NYC-ARTS visits the Brooklyn studio of José Parlá, a Cuban-American artist who finds inspiration in the architecture and history of cities that he visits around the world. Then NYC-ARTS speaks with Alexander Olch and Jacob Perlin about The Metrograph Theater, its unique location and its place in the shifting landscape of cinema in New York.

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> NEXT, ON 'NYC ARTS,' A VISIT TO THE BROOKLYN STUDIO OF JOSE PARLA, AN ARTIST WHO'S WORKS INCLUDE PAINTING, PHOTOGRAPHER, VIDEO AND LARGE SCALE MURALS.

I LIKE THE IDEA OF TRANSLATING A PLACE OR EXPERIENCE FROM BEING IN A PLACE INTO A PAINTING.

SO I'VE IMAGINED MYSELF DISSECTING THAT WALL INSTEAD OF PAINTING A CANVAS AND IMAGINING THAT WHAT I'M DISCOVERING BY PAINTING IS THE ACCUMULATION OF THE MANY YEARS OF WHAT OTHER PEOPLE HAVE DONE TO A WALL.

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AND A BEHIND THE SCENES LOOK AT METRO GRAPH, A HOT SPOT FOR CINEMA ON THE LOWER EAST SIDE.

WHETHER YOU ARE GOING TO SEE A MOVIE, WHETHER YOU'RE GOING TO HAVE A MEAL, WHETHER YOU'RE GOING TO LOOK AT THE BOOKSTORE, STOPPING FOR A DRINK, HAVING A MEETING, IT'S A PLACE THAT REALLY CAPTURED AN IMAGINEARY IDEA OF AN OLD STUDIO.

ELLEN AND JAMES S. MARCUS.

THE LOUIS SUNNY TURNER FUND FOR DANCE.

ELISE JAFFY AND JEFFREY BROWN.

ESTATE OF CECILE FOX.

AND EL ROY AND TERRI CRUMBHOLTS FOUNDATION.

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.

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

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

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> AND BY SWAN AUCTION GALLEYS.

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♪♪ ♪♪

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

I'M PAULA ZAHN AT LINCOLN CENTER.

WE'LL BEGIN OUR PROGRAM TONIGHT WITH THE VISIT TO THE BROOKLYN STUDIO OF JOSE PARLA, A CUBAN AMERICAN ARTIST.

HIS CRITICALLY ACCLAIMED WORKS SPAN A VARIETY OF MEDIUM, INCLUGD PAINTING, SCULPTURE, VIDEO AND LARGE SCALE MURALS.

THEY'VE BEEN ON VIEW IN ART GALLERIES AND MUSEUMS ALL OVER THE WORLD.

COMPOSED OF LAYERS OF PAINTS, GESTUAL DRAWING AND FOUND MATERIALS, HIS WORK LIES SOMEWHERE BETWEEN ABSTRACTION AND KA LIG FEE.

WHILE ENGAGING THE VIEWER'S IMAGINE NATION, HIS WORK REFLECTS CONTEMPORARY POLITICAL AND SOCIAL ISSUES.

SOME OF HIS PUBLIC WORKS IN OUR AREA INCLUDE MURALS AT THE BROOKLYN ACADEMY OF MUSIC, BARCLAY CENTER AND ONE WORLD TRADE CENTER.

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YOU ALWAYS HEAR STORIES ABOUT ARTISTS STARTING OFF VERY YOUNG.

THAT WAS MY CASE.

I WAS IN MIAMI, FLORIDA.

IT WAS THE EARLY '80s.

WHEN HIP HOP CULTURE WAS BEING BORN AND I FELT VERY MUCH A PART OF THAT.

I STARTED PAINTING WITH MY FRIENDS BASICALLY AROUND THE CITY, PAINTING WALLS.

MY ART TEACHER ENTERED ONE OF MY DRAWINGS INTO THE SCHOLASTIC ARTS COMPETITION.

THAT GOT ME INTO SAVANNAH ART AND DESIGN.

THERE I GOT TO EXPERIMENT WITH TYPES OF ART AND LEARN ABOUT ART HISTORY MORE FORMALLY.

BUT I WAS ALSO INTERESTED IN BEING TRUE TO WHAT I WAS DOING IN MIAMI PREVIOUSLY.

I LIKE THE IDEA OF TRANSLATING A PLACE OR EXPERIENCE FROM BEING IN A PLACE INTO A PAINTING.

SO I'VE IMAGINED MYSELF DISSECTING A WALL INSTEAD OF PAINTING A CANVAS AND IMAGINING THAT WHAT I'M DISCOVERING BY PAINTING IS THE ACCUMULATION OF THE MANY YEARS OF WHAT OTHER PEOPLE HAVE DONE TO A WALL.

BUT THEN YOU ALSO HAVE THE ENVIRONMENT, THE SUN, THE WIND, THE RAIN, STORMS.

SO MY PAINTINGS ARE INSPIRED BY WHAT HAPPENS OUTSIDE.

A LOT OF THE TECHNIQUES THAT I BRING INTO THE WORK COME DIRECTLY FROM THINKING ABOUT CONSTRUCTION, DECONSTRUCTION, ABOUT WALLS AND ARCHITECTURAL SURFACES.

WHY DO I PAY ATTENTION TO CITIES THE WAY THAT I DO OR WHAT AM I LOOKING FOR WHEN I'M WALKING AROUND?

FOR ME, I'M INTERESTED IN FINDING CLUES AS TO WHAT IS THE DIALOGUE THAT I'M HAVING AS AN ARTIST WITH THE WORLD.

I LOVE CHARACTERS.

SO YOU KNOW, EITHER I SEE A CHARACTER THAT I WANT TO PHOTOGRAPH, OR I SEE SOMETHING THAT A CHARACTER DID TO A WALL THAT I WANT TO PHOTOGRAPH.

SO LIKE THE MARKS LEFT BEHIND.

IT'S, I THINK, A HABIT THAT I DEVELOPED OVER THE YEARS OF LOOKING AT WALLS.

IT'S THE KIND OF HIGH ROW GLIFIC THAT EXISTED IN OUR MODERN TIMES.

IT'S INTERESTING AS YOU WALK ALONG YOU SEE LANGUAGE.

I WAS GIVEN THE OPPORTUNITY TO DO THIS MURAL IN A LIBRARY SETTING AND I WANTED TO DO SOMETHING THAT WENT TO THE ROOTS OF LANGUAGE, SO I LAYERED TONS AND TONS OF WRITING SORT OF TO FORM A SEASCAPE OF WORDS AND THE WORDS THAT WERE WRITTEN, ALL LOW ILLEGIBLE ON PURPOSE, ARE THE NAMES OF LANGUAGES, TRIBES, SCHOLARS, ARTISTS, PHILOSOPHERS AND THEY'RE ALL LAYERED AS IF YOU'RE TAPPED INTO THIS MAJOR UNIVERSAL SYMPHONY OF WORDS ALL BEING SPOKEN AT THE SAME TIME.

SO THAT FORMED THE PAINTING, NATURE OF LANGUAGE.

IT'S BEEN TALKED ABOUT IN MY WORK THAT IT'S KIND OF PERFORMING PAINTING OR THAT PAINTING IS THE PERFORMANCE.

NONE OF THOSE DECISIONS IN MY WORK ARE PLANNED.

THERE'S A CERTAIN MOVEMENT THAT I FEEL IS REALLY NECESSARY IN A TYPE OF SPEED THAT IS NECESSARY FOR ACTUAL TECHNIQUE TO WORK.

IF YOU'RE DOING A LOT OF BLENDS, OKAY, AND YOU'RE WORKING WITH PAINT THAT DRIES VERY FAST, THEN YOU HAVE TO WORK REALLY FAST AND YOU HAVE TO HAVE A CERTAIN DANCE OR A CERTAINLY AGIITY TO PULL THAT OFF.

FOR EXAMPLE, SOMETIMES I WANT TO DO REALLY LONG TALL STROKES SO I JUMP OFF A LADDER TO DO IT.

WHEN I FIRST DID IT, IT WASN'T A DECISION.

I ACTUALLY HAD FORGOTTEN I WAS ON THE LADDER AND WHEN I DID THE LINE IT WAS TOO LATE AND I JUMPED OFF AND I JUST KEPT THE BRUSH ON THE SURFACE.

THEN I THOUGHT, THAT'S REALLY SOMETHING THAT I COULD USE, SO I KEPT DOING IT.

BUT AT FIRST IT WAS AN ACCIDENT.

SCULPTURAL PAINTINGS FOR ME REALLY STARTED WHEN I WAS STILL AT SCHOOL.

IT WAS 1992 AND HURRICANE ANDREW CAME THROUGH MIAMI AND DEVASTATE ADD LOT OF THE CITY.

MY ART STUDIO WAS ON LINCOLN ROAD IN MIAMI BEACH AND A LOT OF THE WORKS FLEW OUT THE WINDOW.

THE FOLLOWING DAY I WENT LOOKING FOR DEBRIS OF MY WORK AND FIND SOME BROKEN PAINTINGS.

SO I REASSEMBLED THEM WITH OTHER DEBRIS AND MADE THESE KIND OF SCULPTURAL PAINTINGS.

IT WASN'T UNTIL THE 25th ANNIVERSARY OF THE FALLING OF THE BERLIN WALL AND I REMEMBERED THAT WHEN THAT HAPPENED THE IRON CURTAIN WAS FALLING AND THE COLD WAR WAS SUPPOSED TO BE OVER.

SO WE AS THE CUBAN COMMUNITY, THE DIES A SPORE RA WORLD WIDE THOUGHT WHAT'S GOING TO HAPPEN WITH CUBA.

THE QUESTION WAS WHAT WILL CHANGE.

WITH CUBA, NOT MUCH CHANGED REALLY UNTIL THAT SAME 25th ANNIVERSARY WHEN PRESIDENT OBAMA AND PRESIDENT CASTRO ANNOUNCED THE NEW CONVERSATIONS AND NORMAL RELATIONS THAT WERE TO START TAKING PLACE BETWEEN THE TWO COUNTRIES.

SO I THOUGHT IT WAS A REALLY INTERESTING TIME TO INTRODUCE THESE SCULPTURAL PAINTINGS THAT WERE REPRESENTATIONS OF WALLS THROUGHOUT THE WORLD.

WALLS EXIST NOT ONLY PHYSICALLY BUT ALSO IN OUR MIND.

AND WE'RE WITNESSING MANY MORE BARRIERS GO UP AND MANY MORE BORDERS ENFORCED OR BEING TALKED ABOUT BIDDING NEW WALLS OR THINGS THAT I THINK ARE GOING BACKWARDS FOR HUMANITY, IT WAS A WAY TO SHOW BROKEN WALLS AS A SYMBOL OF BREAKING WALLS.

WHEN YOU'RE COMING FROM A CUBAN FAMILY, REGARDLESS OF WHETHER YOU'RE IN CUBA OR SWITZERLAND OR MIAMI, POLITICS IS JUST PART OF YOUR EVERYDAY LIFE.

IMMIGRATION IS PART OF YOUR EVERYDAY LIFE.

YOUR PARENTS ARE IMMIGRANTS.

YOU ARE ALSO AN IMMIGRANT IN A SENSE BECAUSE FOR ME PERSONALLY I WAS LEARNING ENGLISH AT THE AGE OF 10 HERE IN THE UNITED STATES.

SO PEOPLE LOOKED AT ME AS AN IMMIGRANT EVEN THOUGH I WAS BORN HERE.

SO THOSE THEMES ARE REALLY NOT JUST PART OF MY WORK, THEY'RE PART OF MY LIFE.

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THE PROJECT WAS THE PROJECT THAT EXISTED PREVIOUSLY WITH MY FRIEND JR.

WE HAD DONE IN SHANGHAI AND CARTAGENA SPAIN.

WE WERE INVITED TO THE HAVANA MIAMI IN 2012 AND RATHER THAN DOING SOMETHING SEPARATE WE SAID, WHY DON'T WE COLLABORATE ON SOMETHING?

HAVANA IS ONE OF THE MOST TEXTURED CITIES IN THE WORLD, MEANING THAT ITS ARCHITECTURE REFLECTS ITS HISTORY IN A WAY WHERE YOU SEE THE DETERIORATION OF IT.

AND THE PEOPLE WHO HAVE WITNESSED THAT, HAVE LIVED THAT, ARE THE ELDERLY PEOPLE IN THAT SOCIETY IN CUBA.

I NEVER REALLY MET MY REAL GRANDPARENTS SO WORKING WITH JR ON HIS PROJECT, INTERVIEWING THEM, HEARING THEIR STORIES, ALSO TRANSLATING THEIR PORTRAITS INTO LARGE SCALE LIKE THIS WAS INCREDIBLE.

IN A COUNTRY WHERE YOU DON'T REALLY HAVE ADVERTISING, YOU HAVE THE PICTURE OF CHE GUEVARA.

THEY WERE REVOLUTIONARY HEROS.

AND IF THAT PERSON WAS IMPORTANT ENOUGH TO BE ON THE WALL, PEOPLE THOUGHT THEY WERE LIKE A REVOLUTIONARY HERO.

WE SAID, WELL, KIND OF, THEY HAD THEIR OWN REVOLUTION IN A SENSE BECAUSE THEY'RE SURVIVORS.

ART IS ONE OF THE BEST TOOLS TO INTERPRET THE HUMAN CONDITION BECAUSE THERE ARE THINGS YOU CAN READ IN ART AND SEE IN ART THAT CANNOT BE SAID VERBALLY.

I THINK THAT WE AS ARTISTS, FILMMAKERS, POETS, WRITERS, JOURNALISTS, WHAT WE'RE TRYING TO DO IS BRING TO LIGHT THE FACT THAT THERE ARE MANY EXAMPLES OF HOW WE CAN LIVE IN HARMONY.

THE PAINTING IS 90 FEET AND 15 FEET TALL.

IT WAS A PAINTING COMMISSIONED IN 2013 BY THE NEW YORK AND NEW JERSEY PORT AUTHORITY AND ORGANIZATION FOR THE WORLD TRADE CENTER.

IT WAS A BIG RESPONSIBILITY THAT CAME WITH THE LOCATION.

BUT I DID KNOW THAT I WANTED TO MAKE A PAINTING THAT WAS RESPECTFUL TO THE FAMILIES OF THOSE WHO HAD LOST PEOPLE THERE, BUT ALSO RESPECTFUL TO NEW YORK AND THAT IT ALSO HAD A POINT OF STRENGTH AND RESILIENCE AND HARMONY TO BRING PEOPLE TOGETHER.

AND I WANTED IT TO HAVE A LOT OF COLORS THAT WOULD MAKE A KIND OF SPECTRUM OF UNITY OF REPRESENTING THE MANY DIFFERENT KIND OF PEOPLE THAT LIVE IN NEW YORK.

SO IT REALLY BECOMES A PIECE THAT IS ABOUT THAT EVERYDAY RESILIENCE OF NEW YORKERS AND UNITY THAT WE SIGNIFY.

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> NEXT ON OUR PROGRAM, A TRIP DOWNTOWN TO A HOT SPOT FOR CINEMA.

NESTLED IN MANHATTAN'S CHINATOWN, THE METROGRAPH THEATER EVOKES A ROMANTIC VISION OF THE MOVIE GOING EXPERIENCE, DRAWING ITS INSPIRATION FROM THE CINEMATECHS OF EUROPE, IT'S DESIGNED TO CREATE A COMMUNAL EXPERIENCE IN WHICH TO APPRECIATE THE ART OF FILM.

WITH TWO SCREENS, A RESTAURANT, BAR, CANDY SHOP, BOOKSTORE AND LOUNGE, THE THEATER IS A HAVEN FOR CINEMA LOVERS AND MORE CASUAL PATRONS.

THE METROGRAPH PROGRAMMING RANGES FROM THE CLASSIC TO THE ECLECTIC.

WHILE THOUGHTFULLY CURATED PREMIERS, RESTORATIONS AND REPERTORY FILMS ARE SHOWN IN THE THEATER, THE RESTAURANTS OF THE OLD HOLLYWOOD STUDIO LOTS ARE THE INSPIRATION FOR THE MENU IN THE METROGRAPH COMMISSARY.

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FOR THOSE WHO HAVE NOT BEEN TO METROGRAPH YET, I SUPPOSE I WOULD SAY THIS IS A VERY SPECIAL PLACE FOR CINEMA LOVERS IN NEW YORK.

THE IDEA IS THAT THERE'S SO MUCH HERE THAT YOU'LL WANT TO COME BACK AGAIN.

WHETHER YOU ARE GOING TO SEE A MOVIE, WHETHER YOU'RE GOING TO HAVE A MEAL, WHETHER YOU'RE GOING TO LOOK AT THE BOOKSTORE, WHETHER YOU JUST ARE PASSING BY AND CHECKING OUT THE CANDY STORE, STOPPING FOR A DRINK, HAVING A MEETING, IT'S A PLACE THAT REALLY CAPTURED AN IMAGINEIDEA OF AN OLD MOVIE THEATER.

BEING ABLE TO EXIST IN A SPACE WHERE ONE CAN DISCUSS FILMS AND INTERACT WITH THEM AND WITH OTHER PEOPLE.

WE REALLY ARE HERE JUST MAKING GOING TO THE MOVIES SOMETHING THAT YOU WOULD CONSIDER AS THE THING YOU'RE GOING TO DO FOR THE NIGHT AND MAKE IT BE SOMETHING THAT YOU WOULD GO ON A DATE TO, GATHER WITH YOUR FRIENDS, THAT IT MAKES IT A FULL EXPERIENCE THAT WOULD INCLUDE A MEAL OR A DRINK OR JUST THE FILM.

AND THEN ON THE FILM SIDE THAT THE THINGS THAT ARE ACTUALLY PLAYING HERE ARE SO SPECIAL AND SO NOTEWORTHY AND OFTEN IT'S THE EXCLUSIVE SCREEN THAT'S PLAYING IN NEW YORK IF NOT THE UNITED STATES.

IT'S THINGS YOU COULDN'T LITERALLY SEE AT HOME.

EVEN IF IT'S THINGS YOU MIGHT BE ABLE TO SEE AT HOME, IT'S A LOT MORE FUN TO SEE IT HERE AND A LOT MORE INTERESTING TO BRING YOUR FRIENDS AND SHARE IN THE EXPERIENCE.

TODAY FILMS ARE THE LEAST AVAILABLE TO SEE IN THE FORM THEY WERE REALLY INTENDED TO BE SEEN IN.

SO THAT'S WHAT WE THINK WE'RE PROVIDING AND REMINDING PEOPLE WHAT A SPECIAL EXPERIENCE IT IS TO GO TO A CINEMA AND SEE FILMS PROJECTED.

THE CINEMA WAS DESIGNED TO CREATE THE MOST OPTIMAL VIEWING EXPERIENCE.

SO THE SCREEN IS INCREDIBLY LARGE.

THE DISTANCE FROM THE SCREEN TO THE PROJECTOR IS PERFECT.

WE HAVE STATE OF THE ART VIDEO FOR THE NEW RELEASES THAT COME OUT AND THE PROJECTION'S BEEN OPTIMIZED FOR 35 MILLIMETER SO THERE'S TWO PROJECTORS IN EACH ROOM PLAYING CHANGEOVER ARCHIVE QUALITY PROJECTION.

AND WE HAVE AN AMAZING PROJECTION TEAM THAT MOVES BACK AND FORTH BETWEEN ALL THESE DIFFERENT FORMATS.

35 MILLIMETER ARCHIVAL PROJECTION ALLOWS US TO ACCESS A WIDE RANGE OF FILMS THAT HAVE NEVER BEEN MADE AVAILABLE DIGITALLY.

SO WE PARTNER WITH A LOT OF ARCHIVES.

ARCHIVES HAVE BEEN VERY GENEROUS TO US.

WE APPROACHED PRODUCERS, STUDIOS, AND THEY'RE HAPPY TO WORK WITH US IN ORDER TO MAKE NEW 35 MILLIMETERS PRINTS.

THERE'S OLD THINGS THAT ARE VERY FAMILIAR.

THERE'S NEW THINGS YOU DON'T KNOW ABOUT.

THERE'S A LOT OF IN-PERSON APPEARANCES.

A LOT OF FILMMAKERS ARE COMING HERE TO INTRODUCE THEIR FILMS, TALK ABOUT THEM.

ALL OF THAT IS OVERLAPPING IN A VERY EXCITING WAY.

THE MOST REWARDING PART OF PROGRAMMING A REPERTORY CINEMA IS WHEN YOU SHOW A WORK AND HAVE A FILMMAKER PRESENT AND THEY'RE GREETED BY AN EXCITED AUDIENCE, ONE THAT MIGHT EVEN BE LARGER THAN WHEN THE FILM INITIALLY GOT RELEASED.

THE GOAL IS TO INTRODUCE OR REINTRODUCE AUDIENCES TO FILMS THAT WE THINK ARE REALLY IMPORTANT AND KEEP THEM IN THE PUBLIC CONSCIOUSNESS AND TAKE A FILM THAT WAS OVERLOOKED OR RELATIVELY OBSCURE AT THE TIME OF RELEASE AND SHOW THAT IT IS A MODERN CLASSIC.

FOR ME, THE LOVE OF CINEMA EXTENDS BEYOND THE SCREEN.

IT'S HAD A LOT TO DO WITH THE PLACE WHERE I SAW THE FILM, MY MEMORIES OF ALL THE FAVORITE FILMS I SAW GROWING ARE UP CONNECTED IN THE THEATERS I SAW THEM IN, PLACES THAT HAPPEN TO NOW ALL GONE.

WHEN NEW YORK WAS FULL OF SMALLER INDEPENDENT THEATERS, IT MEANT THAT THE ACTUAL EXPERIENCE OF GOING TO THE MOVIE, JUST CROSSING THE THRESHOLD TO THE THEATER BROUGHT SOMETHING EXCITING AND DIFFERENT.

SO IT WAS VERY, VERY IMPORTANT TO ACTUALLY CREATE A BUILDING THAT WAS DIFFERENT FROM ANY OTHER BUILDING.

OVER THE SEVEN YEARS THAT I SPENT WORKING ON THIS PROJECT, THERE WERE VARIOUS SITES ALL AROUND MANHATTAN WHERE I WAS TRYING TO MAKE THIS HAPPEN.

FOR HE, LANDING HERE IN CHINATOWN LOWER EAST SIDE THERE'S A SENSE OF NEIGHBORHOOD.

THERE'S REALLY INTERESTING THINGS HAPPENING HERE IN A VERY LAID BACK SORT OF OLD FASHIONED SPIRIT.

THERE'S KIND OF A CONTRAST OF WHAT WE'RE WORKING WITH HERE, IS THAT YOU'RE VERY MUCH INSIDE A LUDLOW STREET FORMER FOOD STORAGE WAREHOUSE.

THE BRICKS ARE THE ORIGINAL BRICKS, THE CEILINGS, THE ORIGINAL CONCRETE FLOOR.

AND THEN THE DESIGN ELEMENTS THAT I PUT IN EVOKE SOMETHING OLD FASHIONED, SOMETHING ROMANTIC, THE SOMETHING GLAMOROUS.

THE RESTAURANT HERE AT METROGRAPH IS CALLED THE METROGRAPH COMMISSARY.

I WAS RESEARCHING THE OLD RESTAURANTS AT THE OLD MOVIE STUDIOS.

I ACTUALLY FOUND THE MENUS FROM THE 20s, 30s AND 40s.

THE STARS, THE CREWS AND THE STUDIO CHIEFS ALL ATE TOGETHER.

SO THE MENU SOMETIMES TAKES LITTLE LITERAL DISHES FROM THESE MENUS.

THE IDEA OF HAVING A BOOKSTORE WAS INSPIRED BY CINEMATECHS THAT WE SAW IN EUROPE.

NEW YORK USED TO HAVE SEVERAL BOOKSTORES DEDICATED JUST TO FILM.

IT WAS SOMETHING WE WERE VERY EXCITED ABOUT WAS TO BE ABLE TO CREATE A BOOKSTORE HERE THAT WAS FILM ONLY, WHERE THE INVENTORY WOULD BE CONSTANTLY ROTATING REFLECTING SERIES THAT WE'RE DOING.

SO THE SAME WAY YOU HAVE TO PAY ATTENTION TO OUR CALENDAR TO SEE WHAT FILMS WE'RE SHOWING, YOU PAY ATTENTION TO WHAT'S GOING ON IN THE BOOKSTORE.

THE IDEA OF METROGRAPH I THINK HAS SOMETHING TO DO WITH WALKING INTO A COHERENT WORLD AND A COHERENT EXPERIENCE.

AND EVERY SINGLE THING THAT'S HAPPENING TO YOU IN THIS BUILDING THAT YOU'RE EXPERIENCING HAS BEEN SELECTED, CURATED AND CHOSEN WITH A LOT OF CARE AND ALSO INCLUDES THINGS THAT YOU CAN TAKE AWAY LIKE BOOKS IN OUR BOOKSTORE.

AND SO MAGIC OF CINEMA IN SOME WAYS KIND OF EXTENDS BEYOND THE RECTANGLE OF THE SCREEN.

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> HELLO.

I'M RAFAEL.

WELCOME TO LINCOLN CENTER.

CLOSING OUT LINCOLN CENTER'S GREAT PERFORMERS SEASON ON MAY 19th, MUSIC DIRECTOR MANFRED HAHNIC.

CELEBRATED AUSTRIAN PIANIST WILL JOIN.

AND THE PROGRAM WILL CLOSE WITH MAHLOR'S FIFTH SYMPHONY.

FOR EVEN MORE INFORMATION ABOUT MUSIC, DANCE, THEATER, OPERA AND FILM HERE AT LINCOLN CENTER, YOU CAN VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

♪♪

> I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

THANK YOU SO MUCH FOR JOINING US.

I'M PAULA ZAHN.

GOOD NIGHT.

> NEXT WEEK ON 'NYC ARTS' A LOOK AT THE PUBLIC ART FUND INSTALLATION BRIDGE OVER TREE.

WHAT CAN A BRIDGE MEAN WHEN IT IS SPLIT FROM ITS FUNCTIONAL PURPOSE?

ONE ANALOGY CAN BE DRAWN TO THE IDEA OF RESPECT FOR NATURE, THAT THIS BRIDGE DOESN'T RUN OVER THE TREE.

YOU KNOW, IT BRIDGES OVER THE TREE AND KIND OF RESPECTS IT AS A FORM.

AND A LOOK AT THE EXHIBITION 'ART OF NATIVE AMERICA' NOW ON VIEW AT THE METROPOLITAN MUSEUM OF ART.

NATIVE AMERICAN ART IS FOUNDATIONAL TO OUR CULTURAL HERITAGE.

EXHIBITIONS LIKE THIS ARE MEANT TO MOVE PEOPLE OUTSIDE OF THAT IDEA THAT ALL NATIVE PEOPLES ARE THE SAME.

THEY WERE NOT AT ANY TIME AND THEY'RE CERTAINLY NOT TODAY.

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

♪♪

> THANK YOU FOR THE PRIVILEGE TO BE ABLE TO SIT DOWN AND TALK WITH YOU.

WHERE ARE WE?

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

IT'S A PLEASURE TO BE WITH THE CURATOR OF THIS EXHIBITION FULL OF HOPE.

WE ARE IN THE MIDST OF SOME OF THE GREATEST SCULPTURES BY GREAT NAMES.

CLASSICAL AND MODERN DANCE ARE SO DIFFERENT.

MY PICTURES RESIDE IN VERY INTIMATE, VERY PRIVATE MOMENTS.

YOU ARE IN SOME RESPECTS ON SACRED GROUND.

A WOMAN CAME TO SEE ME PERFORM AND SAID HOW WOULD YOU LIKE TO PLAY BILLIE HOLIDAY.

I THINK ONE OF THE ESSENTIAL THINGS WE LEARNED --

YOU THINK, OH MY GOSH THIS COULD BE NOW.

COME AND PRESENT SOMETHING AND YOU GET APPLAUSE.

GREAT, YOU KNOW?

♪♪ ♪♪ ♪♪

> FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY --.

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

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

THIS IS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MIND.

> AND BY SWAN AUCTION GALLERIES.

SWAN AUCTION GALLERIES.

INFORMATION AT SWANGALLERIES.COM.

CALLIGRAPHY DIE SPORE RA DICE SPORE RA DICE POR RA DIASPORADIASPORA DIASPORA.