print is on
the wall. Meeting rooms are named after the four presidents on Mount Rushmore.
The hotel also offers Paddy O’Neill’s Irish Pub and Grill, named after the hotel’s first guest.
is a kind of museum of exhibits – you can see Johnson’s actual headdress and
that is not all. I learn that the Alex Johnson hotel is haunted – there is an
entire book of testimonials from guests who have had sightings, and recently.
Ross Goldman, the front-desk fellow who has been giving me an orientation to the hotel and to Rapid City, points me to an entire Haunting book filled with people’s letters and descriptions of encounters.
of the rooms that is supposedly haunted, 304, was Alex Johnson’s private room
where he stayed when he was in Rapid City, and where he died at the age of 90.
But years before, his young daughter died in that room. People, especially
children, say they have seen a child ghost
In the Haunting book, I find a drawing by a little girl who stayed in
room 304, who drew herself, her brother, and another girl with a dark, long dress
you can see through (the ghost), dated July 5 2019. Children say they see ball
rolling and that there is a knock on doors all at once.
haunted room, 812, was where 60 years ago, a bride on her wedding night jumped,
was pushed or fell out of window. Guests say that doors open, lights go on and
some say when they sleep, they feel something pressing on their chest.
macabre legends must have appealed to Alfred Hitchcock who used the Alex Johnson
Hotel in his iconic thriller, “North by Northwest” and stayed here through the
filming of the Mount Rushmore scenes– there is an autographed photo of
Hitchcock behind reception desk (the lobby seemed much larger in the movie).
(the only Goldman in South Dakota, he notes), tells me his father is from
Brooklyn, and came to Rapid City for his medical residency and stayed. What a
small world: Goldman’s cousins live on my block in Long Island, New York. (He
says there are just 300 Jews in the entire state; they hold their Passover
seder in the hotel’s ballroom).
after exploring Rapid City, I get to appreciate the Vertex Sky Bar on the
hotel’s tenth floor (the Alex Johnson hotel is the third tallest building in
South Dakota). Originally, there was a solarium here and an observation tower
that was later used by KOTA radio station. Today, it is an upscale rooftop bar exclusively
for members and hotel guests. It provides a wonderful view for the sunset
behind the hills.
Goldman gives me some great tips for our bike trip – especially in Deadwood City, where he tells me to be sure to visit the cemetery where Wild Bill Hickok and Calamity Jane are buried, and where there is also a Jewish section.
he orients me to Rapid City: Memorial Park was created after a major flood in
1972 collapsed the dam, in which 238 people died (signs in the park tell the
story), leveling the poorest section of city. He tells me where to get the best
buffalo burger (Thirsty’s).
so I am off to discover Rapid City.
City makes the absolute most of whatever it has. The architecture except for a
small historic district is mostly nondescript, but there is sheer brilliance in
that 20 years ago, an artist began an ambitious program to have almost
life-sized sculptures of every president on every corner of the two downtown
boulevards, Main Street and St. Joseph’s Boulevard. This turned Rapid City into
“The City of Presidents.”
is fascinating and fun to go in search of them (they aren’t in chronological or
alphabetical order). Six artists produced the 43 sculptures, beginning in 2000:Obama’s
statue, depicting the Election night scene when he came out holding his
daughter’s hand, only went up a couple of months before; Lincoln is also
portrayed with his son, Tad; FDR is shown standing at a podium with radio mics;
Taft looking amazingly svelte, shown as the first president to throw out the
first pitch at a baseball game. There is a self-guided walking tour and a
Presidential Scavenger Hunt. It is really fun to try to see all of the
presidents. What is most interesting is how these significant personages are
set in such ordinary circumstance on nondescript small-town America street
notable exception to the presidents is a bust, “Mitakuye Oyasin” (“We are all
related”) by DC Lamphere, from a drawing by Richard Under Baggage, representing
“hope for reconciliation, dignity and respect for all the human race.” The
earth is in the shape of a hoop or circle of life; crossed pipes represent
world peace; the eagle symbolizes all flying creatures, and communication with
Tunka Sila; wisdom and the healing arts are represented by a grizzly bear, and
a long and productive life is symbolized by a turtle. “The bison reminds us of
our ancestors’ healthy lifestyles, free from famine, and also of the white
Buffalo Calf Woman who brought us the pipe.”
Another marked contrast to the presidents on every other corner is outside a remarkable shop, Prairie Edge: “Hunkayapi” also was created by local artist Dale Lamphere. The statue, depicting a Lakota naming ceremony, is intended to reflect the warmth in Lakota families, the wisdom of a Lakota elder and the teaching of the Lakota heritage to the next generation.
Edge is one of the most fantastic Native American shops anywhere. It is almost
a museum, with numerous contemporary Native artists who have their own
displays, biography and museum-quality art (I learn about quillwork). There is
also clothing, including Pendleton & Pilson, blankets and housewares, books
and music, and a Sioux Trading Post, and tee shirts and souvenirs and yes items
popular in tourist shops on sale, like an old-fashioned mercantile store.
shop contains a fine art Plains Indian Gallery, a Buffalo Room with bison
leather furnishings. There is also the Italian glass bead library boasting the
world’s largest selection of glass beads, with over 2,600 different styles and colors, from
the same Venetian guild that supplied fur traders in the 19th
century used for trade, including used in trade for the island of Manhattan;
after the Societa Veneziana Conterie closed in 1992, Prairie Edge bought the
remaining inventory of 70 tons of beads. (Prairie Edge, 606 Main Street, Rapid
City SD 57701, 800-541-2388, 605-342-3086, www.prairieedge.com).
I think about what Goldman told me about continued tension between Native Americans and the “settlers” (for lack of a better word), “Other places are more assimilated. South Dakota has nine Indian reservations. The two largest reservations – Pine Ridge, Rosebud – make Appalachia look like Beverly Hills.,” he told me. And his remarks echo for me later when I visit the Crazy Horse Memorial on our Mickelson Trail ride.
Edge is housed in an 1886 building in Italianate style that began as the L.
Morris Dry Goods and Clothing store with a dentist’s office on the second floor
and rooms to rent. Known as the Clower Building, it is most famously remembered
as the Jack Clower Saloon (1895-1917), a cowboy bar ion its day. It is one of
the most beautiful buildings in Rapid City.
you do expect in an open-carry state that still prides itself as being the wild
west, are the gun shops. There is the biggest gun shop I’ve ever seen, First
Stop Gun & Coin. (I am amazed at how heavy rifles are; there are “My First
Rifle,” child-sized like starter violins, and some pink and decorated rifles
geared for women.
wander over to Main Street Square, with a spray fountain, Astroturf and
stage for performances, and public restroom.
There is a surprising variety of restaurants you wouldn’t expect in a place that calls itself “City of Presidents” – Nepali, Mexican (considering how far from the Mexican border we are). Goldman has recommended Thirsty’s, which looks like a pool hall, as having the best buffalo burger in town. I opt for the Firehouse Brewing Company in the historic firehouse next door to Prairie Edge. I take note of a large 1883 photo mural depicting the store that had stood on the site with store names of Jewish proprietors: Herrmann Treber & Goldberg Groceries, Liquors and Cigars Wholesale.
Back at the Alex Johnson Hotel, I go up to the Vertex Sky Bar on the 10th floor to take in the sunset.
The Alex Johnson Hotel today is independently owned by the Bradsky family of Rapid City, acquired in 2008 on the hotel’s 80th anniversary, and refurbished with respect and sense of stewardship for its historic significance and importance to the city. (The family owns several properties, under the Liv Hospitality banner, in Deadwood and Rapid City, including Cadillac Jack’s and Tin Lizzie’s in Deadwood and Watiki water park in Rapid City. (www.LivHotelGroup.com)
Hotel Alex Johnson Rapid City, Curio Collection by Hilton, 523 Sixth Street, Rapid City SD 57701, 605-342-1210, alexjohnson.com.
More information at Visit Rapid City, 512 Main Street, Rapid City SD 57701, 800-487-3223, 605-718-8484, www.VisitRapidCity.com.
Missile National Historic Site
With better planning, I would have also
plugged into my itinerary a visit to Minuteman Missile National Historic Site. The
site provides an opportunity to explore the Minuteman II system’s role as a
nuclear deterrent during the Cold War and visit sites rarely seen by civilians
while in use, but that nevertheless loomed large on the geo-political
landscape, and in these tense times, be reminded about what a threat nuclear
I first became aware of the site
watching an extraordinary documentary, “The Man who Saved the World,” about
Stanislav Petrov, a former
lieutenant colonel of the Soviet Air
Defense Forces and his role in preventing the 1983 Soviet nuclear false alarm incident from leading
to nuclear holocaust. Now, with Trump and Putin at odds over
renegotiating a nuclear arms treaty while boasting about new weapons, it is
more important than ever to be reminded of how quickly things can go