Pianist Michael Brown, one of the recipients of the Avery Fisher Career Grants in 2015, performs “Valse – Impromptu” by Franz Liszt. A look at works by painter Mark Rothko and an interview with visual artist Steve Slaske.

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

WALTER, ELISE JAFFE AND JEFFRE BROWN, JODY AND JOHN ARNHOLD JOYCE B. COWIN THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELROY AN TERRY KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM TH 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 PRIVATE WEALT MANAGEMENT IT'S A PRIVILEGE TO SERVE YOU.

♪♪

> GOOD EVENING WELCOME TO 'NYC-ARTS.'

I'M PAULA ZAHN AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

WHETHER IT'S MUSIC, DANCE, OPERA, THEATRE OR FILM, THIS LINCOLN CENTER CAMPUS IS TRULY AN INTERNATIONAL CROSS ROADS O CREATIVITY AND CULTURA EXCHANGE IT IS ALSO STEEPED IN ITS OW DISTINGUISHED PROGRAMS AND TRADITIONS THE CEREMONY FOR THIS YEAR'S AVERY FISHER CAREER GRANT AWARDS TOOK PLACE LAST MARCH AT THE JEROME L. GREENE PERFORMANCE SPACE AT WQXR.

THESE INDIVIDUAL GRANTS OF $25,000 GIVE PROFESSIONA ASSISTANCE AND RECOGNITION T TALENT ED INSTRUMENTALISTS WHO HAVE GREAT POTENTIAL FOR SOL CAREERS.

> IT IS QUITE UNUSUAL THAT W DO HAVE FIVE RECIPIENTS WITH U TONIGHT.

IT MARKS THE 10th TIME IN 40 YEARS OF THE PROGRAM THAT THIS HAS HAPPENED WE'RE GRATEFUL THAT OTHE COMMITMENTS ALLOW THEM TO BE HERE TONIGHT AND TO PLAY FOR YOU.

THIS YEAR, THERE WERE INDEE FIVE OUTSTANDING HONOREES.

PIANIST MICHAEL BROWN, HAVE OLIST MATTHEW LIPPMAN, AND VIOLINIST PAUL HUANG, KRISTE LEE, AND SIMONE PORTER

I WAS REALLY DELIGHTED WITH THE NEWS WHEN THEY TOLD MY I WAS A WINNER THIS YEAR IT COMES WITH A NICE FINANCIAL AWARD THAT I'M GOING TO USE.

I HAVE PLANS TO MAKE A NEW SOL RECORDING.

I'M LOOKING FORWARD TO SEEIN WHERE IT WILL TAKE ME.

A NATIVE NEW YORKER, MICHAE BROWN EARNED DUAL BACHELOR'S AND MASTER'S DEGREES IN PIANO AN COMPOSITION FROM THE JUILLIARD SCHOOL, AN EQUALLY COMMITTED PIANIST AND COMPOSER, HIS UNIQUE ARTISTRY IS REFLECTED IN HIS CREATIVE APPROACH TO PROGRAMMING, OFTEN INTERWEAVIN THE CLASSICS WITH CONTEMPORARY WORK AND HIS OWN COMPOSITIONS.

I VERY MUCH SEE MYSELF AS A PIANIST COMPOSER I WAS REALLY FASCINATED WITH MUSIC FROM A YOUNG AGE, AN ALWAYS THE PIANO SOMEHOW I WAS ALWAYS DRAWN T IT THE SOUND AND THE ACT OF PLAYING IT AND I THINK AT THE END OF TH DAY, I'VE ALWAYS LOVED PLAYING THE PIANO.

I STARTED WRITING MUSIC WHEN I WAS AROUND 10 YEARS OLD BECAUS I WANTED TO BE LIKE MOZART I'VE ALWAYS LOVED COMPOSING.

IT'S ALWAYS BEEN SOMETHING THA I THINK HAS FIT WELL WITH PIAN PLAYING, TO DO BOTH.

THEY SORT OF FEED OFF OF EAC OTHER.

AND I LEARN ABOUT MY PLAYING FROM MY COMPOSING, AND I THINK I LEARN VICE VERSA ♪♪ The Liszt Valse Impromptu is SORT OF A WALTZ AND THERE'S THIS INPROMPTU OR IMPROVISED QUALIT TO IT.

THERE'S SOMETHING SORT OF UNIQUE ABOUT IT IT'S MEANT FOR A UNIQUE AN FESTIVE OCCASION THERE'S ALSO A DELICATE QUALIT TO IT, BUT IT HAS SOME WONDERFULLY EXPANSIVE AND ALMOST EXPLOSIVE MOMENTS THAT ARE KIN OF FUN ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ APPLAUSE ]

> NOW WE TRAVEL THE WORL THROUGH THE EYES OF STEV SLASKE, AN ARTIST WHOS LIFE-LONG PASSION FO ARCHITECTURE INFORMS HIS DISTINCTIVE DRAWING STYLE.

AMONG HIS FAVORITE SUBJECTS, DRAMATIC CITYSCAPES ALONG WITH THE INTERIOR OF CONCERT HALLS.

THE ENERGY OF HIS WORK HELPS TRANSPORT VIEWERS TO THE FAR AWAY PLACES HE VISITS.

TO ME, IT'S ALWAYS BEEN ALMOST A COMPULSION TO DRAW.

I FEEL LIKE I'M PRIMARILY AN OBSERVER, AND I CAPTURE WHAT I SEE IN MY OWN STYLE.

MY NAME IS STEVE SLASKE, AND I'M AN ARTIST.

IT SEEMS LIKE I'VE BEEN DRAWIN PRETTY MUCH MY WHOLE LIFE.

I'D SAY I STARTED OUT JUST DRAWING EVERYTHING AROUND ME BUT I DEVELOPED A PARTICULAR INTEREST IN ARCHITECT ARE YOU.

VISUALLY, JUST THE EXCITEMENT OF THE MANMADE ENVIRONMENT THAT WE'VE CREATED.

I HAVE A DEGREE IN ARCHITECTUR FROM THE UNIVERSITY OF WISCONSIN.

SO, I MEAN, I ALWAYS HAD THAT -- I THOUGHT ARCHITECTURE WAS A WAY OF COMBINING MY INTERESTS IN BUILDINGS AND IN DRAWINGS.

I STARTED OUT BEING VERY INTERESTED IN A LOT OF THE HISTORIC BUILDINGS IN MILWAUKEE.

I HAD DONE THE MILLER HOUSE AN THE JUDGE JASON DOWNER HOUSE O THE CORNER OF PROSPECT AND JUNEAU I WAS JUST INSPIRED BY THE HISTORY OF THOSE BUILDINGS THE EXCITEMENT OF WHAT WE'VE CREATED, THE MANMADE CREATED CONTRASTED WITH THE NATURA ENVIRONMENT.

AND I THINK ALSO A PART OF M WORK HAS BEEN THE CONTRAST O THE NEW WITH THE OLD THE HISTORIC ARCHITECTURE WITH MODERN ARCHITECTURE THAT I FIN VERY EXCITING.

WHAT YOU'RE SEEING IN THE PIEC IS 23 DRAWINGS FROM WHAT HAS BECOME OVER 300 DRAWINGS THA I'VE DONE IN CONCERT SETTINGS.

SOME OF THE EARLIEST ONES WERE AT ST. JOHN'S CATHEDRAL IN MILWAUKEE.

SO THE TITLE OF THIS PIECE I 'DRAWING MUSIC.'

AND IN VARIOUS PLACES, MAINL THE CHICAGO CULTURAL CENTER, WHERE I GO ALMOST WEEKLY TO DRAW IN THAT SETTING.

IT'S A BEAUTIFUL SETTING, IN THE OLD CHICAGO PUBLIC LIBRARY I LIKE THE COMBINATION O DRAWING DURING A CONCERT LETTING THE MUSIC FLOW AS PART OF THE DRAWING I'VE FOUND THROUGH THIS PROCES THAT THE MUSIC REALLY DOES FEE MY ARTISTIC OUTPUT MOST OF THESE DRAWINGS, I GIVE MYSELF THE TIME OF THE CONCERT WHICH IS LESS THAN AN HOUR T COMPLETE ONE OF THESE DRAWINGS YOU'RE CAPTURING THE ARTIST, THE ENVIRONMENT.

YOU'RE SURROUNDED BY THE MUSIC YOU FEEL THE ENERGY FROM THE ARTIST YOU'RE THERE AMONG THE PEOPL LISTENING.

IT'S THE ENTIRE EXPERIENCE I GENERALLY START WITH THE MUSICIANS.

I AM SO TAKEN WITH THAT SPAC THAT I'VE DRAWN IT FROM EVER ANGLE NOW.

BUT I HAVE ALWAYS DONE THIS AS PART OF MY TRAVELS TOO I'VE ALWAYS BEEN INSPIRED BY WHAT'S AROUND ME AND WHEN I TRAVEL, I ALWAY FIND, YOU KNOW, EXCITING NEW PLACES TO BE IT'S THESE DRAWINGS THAT I D THERE, IT CAPTURES A MOMENT IN TIME THAT I FIND REALL EXCITING ♪♪ I LIKE TO DRAW WHEN I TRAVEL AND CAPTURING DIFFERENT CITIES AND THEIR SKYLINES, IT JUS SEEMED LIKE A NATURAL THING FO ME TO DO OF THE SKYLINES, I DID ONE O THE CHRYSLER BUILDING IN NEW YORK, WHICH WAS EXCITING TO ME BECAUSE IT WAS A COMBINATION O AN ACTUAL SCENE AND CREATING A PIECE USING A MODEL I HAD BUIL OF THE EMPIRE STATE BUILDING A A VANTAGE POINT FOR THIS DRAWING.

I STARTED OUT DOING MY DRAWING AND ADDING COLOR TO THOS DRAWINGS OVER TIME, YOU KNOW, THE COLOR GOT BOLDER I STARTED DOING JUST PAINTINGS IN COLOR, GETTING AWAY FROM TH LINE BUT I ALWAYS END UP GOING BACK TO DRAWING, WHICH I FEEL LIKE IS SO MUCH -- SUCH AN INTRINSIC PART OF MY WORK.

THE MURAL BEHIND ME IS ACTUALL FUNNY BECAUSE IT'S THE BACK OF THE BANDSHELL IN MILLENNIU PARK, WHICH THROUGHOUT THE SUMMER SEASON IN CHICAGO THERE'S FREE CONCERTS THERE AL SUMMER LONG.

THE IDEA BEHIND THESE MURALS WAS TO DEPICT DIFFERENT CHICAG NEIGHBORHOODS, PARTICULAR SCENES OF CHICAGO, CHICAG ARCHITECTURE ONE OF MY FAVORITE EXHIBITIONS THAT I'VE DONE IS A SHOW O PORTRAITS DRAWN FROM LIFE, FRO LIVE SITTINGS.

TAKING THIS THING WE TALKE ABOUT WITH BUILDINGS AND APPLYING THAT TO THE DYNAMIC DRAWING ANOTHER PERSON, AN CAPTURING THEM IN A DRAWING THAT WAS DONE DIRECTLY IN INK NOT SKETCHING IT OUT FIRST IN A LIMITED TIME PERIOD THAT WAS VERY EXCITING TO ME DRAWING IS SO IMPORTANT TO ALL ASPECTS OF ART YOU MIGHT NOT SEE THINGS A DRAWING BASED, BUT YOU HAVE TO BE ABLE TO DRAW TO COMMUNICATE YOUR IDEAS PUT IT OUT THERE AND BE OKAY WITH IT, JUST LETTING LINE AND COLOR FLOW BELIEVE IN WHAT YOU DO ♪♪

> HELLO, I'M RAFAEL PI ROMAN WELCOME TO LINCOLN CENTER, WHERE ALL YEAR ROUND NEW YORKERS AND GUESTS FROM AROUND THE WORLD VISIT THIS CULTURAL MECCA FO ITS THEATERS OVERFLOWING WIT THE BEST IN MUSIC, DANCE, OPERA, DRAMA, AND FILM.

THIS WEEK AT LINCOLN CENTER, ' MIDSUMMER NIGHT'S DREAM' FRO JUNE 2 TO 7, NEW YORK CITY BALLET WILL BE PERFORMIN SHAKESPEARE'S 'A MIDSUMMER NIGHT'S DREAM.

SET TO MUSIC BY FELI MENDELSSOHN AND CHOREOGRAPHED BY GEORGE BALANCHINE, THIS BALLET CONTINUES TO CHARM AUDIENCES WITH ITS CROSSED LOVERS,S IT LUSH FOREST SETTING AND TH MAGIC SPELLS WOVEN BY TH INFAMOUS PUCK.

FOR COMPLETE DETAILS, VISI NYCBALLET.COM.

OR VISIT LINCOLNCENTER.ORG

> NEXT FROM OUR FRIENDS AT CHRISTIE'S, THE INTERNATIONA FINE ART AUCTION HOUSE, OBJECT LESSON

> MUCH OF THE SILVER WE HANDLE HERE AT CHRISTIE'S COMES WITH RICH HISTORY OUR COLLECTORS DESPITE WANTING A PAIR OF CANDELABRA ARE ALS INTRIGUED BY THE DEPTHS OF HISTORY OFTEN TIED UP WITH THE SILVER OBJECT.

THESE CANDELABRA, YOU CAN TELL STYLISTICALLY WERE MADE IN LONDON AROUND 1800 AT THAT TIME, THERE WAS A GREA FASHION FOR ROMAN DESIGN AND INDEED THE BASE OF THE CANDELABRA ARE SHAPED AS A ANCIENT BRONZE LAMP.

YOU CAN ALSO SEE ROMAN DETAILS IN THE BRANCHES AND THE LION'S MASK AND THE STYLIZED FOLIAG ALONG THE TOP HERE ONE DETAIL ABOUT THESE STICK THAT REALLY HELPS YOU DATE THE IS THE EGYPTIAN MOTIF RIGH HERE THESE ARE EGYPTIAN CARYATIDS WITH A SORT OF CHEVRON AND LOTUS DECORATION ALSO, AMUSINGLY, THEY'VE GOT BARE FEET COMING DOWN HERE FRO THEIR EGYPTIAN ROBES AND THAT TELLS YOU THAT THER WAS A PASSION FOR EGYPTIAN MOTIFS THAT FOLLOWED NELSON' GREAT VICTORY AGAINST NAPOLEON THE BATTLE OF THE NILE IN 1798 SO YOU FIND THESE JIMGZ MOTIFS CROPPING UP IN OTHERWISE CLASSICAL DESIGNS.

INDEED, THEY'RE HALLMARKS ON THIS PIECE AND THEY CONFIRM OUR THEOR ABOUT THE DATING, AND THEY SHO THAT THEY WERE MADE IN LONDON IN THE YEAR 1807.

THE MAKER IS RUNDELL & BRIDGE, THE GREAT ROYAL GOLDSMITHS O THE PERIOD OUR COLLECTORS ARE VER INTERESTED IN THE HISTORIES OF THESE PIECES SO WHEN THESE CAME IN, WE HAD NO IDEA WHAT THIS ENGRAVING WAS O THE COLUMNS.

THIS IS A COAT OF ARMS, OF COURSE, BUT WE HAD TO TRANSLAT ALL OF THESE TINY LITTLE VISUA MOTIFS INTO LANGUAGE SO WE COULD LOOK UP AND DISCOVER THE IDENTITY OF THE ORIGINAL OWNER INDEED THIS TURNED OUT TO BE THE COAT OF ARMS OF ONE SOPHIA WYKEHAM, A RATHER OBSCURE YOUN HEIRESS, WHO LIVED I OXFORDSHIRE AND WAS UNMARRIED AT THE TIME WE WERE CONFUSED, THOUGH BECAUSE ABOVE HER COAT OF ARMS THERE'S A CORONET SHOWING THAT SHE WAS A BARONESS IN HER OW RIGHT.

SO WE TRIED TO FIND OUT WHY.

SO LOOKING INTO HER BIOGRAPHY, WE FOUND OUT THAT SHE WAS CLOS TO ROYAL CIRCLES AND WAS SORT OF SWEPT UP IN WHAT WAS A VER FAMOUS MARRIAGE RACE OF THE SONS OF GEORGE III, SONS OF THE KIN IN 1818.

THERE WAS A CRITICAL ROYAL DEATH THAT YEAR, WHICH WAS MEANT OUT OF THE SEVEN SONS AT LEAST ONE OF THEM HAD TO PRODUCE THE NEX KING OR QUEEN.

SO WILLIAM, THE THIRD SON, WHO WAS RUMORED TO MARRY SOPHI WYKEHAM, ACTUALLY ABANDONED HE FOR A GERMAN PRINCESS.

ALL OF THE SONS BUT ONE MARRIE GERMAN PRINCESSES, AND SHE WAS LEFT IN THE LURCH.

AND INDEED ONE OF THE SONS ACTUALLY TURNED OUT TO HAVE DAUGHTER, AND SHE BECAME QUEEN VICTORIA SO THIS WAS A SERIOUS BUSINESS PRODUCING AN HEIR.

BUT OUR SOPHIA WAS A GOOD SPORT.

IN FACT, SHE THREW A VER WELL-KNOWN GREAT PARTY ON TH CORONATION OF GEORGE IV, WILLIAM'S BROTHER.

IN 1821, HE BECAME KING AN THEREAFTER BESTOWED A BARONESS TITLE ON SOPHIA.

SHE NEVER DID MARRY.

SO WE LEARNED SOMETHING ABOUT LITTLE BIT OF ROYAL HISTORY BY INVESTIGATING THESE CANDELABRA AND CERTAINLY THEY ARE SUITABL FOR SOMEONE WHO ENTERTAINED IN THAT STYLE AND WAS CONNECTED T THE ROYAL FAMILY

> 'NYC-ARTS' ISN'T JUS AVAILABLE ON THURSDAYS YOU CAN ALSO FIND IT ON THE WEB.

PLEASE VISIT OUR WEBSITE B LOGGING ONTO NYC-ARTS.ORG.

THERE YOU CAN WATCH CLIPS AN LEARN MORE ABOUT INSTITUTION AND EVENTS FEATURED ON THI SHOW NOW A LOOK AT THE ARTS AND CULTURE SCENE FROM OUR FRIENDS AT ANOTHER PUBLIC TELEVISION STATION.

> WE ARE VERY FORTUNATE HERE AT THE DENVER ART MUSEUM NOT ONLY TO HAVE THIS EXTRAORDINAR GROUP OF ROTHKO PAINTINGS AN DRAWINGS, BUT ALSO TO HAVE S MANY OF THE EARLY WORKS, AND THESE EARLY WORKS ARE RARELY SEEN

Reporter: RUSSIAN-BORN MARK ROTHKO WAS LARGELY SELF-TAUGHT HE GAINED FAME IN THE ART WORL FOR HIS SO-CALLED COLOR FIEL PAINTINGS.

DAN'S EXHIBIT INCLUDES SOME OF THOSE WORKS, BUT IT ALSO SHOWS ANOTHER SIDE OF THE PAINTER THAT MOST ARE PROBABLY UNAWARE OF

IT'S REALLY GREAT TO SE WHERE HE CAME FROM, AND OF COURSE LIKE OTHER ARTISTS OF HIS GENERATION, HE STARTED WITH TH FIGURE AND HE WAS MUCH INFLUENCED B MILTON AVERY, MAX WEBER.

AND AS OTHER ARTISTS OF HI GENERATION, HE MOVED THROUGH VARIOUS PERIODS.

HE WENT THROUGH A PERIOD THAT HE WAS MUCH INFLUENCED BY MYTHS AND OF COURSE BY THE SURREALISTS AND BY JUNG AND BY NEITZSCHE AND B FREUD.

AND THEN HE BECOMES VERY INTERESTED IN THE FREEDOM OF SURREALIST AUTOMATISM.

IT'S MUCH LIKE THOSE OF US WHO DOODLE IN OTHER WORDS, WE'RE NO THINKING ABOUT WHAT WE ARE PUTTING ON THE SURFACE, BUT WE ARE JUST FREELY DRAWING OR PAINTING THESE WORKS ARE NOT ABOUT AN SUBJECT.

THESE ARE WHAT WE WOULD CALL NONOBJECTIVE IN OTHER WORDS, THEY ARE JUS ABOUT THEMSELVES IT WAS PART OF HIS DEVELOPMENT HIS EVOLUTION TOWARDS PURITY I HIS WORK

BUT FINDING THE PURITY IN THE PAINTINGS WAS AN EVOLUTIONAR PROCESS.

WHAT'S SO INTERESTING ABOUT THE 1940s AND ABOUT THES ARTISTS THAT WE KNOW FOR THEIR OWN WORKS WHETHER IT'S POLLOCK AND HIS WONDERFUL DRIPS OR STILL WITH HIS WONDERFUL JAGGED WORK ALL OF THESE ARTISTS WER GRAPPLING WITH THE SAME THING IN THE 1940s.

THE WAR WAS ON THEY ARE JUST COMING INTO THEI OWN.

THEY ARE DEFINITELY TALKING TO EACH OTHER THEY ARE THINKING ABOUT THINGS TOGETHER THEY ARE ALL GOING THROUGH THI ISSUE OF HOW TO DEAL WITH TH WORLD AS IT IS AT THAT POINT SO WHAT DID PEOPLE DO TO GET THROUGH ALL OF THIS?

AND ROTHKO AND HIS CONTEMPORARIES WERE SO INTERESTED IN MYTHS AND IN THE UNCONSCIOUS.

AND THIS WAS A WAY TO KIND O GRAPPLE WITH YOUR EVERYDAY LIFE.

BUT AT THIS POINT, RIGHT THEN IN THE 1940s, THERE IS SUCH A CORRELATION BETWEEN WHAT THE WERE DOING THEN JUST ABOUT 1950, EACH O THESE ARTISTS WAS MOVING INTO NEW DIRECTION THAT WOULD CHARACTERIZE THE WORK OF THA ARTIST THEN HE MOVES FROM THOSE SURREALIST AUTOMATTIST WORKS WHEN HE BEGAN TO BRING TOGETHE SOME OF HIS FORM WE'VE GOT A GREAT QUOTE ON THE WALL THAT SAYS, THE FORMS IN M PAINTINGS ARE MEANT TO BE LIKE THE ACTORS IN A DRAMA.

IN OTHER WORDS, HE IS STARTING TO COALESCE SOME OF THOSE FORMS.

AND THAT'S THE PRELUDE TO WHAT WE FINALLY GET IN THE COLO FIELD WORKS.

AND OF COURSE ROTHKO IS KNOWN AS ONE OF THE MOST IMPORTAN ARTISTS OF THE SO-CALLED NEW YORK SCHOOL.

AND THE COLOR FIELD BRANCH O THAT IS THE BRANCH IN WHICH HE IS REALLY THE STAR AND I THINK THAT WHEN YOU GET TO THE COLOR FIELD WORKS, YOU ARE REALLY SEEING THE CELEBRATION OF THAT ABILITY TO THIN THE PAINT TO PAINT OVER AND UNDER, AND HAVE THESE EFFECTS AND THAT, I THINK, IS WHAT CAN PROVIDE THIS MEDITATIV EXPERIENCE, IS THAT IT'S NOT JUST ONE COLOR THERE THESE WORKS ARE MEANT TO B MEDITATED.

WE PUT SEVERAL EXAMPLES IN THE GALLERY WITH SEATING IN TH MIDDLE IN A WAY THAT PEOPLE CA CONTEMPLATING A SINGLE WORK.

AND WE HAVE THAT BECAUSE WE HOPE THAT PEOPLE WILL LOSE THEMSELVES WITHIN A PAINTING.

AND I THINK WHEN WE ASK TH QUESTION OF WHAT SHOULD ART DO FOR A PERSON, EVERY PERSON I DIFFERENT.

AND I THINK THAT'S WHAT CAN BE CELEBRATED ♪♪

> WE HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING I'M PAULA ZAHN AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

THANKS FOR JOINING US.

> WHEN 'NYC-ARTS' RETURNS ON JUNE 18, A CELEBRATION OF TH CENTENNIAL OF NATIONAL YIDDISH THEATER.

THE WORD IS A GREAT EXAMPLE OF HOW JEWS HAVE FOUND WAYS IN WHICH TO PERSEVERE ♪♪ ♪♪

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

WALTER, ELISE JAFFE AND JEFFRE BROWN, JODY AND JOHN ARNHOLD THE MILTON AND SALLY AVERY ARTS FOUNDATION, JOYCE B. COWIN AND ELROY AN TERRY KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM TH 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 PRIVATE WEALT MANAGEMENT IT'S A PRIVILEGE TO SERVE YOU.