In celebration of the 50th anniversary of the Stonewall uprising, we take a look at “Art after Stonewall, 1969–1989,” a collaboration between the Grey Art Gallery at NYU and the Leslie-Lohman Museum of Gay and Lesbian Art. Followed by a profile of Claire Chase, an award-winning flutist and a champion of contemporary classical music.

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> COMING UP ON NYC ARTS, IN CELEBRATION OF THE 50th ANNIVERSARY OF THE STONEWALL UPRISING WE TAKE A LOOK AFTER ART AFTER STONEWALL, A COLLABORATION OF THE GREY ART GALLERY AT NYU AND THE LESLIE LOHMAN MUSEUM OF GAY AND LEPZ ART.

THE SHOW BEGIN WAS THE NOTION OF COMING OUT, IF THERE WAS GOING TO BE LIBERATION PEOPLE HAD TO EXPRESS THEIR IDENTITIES.

> AND A PROFILE OF CLARE CHASE, THE AWARD-WINNING FLUTIST AND CHAMPION OF KEMP RATHER CLASSICAL MUSIC.

THE FARTHEST THING FROM YOUR GRANDMOTHER'S FLUTE RECITAL I HOPE YOU CAN IMAGINE.

♪♪

FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER, THEA PETSCHEK IERVOLINO FOUNDATION, JODY AND JOHN FOUNDATION, ELLEN AND JAMES S.

MARCUS, THE LEWIS 'SONNY' TURNER FUND FOR DANCE.

ELISE JAVY AND JEFFREY BROWN.

ESTATE OF CREASELE FOX.

JEAN DUBINSKY APPLETON ESTATE.

THE MILTON SAND SALARY AVERY ARTS FOUNDATION.

CHARLES AND VALERIE DIKE AND.

THE KRUMHOLZ FOUNDATION THIS IS SUPPORTED IN PART BY FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

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 CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

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

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

IT'S STILL THE FIRST THING ON OUR MINDS.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪

> IN THE EARLY MORNING OF JUNE 28th, 1969, POLICE RAIDED THE STONEWALL INN ON CHRISTOPHER STREET IN LOWER MANHATTAN.

THE ROUTINE RAID TARGETED THE MOST MARGINALIZED MEMBERS OF THE LGBTQ COMMUNITY.

TYRECE OF FACING HARASSMENT AND ARREST, THE BAR'S PATRONS FOUGHT BACK.

WHAT BEGAN AS A SMALL RESPONSE SPANNING SIX DAYS PROVIDING THE SPARK FOR THE MODERN GAY LIBERATION MOVEMENT.

TOMORROW MARKS THE 50th ANNIVERSARY OF THE STONEWALL UPRISING.

IN CELEBRATION LOCAL INSTITUTIONS ARE TAKING A CLOSER LOOK AT THE IMPACT OF THE LGBTQ COMMUNITY ON THE ART WORLD.

CURRENT ON VIEW IS ART AFTER STONEWALL, AN EXHIBITION AT BOTH THE LESLIE LOHMAN MUMZ OF GAY AND LESBIAN ARTS AND THE GREY ART GALLERY.

EXPLORING TWO DECADES AFTER STONEWALL THROUGH THE WORK OF ARTISTS AND ACTIVISTS.

GLK ARTS SPOKE WITH JONATHAN WINE RK WHO COCURATED THE EXHIBITION.

♪♪ THE EXHIBITION ART AFTER STONEWALL IS OPENING IN NEW YORK FOR THE 50th ANNIVERSARY OF THE STONEWALL RIOT.

THE SHOW IS BETWEEN 1969 AND '89, THE FIRST 0 YEARS AFTER STONEWALL AND BEGINS AT LESLIE LOHMAN THE FIRST DECADE.

AND THEN THE SECOND DECADE IS AT THE GREY ART GALLERY.

BUT THERE IS SOME OVERLAPS AND CERTAIN THEMES REEMERGE.

THERE WERE MANY RIOTS PRIOR TO STONEWALL.

BUT ONE OF THE THINGS THAT WAS EXTRAORDINARY ABOUT THE STONEWALL RIOTS WAS THE DECISION BY CERTAIN RADICAL PEOPLE TO FOCUS ON STONEWALL AND TO CELEBRATE IT, ITS ANNIVERSARY A YEAR LATER.

SO THE SHOW REALLY BEGINS WITH THE NOTION OF COMING OUT, IF THERE WAS GOING TO BE LIBERATION PEOPLE HAD TO EXPRESS THEIR IDENTITIES.

ONE OF THE THINGS THAT CHANGES IN '69 AND THEN TO THE '70s AND THE '80s ARE WORKS OF ART BY ARTISTS SHOWING US THINGS, NOT REPRESSING OR HIDING THINGS.

IT'S VERY EXCITING TO HAVE IN THE SHOW THE WORK OF TOMMY SCHMIDT WHO WAS IN THE BAR WHEN THE STONEWALL RIOT OCCURRED AND PARTICIPATED.

HIS ALLEGORY OF THE STONEWALL RIOT IS REFERENCING THE STATUE OF LIBERTY AND THE IDEA OF THE FREEDOM THAT THAT MOVEMENT WAS A PART OF OR THAT ACT OF SAYING, LOOK, WE ARE TIRED AND WE'RE OUTRAGED THAT WE'RE NOT ALLOWED TO FOR EXAMPLE DANCE WITH EACH OTHER WITHOUT THE POLICE COMING IN AND RAIDING THE BAR.

SO IT TURNS SORT OF THE GARBAGE OF EVERYDAY LIFE AND MAKES IT WONDROUS.

IN A CERTAIN WAY I THINK THAT'S SORT OF THE STORY OF STONEWALL, WHICH IS HOW A BUNCH OF YOUNG PEOPLE WHO MAYBE WEREN'T VALUED IN THE SOCIETY SUDDENLY SAID, LOOK, WE DO MATTER.

WE GET TO LOVE WHO WE WANT TO LOVE.

AT BOTH SHOWS WE HAVE SOME TERRIFIC PICTURES OF MARSHAL P.

JOHNSON WHO ALSO WAS AT STONEWALL AND ALSO IS THIS INCREDIBLE FIGURE IN NEW YORK YEAR LIFE.

SHE WAS AN INCREDIBLE PERFORMER.

AND SHE SPOKE UP FOR THE RIGHTS OF TRANSGENDER PEOPLE.

ALONG WITH SILVIA RIVERA CREATED A ORGANIZATION TO STAND UP FOR TRANSGENDER PEOPLE WHO WERE SEX WORKERS.

AND WE HAVE A GREAT PHOTOGRAPH OF SILVIA RIVERA AT LESLIE LOHMAN AT THE EXACT MOMENT WHEN SHE WAS TURNING TO HER FELLOW MARCHERS AND SAYING TO THEM, LOOK, YOU'RE NOT TAKING THE SIDE OF TRANSGENDER PEOPLE.

AND THIS IS A REALLY IMPORTANT IDEA -- IT'S SOMETIMES HARD TO GET ACROSS THE NOTION THAT AT CERTAIN POINTS NOT EVERYBODY IN THE SHOW GOT ALONG.

ISSUES OF INCLUSIVITY AND DIVERSITY WERE SOMETHING THAT WAS A STRUGGLE THROUGHOUT THE 20 YEARS.

THINGS ARE QUEER IS THE THEME THAT INTRODUCING THE GREY GALLERY'S PART OF THE EXHIBITION.

BACK IN THE '70s, THE WORD QUEER WAS A DEROGATORY TERM FOR HOMOSEXUALS.

IN THE EARLIA 80s IT'S EMBRACING MANY IDENTITIES.

WAYNE MICHAELS THINGS ARE QUEER PERFECTLY ENCAPSULATES THE IDEA OF QUEERNESS AND THE IDEA THAT THE WORLD DOESN'T HAVE NORMAL PLACES, THAT EVERYTHING IF IT'S SEEN IN THE RIGHT CONTEXT CAN BE STRANGE.

SO THINGS ARE QUEER BECOMES REALLY ABOUT THE WORLD, A WORLD IS QUEER.

GREER LANGTEN WAS AN AMAZING ARTIST.

GREER'S MAJOR WORK IS THE FANTASTIC SCULPTURES, THE DOLLS SHE REALLY THOUGHT OF AS PEOPLE.

SHE WOULD TALK ABOUT THEM, DRESS THEM.

HER APARTMENT WOULD HAVE THE VARIOUS FIGURES DISPLAYED.

ALSO ANOTHER THEME IN HER WORK IS HER TRANSITION.

SHE WAS TRANSGENDER.

AND SHE WENT THROUGH QUITE A KIND OF TRAUMATIC SERIES OF EXPERIENCES.

AND THAT WAS SOMETHING THAT SHE DEALT WITH IN A LOT OF HER PAINTED WORK.

ONE OF THE ASPECTS OF THIS SHOW THAT CAN'T BE IGNORED IS THAT SO MANY OF THE ARTISTS ARE NO LONGER LIVING.

MANY OF THEM DIED OF HIV AIDS.

THE OTHER ASPECT OF IT IN THE '80s WAS THE RESPONSE OF ACT UP AND OTHER GROUPS TO FIGHT BACK, TO FIND A SOLUTION TO DEMAND GOVERNMENT ACTION.

THE FIRST POSTER IN THE SHOW IS SILENCE EQUALS DEATH, CREATED BY A COLLECTIVE.

THEY USED THIS TRIANGLE WHICH WAS THE NAZI SYMBOL FOR HOMOSEXUALITY.

THE OTHER PART OF THE STATEMENT, OF COURSE IS THAT TO REMAIN SILENT IN A CASE OF A TERRIBLE EPIDEMIC IS IMPOSSIBLE.

LEN ANOTHER CHIN'S DEJA VU DEALS WITH THE A.I.D.S. EPIDEMIC IN A DRAMATIC WAY.

IT'S BASED ON A PHOTOGRAPH OF LEN EOR TAKEN IN THE APARTMENT OF A CLOSE FRIEND WHO DIED OF A.I.D.S.

THE PERSON TAKING THE PHOTOGRAPH WAS HIS BROTHER.

THERE IS A CLOSE PERSONAL CONNECTION AND A WONDERFUL WAY IN WHICH IT SPEAKS OF A COMMUNITY STRUGGLING WITH DEATH BUT ALSO KIND OF AFFIRMATION OF AUTOMATICNY AND SELF-HOOD.

WE DIDN'T WANT TO END THE SHOW ON A.I.D.S.

WE WANTED TO END ON AFFIRMATION AND REPEAT THE THEME OF VISIBILITY.

THERE WAS A GREAT GROUP CALLED QUEER NATION AND ANY STAGED KISS INS AND PROTESTS THROUGHOUT THE UNITED STATES.

ONE OF THE PHRASES THEY WOULD SAY IS WE'RE HERE, WE'RE HERE WE'RE QUEER, GET USED TO IT.

WE DECIDED TO USE THAT PHRASE TO REALLY SPEAK OF THAT SENSE OF PRESENCE.

WHICH WE WANTED THE SHOW TO END ON.

> CLARE CHASE BECAME ENCHANTWOOD THE FLUTE AT THE AGE OF 3.

HER LOVE OF THE INSTRUMENT HAS INSPIRED A REMARKABLE CAREER IN KEMP RATHER THAN CLASSICAL MUSIC.

A FOUNDING MEMBER OF THE INTERNATIONAL KEMP RATHER ENSEMBLE SHE HAS BEEN A CHAMPION OF NEW MUSIC AROUND THE WORLD.

. SHE ALSO IN GREAT DEMAND AS A SOLOIST.

CHASE WAS NAMED A MacARTHUR FELLOW IN 2012 AND AWARDED THE AVERY FISHER PRIZE IN 2017.

SHE IS CURRENTLY IN THE MIDDLE OF A 23-YEAR COMMISSIONING AND PERFORMANCE CYCLE CALLED DENSITY 2036.

BEGUN IN 2013, THE PROJECT'S GOAL IS TO CREATE AN ENTIRELY NEW REPERTOIRE FOR THE FLUTE, ONE THAT PUSHES BOTH AUDIENCE PERCEPTIONS AND THE LIMITS OF THE INSTRUMENT ITSELF.

EACH YEAR BRINGS AN AMBITIOUS NEW BATCH OF MUSIC TO THE KITCHEN, A KEMP RATHER AND EXPERIMENTAL ART SPACE IN CHELSEA.

THE CYCLE WILL CONCLUDE IN 2036 WITH A 24-HOUR MARATHON OF ALL OF THE PREVIOUS COMMISSIONS.

NYC ARTS SPOKE WITH CHASE ABOUT FOUR OF THIS YEAR'S NEW COMPOSITIONS.

♪♪ ♪♪ ♪♪

DS DENSITY 2036 IS AN IDEA THAT I HAD IN 2012.

INSPIRED BY HE HAD GARR CONVERSION'S SEM NOL 1936 FLUTE SOLO CALLED DENSITY 12.5 MY PERSONAL STORY WITH THIS PIECE IS THAT MY TEACHER WHEN I WAS 12 OR 13 YEARS OLD, WONDERFUL WONDERFUL MAN CAME INTO MY FLUTE LESSON AND PUT THE TWO PAGES OF MUSIC ON THE STAND.

I SAID THIS IS WEIRD.

WHAT IS IN?

AND HE SAID DON'T JUDGE, DO YOU WANT TO HEAR IT?

I SAID OF COURSE I WANT TO HEAR IT.

SO HE SAID OKAY KIDDO STAND BACK.

I WAS LIKE I NEVER HEARD THAT BEFORE A FLUTE PERFORMANCE BEFORE.

AND HE PROCEEDED OVER THE NEXT FOUR AND A HALF MINUTES TO COMPLETELY BLOW MY MIND.

I HAD NEVER EXPERIENCED MUSIC AND NEVER EXPERIENCED THE FLUTE -- NEVER EXPERIENCED RESONANCE THAT WAY.

WHATEVER MUSIC THAT IS I DON'T KNOW WHAT WE CALL THAT MUSIC BUT I WANT TO DO THAT MUSIC, AND I WANT TO LEARN TO TRANSMIT THAT EXPERIENCE THAT JOHN TRANSMITTED 'FAST MONEY.'

AND THE PIECE ITSELF -- I LIKE TO THINK OF IT AS AN ANTHEM.

IT IS BRASH AT TIMES.

THERE IS SCREECHING, WAILING SOUNDS.

IT'S INABC CREDIBLY INTIMATE AND POETIC AND TENDER.

THAT WAS WRITTEN IN '36.

WHAT ARE WE GOING TO BE DOING IN 2036?

WHAT WILL THE PIECE OR COLLECTION OF PIECES BE THAT WILL TAKE THE FLUTE FROM ITS PREVIOUS IDENTITY AND HURL IT INTO THE FUTURE?

WHAT IF I JUST DECIDED TO CREATE OF AN ENTIRELY NEW PROGRAM OF MUSIC EVERY YEAR BETWEEN 2013 AND 2036 WITH THE IDEA THAT WE WOULD HAVE ONE AND ONE -- ONLY ONE RULE, AND THAT IS THAT EACH YEAR THE CYCLE NEEDS TO BE A COMPLETE DEPARTURE FROM THE LAST.

I'VE NEVER IMPOSED A THEME.

IT'S VERY IMPORTANT TO ME THAT WE ARE GIVING PLATFORMS TO PEOPLE FROM MANY DIFFERENT CAREER STAGES WHO COME FROM MANY DIFFERENT MUSICAL BACKGROUNDS, WHO IDENTIFY DIFFERENTLY AND MOST IMPORTANTLY WHO ARE PUSHING THE ART FORM FORWARD.

IT'S A BIG TEAM OF PEOPLE THAT WORK COLLABORATIVELY ON THIS.

WE REALLY CARE FOR EVERY SOUND AND EVERY ACTION THAT WE HOPE WILL GIVE THE AUDIENCE AN IMMERSIVE EXPERIENCE, THAT IS THE FARTHEST THING FROM YOUR GRANDMOTHER'S FLUTE REKRULGTS THAT I HOPE YOU CAN IMAGINE.

THE SHOW EPPER CALLED MAGIC FLUIDITY BIOLOGIA NOVERTZ, AUSTRIAN COMPOSER.

MY PARTNER IS NATHAN DAVIS, AN EXTRAORDINARY REMEMBER PUTTINGIST, KPOEZER AND SOUND ARTIST IT'S REDUCED FROM A FLUTE CONCERT O THAT WAS WRITTEN FOR ME BASED ON BACH AND PEOPLE FAMILIAR WITH BRANDIN RK ERA BURG FOREST WILL HEAR NODS AND WINKS TO THE ORIGINAL.

IF YOU COULD IMAGINE OF AN ORCHESTRATELE FORCE WINNOWING DOWN TO JUST ONE LITTLE DESK STOP.

SO NATHAN HAS QUITE A COMPLEX JOB.

IT'S DEVILISHLY DIFFICULT.

BUT PLAYING WITH NAGEN IS JUST A JOY.

ONE MORE TIME.

♪♪ ♪♪ ♪♪

SO PAMELA Z. IS AN ABSOLUTELY PHENOMENAL PERFORMER, ELECTRONIC PIONEER, HIDE RAY HEADED WOMAN OF SO MANY TRADES.

I WAS NERVOUS TO ASK BUT SO DELIGHTED WHEN SHE ACCEPTED.

I VISITED HER OVER THE SUMMER.

AND HER STUDIO IN SAN FRANCISCO.

WE IMPROVISED A LITTLE BIT.

I MADE SOME SOUNDS.

SHE HAD ME RECORD SOME THINGS.

THEN SHE SAID I WANT TO PUT YOU IN MY LITTLE RECORDING BOOTH AND INTERVIEW YOU.

AND I TAUT, OKAY MAYBE SHE IS USING THIS FOR A PODCAST OR SOMETHING LIKE THAT.

THEN I GOT THE PIECE.

AND THE ENTIRE TAPE PART IS MY VOICE.

BUT THEY CONSTRUCTED LITTLE MELODIES WITH FRAGMENTS OF MY VOICE AND THE FLUTE PART MUSICALIZES THE NATURALLY MUSICAL ELEMENTS.

♪♪

I'VE ALSO COACHED WITH THIS WONDERFUL THEATER ARTIST WHO HAS HELPED ME WITH THE PLACEMENT OF THE DIFFERENT STATIONS.

YOU SEE THE DIFFERENT FLUTES ON STAGE.

BIG BERTHA, THE CONTRA BASE FLUTE HAS HER OWN BED.

SAUDI HAS WORKED WITH ME ON TELLING THIS NON-NARRATIVE STORY.

THEY'RE STORIES I TELL MYSELF IN MY HEAD.

BUT THE AUDIENCE ISN'T FOLLOW THINGS FROM A TO B AND B TO C.

IT'S MORE LIKE LITTLE VIGNETTES THAT I THINK OF DIALOGUES WITH YOUR PREVIOUS SEFLS.

SOME OF IT IS HUMOROUS AND SOME OF IT IS DEMONIC AND DARK.

SO LIZ CHEN IS ANOTHER COMPOSER PERFORMER, ELECTRONIC MUSICIAN, INSTRUMENT INVENTOR.

AND SO SHE WROTE THIS PIECE BASED ON MY HEARTBEAT.

SHE STRAPPED A STETHOSCOPE TO MY CHEST AND USED THAT SOUND TO CONSTRUCT THE ELECTRONIC PART.

♪♪ ♪♪ AND THEN THAT ELECTRONIC PART DROPS OUT ABOUT HALFWAY THROUGH THE PIECE, A PERSON COMES UP ON STAGE AND AFFIXES A STETHOSCOPE TO MY LIVE HEARTBEAT.

AND I PLAY THE REMAINDER OF THE PIECE WITH, YOU KNOW WHATEVER HUMMINGBIRD HEART IS COMING THROUGH.

TO HEAR IT PUMPED THROUGH A SOUND SYSTEM AND ON SUBWOOFERS IS QUITE A HUMBLING EXPERIENCE.

♪♪ SARAH HENNES IS ANOTHER ABSOLUTELY INCREDIBLE ARTIST WHO WORKS AT THE INTERSECTION OF LOTS OF DIFFERENT DISCIPLINES.

SHE IS A BEAUTIFUL PERCUSSIONIST IN HER OWN RIGHT AND SOUND ARTIST AND COMPOSER.

IN PIECE SHE HAS WRITTEN IS PART OF A SERIES SHE IS WORKING ON CALLED THE RESERVOIR SERIES THAT DEALS WITH THE IDEA OF OUR UNCONSCIOUS AS A KIND OF RESERVOIR OF FEELINGS, MANY OF WHICH ARE UNWANTED, AND SOME OF WHICH ARE TRAUMATIC MEMORIES.

THE PIECE FOR US IS CALLED RESERVOIR TO INTRUSION, INVOLVES THE FLUTIST IN THE MIDDLE OF THE SPACE.

AND FIVE OR MORE VOICES THAT MOVE IN AND AROUND.

AND I'M SO PRIVILEGED TO BE WORKING WITH PHENOMENAL YOUNG GROUP CONSTELLATION CORE.

THEY ARE GROUP OF PHILOSOPHERS MOVEMENT ARTISTS, VOCALISTS, THEATER ARTISTS.

WE ARE INTERCONNECTED WHETHER CONSCIOUS OF IT OR NOT.

THE MORE CONSCIOUS WE ARE OF HOW INTERCONNECTED WE ARE ESPECIALLY IN HEIGHTENED AWARENESS WHICH A PERFORMANCE IS, THE MORE INTERESTING THINGS GET.

IT'S DANGEROUS TO BE THAT OPEN.

FOR THE PERFORMER AND LISTENER.

AND IT'S ESPECIALLY RISKY WITH SO-CALLED KEMP RATHER MUSIC, BECAUSE WE HAVE NEVER HEARD IT BEFORE.

I LOVE THAT HIGH WIRE AC.

I TOTALLY LIVE FOR IT.

♪♪ ♪♪

> HELLO I'M RAFAEL PI RAMAN WELCOME TO LINCOLN CENTER.

LINCOLN CENTERS MIDSUMMER NIGHT SWING RUNS THROUGH JULY 13th WITH ANNUAL EVENT CELEBRATING THE RICH DIVERSITY OF NEW YORK CITY WITH WIDE RANGE OF SOUNDS AND DANCE STYLES.

OUTDOOR DANCE LESSONS AND PERFORMANCES COVER SWING, RHYTHM AND BLUES TANG O SALSA AND MORE.

EACH NIGHT BEGIN WAS DJ SET AND DANCE LESSON FOLLOWED BY LIVE MUSIC AND OPEN DANCE FLOOR TO TEST THE MOVES.

PLEASE VISIT MIDSUMMER NIGHT SWING.ORG FOR DETAILS.

AND FOR MORE INFORMATION ABOUT EVENTS AT LINCEN CENTER YOU CAN VISIT THE WEBSITE AT LINCOLN CENTER.ORG.

> I'M YOU WILL PAULA SEDAN AT THE TICH WNET STUDIOS AT LUNGEN CENTER.

THANKS SO MUCH FOR JOINING US GOOD NIGHT.

WHEN NYC ARTS RETURNS JULY 11th A LOOK AT THE WORLD OF DANCE THROUGH THE LENS OF THREE FEMALE CHOREOGRAPHERS TAKING THE LEAD EACH ONE WORKING IN A VERY DIFFERENT STYLE OF MOVEMENT.

WHEN I'M WORKING IN MY COMPANY AND WE'RE GENERATING MOVEMENT, I ALIGN MYSELF VERY MUCH WITH WHAT SOCIAL DANCE IS IN TERMS OF A STRUCTURE AND THEN THE INDIVIDUAL CREATIVITY.

SO 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 INDIVIDUAL.

AND A VISIT TO THE AMERICAN FOLK ART MUSEUM AND THE EXHIBITION MADE IN NEW YORK CITY, THE BUSINESS OF FOLK ART.

FOLK ART WAS NOT JUST MADE BY GRANDMA SEWING IN THE KITCHEN OR GRANDPA WHITTLING IN THE BARN.

THIS WAS MADE HERE IN NEW YORK CITY AS WELL AS OTHER CITIES IN THE COUNTRY.

BUT NEW YORK WAS THE CENTER OF IT ALL.

MANY OF THOSE WEATHER VANES, THE CAROUSEL ANIMALS, THE KRIG AR STORE FIGURES WERE MADE HERE IN NEW YORK CITY.

TO ENJOY MORE OF THE FAVORITE SEGMENTS ON NYC ARTS VISIT OUR WEBSITE AT NYC DSH ARTS.ORG.

LENRD WHAT A PRIVILEGE TO SIT DONE AND TALK WITH YOU.

I LOVE BEING WITH YOU PAULA.

WHERE ARE WE.

WE ARE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

IT'S A PLEASURE TO BE WITH MOHNS YUR RIFFEN THIS EXHIBITION FULL OF HOPE IN THE MIDST OF SOME OF THE GREATEST SCULPTURES BY THE ICONIC NAMES.

CLASSIC ALABMODERN DANCE ARE EXTREMELY DIFFERENT I HAVE SO MUCH MORE TO LEARN BEFORE I CAN ARTICULATE THE DIFFERENCES.

WHEN I LISTEN TO THE LYRICS I THOUGHT THAT'S WHAT I WANT TO DO WITH MY LIFE.

MY PICTURES RESIDE IN VERY INTIMATE, VERY PRIVATE MOMENTS.

MY PRIMARY WAY OF PLAYING THE PIANO IS KBI IMPROVISING.

YOU ARE IN SOME RESPECTS ON SACRED GROUND.

A WOMAN CAME TO SEE ME PERFORM.

AND SAID HOW WOULD YOU LIKE TO PLAY BILLY HOLIDAY.

I THINK ONE OF THE ESSENTIAL THINGS WE LEARNED IS THAT MATISSE USED PENS TO COMPOSE HIS WORK.

YOU ALWAYS ARE SURPRISED WHEN YOU ARE A OPERAENED AND DOING A PIECE FROM 1007 YEARS AGO AND THINK THIS COULD BE NOW.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪

ANNOUNCER: FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER, THEA PETSCHEK IERVOLINO FOUNDATION.

JODY AND JOHN ARNHOLD, KATE W.

CASSIDY FOUNDATION, HE WILL AND AND JAMES S. MARCUS, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, ELISE JAFFE AND JEFFREY BROWN, ESTATE OF CECILE FOX.

JEAN DUBINSKY APPLETON ESTATE, THE MILTON AND SALARY AVERY ARTS FOUNDATION.

CHARLES AND VALERIE DYDER AND THE KRUMHOLZ FOUNDATION.

THIS IS SUPPORTED IN PART BY FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

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 CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

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

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

IT'S STILL THE FIRST THING ON