Category: Exploring Manhattan

Clermont State Historic Site                          County Route 6                                    Germantown, NY 12526

Clermont State Historic Site County Route 6 Germantown, NY 12526

Clermont State Historic Site-New York Parks & Recreation

Route 6 (Off Route 9G)

Germantown, NY  12526

(518) 537-6622

https://parks.ny.gov/historic-sites/16/details.aspxhttp:/clermontstatehistoricsite.blogspot.comwww.friendsofclermont.org

https://www.friendsofclermont.org/

Open: April 11-October 31 Wednesday-Sunday 10:30am-4:00pm/November 1-

December 22/Saturday & Sunday 10:30am-3:00pm

Please call in advance due to seasons and weather conditions

Fee: Adults $7.00/Seniors and Adults $6.00/Children Under 12 and Members Free

My review on TripAdvisor:

https://www.tripadvisor.com/Attraction_Review-g47780-d263704-Reviews-The_Clermont_Mansion-Germantown_New_York.html?m=19905

Clermont Manor Estate off Route 9 in Clermont, NY

I enjoy coming up to Germantown to visit the Clermont Mansion at any time of the year especially at Christmas time. I came for a tour of Clermont in the Christmas season of 2019 (pre-COVID) to tour the home. The old mansions of the Hudson River Valley show their real beauty at this time of the year.

The Clermont Library decorated for Christmas

In 2020, the home closed like everything else for COVID and because of extensive renovations on the property and in the home, did not open again until June of 2023. I came up finally in July of 2023 for another tour of the home. The mansion looked very refreshed and bright on a blue, sunny afternoon. The grounds were in full bloom and everything looked so green.

The views of the river when you arrive

Walking around Clermont is like walking through a history book. To think you are walking around the very rooms that family members who wrote the Declaration of Independence, were Governors and Ambassadors from our country and who owned most of Upstate New York lived is really incredible. The Livingston Family did so much for the United States in the formation of this country is a testament to the family.

Once you arrive at the Visitors Center and pay for your tour, you will have time to walk around the exhibition of the history of the family in the old stables. Here you will learn about the family who built and lived in this wonderful home. The family lived here for seven generations and like most families over time when the money depleted, they had to move out. The last daughter of the family, Honoria, sold the estate to the State of New York as a park. The upkeep got to be too much for the family.

The Visitor’s Center display on the family

The family story boards in the old stables

The history of the estate and the Livingston family in the Visitor’s Center

The history of the estate

The tour 2019 was wonderful because of the one on one conversation I had with my tour guide, Molly. It was the same in 2023 when Aaron took me on a one on one tour of the mansion. We started in the entry hallway where the family hang many of the family portraits and the long hall lead to wonderful views of the Hudson River.

The Entrance Hall of Clermont

Just off to the right of the front entrance of the home (the front entrance faces the river not the back entrance where you start the tour) is the Receiving Room. This was the room in 2023 during my summer tour of the house. The Receiving Room is where guests would wait to be welcomed by family members or people would call on the family and leave their calling cards.

The Receiving Room was also used as a Music Room as well

The Receiving Room was decorated for the holidays in 2019 with more beautiful views of the river and a very interesting clock on the mantle that there are only two in the world. This clock represented the first balloon launch in France and this was the clock where the balloon went up. In France was the other clock with the balloon going down. I thought that was pretty interesting.

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The Balloon Clock on the mantle decorated for Christmas

Our next stop was the Library which seemed very homey and relaxing. It looked like a room that a family would want to spend their time in after a long day. The windows faced the river and the formal gardens at that time and let in a lot of light. The room was decorated with a elegant tree and looked like the family was ready to walk in and join us for the holidays.

The Library of Clermont

The Office/Library on the first floor

Next it was off to the formal Dining Room where the portraits of Margaret Beekman Livingston (a VERY distant relative of mine by marriage) and her husband, Robert Livingston hung. She had saved these along with the grandfather clock before her first house was burned by the British during the war years. It was set for Christmas lunch when the family would dine together.

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The Clermont Dining Room is very elegant at Christmas. This is in 2019 (pre-COVID)

In the summer months, the room was pretty plain with no set up on the table. The Dining Room has just had some renovation work so the walls and ceiling looked really nice.

The Clermont Dining Room in the summer of 2023

The Dining Room portraits

Margaret Beekman Livingston’s Wedding portrait in the Dining Room

Robert Livingston’s Wedding portrait in the Dining Room

We also toured where the food was prepared and prepped from the kitchen to the Dining Room, which was all done in organized fashion. I was told by the tour guide that for the most part the family lived here year round unlike some of the other mansions who only lived here during certain times of the season.

The Kitchen at Clermont

We took a walk upstairs to see the upstairs bedrooms and see where the third Mrs. Livingston lived. I thought it was interesting that she had two beds in her room in which neither was big enough to accommodate her. One was the main bed and the smaller one was a Day bed when she wanted to take a nap but did not want to mess up her main bed.

The last Mrs. Livingston’s bedroom until the 1960’s

We then toured what had been Honoria’s and Alice’s bedroom when they were children and then became the Guest Room. It still looked like a Children’s Room.

The Daughter’s/Guest Bedroom

Then it was back down to the formal hallway for the end of the tour. The one thing I have to say about Clermont is that it looks like someone’s home not some grand mansion like the Mills or Vanderbilt mansions that looked like they for a moment time or only for a season. This family lived here all the time.

The upstairs bathroom was one of the remodeling features

The family lived here until the 1960’s when upkeep of the estate got to be too much for the family and it was sold to the state. The New York Park is now maintained by the New York State Park system.

The Gardens:

The formal gardens were in bloom when I got there that weekend. Since the house opened in June most of the Spring plantings were already gone but the Summer plantings were in full bloom. There were three gardens on the property, two of which had been brought back to nature, the Wilderness Garden and the South Spring Garden and then the Walled Garden was well maintained and planted.

The Wilderness Garden was well-maintained and planted with natural plants

The South Spring Garden

The South Spring Garden has given way to nature

The Walled Garden was the most formal of all the gardens

The Walled Garden

The Walled Garden

The Walled Garden

The Walled Garden

The Walled Garden

In the Fall, I went back up to Clermont for the Ghost Tour and the foliage was amazing, but the rain knocked a lot of it off. Still the colors were glorious.

Clermont in the Fall of 2023

The formal gardens in the Fall

The formal gardens in the Fall

The gardens in the Fall.

The I toured the rest of the estate and saw the ruins of the other mansion, Arryl, that is on the other side of the parking lot and then saw the ruins of the Old House and the Root Cellar.

The Ice House

The Root Cellar

The flowers by the Root Cellar

View of the Hudson River

The History of Clermont:

The name Clermont derives from “clear mountain” in French and was inspired by the view of the Catskill Mountains across the Hudson River from the estate.

The front of Clermont that faces the Hudson River

The estate was established by Robert Livingston following the death of his father, the first Lord of the Manor was inherited by the eldest son, Philip Livingston, 13,000 acres in the southwest corner later named Clermont was willed to Robert. The original house was built around 1740.

The path leading to the main house

Robert Livingston of Clermont died on June 27, 1775 and the estate passed to his son, Robert, who was known as ‘Judge Livingston’ to distinguish him from his father. Judge Livingston was a member of the New York General Assembly from 1759 to 1768, served as Judge of the admiralty court from 1760 to 1763 and was a delegate to the Stamp Act Congress of 1765. He married Margaret Beekman, daughter of Colonel Henry Beekman. Their son, Robert R. Livingston, later known as “Chancellor”, served on the committee that drafted the Declaration of Independence. Judge Robert died about six months after his father, on December 9, 1775.

Burning and  Rebuilding:

In October 1777, British ships sailed upriver from New York City in support of General John Burgoyne who was north of Albany. That same force had already stormed two forts in the Hudson Highlands and burned Kingston, New York. Major General John Vaughan led a raiding party to Clermont and burned Livingston’s home because of the family’s role in the rebellion.

The history of the ‘famous’ Robert’s of Clermont

Margaret Beekman Livingston rebuilt the family home between 1779 and 1782. Robert R. Livingston became the estate’s most prominent resident. Chancellor Livingston administered the oath of office to President General Washington, became Secretary of Foreign Affairs and negotiated the Louisiana Purchase.

Margaret Beekman Livingston

He also partnered with Robert Fulton in 1807 to create the first commercially successful steamboat on the Hudson River, the North River Steamboat (later known as the Clermont) which stopped at the house on its inaugural trip.

Robert Livingston in the famous Gilbert Sullivan painting.

The home’s final Livingston owners were John Henry Livingston and his wife, Alice. They added to the home and greatly valued the homes important historical role. The Livingston’s built second mansion on the property known as Arryl House, which burned down in 1909. The ruins of Arryl House are still visible at the south end of the property.

The burnt ruins of Arryl Mansion on the other side of the property.

The Arryl Mansion in the Fall of 2023

Alice Livingston was responsible for creating many of the landscaped gardens that are continued to this day. Following John Henry’s death, Alice turned the Mansion and property over to the State of New York in 1962 so that all the people of New York could enjoy it.

The landscaping around the old Ice House

The house is now a New York State Historic Site and was designated a United States National Historic landmark in 1972. It is a contributing property to another National Historic Landmark, the Hudson River Historic District. Although locate in the town of Clermont, its mailing address is in the nearby town of Germantown.

The views from the back of Clermont to the Hudson River

(This information is a combination from the Clermont Website and Wiki and I give them full credit for this information. Please check the website above for more information on the site and its activities through their Friends site.)

The Clermont Grounds

The Fall in the Hudson River Valley is one of the most brilliant times to visit and the foliage is so colorful. The constant rain knocked a lot of it down already but all around the house their were still signs of the reds, golds and oranges. I came up for the Ghost Tours which the mansion resumed this year to sold out crowds.

The Clermont Estate in the Fall.

The river front of the estate in the fall.

The Hudson River in all its glory.

The Ghost Tour of the estate:

The Ghost Tour took us on a tour through the house to meet the costumed characters throughout the mansion. The mansion was decorated for the Halloween and with the lights dimmed, it gave the house an eerie appearance to it.

When I arrived at the estate, the house loomed in the distance in its it glories with the golden colors of autumn.

Jack-a Lanterns lined the pathways and lit the way to the house.

We were greeted with fresh Apple Cider Doughnuts and Apple Cider from a local farm in Kingston, NY.

We were also treated to old fashioned Halloween candy with Mary Janes, Tootsie Rolls and other treats.

We started our tour at 7:00pm at twilight with the lanterns lit and the house waiting in the distance.

The hallway was decorated for Halloween.

First we met an embittered Robert Livingston (who over acted)

We stopped in the haunted Living Room to talk to the maid.

We met the ghost of Janet Livingston Montgomery in the Parlor.

Then it was off to the Dining Room to meet the last inhabitant of the house, Janet Livingston.

Margaret Beekman Livingston guarding the Dining Room.

On the way to the kitchen, we met Captain Kidd, the Livingston children and the last owners of the house on the way out the back door to end the tour. The whole tour took less than an hour.

We exited the house through the kitchen and out the door to a moon lit night with jack-a-lanterns taking us back to the Visitors Center. The night had fallen in the early evening at the mansion as we were the second to last tour of the evening and the moon had come out giving the sky a ominous and spooky look about it.

I visited again for the Christmas Open House in early December to see the decorations. I had not been there since 2018 and wanted to see how things had changed for the winter months. Everything was decked out for Christmas. The rooms were decorated but not in an over the top way as some of the other Hudson River homes.

The Clermont Estate at Christmas time.

The Clermont Estate at Christmas time.

The Front porch at Christmas time.

The Christmas tree on the porch.

Even the logs on the porch were decorated for the holidays.

The entrance foyer from the stairs.

Upon entering the front door, you could see the beauty and simplicity of the Christmas holidays in the early 1800’s before Victorian traditions took over and the house was overdone with decorations. Garland, Holly and simple pine trees adorned the rooms and welcomed everyone to the Christmas Holiday Open House sponsored by the Friends of Clermont. The home was nicely decorated for the holidays circa 1840’s.

Entering the Front Door at Clermont at Christmas.

The wreath was beautiful on the door.

Livingston Painting in the foyer

The Sugar Spun Clermont Sculpture.

Painting in the Foyer of Robert Livingston

Portrait of Margaret Livingston in the Foyer.

The holiday display.

The Office of Clermont

The Table Top tree in the Office.

The Library was set for Christmas morning with a large tree, homemade presents from the family and a morning of Christmas cheer. The views from the windows would have shown the beautiful views of the river.

The Library at Clermont

The Clermont Library at Christmas time.

The Christmas tree in the library.

The Library decorations.

Library decorations.

The Living Room was set for Afternoon Tea and for greeting guests who would have entered through the front door right off the main hallway.

The Living Room decorated for Christmas.

The Living Room was set for Afternoon Tea.

The portrait of Robert Livingston in the Living Room.

The portraits of Alida and Robert Livingston.

The Dining Room was not set for dinner but in anticipation of the holidays. The elegant runners, china, crystal and silver were off to the side awaiting the servants to set the table and prepare for Christmas dinner.

The Dining Room decorated for the holidays.

Holiday display in the Dining Room.

The Wedding Painting of Margaret Beekman Livingston in the Dining Room.

The family’s private bedrooms were decorated with garland and a small tree in the foyer.

Heading to the Second Floor of Clermont.

The view of the foyer from the upstairs.

The Livingston girls Bedroom.

The Livingston girl’s doll adorns the room.

The Christmas tree in the upstairs Foyer outside the bedrooms.

The Gingerbread House display in the Foyer.

When touring the kitchen which is located to the side of the house, the counters and tables were filled with all the delicious foods that would have been served at Christmas. Roasts, Trifles, Cakes and Pies would have been served by the staff for holiday get togethers and dinners at the mansion.

The Kitchen staff preparing the family’s Christmas dinner feast.

Preparations for Christmas dinner for the family.

Preparing Christmas dinner in the kitchen at Clermont.

After the Christmas Open House tour was over, the Friends sponsored Marshmallow roasting on the front lawn of the mansion and refreshments and talks up at the Visitors Center.

Roasting Marshmallows over the firepit on the mansion’s grounds after the walking tour of the mansion.

Christmas cookies, Apple Cider and Classic Candies in the Visitors Center ended the tour and the Open House for the day.

After the tour was over, I toured the gardens, which were dormant at the time and the grounds along the Hudson River. The views were just amazing and the gardens awaited the coming of the Spring when flowers would be blooming again.

Both the Open Houses at Halloween and at Christmas are a lot of fun and very special at Clermont. The Friends of Clermont do a nice job depicting the holidays and how the family would have celebrated them.

In the Summer of 2024, I took a special Garden Tour of the Livingston Gardens. A new Lead Gardener had been hired by the State of New York and she was starting to renovate the gardens. So we took a tour of the four gardens near the mansion. While we toured the estate grounds, we visited the South Spring Garden, the Walled Garden, the Children’s Garden and the Cutting Garden to see how they were progressing. The staff here is doing a good job bringing these gardens back to life to how Alice Livingston envisioned them.

The first was the South Spring Garden which is closest the house. This was built when the stairs to the side of the home were built and one of Alice Livingston’s first gardens.

The South Spring Garden sign

The South Spring Garden in Summer 2023

The South Spring Garden being cleaned up in Summer 2024

The grown in wall of the South Spring Garden

The Root Cellar sign

The Root Cellar remains by the South Spring Gardens

The flowers in the South Spring Gardens

The sign for the Walled Garden

The Walled Garden

The Walled Garden

The Walled Garden

The Walled Garden

The Walled Garden Statuary

The Walled Garden

Then we visited the Wilderness Gardens that were just beyond these and they also had been brought back to life by the gardeners. This was to be a transition from the formal gardens to the woods.

The Wilderness Gardens:

The Wilderness Gardens sign

The Wilderness Gardens

The Wilderness Gardens

The we visited the Children’s Garden and the Cutting Gardens which were the newest gardens on the estate. The Children’s Garden playhouse had just been renovated and the beds had been replanted.

The Children’s Garden with the Children’s playhouse

The Children’s Garden from the entrance

The Children’s Garden Garden

The Children’s Garden

The Cutting Gardens were created so that Alice Livingston could grow the types of flowers that would decorate the house at various points in the season. These gardens have been brought back to their original purpose and the flowers and assortments that have been planted are colorful and the fragrances are so nice. On a beautiful day, walking amongst the beds is so nice and relaxing.

The Cutting Garden

The Cutting Garden

The Cutting Garden

The Cutting Garden trellis

The bridge between the Walled Gardens and the Children’s and Cutting Gardens

The Gardens Tour was very informative. Alice Livingston’s love of flowers and how they accented the house were her pride and joy. The Cutting Garden were all the flowers that she used to decorate the house with and the Children’s Gardens taught her daughters responsibilities and knowledge of horticulture.

The biggest problem in recent years is how to maintain all these gardens. This takes a lot of effort and work to weed. plant and prune these beds and make them look nice. The new gardener hired by the State and her team of two staff and volunteers are doing a nice job cleaning out the old beds and replanting and pruning all the plants and bushes that were already there. You can tell by the pictures there is a lot more to do but the gardens are on their way back to their original look.

After touring the mansion at Christmas time in December 2023, I visited Downtown Germantown, which itself was decorated for the both holidays.

Downtown Germantown, NY decorated for the Christmas holidays.

Exploring Germantown, NY:

Downtown Germantown during the Christmas holidays.

Downtown Germantown at the Christmas holidays.

Downtown Germantown for the Christmas holidays and church service.

After the tour in July 2024 for the Summer Garden tour, I revisited Germantown again to see what it was like during the summer months. It is a very active and historical downtown with nice restaurants and shops, a wonderful gourmet grocery store and beautiful historical churches. It is a nice place to spend the weekend when touring the mansions in Columbia and Duchess Counties.

Germantown in the Summer of 2024:

Downtown Germantown, NY in the summer

The town square and historical sign

The Inn downtown

The restaurant row of Germantown with Gaskin’s in the background

The Reformed Church of Germantown. For some reason the clouds started to roll in after a sunny day.

The church grounds across the street

Germantown is a small town that keeps changing as more people from the City move up to the Hudson River Valley. A lot of the buildings in town are becoming art galleries, furniture shops and new restaurants. With each season, there are more changes coming to the town.

Japan Society 333 East 47th New York, NY 10017

Japan Society

333 East 47th Street

New York, NY  10017

(212)  832-1155

https://www.japansociety.org

Open: Monday-Friday 10:00am-6:00pm/Saturday & Sunday Closed

Fee: Depends on the event; See the website

The front of the Japan Society on 333 West 47th Street.

I recently visited the Japan Society for the ‘Japan Cuts’ film festival 2019 to see four films as part of the festival. I had visited the Society years ago for a ‘Monsters’ exhibition which coincided with the dropping of the Atom Bomb. It was told to me during the tour of the exhibition that the Godzilla movies were the Japanese reaction to the dropping of the bombs and the effects of nuclear was on nature.

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The inside lobby  of the Japan Society

This time around it was a little more upbeat. I went to see new films by Japanese directors who are looking at contemporary culture a little more differently that film makers of the past. I was most impressed with “Dance with Me”, a light weight musical that reminded me of 1960’s musicals that came out in the United States and “Whole” about Japanese who come from mixed backgrounds and their role in society. It was nice to sit back and watch the films and participate in the Q & A’s.

Japan Society Film Festival

My favorite scene from “Dance with Me” “Happy Valley”

It was also nice to walk around the building to see the indoor gardens and pools that are located in the lobby area of the building. The building does have a feeling of Ying and Yang. There will be more exhibitions in the Fall.

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The inside of the lobby of the Japan Society

The opening film “Dance with Me”

The Q & A at Japan Cuts for “Dance with Me”:

I recently visited the Japan Society for the “Made in Tokyo” exhibition on the development of architecture in the City of Tokyo between the 1962 and the 2020 Olympic Games. The exhibition showed the development and progress of the City since the bombings in WWII and how the City has rethought  the building and rebuilding of the City since.

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“Made in Tokyo”

Just like in the United States old department stores and office buildings are finding new use and older buildings in fringe and outside rural areas are becoming tech hubs. It was interesting so see how they were reworking old turn of the last century buildings and homes as incubators for the ‘computer age’.

Japan Society VII

The “Made in Japan” exhibition is closing at the Japan Society on January 26th, 2020. If you like the history of architecture this is an exhibition not to be missed.

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The “Made in Tokyo” exhibition at the Japan Society

I recently went to the Japan Society for the screening of the famous movie, “Ringu” which is the original version of the American film, “The Ring”. It is rarely shown, and you can’t find it on YouTube or in the local libraries, so it was a treat to see this film. It was also the first time I had been in the museum since COVID closed everything down and it was nice to visit again.

Guess what I found on YouTube the next morning: “Ringu” the comparison:

Still, it was nice to go to the museum again and just relax for the evening.

The Trailer of “Ringu”

I recently went to see the “Family Portrait: Japanese family in Flux Series” in 2024 on some of the more contemporary films of Japan from the 1980’s and 90’s that are outside the studio system. These films dealt with real issues that most studio films don’t want to touch. I saw a film about a woman with terminal cancer and all the secrets of her past came out and the problems she had to face when the end was coming. Many twists and turns. The films dealt with these issues in a mature way and the series was very successful.

The sign for this amazing series of films.

The Japan Society mission:

The Japan Society is a non-profit organization formed in 1907 to promote friendly relations between the United States and Japan. Its headquarters, the youngest landmark building in New York was designed by Junzo Yoshimura and opened in 1971 at 333 East 47th Street near the United Nations. With a focus on promoting “arts and culture, public policy, business, language and education,” the organization has regularly held events in its many facilities including a library, art gallery and theater since its opening. After suspending all activities during World War II, Japan Society expanded under the leadership of John D. Rockefeller III (Wiki).

History:

In 1907, Tamemoto Kuroki and Goro Ijuin were chosen to represent Japan at the Jamestown Exposition. They attended a welcome dinner in New York with Japanese ambassador to the United States, Shuzo Aoki, where there was talk of forming an organization to promote US-Japan relations in the city. Two days later at a luncheon held by Kuroki, Japan Society was born. The organization would be run by Aoki, then Honorary President of the Japan Society of the UK and John Huston Findley.

Japan Society spent the next forty years hosting events in honor of Japanese royalty, giving annual lectures on a wide range of topics and presenting art exhibits that drew in thousands of New Yorkers. In 1911, Lindsay Russell, another founding member of the society and later president, met with Emperor Meiji and spent his visit to Japan encouraging more societies to form there and throughout the United States.

Japan Society was soon incorporated under New York law and finally found a home near one of Russell’s work offices, though it continued to relocate throughout its history before its current headquarters was opened in 1971. At this time, Japan Society and its members began to express interest in improving teaching about Japan in the United States. The organization began sponsoring trips to the country, publishing books and sent a report to the Department of Education about the portrayal of Japan in American textbooks.

It remained active during World War I, operating as it had for the last seven years but the organization became more political when it began associating with the Anti-Alien Legislative Committee, an advocacy group that spoke out against yellow peril. Russell and Hamilton Holt, another founding member used the organization’s publication to defend all of Japan’s actions at the time. Unbeknownst to anyone at the time, even one of Japan Society’s writers secretly worked for the Japanese government with the task of improving Japan’s imagine in the United States. The organization eventually realized the dangers of taking sides and by 1924 stopped publishing any political commentary.

By the 1930’s, membership had dropped significantly due to financial difficulties and the Second Sino-Japanese War. Following the attack on Pearl Harbor in 1941, Henry Waters Taft immediately resigned as president after serving  from 1922 to 1929 and again from 1934. Russell also stepped down as one of Japan Society’s directors. All activities were suspended and would not resume until the Treaty of San Francisco was signed in 1951.

John D. Rockefeller III served as president from 1952 to 1969 and then as Chairman of the Board until his death in 1978.  He accompanied John Foster Dulles on his trip to Japan that eventually led to the signing of the 1951 treaty. Rockefeller, a supporter of the Institute of Pacific Relations, who visited Japan in 1929 during one of its conferences, wanted to contribute to bettering US-Japan relations after the war and believed there needed to be non-governmental organizations like Japan Society in each country in order for such friendly relations to exist.

Under Rockefeller’s leadership, Japan Society expanded and talk began to find a permanent headquarters for it. It shared offices with another Rockefeller-led organization, Asia Society but as the two organizations continued to grow during the 1960’s,  it became increasingly clear that Japan Society needed its own building. After receiving donations from Rockefeller and other members, construction began on “Japan House” in 1967. Designed by Junzo Yoshimura, whose work also includes Asia Society’s headquarter, it became the first building in New York of contemporary Japanese architecture. On September 13, 1971, it was finally opened to the public after a ceremony attended by Prince Hitachi. He echoed Russell’s first words about Japan Society, calling for “closer people-to-people” contact between countries.

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Japan Society building

(This information was taken from Wiki and I give them full credit for the information. I also included information of Japan Society).

The Museum of Sex                                              233 Fifth Avenue (@27th Street)                      New York, NY 10016

The Museum of Sex 233 Fifth Avenue (@27th Street) New York, NY 10016

The Museum of Sex

233 Fifth Avenue (@27th Street)

New York, NY  10016

(212) 689-6337

Open: Sunday-Thursday 10:30am-11:00pm/Friday & Saturday 10:30am-12:00am

Fee: General Admission $20.50/$3.00 off for Students, Seniors and Military

My review on TripAdvisor:

https://www.tripadvisor.com/Attraction_Review-g60763-d525259-Reviews-Museum_of_Sex-New_York_City_New_York.html?m=19905

The Museum of Sex at 233 Fifth Avenue.

I made my first visit to the Museum of Sex in New York City and highly recommend it. I have to admit it is different but what I like about the museum is that it doesn’t try to hide the subject and it also just doesn’t jump out at you. It is an interesting progression in art and I saw this in the exhibition “The History of Pornography”,  where the films were set up in order since the Victorian times. Sometimes it had to go underground due the times but pornography has been around since the days of the media.

The exhibition shows early pictures and viascopes of sexual acts and the early films date back to the Silent era. The exhibition covers from the Silent era to present times and the advancement of sex in films once the Hayes Code was broken in the 1960’s. With the relaxed rules and the mainstream films of “Tie Me Up Tie Me Down” and “Deep Throat”, you can see the progression of this as an art form and progression of the way the films were made.

Another great exhibition that I saw was “Punk Lust: Raw Provocation 1971-1985”. This show matches nicely with the current show on the “Punk Movement” at the Museum of Arts & Design. It was interesting to see the posters, flyers, clothes and hear the music of the era. Just at the height of the ‘Sexual Revolution’ and into the fragments of the Disco era came a new sound and way to dress that started in the early 80’s before the progression of the Reagan years in Washington DC, this movement came with a new sound with Punk, New Wave and Technographic and a new way to dress provocative without being too revealing.

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“Punk Lust” exhibition

As the museum was quoted saying: “The survey looking at the way Punk Culture used the language of sexuality, both visually and lyrically, to transgress and defy, whether in the service of political provocation, raw desire or just to break through the stifling gender norms and social expectations that punks refused to let define them.”

Museum of Sex II

“Punk Lust” exhibition

On a more recent trip to the museum, three exhibitions were open and all very interesting, highlighting different types of eroticisms. These countered different parts of the artworld. Also, in the post-COVID era, all the interactive displays opened up and I was able to visit and experience each of these as well. These are the most fun!

The Andy Warhol exhibition:

“Looking at Andy Looking” exhibition:

(from the museum website)

This exhibition will explore themes of intimacy and voyeurism, including the depiction of homosexual desire, in Warhol’s early years of filmmaking. In films and footage from 1963-64, we witness the artist beginning to figure out what he could do and say with his newest plaything: the 16mm camera.

“Looking at Andy Looking”

(from the museum website)

Filmmaking is a mechanical art, but it can capture real people on the surface and below. Andy Warhol (1928-1987) lived much of his life “on the surface.” He embraced mechanical techniques like screen-printing, photography, and film, but Andy himself was not a machine. Behind the cool, detached persona was the highly personal—and above all queer—perspective of an inveterate experimenter.

The exhibition I saw was the “Artifact” exhibition from the Museum of Sex’s collection of items exploring how we look at sexual encounters. What is sex and how does a play a role in our lives?

“Artifact: Selection from a Secret Collection”

(from the museum website)

Gathered from the Museum of Sex’s permanent collection of more than 15,000 objects as well as from other notable collections and institutes of antiques, medical history and sexology, Artifact (xxx): Selections from Secret Collections presents an intimate exploration of how sex manifests across culture through art, science, and design. An early vibrator made in Great Britain, a lotus shoe worn by a woman in China, and a Braille issue of Playboy magazine provide insight into prevailing belief systems and societal taboos across geography and time.

Hugh’s Hefner’s smoking jacket

Jeweled Bra

(from the museum website)

Fulfilling a wide range of functions from artwork, medical devices and pop-culture mementos to guidebooks and accessories used for enhancing pleasure or pain, these objects tell the stories of the expansive yet nuanced influence of sexuality throughout history.

Candy pants from the 1970’s

Deep Throat Memorabilia

The memory of the movie a movie ‘Deep Throat’’

Intercourse Chair

Another exhibition that I enjoyed on my last trip to the Museum of Sex was the “I Licked it, It’s Mine” exhibition on exotic paintings and sculpture.

The ‘Licked it, it’s Mine’ exhibition sign

(from the museum website)

What does it mean to be “consumed” by lust, or to “possess” another? The artists Oh de Laval, Shafei Xia, and Urara Tsuchiya explore every manner of appetite, from sublimated yearning to all-consuming hunger. United by an irreverent, tongue-in-cheek approach to the erotic and a flair for fantasy, the paintings and ceramic sculptures in this exhibition move between pulpy melodrama and decorative daintiness.

Along the way, sexuality is experienced as love, but also as competition, involving our animal natures—and sometimes even the swapping of human and animal roles.

The gallery for ‘I licked it, it’s mine’ exhibition

The literature from the exhibition explaining the works

These were some of my favorite works from the exhibition:

The exotic works

The unusual works

The unique paintings and ceramics

One of my favorite pieces from the exhibition. I thought this was quite exotic.

I walked next through Carn-O-Rama and experienced the workings behind the scenes of a traveling carnival reaching the suburbs. I always thought it was just lights, rides and cotton candy. There is more to it than that.

After my visits to the three galleries, I took a took to the interactive section of the museum and experienced Funland, where I walked though Stardust Lane and all the lights and sounds of the mirrored rooms.

A Video walk through Funland is a lot of fun. It really pleases the senses.

I next took a trip to Super Funland and this was my trip through Stardust Lane. This is all lights and mirrors and it was an unusual walk through the museum that challenges the senses. Walking through Super Funland is a voyage in the wild with mirrors and music.

It get pretty interesting walking through here.


In another video walk through of Funland, I met a lot of interesting people on my walk through the museum. It really puts you into a interesting mood.

The pathway around the museum took me to other interactive exhibitions. Jump for joy was a very interesting interactive world of different sexual parts and mood lighting.

The ‘Jump for Joy’ exhibition

Then I walked through ‘Lucky Land’

Then I walked through and climbed ‘The Pink Palace’, a series of colored features that led through what looked like another sexual parts. This is called the ‘ClimbX”.

The colored building blocks of the exhibition of “ClimbX”

The colored blocks of the exhibition “ClimbX”

Another object to climb through on your way out of the exhibition.

It really is an interesting museum to visit. You really have to stop and enjoy the pleasures of each floor. You have to take the time experience all the sights and sounds. The funny part of leaving the museum is that there is an exotic food vendor on Fifth Avenue with the most unusual items he sells.

The Erotic Waffle food truck just outside the museum. Not your kids food truck. The truck sold sexual organ pastries, waffles and other exotic items. You have to stop by when you are in the neighborhood!

History of the Museum of Sex:

(This comes from the Museum of Sex History Website)

The Mission of the Museum of Sex is to preserve and present the history, evolution and culture significance of human sexuality. The museum produces exhibitions, publications and programs that bring  the best of current scholarship to the wildest possible audiences and is committed to encouraging public enlightenment, discourse and engagement.

The Museum of Sex

The Beginning:

When the Museum of Sex first emerged on New York City’s Fifth Avenue on October 5th, 2002, it was without precedent in the museum world. In the development of its inaugural award winning exhibition NYCSEX: How New York Transformed Sex in America, the Museum created a board of comprised of leading scholars and historians. The Museum’s advisory board has guided curators and guest curators towards research resources, pertinent collections and exhibition relevant artists. Advisors such as Steven Heller, Timothy J. Gilfoyle, PhD, Mike Wallace PhD and June Reinisch, Director Emeritus for The Kinsey Institute  for Research on Sex, Gender and Reproduction as well as institutional collaborations with New York University’s Center for the Study of Gender and Sexuality, Planned Parenthood Federation of America, New York Historical Society and the Lower East Side Tenement Museum have contributed to making the Museum of Sex one of the most dynamic and innovative institutions in the world.

Design has played a pivotal role in both exhibition development and execution with world-renowned design firms such as Pentagram Design Inc, Casson Mannand 2×4, helping to transform the galleries and historic building over the last six years. The museum’s building, built in the area of New York formerly known as the “Tenderloin,” a district of NYC made notorious by the 19th century for its bordellos, dance halls, theaters and saloons, serves as a New York City landmarked site.

Our Work:

Since its inception, the Museum of Sex has generated over 30 exhibitions and 6 virtual installments, each in keeping with the Museum’s mission of advocating open discourse surrounding sex and sexuality as well as striving to present to the public the best in current scholarship, unhindered by self-censorship. With each new exhibition, lecture series, event and publication, the Museum of Sex is committed to addressing a wide range of topics, while simultaneously highlighting material and artifacts from different continents, cultures, time periods and media.

Our Collection:

The Museum’s permanent collection of over 20,000 artifacts is comprised of works of art, photography, clothing and costumes, technological inventions and historical ephemera. Additionally, the museum houses both a research library as well as an extensive multimedia library, which includes 8mm, Super 8mm, 16mm, BETA, VHS and DVD’s. From fine art to historical ephemera to film, the Museum of Sex preserves an ever-growing collection of sexually related objects that would otherwise be destroyed and discarded due to their sexual content.

Our Public:

In a short time, the Museum has received attention from academic institutions, major publications, media outlets and celebrities, positioning the Museum of Sex within the realm of academia and pop culture alike. The Museum has been featured in numerous publications including The New York Times, The New Yorker, Esquire and Time and on television broadcasts ranging from CNN to IFC to NBC’s Law & Order Criminal Intent. Award-winning advertising campaigns in print and television media have sealed the Museum’s arrival as a cultural touchstone.

Accolades continue to pour in from visitors and the press in every corner of the world, inspiring the Museum of Sex to continually surpass its own high expectations. Future planned exhibitions and events-the likes of which have never been offered by any other institution-are guaranteed to captivate and resonate, securing the Museum of Sex a well-deserved, distinguished place in history (Museum of Sex History)

Grey Art Gallery New York University (NYU)                          18 Cooper Square                                                                                  New York, NY 10003

Grey Art Gallery New York University (NYU) 18 Cooper Square New York, NY 10003

Grey Art Gallery, New York University

18 Cooper Square

New York, NY  10003

(212) 998-6780

https://greyartgallery.nyu.edu

My review on TripAdvisor:

https://www.tripadvisor.com/Attraction_Review-g60763-d136958-Reviews-Grey_Art_Gallery_NYU-New_York_City_New_York.html?m=19905

The front of the Grey Art Gallery at NYU

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.

Grey Gallery III

“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.

Grey Gallery IV.jpg

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.

Grey Gallery II.jpg

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.

(from the museum website)

MUDD CLUB 1978-1983

THE STEPHEN MASS PAPERS

February 3 – March 9, 2024

Broadway Windows and Project Space

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

I recently attended the ‘Irrititja Kuwaiti Tjungu‘ exhibition on Aboriginal art. It was a very interesting look at Native Art from Australia. This exhibition opened in February of 2026 and the artists were in attendance to talk about their works.

https://greyartmuseum.nyu.edu/exhibition/irrititja-kuwarri-tjungu-contemporary-aboriginal-painting-from-the-australia-desertjanuary-20-2026-april-11-2026/

(from the NYU/Grey Gallery website):

Irriṯitja Kuwarri Tjungu celebrates fifty years of Papunya Tula Artists. It features nearly 120 paintings, including some of the most iconic works of Indigenous Australian art. Rather than being arranged chronologically, the paintings are displayed according to Indigenous principles of genealogy, place, and ancestral travels. In doing so, the show reveals the deep, ongoing relationship between Aboriginal artists, the places they paint, and Tjukurrpa, which exists in a constant state of past and present together—or, in Pintupi, irrititja kuwarri tjungu.

The exhibition also recognizes the long association between Papunya Tula Artists and New York University forged by Professor Emeritus of Anthropology Fred Myers. Since 1973 Myers has served as one of the movement’s most prominent international advocates. His continued involvement with the community brought the exhibition Icons of the Desert to the Grey Art Museum in 2009. While that exhibition showcased early works from Papunya, Irrititja Kuwarri Tjungu honors and extends the legacy of the company’s founding artists.

The promotion sign for the exhibition

The art exhibition in the main gallery

Some of the works in the main gallery

(from the NYU/Grey Gallery website):

Fifty years ago, a painting movement emerged at Papunya in Aus­tralia’s Central Desert. It arose with such force and convic­tion that one could be forgiven for thinking it had existed forever, as though etched from the earth by the slow pas­sage of time. In fact, formed in the aftermath of colonization, the enduring art movement is as much a product of recent his­torical circumstances as the ancient traditions on which it draws.

Now widely recognized in global contemporary art, painting at Papunya began in 1971 when a small group of Aboriginal men in the community started to represent once-secret ancestral designs of ceremony and ritual, using acrylic paint on scraps of cardboard, linoleum, and Masonite. Their seemingly abstract paintings revealed living ancestral connections known as Tjukurrpa (Dreaming), which fueled powerful artistic experiments with color, line, and space. The following year, in an act of unprecedented corporate sovereignty, the artists formed Papunya Tula Artists Pty Ltd., the first Aboriginal-owned arts enterprise in Australia. The company’s economic success has allowed generations of men and women artists to stay on their ancestral lands, and continues to provide vital opportunities for local community development.

These were some of my favorite pieces of art from the exhibition:

One of the pieces I admired in the exhibit

‘The Men’s Dreaming at Iloilo’

I thought this colorful work was interesting

The work ‘Lupuinga’

I loved the powerful colors of this painting

The ‘Karilywarra’ work is very colorful

This painting I thought would be interesting in textiles

The painting ‘Travels of Kutungu from Papunnga to Muruntji’

Some of the works at the back of the gallery

Some of the works in the second gallery