| Edification value |  |
|---|---|
| Entertainment value |  |
| Should you go? | |
| Time spent | 99 minutes |
| Best thing I saw or learned | Mr. Spock was the first biracial person on American TV. I’m not 100% sure that’s true but it was mentioned in a brief section on “hapa” (bi- or multi-racial) identity. As Spock himself might say, “fascinating.” |
I wasn’t sure what to expect from the Museum of Chinese in America (MOCA for short). I knew the space would be great — it was designed by Maya Lin. But having recently been a bit disappointed by El Museo del Barrio, I had some concerns about how they’d program it.
MOCA is indeed a beautifully designed museum. The space is consists of a series of rooms that surround a central open atrium, which extends from a skylight down to the classrooms, office, and restrooms on the basement level. Scarred bare brick underscores the age of the building, and its more industrial heritage. And windows carved into the rooms around the atrium ensure there’s always some natural light filtering in. The windows aren’t just openings, though: videos projected onto them make them serve a very clever dual purpose — the videos are also visible, of course, from the atrium side of the glass as well.
The educational program succeeds as well as the building does. MOCA does exactly what you’d expect: tells the story of the Chinese immigrant experience in the United States. The show is largely chronological, starting with Chinese immigration to build the railroads and the subsequent racist reactions to Chinese immigration in the 19th century, which led to laws that essentially prevented most Chinese immigration, as well as constraining the kinds of work Chinese immigrants could do.
It explores work that was available, explaining the rise of the Chinese laundry, and the role of Chinese restaurants.
There’s a segment on Chinese portrayals in popular culture, some of which are hilarious and some of which are really painful. And also a look at the communities Chinese Americans built for themselves, including New Years celebrations, Chinese opera in America, and a great, immersive, reconstructed traditional storefront.
Along the way there’s a timeline compiling key events in US, Chinese, and Chinese-American history. And in several rooms, one wall features glowing rectangular boxes that create a hall of fame for Chinese Americans from Ah Bing (who created the Bing cherry in 1875…who knew?) through Michelle Kwan.
The museumology here is terrific. The amount of information packed in is a little overwhelming, but important and well chosen. Audio clips as well as video helped balance out the wall texts.
In addition to the main space, there are two areas for temporary exhibitions. They currently feature an awesome look at Chinese food in the US, featuring about 33 chefs. Wall projections show video interviews where they speak about their lives and work and their take on “authenticity.” The museum set up one room like a banquet, with place settings for each chef that includes a short bio. This is a missed opportunity in our photogenic food-obsessed instagram age: there should be pictures of each chef’s signature dish at their setting. Still it’s a fun show, including a collection of personally meaningful objects: cleavers, cutting boards, menus, and such. Martin Yan’s wok is there, and Danny Bowien’s favorite spoon.
Should you visit the Museum of Chinese in America? This place succeeds admirably in what it sets out to do. The building is beautiful. It features a tough, important slice of the American immigrant experience, and a story worth telling. It is also a particularly timely story as the American government in early 2017 once again seems to be intent on closing the door to immigrants based on who they are and where they come from. Definitely pay a visit.
For Reference:
| Address | 215 Centre Street, Manhattan |
|---|---|
| Website | mocanyc.org |
| Cost | General Admission: $10. Free membership for IDNYC holders |
| Other Relevant Links |
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El Museo del Barrio is currently the northernmost of the “Museum Mile” museums, occupying a stately building on Fifth Avenue, just across 104th Street from the Museum of the City of New York. According to its website, it started in the early 1970s as a cultural center focused on Puerto Rico. It has since expanded its focus to cover all Latin American and Caribbean art and artists. After bouncing around East Harlem a bit it found its current home in the Heckscher Building in 1977.
The main show when I visited was of video art by Beatriz Santiago Muñoz, as well as selections she chose from the museum’s permanent collection. I run hot and cold with video art. On the one hand, two of the best, most memorable works of art I’ve seen in the past two years were video pieces. On the other hand, I am bored to tears with the vast majority of it. Muñoz’s work, largely non-narrative, did little for me. I lacked the eye or knowledge to understand how her selections from the permanent collection clicked with what she’s trying to do.
The other show featured recent acquisitions, definitely a common and valid theme for a museum, although given the small space available, I didn’t find it very edifying as far as key current trends in Latin or Caribbean art. I liked some of the pieces, but I also thought much of the work on view wasn’t especially “Latin.”
If you aren’t a local, you’d be forgiven for thinking that the Brooklyn Museum is all about Brooklyn. There is 
The biggest show on currently is Georgia O’Keeffe: A Living Modern, portraying her more as icon than as artist. It blends some of her paintings with clothes from throughout her life, and photographs of her taken by everyone from Alfred Steiglitz to Cecil Beaton to Karsh to Richard Avedon. It’s fascinating to see how so many different photographers viewed one individual, and how easy it is to tell those with whom O’Keeffe clicked, and those with whom she didn’t. It’s also fascinating to see how carefully she controlled her own image from the start of her career. By her later years, you don’t even need to see her head. Gnarled hands holding an animal’s skull against a black, belted dress lit by harsh desert light communicate exactly whom you are looking at. This is the Brooklyn Museum doing something different, fresh, unexpected, and doing it well.
And its efforts have alienated at least some of its core audience –i.e., me. Prior to this visit, I hadn’t gone since a Takashi Murakami show in 2008. It hasn’t done anything to make me want to go. Should you go? Yes. But go knowing that some of the Brooklyn Museum’s efforts at being edgy, innovative, or populist are terrible, and therefore it isn’t as good as it could or should be.
Without a doubt the Onassis Center was good for my vocabulary (which is very good to begin with). I picked up six new-to-me words, at least five of which I am sure I will find opportunities to use in the near future.
All the front windows of the house have neat, scary terra cotta faces centered above them. This was apparently a Dutch thing to ward off bad spirits. Reproductions are available at the gift shop!
The Van Cortlandts in the early days were super-wealthy, and the house showed it. They were also super-Dutch, proud of their heritage as New Amsterdammers, and many of the details of the house (including a blue and orange color scheme for the china cabinets in the parlor) reflect that as well. Little that’s in the house today remains from the Van Cortlandts, but most of the publicly accessible rooms are filled with period furniture and knick-knacks that give a sense of what the lives of the earlier generations of the family might have been like.
When it opened as a museum, one room was redone to depict a modest city house, simulating how a much less successful Dutch family would have lived down in Manhattan. They’ve kept that to this day and while I would’ve liked the place to be as close as possible to how the family lived in it, the contrast is informative.
The Van Cortlandts lived a very different kind of life than the 
The Museum of the City of New York is an absolute treasure. It occupies a really lovely Georgian/Federal-style building at the northern end of Museum Mile on Fifth Avenue. The Museum started out its life in 
For all that it’s merely fake old, it’s got one of the best staircases of any museum in the city, a super-elegant curve leading up from the ground floor. Nowadays complemented by a terrific light sculpture. 
on a rotating basis. Interact with a character and you get more, potentially much more, about them and their contribution. And it’s not just human characters, you can find out about players like beavers and oysters, too. I’m often skeptical of the value of these kinds of things. Too often they are more sizzle than steak. But this impressed me a lot.
And finally, as I do wherever I can, I will mention Alexander Hamilton, who is present, larger than life size, on the facade.
The National Lighthouse Museum is a museum in its infancy. Located a short stroll from the ferry terminal in St. George, Staten Island, the museum describes the history, technology, and design of lighthouses. 
The building’s stained glass is a treasure of nautical and celestial themes.
