NYC-ARTS

S2021 E526 | FULL EPISODE

NYC-ARTS Full Episode: July 22, 2021

NYC-Arts explores the exhibition “Stretching the Canvas: Eight Decades of Native Painting,” on view at the Smithsonian’s National Museum of the American Indian. Then a look at "Estamos Bien - La Trienal 20/21" at El Museo del Barrio, the museum's first large-scale, national survey and triennial of contemporary Latinx art.

AIRED: July 22, 2021 | 0:27:47
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP 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 THAT FIRST

TEMPERA PAINT IN KINDERGARTEN

THAT SAID TO ME THIS IS WHAT I'M

GOING TO BE DOING THE REST OF MY

LIFE.

IT WAS THAT ACTION WITH THE

HANDS.

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

IT.

>> AND AN EXPLORATION OF

"ESTAMOS BIEN," THE TRIENIAL OF

LATINX ART.

>> IT FEATURES 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.

>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY -- TEA PETCHECK

YERVALINO FOUNDATION.

THE LEWIS SUNNY TURNER FUND FOR

DANCE.

THE AMBROSE MOW NELL FOUNDATION.

JODIE AND JOHN ARN HOLD.

ELYSE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DUCKER.

THE NANCY SIDEWATER FOUNDATION.

ELROY AND TERRY KRUMHOLTZ

FOUNDATION.

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.

P.

>> 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.

>>> GOOD EVENING.

AND WELCOME TO "NYC ARTS."

I'M PHILIPPE DE MONTEBELLO ON

LOCATION AT NOYO GALLERY IN NEW

YORK WHICH REOPENED ITS DOORS TO

THE PUBLIC LAST MONTH.

HOUSED IN A MANSION AT THE

CORNER OF 5th AVENUE AND 86th

STREET, THE MUSEUM IS DEVOTED TO

EARLY 20th CENTURY GERMAN AND

AUSTRIAN ART AND DESIGN.

CONCEIVED BY SERGE SOBARSKI AND

RONALD S. LAUDER, ITS MISSION IS

TO BRING A SENSE OF PERSPECTIVE

BACK TO THIS PERIOD AND REGION

OF ART MAKING.

THE NAME OF THE MUSEUM MEANS NEW

GALLERY, AND IT HAS ITS

HISTORICAL ROOTS IN VARIOUS

EUROPEAN INSTITUTIONS, ARTIST

ASSOCIATIONS AND COMMERCIAL

GALLERIES.

FOREMOST THE NEUER GALLERY IN

VIENNA FOUNDED IN 1923 BY OTTO

KAHLIL ALL SOUGHT TO CAPTURE THE

INNOVATIVE MODERN SPIRIT THAT IS

COVERED AND PURSUED AT THE TURN

OF THE CENTURY.

THIS OPULENT GALLERY FEATURES

THE WORK OF ONE OF THE MOST

WELL-REGARDED AUSTRIAN PAINTERS,

GUSTAV KLIMT, AND THIS FULL

FLOOR IS DEVOTED TO THE ART OF

VIENNA IN ABOUT 1900.

HOWEVER, A MAJOR PART OF THE

MUSEUM'S EXTENSIVE COLLECTION IS

THE WORK OF GERMAN ARTISTS AND

THE SPECIFIC MOVEMENTS OR THEMES

THAT AROSE DURING THE SAME TIME

PERIOD.

THE BLAUERREITER, OR THE BLUE

WRITER, AND ITS CIRCLE INCLUDED

VASILY CANNED INSKY, PAUL KLEI,

AUGUST MACCER AND HANCE MARK.

IT WAS A GROUP OF ARTISTS AND A

MOVEMENT UNITED HAD REJECTION OF

THE ACCEPTED PRINCIPLES OF THE

TIME, WHICH THEY DEEMED TOO

STRICT AND TRADITIONAL.

THE BRICHER, OR THE BRIDGE,

INCLUDED SUCH ARTISTS AS ERNEST

LUDWIG GICHNER, ERIC HENKEL AND

HERMAN MAX PECHTER.

MEMBERS WERE GERMAN

EXPRESSIONISTS WITH INTEREST IN

BOTH PRIMITIVIST ART AND IN

EXPRESSING EMOTION THROUGH

HEIGHTENED COLORS THAT WERE

OFTEN NON-REALISTIC.

THE WORKS WERE OFTEN EMOTIONALLY

AGITATED.

PIONEERS OF THE BAUHAUS INCLUDED

LIONEL FININGER AND OSCAR

SCHLEMMER.

THE BAUHAUS MOVEMENT AND ITS

SCHOOL BECAME FAMOUS FOR ITS

APPROACH TO DESIGN WHICH

ATTEMPTED TO UNIFY THE

PRINCIPLES OF MASS PRODUCTION,

COMBINING CRAFTS AND THE FINE

ARTS.

ALSO INCLUDED AMONG THE GERMAN

ARTISTS OF THE PERIOD WERE OTTO

DIX AND GEORGE GROSS.

ON OUR PROGRAM TONIGHT WE'LL

VISIT THE SMITHSONIAN'S NATIONAL

MUSEUM OF THE AMERICAN INDIAN.

ITS MISSION IS TO FOSTER A MORE

INFORMED UNDERSTANDING OF NATIVE

PEOPLES OF THE AMERICAS.

LOCATED DOWNTOWN IN NEW YORK

CITY AT BOWLING GREEN, IT

REOPENED TO THE PUBLIC LAST

MONTH AFTER A LONG CLOSURE DUE

TO THE PANDEMIC.

CURRENTLY ON VIEW IS "STRETCHING

THE CANVAS: 80 YEARS OF NATIVE

PAINTING."

IT IS A GROUP SHOW.

INCLUDING OVER 30 ARTISTS.

WITH ALL WORKS DRAWN FROM THE

MUSEUM'S PERMANENT COLLECTION

AND CREATED BETWEEN 1940 TO THE

PRESENT DAY.

THE PREMISE OF THE EXHIBITION IS

TO CHALLENGE EXPECTATIONS OF

WHAT CONSTITUTES AMERICAN INDIAN

ART.

THE WORKS REFLECT A GREAT

VARIETY OF COLOR, STYLE, AND

SUBJECT.

FROM FLAT ILLUSTRATED PIECES

THAT DEPICT IDEALIZED SCENES TO

LARGE-SCALE ABSTRACT WORK THAT

USES IRONY TO CONFRONT NATIVE

ISSUES.

THE SHOW HINGES ON THE MOMENT

WHEN THESE ARTISTS BROKE THROUGH

TO MODERNISM.

>> I THINK IT WAS THAT FIRST

TEMPERA PAINT ON NEWSPRINT IN

KINDERGARTEN THAT SAID TO ME

THIS IS WHAT I'M GOING TO BE

DOING THE REST OF MY LIFE.

IT WAS THAT ACTION WITH THE

HANDS.

I REMEMBER BEING 6 YEARS OLD OR

SOMETHING, 6 1/2, AND THINKING I

DON'T KNOW, THIS FEELS -- I'M IN

MY ZONE NOW.

LIGHTNING HIT ME.

THIS IS WA I'M GOING TO BE DOING

THE REST OF MY LIFE.

SO I THINK YOU CAN BE BORN A

PAINTER SOMETIMES.

>> WE BEGIN THE EXHIBITION

"STRETCHING THE CANVAS" IN THIS

LARGE SALON-SCALED GALLERY WITH

SOME OF OUR OVERSIZED LARGE

PAINTINGS.

AND THE REASON THERE IS THAT WE

FELT THAT THIS WORK WAS

COMPARABLE TO ANYTHING YOU WOULD

SEE AT THE WHITNEY, ANYTHING YOU

WOULD SEE AT THE MUSEUM OF

MODERN ART, AND SO WE REALLY

WANTED TO PUT SORT OF OUR BEST

FOOT FORWARD AND INVITE OTHER

MUSEUMS TO IMAGINE THIS KIND OF

WORK IN THEIR GALLERIES.

MAKING PAINTINGS ACTUALLY IS NOT

SO MUCH A TRADITIONAL ART FORM.

THERE ARE TRADITIONS OF PAINTING

ON HIDE OR KIFA PAINTINGS AND

THAT KIND OF THING.

BUT MOST OF THE MODERN PAINTINGS

COMES OUT OF THESE EPISODES IN

THE 19 TEENS AND 1920s WHEN

YOUNG NATIVE STUDENTS,

PARTICULARLY IN THE SOUTHWEST

AND EVEN OKLAHOMA WERE LEARNING

SORT OF THE BASICS OF ART

INSTRUCTION IN THEIR SCHOOLS.

THE SCHOOLS ENCOURAGED THIS

AMERICAN INDIAN ART STYLE THAT

WAS THAT FLAT ILLUSTRATED STYLE

FOCUSING ON NATIVE AMERICAN

SUBJECTS.

JUST TO GIVE OUR VISITORS SOME

SENSE OF WHERE THIS IS ALL

COMING FROM, THE KIND OF

FOUNDATION FROM WHERE THIS MORE

ADVENTURESOME WORK GREW, FROM

THERE WE INVESTIGATE IN THE

SUITE OF GALLERIES SOME OF THE

THEMES THAT INVITED ARTISTS

THINK ABOUT THEIR ART IN A MORE

BROAD WAY.

WE HAVE A SMALL GALLERY THAT

LOOKS AT ARTISTS WHO TRAVELED TO

NEW YORK CITY IN THE 1940s AND

1950s AND BEGAN TO THINK ABOUT

THEMSELVES MORE AS ARTISTS ON A

WORLD STAGE.

SOME ARTISTS WERE INSPIRED BY

POP LART, DEVELOPMENTS OF THE

1960s AND 1970s WITH THEIR

OVERSIZED CANVASES AND HOT

COLORS, KIND OF A MORE PLAYFUL

APPROACH TO NATIVE AMERICAN

SUBJECTS.

ONE OF THE THINGS I THINK THAT

AMERICAN INDIANS STRUGGLE WITH

THROUGHOUT THE 20th CENTURY AND

21st CENTURY ARE THESE

EXPECTATIONS THAT THEY'RE NOT

PART OF THE MODERN WORLD.

PEOPLE EXPRESS SURPRISE THAT

AMERICAN INDIANS USE CELL PHONES

OR DRIVE CARS OR JUST RIDICULOUS

THINGS LIKE THAT.

BUT IT'S NOT AS UNCOMMON AS YOU

MIGHT THINK.

SO THOSE ARTISTS ARE A PART OF

THE CONTEMPORARY WORLD.

THEY'RE ALSO A PART OF THEIR

TRADITIONAL WORLD IN COMMUNITIES

AS WELL.

AMERICAN MEREDITH A CHEROKEE

ARTIST IS CURRENTLY THE EDITOR

OF A VERY INFLUENTIAL ART

JOURNAL AND SHE'S ALSO AN

ARTIST, A PAINTER.

>> I WENT TO GRADUATE SCHOOL AT

SAN FRANCISCO INSTITUTE AND I

ACTUALLY HAD FELLOW CLASSMATES

SAY WHY WOULD ANYONE GO TO GRAD

SCHOOL FOR PAINTING?

SO I HAD A LOT OF TIME TO, YOU

KNOW, THINK OF WHY IS PAINTING

RELEVANT, IS IT PASSE.

AND LIKE OKAY, HUMAN BEINGS HAVE

BEEN PAINTING FOR THE LAST

100,000 YEARS.

SO IS DANCING PASSE?

IS POETRY PASSE?

IS SINGING PASSE?

NO.

I THINK THESE ARE ALL JUST

INTRINSICALLY HUMAN EXPRESSIONS.

AND I THINK PAINTING IS THE

CORE.

IF YOU'RE PASSIONATE ABOUT COLOR

AND TEXTURE, PAINTING IS SO

PRIMEVAL, I THINK.

THIS PIECE IN THE SHOW IS FROM

2005.

THE MAIN CHARACTER IS THIS VERY

CONTROVERSIAL LAKOTA MEDICINE

MAN JOHN FARA REINDEER, AND HE'S

BASICALLY SAYING GO OUT INTO THE

WORLD, THAT YOU'LL SERVE PEOPLE

BETTER IF YOU GO AND FULLY LIVE

YOUR LIFE AND DON'T TRY TO LIVE

THIS STRICT PURE CLOISTERED LIFE

BUT JUST GO OUT AND SCREW UP.

THE LEDGER DESIGN REFERENCES

LEDGER ART.

YOU KNOW, THIS KIND OF

TRANSITIONAL ART.

AND THAT'S AN INTERSECTION TOO

WHEN WESTERN MATERIALS CAME OUT

TO THE PLAINS, THESE OLD LEDGERS

WERE USED BY THE ARTISTS WHO

PREVIOUSLY HAD BEEN PAINTING ON

ANIMAL HIDES.

AND I THINK IT'S ONE OF THE

GREATEST IRONIES, IS IF YOU

PAINT ON THIS BEAUTIFUL

BIMORPHIC SHAPE, THIS ANIMAL

HIDE, MANY PEOPLE DON'T CONSIDER

THAT ART WITH A CAPITAL A.

BUT IF YOU PAINT ON A RECTANGLE

AND IT'S PAPER THEN IT'S OKAY.

NORVEL MORSO WITH THIS

INCREDIBLE WOODLAND STYLE I'M

REFERENCING BUT VERY ABSTRACT

HEAVILY BLACK OUTLINED SNAKE AND

EA

EAGLE.

SO THE FLAT STYLE IN THE CORNER

IS WHAT I GREW UP WITH IN

OKLAHOMA, THE BECONE SCHOOL

PAINTING STYLE.

IT'S VERY FLAT, FAPTLY OUTLINED.

KIND OF THE SOUTHWEST LANDSCAPE.

BUT I USE KIND OF POP IMAGERY

AND KIND OF CHILDREN'S IMAGERY

AS TOUCHSTONES.

I THINK MOST PEOPLE COMING HERE

ARE SORT OF FEMALE WITH RICHARD

SCAREY, AN AMAZING ARTIST, AND

THE MUPPETS.

SO THAT'S FROM MY CHILDHOOD.

WE SAW A LOT OF CONTROL IN

NATIVE ART AND WE DON'T SEE

PEOPLE LETTING LOOSE.

MARIO MARTINEZ IS A WONDERFUL

EXAMPLE OF SOMEONE WHO IS

LETTING LOOSE AND BEING VERY

FREE AND VERY SPONTANEOUS WITH

HIS IMAGERY.

>> I'VE ALWAYS LOVED

ABSTRACTION.

I HAVE A PROCLIVITY TO IT.

I WAS DRAWN TO IT BECAUSE THERE

WAS -- I UNDERSTOOD AS A YOUNG

KID THAT YOU DIDN'T DO

CEREMONIAL IMAGERY, YOU DIDN'T

DO CULTURAL IMAGERY TO BENEFIT

FROM YOUR CULTURE, TO BENEFIT

MONETARILY.

SO AS A KID I KNEW THAT I

COULDN'T USE THAT IMAGERY.

SO I GUESS A GREAT AVENUE OUT

WOULD BE WHAT I FELL IN LOVE

WITH IN WESTERN MODERNISM.

BUT IN THE PUREST SENSE, IN THE

MORE SPIRITUAL SENSE, THE ENERGY

SENSE, ABSTRACTION I THINK FOR

ME IS STILL THE MOST POWERFUL

LANGUAGE.

AND NOT QUITE AS UNDERSTOOD.

>> I THINK ANOTHER THEME OF THE

SHOW IS PEOPLE BEING

UNCONSTRAINED.

SO YOU HAVE A LOT OF PEOPLE

LOOKING OUTSIDE THEIR TRIBAL

HERITAGE AND KIND OF LOOKING AT

THE BROADER WORLD.

KAY WALKING STICK WAS BORN IN

NEW YORK AND SHE'S STILL IN THE

NORTHEAST.

SHE IS CHEROKEE BUT SHE VERY

SELDOMLY USES ANY KIND OF OVERT

CHEROKEE IMAGERY.

SHE'S DEVELOPED HER OWN.

SO IN THIS SHOW SHE HAS THIS

BEAUTIFUL SOUTHWESTERN

LANDSCAPE.

AND OF COURSE NATIVE PEOPLE

TRAVEL.

YOU KNOW, THEY SEE AND RESPOND

TO DIFFERENT COMMUNITIES.

SO SHE HAS HER OWN STYLE WHERE

SHE'S USING ICONOGRAPHY AND THEN

LANDSCAPE.

THIS KIND OF INNER AND OUTER

WORLD, SYMBOLIC WORLD AND

REPRESENTATIONAL WORLD.

AND MANY OF HER WORKS ARE

DIPLO

DIPTICK, SO THEY'RE DIVIDED IN

TWO.

WHEN I WAS A CHILD I LIVED AT

BECONE'S COLLEGE CAMPUS.

THEY HAD AN ART PROGRAM.

IT'S ALWAYS UFRN BECAUSE IT'S

ALWAYS BEEN RUN BY NATIVE ART

DIRECTORS.

IT STARTED IN 1935 AND THEY

ACTUALLY HAVE A PIECE BY THE

FIRST DIRECTOR, A.C. BLUE EAGLE.

DICK WEST, HE WAS A DIRECTOR OF

BECONE.

AND HE'S SOUTHERN CHEYENNE.

IN THE SHOW THERE'S TWO PIECE

PPZ ONE IS IN THE SECTION CALLED

TRAINING GROUND THAT IS

CONSIDERED THE 21st CENTURY WAY

TO PAINT.

HEAVILY OUTLINED, HEAVILY

CONTOURED.

BUT AS YOU SEE, HE IN THIS

PAINTING IT'S VERY ABSTRACT,

HE'S PLAYING WITH COLOR, HE'S

PLAYING WITH TEXTURE.

THE FACT THAT HE REALLY JUST

GAVE HIMSELF PERMISSION TO

EXPERIMENT IN MANY DIFFERENT

WAYS.

AND I THINK SOMETIMES THE ART

DOESN'T REFLECT HOW FREE SOME OF

THESE ARTISTS WERE.

>> ONE OF THE GREAT STANDOUTS OF

THIS EXHIBITION IS JAMES

LAVADOR, HIS PAINTING BLANKET

WHICH IS ACTUALLY A SERIES OF

PANELS THAT SUGGESTS LANDSCAPE

WITHOUT REALLY REPRESENTING IT.

WHAT I PARTICULARLY ENJOY ABOUT

HIS WORK AND THESE -- I WOULDN'T

SAY HE'S ENTIRELY SELF-TAUGHT,

BUT HE IS NOT -- HE DOESN'T COME

OUT OF A UNIVERSITY STUDIO

SCHOOL SYSTEM.

BUT HE HAS THIS WONDERFUL

INSIGHT ABOUT THE QUALITY OF

PAINT AND ITS RELATIONSHIP TO

GEOLOGY.

THAT PAINT, WHAT IS PAINT BUT

BASICALLY MINERALS THAT ARE

SUSPENDED IN LIQUID.

SO HIS INSIGHT IS A PAINTING IN

A SENSE IS KIND OF AN ACT OF

GEO

GEOLOGY.

BY CREATING A PAINTING YOU'RE

ALMOST MIMICKING GEOLOGICAL

FORCES OF HIDE ROLL JI AND

LAYERING AND STRATIGRAPHY.

SO HE WORKS WITH THOSE PIGMENTS

ON THE SURFACE AND MANIPULATES

THEM UNTIL SUGGESTIONS OF

LANDSCAPE BEGIN TO EMERGE, AS IF

HE'S NOT PAINTING AN IMAGE OF A

LANDSCAPE BUT ACTUALLY

CONSTRUCTING LAND HIMSELF OUT OF

THE PAINT.

TURNS OUT THAT MUSEUMS ACROSS

THE COUNTRY ARE BEGINNING TO

UNDERSTAND THAT THEIR

REPRESENTATION OF AMERICAN ART

HISTORY IS LIMITED AND

CONSTRAINED TO A CERTAIN EXTENT,

THAT IT DOESN'T INCLUDE THE WORK

OF SOME OF THESE ACCOMPLISHED

ARTISTS WHO'VE BEEN WORKING FOR

MANY DECADES.

>> I'M VERY IMPRESSED WITH THE

SHOW BECAUSE IT REALLY SAYS COME

ATTENTION OR NOT, COME

ACCEPTANCE OR NOT WE WERE GOING

TO DO WHAT WE WERE GOING TO DO.

AND WE WERE AS GOOD AS ANYBODY

ELSE.

IT IS PROOF THAT WE ARE PART OF

THE AMERICAN CULTURAL

EXPERIENCE.

>>> NEXT, WE VISIT EL MUSEO DEL

BARRIO, LOCATED AT THE NORTHERN

END OF MUSEUM MILE IN EAST

HARLEM.

CURRENTLY ON VIEW IS EST

ESTAMOS BIEN, LA TRIENAL 2021.

THE MUSEUM'S FIRST LARGE SURVEY

AND TRIENIAL OF CONTEMPORARY

LATINX ART.

ITS TITLE ESTAMOS BIEN, WE'RE

FINE, WAS INSPIRED BY A 20th

CENTURY WORK AND EXHIBITION BY

CHICAGO-BASED ARTIST CANDIDA

ALVAREZ.

PAINTING WAS COMPLETED AFTER

HURRICANE MARIA DEVASTATED

PUERTO RICO.

THE TITLE SUGGESTS BOTH

RESILIENCE AND A DECLARATION OF

RESISTANCE.

THE TRIENIAL FEATURES RECENT

WORKS BY 42 ARTISTS FROM ALL

ACROSS THE UNITED STATES AND

PUERTO RICO.

THE SHOW INCLUDES PAINTING,

SCULPTURE AND PHOTOGRAPHY.

ALSO A WIDE RANGE OF WORKS WHOSE

USE OF MATERIALS AND SCOPE DEFY

EASY CATEGORIZATION AS DO THE

ARTISTS THEMSELVES.

CURATOR SUSANNAH DEMPKIN TAKES

US ON A TOUR OF THE EX-BGS.

P EXHIBITION.

>> WE REALLY WANTED TO BROADEN

THE SCOPE, NOT ONLY BRINGING IN

ARTISTS FROM ACROSS THE NATION

BUT WORKING WITH ARTISTS FROM A

VARIETY OF BACKGROUNDS,

GENERATIONS AND CAREER STAGES.

BEHIND ME IS A WORK BY JUSTIN

SAVELA WHO'S REALLY INTERESTED

IN ENGAGING STEREOTYPES ABOUT

LATINX PEOPLE AND LATINX ART AND

LATINX CULTURE.

WHAT YOU SEE IS A BLOWN-UP

MONUMENTAL APPROACH TO CARLOS

NERIDA'S PRINTS OF THE POPOVO,

WHICH ARE TEN QUASI-SURREAL

WORKS THAT THE GUATEMALAN ARTIST

CREATED IN THE 1940s.

JUSTIN CREATES THESE PINATAS

ARTWORK MADE OUT OF MULTICOLORED

TISSUE PAPER THAT HE VERY

CAREFULLY PLANNED AND EX-KOECUT

TO CREATE THESE BEAUTIFUL FORMS.

ALSO RECREATE AT A ONE TO ONE

SCALE THE PAINTING BY FRANCISCO

AYEL CALLED YELLOW PLANTAINS,

PLATANOS AMARILLOS.

WHICH IS ONE OF THE MOST BELOVED

PAINTINGS IN EL MUSO'S

COLLECTION.

THERE'S NORP SINGLE OVERARCHING

THEME BUT THERE ARE A LOT OF

CONCEPTS OR MOW TEEFZ.

IN ONE OF THE FIRST GALLERIES IS

AN APPROACH TO FOOD AND

COMMODITIES BY JOEY TRUEL WHICH

ARE REALLY COMMENTARIES NOT ONLY

ON CONSUMER CULTURE BUT ALSO ON

THE PHARMACEUTICAL CULTURE.

JOEY'S AN ARTIST.

HE'S BEEN LIVING WITH AIDS FOR

ALMOST 40 YEARS.

THEN WE ALSO HAVE ARTISTS THAT

PAINT A MUCH MORE PLAYFUL

ALTHOUGH VERY SERIOUS APPROACH.

LIKE YVETTE MAYORGA WHO CREATES

PAINTINGS THAT EVOKE A SORT OF

LASTING OR PASTELERIA STYLE OF

APPLICATION.

THESE WORKS ALMOST LOOK LIKE

CAKES YOU WANT TO LICK THE

SURFACES OF BECAUSE THEY'RE SO

RICHLY TEXTURED.

AS WELL AS LUCIA.

HER WORKS ARE CALLED THE RACKS

AND THEY FEATURE VISUAL CULTURE,

CONTEMPORARY SNACKS THAT WE'RE

ALL FAMILIAR WITH, LIKE THE

PLATANITA CHIPS, TAKIS, FRITOS.

DON'T COME HUNGRY.

THE EXHIBITION WAS ORIGINALLY

SCHEDULED TO OPEN IN OCTOBER

2020.

WE DECIDED TO COMMISSION FIVE

PROJECTS THAT WERE TO BE ONLINE.

THERE WAS A WORK BY LUSANIA CRUZ

CALLED THE AMERICAN DREAM IN

WHICH SHE ASKED PARTICIPANTS TO

SUBMIT TESTIMONIALS OF WHEN THE

IDEAL OF THE AMERICAN DREAM DIED

FOR THEM.

WE CREATED A SPECIAL DIGITAL

SITE FOR A WORK BY MICHAEL

MENCHACA, THE WALL, WHICH IS A

REAL CRITIQUE OF NUMBER 45'S

PLEDGE TO CREATE A BORDER WALL.

AND WE WOUND UP INCLUDING A

NUMBER OF WORKS THAT ARTISTS

CREATED SPECIFICALLY DURING THAT

TIME THAT WE WERE ALL IN OUR

HOMES EXPERIENCING SOCIAL

DISTANCING.

FOR EXAMPLE, THE DUO PONCE

DE ELACION WHO CREATE A VERY

BEAUTIFUL PIECE THROUGH THE

STREETS OF SAN JUAN DURING THE

HEIGHT OF THE PANDEMIC.

ANOTHER WORK THAT WAS CREATED

JUST IN THE LAST YEAR IS FAPATRK

MARTINEZ'S URBAN LANDSCAPE.

A VERY LARGE-SCALE PAINTING THAT

ALMOST LOOKS LIKE AN EXTRACT OF

A LOS ANGELES CITY WALL BROUGHT

INTO THE GALLERY THAT HAS ALL

KINDS OF OF GRAFFITI AND LAYERS

AND INCLUDED AMONG THAT ARE A

GLOVE, SOME LYSOL SPRAY,

REFERENCES TO WHAT WE'RE STILL

USING TODAY.

WE'RE FEATURING 42 ARTISTS AND

ART COLLECTORS, WHICH IS A LARGE

NUMBER.

BUT ACTUALLY THERE ARE SO MANY

MORE VOICES OUT THERE, SO MUCH

AMAZING TOUCHING POLITICAL,

PERSONAL WORK.

WHAT I HOPE THAT OUR AUDIENCES

GET IS REALLY EXCITED ABOUT

EXPLORING WHAT OTHER ART IS OUT

THERE.

>>> NEXT WE'LL VISIT THE

AMERICAN FOLK ART MUSEUM.

>> ONE OF THE MOST HIGHLY

RECOGNIZED AMERICAN SELF-TAUGHT

ARTISTS IS THE PORTRAIT PAINTER

M.I. PHILLIPS.

PHILLIPS WAS BORN IN 1788 IN

COLEBROOK, CONNECTICUT.

DURING HIS LIFETIME HE PAINTED

FOR MORE THAN 55 YEARS.

TODAY WE ARE AWARE OF CLOSE TO

1,000 PORTRAITS PAINTED BY M.I.

PHILLIPS.

IN THE PERIOD OF 1817 DO 1820 OR

SO HIS PORTRAITS ARE VERY

DREAMY.

THEY'RE BEAUTIFUL PALETTES OF

THESE SHIMMERING MUTED COLORS.

MOSTLY THEY'RE VERY ESSENTIAL

PORTRAITS, VERY REDUCTIVE,

STRIPPED DOWN TO THE ESSENCE OF

CONVEYING THE CHARACTER AND

PERSONALITY OF WHOEVER WAS BEING

PORTRAYED.

IN HIS PORTRAIT OF RHODA

GOODRICH BENTLEY AND HER

DAUGHTER MARIA LOUISA, PAINTED

PROBABLY AROUND 1817, WE HAVE

THE INCLUSION OF A FEW DETAILS

THAT ARE SIGNIFICANT AND THAT

ARE UNUSUAL IN PORTRAITS BY

PHILLIPS.

HER DAUGHTER IS HOLDING A SLICE

OF WATERMELON, AND SHE IS

HOLDING A PIECE OF PLEATED

COTTON.

WHICH MAY BE A REFERENCE TO OF

COURSE THE COTTON PLANTATIONS IN

THE SOUTH.

SO WE HAVE THIS PORTRAIT THAT

INCLUDES THESE ELEMENTS THAT

SEEM UNUSUAL FOR A MIDDLE-CLASS

FAMILY IN NEW YORK STATE AND

THAT SEEM TO BE MAKING AN

ALLUSION TO THIS VERY SERIOUS

ISSUE OF SLAVERY THAT CLEARLY

HAD GREAT MEANING FOR THIS

FAMILY.

M.I. PHILLIPS PAINTED FOR MORE

THAN 55 YEARS, AND HIS STYLE

UNDERWENT DRAMATIC CHANGES FROM

ONE PERIOD TO ANOTHER.

MRS. BENTLEY WAS PAINTED AT THE

HEIGHT OF WHAT WE'D CALL THE

NEOCLASSICAL ERA, REFLECTING THE

ROMANTICISM AND THE PALETTE

ASSOCIATED WITH CLASSICAL

ICONOGRAPHY AND FASHION, THE

EMPIRE STYLE DRESSES.

BUT BY THE 1830s THERE WAS A

VERY DIFFERENT AESTHETIC AT

PLAY.

IT WAS MUCH HARDER EDGED.

IT WAS VERY CLEAR, VERY CLEARLY

DEFINED.

THERE WERE MUCH DEEPER CONTRASTS

OF COLOR.

THE AMERICAN FOLK ART MUSEUM

HOLDS ONE OF PHILLIPS'S GREATEST

MASTERPIECES IN ITS COLLECTION,

AND IT'S SIMPLY TITLED "GIRL IN

RED DRESS WITH CAT AND DOG."

AND IT'S THE BRILLIANT OF THE

RED AGAINST THE STARK BLACK

BACKGROUND THAT SETS UP THE

JUXTAPOSITIONS THAT ARE TIMELESS

AND BEAUTIFUL.

BUT VERY, VERY DIFFERENT FROM

THE EARLIER PORTRAITS.

>>> NEXT WEEK ON "NYC ARTS," A

TRIP TO THE NEW YORK BOTANICAL

GARDEN IN THE BRONX TO SEE

KUSAMA, COSMIC NATURE.

>> KUSAMA HAS PRESENTED HER WORK

IN BOTANICAL GARDENS BUT NOT TO

THIS SCALE.

THE ARTWORK ACTUALLY ENHANCES

THE NATURAL ENVIRONMENT AND VICE

VERSA.

>> A VISIT TO THE METROPOLITAN

FOR A LOOK AT THE EXHIBITION A

BIG ABSTRACTION POLLOCK TO

HERRERA.

>> THE PAINTING SERVES AS A

CATALOG OF PAINTERS' STROKES.

SOME THICK, SOME THIN, SOME

STABLE, SOME STRONG, OTHERS

FLUID, OTHERS WEAK.

>> AND A VISIT TO BUSH HOLLY

HOUSE IN GREENWICH, CONNECTICUT,

A MEETING PLACE FOR THE COSTCOB

ART COLONY WHICH FLOURISHED HERE

AT THE TURN OF THE CENTURY.

>> THE BUSH HOLLY HOUSE TODAY

PORTRAYS TWO STORIES IN ITS

HISTORY.

THE HOUSE BEGAN LIFE AS A HOME

FOR PROSPEROUS MERCHANTS IN THE

18th CENTURY AND THEN GAINED

RECOGNITION LATER AS A BOARDING

HOUSE FOR AMERICAN ARTISTS AND

WRITERS.

>> THANK YOU FOR JOINING ME THIS

EVENING.

I'M PHILIPPE DE MONTEBELLO ON

LOCATION AT NEUER GALLERY IN NEW

YORK.

GOOD NIGHT AND SEE YOU NEXT

TIME.

>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY TEA PETCHECK

IERVOLINA FOUNDATION.

THE AMBROSE MOW NELL FOUNDATION,

JODY AND JOHN ARNHOLD, ELYSE

JAFFE.

CHARLES AND NANCY DECKER.

THE NANCY SIDE ART FOUNDATION.

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.

>> AND BY SWANN AUCTION

GALLERIES.

>> SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF

LOOKING AT AUCTIONS, OFFERING

VINTAGE BOOKS AND FINE ART SINCE

1941, WORKING TO COMBINE

KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE AW LIFELONG

COLLECTOR, A FIRST-TIME BUYER OR

LOOKING TO SELL, INFORMATION AT

SWANNGALLERIES.COM.

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