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.
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.
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
One of my earliest memories of New York theater is of seeing the D’oyly Carte production of “The Mikado,” one of Gilbert & Sullivan’s most iconic works. So I am jarred when the curtain rises on a very different production –a first scene which I don’t recall, in which composer Arthur Sullivan, librettist William S. Gilbert and producer Richard D’Oyly Carte himself appear, reflect on the new exhibit of Japanese art at Knightsbridge, and Gilbert imagines a new opera set in Japan. When the curtain rises on the fictional town of Titipu, instead of elaborate Japanese kimonos, the Gentlemen of Japan look a lot like Englishmen with odd hats and outfits, and so do the ladies when they appeared in their modified flowing dresses.
I soon appreciate the bold innovation including the new opening scene and characters, and costumes that make clear these are Victorian Englishmen pretending to be Japanese – as the new character of Gilbert says “They dress like us,” except with bright colors. The device, to address the sensibilities of a modern audience, puts the focus of Mikado properly where it should be: a satire on human nature. And in revising the work in this way, a new generation can be delighted by the magnificent music and ingenious lyrics. If anything makes us laugh, especially at ourselves, that is a gift.
Indeed, Gilbert & Sullivan’s comic operas – basically inventing today’s musical theater form – are on par with Shakespeare and similarly deserve to be tweaked and reinterpreted, just as “Much Ado About Nothing” was at this year’s Public Theater production, and performed generation after generation.
This production, was first introduced in 2016 as a response to an outcry from New York’s Asian-American community in 2015 over the political incorrectness and insensitivity of the original, regularly performed with Caucasian actors in yellowish makeup and taped-back eyelids. There is no danger of that: this cast is multi-racial.
“NYGASP listened for a simple reason – it was the right thing to do. One year later we created an imaginative new production which all communities, audiences and artists could embrace,” the program notes. The show opened to sold-out crowds and critical acclaim in December 2016; this is its second New York City run. Run to see it before the season concludes, January 5.
The new opening scene and costuming make sure there is no confusion that the Mikado represents Englishmen satirizing Victorian society and politics, capitalizing on British fascination with all things Japanese in the 1880s, to defuse the pointed references that might have gotten Gilbert & Sullivan, who were under censorship of Lord Chamberlain, into trouble. And frankly, the depiction of The Mikado (who doesn’t even appear for the first 2 ½ hours of the three-hour show) as a cruel but ridiculous tyrant is reminiscent of how the Red Queen is depicted in “Alice’s Adventures in Wonderland” (1865). If anything, that character is more relevant today than in 2015 or even 1885.
Of course British audiences of 1885
could have cared less about “political correctness.” The object of Gilbert
& Sullivan’s satire was British society and human nature and the human
condition, and they created their fictional Titipu, Japan, to make their satire
We take advantage of seeing the December 30 afternoon “Grandparents” performance, geared to families, which features a before-show talk introducing the plot and music and an after-show backstage tour in the company with the players.
During the talk, by the Conductor and Musical Director Albert Bergeret, who founded the New York Gilbert & Sullivan Players 45 years ago, I learn that my comparison of “Mikado” for Gilbert & Sullivan to “Madame Butterfly” by Puccini is not entirely unfounded. While the music that Sullivan composed runs the gamut of British musical styles (ballad, madrigal, march), he incorporates the Japanese five-note scale and an actual Japanese folk song, Miya-sama (though for this production, new English lyrics are substituted for the Japanese) – music which Puccini also expropriates in “Madame Butterfly.”
“We took out what’s incomprehensible or inappropriate,” Bergeret says, who adds that Sullivan was a brilliant, classically trained musician who was well versed in all genres of music and composers from around the world. In “Mikado” Sullivan demonstrates his virtuosity in writing in many different forms.
Just as Gilbert incorporated contemporaneous digs, so too does this Ko-Ko, a common tailor taken from the county jail (for flirting) and elevated to Lord High Executioner, update his “List” of those who shan’t be missed, to be as current has yesterday’s tweet, changing it each performance, surprising even the rest of the cast.
Ko-Ko, brilliantly played by David Macaluso, includes “the wealthy narcisscist, he never will be missed” on his list and manages to spell out T-R-U-M-P in the subheads of the long, long list as the scroll unfurls.
The premise of “The Mikado,” is a
society under the thumb of an all-powerful sadistic but ridiculous ruler who
makes ridiculous but cruel laws on a whim: flirting as a capital offense, then
demanding to know why no executions have been carried out.
The Mikado, played by David Wannen,
exclaims, “My object all sublime/I shall achieve in time/ to let the punishment
fit the crime.. And make each prisoner pent/Unwillingly
represent/A source of innocent merriment.”
The Mikado’s updated
list of who to punish and how, includes the instagrammer “made to endure a
dungeon cell without not one cellular bar” and “political pundits, who must
sail for weeks on a boat full of leaks on a sea of alternative facts.” (That
gets tremendous laughs.)
They do manage to slip in a few names, carefully spreading their barbs more or less equally: but one placement in particular is rich – Pooh-Bah, marvelously played by Matthew Wages, signs the execution order with all his official positions, but adds to the list signing of those supposedly witnessed Nanki-Poo’s execution Attorney General William Barr and the chair of the Judiciary Committee (balance).
The Mikado then looks to execute Ko-Ko (the Lord High Executioner), Pooh-Bah (the “Lord High Everything”) and Pitti-Sing (one of the “three little maids from school” and Ko-Ko’s wards, played by Amy Maude Helfer) for carrying out the Mikado’s orders to execute somebody but unwittingly executing the heir to the throne. The Mikado appreciates the effort (he only wishes he could have witnessed the execution) but insists they still should be executed for, well, killing the heir and looks for the entertainment value in their lingering death.
The Mikado justifies killing the three because, after all, this is an unfair world where the virtuous suffer and the undeserving succeed. This leads to the song that probably best sums up the moral of Gilbert & Sullivan’s “Mikado,” in which the three condemned sing, “See how the Fates their gifts allot/For A is happy, B is not/Yet B is worthy, I dare say/Of more prosperity than A…If I were Fortune which I’m not/B should enjoy A’s happy lot/And A should die in miserie/That is, assuming I am B.”
In the end The Mikado is less a jab at all-powerful monarchal misrule, than a comic contemplation of what human beings do when in that situation. Their focus is on human nature and the human condition. In Mikado, we see self-preservation – even by Yum-Yum who is willing to marry Nanki-Poo who loves her so much he is willing to be executed after just a month, until she realizes that as the wife of an executed man, she would be buried alive.
This production makes another change at the end, stopping the show for a return to the Gilbert & Sullivan characters trying to figure out an ending that would not rely on a magical or fantastical device like the “magic lozenge” they used in their 1877 opera “The Sorcerer” and almost breaks up their collaboration. (Gilbert finally gets to use the device in “The Mountebanks,” written with Alfred Cellier in 1892). Instead, Gilbert comes up with an argument that actually makes sense given the circumstance: Any order by the Mikado must be carried out, so having given the order, it must have been carried out (not much more absurd than “He was too stupid to know withholding military aid to a vulnerable ally in exchange for political favor was illegal”).
Another part that young
people might assume was added as a nod to “Me Too” to make relevant, is Katisha
espousing on ‘beauty’ –her face might not be much (and doesn’t cruelty hold
some allure?), but she has a shoulder blade, a right elbow, and a heel that
admirers come miles to see.
“The Mikado,” the ninth of 14 collaborations between Gilbert & Sullivan, was immensely popular when it opened on March 14 1885 in London, running for 672 performances, the second longest run for any musical theater production. By the end of 1885, some 150 companies in Europe and America were performing the operetta. It even was widely performed in Japan (apparently they took no offense).
There were decades when a
production of Mikado could be seen somewhere in the English speaking world any
day of the year. Performed for the last 135 years, some of its word inventions
have entered the lexicon, such as “the grand Poo-Bah” and “Let the punishment
fit the crime.”
The new Prologue, written by NYGASP Director and Choreographer David Auxier-Loyola (who also plays W.S. Gilbert and Pish-Tush), appears actually a distillation of the actual background (or rather the mythology) to Gilbert & Sullivan creating “The Mikado,” especially their references to avoiding a similar plot solution of a magic lozenge. Apparently, the Knightsbridge exhibition of Japanese art came after Mikado opened, though British fascination in Japan had built up from the 1860s and 1870s, after Japan opened to Western trade in 1854. (The 1999 film “Topsy Turvy” is a marvelous film depicting their lives around this time.)
Gilbert & Sullivan actually invented musical theater. At the time Gilbert & Sullivan were writing, there were opera, light opera and music hall theatricals, but nothing like a musical show with story – music that had both class and pop – with real story lines, music advanced the story, Bergeret tells us. This is where musical theater started,. Watching “Mikado” you see a straight line to Rogers & Hammerstein and Stephen Sondheim.
that are being presented this season are family friendly, but some have special
events attached. We had the marvelous experience of attending a “Grandparents”
performance which featured a before-show talk introducing the show (especially
to children), and a most marvelous after-show backstage tour with cast members.
(David Auxler, who plays the Gilbert character said they only had five
rehearsals) and so enjoyed going backstage with David Macaluso (Ko-Ko), who
showed us the various props including his giant executioner’s ax.
This not-to-be-missed production of the iconic comic opera is fabulous, featuring original choreography and direction by NYGASP Associate Stage Director David Auxier, who also authored the show’s prologue and plays Gilbert and Pish-Tush, and Assistant Direction by Broadway performer/director Kelvin Moon Loh.
The show’s sensational cast includes: dynamic bass David Wannen as The Mikado; clever patter man and comic David Macaluso as Sullivan and Ko-Ko; blustering Matthew Wages as Richard D’Oyly Carte and the pompous Pooh-Bah; creative David Auxier as author Gilbert and town leader Pish-Tush; charming tenor John Charles McLaughlin as romantic hero Nanki-Poo; formidable Caitlin Burke as lovelorn and overbearing Katisha; beautiful soprano Sarah Caldwell Smith as self-aware Yum Yum; Rebecca Hargrove as maiden sister Peep-Bo, and mellifluous mezzo Amy Maude Helfer as adventurous Pitti-Sing.
The production showcases
magnificent scenery designed by Anshuman Bhatia, costumes by Quinto Ott and
lighting by Benjamin Weill. The
Mikado is produced by
NYGASP Executive Director David Wannen.
Since its founding in 1974, the New
York Gilbert & Sullivan Players (NYGASP) has presented more than 2,000
performances of the Gilbert & Sullivan masterpieces throughout the United
States, Canada and England, captivating audiences of all ages.
NYGASP has been hailed as “the leading custodian of the G&S classics” by New York Magazine and has created its own special niche in the cultural mosaic of New York City and the nation. According to the Company’s Founder/Artistic Director/General Manager Albert Bergeret, NYGASP’s mission is “giving vitality to the living legacy of Gilbert & Sullivan.”
“Everyone loves The Mikado and our new production, with its celebrated premise of imagination, keeps the revered story alive and colorful,” he says. “I’m delighted to once more be involved in elevating the humor and musical values of this evolving and very theatrical production, while alternating on the conductor’s podium with my colleague, Joseph Rubin, as part of NYGASP’s commitment to the future development of the Company”.
“The Mikado” is the showpiece of NYGASP’s 45th season, presenting eight family friendly performances after Christmas, Dec. 27 through Jan. 5, 2020 at The Kaye Playhouse at Hunter College. An encore Family Overture presentation will take place at 12:45 pm before the Jan. 4 Saturday matinee at 2 pm which features a musical introduction and plot summary made entertaining for the whole family (free to all ticket holders).
Tickets are $95/orchestra, $50/balcony; $25/rear balcony; special discounts: 50% off for children 12 and under accompanied by an adult, 10% off for seniors 65 and older;order by phone: 212-772-4448, order pnline: www.nygasp.org, or purchase in person at the box office (Monday-Friday, noon-7pm).
The next NYGASP production is Gilbert & Sullivan’s “The Gondoliers,” April 18-19, 2020.
The Kaye Playhouse, 68th Street between Park and Lexington Avenues.
The 93rd edition of the iconic Macy’s Thanksgiving Parade ushered in the holiday season with 16 giant
character balloons; 40 novelty balloons, heritage balloons, balloonicles,
balloonheads and trycaloons; 26 floats of fantasy; 1,200 cheerleaders and
dancers; more than 1,000 clowns; and 11 of the nation’s finest marching bands, starting
with the pilgrims riding a giant turkey and finishing with Santa Claus on his
Despite strong winds and gusts on the cusp of forcing the giant
balloons to be grounded, heroic balloon handlers acted more like wranglers to
keep the balloons in control, though flying so low as to touch the ground.
Still, there were thrills to be had, and not just the excitement at seeing favorite
characters as tall or as long as a building flying overhead, as the balloons
passed cross-streets where the winds were strongest, almost pushing the
balloons over. The crowd cheered their encouragement, “Go, go, go.”
New giant balloon characters joining
the line-up this year included Astronaut Snoopy by Peanuts Worldwide, Green
Eggs and Ham by Netflix, and SpongeBob SquarePants & Gary by Nickelodeon.
In celebration of his 75th birthday, a heritage balloon and fan favorite Smokey
Bear once again takes to the skies over Manhattan.
Returning giant balloon characters included
Diary of A Wimpy Kid® by Abrams Children’s Books; Sinclair Oil’s DINO®; The Elf
on the Shelf®; Goku; Illumination Presents Dr. Seuss’ The Grinch; Jett by Super
Wings™; Olaf from Disney’s “Frozen 2”; Chase from PAW Patrol®; Pikachu™ by the
Pokémon Company International; Pillsbury Doughboy™; Power Rangers Mighty
Morphin Red Ranger; Ronald McDonald®; and Trolls. Completing the inflatable
lineup is the famed Aflac Duck, Sinclair Oil’s Baby DINOs and the Go Bowling
balloonicles, as well as Universal Orlando Resort’s The Nutcracker.
The parade also featured special performances and appearances by
Natasha Bedingfield, Black Eyed Peas, Chicago, Ciara, Josh Dela Cruz, Celine
Dion, Jimmy Fallon and The Roots, Debbie Gibson, former NASA Astronauts Kay
Hire & Janet Kavandi, Chris Janson, Idina Menzel, Lea Michele, Miss America
2019 Nia Franklin, NHL® Legends Dominic Moore and Eddie Olczyk, the cast &
Muppets of Sesame Street, NCT 127, Ozuna, Billy Porter, Kelly Rowland, That
Girl Lay Lay, TLC, Tenille Townes, and Chris Young.
year, five new floats debuted
including Nickelodeon’s Blue’s Clues & You! (Josh Dela Cruz), The
Brick-changer by The Lego Group (NCT 127), Home Sweet Home by Cracker Barrel
Old Country Store® 3 (Tenille Townes), Rexy in the City by COACH® (Billy
Porter), and Toy House of Marvelous Milestones by New York Life (Kelly
The returning float roster and
its scheduled performers and special stars included 1-2-3 Sesame Street® by
Sesame Workshop™ (The cast and Muppets of Sesame Street); Big City Cheer! by
Spirit of America Productions (Miss America 2019 Nia Franklin); Central Park (Lea
Michele); Christmas Cheer is Near by Elf Pets®/The Elf on the Shelf®;
Cornucopia; Deck the Halls by Balsam Hill® (Idina Menzel); Everyone’s Favorite
Bake Shop by Entenmann’s® (Jimmy Fallon and The Roots); Fantasy Chocolate
Factory by Kinder™ (Natasha Bedingfield), Harvest in the Valley by Green Giant®
(Chris Janson); Heartwarming Holiday Countdown by Hallmark Channel (Chicago);
Mount Rushmore’s American Pride by South Dakota Department of Tourism (Chris
Young); the NHL® Most Valuable Hockey Mom presented by MassMutual (Black Eyed
Peas and NHL® Legends Dominic Moore and Eddie Olczyk); Parade Day Mischief by
SOUR PATCH KIDS® Candy (Ozuna); Rise of the Teenage Mutant Ninja Turtles by
Nickelodeon (Ciara); Santa’s Sleigh (Santa Claus); Shimmer and Shine by Nickelodeon
(Debbie Gibson); Snoopy’s Doghouse by Peanuts Worldwide (Charlie Brown and
former NASA Astronauts Kay Hire and Janet Kavandi); Splashing Safari Adventure
by Kalahari Resorts and Conventions (TLC); Tom Turkey; and Universal Playground
by Universal Kids (That Girl Lay Lay).
Returning for a third year by popular demand, the Macy’s Singing Christmas Tree by Delta Air
Lines will feature the harmonious voices of more than 100 Macy’s colleagues and
friends from Delta hailing from across the nation and the world. Performing an
original song to celebrate the start of the holiday season, the golden-voiced
chorus will touch the hearts and uplift the spirits of millions.
For this year’s 93rd march, 11 of the specially chosen marching bands from around the country included
Awesome Original Second Time Arounders Marching Band (St. Petersburg, FL), Blue
Springs High School Golden Regiment (Blue Springs, MO), Catalina Foothills
Falcon Band (Tucson, AZ), Franklin Regional Panther Band (Murrysville, PA),
Macy’s Great American Marching Band (United States), Madison Central High
School Band (Richmond, KY), Dr. Martin Luther King Jr. High School’s Kings of
Halftime (Lithonia, GA), Morgan State University’s The Magnificent Marching
Machine (Baltimore, MD), NYPD Marching Band (New York, NY), Ronald Reagan High
School Marching Band (San Antonio, TX), and Western Carolina University’s Pride
of the Mountains Marching Band (Cullowhee, NC).
Parade watchers also got a taste of the specialty performance groups. Joining the line-up
this year were the teen dancers and cheerleaders of Spirit of America Dance Stars
and Spirit of America Cheer – together featuring more than 1,200 of the very
best performers recruited from hometowns nationwide. Also, the hilarious 610
Stompers (New Orleans, LA), modern dance youth talent showcased by The Alvin
Ailey School (New York, NY).
Other performances included the tap dance theatrics of children from
The Nice List (New York, NY). Rounding out the performance group line-up and
joining select talent performances will be Gamma Phi Circus (Normal, IL),
Manhattan Youth Ballet (New York, NY), the dance stars of the world-renowned
in-school arts education program National Dance Institute (New York, NY) and
Young People’s Chorus of NYC (New York, NY).
Some 3.5 million people turn out to line the two-mile parade route; another
50 million watch on television.
Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com
From the Macy’s Thanksgiving Day Parade to the Christmas Tree Lighting at Rockefeller Center and the New Year’s Eve ball drop in Times Square, New York City offers unparalleled ways to celebrate the holidays with vibrant performances, tours, lightings, special events taking place from early November into January.
“New York City’s celebratory spirit and excitement are palpable during the annual holiday season. From iconic attractions and events to hidden-gem activities in all five boroughs, there’s an endless roster of memorable programming to enjoy from November to January,” said NYC & Company president and CEO Fred Dixon. NYC & Company, New York City’s official destination marketing organization, is forecasting seven million visitors will visit the City during the 2019–2020 holiday season.
Here are some of the festive events, performances and activities across the boroughs to celebrate the holiday season in New York City.
Macy’s Thanksgiving Parade, November 28, Manhattan The Macy’s Thanksgiving Day Parade is a classic New York City celebration of the holidays, featuring larger-than-life helium balloons, fantasy floats, clowns, performance groups, Broadway’s best musicals, celebrity appearances and more. The 93rd Annual spectacle will feature new balloons including Astronaut Snoopy, Netflix’s Green Eggs and Ham, SpongeBob SquarePants & Gary, Smokey Bear and Yayoi Kusama’s Love Flies Up to the Sky. New floats include Nickelodeon’s Blue’s Clues & You!, The Brick-changer by The Lego Group, Home Sweet Home by Cracker Barrel Old Country Store®, Rexy in the City by COACH® and Toy House of Marvelous Milestones by New York Life. The parade begins at 9 am on 77th Street and Central Park West, snakes around Central Park South and heads down Sixth Avenue before concluding at Macy’s Herald Square at 34th Street and Seventh Avenue.
Balloon Inflation, November 27, 1-8 pm: Head up to the American Museum of Natural History on November 27 from 1 to 8 pm to watch the balloon inflation at West 79th Street and Columbus Avenue but be prepared for long lines (entrance at 73rd and Columbus.)
Rockefeller Center Christmas Tree Lighting Ceremony, December 4, Midtown, Manhattan: The Christmas Tree at Rockefeller Center has been a tradition for more than eight decades. Lighting up Rockefeller Plaza, the tree lighting ceremony features performances and classic Christmas songs. The tree will arrive on November 9, light up on December 4 and be on view through early to mid-January.
New Year’s Eve Times Square Ball Drop, December 31–January 1, Times Square, Manhattan: Each year, millions of viewers watch the Times Square Ball Drop from New York City and around the globe. The Waterford Crystal Times Square New Year’s Eve Ball sparkles in Times Square for visitors to see all season, but its descent is a spectacular, once-in-a-lifetime way to ring in the New Year.
New Year’s Eve Fireworks at Prospect Park, December 31–January 1, Prospect Park, Brooklyn: The Grand Army Plaza’s iconic New Year’s Eve Fireworks at Prospect Park offer an alternative to the frenzy of Times Square. This spectacular celebration includes live music, followed by a fireworks show at midnight.
Shine On at Hudson Yards, November 29-January 5. A new tradition being introduced at Manhattan’s newest neighborhood. Kicks off the day after Thanksgiving with full day of live performances featuring award-winning New York musicians, dangers and entertainers, plus Only at Hudson Yards offers. Then, every Tuesday through December 24, music and dance performances throughout Hudson Yards, and Saturdays children’s activities and family events. Immersive Light and Music Shows: the New York premiere of artist Christopher Schardt’s light sculpture Lyra, 5 pm daily at multiple locations throughout Hudson Yards. Visit Wells Fargo Lodge for hot chocolate tastings and 360-degree photo ops, plus interactive Star Stations with gift wrapping. Unlock holiday offers from SAP with shine ON LED bracelet available at Hudson Yards retailers.
Holiday Lights at the Bronx Zoo, November 21–January 5, Fordham, the Bronx: Returning for the first time since 2007, the stunning light displays at the Bronx Zoo will cover several acres in a walk-through experience with wildlife-themed LED displays, custom lanterns and animated light shows.
LuminoCity Festival, November 23-January 5, Randall’s Island Park, Manhattan: Sixteen acres of lights will illuminate themed worlds during this inaugural festival, creating an immersive journey for visitors that includes a castle, skating unicorn and enchanted forest.
Brookfield Place Light Up Luminaries, December 3-January 4, Battery Park City, Manhattan: This spectacular light installation kicks off December 3 with an evening of free ice skating, snacks and live performances.
Festival at Citi
Field, December 6–January 26,
Flushing, Queens: The debut of this international lantern, food and art
festival will include 60 global cuisine vendors, arts experiences, live
performances and a holiday market.
NYC Winter Lantern Festival, November 20–January 12, Randall Manor, Staten Island: The NYC Winter Lantern Festival is returning for a second year to Staten Island. Sponsored by Empire Outlets and venue partner Snug Harbor Cultural Center & Botanical Garden, eight acres will be lit up by more than 50 LED installations, accompanied by live performances of traditional Chinese dance and art.
New-York Historical Society, (November 1, 2019 – February 23, 2020: A holiday favorite returns this season, reimagined to celebrate the 100th birthday of Busytown series author and illustrator Richard Scarry. Holiday Express: All Aboard to Richard Scarry’s Busytown showcases artwork and graphics of Scarry’s characters like Huckle Cat and Lowly Worm from publisher Random House Children’s Books alongside more than 300 objects from the Jerni Collection’s antique toy trains, stations, and accessories. Using Busytown stories and characters, dynamic displays explore the workings of the railroad, the services it provides, and the jobs required to keep people and goods moving. Fun, train-related activities for kids of all ages take place through the exhibition’s run―all free with museum admission. These include: Celebrating Richard Scarry and Busytown! (Saturday, December 14 and Sunday, December 15; 1–3 pm); December School Vacation Week (Thursday, December 26 – Wednesday, January 1) (170 Central Park West (77th St), New York, NY 10024, www.nyhistory.org)
Gingerbread Lane at New York Hall of Science, November 23–January 12, Flushing Meadows Corona Park, Queens: Gingerbread Lane at the New York Hall of Science invites visitors to witness the vast collection of gingerbread structures embellished with candy canes, chocolate and frosting.
New York Botanical Garden Holiday Train Show, November 23–January 26, Fordham, the Bronx: Conveniently accessible via the Metro-North Railroad from Grand Central Terminal, head to the New York Botanical Garden to be enchanted by model trains zipping through a display of more than 175 NYC landmarks, each re-created with natural materials.
Belmont BID Arthur Avenue Tree Lighting Ceremony, November 30, Belmont, the Bronx: Experience Christmas in the Bronx’s Little Italy at the Belmont BID Arthur Avenue Tree Lighting. The annual event features a visit from Santa, cookies and hot chocolate among the twinkling lights.
Seaport District NYC Celebrations, Seaport District NYC, Manhattan: Festivities in this neighborhood include the Winterland Holiday Tree Lighting on December 2, Menorah Lighting on December 22, a pop-up tree farm, ice skating and a light display at Pier 17.
Holiday Workshop Weekend at Wave Hill, December 7–8, Riverdale, the Bronx: Create one-of-a-kind holiday decorations by the gorgeous gardens and galleries at Wave Hill during their interactive Holiday Workshop Weekend.
Historic Richmond Town Candlelight Tours, December 14–21, Staten Island: This Christmas season, experience the tastes and scents of centuries past at Historic Richmond Town. Step back in time while touring the unique New York City which is illuminated by candles and oil lamps.
11th Annual Latke Festival at the Brooklyn Museum, December 16, Prospect Heights, Brooklyn: One of New York City’s most unique and delicious holiday tasting events, the Latke Festival is a charity event that celebrates the best and most creative potato pancakes.
Melrose Holiday Parranda, December 21, Melrose, the Bronx: The Melrose Holiday Parranda follows in the footsteps of Puerto Rican holiday caroling with a procession based on plena music and holiday songs. Cheer-Filled Performances:
Radio City Christmas Spectacular Starring the Rockettes, November 8–January 5, Midtown, Manhattan: The Christmas Spectacular Starring the Radio City Rockettes returns to Radio City Music Hall, dazzling audiences of all ages with incredible costumes, festive songs and synchronized high kicks.
Four Renditions of
the Holiday Classic A Christmas Carol
Holiday Performances at the World
Famous Apollo Theater, Harlem,
Manhattan: The Apollo Theater, celebrating its 85th anniversary in 2019, hosts
holiday events including a Harlem gospel choir performance at Coca-Cola
Winter Wonderland on December 14, followed by the Amateur
Night Holiday Special. Gospel legends Yolanda Adams and Donald
Lawrence headline annual concert Holiday Joy: A Gospel Celebration on
December 21. As a grand finale, the annual Kwanzaa Celebration on
December 28 features Abdel Salaam’s Forces of Nature Dance Theatre and guest
Year’s Eve Concert for Peace, Cathedral Church of Saint John the Divine, (1047 Amsterdam Ave. at 112th St., New York 10025,
212-316-7540,firstname.lastname@example.org, www.stjohndivine.org), Tuesday, Dec. 31, 2019,
7-8:30 pm,: Founded by Leonard Bernstein in 1984, the
annual New Year’s Eve Concert for Peace is a signature Cathedral event with performances
by the Cathedral Choir and Orchestra led by Director of Music Kent Tritle.
Harry Smith, host; special guests Paul Winter, Jamet Pittman,
Jason Robert Brown, and David Briggs. General admission seats are free and open
to the public on the night of the show. Reserved seats are available now.
Holiday markets: New York City is full of incredible holiday markets, with must-buy gifts, sweets, drinks and winter activities. This year, the Bank of America Winter Village at Bryant Park opened earlier than ever on October 31. Other popular markets include the Union Square Holiday Market, Columbus Circle Holiday Market, Brooklyn Flea and Astoria Market.
Iconic Holiday Windows: Awe-inspiring window displays at stores such as Saks Fifth Avenue, Macy’s Herald Square and the new Nordstrom Women’s Store sparkle, inviting visitors to explore the magic of New York City shopping.
Empire Outlets, St. George, Staten Island: New York City’s first-ever outlet destination, Empire Outlets, will ring in the holiday season with a special Black Friday sale and their first annual tree lighting ceremony. Easily accessible by the free Staten Island Ferry from Lower Manhattan, the outlets will be adorned with thousands of lights, garland wraps and a 40-foot tree.
23 Days of Flatiron Cheer,
December 1-23, Flatiron District, Manhattan: 23
Days of Flatiron Cheer will include free, holiday-themed events showcasing the
intersection of shopping, dining and culture in this vibrant neighborhood.
The Shops at Columbus Circlehas kicked off its fourth year of Broadway Under the Stars, a five-week series of free public performances taking place this holiday season.Select cast from today’s hottest Broadway musicals will perform against the backdrop of the destination’s famous 12 massive stars. These stars, one of the largest specialty crafted exhibits of illuminated color displays in the world, are suspended from the 100-foot-high ceilings. Performances, lasting 20 minutes, begin at 5 pm and are free to attend and open to the public, no reservations or tickets are required. (Nov. 11, Waitress, Chicago, Oklahoma!andThe Lightening Thief; Nov. 18, Come From Away, Rock of Ages;Nov. 25: Dear Evan Hansen, The Illusionists, Frozen; Dec. 2: Beetlejuice, Tootsie, Mean Girls; Dec. 9: Phantom of the Opera, Wicked). Additional Broadway Under the Stars offerings include specialty cocktails from the Shops at Columbus Circle’s Restaurant and Bar Collection which includes Monday night drink specials like Center Bar’s Pomegranate Smash cocktail ($16). Visit www.theshopsatcolumbuscircle.com for more information and list of events and happenings.
Shop at Your Hotel: Several hotels are home to retail pop-ups this holiday season, partnering with iconic stores to make shopping easier than ever for visitors.
Grand Hyatt New York is partnering with Macy’s Herald Square for a pop-up located behind the check-in desk, featuring New York City-themed gifts, Macy’s Thanksgiving Day Parade apparel and novel gift items November 25–January 1.
Loews Regency New York Hotel and Bloomingdale’s are teaming up to bring a curated selection of holiday gifts to the lobby lounge November 29-December 24, including on-site monogramming of leather gifts by ROYCE New York.
Conrad New York Midtown is launching the first FAO Schwarz Holiday Suite, filled with shoppable toys, stuffed
animals and gifts that will be restocked for visitors who book a stay in the
suite November 18–January 5. Additionally, all guests during this time period
will be able to order gifts on demand to their suite or home address.
The iconic Macy’s Thanksgiving Parade is actually two events, which begins the day before with the Macy’s Balloon Inflation, from 1 to 8 pm when you can watch the volunteers as they literally breathe life into the iconic giants.
has become wildly popular, with thousands and thousands of people arriving for
a peek as hundreds of volunteers work to inflate the balloons. They start off
flat, laid out in precise order on the streets around the American Museum of
the event is so popular, the entrance is at 73rd and Columbus (be
prepared for intense security; can’t bring backpacks and very long lines),
following a route up Central Park West, to 77th Street, Columbus Avenue and back down 81st
streets to the exit.
best time to watch is around 5 pm when you will see the balloons in various
stages of completion. (Insider tip: if you visit the Museum of Natural History
early in the day, when you leave, you are right in the middle of the action.
is really an insider’s look and it is really thrilling.
1927, when the Parade’s character balloons first joined the revelry, the
inflatables have become a signature element featuring some of the world’s most
beloved characters. Over time, the inflatables have morphed from air-filled
characters carried on sticks to high-flying giants, balloonheads and even
hybrid inflatables with vehicles inside (balloonicles) or tandem tricycles
giants joining the line-up this year include Astronaut Snoopy by Peanuts
Worldwide, Green Eggs and Ham by Netflix, and SpongeBob SquarePants & Gary
by Nickelodeon. In celebration of his 75th birthday, a heritage balloon and fan
favorite will return to the Parade as Smokey Bear once again takes to the skies
In 2005, the Macy’s Parade began to feature
what would become a collection of high-flying artwork created in collaboration
with renowned contemporary artists. The special series, entitled Macy’s Blue
Sky Gallery, has featured some of the art world’s finest creators. This year,
for the eighth edition of the series, the world’s most renowned female
contemporary artist will take her iconic art to new heights as Yayoi Kusama
joins the Macy’s Parade with her Love Flies Up to the Sky balloon. The design
was developed by the artist from face motifs that appear in her “My Eternal
Soul” series of paintings–a body of work that she began in 2009. Vibrant and
animated, the paintings embody Kusama’s innovative exploration of form and
revolve around a tension between abstraction and figuration. The artist’s
signature dots–which recur throughout her practice—are also featured
prominently in the Macy’s Parade balloon design. Previous balloons in the
Macy’s Parade Blue Sky Gallery series have included works from famed artists
Tom Otterness, Jeff Koons, Keith Haring, Takashi Murakami, Tim Burton, KAWS,
giant balloon characters include Diary of A Wimpy Kid® by Abrams Children’s
Books; Sinclair Oil’s DINO®; The Elf on the Shelf®; Goku; Illumination Presents
Dr. Seuss’ The Grinch; Jett by Super Wings™; Olaf from Disney’s “Frozen 2”;
Chase from PAW Patrol®; Pikachu™ by the Pokémon Company International;
Pillsbury Doughboy™; Power Rangers Mighty Morphin Red Ranger; Ronald McDonald®;
and Trolls. Completing the inflatable lineup is the famed Aflac Duck, Sinclair
Oil’s Baby DINOs and the Go Bowling balloonicles, as well as Universal Orlando
Resort’s The Nutcracker.
93rd Edition of Macy’s
the 93rd edition of the Macy’s Thanksgiving Parade kicks off at 9 am
on Thursday, November 28 when the time
honored phrase Let’s Have a Parade™ rings from the starting line. With more
than 8,000 volunteers dressed as clowns, guiding the flight of larger-than-life
character balloons, transporting some 2.5 million spectators who line New York
City’s streets and 50 million more watching on television to new worlds.
iconic holiday event ushers in the season with its signature giant character
balloons, floats of fantasy, the nation’s finest marching bands, whimsical
groups, musical performances, and the one-and-only Santa Claus With special
performances and appearances by Natasha Bedingfield, Black Eyed Peas, Chicago,
Ciara, Josh Dela Cruz, Celine Dion, Jimmy Fallon and The Roots, Debbie Gibson,
former NASA Astronauts Kay Hire & Janet Kavandi, Chris Janson, Idina
Menzel, Lea Michele, Miss America 2019 Nia Franklin, NHL® Legends Dominic Moore
and Eddie Olczyk, the cast & Muppets of Sesame Street, NCT 127, Ozuna,
Billy Porter, Kelly Rowland, That Girl Lay Lay, TLC, Tenille Townes, and Chris
Here are more fun facts about the Macy’s Thanksgiving Parade:
Years of the Macy’s Thanksgiving Day Parade – 93 (est. 1924) o Note: The Parade
was canceled in 1942, 1943 and 1944 due to World War II.
Parade Route Spectators – 3.5 Million
Parade Route Length – 2.5 miles (77th & Central Park West south to 34th
Participants – 8,000+ including Macy’s colleagues and their friends &
families, celebrities, recording artists, athletes, Broadway performers,
marching bands, clowns, dancers, cheerleaders and other performance groups
Giant character helium balloons – 16
40 novelty, heritage, specialty balloons, balloonicles, balloonheads and
New balloons – Astronaut Snoopy by Peanuts Worldwide, Green Eggs and Ham by
Netflix, SpongeBob SquarePants & Gary by Nickelodeon, Smokey Bear by USDA
Forest Service, and Love Flies Up to the Sky by Yayoi Kusama
Height of tallest balloon – 62 feet (Diary of A Wimpy Kid®)
Length of longest balloon – 77 feet (Power Rangers Mighty Morphin Red Ranger)
Width of widest balloon – 39 feet (Jett by Super Wings™)
Balloon handlers – more than 1,600 (90 handlers on average per giant balloon)
Floats – 26, comprised of hundreds of different set pieces and other structural
New floats – Blue’s Clues & You! by Nickelodeon, The Brick-Changer by The
LEGO Group, Home Sweet Home by Cracker Barrel Old Country Store®, Rexy in the
City by COACH®, and Toy House of Marvelous Milestones by New York Life
Length and height of largest float – 60 feet long and 3.5 stories tall (Santa’s
• Float escorts – 400
Television Viewers – More than 50 Million, one of the country’s most viewed
Hours of Live Television – 3 (9am-noon, in all time zones), 3 rebroadcast
(2pm-5pm, in all time zones)
Years on NBC, official national broadcast partner – 66 (since 1952)
NBC TODAY Show anchors as host of the Parade: o 2019 marks Hoda Kotb’s 2nd year
hosting o 2019 marks Savannah Guthrie’s 8th year (since 2012)
• 2019 marks Al Roker’s 25th year (since 1995)
PERSONALITIES & PERFORMERS:
Marching Bands – 11 bands spanning approximately 2,793 members in total
Performance Groups – 10 groups including 600 cheerleaders and 600 dancers from
all over the country
Radio City Rockettes® – An annual favorite, they first performed in the 1957
Broadway musicals – 4, the long-standing relationship with Broadway shows to
showcase performances nationally, dating back to 1977
Choral Singers (Macy’s own) – 100
• Clowns – 1,000
• Clown Stilt Walker Units – 22
Santa Claus – the ONE and ONLY in his famed Parade finale appearance o Santa
Claus has closed the Macy’s Parade every year with the exception of 1933, the
only year in which he led the official Parade march
MAGIC BY THE MACY’S PARADE STUDIO TEAM:
Hours of labor from the Parade Studio team of approximately 27 painters,
carpenters, animators, sculptors, welders, scenic/costume designers,
electricians and engineers – 50,000+
Square Footage of the Parade Studio’s Moonachie, NJ headquarters – 72,000
Length of Tubular Steel – nearly ½ mile for creation of the Macy’s Singing
Tree, and the most steel ever sourced for a Macy’s Parade float
You always make
fascinating discoveries at the New-York Historical Society, but the nexus of
exhibits and experiences that are being showcased through the holidays makes
this particularly prime time for a visit: flesh out who Paul Revere was beyond
his mythic Midnight Ride; see why Mark Twain, featured on the 150th
anniversary of the publication of his seminal book, “Innocents Abroad, or The
New Pilgrims’ Progress” was our first travel blogger; learn about the Baroness artist
in exile who made a visual diary, and, of course, become enchanted at the “Holiday
Express,” re-imagined to celebrate the 100th birthday of Busytown series author
and illustrator Richard Scarry.
Beyond Midnight: Paul Revere
Paul Revere is most famous for his
midnight ride warning people of Massachusetts “the British are
coming,” but the larger than life legend is not the focus of this
first-ever exhibit now on view at the New-York Historical Society. And while
his prowess as a silversmith and artisan is very much displayed, we are
surprised to learn about Revere as a printer, an engraver, an entrepreneur and innovator,
a savvy businessman, a Mason, a “proto-industrialist” – all of which figured
into his role as a patriot.
Beyond Midnight: Paul Revere separates fact
from fiction, revealing Revere as a complex, multifaceted figure at the
intersection of America’s social, economic, artistic, and political life in
Revolutionary War-era Boston as it re-examines his life as an artisan,
activist, and entrepreneur. The exhibition, featuring more than 140 objects, most
never before exhibited in public, highlights aspects of Revere’s versatile
career as an artisan, including engravings, such as his well-known depiction of
the Boston Massacre; glimmering silver tea services made for prominent clients;
everyday objects such as thimbles, tankards, and teapots; and important public
commissions, such as a bronze courthouse bell. There are personal items, as
well – most touching is the
gold wedding ring Paul Revere made for his second wife, Rachel, in a case below
portraits of the two of them, a thin band engraved inside with the words, “Live
Organized by the American Antiquarian Society in Worcester,
curated by Nan Wolverton and Lauren Hewes, Beyond
Midnight debuts at New-York Historical through January 12, 2020, before
traveling to the Worcester Art Museum and the Concord Museum in Massachusetts
for a two-venue display (February 13 – June 7, 2020) and to Crystal Bridges
Museum of American Art in Bentonville, Arkansas (July 4 – October 11, 2020). At New-York Historical, Beyond Midnight is
coordinated by Debra Schmidt Bach, New-York Historical’s curator of decorative
“When many of us think of Paul Revere, we instantly think of Longfellow’s lines,
‘One if by land, and two if by sea’, but there is much more to Revere’s story,”
said Dr. Louise Mirrer, president and CEO of the New-York Historical Society.
“This exhibition looks beyond the myth of Paul Revere
to better understand the man as a revolutionary, an artisan, and an
entrepreneur, who would go on to become a legend. There is much more to the
Revere story than the famous ride. We are proud to partner with the American
Antiquarian Society to debut this exhibition in New York.”
The New-York Historical
Society partnered with the American Antiquarian Society (of Boston) which holds
one of the most encompassing collections of Paul Revere’s documents, largely
due to the society being founded by Isaiah Thomas in 1812, an “omnivorous
collector,” who was a printer, publisher, patriot, colleague and customer of
Paul Revere’s as well as a fellow patriot advocating for a break from Great
The Antiquarian Society,
the oldest national historical society, is a research library and not a museum,
so its collection is not publicly exhibited. That’s why this collaboration with
the New-York Historical Society is so extraordinary.
A Revolutionary activist, Paul Revere was a member of the Sons of
Liberty, a secret group opposed to British colonial policy including taxation
that kept track of British troop movements and war ships in the harbor. The
exhibition displays Revere’s 1770 engraving of the landing of British forces at
Boston’s Long Wharf.
Four versions of Revere’s provocative engraving of the 1770 Boston Massacre are also reunited in the exhibition. The engravings capture the moment when British soldiers fired upon a crowd of unruly colonists in front of the Custom House. The print inflamed anti-British sentiment, and different versions of it were widely disseminated as Patriot propaganda.
The only known copy of a
broadside that still exists is on display under canvas.
But the print that most
fascinated me was the one that depicted the first casualty of the American
Revolution, a black man, Crispice Attucks, at the center. It was used to
advance the cause of abolition before the Civil War.
Paul Revere was a master craftsman specializing in metalwork,
including copperplate engravings and fashionable and functional objects made
from silver, gold, brass, bronze, and copper. An innovative businessman, Revere
expanded his successful silver shop in the years after the war to produce goods
that took advantage of new machinery. His fluted oval teapot, made from
machine-rolled sheet silver, became an icon of American Federal silver design.
You see marvelous
examples of Revere’s artistry as a silversmith – a skill he learned from his father.
There is a Revere tea service that had belonged to John Templeman, on loan from
the Minnesota Institute of Art, the most complete tea service by Revere in
existence, which he made toward the end of long career that lasted until he was
in his 70s.
Among the silver objects on view are two rare wine goblets
possibly used as Kiddush cups made by Revere for Moses Michael Hays—his only
known Jewish client—as well as grand tea services, teapots, tankards,
teaspoons, and toy whistles created in Revere’s shop.
But Revere, a genius at working with metals, also worked in brass and copper. He produced bells and cannon. Featured in the exhibit is a 1796 cast-bronze courthouse bell made for the Norfolk County Courthouse in Dedham, Massachusetts (about 100 Revere-created bells are still in existence and one, in Cambridge is still rung). The exhibition also explores how Revere’s trade networks reached well beyond Boston, even aboard ships bound for China. He frequently bought and sold raw and finished copper from New Yorker Harmon Hendricks and supplied copper for Robert Fulton’s famous steamship.
We learn that the silver that Revere
and the colonial silversmiths would have used came from South America, from
mines run by the Spanish with African slave and Indian labor. “Spanish coin was
the currency of colonial America. Revere
would melt old objects and coin for the silver.”
Meticulous account books
that are in the collection show that Revere had customers in and around Boston-
they are never shown except on microfilm, so it is very special to see these
originals. In one, we see where Revere made notations and sketches.
What we learn is that
Revere, who had 16 children, would create new businesses, set up new workshops
and put a son in charge as he went on to create a new one. “He had a drive to keep changing technology,
but he built on what he learned as a silversmith.”
Revere was a proto-industrialist
of the nascent nation; he changed from a workshop model that would employ two
to four people, to more of an industrial model, with six to eight people paid
The connection between
being an artisan, an entrepreneur and an innovator plays into his role as a
As you enter the exhibit, you see a nine-foot-tall re-creation of
the grand obelisk made for a 1766 Boston Common celebration of the repeal of
the Stamp Act, the first tax levied on the American colonies by England.
Originally made of wood and oiled paper, and decorated with painted scenes,
portraits, and text praising King George while also mocking British
legislators, the obelisk was illuminated from inside and eventually consumed by
flames at the Boston event. Local newspapers of the time described huge event.
The only remaining visual evidence is Revere’s 1766 engraving of the design
which was used to make the reproduction.
was a member of the Sons of Liberty and helped plan and execute the Boston Tea
Party in 1773, hurling tea into Boston Harbor. You get to see a vial of tea
from the Boston Tea Party that was collected from Dorchester Beach (the water
was cold so the bales of tea didn’t dissolve). One of the vials was given to
the Antiquarian Society in 1840.
place where the Sons of Liberty met to discuss their plans for the Tea Party,
the Green Dragon Tavern, was also where the Masons met. Revere was a member of
this secret society as well. The Masons were humanists, a clique and seen as
anti-Christian, inspiring anti-Masonic societies, because all religions,
including Jews like Hays, could join.
Thomas, a Masonic brother, was a patriot and like many of the merchants saw
America as independent of Great Britain, with its own ability to make
(manufacture), sell and distribute goods and not rely on Europe. Thomas
published a newspaper and hired Revere, who was a printer as well as an artist,
to do the book plate and masthead for his newspapers.
Isaiah Thomas, a Masonic brother, was a patriot and like many of the merchants saw America as independent of Great Britain, with its own ability to make (manufacture), sell and distribute goods and not rely on Europe. Thomas published a newspaper and hired Revere, who was a printer as well as an artist, to do the book plate and masthead for his newspapers.
Paul Revere was born in
America in 1735. His father was a French Huguenot who came as a young man from
Bordeaux France, emigrating first to the Isle of Jersey, and then to Boston as
a goldsmith. Revere’s father dies young and Paul, having finished his
apprenticeship, takes over at 19.
Revere belonged to an economic class called “mechanics,” ranked below merchants, lawyers, and clergymen. But Revere was a savvy networker, and what he lacked in social status, he made up for by cultivating influential connections. Membership in the Sons of Liberty led to commissions from fellow Patriots, but he also welcomed Loyalist clients, setting aside politics for profit. On view are nine elements from a grand, 45-piece beverage service that Revere created in 1773 for prominent Loyalist Dr. William Paine—the largest commission of his career—just two months before the Boston Tea Party.
A key associate was Isaiah
Thomas who, like Revere, exemplifies an American success story. Thomas was
poor but taught himself how to read, write and set type and became one of
wealthiest Americans as a printer, employing 150 people. It was the same with
Paul Revere and Ben Franklin – they all started from nothing, but became
successful – each of them had the ability in America to rise up, each was a
printer, and each was a great innovator and thinker. The exhibit makes clear
that a big part of Revere’s story is his importance as a printer.
The end of exhibit
focuses on the Revere legend and the reality.
Paul Revere died in 1818, at the age of 83 (he worked until his
70s), but his fame endured, initially for his metalwork and then for his
patriotism. In the 1830s, Revere’s engravings were rediscovered as Americans
explored their Revolutionary past, and his view of the Boston Massacre appeared
in children’s history books.
In 1860, poet Henry Wadsworth Longfellow, after visiting the Old
North Church and hearing the story about the lanterns, was inspired to write
“Paul Revere’s Ride,” romanticizing (and somewhat embellishing) the story of
Revere’s journey to Lexington. The poem first appeared in the Atlantic
Monthly in January 1861 (an original copy of the magazine is on view
in the exhibition).
“Listen my children and you shall
hear of the midnight ride of Paul Revere,” Longfellow wrote 85 years after the event,
April 18, 1775. It was the eve of another revolution, the Civil War. Longfellow’s intention was not to promote the
idea of revolution but to remind Americans of our common foundation, our roots,
our unifying experience.
Before the Longfellow poem was
published, a new print of the famous Revere print of the Boston massacre was
published that put the black man, Crispice Attucks, the first man to die for
Revolution, America’s first martyr, in the center.
“The Civil War started in 1861. Longfellow was
an abolitionist and Boston was a hotbed of abolition. He wanted to remind the country
of its shared past. That is why he brought Revere back to life, but his life was
stripped down to one event,” curator Debra Schmidt Bach explains.
The exhibit is timely
now for much the same reason: with such intense partisanship, there is the
sense of needing to remind people of our common foundation.
In reality, Revere, who was 40 years old when he undertook his
famous ride, was on foot until he crossed the Charles River to Cambridge and
then rode a borrowed horse to Lexington. He was
also one of three riders and was stopped briefly by British officers and then
released when Revere talked his way out of being arrested. A map of the actual
ride is on display.
Works like the Longfellow poem, artist Grant Wood’s 1931 painting Midnight Ride of Paul Revere depicting a dramatic scene of Revere riding past Boston’s Old North Church (also an embellishment) and others enshrined Paul Revere at the heart of the nation’s founding story. By the turn of the 20th century, the tale of Paul Revere and his midnight ride was firmly established in the nation’s psyche as truth, not fiction, and Revere’s contributions as a metalsmith and artisan were overshadowed.
The Revere exhibit, and
the people who we are introduced to like Isaiah Thomas, reveals the DNA that
propelled the American Revolution: how Americans had become their own culture,
their own society, where an individual was not limited by birth, but could rise
up. The Stamp Tax and the Tea Tax imposed by Britain clarified the limitations
placed on the Americans’ economic development. More than a political
revolution, the American Revolution was an economic and social revolution.
In piercing the bubble
of the Revere legend, the exhibit exposes an even more interesting and
“Paul Revere” exhibit on view in NY until January
12, 2020 before
traveling to the Worcester Art Museum and the Concord Museum in Massachusetts
for a two-venue display (February 13 – June 7, 2020) and to Crystal Bridges
Museum of American Art in Bentonville, Arkansas (July 4 – October 11, 2020). Special
programming is offered in conjunction with the exhibit, check the website, www.nyhistory.org.
Mark Twain and
the Holy Land
This small alcove within
the New-York Historical Society is hallowed ground for a travel writer,
consisting of artifacts, leaves from journals, letters, stereotypes, photos
that re-create Mark Twain’s journey through the Holy Land in 1867. Twain’s
cruise aboard the Quaker City was a first – the first organized tour in
American history – and Twain was the first travel writer, sending back
dispatches of his impressions that were published in a San Francisco newspaper,
two years before his subsequent 1869 book, The Innocents Abroad, or The New Pilgrims’ Progress, one of the best-selling travelogues of all
Historical Society celebrates the 150th anniversary of the publication of Innocents Abroad with Mark Twain
and the Holy Land, on view through February 2, 2020. This new
exhibition traces the legendary American humorist’s 1867 voyage to the Mediterranean
and his subsequent book through original documents, photographs, artwork, and
costumes, as well as an interactive media experience.
by New-York Historical in partnership with the Shapell Manuscript Foundation,
it is curated by Michael Ryan, vice president and director of the Patricia D.
Klingenstein Library, and Cristian Petru Panaite, associate curator of
sail from New York for a great adventure abroad, Mark Twain captured the
feelings and reactions of many Americans exploring beyond their borders,
inspiring generations of travelers to document their voyages,” said Dr. Louise
Mirrer, president and CEO of the New-York Historical Society. “We are pleased
to partner with the Shapell Manuscript Foundation to present the history behind
this influential book by Twain, a uniquely American writer whose work helped to
define American culture in the postbellum era.”
What I delighted in most
was an interactive display where you can summon up a specific site Twain
visited, like the Holy Sepulchre, and read Twain’s notes and observations,
adjacent to a historic photo, that read like today’s travel blogs.
“We spurred up hill
after hill, and usually began to stretch our necks minutes before we got to the
top-but disappointment always followed – more stupid hills beyond – more unsightly
landscape – no Holy City. At last, away in the middle of the day, ancient bite
of wall and crumbling arches began to line the way-we toiled up one more hill,
and every pilgrim and every sinner swung his hat on high! Jerusalem!”
“Just after noon we
entered these narrow, crooked streets, by the ancient and the famed Damascus
Gate, and now for several hours I have been trying to comprehend that I am
actually in the illustrious old city where Solomon dwelt, where Abraham held
converse with the Deity, and where walls still stand that witnessed the
spectacle of the Crucifixion.”
“The great feature of
the Mosque of Omar is the Prodigious rock in the centre of its rotunda. It was
upon this rock that Abraham came so near offering up his son Isaac – this, at
least, is authentic – it is very much more to be relied on than most of the
traditions, at any rate. On this rock, also, the angel stood and threatened
Jerusalem, and David persuaded him to spare the city.”
expressed disgust at the way his fellow travelers treated hallowed sites. “Pilgrims
have come in with their pockets full of specimens broken from the ruins. I wish
this vandalism could be stopped.” But Twain himself carried back items (a list is
provided) including marble from the Parthenon in Athens, mummies from Egyptian
pyramids, a letter opener made from Abraham’s oak and olive wood from Jerusalem.
Artist in Exile:
The Visual Diary of Baroness Hyde de Neuville
Artist in Exile: The Visual Diary of Baroness Hyde de Neuville introduces visitors to a little-known artist whose work documented the people and scenes of early America. The exhibit, on view November 1, 2019 – January 26, 2020 in the Joyce B. Cowin Women’s History Gallery of the Center for Women’s History, presents 115 watercolors, drawings, and other works by Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849). Self-taught and ahead of her time, Neuville’s art celebrates the young country’s history, culture, and diverse population, ranging from Indigenous Americans to political leaders.
All Aboard to Richard Scarry’s Busytown
holiday favorite returns to the New-York Historical Society this
season—reimagined to celebrate the 100th birthday of Busytown series author and
illustrator Richard Scarry. Holiday Express: All Aboard to Richard
Scarry’s Busytown (November 1, 2019 – February 23, 2020) showcases
artwork and graphics of Scarry’s characters like Huckle Cat and Lowly Worm from
publisher Random House Children’s Books alongside more than 300 objects from
the Jerni Collection’s antique toy trains, stations, and accessories. Using
Busytown stories and characters, dynamic displays explore the workings of the
railroad, the services it provides, and the jobs required to keep people and
goods moving. An assortment of kid-friendly activities, story times, and crafts
accompany the exhibition throughout its run, welcoming families into the world
of classic toys and trains. Richard “Huck” Scarry Jr., the son of Richard
Scarry, will make a special appearance on December 14 and 15. Holiday
Express: All Aboard to Richard Scarry’s Busytown is supported by
Bloomberg Philanthropies. Additional support provided by Random House
Historical Society, 170 Central Park West (77th St), New York, NY
Global Scavenger Hunt teams arrive in New York City for the last leg of the
Global Scavenger Hunt, a mystery tour that has taken us to 10 countries in 23
Chalmers, the ringmaster and Chief Experience Officer of this around-the-world
mystery tour, has designed the rules, challenges and scavenges to get us out of
our comfort zone and immerse us in a culture, fine-tune our skills as world
travelers, and most significantly, “trust in the kindness of strangers.”
in New York, he is delighted all 10 teams circumnavigated the world “in one
piece” without dramatic incident, in this, the 15th annual
Global Scavenger Hunt competition.
There is one more challenge in New York (an easy urban Par 1), and even though, based on points and placement, the winners of the 15th annual, 2019 edition of the Global Scavenger Hunt have been determined, still the teams go out and give it their all. The four teams still in contention must complete at least one of the scavenges in New York, and complete their time sheet and hand in by the 4 pm deadline.
Examples of the scavenges: take in a Yankees game or a Broadway show (actually difficult because of the deadline of 4 pm); have one of each of following: a New York bagel, a New York hot dog, a New York deli sandwich, a slice of New York pizza, New York cheesecake, a New York egg cream, or an old-fashion Manhattan; locate five pieces from five of the nations you just visited in the Met; visit Strawberry Fields to pay John Lennon tribute; do one scavenge in each of the five boroughs of New York City.
A native New Yorker, this is really
my turf, though there is the oddest sensation of feeling like I am in a foreign
place, reminding myself of what is familiar and not having to think twice about
things like language, currency, drinking water from the tap, eating raw
vegetable, the street grid).
fact, that is the genius of the way the Global Scavenger Hunt is designed – we
are supposed to feel off-balance, disoriented because that’s when you focus
most, the experiences are more intense, you are out of your comfort zone and
need to rely on the kindness of strangers, as opposed to the style of travel
where you stay long enough to become familiar, comfortable in a place so it (and
you) no longer feels foreign.
I elect to take up the challenge of going to the Metropolitan Museum of Art to seek out objects from five of the countries we visited (Canada, Vietnam, Myanmar, Thailand, Abu Dhabi, Jordan, Greece, Morocco, Gibraltar, Portugal, Spain). Greece will be easy, of course, but Morocco and Jordan (Petra), Vietnam and Myanmar (Burma) are trickier. It is Chalmers’ way of making us experience things on a different level, and for me, it brings together so much of what we’ve seen, learned and experienced along the way. I have a context in which to appreciate the artifacts, dare I say a personal connection. Indeed, the Metropolitan Museum of Art enables you to travel around the world, be transported over millennia, within the confines of its walls.
I first join a docent-led Highlights
Tour, knowing from past experience that these always lead me to parts of the
museum I am unfamiliar with, and enlighten me about aspects of art and culture
with the in-depth discussion of the pieces the docents select to discuss.
The docent, Alan, begins in the
Greco-Roman exhibit with a stunning marble sculpture of the Three Graces,
showing how this theme – essentially copied from the Greek bronzes (which no
longer exist because the bronze was valuable and melted down for military use)
– was repeated over the eons, into the Renaissance and even beyond. Greece. One
finding an object from Greece would be easy, and I hope to find objects from
Vietnam, Myanmar (Burma), and Thailand in the Asia wing where there is a
massive collection of Buddhist art (it proves just a tad more difficult, but I
and Jordan (Petra) prove trickier than I expected, but bring me to an
astonishing, landmark exhibit, “The World Between Empires: Art and
Identity in the Ancient Middle East,” with an extraordinary focus on
the territories and trading networks of the Middle East that were contested
between the Roman and Parthian Empires (ca. 100 BC and AD 250) “yet across the
region life was not defined by these two superpowers alone. Local cultural and
religious traditions flourished and sculptures, wall paintings, jewelry and
other objects reveal how ancient identities were expressed through art.”
This is a goldmine for my hunt.
Featuring 190 works from museums in the Middle East, Europe and the United
States, the exhibition follows the great incense and silk routes that connected
cities in southwestern Arabia, Nabataea, Judea, Syria and Mesopotamia, that
made the region a center of global trade along with spreading ideas, spurring
innovations (such as in water control), and spawning art and culture. It is a
treasure trove for my scavenger hunt.
It is the most incredible feeling to come upon the objects from Petra, having visited the site (was it only 10 days ago?) and having a context for seeing these isolated objects on display. I recall seeing their counterparts in the newly opened Archaeological Museum at Petra.
The World Between Empires
landmark exhibition The World between Empires: Art and Identity in
the Ancient Middle East (unfortunately it is only on view through June
23, 2019), focuses on the remarkable cultural, religious and commercial
exchange that took place in cities including Petra, Baalbek, Palmyra and Hatra
between 100 B.C. and A.D. 250. “During this transformative period, the Middle
East was the center of global commerce and the meeting point of two powerful
empires—Parthian Iran in the east and Rome in the west—that struggled for
Among the highlights is a Nabataean
religious shrine, reconstructed from architectural elements in collections in
the United States and Jordan; the unique Magdala Stone, discovered in a
first-century synagogue at Migdal (ancient Magdala) with imagery that refers to
the Temple in Jerusalem; and wall paintings from a church in Dura-Europos that
are the earliest securely dated images of Jesus.
Sculptures from Baalbek illuminate
religious traditions at one of the greatest sanctuaries in the ancient Middle
East, and funerary portraits from Palmyra bring visitors face to face with
ancient people. The exhibition also examines important contemporary
issues—above all, the deliberate destruction and looting of sites including
Palmyra, Dura-Europos, and Hatra.
“The compelling works of art in this
exhibition offer a view into how people in the ancient Middle East sought to
define themselves during a time of tremendous religious, creative, and
political activity, revealing aspects of their lives and communities that
resonate some two millennia later,” stated Max Hollein, Director, The
Metropolitan Museum of Art, in a video that accompanies the exhibit. “Further,
in focusing on an area of the world that has been deeply affected by recent
conflicts and the destruction of sites, monuments, and objects, this show also
engages with complex questions about the preservation of cultural heritage.”
The exhibition evokes a journey
along ancient trade routes, beginning in the southwestern Arabian kingdoms that
grew rich from the caravan trade in frankincense and myrrh harvested there and
used throughout the ancient world. Camel caravans crossed the desert to the
Nabataean kingdom, with its spectacular capital city of Petra, which I have
just visited, walking through very much as the caravan travelers would have.
From here, goods traveled west to
the Mediterranean and north and east through regions including Judaea and the
Phoenician coast and across the Syrian desert, where the oasis city of Palmyra
controlled trade routes that connected the Mediterranean world to Mesopotamia
and Iran and ultimately China. In Mesopotamia, merchants transported cargoes
down the Tigris and Euphrates rivers to the Persian Gulf, where they joined
maritime trade routes to India. These connections transcended the borders of
empires, forming networks that linked cities and individuals over vast
“Across the entire region, diverse
local political and religious identities were expressed in art. Artifacts from
Judaea give a powerful sense of ancient Jewish identity during a critical
period of struggle with Roman rule. Architectural sculptures from the colossal
sanctuary at Baalbek and statuettes of its deities reveal the intertwined
nature of Roman and ancient Middle Eastern religious practices. Funerary
portraits from Palmyra represent the elite of an important hub of global trade.
Wall paintings and sculptures from Dura-Europos on the River Euphrates
illustrate the striking religious diversity of a settlement at the imperial
frontier. And in Mesopotamia, texts from the last Babylonian cuneiform
libraries show how ancient temple institutions waned and finally disappeared
during this transformative period.”
From my visits in Athens and Petra,
particularly, I appreciate this synergy between trade, migration, environmental
sustainability and technology (in Petra’s Archaeology Museum, you learn how the
ability to control water supply was key to the city’s development) and the
links to economic prosperity and political power, and the rise of art, culture,
and community. (I recall the notes from the National Archaeology Museum in
Athens that made this very point.)
It is rare (if ever) for the
Metropolitan Museum to venture into the political, but a key topic within the
exhibition is the impact of recent armed conflicts in Iraq, Syria, and Yemen on
archaeological sites, monuments, and museums, including deliberate destruction
and looting. Some of the most iconic sites affected—Palmyra, Hatra, and
Dura-Europos—are featured in the exhibition, which discusses this damage and
raises questions regarding current and future responses to the destruction of
heritage. Should the sites be restored or will they now only exist “on paper”?
How much money and resources should go to restoring or excavation when villages
and homes for people to live in also need to be rebuilt?
There is a fascinating, if frantic,
presentation of three archaeologist/historians speaking about what the
destruction by ISIS and Islamic fundamentalists of Palmyra, Eura-Europos and
Hatra – what it means to destroy a people’s heritage, their cultural identity.
“It may seem frivolous to focus on [archaeological sites] when people are
enslaved, killed…but to wipe out, destroy culture is a way of destroying
Happening upon this exhibit made the
travel experiences we had to these extraordinary places all the more precious.
It is a humbling experience, to be
sure, to go to the origins of the great civilizations, fast forward to today.
How did they become great? How did they fall? Greatness is not inevitable or
forever. Empires rise and fall. Rulers use religion, art and monuments to
establish their credibility and credentials to rule; successors blot out the culture
and re-write history.
I peek out from the American Café windows to Central Park and see sun and the early spring blossoms on the trees, and dash out to walk through my other favorite New York City place. There is nothing more beautiful than New York City in the spring – brides are out in force taking photos; there are musicians and entertainers. There is a festive atmosphere as I walk through the park toward the Palace Hotel in time for our 4:30 pm meeting.
And now, drumroll please, Chalmers
announces the winner of the 2019 Global Scavenger Hunt: “Only one team wins.
The competition was fierce.”
third place is Order & Chaos, Sal Iaquinta & Vivian Reyes,
doctors from San Francisco.
second place, Lazy Monday, Eric & Kathryn Verwillow, computer networking
and think tank professional of Palo Alto, California “I am in awe of how hard
working, beginning to end – embracing the spirit,” Chalmers says.
the World’s Greatest Travelers of 2019: Lawyers Without Borders, Rainey
Booth and Zoe Littlepage of Houston, who have competed in the Global Scavenger
Hunt 12 times, and win it for their 6th time. “You
embody the spirit of the event, to go out of your comfort zone.” (You can
follow Zoe’s blog of her experience to get a sense of how strenuous,
outrageous, and determined the team was in accumulating their points: https://zoeandraineygreatescape.blogspot.com/2019/05/gsh-2019)
We celebrate at a final bon voyage
The Global Scavenger Hunt is the
brainchild of Bill and Pamela Chalmers, who in addition to forging
understanding and bonds among travelers and the people in the destinations
visited, use the program to raise money for the GreatEscape Foundation and
promote voluntourism – one of the scavenges in Yangon, Myanmar is to volunteer
at an orphanage or school; past GSH travelers visited and helped out at Tibetan
refugee camps in Nepal, orphanages in Laos, hospitals in Cambodia, homeless
schools in India, hospices in Manila, disabled facilities in Sri Lanka,
Ethiopian schools, the slums of Nairobi.
“The foundation is one of main
reasons we do the event,” Chalmers says at our final meeting before going out
for a celebration dinner. The foundation has raised money to build 12 schools
(1 each in Niger, Haiti, Ecuador, India & Ethiopia; 2 each in Sri Lanka
& Sierra Leone, and 3 in Kenya), helped build the Tamensa Medical Clinic in
Niger for migrating Tuareg nomads which serves as a midwives & nurse
training center too. “We know that we saved lives and bettered the lives of
hundreds. We have helped over 2400 families in more than 60 countries (mostly
women entrepreneurs) with our interest and fee free micro-loans (96% of which
have gone to women with a 99% repayment).”
Through the event this and last
year, the foundation will build 2 more co-ed elementary schools , in Ethiopia
Global Scavenger Hunt Set for April 17-May 9
Chalmers has just set the dates for the 23-day
2020 Global Scavenger Hunt: April 17-May 9, 2020. Entry applications are now
Eager Indiana Jones-types of adventurers and curious travelers wanting to test their travel IQ against other travelers in an extraordinary around-the-world travel adventure competition that crowns The World’s Greatest Travelers, can apply at GlobalScavengerHunt.com.
The 2020 event will pit savvy international travelers against each other by taking them on A Blind Date with the World, visiting ten secret destinations without any prior preparation, and then have them unravel a constant blitz of highly authentic, participatory and challenging culturally-oriented scavenges along the way, like: meditating with monks, training elephants, taking flamenco lessons, cooking local dishes with local chefs, searching out Lost Cities, cracking sacred temple mysteries, joining in local celebrations, and learning local languages enough to decipher their scavenger hunt clues. Trusting strangers in strange lands will be their focus as they circle the globe for three weeks. Over the past 15 years, the event has touched foot in 85 countries.
The title of The World’s Greatest Travelers and free trip around the world to defend their titles in the 2021 event await the travelers worthy enough to win the 16th edition of the world travel championship.
Event participation is open but limited; the $25,000 per team entry fee includes all international airfare, First Class hotels, 40% of meals, and special event travel gear. All travelers are interviewed for suitability and single travelers are welcome to apply. For additional information visitGlobalScavengerHunt.com, or contact GreatEscape Adventures Inc. at 310-281-7809.
Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com
transported in time, place and even space. Immerse yourself into the realm of
ideas and imagination. Come in from the heat or whatever the weather is doing
outside by taking in one of New York City’s museums. Here are just a few
highlights of summer’s blockbuster attractions:
Met Museum Welcomes ‘Saint Jerome’
Metropolitan Museum of Art is about to welcome a very special visitor: Leonardo
da Vinci’s Saint Jerome. To
commemorate the 500th anniversary of the death of Leonardo da Vinci
(1452–1519), The Met is presenting the artist’s painting Saint Jerome
Praying in the Wilderness (begun around 1483), a special loan from the
Vatican Museums. The exquisitely rendered work represents Jerome (A.D.
347–420), a major saint and theologian of the Christian Church. The scene is
based on the story of his later life, which he spent as a hermit in the desert,
according to the 13th–century Golden Legend. The unfinished painting provides
viewers with an extraordinary glimpse into Leonardo’s creative process; a close
examination of the paint surface even reveals the presence of his fingerprints.
The display of this monumental masterpiece pays homage to one of the most
renowned geniuses of all time. Opening July 15, the painting is on view
through Oct. 6, 2019.
the oldest works of art to the first forays of civilization into outer space, ,
the Met Museum is marking the 50th anniversary of the Apollo 11
mission with Apollo’s Muse: The Moon in
the Age of Photography, on view through September 22, 2019. Apollo’s Muse traces the progress of astronomical
photography and attempts to produce ever-sharper images of the moon,
particularly during the 130-year period between the invention of photography in
1839 and the moon landing in 1969 as astronomers and artists capitalized on
technological improvements to cameras and telescopes to create ever more
accurate visual records of the lunar surface. Exhibition highlights include two
newly discovered lunar daguerreotypes from the 1840s, believed to be the
earliest existing photographs of the moon, and works by such pioneers of lunar
photography as Warren De La Rue (1815–1889), Lewis Morris Rutherfurd
(1816–1892), and John Adams Whipple (1822–1891). A stunning photographic atlas
of the moon, produced at the Paris Observatory between 1894 and 1908 by the
astronomers Maurice Loewy (1833–1907) and Pierre Puiseux (1855–1928), will be
displayed for the first time in its entirety.
these scientific achievements, the show explores the use of the camera to
create fanciful depictions of space travel and life on the moon, including
George Méliès’s (1861–1938) original drawings for his film A Trip to the Moon (Le Voyage dans la lune, 1902) and
a large selection of “paper moon” studio portraits from the early 20th century.
Also featured will be artists’ evocations of the otherworldly effects of
moonlight, including major works by German Romantic painter Caspar David
Friedrich (1774-1840) and American Pictorialist photographer Edward Steichen
The night of the Museum Mile Festival, I popped into the opening of this year’s P.S. Art exhibit, an annual celebration of achievement in the arts in New York City public schools. This juried exhibition of the work of talented young artists showcases the creativity of 122 prekindergarten through twelfth grade students from all five boroughs, including students from District 75, a citywide district serving students with disabilities. The exhibition consists of paintings, prints, sculptures, photographs, mixed-media works, collages, drawings, and video. Each work of art demonstrates personal expression, imaginative use of media, the results of close observation, and an understanding of artistic processes. Some of the works on display are completely astonishing
Met is three museums.
At the Cloisters, “The Colmar Treasure: A Medieval Jewish
Legacy,” is on view July 22-January 12, 2020. A cache of jeweled rings,
brooches, and coins—the precious possessions of a Jewish family of medieval
Alsace—was hidden in the fourteenth century in the wall of a house in Colmar,
France. Discovered in 1863 and on view in an upcoming exhibition at The Met
Cloisters, the Colmar Treasure revives the memory of a once–thriving Jewish
community that was scapegoated and put to death when the Plague struck the
region with devastating ferocity in 1348–49. A generous loan of the Musée
de Cluny, Paris, the Colmar Treasure will be displayed alongside select works
from The Met Cloisters and little–known Judaica from collections in the United
States and France. Although the objects on view are small in scale and
relatively few in number, the ensemble overturns conventional notions of
medieval Europe as a monolithic Christian society. The exhibition will point to
both legacy and loss, underscoring the prominence of the Jewish minority
community in the tumultuous fourteenth century and the perils it faced.
the Met Breuer,
“Home is a Foreign Place:
Recent Aquisitions in Context,” through June 21, 2020.
residents still can pay what they wish, by presenting proof of residence;
out-of-towners need to pay the regular admission).
The iconic Metropolitan Museum of Art is at 1000 Fifth Avenue, on Central Park, (definitely take a Highlights tour when you visit), The Met Breuer (945 Madison Avenue) and The Met Cloisters (99 Margaret Corbin Drive, Fort Tryon Park). Visit metmuseum.org to plan your visit.
Jewish Museum Pays Homage to
Leonard Cohen With Multi-Media Exhibition
“Ring the bells that still can ring. Forget your perfect
offering. There is a crack, a crack in everything. That’s how the light gets
in.” from Leonard Cohen’s song “Anthem”
from the album The Future (1992), provides the title for the special exhibit at the
“Leonard Cohen: A Crack in Everything”.
The contemporary multi-media exhibition devoted to the imagination and legacy
of the influential singer/songwriter, man of letters, and global icon from
Montreal, Canada can be experienced through September 8, 2019.
Cohen: A Crack in Everything includes commissioned works by a
range of international artists who have been inspired by Cohen’s life, work and
legacy. A world-renowned novelist, poet and singer/songwriter who inspired generations
of writers, musicians, and artists, Leonard Cohen (1934-2016) supplied the world with melancholy and urgent
observations on the state of the human heart. In songs such as “Suzanne,” “Bird
on the Wire,” and “Hallelujah,” he interwove the sacred and the profane, mystery and accessibility. Collectively, it is
the oddest, most creative biographical tribute. Featured works include:
Your Man (A Portrait of Leonard Cohen) (2017), a
multi-channel video installation by Candice Breitz, brings together a community
of ardent Cohen fans who pay tribute to the late legend. Each of the 18
participants was offered the opportunity to perform and record his own version
of Cohen’s comeback album I’m Your Man (1988) in a
professional recording studio. At Breitz’s invitation, the album’s backing
vocals were reinterpreted by the Shaar Hashomayim Synagogue Choir, an all-male
choir representing the congregation in Montreal, Canada, that Cohen belonged to
all his life.
Ari Folman’s Depression Chamber (2017) allows one visitor at a
time into a darkened room, where they are confronted by the demons of
depression, a theme that can be traced throughout Cohen’s body of work. After
the visitor lies down, Cohen’s “Famous Blue Raincoat” plays while
the song’s lyrics are projected on the walls, slowly morphing into letters and
icons that symbolize Cohen’s multifaceted thematic universe.
Heard There Was a Secret Chord (after the 2017 work of the same
title, 2018) is a participatory humming experience by the art and design
studio Daily tous les jours that reveals an invisible vibration uniting people
around the world currently listening to Cohen’s Hallelujah. The
work is an exploration of the metaphysical connection between people on a
common wavelength. At the Museum, real-time online listener data is transformed
into a virtual choir of humming voices. The number of voices played back in the
gallery corresponds to the current online listener count, which is visible on
the hanging numerical display. Participants can sit or lie down on the
octagonal structure, and by humming along with the choir into the microphones,
low-frequency vibrations are generated, closing the circuit of collective
resonance with their bodies.
Organized by the Musée d’art contemporain de Montréal (MAC), the exhibition is curated by John Zeppetelli, Director and Chief Curator at the MAC, and Victor Shiffman, Co-Curator. Following its New York showing, the exhibition will tour to Kunstforeningen GL STRAND and Nikolaj Kunsthal, Copenhagen, Denmark (October 23, 2019 – March 8, 2020) and the Contemporary Jewish Museum, San Francisco (September 17, 2020 – January 3, 2021).
During the run of Leonard Cohen: A Crack in Everything, the Jewish Museum will open one hour earlier than usual on Saturdays and Sundays, from 10 am to 5:45pm. Advance tickets are available online at thejewishmuseum.org/buy/general-admission. For questions about ticket sales, email email@example.com or call 866.205.1322.
Founded in 1904, the Museum, on Fifth Avenue’s fabled Museum Mile, was the first institution of its kind in the United States and is one of the oldest Jewish museums in the world. Devoted to exploring art and Jewish culture from ancient to contemporary, the Museum offers diverse exhibitions and programs, and maintains a unique collection of nearly 30,000 works of art, ceremonial objects, and media reflecting the global Jewish experience over more than 4,000 years.
Admission: $18 for adults, $12 for seniors, $8 students, free for visitors 18
and under and Jewish Museum members. Free on Saturdays and select Jewish
holidays. 1109 Fifth Avenue at 92nd Street, New York City, 212.423,3200, firstname.lastname@example.orgTheJewishMuseum.org.
of the City of New York: New York at Its Core
make it a ritual to visit the Museum of the City of New York during each year’s
Museum Mile Festival. I never cease to be fascinated and intrigued by the
York at Its Core
is the first-ever museum show to comprehensively interpret and present the
compelling story of New York’s rise from a striving Dutch village to today’s
“Capital of the World,” a preeminent global city now facing the future in a
changing world. There are different galleries that tell the story, but most
fascinating is The Future City Lab, where you get to design the city of the
future, tackling the most pressing problems like housing, public spaces, water
supply. You even get to put yourself in the picture.
to be missed: Timescapes, the museum’s popular and
critically-acclaimed multimedia experience, brings the sweeping narrative of
New York City from the early 1600s to the present day. The 28-minute,
award-winning documentary explores how NYC grew from a settlement of a few
hundred Europeans, Africans and Native Americans into the multinational
metropolis of today, re-inventing itself multiple times along the way.
Activist New York, an
ongoing exhibit, examines the ways in which ordinary New
Yorkers have advocated, agitated, and exercised their power to shape the
city’s—and the nation’s—future, from the 17th century to the
City of Workers, City of Struggle: How
Labor Movements Changed New York, traces how New York became the most
unionized large city in the United States.
in the City: A 200–Year History, on
view through October 6, 2019, tracex how the bicycle transformed urban
transportation and leisure in New York City and explores the extraordinary
diversity of cycling cultures, past and present.
Museum of the City of New York, 1220 Fifth Ave., Manhattan, NY 10029, 212-534-1672, mcny.org.
Guggenheim: Summer of Know
in the Frank Lloyd Wright building, a major attraction in itself (just walking
through the spiral is an experience),from June 18 through September 3, the
Solomon R. Guggenheim Museum is open until 9 pm for Summer Tuesdays, offering
music and refreshments in the museum rotunda in addition to exhibitions on view
in the galleries. Films, conversations, and performances enhance opportunities
for visitors to engage with the museum and the Frank Lloyd Wright–designed
building that celebrates 60 years as an architectural icon in 2019. Also
starting in June, Summer of Know, a conversation series addressing urgent
issues through the generative lens of art, returns to the Guggenheim, featuring
artists, activists, and other professionals discussing topics such as LGBTQIA+
rights in a global context, environmental activism, and housing rights. Details
are available at guggenheim.org/calendar.
Biennial has long been one of America’s
foremost showcases of emerging artists. Every two years, the exhibition serves
as a bellwether for the culture, both reflecting on and mirroring the country’s
political and social moods. No surprise, then, to see that this year’s work—on
view now at the Whitney Museum of American Art—offers plenty of tension, with
pieces that focus on gender identity and race, among other issues. Curators
chose the works because they represent “a snapshot of contemporary art making”;
read on for more about a few of our favorites. (See: https://www.nycgo.com/articles/whitney-biennial-2019) (99 Gansvoort
St., Meatpacking district).
of Natural History Presents T.rex, The Ultimate Predator
At the American Museum of Natural History’s blockbuster exhibit, T. rex: The Ultimate Predator, you encounter a massive life-sized model of a T. rex with patches of feathers—the definitive representation of this prehistoric predator, T. rex hatchlings and a four-year-old juvenile T.rex; a “roar mixer”where you can imagine what T. rex may have sounded like; a shadow theater where a floor projection of an adult T. rex skeleton seems to come to life. At a tabletop “Investigation Station,” you can explore a variety of fossil casts with virtual tools including a CT scanner, measuring tape, and a microscope to learn more about what such specimens reveal about the biology and behavior of T.rex. Finally, you encounter a massive animated projection of aT. rexand its offspring in a Cretaceous-age setting. which reacts to visitors, leaving you to wonder, “Did that T. rex really see me?”
T. rex: The Ultimate Predator is the first major exhibition of the
American Museum of Natural History’s 150th anniversary celebration. Plan your
visit (you could spend weeks in the museum), check out the special programming
and events, and pre-purchase timed tickets at amnh.org.
Hayden Planetarium Space Theater, see “Dark Universe” (through December 31,
Open daily from 10 am – 5:45 pm. American Museum of Natural History, Central Park West at 79th Street, New York, NY 10024-5192, 212-769-5100, amnh.org.
Summer at New-York Historical Society
The New-York Historical Society, the oldest museum in New
York (and directly across the street from the American Museum of Natural
History on Central Park West), is presenting a Revolutionary Summer. A Museum-wide
exploration of Revolutionary War times, Revolutionary
Summerpresents outdoor events every weekend featuring characters
from the era; 18th-century art and artifacts; a diorama of the Continental Army
and a host of programs for all ages, including trivia nights, DJ evening, and Revolutionary
Drag Tea Party. On select weekends, visitors can explore a replica of George
Washington’s Headquarters Tent at an outdoor Continental Army encampment, meet
Living Historians portraying soldiers and spies, and learn about the many
facets of camp life during the War for Independence. (Through September 15,
Also on view: LIFE: Six Women Photographers showcases the extraordinary work created
by Margaret Bourke-White, Hansel Mieth, Marie Hansen, Martha Holmes, Nina
Leen, and Lisa Larsen. (through October 6, 2019); Stonewall 50 at New-York Historical Society, through September
22, 2019, commemorates the 50th anniversary of the Stonewall uprising and the
dawn of the gay liberation movement; Hudson Rising explores 200 years of ecological change
and environmental activism along “the most interesting river in America” (through
The Big Picture,
opening August 23 through December 8, 2019, explores wide-angle, bird’s-eye
imagery from the 17th to the 20th century, revealing the influence that
panoramas had on everything from mass entertainment to nationalism to imperial
expansion. Through more than 20 panoramas, the exhibition presents the history
of the all-encompassing medium in New York City, San Francisco and beyond.
New-York Historical Society, 170 Central Park West (77th Street), New York, NY 10024, 212-873-3400, nyhistory.org.
Spy v. Spy
Want a real escape? Visit Spyscape, which offers a different twist on spy museums, and is more of an experiential attraction, immersing you into the psychology and ubiquity of surveillance and espionage, and literally, with the ending “profile” (developed with the a former head of training at British Intelligence) showing you where you might fit into this world (I’m an analyst). SPYSCAPE, which opened in 2018, illuminates secret intelligence, from espionage to hacking, and investigative journalism. It offers a balanced perspective on big issues – privacy, security, surveillance. You get to engage in real spy challenges, including lie-detection in interrogation booths, surveillance in a 360 degree environment and test strategy and agility in special ops laser tunnels. The museum also features quite a good Spy Shop, a Book Shop, Café and multiple Event Spaces. (928 8th Avenue, entrance on SE corner of 55th Street, spyscape.com).
And in a very real Spy v. Spy scenario, a very different
experience awaits at another new entry to New York City’s museum scene: the KGB Museum. This place presents the
artifacts and history of the KGB in a kind of antique-shop setting but the
items are chilling. You realize that the spy movies, even the satirical “Get
Smart,” didn’t so much fabricate as reveal the tools and techniques and
paranoia of Cold War spying. (KGB Spy Museum tickets are available online or in
the museum. (245 West 14th Street, New York,
NY 10011, 10 am -8 Mon-Sun).
Museum of Illusions
The Museum of Illusions, which opened September 2018 in New York City’s West Village, contains three-dimensional illusions on the walls and floors which will mesmerize visitors of all ages. You might assume by its name that it is a children’s museum or about magic which depends so much on illusion. Nor can it be considered an “attraction” although many of the exhibits are interactive and you get to help create the illusions. It is really about educating about the physical and psychological science behind illusion – placards posted near each exhibit provide the explanations for what you sense. And while the museum does not explicitly delve into magic, when you leave, you will have a better understanding of how some magic tricks work. (77th 8th Ave, New York, NY; newyork.museumofillusions.us)
Cradle of Aviation Museum: Countdown to
Apollo at 50
out of this world, beyond the city limits, to Long Island: The Cradle of
Aviation Museum and Education Center is one of the great space and aviation
museums, home to over 75 planes and spacecraft representing over 100 years of
aviation history and Long Island’s only Giant Screen Dome Theater. Currently,
the museum is celebrating “Countdown
to Apollo at 50”
sponsored by the Robert D.L. Gardiner Foundation, showcasing Long Island and
Grumman’s significant role in the Apollo program. The Museum was recently
recognized and listed on New York State’s National Register of Historic Places
as a significant part of American history. The museum is located on Museum Row,
Charles Lindbergh Blvd., in East Garden City. For more information call
(516) 572-4111 or visit www.cradleofaviation.org.