Speaking in Boston in October 1932, Franklin D. Roosevelt declared, “Knowledge – that is, education in its true sense – is our best protection against unreasoning prejudice and panic-making fear, whether engendered by special interests, illiberal minorities or panic-stricken leaders.”
At a time when civil discourse and mutual respect can be hard to come by, FDR’s thinking about education inspired the teachers and other educators who planned this year’s Teaching the Hudson Valley institute.
Building Community with Place-Based Learning will be held July 25th to the 27th at the Henry Wallace Education and Visitor Center on the grounds of the Franklin Roosevelt Home and Presidential Library in Hyde Park and sites throughout the Valley. The program includes more than 15 workshops and five all-day field experiences. Continue reading
Women won the right to vote in New York State in 1917, but the story really began much earlier and with particular fervor in the mid 19th century.
In the 1840’s, upstate New York was a hotbed of radicalism. The “Second Great Awakening” brought with it spiritual revivalism, penal and education reforms, abolitionism and the temperance and women’s right movements. This turbulent atmosphere of ideas and events was not unlike the cultural upheaval of the 1960s.
In 1848 Elizabeth Cady Stanton, Lucretia Coffin Mott and several other women gathered around a tea table in Waterloo, New York and drafted the “Declaration of Sentiments” based upon the Declaration of Independence. By inserting into the text that women, as well as men, were created equal, they renewed the revolution that was started seventy two years earlier in 1776. The protracted and arduous road to women’s right to the elective franchise took until 1917 to be realized in New York State and not until 1920 in the entire United States. Continue reading
Judge Fullerton’s brick, Italianate home has quietly presided over the northern end of Grand Street in Newburgh, New York, since 1868, but the once-famous trial lawyer has long since been forgotten. Visitors sometimes inquire about ghosts or secret passageways or buried caches of coins. I tell them all the same thing: the real treasure is in the history. In this respect, I have been richly rewarded.
Hidden away beneath the visible architecture was a cornucopia of stories. Some took place on the historical stage; others on theatrical stages; some were once known to the world at large, at a time when telegraph wires strung along railroad lines turned locally-printed newspapers into “mass media”; others are deeply personal, private stories of success, failure and loss.
But above all, I found Willie. Continue reading
The Columbia County Historical Society and Historic Hudson will host The Hudson River School (1825-1875), a Slide Show and Conversation with Peter Jung on Sunday, June 25, 2017. An opening reception will begin at 4:30 pm, the lecture will begin at 5 pm.
The mid-19th century landscape painters of the Hudson River Valley depicted the new American landscape in terms where humans and nature were united in peaceful co-existence. These realist paintings were quite detailed, and often combined many images from diverse natural scenes and vistas observed along the Hudson River as well as the extended geography including the Catskills and Adirondacks. Continue reading
In the late 1700s and early 1800s, there were a growing number of adventurers anxious to explore the sea, find new lands, chart new islands, and if they made their fortune while doing it, all the better. There were also those just trying to get away from home and signing on to a whaling boat seemed the adventure of a lifetime. Continue reading
The New York State Museum has announced the addition of eight new artworks to its contemporary Native American art collection. Building on an initiative launched in 1986 and now numbering more than 150 objects, the contemporary Native American art collection consists of modern artwork that speaks to issues relevant to Native American communities and all communities in New York. Continue reading
Of all the world’s cities, perhaps none is so defined by its Art Deco architecture as New York. Anthony W. Robins’ new book New York Art Deco: A Guide to Gotham’s Jazz Age Architecture (SUNY Press, 2017) leads readers step-by-step past the monuments of the 1920s and 30s that recast New York as the world’s modern metropolis.
Robins’ new guide includes an introductory essay describing the Art Deco phenomenon, followed by eleven walking tour itineraries in Manhattan each accompanied by a map designed by New York cartographer John Tauranac and a survey of Deco sites across the four other boroughs. Also included is a photo gallery of sixteen color plates by Art Deco photographer Randy Juster. Continue reading
In celebration of the restoration currently underway in the South Street Seaport Museum’s flagship, the museum has announced its second post-Hurricane Sandy exhibition, The Original Gus Wagner: The Maritime Roots of Modern Tattoo beginning on January 29, 2017, open Wednesday to Sunday 11 am to 5 pm, at the Museum’s mezzanine gallery level, accessible from the main entrance of the Museum on 12 Fulton Street.
An Opening Reception with Live Tattoo Demonstration and a Silent Auction will be held Saturday, January 28, 2017 from 6 to 8 pm, RSVP required. Click here for reservation info. Continue reading
Kerry James Marshall, at the Met Breuer exhibition until January 29, boldly claims center stage in American art with his show entitled “Mastry.” A Chicago-based painter, Marshall seizes the spotlight at the center of conversations about American art at the center of the country’s art scene in New York. His mastery unfurls over a grand expanse of work, complemented by his own selections from the Metropolitan Museum’s collections, a curated sidebar that testifies to his confident deployment of art history in his own work. History, genre, cityscape, portrait – Marshall draws from the visual riches of the past, transforming Western art traditions into his own language. His cityscapes suggest how his paintings reclaim space. Continue reading
A century ago, an emerging North Country artist made a name for herself in Jefferson County, but it was the many names she wore through seven decades that made her story so difficult to trace. She began life in North Dakota in 1883 as Phoebe Alice Weeks. During her marriage (around 1910) to Carl Warren, she was known as Phoebe W. Warren. During her second marriage, to Lewis Perry Hazlewood of Sackets Harbor in 1916, she was known as Phoebe Hazlewood (often misspelled as Hazelwood), but her middle name appeared variously as Alice, Weeks, and Warren, or the initials “A” or “W.” Decades later, there was a third marriage to Henry Morse, during which she again was described by various names, the most common of which were Phoebe Hazlewood Morse and Phoebe Weeks Morse.
What’s most important of course, is that she did in fact make a name for herself in the art world. From the time she was very young, Phoebe gravitated towards artwork created by cutting out paper shapes, which were then displayed over an offsetting background. For instance, a cutout from black paper was presented over a background of white paper. The method was known generally as silhouette. Continue reading