A profile of photographer Joel Meyerowitz, who has focused on a variety of themes throughout his career, but is perhaps best known as a street photographer, in the tradition of such masters as Henri Cartier-Bresson and Robert Frank. He has also been instrumental in advancing the recognition of color photography as an art form.

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> COMING UP ON NYC ARTS, WE'LL MEET RENOWNED PHOTOGRAPHER, JOEL MEYERWOODS.

PERHAPS BEST KNOWN AS A STREET PHOTOGRAPHER, HE'S BEEN INSTRUMENTAL IN ADVANCING THE RECOGNITION OF COLOR PHOTOGRAPHY AS AN ART FORM.

I REMEMBER WALKING THROUGH PARIS, AND SUDDENLY SMELL BAKING CROISSANT ON THE AIR.

BUTTER AND SUGAR, AND YOU'RE IMMEDIATELY, YOU WANT A CROISSANT OR A COOKIE OR SOMETHING.

YOU TAKE TWO STEPS AND IT'S GONE.

TO ME, THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREETS AND SOMETHING HAPPENS.

YOU GET, IT'S A VISUAL THAT IS AS PRECISE AS THAT FRAGRANCE THAT IS ONLY IN THE AIR OF THE DOORWAY.

FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER, JODI AND JOHN ARNHOLD, KATE W.

CASSIDY FOUNDATION, THE LEWIS SUNNY TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

ESTATE OF CECILE FOX.

JEAN DUBINSKY APPLETON ESTATE.

THE MILTON AND SALLY AVERY ARTS 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 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.

♪♪

> GOOD EVENING AND WELCOME TO NYC ARTS, I'M PAULA ZAHN AT LINCOLN CENTER.

ON TONIGHT'S PROGRAM WE'LL MEET JOEL MEYERWOODS A VIBRANT PRESENCE IN THE ART WORLD.

MEYERWOODS GREW UP IN THE BRONX AND GRADUATED WITH A DEGREE IN PAINTING FROM OHIO STATE UNIVERSITY IN 1959.

HE BEGAN TAKING PHOTOGRAPHS A FEW YEARS LATER.

ALTHOUGH HE IS FOCUSED ON A VARIETY OF THINGS THROUGHOUT HIS CAREER, HE IS PERHAPS BEST KNOWN AS A STREET PHOTOGRAPHER.

AND THE TRADITION OF SUCH MASTERS OF ROBERT FRANK.

HE HAS ALSO BEEN INSTRUMENTAL IN ADVANCING THE RECOGNITION OF COLOR PHOTOGRAPHY AS AN ART FORM.

IN THE WAKE OF THE EVENTS OF 9/11, MEYERWOODS WAS THE ONLY PHOTOGRAPHER GRANTED UNRESTRICTED ACCESS TO GROUND ZERO.

THE DRAMATIC IMAGES THAT HE CAPTURED THERE HAVE BECOME THE FOUNDATION OF A MAJOR NATIONAL ARCHIVE.

AN EXHIBITION OF SELECTED PHOTOGRAPHS FROM THIS COLLECTION HAS BEEN SHOWN ALL OVER THE WORLD.

HIS WORK CAN BE FOUND IN MUSEUMS AND PUBLIC COLLECTIONS INCLUDING THE MET, MOMA AND THE WHITNEY.

NYC ARTS SPOKE WITH HIM DURING A VISIT TO THE HOWARD GREENBERG GALLERY.

WHEN YOU FIRST PICK UP A CAMERA, IT'S NOT EASY TO PICK UP A CAMERA AND TAKE PICTURES OF STRANGERS.

HOW CAN I BE IN THEIR INTIMATE SPACE.

IN A WAY IT'S LIKE DANCE.

IT'S VERY BALLETIC.

YOU CAN HAVE FIND THESE PARTNERS THAT DON'T KNOW YOU'RE PHOTOGRAPHING THEM.

WHILE YOU MOVE IN AND OUT OF THEIR LIVES AND MAKE PHOTOGRAPHS FOR YOURSELVES THAT USE THEIR FACE, THEIR ENERGY, THEIR POSTURE, THEIR FIGURE, THEIR DRESS, THEIR COLOR, WHATEVER IT IS THAT EXCITES YOU AT THE MOMENT.

MY FATHER WAS A REALLY STRAIGHT SMART GUY, BORN IN NEW YORK CITY.

A KIND OF TOUGH GUY ON THE STREETS, WHEN I WAS A LITTLE KID, HE OFTEN SAID TO ME WHEN I WOULD GO WITH HIM ANYWHERE.

HE WOULD JUST GIVE ME A LITTLE NUDGE AND SAY, WATCH THAT OVER THERE.

OR TAKE A LOOK AT THAT.

AND EVERY TIME HE SAID LOOK AT THAT, SOMETHING HAPPENED.

IT'S AS IF HE COULD PREDICT THAT TWO PEOPLE WERE GOING TO EMBRACE AND DANCE AROUND EACH OTHER AND THROW UP THEIR ARM.

HOW DID HE KNOW?

AND IN A WAY, I'M SURE THAT HE CREATED AN APPETITE IN ME FOR THE UNEXPECTED QUALITIES OF ORDINARY LIFE THAT PEOPLE WILL DO SPONTANEOUS, EXTRAORDINARY, UNEXPECTED THINGS.

SUDDENLY.

AND IF YOU ARE QUICK ENOUGH TO WATCH IT, YOU WOULD EXPERIENCE THE PLEASURE, VISUAL PLEASURE, HUMAN PLEASURE.

I'VE BEEN ASKED SO MANY TIMES, HOW DO YOU KNOW WHEN TO TAKE A PHOTOGRAPH?

AND I REMEMBER WALKING THROUGH PARIS.

AND WALKING DOWN THE STREET AND SUDDENLY, YOU SMELL BAKING CROISSANT ON THE AIR.

BUTTER AND SUGAR AND YOU IMMEDIATELY YOU WANT A CROISSANT OR A COOKIE OR SOMETHING.

AND YOU TAKE TWO STEPS, IT'S GONE.

SO IN THE AIR ON THE STREET WAS THIS LITTLE ZONE FOR A MOMENT, WHERE THE FRAGRANCE WAS SO RICH AND COMPELLING.

TO ME, THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET AND SOMETHING HAPPENS.

AND YOU GET IT.

IT'S A VISUAL THAT IS AS PRECISE AS THAT FRAGRANCE THAT IS ONLY IN THE AIR OF THE DOORWAY.

YOU GO RIGHT THROUGH IT, SO WHEN SOMETHING MAKES ITSELF FELT TO ME, AND I GET AN IMPULSE, I RAISE THE CAMERA, I DON'T EVEN HESITATE.

IT HAS TO BE LIKE THAT.

THAT'S PHOTOGRAPHY.

IT'S A FRACTION OF A SECOND.

I THINK IMPULSE, RECOGNITION, DESIRE, PASSION, APPETITE YOU CAN CALL IT ANYTHING YOU WANT.

THOSE ARE THE THINGS THAT ARE IN PLAY PHOTOGRAPHICALLY, BECAUSE PHOTOGRAPHY IS ABOUT TIME.

CAMERAS HAVE THEIR OWN CHARACTERISTICS, A SMALL CAMERA THAT FITS IN YOUR HAND, YOU MOVE IT AROUND AND YOU CARRY IT WITH YOU, YOU PUT IT IN YOUR POCKET OR YOUR BAG, IT'S PART OF YOU.

BUT SOMETIMES THAT SMALL CAMERA DOESN'T REALLY DO THE JOB YOU WANTED TO DO IF YOU'RE FINDING YOURSELF IN NATURE.

LET'S SAY NATURE IS SLOWER.

THERE'S MORE TIME IN IT.

IF STREET PHOTOGRAPHY IS JAZZ, THE VIEW CAMERA IS LIKE THE CELLO.

IT'S VERY SLOW AND YOU STAND IN NATURE AND YOU CAN LOOK AROUND AND DRAW YOUR ENERGY FROM EVERYTHING OUT THERE.

AND SO, A LARGE FORMAT CAMERA.

LIKE AN 8 BY 10 INCH CAMERA GIVES YOU A WHOLE OTHER EXPERIENCE.

IT'S SLOWER, YOU PUT IT DOWN.

YOU PUT THE CLOTH OVER YOUR HEAD AND YOU ENTER THIS WORLD ON THE SCREEN UPSIDE DOWN.

AND IT HAS A WHOLE OTHER KIND OF MAGIC TO IT, YOU CAN TRUST THAT IT WILL DESCRIBE EVERY SINGLE THING.

THERE WILL BE NO BLUR, NO MOVEMENT.

IT WILL BE THE SPACE AND LIGHT AND DEPTH AND, YOU KNOW, THIS TIME.

THE QUESTION OFTEN COMES UP, HOW DOES ONE DEVELOP A BODY OF WORK?

HOW DO YOU FIND YOUR WAY INTO A NEW THEME OR A NEW SUBJECT?

SOMETIMES IT TAKES TIME.

AND THEN THE ARTIST RECOGNIZES OH, I'VE BEEN MAKING THAT PICTURE A FEW DIFFERENT TIMES NOW, OBVIOUSLY SOMETHING INTERESTING IS THERE, MORE SO THAN I THOUGHT.

AND THIS HAPPENED TO ME WITH THE WORK THAT'S CALLED BETWEEN THE DOG AND THE WOLF.

OR THE FRENCH EXPRESSION.

AND I DIDN'T KNOW THAT EXPRESSION.

MANY YEARS AGO, A FRENCH FRIEND OF MINE UPON SEEING A SEQUENCE OF THESE PICTURES MADE AT THE END OF THE DAY WHEN THE LIGHT IS FADING AND THINGS BECOME SLIGHTLY MORE INDETERMINANT.

THESE IMAGES APPEARED IN MY WORK, AND I SHOWED THEM TO MY FRIEND AND MY FRIEND SAID -- I THOUGHT, WHAT'S THAT?

HE SAID, WELL, YOU KNOW, THE DOG -- BETWEEN THE DOG AND THE WOLF.

YOU KNOW THE DOG IS THE FAMILIAR DOMESTIC ANIMAL.

AND THE WOLF IS THE SAME SORT OF, BUT IT'S UNKNOWN, IT'S UNEXPLAINED, IT'S SAVAGE.

SO WHEN THINGS GO FROM THE KNOWN TO THE UNKNOWN, THERE'S A SHIFT, AN EMOTIONAL SHIFT AS WELL AS A TONAL SHIFT.

AND I THOUGHT, OH, THAT'S BEAUTIFUL.

I LOVE THAT EXPRESSION.

BECAUSE I FIND MYSELF OFTEN AS A SWIMMER IN A POOL WHICH IS THE DOG.

IT'S VERY SAFE.

BUT I ALSO WOULD SWIM IN THE OCEAN.

AND THE OPEN OCEAN, IT'S WILD.

AND I HAD BEEN MAKING PHOTOGRAPHS OF POOLS NEAR THE SEA.

AND I THOUGHT, WHAT AN INTERESTING WAY OF ADDRESSING THIS SUBJECT.

TO PUT THE POOLS AND THE OCEAN, AND THE DUSK HOUR TOGETHER REALLY WAS A WAY OF CONCENTRATING ON.

BEYOND THAT, THERE ARE ALSO JUST PLACES ON LAND WHEN THE LIGHT IS FADING AND YOU SUDDENLY HAVE -- YOU FEEL GOOSE BUMPS OR YOU FEEL A LITTLE BIT OF A SHIVER OF UNCERTAINTY THAT ALERTS YOUR SENSES, AND YOU THINK -- I THINK, AH, WHAT'S GOING ON HERE.

AND OUT OF THAT COMES THE POSSIBILITY FOR A NEW PHOTOGRAPH.

AT THIS MOMENT IN MY LIFE, I FIND MYSELF -- I HAVE NO IDEA WHY I'M CHOOSING THESE OBJECTS, BUT THEY HAVE CHARACTER OR MYSTERY OR SOMETHING.

AND WHEN I PUT TWO OR THREE OR FOUR OF THEM TOGETHER.

IT'S AS IF THERE'S A DIALOGUE BETWEEN THEM.

MAYBE I CAN BREATHE LIFE INTO THEM BY FINDING SOME ASSOCIATIVE QUALITIES IN THEM THAT DOESN'T LOOK LIKE CONVENTIONAL STILL LIFE PHOTOGRAPHY.

BUT LOOKS LIKE I'M MAKING IT.

MAYBE I COULD FIND OUT MORE ABOUT MYSELF THROUGH THESE DUMB OBJECTS.

THIS IS A REALLY ENGAGING PHOTOGRAPHIC QUESTION FOR SOMEONE AT MY AGE RIGHT NOW.

WHEN I STARTED TO MAKE STILL LIFE, IT HAPPENED QUITE BY ACCIDENT BECAUSE I WAS DOING A BOOK COMMISSION IN FRANCE.

AND I VISITED CEZANNE'S STUDIO IN PROVANCE.

IN THE STUDIO I WAS AMAZED THAT THE WALLS WERE PAINTED THIS PARTICULAR GRAY.

AND AFTER A WHILE, THE THOUGHT ABOUT THIS GRAY.

WHY GRAY.

WHEN HE WAS A PAINTER WHO MADE COLOR PAINTINGS, IT PROMPTED ME TO GO BACK TO THE STUDIO AND ASK THEM IF I COULD TAKE CEZANNE'S OBJECTS DOWN AND PUT THEM ON HIS TABLE TO PHOTOGRAPH THEM.

REALLY, I WASN'T TRYING TO MAKE ART.

I HAVE TO BE CLEAR.

I WOULD JUST -- I WAS TAKING THE OBJECTS, PUTTING THEM ON THE TABLE AGAINST THE GRAY WALL, I WANTED TO SEE WHAT THE RELATIONSHIP WAS BETWEEN THE OBJECT AND THE SPACE.

THE COLOR SPACE OF THE GRAY WALL.

AND WHAT DID IT DO FOR CEZANNE, WHO PLAYED ONE OF THE MOST IMPORTANT TURNING POINT ROLES IN THE HISTORY OF MODERN ART.

AND THEN ONCE I DID THAT, AND I'M LIVING IN ITALY NOW, IT OCCURRED TO ME, GIORGIO IS IN BOLOGNA, IT'S ONLY THREE HOURS AWAY, I'M GOING TO GO TO BOLOGNA AND GO TO THE STUDIO.

HE WAS ALSO VERY IMPORTANT TO ME WHEN I WAS AN ART HISTORY STUDENT.

AND A PAINTER.

SO I WENT TO HIS STUDIO, AND I WAS ABLE TO ASK THE CURATORS THERE, IF I COULD TAKE HIS OBJECTS AND DO THE SAME THING -- THE COLOR WAS COMPLETELY DIFFERENT.

HE WAS WORKING IN A VERY WARM TONE.

KIND OF GOLDEN, TUSCAN, COLORFUL ITALIAN ENVIRONMENT.

AND CEZANNE WAS IN A COOL, MORE RATIONAL FRENCH ENVIRONMENT.

SO TO PICK THESE TWO AGAINST EACH OTHER AND LOOK AT THEIR OBJECTS, IN A WAY INTRODUCED ME TO THE FEELING THAT -- OH, EACH OBJECT DOES HAVE CHARACTER OR IDENTITY, PERSONA.

SOMETHING.

AND PERHAPS I WAS HAVING A DIALOGUE WITH THESE MEN THROUGH THEIR OBJECTS.

SO IN A WAY, WORKING WITH CEZANNE AND MORANDI IN THIS BASIC WAY INTRODUCED ME TO AN APPETITE FOR RECONSIDERING THE WAY OBJECTS RELATE TO EACH OTHER IN SPACE.

WHERE IT GOES FROM THERE, I DON'T KNOW.

I'M GRATEFUL FOR THE ENERGY I HAVE RIGHT NOW, AND THE WILLINGNESS TO TAKE ON SOMETHING TOTALLY OUTSIDE OF MY EXPERIENCE.

AND SEE IF I CAN FIND MY VOICE IN THIS TIME OF MY LIFE.

WITH THESE OBJECTS, IN THIS MEDIUM I LOVE.

SO MUCH AS I LOVE PHOTOGRAPHY.

NYC ARTS ISN'T JUST AVAILABLE ON THURSDAYS, YOU CAN ALSO FIND IT ON THE WEB.

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

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

GOOD EVENING, WE'RE AT THE BRONX MUSEUM OF THE ARTS, FOUNDED IN 1971, THE MUSEUM BOASTS OVER 1,000 MODERN AND CONTEMPORARY WORKS OF ART AND HIGHLIGHTS ARTISTS OF AFRICAN, ASIAN AND LATIN AMERICAN ANCESTRY.

FOR NEARLY 40 YEARS, THE BRONX MUSEUM OF THE ARTS HAS ALSO SUPPORTED EMERGING AND UNDERREPRESENTED ARTISTS THROUGH ITS TRAINING PROGRAMS.

DEBRA CULLEN JOINED THE MUSEUM AS ITS NEW DIRECTOR IN JULY OF LAST YEAR.

IT'S A REALLY EXCITING MOMENT TO BE HERE AT THE BRONX MUSEUM OF THE ARTS, THERE'S AN INCREDIBLE HISTORY AND LEGACY TO BUILD ON, AND WE'RE COMING UP TO THE 50th ANNIVERSARY, THERE'S VARIOUS POSSIBILITIES AND OPPORTUNITIES.

TO BE PART OF THE CHANGING DYNAMICS OF THE BOROUGH.

CURRENTLY ON VIEW IS ROCHELLE FEINSTEIN.

IMAGE OF AN IMAGE.

THIS RETROSPECTIVE INCLUDES WORK FROM THE 1990s TO THE PRESENT.

STEEPED IN ABSTRACT.

SHE ALSO ADDRESSES CONCRETE CONCERNS BOTH POLITICAL AND PERSONAL.

HER WORKS REFERENCE CURRENT SUBJECTS STRAIGHT FROM THE NEWS, LIKE THE INFAMOUS TELEVISED POLICE PURSUIT OF O.J. SIMPSON IN 1994.

PAINTING, PRINT MAKING AND COLLAGE DOMINATE HERE, AS WELL AS A WILLINGNESS TO USE WHATEVER MATERIALS ARE ON HAND.

FEINSTEIN FULLY EMBRACED THIS PRACTICE DURING THE ECONOMIC DOWNTURN OF 2009 IN HER SATIRICAL PROJECT ENTITLED THE ESTATE OF ROCHELLE S. THE FATHERS OF ABSTRACT ART ARE SEEN AS INNOVATORS IN NONOBJECTIVE REPRESENTATIONS, BUT A SWEDISH WOMAN WHOSE PAINTINGS LARGELY PREDATE THE WORKS OF THESE MEN IS RARELY ACKNOWLEDGED.

AN EXHIBIT AT THE GUGGENHEIM MUSEUM IS REWRITING THAT HISTORY.

PAINTINGS FOR THE FUTURE IS FILLED WITH MORE THAN 170 BOLD AND LUMINOUS WORKS OF GEOMETRIC FORMS AND BRIGHT COLORS.

INSPIRED BY THE NEW SPIRITUALISM AND SCIENCE OF HER DAY, OFFCLINT BEGAN CREATING THE MOST RADICAL OF THESE WORKS IN 1906, SHE RARELY EXHIBITED HER PAINTINGS DURING HER LIFETIME, AND EVEN STIPULATED THEY NOT BE SHOWN TO THE PUBLIC UNTIL 20 YEARS FOLLOWING HER DEATH.

IT WAS NOT UNTIL THE 1980s THAT THESE WORKS BEGAN TO BE TAKEN SERIOUSLY.

THIS IS THE FIRST MAJOR SOLO EXHIBITION OF THE ARTIST'S REMARKABLE ACHIEVEMENTS IN THE UNITED STATES.

HELMA OFFCLINT IS AT THE GUGGENHEIM MUSEUM THROUGH APRIL 23rd.

> FOUNDED IN 1980, THE MUSEUM OF CHINESE AND AMERICA IN LOWER MANHATTAN, BEGAN AS A LOCAL COMMUNITY INITIATIVE.

KNOWN AT THAT TIME AS THE NEW YORK CHINATOWN HISTORY PROJECT, IT STARTED WITH THE DESIRE TO DOCUMENT THE PAST.

BUT IT ALSO LOOKED TO UNDERSTAND THE FUTURE OF CHINESE IMMIGRANTS IN NEW YORK CITY.

TWO PHOTOGRAPHY EXHIBITIONS LOOKED BACK TO THE 1980s AND FORWARD TO THE COMPLEX REALITIES OF CHINESE AMERICAN IMMIGRANT LIFE IN THE CITY TODAY.

INTERIOR LIVES, PHOTOGRAPHS OF CHINESE AMERICANS IN THE 19780s BY BUD GLICK LOOKS AT THOSE EVERY DAY LIVES IN TRANSITION.

AS ONE OF THE PHOTOGRAPHERS ON THE ORIGINAL PROJECT, GLICK DOCUMENTED A NEIGHBORHOOD OF OLDER LONG TIME CHINESE RESIDENTS BEING TRANSFORMED BY RAPIDLY EXPANDING IMMIGRATION AND YOUNG CHINESE FAMILIES.

A COMPANION EXHIBITION AT THE INTERIOR LIVES, CONTEMPORARY PHOTOGRAPHS OF CHINESE NEW YORKERS FEATURES THE MORE RECENT WORK OF THREE PHOTOGRAPHERS, THOMAS HOLTEN, ANDILING AND AHN RAHN-ZO.

HIGHLIGHTING ALL THAT HAS AND HASN'T CHANGED OVER THE PAST 40 YEARS.

BOTH EXHIBITIONS REMAIN ON VIEW THROUGH MARCH 24th.

> THE BROOKLYN BASED DANCE COMPANY RETURNS TO THE JOYCE THEATER WITH A WORLD PREMIERE.

TO CREATE A WORLD IS THE LATEST WORK BY ARTISTIC DIRECTOR AND CHOREOGRAPHER ANDREA MILLER.

IT WAS DEVELOPED IN A SERIES OF PERFORMANCES AT THE METROPOLITAN MUSEUM OF ART.

TO CREATE A WORLD IS A PROVOCATIVE STUDY OF THE HUMAN BODY, AND THE INSTINCT TO SURVIVE.

THE EVENING WORK HARNESSES THE DANCERS INTENSE PHYSICALITY, AND RAW VULNERABILITY IN SHIFTING SKULL TOURAL PORTRAITS.

IT FEATURES AN ORIGINAL SCORE BY COMPOSER AND MULTIINSTRUMENTALIST WILL EPSTEIN.

GALEM IS AT THE JOYCE THEATER FEBRUARY 12th THROUGH THE 17th.

MANHATTAN THEATER CLUB PRESENTS THE BROADWAY PREMIERE OF CHOIR BOY.

THE PLAY IS BY TERRELL ALVIN McCAINNY WHO WON THE ACADEMY AWARD FOR THE FILM MOONLIGHT IN 2017.

THE PLAY MAKES ITS BROADWAY TRANSFER AFTER A SOLD OUT TWICE EXTENDEDS RUN OFF BROADWAY IN 2013.

CHOIR BOY IS SET AT A PREP SCHOOL, DEDICATED TO THE EDUCATION OF STRONG ETHICAL BLACK MEN.

THE DRAMA IS CENTERED ON THE INTELLIGENT, TALENTED AND CHARISMATIC LEADER OF THE CHOIR.

HE FACES DIFFICULT CHALLENGES AS A YOUNG GAY MAN WHO TRIES TO DO RIGHT IN THE FACE OF HOMOPHOBIA, AND THE SCHOOLS RIGID RULES.

EVERY TIME I TURN AROUND, THERE IS SOMETHING I HAVE DONE OR UNDONE THAT HAS ME CALL INTO QUESTION.

WOVEN THROUGH THE PLAY ARE CLASSIC SPIRITUALS THAT BRING TOGETHER THE OFTEN DIVIDED VOICES OF THE STUDENTS.

CHOIR BOY IS AT THE SAMUEL J.

FRIEDMAN THEATER.

> 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-E-MAIL.

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

I'M CHRISTINA HA.

> I'M RAPHEAL P. RAMON, WELCOME TO LINCOLN CENTER.

FROM JANUARY 30th TO MARCH 4th, LINCOLN CENTER WILL PRESENT THE 20th SEASON OF SONG BOOK, THIS YEAR'S 15 CONCERT SERIES WILL TAKE PLACE IN MULTIPLE LOCATIONS, THE APELL ROOM, AND THE DAVID RUBENSTEIN ATRIUM.

AMONG THE HIGHLIGHTS, FAN FAVORITE TONY YASBECK.

AND AWARD WINNING CHRISTINE EBERSOL.

THE LEGENDARY DESMOND CHILD WILL LOOK BACK AT 30 YEARS OF HIT MAKING.

GUATEMALAN BORN FOLK SINGER WILL TOUCH LISTENERS WITH CAPTIVATING STORIES OF LOVE, LOSS AND IMMIGRANT EXPERIENCE.

OSCAR ISAAC WILL DISPLAY HIS SOULFUL VOICE IN AN INTIMATE SETTING.

FOR COMPLETE DETAILS, PLEASE VISIT AMERICAN SONG BOOK.ORG.

> FOR MORE INFORMATION, 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 LOOK AT THE WORLD OF DANCE THROUGH THE LENS OF CONTEMPORARY FEMALE CHOREOGRAPHERS, WORKING IN VERY DIFFERENT STYLES.

WHEN I'M WORKING IN MY COMPANY AND WE'RE GENERATING MOVEMENT, I ALIGN MYSELF VERY MUCH IN TERMS OF THE SOCIAL DANCES AND CREATIVITY.

IT'S NOT JUST ENOUGH FOR ME TO HAVE A PHRASE AND TEACH IT TO THEM, THE PHRASE HAS TO COME ALIVE BASED ON THE CHOICES OF THE INDIVIDUALS.

AND WE TAG ALONG WITH FLORIST LEWIS MILLER AS HE CREATES A FLOWER FLASH.

A POP-UP FLORAL ARRANGEMENT.

THEY ARE FOR THE PEOPLE, AND I WANT PEOPLE TO TAKE THEM AND INTERACT WITH THEM, TAKE A PICTURE, BUT TAKE A BLOSSOM, TAKE THEM HOME.

THE MORE WE CAN HAVE THESE KIND OF SOFT MOMENTS OF BEAUTY AND JOY FOR NO OTHER REASON, EVEN IF IT'S FOR AN HOUR OR 10 MINUTES, THE JOB IS DONE.

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

LEONARD, WHAT A PRIVILEGE TO BE ABLE TO SIT DOWN AND TALK WITH YOU.

I LOVE BEING WITH YOU TOO PAULA.

WHERE ARE WE?

WE'RE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

THE CURATOR OF THIS EXHIBITION FULL OF HOPE.

WE'RE IN THE MIDST OF THE GREATEST SCULPTURES BY THE ICONIC NAMES.

♪♪ ♪♪ ♪♪

> FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER, JODI AND JOHN ARNHOLD.

KATE W. CASSIDY FOUNDATION.

ELLEN AND JAMES S. MARCUS.

THE LEWIS SONNY TURNER FUND FOR DANCE.

ELISE JAFFE, GENE DUBINSKY APPLETON ESTATE.

THEMILTON AND SALLY ARTS 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 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