A visit to the Neue Galerie on Museum Mile for a look at the exhibition “Wiener Werkstätte, 1903-1932: The Luxury of Beauty.” And a profile of UrbanGlass in Fort Greene, Brooklyn, which has been devoted to supporting glassmaking as a creative medium for 40 years.

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> COMING UP ON 'NYC-ARTS,' A VISIT TO THE NEUE GALERIE ON MUSEUM MILE FOR A LOOK AT THE EXHIBITION WIENER WERKSTATTE 1903 TO 1932: THE LUXURY OF BEAUTY.

THEIR MANDATE WAS IT WAS BETTER TO TAKE TEN DAYS TO MAKE ONE OBJECT THAN TO MAKE TEN OBJECTS IN ONE DAY.

SO THAT SORT OF GIVES YOU SOME INDICATION OF THE AMOUNT OF TIME AND CARE.

THEY REALLY FELT IT WAS UTMOST PRECISION OF EXECUTION, THE BEST USE OF MATERIALS, AND OBVIOUSLY THE HIGHEST LEVEL OF ARTISTRY THAT WOULD DISTINGUISH THEM FROM THEIR COUNTERPARTS.

> AND A PROFILE OF URBAN GLASS IN FT. GREENE, BROOKLYN, WHICH HAS BEEN DEVOTED TO SUPPORTING GLASS MAKING AS A CREATIVE MEDIUM FOR 40 YEARS.

THIS FACILITY SERVES A POPULATION OF ABOUT 300 PROFESSIONAL ARTISTS WORKING WITH GLASS AND CLOSE TO 1,000 STUDENTS.

> FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY ROSALIND P. WALTER KATE W. CASSIDY FOUNDATION THEA PETSCHEK IERVOLINO FOUNDATION JEAN DUBINSKY 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.

♪♪

> GOOD EVENING AND WELCOME TO 'NYC-ARTS.'

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

WE BEGIN OUR PROGRAM TONIGHT WITH A VISIT TO THE NEUE GALERIE ON THE UPPER EAST SIDE.

LOCATED ON MANHATTAN'S WORLD FAMOUS MUSEUM MILE, THE NEUE GALERIE IS DEVOTED TO EARLY 20th CENTURY GERMAN AND AUSTRIAN ART AND DESIGN.

CURRENTLY ON VIEW IS A MAJOR RETROSPECTIVE DEVOTED TO THE WIENER WERKSTATTE OR VIENNA WORKSHOPS.

THE WIENER WERKSTATTE WAS ONE OF THE MOST IMPORTANT COLLECTIVES OF ARTISTS AND CRAFTSMEN IN THE EARLY 20th CENTURY.

FOUNDED IN 1903 IN VIENNA, IT WAS A BRIDGE BETWEEN TRADITIONAL METHODS OF CREATING ART AND THE BURGEONING MODERNISM OF THE TIMES.

ITS HALLMARK WAS THE EMPHASIS ON ARTISTIC FREEDOM.

THE WIENER WERKSTATTE PRODUCED DECORATIVE ART, OBJECTS THAT ARE NOT ONLY BEAUTIFUL BUT FUNCTIONAL AS WELL.

AND THE OUTPUT OF THE WORKSHOP WAS WIDE RANGING.

ON DISPLAY ARE MORE THAN 400 OBJECTS THAT SHOW THE BREADTH OF THE FIRM'S EXTENSIVE DESIGN.

OUR GUIDE TO THE EXHIBITION IS THE SHOW'S CO-CURATOR, JANIS STAGGS.

THIS EXHIBITION IS ENTITLED WIENER WERKSTATTE 1903 TO 1932: THE LUXURY OF BEAUTY.

THE VIENNA WORKSHOPS, WHICH IS THE ENGLISH TRANSLATION FOR THE WIENER WERKSTATTE, WAS AN ARTISTS AND CRAFTSMEN COLLABORATIVE THAT WAS ESTABLISHED IN VIENNA IN 1903.

IT WAS PROBABLY THE BRAINCHILD OF FRITZ WAERNDORFER, A TEXTILE INDUSTRIALIST AND ART COLLECTOR, AND JOSEF HOFFMANN, FAMOUS AUSTRIAN ARCHITECT, AND THE PAINTER, KOLOMAN MOSER.

VIENNA IN THE EARLY 1900s, YOU KNOW, MANY ART HISTORIANS SAY IT WAS SOMETHING OF A CULTURAL BACK WATER COMPARED, IN PARTICULAR, TO ITS BRITISH, FRENCH, OR GERMAN COUNTERPARTS.

SO ELECTRICITY, CARS, TELEPHONES, THESE WERE THINGS THAT ARRIVED IN VIENNA MUCH LATER THAN IN OTHER EUROPEAN CAPITALS.

AND SO THERE WERE A GROUP OF PEOPLE BASICALLY IN THE LATE 19th CENTURY IN VIENNA THAT RECOGNIZED THEY NEEDED TO SORT OF RAPIDLY BRING THEMSELVES UP TO DATE WITH THE DAWN OF THE NEW CENTURY.

AND THAT BECAME A RALLYING CRY WHEN IN 1897 THE PAINTER GUSTAV KLIMT AND A WHOLE OTHER GROUP OF ARTISTS WHICH INCLUDED HOFFMANN AND MOSER ESTABLISHED THE VIENNA SECESSION.

AND WHAT THEY WERE BASICALLY TRYING TO ARGUE IN FAVOR OF WAS THAT VIENNA NEEDED EXPOSURE TO MODERN ART AND DESIGN FROM THROUGHOUT EUROPE.

HOFFMANN AND MOSER WANTED TO SET SOMETHING UP IN VIENNA ALONG THE LINES OF THE BRITISH ARTS AND CRAFTS GUILD OF HANDY CRAFT WHERE THEY AS ARTISTS, MEANING HOFFMANN AND MOSER, WOULD COLLABORATE WITH HIGHLY SKILLED CRAFTSMEN.

AND INITIALLY THEY DECIDED THEY WANTED TO FOCUS ON MAKING METAL GOODS.

OUR OPENING GALLERY COVERS THE FOUNDING YEARS, 1903 TO 1905, AND IT LOOKS AT THE EARLIEST WORK.

♪♪ THEIR MANDATE WAS IT WAS BETTER TO TAKE TEN DAYS TO MAKE ONE OBJECT THAN TO MAKE TEN OBJECTS IN ONE DAY.

SO THAT SORT OF GIVES YOU SOME INDICATION OF THE AMOUNT OF TIME AND CARE.

THEY REALLY FELT THAT IT WAS THE HIGHEST LEVEL OF ARTISTRY THAT WOULD DISTINGUISH THEM FROM THEIR COUNTERPARTS.

WHAT WAS DISTINCTIVE ABOUT THE VIENNA MODEL WAS THAT THEY WANTED TO REALLY ELEVATE THE ROLE OF THE CRAFTSMEN, PUT THEM ON EQUAL FOOTING WITH THE ARTISTS.

AND YOU SEE THAT ON THE VERY EARLIEST DESIGNS THAT THEY CREATED.

THEY VERY PROUDLY DISPLAY THE HALL MARKS FOR THE ARTISTS, FOR THE CRAFTSMEN, AND FOR THE WIENER WERKSTATTE ITSELF.

THE MIDDLE GALLERY, WHICH COVERS THE GROWTH YEARS FROM 1906 UNTIL 1914, LOOKS AT A TIME WHEN A NUMBER OF OTHER ARTISTS BEGAN JOINING THE FIRM.

THE NUMBER OF CRAFTSMEN WORKING WITH THE WIENER WERKSTATTE WENT FROM THREE IN 1903 TO WELL OVER A HUNDRED BY THOSE MIDDLE YEARS.

AND THEY ALSO EXPANDED THEIR PRODUCT RANGE.

THIS NOW ENCOMPASSED EVERYTHING FROM POST CARDS, FASHION, ACCESSORIES, CERAMICS, GLASS, TEXTILES.

BASICALLY, IF YOU NEEDED IT FOR YOUR HOUSE, FOR YOUR BUSINESS, THEY MADE IT.

AND IF THEY DIDN'T MAKE IT, THEY FOUND AN OUTSIDE FIRM THEY COULD COLLABORATE WITH TO WHICH THEY WOULD MAKE THE DESIGNS, AND THESE OUTSIDE FIRMS THAT WERE SPECIALISTS WOULD PRODUCE GOODS AFTER THEIR DESIGNS.

THE GEM GEM OR TOTAL WORK OF ART IS A NOTION THAT MANY PEOPLE POINT TO RICARD WAGNER AND HIS WORK IN OPERATIC DESIGN AS BEING ONE OF THE FIRST PROMOTERS OF THIS NOTION.

AND IT REALLY, YOU KNOW, CAME TO BE TRANSLATED TO MEAN CREATING THESE HARMONIOUS ENVIRONMENTS WHERE EVERY ELEMENT WITHIN A SPACE, WITHIN AN ENVIRONMENT, WOULD WORK TOGETHER BEAUTIFULLY IN TANDEM.

WHAT WE START TO SEE IN THE LATE 19th CENTURY IS THAT ARCHITECTS START TAKING THIS UP, SO THEY THINK ABOUT THIS IDEA THAT IF THEY'RE DESIGNING A HOUSE AND THEY START DESIGNING EVERYTHING THAT GOES IN THAT HOUSE, ARGUABLY THEIR MOST SIGNIFICANT EXAMPLE OF THE TOTAL WORK OF ART IS THE PALAIS STOCLET.

UNFORTUNATELY FOR THE WIENER WERKSTATTE, THEY AGREE TO UNDERTAKE THIS COMMISSION FOR 500,000 CROWNS WITHOUT EVEN UNDERSTANDING WHAT WOULD BE INVOLVED TO NOT ONLY BUILD THE HOUSE, FURNISH THE HOUSE, BUT ALSO CREATE THIS LAVISH GARDEN THAT WOULD ENCOMPASS THE PROPERTY.

AND IT TOOK THEM SIX YEARS TO COMPLETE THE PROJECT.

AND THEY BASICALLY DESIGNED EVERYTHING THAT WENT IN THERE FROM THE WALLPAPER, THE CARPET, THEY DESIGNED BATHROOMS, KITCHENS, CUTLERY, YOU NAME IT, IT WAS DONE BY AN ARTIST AFFILIATED WITH THE FIRM.

AND IN THE END, IT'S ESTIMATED THAT PROBABLY THE COMMISSION COST AT LEAST THREE TIMES WHAT THEY THOUGHT.

AND SO FOR THE WIENER WERKSTATTE, EVEN THOUGH THEY COULD SORT OF POINT TO THIS AS THE CROWNING ACHIEVEMENT OF THIS CONCEPT OF THE TOTAL WORK OF ART, IT WAS IN SOME WAYS THE DEATH BLOW FOR THEM FINANCIALLY BECAUSE THE IMPACT LINGERED FOR THE COMING YEARS.

A LARGE FINAL GALLERY COVERS THE LAST DECADES OF THE WIENER WERKSTATTE FROM 1915 TO 1932, AND THESE WERE SOME OF THE DARKEST YEARS BECAUSE THEY HAD TO STRUGGLE WITH THE IMPACT OF WORLD WAR ONE.

MANY OF THE CRAFTSMEN WHO WORKED FOR THE FIRM WERE CONSCRIPTED, SO THEY WERE FORCED TO GO OFF AND FIGHT.

SO A NUMBER OF WOMEN JOINED THE FIRM.

AND WE BEGIN TO SEE A RESURGENCE IN GLASS WORK AND ALSO IN CERAMIC WORK.

THEIR MARKET NEVER REALLY RETURNS BASICALLY AFTER WORLD WAR ONE.

THEN THE NEW YORK STOCK MARKET CRASHED, WHICH HAD GLOBAL IMPLICATIONS, AND BY SEPTEMBER OF 1932 ALL THEIR GOODS WERE AUCTIONED AND THE FIRM WAS ENTIRELY LIQUIDATED BY OCTOBER OF THAT YEAR.

I'M PLEASED TO INVITE YOU TO WIENER WERKSTATTE 1903 TO 1932: THE LUXURY OF BEAUTY.

THIS IS THE FIRST AMERICAN MUSEUM PRESENTATION OF THE WIENER WERKSTATTE, AND IT REALLY OFFERS VISITORS AN OPPORTUNITY TO SEE THE TOTAL GAMUT OF ALL THE GOODS THAT THE FIRM CREATED IN ITS NEARLY 30-YEAR EXISTENCE.

> BEHIND THE FACADE OF A CONVERTED THEATER IN FT. GREENE, BROOKLYN, IS ONE OF NEW YORK'S HIDDEN GEMS OF EXPERIMENTAL ART MAKING.

FOR MORE THAN 40 YEARS URBAN GLASS HAS BEEN DEVOTED TO ADVANCING GLASS MAKING AS A CREATIVE MEDIUM THROUGH EDUCATIONAL PROGRAMS, EXHIBITIONS, AND PUBLICATIONS.

THEIR STATE-OF-THE-ART STUDIO ALSO WELCOMES ARTISTS FROM DIVERSE BACKGROUNDS AND ENCOURAGES THEM TO COLLABORATE AND EXPLORE NEW APPROACHES.

WORKING WITH GLASS REQUIRES A UNIQUE BLEND OF CONCENTRATION, CREATIVITY, SKILL, AND A 1,000-POUND FURNACE FULL OF MOLTEN GLASS.

WHETHER IT'S GLASS BLOWING, FLAME WORKING, OR CRAFTING NEON TUBES, ARTISTS MUST PAY CLOSE ATTENTION TO THE TEMPERATURE OF THE GLASS AND THE PULL OF GRAVITY.

THE BEST ARTISTS CAN MAKE SUCH COMPLEX WORK LOOK EFFORTLESS.

> URBAN GLASS LOOKS TO SUPPORT MAKING, SEEING, AND THINKING ABOUT GLASS, SUPPORTING ARTISTS IN MAKE THAT GO WORK BUT THEN ALSO PROVIDING THOSE ARTISTS WITH OPPORTUNITIES TO PRESENT THEIR WORK AND THEN PROVIDING THE PUBLIC WITH OPPORTUNITIES TO THINK ABOUT WHAT ARTISTS AND DESIGNERS ARE DOING IN THE MATERIAL.

URBAN GLASS WAS FOUNDED IN 1977 AS THE NEW YORK EXPERIMENTAL GLASS WORKSHOP.

IT WAS STARTED BY A SMALL GROUP OF ARTISTS.

THERE WERE NO PLACES FOR THEM TO CONTINUE MAKING THIS WORK.

IN 1991 WE MOVED TO THIS BUILDING HERE IN FT. GREENE AND CHANGED OUR NAME TO URBAN GLASS.

URBAN GLASS IS THE ONLY ORGANIZATION REALLY OF OUR KIND ON THE EAST COAST.

THIS IS A PLACE THAT ARTISTS COME TO FROM ALL OVER THE CITY AND ALL OVER, FRANKLY, THE COUNTRY AND SOMETIMES EVEN THE WORLD.

WHEN YOU FIRST COME INTO URBAN GLASS, YOU WOULD WALK IN THROUGH OUR AGNES VARIS ART CENTER, WHERE WE ARE RIGHT NOW WHICH IS OUR STORE IN THE GALLERY SPACE AND IT'S OUR PUBLIC SPACE.

OUR GALLERY SPACE PRESENTS CHANGING EXHIBITIONS OF CONTEMPORARY ART AND DESIGN.

WE'RE REALLY INTERESTED IN PROVIDING A PLATFORM FOR BOTH WHAT IS HAPPENING HERE LOCALLY BUT LOOKING AT THE FIELD MORE BROADLY.

FROM HERE YOU GO UPSTAIRS TO THE THIRD FLOOR OF OUR BUILDING, WHICH IS HOME TO WHAT WE SOMETIMES THINK OF AS THE HEART OF OUR WORK WHICH IS OUR STUDIO WHICH IS HOME, OF COURSE, TO OUR STUDIO PROGRAM BUT ALSO TO OUR EDUCATION PROGRAM.

AND THAT HAS EVERYTHING FROM FACILITIES TO BLOW GLASS TO BEND NEON TO KIND OF DO WHAT WE HOPE IS ANYTHING AND EVERYTHING WHEN IT COMES TO GLASS AND GLASS MAKING.

AND THAT FACILITY SERVES A POPULATION OF ABOUT 300 PROFESSIONAL ARTISTS THAT ARE WORKING WITH GLASS AND A STUDENT POPULATION OF CLOSE TO A THOUSAND STUDENTS.

AND THERE'S A KIND OF GREAT DIALOGUE THAT COMES FROM THAT, AND I THINK IT'S PRETTY UNIQUE TO OUR STUDIO.

I HAPPENED UPON URBAN GLASS ACCIDENTALLY IN THE EARLY '90s.

I WAS GOING TO THE NEW SCHOOL FOR WRITING THEN AND I JUST SORT OF WANDERED INTO THIS PLACE ON ACCIDENT.

BUT THEY OFFER CLASSES TO THE PUBLIC, SO I TOOK A CLASS.

I WANTED TO LEARN MORE ABOUT IT BECAUSE I WAS SO COMPELLED BY JUST THE RAW MATERIALITY OF THE STUFF.

BUT THEN I QUICKLY DISCOVERED THAT IT'S NOT USER FRIENDLY AT ALL.

PHYSICALLY IT MAKES NO SENSE TO DO IT BECAUSE IT'S BECAUSE YOU CAN'T TOUCH IT.

IT'S HOT, IT'S HEAVY, AND JUST FRAGILE.

IT BREAKS ALL OVER THE PLACE.

MY FAVORITE PART ABOUT GLASS BLOWING IS GATHERING.

IT'S A GOOD MATERIAL FOR EXPERIMENTATION.

IT REGISTERS REALLY QUICKLY.

YOU CAN ALMOST KIND OF DRAW WITH IT.

IT JUST HARDENS UP AS IT COOLS SO RAPIDLY THAT YOU CAN MAKE THINGS REALLY, REALLY QUICKLY.

YOU DEFINITELY HAVE TO THINK AHEAD AND PREPARE.

THERE'S A COMMUNITY OF PEOPLE THAT ARE SORT OF BASED HERE THAT LIKE KIND OF HAVE THEIR WHOLE PRACTICE BASED AROUND THIS PLACE, AND THEN THERE'S OTHER ARTISTS THAT CYCLE THROUGH AS THERE'S, YOU KNOW, NEW IDEAS AND THERE'S ALWAYS SOMETHING STRANGE HAPPENING IN SOME CORNER OR ANOTHER.

SO THE BEAD PROJECT IS A PROGRAM THAT URBAN GLASS HAS BEEN RUNNING FOR 20 YEARS, AND THAT IS A PROGRAM THAT WAS STARTED TO SERVE LOW-INCOME WOMEN THROUGH A SEMESTER LONG COURSE IN BEAD MAKING, JEWELRY FABRICATION, AND ENTREPRENEURSHIP.

WE ARE LOOKING FOR CREATIVELY INCLINED WOMEN.

STUDENTS DURING THE CLASS SPEND SIGNIFICANT PORTIONS OF EACH CLASS PERIOD IN OUR STUDIO LEARNING THE SKILLS OF BEAD MAKING AND THEN ALSO SPEND TIME IN OUR CLASSROOM LEARNING EVERYTHING FROM BUILDING A BUDGET TO SOCIAL MEDIA AND MARKETING PRICING, AND, OVER THE COURSE OF THE SEMESTER, DESIGN THEIR OWN LINES OF JEWELRY.

I HAVE GONE THROUGH THE BEAD PROJECT HERE AT URBAN GLASS.

I APPLIED ACTUALLY THE SECOND YEAR OF MY RETIREMENT IN 2016.

IT WAS WOMEN FROM ACROSS NEW YORK CITY, NOT JUST BROOKLYN.

DIFFERENT AGES, DIFFERENT RACES, SO IT'S A VERY CREATIVE, OPEN ATMOSPHERE.

IT ACTUALLY JUST MAKES YOU WANT TO CREATE.

IT'S LIKE YOU CAN'T HELP YOURSELF.

ONCE I CAME TO THE BEAD PROJECT, I SAW BEADS THAT I THOUGHT WERE ABSOLUTELY BEAUTIFUL, AND I WAS SORT OF CURIOUS AS TO HOW THEY WERE MADE.

I DID THINK ABOUT THE FIRE, BUT IT QUICKLY LEAVES YOU ONCE YOU SEE AND FEEL THE GLASS AND THE CONTROL YOU HAVE OVER IT.

IT'S VERY MEDITATIVE.

IT'S AMAZING.

AND WHEN THE COLORS MELT AND MIX WITH ONE ANOTHER, IT EVEN BECOMES MORE OF A BEAUTIFUL EXPERIENCE.

I THINK ANOTHER THING THAT WE ARE REALLY EXCITED ABOUT FOR THE FUTURE AND SOMETHING THAT WE'RE HOPEFUL THAT URBAN GLASS CAN CONTINUE TO BE A LEADER IN EXPANDING AND DIVERSIFYING THE FIELD.

WE DO A HUGE AMOUNT OF WORK THROUGH THINGS LIKE OUR OPEN STUDIOS AND SCHOOL GROUP VISITS WHERE WE ARE CONNECTING NEW AUDIENCES WITH WHAT'S POSSIBLE BOTH IN GLASS AND WHAT'S POSSIBLE IN ART MAKING.

> FOR MORE ON THE LATEST IN ARTS AND CULTURE, HERE'S CHRISTINA HA WITH THE 'NYC-ARTS' NEWS.

> GOOD EVENING, I'M CHRISTINA HA WITH THE 'NYC-ARTS' NEWS.

I'M AT THE QUEENS MUSEUM IN FLUSHING MEADOWS, CORONA PARK.

THIS BUILDING WAS NEW YORK CITY'S OFFICIAL PAVILION DURING THE 1939 AND 1964 WORLD'S FAIRS.

FROM 1946 TO 1950, IT SERVED AS THE HOME OF THE UNITED NATIONS GENERAL ASSEMBLY.

TODAY WITH MORE THAN 150 LANGUAGES SPOKEN IN QUEENS, THE MUSEUM IS LOCATED IN ONE OF THE WORLD'S MOST ETHNICALLY DIVERSE NEIGHBORHOODS.

IT'S A LOCAL MUSEUM WITH A VERY GLOBAL AUDIENCE INTIMATELY CONNECTED TO ITS COMMUNITY AND TO THE HISTORY OF ITS SITE.

CURRENTLY ON VIEW IS 'NEVER BUILT NEW YORK,' A LOOK AT THE BOLD AND SOMETIMES OUTRAGEOUS DESIGN PROPOSALS FOR NEW YORK CITY THAT NEVER GOT THE GREEN LIGHT.

THE EXHIBITION INCLUDING PLANS, RENDERINGS AND MODELS FROM 150 YEARS OF URBAN DESIGN.

THE EXHIBITION PRESENTS A WIDE RANGE OF ARCHITECTURAL STYLES AND PERIODS AS WELL AS PROJECTS FROM RENOWNED ARCHITECTS FROM FRANK LLOYD WRIGHT TO MOSHE SAFDIE.

IN THE MUSEUM'S SKY LIGHT GALLERY ARE UNBUILT PROJECTS INTENDED SPECIFICALLY FOR FLUSHING MEADOWS CORONA PARK.

THESE INCLUDE ELIOT NOYES' BOUNCY CASTLE, INFLATED AND USABLE, A RENDERING OF HIS DESIGN FOR THE WESTINGHOUSE PAVILION AT THE '64 WORLD'S FAIR.

THE MAIN ATRUM'S OTHER GALLERY SPACES LOOK TO THE FUTURE FEATURING THE WORK OF SEVERAL CONTEMPORARY ARTISTS.

JULIA WEIST COLLABORATES WITH CUBAN ARTIST NESTER SIRE TO INVESTIGATE THE COUNTRY'S UNDERGROUND, OFFLINE VERSION OF THE WEB.

EL PAQUETE SEMANAL, THE WEEKLY PACKAGE IS DISTRIBUTED ENVELOPELY ACROSS THE COUNTRY ON FLASH DRIVES.

SABLE ELYSE SMITH, ORDINARY VIOLENCE IS THE FIRST SOLO EXHIBITION FOR THIS ARTIST WHO WORKS ACROSS FILM, PHOTOGRAPHY AND SCULPTURE.

PATTI CHANG, THE WANDERING LAKE 2009-2017 DETAILS THE ARTIST'S MULTIYEAR JOURNEY WITH A LARGE SCALE MIXED MEDIA INSTALLATION.

ALL GOOD ART IS POLITICAL.

THE WRITER TONI MORRISON ONCE NOTED.

THE ONES THAT TRY HARD NOT TO BE POLITICAL ARE POLITICAL BY SAYING WE LOVE THE STATUS QUO.

GALERIE ST. ETIENNE IN MIDTOWN MANHATTAN BORROWS MORRISON'S WORDS FOR THE TITLE OF ITS TIMELY EXPLORATION OF THE RELATIONSHIP BETWEEN ARTISTS AND POLITICS.

ALL GOOD ART IS POLITICAL: KATHE KOLLWITZ AND SUE COE' INCLUDE MORE THAN 30 DRAWINGS AND PRINTS BY EARLY 20th CENTURY ARTIST KOLLWITZ AND MORE THAN 30 PAINTINGS, DRAWINGS, AND PRINTS BY CONTEMPORARY ARTIST COE.

DESPITE THEIR DIFFERENCES IN BACKGROUND, BOTH ARTISTS WERE PASSIONATE ABOUT THE SOCIAL ISSUES EARLY IN THEIR CAREERS AND SHARED BELIEF THAT ART CAN INSPIRE CHANGE.

THE PAIRING OF THE ARTISTS ALSO HIGHLIGHTS THEIR USE OF SIMILAR TECHNIQUES FROM BLACK AND WHITE DRAWINGS TO WOOD CUT AND LINOCUT PRINTS.

WHILE THE WORKS OF KOLLWITZ AND COE ARE NEARLY A CENTURY APART, THEY ADDRESS PARALLEL THEMES AND ISSUES -- IMPRISONMENT AND WAR, POVERTY AND OPPRESSION -- MANY WHICH STILL RESONATE WITH US TODAY.

TO EXPERIENCE PUBLIC ART WITHOUT HAVING TO FACE THE CHILLY WEATHER, HEAD INSIDE THE MUSEUM OF THE CITY OF NEW YORK.

ART IN THE OPEN: 50 YEARS OF PUBLIC ART IN NEW YORK TAKES VISITORS THROUGH FIVE DECADES OF HISTORY MAKING ART INSTALLATION IN PARKS, PLAZAS, AND PUBLIC SPACES ACROSS ALL FIVE BOROUGHS.

♪♪ THE EXHIBIT TRACES THE BROAD PUBLIC PROJECT BEGUN IN THE 1960s TO TAKE ART OUT OF MUSEUMS AND GALLERIES AND BRING IT TO EVERYONE BY PUTTING IT EVERYWHERE.

BELOW THE GROUND IN THE SUBWAYS, ABOVE OUR HEADS IN TIMES SQUARE, AND ALL OVER CENTRAL PARK.

PUBLIC PROJECTS INCLUDE TEMPORARY STRUCTURES AND SHORT-LIVED PUBLIC PERFORMANCES AS WELL AS ART WORKS THAT HAVE BECOME NEW YORK CITY ICONS.

ARTISTS HIGHLIGHTED IN THE EXHIBIT RANGE FROM KEITH HARING TO KARA WALKER, ISAMU NOGUCHI TO ROY LIECHTENSTEIN.

THE MANHATTAN THEATER CLUB PRESENTS THE AMERICAN PREMIERE OF THE CHILDREN BY OLIVIER AWARD WINNER LUCY KIRKWOOD.

THIS POWERFUL PRODUCTION BY THE ROYAL COURT THEATRE COMES FROM AN ACCLAIMED RUN IN LONDON WITH ITS ORIGINAL CAST.

TWO RETIRED NUCLEAR ENGINEERS PLAYED BY RON COOK AND DEBORAH FINLEY ARE VISITED BY AN OLD FRIEND AT THEIR REMOTE COTTAGE ON THE BRITISH COAST.

A DEVASTATING DISASTER HAS THROWN THEIR WORLD OFF BALANCE.

FRANCESCA ANNIS PLAYS THE LONG-ABSENT FRIEND WHO HASN'T JUST POPPED BY TO REMINISCE ABOUT THE GOOD OLD TIMES.

THEY'VE RAISED THE RADIATION EXPOSURE LIMITS FROM 100 MILISIEVERTS TO 250.

YES, WE HEARD.

THE CHILDREN IS AT THE SAMUEL J. FRIEDMAN THEATER THROUGH FEBRUARY 4th.

AND FINALLY, PEAK PERFORMANCES AT MONTCLAIR STATE UNIVERSITY CONTINUES ITS SEASON OF WORKS BY WOMEN WITH A NEW DANCE FROM AWARD WINNING CORE YOG RAF CAMILLE A. BROWN.

INK IS THE THIRD INSTALLMENT IN BROWN'S TRILOGY ABOUT CULTURE, RACE AND IDENTITY.

THE WORK CONTINUES BROWN'S INVESTIGATION INTO THE VARIED CULTURES AND MOVEMENTS THAT HAVE EMERGED FROM THE AFRICAN DIASPORA.

'INK' IS AT THE ALEXANDER KASSER THEATER AT MONTCLAIR STATE UNIVERSITY FEBRUARY 1st THROUGH THE 4th.

BROWN'S SPIRITED AND INCISIVE CHOREOGRAPHY IS ALSO CURRENTLY ON DISPLAY ON BROADWAY IN A NEW PRODUCTS OF 'ONCE ON THIS ISLAND.'

♪♪ THE CIRCLE IN THE SQUARE THEATER IS TRANSFORMED INTO A TROPICAL VILLAGE WHERE GENTLE ISLAND BREEZES HAVE TURNED INTO A DEVASTATING STORM.

IN THIS CARIBBEAN 'ROMEO AND JULIET' MEETS THE 'THE LITTLE MERMAID' TALE, A PEASANT GIRL NAMED TI MOUNE FALLS IN LOVE WITH A WEALTHY MAN FROM THE OTHER SIDE OF THE ISLAND.

GUIDED BY THE MIGHTY ISLAND GODS INCLUDING THE LOVELY LEA SOLONGA, SHE SETS OUT ON A DIFFICULT QUEST TO REUNITE HIM.

♪ I'M HERE IN THE FIELD WITH MY FEET ON THE GROUND AND MY FATE IN THE AIR WAITING FOR MY LIFE TO BEGIN ♪

> AND THAT'S THE 'NYC-ARTS' NEWS.

I'M FROM THE QUEENS MUSEUM IN FLUSHING MEADOWS CORONA PARK, I'M CHRISTINA HA.

> HELLO, WELCOME TO THIS WEEK IN LINCOLN CENTER.

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

THE 19th SEASON OF LINCOLN CENTER'S ACCLAIMED AMERICAN SONG BOOK SERIES OPENS THIS MONTH AND CONTINUES THROUGH MARCH.

THE LINEUP WILL PRESENT THE VOICES AND STORIES OF SINGERS AND SONGWRITERS ACROSS A RANGE OF GENRES STARTING WITH A CONCERT BY GRAMMY-AWARD WINNER JOHN PAUL WHITE WHO WILL BE PERFORMING HIS LYRIC DRIVEN SOUTHERN GOTHIC FOLK SONGS IN THE APPEL ROOM ON JANUARY 24th.

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

I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

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

THANKS FOR JOINING US.

GOOD NIGHT.

> NEXT WEEK ON 'NYC-ARTS' -- A VISIT TO THE MET FIFTH AVENUE FOR A LOOK AT THE WORK OF BRITISH ARTIST DAVID HOCKNEY WHO HAS PURSUED HIS LOVE OF PAINTING FOR OVER 60 YEARS.

THIS EXHIBITION IS IN HONOR OF THIS GREAT ARTIST'S 80th BIRTHDAY.

THIS IS THE FIRST RETROSPECTIVE IN NEW YORK CITY IN ALMOST 30 YEARS.

WHILE HOCKNEY JUST TURNED 80 HE'S AN INCREDIBLY VIVACIOUS PERSONALITY.

♪♪ ♪♪ ♪♪

> FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY -- ROSALIND P. WALTER KATE W. CASSIDY FOUNDATION THEA PETSCHEK IERVOLINO FOUNDATION JEAN DUBINSKY 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.