Paula Zahn presents the latest NYC-ARTS episode from the New-York Historical Society, highlighting Picasso’s “Le Tricorne.” Curator Andrew Bolton narrates a presentation of the exhibition “China: Through the Looking Glass,” on view at The Met. And Christina Ha reports from the New York Botanical Garden’s “Frida Kahlo: Art, Garden, Life.”

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FUNDING FOR NYC-ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER ELISE JAFFE AND JEFFREY BROW 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 THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIR IN PARTNERSHIP 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 A PRIVILEGE TO SERVE YOU.

GOOD EVENING AND WELCOME TO NYC-ARTS, I'M PAULA ZAHN O LOCATION AT THE NEW YORK HISTORICAL SOCIETY, LOCATED ON CENTRAL PARK WEST, IT IS DEDICATED TO PRESENTING BOTH HISTORY AND ART EXHIBITIONS THAT DEMONSTRATE JUST HOW DYNAMIC HISTORY CAN BE, AND HOW RELEVANT IT IS IN TODAY'S WORLD, I' STANDING IN THE SHOW PICASSO'S LE TRICORNE, ITS FOCAL POINT I A PAINTED THEATER CURTAIN BY PABLO PICASSO, IT WA COMMISSIONED BY THE IMPRESARIO SERGEI DIAGHILEV FOR HIS AVANT-GARDE BALLET RUSSES, THE MOST INFLUENTIAL BALLET COMPAN OF THE EARLY 20TH CENTURY.

THE BALLET LE TRICORNE OR 'THREE CORNERED HAT' MADE ITS DEBUT B THE BALLET RUSSES IN LONDON IN 1919 INSPIRED BY THIS WORK, THE EXHIBITION EXPLORES STYLISTI AND THEMATIC CONNECTIONS BETWEEN THE CURTAIN AND ARTWORKS AND OBJECTS IN NEW-YORK HISTORICAL'S HOLDINGS ALONG WITH SEVERA LOANS.

AMONG THE COLLECTION HIGHLIGHT ARE TWO LARGE, RECENTLY-CONSERVED TAPESTRIE THAT HAVE NOT BEEN DISPLAYED FOR DECADES.

JUDOCUS DE VOS' THE TRIUMPH OF APOLLO DATES TO THE END OF THE REIGN OF THE FRENCH 'SUN KING' LOUIS 14TH THE ART DECO TAPESTRY, BELGIAN SETTLERS LANDING ON MANHATTA ISLAND IN 1623, WAS CREATED BY FLORIS JESPERS FOR THE NEW YOR WORLD'S FAIR OF 1939 THE EXHIBITION ALSO INCLUDES WORKS BY AMERICAN ARTISTS WH WERE PICASSO'S CONTEMPORARIES.

MANY OF THEM PARTICIPATED IN THE 1913 ARMORY SHOW THAT INTRODUCED MODERNISM TO U.S. AUDIENCES.

LIKE PICASSO'S CURTAIN FOR L TRICORNE, CHILDE HASSAM'S FLAG ON 57 STREET SHOWS A DISREGARD FOR THE USE OF TRADITIONAL PERSPECTIVE.

THE WORK REPRESENTS A BIRD'S-EYE VIEW OF 57TH STREET AND SIXT AVENUE AS SEEN FROM HASSAM'S STUDIO THE PAINTING IS ONE OF ABOUT 3 THAT MAKE UP HASSAM'S 'FLA SERIES' WHICH HE EXHIBITED THE SAME YEAR THAT PICASSO PAINTED LE TRICORNE.

ELIE NADELMAN, WHO ALS EXHIBITED AT THE ARMORY SHOW MET PICASSO IN PARIS IN 1908 BOTH ARTISTS USED CLASSICA ELEMENTS IN THEIR MODERNIST ART.

NADELMAN SOMETIMES CLAIMED THA HE IN FACT, NOT PICASSO, HAD INVENTED CUBISM.

RUSSIAN IMMIGRANT ABRAHA MANIEVICH'S THE BRONX, ALS APPLIED A CUBIST FUTURIST STYL TO THE NEW YORK CITYSCAPE.

THE EXHIBITION ALSO REFLECTS THE CRAZE FOR SPANISH CULTUR INSPIRED BY THE POPULARITY OF LE TRICORNE, HERE WE SEE IVORY AN LACE FANS AND A LACE SHAWL WHICH ECHO THE FASHIONS OF PICASSO'S PAINTED FIGURES, ALSO INCLUDED IS MALVINA HOFFMAN'S BUST OF ACCLAIMED RUSSIAN DANCER ANN PAVLOVA.

NOW LET'S TURN TO AN EXHIBITIO ACROSS TOWN THAT ALSO SHOWS TH RELATIONSHIP BETWEEN HISTORY CULTURE AND DESIGN CURRENTLY ON VIEW AT THE METROPOLITAN MUSEUM OF ART I CHINA: THROUGH THE LOOKING GLASS.

FROM THE EARLIEST PERIOD O EUROPEAN CONTACT WITH CHINA IN THE 16TH CENTURY, THE WEST HAS BEEN FASCINATED WITH ENIGMATIC OBJECTS FROM THE EAST, PROVIDING INSPIRATION FOR FASHIO DESIGNERS FROM PAUL POIRET T YVES SAINT LAURENT THIS SPRING'S MET COSTUM INSTITUTE EXHIBITION IS COLLABORATION WITH THE MET'S DEPARTMENT OF ASIAN ART .WHICH IS CELEBRATING ITS 100TH ANNIVERSARY THIS YEAR. I EXPLORES HOW CHINA HAS FUELE THE FASHIONABLE IMAGINATION FO CENTURIES.

HIGH FASHION IS JUXTAPOSED WIT CHINESE COSTUMES, PAINTINGS, PORCELAINS AND OTHER ART, AS WELL AS FILMS.

THEY REVEAL ENCHANTING REFLECTIONS OF CHINESE IMAGERY THIS FILM WAS PROVIDED TO US B THE METROPOLITAN MUSEUM OF ART AND IS NARRATED BY BOLTON.

I'M ANDREW BOLTON, CURATOR I THE COSTUME INSTITUTE AND ALSO THE CURATOR OF THE EXHIBITIO CHINA: THROUGH THE LOOKING GLASS, A COLLABORATION BETWEEN THE COSTUME INSTITUTE AND TH ASIAN ART DEPARTMENT, AS A CELEBRATION FOR THEI CENTENNIAL THE SHOW REALLY ISN'T ABOU CHINA PER SE, IT'S ABOUT A IMAGE OF CHINA THAT EXISTS I THE WESTERN IMAGINATION, THE EXHIBITION LOOKS AT THE IMPACT OF CHINESE AESTHETICS ON WESTERN FASHION, WITH ALL OF OUR EXHIBITIONS WE TRY TO TELL A STORY, THROUGH THE LOOKING GLASS, WHICH IS BASED ON LEWIS CARROLL'S NOVEL, ALICE ENTERED THIS WORLD THAT WAS FICTIONAL.

THE DESIGNERS IN THE EXHIBITIO APPROACH CHINA IN A VERY SIMILAR WAY.

DESIGNERS TEND TO BE INSPIRED BY TWO OVERARCHING THEMES THA WE'RE FOCUSING ON IN THE EXHIBITION: CHINESE HISTORY AN CINEMA. CINEMA PLAYS A IMPORTANT ROLE IN THE EXHIBITION AS THIS MEDIATOR BETWEEN THE ORIGINAL CHINESE GARMENTS, O ARTIFACTS, AND WESTERN FASHION THE THREE PERIODS OF CHINESE HISTORY WE FOCUS ON ARE IMPERIAL CHINA, NATIONALIST CHINA, AN THE PEOPLE'S REPUBLIC OF CHINA WHEN YOU WALK INTO OUR COSTUME INSTITUTE GALLERIES, THERE'S A VIDEO TUNNEL SHOWING BERTOLUCCI'S THE LAST EMPEROR, A BROAD AND SWEEPING JOURNEY O CHINESE HISTORY, AND AT THE EN OF THE TUNNEL IS A FESTIVAL ROBE WORN BY THE LAST EMPEROR, PU YI, WHEN HE WAS FOUR YEARS OLD. DESIGNERS TEND TO GRAVITATE TOWARDS THE IMPERIAL ROBE, WHICH IS RECOGNIZABLE BY 12 IMPERIAL SIGNS, SYMBOLS O THE VIRTUES OF THE EMPEROR. WHEN THEY'RE WOVEN OR EMBROIDERED ONTO THE ROBES, THEY'RE VERY SUBTLE, SO THEY'RE VER DIFFICULT TO SEE. SO WE'VE COLLABORATED WITH THE MILLINER STEPHEN JONES AND CREATE HEADPIECES OUT OF THEM. IT'S ANOTHER PORTAL INTO THE CHINES GARMENTS ON DISPLAY.

THE APFEL GALLERY IS REALL FOCUSING ON THE CHIPAO, A DRES FORM THAT WAS INTRODUCED I CHINA IN THE TWENTIES. I EVOLVED FROM THE IMPERIAL ROBE BUT IT ALSO INCORPORATED WESTERN TAILORING TECHNIQUES. THE CHIPAO WAS REALLY A SYMBOL OF MODERNITY. PART OF IT WAS TH FREEDOM OF MOVEMENT; IN A WA YOU CAN MAKE AN ASSOCIATION WITH THE CHEMISE DRESS AND TH FLAPPER AS BEING THIS SYMBOL O EMANCIPATION AS YOU LEAVE THE COSTUME INSTITUTE GALLERIES, THERE IS SMALL GALLERY THAT FOCUSES O THE MAO SUIT. AND I THIN WESTERN DESIGNERS GRAVITAT TOWARDS THE MAO SUIT BECAUSE I CONVEYS A SORT OF UTOPIANISM IT'S LESS INTERESTING FROM A POINT OF VIEW OF AESTHETICS, BUT VERY INTERESTING FROM A POINT OF VIEW OF ITS POLITICA UNDERPINNINGS.

IT REALLY WAS THE LAST GARMENT THAT SAID 'CHINA.'

UPSTAIRS IS PRESENTED AS A SERIES OF DIALOGUES BETWEE CHINESE OBJECTS AND WESTER FASHIONS THAT HAVE BEEN INSPIRED BY THEM.

PART OF THE EXHIBITION TRIES T DISENTANGLE DIFFERENT LAYERS O MEANINGS AND DIFFERENT LAYERS OF EXCHANGES THAT HAVE ALWAYS OCCURRED BETWEEN THE EAST AN THE WEST, AND EVERY GALLERY YO ENTER HAS ITS OWN STORY.

ANNA MAY WONG WAS A FIGURE WHO ACTED AS A BRIDGE BETWEEN TH EAST AND THE WEST, BUT WAS NEITHER EMBRACED BY EITHER CULTURE, WHO WAS FATED TO PLAY ONE-DIMENSIONAL STEREOTYPES.

A DRESS SHE WORE IN THE FILM LIMEHOUSE BLUES SCREAMED 'DRAGON LADY.' IT CONFLATES THE SEXINESS OF THE CHIPAO WITH EARLY TWENTIETH-CENTURY SILHOUETTES.

THE ASTOR COURT FOCUSES ON CHINESE OPERA. A SERIES OF DRESSES THAT JON GALLIAN CREATED FOR DIOR CONFLATE IMAGES AND IDEAS OF THE PEKING OPER WITH JAPANESE KABUKI AND ALS THE QUEEN MOTHER OF ENGLAND.

TWO OTHER GARMENTS BY MAISON MARTIN MARGIELA ARE RECYCLED OPERA COSTUMES FROM THE 1930 THAT HAVE BEEN REPURPOSED AS HAUTE COUTURE, A EXTRAORDINARILY EAST-MEETS-WES DISPLAY OF TECHNICAL VIRTUOSITY.

THE DOUGLAS DILLON GALLERIES ARE FOCUSED ON CHINESE OBJECTS THA HAVE INSPIRED WESTERN DESIGNERS.

WE WANTED TO COLLABORATE WIT THE ASIAN ART DEPARTMENT IT PROVIDED A CONTEXT THAT'S OFTEN MISSING FROM THE RUNWAY.

WHEN IT COMES TO CHINESE EXPOR ART, IT'S OFTEN SUBSUMED WITHI THE HISTORY OF WESTERN DECORATIVE ARTS, BUT THERE WAS ALWAYS A DIALOGUE BETWEEN TH EAST AND WEST WHEN IT CAME T EXPORT WARESIN PARTICULAR TH BLUE AND WHITE PORCELAIN THA ORIGINATED IN CHINA AND EXPORTED TO THE WEST IN THE SIXTEENTH CENTURY.

THE WILLOW PATTERN BECAME SO SUCCESSFUL THAT IT WAS READAPTED BY CHINESE CRAFTSMAN; THEY REORIENTALIZED A DESIGN ALREAD ABOUT ORIENTALISM.

THIS GALLERY LOOKS A CALLIGRAPHY.

LANGUAGE CAN BE BOTH A WALL BU ALSO A GATEWAY. A DRESS BY DIOR, FROM THE FIFTIES, IN WHICH HE' LOOKED TO A POEM THAT WE HAVE IN THE MUSEUM'S COLLECTION AS A RUBBING, IT LOOKS SO BEAUTIFUL AND VERY POETIC BUT THE ACTUAL CONTENT IS ABOUT THE AUTHO HAVING A STOMACH ACHE.

LANGUAGE CAN BE ABOU COMMUNICATION, BUT IT'S ALSO ABOUT MISCOMMUNICATION THE GALLERY THAT FOCUSES O CHINESE SILK OFTEN, THE MOTIFS THAT APPEARE IN CHINESE SILK ALSO APPEARED IN CHINESE WALLPAPER, SO WE HAVE ROOM THAT IS ENTIRELY COVERED IN DE GOURNAY WALLPAPER THERE'S AN EXTRAORDINARY ROBE LA POLONAISE JUXTAPOSED NEXT T A PAINTED SILK THAT WAS USED I A DRESS BY BALENCIAGA.

AND ON THE OPPOSITE SIDE IS DRESS BY ALEXANDER MCQUEEN DIRECTLY INSPIRED BY A DESIG THAT DE GOURNAY PRODUCED BASED ON AN EIGHTEENTH-CENTURY PROTOTYPE.

ONE GALLERY LOOKS AT THE IDEA OF PERFUME.

PROBABLY THE MOST FAMOUS PERFUME INSPIRED BY CHINA WAS SAIN LAURENT'S OPIUM. OPIUM WAS A HIGHLY CONTESTED SCENT BECAUSE OF THE SEEMING TRIVIALIZATION OF THE OPIUM WARS, BU UNFORTUNATELY THE OPIUM DEN IS ONE OF THOSE CITES THAT HAVE BECOME ANOTHER FILMIC TROPE IN A WAY, A ROMANTICIZED AND DEEPLY EXOTICIZED ASPECT OF CHINESE CULTURE.

THIS PARTICULAR GALLERY FOCUSE ON THE DIFFERENT TYPES O SYMBOLS AND MOTIFS THAT WERE EMBRACED BY HIGH CHINOISERIE FROM THE MID-EIGHTEENTH CENTUR AND PRIMARILY FOCUSED ON CHINESE FIGURES, FANTASTICAL LANDSCAPES, CHINESE BOTANY, AS WELL AS THE PAGODA THIS COROMANDEL SCREEN, FROM THE MET'S COLLECTION, IS JUXTAPOSE WITH A SERIES OF GARMENTS BY KARL LAGERFELD FOR CHANEL, DIRECTLY INSPIRED BY THE COROMANDEL SCREENS IN CHANEL'S APARTMENT.

DESIGNERS HAVE ALSO LOOKED FURTHER BACK INTO CHINES HISTORY, AND THE WEBER GALLERIES HAVE A SERIES OF CONVERSATIONS BETWEEN WESTERN FASHION AN CHINESE DECORATIVE ART THA DATES BACK EVEN TO THE NEOLITHIC PERIOD WESTERN FASHIONS JUXTAPOSED NEXT TO HAN FIGURINES, TANG DYNASTY MIRRORS, NEOLITHIC POTTERY THE SMALL BUDDHA GALLERY I DEVOTED TO A CHINESE DESIGNE CALLED GUO PEI, AND THIS PARTICULAR DRESS HAS CONFLATED BOTH EASTERN AND WESTERN SIGNIFIERS THE BODICE IS AN ABSTRACTE VERSION OF THE LOTUS FLOWER, ONE OF THE EIGHT BUDDHIST SYMBOLS.

THE ACTUAL DRESS ITSELF IS INSPIRED BY HIGH-STYLE FASHION OF THE 1850S. THE ATTRACTION O THE EAST AND WEST IS LESS ABOU APPROPRIATION AND MORE ABOUT ASSIMILATION THE EXHIBITION CONCLUDES WITH AN INSTALLATION OF A BAMBOO FOREST, AND THE GARMENTS ON DISPLAY AR INSPIRED BY WUXIAA LITERAR GENRE THAT FOCUSES ON TH MARTIAL-ARTS HERO EXISTING IN AN UNDERWORLD GOVERNED BY RULES SUCH AS HONESTY, A REJECTION O WEALTH, AND DESIRE THIS HAS OFTEN LED MANY READER TO LOOK TO WUXIAN NOVELS AS AN EXPRESSION OF BUDDHISM THE POWER OF CLOTHING IS ITS ACCESSIBILITY.

WE ALL WEAR IT DESIGNERS ENGAGE WITH AN AESTHETICS OF SURFACE RATHER THAN THE SPECIFICS OF CULTURAL CONTEXTS THAT FREES ONE UP T THINK ABOUT IT IN DIFFEREN WAYS, WAY OF CONVEYING VER SUBTLE IDEAS THAT MAY OR MAY NOT BE EASILY ACCESSIBLE AND I THINK THAT'S WHAT'S SO LOVELY ABOUT THE MET IS THAT YOU'RE ABLE TO USE THE RICHNES OF THE COLLECTION TO CREATE TH VISUAL DIALOGUES TO GIVE YOU DIFFERENT WAYS OF UNDERSTANDIN BOTH CULTURES.

NOW, FOR MORE INFORMATION ON THE LATEST IN ARTS AND CULTURE I OUR AREA, HERE'S CHRISTINA H WITH THE NYC-ARTS NEWS

GOOD EVENING, I'M CHRISTINA HA WITH TONIGHT'S NYC-ARTS NEWS.

WE'RE AT THE NEW YORK BOTANICA GARDEN IN THE BRONX. A NATIONA HISTORIC LANDMARK, THE BOTANICAL GARDEN IS ALSO A LIVING MUSEUM AND CURRENTLY ON VIEW HERE I 'FRIDA KAHLO: ART, GARDEN, LIFE,' A UNIQUE EXHIBIT THAT EXPLORES THE ARTIST'S LIFE AND WORK THROUGH HER GARDEN.

EXHIBITION IN THE BOTANICAL GARDEN'S LIBRARY IS THE FIRS SOLO PRESENTATION OF KAHLO'S WORK IN NEW YORK CITY IN MOR THAN 10 YEARS.

THE SELECTION OF DRAWINGS AN PAINTINGS HIGHLIGHT KAHLO' COMPLEX RELATIONSHIP TO TH NATURAL WORLD, WHICH WAS OFTEN A KEY ELEMENT IN THE SYMBOLISM O HER WORK THE CONSERVATORY IS ALSO A GALLERY, COMING ALIVE WITH THE COLORS AND TEXTURES OF FRIDA KAHLO'S HOME IN MEXICO, THE CASA AZUL, OR BLUE HOUSE.

OUTSIDE YOU'LL FIND AN ORGAN PIPE CACTUS FENCE, SIMILAR T THE ONE THAT IS STILL LOCATED IN MEXICO CITY.

THERE IS ALSO AN INSTALLATION OF A SPECIALLY COMMISSIONED ARTWORK BY HUMBERTO SPINDOLA, SCULPTURAL WORK IN PAPER INSPIRED BY KAHLO'S FAMOUS DOUBLE SELF-PORTRAIT 'THE TW FRIDAS.'

VISITORS ARE ALSO WELCOME TO STROLL THE POETRY WALK O MEXICAN WRITER OCTAVIO PAZ THEY CAN ALSO RETURN TO TH GARDEN IN THE EVENINGS FOR A FRESCO CONCERTS OF MEXICAN MUSIC FROM THE VILLALOBOS BROTHERS AND OTHER GROUPS

FOR MORE ON MEXICO, MODERNISM AND MUSIC, HEAD TO BAR SUMMERSCAPE IN ANNANDALE-ON-HUDSON. THE CENTERPIECE OF THE SEASON IS THE BARD MUSIC FESTIVAL IN AUGUST, 'CARLOS CHAVEZ AND HIS WORLD.'

TWO WEEKS ARE DEDICATED TO EXPLORING IN DEPTH THE WORK OF THIS CENTRAL FIGURE IN 20TH-CENTURY MEXICAN MUSIC AND HIS CONTEMPORARIES. BUT THE SEASON OF PROGRAMMIN INSPIRED BY CHAVEZ BEGINS THIS WEEKEND.

PAM TANOWITZ DANCE PRESENTS TH WORLD PREMIERE OF A SOLO WOR DANCED BY FORMER AMERICAN BALLET THEATRE PRINCIPAL ASHLEY TUTTLE, SET TO THE MUSIC OF CHAVEZ THE PROGRAM ALSO INCLUDES TW WORKS WITH LIVE MUSIC PERFORME BY THE FLUX QUARTET: 'BROKEN STORY (WHEREIN THERE IS NO ECSTASY)' AND 'HEAVEN ON ONE'S HEAD,' SET TO THE MUSIC OF CONLON NANCARROW, A CONTEMPORARY OF CHAVEZ WHO LIVED IN MEXICO.

A SUMMER-LONG FILM SERIE 'REINVENTING MEXICO' EXPLORE MODERNISM AND NATIONALISM IN FILMS FROM AND ABOUT MEXICO.

THESE INCLUDE SEVERAL FILMS BY SURREALIST MASTER LUIS BUNUEL, WHO WORKED IN MEXICO FOR TWO DECADES.

THE SERIES BEGINS JULY 1ST WIT 'REDES,' A PROJECT THAT BROUGH TOGETHER DIRECTOR FRED ZINNEMANN, CHAVEZ AND FELLOW COMPOSER SILVESTRE REVUELTAS THE FULL SEASON OF OPERA THEATER, DANCE AND MUSIC AT BARD SUMMERSCAPE RUNS FROM JUNE 25T THROUGH AUGUST 16TH.

DURING THE 16TH AND 17TH CENTURY, THE DECCAN PLATEAU OF SOUTH-CENTRAL INDIA WAS HOME T A SERIES OF HIGHLY CULTURE MUSLIM KINGDOMS WITH A RIC ARTISTIC HERITAGE.

A LANDMARK EXHIBITION AT THE METROPOLITAN MUSEUM OF ART INVITES YOU TO ENJOY THE TREASURES AND CHARMS OF THIS LITTLE-KNOWN WORLD 'SULTANS OF DECCAN INDIA 1500-1700: OPULENCE AND FANTASY' BRINGS TOGETHER SOME 200 WORKS OF LYRICAL PAINTING, LIVEL METALWORK, AND DISTINGUISHED TEXTILES FROM THIS ERA AT THE COURT OF THE SULTANS, INFLUENCES FROM IRAN, TURKEY EASTERN AFRICAN AND EUROPE COMBINED WITH ANCIENT INDIAN TRADITIONS TO CREATE A DISTINCTIVE INDO-ISLAMIC ART AND CULTURE.

THE EXHIBITION INCLUDES SOME O THE LARGEST DIAMONDS IN TH WORLD AS WELL AS SOME OF THE SMALLEST PAINTINGS MAGNIFYING GLASSES ARE AVAILABLE TO BETTER SEE THE INTRICATE AN DELICATE DETAILS IN THES MINIATURE MASTERPIECES

THE MORRIS-JUMEL MANSION IN WASHINGTON HEIGHTS, THE OLDEST HOUSE IN MANHATTAN, CELEBRATES ITS 250TH ANNIVERSARY.

THE MANSION HAS A STORIE HISTORY HAVING SERVED AS THE MILITARY HEADQUARTERS FOR GEORGE WASHINGTON DURING HI REVOLUTIONARY CAMPAIGN AND LATER AS A MEETING PLACE FOR HIS CABINET.

NOW, A CONTEMPORARY AR INSTALLATION LOOKS AT TH HOUSE'S HISTORY IN A NEW WAY BRINGING UP THE GHOSTS OF TH MANSION'S PAST

'COLONIAL ARRANGEMENTS FEATURES SEVERAL OF TH BRITISH-NIGERIAN ARTIST YINK SHONIBARE'S SCULPTURAL FIGURES CLAD IN 19TH-CENTURY CLOTHIN MADE FROM COLORFUL DUTCH WAX FABRIC THE INSTALLATION INCLUDES 'THE GHOST OF ELIZA JUMEL.'

ELIZA JUMEL, A SUCCESSFU BUSINESSWOMAN AND WIFE TO TH FORMER U.S. VICE PRESIDENT AARON BURR, WAS THE HOUSE' LONGEST-TENURED RESIDENT AND I THOUGHT TO STILL HAUNT THE MANSION TODAY.

DRAWING INSPIRATION FROM TH MORRIS-JUMEL MANSION'S HISTORY PLAYWRIGHT LIN-MANUEL MIRAND WROTE SOME OF HIS MUSICA 'HAMILTON' WHILE SITTING IN TH MANSION'S PERIOD ROOMS BASED ON THE REAL LIFE O FOUNDING FATHER ALEXANDE HAMILTON, THE MUSICAL TELLS TH STORY OF THIS ORPHAN FROM ST CROIX WHO BECOMES A WAR HERO AND AMERICA'S FIRST TREASURY SECRETARY - ONLY TO FALL IN DUEL WITH HIS FORMER FRIEND AN FELLOW REVOLUTIONARY AARON BURR.

MIRANDA TAKES THE LEAD IN HI OWN MUSICAL, PLAYING THE PART OF THIS SCRAPPY AND REBELLIOU YOUNG IMMIGRANT WHO CHANGES TH COURSE OF AMERICAN HISTORY THE MUSICAL CAPTURES THE SPIRIT, ENERGY AND DANGERS OF TH REVOLUTIONARY ERA.

IT TELLS THIS FOUNDATIONAL AMERICAN STORY WITH ACTORS O COLOR -- ALL TO A MUSICAL SCOR THAT COMBINES RAP, SALSA AND POP.

A SOLD-OUT SUCCESS AT THE PUBLIC THEATER, THIS REVISIONAR ACCOUNT OF AMERICAN HISTOR COMES TO BROADWAY'S RICHAR RODGERS THEATRE ON JULY 13TH

THE NEW VICTORY THEATER, LONG KNOWN FOR STAGING THEATER FO KIDS OF ALL AGES, IS DOING A 'VICTORY DANCE' THIS SUMMER.

'VICTORY DANCE' FEATURE PROGRAMS SPECIALLY CURATED FOR YOUNG AUDIENCES -- FROM TH CLASSIC MODERN DANCE OF MARTHA GRAHAM TO ENERGY OF CONTEMPORARY PARSONS DANCE.

FREE PERFORMANCES AN DISCUSSIONS AFTER TH PERFORMANCES ARE INTENDED TO INSPIRE THE NEXT GENERATION OF DANCERS AND DANCE LOVERS THE NEW VICTORY DANCE SERIES I AVAILABLE FOR NEW YORK CITY KIDS THROUGH DAY CAMPS AND SCHOOL PROGRAMS. TICKETS TO PERFORMANCES ON JULY 9, 16 AND 23 ARE AVAILABLE TO THE GENERA PUBLIC

> AND THAT'S THE NYC-ART NEWS FROM THE NEW YORK BOTANICA GARDEN IN THE BRONX, I'M CHRISTINA HA PZ: NOW, LET'S LOOK A ONE OF THE TREASURES OF THE COLLECTION HERE AT THE NEW-YORK HISTORICAL SOCIETY, AND ONE OF THE FINEST EXAMPLES OF COLONIAL PAINTING IN AMERICA. IN 1768, JOHN DURAN PAINTED 'THE RAPALJE CHILDREN, SCIONS OF A WEALTHY MANHATTA MERCANTILE FAMILY.

ROBERTA OLSON, CURATOR O DRAWINGS INTRODUCES US TO THIS SURPRISINGLY MODERN LOOKIN GROUP OF YOUNG PEOPLE, WHO SEE TO BE SPEAKING DIRECTLY TO U NEARLY 250 YEARS LATER ♪♪ WELCOME TO THE NEW YOR HISTORICAL SOCIETY, TH 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 RAPLJE CHILDREN.

WE HAVE GARETT, GEORGE, ANNE AND JACQUES. THEY WERE PAINTED B JOHN DURAND IN 1768 AND IT'S A INCREDIBLE PORTRAIT FOR A NUMBER OF REASONS. DURAND, WHO WA PROBABLY A FRENCHMAN IS REALLY UNKNOWN UNTIL 1766, HE COMES FROM VIRGINIA TO NEW YORK FO THE BEEKMAN FAMILY, AND FOR TH BEEKMAN'S HE PAINTS 6 PORTRAIT OF THEIR CHILDREN, AND OF COURSE GAINS AN INCREDIBLE REPUTATION SO THE RAPALJE'S WHO ARE ALSO MERCANTILE FAMILY OF NEW YORK, HIRE HIM TO PAINT THE SCIONS O THEIR FAMILY THIS PORTRAIT OF THE FOU SIBLINGS IS AN EXAMPLE OF EARL COLONIAL PORTRAITURE AND IT' ONLY ONE OF THE MANY STELLAR EXAMPLES IN OUR AMAZIN COLLECTION OF THIS GENRE NOW THIS IS VERY DIFFERENT FRO MOST PORTRAITURE OF THE TIME BECAUSE THERE IS NO LANDSCAPE, NO BACKGROUND AND YOU HAVE THESE FOUR SIBLINGS, WHO TO MY MIN LOOK VERY CONTEMPORARY THEY'RE PAINTED BY DURAND IN THE STYLE THAT IS SOMEWHAT FLAT FO 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 A TYPICAL POSTURE FOR A GENTLEMEN.

THE YOUNG LADY, ANNE, ALSO HAS THIS BEAUTIFUL CHOKER, THI DOUBLE STRAND OF PEARLS AROUND HER NECK AND IS HOLDING A ROSE WHICH IS A SYMBOL OF LOVE AN ALSO FERTILITY SHE WOULD BE OF MARRIAGEABLE AGE SOON DURAND CUTS THE PAINTING, WHIC IS AGAIN A VERY 20TH CENTURY LATE 19TH CENTURY TECHNIQUE SO THAT WE DON'T SEE THE FEET IT'S NOT REALLY A FULL-LENGT PORTRAIT, IT'S A THREE-QUARTER PORTRAIT WHICH IMPLIES A RELATIONSHIP WITH US AS THOUGH WE CAN EXCHANGE SPACE WITH THEM.

BUT THERE IS SOMETHING WONDERFUL, THE DYNAMICS AMONGS THE FOUR OF THEM THE FOUR ARE UNUSUALLY SELF-POSSESSED FOR ADOLESCENTS THEY GAZE DIRECTLY AT US, AND IN FACT WE FEEL AS THOUGH W 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'S COLLECTIO AND HOPE THAT YOU'LL COME BACK AND VISIT AGAIN TO EXPLORE THE RICHES OF THE COLLECTION

HELLO, I'M RAFAEL PI ROMAN.

AND 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: PRELUDES -- A MUSICAL FANTASIA SET IN THE HYPNOTIZED MIND O RUSSIAN COMPOSER SERGE RACHMANINOFF THE STORY FOCUSES ON YOUNG RACHMANINOFF WHO SUFFERS FRO WRITER'S BLOCK AS A REACTION T THE DISASTROUS PREMIERE OF HIS FIRST SYMPHONY AFTER A FEW YEARS OF STRUGGLIN WITH THIS AFFLICTION, HE BEGIN DAILY SESSIONS WITH A HYPNOTIS IN ORDER TO OVERCOME HIS DEPRESSION AND RETURN TO COMPOSING.

THE SHOW RUNS THROUGH JULY 19T AND IS PART OF LCT3, LINCOLN CENTER THEATER'S INITIATIV FOCUSING ON NEW WORK BY YOUN AND EMERGING WRITERS FOR COMPLETE DETAILS PLEAS VISIT LCT.OR AND FOR EVEN MORE INFORMATIO ABOUT EVENTS AT LINCOLN CENTER YOU CAN VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

WE HOPE YOU'VE ENJOYED OU PROGRAM THIS EVENING. I'M PAULA ZAHN AT THE NEW-YORK HISTORICA SOCIETY. GOOD NIGHT

NEXT WEEK ON NYC-ARTS, CONVERSATION WITH COMPOSER DANNY ELFMAN, ABOUT HIS CREATIVE COLLABORATION WITH FILMMAKER TIM BURTON

TIM BURTON GOT INVOLVED WIT THE VISUALS FOR THE SHOW IT IS MOSTLY HIS OWN ARTWORK H PUT TOGETHER FOR THESE SUITES.

♪♪ FUNDING FOR NYC-ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER ELISE JAFFE AND JEFFREY BROW JODY AND JOHN ARNHOL 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 BANK, IT'S PRIVILEGE TO SERVE YOU.'

FUNDING FOR NYCARTS IS MADE