A visit to the exhibition “War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics” on view at the American Folk Art Museum through January 7, 2018. A look at “Generation Wealth,” a retrospective of the work of Lauren Greenfield at the International Center of Photography. And a profile of StreetMule, one of more than 350 members of the MTA’s Music Under New York Program.

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> COMING UP ON NYC ARTS, A VISIT TO THE EXHIBITION WAR AND PEACE.

THE COLLECTION OF QUILTS FROM MILITARY FABRICS, NOW ON VIEW AT THE AMERICAN FOLK ART MUSEUM.

THESE REMARKABLE QUILT WERE MADE BY MALE SOLDIERS, SOMETIMES SAILORS, SOMETIMES EVEN MILITARY TAILORS DURING TIMES OF WAR.

A LOOK AT GENERATION WEALTH, A RETROSPECTIVE OF THE WORK OF LAUREN GREENFIELD AT THE INTERNATIONAL CENTER OF PHOTOGRAPHY.

GENERATION WEALTH IS A 25-YEAR EXPLORATION OF MY WORK AND MY JOURNEY LOOKING AT HOW THE AMERICAN DREAM HAS BEEN KIND OF TAKEN OVER BY THE VALUES OF CONSUMERISM.

A PROFILE OF ONE OF THE MORE THAN 350 MEMBERS OF THE MTA'S MUSIC UNDER NEW YORK PROGRAM.

FUNDING IS MADE POSSIBLE BY ROSYLNYD MERRIL, GENE DUBINSKY, JODY AND JOHN ARNHOLD, THE LEWIS SONNY TURNER FUND FOR DANCE, JEFFREY BROWN, THE MILTON AND SALARY AVERY ARTS FOUNDATION, ELROY AND TERRY CRUMHOLTZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNSEL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

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.

AND BY SWAN AUCTION GALLERIES.

SWAN AUCTION GALLERIES, WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE ART SINCE 1941.

WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU ARE A LIFE LONG COLLECTOR, A FIRST TIME BUYER OR LOOKING TO SELL, INFORMATION AT SWANGALLERIES.COM.

♪♪

> GOOD EVENING AND WELCOME TO NYC ARTS.

WE BEGIN OUR PROGRAM TONIGHT WITH A VISIT TO THE AMERICAN FOLK ART MUSEUM LOCATED RIGHT ACROSS THE PLAZA FROM OUR STUDIO.

THE MUSEUM IS CONSIDERED TO BE THE PREMIERE INSTITUTION DEVOTED TO THE APPRECIATION OF TRADITIONAL FOLK ART AND CONTEMPORARY SELF-TAUGHT ARTISTS FROM ALL OVER THE WORLD.

IN ADDITION TO THIS LOCATION, THE MUSEUM IS RECENTLY OPENED A NEW GALLERY IN LONG ISLAND CITY.

THE SELF-TAUGHT GALLERY IS DEVOTED TO THE DISPLAY OF WORKS FROM THE MUSEUM'S PERMANENT COLLECTION.

NYC ARTS RECENTLY VISITED THE LINCOLN CENTER LOCATION FOR A LOOK AT THE EXHIBITION WAR AND PEACE, A COLLECTION OF QUILTS FROM MILITARY FABRICS.

THIS IS THE FIRST EXHIBITION IN THE UNITED STATES TO HIGHLIGHT QUILTS MADE ENTIRELY BY MEN DURING TIMES OF WAR, USING WOOL FROM MILITARY UNIFORMS.

THE 29 WORKS IN THE EXHIBITION, SOME OF WHICH HAVE NEVER BEEN ON VIEW, ARE DRAWN PRIMARILY FROM THE COLLECTION OF THE AUSTRALIAN EQUIPMENT SCHOLAR DR. ANET GIRO.

OTHERS FROM AUSTRIA, ENGLAND AS WELL AS PRIVATE AND PUBLIC COLLECTIONS IN THE UNITED STATES.

I'M STANDING IN THE EXHIBITION WAR AND PEACE, THE COLLECTION OF QUILTS FROM MILITARY FABRICS.

THESE REMARKABLE QUILTS WERE MADE BY MALE SOLDIERS, SOMETIMES SAILORS, SOMETIMES EVEN MILITARY TAILORS DURING TIMES OF WAR.

THE EXHIBITION LOOKS AT TWO PRIMARY TRADITIONS, THE EARLIER TRADITION FROM THE 18th AND 19th CENTURY AND THEN GEOMETRIC QUILTS FROM DIFFERENT AREAS AND TIMES OF CONFLICT DURING THE VICTORIAN BRITISH EMPIRE.

THE TERM QUILT IN THIS EXHIBITION IS ACTUALLY USED AS A TERM OF CONVENIENCE.

IN SOME OF THE DOCUMENTATION ON THESE TEXTILES, THEY'RE REFERRED TO AS TABLE COVERS OR WALL HANGINGS OR BED COVERS OR BED RUGS.

NONE OF THE TEXTILES ON VIEW ARE ACTUALLY QUILTED, BECAUSE MOST OF THEM ARE A SINGLE LAYER AS OPPOSED TO AMERICAN QUILTS.

THESE QUILTS USE A TYPE OF WOOLLEN WOVEN BROADCLOTH THAT HAS RECEIVED A SERIES OF FINISHING PROCESSES THAT RAISES A NAP ON THE WOVEN FABRIC WHICH IS USEFUL FOR HIDING STITCHES.

THIS ALLOWED THE MEN TO CREATE QUILTS USING A PROCESS OF PUTTING PATTERN PIECES TOGETHER AND STITCHING THEM WITH A SIMPLE OVERHAND OR WHIP STITCH AND THE RESULT IS THAT THE TEXTILES ARE VIRTUALLY IDENTICAL ON THE TOP AND ON THE BACK.

THIS WAS A TECHNIQUE CALLED INTARSIA THAT WAS SEEN PRIMARILY IN PRUSSIA AND GERMANIC EUROPE.

TWO REMARKABLE TEXTILES IN THIS EXHIBITION WERE MADE BY A HUNGARIAN MASTER TAILOR.

HE USED THE TECHNIQUE TO CREATE SCENIC VIEWS THAT WERE BASED ON POPULAR ETCHINGS OF THE TIME.

ONE PIECE DEPICTS A LORD AND THE HOUSE OF COMMONS.

THE OTHER DEPICTS THE PARLIAMENT, THE LEADING POLITICAL LEADERS AND THE LEADING INTELLECTUALS OF MID 19th CENTURY ENGLAND.

ONE OF THE EARLIEST QUILTS IN THE EXHIBITION IS DATED 1806.

THE QUILT WAS MADE BY SAMUEL SEDLOWSKI.

HE WAS A PROFESSIONAL TAILOR IN CIVILIAN LIFE.

HE WAS TAKEN PRISONER.

HE WAS PUT TO WORK MAKING UNIFORMS FOR THE FRENCH SAILORS.

UTILIZING OFF CUTS FROM THE UNIFORMS, HE CREATED AT LEAST THREE TEXTILES WHILE HE WAS A PRISONER OF WAR AND BROUGHT THOSE TEXTILES HOME WITH HIM WHEN HE WAS RELEASED.

THE SECOND MAJOR QUILT TRADITION THAT'S EXPLORED IN THIS EXHIBITION WAS MADE BY SOLDIERS DURING THE TIMES OF BRITISH CONFLICT IN THE CRIMEA, IN INDIA AND IN OTHER PARTS OF THE BRITISH EMPIRE.

FOR A LONG TIME, THESE HIGHLY COMPLEX GEOMETRIC QUILTS WERE CALLED CRIMEAN WAR QUILTS.

IN THE POPULAR PRESS, THERE WERE MANY ARTICLES THAT WERE PUBLISHED SHOWING MEN ENGAGED IN THE ACT OF CREATING THESE QUILTS IN MILITARY HOSPITALS, BASICALLY AS A KIND OF OCCUPATIONAL THERAPY.

THIS WAS A VERY USEFUL TOOL FOR THE BRITISH GOVERNMENT AND THE BRITISH MILITARY TO DEMONSTRATE HOW THEY TOOK CARE OF THE SOLDIERS RETURNING FROM WAR WHEN THE CRIMEAN WAR WAS INFAMOUS FOR THE INEPTITUDE OF THE LEADERS.

ONE OBSERVATION IN GENERAL ABOUT THE GEOMETRIC QUILTS IS THE PREDOMINANCE OF RED.

THAT'S BECAUSE BRITISH UNIFORMS THROUGH THE 19th CENTURY WERE RED.

THE QUILTS MADE IN INDIA SEEM TO HAVE RESPONDED TO THE INDIAN TEXTILE CULTURE WITH EMBELLISHMENTS SUCH AS SEQUINS AND MIRRORS AND BEADS.

THE SEAMS ARE COVERED WITH BRAID OR EMBROIDERY.

ONE OF THE MOST COMPLEX AND INTERESTING QUILTS IN THE EXHIBITION THAT WAS MADE IN INDIA IS TERMED THE QUILT WITH THE INCREDIBLE BORDER.

THE ENTIRE BORDER IS CREATED OUT OF THESE SHAPED PIECES OF WOOL, SOMETIMES 14 LAYERS DEEP.

WE DON'T REALLY KNOW WHAT THE END PURPOSE WAS OF THE TEXTILES.

THEY WERE MADE BY SOLDIERS AS SOUVENIRS TO BRING HOME TO LOVED ONES.

AS EXERCISES TO OCCUPY TIME.

AS A WAY OF PROCESSING THEIR OWN THOUGHTS AND VISCERAL REACTION TO THE THEATER OF WAR INTO A FORM OF BEAUTIFUL CREATIVITY.

I INVITE YOU TO COME TO THE MUSEUM AND LOOK AT THESE REMARKABLE TEXTILES THAT ARE ON VIEW FOR THE FIRST TIME IN THE UNITED STATES.

CURRENTLY ON VIEW IS GENERATION WEALTH, A RETROSPECTIVE OF WORK BY FILMMAKER AND PHOTOGRAPHER LAUREN GREENFIELD.

A NATIVE OF LOS ANGELES, GREENFIELD HAS SPENT THE LAST 25 YEARS DOCUMENTING AMERICAN POPULAR CULTURE AND ITS OBSESSION WITH MONEY, FAME, YOUTH AND BEAUTY.

GREENFIELD BEGAN TO RECORD THE CHANGING MEETING OF THE AMERICAN DREAM IN THE '90s WHEN SHE PHOTOGRAPHED TEENAGERS AT HER FORMER HIGH SCHOOL IN A WEALTHY SECTION OF L.A.

FROM THERE HER VISION EXPANDED TO INCLUDE EVERY LEVEL OF SOCIETY TOUCHED BY POPULAR CULTURE.

THE START OF THE RECESSION IN 2008 INSPIRED GREENFIELD TO LOOK BACK AT HER BODY OF WORK.

AT THE SAME TIME, SHE CONTINUED TO EXAMINE MATERIALISM, SEXISM AND AMERICA'S INABILITY TO LEARN FROM THE PAST.

GENERATION WEALTH IS A 25-YEAR EXPLORATION IN PHOTOGRAPHS, FILMS AND INTERVIEWS OF MY WORK AND MY JOURNEY LOOKING AT HOW THE AMERICAN DREAM HAS BEEN KIND OF TAKEN OVER BY THE VALUES OF CONSUMERISM.

IT'S ABOUT OUR ASPIRATION TO WEALTH AND HOW THAT HAS KIND OF DEFINED OUR GOALS AND AFFECTED A LOT OF OUR BEHAVIOR.

WHEN I SAY WEALTH, I'M NOT JUST LOOKING AT MONEY.

I'M REALLY LOOKING AT THE CURRENCY OF BEAUTY, THE CURRENCY OF THE BODY, THE CURRENCY OF YOUTH, THE CURRENCY OF SEXUALITY, THE CURRENCY OF HAVING MONEY BUT ALSO EVEN MORE IMPORTANTLY LOOKING LIKE YOU DO.

MY BACKGROUND WAS IN VISUAL ANTHROPOLOGY.

I WANTED TO TAKE THAT PERSPECTIVE AND LOOK AT MY OWN CULTURE.

ONE OF THE HALLMARKS OF THE EXHIBITION IS IT'S NOT JUST PHOTOGRAPHS.

THERE ARE ACTUALLY WORDS ON THE WALL.

THAT'S BECAUSE THE SUBJECTS' VOICES AND THEIR TESTIMONIALS HAVE BEEN A REALLY INTEGRAL PART OF THE STORY TELLING.

IT STARTS IN THE '90s WITH MY WORK IN L.A.

IT WAS ABOUT HOW KIDS ARE INFLUENCED BY MATERIALISM, CELEBRITY AND THE IMPORTANCE OF IMAGE.

WHEN I WAS GOING THROUGH THE PICTURES, I FOUND A PICTURE OF KIM KARDASHIAN.

AT 12 YEARS OLD.

THAT I HADN'T PUT IN THE ORIGINAL WORK BECAUSE SHE WASN'T ANYBODY IMPORTANT THEN.

OF COURSE, NOW IN MY WORK, SHE HAS BECOME THIS REALLY IMPORTANT CULTURAL TOUCHSTONE.

I SPENT ABOUT FIVE YEARS LOOKING AT HOW THE BODY HAS BECOME THE PRIMARY EXPRESSION OF IDENTITY FOR GIRLS AND HOW GIRLS AND WOMEN ARE AFFECTED BY ADVERTISING.

THE PRINCESS BRAND GREW OUT OF THAT WORK.

ME LOOKING AT HOW GIRLS ARE KIND OF SOLD A BILL OF GOODS, HOW THEY ARE SOLD TO BUT HOW THEY ARE SOLD.

THEIR BODY IMAGE VULNERABILITIES.

THEY TALK ABOUT THE VALUE OF BEAUTY AND THE CURRENCY OF RACE.

THAT KIND OF MORPHED INTO SEXUAL CAPITAL WHERE WE SEE IF GIRLS THAT THEIR BODY IS WHERE THEIR VALUE COMES FROM, THE LOGICAL THING IS TO LEVERAGE IT OR SELL IT.

BROOK TAYLOR WHO WAS COLLEGE EDUCATED MAKING I THINK $20,000 A YEAR AT A SOCIAL WORKER DECIDES SHE CAN MAKE THAT MUCH IN A WEEK AT THE BUNNY RANCH AND BECOMES A PROSTITUTE.

IN A CULTURE WHERE THE METRIC IS MONEY AND LIFESTYLE, THAT'S A RATIONAL CHOICE.

BUT I'M STILL ALSO TRYING TO STEP BACK AND LOOK AT THE CONNECTION BETWEEN THE LITTLE GIRL PLAYING DRESS-UP AND SHOWING A PRECOCIOUS SEXUALITY AND THE YOUNG ADULT WHO MAKES THAT CHOICE TO BECOME A PROSTITUTE.

SOMETIMES I'M LOOKING FOR EXTREME MOMENTS OR CHARACTERS WHO CAN BE A KIND OF LARGER THAN LIFE MIRROR FOR US.

BUT REALLY, THE POWER IS SEEING HOW IT RELATES US TO AND OUR OWN LIVES AND IN A WAY HOW WE'RE ALL COMPLICIT IN THIS STORY.

THEN THE CRASH HAPPENS.

AND THE WHOLE DOWNSTAIRS IS THE FALLOUT FROM THAT.

I WAS MAKING A FILM CALLED THE QUEEN OF VERSAILLES ABOUT THE FAMILY BUILDING THE LARGEST HOUSE IN AMERICA, INSPIRED BY VERSAILLES BUT IN FLORIDA.

WHEN THE FINANCIAL CRASH HIT, THEIR TIME SHARE BUSINESS EVENTUALLY GOT AFFECTED.

WHEN I SAW THE WAY THEY GOT CAUGHT UP IN THIS FORECLOSURE CRISIS, I REALIZED THAT THEIR STORY WAS AN ABOUT WHAT HAD GONE WRONG.

UP UNTIL THAT POINT, I HAD THOUGHT I WAS FOLLOWING ALL THESE INDIVIDUAL STORIES.

AND THEN I JUST REALIZED THAT THE CRASH KIND OF MADE MY STORIES ABOUT OUR EXCESS AND OVER THE TOP LIFESTYLE INTO A MORALITY TALE.

I ACTUALLY THOUGHT THAT WAS THE END OF THE STORY.

IN A WAY, WE JUST WENT RIGHT BACK TO WHAT WE HAD BEEN LIVING BEFORE THE CRASH BUT WITH EVEN MORE FERVOR.

I'VE ALWAYS TRIED TO BRING IN THE AESTHETICS OF THE POPULAR CULTURE INTO MY WORK TO KIND OF USE THAT LANGUAGE TO TALK ABOUT THOSE IDEAS.

SO I'VE ALWAYS WORKED WITH VERY SATURATED COLORS, VERY DYNAMIC COMPOSITIONS, SOME AESTHETICS THAT ARE KIND OF FROM MAGAZINE PHOTOGRAPHY.

IT'S ATTEMPTING TO MIRROR THE SEDUCTION OF THE CONSUMER ENVIRONMENT, BUT PART OF THE WORK IS THAT THE IMAGE DOESN'T TELL THE WHOLE STORY.

IN FACT, SOMETIMES THE IMAGE BELIES THE ACTUAL STORY.

I THINK THE SHOW IS ACTUALLY A PRETTY DARK VISION OF WHERE WE HAVE COME TO AS A CULTURE.

BUT THE INTENTION IS REALLY FOR PEOPLE TO THINK ABOUT WHO WE WANT TO BE AND MAKE THAT CHOICE.

NYC ARTS ISN'T JUST AVAILABLE ON THURSDAY.

YOU CAN FIND IT WHENEVER YOU WANT ON THE WEB.

VISIT OUR WEBSITE AT NYC-ARTS.ORG WHERE YOU CAN WATCH CLIPS AND LEARN MORE ABOUT INSTITUTIONS AND EVENTS FEATURED ON THE SHOW.

NEXT, WE CONTINUE OUR SERIES ON MUSICIANS WHO ARE MEMBERS OF THE MTA'S MUSIC UNDER NEW YORK PROGRAM.

EVERY YEAR THE MTA HOLDS AUDITIONS TO SELECT THE NEXT GROUP OF DIVERSE MUSICIANS WHO ARE THEN GIVEN ACCESS TO THE BEST PERFORMANCE LOCATIONS THROUGHOUT THE SUBWAY SYSTEM.

THE PROGRAM CURRENTLY HAS MORE THAN 350 REGISTERED MUSICIANS AND GROUPS.

AS A RESULT, YOU WILL NEVER KNOW WHAT MUSIC MIGHT GREET YOU ON YOUR COMMUTE.

MARK MUELLER, KNOWN AS INDUSTRIAL MULE, WORKS AS AN ARCHITECT BY TRADE BUT HAS A HISTORY OF A MUSICIAN AND SUBWAY PERFORMER AROUND THE WORLD.

HE JOINED AS A SOLO ACT TWO YEARS AGO AND HAS BEEN FORMING THROUGHOUT THE CITIES EVER SINCE THEN.

WITH HIS PLAYING OF AN AUSTRALIAN WIND INSTRUMENT AS WELL AS HIS PERCUSSION INSTRUMENTS, STREET MULE IS HARD TO MISS.

♪♪

WHEN I WAS A LITTLE KID, I WOULD DRUM MYSELF TO SLEEP BY PUTTING MY EAR TO THE MATTRESS AND PLAYING THE MATTRESS AND THEN I WOULD HUM TO IT.

WHAT I'M DOING NOW IS NOT REALLY MUCH DIFFERENT THAN THAT.

I CAME UP WITH THE NAME STREET MULE BECAUSE I PLAY SO MUCH ON THE STREET AND THEN THE SUBWAY.

AND IT IS A SHORTENED VERSION OF MY LAST NAME.

I DECIDED TO AUDITION FOR MY SOLO ACT BECAUSE I WANTED TO BE ABLE TO EXPRESS MYSELF ON MY OWN TIME.

IT'S VERY DIFFICULT BECAUSE THERE'S MAYBE 300 ACTS THAT WILL APPLY EACH YEAR.

THEY WILL TAKE 75.

TO AUDITION AT GRAND CENTRAL, I FAILED MY FIRST TIME.

I WENT BACK THE NEXT YEAR, GOT A STANDING OVATION AND WAS ACCEPTED.

THIS PROGRAM SPEAKS OF LOVE AND DIVERSITY AND EXPRESSION FOR BEING WHOEVER AND WHATEVER YOU WANT TO BE AND NEW YORKERS EAT IT UP.

I LOVE NEW YORK FOR THAT.

AND I LOVE THE PROGRAM FOR THAT.

♪♪ PEOPLE ASK ME ALL THE TIME WHAT THIS MUSIC IS.

I TELL THEM, IT'S SWEATY.

WHAT I'M TRYING TO DO IS PROVIDE THE PEOPLE THAT SEE ME WITH 15 SECONDS OF ENERGY.

THE SOUND IS MORE OF AN IDEA OF THE NEW YORK CITY OF PEOPLE COMING TOGETHER FROM ALL OVER THE WORLD AND FINDING SOMETHING NEW.

I CONSIDER REALLY EVERYTHING AN INSTRUMENT.

THERE'S HAND DRUMS, LIKE THE MIDDLE EASTERN HAND DRUM.

AND THEN A PERU RHYTHM BOX THAT I SIT ON.

AND THEN I PLAY A PLASTIC WIND TUBE THAT COULD BE A PVC PIPE, A FIBERGLASS TUBE.

THEN PERCUSSION ON MY HANDS AS FAR AS BELLS OR SHAKERS AND MY FEET AS WELL.

IT'S A WHOLE BALANCING ACT.

ATLANTIC PACIFIC IN BROOKLYN IS A GREAT SPOT FOR ALL MY LOCAL PEOPLE.

IT SOUNDS REALLY GREAT.

IT KIND OF LOOKS LIKE A TRUMPET.

THE DIMENSIONS ARE SUCH THAT THE SOUND IS COMPRESSED A BIT.

BUT THEN IT OPENS UP.

SO FOR MY SOUND IT KIND OF BILL BILLOWS OUT LIKE THAT.

I PLAY TO THE PULSE OF THE LOCATION THAT I'M PLAYING IN.

I FIND THAT MY CREATIVITY IS BEST IN THE MOMENT.

IN THE SUBWAY, THE MOMENT TO ENTICE SOMEBODY TO COME BY AND STOP EVEN OR JUST SLOW DOWN IS SO SHORT THAT I HAVE LEARNED TO SLIDE IN AND OUT OF TIME FLEXIBLE AS FAR AS WHAT I'M DOING AND THAT HAS, I THINK, HELPED MY RHYTHM EXPERIENCE, BECAUSE I'VE BECOME MORE AGILE.

♪♪ THE BEST THING FOR ME IS WHEN I SEE A CHILD, AND BECAUSE THEY ARE SO MUCH MANY THE MOMENT, THE PEOPLE THAT ARE WATCHING OR THE ADULTS, THEY WILL REALIZE THAT THAT'S THE POINT OF PLAYING STREET MUSIC.

PUT DOWN THE TECHNOLOGY AND JUST DANCE, CONNECT.

THAT'S ALL.

♪♪

HELLO.

WELCOME TO THIS WEEK AT LINCOLN CENTER.

WITH ITS THEATERS OVERFLOWING WITH THE BEST IN MUSIC, DANCE, OPERA, DRAMA AND FILM FROM AROUND THE WORLD, IT'S TRULY THE INTERNATIONAL CROSSROADS OF ARTS AND CULTURE.

LINCOLN CENTER THEATER'S PRODUCTION OF JUNK IS ON AT THE VIVIAN BEAUMONT THEATER.

SET OVER 30 YEARS AGO, IT TELLS THE STORY OF A MAN, THE RESIDENT GENIUS OF AN INVESTMENT FIRM WHO MANAGES TO SET IN MOTION A FINANCIAL CIVIL WAR, PITTING TYCOONS AGAINST WORKERS AND EVENTUALLY EVERYONE AGAINST THEMSELVES.

I MAKE YOU RICH.

THEN YOU STOP RETURNING MY CALLS?

I WAS AFRAID.

OF WHAT?

MAKING MONEY?

FOR DETAILS VISIT LCT.ORG.

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

YOU HOPE YOU HAVE ENJOYED OUR PROGRAM THIS EVENING.

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

THANKS FOR JOINING US.

GOOD NIGHT.

NEXT TIME ON NYC ARTS, A CONVERSATION WITH CAR MEN BUMBUH, CURATOR OF MICHELANGELO, NOW ON VIEW AT THE METROPOLITAN MUSEUM OF ART.

I THINK THE SPIRIT OF MICHELANGELO COMES THROUGH IN HIS DRAWINGS, ESPECIALLY WHEN WE FOLLOW THEM IN SEQUENCE.

IT'S ALMOST AS IF WE ARE HAVING A CONVERSATION WITH THE ARTIST ON THE PAPER.

IT IS REALLY THE MOST IMMEDIATE AND THE MOST INTIMATE GLIMPSE INTO HIS GENIUS.

THE STUDY OF MICHELANGELO'S DRAWINGS IS CENTRAL NOT ONLY TO MICHELANGELO'S ART BUT ALSO I THINK TO THE VALUES OF OUR WESTERN CIVILIZATION.

TO ENJOY MORE OF YOUR FAVORITE SEGMENTS ON NYC ARTS, VISIT OUR WEBSITE AT NYC-ARTS.ORG.

WHAT A PRIVILEGE TO SIT DOWN AND TALK WITH YOU.

I LOVE BEING HERE WITH YOU.

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.

♪♪ ♪♪

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

WALTER IN MEMORY OF DINA MERRILL, KATE W. CASSIDY FOUNDATION, THEA PETSCHEK IERVOLINO FOUNDATION, JEAN DUBINSKI APPLETON ESTATE, JODY AND JOHN ARNHOLD, 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 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' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FLEXIBILITY, COORDINATION, EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH MANAGEMENT, IT'S A PRIVILEGE TO SERVE YOU.

AND BY SWAN AUCTION GALLERIES.

SWAN AUCTION GALLERIES, WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE ART SINCE 1941.

WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU ARE A LIFE LONG COLLECTOR, A FIRST TIME BUYER OR LOOKING TO SELL, INFORMATION AT SWANGALLERIES.COM.