A profile of Nari Ward, whose approach to art-making evokes the folk and recycling traditions from Jamaica, where he was born, as well as the material textures of Harlem, where he has lived and worked since the 1990s.

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> COMING UP ON 'NYC-ARTS,' A PROFILE OF MARY WARD, WHOSE APPROACH TO ART MAKING INVOKES THE FOLK AND RECYCLING TRADITIONS FROM JAMAICA WHERE HE WAS BORN, AS WELL AS THE MATERIAL TEXTURES OF HARLEM WHERE HE HAS LIVED AND WORKED SINCE THE 1990s.

WHAT INSPIRES ME THE MOST ARE THE THINGS THAT PEOPLE DON'T WANT TO THINK ABOUT.

THINGS THAT ARE AWKWARD OR PAINFUL OR ANXIETY PRODUCING, I'M ALWAYS GRAVITATING TOWARDS THAT BECAUSE THEN I REALIZE THAT THE ONLY WAY THAT WE CAN REALLY GROW IS TO PUSH OURSELVES.

I'M INTERESTED IN QUESTIONS OF HUMAN CONDITION AND THEN I'M TRYING TO FIGURE OUT HOW THESE WORKS CAN HAVE SOME DISCOURSE WITH A PARTICULAR SITUATION.

FUNDING FOR NYC-ARTS IS MADE POSSIBLE BY -- ROSALIND P. WATER.

TAYA VALINO FOUNDATION.

JODIE AND JOHN ARNHOLD.

INDICATE W. CASSIDY FOUNDATION.

ELLEN AND JAMES S. MARCUS.

THE LOUIS SONNY TURN ERR FUND FOR DAYS.

ELISE JAFFE.

JEAN DUBINSK APPLETON ESTATE.

CHARLES AND VALERIE DIKER AND ELROY AND TERRY CRUMBHOLT FOUNDATION.

IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

NYC-ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK FIRST REFERS TO OUR FIRST PRIORITY, THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP, RECOGNIZE THAT EVERY CLINT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST TO TREAT.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

FIRST IN PUBLIC COMMISSION FROM OUR VERY FIRST DATE.

IT IS STILL THE FIRST THING ON OUR MINDS.

> AND BY SWANN AUCTION GALLERIES.

SWANN 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.'

I'M PAULA ZAHN AT THE TISH WNET STUDENT DWROES IN LINCOLN CENTER.

TONIGHT ON OUR PROGRAM WE WILL MEET ARTIST MARY WARD.

HIS INTRICATE AND IMMERSIVE INSTALLATIONS ARE CREATED BY COLLECTING ENORMOUS AMOUNTS OF EVERY DAY OBJECTS WHICH ARE THEN REPURPOSED IN VERY SURPRISING WAY.

HIS APPROACH TO ART MAKING EVOKES THE FOLK AND RECYCLING TRADITION FROM JAMAICA WHERE HE WAS BORN AS WELL AS THE MATERIAL TEXTURES OF HARLEM WHERE HE HAS LIVED AND WORKED SINCE THE 1990s.

MANY OF HIS EARLY SCULPTURES WERE CREATED BY USING BABY STROLLERS, FIRE HOSES, COOKING TRAYS, BOTTLES AND SHOPPING CARTS SCAVENGED FROM BUILDINGS AND STREETS IN HARLEM.

HE CHOSE THOSE OBJECTS FOR THEIR CONNECTION TO THE INDIVIDUAL LIVES AND STORIES OF HIS NEIGHBORHOOD.

IN HIS MORE RECENT WORK, WARD USES LANGUAGE AND VARIOUS SCULPTURAL FORMS TO REFLECT ON IMPORTANT ISSUES SUCH AS RACISM AND POWER, MIGRATION AND NATIONAL IDENTITY.

NYC-ARTS SPOKE WITH THE ARTIST AT THE MUSEUM DURING THE FIRST MUSEUM SURVEY OF HIS WORK IN NEW YORK.

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HOW DO YOU EMPOWER SOMETHING?

THE WAY TO EMPOWER AN OBJECT THAT IS SEEN AS BEING A DISCARD OR VALUELESS IS TO HAVE THE VIEWER TAKE A KIND OF AGENCY IN EXAMINING IT AND ALSO IN PUTTING THEIR IMAGINATION INTO WHAT IT CAN BECOME OR WHAT IT WANTS TO BE.

THAT SENSE OF MYSTERY OR ANTICAPATORY SPACE IS WHAT I PUSH FOR.

I NEVER WANT AN OBJECT TO BE DEFINED AS MUCH AS IT BECOMES A KIND OF SUPER SPACE OF EXPERIENCING SOMETHING THAT YOU RECOGNIZE BUT THEN THERE'S SO MUCH UNFAMILIARITY IN WHAT IT IS BECOMING OR HOW IT IS BEING USED THAT YOU REALIZE IT MIGHT HAVE ANOTHER KIND OF PURPOSE.

IT LIVES IN A DIFFERENT WORLD.

I WAS WALKING TO MY STUDIO AND I SAW THIS ONE BABY STROLLER THAT WAS SORT OF ABANDONED BABY STROLLER, PUSHED TO THE SIDE.

A LOT OF THOSE BABY STROLLERS WERE USED BY SO-CALLED MARGINALIZED INDIVIDUALS WHO WOULD USE THEM TO COLLECT BOTTLES AND CANS AND THEY WOULD KIND OF LEAVE THEM ONCE THEY MADE THEIR DEPOSIT OR DELIVERIES.

THAT MOMENT OF SEEING THAT ONE PUSHED TO THE FENCE, I FELT LIKE NOBODY WAS LOOKING AT THIS STORY THAT THIS THING HAD.

SO I DECIDED I NEED TO COLLECT MORE OF THEM.

THEY HAD THIS SENSE OF EMPTINESS FOR THEM, YOU KNOW, THIS SENSE THAT ANY MOMENT SOMETHING COULD HAPPEN WITH THEM.

IT WAS SOMEHOW MYSTERIOUS IN THAT WAY.

SOMEBODY TOLD ME ABOUT AN OLD FIREHOUSE IN HARLEM AND I PRESENTED AMAZING GRACE, THE BABY STROLLER PIECE, WITHIN THAT OLD FIREHOUSE SPACE.

SO THE FIREHOUSE REALLY BECAME MY STUDIO AND SORT OF LIVING SPACE.

WHY I REALLY WANTED TO DO IT IN HARLEM, IN THAT FIREHOUSE IS I THINK I REALLY WANTED TO HAVE A DIALOGUE WITH THE COMMUNITY.

THAT KIND OF HELP TO CEMENT WHAT MY INTENTION WOULD BE FOR, YOU KNOW, MANY YEARS TO COME, WHICH IS THE IDEA TO FIND OBJECTS CONNECTING KIND OF A FOLK SENSE TO THE REGULAR PERSON'S APPEARANCE.

HUNGER CRADLE IS ACTUALLY AN INSTALLATION THAT I WORKED WITH A FEW FRIENDS OF MINE.

I SAID, WELL, IF I COLLECTED THINGS FROM THE FIREHOUSE, THE THINGS THAT WERE LEFT THERE, IT WOULD BE THE LIFE OF THE FIREHOUSE THAT I CAN KIND OF SUSTAIN AND MAKE THIS OUT OF.

THAT'S WHAT HUNGER CRADLE BECAME.

THE IDEA IS THAT IT WOULD ACCRUE ADDITIONAL MATERIAL BASED ON WHERE IT WAS SHOWN, AND THE WORK KIND OF EXPANDED, GOES AND DEVOURS OTHER MATERIALS AS IT COMES IN.

HUNGER CRADLE IS REALLY AN IMPORTANT TITLE FOR ME BECAUSE IS IT HUNGER IN TERMS OF DEVOURING AND CONSUMING, BUT ALSO CRADLING IN TERMS OF NURTURE AND CARE.

IN THIS ITERATION IN THE NEW MUSEUM IS PROBABLY THE MOST AMBITIOUS PRESENTATION BECAUSE OF THE HEIGHT AND THE SHARED LENGTH OF THE SPACE, BUT WE HAD ENOUGH MATERIAL BECAUSE THE FIREHOUSE WAS NOT ONLY A FIREHOUSE BUT IT WAS ALSO A PIANO MOVING COMPANY.

SO THERE WAS JUST A LOT OF ROPE THAT WAS LEFT, AND SO THE ROPES ARE PART OF THE TEASE COMING FROM THE LIFE CYCLE OF THE BUILDING.

THE MATERIALS THAT I USE, IT IS SORT OF LIKE, OKAY, THIS THING IS IN SOME WAY MUNDANE AND NOW I HAVE TO FIGURE OUT HOW TO MAKE IT SPECIAL.

SO IT IS ALL ABOUT USING THE HAND AND TECHNIQUES TO PATTERNIZE IT, TO REALLY CREATE A RHYTHMIC DIALOGUE WITH SPACE AROUND THE THING.

YOU KNOW, HOW DOES THAT GET VISUALLY ANIMATED?

SO ALL OF THE KNOTTING AND TYING, NAILING AND SCRAPING, THAT'S ALL ABOUT PATTERNING MYSTERY INTO IT.

I WAS REALLY LOOKING AT RELIGIOUS SPACES.

I WAS THINKING ABOUT WITHIN THE CHURCH, OF HOW WHEN YOU WALK INTO A CHURCH YOU CAN FEEL THIS SENSE OF -- A KIND OF SPIRITUAL URGENCY, YOU KNOW, JUST THE WAY WITHIN THE SKYLIGHT, WITHIN THE STRUCTURE, WITHIN THE SILENCE OF THE SPACE, THE VOLUME OF THE SPACE.

SO I WAS THINKING ABOUT THE DOME AND HOW THE DOME WITHIN THE CHURCH IS KIND OF A METAPHOR FOR THE HEAVENS.

I THOUGHT, OKAY, I WANTED TO TRY TO CREATE A DOME OUT OF A MATERIAL THAT YOU TAKE FOR GRANTED, THAT YOU LITERALLY WALK ON.

SO IT IS SOMETHING THAT YOU WALK ON, BECOMES SOMETHING THAT YOU CORRELATE TO THE HEAVENS.

AND THEN WHEN I PULLED IT UP, I REALIZED THAT THIS KIND OF FORM, IT LOOKS LIKE AN ANGEL.

IT IS ANOTHER METAPHOR FOR THE HEAVENS AS WELL.

I SAID, WELL, MAYBE THAT'S WHAT THE PIECE NEEDS TO BE.

SYMBOLS FOR ME GET LAYERED WITH THE PERSON, AND THAT'S HOW -- I SORT OF WANT TO TAKE THE JOURNEY WITH THESE KIND OF GRAND ARCHETYPES, IS TO BRING IN THE PERSON, SORT OF FRACTURE IT AND THEN HOPEFULLY BRING ANOTHER KIND OF REFERENCE TO THE VIEWER.

THAT KIND OF DIAMOND PATTERN THAT SHOWS UP IN THE COPPER PIECES.

WHEN I FIRST SAW THAT, IT WAS IN THE FIRST BAPTIST AFRICAN-AMERICAN CHURCH IN SAVANNAH, GEORGIA.

IT WAS ON THE FLOOR, SEVERAL AREAS OF THIS, THESE HOLES WERE DRILLED IN AND THEY ALL HAD THE SAME PATTERN.

THIS PATTERN IS A SYMBOL THAT COMES FROM THE CONGO THAT TALKS ABOUT CYCLE OF LIFE.

THAT SITE WAS A SITE FOR THE UNDERGROUND RAILROAD AND THEY WERE MADE FOR BREATHING HOLES SO FOLKS COULD HIDE UNDERNEATH THE FLOORS AND AT NIGHTTIME GO NORTH.

FOR ME IT WAS A MAGICAL AND POWERFUL STORY THAT I WANTED TO FIGURE OUT HOW TO GIVE FORM TO.

I'M TRYING TO USE AS MANY KIND OF RHYTHMS, THE VISUAL RHYTHM, THE SONIC RHYTHM, THERE'S A KIND OF SMELL THAT FOR ME IS ANOTHER OPPORTUNITY, AND SUPER STUD, THE SMELL IS REALLY IMPORTANT.

FOR ME TO SMELL LIKE A MARKETPLACE, EITHER A SEA OR AT THE MARKET.

IT TALKS ABOUT RELIGION, IT TALKS ABOUT POWER.

THE SEA IS A SYMBOL OF POWER IN A WAY THAT, YOU KNOW, IT IS MYSTICAL.

THE MARKETPLACE IS A DIFFERENT KIND OF POWER, IT IS THE POWER OF COMMERCE.

COD FISH.

IT IS NOT ONLY THE NATIONAL FISH OF JAMAICA, BUT IT IS ALSO THE FRUITS THAT ALLOWED FOR VIKINGS TO COME TO THE SO-CALLED NEW WORLD.

IT IS THE KIND OF FIRST IMPERIALIST FOOD, IT WAS THAT PRESERVATION OF FOOD THAT ALLOWED THEM TO TAKE THE JOURNEY.

FOR ME THE SYMBOLISM IS SO LAYERED AND POWERFUL.

ONE OF THE THINGS THAT INSPIRES ME THE MOST ARE THE -- THE THINGS THAT PEOPLE DON'T WANT TO THINK ABOUT.

THE THINGS THAT ARE AWKWARD OR PAINFUL OR ANXIETY PRODUCING, I'M ALWAYS GRAVITATING TOWARDS THAT BECAUSE THEN I REALIZE THAT THE ONLY WAY THAT WE CAN REALLY GROW IS TO PUSH OURSELVES.

FOR INSTANCE, EMPTY LOTS IN HARLEM, YOU KNOW, YOU WOULD SEE ENTIRE LIVES BEING THROWN AWAY.

YOU KNOW, LIKE SOMEBODY WOULD BE THROWN OUT OR MAYBE THEY'RE UNDER SOME DURESS AND THEY JUST LEAVE THEIR ALBUMS, THEY LEAVE PERSONAL MEMENTOS, CHILDREN'S TOY.

THE IDEA OF DISPLACEMENT, SO 'EXODUS' BECAME ABOUT FINDING A REPOSITORY FOR THESE DISCARDS THAT SEEM TO BELONG NO PLACE, RIGHT.

NOW THEY ARE GOING TO BE IN THIS OBJECT, IN THIS SCULPTURE INSTALLATION THAT INSINUATED MOVEMENT.

AND THE BIG ROUND FORM IS ACTUALLY THE SKIN OF THE FIRE HOSES.

I REALLY WANTED TO REFERENCE THE BODY, AND I FELT LIKE THAT FELT LIKE ENTRAILS OR EVEN THE TENSION OF FORCE THAT THE BODY'S EXERTING ON A MATERIAL.

SO THE MENDALA FORM SORT OF BECAME THE GUIDE FOR THESE OBJECTS THAT SEEMED TO BE EN ROUTE.

I'M INTERESTED IN QUESTIONS OF HUMAN CONDITION AND THEN I'M TRYING TO FIGURE OUT HOW THESE WORKS CAN HAVE SOME DISCOURSE WITH A PARTICULAR SITUATION.

THE STARTING POINT FOR 'SKY JUICE' WAS A FAMILY ALBUM HANGING FROM THE UMBRELLA OR ACTUALLY PICTURES.

THE IMAGES WERE PUT INSIDE A PEPSI CONTAINER AND THEY WERE SEALED IN TROPICAL FANTASY SODA.

THEY'RE ALL OF THESE OBJECTS THAT I COLLECTED FROM THE WARD, WANTED TO SORT OF SUGAR COAT THEM LITERALLY.

THE SUGAR BECAME A METAPHOR FOR PROMISE OR UNFULFILLED PROMISE.

I WAS FLIP-FLOPPING MY STRATEGY OF WORKING, YOU KNOW, LOOKING AT THINGS THAT NOBODY WANTS TO LOOK AT ANYMORE, DISCARDS AND SORT OF FLY-BELOW-THE RADAR, THE THINGS PEOPLE SEE SO MUCH THEY NO LONGER SEE IT ANYMORE.

THE PEOPLE -- I WAS LIKE, I DON'T EVEN KNOW WHAT THIS MEANS ANYMORE.

SO I WANTED TO FIND A WAY TO BRING THE BODY INTO A CONVERSATION AND SLOW THE VIEWER DOWN, AND ALSO THE FRACTURING.

SO WHEN YOU LOOK AT IT AT CERTAIN SPACES FROM THE SIDE, YOU DON'T EVEN KNOW WHAT YOU'RE LOOKING AT.

AS YOU MOVE AROUND AND IT STARTS TO BECOME MORE LEGIBLE, SO I LIKE ALL OF THOSE OPTIONS.

IT BECAME A WAY TO THINK ABOUT INITIATING A DIALOGUE OF LOOKING.

I FEEL LIKE THE BEST WAY THAT I WOULD WANT SOMEBODY TO WALK THROUGH THIS SPACE IS TO SORT OF LOOK AT IT AS IF IT WAS MADE BY NATURE, AND THAT WOULD BE THE BEST COMPLIMENT THEY COULD GIVE ME, WAS FORGET ABOUT ME AND KIND OF SEE IT AS SOMETHING THAT KIND OF GOT MADE THROUGH ITS OWN RECKONING WITH ENVIRONMENT.

♪♪

> NYC-ARTS ISN'T JUST AVAILABLE ON THURSDAY.

YOU CAN ALSO FIND IT ON THE WEB.

PLEASE VISIT OUR WEBSITE AT NYC-ARTS.org.

YOU CAN WATCH CLIPS AND LEARN MORE ABOUT INSTITUTIONS AND EVENTS FEATURED ON OUR SHOW.

FOR MORE AND THE LATEST ON ARTS AND CULTURE, HERE IS CHRISTINA HAH WITH THE NYC-ARTS NEWS.

GOOD EVENING.

I'M CHRISTINA HAH WITH TONIGHT'S NYC-ARTS NEWS.

WE'RE AT THE NEW YORK HISTORICAL SOCIETY ON THE UPPER WEST SIDE.

FOUNDED IN 1804, NEW YORK HISTORICAL IS HOME TO A VAST COLLECTION OF OBJECTS, DOCUMENTS AND WORKS OF ARTS.

IT INCLUDES THE HENRY LUTHER III CENTER FOR THE STUDY OF AMERICAN CULTURE AS WELL AS THE CHILDREN'S HISTORY MUSEUM.

ITS UNIQUE EXHIBITIONS PROVIDE BROAD AND DEEP INSIGHTS INTO THE HISTORY OF THIS GREAT CITY, THE STATE OF NEW YORK AND OUR NATION.

AS YOU ENTER NEW YORK HISTORICAL YOU WILL FIND ONE OF NEW YORK HISTORICAL'S TREASURES.

IT DEPICTS THE TRANSFORMATION OF A PRISTINE LANDSCAPE INTO A THRIVING CITY, IT'S DRAMATIC DECLINE AND THE EVENTUAL FALL OF CIVILIZATION.

IT IS A CAUTIONARY TALE AND THE IDEAL PRELUDE TO THE CURRENT EXHIBITION, 'HUDSON RISING,' AN EXPLORATION OF OVER 200 YEARS OF ECOLOGICAL CHANGE AND ENVIRONMENTAL ACTIVISM ALONG THE HUDSON RIVER.

THE EXHIBITION IS ORGANIZE IT CHRONOLOGICALLY AND GEOGRAPHICALLY INTO SECTIONS THAT HIGHLIGHT SIGNIFICANT MOMENTS IN THE HISTORY OF THE RIVER.

START IN THE 1800s WITH A STEAM BOAT JOURNEY UP THE HUDSON RIVER FROM NEW YORK CITY HARBOR TO ALBANY, VIA THE PANORAMA OF THE HUDSON, THE 19th CENTURY VERSION OF THE GUIDE BOOK CREATED IN 1847.

TRACE THE MAJOR MOMENTS OF ENVIRONMENTAL ACTIVISM THAT CREATED ADIRONDACK PARK, PRESERVED THE PALISADES AND CONFRONTED INDUSTRIES POLLUTING THE RIVER.

MEDIA PROJECTION THAT EXPLAINS HOW ACTIVISTS AND EXPERTS ARE MANAGING THE SYSTEM OF LIVING BREAK WATERS TO RECLAIM, RESTORE AND REBUILD AREAS OF THE RIVER IN RESPONSE TO CLIMATE CHANGE.

TO CELEBRATE EARTH DAY THE MUSEUM WILL BE OPEN ALL DAY ON MONDAY, APRIL 22ND.

> GOLDEN GLOBE AWARD WINNING ACTRESS AND FILMMAKER ISABEL ROSEELLINI, ALTHOUGH BEST KNOWN FOR HER LONG CAREER AS ACTRESS AND MODEL, SHE IS CREATING A MASTERS DEGREE IN ANIMAL BEHAVIOR AND CONSERVATION AT HUNTER.

LINK LINK CIRCUS IS PART SCIENTIFIC LECTURE, PART COMEDY ACT AND, YES, PART CIRCUS.

THE HUMAN BRAIN, DOGS, SHEEP, BEES, SMALL, INCREDIBLE THINGS.

THE SHOW USES AN ENTERTAINING FORMAT FOR A SERIOUS DISCUSSION OF THE LATEST SCIENTIFIC DISCOVERIES ABOUT ANIMAL MINDS, INTELLIGENCE AND EMOTIONS.

SHE EXPLORES THE LINK BETWEEN HUMANS AND ANIMALS IN HER MONOLOGUE.

SHE ENGAGES HER AUDIENCE WITH SHORT COMIC FILMS AS WELL AS DIALOGUES WITH PROMINENT THINKERS OF THE PAST.

HER DELIGHTFUL SHOW ALSO ILLUSTRATES CONCEPTS WITH PUPPETS AND TOYS AND A LITTLE HELP FROM AT LEAST ONE CANINE ASSISTANT, HER OWN DOG, TAN.

FOUNDED IN 1884, THE GROWER CLUB IS AMERICA'S OLDEST AND LARGEST SOCIETY FOR BIBLIOPHILES.

MEMBERSHIP IS BY INVITATION ONLY.

EXHIBITIONS IN ITS GRAND GEORGIAN STYLE BUILDING ON ARE FREE AND OPEN TO BOOK LOVERS.

IN THE NEWLY RENOVATED GROUND FLOOR EXHIBITION HALL IS ALPHABET MAGIC, A CENTENNIAL EXHIBITION OF THE WORK OF HER MON AND GRUDEN ZOFFS.

THEY ARE AMONG THE MOST IMPORTANT TYPE DESIGNERS OF THE 20th CENTURY.

THOSE BY ZOFF INCLUDING THE AUTONOMOUS ZALFINO ARE AMONG THE MOST USED OF ALL TIME.

OTHER NOTABLE TYPE FACES INCLUDE ONE NAMED AFTER THE FEMALE GREEK PHILOSOPHER AS WELL AS MARCONI, THE FIRST DIGITAL AGE TYPE FACE.

ALPHABET MAGIC, A CENTENNIAL EXHIBITION IS AT THE GROWER CLUB THROUGH APRIL 22ND.

> LINCOLN CHRISTINE IS BEST KNOWN AS THE CO-FOUNDER OF NEW YORK CITY BALLET AND THE SCHOOL OF AMERICAN BALLET WITH GEORGE BALLENTINE.

KIRSTINE WAS A WRITER, TASTE MAKER AND PATRON AS WELL AS A KEY FIGURE IN THE EARLY HISTORY OF THE MUSEUM OF MODERN ARTS.

MOMA CELEBRATES THAT HISTORY AND THE MAN IN A CURRENT EXHIBITION.

IT TAKES A LOOK AT THE 20th CENTURY POLY MAN AND HIS INTEREST AND PASSION THAT HAD SUCH A FORMATIVE INFLUENCE ON THE MUSEUM IN THE 1930s AND 1940s.

IT FEATURES NEARLY 300 WORKS FROM THE MUSEUM'S COLLECTION, INCLUDING THOSE ACQUIRED BY KIRSTINE FOR MOMA.

PHOTOGRAPHY BY WALKER EVANS.

SCULPTURE BY ELLIE NADELMAN AND PAINTINGS BY CONTEMPORARY ARTISTS FROM RUSSIA TO LATIN AMERICA.

LINCOLN KIRSTINE'S MODERN IS AT THE MUSEUM OF MODERN ARTS THROUGH JUNE 15TH.

> CELEBRATE THE MUSIC AND STYLE OF THE LEGENDARY JAZZ GUITARIST AND THE MASTERS OF THE INSTRUMENT TODAY AT THE TOWN HALL.

JANGO AGOGO IS THE FINALE OF A WEEK-LONG TRIBUTE ORGANIZED BY FRENCH JAZZ GUITARIST WHO BRINGS TOGETHER AN INTERNATIONAL ALL-STAR CAST OF GUITAR MASTERS, SPANNING NOT JUST THE GLOBE BUT ALSO GENERATIONS.

PERFORMERS INCLUDE RAPHAEL PSYCHES AND DAVID GASTINE, CHERISH AND HIS SONS EZEKIEL AND LEOR.

SIMBO WINE GARDNER, AND, OF COURSE, RENDEL HIMSELF.

IT WILL FEATURE RARELY EXPLORED PIECES AND ORIGINAL PIECES INSPIRED BY REINHART'S WORK.

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.org/E-MAIL.

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

FROM THE NEW YORK HISTORICAL SOCIETY, I'M CHRISTINA HUH.

♪♪

HELLO, I'M RAFAEL P. ROMAN.

WELCOME TO LINCOLN CENTER.

THE 2019 SPRING SEASON OF NEW YORK CITY BALLET WILL OPEN ON APRIL 23RD AND WILL CONTINUE WITH PROGRAMMING THROUGH JUNE 2ND.

THE LINE-UP WILL INCLUDE WORKS CHOREOGRAPHED BY ROMANSKY, BOGOZOTI.

WILLIAM FORSYTHE.

AND MATTHEW NINAN.

FOR COMPLETE DETAILS VISIT NYCBALLET.com.

FOR MORE INFORMATION ABOUT EVENTS AT LINCOLN CENTER VISIT THE WEBSITE AT LINCOLNCENTER.org.

♪♪

> I HOPE YOU HAVE ENJOYED OUR PROGRAM THIS EVENING.

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

THANKS FOR JOINING US.

> NEXT WEEK ON NYC-ARTS, A PROFILE OF SOPRANO JULIA BULLOCK, THE CURRENT ARTIST IN RESIDENCE AT THE METROPOLITAN MUSEUM OF ARTS.

I RESEARCHED FOR MONTHS IT SEEMS APPROPRIATIONS OF EXOTICISM, OF OBJECTIFICATION.

THAT'S WHAT PULLED THESE FIVE PERHAPS FORWARD.

THEY'RE ALL ABOUT THE BLACK AMERICAN EXPERIENCE.

♪♪

TWO ENJOY MORE OF YOUR FAVORITE SEGMENTS ON NYC-ARTS, PLEASE VISIT OUR WEBSITE AT NYC-ARTS.org.

♪♪

> GOOD EVENING AND WELCOME TO NYC-ARTS.

I'M PAULA ZAHN.

AT THE WNET STUDIOS IN LINCOLN CENTER.

I'M CHRISTINA HUH WITH IF NYC-ARTS NEWS.

WHAT A PRIVILEGE TO SIT DOWN AND TALK WITH YOU.

I LOVE BEING HERE.

WHERE ARE WE?

AT MOMENTS TO TAKE NOTHING FOR GRANTED.

IT IS A PLEASURE TO BE WITH THE CURATOR OF THIS COMPENSATION OF HOPE.

CLASSICAL AND MODERN DANCE ARE EXTREMELY DIFFERENT AND I HAVE SO MUCH MORE TO LEARN BEFORE I CAN REALLY ARTICULATE THE DIFFERENCES.

AND WHEN I LISTEN TO HUBBARD'S LYRICS IN THAT I THOUGHT, THAT'S WHAT I WANT TO DO WITH MY LIFE.

MY PICTURES RESIDE IN VERY INTIMATE, PRIVATE MOMENTS.

MY PRIMARY WAY OF PLAYING PIANO IS IMPROVISING.

YOU ARE ON SOME RESPECTS ON SACRED GROUND.

A WOMAN CAME TO SEE ME PERFORM AND SAID, HOW WOULD YOU LIKE TO TAKE A HOLIDAY.

I THINK ONE OF THE ESSENTIAL THINGS THAT WE LEARNED IS THAT -- TENDS TO COMPOSE HIS WORK.

YOU ARE SURPRISED WHEN YOU -- PIECE 100 YEARS AGO AND YOU THINK, OH, MY GOSH, THIS COULD BE NOW.

THE CARDBOARD GUITAR IS THE VERY FIRST OF THAT MOMENT OF REALIZATION.

SUDDENLY YOU COME AND PRESENT SOMETHING AND YOU GET APPLAUSE.

GREAT, YOU KNOW.

♪♪ ♪♪ ♪♪ ♪♪

> FUNDING FOR NYC-ARTS IS MADE POSSIBLE BY ROSALIND P. WATER.

TAYA YURGOLINO FOUNDATION.

KATE W. CASS IDEA FOUNDATION.

ELLEN AND JAMES S. MARCUS.

THE LOUIS SONNY TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

ESTATE OF CECILE FOX.

THE MILTON AND SALY AVERY ARTS FOUNDATION.

CHARLES AND VALERIE DIKER.

AND ELROY AND TERRY CRUMBHOLTZ 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.

FIRST REPUBLIC BANK PRESENTS FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK FIRST REFERS TO OUR FIRST PRIORITY, THE CLINTS WHO BALK THROUGH OUR DOORS.

THE FIRST STEP, TO RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

IN THE FORM OF PERSONAL BANKING.

THIS IS FIRST REPUBLICS MISSION FROM OUR VERY FIRST DAY.

IT IS STILL THE FIRST THING ON OUR MINDS.

> AND BY SWANN AUCTION GALLERIES.

SWANN 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 LIFELONG COLLECTOR, FIRST TIME BUYER OR LOOKING TO SELL, INFORMATION AT SWANNGALLERIES.com.