Art-NY • Museum
Every year about 1,000,000 people will walk past “The Whitney” on the “High Line”.
The Whitney Museum of American Art – known informally as the “Whitney” is one of the four top New York art museums and in Manhattan (“The Met”, “The Museum Of Modern Art”, the Gugenheim Museum Of Art and the Whitney”). It was founded in 1931 by Gertrude Vanderbilt Whitney (1875–1942), a wealthy and prominent American socialite and art patron after whom the museum is named. See her studio within the article titled “Artist Studios In New York”. She was a famous sculptress.
The Whitney focuses on 20th- and 21st-century American art.
Its permanent collection comprises more than 21,000 paintings, sculptures, drawings, prints, photographs, films, videos, and artifacts of new media by more than 3,000 artists. It places a particular emphasis on exhibiting the work of living artists in its collection and maintaining an extensive permanent collection containing many important pieces from the first half of the 20th century. The museum’s Annual and Biennial exhibitions have long been a venue for younger and less well-known artists whose works were and are showcased there.
“Hollywood Africans” is one of a series of Jean-Michel Basquiat’s paintings that feature images and texts relating to stereotypes of African Americans in the entertainment industry. It was painted while Basquiat was on an extended visit to Los Angeles, California, in 1983. Several of the work’s notations are autobiographical: the trio of figures on the right depicts the artist with the rap musician Rammellzee and the painter Toxic, who had traveled with him from New York, and he includes the digits of his birth date: 12, 22, and 60. Other notations are historical: phrases such as “Sugar Cane,” “Tobacco,” “Gangsterism,” and “What is Bwana?” allude to the limited roles available to black actors in old Hollywood movies. The notion of exclusion or excision is reiterated in the way that Basquiat often crossed out words or phrases in his works. The technique, he explained, was actually meant to direct attention to them: “I cross out words so you will see them more; the fact that they are obscured makes you want to read them.”
Artist: Jean-Michel Basquiat (1960-1988)
Title: Hollywood Africans
Medium: Acrylic and oil stick on canvas
Dimensions: Overall: 84 1/16 × 84 in. (213.5 × 213.4 cm)
From 1966 to 2014, the Whitney was located at 945 Madison Avenue at East 75th Street in Manhattan’s Upper East Side. The museum closed on October 2014 and the Whitney was relocate to its new building designed by Renzo Piano located at 99 Gansevoort Street at Washington Street in the West Village/Meat packing District neighborhoods of Lower Manhattan; it reopened at the new location on May 1, 2015.
Its old building is now “The Breuer Museum” a branch of “The Met”.
Artist: Duane Hanson (1925-1996)
Title: “Woman with Dog”
Date – 1977
Medium: Acrylic and oil on cast polyvinyl with clothing, hair, eyeglasses, watch, shoes, upholstered wood chair, dog hair, leather collar, woven rug, postcard, letters, and envelopes.
Like most of Duane Hanson’s sculptures, Woman with Dog projects an uncanny believability. Hanson often worked on a single figure for up to one year—locating models, making polyvinyl casts directly from their bodies (a method he developed in 1967), assembling and painting the casts, and finally outfitting the sculptures with clothing and accessories. Despite their extreme realism, however, Hanson’s sculptures are not usually likenesses of specific people. The pile of letters in Woman with Dog, for example, is addressed to a Minnie Johnson, but the model for the work was someone else who lived near Hanson’s Florida studio. Woman with Dog thus presents a constructed, even composite character. As Hanson remarked, “I wanted a credible, unpretentious working class type of woman at mail time enjoying the fellowship of a friendly letter and her pet dog.”
Artist: Marisol (1930-2016)
Title: Women and Dog
Medium: Wood, plaster, synthetic polymer, and taxidermied dog head
Dimensions Overall: 73 9/16 × 76 5/8 × 26 3/4 in. (186.8 × 194.6 × 67.9 cm)
Object Label: Equal parts painting, collage, carving, and assemblage, Women and Dog was inspired by sources as diverse as its constituent materials. Marisol worked in New York during the emergence of Pop Art in the early 1960s and was one of few women associated with the movement. This sculpture reflects the fascination with everyday life that was fundamental to Pop, and yet its larger-than-life, totemic forms and the multi-faced profiles of the figures belie influences from Pre-Colombian and Native American folk art to analytic Cubism. The trio of females strolling with a child and a dog seem to suggest Marisol’s interest in social norms and conventions relating to women in society, but the composition is ambiguous. Elements of the women’s clothing are colorfully whimsical, yet they are literally “boxed in” by their garments, and their faces are marked by a deadpan impenetrability. The women, and perhaps the child too, are self-portraits—indeed, a photograph of the artist is applied directly onto the face of one of the figures—suggesting a fluid inhabitation of different female roles and identities.
Listening to the City: an interview with Renzo Piano, Architect, Artist, Builder & Inventor. Throughout “The Whitney”, Renzo brings natural light, while fighting gravity.
“The Whitney Biennial”, was inaugurated by Gertrude Vanderbilt Whitney in 1932 and still stands as the pre-eminent biennial in this country.” As always, this will be a show for budding American art talent, some of whom were born abroad, but now reside in the “United States”. This 2017 show is the first “Whitney Biennial” since the museum relocated to its new home in in the meat packing district, in 2015. We can expect to see about ’63’ contemporary artists display a panoply of exciting ‘traditional’ and ‘new’ media in March 2017. You can see Gertrude’s Greenwich village studio in our article titled “New York City’s Historic Artist Studios” in http://www.art-ny.gallery/
“The Whitney” is big and visitors should expect to be both delighted and surprised!
Mia Locks, Curator announced, “The team we have brought together are all engaged with contemporary art in this moment, but they all have strengths that go beyond art into other disciplines”. Christopher Y. Lew, Curator added, “None of them are tied to institutions—we are reaching for minds that are thinking in ways that museums are not. It speaks to the mindset of a younger generation, that you don’t necessarily have to be tied to an institution, to do the things you want.”
- Donna De Salvo, the Whitney’s chief curator since 2006 commented “Our nimble spirit comes from our close working relationship with artists.”
The Whitney’s beginnings were genteel-bohemian, with several hundred contemporary American works that belonged to the energetic heiress, sculptor, and salonist Gertrude Vanderbilt Whitney. Her comment jibed with the longtime sense of the Whitney as something like the big museum, in a small city where all the people involved with art know one another. Partly, this reflects the history of the collection. Its beginnings were genteel-bohemian, with several hundred contemporary American works that belonged to the energetic heiress, sculptor, and saloniste Gertrude Vanderbilt Whitney. A passionate soul, Whitney, married to the businessman and horse breeder Harry Payne Whitney, chafed at the constraints of her caste. At the age of nineteen, she complained in her journal that “a man chooses the path that gives him the most thrill. That is what I want.” Art offered an escape from what she called “the big stagnation of riches,” as an avenue for both patronage and creativity; her own comic 1941 bronze of Peter Stuyvesant, in Stuyvesant Square, is a gem of public art.
In 1930, Whitney had offered her collection, which included many works by John Sloan, George Bellows, and other Ashcan School painters, and by the sterling modernists Marsden Hartley, Georgia O’Keeffe, and Stuart Davis, to the Metropolitan Museum. But the director, Edward Robinson, who was both averse to modern art and contemptuous of its American proponents, spurned it. Juliana Force, Whitney’s emissary, reported that he told her, “What will we do with them, dear lady? We have a cellar full of those things already.” She stormed out of his office without having conveyed Whitney’s offer of five million dollars for a new wing to house the works.
Whitney decided to open her own museum, on West Eighth Street, in 1931, and appointed Force its director. Since then, seven directors have overseen the growth of the collection, which now contains twenty-two thousand items, seventeen thousand of them works on paper. There are such touchstones as Alexander Calder’s “Circus” (1926-31), Arshile Gorky’s “The Artist and His Mother” (1926-36), Jasper Johns’s “Three Flags” (1958), Jay DeFeo’s massive relief “The Rose” (1958-66), Willem de Kooning’s “Door to the River” (1960), Nan Goldin’s slide-show installation “The Ballad of Sexual Dependency” (1979-96), and Mike Kelley’s caustic stuffed-animal array “More Love Hours Than Can Ever Be Repaid” (1987). But the collection lacks depth in most major artists, with the important exception of Edward Hopper. The Whitney has the largest concentration of his art anywhere, including such paintings as “Railroad Sunset” (1929) and the storefront epiphany “Early Sunday Morning” (1930), along with more than twenty-five hundred drawings. By ever more general agreement, Hopper is this country’s painter laureate, or, as De Salvo calls him, “our Picasso.”
Unfortunately at points in its history, the Whitney, intent on a contemporary focus, sold off its holdings in nineteenth century art and folk art. It has no design collection, and it is still playing catchup in its departments of photography and film. The collection tracks often relatively unfamiliar phases of twentieth century art history, like the socially conscious work of the nineteen-thirties, which tells an adventurous story of New York’s living and working art world, since the First World War: its movements, schools, aesthetics, social upheavals, fashions and follies.
The new building costs approximately four hundred and twenty-two million dollars and there’s plenty of evidence of how it was spent on spaciousness, state-of-the-art amenities, advanced X-ray and infrared equipment and ‘flood’ protection; a special concern post “Hurricane Sandy”. A flood caused by “Hurricane Sandy” covered the southern tip of with Manhattan – 22-29October2012.
“UNTITLED” This is the name of the restaurant at the “Whitney Museum Of American Art”.
This new restaurant puts the visitor on display, through floor-to-ceiling glass walls anchored with industrial cables designed by Renzo Piano. Michael Anthony, Gramercy Tavern’s executive chef and his chef de cuisine, Suzanne Cupps, deliver a seasonal menu — spring onion and bacon tart; smoked clams with cucumbers and yogurt — that strives for lightness. The restaurant is open to the public, without museum admission. For those who have paid, the museum’s top floor features a jewel: “Studio Cafe”, an informal restaurant. The outdoor terrace has rooftop and “High Line” views. Whitney Museum of American Art, 99 Gansevoort Street (Washington Street).
“The Met“ Metropolitan Museum Of Art, New York City
The “Met” Fifth Avenue
1000 Fifth Avenue (82nd St.)
New York, NY 10028
(colloquially “the Met“)
“The Met“, art museum in New York City is among the most visited art museums in the world, 6,226,727 visitors in 2013.
Its permanent collection contains over ‘two million works’, which are divided among seventeen curatorial departments. In addition to their permanent inventory, the “MET” regularly borrows works to supplement shows like the “Picasso”, “Cezanne”, “Degas” or “Monet” retrospective. The main building, sits on the eastern edge of Central Park along Fifth Avenue’s “Museum Mile” and is by area one of the world’s largest collections of ‘acknowledged’ masterpieces… covering almost every period, from ancient Egypt to modern art.
The “Met’s” permanent collection consists of important paintings, costumes and sculptures from nearly every European master and you you may also peruse their extensive collection of classical and Egyptian art, in addition to “American” and “Modern Art”. The Met also maintains extensive collections of African, Asian, Oceania, Byzantine, Indian, and Islamic art. The museum is home to encyclopedic collections of musical instruments, costumes and accessories, as well as antique weapons and armor from around the world. Several notable interiors, ranging from first-century Rome through modern American design, are also installed in its galleries.
The Metropolitan Museum of Art was founded in 1870. The founders included businessmen, financiers, leading artists as well as intellects of the day who wanted to open a museum to bring art and art education to the people of America. It opened on February 20, 1872, and was originally located at 681 Fifth Avenue.
“The Met’s” permanent collection contains ‘over two million’ works, divided among seventeen curatorial departments. The main building, on the eastern edge of “Central Park” along manhattan’s “Museum Mile”, is by area one of the world’s largest art galleries.
“The Met’s” smaller second location, “The Cloisters” at “Fort Tryon Park” in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from medieval Europe.
“The Met’s” permanent collection consists of works of art from classical antiquity and ancient Egypt, paintings and sculptures from nearly all the European masters, and an extensive collection of American and Modern Art. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to encyclopedic collections of musical instruments, costumes and accessories, as well as antique weapons and armor from around the world. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries.
The Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers who wanted to open a museum to bring art and art education to the American people. “The Met” opened on February 20, 1872, and was originally located at 681 Fifth Avenue.
‘My’ Personal Reminiscence:
Aristotle (384–322 B.C.) rests his hand reflectively on a bust of Homer, the blind epic poet of the Iliad and the Odyssey. A medallion representing Alexander the Great, whom Aristotle tutored, hangs from the heavy gold chain. The philosopher contemplates material rewards as opposed to spiritual values, with the play of light and shadow on his features suggesting the motions of his mind. Painted for the great Sicilian collector Antonio Ruffo, the picture also refers to Aristotle’s comparison of touch and sight as a means of acquiring knowledge. For further discussion of this work, see metmuseum.org/collections.
In 1961 John F. Kennedy was president of the United States, I was attending “Pratt Institute” in Brooklyn and “The Met” suplemented by funds donated by a group of friends, purchased this painting by Rembrandt van Rijn “Aristotle Contemplating The Bust Of Homer” (its name now is”Aristotle With A Bust Of Homer”) for $1,200,000. That was an ‘astounding’ record price for a painting, in 1960.
Some additional noted elements of the “Met’s” collection.
The Met Breuer [BROY-er]
This is the newest addition to the “MET” which opened in April, 2016.
Shortly after the turn of the twentieth century, the Metropolitan Museum of Art began an ambitious program of collection building and physical expansion that transformed it into one of the world’s foremost museums, an eminence that it has maintained ever since. Two men of singular qualities and accomplishments played key roles in the Met’s transformation—J. P. Morgan, America’s leading financier and a prominent art collector, and Roger Fry, the headstrong English expert in art history who served as the Met’s curator of painting. Their complicated, often contentious relationship embodies and illuminates the myriad tensions between commerce and art, philanthropists and professional staff, that a great museum must negotiate to define and fulfill its mission. The initial mission of the METs founders was to take a vast wealth of European art to an American citizenry, while Fry brought high standards of art history from the world of connoisseurs to a general public. Their clashes over the purpose and functions of the Met, which ultimately led to Fry’s ouster, reveal the forces—personal and societal—that helped to shape the Metropolitan Museum and other major American cultural institutions during the twentieth century.
A much smaller second location, “The Cloisters” at “Fort Tryon Park” in upper Manhattan displays an extensive collection of ‘Medieval Europene Art’, architecture, armor and artifacts.
“The Met’s” smaller second “The Cloisters” is located on the Hudson River’s western shore in Manhattan within “Fort Tryon Park” in Upper Manhattan. It contains an extensive collection of art, architecture, and artifacts from medieval Europe.
As early as the seventeenth century, the Unicorn Tapestries were documented as having been displayed as a group. Surely they were collected and exhibited together because together they illustrate the pursuit of the elusive unicorn so completely and in such astonishing detail, despite the likelihood that the seven individual hangings may come from two or more sets of tapestries. While its sacred and secular symbolism may not be as familiar to us today, we are still enchanted by the unicorn and its lore. Some of the other unicorn tapestries are…
- Fort Tryon Park
- 99 Margaret Corbin Drive
- New York, NY 10040
The “METS” Department of Ancient Egyptian Art.
- “The Department of Ancient Egyptian Art” within the “Met” has collected more than 26,000 objects and they are ALL on display. This department was established in 1906 to oversee “The Metropolitan Museum of Art’s” ancient Egyptian collection and has been growing steadily since 1874. More than half of the collection is derived from the Museum’s 35 years of archaeological work in Egypt, initiated in 1906 in response to increasing Western interest in the culture of ancient Egypt the balance came from donations from collectors, or their estates. Today, after more than a century of collecting and excavating, the collection has become one of the finest ancient Egyptian collections in the world.
In Hebrew “Egypt” is called
Egypt is “Mitzrayim” which translates as “tight spot”.
In Hebrew, Egypt is called ‘Mitzrayim’. According to the text in the Jewish mysticism mystical text called the “Zohar”, the name is derived from m’tzarim, meaning “narrow straits” (mi, “from,” tzar,“narrow” or “tight”). When God took us out of Mitzrayim, HE extricated us from the place of constricted opportunities, tight control, and narrow-mindedness, where movement was severely limited.
“MOMA” / The Museum Of Modern Art 11 West 53rd Street, New York, NY 10019 (212) 708-9400
Founded in 1929
Its founding director, Alfred H. Barr, Jr., intended the Museum to be dedicated to helping people understand and enjoy the visual arts of our time, and that it might provide New York with “the greatest museum of modern art in the world.”
The public’s response was overwhelmingly enthusiastic, and over the course of the next 10 years the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of the building it still occupies in midtown Manhattan. Upon his appointment as the first director, Barr submitted a plan for the conception and organization of the Museum that would result in the Museum’s multi-departmental structure, with departments devoted for the first time to Architecture and Design, Film, Video, and Photography, in addition to Painting and Sculpture, Drawings, Prints and Illustrated Books. Subsequent expansions took place during the 1950s and 1960s, planned by the architect Philip Johnson, who also designed “The Abby Aldrich Rockefeller Garden”. In 1984, a major renovation designed by Cesar Pelli doubled the Museum’s gallery space and enhanced visitor facilities.
The rich and varied collection of “The Museum of Modern Art” constitutes one of the most comprehensive and panoramic views into modern art. From an initial gift of eight prints and one drawing, “The Museum of Modern Art’s” collection has grown to include over 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. “MoMA” also owns approximately 22,000 films and four million film stills, and “MoMA’s” Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists. The Museum’s Archives contain primary source material related to the history of “MoMA” and modern and contemporary art.
The Museum maintains an active schedule of modern and contemporary art exhibitions addressing a wide range of subject matter, mediums, and time periods, highlighting significant recent developments in the visual arts and new interpretations of major artists and art historical movements. Works of art from its collection are displayed in rotating installations so that the public may regularly expect to find ‘new works’ on display. Ongoing programs of classic and contemporary films range from retrospectives and historical surveys to introductions of the work of independent and experimental film- and videomakers. Visitors also enjoy access to bookstores offering an assortment of publications and reproductions, and a design store offering objects related to modern and contemporary art and design.
The Museum is dedicated to its role as an educational institution and provides a complete program of activities intended to assist both the general public and special segments of the community in approaching and understanding the world of modern and contemporary art. In addition to gallery talks, lectures, and symposia, the Museum offers special activities for parents, teachers, families, students, preschoolers, bilingual visitors, and people with special needs. The Museum’s Library and Archives contain the leading concentration of research material on modern art in the world, and each of the curatorial departments maintains a study center available to students, scholars, and researchers. In addition, the Museum has one of the most active publishing programs of any art museum and has published more than 1,200 editions appearing in 20 languages.
In January 2000, the Museum and “P.S.1 Contemporary Art Center” (now MoMA PS1) exercised a Memorandum of Understanding formalizing their affiliation. The final arrangement results in an affiliation in which the Museum becomes the sole corporate member of “MoMA PS1” and “MoMA PS1” maintains its artistic and corporate independence. This innovative partnership expands outreach for both institutions, and offers a broad range of collaborative opportunities in collections, exhibitions, educational programs, and administration.
In 2006, “MoMA” completed the largest and most ambitious building project in its history to that point. This project nearly doubled the space for MoMA’s exhibitions and programs. Designed by Yoshio Taniguchi, the new MoMA features 630,000 square feet of new and redesigned space. The Peggy and David Rockefeller Building on the western portion of the site houses the main exhibition galleries, and The Lewis B. and Dorothy Cullman Education and Research Building—the Museum’s first building devoted solely to these activities—on the eastern portion of the site provides over five times more space for classrooms, auditoriums, teacher training workshops, and the Museum’s expanded Library and Archives. These two buildings frame the enlarged Abby Aldrich Rockefeller Sculpture Garden. The new Museum opened to the public on November 20, 2004, and the Cullman Building opened in November 2006.
To make way for that renovation and rebuilding project, MoMA closed on 53 Street in Manhattan on May 21, 2002, and opened MoMA QNS in Long Island City, Queens, on June 29, 2002. MoMA QNS served as the base of the Museum’s exhibition program and operations through September 27, 2004, when the facility was closed in preparation for “The Museum of Modern Art’s” reopening in Manhattan. This building now provides state-of-the-art storage spaces for the Museum.
Today, the “MoMA” and “MoMA PS1” welcome millions of visitors every year. A still larger public is served by the Museum’s national and international programs of circulating exhibitions, loan programs, circulating film and video library, publications, Library and Archives holdings, websites, educational activities, special events, and retail sales.
Little Men Q&A – with Ira Sachs, Mauricio Zacharias & Michael Barbieri.
Filmmaker Ira Sachs discusses the making of his latest film, “Little Men,” with co-writer Mauricio Zacharias, actor Michael Barbieri, producer Lucas Joaquin and Joe McGovern. The film screened at MoMA as part of a mid-career retrospective of the New York–based filmmaker. See what’s playing at MoMA.
Filmmaker Ira Sachs discusses the making of his latest film, “Little Men,” with co-writer Mauricio Zacharias, actor Michael Barbieri, producer Lucas Joaquin and Joe McGovern. The film screened at MoMA as part of a mid-career retrospective of the New York–based filmmaker. See what’s playing at MoMA Film:
Bouchra Khalili: The Mapping Journey Project
Through October 10
This exhibition presents, Bouchra Khalili’s – The Mapping The Journey Project (2008–11). A series of videos that details the naratives of eight individuals forced by political and economic circumstances to travel illegally, throughout the Mediterranean basin. Khalili (Moroccan-French, born 1975) encountered her subjects by chance in transit hubs across Europe, North Africa, and the Middle East. Following initial meetings, the artist invited each person to relate his or her journey and trace it in thick permanent marker, on a geopolitical map of the region. The videos feature the subjects’ voices and their hands sketching their paths across the map… while their faces remain unseen.
Their stories are presented on individual screens positioned throughout MoMA’s, Donald B. and Catherine C. Marron Atrium. In this way, a complex network of migration is narrated by those who have experienced it. While averting visibility demanded by systems, of surveillance, international border control, and the news media. The videos function as geopolitical maps, defined by the precarious lives of stateless people. Khalili takes on the challenge of developing a critical and ethical approach to questions of citizenship, community, and political agency.
Organized by Stuart Comer, Chief Curator, with Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art.
This exhibition is part of ‘Citizens and Borders‘, a series of discrete projects at “The Museum of Modern Art” related to works in the collection offering a critical perspective on histories of migration, territory, and displacement.
Rachel Harrison: Perth Amboy
Through September 5
Named after a town in New Jersey where an apparition of the Virgin Mary was said to have appeared on the window of a two-story house, Rachel Harrison’s room-sized work Perth Amboy exemplifies a cross-disciplinary approach to making art. The work comprises 21 photographs, individual sculptural assemblages, and an open-ended labyrinth made from cardboard. It takes as its subject the basic acts of looking and seeing, which are central to any experience of visual art. This is the first presentation of Perth Amboyat MoMA since the work entered the collection in 2011.
The Permanent Collection
The world’s largest and most inclusive collection of modern painting and sculpture… comprises some 3,600 works dating from the late nineteenth century to the present. It provides a comprehensive selection of the major artists and movements since the 1890s, from Paul Cézanne’s The Bather and Vincent van Gogh’s The Starry Night to masterworks of today.
Online Exhibitions and Projects
MOMA’s evolving on line collection contains almost 200,000 works of modern and contemporary art, by over 10,000 artists. 69,000 works are available online.
What is ‘Modern Art’?
The “Museum Of Modern Art” includes works by 19th century masters like Monet and Cezanne, plus 20th and 21st century artists like Picasso, Chegall, Mondrian Salvador Dali, Piet Mondrian and more. Virtually all noted artist, document their artistic philosophies and sire (some women also), specific schools of art, which inevitably evolve. Thus, the ‘Ash Can School’, the ‘Expressionists’, the ‘Dadaists’, the Cubists, the Expressionists, plus many more. Underlying all art in modern times, is the notion that ‘anything’ added, deleted or changed, that will enhance an image or idea, ‘CAN’ and should be attempted. The spirit of the “Bauhaus” in Germany (1919 – 1930s), though it only lasted for fourteen years remains a very strong influence, even today on contemporary art and design, including the notion that simple is ‘good’ and ‘less is more’.
This is Artist, Andy Goldsworthy’s first permanent commission in New York City. “Garden of Stones” opened to the public on September 17, 2003. This living memorial garden continues to evolve and ‘always’ inspire in new ways. This Garden of Stones, is an eloquent garden plan of ‘living trees growing from stone’. The entire garden was planted by the artist, Andy Goldsworthy for holocaust survivors and their families. This is a year round contemplative space, meant to be revisited and experienced differently over time and as the garden matures. This conceptual garden is visible from almost every floor of the Museum. The key factor of Goldsworthy’s stone garden is that it clearly evolves as time passes and seasons change. It’s anticipated that this conceptuals sculpture garden will be viewed, as well as cared for, by future generations.
Visit Timekeeper: a virtual exploration of the Garden of Stones. This interactive exhibit uses a time lapse camera to record each moment in the sculpture’s life. A dial on the display allows visitors to move the screen image backwards and forwards, watching tree growth through time and across seasons: from bare branches to lush leaves. Footage of Goldsworthy as he creates each element of the memorial is also viewable.
Admission to the garden is open to the public Sunday – Friday during the Museum’s regular visiting hours.
The Museum is located in lower Manhattan at 36 Battery Place in Battery Park City, Manhattan. The best way to get downtown is by public transportation.
Museum of Jewish Heritage – A Living Memorial to the Holocaust
Edmond J. Safra Plaza
36 Battery Place New York, NY 10280
Sunday-Tuesday, Thursday 10 A.M. – 5:45 P.M.
Wednesday 10 A.M. – 8 P.M.
Friday 10 A.M. – 5 P.M. Nowthrough November 11, 2016
Friday 10 A.M. – 3 P.M. November 18, 2016 through March 10, 2017
Eve of major Jewish holidays 10 A.M. – 3 P.M.
Last admission to the Museum is 30 minutes prior to closing time.
Closed Saturdays, major Jewish holidays, and Thanksgiving as follows:
Oct 2 Erev Rosh Hashanah Closing at 3 P.M.
Oct 3 Rosh Hashanah (1st Day)
Oct 4 Rosh Hashanah (2nd Day)
Oct 11 Erev Yom Kippur Closing at 3 P.M.
Oct 12 Yom Kippur
Oct 16 Erev Sukkot Closing at 3 P.M.
Oct 17 Sukkot (1st day) Oct 18 Sukkot (2nd day)
Oct 23 Erev Shemini Atzeret Closing at 3 P.M.
Oct 24 Shemini Atzeret
Oct 25 Simchat Torah
Nov 23 Thanksgiving Eve Museum Closing at 5 P.M.
Nov 24 Thanksgiving Day
$10 Seniors 65 and up
Free for children ages 12 and under
Free for Members
Free admission every Wednesday from 4 p.m. to 8 p.m.
Note: Museum admission applies to exhibitions only.
There may be a separate ticket fee for programs.
Advance reservations can be made for groups of 10 or more people.
Visit the Group Tours page to learn more.
Tickets for programs can be purchased in advance. See a complete listing of upcoming events.
During Your Visit
Food, drinks, and photography are not allowed inside the Museum galleries. Please turn off your cell phone or switch it to vibrate while in the Museum.
4/5 to Bowling Green
Walk west along Battery Place.
1 to Rector Street
From Rector Street, walk south down Greenwich Street toward Battery Park; make a right on Battery Place and continue walking west.
R to Whitehall Street or Rector Street
From Whitehall, walk west along Battery Place. From Rector Street, walk south down Greenwich Street toward Battery Park; make a right on Battery Place and continue walking west.
M5, M15 to South Ferry
M20 to Battery Park City, stops in front of the Museum
M9 to West Thames
Downtown Connection Bus
This free bus service connects Battery Park City with the South Street Seaport, making stops at many important destinations from river to river—including a stop right in front of the Museum. Service is provided seven days a week from 10:00 A.M. – 7:30 P.M in 10-minute intervals. Get more information here.
Taxis are available on Battery Place or in front of the Ritz-Carlton Hotel (located directly across the street from the Museum).
A Citi Bike station is located one block away, at the intersection of West Street and 1st Place.
Staten Island Ferry to South Ferry Terminal
Discounted parking is available at four nearby garages. Present your parking ticket at coat check for discount validation. View a map showing garage locations.
From the East Side
Take FDR Drive to the Battery Park City/Staten Island Ferry (Exit 1) and follow the signs to Battery Park. At the intersection of State Street, Battery Place, and Broadway, turn left on to Battery Place. You will go through a succession of stop signs as you head straight. The Museum is on your left, just past Robert Wagner Park.
From the West Side
The West Side Highway (also route 9A) turns into West Street. At the end of West Street, turn right onto Battery Place. The Museum is on your left, just past Robert Wagner Park.
From New Jersey
Take the Holland Tunnel to Route 9A, which turns into West Street. At the end of West Street, turn right onto Battery Place. The Museum is on your left, just past Robert Wagner Park.
A Good Nosh
The Museum of Jewish Heritage is delighted to announce the opening of our new café.
Enjoy a fresh take on old world favorites with a menu that features in-house cured salmon in a variety of ways including Pastrami-style with a house blend; wasabi, ginger, sake, and soy infused; double-smoked; and more. Enjoy a tasting of each lox with the Lox Five Ways dish or try them open faced on our Signature Sandwich. Don’t forget homemade babka, Russian coffee cake, ruggelach, and more to complete your meal.
Open during Museum hours
Free entry – no Museum admission fee
Members receive a 10% discount.
Private catering is available. To inquire, please call 646.437.4231.
For more information, please call 646.437.4231.
Menu and hours are subject to change.
Remember, Rebuild, Renew & Teach!
Educational programs and resources teach children and adults of all backgrounds about modern Jewish history and the Holocaust.
Explore this section to find out about tours, meeting Holocaust survivors to hear their testimony, classroom resources, teacher seminars, substantive internship programs for high school and college students, and graduate fellowships.
| 646.437.4202 | email@example.com
Frequently Asked Questions:
Q: Do you offer an audio tour?
A: An audio tour narrated by Meryl Streep and Itzhak Perlman is available for FREE at the admissions desk thanks to the generosity of Con Edison.
The tour is available in Spanish as well. The length of the audio tour varies according to the visitor’s preferences. The full length of the audio tour is 1.5 hours. Visitors also have the option of exploring several galleries in greater depth, which could add up to an additional 1.5 hours to the tour.
Q: May I take pictures in the galleries?
A: The use of photography is not permitted in the galleries of the Museum.
Q: How long does it take to go through the Museum?
A: The average time to go through the Core Exhibition is 1.5 – 2.5 hours, but it differs depending on the preference of the individual. Special Exhibitions vary in size.
Donating to the Collection
Q: My family has donated material to the Museum. How do I find it?
A: Artifacts in the Museum collection rotate on and off exhibit. Only a small portion of our collection is on exhibit at any one time. To find out if your artifact or photograph is on exhibit, please contact Esther Brumberg, Senior Curator of Collections, at firstname.lastname@example.org or 646-437-4248.
Q: How do I donate an artifact to the Museum?
A: Please read about the types of items that the Museum collects.
Q: Can the Museum be rented for private events?
A: Yes, the Museum’s unique facilities—including an events hall and theater—are perfect for galas, receptions, conferences, weddings and other life cycle events, and more. See photographs and specifications. For more information, contact Rachel Heumann email@example.com or 646.437.4206.
When “The Museum Of Jewish Heritage” announced that weddings were welcome at the Museum, we had a feeling that people who choose to be married here would find special meaning in our mission and our location. We just received a lovely photo and a wonderful e-mail from “our” bride from this past Sunday, who wrote:
“We chose the Museum of Jewish Heritage simply because it represents everything we wanted our wedding to be: a celebration of the past, present, and future. The elegance of the building, the generosity of its staff, and the importance of its mission wove itself seamlessly into our day. For all of these reasons and more, we immediately thought of the museum as the perfect spot for our wedding… And it was!”
We say Mazel Tov! to EY and Ira, and look forward to the day when they bring their children and grandchildren to visit the site of their nuptials.
Photo by Meg Baker
Dedicated To: ‘Tikkun Olam’.