Pilgrimage

"Annie Oakley's Heart Target" Annie Leibovitz/Contact Press Images

“Pilgrimage” at the New York Historical Society is an Annie Leibovitz show without a single movie star in sight. That’s because the photographs in the exhibit represent a two-year journey that Leibovitz took documenting places and objects associated with people from the past who have inspired her.

Beginning at Emily Dickinson’s home in Amherst, Massachusetts, she travelled across the US and UK seeking out the homes and haunts of people like Eleanor Roosevelt, Georgia O’Keefe, Sigmund Freud, Charles Darwin, and even the King himself, Elvis Presley. She shot images of their homes, places connected to their stories, their personal possessions. Among the 78 images on display we see the hat and gloves that Abraham Lincoln wore the night of his assassination; Henry David Thoreau’s bed; a gown that belonged to singer Marion Anderson (one of the most impressive of the photos); Virginia Woolf’s ink-stained desk; one of Annie Oakley's target hearts, which she would shoot through the middle and pass out to fans; and Ansel Adams’ darkroom. There are also some locations that she found moving like Gettysburg and Niagara Falls, which she was visiting with her children when she came up with the idea for the project.

If you’re used to Leibovitz’ celebrity shots and are expecting glamour, this may not be the exhibit for you. But if you’re a history nerd like me who would gladly take the time to visit Julia Margaret Cameron’s house to see one of her camera lenses (like Leibovitz did) then you just might enjoy “Pilgrimage.”

“Pilgrimage” is at the New York Historical Society through February 22, 2015. For more information, visit here.

Art Roundup

"Woman Viewed from Behind" Edgar Degas (ca. 1879-1885)

This fall has been filled with loads of art from exhibits to performances to screenings. As much as I tried, I fell behind in trying to write reviews of everything so before the season is officially over, here’s a short wrap-up of some of the things I saw.

In the summer of 1937, an art exhibit was held in Munich comprised of 650 pieces of art deemed degenerate by the Nazi Party because it “insulted German feeling” among other things. At the same time another show, “The Great German Art Exhibition,” showcased Nazi-approved art. You can guess which one had the highest attendance: more than 1 million people saw the degenerate show in its first six weeks. In September, I caught the last day of a fascinating exhibit at the Neue Galerie, “Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937,” which compared 80 works from both exhibits. Seen side by side, there’s no argument that the “degenerate” art was far superior; including works by Paul Klee, Wassily Kandinsky, and Ernst Ludwig Kirchner, it was a collection of some of the masters of modern art. Perhaps most striking of all in the exhibit was a room with empty frames symbolizing the art that was lost, most likely destroyed by the Nazis. The exhibition catalogue can be found here.

The Conformist (1970)

Film Forum showed a restored, director-approved version of Bernardo Bertolucci’s masterpiece The Conformist (1970). Based on Alberto Moravia’s novel, the story takes place in 1930s France and Italy where Marcello Clerici (Jean-Louis Trintignant) joins the Italian Fascist party and finds himself tasked with the assassination of one of his old college professors. The film cuts between the present and the past, showing how an attempted sexual assault and presumed murder during Marcello's isolated childhood caused him to grow up craving a normal life. There are numerous great scenes including the climatic encounter in the woods, which would later influence The Godfather, beautifully shot by Vittorio Storaro who incorporated Art Deco design and Fascist-era architecture with stunning effect. Available here.

For the 75th anniversary of the book about the little girl who lived in "an old house in Paris that was covered with vines,” the New York Historical Society celebrated with “Madeline in New York: The Art of Ludwig Bemelmans,” which showcased the Madeline books and their creator, Ludwig Bemelmans, whose own story seems invented. Abandoned by his father as a child, Bemelmans grew up in Germany and Austria, and worked at his uncle’s hotel before an incident involving a shooting led to his being sent to America. It was here in New York that he began to write the tale of Madeline. The exhibit was wonderful, filled with drawings from the Madeline books as well as ones from the Ritz Hotel (where he once worked) and panels from the Paris restaurant he owned. A selection of books and nearby sofa where one was encouraged to sit and read was an added bonus. The exhibit can currently be seen at the Eric Carle Museum of Picture Book Art in Amherst, Massachusetts through February 22, 2015. For more info, visit here.

Anna May Wong's Certificate of Identity, August 18, 1924, National Archives at San Francisco.

Another, more serious exhibit I saw at the Historical Society was “Chinese American: Exclusion/Inclusion,” which looks at the history of trade between the US and China, and the plight of Chinese immigrants who, thanks to the Chinese Exclusion Act, were not legally allowed to immigrate to the US until 1943. From the beginning of the tea trade in the 18th century to the building of the railroads in the 19th to their successful fight to become citizens in the 20th, Chinese Americans have had an impact on this country. The exhibit includes items from the gold rush (a large reason for Chinese immigration in the 19th century), multiple oral histories, and a recreation of barracks at Angel Island near San Francisco where Chinese immigrants were held while their immigration status was confirmed or denied. Also included is screen star Anna May Wong’s Certificate of Identity, a card that all Chinese, no matter how famous, were required to carry at all times. The exhibit runs through April 19, 2015. For more info, visit here.

I will do almost anything to see a performance by the Mark Morris Dance Group (MMDG) and so I made sure to attend the opening night of the Fall for Dance Festival at New York City Center where Morris debuted a new work, Words, set to the music of Mendelssohn and specially commissioned for the event. One of four groups performing that evening, the MMDG was the last and best. With all 16 dancers dressed in simple outfits by Maile Okamura, their movements, as with so many of Morris’ work, led you down one path only to surprise you with a sudden twist or turn. A plain cloth carried by two dancers acted as a screen behind which dancers could enter and exit. It was in short, a complete joy to watch. For more about the MMDG, visit their site here.

Rossy de la Palma and Rossy de la Palma in Traveling Lady

Journalist Nellie Bly set out in 1889 to beat the around the world in 80 days record of Jules Verne’s novel; she came in at 72 and was a worldwide news sensation. Jessica Mitrani’s new multimedia piece, Traveling Lady, which premiered at the FIAF Fall Festival, is inspired by Bly and looks at feminine stereotypes via music, film, and well, dancing dresses. At the center of the piece is Pedro Almodovar muse Rossy de la Palma whose larger-than-life presence on stage and in some of the film clips made the show worth seeing.

Powerhouse, a play by Josh Luxenberg and the Sinking Ship Ensemble, tells the story of the eccentric composer Raymond Scott who in the 1930s attempted to reinvent Swing music with his band the Raymond Scott Quintette and who spent his life inventing countless electronic musical gadgets. Scott would likely be forgotten today if it were not for his music catalogue that he sold to Warner Brothers who in turn used many of the pieces for their Looney Tunes and Merrie Melodies cartoons including the highly recognized “Powerhouse,” which is often used for assembly line scenes. The play, which includes musical performances, dance, and puppetry (some of the funniest scenes in the show), is more than just your run-of-the-mill story of a famous person's life—it shows the madness that is at the heart of creativity. 

Happy Fourth!

Clara Bow

It's raining here in New York but the show must go on so it looks like fireworks as usual over the East River this evening. I spent the day with my friend and her twins at the New York Historical Society where we made tricorne hats and read Madeline in the "Madeline in New York: The Art of Ludwig Bemelmans" exhibit. Afterwards we headed over to the Time Warner Center for lunch at Bouchon Bakery where we had a nice view of rain-drenched Columbus Circle. Have a wonderful weekend and a Happy Fourth of July!

Bill Cunningham Facades

"Solomon R. Guggenheim Museum, New York City" Bill Cunningham (ca. 1868-76)

One of the great treasures of New York City is its architecture. Walk through any neighbourhood in the city, and you will encounter buildings and landmarks that reflect a range of architectural styles and time periods, all of them reminders of New York’s past.

In 1968 photographer Bill Cunningham, himself a New York treasure, began shooting a series in which he paired a New York building with a model, usually his great friend and muse, Editta Sherman, in clothing that matched the decade in which the building was constructed. Entitled Facades, the eight-year long project was done at a moment in the city’s history when it was just starting to grapple with issues of preservation.

"St. Paul’s Chapel, New York City" Bill Cunningham (ca. 1968-76)

The New York Historical Society's new exhibit, "Bill Cunningham: Facades," highlights images from this project including some of the 88 silver gelatin prints that Cunningham donated to the society back in 1976. Arranged in chronological order, they are a wonderful history lesson in the changing trends in both architecture and fashion.

"Apthorp Apartments, New York City" Bill Cunningham (ca. 1968-76)

"Carnegie Mansion, New York City" Bill Cunningham (ca. 1968-76)

Cunningham covered almost 200 years of history from the late 1700s to the 1950s and included many of the city’s great architectural landmarks—The Guggenheim Museum, Rockefeller Center, Grand Central Station—as well as numerous houses and apartment buildings. While some of the locations have since changed, it was fun spotting those that look the same. I didn't have to read the captions to identify Grove Street in a couple of images; I recognized the houses and private court that I’ve walked by countless times. At a quick glance, many of the images appear like they were taken in the decade alluded to by the clothes while in others anachronisms pop up like a modern day taxi cab.

"'21' Club, New York City" Bill Cunningham (ca. 1968-76)

One of the most striking elements of the photos is the accuracy of the costumes. Cunningham went to great lengths to find authentic period items, searching through thrift shops and markets. Sometimes he struck gold: once he found a mob cap circa 1770 for $6; “the shop thought [it] was a doily.” And Editta, dubbed the "Duchess of Carnegie Hall," was his perfect model. In the photos she looks like she's really enjoying herself, smiling and striking a pose for the camera. Although she's fabulous in all of the outfits, she seems to have been particularly suited to the clothing of the Gilded Age; it's easy to picture her waltzing into a drawing room of an Edith Wharton novel with the latest gossip. 

"Paris Theater, New York City" Bill Cunningham (ca. 1968-76)

While the images may make you wistful for the past (I'm a sucker for an Art Deco building and an elegant gown) they are a fun juxtaposition of two New York obsessions—real estate and fashion—that Bill Cunningham captured perfectly.

"Bill Cunningham: Facades" is at the New York Historical Society through June 15, 2014. For more information, visit here.

Museum Goers

Most weekends you can find me wandering around one of New York's numerous museums. I love museums. No matter how small or large or how many times you've been, there's always something new to discover, something to learn, something that is pleasing to the eye. When I travel, I always try to visit the local museum(s); it's a great way to learn about a city or a culture in a short amount of time. And they also provide you with a place to sit and take a break and, if you're lucky, a café so you can grab a coffee and a snack.

Museums are also a great place to people watch. There are so many types of museums goers (the art lover, the out-of-towner, the local, the bored partner, the first-timer, the frequent visitor, the know-it-all, the tour group member, the list goes on) not to mention the guards (I could do a whole post just on guards) that I often find myself observing them instead of the art. Here are some shots from a couple of the museums I visited this summer (side note, two of my favourite museums, the Frick Collection and the International Center of Photography, do not allow photos so those visits alas must go undocumented as do the ones where I didn't have my camera).

All photos taken by Michele at the Metropolitan Museum of Art, the New York Historical Society, and the Whitney Museum of American Art. 

Swing Time

"Twenty Cent Movie" Reginald Marsh (1936)

Sunday afternoon I decided at the last minute to head over to the New York Historical Society to see the exhibit “Swing Time: Reginald Marsh and Thirties New York,” and I’m so happy that I did.

Through colourful, crowded paintings as well as prints and photographs, Reginald Marsh (1898-1954) captured New Yorkers, specifically working class New Yorkers, in all their glory and grittiness—shop girls, sailors, burlesque performers, subway riders, hustlers, bums. His paintings, which sometimes bring to mind the photos of Weegee (who is represented in the exhibit along with some of Marsh’s other contemporaries), are filled with overblown characters, often with exaggerated bodies and features. Like the city they call home, they are brash and bold.

Walking through the exhibit, one gets a peek at different aspects of city life. There is the hustle and bustle around 14th Street with its shops and elevated train (his office was nearby in Union Square) as well as forms of entertainment from movie going (a favourite image of Marsh's) to frolicking at  Coney Island. And then there's an exploration of the city’s nightlife. We’re not talking the opera here but dance halls and burlesque houses. In “Harlem, Tuesday Night at the Savoy,” Marsh shows blacks and whites dancing together, their bodies practically spilling out of the painting while in "Star Burlesque" a lone dancer looms over the crowd of leering men like a queen surveying her subjects.

"Hudson Bay Fur Company" Reginald Marsh (1932)

What’s most striking about the exhibit is the large number of paintings depicting the working woman—whether at the office or after hours. Marsh seems to have had a fascination with these women. During the 1930s, women in the workplace were becoming more common as was the idea of the single, working woman. Yet Marsh does not glorify them. In "Hudson Bay Fur Company" the women modelling in the window of the fur store resemble burlesque dancers, a fine line drawn between the two professions, while in “A Paramount Picture” a woman stands beneath a poster for Claudette Colbert in Cleopatra, an obvious juxtaposition between the glamorous Hollywood goddess and the tired, working woman below. 

Throughout all of the works is a sense of movement, of a city never standing still. Marsh managed to capture a particular time in the city, one that we know primarily through old black and white movies and photographs, in a way that helps bring New York in the 1930s to life.

“Swing Time” is on display only through September 1, 2013. If you’re around, try and see it this weekend. For more info, visit here.

WWII & NYC

"V-Jay Day in Times Square" Alfred Eisenstaedt (August 14, 1945)

“WWII & NYC” is a great new exhibit at the New York Historical Society that examines the city’s contributions to the war effort and the impact of the war on everyday New Yorkers. The exhibit opens with radio broadcasts by Edward R. Murrow reporting on the London Blitz and then with more than 400 photographs, paintings, and objects, takes visitors through to the end of the war.  

Penn Station, August, 1942. Photo: Library of Congress.

During World War II, New York saw 900,000 of its men join the Armed Services; 18,000 of them would perish. Yet there were many different ways that New York helped to win the war. Perhaps the most important contribution the city made was one that was unknown at the time. The Manhattan Project, started at Columbia University, resulted in the creation of the atomic bomb, which allowed the Allies to gain victory in the Pacific and end the war. On display in the exhibit is a cyclotron (an early atom smasher) that the scientists used; it was borrowed from the Smithsonian where it's been in storage since 1977. 

Minerva Matzkowitz at the Brooklyn Navy Yard. Official U.S. Navy Photo, New-York Historical Society.

New York was a great manufacturer of necessary war items starting with ships built in the Brooklyn Navy Yard, including the Iowa and the Missouri. Also made in New York were uniforms from Brooks Brothers, firearms from IBM-run plants, penicillin from Charles Pfizer & Company, and helmets from the Met that were modelled on ones from the museum's collection. During a time when most materials were commandeered for the war effort, Maidenform received special permission to keep producing bras, an item deemed necessary for the women who took over the workforce stateside. By the way, Maidenform also invented a special “pigeon vest” that resembled a bra for carrier pigeons that were sent behind enemy lines.

Waves on the subway. Photo: New York Historical Society.

The city also served as the largest port of departure for servicemen with 3,300,000 shipping out from New York Harbor (at the height of the war, a ship left every 15 minutes). Meanwhile women trained in the Bronx at Hunter College (now Lehman College) as members of the Women Accepted for Volunteer Emergency Service (“Waves”), which was made a branch of the U.S. Navy. In Queens at an old Paramount movie studio (now the Museum of the Moving Image) soldiers were shown how to become cameramen and films were made for the troops, including one morale booster staring Harold Russell who would go to win an Oscar for The Best Years of Our Lives.

And then there was the effort on the home front from planting victory gardens to hanging service flags in their windows to signify family members serving abroad to dealing with rationing. Many New Yorkers sent care packages to loved ones overseas. One of my favourite items was a sign from Katz's Deli. Concerned with soldiers keeping kosher, it read "Send a Salami to Your Boy in the Army." 

New Yorkers also had to worry about invasion, which wasn’t as far fetched as you might think. In fact, one of the most interesting parts of the exhibit was a section about U-123, a German U-boat that actually sailed into New York Harbor on the night of January 15, 1942. The crew took in the lights of the city (the sailors spoke of seeing the Wonder Wheel at Coney Island) before leaving, sinking a British tanker on their way. 

 Ike is out front to greet visitors. Photo: Michele.

There was much more so if you get a chance I'd suggest spending an afternoon checking out the exhibit. There are film screenings and lectures scheduled as well. “WWII & NYC” runs through May 27, 2013. For more information, visit the exhibit’s site here.

Renovated History

Abraham Lincoln. Photo: Michele.

Three years and $70 million later the New York Historical Society has reopened its doors and for those of you who frequented the place before the renovations, don't be surprised if you find yourself double checking the name above the door. One of the most noticeable changes is the statue of Abraham Lincoln that now greets you at the entrance (Frederick Douglass is around the corner at the 77th Street entrance). But much bigger surprises lie inside.

The once dimly lit, almost empty lobby is now bright and filled with touch screens displays and items from the society's collection. The seemingly hodgepodge of items on view include lantern slides from the 1920s and 30s (hello John Barrymore, Jean Harlow), busts of Washington and Napoleon, Keith Haring's Pop Shop ceiling, a twisted FDNY engine door from 9/11, and a horrifying pair of slave shackles made for a child. New York Story, a film narrated by Liev Schreiber (it's hard not to think you're watching an HBO special) plays in the auditorium on the largest screen in New York (73 feet wide). There is also a children's museum and restaurant, all of which should help attract more visitors.

As a history geek I didn't mind the place before all the high tech changes so I was quite pleased to enter the fourth floor and find  a reminder of the former place—masses of silver, glass, ceramics, Tiffany lamps, and other objects on display in long rows of cases. A clip from King Vidor's The Crowd playing on a small screen near the entrance was a nice touch as well.

Maude Adams. The New York Historical Society.

Of the current exhibits, "Revolution! The Atlantic World Reborn" about the revolutions in America, France, and Haiti was impressive but the one I was most enchanted with was the smallest—"Beauties of the Gilded Age: Peter Marié's Miniatures of Society Women." At the end of the 19th century, Marié had miniature portraits commissioned of the women he considered to epitomize beauty. Often done from photographs, they are exquisite and gorgeous. They are also fragile (watercolour on ivory) so they can only be on view for four months in dim light. Hard to choose but I especially loved the ones of actress Maude Adams and the beautiful Anna Roosevelt, mother of Eleanor.

I don't know if I like all of the changes to the place but I'm all for more people getting introduced to history so hopefully the renovations will draw the crowds and keep the New York Historical Society in business. For more info on the new look, check out their website here.