NYC-ARTS

S2019 E471 | FULL EPISODE

NYC-ARTS Full Episode: December 5, 2019

A profile of ballet coach Irina Kolpakova: mentor, friend and confidante to many of the outstanding dancers of American Ballet Theatre. And a look at two works by Augustus Saint-Gaudens, one of America’s finest sculptors: “Victory,” depicted as a guiding force leading the Civil War hero William Tecumseh Sherman, and a portrait of Abraham Lincoln, informed by Lincoln's speeches and writings.

AIRED: December 05, 2019 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON NYC ARTS, A

PROFILE OF IRINA, A BELOVED

COACH OF AMERICAN DANCERS AT THE

BALLET THEATER.

>> A BALLET MASTER IS IN CHARGE

OF A CERTAIN PORTION OF THE

REPERTOIRE WE DO.

IRINA, IN PARTICULAR, HER

QUALITIES AS A COACH ARE WITHIN

THAT PRIMARILY TAKES THE

MATERIAL THAT YOU PRESENT HER

AND TRIES TO PUT IT THROUGH A

LENS FOR THE DANCER TO SEE MORE

CLEARLY AND UNDERSTAND WHAT IT

IS THEY'RE ACTUALLY DOING.

>> AND A VISIT TO THE

METROPOLITAN MUSEUM OF ART.

>> I'M HERE TO TALK ABOUT

AUGUSTA SAINT GARDENS, WHO IS

THE GREATEST AMERICAN SCULPTER

OF THE LATE 19th CENTURY.

>> WE'RE VERY FORTUNATE TO BE

ABLE TO PRESENT HIS WORK IN SUCH

A COMPREHENSIVE WAY.

>>> 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 KRUMHOLZ

FOUNDATION.

THE MILTON AND SALLY AVERY ARTS

FOUNDATION.

AND JAMES S. MARCUS.

THIS PROGRAM IS FUNDED IN PARTS

BY THE CITY COUNCIL.

ADDITIONAL FURNISHEDING 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 FIRST REPUBLIC'S

MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON

OUR MINDS.

>>> AND BY SWAN AUCTION

GALLERIES.

>> WE HAVE A DIFFERENT WAY OF

LOOKING AT AUCTIONS, OFFERING

VINTAGE BOOKS AND FINE ARTS

SINCE 1941, WORKING TO COMBINE

KNOWLEDGE WITH ACCESSIBILITY,

WHETHER YOU'RE A LIFELONG

COLLECTOR OR LOOKING TO SELL,

INFORMATION AT

SWANGALLERIES.COM.

♪♪

>>> GOOD EVENING AND WELCOME TO

NQC ARTS.

NOW ON VIEW IS THE EXHIBITION

THE LAST NIGHT, THE ART ARMOR

AND AMBITION OF MAXIMILLIAN THE

FIRST.

ARMOR PLAYED IN THE LIFE AND

VERY GRAND AM BIGS OF HOLY ROMAN

EMPEROR MAXIMILLIAN THE FIRST.

A WALK-THROUGH THE GALLERIES

REVEALS HOW HE USED ARMOR 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 ARM IR'S ON VIEW ARE QUITE

SUMPTUOUS.

AND HIGHLIGHT THE EUROPEAN

ARMORS OF HIS AGE.

A SELF-PROMOTER OF THE HIGHEST

ORDER, A RUTHLESS LEADER AND

POLITICAL MASTERMIND, HE USED

ART AND ARMOR TO FORTHA HEROIC

IMAGE AND ETERNAL LEGACY.

THE LAST NIGHT, THE ART ARMOR IS

ON VIEW THROUGH JANUARY 5th.

ALSO ON DISPLAY, SCIENCE AND

SPLENDOR BY MONARCHS.

A NUMBER OF THESE WORKS HAVE

NEVER BEEN DISPLAYED IN THE

UNITED STATES BEFORE.

FROM THE MID 1500th THROUGH THE

MID 1700s, NEARLY EVERY ROYAL

FAMILY IN EUROPE ASSEMBLED VAST

EXQUISITE AND ENTERTAINING

OPTIONS.

THEY CONVEYED STATUS AND POWER.

THE SELECTION ON VIEW FEATURES

170 OBJECTS.

INCLUDING CLOCKS, FURNITURE,

SCIENTIFIC INSTRUMENTS, JEWELRY

AND MORE.

THESE ARE DRAWN FROM THE MET'S

OWN COLLECTIONS AS WELL AS FROM

OVER 50 LENDERS.

THE EXHIBITION IS ON VIEW

THROUGH MARCH 1, 2020.

CURRENTLY ON VIEW IS ANOTHER

IMPORTANT EXHIBITION TITLED

TREASURE.

A MID EVIL JEWISH LEGACY.

IT POINTS TO BOTH LEGACY AND

LOSS.

UNDERSCORING THE PROMINENCE OF

PERILS FACED BY THE JEWISH

MINORITY COMMUNITY IN THE

TUMULTUOUS 14th CENTURY.

FOR MORE THAN 500 YEARS UNTIL IT

WAS DISCOVERED IN 1863, A SMALL

CATCH OF JEWELRY AND COINS LAID

HIDDEN IN THE WALLS OF A HOUSE.

THE OBJECTS BELONGED TO A SINGLE

FAMILY FROM THE CITY'S ONCE

THRIVING JEWISH COMMUNITY.

AMONG THE HIGHLIGHTS OF WHAT IS

KNOWN AS THE TREASURE, NOW IN

THE COLLECTION IN PARIS, ARE

PRECIOUS RINGS, JEWELLED

BROOCHES AND A SINGLE KEY.

A POIGNANT TRIBUTE TO HIS ROLE

IN ART AND SOCIETY IN MEDIEVAL

EUROPE.

THE MEDIEVAL JEWISH LEGACY IS ON

VIEW THROUGH JANUARY 12th.

>> ON OUR PROGRAM TONIGHT, WE'LL

GO BEHIND THE SCENES WITH

AMERICAN BALLET THEATER.

PERFORMING BOTH TREASURED

CLASSICS AND NEW REPOIRTORY.

THE COMPANY FEATURES A STELLAR

CAST OF DANCERS.

THEY ALL SHARE THE INVALUABLE

GUIDANCE OF THEIR COACH.

DURING HER TIME AT THE BALLET,

SHE WAS LEGENDARY.

HAVING DANCED WITH RUDOLPH AND

MIKAIL BARISHNIKOV AND DANCED

WELL INTO HER 50s.

WHEN THE SOVIET UNION COLLAPSED,

BARISHNIKOV INVITED HER TO TEACH

HERE.

SHE CAN GUIDE THEM TOWARD

INHABITING THE EMOTION OF LIFE.

PART MENTOR, CONFIDANT AND

TRUSTED FRIEND.

A COACH CAN SUPPORT DANCERS TO

BE THE VERY BEST THEY CAN BE.

>> 2, 3, 4, 5, 6, 7, 8.

>> IRINA'S OFFICIAL TITLE IS

BALLET MISTRESS.

A BALLET MISTRESS OR BALLET

MASTER IS BASICALLY IN CHARGE OF

A CERTAIN PORTION OF THE

REPERTOIRE WE DO.

HER QUALITIES AS A COACH ARE ONE

THAT PRIMARILY TAKES THE

MATERIAL THAT YOU PRESENT HER

AND TRIES TO PUT IT THROUGH A

LENS FOR THE DANCER TO SEE MORE

CLEARLY AND UNDERSTAND WHAT IT

IS THEY'RE ACTUALLY DOING.

AND IN THAT PROCESS SOMEHOW, IT

IS BEING A SUPPORT SYSTEM FOR AN

ARTIST, BUT AT THE SAME TIME SHE

TRIES TO TEACH THEM HISTORY

LESSONS.

>> FIVE YEARS I STARTED IN OUR

CONSERVATORY.

IT WAS A HIGH LEVEL OF

CONCENTRATION.

I THINK IT'S BEST SCHOOL IN THE

WORLD.

>> IF YOU TALK OF A PERFORMING

ART, THEY'RE ATTACHED TO

COUNTRIES.

IF YOU SAY THEATER, YOU THINK

BRITISH, IF YOU SAY OPERA, YOU

THINK ITALIAN.

BALLET, YOU THINK RUSSIAN.

BALLET IS THE NATIONAL SPORT.

AND IRINA IS THIS WONDERFUL

INDIVIDUAL WITH AN INCREDIBLE

KNOWLEDGE OF VAGANA OF TRAINING.

>> IT WAS LIKE REALLY GOOD

DANCER AT THAT TIME.

SHE WAS SMART.

JOURNALISTS, ALL THIS I WRITE

ABOUT HERE.

CAREEN KNOW MOVEMENT.

YOU USE ALL PART OF YOUR BODY.

AND AIM STEP.

NOT ONLY LEG.

NOT ONLY EYES.

NOT ONLY ALL TOGETHER.

ALL TOGETHER EVEN START FROM THE

FINGERS, FINGERS ARE NOT

SUPPOSED TO BE VERY STRONG.

THEY'RE SUPPOSED TO BE ABSOLUTE

AND YOU USE ALL YOUR BODY.

♪♪

>> IRINA HAS SOMETHING SPECIAL

WHERE I THINK SOMETHING THAT

MADE HER AN INCREDIBLE DANCER

WAS THE WAY SHE USED HER UPPER

BODY AND ARMS.

NOT EVERY DANCER CAN EXPLAIN HOW

TO DO IT, AND SHE HAS THAT GIFT.

>> YOU HAVE ONE COACH FOR ALL

THE ROLES.

AND WHO KNOWS YOU IN AND OUT.

SHE KNOWS YOU VERY WELL, SHE

APPLIES THIS SPECIAL ATTENTION

TO ALL THE DANCERS SHE REHEARSES

WITH.

SHE REHEARSES WITH ME ON THE

MORE CLASSICAL REPERTOIRE.

SHE'S ONE OF THE PEOPLE WHOSE

OPINION I TRUST THE MOST IN THE

WORLD.

>> WHEN ONE IS A COACH OF THIS

LONGSTANDING CALIBER, SHE'S

TAKING DANCERS THROUGH THEIR

CAREERS, SO INDEED IT DOES

BECOME A FORM OF A LIFE COACH.

BECAUSE IF SOMEONE ISSEN SADDING

IN FRONT OF YOU AND ISN'T REALLY

UP TO PAR THAT DAY.

EVERYBODY HAS A BAD DAY.

IF IT'S THE THIRD DAY IN A ROW,

HAVE YOU TO GO, OKAY, WHAT'S

GOING ON.

>> FRIEND AND -- YOU NEED TO

TAKE OUT OF THAT FEELING.

HELP.

IT'S HARD -- IT'S HARD WORK.

>> SHE UNDERSTANDS WHAT IT IS TO

BE A WOMAN AND A BALLERINA, AND

TO NOT BE AT YOUR BEST EVERY

DAY.

SO ON THOSE DAYS WHERE YOU'RE

JUST BEATING YOURSELF UP, AND

I'VE CRIED WITH IRINA MANY

TIMES.

SHE REMINDS YOU THAT THIS IS

GOING TO BE OVER SOON.

THIS CAREER DOESN'T LAST LONG,

AND ENJOY EVERY SECOND OF IT.

YOU'RE GOING TO GO ON AND BE A

MOTHER AND HAVE BABIES.

SHE REMINDS YOU OF THE HUMANITY

OF WHAT WE DO.

WE WILL NEVER PERFECT WHAT WE'RE

STRIVING FOR EVERY DAY IN CLASS.

THE POINT OF IT IS TO CONTINUE

TO STRIVE BETTER.

WHETHER IT'S THE TEACHER, THE

BALLET MISTRESS.

IS THERE TO WATCH TO SEE IF

THERE'S SOMETHING THAT MAYBE

YOU'RE DOING THAT WILL CAUSE AN

INJURY.

IF THERE'S SOMETHING YOU'RE

DOING THAT THEY CAN HELP MAKE

EASIER OR MAKE WORK BETTER.

IT SOUNDS NEGATIVE THAN IT IS.

>> ALL DANCERS FEEL THAT THEY'RE

NOT GOOD ENOUGH, THE GOOD

DANCERS AT LEAST DO, IN MY

OPINION, BECAUSE IF YOU'RE

HUMBLE IT PUSHES YOU FORWARD.

AND YOU AUTOMATICALLY LOOK FOR

THINGS WHICH ARE WRONG AND WHICH

COULD BE BETTER.

WE AS DANCERS ARE OUR OWN

PRODUCTS.

YOU HAVE TO GET BETTER.

IF NOT A TECHNICAL WAY, HAVE YOU

TO DO IT IN AN ARTISTIC WAY.

I THINK THAT FEMALE DANCERS DO

GET EVEN MORE OUT OF IT THAN I

DO.

AND I'M A LITTLE SET.

I WISH I WOULD HAVE SOMEBODY

LIKE THAT WHO REALLY DANCE THE

ROLES I DANCE.

>> THERE ARE NO NOTES.

THAT'S WHAT BALLET IS.

UNLESS THERE'S A FILM OF IT,

EVEN WITH A FILM, YOU'RE GETTING

SOMEONE'S INTERPRETATION OF

THOSE STEPS.

AND THAT'S THE QUIRKY THING

ABOUT BALLET AND BEING A GOOD

COACH.

YOU HAVE TO ALLOW PEOPLE NOT TO

DO IT LIKE YOU DID IT.

BUT TO FIND THE TRUTH IN IT FOR

THEMSELVES SO THEY CAN GIVE

THEIR INDIVIDUAL INTERPRETATION.

AND THAT'S WHY PEOPLE LIKE IRINA

ARE SO INVALUABLE.

THEY HAVE INCREDIBLE RESPECT AND

LOVE OF THE MATERIAL.

AND SHE'S ABLE TO KEEP TRACK OF

AN AMAZING AMOUNT OF VERSIONS OF

THE SAME BALLET.

>> WHAT YOU WANT TO DO AS A

COACH FOR THEM THEM IS TO TEACH

THEM WHAT THEY KNOW AS BEST THEY

CAN KNOW IT, TO THE DEGREE WHERE

THEY COULD SIT IN THE FRONT OF

THE ROOM AND COACH SOMEONE ELSE.

THAT'S THE OBJECTIVE, YOU'RE

GOING TO CARRY THIS ON.

>> I WAS DOING SWAN LAKE.

AND WE WERE IN THE STUDIO, IT

WAS MY LAST REHEARSAL BEFORE MY

SHOW.

AND I WAS JUST STANDING THERE

WATCHING HER SHOW ME WHAT IT IS

I SHOULD BE DOING, AND LISTENING

TO HER SPEAKING.

AND I JUST STARTED CRYING MY

EYES OUT.

AND THEN SOME OTHER DANCERS

WALKED IN AND THEY'RE LIKE, OH,

GOSH.

IT'S THE DAY OF HER SHOW.

SHE'S HAVING A MELTDOWN.

I'M NOT CRYING BECAUSE I'M

NERVOUS OR DON'T FEEL READY.

I'M SO GRATEFUL TO HAVE YOU IN

MY LIFE.

>> THIS GENERATION OF YOUTH

SHOULD UNDERSTAND, JUST

RESPECTING OUR ELDERS AND SO

MUCH THAT WE CAN GAIN FROM THEM

AND THEIR EXPERIENCES, IT WAS

JUST LIKE THIS MOMENT THAT I WAS

LIKE, I WANT TO HOLD ON TO YOU,

AND TO EVERY WORD YOU SAY.

AND I LOVE HER, AND SHE'S GIVEN

ME SO MUCH.

>> IT'S LOVE.

SHE SO LOVES HER DANCERS AND

COACHES.

AND LOVES THE ART FORM, AND THE

ROLES SHE'S WORKING WITH THEM

ON.

AND LOVES THE KNOWLEDGE THAT SHE

GOT FROM PEOPLE SHE LOVED.

THAT IT'S INFECTIOUS.

♪♪

>>> FOR MORE INFORMATION ON

CULTURAL EVENTS IN OUR AREA,

SIGN UP FOR OUR FREE WEEKLY

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>>> I'M CLAIRE TOLLS, CURATOR IN

THE AMERICAN WING AT THE

METROPOLITAN MUSEUM OF ART.

AND WE'RE STANDING IN THE NEW

AMERICAN WING GALLERIES.

26 NEW SPACES DEVOTED TO ART

FROM THE 18th CENTURY THROUGH

THE EARLY 19th CENTURY.

I'M HERE TODAY TO TALK ABOUT

AUGUSTA SAINT GAUDINS WHO IS

ARGUABLY THE GREATEST AMERICAN

SCULPTOR OF THE LATE 19th

CENTURY.

THE METROPOLITAN HAS 50 WORKS,

WE'RE FORTUNATE TO BE ABLE TO

PRESENT HIS WORK IN A

COMPREHENSIVE WAY FROM EARLY

CAMEO PORTRAITS TO LOW RELIEF

PORTRAITS OF HIS FRIENDS AND

FELLOW ARTISTS TO MODELS FOR AND

REDUCTIONS AFTER HIS GREAT CIVIL

WAR MONUMENTS.

HE CAME HERE AS AN INFANT AND

WAS RAISED ON THE LOWER EAST

SIDE.

HE BEGAN WORKING AS AN

APPRENTICE FOR A CAMEO CUTTER.

THAT FUELED HIS INTEREST IN

BECOMING A SCULPTOR.

IN 1867 HE WENT ABROAD TO PARIS

TO STUDY, AND TRAINED AT THE

BOSAR, WHICH WAS REALLY THE

FOREMOST TRAINING GROUND FOR

STUDENTS ACROSS THE WORLD AT

THAT TIME.

HE ALSO STUDIED IN ROME, CAME

BACK TO NEW YORK AND ESTABLISHED

A CAREER AS A SCULPTOR OF GREAT

CIVIL WAR MONUMENTS.

SOME OF THE BEST KNOWN WORKS IN

NEW YORK ARE THE FARRAGUT

MONUMENT IN MADISON SQUARE PARK

AND THE GREAT EQUESTRIAN STATUE

OF GENERAL SHERMAN IN A SPACE

CALLED GRAND ARMY PLAZA.

>> AFTER SHERMAN DIED, ST.

GAUDINS RECEIVED A SCHOLARSHIP

TO CREATE AN AIL GORICAL FIGURE

INTO A REALISTIC PORTRAIT OF THE

PERSON WHO WAS BEING

COMMEMORATED.

WHILE GENERAL SHERMAN IS

MARCHING ALONG ON HORSEBACK, THE

WINGED FIGURE OF VICTORY IS

LEADING HIM ON.

SHE HOLDS A PALM FRONT IN HER

HAND WHICH IS THE SYMBOL OF

VICTORY.

AND SHE IS REALLY QUITE AMERICAN

IN A SENSE.

ST. GAUDINS WORKED WITH SEVERAL

DIFFERENT MODELS TO CREATE THIS

SCULPTURE, GENERALLY, THIS WAS A

PROCESS THAT WAS KIND OF AN

AMALGAMATION OF POSES.

MOST INTERESTING IS THE FACT

THAT ONE OF THE MODELS WAS A

WOMAN NAMED HEADY ANDERSON A

WOMAN FROM SOUTH CAROLINA AND

ST. GAUDINS WORKED WITH HER

FREQUENTLY AND SAID SHE HAD A

FIGURE LIKE A GODDESS.

IN THE CASE OF THE VICTORY, HE

ARRANGED DRAPERIES ON FOUR

DIFFERENT MODELS AND IT TOOK HIM

SOMETHING LIKE TWO WEEKS TO GET

THE LOOK HE WAS AFTER, AND WHEN

HE FINISHED THE FIGURE, HE WROTE

HOORAY, IT'S THE GREATEST

VICTORY ANYONE EVER MADE.

HERE I AM IN FRONT OF ONE OF OUR

MOST RECENT SCULPTURE

ACQUISITIONS.

ST. GAUDINS STANDING LINCOLN.

THIS IS AN EXCITING PIECE FOR

OUR COLLECTION, BECAUSE DESPITE

THE COMPREHENSIVENESS OF THE

COLLECTION, WE HAD NO SCULPTURES

REPRESENTING THIS GREAT

COMMISSION THAT HE DID FOR THE

CITY OF CHICAGO.

ST. GAUDINS WAS COMMISSIONED TO

COMPLETE A PORTRAIT OF ABRAHAM

LINCOLN IN 1853 AND UNVEILED IN

LINCOLN PARK IN 1887.

FOR THE PORTRAIT OF LINCOLN, HE

RELIED ON A NUMBER OF DIFFERENT

SOURCES.

BUT VERY INTERESTINGLY HE HAD

FIRSTHAND EXPERIENCE WITH

LINCOLN, BECAUSE HE GREW UP IN

NEW YORK CITY.

AND SAW LINCOLN WHEN HE CAME TO

NEW YORK IN 1861 ON HIS WAY TO

WASHINGTON TO ASSUME THE

PRESIDENCY.

LATER ST. GAUDINS WAS ONE OF

THOUSANDS OF PEOPLE WHO WENT

THROUGH A LINE AT CITY HALL TO

SEE THE SLAIN PRESIDENT LYING IN

STATE IN APRIL OF 1865.

SO HE SAID THAT THESE TWO TIMES

THAT HE SAW LINCOLN REALLY

FORMED HIS IMPRESSION OF THE

GREAT MAN AS HE CALLED HIM.

ST. GAUDINS ALSO READ HIS

SPEECHES AND WRITINGS, AND

REFERENCED PHOTOGRAPHS THAT WERE

TAKEN OF LINCOLN DURING THE

CIVIL WAR.

A VERY INTERESTING OPPORTUNITY

AROSE FOR HIM IN 1885 WHEN AN

ARTIST FRIEND OF HIS SHOWED ST.

GAUDINS PLASTER MODELS OF

LINCOLN'S FACE AND HANDS.

AND THESE WERE MODELS THAT HIS

FATHER, THE SCULPTOR LEONARD

VOLLING HAD TAKEN FROM LIFE WHEN

LINCOLN WAS RUNNING FOR

PRESIDENT IN THE SPRING OF 1860.

SO ST. GAUDINS WAS ABLE TO USE

THE LIFE MASK AS WELL AS THE

MODELS OF THE HANDS TO

INCORPORATE INTO HIS SCULPTURE.

HERE'S LINCOLN IN A TRANSITIONAL

MOMENT, WE CAN PRESUME HE'S

STOOD UP FROM THIS OVERSIZED

CHAIR OF STATE.

WITH AN EAGLE EMBLAZENED ON ITS

CREST RAIL.

AND HE IS IN THIS MOMENT OF CON

TEM PLACE WHERE WE PRESUME IS

ABOUT TO LIFT HIS HEAD TO

ADDRESS THE AUDIENCE IN FRONT OF

HIM AND SAY SOMETHING MEANINGFUL

AND SERIOUS AND PROFOUND.

AND HE CAPTURES THE PENSIVENESS

AND THE SOLEMNITY THAT LINCOLN

FELT DURING THIS GREAT WAR.

HE WAS KNOWN FOR HIS ATTENTION

TO NATURALISTIC DETAIL, NOT ONLY

TO GETTING AN ACCURATE PORTRAIT

AOF FACIAL REPRESENTATION, BUT

ALWAYS THINKING OF LITTLE WAYS

TO ENLIVEN THE COMPOSITIONS TO

MAKE THEM MORE INTERESTING,

WHETHER IT'S ATTENTION TO

TEXTURAL DETAIL OR LITTLE

NARRATIVE DETAILS THAT REALLY

BRING THE PIECES ALIVE.

I'M CURATOR IN THE AMERICAN WING

AT THE METROPOLITAN MUSEUM, AND

I HOPE YOU'LL COME AND VISIT OUR

GALLERIES AND PAY SPECIAL

ATTENTION TO THE INSTILLATION OF

OUR SCULPTURE COLLECTION.

♪♪

>>> HELLO, I'M RAPHEAL P. ROMAN,

WELCOME TO THIS WEEK AT LINCOLN

CENTER.

THE THEATERS OVERFLOWING WITH

THE BEST IN MUSIC, DANCE, OPERA

AND DRAMA FROM AROUND THE WORLD.

IT'S TRULY THE INTERNATIONAL

CROSSROADS OF ARTS AND CHAMBER.

JUILLIARD WILL BE PERFORMING ON

DECEMBER 9th.

THE PROGRAM WILL FEATURE

BEETHOVEN'S SYMPHONY NUMBER ONE

IN C MAJOR.

STRAUSS AND MOZART, WITH DOUBLE

BASE SOLOIST NINA BETTER NET.

FOR COMPLETE DETAILS VISIT

JUILLIARD.EDU.

FOR MORE INFORMATION, YOU CAN

VISIT THEIR WEBSITE AT

LINCOLNCENTER.ORG.

♪♪

>>> THANKS FOR JOINING US THIS

EVENING.

I'M PHILIPPE DI MONTY BELLOW.

GOOD NIGHT AND SEE YOU NEXT

TIME.

>>> NEXT WEEK ON NYC ARTS, A

PROFILE OF THE PHOTOGRAPHER

GREGORY KRUTZEN.

>> I DIVIDE MY LIFE BETWEEN

PREPRODUCTION, PRODUCTION AND

POST PRODUCTION.

PREPRODUCTION IS MAPPING OUT THE

IMAGES.

WRITING THE DESCRIPTIONS AND

THEN PRODUCTIONS ARE USUALLY

ABOUT FOUR OR FIVE WEEKS WHERE

WE'RE ALL TOGETHER MAKING

PICTURES ALMOST EVERY DAY.

AND A VISIT TO THE LESLEY LOMAN

MUSEUM IN SOHO.

>> IF YOU WALK INTO OUR MUSEUM,

YOU'RE GOING TO SEE IMAGES THAT

PRESENT PEOPLE EITHER FIGHTING

FOR RIGHTS, COMMEMORATING LOVED

ONES THAT PASS 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 ULTIMATE EXPERIENCE.

>>> 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.

>>> AND BY SWAN AUCTION

GALLERIES.

>> SWAN AUCTION GALLERIES, WE

HAVE A DIFFERENT WAY OF LOOKING

AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE

ARTS SINCE 1941, WORKING TO

COMBINE KNOWLEDGE WITH

ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG

COLLECTOR OR LOOKING TO SELL.

INFORMATION AT SWAN

STREAM NYC-ARTS ON

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