New York
After 120 Years Stored in a Museum, an Indigenous Shrine Returns Home
In the early 1900s, Franz Boas, who is considered one of the founders of American anthropology, became fascinated by a large shrine associated with Indigenous whaling rituals off the coast of British Columbia.
He had been sent a photograph of the shrine, which belonged to members of an Indigenous group called the Mowachaht. It showed a wooden structure on a small island, surrounded by a tangle of cedar and spruce, that sheltered 88 carved wooden human figures, four carved whale figures and 16 human skulls.
Boas decided to acquire it for the American Museum of Natural History in New York, where he was a curator. He was driven by a concept known as “salvage anthropology,” in which researchers saw collecting Native cultural possessions as a way to safeguard them from destruction as Indigenous populations plummeted.
Even at the time, the acquisition was controversial. A researcher named George Hunt traveled to Yuquot, a village near the shrine, to try to purchase it for the museum. According to letters between him and Boas that were published in “The Yuquot Whalers’ Shrine,” Aldona Jonaitis’s 1999 book on the subject, a chief agreed to sell it for $500, only to return the money the next day following objections from his community.
Hunt wrote that he eventually convinced two chiefs to split $500 in exchange for the shrine. But he added that the chiefs made him agree not to take the shrine until much of the community had left the island for the Bering Sea, where they often went seal hunting.
In 1905, the same year that the full collection arrived in New York, Boas left the museum. The museum ultimately decided not to exhibit the large shrine in its entirety. For the next 120 years, it sometimes displayed or lent out some of the carvings, and it created a small model that was on view from the early 1940s to around 2019. Mostly, the shrine was kept in storage.
Its loss was keenly felt by the community it came from, now known as the Mowachaht/Muchalaht First Nation. For decades, there have been calls to repatriate the shrine, and talks over its fate, but those plans never came to fruition.
Until now.
On Thursday, a truck containing the many pieces that make up the shrine began its long journey to Vancouver Island, off the southwest coast of Canada, in one of the most significant international repatriations in the museum’s history.
“We’re ready for it to come home,” said Marsha Maquinna, who is eight generations removed from the Mowachaht chief who presided over the shrine in the early 1900s. “We, as a community, have lots to heal.”
The story of the shrine’s return can be attributed in large part to the museum’s changing approach to its Native collections and the human remains it holds. And it involved an unlikely pair of facilitators: a father and son from California who only recently discovered their connection to the First Nation through Ancestry.com.
Like other major American institutions, the museum had long been criticized for its history of slow progress on repatriation and outdated Native exhibitions.
Efforts to address those criticisms have been going on for years, but the museum’s new president, Sean Decatur, sent a signal that he took them very seriously last year when he closed down two major halls exhibiting Native American objects. He cited a “growing urgency” for museums to change their relationships to Indigenous cultures.
When it comes to Native human remains, funerary objects and other cultural items recovered in the United States, a law passed in 1990 set up a protocol for museums and other institutions to repatriate the holdings in consultation with tribes and descendants. New federal rules that strengthened aspects of the protocol took effect last year. But the law does not apply to international Native groups.
Of the human remains that the museum still holds, more than half of the 12,000 individuals represented are from outside the U.S. In 2023, the museum overhauled its stewardship of the human remains in its collection, emphasizing its commitment to working with communities internationally on repatriation.
Last year, talks to repatriate the shrine — known to some as the Whalers’ Shrine and to others as the Whalers’ Washing House because of its association with purification rituals — took on new urgency.
They had been going on for decades. In the 1990s, representatives from the Mowachaht/Muchalaht First Nation visited the museum to view the collection. Amid a surge of activism around Native repatriation, calls to return the shrine grew louder.
A 1994 documentary about the First Nation, called “The Washing of Tears,” captured the view that the repatriation of the shrine would be a source of spiritual healing for a community trying to save its culture and ways of life.
“It represented our strength,” Jerry Jack, a hereditary chief, said in the documentary. He referred to the shrine by a traditional name: cheesum.
“I think that when that cheesum was taken away from us it was a real shocker for our people,” he said. “It took away our spirituality.”
In the years that followed there were waves of efforts to complete the repatriation, but plans kept stalling.
At times there were disagreements among members of the First Nation over how to carry out the return. And museum officials did not put forward many solutions.
Then, a few years ago, Albert Lara, a retiree living near Sacramento, Calif., began digging into his genealogy. Lara’s grandfather had told him stories as a child about his Indigenous heritage, but Lara, 75, was not aware of his connection to the Pacific Northwest until he sent a cheek swab to Ancestry.com. The results suggested a connection to members of the Mowachaht/Muchalaht First Nation.
Lara reached out to First Nation officials and got in touch with Margaretta James, who was president of a local cultural society and had been involved in the repatriation efforts for more than 30 years.
His son, Alex Lara, remembers himself and his father asking James, “Is there anything we can help you with?”
James replied, “Well, as a matter of fact, there is.”
Both of the Laras had worked with Native American tribes in California during their careers — Albert with Native veterans as part of the state employment development agency — and James saw them as genuine in their desires to help.
Last April, the Laras began communicating with the museum about the shrine. A letter from the First Nation’s chief executive made them authorized representatives for the group.
In the ensuing months, a plan was put together for the most logistically complicated part of the repatriation: transporting the large shrine back to Yuquot. The First Nation decided that a delegation of its members would see it off on its more than 3,000-mile journey from New York.
On Tuesday, in a room off the natural history museum’s Northwest Coast Hall, more than two dozen First Nation members stood among the boxes and crates containing the pieces of one of their most prized cultural treasures.
They had come from a 200-person reserve near the village of Gold River, ranging in age from elders to grade school children. Many remembered how their parents and grandparents spoke about the lost shrine.
“Listening to what my dad said, anything we have doesn’t belong in a place like this,” said Jerry Jack, whose father — who has since died — called for the return of the shrine in the 1994 documentary.
Museum officials signed over ownership of the shrine to the First Nation. Decatur, the museum president, told the delegation that the shrine had been held “far too long here in New York City in this museum, far away from its true home.”
The First Nation representatives offered a series of gifts, including carved wooden masks by local artists. They sang a victory song in their language of Nuu-chah-nulth. A group of men and boys brushed the packages containing the shrine with cedar boughs as part of a cleansing ritual before their departure.
The Laras flew in from California, with Alex Lara overseeing the logistics of the shrine’s shipment. (The transport and the delegation’s trip is being paid for by the Canadian government, which recognized the shrine as a national historic site in the 1980s.)
A century ago, it took months for the shrine to travel from Vancouver Island to New York City. Now, it’ll take less than a week to make its return.
Unwilling to put their ancestors’ remains on a cross-country drive, the 16 skulls were securely placed in reinforced carry-ons that First Nation members took back with them on their flight home, accompanied by documentation to get them through security.
The shipment by truck includes six large cardboard boxes, four wooden crates — the heaviest of which is nearly 400 pounds — and the wooden structure that housed the shrine, which includes several towering poles as tall as 23.5 feet.
Those packages are scheduled to travel west by truck, and then by ferry to Yuquot. From there, according to the current plan, a helicopter service will airlift the pieces to a church, where they will be kept until the community decides on a more permanent resting place.
“It’s been generally known that it’s going to go back to the island from whence it came,” James said. “But it needs to be protected.”
Kirsten Noyes contributed research.
New York
How ‘The Wire’ Star Jamie Hector Spends a Hot Day in Brooklyn
Nearly two decades have passed since “The Wire” ended, yet Jamie Hector’s haunting turn as the drug kingpin Marlo Stanfield still resonates. Jay-Z recently referred to the character during a freestyle at the Roots Picnic.
“I respect the fact that artists find time to appreciate another artist in that way,” Mr. Hector said. “I consider the work that we do at the highest level with great art. His is literary. His is over a track, making you feel, and mine was visual.”
Mr. Hector, 50, also a director, producer and children’s book author, has devoted much of his life to the arts as one of television’s most compelling, understated figures, currently seen in Apple TV’s “Cape Fear.”
He splits his time between his family, dramatic roles, his own projects and shepherding the next generation of artists. Mr. Hector spent a recent blistering Thursday in Brooklyn with The New York Times.
New York
How a Museum Security Guard and Artist Lives on $51,000 in Parkchester
How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.
We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?
Ryan Compton knows a thing or two about gigs. To make it in New York, he has worked as a retail associate inside the Museum of Modern Art’s gift store, a cashier for a downtown taqueria and a paint mixer for Takashi Murakami. He has experienced the paradox of a city both known for its artists and for pricing artists out.
Financial constraints forced Mr. Compton, who is from South Jersey, to move away from New York twice over the course of two decades. He has lived in Baltimore, Chicago and Philadelphia, but remains convinced the resources and people inside New York are unparalleled.
“You never know who you’re going to run into,” he said. “Everyone’s curious about each other.”
Since moving back in 2022, he has whittled down his source of income to a single gig as a security guard at the Metropolitan Museum of Art, where he made $51,000 before taxes last year. It’s his second time at the museum. He first worked there part-time in 2011 before leaving in 2015 to earn his master’s degree in sculpture from the School of the Art Institute of Chicago.
“I know I couldn’t afford graduate school and the cost of living in New York at the same time,” he said.
A third try at New York life has forced Mr. Compton, now 46, to confront the sustainability behind a career as both an interdisciplinary artist and a security guard — even inside one of the most famous museums in the world.
Love at First Sight (With New York)
As an undergraduate student at the Maryland Institute College of Art, Mr. Compton looked forward to spending weekends at his friend’s apartment gallery in the East Village in Manhattan.
A combination of showing face and knowing the right person led to his side project at the time — fashioning 3-d printed stuffed animals with skull faces — which were featured in an issue of Vogue Japan. He even sold a few inside a handmade craft store in Tokyo’s Ginza district for about $1,000.
“I was interested in the contrast between fuzzy-shaped animals and skulls,” he said, later adding, “You know, stuff when you’re a 20-something-year-old being kind of edgy.”
The early moment of success propelled Mr. Compton to chase after opportunities to showcase his work. While supporting himself financially through retail and service jobs, he helped write the artist Roman Ondak’s interactive performance piece at MoMA, “Measuring the Universe;” and worked as a collaborator for “No Souls for Sale,” an experimental project temporarily at Dia Chelsea and later, the Tate Modern in London. Both went unpaid.
“The chance to work in modern art before I was 30 is unheard of,” Mr. Compton said. “It only happens in New York.”
A Slower Pace
Tens of thousands of people flock to the Metropolitan on weekends, and it’s Mr. Compton’s job — one he has found increasingly difficult — to make sure the art is untouched. He believes social media has altered the way visitors engage with the museum. Think more selfies and poses leaned against Hellenistic marble.
The one hour work commute from Parkchester in the East Bronx gives him time to prepare for a long day ahead. He splits a two-bedroom with a co-worker for $1,000 a month and pays $50 in utilities. Heat and water are included in his rent, and his roommate covers the cost of Wi-Fi. He pays $90 each month for his phone bill.
The slower pace of the residential neighborhood matches the stage of life he’s in now. In the last few years, Mr. Compton has slowed down as he has come to terms with the expenses behind his art.
He no longer has free access to fabrication laboratories pegged to his university, and he has opted for the more cost-friendly hobbies of zine-making and book binding. He is, however, eyeing a $1,000 3-d printer. For now, he has settled on $20 a month Photoshop subscription.
The largest constraint tempering Mr. Compton’s spending is his $100,000 student loan debt from graduate school. The window for his deferment period closed, and even with some money he inherited after his mother passed, he says he needs a miracle to finish paying off his loans. “I’m not sure what to do anymore,” he said.
Splurging on Plants and Experimental Harsh Noise Records
Mr. Compton may not have any children, but he is a proud “plant dad.”
His apartment houses $1,000 worth of plants sourced through Facebook groups, pop-ups and by following Brooklyn Horticulture online. He typically pays $30-$50 for medium to large sized plants, but he is constantly on the lookout for deals.
When he isn’t at home with his plants, Mr. Compton treks into Manhattan to do his weekly grocery shopping at Trader Joe’s. He prefers the prices there to local spots in the Bronx and estimates he spends $70 each week.
A cash guzzler of Mr. Compton’s food budget is the $20 a day — an additional $80 a week — he spends at the Metropolitan’s staff cafeteria for breakfast and lunch. When working 12 hour shifts, “I’m not gonna go home and make something to bring the next day,” he said.
On his days off, he seeks out affordable food deals. He frequents Vanessa’s Dumplings in Chinatown for their $8 dumpling special.
When in the mood to treat himself, Mr. Compton rides the train a few more stops out to Ridgewood, Queens and Bushwick, Brooklyn, to visit his favorite record stores like Fringe Records and Nexus Records. An experimental harsh noise aficionado, he spends no less than $100 each visit.
His biggest and most recent splurge was a 10-day trip to Tokyo, Kyoto and Osaka in Japan in February. He was able to cut his $900 round trip ticket to $700 with credit card points. Add in the cost of hotels, meals and souvenirs, he spent close to $5,000 total.
“I wanted to go because my artwork had been to Japan, but I haven’t been to Japan,” he said.
Looking Ahead
Mr. Compton wants to strike a balance between saving and enjoying the life he dreamed of in New York. To help pay off his loans, he considered applying to be an art handler for the Metropolitan, a job with a slight pay bump. But without his present benefit of overtime pay, he’s afraid he would be making less than he does currently.
Over the years, Mr. Compton has found community among other security guards at the Metropolitan, who, like him, are artists. He has also built inroads with notable names at the museum, one being Sheena Wagstaff, the former chairman of modern and contemporary art, who he said took the time to know Mr. Compton not only as a co-worker, but also as an individual, too.
Because of his connections, he feels like he has nowhere else to go. He considered a quieter lifestyle upstate in Westchester or the Catskills, but believes he will make less money outside of the city. And, of course, he would have to leave the place he’s called home for the majority of his adult years.
“I did four other cities, and they weren’t as good or great as I like New York,” he said. “I always end up here.”
We are talking to New Yorkers about how they spend, splurge and save.
New York
10-Minute Challenge: The Ceiling at Grand Central
You made it time. If you want to look a little longer, just scroll back up and press “Continue.”
Look up.
Before you commute home to suburbs like Tarrytown and Larchmont, or race toward the next stop on your tourist map, take a minute.
Look up to see the stars.
One hundred and twenty-five feet above you are 2,500 stars and six signs of the zodiac along the ecliptic, a line that represents the path of the sun across the sky:
The signs are joined by a few others: Orion, Pegasus, Triangulum and, in the center of it all, Musca Borealis (the Northern fly, or sometimes called Apis, the bee). The Milky Way streaks across the ceiling in the opposite direction. The whole thing is ringed by intricate plaster moldings along the clerestory windows. Fifty-nine of the stars twinkle.
Who says there isn’t magic in Midtown?
The original early 1900s plan for the ceiling was to build a massive skylight so commuters could look up at the actual stars:
But time and money were short, so the architects asked the artist Paul Helleu to design a version of the sky on the ceiling instead. Helleu took inspiration from star atlases from the 1600s. His main resource was the Uranometria from 1603, a lushly illustrated volume that was the first detailed cataloging of individual stars, their positions and brightness. See how similar the figures are. This is Aries:
Here’s Taurus, the bull:
A heart balloon — one of several — had floated up the day we took this photograph, nestling between Orion’s club and Taurus’s horn (maybe an earthly sign that this heavenly hunt might finally resolve).
Converting the flat drawings of a spherical sky re-projected onto a semi-cylindrical vaulted ceiling would have been no easy task. The design work was done by a famous scenic designer and muralist, James Monroe Hewlett, and was overseen by the Columbia astronomy professor Harold Jacoby, who in 1910 assured a panicked public that Halley’s comet would not hit Earth.
Dozens of painters got to work. The terminal opened at midnight on Feb. 2, 1913. The New York Central Railroad boasted “that many school children will go to the Grand Central Terminal to study this representation of the heavens.”
Two weeks later, a commuter from New Rochelle (and a hobby astronomer) looked up at the ceiling and realized that west was east and east was west and the sky was not, actually, in a proper arrangement. Only Orion was shown in the “correct” orientation. He wrote a “wrathful” letter to the station. As The New York Times reported in 1913, officials at Grand Central “did not deny the charge that things were a bit mixed, but held that it was a pretty good ceiling for all that.”
How this happened is still a matter of debate, given Professor Jacoby’s astronomical blessing.
Michael Allison, a former NASA planetary scientist at the Goddard Institute for Space Studies (and a former adjunct in the Columbia astronomy and astrophysics department), met me last month at the great clock under the ceiling to explain his theory.
“I’ve stared at the ceiling I don’t know how many hours,” he said. “I keep hoping I can discover one more thing.”
The liberties taken, Mr. Allison said, like re-sizing the constellations to fit the space and flipping Orion (in relation to the rest), were carefully done. Ultimately, a good marriage of art and science. He thinks Jacoby was a victim of big project bureaucracy, that it was all a mixup.
Jacoby probably expected the design he approved to be projected overhead, where the result would match the plans if you held them above you. The painters put them on the floor instead. Hence, the flip.
But this “heavenly view” — the stars as if they could be seen from above, looking down — may not be a bad view at all.
“There are just so many bad things happening in the world now that I think the sky offers a perspective that can lift us above that,” Mr. Allison said.
For Deirdre Newman, the great-granddaughter of the muralist Hewlett, who painted the ceiling, the imperfection “is what art is.”
Ms. Newman, it turns out, is also a painter of murals and ceilings. But these days, if she has to flip an image, she just hits a button on the projector.
“Anytime I make a mistake painting, I’m like, this proves that it’s art,” she said. “It is not perfection, and it shouldn’t be — it would be a sad thing if it was.”
The stories that we’ve given to the stars over millenniums, some of the most retold tales in history, are hardly orderly — stories of fate, violence, betrayal, revenge, sex and punishment. Cancer helps Hera in pinching a rival’s foot. Orion, son of Poseidon, is placed in the stars by Zeus, locked in an eternal hunt. The two fish of Pisces (Aphrodite and Eros) are linked together to escape the monster-of-all-monsters, Typhon.
Or the stories are totally different if you were Babylonian or Egyptian, Greek or Roman. Today, the stars mean something else again to a devoted user of the horoscope app Co-Star, seeking reassurance after a breakup. And to a commuter standing in Grand Central, looking up while waiting for the train, the stars might just be a momentary diversion, a decorative way to pass the time. Or more.
Take what you want. Take what you need.
***
By the 1940s, the ceiling had fallen into disrepair, so they painted a whole new one on four-foot-by-eight-foot asbestos sheets over the old one. This is the version that exists today. Eventually that second ceiling, too, grew dark with grime and had to be cleaned from 1996 to 1998. The difference was stark. As you were zooming in, you may have noticed a little dark square by Cancer. They deliberately left one bit of the uncleaned ceiling here:
The best time to take all of it in — the ceiling, and the majesty of the station — might just be coming this weekend. The setting sun will line up with Manhattan’s street grid and should (pending clouds) bathe the terminal in a beautiful golden glow Saturday at 8:19 p.m. and Sunday at 8:20 p.m. I plan to be on the east balcony looking west on Sunday for that moment.
See you there.
How we took the photograph
To generate a high-resolution panorama of the ceiling, The Times captured 232 close-up images. We then used software to stitch these photos into an equirectangular projection, to approximate the curve of the ceiling. We also developed custom computer vision software to ensure consistent color blending across varying lighting conditions. To optimize for display efficiency and clarity during navigation, the image was then re-projected into the shape of a cube. We think it’s still a pretty good picture for all that.
This is an installment in our series of experiments on art and attention. If you liked this one, you may like these past exercises: a finished, unfinished portrait; a sudden rain over a bridge; a unicorn tapestry; some buckets from Home Depot; and a Whistler painting.
Sign up to be notified when new installments are published here. And let us know how this exercise made you feel in the comments.
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