NYC-ARTS

S2017 E119 | FULL EPISODE

NYC-ARTS Full Episode: August 24, 2017

A selection of NYC-ARTS favorite segments that represent the richness of our arts community, including a conversation with photographer Gregory Crewdson, known for his cinematic large-format narrative images; a visit to Broadway Dance Lab, where dance makers test new ideas; and a look at the work of Shahpour Pouyan, whose works range from drawing and painting to sculpture and performance art.

AIRED: August 25, 2017 | 0:27:47
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON NYC ARTS.

>> I WAS DEEP IN THE WOODS

SKIING AND CAME ACROSS A LITTLE

TRAIL THAT SAID CATHEDRAL OF THE

PINES.

AND THAT'S THE TITLE OF THE BODY

OF WORK.

>> THERE ARE NO OTHER PLACES IN

NEW YORK CITY THAT EXIST LIKE

BROADWAY DANCE LAB.

WE PROVIDE SPACE FOR

CHOREOGRAPHERS AND A DANCE

COMPANY TO CHOREOGRAPHERS SO

THAT ALL A CHOREOGRAPHER HAS TO

DO IS WORK IN THE ROOM AND

BEGIN.

>> I MAKE CERAMICS.

AND AT THE SAME TIME, I DO

PAINTINGS, DRAWINGS,

PHOTOGRAPHY, EVERYTHING.

>> FUNDING FOR NYC ARTS IS MADE

POSSIBLE BY ROSALIND P. WALTER

IN MEMORY OF DINA MERRILL, KATE

W. CASSIDY FOUNDATION, THEA

PETSCHEK IERVOLINO FOUNDATION,

JEAN DUBINSKY APPLETON ESTATE,

JODY AND JOHN ARNHOLD, ELLEN AND

JAMES S. MARCUS, THE LEWIS SONNY

TURNER FUND FOR DANCE, ELISE

JAFFE AND JEFFREY BROWN, THE

MILTON AND SALLY AVERY ARTS

FOUNDATION AND ELROY AND TERRY

KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN

PART BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT OF

CULTURAL AFFAIRS IN PARTNERSHIP

WITH THE CITY COUNCILL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

NYC ARTS IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

>> FLEXIBILITY, COORDINATION,

EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH

MANAGEMENT, IT'S A PRIVILEGE TO

SERVE YOU.

>>> GOOD EVENING AND WELCOME TO

NYC ARTS.

I'M PAULA ZAHN AT THE WNET

STUDIOS AT LONDON CENTER.

IT'S BEEN MY PLEASURE ALONG WITH

MY COLLEAGUE TO BRING YOU THE

VERY BEST OF ARTS AND CULTURE IN

THE TRISTATE AREA, WHETHER IT'S

MUSIC, DANCE, THEATER, CLASSIC

OR CONTEMPORARY, NYC ARTS HAS

PROVIDED UNIQUE ACCESS TO THE

PEOPLE AND PLACES THAT REPRESENT

THE RICHNESS OF OUR ARTS

COMMUNITY.

IN THIS PROGRAM, WE WOULD LIKE

TO SHARE WITH YOU SOME OF OUR

FAVORITE SEGMENTS.

WE HOPE THEY'RE SOME OF YOUR

FAVORITES AS WELL.

TONIGHT, WE'RE GOING TO TAKE A

LOOK AT THE WORK OF A PHOTOGRAPH

PHOTOGRAPHER WITH A SINGULAR

VISION.

HE IS KNOWN FOR HIS LARGE FORMAT

IMAGES.

INSPIRED BY MOVIES AND

PAINTINGS, EACH OF HIS

PHOTOGRAPHS CONTAIN A HAUNTING

AND AMBIGUOUS NARRATIVE.

WITH A CAREER THAT HAS SPANNED

ALMOST THREE DECADES, HE HAS

BEEN RECOGNIZED INTERNATIONALLY

FOR HIS UNIQUE VISION, HIS

PHOTOGRAPHS ARE ALSO IN THE

COLLECTIONS OF MAJOR MUSEUMS

HERE IN NEW YORK.

INCLUDING THE METROPOLITAN

MUSEUM OF ART, THE WHITNEY AND

THE GUGGENHEIM.

LAST YEAR, AFTER A FIVE-YEAR

ABSENCE FROM THE ART WORLD, HE

UNVEILED HIS LATEST SERIES.

CATHEDRAL OF THE PINES IN

CHELSEA.

PRODUCED NEAR HIS HOME, IT'S HIS

MOST PERSONAL SERIES YET.

NYC ARTS SPOKE WITH HIM WHEN HE

VISITED THE GALLERY.

>> ABOUT FIVE YEARS AGO, AFTER A

DARK PERIOD, I MOVED OUT OF NEW

YORK INTO A CHURCH.

FOR AT LEAST TWO YEARS AFTER

THAT, I STILL WAS NOT MAKING

PICTURES.

I WAS TRYING TO FIND SOME KIND

OF STABILITY IN MY LIFE.

DURING THE WINTER, I WOULD

CROSS-COUNTRY SKI.

AND I WAS DEEP IN THE WOODS

SKIING AND CAME ACROSS A LITTLE

TRAIL THAT SAID CATHEDRAL OF THE

PINES.

AND THAT'S THE TITLE OF THE BODY

OF WORK.

IT WAS A MOMENT OF REVELATION.

IT WAS ONE OF THOSE FEW TIMES IN

ONE'S LIFE WHERE YOU SEE THE

ENTIRE BODY OF WORK IN YOUR

MIND'S EYE.

SO I KNEW THAT THE BODY OF WORK

WOULD ALL BE MADE IN BECKETT ON

LOCATION AND I WOULD BE WORKING

WITH MY CREW TO TRY TO TELL

STORIES THAT CONNECT THE FIGURES

IN ONE WAY OR ANOTHER TO THE

NATURAL LANDSCAPE.

CATHEDRAL OF THE PINES WAS DONE

OVER THE COURSE OF THREE YEARS

IN THREE DIFFERENT PRODUCTIONS.

I HAVE SAID THAT I DIVIDE MY

LIFE BETWEEN PRE-PRODUCTION,

PRODUCTION AND POST-PRODUCTION.

PRE-PRODUCTION IS MAPPING OUT

THE IMAGES, WRITING

DESCRIPTIONS.

PRODUCTIONS ARE USUALLY FOUR OR

FIVE WEEKS WHERE WE ARE ALL

TOGETHER MAKING PICTURES ALMOST

EVERY DAY.

THEN AFTER THAT, IT'S MONTHS IF

NOT YEARS OF POST-PRODUCTION.

I KNEW THAT THESE PICTURES FOR

ME NEEDED TO BE, LIKE, PICTURES

THAT WERE CLOSE TO MY HEART.

PARTICULARLY AFTER A LONG PERIOD

OF NOT MAKING PICTURES, I FELT

LIKE I NEEDED TO DO EVERYTHING I

COULD DO TO BE PURE AND HONEST

IN THE PROCESS.

BUT ALSO, I WANT FIRST AND

FOREMOST THE PICTURES TO FEEL

BEAUTIFUL AND MYSTERIOUS AND

WONDROUS.

SO THAT IN ALL MY PICTURES,

THERE'S THIS BLURRED LINE

BETWEEN THE IMAGINATION AND

REALITY.

MANY OF THE SUBJECTS IN THE

PICTURES WERE ALSO PEOPLE CLOSE

TO ME, SUCH AS MY PARTNER

JULIANNE AND MY DAUGHTER LILY

AND VARIOUS OTHER FAMILY MEMBERS

AND PEOPLE WHO ARE FROM THE

AREA.

I THINK THAT ALSO ACCOUNTS FOR

PART OF THE INTIMACY.

PHOTOGRAPHED IN A VERY KIND OF

OBJECTIVE OR DETACHED WAY.

IT'S THOSE TWO THINGS COMING UP

AGAINST EACH OTHER.

I THINK THAT KIND OF ACCOUNTS

FOR A CERTAIN TENSION THAT'S IN

THE PICTURES.

I DO EVERYTHING I CAN DO TO,

LIKE, CREATE A PICTURE THAT

EVERYTHING IN THE FRAME MEANS

SOMETHING.

THERE'S NOTHING IN THE PICTURE

THAT FOR ME DOESN'T CARRY A

CERTAIN WEIGHT IN TERMS OF

TELLING THE STORY.

AND WE WORK TO ACHIEVE THAT.

THAT BEING SAID, THERE'S ALWAYS

THINGS THAT ARE OUTSIDE OF ONE'S

CONTROL THAT HAPPEN THAT REALLY

ADD TO THE ULTIMATE MYSTERY OF

THE PICTURES.

TO ME, WHERE THE ULTIMATE

MEANING OF THE PICTURES RESIDE

IS IN MY NEED TO CONSIDER A

PERFECT WORLD IN PICTURES AND

THE ULTIMATE IMPOSSIBILITY OF

DOING THAT.

THE COLLISION OF ORDER AND

HAPPENSTANCE.

ALL PHOTOGRAPHS ARE ESSENTIALLY

OR FUNDAMENTALLY CONCERNED WITH

LIGHT.

IN MY PICTURES, I EXTEND THAT

FURTHER AND TRY TO TELL A STORY

THROUGH LIGHT.

I WAS VERY INFLUENCED BY 19th

CENTURY PAINTINGS.

I, WITH MY DIRECTOR OF

PHOTOGRAPHY, WENT THROUGH GREAT

PAINS TO TRY TO FIND A

SENSIBILITY THAT FELT -- ONE OF

THE KEY THINGS WE DID IS WE LIT

FROM OUTSIDE IN.

WE JUST HAVE A FILL LIGHT FOR

INTERIORS.

BUT THE PRIMARY SOURCE, THE

NARRATIVE LIGHT AS WE CALL IT,

WOULD COME FROM THE EXTERIOR.

I WANT THE PICTURES TO FEEL

TIMELESS.

I WORK REALLY HARD TO REMOVE ANY

SIGNIFIERS OF THE MOMENT, OF THE

CULTURE WE'RE IN.

THERE'S NO CELL PHONES.

THERE'S NO CONTEMPORARY CARS OR

ANYTHING LIKE THAT.

IT'S REALLY ABOUT CREATING THE

WORLD THAT FEELS FAMILIAR AND

MYSTERIOUS AT THE SAME TIME.

I THINK IN THE END, FOR ME,

CATHEDRAL OF THE PINES

REPRESENTS A JOURNEY BETWEEN

BEFORE AND AFTER.

IT REPRESENTS IN MANY WAYS GOING

THROUGH A PERIOD OF DARKNESS

INTO A PERIOD OF LIGHT.

EVEN THOUGH THERE'S IN MANY

CASES A SENSE OF DISCONNECTION

OR SADNESS, I FEEL LIKE THE HOPE

COMES FROM THE LIGHT AND THE

BEAUTY OF THE PICTURE ITSELF.

>> ALL ART REQUIRES WORK.

PLAIN AND SIMPLE.

IT TAKES CONSTANT WORK IN ORDER

TO ADVANCE AND MATURE IN EVERY

ART FORM.

TOUR WISE AT LEAST, A WRITER

DOESN'T NEED MUCH MORE THAN

PAPER AND PEN, A MUSEUM JUST A

PLACE TO PRACTICE.

A PAINTER ONLY NEEDS CANVAS,

BRUSHES AND PAINT.

HOWEVER, CHOREOGRAPHER CANNOT

WORK IN SOLITUDE.

IN THE WORLD OF DANCE, THE

STUDIO BECOMES THE CANVAS, THE

MUSIC AND THE DANCES BECOMING

THE COLORS THAT THE

CHOREOGRAPHER APPLIES.

BROADWAY DANCE LAB WAS CREATED

AS A PLACE WHERE DANCE MAKERS

CAN TEST NEW IDEAS AND WORK IN

DIFFERENT STYLES.

IT'S A DANCE THINK TANK THAT

OFFERS CHOREOGRAPHERS A PLACE TO

WORK AND A COMPANY OF

PROFESSIONAL DANCERS WITHOUT

CHARGE.

AND WITHOUT PRESSURE TO DELIVER

A COMMISSIONED PERFORMANCE.

IT WAS FOUNDED BY BROADWAY

CHOREOGRAPHER JOSH PRINCE.

♪♪

>> CURRENTLY, THERE ARE NO OTHER

PLACES IN NEW YORK CITY THAT

EXIST LIKE BROADWAY DANCE LAB.

WE PROVIDE SPACE FOR

CHOREOGRAPHERS AND A DANCE

COMPANY.

SO ALL A CHOREOGRAPHER HAS TO DO

IS WALK IN THE ROOM AND BEGIN.

♪♪

WE DO NOT PLACE DEMANDS IN THE

LAB ON WHAT YOU ARE TO WORK ON,

WHAT YOU ARE TO EXPLORE.

IT IS TRULY A CREATIVE PLACE FOR

YOU AS A CHOREOGRAPHER TO COME

IN WITH THE BEST TOOLS AT YOUR

DISPOSAL AND JUST START, JUST

PLAY, FOLLOW YOUR IMPULSES IF

THAT'S WHAT YOU FEEL LIKE DOING

AND SEEING WHERE THAT LEADS OR

COMING IN WITH A PRE-PLANNED

IDEA AND SEEING IF IT WORKS SO

THEY HAVE NO CONCERN WHATSOEVER

BUT THE ARTISTIC PROCESS.

I AS AN ARTISTIC DIRECTOR DO NOT

DICTATE WHAT A CHOREOGRAPHER

WORKS ON.

SO I COULD REACH OUT TO MARCELO

FROM THE BALLET WORLD AND HE

COULD COME IN AND WANTS TO DO

SOMETHING HIP HOP.

I KNOW THAT SOUNS OUTRAGEOUS TO

SOME PEOPLE.

BUT THIS IS THE FREEDOM WE'RE

LOOKING TO OFFER OUR ARTISTIC

COMMUNITY.

>> THIS WAS REALLY FOR ME AN

INCREDIBLE INVITATION TO SAY,

HEY, WE ARE GIVING YOU THE

STUDIO FOR FOUR HOURS EACH DAY,

AND YOU CAN CREATE WHATEVER YOU

WANT.

AND IT'S FINE IF YOU DON'T SHOW

SOMETHING.

IT'S FINE IF YOU DO SHOW A

LITTLE PIECE OF IT.

IF YOU WANT TO.

TO HAVE THAT BLANK CANVAS.

YOU ARE ABLE TO BE MUCH MORE

CREATIVE.

>> IT'S NOT EASY BEING A

WELL-KNOWN DANCER AND BECOMING A

CHOREOGRAPHER AFTER.

IT'S DEFINITELY VERY HARD.

BECAUSE I THINK THAT THE

EXPECTATIONS ARE VERY HIGH.

I THINK PEOPLE COME TO SEE ME IN

A PERFORMANCE EXPECT THE SAME

KIND OF LEVEL OF MY

CHOREOGRAPHER.

AND I AM FINDING MY VOICE.

I AM FINDING MY VOCABULARY.

I AM EXPERIMENTING.

AND THIS IS WHAT BROADWAY DANCE

LAB HAS GIVEN ME.

♪♪

>> BROADWAY DANCE LAB IS THE

ONLY PLACE THAT EMPLOYS DANCERS

AT A COMPETITIVE SALARY TO

RETAIN THEIR SERVICES.

IF A DANCER GETS INJURED, THAT

CAN BE COSTLY.

THEY HAVE DOCTOR APPOINTMENTS

AND PHYSICAL THERAPY AND RECOUP

RAGS CAN BE EXPENSIVE.

IF I'M A CHOREOGRAPHER AND I

KNOW THEY DON'T HAVE WORKMAN'S

COMP AM I GOING TO ASK THEM TO

DO SOMETHING THAT MIGHT BE

DANGEROUS?

WE SECURE THESE DANCERS WITH

COMPETITIVE SALARIES AND

INSURANCE IN ORDER TO ALLOW THEM

TO FEEL THE FREEDOM TO TRY

ANYTHING.

♪♪

I DON'T THINK IT CAN BE

UNDERESTIMATED THE EFFECT THAT

WORKING WITH ALL OF THESE

MULTIPLE CHOREOGRAPHERS HAS ON

THE DANCE COMPANY ITSELF.

THAT COMPANY OF YOUNG DANCERS --

ONE WEEK, THEY HAVE MARCELLO,

THE NEXT WEEK A TONY AWARD

WINNER WHO MAY WORK ON

PRE-PRODUCTION FOR A MUSICAL.

♪♪

>> WORKING WITH CAMILLE BROWN

WHO MAY WISH TO DO AS MANY TWO

MINUTE SEQUENCES AS SHE CAN AND

ALL OF THESE DANCERS ARE HIRED

SO THEY CAN DO AS MUCH OF THAT

AS POSSIBLE AND PROVIDE AS MUCH

OF THAT FOR EACH CHOREOGRAPHER

AS POSSIBLE.

♪♪

I FOR ONE HAVE SEEN THE DANCE

WORLD AROUND ME BE VERY

SEGREGATED.

YOU ARE EITHER A BROADWAY

CHOREOGRAPHER OR A MODERN

CHOREOGRAPHER OR A BALLET

CHOREOGRAPHER.

BY GATHERING TOGETHER THE DANCE

COMMUNITY AT LARGE THAT WE CAN

STRENGTHEN THE PRODUCTS THAT WE

SEE ON THE STAGE.

>> I THINK AS DANCERS, WE TRAIN

OUR BODIES TO OVER THE YEARS --

MANY, MANY YEARS TO BE ABLE TO

DO THAT CERTAIN STEP OR TO BE

ABLE TO BE THE PERFECT JULIETTE

OR THE PERFECT SWAN QUEEN.

I THINK THAT YOU NEED TIME AS

WELL TO DEVELOP YOURSELF AS A

CHOREOGRAPHER.

THE FIRST THING IS THE BRAID.

WE GO -- I DON'T KNOW.

YOU DON'T KNOW WHAT THE FUTURE

HOLDS.

YOU CREATE SOMETHING THAT YOU

ARE FEELING AT THE MOMENT.

IN THIS CASE, I WANTED TO MAKE

THE STORY.

PERHAPS IT COULD BECOME A PLAY.

IT COULD BECOME A MUSICAL.

IT COULD BECOME -- IT COULD STAY

AS A BALLET.

♪♪

BUT WHAT I KNOW IS THAT WE WERE

ALL INVESTED FOR THOSE HOURS

BEING CREATIVE IN THE STUDIO.

AND THAT'S REALLY WHAT I WISH

PEOPLE WOULD SEE MORE IN OUR ART

FORM.

THE PROCESS OF THOSE MAYBE ONE

OR TWO DANCES HAVE PUSHED

THEMSELVES TO SUCH LIMITS THAT

THEY DIDN'T KNOW THAT THEY COULD

DO.

THAT IS A REALLY -- AN

INCREDIBLE POINT THAT I THINK

THAT BROADWAY DANCE LAB HAS

DONE.

OF COURSE, IT'S NICE IF

SOMETHING HAS A FUTURE.

OF COURSE, SOMEBODY -- IF THEY

SEE IT AND THEY LIKE IT.

BUT IT'S ALSO OKAY IF NOT.

BECAUSE I KNOW THAT DANCERS AND

I HAVE DONE SOMETHING AND WE

HAVE WORKED TOWARD SOMETHING.

>> I CANNOT TELL ANYONE WHERE WE

WILL BE IN TEN YEARS.

THE ARTS COMMUNITY FROM THE

BALLET WORLD TO THE BROADWAY

WORLD NEED A PLACE LIKE THIS.

IT'S MY FIRM BELIEF THAT ALL IT

TAKES IS THE AWARENESS THAT IT'S

HERE NOW, THAT WE'RE HERE TO

STAY, THAT WE NEED YOUR SUPPORT.

AND IT WILL FIND ITS WAY.

♪♪

>>> ON TONIGHT'S PROGRAM, WE

WILL VISIT WITH SHAPOR PUYON, AN

ARTIST WHO SPLITS HIS TIME

BETWEEN NEW YORK AND TEHRAN.

ISLAMIC REVOLUTION, HIS

CHILDHOOD WAS PROFOUNDLY

IMPACTED BY THE EIGHT-YEAR WAR

WITH IRAQ.

HIS WORKS RANGE FROM DRAWING AND

PAINTING TO SCULPTURE.

LAST YEAR, PUYON WAS ONE OF

THREE YOUNGER ARTISTS INCLUDED

IN AN EXHIBITION AT NYU'S GRAY

ART GALLERY.

GLOBAL LOCAL 1960 TO 2015.

SIX ARTISTS FROM IRAN.

ON DISPLAY WERE HIS DIGITAL

COPIES OF PERSIAN MINIATURES

WITH HISTORICAL FIGURES ERASED

AND GAPS IN THE LANDSCAPE FILLED

IN.

ALSO INCLUDED WERE HIS

PROJECTILES, A SERIES OF

IMPOSING SCULPTURES MADE OUTOF

CHAINMAIL.

HIS LATEST WORK IS IN CERAMICS,

CREATED AT BRICK HOUSE CERAMIC

ART CENTER IN LONG ISLAND CITY

AND ARE PART OF HIS FIRST SOLO

EXHIBITION IN FRANCE.

>> I MAKE CERAMICS AND AT THE

SAME TIME I DO PAINTING,

DRAWING, PHOTOGRAPHY,

EVERYTHING.

THE FUN PART IS DOING EVERYTHING

WITH MY OWN HANDS.

I GREW UP IN TEHRAN.

AND LIVE IN BROOKLYN NOW.

IRAN IS HAVING 1,000 YEARS OF

HISTORY.

I DON'T THINK IT'S ABOUT IRAN.

IT'S NOT ABOUT THE SPECIFIC

GEOGRAPHER.

IT'S MORE ABOUT THE CULTURE AND

INTERACTIONS THAT HAPPEN.

PROJECTILES ARE BASED ON THIS

OLD PRACTICE OF PRODUCING ARMOR

IN IRAN WHICH HAS BEEN IN IRAN

2,000 YEARS, 3,000 YEARS.

THE PHYSICAL PROCESS IS ABOUT

BRINGING THIS VERY OLD MEDIEVAL

TECHNIQUE AND JUST BRING IT BACK

TO LIFE AT A VERY CONTEMPORARY

FORM OF PRACTICING ART.

ARMOR IS LAYERS OF HISTORY,

LAYERS OF AGGRESSION.

AND AT SOME POINT, TURN TO BE A

VERY POETIC PRODUCT WHICH IS

COVERED BY DECORATION, POETRY

AND LAYERS AND LAYERS OF RICH

CULTURE.

PEOPLE ALWAYS ASK ME WHAT YOU

TRYING TO SAY.

BUT TELLING ANYTHING ABOUT IT IS

JUST MAKE IT MORE COMPLICATED.

BECAUSE THESE WORKS HAVE VERY

STRONG ROOTS IN MISUNDERSTANDING

BETWEEN DIFFERENT CULTURES.

SO I WOULD SAY, IT'S LAYERS AND

LAYERS OF MISUNDERSTANDING WHICH

IS THE TRUTH.

I COLLECTED AND SELECTED THIS

VERY SPECIFIC MINIATURES FROM

MEDIEVAL AND 15, 16 CENTURIES.

WE TALKING ABOUT THE VERY LAST

GEOGRAPHY OF TODAY'S MANY

COUNTRIES.

VERY IMPORTANT HISTORICAL

MOMENTS.

AND THEN I REMOVED ALL THE

FIGURES, HEROS, ANTI-HEROS.

I FREE THE MINIATURE FROM THAT

WEIGHT OF FIGURES.

SO WHAT YOU SEE IS THIS EMPTY

LANDSCAPE OR ARCHITECTURAL

THING.

THERE IS A STORY THERE.

HOWEVER, YOU CAN READ IT OR NOT.

SO IT'S JUST, I WOULD SAY,

UPDATED.

I DO MANY SKETCHES.

I KEEP DOING SKETCHES AND JUST

DOING AGAIN, AGAIN, CHANGING AND

CHANGING AND CHANGING.

BUT THEY'RE ALL COMING FROM AN

IDEA.

SO I HAVE SOMETHING IN MY MIND

AND I HAVE A CONCEPT AND

SOMETHING THAT HAS TO GET THREE

DIMENSIONAL FORM.

THEN I GO TO START BUILDING THE

CERAMIC PIECE.

IT KEEP CHANGING, CHANGING.

THE FINAL RESULT IS SOMETHING

ELSE.

WORKING WITH CLAY IS AMAZING,

BECAUSE IT DECEIVES ME.

EVERY DAY YOU GO AND YOU ARE

WAITING THAT SOMEHOW IT'S GOING

TO SURPRISE YOU WITH SOMETHING,

WITH A NEW CRACK, WITH A CHANGE

WITH THE FORMATION, WITH MANY

OTHER THINGS.

BUT IT'S A FIGHT BETWEEN MEDIUM

AND ME.

IT'S LIKE A DISCUSSION.

I WANT TO TAKE YOU TO THE

PERFECT STEP.

HE IS JUST RESISTING.

THEN GETTING THE SHAPE, GETTING

THE FORM.

THEN YOU FIRE IT TWO TIMES.

AND THEN WHEN IT'S COMING, IT'S

A MONSTER.

IT'S LIKE THE MOMENT, SO THEN

NEGOTIATION WORKED.

MY IDEAS AND THE SKETCHES ARE

NOT FROM SPECIFIC PLACES, NOT

REALLY.

SO WHAT I DO IS GET THAT

ESSENTIAL ALPHABET IN FORM OF

ARCHITECTURE AND BRING IT TO MY

SCULPTURES.

WHEN I WAS WORKING ON THIS CITY

SCAPE I WAS THINKING THE BEST

WAY TO CELEBRATE A NATION IF

ARCHITECTURE.

I DIDN'T GLAZE THE NEW WORKS

BECAUSE IT'S LIKE AN UNFINISHED

PROJECT.

THE SKETCH OF THE FUTURE.

LIKE A DREAM OR NIGHTMARE.

CERAMIC IS VERY FRAGILE.

IT'S ABOUT FRAGILE CONDITION OF

ALL OF US AS PEOPLE, AS A

NATION, AS A CITY, AS A STATE.

SO EVERYTHING HAPPENED.

IT'S THE TRUTH THAT YOU TRY TO

FIND.

BUT HOW MUCH IS CORRECT, YOU

NEVER KNOW.

>>> WE HOPE YOU HAVE ENJOYED OUR

PROGRAM THIS EVENING.

FROM THE WNET STUDIOS AT LINCOLN

CENTER, I'M PAULA ZAHN.

THANKS FOR JOINING US.

GOOD NIGHT.

NEXT WEEK, NYC ARTS VISITS SOME

OF OUR FAVORITE PEOPLE AND

PLACES IN THE WORLD OF ARTS AND

CULTURE.

>> WORLD OF EMOTIONS IS

CONCERNED WITH IMPORTANCE OF

EMOTIONS IN A CULTURE THAT WE

USUALLY ASSOCIATE WITH RISEN.

>> WE ARE A NATIONAL HISTORIC

LANDMARK.

AND THE FIRST SPORTS HALL OF

FAME TO BE ACCREDITED BY THE

AMERICAN ALLIANCE OF MUSEUMS.

♪♪

>> THERE'S A WONDERFUL PORTRAIT

OF LOUIS ARMSTRONG BY AN

AFRICAN-AMERICAN ARTIST NAMED

CAL BAILEY.

>> FUNDING FOR NYC ARTS IS MADE

POSSIBLE BY ROSALIND P. WALTER

IN MEMORY OF DINA MERRILL, KATE

W. CASSIDY FOUNDATION, THEA

PETSCHEK IERVOLINO FOUNDATION,

JEAN DUBINSKY APPLETON ESTATE,

JODY AND JOHN ARNHOLD, ELLEN AND

JAMES S. MARCUS, THE LEWIS SONNY

TURNER FUND FOR DANCE, ELISE

JAFFE AND JEFFREY BROWN, THE

MILTON AND SALLY AVERY ARTS

FOUNDATION AND ELROY AND TERRY

KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN

PART BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT OF

CULTURAL AFFAIRS IN PARTNERSHIP

WITH THE CITY COUNCILL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

NYC ARTS IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

>> FLEXIBILITY, COORDINATION,

EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH

MANAGEMENT, IT'S A PRIVILEGE TO

SERVE YOU.

STREAM NYC-ARTS ON

  • ios
  • apple_tv
  • android
  • roku
  • firetv