NYC-ARTS

S2021 E530 | FULL EPISODE

NYC-ARTS Full Episode: October 7, 2021

NYC-Arts visits the Brooklyn Museum for "The Slipstream: Reflection, Resilience and Resistance in the Art of Our Time." This exhibition offers us new ways to reflect on the changes we faced in 2020. Then composer and musician Vijay Iyer talks about his work. Finally, a profile of Iain Forrest, an electric cellist known as Eyeglasses, one of the musicians in the MTA’s Music Under New York program.

AIRED: October 07, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON "NYC-ARTS."

A LOOK AT THE EXHIBITION "THE

S

SLIPSTREAM: REFLECTION,

RESILIENCE IN THE ART OF OUR

TIME" AT THE BROOKLYN MUSEUM.

>> THIS IS AN EXHIBITION OF 50

ARTISTS FROM THE BROOKLYN

MUSEUM'S CONTEMPORARY

COLLECTION.

"SLIPSTREAM" IS A TERM BORROWED

FROM AERONAUTICS.

IT'S THE STREAM THAT FOLLOWS A

MOVING OBJECT.

WE ARE CURRENTLY IN THE

SLIPSTREAM OF 2020, THE LARGE

OBJECT THAT JUST PASSED.

>>> A PROFILE OF VERSATILE JAZZ

PIANIST J.V. IRE.

>> MUSIC IS A POWER WE HAVE AS A

SPECIES.

>>> AND WE'LL MEET IAN FORREST

WHO HAS PERFORMED IN THE SUBWAY

AS PART OF THE MTA'S MUSIC UNDER

NEW YORK PROGRAM.

>> I'LL PLAY A BASS PART, A

HARMONY PART ON THE CELLO, THEN

I CAN LOOP THAT SEGMENT OVER AND

OVER AGAIN.

I'M PLAYING NINE OR TEN

DIFFERENT CELLO PARTS AT THE

SAME TIME.

BLACHG

>>> FUNDING FOR "NYC-ARTS" IS

MADE POSSIBLE BY

THE THEA PETSCHEK

IERVOLINO FOUNDATION, THE

KATE W. CASSIDY FOUNDATION,

JEAN DUBINSKY 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.

SXHL HE WILL 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.

WE RECOGNIZE CLIENTS ARE

INDIVIDUALS WITH UNIQUE NEEDS.

SERVICE IN THE FORM OF PERSONAL

BANKING.

THIS IS 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 OR FIRST TIME BUYER OR

LOOKING TO SELL, INFORMATION AT

SWANNGALLERIES.COM.

>>> AND BY --

>> SINCE 1975, PROVIDING FABRICS

AND DECORATIVE ACOUSTIC PRODUCTS

FOR WALL, CEILING, AND FLOOR

APPLICATIONS AS WELL AS CUSTOM

ACOUSTICAL DESIGN SERVICES FOR

COMMERCIAL AND RESIDENTIAL

NEEDS.

>>> GOOD EVENING, AND WELCOME TO

"NYC-ARTS."

I'M PAULA ZAHN.

WE BEGIN OUR PROGRAM TONIGHT

WITH A LOOK BACK AT THE

TUMULTUOUS YEAR 2020, AS

REFLECTED IN WORKS OF ART ON

VIEW AT THE BROOKLYN MUSEUM.

"THE SLIPSTREAM: REFLECTION,

RESILIENCE, AND RESISTANCE IN

THE ART OF OUR TIME" HIGHLIGHTS

WORKS FROM THE MUSEUM'S

COLLECTION OF GENERATIONS OF

ARTISTS OF COLOR, FROM THE 1960s

TO THE PRESENT DAY.

WHETHER IT'S THE PANDEMIC, CIVIL

UNREST, OR CLIMATE CHANGE, THE

EXHIBITION OFFERS US NEW WAYS TO

REFLECT ON THE CHALLENGES WE

FACED IN 2020 AND MAY EVEN

SUGGEST A WAY FORWARD.

>> WE'RE STANDING HERE IN AN

EXHIBITION ENTITLED "THE

SLIPSTREAM: REFLECTION,

RESILIENCE, AND RESISTANCE IN

THE ART OF OUR TIME."

THIS IS AN EXHIBITION OF 50

ARTISTS FROM THE BROOKLYN

MUSEUM'S CONTEMPORARY

COLLECTION.

"THE SLIPSTREAM" IS ACTUALLY A

TERM BORROWED FROM AERONAUTICS.

IT IS THE TURBULENCE THAT

FOLLOWS A LARGE MOVING OBJECT.

WE ARE CURRENTLY IN THE

SLIPSTREAM, WHICH OFFERS US A

PERSPECTIVE FROM WHICH TO LOOK

AT 2020, THE LARGE OBJECT THAT

JUST PASSED.

KAREN DAVIS' NICOTINE SCULPTURE

SEEMS PARTICULARLY RELEVANT FOR

THIS MOMENT.

I SELECTED IT BECAUSE IT DEPICTS

A HEALTH CARE WORKER, SEEMINGLY

LOST IN HER OWN THOUGHTS,

REGAINING THE STRENGTH TO MAKE

IT THROUGH ANOTHER DAY.

ONE OF THE MOST STRIKING THINGS

ABOUT "NICOTINE" IS THE MATERIAL

OUT OF WHICH IT'S MADE.

IF YOU LOOK CLOSELY, YOU MIGHT

BE ABLE TO SEE THAT THOSE

SHREDDED PIECES OF PAPER ARE

MEDICAL BILLS AND SUGGEST THE

ENORMOUS EXPENSE THAT'S OFTEN

INVOLVED IN HOSPITALIZATION.

YOU CAN ALSO TELL THAT DAVIS WAS

INTERESTED IN EGYPTIAN ART.

THERE'S A CERTAIN MUMMIFIED LOOK

WHICH EVOKES THIS LONG TRADITION

OF DEATH BUT ALSO PERHAPS OF

ETERNAL LIFE.

THERE'S A MURAL BELOW HER FEET.

SO AS WE STAND THERE LOOKING AT

THE SCULPTURE, WE SEE OURSELVES

REFLECTED.

WE'RE IMPLICATED OR INCLUDED IN

PART OF THIS SCENE.

OFTENTIMES, EQUESTRIAN STATUES

ARE MADE OUT OF BRONZE OR MARBLE

BUT "THE COMMONS" IS MADE OUT OF

CORK.

IT'S ESSENTIALLY A GIGANTIC

BULLETIN BOARD WHERE VISITORS

ARE INVITED TO LEAVE SOMETHING,

A MESSAGE, AN OBJECT, FOR OTHERS

TO SEE OR INTERACT WITH.

MONUMENTS ARE A VERY HEATED

TOPIC AT THIS POINT BECAUSE IT

HAS TO DO WITH WHO HAS POWER AND

WHO THEN IS POWERLESS.

SO ONE OF THE THINGS THAT PAUL

RAMIREZ JONAS' "THE COMMONS" HAS

DONE IS ADVOCATE FOR DETHRONING

IMPERIAL POWER AND GIVING IT TO

THE PEOPLE, WHICH I THINK MANY

PEOPLE AFTER THE PAST YEAR ARE

THINKING ABOUT.

HUGH LOCKE IS A LONDON-BORN

ARTIST WHO GREW UP IN GUYANA.

IF YOU'VE EVER LOOKED AT BRITISH

CURRENCY OR POSTAGE STAMPS, YOU

MIGHT RECOGNIZE THE ICONIC

PROFILE OF QUEEN ELIZABETH II.

HE HAS RECREATED THAT ICON OUT

OF KITSCHY, INEXPENSIVE OBJECTS

LIKE SWORDS, DOLL HEADS, AND

BEADS, PRODUCTS THAT ARE CREATED

GR

GLOBALLY, A KIND OF CONTEMPORARY

VERSION OF THE BRITISH EMPIRE.

THE TITLE OF THE WORK IS THE

NAME OF THE LARGEST DIAMOND IN

THE WORLD.

AT THE END OF THE 19th CENTURY

IT BECAME A PART OF THE BRITISH

COLLECTION OF JEWELS,

SYMBOLIZING THE POWER OF THE

BRITISH EMPIRE AT THE TIME.

HE'S LOOKING AT THE COLONIAL

RELATIONSHIP BETWEEN GREAT

BRITAIN AND THE REST OF THE

WORLD.

ONE OF THE MOST STRIKING PIECES

IS MEL CHIN'S PROJECT.

WHEN YOU LOOK AT THE PIECE,

YOU'LL SEE A VERY LARGE VITRINE

WHICH CONTAINS 7,500 BUNDLES OF

WHAT APPEAR TO BE HUNDRED DOLLAR

BILLS.

THEY WERE MADE BY CHILDREN

AROUND THE COUNTRY.

WHILE YOU'RE CUSTOMIZING YOUR

BILL, YOU ALSO LEARN ABOUT THE

PROBLEM OF LEAD POLLUTION.

HE STARTED THIS PROJECT TO

ENCOURAGE CONGRESS TO FUND A

BILL FOR REMEDIATION.

HE MADE A CASE TO HOUSE OF

BILLS, MAKING IT LOOK LIKE AN

OFFICIAL GOVERNMENT PIECE OF

FURNITURE, SO TO SPEAK.

HE ALSO CREATED A LARGE PLAQUE

TO PUT BEHIND IT MADE OUT OF

STYROFOAM, WHICH IS FLANKED BY

STANCHIONS.

HE BALANCES HIS INTEREST IN

ACTIVIST ART WITH HIS INTEREST

IN CRAFT AND MAKING THINGS BY

HAND.

THERE ARE SO MANY THINGS THAT

VISITORS CAN COME AWAY WITH

AFTER SEEING "THE SLIPSTREAM."

CERTAINLY YOU CAN SEE THE WIDE

RANGE OF CONTEMPORARY PRACTICE.

YOU CAN ALSO SEE HOW ENGAGED

ARTISTS ARE WITH THE WORLD

AROUND THEM, PROVIDING A KIND OF

REFUGE TO THINK ABOUT AND

REFLECT UPON OURSELVES AND OUR

PLACE IN THE WORLD AND WHAT THE

WORLD CAN BECOME.

>>> COMPOSER, PIANIST, AND

MacARTHUR FELLOW VJ IRE IS AN

ECLECTIC AND MASTERFUL MUSICIAN.

RESPECTED AS ONE OF THE FOREMOST

JAZZ PIANISTS OF HIS

GENERATIONS, HE'S EQUALLY AT

HOME COMPOSING FOR STRING

ACQ

QUARTETS AND ELECTRONIC MEDIA.

HE BRINGS A SPIRIT OF INVENTION

AND COLLABORATION TO ALL HIS

PIECES.

WE SPOKE TO HIM IN ONE OF THE

HIS FAVORITE PLACES, THE MUSICAL

INSTRUMENT GALLERY AT THE MET.

>> MY NAME IS V.J. IRE.

I LIVE IN NEW YORK CITY.

I MAKE MUSIC.

THIS SPACE HAS A NUMBER OF

ANCESTORS OF MY INSTRUMENT OF

CHOICE.

SO IT'S GOOD TO GET TO KNOW THEM

A LITTLE.

>> I ALSO PLAYED VIOLIN FOR A

LONG TIME, AND THE STRING

INSTRUMENTS ARE REALLY

INTERESTING.

I'M INTERESTED IN INSTRUMENTS

FROM OTHER PARTS OF THE WORLD.

MY HERITAGE IS FROM INDIA.

SO LOOKING AT ALL THESE

INSTRUMENTS FROM DIFFERENT PARTS

OF ASIA AND AFRICA TOO HAS BEEN

REALLY INSPIRING FOR ME.

MY PRIMARY WAY OF PLAYING THE

PIANO IS BY IMPROVISING.

>> I WAS PARTLY SELF-TAUGHT IN

THAT SENTENCE.

BUT MY MAIN ROLE MODELS FOR HOW

DO THAT WERE PEOPLE LIKE

THELONIOUS MONK, DUKE ELLINGTON,

BUD POWELL, HERBY HANCOCK.

THEY ALL COME FROM THE

AFRICAN-AMERICAN COMMUNITY.

THEY MADE MUSIC DEFIANTLY,

AGAINST ALL ODDS.

THEY'RE BRILLIANT INNOVATORS.

IMPROVISATION IS SOMETHING WE

ALL DO, ALL THE TIME.

THAT'S THE WAY YOU WALK DOWN THE

STREET OR DRIVE A CAR OR

CONVERSE WITH PEOPLE.

ANOTHER EXAMPLE IS IF YOU GO OUT

DANCING.

NOBODY TOLD YOU EXACTLY WHAT TO

DO OR WHOM TO DO IT WITH.

SO IT'S VERY NORMAL, THE

EXPERIENCE OF IMPROVISING.

AND SO I GUESS NO ONE EVER TOLD

ME NOT TO.

SO THAT'S WHAT I DO.

IMPROVISING WITH RULES IS ALSO

SOMETHING I'M VERY FAMILIAR

WITH.

THERE ARE A LOT OF EXAMPLES FROM

EVERYDAY LIFE.

YOU CAN IMAGINE LIKE BASKETBALL.

BASICALLY BASKETBALL IS AN

EXTREMELY REGULATED SITUATION

WITH AN UNFORESEEN OUTCOME.

THAT'S KIND OF WHAT WE DO WHEN

WE PLAY TOGETHER.

IT'S NOT THAT DIFFERENT.

WE HAVE SOME IDEAS OF HOW IT

COULD GO.

BUT WE ALSO TRY TO OPEN

OURSELVES TO WHAT'S HAPPENING

RIGHT NOW AND RESPOND TO EACH

OTHER.

AND THAT'S INFINITE, THAT

PROCESS.

THERE'S NOTHING -- THERE'S NO

LIMIT TO IT.

>> WHAT I'VE FOUND IS THAT JUST

MAKING SOMETHING WITH SOMEBODY

ELSE BRINGS OUT SOME VERSION OF

YOU THAT YOU MIGHT NOT HAVE

ACCESS TO OTHERWISE.

SO IT'S A TRANSFORMATIVE PROCESS

WHERE WE KIND OF BECOME

SOMETHING.

AND NOT JUST DO THAT, BUT

THROUGH THAT PROCESS, BUILD

SOMETHING.

AND THAT TAKES PATIENCE.

THAT TAKES A LOT OF ATTENTION.

EVEN WHEN THERE'S REPERTOIRE

INVOLVED LIKE WHEN WE'RE PLAYING

MY COMPOSITIONS OR SOMEONE

ELSE'S, OR PLAYING AN RAGA OR

PLAYING SOME KIND OF GROOVE,

SOMETHING, IT'S STILL ABOUT WHAT

YOU DO NOW.

PEOPLE OFTEN ASK AFTER WE

PERFORM, WHAT PERCENTAGE OF THAT

WAS IMPROVISED?

I THINK I UNDERSTAND THE IMPULSE

TO ASK THAT QUESTION.

THE PERSON WHO WAS OBSERVING

WANTS TO KNOW IF I WAS MAKING

CHOICES THAT SHE WAS

EXPERIENCING.

SO IT'S KIND OF ABOUT

COMPASSION.

IT'S ABOUT EMPATHY.

IT'S ABOUT, TO AN EXTENT WE WERE

THERE TOGETHER.

YOU KNOW, MUSIC CREATES

COMMUNITY.

IT'S A POWER THAT WE HAVE AS A

SPECIES TO DO THAT.

SO THAT'S WHAT I'M TRYING TO DO.

>>> IN THE 1980s, THE MTA WAS ON

THE BRINK OF COLLAPSE.

IN ORDER TO REVIVE THE SYSTEM,

THEY FOUNDED THE ARTS FOR

TRANSIT PROGRAM.

AS PART OF THAT INITIATIVE,

MUSIC UNDER NEW YORK WAS

LAUNCHED IN 1985.

THERE ARE CURRENTLY MORE THAN

350 MUSICIANS AND GROUPS ON

THEIR ROSTER WHO WERE GIVEN

PRIORITY ACCESS TO THE BEST

PERFORMANCE LOCATIONS THROUGHOUT

THE TRANSIT SYSTEM.

ALTHOUGH PERFORMANCES HAD BEEN

SUSPENDED DUE TO THE PANDEMIC,

THE PROGRAM RESTARTED LAST JUNE.

WE WOULD LIKE TO INTRODUCE YOU

TO ONE OF THE PROGRAM'S MOST

POPULAR MUSICIANS, IAN FORREST,

KNOWN AS "EYEGLASSES," IS A

MEDICAL STUDENT AT MT. SINAI.

A CLASSICALLY TRAINED CHELLIST,

HE'S PERFORMED FOR BOTH PATIENTS

IN THE HOSPITAL AND COMMUTERS IN

THE SUBWAY.

HIS SOUND IS INSTANTLY

RECOGNIZABLE THANKS TO THE USE

OF AN ELECTRIC CELLO AND HIS OWN

UNIQUE REMIXES OF CONTEMPORARY

POP MUSIC.

>> I STARTED CELLO IN FOURTH

GRADE.

WHEN OUR MUSIC TEACHER CAME

AROUND WITH CART OF INSTRUMENTS.

I PICKED UP THE CELLO AND PLAYED

THE FIRST NOTE, A LOW, RESONANT

NOTE.

I LOVED THE SOUND OF IT, THAT

BASS NOTE.

AFTER HIGH SCHOOL ME AND A

FRIEND WENT TO THE STREETS OF

WASHINGTON, D.C. AND STARTED

PLAYING CONTEMPORARY SONGS.

I REMEMBER THE REACTION OF

PEOPLE WALKING ON THE STREETS.

IT STRUCK ME, HEY, THIS COULD BE

REALLY SOMETHING SPECIAL HERE.

AFTER COLLEGE, I MOVED UP HERE

TO NEW YORK CITY AREA FOR

MEDICAL SCHOOL AT MT. SINAI.

AND ONE OF THE THINGS THAT DREW

ME TO NEW YORK CITY WAS

OBVIOUSLY THE CULTURE THAT WE

HAVE WITH THE ARTS.

AS SOON AS I CAME HERE, I SAW

STREET MUSICIAN AFTER STREET

MUSICIAN.

AND I IMMEDIATELY THOUGHT, THIS

COULD BE MY NEXT HOME.

THAT'S WHEN I LOOKED UP MUSIC

UNDER NEW YORK AND FOUND THEY

HAD A WHOLE AUDITION PROCESS.

SENT THEM AN APPLICATION, DID

THE AUDITION.

THANKFULLY, EVERYTHING WORKED

OUT.

AND NOW I CAN CALL MYSELF A

STREET MUSICIAN IN NEW YORK

CITY.

AND THE REASON WHY IT SHOWS

EYEGLASSES IS BECAUSE IT'S TWO

REASONS.

I WANT TO BE AN OPHTHALMOLOGIST,

I WANT TO HELP PEOPLE SEE

BETTER, SPECIFICALLY KIDS WHO

LOST THEIR VISION AT A YOUNG

AGE.

THE SECOND REASON WHICH IS A BIT

MORE LIGHTHEARTED IS THAT

BEETHOVEN WROTE A PIECE CALLED

"EYEGLASSES DO IT."

WHEN MUSICIANS SAT DOWN AND RED

THE SHEET MUSIC IN FRONT OF

THEM, THERE WERE SO MANY NOTES

ON IT, SUCH A TRICKY PIECE TO

PLAY, THE ONLY WAY MUSICIANS

COULD READ THE MUSIC IS IF THEY

WORE REALLY STRONG GLASSES.

I LOVED THAT STORY, I TOOK

INSPIRATION FROM IT.

SO I PLAY THE ELECTRONIC CELLO.

IT'S MADE BY YAMAHA.

IT'S THE EXACT SAME FOUR STRINGS

AS AN ACOUSTIC CELLO.

THE ONLY DIFFERENCE IS THEY

STUCK A LITTLE PICKUP INSIDE THE

ELECTRIC CELLO SO IT CAN BE

AMPLIFIED, SO IT'S LOUDER.

WHAT I LOVE TO DO IS ALSO USE A

LOOPER.

ESSENTIALLY I'LL PLAY A BASS

PART, PERCUSSION PART, A HARMONY

PART ON THE CELLO.

THEN I CAN LOOP THAT SEGMENT

OVER AND OVER AGAIN.

SO ESSENTIALLY IT COMES DOWN TO,

I'M PLAYING NINE OR TEN

DIFFERENT CELLO PARTS AT THE

SAME TIME.

SO IT JUST OPENS UP A LOT OF

DOORS AS TO WHAT I CAN DO

MUSICALLY.

>> I'VE HAD PEOPLE COME DOWN,

THEY COME OFF THE SUBWAY, THEY

COME TO ME, LIKE, WHERE'S THE

ORCHESTRA?

IT'S JUST ME, ONE ELECTRIC

CELLIST.

UNFORTUNATELY THERE'S NOT MUCH

SHEET MUSIC OUT THERE FOR LIKE

NINE CELLOS TO PLAY LIKE POP

SONGS OR ROCK SONGS.

SO OFTENTIMES I'LL JUST HEAR A

SONG ON THE RADIO OR ON SPOTIFY.

ONCE I'VE LISTENED TO IT A

COUPLE OF MONTHS, I KIND OF

EXTRAPOLATE IT OUT AND CREATE A

CELLO RENDITION OF IT.

AMONGST ALL THAT KIND OF CHAOTIC

ENERGY, WITH PEOPLE BUSTLING AND

CROWDS MOVING, I THINK THE BEST

PART OF THAT IS SEEING HOW THE

MUSIC IMPACTS THESE PEOPLE WHO

EITHER HAVE THEIR HEADPHONES ON,

JUST WATCHING THEIR PHONE,

TRYING TO GET FROM POINT A TO

POINT B AS QUICKLY AS POSSIBLE,

AND THEN JUST SEEING THEM STOP,

Z

ENJOY THE MOMENT FOR WHAT IT IS.

IN MEDICINE AND MUSIC, YOU

REALLY HAVE TO CONNECT WITH THE

HUMAN BEING SITTING IN FRONT OF

YOU.

HELPING TO UPLIFT THEM WITH

MUSIC, I FIND IT ACTUALLY MAKES

ME A BETTER MEDICAL STUDENT AND

HOPEFULLY A BETTER DOCTOR DOWN

THE ROAD TOO.

[ APPLAUSE ]

>> THANK YOU, GUYS.

THANK YOU SO MUCH.

>>> WELCOME TO THE AMERICAN FOLK

ART MUSEUM.

MY NAME IS OLIVIA RUSSO.

I'M CREATOR FOR THE 20th AND

21st CENTURY ART FOR THE MUSEUM.

HE WAS BORN IN THE BRONX IN

1914.

HIS PARENTS WERE ITALIAN

IMMIGRANTS.

HIS WORKS REFLECT SOCIAL REALITY

AND ARE CARRYING MESSAGES OF

HOPE, OF LIBERTY, AND THE RIGHTS

OF WORKERS.

HE WAS A UNION ORGANIZER AND

STARTED TO PAINT IN THE

MID-'40s.

EARLY ON, HE HELPED HIS FATHER

DELIVER ICE.

THE ORGANIZATION OF HIS LARGE

SCALE CANVASES WITH A LOT OF

HORIZONTAL LINES AND STACKING OF

SUBJECTS AND ARCHITECTURE

REFERRED TO HIS EXPERIENCE

WORKING WITH HIS FATHER, WHERE

HE WAS PLACING AND REPLACING ICE

CUBES IN THE REFRIGERATORS.

SUBWAY RIDERS WAS MADE FROM

SKETCHES HE MADE IN THE SUBWAYS

ON HIS RIDE BACK FROM WORK.

HE SAID, I RIDE THE SUBWAY EVERY

DAY, BACK AND FORTH, TO MY JOB.

I RIDE AND RIDE AND SKETCH AND

SKETCH.

I LOVE THE SUBWAY.

IT PULLS THE CITY TOGETHER,

PULLS PEOPLE TOGETHER IN A MAGIC

WAY.

THE SUBWAY RIDERS AT NIGHT AFTER

A HARD DAY'S WORK.

EVERYONE IS SEPARATE, ALONE, BUT

VERY MUCH TOGETHER.

IT'S NOISY, WITH THE CREEKS AND

SQUEALS, BUT PEACEFUL TOO

BECAUSE WE MOVE TO A RHYTHM THAT

GETS INSIDE US.

THAT'S COMFORTING.

THAT'S THE NOISE OF THE CITY

ITSELF, THE SUBWAY MAKES THE

CITY WORK, MAKES THE CITY GREAT.

THIS PAINTING IS A LARGE SCALE

PAINTING, AS MANY OF THE

CANVASES ARE.

SOME OF THEM ARE AS WIDE AS TEN

FEET.

HE SAID SPECIFICALLY THAT THOSE

PAINTINGS WERE MEANT TO BE SEEN

BY A LOT OF PEOPLE AT THE SAME

TIME.

SO IT'S ONE OF THE REASONS WHY

HE WANTED TO HAVE THEM LARGE AND

ALSO FULL OF DETAILS.

YOU CAN LEARN SOMETHING ABOUT

THE PERSONAL LIFE OF EACH OF

THOSE SUBJECTS.

HIS PAINTINGS WERE CARRYING TWO

MESSAGES.

I THINK THE MAIN MESSAGE WAS

THAT HE WAS THERE TO FIGHT FOR

THE LABORERS' RIGHT.

ALSO I THINK IT'S A CELEBRATION

OF NEW YORKERS.

>>> NEXT WEEK 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 THE EMOTIONAL.

HER MOVEMENT IS DESIGNED TO

REVEAL THE INNER LANDSCAPE AND

REALLY FINDING THAT BALANCE

BETWEEN THE PHYSICALITY AND THE

EMOTIONAL JOURNEY WITHOUT

BECOMINGBECOME

ING MELODRAMATIC.

>> AND A LOOK ATT SOME STABLE,

SOME STRONG, OTHERS FLUID,

OTHERS WEAK.

>>> I HOPE YOU'VE ENJOYED OUR

PROGRAM THIS EVENING.

I'M PAULA ZAHN.

THANKS SO MUCH FOR WATCHING US

AND WE HOPE YOU JOIN US NEXT

TIME.

>>> FUNDING FOR "NYC-ARTS" IS

MADE POSSIBLE BY

THEA PETSCEHK

IERVOLINO FOUNDATION, THE

KATE W. CASSIDY FOUNDATION,

JEAN DUBINSKY 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.

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

PARTLY 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.

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 OR FIRST TIME BUYER OR

LOOKING TO SELL, INFORMATION AT

SWANNGALLERIES.COM.

ING.

>> AND BY --

>> SINCE 1975, PROVIDING

FABRICS, DECORATIVE ACOUSTIC

PRODUCTS FOR WALL, CEILING, AND

FLOOR APPLICATIONS AS WELL AS

CUSTOM ACOUSTICAL DESIGN

SERVICES FOR COMMERCIAL AND

RESIDENTIAL NEEDS.

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