NYC-ARTS

S2021 E527 | FULL EPISODE

NYC-ARTS Full Episode: July 29, 2021

NYC-Arts visits the New York Botanical Garden in the Bronx for "KUSAMA: Cosmic Nature." The campus-wide installation features the work of contemporary Japanese artist Yayoi Kusama. Then a look at "Smashed Strokes Hope” a painting by Joan Snyder on view in the Met Museum’s exhibition “Epic Abstraction.” Finally, Debra Mecky guides us through the Bush-Holley House, home to the Cos Cob artist colony.

AIRED: July 29, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON "NYC ARTS," A

TRIP TO THE NEW YORK BOTANICAL

GARDEN IN THE BRONX TO SEE

KUSAMA, COSMIC NATURE.

>> KUSAMA HAS PRESENTED HER WORK

IN BOTANICAL GARDENS BUT NOT TO

THIS SCALE.

THE ARTWORK ACTUALLY ENHANCES

THE NATURAL ENVIRONMENT AND VICE

VERSA.

>> A VISIT TO THE METROPOLITAN

FOR A LOOK AT THE EXHIBITION

EPIC ABSTRACTION.

>> THE PAINTING SERVING AS A

KIND OF INVENTORY OR CATALOG OF

PAINTER STROKES, SOME THICK,

SOME THIN, SOME STABLE, SOME

STRONG, OTHERS FLUID, OTHERS

WEAK.

>> AND A VISIT TO BUSH-HOLLEY

HOUSE IN GREENWICH, CONNECTICUT,

A MEETING PLACE FOR THE ART

COLONY WHICH FLOURISHED HERE AT

THE TURN OF THE CENTURY.

>> THE BUSH-HOLLEY HOUSE TODAY

PORTRAYS TWO STORIES IN ITS

HISTORY.

♪♪♪

THE HOUSE BEGAN LIFE AS A HOME

FOR PROSPEROUS MERCHANTS IN THE

18th CENTURY AND THEN GAINED

RECOGNITION LATER AS A BOARDING

HOUSE FOR AMERICAN ARTISTS AND

WRITERS.

>>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY --

THEA PETSCHEK IERVOLINO

FOUNDATION.

THE LEWIS "SONNY" TURNER FUND

FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE NANCY SIDEWATER FOUNDATION.

FOUNDATION.ND TERRY KRUMHOLZ

THE MILTON AND SALLY AVERY ARTS

FOUNDATION.

AND ELLEN AND JAMES S. MARCUS.

THIS PROGRAM IS SUPPORTED IN

PART BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT OF

CULTURAL AFFAIRS IN PARTNERSHIP

WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

>> FIRST REPUBLIC BANK PRESENTS

"FIRST THINGS FIRST."

AT FIRST REPUBLIC BANK, FIRST

REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK THROUGH OUR

DOORS.

THE FIRST STEP?

RECOGNIZE THAT EVERY CLIENT IS

AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS

SERVICE IN THE FORM OF PERSONAL

BANKING.

THIS WAS FIRST REPUBLIC'S

MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON

OUR MINDS.

>> AND BY SWANN AUCTION

GALLERIES.

>> SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF

LOOKING AT AUCTIONS.

ARTS SINCE 1941. BOOKS AND FINE

WORKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG

COLLECTOR, FIRST-TIME BUYER, OR

LOOKING TO SELL.

INFORMATION AT

SWANNGALLERIES.COM.

♪♪♪

>>> GOOD EVENING AND WELCOME TO

"NYC ARTS."

I'M PHILIPPE DE MONTEBELLO ON

LOCATION AT

FOREMOST THE NEUE GALERIE IN

VIENNA FOUNDED IN 1923 BY OTTO

KAHLIL ALL SOUGHT TO CAPTURE THE

INNOVATIVE MODERN SPIRIT THAT IS

COVERED AND PURSUED AT THE TURN.

THE WORK OF ONE OF THE MOSTES

.

BOTH SHARED A PASSIONATE

COMMITMENT TO GERMAN AND

AUSTRIAN ART OF THIS PERIOD AND

DREAMED OF OPENING A MUSEUM TO

PRESENT THE FINEST EXAMPLES OF

THIS WORK.

AFTER ZABRISKIE PASSED AWAY IN

VISION OF CREATING THE GALLERY

NEW YORK AS A TRIBUTE TO HIS

FRIEND.

AS NEW YORK HAS MOVED TOWARDS

RECOVERY OVER THE PAST SEVERAL

MONTHS, A GREAT NUMBER OF ITS

CULTURAL INSTITUTIONS HAVE NOW

OPENED THEIR DOORS TO AN

ENTHUSIASTIC PUBLIC.

NEW YORKERS, VISITORS FROM

ACROSS THE U.S., AND AROUND THE

WORLD CAN ONCE AGAIN ENJOY THE

TREASURES THAT ARE FOUND HERE.

IN ADDITION TO THE RE-OPENING OF

THE GALLERY, OTHERS HAVE

REOPENED AND ARE JUST A STROLL

AWAY.

THEY INCLUDE JUST TO NAME A FEW,

THE GUGGENHEIM MUSEUM, THE

JEWISH MUSEUM, THE MUSEUM OF THE

CITY OF NEW YORK, AND JUST A

BLOCK EAST FROM 5th AVENUE, THE

TEMPORARY HOME OF THE

AND A LITTLE FURTHER NORTH, THE

HISPANIC SOCIETY MUSEUM AND

LIBRARY.

THERE ARE NOW SOME WONDERFUL

OPPORTUNITIES TO VISIT LOCATIONS

OF INTEREST OUTSIDE MANHATTAN.

ON TONIGHT'S PROGRAM, WE VISIT

THE NEW YORK BOTANICAL GARDEN IN

THE BRONX FOR KUSAMA, FOR COSMIC

NATURE.

IT REVEALS A LIFELONG ENGAGEMENT

WITH THE COLORS AND CYCLES OF

PLANTS AND FLOWERS.

KUSAMA LIVED IN NEW YORK CITY

BETWEEN 1958 AND 1973 AND WAS

KNOWN AS A PAINTER AND

PERFORMANCE ARTIST AT THAT TIME.

TODAY AT 92 YEARS OLD, SHE IS

PERHAPS BEST KNOWN FOR HER

WHIMSICAL PUMPKIN SIGNATURE

POLKA DOTTED FORMS.

VISITORS CAN ENJOY HER WORKS IN

THE LIBRARY IN AND AROUND THE

CONSERVATORY AND ACROSS THE

GARDEN'S LANDSCAPE.

VIVID HORTICULTURAL DISPLAYS.

"NYC ARTS" SPOKE WITH GUEST

CURATOR MIKA YOSHITAKE ABOUT THE

ARTIST'S SINGULAR VISION AND THE

EXHIBITION WHICH IS ON VIEW

THROUGH OCTOBER 31st.

♪♪♪

>> KUSAMA HAS PRESENTED HER WORK

IN BOTANICAL GARDENS BUT NOT TO

THIS SCALE.

THE ARTWORK ACTUALLY ENHANCES

THE NATURAL ENVIRONMENT AND VICE

VERSA.

RELATIONSHIP TO THE COSMIC

UNIVERSE.

THE GALLERY'S BASE IS A

GENEALOGY OF KUSAMA'S ENGAGEMENT

WITH NATURE.

SHE WAS BORN IN 1929 IN

MATSUMOTO, THE MOUNTAINOUS

REGION IN NAGANO.

FROM A VERY EARLY AGE, SHE WAS

EXPOSED TO MANY, MANY DIFFERENT

KINDS OF FLOWERS, PERIWINKLES,

ZINNIAS.

SHE NOT ONLY DRAWS THE FLOWERS,

BUT THE ANATOMY IS VERY

REALISTIC.LL SEE A PROGRESSION E

WAY THAT HER WORK SHIFTS FROM A

VERY REPRESENTATIONAL TO A MORE

SURREALIST EXPRESSION.

YOU'LL SEE THIS KIND OF

ANTHROPOMORPHIC.

THE PAINTING FROM 2009, SHE HAS

NOW MADE OVER 700 CANVASSES.

THERE WAS ONE PIECE CALLED

"ALONE BURIED IN THE GARDEN."

IT'S A VERY ABSTRACT PIECE THAT

HAS A PATCHWORK OF DIFFERENT

COLORS AND BOLD BLACK OUTLINES

THAT DIVIDE EACH OF THE AREAS.

THIS IDEA OF PERHAPS ADAPTING TO

PRESENT THAT AS A FLOWER GARDEN

LIKE A FLOWER BED, SOMETHING

THAT WOULD NEVER HAPPEN IN A

MUSEUM.

WHEN YOU'RE IN THE CONSERVATORY,

YOU WILL PASS THE FLOWER BED,

WHICH ARE INSPIRED BY THE PIECE.

PUMPKINS ARE VERY SPECIAL TO

KUSAMA.

SHE HAS SO MANY DIFFERENT KINDS

OF FORMS AND SHAPES.

THEY HAVE A HUMANLIKE CHARACTER.

THE FIRST MEMORY SHE HAS WAS OF

HER GRANDFATHER TAKING HER

THROUGH THE FIELDS AND

DISCOVERING PUMPKINS.

THAT MOMENT OF DISCOVERY WHEN

SHE WAS KIND OF WALKING THROUGH

THE MEADOW AND HAPPENED UPON

THIS PUMPKIN AND SHE REMEMBERS

RIPPING IT OUT AND THE OOZE

COMING OUT OF THE STEM, IT WAS A

VERY VISCERAL EXPERIENCE.

STARRY PUMPKIN IS METALLIC

MOSAIC, GOLD AND PINK AND

SITUATED INSIDE THE CONSERVATORY

WITH SEASONAL FLOWERS

SURROUNDING IT.

SO IT REALLY LOOKS LIKE A MEADOW

THAT YOU'VE KIND OF COME UPON

THIS BEAUTIFUL STARRY PUMPKIN.

AND THEN THERE IS A 16-FOOT

SCULPTURE, IT'S BRAND NEW,

CALLED "DANCING PUMPKIN."

AND I THINK MOST PEOPLE MIGHT BE

SURPRISED TO SEE IT BECAUSE IT

HAS 11 LEGS.

AND IT ALMOST LOOKS LIKE A

JELLYFISH OR A SPIDER.

IT'S CALLED "DANCING PUMPKIN"

BECAUSE THERE'S ONE LEG THAT IS

LIFTED UP, AND IT LOOKS LIKE

IT'S ABOUT TO DANCE OFF INTO

OUTER SPACE.

AND THEN WE HAVE ONE MIRROR

ROOM.

IT'S CALLED "PUMPKINS SCREAMING

ABOUT LOVE BEYOND INFINITY."

IT'S QUITE INTIMATE SMALL PIECE,

IT'S TWO-WAY MIRRORS ENCASEDE.

CUBE WITH PUMPKINS THAT ARE

GLOWING INSIDE.

AND IT'S A VERY INTIMATE

EXPERIENCE OF LIKE A VAST FIELD.

YOU HAVE TO KIND OF FOCUS ON THE

REFLECTIONS, AND IT'LL JUST

START TO EXPAND.

THERE'S A CONNECTION BETWEEN THE

BOTANICAL WORLD WITH THE HUMAN

AND TACTILE SENSATION AND WITH

THE SUBLIME FEELING OF COSMIC

EXPANSION.

"ALLUSION INSIDE MY HEART" IS

JUST A FREESTANDING MIRRORED

CUBE.

IN THE BEGINNING OF THE

EXHIBITION, PEOPLE WILL BE ABLE,

AND IT'S AMAZING BECAUSE IT

REFLECTS THE BOTANICAL GARDEN.

AND IT ALMOST DISAPPEARS.

WHEN YOU GO INSIDE, YOU SEE THAT

IT'S THIS EXPANSIVE UNIVERSE.

NARCISSIST GARDEN IS 1,500

STAINLESS STEEL ORBS THAT ARE

FLOATING ON WATER.

AND IT REFLECTS THE ENVIRONMENT.

IT'S A BEAUTIFUL DISPLAY THE WAY

THAT THE WINDS CHANGE THE

ORIENTATION AND THE REFLECTION

OF ALL OF THE DIFFERENT TREES

AND WILL QUICKLY CHANGE AS THE

SEASONS CHANGE.

THE POLKA DOT WHICH SHE'S SO

WELL KNOWN FOR IS NOT JUST THIS

FLAT DOT BUT A SPHERE.

SHE'S TALKED ABOUT THE POLKA DOT

AS A SUN OR A MOON.

THERE IS THIS OUTDOOR SCULPTURE

THAT WE'VE HAD IN THE REFLECTING

POOL.

IT'S CALLED "I WANT TO FLY TO

AND I'M SURE THAT PEOPLE WILL BE

VERY SURPRISED BECAUSE IT'S NOT

QUITE A FLOWER, IT'S NOT QUITE

AN ANIMAL.

IT'S ACTUALLY A MOTIF THAT IS

DRAWN FROM ONE OF HER "MY

ETERNAL SOUL" PAINTINGS.

BUT IT'S NOT ONE THING.

AND I THINK THAT'S VERY

CHARACTERISTIC OF KUSAMA.

PRESENTING HER WORK HERE IS SO

ACTUALLY AND SO ENLIGHTENING

ESPECIALLY IN THIS PANDEMIC ERA.

BECAUSE WHAT I THINK A LOT OF

PEOPLE REALIZED IS THAT WE ARE

ALL KIND OF VULNERABLE, AND

THERE IS THIS ELEMENT OF

COEXISTENCE.

KUSAMA'S WORK BETWEEN HUMANS,

NATURE, AND THE COSMOS.

AND EVEN WITH LIFE AND DEATH

LIKE A CYCLE.

♪♪♪

♪♪♪

>>> NOW, A VISIT TO THE

METROPOLITAN MUSEUM OF ART FOR A

LOOK AT THE MUSEUM'S COLLECTION

OF POST-WAR AND CONTEMPORARY

ART.

EPIC ABSTRACTION EXPLORES

LARGE-SCALE ABSTRACT PAINTING

SCULPTURE AND OTHER WORKS OF

ART.

THE EXHIBIT SEEKS TO BROADEN THE

NARRATIVE OF ABSTRACTION,

BRINGING TOGETHER SOME 50 WORKS

FROM THE MESONE COLLECTION.

REPRESENTED HERE ARE SUCH ICONIC

ARTISTS AS JACKSON FOLIC, AND

OTHERS.

THE CURATOR OF MODERN AND

CONTEMPORARY ART AT THE MET

LOOKS AT A SINGLE WORK FROM THE

COLLECTION.

♪♪♪

>> THE COLORFUL AND ATTRACTIVE

PAINTING BEHIND ME IS "SMASH

STROKES HOPE" FROM 1971 BY JOAN

SCHNEIDER IS ONE OF THE

CONTEMPORARY ARTISTS.

THE EXUBERANT COLOR AND THE

SENSE OF EXPERIMENTATION BREAKS

FROM THE INTENSE FORMALISM OF

MINIMALISM, SPECIFICALLY THE

MINIMALIST GRID THAT WAS

CONSIDERED TO BE THE MOST

DESIRABLE TEMPLATE OR TOUCH TONE

FOR COMPOSITION AND DESIGN FOR

ARTISTS AND SCULPTURES COMING OF

AGE IN THE LATE 1960s AND '70s.

THIS IS A PAINTING ON CANVAS,

BUT SHE'S USING A WIDE RANGE OF

PAINT.

OIL, ACRYLIC AND SPRAY ENAMEL.

SHE'S APPLYING PAINT FAIRLY

TRADITIONALLY IN CERTAIN

INSTANCES WITH A SEQUENCE OF

VERY CLEAR BRUSHSTROKES.

MOST OF THOSE ARE WITH THE OIL

PAINT.

OTHER INSTANCES SHE'S EXPLORING

MARKMAKING IN OTHER WAYS.

HER PROCESS IS BOTH ADDITIVE AND

SHE MAKES STROKES BY ADDING

INDIVIDUAL BRUSHMARKS.

BUT SHE ALSO EXECUTES STROKES IN

A SUBTRACTIVE MANNER, IN SOME

CASES SCRAPING INTO THICK PAINT

TO MAKE AN ABSENCE OF A STROKE.

PART OF THE APPEAL OF JOAN

SCHNEIDER'S PAINTING IS THAT IT

ALMOST EXPANDS AND BLOWS UP IN

SCALE WHAT AN ARTIST'S PALETTE

MIGHT LOOK LIKE WHERE YOU HAVE

GLOBS OF PAINT AND YOU GET A

SENSE OF THE PAINT BEING MIXED,

AND THERE'S A SENSE OF THE FULL

RANGE OF AN ARTIST'S PALETTE

THAT SHE'S PREPARING TO USE.

THE PAINT IN CERTAIN INSTANCES

AND CERTAIN PASSAGES IS PILED

UP, IT'S THICK AND COAGULATED.

BUT IN OTHER INSTANCES SHE'S

EXPERIMENTING WITH THE PAINT

DILUTED AND ALLOWING THE STROKES

TO RUN AND TO POUR OVER WHITE

EXPANSES OF THE PAINTING.

THE PAINTING SERVES AS A KIND OF

INVENTORY OR CATALOG OF

PAINTER'S STROKES.

SOME THICK, SOME THIN, SOME

STABLE, SOME STRONG, OTHERS

FLUID, OTHERS WEAK.

SCHNEIDER HERE WALKS A VERY FINE

LINE BETWEEN EXPERIMENTATION AND

DELIBERATION.

♪♪♪

FOR MORE INFORMATION ON CULTURAL

EVENTS IN OUR AREA, PLEASE SIGN

UP FOR OUR FREE WEEKLY EMAIL AT

NYC-ARTS.ORG/EMAIL.

>>> TOP FIVE PICKS WILL KEEP YOU

UP TO DATE ALL YEAR-ROUND AND BE

SURE TO CONNECT WITH "NYC ARTS"

ON FACEBOOK, INSTAGRAM, AND

TWITTER.

♪♪♪

>>> NEXT WE'LL TRAVEL TO THE

BUSH-HOLLEY HOUSE IN GREENWICH,

CONNECTICUT, ABOUT AN HOUR NORTH

OF NEW YORK CITY.

THIS STATELY COLONIAL BUILDING

IS ONE OF A FEW REMAINING IN

GREENWICH FROM THE EARLY DECADES

OF THE 18th CENTURY.

THE HISTORIC SITE IS THE

CENTERPIECE OF THE GREENWICH

HISTORICAL SOCIETY WHICH HAS

DOCUMENTED THE TOWN'S PASSAGE

FROM A COLONIAL NEW ENGLAND

SETTLEMENT INTO AN AFFLUENT

IN MAINTAINING THE HOUSE FOR

VISITORS, THE SOCIETY HAS

PRESERVED THE MEETING PLACE OF

THE ART COLONY WHICH FLOURISHED

HERE IN THE EARLY 20th CENTURY.

YOU CAN ENJOY A TOUR OF THE

HOUSE BY ADVANCE APPOINTMENT.

NOW ON VIEW AT THE SOCIETY'S

GALLERIES IS THE EXHIBITION

"BEAUTIFUL WORK."

THE ART OF GREENWICH GARDENS AND

VISITORS CAN LEARN ABOUT THE

VARIETY OF GARDENS IN THE AREA

FROM THOSE COMMISSIONED BY THE

SCIONS OF INDUSTRY FOR THEIR

GRAND ESTATES TO MORE HUMBLE

FLOWER AND VEGETABLE PLANTINGS.

ORIGINAL DESIGN PLANS,

HARDWORKS, PHOTOGRAPHS,

FURNITURE, AS WELL AS GARDENING

AND FARMING TOOLS DEMONSTRATED

INTEREST OF THE RESIDENTS IN

BOTH THE STUDY OF PLANTS AND IN

THE CARE OF THESE FLOURISHING

LANDSCAPES.

♪♪♪

♪♪♪

♪♪♪

>> THE BUSH-HOLLEY HOUSE TODAY

PORTRAYS TWO STORIES IN ITS

HISTORY.

THE HOUSE BEGAN LIFE AS A HOME

FOR PROSPEROUS MERCHANTS IN THE

18th CENTURY, AND THEN GAINED

RECOGNITION LATER AS A BOARDING

HOUSE FOR AMERICAN ARTISTS AND

WRITERS.

TODAY IT'S A NATIONAL HISTORIC

LANDMARK AND ONE OF 18 SITES ON

THE CONNECTICUT ART TRAIL.

SINCE ACQUIRING BUSH-HOLLEY

HOUSE IN 1957, THE HISTORICAL

SOCIETY EXPANDED THE SITE BY

BUILDING AN ARCHIVE AND RESEARCH

LIBRARY TO HOUSE THE WONDERFUL

COLLECTIONS OF GREENWICH HISTORY

AND TRANSFORMED A BARN INTO AN

EDUCATION CENTER.

THE STORE HOUSE AND POST OFFICE

WHICH SITS NEXT DOOR WAS ADAPT

AS THE EXHIBITION GALLERY FOR

CHANGING EXHIBITIONS ON HISTORY

AND ART.

THE BUSH STORY BEGINS WITH DAVID

BUSH WHO CAME HERE WITH HIS WIFE

TO BUILD A MILL.

THEY ALSO IMPROVED THE HARBOR SO

THAT SHIPS COULD COME RIGHT UP

TO THE DOCKS.

AND THIS MADE THE LOWER LANDING

A REALLY WONDERFUL COMMERCIAL

ENTERPRISE FOR HIM.

HE WAS A VERY WEALTHY MAN, AND I

THINK YOU CAN SEE THAT IN

BUSH-HOLLEY HOUSE.

A SCRAP OF THE WALLPAPER HAS THE

BRITISH TAX STAMP ON THE BACK

AND REMINDS US OF ONE OF THE

CAUSES OF THE AMERICAN

REVOLUTION.

ONE SIGN OF DAVID'S

EXTRAORDINARY WEALTH WAS THE

ENSLAVED PEOPLE WHO LIVED HERE,

THE AFRICAN-AMERICANS.

AND THERE'S ONE ROOM WHICH

PORTRAYS THE WAY SLAVES LIVED

WHERE THEY TENDED TO BE HOUSED

IN ATTICS AND CELLARS OF THE

MAIN MANSION HOUSES.

IT BECOMES WITH THE RAILROAD

COMING TO GREENWICH IN 1848.

IT BEGAN TO BRING RESIDENTS UP

FROM NEW YORK FOR SUMMERTIME

ACTIVITIES.HE HOLLEYS HAD AN

OPPORTUNITY TO TAKE ON

BUSH-HOLLEY HOUSE AS A BOARDING

HOUSE.

IT WAS KNOWN AS "THE OLD HOUSE."

THE ARTISAN WRITERS WHO CAME

HERE SELF-IDENTIFIED AS THE

COS COS ART COLONY.

THIS WAS CONNECTICUT'S FIRST ART

COLONY, PARTICULARLY KNOWN FOR

ITS INNOVATIVE AND EXPERIMENTAL

STYLE.

THAT TONE WAS SET BY JOHN HENRY,

THE AMERICAN IMPRESSIONIST

ARTIST WHO WAS THE FIRST TO COME

HERE AND TEACH SUMMER ART

CLASSES.

HE WAS FOLLOWED BY WEIR AND

ROBINSON WHO HAD KNOWN CLAUDE

BONET, HELPING TO TRANSLATE

FRENCH IMPRESSIONISM INTO

AMERICAN IDIOMS.

THE LIFE OF THE ARTIST WAS TO GO

OUT DURING THE DAYTIME AND

GATHER THEIR PAINTINGS AND

GATHER BACK IN THE LATE

AFTERNOON.

HE WOULD OFTEN SAY DON'T PAINT

WHAT YOU SEE, PAINT WHAT YOU

FEEL.

ANOTHER OF THE ARTISTS THAT CAME

HERE STAYED HERE OFF AND ON OVER

A 20-YEAR PERIOD.

THE ROOMS IN BUSH-HOLLEY HOUSE

COST FROM $8 TO $20 TO RENT FOR

THE WEEK.

AND THE GUEST BEDROOM WAS THE

$20 ROOM, THE ONE WHERE HE WOULD

STAY WITH HIS WIFE MAUDE.

A WOMAN CLAD IN KIMONO.

SOME OF THE MOST EXTRAORDINARY

THINGS THAT YOU CAN SEE IN

BUSH-HOLLEY HOUSE TODAY ARE A

SET OF ETCHINGS THAT HE MADE

ALMOST 30 OF THEM WHEN HE WAS

HERE IN 1915.

ONE OF THEM AT THE DUTCH DOOR

SHOWS A WOMAN STANDING IN FRONT

OF THE DUTCH DOORS OF

BUSH-HOLLEY HOUSE, AND YOU CAN

FEEL ALMOST A SENSE OF THE

SUMMER INVITING YOU OUT INTO THE

OUTSIDE.

I'M STANDING IN A ROOM WHICH WAS

AN ART STUDIO.

IT BECAME THE PERMANENT STUDIO

OF ELMER.

HE WAS A YOUNG STUDENT WHO CAME

HERE IN 1896.

HE FELL IN LOVE WITH THE

HOLLEY'S DAUGHTER CONSTANT AND

MARRIED HER IN 1900.

HE WOULD OFTEN GIVE EXHIBITIONS

IN THIS STUDIO THAT ATTRACTED

HUNDREDS OF PEOPLE, AND HIS

EXHIBITIONS WOULD BE CRITIQUED

IN THE NEW YORK PAPERS.

McCRAY PAINTED THE EXTRAORDINARY

PICTURE OF HIS TWIN DAUGHTER

CONSTANT WHICH HANGS IN THE

HALLWAY OF BUSH-HOLLEY HOUSE.

1912 WHEN THAT PAINTING WAS DONE

IS KIND OF AN IMPORTANT YEAR

BECAUSE AT THE SAME TIME HE WAS

ONE OF THE EARLY ORGANIZERS OF

THE INTERNATIONAL EXHIBITION OF

ART IN NEW YORK IN 1913 KNOWN AS

THE ARMORY SHOW.

THAT SHOW WAS SIGNIFICANT IN

THAT IT INTRODUCED EUROPEAN

MODERNISTS TO THE VAST AMERICAN

PUBLIC FOR THE FIRST TIME.

IT ALSO HAD A HUGE IMPACT ON THE

ARTISTS.

AND YOU CAN SEE THAT IN A

PAINTING HANGING IN McCRAY'S

STUDIO ON MARTHA VINEYARD, WHICH

SHOWS HIM REALLY TRYING TO

UNDERSTAND A NEW WAY TO

TRANSLATE AND TO SEE LANDSCAPE.

HE BEGAN CREATING MORE

DECORATIVE WORKS OF ART SUCH AS

THE PAINTING OF THE IRISES.

ONE OF THE PAINTINGS HANGING IN

THE HALLWAY IS OF CARISSA.

SHE WAS PAINTED IN 1912 BY

THE BOOKCASE STILL THERE AS WELL

AS THE HALLWAY AND A STAIR.

BUSH-HOLLEY HOUSE IS A WONDERFUL

18th CENTURY HOUSE.

IT HAS SO MUCH CHARACTER THAT

COMES FROM ITS EARLY HISTORY IN

THE 1830s.

BUT WHAT'S PROBABLY MOST

EXTRAORDINARY IS TO COME HERE

AND SEE THE ART ON THE WALL FROM

THE ARTISTS AT THE TURN OF THE

20th CENTURY WHO FELL IN LOVE

WITH THIS HOUSE AND THIS

VILLAGE.

♪♪♪

>>> THANK YOU FOR JOINING ME

THIS EVENING.

I'M PHILIPPE DE MONTEBELLO ON

LOCATION IN NEW YORK.

GOOD NIGHT AND SEE YOU NEXT

TO ENJOY MORE OF YOUR FAVORITE

SEGMENTS OF "NYC ARTS," VISIT

OUR WEBSITE AT NYC-ARTS.ORG.

♪♪♪

>> GOOD EVENING, AND WELCOME TO

I'M PAULA ZAHN.

>> I'M PHILIPPE DE MONTEBELLO AT

THE STUDIOS IN LINCOLN CENTER.

♪♪♪

♪♪♪

>> WHAT A PRIVILEGE TO BE ABLE

TO SIT DOWN AND TALK WITH YOU.

>> WHERE ARE WE?

>> WE ARE AT A MOMENT TO TAKE

NOTHING FOR GRANTED.

>> IT'S A PLEASURE TO BE WITH

THE CURATOR OF THIS EXHIBITION

FULL OF HOPE.

WE ARE IN THE MIDST OF SOME OF

THE GREATEST SCULPTURES BY THE

ICONIC NAMES.

>> CLASSICAL AND MODERN DANCE

ARE EXTREMELY DIFFERENT.

AND I HAVE SO MUCH MORE TO LEARN

BEFORE I CAN REALLY ARTICULATE

THE DIFFERENCES.

♪♪♪

>> MY PRIMARY WAY OF PLAYING THE

PIANO IS BY IMPROVISING.

>> YOU ARE, IN SOME RESPECTS, ON

SACRED GROUND.

>> A WOMAN CAME TO SEE ME

PERFORM AND SAID HOW WOULD YOU

LIKE TO PLAY BILLIE HOLIDAY?

>> I THINK ONE OF THE ESSENTIAL

THINGS WE LEARNED IS THAT HE

USED PINS TO COMPOSE HIS WORK.

>> YOU'RE DOING A PIECE THAT'S A

HUNDRED YEARS AGO AND YOU THINK,

OH, MY GOSH, THIS COULD BE NOW.

>> THE CARDBOARD GUITAR IS THE

VERY FIRST OF THAT MOMENT OF

REALIZATION.

>> YOU COME AND PRESENT

SOMETHING AND YOU GET APPLAUSE.

GREAT, YOU KNOW?

♪♪♪

♪♪♪

♪♪♪

♪♪♪

>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY - THEA PETSCHE.

THE LEWIS "SONNY" TURNER FUND

FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

JODIE AND JOHN ARNHOLD.

ELYSE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE NANCY SIDEWATER FOUNDATION.

ELROY AND TERRY KRUMHOLZ

FOUNDATION.

THE MILTON AND SALLY AVERY ARTS.

AND ELLEN AND JAMES S. MARCUS.

THIS PROGRAM IS SUPPORTED IN

PART BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT OF

CULTURAL AFFAIRS, IN PARTNERSHIP

WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

>> FIRST REPUBLIC BANK PRESENTS

"FIRST THINGS FIRST."

AT FIRST REPUBLIC BANK FIRST

REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK THROUGH OU.

THE FIRST STEP, RECOGNIZE THAT

EVERY CLIENT IS AN INDIVIDUAL

WITH UNIQUE NEEDS.

FIRST DECREE.

SERVICE.K WHOSE CURRENCY IS

IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S

MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ONOU.

>> AND BY SWANN AUCTION

GALLERIES.

>> SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF

LOOKING AT AUCTIONS, OFFERING

VINTAGE BOOKS AND FINE ART SINCE

1941, WORKING TO COMBINE

KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE AW LIFELONG

COLLECTOR, A FIRST-TIME BUYER OR

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