NYC-ARTS visits the exhibition “Tolkien: Maker of Middle-earth,” about the creator of some of the most imaginative stories of English literature, on view at The Morgan Library & Museum through May 12. Followed by a visit to The Metropolitan Museum of Art for a look at the work of sculptor Augustus Saint-Gaudens.

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> COMING UP ON NYC ARTS, THE VISIT TO THE MORGAN LIBRARY AND EXHIBITION MAKER OF MIDDLE EARTH, CREATOR OF SOME OF THE MOST IMAGINATIVE STORIES.

HE STARTED WRITING THE HOBBIT ABOUT 1929.

THE MANUSCRIPT IS IN TOLKIEN'S OWN HAND.

WE HAVE THE ORIGINAL FIVE WATERCOLORS HE PRODUCED.

THIS WEEK'S CURATOR'S CHOICE.

I'M HERE TO TALK ABOUT AUGUSTA ST. GARDEN, WHO IS THE MOST BEAUTIFUL SCULPTOR OF THE LATE 19th CENTURY.

WE'RE FORTUNATE TO BE ABLE TO PRESENT HIS WORK IN A COMPREHENSIVE WAY FROM EARLY CAMEO PORTRAITS TO LOW RELIEF PORTRAITS OF HIS FRIENDS AND FELLOW ARTISTS, TO MODEL FOR AND REDUCTIONS AFTER HIS GREAT CIVIL WAR MONUMENT.

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 AND JEFFREY BROWN.

ESTATE OF CECILE FOX.

GENE DUBINSKY APPLETON ESTATE.

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 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.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, VINTAGE BOOKS AND FINE ARTS.

WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST TIME BUYER OR LOOKING TO SELL.

INFORMATION AT SWAN GALLERIES,.COM.

♪♪

> GOOD EVENING AND WELCOME TO NYC ARTS.

IN A HOLE IN THE GROUND THEY LIVED A HOBBIT, SO BEGINS ONE OF THE MOST FAMOUS STORIES OF ENGLISH LITERATURE.

WHILE THE HOBBIT BEGINS WITH THAT SIMPLE LINE, THE ORIGINS OF HOBBITS, ELVES, DWARFS AND THE LAND THEY INHABIT IS NEXT.

THE SCHOLAR OF ENGLISH LANGUAGE AND ITS HISTORY, CREATED THE REALM OF MIDDLE EARTH TO GIVE HIS OWN INVENTIVE LANGUAGES A HOME.

THIS WINTER, THE MORGAN LIBRARY AND MUSEUM EXAMINES TOLKIEN'S LIFE AND WORK.

VISITORS CAN WITNESS THE CREATION OF ONE OF THE MOST AMBITIOUS AND INFLUENTIAL TALES OF THE 20th CENTURY.

AND NOW, CURATOR JOHN McCLELLAN TAKES US FAR OVER THE MISTY MOUNTAINS COLD INTO THE WORLD OF MIDDLE EARTH.

WE'RE STANDING IN TOLKIEN, MAKER OF MIDDLE EARTH, AN EXHIBITION THAT CELEBRATES THE LIFE AND CREATIVE PROCESS OF ONE OF THE MOST FAMOUS AUTHORS OF THE 20th CENTURY.

IN HIS DAY JOB TOLKIEN WAS A PROFESSOR OF MID EVIL ENGLISH AND LITERATURE.

IN HIS EVENING JOB HE WAS THE AUTHOR AND CREATOR OF MELBOURNE OF THE WORLD WE KNOW THROUGH THE THREE MAIN STORIES OF THE HOBBIT, THE LORD OF THE RINGS AND THE PHILMARELLIEN.

HE WAS BORN IN WHAT WAS THE ORANGE FREE STATE AND IS NOW THE REPUBLIC OF SOUTH AFRICA.

ABOUT THE AGE OF 4, HIS MOTHER TOOK HIM AND HIS YOUNGER BROTHER BACK TO ENGLAND.

AT WHICH POINT HIS FATHER DIED WHILE HE WAS STILL IN SOUTH AFRICA.

HE ALWAYS SAID THAT LANDING IN THE GREEN ENGLISH COUNTRYSIDE WAS A REAL EYE OPENER.

AND THERE ARE ILLUSTRATIONS WE HAVE IN THE SHOW FROM HIS CHILDHOOD OF A TREE BY A STREAM.

THE RURAL ENGLISH COUNTRYSIDE WAS THE DIRECT INSPIRATION FOR FRODO AND BILLBO'S HOME IN THE SHIRE.

WHEN HE WAS 12 HIS MOTHER DIED FROM DIABETES.

HE REALLY DESIRED THIS STABILITY OF A FAMILY UNIT.

HE REALLY DEVELOPED A CLOSE BOND WITH HIS WIFE EDITH WHO WAS ALSO AN ORPHAN.

HE WAS A VERY CLOSE PART OF HIS CHILDREN'S LIVES FOR OVER 20 YEARS.

EVERY YEAR HE PRODUCED THESE ELABORATE LETTERS AND ILLUSTRATIONS TO HIS FOUR CHILDREN FROM FATHER CHRISTMAS.

HE WOULD INCLUDE TALES OF FATHER CHRISTMAS'S ADVENTURES AT THE NORTH POLE AND HIS HELPER ELVES.

YOU CAN SEE IN THE LETTERS, FATHER CHRISTMAS'S HANDSHAKES BECAUSE IT'S COLD AT THE NORTH POLE.

TOLKIEN STARTED WRITING THE HOBBIT PROBABLY 1929.

IT WAS ORIGINALLY A STORY FOR HIS CHILDREN.

ALL OF THE MANUSCRIPT AND ILLUSTRATIVE MATERIAL IS OF HIS OWN HAND.

WE HAVE THE ORIGINAL FIVE WATERCOLORS HE PRODUCED.

FOR THE AMERICAN EDITION, ALTHOUGH THEY CAME OUT IN THE ENGLISH EDITION BEFORE THE AMERICAN YOU CAN SEE HIS REAL CREATION OF THE COMPLETE WORLD THAT BILBO LIVED IN.

THE LANDSCAPES, THE SETTING, HE'S STRIVING TO HELP THE IMAGINATION OF THE READER REALLY GRASP THE SETTING OF MIDDLE EARTH.

HE PRODUCED THE ORIGINAL DUST JACKET DESIGN FOR THE HOBBIT.

HE WAS SORT OF WORRIED ABOUT WHAT OTHER ARTISTS MIGHT DO.

ULTIMATELY COVER TO COVER, THE ENTIRE FIRST EDITION IS TOLKIEN'S CREATION.

HE BEGAN WRITING WHAT BECAME 'LORD OF THE RINGS' IMMEDIATELY AFTER 'THE HOBBIT' CAME OUT.

IT WAS ABOUT 19.

WHEN HE STARTED THINKING ABOUT WHAT IS GOING TO BE BILBO'S NEXT ADVENTURE.

THE WRITING OUTGREW JUST THE STORY OF BILBO.

THE FIRST THING TOLKIEN PRODUCED FOR THIS IS THE MAP OF MIDDLE EARTH HE SAID REPEATEDLY IN LETTERS HE BEGAN WITH A MAP AND MADE THE STORY FIT.

THE MAP IS QUITE INCREDIBLE BECAUSE IT IS THE MAP HE USED OVER THIS 12 YEAR PERIOD.

ALMOST EVERY DAY IT IS FOLDED, REFOLDED, TORN, TAPED BACK TOGETHER, CORRECTED.

IT IS REALLY ALMOST A LIVING DOCUMENT OF THE STORY.

IT GREW AS THE STORY GREW.

HE WAS ATTEMPTING TO CREATE A MYTHOLOGY FOR ENGLAND.

THERE WAS THIS SENSE OF -- ALMOST BIBLICAL EPIC IN TERMS OF CREATION, THAT GOES FROM A CREATION MYTH THROUGH TO BATTLE AND ROMANCES.

GREAT WARS THAT REALLY PHYSICALLY SHAPED THE LANDSCAPE OF MIDDLE EARTH THAT THEN IS THE LAND THAT THE HOBBIT AND THE LORD OF THE RINGS ARE SET IN.

TOLKIEN IS VERY UNUSUAL IN MODERN AUTHORS FOR THE WORLD BUILDING THAT HE DID.

THERE IS A HISTORY TO THE LANGUAGE.

HIS TIME LINE AND THE SORT OF PRODUCTION NOTES ARE AGAIN ANOTHER EFFORT TO MAINTAIN THE COMPLETE VERACITY OF THE WORLD.

A WORLD IS NOT A SUPERFICIAL THING.

IT'S A FULLY REALIZED ENTITY.

THAT WAS A DEPTH OF CREATION THAT I DON'T THINK ANY OTHER AUTHOR HAS EVER MATCHED.

♪♪

> GOOD EVENING I'M CHRISTINA HA WITH TONIGHT'S NYC ARTS NEWS.

WE'RE AT THE BROOKLYN MUSEUM.

THIS ENCYCLOPEDIC MUSEUM INCLUDES A WIDE RANGE OF WORKS FROM EGYPTIAN MUMMIES TO CUTTING EDGE PAINTINGS.

ONE ITEM ON VIEW IS THE 20th CENTURY DANCE COSTUME.

AS PART OF ITS ONE BROOKLYN SERIES, THIS INSTILLATION REVEALS MANY STORIES WOVEN INTO A SINGLE WORK OF ART.

AN ARTIST WHO PAINTED MANY SELF-PORTRAITS, FRIDA KALOW'S BIOGRAPHY, INCLUDING HER CHILDHOOD, MARRIAGE AND LIFELONG STRUGGLE WITH --

CREATED BY SERSAY, THE SHOW INCLUDES MANY PERSONAL POSSESSIONS, THE CASA AZUL.

THIS VERSION OF THE SHOW WAS DEVELOPED BY KATHRYN MORRIS AND LISA SMALL.

BENEATH A LONG SKIRT AND LOOSE FITTING BLOUSE, YOU CAN SEE A FRACTURED SPINE, APPEARANCES CAN BE DECEIVING.

SHE WAS DISABLED BY POLIO AS A CHILD, AS WELL AS A TRAFFIC ACCIDENT AT THE AGE OF 18 THAT LEFT HER WITH LIFELONG PAIN AND MEDICAL PRODUCTS.

AND CORSETS, WHICH SHE HAND PAINTED FABULOUSLY.

THE STRIKING SKIRTS AND BLOUSES ACQUIRED FROM INDIGENOUS VENDORS WERE HER COVER.

THEY WERE ALSO HER SARTORIAL SIGNATURE.

HER AFFIRMATION OF PRIDE IN HER MEXICAN HERITAGE, AND A POLITICAL STATEMENT AGAINST RESTRICTIVE CONTEMPORARY STANDARDS OF BEAUTY.

TIMED TICKETS ARE REQUIRED FOR THE EXHIBITION WHICH WILL BE OPEN SEVEN DAYS A WEEK FLEW THE RUN.

> HEATHER HENSON AND TY DAFOE BRING THE MAGICAL WORLD OF TURTLE EYE LAND TO THE NEW VICTORY THEATER.

TURTLE ISLAND IS THE ORIGINAL NAME FOR NORTH AMERICA USED BY NATIVE AMERICANS.

IT PREMIERED AT LAMAMA EXPERIMENTAL THEATER LAST YEAR.

THERE WAS A TIME WHEN ANIMALS CAN TALK TO EACH OTHER.

THEY EXCHANGE SONGS AND STORIES.

THE STORY OF A YOUNG WHOOPING CRANE WHO MUST FACE HER FIRST MIGRATION SOUTH FROM CANADA TO THE GULF COAST.

PUPPETS ARE FROM JIM HENSON'S CREATURE SHOP.

AN ENSEMBLE OF NORTH AMERICAN'S FIRST PEOPLES, TELLS THE STORY THROUGH INDIGENOUS SONGS, LANGUAGE AND DANCE.

HEAD TO NEW YORK UNIVERSITY'S GRAY ART GALLERY FOR THE FIRST RETROSPECTIVE OF AN OFTEN OVERLOOKED BUT SIGNIFICANT GERMAN ARTIST.

ALTHOUGH BAPTIZED AS A PROTESTANT, THE NAZIS CLASSIFIED ASHER AS A JEWISH MODERN PAINTER.

HE WAS PERSECUTED AND HIS WORK SPANNED.

FRITZ ASHER PRESENTS SOME 75 PAINTINGS AND WORKS ON PAPER.

RANGING FROM EARLY FIGURAL COMPOSITIONS TO THE ARTISTS LATE COLORFUL MYSTICAL LANDSCAPES.

AS ONE OF THE EXPRESSIONIST ARTISTS OF THE WORLD WAR I PERIOD, ASHER PAINTED ANXIOUS AND NIGHTMARISH VISIONS SOMETIMES ON RELIGIOUS SUBJECTS.

HE RETURNED TO PAINTING, PRODUCING BRIGHT INTENTS AND AT TIMES ABSTRACT LANDSCAPES DEVOID OF HUMAN FIGURES.

BARISHNAKOV'S PRESENTS ONE ONE AND ONE.

THE COMPANY WAS FOUNDED IN 1992 AND IS LOCATED WITHIN JERUSALEM.

SUSTAINABLE LIVING AND SOCIAL CONSCIOUSNESS THROUGH ART ARE TWO OF THEIR MAIN TENETS.

ONE ONE AND ONE WAS CHOREOGRAPHED ARTISTIC DIRECTOR IN 2017.

TO CELEBRATE THE COMPANY'S 25th ANNIVERSARY.

IT'S SET TO AN ORIGINAL SCORE FOR STRINGS AND VOCALS BY AVE BELLELI.

THE WORK IS PERFORMED BY TEN DANCERS ON A SOIL COVERED FLOOR.

AND CREATES A POWERFUL SENSORY EXPERIENCE FOR THE AUDIENCE.

THE PEACE REFLECTS THE INDIVIDUALS DESIRE FOR WHOLENESS AND SPIRITUAL CONNECTION TO THE NATURAL WORLD.

AND FINALLY, MAN'S BEST FRIEND IS BACK AND IN A NEW HOME ON PARK AVENUE NEAR GRAND CENTRAL STATION.

THE MUSEUM OF THE DOG WAS FOUNDED IN 1982 BY THE AMERICAN KENNEL CLUB.

AFTER SPENDING THE PAST 32 YEARS IN MISSOURI, THE MUSEUM HAD ITS MIDTOWN OPENING ON FEBRUARY 8th.

THE MUSEUM HOUSES ONE OF THE WORLD'S LARGEST COLLECTIONS OF CANINE FINE ART.

INCLUDING PAINTINGS AND SCULPTURES, THERE IS ALSO A LIBRARY WHERE VISITORS CAN LEARN ABOUT THEIR FAVORITE GREEDS.

THE FIRST EXHIBITION IS CALLED FOR THE LOVE OF ALL THINGS DOG.

WITH THE EXCEPTION OF SUPPORT ANIMALS, NO DOGS ARE ALLOWED IN THE DOG MUSEUM.

PET LOVERS WILL NEED TO LEAVE FIDO AT HOME.

AND 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.ORG/E-MAIL.

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

> NEXT WE VISIT THE METROPOLITAN MUSEUM OF ART FOR A LOOK AT TWO WORKS BY AUGUSTUS SAN GAUTENS.

HE BECAME ONE OF THE FINEST AMERICAN SCULPTURES AND MONUMENT BUILDERS OF THE LATE 19th AND 20th CENTURIES.

ST. GAUDENS WAS A MASTER OF THE HUMAN FORM, AND HIS BRONZE STATUES REFLECTED THE PHYSICAL ATTRIBUTES AS WELL AS THE SPIRIT OF HIS SUBJECTS.

HIS VICTORY SCULPTURE IS DEPICTED AS A GUIDING FORCE LEAVING THE CIVIL WAR HERO, WILLIAM TECHUMSEH SHERMAN.

I'M CURATOR IN THE AMERICAN WING OF THE MELT POTTEN MUSEUM OF ART.

AND WE'RE STANDING IN THE NEW AMERICAN WING GALLERY.

26 NEW SPACES DEVOTED TO ART FROM THE 18th CENTURY TO THE EARLY 19th CENTURY.

I'M HERE TO TALK ABOUT AUGUSTA ST. GAUDENS.

WHO IS THE GREATEST AMERICAN SCULPTURE OF THE LATE 19th CENTURY.

WE'RE VERY FORTUNATE TO BE ABLE TO PRESENT HIS WORK IN SUCH A COMPREHENSIVE WAY FROM EARLY CAMEO PORTRAITS TO LOW RELIEF PORTRAITS OF HIS FRIENDS AND FELLOW ARTISTS TO MODELS FOR AND REDUCTIONS AFTER HIS GREAT CIVIL WAR MONUMENTS.

ST. GAUDENS WAS BORN IN IRELAND BUT CAME HERE TO NEW YORK AS AN INFANT.

AND WAS RAISED ON THE LOWER EAST SIDE.

HE BEGAN AT AGE 13 WORKING AS AN APPRENTICE FOR A CAMEO CUTTER.

AND THAT REALLY FUELED HIS INTEREST IN BECOMING A SCULPTER.

IN 1867 HE WENT ABROAD TO PARIS TO STUDY.

AND TRAINED AT THE BOSAR.

WHICH WAS REALLY THE FOREMOST TRAINING GROUND FOR STUDENTS ACROSS THE WORLD AT THAT TIME.

ST. GAUDENS ALSO STUDIED IN ROME, HE CAME BACK TO NEW YORK AND ESTABLISHED A CAREER AS A SCULPTURE OF GREAT CIVIL WAR MONUMENTS.

SOME OF THE BEST KNOWN WORKS IN NEW YORK ARE THE FARRAGAT MONUMENT IN MADISON SQUARE PARK.

AT 59th STREET AND 5th AVENUE.

IN 1892 AFTER SHERMAN DIED, ST. AUDENS RECEIVED THE COMMISSION TO HONOR THE CAUSE.

HE INCORPORATED AN ALIGORICAL FIGURE INTO THE PERSON WHO WAS BEING COMMEMORATED.

WHILE GENERAL SHERM SEASON MARCHING ALONG ON HORSEBACK THE WING ED FIGURE OF VICTORY IS LEADING HIM ON.

HE'S MOVING FORWARD WITH THESE WIND BLOWN DRAPERIES, SHE HOLDS THE PALM FRONDS IN HER HAND.

AND SHE'S QUITE AMERICAN IN A SENSE, ST. GAUDENS WORKED WITH SEVERAL DIFFERENT MODELS TO CREATE THIS SCULPTURE, GENERALLY THIS WAS A PROCESS THAT WAS KIND OF AN AMALGAMATION OF POSES.

MOST INTERESTING IS THE FACT THAT ONE OF THE MODELS WAS A WOMAN NAMED HEDDY ANDERSON, WHO WAS AN AFRICAN-AMERICAN WOMAN ARE FROM SOUTH CAROLINA.

AND ST. GAUDINS WORKS WITH HER FREQUENTLY AND SAID SHE HAD A FIGURE LIKE A GODDESS.

IN THE CASE OF THE VICTORY HE ARRANGED FOUR DIFFERENT MODELS AND IT TOOK HIM SOMETHING LIKE TWO WEEKS TO GET THIS LOOK HE WAS AFTER.

WHEN HE FINISHED THE FIGURE, HE WROTE, HOORAY, IT'S THE GREATEST VICTORY ANYONE EVER MADE.

HERE I AM IN FRONT OF ONE OF OUR MOST RECENT SCULPTURE ACQUISITIONS.

ST. GAUDENS STANDING LINCOLN.

THIS IS AN EXCITING PIECE FOR OUR COLLECTION, BECAUSE DESPITE THE COMPREHENSIVENESS TO THE COLLECTION, WE HAD NO SCULPTURES REPRESENTING THIS GREAT COMMISSION THAT HE DID FOR THE CITY OF CHICAGO.

ST. GAUDENS WAS COMMISSIONED TO REPEAT A FULL LENGTH PORTRAIT OF ABRAHAM LINCOLN IN 1883.

IT WAS UNVEILED IN CHICAGO IN 1887.

FOR THE PORTRAIT OF LINCOLN, RELIED ON A NUMBER OF DIFFERENT SOURCES.

INTERESTINGLY HE HAD FIRSTHAND EXPERIENCE WITH LINCOLN, BECAUSE HE GREW UP IN NEW YORK CITY AND SAW LINCOLN WHEN HE CAME TO NEW YORK IN 1861 ON HIS WAY TO WASHINGTON TO ASSUME THE PRESIDENCY.

LATER ST. GAUDENS WAS ONE OF THOUSANDS OF PEOPLE WHO WENT THROUGH A LINE AT CITY HALL TO SEE THE SLAIN PRESIDENT LYING IN STATE IN APRIL OF 1865.

SO HE SAID, THAT THESE TWO TIMES THAT HE SAW LINCOLN REALLY FORMED HIS IMPRESSION OF THE GREAT MAN AS HE CALLED HIM.

ST. GAUDENS READ HIS SPEECHES AND WRITINGS, AND REFERENCED PHOTOGRAPHS THAT WERE TAKEN OF LINCOLN DURING THE CIVIL WAR.

THE VERY INTERESTING OPPORTUNITY AROSE FOR HIM IN 1885 WHEN AN ARTIST FRIEND OF HIS SHOWED ST. AUDENS PLASTER MODELS OF LINCOLN'S FACE AND HANDS.

THESE WERE MODELS THAT HIS FATHER, THE SCULPTOR HAD TAKEN FROM LIFE WHEN LINCOLN WAS RUNNING FOR PRESIDENT IN THE SPRING OF 1860.

SO ST. GAUDENS WAS ABLE TO USE THE LIFE MASK AS WELL AS THE MODELS OF THE HANDS TO INCORPORATE INTO HIS SCULPTURE.

HERE'S LINCOLN IN A TRANSITIONAL MOMENT.

WE CAN PRESUME HE'S STOOD UP FROM THIS OVERSIZED CHAIR OF STATE.

AND HE IS IN THIS MOMENT OF CON TEM PLACE WHERE WE PRESUME IT'S ABOUT TO LIFT HIS HEAD TO ADDRESS THE AUDIENCE IN FRONT OF HIM.

TO SAY SOMETHING MEANINGFUL AND SERIOUS AND PROFOUND.

AND ST. GAUDENS CAPTURES THE PENSIVENESS AND THE BURDEN THAT LINCOLN FELT DURING THIS GREAT WAR.

ST. GAUDENS WAS KNOWN FOR HIS ATTENTION TO NATURALISTIC DETAIL, NOT ONLY TO GETTING A PORTRAIT, A FACIAL REPRESENTATION, BUT ALSO THINKING OF LITTLE WAYS TO ENLIVEN THE COMPOSITION TO MAKE THEM MORE INTERESTING.

WHETHER IT'S ATTENTION TO TEXTURAL DETAIL OR LITTLE NARRATIVE DETAILS THAT REALLY BRING THE PIECES TO LIFE.

I'M CURATOR IN THE AMERICAN WING AT THE METROPOLITAN MUSEUM, I HOPE YOU'LL COME AND VISIT OUR GALLERIES AND PAY SPECIAL ATTENTION TO THE INSTILLATION OF OUR SCULPTURE COLLECTION.

> HELLO, I'M RAFAEL PI RAMON.

THE FREE EXHIBITION TITLED SOUNDING HISTORIES IS ON VIEW AT THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THROUGH MARCH 23rd.

THE EXHIBITION FOCUSES ON A NETWORK OF INNOVATIVE COMPOSERS WHO HELP CREATE AN ENTIRELY NEW WAY OF THINKING ABOUT AND CREATING MUSIC.

CURATED BY ARTISTS AND COMPOSERS, THE EXHIBITION FEATURES A STATE OF THE ART IMMERSIVE MULTICHANNEL AUDIENCE SYSTEM SUR ROUNDED BY RECORDINGS FROM THE EARLY HISTORY OF ELECTRONIC MUSIC.

FOR COMPLETE DETAILS, PLEASE VISIT NYPL.ORG.

FOR MORE INFORMATION, YOU CAN VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

> I HOPE YOU'VE ENJOYED OUR PROGRAM.

I'M PETER MONTIBELLO ON LOCATION.

> NEXT WEEK, A CONVERSATION WITH CLIVE GILLENSON.

ARTISTIC DIRECTOR OF CARNEGIE HALL.

THE ROLE OF THE CONCERT HALL IN THE 21st CENTURY.

WHAT ARE THE THREE STRANDS OF MIGRATION YOU'LL BE EXPLORING?

THE SCOTTISH IRISH, THEN THE SECOND STRAND IS THE RUSSIAN JEWISH, WHICH IS ROUGHLY 1881 TO 1924, AND THEN THE THIRD PASS IS AFRICAN-AMERICAN, THE GREAT MIGRATION.

FROM 1917 UNTIL THE '70s.

AND A VISIT TO THE BOUND PRINTERS CUSTOM PRINT SHOP IN THE HISTORIC SOUTH STREET SEAPORT.

I SAW A SIGN BY THE DOOR THAT SAID VOLUNTEER FOR THE SOUTH STREET SEAPORT MUSEUM.

I VOLUNTEERED ONE DAY A WEEK.

I CAME IN TWO DAYS A WEEK, THREE DAYS A WEEK.

> 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 AND JEFFREY BROWN.

ESTATE OF CECILE FOX.

GENE DUBINSKY APPLETON ESTATE.

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 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, LOOKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

INFORMATION AT SWAN