NYC-ARTS

S2022 E1 | FULL EPISODE

NYC-ARTS Full Episode: January 13, 2022

A look at "Art of Native America: The Charles and Valerie Diker Collection" at The Metropolitan Museum of Art. Then a profile of Claire Chase, an award-winning flutist and a champion of contemporary classical music.

AIRED: January 13, 2022 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON "NYC ARTS" A

LOOK AT THE EXHIBITION, ART OF

NATIVE AMERICA, THE CHARLES AND

VALERIE DIKER COLLECTION.

IT'S ON VIEW AT THE METROPOLITAN

MUSEUM OF ART.

>> NATIVE AMERICAN ARTIST

FOUNDATION, CULTURAL HERITAGE.

EXHIBITIONS LIKE THIS MOVE

PEOPLE OUTSIDE OF THE IDEA THAT

ALL NATIVE AMERICANS ARE ALL

HOMOGENEOUS.

THEY'RE NOT AT ANY TIME AND

CERTAINLY ARE NOT TODAY.

>>> AND A PROFILE OF ARTIST

CLAIRE CHASE, WHOSE LOVE FOR THE

INSTRUMENT HAS MADE HER A

CHAMPION OF NEW MUSIC AROUND THE

WORLD.

>> IT WAS THE FURTHEST THING

FROM YOUR GRANDMOTHER'S FLUTE

RECITAL THAT YOU CAN IMAGINE.

♪♪♪

>> FUNDING FOR NYC ARTS IS MADE

POSSIBLE BY THE LEWIS SUNNY

TURNER FUND FOR DANCE, THE

AMBROSE MONELL FOUNDATION, JODY

AND JOHN ARNOLD, CHARLES AND

VALERIE DIKER, THE NANCY

SIDEWATER FOUNDATION, THE MILTON

AND SALLY AVERY ARTS FOUNDATION.

ELROY AND TERRY CRUMBHOLZ

FOUNDATION AND ELLEN AND JAMES

F. MARCUS.

THIS IS SUPPORTED 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 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.

>> 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, A

FIRST-TIME BUYER OR LOOKING TO

SELL.

INFORMATION AT

SWANGALLERIES.COM.

♪♪♪

>>> GOOD EVENING.

AND WELCOME TO NYC ARTS.

I'M PHILIPPE DE MONTEBELLO ON

LOCATION AT THE METROPOLITAN

MUSEUM OF ART.

CURRENTLY ON VIEW IS AN

EXHIBITION THAT IS THE

FIRST-EVER OF ITS KIND FOR THE

MET.

IT IS CALLED "INSPIRING WALT

DISNEY, THE ANIMATION OF FRENCH

DECORATIVE ARTS" WHICH YOU SEE

AND IT REVEALS HIS FASCINATION

WITH EUROPEAN ART AND THE USE OF

FRENCH MOTIFS IN DISNEY FILMS

AND THEME PARKS.

THE EXHIBITION INVITES A

DIALOGUE BETWEEN THE DRAWINGS

AND ILLUSTRATIONS OF DISNEY

STUDIOS AND A RICH ARRAY OF THE

FINEST WORKS OF THE 18th CENTURY

DECORATIVE ARTS AND DESIGN,

MOSTLY FROM THE MET'S OWN

COLLECTION.

I HOPE YOU'LL JOIN US NEXT WEEK

FOR A CONVERSATION WITH THE

EXHIBITION'S CURATOR.

IT'S REALLY FASCINATING.

THE METROPOLITAN MUSEUM OF ART

HAS LONG BENEFITTED FROM THE

EXTRAORDINARY FORESIGHT OF

INTREPID COLLECTORS.

TODAY CHARLES AND VALERIE DIKER

CONTINUE THIS TRADITION.

IN 2016 THEY PROMISED A

COLLECTION OF HISTORICAL NATIVE

AMERICAN ARTWORK TO THE MET.

NOW ON VIEW IS ART OF NATIVE

AMERICA, THE CHARLES AND VALERIE

DIKER COLLECTION.

THE COLLECTION OF 116 OBJECTS

REPRESENTS MORE THAN 50 NORTH

AMERICAN CULTURES AND IS

PRESENTED FOR THE FIRST TIME IN

THE MET'S AMERICAN WING.

THE INSTALLATION REVEALS COMPLEX

PERSPECTIVES ON AMERICA'S PAST

AND AN EXPANSION OF WHO IS

INCLUDED IN ITS NARRATIVE.

THE EXHIBITION WAS CURATED BY

GAYLORD TORRANCE OF THE

NELSON-ATKINS MUSEUM OF ART IN

KANSAS CITY IN COLLABORATION

WITH NATIVE AMERICAN SCHOLARS

AND CULTURAL LEADERS.

>> THE MOST IMPORTANT THING, I

THINK, ABOUT THIS EXHIBITION,

OTHER THAN THE CELEBRATION OF

NATIVE AMERICAN ART AND THE

ARTISTS THAT CREATED THESE

WORKS, IS THE FACT THAT IT IS

BEING SHOWN, THESE WORKS ARE

BEING SHOWN IN THE AMERICAN

WING, WHICH IS THE FIRST TIME IN

THE HISTORY OF THIS MUSEUM SINCE

THE WING OPENED IN 1924.

SO ITS MOMENTOUS MOVEMENT IN

TERMS OF RECOGNIZING NATIVE

AMERICAN ARTISTS FOUNDATIONAL

CULTURAL HERITAGE.

EXHIBITIONS LIKE THIS ARE MEANT

TO MOVE PEOPLE OUTSIDE OF THAT

IDEA THAT ALL NATIVE PEOPLES ARE

THE SAME HOMOGENEOUS.

THEY WERE NOT AT ANY TIME AND

THEY'RE CERTAINLY NOT TODAY.

IT'S NOT CHRONOLOGICAL AND WE

DID DECIDE TO LAY IT OUT BY

GEOGRAPHIC REGIONS.

THE PROBLEM WITH THAT IS THAT

THESE CULTURE AREAS DID NOT HAVE

FIRM BOUNDARIES.

WE ENDEAVORED IN THE GALLERY

DESIGN TO KEEP THINGS OPEN AND

PERMEABLE AND VISIBLE SO THAT

ALMOST ANYWHERE YOU STAND WITHIN

THESE GALLERIES YOU'RE PERHAPS

IN A CULTURALLY RELATED AREA BUT

LOOKING INTO OTHER AREAS AS

WELL, SUGGESTING A GREATER

UNIVERSALITY.

MOST OF THESE OBJECTS WERE

CREATED WITHIN THE BACKDROP OF

COLONIZATION WHICH MAKES THE

ACHIEVEMENT EVEN GREATER.

I FIND THE PAWNEE WAR CLUB TO BE

ONE OF THE MOST ASTONISHING

OBJECTS IN THE COLLECTION.

FIRST OF ALL, JUST AS SCULPTURAL

WORK IT'S SUBLIME IN TERMS OF

ITS PROPORTION, THE ELEGANCE OF

THE SHAPE.

IT IS A FUNCTIONAL WEAPON.

IT WAS CARRIED TO WAR, BUT IT

WAS ALSO AN IMPORTANT PIECE OF

ARTISTIC EXPRESSION.

FOR THE OWNER, THIS CLUB WAS

INVESTED WITH A GREAT DEAL OF

SPIRITUAL POWER.

THE DESIGNS ON ONE SIDE CONSIST

OF SOME ZIGZAG LINES AT THE TOP,

THEN A CIRCLE WITH A SINGLE

SHARP ZIGZAG LINE EMANATING FROM

THAT THE FULL LENGTH OF THE

CLUB.

THESE ARE GENERALLY KNOWN TO BE

SYMBOLS OF POWER.

IT'S POSSIBLE THAT THE CIRCLE

AND THE SINGLE LINE MAY

REPRESENT THUNDER AND ONE STRIKE

OF LIGHTNING.

ON THE OTHER SIDE IS, I THINK,

THE MOST AMAZING DESIGN I'VE

EVER SEEN ON A NATIVE AMERICAN

WAR CLUB.

IT'S COVERED WITH STARS LIKE THE

NIGHT SKY, INCLUDING THE

CONSTELLATION.

WE BELIEVE THE CLUB COMES FROM

THE PAWNEE BECAUSE STARS WERE SO

IMPORTANT IN PAWNEE RELIGION.

THIS GROUP OF OBJECTS ARE SOME

OF THE MOST AMAZING IMAGES THAT

ONE CAN IMAGINE.

THIS PARTICULAR MASK, AND I

WOULD SAY MOST UPIC MASKS

REPRESENT THE PREY ANIMALS THAT

THE UPIC PEOPLE DEPENDED UPON

FOR THEIR SURVIVAL.

THESE MASKS WERE WORN IN ANNUAL

CEREMONIES.

IN THE DANCES THEY WERE INTENDED

TO THANK THE ANIMALS THAT HAD

GIVEN THEMSELVES IN THE PREVIOUS

YEAR AND ENSURE THAT THERE WOULD

BE A CONTINUOUS FLOW OF NEW

LIFE.

IT'S OFTEN SAID THAT THESE MASKS

REPRESENT SOMETHING CALLED UWA

WHICH IS PROBABLY EASIEST

TRANSLATED AS THE ONGOING SOUL.

WHEN YOU SEE AN IMAGE OF A FISH

OR A SEAL OR A BIRD, IT DOESN'T

REPRESENT SPECIFIC CREATURES, IT

REPRESENTS ALL OF THOSE OF THAT

GENOUS THAT HAVE EVER LIVED OR

WILL LIVE IN THE FUTURE, SO THE

MASK IS TIMELESS IN THAT RESPECT

AND PLACES THE UPIC PEOPLE IN A

TIMELESS RELATION WITH ALL OF

THE ANIMALS WITH WHOM THEY SHARE

THE WORLD.

STANDING BEAR WAS A PARTICIPANT

IN THE BATTLE OF THE LITTLE BIG

HORN.

HE WAS 16 AT THE TIME.

THAT WAS IN 1876.

IN THE 1880s, STANDING BEAR WENT

TO EUROPE WITH BUFFALO BILL'S

WILD WEST SHOW.

HE MET AN AUSTRIAN WOMAN.

THEY FELL IN LOVE.

HE MARRIED HER, BROUGHT HER BACK

TO PINE RIDGE RESERVATION, AND

STANDING BEAR BEGAN TO DEVELOP

HIS ART.

HE BASICALLY TRIED TO BRING

TOGETHER IN THIS PAINTING SIX

DIFFERENT EPISODES THAT HE

REMEMBERED.

NOW, THEY DIDN'T ALL HAPPEN AT

THE SAME TIME.

BUT WITHIN THE TRADITION OF

WARRIOR ART, STANDING BEAR

REPRESENTED THEM ALL AS THOUGH

THEY WERE OCCURRING AT THE SAME

TIME.

THERE ARE HORSES THAT ARE BEING

RUN OFF, SEPARATED, LEAVING THE

SOLDIERS ON FOOT.

THERE IS A DEPICTION OF A GROUP

OF SOLDIERS THAT RAN DOWN FROM

THE HILL AND WERE KILLED IN A

RAVINE.

ANOTHER GROUP OF SOLDIERS TRIED

TO BREAK AWAY ON HORSEBACK,

RIDING BACK TO THE SOUTH.

THEY WERE OVERTAKEN AND KILLED.

AND THEN THERE'S THE FINAL

BATTLE ON THE HILL, INCLUDING A

DEPICTION OF CUSTER HIMSELF.

THEY ALL ARE GREAT KIND OF

SWEEPING BATTLE NARRATIVES LIKE

ONE WOULD EXPECT TO SEE IN THE

GREAT PAINTING -- BATTLE

PAINTINGS AND TAPESTRIES IN

EUROPE WHICH HE UNDOUBTEDLY SAW.

CARRIE BETHEL WAS A MASTER

BASKET MAKER.

SHE WAS PROMINENT IN THE 1920s

AND '30s IN CALIFORNIA.

THIS PARTICULAR PIECE WAS HER

FIRST ATTEMPT TO CREATE A BASKET

OF THAT SCALE.

IT TOOK HER THREE YEARS.

MAYBE THE BEST WAY TO THINK

ABOUT THE ACHIEVEMENT IN THAT

BASKET IS TO THINK ABOUT IT

FIRST IN RELATION TO THE

MATERIALS WHICH REQUIRED AN

ENORMOUS BODY OF EXPERT

KNOWLEDGE IN TERMS OF KNOWING

WHICH PLANTS TO GATHER, HOW TO

PREPARE THEM, BEFORE THE BASKET

WAS EVER BEGUN.

A BASKET OF THAT KIND IS CREATED

USING A COIL TECHNIQUE, WHICH

BEGINS IN THE CENTER OF THE

BOTTOM, AND THEN STARTED UPWARD

AND OUTWARD TO FORM THE SIDES OF

THE OBJECT AND THEN AT A CERTAIN

POINT THE MIDPOINT BEGAN TO

CURVE INWARD TO REACH ITS FINAL

FORM.

THERE WAS NO REVISION POSSIBLE.

SHE SIMPLY WOVE IT FROM THE

BOTTOM UP.

WHEN YOU SEE THE PER SPECTION IN

THE RELATIONSHIP OF THAT

TWO-DIMENSIONAL DESIGN TO THE

SHAPE OF THE OBJECT AND

ULTIMATELY THE KIND OF TENSION

THAT THAT FORM HOLDS, THE

ACHIEVEMENT IS VISIBLE AND

AMAZING.

THE OBJECTIVE IN PRESENTING

THESE OBJECTS IN THE WAY THAT

WE'VE DONE IS TO RESPECT THEM AS

WORKS OF ART.

SOPHISTICATED AND BEAUTIFUL

CREATIONS.

♪♪♪

>>> 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.

BE SURE TO CONNECT WITH NYC ARTS

ON FACEBOOK, INSTAGRAM AND

TWITTER.

>>> CLAIRE CHASE BECAME

ENCHANTED WITH THE FLUTE AT THE

AGE OF 3.

HER LOVE OF THE INSTRUMENT HAS

INSPIRED A REMARKABLE CAREER IN

CONTEMPORARY CLASSICAL MUSIC.

A FOUNDING MEMBER OF THE

CONTEMPORARY ENSEMBLE SHE IS

ALSO IN GREAT DEMAND AS A

SOLOIST.

CHASE WAS NAMED A MacARTHUR

FELLOW IN 2012 AND AWARDED THE

AVERY FISHER PRIZE IN 2017.

SHE IS CURRENTLY IN THE MIDDLE

OF A 23-YEAR COMMISSIONING AND

PERFORMANCE CYCLE CALLED

"DENSITY 2036."

BEGUN IN 2013, THE PROJECT'S

GOAL IS TO CREATE AN ENTIRELY

NEW REPERTOIRE FOR THE FLUTE,

ONE THAT PUSHES BOTH AUDIENCE'S

PERCEPTIONS AND THE LIMITS OF

THE INSTRUMENT ITSELF.

EACH YEAR BRINGS AN AMBITIOUS

NEW BATCH OF MUSIC TO THE

KITCHEN, A CONTEMPORARY AND

EXPERIMENTAL ART SPACE IN

CHELSEA.

NYC ARTS SPOKE WITH CLAIRE CHASE

ABOUT FOUR OF THE COMMISSION'S

COMPLETED IN 2019.

♪♪♪

>> "DENSITY 2036" WAS AN IDEA

THAT I HAD IN 2012, INSPIRED BY

EDGAR VEREZ'S SEMINAL SOLO.

MY PERSONAL STORY WITH THIS

PIECE IS THAT MY TEACHER WHEN I

WAS 12 OR 13 YEARS OLD, A

WONDERFUL, WONDERFUL MAN, CAME

INTO MY FLUTE LESSON.

HE PUT THESE TWO PAGES OF MUSIC

ON THE MUSIC STAND.

I SAID THIS IS WEIRD.

WHAT IS THIS?

AND HE SAID DON'T JUDGE.

DO YOU WANT TO HEAR IT?

I SAID OF COURSE I WANT TO HEAR

IT.

SO HE SAID OKAY, KIDDO, STAND

BACK.

I WAS LIKE, I'VE NEVER HEARD

THAT BEFORE A FLUTE PERFORMANCE

BEFORE.

AND HE PROCEEDED OVER THE NEXT

FOUR AND A HALF MINUTES TO

COMPLETELY BLOW MY MIND.

I HAD NEVER EXPERIENCED MUSIC

AND I HAD NEVER EXPERIENCED THE

FLUTE.

I HAD NEVER EXPERIENCED

RESONANCE THAT WAY.

LIKE WHATEVER MUSIC THAT IS, I

DON'T KNOW WHAT WE CALL THAT

MUSIC, BUT I WANT TO DO THAT

MUSIC.

AND I WANT TO LEARN TO TRANSMIT

THAT KIND OF EXPERIENCE THAT

JOHN TRANSMITTED FOR ME.

AND THE PIECE ITSELF, I LIKE TO

THINK OF IT AS AN ANTHEM.

IT IS BRASH AT TIMES.

THERE'S SCREECHING, WAILING

SOUNDS.

IT'S INCREDIBLY INTIMATE AND

POETIC AND TENDER.

♪♪♪

THAT WAS WRITTEN IN 36.

WHAT ARE WE GOING TO BE DOING IN

2036?

WHAT WILL THAT PIECE BE OR WHAT

WILL THAT COLLECTION OF PIECES

BE THAT WILL TAKE THE FLUTE FROM

ITS PREVIOUS IDENTITY AND HURL

IT INTO THE FUTURE?

WHAT IF I JUST DECIDED TO CREATE

AN ENTIRELY NEW PROGRAM OF MUSIC

EVERY YEAR BETWEEN 2013 AND 2036

WITH THE IDEA THAT WE WOULD HAVE

ONE -- ONLY ONE RULE AND THAT IS

THAT EACH YEAR THE CYCLE NEEDS

TO BE A COMPLETE DEPARTURE FROM

THE LAST.

I'VE NEVER IMPOSED A THEME.

IT'S VERY IMPORTANT TO ME THAT

WE ARE GETTING PLATFORMS TO

PEOPLE FROM MANY DIFFERENT

CAREER STAGES WHO COME FROM MANY

DIFFERENT MUSICAL BACKGROUNDS

WHO IDENTIFY DIFFERENTLY AND

MOST IMPORTANTLY WHO ARE PUSHING

THE ART FORM FORWARD.

IT'S A BIG TEAM OF PEOPLE THAT

WORK COLLABORATIVELY ON THIS.

WE REALLY CARE FOR EVERY SOUND

AND EVERY ACTION THAT WE HOPE

WILL GIVE THE AUDIENCE AN

IMMERSIVE EXPERIENCE, THAT IS

THE FARTHEST THING FROM YOUR

GRANDMOTHER'S FLUTE RECITAL THAT

I HOPE YOU CAN IMAGINE.

THE SHOW OPENER, IT'S CALLED

"MAGIC FLUIDITY" BY AN AUSTRIAN

COMPOSER.

MY DUO PARTNER IS NATHAN DAVIS,

WHO IS AN EXTRAORDINARY

PERCUSSIONIST, ALSO A COMPOSER

AND SOUND ARTIST.

SO THE PIECE IS REDUCED FROM A

FLUTE CONCERTO THAT OLGA WROTE

FOR ME LAST YEAR.

PEOPLE WHO ARE FAMILIAR WITH THE

BRANDENBURG FOURTH WILL HEAR

NODS AND WINKS TO THE ORIGINAL.

AND SO IF YOU CAN IMAGINE AN

ORCHESTRAL FORCE WHITTLED DOWN

TO ONE LITTLE DESKTOP.

SO NATHAN HAS QUITE A COMPLEX

JOB.

IT'S DEVILISHLY DIFFICULT, BUT

PLAYING WITH NATHAN IS JUST A

JOY.

>> ONE MORE TIME.

♪♪♪

>> SO PAMELA Z. IS AN ABSOLUTELY

PHENOMENAL PERFORMER, ELECTRONIC

PIONEER, COMPOSER, WOMAN OF SO

MANY TRADES.

I WAS NERVOUS WHEN I ASKED HER,

BUT I WAS SO DELIGHTED THAT SHE

ACCEPTED.

>> 11, 12, 15, 18, 36.

>> I VISITED HER OVER THE SUMMER

IN HER STUDIO IN SAN FRANCISCO.

WE IMPROVISED A LITTLE BIT.

I MADE SOME SOUNDS.

SHE HAD ME RECORD SOME THINGS.

THEN SHE SAID I WANT TO PUT YOU

IN MY LITTLE RECORDING BOOTH AND

JUST INTERVIEW YOU.

AND I THOUGHT, OKAY, MAYBE SHE'S

GOING TO USE THIS FOR A PODCAST

OR SOMETHING LIKE THAT.

>> 11, 12, 15, 18, 36, 5800,

2,000.

>> THEN I GOT THE PIECE AND THE

ENTIRE TAPED PART IS MY VOICE.

BUT SHE CONSTRUCTED LITTLE

MELODIES WITH FRAGMENTS OF MY

VOICE AND THE FLUTE PART IS THE

MUSICAL ELEMENTS.

>> 2001 AND I WAS --

>> I'VE ALSO COACHED WITH THIS

WONDERFUL THEATER ARTIST WHO HAS

HELPED ME WITH THE PLACEMENT OF

THE DIFFERENT STATIONS.

YOU SEE THE DIFFERENT FLUTES ON

STAGE.

BIG BERTHA, THE CONTRA BASE

FLUTE, HAS HER OWN BED.

SO HE HAS WORKED WITH ME ON

TELLING THIS NON-NARRATIVE

STORY.

THERE ARE STORIES I'M TELLING

MYSELF IN MY HEAD BUT THE

AUDIENCE ISN'T SUPPOSED TO

FOLLOW THINGS FROM A TO B AND B

TO C.

IT'S MORE LIKE LITTLE VIGNETTES

THAT I THINK OF AS DIALOGUES

WITH YOUR PREVIOUS SELVES.

SOME OF IT IS HUMOROUS AND SOME

OF IT IS KIND OF DEMONIC AND

DARK.

♪♪♪

PHYLLIS CHEN IS ANOTHER

COMPOSER/PERFORMER/ELECTRONIC

MUSICIAN/INSTRUMENT INVENTOR.

AND SO SHE WROTE THIS PIECE

BASED ON MY HEARTBEAT.

SHE STRAPPED A STETHOSCOPE TO MY

CHEST AND USED THAT SOUND TO

CONSTRUCT THE ELECTRONIC PART.

♪♪♪

>> AND THEN THAT ELECTRONIC PART

DROPS OUT ABOUT HALFWAY THROUGH

THE PIECE, A PERSON COMES UP ON

STAGE AND AFFIXES A STETHOSCOPE

TO MY LIVE HEARTBEAT AND I PLAY

THE REMAINDER OF THE PIECE WITH,

YOU KNOW, WHATEVER HUMMINGBIRD

HEART IS COMING THROUGH.

TO HEAR IT PUMPED THROUGH A

SOUND SYSTEM AND ON SUBWOOFERS

IS QUITE A HUMBLING EXPERIENCE.

♪♪♪

SARA HENNEY IS ANOTHER

ABSOLUTELY INCREDIBLE ARTIST WHO

WORKS AT THE INTERSECTION OF

LOTS OF DIFFERENT DISCIPLINES.

SHE'S A BEAUTIFUL PERCUSSIONIST

IN HER OWN RIGHT AND SOUND

ARTIST AND COMPOSER.

SO THIS PIECE THAT SHE'S WRITTEN

IS PART OF A SERIES SHE'S

WORKING ON CALLED THE RESERVOIR

SERIES THAT DEALS WITH THE IDEA

OF OUR UNCONSCIOUSNESS,

RESERVOIR OF FEELINGS, MANY OF

WHICH ARE UNWANTED AND SOME OF

WHICH ARE TRAUMATIC MEMORIES.

♪♪♪

THE PIECE FOR US IS CALLED

"RESERVOIR TO INTRUSION"

INVOLVES A FLUTIST IN THE MIDDLE

OF THE SPACE AND FIVE OR MORE

VOICES THAT MOVE IN AND AROUND.

AND I'M SO PRIVILEGED TO BE

WORKING WITH THIS PHENOMENAL

YOUNG GROUP, CONSTELLATION

CORPS.

THEY ARE A GROUP OF THEATER

ARTISTS.

WE ARE INTERCONNECTED WHETHER

WE'RE CONSCIOUS OF IT OR NOT.

THE MORE CONSCIOUS OF HOW

INTERCONNECTED WE ARE,

ESPECIALLY IN A SITUATION OF

HEIGHTENED AWARENESS, WHICH OUR

PERFORMANCE IS, THE MORE

INTERESTING THINGS GET.

IT'S DANGEROUS TO BE THAT OPEN,

FOR THE PERFORMER AND FOR THE

LISTENER.

AND IT'S ESPECIALLY RISKY WITH

SO-CALLED CONTEMPORARY MUSIC,

BECAUSE WE'VE NEVER HEARD IT

BEFORE.

I LOVE THAT HIGH WIRE ACT.

I TOTALLY LIVE FOR IT.

♪♪♪

>>> NEXT WEEK ON NYC ARTS, THE

CONVERSATION WITH THE CURATOR OF

INSPIRING DISNEY, THE ANIMATION

OF FRENCH DECORATIVE ARTS, NOW

ON VIEW AT THE METROPOLITAN

MUSEUM OF ART.

>> I HAVE BROUGHT TOGETHER IN

THIS EXHIBITION 18th CENTURY

FRENCH DECORATIVE WORKS OF ART

AND WALT DISNEY HAND DRAWN

ANIMATION.

THERE WERE SOME VERY SIGNIFICANT

INFLUENCES OF FRENCH ART ON

THOSE FILMS.

THERE WAS SO MUCH MORE IN TERMS

OF SIMILARITIES OF WORKSHOP

PRACTICES, OF THE RHETORIC OF

THE WORKS OF ART AND INDEED THIS

ZEAL TO ANIMATE IT.

>> A VISIT TO THE MET'S

COLLECTION OF POST-WAR AND

CONTEMPORARY ART.

>> WE'RE LOOKING AT JACKSON

POLLACK'S FROM 1950.

IT'S ONE OF THE TREASURES OF THE

MET'S MODERN COLLECTION.

>> AND WE MEET FLORIST U.S.

MILLER, WHO BRIGHTENS UP NEW

YORK BY SHARING HIS ART WITH THE

PUBLIC.

>> 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.

THE MORE THAT WE CAN HAVE SOME

OF THESE SOFT MOMENTS OF JUST

BEAUTY AND JOY FOR NO OTHER

REASON, EVEN IF IT'S FOR AN HOUR

OR TEN MINUTES, ITS JOB IS DONE.

>> I HOPE YOU ENJOYED OUR

PROGRAM THIS EVENING.

I'M PHILIPPE DE MONTEBELLO ON

LOCATION AT THE METROPOLITAN

MUSEUM OF ART.

THANK YOU FOR WATCHING, AND SEE

YOU NEXT TIME.

TO ENJOY MORE OF YOUR FAVORITE

SEGMENTS ON NYC ARTS, DO VISIT

OUR WEBSITE AT NYC-ARTS.ORG.

>>> 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 ARE 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.

♪♪♪

♪♪♪

♪♪♪

>>> FUNDING FOR NYC ARTS IS MADE

POSSIBLE BY TEA PETCHIK

FOUNDATION, THE LEWIS SONNY

TURNER FUND FOR DANCE, ELISE

JAFFREY AND JEFFREY BROWN,

CHARLES AND VALERIE DIKER, THE

NANCY SIDEWATER FOUNDATION, THE

MILTON AND SALLY AVERY ARTS

FOUNDATION, ELROY AND TERRY

CRUMBHOLZ FOUNDATION.

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 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.

>> 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, FIRST-TIME BUYER OR

LOOKING TO SELL, INFORMATION AT

STREAM NYC-ARTS ON

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