Joel Meyerowitz talks to NYC-ARTS about his celebrated career as a photographer, which started in 1962 and is still going strong. Then NYC-ARTS visits the exhibition “Hudson Rising,” on view at the New-York Historical Society through August 4, 2019.

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> COMING UP ON 'NYC ARTS' A WE'LL MEET RENOWNED PHOTOGRAPHER.

STILL A VIBRANT PRESENCE IN THE ART WORLD.

I REMEMBER WALKING THROUGH PARIS AND SUDDENLY SMELL BAKING IN THE AIR.

BUTTER AND SUGAR.

OH!

AND YOU IMMEDIATELY YOU WANT A CROISSANT OR COOKIE OR SOMETHING AND YOU TAKE TWO STEPS AND IT'S GONE.

TO ME, THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET, 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.

TAKE A LOOK AT THE EXHIBITION ON VIEW AT THE NEW YORK HISTORICAL SOCIETY.

IT'S GREAT ADIRONDACK PHOTOGRAPHER CAPTURED THE BEAUTY AND THE LUMERMEN WERE DOING AS THEY CHOPPED DOWN THE FOREST.

THEN HE TURNED THESE PHOTOGRAPHS INTO A 200-SLIDE SHOW HE COULD TAKE AROUND THE STATE AND USE IT TO ADVOCATE FOR THE PRESERVATION FOR THE ADIRONDACKS.

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

WALTER, THEA PETSCHEK IERVOLINO FOUNDATION, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, JODY AND JOHN ARNHOLD, KATE W. CASSIDY FOUNDATION, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, JEAN DUBINSKY APPLETON ESTATE, ELROY AND TERRY KRUMHOLZ FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELLEN AND JAMES S. MARCUS.

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 REPUBLICAN 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 THE FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

GOOD EVENING AND WELCOME TO 'NYC ARTS.'

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

ON TONIGHT'S PROGRAM, WE'LL MEET RENOWNED PHOTOGRAPHER OF VIBRANT PRESENCE IN THE ART WORLD.

HE 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.

ALL THOUGH HE FOCUSSED ON A VARIETY OF THINGS THROUGHOUT HIS CAREER, HE'S PERHAPS BEST KNOWN AS A STREET PHOTOGRAPHER IN THE TRADITION OF SUCH MASTERS AS ANDRE AND ROBERT FRANK.

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

IN THE WAKE OF THE EVENTS OF 9/11, MEYER WOODS WAS THE ONLY PHOTOGRAPHER TO BE GIVEN UNRESTRICTED ACCESS TO GROUND ZERO.

DRAMATIC IMAGES HE CAPTURED 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 AND THE WHITNEY.

NYC ARTS SPOKE WITH HIM DURING THE VISIT TO THE HOWARD GREEN BERG GALLERY.

WHEN YOU FIRST PICK UP A CAMERA, IT'S NOT SO EASY TO GO OUT ON THE STREET AND TAKE PICTURES OF STRANGERS BECAUSE THERE'S ALWAYS A LITTLE BIT OF FEAR I DON'T BELONG HERE OR THEY'RE NOT GOING TO LIKE IT IF I TAKE A PICTURE.

IN A WAY, IT'S LIKE DANCE.

IT'S POETIC.

YOU HAVE TO FIND THESE PARTNERS WHO DON'T REALLY KNOW YOU'RE PHOTOGRAPHING THEM.

WHILE YOU MOVE IN AND OUT OF THEIR LIVES AND MAKE PHOTOGRAPHS FOR YOURSELF 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 STREET SMART GUY BORN IN NEW YORK CITY.

A KIND OF TOUGH GUY ON THE STREETS.

AND 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.

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.

YOU KNOW, AND DANCE AROUND EACH OTHER AND THROW UP THEIR ARMS.

I MEAN, 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.

IF YOU WERE QUICK ENOUGH TO WATCH IT, YOU WOULD EXPERIENCE THE PLEASURE, VISUAL PLEASURES, 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 COOKIE OR SOMETHING.

YOU TAKE TWO STEPS AND IT'S GONE.

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

TO ME THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET AND SOMETHING HAPPENS.

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, WHEN I GET AN IMPULSE, I RAISE THE CAMERA.

I DON'T EVEN HESITATE.

IT HAS TO BE LIKE THAT.

THAT'S PHOTOGRAPHY.

IT'S ABOUT A FRACTION OF A SECOND.

SO I THINK IMPULSE, INTUITION, RECOGNITION, DESIRE, PASSION, APPETITE.

YOU CAN CALL IT ANYTHING YOU WANT.

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

CAMERAS HAVE THEIR OWN CHARACTERISTICS.

A SMALL CAMERA THAT FITS IN YOUR HAND, YOU KNOW, YOU MOVE IT AROUND AND YOU CARRY IT WITH YOU.

PUT IF YOUR POCKET OR BAG.

IT'S PART OF YOU.

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

LET'S SAY NATURE IS SLOWER AND THERE'S MORE TIME IN IT.

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

IT'S VERY SLOW.

YOU STAND IN NATURE AND CAN YOU LOOK AROUND AND DRAW YOUR ENERGY FROM EVERYTHING OUT THERE.

SO LARGE FORMAT CAMERA, LIKE AN 8 X 10 INCH CAMERA GIVES YOU A WHOLE ANOTHER EXPERIENCE.

IT'S SLOWER, YOU PUT IT DOWN, YOU PUT THE CLOTHE OVER YOUR HEAD AND YOU ENTER THIS WORLD ON A SCREEN UPSIDE DOWN AND ITS HA A WHOLE ANOTHER KIND OF MAGIC TO IT.

YOU CAN TRUST THAT IT WILL DESCRIBE EVERY SINGLE THING IN THE FRAME.

THERE WILL BE NO BLUR.

THERE WILL BE NO MOVEMENT.

IT'LL 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 ARTIST RECOGNIZES, OH, I'VE BEEN MAKING THAT PICTURE A FEW DIFFERENT TIMES NOW.

OBVIOUSLY SOMETHING INTERESTING THERE.

MORE SO THAN I THOUGHT.

THIS HAPPENED TO ME WITH THE WORK THAT IS CALLED THE 'BETWEEN THE DOG OR THE WALL.'

I DIDN'T KNOW ABOUT EXPRESSION BUT MANY YEARS AGO, 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 INTERMINATE, THESE IMAGES APPEARED IN MY WORK.

I SHOWED THEM TO MY FRIEND AND MY FRIEND SAID -- [ SPEAKING IN A FOREIGN LANGUAGE ] I THOUGHT WHAT'S THAT?

HE SAID, YOU KNOW, BETWEEN THE DOG AND THE WALL.

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.

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

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 IT.

BUT BEYOND THAT, THERE ARE ALSO JUST PLACES ON LAND WHERE THE LIGHT IS FADING AND YOU SUDDENLY HAVE -- YOU FEEL GOOSEBUMPS OR YOU FEEL A LITTLE BIT OF A SHIVER OF UNCERTAINTY.

THAT ALERTS YOUR SENSES AND YOU THINK I THINK, OH, WHAT IS GOING ON HERE?

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

AT THIS MOMENT IN MY LIFE, I FIND MYSELF MAKING STILL ONES.

I HAVE NO IDEA WHY.

I'M CHOOSING THESE OBJECTS BUT THEY HAVE CHARACTER, 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 DOES LOOK LIKE CONVENTIONAL STILL LIFE PHOTOGRAPHY BUT LOOKS LIKE I'M MAKING IT.

MAYBE I CAN FIND OUT MORE ABOUT MYSELF THROUGH THESE OBJECTS.

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

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

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

AFTER AWHILE, THE THOUGHT ABOUT THIS GRAY WHY GRAY?

WHEN HE WAS A PAINTER WHO HAD MADE COLORED PAINTINGS.

IT PROMPTED ME TO GO BACK TO THE STUDIO AND ASK THEM IF I COULD TAKE OBJECTS DOWN AND PUT THEM ON HIS TABLE TO PHOTOGRAPH THEM.

AND REALLY I WASN'T TRYING TO MAKE ART.

I HAVE TO BE CLEAR.

I WAS JUST 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 HIM 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 OH, RANDY IS ONLY THREE HOURS AWAY.

I WANT TO GO THERE AND GO TO RANDY'S STUDIO.

WHERE RANDY WAS ALSO VERY IMPORTANT TO ME WHEN I WAS IN ART HISTORY STUDENT.

AND A PAINTER.

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

HE WAS WORKING IN A VERY WON TON KIND OF GOLDEN, TUCSON, COLORFUL ITALIAN ENVIRONMENT AND HE WAS IN A VERY COOL, SORT OF MORE RATIONAL FRENCH ENVIRONMENT.

SO TO PIT THESE TWO AGAINST EACH OTHER AND TO LOOK AT THEIR OBJECTS?

A WAY IT INTRODUCED ME TO THE FEELING THAT, OH, EACH OBJECT DOES HAVE CHARACTER, IDENTITY, PERSONA.

SOMETHING, YOU KNOW, AND PERHAPS I WAS HAVING A DIALOGUE WITH THESE MEN THROUGH THEIR OBJECTS.

SO IN A WAY, WORKING WITH THEM 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.

THESE OBJECTS IN THIS MEDIUM I LOVE SO MUCH AS I LOVE PHOTOGRAPHY.

> NEXT WE TAKE A TRIP TO THE NEW YORK HISTORICAL SOCIETY ON THE UPPER WEST SIDE.

FOUNDED IN 1804 AS NEW YORK'S FIRST MUSEUM, ITS MISSION IS TO EXPLORE THE MULTILAYERED HISTORY OF NEW YORK CITY AS WELL AS NEW YORK STATE AND THE NATION.

CURRENTLY ON VIEW IS HUDSON RISING AN EXHIBITION THAT EXAMINES 200 YEARS OF ECOLOGICAL CHANGE AND ENVIRONMENTAL ACTIVISM.

THE CURATOR IS OUR GUIDE ON THIS JOURNEY ALONG ONE OF AMERICA'S MOST CELEBRATED RIVERS.

HUDSON RISING IS AN EXHIBITION AT NEW YORK HISTORICAL SOCIETY THAT BEGINS IN THE 1820s WITH THE BEGINNING OF THE INDUSTRIAL ERA AND CONTINUES THROUGH TODAY.

WE START OFF THE EXHIBIT WITH THE EMPIRE.

THOMAS COLE'S COURT OF EMPIRE IS A FIVE-CANVAS SERIES PAINTED IN THE '30s AND ONE OF THE TREASURES OF NEW YORK HISTORICAL SOCIETY'S COLLECTION.

COLE WAS ONE OF THE FIRST AMERICAN LANDSCAPE PAINTERS.

OF COURSE, IN EMPIRE HE I DID PICKETS THE RISE AND FALL OF A GREAT CIVILIZATION.

IT FALLS.

AND AT THE SAME TIME THAT HE'S PAINTING THAT, HE'S ALSO LIVING IN THE HUDSON RIVER REGION AND HE'S THINKING ABOUT THE DEVASTATION OF THE REGION FROM LUMBERING AND OTHER INDUSTRIES.

THE HUDSON RIVER SCHOOL PAINTERS WERE LANDSCAPE PAINTERS.

AMERICAN LANDSCAPE PAINTERS.

LARGELY INSPIRED BY THOMAS COLE.

THEIR PAINTINGS FROM THE 1830s ON.

THAT'S EXACTLY THE SAME TIME THAT INDUSTRY IS REALLY GEARING UP ALONG THE HUDSON RIVER.

AND SO THEIR PAINTINGS ARE SOME OF THE REASONS THAT AMERICANS BEGIN TO UNDERSTAND HOW BEAUTIFUL THE HUDSON RIVER IS BUT ALSO BEGIN TO THINK ABOUT HOW TO PROTECT THE ENVIRONMENT AGAINST THE RAVAGES OF THE INDUSTRIAL DEVELOPMENT.

AND ONE OF THE PLACES THAT THIS TAKES PLACE IS THE ADIRONDACKS.

BECAUSE THE ADIRONDACKS IS WHERE THE HUDSON ORIGINATES.

AND THE ADIRONDACK FOREST PROTECTS THE HEALTH OF THE HUDSON RIVER.

THIS GREAT ADIRONDACKS PHOTOGRAPHER, CAPTURED BOTH THE BEAUTY OF THE ADIRONDACKS BUT ALSO HE CAPTURED WHAT THE LUMBERMEN WERE DOING AS THEY CHOPPED DOWN THE ADIRONDACK FOREST.

THEN HE TURNED THESE PHOTOGRAPHS INTO A 200-SLIDE SHOW THAT HE COULD TAKE AROUND THE STATE AND USE IT TO ADVOCATE FOR THE PRESERVATION OF THE ADIRONDACKS.

HE SHOWED THESE IMAGES TO THE NEW YORK STATE LEGISLATORS AND THAT LEAD BOTH TO THE CONSERVATION OF THE FOREST AND THE CREATION OF THE PUBLIC PARK.

ANOTHER STORY THAT THE EXHIBIT TELLS US IS ABOUT THE PRESERVATION OF THE CLIFFS OF THE PALISADES.

SO IN THE 19th CENTURY, PEOPLE NOT ONLY APPRECIATED THE PALISADES FOR THEIR BEAUTY, BUT QUERYMEN APPRECIATED THEM FOR THEIR ROCK.

SO THE PALISADES WERE BEING BLASTED TO BITS LITERALLY.

AND THE SPEED AND THE LEVEL OF THAT DEVASTATION AS WELL AS THE SOUND AND THE PHYSICAL SAFETY AS ROCKS FLEW THROUGH NEARBY WINDOWS CONVINCED A WHOLE ASSORTMENT OF PEOPLE TO BEGIN OPPOSING THE BLASTING OF THE PALISADES.

THESE GRASSROOTS ADVOCATES GOT TOGETHER BOTH SIDES OF THE RIVER AND CONVINCED THEIR RESPECTIVE GOVERNORS TO PASS A BILL TO AUTHORIZE THE TAKING OF THAT LAND EITHER BY IMMINENT DO MAIN OR PURCHASE.

SO AS OF 1900, THE PALISADES INTERSTATE PARK COMMISSION WAS FORMED.

AN AMAZING PARK WAS CREATED WITHIN A DECADE.

IT WAS ALSO THE PLACE WHERE NATURAL SCIENCE STUDY BEGAN.

WONDERFUL EFFORT CALLED THE TRAIL SIDE MUSEUM WAS ESTABLISHED IN THE PALISADES AND THAT'S WHERE NATURE STARTED TO TAKE OFF FOR THE FIRST TILE.

POPULAR NATURE STUDY.

THAT'S REPLICATED THROUGHOUT THE COUNTRY.

INDUSTRY CONTINUES TO GROW DURING THE YEARS OF WORLD WAR II AND AFTER.

SO BY THE 1960s, THE POLLUTION IS A TERRIBLE PROBLEM.

PEOPLE ARE NOT PAYING ATTENTION TO THE RIVER ANY LONGER BECAUSE IT'S JUST SEEN AS A SEWER AND TRASH.

MOVEMENT WHICH HAS BEEN GROWING ALL ALONG IN THE HUDSON RIVER REGION REALLY TAKES OFF.

♪ SAILING DOWN THE DIRTY STREAM ♪ ♪

PETE WAS A FOLK SINGER AND SOCIAL ACTIVIST.

HE LIVED IN THE HUDSON RIVER REGION.

HE DECIDED TO BUILD A BOAT THAT LOOK THE LIKE A 19th CENTURY WOODEN CAR GO SLIP.

THEY NAMED HIS SLOOT THE CLEAR WATER.

THEY TOOK THE CLEAR WATER OUT ON THE RIVER AND THEY BROUGHT AS MANY PEOPLE AS THEY COULD OUT WITH THEM.

THEY DREW ATTENTION BACK TO THE RIVER.

THOSE KINDS OF EFFORTS HELPED TO PASS NEW LAWS TO ENSURE THAT THE WATER WOULD BE CLEANED UP AND THEY TRIED TO KEEP IT CLEAN.

TO END THE EXHIBIT, WE LOOK AT HOW PEOPLE ARE THINKING AND ACTING TODAY IN THE HUDSON RIVER REGION.

AFTER HURRICANE SANDY, THE GOVERNOR'S OFFICE STORM RECOVERY HIRED THE LANDSCAPE ARCHITECTURE FIRM TO HELP WITH PROTECTING THE SOUTH SHORE OF STATEN ISLAND THAT WAS REALLY BADLY DEVASTATED DURING THE STORM.

THEY DEVELOPED AN IDEA CALLED LIVING WATERS.

THE WATERS WILL HIEN THE SOUTH SHORE OF STATEN ISLAND TO PROTECT THE COMMUNITY AGAINST HIGH WAVES THAT MIGHT COME IN THE FUTURE STORMS.

BUT THESE BREAK WATERS ALSO OFFER NEW TERRITORY FOR HABITATS, FOR LIVING AK QUALITYIC CREATURES, AND THEY ENGAGE LOCAL RESIDENTS TO ENJOY RECREATION IN THESE CALMER WATERS OFF THEIR SHORES.

THIS KIND OF CREATIVE THINKING AND ACTION CAN HELP US FACE ONE OF THE GREAT CHALLENGES OF OUR DAY, WHICH IS OUR CHANGING CLIMATE.

THE HUDSON RISING EXHIBIT TAKES A LOOK AT HOW THE PAST CAN INFORM THE PRESENT.

SO THE HUDSON RIVER REGION WAS AN INCUBATOR FOR ENVIRONMENTAL THINKING AND ACTION OVER THE YEARS.

AND THAT'S THE STORY THAT WE'VE TRIED TO CAPTURE.

IT'S ONE THAT WE THINK TODAY IS PARTICULARLY IMPORTANT TO CONCENTRATE ON.

> FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA, SIGN UP FOR OUR FREE WEEKLY E-MAIL AT NYC-ARTS.ORG/E-MAIL.

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

AND BE SURE TO CONNECT WITH NYC ARTS ONLINE BY LIKING US ON FACEBOOK AND FOLLOWING US ON INSTAGRAM AND TWITTER.

> HELLO WELCOME TO LINCOLN CENTER.

YOU KNOW ALL YEAR AROUND NEW YORKERS AND GUESTS FROM AROUND THE WORLD VISIT THIS CULTURAL MECCA WHERE THE THEATERS IS OVERFLOWING WITH THE BEST IN MUSIC, DANCE, OPERA, DRAMA, AND FILMS.

ACROSS THE LINCOLN CENTER CAMPUS.

AMONG THE HIGHLIGHTS OF THIS EDITION JULY 28th, MADE IN NYC 2.0 NEXT GENERATION TRADITIONS.

WILL SHOWCASE NEW YORK-FORM TRAD ADDITION AND STORIES.

ON AUGUST 7th, JESUS WILL PERFORM.

FINALLY, THE ROOTS OF AMERICAN MUSIC WEEKEND, AMERICANA FEST NYC WILL BE CLOSING THE FESTIVAL ON AUGUST 10th AT 11:00 WITH AN IMPRESSIVE LINE UP THAT WILL INCLUDE FOLK ROCK LEGEND DAVID CROSBY.

FOR COMPLETE DETAILS VISIT LCOUT OF DOORS.ORG.

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

THANK YOU FOR JOINING US.

A VISIT TO THE SMITHSONIAN OF THE NATIONAL MUSEUM OF THE AMERICAN INDIAN.

WHOSE WORK EXPLORES AMERICAN HISTORY AND POP CULTURE THROUGH HIS NATIVE AMERICAN EXPERIENCE.

PC CANNON LOVED BOB DYLAN, MERRILL HAGGARD, AND THE BEATLES.

HE HAD A DEEP LOVE OF OPERA, AS WELL.

HIS MUSIC DEEPLY INFLUENCED HIS IMAGES AND HIS MUSIC DEEPLY INFLUENCED HIS IMAGES.

> FOLLOWED BY A LOOK AT THE JAPANESE ARTIST AND HER EXHIBITION CALLED 'INFINITY.'

SHE HAS BEEN AT THE FOREFRONT OF ARTISTIC INNOVATION SINCE SHE STARTED IN THE 1960 UNTIL NOW.

IT MAKES HER A UNIQUE AND UNUSUAL ARTIST.

BASICALLY DEVELOPING A PRACTICE THAT INCLUDES PERFORMANCE, PAINTING, DRAWING, SCULPTURE INSTALLATION AND EVERYTHING.

AND OUR NYC ARTS CHOICE.

OUR MISSION IS TO CELEBRATE THE PEOPLE AND TRADITIONS OF NEW YORK HARBOR.

WE ALSO CELEBRATE THE MODERN WATER FRONT.

FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY ROSALIND P.

WALTER, THEA PETSCHEK IERVOLINO FOUNDATION, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, JODY AND JOHN ARNHOLD, KATE W. CASSIDY FOUNDATION, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, JEAN DUBINSKY APPLETON ESTATE, ELROY AND TERRY KRUMHOLZ FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELLEN AND JAMES S. MARCUS.

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