NYC-ARTS

S2017 E129 | FULL EPISODE

NYC-ARTS Full Episode: November 2, 2017

A visit to the Brooklyn studio of Samuel Zygmuntowicz, a modern violin-maker, to discover the unique skills involved in creating an outstanding musical instrument. And a look at Stiletta, an all-female a cappella sextet performing as part of MTA’s Music Under New York program.

AIRED: November 02, 2017 | 0:27:47
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON NYC ARTS, A

VISIT TO THE BROOKLYN STUDIO OF

A MODERN VIOLIN MAKER TO

DISCOVER THE UNIQUE SKILLS

INVOLVED IN CREATING AN

OUTSTANDING MUSICAL INSTRUMENT.

>> EVERY VIOLIN I MAKE I KEEP

REALLY EXHAUSTIVE ASPECTS ABOUT

IT.

IF AN INSTRUMENT OF MINE

COULDN'T SCOMES

BACK, I HAVE SOME RECORD OF WHAT

I DID.

>> A LOOK AT SOME OF THE CURRENT

STARTS OF THE MUSIC UNDER NEW

YORK PROGRAM.

>> I WANTED THIS FIERCE, STRONG,

FEMININE GROUP.

THAT'S HOW I CAME UP WITH THE

IDEA FOR STILETTO.

>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY ROSALIND P.

WALTER IN MEMORY OF DINA

MERRILL, KATE W. CASSIDY

FOUNDATION, THEA PETSCHEK

IERVOLINO FOUNDATION, JEAN

DUBINSKI APPLETON ESTATE, JODY

AND JOHN ARNHOLD, ELLEN AND

JAMES S. MARCUS, THE LEWIS

"SONNY" TURNER FUND FOR DANCE,

ELISE JAFFE AND JEFFREY BROWN,

THE MILTON AND SALLY AVERY ARTS

FOUNDATION AND ELROY AND TERRY

KRUMHOLZ 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 THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

>> FLEXIBILITY, COORDINATION,

EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH

MANAGEMENT, IT'S A PRIVILEGE TO

SERVE YOU.

>> AND BY SWAN AUCTION

GALLERIES.

>> SWAN AUCTION GALLERIES, WE

HAVE A DIFFERENT WAY OF LOOKING

AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE

ART SINCE 1941.

WORKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY, WHETHER YOU

ARE A LIFE LONG COLLECTOR, FIRST

TIME BUYER OR LOOKING TO SELL,

INFORMATION AT

SWANGALLERIES.COM.

♪♪

>> GOOD EVENING AND WELCOME TO

NYC ARTS.

TONIGHT, NYC ARTS VISITS THE

BROOKLYN STUDIO OF A MODERN

VIOLIN MAKER TO DISCOVER THE

UNIQUE SKILLS AND DELICATE

PROCESS INVOLVED IN CREATING AN

OUTSTANDING VIOLIN.

REGARDED AS ONE OF THE GREATEST

CONTEMPORARY MAKERS, HE

DISCOVERED HIS CRAFT AS A

TEENAGER AND WENT ON TO STUDY AT

THE VIOLIN MAKING SCHOOL OF

AMERICA IN SALT LAKE CITY.

EVER SINCE THEN, HE HAS SPENT

HIS CAREER CREATING VIOLINS FOR

SOME OF THE WORLD'S MOST

TALENTED MUSICIANS.

THE HISTORY OF THE VIOLIN SPANS

OVER 450 YEARS.

ITS SOUND AND APPEARANCE WERE

INFLUENCED EARLY ON BY THE SCALE

OF NOTABLE VIOLIN MAKERS.

TRADITIONALLY, VIOLIN MAKING IN

EUROPE WAS BASED AROUND VILLAGES

DEVELOPED FOR THE CRAFT.

IN AMERICA, VIOLIN MAKERS ARE

DRAWN INTO THE PRACTICE THROUGH

PERSONAL PASSION AND ARTISTIC

INTEREST.

WHICH HAS LED TO AN AMERICAN

RENAISSANCE OF THE CRAFT THAT

BEGAN IN THE 1970s AND CONTINUES

TODAY.

♪♪

>> I WAS INTERESTED IN SCULPTURE

AND ART FROM AS LITTLE AS I CAN

REMEMBER.

I WAS ALWAYS DOING SCULPTURE.

I THINK I WAS GOOD AT IT.

EVERYONE ASSUMED THAT I WOULD BE

A PROFESSIONAL ARTIST.

WHEN I WAS 13, I READ A BOOK

ABOUT A VIOLIN MAKER.

AND I KIND OF GOT INTERESTED IN

INSTRUMENT MAKING.

IT USES ALL THE ATTRIBUTES OF

ART BUT IT'S FOR PRACTICAL

PURPOSE AND IT HAS A CLEAR

METRIC.

IT EITHER PERFORMS WELL AS A

VIOLIN FOR THE MUSICIAN OR IT

DOESN'T.

IT'S DEPENDENT ON KNOWLEDGE AND

SKILL.

IF SOMEONE COMES TO ME TO HAVE A

VIOLIN MADE, THERE'S KIND OF A

PROCESS WHERE I WANT TO

UNDERSTAND FIRST OF ALL WHY DID

THEY COME TO ME.

PRESUMABLY, THEY HAVE HEARD

INSTRUMENTS OF MINE.

I WANT TO SEE THEIR VIOLIN.

I HAVE TO UNDERSTAND WHAT THEY

WANT.

ARE THEY A SOLOIST, AN

AGGRESSIVE, STRONG PLAYER?

ARE THEY SOMEONE A MORE SUBTLE

PLAYER, MORE SOFTER?

THEN I WILL GO BACK TO MY SHOP

AND IT'S UP TO ME TO DECIDE WHAT

I WILL MAKE FOR THEM THAT WILL

SERVE THEIR NEEDS.

ALL AROUND ME HERE, THERE'S MY

WOOD STOCK OR SOME OF MY WOOD

STOCK.

IT'S KIND OF LIKE A COLLECTION

OF WINE OR SOMETHING.

IT COMES FROM ALL OVER EUROPE.

I'VE BEEN BUYING WOOD FROM THE

BEGINNING OF MY CAN AER ROO.

IT HAS TO SIT FOR A LONG TIME.

THEN I CAN GO THROUGH THAT AND I

PICK WOOD BASED NOT JUST

VISUALLY BUT ON ITS DENSITY, ITS

STIFFNESS.

HOW I THINK IT WILL BEHAVE IN

THIS MODEL.

FIRST, I HAVE TO MAKE THE RIB

STRUCTURE, WHICH IS THE SIDES.

THOSE ARE BEND OUT OF VERY THIN

WOOD AROUND A FORM WHICH I HAVE

DESIGNED.

FROM THE RIBS, FROM THE SIDE I

WILL THEN CREATE THE OUTLINE OF

THE INSTRUMENT.

SAW OUT THE TOP AND THE BACK.

WHILE THE RIBS ARE BENT, THE TOP

AND THE BACK, EVEN THOUGH THEY

HAVE AN ARCH, THAT'S CARVED IN

BECAUSE IT'S A COMPOUND ARCH.

THE ARCHING IS CRITICAL TO THE

TONE COLOR.

PROBABLY THE MOST IMPORTANT PART

OF THE VIOLIN IS THE FRONT, THE

TOP.

THAT'S THE PART THAT VIBRATES

THE MOST.

AND THAT'S MADE OUT OF SPRUCE.

IT'S THE WOOD THAT IS STRONGEST

PER UNIT OF WEIGHT.

WHAT'S CHALLENGING IS WHILE I'M

MAKING IT, I'M RELATING TO IT IN

A VISUAL AND A TACTILE WAY.

WHEN IT'S WORKING AS A VIOLINS,

IT'S GOING TO BE VIBRATING IN A

WAY THAT'S NOT VISIBLE TO THE

EYE BUT THAT'S VERY REAL.

IT'S LIKE A LONG CHESS GAME.

I WON'T KNOW IF I MADE THE RIGHT

CALL UNTIL THE INSTRUMENT HAS

BEEN STRUNG UP AND PLAYED FOR A

WHILE.

IT CROSSES A LINE FROM BEING

SOMETHING THAT YOU JUST MADE

LIKE YOU MAKE A CHEST OF DRAWERS

OR BUILD A HOUSE TO BEING

SOMETHING VIBRATING TO SOMETHING

IN RESPONSE TO HUMAN

INTERACTION.

♪♪

BUT IT'S LIKE IT'S ALIVE.

♪♪

EVERY VIOLIN I MAKE I KEEP

REALLY EXHAUSTIVE RECORDS ON

EVERY ASPECT I CAN.

WOOD CHOICE, MODEL, ARCHING,

THICKNESSES, WEIGHTS, VARNISHES,

DIMENSIONS.

IF AN INSTRUMENT OF MINE COMES

BACK AND I REALLY LIKE IT, I

WANT TO MAKE ANOTHER ONE LIKE

THAT, I HAVE SOME RECORD OF WHAT

I DID.

IF SOMEONE COMES IN AND IT'S

LIKE, IT'S NOT AS OPEN AS IT

SHOULD BE OR IT'S NOT AS

FOCUSED, I CAN LOOK AT MY NOTES

AND I CAN SEE, WELL, I MAY HAVE

BEEN A LITTLE CONSERVATIVE ON

THAT ONE.

I MIGHT HAVE A LITTLE ROOM TO

TAKE A LITTLE WOOD OUT.

OR THAT ONE MIGHT BE A LITTLE

TOO FLEXIBLE.

MAYBE I SHOULD PUT

REINFORCEMENT.

YOU NEVER REALLY UNDERSTAND

SOMETHING UNTIL YOU HAVE TO

EXPLAIN IT TO SOMEBODY ELSE.

SO IF IT PUTS ME ON THE SPOT ALL

THE TIME WHEN I TEACH, MOST OF

THE GREAT SHOTS HISTORICALLY

WERE STUDIOS.

THEY WEREN'T A SINGLE LONE

ARTIST.

PEOPLE WORKING COLLABORATIVELY

WILL ULTIMATELY WORK AT A HIGHER

LEVEL OF DEVELOPMENT THAN A

SINGLE CRAFTS PERSON OR SINGLE

ARTIST.

YOU COULD SAY ON THE ONE HAND,

I'M TRAINING MY COMPETITION.

ON THE OTHER HAND, I FEEL THAT

IT'S A TRIBUTE TO THE SYSTEM

THAT I PRACTICE.

I'M NOT A MAGICIAN.

I BUILD THINGS BASED WITH A

METHOD AND BASED ON SKILL.

IF I CAN CONVEY THAT, IT'S --

YOU COULD SAY IT'S PROOF OF

CONCEPT.

ART IS NEVER EXISTS IN A VACUUM.

ONE OF THE SOURCES OF KNOWLEDGE

THAT GO INTO IT, WHAT ARE THE

QUALITY OF THE PEOPLE THAT ENTER

THE FIELD?

IT'S PULLED FORWARD BY THE

DEMANDS OF THE CLIENTELE OR THE

AUDIENCE.

I'VE HAD WONDERFUL OPPORTUNITIES

WORKING WITH GREAT MUSICIANS.

I GOT CONTACTED BY ISAAC STERN

TO MAKE A COPY.

TO MEET ISAAC STERN FOR ME WAS

LIKE -- IT'S LIKE, I DON'T KNOW,

MEETING THE POPE OR SOMETHING.

HE'S LEGENDARY.

♪♪

WHEN THE INSTRUMENT WAS DONE, I

BROUGHT IT TO MR. STERN.

HE WAS INCREDIBLY GRACIOUS.

♪♪

WHEN MR. STERN PASSED AWAY, THE

TWO INSTRUMENTS THAT I MADE FOR

HIM WERE PART OF HIS ESTATE.

THEY WERE AUCTIONED OFF.

THAT VIOLIN WAS RECENTLY SOLD TO

CHAD HOOVES, WHO IS A WONDERFUL

SOLOIST IN HIS 20s.

I THINK IT'S A FITTING PLACE.

I THINK MR. STERN WOULD BE VERY

PLEASED.

♪♪

IT WAS AN ODD FEELING TO SEE

THAT MY WORK HAS NOW LEFT MY

PURVIEW.

IT HAS NOW ENTERED THE WORLD

WHERE IT LIVES ITS OWN LIFE AND

IT HAS ITS OWN HISTORY.

I FEEL LIKE I HAVE SEEN MY OWN

WORK GO FROM DECENT ALTERNATIVE

TO SOMETHING THAT IS SOUGHT

AFTER AND HAS A PLACE IN THE

HISTORY OF VIOLIN MAKING.

♪♪

>>> MUSIC UNDER NEW YORK IS AN

INTEGRAL PART OF THE MTA'S ARTS

FOR TRANSIT PROGRAM.

IT BEGAN OVER 30 YEARS AGO AS A

WAY TO BRING ART INTO EVERYDAY

LIFE.

EVERY YEAR, THE MTA HOLDS

AUDITIONS IN GRAND CENTRAL

STATION TO CHOOSE THE NEXT BATCH

OF NEW MUSICIANS.

THOSE SELECTED ARE GIVEN ACCESS

TO THE BEST PERFORMANCE

LOCATIONS THROUGHOUT THE SUBWAY

SYSTEM.

WITH OVER 350 GROUPS AND

SOLOISTS COMBINED, YOU NEVER

KNOW WHAT MUSIC WILL GREET YOU

ON YOUR COMMUTE.

TONIGHT, WE WILL INTRODUCE YOU

TO STILETTO, AN AWARD WINNING

ACAPELLA SEXTET.

WITH THEIR UNIQUE MUSICAL

ARRANGEMENT AND THE BEST BEAT

BOXES, THE SINGERS WILL STOP YOU

IN YOUR TRACKS.

♪♪

♪♪

>> WHEN I MOVED TO NEW YORK

CITY, I HAD THIS VISION THAT I

WANTED THIS FIERCE, STRONG,

FEMININE GIRL GROUP THAT

INCORPORATED BOTH ACAPELLA MUSIC

AND CHOREOGRAPHY AND DANCE.

SO THAT'S HOW I CAME UP WITH THE

IDEA FOR STILETTO.

♪♪

I CAME UP WITH THE IDEA OF THE

STILETTO HEEL, WHICH IS

EXTREMELY FEMININE, OBVIOUSLY.

AND ALSO A STILETTO IS A KNIFE.

SO IT'S BOTH FEMININE AND

FIERCE.

♪♪

THERE'S JUST SOME INCREDIBLE ART

AND MUSIC AND CULTURE IN THE

SUBWAY.

AND SOMETHING JUST MADE ME

THINK, YOU KNOW, I'VE GOT THIS

FANTASTIC ACAPELLA GROUP.

I WONDER IF WE COULD DO

SOMETHING LIKE THIS.

I WENT TO THE WEBSITE.

I FOUND THE APPLICATION.

AND I SUBMITTED IT.

WE GOT ACCEPTED TO AUDITION.

THERE'S A PANEL OF 30 JUDGES.

IT WAS WILD.

BUT I DON'T REGRET IT FOR A

SECOND.

I THINK IT'S BEEN THE MOST

AMAZING, REWARDING EXPERIENCE

FOR US.

>> WE PERFORM AT THE TIMES

SQUARE 42nd STREET STATION A

LOT.

YOU GET TOURISTS, COMMUTERS,

CRAZY PEOPLE.

YOU GET EVERYBODY.

IT'S REALLY, REALLY FUN AND IT'S

ALWAYS A TRIP.

PEOPLE WILL STOP AND THEY WILL

STAND AND WATCH OUR ENTIRE SET,

WHICH IS AN HOUR LONG.

OUR MAIN GOAL -- NOT JUST IN THE

MUSIC THAT WE PICK BUT IN JUST

WHO WE ARE AS PEOPLE, IS TO

INSPIRE OUR AUDIENCES AND UPLIFT

WOMEN AND EMPOWER WOMEN.

SO THE SONGS THAT REALLY JUDY

CHOOSES ALL HAVE THAT KIND OF

MESSAGE.

♪♪

>> WE HAVE AN ORIGINAL SONG

CALLED GET PUMPED.

IT'S ABOUT BASICALLY GETTING UP

AND DANCING AND JUST FEELING

GOOD ABOUT YOURSELF AND WEARING

HIGH HEELS.

WHAT MAKES US DIFFERENT MAYBE

FROM OTHER ACAPELLA GROUPS THAT

ARE OUT THERE OF COURSE IS THE

CHOREOGRAPHY WE DO BUT ALSO OUR

ARRANGEMENTS ARE VERY SPECIFIC

TO OUR OWN SOUND.

♪♪

IT'S A HUGE PART OF WHY WE SOUND

THE WAY WE DO.

>> I'M THE BEAT BOXER OF THE

GROUP.

♪♪

>> 2012 WAS THE FIRST TIME I

WENT TO THE WORLD CHAMPIONSHIPS.

FROM THAT POINT, I WAS BEAT

BOXING A COUPLE YEARS.

I ENDED UP PLACING THIRD IN THE

WORLD.

SHORTLY AFTER JUDY FOUND ME AND

I STARTED DOING ACAPELLA AND

THAT WAS MY MAIN FOCUS SINCE

THEN.

>> THANK YOU SO MUCH.

>> MY MAIN JOB IS TO KEEP TEMPO.

>> WITH MOST ACAPELLA GROUPS,

THE BASE AND THE BEAT BOXER,

THEY WORK TOGETHER TO CREATE THE

BEATS.

BECAUSE YOU NEED TO ADD A BASE

FEEL TO A LOT OF THE BEATS TO

SOUND LIKE AN ELECTRONIC SYSTEM.

♪♪

>> MY MAIN JOB IS TO SOUND

COMPLETELY NON-HUMAN.

>> THERE'S A TIME WHEN WE WERE

DOING OUR MUSIC UNDER NEW YORK

GIGS AND PEOPLE ARE LIKE, UNPLUG

THE RADIO OR STUFF LIKE THAT.

THEY THOUGHT WE HAD TRACKS

UNDERNEATH US.

WE NEVER DO.

IT'S ALWAYS ALL SIX OF US DOING

IT.

♪♪

>> IN THE PAST TWO YEARS, SINCE

WE STARTED PERFORMING, WE HAVE

GOTTEN SO MUCH TIGHTER.

SO MANY HOURS AFTER HOURS AFTER

HOURS OF SINGING TOGETHER IN

THAT SUBWAY.

IT'S MADE OUR GROUP REALLY,

REALLY GROW.

♪♪

IT SEEMS LIKE IN THAT MOMENT

WHEN THE SIX OF US ARE FINALLY

TOGETHER, IT'S LIKE, EVEN THOUGH

THERE'S ALL THIS CHAOS AROUND

AND YOU NEVER KNOW WHAT'S GOING

TO HAPPEN AND YOU NEVER KNOW

WHAT YOU ARE GOING TO GET, IT'S

LIKE OUR SENSE OF CALM.

>> BEING IN THE SUBWAY KIND OF

FORCES YOU TO ACKNOWLEDGE WHAT'S

IMMEDIATELY IN FRONT OF YOU.

♪♪

>>> GOOD EVENING.

I'M CHRISTINA HA.

WE'RE AT A MUSEUM ON THE UPPER

EAST SIDE.

THE MUSEUM PRESENTS A WIDE RANGE

OF TRADITIONAL, MODERN AND

CONTEMPORARY WORKS OF ASIAN AND

ASIAN AMERICAN ART.

IT TAKES NEW APPROACHES TO

FAMILIAR MASTERPIECES AND

INTRODUCED UNDER RECOGNIZED ART

FORMS AND ARTISTS.

IT WAS ONE OF THE FIRST IN THE

UNITED STATES TO ESTABLISH AN

ONGOING PROGRAM OF CONTEMPORARY

ASIAN ART EXHIBITIONS.

CURRENTLY ON VIEW IS AFTER

DARKNESS, SOUTHEAST ASIAN ART IN

THE WAKE OF HISTORY.

AN EXHIBITION OF WORKS BY

CONTEMPORARY ARTISTS FROM THREE

SOUTHEAST ASIAN COUNTRIES.

INDONESIA, MYANMAR AND VIETNAM.

THIS TIMELY EXHIBITION TAKES A

LOOK AT ARTISTIC PRACTICE AS A

RESPONSE TO POLITICAL TRAUMA AND

SOCIAL TRANSITION AND INCLUDES

WORKS OF SCULPTURE, PHOTOGRAPHY,

MIXED MEDIA INSTALLATION AND

VIDEO.

THE ECLECTIC WORK OF AN

INDONESIAN ARTIST INCLUDES VIDEO

AND ARTIFACTS FROM PERFORMANCE

ART PIECES HE CREATED IN THE

1990s CHALLENGING THE

PRESIDENT'S AUTOCRATIC REGIME.

IT INCLUDES MORE RECENT WORKS

CRITIQING HIS COUNTRY'S LACK OF

A TRULY DEMOCRATIC SOCIETY

TODAY.

WORKS FROM MYANMAR INCLUDE A

SHOW OF HANDS, COMPRISED OF

PLASTER OF PARIS MOLDS OF

HUNDREDS OF FORMER POLITICAL

PRISONERS' HANDS.

IT'S A RESPONSE TO THE COUNTRY'S

CONTINUING STRUGGLES TO

TRANSITION AWAY FROM

AUTHORITARIAN GOVERNMENT.

OTHER WORKS FOCUS ON THE LEGACY

OF THE VIETNAM WAR WITH WORKS ON

PAPER BY ARTISTS.

ALSO ON VIEW ARE VIDEO AND OTHER

INSTALLATIONS BY EMERGING

ARTISTS IN VIETNAM.

THIS HUT INCLUDES ALTERED

PORTRAITS OF CONTEMPORARY

VIETNAMESE.

FOR ANOTHER LOOK AT THE IMPACT

OF THE VIETNAM WAR, HEAD TO THE

NEW YORK HISTORICAL SOCIETY.

PUBLIC PROGRAMS AND SPECIAL

ACTIVITIES FOR FAMILIES WILL

TAKE PLACE ON VETERANS DAY

WEEKEND WITH FREE MUSEUM

ADMISSION FOR EVERYBODY ON

NOVEMBER 11 AND FOR VETERANS ALL

WEEKEND LONG.

THE EXHIBITION THE VIETNAM WAR

1945 TO 1975 EXAMINES THE HOTLY

DEBATED HISTORY OF THE STRUGGLE

THROUGH PHOTOGRAPHS, ARTWORK,

DOCUMENTS AND OTHER ARTIFACTS.

INTERACTIVE DIGITAL MEDIA BRINGS

HISTORY TO LIFE, COVERING THE

CONFLICT FROM ITS COLD WAR ROOTS

THROUGH THE YEARS THAT SPANNED

MULTIPLE PRESIDENCIES TO THE

LONG JOURNEY OUT OF VIETNAM.

A MONUMENTAL TWO-PART MURAL

CREATED BY AN ARTIST GIVES

PERSPECTIVE ON MULTIPLE EVENTS

FROM 1966 AND 1967.

PIVOTAL YEARS IN THE RISING

ANTI-WAR MOVEMENT IN THE UNITED

STATES.

AND ON THE FRONT LINES OF SOUTH

VIETNAM.

FOR MORE ON THECONTINUES

BROADCASTS

OF THE LANDMARK 18 HOUR

DOCUMENTARY SERIES THE VIETNAM

WAR, TUESDAY NIGHT ON 13 THROUGH

NOVEMBER.

13 PASSPORT MEMBERS CAN STREAM

THE SERIES, INCLUDING VERSIONS

IN SPANISH AND VIETNAMESE

THROUGH THE END OF THE YEAR.

THE NEW YORK FESTIVAL OF SONG

CELEBRATES ITS 30th ANNIVERSARY

AND THE CENTENNIAL OF LEONARD

BERNSTEIN'S BIRTH.

HE WAS A GUIDING SPIRIT OF THE

MISSION TO PRESENT INTIMATE

RARELY HEARD SONGS WITH THE NEW

YORK FESTIVAL OF SONG.

IN THE LATE '80s THEY PREMIERE

ED THE SONGS.

THEY WILL PRESENT IT ON TOUR

THIS SEASON.

THE NEW YORK SEASON BEGINS

NOVEMBER 7, WITH TAKE CARE OF

THIS HOUSE, A BERNSTEIN

CELEBRATION.

THE CONCERT INCLUDES A RARE FORM

ANSWER OF THE SONG FEST, AN

ENSEMBLE WORK BASED ON POEMS BY

GREAT AMERICAN WRITERS FROM

GERTRUDE STEIN TO WALT WITMAN.

IT FEATURES MANY SINGERS.

THE YALE CENTER FOR BRITISH ART

IN CONNECTICUT PRESENTS THE

FIRST MAJOR SURVEY OF BRITISH

STUDIO POTTERY EVER ORGANIZED IN

THE UNITED STATES.

THINGS OF BEAUTY GROWING BRINGS

TOGETHER NEARLY 150 CERAMIC

OBJECTS, INCLUDING VASES, TEA

SETS, BOWLS AND SCULPTURE FROM

THE 1890s TO THE PRESENT.

WORKS RANGE FROM THOSE BY THE

FATHER OF BRITISH STUDIO POTTERY

BERNARD LEACH, TO THE U.S. DEBUT

OF CLAIRE TWOMIE'S INSTALLATION

ENTITLED MADE IN CHINA.

THE EXHIBITION REVEALS THE WIDE

VARIETY OF APPROACHES BRITISH

POTTERS HAVE TAKEN IN COLOR,

TEXTURES AND NON-TRADITION AT

FORM.

THINGS OF BEAUTY GROWING BRITISH

STUDIO POTTERY IS ON DISPLAY

THROUGH DECEMBER 3rd.

FINALLY, COLLECTIONS

CONTEMPORARY BALLET RETURNS TO

THE JOYCE THEATER WITH FOUR NEW

WORKS AND AN INVITATION, LET'S

DANCE.

STARDUST IS A BALLET TRIBUTE TO

DAVID BOWE.

DWIGHT RODEN DEBUTED IT A FEW

MONTHS AFTER BOWE'S DEATH.

IT INCLUDES A NUMBER OF HITS AND

WAS INSPIRED BY THE ROCK STAR'S

UNIQUE PERSONA AND SPIRIT OF

INNOVATION.

COMPLEXIONS CONTEMPORARY BALLET

IS AT THE JOYCE THEATER.

THAT'S THE NYC ARTS NEWS.

FOR MORE INFORMATION ON CULTURAL

EVENTS IN OUR AREA, SIGN UP FOR

A FREE WEEKLY E-MAIL.

TOP FIVE PICKS WILL KEEP YOU UP

TO DATE ALL YEAR ROUND.

I'M CHRISINA HA.

>>> HELLO.

WELCOME TO LINCOLN CENTER.

YOU KNOW, ALL YEAR ROUND NEW

YORKERS AND GUESTS FROM AROUND

THE WORLD VISIT THIS CULTURAL

MECCA FOR ITS THEATERS

OVERFLOWING WITH THE BEST IN

MUSIC, DANCE, OPERA, DRAMA AND

FILM.

LINCOLN CENTER'S 2017 WHITE

LIGHT FESTIVAL WILL RUN THROUGH

NOVEMBER 15th.

WITH MORE THAN 35 EVENTS

PRESENTED IN 13 VENUES

THROUGHOUT THE CITY, THE

MULTIDISCIPLINARY FESTIVAL TAKES

ITS NAME FROM A QUOTATION BY A

COMPOSER.

I COULD COMPARE MY MUSIC TO

WHITE LIGHT, WHICH CONTAINS ALL

COLORS.

A CENTERPIECE OF THE SEASON'S

FESTIVAL, IS AN UNPRECEDENTED

CHORAL CHOIR.

FOR COMPLETE DETAILS VISIT

WHITELIGHTFESTIVAL.ORG.

FOR MORE INFORMATION ABOUT

MUSIC, DANCE, THEATER, OPERA AND

FILM HERE AT LINCOLN CENTER, YOU

CAN VISIT THEIR WEBSITE AT

LINCOLNCENTER.ORG.

>>> I HOPE YOU HAVE ENJOYED OUR

PROGRAM.

GOOD NIGHT AND SEE YOU NEXT

TIME.

>>> NEXT WEEK ON NYC ARTS, A

CONVERSATION WITH SUSAN WEBER,

FOUNDER AND DIRECTOR OF THE BARD

GRADUATE CENTER AND CO-CURATOR

OF THE EXHIBITION JOHN LOCKWOOD

KIPLING, ARTS AND CRAFTS.

>> JOHN LOCKWOOD KIPLING WAS

SUCH A REMARKABLE PERSON AND SO

OVERSHADOWED BY HIS FAMOUS SON

AND FAMOUS WIFE THAT HE DESERVED

A RETROSPECTIVE OF HIS WORK.

>> AND A VISIT TO THE BOUND

PRINT SHOP AT THE SOUTH SEA

MUSEUM.

>> IT'S THE LONGEST RUNNING SHOP

OPERATING UNDER THE SAME NAME IN

THE CITY OF NEW YORK.

THE HISTORY OF BOUND AND COMPANY

STATIONERS BEGINS IN IS 1775 ON

PEARL STREET.

BOUND PRINTED FINANCIAL

DOCUMENTS IN THE VERY BEGINNING.

WALL STREET BEING CLOSE

PROXIMITY.

>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY ROSALIND P.

WALTER IN MEMORY OF DINA

MERRILL, KATE W. CASSIDY

FOUNDATION, THEA PETSCHEK

IERVOLINO FOUNDATION, JEAN

DUBINSKI APPLETON ESTATE, JODY

AND JOHN ARNHOLD, ELLEN AND

JAMES S. MARCUS, THE LEWIS

"SONNY" TURNER FUND FOR DANCE,

ELISE JAFFE AND JEFFREY BROWN,

THE MILTON AND SALLY AVERY ARTS

FOUNDATION AND ELROY AND TERRY

KRUMHOLZ 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 THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

>> FLEXIBILITY, COORDINATION,

EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH

MANAGEMENT, IT'S A PRIVILEGE TO

SERVE YOU.

>> AND BY SWAN AUCTION

GALLERIES.

>> SWAN AUCTION GALLERIES, WE

HAVE A DIFFERENT WAY OF LOOKING

AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE

ART SINCE 1941.

WORKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY, WHETHER YOU

ARE A LIFE LONG COLLECTOR, FIRST

TIME BUYER OR LOOKING TO SELL,

INFORMATION AT

SWANGALLERIES.COM.

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