NYC-ARTS

S2020 E6 | FULL EPISODE

NYC-ARTS Full Episode: February 6, 2020

A profile of the glorious collective voice of The Metropolitan Opera Chorus, which is comprised of 80 fulltime singers. Followed by a tour of “JR: Chronicles” guided by Sharon Matt Atkins, Director of Exhibitions and Strategic Initiatives at the Brooklyn Museum. And a visit to the American Folk Art Museum where curator Valerie Rousseau tells the story of Marino Auriti’s “The Encyclopedic Palace.”

AIRED: February 06, 2020 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

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

BEHIND THE SCENES VISIT WITH THE

FAMED METROPOLITAN CHORUS.

>> WE TRY TO PRESENT OURSELVES

AS ONE CHARACTER IN ANY GIVEN

OPERA, BUT WE'RE COMPOSED OF 80

INDIVIDUALS.

WE FIGURE OUT HOW TO CREATE A

CHARACTER AS A CHORUS BY OUR

MUSICAL EXPRESSION OF THE SCORE.

♪♪

>> AND A LOOK AT EXHIBITION J.R.

CHRONICLES AT THE BROOKLYN

MUSEUM.

>> J.R.'S WORK DOESN'T FIT INTO

A BOX.

IT'S AT THE INTERSECTION OF

PHOTOGRAPHY, SOCIAL PRACTICE,

PUBLIC ART.

WE WANTED IF IN EXHIBITION TO

REALLY FOCUS ON J.R.'S

COLLABORATIONS WITH COMMUNITIES

AND REALLY THINKING ABOUT HOW HE

GIVES A VOICE TO THOSE

COMMUNITIES.

VERY OFTEN REPRESENTING THE

UNDERREPRESENTED OR

MISREPRESENTED.

>> FUNDING FOR WHY THE NYC-ARTS

IS MADE POSSIBLE BY ROSALIND P.

WALTER, THEA PETSCHEK IERVOLINO

FOUNDATION, THE LEWIS SONNY

TURNER FUND FOR DANCE, JODY AND

JOHN ARON HOLD, 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

THATTER CLIENT IS AN INDIVIDUAL

WITH UNIQUE NEEDS.

FIRST DECREE, BE A BANK WHOSE

CURRENCY IS SERVICED IN IT 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 DeMONTEBELLO AT THE

TISCH STUDIOS AT LINCOLN CENTER.

WE BEGIN OUR PROGRAM TONIGHT

WITH A VISIT TO ONE OF OUR

NEIGHBORS ACROSS THE PLAZA, NEW

YORK CITY'S WORLD RENOWNED

METROPOLITAN OPERA.

THROUGHOUT THE SPRING DOZENS OF

OPERAS MOST TALENTED SINGERS

WILL GRACE THE MAIN STAGE

DAZZLING US WITH UNPARALLELED

VOCAL ARTISTRY.

EACH MET OPERA PRODUCTION IS

UNIQUE AND CAPTIVATING STAR

POWER.

HOWEVER, ONE VOICE LESS HERALDED

IS HEARD IN EVERY PRODUCTION,

THE COLLECTIVE VOICE OF THE

METROPOLITAN OPERA CHORUS,

COMPRISED OF 80 FULL-TIME

SINGERS.

♪♪

♪♪

>> THE CHORUS AT THE MET IS AN

INTERESTING COMPONENT IN EVERY

OPERA BECAUSE WE HAVE TO BE SO

FLEXIBLE.

WE TRY TO PRESENT OURSELVES AS

ONE CHARACTER IN ANY GIVEN

OPERA, BUT WE'RE COMPOSED OF 80

INDIVIDUALS, AND SO MY JOB IS TO

CONTROL THE MUSICAL ASPECT OF

THE CHORUS' PRESENTATION.

I TRY TO GET THE SOUND TO BE

UNIFIED AND TO COME ACROSS AS A

CERTAIN CHARACTER.

>> HERE WE WORK ON OUR SOUND AND

WE WORK ON OUR DICTION AND

PHRASING.

WE FIGURE OUT HOW TO CREATE A

CHARACTER AS A CHORUS BY OUR

MUSICAL EXPRESSION OF THE SCORE,

AND ONCE EVERYONE IN THE CHORUS

KNOWS THIS, IT SORT OF FREES

OUT.

♪♪

A NEW CHORUS AT THE MET IS

USUALLY FACED WITH A CHALLENGE

OF DECIDING, WHOA, I CAN'T

MEMORIZE 24 OPERAS IN THE NEXT

TWO WEEKS OR THREE WEEKS.

>> MY FIRST YEAR I WAS SURPRISED

TO SEE MY 23 OPERAS THAT I WAS

IN FOR THE SEASON BEING ROLLED

IN ON A DOLLY TO MY DESK AND

EVERYONE WISHING ME LUCK.

AND UH, IT WAS QUITE -- IT GETS

EASIER AS THE YEARS GO ON

OBVIOUSLY.

YOU DEVELOP A REPERTOIRE, BUT,

YEAH, IT TAKES THREE OR FOUR TO

FIVE YEARS TO REALLY SETTLE?

>> "TRAVIATA" WE NEED TO

REHEARSE IT IN ENTIRE LONG

GESTURES, THE PHRASE, EVEN THE

ENTIRE PIECE TO GET A REAL SENSE

OF THE STRUCTURE AND THE MUSICAL

VAST OF THE PARTICULAR SEGMENT.

♪♪

♪♪

>> IN THE CONCITATO AT THE END

OF THE SCENE IN "TRAVIATA" IT'S

ALL ABOUT SINGING SOFTLY BUT

SINGING WITH TELLING VIOLETA

TAKE HEART, TAKE HEART.

WE'RE HERE FOR YOU, AND YOU

CAN'T DO THAT IN THAT ENSEMBLE

BY SINGING LOUDLY.

YOU HAVE TO DO IT BY SINGING

INTENTLY WITH PURPOSE AND

DIRECTION TO THE TONE.

♪♪

♪♪

♪♪

♪♪

♪♪

>> GOOD.

REMEMBER WITH THIS YOU'RE

INTRODUCING "TRAVIATA" TO

PEOPLE.

>> WE DON'T HAVE INDIVIDUAL

LINES.

WE HAVE ONE COMMUNAL EXPRESSION.

♪♪

♪♪

♪♪

>> WITH WOZZECK YOU REALLY HAVE

TO GO BAR BY BAR, ISRAEL NOTE BY

NOTE TO MAKE SURE THE ACCURACY

IS THERE BEFORE YOU CAN EVEN

BEGIN TO RUN THE SECTION.

THERE'S ONE SECTION IN WOZZECK

THAT WE WERE REHEARSING, AND IT

BASICALLY LASTS ABOUT 30

SECONDS.

IT TAKES, I WOULD SAY, AT LEAST

AN HOUR ON SINGING THAT LITTLE

SEGMENT TO GET COMFORTABLE AND

SECURE.

>> AH, WOZZECK.

WE'RE GOING TO PUT THE LAST

PIECE OF THE PUZZLE TOGETHER.

THIS IS THE LAST LITTLE SEGMENT.

♪♪

>> ONE, TWO.

♪♪

♪♪

>> WHOA, WHOA, WHOA.

ALTO, ALTO, ALTOS, ALTO, BASSES,

CAN YOU PLEASE COME IN STRONGER

ON YOUR BLUT ON YOUR "D"

NATURAL.

THAT SHOULD BE SECOND BASSES,

HANDS?

ONCE MORE, PLEASE.

>> WOZZECK IS GOING TO BE A BIT

OF A CHALLENGE.

IT'S REALLY ANGULAR MUSIC.

IT'S NOT ALWAYS PRETTY.

A LOT OF GERMAN TEXT THAT'S HARD

TO CHEW ON SOMETIMES, BUT IT'S

GOING TO BE A NEAT PRODUCTION.

I KNOW ALREADY.

>> IT'S BEEN AN INTERESTING

JOURNEY COMING FROM THE

BACKGROUND AS A SOLOIST AND

LEARNING TO INCORPORATE MY VOICE

MORE AND BLEND MORE AND JUST

FIND MY WAY AS A CHORISTER.

♪ MENSCHENBLUT

>> AND THAT'S TIE.

YES, YOU'RE PUTTING IN AN EXTRA

MEH-HEH.

>> THAT'S RIGHT.

>> AND IT'S TIE.

OKAY.

I FEEL SO -- F.

>> NO, NO, NO, NO, NO.

IT WAS DRIVING ME CRAZY.

IT'S LIKE WAIT A MINUTE Y'ALL.

BECAUSE THAT'S NOT WHAT I SEE.

THANK YOU SO MUCH.

♪♪

>> IT MAY SEEM LIKE WE'RE

GATHERED TOGETHER IN A GROUP

HUDDLE HERE IN LIST HALL BUT

THEN WE GO OUT AND WE PLAY THE

GAME AND, YOU KNOW, IF THE

HUDDLE IS INTENSE, USUALLY THE

RESULTS IN THE GAME ARE

POWERFUL.

♪♪

♪♪

>> I CAN'T THINK OF A BETTER

SCENE TO START THE OPERA

SOMEBODY WITH THAN DOING THE

WITCHES OF MacBETH WITH YOU.

>> SOMETIMES DIRECTORS COME IN

AND THEY SAY I HAVE 880 PEOPLE.

I'VE GOT TO MOVE THEM A AS A

BLOCK.

WE NEED TO KEEP THE SOPRANOS

TOGETHER.

WE NEED TO KEEP THE TENORS

TOGETHER AND IT'S NOT LIKE THAT

AT ALL.

THIS GROUP CAN FUNCTION AS

INDIVIDUALS, AND IT'S SO GREAT

TO WORK WITH PEOPLE LIKE GINA

WHO KNOW US AS INDIVIDUALS AND

IMMEDIATELY SHE CAN FIND WAYS TO

ALLOW EVERYBODY TO BRING THEIR

BEST.

>> GOOD.

NOW WHAT WE WANT TO SEE.

WE HAVE THE RIGHT?

IT'S THREE WITCHES IN "MacBETH"

SO IT'S REALLY IMPORTANT TO KEEP

YOUR GROUPS SEPARATE HERE SO WE

WANT TO KEEP A DEFINED GROUP,

AND YOUR GROUP WILL BE ABLE TO

COME MORE FROM AN ANGLE, AND

YOUR GROUP WILL BE ABLE TO COME

MORE FROM AN ANGLE.

>> OF COURSE, "MacBETH," THE

PLAY, THE WITCHES ARE THREE

INDIVIDUALS.

WE HAVE THREE INDIVIDUALS, BUT

EACH INDIVIDUAL IS BASICALLY

MADE UP OF ABOUT 14 OR 15 WOMEN,

AND TO GET IS A WOMEN TO

ARTICULATE A VERY

EARTH-SHATTERING PROPHECY TO

MacBET IN A VERY CONFIDENT,

UNIFIED FASHION TAKES A LOT OF

WORK.

AND IT'S THE FIRST SCENE OF THE

OPERA.

YOU'RE SORT OF, YOU KNOW,

GETTING GOING VOCALLY FOR THE

EVENING, AND IT'S A QUESTION OF

THE WITCHES AS THE BEGINNING OF

"MacBETH" HAVE TO BE TURNED ON

IMMEDIATELY WHEN THEY MAKE THE

FIRST DESCENT FROM THE TOP OF

THE FOREST AND THEY COME RUNNING

DOWN TO THE FRONT OF THE STAGE.

FT. ♪♪

♪♪

>> WE'RE AN ENSEMBLE, AND IT'S

ABOUT GETTING OUR SOUND REFINED,

AND SO SOMETIMES YOU HAVE TO

STEP BACK FROM TRYING TO BE A

SOLOIST KIND THING.

YOU NEED TO BE WITH THE GROUP.

>> THE MET CHORUS IS ONE OF THE

GREATEST CHORUSSES IN THE WORLD,

AND THEY ARE THE CHORUS THAT I

KIND OF GREW UP WITH BECAUSE I

WAS A YOUNG ARTIST HERE AT THIS

HOUSE.

THIS IS ONE OF THE BIGGEST ROLES

I'VE EVER SUNG.

IN THE ONLY ARE THEY SUPPORTIVE

EMOTIONALLY.

THEY ARE LITERALLY SUPPORTING

ME.

THEY PICK ME UP SOMETIMES.

THEY HELP ME GET UP ON TABLES.

THEY HELP ME GET DOWN.

THEY HOLD MY HAND SO I FEEL

REALLY COMFORTABLE WITH THEM AND

GRATEFUL THAT THEY ARE HERE WITH

ME.

♪♪

>> WE WILL PROBABLY RUN THE

ENTIRE SCENE ONCE, JUST SO

EVERYBODY GETS A SENSE OF THE

FLOW OF THE SCENE AND THEN

PROBABLY STOP, GO BACK AND DO AS

MUCH NIT-PICKING AS WE HAVE TIME

FOR.

JUST RELEASE LONG NOTES.

>> I LOVE THE NIT-PICKING PART.

IT THE SHOULD BE A LOT OF FUN.

IT SHOULD BE NOISY.

IT SHOULD BE CHAOTIC AND YET

STILL STRUCTURED MUSICALLY.

THAT'S ALWAYS THE DIFFICULTY

WITH THESE PARTY SCENES.

THEY HAVE TO SOUND LIKE

EVERYBODY'S HAVING A GRAND OLD

TIME AND EVERYTHING'S VERY

SPONTANEOUS, BUT IT REALLY

SUPPORT.

IT'S ALL VERY CONTROLLED AND

VERY, VERY STRUCTURED MUSICALLY.

I THINK IF YOU WERE COMING TO

THE MET AND YOU WANTED TO SEE

WHAT THE CHORUS IS ABOUT, YOU

SHOULD COME TO "BUTTERFLY,

MADAME BUTTERFLY" AND WATCH THE

ENTRANCE OF BUTTERFLY IN THIS

PRODUCTION WHERE THE ENTIRE

GROUP OF GEISHAs APPEAR

MAGICALLY COMING UP FROM THE

BOTTOM OF THE STAGE, AND ALL OF

A SUDDEN ALL APPEAR AT THE TOP

OF THE HILL AS BUTTERFLY IS

MAKING HER ENTRANCE.

THIS SIMPLE MOMENT WHERE

EVERYTHING JUST SEEMS TO BE IN

PLACE AND JUST HAPPENS, AND YOU

SEE -- YOU SEE SIMPLICITY, AND

IT'S SO BEAUTIFUL HERE AT THE

MET.

♪♪

>>> NEXT, WE'LL VISIT THE

BROOKLYN.

[ MUSIC ]

FOR A LOOK AT "J.J. CHRONICLES."

IT IS THE LARGE OF THE SOLO

MUSEUM EXHIBITION OF THE ARTIST

KNOWN UPPED THE PSEUDONYM J.R.

BORN IN PARIS TO EASTERN EUROPA

AND TUNISIAN IMMIGRANT PARENTS,

HE IS A T.E.D. PRIZE WINNER AND

AN OSCAR-NOMINATED FILMMAKER.

HE HAS RECEIVED ACCLAIM FOR HIS

GLOBAL ARTS PROJECTS THAT BRING

TOGETHER DIVERSE GROUPS OF

PARTICIPANTS.

THEY ACT AS CATALYSTS FOR

CONVERSATIONS ABOUT IMPORTANT

SOCIAL ISSUES, FROM WOMEN'S

RIGHTS TO IMMIGRATION AND TO GUN

CONTROL.

"J.R. CHRONICLES" FILLS THE

MUSEUM'S SOARING GREAT HALL.

THE WORK ON VIEW FEATURES SOME

OF THE MOST ICON INNING PROJECTS

FROM THE PAST 15 YEARS.

INCLUDED HERE, PHOTOGRAPHS, DIE

RAM ARKSZ, FILMS AND

DOCUMENTATION OF THE ARTIST'S

INSTALLATIONS FROM AROUND THE

WORLD.

♪♪

>> "J.R. CHRONICLES" IS J.R.'S

LARGEST SOLO MUSEUM EXHIBITION

TO DATE, AND IT REALLY FOCUSES

ON HIS WORK OVER THE PAST IS A

YEARS.

HE'S AN ARTIST WHO GREW UP IN

PARIS, STILL LIVES IN PARIS AND

NEW YORK.

>> J.R.'S WORK DOESN'T EASILY

SORT OF FIT INTO A BOX.

IT'S AT THE INTERSECTION OF

PHOTOGRAPHY, SOCIAL PRACTICE,

PUBLIC ART.

WE WANTED IN THIS EXHIBITION TO

REALLY FOCUS ON J.R.'S

COLLABORATIONS WITH COMMUNITIES

AND REALLY THINKING ABOUT HOW HE

GIVES VOICE TO THOSE COMMUNITIES

VERY OFTEN REPRESENTING THE

UNDERREPRESENTED OR

MISREPRESENTED.

>> WE'RE STANDING IN THE CENTER

OF "THE CHRONICLES OF NEW YORK

CITY."

IT'S HIS LATEST LARGE-SCALE

MURAL.

IT WAS ONE THAT HE CREATED IN

THE SUMMER OF 2018 WHERE HE

TRAVELED TO ALL FIVE BOROUGHS OF

NEW YORK CITY AND PHOTOGRAPHED

1,128 NEW YORKERS.

HE REALLY WANTED TO CAPTURE A

SORT OF PORTRAIT OF NEW YORK

CITY.

THIS IS PART OF A NUMBER OF

LARGE-SCALE MURALS THAT HE'S

DONE THAT HAVE BEEN INSPIRED BY

DIEGO RIVERA.

HE CAPTURED SUCH A WIDE RANGE OF

PEOPLE THROUGHOUT NEW YORK CITY,

FROM BATHERS IN CONEY ISLAND TO

NYPD OFFICER, FESTERS AND, YOU

KNOW, FAMILY MEMBERS, AND IT

REALLY IS JUST A WONDERFUL SORT

OF COLLECTIVE PORTRAIT OF NEW

YORK CITY.

IN CREATING "THE CHRONICLES OF

NEW YORK CITY" J.R. WAS REAL

RETHINKING ABOUT HOW THIS

CAPTURES A MOMENT BUT ALSO HOW

ABOUT HOW ALL OF THOSE PEOPLE

WHO ARE INVOLVED IN THIS MURAL

WILL BE REMEMBERED 10, 20, 50

YEARS LATER WHEN PEOPLE LOOK

BACK AT THIS WORK.

HE NOT ONLY TOOK THE PHOTOGRAPHS

OF THOSE WHO PARTICIPATED BUT

ALSO CAPTURED THEIR AUDIO

STORIES, AND THOSE AUDIO STORIES

ARE ALL AVAILABLE VIA AN APP AND

VIA iPADS THAT WE HAVE ON

DISPLAY IN THE GALLERY.

WE WERE REALLY EXCITED TO BE

ABLE TO INCLUDE AS PART OF THE

EXHIBITION SOME OF THE EARLIEST

WORK THAT J.R. CREATED WHEN HE

WAS REALLY JUST A TEENAGER,

PHOTOGRAPHING HIS FELLOW

GRAFFITI WRITERS AROUND PARIS

AFTER HE HAD FOUND A CAMERA ON

THE PARIS METRO IN 2000 AND SO

WE INCLUDE A LOT OF THOSE

PHOTOGRAPHS, MANY SO OF THE

PHOTOCOPIES THAT HE THEN TOOK

AND WHEAT PASTED AROUND CREATING

HIS OWN SIDEWALK GALLONRIES OR

THE EXPO 2 RUE.

WE ALSO WANTED TO SHOW A BIT OF

J.R.'S PROCESS, HOW YOU GET FROM

THE STEP OF THE PHOTOGRAPH TO

THEN SEEING THESE LARGE-SCALE

IMAGES ON THE SIDES OF

BUILDINGS, YOU KNOW, AROUND THE

WORLD.

WE INCLUDED A NUMBER OF THE

CONTACT SHEETS THAT HE'S CREATED

FOR A NUMBER OF THE SERIES THAT

IS ARE INCLUDED IN THE

EXHIBITION, AND MANY OF THOSE

HAVE NOT BEEN SEEN BEFORE.

WE HAVE A SECTION IN THE

EXHIBITION DEDICATED TO "INSIDE

OUT" WHICH IS A PROJECT THAT

J.R. LAUNCHED IN 2011 AFTER HE

WON THE T.E.D. PRIZE, AND THIS

IS A RELATIVELY SIMPLE CONCEPT

THAT ALLOWS PEOPLE TO TAKE

PHOTOGRAPHS OF PEOPLE WITHIN

THEIR COMMUNITIES.

THEY SEND THE FILES TO J.R.'S

STUDIO.

THEY PRESENT HIM OUT AND SEND

POSTERS BACK THAT ARE THEN WHOLE

PASTE PEDESTRIAN ON PLAZAS, ON

BUILDINGS IN THOSE COMMUNITIES,

AND IT'S REALLY A WAY FOR PEOPLE

TO THINK ABOUT HOW ART CAN

CHANGE THEIR COMMUNITIES AND

SINCE THAT PROJECT WAS LAUNCHED

IN 2011 THERE'S BEEN INSIDE-OUT

ACTIONS IN 141 COUNTRIES, AND

NEARLY 400,000 PEOPLE HAVE TAKEN

PART IN THAT PROJECT.

>> ONE OF THE REASONS THAT WE

FELT IT WAS REALLY THE RIGHT

MOMENT TO WORK WITH J.R. AND TO

DO THIS MAJOR EXHIBITION, IT'S

ALSO THE LARGEST SOLO EXHIBITION

THAT WE'VE HAD IN THIS GREAT

HALL, IS THAT HE FOCUSES ON A

LOT OF ISSUES THAT ARE VERY

PRESSING, FROM IMMIGRATION TO

GUN CONTROL, AND IT'S VERY MUCH

AT THE CENTER OF WHAT WE DO AT

THE BROOKLYN MUSEUM AND THINKING

ABOUT HOW TO CONNECT ART TO THE

ISSUES THAT ARE MOST CONCERNING

TO PEOPLE TODAY.

IN 2008 J.R. STARTED THE "WOMEN

ARE HEROES" SERIES WHEN HE

TRAVELED TO RIO de JANIERO.

HE WENT THERE BECAUSE HE HAD

READ AN ARTICLE ABOUT THESE

YOUNG MEN WHO WERE MURDERED.

HE WAS THERE FOR NEARLY A MONTH

MEETING WITH THE PEOPLE OF ONE

OF THE OLDEST FAVELAS IN RIO AND

WORKED WITH THOSE WOMEN, MANY OF

THEM WHO WERE RELATED TO THE

YOUNG MEN WHO HAD BEEN MURDERED,

AND CAME UP THIS IDEA OF REAL EL

CELEBRATING THEIR IMAGE.

VERY OFTEN THE WOMEN ARE NOT

SEEN OR NOT HEARD IN THESE

COMMUNITIES AND SO THEY CAME UP

WITH THIS IDEA OF PUTTING PARTS

OF THEIR FACES ON THE SIDES OF

THE BUILDINGS.

SO IN THE FAVELA, THEY ARE

LITERALLY SORT OF LOOKING DOWN

AND BEING SEEN THROUGH THE REST

OF RIO, BUT I THINK ONE OF THE

OTHER THINGS THAT IS UNIQUE

ABOUT THESE PROJECTS THAT J.R.

DOES IS THAT AS SOON AS THE

PROJECT'S COMPLETE, J.R. LEAVES,

AND SO WHEN THE NEWS MEDIA SHOWS

UP, IT'S THE PEOPLE WHO

PARTICIPATED, HIS COLLABORATORS,

WHO ARE THE ONES WHO END UP

SPEAKING FOR THE PROJECT.

OVER THE PAST SEVERAL YEARS AS

J.R. HAS BEEN WORKING WITH

VARIOUS COMMUNITIES, IT'S BEEN

REALLY IMPORTANT TO HIM TO

CONTINUE TO GIVE BACK TO THOSE

COMMUNITIES.

AND SO, FOR EXAMPLE, WITH THE

"WOMEN ARE HEROES" PROJECT IN

RIO, HE ENDED UP ESTABLISHING A

SCHOOL FOR STUDENTS TO TAKE ART

CLASSES, CASA AMARELA, THAT JUST

CELEBRATED ITS TENTH

ANNIVERSARY, AND IT'S REALLY A

WAY FOR HIM TO CONTINUE TO GIVE

BACK TO THOSE COMMUNITIES.

WE'VE ONLY TALKED ABOUT A FEW OF

THE WORKS THAT ARE ON DISPLAY IN

THE EXHIBITION, SO I WELCOME

EVERYONE TO COME TO THE BROOKLYN

MUSEUM TO SEE "J.R. CHRONICLES."

>> HELLO.

I'M RAFAEL PI ROMAN AND WELCOME

TO THIS WEEK AT LINCOLN SEND.

>> THROUGH MARCH 7th THE

METROPOLITAN OPERA PRESENTS THE

NEW PRODUCTION OF "AGRIPINA."

HANDEL'S TALE OF INTRIGUE AND

IMPRIORITY IN ANCIENT ROME.

SIR DAVID MAKIVIK AERO'S

PRODUCTION BRINGS THE ACTION OF

THIS BLACK COMEDY ABOUT THE

ABUSE OF POWER TO THE PRESENT

EXPLORING WHAT IT WOULD BE LIKE

FOR THE ROMAN EMPIRE HAD NEVER

FALLEN.

THE SATURDAY FEBRUARY 29th

PERFORMANCE WILL BE TRANSMITTED

LIVE TO 2,200 MOVE THEATERS AS

AND MORE THAN 80 COUNTRIES AS

PART OF THE MET'S LIVE IN HD

SERIES.

FOR COMPLETE DETAILS PLEASE

VISIT METOPERA.ORG.

>> WELCOME TO IT THE AMERICAN

FOLK ART MUSEUM, MY NAME IS

VALERIE ROUSSEAU, CURATOR FOR

THE ART OF THE 20th AND 21st

CENTURY.

WE ARE IN FRONT OF A VERY

TYPICAL PIECE OF OUR COLLECTION.

THIS IS THE ENCYCLOPEDIC PALACE

BY MEISHO AURITI, AN ITALIAN

IMMIGRANT WHO SETTLED IN KENNETT

SQUARE, PENNSYLVANIA AROUND

1938.

AND THERE HE OPENED A SHOP WHERE

HE WAS AN AUTOBODY MECHANIC.

AND FOR ABOUT THREE YEARS IN THE

BACKYARD OF HIS GARAGE HE WORKED

ON HIS ARCHITECTURAL MODEL.

MARINO AURITI EXPLAINED HIS

PROJECT IN A HIGHLY DETAILED

SIX-PAGE STATEMENT OF PURPOSE.

HE SAID THIS BUILDING IS AN

ENTIRELY NEW CONCEPT IN MUSEUMS,

DESIGNED TO HOLD ALL THE WORKS

OF MAN IN WHATEVER FIELD,

DISCOVERIES MADE AND THOSE WHICH

MAY FOLLOW.

EVERYTHING FROM THE WHEEL TO THE

SATELLITE.

THE MODEL IS SEVEN FEET HIGH,

AND IT'S ON A SCALE OF 1 FOR

200.

THE WHOLE COMPLEX IS AN

OFF-WHITE AND BRONZE WOOD

COMPOUND CENTERED AROUND A TOWER

COMPOSED OF EIGHT SUPERIMPOSED

CIRCULAR SECTIONS TOPPED BY A

METAL SPIRE.

THERE ARE FOUR ARCHED MAIN

ENTRANCES SURMONEYED BY THE FLAG

OF ITALY, OF FRANCE, OF THE

UNITED STATES AND SPAIN.

AURITI'S ATTENTION TO DETAIL AND

FUNCTIONALITY ARE ASTOUNDING.

YOU HAVE, FOR INSTANCE, ABOUT

800 WINDOWS MADE OF CLEAR

CELLULOID AND SWINGING METAL

DOORS.

AURITI'S OWN PHILOSOPHY AND SETS

OF VALUE ARE INSCRIBED ON TO THE

PALACE.

YOU CAN READ THOSE DIFFERENT

SENTENCES RELATED TO HIS OWN

PERCEPTION OF HOW WE SHOULD

BEHAVE AS CITIZENS, AS

NEIGHBORS.

I DON'T THINK THAT HE WANTED TO

BUILD IT JUST TO BE A MODEL.

HE WANTED TO REALLY REALIZE THAT

ARCHITECTURE, AND IF THAT

ARCHITECTURE WOULD HAVE BEEN

BUILT, IT WOULD HAVE SPREAD OVER

16 CITY BLOCKS AND BEEN 136

STORIES HIGH.

MANY OF THE SELF-TAUGHT ARTISTS

THAT WE HAVE IN OUR COLLECTION

STARTED TO CREATE AT A SPET

FIGURE TIME OF THEIR LIFE.

IT'S OFTEN LIKE A TURNING POINT.

THEY EXPERIENCE SOME SORT OF

PSYCHOLOGICAL CHANGES IN THEIR

LIFE.

THEY GOT INJURED.

THEY COULD NOT WORK ANYMORE.

IN THE CASE OF AURITI, HE LEFT

ITALY TO ESCAPE THE FASCIST

ITALIAN PARTY.

A BIT BEFORE HE PASSED AWAY, HE

SAID HE WOULD BE HAPPY IF THIS

PIECE WOULD BE IN A MUSEUM FOR

FUTURE GENERATIONS, AND IT TOOK

33 YEARS FOR THE PIECE TO BE

SECURED AT THE AMERICAN FOLK ART

MUSEUM.

>> NEXT WEEK 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 THE FIRST

PRINT THAT SAID TO ME THIS IS

WHAT I'M GOING TO DO THE REST OF

MY LIFE.

IT'S THE ACTION THAT I HAD AND I

REMEMBER BEING 6 YEARS OLD,

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

IT FEELS -- I'M IN MY ZONE NOW,

AND LIGHTNING HIT ME.

THIS IS WHAT I'M GOING TO BE

DOING THE REST OF MY LIFE, AND

SO I THINK YOU CAN BE BORN A

PAINTER.

>> AND A VISIT TO THE FDR

PRESIDENTIAL LIBRARY AND MUSEUM

IN HISTORIC HYDE PARK, NEW YORK.

>> WANTED TO BE AN ARCHIVE AND

ALSO A MUSEUM WHERE PEOPLE COULD

COME AND LEARN MORE ABOUT HIM

AND HIS ADMINISTRATION.

>> THANK YOU FOR JOINING US THIS

EVENING.

I'M PHILIPPE DeMONTEBELLO AT THE

TISCH STUDIOS AT LINCOLN CENTER.

GOOD NEGOTIATE AND WE'LL SEE YOU

NEXT TIME.

♪♪

♪♪

FUNNELEDING FOR "NYC-ARTS IS

MADE POSSIBLE BY ROSALIND P.

WALTER, THEA PETSCHEK IERVOLINO

FOUNDATION, THE LEWIS SONNY

TURNER FUND FOR DANCE, JODY AND

JOHN ARON HOLD, 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,

RECOGNIZING THAT EVERY CLIENT IS

AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE, BE A BANK WHOSE

CURRENCY SERVICE IN THE FORM OF

PERSONAL BANKING.

THIS IS FIRST REPUBLIC'S MISSION

FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON

STREAM NYC-ARTS ON

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FEATURED PROGRAMS

You Are Cordially Invited
World Channel
WLIW Arts Beat
When The World Answered
Walk, Turn, Walk
VOCES
Under a Minute
Tractor: The Movie
THIRTEEN Specials
The “C” Files with Maria Brito
The Temple Makers
The Art Assignment
State of the Arts
State of the Art
Secrets of the Dead