A visit to the Sugar Hill Children’s Museum of Art and Storytelling in Harlem. And a look at “Flow Separation,” a most unusual public art project in New York harbor, commemorating the centennial of World War I.

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> COMING UP ON 'NYC ARTS,' A VISIT TO THE SUGAR HILL CHILDREN'S MUSEUM.

THE MISSION IS TO NURTURE THE GENIUS OF CHILDREN BETWEEN 3 TO 8.

WE KNOW CHILDREN ARE NATURAL ARTISTS.

THEY ARE ALSO NATURAL STORYTELLERS.

WE WANTED TO CREATE AN INSTITUTION DEDICATED TO THEIR CREATIVE POTENTIAL.

A LOOK AT A MOST UNUSUAL PUBLIC ART PROJECT IN NEW YORK HARBOR, COMMEMORATING THE CENTENNIAL OF WORLD WAR I.

INSTRUMENTAL IN MAKING SURE THE DESIGN WAS ACCURATELY RENDERED.

IT RE-EMERGED WITH THIS KIND OF AMAZING NEW LOOK.

WHAT ON EARTH HAPPENED?

IT WAS A NICE REACTION THAT THE COMMUNITY THAT KNOW IT AND BRINGING A NEW COMMUNITY INTO KNOWING ABOUT THE JOHN J.

HARVEY, THE FIRST WORLD WAR.

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

WALTER.

JODY AND JOHN ARNHOLD.

KATE W. CASSIDY FOUNDATION.

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 & TERRY KRUMHOLZ FOUNDATION.

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

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 ARTS SINCE 1941.

WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

INFORMATION AT SWANGALLERIES.COM.

GOOD EVENING AND WELCOME TO 'NYC ARTS.'

BEHIND ME YOU SEE THE WORK OF A FRENCH PAINTER, A TRANSFORMATIVE FIGURE IN EUROPEAN PAINTING OF THE 19th CENTURY.

THROUGH HIS CHOICE OF SUBJECT AND COMPOSITION AND BOLD BRUSHWORK, HE SET INTO MOTION INNOVATIONS THAT CHANGED THE COURSE OF ART.

THE EXHIBITION ON VIEW THROUGH JANUARY 6 IS ORGANIZED BY THE METROPOLITAN MUSEUM OF ART AND IS THE FIRST RETROSPECTIVE IN NORTH AMERICA DEVOTED TO THE ARTIST.

IT'S CELEBRATED AS THE EMBODIMENT OF THE ROMANTIC ERA.

MUCH REMAINS TO BE UNDERSTOOD ABOUT HIS LIFE AND PROLIFIC CAREER.

I HOPE YOU WILL TUNE IN TO ARTS' THURSDAY, NOVEMBER 1, FOR MY CONVERSATION WITH THE MET CURATOR, ONCE OF THE ORGANIZERS OF THIS REMARKABLE EXHIBITION.

ALSO ON VIEW IS THE EXHIBITION ARMENIA, WHICH EXPLORES THE ARTS AND CULTURE OF THE ARMENIANS FROM THEIR CONVERSION TO CHRISTIANITY IN THE EARLY 4th CENTURY THROUGH THEIR LEADING ROLE IN INTERNATIONAL TRADE IN THE 17th CENTURY.

MOST WORKS SEEN HERE ARE ON VIEW IN THE UNITED STATES FOR THE VERY FIRST TIME.

MANY HAVE NOT TRAVELED FOR CENTURIES.

INCLUDED IN THE EXHIBITION ARE OPULENT GILDED ITEMS, RARE TEXT TEXTILES, CHURCH MODELS AND PRINTED BOOKS, DEPICTIONS OF AR ARMENIANS INCLUDE SELF-PORTRAITS AS WELL AS IMAGES OF ROYALTIES.

THE EXHIBITION DEMONSTRATES HOW ARMENIANS DEVELOPED A DISTINCTIVE NATIONAL IDENTITY IN THEIR HOMELAND AND HOW THEY MAINTAINED AND TRANSFORMED THEIR TRADITIONS AS THEIR COMMUNITIES EXPANDED ACROSS THE GLOBE.

THE EXHIBITION WILL BE ON VIEW THROUGH JANUARY 13.

ON VIEW AT THE MED BROYER IS THE WORK OF JACK WHITTEN.

IT IS SCULPTURE, 1963-2017, PRESENTS THE UNKNOWN SCULPTURES OF THIS ACCLAIMED ARTIST.

BORN IN ALABAMA IN 1939, HE PASSED AWAY IN JANUARY 2018.

HE RECEIVED MANY HONORS IN HIS LIFETIME, INCLUDING THE NATIONAL MEDAL OF ARTS FROM PRESIDENT BARACK OBAMA IN 2015.

THE EXHIBITION FEATURES 40 SCULPTURES AND 18 OF HIS NOTABLE PAINTINGS.

AMONG THE PAINTINGS IS HIS ENTIRE BLACK MONOLITH SERIES DISPLAYED TOGETHER AS A GROUP FOR THE FIRST TIME.

EACH WORK IN THE SERIES HONORS A LEADER IN THE WORLD OF BLACK MUSIC, ART, LITERATURE AND POLITICS.

HIS SCULPTURES, WHICH HE FIRST CREATED IN NEW YORK AND LATER AT HIS HOME ON CRETE, CONSISTS OF CARVED AND SOMETIMES CHARRED WOOD, OFTEN IN COMBINATION WITH FOUND MATERIALS SOURCED FROM HIS LOCAL ENVIRONMENT.

THESE CLINCLUDED, BONE, NAILS, FISHING LINE.

THEY TAKE FORM SUCH AS JUGS, GUARDIANS AND SWORDS.

HE WAS INSPIRED BY ART HISTORICAL SOURCES ROOTED IN AFRICA, THE MEDITERRANEAN AND SOUTHERN UNITED STATES.

THE ADDRESS THEMES OF MEMORY, FAMILY AND MIGRATION.

THE EXHIBITION FEATURES OBJECTS FROM THE COLLECTIONS OF AFRICAN, GREEK AND AMERICAN ART WHICH WERE A KEY RESOURCE FOR THE ARTIST.

THE EXHIBITION WILL BE ON VIEW THROUGH DECEMBER 2.

ON THIS EVENING'S PROGRAM, WE WILL TAKE A TRIP UPTOWN TO THE SUGAR HILL CHILDREN'S MUSEUM OF ART AND STORYTELLING IN HARLEM.

THE BUILDING, WHICH INCLUDES 124 UNITS OF AFFORDABLE HOUSING AND AN EARLY EDUCATION CENTER WAS DESIGNED BY THE ARCHITECT DAVID AJAY.

HE IS PERHAPS BEST KNOWN FOR HIS WORK ON THE NATIONAL MUSEUM OF AFRICAN-AMERICAN CULTURE IN WASHINGTON, D.C.

HERE IN NEW YORK, THE SUGAR HILL NEIGHBORHOOD OF THE EARLY 20th CENTURY WAS HOME TO SUCH NOTABLE FIGURES AS DUKE ELLINGTON, LENA HORN ANDE MUSEUM CELEBRATES THE NEIGHBORHOOD, GIVING CHILDREN ACCESS TO THE ARTS AND WORKING ARTISTS AND NURTURING THE NEXT GENERATION OF CREATIVE THINKERS.

BROADWAY HOUSING COMMUNITIES IS A NON-PROFIT ORGANIZATION IN NEW YORK CITY AND OUR FOCUS IS PRIMARILY HOUSING, ART AND EDUCATION.

WE HAVE BEEN WORKING IN THE NEIGHBORHOODS OF WEST HARLEM AND WASHINGTON HEIGHTS SINCE THE EARLY 1980s.

CREATING HOUSING FOR PEOPLE ON THE LOWEST ECONOMIC BAND, INCLUDING FORMERLY HOMELESS FAMILIES AND INDIVIDUALS.

CREATING EDUCATIONAL OPPORTUNITIES AND INTEGRATING HOUSING AND EDUCATIONAL PROGRAMS WITH THE CULTURAL ARTS.

THE SUGAR HILL PROJECT IS A PLACE WHERE ALL OF THE THINGS THAT BROADWAY HOUSING HAS LEARNED OVER 35 YEARS HAS COME ALIVE.

WE NOW HAVE AFFORDABLE HOUSING WHERE IT'S A VERY DIVERSE P POPULATION THAT RESIDE WITHIN THE UNITS.

WE HAVE AN EARLY CHILDHOOD CENTER, WHICH IS ONE OF THE FIRST MUSEUM PRESCHOOLS HERE IN NEW YORK CITY.

WE ALSO HAVE A CHILDREN'S MUSEUM OF ART AND STORYTELLING.

THIS NEIGHBORHOOD HAS A VERY HIGH PROPORTION OF CHILDREN THAT ARE BORN INTO POVERTY.

IT'S LARGELY A NEW IMMIGRANT COMMUNITY.

IT'S ONE OF THE HIGHEST BIRTH RATES IN MANHATTAN.

I'VE BEEN LIVING IN THE NEIGHBORHOOD FOR TEN YEARS NOW.

MY WORK IS ABOUT RESPONDING TO THE PLACES THAT I LIVE IN AND THE SPACES THAT I WALK AROUND, THE PEOPLE I SEE.

I'M FROM THE DOMINICAN REPUBLIC.

WHEN I FIRST CAME HERE, I DID NOT SPEAK ENGLISH.

SO I FELT RIGHT AT HOME HAVING THIS SPANISH SPEAKING COMMUNITY.

PEOPLE FROM PUERTO RICO, COLUMBIA.

THE NAME SUGAR HILL CHILDREN'S MUSEUM OF ART AND STORYTELLING WAS CONCEIVED BECAUSE WE KNOW THAT CHILDREN ARE NATURAL ARTISTS AND THEY ARE ALSO NATURAL STORYTELLERS.

AND WE WANTED TO CREATE AN INSTITUTION DEDICATED TO THEIR CREATIVE POTENTIAL.

THE MISSION OF THE SUGAR HILL CHILDREN'S MUSEUM IS TO NURTURE THE CREATIVE AND COGNITIVE GENIUS OF CHILDREN BETWEEN THE AGES OF 3 TO 8.

WE ARE HERE AS A SPACE TO PLACE ARTISTS AND STORYTELLERS AND ACTORS AND WRITERS IN DIALOGUE WITH CHILDREN SO THE CHILDREN ARE INSPIRED TO CREATE THEIR OWN ART AND STORIES.

UNLIKE MOST CHILDREN'S MUSEUMS THAT ARE INDOOR PLAY SPACES, THIS IS A CONTEMPORARY ART MUSEUM FOR CHILDREN.

THE FOCUS ON THE ARTS AND THE SERIOUSNESS WITH WHICH WE TAKE THE ARTS AND THE CAPACITY OF CHILDREN TO UNDERSTAND AND THINK ABOUT THE DIMENSIONS OF A CREATIVE EXPERIENCE IN ART IS QUITE EXPANSIVE.

STORYTELLING AND ART EXPERIENCES, NOT JUST VIEWING, HAPPEN IN LOTS OF DIFFERENT WAYS.

WE HAVE OUR STORY HOUR.

THEN THERE IS STORY TIME, WHICH IS A MORE MUSICAL OR DANCE PRODUCTION WITH ART MAKING AFTERWARDS.

THERE'S OUR STUDIO LAB, WHICH IS A SPACE FOR INDEPENDENT EXPLORATION AND THINKING ABOUT MATERIALS THAT ARE -- THE COLORS AND CONCEPTS ON VIEW.

CHILDREN HAVE THE OPPORTUNITY TO ENGAGE WITH THAT.

THEN WE HAVE THESE READING NOOKS WHERE WE HAVE A SELECTION OF BOOKS THAT ARE CURATED, SOMETIMES INSPIRED BY THE EXHIBITION, SOMETIMES BY THE THEMES OF THE MONTH.

PARENTS HAVE THE OPPORTUNITY TO INTIMATELY SHARE A STORY WITH THEIR CHILD OR CHILDREN HAVE THE OPPORTUNITY TO FIGURE IT OUT THEMSELVES.

MUSEUMS SHOULD HAVE MOMENTS AND SPACES WHERE CHILDREN DO NOT ONLY ENGAGE BY LOOKING BUT ALSO THEY ARE ACTIVE.

THEY HAVE ALREADY A LOT OF STIMULATION CATERED TO THEM THROUGH MEDIA, THROUGH THE CLOTHING INDUSTRY, TOY INDUSTRY.

THE MUSEUM ROLE IS TO PROVIDE THOSE OTHER ELEMENTS THEY ARE NOT GETTING AND HAVE THIS ENVIRONMENT AS PART OF SOMETHING THAT THEY BELONG TO AND THAT THEY DESERVE TO HAVE ACCESS TO.

THE ART ISTS HAVE 450 PFEET PRIVATE SPACE.

ONCE A MONTH, WE ASK THEY OPEN UP THEIR DOORS, OFFICE HOURS FOR PARENTS AND CHILDREN, TO JUST OBSERVE.

WE DO NOT LOOK SPECIFICALLY FOR ARTISTS WHO WORK WITH CHILDREN.

IF THAT WERE THE CASE, WE WOULD BE ONLY LOOKING FOR TEACHING ARTISTS.

WE ARE LOOKING FOR ARTISTS WHO ARE COMMITTED TO THEIR PRACTICE AND ALSO HAVE A SENSE OF COMFORT IN SHARING THEIR PRACTICE WITH CHILDREN.

THE MATERIALS I USE, MOST OF THE TIME HAVE THIS QUALITY OF TRANSLUCENCY.

I USE POLYESTER THREAD TO CREATE LINES.

I ALSO USE VERY TRANSPARENT KIND OF MYLAR TO CREATE WORK WHERE THE LINES ARE THE MAIN ELEMENT.

I ALSO LIKE TO COMBINE GLASS, THREAD AND COTTON AND CANVAS AND LINEN.

THIS IS WHAT I HAVE BEEN BRINGING TO THE CHILDREN OR SHARING WITH THE CHILDREN.

ONE OF THE PROJECTS THAT WE HAVE BEEN WORKING ON IS CREATING IMAGES THAT HAVE TO DO WITH ARCHITECTURE.

TWO WINDOWS.

ALSO, THINKING ABOUT HOW THE PLACES THAT WE ARE, HOW THEY ALSO SHAPE THE WAY WE BEHAVE AND THE WAY THAT WE FEEL.

I LIKE THAT.

THEY HAVE SO MUCH TO OFFER AND SO MUCH TO BRING.

ESPECIALLY IN HOW PURE THEY ARE AND HOW HONEST AND OPEN THEY ARE AND SUSCEPTIBLE TO LEARNING.

THEY ARE NOT FIXATED IN ONE OUTCOME.

THEY ARE NOT OBSESSING OVER THE W RESULT OF THE THING THEY ARE MAKING.

THEY ARE PRETTY MUCH LEARNING AS THEY MAKE.

THEY HAVE THE SENSE OF CURIOSITY.

THIS EXCITEMENT.

LET'S UNVEIL THE MASTERPIECE.

ONE OF THE IDEAS THAT WE ARE THINKING ABOUT IS THIS INTERGENERATIONAL IDEA.

YOU HAVE YOUNG CHILDREN WORKING ALONGSIDE ADULTS, WHETHER IT'S THEIR PARENTS OR GRANDPARENTS OR SOMEONE ELSE WHO IS REALLY CLOSE TO THEM.

WHAT'S THE EXCHANGE THAT CAN HAPPEN THERE?

ALL THE PEOPLE REPRESENTED IN MY WORK, THEY ARE ALL LOCAL PEOPLE.

THEY ARE ALL PEOPLE WHO WORK IN THE NEIGHBORHOOD OR WALK AROUND THE NEIGHBORHOOD OR LIVE IN THE NEIGHBORHOOD.

I'M ALSO VERY INTERESTED IN CREATING AN IMAGERY THAT REFLECTS THOSE CHILDREN.

CHANGE A LITTLE BIT WHAT MY DAUGHTER SEES IN BOOKS.

I WANT HER TO BE ABLE TO SEE HERSELF IN BOOKS.

CHILDREN THAT LOOK LIKE HER.

THIS IS A REALLY EXCITING PART WHERE ALL OF THE CHILDREN THAT HAVE COME IN HERE AND THEY RECOGNIZE THEMSELVES IN THE DRAWINGS.

IT'S MAGICAL TO SEE THAT.

TO MAKE ART WHERE THE PEOPLE SEE THEMSELVES REPRESENTED, I THINK IT HAS A STRONG IMPACT.

AND IT BRINGS THIS SENSE OF OWNERSHIP OF THE CREATIVE PROCESS OF A LOCAL ARTIST.

ALL OF THIS WORK HAS TO DO WITH REPRESENTATION AND DRAWING PEOPLE AND CHILDREN.

CREATE A VISUAL ARCHIVE THAT WILL ALLOW PEOPLE TO SEE THEMSELVES IN THE WORK THAT I HAVE PRESENTED.

I FEEL PRETTY STRONGLY ABOUT THAT.

MANY TIMES CHILDREN'S MUSEUMS UNDERESTIMATE THE TYPES OF QUESTIONS THAT CHILDREN ARE CAPABLE OF ASKING OR UNDERESTIMATE THE QUESTIONS THAT ARE BEING POSED.

WE ARE LOOKING TO CONTEMPORARY ARTISTS AND SEEING IF THEY CAN HELP US DO THAT IN THOUGHTFUL WAYS, POSE QUESTIONS, GIVE THEM OPPORTUNITIES TO THINK.

WE TRIED TO CONCEIVE OF WHAT WOULD BE THE MOST LONGSTANDING CONTRIBUTION THAT WE COULD MAKE TO THIS NEIGHBORHOOD.

AND THAT WAS THE MUSEUM, BECAUSE THE MUSEUM IS A SYMBOL OF A COMMUNITY THAT IS PROSPEROUS, THAT'S HEALTHY, THAT CHERISHES ITS HISTORY AND ALL ITS PEOPLE.

A MUSEUM IS A COMMITMENT TO THE FUTURE AND TO THE FUTURE OF THE CHILDREN OF THIS NEIGHBORHOOD.

> A CENTURY AGO, OUR COUNTRY WAS IN THE MIDST OF THE FIRST WORLD WAR.

IN AN ATTEMPT TO STOP SHIPS FROM BEING TARGETED AND SUNK BY GERMAN SUBMARINES, BRITISH AND AMERICAN VESSELS WERE PAINTED IN BRILLIANT, CONFOUNDING DESIGNS KNOWN AS DAZZLE CAMOUFLAGE.

WHILE THE EFFECTIVENESS IS DEBATABLE, THE BRIGHTLY COLORED SHIPS FASCINATED ARTISTS ON BOTH SIDES OF THE ATLANTIC AND SERVED AS INSPIRATION FOR MODERN DAY DAZZLE SHIPS HERE IN NEW YORK CITY.

THE PUBLIC ART FUND, JOINED WITH 1418 NOW, A U.K. BASED ART PROJECT TO COMMEMORATE THE CENTENNIAL OF WORLD WAR I.

THEY COMMISSIONED AN ARTIST TO COVER THE HISTORIC JOHN J.

HARVEY BOAT IN A DAZZLE PATTERN.

THE TEMPORARY INSTALLATION TITLED FLOW SEPARATION IS INSPIRED BY THE MOVEMENT OF WATER AND THE BOAT'S TRADITIONAL RED AND WHITE COLOR SCHEME.

WHILE TICKETS FOR FREE HARBOR TOURS ARE NO LONGER AVAILABLE, YOU CAN STILL VISIT THE SHIP AT THE HUDSON RIVER PARK PIER THROUGH MAY 12.

> IT'S A COLLABORATION BETWEEN THE PUBLIC ART FUND AND 1418 NOW.

THEY ARE A U.K.-BASED ORGANIZATION.

THEIR FOCUS IS TO COMMEMORATE THE CENTENNIAL OF THE FIRST WORLD WAR.

1418 NOW HAS BEEN DAZZLING VESSELS IN THE U.K.

AND WE THOUGHT IT WAS REALLY EXCITING AND APPROPRIATE TO COLLABORATE THEM TO BRING A DAZZLED VESSEL TO NEW YORK, PARTLY BECAUSE THAT KIND OF GREAT HISTORY OF DAZZLE SHIPS IS NOT JUST RELEVANT TO THE U.K.

WHEN THE U.S. JOINED THE WAR EFFORT, THOUSANDS OF SHIPS WERE DAZZLED HERE.

AT THE TIME THAT THE ARTIST INVENTED THE CONCEPT OF DAZZLE, I THINK ON AVERAGE THERE WERE EIGHT SHIPS BEING SUNK A DAY CROSSING THE ATLANTIC.

IT WAS BORN OUT OF KIND OF A DESPERATION.

IT WAS AN IDEA AROUND CAMOUFLAGE.

BUT A VERY UNLIKELY CAMOUFLAGE.

IT WAS INTERSECTING FORMS AND SHAPES AND COLORS PAINTED ON SHIPS, TO VESSELS FROM CARGO SHIPS TO PASSENGER SHIPS.

THE IDEA WAS THESE PAT TTERNS A FORMS AND SHAPES WOULD CONFUSE ANYONE LOOKING AT THEM, SUBMARI.

THEY WOULDN'T BE ABLE TO BE TARGETED.

MY COLLEAGUE AND I, WE TOOK TO THE SEAS.

I THINK WE RODE EVERY SINGLE BOAT ON THE EAST RIVER AND HUDSON TO TRY TO FIND THE RIGHT VESSEL BUT ALSO THE RIGHT PARTNER.

I WAS STRUCK BY THE JOHN J.

HARVEY.

IT WAS BUILT IN 1931 AND WAS AN ACTIVE FIRE BOAT UNTIL THE '90s WHEN IT WAS DECOMMISSIONED.

IT WAS SAVED BY A GROUP OF VOLUNTEERS.

THEY HAVE BEEN MAINTAINING AND OPERATING IT SINCE.

IT WAS CALLED BACK INTO SERVICE DURING 9/11.

IT WENT TO LOWER MANHATTAN.

IT RESCUED PEOPLE AND PUMPS WATER FOR 80 HOURS WHEN THE MAINS HAD GONE OUT IN THAT PART OF TOWN.

IT ALSO IS THIS KIND OF ICONIC HERO OF NEW YORK.

IT FELT LIKE A PERFECT PARTNER FOR US IN TERMS OF THEIR MISSION AND THEIR ETHOS.

WHEN IT CAME TO THINKING ABOUT WHO WOULD BE A GREAT ARTIST TO WORK WITH, TO DAZZLE THE CONTEMPORARY VESSEL, IT FELT LIKE THE PERFECT CHOICE TO WORK WITH HER.

WE COULD CONNECT HER BACK TO AVANT-GARDE THINKING.

SHE'S VERY PROCESS DRIVEN.

SHE WAS STRUCK BY, IT IS THIS VESSEL THAT MOVES THROUGH WATER.

BUT ALSO WATER MOVES THROUGH THE BODY OF THE VESSEL ITSELF.

THAT KIND OF IDEA OF FLUID DYNAMIC BECAME THE STARTING POINT FOR HER THINKING ABOUT HER DESIGN.

GLOW SEPARATION IS PHENOMENON THAT HAPPENS IN FLUID DIEYNAMIC WHEN YOU RUN AN OBJECT THROUGH THE BODY OF WATER.

THE FLUID WILL MOVE FORWARD AND BACKWARDS AT THE SAME TIME, CREATING INCREDIBLE PATTERNS.

SHE CHOSE TO WORK WITH A VERY LABORIOUS PROCESS.

MARBLING IS PUTTING OIL OR PAINT INTO A LIQUID BATH AND THEN YOU MOVE, KIND OF COMB THROUGH THEM.

YOU ARE CREATING MOST WITHIN LI LIQUID.

YOU TRANSFER THAT ON PAPER.

HOW DO YOU TAKE A 2-D IMAGE AND PUT IT ON A 3-D OBJECT?

WE TOOK IT TO THE DRY-DOCK IN STATEN ISLAND.

IT HAD TO GO THROUGH ALL OF ITS NECESSARY REPAIRS, FROM STRIPPING IT DOWN TO PREPARING IT FOR US TO BE ABLE TO DAZZLE IT, CREATING A BLANK CANVAS.

THEN FOR ABOUT A MONTH, WE HAD THIS GROUP OF PAINTERS WORKING THERE, BEING A GROUP OF PEOPLE THAT ARE ABLE TO TRANSLATE 2-D TO 3-D.

THEY WERE THERE EVERY DAY PAINTING.

SHE WAS INSTRUMENTAL IN MAKING SURE THAT HER DESIGN WAS ACCURATELY RENDERED.

NO ONE HAD SEEN THE JOHN J.

HARVEY.

IT RE-EMERGED WITH THIS AMAZING LOOK.

THE CAPTAIN RADIOED IN AND WAS LIKE, WHAT ON EARTH HAPPENED?

IT'S BEEN A NICE REACTION FROM THE COMMUNITY THAT KNOW IT AND ALSO BRINGING A NEW COMMUNITY INTO KNOWING ABOUT THE JOHN J.

HARVEY, THE HISTORY OF THE FIRST WORLD WAR.

WE SOMETIMES FORGET WE ARE ON AN ISLAND AND WE'RE SURROUNDED BY THIS HUGE BODY OF WATER THAT CONNECTS US TO THE SEA.

NEW YORK IS NEW YORK BECAUSE WE ARE SURROUNDED BY THE WATER.

THE HISTORY OF ITS SUCCESS VERY MUCH RELIES ON THIS BODY OF WATER.

WE'RE NOT SO NECESSARILY CONNECTED TO IT.

THIS PROJECT KIND OF CONNECTED US TO THOSE PEOPLE THAT WORK EVERYDAY AND LIVE AND SURVIVE OFF OF THIS BODY OF WATER.

> HELLO.

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 PRESENTS THE 2018 WHITE LIGHT FESTIVAL FROM OCTOBER 16 THROUGH NOVEMBER 18.

THIS EDITION FOCUSES ON CROSS CULTURAL PERFORMANCES EMBRACING INDIVIDUAL CONTEMPLATION AND COMMUNAL, ARTISTIC EXPERIENCES.

HIGHLIGHTS INCLUDE, A FRESH AND COMIC INTERPRETATION OF WAITING FOR GODET.

THE RETURN OF SUTRA, WHICH FEATURES ANCIENT MARTIAL ARTS, CHINA'S MONKS.

THE U.S. PREMIERE OF BLACK WHITE GRAY.

FUSING HIP HOP DANCE WITH AFRICAN INSPIRED GROOVES AND AN ELECTRONIC SCORE.

FOR COMPLETE DETAILS, VISITLINC.

> I HOPE YOU HAVE ENJOYED OUR PROGRAM.

I'M ON LOCATION AT THE METROPOLITAN MUSEUM OF ART.

GOOD NIGHT AND SEE YOU NEXT WEEK.

> WHEN 'NYC ARTS' RETURNS --

YOU ARE HEARING WHAT'S BEEN IN A COMPOSER'S MIND WHICH THEY PUT INTO A SCORE.

THEY WROTE IT ALL DOWN.

NOW THEY HAVE PUT IT IN FRONT OF THE CONDUCTOR.

THE CONDUCTOR IS GOING TO BE CONDUCTING THIS IN FRONT OF 60 MUSEUMS WHO ARE MAKING THE MUSIC HAPPEN LIVE FOR THE VERY FIRST TIME.

I THINK THIS PROGRAM IS JUST FANTASTIC, BECAUSE THE COMPOSERS NOT ONLY GET THE FEEDBACK, BUT ALSO THE PLAYERS FROM THE ORCHESTRA, AND I THINK THAT'S IMPORTANT.

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

WALTER.

JODY AND JOHN ARNHOLD.

KATE W. CASSIDY FOUNDATION.

ELLEN AND JAMES S. MARCUS.

THE LEWIS SONNY TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

JEAN DUBINSKI APPLETON ESTATES.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELROY & TERRY KRUMHOLZ FOUNDATION.

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

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 ARTS SINCE 1941.

WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU ARE A LIVE LONG COLLECTOR, A FIRST TIME BUYER OR