NYC-ARTS

S2021 E528 | FULL EPISODE

NYC-ARTS Full Episode: September 23, 2021

NYC-Arts visits the Museum of Modern Art's exhibition, "Automania," which takes its name from a 1963 Oscar-nominated animated film called "Automania 2000." Then a visit to the New York Botanical Garden for "KUSAMA: Cosmic Nature." The campus-wide installation features the work of contemporary Japanese artist Yayoi Kusama. Finally a look at one of the treasures of the American Folk Art Museum.

AIRED: September 23, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

♪♪♪

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

TRIP TO MOMA AND AUTOMANIA.

AN EXHIBITION OF SOME OF THE

MOST INNOVATIVE CARS OF THE 20th

CENTURY.

>> THE JAGUAR FROM 1963 IS OFTEN

WHAT HOOKS PEOPLE WHEN THEY COME

INTO THIS GALLERY.

IT'S A CONVERTIBLE, ITS

INCREDIBLE DEEP PURPLE COLOR AND

AN UNDENIABLY SEXY CAR.

ONE THING THAT SETS JAGUAR APART

IS COMPARATIVELY SPEAKING, IT

WAS MUCH MORE AFFORDABLE THAN A

COMPARABLE CAR FROM PORSCHE OR

MASERATI.

STILL AN EXPENSIVE CAR.

IT WAS DEFINITELY NOT CHEAP.

BUT IT WAS ONE THAT CAPTURED THE

IMAGINATION OF PARTICULARLY THE

AMERICAN PUBLIC AND THE PUBLIC

IN THE UK.

>> A VISIT TO THE NEW YORK

BOTANICAL GARDEN FOR COSMIC

NATURE.

AN INSTALLATION THAT REVEALS THE

ARTIST'S LIFELONG ENGAGEMENT

WITH THE NATURAL WORLD.

>> KASAMA HAS PRESENTED HER WORK

IN BOTANICAL GARDENS BUT NOT TO

THIS SCALE.

THE ARTWORK ACTUALLY ENHANCES

THE NATURAL ENVIRONMENT AND VICE

VERSA.

>> AND A LOOK AT ONE OF THE

TREASURES IN THE COLLECTION OF

THE AMERICAN FOLK ART MUSEUM.

>> THE CENTER OF THE QUILT IS

EMBLAZENED WITH A LARGE LETTER

"L."

ALSO INCLUDED IS A MUSICAL STAFF

AND NOTES.

WHEN CLARA AND HER FAMILY MADE

THE JOURNEY BY COVERED WAGON,

INCLUDED WAS HER BE AN KNOW.

>>> 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

ELISE JAFFE AND JEFFREY BROWN,

CHARLES AND VALERIE DIKER, THE

NANCY SIDEWATER FOUNDATION,

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 13.

"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, 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 --

>> 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.

INFORMATION AT UNICAVEV.COM.

♪♪♪

>>> GOOD EVENING, AND WELCOME TO

"NYC ARTS."

I'M PAULA ZAHN.

ON TONIGHT'S PROGRAM WE'LL LOOK

AT SOME LARGE-SCALE WORKS OF ART

THAT YOU WON'T TYPICALLY FIND IN

A MUSEUM.

CARS.

NOT JUST ANY CARS, BUT SOME OF

THE MOST INFLUENTIAL AND

INNOVATIVE MOTOR VEHICLES OF THE

20th CENTURY.

THAT'S THE HOOK FOR MOMA'S NEW

EXHIBITION, AUTOMANIA.

THE SHOW TAKES ITS NAME FROM

AUTOMANIA 2000, AN

OSCAR-NOMINATED ANIMATED FILM

FROM 1963.

THE FILM SETS THE TONE FOR THE

EXHIBITION, AS NOT SIMPLY A LOVE

LETTER TO THESE ROLLING

SCULPTURES, BUT AS AN

EXPLORATION OF HOW THE CAR HAS

SHAPED OUR SOCIETY FOR BETTER OR

WORSE.

DON'T WAIT TOO LONG TO VISIT,

ALTHOUGH YOU CAN ENJOY THE

EXHIBITION INTO THE NEW YEAR,

THIS SELECTION OF CARS IN MOMA'S

SCULPTURE GARDEN WILL ONLY BE ON

VIEW THROUGH OCTOBER 10th.

>> WHAT MAKES AN AUTOMOBILE A

WORK OF ART?

THIS IS A QUESTION THAT WAS

POSED IN 1951, AND THE FIRST CAR

EXHIBITION AT AN ART MUSEUM

WHICH WAS HERE AT MOMA, AN

EXHIBITION CALLED EIGHT

AUTOMOBILES, WHICH LOOKED AS

CARS AS ESSENTIALLY SCULPTURAL

FORMS.

THE CURATOR OF THE SHOW REFERRED

TO THEM AS HOLLOW ROLLING

SCULPTURE.

SO THE MUSEUM HAS LONG HAD A

HISTORY OF TRYING TO ENGAGE

MODERN DESIGN AND THE PUBLIC IN

A VERY KIND OF CRITICAL,

THOUGHT-PROVOKING MANNER.

FOR CARS IT'S THE GREATEST

EXAMPLE OF THAT.

IT'S A SCULPTURE, IT'S INDUSTRY,

IT'S ENGINEERING, ALL OF THESE

THINGS WRAPPED INTO ONE.

THE EXHIBITION TAKES ITS NAME

FROM A 1963 BRITISH ANIMATED

FILM CALLED "AUTOMANIA 2000."

AND IT USES SATIRE TO EXAMINE

CONSUMER CULTURE, MASS

PRODUCTION AND CAR FANATICS.

THE FILM CENTERS AROUND A

SCIENTIST FIGURE WHO CAN SOLVE

EVERY PROBLEM, MEET EVERY

MARKETING NEED AND LOSES CONTROL

OF HIS CREATION AND PRETTY SOON

YOU SEE CARS BURYING THE WORLD,

COVERING THE EMPIRE STATE

BUILDING AND U.S. CAPITOL.

THERE'S EVEN DRONE DELIVERY OF

FOOD.

AND THE END OF THE WORLD IS

DESTROYED BY CARS.

I THINK YOU CAN'T REALLY SUSTAIN

A GOOD CRITIQUE OF CAR CULTURE

UNLESS YOU FIRST REALLY SHOW US

WHY CARS ARE SO SEDUCTIVE.

THEY HAVE A MAGNETIC POWER.

AND I THINK GREAT ART DOES THAT.

THE JAGUAR E-TYPE FROM 1963 IS

OFTEN WHAT HOOKS PEOPLE WHEN

THEY COME INTO THIS GALLERY.

IT'S A CONVERTIBLE.

IT'S INCREDIBLE DEEP PURPLE

COLOR AND AN UNDENIABLY SEXY

CAR.

IT KIND OF BELIES, IT'S VERY

MATHEMATICAL AND ANALYTICAL

ORIGINS.

THE LEAD CREATOR DID COUNTLESS

CALCULATIONS TO MAKE A CAR THAT

WAS STABLE FROM FRONT WINDS,

CROSS WINDS AND VARIABLE VOER

'TISES THAT GO WHEN THE CAR IS

GOING FAST.

SO IT'S TO BRING THAT TECHNOLOGY

TO EVERYDAY PEOPLE.

ONE THING THAT SETS JAGUAR APART

IS COMPARATIVELY SPEAKING, IT

WAS ACTUALLY MUCH MORE

AFFORDABLE THAN A COMPARABLE CAR

FROM PORSCHE OR MASERATI.

STILL AN EXPENSIVE CAR, IT WAS

DEFINITELY NOT CHEAP, BUT IT WAS

ONE THAT CAPTURED THE

IMAGINATION OF PARTICULARLY THE

AMERICAN PUBLIC AND THE PUBLIC

IN THE UK.

THE FERRARI FORMULA 1 CAR IS ONE

OF THE MOST EXCITING VEHICLES WE

HAVE IN THE COLLECTION.

IT'S THE MODEL 641 FROM 1990.

IT'S HIGHLY RARE.

THERE WAS ONLY SEVEN MADE THAT

YEAR.

THE CAR IS A STUNNING EXAMPLE OF

THE REDUCTION OF A CAR DOWN TO

ITS MOST PURE ELEMENTS.

THE LEAD DESIGNER WAS JOHN BAR

NARD.

HE RETHOUGHT THE SHAPE OF A

FORMULA ONE CAR AND HIS DESIGN

PROVED TO BE REALLY DURABLE.

IT WAS NOT MODIFIED ALL THAT

HEAVILY FOR SEVERAL YEARS.

ENZO FERRARI AND THE COMPANY HE

CREATED LOOMS LARGELY IN RACING

HISTORY.

THE MODEL 641 REPRESENTS ONE OF

THE PINNACLES OF THEIR

ACHIEVEMENT.

CITRON IS MAKING ITS DEBUT.

IT WAS A RELATIVELY RECENT

ACQUISITION.

IT'S AN INCREDIBLY BEAUTIFUL

CAR, ESPECIALLY WHEN COMPARED TO

WHAT WAS MORE COMMON IN THE

1950s, THESE GIGANTIC AMERICAN

CADILLACS.

IT LOOKS LIKE A CAR FROM THE

FUTURE, AND IN ONE PARIS AUTO

SHOW IT WAS SHOWN STANDING UP

LIKE A ROCKET SHIP TAKING OFF.

THE DESIGNER OF IT ACTUALLY HAD

A BACKGROUND IN SCULPTURE, SO I

THINK THAT COMES ACROSS VERY

STRONGLY IN THE BODY.

ONE OF THE THINGS THAT MAKES IT

SO INCREDIBLE IS ITS SUSPENSION

SYSTEM THAT'S SELF-LEVELING.

SO YOU CAN BE DRIVING ALONG THE

HIGHWAY AND HAVE A BLOWOUT OF A

TIRE AND IT KEEPS ITSELF LEVEL.

IN THE 1960s FRANCE WAS RACKED

BY INTERNAL CONFLICT AND THERE

WAS AN ASSASSINATION ATTEMPT ON

CHARLES DE GALLE.

I THINK TWO OF THE TIRES WERE

SHOT OUT AND STILL THE CAR WAS

ABLE TO ESCAPE.

WHEN VIEWERS COME TO THE

EXHIBITION, THERE'S A LOT TO

DELIGHT IN.

BUT ALSO WE HOPE THAT PEOPLE

KIND OF RETHINK THESE THINGS.

THE TITLE "AUTOMANIA" IMPLIES

CARS MAKE US CRAZY.

AND THAT'S FUN, AND WE ALL LOVE

BEING IN A CAR AND BEING A

LITTLE BIT CRAZY, BUT THAT

AND WE HOPE PEOPLE WILL LEAVE

THINKING ABOUT WHAT THAT PRICE

MEANS AND IS IT WORTH IT.

>>> NEXT, WE'LL VISIT THE NEW

YORK BOTANICAL GARDEN IN THE

BRONX FOR COSMIC NATURE.

THE INSTALLATION FEATURES THE

WORK OF CONTEMPORARY JAPANESE

ARTIST KUSAMA, REVEALING HER

LIFELONG ENGAGEMENT WITH THE

COLORS, PATTERNS AND CYCLES OF

PLANTS AND FLOWERS.

KUSAMA 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

PERHAPS IS BEST KNOWN FOR HER

WHIMSICAL PUMPKINS, SIGNATURE

POLKA DOTTED FORMS AND

MESMERIZING INFINITY MIRROR

ROOMS.

VISITORS CAN ENJOY KUSAMA'S

WORKS IN AND AROUND THE

ENID HALPE CONSERVATOR AND

ACROSS THE GARDENS LANDSCAPE.

VIVID HORTICULTURAL DISPLAYS

COMPLEMENT THE VIEW OVER TIME

MAKING EACH VISIT UNIQUE AS THE

SEASONS CHANGE.

NYC ARTS SPOKE WITH THE GUEST

CURATOR ABOUT THE ARTIST'S

SINGULAR VISION AND THE

EXHIBITION, WHICH IS ON VIEW

THROUGH OCTOBER 31st.

>> KUSAMA HAS PRESENTED HER WORK

IN BOTANICAL GARDENS BUT NOT TO

THIS SCALE.

THE ARTWORK ACTUALLY ENHANCES

THE NATURAL ENVIRONMENT AND VICE

VERSA.

KUSAMA'S VISION OF NATURE IS

SOMETHING THAT IS NOT AN

OBJECTIFICATION OF NATURE BUT

SOMETHING THAT IS MORE VISCERAL.

IT'S VERY MUCH AN EMBODIMENT OF

BOTH THE BOTANICAL WORLD IN

RELATIONSHIP TO THE COSMIC

UNIVERSE.

THE GALLERY'S BASE IS GENEALOGY

OF KUSAMA'S ENGAGEMENT WITH

NATURE.

SHE WAS BORN IN 1929 IN THE

MOUNTAINOUS REGION AND HER

FAMILY OWNED A SEED NURSERY.

FROM A VERY EARLY AGE SHE WAS

EXPOSED TO MANY, MANY DIFFERENT

KINDS OF FLOWERS.

PERIWINKLES, PEONIES, ZINNIAS.

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 MORE

SURREALIST EXPRESSION.

THERE'S A PAINTING CALLED

SELF-PORTRAIT THAT SHE MADE IN

1950 WHEN SHE WAS JUST 21.

IT'S JUST A SUNFLOWER WITH A

PAIR OF LIPS FLOATING.

SO YOU'LL SEE THIS KIND OF

ALMOST HUMAN-LIKE CHARACTER THAT

SHE ADDS TO THE PLANTS.

MY ETERNAL SOUL IS THE NAME OF

THE SERIES OF PAINTINGS SHE

BEGAN IN 2009.

SHE'S NOW MADE OVER 700

CANVASSES.

THERE WAS ONE PIECE CALLED ALONE

BURIED IN THE GARDEN.

IT'S A VERY ABSTRACT PIECE THAT

HAS PATCHWORK OF DIFFERENT

COLORS AND BOLD BLACK LINES,

OUTLINES, THAT DIVIDE EACH OF

THE PATCHWORK AREAS.

THIS IDEA OF PERHAPS ADAPTING TO

REPRESENT THAT AS A FLOWER

GARDEN, LIKE A FLOWER BED,

SOMETHING THAT WOULD NEVER

HAPPEN IN A MUSEUM.

WHEN YOU'RE IN THE CONSERVATORY,

YOU WILL PASS THE FLOWER BEDS,

WHICH ARE INSPIRED BY THE PIECE.

PUMPKINS ARE VERY SPECIAL TO

KUSAMA.

SHE HAS SO MANY DIFFERENT KINDS

OF FORMS AND SHAPES.

THEY HAVE A HUMAN-LIKE

CHARACTER.

THE FIRST MEMORY SHE HAS WAS OF

HER GRANDFATHER TAKING HER

THROUGH THE FIELDS AND

DISCOVERING PUMPKINS.

THAT MOMENT OF DISCOVERY WHEN

SHE WAS KIND OF WALKING THROUGH

THE MEADOW AND, YOU KNOW,

HAPPENED UPON THIS PUMPKIN.

SHE REMEMBERS RIPPING IT OUT AND

THE OOZE COMING OUT OF THE STEM

AND IT WAS A VERY VISCERAL

EXPERIENCE.

STARRY PUMPKIN IS A METALLIC

MOSAIC.

PINK AND SITUATED INSIDE THE

CONSERVATORY WITH SEASONAL

FLOWERS SURROUNDING IT SO IT

REALLY LOOKS LIKE A MEADOW THAT

YOU'VE KIND OF COME UPON THIS

BEAUTIFUL STARRY PUMPKIN.

AND THEN THERE IS A 16-FOOT

SCULPTURE THAT'S BRAND NEW

CALLED DANCING PUMPKIN.

AND I THINK MOST PEOPLE MIGHT BE

SURPRISED TO SEE IT BECAUSE IT

HAS 11 LEGS.

AND IT ALMOST LOOKS LIKE A

JELLYFISH OR A SPIDER.

IT'S CALLED DANCING PUMPKIN

BECAUSE THERE'S ONE LEG THAT IS

LIFTED UP AND IT LOOKS LIKE IT'S

ABOUT TO DANCE OFF INTO OUTER

SPACE.

AND THEN WE HAVE ONE MIRROR ROOM

THAT'S CALLED PUMPKINS SCREAMING

ABOUT LOVE BEYOND INFINITY.

IT'S QUITE AN INTIMATE SMALL

PIECE AND IN A VERY DARK SPACE.

IT'S TWO-WAY MIRRORS ENCASED

CUBE WITH PUMPKINS THAT ARE

GLOWING INSIDE.

IT'S A VERY INTIMATE EXPERIENCE

OF LIKE A VAST FIELD.

YOU HAVE TO KIND OF FOCUS ON THE

REFLECTIONS AND THEN IT WILL

JUST START TO EXPAND.

THERE'S A CONNECTION BETWEEN THE

BOTANICAL WORLD WITH THE HUMAN

KIND OF TACTILE SENSATION AND

WITH THE SUBLIME FEELING OF

COSMIC EXPANSION.

ILLUSION INSIDE MY HEART IS JUST

A FREE-STANDING MIRRORED CUBE.

IN THE BEGINNING OF THE

EXHIBITION, PEOPLE WILL BE ABLE

TO EXPERIENCE FROM THE OUTSIDE

AND IT'S AMAZING BECAUSE IT

IT ALMOST DISAPPEARS.

WHEN YOU GO INSIDE, YOU SEE THAT

IT'S JUST EXPANSIVE UNIVERSE.

NARSISS GARDEN OF 15 ORBS

FLOATING ON WATER.

IT'S A BEAUTIFUL DISPLAY OF THE

WAY THE WIND CURRENT COMPLETELY

CHANGES THE ORIENTATION AND THE

REFLECTION OF ALL OF THE

DIFFERENT TREES AND WILL QUICKLY

CHANGE AS THE SEASONS CHANGE.

THE POLKA DOT, WHICH IS SO WELL

KNOWN FOR IS NOT JUST THIS FLAT

DOT BUT THAT IT'S A SPHERE.

SHE'S TALKED ABOUT THE POLKA DOT

AS A SUN OR A MOON.

THERE'S THIS OUTDOOR SCULPTURE

THAT WE'VE HAD IN THE REFLECTING

POOL 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 ACTUALLY MOTIF THAT IS

DRAWN FROM ONE OF HER MY ETERNAL

SOUL PAINTINGS, BUT IT'S NOT ONE

THING.

I THINK THAT THAT'S VERY

CHARACTERISTIC OF KUSAMA.

PRESENTING HER WORK HERE IS SO

DIFFERENT AND ACTUALLY SO

ENLIGHTENING, ESPECIALLY IN THIS

PANDEMIC ERA, BECAUSE WHAT I

THINK A LOT OF PEOPLE HAVE

REALIZED IS THAT WE ARE ALL

VULNERABLE AND THERE IS THIS

ELEMENT OF COEXISTENCE.

KUSAMA'S WORK, BETWEEN HUMANS,

NATURE AND THE COSMOS AND EVEN

WITH LIFE AND DEATH.

IT'S LIKE A CYCLE.

♪♪♪

>>> NEXT, A VISIT TO THE

AMERICAN FOLK ART MUSEUM LOCATED

ACROSS THE STREET FROM LINCOLN

CENTER.

SINCE 1961, THIS MUSEUM HAS BEEN

CELEBRATING THE CREATIVITY OF

ARTISTS WHOSE TALENTS HAVE BEEN

REFINED THROUGH PERSONAL

EXPERIENCE, RATHER THAN THROUGH

FORMAL ARTISTIC TRAINING.

ITS COLLECTION INCLUDES MORE

THAN 8,000 WORKS OF ART FROM

FOUR CENTURIES AND NEARLY EVERY

CONTINENT.

>> 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 A CRAZY

QUILT THAT WAS MADE BY A WOMAN

NAMED CLARA LEON.

CLARA LEON 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, PINKUS LEON, AND

THE TWO OF THEM MOVED TO THE

NEW MEXICAN TERRITORIES, TO LAS

VEGAS, NEW MEXICO.

THE QUILT THAT CLARA MADE

PROBABLY IN THE 1980s REFLECTS

THE IDIOM OF THE CRAZY QUILT.

THIS WAS INTRODUCED AFTER THE

AMERICAN CENTENNIAL EXPOSITION.

SO WOMEN SAW PORCELAINS WITH

CRAZED AND CRACKLED SURFACES AND

GLAZES AND EXOTIC MOTIFS LIKE

SPIDER WEBS AND QUARTER FANS AND

THEY VERY QUICKLY INTRODUCED

THIS NEW AESTHETICS INTO THEIR

QUILT MAKING.

SO CLARA LEON, ONE OF 36 JEWISH

FAMILIES IN THE PIONEER FRONTIER

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

AESTHETIC THAT WAS INTRODUCED AT

THE JAPANESE PAVILION OF THE

CENTENNIAL.

THE CENTER OF THE QUILT IS

EMBLAZENED WITH A LARGE LETTER

"L" FOR HER FAMILY NAME, LEON.

ALSO INCLUDED IS A MUSICAL STAFF

AND NOTES, AND THIS REFLECTS THE

MUSICAL BACKGROUND OF HER

FAMILY.

IN FACT ONE OF THE FAMILY

STORIES IS THAT WHEN CLARA AND

HER FAMILY MADE THE JOURNEY BY

COVERED WAGON, INCLUDED ONBOARD

THE COVERED WAGON WAS HER PIANO.

AESTHETICALLY SHE DID SOMETHING

WITH THE BORDERS THAT'S UNUSUAL.

THERE IS A FLORAL BAND ON EACH

SIDE OF THE QUILT.

TYPICALLY THIS WOULD BE

IDENTICAL TOP, BOTTOM, LEFT,

RIGHT.

BUT IN FACT SHE'S REFLECTING THE

SEASONS, SO THERE ARE AUTUMN

LEAVES, SPRING FLOWERS, SUMMER

DAISIES, AND WINTER SPRAYS.

QUILTS HAVE ALWAYS IN A MEDIUM

FOR WOMEN TO EXPRESS THEIR OWN

THOUGHTS AND THEIR OWN

PARTICIPATION IN AMERICAN LIFE

AND CLARA LEON CLEARLY TOOK THAT

TO HEART WHEN SHE DECIDED WHAT

MOTIFS AND WHAT TECHNIQUES WERE

GOING TO BE USED IN HER

BEAUTIFUL QUILT.

>>> AND NOW, ANOTHER CURATOR'S

CHOICE.

>> WELCOME TO THE NEW YORK

HISTORICAL SOCIETY, THE CITY'S

OLDEST MUSEUM, FOUNDED IN 1804.

MY NAME IS ROBERTA OLSON AND I'M

CURATOR OF DRAWINGS AT THE

SOCIETY.

I'D LIKE TO INTRODUCE YOU TO THE

RAPALLIER CHILDREN.

JACQUES.

THEY WERE PAINTED BY JOHN DURAND

IN 1768.

IT'S AN INCREDIBLE PORTRAIT FOR

A NUMBER OF REASONS.

DURAND, WHO WAS PROBABLY A

FRENCHMAN, IS REALLY UNKNOWN

UNTIL 1766.

HE COMES FROM VIRGINIA TO NEW

YORK FOR THE BEATMAN FAMILY.

AND FOR THE BEEKMANS HE PAINTS

SIX PORTRAITS OF THEIR CHILDREN

AND GAINS AN INCREDIBLE

REPUTATION, THE REPALLIERS HIRE

HIM TO PAINT THEIR FAMILY.

THIS PORTRAIT OF THE FOUR

SIBLINGS IS AN EXAMPLE OF EARLY

COLONIAL PORTRAITURE AND ONLY

ONE OF THE MANY STELLAR EXAMPLES

IN OUR AMAZING COLLECTION OF

THIS GENRE.

THIS IS VERY DIFFERENT FROM MOST

PORTRAITURE OF THE TIME BECAUSE

THERE'S NO LANDSCAPE, NO

BACKGROUND, AND YOU HAVE THESE

FOUR SIBLINGS WHO TO MY MIND

LOOK VERY CONTEMPORARY.

THEY'RE PAINTED IN A STYLE

SOMEWHAT FLAT FOR THE TIME.

HE DEPENDS A GREAT DEAL ON

OUTLINE AND THESE BOLD, FLAT

COLORS.

THEY ARE POSED IN SUCH A WAY

THAT THEY LOOK ASSURED.

ONE HAS HIS HAND IN HIS COAT,

WHICH WAS, AGAIN, A TYPICAL

POSTURE FOR A GENTLEMAN.

THE YOUNG LADY, ANN, HAS THIS

BEAUTIFUL CHOKER, THIS DOUBLE

STRAND OF PEARLS AROUND HER

NECK.

SHE IS HOLDING A ROSE, WHICH IS

A SYMBOL OF LOVE AND ALSO

FERTILITY.

SHE WOULD BE OF MARRIAGEABLE AGE

SOON.

DURAND CUTS THE PAINTING, WHICH

IS A VERY 20th CENTURY, LATE

19th CENTURY SO WE DON'T SEE THE

FEET.

IT'S A THREE-QUARTER PORTRAIT

WHICH IMPLIES A RELATIONSHIP

WITH US AS THOUGH WE CAN

EXCHANGE SPACE WITH THEM.

BUT THERE'S SOMETHING WONDERFUL,

THE DYNAMICS AMONG IS IT THE

FOUR OF THEM.

THE FOUR ARE UNUSUALLY

SELF-POSSESSED FOR ADOLESCENTS.

THEY GAZE DIRECTLY AT US AND IN

FACT WE FEEL AS THOUGH WE

COMMUNICATE WITH THEM.

THEIR EYES GRAB US AND THEIR

SMILES ENGAGE US AND WE FEEL AS

THOUGH WE COULD HAVE A

CONVERSATION.

I HOPE YOU'VE ENJOYED YOUR

EXPERIENCE AT THE NEW YORK

HISTORICAL SOCIETY, AND HOPE

THAT YOU'LL COME BACK AND VISIT

US AGAIN TO EXPLORE THE RICHES

OF THE COLLECTION.

>>> NEXT WEEK ON "NYC ARTS" A

CONVERSATION WITH NORWEGIAN

PIANIST, WIDELY KNOWN FOR HIS

COMMANDING TECHNIQUE AND

INSPIRING MUSICAL

INTERPRETATIONS.

>> SO FULL OF PASSION OF A YOUNG

MAN WANTING TO CONQUER THE WORLD

AND AT THE SAME TIME IT HAS THIS

INNOCENCE, BEAUTY, MELODIES THAT

COMES FROM THE FOLK SONG

TRADITION.

THEY SPEAK VERY DIRECTLY TO OUR

HEARTS AND IT'S VERY INTIMATE.

>>> AND A VISIT TO THE MUSEUM OF

ARTS AND DESIGN AND THE

EXHIBITION CRAFT FRONT AND

CENTER.

>> THIS EXHIBIT IS DESIGNED

AROUND NARRATIVE VIGNETTES.

THERE'S A GREAT NUMBER OF

BEAUTIFUL TEXTILES THAT

INTRODUCES MATERIALS AND

TECHNIQUES FROM WEAVING,

EMBROIDERY, TO APPLIQUE.

THEY CREATE A NUMBER OF WOVEN

BANDS TO PRODUCE A

THREE-DIMENSIONAL WALL HANGING.

>> 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 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, 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 13.

"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, 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 --

>> UNICAVEV 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.

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