Hofstra University Museum of Art: Over the River: Transforming Long Island

HOFSTR A UNIVERSIT Y MUSEUM

Cover image: Andy Warhol (American, 1928-1987) Brooklyn Bridge, 1983, screenprint on Lenox Museum Board, extra, out of edition. Designated for research and education purposes only, 39 3/8 x 39 3/8 in., Hofstra University Museum Collections, gift of The Andy Warhol Foundation for the Visual Arts Inc., HU2014.10. © The Andy Warhol Foundation for the Visual Arts Inc.

© 2016 Hofstra University Museum All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of the Hofstra University Museum.

HOFSTR A UNIVERSIT Y MUSEUM

September 6-December 16, 2016 Emily Lowe Gallery

This exhibition and catalog are made possible with funding from Astoria Bank and the National Center for Suburban Studies at Hofstra University.

Additional funding for this exhibition was provided by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Foreword “Weep not that the world changes – did it keep a stable, changeless state, it were cause indeed to weep.”

– William C. Bryant

Looking out from the 10th floor windows of the Joan and Donald E. Axinn Library on Hofstra University’s campus, one can see vistas spanning much of Long Island to the north, south, east and west. On clear days, Manhattan swathed in the glow of a summer sunset distinctly defines the view to the west; the outline of the Atlantic Ocean and the beaches of the south shore can be seen in the distance looking southward. To the north and to the east lay expanses of roadways, townships, and centers of commerce that define a 21st century view that is simultaneously filled with promise and clear evidence of the issues of sustainability that currently define Long Island.

Long Island’s history and growth align with the story of our nation, as its earliest inhabitants were indigenous Native Americans gaining their living from the land and sea. Early European settlers brought new immigrant cultures and diversity of thought, as well as the development of new industry and towns to this island of change. In the years that followed, suburban planners past and present brought forth the development of bridges, tunnels, railways, and roadways to connect Long Islanders both to the mainland and to each other, as they desired to see the island as an integral component of the economic growth of our region. These transformative modes of transportation have caused enormous shifts in the local economy that once saw whaling and farming as the central industries.

Today, this region is home to pharmaceutical companies, medical centers, cyber and digital industries, educational/research centers, tourism and cultural hospitality that define future economic growth opportunities for this area. The former small enclaves of towns and villages that existed in an 18th and 19th century Long Island have become suburban hubs that traverse the length and breadth of the region. Populations have grown to more than 2.5 million in Nassau and Suffolk counties as of 2015. Diversity of thought, of cultures, of food, and of religious belief is a strength that continues to define this region. At the same time, the infrastructure of Long Island that once looked so promising is showing true signs of aging, and issues of sustainability for the environment, education, housing, and transportation are causes for concern that demand a new generation of ideas and approaches to ensure the viability and continued strength of the region.

In the midst of these demographic and structural changes to Long Island, there exists a strong artistic tradition and heritage.

Artists have been attracted to the light and landscape of the island since its earliest days. In the 1800s, artists throughout Long Island were capturing on their canvases the beauty of the land, sea and sky. Rural communities and farmland were frequent subjects for their paintings, as were the ships at sea and the beaches and dunes that define Long Island. Robert Bruce Crane and Charles Henry Miller, both featured in this exhibition, are two such artists. Families of artists on the East End, such as the Moran family (brothers Thomas, Edward and Peter), captured the beauty and the shifting unique quality of

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light. In the early 1900s, William Merritt Chase started the Shinnecock Art School in the Hamptons, as railway transportation provided new accessibility from Manhattan to Southhampton on a regular basis, encouraging students to come to paint singular compositions inspired by the light and the land. During the 1930s through the 1960s, Long Island continued to lure new generations of artists, including Arthur Dove and Edward Steichen, and immigrant artists such as George Grosz and Ibram Lassaw, as well as abstract expressionists such as Jackson Pollock, Willem de Kooning, Mark Rothko, Betty Parsons, Perle Fine, Lee Krasner, and Elaine de Kooning. Today, that artistic tradition and heritage continues with artists now capturing in their original paintings and photographs a disappearing landscape and the impact of a transforming Long Island. Artists such as Stan Brodsky, Barbara Roux (featured artist), Margery Caggiano (featured artist), Janet Culbertson (featured artist), Eric Fischl, and April Gornik add to the rich legacy of artistic endeavor on Long Island.

Artists have also sought to capture the power and grandeur of bridges, tunnels, and roadways and as they have done so, they have provided us with a lasting visual imprint of the iconic presence and transformative impact of these structures on our region. In this exhibition, artists such as Irving Amen, Marilyn Bridges, Allan D’Arcangelo, Louis Lozowick, Antonio Masi, Dorothy Norman, Emily Trueblood, Andy Warhol, and Lumen Martin Winter have created their own visual interpretations of the Brooklyn Bridge, Manhattan Bridge, Queensboro Bridge, superhighways, and the Verrazano-Narrows Bridge, among other iconic structures.

Over the River: Transforming Long Island invites us to examine the consequences that these super structures have had on the history, economy, and way of life for Long Islanders past and present. Discussions about issues of sustainability are intrinsically tied to the future of the region, and this exhibition invites those discussions.

We thank Astoria Bank, the National Center for Suburban Studies at Hofstra University, and the New York State Council on the Arts for their support of this exhibition and catalog. We additionally thank the artists, galleries, museums, and Special Collections at Hofstra University for the works that they have loaned to this exhibition. Karen T. Albert, associate director of exhibitions and collections, has selected each work and object of ephemera in the exhibit to reflect the development, construction, and transformative impact of these structures and roadways on Long Island, on its history and on its continually unfolding story.

Beth E. Levinthal Executive Director Hofstra University Museum

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Curator’s Statement

Over the River: Transforming Long Island The landscape of Long Island, facilitated by the construction of the bridges and roadways that connect it to New York City, has changed dramatically over the past two centuries. Long Island, which extends for 118 miles from New York Harbor to Montauk Point and 23 miles north-south between the Long Island Sound and the Atlantic Ocean, encompasses Brooklyn and Queens on its western shores and continues eastward to include Nassau and Suffolk counties.

Initially inhabited by indigenous Native Americans, beginning in the 17th century European settlements emerged in western regions of Long Island. These early communities expanded in population and area but remained rural and agricultural into the 19th century. Reliable steam ferry service transported people and goods from Manhattan to Brooklyn. Commencing in the 1830s, the Long Island Rail Road (LIRR) provided ferry-rail service from New York City to Boston via Greenport on the eastern end of Long Island. As seen on the Travellers Map of Long Island, published by J.H. Colton in 1848, the LIRR tracks traversed the center of the island from west to east, branching off this main line to reach local stations. During the late 19th century, Long Island was becoming a summer refuge and destination for the residents of New York City. Wealthy New Yorkers began the construction of estates primarily along the northern shores on what became known as Long Island’s Gold Coast.

In the late 19th century, agriculture and fishing, along with the occasional mill, were the main industries on rural Long Island and traveling off the island required water transportation. The bucolic countryside, an escape from the growing density of Manhattan, was frequently depicted in paintings by artists such as Robert Bruce Crane (American, 1857-1937) and Charles Henry Miller (American, 1842-1922). During his lifetime, Robert Bruce Crane, a National Academy of Design academician, was a noted American landscape painter. He trained in New York and abroad where he was strongly influenced by the 19th century French Barbizon School – a group of 19th century French plein air painters who focused on the landscape as their subject, attempting to capture the light and color as seen in nature. Crane returned to the United States in 1881 and continued to paint outdoors and on-site as he had in France. Known as an American tonalist painter, Crane carefully controlled a limited color palette to create atmospheric effects as seen in the painting A Long Island Farm, Springtime (c. 1890). His romantic and naturalistic style, reminiscent of the Barbizon School painters, captured the rural qualities of the typical 19th century Long Island farm.

Similar to Crane, Charles Henry Miller also studied and traveled through Europe and became a National Academy of Design academician. Miller was a well-respected and successful landscape painter who focused on the Long Island region, seeing it as a picturesque location and a rich source of inspiration for artists. He returned to the United States in 1870 after studying at the Bavarian Royal Academy in Munich, Germany. Miller was also influenced by the work of the French Barbizon School.

In addition to Manhattan, Miller lived and worked in his family home in Queens Village. He was a strong advocate for Long Island as a location for artists not only to paint but also to live. Miller was well-known for painting bucolic and scenic vistas of Long Island, which he considered, even in the early 20th century, a vanishing landscape as the city spread eastward into Brooklyn and Queens. On the Road to Market (1885-1895) and Roslyn Mill (Mill Dam) (1875-1885) both reveal the quiet, rural life that Miller thought was disappearing and felt compelled to preserve for future generations.

Bridge Connections The completion of the Brooklyn Bridge in 1883 directly connected Manhattan to Long Island. Until this time, steam ferry service from Manhattan to Brooklyn was the only reliable connection between Long Island and the rest of New York state.

The construction of this majestic bridge was monumental and took more than 14 years to complete. The iconic image of the Brooklyn Bridge, with its gothic-inspired masonry towers and intertwined steel cables, has inspired dozens of artists through the years.

Dorothy Norman’s (American, 1905-1997) small black and white photograph from 1932, Brooklyn Bridge from the Boat to New Bedford, captures the somber tones of the day. The gloominess of the gray and cloudy sky emphasizes the mood of the day while the strong verticals of the bridge’s stone pillars show its solidity and strength. Norman was an activist and photographer who was mentored by Alfred Stieglitz. In the color woodcut The Bridge (1957) by Irving Amen (American,

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1918-2011) the strong black lines emphasize the verticality of the stone towers and the complexity of the cables. The smoke stacks and densely packed buildings along the shores place the bridge in its mid-20th century industrial context. The areas adjacent to the bridge had been substantially built up over the first half of the 20th century. Amen studied in New York and Europe; he worked in a variety of printmaking techniques and was known for the expressive qualities of his woodcuts. To commemorate the 100th anniversary of the bridge, the 1983 Brooklyn Bridge Centennial Commission Inc. invited one of the 20th century’s most celebrated artists, pop artist Andy Warhol (American, 1928-1987), to create a screenprint of this most iconic New York bridge. The design of Warhol’s Brooklyn Bridge (1983) was done in what has become known as Warhol’s distinctive style: simplified and repeated images in a sectioned composition with broad areas of flat and intense color. Warhol was an early proponent of using commercial screenprinting technology to create artistic images. The screenprinting method can produce large areas of saturated color, and photographically reproduced images can be incorporated into the work.

Just after the turn of the 20th century, additional bridges connecting Long Island to New York were completed: the Williamsburg Bridge in 1903, and the Manhattan and 59th Street/Queensboro Bridges in 1909. In 1943-44 artist Louis Lozowick (American, born Ukraine, 1892-1973) captured aspects of manufacturing and engineering for a calendar titled A Tribute to American Industry. The image for one month, titled Transportation (March), focused on the Williamsburg Bridge. The artist’s point of view, showing the underside of the span, emphasized the construction of the bridge with its steel towers. Lozowick incorporated multiple transportation types in this lithograph, including ships in the river, airplanes in the sky and a train steaming along the far shoreline. In Manhattan Bridge Under the Brooklyn Bridge (1999), Emily Trueblood (American, born 1942) used simplified lines to accentuate the sturdiness and solidity of both structures. The luminous color of the late afternoon sky and the whimsical inclusion of the birds romanticized an otherwise stark representation of the city and its bridges. The bridges throughout New York City continue to capture the imagination of artists; in fact, Antonio Masi (American, born 1940) has been painting them since 2000. His watercolor Going/Coming — Queensboro Bridge (2012) provides us with a different perspective by focusing on the geometry of the steel girders underneath the span.

The construction of bridges to increase avenues for crossing from Long Island to Manhattan and points north continued through the first half of the 20th century with the completion of the Robert F. Kennedy/Triborough Bridge in 1936 and the Bronx-Whitestone Bridge in 1939. The additional spans both encouraged travel to the island and increased the demand for better accessibility. Inhabitants of New York City began moving in greater numbers to Brooklyn and Queens and to points further east in Nassau County. Their reasons for moving east included the arrival of new immigrant populations, the desire for more space, and a wish for a perceived healthier living environment. From 1920 to 1930 the total population of Long Island almost doubled, increasing from 236,366 to 464,108 with the majority relocating to Nassau County.

Roadway Connections The American population became more mobile as sales of automobiles increased during the decade of the 1920s. Ford Motor Company, General Motors and Chrysler had emerged as the “Big Three” by the end of the decade. Automobile pricing was affordable for the growing middle class, and motorists appreciated the freedom to travel when and where they wanted. On Long Island, where emphasis was on private vehicle ownership rather than public transportation, this necessitated the development of roads and parkways to move traffic from the bridges through Brooklyn and Queens and onto Eastern Long Island.

The Long Island Parkway System began with the organization of the Long Island State Park Commission, with Robert Moses as president, in 1924. The commission undertook the task of creating a system of efficient and scenic roads to replace the congested local roads. The parkways linked the state parks (Jones Beach, Bethpage and Sunken Meadow) and provided transportation from New York City across Long Island. They were designed with stone-faced, arched bridges, grassy shoulders and plantings, and were often curved to follow natural landscape features. Samuel Rothbort’s (American, born Russia, 18821971) watercolor #268 Southern State Parkway (n.d.) underscored the natural design elements of the parkway by emphasizing the picturesque stone bridge and plantings and minimizing the car traffic. Rothbort typically painted on-site and depicted many outdoor scenes in the New York area, including Prospect Park, the Gowanus Canal, and farms in Flatbush.

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The parkways had their beginnings in the early part of the 20th century, but all were constructed over a number of years before reaching their terminal points. In the second half of the 20th century, the original parkways were redesigned to accommodate increased traffic volume and speed limits. The origins of a few of the parkways are noted below: The Grand Central Parkway was first planned in 1922 as a connection between Queens Boulevard and Nassau County to allow city residents to reach, in particular, Jones Beach State Park more easily. Construction began in 1931, with the original section running parallel to Union Turnpike; it was widened in 1961 in preparation for the 1964 New York World’s Fair in Flushing Meadows-Corona Park.

Construction of the Southern State Parkway began in 1925, with the first section opening in 1927. The original terminus of Bay Shore Road (Bay Shore, Suffolk County) was reached in 1949.

The eastern extension of the Grand Central Parkway, known as the Northern State Parkway, was constructed in stages throughout the 1930s and again in the late 1940s/early 1950s, and reached its current terminus in Hauppauge in 1965.

The Meadowbrook Parkway was part of the Long Island Parkway System designed to ease access to Jones Beach State Park. Parkway construction began in 1933 and was completed in 1934. Jones Beach State Park had opened along Ocean Parkway in 1929.

Robert Moses, an influential and controversial figure, was known as the “master builder” of the mid-20th century New York City region. While his overall impact remains contested, the scope of his impact is undeniable. Heading up the Long Island State Park Commission, Moses pushed for the creation of his master plan, which proposed roadways rather than public transportation to connect New York City and Long Island. The parkway system focused on automobile usage and paved the way for the development of modern suburbia. The population of Long Island more than tripled from 1940 and 1960, with a larger number of people settling in Nassau County. Residents from New York City moved to the new housing developments that arose during the post-World War II economic boom. Perhaps the most well-known community was the town of Levittown where individual family homes were built on small adjacent lots. The exhibition includes advertising brochures for new homes based upon this model, which became the template for suburban development.

In tandem with the development of residential neighborhoods and commercial areas in Nassau County, Hofstra College (it became Hofstra University in 1963) was poised for growth and expansion. In a letter addressed to Hofstra College President Dr. John C. Adams dated November 9, 1955, Robert Moses advocated that Hofstra acquire at least 100 acres of the land north of Hempstead Turnpike in what was then Mitchel Field. The University did acquire 110 acres, which dramatically expanded the campus and prepared Hofstra for future growth.

With the exception of the Long Island Rail Road, the expansion of transportation routes continued to focus on individual automobile usage throughout the 20th century, with the creation of the Queens-Midtown Tunnel (1940) and the Brooklyn Battery Tunnel (1950) along with the construction of the Throgs Neck Bridge (1961) and Verrazano-Narrows Bridge (1964).

The Long Island Expressway was constructed in phases over 30 years. It began in the 1940s as the connection from the Queens-Midtown Tunnel to eastern Queens. The current iteration of the Long Island Expressway, terminating in Riverhead, was completed in 1972.

Allan D’Arcangelo (American, 1930-1998), like his pop art contemporaries, found artistic inspiration in everyday objects and mass culture. American highways, road signs and the visual language of the modern car culture captured his interest. While D’Arcangelo’s print A Modern Super Highway Carried Through the Countryside (1969) does not specifically depict Long Island, it reflects the emergence and construction of highway systems that occurred across the United States in the second half of the 20th century. D’Arcangelo juxtaposed traditional landscape elements such as the puffy clouds in the sky and a low horizon line with the paved expressway. The “postcard” inset is a tongue-in-cheek reference to picturesque landscape postcards that usually depicted the majesty, grandeur and natural beauty of the country.

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American artist Lumen Martin Winter (American, 1908-1982) gained fame as a muralist in the mid- to late-20th century, completing projects for the AFL-CIO Headquarters Building, Kansas State Capitol, and the National Wildlife Federation, among others. Winter melded aspects of modern abstraction and traditional representation to create his own unique style, which can be seen in his undated Mural Study for “Verrazzano on Staten Island 1524.” This unrealized design for a marble and glass mosaic mural for the lobby of PS60 celebrated the achievements of the Italian explorer Giovanni da Verrazzano, who was the first European to sail into New York Harbor. Verrazzano charted the Atlantic coast of North America from the Carolinas to Newfoundland and entered the Bay of New York on April 17, 1524, the date noted on the watercolor on the upper left. A stylized version of the bridge named for the explorer can be seen on the right side of the work of art.

Marilyn Bridges (American, born 1948) captured the same bridge from a very different point of view. Lane Manned, NYC (1985) is an aerial view of the Staten Island toll plaza for the Verrazano-Narrows Bridge that focused on the traffic and congestion of a major transportation artery. Her photographs serve the dual role of interpreting and creating a visual record of the sites. Bridges’ landscape photographs depict monuments of both ancient and modern civilizations examined from an unfamiliar perspective. In contrast, Antonio Masi’s watercolor Hot Day — Throgs Neck Bridge (2011) presented a more romanticized view. In this instance the bridge is bathed in the golden glow of the midday sun, which glistens and sparkles off the water. The point of view from underneath the span emphasizes the height of the bridge, its monumental scale, and its length as it stretches into the distance.

Environmental Connections As the years progressed, there have been many environmental implications resulting from the suburban sprawl and overdevelopment of Long Island, including the loss of open spaces and the pollution of the air, land and water. Contemporary artists have continued to seek inspiration from the evolving landscape of Long Island and create works of art that visually address these environmental issues, as well as a disappearing landscape.

Two featured artists visually documented the current appearance of Long Island. No Exit (2006) by Margery Caggiano (American, 1929-2015) seems to portray a traditional landscape at first glance. The painting focuses on the dramatically rendered and brilliantly colored sunset in the sky. Closer examination reveals that the Long Island Expressway is leading the viewer’s eye from the foreground into the distance of the painting. Caggiano stated that she was interested in the “mystery and magic of reality.” As seen in this painting, the impact and use of color is particularly important in her work. Utilizing the technique of infrared photography, Joseph Constantino (American, born 1931) in The Barn at Mattituck (1999) has captured a remnant from the island’s agricultural past. Infrared photography uses film that is sensitive to a specific range of wavelengths and blocks most of the visible light spectrum. The process allowed Constantino to create the dramatic effects that resulted in the other worldly atmosphere of the photograph. The deep darkness of the sky and hazy quality of the image are typical attributes of infrared photography.

Janet Culbertson (American, born 1932), an artist who lives and works on Long Island, is an acknowledged environmentalist.

Reflecting her interests, her works of art reveal an appreciation for the natural beauty of the world and acknowledge that it is at risk. The two works in the exhibition address contemporary issues facing Long Island. In Paving the Planet (2001) Culbertson utilized the solid and dashed yellow lines typically found in the middle of a road over an undeveloped landscape to signify the reality of a threatened environment. The congestion on expressways and parkways, now used by far more vehicles than originally planned, can be seen in Carpool (2009). Culbertson used iridescent pigments and oils to evoke the metallic gleam of the sun hitting cars mired in the traffic. The interlocked and interwoven roads create layers of dense traffic in a stark and barren landscape.

Similar to Culbertson, multimedia artist Barbara Roux (American, born 1946) expresses her concern for the natural environment through her drawing, photography, poetry and sculpture. Roux works to document the natural habitats of Long Island where change is constant, whether it is natural or man-made. In her sculptural works, she often utilizes found natural objects that capture her imagination and are then manipulated and reconfigured into works of art. The Orchard Skirts (2010) were created

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from the pruned tops of dwarf fruit trees found when a local orchard was cleared for new construction. Roux has reshaped the branches and manipulated their orientation, placing them upside down and changing their perspective. They are reminiscent of creeping creatures or, as the title suggests, the oversized skirts of 18th century French court dresses. Using her daily interaction with the organic environment to inform her artistic works, Roux hopes to inspire a desire to protect natural habitats.

There is no question that the construction and development of the bridges, parkways and tunnels connecting Long Island to New York City and beyond have changed the landscape of Long Island. Over the past century, Long Island has transformed into a dramatically different place. There remains a concern for how these changes have affected the physical aspects of the area and a growing movement to mitigate them. Recent efforts have been made to slow growth, more carefully plan for expansion, preserve open spaces, and create a more sustainable future for Long Island. The island’s environment, natural and man-made, has long served as inspiration for artists and continues to do so in a way that reflects the transformation of the region.

Karen T. Albert

Associate Director of Exhibitions and Collections Hofstra University Museum

Selected Resources Albert, Karen T. “From the Curator” in Barbara Roux: Environments. Hempstead, NY: Hofstra University Museum, 2012.

Antonio Masi: New York City: A Vision Realized. N.p., n.d. Web. 13 Mar. 2016. <http://www.antoniomasi.com/>.

Art by Janet Culbertson. N.p., n.d. Web. 24 Mar. 2016. <http://www.janetculbertson.net/>.

“Automobiles.” History.com. Ed. Eric Foner and John A. Garraty. A&E Television Networks, 2010. Web. 17 June 2016. <http://www.history.com/topics/automobiles>.

“Bruce Crane Dies; Landscape Artist.” The New York Times (1923-Current file) 30 Oct. 1937: 19. ProQuest. 22 March 2016.

Fleming, Geoffrey K. “Charles Henry Miller, N.A. (1842-1922) - An Artist of Long Island.” Resource Library, 11 Feb. 2012.

Web. 22 Mar. 2016. <http://www.tfaoi.com/aa/10aa/10aa138.htm>.

Goldberger, Paul. “Robert Moses, Master Builder, Is Dead at 92.” The New York Times, 30 July 1981. Web. 17 June 2016. <http://www.nytimes.com/learning/general/onthisday/bday/1218.html>.

Historical Population of Long Island Communities 1790-1980. Long Island Regional Planning Board, Decennial Census Data, August 1982. Web. 17 June 2016. <http://www.suffolkcountyny.gov/Portals/O/planning/Research/Historical.pop.pdf > Janet Culbertson, A Retrospective: 1966 to 2014, Paradise Gone? Cazenovia, NY: Stone Quarry Hill Art Park, 2014.

The Long Island Parkway System. New York State Department of Transportation, 1985. Web. 24 May 2016. <http://www.nycroads.com/history/parkway>.

Margery Caggiano Fine Art. N.p., n.d. Web. 7 Mar. 2016. <http://margerycaggiano.com/home.html>.

Marilyn Bridges Photography: Ancient and Contemporary Locations Worldwide, Prints and Books Available. N.p., n.d.

Web. 9 Mar. 2016. <http://marilynbridges.com/>.

Solomon, Geri. “From City to Suburbs on Long Island.” Hofstra University Libraries, Long Island Studies Institute Online Exhibition, 15 July 2015. Web. 27 June 2016. <https://prezi.com/u6mf8uq4dk2f/from-city-to-suburbs-on-long-island/>

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Works of Art

Irving Amen (American, 1918-2011)

The Bridge, 1957 Woodcut 7 x 9 in.

Hofstra University Museum Collections Gift of Mr. and Mrs. Walter Fillin HU72.34

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Marilyn Bridges (American, born 1948)

Lane Manned, NYC from the portfolio Heightened Perspectives, 1985 Gelatin silver print 14 3/4 x 18 3/4 in.

Hofstra University Museum Collections Gift of Susan and Steven Ball HU95.14.16

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Margery Caggiano (American, 1929-2015)

No Exit, 2006 Acrylic on linen 24 x 36 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY Gift of Margery Caggiano, 2015 [2015.005]

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Joseph Constantino (American, born 1931)

The Barn at Mattituck, 1999 Infrared photograph, digital archival print 12 3/4 x 17 in.

Hofstra University Museum Collections Gift of the artist HU2010.2.1

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Robert Bruce Crane (American, 1857-1937)

A Long Island Farm, Springtime, c. 1890 Oil on canvas 24 x 40 7/8 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY Museum purchase, 1991 [1991.041]

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Janet Culbertson (American, born 1932)

Carpool, 2009 Oil, collage, iridescent pigments on rag paper 29 x 41 in.

Courtesy of the artist

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Janet Culbertson (American, born 1932)

Paving the Planet, 2001 Acrylic on canvas 60 x 92 in.

Courtesy of the artist

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Allan D’Arcangelo (American, 1930-1998)

A Modern Super Highway Carried Through the Countryside, 1969 Screenprint, lithograph and collage 21 1/8 x 25 1/2 in.

Hofstra University Museum Collections Gift of Dr. Milton Gardner HU72.7 Art © D’Arcangelo Family Partnership/Licensed by VAGA, New York, NY

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Louis Lozowick (American, born Ukraine, 1892-1973)

Transportation (March), 1943-44 Lithograph 9 13/16 x 13 in.

Hofstra University Museum Collections Gift of Daniel Mason HU77.102 © Courtesy of the Estate of Louis Lozowick and Mary Ryan Gallery, New York

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Antonio Masi (American, born 1940)

Going/Coming – Queensboro Bridge, 2012 Watercolor 30 x 40 in.

Courtesy of the artist

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Antonio Masi (American, born 1940)

Hot Day – Throgs Neck Bridge, 2011 Watercolor 40 x 30 in.

Courtesy of the artist

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Charles Henry Miller (American, 1842-1922)

On the Road to Market, 1885-1895 Oil on canvasboard 14 3/4 x 23 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY Gift of Mr. and Mrs. Ward Melville, 1976 [1976.017.0031]

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Charles Henry Miller (American, 1842-1922)

Roslyn Mill (Mill Dam), 1875-1885 Oil on canvas 18 x 24 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY Gift of Mr. and Mrs. Ward Melville, 1976 [1976.017.0027}

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Dorothy Norman (American, 1905-1997)

Brooklyn Bridge from the Boat to New Bedford from the portfolio Dorothy Norman: Selected Photographs, 1932 Gelatin silver print 3 5/8 x 2 3/4 in.

Hofstra University Museum Collections Gift of Susan and Steven Ball HU96.64.11

© 1998 Center for Creative Photography, The University of Arizona Foundation

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Samuel Rothbort (American, born Russia, 1882-1971)

#268 Southern State Parkway, n.d.

Watercolor on paper 20 x 25 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY Gift of Ida Rothbort, 1995 [1995.003.0009]

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Barbara Roux (American, born 1946)

Orchard Skirts, 2010 (detail) Dwarf fruit tree branches Dimensions variable Courtesy of the artist

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Emily Trueblood (American, born 1942)

Manhattan Bridge Under the Brooklyn Bridge, 1999 Linoleum cut 23 x 18 3/4 in.

Hofstra University Museum Collections Gift of the artist HU2003.7

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Andy Warhol (American, 1928-1987)

Brooklyn Bridge, 1983 Screenprint on Lenox Museum Board Extra, out of edition. Designated for research and education purposes only.

39 3/8 x 39 3/8 in.

Hofstra University Museum Collections Gift of The Andy Warhol Foundation for the Visual Arts Inc. HU2014.10

© The Andy Warhol Foundation for the Visual Arts, Inc.

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Lumen Martin Winter (American, 1908-1982)

Mural Study for “Verrazzano on Staten Island 1524,” n.d.

Watercolor on board 11 1/2 x 39 1/2 in.

Hofstra University Museum Collections Gift in memory of Dr. Nathaniel R. and Lucille Katlan and Dr. Roberta Katlan Helfgott HU2015.17

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Ephemera and Photographic Documentation Courtesy of Hofstra University Libraries Special Collections, unless otherwise noted.

Travellers Map of Long Island, published by J.H. Colton, New York, 1848 8 1/2 x 22 in.

Servoss’ Sectional Road Map of Long Island, Showing the Good Roads, c. 1903 9 1/2 x 4 1/2 in.

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Engine No. 201 pulling first train from Pennsylvania Station East Past Central Islip, September 8, 1910 Gelatin silver print 8 x 10 in.

Long Island Rail Road Time Table, 1925 Pamphlet 5 x 8 1/4 in.

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Workers on a Section of the Long Island Rail Road c. 1930s Gelatin silver print 8 x 10 in.

Long Island Railroad Cash Fare Receipt 1934 3 1/4 in. x 2 in.

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Long Island Rail Road Brochure, Ronkonkoma – The Lake Country, n.d.

5 x 7 in.

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Luncheon Terrace on the Boardwalk at the Central Mall, Jones Beach State Park, 1933 Postcard 3 1/2 x 5 1/2 in.

Aerial View of Jones Beach State Park, May 14, 1933 Postcard 3 1/2 x 5 1/2 in.

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Meadowbrook Parkway Construction, Feb. 19, 1934 Gelatin silver print 8 x 10 in.

Northern State Parkway, May 20, 1934 Gelatin silver print 4 5/8 x 6 3/4 in.

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Interborough Parkway, Gateway to Long Island, 1934 Pamphlet 8 7/8 x 14 in.

The Southern State Parkway, Long Island, N.Y., 1935 Postcard 3 1/2 x 5 1/2 in.

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Southern State Parkway Construction, c. early 1930s Gelatin silver print 8 x 10 in.

Nassau Boulevard Over Grand Central Parkway, c. 1936 Gelatin silver print 6 x 9 3/4 in.

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General Development Plan, State Parks and Parkways, Long Island, NY, 1937 Chromolithographic print on paper 36 x 58 1/2 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY Donated by Brian Ellis [1996.000.0005]

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Northern State Parkway, Nassau County, Long Island, N.Y., 1938 Postcard 3 1/2 x 5 1/2 in.

Intersection of Grand Central & Interborough Parkways, L.I., N.Y., 1942 Postcard 3 1/2 x 5 1/2 in.

41

Brooklyn Battery Tunnel under construction, September 21, 1944 Digital print, 11 x 14 in.

Image credit: The New York Times/Redux

Early view of Queens-Midtown Tunnel in use, which opened 1940 and cost $58 million to build, n.d.

Digital print, 11 x 14 in.

Courtesy of Greater Astoria Historical Society

42

Letter to Dr. John C. Adams from Robert Moses November 9, 1955 11 x 8 1/2 in.

Robert Moses, n.d.

Gelatin silver print 8 1/4 x 7 7/8 in.

43

Maplewood Estates, Plainview, L.I., n.d.

Brochure 5 3/8 x 8 1/2 in.

Morton-Built Homes, Plainview, 1952-53 Brochure 5 5/8 x 25 in.

The “Rancher,” 1952 Brochure 8 1/2 x 11 in.

44

Aerial View of Levittown, NY, c. 1950s Digital print 11 x 12 1/2 in.

45

Thousand Lanes, Spring-Summer 1959 Magazine 11 x 8 1/2 in.

Aerial View of the Long Island Expressway under construction, looking west from Mineola Ave., Roslyn Heights, NY, 1957 Gelatin silver print 8 x 10 in.

46

Cars on the Long Island Expressway passing under Oceania St. overpass, Bay Ridge, NY, c. 1960s Gelatin silver print 8 x 10 in.

The Route of the Dashing Commuter, The Long Island Rail Road, c. 1963 Glassware 4 1/2 x 3 5/8 in. diameter each

47

Over the River: Transforming Long Island EXHIBITION CHECKLIST Works of Art Irving Amen (American, 1918-2011) The Bridge, 1957 Woodcut 7 x 9 in.

Hofstra University Museum Collections, gift of Mr. and Mrs. Walter Fillin, HU72.34 Marilyn Bridges (American, born 1948) Lane Manned, NYC from the portfolio Heightened Perspectives, 1985 Gelatin silver print 14 3/4 x 18 3/4 in.

Hofstra University Museum Collections, gift of Susan and Steven Ball, HU95.14.16 Margery Caggiano (American, 1929-2015) No Exit, 2006 Acrylic on linen 24 x 36 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY, gift of Margery Caggiano, 2015 [2015.005] Joseph Constantino (American, born 1931) The Barn at Mattituck, 1999 Infrared photograph, digital archival print 12 3/4 x 17 in.

Hofstra University Museum Collections, gift of the artist, HU2010.2.1 Robert Bruce Crane (American, 1857-1937) A Long Island Farm, Springtime, c. 1890 Oil on canvas 24 x 40 7/8 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY, Museum purchase, 1991 [1991.041] Janet Culbertson (American, born 1932) Carpool, 2009 Oil, collage, iridescent pigments on rag paper 29 x 41 in.

Courtesy of the artist

Janet Culbertson (American, born 1932) Paving the Planet, 2001 Acrylic on canvas, 60 x 92 in.

Courtesy of the artist Allan D’Arcangelo (American, 1930-1998) A Modern Super Highway Carried Through the Countryside, 1969 Screenprint, lithograph and collage 21 1/8 x 25 1/2 in.

Hofstra University Museum Collections, gift of Dr. Milton Gardner, HU72.7 Louis Lozowick (American, born Ukraine, 1892-1973) Transportation (March), 1943-44 Lithograph, 9 13/16 x 13 in.

Hofstra University Museum Collections, gift of Daniel Mason, HU77.102 Antonio Masi (American, born 1940) Going/Coming – Queensboro Bridge, 2012 Watercolor, 30 x 40 in.

Courtesy of the artist Antonio Masi (American, born 1940) Hot Day – Throgs Neck Bridge, 2011 Watercolor, 40 x 30 in.

Courtesy of the artist Charles Henry Miller (American, 1842-1922) On the Road to Market, 1885-1895 Oil on canvasboard, 14 3/4 x 23 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY, gift of Mr. and Mrs. Ward Melville, 1976 [1976.017.0031] Charles Henry Miller (American, 1842-1922) Roslyn Mill (Mill Dam), 1875-1885 Oil on canvas, 18 x 24 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY, gift of Mr. and Mrs. Ward Melville, 1976 [1976.017.0027}

48

Dorothy Norman (American, 1905-1997) Brooklyn Bridge from the Boat to New Bedford from the portfolio Dorothy Norman: Selected Photographs, 1932 Gelatin silver print, 3 5/8 x 2 3/4 in.

Hofstra University Museum Collections, gift of Susan and Steven Ball, HU96.64.11 Samuel Rothbort (American, born Russia, 1882-1971) #268 Southern State Parkway, n.d.

Watercolor on paper, 20 x 25 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY, gift of Ida Rothbort, 1995 [1995.003.0009] Barbara Roux (American, born 1946) Orchard Skirts, 2010 Dwarf fruit tree branches Dimensions variable Courtesy of the artist Emily Trueblood (American, born 1942) Manhattan Bridge Under the Brooklyn Bridge, 1999 Linoleum cut, 23 x 18 3/4 in.

Hofstra University Museum Collections, gift of the artist, HU2003.7 Andy Warhol (American, 1928-1987) Brooklyn Bridge, 1983 Screenprint on Lenox Museum Board Extra, out of edition. Designated for research and education purposes only.

39 3/8 x 39 3/8 in.

Hofstra University Museum Collections, gift of The Andy Warhol Foundation for the Visual Arts Inc., HU2014.10 Lumen Martin Winter (American, 1908-1982) Mural Study for “Verrazzano on Staten Island 1524,” n.d.

Watercolor on board, 11 1/2 x 39 1/2 in.

Hofstra University Museum Collections, gift in memory of Dr. Nathaniel R. and Lucille Katlan and Dr. Roberta Katlan Helfgott, HU2015.17

Ephemera and Photographic Documentation

Courtesy of Hofstra University Libraries Special Collections, unless otherwise noted.

Travellers Map of Long Island, published by J.H. Colton, New York, 1848 8 1/2 x 22 in.

Servoss’ Sectional Road Map of Long Island, Showing the Good Roads, c. 1903 9 1/2 x 4 1/2 in.

Engine No. 201 pulling first train from Pennsylvania Station East Past Central Islip, September 8, 1910 Gelatin silver print 8 x 10 in.

Long Island Rail Road Time Table, 1925 Pamphlet 5 x 8 1/4 in.

Workers on a Section of the Long Island Rail Road, c. 1930s Gelatin silver print 8 x 10 in.

Long Island Railroad Cash Fare Receipt, 1934 3 1/4 in. x 2 in.

Long Island Rail Road Brochure, Long Beach – Some of the Attractions and Ronkonkoma – The Lake Country, n.d.

5 x 7 in.

Luncheon Terrace on the Boardwalk at the Central Mall, Jones Beach State Park, 1933 Postcard 3 1/2 x 5 1/2 in.

Aerial View of Jones Beach State Park, May 14, 1933 Postcard 3 1/2 x 5 1/2 in.

Meadowbrook Parkway Construction, Feb. 19, 1934 Gelatin silver print 8 x 10 in.

Northern State Parkway, May 20, 1934 Gelatin silver print 4 5/8 x 6 3/4 in.

Interborough Parkway, Gateway to Long Island, 1934 Pamphlet 8 7/8 x 14 in.

The Southern State Parkway, Long Island, N.Y., 1935 Postcard 3 1/2 x 5 1/2 in.

Southern State Parkway Construction, c. early 1930s Gelatin silver print 8 x 10 in.

Nassau Boulevard Over Grand Central Parkway, c. 1936 Gelatin silver print 6 x 9 3/4 in.

General Development Plan, State Parks and Parkways, Long Island, NY, 1937 Chromolithographic print on paper 36 x 58 1/2 in.

The Long Island Museum of American Art, History and Carriages, Stony Brook, NY Donated by Brian Ellis [1996.000.0005] Northern State Parkway, Nassau County, Long Island, N.Y., 1938 Postcard 3 1/2 x 5 1/2 in.

Intersection of Grand Central & Interborough Parkways, L.I., N.Y., 1942 Postcard 3 1/2 x 5 1/2 in.

Brooklyn Battery Tunnel under construction, September 21, 1944 Digital print 11 x 14 in.

Image credit: The New York Times/Redux Early view of Queens-Midtown Tunnel in use, which opened 1940 and cost $58 million to build, n.d.

Digital print 11 x 14 in.

Courtesy of Greater Astoria Historical Society

49

Letter to Dr. John C. Adams from Robert Moses, November 9, 1955 11 x 8 1/2 in.

Robert Moses, n.d.

Gelatin silver print 8 1/4 x 7 7/8 in.

Maplewood Estates, Plainview, L.I., n.d.

Brochure 5 3/8 x 8 1/2 in.

Morton-Built Homes, Plainview, 1952-53 Brochure 5 5/8 x 25 in.

The “Rancher,” 1952 Brochure 8 1/2 x 11 in.

Aerial View of Levittown, NY, c. 1950s Digital print 11 x 12 1/2 in.

Thousand Lanes, Spring-Summer 1959 Magazine 11 x 8 1/2 in.

Aerial View of the Long Island Expressway under construction, looking west from Mineola Ave., Roslyn Heights, NY, 1957 Gelatin silver print 8 x 10 in.

Cars on the Long Island Expressway passing under Oceania St. overpass, Bay Ridge, NY, c. 1960s Gelatin silver print 8 x 10 in.

The Route of the Dashing Commuter, The Long Island Rail Road, c. 1963 Glassware 4 1/2 x 3 5/8 in. diameter each

HOFSTRA UNIVERSITY STUART RABINOWITZ President Andrew M. Boas and Mark L. Claster Distinguished Professor of Law

GAIL M. SIMMONS Provost and Senior Vice President for Academic Affairs

HOFSTRA UNIVERSITY MUSEUM BETH E. LEVINTHAL Executive Director KAREN T. ALBERT Associate Director of Exhibitions and Collections

KRISTY L. CARATZOLA Collections Manager

ELIZABETH DYSART Museum Educator

RENEE B. KUROT School and Youth Program Coordinator

KARLA ODERWALD Senior Assistant to the Executive Director

NANCY RICHNER Museum Education Director

CHARMISE WOODSIDE-DESIRÉ Communications Director

GRADUATE ASSISTANTSHIP Mairéad Senk

GRADUATE ASSISTANTS Lauren Cristino Mairéad McGrath

UNDERGRADUATE ASSISTANTS Joseph Aquino Rachel A. Davis Allison Wolf