NYC-ARTS

S2020 E2 | FULL EPISODE

NYC-ARTS Full Episode: January 9, 2020

Paula Zahn speaks with Jonathan Stafford and Wendy Whelan, the new artistic leadership of the New York City Ballet. Followed by a visit to The Metropolitan Museum of Art for a look at "Smashed Strokes Hope," which belongs to artist Joan Snyder’s breakthrough series of abstract paintings, sometimes referred to as "stroke paintings" because they emphasize the primacy of the artist’s brushwork.

AIRED: January 09, 2020 | 0:28:16
ABOUT THE PROGRAM
TRANSCRIPT

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

CONVERSATION WITH JONATHAN

STAFFORD AND WENDY WHALEN.

THE NEW ARTISTIC LEADERSHIP OF

THE NEW YORK CITY BALLET.

>> SINCE WENDY AND I BOTH DANCED

THAT ROLE QUITE A BIT, WE

FIGURED WE COULD STEP IN AND

GIVE FINE-TUNING DETAILS TO JUST

ELEVATE THE PERFORMANCE THAT

LITTLE BIT.

>> I WANTED TO HELP THEM BUILD A

LANDSCAPE IN THEIR MIND OF WHERE

TO PUSH FARTHER AND WHERE TO

SOFTEN UP AND WHERE TO THINK

THROUGHOUT THE WAY THE MUSIC

ALSO HAS A LANDSCAPE.

>> AND A VISIT TO THE

METROPOLITAN MUSEUM OF ART FOR A

LOOK AT THE MUSEUM'S COLLECTION

OF POST-WAR AND CONTEMPORARY

ART.

>> THE PAINTINGS SERVES AS A

KIND OF INVENTORY OR CATALOG OF

PAINTER STROKES.

SOME THICK, SOME THIN, SOME

STABLE, SOME STRONG, OTHERS

FLUID, OTHERS WEAK.

>> FUNDING FOR NYC ARTS IS MADE

POSSIBLE BY ROSALIND P. WALTER.

TEA PITCHIC YORBA LINDA

FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR

DANCE.

JODY AND JOHN ARNEHOLD.

ELISE, JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

ELLROY AND TERRY CRUMB HOLT

FOUNDATION.

THE MILTON AND SALLY AVERY

FOUNDATION AND JAMES S. MARCUS

AND 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 THING'S FIRST.

AT FIRST REPUBLIC BANK, FIRST

REFERS TO OUR FIRST PRIORITY,

THE CLIENTS THAT WALK THROUGH

OUR DOORS.

THE FIRST STEP, RECOGNIZE THAT

EVERY CLIENT IS AN INDIVIDUAL

WITH UNIQUE NEEDS.

FIRST DECREASE, THE BANK WHOSE

CURRENCY IS 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

OUR MINDS.

>>> GOOD EVENING AND WELCOME TO

NYC ARTS.

I'M PAULA ZAHN AT THE TISH WNET

STUDIOS AT LINCOLN CENTER.

TONIGHT ON OUR PROGRAM WE'LL

MEET THE NEXT GENERATION OF

ARTISTIC LEADERSHIP, TWO OF THE

WORLD'S LEADING INSTITUTIONS FOR

DANCE.

NEW YORK CITY BALLET WHICH MAKES

ITS HOME RIGHT HERE AT LINCOLN

CENTER IS ONE OF THE FOREMOST

DANCE COMPANIES IN THE WORLD.

IT HAS A ROSTER OF MORE THAN 90

DANCERS AND AN UNPARALLELED

REPERTORY OF MODERN

MASTERPIECES.

FOUNDED IN 1948 BY THE LEGENDARY

CHOREOGRAPHER GEORGE BALENTINE

AND PATRON LINCOLN KIRSTEN, THE

COMPANY BECAME RENOWNED FOR ITS

DISTINCTIVE STYLE AND THE

ORIGINAL BALLETS THAT WOULD

FOREVER CHANGE THE FACE OF

CLASSICAL DANCE, BUT EARLY ON,

BALANCING MADE IT CLEAR THAT

ESTABLISHING A BALLET SCHOOL WAS

A PRIORITY, A PLACE TO LEARN

INSPIRED BY THE TRAINING HE

RECEIVED FROM THE BALLET SCHOOL

IN RUSSIA.

THE SCHOOL OF AMERICAN BALLET

WIDELY REGARDED AS THIS

COUNTRY'S LEADING BALLET

TRAINING GROUND.

AS THE OFFICIAL ACADEMY OF THE

NEW YORK CITY BALLET, THE SCHOOL

PREPARES ALMOST ALL OF THE

COMPANY'S DANCERS TO JOIN ITS

RANKS AS WELL AS DANCERS FOR

COMPANIES ALL OVER THE WORLD.

>> ABOUT A YEAR AGO AFTER AN

EXTENSIVE SEARCH, JONATHAN

STAFFORD WAS NAMED ARTISTIC

DIRECTOR OF THE NEW YORK CITY

BALLET AND THE SCHOOL OF

AMERICAN BALLET AND WENDY WHALEN

WAS NAMED ASSOCIATE ARTISTIC

DIRECTOR OF THE BALLET COMPANY.

BOTH ARE ESTEEMED FORMER NEW

YORK CITY BALLET DANCERS AND

S.A.D. ALUMS AND ARE UNIVERSALLY

CONSIDERED TO BE THE BRIGHTEST

LUMINARIES IN THE ARTS WORLD

TODAY.

THE COMPANY'S WINTER SEASON

WHICH ISBEGINS ON JANUARY 21st

MIXES TRADITION AND INNOVATION.

IT OPENS WITH NINE PROGRAMS

FOCUSING ON AN ESPECIALLY

FRUITFUL COLLABORATION WITH

COMPOSER IGOR TREBIN SKI AND THE

TALE OF THE FIREBIRD.

THE COMPANY WILL PRESENT WORKS

BY THE REPPERTORY BY JEROME

ROBBINS AS WELL AS TWO WORLD

PREMIERES BY ALEXEI.

THE FULL-LENGTH PRODUCTION OF

SWAN LAKE BY PETER MARTINS FOR

TWO WEEKS IN FEBRUARY.

LAST FALL I HAD THE PLEASURE OF

SPEAKING WITH JONATHAN AND WENDY

ABOUT THEIR VISION FOR THE

FUTURE.

>> WENDY AND JONATHAN, IT'S

GREAT TO HAVE YOU WITH US.

CONGRATULATIONS ON YOUR NEW

APPOINTMENTS.

>> THANK YOU.

>> THANK YOU SO MUCH.

>> SO, JONATHAN, YOU CAME INTO

THE COMPANY IN THE THIRD

ITERATION OF YOUR CAREER AS ONE

OF THE DIRECTORS OF THE BALLET

DURING PROBABLY ONE OF THE MOST

TUMULTUOUS TIMES OF THE

COMPANY'S HISTORY AND NOW, OF

COURSE, YOU'VE LANDED THE TITLE

OF ARTISTIC DIRECTOR OF THE NEW

YORK CITY BALLET.

HOW WOULD YOU DESCRIBE THE

CLIMATE OF THE COMPANY TODAY?

>> ONE OF THE THINGS THEY ALWAYS

REALLY CARED ABOUT IN THE

COMPANY WAS TO HAVE DIRECT AND

OPEN COMMUNICATION, AND THAT'S

SOMETHING WHEN WENDY AND I FIRST

STARTED TALKING TO EACH OTHER

ABOUT TAKING THESE ROLES OUT IT

WAS FIRST AND FOREMOST ON BOTH

OF OUR LISTS AND WHAT'S GREAT

ABOUT THAT IS WE'RE REALLY ON

THE SAME PAGE WHICH IS NOT JUST

OPEN AND DIRECT COMMUNICATION

BETWEEN US WHICH IS VERY, VERY

IMPORTANT AND OPEN AND DIRECT

COMMUNICATION WITH THE DANCERS

AND THE NEW YORK CITY BALLET.

WE HAVE SUCH INTELLECTS IN THE

DANCER RANKS AND WHAT WE'VE

STARTED TO DO IS HAVE THE

DIALOGUE ABOUT WHAT THEY ARE AND

THEN THAT WAY WE CAN HOLD THEM

ACCOUNTABLE AND GET WHAT WE NEED

FROM THEM AND THEY CAN ALSO HOLD

US ACCOUNTABLE AND BECOME THE

FULLY FORMED ARTISTS THAT THEY

POSSIBLY COULD.

>> IT'S WONDERFUL THAT YOU LOOK

AT THE TEAM WORK THE WAY YOU DO.

HOW WOULD YOU DESCRIBE WHAT YOUR

TAUGHTS ARE.

>> JOHN AND I HAVE VERY, VERY

DIFFERENT HISTORIES WITH THE NEW

YORK CITY BALLET.

WE COME FROM DIFFERENT SIDES OF

THE ART FORM IN A LOT OF WAYS.

SO HE WAS GIVEN THAT SORT OF

OPPORTUNITY TO EXPLORE TEACHING

AND BALLET MASTERING, AND I

WASN'T DOING ANY OF THAT.

IN FACT, I WAS, LIKE -- NO,

THAT'S NOT MY THING, AND I WAS

FINDING OPPORTUNITIES TO

COLLABORATE WITH THE

CHOREOGRAPHERS AND MAKING NEW

WORK AND MAKING ARTISTIC

COLLABORATIONS HAPPEN.

>> I ALWAYS LOVED DANCING, AND I

LOVED PERFORMING.

I LOVED THE HIGH I GOT FROM IT,

BUT I DISCOVERED EARLY ON THAT

THE BUZZ I GOT AND THE

ADRENALINE RUSH AND EVERYTHING

WAS HAPPENING MORE SO BEHIND THE

SCENES THAN WHEN IT WAS

HAPPENING OUT ON THE STAGE.

>> AND THAT WAS A REALLY

INTERESTING MOMENT FOR ME WHERE

I SAID, HMM, I REALLY, REALLY

LOVE TEACHING.

>> YOU'VE HAD THIS LONG AND

STORED CAREER WITH THE NEW YORK

CITY BALLET DANCING FOR MORE

THAN, WHAT?

30 YEARS?

>> WHICH IS PHENOMENAL.

>> VERY IMPRESSIVE.

>> IT REALLY IS.

>> SO WHAT DID YOU DO TO

CONVINCE WEND TOE COME BACK

BECAUSE YOU WERE ENJOYING --

>> JOHN DIDN'T NEED TO DO

ANYTHING TO CONVINCE ME TO COME

BACK.

>> YOU WERE ENJOYING YOUR WORK.

YOU WERE SPENDING A LOT OF TIME

WITH NUCOEW CHOREOGRAPHERS AND T

WAS AN EXCITING TIME.

>> I WAS LEARNING TO TEACH AND

STARTING TO STAGE THINGS, AND

NOW I COULD TAKE ALL THAT I

LEARNED AND CONTINUE TO LEARN

AND GO BACK AND BRING IT INTO

WHAT I KNOW.

>> SO HOW DO YOU MAINTAIN THE

EXCELLENCE THAT IS IN PLACE AT

THE SCHOOL OF AMERICAN BALLET IN

TERMS OF TEACHING AND NURTURING

THIS YOUNG TALENT IN MAKING

THESE GREAT KIDS EXCELLENT?

>> SO AT S.A.B., YOU HAVE TO

HAVE -- AT ANY SCHOOL, YOU HAVE

TO HAVE A REALLY, REALLY CLEAR

VISION OF HOW YOU'RE GOING TO

TEACH, WHAT'S IMPORTANT AND

YOU'RE TEACHING THE STYLE AND WE

ARE FORTUNATE THAT GEORGE LEFT

US WITH A VERY CLEAR VISION IN

HOW TO TEACH STUDENTS.

>> HOW WOULD YOU DISSTILL THAT?

IN A SENTENCE OR TWO?

>> FAST, DYNAMIC, PRECISE,

MUSICAL, EXPRESSIVE.

>> ECONOMICAL MOVEMENT.

CLEAR, CLARITY OF POSITION AND

IT'S NOT ABOUT ACTING.

IT'S NOT ABOUT BECOMING

SOMETHING OTHER THAN WHAT YOU

ARE, BUT BECOMING THE BEST YOU,

AND HOW DOES THAT HELP CONNECT

YOU TO THE OVERALL MISSION OF

THE BALLET BECAUSE YOU REALLY

ARE APPROACHING IT AS A TEACHER

OR AS A FORMER PRINCIPAL DANCER

AND NOW THE GUY RUNNING THE

PLACE.

>> 95% OF THE DANCERS ARE FROM

AMERICAN BALLET COMPANY AND

THAT'S UNIQUE.

>> IS IT BECAUSE YOU'RE GETTING

THE BEST OF THE BEST OF THE

BEST.

>> AND IT'S IDEAL ABOUT HOW WE

DANCE THIS WORK AND HOW WE

APPROACH OUR WORK, THERE'S JUST

A WHOLE ECOSYSTEM OF THOUGHT AND

FOCUS AND STYLE AND TECHNIQUE

AND UNDERSTANDING.

>> SO WE HAVE THE PRIVILEGE OF

BEING EMBEDDED IN ONE OF YOUR

REHEARSALS.

THE TCHAIKOVSKY PIANO CONCERTO.

>> NUMBER 2, YES.

>> JUST DESCRIBE THE PROCESS YOU

WERE TAKING THE DANCERS THROUGH.

>> WE WERE TAKING MORE TIME.

>> AT THAT POINT THE CORE WAS

REHEARSING ON THEIR OWN.

THE PRINCIPALS HAD BEEN

REHEARSING ON THEIR OWN IN

SEPARATE STUDIOS AND WE BRING IT

ALL TOGETHER TO DO A RUN THROUGH

AND THEN THE PRINCIPAL INDANCER

HAD DANCED THAT BALLET BEFORE AT

A HIGH LEVEL.

>> IS THERE ANY WAY TO DO A

LITTLE MORE WITH YOUR HANDS.

>> AND SINCE WENDY AND I BOTH

DANCED THAT ROLE QUITE A BIT, WE

FIGURE WE CAN STEP IN THERE AND

GIVE JUST A LITTLE FINE-TUNING

DETAIL TO JUST ELEVATE THE

PERFORMANCE THAT LITTLE BIT, AND

WE ALSO WANT TO PUT THE DANCERS

IN A POSITION WHEN THEY GO ON

STAGE AND THEY'RE NOT THINKING

ABOUT HOW THEY'RE EXECUTING AND

THEY'RE JUST LETTING GO AND

THEY'RE JUST GOING OUT AND

DANCING.

>> WORKING WITH THE PRINCIPALS

FOR MYSELF WAS SO FUN FOR THE

FIRST TIME I WORKED ON THAT

PIECE WITH TERESA AND RUSSELL

JANSEN.

THEY'RE PERFECT DANCERS.

THEY'RE LONG AND THEY'RE VERY

CLEAN AND CLEAR.

I WANTED TO TRY TO BRING OUT THE

DYNAMICS OF THE MUSIC WITH THEM,

AND I ALSO LIKED HOW YOU WERE

HITTING -- LIGHTLY HITTING --

>> HELP THEM BUILD THE LANDSCAPE

IN THEIR MIND ABOUT WHERE TO

PUSH FOR AND WHERE TO SOFTEN UP

AND WHERE TO THINK THROUGHOUT

THE WAY THE MUSIC ALSO HAS A

LANDSCAPE.

SO FOR ME, IT WAS A TOTAL THRILL

TO GET TO WORK WITH THEM FOR THE

FIRST TIME.

>> SO THE OTHER BALLET THAT WAS

BEING REHEARSED IS ARTIANA.

>> WHAT DO WE SEE UNFOLD ON

SCREEN THERE?

>> THAT IS A MUCH SMALLER, MORE

INTIMATE PIECE WHERE THE

PRINCIPAL DANCERS SPEND MOST OF

THE BALLET ON STAGE BY

THEMSELVES.

THEY ARE SO INTIMATE.

>> IT IS ALSO EPIC BECAUSE THERE

ARE SO MANY DETAILS.

>> AND THEN MAYBE LET SOMETHING

HANG BACK A TINY BIT AS YOU GO

FORWARD OR SOMETHING.

>> IT'S BALANCING

>> IT'S A CONVERSATION BETWEEN

THE PARTNERS, AS WELL.

BETWEEN THE MAN AND THE WOMAN

AND THEY'RE POSITIVE.

AND IT ALSO HAS THE QUALITY OF

BEING ALMOST IMPROVISORY LOOKING

AND THEY'RE COMING UP WITH THE

STEPS AT THE MOMENT EVEN THOUGH

THEY'RE DEFINED.

TO ME, THAT'S A VERY INTERESTING

CALLIST MAKING DANCE, BALLET

ESPECIALLY BECAUSE PEOPLE DIDN'T

MAKE BALLETS LIKE THAT.

AT THE TIME IT WAS VERY CLEAN,

CLEAR DIRECT LINES AND BALENTINE

PUT IT ALL ON ITS SIDE AND IT'S

TUMBLING AND THIS STUFF SORT OF

TUMBLES OUT AND IT'S EXTREMELY

EXCITING TO DO.

>> WHAT ARE YOUR GOALS WHEN IT

COMES TO THE REPERTOIRE OF A

BALLET?

>> LOTS.

YOU KNOW, OBVIOUSLY, FIRST AND

FOREMOST, IT IS AT THE CORE OF

WHAT NEW YORK CITY BALLET WILL

ALWAYS WILL BE.

>> SO WE HAVE TO MAINTAIN THE

INTEGRITY OF THAT RAP AND WE

HAVE TO MAINTAIN THE EXCITEMENT

OF THAT WRAP AND WE HAVE TO MAKE

SURE IT STAYS ALIVE AND FRESH.

>> IS THAT DIFFICULT?

>> WE ARE PASSING IT ON FROM

GENERATION TO GENERATION AND

THERE ARE NEW PEOPLE LEARNING IT

AND APPROACHING IT AT DIFFERENT

TIMES OF THEIR LIVES SO IT DOES

HAVE THE ABILITY TO REMAIN

FRESH.

>> YOU'VE DEVELOPED THIS

INTERESTING IDEA OF TRYING TO

BRING BACK SOME OF THE MUSES

THAT INSPIRED BALENTINE.

HOW IS THAT WORKING OUT?

>> WE'RE BRIDGING THEM BACK

SELFISHLY FOR US TO LEARN FROM.

>> YEAH.

>> TO BE OUR GUIDES, TO INFORM

QUESTIONS THAT WE HAVE ALWAYS

HAD THAT WE DIDN'T FULLY HAVE

THE ANSWERS TO.

IT'S REALLY LIKE OPENING THIS

TREASURE CHEST AND LETTING THE

GEMS GLISTEN FOR US AND SING.

>> IT IS VERY IMPORTANT THAT

BALLET IS PASSED DOWN REALLY

VOCALLY, AND PHYSICALLY BY

DEMONSTRATING, AND WE DIDN'T GET

TO WORK DIRECTLY UNDER

BALENTINE.

WE ARE KIND OF THE NEXT

GENERATION NOW THAT DIDN'T HAVE

THAT DIRECT CONTACT WITH HIM,

BUT THERE ARE ALL THESE PEOPLE

OUT THERE WHO DID AND HE CREATED

HIS MASTERPIECES ON, AND SO WE

THOUGHT IT JUST MADE PERFECT

SENSE TO BRING THEM ON.

SELFISHLY FOR US TO LEARN FROM,

BUT WE'RE ALSO TEACHING THE

DANCERS WHO ARE THEN GOING TO

SOME DAY BE IN OUR POSITION AND

PASSING IT ON TO THE NEXT

GENERATION.

>> IT'S YOUR VERSION OF AN ORAL

HISTORY IN A WAY.

>> IT REALLY IS AND TO SEE EDDIE

VALELLA WHO IS ONE OF THE PROD

GAL SON WHO IS ONE OF THE MOST

ICONIC ROLES IN THE MALE REP IN

THE LAST SEASON OF JOAQUIN'S

CAREER AND HE'S NOW A DIRECTOR,

TO SEE THE TWO OF THEM ON STAGE

HAVING AN INTIMATE MOMENT AND

WORKING ON IT.

WE'RE STANDING IN THE WINGS WITH

OUR MOUTHS WIDE OPEN AND JUST

WATCHING THIS INCREDIBLE MOMENT

BETWEEN THESE TWO WORLD CLASS,

WORLD FAMOUS ARTISTS.

>> AND HOW ARE YOU APPROACHING

NEW WORK AND THAT'S WHAT YOU'RE

TASKED WITH, RIGHT.

>> THAT'S ONE OF MY TASKS, BEING

ON THE HUNT FOR THE NEW, GREAT

WORK.

>> AND THAT'S SOMETHING THAT

WENDY IS REALLY INSPIRED IN ME

TO REALLY UNDERSTAND THAT THAT

THE NEW WORK IS NOT JUST TO

BUILD A NEW AUDIENCE, A YOUNGER

AUDIENCE AND TO EXCITE THE

AUDIENCE AND IT'S TO DEVELOP THE

ARTISTS AND FEED THE ARTISTS.

>> IN TRYING TO BALANCE THE NEED

TO CONTINUE TO FEED YOUR ARTISTS

AND TO EXPAND YOUR REPERTORY,

HOW CONCERNED DO YOU HAVE TO BE

ABOUT ALIENATING YOUR CORE

AUDIENCE WITH THESE PIECES ARE

ULTIMATELY PERFORMED ON STAGE?

>> I THINK OUR AUDIENCE IS

REALLY OPEN MINDED.

OUR AUDIENCE IS VERY INTELLIGENT

AND VERY SOPHISTICATED.

THEY KNOW WHAT THEY'RE SEEING

AND THEY KNOW AT NEW YORK CITY

BALLET THAT WE'LL ALWAYS CREATE

NEW WORK AND THEY'RE EXCITED BY

THAT.

>> THAT'S WHY THEY COME BECAUSE

THAT'S WHAT WE'RE ABOUT AND

THAT'S WHAT'S SO FUN ABOUT NEW

YORK CITY BALLET AND THEY LOVE

THE ROBINS AND THEY ALSO LOVE

THE NEW WORK.

WE HAVE STEPPED OUTSIDE THE BOX

IN THE LAST YEAR WITH SOME OF

OUR NEW WORKS AND IT'S BEEN

RECEIVED FOR THE MOST PART

REALLY, REALLY ENTHUSIASTICALLY

BY THE AUDIENCE AND THAT JUST

GIVES MORE CONFIDENCE TO KEEP

GOING AND SOMETHING THAT JUSTIN

PACK, WHO IS OUR RESIDENT

CHOREOGRAPHER AND HE'S IN HIS

EARLY 30s AND HE'S SO CONNECTED

AND TUNED IN TO THE LOCAL ART

SCENE IN NEW YORK.

HE HAS ALL THESE IDEAS OF OURS.

HE CAN COLLABORATE WITH IT AND

SEND FOR THE CHOREOGRAPHERS TO

CREATE WITH.

>> CURRENTLY HE'S THE CONSULTANT

AND THE COG YOHOREOGRAPHER OF TW

YORK CITY BALLET.

WE TALK AMONG OURSELVES ABOUT

WHERE WE WANT TO GO AND WHO WE

THINK IS INTERESTING.

WE GET APPROVAL FOR EACH OTHER

ABOUT COMMISSIONS.

SO IT'S ALWAYS A CONVERSATION.

>> WHAT DO YOU HOPE WILL BE ON

THE HORIZON FOR THE COMPANY AND

THE SCHOOL?

>> I HOPE THAT, YOU KNOW, WE CAN

OPEN UP AND WE HAVE THE IDENTITY

IN A LOT OF GOOD WAYS AND WE CAN

DEVELOP IT IN MORE BROADER WAYS.

DIVERSIFYING OUR SCHOOL AND

DIVERSIFYING OUR COMPANY AND

DIVERSIFYING THE ARTISTS WE

BRING IN, OUR ADMINISTRATION.

SO REALLY THINKING ABOUT

OURSELVES AS CULTURAL LEADERS AS

WELL AS ARTISTIC LEADERS.

THAT'S WHAT WE TALK A LOT ABOUT.

SO WE WANT TO SORT OF LEAD IN

THAT WAY.

>> AND SHARING THAT PASSION

BECAUSE IT REALLY IS A PASSION.

YOU HAVE TO BE PASSIONATE ABOUT

IT.

>> ONE OF THE MOST INSPIRING

THINGS IS SEEING THAT PASSION IN

SOMEONE ELSE, TOO, WHICH JUST

KEEPS THAT PASSION ALIVE DEEP

DOWN WITHIN YOU WHEN YOU SEE IT

ON THE STUDENTS' FACES AND THE

DANCERS AS THEY ARE WORKING DAY

AFTER DAY, HOUR AFTER HOUR AS

THEY GET TO HONE THEIR CRAFT

BECAUSE THEY'RE PASSIONATE ABOUT

IT.

>> AND THERE'S NOTHING BETTER

THAN BEING INSPIRED AND

INSPIRING OTHER PEOPLE.

NOTHING BETTER THAN THAT, AND

THAT'S, I THINK, WHAT KEEPS US

EXCITED.

>> YEAH.

>> WELL, I HOPE THIS COMPANY

BECOMES EVERYTHING YOU WANT IT

TO BECOME.

A CONTINUED SUCCESS TO BOTH OF

YOU.

>> THANK YOU.

>> THANK YOU SO MUCH.

>> IT WILL BE FUN TO ROOT YOU ON

FROM THE SIDELINES.

>>> FOR MORE INFORMATION ON

CULTURAL EVENTS IN OUR AREA,

PLEASE SIGN UP FOR OUR FREE

WEEKLY E-MAIL AT

NYC-ARTS.ORG/E-MAIL.

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

METROPOLITAN MUSEUM OF ART FOR A

FRESH LOOK AT THE MUSEUM'S

COLLECTION OF POST-WAR AND

CONTEMPORARY ART.

EPIC ABSTRACTION, POLLOCK TO

HERRERA EXPLORES LARGE-SCALE

ABSTRACT PAINTING, SCULPTURE AND

OTHER WORKS OF ART.

IT SEEKS TO BROADEN THE

NARRATIVE OF ABSTRACTION,

BRINGING TOGETHER 60 WORKS FROM

THE COLLECTION, REPRESENTED HERE

ARE SUCH ICONIC ART I WAS AS

JACKSON POLLACK, AND IGUCHI AND

CARMEN HERRERA AND MARK

BRADFORD.

RANDALL GRIFFEY, CURATOR OF

MODERN AND CONTEMPORARY ART AT

THE MET LOOKS AT A SINGLE WORK

FROM THE EXHIBITION.

>> THE COLORFUL AND ATTRACTIVE

PAINTING BEHIND ME IS SMASH,

STROKES HOPE FROM 1971 BY JOAN

SCHNEIDER.

SCHNEIDER IS ONE OF THE

CONTEMPORARY ARTISTS FEATURED IN

EPIC ABSTRACTION, POLLACK TO

HERRERA AND THE EXUBERANT COLOR

AND THE SENSE OF EXPERIMENTATION

BREAKS FROM THE INTENSE

FORMALISM OF MINIMALISM,

SPECIFICALLY THE MINIMALIST GRID

THAT WAS CONSIDERED TO BE THE

MOST DESIRABLE TEMPLATE OR

TOUCHSTONE FOR COMPOSITION OR

DESIGN FOR MANY ARTISTS,

PAINTERS AND SKULL OPPORTUNITY

ARES COMING OF AGE IN THE 1960s

AND 70s.

THIS IS A PAINING ON CANVAS.

OIL, A KRILLIC AND SPRAY ENAMEL.

SHE'S APPLYING PAINT FAIRLY

TRADITIONALLY IN CERTAIN

INSTANCES WITH THE SEQUENCE OF

VERY CLEAR BRUSH STROKES.

MOST OF THOSE ARE WITH THE OIL

PAINT, BUT THERE ARE INSTANCES

SHE'S EXPLORING MARK MAKING IN

OTHER WAYS.

HER PROCESS IS BOTH ADDITIVE AND

SUBTRACTIVE.

SHE MAKES STROKES BY ADDING

INDIVIDUAL BRUSH MARK, BUT SHE

ALSO EXECUTES STROKES IN THE

SUBTRACTIVE MANNER.

IN SOME CASES, SCRAPING INTO

THICK PAINT TO MAKE AN ABSENCE

OF A STROKE.

PART OF THE APPEAL OF JOAN

SCHNEIDER'S PAINTING IS THAT IT

ALMOST EXPANDS AND BLOWS UP IN

SCALE WITH AN ARTIST PALETTE

MIGHT LOOK LIKE WHERE YOU GET A

SENSE OF THE PAINT BEING MIXED

AND THERE'S THE SENSE OF A FULL

RANGE OF AN ARTIST'S PALETTE

THAT SHE'S PREPARING TO USE THE

PAINT IN CERTAIN INSTANCES AND

CERTAIN PASSAGES, IT'S PILED UP,

AND THICK AND IMPOSTED AND

COAGULATED.

IN OTHER INSTANCES SHE HAS THE

PAINT DILUTED AND OVER WIDE

EXPANSES OF THE PAINTING.

THE PAINTING SERVES AS A KIND OF

INVENTORY OR CATALOG OF PAINTER

STROKES.

SOME THICK, SOME THIN, SOME

STABLE, SOME STRONG.

OTHERS FLUID, OTHERS WEAK.

SCHNEIDER HERE WALKS THE VERY

FINE LINE BETWEEN

EXPERIMENTATION AND

DELIBERATION.

>>> HELLO.

I'M RAFAEL PI ROMAN AND WELCOME

TO THIS WEEK AT LINKON CENTER.

YOU KNOW WITH THE THEATERS

OVERFLOWING WITH THE BEST IN

MUSIC, DANCE, OPERA, DRAMA AND

FILM FROM AROUND THE WORLD, IT

IS TRULY THE INTERNATIONAL

CROSSROADS OF ARTS AND CULTURE.

>> FROM JANUARY 13th TO JANUARY

15th, JUILLIARD WILL PRESSENT

CHAMBERFEST, A PROGRAM OF SEVEN

CONCERTS THAT WILL FEATURE 131

JUILLIARD MUSICIANS.

STUDENTS WHO PARTICIPATE IN

CHAMBERFEST RETURN EARLY FROM

WINTER BREAK FROM A WEEK FROM

PIECES THEY'VE CHOSEN TO STUDY

AND THEY PERFORMED THIS WORK THE

FOLLOWING WEEK IN PUBLIC

CONCERTS.

THE CONCERTS WILL TAKE PLACE IN

THE HALL AND THE SHARP THEATER

AND IN THE HALL.

FOR COMPLETE DETAILS PLEASE

VISIT JUILLIARD EDU/CALENDAR.

>> FOR EACH MORE INFORMATION

ABOUT EVENTS AT LINCOLN CENTER,

YOU CAN VISIT THEIR WEBSITE AT

LINCOLN CENTER.ORG.

>>> NEXT WEEK, MONTEBELLO IN

CONVERSATION WITH GLEN LOWERY,

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 AND

TO MAKE IT A MORE COMFORTABLE

PLACE TO NAVIGATE AND CONNECT

THE MUSEUM TO ITS PLACE IN

MIDTOWN NEW YORK.

>> AND THE VISIT TO THE NEVELSON

CHAPEL AT ST. PETER'S CHURCH IN

MIDTOWN MANHATTAN WHERE THE

ENVIRONMENT CREATED BY LOUISE

NEVELSON IS UNDERGOING

RESTORATION AND REDISCOVERY.

ONCE YOU'RE INSIDE, YOU'RE

SURROUND BY NEVELSON.

SHE WAS THE GRANDMOTHER OF

ENVIRONMENTAL ART IN AMERICA.

SHE REALLY BELIEVED THE

IMPORTANCE OF SURROUNDING PEOPLE

WITH ART.

>> THANKS SO MUCH FOR JOINING US

TONIGHT.

I'M PAULA ZAHN AT THE TISH WNET

STUDIOS AT LINCOLN CENTER.

GOOD NIGHT.

>> FUNDING FOR NYC ARTS IS MADE

POSSIBLE BY ROSALIND P. WALTER.

TEA PITCHIC YORBA LINDA

FOUNDATION.

THE LOUIS SONNY TURNER FUND FOR

DANCE.

JUDY AND JOHN ARNEHOLD, ELISE

JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

EL ROADWAY AND TERRY CRUMB HOLT

FOUNDATION.

GENE DUBINSKY APPLETON ESTATE

AND THE 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 13.

NYC ARTS AND MADE PUBLIC BY

FIRST REPUBLIC BANK.

>> FIRST REPUBLIC BANK PRESENTS

FIRST THING'S FIRST.

AT FIRST REPUBLIC BANK, FIRST

REFERS TO THE PRIORITY AND THE

CLIENT THAT WALKS THROUGH OUR

DOORS.

THE FIRST STEP, RECOGNIZE THAT

EACH CLIENT IS AN INDIVIDUAL

WITH UNIQUE NEEDS.

IT IS SERVICE IN THE FORM OF

PERSONAL BANKING.

THIS IS FIRST REPUBLIC'S MISSION

FOR THE FIRST DAY AND IT IS

STILL THE FIRST THING ON OUR

MINDS.

STREAM NYC-ARTS ON

  • ios
  • apple_tv
  • android
  • roku
  • firetv

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