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New-York Historical Society Previews Their Winter   ̶ Summer 2023 Exhibitions

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New-York Historical Society, has released their Winter   ̶ Summer 2023 Exhibition. The first show is “Crafting Freedom: The Life and Legacy of Free Black Potter Thomas W. Commeraw” fromJanuary 27   ̶  May 28, 2023. This exhibition to bring overdue attention to Thomas W. Commeraw, a successful Black craftsman who was long assumed to be white. Formerly enslaved, Commeraw rose to prominence as a free Black entrepreneur, owning and operating a successful pottery in the city. Over a period of two decades, he amassed property, engaged in debates over state and national politics, and participated in New York City’s free Black community.

The largest presentation of his work to date, the exhibition explores Commeraw’s multifaceted history as a craftsman, business owner, family man, and citizen through approximately 40 pieces of stoneware produced by Commeraw and his competitors between the late 1790s and 1819. Alongside these pieces are the primary documents that enabled historians to reconstruct the arc of his professional career and personal life, and through them convey a deeper understanding of free Black society in New York in the years between the Revolutionary and Civil Wars. Curated by Margi Hofer, vice president and Museum director; Mark Shapiro, researcher and potter; and Allison Robinson, Mellon Foundation postdoctoral fellow in women’s history and public history

Kara Walker, Alabama Loyalists Greeting the Federal Gun-Boats, from the portfolio Harper’s Pictorial History of the Civil War (Annotated), 2005. Smithsonian American Art Museum

Kara Walker: Harper’s Pictorial History of the Civil War (Annotated)February 24   ̶  June 11, 2023For over two decades, Kara Walker has created work that weaves together imagery from the antebellum South, the brutality of slavery, and racist stereotypes. Her works provoke controversy through their use of exaggerated caricatures that reflect long-standing racialized and gendered stereotypes and their lurid depictions of history. In her series of 15 prints, she responds to the two-volume anthology Harper’s Pictorial History of the Great Rebellion first published in 1866, exposing the omission of African Americans from the narrative and urging viewers to consider the continuing legacy of racial stereotyping and violence. To create her prints, Walker enlarged select illustrations from Harper’s and overlaid them with large, stenciled figures. The silhouettes visually disrupt the original scenes and suffuse them with the painful history left out of these illustrations. Traveling from the Smithsonian American Art Museum, the exhibition has been contextualized by the Center for Women’s History at New-York Historical with images, objects, and documents from New-York Historical’s collections.

Kara Walker: Harper’s Pictorial History of the Civil War (Annotated) is organized by the Smithsonian American Art Museum. Coordinated at New-York Historical by Center for Women’s History fellows Allison Robinson, Mellon Foundation postdoctoral fellow in women’s history and public history, and Ksenia M. Soboleva, Mellon Foundation gender and LGBTQ+ history fellow

Osceola Red Shirt (Oglala Lakota) (b. 1976), Genevieve Red Shirt (Rosebud Sioux, Chickasaw, Taíno) (b. 1978), Resilience: Living in a Pandemic since 1492, 2021. Wicket and Craig tooling leather, glass, metal, sweet grass, thread, hand-painted imitation eagle feathers, ermine pelts, red wool, red horsehair, buckskin leather, re-purposed Buffalo felt hat. Collection of Agnes Hsu-Tang, Ph.D. and Oscar Tang. Photo credit: @twogunsleather

Nature, Crisis, ConsequenceMarch 31  ̶  July 16, 2023Nature, Crisis, Consequence is a groundbreaking art exhibition that confronts the difficult issue of climate change and its social and cultural impact on different communities across America. Showcasing works drawn primarily from New-York Historical’s permanent collection, recent acquisitions, and loaned works, which collectively span the history of the United States, the exhibition explores subjects ranging from the proto-environmentalism of the Hudson River School to the razing of homes and churches to clear land for Central Park, the environmental and human tolls of the transcontinental railroad, and Indigenous artists’ calls to environmental action.

Exhibition highlights include the five-part series Course of Empire, Thomas Cole’s urgent warning against uncontrolled expansion into the natural world; an arresting seascape by Kay WalkingStick (Cherokee) overlaid by an abstract Pequot/Narragansett pattern which reclaims the present-day New England coast as Indigenous; and a woven ceramic basket by Courtney M. Leonard (Shinnecock) inspired by the mass fish die-off on Long Island caused by climate change. Curated by Wendy Nālani E. Ikemoto, senior curator of American Art at New-York Historical

J. C. Leyendecker (1874–1951), Illustration for Kuppenheimer advertisement (Record Time, Cool Summer Comfort), ca. 1920. Oil on canvas. National Museum of American Illustration, Newport, RI

Under Cover: J. C. Leyendecker and American MasculinityMay 5  ̶  August 13, 2023The queer artist J. C. Leyendecker (1874–1951) helped shape American visual culture of the early 20th century through his countless illustrations for popular magazines like the Saturday Evening Post and advertisements for consumer goods. His trade character for Cluett Peabody & Company, the “Arrow Collar Man,” was a sex symbol for men and women alike. This exhibition takes a close look at the implications of Leyendecker’s queer gaze underlying the construction of masculinity for the mass market, analyzing his depictions of the male body and his images of male interactions, often of men sharing sexually charged looks.

Under Cover also offers counter-narratives to Leyendecker’s ideal of white, elite, and athletic male beauty, juxtaposing some of his paintings with artifacts, ephemera, and photographs that, for example, depict fashionable African American men during the Harlem Renaissance. Drawing from the National Museum of American Illustration’s extensive collection of Leyendecker materials, the exhibition features approximately 18 paintings as well as advertisements and magazine covers. Guest curated by Donald Albrecht and coordinated by Rebecca Klassen, curator of material culture at New-York Historical

Unidentified maker. Cradle, 1820-1830. Mahogany, brass. New-York Historical Society, Gift of Mrs. Willis Reese, 1978.68a-c

Women’s WorkJuly 2023  ̶  ongoing

What is “women’s work?” How have broad trends in American economic, legal, and political history encouraged women to take certain jobs and restricted them from “men’s work?” How have race, ethnicity, social class, legal status, sexual orientation, and gender presentation impacted these distinctions? In a new exhibition, the Center for Women’s History showcases approximately 45 objects from New-York Historical’s own Museum and Library collections to demonstrate how “women’s work” defies categorization. The items range from a 19th-century mahogany cradle to a 20th-century doctor’s dissection kit to a pinback button with the message “Shirley Chisholm for President.” The exhibition seeks to demonstrate that women’s work has been essential to American society and is inherently political: women’s work is everywhere. Curated by the Center for Women’s History curatorial staff and fellows

Martin Wong (1946–1999), Canal Street, 1992. Acrylic on canvas. New-York Historical Society: Purchase, Watson Fund, 2000.6ab. Courtesy of the Martin Wong Foundation and P·P·O·W, New York

The Collection: New ConversationsAugust 2023  ̶  ongoingWhat new stories can familiar works of art tell? This exhibition reimagines New-York Historical’s permanent collections through novel groupings that seek to complicate the more established meanings of individual objects.

The pairing of Betye Saar’s Extreme Times Call for Extreme Heroines (2017) with Fred Pansing’s New York Harbor (ca. 1900) takes celebratory narratives of American seafaring and uncovers the  trauma of the transatlantic slave trade. Martin Wong’s Canal Street (1992) and Oscar yi Hou’s Far Eastsiders, aka: Cowgirl Mama A.B & Son Wukong (2021) establish a longstanding lineage for queer Asian diasporic artists in New York City. And the juxtaposition of Thomas Cole’s Course of Empire with works by Josephine Walters and the contemporary Shinnecock artist Courtney M. Leonard calls attention to the racial and gender politics of the Hudson River School landscape tradition. As a whole, the groupings aim to center long-marginalized experiences and prompt a rethinking of both American art and the way museums tell history. Curated by Wendy Nālani E. Ikemoto, senior curator of American art

André Chervin and the artisans of Carvin French Jewelers (est. 1954). Rubies des Grenouilles (The Frogs’ Rubies) boudoir lamp. Rubies, emeralds, quarts, fluorite, sterling silver, 18k yellow gold. 8.6 x 4.9 x 4.9 inches. Courtesy Chervin Family

Opulent Imagination: The Objets d’Art of André Chervin and Carvin French JewelersSeptember 8, 2023  ̶  January 28, 2024World-renowned jeweler André Chervin (b. 1927) and his New York atelier, Carvin French, are recognized as masters of fine jewelry-making whose dazzling brooches, bracelets, necklaces, and earrings are sold by Tiffany & Co., Harry Winston, and Cartier. Unbeknownst to his many fans, Chervin has also been designing a personal collection of precious objets d’art over the past several decades. Expressive of his artistic imagination, passion for raw materials and bygone techniques, and fascination with the engineering of clockworks and other mechanisms, these secret treasures have never been shown to the public—until now.

Opulent Imagination introduces Chervin’s miniature masterpieces—one-of-a-kind lamps, clocks, figurines, boxes, personal accessories, and table decorations fashioned from gems such as rubies, diamonds, and sapphires and stones like amethyst, citrine, and quartz—in a dramatic display of approximately 50 jeweled confections made since the 1950s. Curated by Debra Schmidt Bach, curator of decorative arts and special exhibitions. 

Thomas Moran,Mountain of the Holy Cross1876. Etching. Patricia D. Klingenstein Library, New-York Historical Society

Acts of Faith: Religion and the American WestSeptember 22, 2023  ̶  February 25, 2024The “American West,” as we know it today, emerged during the 1800s in the crucible of US expansion. But what did religion have to do with it? And how did expansion help create the diverse religious landscape of our country today? Investigating the convictions and beliefs that shaped westward expansion throughout the 19th century, Acts of Faith: Religion and the American West takes visitors beyond the mythologized “Wild West” of popular culture and presents a fuller and surprising picture: a West populated by preachers, pilgrims, and visionaries and home to sacred grounds and cathedrals that kindled spiritual feeling from the woodlands of New York all the way to the valleys of California.

The exhibition explores the experiences and traditions of people who, voluntarily or involuntarily, took part in this chaotic and transformative era—including diverse Native peoples, Protestant missionaries, Mormon settlers, Catholic communities, African American migrants, Jewish traders, and Chinese immigrant workers. Among the highlights on view are Robert Weir’s portrait of Sagoyewatha, or “Red Jacket”; a bulto (statue) of San Ysidro Labrador from 19th-century New Mexico on loan from the Museum of International Folk Art in Santa Fe; and an emigrant trunk labeled “From Basel to Salt Lake City, Utah” that belonged to a convert to the Church of Jesus Christ of Latter-day Saints on loan from the Utah Historical Society. Curated by Marci Reaven, vice president for history exhibitions and Lily Wong, associate curator

Suzanna, co-owns and publishes the newspaper Times Square Chronicles or T2C. At one point a working actress, she has performed in numerous productions in film, TV, cabaret, opera and theatre. She has performed at The New Orleans Jazz festival, The United Nations and Carnegie Hall. She has a screenplay and a TV show in the works, which she developed with her mentor and friend the late Arthur Herzog. She is a proud member of the Drama Desk and the Outer Critics Circle and was a nominator. Email: suzanna@t2conline.com

Art

Art for All: The Digital Gallery Revolution

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The evolution of art accessibility from the hallowed halls of museums to the vast expanse of the digital realm represents a significant shift in how we engage with art. This transformation has democratized art, making it more accessible to everyone, regardless of geographical location, financial status, or physical mobility.

The Traditional Museum Experience

For centuries, art was confined within the walls of museums and galleries, accessible only to those who could physically visit. Museums offer a tactile and visual experience, allowing viewers to engage with art in its physical form. However, this traditional mode of access has its limitations—physical, financial, and geographical barriers that prevent many from experiencing art.

The Rise of Digital Galleries

The advent of digital galleries has revolutionized this landscape. Digital platforms have removed many of the barriers associated with traditional museums, offering global access to art at little to no cost. High-resolution images, detailed artist biographies, and the histories of artworks are now available online, providing a comprehensive art viewing experience that rivals physical attendance.

Pioneering Art Accessibility

WikiGallery.org, with its vast collection of freely usable images, epitomizes the shift towards digital accessibility in art. It functions as a virtual museum, open to anyone with an internet connection, offering access to hundreds of thousands of artworks. This platform allows users to explore art beyond geographical and financial constraints, bridging the gap between the public and the often exclusive world of fine art.

Comparing Experiences: Museum vs. Digital

While digital galleries offer unprecedented access to art, they provide a different experience from visiting a museum. The sensory experience of viewing a painting in person, the scale, texture, and true color, cannot be fully replicated online. However, digital galleries offer other advantages, such as the ability to explore a vast array of art beyond what is physically possible in a single museum visit.

The Impact on Public Engagement with Art

Digital galleries have significantly impacted public engagement with art. They serve as educational resources, providing access to art history and criticism. Interactive elements, such as virtual tours and online exhibitions, have introduced new ways to engage with art, making it more interactive and accessible to a broader audience.

The Future of Art Accessibility

The future of art accessibility is not only promising but on the cusp of a revolutionary change, with technological innovations like virtual reality (VR) and augmented reality (AR) at the forefront. These technologies promise to bridge the gap between digital and physical art experiences even further, making art more immersive and interactive. Imagine standing in your living room but being transported into the heart of the Louvre or the halls of the Hermitage, examining masterpieces in intricate detail as if you were there. This evolution will make art even more accessible and engaging to the global public, offering unprecedented ways to explore, learn, and connect with art beyond the conventional boundaries of museums and galleries.

The shift from canvas to digital has transformed art accessibility, making it more inclusive and comprehensive. Digital galleries, exemplified by platforms like WikiGallery.org, have played a pivotal role in this transformation. While the experience of art in the digital realm differs from the traditional museum experience, it complements it, offering new opportunities for engagement, education, and appreciation. The evolution of art accessibility underscores a broader cultural shift towards democratizing art, ensuring that it can be enjoyed by all, regardless of physical or financial limitations.

In summary, the journey from traditional art spaces to digital platforms has not only widened access to art but also diversified the ways in which people can engage with and appreciate artistic creations. As technology continues to evolve, so too will the landscape of art accessibility, promising a future where the barriers to experiencing art are even further reduced.



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Bonnie Comley Nothing To Wear

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Bonnie Comley stepped into the art world last night. She and ChaShaMa presented a piece called “Nothing To Wear”, at 340 East 64th Street, which is an interactive installation, a thought provoking look at fast fashion and body image. This provocative look at our relationship with our clothing choices as it pertains to our self image, fast fashion and textile waste, challenges the fashion industry to create an alternative to current business models and the global appetite for consumption. “Nothing to Wear”, asks viewers to question dress codes like the current policing of women in political office, facilitates self-reflection on biases regarding our own clothing and the community around us as uniform, self-expression, or just protection from the elements of weather.

Also involved were Sarah DeMarino – Co-Producer/Director, Leah Lane – Soundscape Monologue Writer and Jasper Isaac Johns the Exhibit Designer.

Sarah DeMarino and Dallas Bernstein

At the opening and on certain dates Hannah Durant Joe Guccione and Dallas Bernstein perform monologues that coincide with the project. These mini playlets were insightful and thought provoking.

Hannah Durant Joe Guccione and Dallas Bernstein

In attendance were:

Anita Durst and fashion designer Shani Grosz

Cooper Lawrence, Dr. Robi Ludwig, Errol Rappaport, Bonnie Comley, Quinn Lemley, Suzanna Bowling, Shani Grosz and Merrie Davis

Anita Durst and Bonnie Comley

Danielle Price, Bonnie Comley and Andrina Wekontash Smith

Sylvia Hemingway and Bonnie Comley

Bevin Ross and Bonnie Comley

Alyssa Ritch Frel and Bonnie Comley

Shady Kerko and McLean Mills

Frankie Lane, Bonnie Comley and Lenny Lane

Riki Kane Larmire

Bonnie is a three-time Tony Award-winning producer. She has, also, won an Olivier Award and two Drama Desk Awards for her stage productions. She was recently re-elected as the Board President of The Drama League. She is a full member of The Broadway League and the Audience Engagement and Education Committee. Comley has produced over 40 films, winning five Telly Awards and one W3 Award. She is also the founder and CEO of BroadwayHD, the world’s premier online streaming platform delivering over 300 premium live productions to theatre fans globally. The theatre community has honored Comley for her philanthropic work; she is the recipient of The Actors Fund Medal of Honor, The Drama League Special Contribution to the Theater Award, The Paul Newman Award from Arts Horizons and The Theater Museum Distinguished Service Award.

Stewart F Lane and Bonnie Comley

ChaShaMa helps create a more diverse, equitable, and inclusive world by partnering with property owners to transform unused real estate. Currently, they present 150 events a year, have workspace for 120 artists, and have developed 80 workshops in under served communities. They have awarded 11 million dollars worth of real estate to artists and have subsidizes another 300 with work spaces. They provide over 215 free art classes and have supported over 75 businesses with free space

To see Nothing to Wear click here

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New-York Historical Society Celebrates Women’s History Month

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Throughout Women’s History Month, the New-York Historical Society, 170 Central Park West (at 77th Street), will showcase women’s stories through exhibitions, installations, and public programming.

On International Women’s Day, renowned Cherokee artist Kay WalkingStick and New-York Historical’s Chief Curator Wendy Nālani E. Ikemoto will be in conversation over a live, free Zoom discussing WalkingStick’s exhibition Kay WalkingStick / Hudson River School, on view at New-York Historical through April 14. Other exhibitions and displays on view throughout March include Women’s Work, an exhibition that demonstrates how “women’s work” defies categorization; Women Who Preserved New York City which explores how Shirley Hayes, Margot Gayle, and Joan Maynard galvanized communities to save historic buildings and places; and Serving Style: Ted Tinling, Designer for the Tennis Stars, which turns a spotlight on the designer who made many of Billie Jean King’s iconic looks. On March 3, the ninth annual Diane and Adam E. Max Conference on Women’s History will center on exploring how we understand “care.”

Additional details follow:A Conversation with Kay WalkingStickFeaturing: Kay WalkingStick, Wendy Nālani E. IkemotoFriday, March 8, 6 – 7 pm ETFree | Presented live on ZoomCelebrate International Women’s Day with this online event featuring renowned Cherokee artist Kay WalkingStick in conversation with New-York Historical’s Wendy Nālani E. Ikemoto. WalkingStick is the focus of our acclaimed exhibition Kay WalkingStick / Hudson River School, which places her work in a fascinating dialogue with 19th-century Hudson River School paintings and explores the relationship between Indigenous art and American art history. They’ll discuss WalkingStick’s remarkable career, her recent invitation to the Venice Biennale, and her decades of work reimagining and reframing the American landscape.Kay WalkingStick / Hudson River SchoolOn view through April 14Kay WalkingStick / Hudson River School places landscape paintings by the renowned, contemporary Cherokee artist Kay WalkingStick in conversation with highlights from New-York Historical’s collection of 19th-century Hudson River School paintings. This artistic dialogue showcases the ways in which WalkingStick’s work both connects to and diverges from the Hudson River School tradition and explores the agency of art in shaping humankind’s relationship to the land. The exhibition celebrates a shared reverence for nature while engaging crucial questions about land dispossession and its reclamation by Indigenous peoples and nations and exploring the relationship between Indigenous art and American art history.Women’s WorkOn view through July 7Presented by the Center for Women’s History, Women’s Workshowcases approximately 45 objects from New-York Historical’s own Museum and Library collections to demonstrate how “women’s work” defies categorization. The items range from a 19th-century mahogany cradle to a 20th-century doctor’s dissection kit to a pinback button with the message “Shirley Chisholm for President.” The exhibition seeks to demonstrate that women’s work has been essential to American society and is inherently political: Women’s work is everywhere.

Women Who Preserved New York CityOn view through June 9This installation explores how three women—Shirley Hayes, Margot Gayle, and Joan Maynard—galvanized communities to save historic buildings and places. Each subverted gendered expectations that limited them to the domestic realm and instead led campaigns to protect the historic cityscape.Serving Style: Ted Tinling, Designer for the Tennis StarsOn view through June 23Our installation turns a spotlight on the designer who made many of Billie Jean King’s iconic looks. King and Tinling had a tremendous influence on the visibility of women on the tennis court. King’s tenacity and commitment for equal rights, together with Tinling’s bold designs, challenged conventions about what women can do, emphasizing that women can be simultaneously powerful, strong, and feminine.

On and Off the Clock: Reconsidering Women’s WorkSunday, March 3, 12—5 pm ET$4; Free for Women’s History Council MembersThe ninth annual Diane and Adam E. Max Conference on Women’s History will center on exploring how we understand “care.” Across three linked panels, we probe what “care” means, who does the work of caring, and what services get pushed to the margins by our current social policy framework. The conference will culminate with a keynote conversation on reproductive care. Reception to follow.

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Events for March

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St. Patrick’s Day, Women’s History Month, a Harlem Renaissance exhibit at the Met with160 works by Black artists. Beatrix Potter: Drawn to Nature,at The Morgan Library & Museum through 6/9. The Orchid show continues until 4/21 at the Enid A. Haupt Conservatory at the New York Botanical Garden in the Bronx. Florals in Fashion highlights the work of designers Hilary Taymour (Collina Strada), Olivia Cheng (Dauphinette) and Kristen Alpaugh, aka FLWR PSTL Also Alicia Keys and Swizz Beatz’s “Giants,”is at the Brooklyn Museum until 7/7. The exhibition features artists who have made and continue to make a significant impact on the art world and contemporary culture. The show features 98 artworks by Black American, African, and African artists including Gordon Parks, Kehinde Wiley, Jean-Michel Basquiat, Mickalene Thomas, Hassan Hajjaj, Barkley L. Hendricks, Lorna Simpson, and Amy Sherald.

3/1 -3: The Vienna Philharmonic one of the world’s most celebrated orchestras, takes center stage at Carnegie Hall.

3/3 -5: Coffee Fest NY Javits.

3/3 -5: International Beauty Show Javits.

3/6 – 10: The New Colossus Festival provides a platform for new artists, including international bands making their NYC debuts. The festival will take place across multiple venues mostly spread throughout the Lower East Side and the East Village, including Bowery Electric, Mercury Lounge, Berlin, Heaven Can Wait, and others. This year’s artists include Cucamaras (UK), Ducks LTD (Canada), Heffner (US), Holiday Ghosts (UK), Hotel Lux (UK), Housewife (Canada), and more. You can check out the full lineup and schedule of events here.

3/8: International Women’s Day 

Steven Reineke by Michael Tammaro, Bryan Terrell Clark by Asher Angeles, Valisia LeKae by Antonio Navas

3/15: The New York Pops Hitsville: Celebrating Motown

3/1 -17: The Annual Flamenco Festival with 22 performances across 13 different venues all over the city.

3/1 -17: The New York International Children’s Film FestivalHappy St. Patricks Day
3/17: Join in on the 263rd celebration of the St. Patrick’s Day Parade in NYC. The parade kicks off at 11am, moving along Fifth Avenue from 44th Street to 82nd Street. This year’s grand marshal, Maggie Timoney, president and CEO of Heineken USA, is only the fifth woman to lead the parade since its inception.

3/20 -24: Affordable Art Fair with over 400 living artists to discover you are sure to find your next perfect artwork.

3/23 – 11/: JAPAN Fes, in Manhattan, Brooklyn, and Queens. This is the largest Japanese food festival in the world, with over 1,000 vendors.

The Macy Flower Show

3/24 – 4/7: The Annual Macy’s Flower Show created in partnership with Dior.

3/26 – 10/2: Apollo: When We Went to the Moon at The Intrepid Museum. The exhibit is included with museum admission.

3/29 – 4/7: The International Auto Show at the Javitts.

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Events For February

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There is still the Bryant Park Winter Village’s iconic bumper cars, two Broadway tickets for the price of one and restaurant week end February 4th. Heated Igloos, ice skating goes high on the Edge’s sky deck. Winter markets are still open in February. Don’t miss out on some of the best cultural events of the year during Black History Month after free Fridays make it affordable.

2/2: Celebrate the Birthday of Grand Central Station

2/2-4: New York’s iconic vintage show Manhattan Vintage over 90 dealers

2/9: The New York Pops

2/9-11: New York Fashion Week all over NYC

2/9: National Pizza Day

2/11: Experience The Super Bowl Hype The Empire Rooftop Lounge. Participate in a whole host of contests, delicious menu items available to order and drink specials, this is the perfect way for keen and casual fans alike to relax and have fun on the big night!

2/10: Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys. The exhibition will feature more than 100 major artworks by important Black American, African, and African diasporic artists including Gordon Parks, Kehinde Wiley, Hassan Hajjaj, Barkley L. Hendricks, Lorna Simpson, and Amy Sherald. Brooklyn Museum.

2/17: The 21st annual Orchid Show at the New York Botanical Garden 

2/23: Beatrix Potter: Drawn to Nature at the Morgan Library & Museum will celebrate the works of beloved English author Beatrix Potter.

2/25: Chinatown’s annual Lunar (Chinese) New Year Parade with dragon dancing, stunning outfits, martial art performers and more. Head to Chinatown for the Lunar New Year Parade, which celebrates the year of the dragon. Bayard Street between Mott and Mulberry Streets.

2/25: The Metropolitan Museum of Art  “The Harlem Renaissance and Transatlantic Modernism,” the exhibit will present 160 works exploring how Black artists portrayed everyday modern life in the new Black cities that took shape in the 1920s-40s in New York City’s Harlem, Chicago’s South Side and nationwide amid the Great Migration.

New York City Marathon

2/25: Central Park Half Marathon

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