| Edification value |  |
|---|---|
| Entertainment value |  |
| Should you go? | |
| Time spent | 104 minutes |
| Best thing I saw or learned | Photographs by Cuban artist Felipe Dulzaides called Eighteen Reasons to Cease Making Art, depicting everyday objects that in their sublime ordinariness might well convince an artist he or she had nothing left to do. A bent frame of a chair; a tractor mysteriously cut in two, a la Damien Hirst; a particularly picturesque piece of giant, abandoned infrastructure; a paint spattered hammer and sickle. I have a weakness for cleverness, and the magic of the mundane. |
I told several friends aware of this project that I was going to the Bronx Museum of the Arts and the universal reaction has been “I didn’t even know there WAS a Bronx Museum of the Arts. Not that there shouldn’t be, of course…”
But I think it’s a fair question, in our art-museum-glutted city, is there really a need for a Bronx art museum on top of all the other ones? Based on my visit, I think there really is.
The museum occupies a modern building that has a very early-millennium feel to it (it opened in 2004). One of the things this project is giving me is a very strong sense of how hard it is to do a glass atrium for a museum that doesn’t age like a 1980s Marriott. The Bronx Museum has an atrium that must’ve looked fresh and modern when it opened, but already, not so much. It’s a real museum, though, with a tiny gift shop, a (lackluster) cafe, and expansive gallery spaces on the ground floor, and an event area and terrace on the second floor.
You enter the building into an oddly shaped (ah, the vogue for asymmetry in the early 2000s) space, containing the ticket/info desk and the cafe, as well as a ramp that leads to one gallery space and from there to stairs up to the second floor.
Something that’s stuck with me from my visit is this sign, a patient explanation in English, Spanish, and French about why you shouldn’t touch artworks in museums. My first reaction was that of a smug, overeducated museum veteran. And I wondered whether the sort of person inclined to touch a piece of art in a museum is the type of person who’d bother reading a sign that explains why that’s bad for the art. But on further reflection I see in it an indicator that this museum’s constituency isn’t generally me.
The Bronx maybe wants to be a starter museum, helping a community that is turned off by museums, or at least inexperienced with them, get a taste of looking at and thinking about art. If it does its job well, maybe they move on to other museums from there. Hopefully. Maybe. And maybe it can help them pick up skills and savvy that will make them more comfortable in the fancier museums in the city.
Another thing that’s stuck with me is a quote from Mary Hellmann, who’s piece Monochrome Chairs, is in the museum’s atrium. In the description, she says “museums are places to hang out.” I’m not sure about that. Yes, lots of people just go to museums today, but I hope there’s more to it than hanging out. Still, with its free admission, and in its role as a starter museum, convincing residents of the neighborhood that they should hang out there is a good goal.
The Bronx has gone all in on Cuba. It’s currently running a show called Wild Noise/Ruido Salvage on contemporary Cuban art from the 1970s until now. This show is dynamite. Complex, diverse, and expansive, I came away from it feeling like I have a sense of the breadth of Cuban art today. I also feel like if this show were at say the Brooklyn Museum or even one of the smaller art museums of Manhattan, it would be something of a blockbuster. The museum claims that this is “the most extensive cultural exchange between Cuba and the United States in five decades” and also says that five years of work and research went into this. I believe it. Super timely, and canny in other ways, too: a significant number of the pieces in the exhibit are now part of the museum’s collection.
The other main show is called Love thy Neighbor, and in a way it’s sort of the opposite of the Alien Nation show at Lehman College. Interesting I saw both of them in the same day. It was hit or miss for me, but interesting and worth putting together, although I will say that the exhibitions description’s talk of exploring “cultural processes of ‘othering'” caused me almost physical pain.
Finally there were some pretty colored acrylic abstractions by Arlene Slavin on the terrace, and a series of photographs by Clayton Frazier of the people of St. Dominique (aka Haiti and the Dominican Republic).
Oh and a chunk of the old Yankee Stadium. Because it is the Bronx.
My museum buddy for this trek remarked of the Cuba show, “Isn’t this what you expected El Museo del Barrio to be like?” Yeah. This is the kind of meaningful exhibition that El Museo should or could be putting on. And definitely a happy surprise to find it here.
In my first and only visit to the Bronx Museum I feel great affection for it. The Cuba show is worth making a special trip for, and it’s got a sort of endearing scruffiness to it (partly due to the quirky, aging building, partly because it’s a little rough around the edges). The Bronx Museum of Art is on the Grand Concourse just 10 minutes walking, or one subway stop, north of Yankee Stadium. If you’re willing to schlep to the Bronx to see baseball–or even if you’re not–you should definitely schlep to the Bronx to see art.
For Reference:
| Address | 1040 Grand Concourse, The Bronx |
|---|---|
| Website | Bronxmuseum.org |
| Cost | Free |
The BBG’s amazing tulip collection was going full-force the day I visited. This time of year always makes me think that the Dutch 17th century tulip-mania wasn’t entirely irrational.
The Brooklyn Botanic Garden (BBG) is one of the two great arboretums (arboreta?) in the city. It’s sibling/rival is the New York Botanic Garden in the Bronx, and there are a number of other botanic gardens of note, to say nothing of the great parks. The Brooklyn Botanic Garden is also a bit problematic for me: it was on the original list of all the museums in NYC, and even back in February I can remember thinking, “but is a botanic garden really a kind of museum?”
At best the answer is “sort of.” I think of botanic gardens as zoos for plants, more than museums of plants. What’s the difference? A zoo and a museum can both be places of edification and entertainment. But I had trouble ranking BBG on the scale I’m using for this project–it didn’t turn out well, not because it’s a bad place, but because the museum yardstick doesn’t really work for it.
The annual Sakura Matsuri, or Japanese Cherry Blossom Festival, is a bonkers mix of cosplay and traditional dance and music. Packed with people but worth it.
Of course the garden is educational and beautiful. 
Almost better than the content was the array of antique tube monitors they scrounged up to show the video on. It’s been long enough that these bulky, cubical relics are starting to look alien to me. TV was so much better on one of these fuzzy old behemoths, said no one ever.
The African Burial Ground is a small monument overshadowed by the government buildings around Foley Square. As they were digging for a new federal building in 1991 they discovered bodies, and from there re-discovered a forgotten cemetery used by the city’s African American population in the late 1600s and early 1700s.
Today a corner of what used to be the cemetery is a small green open space with a black granite monument, standing in for a headstone. There aren’t any markers, of course, and if it weren’t for the signs and a series of low humps of earth, you’d probably just think it was a pocket park. It’s not the whole extent of the cemetery, as this city is sufficiently about commerce and building that it won’t let the past fully forestall progress, even when that past includes the earthly remains of slaves.
The African Burial Ground is definitely not entertaining. But it is important. Every New Yorker and everyone with an interest in the city and its history should go and pay their respects.
Utterly unsurprisingly, there were four references to Michelle Obama in the text for the Black Fashion Designers show. Because I really miss having her in the White House, I’ll pick the Laura Smalls sundress Mrs. Obama wore on Carpool Karaoke.
If I think about the Fashion Institute of Technology (FIT), it’s generally in terms of the building — the brutalist concrete pile that jumps over 27th Street at 7th Avenue, the anchor tenant of the Garment District. I’ve walked by it many times and surely I’ve seen the sign that said “museum” — it’s pretty evident. But not being especially a part of that world, I probably just glossed over it, edited it out, walked on. The Museum Project ensures that doesn’t happen anymore. My museum-dar is now top-notch.
Through a door, the second room opened upward and outward, to about triple height, a real surprise given the subterranean location. Again black, but this was a wide-open, encompassing space filled, tastefully and carefully, with islands of beautifully dressed mannequins stretching into the distance. “Zou bisou bisou” (but not the Mad Men version) playing in the background quietly set the tone. I’ve discovered I like museums that use music subtly and cleverly to set a tone or convey a time. Here it works particularly well.
I didn’t spend a lot of time at the Museum at FIT, but that was mainly because I had a meeting to get to. Even with my fairly limited knowledge of and interest in clothing, I could’ve spent another 15 or 20 minutes. Both shows were expertly and lovingly curated and beautifully presented. I have no doubt that FIT has the resources to deliver an authoritative exhibition on any fashionable topic it cares to. And both exhibits zoomed in on subjects that the Met Fashion Institute, with its more general audience, probably wouldn’t do.
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 
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.
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.
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 