Featured Events in New York in July 2025 (February Updated)

In the century since its founding as a public institution, the Morgan’s collections have grown dramatically, deepening the core assembled by J. Pierpont Morgan and his librarian, Belle da Costa Greene, who became the first Director of the institution. This growth is made possible through the support of members and donors who expand and enrich the historical, artistic, and literary contexts of the Morgan’s holdings, and this exhibition commemorates a notable selection of purchases, gifts, and promised gifts made in honor of the Morgan’s Centennial. Ranging from the Middle Ages to the present, the Centennial acquisition highlights include two manuscripts related to the publication of Leonardo da Vinci’s Treatise on Painting; Renaissance and modern bookbindings of exceptional craftsmanship; an extraordinary group of manuscripts related to Queen Elizabeth I, Marie de’ Medici, Edgar Allan Poe, and John Coltrane; groups of photographs by Emmet Gowin and Frederick Sommer; and drawings by Parmigianino, Annibale Carracci, Cy Twombly, Helen Frankenthaler, Giuseppe Penone, and Bridget Riley.

In the century since its founding as a public institution, the Morgan’s collections have grown dramatically, deepening the core assembled by J. Pierpont Morgan and his librarian, Belle da Costa Greene, who became the first Director of the institution. This growth is made possible through the support of members and donors who expand and enrich the historical, artistic, and literary contexts of the Morgan’s holdings, and this exhibition commemorates a notable selection of purchases, gifts, and promised gifts made in honor of the Morgan’s Centennial. Ranging from the Middle Ages to the present, the Centennial acquisition highlights include two manuscripts related to the publication of Leonardo da Vinci’s Treatise on Painting; Renaissance and modern bookbindings of exceptional craftsmanship; an extraordinary group of manuscripts related to Queen Elizabeth I, Marie de’ Medici, Edgar Allan Poe, and John Coltrane; groups of photographs by Emmet Gowin and Frederick Sommer; and drawings by Parmigianino, Annibale Carracci, Cy Twombly, Helen Frankenthaler, Giuseppe Penone, and Bridget Riley.

Arresting Beauty: Julia Margaret Cameron explores the path-breaking career of photography’s first widely recognized artist. Cameron (1815–1879) was born in Calcutta to a French mother and an English father; in 1848, with her husband and children, she moved to England, where her sisters introduced her to the elite cultural circles in which they traveled. Residing on the Isle of Wight, where she was close neighbors with the poet Alfred Tennyson, Cameron acquired her first camera at age 48. In only eleven years she would create thousands of exposures and leave an enduring image of the Victorian era as an age of intellectual and spiritual ambition. Her own prodigious drive helped Cameron become a probing portraitist of leading figures such as Tennyson, Thomas Carlyle, G.F. Watts, and Charles Darwin, while her absorption with fine art, notably Renaissance painting, led her to create staged tableaux in a mode that has been perpetually rediscovered by photographers down to the present. Most distinct of all was Cameron’s wholly personal handling of her medium. Heedless of a large camera’s technical limitations, alert to the happy effects of accident, and indifferent to critical scorn, she embraced a style of spontaneous intimacy that distanced her from the photographic establishment of her time and class. Motion blur, highly selective focus, and even fingerprints on the glass negatives (which required developing before their emulsions dried) are among the idiosyncrasies of her singular oeuvre. Cameron was quick to exploit publishing and promotional opportunities: at London’s South Kensington Museum (today the Victoria & Albert Museum) she secured not only an exhibition in 1865 but, a few years later, studio space, and she was the first photographic artist to be collected by the institution. Arresting Beauty features prints from its initial purchase and from subsequent additions to its holdings, which have grown to number nearly one thousand. The exhibition includes Cameron’s large if optically primitive lens (all that survives of her apparatus), pages from her memoir manuscript Annals of My Glass House, and portraits she made in Ceylon (now Sri Lanka) after Cameron and her husband moved there in 1875.

Arresting Beauty: Julia Margaret Cameron explores the path-breaking career of photography’s first widely recognized artist. Cameron (1815–1879) was born in Calcutta to a French mother and an English father; in 1848, with her husband and children, she moved to England, where her sisters introduced her to the elite cultural circles in which they traveled. Residing on the Isle of Wight, where she was close neighbors with the poet Alfred Tennyson, Cameron acquired her first camera at age 48. In only eleven years she would create thousands of exposures and leave an enduring image of the Victorian era as an age of intellectual and spiritual ambition. Her own prodigious drive helped Cameron become a probing portraitist of leading figures such as Tennyson, Thomas Carlyle, G.F. Watts, and Charles Darwin, while her absorption with fine art, notably Renaissance painting, led her to create staged tableaux in a mode that has been perpetually rediscovered by photographers down to the present. Most distinct of all was Cameron’s wholly personal handling of her medium. Heedless of a large camera’s technical limitations, alert to the happy effects of accident, and indifferent to critical scorn, she embraced a style of spontaneous intimacy that distanced her from the photographic establishment of her time and class. Motion blur, highly selective focus, and even fingerprints on the glass negatives (which required developing before their emulsions dried) are among the idiosyncrasies of her singular oeuvre. Cameron was quick to exploit publishing and promotional opportunities: at London’s South Kensington Museum (today the Victoria & Albert Museum) she secured not only an exhibition in 1865 but, a few years later, studio space, and she was the first photographic artist to be collected by the institution. Arresting Beauty features prints from its initial purchase and from subsequent additions to its holdings, which have grown to number nearly one thousand. The exhibition includes Cameron’s large if optically primitive lens (all that survives of her apparatus), pages from her memoir manuscript Annals of My Glass House, and portraits she made in Ceylon (now Sri Lanka) after Cameron and her husband moved there in 1875.

Arresting Beauty: Julia Margaret Cameron explores the path-breaking career of photography’s first widely recognized artist. Cameron (1815–1879) was born in Calcutta to a French mother and an English father; in 1848, with her husband and children, she moved to England, where her sisters introduced her to the elite cultural circles in which they traveled. Residing on the Isle of Wight, where she was close neighbors with the poet Alfred Tennyson, Cameron acquired her first camera at age 48. In only eleven years she would create thousands of exposures and leave an enduring image of the Victorian era as an age of intellectual and spiritual ambition. Her own prodigious drive helped Cameron become a probing portraitist of leading figures such as Tennyson, Thomas Carlyle, G.F. Watts, and Charles Darwin, while her absorption with fine art, notably Renaissance painting, led her to create staged tableaux in a mode that has been perpetually rediscovered by photographers down to the present. Most distinct of all was Cameron’s wholly personal handling of her medium. Heedless of a large camera’s technical limitations, alert to the happy effects of accident, and indifferent to critical scorn, she embraced a style of spontaneous intimacy that distanced her from the photographic establishment of her time and class. Motion blur, highly selective focus, and even fingerprints on the glass negatives (which required developing before their emulsions dried) are among the idiosyncrasies of her singular oeuvre. Cameron was quick to exploit publishing and promotional opportunities: at London’s South Kensington Museum (today the Victoria & Albert Museum) she secured not only an exhibition in 1865 but, a few years later, studio space, and she was the first photographic artist to be collected by the institution. Arresting Beauty features prints from its initial purchase and from subsequent additions to its holdings, which have grown to number nearly one thousand. The exhibition includes Cameron’s large if optically primitive lens (all that survives of her apparatus), pages from her memoir manuscript Annals of My Glass House, and portraits she made in Ceylon (now Sri Lanka) after Cameron and her husband moved there in 1875.

A Lively Mind immerses viewers in the inspiring story of Jane Austen’s authorship and her gradual rise to international fame. Iconic artifacts from Jane Austen’s House in Chawton, England join manuscripts, books, and artworks from the Morgan, as well as from a dozen institutional and private collections, to present compelling new perspectives on Austen’s literary achievement, her personal style, and her global legacy. Beginning as a teenager, Austen cultivated her imaginative powers and her ambition to publish. Encouraged by her family, especially her father and her sister Cassandra, she persevered through years of uncertainty. Her creativity found expression in a range of artistic pursuits, from music-making to a delight in fashion. The story of how Americans first encountered and responded to Austen’s novels, unbeknownst to her, emerges from four surviving copies of an unauthorized edition of Emma published during her lifetime. Following Austen’s death, family members preserved their memories of her, while carefully guarding what was publicly revealed. Austen’s audience continued to grow as those who loved her novels helped new generations of readers to appreciate them. In addition to celebrating Austen, A Lively Mind commemorates the landmark gift of Austen manuscripts to the Morgan in 1975 by Alberta H. Burke and draws extensively on the extraordinary collection she bequeathed to Goucher College in Baltimore.

A Lively Mind immerses viewers in the inspiring story of Jane Austen’s authorship and her gradual rise to international fame. Iconic artifacts from Jane Austen’s House in Chawton, England join manuscripts, books, and artworks from the Morgan, as well as from a dozen institutional and private collections, to present compelling new perspectives on Austen’s literary achievement, her personal style, and her global legacy. Beginning as a teenager, Austen cultivated her imaginative powers and her ambition to publish. Encouraged by her family, especially her father and her sister Cassandra, she persevered through years of uncertainty. Her creativity found expression in a range of artistic pursuits, from music-making to a delight in fashion. The story of how Americans first encountered and responded to Austen’s novels, unbeknownst to her, emerges from four surviving copies of an unauthorized edition of Emma published during her lifetime. Following Austen’s death, family members preserved their memories of her, while carefully guarding what was publicly revealed. Austen’s audience continued to grow as those who loved her novels helped new generations of readers to appreciate them. In addition to celebrating Austen, A Lively Mind commemorates the landmark gift of Austen manuscripts to the Morgan in 1975 by Alberta H. Burke and draws extensively on the extraordinary collection she bequeathed to Goucher College in Baltimore.

New Yorkers will finally be getting back the gorgeous Frick Collection at its original historic buildings at 1 East 70th Street this year. The buildings have been closed to the public for renovations since 2020, and it’s been a long five years not being able to walk those glamorous Gilded Age halls. Some of the museum’s collection was relocated to the Met Breuer Building on Madison Avenue for a couple of years, but that iteration closed in March 2024. In April, we’ll be invited back to its restored spaces on the first floor and a new roster of galleries on the mansion’s second floor, open to the public for the very first time. Even better, to celebrate the reopening, the Frick will throw a weeklong music festival and present an installation of paintings by Vermeer that will inaugurate its new special exhibition galleries.

New Yorkers will finally be getting back the gorgeous Frick Collection at its original historic buildings at 1 East 70th Street this year. The buildings have been closed to the public for renovations since 2020, and it’s been a long five years not being able to walk those glamorous Gilded Age halls. Some of the museum’s collection was relocated to the Met Breuer Building on Madison Avenue for a couple of years, but that iteration closed in March 2024. In April, we’ll be invited back to its restored spaces on the first floor and a new roster of galleries on the mansion’s second floor, open to the public for the very first time. Even better, to celebrate the reopening, the Frick will throw a weeklong music festival and present an installation of paintings by Vermeer that will inaugurate its new special exhibition galleries.

Take a trip through the history of travel and the innovative ways ocean liners, trains, and airplanes catered to passengers’ appetites and expectations during the first half of the 20th century. French chefs were hired, signature meals introduced, and multi-course holiday meals served high in the sky. An array of distinctive objects—from souvenir menus to promotional recipe books, employee handbooks, and collectible tableware—illustrate how transportation companies focused on memorable culinary experiences to attract and retain customers. The exhibition also explores the racialized hiring practices of the Pullman Company that recruited formerly enslaved Black men to be railroad cooks and waiters and the exacting physical requirements used by airlines in their hiring of women.

Take a trip through the history of travel and the innovative ways ocean liners, trains, and airplanes catered to passengers’ appetites and expectations during the first half of the 20th century. French chefs were hired, signature meals introduced, and multi-course holiday meals served high in the sky. An array of distinctive objects—from souvenir menus to promotional recipe books, employee handbooks, and collectible tableware—illustrate how transportation companies focused on memorable culinary experiences to attract and retain customers. The exhibition also explores the racialized hiring practices of the Pullman Company that recruited formerly enslaved Black men to be railroad cooks and waiters and the exacting physical requirements used by airlines in their hiring of women.

Billy Joel and Rod Stewart are set to light up New York City with an unforgettable performance at Yankee Stadium on July 18, 2025, at 7:00 PM. This iconic event, aptly named "Billy Joel, Rod Stewart New York City," promises to be a night of legendary music and unparalleled entertainment. With ticket prices ranging from $106 to $189, fans will have the opportunity to witness two of the greatest musicians of all time sharing the stage. Yankee Stadium, located in the heart of New York City, will serve as the perfect backdrop for this monumental concert. Attendees can expect a setlist filled with timeless hits and electrifying performances that showcase the incredible talents of Billy Joel and Rod Stewart. This event is poised to be a highlight of the summer, drawing music lovers from near and far to experience the magic of live music in one of the world's most famous venues.

Linkin Park and PVRIS are set to electrify New York City with an unforgettable performance at the Barclays Center on July 29, 2025, at 7:30 PM. This highly anticipated event promises a night of powerful music and dynamic performances, drawing fans from all over to witness the iconic sounds of Linkin Park paired with the innovative energy of PVRIS. With ticket prices ranging from $60 to $700, attendees will experience a diverse range of options to enjoy the show. The Barclays Center, located in the heart of New York City, provides an ideal venue for this monumental event, ensuring an immersive and memorable experience for all. This concert is a must-see for music enthusiasts eager to witness the fusion of rock and alternative sounds in one of the world's most vibrant cities.