A visit to the Smithsonian National Museum of the American Indian and the world of artist T.C. Cannon, whose work explored American history and pop culture through his Native American experience. Followed by a look at “Infinity Mirrors,” an exhibition of work by Japanese artist Yayoi Kusama. Then NYC-ARTS explores the historic Noble Maritime Collection at Snug Harbor in Staten Island.

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> COMING UP ON 'NYC ARTS' A VISIT TO THE SMITHSONIAN NATIONAL MUSEUM OF THE AMERICAN INDIAN.

> AND THE WORLD OF ARTIST T.C.

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

T.C. CANNON LOVED BOB DYLAN, BUFFY SAINT MARIE AND THE BEATLES, HE ALSO HAD A DEEP LOVE OF OPERA AS WELL.

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

♪♪

> A LOOK AT THE EXHIBITION OF YAYOI KUSAMA.

SHE'S BEEN AT THE FOREFRONT OF ARTISTIC INSPIRATION SINCE SHE STARTED, SINCE THE 1950s UNTIL NOW.

THAT MAKES HER A UNIQUE AND UNUSUAL ARTIST.

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

> AND WE EXPLORE THE HISTORIC NOBLE MARITIME COLLECTION AT SNUG HARBOR IN STATEN ISLAND.

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

AND WE ALSO CELEBRATE THE MODERN WATERFRONT.

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

THE THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODI AND JOHN ARNHOLD.

KATE W. CASS ID TUT FOUNDATION.

CHARLES VALERIE DIKER.

GENE DUBINSKY APPLETON ESTATE.

ELROY AND TERRY KRUMHOLTZ FOUNDATION.

AND THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND JAMES S. MARCUS.

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 CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

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 MINDS.

♪♪

> GOOD EVENING AND WELCOME TO NYC ARTS.

I'M PAULA ZAHN.

ON OUR PROGRAM TONIGHT WE'LL VISIT THE SMITHSONIAN'S NATIONAL MUSEUM OF THE AMERICAN INDIAN.

LOCATED DOWNTOWN AT NEW YORK CITY BOWLING GREEN.

THE MUSEUM IS COMMITTED TO ADVANCING KNOWLEDGE AND UNDERSTANDING THE NATIVE CULTURES OF THE WESTERN HEMISPHERE, PAST, PRESENT AND FUTURE.

CURRENTLY ON VIEW IS THE FINAL STOP ON THE TOUR OF AN EXHIBITION ORGANIZED BY A MUSEUM IN MASSACHUSETTS.

T.C. CANNON, AT THE EDGE OF AMERICA.

T.C. CANNON'S LIFE WAS BRIEF.

HE DIED IN 1978 AT THE AGE OF 31.

BUT AS REFLECTED BY THE NEARLY 80 WORKS ON VIEW, HIS WIDE RANGING ARTISTRY CAPTURED THE CULTURAL LANDSCAPE OF HIS LIFETIME, HIS BOLD AND COLORFUL WORKS, EXPLORES AMERICAN HISTORY AND POP CULTURE THROUGH HIS NATIVE AMERICAN EXPERIENCE.

TC CANNON'S WORK, CONTINUES TO ENGAGE ISSUES AS RELEVANT TODAY AS 50 YEARS AGO.

THOMAS WAYNE CANNON WAS BORN IN 1946 IN SOUTHERN OKLAHOMA TO A FAMILY OF FARMERS.

WHEN HE WAS QUITE YOUNG DURING THE 1950s, HIS FATHER SERVED IN THE KOREAN WAR.

T.C.'S MOTHER WAS CATO AND HIS FATHER WAS KAYAWA INDIAN, AND WE'LL SEE HIS IDENTITY AS A KAWAWA WARRIOR DEEPLY INFLUENCED T.C.'S LATER WORKS.

HE LOVED MUSIC, AFTER RETURNING FROM THE VIETNAM WAR, HE PURCHASED A 1940s C.F. MARTIN ACOUSTIC GUITAR.

HE WAS KNOWN FOR HAVING JAM SESSIONS IN THE MIDDLE OF THE NIGHT IN HIS ART STUDIO IN NEW MEXICO.

ONE OF THE MOST PARTS OF HIS SOUNDTRACKS IS WHERE WE GET TO HEAR HIS LATE NIGHT JAM SESSIONS IN HIS STUDIO.

TODAY IS OCTOBER 11th, 1967.

IT'S ABOUT 3:00 IN THE MORNING, AND TOMMY CANNON ON HIS GUITAR, AND ME ON THE HARMONICA ARE IN THE MOON.

♪♪ ♪ MAGIC SUNDAY HAS COME AND GONE ♪

T.C. LOVED BOB DYLAN, BUFFY ST. MARIE, HAGGARD.

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

♪♪

IN HIS PAINTING, MAMA AND PAPA GOT THE GOING HOME SHIPWRECK BLUES.

WE START TO SEE FORMAL QUALITIES OF HIS WORK BEGIN TO EMERGE.

FOR INSTANCE, HIS BOLD COLOR AND PATTERNS, HIS LIVELY BRUSH WORK AND ALSO HIS RICH COMBINATIONS OF NATIVE AND NONNATIVE AESTHETIC ELEMENTS.

THE PAINTING CENTERS ON TWO FIGURES A NAVAJO OR DANAE MAN AND WOMAN WHO ARE DEALING WITH ISSUES OF HOMESICKNESS.

WHICH BECOMES A THEME THROUGHOUT HIS WORK.

IN HIS 1973 ACRYLIC AND OIL PAINTING, T.C. PORTRAYS A U.S.

MILITARY INDIAN SCOUT WHO'S OF PLAINS INDEPENDENTIAN CULTURE, WHICH WE CAN SEE IN HIS ACUTRIMANTS.

WE SEE HIS WORK DEVELOPING QUITE STRONGLY HERE.

IN ONE OF MY FAVORITE PAINTINGS OF T.C. CANNON, CLOUD MADONNA FROM 1975 IS A NATIVE TAKE ON THE MADONNA OR THE VIRGIN MARY.

BUT IT'S MORE THAN THAT.

HE REPRESENTS PUEBLO CEREMONIAL ELEMENTS, SPECIFICALLY WATER, WHICH WE CAN SEE IN THE MADONNA'S BLUE MANTLE DRAPING DOWN HER SHOULDERS.

HE'S HOLDING A MELON INSTEAD OF A BABY, WHICH REFERENCES LIFE RENEWAL AND AGAIN, WATER.

INSTEAD OF A HALO AROUND T.C.'S MA DON, THAT HE'S PLACED A WATER JAR ATOP HER HEAD.

THE WATER JAR ITSELF IS NOT ONLY A REFERENCE TO PUEBLO CULTURE AND POTTERY, BUT ALSO TO THE PUEBLO REVERENCE FOR WATER.

WHICH IS A LIFE GIVING FORCE IN THE ARID DESERT.

♪♪

IN 1967 T.C. ENLISTED IN THE U.S. MILITARY AND SERVED AS A PARATROOPER IN VIETNAM.

IN VIETNAM T.C. PARTED IN WHAT IS CALLED THEET OFFENSIVE.

IN HIS IMAGES OF WAR, AND OF WARRIORS, WE CAN SEE THAT T.C.

IS STRUGGLING WITH HIS OWN INNER TENSION OF SERVING A GOVERNMENT THAT HEAVILY OPPRESSED AMERICAN INDIANS THROUGH VIOLENCE, FORCED RELOCATION, AND OTHER MEANS.

THIS EXHIBITION INCLUDES AN ENTIRE SPACE DEDICATED TO T.C.'S SERVICE IN THE VIETNAM WAR.

WE HAVE FEATURED MANY OF HIS MEDALS, HIS PERSONAL CORRESPONDENCE AND ALSO POEMS ABOUT HIS FEELINGS.

ABOUT BEING SO FAR AWAY FROM HOME.

DESPITE THE TRAUMATIC EXPERIENCES HE FACED, T.C. ALSO HAD A SENSE OF HUMOR ABOUT WHAT HE WAS EXPERIENCING IN THE WAR.

MANY OF HIS SELF-PORTRAITS INCLUDE HUMOROUS REFERENCES TO HIS EXPERIENCES IN VIETNAM.

♪♪ T.C. OFTEN MIXED HIS POETRY ALONG WITH HIS TWO DIMENSIONAL ART.

HE OFTEN HAS REFERENCES TO LOVE, TO WAR OR TO TRAUMA.

♪♪

T.C. DESCRIBED HIMSELF AS SOMEONE WHO HAD AN INABILITY TO FALL OUT OF LOVE.

I HAD TO WRITE HER A SONG BECAUSE I CARED SO MUCH ABOUT HER.

♪♪

MANY OF HIS IMAGES DEPICT WOMEN DURING THEIR CHILDBEARING YEARS, INCLUDING THIS IMAGE, GRANDMOTHER SAVING FATHER, WHICH DEPICTS HIS GRANDMOTHER CARRYING HIS FATHER.

AFTER RETURNING FROM VIETNAM, HIS WORK TAKES A TURN TOWARD THE DEEPLY CEREMONIAL.

T.C. INCLUDED MANY OF THESE SPECIFICS IN HIS IN HIS WORK.

T.C. HAD THE SENSE OF URGENCY OF PAINTING, WRITING AND CREATING MUSIC.

A VISION HE HAD THAT HE WAS GOING TO DIE AT A YOUNG AGE.

IN 1978 T.C. CANNON DIED IN A FATAL CAR ACCIDENT OUTSIDE SANTA FE, NEW MEXICO.

♪♪

T.C. CANNON ALONG WITH A NUMBER OF HIS COLLEAGUES AT THE INSTITUTE OF AMERICAN INDIAN ART, WERE PART OF A GENERATION THAT SHOWED A NEW WAY FOR AMERICAN INDIANS TO PORTRAY THEMSELVES THROUGH ART, MUSIC AND POETRY WE'RE PROUD TO HOST THIS FUNNY STOP OF T.C. CANNON AT THE EDGE OF AMERICA.

WE LOOK FORWARD TO SEEING YOU SOON.

> ONE OF THE MOST IMPORTANT LIVING ARTISTS TO COME OUT OF JAPAN IS YAYOI KUSAMA.

SHE REFERENCES MINIMALISM, POP ART AND ABSTRACT EXPRESSIONISM.

SINCE THE 1970s, SHE'S CONTINUED TO CREATE ART IN MANY FORMS, MOST NOTABLY AS INSTILLATIONS IN MUSEUMS AROUND THE WORLD.

WHILE PHOTOS ON SOCIAL MEDIA HAVE RECENTLY BROUGHT HER RENEWED ATTENTION, SHE'S SPENT A LIFETIME CREATING.

AND IS STILL WORKING AT THE AGE OF 90, HER EXHIBITION CALLED INFINITY MIRRORS TRAVELLED ACROSS THE COUNTRY WHERE MUSEUM GOERS HAD THE OPPORTUNITY TO CONNECT WITH HER VISION OF THE INCIDENT.

♪♪

WELCOME TO INFINITY, AS IMAGINED BY JAPANESE ARTIST YAYOI KUSAMA.

AS YOU STEP INSIDE HER FAMOUS INFINITY MIRROR ROOMS, REFLECTIONS OF COLOR AND LIGHT BEND REALITY IN THIS UNIQUE EXPERIENCE.

I WOULD LOVE FOR PEOPLE TO STEP BACK AND NOT TAKE PHOTOS, EXPERIENCE THE ROOM AS IS.

WHILE PHOTOS ON SOCIAL MEDIA HAVE PROPELLED THE ARTIST'S POPULARITY, SHE SPENT A LIFETIME CREATING.

THIS EXHIBIT SPOTLIGHTS HER BODY OF WORK.

KUSAMA HAS BEEN AT THE FOREFRONT OF ARTISTIC INSTILLATION SINCE SHE STARTED IN THE 1950s, UNTIL NOW THAT MAKES THEM A UNIQUE AND UNUSUAL ARTIST, DEVELOPING A PRACTICE THAT INCLUDES PERFORMANCE, PAINTING, DRAWING, SCULPTURE INSTILLATION, AND REALLY EVERYTHING.

FROM A VERY YOUNG AGE, SHE WAS DETERMINED TO CREATE, EVEN WHEN THAT PUT HER AT ODDS WITH OTHERS.

IN JAPAN, SHE WAS BORN IN THE LATE 20s, AND THE EXPECTATION WAS THAT SHE WOULD GET MARRIED AND HAVE KIDS, AND NOT JUST GET MARRIED BUT HAVE AN ARRANGED MARRIAGE.

WHICH WAS NOT SOMETHING SHE WANTED TO DO.

SHE MADE HER WAY TO THE UNITED STATES TO PURSUE HER ART CAREER.

BUT THAT CAME WITH DIFFERENT CHALLENGES.

IN NEW YORK, IT WAS A MAN'S WORLD, AND IT WASN'T EASY FOR HER TO COME THERE, SHE DIDN'T HAVE FRIENDS THERE, SHE DIDN'T SPEAK ENGLISH VERY FLUENTLY.

TO TRY TO BREAK INTO THE ART WORLD, IT WAS A BIG, YOU KNOW, IT WAS A BIG DEAL.

THROUGHOUT HER LIFE, KUSAMA HAS ALSO STRUGGLED WITH MENTAL ILLNESS.

SHE HAS USED HER ART AS A FORM OF HEALING.

HER PRACTICE JUST AS A LIFESTYLE.

THE ABILITY TO HAVE THE WORK IS SOMETHING THAT HAS ALLOWED HER TO SURVIVE.

IN THE EARLY 1960s, SHE BROUGHT HER REPRESENTATIVE STYLE TO A NEW MEDIUM, TAPPING HER LIFE EXPERIENCE FROM WORLD WAR II.

DURING THE WAR, SHE WAS WORKING AT A PARACHUTE FACTORY.

AND THAT'S HOW SHE DEVELOPED THE TECHNIQUE TO SEW THE SOFT SCULPTURES.

THEY APPEAR IN HER FIRST INFINITY MIRROR ROOM, WHICH DEBUTED IN 1965.

SHE BEGAN TO HAVE HALLUCINATIONS AND HER WORK WAS REALLY ABOUT CATCHING UP WITH THOSE VISIONS SHE WAS HAVING.

YOU'LL SEE ONE MOTIF EXPONENTIALLY ACCUMULATING, WHETHER IT BE THE FALLICK TUBERS AND THE SCULPTURES, THE WAY IN ABOUT, HER PHYSICAL CAPACITY TO BE ABLE TO CREATE INFINITE REPETITIONS OF THE OBJECTS.

IT DIDN'T KEEP UP WITH HER DESIRE.

SO SHE WAS ABLE TO FIND THE MIRRORS OF THE DEVICE TO ACTIVATE HER VISION.

THE MIRROR ROOMS HAVE CAPTURED MANY PEOPLE'S ATTENTION, PARTICULARLY WITH THIS TRAVELING EXHIBIT.

THOSE WHO VISIT RESERVE TIMED TICKETS.

AND THE TIME INSIDE THE MIRROR ROOM IS LIMITED TO ABOUT 30 SECONDS.

INSIDE THE LAST ONE, CALLED THE OBLITERATION ROOM, VISITORS BECOME ARTISTS AS WELL.

EVERYTHING IS PAINTED COMPLETELY WHITE.

EVERY VISITOR IS GIVEN COLORFUL STICKERS AND IS INVITED TO LEAVE THOSE STICKERS SOMEWHERE IN THE ROOM.

OVER THE COURSE OF THE EXHIBITION, THE ADULTS WILL ACCUMULATE AND COVER THE ENTIRE ROOM.

IT'S ANOTHER WAY TO CONNECT WITH HER VISION.

I KNOW THAT SHE IS VERY HAPPY TO HAVE ALL OF THESE ADORING FANS IF YOU THINK ABOUT THE LEAN TIMES FOR HER WHERE SHE WORKS SO HARD, AND SHE WASN'T GETTING THE APPRECIATION OR RESPECT SHE DESERVED IT WASN'T A PERIOD OF YEARS, IT WAS A PERIOD OF DECADES.

NOW, TO HAVE ALL OF THIS ATTENTION AND GET THE GLORY SHE DESERVED, I THINK IT'S FANTASTIC.

> NEXT WE'LL VISIT THE NOBLE MARITIME COLLECTION AT THE SNUG HARBOR CULTURAL CENTER ON STATEN ISLAND.

THE MUSEUM IS LOCATED IN THE FORMER DORMITORY IN A RETIREMENT HOME FOR MARINERS FOUNDED IN THE 19th CENTURY.

TODAY THE MUSEUM IS DEDICATED TO PRESERVING THE HISTORY OF SAILOR'S SNUG HARBOR.

IT HONORS THE LEGACY OF ITS NAMESAKE.

JOHN A. NOBLE, WHO FOUGHT TO SAVE THE HISTORIC SITE IN THE 20th CENTURY.

♪♪

SAILOR'S SNUG HARBOR IS THE FIRST DEMOCRATIC CHARITABLE INSTITUTION ESTABLISHED IN THIS COUNTRY.

IT WAS ESTABLISHED BY THE WILL OF ROBERT RICHARD RANDALL.

WRITTEN BY ALEXANDER HAMILTON IN 1801.

WHEN ROBERT RICHARD RANDALL WAS A YOUNG MAN, A KID COULD GO TO SEE AT THE AGE OF 12 OR 14 AND MAYBE NEVER COME HOME AGAIN.

END UP ON THE OTHER SIDE OF THE WORLD, SEPARATED FROM HIS FAMILY.

RANDALL HAD SEEN THAT OVER THE YEARS AS HE WENT TO SEA.

SO WHEN HE WAS ON HIS DEATHBED, HE WANTED TO MAKE A HOME FOR AGED, DECREPIT AND WARN OUT SEA MEN.

THE TRUSTEES BOUGHT A FARM ON STATEN ISLAND, AND THAT BECAME AN ENORMOUS SELF-SUSTAINING INSTITUTION.

AN 80 ACRE FACILITY, IT HAD EIGHT DORMITORIES, A BEAUTIFUL CHURCH, A CHAPEL, A SANTER YUM WITH NINE WARDS, A 400 BED HOSPITAL.

A FARM, BARN YARD, PIG STY, PAINT HOUSE.

ALSO THEY EMPLOYED A LARGE STAFF OF PEOPLE.

IT WAS A SELF-SUSTAINING PLACE.

THIS BUILDING WAS A DORMITORY, THERE ARE ABOUT 36 SMALL ROOMS, TWO MEN A PIECE.

IT WAS THE SECOND BUILDING CONSTRUCTED HERE ON SITE.

I WOULD SAY OVER THE YEARS IT SERVED MAYBE 10,000 PEOPLE.

THEY PROVIDED HEALTH CARE, FOOD, RECREATION, IT WAS A DEMOCRATIC INSTITUTION, THEY RESPECTED EACH OTHER.

EVERYONE WAS CALLED CAPTAIN.

AND THE MEN WORKED, THEY MADE ARTIFACTS, THEY DID BASKET WEAVING, AND SCRIMSHAW.

THEY BUILT SHIP MODELS AND THEY TALKED ABOUT THEIR PAST, TALKED ABOUT THEIR LIVES AT SEA.

BY THE 1930s, YOU SEE THINGS LIKE SOCIAL SECURITY COMING INTO BEING, BUT MORE IMPORTANTLY, PEOPLE DID NOT GO TO SEA NEVER TO RETURN.

SO THE POPULATION BEGAN TO DWINDLE, BEGAN TO CLOSE BUILDINGS, AND THEN THEY BEGAN TO TEAR DOWN BUILDINGS IN THE 1950s.

THE TRUSTEES DECIDED THAT THEY WOULD GIVE THE PROPERTY TO THE CITY OF NEW YORK.

FOR ONE DOLLAR, THE CITY OF NEW YORK SAID, NO THANKS, WE DON'T WANT IT.

SO THE TRUSTEES SOLD IT TO I DEVELOPER, AND THE COMMUNITY THEN REALLY REALIZED THIS IS GOING TO BE LOST LED BY PEOPLE LIKE JOHN A. NOBLE, THEY MANAGED TO PERSUADE JOHN LINDSAY TO BUY THE PROPERTY BACK AS A PARK AND CULTURAL CENTER.

JOHN NOBLE GREW UP IN AN ART COLONY, THOUGH HE PREFERRED PLAYING WITH THE FISHERMEN'S CHILDREN AS YOU SAID IN PROVINCE TOWN.

HIS FAMILY MOVED TO NEW YORK IN THE EARLY 1920s.

HE WENT TO SEAFIRST WHEN HE WAS 13 ON A LARGE SCHOONER, AND IN SUMMERS WHILE HE WAS IN SCHOOL, HE WENT ON SAILING VESSELS AND THEN HE JOINED THE CREW OF THE ANNIE C. ROSS, HE DISCOVERED A SHIP'S GRAVEYARD.

HE BEGAN TO HAUNT IT, POOR JOHNSTON WAS THE LARGEST GRAVEYARD OF SALED VESSELS IN THE WORLD.

HE ROAMED THROUGH THE HARBOR, DRAWING, SKETCHING, SLEEPING UNDER THE WRECKS AND MEETING ALL THE PEOPLE THAT WORKED IN THE WATERFRONT.

FOR JOHNSON, TO HIM, SYMBOLIZED THE END OF THE AGE OF SAIL.

AND HE FOUND THIS TRAGIC, THAT BECAME THE PASSION OF HIS LIFE THIS CABIN WAS ON THE PIER OF THE BONE YARD.

HE SAID ONE DAY IN A FIT OF CREATIVITY, HE CUT A HOLE IN THE CEILING TO MAKE A SKYLIGHT AND OVER THE YEARS, LITTLE BY LITTLE, HE ADDED THINGS LIKE AN ENGINEERS BED.

THIS IS WHERE HE WENT TO DO HIS ART.

LATER ON, THE PIER ON WHICH THIS CABIN SAT, BEGAN TO ROT AWAY, AND HE SAID, YOU KNOW, HE WAS FRANTIC, THERE WAS NO PLACE ELSE HE COULD DRAW.

HE BUILT THE BARTH.

HE SAID, THAT'S HOW I BECAME THE ARTIST OF THE FLOATING STUDIO, THERE WAS NO CUTENESS OR COLOR TO THIS, I BUILT THE BARGE TO SAVE MY STUDIO.

THAT'S WHERE HE WORKED ALL THROUGH THE '40s UNTIL HE DIED.

HE DID ABOUT 150 OIL PAINTINGS, AND HE DID 80 LIDGE GRAPH EDITIONS.

AS WELL AS 600 PLAIN AIR DRAWINGS.

AND THEN ASTONISHINGLY WE HAVE 600 PHOTOGRAPHS THAT HE TOOK OF THE HARBOR.

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

WE DO IT THROUGH THE WORK OF JOHN NOBLE WHO CAPTURED SO MUCH OF THE 20th CENTURY HISTORY IN HIS WORK.

WE DO IT BY STUDYING SAILOR SNUG HARBOR, WHICH IS AN EXTREMELY IMPORTANT COMPONENT, A HISTORY OF TAKING CARE OF FRAIL AND ELDERLY ADULTS AS WELL.

AND WE ALSO CELEBRATE THE MODERN WATERFRONT.

> HELLO, I'M RAPHEAL P. RAMON.

THE DANCE DIVISION'S 75th ANNIVERSARY AND ITS CONTRIBUTIONS TO THE PERFORMING ARTS COMMUNITY BY PRESENTING A NEW FREE EXHIBITION.

TITLED ARCHIVE IN MOTION, 75 YEARS OF THE JEROME ROBBINS DANCE DIVISION.

THE EXHIBITION IS ON VIEW THROUGH JANUARY 25th, 2020.

THE SELECTION CHARTS THE DANCE DIVISION'S HISTORY THROUGH THE DISPLAY OF SIGNIFICANT MATERIALS THROUGH ITS COLLECTIONS.

FOR COMPLETE DETAILS, PLEASE VISIT NYPL.ORG.

> FOR MORE INFORMATION ABOUT EVENTS IN LINCOLN CENTER, YOU CAN VISIT THEIR WEBSITE AT LINCOLN CENTER.ORG.

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

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

THANKS FOR JOINING US.

GOOD NIGHT.

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

♪♪

LEONARD WHAT A PRIVILEGE TO BE ABLE TO SIT DOWN AND TALK WITH YOU.

I LOVE BEING HERE WITH YOU TOO, PAULA.

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 THE ICONIC NAMES.

CLASSICAL AND MODERN DANCE ARE EXTREMELY DIFFERENT.

AND I HAVE SO MUCH MORE TO LEARN BEFORE I CAN ARTICULATE THE DIFFERENCES.

IF I LISTEN TO THE LYRICS IN THAT, I THOUGHT, THAT'S WHAT I WANTED TO DO WITH MY LIFE.

MY PICTURES RESIDE IN VERY INTIMATE, VERY PRIVATE MOMENTS.

MY PRIMARY WAY OF PLAYING THE PIANO WAS BY 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 HOLLIDAY.

I THINK ONE OF THE ESSENTIAL THINGS WE USED IS THAT MATUSZ USED PINS TO COMPOSE HIS WORK.

YOU ARE SURPRISED WHEN YOU'RE DOING A PIECE THAT'S 100 YEARS AGO, AND YOU THINK THIS COULD BE

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

SOMEONE WILL COME AND PRESENT SOMETHING, YOU GET APPLAUSE, GREAT.

♪♪ ♪♪

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

WALTER, THE THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODI AND JOHN ARNHOLD.

KATE CASSIDY FOUNDATION.

CHARLES AND VALERIE DIKER.

GENE DUBINSKY APPLETON ESTATE.

ELLEN AND JAMES S. MARCUS.

ELROY AND TERRY KRUMHOLTZ FOUNDATION.

AND THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELLEN AND JAMES S. MARCUS.

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 CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

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