NYC-ARTS

S2020 E480 | FULL EPISODE

NYC-ARTS Full Episode: February 13, 2020

A tour of the exhibition “Stretching the Canvas: Eight Decades of Native Painting,” on view at the National Museum of the American Indian. And a visit to the Franklin D. Roosevelt Presidential Library and Museum.

AIRED: February 13, 2020 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

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

LOOK AT THE EXHIBITION

"STRETCHING THE CANVAS" NOW ON

VIEW AT THE NATIONAL MUSEUM OF

THE AMERICAN INDIAN.

>> I THINK IT WAS THAT FIRST

TEMPURA PAINT ON NEWS PRINT IN

KINDERGARTEN THAT SAID TO ME,

THIS IS WHAT I'M GOING TO BE

DOING THE REST OF MY LIFE.

IT WAS THAT ACTION OF THE HANDS.

I REMEMBER BEING 6 YEARS OLD,

6 1/2, AND THINKING, I DON'T

KNOW, THIS FEELS -- I'M IN MY

ZONE NOW.

LIGHTNING HIT ME, THIS IS WHAT

I'M GOING TO BE DOING THE REST

OF MY LIFE, AND I'M STILL DOING

IT.

SO I THINK YOU CAN BE BORN A

PAINTER SOMETIMES.

>>> AND A VISIT TO THE FDR

PRESIDENTIAL LIBRARY AND MUSEUM

IN HISTORIC HYDE PARK, NEW YORK.

>> ROOSEVELT WANTED IT TO BE AN

ARCHIVE BUT ALSO A MUSEUM WHERE

PEOPLE COULD COME AND LEARN MORE

ABOUT HIM AND HIS

ADMINISTRATION.

>>> 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.

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.

♪♪

♪♪

>>> GOOD EVENING AND WELCOME TO

"NYC ARTS."

I'M PHILIPPE DI MONTEBELLO.

AT THE TISCH WNET STUDIOS AT

LINCOLN CENTER.

ON OUR PROGRAM TONIGHT,

WE'LL VISIT THE SMITHSONIAN

NATIONAL MUSEUM OF THE AMERICAN

INDIAN.

IT IS LOCATED DOWNTOWN IN NEW

YORK CITY AT BOWLING GREEN.

THE MUSEUM'S MISSION IS TO

FOSTER A MORE INFORMED

UNDERSTANDING OF NATIVE PEOPLES

OF THE AMERICAS.

CURRENTLY ON VIEW IS "STRETCHING

THE CANVAS: 80 YEARS OF NATIVE

PAINTING."

IT IS A GROUP SHOW OF WORK BY

OVER 30 ARTISTS, AND THEY'RE ALL

DRAWN FROM THE MUSEUM'S

PERMANENT COLLECTION AND CREATED

BETWEEN 1940 TO THE PRESENT DAY.

THE PREMISE OF THE EXHIBITION IS

TO CHALLENGE EXPECTATIONS OF

WHAT CONSTITUTES INDIAN ART.

THE WORKS REFLECT A GREAT

VARIETY OF COLOR, STYLE, AND

SUBJECT.

FROM FLAT ILLUSTRATIVE PIECES

THAT DEPICT IDEALIZED SCENES TO

LARGE-SCALE ABSTRACT WORK THAT

USES IRONY TO CONFRONT NATIVE

ISSUES, THE SHOW HINGES ON THE

MOMENT WHEN THESE ARTISTS BROKE

THROUGH TO MODERNISM.

>> I THINK THAT FIRST TEMPURA

PAINT ON NEWSPRINT IN

KINDERGARTEN THAT SAID TO ME,

THIS IS WHAT I'M GOING TO BE

DOING THE REST OF MY LIFE.

IT WAS THE ACTION OF THE FANS.

I REMEMBER BEING 6 YEARS OLD OR

SOMETHING LIKE THAT, 6 1/2, AND

THINKING, I DON'T KNOW THIS

FEELS -- I'M IN MY ZONE NOW.

LIGHTNING HIT ME, THIS IS WHAT

I'M GOING TO BE DOING THE REST

OF MY LIFE, AND I'M STILL DOING

IT.

AND SO I THINK YOU CAN BE BORN A

PAINTER SOMETIMES.

>> WE BEGIN THE EXHIBITION

"STRETCHING THE CANVAS" IN THIS

LARGE SALON-SCALED GALLERY WITH

SOME OF OUR OVERSIZED LARGE

PAINTINGS.

AND THE REASON THIS IS THAT WE

FELT THAT THIS WORK WAS

COMPARABLE TO ANYTHING YOU WOULD

SEE AT THE WHITNEY, ANYTHING YOU

WOULD SEE AT THE MUSEUM OF

MODERN ART.

SO WE REALLY WANTED TO PUT SORT

OF A BEST FOOT FORWARD AND

INVITE OTHER MUSEUMS TO IMAGINE

THIS KIND OF WORK IN THEIR

GALLERIES.

MAKING PAINTINGS IS ACTUALLY NOT

SO MUCH A TRADITIONAL ART FORM.

THERE ARE TRADITIONS OF PAINTING

ON HIDE, KIVA PAINTINGS, THAT

KIND OF THING.

MOST OF THE MODERN PAINEDING

THAT COMES OUT OF THE 1920s WHEN

YOUNG NATIVE STUDENTS,

PARTICULARLY IN THE SOUTHWEST,

EVEN OKLAHOMA, WERE LEARNING THE

BASICS OF ART INSTRUCTION IN

THEIR SCHOOLS.

THE SCHOOLS ENCOURAGED THIS

AMERICAN ART STYLE THAT WAS THAT

FLAT ILLUSTRATIVE STYLE FOCUSING

ON NATIVE AMERICAN SUBJECTS.

JUST TO GIVE OUR VISITORS SOME

SENSE OF WHERE THIS IS ALL

COMING FROM, THE KIND OF

FOUNDATION FROM WHICH THIS MORE

ADVENTURESOME WORK GREW.

FROM THERE WE INVESTIGATE SOME

OF THE THINGS THAT INVITED

ARTISTS THINK ABOUT THEIR ART IN

A MORE BROADWAY.

WE HAVE A SMALL GALLERY THAT

LOOKS AT ARTISTS WHO TRAVELED TO

NEW YORK CITY IN THE 1940s AND

1950s AND BEGAN TO THINK ABOUT

THEMSELVES MORE AS ARTISTS ON A

WORLD STAGE.

SOME ARTISTS WERE INSPIRED BY

POP ART, DEVELOPMENTS OF THE

1960s, THE 1970s, OVERSIZED

CANVASS AND A MORE PLAYFUL

APPROACH TO NATIVE AMERICAN

SUBJECTS.

ONE OF THE THINGS I THINK

AMERICAN INDIANS STRUGGLE WITH

THROUGHOUT THE 20th, 21st

CENTURY ARE EXPECTATIONS THAT

THEY'RE NOT PART OF THE MODERN

WORLD.

SO PEOPLE EXPRESS SURPRISE,

WELL, AMERICAN INDIANS USE CELL

PHONES, THEY DRIVE CARS,

RIDICULOUS THINGS LIKE THAT.

IT'S NOT AS UNCOMMON AS YOU

MIGHT THINK.

THOSE ARTISTS ARE PART OF THE

CONTEMPORARY WORLD.

THEY'RE ALSO PART OF THEIR

TRADITIONAL WORLD AND

COMMUNITIES AS WELL.

AMERICA MEREDITH, A CHEROKEE

ARTIST, IS REALLY A POLYMATH.

SHE'S EDITOR OF A VERY

INFLUENTIAL ART JOURNAL.

SHE'S ALSO AN ARTIST, A PAINTER.

>> I WENT TO GRADUATE SCHOOL AT

SERVICES GROWN INSTITUTE AND I

HAD FELLOW CLASSMATES SAY, WHY

WOULD ANYONE GO TO GRAD SCHOOL

FOR PAINTING?

I HAD A LOT OF TIME TO THINK OF,

WHY IS PAINTING RELEVANT?

IS IT PASSE?

OKAY, HUMAN BEINGS HAVE BEEN

PAINTING FOR THE LAST 100,000

YEARS.

SO IS DANCING PASSE?

IS POETRY PASSE?

IS SINGING PASSE?

NO, THESE ARE ALL INTRINSICALLY

HUMAN EXPRESSIONS.

PAINTING, IF YOU'RE PASSIONATE

ABOUT COLOR, TEXTURE, PAINTING

IS SO PRIMEVAL, I THINK.

THIS PIECE IN THE SHOW, IT'S

FROM 2005.

A MAIN CHARACTER IS THIS VERY

CONTROVERSIAL LAKOTA MEDICINE

MAN, JOHN PARALINGER.

HE'S SAYING, GO OUT INTO THE

WORLD, YOU'LL SERVE PEOPLE

BETTER IF YOU FULLY LIVE YOUR

LIFE, DON'T TRY TO LIVE THIS

CLOISTERED LIFE, GO OUT AND

SCREW UP.

THE LEDGER DESIGN REFERENCES

LEDGER ART.

THIS KIND OF TRANSITIONAL ART.

THAT'S AN INTERSECTION TO WHEN

WESTERN MATERIALS CAME OUT TO

THE PLAINS.

THESE OLD LEDGERS WERE USED BY

ARTISTS WHO PREVIOUSLY HAD BEEN

PAINTING ON ANIMAL HIDES.

AND I THINK IT'S ONE OF THE

GREATEST IRONIES.

IF YOU PAINT ON THIS ANIMAL

HIDE, MANY PEOPLE DON'T CONSIDER

THAT ART WITH A CAPITAL "A."

IF YOU PAINT ON A RECTANGLE AND

IT'S PAPER, THEN IT'S OKAY.

NORVELLE MORSO CREATED THIS VERY

ABSTRACT, HEAVILY BLACK OUTLINED

SNAKE AND EAGLE.

THE FLAT STONE ON THE CORNER

WHAT IS I GREW UP WITH IN

OKLAHOMA, THE PAINTING STYLE IS

VERY FLAT, HEAVILY OUTLINED,

KIND OF THE SOUTHWEST LANDSCAPE.

I USE KIND OF POP IMAGERY.

KIND OF CHILDREN'S IMAGERY.

IT'S TOUCHSTONES THAT I THINK

MOST PEOPLE COMING HERE ARE

FAMILIAR WITH, RICHARD SCARY,

AMAZING ARTIST, THE MUPPETS.

THAT'S MY CHILDHOOD.

WE SEE A LOT OF CONTROL IN

NATIVE ART AND WE DON'T SEE

LIVING LOOSE.

MARIAN MARTINEZ IS A WONDERFUL

EXAMPLE OF SOMEONE LIVING LOOSE

AND BEING VERY FREE, VERY

SPONTANEOUS WITH THIS IMAGERY.

>> I HAVE ALWAYS LOVED

ABSTRACTION.

I HAVE PROCLIVITY TO IT.

I WAS DRAWN TO IT BECAUSE THERE

WAS A -- I UNDERSTOOD AS A YOUNG

KID THAT YOU DIDN'T DO

CEREMONIAL IMAGERY, YOU DIDN'T

DO CULTURAL IMAGERY, TO BENEFIT

FROM YOUR CULTURE, TO BENEFIT

MONETARILY.

SO AS A KID I KNEW THAT I

COULDN'T USE THAT IMAGERY.

SO I GUESS A GREAT AVENUE OUT

WOULD BE WHAT I FELL IN LOVE

WITH, MODERNISM.

A PURE SENSE, ENERGY SENSE,

ABSTRACTIONS I THINK FOR ME ARE

STILL THE MOST POWERFUL

ENVIRONMENT IN THAT WAY IT'S

UNDERSTOOD.

>> I THINK ANOTHER THEME OF THE

SHOW IS THAT PEOPLE BEING

UNCONSTRAINED.

SO YOU HAVE A LOT OF PEOPLE

LOOKING OUTSIDE THEIR TRIBAL

HERITAGE AND LOOKING AT THE

BROADER WORLD.

KAY WALKINGSTICK WAS BORN IN NEW

YORK.

SHE'S STILL IN THE NORTHEAST.

SHE IS CHEROKEE, BUT SHE VERY

SELDOM USED OVERT CHEROKEE

IMAGERY, SHE'S DEVELOPED HER

OWN.

IN THIS SHOW SHE USES

SOUTHWESTERN LANDSCAPE.

NATIVE PEOPLE TRAVEL.

THEY SEE AND RESPOND TO

DIFFERENT COMMUNITIES.

SO SHE HAS HER OWN STYLE WHERE

SHE'S USING ICONOGRAPHY AND THEN

LANDSCAPE.

SO THIS INNER AND OUTER WORLD,

SYMBOLIC WORLD, AND

REPRESENTATIONAL WORLD.

MANY OF HER WORKS ARE DYPTICH,

DIVIDED IN TWO.

THAT'S SOMETHING SHE SET FOR

HERSELF.

WHEN I WAS A CHILD, THE CAMPUS

HAD AN ART PROGRAM.

IT'S UNIQUE BECAUSE IT'S ALWAYS

BEEN RUN BY NATIVE ART

DIRECTORS.

IT STARTED IN 1935, AND THEY

HAVE A PIECE BY THE FIRST

DIRECTOR, ACEY BLUEEAGLE.

DICK WEST, HE WAS A DIRECTOR,

AND HE SUMMONED SIGHIAN.

CHEYENNE.

IN THE SHOW THERE'S TWO PIECES.

ONE IN THE SECTION CALLED

TRAINING GROUND THAT IS

CONSIDERED THE 20th CENTURY

NATIVE WAY TO PAINT, WHERE IT'S

HEAVILY OUTLINED, HEAVILY

CONTOURED.

BUT AS YOU SEE, HE IN THIS

PAINTING, IT'S VERY ABSTRACT,

HE'S PLAYING WITH COLOR, HE'S

PLAYING WITH TEXTURE.

THE FACT THAT HE REALLY JUST

GAVE HIMSELF PERMISSION TO

EXPERIMENT IN MANY DIFFERENT

WAYS.

AND I THINK SOMETIMES THE ART

CANON DOESN'T REALLY REFLECT HOW

FREE SOME OF THESE ARTISTS WERE.

>> WE THINK ONE OF THE GREAT

STANDOUTS OF THIS EXHIBITION IS

JAMES LAVADOR.

HIS PAINTING "BLANKET" IS A

SERIES OF PANELS THAT SUGGEST

LANDSCAPE WITHOUT REALLY

REPRESENTING IT.

WHAT I PARTICULARLY ENJOY ABOUT

HIS WORK, I WOULDN'T SAY HE'S

ENTIRELY SELF-TAUGHT, BUT HE IS

NOT FOLLOWED, HE DOESN'T COME

OUT OF A UNIVERSITY STUDIO

SCHOOL SYSTEM.

BUT HE HAS THIS WONDERFUL

INSIGHT ABOUT THE QUALITY OF

PAINT AND ITS RELATIONSHIP TO

GEOLOGY.

THAT PAINT, WHAT IS PAINT BUT

BASICALLY MINERALS THAT ARE

SUSPENDED IN LIQUID.

SO HIS INSIGHT IS THAT A

PAINTING IN A SENSE IS KIND OF

AN ACT OF GEOLOGY, BY CREATING A

PAINTING YOU'RE ALMOST MIMICKING

GEOLOGICAL FORCES BY HYDROLOGY,

OF LAYERING.

HE WORKS WITH PIGMENTS ON

SURFACE AND MANIPULATES THEM

UNTIL SUGGESTIONS OF LANDSCAPE

BEGIN TO EMERGE.

AS IF HE'S NOT PAINTING AN IMAGE

OF A LANDSCAPE, BUT ACTUALLY

CONSTRUCTING LAND HIMSELF OUT OF

THE PAINT.

TURNS OUT THAT MUSEUMS ACROSS

THE COUNTRY ARE BEGINNING TO

UNDERSTAND THAT THEIR

REPRESENTATION OF AMERICAN ART

HISTORY IS LIMITED AND

CONSTRAINED TO A CERTAIN EXTENT,

THAT IT DOESN'T INCLUDE THE WORK

OF SOME OF THESE ACCOMPLISHED

ARTISTS WHO HAVE BEEN WORKING

FOR MANY DECADE.

>> I'M VERY IMPRESSED WITH THE

SHOW BECAUSE IT REALLY SAYS

THAT, COME ATTENTION OR NOT,

COME ACCEPTANCE OR NOT, WE ARE

GOING TO DO WHAT WE ARE GOING TO

DO.

AND WE ARE AS GOOD AS ANYBODY

ELSE.

IT IS PROOF THAT WE ARE PART OF

THAT AMERICAN CULTURAL

EXPERIENCE.

>> FOR MORE INFORMATION ON

CULTURAL EVENTS IN OUR AREA,

PLEASE SIGN UP FOR OUR FREE

WEEKLY EMAIL AT

NYC-ARTS.ORG/EMAIL.

TOP FIVE PICKS WILL KEEP YOU UP

TO DATE ALL YEAR ROUND.

AND BE SURE TO CONNECT WITH NYC

ARTS ON FACEBOOK, INSTAGRAM, AND

TWITTER.

>>> NEXT WE VISIT THE FRANKLIN

D. ROOSEVELT PRESIDENTIAL

LIBRARY AND MUSEUM LOCATED IN

HISTORIC HYDE PARK, NEW YORK.

JUST ABOUT TWO HOURS NORTH OF

NEW YORK CITY.

THE LIBRARY AND MUSEUM WAS BUILT

ON THE GROUNDS OF THE

BIRTHPLACE, HOME, AND BURIAL

PLACE OF THE 32nd PRESIDENT OF

THE UNITED STATES.

IN 2013, THE LIBRARY COMPLETED A

FULL-SCALE RENOVATION OF THE

HISTORIC BUILDING, THE FIRST

SINCE IT OPENED IN 1941.

IT ALSO UNVEILED A TOTALLY

REDESIGNED PERMANENT MUSEUM

EXHIBIT.

THE NEW DEAL FOR A NEW

GENERATION, THAT'S THE SHOW THAT

TELLS THE STORY OF THE ROOSEVELT

PRESIDENCY BEGINNING IN THE

DEPTHS OF THE GREAT DEPRESSION

AND CONTINUING THROUGH THE NEW

DEAL AND WORLD WAR II.

>> THE FRANKLIN D. ROOSEVELT

PRESIDENTIAL LIBRARY AND MUSEUM

IS PART OF THE NATIONAL ARCHIVES

AND RECORDS ADMINISTRATION.

THE BUILDING ITSELF WAS CREATED

BY THE PRESIDENT AND OPENED IN

1941.

ROOSEVELT WANTED IT TO BE AN

ARCHIVE BUT ALSO A MUSEUM WHERE

PEOPLE COULD COME AND LEARN MORE

ABOUT HIM AND HIS

ADMINISTRATION.

THERE ARE OVER 17 MILLION PAGES

OF DOCUMENTS IN THE ARCHIVE.

WE HAVE ALL OF THE PERSONAL AND

PUBLIC PAPERS OF FRANKLIN

ROOSEVELT AND ELEANOR ROOSEVELT,

AND OUR MUSEUM COLLECTION TOTALS

OVER 35,000 ITEMS.

WE'RE THE ONLY PRESIDENTIAL

LIBRARY TO HAVE THE ACTUAL DESK

USED BY THE PRESIDENT IN THE

OVAL OFFICE.

IN ADDITION TO THE DESK, WE HAVE

ALL OF THE OBJECTS THAT FDR HAD

ON THAT DESK AT THE TIME OF HIS

DEATH IN APRIL OF 1945.

ONE OF THE THINGS THAT FDR DID

WHEN HE CREATED HIS LIBRARY IN

1941 WAS HE CREATED A PRIVATE

STUDY WHERE HE COULD COME AT ANY

TIME.

DURING WORLD WAR II HE VERY

OFTEN USED THAT OFFICE AS A

WORKING OFFICE.

AND WE'VE KEPT IT ALMOST EXACTLY

THE WAY IT LOOKED THE LAST TIME

HE WAS IN THE ROOM IN THE SPRING

OF 1945 DURING HIS FINAL VISIT

TO HYDE PARK.

SO YOU GET A REAL VISCERAL SENSE

OF THE PRESIDENT.

IT'S ALMOST AS IF HE HAS JUST

LEFT THE ROOM.

THIS MUSEUM COVERS A WIDE SPAN

OF OUR HISTORY, FROM THE GREAT

DEPRESSION ALL THE WAY UP

THROUGH THE YEARS OF WORLD WAR

II.

OF COURSE HE WAS THE ONLY MAN

ELECTED TO FOUR TERMS AS

AMERICA'S PRESIDENT.

THIS WAS A PRESIDENT WHO

PROFOUNDLY CHANGED BOTH DOMESTIC

LIFE FOR AMERICANS AND OUR

RELATIONSHIP TO THE WORLD.

HE WAS INSTRUMENTAL IN GETTING

THE NATION TO TURN DECISIVELY

AWAY FROM AN ISOLATIONIST VIEW

TOWARDS THE WORLD AND REALLY

ENGAGING WITH THE WORLD.

AND DOMESTICALLY IT INVOLVED ALL

OF THE DIFFERENT INITIATIVES OF

THE NEW DEAL.

THIS NEW EXHIBITION, A NEW DEAL

FOR A NEW GENERATION, WAS

CREATED DURING A MAJOR

UNDERTAKING TO RETHINK AND

REIMAGINE THE ENTIRE MUSEUM.

THE NEW DEAL WAS THE TERM THAT

WAS COINED TO DESCRIBE THE WIDE

VARIETY OF PROGRAMS AND POLICIES

THAT ROOSEVELT INITIATED TO

COMBAT THE GREAT DEPRESSION.

EVERYTHING FROM THE TENNESSEE

VALLEY AUTHORITY TO SOCIAL

SECURITY TO UNEMPLOYMENT

INSURANCE TO THE NOTION THAT THE

FEDERAL GOVERNMENT HAS A

RESPONSIBILITY TO TAKE A ROLE IN

THE NATION'S ECONOMY AND ENSURE

A CERTAIN MEASURE OF SOCIAL

JUSTICE TO ALL AMERICANS.

INCREASINGLY NOW WE'RE GETTING

VISITORS WHO DID NOT EXPERIENCE

THIS PERIOD FIRSTHAND.

SO THERE WAS A REAL NEED TO

RECAST THE WHOLE STORY OF THE

ROOSEVELT ERA, THE PERSONAL

STORIES OF FRANKLIN AND ELEANOR

ROOSEVELT AND THEIR TIMES.

DURING THE PLANNING PROCESS WE

VERY EARLY DECIDED THAT THE BEST

WAY TO TELL THE STORY OF ELEANOR

ROOSEVELT WAS TO WEAVE IT

THROUGHOUT THE STORY OF THE

ROOSEVELT PRESIDENCY.

SHE'S SO TIGHTLY INVOLVED WITH

HER HUSBAND IN ALL OF THE

INITIATIVES OF THE NEW DEAL AND

THE WORLD WAR II YEARS.

SO YOU'LL FIND HER EVERYWHERE IN

THIS EXHIBITION.

THE STORY OF FDR'S DISABILITY IS

OBVIOUSLY KEY TO UNDERSTANDING

HIM AS A PERSON.

WE HAVE OVER 100,000 PHOTOGRAPHS

IN OUR COLLECTIONS HERE AT THE

ROOSEVELT LIBRARY, BUT WE ONLY

HAVE FOUR THAT SHOW HIM IN A

WHEELCHAIR.

THERE WAS A KIND OF UNSPOKEN

RULE THAT THERE NOT BE FILM OR

PHOTOGRAPHY THAT SHOW THE EXTENT

OF HIS DISABILITY.

IN 1921, FDR CONTRACTS POLIO.

HE REMAINS PARALYZED FROM THE

WAIST DOWN THROUGH THE REST OF

HIS LIFE.

WE REALLY WANTED TO GIVE PEOPLE

A SENSE OF THE WEIGHT OF THOSE

BRACES.

10 POUNDS.

HE HAD TO PUT THEM ON HIS LEGS

IN ORDER TO BE ABLE TO STAND.

TO WALK SHORT DISTANCES, HE

WOULD THEN HAVE TO SUPPORT HIS

WEIGHT ON A CANE AND LOCK ARMS

WITH A STRONG COMPANION.

AND THEN HE WOULD LITERALLY

PITCH HIS BODY FORWARD.

AND AT THE SAME TIME HE'D BE

SMILING AND LOOKING AROUND LIKE

HE HADN'T A CARE IN THE WORLD,

WHEN IN FACT HE WAS REALLY

CONCENTRATING AS HE MOVED

HIMSELF FORWARD IN THAT MANNER.

WE HAVE HERE FDR'S 1936 FORD

PHAETON ABLE.

THIS CAR WAS SPECIALLY MODIFIED

BY A LOCAL MECHANIC SO THE

PRESIDENT COULD DRIVE IT WITHOUT

THE USE OF HIS LEGS.

HE DROVE VERY FAST, BY ALL

ACCOUNTS.

IN PARTICULAR WE HAVE A

WONDERFUL ACCOUNT FROM THE QUEEN

OF ENGLAND WHEN SHE VISITED HERE

IN 1939, TALKING ABOUT HOW

BRACING IT WAS TO RIDE WITH THE

PRESIDENT.

WHAT WE TRIED TO DO HERE IN THIS

NEW MUSEUM IS TO MIX THOSE

TRADITIONAL THINGS THAT YOU

EXPECT TO SEE IN A MUSEUM WITH

AUDIOVISUAL PRODUCTIONS, WITH

IMMERSIVE EXPERIENCES, WHERE YOU

COULD SORT OF LITERALLY STEP

INTO THE PAST.

VISITORS CAN LISTEN TO HIS

FAMOUS FIRESIDE CHATS THE WAY

PEOPLE LISTENED TO HIM AT THE

TIME.

FDR COMES INTO OFFICE IN MARCH

OF 1933 AND HIS VERY FIRST

FIRESIDE CHAT WAS AT THE END OF

THE VERY FIRST WEEK IN OFFICE.

YOU COULD READ ABOUT THE

PRESIDENT, EVENTS IN WASHINGTON

IN NEWSPAPERS.

BUT THE WAY YOU GOT THAT DIRECT

CONNECTION WAS THROUGH THE

RADIO.

>> WE HAVE PROVIDED THE

MACHINERY TO RESTORE OUR

FINANCIAL SYSTEM.

LET US UNITE IN BANISHING FEAR.

TOGETHER WE CANNOT FAIL.

>> HE'S TOUCHING PEOPLE IN A

VERY POWERFUL WAY, AND THEY'RE

WRITING BACK TO HIM IN GREAT

NUMBERS, WRITING TO HIM AS IF

HE'S A FRIEND.

>> MY DEAR MR. PRESIDENT.

>> YOUR SPEECH LAST NIGHT WAS

SOULFUL --

>> THANK YOU FOR THE HOPE YOU

HAVE GIVEN US.

>> THIS WAS A PRESIDENT WHO

INSPIRED GREAT AFFECTION AND

LOVE, BUT ALSO A GREAT DEAL OF

CRITICISM AND EVEN HATRED.

AMONG HIS OPPONENTS.

IT WAS VERY IMPORTANT TO US WE

NOT JUST INCLUDE THE SUPPORTERS

OF THE PRESIDENT BUT ALSO SHOW

HIS OPPONENTS AS WELL.

THE SUBJECTS THAT WE LOOK AT

RANGE FROM FDR'S RESPONSE TO THE

HOLOCAUST, TO HIS DECISION TO

INTERN JAPANESE-AMERICANS DURING

WORLD WAR II.

WE FOCUS ON SUBJECTS THAT WERE

CONTROVERSIAL IN THEIR DAY AND

ARE STILL BEING DEBATED AMONG

HISTORIANS.

THE LEGACY OF FRANKLIN ROOSEVELT

IS SUCH A DIFFICULT THING TO

PRESENT IN A SUCCINCT WAY.

ONE HISTORIAN SAYS THAT WE LIVE

IN THE WORLD THAT FRANKLIN

ROOSEVELT CREATED.

AND A MAJOR GOAL OF THIS

EXHIBITION IS TO REACH OUT TO

NEW GENERATIONS OF AMERICANS AND

TO DRAW OUT THE IMPORTANT

CONNECTIONS BETWEEN THE ISSUES

AND THE STRUGGLES OF THE 1930s

AND 1940s AND ISSUES OF TODAY.

>>> "NYC ARTS" COMES TO YOU EACH

WEEK FROM OUR STUDIOS AT LINCOLN

CENTER.

HERE'S WHAT'S COMING UP ON THE

NEIGHBORHOOD CALENDAR.

>> THE NEW YORK PHILHARMONIC

MARK THE CENTENNIAL OF THE

RATIFICATION OF THE 19th

AMENDMENT WHICH GRANTED EQUAL

VOTING RIGHTS TO WOMEN BY

COMMISSIONING AND PREMIERING

WORKS BY 19 WOMEN COMPOSERS.

THE MULTI-SEASON INITIATIVE, THE

SINGLE LARGEST WOMEN-ONLY

INITIATIVE IN HISTORY, LAUNCHED

EARLIER THIS MONTH WITH THE

FIRST SIX WORLD PREMIERES.

THE LATEST PROGRAM PRESENTED BY

THE PHILHARMONIC RUNS FROM

FEBRUARY 20th TO THE 22nd AND

INCLUDES A WORLD PREMIERE BY

ELLEN REID, AS WELL AS

COMPOSITIONS BY UNDERS HILLBORG

AND BJORK SUNG BY RENEE FLEMING.

FOR DETAILS VISIT NYC.ORG.

>>> NEXT WEEK THE PROFILE OF

PIANO DUO CHRISTINA AND MICHEL

NORTON, WINNERS OF THE AVERY

FISHER CAREER GRANT REWARD.

>> IT'S INTIMATE CONVERSATION.

IT'S VERY INTENSE VERSION OF

CHAMBER MUSIC I WOULD ALMOST

SAY.

YOU'RE SHARING THE INSTRUMENT.

YOU STOP THINKING, THIS IS MY

PART, THIS IS HER PART.

YOU THINK OF IT ALMOST AS ONE

AND IT SOMETIMES BECOMES VERY

CONVERSATIONAL AS WELL.

SO THE JOY AND THE FUN IN THAT

CONVERSATION IS WHAT WE KIND OF

HOPE TO BRING.

♪♪

>> AND A LOOK AT BROOKLYN

MUSEUM'S "ARTS OF CHINA" GALLERY

WHICH HIGHLIGHTS 5,000 YEARS OF

CHINESE ARTISTIC ACCOMPLISHMENT.

>> THE "ARTS OF CHINA" GALLERY

IS SET UP ROUGHLY

CHRONOLOGICALLY WITH THE

EARLIEST MATERIAL AT ONE END AND

THE LATER MATERIAL AT THE OTHER

END.

BUT THERE IS, IN FACT, A

SPRINKLING OF CONTEMPORARY ART

THROUGHOUT THE GALLERIES.

EVENING.

I'M PHILIPPE DI MONTEBELLO AT

THE TISCH STUDIOS AT LINCOLN

CENTER.

GOOD NIGHT AND SEE YOU NEXT

TIME.

TO ENJOY MORE OF YOUR FAVORITE

SEGMENTS ON "NYC ARTS," VISIT

OUR WEBSITE AT NYC-ARTS.ORG.

>>> GOOD EVENING AND WELCOME TO

"NYC ARTS."

I'M PAULA ZAHN.

>> I'M PHILIPPE DI MONTEBELLO AT

THE TISCH WNET STUDIOS AT

LINCOLN CENTER.

>> LEONARD, WHAT A PRIVILEGE TO

BE ABLE TO SIT DOWN AND TALK

WITH YOU.

>> I LOVE BEING HERE WITH YOU

TOO, PAULA.

>> WHERE ARE WE?

>> WE'RE AT A MOMENT TO TAKE

NOTHING FOR GRANTED.

>> IT'S A PLEASURE TO BE WITH

THE CURATOR OF THIS EXHIBITION

FULL OF HOPE.

WE ARE IN THE MIDST OF SOME OF

THE GREATEST SCULPTURES BY THE

ICONIC NAMES.

>> CLASSICAL AND MODERN DANCE

ARE EXTREMELY DIFFERENT.

AND I HAVE SO MUCH MORE TO LEARN

BEFORE I CAN REALLY ARTICULATE

THE DIFFERENCES.

>> WHEN I LISTEN TO HARBURG'S

LYRICS I SUDDENLY THOUGHT,

THAT'S WHAT I WANT TO DO WITH MY

LIFE.

>> MY PICTURES RESIDE IN

INTEREST LAT, PRIVATE MOMENTS.

>> MY PRIVATE WAY OF PLAYING

PIANO IS IMPROVISING.

>> YOU ARE IN SOME RESPECTS ON

SACRED GROUND.

>> A WOMAN CAME TO SEE ME

PERFORM AND SAID, HOW WOULD YOU

LIKE TO PLAYBILLY HOLIDAY?

>> I THINK ONE OF THE ESSENTIAL

THINGS WE LEARNED IS THAT

MATISSE USED PENS TO COMPOSE HIS

WORK.

>> YOU'RE SURPRISED IN OPERA,

DOING A PIECE THAT'S 100 YEARS

AGO, AND YOU THINK, OH MY GOSH,

THIS COULD BE NOW.

>> THE CARDBOARD GUITAR IS THE

VERY FIRST OF THAT MOMENT OF

REALIZATION.

>> SUDDENLY YOU COME AND PRESENT

SOMETHING, AND YOU GET APPLAUSE.

GREAT, YOU KNOW.

♪♪

>>> 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.

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

STREAM NYC-ARTS ON

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