The Chapman Historical Museum in Glens Falls (Warren County) has opened a new exhibit of Seneca Ray Stoddard photographs featuring views of New York Harbor. Taken in the 1880s on his visits to New York City, the fifteen photographs include images of sailboats and steamers in the harbor, people bathing on the beach at Coney Island, the Brooklyn Bridge and other landmarks. A highlight is Stoddard’s famous night-time photo of the Statue of Liberty, captured using magnesium flash powder. The exhibit, planned to coincide with The Hyde Collection’s exhibit, “NY, NY,” will be on view through September 4th.
The Chapman Historical Museum is located at 348 Glen Street, Glens Falls, NY. Hours are Tuesday – Saturday, 10 am to 4 pm, and Sunday, noon to 4 pm. For more information call (518) 793-2826.
Photo: Coney Island bathers by Seneca Ray Stoddard, ca. 1880
Exhibits
New Deal Youth Exhibit in Woodstock
A new exhibition opened Saturday at the Woodstock School of Art (2470 Route 212, Woodstock) entitled “A New Deal for Youth: Eleanor Roosevelt, Val-Kill Industries and the Woodstock Resident Work Center”.
The exhibit offers a rare chance to see furniture, pewter, and weavings from the Roosevelt-Vanderbilt National Historic Sites’ collection of Val-Kill Industries pieces- photographs and historical documents from the Woodstock School of Art’s and Woodstock Historical Society’s collections- and video recollections of living descendants of some of the young people who worked at the Craft Center.
The exhibit, which is free and open to the public, will remain on view through November 5th. Gallery hours are Monday-Saturday, 9am-3pm.
Mohawk-Hudson Exhibit Breaks Records
The 75th Annual Exhibition by Artists of the Mohawk-Hudson Region is currently being hosted by the Albany Institute of History & Art through September 4, 2011. According to Tammis Groft, Deputy Director for Collections and Exhibitions at the Institute, this year’s exhibition is, “One of the largest Mohawk-Hudson Regional exhibits in recent history.” Submissions for the show, Groft said, reached an all-time high of 1,000 works from 235 artists. The final selection is comprised of 160 works by 85 artists, representing a wide-range of media, including paintings, drawings and sculptures, and videos.
Additionally, this year’s Regional raised a record amount of funding, with more than $5,000 in cash prizes and gift certificates for the featured artists. The names of prize winners will be announced at a later date.
This year’s entries were selected by exhibit juror Holly Hughes, who also curated the exhibition. Hughes is a nationally and internationally showcased artist whose work has been displayed across the United States, and in China, Finland, Germany, and France. Hughes is a professor at the Rhode Island School of Design, where she heads the painting program.
One of the longest-running regional exhibitions in the nation, the Mohawk-Hudson Regional was founded by the Albany Institute in 1936, and now rotates annually between the Institute, the University Art Museum of the University at Albany, and The Hyde Collection in Glens Falls.
An awards ceremony and reception will take place Thursday, July 21, from 5:30 to 8:30 pm, with the awards presentation beginning at 6:30. A special preview for Albany Institute members will be held on Saturday, July 9, at 10:00 am. Two free 1st Friday artists’ talks will be held on August 5 and September 2. Call (518) 463-4478 or visit albanyinstitute.org for information.
1911 Capitol Fire Exhibit Extended
The 1911 Capitol Fire exhibit in lobby of Cultural Education Center has been extended through October 22, 2011. In the early morning hours of March 29, 1911, a fire broke out in the
northwest corner of the New York State Capitol. Many Albany residents awoke in the early morning hours to see the entire western side of the presumed fireproof building was engulfed in flames shooting 200 feet high. The fast-moving flames destroyed much of the State Library, the fifth largest in the U.S., which was housed in the Capitol.
More than 8,000 Museum objects stored in the Capitol were also destroyed or lost. The fire caused the unprecedented destruction of the state’s intellectual, cultural and historic property and also claimed the life of the lone night watchman.
The exhibition commemorates the 100th anniversary of the Capitol Fire through dramatic photographs, eyewitness accounts, and artifacts that survived the blaze.
Photo: Amateur photographer Harry Roy Sweney captured the Capitol inferno at 3:30 a.m. on March 29, 1911. The New York American paid $25.00 for the first print of this dramatic photograph. Courtesy New York State Library, Manuscripts and Special Collections.
NY Historical to Reopen with Revolution! Exhibit
After three years of construction New York’s first museum, the New-York Historical Society, will re-open fully on November 11, 2011 with the exhibition Revolution! The Atlantic World Reborn, the first exhibition to relate the American, French and Haitian struggles as a single global narrative.
Spanning decades of enormous political and cultural changes, from the triumph of British imperial power in 1763 to the end of the Napoleonic wars in 1815, Revolution! traces how an ideal of popular sovereignty, introduced through the American fight for independence, soon sparked more radical calls for a recognition of universal human rights, and set off attacks on both sides of the Atlantic against hereditary privilege and slavery. Among the unforeseen outcomes was an insurrection on the French possession of Saint-Domingue, leading to the world’s only successful slave revolt and the establishment in 1804 of the first nation founded on the principles of full freedom and equality for all, regardless of color.
“Just as the New-York Historical Society set new standards for American culture when it opened in 1804, Revolution! will break new ground for American history in 2011,” Louise Mirrer, President and CEO of the Historical Society, said in a press statement announcing the new exhibit. “This trailblazing exhibition underscores how much our nation has always been an integral part of a much broader world, and how our city’s great cultural pantheon took shape against the backdrop of a sweeping play of historical forces on an international stage. As we established in our widely acclaimed exhibition on Nueva York, the history of our city has always implicated the history of the world.”
Richard Rabinowitz, founder and president of American History Workshop, serves as chief exhibition curator. Thomas Bender of New York University and Laurent Dubois of Duke University have served as the co-chief historians for Revolution!, drawing on the scholarship of an advisory committee of historians and specialists.
Following its presentation at the New-York Historical Society (November 11, 2011 – April 15, 2012), Revolution! will travel to venues in the U.K., France, and elsewhere in the United States. Educational materials and programs will be distributed internationally, including in Haiti.
The exhibition is made possible with grant funds from the U.S. Department of Education Underground Railroad Educational and Cultural (URR) program and The Nathan Cummings Foundation.
On view in Revolution!
With texts and audio guides in English, French and Haitian Kreyol, the exhibition unfolds in galleries designed to evoke varied gathering places, such as a baroque palace, a portside tavern and a rural Haitian lakou: sites where people of the era felt and shared the “common wind” of political information and opinion. Within these galleries, visitors will encounter paintings, drawings and prints from collections in a dozen countries- historical documents, maps and manuscripts from the hands of participants in these revolutions- audiovisual presentations and interactive learning stations- and curriculum materials for students from kindergarten through graduate school.
Highlights among the three hundred objects in Revolution! include:
· the original Stamp Act, as it was passed by Parliament in 1765 setting off the riots that led to the American Revolution, on loan from the Parliamentary Archives, London, displayed for the first time outside the U.K.
· Sea Captains Carousing in Surinam (oil on canvas, 1752-58, by John Greenwood), the first genre painting in American art history, on loan from the Saint Louis Art Museum, illustrating the sort of tavern where discontent brewed in the Atlantic world, in an 18th-century version of “social networking”
· a first edition of Thomas Paine’s epoch-making pamphlet Common Sense (1776), from the collection of the New-York Historical Society
· an elegant mahogany desk from the first capitol of the United States, Federal Hall in lower Manhattan (c. 1788, New-York Historical Society): the first example of a legislator’s desk in Anglo-American history
· the “Africa Box” filled with craftworks and agricultural products from Africa (ca. 1785, on loan from the Wisbech and Fenland Museum, U.K.), used by Abolitionist Thomas Clarkson in his lectures against slavery, and never before exhibited outside the U.K.
· Vue de l’incendie de la ville du Cap Francais (1795, by J.B. Chapuy, Archives departementales de la Martinique), an example of the sort of engraving that brought impressions of the Haiti uprising to an international public
· Napoleon’s authorization to French negotiators to sell the Louisiana Territory to the United States (1803, New-York Historical Society), as a direct consequence of the Haitian rebellion
· the only known surviving copy of the first printing of the Haitian Declaration of Independence (1804, National Archives, London), recently discovered and exhibited here to the public for the first time
· a wooden model of the slave ship Brookes, produced for the French revolutionary leader Mirabeau, intended to be used as a prop in the National Assembly’s debate on ending slavery in France (1789, Bibliotheque nationale de France)
· Thomas Jefferson’s copy of Notes on the State of Virginia, his only book, inscribed to the Abbe Morellet, and used by the latter to make the first French translation (1785, New York Public Library)
· a 2nd-century C.E. Roman marble bust of a young man wearing a Phrygian (or “liberty”) cap, which became an inspiration for one of the great symbols of the revolutionary era (Bibliotheque nationale de France)
· three superb vodou sculptures, produced by secret societies in Haiti that were established during the Haitian Revolution (early 20th century, La Fondation pour la Preservation, la Valorisation et la Production d’Oeuvres Culturelles Haitiennes)
· Anne-Louis Girodet’s magnificent portrait of the great Saint-Domingue military and political leader Jean-Baptiste Belley, the “most important image of a black revolutionary” (1797, Musee National du Chateau de Versailles)
· a seven-foot-long “carcan” or leg-yoke, used to shackle five captives together, taken from a French slave ship (ca. 1800, Bibliotheque nationale de France)
· and many examples of the broadsides, pamphlets, and political and satirical cartoons that spread, and reflected, revolutionary fervor throughout the period
Plan of the Exhibition
Revolution! tells its story through the following main sections:
The Palace: Imperial Ambitions, Political Realities provides an overview of the Atlantic imperial world in 1763 at the moment when the British defeated French and Spanish forces in the first truly global conflict, the Seven Years War. This triumph came at a price, as the gallery illustrates with evidence of the material riches of the colonial possessions, and the high-level debates within the capital about the costs of exploiting them. Warfare and colonial government were expensive- yet greater taxation within the imperial homeland carried political risks. The leaders of Britain (like their imperial counterparts in Spain and Portugal) chose instead to impose new taxes and regulations on their colonies.
The Tavern: A World of Conspiracy and Connivance brings visitors into contact with the new public sphere of political argument that emerged in the world of the Atlantic’s maritime commerce, as broadsides, pamphlets and dockside murmurings circulated among a growing population of “masterless” people: men and women uprooted from their ancest
ral homes in Africa, Europe and the Americas. A seaport tavern in the Caribbean is the exhibition’s setting for the exchange of arguments, rumors, information and grievances that took place among colonial planters, royal officials, free people of color, fugitives, sailors, dockworkers and demimondaines. Their public chatter became an increasingly loud, dissonant and often corrosive counterpoint to the official pronouncements of palaces, ministries, cathedrals and courtrooms.
The Uncharted Upheaval in British North America traces the unforeseeable course of American rebellion from the protests against the Stamp Act to the aftermath of the War of Independence, showing these events less as a chronology of conflicts than as a set of “inventions.” Having begun by arguing for their traditional English rights within the empire, the colonists went on to construct universalist arguments for independence and a government based on popular sovereignty. Materials in the gallery illustrate the increasing political and cultural alienation of the colonists- the evolution of their colonial assemblies into wartime “committees of safety”- the formation of a military alliance with England’s imperial rival, France- and the postwar invention of self-government under the Articles of Confederation and then the Constitution.
The British Campaign for the Abolition of Slavery and the Slave Trade explores how the impact of the successful American rebellion—combined with the resistance of the enslaved aboard ships and within American plantations—set off a powerful impulse for reform in Great Britain, as the greatest slave-trading power on earth began the march toward emancipation. Materials in the gallery show how the anti-slavery forces used lectures, community meetings, marches, rallies, petitions to Parliament, the publication of propaganda images and personal testimonies—techniques of political mobilization that are now standard in the democratic world—to advance their cause. By 1807, the British had abolished the slave trade and assumed the role of maritime policemen in the Atlantic, aiming to cripple the human trafficking of Britain’s imperial rivals. This was the second great achievement of the revolutionary era.
Free and Equal: French and African Ideals Liberate the World’s Richest Colony takes the story of revolution to Paris—where the American example, and the cost to the royal treasury of assisting the Americans, contributed to the monarchy’s downfall—and to France’s own prize colony, Saint-Domingue, the western third of the island of Hispaniola. In the wake of 1789, the rich sugar planters of Saint-Domingue struck out for autonomy from France. Meanwhile, their mixed-race offspring, the often prosperous free people of color, responded to the new egalitarian ideals by calling for racial equality within economic classes- and the colony’s poor whites, hating both groups, agitated for the overthrow of all hierarchies. None of these forces wanted the abolition of slavery- but after more than two years of universal conflict, the ninety percent of Saint-Domingue that was African and enslaved rebelled, in summer 1791. At the heart of this chapter is Toussaint Louverture, the military genius, economic czar and law-giver of the rebellion. Its legacy included the total abolition of slavery by the Convention in 1794—the third great achievement of this revolutionary era—but also the ongoing resistance in Saint-Domingue, as ex-slaves chafed at Louverture’s orders for them to remain at their places of work.
The Second Haitian Revolution takes the story into the foothills and mountains of the island, where the formerly enslaved population stole away from the plantations and began creating a distinctive national identity. They melded the enormous diversity of their native African backgrounds into a single culture, through the development of a new form of spirituality (vodoun), a new national language (Kreyol) and a new form of household space and organization (the lakou).
The Triumph of Haitian Independence concludes this part of Revolution! with the story of Napoleon’s 1802 invasion of Saint-Domingue (with the goal of reinstituting slavery, threatening to kill off the existing adult African population and importing an entire new workforce from Africa) and the subsequent resistance. Although successful at first, the French army fell victim to yellow fever, the maroon insurgency in the mountains and their own government’s ineptitude. At the beginning of 1804, having driven the French out of Saint-Domingue, the victorious General Dessalines declared the independence of the second republic established in the Americas, the newly named nation of Haiti, concluding the first (and only) successful slave revolt in history and establishing the first nation to guarantee unconditional equality and emancipation in its constitution. This was the fourth great achievement of this era of revolution.
Legacies, the 19th century shows how the immediate consequences of this first Age of Revolution fell short of the dreams and sacrifices of the revolutionaries. The new Haitian state was quarantined by the imperial powers, with France extending recognition only after Haiti agreed to indemnify whites for the loss of their land and slaves—leaving the nation crippled by debt, and chronically unable to construct a workable political system. The British went on to abolish slavery in their West Indian possessions in the 1830s—but only after compensating slaveholders, and providing them with a new supply of indentured workers from Asia. As for the U.S., it ceased to be a fount of revolutionary activity after its purchase of the Louisiana Territory—a direct consequence of the Haitian revolution—turning inward to a project of continental expansion. (The question of extending slavery into western territories, ironically, would break apart the Union.) Despite these reversals, however, the events of 1776-1804 had implanted an ineradicable aspiration for democratic rights in the Atlantic world and beyond.
Legacies for our time carries the story of Revolution! into the 20th century, when the attainment of universal human rights came to be a global ideal, if certainly not an achieved reality. Dozens of colonial nations declared their independence from European powers, often in language adopted from Jefferson and Lafayette. Slavery, though persisting outside the law, became illegal everywhere. And in 1948, the United Nations brought forth the Universal Declaration of Human Rights, which codified a new norm in human affairs: the fundamental entitlement of every person to a life of dignity, liberty and equality. This is the ultimate legacy of the half-century we call the Age of Revolution.
Exhibition Catalog
The exhibition will be accompanied by a full-color, illustrated catalogue edited by Thomas Bender, Laurent Dubois, and Richard Rabinowitz. The volume will feature ten essays by leading scholars: Thomas Bender- Laurent Dubois and Julius S. Scott (University of Michigan)- Richard Rabinowitz- T. H. Breen (Northwestern University)- Cathy Matson (University of Delaware)- David Brion Davis (Yale University) and Peter P. Hinks- Robin Blackburn (New School University)- Jeremy D. Popkin (University of Kentucky)- Vincent Brown (Duke University)- Rebecca J. Scott (University of Michigan) and Jean M. Hebrard (University of Michigan)- and Jean Casimir (Universite d’Etat, Haiti).
Education: School Programs
Curriculum materials for grades K through graduate school will include teacher lesson plans and student materials such as maps, copies of primary resources, life stories of exhibition protagonists and timelines. As with all major exhibitions, Museum educators from the Historical Society will conduct teacher training and onsite tours for school groups throughout the run of the exhibition. Teacher materials will also be accessible for download from the Revolution! website at no charge.
Public Programs
A series of evening programs at the Histo
rical Society will feature some of the nation’s top historians, journalists and authors. These programs will be digitally recorded and posted as podcasts on various sites. In addition, the Historical Society will offer educational and community outreach programs for the Haitian-American community in New York and other venue cities, including visual and performing arts, oral history and citizenship education.
A joint scholarly conference with the John Carter Brown Library (Providence, RI) in March 2012 will convene post-secondary audiences and scholars of the subject.
Illustration: Sea Captains Carousing in Surinam (oil on canvas, 1752-58, by John Greenwood).
New Native American Area Opens at Fenimore
The Fenimore Art Museum in Cooperstown, has officially unveiled “Otsego: A Meeting Place” – its latest addition to the Native American Interpretive Area and Trail.
Located on north side of the Fenimore’s expansive back lawn, the new area consists of the recently relocated Seneca Log House, a “Three Sisters Garden,” a pond, and other features pertaining to a settlement of this type in the late eighteenth and early nineteenth centuries.
The Seneca Log House is a single-family log house typical for most reservation Haudenosaunee (Iroquois) families during the late eighteenth and early nineteenth centuries. Adjacent to the house is a “Three Sisters Garden” with corn, beans, and squash. Medicinal plants are grown in their natural environment in the surrounding woodlands.
Museum admission, which includes entry to “Otsego: A Meeting Place,” is $12 for adults and $10.50 for seniors. Children (age 12 and under), members of the New York State Historical Association, as well as active and retired career military personnel always receive free admission. Visit FenimoreArtMuseum.org for more information and full schedule.
Photo: Otsego: A Meeting Place.
Exhibit Features 100 Years of Adirondack Mail Boats
The Town of Webb Historical Association and Goodsell Museum, located at 2993 State Route 28 in Old Forge, Herkimer County, is currently featuring the exhibit “Floating Letters-The Town of Webb’s Mail Boats-Over 100 Years of Postal Tradition and Summer Fun” through the end of October.
The exhibit presents the history of the delivery of mail by boat in the Town of Webb on the Fulton Chain of Lakes, Big Moose Lake, Twitchell Lake, Rondaxe Lake, Silver Lake, and other locations from the early 1880s until the present. The exhibit includes photographs, certificates, ledgers and maps -as well as a wide assortment of custom leather & canvas/cloth mail pouches donated or on loan for the exhibit.
Included in the exhibit is the story of the Railway Postal Office (RPO) – a unique contract issued to Dr. William Seward Webb & the Fulton Chain Navigation Co. in 1901 whereby an official postal clerk rode on the boats to cancel mail, sell stamps & money orders, and perform other postal duties.
Additional exhibits at the Goodsell Museum include those on Adirondack wildlife, the Goodsell Family (George Goodsell was the first ‘mayor’ of the Village of Old Forge in 1903) and the 90th Anniversary of the Thendara Golf Club. The next featured exhibition, on early medicine, will open December 1st. The Webb Historical Association maintains a regular exhibit on early local doctors which will help form the basis the of the new exhibit.
The Goodsell Museum is open year-round- there is no admission charge.
The museum is also participating in Old Forge’s “First Friday Art Walk” events by including special exhibits connecting art with historical themes. On July 1st from 5-8PM they will have one of Lottie Tuttle’s oil paintings on display. Lottie was one of the Adirondack’s first female guides, she and her husband invented the devil bug fishing lure that was manufactured in Old Forge and marketed across the United States in the early 1900’s.
On July 9th the Association will hold its 9th Annual Benefit Auction. Preview and registration starts at 1 pm, bidding at 2 pm with auctioneer June DeLair from Constableville Auction Hall. The auction is held under a tent on the Goodsell Museum grounds and will include antiques, collectibles, new and nearly new items donated from members and friends of the museum.
The Association also has other programs, workshops, and walking tours. More information can be found online or by contacting Gail Murray, Director, via e-mail at [email protected] or by phone at
Photo: The Steamboat Hunter – Captain Jonathan Meeker delivered mail to hotels and camps as early as 1883.
Dreaming of Timbuctoo Showing in Essex County
The “Dreaming of Timbuctoo” Exhibition will be on view at the Whallonsburg Grange Hall in the Champlain Valley from July 3-9. The Grange is located on Route 22, five miles south of the village of Essex, NY.
When it premiered at the Adirondack Museum in Blue Mountain Lake in 2001, “Dreaming of Timbuctoo” revealed the little-known antebellum history involving black homesteaders granted land in the Adirondacks in the mid-1840s—a step toward winning the vote for free black New Yorkers.
Through this abolitionist “scheme of justice and benevolence”, 3,000 African American men from nearly every county in the state each received 40 acres of land. John and Mary Brown moved to the Adirondacks in 1848 to be a friend and neighbor to those who settled their land. One of the loosely knit communities came to be called “Timbuctoo”.
Through letters, documents, archival photographs, and curator Amy Godine’s illuminating text, the exhibition explores the backdrop and motivations of some of the country’s most illustrious anti-slavery leaders involved, including philanthropist Gerrit Smith, the Rev. Henry Highland Garnet of Troy, Frederick Douglass, Syracuse’s Rev. Jermaine Loguen, and Dr. James McCune Smith of New York City.
As the nation marks the 150th anniversary of the start of the Civil War, the Whallonsburg Grange Hall and John Brown Lives! host the exhibition and several educational and cultural events that examine the political war on slavery, discuss its place in North Country history, and its relationship to civil rights issues.
The exhibition opens on Sunday 3 July at 3:00 p.m. and a reception and talk by the curator will follow at 6:00 p.m. Suggested donation is $7. Regular hours from Monday-Saturday, July 4-9, are from 12 noon to 6:00 p.m. and admission is free.
Other upcoming programs at the Grange include:
Wednesday, July 7 at 7:00 p.m.: The Struggle for the Right to Vote, Past and Present, with historians and civil rights activists Dr. Laura Free, criminologist Alice Green, and Paul Murray, Mississippi volunteer in the 1960s. Excerpts from the new film marking the 50th anniversary of the Freedom Riders will be shown. Admission $5- students free.
Thursday, July 7 at 7:00 p.m. Transgressing the Blue Line: Toward an Inclusive Adirondack Narrative with environmental philosopher Marianne Patinelli-Dubay. Admission $5- students free.
Saturday, July 9 at 8:00 p.m. Magpie in Concert, featuring the gorgeous harmonies, brilliant musicianship, and inspiring songs of the folk duo, Greg Artzner and Terry Leonino. Admission $7- children under 12 admitted for $3.
Related programs at Heaven Hill Farm will involved a trek into the archaeological dig underway at one of the “Timbuctoo” homesteads under the direction of Dr. Hadley Kruczek-Aaron, SUNY-Potsdam Professor of Anthropology and Director of the Timbuctoo Archaeology Project. The dig is near the John Brown Farm State Historic Site in North Elba. Reservations for both Heaven Hill events are necessary and can be made at [email protected] or 518-962-4758.
Thursday, July 7, from 8:00 a.m.-2:00 p.m., educators, artists, parents and community members engage in a roundtable conversation to shape a Timbuctoo Adirondacks-Timbuktu Sahara friendship connection. A representative from a Tuoareg community school on outskirts of the Malian city of Tiimbuktu will be present.
Sunday, July 10, from 3:00-6:00 p.m., a visit to the dig site of the Timbuctoo Archaeology Project and reception afterward. $20 per person would be appreciated.
“Dreaming of Timbuctoo” is a joint project of John Brown Lives! and the Essex County Historical Society. Funding from the New York Council for the Humanities and the New York Council on the Arts were principal funders of the exhibition. The Arts Council of the Northern Adirondacks is providing support for the concert with Magpie.
For more information, go to www.thegrangehall.org or contact Martha Swan, Director of John Brown Lives! at [email protected] or 518-962-4758, or Mary-Nell Bockman at Whallonsburg Grange Hall, [email protected] or 518-570-2382.
Photo: Black Farmers in North Elba (Courtesy Adirondack Museum).
Brooklyn Museum Cancels Street Art Exhibition
The Brooklyn Museum has canceled the spring 2012 presentation of Art in the Streets, the first major United States museum exhibition of the history of graffiti and street art. Organized by the Museum of Contemporary Art Los Angeles, where it is currently on view at The Geffen Contemporary through August 8, 2011, the exhibition had been scheduled at the Brooklyn Museum from March 30 through July 8, 2012.
“This is an exhibition about which we were tremendously enthusiastic, and which would follow appropriately in the path of our Basquiat and graffiti exhibitions in 2005 and 2006, respectively. It is with regret, therefore, that the cancellation became necessary due to the current financial climate. As with most arts organizations throughout the country, we have had to make several difficult choices since the beginning of the economic downturn three years ago,” Brooklyn Museum Director Arnold L. Lehman said in a prepared statement.
The announcement follows a recent follows the limiting of Friday hours, effective July 1. The Brooklyn Museum will no longer remain open until 10 p.m. every Friday, a change resulting from what museum officials called “the challenging economic climate confronting many public institutions throughout New York City and the country.”
Hudson Valley Farm Photo Exhibit at Olana
Olana has announced the opening of a new exhibition by photographer Brandt Bolding entitled FARM: Agricultural Life of the Hudson Valley. The exhibit in the recently restored Coachman’s House Gallery at Olana State Historic Site.
In 1860, Frederic Church purchased approximately 126 acres of farmland and immediately set out to build a new “farm house” for his family. The artist expanded his land holdings over the next ten years and ultimately moved his family to the larger stone-and-brick house he built near the summit of the hill, but he continued to work on and operate a farm at Olana for the rest of his life. Church was proud of his farming accomplishments, writing friends and family of the success of his orchards, vegetables, and livestock.
The FARM exhibit coincides with extensive farm restoration work about to begin in Olana’s historic farm complex. The Olana Partnership and Olana State Historic Site have secured two major grants to focus on restoring Frederic Church’s farm. Over the next several years, meadow and orchard restoration projects will return the neglected farm to potentially active agricultural use. “According to a report of the American Farmland Trust, every hour we lose 125 acres of farm and ranch land in the U.S.,” reports Olana Partnership President Sara Griffen. “By focusing on the restoration of Olana’s farm we hope to play a small role in ensuring the agricultural future of Columbia County.”
Photographer Brandt Bolding states, “through extensive travels photographing and documenting the farms of northeastern America I am attempting to bring awareness of just a small part of what is at stake. Nowhere is this more of a concern than in the Mid-Hudson Valley…where citizens, and civic organizations large and small rally to preserve the irreplaceable beauty of our landscape from less than circumspect development.”
The photos included in the exhibition will be printed by the photographer in a limited edition of twelve and are available for purchase in the Olana Museum Store. The exhibit will be open every day through October 30, 2011 at Olana State Historic Site, 5720 State Route 9G, Hudson, New York.
About Brandt Bolding:
Brandt Bolding’s photographs have been exhibited in galleries and museums throughout the northeastern part of the U.S. and have appeared in newspapers, journals, and publications by various preservation organizations in New York State. His work on agricultural life will be the subject of a solo exhibition at the Arkell Museum in Canajoharie, NY, later this year. Two of his photographs appeared in the book entitled Old Homes of New England: Historic Houses in Clapboard, Shingle, and Stone published by Rizzoli in April 2010.
Photo: Level Acres Cornfield, Route 82, Columbia County. Courtesy Brandt Bolding Photography.