Touch History: An Installation by Kathleen Granados
Runs from: Wednesday, October 15 to Sunday, December 21, 2014
With this solo-project, Upper Manhattan based artist Kathleen Granados encourages MJM visitors to experience history through touch. For this installation, Granados crocheted over a select group of furniture objects from MJM’s permanent collection on display in the Mansion’s Octagon Room. Visitors will be able to gently touch the objects, gaining an understanding of their contours, function and the history they hold. In addition to the display of crocheted historical objects, a film of the artist’s past installation in Eliza Jumel’s Dressing Room, Unsettled (A Stitch in Time), addresses memory, our relationship with the past, and the universality of home through time.
Touch History highlights the present and contributory role of the visitor to the timeline of Morris-Jumel. Kathleen Granados acknowledges that “When one visits Morris-Jumel, significant insight is gained into the past of New York City, as well as the many variables of historic preservation. Houses are not static and neither is history.” Through Touch History she asks herself, the visitor and MJM, as an institution: “How do the visitors see themselves as a continuing element in the history of the Mansion? Also, how can we see art as a form of preservation?” Ultimately, Touch History expands the interactions between the collection and contemporary art, prompting viewers to consider the intersections of the Mansion with present-day life.
The Morris-Jumel Mansion is pleased to present Ladies of the House: History From A Feminine Perspective, featuring photography by Trish Mayo as part of our Contemporary Meets Colonial exhibition series. Throughout the Mansion’s history women have had a strong presence. The Mansion was built in 1765 for Mary Philipse, by her husband Colonel Roger Morris as a wedding present. The home’s longest owner, Eliza Jumel, lived in the Mansion from 1810 to 1865, and was known as one of the wealthiest women in New York. In 1904, the Washington’s Headquarters Association, formed by four chapters of the Daughters of the American Revolution, began to operate the Mansion as a museum. The most famous and royal visitor of the Mansion, Queen Elizabeth II, visited in 1976.
Today, the female presence in the Mansion continues through many costumed events and performance pieces, which celebrate the vibrant history and the lives of the fascinating women of the Mansion. Artist, Trish Mayo has captured many of the women at these events with her camera. Ladies of the House features six original photographs, which were digitally manipulated to recall nineteenth century photographs, such as daguerreotypes, tintypes, and ambrotypes. As part of this exhibition, Mayo and curatorial assistant, Jasmine Helm have selected prints and photographs from the Mansion’s archives—on view for the first time—to showcase women’s contributions throughout the Morris-Jumel Mansion’s history as a private home and museum.
Trish Mayo is a New York based photographer and artist and a staff member at the
Morris-Jumel Mansion Museum. Her work has been published in books, magazines, newspapers and websites including the New York Times and online editions of GQ and the BBC. Group exhibitions include the Brooklyn Museum – Click! A Crowd Curated Exhibition; Museum of the City of New York – Rising Waters 2.0 More Photographs of Sandy; and Tate Modern, London – Street or Studio.
The Morris-Jumel Mansion is pleased to present “Home,” an upcoming contemporary art exhibition as part of our Contemporary Meets Colonial Art Series. This exhibit will feature artwork by eight contemporary New York artists, each exploring the meaning of “home.”
The Morris-Jumel Mansion, originally built as a summer house, has served a variety of functions in its 250-year life. The British Loyalist, Colonel Roger Morris, first constructed the Mansion for his wife, Mary Philipse, in 1765. In 1776, the Morrises’ seized estate served briefly as George Washington’s headquarters, and was later occupied by British and Hessian troops. Following the Revolutionary War, the Mansion became a fashionable tavern frequented by New York’s elites.
In 1810, the Mansion reverted to a private residence, and became the permanent home of Haitian wine merchant, Stephen Jumel, and his ambitious wife, Eliza. Eliza Jumel, the Mansion’s most enduring and colorful resident, retained the home until her death in 1865.
By 1907, the Morris-Jumel Mansion was established as an historic house museum. The several interpretations of the Mansion’s historical identity over the past century attest to the evolving nature of a home’s meaning.
The artists featured in “Home” have created a range of artworks that interpret this changing identity. Paintings by Jennifer Packer, Elizabeth Allison and Shira Toren explore interior and exterior domestic spaces. Household materials and fabrics have been reconfigured in an artwork by Eric N. Mack on display in Aaron Burr’s Bed Chamber. Anne Mailey has created a quilt based on the Mansion’s layout, which she will continue to embroider once week in George Washington’s Bedchamber throughout the duration of the exhibit. Kathleen Granados, Cristina Razzano and Abigail DeVille, inspired by the Mansion’s own domestic history, have constructed site-specific installations for the Mansion’s period rooms. Their varied works, like the Morris-Jumel Mansion itself, speak to changing roles and conceptions of place and belonging.
Please check back for artist led workshops.
Visit our exhibition website for more information.
Support provided by the West Harlem Local Development Corporation Fund of Tides Foundation.
The Morris-Jumel Mansion and The Historic House Trust of New York City are pleased to present “Unpacked”, an exhibition of recent work by New York-based artist Peter J. Hoffmeister. Hoffmeister’s work uses a variety of sources, including historical text, maps, architecture, and found imagery, to create paintings, drawings, prints and sculptural installations. For this exhibition, the artist views the Mansion as an artifact symbolizing the founding of the United States, it having served as George Washington’s headquarters at the start of the Revolutionary War. Using this fact as a departure point, Hoffmeister has created site-specific installations in the Mansion’s period rooms, informed by the history of the Mansion and its inhabitants, as well as American history and current events.
Hoffmeister’s artworks challenge various societal phenomena and ideologies, both historical and current. “Home-style”, installed in the Mansion’s Dining Room, addresses the status of our food supply and the prevalence of genetically modified crops, by using corporate food logos to create dilapidated wallpaper. The piece becomes particularly compelling when considering George Washington, as president, hosted a dinner with his presidential cabinet in this same room. “Ball and Chain (Per Capita)”, composed of the silhouettes of all fifty US States, are placed across the floor of the Mansion’s Front Parlor Room, in a sense becoming the carpet. Made of black felt, the piece addresses the per capita prison population of the United States, which is the highest of any other country in the world. For the upper level of the Mansion, Hoffmeister continues his installations by manipulating roadmaps, as well as found text and photographic slides, to investigate the construction of history and national memory. Collectively, Hoffmeister’s artworks are a meditation on our existence as individuals and American citizens living within the boundaries of our national power and cultural structures.
Born on Long Island, New York in 1985, Hoffmeister graduated with a BFA from the Fashion Institute of Technology in 2007, with a concentration in painting. He has exhibited and curated widely in New York, including at Maurizio Cattelan’s gallery Family Business. He is a former editor of SW!PE Magazine, and is currently working on The Moonshiner, a newspaper project he co-founded with artist Jack Laughner. Most recently Hoffmeister attended a residency at Vermont Studio Center, where he prepared for this exhibition.
Images of the artist’s work can be found here.
Support provided by: Northern Manhattan Arts Alliance, Upper Manhattan Empowerment Zone,
JP Morgan & Chase, and The West Harlem Local Development Corporation Fund of Tides Foundation
As inspiration for the exhibition, artist and designer Camilla Huey was particularly drawn to Aaron Burr, Mansion resident from 1832-1835, and to the many women who influenced his personal and political life. The exhibition will consist of seven free standing corsets that will be located inside the second floor period rooms of MJM and also three site specific installations that will be installed both on the second floor and down the main staircase. Each woman’s “portrait” is comprised of a custom-made corset appropriate to the subject’s time and stature. The artworks personify these remarkable women in an unprecedented ode to history, fashion, feminism and the written word. A common thread amongst these women was their education and achievement in letters, as seen in the handwritten texts comprising each “body of work.” As Ms. Huey explains, “It seems natural to bring together elements representative of personal tastes, desire, wit and a point of view in something as sculptural as a corset. The corset corrects and conceals, stifles and constrains, subdues and thrusts forward form. It is extremely personal and close to the heart.” In this sense, the viewer is invited to know the women intimately through material culture.
“The Loves of Aaron Burr” will be on view throughout the Mansion from May 3rd until September 12th, 2013.
In conjunction with Ms. Huey’s work there will be a companion exhibition entitled “The Arts of Beauty,” which will showcase artifacts from Morris-Jumel’s permanent collection which focus on the ideals of feminine beauty in the late eighteenth and nineteenth centuries.
In celebration of Hispanic Heritage Month, the Morris-Jumel Mansion Museum is pleased to present two concurrent exhibitions by Mexican-born, Washington Heights-based artists Andrea Arroyo and Felipe Galindo.
Opening Reception: Saturday, September 15, 4pm-6pm (free and open to the public.)
Exhibit on view: September 15, 2012 through January 7, 2013. Visiting Hours: Wed-Sun 10am-4pm.
“Women Unbound” by Andrea Arroyo
Inspired by the inhabitants, cultural history, art and artifacts of Manhattan’s Oldest House, Arroyo created original works integrated with the historical objects and furniture in the Morris-Jumel Mansion Museum collection. These works create a conversation between the past and the present, and allow for connections to be created between the female experience of Mary Morris or Eliza Jumel and the contemporary viewer. Arroyo has been exploring notions of identity, gender, class and social prejudice throughout her career. In her project “Women Unbound” she investigates how women navigated life within the boundaries of late 1700s and early 1800s society. For the artist, the stories of the women who inhabited the Mansion mirror the struggles of women in contemporary society, who have to defy social norms and prejudice in order to achieve their personal goals. The pieces are executed in a variety of media, including paintings, artist’s books, sculptures, mixed media and installations.
“George Washington Revisits Washington Heights” by Felipe Galindo
Galindo found inspiration for his project from the history of the neighborhood; Washington Heights is an area where the Battle of Harlem Heights took place and where George Washington (based at the Morris-
Jumel Mansion in 1776) commanded the nation’s troops during the Revolutionary War.
Galindo’s project presents an imaginary visit from America’s first president to the present-day neighborhood that bears his name. Influenced by historical imagery from the 18th century, the artist
creatively interweaves the past and the present in a series of whimsical images, creating a unique world in which George Washington interacts with locals, explores the vicinity, learns about modern
customs and ultimately enjoys the amazing mixture of cultures in uptown Manhattan.
About the artists:
Andrea Arroyo’s work is exhibited, published and collected extensively around the world. President Clinton selected her as the Clinton Global Citizen Award Artist. Additional honors include: 21 Leaders for the 21st Century Award, Groundbreaking Latina in the Arts Award, Official Artist of the Latin Grammys, Outstanding Latina of the Year, Woman of the Week, Women in the World Foundation, New York City Council Citation Award for Achievement in Art, New York Foundation for the Arts Fellowships, Northern Manhattan Arts Alliance Awards, Puffin Foundation Award, Harlem Arts Alliance Award and the Manhattan Community Arts Fund of the Lower Manhattan Cultural Council Grant. Her works are featured in numerous public collections, including The Library of Congress, The National Museum of American History, Smithsonian Institution, The New York Public Library, The University of Richmond Museum, The National Museum of Mexican Art, and in private collections in the U.S., Mexico, Brazil, Europe, and Japan. Public commissions include permanent murals and glass art for a New York public school, a New York subway station and landmark building in NYC. Arroyo’s work has been published extensively (The New Yorker, The New York Times,) and continues to be featured by national and international media (CNN, NBC, NY1, Univision, CW11, The New York Times, The San Francisco Chronicle, Women’s eNews, Women in the World, the Associated Press and EFE, among others.) For more information about the artist please visit www.andreaarroyo.com
Felipe Galindo (Feggo) is a fine artist, illustrator, cartoonist and independent animator. His drawings have appeared in the New Yorker, The New York Times, The International Herald Tribune, Newsday, The Wall Street Journal, Reader’s Digest, Nickelodeon, Mad Magazine, Narrative, Barron’s, INXart.com and others worldwide. Galindo has held numerous individual exhibitions in the United States and abroad. His animations have been featured in TV programs such as MTV’s Liquid TV, Reel Thirteen and Sí-TV as well in numerous film festivals and cultural institutions worldwide, including the Guggenheim Museum in New York and the Reina Sofia Museum in Madrid.
He has received grants from the National Association of Latino Arts and Culture, the Northern Manhattan Arts Alliance, the Lower Manhattan Cultural Council, the Puffin Foundation, Latino Public Broadcasting, the New York Council for the Arts, and the US/Mexico Fund for Culture of the Rockefeller Foundation. Additional awards include: Porto Cartoon Festival, Portugal; United Nations Correspondents Association Award; Greek Ministry of Culture; San Antonio Cine Festival and Omiya Festival, Japan.
He is the creator of the celebrated project Manhatitlan, which includes works on paper, animations, and the book Manhatitlan, Mexican and American Cultures Intertwined (Pinto Books, 2010.) And the author of No Man Is a Desert Island – Cartoons by Felipe Galindo-Feggo (Pinto Books, 2012.) For more information about the artist please visit www.felipegalindo.com
“Women Unbound” is made possible in part with funds from the NoMAA Creative Grant Program, made possible by the JPMorgan Chase Foundation and the Upper Manhattan Empowerment Zone Development Corporation.
“George Washington Revisits Washington Heights” is made possible in part with public funds from the Manhattan Community Arts Fund, supported by the New York City Department of Cultural Affairs in partnership with the City Council and administered by Lower Manhattan Cultural Council.
This exhibition features period costumes from the collections of the Saratoga Springs Historical Society which are displayed within the Mansion’s period rooms. Empire Historic Arts designed and installed the exhibit to give the museum visitors a sense of what life was like in the 18th and 19th centuries.”
There’s always something new at Manhattan’s oldest house and this summer visitors will experience art that reflects the contemporary meets colonial theme, as part of “Inspired by Design,” the third annual Morris-Jumel Mansion educational and interpretive art exhibit.
Artists representing diverse cultural and artistic backgrounds use painting, fabric arts, mixed-media, ceramic and photography to interpret the Mansion’s connection to the past and present of New York City history. The ten artists, who reside in Harlem, Washington Heights, Inwood and the Bronx, have their present day works installed in the museum’s historically furnished period rooms. The result is an exhibit that reinforces the Mansion’s mission to serve as a bridge connecting the past and present of New York City.
“Inspired by Design is part of the Northern Manhattan Arts Alliance (NoMAA) Uptown Stroll. Morris-Jumel Mansion is dedicated to collaborating with arts and cultural organizations for the public benefit.
This exhibit, drawn from the MJM archives, features quotes from “Community Voices,” an oral history project conducted by Karen Sotiropolous. The exhibit offers a timeline in words and pictures that chronicle the history of Washington Heights and the changes that have evolved from colonial to contemporary times.
“Then and Now” chronicles experiences of the residents of the Washington Heights community surrounding Morris-Jumel Mansion throughout its history and offers glimpses of life in the shadow of the Mansion.
“Northern Manhattan as Muse” features photographic portraits, essays and artwork documenting local artists inspired by Washington Heights and Inwood. The photos and text are by Mike Fitelson.
George Washington came to New York amid much fanfare and celebration as he assumed the presidency. He was America’s most popular and important citizen. Cheering crowds greeted him all along his journey from his home in Virginia to New York City.
This exhibit focuses on the role of New York as the first capital of the United States and George Washington’s place in history as the first president of the United States of America. From his inauguration in 1789 through the important first years of of his presidency, “Establishing the New Nation: New York in the 1790s” offers a unique examination of artifacts and documents that chronicle the earliest days of the nation.
The exhibition is funded by the New York Council for the Humanities.
Click here to view the brochure of the exhibit.
Memory is a powerful element of history and contemporary art. Local Artists Andrea Arroyo, Felipe Galindo, Peter Hoffmeister, Jessica Lagunas, Trish Mayo and Misha McGlown created site specific works that reflect the visual memory of New York City and the Morris-Jumel Mansion.
The artworks reflect personal or historical memories of the past, present or future and interpret the history of Manhattan’s oldest house and the people who lived here through the visual art forms of painting, fabric/textiles, mixed-media installation, cyanotype and book art.