NYC-ARTS

S2020 E3 | FULL EPISODE

NYC-ARTS Full Episode: January 16, 2020

Philippe de Montebello in conversation with Glenn D. Lowry, Director of The Museum of Modern Art, about the visionary expansion and renovation of its campus. And a visit to the Nevelson Chapel at Saint Peter’s Church in Midtown Manhattan, where the environment created by artist Louise Nevelson is undergoing restoration and rediscovery.

AIRED: January 17, 2020 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

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

CONVERSATION WITH GLEN LOWRY,

DIRECTOR OF THE MUSEUM OF MODERN

ART, ABOUT THE VISIONARY

EXPANSION AND RENOVATION OF ITS

CAMPUS.

>>> THIS PROJECT HAD THREE BIG

GOALS, TO NOT ONLY PROVIDE MORE

SPACE TO SHOW MORE OF THE

COLLECTION, BUT TO SHOW IT

DIFFERENTLY.

TO CREATE A MUCH MORE WELCOMING

INSTITUTION, TO MAKE THIS A MORE

COMFORTABLE PLACE TO NAVIGATE,

AND THEN THE OTHER WAS TO

CONNECT THE MUSEUM TO ITS PLACE

IN MIDTOWN NEW YORK.

>> AND A VISIT TO THE NEVELSON

CHAPEL AT ST. PETER'S CHURCH IN

MIDTOWN MANHATTAN WHERE THE

ENVIRONMENT CREATED BY LOUISE

NEVELSON IS UNDERGOING REST RACE

AND REDISCOVERY.

>> ONCE YOU'RE INSIDE YOU'RE

SURROUNDED BY NEVELSON.

SHE WAS THE GRANDMOTHER OF

ENVIRONMENTAL ART IN AMERICA.

SHE REALLY BELIEVED THE

IMPORTANCE OF SURROUNDING PEOPLE

WITH ART.

>>> 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 FA LIEN DE MONTEBELLO ON

LOCATION AT THE MUSEUM OF MODERN

ART ON WEST 53rd STREET.

THIS YEAR THE MUSEUM CELEBRATES

ITS 90th ANNIVERSARY WITH A

VISIONARY EXPANSION AND

RENOVATION OF ITS CAMPUS.

THE EXPANSION BY ARC DETECTIVES

DILLER RENFRO IN COLLABORATION

WITH RENSLER INCREASES SPACE BY

ONE-THIRD.

THE REINSTALLATION ALSO PROVIDES

A COMPLETELY NEW PRESENTATION OF

THE MUSEUM'S RENOWNED

COLLECTION, SHOWING MORE ART IN

NEW AND INTERDISCIPLINARY WAYS.

TONIGHT ON OUR PROGRAM MY

CONVERSATION WITH THE MUSEUM'S

DIRECTOR GLENN LOWRY.

LOWRY BECAME THE SIXTH DIRECTOR

OF MOMA IN 1995.

DURING HIS TENURE HE HAS LED A

NUMBER OF INITIATIVES THAT HAVE

BROUGHT MOMA'S RENOWNED

COLLECTION AND RESEARCH TO

LARGER AUDIENCES ACROSS THE

WORLD.

HE GUIDED THE MUSEUM THROUGH THE

SUCCESSFUL MERGER WITH PS1

CONTEMPORARY ART CENTER,

MOMA-PS1, IN 1999, AND LED AN

EARLIER EXPANSION OF THIS

BUILDING IN 2004.

HE ALSO DEVELOPED THE MUSEUM'S

HOLDINGS IN ALL MEDIUMS AND

AROUND THE GLOBE, FROM LATIN

AMERICAN MODERNISTS TO

CONTEMPORARY ARTISTS.

LOWRY HAS CONTINUED THE MUSEUM'S

LEGACY OF ENRICHING PUBLIC LIFE

THROUGH EXHIBITIONS, EDUCATIONAL

PROGRAMS, PUBLICATIONS, AND

DIGITAL TOOLS.

HE HAS ALSO CHALLENGED

CONVENTIONAL IDEAS ABOUT MODERN

AND CONTEMPORARY ART AND DESIGN.

I RECENTLY HAD A CHANCE TO SPEAK

WITH HIM ABOUT THE MUSEUM'S

TRANSFORMATION AND ITS FUTURE.

WELCOME, GLENN.

I SHOULDN'T SAY WELCOME.

THANK YOU FOR ALLOWING US INTO

THE BRAND-NEW MUSEUM OF MODERN

ART.

OR IS IT MERELY A REIMAGINED

MUSEUM OF MODERN ART?

LET ME START WITH A BROAD-STROKE

QUESTION WHICH IS, WHAT WAS YOUR

ULTIMATE INTENTION IN ADDITION

TO SPACE IN CREATING THE WHOLE

NEW ADDITION?

>> FOR US THIS PROJECT HAD THREE

BIG GOALS.

ONE WAS TO NOT ONLY PROVIDE MORE

SPACE TO SHOW MORE OF THE

COLLECTION, BUT TO SHOW IT

DIFFERENTLY.

THE OTHER WAS TO CREATE A MUCH

MORE WELCOMING INSTITUTION, TO

MAKE THIS A MORE COMFORTABLE

PLACE TO NAVIGATE.

AND THEN THE OTHER DRIVING FORCE

WAS TO CONNECT THE MUSEUM REALLY

SUBSTANTIALLY TO ITS PLACE IN

MIDTOWN NEW YORK, TO OPEN IT UP

TO THE ENERGY OF THE CITY.

>> IT DOES SO ACTUALLY IN A

WONDERFULLY PHYSICAL WAY,

BECAUSE ALL ALONG THE

TRAJECTORY, PERIODICALLY ONE

SEES NEW YORK CITY.

REMINDS ME OF GERTRUDE STEIN.

THE BEST THING ABOUT MUSEUM IS

THE VIEW FROM THE INSIDE OUT.

>> IT'S A GREAT LINE.

BUT IN FACT, LIZ DILLER, WHO

DROVE THE PROJECT, IS A

PROFOUNDLY NEW YORK-BASED

ARCHITECT.

SHE GETS THE CITY.

EVERY TIME I WALK THROUGH THE

GALLERIES AND I GET A GLIMPSE OF

THE SKYSCRAPERS THAT DOMINATE

MIDTOWN OR THE RESIDENTIAL

BUILDINGS TO OUR NORTH, I FEEL

CONNECTED.

AND THAT MAKES THE ART COME

ALIVE, I THINK, IN A VERY

DRAMATIC WAY.

>> TELL US SOMETHING ABOUT THE

BUILDING.

>> I THINK ONE OF THE GREAT

THINGS THAT LIZ DILLER AND HER

TEAM DID FOR US WAS TO BOTH ADD

NEW ARCHITECTURE AND MAKE THESE

SURGICAL INCISIONS INTO THE

EXISTING ARCHITECTURE.

THAT'S NOWHERE MORE VISIBLE THAN

IN OUR LOBBY WHERE SHE HAS

OPENED IT UP, MADE IT EXPANSIVE,

MADE IT ALMOST INTUITIVE TO MOVE

THROUGH.

YOU HAVE A SENSE OF WHERE TO GET

YOUR TICKETING, YOU HAVE A SENSE

OF WHERE TO SIT AND WAIT FOR A

FRIEND, AND THE ENTIRE GROUND

FLOOR OF THE MUSEUM HAS BECOME

FREE TO THE PUBLIC.

SO YOU CAN WALK INTO THE MUSEUM

AS IF IT WERE A CONTINUATION OF

THE STREET AND ENJOY THE GARDEN

OR GO TO THE STORE OR GO EVEN TO

TWO OF OUR GALLERIES.

WE'VE GOT A BEAUTIFUL NEW DESIGN

GALLERY FOR CONTEMPORARY DESIGN

ON THE GROUND FLOOR FACING OUT

TO 53rd STREET WITH A GREAT

EXHIBITION ON ENERGY.

JUST NEXT TO THAT DESIGN

GALLERY, A PROJECTS GALLERY THAT

WE INITIATED WITH A STUDIO

MUSEUM IN HARLEM.

EVERY YEAR THEY WILL CURATE AN

EXHIBITION IN OUR PROJECT SERIES

AND THE INAUGURAL ONE WHICH

OPENS OUR BUILDING IS OF THE

YOUNG KENYAN-BORN ARTIST MICHAEL

ARMITAGE.

ALL OF THAT IS FREE TO THE

PUBLIC.

IT'S ONLY WHEN YOU GO UPSTAIRS

THAT YOU NEED A TICKET.

>> YOU ARE AT LEAST INITIALLY,

FOR THE FIRST FEW MONTHS,

TREATING THE PERMANENT

COLLECTION AS THE QUARRY IN

WHICH ONE WOULD FIND BOTH THE

PERMANENT COLLECTION AND THE

SPECIAL EXHIBITIONS.

IF I'M NOT MISTAKEN ALL OF THE

WORKS ON VIEW ARE NOW OF YOUR

PERMANENT COLLECTION.

>> VIRTUALLY EVERYTHING.

WE THOUGHT, OKAY, WHY NOT TREAT

OUR PERMANENT COLLECTION WITH

THE SAME ENERGY AND COMMITMENT

THAT WE TREAT OUR TEMPORARY

EXHIBITION PROGRAM?

IF WE BELIEVE, AS WE DO, THAT

THE 200,000 WORKS OF ART IN OUR

COLLECTION REPRESENT SOME OF THE

MOST INTERESTING AND IMPORTANT

WORKS OF ART OF THE 20th AND

EARLY 21st CENTURY, THEN THEY

SHOULD BE A WELLSPRING OF

POSSIBILITIES FOR US.

EVERY THREE TO SIX MONTHS,

ROUGHLY 30% OF THE COLLECTION

CHANGES.

SO THAT THERE IS NO SENSE OF A

FIXED COLLECTION ANYMORE.

THAT THE GALLERIES REPRESENT

SOME ECONOMICAL VIEW OF ART

HISTORY, BUT RATHER, THERE WILL

ALWAYS BE SURPRISES.

THAT DOESN'T MEAN THAT MATISSE'S

DANCE OR THE DEMOISELLES

D'AVIGNON OR STARRY NIGHT,

FAVORED PICTURES, ARE GOING TO

DISAPPEAR.

BUT IT DOES MEAN THAT THEIR

NEIGHBORS ARE LIKELY TO CHANGE

WITH GREAT FREQUENCY, THAT ON

OCCASION THEY MIGHT MOVE ROOMS,

THAT ONE GETS A SENSE OF RENEWED

ENERGY THAT COMES AS YOU

DISPLACE A WORK OF ART FROM ONE

OCCASION TO ANOTHER.

>> I DON'T SEE THE NAMES OF WHAT

WERE THEKY NONICAL MOVEMENTS.

POP, ABSTRACT EXPRESSIONISM.

IS THIS A REPUDIATION OF

TRADITIONAL ART HISTORY OR

SOMETHING ELSE?

>> IT'S NOT NECESSARILY A

REPUDIATION OF ART HISTORY,

BECAUSE THIS IS I THINK A DEEPLY

ART HISTORICAL PROJECT.

BUT IT IS MOVING BEYOND THE VERY

NARROW DEFINITIONS THAT HAVE

BEEN GIVEN TO CERTAIN MOMENTS.

TO ASK A DIFFERENT SET OF

QUESTIONS.

INDEED YOU CAN FIND DEMOISELLES

D'AVIGNON SURROUNDED BY EARLY

CUBIST WORKS OF ART.

BUT YOU CAN ALSO SEE THAT GREAT

PAINTING IN A DIALOGUE WITH

LOUISE BOURGEOIS AND FAITH

RINGGOLD AROUND TIME AMONG

ISSUES OF VIOLENCE, IMPACT OF

AFRICA AND AFRICAN ART ON

SENSIBILITIES, SO THAT IT'S MORE

THAN JUST CUBISM AT PLAY IN A

ROOM LIKE THAT.

THAT'S OUR GOAL, TO EXPAND THE

CONVERSATION.

>> THE PREVIOUS MUSEUM WAS A

SERIES OF MANY RETROSPECTIVES

WITH A SUBSTANTIAL NUMBER OF

WORKS BY INDIVIDUAL ARTISTS.

AND NOW THERE'S A MUCH MORE

FLUIDITY, MUCH MORE

CONFRONTATION THAN THERE WAS

BEFORE.

>> THERE WAS A NOTION OF, THIS

ARTIST BEGAT THAT ARTIST.

THERE WAS A KIND OF MARCH OF

TIME, THAT YOU COULD CHART THE

COURSE OF ART HISTORY WITH A

CERTAIN CLARITY.

IT WAS ALMOST A BATON-PASSING

FROM CEZANNE TO PICK CAUSE ZO.

WE'VE REALIZED THERE WERE

COMPETING IDEAS TAKING PLACE

SIMULTANEOUSLY AND COMPETING

IDEAS WOULD REVERBERATE ACROSS

THE DECADES AND EVEN ACROSS THE

CENTURY.

WE'VE TRIED TO EXCAVATE THOSE

ARGUMENTS, MAKE THEM PALPABLE,

AND INTRODUCE NEW VOICES, VOICES

THAT HAVEN'T BEEN HERE BEFORE.

WHETHER ARTISTS LIKE TARSILA DO

AMARAL, A BRAISIAN ARTIST, IN

PARIS IN THE '20s BUT WHO'S

LITERALLY NOT REPRESENTED IN ANY

AMERICAN INSTITUTION.

THERE'S A BEAUTIFUL MOMENT IN

THE MUSEUM WHERE ROTHKO SITS

NEXT TO A GAITONDE, AN INDIAN

ARTIST WHO WAS IN NEW YORK WHO

KNEW ROTHKO, WHO ABSORBED MANY

OF ROTHKO'S IDEAS, BUT ALSO

BROUGHT HIS OWN SENSIBILITIES,

OWN INTEREST IN A ZEN-LIKE

EXPERIENCE.

AND THESE PAINTINGS TALK TO EACH

OTHER IN UTTERLY UNEXPECTED WAYS

BUT ALSO MAKE US AWARE THAT

MODERNISM AND MODERN ART TOOK

PLACE ALL OVER THE GLOBE.

IT WASN'T JUST IN NEW YORK OR IN

PARIS OR IN BERLIN.

AND I THINK THIS ITERATION OF

THE MUSEUM MAKES PAL LABLE THE

DEGREE TO WHICH THERE IS A

INTERNATIONAL PERSPECTIVE THAT

WE HAVE TO KEEP IN MIND WHEN WE

THINK ABOUT ART.

>> GOING THROUGH THE GALLERIES

AS I DID, ONE OF THE THINGS THAT

STRUCK ME FIRST IS THAT YOU HAVE

REMAINED EXPERIMENTAL.

>> WHEN WE WERE CONCEIVED IN

1929, THE IDEA WAS THAT THE

MUSEUM WOULD BE A LABORATORY TO

WHICH THE PUBLIC WAS INVITED.

AND THIS NOTION OF A PLACE OF

EXPERIMENTATION THAT ENGAGED THE

PUBLIC IN A NEW ART, IN A NEW

WAY OF THINKING, HAS BEEN

ENTANGLED THROUGH SO MUCH WHAT

WAS WE'VE TRIED TO DO TODAY.

THAT IS TO RECAPTURE THE NOTION

THAT THE MUSEUM OF MODERN ART IS

NOT A FINISHED PROJECT, IT'S A

WORK IN PROGRESS.

INTELLECTUALLY, ARTISTICALLY,

PHYSICALLY, IT IS IN MOTION.

AMONG THE REALLY FANTASTIC NEW

ASPECTS OF THE BUILDING IS A

STUDIO, THE TRAVIS STUDIO,

ESSENTIALLY OUR FIRST

PERFORMANCE SPACE WITH

ACOUSTICALLY TUNED WALLS, A

FORUM IN WHICH DANCE CAN OCCUR.

WE'RE OPENING WITH AN

INSTALLATION OF DAVID TUDOR'S

"RAIN FOREST."

A SERIES OF ALMOST RUBE

GOLDBERG-LIKE OBJECTS, EACH OF

WHICH HAS AN ACOUSTIC DIMENSION

TO IT.

YOU BECOME AWARE OF THE FACT

THAT SOUND CAN BE A FORM OF ART

JUST AS MUCH AS PAINTING OR

SCULPTING CAN BE.

FOR US PERFORMANCE AND THE

PERFORMATIVE IS A REALLY

IMPORTANT ASPECT OF WHAT WE'RE

TRYING TO ACHIEVE WITH THIS

ITERATION OF THE MUSEUM.

>> IT MUST HAVE BEEN A RATHER

DELICATE CALIBRATING PROCESS FOR

THE CURATORS WHO MIGHT HAVE BEEN

UPSET THAT THE SOUND FROM FILM X

INTERFERED WITH THE DEEP SILENCE

OF PAINTING Y?

>> IT HAS BEEN A CHALLENGE TO

FIGURE OUT HOW TO BALANCE ALL OF

THESE DIFFERENT FORMS IN A WAY

THAT BUILDS RATHER THAN

DIMINISHES THE EXPERIENCE.

AND YOU KNOW, WE'LL KEEP

TWEAKING IT, BUT I THINK THE

BALANCE IS PRETTY GOOD.

THE MOMENT YOU WALK INTO A ROOM

WITH RAUSCHENBERG AND TWOMBLY

AND ENCOUNTER MERCE CUNNINGHAM

AND DANCE AND BEGIN TO

UNDERSTAND THESE ARTISTS WERE

WORKING WITH EACH OTHER AND

DANCERS AND THEIR WORK IS

EMBEDDED AND ONLY FULLY REALIZED

WHEN YOU SEE THE KIND OF

DIALOGUE BETWEEN MERCE

CUNNINGHAM AND ROBERT

RAUSCHENBERG.

>> THERE'S ONE PARTICULAR

EXHIBIT, A SUBSTANTIAL ONE, OVER

100 WORKS, FROM LATIN AMERICA.

AND THAT IS THE CISNEROS GIFT OF

LATIN AMERICAN WORKS, "MODERN

SOUTH."

TELL US A LITTLE BIT HOW THAT

FITS INTO THE OVERALL MISSION

AND DIRECTION IN WHICH YOU WANT

MOMA TO GO.

>> WELL, THE CISNEROS GIFT

EXPANDS DRAMATICALLY THE STORIES

WE CAN TELL WITH OUR COLLECTION,

BECAUSE PATTY'S INTENSE FOCUS ON

GEOMETRIC ABSTRACTION ACROSS

LATIN AMERICA, ESPECIALLY IN THE

'50s, '60s, EARLY '70s, MEANS

THAT WE NOW HAVE THE WORKS OF

ART THAT CAN ENGAGE MONDRIAN,

OTHERS, EUROPEAN ARTISTS WE

THINK OF AS GEOMETRIC COMPONENTS

OF ABSTRACTION, TAKE THAT IDEA,

MOVE IT LATERALLY, INFLECT IT IN

NEW AND DIFFERENT WAYS.

IT'S ALL PART OF ONGOING EFFORT

ON OUR PART TO REALLY UNDERSTAND

DIFFERENT ARTISTIC PRACTICES

ACROSS GEOGRAPHIES.

THE PIGOZZI GIFT WHICH WE JUST

ACQUIRED OPENS UP AFRICA FOR US

IN WAYS THAT WE'VE NEVER HAD

BEFORE.

OR RECENT ACQUISITIONS THAT WE

MADE FROM CHINA THAT LET US LOOK

AT THAT POST-1989 MOMENT WHEN

THE ARTS IN CHINA TOOK OFF.

SO THE ABILITY TO HAVE THESE

DIFFERENT STORIES DEVELOP ON

THEIR OWN AND IN RELATIONSHIP TO

EACH OTHER IS WHAT I THINK MARKS

THIS MOMENT FOR US IN A REALLY

INTERESTING WAY.

>> IT'S A GREAT MOMENT FOR THE

HISTORY OF MUSEUMS.

A GREAT MOMENT FOR THE HISTORY

OF NEW YORK.

YOU SHOULD BE VERY PROUD.

WE'RE DELIGHTED THAT YOU GAVE US

THE TIME AND THAT WONDERFUL TOUR

AND INSIGHT INTO THE NEW MUSEUM

OF MODERN ART.

THANK YOU, GLENN.

>> THANK YOU SO MUCH, PHILLIPPE.

YOU HAVE BEEN AN INCREDIBLE

INSPIRATION TO ME AND A WHOLE

GENERATION OF CURATORS HERE.

IT'S ALWAYS A PLEASURE TO SHARE

A MOMENT WITH YOU.

>> THANK YOU.

>>> "NYC ARTS" ISN'T ONLY

AVAILABLE ON THURSDAYS.

IT'S ALSO ON THE WEB.

PLEASE VISIT OUR WEBSITE AT

NYC-ARTS.ORG WHERE YOU CAN WATCH

CLIPS AND LEARN MORE ABOUT

INSTITUTIONS AND EVENTS FEATURED

ON THIS SHOW.

>>> NEXT ON OUR PROGRAM WE'LL

VISIT THE NEVELSON CHAPEL AT ST.

PETER'S CHURCH, A SCULPTURAL

ENVIRONMENT CREATED BY LOUISE

NEVELSON, ONE OF NEW YORK CITY'S

MOST CELEBRATED ARTISTS.

WITH A CAREER SPANNING NEARLY

FIVE DECADES, NEVELSON BECAME

ESPECIALLY WELL KNOWN FOR HER

TECHNIQUE OF COLLECTING

DISCARDED FURNITURE AND OTHER

RANDOM OBJECTS FROM THE STREETS

OF NEW YORK AND THEN

REASSEMBLING THEM INTO OFTEN

LARGE-SCALE ART INSTALLATIONS.

NEVELSON'S ARTWORK FOR THE

CHAPEL OF THE GOOD SHEPHERD AT

ST. PETER'S CHURCH IS THE

ARTIST'S ONLY REMAINING

ENVIRONMENT ALWAYS OPEN TO THE

GENERAL PUBLIC.

IT IS A GEM HIDDEN IN PLAIN

SIGHT WITHIN THE CITIGROUP

CENTER IN MIDTOWN MANHATTAN.

THE ENTIRE COMPLEX, INCLUDING

THE CHURCH, WAS DESIGNED BY HUGH

STUBBINS AND EASLEY HAMNER.

AFTER 40 YEARS NEVELSON'S

MASTERWORK IS UNDERGOING A

CRITICAL RESTORATION AND

REDISCOVERY AS AN OASIS OF

PEACE.

>> NEVELSON CONSIDERED THIS

ENVIRONMENT HER OASIS OF

SILENCE.

IT'S A PLACE THAT PEOPLE COME

DAY IN AND DAY OUT TO FIND IN

THE MIDDLE OF THIS INCREDIBLY

BUSY CITY SOME ELEMENT OF PEACE

AND SILENCE.

>> ONCE YOU'RE INSIDE, YOU'RE

SURROUNDED BY NEVELSON.

AND SHE WAS THE GRANDMOTHER OF

ENVIRONMENTAL ART IN AMERICA.

AND SHE REALLY BELIEVED THE

IMPORTANCE OF SURROUNDING PEOPLE

WITH ART.

>> NEVELSON WAS ONE OF THE FEW

WOMEN ARTISTS IN THE 1970s WHO

REALIZED PUBLIC ART WITH GREAT

SUCCESS.

>> THE NEVELSON CHAPEL IS THE

ONLY INTACT ENVIRONMENT THAT SHE

EVER MADE.

>> LOUISE NEVELSON WAS BORN IN

UKRAINE IN 1899.

HER FAMILY EMIGRATED WHEN LOUISE

NEVELSON WAS A LITTLE GIRL.

NEVELSON'S FATHER WAS A WOOD

CUTTER IN THE OLD COUNTRY AND

ONCE THEY CAME TO MAINE, HE HAD

A JUNKYARD.

OF COURSE THAT INSPIRED MUCH OF

NEVELSON'S WORK.

SHE WOULD USE TOILET SEATS AND

BED STANDS AND CHAIR RAILS AND

EVERYTHING THAT SHE WOULD FIND

ON THE STREETS OF NEW YORK CITY

TO MAKE KOLACHE, THESE RELIEFS.

THAT WAS HER SIGNATURE, AND

THAT'S HOW SHE'S BEST KNOWN.

SHE HAD HER FIRST BREAKTHROUGH

PROJECT, HER FIRST PUBLIC

BREAKTHROUGH PROJECT, IN 1959 AT

THE MUSEUM OF MODERN ART.

LOUISE NEVELSON WAS 60 YEARS

OLD.

IT TOOK HER THAT LONG TO ACHIEVE

PUBLIC RECOGNITION.

>> ST. PETER'S WAS A NEO GOTHIC

LUTHERAN CHURCH THAT HAD BEEN

HERE A LONG TIME.

THE CONGREGATION HAD DWINDLED

DOWN TO 65, 70.

IT WAS NOT DOING VERY WELL.

>> 1975, ST. PETER'S AND

CITIBANK CAME TOGETHER TO START

PLANNING AND ULTIMATELY BUILD

CITIGROUP CENTER.

AT THE HEART OF THAT COMPLEX IS

NEVELSON CHAPEL.

>> THE PASTOR AT THAT TIME WAS

RALPH PETERSON.

AT THE POINT WHERE THEY DECIDED

THAT THEY WANTED A DECORATED

CHAPEL, A INTERFAITH CHAPEL,

EASLEY HAMNER WAS APPROACHED BY

PACE GALLERY WHO SAID, THERE'S

1% FOR THE ARTS WHICH MEANS

THERE'S QUITE A LOT OF MONEY

AVAILABLE FOR THE ARTS.

AND HAMNER KNEW NEVELSON'S WORK

AND REPUTATION AND WANTED HER TO

DO IT.

AND PETERSON KNEW HER WORK ALSO

AND REALLY LIKED IT.

THE WORKS OF THE CHAPEL ARE NOT

THE KIND OF FOUND OBJECT,

WHETHER IT WAS FURNITURE OR

SOMETHING SHE FOUND ON THE

STREET.

THEY WERE SHAPES MADE TO ORDER

FOR HER.

>> NEVELSON WAS JEWISH BY BIRTH.

THIS ISN'T A SPECIFICALLY

CHRISTIAN-FEELING SPACE, IT'S A

VERY SPIRITUAL SPACE.

>> I WANT TO READ YOU SOME

QUOTES FROM HER, BECAUSE THEY

SAY SOMETHING ABOUT HOW SHE SAW

HER SPIRITUALITY.

"ABSTRACTION ALLOWS ME TO

TRANSCEND QUIS IMAGERY TO THE

ESSENTIAL POINT WHERE ALL

RELIGIONS MEET.

EACH ELEMENT FORMS A HOLE IN

ITSELF.

A CONTRIBUTE EXPRESSION OF JOY,

OF HUMAN WARMTH.

FOR ME, FOR MY WORK, THIS CHAPEL

IS A STATE OF PURITY AND TRUTH."

I THINK THE FACT THAT THEY ARE

DOING A RESTORATION WOULD BE

SOMETHING NEVELSON WOULD 100%

APPROVE OF.

SHE ALWAYS WANTED HER WORK TO

LOOK AS FRESH AS POSSIBLE.

>> THERE ARE TWO MAJOR ELEMENTS

OF THE RESTORATION FOR NEVELSON

CHAPEL.

THE FIRST IS TO DEAL WITH

PROBLEMS WITH THE ENVIRONMENT.

SO WE'RE INTRODUCING A DEDICATED

HVAC SYSTEM THAT WILL ENSURE

THAT THIS ENVIRONMENT IS

PROPERLY REGULATED FOR LONG-TERM

CARE OF THE WOOD AND THE PAINT.

THE SECOND ELEMENT OF THE

RESTORATION IS CLEANING ALMOST

35 YEARS OF RESTORATION

OVERPAINT.

BUT IN THE END, ALL THE

SCULPTURES WILL BE NEVELSON'S

ORIGINAL PAINT.

>> NEVELSON'S SIGNIFICANT

CONTRIBUTION TO MODERNISM WAS

THAT SHE FORGED A UNIQUE VISUAL

LANGUAGE.

IT WAS PART SURREALISM, PART

CONSTRUCTIVISM, PART COLLAGE,

HAD RESONANCE OF MINIMALISM, BUT

IT WAS REALLY ALL NEVELSON.

>> THE CHAPEL IS NOT AS WELL

KNOWN AS IT SHOULD BE.

HOPEFULLY WITH THE RESTORATION

GOING ON, MANY MORE PEOPLE WILL

KNOW ABOUT IT.

>> WE WANT TO ENSURE THAT 40,

50, 60 YEARS FROM NOW, PEOPLE

WILL FIND THIS IN NOT A PRISTINE

CONDITION, IT'S A LIVING

ENVIRONMENT, BUT WHAT PEOPLE

WILL SEE IS THAT WE HAVE HONORED

IT, AND WE'RE PASSING ON TO THEM

AS BEST WE CAN WHAT HAS BEEN

HANDED DOWN TO US.

>>> HELLO, I'M RAFAEL PI ROMAN.

WELCOME TO LINCOLN CENTER.

FEW PEOPLE HAVE HELPED DEFINE

THE AMERICAN MUSICAL MORE THAN

LEGENDARY BROADWAY PRODUCER AND

DIRECTOR HAL PRINCE.

HIS RESUME INCLUDES SOME OF THE

MOST IMPORTANT SHOWS OF THE PAST

CENTURY.

AMONG THEM "WEST SIDE STORY,"

"FIDDLER ON THE ROOF,"

"CABARET," "PHANTOM OF THE

OPERA."

THROUGH MARCH 31st, 2020, THE

NEW YORK PUBLIC DIARRHEA FOR THE

PERFORMING ARTS IS PRESENTING

THE FREE EXHIBITION "IN THE

COMPANY OF HAROLD PRINCE:

BROADWAY PRODUCER, DIRECTOR,

COLLABORATOR."

THIS EXHIBITION EXPLORES

PRINCE'S CREATIVE TRAJECTORY AND

SHOWCASES THE TEAM OF DESIGNERS,

STAGE MANAGERS, PRESS AGENTS,

COMPOSERS, AND WRITERS HE

ASSEMBLED TO CREATE SO MANY

HISTORY-MAKING MUSICALS.

FOR COMPLETE DETAILS PLEASE

VISIT

NYPL.ORG/EVENTS/EXHIBITIONS.

FOR MORE INFORMATION ABOUT

EVENTS AT LINCOLN CENTER, VISIT

LINCOLNCENTER.ORG.

>>> THANKS FOR JOINING US THIS

EVENING.

I'M PHILIPPE DE MONTEBELLO ON

LOCATION AT THE MUSEUM OF MODERN

ART.

GOOD NIGHT, AND SEE YOU NEXT

TIME.

>> NEXT WEEK ON "NYC ARTS," A

CONVERSATION WITH WORLD-RENOWNED

CELEBRATED PIANIST.

>> SO FULL OF PASSION OF A YOUNG

MAN WANTING TO CONQUER THE

WORLD.

AND AT THE SAME TIME IT HAS THIS

INNOCENCE, BEAUTY.

MELODIES THAT COMES FROM THE

SORT OF FOLK SONG TRADITION.

THEY SPEAK VERY DIRECTLY TO OUR

ARTS AND IT'S VERY INTIMATE.

♪♪

>> AND A VISIT TO THE FRICK

COLLECTION FOR A LOOK AT THREE

PAINTINGS BY THE DUTCH MASTER

VERMEER.

>> WE ALSO HAVE ANOTHER FABULOUS

PAINTING BY VERMEER, IT'S

"OFFICER AND LAUGHING GIRL."

IT WAS PURCHASED BY TRICK IN

1911.

JUST TO GIVE YOU THE SENSE OF

HOW VERMEER'S STAR HAS BEGUN TO

RISE AT THIS POINT, FRICK PAID

$225,000 JUST 10 YEARS LATER.

SO HE'S OBVIOUSLY NOT ONLY VERY

INTERESTED IN VEREEN, BUT ALSO

RECOGNIZES THE QUALITY OF THIS

PARTICULAR WORK.

>> TO ENJOY MORE OF YOUR

FAVORITE SEGMENTS ON "NYC ARTS,"

PLEASE VISIT OUR WEBSITE AT

NYC-ARTS.ORG.

>> 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.

♪♪

♪♪

>>> 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

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