NYC-ARTS

S2019 E472 | FULL EPISODE

NYC-ARTS Full Episode: December 12, 2019

NYC-ARTS takes a look at the world of fashion by way of several exhibitions now on view in New York. Followed by a profile of acclaimed photographer Gregory Crewdson and a visit to the Leslie-Lohman Museum of Art, which is located in SoHo and dedicated to the art of the LGBTQ community.

AIRED: December 12, 2019 | 0:27:50
ABOUT THE PROGRAM
TRANSCRIPT

♪♪

>>> COMING UP ON "NYC ARTS" --

A LOOK AT THE WORK OF

PHOTOGRAPHER GREGORY CREWDSON.

>> I'VE OFTEN SAID I DIVIDE MY

LIFE BETWEEN PRODUCTION,

PREPRODUCTION, AND

POST-PRODUCTION.

MAPPING OUT THE IMAGES, WRITING

DESCRIPTIONS.

THEN IN PRODUCTION WE'RE

TOGETHER FOR FOUR OR FIVE WEEKS

MAKING PICTURES EVERY DAY.

>> AND A VISIT TO THE

LESLIE-LOHMAN MUSEUM IN SOHO.

>> FIGHTING FOR RIGHTS,

COMMEMORATING PEOPLE THAT HAVE

PASSED AWAY, CELEBRATING PRIDE,

BEING PROUD OF THEIR GAY

CHILDREN, AND SO MANY OTHER

MOMENTS THAT REALLY BRING A

HOLISTIC APPROACH TO THE

MOVEMENT.

>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY ROSALIND P.

WALTER, THEA PETSCHEK IERVOLINO

FOUNDATION, THE LEWIS "SONNY"

TURNER FUND FOR DANCE, JODY AND

JOHN ARNHOLD, ELISE JAFFE AND

JEFFREY BROWN, CHARLES AND

VALERIE DIKER, ELROY AND TERRY

KRUMHOLZ FOUNDATION, JEAN

DUBINSKY APPLETON ESTATE, 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.

RECOGNIZE THAT EVERY CLIENT IS

AN INDIVIDUAL WITH UNIQUE NEEDS.

BE A BANK WHOSE CURRENCY IS

SERVICE IN THE FORM OF PERSONAL

BANKING.

THIS WAS OUR BANKING FROM THE

FIRST DAY, AND IT'S STILL THE

FIRST THING ON OUR MINDS.

♪♪

>>> GOOD EVENING AND WELCOME TO

"NYC ARTS."

I'M PAULA ZAHN AT THE TISCH WNET

STUDIOS AT LINCOLN CENTER.

ON TONIGHT'S SHOW, A PROFILE OF

ACCLAIMED PHOTOGRAPHER GREGORY

CREWDSON, AND A VISIT TO THE

LESLIE-LOHMAN MUSEUM IN SOHO,

DEDICATED TO THE ART OF THE

LGBTQ COMMUNITY.

BUT FIRST, A LOOK AT THE WORLD

OF FASHION BY WAY OF SEVERAL

EXHIBITIONS NOW ON VIEW IN NEW

YORK, STARTING WITH A TRIP TO

PARIS.

A MAJOR SHOW AT THE BARD

GRADUATE CENTER GALLERY EXPLORES

THE RELATIONSHIP BETWEEN

FASHION, WAR, AND GENDER

POLITICS IN FRANCE DURING WORLD

WAR I.

THE EXHIBITION COVERS THEMES

INCLUDING THE PRE-WAR DAYS OF

1914, WARTIME TEXTILES AND

FASHION, AND WOMEN AT WORK.

ALSO ON VIEW IS DOCUMENTATION

REFLECTING TENSIONS THAT ROSE

FROM WOMEN'S CHANGING IDENTITIES

DURING THAT PERIOD OF TIME.

THROUGH LOANS FROM MAJOR FASHION

HOUSES AND MUSEUMS, THE CURATORS

BROUGHT TOGETHER A SELECTION OF

WARTIME SKIRT SUITS, NURSES' AND

AMBULANCE ATTENDANTS' UNIFORMS,

MOURNING DRESSES, AND

MILITARY-STYLE HATS.

THESE ITEMS ARE DISPLAYED

ALONGSIDE FASHIONS BY FAMOUS

DESIGNERS OF THE DAY.

THE EXHIBITION BRINGS INTO SHARP

FOCUS HOW FASHION REFLECTED

SOCIAL CHANGE AND THE REALITY OF

LIFE IN WARTIME, WHEN WOMEN

WORKED TO PROVIDE FOR THEIR

FAMILIES AND CONTRIBUTE TO THE

WAR EFFORT.

"FRENCH FASHION, WOMEN, AND THE

FIRST WORLD WAR" IS ON VIEW

THROUGH JANUARY 5th, 2020.

TODAY FASHION IS CREATED AND

SHOWN IN CITIES FROM NEW YORK TO

SHANGHAI.

YET PARIS IS STILL REGARDED BY

MANY AS THE MOST GLAMOROUS OF

THE WORLD'S FASHION CAPITALS.

THE MUSEUM AT F.I.T. PRESENTS

THE FIRST EXHIBITION TO EXPLORE

THE CULTURAL CONSTRUCTION OF

PARIS AS THE INTERNATIONAL

CAPITAL OF FASHION.

ON VIEW ARE SOME 75 ENSEMBLES,

DATING FROM THE 18th CENTURY

THROUGH TODAY.

THE EXHIBITION PLACES PARIS

WITHIN A GLOBAL CONTEXT,

ALONGSIDE OTHER FASHION

CAPITALS LIKE TOKYO, MILAN, AND

NEW YORK CITY.

AMONG THE LOOKS ON DISPLAY ARE

PARIS COUTURE ORIGINALS,

CONTRASTED WITH AMERICAN COPIES.

THESE ENABLE VISITORS TO SEE HOW

PARISIAN STYLE INFLUENCED

FASHION ALL OVER THE WORLD.

THROUGHOUT THE EXHIBITION,

VISITORS ARE IMMERSED IN THE

MYTHIC GLAMOR OF PARIS, WHILE

ALSO LEARNING ABOUT FASHION'S

EVOLVING ROLE IN THE FRENCH

HISTORICAL NARRATIVE.

"PARIS, CAPITAL OF FASHION" IS

ON VIEW THROUGH JANUARY 4th,

2020.

ONE OF THE FASHION WORLD'S MOST

INNOVATIVE DESIGNERS IS THE

FOCUS OF THE BROOKLYN MUSEUM

EXHIBITION CALLED "PIERRE

CARDIN: FUTURE FASHION."

THE SHOW TRACES THE LEGENDARY

CAREER OF CARDIN, WHOSE

FUTURISTIC DESIGNS AND EFFORTS

TO MAKE HIGH FASHION ACCESSIBLE

FOR THE MASSES PUSHED THE

BOUNDARIES OF THE INDUSTRY FOR

MORE THAN SEVEN DECADES.

THIS RETROSPECTIVE FEATURES OVER

170 OBJECTS THAT DATE FROM THE

1950s TO THE PRESENT DAY.

THEY INCLUDE HAUTE COUTURE AND

READY-TO-WEAR GARMENTS,

ACCESSORIES, PHOTOGRAPHS, FILM,

AND OTHER MATERIALS DRAWN FROM

THE ARCHIVES.

WHILE CARDIN WAS ONE OF THE FEW

COUTURIERS WHO WAS ABLE TO DRAW,

CUT, SEW, FIT, AND FINISH HIS

FURNITURE, LIGHTING, AND THE

INTERIORS OF CARS.

"PIERRE CARDIN: FUTURE FASHION"

IS ON VIEW THROUGH JANUARY 5th,

2020.

THE MUSEUM OF ARTS AND DESIGN

PRESENTS THE FIRST MUSEUM

EXHIBITION TO COMPREHENSIVELY

EXAMINE THE CAREER OF AMERICAN

ARTIST AND DESIGNER VERA

NEUMANN.

THE EXHIBITION OF MORE THAN

200 WORKS PUTS THE SPOTLIGHT ON

ONE OF THE MOST SUCCESSFUL

FEMALE DESIGN ENTREPRENEURS OF

THE 20th CENTURY.

IT'S THE STORY OF ONE OF THE

FIRST DESIGNERS TO CREATE AN

AMERICAN LIFESTYLE BRAND.

THE WORKS ON VIEW RANGE FROM A

SELECTION OF NEUMANN'S

PAINTINGS, TO HER SIGNATURE

SCARVES, FASHIONS, TEXTILES, AND

TABLE LINENS SIGNED WITH A

CURSIVE "VERA" AND STAMPED WITH

A LADYBUG.

SECTIONS OF THE EXHIBITION ALSO

HIGHLIGHT NEUMANN'S BIOGRAPHY

AND THE HISTORY OF THE COMPANY

SHE LED FROM 1942 UNTIL HER

DEATH IN 1993.

DURING THE 50 ACTIVE YEARS OF

NEUMANN'S ENTERPRISE, SHE

MAINTAINED CLOSE CONTROL OVER

EVERY ASPECT OF PRODUCT

DEVELOPMENT AND MANUFACTURE,

TRADEMARKED HER NAME, AND

COPYRIGHTED SOME 8,000 DESIGNS.

"VERA PAINTS A SCARF: THE ART

AND LIFE OF VERA NEUMANN" IS ON

VIEW THROUGH JANUARY 26th, 2020.

ALSO ON VIEW AT THE MUSEUM OF

ARTS AND DESIGN IS A MAJOR

RETROSPECTIVE OF THE ICONIC

AMERICAN FASHION DESIGNER ANNA

SUI.

IT FEATURES 75 LOOKS FROM THE

DESIGNER'S ARCHIVE, FROM HER

INAUGURAL FASHION SHOW OF

1991 TO HER SPRING

2019 COLLECTION.

ARRANGED THEMATICALLY, "THE

WORLD OF ANNA SUI" INCLUDES

GARMENTS, SKETCHES, MOOD BOARDS,

AND VIDEOS OF RUNWAY

PRESENTATIONS.

SUI IS ONE OF NEW YORK CITY'S

MOST BELOVED AND ACCOMPLISHED

FASHION DESIGNERS, KNOWN FOR

CREATING CONTEMPORARY ORIGINAL

CLOTHING INSPIRED BY IN-DEPTH

RESEARCH INTO VINTAGE STYLES,

ART HISTORY, GRAPHIC DESIGN,

EUROPEAN AND ASIAN DECORATIVE

ARTS, FILM, AND MORE.

"THE WORLD OF ANNA SUI" IS ON

VIEW THROUGH FEBRUARY 23rd,

2020.

NEXT ON THE PROGRAM, A LOOK AT

THE WORK OF A PHOTOGRAPHER WITH

A SINGULAR VISION.

GREGORY CREWDSON IS KNOWN FOR

HIS CINEMATIC LARGE-FORMAT

NARRATIVE IMAGES.

INSPIRED BY MOVIES AND

PAINTINGS, EACH OF HIS

METICULOUSLY CRAFTED PHOTOGRAPHS

CONTAINS A HAUNTING AND

AMBIGUOUS NARRATIVE.

WITH A CAREER THAT HAS SPANNED

ALMOST THREE DECADES, HE HAS

BEEN RECOGNIZED AROUND THE

WORLD.

HIS PHOTOGRAPHS ARE ALSO IN THE

COLLECTIONS OF MAJOR MUSEUMS

HERE IN NEW YORK, INCLUDING THE

METROPOLITAN MUSEUM OF ART,

MOMA, THE WHITNEY, AND THE

GUGGENHEIM.

IN 2016, AFTER A FIVE-YEAR

ABSENCE FROM THE ART WORLD,

CREWDSON UNVEILED HIS SERIES,

"CATHEDRAL OF THE PINES," AT

GAGOSIAN GALLERY IN CHELSEA.

PRODUCED NEAR HIS HOME IN

BECKET, MASSACHUSETTS, IT IS HIS

MOST PERSONAL SERIES YET.

"NYC ARTS" SPOKE WITH CREWDSON

WHEN HE VISITED THE GALLERY.

>> ABOUT FIVE YEARS AGO, AFTER A

DARK PERIOD, I MOVED OUT OF NEW

YORK INTO A CHURCH IN GREAT

BARRINGTON.

AND 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.

AND 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 BECKET, 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'VE OFTEN SAID THAT I DIVIDE MY

LIFE BETWEEN PRE-PRODUCTION,

PRODUCTION, AND POST-PRODUCTION.

SO PRE-PRODUCTION IS MAPPING OUT

THE IMAGES, WRITING

DESCRIPTIONS, AND THEN

PRODUCTIONS ARE USUALLY ABOUT

FOUR OR FIVE WEEKS WHERE WE'RE

ALL TOGETHER MAKING PICTURES

ALMOST EVERY DAY.

AND THEN AFTER THAT IT'S MONTHS

IF NOT YEARS OF POST-PRODUCTION.

WELL, I KNEW THAT THESE PICTURES

FOR ME NEEDED TO BE LIKE

PICTURES THAT WERE CLOSE TO MY

HEART.

AND 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 JULIANE

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 IN THE

PICTURES.

MY PICTURES RESIDE IN THIS

COLLISION BETWEEN VERY INTIMATE,

VERY PRIVATE MOMENTS BUT

PHOTOGRAPHED IN A VERY KIND OF

OBJECTIVE OR DETACHED WAY.

SO IT'S THOSE TWO THINGS COMING

UP AGAINST EACH OTHER.

AND 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 A PICTURE

THAT, FOR ME, DOESN'T CARRY A

CERTAIN WEIGHT OR GRAVITAS 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 PICTURE.

TO ME, WHERE THE ULTIMATE

MEANING OF THE PICTURES RESIDE

IS IN MY NEED TO TRY TO CREATE A

PERFECT WORLD IN PICTURES AND

THE ULTIMATE IMPOSSIBILITY OF

DOING SO, THAT COLLISION OF

ORDER AND HAPPENSTANCE.

ALL PHOTOGRAPHS ARE ESSENTIALLY

OR FUNDAMENTALLY CONCERNED WITH

LIGHT.

SO IN IN MY PICTURES I JUST

EXTEND THAT FURTHER AND TRY TO

TELL A STORY THROUGH LIGHT.

I WAS VERY INFLUENCED BY 19th

CENTURY PAINTING.

I, WITH MY DIRECTOR OF

PHOTOGRAPHY, WENT THROUGH GREAT

PAINS TO TRY TO FIND AN

AESTHETIC SENSIBILITY THAT FELT

PAINTERLY AND ONE OF THE KEY

THINGS WE DID IN ALL THE

INTERIORS IS WE LIT FROM OUTSIDE

IN.

SO WE JUST HAVE, LIKE, A FILL

LIGHT FOR THE 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 LIKE

REMOVE ANY SIGNIFIERS OF THE

MOMENT OF THE CULTURE WE'RE IN.

THERE'S NO CELL PHONES, THERE'S

NO SORT OF CONTEMPORARY CARS OR

ANYTHING LIKE THAT.

IT'S REALLY ABOUT CREATING A

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.

AND IT REPRESENTS IN MANY WAYS

GOING THROUGH A PERIOD OF

DARKNESS INTO A PERIOD OF LIGHT.

AND EVEN THOUGH THERE'S IN MANY

CASES THIS SENSE OF

DISCONNECTION OR SADNESS, I FEEL

LIKE THE HOPE COMES FROM THE

LIGHT AND THE BEAUTY OF THE

PICTURE ITSELF.

♪♪

>>> NEXT, WE VISIT THE ONLY

MUSEUM IN THE WORLD THAT

EXCLUSIVELY EXHIBITS AND

PRESERVES THE ART OF THE LGBTQ

COMMUNITY.

THE LESLIE-LOHMAN MUSEUM OF ART

BEGAN 50 YEARS AGO WITH AN

EXHIBITION IN THE SOHO LOFT OF

COLLECTORS CHARLES LESLIE AND

FRITZ LOHMAN.

SURPRISED BY THE SHOW'S

POPULARITY, THE COUPLE REALIZED

THERE WAS A NEED WITHIN THE GAY

COMMUNITY TO HAVE THEIR WORK

EXHIBITED AND UNDERSTOOD.

THEY FOUNDED THE LESLIE-LOHMAN

GAY ART FOUNDATION IN 1987,

WHICH WAS ACCREDITED AS THE

LESLIE-LOHMAN MUSEUM OF GAY AND

LESBIAN ART IN 2016.

THIS OCTOBER, THE MUSEUM DROPPED

"GAY AND LESBIAN" FROM ITS NAME

TO BE MORE INCLUSIVE OF THE

DIVERSE COMMUNITY.

AROUND THE SAME TIME, THE MUSEUM

ANNOUNCED A $7 MILLION CAPITAL

CAMPAIGN TO CREATE A COMMUNITY

ENGAGEMENT AND EDUCATION CENTER,

AS WELL AS A RESEARCH LIBRARY

AND ART ARCHIVE.

THESE EXPANSIONS WILL ALLOW THE

MUSEUM TO CONTINUE TO SERVE A

GROWING ARTISTIC AND SCHOLARLY

COMMUNITY.

"NYC ARTS" SPOKE WITH THE

MUSEUM'S FOUNDER, CHARLES

LESLIE, AND THE MUSEUM'S

DIRECTOR, GONZALO CASALS, ABOUT

THE STORY BEHIND THIS VERY

SPECIAL MUSEUM.

>> I THINK WHEN I WAS 7 OR 8, MY

FATHER PURCHASED A SET OF THE

ENCYCLOPEDIA BRITANNICA.

AND BEING AN INCIPIENT GAY

CHILD, I DISCOVERED GRECO-ROMAN

SCULPTURE AND BECAME OBSESSED

WITH IT.

AND THAT OBSESSION FOR

FIGURATIVE IMAGERY NEVER CHANGED

THROUGHOUT MY LIFE.

IF YOU GREW UP GAY IN THE

1930s, '40s AND '50s, YOU HAD TO

BE AN ACTIVIST AUTOMATICALLY.

BY LAW, IT WAS ILLEGAL TO SERVE

A HOMOSEXUAL IN A PUBLIC TAVERN.

FRITZ WAS AN ELEGANT MAN.

HE WAS 11 YEARS OLDER THAN I.

I WAS 29 AND HE WAS 40 AND

LIGHTNING STRUCK.

SO WE WERE TOGETHER FOR THE NEXT

48 YEARS.

ONE OF THE MANY THINGS THAT

BONDED US WAS THAT WE DISCOVERED

WE BOTH HAD SMALL, DISCREET BUT

INTERESTING COLLECTIONS OF

ESSENTIALLY HOMOEROTIC ART.

WHEREVER WE WENT, WE LOOKED AND

WE FOUND IT, SOMETIMES IN VERY

EXTRAORDINARY, UNLIKELY PLACES.

A LA MICKEY ROONEY AND JUDY

GARLAND, WE SAID, HEY, LET'S PUT

ON A SHOW.

AND WE CALLED I THINK

13 DIFFERENT ARTISTS IN THE

NEIGHBORHOOD AND SAID, LISTEN,

WE'RE HAVING A WEEKEND SHOW NEXT

MONTH, WHICH WAS JUNE OF 1969,

OF HOMOEROTIC ART.

AND IF YOU'D LIKE TO SUBMIT

SOMETHING, PLEASE DO.

WELL, WE GOT 13 SUBMISSIONS, 2

OF WHOM WERE WOMEN.

BY THE WEEKEND, THE END OF THE

WEEKEND, WE HAD OVER 300 PEOPLE

COMING IN AND OUT AND EVERY

SINGLE PIECE HAD SOLD.

AND WE THOUGHT, HMM, THAT'S

REVELATORY.

A FEW DAYS LATER, THE STONEWALL

THING HAPPENED.

AT 2:30 IN THE MORNING, A FRIEND

IN THE VILLAGE CALLED AND SAID,

YOU'VE GOT TO COME TO THE

VILLAGE RIGHT AWAY.

AND I SAID, CRAIG, IT'S 2:00 IN

THE MORNING.

WHAT ARE YOU TALKING ABOUT?

HE SAID, YOU GOT TO COME NOW.

I CAN'T TALK.

WE GOT UP AND WALKED UP THERE

AND IT LOOKED LIKE A WORLD RIOT

WAS GOING ON.

HUNDREDS OF PEOPLE STORMING INTO

THE STREETS.

THIS FIRST SHOW WAS SO

SUCCESSFUL, WE DID IT AGAIN THE

NEXT YEAR, 1970.

AND THEN THAT WAS HUGELY

SUCCESSFUL, SO WE SHOWED MORE

ARTISTS, SOLD MORE WORK.

AND THAT'S WHEN WE ESTABLISHED

THE LESLIE-LOHMAN GAY ART

FOUNDATION.

IN THE BEGINNING WE DIDN'T

UNDERSTAND WHAT IT WAS.

WE JUST THOUGHT, WELL, IT'S

SOMETHING GOING AROUND LIKE THE

COMMON COLD OR SOMETHING.

AND THEN A FRIEND BECAME

TERRIBLY ILL AND WAS DEAD IN SIX

WEEKS.

AND THAT RIVETED US.

AND FROM THAT MOMENT ON WE FOUND

OURSELVES AT MEMORIALS AND AT

BEDSIDES AND IN HOSPITALS.

WE FOUND OURSELVES COLLECTING

THE ESTATES OF DEAD ARTISTS.

AND WE TRIED TO SAVE WORK, WHICH

WE SUCCEEDED IN DOING IN A

NUMBER OF CASES, BUT NOT NEARLY

ENOUGH TO COVER EVERYTHING.

>> AN ARTIST CALLED EDWARD

HOCHSCHILD WHO HAD MADE A

BEAUTIFUL WORK, A WOODEN CROSS,

LIKE, PROBABLY FIVE FEET TALL.

HE HAD MADE SMALL HOLES AND IN

THOSE HOLES HE WOULD INSERT

BLOOD VIALS.

AND INSIDE OF THOSE GLASS BLOOD

VIALS, HE WOULD PUT DIFFERENT

ELEMENTS THAT WOULD MAKE UP A

DAY IN HIS LIFE.

WHEN THE ARTIST PASSED AWAY, THE

FAMILY AND FRIENDS WERE TRYING

TO FIGURE OUT WHAT TO DO WITH

THE WORK.

THEY DECIDE TO DONATE THEIR WORK

TO THE MUSEUM.

BUT THE CROSS WAS, BECAUSE OF

ITS SIZE AND BECAUSE OF THEM,

ITS FRAGILITY, WAS REALLY

DIFFICULT TO TRANSPORT.

SO THE ONLY OPTION THEY HAD TO

TRANSPORT THE WORK FROM THE WEST

VILLAGE TO THE MUSEUM, THE

FOUNDATION IN SOHO WAS A GROUP

OF FRIENDS CARRYING THE CROSS ON

THEIR BACKS.

AND I FEEL LIKE WHILE IT'S

EXTREMELY SAD, IT'S ALSO A

BEAUTIFUL METAPHOR FOR THE WORK

THAT NO ARTIST AND THE COMMUNITY

AND THE MUSEUM WERE DOING TO

PRESERVE LGBT CULTURE IN A

MOMENT OF SO MUCH DEVASTATION.

WE MOVE FORWARD TO THE EARLY

2000s.

WE START TRANSITIONING TO A

MUSEUM AND REALLY START

EXPANDING OUR MISSION, PAYING

ATTENTION TO THE EXPERIENCE FROM

AN INTERSECTIONAL PERSPECTIVE,

NOT ONLY YOUR SEXUAL PREFERENCE

OR THE WAY YOU PRESENT YOUR

GENDER, BUT YOUR RACE,

ETHNICITY, YOUR CLASS, YOUR

IMMIGRATION STATUS, AND HOW ALL

THOSE THINGS, YOU KNOW, MAKE

YOUR EXPERIENCES UNIQUE.

NOT ONLY YOU CAN COME AND SEE

THINGS HANGING ON THE WALLS, BUT

YOU CAN, IF YOU'RE AN ARTIST,

YOU CAN GET A PROFESSIONAL

DEVELOPMENT SUPPORT, OR YOU CAN

ACCESS A WRITING WORKSHOP.

IF YOU'RE A STUDENT, THEN YOU

CAN COME EITHER WITH YOUR

CLASSROOM OR WITH YOUR GSA CLUB

TO THE MUSEUM AND LEARN, YOU

KNOW, FROM THE EXHIBITIONS AND,

YOU KNOW, BEING ENGAGED BY OUR

EDUCATORS.

SO WE'RE JUST CONSTANTLY

THINKING OF WAYS IN WHICH

DIFFERENT MEMBERS OF OUR

COMMUNITY CAN FIND DIFFERENT

ENTRY POINTS TO THE MISSION OF

THE MUSEUM AND TO THE CONTENT

THAT IS HANGING ON OUR WALLS.

WHEN I CAME TO THE MUSEUM, THE

MUSEUM IS IN SOHO, IT'S A

LANDMARK NEIGHBORHOOD.

THERE'S ALSO ONLY SO MUCH

SIGNAGE THAT WE CAN PUT THAT

SAYS, YOU KNOW, THERE'S AN LGBTQ

MUSEUM HERE IN THIS CORNER.

I SEE MUSEUMS AS PLATFORMS OF

POWER.

AND I WAS LIKE, HOW ARE WE GOING

TO USE THIS POWER THAT WE HAVE

IN OUR HANDS?

THIS WAS A FEW MONTHS AFTER THE

ELECTION OF PRESIDENT TRUMP.

AND I HAD SEEN HOW YOUNGER

GENERATIONS OF QUEER PEOPLE

STARTED USING THE DIALECTIC OF

DEATH TO BRING ATTENTION TO SO

MANY OF OUR CIVIL RIGHTS BEING

TAKEN AWAY.

COINCIDENTALLY, I REALIZED THAT

IT WAS THE 30th ANNIVERSARY OF

THE CREATION OF THE POSTER, SO

WE SPOKE WITH THE SILENCE EQUALS

DEATH COLLECTIVE.

AND WE SAID, WOULD YOU BE

WILLING TO RETHINK THE ELEMENTS

OF THE POSTER ON THE FACADE OF

THE MUSEUM?

THEY THOUGHT WE WERE CRAZY, BUT

AT THE SAME TIME THEY GOT REALLY

EXCITED.

AND THAT'S HOW OUR QUEER POWER

PUBLIC ART FACADE INSTALLATION

STARTED.

YOU FAST FORWARD TO 2019, IS THE

50th YEAR ANNIVERSARY OF THE

MUSEUM, OF THE STONEWALL

UPRISING, AND WE DECIDED TO WORK

WITH AN ARTIST CALLED JOAN

WITH AN ARTIST CALLED JOAN

BIREN, WHO GOES BY J.E.B.

WHO HAS BEEN A FILMMAKER AND

PHOTOGRAPHER, A PIONEER,

ACTIVIST.

SHE CAME UP WITH THE IDEA OF

GOING THROUGH HER ARCHIVE AND

LOOKING FOR PHOTOGRAPHS OF

DIFFERENT MOMENTS OF THE

MOVEMENT.

ON ANY GIVEN DAY BETWEEN NOW AND

MAY, 2020, IF YOU WALK IN FRONT

OF OUR MUSEUM, YOU'RE GOING TO

SEE IMAGES THAT REPRESENT PEOPLE

EITHER FIGHTING FOR RIGHTS,

COMMEMORATING LOVED ONES THAT

PASSED AWAY, CELEBRATING PRIDE,

BEING PROUD OF THEIR GAY

CHILDREN, AND SO MANY OTHER

MOMENTS THAT REALLY BRING A

HOLISTIC APPROACH TO THE

MOVEMENT AND TO THE LIVES AND

THE LGBTQ EXPERIENCE.

>> EVERYTHING GAY WAS SO

FORBIDDEN AND SO FROWNED ON, I

THOUGHT, YOU KNOW, WE HAVE TO

LIVE AN UNDERGROUND LIFE

FOREVER.

IF A PIECE OF ART IS WONDERFUL,

THERE'S NOTHING IN ANY PART OF

IT TO BE ASHAMED OF.

ANYWAY, NOW IT'S A MUSEUM AND

NOW WE'RE HERE TO STAY.

♪♪

>>> FROM DECEMBER 20th THROUGH

JANUARY 6th, FILM AT LINCOLN

CENTER PRESENTS A COMPREHENSIVE,

CAREER-SPANNING RETROSPECTIVE OF

AGNES VARDA'S WORK.

IN 1955 VARDA KICKSTARTED THE

FRENCH NEW WAVE.

FOR THE NEXT SIX DECADES SHE

REMAINED AT THE CUTTING EDGE OF

INTERNATIONAL CINEMA, CONTINUING

TO INNOVATE, EXPERIMENT, AND

EXPLORE RIGHT UP UNTIL HER DEATH

EARLIER THIS YEAR AT AGE 90.

AN ETERNAL FREE SPIRIT, VARDA

USED THE CAMERA AS AN EXTENSION

OF HERSELF, SYNTHESIZING THE

THEMES THAT CAPTURED HER

RESTLESS IMAGINATION.

FOR COMPLETE DETAILS PLEASE

VISIT FILMLINC.ORG.

♪♪

>>> THANKS SO MUCH FOR JOINING

US TONIGHT.

I'M PAULA ZAHN AT THE TISCH WNET

STUDIOS AT LINCOLN CENTER.

GOOD NIGHT.

>>> NEXT WEEK, A LOOK AT THE

EXHIBITION "THE LAST NIGHT".

THE ART, ARMOR, AND EXHIBITION

OF MAXIMILAN I.

>> ARMOR PROJECTS AN IMAGE OF

PERFECTION.

THERE'S SOMETHING ALMOST HOLY

ABOUT THE ARMOR.

>>> AND A LOOK AT THE ANNUAL

TRADITION OF CREATING AN ORIGAMI

TREE AT THE AMERICAN MUSEUM OF

NATURAL HISTORY.

>> WE HAVE A WHOLE COLLECTIO.

THIS IS AN AMAZING MARRIAGE OF

SCIENCE AND ART.

♪♪

♪♪

♪♪

♪♪

>>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY ROSALIND P.

WALTER, THEA PETSCHEK IERVOLINO

FOUNDATION, THE LEWIS "SONNY"

TURNER FUND FOR DANCE, JODY AND

JOHN ARNHOLD, ELISE JAFFE AND

JEFFREY BROWN, CHARLES AND

VALERIE DIKER, ELROY AND TERRY

KRUMHOLZ FOUNDATION, JEAN

DUBINSKY APPLETON ESTATE, 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,

OUR CLIENTS.

THE FIRST STEP, RECOGNIZE THAT

EVERY CLIENT IS AN INDIVIDUAL

WITH UNIQUE NEEDS.

BE A BANK WHOSE CURRENCY IS

CLIENTS.

IT'S STILL THE FIRST THING ON

OUR MINDS.

STREAM NYC-ARTS ON

  • ios
  • apple_tv
  • android
  • roku
  • firetv