NYC-ARTS

S2021 E524 | FULL EPISODE

NYC-ARTS Full Episode: July 8, 2021

A profile of James Whiteside, one of American Ballet Theatre’s principal dancers, who is also notable for his activities as a DJ, video producer, drag queen, model, and Instagram star. And a visit to the Metropolitan Museum of Art to explore their new exhibition, "The Medici: Portraits and Politics, 1512–1570," featuring portraits by some of the most celebrated artists of the Italian Renaissance.

AIRED: July 08, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

♪♪

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

PROFILE OF JAMES WHITESIDE,

PRINCIPAL DANCER WITH THE

AMERICAN BALLET THEATER.

>> SO I WAS 9 YEARS OLD WHEN I

STARTED DANCING.

I DID JAZZ, BALLET, ACROBATICS

AT A LOCAL SCHOOL IN FAIRFIELD,

CONNECTICUT.

AND I GOT INTO DANCING BECAUSE I

HAD TRIED EVERYTHING ELSE, YOU

KNOW, FOOTBALL, BASEBALL, SOCCER

AND MY MOM ONE DAY THREW ME A

PHONE BOOK AND SAID, YOU KNOW,

YOU HAVE TO PICK SOMETHING.

YOU'RE DRIVING ME CRAZY YOU

HYPERACTIVE MONSTER.

♪♪

AND SO I FOUND AN AD FOR A DANCE

STUDIO IN THE PHONE BOOK.

AND IT WAS OF A MAN HOLDING A

WOMAN OVER HIS HEAD WITH ONE

HAND.

AND IT JUST LOOKED AWESOME.

I SAID I WANT TO TRY THAT.

>>> A LOOK AT THE EXHIBITION,

THE MANY CHEAP PORTRAITS IN

POLITICS NOW ON VIEW AT THE

METROPOLITAN.

IT FEATURES PORTRAITS BY SOME OF

THE MOST CELEBRATED ARTISTS OF

THE ITALIAN RENAISSANCE.

>> Announcer: FUNDING FOR NYC

ARTS IS MADE POSSIBLE BY --

THIS PROGRAM 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 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, FIRST-TIME BUYER OR

LOOKING TO SELL, INFORMATION AT

SWANGALLERIES.COM.

♪♪

♪♪

>>> GOOD EVENING.

I'M ON LOCATION AT GALLERY IN

NEW YORK WHICH REOPENED ITS

DOORS TO THE PUBLIC LAST MONTH.

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.

CONCEIVED BY 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, THIS GALLERY IN VIENNA

FOUNDED IN 1923 BY OTTO CALIA,

TO CAPTURE THE INNOVATED MODERN

SPIRIT THAT IS COVERED AND

PURSUED AT THE TURN OF THE

CENTURY.

HERE ON THE SECOND FLOOR

GALLERY, DEDICATED ART FROM

VIENNA ABOUT 1900 IS THE WORK OF

GUSTAV, FROM THE EARLY 20th

CENTURY.

THE GALLERY CONTAINS SEVEN

PORTRAITS OF WOMEN BY THE

ARTIST, INCLUDING ONE OF THE

MOST RENOWNED, THE PORTRAIT OF

ADELE BAUER.

ANOTHER NOTABLE PORTRAIT IS

BLACK FEATHERED HAT OF 1910.

THIS ELEGANT WOMAN'S POSE AND

CLOTHING IDENTIFY HER AS MODERN

AND INDEPENDENT.

HER IDENTITY IS UNKNOWN, BUT SHE

MAY HAVE BEEN A CUSTOMER AT THE

FASHION SALON OWNED BY EMILY AND

HER SISTERS.

SHE WAS A MUSE AND CLOSE

COMPANION TO CLINT.

THE STRIKING FEATURES OF THE

WOMAN DEPICTED HERE REPRESENTS

CLINT'S AESTHETIC IDEAS.

THEY ARE EMPHASIZED BY HER DARK

EYES, CHEEKS AND LIPS.

RECALLS FASHION PHOTOGRAPHS OF

THE PERIOD BUT FILTERED BY HIS

SENSIBILITIES.

THE OVERSIZED BLACK HAT WAS CHIC

AT THE TIME AND LENDS AN AURA OF

BOTH ALOOFNESS AND FRAGILITY.

HER LONG FUR STOW COMPLIMENTS

THE HAT AND CONNECTS THE

ELEMENTS OF PAINTING.

STYLISTICALLY THE WORK SUGGESTS

THAT HE WAS FAMILIAR WITH THE

GRAPHIC ARTS OF HIS FRENCH

COLLEAGUE WHOSE WORK HAD BEEN

SHOWN IN VIENNA IN 1895 AND

AGAIN IN 1908.

♪♪

>>> THIS PAST YEAR HAS BEEN A

CHALLENGING ONE FOR THE

PERFORMING ARTS.

AT AMERICAN BALLET THEATER,

CANCELLED SEASONS AND THE

INABILITY TO REHEARSE IN PERSON

PUT MANY DANCER'S PLANS ON HOLD.

BUT THE COMPANY ROSE TO THE

CHALLENGE BY MOVING THEIR

COMPANY CLASSES ONLINE, CREATING

DIGITAL PROGRAMMING AND

FEATURING DANCERS IN LIVE

PERFORMANCES WHEN CONDITIONS

ALLOWED.

THIS MONTH, THE COMPANY EMBARKED

UPON AN AMBITIOUS VENTURE CALLED

ABT ACROSS AMERICA.

TAKING TO THE ROAD BY BUS TO

EIGHT U.S. CITIES, THE PROJECT

BUILDS ON ABT'S HISTORY OF

CROSS-COUNTRY TOURING IN THE

1940s AND 1950s.

THE CARAVAN OF 20 DANCERS AND 20

AIDE SUPPORT CREW WILL CROSS 14

STATES PERFORMING ON

CUSTOM-BUILT STAGES FOR SOCIALLY

DISTANCED AUDIENCES.

THE TOUR CONCLUDES WITH A

PERFORMANCE ON JULY 21 BACK HOME

IN NEW YORK CITY.

THIS TIME OUTDOORS ON THE PLAZA

AT ROCKEFELLER CENTER.

TONIGHT, WE'LL MEET ONE OF THE

COMPANY'S PRINCIPAL DANCERS,

JAMES WHITESIDE.

ORIGINALLY FROM FAIRFIELD,

CONNECTICUT, WHITESIDE BEGAN

STUDYING BALLET AT THE AGE OF 9.

HE STARTED HIS PROFESSIONAL

CAREER AT BOSTON BALLET IN 2003

BEFORE MOVING TO NEW YORK IN

2012 TO DANCE FOR ABT.

HE WAS PROMOTED TO PRINCIPAL

DANCER IN OCTOBER OF 2013 AND

HAS BEEN WIDELY PRAISED FOR HIS

POWERFUL, ENERGETIC DANCING.

WHITESIDE IS ALSO NOTABLE FOR

HIS PURSUITS AS A DEEJAY, VIDEO

PRODUCER, DRAG QUEEN, MODEL AND

INSTAGRAM STAR.

DURING THE SHUTDOWN, HE HOSTED A

POPULAR SERIES OF INSTAGRAM LIVE

BALLET CLASSES ALONGSIDE HIS

FRIEND AND DANCER, ISABEL.

♪♪

MOST RECENTLY THE PAIR CAME

TOGETHER AGAIN IN THEIR FIRST

POST-QUARANTINE WORK WITH THE

WORLD PREMIERE OF KNEEL.

CHOREOGRAPHED FOR THE DUO BY ABT

ARTIST AND RESIDENCE ALEXIA, THE

WORK WAS RECORDED ON STAGE AT

THE JOYCE THEATER.

THE PROGRAM WAS OFFERED TO

VIEWERS FOR FREE, STREAMING FOR

FOUR WEEKS.

NYC ARTS SPOKE WITH WHITESIDE IN

EARLY 2020 ABOUT HIS CAREER AND

CREATIVE PROCESS.

♪♪

>>> SO I WAS 9 YEARS OLD WHEN I

STARTED DANCING.

I DID JAZZ, BALLET, TAP,

ACROBATICS AT A LOCAL SCHOOL IN

FAIRFIELD, CONNECTICUT.

AND I GOT INTO DANCING BECAUSE I

HAD TRIED EVERYTHING ELSE, YOU

KNOW, FOOTBALL, BASEBALL,

SOCCER.

AND MY MOM ONE DAY THREW ME A

PHONE BOOK AND SAID, YOU KNOW,

YOU HAVE TO PICK SOMETHING,

YOU'RE DRIVING ME CRAZY YOU

HYPERACTIVE MONSTER.

♪♪

AND SO I FOUND AN AD FOR A DANCE

STUDIO IN THE PHONE BOOK.

AND IT WAS OF A MAN HOLDING A

WOMAN OVER HIS HEAD WITH ONE

HAND.

AND IT JUST LOOKED AWESOME.

I SAID I WANT TO TRY THAT.

WHEN I LOOK BACK AT THE VIDEOS

OF WHEN I WAS A KID, YOU CAN SEE

PURE JOY IN THE VIDEOS.

AND I WOULDN'T REPLACE THAT WITH

ANYTHING.

MY TECHNIQUE HAS EVOLVED SO MUCH

BUT THE ENERGY IS THE EXACT SAME

ENERGY.

IT'S LIKE THIS SORT OF, I DON'T

KNOW, JUST SPASTIC, WILDNESS,

WHICH SOUNDS LIKE A BAD THING,

BUT I THINK IT'S A GOOD THING.

MY FIRST DANCE TEACHERS BROUGHT

ME TO SEE ABT, AMERICAN BALLET

THEATER, AT THE MET OPERA WHEN I

WAS 12 YEARS OLD.

I DIDN'T KNOW WHAT BALLET COULD

BE AT THAT POINT BUT I REALLY

SAW IT THAT NIGHT AND I DECIDED

THAT'S REALLY WHAT I WANTED TO

DO.

ABT WAS MY FIRST DREAM, SO I

HAVEN'T STOPPED UNTIL I GOT

HERE.

AND NOW THAT I'M HERE, I'M STILL

NOT STOPPING.

♪♪

AS A PRINCIPAL DANCER, I DANCE A

LOT OF PRINCE-LY ROLLS.

SO SWAN LAKE, PRINCE ALBERT FROM

GISELE.

I ACTUALLY HAD NEVER DONE THE

PRINCE IN SWAN LAKE UNTIL I

JOINED AMERICAN BALLET THEATER.

SO I WORKED REALLY HARD ON MY

FIRST SHOW HERE WITH ABT OF SWAN

LAKE WAS WITH PRINCIPAL

BALLERINA JULIANNE MURPHY.

SHE SHOWED ME THE ROPES AND MADE

ME COMFORTABLE WITH THE BALLET.

I'VE KNOWN ABOUT HER PROWESS FOR

ONE MILLION YEARS.

I'M SO HAPPY TO BE DANCING WITH

HER.

I JUST ADORE HER.

SHE'S HILARIOUS ALSO.

I FEEL LIKE IN A STORY BALLET

IT'S A LOT ABOUT DIALOGUE, ABOUT

LISTENING TO WHAT THE OTHER

PERSON IS SAYING THROUGH THEIR

MOVEMENT AND THROUGH THEIR

PHYSICAL STORY TELLING.

AND I FEEL LIKE THE OLDER I GET

AND THE MORE I DANCE WITH THESE

BALLERINAS, THE MORE SOLID AND

READABLE OUR DIALOGUE IS.

I HAVE A SORT OF LITTLE BACK

STORY THAT I TELL MYSELF.

I FEEL LIKE THE PRINCE IN SWAN

LAKE HAS A LITTLE NELY AND IN MY

MIND IT'S

HOW I FELT AS A TEENAGER TO COME

OUT OF THE CLOSET AS A GAY MAN.

WHEN I'M DOING THE FIRST STACK

AND EVERYONE IS CELEBRATING ME

AND I'M THE BIRTHDAY AND I'M THE

PRINCE AND HOW COULD I NOT BE

OVERJOYED, I THINK BACK TO THAT

FEELING I HAD OF ISOLATION EVEN

THOUGH I HAD ABSOLUTELY NO

REASON TO PUT MYSELF THROUGH

THAT OTHER THAN FEAR OF

PERCEPTION.

I TRIED TO GIVE THAT FEELING

THROUGH BODY LANGUAGE.

INSTEAD OF ALWAYS BEING THE

PROUD PRINCE, TO SHOW

VULNERABILITY AND INSECURITY.

♪♪

I THINK FANCY FREE IS THE STORY

TELLING WORTH OF GENIUS.

YOU GET SUCH A SENSE OF

ATMOSPHERE FROM THIS BALLET,

WHICH IS REALLY HARD TO DO.

SO I'VE BEEN DOING FANCY FREE

FOR A REALLY LONG TIME.

I THINK SINCE I WAS MAYBE 21.

I'VE BEEN THE SAME PART, THIRD

SAILER, MY CHARACTER

SPECIFICALLY HAS THIS HAUGHTY

SASS, WHICH I REALLY LOVE.

I SORT OF TREAT IT LIKE THE

FAWN.

I'M CURIOUS TO SEE HOW IT HOLDS

UP IN SOCIETAL CHANGE.

RIGHT NOW I FEEL LIKE WE'RE

RIGHT ON THE BRINK OF IT BEING

ALMOST INAPPROPRIATE.

HOWEVER, THAT BEING SAID, I LOVE

DANCING THIS BALLET.

IT IS SO MUCH FUN.

THE MUSIC IS UNBELIEVABLE.

CHOREOGRAPHY IS SO CHARMING AND

STRANGE AND WONDERFUL AND JAZZY.

♪♪

CHOREOGRAPHY FOR ME HAS ALWAYS

BEEN SOMETHING THAT I'VE ENJOYED

JUST FROM A VERY NATURAL PLACE.

LIKE I WOULD TAKE MY DAD'S

RECORDS AND PUT THEM ON MY

FISHER PRICE TURNTABLE AND MAKE

UP DANCES IN MY BEDROOM.

AT MY JAZZ STUDIO IN

CONNECTICUT, THEY SAW THAT I

LIKED TO MAKE THINGS.

AND THEY WOULD LET ME MAKE UP

DANCES FOR COMPETITION.

THEY REALLY NOURISHED MY

CREATIVE NEEDS.

WHEN I JOINED BOSTON BALLET, I

KEPT MAKING THINGS.

I KEPT CREATING.

AND NOW HERE I AM AT ABT AND I'M

STILL SHOWING INTEREST AND BEING

GIVEN OPPORTUNITIES THAT I AM SO

GRATEFUL FOR.

I MADE A PIECE LAST FALL THAT

WAS MY FIRST COMMISSION WITH

AMERICAN BALLET THEATER, WHICH

PREMIERED IN VEIL.

I MADE NEW AMERICAN ROMANCE AS A

NOD TO THE CLASS SCHISM OF

ROMANTIC BALLET BUT I WANTED TO

INJECT A LITTLE BIT OF MY

PERSONALITY AND MY PERCEPTION ON

ROMANCE INTO IT, WHICH IS

LIMITLESS, REALLY.

IT WAS SORT OF MY APPRECIATION

FOR WHAT ROMANCE COULD BE FOR

ALL THE POSSIBILITIES.

♪♪

SO MY NEW BALLET, CALLED CITY OF

WOMEN, IS ABOUT THE GENERATIONAL

SHARING OF KNOWLEDGE FROM

BALLERINA TO BALLERINA.

♪♪

I KNOW THEM ALL SO WELL,

IMMATERIALED TO MAKE A DANCE FOR

THE BALLERINAS THAT WOULD

SHOWCASE THEIR INDIVIDUAL GIFTS

AND ALSO REPRESENT, YOU KNOW,

THE WISDOM OF GILLIAN, THE

BRAZENNESS OF KATHERINE AND THE

COURAGEOUS DANCING OF ISABELLA.

I KNOW THEIR STRENGTHS.

AND I KNOW THEIR PERSONALITIES.

NOT JUST THEIR STRENGTHS.

SO I WANTED TO SHOWCASE THAT.

♪♪

I CREATED JB DUBS IN 2005.

HE IS A POP MUSICIAN, SORT OF

RAPPER THING I PRODUCED,

PERFORMED, WRITE ALL THE MUSIC

AS WELL AS CHOREOGRAPH THE MUSIC

VIDEOS.

♪♪

I HAVE BEEN WITNESS TO A LOT OF

DISCRIMINATION AND HOMOPHOBIA IN

BALLET AND ALSO I HAVE SEEN A

LOT OF SEXUAL MISCONDUCT

ALLEGATIONS SORT OF SHAKE UP THE

BALLET WORLD.

SO, ALL OF THESE THINGS HAPPENED

AT ONCE, AND MY BRAIN EXPLODED.

AND MY INSTINCT WAS TO WRITE.

SO I WROTE A SONG CALLED WTF AND

IT'S EXACTLY LIKE IT SOUNDS.

AND IT WASN'T SO MUCH POINTING

FINGERS AT PEOPLE AS SORT OF

JUST EXPRESSING MY EXASPERATION

AND THE INCREDULITY OF THE

SITUATION.

>> WHAT THE WHAT HAPPENED TO

THE --

♪ WHAT HAPPENED TO CREATIVITY

>> THE REASON I WANTED TO DANCE

ON POINT IN THE MUSIC VIDEO IS

TO FURTHER HAMMER HOME THE POINT

THAT WE AS DANCERS SHOULD NOT BE

FORCED TO BE GENDERED OR PUT IN

A BOX.

I WANT TO ENCOURAGE AS MANY

PEOPLE TO DANCE ON POINT AS THEY

WANT TO.

♪♪

AND I WANT TO BE FREE TO DANCE

WHATEVER I WANT.

I AM REALLY HOPING THE FUTURE OF

BALLET REMAINS VERY CLASSICAL.

I WANT THE DEFINITION OF

CLASSICAL TO EVOLVE.

I THINK SOCIALLY BALLET HAS TO

ADAPT.

AND I ABSOLUTELY WANT TO BE ONE

OF THE PEOPLE LEADING THE CHARGE

ON THE CREATION OFMORE

REPRESENTATION IN CLASSICAL

BALLET.

I HAVE HUGE RESPECT FOR THE

CLASSICS, BUT THAT DOESN'T MEAN

NEW STORIES CAN'T BE TOLD.

♪♪

♪♪

>>> 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 AND BE

SURE TO CONNECT WITH NYC ARTS ON

FACEBOOK, INSTAGRAM AND TWITTER.

♪♪

FROM THE PORTRAITS OF CLIMT,

CREATED IN 19th CENTURY VIENNA,

WE WILL STEP BACK IN TIME AND

PLACE TO PORTRAITS OF 16th

CENTURY FLORENCE.

NOW ON VIEW JUST A FEW BLOCKS

AWAY AT THE METROPOLITAN MUSEUM

IS THE BREATH-TAKING EXHIBITION.

PORTRAITS IN POLITICS 1512,

1570.

IT FEATURES MORE THAN 90 WORKS

OF ART IN A WIDE RANGE OF

MEDIUMS, PAINTINGS, BRONZE AND

MARBLE BUSTS, CARVED GEM STONES,

DRAWINGS, MANUSCRIPTS AND ARMOR.

ON VIEW ARE PORTRAITS BY SOME OF

THE MOST CELEBRATED ARTISTS OF

ITALIAN RENAISSANCE, WORKS THAT

ONE WOULD NEVER THOUGHT WE COULD

SEE TOGETHER IN NEW YORK.

THEY INCLUDE PAINTINGS BY --

LOANS FROM COLLECTIONS

THROUGHOUT EUROPE, NORTH AMERICA

AND AS FAR AWAY AS AUSTRIA.

SOME OF THE GREATEST PORTRAITS

OF WESTERN ART WERE PAINTED IN

FLORENCE DURING THE TUMULTUOUS

YEARS WHEN THE CITY WAS

TRANSFORMED FROM A REPUBLIC WITH

ELECTED OFFICIALS INTO A

TERRITORY RULED BY THE MEDICI

FAMILY.

THE KEY FIGURE IN THIS

TRANSFORMATION WAS -- FOLLOWING

THE AS IS NATION OF HIS

PREDECESSOR.

HE SHREWDLY EMPLOYED CULTURE AS

A POLITICAL TOOL IN ORDER TO

PERVERT THE AMERICAEN TILE CITY

INTO THE CAPITAL OF A DYNASTIC

STATE.

IN DOING SO, HE ENLISTED THE

LEADING INTELLECTUALS AND

ARTISTS OF HIS TIME AND PROMOTED

GRAND ARCHITECTURAL ENGINEERING

AND ARTISTIC PROJECTS.

IN THE YEARS PRIOR TO HIS REIGN,

MOST PORTRAITS BY FLORENTINE

ARTISTS WERE PAINTED IN AN

AUSTERE STYLE THAT REFLECTED THE

TRADITIONAL MORAL VALUES OF THE

REPUBLIC.

PORTRAITS FEATURED SOMBER COLOR

PALETTE, ABSENCE OF DECORATIVE

EMBELLISHMENTS AND DETAILS OF

OBJECTS SERVING TO INDICATE A

SITTER'S PROFESSION.

THE PORTRAITS BECAME RICHER,

DRAWING UPON METAPHOR AND

ALGORRY AS WELL AS MYTHOLOGICAL

AND BIBLICAL SOURCES.

ALSO NOTABLE AS EXAMPLES OF THE

NEWEST TILE ARE RAFAEL'S

PORTRAIT OF LORENZO.

AND JACOB'S PORTRAIT OF

ALEXANDRO.

DEPICTIONS CULTIVATED HIS IMAGE

AS INHATER AND PRESERVER OF THE

GLORY OF THE ENTIRE LINE.

THESE INCLUDE THE PORTRAITS OF

HIS SON AS ST. JOHN THE BAPTIST.

HIS COMPELLING PORTRAITS OF HIS

CHILDREN AS WELL AS HIS WIFE

ASSERTED THE CONTINUITY.

TWO WORKS IN PARTICULAR SHAPED

IN WHICH SITTER'S ARE SHOWN

HOLDING SMALL VOLUMES OF POETRY.

THEY WERE LIKELY MEANT TO SECURE

THE STATUS OF FLORENCE AS HAVING

ITS OWN IMPORTANT LITERARY

CULTURE.

HIS PORTRAIT OF A YOUNG MAN AND

FRANCESCO'S PORTRAIT OF CARLO

TAKE US FURTHER.

THE PRESENCE OF THESE SMALL

VOLUMES SIGNIFIED PATRIOTISM,

SOCIAL AFFILIATION AS WELL AS

PARTISAN ALLEGIANCE.

THE PORTRAITS ON VIEW AT THE

METTE CONVEY THE NEW AND COMPLEX

WAYS THAT ARTISTS PORTRAY THE

ELITE OF FLORENCE.

THEY REPRESENT THE SITTER'S

POLITICAL AND CULTURAL AMBITIONS

AND A CHANGING SENSE OF WHAT IT

MEANT TO BE A FLORENTINE AT THIS

DEFINING MOMENT IN THE CITY'S

HISTORY.

THE EXHIBITION IS ON VIEW

THROUGH OCTOBER 11th.

NEXT WEEK ON "NYC ARTS" PROFILE

OF RENOWN PHOTOGRAPHER, VIBRANT

PRESENCE IN THE ART WORLD.

>> I REMEMBER WALKING THROUGH

PARIS AND SUDDENLY SMELL BAKING

CROISSANT ON THE AIR.

BUTTER AND SUGAR AND YOU

IMMEDIATELY YOU WANT A CROISSANT

OR A COOKIE OR SOMETHING.

THEN 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 BUSH HOLLY

HOUSE IN GREENWICH, CONNECTICUT,

THE MEETING PLACE FOR THE 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.

GOOD NIGHT AND SEE YOU NEXT

TIME.

♪♪

TO ENJOY MORE OF YOUR FAVORITE

SEGMENTS ON "NYC ARTS" VISIT OUR

WEBSITE AT NYC-ARTS.ORG.

♪♪

>>> GOOD EVENING.

AND WELCOME TO "NYC ARTS."

♪♪

>> LEONARD, WHAT A PRIVILEGE TO

BE ABLE TO SIT DOWN AND TALK

WITH YOU.

>> I LOVE BEING WITH YOU HERE,

TOO, PAULA.

>> WHERE ARE WE?

>> WE'RE AT A MOMENT TO TAKE

NOTHING FOR GRANTED.

>> IT'S A PLEASURE TO BE HERE

WITH THE CURATOR OF THE

EXHIBITION FULL OF HOPE.

>> WE ARE IN THE MIDST OF SOME

OF THE GREATEST SCULPTURES BY

THE ICONIC NAMES.

>> CLASSICAL AND MODERN DANCE

ARE EXTREMELY DIFFERENT, AND I

HAVE SO MUCH MORE TO LEARN

BEFORE I CAN REALLY ARTICULATE

THE DIFFERENCES.

>> AND WHEN I LISTEN TO THE

LYRICS IN THAT, I SUDDENLY

THOUGHT THAT'S WHAT I WANT TO DO

WITH MY LIFE.

>> MY PICTURES RESIDES IN VERY

INTIMATE, VERY PRIVATE MOMENTS.

>> MY PRIMARY WAY OF PLAYING

PIANO IS BY IMPROVISING.

>> YOU ARE IN SOME RESPECTS ON

SACRED GROUND.

>> A WOMAN CAME TO SEE ME

PERFORM AND SAID HOW WOULD YOU

LIKE TO PLAY BILLY HOLIDAY?

>> I THINK ONE OF THE ESSENTIAL

THINGS WE LEARNED IS THAT MA

TEES USED PENS TO COMPOSE HIS

WORK.

>> VIEWERS ARE SURPRISED WHEN

YOU'RE DOING A PIECE 100 YEARS

AGO AND THINK OH MY GOSH THIS

COULD BE NOW.

>> THE CARD BOARD GUITAR IS THE

VERY FIRST OF THAT MOMENT OF

REALIZATION.

>> SUDDENLY YOU COME AND PRESENT

SOMETHING AND GET APPLAUSE.

GREAT.

YOU KNOW?

♪♪

♪♪

>> Announcer: FUNDING FOR NYC

STREAM NYC-ARTS ON

  • ios
  • apple_tv
  • android
  • roku
  • firetv

FEATURED PROGRAMS