A trip to the Hudson River Museum to explore the site-specific exhibition “Maya Lin: A River is a Drawing.”

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ON THIS EVENING'S PROGRAM, WE TAKE A TRIP TO THE HUDSON RIVER MUSEUM IN YONKERS.

LOCATED ON THE BANKS OF THE RIVER, THE MUSEUM IS KNOWN FOR ITS COLLECTION OF 19th CENTURY HUDSON RIVER SCHOOL PAINTINGS AS WELL AS ITS HISTORY AND SCIENCE PROGRAMS.

THE RIVER IS A DRAWING IS ON VIEW.

A VISIONARY ARTIST AND ARCHITECT, LYNN FIRST ACHIEVED NATIONAL RECOGNITION FOR HER DESIGN OF THE VIETNAM VETERAN'S MEMORIAL IN WASHINGTON, D.C.

AS AN ENVIRONMENTAL ACTIVIST, SHE HAS ALSO BEEN MAKING MONUMENTAL WORKS OF LAND ART.

A SITE SPECIFIC INSTALLATION HIGHLIGHTS THE HUDSON RIVER AND HER LAST MEMORIAL TO OUR THREATENED NATURAL WORLD.

I WANTED TO MAKE THE HUDSON RIVER AND ITS ESTUARIES THE MAIN FOCUS OF THE ENTIRE SHOW.

I THINK IT IS ONE OF THOSE ROMANTICIZED RIVERS IN WHAT THEY WERE DOING IS THEY WERE PRESENTING THEIR IDEA OF WHAT THESE PLACES WERE, SPECIFICALLY OF THE HUDSON RIVER HERE.

THEY PORTRAYED IT IN A WAY THAT IS THAT ROMANTICIZED NOTION OF EDEN.

FOR ME IN MY ART, I AM PRESENTING THE NATURAL WORLD.

I JUST THINK WE HAVE MORE VISUAL TOOLS AT OUR FINGERTIPS, THAT WE DON'T JUST LOOK AT OUR WORLD THROUGH OUR EYES.

WE'RE ALSO LOOKING AT SATELLITE VIEWS.

WE'RE LOOKING AT SONAR VIEWS.

WE'RE LOOKING AT MICROSCOPIC VIEWS.

AND I'M USING ALL THAT DATA.

I AM A SCULPTOR.

I LOVE WORKING IN THREE-DIMENSIONAL SPACE.

I THINK I'VE BEEN PLAYING WITH THAT IN-BETWEEN BOUNDARY LINE BETWEEN WHAT MAKES A DRAWING FLAT.

AND FOR A SCULPTOR TO DRAW, I'M GOING TO TRY TO DRAW THREE DIMENSIONALLY.

I WAS REALLY THINKING ABOUT THREE DIFFERENT, DISTINCT ITERATIONS OF WHAT WE THINK OF WHEN WE THINK OF THE HUDSON RIVER.

A LOT OF WHAT I'M DEALING WITH IS GETTING YOU TO SEE THAT RIVER IN DIFFERENT WAYS.

SO WHEN YOU FIRST WALK INTO THE MUSEUM, IT'S THE ENTIRE WATERSHED.

I THINK IT'S 15,000 STAINLESS STEEL PINS PUT IN BY HAND.

THIS ONE IS THE HUDSON RIVER IN AND ITS MAJOR TRIBUTARIES.

IT'S MADE OUT OF INDUSTRIAL MARBLES.

WATER WILL FLOW WHEREVER IT CAN, EXCEPT FOR IT CAN'T REALLY DEFY GRAVITY.

SO FOR THE MARBLE PIECES, I LOVE TO MAKE WATER DEFY GRAVITY.

SO THE PUDDLE IS THE LONG ISLAND SOUND.

IT TURNS AND GOES UP THE LEFT WALL.

IT COMES UP OVER YOUR HEAD, ON THE CEILING, FLOWS BACK DOWN AND THE SOURCE, WHICH IS THE CLOUDS, WHICH IS AT THE BASE.

IT'S BOTH PLAYFUL, BUT IT ALSO GETS YOU TO THINK OF A RIVER IN ITS ENTIRETY AND THEN THE ONE OUTSIDE IS THE SIMPLEST LINE DRAWING OF ALL.

A 60-FOOT LONG BAMBOO REED RIVER OUT IN THE LAWN.

AND YOU GET TO WALK IT.

I'VE SORT OF BEEN OBSESSED WITH SOMETHING CALLED THE HUDSON CANYON.

IT'S REFERRED TO AS THE HUDSON BITE.

RIGHT OUTSIDE OF NEW YORK HARBOR, 100 MILES EAST OF WHERE WE THINK THE HUDSON RIVER ENDS, IS THE ACTUAL MOUTH OF THE HUDSON 400 FEET BELOW SEA LEVEL.

AS THE GLACIERS RECEDED, THEY CUT A CANYON UNDERWATER.

IT IS COMPARABLE IN SCALE TO THE GRAND CANYON.

I JUST KNEW THE HUDSON BITE HAD BECOME A REAL FOCAL POINT FOR THE SHOW.

PART OF IT IS, I JUST WANT TO SEE IT.

I'M REALLY -- I'M LIKE A KID.

I GET CURIOUS ABOUT SOMETHING AND I JUST WANT TO UNDERSTAND IT.

IN A WEIRD WAY, MAKING THESE WORKS, I GET TO TOUCH IT.

I GET TO REVEAL IT.

I GET TO UNDERSTAND IT.

THE WATER LANDSCAPE, BECAUSE IT'S MALLEABLE ALUMINUM TUBING, IT'S LIVE WEAVING.

THE WHOLE PIECE HAS A LITTLE BIT OF A CRAFTING.

THERE'S SOMETHING VERY METICULOUS BUT AGAIN VERY OLD-FASHIONED ABOUT HOW THESE PIECES GET MADE.

A LITTLE WOVEN, A LITTLE BEADED.

IT'S VERY HUMAN, I THINK.

AS YOU DESCEND THE STAIRS, YOU ARE LITERALLY FOLLOWING THE DESCEND OF THE CANYON AS IT CUTS THROUGH THE CONTINENTAL SHELF.

I'M ENDING WITH CLIMATE CHANGE.

UTILIZING MAPS FROM CLIMATE CENTRAL THAT REALLY PREDICT IF WE CONTINUE ON THE COURSE WE'RE ON, THIS IS WHAT WILL HAPPEN TO MANHATTAN AND THE TRI-STATE AREA WITH TWO DEGREES CENTIGRADE RISE AND FOUR DEGREES.

ANOTHER PIECE IS CALLED WHAT IS MISSING.

IT HAS A FOUR PROJECTOR TIME LINE HISTORY OF THE HUDSON AND NEW YORK.

IT'S A VERY MEDITATIVE WAY TO SEE HOW A PLACE CHANGES THROUGH HISTORICAL COUNTS.

THE FOCUS IS ON RAISING AWARENESS OF WHAT WE ARE LOSING IN THE NATURAL WORLD.

SO I STARTED FINDING OUT ABOUT THIS INCREDIBLE BIOLOGICAL HISTORY.

OYSTERS 12 INCHES IN DIAMETER, LOBSTERS SIX FEET LONG, FISH WERE PLENTIFUL.

PART OF WHAT WE DO WITH MISSING IS, HOW CAN WE PROTECT IT IF WE DON'T REALIZE IT'S MISSING?

BUT ALSO, HOW DO WE BEGIN TO SEE A FULL SPECTRUM SPAN OF AN ECOLOGICAL HISTORY?

AS AN ARTIST WHO USES SCIENCE AND DATA SETS TO FIND HER ART, YOU'VE GOTTA BE VERY AWARE OF THAT FINE LINE BETWEEN SCIENCE MUSEUM, ART MUSEUM.

BUT I ALSO LOVE TO TREAD THAT LINE.

I SPEND SO MUCH TIME POURING OVER ATLASES, MAPS.

I FIND DRAWINGS IN NATURE.

I MANIPULATE THEM, RE-DRAW, RE-CRAFT, RE-TOOL.

I'M GOING TO CREATE A WORK OF ART THAT IS BASED ON AND PRESENTS THE WORLD THAT YOU MAY NOT REALIZE.