NYC-ARTS

S2019 E473 | FULL EPISODE

NYC-ARTS Full Episode: December 19, 2019

Philippe de Montebello speaks with Pierre Terjanian, the curator of "The Last Knight: The Art, Armor, and Ambition of Maximilian I," on view at The Metropolitan Museum of Art through January 5, 2020. Followed by a visit to the American Museum of Natural History to see the Origami Holiday Tree. And a look at “Flower Flash,” one of the unique floral installations created by florist Lewis Miller.

AIRED: December 20, 2019 | 0:28:16
ABOUT THE PROGRAM
TRANSCRIPT

♪♪

>>> COMING UP ON NYC ARTS, A

LOOK AT THE EXHIBITION, THE LAST

NIGHT THE ART, ARMOR AND

AMBITION OF MAXIMILLIAN THE

FIRST.

>> ARMOR IS WORN IN COMBAT, IT'S

ALSO DRESS OF THE POWERFUL MEN.

IT'S AN IMAGE THAT PROJECTS

PERFECTION.

GEORGE HAS ALWAYS REPRESENTED

ARMOR.

THERE'S SOMETHING HOLY ABOUT THE

ARMOR.

>> AND A LOOK AT THE ANNUAL

TRADITION OF CREATING AN ORIGAMI

TREE AT THE MUSEUM OF NATURAL

HISTORY.

>> WE HAVE A COLLECTION THAT

THEY RECEIVED.

>> THEY RANGE FROM SUPER COMPLEX

ALL THE WAY DOWN TO SUPER

SIMPLE.

>> THIS IS AN AMAZING MARRIAGE

OF SCIENCE AND ART.

>>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY ROSALIND P.

WALTER.

THEA PETSCHEK IERVOLINA

FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR

DANCE.

JODI AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

EL ROY AND TERRY KRUMHOLTZ

FOUNDATION.

GENE DUBINSKY APPLETON ESTATE.

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 13.

"NYC ARTS" IS MADE POSSIBLE BY

FIRST REPUBLIC BANK.

>>> 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 OUR MISSION FROM THE

VERY FIRST DAY, IT'S STILL THE

FIRST THING ON OUR MINDS.

>>> GOOD EVENING AND WELCOME TO

NYC ARTS.

NOW ON VIEW IS THE EXHIBITION

THE LAST NIGHT THE ART ARMOR AND

AMBITION OF MAXIMILLION THE

FIRST.

IT'S THE FIRST MAJOR EXHIBITION

TO FOCUS ON THE CENTRAL ROLE

THAT ARMOR PLAYED ON THE LIFE

AND GRAND AM BIGS OF THE HOLY

ROMAN EMPEROR MAXIMILLION THE

FIRST.

HIS ASPIRATIONS DURING THE DAWN

OF THE RENAISSANCE.

THE MOST COMPREHENSIVE

EXHIBITION IN DECADES, IT BRINGS

TOGETHER MORE THAN 180 OBJECTS.

THESE HAVE BEEN SELECTED FROM 30

PUBLIC AND PRIVATE COLLECTIONS

IN EUROPE, THE MIDDLE EAST AND

THE UNITED STATES.

THE ARMOR IS ON VIEW, ARE QUITE

SUMPTUOUS, AND HIGHLIGHT HIS

PATRONAGE OF THE GREATEST

EUROPEAN ARMORS OF HIS AGE.

A SELF-PROMOTER OF THE HIGHEST

ORDER, THE RUTHLESS LEADER AND

POLITICAL MASTERMIND, HE USED

ART AND ARMOR TO FORGE A HEROIC

LEGACY.

THE OUTSTANDING ARMORS ARE SHOWN

TOGETHER WITHDRAWINGS, PRINTS,

PAINTINGS, SCULPTURE AND

TAPESTRY.

ALSO IS THE COMPLETE SERIES OF

18 SAND STONE RELEASE THAT

MAXIMILLION COMMISSIONED TO

DECORATE HIS OFFICIAL RESIDENCE.

I HAD THE OPPORTUNITY OF

SPEAKING WITH PIERRE, THE

CURATOR OF THIS TRULY REMARKABLE

EXHIBITION.

PIERRE, IT'S SO NICE OF YOU TO

WELCOME US.

IT'S ABSOLUTELY EXTRAORDINARY

EXHIBITION.

I MEAN, ASTONISHINGLY BEAUTIFUL.

AND AT THE SAME TIME REVEALING

OF A WHOLE WORLD THAT IS REALLY

NOT FAMILIAR TODAY TO MOST

PEOPLE.

LET'S SET THE STAGE.

WHO EXACTLY IS MAXIMILLION THE

FIRST.

>> ONE OF THE EUROPEAN RULERS

THAT IS WELL KNOWN IN EUROPE AS

A COLORFUL FIGURE THAT RULED

OVER MANY DIFFERENT PARTS OF

EUROPE POP STARTS HIS CAREER IN

TODAY'S NETHERLANDS AND LATER

BECAME HOLY ROMAN EMPEROR,

MOSTLY GERMAN SPEAKING, BUT NOT

EXCLUSIVELY RESIDED IN AUSTRIA.

HE WAS AT THE HINGE OF THE LATE

MIDDLE AGES AND THE BEGINNING OF

THE RENAISSANCE, A MAN WHO LIVED

IN THE PERIOD OF TRANSITION, WHO

SAW MASSIVE CHANGES.

POLITICALLY, BUT SCIENTIFICALLY

AND ARTISTICALLY.

>> WHAT EXACTLY DID ARMOR, GREAT

ARMOR MEAN AT THAT TIME IN THE

LATE 15th, EARLY 16th CENTURY.

>> ARMOR IS A PROTECTIVE GARMENT

MADE OF STEEL OR IRON.

IT'S WORN IN COMBAT, BUT IT'S

ALSO THE FORMAL DRESS OF THE

POWERFUL MEN THAT ARE NOT PART

OF THE CLERGY AT THE TIME.

IT'S ALSO AN OBJECT THAT

PROJECTS AN IMAGE OF PROFESSION,

LIKE SAYING GEORGE IS ALWAYS

REPRESENTED IN ARMOR AND THE ARC

ANGEL MICHAEL.

THERE'S SOMETHING HOLY ABOUT THE

ARMOR, WEARING ARMOR ALLOWS

ONESELF TO ACCOMPLISH THINGS

THAT ONE MIGHT NOT DARE TO DO

WITHOUT IT.

IT IS ALSO SOMETHING YOU SEE AS

PART OF A PERFORMANCE, AND THE

PERFORMANCES ARE IMPORTANT TO

MAXIMILLION BECAUSE HE NEEDS TO

DEMONSTRATE HE HAS LEADERSHIP

QUALITIES THAT WILL MOBILIZE

PEOPLE AROUND HIM, AROUND HIS

CAUSE.

>> I PRESUME IF YOU'RE

MAXIMILLION YOU COMMISSIONED THE

GREATEST ARMORS IN EUROPE.

WHERE WERE THEY AND FOR WHOM DID

THEY WORK.

>> ARMOR COULD ONLY BE HAD FROM

VERY SPECIAL WORKSHOPS.

IF YOU WANTED AN ARMOR FROM

THOSE WORKSHOPS YOU HAD TO BE IN

MAXIMILLIONS GOOD GRACES, YOU

HAD TO BE CONNECTED TO IT.

THE OBJECTS ARE VALUABLE BECAUSE

OF HOW THEY'RE MADE, RATHER THAN

THEIR INTRINSIC VALUE.

VALUABLE IN THE FIRST PLACE, BUT

THE QUALITY OF THE WORKMANSHIP

IS EVERYTHING.

AND NOT UNLIKE HAUTE COUTURE,

ARMOR HAS A SENSE OF STYLE.

SO MAXIMILLION WAS ECLECTIC, HE

HAD ARMOR MADE WHEREVER HE

FANCIED.

AND HE HAD ACCESS TO THE BEST

ARMORS OF THE TIME.

>> IS THIS A LITTLE BIT LIKE

GOING TO THE TAYLOR?

DID HE ACTUALLY GO TO THE

ARMORER, BE MEASURED BY THE

ARMORER?

HOW DID THAT WORK?

>> IN GENERAL, THE EMPEROR

SUMMONED THE ARMORS TO VISIT AT

HIS HOME.

HE HAD STRONG OPINIONS ON THE

MATTER.

AND MAYBE THAT'S A COUNTER

INTUITIVE FOR HEAD OF STATE TO

BE INTERESTED IN SUCH THINGS.

HE THOUGHT HIS ABILITY TO HAVE

WONDERFUL ARMORS FOR HIMSELF, TO

APPEAR IN THEM, TO GIVE THEM, TO

THE PEOPLE WHO WERE IN HIS

ENTOURAGE.

>> IT'S A DIPLOMATIC GIFTS.

>> AS BRIBES AS FAVORS.

FAVORS.

>> AS TOKEN OF APPRECIATION, SO

SOMETIME EVEN HIS USHER OR HIS

PERSONAL SECOND GOT ARMORS AS

GIFTS FROM HIM.

AS WELL AS HEADS OF STATES.

HENRY THE VIII WAS ONE OF THE

CITIZENS.

>> THIS IS AN OPPORTUNITY TO

SPEAK ABOUT THE FOLKS RIGHT NEXT

TO US, IS IT FREAK WENT THAT THE

HORSES THEMSELVES HAD ARMOR FROM

THE HEAD AND ALL OVER OR IS THAT

AN IMPERIAL PRIVILEGE?

>> IT'S A MATTER OF RESOURCES,

LET'S SAY THE ONES WHO CAN

AFFORD IT WOULD HAVE ARMOR FOR

THEIR HORSES, THE INEXPENSIVE

KIND WAS BOILED LEATHER ARMOR, A

SOLID METAL HORSE ARMOR WAS VERY

EXPENSIVE, VERY RARE.

THIS ONE IS COMPLETE WORKED IN

RELIEF.

THAT IS A STATEMENT.

A POWERFUL STATEMENT.

AND IN ITS ORIGINAL STATE, THIS

HORSE ARMOR WAS COMPLETELY

COVERED IN SILVER AND GOLD.

>> I GATHER MAXIMILLION WAS WELL

KNOWN AS BEING A GREAT JOUSTER?

TELL US ABOUT THOSE ARMORS AND

THE DEMEANING CONCEIVABLY

SYMBOLIC MEANING OF HAVING THESE

EXHIBITIONS, THESE JOUSTS?

>> SO MAXIMILLION HAD TO PROVE

HIMSELF TO GAIN THE SUPPORT THAT

HE NEEDED FROM HIS LANDS, THE

DUKES, THE COUNTS, THAT WAS HIS

TRUE AUDIENCE.

TO DO, SO HE COULD DO SO IN

BATTLE.

PEOPLE TEND TO BE DISTRACTED IN

COMBAT.

THE TOURNAMENT PROVIDED A

DEFINITE ARENA, WHERE THERE WILL

BE A RANGE OF PEOPLE WHO ARE

SOCIALLY DIVERSE, ALL OF WHOM

COULD WATCH THE TOURNAMENT.

THE TOURNAMENT IS PART OF THE

CELEBRATION OF ANYTHING

IMPORTANT.

RELIGIOUS HOLIDAYS, INAUGURATION

OF SOMEONE'S REIGN, NOBLE

WEDDING AND SO FORTH.

MAXIMILLION USES THE TOURNAMENT

AS A WAY OF AMPLIFYING HIS

MESSAGE.

HE HAS QUALITIES, HIS QUALITIES

ARE PHYSICAL, FIERSOM, HE WILL

RUN AGAINST SOMEBODY HOLDING THE

LENS, RUNNING THE RISK OF BEING

STRUCK ON HORSE, POSSIBLY

WOUNDED.

HE WAS ACTUALLY WOUNDED IN A

TOURNAMENT MANY TIMES DURING HIS

LIFE.

THIS IS A DEMONSTRATION OF HIS

DEXTERITY OF A HORSE MAN AND HIS

COURAGE.

>> AND HIS COURAGE.

>> IT ULTIMATELY, BECAUSE HE HAD

CHRONICLES DONE IN -- A BUY

GRAPHICAL WAY, TELLING STORIES

OF HIM FIGHTING AGAINST OTHERS

IN THE TOURNAMENT.

HE HAS HIMSELF DEPICTED AS A

LOSER.

THAT'S VAIN, IT SHOWS MORAL

CHARACTER.

THE IDEA THAT HE HAS ENDURANCE

THAT'S REQUIRED FOR SOMEBODY WHO

WILL BE FACING CHALLENGES.

>> IT'S NOT JUST ABOUT BEING

SUPREME, IT'S ABOUT BEING

COMBATIVE.

>> ONE SUSPECTS THAT ARMORS OVER

TIME WILL SPLIT APART, PARTS OF

IT WERE SOLD, HOW RARE IS IT TO

HAVE ACTUALLY A FULL ARMOR?

>> THOSE THINGS ARE AMONG THE

RAREST, ESPECIALLY IN THE 15th

CENTURY, WHEN MOST ELEMENTS ARE

COMPLETE AND INDEPENDENT FROM

ANOTHER.

IT'S VERY RARE INDEED TO FIND

THOSE 20 TO 50 ELEMENTS THAT

WERE ORIGINALLY DESIGNED TO GO

TOGETHER AS SOMETHING COHERENT,

TO HAVE REMAINED TOGETHER AFTER

CENTURIES.

>> THAT'S THE CASE FOR THE ONE

THAT IS IN THE SHOW HERE?

>> IT IS.

>> IS IT SOMEWHAT MADE UP?

>> IT IS NOT MADE UP, HOWEVER,

THERE WAS SOME SOUL SEARCHING,

BECAUSE IT WAS KEPT WITH OTHER

ARMORS WITH SIMILAR FEATURES IN

THE SAME PLACE.

AND OVER THE CENTURIES, THOSE

ELEMENTS GOT MIXED UP.

THEY DID SOME TEST FITTINGS,

TRYING TO SEE WHICH PIECES

REALLY STYLISTICALLY WERE

CONNECTED TO THE BEST, THE

HELMET OF THAT ARMOR, HOWEVER,

HAD BEEN SEPARATED FROM THE BODY

SINCE THE 18th CENTURY.

AND THIS IS ONE OF THE VERY RARE

OPPORTUNITIES TO SEE WHAT THE

OVERALL ARMOR WOULD HAVE LOOKED

LIKE WITH THE ORIGINAL HELMET,

WHICH IS IN THE PRIVATE

COLLECTION REUNITED.

THE ARMOR WAS MADE WITHIN

MONTHS -- HE FOUGHT THE FRENCH

IN 1479.

THIS WAS HIS FIRST VICTORY,

THEREFORE, HE COMMISSIONS THIS

EXTRAORDINARY ARMOR FROM

GERMANY, AND IT IS THE ONE IN

WHICH HE RIDES INTO HIS VISITS

HIS SUBJECTS.

IT WAS SOMETHING THAT WAS UNLIKE

ANYTHING THAT HAD BEEN SEEN IN

THE LOW COUNTRIES BEFORE.

IN SOPHISTICATION, AND

ARTICULATION, AND FROM THE POINT

OF VIEW OF STYLE.

IT WAS A SUPERLATIVE HONOR,

MAXIMILLION STRUGGLED TO PAY FOR

IT.

>> IT'S A SPECTACULAR PIECE, SO

MANY OBJECTS IN THIS EXHIBITION.

WHAT COULD ALMOST SPEAK OF THESE

ELEMENTS AS PIECES OF SCULPTURE.

>> THAT'S A VERY FIRST REASON

THAT I BECAME INTERESTED IN RM

AS AND ARMOR, AND IN PARTICULAR,

IT'S AN ABILITY TO TRANSFORM THE

BODY OF THE WEARER, IT'S THE

FACT THAT THE BEST AROUNDERS OF

THEIR DAY WERE CAPABLE OF

ENDOWING SOMETHING THAT WEIGHED

60 POUNDS OR MORE WITH GRACE,

WITH ELEGANCE.

THERE WERE FASHION ELEGANCE THAT

ARTICULATED WHAT THE

ARCHITECTURE WOULD LOOK LIKE.

THE WAY YOU PROTECT THE HEAD,

THERE ARE MANY DIFFERENT WAYS,

THE ARMORS WERE ALSO DRAWN FOR

THE PRINCELY PATRONS TO CREATE

SOMETHING THAT WAS AESTHETICALLY

PLEASING AND CAPTIVATING.

WE'RE TRYING TO SHOW THE DIVERSE

OPTIONS TO SOMEONE WHO HAD THE

MEANS TO ACQUIRE THE FINEST

ARMOR DURING THE PERIOD.

>> THERE IS ONE FAMOUS ARMOR

THAT HAS DISAPPEARED.

IT'S ONLY KNOWN THROUGH ONE

REPRESENTATION WHICH IS AN

EXTRAORDINARY PAINTING BY

KRANACH IN THE EXHIBITION.

>> IT'S ELEMENTS OF AN ALTER

PIECE, ONE OF THE WINGS.

IT REPRESENTS THE ROMAN LEGION

EAR ST. MAURICE IN AFRICA.

AND THE ARMOR, HOWEVER, IS A

PORTRAIT OF AN OBJECT THAT

REALLY EXISTED.

IT'S AN ARMOR MADE OF SOLID

SILVER, GEMS AND PEARLS AND

GUILDING.

>> IT WAS MAXIMILLIONS.

>> HE CHRONICALLY RAN OUT OF

MONEY FIGHTING THE VENETIANS,

THE TURKS, AND OTHERS, SOMETIMES

HIS OWN SUBJECTS.

IT STAYED WITH THE ARMOR AND IN

1519, CHARLES THE 5th REDEEMED

IT, WORE IT FOR HIS CORONATION

AS KING OF THE ROMANS AND GAVE

IT AS A GIFT TO A CARDINAL WHO

TURNED IT INTO A CONTAINER FOR

BONES AND IT WAS DISPLAYED IN A

CHURCH.

>> LUCAS HAD A MISSION TO CREATE

THE SAME BASE.

THE CARDINAL RAN INTO FINANCIAL

DIFFICULTIES AND WITHIN 20 YEARS

THE ARMOR WAS MELTING DOWN AND

THE JEWELS SCATTERED.

>> THERE'S AN ASTONISHING

PICTURE AT THE END OF THE

EXHIBITION WHICH IS THE PORTRAIT

OF MAXIMILLION IN DEATH, WHAT IS

THE SIGNIFICANCE OF THIS?

>> THIS IS THE FIRST

REPRESENTATION AS FAR AS I KNOW,

OF A SOVEREIGN AS A DEAD MORTAL,

AS A DEAD PERSON.

IT MUST HAVE BEEN COMMISSIONED

BY MAXIMILLION, IT'S SHOWING HIM

AS A HUMBLE MORTAL.

WE KNOW FROM HIS LAST WILL AND

TESTMENT HE ASKED TO BE BEATEN

WITH RODS AND HIS TEETH TO BE

KNOCKED OUT.

>> BY SHOWING HUMILITY IN HOW

HIS BODY HAD TO BE TREATED AFTER

HIS DEATH, HE WAS SHOWING HIS

CONTRITION, HIS PENANCE, AND

ASKED TO BE FORGIVEN.

>> WHY IS THE SHOW CALLED THE

LAST NIGHT?

WHY IS MAXIMILLION CALLED THE

LAST NIGHT.

>> IT'S NOT A NAME HE WOULD HAVE

WANTED FOR HIMSELF.

>> HE THOUGHT OF HIMSELF AS THE

FIRST AMONG MANY.

HE WANTED TO BE A KNIGHT.

AND LAST NIGHT HIS TERM CAME

FROM THE 19th CENTURY.

ROMANTIC WRITING WHERE

MAXIMILLION WAS VIEWED AS A

ROMANTIC FIGURE.

VIRTUALLY ALL OF HIS DECENDENTS

HAD THE BUREAUCRATIC APPROACH TO

THE POWER AND RULE.

IN THAT SENSE, HE WAS VIEWED BY

HIS OWN KIN AS THE LAST OF A

KIND.

AS SOMEONE WHO HAD SECURED FOR

THEM INFLUENCE AND PRESTIGE.

VERY MUCH THROUGH HIS MARSHALL

EASE AND HIS MARSHALL IMAGE.

>> THIS IS AN EXHIBITION FULL OF

GREAT ART AND SCULPTURE IN THE

FORM OF ARMOR AND HISTORY, AND

PAGEANTRY.

IT REALLY HAS EVERYTHING FROM

EVERYONE, AND WE'RE SO GRATEFUL

TO YOU FOR CREATING THE

EXHIBITION FOR THE METROPOLITAN

MUSEUM OF ART.

AND THANK YOU FOR EXPLAINING IT

SO COGENTLY.

>> THANK YOU, PHILLIPE.

>> THANK YOU SO MUCH.

♪♪

>>> LINCOLN CENTER THEATER

RECENTLY PRODUCED AND IS

CURRENTLY PRESENTING, GREATER

CLEMENTS A PLAY WRITTEN BY

SAMUEL D. HUNTER.

THE SETTING OF THE PLAY IS THE

FICTIONAL TOWN OF GREATER

CLEMENTS IDAHO, A MINING

COMMUNITY WHERE PROPERTIES ARE

BEING PURCHASED BY WEALTHY OUT

OF STATE PEOPLE.

THESE NEWCOMERS ARE FORCING OUT

LIFELONG RESIDENTS, LARGELY BLUE

COLLAR WORKERS WHO ARE BECOMING

DISENFRANCHISED AND

DISENCHANTED.

THE STORY IS TOLD THROUGH

MAGGIE, WHO IS ON THE VERGE OF

SHUTTING DOWN HER FAMILY'S MINE

TOUR AND MUSEUM BUSINESS.

FOR COMPLETE DETAILS, PLEASE

VISIT LCT.ORG.

♪♪

>>> SOME OF TODAY'S MOST

REMARKABLE HOLIDAY DESIGNS CAN

BE FOUND ON THE ORIGAMI TREE NOW

ON VIEW AT THE MUSEUM OF NATURAL

HISTORY.

EVERY YEAR, A GROUP OF

VOLUNTEERS COME TOGETHER TO FOLD

FANTASTIC ARRAY OF DINOSAURS,

ALLIGATORS AND BIRDS INSPIRED BY

THE MUSEUM'S EXHIBITIONS AND

DISPLAYS.

ORIGAMI, THE JAPANESE ART OF

PAPER FOLDING HAS BEEN PRACTICED

FOR OVER 1,000 YEARS.

WHILE FOLDING PAPER PRACTICES

HAVE CHANGED OVER TIME, THE CORE

IDEAS REMAIN THE SAME.

YOU BEGIN WITH A SQUARE PIECE OF

PAPER, AND CRAFT IT INTO A

DESIGN, WITHOUT THE HELP OF SAYS

SISTERS, TAPE OR GLUE.

ONE OF THE MOST POP U SCHOLAR

DESIGNS IS THE CRANE, THERE'S NO

LIMIT TO WHAT ANY IMAGINATION

CAN PRODUCE.

♪♪

>> ORIGAMI HOLIDAY TREE, IT

STARTED WITH ALICE GRAY WHO WAS

AN ENTOMOLOGIST HERE, AND SHE

WAS ALWAYS INTO ARTS AND CRAFTS.

>> WE USED TO USE HER OFFICE TO

HAVE MEETINGS UNFOLD AND PLAY,

AND LISTEN TO HER RATHER LARGE

HISSING COCKROACHES.

AND ALICE USED TO MAKE A LITTLE

TREE.

>> SHE DECORATED A 3 FOOT TREE

WITH ORIGAMI AND TOLD SOMEONE

ABOUT HOW IT WOULD BE SO GREAT

IF THE MUSEUM HAD A HOLIDAY TREE

WITH ORIGAMI ON IT.

>> THEY GAVE HER THIS HUMONGOUS

TREE TO DECORATE, AND WE ALL

DID.

THIS IS AN AMAZING MARRIAGE OF

SCIENCE AND ART.

>> THIS IS THE 45th TREE FOR THE

MUSEUM, AND IT'S BEEN A

WONDERFUL TRADITION THAT WE

HONOR AND CHERISH.

WE HAVE A WHOLE COLLECTION THAT

WE'VE DEVELOPED.

>> AND THEY RANGE FROM SUPER

COMPLEX ALL THE WAY DOWN TO

SUPER SIMPLE.

YOU CAN DO EVERY SCALE ON AN

ALLIGATOR IF YOU WANT TO.

WE HAVE A LOT OF REPEAT MODELS

THAT WE REARRANGE IN DIFFERENT

WAYS, BECAUSE WE BANK THEM.

IT'S NOT PRACTICAL TO DO OVER

1,000 MODELS EVERY YEAR.

AND WE ALWAYS MAKE IT LOOK LIKE

A DIFFERENT TREE.

>> WE'LL ALSO BRING IN NEW

MODELS BECAUSE OF EACH NEW THEME

MAY REQUIRE SPECIAL MODELS.

>> ONE OF THE STRONGER THEMES

THAT WE HAVE IS BASED ON THE

DINOSAURS AMONG US, SPECIAL

EXHIBITION, WHICH MEANS THAT

THESE ARE DINOSAURS THAT LATER

DEVELOPED TO BIRDS AND WE'RE

SHOWING THE RELATIONSHIP BETWEEN

BIRDS AND DINOSAURS.

>> AND WE RESEARCH DIFFERENT

FLORA, FAUNA AND TRY TO

REPRODUCE IT IN ORIGAMI.

THAT'S WHY I HAVE A LOT OF

HATCHLINGS AND EGG NESTS,

THEY'RE REALLY VERY NICE AND FUN

TO FOLD.

>> UNLIKE CHRISTMAS ORNAMENTS OR

HOLIDAY ORNAMENTS, WE GET MUCH

MORE PLAY AND INTERESTING WAYS

OF POSITIONING THE MODELS WHEN

WE HAVE FLORAL WIRE GLUED TO

THEM FROM TWO OR THREE DIFFERENT

POINTS.

THEY CAN BE STANDING, WE CAN

TWIST THEM IN DIFFERENT

DIRECTIONS AND ANGLE THEM.

KIND OF LOOKS LIKE THEY'RE

INTERACTING WITH ONE ANOTHER.

THEY ALL HANG OUT TOGETHER AND

HAVE A GOOD TIME.

>> 5, 4, 3, 2, 1.

>> THE SUCCESSES, THE POPULARITY

OF THE TREE, AND PEOPLE SAY,

OOH, AAH, JUST LITTLE KIDS

POINTING.

.

WOW!

WOW!

IT'S JUST GREAT.

AND IT'S A LABOR OF LOVE.

I ENJOY IT, IT'S MAGIC.

♪♪

>>> FLOWERS WERE ALWAYS PART OF

MY DNA.

I COME FROM A FAMILY OF

GARDENERS, I WORK IN LANDSCAPE

AND HORTY CULTURE TO THE FLOWER

WORLD.

HERE I AM.

THE FLOWER FLASH WAS SOMETHING

THAT WAS BOPPING AROUND MY BRAIN

FOR A WHILE THAT DIDN'T HAVE A

NAME.

IT WAS A VAGUE IDEA OF HOW TO

TAKE FLOWERS AND FUSE THEM IN AN

URBAN CITY ENVIRONMENT, IT

FINALLY GOT TO THE POINT A

COUPLE YEARS AGO, WHERE I WAS

SATISFIED WITH BUSINESS, THINGS

GOING SUPER WELL, AND NEEDING TO

FEEL CREATIVELY ENERGIZED AGAIN,

BUT ALSO FEELING THE NEED IN MY

OWN WAY TO GIVE BACK.

I'M SURROUNDED BY FLOWERS ON A

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.

AND IT'S REALLY ABOUT TAKING

THAT WHICH IS SO BEAUTIFUL AND

KIND OF MERGING IT WITH TEXTURE

AND THE GRIT OF OUR URBAN CITY

LIFE.

AND CREATING SOMETHING THAT'S

SPONTANEOUS, FLEETING, AND SORT

OF ABSTRACT.

WE SPEND A GREAT DEAL OF TIME

REALLY FINDING LOCATIONS THAT

FEEL NEW YORK FIRST.

>> THAT COMBINED WITH THE

SEASON, WHAT'S LOOKING GOOD, AND

ALSO THE FLOWER FLASHES ARE

ACCUMULATION OF OLD FLOWERS IN

THE FLOWER MARKET AND STUFF

THAT'S LEFT OVER FROM THE

STUDIO, AND STUFF THAT'S LEFT

OVER FROM EVENTS.

WE HAVE TO WORK WITH THAT AS

WELL.

THESE FLASHES HAPPEN VERY

QUICKLY, WE PLAN IT TO A CERTAIN

EXTENT.

AND THEN WE DO IT, AND SEE WHAT

HAPPENS.

THERE'S AN ANXIOUS ENERGY.

IT'S USUALLY DARK, A LOT OF

TIMES IT'S COLD.

FLOWERS ARE FOR NEW YORKERS.

THEY ARE FOR THE PEOPLE, AND I

WANT PEOPLE TO TAKE THEM AND

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.

THE MORE WE CAN HAVE THESE SOFT

MOMENTS OF JUST BEAUTY AND JOY

FOR NO OTHER REASON.

EVEN IF IT'S FOR AN HOUR OR TEN

MINUTES, THIS JOB IS DONE.

♪♪

>> THANKS FOR JOINING US THIS

EVENING.

I'M PHILIPPE DI MONTY BELLOW AT

THE METROPOLITAN MUSEUM OF ART.

GOOD NIGHT AND SEE YOU NEXT

TIME.

>>> WHEN WE RETURN, A PROFILE OF

VIOLINIST ANGELA JIANG YU, A

2019 AVERY FISHER CAREER GRANT

AWARD.

>> RECEIVING THE PRESTIGIOUS

CAREER GRANT REALLY MEANS THE

WORLD TO ME.

ANDRE WATTS, THOSE ARTISTS HAVE

WON THIS AWARD MANY YEARS AGO, I

GREW UP LISTENING TO THEIR CD'S.

>> AND A VISIT TO THE SUGAR HILL

CHILDREN'S MUSEUM OF ART AND

STORY TELLING.

>> WE KNOW THAT CHILDREN ARE

NATURAL ARTISTS.

THEY'RE ALSO NATURAL

STORYTELLERS.

AND WE WANTED TO CREATE AN

INSTITUTION DEDICATED TO THEIR

CREATIVE POTENTIAL.

♪♪

>>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY ROSALIND P.

WALTER.

THEA PETSCHEK IERVOLINA

FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR

DANCE.

JODI AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

ELROY AND TERRY KRUMHOLTZ

FOUNDATION.

GENE DUBINSKY APPLETON ESTATE.

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 13.

"NYC ARTS" IS MADE POSSIBLE 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 OUR MISSION FROM THE

VERY FIRST DAY, IT'S STILL THE

FIRST THING ON OUR MINDS.

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