NYC-ARTS

S2020 E484 | FULL EPISODE

NYC-ARTS Full Episode: March 12, 2020

Guided by Randall Griffey, curator of Modern and Contemporary Art at The Metropolitan Museum of Art, NYC-ARTS takes a fresh look at the museum’s collection, paying particular attention to works by Jackson Pollock, Louise Nevelson and Joan Snyder. Followed by a profile of the Martha Graham Dance Company, which continues to celebrate the independent spirit of its legendary founder.

AIRED: March 12, 2020 | 0:27:57
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON "NYC ARTS" THE

VISIT FOR A FRESH LOOK AT THE

MUSEUM'S COLLECTION OUT POST WAR

AND CONTEMPORARY ART.

>> THE PAINTING SERVES AS AN

INVENTORY OR CATALOG OF PAINTER

STROKES.

SOME THICK, SOME THIN, SOME

STABLE, SOME STRONG, OTHERS

FLUID, OTHERS WEAK.

>> AND A PROFILE OF THE DANCE

COMPANY WHICH WAS FOUNDED IN

1926 BY ONE OF THE MOST INFLU WE

THINK SO -- INFLU WE THINK SO L

ARTIST OF THE 20th CENTURY.

>> IT REQUIRES THE PERFECT

MARRIAGE OF THE PHYSICAL AND

EMOTIONAL.

HER MOVEMENT IS DESIGNED TO

REVEAL THE INNER LANDSCAPE AND

FINDING THE BALANCE BETWEEN THE

PHYSICALITY AND JOURNEY WITHOUT

BECOMING MELLOW DRAMATIC IS THE

CONSTANT BATTLE.

>> FOUNDING FOR NYC ARTS IS MADE

POSSIBLE BY ROSLAND P. WALTER.

JODY AND JOHN ARNOLD.

ELYCE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

JEAN DUBINSKI APPLETON ESTATE

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 COUNSEL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF 13.

NYC ARTS IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

>> FIRST REPUBLIC BANK PRESENTED

FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK, FIRST

REFERS TO THE FIRST PRIORITY,

THE CLIENTS WHO WALK THROUGH OUR

DOORS.

THE FIRST STEP, RECOGNIZE EVERY

CLIENT IS AN INDIVIDUAL WITH

UNIQUE NEEDS.

FIRST DECREE, 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 GALLEGALLERIES, WE

HAVE

A DIFFERENT WAY OF LOOKING AT

OFFERINGS SINCE 1941 WORKING TO

COMBINE KNOWLEDGE WITH

ACCESSIBILITY.

WHETHER YOU'RE A COLLECTOR OR

FIRST-TIME BUYER.

>>> GOOD EVENING AND WELCOME TO

"NYC ARTS."

FROM THE STUDIOS AT LINCOLN

CENTER.

WE BEGIN OUR PROGRAM TONIGHT

WITH THE METROPOLITAN MUSEUM OF

ART FOR A FRESH LOOK AT THE

COLLECTION OF POST WAR AND

CONTEMPORARY ART.

ABSTRACTION, EXPLORES LARGE

SCALE ABSTRACT PAINTING, SCULPTS

AND WORKS OF ART TO BROADEN THE

NARRATIVE OF OBSTRUCTION

BRINGING TOGETHER SOME 50 WORKS

FROM THE COLLECTION REPRESENTED

HERE SUCH ICONIC ARTISTS, MARK,

CARMEN HERRERA AND MARK

BRADFORD.

RANDALL GRIFFIN IS OUR GUIDE.

>> WE'RE LOOKING AT THE AUTUMN

RHYTHM OF 1950.

IT CAME INTO THE COLLECTION IN

1957 AND A TREASURE OF THE

COLLECTION.

THE PUBLIC IS MOST REMEMBERED

20th CENTURY FOR THE LARGE SCALE

SO-CALLED DRIP PAINTINGS WHICH

HE STARTED TO DO IN LATE 1940s

AND INTO THE EARLY 1950s.

IT'S A GREAT SENSE OF IMMEDIATE

RANGE OF REASONS.

THEY ARE LARGE WHICH RELATIVE TO

YOUR SCALE MAKES YOU FEEL A

LITTLE SMALL BY COMPARISON.

ONE OF THE WAYS IN WHICH HE

PLAYED A KEY ROLE IN CHANGING

THE VERY CONCEPT OF PAINTING IS

THAT HE MOVED THE CANVASS FROM

THE EASEL TO THE FLOOR AND BEGAN

WORKING WITH COMMON HOUSEHOLD

ENAMEL PAINT.

HE LIKED THIS PAINT BECAUSE IT

WAS VERY KIND OF PAINT THAT YOU

CAN THROW AND IT CREATES THESE

DYNAMIC DRIPS AND DRIBBLES AND

THESE WHIPS OF PAINT THAT SEEM

TO BE CAPTURED IN SPACE ON THE

PICTURE.

IN THE CASE OF AUTUMN RHYTHM,

THE PAIN IS THIN AND GRACEFUL

AND OTHER PASSAGES ARE DENSE AND

MORE AGGRESSIVE AND THICKER.

THERE ARE PASSAGES ALSO WHERE

HE'S USED PARTS OF THE ENAMEL

PAINT THAT DRIED AND CREATED A

KIND OF SKIN.

THREE DIMENSIONAL AS THE PAINT

REGISTERS IS FLAT.

WHEN PEOPLE FIRST ENCOUNTER POLL

LCK -- POLLICK'S WORK, THE PLAN

OR GUIDING PRINCIPLE, IN FACT,

AS YOU LOOK AT MULTIPLE WORKS,

YOU CAN SEE EACH CANVASS IS

DIFFERENT FROM ANOTHER.

IF YOU LOOK CLOSELY AT AUTUMN

RHYTHM TOWARD THE BOTTOM AS WE

SEE IT ON THE WALL, THERE'S A

LITTLE FLICK OF RED PAINT.

THIS IS A LITTLE DROPLET OF

PAINT AND YOU SEE IT, YOU CAN'T

UNSEE IT BECAUSE IT SEEMS SO

ANOMALOUS.

THE WONDERFUL THING ABOUT HIS

TECHNIQUE IS EMBRACING THE

EFFECTS OF CHANCE.

THE TITLE AND WORD RHYTHM REALLY

WONDERFULLY TIES CADENCE THAT IS

PART AND PARCEL OF HIS GESTURE

AND WHAT I LOVE ABOUT THIS WORK

IS THAT THIS GREAT SENSE OF

GROWTH TIES TO THE CHANGE OF

SEASONS AND THE EBBS AND FLOWS

OF NATURE IN THE COURSE OF A

YEAR.

>> IT'S TITLED MRS. N'S PALACE

AND ONE OF THE GREAT WORKS BY

THE AMERICAN SCULPTOR.

IT'S ACTUALLY COMPOSED OF PIECES

THAT DATE BACK IN TIME TO AS

EARLY AS 1964.

THOUGH, IT WAS ASSEMBLED AS A

UNIQUE WORK IN 1977.

THE PALACE IS ONE OF NEVELSON'S

GREATEST WORKS.

INSTALLING IT HERE ON THE SECOND

FLOOR TOOK QUITE AN EFFORT BUT

WELL WORTH IT.

THE WORK ITSELF IS COMPRISED OF

130 INDIVIDUAL SCULPTURE

COLLAGES ATTACHED TO A LARGE

BOX.

IT'S COMPRISED OF SCRAPS THAT

SHE COLLECTED ALL ACROSS THE

CITY CREATING THESE ABSTRACT, IN

MANY CASES, RELIEF SCULPTURES,

WHICH SHE THEN TREATS PRIMARILY

BY PAINTING IN BLACK.

NEVELSON DESCRIBED HER MATERIALS

AS THE SKIN THAT NEW YORK HAS

SHED AND THAT SHE IS GIVING NEW

LIFE MAKING ART THAT'S BOTH IN A

WAY ABOUT NEW YORK BUT ALSO OF

NEW YORK.

IN MANY INSTANCES, HER ORIGINAL

SOURCE MATERIAL IS DISCERNIBLE

WITHOUT MUCH EFFORT.

THERE ARE BOXES FROM FILING

CABINETS AND FROM STAIRCASES

WHERE SHE'S REPURPOSED

ARCHITECTURE AND AGGRESSIVE IN

EFFECT BUT OTHER PARTS ARE

ELEGANT, THIN, WHIMSICAL.

IN OTHER INSTANCES, HER

MATERIALS ARE REALLY DIFFICULT

OR IMPOSSIBLE TO DISCERN AND

REGISTER REALLY AS UNIQUE

ABSTRACT SCULPTURE.

THE TITLE DERIVES FROM A COUPLE

SOURCES.

ONE IS HER NICKNAME IN THE

NEIGHBORHOOD WHERE SHE LIVED WAS

MRS. N AND PALACE, SHE INTENDED

THIS WORK TO BE HER IDEAL

HABITAT OR A KIND OF SHRINE TO

HERSELF.

THIS IS NEVELSON CREATING HER

OWN UNIVERSE, AN ENVIRONMENT

BASED ENTIRELY ON HER OWN

PRACTICE AND VISION AS AN

ARTIST, WHICH IN A WAY TIED

WONDERFULLY TO HER DESIRE TO

LIVE HER LIFE ON HER OWN TERMS.

>> THE COLORFUL AND ATTRACTIVE

PAINTING BEHIND ME IS SMASH,

STROKES, HOPE FROM 1971 BY JOAN

SNIDER.

SNIDER IS ONE OF THE

CONTEMPORARY ARTIST FEATURED IN

EPIC ABSTRACTION.

THE COLOR AND SENSE OF

EXPERIMENTS BREAKS FROM THE

FORMAL MINIMALEST GRID THAT WAS

CONSIDERED TO BE THE MOST

DESIRABLE TEMPLET OR TOUCH TONE

FOR COMPOSITION AND DESIGN FOR

SO MANY ARTISTS, PAINTERS AND

SCRIPT TORS.

SHE'S USING OIL, ACRYLIC AND

SPRAY ENAMEL.

SHE'S APPLYING PAINT FAIRLY

TRADITIONALLY IN CERTAIN

INSTANCES WITH A SEQUENCE OF

CLEAR BRUSH STROKES.

MOST OF THOSE ARE WITH THE OIL

PAINT.

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 MARKS BUT SHE

ALSO EXECUTES STROKES IN A

SUBTRACTIVE MANNER IN SOME CASES

SCRAPING INTO THICK PAINT.

PART OF THE APPEAL OF HER

PAINTING IS THAT YOU'D ALMOST

EXPAND UP IN SCALE AND YOU HAVE

GLOBS OF PAINT AND YOU GET A

SENSE OF PAINT MIX AND THERE IS

A SENSE OF RANGE OF AN ARTIST

AND SHE'S PREPARING TO USE PAINT

AND CERTAIN PASSAGES.

IN OTHER INSTANCES, SHE'S

EXPERIMENTING WITH THE PAINT

DILUTED TO POUR OVER WHITE

EXPANSES OF THE PAINTING.

THE PAINTING SERVES AS A KIND OF

INVENTORY OR CATALOG, SOME

THICK, SOME THIN, SOME STABLE,

SOME STRONG.

OTHERS FLUID, OTHERS WEAK.

SHE WALKS A FINE LINE WITH

EXPEIMENTATION AND DELUSION.

>> FOR MORE INFORMATION, PLEASE

SIGN UP FOR OUR FREE WEEKLY

EMAIL AT NYC-ARTS.

TOP FIVE PICKS WILL KEEP YOU UP

TO DATE YEAR ROUND AND BE SURE

TO CONNECT WITH NYC ARTS ON

FACEBOOK, INSTAGRAM AND TWITTER.

>>> NEXT, WE'LL GO BEHIND THE

SCENES WITH A TRULY GROUND

BREAKING AND ORIGINAL DANCE

COMPANY.

THE MARTHA GRAM DANCE COMPANY

WAS FOUNDED IN 1926 BY ONE OF

THE MOST INFLU WE THINK SO L

ARTIST OF THE 20th CENTURY.

WORKS BY CONTEMORARY

COMMISSIONED.

THE INITIATIVES APPROACH THE

100th ANNIVERSARY OF WOMEN'S

RIGHTS TO VOTE.

NOW A LOOK AT THE MARTHA GRAM

DANCE COMPANY.

>> I STARTED AS A DANCER IN 1952

AND CAME BACK TO THE COMPANY AS

ARTISTIC DIRECTOR IN 2005.

MARTHA FROM THE VERY FIRST

REHEARSAL I HAD WITH HER TAUGHT

ME LIFE LESSONS AND THE THEME

THAT RUNS THROUGHOUT HER ENTIRE

CAREER IS THE EMPOWERMENT OF THE

INDIVIDUAL BEING TRUE TO YOUR

OWN UNIQUE POWER IT IS UNIQUE

AND YOURS ALONE TO DEVELOP.

FOR EXAMPLE, WHEN SHE DIRECTED

US IN HER ROLES, IT DIDN'T CROSS

HER MIND THAT REMIGHT DANCE THE

ROLE EXACTLY AS SHE HAD.

I HAD A DIFFERENT DYNAMIC AND

DIFFERENT PERSONAL ORA AND SHE

EXPECTED ME TO TAP THOSE AND USE

MY OWN UNIQUE QUALITIES AS

POWERFULLY AS POSSIBLE.

>> MY ARTISTIC DIRECTOR JANET

HAS TAKEN THE APPROACH OF

ALLOWING ME TO FIND MY WAY INTO

A ROLE TO CREATE MY OWN

INTERPRETATION WITHIN THE

CHOREOGRAPHY AND COURSE.

I DIDN'T KNOW MARTHA GRAM.

DIDN'T HAVE THE PRESSURE OF WHAT

THAT PERSONALITY MEANT TO ME BUT

THE PHILOSOPHY AND TEACHINGS AND

TECHNIQUE OF THE WORK.

>> MY JOURNEY IS MARTHA GRAM'S

TAKE, HIS WIFE, MOTHER AND IT'S

ONE OF THE GREATEST EXAMPLES OF

HOW MARTHA REVOLUTIONIZED THE

TIME ON STAGE.

JOE COSTA UNDERSTANDS THE TRUTH

AND ABOUT TO END HER LIFE AND

THE DANCE TAKES PLACE AS IF WE

SEE HER LIFE FLASHING BEFORE HER

EYES.

SO WE TRAVELED BACK IN HER

MEMORIES, WE SEE HER MEETING A

YOUNG MAN, COURT SHIP, MARRIAGE

AND THE END OF THE BALLET IS WE

RETURN TO THE ROPE AND SHE ENDS

IT ALL.

>> STEPPING INTO HER PSYCHE,

WHAT IS SHE THINKING?

THAT IS A DIFFICULT QUESTION.

AND AS SHE GOES BACK IN TIME,

RELIVES BAD CHOICES, WE REALIZE

THAT SHE IS AN INNOCENT IN THIS.

SHE HASN'T DONE ANYTHING

WILLINGLY BUT SHE HASN'T

FOLLOWED HER INSTINCT.

ALL OF THOSE PORTRAY FOR THE

AUDIENCE AND ENERGY THE DANCER

MUST EVOKE TO GET ACROSS, THAT'S

A DRAMATIC CHALLENGE.

>> THAT'S PROBABLY THE MOST

COMPLEX ROLE.

THE FACETS AND ELEMENTS YOU CAN

ADD INTO THE ROLE IS THERE.

THE PATH DOWN, A LITTLE BIT INTO

THAT ROLE.

>> IT'S A LITTLE BIT LIKE

CHINESE OR JAPANESE.

EMOTIONAL IS LIKE THE TECHNIQUE

WITH THE STORY TO TALK WITH YOUR

BODY.

>> THE ELEMENTS OF THE TECHNIQUE

HAVE REMAINED CONSTANT THAT THE

TORSO IS DRIVING THE MOVEMENT.

THE TORSO BEING THE CENTER OF

EMOTION IS IN TACT AND DECEMBER

DESCRIPTION AND RELEASE IS SO

VISCERAL.

THE CONTRACTION AND SHAPE AND A

LIFT AND A MOVEMENT AND SPACE.

THAT TAKES EXTREME DEPTH OF

MUSCLE TO ACCESS AND TO ACHIEVE.

SO THAT REALLY IS THE MOST

DIFFICULT PART FOR ANY OF US.

YOU HAVE TO TRAIN US

CONTINUOUSLY.

>> IT REQUIRES THE PERFECT OF

PHYSICAL AND EMOTIONAL.

HER MOVEMENT IS DESIGNED TO

REVEAL THE INNER LANDSCAPE AS

SHE USED TO SAY AND REALLY FIND

THE BALANCE.

A BATTLE.

THE HEART AND MAYBE THE ROLE.

WITH SOMEBODY BETRAY YOU

EVENTUALLY BY REVENGE.

NEVER BECAME A NORMAL LIFE.

>> IN 1930 OF COURSE WAS THE

SHOT HEARD AROUND THE WORLD FOR

MODERN DANCE TO DO SOMETHING

THAT WAS SO STARK, SO MODERNEST,

THERE IS NO DECORATION, THERE IS

NO ESCAPE.

IT REALLY IS THE THING ITSELF.

>> THE LIMITATION IS MY

FAVORITE.

IT'S ONE MINUTE, IT'S SHORT AND

IT'S VERY HARD.

THE FABRIC ARE RESISTANT.

IT'S NOT LIKE STRETCHING YOUR

SKIN.

YOU'RE TRYING TO BREAKTHROUGH A

CERTAIN PRESSURE TO RELIEF THE

SADNESS.

>> THE LAMBATION VARIATION

STARTED IN 2007.

WE WANTED TO CREATE SHORT WORKS

FOR THE COMPANY INSPIRED BY

MARTHA DANCING HER ICONIC SOLO.

>> THE COMMISSIONING OF NEW WORK

FOR THE COMPANY IS PART OF A

MUCH LARGER INITIATIVE FINDING

AUDIENCE ACCESS FOR THE GRAND

WORKS.

>> I LEARNED ABOUT WHO I AM

CREATIVELY.

THAT HELPED ME BRING THIS VITAL

ENERGY TO MY WORK.

IT IS A FAVORITE.

I WAS ABLE TO PLAY THE FOLLOWERS

AND EVENTUALLY THE BRIDE SO

THERE IS A WONDERFUL

TRANSFERRING OF KNOWLEDGE

THROUGH THE GENERATIONS I

RECEIVED AND HAVE SOME BEAUTIFUL

DANCERS WHO ARE COMING INTO THE

WORK AS IT SHOULD BE.

.

>> THERE ARE MANY, MANY

DIFFERENT WAYS TO APPRECIATE

GRAHAM AND TO CONNECT WITH MORE

WORK OR SIMPLY UNDERSTANDING

THAT HER LANGUAGE, HER DANCE

VOCABULARY WAS BORN OUT OF

NATURAL HUMAN GESTURE.

IT'S A VERY PERSONAL AND

INTIMATE EXPERIENCE FOR

AUDIENCES.

THEY RECOGNIZE HUMAN BEINGS ON

THE STAGE.

>>> "NYC ARTS" COMES TO YOU EACH

WEEK FROM OUR STUDIOS AT LINCOLN

CENTER.

HERE IS WHAT IS COMING UP ON THE

NEIGHBORHOOD CALENDAR.

>> THE 50th ANNIVERSARY SEASON

OF THE CHAMBER MUSIC SOCIETY

CONTINUES.

WITH BOLD PROGRAMS PULLED FROM

ALL ERAS OF THE CHAMBER MUSIC

REPERTOIRE.

PIANOS ARE USED AND THE MAIN

HIGHLIGHT OF THE MARCH 15th

PROGRAM.

THAT WILL BE BOOK ENDED BY

PIECES BY THE HUNGARY COMPOSER.

AND TWO VIOLINS, TWO VIOLAS AND

TWO CELLOS WHICH EVOKES A SUNNY

T USC AN LANDSCAPE.

FOR DETAILS VISIT CHAMBER MUSIC

SOCIETY.ORG.

>> FOR MORE INFORMATION ABOUT

MUSIC, DANCE, THEATER AND FILM

AT LINCOLN CENTER, VISIT THEIR

WEBSITE AT LINCOLNCENTER.ORG.

>>> THANK YOU FOR JOINING US

THIS EVENING.

GOOD NIGHT AND SEE YOU NEXT

TIME.

>>> NEXT WEEK ON "NYC ARTS" A

PROFILE, THE WELL-COACHED AND

MINISTER.

>> BALLET MISTRESS OF AMERICAN

BALLET THEATER.

A BALLET MISTRESS OR BALLET

MASTER IS IN CHARGE OF A CERTAIN

PORTION OF THE REPERTOIRE WE DO.

THE ARENA IN PARTICULAR, HER

QUALITIES AS A COACH ARE ONE

THAT PRIMARY TAKES THE MATERIAL

THAT YOU PRESENT HER AND TRIES

TO PUT IT THROUGH A LENS FOR THE

DANCER TO SEE MORE CLEARLY AND

UNDERSTAND WHAT IT IS THEY'RE

ACTUALLY DOING.

>> AND A VISIT TO THE GALLERY

FOR A LOOK AT THE CAREER OF MAD

-- MADAM DORA THAT CAPTURED THE

GLORY AND DARKNESS OF HER LIFE.

>> SO YOU WOULD BUY THE HEAD

BEFORE.

THERE ARE HUNDREDS OF

PHOTOGRAPHS AND USED IN THE

MAGAZINES AND TO STRESS THE FACT

OF THE IMPORTANCE OF THE HEAD

PHOTOGRAPHS, HAD CONTEMPORARY

ARTISTS COMING AND MAKE INSPIRED

BY THE CREATIONS THAT ARE

PHOTOGRAPHED.

>>> FUNDING FOR "NCY ARTS" THIS

PROGRAM IS SUPPORTED BY PUBLIC

FUNDS IN PARTNERSHIP WITH THE

CITY COUNSEL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF 13.

NYC ARTS IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

>> FIRST REPUBLIC BANK IS

BROUGHT TO YOU BY FIRST THINGS

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