Coming Attractions: Helen Keller Mural in Forest Hills

By Michael Perlman

Helen Keller & Anne Sullivan Macy in 1913

One of the most courageous 20th century notables was author, lecturer, and advocate Helen Keller (1880 – 1968), but few people may realize that she once called Forest Hills home and was quite active locally. From 1917 to 1938, she resided in a charming brick-gabled and limestone house at 93 Seminole Avenue, later renumbered 71-11 112th Street.

Helen Keller, Anne Sullivan Macy, & Polly Thomson's Forest Hills house

In May, a mural that will commemorate Helen Keller and her achievements from a local to international perspective will rise on the west wall of the Ascan Avenue underpass of the Long Island Railroad, and will be painted on heavy duty primed panels. It will transform a banal wall into an educational and motivational beacon for community residents and visitors, and especially children. The project is being coordinated by this columnist and will be painted by international muralists Crisp and Praxis, natives of Australia and Columbia, respectively. It is in partnership with the Queens Economic Development Corporation, the Long Island Railroad, and Council Member Karen Koslowitz who secured $6,500 in public funding. Additional contributors included local residents and Portofino Ristorante.

Helen Keller inside her home, Courtesy of Susanna & Robert Hof

“When I was in first grade, I read ‘The Story of My Life’ by Helen Keller, and was fascinated by her spirit,” said contributor Gloria Piraino. “The following year, I saw the excellent film, ‘The Miracle Worker’ in the movies, and I was hooked. The very idea that a dedicated teacher could reach a young student with such difficulties was an inspiration. I became a teacher because of this, and taught for over 25 years. When I found out that Helen Keller lived in Forest Hills, I was so proud to have moved here. A mural commemorating her life will bring her inspirational story to future generations.”

Another contributor, Steve Schott, said “For our Forest Hills history, it’s important to recognize great people in our community, and it’s an honor to recognize Helen Keller.” He continued, “I want to thank the project’s coordinator and the artists for their desire to improve our community, making it better place to live.”

The mural is anticipated to feature Helen Keller's face and her Forest Hills house, a hand feeling Braille, as well as depict voting rights and her passion for animals. Another focal point will be her well-known quote, “The only thing worse than being blind is having sight but no vision.” An additional component will be a plaque, which will summarize her accomplishments and feature her photo and signature, as well as the project’s responsible parties. Collaboratively, the mural and plaque will offer an outdoor museum feel.

The artists presently have two Forest Hills murals; the Ramones/Forest Hills Stadium/Station Square mural at the Continental Avenue LIRR underpass, completed in June 2016, and “A Tribute To Ascan Avenue & The Forest Hills Gardens” featuring Civil War farmer Ascan Backus and Forest Hills Gardens founders, completed in April 2017 on the east wall, under the direction of this columnist. 

Helen Keller, Courtesy of Queens Community Board 6

Keller lived a storied life. After she contracted Scarlet Fever, she became blind and deaf at 19 months. She was examined by Alexander Graham Bell, telephone inventor and pioneer speech teacher for the deaf, who referred her to the Perkins School for the Blind. At 7, she met Anne Sullivan Macy (1866 – 1936), who was partially blind. “Miracle Worker” Macy moved in with Keller in Forest Hills, and became her teacher and closest companion. She also lived with secretary Polly Thomson and 8 dogs, mostly Great Danes.

Keller mastered the manual alphabet and learned to read Braille and print block letters. At age 9, she began to read lips and communicate. As a graduate of Radcliffe College in 1904 at age 24, Keller became the first deaf and blind individual to earn a Bachelor of Arts.

In 1913, she began lecturing on behalf of the American Foundation for the Blind, and her objective of removing stigmas associated with sight and hearing disorders took her worldwide. Traditionally, such conditions resulted in placing the blind and deaf in asylums. She also advocated for labor rights and women’s suffrage. From 1920 to 1924, Keller and Macy partnered for an educational vaudeville act. Keller’s published works include “The Story of My Life” (1902), “The World I Live In” (1908), “Out of the Dark” (1913), and “Helen Keller’s Journal” (1938). 

Helen Keller at her desk

On her home’s lawn, she celebrated birthdays by coordinating large-scale parties for the blind, and held fundraising tours to benefit the American Foundation for the Blind. She welcomed members of the Rainbow Division of the U.S. Army (42nd Infantry) in 1917, and then on the steps in Station Square, she greeted 1,200 soldiers. She stated, “The Star-Spangled Banner was more than 100 years ago dedicated as a symbol of freedom. We have since that time lived for that flag and for freedom, and I am proud to meet you, who are now ready to die, if need be for it, that there might be equal rights for all men and women alike.”

At the 1925 Lions Club International Convention, Keller stated, “Alone we can do so little, together we can do so much” and challenged Lions to become “knights of the blind in the crusade against darkness.”

In March 1926, Keller and Macy visited the Forest Hills Theatre, and lectured to further the mission of the American Foundation for the Blind, as part of a countrywide campaign. The blind organist, violinist, and composer Edwin Grasse accompanied Keller who sang, as organist Samuel Pearce of the Church-in-the-Gardens accompanied him. In October 1931, with one of her Great Danes at her side, she conducted a presentation titled “How Parents Can Help Their Children” at a Mother’s Club meeting at Public School 3.

Keller and Macy attended Sunday services at the First Presbyterian Church of Forest Hills, and also visited The Church-in-the-Gardens, where Keller lectured to the youth. Keller wrote a well-received column, "Into The Light" for the Queens newspaper, The Daily Star.

Keller spoke at The Community House, after being encouraged by her friend Homer Croy, a notable author, screenwriter, and humorist of Forest Hills. Her home was frequented by guests ranging from journalists to scientists to social workers. In 1936, after the Continental Avenue subway opened, her excitement led her to taking the train into Manhattan with secretary Polly Thomson. 

Helen Keller & dog Sieglinde in bottom row, Anne Sullivan Macy & Polly Thomson in top row, Courtesy of the Hof family

Keller has been called by Mark Twain “one of the two most interesting characters of the 19th century” alongside Napoleon. Between 1946 and 1957, she went on tour 7 times and visited 5 continents, totaling over 30 countries. She encountered world figures including John F. Kennedy, Charlie Chaplin, and Grover Cleveland. She worked with seven American presidents and was the recipient of the Presidential Medal of Freedom by President Lyndon B. Johnson in 1964. She was also the recipient of the Lions Humanitarian Award for her lifetime service in 1961, and in 1965, was elected to the National Women's Hall of Fame at the 1964 - 1965 World's Fair in Flushing Meadows Corona Park.

Keller once said, “The millions of blind eyes must be opened. Society is always creating too much trouble for philanthropy to patch. One must attack social problems at their roots.” Other inspirational words are “The best and most beautiful things in the world cannot be seen or even touched – they must be felt with the heart.”

A similar version of this feature was published in the Forest Hills Times: 

www.foresthillstimes.com/view/full_story/27630911/article-Helen-Keller-mural-coming-to-Ascan-Avenue

1/22 Art Sale To Benefit Forest Hills History Mural

Special Community Event! On Sun, Jan 22nd from 3:30 PM - 8 PM, meet best-selling artist John Stanisci at La Boulangerie, a unique bakery cafe at 109-01 72nd Rd. This Marvel & DC Comics artist will sell & sign prints of his great works including Spiderman, Batman, Star Wars, & Captain America. Character sketches upon request. Proceeds to benefit the Forest Hills History Mural Fundraiser. Now's your chance to own something special, give a gift, & help beautify Forest Hills, while paying tribute to historic influential figures. 

Questions? Contact Michael Perlman at unlockthevault@hotmail.com Please spread the word!

RSVP & Invite Your Friends: www.facebook.com/events/1301631239875875 

Richard Haas’ Mosaic Masterpiece on Queens Boulevard Turns 25

Richard Haas' mosaic mural, Photo by Michael Perlman, Rego-Forest Preservation Council

Queens Boulevard has shops, buildings, roadways, and a few public works of art… if you look carefully enough. This year marks the 25^th anniversary of a mosaic mural designed by the famed architectural muralist, Richard Haas.  

The mural adorns the curved façade of TD Bank at 108-36 Queens Boulevard in Forest Hills. It showcases America’s earliest planned garden community, the Forest Hills Gardens, which originated in 1909. At the foot of Station Square sits the Long Island Railroad Station, which extends across its width. Bearing prominence in the mural is the Forest Hills Inn, which opened in 1912 and towers over Station Square. The scene commemorates the Gardens’ Tudor and Arts and Crafts styles, as well as monumental trees, which resulted from the partnership of principal architect Grosvenor Atterbury and landscape architect Frederick Law Olmsted, Jr. 

The charm is further captured through a birdseye view of homes beyond the Inn, as well as specific examples of cottages in individualized windows along its perimeters. Also depicted is a cornerstone of tennis and music history, the Forest Hills Tennis Stadium, which opened in 1923, and a backdrop of the Manhattan skyline featuring the Twin Towers. 

“I have always said this was one of my secret favorites,” said Richard Haas. “I was taken by the history of Forest Hills as a planned community based more on English and other European precedents.” He designed the mural as the first of an extensive series for the Home Savings Bank of America in 1989. It was executed in Spilimbergo, Italy by professional craftsmen under Mr. Trasavenuto’s leadership, and installed by Mr. Cravato in Forest Hills.      

 

Haas’ contemporary creations often become relics. “It's so classic-looking, that I had no idea it was such a recent creation,” said Kew Gardens resident Liz Manning Jarmel.

 

Actor Emil Beheshti, a former Forest Hills resident said, “I am proud to see Richard Haas’ beautiful mosaic, as it reflects my childhood and the care given by residents. It reminds us of the rich history of Forest Hills and its gorgeous architecture.”

The mural was on the brink of demolition when Commerce Bank became the tenant in the mid-2000s, and referenced their storefront design standards. That was when landlord Cord Meyer Development Company had requirements of their own. “It would have been almost sacrilegious to alter or remove the mural. We appreciated the mural’s beauty and significance, as well as the survival of the World Trade Center picture,” said Anthony Colletti, Chief Operating Officer of Cord Meyer. “We made keeping the mural a deal breaker. Soon after, everyone was a winner; Cord Meyer, Commerce Bank, and most importantly, the community.”

Queens residents expressed their pride. Kevin Walsh, Founder of Forgotten New York hopes the mural will not be forgotten. “Now we can be thankful that Richard Haas' fanciful depiction of Station Square and the Gardens beyond will remain, to inspire generations to come.” 

“I pass this several times a week, and on sunny days, the gold mosaics absolutely gleam,” said Regina Judith Faighes. “It is an aesthetically beautiful monument to our beloved Forest Hills, and I feel there should be a ceremony honoring the very talented Richard Haas and his gift to our community.”

One of Haas’ major tools is his paintbrush, which he applies to a façade and redefines a technique known as “trompe l’oeil.” He creates an optical illusion by adding architectural detail and dimension to an otherwise blank canvas. Last year, he told CBS Sunday Morning, “A mural contains a neighborhood in many ways. It begins to make people aware of what the beauty is that’s around them.”

Richard Haas, Courtesy of the artist

In 1978, Paul Goldberger, a Pulitzer Prize-winning architectural critic and educator wrote, “The art of Richard Haas is at once entirely realistic and quite fantastic.” He then went on to say, “From a period when Haas began to make small dioramic boxes of artist’s interiors in the mid-Sixties and later New York street views, to the time when he was involved in full scale reshaping of urban exterior and interior environments, Richard Haas has been an ‘urban artist’ without peer.”

Richard Haas was born in 1936 and raised in Milwaukee. In the mid-1950s, he worked as a stonemason assistant to his great uncle George Haas, who was the master stonemason at Taliesin, the home of Frank Lloyd Wright. As an assistant professor at Michigan State between 1964 and 1968, it afforded him the opportunity to meet notable artists and critics such as Barnet Newman, Clement Greenberg, and Jules Olitski. In 1968, he made New York his home, and in 1975, painted his first outdoor mural featuring a replica of a cast-iron façade at Prince Street and Greene Street. This led to various outdoor commissions across America, which continues to this very day.

A similar version of this story appears in Michael Perlman's Forest Hills Times column: http://www.foresthillstimes.com/view/full_story/24564285/article-Queens-Boulevard-mosaic-turns-25

Restoring Civic Virtue

Michael Perlman's feature story in the Queens Ledger/Forest Hills Times on March 1, 2012. Please share & consider commenting on the Queens Ledger website: 



http://queensledger.com/view/full_story/17821254/article-Restoring-Civic-Virtue

Civic Virtue, west of Queens Borough Hall at Queens Blvd & Union Turnpike

Civic Virtue at its original home of City Hall Park, NYC circa 1930

Art is open to interpretation, and an artist's vision is bound for misinterpretation.

It a shame how the true meaning of Civic Virtue – the statue that stands near Borough Hall - is frequently misinterpreted and devalued in political discourse.

At a February 2011 press conference, ex-Congressman Anthony Weiner proclaimed this work of public art “sexist.” He called for a public work to be privatized and removed, posted it for sale on Craigslist, and explained that if it cannot be removed, it needs to be concealed with a tarp. Since then, an influx of art defenders and preservationists have emerged.

Situated on the boundary of Forest Hills and Kew Gardens on Queens Boulevard, Civic Virtue has been keeping an eye on passersby since 1941. The classically designed 22-foot, stone-and-marble sculpture has a commanding presence in a serene setting amidst urbanization.

Civic Virtue was designed in 1920 by renowned sculptor Frederick William MacMonnies, and sculpted by the Piccirilli Brothers. Frederick MacMonnies was the last major American Beaux Art sculptor, and was the first American to win a Gold Medal at the Paris Salon.

He also designed other famous works across America and Europe, including Nathan Hale in City Hall Park, Truth and Beauty outside the 42nd Street Library, and three statuary groupings on the Soldiers and Sailors Arch in Grand Army Plaza.

Civic Virtue depicts a muscular nude Hercules with a sword in his right hand behind his neck, and stands over (but not on top of) two mermaid-like sirens depicting vice and corruption.

Controversy ensued since Civic Virtue’s origins. In 1922, Civic Virtue watched park-goers and elected officials as it stood centrally in Manhattan’s City Hall Park. Shortly after, because some people felt it disrespected women, it earned the nicknames “Tough Guy” and “Fat Boy.”

In January 1941, Robert Moses announced a contract of $21,720 for the statue's transport, and on May 29, 1941, the 24-ton statue was placed in a wooden container, meticulously packed with sand and attached to a 35-ton crane. At 2 mph, it made its cross-town parade on a 16-wheeled haulage truck with stout timbers to Kew Gardens in a four-hour commute. 

On May 31, 1941, Mayor Fiorello LaGuardia, who famously hated the fountain because its naked backside could be viewed from his office, said “Oh, it’s gone at last. Now I won’t have to look at that virtuous back anymore.” Alongside Queens Borough Hall, Civic Virtue would once again be in a landscaped setting, but not “turn its back” on government.

 

   On October 7, 1941, City Council President Newbold Morris presented Civic Virtue to Borough President George Harvey, who advocated for its rescue. He said, “For 12 years, Queens has really had civic virtue, but has never been able to prove it. We can, now!” There were 50 invited guests including Adolph Weimann and A.F. Brinkerhoff of the National Sculptors Society, as well as 200 onlookers who cheered.

Civic Virtue has not been maintained for decades; with an inoperable fountain, a weathered sculpture, and cracked steps. On September 7, 2011, as chairman of Rego-Forest Preservation Council, I nominated Civic Virtue for the State & National Register of Historic Places, so the statue can be commemorated and eligible for funding incentives, to help restore this public masterpiece.

On December 13, 2011, it was determined “National Register-Eligible” by Specialist Daniel McEneny of the New York State Historic Preservation Office. The next step is for the city to endorse the eligibility statement.
 
On February 6, 2012, Queens BP Helen Marshall held a budget hearing at Queens Borough Hall. Architect Glenn Urbanas of Richmond Hill, testified at the hearing. He suggested “a modest sum which might be as little as $25,000 - $30,000 to be allocated in next year’s budget, so Request For Proposals can be prepared for accredited stone conservators, who can provide a detailed scope of work including estimates of materials, labor, and procedures for a phased project of cleaning, conservation, and restoration.” Marshall said she found it very disturbing that the statue degrades women. After Urbanas’ presentation, he explained its allegorical nature. “Marshall seemed to have softened her resistance towards conserving the sculpture,” said Urbanas.
 
Mary Ann Carey, district manager of Community Board 9, also testified, and since then, Marshall has expressed interest in meeting with the board. “We have a work of art that’s crumbling and corroding due to pigeon droppings and the elements,” Carey said. “If it was in Italy, Civic Virtue would be a revered statue. We want it cleaned and conserved.”

On February 7, 2012, NYC Parks Department Commissioner Adrian Benepe explained “We have expressed our support to improve and restore the Civic Virtue statue. We suggest working with potential donors to find the funding for any necessary restoration to this monument.”

We must not let our cornerstones fall by the wayside by abandoning them for decades. Preserving existing infrastructure should be addressed before new development.

We should embrace and cultivate our art and architecture, which establishes who we are as a community and nation, and inspires more creative works in contrast to some modern lackluster developments. Restoration will also promote walking tours and tourism, since Queens is often underrepresented.

Let’s incorporate public art and preservation into our school curriculum, and take inspiration from historic sites. Considering the extent of politicians ousted from public office in recent years, New York City needs more civic virtue, not less. 

Civic Virtue Drowning In Politics

Triumph of Civic Virtue, Photo by Michael Perlman, Rego-Forest Preservation Council, March 30, 2009

Art is open to interpretation, which is unique art within itself, and with that, some controversy may ensue. Sometimes the artist's vision is misinterpreted. Without public input, a piece of history may be no more, if some electeds have their way.

In an attempt to raise funds, Congressman Anthony Weiner and NYC Councilwoman Julissa Ferreras are asking the city to sell the historic Triumph of Civic Virtue statue from Queens to Craigslist. They claim it's sexist, without being aware of its true meaning. If a statue would be considered sexist or greatly profane a century ago, it would have stirred public outcry.

If it is demolished, or sold to end up in the highest bidder's backyard, then a public monument will be deprived from the countless passersby and the general public, who comprehends its true meaning, appreciates its long-term existence, and craftsmanship.

Civic Virtue was designed in 1920 by renowned sculptor Frederick William MacMonnies, and sculpted by the Piccirilli Brothers, who were all prolific in their trade. It was initially installed in City Hall Park in Manhattan in 1922. To coincide with the development of Queens Borough Hall, it was transported to the north side of Queens Blvd & Union Turnpike in 1941, when Mayor Fiorello LaGuardia took office. The Mayor didn't want to view its backside from City Hall's windows.

Photo by Michael Perlman, March 30, 2009

This statue is surrounded by a fountain which hasn't been restored for decades. Over a period of time, funding should be raised to accomplish a full restoration of this weathered public work. In the name of public art, benefactors need to step up, since the Parks Dept has not maintained it.

Triumph of Civic Virtue depicts a muscular nude Hercules with a sword in his right hand behind his neck, and standing over two mermaid-like Sirens (female figures with bird feathers & scaly feet) in Greek mythology, on top of a four-sided fountain. Its base reads, "This fountain was erected by the city of New York with funds bequeathed by Mrs. Angelina Crane." Civic virtues are defined as: 1. Personal habits and attitudes, which are conducive to social harmony and the common good; 2. The cultivation of habits of personal living, which are claimed to be important for the success of the community.

Would we eradicate a statue at the Metropolitan Museum of Art, just because some people may interpret it as "sexist?" Let's start looking for reasons to sell off all of our city's public monuments, as a mere attempt to improve the city's budget, and begin resorting to eBay.

So why would it take 70 years for elected officials to complain, and advocate for its removal from the Queens landscape?

What should be designated a city Landmark, sometimes is not. For an array of photos documenting its superb craftsmanship, visit:
http://bit.ly/SaveCivicVirtue

For more information:
Statue Fuels Controversy In Queens, 7Online.com, Feb 25, 2011