A conversation with Shahpour Pouyan, an Iranian artist whose works range from drawing and painting to sculpture and performance art. NYC-ARTS also visits MoMA and the American Folk Art Museum.

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♪♪

> COMING UP ON 'NYC ARTS,' A PROFILE OF SHAPUR PURAN.

AN IRANIAN ARTIST WORKING IN NEW YORK AND TEHRAN.

I MAKE CERAMICS.

AT THE SAME TIME, I DO PAINTINGS, DRAWINGS, PHOTOGRAPHY, EVERYTHING.

THIS WEEK'S 'CURATOR'S CHOICE.'

'STARRY NIGHT' IS PROBABLY THE MOST FAMOUS PICTURE IN THE COLLECTION OF THE MUSEUM OF MODERN ART.

AND ANOTHER 'CURATOR'S CHOICE.'

THIS IS 'THE PALACE' BY MERINO ARIDI.

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

WALTER, KATE.

WITH ASSOCIATION, GENE DUBINSKY ESTATE.

ELLEN AND JAMES S. MARCUS.

THE LEWIS SONNY TURNER FUND FOR DANCE, ELISE JAFFE AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELROY AND TERRY CRUMBHOLTZ 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' IS MADE POSSIBLE IN 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 ART.'

I'M PAULA ZAHN AT THE TISH WTV STUDIOS.

TONIGHT WE'LL VISIT WITH SHAPUR PARAN, AN IRANIAN ARTIST WHO CURRENTLY SPLITS HIS TIME BETWEEN NEW YORK AND IRAN.

BORN IN 1979, THE YEAR OF IRAN'S EVOLUTION, HIS CHILDHOOD WAS PROFOUNDLY IMPACTED BY THE EIGHT-YEAR WAR WITH IRAQ.

HIS WASHINGTONS FRANK DRAWING AND PAINT -- WORKS RANK FROM DRAWING AND PAINTING TO RELIGION, ALTHOUGH NOT ALWAYS IN AN OBVIOUS WAY.

LAST YEAR PARAN WAS ONE OF THREE YOUNGER ARTISTS WITH AN EXHIBITION AT THE GRAY ART GALLERY.

GLOBAL LOCAL 1960 TO 2015.

SIX ARTISTS FROM IRAN ON.

ON DISPLAY WERE HIS COPIES OF PERSIAN MINIATURES WITH HISTORICAL FIGURES ERASED AND GAPS IN THE LANDSCAPE FILLED IN.

ALSO INCLUDED WERE HIS PROJECTILES, A SERIES OF IMPOSING SCULPTURES MADE OUT OF CHAIN MAIL, A CRAFT THE ARTIST LEARNED FROM A MASTER PERSIAN BUILDER AND ETCHED CAN CALLIGRAPHY.

HIS LATEST WORK IS IN CERAMICS, CREATED AT BRICKHOUSE CERAMIC ARTS CENTER IN LONG ISLAND CITY, AND ARE PART OF HIS FIRST SOLO EXHIBITION IN FRANCE.

I MAKE CERAMICS.

AND AT THE SAME TIME, I DO PAINTING, DRAWING, PHOTOGRAPHY, EVERYTHING.

THE FUN PART IS DOING EVERYTHING WITH MY OWN HANDS.

I GREW UP IN TEHRAN AND LIVE IN BROOKLYN NOW.

IRAN IS A MODERN NAME -- PERSIA, OF COURSE, HAS A THOUSAND YEARS OF HISTORY S. I DON'T THINK IT'S ABOUT THE SPECIFIC GEOGRAPHY.

IT'S MORE ABOUT THE CULTURE AND INTERACTIONS THAT HAPPEN.

PROJECTILES ARE BASED ON THE OLD PRACTICE OF PRODUCING ARMOR IN IRAN WHICH, YOU KNOW, HAS BEEN IN IRAN FOR 2,000 YEARS, 3,000 YEARS.

THE PHYSICAL PROCESS IS ABOUT BRINGING THIS VERY OLD, MEDIEVAL TECHNIQUE, AND BRINGING IT BACK TO LIFE IN A VERY CONTEMPORARY FORM OF PRACTICING ART.

ARMOR IS LAYERS OF HISTORY.

AT SOME POINT, IT TURNS TO BE A VERY POETIC PRODUCT WHICH IS COVERED BY DECORATION, POETRY, AND LAYERS AND LAYERS OF RICH CULTURE.

PEOPLE ALWAYS ASK ME WHAT ARE YOU TRYING TO SAY.

TELLING ANYTHING ABOUT THIS WORK IS JUST MAKE IT MORE COMPLICATED.

THERE ARE DIFFERENT ROOTS AND UNDERSTANDING IN DIFFERENT CULTURES.

I WOULD SAY IT'S LAYERS AND LAYERS OF MISUNDERSTANDING WHICH IS THE TRUTH.

I COLLECTED AND SELECTED SPECIFIC MINIATURES FROM MEDIEVAL AND 15, 16 CENTURIES.

WE'RE TALKING ABOUT THE LAST GEOGRAPHY OF TODAY'S MANY COUNTRIES.

WITH VERY IMPORTANT HISTORICAL MOMENTS, AND THEN I REMOVED ALL THE FIGURES, HEROES, ANTI-HEROES.

I FREED THE MINIATURES FROM THAT WEIGHT OF FEARS.

SO WHAT YOU SEE IS EMPTY LANDSCAPE OR ARCHITECTURAL SCENE.

THERE IS A STORY THERE.

HOWEVER, YOU CAN READ IT OR NOT.

IT'S JUST, I WOULD SAY, UPDATED.

I DO MANY SKETCHES.

I KEEP DOING SKETCHES AND JUST DOING IT AGAIN AND AGAIN, CHANGING AND CHANGING.

BUT THEY'RE ALL COMING FROM AN IDEA.

I HAVE SOMETHING IN MY MIND AND A CONCEPT.

I'M SOMETHING THAT HAS TO GET THE FORM, AND THEN I GO TO THE STUDIO AND START BUILDING THE CERAMIC PIECE.

KEEP CHANGING, CHANGING, AND THE FINAL RESULT IS PROBABLY SOMETHING ELSE.

WORKING WITH CLAY IS AMAZING BECAUSE IT DECEIVES ME.

EVERY DAY YOU'RE WAITING AND THINK IT'S GOING TO SURPRISE YOU WITH SOMETHING, WITH A NEW CRACK, WITH A CHANGE OF FORMATION, WITH MANY THINGS.

IT'S A FIGHT BETWEEN MEDIUM AND ME.

IT'S A DISCUSSION LIKE I WANT TO TAKE YOU TO THE PERFECT STEP AND KEEP RESISTING.

GETTING THE SHAPE, GETTING THE FORM.

AND THEN YOU FIRE IT TWO TIMES.

WHEN IT'S COMING OUT, IT'S A MONSTER.

IT'S TOTALLY DIFFERENT.

SO THE MOMENT, LIKE, HUH, THE NEGOTIATION WORKED.

MY YESTERDAYS IN THE SKETCHES ARE NOT FROM SPECIFIC PLACES, NOT REALLY.

SO WHAT I DO IS GET THAT ESSENTIAL ALPHABET IN THE FORM OF ARCHITECTURE AND BRING IT TO MY SCULPTURES.

WHEN I WAS WORKING ON THIS CITY SCAPE, I WAS THINKING THE BEST WAY TO CELEBRATE A NATION WITH ARCHITECTURE.

DIDN'T GLAZE THE NEW WORKS BECAUSE IT'S LIKE AN UNFINISHED PROJECT, SKETCH OF THE DREAM OF THE FUTURE.

CERAMIC IS VERY FRAGILE.

IT'S ABOUT FRAGILE CONDITION OF ALL OF US AS PEOPLE AS A NATION.

AS A CITY, AS A STATE.

SO EVERYTHING HAPPENED IS THE TRUTH THAT YOU TRY TO FIND.

BUT HOW MUCH IS CORRECT, YOU NEVER KNOW.

FOR MORE INFORMATION ON ARTS AND CULTURE, HERE'S CHRISTINA WITH THE 'NYC ARTS NEWS.'

GOOD EVENING, I HAVE TONIGHT'S 'NYC ARTS NEWS.'

WE'RE AT THE BRONX MUSEUM OF THE ARTS.

FOUNDED IN 1971, THE MUSEUM BOASTS OVER 1,000 MODERN AND CONTEMPORARY WORKS OF ART WITH A FOCUS ON ARTISTS OF AFRICAN, ASIAN, AND LATIN AMERICAN ANCESTRY.

CURRENTLY ON VIEW HERE IS WILD NOISE.

AN EXHIBITION OF CONTEMPORARY CUBAN ART FROM THE 1970s TO THE PRESENT.

DRAWN FROM THE MUSEUM'S OWN HOLDINGS, OTHER U.S.

INSTITUTIONS, AND PRIVATE COLLECTIONS.

THE EXHIBITION BRINGS TOGETHER OVER 60 WORKS BY MORE THAN 30 ARTISTS.

MANY BEING EXHIBITED TO THE PUBLIC FOR THE FIRST TIME.

WORKS RANGE FROM PHOTOGRAPHS BY ANA MENDI ETA FROM HER CELEBRATED 'SILHOUETTEA' SERIES TO 'SCULPTURE' BY HUMBERTO DIAZ, WHO COMPLETED HIS SECOND RESIDENCE AT THE BRONX MUSEUM.

MUCH OF THE ART LOOKS AT COMMON CUBAN THEMES, ALTHOUGH NOT ALWAYS FROM A STRICTLY REVOLUTIONARY POINT OF VIEW.

FOR EXAMPLE, JOSE MARTI, THE 19th CENTURY POET AND NATIONAL HERO.

AFRO CUBAN CULTURE AND RELIGION.

AND EVEN TO A COUNTRY'S NATIONAL PASTIME APPEAR HERE.

'THE GHOST OF FIDEL CASTRO,' WHO RULED THE COUNTRY FOR NEARLY HALF A CENTURY RULED OVER THE EXHIBITION.

THERE'S A WONDERFUL WORK OF FIDEL HIMSELF OVERLOOKING THE MALICON.

IT CAME TO THE U.S. IN THE EARLY '90s.

I WOULD SAY THAT THIS WORK IS SOMETHING THAT WOULD BE SEEN IN CUBA BECAUSE IT'S A PORTRAIT OF FIDEL.

GENERALLY SPEAKING, THE GOVERNMENT IS THE ONLY ONE THAT REALLY WOULD CHARACTERIZE THE LEADERS OF THE COUNTRY.

'WILD NOISE,' AT THE BRONX MUSEUM OF THE ARTS THROUGH JULY 3rd.

THE 'TEN WORLD VOICES FESTIVAL OF INTERNATIONAL LITERATURE' BRINGS TOGETHER SOME 150 WRITERS FROM 40 NATIONS FOR 70 EVENTS.

THE WEEK-LONG FESTIVAL THIS YEAR FOCUSES ON GENDER AND POWER WITH EVENTS AROUND THE CITY INCLUDING THE BRONX MUSEUM.

THE OPENING NIGHT ON MAY 1st, UNITED AGAINST HATE, INCLUDES PERFORMANCES AND READINGS FROM PATTY SMITH AND HER DAUGHTER, JESSIE SMITH, ANNIE DEFRANCO, AND NASHVILLISTS MARLIN JAMES -- NOVELISTS MARLIN JAMES, COLIN McCANN, AND FESTIVAL FOUNDER SALMAN RUSHDIE.

THE FESTIVAL COMES TO THE BRONX MUSEUM ON MAY 6th WITH WORKSHOPS BY SUNNY MUTU AND POET MORGAN PARKER.

AND A READING BY ACCLAIMED CUBAN POET NANCY MORIHAN IN THE EXHIBITION GALLERY.

THE FESTIVAL CLOSES ON MAY 7th WITH A LECTURE BY RUSSIAN-AMERICAN JOURNALIST MASHA GESSEN, FOLLOWED BY A CONVERSATION WITH COMEDIAN SAMANTHA DEE.

THERE'S A NEW BROADWAY PRODUCTION OF ARTHUR MILLER'S 'THE PRICE.'

DEVELOPING BY TERRY KINNEY.

MARK RUFFALO STARS AS VICTOR FRANZ, WHO AFTER SACRIFICING HIS EDUCATION TO CARE FOR HIS FAMILY, RETURNS TO HIS CHILDHOOD HOME TO SELL OFF THE REMAINDER OF HIS PARENTS' ESTATE.

DANNY DEVITO PLAYS THE FURNITURE DEALER WHO ATTEMPTS TO DETERMINE THE VALUE OF WHAT'S LEFT.

THE AVERAGE PERSON WILL TAKE ONE LOOK AND --

YOU'RE STARTING AGAIN.

I'M NOT BARGAINING WITH YOU.

THE PRODUCTION ALSO FEATURES TONY SHALOOB.

IT'S AT THE AMERICAN AIRLINES THEATER.

THE METROPOLITAN MUSEUM OF ART SHINES A SPOTLIGHT ON A CAPTIVATING MASTERPIECE OF THE 19th CENTURY.

SURRAH'S 'CIRCUS SIDE SHOW.'

IT HIGHLIGHTS THE ARTIST'S INSPIRATIONS, INFLUENCE, AND INNOVATIONS.

THE EXHIBITION FEATURES SURA'S ICONIC PAINTING FIRST SHOWN IN 1888 ALONG 17 RELATED WORKS BY THE FRENCH POST-IMPRESSIONISTS INCLUDING HIS CONTI CRAYON DRAWINGS.

IT SHOWS THE POPULARITY OF THIS POPULAR CIRCUS ENTERTAINMENT THROUGH POSTCARDS, PERIOD POSTERS, AND ILLUSTRATED JOURNALS.

IT ALSO TRACES THE FASCINATION IT HELD FOR OTHER ARTISTS.

THESE INCLUDE MID 19th CENTURY CARICATURISTS.

SARA'S CONTEMPORARY AS WELL AS THE EARLY 20th CENTURY IMPRESSIONIST GEORGE RUHO.

'THE CIRCUS SIDE SHOW' IS AT THE MET 5th AVENUE THROUGH THE 29th.

THE LEMEN DANCE COMPANY RETURNS TO THE JOYCE WITH FRESH TAKES ON DANCES CREATED BY JOSE LIMON IN THE 1940s AND '50s AS WELL AS 21st CENTURY WORKS.

THE COMPANY'S CURRENT DANCERS WITH A WORK CREATED BY LIMON FOR HIMSELF IN 1942.

AND EMBRACED THE HIGH BAROQUE OF CONCERTO FROM 1945.

THE HAUNTING DUET FROM 'THE EXILES' IS PRESENTED WITH THE ORIGINAL MUSIC FROM SHOWNBERG AS IT WAS IN 1950 AND GIVEN A NEW SCORE.

THE PROGRAM ALSO INCLUDES CONTEMPORARY WORKS BY ARTISTIC DIRECTOR COLIN CONNOR.

AND KATE WEIRS 'NIGHT LIGHT,' ORIGINALLY COMMISSIONED BY THE JUILLIARD SCHOOL.

THE LIMON DANCE COMPANY IS AT THE JOYCE THEATER MAY 2nd THROUGH THE 7th.

♪♪ THAT'S THE 'NYC ARTS NEWS.'

FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA, SIGN UP FOR OUR FREE WEEKLY E-MAIL AT NYC-ARTS.ORG/E-MAIL.

TOP FIVE PICKS WILL KEEP YOU UP TO DATE ALL YEAR ROUND.

FROM THE BRONX MUSEUM OF THE ARTS, I'M CHRISTINA HAH.

♪♪

> AND NOW OUR 'CURATOR'S CHOICE,' A CLOSE LOOK AT A SINGLE WORK OF ART OR SPECIAL EXHIBITION CHOSEN FOR MUSEUMS OR GALLERIES IN OUR AREA.

WE HOPE YOU ENJOY OUR SELECTION THIS WEEK.

I'M ANN TEMKIN, MARIE JOSE, CHIEF CURATOR OF PAINTING AND SCULPTURE AT THE MUSEUM OF MODERN ART IN NEW YORK.

AND WE'LL BE DISCUSSING VINCENT VAN GOGH'S 'STARRY NIGHT.'

'STARRY NIGHT' IS PROBABLY THE MOST FAMOUS PICTURE IN THE COLLECTION OF MODERN ART AND ONE OF THE BEST-KNOWN PAINTINGS I WOULD IMAGINE.

IT'S A VERY DIFFERENT FATE THAN ARTIST COULD HAVE EVER DREAMT OF FOR IT.

IT WAS PAINTING THAT HE MADE WHEN HE WAS 36 YEARS OLD, IN JUNE OF 1889.

HE WAS ALREADY IN THE ASYLUM IN THE SOUTH OF FRANCE WHERE HE HAD COMMITTED HIMSELF AFTER REALIZING THAT HE HAD PSYCHOLOGICAL ISSUES AND NEEDED TO BE TAKEN CARE OF.

HE WAS PRETTY MUCH PENNILESS, HAD NO ARTISTIC REPUTATION.

VAN GOGH HAD NO IDEA OF THE REPUTATION THAT HE WOULD GAIN AS AN ARTIST, AND OF COURSE NOT THE INCREDIBLE CELEBRITY THAT THIS PICTURE ITSELF WOULD ACQUIRE.

ALTHOUGH THE PAINTING SEEMS AS THOUGH IT MAY HAVE BEEN DONE IN THE IMPRESSIONIST TECHNIQUE OF STANDING OUTSIDE AND PAINTING IN WHAT THEY CALL THE PLANAR BEFORE THE MOTIF, THAT'S NOT THE CASE.

IT'S A PAINTING THAT COMES FROM VAN GOGH'S IMAGINATION.

PROBABLY FROM HAVING OBSERVED THE LANDSCAPE ON WALKS AROUND THE ASYLUM DURING THE DAY, AND ALSO WHAT HE WOULD HAVE REMEMBERED FROM PICTURES OF HIS OWN.

IT'S DONE IN TWO OR THREE SESSIONS.

ONE OF THE MOST SPECIAL ENDURING THINGS IS THE COLOR.

IT'S THIS INTENSE BLUE.

SYMPHONY IN DIFFERENT BLUES.

AND THE COUNTERPOINT ARE THE YELLOW/ORANGES OF THE STARS MAKING THIS GLOWING KIND OF LIFE.

THE THING ABOUT PAINTING THAT'S ALSO IMPORTANT TO NOTICE IS THAT THERE ARE REFLECTS OF WHITE THAT ALLOWS IT TO BREATHE AND ALLOWS THE PAINTING TO FEEL LIGHT AND OPEN, I THINK, INSTEAD OF KIND OF DENSE AND CLOTTED.

IT'S A BEAUTIFULLY CONSTRUCTED PAINTING IN PURELY FORMAL TERMS.

THE MOUNTAINS ARE OFFSET BY THE TALL VERTICAL CYPRESS TREES ON THE LEFT.

THE WAY YOU HAVE THE STEEPLE OF THE CHURCH IN THE CENTER, BEING A VERTICAL PARALLEL TO THE TREES.

THERE ARE VERY, VERY SIMPLE CONSTRUCTIVE DEVICES THAT VAN GOGH USED TO MAKE IT A POWERFUL, CLEAR IMAGE.

I THINK THAT'S A REASON IT RESONATES WITH A LOT OF PEOPLE.

ONE OF THE THINGS THAT MAKES A LOT OF PAINTINGS OR ALL PAINTINGS WE'VE BEEN LOOKING AT FOR A LONG TIME, OVER DECADES AND CENTURIES, IS THAT THERE'S SOMETHING CONTRADICTORY GOING ON, AN ASPECT THAT KEEPS THE VIEWER LOOKING FOR MORE, TRYING TO SOLVE IT.

I THINK ONE OF THE TENSIONS IN THIS PAINTING IN PARTICULAR IS THAT RHYTHMIC MOVEMENT THAT NEVER STOPS.

IT'S THE IDEA OF THE MOTIVATING ENERGY OR FORCE BEHIND THE WORLD AS WE SEE IT BECAUSE IT IS MOVING AND I THINK SPEAKS TO SOME DEEP THINGS THAT PEOPLE HAVE IN THEIR SOULS AND MINDS AND RARELY ARTICULATE.

I THINK IT'S A JOYFUL IMAGE.

I THINK IT'S NOT NECESSARILY ANY ONE REACTION THAT ONE PERSON HAS THAT WOULD BE DUPLICATED IN ANOTHER.

YET IT TOUCHES PEOPLE.

> HELLO, I'M RAFAEL PI ROMAN, AND WELCOME TO LINCOLN CENTER.

VISITORS FROM AROUND THE WORLD VISIT THERE CULTURAL MECCA FOR ITS THEATERS OVERFLOWING WITH THE BEST IN MUSIC, DANCE, OPERA, DRAMA, AND FILM.

ALAN GILBERT BEGINS HIS FINAL WEEKS AS MUSIC DIRECTOR OF THE NEW YORK PHILHARMONIC WITH A PROGRAM THAT EXPLORES THE EXTREMES OF THE HUMAN EXPERIENCE.

FROM APRIL 3rd TO MAY 9th, HE WILL CONDUCT 'A PERSON P VISITOR FROM WARSAW.'

THERE WILL BE 'A SURVIVOR FROM WARSAW,' DEPICTING THE HORRORS OF THE HOLOCAUST.

AND 'BEETHOVEN'S NINTH SYMPHONY' KNOWN FOR ITS MESSAGE OF BROTHERHOOD AND JOY, WILL FEATURE MEZZOSOPRANO, TENOR KAISER, AND MORE.

FOR COMPLETE DETAILS, VISIT NYFHIL.ORG.

FOR MORE HERE AT LINCOLN CENTER, VISIT THE WEBSITE AT LINCOLNCENTER.ORG.

> WELCOME TO THE AMERICAN STUTTGART MUSEUM.

I'M CURATOR FOR THE ARTS OF THE 20th AND 21st CENTURY.

WE ARE IN FRONT OF A VERY DIFFICULT PIECE OF OUR COLLECTION.

THIS IS BY MERINO IRIDI.

AN IMMIGRANT WHO SETTLED IN KENNETH SQUARE, PENNSYLVANIA, AROUND 1938.

AND THERE HE OPENED A SHOP WHERE HE WAS A MECHANIC.

FOR ABOUT THREE YEARS IN THE BACK YARD OF HIS GARAGE, HE WORKED ON HIS ARCHITECTURAL MODEL.

HE EXPLAINED HIS PROJECT IN A HIGHLY DETAILED SIX-PAGE STATEMENT OF PURPOSE.

HE SAID THIS BUILDING IS AN ENTIRELY NEW CONCEPT IN MUSEUMS.

DESIGNED TO HOLD ALL THE WORKS OF MEN IN WHATEVER FIELD.

DISCOVERIES MADE AND THOSE WHICH MAY FOLLOW.

EVERYTHING FROM THE WHALE TO THE SATELLITE.

THE MODEL IS SEVEN FEET HIGH, AND IT'S ON A SCALE OF ONE FOR 200.

THE WHOLE COMPLEX IS ENOUGH WEB SITE AND BRONZE WOOD COMPOUND CENTERED AROUND A TOWER, COMPOSED OF EIGHT SUPERIMPOSED CIRCULAR SECTIONS TOPPED BY A METAL BAR.

THERE ARE FOUR LARGE MAIN ENTRANCES SURROUNDED BY THE FLAG OF ITALY, THE FRIENDS OF THE UNITED STATES, AND SPAIN.

HIS ATTENTION TO DETAIL AND FUNCTIONALITY ARE ASTOUNDING.

YOU HAVE, FOR INSTANCE, ABOUT EIGHT WINDOWS MADE OF CLEAR CELLULOID AND SWINGING METAL DOORS.

IRIDES PHILOSOPHY AND VALUE ARE AT THE PALACE -- YOU CAN READ DIFFERENT SENTENCES RELATED TO HIS OWN PERCEPTION OF HOW WE SHOULD BEHAVE AS CITIZENS, AS NEIGHBORS.

I THINK WE WANTED TO REALLY REALIZE THAT ARCHITECTURE, AND IF THE ARCHITECTURE WOULD HAVE BEEN BUILT, IT WOULD HAVE BEEN SPREAD OVER 16 CITY BLOCKS AND BEEN 136 STORIES HIGH.

MANY THINGS IN OUR COLLECTION STARTED TO CREATE AT A SPECIFIC TIME OF THEIR LIVES, OFTEN LIKE A TURNING POINT AND EXPERIENCE SOME PSYCHOLOGICAL CHANGES IN THEIR LIFE AND ENDURED.

I COULD NOT WORK ANYMORE.

IN THE CASE OF IRIDE, HE LEFT ITALY TO ESCAPE THE FASCIST ITALIAN PARTY.

AND BEFORE HE PASSED AWAY, HE SAID HE WOULD BE HAPPY IF THE PIECE WOULD BE IN A MUSEUM FOR FUTURE GENERATIONS.

AND IT TOOK YEARS TO BE SECURED AT THE AMERICAN MUSEUM.

> I HOPE YOU'VE ENJOYED OUR PROGRAM TOWN.

I'M PAULA ZAHN, THE TISH WNET STUDIOS AT HIM CENTER.

THANK YOU FOR JOINING -- AT LINCOLN CENTER.

THANK YOU FOR JOINING US.

> NEXT WEEK, A PROFILE OF THE AUDUBON MURAL PROJECT IN UPPER MANHATTAN.

I SAID, LET'S DO ALL 314 THREATENED BIRDS.

DO MURALS OF ALL OF THEM ON GATES AND WALLS ALL OVER THE NEIGHBORHOOD.

> AND A VISIT TO THE HISTORIC ALICE AUSTIN HOUSE ON STATEN ISLAND.

SHE REALLY CAPTURED A CHANGING STATEN ISLAND AND CHANGING NEW YORK CITY.

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

WALTER, KATE W. CASSIDY FOUNDATION, GENE DUBINSKY LOM APPLETON ESTATES, ELLEN AND JAMES S. MARCUS, THE LEWIS SONNY TURNER FUND FOR DANCE, ELISE JAFFE AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELROY AND TERRY CRUMBHOLTZ 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' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FLEXIBILITY.

COORDINATION.

EXCELLENCE.

FIRST REPUBLIC'S PRIVATE WEALTH MANAGEMENT.

IT'S A PRIVILEGE TO SERVE YOU.