NYC-ARTS

S2021 E520 | FULL EPISODE

NYC-ARTS Full Episode: May 13, 2021

A look at the art of Native America from The Charles and Valerie Diker Collection at The Met Fifth Avenue; a profile of photographer and video artist LaToya Ruby Frazier, whose work follows in the social documentary tradition of Walker Evans and Gordon Parks; and Ralph Fasanella’s “Subway Riders" at the American Folk Art Museum.

AIRED: May 13, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

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

VISIT TO THE COLLECTION.

>> NATIVE AMERICAN ART IS

FOUNDATIONAL TO OUR CULTURAL

HERITAGE.

EXHIBITIONS LIKE THIS ARE MEANT

TO MOVE PEOPLE OUTSIDE OF THAT

IDEA THAT ALL PEOPLES ARE THE

SAME, AND THEY WERE NOT AT

ANYTIME AND THEY ARE CERTAINLY

NOT TODAY.

>> A PROFILE OF LA TOYA RUBY

FRASER, A PHOTOGRAPHER AND VIDEO

ARTIST WHOSE IMAGES GIVE

VISIBILITY TO PEOPLE WHO WERE

OFTEN FORGOTTEN.

>> IT IS A DUTY, A PRIVILEGE AND

HONOR TO BE ABLE TO USE THESE

CAMERAS TO SERVE OTHERS AND TO

BRING A REAL HUMAN STORY FORWARD

IN A COMPLEX SITUATION.

>> AND A LOOK AT ONE OF THE

HIGHLIGHTS IN THE COLLECTION OF

THE AMERICAN FOLK ART MUSEUM.

>> SOME OF THE WRITERS WAS MADE

FROM SKETCHES, AND I THINK IT'S

A CELEBRATION OF NEW YORKERS.

>>> FUNDING FOR NYC-ARTS IS MADE

POSSIBLE BY -- THIS PROGRAM IS

SUPPORTED IN PART BY PUBLIC

FUNDS IN PARTNER WITH THE CITY

COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF NY 13.

>> FIRST REPUBLIC BANKS PRESENTS

FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK 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 IS FIRST REPUBLIC'S

MISSION, FROM THE VERY FIRST AND

IT'S STILL THE VERY FIRST THING

ON OUR MINDS.

>> AND BY SWAN AUCTION

GALLERIES?

>> WE HAVE A DIFFERENT WAY OF

LOOKING AT AUCTIONS SINCE 1941,

WORKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY, WHETHER YOU

ARE A LIFE-LONG COLLECTOR OR

FIRST-TIME BUYER OR LOOKING TO

SELL, INFORMATION IS AVAILABLE

AT SWANGALLERIES.COM.

>>> GOOD EVENING AND WELCOME TO

"NYC ARTS."

I AM PAULA ZAUN.

WE BEGIN TONIGHT WITH THE

METROPOLITAN MUSEUM OF ART.

TODAY CHARLES AND VALERIE DYKA

CONTINUE THIS TRADITION.

IN 2016 THEY PROMISE THEIR

COLLECTION OF HISTORICAL NATIVE

AMERICAN ART.

THE COLLECTION OF 116 OBJECTS

REPRESENTS MORE THAN 50 NORTH

AMERICAN CULTURES AND IS

PRESENTED IN THE METS AMERICAN

WING IT'S AN EXPANSION OF WHO IS

INCLUDED IN ITS NARRATIVE.

THE EXHIBITION WAS CURATED BY

THE NELSON ATKINS MUSEUM OF ART

IN KANSAS CITY IN COLLABORATION

WITH NATIVE AMERICAN SCHOLARS

AND CULTURAL LEADERS.

>> THE MOST IMPORTANT THING, I

THINK, ABOUT THIS EXHIBITION

OTHER THAN THE CELEBRATION OF

NATIVE AMERICAN ART AND THE

ARTISTS THAT CREATED THESE WORKS

IS THE FACT THAT IT'S BEING

SHOWN -- THESE WORKS ARE BEING

SHOWN IN THE AMERICAN WING,

WHICH IS THE FIRST TIME IN THE

HISTORY OF THIS MUSEUM SINCE THE

WING OPENED IN 1924, SO IT'S A

MOMENTOUS

MOMENTOUS MOVEMENT IN

RECOGNIZING THE HERITAGE.

EXHIBITIONS LIKE THAT ARE MEANT

TO MOVE OUTSIDE ALL NATIVE

AMERICANS ARE THE SAME, AND THEY

WERE NOT AT ANYTIME AND ARE

CERTAINLY NOT TODAY.

IT'S NOT CHRONOLOGICAL, AND WE

DID LAY IT OUT IN REGIONS, AND

THE PROBLEM WITH THAT IS THEY

DID NOT HAVE FIRM BOUNDARIES.

WE ENDEAVORED IN THE GALLERY

DESIGN TO KEEP THINGS OPEN,

PERMEABLE AND VISIBLE, SO ALMOST

ANYWHERE YOU STAND WITHIN THE

GALLERIES YOU ARE IN A

CULTURALLY RELATED AREA AND YOU

ARE LOOK INTO OTHER AREAS AS

WELL, SUGGESTING A GREATER

UNIVERSALLY.

I FIND THE PONY WAR CLUB TO BE

ONE OF THE MOST ASTONISHING

OBJECTS IN THE COLLECTION.

IN TERMS OF ITS PROPORTION, AND

THE ELEGANCE OF THE SHAPE AND IT

WAS A FUNCTIONAL WEAPON AND

CARRIED TO WAR AND IT WAS ALSO

AN IMPORTANT PIECE OF

EXPRESSION, AND THE DESIGNED ON

ONE SIDE CONSISTS OF SOME ZIGZAG

LINES AT THE TOP AND THEN A

CIRCLE WITH A SINGLE SHARP

ZIGZAG LINE EMANATING FROM THAT,

THE FULL LENGTH OF THE CLUB AND

THESE ARE GENERALLY KNOWN TO BE

SYMBOLS OF POWER.

IT'S POSSIBLE THE CIRCLE AND THE

SINGLE LINE MAY REPRESENT

THUNDER AND ONE STRIKE OF

LIGHTNING.

ON THE OTHER SIDE IS I THINK THE

MOST AMAZING DESIGN I'VE EVER

SEEN ON A NATIVE AMERICAN WAR

CLUB, AND IT'S COVERED WITH STAR

AND THE NIGHT SKY AND THE

CONSTELLATION.

STARS WERE SO IMPORTANT IN PONY

RELIGION.

WHEN YOU PICK MASS AS A GROUP OF

OBJECTS, THIS PARTICULAR MASK --

I WOULD SAY MOST MASKS REPRESENT

THE PREY ANIMALS THEY DEPENDED

ON FOR THEIR SURVIVAL.

THESE MASKS WERE WORN IN THE

CEREMONIES, AND THEY WERE WORN

TO THANK THE ANIMALS THAT HAD

GIVEN THEMSELVES IN THE PREVIOUS

YEAR AND ENSURE THAT THERE WOULD

BE A CONTINUOUS FLOW OF NEW

LIFE.

IT'S OFTEN SAID THAT THESE MASKS

REPRESENT SOMETHING CALLED UYA,

WHICH IS EASIEST TRANSLATED AS

THE ONGOING SOUL.

WHEN YOU SEE AN IMAGE OF A FISH,

A SEAL OR A BIRD, IT DOESN'T

REPRESENT SPECIFIC CREATURES BUT

REPRESENTS ALL OF THOSE THAT

HAVE LIVED OR WILL EVER LIVE IN

THE FUTURE, SO THE MASK IS

TIMELESS IN THAT RESPECT AND

PLACES THEM IN A TIMELESS WORLD.

IT WAS IN 1876.

IN THE 1880s, STANDING THERE

WENT TO EUROPE WITH BUFFALO

BILL'S WILD WEST SHOW.

HE MET A WOMAN AND THEY FELL IN

LOVE AND HE MARRIED HER AND

BROUGHT HER BACK TO PINE RIDGE

RESERVATION AND STANDING THERE

BEGAN TO DEVELOP HIS HEART.

HE BASICALLY TRIED TO BRING

TOGETHER IN THIS POINTING SIX

DIFFERENT EPISODES THAT HE

REMEMBERED.

THEY DID NOT ALL HAPPEN AT THE

SAME TIME BUT WITHIN THE

TRADITION OF WARRIOR ART,

STANDING THERE REPRESENTED THEM

ALL AS THOUGH THEY WERE

OCCURRING AT THE SAME TIME.

THERE WERE HORSES BEING RUN OFF,

SEPARATED LEAVING THE SOLDIERS

ON FOOT.

THERE'S A DEPICTION OF A GROUP

OF SOLDIERS THAT RAN DOWN THE

HILL AND WERE KILLED IN A

RAVINE, AND ANOTHER GROUP OF

SOLDIERS TRIED TO BREAK AWAY ON

HORSEBACK AND RIDING BACK TO THE

SOUTH AND WERE OVERTAKEN AND

KILLED AND THEN THERE'S THE

FINAL BATTLE ON THE HILL

INCLUDING A DEPICTION OF CUSTAR

HIMSELF.

BETHEL WAS A BASKET MAKER, AND

SHE WAS PROMINENT IN THE '20s

AND '30s IN CALIFORNIA, AND THIS

PIECE WAS HER FIRST ATTEMPT TO

CREATE A BASKET OF THAT SCALE.

IT TOOK HER THREE YEARS.

MAYBE THE BEST WAY TO THINK

ABOUT THE ACHIEVEMENT IN THAT

BASKET IS TO THINK ABOUT IT

FIRST IN RELATION TO THE

MATERIALS, WHICH REQUIRED AN

ENORMOUS BODY OF EXPERT

KNOWLEDGE IN TERMS OF WHAT

KNOWING WHICH PLANTS TO GATHER

AND HOW TO PREPARE THEM BEFORE

THE BASKET EVER BECAME.

A BASKET OF THAT KIND IS CREATED

USING A COIL TECHNIQUE THAT

BEGINS IN THE CENTER OF THE

BOTTOM AND STARTED UPWARD AND

OUTWARD TO FORM THE SIDES OF THE

OBJECT, AND THEN AT A CERTAIN

POINT, THE MIDPOINT BEGAN TO

CURVE INWARD TO REACH ITS FINAL

FORM.

THERE WAS NO REVISION POSSIBLE

AND SHE WOVE IT FROM THE BOTTOM

UP, AND WHEN YOU SEE THAT

RELATIONSHIP OF THE

TWO-DIMENSIONAL DESIGN TO THE

SHAPE OF THE OBJECT, AND THE

TENSION THAT FORM HOLDS, THE

ACHIEVEMENT IS VISIBLE AND

AMAZING.

>>> THE OBJECTIVE IN PRESENTING

THESE OBJECTS IN THE WAY WE HAVE

DONE IS TO RESPECT THEM AS WORKS

OF ART, AS SOPHISTICATED AND

BEAUTIFUL CREATIONS.

>>> NEXT ON OUR PROGRAM WE WILL

MEET PHOTOGRAPHER AND VIDEO

ARTIST, LA TOYA RUBY FRASER.

FRASER GREW UP IN PENNSYLVANIA

WHERE SHE BEGAN PHOTOGRAPHING

HER FAMILY AND HOMETOWN AT THE

AGE OF 16.

PHOTOGRAPHS FROM HER EARLY AND

VERY PERSONAL SERIES CALLED THE

NOTION OF FAMILY ARE CURRENTLY

ON VIEW AT THE NEW MUSEUM AS

PART OF THE GROUP SHOW GRIEF AND

GRIEVANCE, ART AND MOURNING IN

AMERICA.

FRASER'S PHOTOGRAPHS TELL

STORIES OF PEOPLE USUALLY

FORGOTTEN, GIVING THEM

VISIBILITY THROUGH HER IMAGES,

AND DOCUMENTING THE AFFECTS OF

THE ONGOING WATER CRISIS THERE

APPEARED IN "ELLE" MAGAZINE IN

2016.

HER WORK ADDRESSING

ENVIRONMENTAL JUSTICE, HEALTH

CARE INEQUITY AND RACISM, HAS

APPEARED IN THE NEW YORKER AND

OTHER PUBLICATIONS.

NYC ART SPOKE WITH FRASER IN

HARLEM.

>> MY WORK GIVES A FRAMEWORK TO

WHAT IT'S LIKE BEING A WORKING

CLASS PERSON AND FAMILY FROM

SOUTHWESTERN PENNSYLVANIA.

AN

ANDREW CARNEGIE, THE THOMPSON

PLANT HAS BEEN OPERATING SINCE

1965.

YOU TALK ABOUT AMERICA AND WHO

BUILT AMERICA AND THE FACT THAT

AMERICA IS BUILT BY -- SSTEEL AF

WE LOOK AT THE INFRASTRUCTURE,

EVERYTHING IS ANCHORED AND

STEEL.

I WAS RAISED BETWEEN THESE TWO

STRONG WOMEN, MY GRANDMOTHER,

RUBY, AND MY MOTHER CYNTHIA.

MY MOTHER GREW UP THERE IN THE

'60s.

SHE WAS SOMEBODY WHO WITNESSED

THE SEGREGATION AND THE RACISM,

AND I GREW UP THERE IN THE '80s,

WHICH WOULD BE AFTER THEY CLOSED

ALL THE SURROUNDING FACTORIES,

AND UNIONS WERE BROKEN UP AND

THE WAR ON DRUGS BREAKS OUT IN

THE COMMUNITY, SO I WAS COMING

OF AGE WHEN THAT WAS HAPPENING

AND I WAS A WITNESS TO THAT.

JUST LOOKING AT THEM IS WHAT

PUSHED ME TO KIND OF CREATE A

FAMILY ALBUM THAT MOST AMERICANS

WOULDN'T WANT, RIGHT?

I THINK ALL AMERICANS KNOW THE

KIND OF IMAGES THAT ARE IN THE

NOTION OF FAMILY AND IT'S JUST

SOCIALLY AND CULTURALLY WE'RE

TAUGHT NEVER TO TALK ABOUT

THOSE.

ONCE I STARTED COMING HOME WITH

MY CAMERA, MY MOTHER BECAME

IMMERSED AND ENGAGED.

SHE WAS A COLLABORATOR FROM THE

VERY MOMENT, AND I THINK A LOT

OF THIS COMES OUT OF MY

UNDERSTANDING OF THE MAZAL

BROTHERS AND THEIR DOCUMENTARY

FILMS.

THEY BELIEVE IF A PERSON WHO IS

OVERLOOKED AND IGNORED BY

SOCIETY ALL OF A SUDDEN HAS THIS

CAMERA TURNED ON THEM, THEY WILL

ENGAGE BECAUSE OTHERWISE THEY

WOULD BE INVISIBLE AND

VOICELESS.

WE ARE TRADITIONALLY TAUGHT IN

THE HISTORY OF ART AND THE

HISTORY OF PHOTOGRAPHY THAT THE

PHOTOGRAPHER'S NEVER RELINQUISH

POWER TO THE SUBJECTS, AND SO I

WAS TRYING TO PROVE THAT THIS

HAS ALWAYS BEEN A PART OF THE

LEGACY OF PHOTOGRAPHING FAMILY

AND MAKING PHOTOGRAPHS WITH

SOCIAL COMMENTARY ABOUT AMERICA.

LAYING THAT BARE TO THE VIEWER

WAS ESSENTIAL TO ME.

I'M JUST AS MUCH A PART OF THIS

SITUATION AND THIS CRISIS.

I CONSIDER MYSELF AN ADVOCATE

AND NOT SO MUCH AN ACTIVIST.

I THINK THAT'S VERY DIFFERENT.

I AM AN ADVOCATE AND A

STORYTELLER.

YOU THINK ABOUT GORDON PARKS AND

A HARLEM POWER, AND YOU THINK

ABOUT HIS COLLABORATION WITH

RALPH ELLISON ON INVISIBLE MAN.

A COLLABORATION BETWEEN BLACK

ARTISTS, BLACK PHOTOGRAPHERS AND

BLACK POETS AND WRITERS TRYING

TO TELL ANOTHER STORY AND

NARRATIVE FROM THE INSIDE TO THE

AMERICAN PUBLIC SO THEY CAN SEE

IT CLEAR FOR WHAT IT IS.

IT IS THE EVERYDAY PERSON, THE

EVERYDAY MAN, WOMAN AND CHILD

THAT ARE EXPERIENCING THE

BRUTALITY AND THE PITFALLS OF

CAPITALISM, OF INEQUALITY AND

LIVING IN THE SMALL TOWNS THAT

HAVE BEEN ABANDONED BY THE

STATE.

THEY'RE THE ONES -- THESE

INDIVIDUALS AND FAMILIES ARE THE

ONES THAT CAN EXPRESS IT AND

ARTICULATE IT THE BEST.

>> WHEN YOU THINK ABOUT WATER,

YOU DON'T CONSIDER GOVERNMENT.

IN FACT, YOU DON'T CONSIDER

PEOPLE AT ALL.

EVEN THOUGH WE'VE BUILT PLANTS

AND MACHINES TO PURIFY, WHEN YOU

THINK ABOUT IT, YOU ONLY IN YOUR

MOST REMOTE MIND IF AT ALL THINK

ABOUT GOD, SOMETHING NATURE

INTENDED.

WELL, YOU THINK ABOUT WATER, YOU

DON'T CONSIDER POISON BECAUSE

POISON IS NOT SOMETHING YOU

CONSIDER FOR YOURSELF.

YOU DON'T THINK ABOUT MURDER.

>> THE WATER CRISIS BECAME

PUBLIC KNOWLEDGE IN APRIL OF

2014.

BECAUSE OBAMA CAME ON MAY 4th IN

2016 AND THEY HAD THAT IMAGE OF

HIM SIPPING THAT WATER, WHICH

WAS SUPPOSEDLY FLINT RIVER WATER

THE AMERICAN CONSCIOUSNESS AND

PSYCHE BELIEVED THAT THE WATER

CRISIS WAS OVER.

IT WAS IN 2016 THAT I RECEIVED A

PHONE CALL FROM "ELLE" MAGAZINE,

A MAGAZINE THAT IS ABOUT WOMEN,

HEALTH AND BEAUTY, TO BUILD OUT

A SECTION FOR THE SEPTEMBER

ISSUE TO ACTUALLY HAVE INSIDE OF

IT BEFORE YOU GOT TO THE FASHION

SPREADS TEN PAGES UNINTERRUPTED

OF PHOTO ESSAY TALKING ABOUT THE

WATER CRISIS.

IT WAS IMPORTANT FOR ME TO KIND

OF JUST PIVOT SLIGHTLY OUT OF

THE GENERATIONAL CONNECTION

BETWEEN MY GRANDMOTHER, MOTHER

AND ME TO THIS OTHER GENERATION

OF THREE WOMEN WHICH WAS RENEE

COBB, HER DAUGHTER, SHEA COBB

AND SHEA'S DAUGHTER, ZION.

WHAT IT'S LIKE NOW FOR THEM TO

HAVE TO FIGURE OUT THEIR

RELATIONSHIP TO WATER AND HOW TO

LIVE WITH CONTAMINATED AND

POISONED WATER.

SHEA, SHE'S A SCHOOL BUS DRIVER

AND SHE WAS ALSO VERY ACTIVE IN

ORGANIZING PUBLIC PROTESTS AS

WELL.

SHE'S A SINGER.

SHE'S A POET.

SHE HAD SO MUCH CHARISMA AND

HOPE AND FAITH AND JUST SUCH A

POSITIVE OUTLOOK REGARDLESS OF

THE CIRCUMSTANCE THAT IS

COMPLETELY CREATED A MAN-MADE

DISASTER BECAUSE OF INEQUALITY

AND RACISM, AND WHY NOT

COLLABORATE WITH HER AND GET HER

VOICE AND WORDS AND PERSPECTIVE.

SHE MADE IT VERY CLEAR IN "ELLE"

MAGAZINE, SHE SAID DON'T COME

HERE EXPECTING TO SEE A VICTIM.

THAT'S NOT WHO WE ARE.

SHE UNDERSTANDS HOW THE MEDIA

SHAPES, STEREOTYPES AND

DISCOURSES AROUND BLACK WOMEN,

BLACK FAMILY AND COMMUNITIES.

SO I RELIED ON SHEA BEING MY

EYES.

I WAS SIMPLY BEING AN IMPATHIC

WITNESS, BEING LED BY HER

THROUGH THIS TOWN.

IT IS A DUTY, A PRIVILEGE AND AN

HONOR TO BE ABLE TO USE THESE

CAMERAS TO SERVE OTHERS AND TO

BRING A REAL HUMAN STORY FORWARD

IN A COMPLEX SITUATION.

>>> FOR MORE INFORMATION ON

CULTURAL EVENTS IN OUR AREA,

PLEASE SIGN UP FOR OUR FREE

WEEKLY E-MAIL AT

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CONNECT WITH NYC ARTS ON

FACEBOOK, TWITTER AND INSTAGRAM.

>>> NEXT, WE WILL VISIT THE

AMERICAN FORK ART MUSEUM ACROSS

THE STREET FROM THE LINCOLN

CENTER.

THIS MUSEUM HAS BEEN CELEBRATING

THE CREATIVITY OF ARTISTS.

ITS COLLECTION INCLUDES MORE

THAN 8,000 WORKS OF ART FROM

FOUR CENTURIES AND NEARLY EVERY

CA

CONTINENT.

HERE'S A LOOK AT ONE OF THE

ARTWORKS FROM THE MUSEUM'S

COLLECTION.

>> WELCOME TO THE AMERICAN FOLK

ART MUSEUM.

I AM THE CURATOR FOR THE 20th

AND 21st CENTURY ART AT THE

MUSEUM.

I WAS B-- HE WAS BORN IN THE

BRONX IN 1914.

HIS WORKS ARE CARRYING MESSAGES

OF HOPE, OF LIBERTY AND THE

RESPECT FOR THE RIGHTS OF

WORKERS.

HE WAS A UNION OERGANIZER, AND

STARTED TO PAINT IN THE MID-40s.

THE ORGANIZATION OF HIS

LARGE-SCALE CANVASSES WITH A LOT

OF HORIZONTAL LINES AND STACKING

OF OBJECTS AND ARCHITECTURE

REFER TO HIS EXPERIENCE WORKING

WITH HIS FATHER, WHERE HE WAS

PLACING AND REPLACING ICE CUBES

IN THE REFRIGERATORS.

SOME OF THE WRITINGS WERE MADE

IN THE SKETCHES IN THE SUBWAYS

ON HIS WAY BACK FROM WORK.

HE SAID I WOULD RIDE THE SUBWAY

EVERY DAY BACK AND FORTH TO MY

MACHINE SUB JOB, AND I WOULD

SKETCH AND SKETCH, AND I LOVE

THE SUBWAY, AND IT PULLS THE

CITY TOGETHER IN A MAGIC WAY.

HERE'S SUBWAY RIDERS AFTER A

HARD DAY'S WORK, AND EVERYBODY

IS SEPARATED AND ALONE, AND VERY

MUCH TOGETHER, AND IT'S NOISY

WITH THE SQUEAKS AND SQUEALS BUT

PEACEFUL, TOO, AND WE MOVE TO A

RHYTHM THAT GETS INSIDE OF US,

AND THAT'S THE NOISE OF THE CITY

ITSELF.

THE SUBWAY MAKES THE CITY WORK,

AND MAKES THE CITY GREAT.

THIS PAINT SOMETHING A

LARGE-SCALE PAINTING AS MANY OF

THE CANVASSES BY RALPH, AND SOME

ARE AS WIDE AS TEN FEET.

HE SAID SPECIFICALLY THOSE

PAINTINGS WERE MEANT TO BE SEEN

BY A HRAULOT OF PEOPLE AT THE S

TIME.

IT'S ONE OF THE REASONS YOU

WANTED TO HAVE THEM LARGE AND

ALSO FULL OF DETAILS.

YOU CAN LEARN SOMETHING ABOUT

THE PERSONAL LIFE OF EACH OF

THOSE SUBJECTS.

I THINK THE MAIN MESSAGE IS THAT

HE WAS THERE TO FIGHT FOR THE

LABORERS' RIGHTS, AND ALSO I

THINK IT'S A CELEBRATION OF NEW

YORKERS.

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

VISIT TO THE SUGAR HILL

CHILDREN'S MUSEUM AND ART OF

STORYTELLING.

>> WE KNOW CHILDREN ARE NATURAL

ARTISTS AND THEY ARE ALSO

NATURAL STORYTELLERS, AND WE

WANTED TO CREATE AN INSTITUTION

DEDICATED TO THEIR CREATIVE

POTENTIAL.

>> A LOOK AT THIS EXHIBITION.

>> THE EXHIBITION 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

BREATH OF ARTISTS WORKING ACROSS

THE NATION.

>> AND SOME OF THE STARS OF THE

MTA'S MUSIC UNDER NEW YORK

PROGRAM.

>> I WANTED THIS FIERCE, STRONG

FEMININE GIRL GROUP, SO THAT'S

HOW I CAME UP WITH THE IDEA.

>> THANK YOU SO MUCH FOR JOINING

US THIS EVENING.

I AM PAULA ZAUN.

HAVE A GREAT NIGHT, AND I HOPE

YOU JOIN US NEXT TIME.

TO ENJOY MORE OF YOUR FAVORITE

SEGMENTS ON "NYC-ARTS," VISITS

OUR WEBSITE AT NYC-ARTS.ORG.

WHAT A PRIVILEGE TO SIT DOWN AND

TALK WITH YOU.

>> I LOVE BEING HERE WITH YOU,

TOO, PAULA.

>> WHERE ARE WE?

>> THIS IS ANN EXHIBITION FULL F

HOPE.

>>> FUNDING FOR NYC ARTS IS MADE

POSSIBLE BY THE LOUIS SUNNY

TURNER FUND FOR DANCE, AND THE

AMBROSE MOW TPHEL FOUNDATION,

AND ROSLYN P. WALTER, AND

CHARLES AND VALERIE GUTTER, AND

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 13, NYC-ARTS IS MADE

POSSIBLE IN PART BY FIRST

REPUBLIC BANK.

>> 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 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 ARTS

SINCE 1941, WORKING TO COMBINE

KNOWLEDGE WITH ACCESSIBILITY,

AND WHETHER YOU ARE A FIRST-TIME

BUYER OR LOOKING TO SELL,

INFORMATION IS AT

SWANNGALLERIES.COM.

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