NYC-ARTS

S2021 E536 | FULL EPISODE

NYC-ARTS Full Episode: November 18, 2021

The Whitney, in collaboration with the Philadelphia Museum of Art, presents "Jasper Johns: Mind/Mirror," a retrospective of nearly 500 artworks. The title of the exhibition showcases Johns’ fascination with mirroring and doubles, a theme that has captivated the now 91-year-old artist throughout his seven-decade career.

AIRED: November 18, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

♪♪♪

>>> COMING UP ON NYC ARTS, A

TRIP DOWNTOWN TO THE WHITNEY

MUSEUM, THE RETROSPECTIVE

CELEBRAING THE WORK OF THIS

91-YEAR-OLD ARTIST OVER SEVEN

DECADES.

HE IS KNOWN FOR HIS DRAWING, HIS

PRINTS, HE MADE IMPORTANT

SCULPTURES.

THE TWO CANS OR THE SAVRAN CAN

THAT'S FULL OF BRUSHES.

BUT HE RETURNED IN A VIGOROUS

WAY TO SCULPTURE AGAIN IN THE

EARLY 2000s.

>> A VISIT TO THE EARLY FOLK ART

MUSEUM.

AND THE WEATHER VANES.

>> THE ART OF THE WINS IS AN

EXHIBITION OF THE AMERICAN FOLK

ART MUSEUM AND BRINGS TOGETHER A

GROUP OF REMARKABLE AMERICAN

WEATHER VANES.

THESE WERE OBJECTS DESIGNED TO

CAPTURE ATTENTION ON A PUBLIC OR

A PRIVATE BUILDING AND THEY

SIGNAL PRIDE IN PERSONAL

IDENTITY.

>> AND A VISIT TO THE NEVELSON

CHURCH.

>> SHE WAS THE GRANDMOTHER OF

ENVIRONMENTAL ART IN AMERICA.

AND SHE REALLY BELIEVED THE

IMPORTANCE OF SURROUNDING PEOPLE

WITH ART.

>>> 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, ELISE JAFFE AND

JEFFREY BROWN, CHARLES AND

VALERIE DIKER, THE NANCY

SIDEWATER 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

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BE A BANK WHOSE CURRENCY IS

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THIS WAS FIRST REPUBLIC'S

MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON

OUR MINDS.

>> AND BY --

>> SWANN ACTION GALLERIES.

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LOOKING AT AUCTIONS, OFFERING

VINTAGE BOOKS AND FINE ARTS

SINCE 1941, WORKING TO COMBINE

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WHETHER YOU'RE A LIFELONG

COLLECTOR, A FIRST-TIME BUYER,

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>> AND BY --

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♪♪♪

>>> GOOD EVENING.

AND WELCOME TO "NYC ARTS."

I'M ON LOCATION AT THE MORGAN

LIBRARY AND MUSEUM IN MIDTOWN

MANHATTAN.

IT IS LOCATED AT MADISON AVENUE

AND 36th STREET.

MORGAN BEGAN AS THE PRIVATE

LIBRARY OF FINANCIER MORGAN, ONE

OF THE PREMIER ART COLLECTORS IN

THE UNITED STATES.

FOUNDED IN 1906, THE MORGAN

SERVES AS A MUSEUM, INDEPENDENT

RESEARCH LIBRARY, MUSIC VENUE,

ARCHITECTURAL LANDMARK AND

HISTORIC SITE.

THE MORGAN OFFICE VISITORS CLOSE

ENCOUNTERS WITH GREAT WORK OF

HUMAN ACCOMPLISHMENT.

THE COLLECTION OF MANUSCRIPTS,

RARE BOOKS, MUSIC, DRAWINGS AND

WORKS OF ART, COMPRISES A UNIQUE

RECORD OF CIVILIZATION, AS WELL

AS A REPOSITORY OF IDEAS IN THE

CREATIVE PROCESS FROM 4000 B.C.

ALL THE WAY TO THE PRESENT.

CURRENTLY ON VIEW IS IMPERIAL

SPLENDOR.

THE ART OF THE BOOK IN THE HOLY

ROMAN EMPIRE FROM 1800 TO 1500.

IT'S SWEEPING OVERVIEW OF

MANUSCRIPT PRODUCTION DURING THE

HOLY EMPIRE, ONE OF THE MOST

IMPRESSIVE CHAPTERS IN THE

HISTORY OF MEDIEVAL ART.

THEY ARE AMONG THE MOST

LUXURIOUS WORKS OF ART FROM THE

MIDDLE AGES.

THEY WERE DESIGNED TO ENLIGHTEN,

ENTERTAIN AND TO EMBODY THE

SACRED.

THEY RETAIN THE ABILITY TO

DAZZLE AND INSPIRE MODERN

AUDIENCES JUST AS THEY DID THOSE

OF THE MIDDLE AGES.

ENCOMPASSING A BROAD SECTION OF

CENTRAL EUROPE, THE HOLY ROMAN

EMPIRE PLAYED A CRUCIAL ROLE IN

THE DEVELOPMENT OF THE ARTS OF

THE BOOK.

THROUGHOUT THE MIDDLE AGES,

SCRIBES AND ARTISTS ACROSS THE

EMPIRE DEVELOPED AN ARRAY OF

VISUAL TECHNIQUES THAT

TRANSFORMED THEIR MANUSCRIPTS

INTO VIVID EMBLEEMBLEMS,

PRESTIGE AND

PRODECISION.

FROM PARCHMENT AND GOLD AND

SWEEPING CYCLES OF NARRATIVE

ILLUSTRATIONS, THE STRIKING

FEATURES OF THESE MANUSCRIPTS

LEND THEM GREAT PRESENCE AND

GRANDEUR.

AT STAGE 24, JESTER JOHNS

PAINTED THE WORK HE WOULD BE

KNOWN FOR THE REST OF HIS LIFE.

THE FINGLE REPRESENTATION OF THE

AMERICAN FLAG.

IT WAS A SUBJECT HE WOULD RETURN

TO AGAIN AND AGAIN.

THE BEGINNING OF A BODY OF WORK

BY ONE OF THE MOST INFLUENTIAL

AMERICAN ARTISTS OF THE 20th

CENTURY.

THE WHITNEY, IN COLLABORATION

WITH THE PHILADELPHIA MUSEUM OF

ART, PRESENTS JASPER JOHNS,

MIND, MIRROR, THE INTROSPECTIVE

OF 900 ARTWORKS, SOME OF WHICH

FROM THE ARTIST'S PERSONAL

COLLECTION AND NOW BEING SHOWN

FOR THE FIRST TIME.

THE TITLE OF THE EXHIBIT

REFLECTS BOTH THE COLLABORATION

BETWEEN THE TWO MUSEUMS AND

JOHNS' OWN FASCINATION WITH

MIRRORING AND DOUBLES, A THEME

THAT HAS CAPTIVATED THE NOW

91-YEAR-OLD ARTIST THROUGHOUT

HIS SEVEN-DECADE CAREER.

>> JASPER JOHNS IS ONE OF THE

MOST IMPORTANT LIVING ARTISTS,

NOT JUST IN AMERICA BUT ANYWHERE

IN THE WORLD.

♪♪♪

HE WAS BORN IN 1930 AND BEGAN

SHOWING HIS WORK IN NEW YORK IN

THE MID 1950s.

HIS WORK INITIALLY CAUSED A

SCANDAL IN THE ART WORLD.

HE WAS INTRODUCING COMMON MOTIFS

LIKE FLAGS AND MAPS, THAT WERE

NOT NOT TO BE APPROPRIATE

SUBJECT MATTER FOR ART.

AND HE PRESENTED THEM IN A WAY

THAT PEOPLE THOUGHT WAS VERY

PLAIN, STRAIGHTFORWARD.

HE'S BEST KNOWN FOR THESE KINDS

OF IMAGES, HE'S HAD A REALLY

LONG CAREER.

ALMOST 70 YEARS OF WORK.

AND I THINK WHAT PEOPLE WILL SEE

WHEN THEY COME HERE IS AN ARTIST

WHOSE IMAGINATION WAS ALWAYS

CHANGING.

EVERY DECADE IT'S ALMOST LIKE A

NEW ARTIST IS COMING TO THE FORE

IN HIS WORK.

THE SHOW IS ACTUALLY APPEARING

IN TWO CITIES AT THE SAME TIME.

HERE AT THE WHITNEY AND AT THE

PHILADELPHIA MUSEUM OF ART, TO

CELEBRATE HIS 90th BIRTHDAY.

THE MOST COMPREHENSIVE

RETROSPECTIVE EVER DEVOTED TO

JOHNS' CAREER.

THERE'S 500 WORKS BETWEEN THE 2

MUSEUMS AND EVERY MEDIUM IN

WHICH JOHNS MADE ART.

THE EXHIBITION IS CALLED JASPER

JOHNS MIND MIRROR, BECAUSE HE

MADE WORKS THAT PLAY WITH

SYMMETRY AND INTROSPEPGS.

AND THE MIRROR HAS BEEN PART OF

HIS CAREER FROM THE BEGINNING

UNTIL TODAY.

THE THREE FLAGS IS FROM 1958 AND

IT'S ONE OF THE MOST ICONIC

WORKS IN JOHNS' CAREER AND IN

THE WHITNEY COLLECTION.

YOU MOVE TO THE SIDE, YOU CAN

SEE THE WORK HAS A SCULPTURE

QUALITY.

THEY'RE THREE FLAGS THAT GET

PROGRESSIVELY SMALLER AS THEY

INCH OFF OF THE CANVAS.

THREE FLAGS IS MADE OUT OF

MATERIAL CALLED ACCOSTIC.

IT'S WAX AND PIGMENT.

EACH BRUSH STROKE, LIKE CANDLE

WAX, CONGEALS ON THE SURFACE AND

GIVES THE SURFACE A REALLY

DISTINCT APPEAL.

HE NEVER SAID WHY HE PAINTED

FLAGS AND HE SAID HE HAD A DREAM

THAT HE PAINTED ONE.

THESE ARE THE WORKS THAT ARE SO

OPEN TO INTERPRETATION BECAUSE

OF THE FEELING THAT MANY OF US

HAVE ABOUT THIS COUNTRY AND THE

SYMBOL AND THE IDEA IT INSPIRES

IN US.

RACING THOUGHTS IS ONE OF THE

MOST INTERESTING AND IMPORTANT

WORKS OF JOHNS' FROM THE 1980s.

YOU SEE HIS ART OPENING UP TO A

NEW VARIETY OF IMAGERY.

HIS PERSONAL LIFE, HIS FAMILY

HISTORY, THE HISTORY OF ART.

HE'S PAINTING FROM THE POINT OF

VIEW OF AN ARTIST LYING IN HIS

BATHTUB.

YOU SEE FROM THE TOP OF HIS OWN

COLLECTION.

A PORTRAIT OF THE ART DEALER LEO

CASTELLI, WHO WAS HIS GALLERYIST

AND FRIEND.

YOU SEE PANTS FROM A HOOK.

HE MADE TWO VERSIONS OF THE

PAINTING IN COLOR AND IN BLACK

AND WHITE IN OIL.

THIS IS ONE OF THE PLACES IN THE

EXHIBITION, THAT WE REFLECT ON

THE ORGANIZING PRINCIPLE OF THE

RELATIONSHIP BETWEEN THE

EXHIBITION IN PHILADELPHIA AND

IN NEW YORK.

ALTHOUGH JOHNS IS REALLY

WELL-KNOWN FOR HIS PAINTINGS,

HIS DRAWINGS AND PRINTS, HE MADE

IMPORTANT SCULPTURES.

LIKE THE TWO ALE CANS OR THE

SAVRAN CAN.

HE RETURNED TO SCULPT AGAIN IN

THE EARLY 2000s.

HE WAS THINKING OF REMAKING A

WORK FROM THE 1960s, WHICH IS A

RELIEF SHOWING NUMBERS FROM ZERO

TO NINE.

HE WANTED TO CAP THAT WORK IN A

MORE DURABLE MATERIAL.

HE WAS LED TO THINK ABOUT

ALUMINUM, BRONZE, COPPER, SILVER

AND HOW THE DIFFERENT METALS

WOULD FORM THE WAY THE WORK

LOOKED AT THE END, THE WAY THE

LIGHT WOULD BE REFLECTED OFF OF

IT, THE WAY THE CASTING WOULD

SIT ON THE SURFACE.

IT EVEN HAS A FOOTPRINT ON IT.

THAT'S THE FOOTPRINT OF THE

DANCER AND CHOREOGRAPHER, AND HE

WAS A FRIEND TO JOHNS AND THIS

IS AN HOMAGE TO HIM.

ONE OF THE MOST EXCITING THINGS

ABOUT ORGANIZING THIS EXHIBITION

IS THAT THE FINAL CHAPTER OF THE

SHOW WAS WRITING ITSELF AS WE

WERE WORKING ON THE PROJECT.

UNTITLED FROM 2018 IS A PERFECT

EXAMPLE OF THAT.

THIS WORK WAS BEGUN MUCH EARLIER

THAN 2018 AND STOLEN BY A FORMER

ASSISTANT.

WHEN THE WORK WAS RETURNED TO

HIM FROM THE FBI, HE REVISITED

IT, ADDING IN DETAIL LIKE THE

DOLLAR SIGN AND THE REFERENCE TO

THE POLICE BLOTTER.

I LIKE TO THINK OF THIS AS THE

WORK OF A MAN IN HIS LATE 80s,

THINKING ABOUT DEATH, ABOUT

MORTALITY, AND EVEN THOUGH

THERE'S A SENSE OF MORBIDITY TO

IT, THERE'S A SENSE OF HUMOR.

A LITTLE HAT ON THE SKELETON'S

HEAD.

THE SMILE, THE GRIMACE THAT'S

THERE.

YOU GET A SENSE OF AN ARTIST

THAT IS CONFRONTING DEEP TRUTHS

WITH INSPIRATION AND FRESH

IDEAS.

THE IDEA OF THE SHOW WAS TO MAKE

PEOPLE WHO KNEW JOHNS' WORK TO

FEEL LIKE THEY WERE SEEING IT

FOR THE FIRST TIME AND TO

INTRODUCE A NEW GENERATION OF

VIEWERS TO THIS INCREDIBLE BODY

OF WORK.

♪♪♪

>> FOR MORE THAN 60 YEARS, THE

AMERICAN FOLK ARLT MUSEUM HAS

GIVEN CENTER STAGE TO THE WORK

OF SELF-TAUGHT AMERICAN ARTISTS.

CURRENTLY ON VIEW IS AMERICAN

WEATHER VANES, THE ART OF THE

WINDS.

IT EXPLORES THE ARTISTRY OF THE

WEATHER VANE, A PRACTICAL TOOL,

USED TO MEASURE THE DIRECTION OF

THE WIND.

FROM A WOODEN ROOSTER TO A GREEK

GODDESS, POSED AS A DANCER, EACH

WEATHER VANE REVEALS TECHNOLOGY,

ART AND CULTURAL HISTORY.

NYC ARTS VISITED THE LINCOLN

SQUARE LOCATION TO SPEAK WITH

CURATOR EMILY DeVAULT.

>> AMERICAN WEATHER VANES, THE

ART OF THE WINDS, IS AN

EXHIBITION AT THE FOLK ART

MUSEUM.

AND IT BRINGS TOGETHER A GROUP F

AMERICAN WEATHER VANES, THAT

TELLS THE STORY OF THE FOLK ART

FORM FROM THE MID 18th CENTURY

TO THE EARLY 20th CENTURY.

THE ART OF THE WINDS OPENED ON

THE AMERICAN FOLK ART MUSEUM'S

60th ANNIVERSARY.

AND WE'RE EXCITED TO BE ABLE TO

SHARE WITH OUR AUDIENCES AN

EXHIBITION ON THIS THEME, WHICH

HAS BEEN SO IMPORTANT TO THE

HISTORY OF AMERICAN FOLK ART, AS

ONE OF THE FIRST AND REALLY

IMPORTANT FORMS TO EMERGE AS AN

OBJECT OF SPECIAL INTEREST FOR

AMERICAN FOLK ART COLLECTORS AND

ALSO ADDS A REAL OPPORTUNITY TO

SHINE A SPOTLIGHT ON THIS FORM,

WHICH HASN'T HAD A COMPREHENSIVE

TREATMENT IN MANY DECADES.

THE IDEA BEHIND WEATHER VANES IS

THEY ARE FUNCTIONAL BUT IT'S

SAFE TO SAY THEY HAD STRONG

AESTHETICS COMPONENTS TO THEM.

OBJECTS DESIGNED TO ATTRACT

ATTENTION.

AND ON TOP OF A PUBLIC OR

PRIVATE BUILDING MAY SIGNAL

PRIDE, IN SOCIAL IDENTITY.

THE RANGE OF FORMS THEY ADOPT

REALLY SPEAK TO THE DIFFERENT

THEMES.

HORSES AND COWS ON TOP OF BARNS.

AND THE ROOTS ON TOP OF THE

CHURCH.

IN THE EARLY 20th CENTURY,

WEATHER VANES ARE APPRECIATED AS

ART OBJECTS.

THAT'S WHAT WE'RE TRYING TO DO

WITH THIS EXHIBITION AND WHAT

WE'RE TRYING TO DO FOR THE FOLK

ART MUSEUM IN GENERAL.

THERE ARE A COUPLE OF DIFFERENT

WEATHER VANES FORMS THAT EVOLVE

OVER TIME AND ARE BROUGHT TO THE

BRITISH AND DUTCH AMERICAN

COLONIES IN THE 18th CENTURY,

THROUGH IMMIGRANT CRAFTSMEN THAT

BRING THEIR SKILLS AND

TRADITIONAL SKILLS WITH THEM.

ONE OF THEM IS THE BANNER

WEATHER VANE, THAT STARTED IN A

FABRIC FORM, AS A SORT OF FLAG.

IT WOULD TOP A CASTLE TOWER TO

DISPLAY A COAT OF ARMS.

THESE EVOLVED FROM FABRIC INTO

METAL.

THERE'S MANY EXAMPLES IN THE

SHOW, INCLUDING A SPECTACULAR

ONE ON OUR TITLE WALL, WHICH WAS

MADE IN MAINE IN THE MID 19th

CENTURY.

ANOTHER MEDIEVAL EUROPEAN

WEATHER VANE FORM IS THE

ROOSTER, ALSO KNOWN AS THE

WEATHER COCK.

AND THE ROOSTER DEVELOPS AS A

PARTICULAR VANE TO TOP CHURCHES

IN MEDIEVAL EUROPE AROUND THE

8th CENTURY BECAUSE OF THE

BIBLICAL STORY OF PETER'S

DENIAL, DURING THE LAST SUPPER,

JESUS PREDICTS THAT HIS APOSTLE

PETER WILL BETRAY HIM THREE

TIMES BEFORE THE COCK CROWS.

IT'S A GALLERY OF 19th CENTURY

WEATHER VANES THAT EXPAND INTO

THIS EXPLOSION OF DIFFERENT

FORMS.

THE IMAGINATION REALLY TOOK

FLIGHT DURING THE VICTORIAN ERA.

AND THE MAKERS BEGAN MAKING ALL

KINDS OF FANTASTICAL FIGURES,

INCLUDING WITCHES AND DRAGONS.

AND ALSO, PICKING UP THEMES OF

TECHNOLOGICAL INNOVATION, THAT

YOU FIND IN THE FORM OF A

LOCOMOTIVE WEATHER VANE AND A

TOURING CAR WEATHER VANE.

THE EARLIEST AMERICAN WEATHER

VANE TEND TO BE UNIQUE EXAMPLES.

THEY WERE NOT REPLICATED

MULTIPLE TIMES BY THE MAKERS.

THEY WERE ONE-OFF WORKS OF ART.

WOOD WAS A MATERIAL THAT WAS

WIDELY USED IN THE BRITISH

AMERICAN COLONIES.

THERE WERE ARTISANS THAT WERE

FAMILIAR WITH IT.

IN THE MID-19th CENTURY, YOU SEE

COPPER REALLY BECOMING A

MATERIAL OF CHOICE.

COPPER IS HIGHLY MALLEABLE, IT

CAN BE WORKED INTO DETAILED

WORKS OF ARTS THAT YOU SEE.

AND DURING THE TIME OF GROWING

INDUSTRIAL EFFICIENCY, MAKERS

BEGAN TO DEVELOP PRACTICES THAT

ALLOWED THEM TO STEP UP

PRODUCTION.

COLLECTORS HAVE ALWAYS

APPRECIATED IN PARTICULAR THE

HISTORICAL SURFACES OF WEATHER

VANES BECAUSE THEY ARE INTENDED

TO THE OUTDOOR OBJECTS THAT

CHANGE WITH EXPOSURE TO THE WIND

AND THE RAIN.

COPPER WEATHER VANES DEVELOP

THIS BEAUTIFUL, VELVETY OXIDIZED

GREEN.

WHEN THE WEATHER TAKES PLACE,

YOU CAN SEE THE WAY THEY HAVE

THE WONDERFUL LAYERS OF HISTORY

INSCRIBED ON THEIR SURFACES.

THIS LONG ASSOCIATION WITH

HISTORIC MEMORY, WHICH IS REALLY

INTEREST.

THAT SENSE OF THE WEATHER VANE

AS A MEMORY KEEPER, ALIGNS WITH

INSTANCES, IN WHICH WEATHER

VANES BECOME TIME CAPSULES,

WHERE MAKERS OR COLLECTORS HAVE

TUCKED LITTLE NOTES INSIDE.

ONE EXAMPLE IN THE SHOW IS A

BEAUTIFUL WOODEN HEART AND HAND

WEATHER VANE THAT WAS MADE FOR A

TAVERN IN ROXBURY,

MASSACHUSETTS.

AND THE ARTISAN WHO WORKED ON

THE WEATHER VANE, DID THAT, THEY

TUCKED A NOTE INSIDE THAT

DOCUMENTED THEIR MAKING OF THIS

OBJECT.

SOMETHING WE THOUGHT A LOT ABOUT

AS WE WERE PLANNING THIS

EXHIBITION, IS THE WAY THAT

WEATHER VANES CAUSE US TO PAUSE.

IF YOU LOOK UP, YOU MIGHT SEE AN

OBJECT THAT REALLY TAKES YOU BY

SURPRISE.

AND ALLOWS THE VIEWER TO

EXPERIENCE A MOMENT OF BEAUTY

AND UPLIFT.

IT'S A MOMENT OF THE

EXTRAORDINARY, WITHIN THE

ORDINARY.

>>> NEXT ON OUR PROGRAM, WE

VISIT THE NEVELSON CHAPEL.

IT WAS CREATED BY LOUISE

NEVELSON, ONE OF NEW YORK'S

CAREER ARTISTS.

SHE BECAME KNOWN FOR HER

TECHNIQUE OF COLLECTING

DISCARDED FURNITURE AND OTHER

OBJECTS FROM THE STREETS OF

NEW YORK AND THEN REASSEMBLING

THEM INTO LARGE-SCALE ART

INSTALLATIONS.

NEVELSON'S ARTWORK FOR THE CHAP

OFFICIAL THE GOOD SHEPHERD, IS

THE ONLY INSTALLATION OPEN TO

THE PUBLIC.

IT'S A GEM, IN THE CITY GROUP

CENTER IN MIDTOWN MANHATTAN.

THE ENTIRE COMPLEX, INCLUDING

THE CHURCH, WAS DESIGNED BY HUGH

STUNNINGS WITH INTERIORS AND

LEILA AND VINIELLI.

AFTER 40 YEARS, NEVELSON'S

MASTER WORK IS UNDERGOING A

DISCOVERY AS AN OASIS OF PEACE.

>> NEVELSON CONSIDERED THIS

ENVIRONMENT HER OASIS OF

SILENCE.

A PLACE THAT PEOPLE COME DAY IN

AND DAY OUT, TO FIND IN THE

MIDDLE OF THIS INCREDIBLY BUSY

CITY, SOME ELEMENT OF PEACE AND

SILENCE.

>> ONCE YOU'RE INSIDE, YOU'RE

SURROUNDED BY NEVELSON.

AND SHE WAS THE GRANDMOTHER OF

ENVIRONMENTAL ART IN AMERICA.

SHE REALLY BELIEVED THE

IMPORTANCE OF SURROUNDING PEOPLE

WITH ART.

>> NEVELSON WAS ONE OF THE FEW

WOMEN ARTISTS IN THE 1970s WHO

REALIZED PUBLIC ART WITH GREAT

SUCCESS.

>> THE NEVELSON CHAPEL IS THE

ONLY INTACT ENVIRONMENT THAT SHE

EVER MADE.

>> LOUISE NEVELSON WAS BORN IN

UKRAINE IN 1899.

HER FAMILY IMMIGRATED WHEN

LOUISE WAS A LITTLE GIRL.

NEVELSON'S FATHER WAS A WOOD

KUTTNER THE OLD COUNTRY.

AND ONCE THEY CAME TO MAINE, HE

HAD A JUNK YARD.

OF COURSE, THAT INSPIRED MUCH OF

NEVELSON'S WORK.

SHE WOULD USE TOILET SEATS AND

BED STANDS AND CHAIR RAILS AND

EVERYTHING THAT SHE WOULD FIND

ON THE STREETS OF NEW YORK CITY.

TO ME COLLAGES.

THAT WAS HOW SHE WAS WELL-KNOWN.

SHE HAD HER FIRST BREAKTHROUGH

PROJECT IN 1969 AT THE MUSEUM OF

MODERN ART.

LOUISE NEVELSON WAS 60 YEARS

OLD.

IT TOOK HER THAT LONG TO ACHIEVE

PUBLIC RECOGNITION.

>> ST. PETER'S WAS A NEOGOTHIC

LUTHERAN CHURCH.

AND THE CONGREGATION WAS DOWN TO

65 OR 70.

>> 1970s, ST. PETER'S AND

CITIBANK CAME TOGETHER TO START

PLANNING AND BUILD WHAT WAS

CALLED CITIGROUP CENTER.

AT THE HEART OF THAT COMPLEX IS

NEVELSON CHAPEL.

>> THE PASTOR AT THAT TIME IS

RALPH PETERSON.

AT THE POINT THEY WANTED A

DECORATED CHAPEL, AN INTERFAITH

CHAPEL.

HE WAS APPROACHED BY PACE

GALLERY.

AND PACE GALLERY SAID, THERE'S

1% FOR THE ARTS, WHICH MEANS

THERE'S QUITE A LOT OF MONEY

AVAILABLE FOR THE ARTS.

AND HE KNEW NEVELSON'S WORK AND

REPUTATION AND WANTED HER TO DO

IT.

AND PETERSON KNEW HER WORK ALS

AND REALLY LIKED IT.

THE WORKS IN THE CHAPEL ARE NOT

THE KIND OF FOUND OBJECT,

WHETHER IT WAS FURNITURE OR

SOMETHING SHE FOUND ON THE

STREET.

THEY WERE SHAPES MADE TO ORDER

FOR HER.

>> NEVELSON WAS JEWISH BY BIRTH.

THIS ISN'T A SPECIFICALLY

CHRISTIAN HEALING SPACE.

THIS IS A SPIRITUAL SPACE.

>> I WANT YOU TO READ SOME

QUOTES FROM HER.

IT'S SOMETHING ABOUT HOW SHE SAW

HER SPIRITUALITY.

EXTRACTION ALLOWS ME TO

TRANSCEND CHRISTIAN IMAGERY TO

THE ESSENTIAL POINT WHERE ALL

RELIGIONS MEET.

EACH ELEMENT FORMS A HOLE IN

ITSELF.

A DELIBERATE EXPRESSION OF JOY

AND WARMTH.

FOR ME, FOR MY WORK, THIS CHAPEL

IS A STATE OF PURITY AND TRUTH.

I THINK THE FACT THAT THEY ARE

DOING A RESTORATION WOULD BE

SOMETHING THAT NEVELSON WOULD

100% APPROVE OF.

SHE ALWAYS WANTED HER WORK TO

LOOK AS FRESH AS POSSIBLE.

>> THERE'S TWO MAJOR ELEMENTS OF

THE RESTORATION FOR NEVELSON

CHAPEL.

TO DEAL WITH THE ENVIRONMENT.

WE'RE LOOKING AT A DEDICATED

HVAC SYSTEM, TO ENSURE THAT THIS

ENVIRONMENT IS REGULATED FOR

LONG-TERM CARE OF THE WOOD AND

PAINT.

THE SECOND ELEMENT OF THE

RESTORATION IS CLEANING ALMOST

35 YEARS OF RESTORATION

OVERPAINT.

BUT IN THE END, ALL THESE

SCULPTURES WILL BE NEVELSON'S

ORIGINAL PAINT.

>> NEVELSON'S SIGNIFICANT

CONTRIBUTION TO MODERNISM IS

THAT SHE FORMED A UNIQUE

LANGUAGE.

IT WAS SURREALISM,

CONSTRUCTIVISM, PART COLLAGE,

HAD RESIDENTS OF MINIMALISM.

BUT IT WAS REALLY ALL NEVELSON.

>> THE CHAPEL IS NOT AS

WELL-KNOWN AS IT SHOULD BE.

HOPEFULLY WITH THE RESTORATION

GOING ON, MANY MORE PEOPLE WILL

KNOW ABOUT IT.

>> WE WANT TO ENSURE THAT 40,

50, 60 YEARS FROM NOW, PEOPLE

WILL FIND THIS IN, NOT A

PRISTINE CONDITION, OF A LIVING

ENVIRONMENT.

BUT PEOPLE WILL SEE THAT WE HAVE

HONORED IT AND WE'RE PASSING ON

HA HAS BEEN HANDED DOWN TO US.

♪♪♪

>>> I HOPE YOU ENJOYED OUR

PROGRAM TONIGHT.

ON LOCATION AT THE MORGAN

LIBRARY AND MUSEUM.

THANK YOU FOR WATCHING.

SEE YOU 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, ELISE JAFFE AND

JEFFREY BROWN, CHARLES AND

VALERIE DIKER, THE NANCY

SIDEWATER FOUNDATION, THE MILTON

AND SALLY AVERY ARTS FOUNDATION.

ELROY AND TERRY CRUMHOLD

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 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.

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.

>> AND BY --

>> UNIKA VAEV, PROVIDING FABRICS

AND ACOUSTIC PRODUCTS FOR WALL,

CEILING AND FLOOR APPLICATIONS,

AS WELL AS ACOUSTICAL DESIGN

SERVICES.

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