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Joshua Ruff

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Executive Director of the Long Island Museum, Neil Watson (center) with his successors, Joshua Ruff (left) and Sarah Abruzzi (right) on the grounds of the LIM in front of the sculpture by Hans Van de Bovenkamp, “Montauk Sun & Moon,” 1986. Photo by Kristin Cuomo
Deputy Directors Sarah Abruzzi and Joshua Ruff named as successors

The Long Island Museum (LIM) in Stony Brook a Smithsonian affiliate dedicated to American history and art with a Long Island connection, announced May 5 that Executive Director, Neil Watson, will retire in October of 2022. During his nine years of dedicated leadership to the LIM, Watson introduced visitors to award winning exhibitions and educational programs, increased Museum membership, and enhanced musical programs. Along with Watson’s retirement, the LIM’s Board of Trustees also announced that the LIM’s current Deputy Directors, Sarah Abruzzi and Joshua Ruff will succeed Watson as Co-Executive Directors of the LIM.

“Neil Watson’s contributions to the Long Island Museum have been beyond measure,” said Thomas M. Sullivan, the LIM’s Board of Trustees Chair. “His leadership and vision transformed the Museum into a more dynamic and representative reflection of our history and art. By assembling a fantastic group of talented people who shared his vision for how the museum serves the community, it is without question that Neil Watson had a transformative impact on the Long Island Museum.”

Since 2013, under Watson’s distinguished leadership, the LIM reopened the History Museum, initiated a new outdoor sculpture program and partnered with local organizations, such as the Sunday Street singer/songwriter series and North Shore Pro Musica, to bring a chamber music series to the community. During Watson’s tenure, the Museum’s annual operating budget has grown to nearly 3 million dollars and the Museum’s Endowment funds have doubled to over 40 million dollars. He also created a new level of membership to enhance and support the rich artistic talent on Long Island, entitled LIMarts: A Collaborative Arts Group, which currently has over 125 active artist members and offers the opportunity and space for the exhibition and sale of artwork.

“Retirement is never an easy decision, but it is even more difficult when you love what you do,” said Watson. “Here at LIM we are all dedicated to the idea that a museum can tell stories about who we are, through art, craft, history, music, and film. I could not be prouder of our accomplishments over the past nine years. Part of a director’s job is to imagine the future, and I felt strongly that we had two people in place who had the vision to take on the dual leadership model. Creative solutions make for creative outcomes, and the LIM culture is about trust, respect, and innovative thinking. I’m thankful to the Board, who were open to implementing a different model of museum leadership. I have the utmost confidence that Sarah and Joshua will bring their enthusiasm and expertise to guide the Museum into the next phase. As I take my exit, I can only thank them, the Board of Trustees, the gifted staff, and the community for giving me the most fulfilling years of my career.”

Sarah Abruzzi is an accomplished executive and fundraising professional with over 20 years of experience in the non-profit sector. Throughout her career, she has worked in all aspects of museum operations, including education, interpretation, collections management, volunteer coordination, fundraising, finance, HR, communications, and government relations.

Abruzzi grew up in Port Jefferson and remembers with great fondness her childhood visits to the LIM with her family. She first worked at the LIM in the late 2000s before spending eight years outside of the museum field serving as the lead fundraiser for Dr. Richard Leakey’s Kenya-based human origins research project at Stony Brook University. Abruzzi jumped at the chance to return to the LIM in 2017 as Director of Major Gifts and Special Projects. Abruzzi’s amiable management style and thoughtful approach to leadership paved the way for her promotion to Deputy Director/Director of Advancement & External Affairs in February 2019. Additionally, she previously served as Director of Raynham Hall Museum in Oyster Bay,  and The Three Village Historical Society in Setauket.

Entering his 25th year at the LIM, including the last three as a Deputy Director and the last nine as the Director of Collections & Interpretation, managing both the Curatorial and Education departments, Joshua Ruff has a proven track record of strong leadership, excellence, and versatility as well as years of expertise in all facets of museum operations.

A lifelong resident of New York State, he is a graduate of Syracuse University with BAs in Broadcast Journalism and in History, and Stony Brook University with a MA in History. After curating or co-curating nearly 70 exhibitions of a variety of scale and scope and many publications, Ruff is a recognized scholar of Long Island art and history, two crucial components of the Museum’s mission. In addition to co-authoring several books and exhibition catalogs, his articles have appeared in publications including the Magazine Antiques; American Art Review; New York Archives Magazine; and American History magazine. Beyond his work at the Long Island Museum, Ruff has served in a variety of service capacities for outside organizations, including as Grant Reviewer for NYSCA’s Museum Program (2015-2018) and as an incoming member of the Board of Directors for the Museum Association of New York (2022-2025).

“Neil Watson has been such a dynamic and collaborative leader for this museum, and we have learned and gained so much from him. We will miss him,” said Joshua Ruff,  Deputy Director and Director of Collections & Interpretation at the LIM.  “Sarah and I are thankful to the Board for this leadership opportunity and we are really excited for this new chapter. We’ll work hard with all our talented colleagues to take the LIM to new and exciting achievements,” Ruff continued.

“Neil’s humility and humor have helped shape the LIM into the treasured community resource it is today,” said Sarah Abruzzi, Deputy Director and Director of Advancement & External Affairs. “Josh and I are honored to be a special part of Neil’s legacy and look forward to continuing his tradition of honest, inclusive, and transparent leadership in service of the Museum, our colleagues, and the community we all care so deeply about.”

The new organizational structure builds upon the strong and collaborative work environment that Watson cultivated at the LIM during his tenure. Over the past several years, the three have worked closely with the rest of the LIM’s talented Senior Staff to create a culture of equability and opportunity among the entire LIM staff of 39 people. Watson’s visionary plan of streamlining LIM’s work flow into two main areas will take place in October with Ruff responsible for Collections and Programming, and Abruzzi responsible for Operations.

“I can’t stress enough how supportive and instrumental Neil was to the expansion of the LIM’s Education Department,” said Lisa Unander, Director of Education at the Long Island Museum since 2013 and at the Museum for the past 16 years.

“His unique non-hierarchical and highly creative approach can be credited for how the LIM has been able to push the boundaries of our programs and become the even more inclusive community centered organization it is today. It won’t be the same without him, but he has instilled a welcoming, positive and vibrant workplace culture that I know Sarah and Joshua will continue to build upon as they continue the museum’s mission,” Unander continued.

Exhibitions during Watson’s career at the LIM include the groundbreaking Long Road to Freedom: Surviving Slavery on Long Island, the first major museum project to examine slavery from a Long Island regional historical perspective, Walt Whitman’s Arcadia: Long Island Through the Eyes of a Poet & Painters to mark the American bard’s 200th Birthday, and Fire & Form: New Directions in Glass, a visually striking exhibition featuring more than 50 works from nine contemporary artists.

Watson is known for his community engagement and charismatic style, and while serving as the Executive Director of the Katonah Museum of Art for nearly eight years, he also served on the Board of the Katonah Chamber of Commerce, as well as the Board of Arts Westchester, and as a museum panelist for the New York State Council for the Arts (NYSCA). Prior to joining the LIM, Watson was the former Chief Curator of the Museum of Glass in Tacoma, Washington and the former Curator of Contemporary Art at the Norton Museum of Art in West Palm Beach, FL.

About the Long Island Museum

Located at 1200 Route 25A in Stony Brook, the Long Island Museum is a Smithsonian Affiliate dedicated to enhancing the lives of adults and children with an understanding of Long Island’s rich history and diverse cultures. Regular museum hours are Thursday through Sunday from noon to 5 p.m. Admission is $10 for adults, $7 for seniors, and $5 for students 6 -17 and college students with I.D. Children under six are admitted for free. For more information visit longislandmuseum.org.

 

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Milinda Abeykoon, lead beamline scientist at Pair Distribution Function Beamline, NSLS-II, aligning a sample holder for high-speed measurements, 2019. Photo courtesy of BNL

By Melissa Arnold

Over the past 75 years, Brookhaven National Lab (BNL) in Upton has become an international hub for innovative research and problem-solving. Their hard work has led to advancements in energy, medicine, physics and more, as well as seven Nobel Prizes.

A scientist at a fast neutron chopper at the Brookhaven Graphite Research Reactor (BGRR), 1953. Photo courtesy of BNL

This year, the Long Island Museum in Stony Brook will celebrate the lab’s myriad achievements and explore their deep roots in the area. The new exhibit, titled Atoms to Cosmos: The Story of Brookhaven National Laboratory, opens April 21.

BNL and the Long Island Museum started working on ideas for a future exhibition back in 2018 with plans to open in April of 2020. But as with other museums, the pandemic led to a halt in operations.

In some ways, the rescheduled timing of the exhibit is better than their initial plans.

“While the exhibition was temporarily shelved, both the lab and the museum wanted very much to still make it happen. We had done so much work in advance and preparation for it in 2020, and so we really wanted to get back to this opportunity,” said Joshua Ruff, Deputy Director and Director of Collections and Interpretation for the Long Island Museum. “We are especially pleased we were able to do it now, as it fits nicely with the lab’s 75th anniversary celebration.”

Brookhaven National Laboratory was founded in 1947 at the former site of the U.S. Army’s Camp Upton, becoming the first large research facility in the Northeast. At the time, they were exploring peaceful ways to utilize atomic energy. 

“The BNL site has been in federal ownership since 1917 when it became the location of Camp Upton. Before that, the site was used for the cordwood industry and there was a small farm near the eastern edge of what is now the lab,” explained Timothy Green, BNL’s Environmental Compliance Section manager. “After World War I, all of the buildings were sold at auction and the site sat empty until around 1934, when it was declared the Upton National Forest and the Civilian Conservation Corps started planting trees. At the end of World War II [and a second period as Camp Upton], the land was transferred to the Atomic Energy Commission and became Brookhaven National Laboratory.”

It took some time for local residents to adjust to having a laboratory in the area, Ruff said.

A Positron Emission Tomography Halo Scanner/Detector.
Photo courtesy of BNL

“The lab has often been misunderstood in its past, in fact from its origins. Many Suffolk County residents were not entirely sure that atomic research was safe, nor did they fully understand the relevance and significance [of that research] to their lives,” he explained. “The lab devoted years of hard work and financial resources to strengthen public dialogue and communication, which the exhibition details.”

Today, the lab employs almost 3,000 people and spans 5,320 acres.

The exhibit is co-curated by Joshua Ruff and Long Island Museum curator Jonathan Olly. They’ve included more than 140 items that showcase the lab’s growth and varied discoveries from the 1950s to the present day. The Smithsonian Museum of American History in Washington is lending four of the objects, including a 1,000-pound, 94-inch square magnet lamina from the Cosmotron, BNL’s first major particle accelerator. 

Another 40 objects are coming directly from the lab. Their contribution includes equipment from their facilities, personal belongings of former director Maurice Goldhaber, and “Atoms for Peace,” a famous painting that came to symbolize the lab’s work in its early years.

“A lot of the scientific research at BNL over the years has involved [developing] and testing cutting edge technologies. When these machines are no longer useful they’re usually recycled. Fortunately we do have two examples in the exhibition of early PET (Positron Emission Tomography) scanners, one from 1961 and another from 1981,” Olly said. “In the case of these early machines, the focus was on the brain — the machines used radiation sensors arranged in a ring to produce a picture of a slice of your brain. Brookhaven scientists have used this PET technology (specifically the PETT VI scanner in the exhibition) in studying drug and alcohol addiction, eating disorders, ADHD, aging, and neurodegenerative disorders. The 1961 version is a prototype that was never used on patients.”

Also on view are an original chalkboard from the Graphite Research Reactor that still has writing on it; a 7-foot window from a bubble chamber that helped track the paths of atomic particles; and a detector that aided BNL chemist Raymond Davis Jr. in his Nobel Prize-winning neutrino research. 

Recently, the lab was a part of the ongoing effort to study and contain COVID-19. The exhibit will include a model of the virus, with the familiar spiky shape that’s become commonplace since the pandemic began.

“Scientists at the lab’s National Synchrotron Light Source II worked on imaging the virus and the proteins … that allowed it to attach to human cells. At the same time, BNL computer scientists began developing algorithms to evaluate existing chemicals and drugs that could potentially prevent infection. One past experiment by [BNL biophysicist] William Studier, the T7 expression system, ended up being critical to the rapid development of two of the vaccines,” Green said.

Both the Long Island Museum and BNL staff hope that visitors to the exhibit come away with a deeper interest in science and an appreciation for the lab’s work.

“There are 17 national laboratories scattered throughout the United States, and Long Islanders can be proud to have one in their backyard. Long Island children have been inspired to pursue careers in science as a result of attending educational programs at the lab during public visitor days dating back to the 1950s. And the lab is invested in addressing our real-world problems, whether the dangers posed by DDT on Long Island in the 1960s or COVID now. This summer BNL should be resuming their “Summer Sundays” visitor program, and I encourage everyone to visit the lab, walk around, talk to staff, and get a glimpse of our scientific present and future,” Olly said.

Atoms to Cosmos: The Story of Brookhaven National Lab is on view now through Oct. 16 in the Long Island Museum’s History Museum and Visitor Center’s Main Gallery, 1200 Rt. 25A, Stony Brook. Regular museum hours are Thursday through Sunday from noon to 5 p.m. Masks are required at this time, though health and safety guidelines are subject to change Admission is $10 for adults, $7 for seniors, and $5 for students 6 to 17 and college students with I.D. Children under six are admitted for free. Tickets are available at the door; pre-registration is not required. For more information visit longislandmuseum.org or call 631-751-0066. 

Learn more about Brookhaven National Lab at www.BNL.gov.

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'Sagaponack' by Cecile Gray Bazelon will be on view at the museum through Sept. 4. Image from LIM
‘Roses’ by Jane Freilicher

The Long Island Museum (LIM) has announced it will reopen to the public on March 3, 2022 after a seasonal closure. The museum will invite visitors to explore two new exhibitions, Two Centuries of Long Island Women Artists, 1800-2000 and The 23rd annual Colors of Long Island Student Art Exhibition.

Two Centuries of Long Island Women Artists, 1800-2000, on view from March 3 to Sept. 4, is an exhibition that aims to provide a survey of the history of women artists on Long Island, exploring and emphasizing their significance, which has reverberated far beyond this region. 

Visiting Curator and Assistant Director at Questroyal Fine Art, Inc. Nina Sangimino, along with LIM Curators, Joshua Ruff and Jonathan Olly, took part in this project that draws from LIM’s own collection, private collections, and the collections of museums that include the Parrish Museum of Art, the Heckscher Museum of Art, and Guild Hall. 

The exhibition will present over 80 works from close to 70 different artists, both celebrated and those that are relatively lesser-known, from different eras and a diverse set of backgrounds, stylistic approaches, and materials. 

“Focusing an exhibition entirely on women’s contributions to art history, in this region, is an exciting opportunity for the LIM,” said Joshua Ruff, Deputy Director, Director of Collections and Interpretations at the Long Island Museum. “There are internationally-renowned artists in this exhibition, such as Grace Hartigan and April Gornik. But we also are presenting the work of less famous women artists who have had far less coverage but deserve to be known,” said Ruff. 

‘Shattered Color’ by Lee Krasner

The LIM’s 23rd annual Colors of Long Island Student Art Exhibition, on view from March 3 to April 3, affords an opportunity for hundreds of students from across Long Island to display their artwork in a museum setting. Art teachers from Long Island’s public and private schools in grades pre-k through 12th grade were invited to submit up to two pieces of student artwork for the exhibition.

Traditionally, the theme, “Colors of Long Island,” allows for many creative interpretations. While some students refer to Long Island’s landscapes, others prefer to focus on the cultural diversity that makes Long Island so beautiful. The varying interpretations of this theme will be portrayed through a selection of media, including watercolor, sculpture, pencil, ink, oil pastel, photographs and computer graphics.   

“The museum’s education department is excited to return to hosting student artwork in our History Museum gallery,” said Kristin Cuomo, Senior Educator at the Long Island Museum. 

“This year’s exhibition features 107 schools from across Nassau and Suffolk, with work from over 200 students in grades pre-k through 12 displayed. The art spans a variety of styles and media, reflecting the talent and dedication of our teachers and young people. As a whole, the gallery reflects the joy of creativity and the excitement of being able to once again exhibit in person,” she said.

In addition to exploring the new exhibitions, visitors are also welcome to explore the state-of-the-art Carriage Museum, which includes eight renovated galleries that tell the story of transportation before the automobile. 

The Long Island Museum is located at 1200 Route 25A, Stony Brook. Hours are Thursday through Sunday from noon to 5 p.m. For more information, call 631-751-0066 or visit www.longislandmuseum.org.

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Fellowship Night, c. 1940 by Cyril Arthur Lewis (1903-1994).

The Long Island Museum (LIM) in Stony Brook has announced a long-range plan to improve diversity and equity in the museum’s permanent collection.

In December 2021, the LIM’s Board of Trustees and Collections Committee approved an initiative to enhance the multiethnic and multicultural representation of all Long Island residents in its permanent collections. In a Collections Development Initiative to improve diversity in its collections, LIM will work towards a five-year goal to build a much more inclusive holding of art and historical objects from Long Island’s diverse communities. In an initial move in this effort, the Museum purchased the oil painting Fellowship Night, c. 1940, a work depicting a Long Island Black church, by Cyril Arthur Lewis (1903-1994).

LIM is beginning this focused institutional priority to better connect with, represent and share the stories, histories, and art of all of Long Island’s residents. By 2027, LIM is aiming to have made significant strides towards building a more inclusive collection that has much stronger, deeper representation of Long Island’s diverse populations of Latinx, Black, Native American, and Asian American communities (sometimes referred to as “BIPOC,” which stands for Black, Indigenous, and People of Color, referring to Black, Native, Latinx, and Asian Americans).

“We are making large strides to have our collections meet our programming efforts,” said Deputy Director Joshua Ruff, citing such recent exhibitions as Long Road to Freedom: Surviving Slavery on Long Island (2019) and education programs like Vehicles for Change, a popular LIM Education program (grades 4-8) which explores the life and activism of 19th century Civil Rights pioneer Elizabeth Jennings Graham, using a streetcar from its Carriage Collection. “This is vital to the Museum’s future. It is crucial for us to ensure that our collection properly reflects and shares the history of all diverse communities that have lived, worked hard, struggled, and celebrated here on Long Island throughout our collective history.”

The Museum has well-regarded permanent collections in its Art, History, and Carriage Museums, highlighted by an important and large costume and textile collection of 10,000 artifacts, from the 1780s to the 1990s; the paintings, drawings, and archives of significant American genre painter William Sidney Mount (1807-1868); and nearly 200 horse-drawn vehicles of every description, which help to tell the story of American transportation in the age before automobiles. This initiative will add to these strengths by adding the inclusion of artists or historical objects that help to document Long Island’s resident communities of color.

The acquisition of Fellowship Night, which LIM purchased from South Bay Auctions in December, aids in this process. Born in Birmingham, England, Cyril Arthur Lewis emigrated to the U.S. in 1927, settling in Brooklyn. In 1937 he moved to East Williston and began painting and sketching local landmarks. Depicting an African American church during a nighttime event in this painting, he spotlights a building that was an important social center for the Black communities that developed on Long Island in the decades following the end of slavery in 1827.

In order to improve LIM’s collections diversity, the Museum will develop a collections advisory panel composed of external subject matter experts to periodically counsel and work with LIM’s curatorial department and Collections Committee. The Museum will also develop future exhibitions about Long Island’s diverse populations, such as a project next year that details the history of Sag Harbor’s historic Black Arts community, and make specific targeted appeals through Social Media and other community outreach efforts to help promote new donations to the collection. “This is a long-term effort,” said Joshua Ruff. “But it is one we believe in down to our bones, one that we are fully committed to.”

ABOUT THE LONG ISLAND MUSEUM:

Located at 1200 Route 25A in Stony Brook, the Long Island Museum is a Smithsonian Affiliate dedicated to enhancing the lives of adults and children with an understanding of Long Island’s rich history and diverse cultures. The LIM will reopen for the spring season with new exhibitions on Thursday, March 3, 2022. Hours are Thursday through Sunday from noon to 5 p.m. For more information visit: longislandmuseum.org.

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The Art League of Long Island’s biennial exhibition opened in the Art League’s Jeanie Tengelsen Gallery on December 4, 2021 and is on view through January 21, 2022.

In this juried exhibition open to artists from Nassau, Suffolk, Brooklyn, and Queens, 164 artists submitted 489 works, out of which Exhibition Juror Joshua Ruff selected 60 works to be accepted in this exhibit. Of the 60 artists, Mr. Ruff singled out six artists for awards in the following categories:

Awards of Excellence: Lorina Capitulo, “Out of Sight, Out of Mind”, watercolor, pen & ink; Lori Horowitz, “Amongst the Lilies”, mixed-media relief; David Peikon, “Trout Stream”, oil painting.

Honorable Mentions: Susan Rostan, “Hiking Middlefield’, oil painting; Alisa Shea, “I’m Fine. It’s Fine. Everything is Fine.”, watercolor; Despina Zografos, “Strolleroptera”, hand cut paper, punctured text on boards.

The full list of participating artists is posted on the Art League’s website.The Juror’s Gallery Talk with Joshua Ruff is on Saturday, January 8 at 1pm and is limited to 30 attendees with prior RSPV’s.  To reserve your seat visit www.artleagueli.org. The gallery is open to the public, free of charge, Tuesdays and Thursdays from 10 a.m. to 5 p.m. and Fridays and Saturdays from 10 a.m. to 3 p.m.

About the Juror: Joshua Ruff is the Deputy Director and Director of Collections & Interpretation at the Long Island Museum of American Art, History & Carriages, in Stony Brook, NY. Mr. Ruff is a graduate of Syracuse University (BAs in Broadcast Journalism and also in History) and Stony Brook University (MA in History). He has worked at the Long Island Museum for 24 years in a variety of positions, including as Curator of its History and Carriage Collections. He was also Senior Lecturer in History at St. Joseph’s College in Patchogue, NY for 20 years. He has served as an editor of the Long Island History Journal since 2009. Mr. Ruff has curated more than 60 exhibitions, including, most recently, Fire & Form: New Directions in Glass (2021) and Perfect Harmony: The Musical Life and Art of William Sidney Mount (2019), which traveled to the Fenimore Art Museum, in Cooperstown, NY. In addition to co-authoring several books and exhibition catalogs, he has articles in publications that include Magazine Antiques; American Art Review; American History magazine; and the Long Island History Journal.

The Art League of Long Island is a not-for-profit visual arts organization serving Long Islanders since 1955.  The Art League is located at 107 East Deer Park Road in Dix Hills. For more information call (631) 462-5400 or visit www.artleagueli.org.

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A view of the grounds of the Long Island Museum from the Art Museum on the hill.

By Tara Mae

The Long Island Museum (LIM) in Stony Brook unveils three exciting new exhibitions — Tiffany Glass: Painting with Color and Light, Fire & Form: New Directions in Glass and the 8th annual LIMarts Members’ Exhibition, Fragile — this Friday, Aug. 20. All three will be on view through Dec. 19.

Art exhibit, Fragile, showcases work of LIMarts members
Long Island Museum’s Visitor Center and History Museum

Peace may be found in both the practice and presence of art. Fragile explores how art enriches our lives, particularly during times of stress and strife. On display in the recently renovated Cowles Gallery in the History Museum and Visitors Center (pictured on the right), the show features works by 92 members of LIMarts, both amateur and professional, working in different formats and mediums including sculpture, printmaking, oil painting, watercolor, etc. 

“LIMarts is a collaborative arts group designed for artists dedicated to creating a new forum within our cultural community,” said Neil Watson, Executive Director of the LIM. “The group offers space for the exhibition and sale of artwork, varied programming events, lectures and opportunities for social gathering with other artists and the public.”

All LIMarts members were invited to submit one piece for the exhibit, which enables the museum to introduce or amplify the art of local artists to its audience. Although a few of the artists have works already in the museum’s permanent collection, the art included in Fragile is being exhibited for the first time. 

Thanks to a sponsorship by Maryellen and Michael Lubinsky, the museum was able to waive its normal commission; all proceeds from art sales will go directly to the artists. 

There were no confines put on the artists’ interpretations of the theme, but they were constrained by space; each participant’s work had to fit on 12″ x 12″  canvas boards. This restriction enabled creative solutions and unique results. 

“When everybody’s work is the same size, it distills a different type of beauty…they are all on the same panel and figuring it out,” said Joshua Ruff, Deputy Director of the LIM and the show’s curator. “The diversity of approaches and how the exhibit was interpreted are amazing: fragile, as an idea, departure point, and concept.”

During the past 19 months, emotional and physical fragility have been ideas arguably at the forefront of the collective conscience. Most of the submissions were created during this time frame, and these ideas are recurring subjects, especially as they relate to the delicate nature of both the environment and human condition. Yet fragile does not equal weak, and the exhibit is also a testament to how fragility can be infused with fortitude.

“This is not an exhibition of 92 different ways of suffering; rather it shows there is an inner reserve of strength in all of us. You can be vulnerable but have other positive qualities of strength. I think some of the artists were trying to say that you can be fragile but be strong or have a fragile environment that produces great beauty and great strength,” said Ruff.  

Certain artists chose to explore the intersection of fragility and vulnerability by experimenting with new painting styles or artistic techniques. “Some artists were trying new things and you can be vulnerable when you are trying new things,” Ruff explained. “It’s really impressive to see how many ways people approached the subject and how many different points of view and perspectives you see.”

Tiffany Glass: Painting with Color and Light
Wisteria Library Lamp, ca. 1901, Tiffany Studios, NYC

Organized by the Neustadt Collection of Tiffany Glass in Queens, Tiffany Glass: Painting with Color and Light will be the first exhibition of its kind at the LIM. This compelling exhibition will include five windows, twenty lamps, and several displays showing how Louis C. Tiffany’s lamps were assembled, and how collectors today can distinguish between authentic lamps and forgeries.

The exhibition features some of the most celebrated of Tiffany’s works. Chosen for their masterful rendering of nature in flowers or landscape scenes, they exemplify the rich and varied glass palette, sensitive color selection, and intricacy of design that was characteristic of Tiffany’s leaded-glass objects. This exhibition also highlights some of the key figures at Tiffany Studios who made essential contributions to the artistry of the windows and lamps— chemist Arthur J. Nash and designers Agnes Northrop and Clara Driscoll.

 

 

Fire & Form: New Directions in Glass
Acesa (Ascend), 2019; by Toots
Zynsky;
Heller
Gallery, NYC

Fire & Form: New Directions in Glass , organized by the Long Island Museum, will feature nearly 50 works from nine contemporary artists, all reinforcing that glass is a sculptural material of near-infinite artistic and narrative possibilities. The artists included in this exhibition represent some of the most renowned names in American contemporary glass: Joseph Cavalieri, Deborah Czeresko, Trefny Dix, Bengt Hokanson, Beth Lipman, Judith Schaechter, Andy Stenerson, Marianne Weil, and Toots Zynsky. These exceptional artists all demonstrate a variety of approaches, methods, and inspirational starting points. Fire & Form will inhabit more than 2,500 square feet in LIM’s History Museum and Visitor’s Center and will  be accompanied by a richly illustrated 30-page catalogue that will be printed as a takeaway for visitors.

“Fire & Form and Tiffany Glass are two of the biggest and most beautiful exhibitions we have ever mounted here,” says Joshua Ruff, Deputy Director the LIM and one of the curators of Fire & Form. “The comparison between Tiffany’s approach with some of the striking other work people will see  — modern stained glass, blown glass, and cast glass — will really give people some perspective on how versatile a medium it really is.

IF YOU GO

The Long Island Museum is located at 1200 Route 25A in Stony Brook. It is open Thursday to Sunday from noon to 5 p.m. Admission is $10 for adults, $7 for seniors (62 and older), $5 for students (including college students with IDs), $3.50 for people with disabilities (personal care assistants admitted for free), and free for children under the age of six. For more information about the above exhibits or orther programs at the LIM, call 631-751-0066 or visit longislandmuseum.org.

 

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The Mount House by William Sidney Mount, 1854

By Melissa Arnold

Looking at a painting is like a window to another time — the world is frozen, just as the artist remembers it. But of course, nothing stays the same in real life, and the scenes depicted in paintings will often change as well.

With this in mind, Joshua Ruff of the Long Island Museum in Stony Brook had an interesting idea: What if they tried to return to the scenes in some of the museum’s paintings to see what they look like now?

The Mount House in Stony Brook as it stands today.

The result is Twin Peeks: Scenes Seen Twice, Paintings and Photographs, an exhibit of works from the museum’s permanent collection laid side-by-side with recent photos of their locales. The unique show opens in the Art Museum’s Main Gallery on March 19. 

Pursuing this idea was the beginning of a months-long adventure for Ruff, Deputy Director, Director of Collections and Interpretations at the LIM and curator for the exhibit. After choosing more than 60 paintings to include in the show, including artwork from the museum’s coveted William Sidney Mount collection, he had to figure out what — or where — the artists were painting.

The Mount House by William Sidney Mount, 1854

“Artists didn’t leave behind GPS coordinates for their work,” he joked. “There are so many scenes in our collection that are real places, but it’s not always conveyed in the title exactly where it is. Landscapes can change dramatically. We wanted to try to get as close as we could to the vantage point of the original painting, while thinking about how artists tell a story of place.”

Using maps from the approximate time period of each piece, Google’s street view feature and some research savvy, Ruff set out with his family and a camera to get the job done. It was far from easy, though — some of the locations are now on private property, inaccessible or unidentifiable. Other abstract or impressionist pieces can offer a vague sense of place without the details required to pinpoint it. Still, he did the best he could.

“We have several examples of historical photographs of certain locations, but more than 90 percent of the photographs were speculative on our part. In some cases, we may not ever be able to crack the code of where the actual spot was,” Ruff explained.

In some cases, he had to enlist the help of some friends. The museum’s conservator, Alexander Katlan, lives part-time in New England and was able to take photos to accompany two paintings by William Trost Richards. And some of the staff at the Freeport Memorial Public Library took to the water to find a match for Charles Henry Miller’s 1885 painting, “Freeport Oyster Houses.”

The site of the Setauket Rubber Factory today at the corner of Route 25A and South Jersey Avenue.

“The oyster industry thrived in Freeport in the 1800s, and our library archives include many photographs from that time, so I knew exactly where we needed to go,” said librarian Regina Feeney. 

To get the right angle for the photo, the team would need a boat. They talked with the owner of a Freeport marina in search of a way to get down the Freeport River, and were ultimately connected with bayman Danny Miller. It was a chilly November day when they set sail, but armed with old maps and a sense of humor, they got the job done. The photo was taken by Jason Velarde.

The Setauket Rubber Factory by Edward Lange;

“I really enjoy now-and-then exhibits because it gives people perspective about how things have changed over time,” Feeney said. “We were happy to make a contribution, and it was fun getting out of the building and enjoying some time on the water together. We had quite the adventure.”

The exhibit is evenly divided among geographic areas, with one third focusing on the East End, one third on the middle Island, and one third on Nassau County, New York City and New England. The paintings feature a range of medium as well, from watercolor to oil and acrylic, and span in time from the 1830s through the 1970s.

“Seeing this collection of paintings really drives home the sense of how the area has evolved — some of the subjects, like the Setauket rubber factory, are gone now. Other areas that were quiet and natural are more developed now. I hope it will be enjoyable for people of all ages to reflect on the past and consider what the future will hold,” Ruff said.

In conjunction with Twin Peeks the Victoria Costigan Gallery in the Art Museum will be home to “Artists Abroad,” a mini exhibit focused on travel and foreign landscapes.

The museum’s collection includes a small, yet compelling group of works by artists who traveled abroad between the 1860s and 1960s. American artists have always been drawn to European art and landscapes. They visited museums and copied famous works of art, and roamed cities and the countryside to paint and sketch scenes of daily life and picturesque views. Sketches in ink and watercolor quickly documented form and color, with some becoming inspiration for future works in oil. 

“Generally when we do an exhibit, the focus is on America or on Long Island. But the works in this exhibit were created abroad and don’t get as many opportunities for exhibition,” said curator Jonathan Olly. “You’ll get to see things you wouldn’t usually get to see here, from the Italian countryside to an Azorian mountain or Cannes as seen from the harbor — it shifts the lens to other places and perspectives.”

“Both of these exhibits are about travel in a time where we haven’t really been able to travel — we’re all a little tired of being inside, and this celebrates the joy of going outside and exploring in a safe way,” said Ruff.

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The Long Island Museum, 1200 Route 25A, Stony Brook presents Twin Peeks: Scenes Seen Twice, Paintings and Photographs and Artists Abroad when the museum reopens for the season March 19. The exhibits run through Aug. 1. Visitors are also welcome to explore the Carriage Museum; however the History Museum will remain closed. 

Hours are Friday through Sunday from noon to 5 p.m. Physical distancing will be required and masks are mandatory. The LIM follows CDC-prescribed cleaning protocols for all buildings. Admission is $10 adults, $7 seniors, $5 students, children under six free. Tickets are available at the Carriage Museum entrance, credit cards only please; pre-registration is not required. For more information, visit longislandmuseum.org.

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Photo from LIM
Grant will help fund new online educational programming

The Long Island Museum (LIM) announced on June 30 its award of a $59,713 grant from The National Endowment for the Humanities (NEH) to help fund the Museum’s new online educational programs that will be offered in the midst of the COVID-19 pandemic.

“We are thrilled and honored that the NEH is supporting our proposal of a new virtual educational program,” said Long Island Museum Executive Director Neil Watson.

“Since closing our doors in mid-March, the LIM staff has been working both creatively and tirelessly at meeting the needs of our community, particularly our school children and teachers,” he explained.

As so many of the museum’s standard offerings have transformed over these past four months, the need to dynamically adapt is ever apparent. After only a few weeks of their temporary closing, the LIM Launched the successful At Home With the LIM, a series of online family art and history activities, based on the Museum’s collection, historic buildings and grounds.

With school visits from many local districts in the fall likely to be greatly constrained, the LIM has since been making plans to redesign what they can offer schools with the use of technology.

“We believe objects from our collections provide uniquely visceral connections and learning opportunities,” said Joshua Ruff, Deputy Director, Director of Collections and Interpretations. “Realizing we are unable to bring school audiences to our collection, this project plans to bring the collection to them through remote field trips.”

The LIM will establish a “portable virtual classroom unit”, a mobile virtual studio with live streaming capability, to broadcast interactive classes from their unique historic buildings and museum galleries. To accommodate the virtual classrooms, the museum’s data network will be upgraded and expanded to teaching-critical areas museum wide by facilities/IT personnel.

Funds received from the NEH grant will enable the Museum’s Education Department to address the challenges schools will face in the 2020/2021 school year and allow the purchase and installation of essential upgrades to the data network of the LIM campus.

“In what is certain to be a school year filled with many firsts and changes, with this funding we can offer enriching new ways to make sure schools do not lose important connections to our museum,” said Lisa Unander, LIM’s Director of Education.

The Long Island Museum, located at 1200 Route 25A in Stony Brook, is one of 317 humanities projects in this round of funding. The $40.3 million in total grants nationwide will support vital research, education, and public programs in the humanities.

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'Black Opal,' acrylic on canvas, by Bill Durham

By Melissa Arnold

Running a museum is far from simple. Consider this: The Long Island Museum in Stony Brook is home to more than 2,500 pieces of artwork done on paper, 500 paintings and 100 pieces of three-dimensional art. Each piece must be catalogued, maintained, protected and stored. It’s a delicate and meticulous process that takes a lot of work.

Recently, the LIM received a grant from the New York State Council on the Arts to expand and upgrade its storage facilities. They’ll need to clear out some of their existing storage space to prepare for renovation, and fortunately its visitors will reap the rewards of the process.

From Feb. 22 to June 26, the museum will present Off the Rack: Building and Preserving LIM’s Art Treasures, an exhibit of approximately 90 works of art from its permanent collection, in the main gallery of its Art Museum. Many pieces in the exhibit are only put on view rarely, if at all.

‘Dance of the Haymakers,’ 1845, oil on canvas mounted on wood, by William Sidney Mount

“We could have taken the artwork to off-site storage, but we thought, ‘Why not put it on display?’ In order to make more space, we thought this would be a great time to assess the state of the collection and share its history and highlights with our visitors,” said LIM Deputy Director and Curator Joshua Ruff. “This is an opportunity for people to see things they may not have seen before.”

Ruff said that choosing pieces for Off the Rack was a team effort by the museum staff, who sought to put together a cohesive story of how the museum’s collection has grown and evolved over the years.

Visitors will be able to explore a time line of the LIM’s conservation efforts. In addition, each work in the exhibit will include its accession number, which will help teach visitors how the museum keeps track of each piece.

Off the Rack is divided into loose sections celebrating particular themes and standout artists. Not to be missed is a section dedicated to one of the museum’s “anchor” artists, William Sidney Mount. Among Mount’s included works are an 1841 painting of Crane Neck Marsh, which Ruff says is “an example of his extremely detailed craftsmanship while creating a natural setting,” and “Dance of the Haymakers,” a painting of a fiddler playing music for dancing farmhands, which made Mount a household name in 1845. 

Other high-profile artists with dedicated spaces in the exhibit include Arnold Hoffman, Samuel Rothport, Winslow Homer, Joe Reboli and Helen Torr, among others.

There are also sections of artwork focused on coastal and marine environments, abstract work and contemporary artists, including some local Long Islanders like Janet Culbertson, Bruce Lieberman and Dan Pollera.

Ty Stroudsburg of Southold also has artwork at the LIM — her 2000 oil painting on linen “Pumpkin Field at Sunset” is one of many views that have caught her eye on the North Fork.

“I love color. I used to drive around with a sketch pad in my car, and it was always color that would lead me to pull over and either do quick sketches with pastels or take a photograph to use for later,” said Stroudsburg, whose work has hung in exhibits and museums throughout New York and New Jersey for more than 60 years. 

“I didn’t strive for notoriety, I just painted because I love to paint and it keeps me going. I feel extremely fortunate that curators believe my art is worth being a part of their museums,” she added.

For LIM Executive Director Neil Watson, Off the Rack provides the chance to see their continuously evolving collection in a new light.

“As we began to do the work required for the renovations and take pieces out of storage, there were things in the collection I hadn’t seen in several years, and even some pieces I didn’t even know we had,” he recalled. 

“That’s the beauty of this exhibit -— we get to share parts of our collection that people may have never even seen before. Of course, there will be plenty of ‘old friends,’ like the work from William Sidney Mount, but there is so much more to see. Ours is a living collection — it’s not sealed or stagnant, and it continues to grow.”

The Long Island Museum, 1200 Route 25A, Stony Brook presents Off the Rack: Building and Preserving LIM’s Art Treasures, from Feb. 22 through June 26. The museum is open Thursdays through Saturdays from 10 a.m. to 5 p.m. and Sundays from noon to 5 p.m. Admission for adults is $10; discounts are available for children, college students, seniors and the disabled. For more information, visit www.longislandmuseum.org or call 631-751-0066.

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Pamela J. Brown with Blue Spider Flower, paper
Angela Stratton with It’s Me, oil
Joan Rockwell with Still Life with Pomegranates, oil on linen
M. Ellen Winter with LI Mechanic (Worker Taking a Break), oil
Cliff Miller with The Age of Innocence, oil on gesso panel
Marsha Solomon with Primary Layers, acrylic and collage on Arches paper
William Wagner with DNA 12816/65, digital print
A visitor to the Long Island Museum enjoys its Anything Goes! exhibit.

The Long Island Museum in Stony Brook hosted an artist reception for its latest exhibit, Anything Goes!, on Dec. 6. The exceptional exhibit features artwork created by 104 participating members of LIMarts, the LIM’s special membership initiative for artists. 

Joshua Ruff, deputy director at the Long Island Museum, welcomed the artists and guests to the reception.“It’s quite amazing and impressive how, just within a space of a few miles, we have such incredible talent. I think this is our best show yet − it’s colorful, it’s wonderful.” Most of the artwork is for sale with a portion of the proceeds benefiting the museum’s exhibitions and programs. The show is on view in the museum’s Visitors Center through Jan. 5. 

For more information, call 631-751-0066 or visit www.longislandmuseum.org.

Photos by Heidi Sutton

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