NYC-ARTS

S2021 E529 | FULL EPISODE

NYC-ARTS Full Episode: September 30, 2021

This week, Paula Zahn in conversation with world-renowned and celebrated Norwegian pianist Leif Ove Andsnes. Then NYC-ARTS visits the Museum of Arts and Design (MAD) for a look at Craft Front and Center, a survey of the art and artists that have defined the museum since its founding in 1956.

AIRED: September 30, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

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

CONVERSATION WITH NORWEGIAN

PIANIST LACEA UNSMITH, WIDELY

KNOWN FOR HIS COMMANDING

TECHNIQUE AND INSPIRING MUSICAL

INTERPRETATIONS.

>> SO FULL OF PASSION OF THE

YOUNG MAN WANTING TO CONQUER THE

WORLD AND AT THE SAME TIME IT

HAS THIS INNOCENCE, BEAUTY,

MELODIES THAT COMES FROM THE

SORT OF FOCUS TRADITION AND IT'S

VERY INTIMATE.

>> AND A VISIT TO THE MUSEUM OF

ART AND DESIGN 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 AND QUILT

MAKING.

THE WOVEN WALL TAKE APART THE

ORIGINAL TAPESTRY STRUCTURE

CREATING A NUMBER OF WOVEN BANDS

TO PRODUCE A THREE-DIMENSIONAL

WALL HANGING.

>>> 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

MONELL FOUNDATION, JODY AR

ARNARNEHOLD

ELISE JAFFE AND JEFFREY BROWN,

CHARLES AND VALERIE DIKER, THE

NANCY SIDEWATER FOUNDATION,

ELROY AND TERRY KRUMHOLZ

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

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.

>> 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 --

>> UNC AVIV SINCE 1985 PROVIDING

ACOUSTIC PRODUCTS FOR WALL,

CEILING AND FLOOR APPLICATIONS

AS WELL AS CUSTOM ACOUSTICAL

DESIGN SERVICES FOR COMMERCIAL

OR RESIDENTIAL NEEDS.

INFORMATION AT EUNICKA VIF.COM.

♪V.COM.

♪I.COM.

♪V.COM.

>>> GOOD EVENING, AND WELCOME TO

"NYC ARTS."

I'M PAULA ZAHN.

WE BEGIN OUR PROGRAM TONIGHT

WITH A CONVERSATION WITH THE

CELEBRATED NORWEGIAN PIANIST

LEIF OVE ANDSNES.

HE IS A PIANIST OF INSIGHT AND

THE WALL STREET JOURNAL NAMED

HIM ONE OF THE MOST GIFTED MUSE

I

ITIONS OF HIS GENERATION.

>> KNOWN FOR HIS COMMANDING

TECHNIQUE AND INSPIRING

INTERPRETATIONS, HE HAS WON

ACCLAIM WORLDWIDE, PERFORMING

RECITALS AND CONCERTOS WITH THE

WORLD'S FOREMOST ORCHESTRAS AND

AVID CHAMBER MUSICIAN, HE IS

ALSO THE FOUNDING DIRECTOR OF

THE ROSENDAHL CHAMBER MUSIC

FESTIVAL IN HIS NATIVE NORWAY.

THIS FALL WILL MARK THE FIRST

SINCE THE START OF THE PANDEMIC.

HE WILL RETURN TO PLAY A

CONCERTO WITH THE NEW YORK

PHILHARMONIC.

HE WILL ALSO TOUR EUROPE WITH

THE CHAMBER ORCHESTRA AND

VIOLINIST CHRISTIAN TETSUA.

I HAD THE PLEASURE OF SPEAKING

WITH LEIF OVE WHEN HE WAS IN NEW

YORK IN THE FALL OF 2019.

>> WELCOME TO NEW YORK.

>> THANK YOU.

>> I UNDERSTAND THIS HAPPENS TO

BE ONE OF YOUR FAVORITE CITIES.

>> I FEEL SO GRATEFUL FOR SO

MANY OPPORTUNITIES HERE.

I PLAYED 30 YEARS AGO MY FIRST

RECITAL IN CARNEGIE.

I PLAYED MY FIRST RECITAL 20

YEARS AGO, AND SINCE THEN, SO

MANY WONDERFUL THINGS HAPPENED

TO ME HERE.

THE INTENSITY OF PLAYING IN THAT

HALL AND THE BEAUTY OF SOUND,

THE MAGIC TO HAVE 2,800 PEOPLE

LISTENING TO ONE PIANO AND

FEELING THAT THERE CAN BE

INTIMACY IN SUCH A LARGE SPACE.

THAT'S MAGICAL AND THE DIVERSITY

OF EVERYTHING THAT IT HAS TO

OFFER.

I JUST LOVE IT.

>> I THINK NEW YORK AUDIENCES DO

HAVE VERY HIGH STANDARDS, AND

I'M CURIOUS IF THERE IS A

DIFFERENCE AS YOU TRAVEL AROUND

THE WORLD.

>> YOU FEEL A CERTAIN

CONCENTRATION AND SILENCE IN THE

AUDIENCE SOMETIMES, AND THEY

RESPOND IN DIFFERENT WAYS.

IN JAPAN, YEAH, A VERY, VERY

QUIET AUDIENCE AND YOU WONDER IF

THERE'S SOMEBODY THERE, AND OF

COURSE, IF YOU PLAY IN VIENNA,

ONE OF THE COMPOSERS LIVE THERE

AND THEY FEEL AN OWNERSHIP WHICH

IS SPECIAL.

ULTIMATELY YOU YOU FEEL THE --

NOT IN NORWAY OR IN NEW YORK AND

PEOPLE WILL REACT TO IT BECAUSE

THERE IS SOMETHING IN US THAT IS

TOUCHED DEEPLY.

>> I HAD THE PRIVILEGE OF

HEARING YOU REHEARSE THE GREEK

CONCERTO WHICH IS AN

EXTRAORDINARY EXPERIENCE.

IS IT A PIECE THAT YOU FEEL VERY

DEEPLY?

>> I DO.

I ALSO FELT THAT THIS WAS BEING

TOO CLOSELY CONNECTED TO ME

BECAUSE GLEE IS NORWEGIAN AND IT

WAS MY BREAKTHROUGH PIECE IN SO

MANY PLACES EARLY IN MY

>> IN THE YOUNG NORWEGIAN

PIANIST HAVING THIS GREAT PIECE

WRITTEN BY THE YOUNG GREEK, HE

WAS 25 WHEN HE WROTE IT, SO FULL

OF PASSION OF A YOUNG MAN

WANTING TO CONQUER THE WORLD AND

AT THE SAME TIME HE HAD THIS

INNOCENT BEAUTY, THIS CHILDLIKE

BEAUTY AND THE MELODY THAT COMES

FROM THE FOLK SONG TRADITION AND

IT SPEAKS DIRECTLY TO OUR HEARTS

AND VERY INTIMATE.

VERY POTENT CONCERT PIECE.

I LOVE PLAYING WITH

>> YOU HAVE TRAVELED MANY, MANY

THOUSANDS OF MILES MUSICALLY AND

PHYSICALLY SINCE YOUR EARLY DAYS

AS A BUDDING PIANIST IN NORWAY.

TELL ME A LITTLE BIT ABOUT THE

EARLY ROOTS OF YOUR LOVE OF

MUSIC.

BOTH OF YOUR PARENTS WERE MUSIC

TEACHERS, RIGHT?

>> THEY WERE MUSIC TEACHERS.

I'M FROM A SMALL COMMUNITY IN

IRELAND CALLED KAIM EOTT WESTERN

PART OF NORWAY.

I WAS HAPPY TO HAVE PARENTS THAT

THEY WERE ACTUALLY TEACHING SOME

SORT OF FUTURE IN OUR HOME AND

THAT'S WHY I ASKED SINCE I WAS 4

YEARS OLD.

I CAN ALSO LAY?

I LIKED IT.

>> WHEN DID IT BECOME CLEAR TO

YOU THAT YOU DID HAVE A TALENT

TO TRAVEL THE WORLD AND BECOME A

PROFESSIONAL PIANIST?

>> I THINK AROUND THE AGE OF 13,

14, I SUDDENLY REALIZED THAT

THERE WAS NO WAY BACK.

THAT THIS WAS MY LIFE.

THIS WAS REALLY MY LANGUAGE, BUT

I DO REMEMBER, YOU KNOW, SITTING

DOWN AT THE PIANO BEING 7, 8, 9,

TRYING TO SIGHT READ CERTAIN

PIECES AND MAYBE CHOPIN AND A

SHORT PIECE LIKE GREEK AND

MOZART AND FEELING A SENSE OF

WONDER AND A SENSATION THAT THIS

IS MY SPACE, THIS IS MY

VOCABULARY AND THIS IS MY

LANGUAGE AND THIS IS HOW I CAN

COMMUNICATE WITH THE WORLD, AND

THAT WAS VERY STRONG FROM EARLY

ON.

>> YOU HAVE SPENT THE BETTER

HALF OF THE LAST DECADE AND A

HALF DOING DEEP DIVES INTO

DIFFERENT COMPOSERS.

LET'S TALK ABOUT CHOPIN FOR A

MOMENT.

WHAT DREW YOU TO THE BALANCE?

>> WHEN I HEARD THE CHOPIN

BALLADS, THE FOUR BALLADS, WHEN

I WAS 11, I THINK, I HAD A SMALL

CASSETTE AND I LISTENED TO IT

AND I THOUGHT I HAD NEVER HEARD

SUCH BEAUTIFUL MUSIC, AND I

STILL THINK IT GOES SO DEEP INTO

MY HEART AND IT'S PIANO MUSIC

AND THE DIVERSITY OF EMOTION AND

IT IS EVER CHANGING AND THEN YOU

HAVE THE BEAUTIFUL TUNE AND THEN

HAVE A HOME OF SOLO AND THEN YOU

HAVE PACKAGES THAT ARE VERY

ENTERTAINING.

I DON'T KNOW HOW HE WAS CREATING

IT ASK AT THE IS IMTIME THERE'S

NO ON ON AND THESE ARE VERY

INTENSE MAST MASTERY PIECES SO

THEY ARE A LITTLE BIT CALMER SO

THAT THAT'S MY PORTRAIT OF

CHOPIN.

>>> WE ALSO DELVED INTO THE

MUSIC OF SEBELIUS WHO MOST OF US

WOULDN'T NECESSARILY CONSIDER AS

A CONCLUSION AS A PIANIST.

>> IT'S TRUE.

HE IS NOT KNOWN FOR THE PIANO.

HE IS AN ORCHESTRA COMPOSER.

FOR ME, HE IS NOT A COMPOSER AND

HIS SYMPHONIES HAVE FOLLOWED ME

FROM WHEN I WAS VERY YOUNG AND

GOES VERY DEEP, AND I NOTICED

THERE WERE ALWAYS PIANO PIECES

THAT NOBODY PLAYED, AND I

THOUGHT IT'S WORTH LOOKING AT,

AND I READ THROUGH EVERYTHING.

IT'S MORE UNEVEN.

PIANO WAS THE INSTRUMENT.

YOU FEEL WHEN YOU PLAY IT, IT

DOESN'T SOUTHBOUND NATURAL LIKE

IT DOES FOR THE ORCHESTRA AND

THEN THERE WAS THIS TOOL THEY

DISCOVERED AS A COMPOSITION, SO

SPECIAL THEY CAN SEEM VERY

SEMISIMPLE, ASK YOU WONDER --

WHERE'S THISSING ABOUT?

IT IS SO BEAUTIFUL AND, AND

AGAIN, PULL IT OVER A FOUR-YEAR

PERIOD AND THAT WAS PERFORMING

ALL OF THE BEETHOVEN CONCERTOS.

>> IN 2012 I STARTED THIS

PROJECT, AND I PLAYED PIANO

CONCERTOS AGAIN AND AGAIN OVER

THREE OR FOUR YEARS AND ALSO IT

WAS THE ONLY THING, AND WHEN YOU

WALK ON THE ONE LANGUAGE FOR SO

I GUESS YOU'LL AND I CAME OUT TO

THE PROJECT FEELING THAT THIS

MUSIC WAS JUST SO STRSHTH YOU

ARED OF TORE SCORES FIGHTING,

NO, INLISTEN TO ME, I HAVE

SOMETHING IMPORTANT TO TELL YOU,

BUT IN THE END I KEPT THINKING

THIS MUSIC IS ABOUT FREEDOM.

I WORKED WITH THE ORCHESTRA, A

WONDERFUL GROUP ON THIS PROJECT

AND THE LAST YEAR AND THE

PERFORMANCE I FELT A SENSE OF

SPONT NAITY AND FREEDOM THAT I

HAVE RARELY FELT.

>> AND OFTEN WITH THE MULLER

CHAMBER ORCHESTRA AREN'T YOU

CONDUCTING FROM THE PIANO?

>> I HESITATE CALLING IT

CONDUCTING, BUT I'M LEADING.

I'M NOT THE CONDUCTOR, BUT YES,

SOMEBODY HAS TO CONDUCT AND LEAD

IF YOU DON'T HAVE A CONDUCTOR.

>> WHAT IS THAT EXPERIENCE LIKE

FOR YOU?

>> IT'S CHALLENGING, BUT I DO

LOVE IT.

NOT HAVING A LID ON THE PIANO

AND I'M SITTING INSIDE THE

ORCHESTRA WITH THE BACK TO THE

AUDIENCE, BUT WITH GREAT CONTACT

WITH THEM.

>> I'M WONDERING IF THE

EXPERIENCE OF CONDUCTING FROM

THE PI PIANO HAS CHANGED THE WAY

YOU WORK WITH THE CONDUCTOR AS A

SOLOIST.

>> I HAVE COME COME -- NO, IT'S

MY TIME, YOUR TURN, AND I'M IN

THE NARRATIVE AND IN THE STORY

TELLING ALL THE TIME AND IT'S

WONDERFUL WHEN YOU PLAY A PIECE

BY MOZART AND SO MUCH DIALOGUE

IN THERE IN THE ORCHESTRA.

>> IN 2006 I HAD THE HONOR OF

HOSTING THE OPENING NIGHT AT

CARNEGIE HALL, AND I BELIEVE YOU

WERE IN THE MIDDLE OF A PROJECT

TO RECORD SEVERAL MOZART

CONCERTOS.

>> THAT'S RIGHT.

ARE YOU STILL AS CAPTIVATED BY

MOZART AS YOU WERE BACK THEN?

>> I'M JUST STARTINGING A MOZART

PROJECT TKT WITH THE MAUL, AND

AUTO IT'S 1785 AND 1786.

>> WAS THERE ANYTHING THAT

HAPPENED DURING THAT PERIOD OF

TIME?

>> IN 1725 HE WRITES THIS NUMBER

20 IN D MINOR, AND IT'S THE

FIRST ONE IN A MINOR KEY SO IT

HAS A DARKER SIDE TO IT.

SOMETHING VERY SPECIAL HAPPENS

JUST THEN.

HE STARTED SEPARATING FROM THE

ORCHESTRA.

YOU KNOW, THEY'RE THE KIND OF

HEROIC PIANO CONCERTOS WHICH BEE

LOVE VERY MUCH IN THE 19th

CENTURY.

OUTSIDE OF THE COLLABORATED

STATES AND THAT SORT OF STARTS

WITH MOZART.

MOZART IS SO MUCH ABOUT

CONVERSATION WITH THE ORCHESTRA,

DIALOGUE AND REACTING TO EACH

OTHER, BUT THERE IN 1785 IT'S

LIKE HE THINKS, OH, I CAN CREATE

A VERY INTERESTING STORY WITH

MAKING THE SOLACE, AND IT'S AN

INDIVIDUAL DIFFERENT FROM THE

ORCHESTRA AND BY DOING THAT.

>> WHAT IS THE MOST REWARDING

PART OF THIS MUSICAL JOURNEY FOR

YOU?

>> IT'S ULTIMATELY ABOUT

SHARING.

WHEN Y

WHEN YOU LOVE SOMETHING SO MUCH

AND YOU ARE ABLE TO SHARE IT

SOMETIMES IN AN INTIMATE GROUP

AND SOMETIMES WITH A FEW OTHERS,

SOMETIMES FOR 2008 WITH PEOPLE

IN CARNEGIE HALL, THAT'S THE

GREAT THING AND I CANNOT LIVE MY

LIFE WITHOUT

>>> FOR MORE INFORMATION ON

CULTURAL EVENTS IN OUR AREA

PLEASE SIGN UP FOR OUR FREE

WEEKLY E-MAIL AT

NYC-ARTS.ORG/E-MAIL.

TOP FIVE PICKS WILL KEEP YOU

UP-TO-DATE ALL YEAR ROUND, AND

BE SURE TO CONNECT WITH NYC ARTS

ON FACEBOOK, INSTAGRAM AND

TWITTER.

>>> INCOME, WE TRAVEL THE

COLUMBUS CIRCLE AND THE MUSEUM

OF ARTS AND DESIGN ALSO KNOWN AS

M.A.D., IT FOCUSES ON MEDIUMS

ALTHOUGH ONE TIME MARGINALIZED

IN THE ART WORLD.

FRONT AND CENTER IS THE SURVEY

OF THE ART AND AUGUST THAT HAVE

DEFINED M.A.D. SINCE ITS

FOUNDING IN 1956.

THE SHOW FEATURES A WIDE RANGE

EVER DISCIPLINES AND INCLUDES

WORK WITH SUCH ECLECTIC

MATERIALS AS TEXTILES, CLAY AND

WOOD.

THE THEMES OF THE HANDMADE WORKS

ARE FROM THE PERSONAL TO THE

POLITICAL, REINFORCE THE FORCE

OF

THE ROLE OF CRAFT IN SOCIETY.

>> THE MUSEUM OF ART AND DESIGN

WAS ESTABLISHED IN 1956 TO

ADVOCATE FOR ARTISTS WORKING IN

THE UNDERAPPRECIATED MEDIUMS OF

GLASS, CERAMICS AND FIVER AND

WITH TEXTILE, JEWELRY AND

FURNITURE DESIGN.

CRAFT FRONT AND CENTER IS THE

EXHIBITION THAT CELEBRATES THE

RENEWAL OF INTEREST IN CRAFT AS

AN ART FORM AND IT BRINGS

TOGETHER OVER 70 ICONIC WORK IN

MAT'S UNIQUE CONNECTIONS, THESE

MEDIA WERE A LESS ARE FORM OF

CREA

CREATIVE ENDEAVOR.

THEY DISMISS THE OBJECTS THAT

ARE DESIGNATED CRAFT AND FOR

PEOPLE TO UNDERSTAND THOSE

PRACTICES AS CENTRAL TO THE

HISTORY OF ART AS ANY PAINTING

OR SCULPTURE MIGHT BE.

THIS EXHIBIT IS DESIGNED AROUND

NARRATIVE VIGNETTES.

THERE'S A GREAT NUMBER OF

BEAUTIFUL TEXTILES THAT

INTRODUCES MATERIAL AND

TECHNIQUES FROM WEAVING,

EMBROIDERY TO APPLIQUE AND QUILT

MAKING.

AMEROL TAKE APART THE

TRADITIONAL TAPESTRY STRUCTURE

CREATING A NUMBER OF WOVEN BANDS

TO PRODUCE A THREE-DIMENSIONSAL

WALL HANGING.

THE ARTISTS HAND SPUN AND DYED

THE WOOL THAT WAS USED IN THIS

VERY COLORFUL PIECE.

MARVIN LAKOSSKY IS A MAJOR

FIGURE IN THE ART FORM.

IT INCLUDES ARCHIVAL E FEMME RA

THAT HE USED TO PRODUCE THESE

SCULPTURES.

IT GETS ITS ORGANIC UNDULATING

SHAPE FROM THE MOLD THAT HE

WOULD USE TO BLOW THE GLASS

INTO.

THE EDGES OF THESE WORKS WERE

SOFTENED THROUGH GRINDING AND

THE BEAUTIFUL SOFT SURFACE WAS

CREATED THROUGH A SANDBLASTING

TECHNIQUE.

HE WOULD FINISH THE PIECE BY

CUTTING, ETCHING AND POLISHING.

>> SAMMY IS A WOODWORKER AND HE

USED HIS WORK CRADLE CABINET IN

1956 AT M.A.D. IN AN EXHIBITION

TITLED THE BED.

THE PIECE IS INNOVATIVE IN ITS

DESIGN COMBINING ALL OF THE

NEEDS OF A NEWBORN IN A SINGLE

PIECE OF FURNITURE.

INCLUDING DRAWERS FOR STORAGE

AND A SMALL CRADLE THAT ROCKS.

THE ROADSHOW CASES IT MAY LOSE

SENSITIVITY AS A WOODWORKER AND

THERE'S A WARMTH TO THE PIECE

THAT EXUDES A SENSE OF CARE AND

NURTURING SPACE FOR A NEWBORN.

THIS PICKS UP ON ONE OF THE

IMPORTANT THEMES OF CRAFT FRONT

AND CENTER IS THAT CRAFT IS IN

OUR HOMES AND EVERYDAY LIVES.

THE EXHIBITION SHOW CASES THE

POWER OF CRAFT AND ALSO AS A

TOOL FOR TAKING A STAND ABOUT

IMPORTANT ISSUES.

>> THE DISCIPLINARY ARTIST WHOSE

INTEREST COMES FROM EXPLORATION

AND RESEARCH ON ACTIVIST

CONTACTS LIKE PARADES AND

PROTESTS.

THIS BANNER, PIGEONS ARE BLACK

DUFFS WAS MADE AS PART OF A

SERIES FOR AN EXHIBITION THAT

WAS IN SUPPORT OF BLACK LIVES

MATTER ACTIVISM.

THERE IS A COMBINATION WITH

TASSELS ABOUT THE CRITICAL

STATEMENT AND THE DESIRE TO

REDRESS THAT THROUGH HER ART.

IN IN WATER MIAMI BE IN ONE, HE

COLLABORATED WITH THE GLASS

BLOWING STUDIO IN MURANO, ITALY.

IT HAS TECHNIQUE WITH BEADING

WITH A GLASS-BLOWN PIECE.

THE FIGURE IN BEADS IS A MALE

FIGURE AND HE GAZES DOWN INTO

WHAT IS SUPPOSED TO BE A SORT OF

WATERY DEPTH AND HE HAS THE

REFLECTION OF THE WATER MIAMI

BEING LOOKING BACK UP AT HIM.

IT EXEMPLIFIES THE APPROACH OF

THE FEMALE BODY CONTEXTUALIZING

AS A FIGURE OF EMPOWERMENT.

THE TITLE WATER MAMMY IS A PLAY

ON THE WEST AFRICAN FEMALE WATER

>> I HOPE PEOPLE TAKE AWAY FROM

THIS EXHIBITION A NEW IDEA ABOUT

WHAT CRAFT CAN BE.

IT'S IMPORTANT TO EVERYDAY LIFE

AND SOMETHING ABOUT M.A.D.'S

HISTORY AND IMPORTANT IN THE NEW

YORK CITY CULTURAL LANDSCAPE.

>> NEXT WEEK ON NYC ARTS, A LOOK

AT THE EXHIBITION FOR FLIP

STREAM, REFLECTION, RESILIENCE

AND RESISTANCE IN THE ART OF OUR

TIME AT THE BROOKLYN MAUZ YUM.

THIS IS FROM THE BOOK OF THE

CONTEMPORARY COLLECTION.

>> THIS IS A TERM BORROWED FROM

AERONAUTICS AND IT IS THE

TURBULENCE THAT FOLLOWS A LARGE

MOVING OBJECT.

WE ARE CURRENTLY IN THE

SLIPSTREAM WHICH OFFERS US A

PERSPECTIVE FOR 2020 AND THE

LARGE OBJECT THAT JUST PASSED.

A PROFILE OF VERSATILE JAZZ

PIANIST AND COMPOSER B.J. IRE.

>> MUSIC CREATES COMMUNITY.

IT'S A POWER THAT WE HAVE FOR

THE SPECIES TO DO THAT.

>> AND WE'LL MEET IAN FOREST,

OTHERWISE KNOWN AS EYEGLASSES

WHO HAS PERFORMED IN THE SUBWAY

AS PART OF THE MTA'S MUSIC UNDER

NEW YORK PROGRAM.

>> I'LL PLAY A BASS PART,

PERCUSSION PART, A HARMONY PART

ON THE CELLO, AND THEN I CAN

LOOK THAT SEGMENT OVER AND OVER

AGAIN ON PLAYING NINE OR TEN

DIFFERENT CELLO PARTS AT THE

SAME TIME.

>> 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.

>> TO ENJOY MORE OF YOUR

FAVORITE SEGMENTS ON NYC ARTS,

PLEASE VISIT OUR WEBSITE AT

NYC-ARTS.ORG.

>> LEIF, WE ARE SO PRIVILEGED TO

SIT DOWN WITH YOU.

>> WHERE ARE WE?

>> WE ARE AT A MOMENT TO TAKE

NOTHING FOR GRANTED.

>> IT'S A PLEASURE TO BE WITH

THE CURATOR OF THIS EXHIBITION

FULL OF HOPE.

WE ARE IN THE MIDST OF SOME OF

THE GREATER SCULPTURES BY THE

ICONIC NAMES.

>>> 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, ROSALIND P. WALTER,

ELISE JAFFE AND JEFFREY BROWN,

CHARLES AND VALERIE DIKER, THE

NANCY SIDEWATER FOUNDATION,

THEITY INNON AND SALLY OF A RAE

ARTS FOUNDATION.

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 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 --

>> EUNICKA VIV SINCE 1975

PROVIDING FABRICS AND DECORATIVE

ACOUSTIC PRODUCTS FOR WALL,

CEILING AND FLOOR APPLICATIONS

AS WELL AS SERVICES FOR

COMMERCIAL AND RESIDENTIAL

NEEDS.

INFORMATION AT EUNICKA VIV.COM.

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