Maritime Industry Museum

Edification value  4/5
Entertainment value  
Should you go?  3/5
Time spent 76 minutes
Best thing I saw or learned Brooklyn Navy Yard Model, Maritime Industry MuseumA 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.

Fort Schuyler, SUNY Maritime, Bronx New YorkThat’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.

Fort Schuyler, Bronx, New York
Tiny Drawbridge
SUNY Maritime, Bronx New York
Bouchard 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.

Maritime Industry Museum, SUNY Maritime, Bronx, New YorkFinally, 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

Maritime Industry Museum 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 Industry Museum, Bronx, New York
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

Egyptian Funerary Barge Model

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.

WWII Interactive Harbor Map, Maritime Industry Museum

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.

Model Aircraft Carrier, Maritime Industry Museum

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.

SUNY Maritime Classroom
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.

Maritime Industry Museum, Bronx, New York

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.

Merchant Marine Poster, Maritime Industry Museum

For Reference:

Address 6 Pennyfield Avenue, Bronx
Website sunymaritime.edu

Bayside Historical Society

Edification value  2/5
Entertainment value  3/5
Should you go?  2/5
Time spent  24 minutes
Best thing I saw or learned Theda Bara, Bayside Historical SocietyIn 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.

Bayside Historical Society, QueensBut 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”

Fort Totten Visitor’s Center & Water Battery

Edification value  
Entertainment value  2/5
Should you go?  2/5
Time spent 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.

Graffiti, Fort Totten Water Battery, Queens, New York
Original (?) Spanish-American War Graffiti

Fort Totten, Queens, New York

A Capsule History

In my Park Avenue Armory review, I wrote about the slight envy I feel for the  era when arsenals and shoreline fortresses sufficed to protect the city against threats from abroad. Fort Totten is one of those shoreline fortresses. Continue reading “Fort Totten Visitor’s Center & Water Battery”

Rubin Museum of Art

Edification value  
Entertainment value  3/5
Should you go?  
Time spent 203 minutes (including a leisurely supper)
Best thing I saw or learned 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?

Rubin Museum of Art, Manhattan

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.

New York’s museums house themselves in a wide variety of repurposed spaces. Disused armories, synagogues, navy yards, customs houses, aircraft carriers, robber-baron mansions (galore), activist storefronts… nearly anything can be transformed into a museum with sufficient effort of will (and money).

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).

Continue reading “Rubin Museum of Art”

Hostos Center for the Arts and Culture

 

Edification value  3/5
Entertainment value  2/5
Should you go?  3/5
Time spent 19 minutes
Best thing I saw or learned Wanda Raimundi-Ortiz in the guise of a fierce warrior queen, with over-the-top makeup and headdress.

Hostos Community CollegeLike many instutions of higher learning around the City, Hostos Community College has a small art space where they periodically mount public exhibitions. 

Hostos Community College Art Gallery
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.

Continue reading “Hostos Center for the Arts and Culture”

National Jazz Museum in Harlem

Edification value 2/5 
Entertainment value  2/5
Should you go?  
Time spent 13 minutes
Best thing I saw or learned

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, Jazz Museum Harlem
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.

Interactive Screen The Jazz Museum, Harlem
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.

National Jazz Museum in HarlemVisiting 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.
  • Rent or stream Ken Burns’s PBS jazz series
  • Visit Louis Armstrong’s house in Corona, Queens

As for the Jazz Museum, maybe, possibly go to a performance there. But skip it otherwise.

For Reference:

Address 58 West 129th Street, Manhattan
Website jazzmuseuminharlem.org
Cost Free
Other Relevant Links

China Institute

Edification value  3/5
Entertainment value  3/5
Should you go?  3/5
Time spent 38 minutes
Best thing I saw or learned 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.

Jade Burial Suit Nipple, China Institute NYC

China Institute, New YorkThe 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 for China Institute Exhibition
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.

For Reference:

Address 100 Washington Street, Manhattan (entrance at 40 Rector)
Website chinainstitute.org
Cost  General Admission:  $10 (free for IDNYC members)
Other Relevant Links

 

National Museum of the American Indian Heye Center

Edification value  4/5
Entertainment value  3/5
Should you go?  3/5
Time spent 73 minutes
Best thing I saw or learned A pair of Christian Louboutin boots laboriously decorated with antique glass beads by Jamie Okuma, of the Louiseño and Shoshone-Bannock tribes.

National Museum of the American Indian, New YorkThe National Museum of the American Indian’s George Gustav Heye Center is one of the Smithsonian Institution’s two New York outposts (along with the Cooper-Hewitt).  It could be the museum with the longest name in the city.

You may think, “But doesn’t the Smithsonian have a National Museum of the American Indian on the Mall in D.C.?” Yes, it does. The Heye Center in New York came first, though.  It started as the Museum of the American Indian, opening in Harlem way back in 1922, to display George Gustav Heye’s expansive collection of Native American arts and crafts.  In due course, the Smithsonian took over. While it started planning for the D.C. museum (which opened in 2004) in the 1990s, it also opted to keep a New York outpost.

The Building

Today, the National Museum of the American Indian makes its home in a spectacular Beaux Arts building at the southern end of Broadway.  The architect Cass Gilbert designed the Alexander Hamilton U.S. Customs House, which opened in 1907.  (The name is the sole Hamilton connection, but I’m counting it!) A monument to commerce wrought in stone, it’s a far grander and more prominent building than Federal Hall National Memorial, which also was built as a customs house.

Allegorical Figures, Alexander Hamilton Customs House, New York

Truly it’s a magnificent piece of architecture, festooned with allegorical sculptures and heroic traders and all manner of artsy ornamentation. Daniel Chester French, the sculptor of Lincoln at the Lincoln Memorial, did four figures representing the major regions of the world.  Pictured here, fittingly, is “America.”

Inside some bits of historic grandeur remain, too. A matched set of swirly spiral staircases graces the corners. And the building centers on a –I know I already used the word “spectacular” but I’m using it again deliberately–spectacular oval rotunda.  I wish they did more with that space! It features some benches, ratty carpeting, and brass light fixtures currently. But really it cries out to be a fancy cafe or something.  I suspect the building’s landmark status prevents altering the rotunda to make better use of its potential.  Too bad.  The rotunda perimeter features Reginald Marsh murals of New York City, ships in the harbor, and historic figures important in trade in the United States– people like Columbus and Henry Hudson, whose presence seems more than a little ironic in the context of the building’s current use.

Oval Rotunda, National Museum of the American Indian, New YorkIndeed, the idea of turning a building focused on trade, from an era that unabashedly glorified the commercial impulses that ended up dispossessing the Native American tribes of their lands, into a museum for those nations…well.  I find it pretty ironic.

Or perhaps fair and fitting: why not have a colonization work in the other direction for once?

The Exhibits

The Heye Center divides into three galleries.  One of them hosts a permanent exhibit on the Native American nations. The other two feature changing exhibits.  When I visited, one focused on Central American pottery, and the other looked at contemporary Native American fashion designers.

Native Fashion Now at the National Museum of the American Indian, New York

Dustin Martin, designer, “This is not a peacemaker” T-Shirt. I love an ironic Magritte reference…

I’m particularly impressed that the Heye Center would put on something like the fashion show.  My stereotypical view of a Native American Museum would be all tradition and dusty artifacts.  I like that they care to show how American Indians today carry their traditions forward, creating both beautiful things and successful businesses.  It seems a through-line of the place that the objects on display represent more than just, well, museum pieces.

The permanent exhibit, titled “Infinity of Nations,” is somewhat dense and dusty, and tries valiantly to do  justice to an entire continent’s worth of tribes and traditions in a fairly small space.  That said, as a native of Hawai’i, I felt slightly vexed that the museum sticks just to the continent.

Dark colored texts call out commentaries from tribal members and other experts

However, I did very much like how the permanent collection intersperses descriptive wall texts with occasional signed ones, written by tribal representatives and other experts on Indian cultures. The specific voices create an immediacy that most museum texts lack, reminding visitors that these cultures still value these objects and their creators.  For the same reason, I like how the collection includes contemporary arts and crafts.  Finally, I also appreciate the way the curators deployed just a few touchscreens to offer deeper dives into key objects.  It felt like they chose the right things.

Buffalo Hide Robe, National Museum of the American Indian, New York
Apsáalooke warrior’s exploit robe, Ft. Benton, Montana, ca. 1850.

On balance, the Heye Center seems to maintain a good relationship with Native American communities.  Of course, I’ve only got their word on that.  But (a) Heye paid for all the items in his collection, didn’t just loot them, (b) many seem to realize that had he not treasured and saved these things, they likely would no longer exist, and (c) the Museum allows the tribes liberal access to the collections, for both study and ceremonial purposes.

The Bottom Line

Everyone should visit the Heye Center.  More than I expected, it depicts American Indian cultures as vital, living things.  And it does so in creative ways, via (at least sometimes) inventive, unexpected exhibits. Even if you’ve been to the D.C. National Museum of the American Indian, coming here might still offer new things to look at and to think about.  And the building is, as I may have mentioned, spectacular.

National Museum of the American Indian, New York
Infinity of Nations

For Reference:

Address One Bowling Green, Manhattan
Website si.edu
Cost  Free
Other Relevant Links

 

Park Avenue Armory

Edification value  3/5
Entertainment value  3/5
Should you go?  4/5
Time spent 43 minutes
Best thing I saw or learned The surveillance show undermines its cautionary purpose by outlining a lot of frankly very silly spying technologies developed over the years.  The CIA apparently spent $15m trying to surgically wire a feline for sound, to approach and unobtrusively listen to conversations.  Sadly, “Acoustic Kitty” failed by being run over by a taxi on its first test deployment.  Truly cat-astrophic.

Park Avenue ArmoryThere were once 49 armories and arsenals in the Naked City (according to Wikipedia).  Today 24 remain. One of the survivors now serves as a leading-edge arts and performance space.  This is that one.

What’s an Armory anyway?

As the city grew, open air parade and training grounds for the militia (what we now call the National Guard) became increasingly scarce.  So the government built a slew of armories and arsenals starting in the early 1800s and extending through to the early 1900s.  These buildings often looked like castles or fortresses, and could take up their entire city block.  Some of them included vast, open, interior spaces for practicing bayoneting and such. 

Each military company used its armory as a sort of clubhouse, too, and so they became encrusted with awards, portraits, and other memorials to great men who served.  Nowadays some armories remain in active use, but many have been decommissioned.  The Park Avenue Armory, completed in 1888, served as the home to the Seventh Regiment.  Adopted by a nonprofit, it underwent a massive restoration that continues to today, room by room, opening to the public in its new role in 2007.

Awards, Park Avenue Armory
Assorted Regimental Awards

A Castle for Art

Today the Park Avenue Armory is a fortress for the arts, both visual and performing.  Many of the ground floor ceremonial rooms are open, and they contain wonders — ancient silver trophies, beautiful decoration and light fixtures.  They are glorious feats of interior design, featuring Tiffany and virtually all the other great designers of the late 19th and early 20th centuries.

Park Avenue Armory, NYC

And then there’s the Drill Hall.  It’s an amazing space — 55,000 square feet with not a column in sight — to have at the disposal of art.  But at the same time, it must be daunting as an artist to get commissioned to do something there.  I read that once about the Turbine Hall at the Tate Modern–it’s hard to do justice to the space.  Just so with the Park Avenue Armory.

Just by way of comparison:

  • The Tate Modern’s Turbine Hall in London measures 500×75 feet, so 37,500 sq. feet, and it rises to a height of 115 feet. 
  • The Drill Hall at the Armory is shorter, with “only” an 85-foot ceiling, but much larger in area, measuring 55,000 square feet. 
  • And just to round out the size-off, Grand Central’s main hall measures 33,000 square feet, with a 125-foot ceiling.  Bottom line, the Drill Hall is BIG.

Hansel and Gretel

Hansel and Gretel at Park Avenue Armory
Me, Surveiled

The current Park Avenue Armory show, called “Hansel and Gretel,” typifies the difficulties of filling the space.  Ai Wei Wei along with architects Jacques Hertzog and Pierre de Meuron collaborated on a commentary on the surveillance state.  They did so via a complex technological deployment whereby visitors wander around in a very dark Drill Hall, while drones whir overhead (on tethers so they can’t decapitate anyone if they malfunction), and infrared cameras capture images of visitors which they then project onto the floor of the hall in real time.  You see photos of yourself, in grainy black and white, with red boxes picking out your appendages and such.

It’s…interesting?  But there’s no reason for it to be in the Armory, as opposed to a much smaller place.  I felt lost, wandering in the dark, waiting for something more exciting to happen.  And the darkness defeats the Drill Hall’s grandeur, the whole point of going there.

Park Avenue Armory
Majestic Drill Hall, Park Avenue Armory, in the dark

Caveat:  Perhaps the experience is more compelling when the Drill Hall is full of people.  I went on a weekday afternoon and it was quite sparse.

Following the wander in the dark, visitors then enter the smaller historic rooms where they have a gift shop, a tiny snack bar, and a bunch of tablets that tell more about the history of state surveillance, drone strikes, etc.  Which you can do at home, for free, here.

Bottom Line

I’m happy that I’m reviewing the Armory itself and not the Hansel and Gretel installation (my review: skip it!).  Everyone should visit the Armory.  The restored meeting and administration rooms positively glow.  If you can take a guided tour of the building I heartily recommend that.  And whatever they fill it with, assuming the lights are on the Drill Hall will take your breath away.

Park Avenue Armory, NYC

Wandering through these historic, once-dusty rooms, I imagine the era when our municipal and national security depended on forts along the waterfront and arsenals inland. When the worst we had to worry about were invading naval fleets or anarchist insurrections.  I don’t want to sugar coat other problems of the past, and I would never downplay the threat of anarchists.  But from the perspective of security (and surveillance, too), I envy those simpler, more innocent times.

For Reference:

Address 643 Park Avenue, Manhattan
Website armoryonpark.org
Cost  General Admission:  $15 (exhibit) and $15 (building tour)
Other Relevant Links

 

Ukrainian Institute of America

Edification value  3/5
Entertainment value  4/5
Should you go?  4/5
Time spent 69 minutes
Best thing I saw or learned Max Vityk’s “Outcrops” series of tactile, colorful, geologic abstract paintings installed in the third floor library and dining room.  Sometimes abstract art clashes with classical decor, but these go better than they have any right to.  Compliments to the curator for a beautiful installation.

Ukrainian Institute, New York

Three First Impressions

The first thing you notice walking into the Ukrainian Institute on a balmy day in June is the warmth.  No air conditioning. Which is okay — fancy Fifth Avenue mansions (and the Ukrainian Institute occupies one of the fanciest) have thick walls and high ceilings to keep them reasonably comfortable on all but the hottest days.

The second thing you notice is the quiet.  They keep the front door of the house locked, you have to buzz for admission. Someone eventually emerges  from the non-public (and I bet air conditioned) offices to let you in and find out what you’re about.  She’s happy to admit you, though a little…surprised maybe?… I’m not sure the Institute gets many visitors.  (There were three others while I looked around, at least one of whom spoke Ukrainian.) She tells you that the admission fees quoted on the desk are suggested, and whatever you want to pay is fine.

And the third thing you notice is the amazingness of the interior, and how much of it you, now admitted as a guest, have available to roam around in.  I expected a single gallery space with a small, obscure show, like the Czech Center or Japan Society.  Instead, I got four floors of beautifully cared-for Gilded Age rooms, with Ukrainian or Ukrainian-related art very thoughtfully integrated into the fabric of the place.

Ukrainian Institute, New York

The House (Condensed Version)

The Institute makes its home in the 1899 Fletcher-Sinclair House, designed by C. P. H. Gilbert for wealthy (duh) manufacturer Isaac D. Fletcher.  It occupies a corner lot on Fifth Avenue, diagonally across from the Metropolitan Museum of Art.  I’d call the exterior “extreme French Gothic”: extravagant stonework with flowers and garlands and dragons and such, while the interior feels more mellow, tasteful, and comfortable according to early twentieth century standards.

“…Comfortable, by early twentieth century standards.”
View of the Met
View of the Met

Fletcher died in 1917 and left his fabulous art collection and the house to his neighbor across the way.  And unlike Gertrude Vanderbilt Whitney’s collection, the Met Board accepted.  But then a few years later, not really needing an opulent mansion (I suspect the Met today would find something to do with it), the Met sold the house. (It kept the art).  An oil man named Harry Sinclair lived there with his family for a decade. Then the very last direct descendants of Peter Stuyvesant moved in starting in the 1930s.  After they died off, the house went on the market in the 1950s, just as William Dzus’s fledgling Ukrainian Institute needed a home.  Which it got for the unbelievable auction price of $225,000 (the 1955 Times headline reads “Ukrainians Take Fifth Avenue Mansion.”)  I’m sure the place needed work, but what a bargain!

A Top-to-Bottom View

Ukrainian Institute, New York
Vertigo!

Here’s what I saw, from top to bottom:

  • Fourth Floor:  Ukrainian Socialist Realism from the Jurii Maniichuk and Rose Brady Collection — impressive pieces from a more Soviet time, including a fantastic, huge, triumphalist painting of Khrushchev greeting Yuri Gagarin, unfortunately jammed into a hallway.
Mykhailo Khmelko, “Motherland Greets a Hero,” 1961
  • Also Fourth Floor:  The Sumyk Collection of sculptures by Ukrainian-American Alexander Archipenko, which gets a room of its own.
Ukrainian Institute, New York
The Sumyk Collection of Archipenko Sculptures
  • Third Floor:  Max Vityk’s “Outcrops.” As mentioned previously, I just loved the art and the installation.  Each piece’s title comes from one of the geologic ages of the Earth. The description talks about appreciating them just as highly textural abstractions, but also as a spiritual or environmental account, “an antidote to the tyranny of time, or chronarchy…” Down with the chronarchy! 
Library, Ukrainian Institute, NYC
Contemplating the Chronarchy, More of Max Vityk’s “Outcrops” series
  • Second Floor:  Portrait photographs of WWII Veterans by Sasha Maslov.  Rather wonderful pictures of these ordinary men (and a few women) in their unassuming homes, accompanied by quotes from interviews with them that reveal each as extraordinary.  Maslov traveled the world to take these pictures, of both Axis and Allied veterans.  He defined the word broadly, including some people who didn’t fight, but who nonetheless were involved in the war (and really, who wasn’t?)

  • First Floor:  A brief introduction to Ukraine, the place, its people, history and culture.  It includes a nice touchscreen display for those who want a deeper dive, and an overview of  notable Ukrainian Americans.

This is my second Ukrainian place for this project (see: Ukrainian Museum).  I get why they both exist.  Different wealthy patrons wanted to celebrate their heritage and raise the profile of their culture.  But if anyone asked me, I would recommend the Institute over the Museum by a wide margin.

A House Museum AND a Ukrainian Museum

I suggest thinking of the Ukrainian Institute as a house museum as much as a museum of Ukrainian art and culture.  As an opulent Fifth Avenue mansion-turned-museum, it stands in good company with the Jewish Museum (also by Gilbert), the Cooper-Hewitt, the Neue Gallerie, and the Frick Collection. But with relatively fewer modifications, it feels much more homey. 

It lacks the original furniture, but retains amazing amounts of period detail. The rooms aren’t labeled, but they don’t need labels.  The ballroom (of course it has one) still looks like a ballroom, the library unmistakably remains a library.  Even better, there are no barriers or blockades, and very few “please do not touch” signs.  The woodwork smells pleasantly of oil or polish, and has a luster of well-preserved age.  The wood floors aren’t pristine, but are much more beautiful and interesting for that.

The rooms have been re-tasked with sharing Ukrainian art and culture (broadly defined), but without losing their former selves.  I deeply appreciate that.

Ukrainian Institute, New York
Sasha Maslov did it in the Ballroom with Portraits of World War II Veterans

I also appreciate that the Institute takes care to relate the story of the house.  It provides a quick summary in the ground floor “Intro to Ukraine” section. It also offers a much more thorough version of the tale (complete with newspaper quotes and other primary sources) in a series of panels in a fourth floor room. 

Last Thoughts

The Ukrainian Institute may be one of the best-kept secrets of New York that is still actually being kept.  Except by me, I guess.  Sorry?  Anyone who enjoys a taste of Gilded Age splendor (and who doesn’t?) must visit.  Even the warm summer temperatures just add to the authenticity. Though I realize that the wealthy Fifth Avenue Gilded Agers did have air conditioning. They just called it “spending August at my Newport cottage.”

Pysanky, or Ukrainian eggs

Based on my visit, the art on view will be worth seeing, too.  And as a bonus you get to learn something about Ukraine and its people.

I’m  surprised and delighted with this place, and I feel confident that  art and architecture lovers will feel the same.

Ukrainian Institute, New York
Ukrainian Institute Facade.

For Reference:

Address 2 East 79th Street, Manhattan
Website ukrainianinstitute.org
Cost  General Admission:  $8 (suggested)
Other Relevant Links
  • A neat history of the house with a behind-the-scenes tour on the Big Old Houses blog