NYC-ARTS

S2021 E525 | FULL EPISODE

NYC-ARTS Full Episode: July 15, 2021

NYC-ARTS talks with renowned photographer Joel Meyerowitz about his long career and continuing love for his art form. Then a visit to the American Folk Art Museum and curator Valerie Rousseau for the story behind the sculpture “Encyclopedic Palace” by Marino Auriti.

AIRED: July 15, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON "NYY ARTS" A

PROFILE OF JOEL MEYEROWITZ,

VIBRANT PRESENCE IN THE ART

WORLD.

>> I REMEMBER WALKING THROUGH

PARIS AND SUDDENLY SMELL BAKING

CROISSANT IN THE AIR.

BUTTER AND SUGAR.

OH, AND YOU IMMEDIATELY, YOU

WANT A CROISSANT OR A COOKIE OR

SOMETHING.

YOU TAKE TWO STEPS AND IT'S

GONE.

TO ME, THAT'S WHAT PHOTOGRAPHY

IS.

YOU WALK ALONG THE STREET, AND

SOMETHING HAPPENS.

AND YOU GET IT.

IT'S A VISUAL THAT IS AS PRECISE

AS THAT FRAGRANCE THAT IS ONLY

IN THE AIR OF THE DOORWAY.

>> AND A VISIT TO THE AMERICAN

FOLK ART MUSEUM.

>> THIS BUILDING IS AN ENTIRELY

NEW CONCEPT IN MUSEUMS.

DESIGNED TO HOLD ALL OF THE

WORKS OF MAN IN WHATEVER FIELD.

DISCOVERIES MADE IN THOSE WHICH

MAY FOLLOW.

EVERYTHING FROM THE WHEEL TO THE

SATELLITE.

>> FUNDING FOR NYC ARTS IS MADE

POSSIBLE BY TEA PECHEK

FOUNDATION, THE AMBROSE MONEL

FOUNDATION.

JODY AND JOHN ARHORTS, ELISE AND

JEFFREY BROWN.

CHARLES AND JEFFREY GEITHNER,

THE NANCY SUDWATER FOUNDATION.

THE MILTON AND SALLY AVERY ARTS

FOUNDATION.

AND ELLEN AND JAMES S. MARGAS.

THIS PROGRAM IS SUPPORTED IN

PART BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT OF

CULTURAL AFFAIRS IN PARTNERSHIP

WITH CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF 13, 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.

>> AND BY SWAN AUCTION

GALLERIES.

>> 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 LIFETIME COLLECTOR, A

FIRST-TIME BUYER OR LOOKING TO

SELL, INFORMATION AT

SWANGALLERIES.COM.

>>> GOOD EVENING.

AND WELCOME TO "NYC ARTS."

I'M FULEGAL DE MONTEBELLO ON

LOCATION IN NEW YORK.

WHICH RECENTLY REOPENED ITS

DOORS TO THE PUBLIC.

HOUSED IN A MANSION AT THE

CORNER OF FIFTH AVENUE AND 86th

STREET, THE MUSEUM IS DEVOTED TO

EARLY 20th CENTURY GERMAN AND

AUSTRIAN ART AND DESIGN.

IT WAS CONCEIVED BY TWO MEN WHO

ENJOYED A CLOSE FRIENDSHIP OVER

A PERIOD OF ALMOST 30 YEARS, ART

DEALER AND GALLERY SALES AND A

BUSINESSMAN, PHILANTHROPIST AND

ART COLLECTOR.

BOTH SHARED A PASSIONATE

COMMITMENT TO GERMAN AND

AUSTRIAN ART OF THIS PERIOD.

AND DREAMED OF OPENING A MUSEUM

TO PRESENT THE FINEST EXAMPLES

OF THIS WORK.

AFTER SUBOWSKY PASSED AWAY IN

1996, LOTTER CARRIED ON THE

VISION OF CREATING THE GALLERY

NEW YORK AS A TRIBUTE TO HIS

FRIEND.

THE SECOND FLOOR OF THE MUSEUM

IS DEVOTED TO ART FROM VIENNA

ABOUT 1900 AND EXPLORES THE

RELATIONSHIP BETWEEN THE FINE

AND THE DECORATIVE ARTS.

DISPLAYED IN THIS OPULENT

GALLERY ARE MANY OF GUSTAV

KLIMT'S MOST COMPELLING

PORTRAITS OF WOMEN AS WELL AS

UNIQUE MANTELPIECE CLOCKS.

AMONG THE FINE VIENNESE ARTISTS

ALSO REPRESENTED IN THE

COLLECTION, ASIDE FROM KLIMT ARE

OTHERS.

KOKOSHKA'S ART SHOWS AN

AWARENESS OF MODERN ART AT THE

TIME.

HE VISITED AN EXHIBITION OF

FIGURE DRAWINGS HELD IN VIENNA

IN 1908.

LIKE HIM, HE EMPHASIZED SPECIFIC

PARTS OF THE FIGURE, BUT HIS

ATTENTION TO THE SITTER'S FACE

AND PSYCHOLOGY ARE VERY MUCH HIS

OWN.

AMONG THE ARTISTS ARE SUCH WELL

KNOWN FIGURES AS JOSEPH HOOKMAN,

MOSER.

HOFFMAN AND MOSER WERE AMONG THE

FOUNDERS OF THE HIGHLY

PRODUCTIVE COOPERATIVE OF

ARTISTS IN VIENNA.

IT WAS THE CENTER OF THE WIDER

PHILOSOPHICAL MOVEMENT THAT

VALUED INTELLECTUAL CURIOSITY

AND COLLABORATION OF ARTISTS IN

MULTIPLE MEDIUMS.

JEWELRY WAS AMONG THE FIRST

ITEMS PRODUCED AND HOFFMAN'S

WORK IS TYPICAL OF THIS TIME.

BOTH THE SHAPE AND STYLIZED

ORNAMENTS RECORD JEWELRY CREATED

BY KLIMT TO ADORN THE SOCIETY

WOMEN WHOSE PORTRAITS HE

PAINTED.

THEY CONVEY THE RICHNESS OF THE

DESIGN AND CONVENTION WITH THE

RANGE OF STONES SELECTED.

AFTER WORLD WAR I, THEY BEGAN

CREATING PRECIOUS METAL OBJECTS

SUCH AS THIS MELON SHAPED BOX.

THIS IS ONE OF THE MAGICAL

FRUITS HE DESIGNED, PERHAPS

INSPIRED BY LEGENDS OF GREEK

MYTHOLOGY.

ALSO INCLUDED AMONG VIENNESE

ARTISTS ARE THE ARCHITECTS RUSE

AND HORBAT.

ALBEIT ON A RELATIVELY SMALLER

SCALE THAN THEIR ACTUAL

BUILDINGS.

THE BRASS, COPPER DESIGN OF

1902.

IT REFLECTS HIS PREFERENCE FOR

UPDATING TRADITIONAL FORMS.

THE PENDULUM PLAYS AN IMPORTANT

PART IN THE OVERALL DESIGN.

AT THE SAME TIME, THE CLEAN

LINES, FLOATING DIAL, AND

TRANSPARENT BODY GIVE THE CLOCK

A QUALITY THAT HELPS IT BLEND

INTO ITS SURROUNDINGS.

ANOTHER CLOCK IN THE COLLECTION

IS BY JOSEPH HORBALK.

ITS ORNAMENTAL NATURE IS

INTENDED TO KEEP WITH ITS

SETTING.

THE RESTAURANT IN VIENNA.

THE RESTAURANT WAS A LARGE SPACE

WITH A HIGHLY DECORATIVE

CEILING.

HE WAS RESPONSIBLE FOR THE

DECORATIVE SCHEME OF THE

RESTAURANT AND HIS FURNISHINGS.

THE CLOCK COMBINES NATURAL AND

MANMADE MATERIALS.

ITS PROMINENT DIAL IS VISUALLY

SUPPORTED BY TWO SEMIPRECIOUS

STONE COLUMNS CARVED FROM ONYX,

MARBLE AGATE.

AT EITHER SIDE INLAID TRIANGLES

OF MOTHER-OF-PEARL RELAY THE

OVERALL SCHEME FOR THE

RESTAURANT PANELLING.

ON TONIGHT'S PROGRAM, WE'LL MEET

RENOWNED PHOTOGRAPHER JOEL

MEYEROWITZ, A VIBRANT PRESENCE

IN THE ART WORLD.

MEYEROWITZ GREW UP IN THE BRONX

AND GRADUATED WITH A DEGREE IN

PAINTING FROM OHIO STATE

UNIVERSITY IN 1959.

HE BEGAN TAKING PHOTOGRAPHS A

FEW YEARS LATER.

ALTHOUGH HE HAS FOCUSED ON A

VARIETY OF THEMES THROUGHOUT HIS

CAREER, HE IS PERHAPS BEST KNOWN

AS A STREET PHOTOGRAPHER IN THE

TRADITION OF SUCH MASTERS AS

BRASON AND ROBERT FRANK.

HE'S ALSO BEEN INSTRUMENTAL IN

ADVANCING THE RECOGNITION OF

COLOR PHOTOGRAPHY AS AN ART

FORM.

IN THE WAKE OF THE EVENTS OF

9/11, MEYEROWITZ WAS THE ONLY

PHOTOGRAPHER GRANTED

UNRESTRICTED ACCESS TO GROUND

ZERO.

THE DRAMATIC IMAGES HE CAPTURED

THERE HAVE BECOME THE FOUNDATION

OF THE MAJOR NATIONAL ARCHIVE.

AN EXHIBITION OF SELECTED

PHOTOGRAPHS FROM THIS COLLECTION

HAS BEEN SHOWN ALL OVER THE

WORLD.

HIS WORK CAN BE FOUND IN MUSEUMS

AND PUBLIC COLLECTIONS INCLUDING

THE MET, MOMA AND WHITNEY.

NYC ARTS SPOKE WITH MEYEROWITZ

DURING A VISIT TO HOWARD

GREENBERG GALLERY.

>> WHEN YOU FIRST PICK UP A

CAMERA, IT'S NOT SO EASY TO GO

OUT ON THE STREET AND TAKE

PICTURES OF STRANGERS BECAUSE

THERE'S ALWAYS A LITTLE BIT OF

FEAR, I DON'T BELONG HERE OR

THEY'RE NOT GOING TO LIKE IT IF

I TAKE A PICTURE.

HOW CAN I BE IN THEIR INTIMATE

SPACE?

SO IN A WAY, IT'S LIKE DANCE.

IT'S VERY BALLETIC.

YOU HAVE TO FIND THESE PHOTOS

THAT DON'T KNOW YOU'RE

PHOTOGRAPHING THEM AS YOU USE

THEIR FACE, THEIR ENERGY, THEIR

POSTURE, THEIR FIGURE, THEIR

DRESS, THEIR COLOR, WHATEVER IT

IS THAT EXCITES YOU AT THE

MOMENT.

MY FATHER WAS A REALLY STREET

SMART GUY, BORN IN NEW YORK

CITY.

A KIND OF TOUGH GUY ON THE

STREETS, AND WHEN I WAS A LITTLE

KID, HE OFTEN SAID TO ME, WHEN I

WOULD GO WITH HIM ANYWHERE, HE

WOULD JUST GIVE ME A LITTLE

NUDGE AND SAY, WATCH THAT OVER

THERE.

OR TAKE A LOOK AT THAT.

AND EVERY TIME HE SAID LOOK AT

THAT, SOMETHING HAPPENED.

IT'S AS IF HE COULD PREDICT THAT

TWO PEOPLE WERE GOING TO

EMBRACE.

YOU KNOW, AND DANCE AROUND EACH

OTHER AND THROW UP THEIR ARMS.

I MEAN, HOW DID HE KNOW?

AND IN A WAY, I'M SURE THAT HE

CREATED AN APPETITE IN ME FOR

THE UNEXPECTED QUALITIES OF

ORDINARY LIFE, THAT PEOPLE WILL

DO SPONTANEOUS, EXTRAORDINARY,

UNEXPECTED THINGS SUDDENLY.

AND IF YOU ARE QUICK ENOUGH TO

WATCH IT, YOU WOULD EXPERIENCE

THE PLEASURE.

VISUAL PLEASURE, HUMAN PLEASURE.

I HAVE BEEN ASKED SO MANY TIMES,

HOW DO YOU KNOW WHEN TO TAKE A

PHOTOGRAPH?

AND I REMEMBER WALKING THROUGH

PARIS.

AND WALKING DOWN THE STREET, AND

SUDDENLY, YOU SMELL BAKING

CROISSANTS ON THE AIR.

BUTTER AND SUGAR.

OH, AND YOU'RE IMMEDIATELY, YOU

WANT A CROISSANT OR A COOKIE OR

SOMETHING.

AND YOU TAKE TWO STEPS AND IT'S

GONE.

SO IN THE AIR ON THE STREET WAS

THIS LITTLE ZONE FOR A MOMENT

WHERE THE FRAGRANCE WAS SO RICH

AND COMPELLING.

TO ME, THAT'S WHAT PHOTOGRAPHY

IS.

YOU WALK ALONG THE STREET, AND

SOMETHING HAPPENS.

AND YOU GET IT.

IT'S A VISUAL THAT IS AS PRECISE

AS THAT FRAGRANCE THAT IS ONLY

IN THE AIR OF THE DOORWAY.

YOU GO RIGHT THROUGH IT.

SO WHEN SOMETHING MAKES ITSELF

FELT TO ME, WHEN I GET AN

IMPULSE, I RAISE THE CAMERA.

I DON'T EVEN HESITATE.

IT HAS TO BE LIKE THAT.

THAT'S PHOTOGRAPHY.

IT'S ABOUT A FRACTION OF A

SECOND.

SO I THINK IMPULSE, INTUITION,

RECOGNITION, DESIRE, PASSION,

APPETITE, NAME IT, YOU CAN CALL

IT ANYTHING YOU WANT.

THOSE ARE THE THINGS THAT ARE IN

PLAY PHOTOGRAPHICALLY BECAUSE

PHOTOGRAPHY IS ABOUT TIME.

CAMERAS HAVE THEIR OWN

CHARACTERISTICS.

A SMALL CAMERA THAT FITS IN YOUR

HAND, YOU KNOW, YOU JUST MOVE IT

AROUND AND YOU CARRY IT WITH

YOU, PUT IT IN YOUR POCKET OR

YOUR BAG, AND IT'S PART OF YOU.

BUT SOMETIMES THAT SMALL CAMERA

DOESN'T REALLY DO THE JOB YOU

WANT IT TO DO IF YOU'RE FINDING

YOURSELF IN NATURE.

LET'S SAY NATURE IS SLOWER,

THERE'S MORE TIME IN IT.

LIKE, IF STREET PHOTOGRAPHY IS

JAZZ, THE VIEW CAMERA AND NATURE

IS LIKE THE CELLO.

IT'S VERY SLOW.

AND YOU STAND IN NATURE AND YOU

CAN LOOK AROUND AND DRAW YOUR

ENERGY FROM EVERYTHING OUT

THERE.

AND SO A LARGE FORMAT CAMERA

LIKE AN 8 X 10 INCH CAMERA GIVES

YOU A WHOLE OTHER EXPERIENCE.

IT'S SLOWER.

YOU CAN PUT IT DOWN.

YOU PUT THE CLOTH OVER YOUR

HEAD, AND YOU ENTER THIS WORLD

ON A SCREEN UPSIDE DOWN.

AND IT HAS A WHOLE OTHER KIND OF

MAGIC TO IT.

AND YOU CAN TRUST THAT IT WILL

DESCRIBE EVERY SINGLE THING IN

THE FRAME.

THERE WILL BE NO BLUR, THERE

WILL BE NO MOVEMENT.

IT WILL BE THE SPACE AND LIGHT

AND DEPTH, AND YOU KNOW, THIS

TIME.

THE QUESTION OFTEN COMES UP, HOW

DOES ONE DEVELOP A BODY OF WORK?

HOW DO YOU FIND YOUR WAY INTO A

NEW THEME OR A NEW SUBJECT?

SOMETIMES IT TAKES TIME AND THEN

THE ARTIST RECOGNIZES, OH, I

HAVE BEEN MAKING THAT PICTURE A

FEW DIFFERENT TIMES NOW.

OBVIOUSLY, SOMETHING INTERESTING

THERE.

MORE SO THAN I THOUGHT.

AND THIS HAPPENED TO ME WITH THE

WORK THAT'S CALLED BETWEEN THE

DOG AND THE WALK.

OR IN THE FRENCH EXPRESSION.

AND I DIDN'T KNOW THAT

EXPRESSION, BUT MANY YEARS AGO,

A FRENCH FRIEND OF MINE UPON

SEEING A SEQUENCE OF THESE

PICTURES MADE AT THE END OF THE

DAY WHEN THE LIGHT IS FADING AND

THINGS BECOME SLIGHTLY MORE

INDETERMINANT, THESE IMAGES

APPEARED IN MY WORK.

AND I SHOWED THEM TO MY FRIEND,

AND MY FRIEND SAID, OH.

I SAID WHAT'S THAT?

HE SAID, YOU KNOW, BETWEEN THE

DOG AND THE WOLF.

YOU KNOW THE DOG IS THE FAMILIAR

DOMESTIC ANIMAL, AND THE WOLF IS

THE SAME, SORT OF, BUT IT'S

UNKNOWN.

IT'S UNEXPLAINED.

IT'S SAVAGE.

HE SAID, SO WHEN THINGS GO FROM

THE KNOWN TO THE UNKNOWN,

THERE'S A SHIFT, AN EMOTIONAL

SHIFT AS WELL AS TONAL SHIFT.

AND I THOUGHT, OH, THAT'S

BEAUTIFUL.

I LOVE THAT EXPRESSION, BECAUSE

I FIND MYSELF OFTEN AS A SWIMMER

IN A POOL WHICH IS THE DOG, VERY

SAFE.

BUT I ALSO WOULD SWIM IN THE

OCEAN, AND THE OPEN OCEAN, IT'S

WILD.

AND I HAD BEEN MAKING

PHOTOGRAPHS OF POOLS NEAR THE

SEA.

AND I THOUGHT, WHAT AN

INTERESTING WAY OF ADDRESSING

THIS SUBJECT, TO PUT THE POOLS

AND THE OCEAN AND THE DUSK HOUR

TOGETHER REALLY WAS A WAY OF

CONCENTRATING ON THAT.

BUT BEYOND THAT, THERE ARE ALSO

JUST PLACES ON LAND WHEN THE

LIGHT IS FADING AND YOU SUDDENLY

HAVE, YOU FEEL GOOSEBUMPS OR YOU

FEEL A LITTLE BIT OF A SHIVER OF

UNCERTAINTY THAT ALERTS YOUR

SENSES, AND YOU THINK, OH,

WHAT'S GOING ON HERE?

AND OUT OF THAT COMES THE

POSSIBILITY FOR A NEW

PHOTOGRAPH.

AT THIS MOMENT IN MY LIFE, I

FIND MYSELF MAKING STILL LIVES.

I HAVE NO IDEA WHY I'M CHOOSING

THESE OBJECTS, BUT THEY HAVE

CHARACTER OR MYSTERY OR

SOMETHING.

AND WHEN I PUT TWO OR THREE OR

FOUR OF THEM TOGETHER, IT'S AS

IF THERE'S A DIALOGUE BETWEEN

THEM.

MAYBE I CAN BREATHE LIFE INTO

THEM BY FINDING SOME

ASSOCIATATIVE QUALITIES IN THEM

THAT DOESN'T LOOK LIKE

CONVENTIONAL STILLLIFE

PHOTOGRAPHY, BUT LOOKS LIKE I'M

MAKING IT.

MAYBE I COULD FIND OUT MORE

ABOUT MYSELF THROUGH THESE DUMB

OBJECTS.

THIS IS A REALLY ENGAGING

PHOTOGRAPHIC QUESTION FOR

SOMEONE AT MY AGE RIGHT NOW.

WHEN I STARTED TO MAKE STILL

LIVES, IT HAPPENED QUITE BY

ACCIDENT BECAUSE I WAS DOING A

BOOK COMMISSION IN FRANCE.

AND I VISITED CEZANNE'S STUDIO

IN PROVENCE, AND IN THE STUDIO,

I WAS AMAZED THAT THE WALLS WERE

PAINTED THIS PARTICULAR GRAY.

AND AFTER A WHILE, THE THOUGHT

ABOUT THIS GRAY, WHY GRAY?

WHEN HE WAS A PAINTER WHO MADE

COLOR PAINTINGS, IT PROMPTED ME

TO GO BACK TO THE STUDIO AND ASK

THEM IF I COULD TAKE CEZANNE'S

OBJECTS DOWN AND PUT THEM ON HIS

TABLE TO PHOTOGRAPH THEM.

REALLY, I WASN'T TRYING TO MAKE

ART.

I HAVE TO BE CLEAR.

I WAS JUST TAKING THE OBJECTS,

PUTTING THEM ON THE TABLE

AGAINST THE GRAY WALL.

I WANTED TO SEE WHAT THE

RELATIONSHIP WAS BETWEEN THE

OBJECT AND THE SPACE, THE COLOR

SPACE OF THE GRAY WALL AND WHAT

DID IT DO FOR CEZANNE WHO PLAYED

ONE OF THE MOST IMPORTANT

TURNING POINT ROLES IN THE

HISTORY OF MODERN ART?

AND THEN ONCE I DID THAT, AND I

AM LIVING IN ITALY NOW, IT

OCCURRED TO ME, OH, GEORGIA

MARANDI IS IN BOLOGNA, ONLY

THREE HOURS AWAY.

I'M GOING TO GO TO BOLOGNA AND

GO TO MIRANDA'S STUDIO BECAUSE

MARANDI WAS ALSO VERY IMPORTANT

TO ME WHEN I WAS AN ART HISTORY

STUDENT AND A PAINTER.

I WENT TO THE STUDIO AND WAS

ABLE TO ASK THE CURATORS THERE

AND ASK IF I COULD TAKE HIS

OBJECTS AND DO THE SAME THING.

HE WAS WORKING IN A WARM TONE,

KIND OF GOLDEN, TUSCAN COLORFUL

ITALIAN ENVIRONMENT.

AND CEZANNE WAS IN A VERY COOL,

SORT OF MORE RATIONAL, FRENCH

ENVIRONMENT.

SO TO PIT THESE TWO AGAINST EACH

OTHER AND TO LOOK AT THEIR

OBJECTS IN A WAY INTRODUCED ME

TO THE FEELING THAT, OH, EACH

OBJECT DOES HAVE CHARACTER,

IDENTITY, PERSONA, SOMETHING.

AND PERHAPS I WAS HAVING A

DIALOGUE WITH THESE MEN THROUGH

THEIR OBJECTS.

SO IN A WAY, WORKING WITH

CEZANNE AND MARANDI IN THIS VERY

BASIC WAY INTRODUCED ME TO AN

APPETITE FOR RECONSIDERING THE

WAY OBJECTS RELATE TO EACH OTHER

IN SPACE.

WHERE IT GOES FROM THERE, I

DON'T KNOW.

I'M GRATEFUL FOR THE ENERGY I

HAVE RIGHT NOW AND THE

WILLINGNESS TO TAKE ON SOMETHING

TOTALLY OUTSIDE OF MY EXPERIENCE

AND SEE IF I CAN FIND MY VOICE

IN THIS TIME OF MY LIFE, WITH

THESE OBJECTS IN THIS MEDIUM I

LOVE SO MUCH, AS I LOVE

PHOTOGRAPHY.

>> NEXT, WE WILL VISIT THE

AMERICAN FOLK ART MUSEUM.

LOCATED ACROSS FROM LINCOLN

CENTER, IT HAS ALSO REOPENED TO

VISITORS.

SINCE 1961, THIS MUSEUM HAS BEEN

SHOWCASING THE CREATIVITY OF

ARTISTS WHOSE TALENTS HAVE BEEN

REFINED THROUGH PERSONAL

EXPERIENCE RATHER THAN FORMAL

ARTISTIC TRAINING.

ITS COLLECTION INCLUDES MORE

THAN 8,000 WORKS FROM FOUR

CENTURIES REPRESENTING NEARLY

EVERY CONTINENT.

>> WELCOME TO THE AMERICAN FOLK

ART MUSEUM.

I'M CURATOR FOR THE ART OF THE

20th AND 21st CENTURY.

WE ARE IN FRONT OF A VERY

DIFFICULT PIECE OF OUR

COLLECTION.

THIS IS THE PALETTE BY MARINO

ORIDI, AN ITALIAN IMMIGRANT WHO

SETTLED IN TRANSYLVANIA AROUND

1938, AND THERE HE OPENED A SHOT

WHERE HE WAS A LITTLE BUDDING

MECHANIC, AND FOR ABOUT THREE

YEARS IN THE BACKYARD OF HIS

GARAGE, HE WORKED ON HIS

ARCHITECTURAL MODEL.

HE 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 IN 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 OLD COMPLEX IS ENOUGH WHITE

AND BRONZE COMPOUND CENTERED

AROUND A TOWER COMPOSED OF EIGHT

SUPERIMPOSED CIRCULAR SECTIONS

TOPPED BY A METAL SPIRE.

THERE ARE FOUR ARCHED MAIN

ENTRANCES SURMOUNTED BY THE FLAG

OF ITALY, OF FRANCE, OF THE

UNITED STATES, AND SPAIN.

HIS ATTENTION TO DETAIL AND

FUNCTIONALITY ARE ASTOUNDING.

YOU HAVE, FOR INSTANCE, ABOUT

800 WINDOWS MADE OF CLEAR

CELLULOID.

HIS OWN PHOTOGRAPHY AND SETS OF

VALUE ARE INSCRIBED ONTO 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 THIS

ARCHITECTURE WOULD HAVE BEEN

BUILT, IT WOULD HAVE SPREAD OVER

16 CITY BLOCKS.

AND BEEN 136 STORIES HIGH.

MANY OF THE ARTISTS WE HAVE IN

OUR COLLECTION STARTED TO CREATE

AT A SPECIFIC TIME OF THEIR

LIFE.

IT'S OFTEN LIKE A TURNING POINT.

THEY EXPERIENCE SOME KIND OF

PSYCHOLOGICAL CHANGES IN THEIR

LIFE.

THEY GOT INJURED, THEY COULD NOT

WORK ANYMORE.

IN THE CASE OF ORIDE, HE LEFT

ITALY TO ESCAPE THE FASCIST

ITALIAN PARTY.

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.

IT IS ON VIEW AT THE SMITHSONIAN

NATIONAL MUSEUM OF THE AMERICAN

INDIAN.

>> I THINK IT WAS THE FIRST

PAINT THAT SAID TO ME, THIS IS

WHAT I'M GOING TO DO THE REST OF

MY LIFE.

IT WAS THAT ACTION.

AND I REMEMBER BEING 6 YEARS OLD

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

KNOW, 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 THIS.

SO I THINK YOU CAN BE BORN A

PAINTER SOMETIMES.

>> AND AN EXPLORATION OF THE

TRIANNUAL OF CONTEMPORARY LATINX

ART.

>> IT FEATURES 42 ARTISTS FROM

ALL ACROSS THE UNITED STATES AS

WELL AS PUERTO RICO.

WE REALLY WANTED TO EXPAND THE

SCOPE OF THE SHOW TO HAVE A FULL

BREADTH OF LATINX ARTISTS

WORKING ALL ACROSS THE NATION.

>> THANK YOU FOR JOINING ME THIS

EVENING.

I'LL PHILIPPE DE MONTEBELLO ON

LOCATION IN NEW YORK.

GOOD NIGHT AND SEE YOU NEXT

TIME.

>>> FUNDING FOR NYC ARTS IS MADE

POSSIBLE BY TEA PECHIC

FOUNDATION.

THE LEWIS SUNNY TURNER FUND FOR

DANCE.

THE AMBROSE MONEL FOUNDATION,

JODY AND JOHN AROUNDHOLD.

ELISE AND JEFFREY BROWN, CHARLES

AND VALERIE GEITHNER.

THE NANCY SIDEWATER FOUNDATION.

ELROY AND TERRY CRUMHOLTZ

FOUNDATION.

THE MILTON AND SALLY AVERY ART

FOUNDATION, AND ELLEN AND JAMES

S. MARGUS.

THIS PROGRAM IS SUPPORTED IN

PART BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT OF

CULTURAL AFFAIRS IN PARTNERSHIP

WITH CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF 13, 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.

>> AND BY SWAN AUCTION

GALLERIES.

>> 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.

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