522 Exhibition Review Sylvan Cemetery: Architecture, Art & Landscape at Woodlawn at The Miriam and Ira D. Wallach Art Gallery, Columbia University Exhibition on view through November 1, 2014 Review by Debra Jackson Cemeteries are remarkably rich sources of archival material. Obviously the records must account for the who, when, and where regarding burials, but cemetery files are much more expansive and include maps, accounting and ledger books, and other documents which, taken together, produce a fascinating perspective on a particular life, death, or even a place. A recent search for the grave of abolitionist newspaperman Robert Hamilton (1819–1870) took this reviewer to Cypress Hills Cemetery in Brooklyn, where I discovered not only the grave but also the names of those buried with him. Robert Hamilton died a pauper; he was interred in a plot for indigents on land purchased at Cypress Hills by the African Methodist Episcopal Zion church, Mother Zion, of which Hamilton was a member. Cypress Hills Cemetery was a creation of the antebellum years and, as such, predates Woodlawn by several decades. Like Woodlawn, Cypress Hills grew out of the “rural” cemetery movement in the United States, and of necessity was planned and laid out in a location—for Woodlawn, this was the Bronx—far beyond the island of Manhattan, where the population had increased to the extent that burials on the island were outlawed after the 1830s. In 1863, a group of wealthy businessmen led by the Reverend Absalom Peters founded Woodlawn. In the years following the Civil War, cemetery design in the United States continued to be influenced by and developed according to European conventions, and these ideas initially determined the development of the Woodlawn landscape. The most decisive influence came from the Exhibition Review 523 Prussian-born Adolph Strauch, whose new cemetery style called the “landscape lawn” plan was embraced by Woodlawn’s trustees. As the exhibition catalogue indicates, Woodlawn became fashionable, and enjoyed a “golden age of patronage and artistic quality” in the years between the Civil War and the Great Depression. The wealthy financiers of the Gilded Age invested large amounts, and seemed to compete with one another in the outlay of expense, as they actively worked to shape and frame the way they would be remembered. The roster of architects, sculptors, and landscape designers is a veritable “Who’s Who” of the artistic milieu and as a result, Woodlawn’s “memorials represent the largest and finest collection of funerary art in the country.” Sylvan Cemetery: Architecture, Art & Landscape at Woodlawn utilizes maps, photographs, letters, architectural drawings, and decorative objects to tell the story of Woodlawn’s beginnings and its evolution through the decades to the present. Organized thematically, the exhibition consists of five galleries, each displaying objects that support a corresponding theme: Shaping the Cemetery Landscape, Memorial Art and Mausoleum Architecture, Woodlawn’s Foundations, Architectural Inspirations and finally, Memorialists. The exhibition’s curators—Charles D. Warren, Susan Olsen, and Janet Parks—have selected items from the collection now on deposit in Columbia University’s Avery Architectural & Fine Arts Library that highlight examples of the funerary magnificence to be found at Woodlawn and that illustrate the richness of its archives. The archival material conveys equal power and vitality, along with the decorative objects, in the unfolding of the Woodlawn narrative. One feels compelled to linger over the object cases to fully absorb the details of each careful display. The exhibit has a measured, unhurried quality. The first gallery’s theme, Shaping the Cemetery Landscape, underscores the aesthetic development of Woodlawn in the display of Macy Gate, ca. 1875, a work that represented an undesirable element that was condemned—as noted in the label text—by landscape architect Andrew Jackson Downing. In a burst of caustic wit, Downing ridiculed the use of gates as “ironmongery” because of the way they sectioned off plots and the landscape. The “landscape lawn” plan “promoted the appearance of a continuous lawn, unbroken by divisions.” Also the first gallery includes an Insurance Policy Ticket from the 1870s 524 ■ NEW YORK HISTORY issued by the Railway Passengers Assurance Company, a small object but one that demands close consideration. The non-transferrable, twenty cent policy was purchased by R.E...
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