NYC-ARTS

S2021 E519 | FULL EPISODE

NYC-ARTS Full Episode: May 6, 2021

A visit to the New York Botanical Garden in the Bronx for "KUSAMA: Cosmic Nature," featuring the work of contemporary Japanese artist Yayoi Kusama. The exhibition reveals her lifelong engagement with the colors, patterns, and cycles of plants and flowers. Also, American Impressionist William Merritt Chase at the Parrish Art Museum; and a work from the collection of the American Folk Art Museum.

AIRED: May 06, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON NYC ART A VISIT

TO THE NEW YORK BOTANICAL GARDEN

IN THE BROJS FOR A LOOK AT THE

STRIKING INSTALLATION.

COSMIC NATURE.

>> IT HAS PRESENTED THE WORK IN

GARDENS.

NOT TO THIS SCALE.

THE ART WORK ACTUALLY ENHANCES

THE NATURAL ENVIRONMENT.

AND VICE VERSA.

>> AND A TRIP TO THE PARIS ART

MUSEUM ON LONG ISLAND EAST END.

>> IT HAD A LONG AND RICH

RELATIONSHIP TO THE LONG ISLAND.

YOU MIGHT SAY HE STAKED HIS

CLAIM TO THIS LANDSCAPE EARLY ON

AND SAW MORE POSSIBILITY IN THIS

THAN THE UNTUTORED EYE.

>> PLUS A LOOK AT ONE OF THE

HIGH LITES IN THE COLLECTION OF

THE AMERICAN FOLK ART MUSEUM.

>> THE CENTER OF THE QUILT IS IN

WITH A LARGE LETTER L.

ALSO INCLUDED IS A MUSICAL STAFF

AND NOTE.

WHEN SHE AND THE FAMILY MADE THE

JOURNEY BY COVERED WAGON

INCLUPDED WAS HER PIANO.

>>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY --

THEA PETSCHEK IERVOLINO

FOUNDATION, THE LEWIS "SONNY"

TURNER FUND FOR DANCE, JODY AND

JOHN ARNHOLD, THE AMBROSE

FOUNDATION, ROSALIND P. WALTER,

ELISE JAFFE AND JEFFREY BROWN,

CHARLES AND VALERIE DIKER, THE

NANCY SIDEWATER FOUNDATION,

ELROY AND TERRY KRUMHOLZ

FOUNDATION, THE MILTON AND SALLY

AVERY ARTS FOUNDATION.

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.

>> FIRST REPUBLIC BANK PRESENTS,

FIRST BANKS 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 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

SWANNGALLERIES.COM.

>>> GOOD EVENING.

WELCOME TO NYC ARTS.

I'M PAULA ZAHN.

ON TONIGHT'S PROGRAM WE VISIT

THE NEW YORK BOTANICAL GARDEN IN

THE BRONX.

FOR COSMIC NATURE.

IT FEATURES THE WORK OF

CONTEMPORARY JAPANESE ARTIST.

REVEALING HER LIFELONG

ENGAGEMENT WITH THE COLORS,

PATTERNS AND CYCLES OF PLANTS

AND FLOWERS.

SHE LIVED IN NEW YORK CITY

BETWEEN 1958 AND 1973.

AND WAS KNOWN AS A PAINTER AND

PERFORMANCE ARTIST AT THAT TIME.

TODAY, AT 92 YEARS OLD, SHE'S

BEST KNOWN FOR HER WHIMSICAL

PUMPKINS.

AND ENGAGING INFINITY MIRROR

ROOMS.

VISITORS TO THE GARDEN CAN ENJOY

HER WORK.

IN THE LIBRARY.

IN AND AROUND THE CONSERVATORY

AND ACROSS THE GARDENS

LANDSCAPE.

VIVID DISPLAYS COMPLIMENT THE

ART WORK ON VIEW OVER TIME.

MAKING EACH VISIT UNIQUE AS THE

SEASONS CHANGE.

WE SPOKE WITH THE GUEST CURE TOR

ABOUT HER SINGULAR VISION AND

EXHIBITION ON VIEW THROUGH

OCTOBER 31.

GARDENS BUT NOT TO THIS SCALE.

THE ART WORK ACTUALLY ENHANCES

THE NATURAL ENVIRONMENT.

AND VICE VERSA.

HER VISION OF NATURE IS

SOMETHING THAT IS NOT AN

OBJECTIVE OF NATURE.

BUT MORE VISCERAL.

IT'S AN EM BODIMENT OF BOTH THE

BOTANICAL WORLD AND RELATIONSHIP

TO THE COSMIC UNIVERSE.

THE GALLERY BASE IS HER

ENGAGEMENT WITH NATURE.

SHE WAS BORN IN 1929 IN THE

MOUNTAIN REGION.

AND HER FAMILY OWNED A SEED

NURSERY.

FROM AN EARLY AGE SHE WAS

EXPOSED TO MANY DIFFERENT KINDS

OF FLOWERS AND PERIWINKLE.

SHE NOT ONLY DRAWS THE FLOWERS,

BUT THE ANATOMY IS VERY

REALISTIC.

YOU'LL SEE A PROGRESSION OF THE

WAY THAT HER WORK SHIFTS FROM A

VERY REPRESENTATIONAL TO A

SURREALIST EXPRESSION.

THERE'S A PAINTING CALLED

SELF-PORTRAIT.

SHE MADE IN 1950 WHEN SHE WAS

21.

IT'S A SUNFLOWER WITH A PAIR OF

FLIPS FLOATING.

THIS ALMOST HUMAN LIKE CHARACTER

SHE ADDS TO THE PLANTS.

MY ETERNAL SOUL THAT'S THE NAME

OF THE SERIES OF PAINTINGS SHE

BEGAN IN 2009.

AND SHE'S NOW MADE OVER 700

CANVASS.

THERE WAS ONE PIECE CALLED A

ALONE BURIED IN THE GARDEN.

AN ABSTRACT PIECE THAT HAS A

PATCH WORK OF DIFFERENT COLORS

AND BOLD BLACK OUT LINES THAT

DIVIDE EACH OF THE PATCH WORK

AREAS.

THIS IDEA OF PERHAPS ADAPTING TO

REPRESENT THAT.

AS A FLOWER GARDEN.

A FLOWER BED.

SOMETHING THAT WOULD NEVER

HAPPEN IN A MUSEUM.

WHEN YOU'RE IN THE CONSERVATORY

YOU WILL PASS THE FLOWER BED.

WHICH ARE INSPIRED BY THE PIECE.

>> PUMPKINS ARE SPECIAL TO HER.

SHE HAS SO MANY DIFFERENT KINDS

OF FORMS AND SHAPES.

WE HAVE A HUMAN LIKE CHARACTER.

THE FIRST MEMORY SHE HAS WAS OF

HER GRANDFATHER TAKE HER THROUGH

THE FIELDS AND DISCOVERING

PUMPKINS.

THAT MOMENT OF DISCOVERY WHEN

SHE WAS WALKING THROUGH THE

MEADOW AND HAPPENED AUPON TA

PUMPKIN AND THE OOZE OUT OF THE

STEM AND IT WAS A VISCERAL

EXPERIENCE.

STARRY PUMPKIN.

A METALLIC MOSAIC.

PINK AND SITUATED INSIDE THE

CONSERVATORY.

WITH SEASONAL FLOWERS

SURROUNDING IT.

IT LOOKS LIKE A MEADOW.

THAT YOU HAVE COME UPON THIS

BEAUTIFUL STARRY PUMPKIN.

AND THEN THERE IS A 16 FOOT

SCULPTURE.

BRAND NEW.

CALLED DANCING PUMPKIN.

I THINK MOST PEOPLE MIGHT BE

SURPRISED TO SEE IT BECAUSE IT'S

IT HAS 11 LEGS.

AND IT ALMOST LIKES LIKE A JELLY

FISH OR SPIDER.

IT'S CALLED DANCING PUMPKIN.

THERE'S ONE LEG LIFTED UP AND

LOOKS LIKE IT'S ABOUT TO DANCE

OFF INTO OUTER SPACE.

AND THEN WE HAVE ONE MIRROR

ROOM.

IT'S CALLED PUMPKINS SCREAMING

ABOUT LOVE BEYOND INFINITY.

IT'S QUITE INTIMATE.

SMALL PIECE.

AND IT'S IN A VERY DARK SPACE.

IT'S TWO WAY MIRRORS ENCASED

CUBE WITH PUMPKINS THAT ARE

GLOWING INSIDE.

AND IT'S A VERY INTIMATE

EXPERIENCE OF LIKE A VAST FIELD.

YOU HAVE TO FOCUS ON THE

REFLECTION.

AND IT WILL JUST START TO

EXPAND.

THERE'S A CONNECTION BETWEEN THE

BOTANICAL WORLD WITH THE HUMAN

TACTILE SENSATION.

AND WITH THIS SUBLIME FEELING OF

COSMIC EXPANSION.

ILLUSION INSIDE MY HEART A FREE

STANDING MIRRORED CUBE.

BEGINNING OF THE EXHIBITION,

PEOPLE WILL BE ABLE TO

EXPERIENCE FROM THE OUTSIDE.

AND IT'S AMAZING BECAUSE IT

REFLECTS THE BOTANICAL GARDEN

AND ALMOST DISAPPEARS.

YOU GO INSIDE, YOU SEE IT'S

EXPANSIVE UNIVERSE.

THIS IS 1,500 STAINLESS STEEL.

FLOATING ON WATER.

AND IT REFLECTS THE ENVIRONMENT.

SO IT'S BEAUTIFUL DISPLAY THE

WAY THAT THE WIND CURRENT

COMPLETELY CHANGES THE

ORIENTATION AND THE REFLECTION

OF THE DIFFERENT TREES AND WILL

QUICKLY CHANGE AS THE SEASONS

CHANGE.

THE POKE DOT WHICH SHE'S WELL

KNOWN FOR.

IT'S NOT JUST A FLAT DOT.

IT'S A SPHERE.

SHE'S TALKED ABOUT THE POLKA DOT

AS A SUN.

OR A MOON.

THERE'S THIS OUT DOOR SCULPTURE

THAT WE HAVE HAD IN THE

REFLECTING POOL IT'S CALLED I

WANT TO FLY TO THE UNIVERSE.

I'M SURE THAT PEOPLE WILL BE

VERY SURPRISED BECAUSE IT'S NOT

QUITE A FLOWER.

IT'S NOT QUITE AN ANIMAL.

IT'S A MOTIF THAT IS DRAWN FROM

ONE OF HER MY ETERNAL SOUL

PAINTINGS.

IT'S NOT ONE THING.

THAT IS CHARACTERISTIC OF HER.

PRESENTING HER WORK HERE IS SO

DIFFERENT AND ACTUALLY SO

ENLIGHTNING.

ESPECIALLY IN THE PANDEMIC.

ERA.

BECAUSE WHAT I THINK A LOT OF

PEOPLE REALIZE IS THAT WE ARE

ALL VULNERABLE.

AND THERE IS AN ELEMENT OF

COEXISTENCE.

HER WORK BETWEEN HUMANS, NATURE

AND COSMIC.

AND EVEN WITH LIFE AND DEATH.

LIKE A CYCLE.

>>> NEXT.

WE'LL VISIT THE PARIS ART MUSEUM

ON LONG ISLAND FOR A LOOK AT THE

WORK OF AMERICAN IMPRESSIONIST

PARENT.

WILLIAM LETTER CHASE.

THE PAINTER AND HIS FAMILY SPENT

THE SUMMERS IN L.A. LARGE HOUSE

IN THE HILLS OF HAMPTON.

ESTABLISHED THE ARTIST

REPUTATION AS AN EXCEPTIONAL

LANDSCAPE PAINTER.

A ROTATING SELECTION OF THE

ARTIST PAINTINGS CAN BE FOUND IN

THE DEDICATED WILLIAM MERIT

CHASE GALLERY AT THE MUSEUM.

INCLUDED ARE WORKS BY SOME OF

HIS ACCOMPLISHED STUDENTS FROM

THE SUMMER SCHOOL OF ART.

>> I'M THE CHIEF OF ART AND

EDUCATION HERE AT THE ART

MUSEUM.

DESIGN BUILDING IS LOCATED IN

WATER MILL, NEW YORK.

TO THE EAST OF SOUTH HAMPTON

VILLAGE ON THE EAST END.

THIS IS THE FIRST TIME THAT WE

HAVE HAD DEDICATED SPACE TO SHOW

OUR PERMANENT COLLECTION.

AND TO HAVE A DEDICATED GALLERY

TO THE WORK OF WILLIAM MERIT

CHASE.

THE COLLECTION IS REALLY NOTABLE

FOR THE RANGE OF WORK FROM ALL

PERIODS.

ESPECIALLY FROM THE PAINTINGS

WHEN HE WAS HERE.

AND THE LARGEST COLLECTION IN A

PUBLIC INSTITUTION.

IN AMERICA.

HE HAD A LONG AND RICH

RELATIONSHIP TO LONG ISLAND.

YOU MIGHT SAY HE STAKED HIS

CLAIM TO THE LANDSCAPE EARLY ON.

AND HE SAW MORE POSSIBILITIES IN

IT THAN THE UNTUTORED EYE.

HE ONCE SAID HE COULD FIND

PICTORIAL GOLD IN THE DRAW OF

THE HILLS.

IT WAS IN MANY WAYS A SCRUB

LANDSCAPE, ONE THAT HAD BEEN

GREATLY ORE LOOKED BY ARTISTS.

HE FIRST CAME OUT IN 1881.

TO SKETCH.

CHASE ADOPTED NOT SO MUCH WHAT

YOU MIGHT CALL THE TECHNIQUE OF

THE FRENCH IMPRESSIONIST.

BUT THE IDEA OF COMING OUT AND

PAINTING MODERN LIFE.

IN 1891, TWO CIVIC MINDED WOMEN

IN THE SOUTH HAMPTON AREA WANTED

TO START A SCHOOL.

OF ART.

CHASE WAS A VERY WELL KNOWN

TEACHER THAT THE ART STUDENTS

LEAGUE AND HE WAS A RENOWNED

PORTRAIT PAINTER AND READILY

ACCEPTED THE INVITATION.

IN 1891 BE THE FOUNDING DIRECT

TORT OF THE SCHOOL.

THE HOUSE HAD BEEN BUILT FOR HIM

TO BEAUTIFUL DUTCH REVIVAL.

SHINGLE STYLE.

IT'S BECOME FAMOUS HERE ON THE

EAST END.

AND HIS WHOLE FAMILY CAME OUT.

HE TAUGHT HERE UNTIL 1902.

AND THE FAMILY CONTINUED TO USE

THE HOUSE REALLY UP TO HIS DEATH

IN 1916.

THE ARCHIVES IS A REPOSITORY OF

DOCUMENTS, LETTERS, AND MOST

ESPECIALLY 600 PHOTOGRAPHS.

THAT REALLY DOCUMENT THE ARTIST

LIFE, MANY OF THE PHOTOGRAPHS

WERE WE KNOW TAKEN BY MRS.

CHASE.

SHE WAS AN AMATEUR PHOTOGRAPHER.

THEY GIVE AN EXTRAORDINARY

GLIMPSE INTO WHAT YOU MIGHT CALL

A GUILDED AGE SUMMER.

BUT MORE IMPORTANTLY INTO

CHASE'S LIFE AND WORK.

THESE PHOTOGRAPHS PARTICULARLY

ARE EXTREMELY IMPORTANT BECAUSE

MANY OF THE SAME SCENES THAT

CHASE DEPICTED ARE VISIBLE IN

THE PHOTOGRAPH.

CHASE IS ASSOCIATED WITH THE

PAINTINGS THAT HE DID THERE IN

THE HILLS.

PAINTING 1895 THE BUSH IS -- HE

DID FIND PICTORIAL GOLD.

IN THIS SCRUBBY LANDSCAPE.

I THINK ONE OF THE MOST

INTERESTING THINGS ABOUT THAT

PAINTING IS OF COURSE THE

PRESENCE OF THE HOUSE THAT THEY

LIVED IN.

THE THREE DAUGHTERS.

IT IS A COMPLETE LOOK AT THE

ARTIST AND HIS LIFE.

I THINK.

HAVING THE DOMESTIC REALM.

THE LANDSCAPE REALM.

THERE'S PERHAPS NO BETTER ENTRY

INTO THE CREATIVE LIFE OF

WILLIAM MERIT CHASE THAN THIS

PAINTING HERE.

FROM AROUND 1900.

ALICE CHASE HIS OLDEST DAUGHTER

WAS OFTEN DEPICTED BY CHASE AND

IN HIS PAINTINGS.

SHE'S REALLY A SURROGATE FOR THE

VIEWER.

INVITING US INTO THE RAREFIED

ATMOSPHERE OF THE STUDIO.

THE NOMINAL SUBJECT OF THE

PAINTING IS THE STUDIO.

THE TRUE THEME IS THE PAINTING

ITSELF.

WE SEE SO MANY OBJECTS THAT

BECOME A SELF-PORTRAIT FOR THE

ARTIST.

THE PAINTING ON THE EASEL.

THE GLOW OF THE BRICK HE

COLLECTED.

UP ENDED PAINT BRUSHES.

THE SKETCH OF THE UPPER LEFT.

AND THE LIGHT COMING THROUGH THE

STUDIO WINDOW.

IT'S A COMPLEX ART WITH FAMILY,

LANDSCAPE, AND THE MATERIAL

WORLD.

I THINK CHASE WAS VERY MUCH A

STUDENT YOU MIGHT SAY OF THE

LIGHT HERE ON THE EAST END.

HE WAS EXTRAORDINARILY AWARE OF

THE LIGHT AT ALL TIMES.

AND HIS PAINTING IS INFUSED WITH

THAT PERCEPTION.

WE WOULD WELCOME YOUR VISIT WHEN

YOU ARE OUT ON THE EAST END OF

LONG ISLAND.

COME TO THE MUSEUM IN WATER

MILL, NEW YORK.

TO THE EAST OF SOUTH HAMPTON

VILLAGE.

>>> NEXT WE'LL VISIT THE

AMERICAN FOLK ART MUSEUM ACROSS

THE STREET IN LINCOLN CENTER.

SINCE 1961 THIS HAS BEEN

CELEBRATING THE CREATIVITY OF

ARTIST WHOSE TALENTS HAVE BEEN

REFINED THROUGH PERSONAL

EXPERIENCE RATHER THAN FORMAL

ARTISTIC TRAINING.

IT'S COLLECTION INCLUDES 8,000

WORKS OF ART FROM FOUR CENTURIES

AND NEARLY EVERY CONTINENT.

HERE'S A LOOK AT ONE OF THE ART

WORKS FROM THE MUSEUM

COLLECTION.

>> THE AMERICAN FOLK ART MUSEUM

HAS ONE OF THE MOST IMPORTANT

COLLECTIONS OF QUILTS IN THE

COUNTRY.

AND ONE OF OUR MOST SIGNIFICANT

RECENT ACQUISITIONS IS CRAZY

QUILT MADE BY A WOMAN NAMED --

SHE WAS AN IMMIGRANT FROM

GERMANY.

ONE OF THE THOUSANDS OF JEWISH

IMMIGRANTS WHO CAME TO THE

UNITED STATES IN THE SECOND HALF

OF THE 19th CENTURY.

SHE LANDED IN NEW YORK CITY, MET

HER HUSBAND.

AND THE TWO OF THEM MOVED TO THE

NEW MEXICO TERRITORIES TO LAS

VEGAS.

NEW MEXICO.

THE QUILT THAT SHE MADE PROBABLY

IN THE 1880s REFLECTS THE CRAZY

QUILT.

THIS WAS A KIND OF CONSTRUCTION

THAT WAS INTRODUCED AFTER THE

AMERICAN SEN TEN YELL

EXPOSITION.

THAT INDRUSED JAPANESE ARTS FOR

THE FIRST TIME.

WOMEN SAW PORCELAIN WITH CREASED

AND CRACKLE SURFACES AND EXOTIC

MOTIVES LIKE SPIDER WEBS AND

QUARTER FANSS AND THEY VERY

QUICKLY INTRODUCED THIS NEW AS

TETIC INTO THE QUILT MAKING.

ONE OF 36 JEWISH FAMILIES IN THE

PIONEER FRONTIER COMMUNITY OF

LAS VEGAS, NEW MEXICO.

COMING TO AMERICA WITHOUT A

TRADITION OF QUILT MAKING AT

ALL, INTERPRETED AND ADAPTED THE

CRAZY QUILT TO REFLECT THIS NEW

THAT WAS INTRODUCED AT THE

JAPANESE PAVILION.

THE CENTER OF THE QUILT HAS A

LARGE LETTER L.

FOR HER FAMILY NAME LENO.

INCLUDED IS A MUSICAL STAFF AND

NOTE.

AND THIS REFLECTS THE MUSICAL

BACKGROUND OF HER FAMILY.

IN FACT ONE OF THE FAMILY

STORIES IS THAT WHEN SHE AND HER

FAMILY MADE THE JOURNEY BY

COVERED WAGON, INCLUDED ON BOARD

THE COVERED WAGON WAS HER PIANO.

SHE DID SOMETHING WITH THE

BORDERS THAT IS UNUSUAL.

THERE'S A FLORAL BAND ON EACH

SIDE OF THE QUILT.

AND TYPICALLY THIS WOULD BE

IDENTICAL TOP, BOTTOM, LEFT

RIGHT.

IN FACT SHE'S REFLECTING THE

SEASONS.

SO THERE ARE AUTUMN LEAVES.

SPRING FLOWERS SUMMER DAISIES

AND WINTER SPRAYS.

QUILTS HAVE ALWAYS IN MEDIUM FOR

WOMEN TO EXPRESS THEIR OWN

THOUGHTS AND OWN PARTICIPATION

IN AMERICAN LIFE.

AND SHE CLEARLY TOOK THAT TO

HEART.

WHEN SHE DECIDED WHAT MOTIVES

AND TECHNIQUES WERE GOING TO BE

USED IN HER BEAUTIFUL QUILT.

>>> FOR MORE INFORMATION ON

CULTURE EVENTS IN OUR AREA.

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ARTS ON FACEBOOK, INSTAGRAM AND

TWITTER.

AND NOW -- ANOTHER CHOICE.

>> I'M IN THE AMERICAN WING AT

THE METRO POPPAL MUSEUM OF ART.

WE'RE STANDING IN THE NEW

AMERICAN WING GALLERY.

26 NEW SPACES DEVOTED TO ART

FROM THE 18th CENTURY THROUGH

THE EARLY 19th CENTURY.

I'M HERE TODAY TO TALK ABOUT

ARGUABLY THE GREATEST AMERICAN

SCULPTOR OF THE LATE 19th

CENTURY.

THE METROPOLITAN HAS 50 WORKS BY

HIM.

AND WE'RE FORTUNATE TO BE ABLE

TO PRESENT HIS WORK IN SUCH A

COMPREHENSIVE WAY FROM EARLY

CAMEO PORTRAITS TO LOW RELIEF

PORTRAITS OF HIS FRIENDS AND

FELLOW ARTISTS TO MODELS FOR AND

REDUCTION AFTER HIS GREAT CIVIL

WAR MONUMENTS.

HE WAS BORN IN IRELAND BUT CAME

HERE TO NEW YORK AS AN INFANT.

AND WAS RAISED ON THE LOWER EAST

SIDE.

HE BEGAN AT AGE 13 WORKING AS AN

APPRENTICE FOR A CAM YES CUTTER.

THAT FUELLED HIS INTEREST IN

BECOMING A SCULPTOR.

IN 1867 HE WENT TO PARIS TO

STUDY AND TRAINED AT THE --

WHICH WAS REALLY THE FOREMOST

TRAINING GROUND FOR STUDENTS

ACROSS THE WORLD.

AT THAT TIME.

HE STUDIED IN ROME.

HE CAME BACK TO NEW YORK AND

ESTABLISHED A CAREER AS A

SCULPTOR OF GREAT CIVIL WAR

MONUMENTS.

SOME OF THE BEST KNOWN WORKS IN

NEW YORK ARE THE MONUMENT IN

MADISON SQUARE PARK AND THE

GREAT GUILDED STATUE.

AT 59th STREET AND FIFTH AFTER

IN A SPACE CALLED GRAND ARMY

PLAZA.

IN 1892 AFTER SHE DIED.

HE RECEIVED A COMMISSION TR A

MONUMENT TO HONOR THE

CONTRIBUTION TO THE UNION CAUSE.

HE INCORPORATED A FIGURE IN TO A

REALISTIC PORTRAIT OF THE PERSON

WHO WAS BEING COMMEMORATED.

SO WHILE GENERAL SHERMAN IS

MARCHING ON HORSE BACK THE

WINGED FIGURE OF VICTOR IS

LEADING HIM ON.

MOVING FORWARD WITH THE WIND

BLOWN AND IN HER HAND WHICH IS A

SYMBOL OF VICTORY.

AND SHE IS REALLY QUITE AMERICAN

IN A SENSE.

HE WORKED WITH SEVERAL DIFFERENT

MODELS TO CREATE THIS SCULPTURE.

GENERALLY THIS WAS A PROCESS

THAT WAS KIND OF -- POSES.

MOST INTERESTING IS THE FACT

THAT ONE OF THE MODLES WAS A

WOMAN WHO WAS AN

AFRICAN-AMERICAN WOMAN FROM

SOUTH CAROLINA.

AND HE WORKED WITH HER

FREQUENTLY AND SAID SHE HAD A

FIGURE LIKE A GODDESS.

HE WAS A REAL PERFECTIONIST.

IN THE CASE OF THE VICTORY HE

ARRANGED DRAPERIES ON FOUR

DIFFERENT MODELS AND TOOK

SOMETHING LIKE TWO WEEKS TO GET

THE LOOK HE WAS AFTER AND WHEN

HE FINISHED HE WROTE IT'S THE

GREATEST VICTORY ANYONE EVER

MADE.

I HOPE YOU'LL COME AND VISIT OUR

GALLERY.

AND PAY SPECIAL ATTENTION TO THE

INSTALLATION OF THE SCULPTURE

COLLECTION.

>> NEXT WEEK, ON NYC ARTS A

VISIT TO THE MET.

AND THE EXHIBITION ART OF NATIVE

AMERICA.

THE CHARLES AND COLLECTION.

>> NATIVE AMERICAN ART IS

FOUNDATIONAL TO CULTURE

HERITAGE.

EXHIBITIONS LIKE THIS ARE MEANT

TO MOVE PEOPLE OUTSIDE OF THAT

IDEA THAT ALL NATIVE PEOPLES ARE

THE SAME.

THEY WERE NOT AT ANY TIME AND

CERTAINLY NOT TODAY.

>> A PROFILE OF RUBY FRAZIER.

A PHOTOGRAPHER AND VIDEO ARTIST

WHO IS IMAGES GIVE VISIBILITY TO

PEOPLE WHO ARE OFTEN FORGOTTEN.

>> IT IS A DUTY A PRIVILEGE AND

HONOR TO BE ABLE TO USE THE

CAMERAS TO SERVE OTHERS IN 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.

>> LETTERS WAS MADE FROM

SKETCHES.

>> I THINK IT'S A CELEBRATION OF

NEW YORKERS.

>>> THANK YOU SO MUCH FOR

JOINING US THIS EVENING.

I'M PAULA ZAHN.

HAVE A GREAT NIGHT.

AND I HOPE YOU'LL JOIN US NEXT

TIME.

>>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY --

THEA PETSCHEK IERVOLINO

FOUNDATION, THE LEWIS "SONNY"

TURNER FUND FOR DANCE, JODY AND

JOHN ARNHOLD, THE AMBROSE

FOUNDATION, ROSALIND P. WALTER,

ELISE JAFFE AND JEFFREY BROWN,

CHARLES AND VALERIE DIKER, THE

NANCY SIDEWATER FOUNDATION,

ELROY AND TERRY KRUMHOLZ

FOUNDATION, THE MILTON AND SALLY

AVERY ARTS FOUNDATION.

AND ALLEN AND JAMES 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.

>> FIRST REPUBLIC BANK PRESENTS,

FIRST BANKS 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 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

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