Monday, April 23, 2018

HILMA KLINT: Mother of Abstraction Review By Polly Guerin


 Hilma af Klint's "Paintings for the Future" 
La Mere de L'Abstraction, Hilma af Klint, (1862-1944), whose work originated on the threshold of modernism, gets her overdue recognition with the first major solo exhibition in the United States of the Swedish artist's oeuvre. Dubbed, The Mother of Abstraction, she was an iconoclast, creating a genre never seen before.
      So why in the annals of the art world has she been so obscure? For one thing, she never exhibited her remarkably forward-looking paintings, and, convinced that the world was not ready for them, stipulated that they not be shown for twenty years following her death. 
    When af Klint began creating radically abstract paintings in 1906, they were like little that had been seem before; bold, colorful, and untethered from recognizable references to the physical world. 
      It is interesting to note that her oeuvre emerged several years before Vasily Kandinsky, Kazimir Malevich, Piet Mondrian, and other artists who would take similar strides to free their artwork of representational content. While others took the spotlight, her work was not exhibited until 1986, and it is only over the past three decades that her paintings and works on paper have received serious attention.    
       
Hilma af Klint, La Mere de l'Abstraction
Who was this innovative artist who shunned publicity?  Hilma af Klint was born in Stockholm 
in 1862 and went on to study painting at the city's Royal Academy of Fine Arts, graduating with honors in 1887.  She soon established herself as a respected painter in Stockholm, exhibiting deftly rendered figurative paintings and serving briefly as secretary of the Society for Swedish Women Artists.  During these years, she also became deeply engaged with with spiritualism, Rosicrucianism and Theosophy. These forms of spirituality, also of keen interest to other artists, including Kandinsky, Frantisek, Kupka, Malevich and Mondrian, were widely popular across Europe and the United States.
     Af Klint developed her new approach to art making together with her spiritual practice, outside of Stockholm's male-dominated art world. She had begun to regularly hold seances with four other women by 1896. During a meeting in 1906, one of the spirits that the group had channeled asked 
af Klint to create a cycle of paintings. Af Klint immediately accepted. She worked on the project between 1906 and 1915, completing 193 paintings and works on paper collectively called, The Paintings for the Temple. 
     
Hilma af Klint, The Ten Largest, No.7
These works, which included her first forays into nonobjectivity, were a radical break from the more staid paintings she produced as part of her public practice. Stylistically there were strikingly diverse, utilizing biomorphic and geometric forms, expansive and intimate scales and innovative approaches to composition and color. She imagined installing the in a spiral temple, but the building never came to fruition.  After she completed The Paintings for the Temple, af Klint continued to test the limits of her new abstract vocabulary.  In these years, she experimented with form, theme, and seriality creating some of her most remarkable works.

     The solo exhibition, HILMA af KLINT: PAINTINGS FOR THE FUTURE will offer an opportunity to experience af Klint's artistic achievements in the Solomon R. Guggenheim Museum's rotunda more than a century after she began her daring work. Organized with the cooperation of the Hilma Klint Foundation, Stockholm, the exhibition will feature more than 160 of af Klint's artworks and focus on the artist's breakthrough years, 1906-20. It is during this period that she began to produce nonobjective and stunningly imaginative paintings, creating a singular body of work that invites a re-evaluation of modernism and its development. Image: Hilma af Klint, The Ten Largest, No 7 Group IV, 1907. Tempura on paper mounted on canvas. The Hilma Klint Foundation. Photo: Albin Dahlstrom, Moderna Museet.
      The exhibition, from October 12, 2018, to January 27, 2019, is accompanied by a fully illustrated catalogue featuring eight scholarly essays and a roundtable discussion. Contributions by leading art historians and contemporary artists delve in such topics as af Klint's relationship
to modernism, her engagement with new understandings of science and spirituality.
     Alas, Hilma af Klint also gets her due recognition with a series of educational programs. Information and schedules are available at guggenheim.org/calendar.
      Music for the Temple: A Tribute to Hilma af Klint by composer, John Zorn, presents new music composed in response to the work of Hilma af Klint.
     Ta Ta Darlings!!!  This is an early announcement so please mark your calendar to meet a remarkable woman who defied all the odds in a male-dominated Stockholm. Love to hear from
you, send email to: pollytalknyc@gmail.com.  Follow Polly's Blogs on www.pollytalk.com and
in the left-hand column click on the link that resonates with your interest including visionary men, women determined to succeed, the fashion historian, and poetry from the heart 

Monday, April 16, 2018

VISITORS TO VERSAILLES: Review By Polly Guerin

In its lavish new exhibit VISITORS TO VERSAILLES you are invited to vicariously visit the famous Chateau from the perspective of a diverse representation of people who passed through its gates between the year Louis XIV moved his court there and the year Louis XVI and the royal family were forced back to Paris.
      Russian writer Nikolai Karamzin's reflection on his experience visiting Versailles in 1790, "I have never seen anything, more magnificent than the palace of Versailles," is a testament to visitors' enduring fascination with the famous royal residence, even to this day. 
EXHIBITION EVOKES GRANDEUR: While there is no doubt that the exhibition is meant to evoke the grandeur and opulence of Versailles, its five galleries with aligned doorways were constructed to emulate the enfilade of rooms, generating a long theatrical vista and a sense of anticipation for the visitor. Custom-designed wallpaper suggests defining architectural elements of the palace's interiors---its marble inlays pilasters, gilded paneling, wall hangings and mirrors. 
THE AUDIO EXPERIENCE:
"Versailles is a very different show," said Danielle Kisluk-Grosheide one of its curators.    
A panoramic view of Visitors to Versailles 
No doubt. it is the new immersive audio experience, free-to-all-visitors, that brings alive the impressions of visitors to the chateau and court of Versailles in the 17th and 18th centuries. Using high quality headphones listeners can hear dramatizations of actual visitor descriptions of their experiences and personal
observations, adapted from correspondences and journals, court diaries, gazettes and literary journals which offer detailed reports on specific events and entertainments, as well as, ambassador receptions that were also documented on paintings and engravings.
        The immersive audio is produced in atmospheric 3-D soundscapes with the voice of professional actors, re-enacting the observations and conversations of the Versailles visitors. You will be immediately captivated by the rich, bi-natural sound that evokes the conversations and settings---from the footsteps of courtiers walking on a marble staircase to a singer performing a Handel aria in a private salon. The voices represented range from French aristocrats to luminaries of the arts and sciences to mere tourists. The letters and journals detailing various individuals' experiences are also complemented by tapestries, furniture, arms and armor, and all the other trappings necessary to transport viewers back in time as they join foreign travelers, royalty, dignitaries and ambassadors, artists, musicians, writers and philosophers, scientists, tourists on the Grand Tour, the public, if properly attired, and day-trippers alike, who all flocked to the majestic royal palace surrounded by its extensive formal gardens
Modes of Transportation and Costjmes
VISITORS TO VERSAILLES A number of Americans journeyed to Versailles, either as tourists or diplomats. Benjamin Franklin first visited Versailles in 1767 and played a significant role especially after 1776 when France became the colonists only military ally in their rebellion against Great Britain.                   Franklin captivated the French shamelessly playing to their expectations of Americans, forgoing a wig and dressing in plain unadorned clothes.  His brown suit, rarely displayed to the public,  is on loan from the Smithsonian National Museum of Natural History.The galleries also capture the modes of transportation to Versailles and the strict French code of dress. Among the principal reasons to visit the royal residence were its extensive gardens and the prized opportunity to catch a glimpse of the king. Garments on display include a beautiful robe a la francaise believed to have been worn by the wife of renowned textile manufacturer Christophe-Phillippe Oberkampf for her audience with Marie Antoinette and uniforms and weapons of the king's household. 
     The overall impression of the exhibition is that I did not quite get the grandeur of Versailles'
magnificent gardens as the lighting atmosphere is on the dim side, but then again that probably is due to necessity, to protect the precious art works.
    Ta Ta Darlings!!!  No passport needed, just head for the Metropolitan Museum of Art for an
immersion of a different, entertaining experience. Fan mail welcome at pollytalknyc@gmail.com.  Visit Polly's Blogs at www.pollytalkfromnewyork.blogspot.com and click on the link in the left hand column to the subject that resonates with you, such as, women determined to succeed, visionary men, poetry from the heart and fashion

Wednesday, April 11, 2018

FEATHERS: Fashion and the Fight for Wildlife: Review By Polly Guerin

Muff and tippet set composed of 4 Adult Herring Gulls
Millions of people around the world celebrate 2018 at the "Year of the Bird," as it marks the centennial of the Migratory Bird Treaty Act of 1918, the most powerful and important bird-protection law ever passed.  
        Although millions of birds were sacrificed for plumage of late 19th and early 20th century feathered fashions the exhibit, FEATHERS: Fashion and the Fight for Wildlife,  at the New-York Historical Society, reveals the overwhelming toll on birds and plumage, and the industry that embellished clothing and accessories. 
       THEN AND NOW: The faint at heart may find the insensitive plunder of birds for adornment. on view, a heart wrenching reminder about the time society viewed feathered fashion with reckless disregard and how the plume trade had decimated many American bird species to point of near extinction. Image Left: Accessory Set, American, including muff and tippet, 1880-90, Herring Gulls, feathers, silk. Metropolitan Museum of Art, Brooklyn Museum Costume Collection, 2009. Right: John James Audubon, Herring Gull. Watercolor, graphite pastel, black chalk, and black ink with touches of gouache, white lead pigment, and glazing on paper. Purchased for the New-York Historical Society by public subscription from Mrs. John J. Audubon, 1863. 
       However, activists soon recognized the urgency for protection and the New-York Historical Society's exhibition, on view through July 15, 2018, examines the circumstances that inspired early environmental activists to champion the protection of endangered birds. The Migratory Bird Treaty Act of 1918 was one of the first federal laws to address the environment, prohibiting the hunting, killing, trading, and shipping of migratory birds, The exhibition is part of the Year of the Bird, centennial celebration of the Act organized by National Geographic, the National Audubon Society, the Cornell Lab ofOrnithology, and Birdlife international.
Women Flaunt the Feather Craze in Killer Millinery
EXHIBITION HIGHLIGHTS: The first gallery, featuring feathered fashions including hats, boas, fans, aigrettes jewelry, illustrates the passion for plumage.  None more egregious than the muff and tippet accessory set (1880-99) composed of four adult Herring Gulls created during a craze for gulls that nearly drove the sea birds to extinction and a pair of earrings with hummingbird heads. Need I say more, see the depraved use of birds for adornment for your own edification. 
     
Activist> Florence Merriam Bailey    
The second gallery, "Activists Take Flight, introduces several of the activists who pushed for protective legislation. New York City activists included George Bird Grinnell, a prominent conservation polymath and protege of Lucy Bakewell Audubon, who was inspired by the artist-naturalist to found the first Audubon Society in 1886. Florence Merriam Bailey, an ornithologist, whose bird books became important field guides. Then, too, I wish to call you attention to Lilli Lehmann, a German opera singer, vegetarian and animal lover, who campaigned passionately against wearing feathers, while in residence with the

Metropolitan Opera.
      The exhibition concludes with 14 watercolors by Audubon (least we forget he, too, killed many birds for his studies) including the Roseate Spoonbill, whose pink feathers were used in fans sold in the Florida tourist trade, and the Great Egret, one of the chief victims of the turn-of-the-century plume hunters that became the symbol of the Audubon Society.
         Even before the Federal Act earlier concern for bird protection was the concern in New Jersey. In the April 18, 2018 issue of The New York Times, the  feature ON THIS DAY IN HISTORY. reported a memorable headline: "MUST WEAR BIRDLESS HATS," 
March 24, 1910. The New Jersey General Assembly passed a bill that would make it a misdemeanor for women to wear the feathers, wings or bodies of birds as accoutrement, a practice that was devastating several species. "Spring styles for New Jersey women must undergo a change at once or many women will be in jail." the article noted. 
         The Year of the Bird pays it forward and examines how our changing environment is driving dramatic losses among birds species around the globe even today and highlights what we can do to help bring birds back.
        For nature lovers, several walking tours of Central Park bring Audubon's paintings to life.
May 5 and June 2 to name a few. Refer to the Museum's website for further details. 
       Ta Ta Darlings!!!  Become an activist and support the Year of The Bird!!  Fan mail welcome at pollytalknyc@gmail.com.  Connect to Polly's other Blog links on www.pollytalk.com
       

Wednesday, April 4, 2018

URBAN SANCTUARIES By Polly Guerin

If you have ever wanted to let the cacophony of the city melt away and merely find a place for quiet
contemplation or to meditate in peace, one only has to step outdoors into nature. Though that may
not be a doable in the urban environment, in the quiet of early mornings, Central Park, Riverside Part and Battery City Park might offer opportunities to commune with nature's healing mediation. Then, too, even as the symphony of the city drones on nearby, there are several sanctuaries within New York City, where you can find comfort and peace of mind.    

THE CATHEDRAL OF ST. JOHN THE DIVINE: Many churches throughout the city welcome visitors, but this magnificent, 125-year-old cathedral , which welcomes visitors of all faiths, is truly a peaceful place to just quiet your mind, meditate or simply relax in the majestic ambiance of the building's soaring arches and glorious stained-glass windows. As the sunlight filters in, the colors projected onto the visitors offer individual healing messages, Red for rejuvenation, blue for spiritual awakening, yellow for golden enlightenment and so forth.
     For a meditation experience of a more musical kind,  every Sunday at 4 p.m., the church offers their traditional 'Choral Evensong,' song by their world celebrated choir.  This is a wonderful time to let your spirit soar and receive colorful messages, as it is known that specific colors resonate in a musical performance. Close your eyes and listen and perhaps you may see only one color. Then, too, some very attuned individuals see a rainbow of colors when they listen to music and that ability is called, Synesthesia. 
     Location: 1047 Amsterdam Avenue at 112th Street in Manhattan. info@stjohndivine.org.
Since this Cathedral is a work-in-progress, so to speak, there is a suggested donation of $10
per adult and $8 for students and seniors, for visitors not attending church services. Early
risers, please note that the Cathedral is open at 7:30 a.m. Door open all day and closes at 6 p.m.    

INTO THE SILENCE: Quiet Mornings at MoMA, The Museum of Modern Art. A lovely garden sanctuary is a magnet for midtown regulars and tourists.  
        Be sure to add this to your calendar. On the first Wednesday of every month, MoMA opens its doors at 7:30 a.m.  For a dual urban garden experience, the museum gives ardent art lovers an opportunity to view art works including the Impressionists, such as Monet's Water Lilies, in a delightful crowd- free environment.
      Not only does that draw in art lovers, but the best part, for sanctuary seekers, the Museum also includes a guided meditation session from 8:30 to 9 a.m.  On any occasion some brilliant guide, motivational speaker or a best-selling
author may be engaged to lead you through the meditation. www.moma.org.
    Location: 11 West 53rd Street., Manhattan. For early birds enter at 18 West 54th Street. Admission Adults $15, Seniors $12, full-time students with current ID $10.
Children, 16 and under free as well as MoMA members.  

THE ABBY ALDRISH SCULPTURE GARDEN at the BROOKLYN BOTANICAL GARDEN is a dreamy place where peace and quiet contemplation is invited on an 82 acre oasis in the heart of Brooklyn. Plan to spend the day as the experience will transport you into a tranquil environment with glorious colors and fresh air. As you navigate the beautiful peaceful landscape, at every turn there is reason to pause and simply clear your head of clutter, meditate or pray. 
      Then, too, there is the Garden's amazing Bonsai Museum, which houses one the the largest collections of bonsai trees, 350 at the last count, outside of Japan. Entrance at 999 Washington Street and 150 Eastern Parkway. Call 718-623-7200 for current hours and admission charge.
     Many corporate building in New York City have public spaces in their lobbies and one that comes to mind is the Bank of America Tower located on Avenue of the Americas at 43rd Street.
This majestic glass and indoor space features breathtaking garden sculptures, made of living
mosses, vines and ferns.  Take a seat, plenty of chairs are provided and settle in with your private thoughts, contemplate time out from the fast lane and get into the mood and meditate. FREE and open to the public 8 a.m. to 8 p.m. 
        I trust that you may find your way to one of these urban sanctuaries, as a daily measure, or for a peaceful excursion on a weekend. Blessing and best wishes, Polly.
         

       
       

Monday, March 26, 2018

THE ART OF MUSIC at the MET: Review By Polly Guerin

Humanity has been drawn to make music and communicate beyond the human voice, across cultures and time, with instruments of incredible beauty and ingenuity, and nowhere is it more effectively represented than today at the Met's Andre Mertens Galleries for Music Instruments. 
     Daniel W. Weiss, President and CEO of the MET commented, "Nearly two years in the making the reopening of our Musical Instruments galleries has resulted in a new, more insightful narrative for our visitors that draws and reflects the unique strengths of the Museum's musical collection, presenting a comprehensive perspective on global music."  Image clockwise fro top left: Bartolomeo Christofori, Grand Piano (detail) 1720. Cypress, boxwood, paint, leather and fir. The Crosby Brown Collection of Musical Instruments. 1889. Alolphe Sax, Alto saxophone in E-flat, ca. 1855. Brass. Purchase, Robert Alonzo Lehman Bequest 2005. William Forster, "Royal George" cello, 1782. Spruce, maple, and ebony. Gift of Mona and Bradford Endicott, in honor of Ken Moore, 2016. Sankh. Indian, 19th century. Shell (Turbinella Pyrum), brass, and wax. Purchase, the Barrington Foundation Inc. Gift, 1986)
     THE ART OF MUSIC explores the artistry of music and instruments across four thousand years of musical instruments from across the globe. The four renovated galleries display the treasures of the collection. These include the world's oldest surviving piano, made by Bartolomeo Cristofori in Florence in 1720.  the scope of The Met's instruments collection offers the rae opportunity to illustrate the use of music and instruments to express status, identity, and spirituality, along with the impact of trade. Not to be missed is the Openwork, rattle bell, ca, early 1st millennium B.C., the Ming Dynasty cloisonne trumpets and  pre-Columbian drums; Andres Segovia's guitar, and violins by Antonio Stradivari and Andrea Amati.
       
The Art of Music, Andre Mertens Galleries
Of particular note is the Kona,  from Senegal made of such diverse materials as goatskin, antelope hide, ebony, metal, wood, from The Koyate family, a dynasty of West African storytellers who chronicle history and preserve epic stories. 

     Then, too, the 1845 Saxophone, by Adolphe Sax (Belgium), introduced in 1834, was original and before its time.  However during Sax's lifetime it achieved success and universal popularity through jazz and pop, two genres that  ironically did not exist until long after the saxophone's introduction. 
New to the gallery are two audio and video kiosk and an Audio Guide with more than 50 audio clips of the instruments.
   
Stuart Davis Mural for Studio B WNYC
Observational review points to the fact that although instruments are primarily intended to create sound, they are also powerful visual expressions and are often works of art in their own right. As such, their artistic appearance frequently reflects contemporary style, and the production techniques and materials used to make them are often found in other art forms. Included in the gallery are related objects and paintings from across The Met collection that illustrates the universal presence of music and instruments in art and society.

       The much favored instrument by today's artists on display is the Antonius Stradivari. Italian, Cremona 17ll. The arching of the Stradivari's top and back contributes to providing a louder volume, which helped to make the instrument popular with soloists in the nineteenth century. Image: At the end wall of the show is the magnificent Stuart Davis mural for Studio B, WNYC Municipal Broadcasting Company, 1939 incorporating elements that reflect musical instruments and broadcasting theme. Take note also, of a painting paying tribute to Mary Elizabeth Adams Brown. In 1889 she donated 300 instruments. Then, too, Brown would continue to collect until 1918, building a collection of more than 3,600 instruments for the Met Museum.
     A series of gallery-based concerts inspired by The Museum's Musical instruments collection, called TRADE WINDS  take place on April 27 and June 15.  The concerts are free with Museum admission.  For further info contact www.metmuseum.org/music galleries.
     Ta Ta Darlings!!!  "If music be the food of Love," (Purcell), the new Musical Instruments Galleries are indeed worth a visit  Fan mail welcome: pollytalknyc@gmail.com.  Visit Polly's Blogs at www.pollytalk.com and click on the left-hand list of Blogs that solicit your attention.

Monday, March 19, 2018

Public Parks, Private Gardens at the Met: Review By Polly Guerin

/Georges-Pierre Seurat, La Grande Jatte 1884
As we collectively pine for Spring's arrival the exhibit, Public Parks, Private Gardens at the Metropolitan Museum of Art, is timed perfectly to coincide with our yearnings for Plein Air experiences.
      In this breathtaking exhibition leisurely take the time to saturate yourself in these gorgeous gardens and follow in the footsteps of nineteenth-century artists who celebrated the outdoors 'en plein air' as a place of leisure, renewal and inspiration. This exhibition, which extends to July 29, 2018, explores the horticultural developments that reshaped the landscape of France in an era that gave rise to Naturalism, Impressionism, and Art Nouveau. (Image: Georges-Pierre Seurat, Sunday Afternoon on the island of La Grande Jatte, Paris, 1884 Metropolitan Museum of Art). 
Claude Monet, Garden at Sainte-Adresse, 1867
 
Contributing to the romance with gardens
was the arrival of shiploads of exotic botanical specimens from abroad and local nurserymen pursued hybridization. In this manner the availability and variety of plants and flowers grew as did the interest in them. Then, too, the opening of formerly royal properties and the elegant transformation of Paris during the Second Empire into a city of tree-lined boulevards and parks introduced the public green spaces to be enjoyed as Open-air Salons where people could engage in leisure activities. At the same time, suburbanites were prompted to cultivate their own flower gardens. Image: Claude Monet, Garden at Sainte-Adresse, 1867, Metropolitan Museum of Art.
     The exhibition is organized thematically in five galleries. REVOLUTION in the GARDEN, for example, traces the decisive shift that transpired in garden design in the years bracketing the French Revolution of 1789. a series of works illuminates the guiding influence of Empress Josephine Bonaparte, first wife of Napoleon 1, who ignited fashion for floriculture at the start of the 19th century. PARKS for the PUBLIC , the selection of works here focuses on parks in and around Paris that captivated artists' attention including the Bois de Boulogne, Versailles, The Luxembourg Gardens as seen through the eyes of Eugene Atget, Childe Hassam, Berthe Morisot, Auguste Renoir, Georges Seurat, and James McNeil Whistler. Image: Lydia Crocheting in the garden at Marly 1880 by Mary Cassatt. The second half of the exhibit is devoted to gardens and unfolds in two sections "Private Gardens" and Portrait in the Garden."  
Lydia Crocheting by Mary Cassatt 1880
Not to be missed is the central courtyard with the exhibition---a soaring space illuminated by an immense skylight---replanted to evoke a French conservatory garden of the period and furnished with green iron benches redolent of Parisian park setting.

     Check the Met's website for special events and programs www.metmuseum.org. In a Sunday at the Met program on April 29 from 2 to 3:30 p.m., scholars and designers will discuss the ongoing significance and evolution of public parks from 19th-century Paris to present-day New York.
      Ta Ta Darlings!!!  This is quite a gorgeous exhibit and in many ways will provide a pleasant way to spend time in the park, indoors, of course.  Fan mail welcome: pollytalknyc@gmail.com. Polly's Blogs can be accessed at www.pollytalk.com, just click in the left-hand column on the column that resonates with your interest. 

Monday, March 12, 2018

UNSEEN OCEANS: A Splashy Review: By Polly Guerin

Dive beneath the waves and explore the UNSEEN OCEANS!  No bathing suit needed, just your innate curiosity to learn the latest advances in ocean exploration, the technologies behind them, and the mysteries that remain. 
     The American Museum of Natural History exhibition opens today and remains in a permanent space through Sunday, January 6, 2019. Plenty of time to get your feet wet, so to speak, and embark on a journey that takes you from the oceans' sunlit surfaces to their inky depths as you discover the latest ocean science and encounter the researchers and technologies that reveal our blue planet as never before.  It's a colorful world, alive with electrifying images revealing the unseen habitats of the oceans' most mysterious animals and inhospitable areas in unprecedented detail.  However, sinking deeper into the ocean, daylight fades, most colors disappear and life is bathed in blue. But diving at night with specially-designed lights and cameras museum researchers have discovered a wide variety of fishes and other marine animals are fluorescent, glowing in startling shades of red, orange, and green when illuminated with high-energy blue light. 
Photographs by Roderick Mickens, AMNH)

     Yes, our world is an ocean planet. More than 70 percent of the Earth's surface is covered by, yet surprisingly little of these vast realms has been explored.  Now, with the use of 21st-century technologies like robotics, satellite monitoring, miniaturization, and high-definition imaging, our concept of the vast oceans is beginning to change. 
     "All life on our planet depends on the oceans, yet they remain one of the last great frontiers," said Ellen V. Futter, president of the AMNH. "Today a new generation of marine scientists with a pioneering spirit of ingenuity and adventure, and an explosion of technological and imaging advances, are creating a golden age of ocean exploration, yielding astonishing discoveries at dark and mysterious depths." Image: Hercules,at a remotely operated exploration vehicle with instrumentation, lights and a robotic arm.  
     This multi-dimensional exhibition impresses upon the visitor that ocean exploration is as exciting and important as space exploration. In Unseen Oceans, visitors are invited to explore a series of circular, media-rich galleries showcasing a range of marine environments and introducing scientists who are using cutting-edge research tools and developing new methods to explore the oceans top and bottom.  

The ocean floor is another world swirling with discovery.  Only about 10 to 15 percent of the sea floor has been mapped with accuracy, meaning that we know the surface of Mars much better than the submerged landscapes of our own planet. But today, with the use of sound waves, radar and lasers, scientists are beginning to construct extraordinary detailed images of these environments. In Unseen Oceans you will encounter a gallery that features a scientifically-accurate re-creation of landscapes including a local "landmark": the Hudson Canyon, a spectacular underwater feature only 100 miles from New York City. Image: The Plankton Room
     PRESERVING THE OCEAN'S FUTURE As the human population has exploded, the demand for seafood has surged and destructive, wasteful fishing practises have cause the number of fish to plummet by 50 percent since 1970. Unseen Oceans also highlights the threat to the ocean's vital abundance--including over fishing and habitat degradation--as well as the conservation scientists and forward-thinking governments that are making progress toward protecting the rich diversity of living things in the sea.
      This is a breathtaking exhibition that unravels mysteries of the ocean with interactive exhibits that enchant both child and adult. For additional information, call 212-769-5100 or visit the Museum's website at www.amnh.org.
     Ta Ta Darlings!!! What a wonder world to explore. Unseen Oceans is a "must."  You will be amazed and learn more about the ocean that you never knew before. Fan mail is always welcome
email: pollytalknyc@gmail.com.  Follow Polly's Blogs on www.pollytalk.com and click in the left-hand column on the Blog link that resonates with your interest.