Civil War Fort Montgomery Needs Preservation

admin

According to an editorial in the Plattsburgh Press Republican this week, Fort Montgomery &#8211 not the Hudson River American Revolution fort, but the Lake Champlain (mostly) American Civil War one in Rouses Point &#8211 is in ruins, the victim of nothing less then neglect.


According to the Press Republican:

In April 1980, a huge portion of the northwest bastion collapsed into the moat, and cracks in the rest of the structure have raised concerns that a similar fate awaits the rest of the fort.


And there are other obstacles. Liability is an acute concern, as the unstable structure has long been used as a party spot for teens. Also, the location is surrounded by environmentally sensitive wetlands.


But the potential as a historic landmark and tourist destination &#8212- accessible by car, bus or boat &#8212- is undeniable. In fact, it can be seen by the preservation of a similar landmark, Fort Lennox, just a 20-minute drive upriver in Isle aux Noir, Quebec.

It took hundreds of stonemasons thirty years to build (1844 and 1871), according to the great Wiki:

Named for Revolutionary War hero General Richard Montgomery who was killed at Quebec City during the 1775 invasion of Canada, construction began on Fort Montgomery two years later in 1844. Fort Montgomery was one of a very few &#8220Permanent&#8221 or &#8220Third System&#8221 forts built along the Northern Frontier, most being constructed along the Atlantic Coast. Work on the fort remained almost continuous through 1870, with the peak of construction taking a frenzied pace during the American Civil War, amidst rumors of possible British intervention against the Union from Canada. These fears were actually proven to be not that far fetched when the Confederate led St. Albans Raid, the northernmost action of the Civil War, took place in nearby Vermont in 1864 involving an incursion by the enemy from Canada.

In 1926 the United States Government sold Fort Montgomery along with its adjacent Military Reservation at public auction. During the period of disuse which followed, as had also happened with the abandoned 1816 fortification, many locals visited the fort, carting off untold amounts of lumber, bricks, windows, and doors for use in their homes and other buildings. Ultimately the majority of the fort, aside from the gutted westward facing officer’s quarters, a small portion of the southern wall and 3 bastions, (2 of which remain today) was demolished in 1936-1937. Its massive stones were crushed and dumped into the lake for fill to construct a nearby bridge between Rouses Point, New York and Alburg, Vermont. After a number of private owners, the property was sold to Victor Podd, Sr. who constructed the headquarters of the Powertex Corporation on the adjacent &#8220Commons&#8221 to the west of the fort. Island Point, the actual fort site, was left untouched. During the mid-1980s Podd worked with local historical societies to have the State of New York purchase the property with a view toward possible restoration of the site. Despite being offered the fort at no cost, negotiations were unsuccessful and the State declined to accept the property. Since May 2006 Podds’ heirs have attempted to sell the fort on eBay. The first auction ended on June 5, 2006, with a winning bid of $5,000,310. However, the sale was not completed, and the fort and lands surrounding it remain for sale.

There are current concerns among local preservationists that what remains of the fort today is in danger of a catastrophic structural collapse. This is in part due to the removal of iron reinforcing rods, emplaced around 1886, which were likely cut out for their scrap value during the wartime scrap metal drives of World War 2. These rods were originally devised to brace up and support the massive weight of the fort’s detached outer wall face, a defensive element of the fort’s construction which later proved over time to be a structural flaw. Previously a third remaining bastion on the northern side of the fort suffered a similar collapse and was completely destroyed in 1980, mostly falling into the moat.

Thanks in part to a National Register of Historic Places listing in 1977, the fort is often confused with &#8220Fort Blunder,&#8221 for which construction began in 1816. Thanks to a surveyor error, it was discovered that this first fort had been accidentally built on the Canadian side of the border and the site was abandoned. Materials from the fort were taken by locals for local building projects. It was never officially named.

Upstate History Alliance Online Courses

admin

The Upstate History Alliance has announced a spring series of Collections Care & Preservation online courses:

Conservation and Preservation of Photographs and Albums (with Gary Albright)
October 27, 2008- November 21, 2008
This course will first provide an overview of factors effecting the preservation and care of photographs. The various photographic processes will be reviewed and techniques for identifying each photographic process will be supplied. Appropriate handling and storage materials, as well as sources for supplies will be covered. The course will also address the issue of when the original format or album format can be maintained or when re-housing should be considered.

Basic Preservation, Care & Handling of Paper Based Materials (with Michele Phillips)
November 24, 2008-December 19, 2008
This course will provide an introduction to the factors effecting the preservation and care of paper-based materials. Participants will then learn about appropriate techniques for handling and storing collection materials and recomment sources for supplies. Instruction in basic conservation techniques for surface cleaning and mending paper-based materials will be provided

Climate Control for Small Institutions (with Michele Phillips)
January 5, 2009-January 30, 2009
This course will allow participants to explore the issues that need to be considered when planning for climate controls including monitoring, testing, environmental analysis assessments, long-range planning, systems design, construction support, and operations training. Low cost-low tech solutions will be offered and discussed, providing participants with the background knowledge to assist them in making informed decisions that can be implemented at their own institutions

Introduction to Reformatting (with Toya Dubin)
February 2, 2009-February 27, 2009
This course will provide participants with current, essential information for those who are responsible for the management of paper-based, photographic, audio, and video collections that are seeking to create, manage, and preserve digital assets. Participants completing this course will be better equipped to make informed choices regarding management of their digital projects/programs.

The cost to participate in a 4-week online course is $45 for UHA members, $60 for non-members. Or you can sign up to participate in a series of all four, beginning with Conservation & Preservation of Photographs on October 27, 2008 and ending with Introduction to Reformatting which begins on Feburary 2, 2009. The cost to participate in the complete series is $150 for UHA members, $200 for non-members.

NY Historian Discusses Climate Change

admin

Steven Leibo, Ph.D., Professor of International History and Politics at the Sage Colleges in Albany offered an interesting piece last week on his experience with Al Gore’s climate change initiative at the History News Network. &#8220Historians & the Climate Crisis&#8221 considers how and why historians should interact with the issue of climate change:

In my own case, once I had become comfortable with the science of contemporary climate change, I began to reflect not just on humanity’s future as climate change becomes more and more obvious but on how it has played out in the past. And even more importantly in what specific ways we professional historians can contribute to this newest and historically profound challenge that faces humanity.

The core question of course is what our current climate challenge has to do with the profession of historian. Human-made climate change is after all a problem more of the present and future rather than the historical material we so often focus on. But from the perspective of at least this historian such an attitude could not be more incorrect. Historians have an enormous role to play in this great challenge.

I am of course, one of those historians who thinks that a good knowledge of the past does an excellent job in helping one understand the present and even to make reasonably educated guesses about the future. But that is not the core issue. Our relationship with the natural environment has been one of the most important factors in human history. True, for a time professional historians rejected the sort of environmental determinism which once so intrigued scholars. But to suggest climate is not profoundly important is to misrepresent much of the historical record.

Check out the full piece here.

SAGE Publications Offers Free Access to Journals

admin

SAGE Publications is offering free trial access to their online journals through October 31 by going to this page and registering. The free trail include, among a lot of others, the following titles which historians in and of New York might find interesting:

Accounting History
Crime, Media, Culture
Critique of Anthropology
Cultural Geographies
Feminist Criminology
Feminist Theory
Games and Culture
History of Psychiatry
History of the Human Sciences
Journal of Consumer Culture
Journal of Contemporary Ethnography
Journal of Contemporary History
Journal of Family History
Journal of Material Culture
Journal of Peace Research
Journal of Planning History
Journal of Social Archaeology
Journal of Urban History
Labor Studies Journal
Law, Culture and the Humanities
Media, Culture & Society
Media, War & Conflict
New Media & Society
Race & Class
Studies in History
Television & New Media
Theory, Culture & Society
War in History

Aircraft Carrier Intrepid Returns to Pier 86

admin

The aircraft carrier USS Intrepid returned home to Manhattan last week. The Intrepid Sea, Air & Space Museum’s grand re-opening celebration will be held on Veterans Day, November 11, 2008. Intrepid left her berth at Staten Island’s Homeport Pier on October 2, and was moved north to the brand new Pier 86 following a 22-month overhaul (NYT).

According to Newsday:

Bill White, president of the Intrepid Sea, Air & Space Museum, said the museum has paid $10 million to dredge more Hudson River mud &#8211 more than 90,000 cubic yards &#8211 than was done for the first unsuccessful attempt to move the 900-foot-long ship to a New Jersey dry dock. And for good measure, the ship’s four 16-ton, bronze, 22-foot-diameter propellers have been permanently removed so they can no longer serve as unwanted anchors. &#8220I am 100 percent confident she will come back in with no problems,&#8221 White said.

The ship reopens to the general the public after a private event Nov. 8 at Pier 86, at 12th Avenue and West 46th Street. After an expenditure of almost $120 million since the carrier was finally relocated in December 2006, visitors will see new exhibits, areas of the 29,000-ton ship launched in 1943 that were formerly off limits during its first 23 years on display and additional historic aircraft and they have access from a newly built pier topped by a free park.

The 2008 Veterans Day Parade has been rerouted west across 42nd Street, and north up 12th Avenue, with the parade passing the Intrepid Museum. 5,000 of the parade’s veterans will take part in the Museum’s grand re-opening celebration.

While in Staten Island, Intrepid will undergo the next phase of her refurbishment, and receive an $8 million interior renovation. Of that, $4.5 million has been privately raised – $3.5 million is yet to be procured. Never-before-seen areas of the ship including to the focasle (commonly known as the anchor chain room), general berthing quarters and the ship’s machine shop will be opened to the public for the first time. The hangar deck will feature a new layout and design including new interactive exhibits.

NYS Military Museum Abandons Oral History Project

admin

The Albany Times Union is reporting that the New York State Veterans Oral History Project is being abandoned by the leaders of the New York State Military History Museum and Veterans Research Center (which is run by the NYS Division of Military and Naval Affairs).

The man who had been running the oral history program from the basement of the Military Museum in Saratoga Springs, Michael Russert (cousin of the late broadcaster Tim Russert), retired at the end of June after having recorded nearly 1,500 interviews over the past eight years. His equipment was sold at a loss on eBay and the program’s space has been cleared out:

The state let it go for $1,200 without consulting staff after buying it for $14,000, Russert said.

&#8220I was really crushed when I found the studio was going on eBay,&#8221 said Russert, a retired teacher who lives in Cambridge. &#8220They looked at it as a waste of space, and that always bothered me because it was a very valuable program for the museum.&#8221

The collection now contains 1,595 interviews, including talks with three World War I vets and three Medal of Honor recipients. The project aims to capture firsthand stories of veterans and make them accessible to historians and to the public.

The state Office of General Services sold the studio for the museum because it occupied prime exhibit space, museum Director Michael Aikey said. He wouldn’t say how much it was sold for, and an inquiry to OGS went unanswered&#8230-

The state is not rehiring for Russert’s position, said Lt. Col. Richard Goldenberg, a spokesman for the state Division of Military and Naval Affairs.

Wayne Clark, the program’s videographer, has taken on an expanded role that includes identifying vets, coordinating meetings, doing interviews and publicizing the program&#8230-

The lack of manpower is slowing the archiving of stories from the state’s veterans at a time when many World War II vets die every day and New York service members are returning from Iraq and Afghanistan, Russert says.

The Military Museum is located on the web here, and the Veteran’s Oral History Program is located here. Neither sites have been updated recently (some stuff there dates from 2006, and there are currently no events scheduled for the museum). The museum has been closed for the past month while the heavy wooden doors on the building’s front entrance were replaced with new glass doors.

Ellis Island to Include Native Americans, African Slaves

admin

The Associated Press is reporting that the Ellis Island Immigration Museum is creating The Peopling of America Center to tell the history of those who arrived in America outside the traditional peak immigration dates of 1892 to 1954:

Exhibits will focus on the arrival of Native Americans, who are believed to have migrated to North America more than 10,000 years ago across the Bering Sea from Asia- Europeans who landed on the Eastern seaboard from the 1600s through 1892- Africans brought here forcibly by slave traders- and today’s immigrants from all over the globe&#8230-

The $20 million, 20,000-square-foot space, designed by Edwin Schlossberg of ESI Design, will be located in an existing gallery that will be redesigned and in an adjoining building that now houses the curatorial staff&#8230-

Work on the new center began in September. Funding has been underwritten in part by Bank of America and the Annenberg Foundation. Briganti said the foundation has attained more than 75 percent of its fundraising goal.

Upon its completion in 2011, the museum will be renamed Ellis Island: The National Museum of Immigration.

NYPL Acquires Papers of Theatrical Legends

admin

The New York Public Library for the Performing Arts at Lincoln Center has acquired the papers of renowned performers and acting teachers Uta Hagen and Herbert Berghof. The collection consists of thousands of pages of unpublished correspondence, diaries, scripts and manuscripts, photographs, clippings and other documentation relating to the dynamic theatrical careers of both Hagen and Berghof. This collection of professional and personal papers, spanning nearly 100 years of theater history, is being made public for the first time. To celebrate the bequest, the Library is planning a series of eight free public programs featuring many close friends and colleagues of Ms. Hagen and Mr. Berghof’s including such figures as Harold Prince, Edward Albee, David Hyde Pierce and Eli Wallach.

The collection consists of 99 boxes of papers totaling 49 linear feet and provides in-depth insight about Ms. Hagen and Mr. Berghof’s personal life, their working processes in various theater productions, and their renowned acting school HB Studio, and includes correspondence from esteemed personalities such as Katharine Hepburn, Tennessee Williams, Jose Ferrer, David O. Selznik and Thornton Wilder.

Ms. Hagen’s papers include correspondence to and from her family, as well as other Hagen family papers. Her letters to her father Oskar Hagen – whom she playfully refers to many times as “papalop” – reveals new details of her personal and professional life. Of particular interest are various letters mentioning segregation during the Othello tour (1943-1945) with Paul Robeson and her then-husband, Jose Ferrer, and her diaries and notebooks which detail character studies for many of her roles. A notebook Hagen kept during rehearsals of Who’s Afraid of Virginia Woolf? is overrun with a range of notes and observations regarding character motivation and psychology. In one section, she writes: &#8220Attacking George for being a failure all the time. Motive- ashamed of his dependence on my father&#8230-.aware of his subservience.&#8221

Mr. Berghof’s papers document the many productions which he performed in, directed, adapted, translated, or developed. The productions and projects span his entire career from the late 1920s to his final project in 1990. Included are materials and correspondence with Samuel Beckett regarding Waiting for Godot.

The collection, entitled the “Uta Hagen/Herbert Berghof Papers” was bequeathed by Uta Hagen to the Billy Rose Theatre Division in 2007. It will be housed in the Billy Rose Theatre Division of The New York Public Library for the Performing Arts at Lincoln Center.

A tour de force in the theater world for over seven decades, Uta Hagen’s numerous leading roles included Martha in the original Broadway production of Who’s Afraid of Virginia Woolf? in 1962 (for which she won a Tony Award), Desdemona opposite Paul Robeson’s Othello, and Blanche DuBois opposite Marlon Brando in A Streetcar Named Desire. She taught at the tremendously influential acting school HB Studio, where her students included Matthew Broderick, Robert DeNiro, Liza Minnelli, Al Pacino, Amanda Peet, and Jason Robards. Ms. Hagen married its founder, the actor, director and writer Herbert Berghof in 1957.

Mr. Berghof, who died in 1990, remains one of the most revered acting coaches in theater history. During the years he presided over HB Studio, the roster of alumni included – in addition to the ones mentioned above – actors such as Anne Bancroft, Geraldine Page, and Fritz Weaver. Mr. Berghof also had immense success outside of the school, and garnered much praise for directing the American premiere on Broadway of Samuel Beckett’s Waiting for Godot in 1956 and the first all-Black cast version of the play in 1957.

Free Public Programs for Uta Hagen/Herbert Berghof Papers will take place in the Bruno Walter Auditorium in The New York Public Library for the Performing Arts at Lincoln Center located at 111 Amsterdam Avenue (between 64th and 65th streets). Admission to all programs is free and first come, first served. For information, please call (212) 642-0142 or visit www.nypl.org/lpaprograms. Programs are curated by Alan Pally, Manager of Public Programs at the Library for the Performing Arts.

Expanded Brooklyn Children’s Museum Reopens

admin

The Brooklyn Children’s Museum reopened Saturday after a year-long closure for an expansion and redesign. According to the New York Times:

The museum doubled the size of its city-owned building — with $48 million in city money and $32 million raised by the museum — to 102,000 square feet. As Robin Pogrebin reported in The Times in February, the project struggled through financial hardships. The museum itself lacked a strong physical identity, because most of its space has been underground since a 1977 design by Hardy Holzman Pfeiffer Associates created two lower levels. The greatly enlarged museum now hopes to improve its annual visitor total to 400,000 by 2010, from about 250,000 before the museum closed last September for the final stage of the renovation.

A pioneer in education, the Brooklyn Children’s Museum was the first museum created expressly for children when it was founded in 1899. Its success has sparked the creation of 300 children’s museums around the world. It is the only children’s museum in New York City, and one of few in the country, to be accredited by the American Association of Museums. The Museum encourages children to develop an understanding of and respect for themselves, others and the world around them by exploring cultures, the arts, science, and the environment.

The just-completed expansion features eco-friendly design in hopes of attaining LEED certification &#8211 it’s said to be the first &#8220green&#8221 museum in New York City. In keeping with the Museum’s commitment to preserve and protect the world’s natural resources, it uses environmentally advanced, sustainable, renewable and/or recyclable materials and systems in the building’s design and construction.

Brooklyn Children’s Museum is one of the few children’s museums in the world with a permanent collection, including nearly 30,000 cultural objects and natural-history specimens. The cultural collection contains both ancient and present-day objects, including musical instruments, sculpture, masks, body adornments, and dolls, as well as everyday household and personal items. The natural-history collection contains rocks, minerals, and fossils, as well as mounted birds, mammals, insects, and skeletons (highlights include the complete skeleton of an Asian elephant, dinosaur footprints, and a whale rib).

For years, much of the collection has been inaccessible to the public simply because of space limitations. Now, an expanded collection study area allows the Museum to display more of the collection and to offer more hands-on activities—so children learn by touching as well as by looking.