Paula Zahn in conversation with Michael Tilson Thomas, who celebrates both his 20th anniversary as Music Director of the San Francisco Symphony and his 70th birthday. Curator Ulysses Dietz talks about “American Chronicles: The Art of Norman Rockwell,” an exhibition that traced the evolution of Rockwell’s art and iconography throughout his career.

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FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY ROSALIND P.

WALTER ELISE JAFFE AND JEFFREY BROWN, JODY AND JOHN ARNHOLD, JOYCE B. COWIN THE MILTON AND SALLY AVERY ART FOUNDATION AND ELROY AND TERRY KRUMHOLZ FOUNDATION THIS PROGRAM IS PROVIDED IN PART BY THE NEW YORK CITY CULTURA AFFAIRS, IN PARTNERSHIP WITH THE CITY COUNCIL ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

NYC ARTS IS MADE POSSIBLE BY FIRST REPUBLIC BANK.

FLEXIBILITY, COORDINATION, EXCELLENCE FIRST REPUBLIC PRIVATE WEALT MANAGEMENT IT'S A PRIVILEGE TO SERVE YOU.

♪♪

GOOD EVENING AND WELCOME TO 'NYC-ARTS.

I'M PHILIPPE DE MONTEBELLO O LOCATION AT THE AMERICAN FOL ART MUSEUM IN LINCOLN SQUARE THE MUSEUM'S COLLECTION INCLUDES MORE THAN 7,000 ARTWORKS DATIN FROM THE 18TH CENTURY TO THE PRESENT, FROM COMPELLING PORTRAITS AND DAZZLING QUILTS TO POWERFUL WORKS BY SELF-TAUGH ARTISTS IN A VARIETY OF MEDIUMS.

IT IS A CENTER FOR SCHOLARSHIP AND FOR CELEBRATING TH CREATIVITY OF INDIVIDUALS WITH SINGULAR TALENTS ON THIS EVENING'S PROGRAM, W WILL CELEBRATE ANOTHER SINGULA TALENT, A MOST ACCOMPLISHE FIGURE IN THE WORLD OF MUSIC MICHAEL TILSON THOMAS IS THE RENOWNED MUSIC DIRECTOR OF THE SAN FRANCISCO SYMPHONY HE IS ALSO FOUNDER AND ARTISTI DIRECTOR OF THE NEW WORL SYMPHONY, AND PRINCIPAL GUES CONDUCTOR OF THE LONDON SYMPHONY ORCHESTRA.

IN ADDITION TO CONDUCTING TH WORLD'S LEADING ORCHESTRAS MAESTRO TILSON THOMAS IS A GIFTED COMPOSER AND PIANIST.

KNOWN AS ONE OF THE FOREMOST LIVING INTERPRETERS OF THE WOR OF GUSTAV MAHLER, HE IS ALSO A PASSIONATE CHAMPION OF THE WOR OF AMERICAN AND CONTEMPORARY COMPOSERS.

HE IS ALSO THE PRODUCER OF INNOVATIVE MULTIMEDIA PROJECTS DEDICATED TO MUSIC EDUCATION AND IMAGINATIVE CONCERT EXPERIENCES.

THE WINNER OF 11 GRAMMYS FOR HIS RECORDINGS, HE IS THE RECIPIEN OF THE NATIONAL MEDAL OF ARTS, AND IS A CHEVALIER DANS L'ORDR DES ARTS ET DES LETTRES OF FRANCE THIS SEASON HE CELEBRATES BOTH HIS 20TH ANNIVERSARY AS MUSI DIRECTOR OF THE SAN FRANCISC SYMPHONY AND HIS 70TH BIRTHDAY MY COLLEAGUE PAULA ZAHN SAT DOWN WITH THE MAESTRO WHEN HE WAS I NEW YORK LAST FALL WITH THE SA FRANCISCO SYMPHONY

IT'S SO GREAT TO SEE YOU.

WELCOME TO TOWN.

WHAT A PLEASURE.

MY PLEASURE

THANK YOU SO YOU HAVE SPENT MANY DECADES THROUGHOUT YOUR CAREER WITH TH SAN FRANCISCO SYMPHONY, TH LONDON SYMPHONY AND THE NE WORLD SYMPHONY WHAT HAVE THOSE LONGSTANDING RELATIONSHIPS MEANT TO YOU

ADVENTURE, EXPLORATION, WORKING WITH COMMUNITIES O PEOPLE WHO HAVE CHANGED OVER THE YEARS, BUT NONETHELESS WHO HAV KEPT TO A CERTAIN IDEAL OF VER GENEROUS MUSIC MAKING.

AND WHEN I BEGAN WITH THES GROUPS I WAS MOSTLY THE YOUNGEST PERSON ON THE, STAGE, AND NO MOSTLY I'M THE OLDEST PERSON O THE STAGE.

BUT IT FEELS JUST AS JOYOUS AN FRESH AS IT ALWAYS DID

SO YOU HAVE JUST HIT TH 20 YEAR MARK WITH THE SA FRANCISCO SYMPHONY, RIGHT?

YES

AND THE SYMPHONY OF COURS HAVING CELEBRATED ITS HUNDREDT ANNIVERSARY, CAN YOU DESCRIBE TO ME WHAT YOU THINK THE EVOLUTIO OF THE ORCHESTRA HAS BEEN UNDE YOUR BATON

I THINK THERE'S A LOT O REPERTOIRE IN WHICH WE FEEL MORE COMFORTABLE, CERTAINLY TOGETHE WE FEEL MORE COMFORTABLE AGAIN IT'S NOT EVERY ENSEMBL THAT CAN HANDLE THIS IDEA OF BEING ASKED TO DO SOMETHIN ORIGINAL THERE ARE SOME VERY GREA ENSEMBLES WHO WOULD RATHER SAY LET'S JUST STAY WITHIN THESE BOUNDARIES, WE'LL DO THI ABSOLUTELY WELL, BUT TO BE KIN OF KNOCKED OFF CENTER A BIT, AND ASKED TO SEARCH FOR SOMETHIN ELSE WELL, WE KEEP STRETCHING OUR BOUNDARIES

YOUR LONGEST STANDING RELATIONSHIP HAS BEEN WITH THE LONDON SYMPHONY ORCHESTRA.

YOU WERE A PRINCIPAL CONDUCTOR GUEST CONDUCTOR NOW.

DESCRIBE TO ME WHAT THAT EXPERIENCE OF, WHAT, 45 YEARS, 42 YEARS, HAS MEANT TO YOU

THE LSO IS A VERY IMPORTANT RELATIONSHIP AND IT'S THAT WORD 'ROPE RELATIONSHIP,' IT'S MORE OF A PROCESS OF WORKING THINGS OUT WITH THEM.

SO IT'S BEEN VERY IMPORTANT FO ME TO HAVE SO MANY YEARS O WORKING WITH THEM AND SEEING HOW, OVER THE YEARS THE ENTIRE ORCHESTRA HAS CHANGED.

THERE'S NO ONE IN THE ORCHESTR TODAY WHO WAS THERE WHEN I FIRST STARTED, BUT THE SPIRIT OF THE ORCHESTRA IS VERY MUCH THE SAME.

AS THEY HAVE DRAWN NEW MEMBERS INTO THE ORCHESTRA WE HAD THAT SAME SOMETHING BETWEEN A GREAT THEATER REPERTOIRE COMPANY AND A GREAT SPORTS TEAM.

VERY ALERT, VERY FAST, VERY LEAN ANDENLESS END.

ENDLESSLY FLEXIBLE THEY CAN TURN ON A DIME.

WHAT WAS YOUR VISION FOR TH NEW WORLD SYMPHONY WHEN YO HELPED CREATE IT

REAL SIMPLE, I WAS AT TANGLEWOOD IT WAS SUMMERTIME END OF THE SUMMER I GAVE A PARTY FOR THE YOUNG MUSICIANS AND SO MANY OF THEM WHEN I ASKED ABOU THEIR COMING PLANS THEY SAID WELL, I DON'T KNOW MAYBE WE'LL FREELANCE AND WAIT TABLES SO I THOUGHT THESE PEOPLE NEED TO HAVE A KIND OF PLACE WHER THEY CAN KEEP THEIR EDGE HONED TO THE MAXIMUM, KIND OF A PLAC WHICH BECOMES A LAUNCHING PA FOR THEIR CAREERS, AND THAT' WHAT I WANTED THE NEW WORL SYMPHONY TO BE

HAS THE MISSION OF TH ORCHESTRA CHANGED OVER THE YEARS?

IT'S VERY ON MESSAGE AS FAR AS ITS DEVOTION TO THE FELLOWS OF THE ORCHESTRA AND TO HELPIN THEM TO DISCOVER THEIR OWN PATHS.

MAKE IT A LITTLE BIT MORE EXTRAVAGANT.

♪♪

AT THE SAME TIME, WE HAVE REALLY BROUGHT A VER MUCH EXPANDED REPERTOIRE T SOUTH FLORIDA, AND WE ALSO ARE PRESENTING THIS MUSIC IN WAY THAT NO ONE DREAMED WOULD EVER HAPPEN

WELL, LET'S TALK ABOUT HO YOU WERE ABLE TO DO THAT IN 2011, THIS GLORIOUS BUILDIN THE NEW WORLD CENTER OPENED, A BUILDING DESIGNED BY RENOWNE ARCHITECT FRANK GEHRY.

YES FRANK AND I, WE KNEW EAC OTHER BACK TO L.A. AND IT WA EASY FOR US TO TALK ABOUT TH IDEA OF BRINGING THE MUSIC OUT INTO ALL OF THE SPACES INCLUDING TO THE SURFACE OF THE BUILDING ITSELF AND THAT LED TO THE NEW WORL SYMPHONY WALLCAST, WHERE MANY OF OUR MAJOR CONCERTS ARE BROADCAST ON SCREEN.

AND THERE'S A WONDERFUL PARK THAT FACES THAT SCREEN AND A SENSATIONAL SOUND SYSTEM WORLD CLASS SOUND SYSTEM AND SO AS ABOUT 700, 800 PEOPL ARE WATCHING INSIDE IN THE LITTLE THEATER OUTSIDE, THER ARE MAYBE 2,000 TO 3,000 PEOPL WATCHING

THAT'S FANTASTIC.

I MEAN, YOU REALLY HAVE THOUGH OUTSIDE THE BOX.

AND ISN'T IT AFTER ALL THE TRADITION OF THE ORCHESTRA I SOME CASES THAT HAS UNDERCUT ITS MISSION, WHICH IS TO REACH A MANY PEOPLE AS YOU COULD POSSIBLY REACH

WELL, THE CEREMONY OF A ORCHESTRAL CONCERT HAS BECOM SOMETIMES AN END IN ITSELF AND IT CAN FEEL VERY FORBIDDING, STULTIFYING, TO THOSE WHO AR NOT PART OF IT BUT I RESPECT THAT THERE ARE AUDIENCE MEMBERS WHO DO LOVE THE EXPERIENCE OF THE CONCERT AN WHO WANT TO EXPERIENCE IT IN A KIND OF UNDISTURBED WAY.

THEY JUST WANT TO COME INSIDE OF THEIR ZONE OF CONCENTRATION AN HEAR IT.

AND AT THE SAME TIME THERE ARE MANY OTHERS WHO REALLY ARE HUNGRY TO HAVE MUCH MORE CONTEXT CONCERNING WHAT THEY'R LISTENING TO

WHICH IS SOMETHING THAT I THINK YOU HAVE DONE VERY EFFECTIVELY THROUGHOUT YOU CAREER, AND IN PARTICULAR IN SOME OF THE SERIES YOU HAVE DONE FOR PBS, IN YOUR GROUNDBREAKIN SERIES CALLED 'KEEPING SCORE.'

WHERE YOU ACTUALLY TAKE TH AUDIENCE ON A JOURNEY THROUG GUSTAV MAHLER'S HISTORY.

IT DIDN'T OCCUR TO ME UNTIL I ACTUALLY CAME HERE AND BEGAN WALKING AROUND HOW MUCH TH SITUATION IS LIKE SOME OF TH SHAPES WE ENCOUNTER IN ONE O MAHLER'S SYMPHONIES.

THE SYNAGOGUE THAT WAY, HI PARENTS' HOUSE AND TAVERN THAT WAY, THE CHURCH WHERE HE WAS A CHORISTER THAT WAY

DO YOU THINK THAT THAT' BROUGHT MORE PEOPLE INTO THE TENT

I DO THINK IT BRINGS MORE PEOPLE INTO THE TENT, BECAUS WHATEVER IS MORE PERSONAL, LES FORMAL, IS BETTER.

SO WITH THOSE SHOWS, I BEGAN T THINK, WELL LOOK, IF I HAD YOU RIGHT BESIDE ME ON A PIANO BENCH, AND I WERE PLAYING THAT MUSIC FOR YOU, AND WE COULD DO OUR, OH, LET'S LISTEN TO THA CHORD AGAI,N ISN'T THA FANTASTIC. AND JUST THINK THAT WHEN HE WAS WRITING THIS CHORD HE WAS IN NUSSDORF, BANG THE MAGIC OF TELEVISION WE ARE NOW IN NUSSDORF, ISN'T THAT GREAT.

AND NOW WE CAN LOOK AROUND AND SEE, OH NOW WE'RE BACK ON TH PIANO BENCH, AND NOW WE'RE BAC INSIDE THE PIECE AND IT WOULD BE SOMETHING AS PERSONAL AND SIMPLE AND MAGIC AS THAT BUT IT WOULD BE ALL ABOUT IT'S JUST YOU AND ME RIGHT HERE THAT'S THE TONE OF IT.

♪♪

I THINK ONE OF THE GREA DELIGHTS OF WATCHING YOU O CAMERA AND, YOU ONLY SEE THIS ON THE TELEVISION SPECIALS, IS WHEN THE CAMERA, THERE'S A TIGH CLOSE UP ON YOUR FACE, AND OFTEN YOU'RE JUST EXUDING JOY, AND I REALLY IS FUN TO WATCH YOU ♪ YOU GOT ME BABY YOU GOT ME YOU GOT MY ENTHUSIAS ON THE LAND AND SEA ♪

A LOT OF WHAT I DO COMES FROM MY BACKGROUND, WHICH IS THEATER, MY FAMILY WERE MAJOR THEATER PEOPLE THE THOMASHEFSKYS WHO HAD BEEN THE FOUNDERS AND GREAT STARS O YIDDISH THEATER IN UNITE STATES, WHICH HAD A VERY POPULAR SIDE, A VERY POLITICAL SIDE AN ALSO A VERY INTELLECTUAL AND AVANT-GARDE SIDE AND THAT'S WHO I GREW UP AROUND, MOVIE PEOPLE, THEATER PEOPLE MOSTLY SO I'M VERY FOCUSED ON THE PLAYERS HAVING THE SPACE T ESSENTIALLY GET INTO CHARACTER TO ACTUALLY BE THE MUSIC SO I'M TRYING TO ENCOURAGE THE TO KIND OF, AS ACTORS WOULD TO KIND OF GET A TAKE ON WHAT EMOTIONALLY IT MEANS TO THEM AND BECOME SO CONFIDENT IN THAT THEY CAN PRESENT THIS PERFORMANCE WHICH DOESN'T SEEM LIKE THEY'R READING NOTES, BUT SEEMS LIK THEY'RE MAKING IT UP RIGHT A THAT MOMENT.

YOU HAVE BEEN HERALDED AS BEING A CONDUCTOR WHO HAS ALWAYS HONORED THE TRADITION OF AMERICAN MUSIC WHAT WOULD YOU DESCRIBE AS AMERICAN SOUND

IN THE 20th CENTURY PROBABL MORE NEW SOUNDS HAVE COME INTO MUSIC, COME INTO THE ORCHESTRA THAN EVER BEFORE IN HISTORY, AND MOST OF THEM CAME THROUG DEVELOPMENTS IN AMERICAN MUSIC FOR BETTER AND, PERHAPS A LITTLE BIT FOR WORSE, AMERICAN MUSI HAS BECOME THE DOMINANT MUSICA FORM IN THE WORLD.

♪♪ WHEN YOU THINK ABOUT IT, ALL THE HUGE EFFECT OF JAZZ, O MINIMALISM, OF HIGH TECHNOLOGY OF THE WHOLE PRESENCE OF ELECTRONICS AND NEW INSTRUMENT AND MULTIMEDIA AND ALL OF THES THINGS THAT'S THRILLING, THAT AMERICA MUSIC HAS GONE IN SUCH A DIRECTION AND THAT PEOPLE IN THE MOST REMOTE CORNERS OF THE WORLD CAN BE REALLY AWARE OF NOT ONL COMPOSER, BUT BE VERY AWARE OF THE CADENCES OF A GREAT DELT BLUES GUITARIST.

IN CLOSING, YOU HAVE INJECTED SO MUCH ENERGY AND JOY INTO YOUR MUSIC MAKING WITH THESE THRE MAJOR SYMPHONIES I'M JUST WONDERING IF YOU COUL GIVE ME A THOUGHT ABOUT TH STATE OF THE AMERICAN SYMPHONY ORCHESTRA TODAY.

WHERE ARE WE

WE'RE AT THE MOMENT TO TAKE NOTHING FOR GRANTED, T REDEDICATE OURSELVES TO THE IDEA THAT THIS TRADITION, IF WE GIV YOUNG PEOPLE A CHANCE TO EXPERIENCE IT, IS ONE OF THE GREATEST, RICHEST, SPIRITUAL RESOURCES THAT THEY CAN POSSIBLY HAVE AND AT THE SAME TIME, WE HAVE TO LOOK BEYOND THE CURRENT RITUAL AND SAY HOW CAN THIS MUSIC B BROUGHT TO PEOPLE?

IN LIVE EVENTS, IN ONLIN EVENTS HOW CAN MUSICIANS LEARN TO B COMFORTABLE IN NOT NECESSARILY PRESENTING THEIR MESSAGE AS HUGE BLOCK OF PEOPLE ALWAYS BU JUST SOMETIMES JUST AS SIMPLY AS THIS LOVELY ONE ON MOMENT THAT WE'RE SHARING HERE RIGHT NOW

IT HAS BEEN A PRIVILEGE TO BE ABLE TO SPEND TIME WITH YO WHILE -- PARTICULARLY IN LIGHT OF YOUR VERY BUSY AND DEMANDIN SCHEDULE THANK YOU.

♪♪

HELLO, I'M RAFAEL PI ROMAN.

AND WELCOME TO LINCOLN CENTER, WHERE WE HIGHLIGHT EVENT HAPPENING WITH ARTS AND ARTIST FROM AROUND THE WORLD.

THIS WEEK AT LINCOLN CENTER, 'LA DONNA DEL LAGO' AT THE METROPOLITAN OPERA ROSSINI'S BEL CANT TOUR-DE-FORCE 'LA DONNA DE LAGO' IS CONDUCTED BY ITALIA MAESTRO MICHELE MARIOTTI, WITH A VIRTUOSO CAST LED BY JOYCE DIDONATO AS ELENA, THE TITULAR LADY OF THE LAKE, AND JUAN DIEGO FLOREZ AS JAMES V, THE KING WH FALLS IN LOVE WITH HER BRITISH DIRECTOR PAUL CURRAN MADE HIS MET DEBUT IN THIS CO-PRODUCTION WITH THE SANTA F OPERA.

THE SETS AND COSTUMES AR DESIGNED BY KEVIN KNIGHT LIGHTING IS BY DUANE SCHULER AND PROJECTION DESIGN IS BY OTTO DRISCOLL 'LA DONNA DEL LAGO' WILL B PERFORMED ON SELECTED DAYS THROUGH MARCH 14th FOR COMPLETE DETAILS PLEAS VISIT METOPERA.ORG AND FOR EVEN MORE INFORMATIO ABOUT EVENTS AT LINCOLN CENTER YOU CAN VISIT THEIR WEBSITE AT LINCOLNCENTER.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 AND NOW, SOMETHING WE LIKE T CALL OUR CURATOR'S CHOICE, A CLOSE LOOK AT A SINGLE WORK OF ART, OR ONE SPECIAL EXHIBITION CHOSEN FROM MUSEUMS OR GALLERIES IN OUR AREA.

PLEASE ENJOY OUR SELECTION THI WEEK

NOW WE'LL VISIT THE NEWAR MUSEUM, NEW JERSEY'S 100 YEA 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 1970'S 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 VERY DIFFERENT ROCKWELL STORY

THE EXHIBITION IS REALLY SURVEY OF ROCKWELL'S CAREER, AND 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, THE CHIEF CURATOR OF THE NEWARK MUSEUM AND I'M THE CURATOR OF THE NORMA ROCKWELL EXHIBITION.

THE TWO PAINTINGS I CHOSE AS M FAVORITES OUT OF THE EXHIBITIO 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 THEN YOU CHOOSE TO SPEN MORE TIME LOOKING AT IT THEN MORE OF THE 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 VER ARCHETYPAL ROCKWELL-ADULT-CHIL INTERCONNECTION.

AN ADULT BEING PROTECTIVE AN BENEVOLENT TOWARD A CHILD WH WANTS TO LIVE UP TO THAT EXPECTATION.

BUT BENEATH THE SURFACE OF THA IS A MUCH MORE COMPLICATED STORY.

IT WAS AN ACKNOWLEDGED POLICY ON THE 'POST' COVERS THAT N AFRICAN-AMERICAN COULD BE SHOW EXCEPT IN A POSITION OF SERVICE, OF SUBSERVEIENCE TO ANY WHIT 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 BU 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 O POWER AND DIGNITY, WHICH I REALLY PUSHING THE BOUNDARIES OF WHAT THE POLICIES IN JOURNALIS 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 WOULD WANT TO LIVE WITH, BUT IT'S ONE THAT 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 ARE SINGLED OUT B THIS SHERIFF AND HIS CRONIES AND THEY'RE ESSENTIALLY KIDNAPPED, BEATEN UP AND THEN SHOT POIN BLANK OUT IN THE COUNTRY AND THEN BURIED IN SHALLOW GRAVES.

AND ALL OF THIS BECOMES PART O 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 PRODUCE THIS EXTRAORDINARILY, SORT OF CHILLING MOMENT, WHICH I LITERALLY THE MOMENT WHEN THEY LOOK AT THEIR CAPTORS JUST BEFORE THEY'RE KILLED.

SO IT'S AN EXTRAORDINARY AND DARK AND CHILLING MOMENT, AN IT'S UNLIKE ANYTHING THA 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 IN 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, H CAN NO LONGER PRETEND THAT ANYTHING IS PERFECT AND ROMANTIC AND BEAUTIFUL.

AND ALL OF HIS LATER WORK TEND TO TOUCH ON SOME ASPECT OF THI BROKENNESS, AND IT MAKES HIS LATER WORK FASCINATING AND WHILE I FOCUSED ON THESE TWO PAINTINGS BECAUSE THEY REPRESENT SUCH A DRAMATIC SHIFT IN NORMA ROCKWELL'S STYLE IN THE COURSE OF HIS CAREER, THEY ARE REALLY THE TIP OF THE ICEBERG WHAT IS A RICH, VISUAL FEAST, FOR ANYONE INTERESTED IN FINE ART OR PRIN ART OR JUST INTERESTED IN TH EVOLUTION OF AN ARTIST ♪♪

WE HOPE YOU'VE ENJOYED OU PROGRAM AND YOU'LL ALSO TAKE 'NYC ARTS' WITH YOU.

OUR FREE APP GIVES YOU INFORMATION ABOUT EVENTS AROUN THE CITY WHEN YOU MOST NEED IT FROM THE AMERICAN FOLK ART CENTER IN LINCOLN SQUARE I'M PHILIPPE DE MONTEBELLO O LOCATION AT THE AMERICAN FOL ART MUSEUM IN LINCOLN SQUARE SEE YOU NEXT TIME.

WHEN 'NYC-ARTS' RETURNS O MARCH 19th - A VISIT TO THE NOBLE MARITIM COLLECTION AT SNUG HARBO CULTURAL CENTER ON STATE ISLAND

WE ALSO CELEBRATE THE MODER WATERFRONT

> AND A LOOK AT THE LEGENDAR WATERCOLORS OF JOHN JAME AUDUBON FROM THE COLLECTION OF NEW YORK HISTORICAL SOCIETY.

IN THE COLLECTION, THE BIRDS ARE ON VIEW FOR THE FIRST TIME EVER.

♪♪

FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY ROSALIND P.

WALTER ELISE JAFFE AND JEFFREY BROWN, JODY AND JOHN ARNHOLD, JOYCE B. COWIN 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'S PRIVATE WEALT MANAGEMENT IT'S A PRIVILEGE TO SERVE YOU.