NYC-ARTS

S2021 E531 | FULL EPISODE

NYC-ARTS Full Episode: October 14, 2021

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

AIRED: October 14, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

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

PROFILE OF THE GROUNDBREAKING

MARTHA GRAHAM DANCE COMPANY

FOUNDED BY ONE OF THE MOST

INFLUENTIAL ARTISTS OF THE 20th

CENTURY.

>> GRAHAM'S WORK REQUIRES THE

PERFECT MARRIAGE OF THE PHYSICAL

AND EMOTIONAL.

HER MOVEMENT IS DESIGNED TO

REVEAL THE INNER LANDSCAPE AND

REALLY FINDING THAT BALANCE

BETWEEN THE PHYSICALITY AND THE

EMOTIONAL JOURNEY WITHOUT

BECOMING MELODRAMATIC IS THE

CONSTANT BATTLE.

>> AND A VISIT TO THE MET MUSEUM

FOR A LOOK AT EXHIBITION "EPIC

ABSTRACTION: FROM POLLACK TO

HERRERO".

>> IT'S PAINTERS STROKES, THICK,

THIN, STABLE, STRONG, OTHERS

FLUID, OTHERS WEAK.

>>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY --

THEA PETSCHEK IERVOLINO

FOUNDATION.

THE LEWIS "SONNY" TURNER FUND

FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE NANCY SIDEWATER FOUNDATION.

THE MILTON AND SALLY AVERY ARTS

FOUNDATION.

THE ELROY AND TERRY KRUMHOLZ

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 THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN

PART BY --

>> FIRST REPUBLIC BANK PRESENTS

"FIRST THINGS 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.

LOOKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG

COLLECTOR, FIRST-TIME BUYER, OR

LOOKING TO SELL.

INFORMATION AT

SWANNGALLERIES.COM.

>> AND BY --

>> SINCE 1975, PROVIDING FABRICS

AND DECORATIVE ACO ACOUSTIC PROS

AND CUSTOM ACOUSTICAL DESIGN FOR

RESIDENTIAL AND BUSINESS NEEDS.

INFORMATION ONLINE.

>>> GOOD EVENING AND WELCOME TO

"NYC ARTS," I'M PAULA ZAHN.

TONIGHT WE GO BEHIND THE SCENES

WITH ORIGINALLY DANCE COMPANY,

MARTHA GRAHAM DANCE COMPANY WAS

FOUNDED BY ONE OF THE MOST

INFLUENTIAL ARTISTS OF THE 20th

CENTURY.

MEETING THE CHALLENGES OF THE

ONGOING PANDEMIC, THE COMPANY

HAS BROUGHT MARTHA GRAHAM'S

COMPANY ONLINE TO THE WORLD.

WILL NOW RETURN IN PERSON FOR

LIVE PERFORMANCES AT JOYCE

THEATER OCTOBER 26th THROUGH

OCTOBER 31st.

SEASON WILL FEATURE A WORLD

PREMIERE BY CHOREOGRAPHER ANDREA

MILLER AND WORKS BY ELISA MONTE,

SIR ROBERT COHAN AND PAM

TANOWITZ.

THE WORK IS INSPIRED BY RHYTHM,

SPEED AND SURGE OF LIFE.

PERFORMED TO SOUNDSCAPE BY WILL

EPSTEIN.

PAM TANOWITZ'S IS SET TO TWO

SCORES BY CAROLINE SHAW.

COMBINES STEPS AND PHRASING FROM

LESSER KNOWN WORKS WITH

TANOWITZ'S OWN INCENTIVE

MOVEMENT.

THE SEASON ALSO INCLUDES A

NUMBER OF GRAHAM'S CELEBRATED

MASTERWORKS.

"STEPS IN THE STREET" A POWERFUL

ANTIWAR STATEMENT DRAWN FROM

"CHRONICLE," CREATED IN 1946, A

RESPONSE TO MENACE OF FACISM IN

EUROPE AND WAR.

"APPALACHIAN SPRING," AARON

COPELAND AND NORMAN DELLO JOIO.

A SENSE OF HOPE AS WAR IN EUROPE

COMES TO A CLOSE.

"DIVERSION OF ANGELS" TAKES

THEME FROM MANY ASPECTS OF

LOLOVE,

SET TO MUSIC BY NORMAN DELL

DELLO JOIO, NOW A LOOK BACK AT

THE MARTHA GRAHAM DANCE COMPANY

IN THE STUDIO.

>> I STARTED AS DANCER WITH THE

COMPANY IN 1972, 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.

WHEN SHE DIRECTED US IN HER

ROLES, DIDN'T CROSS HER MIND WE

MIGHT DANCE THE ROLE EXACTLY AS

SHE HAD.

I HAD A DIFFERENT DYNAMIC AND

DIFFERENT PERSONAL AURA AND SHE

EXPECTED ME TO TAP THOSE THINGS,

USE MY OWN UNIQUE QUALITIES AS

POWERFULLY AS POSSIBLE.

>> MY ARTISTIC DIRECTOR JANET

ALBER HAS TAKEN THE APPROACH OF

ALLOWING ME TO FIND MY WAY INTO

A ROLE, CREATE MY INTERPRETATION

WITHIN THE CHOREOGRAPHY AND

STRUCTURE OF COURSE.

I DIDN'T KNOW MARTHA GRAHAM, I

DON'T HAVE THE PRESSURE OF WHAT

THAT PERSONALITY MEANT TO ME,

BUT I CAN WORK FROM THE

PHILOSOPHY AND TEACHINGS AND

TECHNIQUE OF THE WORK.

>> MY JOURNEY IS MARTHA GRAHAM'S

TAKE ON THE OEDIPUS STORY, AND

JOCASTA, HIS WIFE/MOTHER.

ONE OF THE GREATEST EXAMPLES OF

HOW MARTHA UTILIZED TIME ON

STAGE.

DANCE BEGINS WHERE THE PLAY

ENDS.

JOCASTA UNDERSTANDS THE TRUTH

AND IS ABOUT TO ENTER LIFE AND

DANCE TAKES PLACE LIKE LIFE

FLASHING BEFORE HER EYES.

WE TRAVEL BACK IN HER MEMORIES,

SEE HER MEETING OEDIPUS AS YOUNG

MAN, COURTSHIP AND MARRIAGE.

END OF THE BALLET IS RETURN TO

THE ROPE AND SHE ENDS IT ALL.

>> STEPPING INTO JOCASTA AND HER

PSYCHE, WHAT IS SHE THINKING,

THAT IS A DIFFICULT QUESTION.

AS SHE GOES BACK IN TIME AND

RELIVES HER BAD CHOICES, WE

REALIZE THAT SHE'S AN INNOCENT

IN THIS, SHE HASN'T DONE

ANYTHING WILLINGLY, BUT SHE

HASN'T FOLLOWED HER INSTINCTS.

ALL THE NUANCES THAT ONE MUST

PORTRAY FOR THE AUDIENCE AND

ENERGIES THAT THE DANCER MUST

EVOKE TO GET THAT ACROSS, THAT

IS A GREAT DRAMATIC CHALLENGE.

>> JOCASTA I THINK IS PROBABLY

THE MOST COMPLEX ROLE.

SO AS ACTRESS AND DANCER, THE

MANY DIFFERENT FACETS AND

ELEMENTS THAT YOU CAN ADD INTO

THAT ROLE, IT'S ENDLESS,

INFINITE.

>> TRYING TO FIND MY OWN JOCASTA

BECAUSE I CAN NEVER BE LIKE

MARTHA GRAHAM OR ANYBODY IN THE

PAST WHO HAS DONE THAT PIECE.

I ADD A LITTLE BIT OF CULTURAL

BACKGROUND INTO THAT ROLE,

LITTLE BIT ASIAN OR CHINESE OR

JAPANESE KABUKI GESTURE,

EMOTIONAL-WISE, THERE'S A VALUE

IN THE TECHNIQUE TO COMMUNICATE

TO BRING THE STORY TO TALK WITH

YOUR BODY, IT'S THE MOST

CHALLENGING PART FOR THE DANCER.

>> THE ELEMENTS OF THE GRAHAM

TECHNIQUE HAVE REMAINED

CONSTANT, THAT TORSO IS DRIVING

THE MOVEMENT, THE TORSO BEING

THE CENTER OF EMOTION, ALSO

INTIMATE AND DESCRIPTIVE OF THE

EMOTIONAL JOURNEY.

THAT FAMOUS MARTHA GRAHAM

CONTRACTION AND RELEASE IS SO

VISCERAL.

>> THE CONTRACTION, IT'S NOT A

SHAPE, A CONTRACTION IS A LIFT

AND A MOVEMENT IN SPACE.

IT'S A WAY TO MOVE THROUGH

SPACE.

THAT TAKES EXTREME DEPTH OF

MUSCLE CONTROL TO ACCESS AND TO

ACHIEVE.

SO THAT REALLY IS THE MOST

DIFFICULT PART FOR ANY OF US.

WE HAVE TO TRAIN IN IT

CONTINUOUSLY.

>> GRAHAM'S WORK REQUIRES THE

PERFECT MARRIAGE OF THE PHYSICAL

AND THE EMOTIONAL.

HER MOVEMENT IS DESIGNED TO

RER

REVEAL THE INNER LANDSCAPE AS

SHE USED TO SAY AND REALLY

FINDING THAT BALANCE BETWEEN THE

PHYSICALITY AND EMOTIONAL

JOURNEY WITHOUT BECOMING

MELODRAMATIC IS THE CONSTANT

BATTLE.

HER TAKE ON THE STORY OF MEDEA.

>> PEOPLE THINK IT'S EVIL,

VIOLENT AND DARK.

FOR ME IT'S A WOMAN, HUMAN

EMOTION THAT NATURALLY CAME OUT.

IF SOMEBODY HURT YOU, BETRAYED

YOU, EVENTUALLY YOU WANT TO DO

SOMETHING TO THEM.

ANGER AND REVENGE.

I ENJOY A LOT, FOR ME A WAY TO

REALLY RELEASE MYSELF.

SIDE THAT NEVER CAME OUT IN

NORMAL LIFE.

>> "LAMENTATION" IN 1930 OF

COURSE WAS THE SHOT HEARD ROUND

THE WORLD FOR MODERN DANCE.

TO DO SOMETHING THAT WAS SO

STARK, SO MODERNIST, THERE'S NO

DECORATION, NO ESCAPISM, IT

REALLY IS THE THING ITSELF.

>> "LAMENTATION," ONE OF MY

FAVORITE WORKS OF MARTHA, IT'S

FOUR MINUTES, SHORT, AND VERY

HARD.

BECAUSE THE FABRIC IS RESISTANT.

STRETCHING THE FABRIC LIKE

STRETCHING YOUR SKIN, TRYING TO

BREAK THROUGH A CERTAIN PRESSURE

TO RELEASE THE SADNESS.

>> THE LAMENTATION VARIATIONS

STARTED IN 2007, WE ASKED YOUNG

CHOREOGRAPHERS TO CREATE SHORT

WORKS FOR THE COMPANY INSPIRED

BY FILM OF MARTHA DANCING HER

ICONIC SOLO "LAMENTATIONS."

IT'S PART OF LARGER INITIATIVE

FINDING NEW POINTS OF AUDIENCE

ACCESS TO THE GRAHAM WORKS.

>> WITH NEW CHOREOGRAPHERS,

DANCER LEARNS A TREMENDOUS

AMOUNT ABOUT WHO THEY ARE, I

LEARNED ABOUT WHO I AM

CREATIVELY, HELPED ME BRING

VITAL ENERGY TO REPERTORY WORK.

FOR ME "APPALACHIAN SPRING" IS

PERENNIAL FAVORITE.

I WAS ABLE TO PLAY THE

FOLLOWERS, THEN MARTHA GRAHAM'S

ROLE OF THE BRIDE.

PRIVILEGED TO BE COACHED BY

SUBSEQUENT BRIDE TO MARTHA

GRAHAM, THAT'S TRANSMISSION OF

KNOWLEDGE I RECEIVED AND DANCERS

COMING INTO THE WORK AS SHOULD

BE, IT'S CYCLICAL.

>> THERE ARE MANY, MANY

DIFFERENT WAYS TO APPRECIATE

GRAHAM AND TO CONNECT WITH HER

WORK.

WHETHER IT'S THE GREEK MYTHS OR

THE BIBLE, WHETHER IT'S SIMPLY

UNDERSTANDING THAT HER LANGUAGE,

HER DANCE VOLLECABULARY, WAS BO

OUT OF NATURAL HUMAN GESTURE.

IS IT'S VERY PERSONAL AND

INTIMATE EXPERIENCE FOR

AUDIENCES.

THEY RECOGNIZE HUMAN BEINGS ON

THE STAGE.

>>> NEXT, A TOUR OF THE MET

MUSEUM'S COLLECTION OF POST WAR

AND CONTEMPORARY ART.

"E

"EPIC ABSTRACTION" EXPLORES

SCULPTURE AND OTHER WORKS OF

HARD, SEEKS TO BROADEN THE

NARRATIVE OF ABSTRACTION,

BRINGING TOGETHER 50 WORKS OF

THE MET'S COLLECTION.

REPRESENTED HERE ARE SUCH ICONIC

ARTISTS AS JACKSON POLLACK, MARK

ROTHKO, KAGUCHI AND THE CURATOR

OF THE MODERN AND CONTEMPORARY

ART OF THE MET IS OUR GUIDE FOR

THE TOUR RECORDED IN EARLY 2020.

>> WE'RE LOOKING AT JACKSON

POLLACK'S "AUTUMN RHYTHM" FROM

1950.

CAME INTO THE COLLECTION IN

1957, ONE OF THE TREASURES OF

THE MODERN COLLECTION.

POLLACK IS MOST REMEMBERED AS

KEY FIGURE IN AMERICAN ART OF

THE 20th CENTURY FOR LARGE SCALE

SO-CALLED DRIP PAINTINGS WHICH

HE STARTED TO DO IN LATE 1940s

INTO THE EARLY 1950s.

THESE WORKS HAVE A GREAT SENSE

OF IMMEDIACY FOR A RANGE OF

REASONS.

THEY'RE LARGE, RELATIVE TO YOUR

SCALE MAKES YOU FEEL SMALL BY

COMPARISON.

ONE OF THE WAYS POLLACK PLAYED A

KEY ROLE IN CHANGING THE CONCEPT

OF PAINTING, HE MOVED THE CANVAS

FROM THE EASEL TO THE FLOOR AND

BEGAN WORKING WITH COMMON

HOUSEHOLD ENAMEL PAINT.

HE LIKED IT BECAUSE IT WAS

VISCOUS, THE KIND OF PAINT YOU

CAN THROW AND IT CREATES DYNAMIC

DRIPS AND DRIBBLES AND WHIPS OF

PAINT THAT SEEM TO BE CAPTURED

IN SPACE ON THE PICTURE PLANE.

IN THE CASE OF "AUTUMN RHYTHM"

SOME IS THIN, ELEGANT AND

GRATEFUL, OTHER PASSAGES ARE

DENSE AND MORE AGGRESSIVE AND

THICKER.

THERE ARE PASSAGES ALSO OF

IMPASTTO WHERE HE'S USED PARTS

OF THE ENAMEL PAINT THAT HAVE

DRIED, CREATED A SKIN, THREE

DIMENSIONALITY ON THE SURFACE AS

THE PLAAINT REGISTERS AS FLAT.

PEOPLE FIRST ENCOUNTER HIS WORK

IT'S IMPROVISATIONAL, WITHOUT A

PLAN.

BUT AS YOU LOOK AT MULTIPLE

WORKS BY POLLACK, YOU CAN SEE

EACH CANVAS IS DISTINCT AND

DIFFERENT FROM ANOTHER.

IF YOU LOOK CLOSELY TO RIGHT OF

CENTER, TOWARD THE BOTTOM AS WE

SEE IT ON THE WALL, THERE'S A

FLICK OF RED PAINT.

LITTLE DROPLET OF RED PAINT.

ONCE YOU SEE IT, YOU CAN'T UNSEE

IT, SEEMS SO ANOMALOUS.

ONE WONDERFUL THING ABOUT

POLLACK'S TECHNIQUE IS EMBRACE

OF ACCIDENT AND EFFECTS OF

CHANCE.

TITLE "AUTUMN RHYTHM," RHYTHM

TIES TO THE SENSE OF RHYTHM AND

CADENCE THAT'S PART AND PARCEL

OF HIS GESTURAL PAINTING STYLE

AND WHAT I LOVE ABOUT THIS WORK

IS GREAT SENSE OF GROWTH AND

EVOLUTION TIES TO THE CHANGE OF

SEASONS AND EBBS AND FLOWS OF

NATURE IN THE COURSE OF A YEAR.

>> THIS SPECTACULAR SCULPTURE

BEHIND ME TITLED "MRS. M's

PALACE," ONE OF THE GREAT WORKS

BY LUIS NEVILLESON, COMPOSED OF

PIECES DATING BACK TO 1964 BUT

ASSEMBLED AS UNIQUE WORK IN

1977.

IT'S ONE OF HIS GREATEST WORKS,

HASN'T BEEN SEEN IN MET IN MANY

YEARS.

INSTALLING IT HERE TOOK QUITE AN

EFFORT BUT WELL WORTH IT.

WORK ITSELF IS COMPRISED OF

ABOUT 130 INDIVIDUAL SCULPTURAL

COLLAGES, RELIEF COLLAGES THAT

THEN ARE ATTACHED TO A LARGE

BOX.

THE SCULPTURE IS COMPRISED OF

SCRAPS OF DETRITUS SHE COLLECTED

ACROSS THE CITY, CREATING

ABSTRACT IN MANY CASES RELIEF

SCULPTURES WHICH SHE THEN TREATS

PRIMARILY BY PAINTING IN BLACK.

NEVILLESON DESCRIBED HER

MATERIALS AS THE SKIN NEW YORK

HAS SHED AND SHE'S SECCAVENGING

AND MAKING NEW LIFE, ART IN

NEW YORK AND OF NEW YORK.

IN MANY INSTANCES ORIGINAL

SOURCE MATERIAL IS DISCERNIBLE

WITHOUT MUCH EFFORT.

BOXES FROM FILING CABINETS AND

STAIRCASES AND BALUSTRADES WHERE

SHE'S RESURFACED.

AGGRESSIVE IN EFFECT BUT OTHER

PARTS ARE LYRICAL, ELEGANT,

THIN, WHIMSICAL EVEN.

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

OF SOURCES.

ONE HER NICKNAME IN THE

NEIGHBORHOOD WHERE SHE LIVED WAS

MRS. M.

AND PALACE IS EVOCATIVE.

SHE INTENDED THIS WORK TO BE HER

IDEAL HABITAT OR SHRINE TO

HERSELF.

THIS IS NEVILLESON CREATING HER

OWN UNIVERSE, ENVIRONMENT BASED

ENTIRELY ON HER OWN PRACTICE AND

VISION AS ARTIST.

TIED TO HER DESIRE TO LIVE HER

OWN LIFE ON HER OWN TERMS.

>> THE COLORFUL AND ATTRACTIVE

PAINTING BEHIND ME IS "SMASH

STROKES HOPE" FROM 1971 BY JOAN

SCHNEIDER.

SCHNEIDER IS ONE OF THE

CONTEMPORARY ARTISTS FEATURED IN

"EPIC ABSTRACTION: POLLACK TO

HERRERO" BREAKS FROM FROM THE

FORMALISM.

TOUCHSTONE FOR COMPOSITION AND

DESIGN FOR SO MANY ARTISTS,

PAINTERS AND SCULPTORS COMING OF

AGE IN LATE 1960s AND '70s.

THIS IS A PAINTING ON CANVAS BUT

SHE'S USING A WIDE RANGE OF

PAINT -- OIL, ACRYLIC AND SPRAY

ENAMEL.

SHE'S APPLYING PAINT FAIRLY

TRADITIONALLY IN CERTAIN

INSTANCES WITH A SEQUENCE OF

VERY CLEAR BRUSH STROKES, MOST

OF THOSE WITH THE OIL PAINT.

BUT OTHER 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

SUBTRACTIVE MANNER, IN SOME

CASES SCRAPING INTO THICK PAINT

TO MAKE AN ABSENCE OF A STROKE.

PART OF THE APPEAL OF HER

PAINTING IS IT ALMOST EXPANDS

AND BLOWS UP IN SCALE WHAT AN

ARTIST'S PALETTE MIGHT LOOK

LIKE, GLOBS OF PAINT AND SENSE

OF BEING MIXED AND FULL RANGE

PREPARING TO BE USED.

PAINT IN CERTAIN INSTANCES IS

PILED UP, THICK AND COAGULATED,

BUT OTHER INSTANCES SHE'S

EXPERIMENTING WITH THE PAINT

DILUTED AND ALLOWED TO RUN AND

POUR OVER WIDE EXPANSES OF THE

PAINTING.

THE PAINTING SERVES AS INVENTORY

OR CATALOG OF PAINTER'S STROKES,

SOME THICK, SOME THIN, SOME

STABLE, SOME STRONG, OTHERS

FLUID, OTHERS WEAK.

SCHNEIDER WALKS A VERY FINE LINE

BETWEEN EXPERIMENTATION AND

DELIBERATION.

>>> NEXT WEEK ON "NYC ARTS" A

VISIT TO THE AMERICAN FOLK ART

MUSEUM AND EXHIBITION "AMERICAN

WEATHER VANES: THE ART OF THE

WIND," THE ARTISTRY OF THE

POPULAR TOOL.

>> IT'S EXHIBITION THAT BRINGS

TOGETHER NEVER BEFORE ASSEMBLED

GROUP OF REMARKABLE AMERICAN

WEATHER VANES, OBJECTS DESIGNED

TO CAPTURE ATTENTION ON TOP OF

PUBLIC OR PRIVATE BUILDING MAY

SIGNAL PRIDE IN PERSONAL OR

SOCIAL IDENTITY.

>> PROFILE OF A MODERN VIOLIN

MAKER WHO DEMONSTRATES THE D

DELICACY REQUIRED IN CRAFTING

HIGH QUALITY INSTRUMENTS.

>> EVERY VIOLIN I MAKE I HAVE

EXHAUSTIVE RECORDS ON.

IF INSTRUMENT COMES BACK AND I

LIKE IT, I HAVE RECORD OF WHAT I

DID.

>> AND MEET LEWIS MILLER, WHOSE

POP-UP FLORAL ARRANGEMENTS

BRIGHTEN THE CITY'S LANDSCAPE.

>> THEY'RE FOR THE PEOPLE.

I WANT PEOPLE TO INTERACT WITH

THEM, TAKE A PICTURE AND BLOSSOM

HOME.

MORE WE CAN HAVE SOFT MOMENTS OF

BEAUTY AND JOY FOR NO OTHER

REASON, EVEN FOR AN HOUR OR TEN

MINUTES, JOB IS DONE.

>> I HOPE YOU'VE ENJOYED OUR

PROGRAM THIS EVENING, THANKS SO

MUCH FOR WATCHING US, WE HOPE

YOU JOIN US NEXT TIME.

>>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY --

THEA PETSCHEK IERVOLINO

FOUNDATION.

THE LEWIS "SONNY" TURNER FUND

FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE NANCY SIDEWATER FOUNDATION.

THE MILTON AND SALLY AVERY ARTS

FOUNDATION.

THE ELROY AND TERRY KRUMHOLZ

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 THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN

PART BY --

>> FIRST REPUBLIC BANK PRESENTS

"FIRST THINGS 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.

LOOKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG

COLLECTOR, FIRST-TIME BUYER, OR

LOOKING TO SELL.

INFORMATION AT

SWANNGALLERIES.COM.

>> AND BY --

>> UTICA BEV CUSTOM ACOUSTICAL

DESIGN SERVICES FOR COMMERCIAL

AND RESIDENTIAL NEEDS,

INFORMATION ONLINE.

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