"Impressions of New York is a golden opportunity for the New-York Historical Society to show the world a remarkable selection of prints that bring the story of New York City to life," said Louise Mirrer, President & CEO of the Historical Society.
Milton Rogovin (b. 1909) is one of this nation's most accomplished and important social documentary photographers, although until now he's remained virtually unknown to the public outside of his adopted hometown of Buffalo, New York. His last New York City exhibition, Lower West Side, was at the International Center of Photography in 1976. At the age of 93 Rogovin continues to document the neighborhoods of Buffalo with passion, artistry and commitment.
Curated by New-York Historical Society Public Historian Kathleen Hulser and Associate Curator of Drawings Roberta J.M. Olson, Petropolis will survey the evolution of pets from their early appearances in the New World, where they were still linked to the wilderness or the world of ideas, through their gradual insinuation into the nuclear urban family. In many cases, these four-footed, feathered, or finned creatures, both fancy and quotidian, have displaced human offspring and spouses.
The city’s landmarks embrace New York’s history as told not only through documents such as those in the collections of the New-York Historical Society but also through the buildings where its citizens have lived, worked, and worshipped; through the parks which have provided respite from the city streets; through public monuments which adorn neighborhoods; and even the cemeteries which tell stories of those buried there.
In the past three decades, New York City has become an important center of craft and home beer brewing. While this phenomenon began only after President Jimmy Carter signed into law an act that legalized home-brewing, the growth of New York’s present beer industry also marks the resurgence of a long-standing tradition known to few outside the world of beer aficionados. Beer has been brewed in New York City and State since the days of its earliest European settlement, when it was a vital source of nourishment and tax revenues.
The Hudson River and the natural wonders along its banks had a long history of associations with earlier inhabitants, including Native Americans, the Dutch, and the British. Key battles of the American Revolution were fought along the river’s course. Such historical associations amid the evocative terrain of the Catskills, Adirondacks, and White Mountains enriched regional sites throughout the Hudson River Valley and New England, inspiring homegrown schools of painting and literature grounded in their scenery and history.
His subjects were not glamorous or affluent New Yorkers, but those in the middle and lower class—Bowery bums, burlesque queens, Coney Island musclemen, park denizens, subway riders and post-flapper era sirens. Marsh was fascinated by the crass glamour, gaudiness and sexuality these city inhabitants exhibited in public, as well as by the humanity expressed by those living under severe economic and social duress.
When war broke out in 1939, New York was a cosmopolitan, heavily immigrant city, whose people had real stakes in the global conflict and strongly held opinions about whether or not to intervene. The attack on Pearl Harbor in 1941 brought the U.S. into the war, and New York became the principal port of embarkation for the warfront.