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Welcome to the Member News page! This feature of the MANY website is a resource open to our active members to share news from their museums or cultural institutions in New York State. All members are encouraged to share their stories and update the MANY community on any exciting developments occurring at their organizations. For instructions on how to post, along with our Member News Guidelines, click here

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  • August 17, 2018 11:21 AM | K. Michelle Arthur


    BALLSTON SPA, NY, August 13, 2018–Saratoga County Historical Society (SCHS) announces the appointment of K. Michelle Arthur, Ph.D., as executive director.

    “We are thrilled to welcome Michelle to the organization. She has dedicated her career to engaging, educating and inspiring others to better understand how the past influences our lives today in an increasingly global landscape,” said Ervin Murray, President of the SCHS Board of Trustees. “She brings an abundance of hands-on knowledge and demonstrated successes in exhibit curating, program and curriculum development, grant writing and fundraising, marketing, and community outreach.”

    As executive director, Dr. Arthur is charged with fulfilling the vision of Saratoga County Historical Society: to lead Saratoga County in the preservation of its history and inspire the community to keep history alive for all to explore. She is responsible for the strategic planning and successful execution of all SCHS’s departments and teams.

    “Saratoga County Historical Society is a vital resource of information, educational programs for all ages, art, culture, and, of course, history. I have made it my priority to share all that this organization has to offer through out the Capital Region,” said K. Michelle Arthur, Ph.D. “I look forward to connecting with and forging strong relationships and partnerships with Capital Region leaders and organizations.  The Brookside Museum stands as a center of community in the region, and I am committed to exciting, engaging, and welcoming all of the members of our community.”

    Dr. Arthur is an educator who employs a multitude of innovative approaches to engage her audiences, from interactive simulations to visual thinking strategies. She most recently was the education coordinator at Shaker Heritage Society and an educator at MiSci in Schenectady. She has been a curator at the Yager Museum of Art and Culture at Hartwick College, as well as at The Morgan Library and Museum, in the Department of Medieval and Renaissance Manuscripts.  Additionally she lectured for thirteen years at The Cloisters, which is the Medieval branch of the Metropolitan Museum of Art besides teaching at The Brooklyn Museum, S.U.N.Y. New Paltz, S.U.N.Y Oneota, and Hartwick College.

    True to her profession, Dr. Arthur is affiliated with numerous professional organizations including the Association of Art Museum Curators and the New York Council of Nonprofits. She has compiled an impressive list of published articles on a variety of topics, as well has having presented papers at national and international conferences.

    Dr. Arthur is proficient in French, Middle French, German, Italian, and Latin. She holds a Ph.D. in art history from Binghamton University, a master’s degree in art history from Hunter College, and a bachelor’s degree in fine arts from Brandeis University.

    For more information on SCHS, visit


    Saratoga County Historical Society’s mission is to keep history alive through interactive educational programs and innovative exhibits that engage Capital Region communities with the exciting stories of

    Saratoga’s past, instill a deeper understanding of how the past and present connect, and inspire all about how this knowledge impacts the future. As a non-profit organization, programs and services are made possible in part by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. For more information, please visit or call 518.885.4000.

  • August 03, 2018 8:52 AM | Wade Lawrence

    BETHEL, NY (August 01, 2018) – Today The Museum at Bethel Woods, located at the National Register Historic Site of the 1969 Woodstock Music & Art Fair in Bethel, NY launched an online archive of Woodstock photography and video from its collection; making rare archival images available to the public for the first time on the eve of the festival’s 49th Anniversary.

    Part of Bethel Woods Center for the Arts, a 501c3 nonprofit cultural center located 90 miles from New York City, The Museum immerses visitors of all ages in the story of the societal evolution of the 1960s. Through engaging exhibits, artifacts, and programs guests are connected to the roots of today’s freedom of expression and resurgent human spirit that defined the politics, music, art and societal issues of that remarkable and challenging decade which culminated in the Woodstock festival. The 800-acre campus also includes an outdoor amphitheater with a capacity of 15,000, an indoor performance space, festivals and creative learning programs for all ages.

    The archive features iconic photos and video from almost 30 contributors including aerial photography of the massive crowd of 500,000 gathered on Max Yasgur’s farm, the iconic field and festival stage, infamous traffic, and festival attendees who gathered for three days and showed the world the power of peace, love, and music. It serves as a lens to explore the historic festival and is available for license and download for commercial, media, tourism, educational, and personal use providing a never-before available resource for the press, students, historians, documentarians, designers and advertisers in advance of the festival’s 50th Anniversary in 2019. The Museum also invites the public to contribute to its permanent collection and help to preserve this important moment in history by sharing their photos, videos, and artifacts. To learn more or view the collection visit

    The public can also support Bethel Woods’ preservation efforts and leave their mark on history by purchasing an Anniversary Paver.  Each 4″x8″ commemorative brick is etched with a personal message, stamped with an exclusive 50th anniversary insignia, and incorporated into the classic design of the center’s pathway. Individually, the pavers are a unique way to celebrate a loved one; together, they exemplify the arts’ ability to unify the masses. To learn more visit

  • July 20, 2018 9:50 AM | Alexandra Drakakis

    Recently, I found myself outside a jam-packed bar chanting “Ospina! Ospina!” – the last name of the Colombian national soccer team’s goalkeeper – joining an emphatic chorus of World Cup fans. I was on my way home after work, delayed when I became swept up in the dramatic final moments of the “knockout round” match. The mood on the street was powerful, combining a celebration of athleticism with a celebration of cultural pride. It was impossible to walk past without feeling the magnetism of hopeful, positive energy generated by this vast cross-section of people.

    The emotional effects of sports are multi-pronged. They course through every society and country, and can be unifying, particularly in times of crisis and upheaval. As ESPN staff writer Tommy Tomlinson observed, “This is the blessing of sports. They help you remember when you want to remember, and they help you forget when you need to forget. They heal us an inning at a time, quarter after quarter, play by play.”

    In the aftermath of 9/11, sports helped to shape a national response to the terrorist attacks extending far beyond America’s stadiums and playing fields. That phenomenon is explored in “Comeback Season: Sports After 9/11,” a new special exhibition at the 9/11 Memorial Museum.

    Included near the exhibition’s start is a roster for the U.S. Women’s National Soccer Team match, scheduled to take place on the evening of 9/11 in Columbus, Ohio. Set to face Japan in the Nike U.S. Women’s Cup, the roster had been prepared for distribution to the media. It included names familiar to American fans such as Heather Mitts, Abby Wombach and then-captain Julie Foudy. Fate intervened, however, and the match was canceled that afternoon, along with the rest of the tournament, mirroring the shock that gripped the nation.

    Recalling the decision to suspend play that evening, Foudy said, “We felt it wouldn’t be right. Even being the National Team, we felt that the focus should be on getting with family and starting the rebuilding, mentally and emotionally. It was that raw.”

    Most major sporting events were canceled through the weekend following 9/11, marking the longest period of major league sports stoppage in American history. Instead of playing, athletes dedicated themselves to visiting with first responders, 9/11 survivors and families of victims. Some ventured to Ground Zero to distribute supplies, serve food and do whatever they could to raise the spirits of those working the around-the-clock relief effort.

    When sports resumed, stadiums became communal settings for memorialization and demonstrations of national unity. The resumption of ritual provided comfort and solace for the bereaved, a welcomed distraction for anxious Americans, and the promise of a comeback that we, as a collective society, would make it to the other side of this monumental tragedy.

    Today, we can revisit this unprecedented time in sports history and modern American history, through “Comeback Season,” and find inspiration in the stories within it. As Philadelphia Distance Run Director Mark Stewart wrote in a letter to the parents of a World Trade Center victim registered to participate in the city’s half marathon on Sept. 16, 2001, “We hope that the image of athletes of many races, religious beliefs and nationalities standing together at the start of the Race will make a statement which counters the horror of the week.”

    On the cusp of the 2018 World Cup Final, poised to electrify and unify sports fans around the world, these words maintain relevancy as we reflect on 9/11 and take stock of the violence that has rocked our separate but interconnected communities and global well-being since then. 

    By Alexandra Drakakis, Associate Curator, 9/11 Memorial Museum
  • July 16, 2018 12:41 PM | Richard Stone

    The Barrett Art Center in Poughkeepsie has added SEO with AI to   It’s breathing new life into their digital archives and bolstering sponsorships.

    Visitors like variety and choice, and SEO with AI lets them explore the Barrett’s online collection with a real-time menu of 1-on-1 suggestions tailored to each visitor individually, in addition to the traditional menu at the top of the page.

    “The success of our gallery depends on the bond we make with members, visitors, artists and sponsors,” writes Joanna Frang, Executive Director of the Barrett. “SEO with AI has been a great addition to our website, and we have received very positive feedback.”    

    “The service is breathing new life into our archives, which is great for artists as well as the Barrett,”  reports Frang.

    It is also helping the Barrett retain current sponsors and add new ones, she noted.  For any art, historical or cultural institution, that is big news.  Important news.

    “I like being able to feature Fun House 2018, which is a big biennial event that is very popular with artists and visitors,” she added enthusiastically.

    MANY member Trajectory SMG works closely with the Barrett Art Center and others to identify and maintain innovative solutions for online collection management.

  • July 10, 2018 9:04 AM | Anonymous

    Posted on behalf of the National Endowment for the Humanities (NEH).

    WASHINGTON, D.C. (May 8, 2018) — The National Endowment for the Humanities (NEH) will offer a second round of its new Infrastructure and Capacity Building Challenge Grants, with an application deadline of August 9.

    NEH announced the new grant program, designed to create and sustain humanities infrastructure, in January. Under this program, cultural institutions such as museums, libraries, archives, colleges and universities, scholarly associations, and historic sites are eligible to receive up to $500,000 for projects that build institutional capacity or infrastructure for long-term sustainability.

    These challenge grants, which require a match of nonfederal funds, may be used toward capital expenditures such as construction and renovation projects, purchase of equipment and software, sharing of humanities collections between institutions, documentation of lost or imperiled cultural heritage, sustaining digital scholarly infrastructure, and preservation and conservation of humanities collections.

    NEH’s first Infrastructure and Capacity Building Challenge Grant awards will be announced in August. However, in response to marked demand for infrastructure support, the agency will offer the program for a second time in 2018; click the following for application guidelines.

    “For decades, NEH has played a vital role in helping build the humanities infrastructure of the United States,” said NEH Chairman Jon Parrish Peede. “These new grants expand that role by leveraging federal dollars to spur increased private investment in our nation’s libraries, museums, and cultural centers to ensure the long-term health and growth of these institutions. The result will be greater access to historical, cultural, and educational resources for all Americans.”

    The grant program includes a special encouragement to Historically Black Colleges and Universities, Tribal Colleges and Universities, Hispanic-serving Institutions, and two-year colleges.  

    The application deadline for the second round of NEH Infrastructure and Capacity Building Challenge Grants is August 9, 2018. Please direct questions about grant proposals to or 202-606-8309. 

    Media Contact: Paula Wasley at (202) 606-8424 or

  • July 02, 2018 1:36 PM | Emily O'Leary

    Derfner Judaica Museum + The Art Collection at Hebrew Home at Riverdale is pleased to announce its latest exhibition, Swords into Ploughshares: Sculpture by Jay Moss on view in the Pauline and William Goldfine Pavilion Lobby Gallery from July 15–October 7, 2018. A reception will take place on Sunday, July 15, from 1:30–3 p.m. in the Goldfine Pavilion Lobby Gallery, located at 5901 Palisade Avenue in the Riverdale section of The Bronx. This event is free and open to the public. R.S.V.P. 718.581.1596 or Photo I.D. required for admission.

    The exhibition includes 13 sculptures made between 1980 and 2012. Many of them reflect Moss’s experience on the front lines during WWII when he served as a combat engineer. Moss has worked for more than seven decades crafting sculptures that resonate with his experience of the horrors of war and his hope for a lasting peace. In these relief and tabletop works assembled with  wood, metal, sheet lead, plastic and other materials, Moss addresses a range of social issues. Sometimes whimsical or ironic, they comment on such subjects as the corrupting influence of power and the treatment of prisoners from German prison camps to Guantanamo Bay.

    In an assemblage that resembles an artillery shell, Anzio (2003), made from materials leftover from when he was a professional lamp designer, Moss has collaged mementos from his war experience: a letter from his mother, a patch spelling out A-N-Z-I-O, a photograph of the German howitzer that ran on a railroad track, currency from the occupation used in Italy and a photo of his brother. The work is titled after the beachhead where, despite being a combat engineer, as a newly arrived soldier he had to replace combat troops in a flooded foxhole in the winter of 1944.

    Another work, GI Joe (2012), depicts a tall and lanky figure in relief, made up of fragments and with a skull-like face, at the ready with his helmet and rifle. Moss’s unit arrived in Europe on August 15, 1944, for Operation Dragoon—the Allied invasion of Southern France. Months later, not far from the front, in the forests of the Vosges Mountains, Moss built what were called corduroy roads—“trees that they knock down to make a roadway so it’s very bumpy to the front,” he has explained. That’s when he saw dead soldiers on the back of an open track—a traumatic memory that lingers to this day and which Moss has said is the “essence of the front for me.”

    During those final months of the war, thousands of enemy soldiers were captured. That time is reflected in The Prisoner (1991), a carved wood piece with a hand-drawn and painted bandana covering the eyes. The base of the head is carved wood covered with sheet metal, a material the artist frequently employs and which is soft and malleable, ready to be hammered or molded.

    About the artist

    Born in Williamsburg, Brooklyn, in 1923, to immigrant parents—Isadore Moskowitz, a clothing maker and store owner born in Russia, and Josephine Goldsmith Moskowitz, who was born in Romania—Jay Moss attended the High School of Industrial Art (later the High School of Art and Design), where he studied graphic arts, three-dimensional design, display and studio drawing. The family first lived over the tailor shop and later moved to Flatbush and Greenpoint before settling in Jackson Heights, Queens.

    Moss was drafted into the army in 1943 after working as a page at CBS, and trained as a combat engineer in Fort Belvoir, VA. His unit, the 36th Engineer Regiment, traveled through North Africa before arriving in early 1944 at Anzio, a key campaign of the Allied forces on the Italian coast. After Italy, he was stationed in Marseille and on the French front in the Vosges Mountains on the eastern border with Germany.

    Moss attended the Art Students League as a benefit of the GI Bill, studying under José de Creeft, Morris Kantor and M. Peter Piening. A mahogany head he carved while a student at the League was exhibited at Jacques Seligmann & Company in 1947. Moss also received a sculpture prize at the Nassau County Art Association in the 1960s. He was head of NBC television’s art department where he worked for 12 years and then was the owner-designer of a company that made decorative mirrors and wall pieces. After selling the company, he worked as a design consultant and lighting product designer. He also taught lighting product design at the Parsons School of Design and television graphic arts at the RCA Institute. All the while, he worked at his passion, sculpting in the basement studio of his family’s Long Island home and at their second home in Stockbridge, MA. Moss has worked both figuratively and abstractly, creating forms using a table saw and chiseling a variety of woods that he then assembles with other materials, including lead, metal and cloth.

    Moss has had two previous solo exhibitions, at Manhattan College in 2014 and the Historic Wells Gallery in Lenox, MA, in 2001.

    In 2008 he and his wife, Sabina, who have two sons, moved to Riverdale, where Moss continues his artistic practice.

    About Hebrew Home at Riverdale

    As a member of the American Alliance of Museums, the Hebrew Home at Riverdale by RiverSpring Health is committed to publicly exhibiting its art collection throughout its 32-acre campus, including the Derfner Judaica Museum and a sculpture garden overlooking the Hudson River and Palisades. The Derfner Judaica Museum + The Art Collection provides educational and cultural programming for residents of the Hebrew Home, their families and the general public from throughout New York City, its surrounding suburbs and visitors from elsewhere.  RiverSpring Health is a nonprofit, non-sectarian geriatric organization serving more than 18,000 older adults in greater New York through its resources and community service programs. Museum hours: Sunday–Thursday, 10:30 a.m.–4:30 p.m. Art Collection and grounds open daily, 10:30 a.m.–4:30 p.m. Call 718.581.1596 for holiday hours and to schedule group tours, or for further information, visit our website at

    This exhibition is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

  • June 22, 2018 11:44 AM | Richard Stone

    I love museums, but face a challenge whenever I visit a museum’s website: finding what interests me, personally. 

    All museums have websites and most are constantly adding content. It may be archives that have been digitized, or recent exhibitions, or blogs written by the museum staff or visitors. In fact there is now so much content on a site, that I need a docent! You know, someone who knows every piece of art at the museum and how it relates to every other piece of art. 

    A Digital Docent has been developed by Trajectory SMG and Datanomers to recommend content on a museum’s website based on a current visitor’s interests. 1-on-1 in real time. It does this regardless of the site’s size or platform.

    The Digital Docent looks at and reads every page on the site in its entirety.  Hundreds to thousands.  It knows what page I am currently looking at, and instantly recommends other like-minded pages that will interest me, personally.

    This digital employee interacts 1-on-1 with each visitor, and breathes new life into online collections. As a result, website visitors are more engaged and stay longer.

    The Barrett Art Center in Poughkeepsie, NY, is using the Digital Docent.  Visitors, artists and sponsors are giving it great reviews. Take a look at and see how it works. Or read what they say about it at

    AI, Digital Docents and Online Museums. A winning combination.


  • June 08, 2018 2:01 PM | Wade Lawrence

    BETHEL, NY (June 8, 2018) – In a multi-day activity that invites public participation, a team of archaeologists from the Public Archaeology Facility at Binghamton University will commence an archaeological exploration, excavation and discovery on the historic Woodstock festival site at Bethel Woods Center for the Arts in Bethel, NY during the week of June 11. The team will set up operations on the 1969 concert field and begin a series of micro-excavations to establish with the greatest precision possible the location of the stage, sound and light towers and other features on the field.

    After a set-up period, archaeologists will be on the field 11 a.m. to 4 p.m. Wednesday and Thursday, June 13 to 14, and Monday through Thursday, June 18 to 21. Bethel Woods and the archaeology team invite the public to assist with screening the soil and making an inventory of the artifacts. The field is located at Hurd and West Shore Roads in Bethel, just north of The Museum at Bethel Woods.

    Using preliminary locations from computer-assisted design maps, the archaeologists will seek out soil disturbances, discoloration and other evidence to pinpoint the outline of the main stage, stage fencing, performers footbridge and towers.

    The team will flag the locations and, working with cultural landscape historians, Bethel Woods will then be able to apply for funding for a more permanent and appropriate marking of where the features were sited. Once marked, the features will more readily be incorporated into tours of the historic grounds which are now given by volunteer docents associated with The Museum.

    “As stewards of this highly significant historic site, it is our responsibility to have the most accurate information possible,” said Wade Lawrence, director of The Museum and the overall project manager for preservation activities at the historic site. “It is exciting to have these archaeologists from Binghamton University on site to help us determine with certainty, where the stage was, and where the towers were so that we can make that part of the stories we tell visitors.” Some of the work at the site is underway in preparation for the 50th anniversary of the Woodstock festival which will be commemorated in 2019.  The Woodstock festival site, including the 37-acre concert field, was listed on the National Register of Historic Places in 2017. A cultural landscape report completed in 2015 recommended more than 20 preservation and interpretation activities at the site. The marking of the stage and other features was one of them.

    This project has been funded by donors to Bethel Woods for the preservation of the historic Woodstock site and by an EPF grant administered by the New York State Office of Parks, Recreation & Historic Preservation, as well as funding from the A. Lindsay and Olive B. O’Connor Foundation, the Hart Family Fund for Small Towns at the National Trust for Historic Preservation, and the Sullivan County Plans & Progress Small Grants Program.

    To learn more visit


    About Bethel Woods Center for the Arts


    Bethel Woods Center for the Arts inspires, educates, and empowers individuals through the arts and humanities by presenting a diverse selection of culturally-rich performances, popular artists, and community and educational programming.  Located 90 miles from New York City at the site of the 1969 Woodstock festival in Bethel, NY, the lush 800-acre campus includes a Pavilion Stage amphitheater with seating for 15,000, an intimate 440-seat indoor Event Gallery, the award-winning Museum at Bethel Woods, and a Conservatory for arts education programming.


    Through the in-depth study and exhibition of the social, political, and cultural events of the 1960s, as well as the preservation of the historic site of the Woodstock Music and Art Fair, Bethel Woods educates individuals about the issues and lessons of the decade while inspiring a new generation to contribute positively to the world around them. The not-for-profit organization relies on the generous support of individuals, corporations, and foundations to develop and sustain programs that improve the quality of life in the region and beyond.


    For more information please visit

  • May 31, 2018 11:21 AM | Gary Moeller

    The National Bottle Museum has installed a new display of decorated stoneware crocks and jugs.  All pieces were manufactured at Hudson Valley potteries.

  • May 24, 2018 1:58 PM | Wade Lawrence

    BETHEL, NY (May 24, 2018) – For the fifth year, The Museum at Bethel Woods will again take part in Blue Star Museums, a collaboration among the National Endowment for the Arts, Blue Star Families, the Department of Defense and more than 2,000 museums across America to offer free admission to the nation’s active duty military personnel and their families from Memorial Day through Labor Day. The program provides families an opportunity to enjoy the nation's cultural heritage and learn more about their community, especially after a military move. A list of participating museums is available at

    The free admission program is available to any bearer of a Geneva Convention common access card (CAC), a DD Form 1173 ID card (dependent ID) or a DD Form 1173-1 ID card, which includes active duty U.S. military - Army, Navy, Air Force, Marines, Coast Guard, as well as members of the National Guard and Reserve, U.S. Public Health Service Commissioned Corps, NOAA Commissioned Corps - and up to five family members.

    “Visiting a museum is a great way to get to know a community—whether it’s in your hometown or a stop on a road trip,” said NEA Chairman Jane Chu. “We appreciate the enthusiasm of museums all across the country who open their doors for military and their families to spend time together and have new arts experiences.”

    This year’s participating Blue Star Museums represent not just fine arts, science, history and children’s museums, but zoos and nature centers as well. Museums are welcome to sign up for Blue Star Museums throughout the summer by emailing

    “As many military families spend the summer months moving from one duty station to another, or reconnecting with a parent who has returned from deployment, Blue Star Museums helps service members and their families create memories,” said Blue Star Families Chief Executive Officer Kathy Roth-Douquet. “Blue Star Families has great appreciation for the generosity of the museums across the country who roll out the red carpet for the families who serve alongside their service members. We are thrilled with the continued growth of the program and the unparalleled opportunities it offers.”

    Located at the historic site of the 1969 Woodstock festival, The Museum at Bethel Woods is dedicated to perpetuating the history of the decade by engaging visitors through a dynamic, immersive multi-media exhibit and annual special exhibitions. The Museum offers the opportunity to see, hear and feel the ‘60s while simultaneously connecting the iconic decade to today. Interactive arts and humanities programs for children and adults alike include concerts, festivals, workshops, films and speaker series. For a full list of events, please visit

    In addition to its Main Exhibit, The Museum proudly presents its 2018 Special Exhibit Peter Max: Early Paintings. The art of Peter Max, with its colorful imagery of gurus, Zen boats, snow-capped mountains and sunbeams, helped define the psychedelic 1960s.  With paintings on exhibition in hundreds of museums and galleries worldwide, Peter Max’s artistry has become part of the fabric of contemporary culture.

    Though Peter Max has stayed in the public eye through five decades, visitors to The Museum at Bethel Woods will have a rare opportunity to see inspiring artwork from a pivotal moment in the artist's illustrious career: the period from 1967 through 1972 when his work moved from nostalgic collage-inspired realistic paintings to his visionary, imaginative cosmic creations.

    Peter Max: Early Paintings brings together for the first time the collections of Robert Casterline and Shelly Fireman for a Peter Max experience that should not be missed.

    Bethel Woods will also debut its new outdoor art installation, Doors to Originality, inspired by the 2018 Special Exhibit, Peter Max: Early Paintings. Using Max’s cosmic ’60s art style as inspiration, twelve regional artists have created a series of Peter Max-inspired designs on vintage wooden doors which have been placed throughout the Bethel Woods campus.

    The free outdoor installation will be open to the public until November 30, 2018. The special exhibit is on display during regular Museum hours through December 31, 2018.  

    Museum Summer Hours:

    April 30-September 3

    Open every day, 10:00am-7:00pm

    *Special hours on most Pavilion Concert days.
    ^Day of Show - The Museum at Bethel Woods will offer $5 admission two hours prior to show time for all evening concerts. 

    Please call ahead to verify museum hours after September 3 and on concert days. Access to the grounds is closed on Pavilion concert days. The Monument continues to be open to visitors seven days a week, all year long via West Shore Road.

    General support for The Museum at Bethel Woods is provided by a grant from the William and Elaine Kaplan Private Foundation.


    About Bethel Woods Center for the Arts

    Bethel Woods Center for the Arts inspires, educates, and empowers individuals through the arts and humanities by presenting a diverse selection of culturally-rich performances, popular artists, and community and educational programming.  Located 90 miles from New York City at the site of the 1969 Woodstock festival in Bethel, NY, the lush 800-acre campus includes a Pavilion Stage amphitheater with seating for 15,000, an intimate 440-seat indoor Event Gallery, the award-winning Museum at Bethel Woods, and a Conservatory for arts education programming.

    Through the in-depth study and exhibition of the social, political, and cultural events of the 1960s, as well as the preservation of the historic site of the Woodstock Music and Art Fair, Bethel Woods educates individuals about the issues and lessons of the decade while inspiring a new generation to contribute positively to the world around them. The not-for-profit organization relies on the generous support of individuals, corporations, and foundations to develop and sustain programs that improve the quality of life in the region and beyond.

    For more information please visit

    About Blue Star Museums

    Blue Star Museums is a collaboration among the National Endowment for the Arts,Blue Star Families, the Department of Defense, and more than 2,000museums across America. The program runs from Memorial Day, May 25, 2015 through Labor Day, September 7, 2015.

    The free admission program is available to any bearer of a Geneva Convention common access card (CAC), a DD Form 1173 ID card (dependent ID), or a DD Form 1173-1 ID card, which includes active duty U.S. military - Army, Navy, Air Force, Marines, Coast Guard, as well as members of the National Guard and Reserve, U.S. Public Health Service Commissioned Corps, NOAA Commissioned Corps - and up to five family members. Some special or limited-time museum exhibits may not be included in this free admission program. For questions on particular exhibits or museums, please contact the museum directly. To find participating museums and plan your trip,

    All summer long, Blue Star Museums will share stories through social media. Follow Blue Star Museums on Twitter @NEAarts and @BlueStarFamily, #bluestarmuseums, on Facebook and read the NEA Art Works blog for weekly stories on participating museums and exhibits.Museums that wish to participate in Blue Star Museums may contact, or Wendy Clark at 202-682-5451.

    This is the latest NEA program to bring quality arts programs to the military, veterans, and their families. Other NEA programs for the military have included the NEA/Walter Reed Healing Arts Partnership; Great American Voices Military Base Tour; and Shakespeare in American Communities Military Base Tour.

The Museum Association of New York strengthens the capacity of New York State’s cultural community by supporting professional standards and organizational development. We provide advocacy, training, and networking opportunities so that museums and museum professionals may better serve their missions and communities.

Museum Association of New York is a 501 (c) 3 nonprofit organization. 

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