Castle Williams Fort as you enter from the main walkway
I have toured Castle Williams several times when visiting Governors Island over the last two years. The fort sits at a strategic site on the island facing Manhattan. The fort was originally built to protect New York City from the British during the War of 1812. The British knowing that the City had been fortified for battle never attacked New York.
The historic plaque
The tour takes place twice a day for about an hour and you tour the first two levels of the fort. There are all sorts of signs around to show the history of the fort and its uses over the years. The one thing they don’t like is you touching the walls as the fort is still pretty fragile.
The entrance to this historic fort.
The nicest part of the tour is the observation deck at the top of the fort and the views of the Lower Manhattan skyline. It is a spectacular view of the harbor. You can see by the view why the fort was built where it was built and for its purpose before the War of 1812.
The sign welcoming you to the fort.
It really is a treat to see how fortifications mattered for cities in this time of history in this country.
The History of Castle Williams:
The model of Castle Williams inside the fort.
Castle Williams is a circular defensive work of red sandstone on the west point of Governors Island in New York Harbor. It was designed and erected between 1807 and 1811. It was designed by the Chief Engineer of the U.S. Army Corps of Engineers, Lieutenant Colonial Jonathan Williams for whom the fort was named after. It was considered a prototype for new forms of coastal fortification.
The fort from the outside
The castle was one component of a larger defensive system for the inner harbor that included Fort Jay and the South Battery on Governors Island, Castle Clinton at the tip of Manhattan, Fort Gibson at Ellis Island and Fort Wood, which is now the base of the Statue of Liberty on Liberty Island. This system of forts came to be known as the Second American System of coastal defense and existed to protect harbors like the one in New York from British interference with American Shipping.
The inside courtyard of the fort.
Its usefulness as a fort began to end in the 1830’s, so Castle Williams subsequently served as barracks for the island’s garrison and new and transient troops. The castle was then remodeled by the U.S. Army for use as a prison in various forms during the Civil War and through the first half of the 20th Century.
In 1901, Secretary of War Elihu Root, who worked hard to modernize the Army, made a commitment to preserve the castle and overruled army leaders who wanted to demolish both it and Fort Jay. By 1903, the castle was fitted up as a model, state of art prison facility. In 1947, extensive renovations were carried out with the wooden catwalks replaced by concrete enclosed walk ways, hiding the beautiful stone arches on the third level and resulting in the industrial appearance of the courtyard today. Castle Williams ceased operations as a military prison in 1965 just before the U.S. Army left Governors Island.
The inside of the prison cell.
The Castle again faced a demolition challenge as Coast Guard officials in Washington DC, who took control of Governors Island in 1966, wanted to demolish it. Instead, the castle was remodeled as a youth community center with a nursery, meeting rooms for Scouts and clubs, a woodworking shop, art studios, a photography laboratory and a museum. By the late 1970’s, the community center moved to another location and the fort became the grounds-keeping shop for the Coast Guard base.
Over time, the roof failed and broken windows allowed serious water damage to occur inside the castle. In the mid-1990s, the roof was replaced and new windows stopped further water damage to the structure but the interior remains closed until it can be made safe for public access. The National Park Service proposes to stabilize and restore the castle and eventually provide access to the roof, allowing the public to admire the harbor and the modern skyline of the great city (this has since opened on my last visit).
The view from the top of the hill on Governor’s Island.
Castle Williams was individually listed in the National Register of Historic Placed on July 31, 1972. It was recorded by the Historical American Buildings Survey in 1983. It was designated a National Historic Landmark in 1985 and the New York City Landmarks Historic District in 1996. It has been part of the Governors Island National Monument by Presidential Proclamations signed in 2001 and 2003.
(This information was provided by the National Park System Division of Cultural Affairs).
The lawn of Governor’s Island overlooking Lower Manhattan.
I recently visited the Leslie-Lohman Museum to see the second half of the “Art After Stonewall” exhibition that I saw at the Grey Gallery at New York University. The art is from just before the Gay Rights Movement just before the Stonewall Uprising and into the depths of the AIDS crisis of the early to mid-80’s.
It was interesting to see the perspective of people ‘coming out’ after the suppression of the 50’s and early 60’s and the wanting to conform to societies standards. People gravitated to the cities to find themselves and found an embracing community that was not always accepted by the status quo of the City. It was that suppression building up on conformity to be a certain type person that lead to riots, that being tired of being harassed all the time.
‘Art After Stonewall’ (picture of Devine)
There was a lot of lesbian art and the changes women felt at the time. Some was the changes in attitude and some of it was militant to the way the outside community treated these women. It was interesting to see the changes in less than a decade of how people saw themselves and the changes that people were capable of making.
‘Art After Stonewall’
The show closed on July 21st, 2019 but there are more shows in the future. The best part of the museum is that they have a suggested donation so if you do not have a lot of money it is a nice way to spend the afternoon and then explore SoHo and Chinatown.
History of the Leslie-Lohman Museum:
We can trace the origins of the Leslie-Lohman Museum back to the civil rights movement of the late 1960’s. In the moment of the Woodstock Music and Art Fair and the Stonewall Inn Uprising, gay art collectors Charles Leslie and Fritz Lohman presented their first exhibition in their SoHo loft in the summer of 1969. This weekend show featured downtown gay artists and was a complete success in attracting over 300 visitors-it because a seminal moment in the history of the Leslie-Lohman Museum and LGBTQ arts and culture.
In the midst of the 70’s gay liberation movement, our founders continued to collect and display the work of gay artists in various storefronts in SoHo while advocating for the preservation of the neighborhood, its unique architecture and the nascent community of artists living and working in its spacious lofts. Finally, settling in a basement gallery at 127-B Prince Street, this space became host to many art exhibitions and various cultural programs.
During the AIDS pandemic of the 80’s, Charles and Fritz created a refuge for ailing artists and their work. Along with providing care and lodging for them, they rescued the work of dying artists from families who, out of shame ignorance, wanted to destroy it. This led to the creation of the Leslie-Lohman Art Foundation in 1987 and to its ever-expanding collection of art. Through perseverance against the federal government, averse to approving a “gay art” organization, the foundation was finally granted tax-exempt in 1990.
Today, thanks to the hard work of generations of activities and artists, our community has gained greater visibility. However, the fight for our rights is not over. The foundation has transitioned into a museum that aims to preserve LGBTQ cultural identity and build community, reclaim scholarship from a queer artists and cultural workers. As we continue to stand at the intersection of art and social justice, we act as a cultural hub for LGBTQ individuals and their communities.
I am finding more and more that the university art galleries are mounting very interesting and clever exhibitions and some as edgy as their large museum counterparts. I recently attended the ‘Art After Stonewall’ exhibition which is created as a two part exhibition with the Leslie-Lohman Museum of Gay and Lesbian Art to showcase the post Stonewall riots to the beginning of the AIDS crisis.
“Art After Stonewall” exhibition
The exhibition was an interesting mix of pictures, video, graphic paintings and posters and documentary work combined to show the mood of the times. Some of the most impressive works came from clips of documentaries on Andy Warhol’s ‘Factory Movies’, and the documentaries on ‘Tongues Untied’ and ‘Paris is Burning’ about the gay crisis about men of color and the racism that they faced even within the Gay Community.
The East Village Art Community from the 1980’s “Art After Stonewall”
Some of the photos of then fringe neighborhoods are funny to see as they have been gentrified beyond what anyone could have thought thirty years ago from the early 1980’s. The East Village of back then and of today are world’s apart.
The College did a good job mounting the show and telling the story that is both humorous and sad at the same time. Also, the Grey Gallery is small so you can get through the exhibition in about an hour.
The Grey Gallery exhibition “Art After Stonewall” This is a Keith Haring poster.
The most recent exhibition that I visited “Mudd Club 1978-1983: The Stephen Mass Papers” and the people who had visited the club at that time.
The Broadway Windows of the “The Mudd Club” exhibition in the NYU Broadway building.
In collaboration with NYU Fales Library and Special Collections, 80WSE Gallery presents an exhibition featuring materials from The Stephen Mass Papers, focusing on the legendary Mudd Club venue in New York City (1978-1983) through photographs and extensive notes. Located at the street-level Broadway Windows gallery and Project Space, the exhibition materializes the file structures of the archive and select visual documents contained within the collection.
The Broadway Windows of “The Mudd Club”.
The archival extracts provide rare insight into an important epicenter of downtown art, music, fashion, and culture at a transitional point in New York City and American life marked by rapid urban gentrification and the dawn of The Reagan Era. Within this atmosphere, post-punk musicians, independent designers, contemporary artists, and celebrities coalesced to animate the Mudd Club ‘cabaret’.
The Broadway windows of the “The Mudd Club”.
Acquired by Fales in 2019, the Stephen Mass Papers spans 16.75 Linear Feet in 24 manuscript boxes, 3 half manuscript boxes, 2 small flat boxes, 2 oversize flat boxes, 1 media box, 1 oversize folder in shared housing, and 1 sound reel in shared housing, including 33.92 Megabytes in 167 computer files, 1 sound tape reels , 1 videocassettes (u-matic), 10 audiocassettes, and 6 film reels.
The Broadway Windows of the “Mudd Club”.
“Stephen Mass is an entrepreneur who co-founded the Mudd Club located at 77 White Street in downtown New York City in 1978 along with art curator Diego Cortez and Anya Phillips. The venue became a focal point of the downtown music, art, and cultural scene in the late 20th century, showcasing the intersections of popular and avant-garde performance culture, gender and sexuality, celebrity culture, music, visual art, fashion, film, and nightlife.
The opening sign from the Grey Gallery on the NYU Campus.
The Stephen Mass Papers (inclusive dates 1940-2019, bulk dates 1978-2009) documents the founding and operation of the Mudd Club in New York City, Mass’s other entrepreneurial ventures in New York, and his nightclubs and restaurants in Berlin, as well as his personal life and family history. Consisting of both paper and electronic formats, the collection includes extensive notebooks and notes containing the planning and working notes for Mass’s various endeavors, financial and legal documents, promotional materials for events (such as posters, flyers, and newsletters), ephemera (differentiated from promotional material, as promotional material Mass collected from other clubs or organizations), press coverage, and photographic materials such as prints, negatives, and slides.”
The Grey Gallery exhibition of the “Mudd Club 1978-1983: The Stephen Mass Papers”.
—Fales Library and Special Collections
The Fales Library & Special Collections comprises 350,000 volumes of book and print items, over 11,000 linear feet of archive and manuscript materials, and about 90,000 audiovisual elements.
In 2024, the Grey Gallery moved to its new home at 18 Cooper Square and has a whole new contemporary look to it.
The history of the Grey Gallery on the NYU Campus.
Works from the permanent collection at the new “Grey Gallery” at 18 Cooper Square.
The front of the gallery for the “Americans in Paris” exhibition
I was invited to a new exhibition open to students at NYU “American’s in Paris”, an exhibition of American artists who had been living and creating their art in the City of Lights after WWII until the 1960’s.
The sign for the “American in Paris” exhibition.
The entrance to the new Grey Galleries.
The back Galleries for the “Americans in Paris” exhibition.
The works of the artist “Kimber Smith” in the “American in Paris” exhibition.
The exhibition “American’s in Paris” with artist Joan Mitchell’s work.
The exhibition “American’s in Paris” work by artist Ed Clark.
The works of artist Henry Cousin’s in the exhibition “American’s in Paris”.
The galleries of the Grey Art Galleries
Peter Saul’s “Man in Electric Chair”
“Man in Electric Chair”
The Jazz band entertaining us at the opening of the “Americans in Paris” exhibition.
As an Alumnus of NYU, I now come for the exhibitions and just enjoy myself. I came in for the newest exhibition.
The exhibition in 2024 was “Make Way for Berthe Weill”: Art Dealer of the Parisian Avant-Garde
The main sign from the exhibition
(from the Grey Gallery website)
Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde surveys the groundbreaking career of the first woman modern art dealer. Berthe Weill (1865–1951) championed many fledgling masters of modern art early on—such as Pablo Picasso, Henri Matisse, and Amedeo Modigliani—as well as numerous others who did not achieve wide acclaim. Yet her role in early 20th century modernism has been omitted from most historical accounts.
The exhibition will feature some 110 paintings, drawings, prints, and sculpture—many of which were shown at her gallery during the first four decades of the 20th century. Examining Weill’s contributions to the history of modernism as a gallerist, a passionate advocate of contemporary art, and a Jewish woman, it brings to light the remarkable achievements of a singular figure who overcame sexism, antisemitism, and economic struggles in her quest to promote emerging artists (From the NYU-Grey Gallery website).
The timeline of her career
The gallery that night
The art featured were artists promoted by the art dealer
The artwork by female artist Emilie Charmy
The work by artist Mark Chagall
One of my favorite pieces in the show by Mark Chagall
The Mission of the Grey Art Gallery:
The Grey Art Gallery is New York University’s fine arts museum, located on historic Washington Square Park in New York City’s Greenwich Village. As a university art museum, the Grey Art Gallery functions to collect, preserve, study, document, interpret and exhibit the evidence of human culture. While these goals are common to all museums, the Grey distinguishes itself by emphasizing art’s historical, cultural and social contexts, with experimentation and interpretation as integral parts of the programmatic planning. Thus, in addition to being a place to view the objects of material culture, the Gallery serves as a museum-laboratory in which a broader view of an object’s environment enriches our understanding of its contribution to civilization (NYU Grey Gallery History)
The History of the Grey Art Gallery at New York University:
The Grey Art Gallery is located within New York University’s Silver Center-the site of NYU’s original home, the legendary University Building (1835-1892). Winslow homer, Daniel Huntington, Samuel Colt, George Innes and Henry James all lived and worked there, as did Professor F.B.Morse, who established the first academic fine arts department in America on the site now occupied by the Grey Art Gallery.
Demolished in 1892, the original building was replaced by the Main Building (renamed the Silver Center in 2002). Here was located, from 1927 to 1942, A. E. Gallatin’s Museum of Living Art, NYU’s first art museum and the first institution in this country to exhibit work by Picasso, Leger, Miro, Mondrian, Arp and members of the American Abstract Artists group. Gallatin aspired to create a forum for intellectual exchange, a place where artists would congregate to acquaint themselves with the latest developments in contemporary art. In 1975, with a generous gift from Mrs. Abby Weed Grey, the Museum’s original space was renovated, office and a collection storage facility were added and the doors were reopened as the Grey Art Gallery (Museum history).
Exhibitions organized by the Grey Art Gallery encompass aspects of all the visual arts: painting, sculpture, drawing and printmaking, photography, architecture and decorative arts, video, film and performance. In addition to originating its own exhibitions, some of which travel throughout the United States and abroad, the Gallery hosts traveling exhibitions. Award-winning scholarly publications, distributed worldwide are published by the Grey Art Gallery. In conjunction with its exhibitions, the Grey also sponsors public programs including lectures, symposia, panel discussions and films (Museum history).
The new Gallery is at 18 Cooper Square.
(This was taken from the Museum’s website).
Enjoying a evening at the Grey Gallery
The new exhibition in the spring of 2025 was ‘Anonymous was a Woman’ , an execution on the ‘Anonymous was a Woman’s and the great programs effects on mid-Career female artists in the Unit.
The information sign in the front gallery
The entrance of the gallery the night of the exhibition
The entrance to the Grey Art Museum
This was the sign inside for the exhibition
The inside gallery at the start of the show showcasing the collection on display
The main gallery at Grey Gallery
These were the pieces from the show that I found most impressive:
One of the more unusual paintings from the exhibition ‘Monalisa’ by artist Ida Applebroog
The sign for ‘Monalisa’ by Artist Ida Applebroog
The sculpture ‘Rom’s Delhi’ by artist Judy Pfaff
The sign for ‘Rom’s Delhi’
The painting ‘Svati: Now and Then’ by Artist Chita Ganesh
The sign for ‘Svanti: Now and Then’
The sculpture ‘Untitled #1242’ by Artist Petah Coyne
The sign for the sculpture
The sculpture ‘Bones 2000’ by Artist Polly Apfelbaum
The sign for the sculpture
The painting ‘Flamethrower’ by Artist Carrie Moyer
The sign for the painting
The crowd at the end of the evening at the
‘Opening Night’
This unusual sculpture in the middle of the room
Astor Court at the end of the evening at the Grey gallery
As part of my tour of Historic Bars and Pubs on Day One Hundred and Thirteen with the Cornell Club on May 9th, 2018, we toured the famous ‘Stone Street’ one of the original paved streets of Manhattan. You will not find architecture or pavings like this left in New York City. Here and there are streets or buildings that represent these times during the early to mid-1800’s but they are few and scattered in remote spots all over the island. Here the street still represents a different era of Manhattan.
The stores in the 90’s had been either boarded up or were used but in horrible shape. During the business hours not too many people inhabited this area of Lower Manhattan and it was ignored. The neighboring South Street Seaport was being transformed in the mid 80’s into a type of historic theme park and entertainment center by the Rouse Corporation. It put these old neighborhoods back into vogue and people started to return again.
Over time, especially after 9/11 and the changes in downtown Manhattan, the street is now home to many trendy bars and restaurants and a hang out for the downtown business crowd. During the recent walking tour, the place was hopping with people spilling out of restaurants, ordering drinks during happy hour and eating pizza at the local pizzeria.
During ‘Happy Hour’ after work, the place is mobbed with people milling around having a good time. The tables toward the end of the street are filled with tourists taking pictures and at one end of the street is the famous “India House” and at the other is the Frances Tavern where George Washington gave his troops his farewell address.
Stone Street’s India House
It is not only a historical neighborhood but loaded with things to see and do. The buildings which were once in horrible shape have been brought back to life and repositioned to use for the meals and entertainment. It is interesting to see how a neighborhood comes back in full circle in a 150 years.
The Stone Street dining area in the warmer months.
History of the area:
Stone Street is a short street in Manhattan’s Financial District. It originally ran from Broad Street to Hanover Square but was divided into two sections by the construction of the Goldman Sachs building at 85 Broad Street in the 1980’s. Today the cluster of historic buildings along Stone, South William, Pearl Streets and Coenties Alley form the Stone Street Historic District.
The area burned during the Fire of 1835
Stone Street is one of New York’s oldest streets. It was originally known by its Dutch name, Hoogh Staet (High Street). In 1632, the Dutch West India Company built the first commercial brewery in North America there. Around 1656, Hoogh Straet was shifted about twenty to twenty-five feet to align it with Brouwer Street, the extension of Hoogh Straet west of the Gracht and which in 1658 became the first paved street in Nieuw Amsterdam. Following the British conquest of the colony, the name Hoogh Straet was translated to High Street. It was then called Duke Street for the Duke of York during most of the 18th century. Leveled in 1771 and 1790, it was renamed Stone Street in 1794 because of it’s cobblestone paving as New Yorkers abandoned reminders of British Rule.
The Fire of 1835
The street’s stores and loft were built for dry-goods merchants and importers, shortly after the Great Fire of 1835, which destroyed many remnants of New Amsterdam. Most buildings were used as storage. The building at 57 Stone Street was rebuilt in 1903 by C.P.H, Gilbert in Dutch Colonial Revivial architecture at the behest of the owner, Amos F. Eno as son of Amos R. Eno. The buildings to the back on South William 13-23 also were reconstructed in the Dutch revival style, evoking New Amsterdam.
Stone Street at night
Today is a busy series of bars and restaurants.
Following many decades of neglect, a joint partnership between the Landmarks Preservation Commission and other city agencies, the Alliance for Downtown New York and Stone Street owners has transformed Stone Street from a derelict back alley into one of Downtown’s liveliest scenes. Restored buildings, granite paving, bluestone sidewalks and period lights set the stage for the half dozen restaurants and cafes, whose outdoor tables are very popular on warm summer nights.
The eastern portion of the street and the surrounding buildings have been protected since 1996 by the New York City Landmarks Preservation Commission as the Stone Street Historic District and is pedestrian only. The historic district is now populated by several restaurants and bars and has a outdoor dining when the weather permits. The India House historic landmark is located at the Hanover Square end of the street.
(This information was taken directly from Wikipedia and I give them full credit)
Visiting a Museum: The Unique, Unusual, Obscure and Historical 