NYC-ARTS

S2021 E532 | FULL EPISODE

NYC-ARTS Full Episode: October 21, 2021

A visit to the American Folk Art Museum for a look at "American Weathervanes: The Art of the Winds." Then a profile of one of the greatest contemporary violin makers, Samuel Zygmuntowicz and an early morning trip with florist Louis Miller to witness one of his "Flower Flashes" come to life.

AIRED: October 21, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

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

VISIT TO THE AMERICAN FOLK ART

MUSEUM, AND THE EXHIBITION

"AMERICAN WEATHER VANES: THE ART

OF THE WIND."

WHICH HIGHLIGHTS THE ARTISTRY OF

THIS PRACTICAL TOOL.

>> "AMERICAN WEATHER VANES: THE

ART OF THE WIND" IS AN

EXHIBITION AT AMERICAN FOLK ART

MUSEUM AND BRINGS TOGETHER A

NEVER BEFORE ASSEMBLED GROUP OF

REMARKABLE AMERICAN WEATHER

VANES, OBJECTS DESIGNED TO

ATTRACT ATTENTION, THEY SIGNAL A

SENSE OF PRIDE IN PERSONAL OR

SOCIAL IDENTITY.

>>> A PROFILE OF A MODERN VIOLIN

MAKER WHO DEMONSTRATES THE

DELICACY REQUIRED IN CRAFTING

HIGH QUALITY INSTRUMENTS.

>> EVERY VIOLIN I MAKE, I KEEP

EXHAUSTIVE RECORDS ON EVERY

ASPECT THAT I CAN.

IF INSTRUMENT OF MINE COMES

BACK, AND I REALLY LIKE IT, I

WANT TO MAKE ANOTHER, I HAVE

RECORD OF WHAT I DID.

>>> AND MEET MANHATTAN FLORIST

LEWIS MILLER WHOSE ARRANGEMENTS

BRIGHTEN THE LANDSCAPE.

>> THEY'RE FOR THE PEOPLE.

WANT PEOPLE TO TAKE THEM AND

INTERACT WITH THEM, OBVIOUSLY

TAKE A PICTURE BUT TAKE A

BLOSSOM HOME.

MORE WE CAN HAVE SOFT MOMENTS OF

BEAUTY AND JOY FOR NO OTHER

REASON, FOR AN HOUR, TEN

MINUTES, JOB IS DONE.

>>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY --

THEA PETSCHEK IERVOLINO

FOUNDATION.

THE LEWIS "SONNY" TURNER FUND

FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE NANCY SIDEWATER FOUNDATION.

THE MILTON AND SALLY AVERY ARTS

FOUNDATION.

THE ELROY AND TERRY KRUMHOLZ

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 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.

WE HAVE A DIFFERENT WAY OF

LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE

ARTS SINCE 1941.

LOOKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG

COLLECTOR, FIRST-TIME BUYER, OR

LOOKING TO SELL.

INFORMATION AT

SWANNGALLERIES.COM.

>> AND BY --

>> UNIKA VAEV CUSTOM ACOUSTICAL

PRODUCTS FOR WALL, CEILING AND

FLOOR, AS WELL AS ACOUSTICAL

DESIGN SERVICES FOR COMMERCIAL

AND RESIDENTIAL NEEDS,

INFORMATION AT UNIKAVAEV.COM.

>>> GOOD EVENING AND WELCOME TO

"NYC ARTS," I'M PAULA ZAHN.

FOR MORE THAN 60 YEARS, THE

AMERICAN FOLK ART MUSEUM HAS

GIVEN CENTER STAGE TO THE WORK

OF SELF-TAUGHT AMERICAN ARTISTS.

EVERYDAY PEOPLE WHOSE CREATIONS

PROVIDE A WINDOW INTO THEIR

UNIQUE TIME AND PLACE.

CURRENTLY ON VIEW IS "AMERICAN

WEATHER VANES: THE ART OF THE

WIND."

IT EXPLORES THE ARTISTRY OF THE

WEATHER VANE, A PRACTICAL TOOL

USED TO MEASURE THE DIRECTION OF

THE WIND THAT EVOLVED INTO ITS

OWN ART FORM FROM A WOODEN

ROOSTER TO A GREEK GODDESS POSED

AS GRATEFUL DANCER, EACH WEATHER

VANE REVEALS INTERPLAY BETWEEN

TECHNOLOGY, ART AND CULTURAL

HISTORY.

"NYC ARTS" VISITED THE MUSEUM'S

LINCOLN SQUARE LOCATION TO SPEAK

WITH CURATOR EMELIE GEVALT.

>> "AMERICAN WEATHER VANES: THE

ART OF THE WIND" IS AN

EXHIBITION AT AMERICAN FOLK ART

MUSEUM AND BRINGS TOGETHER A

NEVER BEFORE ASSEMBLED GROUP OF

AMERICAN WEATHER VANES THAT TELL

THE STORY OF THIS SEMINAL

AMERICAN FOLK ART FORM FROM THE

MID-18th CENTURY TO EARLY 20th

CENTURY.

"AMERICAN WEATHER VANES: THE ART

OF THE WIND" OPENED ON THE

AMERICAN FOLK ART MUSEUM'S 60th

ANNIVERSARY.

WE'RE SO EXCITED TO BE ABLE TO

SHARE WITH OUR AUDIENCES AN

EXHIBITION ON THIS THEME WHICH

HAS BEEN SO IMPORTANT TO HISTORY

OF AMERICAN FOLK ART AS ONE OF

THE FIRST AND REALLY IMPORTANT

FORMS TO EMERGE AS AN OBJECT OF

SPECIAL INTEREST FOR AMERICAN

FOLK ART COLLECTORS AND ALSO AS

A REAL OPPORTUNITY TO SHINE A

SPOTLIGHT ON THIS FORM WHICH

HASN'T HAD A COMPREHENSIVE

TREATMENT IN MANY DECADES.

IDEA BEHIND WEATHER VANES IS

THEY'RE FUNCTIONAL BUT THEY'VE

ALWAYS HAD STRONG AESTHETICS TO

THEM.

ON A PUBLIC OR PRIVATE BUILDING

THEY SIGNAL A SENSE OF PRIDE IN

PERSONAL OR SOCIAL IDENTITY, THE

RANGES THEY ADOPT SPEAK TO THOSE

THEMES.

HORSES AND COWS ON BARNS AND

R

ROOSTER ON THE CHURCH.

STARTED TO BE APPRECIATED AS ART

OBJECTS, SOMETHING WE'RE TRYING

TO DO WITH THE EXHIBITION AND

WHAT WE TRY TO DO AT AMERICAN

FOLK ART MUSEUM IN GENERAL,

CHAMPIONING ARTISTS AND WORKS OF

ART NOT ALWAYS AFFORDED CENTER

STAGE.

THERE ARE A COUPLE OF DIFFERENT

FORMS THAT EVOLVED AND BROUGHT

TO BRITISH AND DUTCH AMERICAN

COLONIES BROUGHT THROUGH

IMMIGRANT CRAFTSMEN WHO BROUGHT

SKILLS AND TRADITIONS WITH THEM.

ONE IS BANNER WEATHER VANE,

STARTED OUT IN FABRIC FORM AS A

FLAG, A SEINE, TO DISPLAY A COAT

OF ARMS.

FROM FABRIC TO METAL.

MANY EXAMPLES IN THE SHOW,

INCLUDING ONE MADE IN ORONO,

MAINE.

ANOTHER EUROPEAN WEATHER VANE

FORM THAT HAS A LONG HISTORY IS

THE ROOSTER, THE WEATHER COCK.

DEVELOPED AS A PARTICULAR VEIN

TO TOP CHURCHES IN MEDIEVAL

EUROPE IN THE EIGHTH CENTURY

BECAUSE OF THE BIBLICAL STORY OF

PETER'S DENIAL.

DURING THE LAST SUPPER JESUS

PREDICTS THAT PETER WILL BETRAY

HIM THREE TIMES BEFORE THE COCK

CROWS.

CULMINATION IS GALLERY OF 19th

CENTURY WEATHER VANES THAT

EXPAND INTO DIFFERENT FORMS.

IMAGINATION TOOK FLIGHT IN THE

VICTORIAN ERA AND VANE MAKERS

MADE FAN AFTERTASTICAL FIGURES E

TECHNOLOGICAL.

EARLIEST TEND TO BE UNIQUE

EXAMPLES, WEREN'T REPLICATED

MULTIPLE TIMES BUT ONE-OFF WORKS

OF ART.

WOOD WAS A MATERIAL WIDELY USED

IN BRITISH-AMERICAN COLONIES, SO

ARTISANS WERE FAMILIAR WITH IT.

MID-19th CENTURY YOU START TO

SEE COPPER BECOMING A MATERIAL

OF CHOICE.

COPPER IS HIGHLY MALLEABLE, CAN

BE EASILY WORKED INTO DETAILED

WORKS OF ART THAT YOU SEE.

DURING TIME OF GROWING

INDUSTRIAL EFFICIENCY, MAKERS

BEGAN TO DEVELOP PROCESSES THAT

ALLOWED THEM TO STEP UP THEIR

PRODUCTION.

COLLECTORS HAVE ALWAYS

APPRECIATED IN PARTICULAR THE

HISTORICAL SURFACES OF WEATHER

VANES BECAUSE THEY ARE INTENDED

TO BE OUTDOOR OBJECTS THAT

CHANGE WITH EXPOSURE TO WIND AND

RAIN.

COPPER WEATHER VANES OFTEN

DEVELOP A VELVETY OXIDIZED

GREEN.

WHEN THE WEATHERIZING TAKES

PLACE, YOU CAN SEE THE WONDERFUL

LAYERS OF HISTORY ENSCRIBED ON

THEIR SURFACES.

WEATHER VANES HAVE A LONG

ASSOCIATION WITH HISTORICAL

MEMORY, WHICH IS INTERESTING.

SENSE OF WEATHER VANE AS A

MEMORY KEEPER ALIGNS WITH

INSTANCES IN WHICH THEY BECOME

TIME CAPSULES, MAKERS OR BE

COLLECTORS HAVE TUCKED NOTES

INSIDE.

ONE EXAMPLE IN THE SHOW IS

BEAUTIFUL WOODEN HEART AND HAND

WEATHER VANE MADE FOR A TAVERN

IN ROXBURY, MASSACHUSETTS, AND

ARTISANS DID THAT, TUCKED A NOTE

INSIDE TO DOCUMENT MAKING THIS

OBJECT.

SOMETHING WE THOUGHT A LOT ABOUT

PLANNING THE EXHIBITION WAS THE

WAY WEATHER VANES PROMPT US TO

PAUSE.

IF YOU LOOK UP MIGHT SEE AN

OBJECT THAT TAKES YOU BY

SURPRISE AND ALLOWS THE VIEWER

TO EXPERIENCE A MOMENT OF BEAUTY

AND UPLIFT.

IT'S A MOMENT OF THE

EXTRAORDINARY WITHIN THE

ORDINARY.

>>> NEXT, "NYC ARTS" VISITS THE

BROOKLYN STUDIO OF A MODERN

VIOLIN MAKER TO DISCOVER THE

UNIQUE SKILLS AND DELICATE

PROCESS INVOLVED IN CREATING AN

OUTSTANDING INSTRUMENT.

REGARDED AS ONE OF THE GREATEST

CONTEMPORARY MAKERS, SAMUEL

DISCOVERED HIS CRAFTS AS A

TEENAGER AND WENT ON TO STUDY AT

VIOLIN MAKING SCHOOL OF AMERICA

IN SALT LAKE CITY.

EVER SINCE THEN, HE'S SPENT

CAREER CREATING VIOLINS FOR

WORLD'S MOST TALENTED MUSICIANS.

>> I WAS INTERESTED IN SCULPTURE

AND ART FROM AS LITTLE AS I CAN

REMEMBER, ALWAYS DOING

SCULPTURE.

I THINK I WAS GOOD AT IT AND

EVERYONE PRESUMED I WOULD BE A

PROFESSIONAL ARTIST.

WHEN I WAS 13 I READ A BOOK

ABOUT A VIOLIN MAKER AND GOT

INTERESTED IN INSTRUMENT MAKING.

USES ALL THE ATTRIBUTES OF ART

BUT FOR A PURPOSE.

IT PERFORMS WELL FOR IT DOESN'T,

DEPENDENT ON KNOWLEDGE AND

SKILL.

IF SOMEONE COMES TO ME TO HAVE A

VIOLIN MADE, THERE'S A PROCESS

WHERE I WANT TO UNDERSTAND FIRST

OF ALL WHY DID THEY COME TO ME.

PRESUMABLY THEY'VE HEARD

INSTRUMENTS OF MINE.

I WANT TO SEE THEIR VIOLIN.

I HAVE TO UNDERSTAND WHAT THEY

WANT.

ARE THEY A SOLOIST, AGGRESSIVE

STRONG PLAYER, SUBTLE PLAYER,

SOFTER?

THEN I WILL GO BACK TO MY SHOP

AND IT'S UP TO ME TO DECIDE WHAT

I WILL MAKE FOR THEM TO SERVE

THEIR NEEDS.

ALL AROUND HERE, WOOD STOCK,

SOME OF MY WOOD STOCK, IT'S LIKE

A COLLECTION OF WINE OR

SOMETHING, COMES FROM ALL OVER

EUROPE, BEEN BUYING WOOD FROM

THE BEGINNING OF MY CAREER.

HAS TO SIT FOR A LONG TIME BUT

THEN I CAN GO THROUGH THAT, AND

I PICK WOOD BASED NOT JUST

VISUALLY BUT ON ITS DENSITY AND

STIFFNESS, HOW I THINK IT WILL

BEHAVE IN THIS MODEL.

FIRST I HAVE TO MAKE WHAT IS

CALLED THE RIB STRUCTURE, THE

SIDES, THOSE ARE BENT OUT OF

THIN WOOD AROUND A FORM WHICH

I'VE DESIGNED.

FROM THE RIBS, THE SIDES I MADE,

I WILL CREATE THE OUTLINE OF THE

INSTRUMENT, THE TOP AND BACK.

RIBS ARE BENT BUT TOP AND BACK,

THAT ARCH IS CARVED IN.

IT'S COMPOUND IN MANY

DIRECTIONS.

THE ARCHING IS CRITICAL TO THE

TONE COLOR.

PROBABLY THE MOST IMPORTANT PART

OF THE VIOLIN IS THE FRONT, THE

TOP, PART THAT VIBRATES THE

MOST.

THAT'S MADE OUT OF SPRUCE FROM

THE EUROPEAN WOODS, THE

STRONGEST PER UNIT OF WEIGHT.

WHAT'S CHALLENGING IS WHILE I'M

MAKING IT, I'M RELATING TO IT IN

VISUAL AND TACTILE WAY, BUT

WORKING AS VIOLIN, IT'S SC

VIBRATING IN WAY NOT VISIBLE TO

THE EYE BUT VERY REAL.

IT'S LIKE A LONG CHESS GAME.

WON'T KNOW IF I'M MAKING RIGHT

CALLS UNTIL IT'S STRUNG UP AND

WORKING FOR A WHILE.

SOMETHING YOU MAKE, CHEST OF

DRAWERS, BUILD A HOUSE, TO

SOMETHING VIBRATING IN HUMAN

INTERACTION.

NOT ALIVE EXACTLY, BUT IT'S LIKE

IT'S ALIVE.

EVERY VIOLIN I MAKE I KEEP

EXHAUSTIVE RECORDS ON EVERY

ASPECT ABOUT IT THAT I CAN, WOOD

CHOICE, MODEL, ARCHING,

THICKNESSES, WEIGHTS, TONES,

VARNISHES, BASE DIMENSIONS.

IF AN INSTRUMENT OF MINE COMES

BACK, I REALLY LIKE IT, WANT TO

MAKE ANOTHER, I HAVE RECORD OF

WHAT I DID.

ON THE OTHER HAND, SOMEONE COMES

BACK SAYING IT'S NOT AS OPEN OR

FOCUSED AS SHOULD BE.

I CAN LOOK AT NOTES, SAY I MAY

HAVE BEEN CONSERVATIVE, I MAY

HAVE ROOM TO TAKE WOOD OUT.

OR MIGHT BE TOO FLEXIBLE, PUT IN

A LITTLE REINFORCEMENT.

YOU NEVER REALLY UNDERSTAND

SOMETHING UNTIL YOU HAVE TO

EXPLAIN IT TO SOMEBODY ELSE.

IT PUTS ME ON THE SPOT ALL THE

TIME WHEN I TEACH.

MOST OF THE GREATS HISTORICALLY,

INCLUDING STRAD VARIOUS WERE IN

STUDIO, HIGHER LEVEL OF

DEVELOPMENT THAN A SINGLE

CRAFTSPERSON OR ARTIST.

ON THE ONE HAND I'M TRAINING

COMPETITION, ON THE OTHER HAND

FEEL IT'S A TRIBUTE TO THE

SYSTEM THAT I PRACTICE.

I'M NOT A MUSICIAN, I BUILD

THINGS WITH A METHOD BASED ON

SKILL.

IF I CAN CONVEY THAT, YOU COULD

SAY IT'S PROOF OF CONCEPT.

ART NEVER EXISTS IN A VACUUM,

WHAT ARE THE SOURCES OF

KNOWLEDGE THAT GO INTO IT, WHAT

ARE THE QUALITY OF PEOPLE THAT

ENTER THE FIELD IN IT, THE

DEMANDS OF THE CLIENTELE AND

AUDIENCE.

I'VE HAD WONDERFUL OPPORTUNITIES

WORKING WITH GREAT MUSICIANS.

CONTACTED BY ISAAC STERN TO MAKE

A COPY OF HIS, TO MEET ISAAC

STERN FOR ME WAS LIKE I DON'T

KNOW, MEETING THE POPE, HE'S

LEGENDARY.

INSTRUMENT WAS FINALLY DONE, I

BROUGHT IT TO MR. STERN WHO WAS

INCREDIBLY GRACIOUS.

WHEN MR. STERN PASSED AWAY, THE

TWO INSTRUMENTS I HAD MADE FOR

HIM WERE PART OF HIS ESTATE AND

WERE AUCTIONED OFF.

THAT VIOLIN WAS RECENTLY SOLD TO

CHAD HOOPS, A WONDERFUL SOLOIST

IN HIS 20s AND THINK IT'S VERY

FITTING PLACEMENT AND MR. STERN

WOULD BE VERY PLEASED.

IT WAS AN ODD FEELING TO SEE MY

WORK HAS LEFT MY PURVIEW, IT IS

NOW ENTERED THE WORLD WHERE IT

LIVES ITS OWN LIFE AND HAS ITS

OWN HISTORY.

AND I FEEL LIKE I'VE SEEN MY OWN

WORK GO FROM DECENT ALTERNATIVE

TO MUSICIAN TO SOMETHING THAT IS

SOUGHT AFTER AND HAS A PLACE IN

THE HISTORY OF VIOLIN MAKING.

>>> MANHATTAN FLORIST LEWIS

MILLER LIKES TO BRIGHTEN UP

NEW YORK BY SHARING HIS ART WITH

THE PUBLIC.

HIS POP-UP ARRANGEMENTS KNOWN AS

FLOWER FLASHES HAVE APPEARED ALL

OVER THE CITY.

SINCE THE START OF THE PANDEMIC

HE'S CREATED SEVERAL FLASHES TO

HONOR HEALTH CARE WORKERS, AND

THE RESILIENT SPIRIT OF NEW YORK

CITY.

WE JOIN MILLER AND HIS CREW A

COUPLE OF YEARS AGO ON ONE OF

THEIR EARLY MORNING ADVENTURES.

>> FLOWERS WERE ALWAYS PART OF

MY DNA.

I COME FROM A FAMILY OF

GARDENERS, BUT WENT FROM

LANDSCAPE AND HORTICULTURE TO

THE FLOWER WORLD.

HERE I AM.

THE FLOWER FLASH WAS SOMETHING

THAT WAS KIND OF BOPPING AROUND

MY BRAIN FOR A WHILE.

DIDN'T HAVE A NAME.

IT WAS SORT OF MORE THIS VAGUE

IDEA OF HOW TO TAKE FLOWERS AND

FUSE THEM IN AN URBAN CITY

ENVIRONMENT.

FINALLY GOT TO THE POINT A

COUPLE OF YEARS AGO I WAS VERY

SATISFIED WITH THE BUSINESS,

THINGS GOING SUPER WELL, AND

NEEDING TO FEEL CREATIVELY

ENERGI

ENERGIZED AGAIN AND ALSO FEELING

THE NEED IN MY OWN WAY TO GIVE

BACK.

I'M SURROUNDED BY FLOWERS ON

DAILY BASIS AS ARE MY CLIENTS

AND WE TEND TO GET IMMUNE TO HOW

BEAUTIFUL THEY ARE AND WHAT AN

EXPRESSION OF JOY THEY ARE TO

PEOPLE.

IT'S TAKING BEAUTIFUL AND

EPHEMERAL AND WITH THE TEXTURE

OF GRIT OF THE CITY LIFE TO

CREATE SOMETHING SPONTANEOUS,

FLEETING AND ABSTRACT.

WE SPEND A GREAT DEAL OF TIME

FINDING LOCATIONS THAT FEEL

NEW YORK FIRST.

THAT COMBINED WITH THE SEASON,

WHAT'S LOOKING GOOD, ALSO THE

FLOWER FLASHES ARE ACCUMULATION

OF OLD FLOWERS FROM THE MARKET,

STUFF LEFT OVER FROM THE STUDIO

AND LEFT OVER FROM EVENTS, SO WE

HAVE TO WORK WITH THAT AS WELL.

FLASHES HAPPEN VERY QUICKLY.

WE PLAN IT TO A CERTAIN EXTENT,

THEN WE JUST DO IT, SEE WHAT

HAPPENS.

THERE'S AN ANXIOUS ENERGY, IT'S

USUALLY DARK, LOT OF TIMES IT'S

COLD.

FLOWERS ARE FOR NEW YORKERS, FOR

THE PEOPLE.

I WANT PEOPLE TO TAKE THEM,

INTERACT WITH THEM.

OBVIOUSLY TAKE A PICTURE BUT

TAKE A BLOSSOM, TAKE SOME HOME.

NEW YORK IS NEW YORK, ALL THESE

PEOPLE PILED ON TOP OF EACH

OTHER.

TO ME THE TWO BIGGEST LUXURIES

IN THE CITY ARE NATURE AND

SPACE.

SO MORE WE CAN HAVE SOFT MOMENTS

OF JUST BEAUTY AND JOY FOR NO

OTHER REASON, EVEN IF IT'S FOR

AN HOUR OR TEN MINUTES, JOB IS

DONE.

>>> FOR MORE THAN 25 YEARS, THE

MTA ARTS FOR TRANSIT PROGRAM HAS

BEEN RESPONSIBLE FOR

TRANSFORMING OUR UNDERGROUND

INTO A VAST CANVAS FOR PUBLIC

ART.

MOSAICS, GLASS, BRONZE AND OTHER

MATERIALS NOW ADORN THE

PREVIOUSLY DECAYING AND

FORGOTTEN WALLS AND CORRIDORS OF

OUR SUBWAYS.

>> I SAID OH, BOY, I WANT TO

DO -- WHERE THE PEOPLE ARE,

THAT'S THE CENTER.

AND I WENT IN THERE, AND GOT IT.

WORKED FOR ME.

THESE ARE PEOPLE WHO I ASSOCIATE

WITH MY LIFE, GROWING UP IN

HARLEM, MUSICIANS, ARTISTS,

POLITICIANS, ALL OF THESE TRULY

GREAT PEOPLE WHO INFLUENCED MY

LIFE AND MADE ME KNOW THAT I

COULD DO ANYTHING I WANTED

BECAUSE THEY'RE DOING IT.

WAS JUST THE CENTER OF CULTURE

IN THOSE DAYS, AND I SAW THEM

ALL, WE ALL LIVED TOGETHER.

W.E.B. DUBOIS LIVED ACROSS THE

STREET FROM ME, AND THURGOOD

MARSHALL, SEE THOSE PEOPLE ALL

THE TIME.

THOSE PEOPLE WERE JUST

NEIGHBORHOOD PEOPLE.

WE WAIT UNTIL 3:00 IN THE

MORNING AND GO UP TO 155th

STREET AND CATCH DUKE ELLINGTON

COMING OUT OF THE SUBWAY, AND HE

WOULD STOP AT A LITTLE DINER

THERE ON THE CORNER AND WE'D BE

IN THERE WAITING FOR HIM.

HE WOULD COME IN AND HE WOULD

ORDER A PINT OF ICE CREAM TO GO,

AND WE WOULD JUST SIT THERE AND

DROOL OVER HIM.

BUT YOU COULDN'T RUN UP TO THESE

PEOPLE AND START YELLING ABOUT,

AUTOGRAPH, NO, THEY DON'T DO

THAT.

JUST BE COOL.

WE DID.

BUT WE ALSO GOT TO SEE HIM.

IT WAS SO WONDERFUL.

THERE'S NO LAW SAYING YOU CAN'T

GET RID OF THE SPECTERS, YOU

CAN'T GET RID OF KIER SECURERA.

I WANT THE LIGHT AND SHADE, I

ELEVATE ALL OF IT.

CERTAIN KIND OF FREEDOM, COOLEST

THING IN THE WORLD.

AND INTERESTING WAY TO USE THE

SPACE, INJECT PEOPLE IN THE

SPACE, HAVE THEM MOVING THROUGH

IT.

>> HOW COME YOU DON'T PUT

YOURSELF ON THE WALL?

YOU KNOW?

>> I HAVE MYSELF FLYING

SOMETIMES, SOMEWHERE.

PLEASE, I DON'T LEAVE MYSELF OUT

OF ANYTHING.

IT'S AN IDEA, SHOULD HAVE DONE

THAT, PUT MYSELF OVER THERE WITH

THE ARTISTS.

DIDN'T GIVE IT A THOUGHT.

>>> I HOPE YOU'VE ENJOYED OUR

PROGRAM THIS EVENING, I'M PAULA

ZAHN, THANKS SO MUCH FOR

WATCHING US AND WE HOPE YOU JOIN

US NEXT TIME.

>>> NEXT WEEK ON "NYC ARTS," A

LOOK AT NEW MOYNIHAN TRAIN HALL,

REIMAGINED SPACE AND CIVIC

PRIDE.

CREATED A WORK CALLED THE HIVE,

A SCULPTURE THAT HANGS DOWN FROM

THE CEILING, SURPRISED OF DOZENS

OF HIGH RISE BUILDINGS OF ALL

SHAPES AND SIZES.

THEY'VE SORT OF BEEN INSPIRED BY

BUILDINGS FROM ALL OVER THE

WORLD AS WELL AS THEIR OWN

ARCHITECTURAL INVENTIONS.

>> VISIT TO THE NEW YORK

HISTORICAL SOCIETY TO SEE A

HIGHLIGHT OF THEIR COLLECTION OF

AMERICAN PAINTINGS.

>> BEHIND ME IS THE RETURN OF

THE 69th REGIMENT, IRISH

REGIMENT IN 1862 FROM THE SEAT

OF WAR.

WANG HAS USED THIS AS KIND OF

SHOWPIECE TO SHOWCASE HIS

ABILITY AS A GENRE PAINTER, AS A

PORTRAITIST AND AS A

LANDSCAPIST.

>> AND LOOK AT CURRENT

EXHIBITIONS THAT CELEBRATE THE

HISPANIC SOCIETY MUSEUM AND

LIBRARY'S EXTENSIVE COLLECTION

OF ART FROM SPAIN AND LATIN

AMERICA AS WELL AS LITERATURE.

>>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY --

THEA PETSCHEK IERVOLINO

FOUNDATION.

THE LEWIS "SONNY" TURNER FUND

FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE NANCY SIDEWATER FOUNDATION.

THE MILTON AND SALLY AVERY ARTS

FOUNDATION.

THE ELROY AND TERRY KRUMHOLZ

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 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.

WE HAVE A DIFFERENT WAY OF

LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE

ARTS SINCE 1941.

LOOKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG

COLLECTOR, FIRST-TIME BUYER, OR

LOOKING TO SELL.

INFORMATION AT

SWANNGALLERIES.COM.

>> AND BY --

>> UNIKA VAEV SINCE 1975

PROVIDING FABRICS AND DECORATIVE

ACOUSTIC PRODUCTS AS WELL AS

CUSTOM ACOUSTICAL

DESIGN SERVICES FOR COMMERCIAL

AND RESIDENTIAL NEEDS,

INFORMATION AT UNIKAVAEV.COM.

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