The broad array of games: deck of cards, dice, checkers, arrayed around the upstairs sitting room. Makes me appreciate our sophisticated modern timekillers like Settlers of Catan and Pandemic.
Long ago (1654) and far away (under an oak tree on what is now the frontier of the Bronx), a, Englishman named Thomas Pell signed a treaty with the local Siwanoy/ Lenape Indian tribe. He gained ownership of either 9,166 acres (City of New York, Friends of Pelham Bay Park, other reputable sources) or 50,000 acres (Bartow-Pell Mansion printout, Wikipedia) of land. While his descendants sold off the massive holding over time, in 1836 Robert Bartow, scion of the Bartow-Pell family, bought back part of the original estate and started building a fine country house and working farm on it. In 1842, he and his wife Maria Lorillard Bartow, their seven kids, and assorted Irish servants moved out from the filth and hubbub of New York City. The family resided there for over 40 years.
Like all of the country retreats I’ve visited, the family’s fortunes ebbed, and the expanding City eventually caught up with the Bartow-Pell Mansion. Mostly. Today the house stands in the heart of Pelham Bay Park (in fact, the City bought the house and land as it was creating the park), the only survivor of what used to be a string of mansions in the area. Continue reading “Bartow-Pell Mansion Museum”
Florine Stettheimer’s marvelous “Heat” from 1919. Summer languor distilled into color.
The first time I visited the Jewish Museum, in July of 2017, it was in the midst of re-installing its permanent collection, taking a floor and a substantial part of the reason to visit offline. I had doubts concerning the temporary shows on at the time— odd curatorial decisions, highly esoteric subject matter and general kitschiness all nudged me away from strongly recommending the museum.
I’ve now been back to see the new permanent galleries, and I’m happy to say that in a rare re-review of a place, the permanent collection hugely and positively changes my impression of the place. As a result, I’m updating my review and my summary rating (it was formerly all 3s). Continue reading “Jewish Museum”
A scale model of the Brooklyn Navy Yard in full swing during World War II. I can only imagine the hours and focus and attention it required YNC Leo J. Spiegel USN (Ret.) to build it. Scaled at 1 inch = 50 feet, it depicts 46 naval vessels (all called out by name on a sign below), 273 shipyard buildings, 8 piers, 6 drydocks, and 659 homes in the surrounding area. BLDG 92, eat your heart out!
A Visit to Fort Schuyler
Throg’s Neck is a peninsula in the Bronx just at the point where the East River becomes Long Island Sound. In the Age of Sail, the extreme currents of Hell Gate and the general narrowness of the narrows afforded New York natural protection from naval attacks from the Sound. With the advent of steam power, however, that changed, and so in the 1830s the government acquired a good chunk of Throg’s Neck and built Fort Schuyler there. And a few decades later Fort Totten across the narrows in Queens.
That’s Schuyler as in General Philip Schuyler, father of the Angelica, Elizabeth, and Peggy Schuyler and so Alexander Hamilton’s father-in-law. It’s a tenuous Hamilton connection, but I’ll take it.
Fort Schuyler today is home to the State University of New York’s Maritime College, where you study if you want to join the merchant marine. It’s also home to the Throg’s Neck Bridge, which flies right over the school. And SUNY Maritime also houses the Maritime Industry Museum, which provided me with one of my oddest museum experiences on this project.
The Post-Apocalyptic Museum
I drove out to SUNY Maritime on a lovely June Saturday. The gate at the head of the campus opened for me, and I proceeded in. I didn’t see a soul.
The Maritime Industry Museum is located within the old defensive bastion of Fort Schuyler, which also contains SUNY Maritime classrooms and administrative buildings. It’s fantastic that the old fort is still so intact, and so open for exploration. The museum is large, and yet they make it surprisingly hard to find. I wandered around the fort for a while, discovering things like a tiny drawbridge and the Bouchard Tugboat Simulation Center. I did not, however, see any people.
Tiny DrawbridgeBouchard Tug & Barge Simulation Center
I feel pretty sure that on weekdays during the term, the campus buzzes with life. But on summer weekends, wow. It’s post-apocalyptic.
Finally, I discovered a door with a small brass plate. This may be the most stealthy museum I’ve yet visited. I tried the door, and it opened. So in I went.
“Maritime Industry Museum at Fort Schuyler”
And…no one. Not an elderly volunteer greeter. Not a guard. Not a docent. Definitely no other visitors. I was all alone in the heart of Fort Schuyler, in the midst of an amazing assortment of maritime memorabilia.
This museum is sort of what I expected the Noble Maritime Collection would be like: bunches of forgotten nautical knicknacks, tons of didactic explanations in verbose wall texts from 30 or more years ago. But its scale and scope impress. And there are treasures galore for those who explore here.
The Floor Plan
Floor Plan
Sprawling across two floors (or A Deck and B Deck) and a good arc of the fort, the museum covers:
SUNY Maritime’s history and its training ships
Famous alumni, and memorials to those lost at sea
A very brief history of sailing in the ancient world
A history of the U.S. merchant marine that ends in the 1980s
A lot about World War II
A section on famous ship disasters (General Slocum, Andrea Doria, Titanic…)
Information about the evolution of shipping, including containerization and supertankers
Ocean liners of the past and present (mostly past)
Lighthouses and lightships
Maritime History Unfurls
I feel certain I have omitted things. The philosophy here diverges sharply from the minimalist, less-is-more aesthetic of some contemporary museum curators. I can’t possibly tell relate everything I saw that made me smile. So here are just some highlights.
Just Some of The Things I Saw
A model of an Egyptian Funerary Barge, all decked out with oars and a mummy. I’m not sure Funerary Barge Pilot on the Nile is really a going merchant marine career path these days, but you never know.
This crazy pentagonal gizmo, which showed a map of New York Harbor and all the key ways the region contributed to the war effort during World War II, color coded to differentiate logistics from training from wartime industry from defense installations. Touch a button for a place and the relevant spot or spots light up. I can’t conceive who would’ve made this or where it was originally. It’s an amazing piece of pre-touchsceen museum interactivity.
Gershenoff’s Locker, a “replica of a circa 1940s cadet’s locker stowed with care.”
A deck chair from the S. S. United States.
A large-scale model aircraft carrier. (If you’d like a bigger aircraft carrier, I recommend the Intrepid.) Models of just about every type of seagoing vessel you can imagine, actually.
And an entire place setting from the Queen Elizabeth 2’s 30th anniversary “maritime enthusiasts cruise.”
And a model of and story about the Savannah, the first nuclear merchant ship. Do they still have those? I feel like I’d know if there were nuclear powered container ships buzzing about on the seas. I feel like people would be worried about it.
My Own Private Maritime Museum
The museum’s space actually forms the hallway between the SUNY Maritime classrooms that occupy Fort Schuyler. If I were studying there, I’m not sure how I’d feel having all this historic stuff cluttering up my hall. On the one hand, it’s a link to maritime tradition going back centuries. On the other hand, it’s a bunch of cases of stuff you’re unlikely to be tested on.
Classroom space in Fort Schuyler
As a non-student, I loved this museum. I loved historic Fort Schuyler, I loved the “lost treasures in the attic” aesthetic, and the exciting, “what’s around the next corner?” feeling. And I especially loved being all alone in it. I have never had that experience before. My own private maritime museum.
But Should You Visit?
Despite my strong enthusiasm, I’m not going to insist that everyone rent a car or hire a Lyft and get themselves out to Fort Schuyler. The Maritime Industry Museum is a diamond in the rough. The collection has grown through gifts from alumni and others. For example, many of the ship models come from the collection of Frank W. Cronican, a bequest to the museum in 1993. It feels like the museum has accreted over time like a coral reef, with only periodic thought to editing or curation.
Whatever the topic, “accretion” style museums can intimidate. And they can frankly be really boring if you don’t have a metaphorical chart to navigate by. And even though the maritime industry is worth $14 billion annually in New York State alone–guess where I learned that–most people won’t care enough about it to justify the effort or the drive.
However. If you love boats or ships of any sort, or if you’re interested in maritime history, then, obviously, you must go. And if you like museum-ology, that would also make this place a must-see.
The Maritime Industry Museum has vast potential. I hope they unlock it someday, though it’ll take a passionate curatorial voice and direction, and a very large grant, to make it happen.
In 1915, Theda Bara, about 30, so-so looks, minor acting credits, exploded into the Madonna of her time. She ranks as the first ever “vamp” in cinema, playing a succession of seductresses and destroyers of men. Every femme fatale since traces her lineage back to Ms. Bara, Bayside resident.
Bayside, Queens, is a neighborhood at the far frontier of New York City, just before it turns into Nassau County. Today it’s not known for much, except for nice houses and high property values.
But just in case anyone is curious about Bayside’s past, it does have a Historical Society, which occupies a little castle of a building on the grounds of nearby Fort Totten.
Originally the officers’ mess and meeting rooms for the Army Corps of Engineers, the building looks excellent today. It shows its age, but is clearly lovingly maintained. And it boasts a modern HVAC system, which I appreciated on a warm summer day. The museum tells essentially one story, that of Bayside’s sole claim to fame. Which is, in fact, fame itself. Continue reading “Bayside Historical Society”
Barkley L. Hendricks, Lawdy Mama, 1969, from the portraits show. Arresting today, must’ve been even more so when new. To quote the wall text, “Hendricks uses the master’s tools to dismantle his house.”
CURRENTLY CLOSED – As of JUNE 2025, The Studio Museum in Harlem remains closed as it finishes building its new home. Reportedly to open in the Fall of 2025
The Studio Museum in Harlem harbors no small ambitions, despite its smallish space. It prints its mission statement outside its front door:
The Studio Museum in Harlem is the nexus for artists of African descent, locally, nationally and internationally and for work that has been inspired and influenced by black culture. It is a site for the dynamic exchange of ideas about art and society.
As Chief Brody says in Jaws, “You’re gonna need a bigger boat.”
33 minutes (at the Visitor’s Center and historic Water Battery; longer in Fort Totten Park total)
Best thing I saw or learned
Ostensibly Spanish-American War era “Remember the Maine” graffiti in the tunnel linking the armament storage with the Water Battery. I’ll never forget.
Tibetan Buddhism has a macabre streak a mile wide, and I find it deeply endearing. They make bowls out of skulls and trumpets out of human leg bones. Perhaps not for everyone, but I consider that a healthy attitude toward mortality. What goth (or goth sympathizer) wouldn’t love the idea of dancing in the charnel fields with the Lords of the Cremation Grounds?
CLOSED. The Rubin Museum of Art closed as of October 2024. I loved the Rubin, and am sorry to see it go, or as they euphemistically put it, become “a museum without walls.” Uh huh. Well, Buddhism is nothing if not about cycles, perhaps a future wall-bound incarnation will return someday. In the meantime, New York’s museum world is poorer for the loss –we still have Tibet House and the Jacques Marchais Museum of Tibetan Art in Staten Island, though I can’t say I’m a huge fan of either of them.
But I believe only one museum in the city exists in a former department store. The old Barney’s, on 17th Street near Seventh Avenue, is now the home of the Rubin Museum of Art. It’s audacious that a former home of high-end fashion retail now teaches people about Tibetan Buddhism and related Himalayan cultures. Both rarefied atmospheres in their own ways, but that’s the only thing they have in common.
The Rubin, though, stands as a supremely successful museum conversion. It offers seven floors of exhibit space, a far better restaurant than you’d expect, and (hearkening back to the DNA of the building) a lovely little gift shop full of Buddhist and New Agey treasures (but sadly no leg bone trumpets).
Wanda Raimundi-Ortiz in the guise of a fierce warrior queen, with over-the-top makeup and headdress.
Like many instutions of higher learning around the City, Hostos Community College has a small art space where they periodically mount public exhibitions.
Next Door to the Swimming Pool
Hostos’s small gallery resides on the ground floor of Building C, just past security, to the left of the door to the swimming pool. The small space boasts good lighting, high ceilings and large windows looking out onto the Grand Concourse.
A poster of the famous Esquire Magazine jazz family portrait, taken on the stoop of a Harlem brownstone. The museum doesn’t say much about the creation of the picture, but the 1995 documentary “A Great Day in Harlem” covers it well.
Hey there, daddy-o, if you’re a swingin’ hep cat and you dig the syncopated sounds of America’s native musical form, have I got a museum for you!
Actually, I don’t. I went to the Jazz Museum skeptical but hopeful, and ultimately I can’t recommend it.
Skeptical because how do you put jazz in a museum? Music of any sort is a tricky thing to museum-ify. But jazz in particular, with its energy and improvisation… you could have a Hall of Fame for jazz. But a museum?
Hopeful because, hey, you never know. The right combination of stories, artifacts, and interactive listening kiosks might be able to do justice to the vast sweep of traditions that comprise jazz and its influence across the whole of music.
In the event, the Jazz Museum is at best a proto-museum. An aspirational museum. A sketch or an outline for an institution in the future. It occupies a small ground floor space on a side street in Harlem, and seems largely to exist as a shrine to one of Duke Ellington’s pianos. They have a couple of other instruments from less famous instrumentalists, and a chunk of a living room emphasizing the importance of music in homes in Harlem. But really there wasn’t much to see.
Duke Ellington’s Piano
They had Ella playing in the background, but even that proved a mixed blessing. There were a couple of touchscreens where visitors can listen to jazz, but the background music, while good, interfered with listening to the headphones.
Also, their interactive jazz bios are in some cases tragically out of date.
On the other hand, their space includes a tiny, informal performance area in the back, and while I was there an older gent stopped in and just started playing the piano. Really well. As a musically untalented person, I hate people who can do that. But deeply appreciated it in that space.
Visiting the National Jazz Museum made me think about the regular reports of the death of jazz, which may even be deader than opera at this point. I wondered if having a museum to it serves as yet another piece of evidence for the demise of the form? They have a display with photos of young jazz musicians, and sorta reach toward hip-hop, kinda. But really nothing I saw there suggests anything innovative or interesting has happened in jazz since the 1970s.
I firmly believe that museums for specific groups or cultures can emphasize the aliveness of the cultures they represent. Both the Museum of Chinese in America and the National Museum of the American Indian do that in different ways and at different scales. But I don’t think the National Jazz Museum succeeds. If jazz isn’t dead yet, maybe the museum will kill it.
If you are in New York City and are curious about or interested in jazz, here are an assortment of things I’d suggest you do rather than visit the Jazz Museum:
Hear a show at Smoke, Jazz Standard, Village Vanguard, Minton’s or any of a dozen or so other clubs.
Go to Jazz at Lincoln Center. A bit more stuffy and formalized — more like a museum for jazz if you will, but Wynton Marsalis is the reigning king of the art form. And the Allen Room has the best view of any music venue in New York City.
Check out art from the Jazz Age–either the exemplary show currently at the Cooper-Hewitt, or any time at the Whitney.
Make a pilgrimage to the final resting places of Duke Ellington and Miles Davis in Woodlawn Cemetery.
Inexplicably, the jade burial suit included round bits just where the nipples should go. Mysterious, as there were no jade abs or jade belly button. Still, it created a link across times and cultures from Han Dynasty China to Ancient Greece and Rome to the awful Val Kilmer Batman movies.
The China Institute occupies second floor space in a fairly anonymous office building in the Financial District. It appears they will soon move to much more prominent ground-floor space, which should help drive awareness and attract visitors.
The Institute broadly recently turned 90 years old. Like the Japan Society and the Korean Cultural Center, it serves multiple purposes: hosting talks and language classes and, since 1966, a gallery as well. Unfortunately, the China Institute frowns on photography, so this will be a relatively un-visual review.
The gallery is reasonably sized, windowless, and neutral. The current exhibition divides into four themes or sub-topics, and to match that the curators divided the space into four rooms, using modular internal walls. It worked well.
Have a Good Afterlife
The space, then, is fine, and right now they’ve filled it with treasures. “Dreams of the Kings: A Jade Suit for Eternity, Treasures of the Han Dynasty from Xuzhou” displays examples of the funerary goods buried with a prominent Han Dynasty (206 B.C. to A.D. 220) ruler. It includes terra cotta figures selected from the army-in-miniature they buried kings with. While not as impressive as the life sized ones from Xi’an, these were much more portable. It also featured various other terra cotta servants, including a beautiful dancer, all long sleeves and sinuous curves. And finally, various beautiful and luxurious objects made of jade, bronze, and gold, all complementing the showstopper at the exhibition’s heart.
That would be the jade suit. Literally, a head-to-toe burial costume comprised of 4,248 little jade tiles with tiny holes pierced in the corners allowing each piece to be tied to the next with gold thread. According to contemporary beliefs, burying the nobility with appropriate jade accoutrements–handgrips, plugs for the nine orifices, and the full suit–helped ensure the preservation of the body (and therefore the soul) forever.
Marketing a jade suit
I felt just a little bit suspicious about the state of preservation of the jade that makes up the suit. Other jade pieces in the show look…older. They definitely restored it significantly, but the exhibition doesn’t specify just how much. I’m no archaeologist and I’m not reviewing the suit, so I’ll not say more on that subject.
On the other hand, the well-written labels and wall texts explained things well and thoroughly. They even sneaked a pun into one of the section titles, “Rapt in Jade.” I doubt that works in Mandarin, but in English it made me smile.
Where else in New York can you take a tour through the tomb treasures of a 2,000 year old Han Dynasty ruler? Actually, by coincidence, one place: you can see very similar, but even more extravagant, artifacts at The Met’s “Age of Empires” show. But outside The Met, you’d have to go to China.
Under the Radar no More
The China Institute has flown under my radar in the past. I won’t let that happen going forward. Their ability to borrow the Han tomb artifacts from the Xuzhou Museum bespeaks strong connections with cultural institutions and government leaders. I’d compare it to the Onassis Center in terms of ambitions and capabilities.
Who should visit? The Met’s China galleries will always offer a better overview for those seeking the full sweep of Chinese art history. But sometimes you want something smaller and more focused, or you don’t have a whole day to spend on art overload. For sure anyone with an interest in Asian art should definitely go, and keep an eye on their calendar, too.
When it comes to prepping for the afterlife, I’m not convinced about having jade plugs stuffed in my nine orifices and being dressed in a jade suit. Judging from history, it seems like an invitation to grave robbers to mess you up. Three orifices plus some terra cotta dancers to keep me company would be plenty, thanks. I’ll share more on my preferred funerary practices when I get around to visiting Green-Wood and Woodlawn.
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