Lincoln and New York

May 31, 2011
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May 31, 2011

Abraham Lincoln—the quintessential westerner—owed much of his national political success to his impact on the eastern state of New York—and, in turn, New York's impact on him.This exhibition of original artifacts, iconic images, and hand-written period documents, many in Lincoln's own hand, will for the first time fully trace the evolution of Lincoln's relationship with the nation's largest and wealthiest state: from the time of his triumphant Cooper Union address here in 1860, to his efforts to hold the Union together in 1861, to the early challenges of recruitment and investment in the Civil War, to the development of new military technologies, and the challenge to civil liberties in time of rebellion. Lincoln's evolving stance on slavery issues alternately pleased and infuriated New Yorkers. African-Americans, many of them veterans of the anti-slavery movement and Underground Railroad activism, saw Lincoln as slow to deal with the numerous slaves escaping during the war. These "contraband" forces clamored to join the Union army which for several years excluded colored troops – be they free men or the newly freed. Meanwhile free black New Yorkers readied volunteer regiments.
New York's role as the Union's prime provider of manpower, treasure, media coverage, image-making, and protest, some of it racist—the 1863 Draft Riots and the robust effort to unseat Lincoln in 1864—will be traced alongside Lincoln's concurrent growth as a leader, writer, symbol of Union and freedom, and ultimately as national martyr. Through all, from political parades to funeral processions, as this show will demonstrate, New York played a surprisingly central role in the Lincoln story—and Lincoln became a leading player in the life of New York. This exhibition commemorates the Abraham Lincoln Bicentennial. A catalog will accompany the exhibition.

Remembering The Forgotten Ones: The Photographs of Milton Rogovin

June 17, 2003
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October 12, 2005

The New-York Historical Society is pleased to announce the opening of the exhibition Remembering The Forgotten Ones: The Photographs of Milton Rogovin, which will be on view from June 17, 2003–October 12, 2005.

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.

A collaboration with Sound Portraits Productions and the Burchfield-Penney Art Center, the exhibition combines prime examples of Rogovin's photographs of Buffalo over five decades with audio installations and artifacts. It is based in part on the retrospective Remembering the Forgotten Ones: Selections from the Milton Rogovin Collection recently mounted at the Burchfield-Penney Art Center, Buffalo State College from December 2002 through March 2003.

The exhibition is accompanied by a short documentary film, The Forgotten Ones, directed by Harvey Wang (which won the Best Documentary Short award at the 2003 Tribeca Film Festival), and a new book, Remembering The Forgotten Ones: The Photographs of Milton Rogovin (with Dave Isay, David Miller and Harvey Wang; published by Quantuck Lane Press in June, 2003).

Born on December 30, 1909 in New York City, Milton Rogovin moved to Buffalo in 1938 to practice as an optometrist. After organizing Buffalo's optometrists' union, he was called in front of the House Un-American Activities Committee in 1958 and labeled "Buffalo's Top Red." Rogovin lost his optometry practice and decided to dedicate his life to photography. "My voice was essentially silenced," says Rogovin, "So I decided to speak out through photographs."

With the help of his wife, Anne, Rogovin began photographing Buffalo's storefront African-American churches (1958-1961). He then began a long-term project photographing working people—first in Buffalo and then around the world—supported by Anne's teaching salary and an occasional eye exam. In 1972, at the age of 63, Rogovin began focusing his lens on one of Buffalo's poorest communities: the Lower West Side, just a short distance from his optometric office. Over several decades, he shot several thousand portraits in this six-square-block neighborhood. It was to become his most important work. In 1984, Rogovin decided to return to the streets of the Lower West Side to search out and re-photograph as many of his original subjects as he could find. Eight years later, at the age of 83 and after overcoming heart surgery and prostate cancer, Rogovin returned once again to the neighborhood at Anne's behest, to track down his old subjects and shoot the third in his series of portraits.

In 1997, Rogovin developed severe cataracts in both eyes. He closed his darkroom and sold his camera. Frustrated at his inability to practice his craft, Rogovin decided to undergo surgery, and remarkably in 1999 his eyesight was restored. From December 2000 through December 2002, now in his 90s, Rogovin returned once more to the streets of the Lower West Side—with Anne and the staff of Sound Portraits Productions, who conducted oral histories with his subjects. These "quartets" with acoustiguide commentaries are a highlight of this landmark exhibition.

Sound Portraits Productions
A non-profit company based in New York City, Sound Portraits is one of the country's most acclaimed documentary production houses. Under the direction of MacArthur Fellow Dave Isay, its mission is to tell the stories of ordinary Americans with dignity, celebrating the power and poetry in their words. Sound Portraits has accomplished this goal primarily through the creation of dozens of award-winning radio programs broadcast on NPR's All Things Considered. Whether on the radio, in print, or on the Web, Sound Portraits is committed to producing innovative works of lasting educational, cultural, and artistic value. To hear Sound Portraits past radio programs, visit www.soundportraits.org.

Burchfield-Penney Art Center
The Burchfield-Penney Art Center (founded 1966) is a regional arts museum that serves as a significant cultural resources for Buffalo State College (of which it is a part), the total Western New York community, and the nation. The Burchfield-Penney collects, conserves, exhibits and interprets the achievements of distinguished artists who live or have lived in Western New York, most notably Charles E. Burchfield, to whom the museum is dedicated. For more information, please see www.burchfield-penney.org.

Remembering the Forgotten Ones: The Photographs of Milton Rogovin is made possible with generous support from the Balbach Family Foundation, Celsius Films Incorporated, The M&T Charitable Foundation, The Shelley & Donald Rubin Foundation, Inc., The Margaret L. Wendt Foundation, with in-kind support from WNYC. Collection and presentation of the oral histories are made possible by the New York State Council on the Arts, a State Agency, the National Endowment for the Arts, and the generous support of an anonymous donor. Programs at The New-York Historical Society are made possible in part with public funds from the New York State Council on the Arts, a State Agency, and the New York City Department of Cultural Affairs. American Airlines is the official airline of The New-York Historical Society.

The High Falls Brewing Company, based in Rochester, NY, provided a product donation of Genesee Beer and Genny Light for the exhibition's opening reception on June 18—Genesee advertising clocks appear as background in some of Milton Rogovin's photography.

Emancipation Proclamation

October 07, 2005
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October 16, 2005

Rarely seen by the public, and considered to be among the three most important documents in the U.S. (along with the Constitution and the Bill of Rights), the Emancipation Proclamation, is on display here for nine days. It is on generous loan from the New York State Archive.

Fascimile of the Emancipation Proclamation

October 20, 2005
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March 26, 2006

The New-York Historical Society displayed a facsimile of the original hand-written draft of the Emancipation Proclamation that President Abraham Lincoln wrote while waiting in the telegraph office of the War Department for favorable news from the war front during June and July of 1862. It was written in pencil and on paper that was just lying about the office. President Lincoln read this document to his Cabinet on September 22, 1862 and told them that he firmly believed in its principles, though he would accept minor changes of wording. Except for some revisions by Secretary of State William H. Seward and the Chief Clerk, the document is otherwise entirely in Lincoln's hand. Lincoln signed the official Emancipation Proclamation on January 1, 1863, which declared, "that all persons held as slaves" within the rebellious states "are, and henceforward shall be free." The proclamation fundamentally transformed the character of the Civil War and announced the acceptance of black men into the Union Army and Navy, enabling the liberated to become liberators. By the end of the war, almost 200,000 black soldiers and sailors had fought for the Union and freedom.

Legacies: Contemporary Artists Reflect on Slavery

June 16, 2006
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January 07, 2007

A generation of critically acclaimed contemporary artists has thought deeply about how America's history of racially based slavery has shaped our society. Legacies brings together the works of Faith Ringgold, Carrie Mae Weems, Fred Wilson, Whitefield Lovell, Mel Edwards, Lorenzo Pace, Betye Saar, Marc Latamie, Willie Birch and a host of others in a remarkable ensemble of innovative art and historical reflection. The exhibition embodies provocative interpretations that capture the tension between the reprehensible past and the emotions of the present. This exhibition complements the historical exhibitions mounted by The New-York Historical Society from 2005 to 2007, emphasizing how history affects our current day concerns and perceptions.

Barbara Chase-Riboud, Sojourner Truth Monument Maquette, 1999. Bronze. New-York Historical Society, Purchase, 2007.13

List of Artists

Fatima Allotey
American Anti-Slavery Group
Malcolm Bailey
Willie Birch
Maria Magdalena Campos-Pons
Barbara Chase-Riboud
Renee Cox
Leonardo Drew
Ellen Driscoll
Melvin Edwards
David Hammons
Eli Kince
Leslie King-Hammond and José J. Mapily
Marc Latamie
Joseph Lewis, III
Glenn Ligon
Whitfield Lovell
Kerry James Marshall
Bradley McCallum and Jacqueline Tarry
Algernon Miller
Lorenzo Pace
Faith Ringgold
Betye Saar
Joyce Scott
Lorna Simpson
Cedric Smith
Jeff Sonhouse
Kara Walker
Carrie Mae Weems
Fred Wilson

Freedom Now: Photographs by Platon

November 11, 2011
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April 29, 2012

Note: This Exhibit will be closed April 21, 2012
The African-American struggle for civil rights is the subject of a series created by British photographer, Platon. Seen through a fresh perspective, Platon’s photographs sensitively capture the dreams, fears, disappointments and triumphs of a people who have striven for decades to overcome hardships and achieve equality in our society. Works in the exhibition include photographs of the Little Rock Nine, Dr. King’s Birmingham prison cell, Olympians Tommie Smith and John Carlos, Muhammad Ali, and Joseph McNeil and Franklin E. McCain, who were among the students who participated at the famous sit-in for civil rights at the Woolworths in Greensboro, North Carolina on February 1, 1960. (Many of these images appeared in The New Yorker issue of February 15–22, 2010.)

Platon, John Lewis, January 2010. Light jet print. Courtesy of the artist


Platon was born in London in 1968. Raised in Greece until age seven, he moved back to London and eventually attended St. Martin’s School of Art where he received his B.A. with honors in Graphic Design. Platon received his M.A. in Photography from the Royal College of Art. In 1992 he won British Vogue’s “Best up-and-coming- Photographer” award. Platon moved to New York City in 1998 where he worked for George magazine. His photographs have appeared in The New Yorker, Time, Rolling Stone, the New York Times magazine, Newsweek, and The Sunday Times and his work has been shown worldwide including in New York City, London, Milan, Tokyo and Paris.

 

This project is supported by a grant from the Nathan Cummings Foundation.

The First Shot: 1861

Speaker: 
James M. McPherson
Craig L. Symonds
Adam Goodheart
Harold Holzer
Thu, 04/07/2011 - 18:30
Thu, April 7th, 2011 | 7:30 pm

A century and a half after Confederate forces fired on Fort Sumter to ignite the Civil War, leading historians ask and answer the crucial questions: What really caused the conflict? Could the Civil War have been avoided? Did Lincoln invite the first shot—or did the Union “get lucky?” This program marks the start of an ongoing New-York Historical Society focus on the great American tragedy with the first of several discussions and lectures.

Price: 
$20
Members price: 
$10
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Lincoln and New York

October 09, 2009
-
March 25, 2010

Abraham Lincoln—the quintessential westerner—owed much of his national political success to his impact on the eastern state of New York—and, in turn, New York’s impact on him.

The Lincoln Family, ca. 1865, Francis Bicknell Carpenter, 1830-1900, Oil on canvas, Gift of Warren C. Crane, 1909.6

Click here to visit the exhibition website

This exhibition of original artifacts, iconic images and hand-written period documents, many in Lincoln's own hand, will for the first time fully trace the evolution of Lincoln's relationship with the nation's largest and wealthiest state: from the time of his triumphant Cooper Union address here in 1860, to his efforts to hold the Union together in 1861, to the early challenges of recruitment and investment in the Civil War, to the development of new military technologies and the challenge to civil liberties in time of rebellion. Lincoln's evolving stance on slavery issues alternately pleased and infuriated New Yorkers. African-Americans, many of them veterans of the anti-slavery movement and Underground Railroad activism, saw Lincoln as slow to deal with the numerous slaves escaping during the war. These "contraband" forces clamored to join the Union army which for several years excluded colored troops—be they free men or the newly freed. Meanwhile free black New Yorkers readied volunteer regiments.

New York's role as the Union's prime provider of manpower, treasure, media coverage, image-making and protest, some of it racist—the 1863 Draft Riots and the robust effort to unseat Lincoln in 1864—will be traced alongside Lincoln's concurrent growth as a leader, writer, symbol of Union and freedom, and ultimately as national martyr. This show will demonstrate how through all, from political parades to funeral processions, New York played a surprisingly central role in the Lincoln story—and how Lincoln became a leading player in the life of New York. This exhibition commemorates the Abraham Lincoln Bicentennial. A catalog will accompany the exhibition.

Lead Sponsor:

This exhibition has been developed with grant funds from the
U.S. Department of Education
Underground Railroad Educational and Cultural (URR) Program

Additional project support has been provided by The Bodman Foundation and the National Endowment for the Humanities

John Brown: The Abolitionist and his Legacy

September 15, 2009
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March 25, 2010

Planned by the Gilder Lehrman Institute in collaboration with the New-York Historical Society. October 16, 2009 marks the 150th anniversary of John Brown's doomed raid on the federal arsenal at Harpers Ferry, Virginia in 1859. Brown, an ardent abolitionist who believed in racial equality, embraced violence as a means to end slavery. Executed in 1859, he has been both vilified as a murderer and celebrated as a martyr. This exhibition of rare materials from the Gilder Lehrman Collection and New-York Historical explores Brown's beliefs and activities at a critical juncture in American history and invites us to ponder the struggle for civil rights down to the present.

Thomas Satterwhite Noble (1835 – 1907) John Brown's Blessing 1867 Oil on canvas 1939.250, New-York Historical Society, Gift of the children of Thomas S. Noble and Mary C. Noble, in their memory

Planned by the Gilder Lehrman Institute in collaboration with N-YHS.
http://www.gilderlehrman.org/

October 16, 2009 marks the 150th anniversary of John Brown's doomed raid on the federal arsenal at Harpers Ferry, Virginia in 1859.  Brown, an ardent abolitionist who believed in racial equality, embraced violence as a means to end slavery. Executed in 1859, he has been both vilified as a murderer and celebrated as a martyr. This exhibition of rare materials from the Gilder Lehrman Collection and N-YHS explores Brown's beliefs and activities at a critical juncture in American history and invites us to ponder the struggle for civil rights down to the present.

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