Larry Lederman’s eye for the aesthetic of branches, creased bark, and the leaf’s palette is well-trained, though photography wasn’t his first calling. What was initially a hobby came about late in his career as a Wall Street lawyer, at a time when escaping the office to the relative peace and simplicity of the NYBG‘s Forest seemed a panacea for New York City’s stresses. Here, he found through a lens what many artists chase for years–a muse that inspired through each of the four seasons, well beyond autumn’s changing leaves or the new growth of spring.

That inspiration has grown to encompass more than a hobby, with Lederman’s passion for the trees of the northeast now captured in a new book, Magnificent Trees of The New York Botanical Garden. Inside, you’ll find more than 200 individual photographs of trees growing in our 250-acre landscape, many of which have been captured repeatedly, in the varied lights of spring, summer, fall, and winter. Lederman’s finished effect is one of passing time, outlining the qualities and personalities of the trees as the project plays out.

Speaking with Mr. Lederman, we put together a clear idea of his motivation’s origins, as well as how this book–and the exhibition surrounding it–came together.
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We’re suckers for a good surprise (as long as we’re the ones behind it). But it’s a spot more difficult to keep the main event under wraps when it comes to exhibitions this impressive. Manolo Valdés casts a formidable shadow, sparing nothing to create some of the most striking–and colossal–visuals for our upcoming Monumental Sculpture exhibit; for the uninitiated, that’s our next major show here at the NYBG. And this week we jumped headlong into preparation for the September 22 opening.

All told, we couldn’t exactly sneak these sculptures into the Garden. Some of them, such as the Alhambra piece, weigh in at 40,000 pounds with spans reaching nearly 50 lateral feet; they’re not what you’d call statuettes. Arranging these monoliths has proven a spectacle in itself, drawing streams of visitors and employees alike, all snapping away with their cameras as we uncrate and maneuver massive heads and latticework by truck-mounted cranes. It’s a careful and dramatic process that we were able to capture a bit of in the last couple of days.
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Rustin Dwyer is Visual Media Production Specialist at The New York Botanical Garden.

Don’t miss your chance to walk through a miniature New York cityscape, teeming with garden-scale model trains. Running through January 9, the Holiday Train Show offers New Yorkers (and visitors too!) a chance to see their city in a completely new way. Lose yourself among 140 beloved New York landmarks as the trains zip along over a quarter-mile of track in this miniature world inside the Enid A. Haupt Conservatory.

Your trip to the Garden doesn’t end with the trains though. Performances of Tootle the Train™ and the Little Engine That Could™ along with Gingerbread Adventures in the Discovery Center run daily. Grab a bite in one of our two Cafes, get in some holiday shopping at the Shop in the Garden or just marvel at the 250 acres of natural beauty.

Get you tickets today!

Rustin Dwyer is Visual Media Production Specialist at The New York Botanical Garden.

Thanksgiving is almost upon us and that means one thing at The New York Botanical Garden: The Holiday Train Show is coming!

The artists and craftsmen from Applied Imagination made their annual journey from Kentucky to set up and decorate an array amazing botanical creations and model trains. Right now, they’re busy inside the recently renovated Enid A. Haupt Conservatory They’re putting the finishing touches on in time for opening day this Saturday!

Join director of exhibitions Karen Daubmann for a quick tour of the making of the Holiday Train Show.

Visitors to the annual holiday puppet theater production of The Little Engine That Could™, which opens this weekend in the Arthur and Janet Ross Lecture Hall, will enter through the Ross Gallery, where they will be welcomed by The Heirloom Tomato, an exhibition of bold, bright photographic still lifes. Here, Victor Schrager, the award-winning artist behind the images, talks about how he made these magnificent portraits of historic tomato varieties from the gardens of Amy Goldman. The two have collaborated on several books, including the most recent The Heirloom Tomato: From Garden to Table as well as The Compleat Squash: A Passionate Grower’s Guide to Pumpkins, Squashes, and Gourds (2004) and Melons for the Passionate Grower (2002), all available at Shop in the Garden.

Victor Schrager is the photographer featured in the exhibition The Heirloom Tomato.

The shooting to produce Melons for the Passionate Grower took one year. The Compleat Squash was done over two years. The Heirloom Tomato was planned to be much more extensive than either of those: The photographs would have to be done when the fruit were ready, so the photographs were made at all times of day in all kinds of weather. The project eventually lasted five seasons.

It was important to give the work its own unified sense of time and place—a quality I find in the best botanical illustrations and photographs, in vivid distinction to garden catalogs. To achieve this, I used a single artificial light in a studio I made in a barn near Amy Goldman’s garden. So the photographs took place in their own time.

During the first three seasons, I used an 8×10 wooden Deardorff view camera (the kind where you put a dark cloth over the back of the camera to see better to compose); the last two seasons I used a Sinar 4×5 digital view camera—the closest digital approximation to the qualities of the large-format transparencies I had made during the first three seasons and the most similar in use to my film camera. I would like to think you cannot tell which are which.

Various objects—teacups, marble blocks, colanders, spice cans, etc.—were used to put the tomatoes on a pedestal, giving each picture a unique architecture derived from the tomato’s place in domestic life in the kitchen and garden over its long history.

Rustin Dwyer is Visual Media Production Specialist at The New York Botanical Garden.

Ogiku Swap from The New York Botanical Garden on Vimeo.
Carol Capobianco is Editorial Content Manager at The New York Botanical Garden.
“There are mums and then there are mums,” wrote Adrian Higgins of the Washington Post in describing the stars of the Garden’s exhibition Kiku: The Art of the Japanese Chrysanthum.

Tens of thousands of visitors have discovered the same, awed by the exquisite beauty of these meticulously cultivated chrysanthemums in a traditional Japanese art form never seen before on this scale outside Japan. “If the stock market has you blue, go to the exhibition and drink in the uplifting display,” wrote Bill Cunningham in The New York Times.

But hurry. The spectacular flower show and cultural exhibition comes to a close Sunday. For an extra special experience, you may want to come this evening from 6–8 p.m. for Kiku and Cocktails, when you can view the exhibition under lights and with the authentic ambiance of live Japanese musical performances.

And while Kiku for Kids also ends this weekend, you may still see The Chrysanthemum in Japanese Art through January 11.

Nick Leshi is Associate Director of Public Relations and Electronic Media.

Over 40 years ago, Andy Warhol famously turned a can of tomato soup into a pop culture icon. Now photographer Victor Schrager has turned his camera lens on the tomato itself, elevating it to a high art. The September 2008 issue of Veranda magazine features two articles written by Tom Woodham, gloriously illustrated by Schrager’s stunning images of tomatoes from the gardens of Amy Goldman, a member of The New York Botanical Garden’s Board of Managers.

The pictures give justification for one of the magazine’s headlines, “Tomatoes: The Most Beautiful Fruit.” If beauty is in the eye of the beholder, I imagine anyone viewing such a variety of shapes and colors would agree that this bountiful produce captured on film is beautiful indeed.

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