A profile of Pen + Brush, an organization that has been providing a platform for women in the literary and visual arts since 1894. Followed by a visit to the New York Botanical Garden in the Bronx where Christina Ha presents the arts and culture news. And then a look at the exhibition “Edgar Degas: A Strange New Beauty” on view at MoMA through July 24, 2016.

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> PSYCHOLOGY UP NEXT ON 'NYC ARTS,' A PROFILE OF PAINT AND BRUSH.

AN ORGANIZATION THAT HAS PROVIDED A PLATFORM FOR WOMEN IN THE LITERARY AND VISUAL ARTS SINCE 1894.

WHAT WE ARE TRYING TO DO IS GET TO A PLACE WHERE GENDER PARITY MEANS MERIT.

AS A WOMAN I FEEL WE HAVE TO WORK TWICE AS HARD TO PROVE YOURSELF.

IN A VISIT TO THE MUSEUM OF MODERN ART, A LOOK AT THE EXHIBITION OF THE WORKS OF DEGAS.

DEGAS IS PROBABLY BEST KNOWN FOR HIS PAINTINGS OF BALLER REEB RINAS.

IF YOU DIG INTO HIS WORK YOU SEE HE WAS WILDLY EXPERIMENTAL AND YOU REALLY SEE THAT IN HIS MONOTYPES.

FUNDING FOR NYC ARTS MADE POSSIBLE BY ROSALIND P. WALTER, KATE W. CASSIDY FOUNDATION, JEAN DUBINSKI APPLETON ESTATE, JODY AND JOHN ARN HOLT, ELLEN AND JAMES S. MARKETS, THE LEWIS SUNNY TURNER FUND FOR DANCE, ELISE JAFFE AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND 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 'THIRTEEN.'

NYC ARTS MADE BOSS NIBBLE PART BY FIRST REPUBLIC BANK.

> FLEXIBILITY.

COORDINATION.

EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH MANAGEMENT.

IT'S A PRIVILEGE TO SERVE YOU.

♪♪

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

WE'LL BEGIN OUR PROGRAM THIS EVENING WITH A VISIT TO THE GALLERIES OF PEN AND BRUSH, AN ORGANIZATION THAT ADDRESSES THE STRUGGLE BY WOMEN IN THE ARTS AND LITERATURE FOR EQUALITY AND RECOGNITION.

LOCATED IN THE FLATIRON DISTRICT, PEN AND BRUSH HAS PROVIDED A PLATFORM FOR WOMEN IN THE LITERARY AND VISUAL ARTS SINCE 1894.

ITS MISSION IS TO ADVOCATE THAT ART IS VALUED SOLELY ON ITS OWN MERIT WITHOUT REFERENCE TO THE GENDER OF ITS MAKER.

'NYC ARTS' SPOKE WITH JANICE SANDS, EXECUTIVE DIRECTOR OF PEN AND BRUSH, AS WELL AS ONE OF THE ARTISTS REPRESENTED IN THEIR RECENT EXHIBITION CALLED 'BROAD STROKES.'

PEN AND BRUSH WAS STARTED BY JANET AND MARY LOU BUSINESS AND A GROUP OF THEIR FRIENDS IN 1894 SO THAT THEY COULD MEET AND SHARE THEIR WORK WITH OTHER LIKE-MINDED PROFESSIONALS.

THEY WERE DENIED ADMISSION TO ALL OF THE OTHER PROFESSIONAL ORGANIZATIONS AT THAT TIME BECAUSE OF THEIR GENDER.

THEY DRAFTED A SET OF BYLAWS AND WERE ABLE TO LIVE UNDER THOSE RULES ACCORDING TO THE MISSION OF THE ORGANIZATION UNTIL THEY DECIDED IN 1912 THAT THEY WOULD MARCH DOWN TO THE DEPARTMENT OF CORPORATIONS AND INCORPORATE.

WOMEN DID NOT GET THE RIGHT TO VOTE UNTIL 1920.

SO THEY WERE DETERMINED AND COURAGEOUS.

FROM THAT MOMENT ON, PEN AND BRUSH HAS BEEN DEVOTED TO GIVING WOMEN A PLACE TO SHOW THEIR WORK.

THIS IS BOTH VISUAL ARTS AND LITERARY ARTS.

AND THE ORGANIZATION PROVIDES THE KIND OF PLATFORM SO THAT THAT WORK CAN GET THE EXPOSURE IT NEEDS FOR WOMEN TO BE RECOGNIZED.

PEN AND BRUSH PURCHASED A LOVELY TOWNHOUSE IN 1923 ON 10th STREET IN GREENWICH VILLAGE.

IT WAS A CLUBHOUSE.

AND THAT'S WHAT THE WOMEN OF THE ORGANIZATION WANTED.

BUT FAST FORWARD TO 2008.

AND WE BEGAN TO EXPLORE THE POSSIBILITY OF SELLING THE BUILDING AND FINDING QUARTERS THAT WOULD ENABLE US TO EXPOSE AND EXHIBIT THE KIND OF WORK THAT WOMEN IN THE 21st CENTURY WERE MAKING.

WE FOUND THE SPACE WE'RE IN NOW ON 22nd STREET.

SO WE MOVED IN AND ACTUALLY OPENED IN OCTOBER OF 2015.

WE'RE OPEN TO THE STREET.

WE HAVE VISIBILITY THAT WE COULD ONLY HAVE DREAMED OF ON 10th STREET.

WE THINK IT'S PART OF OUR MISSION TO BE OPEN TO THE PUBLIC, FREE OF CHARGE, SO PEOPLE CAN COME IN AND SEE THE WORK.

WOMEN ONLY EXHIBITIONS I THINK ARE A FUNDAMENTAL PART OF WHAT PEN AND BRUSH DOES.

IT IS A DIRECT AND POTENT WAY TO ADDRESS STEREOTYPES THAT ARE DAMAGING TO WOMEN.

PRIMARILY THE STEREOTYPE THAT THERE IS NOT ENOUGH GOOD WORK BY WOMEN.

THE SHOW THAT WAS JUST IN OUR GALLERY WAS A SHOW CALLED 'BROAD STROKES.'

TO THE EXTENT THE SHOW HAD A UNIFYING THEME, IT WAS THE DIVERSITY OF WOMEN'S WORK.

IT REALLY DID A GOOD JOB OF POINTING OUT THAT WOMEN CAN WORK IN MULTIPLE MEDIA AND DO WORK THAT'S VERY SUBTLE, DO WORK THAT'S VERY BOLD AND AGGRESSIVE.

IT ADDRESSES A STEREOTYPE THAT HAS BEEN VERY DIFFICULT TO FIGHT, AND THAT IS THAT WORK BY WOMEN IS USUALLY ABOUT MOTHERS AND CHILDREN AND LACKS A CERTAIN BOLDNESS AND CAN BE READILY IDENTIFIED AS A WORK BY A WOMAN.

AS A WELL I FEEL BY HAVE TO WORK TWICE AS HARD AND -- TO PROVE YOURSELF.

I REMEMBER BEING ONCE IN THIS EXHIBITION AND THIS GENTLEMAN WAS LOOKING AT MY ARTWORK AND HE ASKED WHO PAINTED THIS PIECE?

SOMEBODY WENT TO GO GET ME, THEY BROUGHT ME TO HIM.

AND HE'S LIKE THIS WORK IS REALLY GOOD.

IT'S VERY STRONG.

RIGHT WHEN I WAS ABOUT TO SAY THANK YOU, HE STATED, YOU WOULD NEVER THINK A WOMAN PAINTED THIS PIECE, YOU PAINT LIKE A GUY.

YOU KNOW HE MEANT WELL, BUT I DON'T THINK HE MEANT TO SAY IT THAT WAY, BUT IT WAS VERY INSULTING AS A WOMAN ARTIST, BECAUSE I PAINT LIKE ME.

I PAINT BECAUSE I HAVE TO.

BECAUSE I'M AN ARTIST.

I LIKE TO PAINT WHAT I SEE AND WHAT I FEEL.

AND I WANT MY IMAGES TO REPRESENT LIVING THINGS THAT SHOW THOUGHT AND INTENTION AND EMOTION.

GROWING UP IN SPAIN WE WOULD ATTEND BULL FIGHTS.

THEY CAUSED ME MUCH ANXIETY AND SADNESS TO SEE THAT THE BULL WAS BEING TORTURED LIKE THAT AND TAUNTED TILL ITS DEATH.

WHEN I PAINTED THE PICTURES, I WANTED TO REPRESENT AND HONOR THE BULL.

HE'S TAKING HIS LAST BREATHS AND FIGHTING HIS LAST FIGHT BEFORE HIS LIFE IS TAKEN FROM HIM SENSELESSLY.

MY ADVICE FOR WOMEN ARTISTS THAT ARE STARTING IS NOT TO TAKE NO AS AN ANSWER.

THAT IF YOU RECEIVE A REJECTION, JUST KEEP PURSUING.

BECAUSE WHAT YOU'RE DOING IS WORTHWHILE.

IF YOU PROVE THAT YOU'RE COMMITTED AND A HARD-WORKING PERSON AS AN ARTIST OR AT ANYTHING YOU COMPANY DO, I THINK PEOPLE ARE GOING TO SEE YOU FOR WHO YOU REALLY ARE.

THE ORGANIZATION HAS ALWAYS SERVED WOMEN WHO ARE WRITERS.

THERE ARE NOW ABUNDANT STATISTICS THAT SHOW THAT FEWER WOMEN ARE PUBLISHED THAN MEN.

FEWER WOMEN GET REVIEWS OF THEIR WORK IN TOP-TIER MAGAZINES.

SO THERE IS WORK TO BE DONE THERE.

WE LIMIT OUR SUBMISSIONS TO LITERARY FICTION.

WE DO ACCEPT POETRY AND SHORT STORIES, NOVELLAS, NOVELS.

IN ADDITION TO OUR EXHIBITIONS AND OUR PUBLISHING PROGRAM, WE DO ACTUALLY HAVE READINGS AND PANEL DISCUSSIONS.

WE HAVE A READING SERIES CALLED 'PEN AND BRUSH PRESENTS' WHICH IS CURATED ACTUALLY BY PUBLISHER KATE ANGUS FROM AUGUSTRY PRESS.

SCIENCES ORIGINAL BUILT THE TOY TO MURDER PEOPLE IN OTHER COUNTRIES.

NOW THIS PEOPLE IN THIS COUNTRY WANT TO BUY THEM.

WHY?

I HAVE ABSOLUTELY NO IDEA.

BUT I CAN'T WAIT TO KILL ONE.

SHOOT IT WITH A SHOTGUN.

LIGHT IT ON FIRE.

THE IDEA OF PARITY IS WHERE WE COME OUT.

AND EVERYTHING THAT WE DO IS LOOKED AT FROM THAT PERSPECTIVE.

IS IT AN ACTIVITY, IS IT A PROGRAM, THAT HELPS US HELP WOMEN ACHIEVE PARITY IN VISUAL ARTS AND LITERARY ARTS?

122 YEARS, 123 YEARS, IS APPARENTLY NOT QUITE ENOUGH TIME TO ADDRESS THAT.

WE DO RECOGNIZE THIS IS PART OF A MUCH LARGER SOCIETAL ISSUE, AND THE ARTS AND LITERATURE IS OUR SOLE PIECE.

WHAT WE ARE TRYING TO DO IS GET TO A PLACE WHERE GENDER PARITY MEANS MERIT, NOT GENDER OF THE CREATOR.

FOR MORE INFORMATION ON THE LATEST IN ARTS AND CULTURE IN OUR AREA, HERE'S CHRISTINA HAH WITH THE 'NYC ARTS NEWS.'

GOOD EVENING.

I'M CHRISTINA HA WITH TONIGHT'S 'NYC ARTS NEWS.'

WE'RE AT THE NEW YORK BOTANICAL GARDEN IN THE BRONX.

A NATIONAL HISTORIC LANDMARK, THE BOTANICAL GARDEN IS ALSO A LIVING MUSEUM.

CURRENTLY ON VIEW HERE IS IMPRESSIONISM, AMERICAN GARDENS ON CANVAS.'

THIS UNIQUE EXHIBIT CAPTURES THE SPIRIT OF GARDENS THAT INSPIRED ARTISTS AT THE TURN OF THE 20th CENTURY.

FOR THIS EXHIBIT, HORTICULTURALISTS PLANTED TEST OF THOUSANDS OF CORN FLOWERS, LARKSPUR, HOLLYHOCKS, AND HUNDREDS OF OTHER BULBS, ANNUALS AND PERENNIALS.

THIS MIX OF OLD-FASHIONED BLOSSOMS EVOKES THE ERA OF GRAND AMERICAN GARDENS CREATED BY CELIA BAXTER AND OTHERS.

STEP OUTSIDE TO THE POETRY WALK TO ENJOY THE LITERARY WORKS OF BAXTER AND HER 19th CENTURY CONTEMPORARIES.

HEAD TO THE ART GALLERY TO SEE THE FLOWERING OF AMERICAN IMPRESSIONISM.

AT THE ENTRANCE, YOU WILL FIND ANN VAUGHN HYDE HUNTINGTON'S 'DIANA OF THE CHASE.'

INSIDE, 20 PAINTINGS FROM THE LATE 19th AND EARLY 20th CENTURY AMERICAN IMPRESSIONISTS FROM WILLIAM MERRITT CHASE TO JOHN SINGER SERGEANT PORTRAY FAMILIAR EAST COAST SIGHTS AND BEAUTIFUL LANDSCAPES.

THE PAINTINGS CAPTURE THE EPHEMERAL QUALITY OF LIFE THESE ARTISTS OBSERVED IN THE NATURAL WORLD, AS WELL AS THE VIBRANT COLORS OF THE LANDSCAPE.

IMPRESSIONISM, AMERICAN GARDENS ON CANVAS, IS ON VIEW AT THE NEW YORK BOTANICAL GARDEN THROUGH SEPTEMBER 11th.

TAKE A TRIP TO ANNENDALE AND HUDSON AT BARD SUMMERSCAPE.

CUCCINI HEADLINES THE BARD MUSIC FESTIVAL.

THE SCOPE OF MUSIC, OPERA THEATER, AND DANCE EXTENDS BEYOND PUCCINI.

IT INCLUDES THE WORK OF HIS CONTEMPORARIES AS WELL AS 20th CENTURY ARTISTS INSPIRED BY HIM.

BARD COLLEGE'S DISTINCTIVE RICHARD B. FISCHER CENTER FOR THE PERFORMING ARTS DESIGNED BY FRANK GARY HOSTS MANY OF THE FESTIVAL'S MAIN EVENTS.

THE FESTIVAL OPENED WITH 'FANTASQUE,' A NEW BALLET FOR HUMANS AND GIANT PUPPETS.

MORE PUPPETS ARE PRESENTED IN A DECIDEDLY DARKER TONE IN DAN HERLON'S 'DEMOLISHING EVERYTHING WITH AMAZING SPEED' BASED ON THE WORK OF THE ITALIAN FUTURIST DE PERA.

LEON BOTHSTEIN AND THE AMERICAN SYMPHONY ORCHESTRA PRESENT 'IRIS,' A RARELY PERFORMED OPERA BY PUCCINI'S FRIEND.

TWO WEEKS OF CONCERTS AND LECTURES ON PUCCINI AND HIS WORLD IN AUGUST.

A FILM SERIES 'PUCCINI AND THE OPERATIC IMPULSE IN CINEMA' SHOWS THE ARTIST'S INFLUENCE ON CONTEMPORARY MOVIES.

OPENING AT THE SUGAR HILL MUSEUM OF ART AND STORY TELLING IN HARLEM ARE TWO NEW EXHIBITS FEATURING ART CREATED FOR AND BY CHILDREN.

THE MUSEUM WHICH OPENED LAST FALL IS JUST ONE PART OF A MULTI-USE STRUCTURE.

BUILT BY BROADWAY HOUSING COMMUNITIES THE BUILDING ALSO PROVIDES AFFORDABLE HOUSING, A MUSEUM PRESCHOOL, AND CREATIVE OPPORTUNITIES FOR THE NEIGHBORHOOD.

META MODES NEW WORK BY DIVED SHROVE INCLUDES PIECES BY THE MUSEUM'S FIRST ARTIST RESIDENCE.

SHROVE SHARED HIS PROCESS OF LAYERING FOUND MATERIALS, PATTERNS, TEXTURES AND PAINT IN A WORKSHOP WITH KIDS DURING HIS YEAR AT THE MUSEUM.

ALSO ON DISPLAY WILL BE A SITE-SPECIFIC INSTALLATION CREATED BY SHAWNEE PETERS IN COLLABORATION WITH LOCAL YOUTH DURING THE MUSEUM'S AFTER SCHOOL PROGRAMS.

THE CROWN FUTURES WILL BE ON VIEW JULY 16th THROUGH THE END OF THE YEAR.

THE WHITENY MUSEUM OF AMERICAN ART OPENS ITS DOORS SEVEN DAYS A WEEK DURING JULY AND AUGUST.

THE EXTENDED SCHEDULE GIVES VISITORS MORE TIME TO CATCH ITS LATEST EXHIBITIONS THIS SUMMER.

THE WHITNEY CELEBRATES THE WORK OF ONE OF THE PREEMINENT FIGURES OF AMERICAN MODERNISM.

STEWART DAVIS IN FULL SWING INCLUDES NEARLY 100 WORKS EXPLORING THE ARTIST'S DEVELOPMENT BY PAIRING EARLY PAINTINGS WITH LATER ONES INSPIRED BY HIS OWN PREVIOUS WORK.

DANNY LYON MESSAGED THE FUTURE, THE FIRST RETROSPECTIVE IN 25 YEARS OF THIS KEY FIGURE IN THE STREET PHOTOGRAPHER MOVEMENT.

LYON'S PHOTOGRAPHS OF REMARKABLE EVERYDAY PEOPLE CAPTURE HIS CONCERN WITH POLITICAL ISSUES AND SOCIAL JUSTICE AROUND THE COUNTRY AND THROUGHOUT THE WORLD FROM THE 1960s THROUGH THE PRESENT DAY.

> THE LINCOLN CENTER FESTIVAL INCLUDES 49 DANCE, MUSIC AND THEATER PERFORMANCES OVER THE COURSE OF TWO WEEKS AT SEVEN VENUES.

THERE IS MUCH TO CHOOSE FROM, INCLUDING VERSIONS OF WILLIAM SHAKESPEARE'S WORK IN VERSE AND DANCE.

SHAKESPEARE'S GLOBE MAKES THE LINCOLN CENTER FESTIVAL A STOP ON THE INTERNATIONAL TOUR OF ITS PRODUCTION OF 'THE MERCHANT OF VENICE.'

THE PLAY IS DIRECTED BY JONATHAN MUNDY AND STARS JONATHAN PRYCE AS SKYLOCK.

THE FESTIVAL WILL CONCLUDE WITH CHRISTOPHER WHEELDON'S VERSION OF 'THE WINTER'S TALE' PERFORMED BY THE NATIONAL BALLET OF CANADA.

THE PRODUCTION IS DESIGNED BY BOB CROWLEY WHOSE SETS BRING OUT BOTH THE PLAY'S DARK THEMES OF LOSS AND JEALOUSY AS WELL AS THE JOYOUS CELEBRATION OF REDEMPTION AND LOVE.

THAT'S THE 'NYC ARTS NEWS.'

FROM THE NEW YORK BOTANICAL GARDEN IN THE BRONX, I'M CHRISTINA HA.

> NEXT WE'LL VISIT THE MUSEUM OF MODERN ART FOR THE LOOK AT DAY GU, THE STRANGE NEW BEAUTY.

THE MAJOR FIGURE IN 19th CENTURY ART DAY TO DAY GA IS REVEALED AS A PAINTER OF BALLERINAS.

THIS EXHIBITION FOCUSES ON RARELY SEEN PRINTS THAT WERE MADE USING A SPECIAL TECHNIQUE CALLED MONOTYPE.

IN THIS PROCESS, DRAWING IS DONE IN INK ON A METAL PLATE AND THEN RUN THROUGH A PRESS TYPICALLY RESULTING IN A SINGLE PRINT.

THIS IS MOMENT MAY'S FIRST EXHIBITION FOCUSED ENTIRELY ON THE WORK OF THIS ARTIST AND THE FIRST SHOW IN THE UNITED STATES IN NEARLY 50 YEARS TO EXAMINE THESE RADICAL AND VERY INNOVATIVE WORKS.

'NYC ARTS' RECENTLY SPOKE WITH JODY HAUPTMAN, THE CURATOR OF THIS SHOW.

DEGAS IS PROBABLY BEST KNOWN FOR PAINTINGS OF BALLERINAS.

IF YOU DIG INTO HIS WORK YOU SEE HE WAS WILDLY EXPERIMENTAL.

YOU REALLY SEE THAT IN HIS MONOTYPES.

DEGAS MADE OVER 300 MONO TYPES AND WE HAVE 120 IN THE EXHIBITION.

AND SO YOU REALLY GET THE SENSE OF AN ARTIST WHO FALLS IN LOVE WITH THE MEDIUM AND TAKES IT AS FAR AS HE CAN GO.

DEGAS MADE MONOTYPES IN TWO FORMS.

ONE IS CALLED THE LIGHT FIELD, ONE IS CALLED THE DARK FIELD.

AND A LIGHT FIELD MONOTYPE IS A KIND OF ADDITY PROCESS.

DEGAS WOULD DRAW WITH INK ON THE PLATE AND RUN IT THROUGH THE PRESS.

THE DARK FIELD IS WHERE HE WOULD LAY A CURTAIN OF INK ON THE PLATE AND DRAW BY REMOVAL.

THEY OFTEN USED DIFFERENT KINDS OF MATERIALS.

THE BACK OF HIS BRUSH FOR VERY FINE LINES OR FABRIC.

THE PLATE IS A VERY SLICK SURFACE AND THE INK IS VERY VISCOUS AND STICKY.

SO IT ENCOURAGED DEGAS TO MOVE THE INK IN A VERY GESTURAL WAY.

THIS WAS AN ARTIST WHO WAS TRAINED IN A PRECISE KIND OF DRAWING.

MONO TYPE LOOSENED HIM UP AND LIBERATED HIM AND REALLY ALLOWED HIM TO MAKE WORKS THAT IN THE 1890s VERGED ON ABSTRACTION.

THERE WAS REALLY NOTHING LIKE IT IN THE ART OF HIS PEERS.

THE MONO TYPE USUALLY YIELDS A SINGLE IMPRESSION.

BUT OFTEN THERE WAS STILL INK LEFT ON THE PLATE.

AND SO DEGAS WOULD RUN THE PLATE THROUGH A SECOND TIME AND HE WOULD GET A KIND OF GHOST IMAGE, A DEGRADED IMAGE OF THE FIRST.

AND HE WOULD ADD PASTEL AND ENHANCE IT.

THE RESULTS WERE TWO WORKS THAT WERE BOTH THE SAME AND DIFFERENT FROM THE OTHER.

AND SO WHAT IT TAUGHT HIM IS THAT YOU CAN EXTRACT MORE THAN ONE WORK FROM A SINGLE IMAGE.

DEGAS WAS ALWAYS LOOKING FOR NEW MEANINGS, NEW TECHNIQUES, TO DESCRIBE NEW SUBJECTS.

AN ELECTRIC LIGHT WAS NEW AT THIS TIME.

DEGAS TRIES TO CAPTURE THE SENSE OF THAT ELECTRIC LIGHT.

YOU SEE GLOBES OF LIGHT AS FARTHER OF A COMPOSITION.

THEN YOU ALSO SEE HIM USING PASTEL TO SHOW THE WAY THE TUTUS MIGHT SHIM WHERE THE FOOTLIGHTS HIT THEM, THE WAY A FACE CAN BE TRANSFORMED INTO A MASK WHEN IT HITS A VERY BRIGHT LIGHT.

HE IN FACT SAYS AT SOME POINT THAT THE SPICE OF THE PICTURE IS NOT THE LIGHT ITSELF BUT THE EFFECT OF THE LIGHT ON THE BODY.

ONE OF MY FAVORITE WORK IN THE EXHIBITION IS A SMALL WORK 'HEADS OF A MAN AND A WOMAN.'

IT'S EMBLEMATIC OF DEGAS' ENGAGEMENT WITH THE MODERN CITY.

THESE DRAWN TWO FIGURES AND SMEARED THEIR FACES.

SO WHAT YOU GET IS A SENSE OF WHAT IT MIGHT HAVE FELT LIKE TO SEE PEOPLE AS THEY RUSH BY YOU ON A CITY STREET.

MANY OF THE WORKS HAVE A TRACE OF DEGAS' OWN HAND.

PROVIDE MAGNIFYING GLASSES IN THE GALLERY SO YOU CAN SEE CLOSELY.

YOU CAN SEE THE WAY HE USES HIS FINGERS.

THIS SCENE TO ME IS SO TRANSGRESSIVE FOR AN ARTIST WHO WAS SUCH A CAREFUL DRAFTSMAN.

HERE HE IS PUTTING HIS PENCIL ASIDE, PUTTING HIS BRUSH ASIDE, GETTING HIS HANDS IN THERE.

THERE'S SOMETHING REALLY INTERESTING ABOUT THAT.

BECAUSE THERE'S A KIND OF DISTANCE BETWEEN THE ARTIST AND THE WORK IN PRINT-MAKING.

BUT WHAT DEGAS HAS DONE IS HE'S INSERTED HIS OWN HAND THERE.

HE'S REMINDED YOU, THESE ARE MADE WITH MY HANDS.

ONE OF THE ONLY PORTRAITS THAT DEGAS DOES IN MONOTYPE SHOWS THAT DEGAS WAS ABLE TO CONTROL HIS MEDIUM.

IF YOU LOOK CLOSELY AT HER BLOUSE, IT'S A KIND OF WATERY, STRIPY FEEL THAT IT HAS.

WHAT DEGAS HAS DONE IS HE'S PUT HIS PRINTER'S INK ON THE PLATE AND THEN HE'S DROPPED TURPENTINE, A KIND OF SOLVENT, INTO THAT INK AND IT'S KIND OF DISSOLVED IT.

THINK ABOUT HOW DIFFICULT IT WOULD BE TO CONTROL IT.

DEGAS IS ALWAYS A MASTER AT THAT.

IT'S AN EXAMPLE OF HIM BALANCING CHANCE AND CONTROL.

AROUND 1893, DEGAS STOPPED MAKING MONOTYPES.

SO THE EXHIBITION ENDS WITH A ROOM THAT REALLY FOCUSES ON DEGAS LEARNED FROM MONOTYPE.

ONE OF THE VERY IMPORTANT THINGS, AND YOU CAN SEE THAT IN THE PAINTING BEHIND ME, HE WAS REALLY INTERESTED IN IDEAS ABOUT REPETITION AND TRANSFORMATION.

THE PAINTING IS 'FREEZE THE DANCERS.'

WHEN YOU LOOK AT IT YOU THINK, IS IT REALLY FOUR DANCERS?

OR A SINGLE DANCER REPEATED FOUR TIMES AS THE ARTIST MOVES AROUND?

I ENCOURAGE YOU TO COME SEE THE EXHIBITION, EDGAR DEGAS, A STRANGE NEW BEAUTY.

YOU'LL SEE DEGAS' EXPERIMENTATION, THE WAY HE DEFIES CONVENTION AND REACHES FOR SOMETHING NEW, A LESSER-KNOWN SIDE OF THE ARTIST.

> HELLO, I'M RAFAEL PI ROMAN.

WELCOME TO LINCOLN CENTER.

ALL YEAR ROUND, NEW YORKERS AND GUESTS FROM AROUND THE WORLD COME TO THIS AMAZING PLACE FOR ITS THEATERS OVERFLOWING WITH THE BEST IN MUSIC, DANCE, OPERA, DRAMA, AND FILM.

LINCOLN CENTER OUT OF DOORS, ONE OF THE COUNTRY'S LONGEST-RUNNING SUMMER FESTIVALS, WILL OPEN ITS 46th SEASON OF FREE PERFORMANCES ON JULY 20th WITH MULTI-FACETTED ARTIST PATTY SMITH PERFORMING IN A NIGHT OF WORDS AND MUSIC.

THE FESTIVAL WILL RUN FOR THREE WEEKS AND INCLUDES A VARIETY OF PERFORMANCES.

AMONG THE HIGHLIGHTS, MARIACHI.

♪♪ MANTI BALLAS.

LUCINDA WILLIAMS.

♪♪ ON JULY 30th, THE BELLES, A DAY-LONG CELEBRATION OF LOU REED, A SPECIAL TRIBUTE TO THE LATE MUSICIAN, FOLLOWED BY THE SCREENING OF 'BERLIN.'

FOR DETAILS VISIT LCOUTOFDOORS.ORG.

FOR MORE INFORMATION ABOUT EVENTS AT LINCOLN CENTER, VISIT THEIR WEBSITE, LINCOLNCENTER.ORG.

> WE HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

FROM THE TISH WNET STUDIOS AT LINCOLN CENTER, I'M PETER de MONTEBELLO.

GOOD NIGHT AND SEE YOU NEXT TIME.

JOIN US AFTER THE NATIONAL POLITICAL CONVENTIONS WHEN 'NYC ARTS' RETURNS TO ITS REGULAR BROADCAST SCHEDULE ON AUGUST 4th.

♪♪

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

I'M PAULA ZAHN.

I'M PETER DI MONTEBELLO AT THE TISH STUDIOS AT LINCOLN CENTER.

I'M CHRISTINA HA WITH 'NYC ARTS NEWS.'

WHAT A PRIVILEGE TO SIT DOWN AND TALK WITH YOU.

I LOVE BEING HERE WITH YOU TOO.

WHERE ARE WE?

WE'RE 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 GREATEST SCULPTURES BY THE ICONIC NAMES.

MOBIA IS VERY PLEASED TO BE THE SOLE WORLDWIDE VENUE FOR THIS EXHIBITION.

CLASSICAL AND MODERN DANCE ARE EXTREMELY DIFFERENT AND I HAVE SO MUCH MORE TO LEARN BEFORE I CAN REALLY ARTICULATE THE DIFFERENCES.

WHEN I LISTEN TO YARBOROUGH'S LYRICS I THOUGHT, THAT'S WHAT I WANT TO DO WITH MY LIFE.

MY PRIMARY WAY OF PLAYING PIANO WAS IMPROVISING.

YOU ARE IN SOME RESPECTS ON SAKE READY GROUND.

A WOMAN CAME TO SEE ME PERFORM AND SAID, HOW WOULD YOU LIKE TO PLAY BILLIE HOLIDAY?

I THINK ONE OF THE ESSENTIAL THINGS WE LEARNED IS THAT MATISSE USED PENS TO COMPOSE HIS WORK.

I'M LEARNING SOMETHING NEW EVERY DAY ABOUT MYSELF AND ALSO ABOUT BALLET.

YOU ALWAYS ARE SURPRISED DOING A PIECE THAT'S 100 YEARS AGO AND YOU THINK, MY GOSH, THIS COULD BE NOW.

THE CARDBOARD GUITAR IS THE VERY FIRST OF THAT MOMENT OF REALIZATION.

SUDDENLY YOU COME AND PRETEND SOMETHING AND YOU GET A SMALL GREAT, YOU KNOW.

♪♪

> FUNDING FOR 'NYC ARTS' MADE POSSIBLE BY ROSALIND P. WALTER, KATE W. CASSIDY FOUNDATION, JEAN DUBINSKI APPLETON ESTATE, JODY AND JOHN ARNHOLD, ELLEN AND GENE S. MARKETS, THE LEWIS SONNY TURNER FUND FOR DANCE, ELISE JAFFE AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELROY AND DIRECTORY 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 'THIRTEEN.'

'NYC ARTS' MADE BOSS NIBBLE PART BY FIRST REPUBLIC BANK.

> FLEXIBILITY.

COORDINATION.

EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH MANAGEMENT.

IT'S A PRIVILEGE TO SERVE YOU.

> IT'S THE UNIVERSE, AN EXPLOSION OF ATOMS A BILLION YEARS OLD.

CLOUD COVERED AS ICE, AS DUST.

> THIS CLOUD OF OURS IS THE UNIVERSE.

AN EXPLOSION OF ATOMS 4 BILLION YEARS OLD.

THIS CLOUD GATHERED AS ICE, AS DUST.

AND TRAVELED IN TIME INCLUDE THE DARK, THROUGH THE COLD.

THIS CLOUD WAS HERE BEFORE THE SUN EVER SHONE.

BEFORE WE INVENTED CHURCHES AND GODS.

THIS CLOUD CLAIMED THE DINOSAURS.

MAKING THE EARTH AGAINST THE ODDS.

THIS CLOUD IS IN OUR HANDS.

A STORM WILL COME.

BECAUSE OF THIS CLOUD, OUR LIFE, THIS INTERSTELLAR HOBO MAY SOMEDAY BE GONE.