NYC-ARTS

S2014 E282 | FULL EPISODE

NYC-ARTS Full Episode: August 21

A visit to the Franklin D. Roosevelt Presidential Library and Museum in Hyde Park, NY. A look at the work of artist Norman Rockwell, who for decades captured iconic images of American life. And a visit to the Jewish Museum for a look at the paintings of Marc Chagall.

AIRED: August 20, 2014 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

FUNDING FOR MADE POSSIBLE BY

ROSALIND P

WALTER

THE AGNES VARIS TRUST --

SUPPORTING AFFORDABLE ACCESS T

THE ARTS, EDUCATION, AND

HEALTHCARE

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

THE MILTON AND SALLY AVERY ART

FOUNDATION

AND ELROY AND TERRY KRUMHOLZ

FOUNDATION

THIS PROGRAM IS SUPPORTED, I

PART, BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT O

CULTURAL AFFAIRS IN PARTNERSHI

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 BANK, IT'S

PRIVILEGE TO SERVE YOU

>> GOOD EVENING AND WELCOME TO

"NYC-ARTS.

I'M PAULA ZAHN AT THE TISCH WNET

STUDIOS AT LINCOLN CENTER.

IT'S BEEN MY PLEASURE, ALONG

WITH MY COLLEAGU

PHILIPPE De MONTEBELLO, TO BRING

YOU THE VERY BEST IN THE ART

AND CULTURE IN THE TRI-STATE

AREA

>> WHETHER IT'S MUSIC, DANCE

FILM, THEATER, THE VISUAL ARTS

CLASSIC TO CONTEMPORARY,

WELL-KNOWN OR NEWLY DISCOVERED

"NYC-ARTS" HAS PROVIDED UNIQUE

ACCESS TO THE PEOPLE AND PLACE

THAT REPRESENT THE RICHNESS OF

OUR ARTS COMMUNITY

>> IN THIS PROGRAM TONIGHT, WE'D

LIKE TO SHARE WITH YOU SOME OF

OUR FAVORITE SEGMENTS AND WE

HOPE THEY'RE SOME OF YOU

FAVORITES, TOO

NEXT, WE VISIT THE FRANKLIN D.

ROOSEVELT PRESIDENTIAL LIBRARY

AND MUSEUM LOCATED IN HISTORIC

HYDE PARK, NEW YORK, JUST TW

HOURS NORTH OF NEW YORK CITY

THE LIBRARY AND MUSEUM WAS BUILT

ON THE GROUNDS OF TH

BIRTHPLACE, LIFELONG HOME AN

BURIAL PLACE OF THE 32nd

PRESIDENT OF THE UNITED STATES

IN 2013, THE LIBRARY COMPLETED A

FULL SCALE RENOVATION OF THE

HISTORIC BUILDING, THE FIRST

SINCE IT OPENED IN 1941.

AND, IT UNVEILED A TOTALLY

REDESIGNED PERMANENT MUSEU

EXHIBIT.

"A NEW DEAL FOR A NE

GENERATION," TELLS THE STORY O

THE ROOSEVELT PRESIDENCY

BEGINNING IN THE DEPTHS OF THE

GREAT DEPRESSION AND CONTINUIN

THROUGH THE NEW DEAL AND WWII.

THE FRANKLIN D. ROOSEVEL

PRESIDENTIAL LIBRARY AND MUSEU

IS PART OF THE NATIONAL ARCHIVES

& RECORDS ADMINISTRATION

THE BUILDING ITSELF WAS CREATE

BY THE PRESIDENT AND OPENED IN

1941. ROOSEVELT WANTED IT TO BE

AN ARCHIVE BUT ALSO A MUSEUM

WHERE PEOPLE COULD COME AN

LEARN MORE ABOUT HIM AND-AND HIS

ADMINISTRATION. THERE ARE OVE

17 MILLION PAGES OF DOCUMENTS IN

THE ARCHIVE.

WE HAVE ALL OF THE PERSONAL AN

PUBLIC PAPERS OF FRANKLI

ROOSEVELT AND ELEANOR ROOSEVELT,

AND OUR MUSEUM COLLECTION TOTALS

OVER 35,000 ITEMS.

WE'RE THE ONLY PRESIDENTIA

LIBRARY TO HAVE THE ACTUAL DES

USED BY THE PRESIDENT IN THE

OVAL OFFICE.

IN ADDITION TO THE DESK, WE HAVE

ALL OF THE OBJECTS THAT FDR HA

ON THAT DESK AT THE TIME OF HI

DEATH IN APRIL OF 1945

ONE OF THE THINGS THAT FDR DID

WHEN HE CREATED HIS LIBRARY IN

1941 WAS HE CREATED A PRIVAT

STUDY WHERE HE COULD COME AT ANY

TIME

DURING WORLD WAR II, HE VERY

OFTEN USED THAT OFFICE AS

WORKING OFFICE. AND WE'VE KEP

IT ALMOST EXACTLY THE WAY IT

LOOKED THE LAST TIME HE WAS IN

THE ROOM IN THE SPRING OF 1945

DURING HIS FINAL VISIT TO HYDE

PARK

SO YOU GET A REAL VISCERAL SENSE

OF THE PRESIDENT

IT'S ALMOST AS IF HE JUST LEFT

THE ROOM

THIS MUSEUM COVERS A WIDE SPAN

OF OUR HISTORY FROM THE GREA

DEPRESSION ALL THE WAY U

THROUGH THE YEARS OF

WORLD WAR II

OF COURSE, HE WAS THE ONLY MAN

ELECTED TO FOUR TERMS AS

AMERICA'S PRESIDENT.

THIS WAS A PRESIDENT WHO

PROFOUNDLY CHANGED BOTH DOMESTIC

LIFE FOR AMERICANS AND OUR

RELATIONSHIP TO THE WORLD.

HE WAS INSTRUMENTAL IN GETTING

THE NATION TO TURN TO DECISIVELY

AWAY FROM AN ISOLATIONIST VIEW

TOWARDS THE WORLD AND REALLY

ENGAGING WITH THE WORLD.

AND DOMESTICALLY, IT INVOLVE

ALL THE DIFFERENT INITIATIVES OF

THE NEW DEAL

THIS NEW EXHIBITION, "A NEW DEAL

FOR A NEW GENERATION" WA

CREATED DURING A MAJOR

UNDERTAKING TO RETHINK AND

REIMAGINE THE ENTIRE MUSEUM.

THE NEW DEAL WAS THE TERM THAT

WAS COINED TO DESCRIBE THE WID

VARIETY OF PROGRAMS AND POLICIES

THAT ROOSEVELT INITIATED T

COMBAT THE GREAT DEPRESSION.

EVERYTHING FROM THE TENNESSE

VALLEY AUTHORITY TO SOCIAL

SECURITY TO UNEMPLOYMENT

INSURANCE TO THE NOTION THAT THE

FEDERAL GOVERNMENT HAS A

RESPONSIBILITY TO TAKE A ROLE IN

THE NATION'S ECONOMY AND ENSUR

A CERTAIN MEASURE OF SOCIA

JUSTICE TO ALL AMERICANS

INCREASINGLY NOW, WE'RE GETTIN

VISITORS WHO DID NOT EXPERIENC

THIS PERIOD FIRSTHAND.

SO THERE WAS A REAL NEED T

RECAST THE WHOLE STORY OF TH

ROOSEVELT ERA, THE PERSONA

STORIES OF FRANKLIN AND ELEANO

ROOSEVELT AND THEIR TIMES.

DURING THE PLANNING PROCESS, W

VERY EARLY DECIDED THAT THE BEST

WAY TO TELL THE STORY OF ELEANOR

ROOSEVELT WAS TO WEAVE I

THROUGHOUT THE STORY OF TH

ROOSEVELT PRESIDENCY

SHE'S SO TIGHTLY INVOLVED WITH

HER HUSBAND IN ALL OF TH

THE WORLD WAR II YEARS

SO, YOU'LL FIND HER EVERYWHERE

IN THIS EXHIBITION

THE STORY OF FDR'S DISABILITY IS

OBVIOUSLY KEY TO UNDERSTANDING

HIM AS A PERSON.

WE HAVE OVER 100,000 PHOTOGRAPHS

IN OUR COLLECTIONS HERE AT THE

ROOSEVELT LIBRARY.

BUT WE ONLY HAVE FOUR THAT SHO

HIM IN A WHEELCHAIR.

THERE WAS A KIND OF UNSPOKEN

RULE THAT THERE NOT BE FILM OR

PHOTOGRAPHY THAT SHOW THE EXTENT

OF HIS DISABILITY.

IN 1921 FDR CONTRACTS POLIO.

HE REMAINS PARALYZED FROM TH

WAIST DOWN THROUGH THE REST OF

HIS LIFE. WE REALLY WANTED TO

GIVE PEOPLE A SENSE OF THE

WEIGHT OF THOSE BRACES, 10

POUNDS, AND HE HAD TO PUT THEM

ON HIS LEGS IN ORDER TO BE ABL

TO STAND

TO WALK SHORT DISTANCES, H

WOULD THEN HAVE TO SUPPORT HIS

WEIGHT ON A CANE AND LOCK ARMS

WITH A STRONG COMPANION.

AND THEN HE WOULD LITERALL

PITCH HIS BODY FORWARD AND A

THE SAME TIME HE'D BE SMILIN

AND LOOKING AROUND LIKE HE

HADN'T A CARE IN THE WORLD WHE

IN FACT HE WAS REALL

CONCENTRATING AS HE MOVE

HIMSELF FORWARD IN THAT MANNER

WE HAVE HERE FDR'S 1936 FORD

PHAETON AUTOMOBILE

THIS CAR WAS SPECIALLY MODIFIED,

BY A LOCAL MECHANIC, SO THAT THE

PRESIDENT COULD DRIVE IT WITHOUT

THE USE OF HIS LEGS. HE DROVE

VERY FAST BY ALL ACCOUNTS. IN

PARTICULAR WE HAVE A WONDERFUL

ACCOUNT FROM THE QUEEN O

ENGLAND WHEN SHE VISITED HERE IN

1939, TALKING ABOUT HO

"BRACING" IT WAS TO RIDE WIT

THE PRESIDEN

WHAT WE TRIED TO DO HERE IN THIS

NEW MUSEUM IS TO MIX THOSE

TRADITIONAL THINGS YOU EXPECT TO

SEE IN A MUSEUM WITH

AUDIO-VISUAL PRODUCTIONS, WITH

IMMERSIVE EXPERIENCES WHERE YO

CAN SORT OF LITERALLY STEP INT

THE PAST

VISITORS CAN LISTEN TO HIS

FAMOUS FIRESIDE CHATS, THE WAY

PEOPLE LISTENED TO HIM AT TH

TIME

FDR COMES INTO OFFICE IN MARCH

OF 1933.

AND HIS VERY FIRST FIRESIDE CHAT

WAS AT THE END OF HIS VERY FIRST

WEEK OF OFFICE. YOU COULD REA

ABOUT THE PRESIDENT OR THINGS,

EVENTS IN WASHINGTON I

NEWSPAPERS BUT THE WAY YOU GOT

THAT DIRECT CONNECTION WAS

THROUGH THE RADIO.

WE HAVE PROVIDED THE MACHINERY

TO RESTORE OUR FINANCIAL SYSTEM.

LET US UNITE IN BANISHING FEAR

TOGETHER WE CANNOT FAIL.

HE'S TOUCHING PEOPLE IN A VERY

POWERFUL WAY AND THEY'RE WRITING

BACK TO HIM IN GREAT NUMBERS

WRITING TO HIM AS IF HE'S

FRIEND

THIS WAS A PRESIDENT WHO

INSPIRED GREAT AFFECTION AND

LOVE BUT ALSO A GREAT DEAL O

CRITICISM AND EVEN HATRED AMON

HIS OPPONENTS.

IT WAS VERY IMPORTANT TO US THAT

WE NOT JUST INCLUDE SUPPORTERS

OF THE PRESIDENT IN THE DISPLAYS

BUT ALSO SHOW HIS OPPONENTS AS

WELL

THE SUBJECTS THAT WE LOOK AT

RANGE FROM FDR'S RESPONSE TO THE

HOLOCAUST TO HIS DECISION TO

INTERN JAPANESE AMERICANS DURING

WORLD WAR II

WE FOCUS ON SUBJECTS THAT WERE

CONTROVERSIAL IN THEIR DAY AND

ARE STILL BEING DEBATED AMON

HISTORIANS

THE LEGACY OF FRANKLIN ROOSEVELT

IS SUCH A DIFFICULT THING TO

PRESENT IN A SUCCINCT WAY. ON

HISTORIAN SAYS THAT, "WE LIVE IN

THE WORLD THAT FRANKLI

ROOSEVELT CREATED.

AND A MAJOR GOAL OF THIS NEW

EXHIBITION IS TO REACH OUT T

NEW GENERATIONS OF AMERICANS AND

TO DRAW OUT THE IMPORTAN

CONNECTIONS BETWEEN THE ISSUES

AND THE STRUGGLES OF THE 1930s

AND 1940s AND ISSUES OF TODAY.

>> THIS WEEK AT LINCOLN CENTER

THE FINAL WEEK OF THE MOSTLY

MOZART FESTIVAL.

THE ANNUAL SUMMER CELEBRATIO

OF CLASSICAL MUSIC WRAPS UP WITH

A VARIETY OF CONCERTS --

THE INTERNATIONAL CONTEMPORARY

ENSEMBLE PERFORMS A PROGRAM OF

NEW YORK PREMIERES FRO

COMPOSERS JOHN ZORN, DAI

FUJIKURA AND OLIVIER MESSIAEN.

VIOLINIST PATRICIA

KOPATCHINSKAJA PERFORMS TH

WORKS OF ENESCU, BACH AN

BARTOK, IN HER FESTIVAL DEBUT.

AND MUSIC DIRECTOR LOUIS

LANGREE LEADS THE MOSTLY MOZAR

FESTIVAL ORCHESTRA IN A UNIQUE

CONCERT OF MOZART'S FINAL OPUS

"REQUIEM".

THE MOSTLY MOZART FESTIVAL RUN

THROUGH AUGUST 23rd.

FOR FULL DETAILS, CHECK OU

MOSTLYMOZART.ORG

>> "NYC-ARTS" ISN'T ONLY

AVAILABLE ON THURSDAYS

IT'S ALSO ON THE WEB

PLEASE VISIT OUR WEBSITE B

LOGGING ON TO NYC-ARTS.ORG WHERE

YOU CAN WATCH CLIPS AND LEAR

MORE ABOUT INSTITUTIONS AN

EVENTS FEATURED ON THIS SHOW

COMING UP NEXT, THIS WEEK'

CURATOR'S CHOICE

>> NOW, WE'LL TAKE A TRIP TO THE

NEWARK MUSEUM, NEW JERSEY'S 10

YEAR OLD CULTURAL TREASURE

HERE WE'LL SEE THE WORK OF A

ARTIST WHOSE ICONIC DEPICTIONS

OF AMERICAN LIFE HAVE MADE HIM A

HOUSEHOLD NAME

NORMAN ROCKWELL WAS A PROLIFIC

ILLUSTRATOR WITH A REMARKABL

65-YEAR CAREER THAT BEGAN IN

1912 AT THE AGE OF 18.

HE EARNED WIDESPREAD RECOGNITION

THROUGH THE 1970s, AS HIS WORK

WAS PRESENTED IN MANY FORMS OF

MASS MEDIA, INCLUDING MAGAZINE

AND OTHER JOURNALS OF THE TIME

HE ACHIEVED A UNIQUE PLACE I

HISTORY WITH THE 323 COVERS HE

CREATED FOR "THE SATURDA

EVENING POST."

ULYSSES DIETZ IS THE CURATOR O

THIS EXHIBITION WHICH WA

ORGANIZED BY THE NORMAN ROCKWELL

MUSEUM IN STOCKBRIDGE,

MASSACHUSETTS.

ALTHOUGH ROCKWELL'S WORK I

OFTEN VIEWED AS BEING PAINTE

"THROUGH ROSE-COLORED GLASSES,

DIETZ PRESENTS AN IN DEPTH LOO

AT TWO WORKS ON VIEW, WHICH AS

YOU'LL SEE, REVEAL A VER

DIFFERENT "ROCKWELL STORY.

THE EXHIBITION IS REALLY A

SURVEY OF ROCKWELL'S CAREER AN

ALTHOUGH IT'S DIVIDED INTO

VARIOUS THEMATIC CATEGORIES,

WHAT IT REALLY IS ABOUT IS HOW

HE HIMSELF CHANGES AS AN ARTIS

AND A MAN OVER THE COURSE OF HIS

LIFETIME

>> I'M ULYSSES DIETZ, I'M TH

CHIEF CURATOR OF THE NEWAR

MUSEUM AND I'M THE CURATOR O

THE NORMAN ROCKWELL EXHIBITION

THE TWO PAINTINGS I CHOSE, AS MY

FAVORITES OUT OF THE EXHIBITION,

REALLY RESONATE WITH ME BECAUS

THEY BOTH DEAL WITH AFRICA

AMERICANS, WHICH IS SOMETHIN

THAT IS NOT TRADITIONALL

ASSOCIATED WITH ROCKWELL'S WOR

AND YET, WHICH IS SOMETHING THAT

IS AN UNDERLYING THEME OF A LO

OF HIS CAREER AND BECOMES

MOTIVATING THEME TOWARDS THE END

OF HIS CAREER.

THE MAGIC OF ALL OF ROCKWELL'S

MAGAZINE COVERS IS THAT YOU GE

THE STORY INSTANTLY AND IF THE

YOU CHOOSE TO SPEND MORE TIM

LOOKING AT IT, THEN MORE OF TH

STORY GETS REVEALED.

IT'S INITIALLY A VERY SIMPLE

THING.

IT'S A LITTLE BOY ON A TRAIN

TRYING TO FIGURE OUT HOW T

CALCULATE HIS TIP WHILE TH

AFRICAN AMERICAN WAITER LOOKS ON

SMILING.

IT'S A VERY ARCHETYPAL

ROCKWELL-ADULT-CHILD

INTERCONNECTION.

AN ADULT BEING PROTECTIVE AN

BENEVOLENT TOWARD A CHILD WH

WANTS TO LIVE UP TO THAT

EXPECTATION, BUT BENEATH THE

SURFACE OF THAT IS A MUCH MORE

COMPLICATED STORY.

IT WAS AN ACKNOWLEDGED POLICY ON

THE POST COVERS THAT NO AFRICA

AMERICAN COULD BE SHOWN EXCEPT

IN THE POSITION OF SERVICE, OF

SUBSERVIENCE TO ANY WHITE PEOPLE

AND THAT IS CARRIED THROUGH IN

THAT WE HAVE, THE LITTLE BOY I

A CUSTOMER ON THE TRAIN AND TH

AFRICAN AMERICAN MAN IS TH

WAITER, SO HE IS HIS SERVANT BUT

WHAT'S INTERESTING TO ME IN THIS

PAINTING IS THAT ROCKWELL TAKE

THAT TRUTH AND I THINK VER

CONSCIOUSLY SUBVERTS IT BY

MAKING THE AFRICAN-AMERICA

WAITER BOTH SERVANT AND MASTER

HE IS THE ADULT, HE DOMINATES,

HE'S LOOKING DOWN ON THE LITTL

BOY, BUT HE'S LOOKING DOWN O

HIM WITH THIS PROTECTIVE

PATERNAL LOOK ON HIS FACE, SO IT

GIVES HIM A POSITION OF POWE

AND DIGNITY, WHICH IS REALLY

PUSHING THE BOUNDARIES OF WHAT

THE POLICIES AND JOURNALISM WERE

AT THE TIME.

THE SECOND GALLERY OF THIS

EXHIBITION FOCUSES ON HIS LATE

CAREER AND CENTERS ON MURDER I

MISSISSIPPI, WHICH WAS PUBLISHED

IN 1965 AS AN ILLUSTRATION I

"LOOK" MAGAZINE FOR AN ARTICLE

OF THE SAME TITLE.

I THINK IT'S THE MOST POWERFUL

IMAGE, MOST MODERN IMAGE H

PAINTS IN HIS ENTIRE CAREER, BUT

I'LL ALSO SAY IT IS THE LEAS

ATTRACTIVE PICTURE

IT'S NOT ONE I WHAT I WOULD WANT

TO LIVE WITH, BUT IT'S ONE I

CAN'T STOP THINKING ABOUT.

HE'S COMMISSIONED TO DO THIS

ILLUSTRATION FOR AN ARTICLE THAT

IS ABOUT THE UNREELING STORY O

THE MURDER OF THREE YOUNG CIVI

RIGHTS WORKERS IN MISSISSIPPI AT

THE HANDS OF A ROGUE SHERIFF AND

THE KU KLUX KLAN AND THEY AR

SINGLED OUT BY THIS SHERIFF AN

HIS CRONIES AND THEY'R

ESSENTIALLY KIDNAPPED, BEATEN UP

AND THEN SHOT POINT BLANK OUT IN

THE COUNTRY AND THEN BURIED IN

SHALLOW GRAVES AND ALL OF THIS

BECOMES PART OF ROCKWELL'S

RESEARCH

PART OF THAT COMPLICATED

OBSESSIVE PREPARATION STYLE.

HE GOES SO FAR AS TO OBTAI

HUMAN BLOOD AND BUY A WHIT

SHIRT LIKE ONE OF THE MEN IS

WEARING TO GET A SENSE OF WHAT

IT WOULD REALLY LOOK LIKE.

HE RESEARCHES POSES AND HE

RESEARCHES LIGHTING.

HE DOES A WHOLE DIFFERENT KIND

OF RESEARCH IN THIS THAN HE'

EVER DONE BEFORE TO PRODUCES

THIS EXTRAORDINARILY, SORT O

CHILLING MOMENT, WHICH I

LITERALLY THE MOMENT WHEN THEY

LOOK AT THEIR CAPTORS, JUS

BEFORE THEY'RE KILLED, SO IT'S

AN EXTRAORDINARY, DARK AND

CHILLING MOMENT AND IT'S

SOMETHING UNLIKE ANYTHIN

ROCKWELL HAS EVER PAINTED.

INDEED THE PAINTING, THE

FINISHED PAINTING, IS NOT TH

PAINTING THAT WAS PUBLISHED.

WHAT ULTIMATELY GETS PUBLISHED

IS THE SKETCH, WHICH IS UNHEAR

OF AND ALL OF HIS LONG CAREER,

HE NEVER PUBLISHES A SKETC

EVER

BUT THIS IS THE ONE THAT TO HI

HAD ALL THE EMOTIONAL POWER OF

IT

THERE ARE A LOT OF OTHER

PAINTINGS THAT APPEAR AT THE END

OF HIS CAREER, AND WHILE NONE OF

THEM ARE QUITE SO DRAMATIC AND

GRAPHIC, A LOT OF THEM ARE

TOUCHED BY HIS SHIFTING VISION

OF THE WAY THE WORLD IS, WHICH

IS TO SAY, HE CAN NO LONGE

PRETEND THAT ANYTHING IS

PERFECT, ROMANTIC AND BEAUTIFUL.

AND ALL OF HIS LATER WORK TEND

TO TOUCH ON SOME ASPECT OF THI

BROKENNESS AND IT MAKES HI

LATER WORK FASCINATING

THESE TWO PAINTINGS, WHICH

REPRESENT A SORT OF DRAMATIC

SHIFT IN ROCKWELL'S STYLE IN HIS

CAREER, BUT NOT HIS PROCESS OVER

THE COURSE OF TWENTY YEARS

REALLY ARE JUST HIGHLIGHTS IN AN

>> I AM BELLA MEYER AND I AM ONE

OF THE GRANDCHILDREN O

MARC CHAGALL

I WAS VERY INTERESTED IN TRYIN

TO FIGURE OUT HOW HE LIVED

THROUGH THE WARTIMES AND H

DIDN'T REALLY WANT TO TELL U

ABOUT IT, BECAUSE IT WAS TOO

HORRIFYING

I ALWAYS REMEMBER HOW HE SAI

THAT HIS WAY OF FIGHTING WAS B

PAINTING. AND I'M REALLY HAPPY

THAT SUSAN GOODMAN, ORGANIZE

THIS VERY DIFFICULT SHOW, HERE

ON OUR GRANDFATHER'S WORK DURING

THE PERIOD OF THE HOLOCAUST AN

HIS EXILE IN AMERICA

>> IN 1922, CHAGALL AND HIS WIFE

AND DAUGHTER LEFT THE SOVIET

UNION TO ESCAPE FROM THE

TRAVAILS OF THE NEW SOVIET

REGIME

THEY MOVED TO PARIS, AND FRANC

BECAME HIS SECOND HOME AND H

WAS VERY HAPPY THERE. THIS WAS

UNTIL THE MIDDLE OF THE 1930s,

WHEN THE NAZI TAKEOVER OF EUROPE

BEGAN TO OCCUR. AND CHAGAL

BEGAN TO FEEL THAT HIS WORLD WAS

COLLAPSING ONCE AGAIN AND HE HAD

TO BECOME AN EXILE IN NEW YORK

SO HIS WORK WAS RESPONDING T

ALL OF THESE INCIDENTS DURIN

THE 1930s AND THE EARLY 1940s,

TO THE POLITICAL SITUATION, BU

ALSO TO HIS FORCED DEPARTURE

FROM EUROPE.

>> THE FIRST THEME IN TH

EXHIBITION IS CALLED "TIME IS

RIVER.

AND THE CONCEPT OF TIME OR THE

YEARS FLOWING AS A MOVING RIVE

MAY HAVE BEEN IMPORTANT TO

CHAGALL, IN THE SENSE THAT H

LEFT HIS FAMILY IN VITEBSK AND

NEVER WENT BACK, AS A RESULT

CHAGALL HAD TO DRAW ON HIS

STOREHOUSE OF IMAGES, WHICH KEEP

REPEATING OVER THE YEARS

AND I DO BELIEVE IT HAD TO D

WITH THE FACT THAT HE HA

TREMENDOUS NOSTALGIA FOR THE

WORLD THAT HE HAD COME FROM.

THE SECOND THEME IN TH

EXHIBITION IS "WAR AND EXILE."

THERE WAS VIOLENCE AND

DISRUPTION, WHICH APPEARS IN A

GREAT DEAL OF HIS WORK AT THIS

TIME, THE MOST REPEATED IMAG

DURING THESE YEARS WAS THAT OF

THE JEWISH JESUS

JESUS ON THE CROSS WAS A VER

TRANSGRESSIVE IMAGE FOR ONE OF

THE WORLD'S MOST IMPORTANT

JEWISH ARTISTS

IN "ARTIST WITH YELLOW CHRIST,

THE JESUS FIGURE IS SHOW

WEARING A TALLIT, A JEWISH

PRAYER SHAWL, INSTEAD OF

CHRIST'S LOINCLOTH

CHAGALL IS ACTUALLY PAINTING THE

JEWISH JESUS, BUT WE NOTICE THAT

HE IS TURNING AWAY

THERE IS A SENSE OF AN

AWKWARDNESS AT PAINTING TH

JEWISH JESUS AT A TIME WHEN NAZI

INCURSIONS ARE ESCALATING AN

THERE'S THIS TERRIBL

SUPPRESSION OF LIBERTIES FOR

JEWS IN EUROPE

THE LAST SECTION OF TH

EXHIBITION IS CALLED "THE COLORS

OF LOVE.

"BETWEEN DARKNESS AND LIGHT" I

AN EXTRAORDINARY PAINTING, WHICH

PROVIDES PREMONITIONS OF

PERSONAL CATASTROPHE THAT IS T

COME, BECAUSE WE SEE HIS WIF

BELLA NEXT TO MARC, THEIR FACE

PRESSED AGAINST EACH OTHER

BUT YOU HAVE THIS SENSE THAT

SHE'S ALREADY A GHOST.

THIS PICTURE WAS CREATED DURIN

THE YEAR THAT BELLA AND MARC

WERE WAITING FOR AN ALLIED

VICTORY AND FOR THE LIBERATION

OF FRANCE.

AND THE COLORS THAT WE SEE THE

RED, WHITE, AND BLUE ARE

ACTUALLY THE FRENCH TRI-COLOR.

AND THE IRONY HERE IS THAT THREE

DAYS AFTER THE LIBERATION, BELLA

GOT A VIRUS AND SHE DIED

SUDDENLY

HE STOPPED PAINTING FOR QUITE

WHILE.

AND THEN, LATER, THERE'S ANOTHER

LOVE IN HIS LIFE

VIRGINIA WAS A BREATH OF NEW

LIFE FOR HIM

AND THEY COMMENCED A ROMANCE

AND SUBSEQUENTLY THEY MOVED TO

HIGH FALLS IN NEW YORK, WHER

THEY SPENT A VERY HAPPY TW

YEARS TOGETHER

THE PAINTING "THE BRIDE AN

GROOM ON CLOCK" REALLY SPEAKS TO

THEIR VERY HAPPY PERIOD WHEN

THEY WERE LIVING TOGETHER.

>> HIS PAINTINGS FOR ME ARE LIKE

DREAMS BECAUSE DREAMS HELP YOU

UNDERSTAND THE WORLD

AND EVEN THOUGH ALL THE LITTLE

FIGURES HE PAINTED SEEMED TO B

INCIDENTAL, THEY ARE ALL PART OF

THE BIGGER COMPOSITION

THEY ARE LIKE DREAMS, THEY

APPEAR AND THEY GO AWAY AGAIN.

AND WHEN YOU SEE A PAINTING,

WHICH YOU SEEM TO HAVE

UNDERSTOOD OR DEFINED PRECISELY,

YOU WILL ALWAYS SEE YET ANOTHE

POINT, WHICH WILL MAKE YOU LAUGH

OR MAKE YOU SAD OR MAKE YO

UNDERSTAND EVEN FURTHER.

>> WE HOPE YOU'VE ENJOYED OU

PRESENTATION THIS EVENING.

IT'S BEEN OUR PLEASURE TO HAVE

BEEN YOUR GUIDE TO THE BEST IN

ARTS AND CULTURE IN OUR AREA

FROM THE TISCH WNET STUDIOS AT

LINCOLN CENTER, I'

PHILIPPE De MONTEBELLO

>> AND I'M PAULA ZAHN.

THANKS SO MUCH FOR WATCHING, AND

SEE YOU NEXT TIME.

>> NEXT WEEK ON "NYC-ARTS,"

TOUR OF THE INTERNATIONAL TENNIS

HALL OF FAME AND MUSEUM IN

NEWPORT, RHODE ISLAND.

A PROFILE OF BELOVED PAINTER

WILL BARNET.

AND A VISIT TO THE AMERICAN WING

GALLERIES AT THE METROPOLITA

MUSEUM OF ART.

>> WE CAN PRESUME HE'S JUS

STOOD UP FROM OVER SIZED CHAIR

STATE WITH THE EVIL EM BLAZENE

ON ITS CREST RAILS

FUNDING FOR "NYC-ARTS" IS MADE

POSSIBLE BY --

ROSALIND P. WALTER

THE AGNES VARIS TRUST --

SUPPORTING AFFORDABLE ACCESS T

THE ARTS, EDUCATION, AND

HEALTHCARE

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

THE MILTON AND SALLY AVERY ART

FOUNDATION

AND ELROY AND TERRY KRUMHOLZ

FOUNDATION

THIS PROGRAM IS SUPPORTED, I

PART, BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT O

CULTURAL AFFAIRS IN PARTNERSHI

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 BANK, IT'S

PRIVILEGE TO SERVE YOU

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