A profile of renowned photographer Joel Meyerowitz, followed by a trip to the NYC neighborhoods Hamilton and Washington Heights for a look at the Audubon Mural Project, whose mission is to create murals that pay tribute to beautiful birds at risk due to climate change.

View Transcript

> COMING UP.

A VIBRANT PRESENCE IN THE ART WORLD.

I REMEMBER WALKING THROUGH PARIS, AND SUDDENLY SMELL BAKING CROISSANT ON THE AIR.

BUTTER AND SUGAR.

AND OH YOU ARE IMMEDIATELY YOU WANT A CROISSANT OR A COOKIE OR SOMETHING.

AND YOU TAKE TWO STEPS AND IT IS GONE.

TO ME THAT IS WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREETS AND SOMETHING HAPPENS.

AND YOU GET IT.

IT IS A VISUAL THAT IS AS PRECISE AS THAT FRAGRANCE THAT IS ONLY IN THE AIR OF THE DOORWAY.

AND THE TRIP UPTOWN FOR A LOOK AT THE AUDUBON MURAL PROJECT, WHOSE MISSION SO THE CREATE MURALS THAT PAY TRIBUTE TO BEAUTIFUL BIRDS AT RISK DUE TO CLIMATE CHANGE.

> 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, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, ELROY AND TERRY KRUMHOLZ FOUNDATION, JEAN DUBINSKY APPLETON ESTATE, 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.

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.

> AND BY SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE AND ACCESSIBILITY.

INFORMATION AT SWANNGALLERIES.COM.

> GOOD EVENING AND WELCOME TO NYC-ARTS.

I'M PHILIPPE DEMONTEBELLO ON LOCATION AT THE MUSEUM OF MODERN ART.

THE MUSEUM HAS UNDERGONE EXTENSIVE EXPANSION AND RENOVATION INCREASING GALLERY SPACE AND ENHANCE PUBLIC ACCESS.

FOR REOPENING, THE ENTIRE MUSEUM IS DEVOTED TO EXHIBITIONS AND INSTALLATIONS FROM ITS OWN HOLDINGS.

THESE INCLUDE FAMOUS AND FAMILIAR WORKS FROM A WIDE RANGING STYLE AND PERIODS.

MODERN AND CONTEMPORARY, POST IMPRESSIONISM FROM VINCENT VAN GOGH AND CUBISM OF PABLO PICASSO TO SURREALISM OF SALVADOR DALI.

SUPPRESSIONISM BY MARK PATHCO.

AND MORE.

THE MUSEUM WILL ALSO ROTATE THE SELECTION OF WORKS IN THE COLLECTION EVERY SIX TO NINE MONTHS.

PLEASE TUNE IN NEXT WEEK FOR MY CONVERSATION WITH MOMA'S DIRECTOR.

ON TONIGHT'S PROGRAM WE MEET RENOWNED PHOTOGRAPHER JOEL MEYEROWITZ.

A 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.

ALTHOUGH HE HAS FOCUSED ON A VARIETY OF THEMES THROUGHOUT HIS CAREER HE IS PERHAPS BEST KNOWN AS A STREET PHOTOGRAPHER IN THE TRADITION OF SUCH MASTERS AS -- AND ROBERT FRANK.

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

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

THE DRAMATIC IMAGES THAT HE CAPTURED THERE HAVE BECOME THE FOUNDATION OF THE 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, MOMA, AND THE WHITNEY.

NYC-ARTS SPOKE WITH MEYEROWITZ DURING A VISIT TO THE HOWARD GREENBERG GALLERY.

IT IS NOT SO EASY AT FIST.

THERE IS ALWAYS A LITTLE BIT OF FEAR I DON'T BELONG HERE OR THEY ARE NOT GOING LIKE IT IF I TAKE A PICTURE.

HOW CAN I BE IN THEIR INTIMATE SPACE?

SO IN A WAY IT IS LIKE DANCE.

IT IS VERY POETIC.

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

WHILE YOU MOVE AND IN 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 WHILE 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.

OR, YOU KNOW, TAKE A LOOK AT THAT.

AND EVERY TIME HE SAID LOOK AT THAT, SOMETHING HAPPENED.

IT IS 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 QUALITY OF ORDINARY LIFE, THAT PEOPLE WILL DO SPONTANEOUS, EXTRAORDINARY UNEXPECTED THINGS SUDDENLY.

AND IF YOU ARE QUICK ENOUGH TO WATCH IT, YOU WOULD EXPERIENCE PLEASURE, VISUAL PLEASURE.

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 JUST WALKING DOWN THE STREET.

AND SUDDENLY YOU SMELL BAKING CROISSANT ON THE AIR.

BUTTER AND SUGAR.

AND OH, AND YOU ARE IMMEDIATELY YOU WANT A CROISSANT OR A COOKIE OR SOMETHING RIGHT.

AND YOU TAKE TWO STEPS AND IT IS GONE.

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

TO ME THAT IS WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET, AND YOU GET IT.

AS THE 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.

I SAY, CHH.

IT HAS TO BE LIKE THAT.

THAT'S PHOTOGRAPHY.

IT IS ABOUT A FRACTION OF A SECOND.

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

NAME IT.

YOU CAN CALL IT ANYTHING YOU WANT.

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

CAMERAS HAVE THEIR OWN CHARACTERISTICS.

A SMALL CAMERA THAT FITS IN YOUR HAND, YOU KNOW, YOU JUST MOVE IT AROUND AND YOU CARRY IT WITH YOU, PUT IT IN YOUR POCKET OR YOUR BAG.

IT IS PART OF YOU.

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

LET'S SAY, NATURE IS SLOWER.

THERE IS MORE TIME IN IT.

LIKE, IF STREET PHOTOGRAPHY IS JAZZ.

[ JAZZ SOUNDS ] THE VIEW CAMERA, AND NATURE, IS LIKE THE CELLO.

IT IS VERY SLOW.

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

SO A LARGE FORMAT CAMERA LIKE AN 8 BY 10 INCH DEARDORFF CAMERA GIVES YOU A WHOLE OTHER EXPERIENCE.

IT'S SLOWER.

YOU PUT IT DOWN YOU.

PUT THE CLOTH OVER YOUR HEAD AND YOU ENTER THIS WORLD ON A SCREEN, UPSIDE DOWN.

AND IT HAS A WHOLE OTHER KIND OF MAGIC TO IT.

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

THERE WILL BE NO BLUR.

THERE WILL BE NO MOVEMENT.

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

OBVIOUSLY SOMETHING INTERESTING THERE, MORE SO THAN I THOUGHT.'

AND THIS HAPPENED TO ME WITH THE WORK THAT'S CALLED 'BETWEEN THE DOG AND THE WOLF OR IN THE FRENCH EXPRESSION 'ENTRE CHIEN ET LOUP.'

AND A FRAND OF FRIEND UPON SEEING A SEQUENCE OF THESE PICTURES MADE AT THE END OF THE DAY, WHEN THE LIGHT IS FADING AND THINGS BECOME SLIGHTLY MORE INDETERMINATE.

THESE MAGICS APPEARED IN MY WORK AND I SHOWED THEM TO MY FRIEND AND MY FRIEND SAID OH, [SPEAKING FOREIGN LANGUAGE] . I SAID WHAT'S THAT.

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

THE DOG IS THE FAMILIAR DOMESTIC ANIMAL AND THE WOLF IS THE SAME SORT OF.

BUT IT IS UNKNOWN.

IT IS UNEXPLAINED.

IT IS SAVAGE.

SO HE SAID WHEN THINGS GO FROM THE KNOWN TO THE UNKNOWN THERE IS A SHIFT AND EMOTIONAL SHIFT AS WELL AS A TONAL SHIFT.

AND I THOUGHT OH DANIELLE, THAT'S BEAUTIFUL.

I LOVE THAT EXPRESSION.

BECAUSE I FIND MYSELF OFTEN AS A SWIMMER IN A POOL.

WHICH IS THE DOG.

IT IS VERY SAFE.

BUT I ALSO WOULD SWIM IN THE OPEN 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 THE DOG AND THE WOLF.

BUT BEYOND THAT THERE ARE ALSO JUST PLACES ON LAND WHEN THE LIGHT IS FADING AND YOU SUDDENLY HAVE, YOU FEEL GOOSE BUMPS OR YOU FEEL A LITTLE BIT OF A SHIVER OF UNCERTAINTY THAT ALERTS YOUR SENSES AND YOU THINK, I THINK AH, WHAT'S GOING ON HERE?

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

AT THIS TIME I FIND MYSELF MAKING STILL LIVES.

I HAVE NO IDEA WHY I'M CHOOSING THESE OBJECTS.

BUT THEY HAVE CHARACTER, O MYSTERY, OR SOMETHING AND WHEN I PUT TWO OR THREE OR FOUR OR 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 DOESN'T LOOK LIKE CONVENTIONAL STILL LIFE PHOTOGRAPHY BUT LOOKS LIKE I'M MAKING IT.

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

THIS IS A REALLY ENGAGING PHOTOGRAPHIC QUESTION FOR SOMEONE AT MY AGE RIGHT 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 CEZANNE'S STUDIO IN AIX-EN-PROVINCE.

AND IN STUDIO I WAS AMAZED THAT THE WALLS WE ARE PAINTED THIS PARTICULAR GRAY AND AFTER A WHILE THE THOUGHT ABOUT THIS GRAY, 'WHY GRAY, WHEN HE WAS A PAINTER WHO MADE COLOR PAINTINGS,' IT PROMPTED ME TO GO BACK TO THE STUDIO AND ASK THEM IF I COULD TAKE CEZANNE'S OBJECTS DOWN AND PUT THEM ON THIS TABLE AND 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 CEZANNE 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 GEORGIO MORANDI IS IN BOLOGNA.

AND I WENT TO HIS STUDIO AND ASKED DO THE SAME THING THERE.

THE COLOR WAS COMPLETELY DIFFERENT.

HE WAS WORKING IN A VERY WARM TONE.

KIND OF GOLDEN, TUSCAN COLORFUL ITALIAN ENVIRONMENT AND CEZANNE WAS IN A VERY COOL, SORT OF MORE RATIONAL FRENCH ENVIRONMENT.

TO PIT THESE TWO AGAINST EACH OTHER AND TO LOOK AT THEIR OBJECTS IN A WAY INTRODUCED ME TO THE FEELING THAT, 'OH, EACH OBJECT DOES HAVE CHARACTER OR IDENTITY, PERSONA, SOMETHING, YOU KNOW.

AND PERHAPS I WAS HAVING A DIALOGUE WITH THESE MEN THROUGH THEIR OBJECTS.

SO IN A WAY, WORKING WITH CEZANNE AND MORANDI IN THIS VERY 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 WITH THESE OBJECTS IN THIS MEDIUM I LOVE SO MUCH AS I LOVE PHOTOGRAPHY.

> DESPITE LIVING IN AN URBAN JUNGLE, NEW YORKERS CAN STILL CATCH SNIPPETS OF BOARDSONG.

HOWEVER, THOSE SONGS MAY DISAPPEAR OVER THE NEXT FEW DECADES.

A REPORT RELEASED BY THE AUDUBON SOCIETY IN 2014 REVEALED THAT ABOUT HALF OF ALL BIRDS ON OUR CONTINENT WILL SOON BE THREATENED BY CLIMATE CHANGE.

TO DRAW ATTENTION TO THE PLIGHT OF THOSE BIRDS, AVI GITLE, A GALLERY OWNER IN UPPER MANHATTAN TEAMS UP WITH MARK JANNOT FROM THE AUDUBON SOCIETY.

TOGETHER THEY LAUNCHED THE AUDUBON MURAL PROJECT IMMATERIALS MISSION TO CREATE MURALS IN HAMILTON AND WASHINGTON HEIGHTS THAT PAY TRIBUTE TO THESE BEAUTIFUL AT RISK BIRDS.

> I HAD OPENED THE GALLERY AND WANTING TO BRING ATTENTION.

SO I ASKED THE ONE FINE ARTIST I KNEW WHO QUOTE UNQUOTE STREET ART TO PAINT A MURAL ON THE ADJACENT GATES TO THIS ART GALLERY.

AND HE'S FROM FLORIDA AND HE SAID I'M GOING PAINT A FLAMINGO FOR YOU.

BECAUSE I'M FROM FLORIDA AND BRING SOME FLORIDA FLAVOR.

AND JOHN JAMES AUDUBON BIRDS AND THAT'S HOW THE PROJECT REALLY GOD STARTED.

AND I SAY WOW THIS IS A GREAT IDEA.

LET'S DO ALL 314 THREATENED BIRDS AND AND CREATE THIS NEIGHBORHOOD.

AND WE'VE BEEN CHASING THE 314 NUMBER EVER SINCE.

IT IS REALLY NICE TO PUBLICIZE ONE OF THE GREAT AMERICANS AND REALLY ONE OF THE MOST INTERESTING AMERICANS TO PEOPLE WHO ARE FAMILIAR WITH THE NAME BUT UNFAMILIAR WITH THE ACTUAL PERSON.

JOHN JAMES AUDUBON WAS POSSIBLY AMERICA'S GREATEST BIRD AND NATURAL WORLD ARTIST.

AND AN EXTRAORDINARY PIONEERING ORNITHOLOGIST.

HE SPENT THE LAST 10 YEARS OF HIS LIFE HERE IN WASHINGTON HEIGHTS.

THE CENTER OF THE PROJECT REALLY HAS SHIFTED TO WHAT WAS ONCE THE AUDUBON ESTATE BETWEEN 155th AND 156th STREET AND BROADWAY.

AND ITS APPROPRIATE BECAUSE JOHN JAMES AUDUBON'S FINAL RESTING PLACE IS IN TRINITY CEMETERY ON 155th.

WE MADE THE DECISION TO PAINT FROM APPROXIMATELY 135th STREET WEST TO 193rd STREET, WHICH IS THE END OF AUDUBON AVENUE.

AND THERE IS NO GREAT LOGIC BUT BUT THOUGHT IT WOULD BE NICE TO KEEP THE PROJECT UPTOWN.

PICKING THE LOCATIONS IS A BIT OF A CHALLENGE BUT ONE OF THE THINGS WE DECIDED WE WEREN'T GOING TO JUST PAINT ANYWHERE.

WE'RE LOOKING TO BEAUTIFY.

SO WE'RE SEEKING SPACES THAT ARE IN NEED SOME SOME SORT OF FIX.

SOME SORT OF IMPROVEMENT.

THE BIG WALLS WE PAINTED ALL HAD CRUMBLING PAINT AND IN A STATE OF DISREPAIR.

WE WORKED WITH LANDLORDS TO SECURE SPACES LIKE EMPTY ALCOVES BOARDED UP AND WE CAN WORK WITH STUDIO ARTISTS WHO ARE PAINTING PANELS THAT WE THEN INSTALL INTO THE BUILDING.

WE'RE MOSTLY WORKING WITH ARTIST FROM THE FRABD OR THE GREATER NEW YORK AREA.

WE TRY NOT TO PAINT THE SAME BIRDS TWICE.

WE REALLY ASK THEM TO CHOOSE A BIRD AND DO WHAT THEY WANT, WITHIN REASON.

SOME OF THE NEURALS CONTAIN MORE THAN ONE BIRD.

SO -- MURALS CONTAIN MORE THAN ONE BIRD.

SO WE'VE PAINTED ABOUT SEVENTY BIRDS SO FAR.

THERE ARE CHALLENGES TO PAINTING OUTSIDE BUT THERE ARE ALSO BENEFITS TO PAINTING OUTSIDE.

THERE ARE PEOPLE WHO COME WHILE THE ARTIST PAINTS AND ENGAGING THE ARTIST SO IT IS A LITTLE DISTRACTING BUT THE POSITIVE IS THEY ARE LEARNING ABOUT THE PROJECT AND THE ARTIST AND NOT JUST GLOBAL WARMING BUT LEARNING ABOUT ART.

I'M FROM THE NEIGHBORHOOD ORIGINALLY AND I WANTED PEOPLE UPTOWN TO SEE THE SORT OF ART YOU WOULD NORMALLY GO TO CHELSEA OR LOWER EASTSIDE OR PARTS OF BROOKLYN FOR.

ONE OF THE THINGS I LOVE ABOUT THAT COMING UP HERE TO LOOK AT AND FOR THE MURLS IS THAT YOU CAN'T BE SURE ON ANY GIVEN VISIT WHAT ONES YOU ARE GOING TO SEE.

OR YOU ARE GOING TO SEE THEM ALL.

IN THAT WAY IT IS SORT OF LIKE GOING OUT FOR A BIRDING EXTRADITION.

EXPEDITION.

YOU CAN'T KNOW WHAT BIRDS YOU ARE JOINING TO SEE.

WHEN YOU TALK ABOUT HALF OF ALL NORTH AMERICAN BIRDS BEING THREATENED, YOU ARE GOING TO SEE BIRDS YOU WOULDN'T EXPECT TO SEE.

THEY WILL SHIFT AND MOVE.

THE BALTIMORE ORIOLE IS PROJECTED TO NO LONGER BE ABLE TO BE SEEN IN BALTIMORE.

THE COMMON LOON WHICH IS THE STATE BIRD OF MINNESOTA, IS PROJECTED NOT TO BE FOUND IN MINNESOTA.

I THINK THE PROJECTION OF SEEING THESE MURALS IN URBAN ENVIRONMENT PARTICULARLY THIS URBAN SORT OF ART FORM IS SOMETHING THAT GETS PEOPLE'S ATTENTION.

AND I HOPE THEY WILL SORT OF INVESTIGATE THIS AND SEE LIKE WHAT IS THIS?

WHY ARE ARE ALL THESE MURALS ALL HERE?

AND REALLY LEARN ABOUT THIS KIND OF THREAT TO THE BIRDS THAT WE ARE USING TO SEEING AROUND US, EVEN IN AN URBAN ENVIRONMENT.

I HOPE IT INSPIRES PEOPLE TO THINK ABOUT THAT AND BE INSPIRED TO DO SOMETHING ABOUT IT.

ON 163rd WITH ON I FAVORITE MURT P MURALS.

BY THE ARTIST CRUZ.

AND A PAINTING OF THREE TRICOLORED HERONS.

IN THE MURAL THE POLAR ICECAPS HAVE MELTED AND SEA LEVELS ARE RISING AND THE THREE HERRONS ARE SORT OF FIGHTING FOR THE LAST FOOD IN THIS CASE A SNAKE.

THERE'S SO MANY THINGS I'D LOVE FOR PEOPLE TO TAKE AWAY FROM THE MURALS.

AN UNDERSTANDING OF THE THREATS THAT THE ENVIRONMENT FACE, MORE NEIGHBORHOOD PRIDE NOR UPTOWN MANHATTAN.

A SENSE THAT ART IS ACCESSIBLE.

I ENCOURAGE PEOPLE TO GET UP HERE BECAUSE IT IS REALLY AN EXTRAORDINARY EXPERIENCE.

> HELLO, AND WELCOME TO THIS WEEK AT LINCOLN CENTER.

THIS THEATER OVERFLOWING WITH THE BEST OF MUSIC, DANCE, OPERA, DRAMA AND FILM FROM AROUND THE WORLD.

IT IS TRULY THE INTERNATIONAL CROSSROADS OF ARTS AND CULTURE.

THIS WEEKEND MARKING THE 10th ANNIVERSARY.

FOR THE PAST DECADE THE ATRIUM HAS HOSTED PERFORMANCES BY ESTABLISHED AND EMERGING ARTISTS FROM 98 COUNTRIES, COMMISSIONED 45 ORIGINAL ART PROJECTS AND WELCOMING OVER THREE AND A HALF MILLION NEW YORKERS AND VISITORS TO ITS STAYS.

FOR ITS OFFERINGS YOU CAN VISIT LINKCENTER.ORG/ATRIUM.

AND FOR MORE YOU CAN VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

> NEXT WEEK ON NYC-ARTS A CONVERSATION WITH GLENN LOWRY DIRECTOR OF THE MUSEUM OF MODERN ART, ABOUT THE VISIONARY EXPANSION AND RENOVATION OF ITS CAMPUS.

THIS PROJECT HAD THREE BIG GOALS TO PROVIDE MORE SPACE AND SHOW MORE OF THE COLLECTION, BUT TO SHOW IT DIFFERENTLY.

TO CREATE A MUCH MORE WELCOMING STOOUGS.

INSTITUTION.

TO MAKE THIS A MUCH MORE COMFORTABLE PLACE TO NAVIGATE AND THE OTHER WAS TO CONNECT THE MUSIC MUSEUM TO ITS PLACE IN MIDTOWN NEW YORK.

AND A VISIT TO THE NEVELSON CHAPEL.

> SHE WAS THE GRANDMOTHER OF MODERN AMERICA IN AMERICA.

THANKS FOR JOINING US THIS EVENING.

GOOD NIGHT AND SEE YOU NEXT TIME.

♪♪

> 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, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, ELROY AND TERRY KRUMHOLZ FOUNDATION, JEAN DUBINSKY APPLETON ESTATE, 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 OUR MINDS.

> AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

OFFERING INDIVIDUALITY BOOKS AND FINE ARTS SINCE 1941 WORKING TO COMBINE KNOWLEDGE AND ACCESSIBLE.

A FIRST TIME BUYER OR LOOKING TO SELL, A COLLECTOR.

INFORMATION AT