Philippe de Montebello in conversation with Glenn D. Lowry, Director of The Museum of Modern Art, about the visionary expansion and renovation of its campus. And a visit to the Nevelson Chapel at Saint Peter’s Church in Midtown Manhattan, where the environment created by artist Louise Nevelson is undergoing restoration and rediscovery.

View Transcript

♪♪ ♪♪

COMING UP ON 'NYC ARTS.'

A CONVERSATION WITH GLEN LOWERY, DIRECTOR OF THE MUSEUM OF MODERN ART ABOUT THE VISIONARY EXPANSION AND RENOVATION OF ITS CAMPUS.

THIS PROJECT HAD THREE BIG GOALS, TO NOT ONLY PROVIDE MORE SPACE TO SHOW MORE OF THE COLLECTION, BUT TO SHOW IT DIFFERENTLY.

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

AND A VISIT TO THE NEVELSON CHAPEL IN ST. PETER'S CHURCH IN MIDTOWN MANHATTAN WHERE THE ENVIRONMENT CREATED BY LOUISE NEVELSON IS UNDERGOING RESTORATION AND REDISCOVERY.

ONCE YOU'RE INSIDE, YOU'RE SURROUNDED BY NEVELSON.

SHE WAS THE GRANDMOTHER OF ENVIRONMENTAL ART IN AMERICA.

SHE REALLY BELIEVED THE IMPORTANCE OF SURROUNDING PEOPLE WITH ART.

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

THE YORBA LINDA FOUNDATION, THE LOUIS SONNY TURNER FUND FOR DANCE, JUDY AND JOHN ARNEHOLD.

ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER.

ELROY AND TERRY CRUMBHOLT.

THE SALLY AND 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 THING'S 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.

THE 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.

AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT OPTIONS AND OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941 WORKING TO COMBINE KNOWLEDGE AND ACCESSIBILITY, WHETHER YOU'RE A LIFELONG COLLECTOR OR FIRST-TIME BUYER AT SWANN GALLERIES.COM.

♪♪ ♪♪ ♪♪ ♪♪

> GOOD EVENING, AND WELCOME TO NYC ARTS.

I'M PETER DI MONTEBELLO.

THIS WEEK THE MUSEUM CELEBRATES ITS 90th ANNIVERSARY WITH THE EXPANSION AND RENOVATION OF ITS CAMPUS.

THE EXPANSION BY ARCHITECT AND A VIDEO RENTRO IN COLLABORATION INCREASES GALLERY SPACE BY ONE-THIRD AND UP TO 175,000 SQUARE FEET, BUT THE RE-INSTALLATION ALSO PROVIDES A COMPLETELY NEW PRESENTATION OF THE MUSEUM'S COLLECTION SHOWING MORE ART IN NEW AND INTERDISCIPLINARY WAYS.

TONIGHT ON OUR PROGRAM, MY CONVERSATION WITH THE MUSEUM'S DIRECTOR GLEN LOWERY.

LOWERY IS THE SIXTH DIRECTOR IN 1995.

DURING HIS TENURE HE HAS LED A NUMBER OF INITIATIVES THAT HAS BROUGHT THE RENOWNED COLLECTION AND RESEARCH TO LARGER AUDIENCES ACROSS THE WORLD.

HE GUIDED THE MUSEUM THROUGH THE SUCCESSFUL MERGER WITH PS-1 CONTEMPORARY ARTS CENTER IN 1999 AND LED AN EARLIER EXPANSION OF THIS BUILDING IN 2004.

HE ALSO HAS THE MUSEUM'S HOLDINGS IN ALL MEDIUMS AND AROUND THE GLOBE FROM LATIN AMERICAN MODERNISTS TO CONTEMPORARY ARTISTS.

HE HAS CONTINUED THE MUSEUM'S LEGACY OF ENRICHING THE LIFE OF PUBLICATIONS AND DIGITAL TOOLS.

HE HAS CHALLENGED CONVENTIONAL IDEAS ABOUT MODERN AND CONTEMPORARY ART AND DESIGN.

I RECENTLY HAD A CHANCE TO SPEAK WITH HIM ABOUT THE MUSEUM'S TRANSFORMATION AND HIS FUTURE.

WELCOME.

I SHOULDN'T SAY WELCOME.

THEY'RE YOUR GALLERIES.

THANK YOU FOR ALLOWING US INTO THE BRAND-NEW MUSEUM OF MODERN ART OR IS IT MERELY A RE-IMAGINED MUSEUM OF MODERN ART?

LET ME START WITH A BROAD STROKE QUESTION WHICH IS WHAT WAS YOUR ULTIMATE INTENTION IN ADDITION TO SPACE IN CREATING THE ALL-NEW EDITION.

ONE WAS TO NOT ONLY PROVIDE MORE SPACE TO SHOW THE COLLECTION, BUT TO SHOW IT DIFFERENTLY.

THE OTHER WAS TO CREATE A MUCH MORE WELCOMING INSTITUTION, TO MAKE THIS A MORE COMFORTABLE PLACE TO NAVIGATE AND IN THE OTHER DRIVING FORCE WAS TO CONNECT THE MUSEUM AND SUBSTANTIALLY TO ITS PLACE IN MIDTOWN NEW YORK TO OPEN IT UP TO THE ENERGY OF THE CITY.

IT DOES SO, ACTUALLY, IN A WONDERFULLY PHYSICAL WAY BECAUSE ALL ALONG THE TRAJECTORY PERIODICALLY ONE SEES NEW YORK CITY REMINDS ME OF GERTRUDE STEIN AND THE BEST THING ABOUT THE MUSEUM IS THE VIEW FROM THE INSIDE OUT.

IT'S A GREAT LINE, BUT, IN FACT, LIZ DILLER WHO DROVE THE PROJECT FOR DILLER IS JUST A PROFOUNDLY NEW YORK-BASED ARCHITECT AND SHE GETS THE CITY AND SO EVERY TIME I WALK THROUGH THE GALLERIES AND I GET A GLIMPSE OF THE SKYSCRAPERS THAT DOMINATE MIDTOWN OR THE RESIDENTIAL BUILDINGS TO OUR NORTH, I FEEL CONNECTED AND THAT MAKES THE ART COME ALIVE IN A VERY DRAMATIC WAY.

TELL US SOMETHING ABOUT THE BUILDING.

ONE OF THE GREAT THINGS THAT US WAS TO BOTH ADD NEW ARCHITECTURE AND MAKE THE SURGICAL INCISIONS INTO THE EXISTING ARCHITECTURE AND THAT'S NOWHERE MORE VISIBLE THAN IN OUR LOBBY WHERE SHE HAS OPENED IT UP AND MADE IT EXPANSIVE AND MADE IT ALMOST INTUITIVE TO MOVE THROUGH.

YOU HAVE A SENSE OF WHERE TO GET YOUR TICKETING.

YOU HAVE A SENSE OF WHERE TO SIT AND WAIT FOR A FRIEND AND THE ENTIRE GROUND FLOOR OF THE MUSEUM HAS BECOME FREE TO THE PUBLIC SO YOU CAN WALK INTO THE MUSEUM AS IF IT WERE A CONTINUATION OF THE STREET AND ENJOY THE GARDEN OR GO TO THE STORE OR GO EVEN TO TWO OF OUR GALLERIES.

WE'VE GOT A BEAUTIFUL NEW DESIGN GALLERY FOR CONTEMPORARY DESIGN ON THE GROUND FLOOR PHASING OUT 53rd STREET WITH ENERGY AND JUST NEXT TO THAT DESIGN GALLERY, A PROJECTS GALLERY THAT WE INITIATED WITH A STUDIO MUSEUM IN HARLEM AND EVERY YEAR THEY WILL CURE EIGHT AN EXHIBITION IN THE PROJECT SERIES AND THE INAUGURAL ONE WHICH OPENS THE BUILDING IS OF A YOUNG KENYAN-BORN ARTIST, MICHAEL ARMITAGE.

AND IT IS ONLY WHEN YOU GO UPSTAIRS THAT YOU NEED A TICKET.

YOU ARE INITIALLY FOR THE FIRST FEW MONTHS TREATING THE PERMANENT COLLECTION AS THE QUARRY IN WHICH ONE WOULD FIND BOTH THE PERMANENT COLLECTION AND THE SPECIAL EXHIBITION.

IF I'M NOT MISTAKEN, ALL OF THE WORKS ON VIEW ARE NOW OF YOUR PERMANENT COLLECTION?

VIRTUALLY EVERYTHING.

WE THOUGHT, OKAY, WHY NOT TREAT OUR PERMANENT COLLECTION WITH THE SAME ENERGY AND COMMITMENT THAT WE TREAT OUR TEMPORARY EXHIBITION PROGRAM AND IF WE BELIEVE AS WE DO THAT 200,000 WORKS OF ART IN ART COLLECTION REPRESENT SOME OF THE MOST INTERESTING AND IMPORTANT WORKS OF ART OF THE EARLY 20th AND 21st CENTURY THEN THEY SHOULD BE A WELLSPRING OF POSSIBILITIES FOR US.

EVERY THREE TO SIX MONTHS, ROUGHLY 3% OF THE COLLECTION CHANGES SO THERE IS NO SENSE OF A FIXED COLLECTION ANYMORE.

THE GALLERIES REPRESENT SOME VIEW OF OUR HISTORY AND THERE WILL ALWAYS BE SURPRISES.

THAT DOESN'T MEAN THAT MATISSE'S DANCE AND STARRY NIGHT AND IT DOESN'T MEAN THAT THE NEIGHBORS WILL LIKELY CHANGE WITH FREQUENCY AND ON OCCASION THEY MIGHT MOVE ROOMS SO THAT ONE GETS THE SENSE OF RENEWED ENERGY THAT COMES WHEN YOU SIMPLY DISPLACE A WORK OF ART FROM ONE LOCATION TO ANOTHER.

I DON'T SEE THE NAMES OF WHAT WERE THE ECONOMICAL MOVEMENTS?

THE ABSTRACT EXPRESSIONISM.

IS THIS A REPUDIATION OF TRADITIONAL ART HISTORY OR SOMETHING ELSE?

IT'S NOT NECESSARILY A REPUDIATION OF ART HISTORY BECAUSE THIS IS, I THINK, A DEEPLY HISTORICAL PROJECT, BUT IT IS MOVING BEYOND THE VERY NARROW DEFINITIONS THAT HAVE BEEN GIVEN TO CERTAIN MOMENTS TO ASK A DIFFERENT SET OF QUESTIONS.

INDEED, YOU CAN FIND THAT IT WAS SURROUNDED BY EARLY WORKS OF ART AND YOU CAN ALSO SEE THAT GREAT PAINTING IN A DIALOGUE WITH FAITH RINGO ACROSS TIME AROUND ISSUES OF VIOLENCE AND IMPACT OF AFRICA AND AFRICAN ART ON SENSIBILITIES.

SO THAT IT'S MORE THAN JUST CUBISM THAT'S AT PLAY IN A ROOM LIKE THAT AND THAT'S OUR GOAL TO EXPAND THE CONVERSATION.

THE PREVIOUS MUSEUM WAS A SERIES OF MANY RETROSPECTIVES WITH SUBSTANTIAL NUMBER OF WORKS BY INDIVIDUAL ARTISTS AND NOW THERE'S A MUCH MORE FLUIDITY AND MUCH MORE CONFRONTATION THAN THERE WAS BEFORE.

THERE WAS THE NOTION OF THIS ARTIST BEGETS THAT ARTIST, THAT THERE WAS A KIND OF MARCH OF TIME THAT YOU COULD CHART THE COURSE OF ART HISTORY WITH A CERTAIN CLARITY AND IT WAS ALMOST LIKE A BATON PASSING FROM CEZANNE TO PICASSO AND SO ON.

THIS TIME AROUND I THINK WHAT WE'VE REALIZE SIDE THAT THERE WERE COMPETING IDEAS THAT WERE TAKING PRICE SIMULTANEOUSLY WITH EVEN OTHER AND THAT ACTUALLY THOSE COMPETING IDEAS WOULD REVERBERATE TO DECADES AND EVEN THE CENTURY IN A WAY WE TRIED TO EXCAVATE THOSE ARGUMENTS AND MAKE THEM PALPABLE AGAIN AND INTRODUCE NEW VOICES AND VOICES THAT HADN'T BEEN HERE BEFORE AND WHETHER THEY WERE ARTISTS LIKE THE GREAT BRAZILIAN MODERNIST WHO WAS IN PARIS IN THE '20s, BUT WHO WAS LITERALLY NOT REPRESENTED IN ANY AMERICAN INSTITUTION.

THERE'S A BEAUTIFUL MOMENT IN THE MUSEUM WHERE ROSCOE SITS NEXT TO AN INDIAN ARTIST WHO WAS IN NEW YORK WHO KNEW ROSCOE AND WHO ABSORBED MANY OF ROSCOE'S IDEAS, BUT ALSO BROUGHT HIS OWN SENSIBILITIES AND HIS OWN ZEN-LIKE EXPERIENCE.

THEY TALKED TO EACH OTHER IN UTTERLY UNEXPECTED WAYS, BUT THEY ALSO MAKE US AWARE THAT MODERNISM AND MODERN ART TOOK PLACE IN THE GOLDEN GLOBE AND IT WASN'T JUST IN PARIS OR BERLIN AND THE ITERATION OF THE MUSEUM MAKES IT PALPABLE THE DEGREE TO WHICH THERE IS AN INTERNATIONAL PERSPECTIVE THAT WE HAVE TO KEEP IN MIND WHEN WE THINK ABOUT ART.

GOING THROUGH THE GALLERIES AS I DID, ONE OF THE THINGS THAT STRUCK ME IS THAT YOU HAVE REMAINED EXPERIMENTAL.

WHEN WE WERE CONCEIVED IN 1929 THE IDEA WAS THAT THE MUSEUM WAS A LABORATORY TO WHICH THE PUBLIC WAS INVITED AND THIS EXPERIMENTATION THAT ENGAGED THE PUBLIC IN A NEW ART AND IN A NEW WAY OF THINKING THAT WAS ENTANGLED TO SO MUCH OF WHAT WE TRIED TO DO TODAY AND THAT WAS TO RECAPTURE THE NOTION AND THE MUSEUM OF MODERN ART IS NOT A FINISHED PROJECT AND IT'S A WORK IN PROGRESS INTELLECTUALLY, ARTISTICALLY AND PHYSICALLY.

IT IS IN MOTION.

AMONG THE REALLY FANTASTIC NEW ASPECTS OF THE BUILDING IS THE STUDIO.

THE STUDIO WHICH IS ESSENTIALLY OUR FIRST PERFORMANCE SPACE WITH ACOUSTICALLY TUNED WALLS AND THE FLOOR IN WHICH DANCE CAN OCCUR AND WE'RE OPENING WITH AN INCREDIBLE INSTALLATION OF DAVID TUDOR'S RAIN FOREST.

THIS IS A SERIES OF ALMOST GOBERT LIKE OBJECTS AND YOU BECOME AWARE OF THE FACT THAT SOUND CAN BE A FORM OF ART JUST AS MUCH AS PAINTING OR SCULPTING CAN BE, AND FOR US, PERFORMANCE AND THE PERFORMATIVE IS AN IMPORTANT ASPECT OF WHAT WE'RE TRYING TO ACHIEVE WITH THIS ITERATION OF A MUSEUM.

IT MUST HAVE BEEN A RATHER DELICATE CALIBRATING PROCESS FOR THE CURATORS WHO MIGHT HAVE BEEN UPSET THAT THE SOUND FROM X INTERFERED WITH THE DEEP SILENCE OF PAINTING Y?

IT HASN'T BEEN A CHALLENGE TO BALANCE THESE DIFFERENT FORMS IN A WAY THAT IT DIMINISHES THE EXPERIENCE.

WE'LL KEEP TWEAKING IT, BUT I THINK THE BALANCE IS PRETTY GOOD AND THE MOMENT THAT YOU WALK INTO A ROOM WITH RAUSCHENBERG AND JOHNS AND YOU ENCOUNTER CUNNINGHAM AND DANCE AND YOU BEGIN TO UNDERSTAND THAT THESE ARTISTS WERE WORKING WITH EACH OTHER AND WITH CHOREOGRAPHERS AND DANCERS AND THE DIMENSION OF THEIR WORK IS EMBEDDED AND ONLY FULLY REALIZE WHEN YOU SEE THE KIND OF DIALOGUE BETWEEN NURSE CUNNINGHAM AND ROBERT RAUSCHENBERG.

THERE'S ONE PARTICULAR EXHIBIT, A SUBSTANTIAL ONE WITH OVER 100 WORKS FROM LATIN AMERICA, AND THAT IS THE CISNEROS' GIFT OF LATIN AMERICAN WORKS CALLED SUR MODERNO, MODERN SOUTH.

TELL US A LITTLE BIT ABOUT HOW THAT WORKS INTO THE OVERALL MISSION AND DIRECTION IN WHICH WE WANT IT TO GO?

CISNEROS' GIFT SAPS DRAMATICALLY THE STORIES WE TELL WITH OUR DIRECTION BECAUSE THE INTENSE FOCUS ON GEOMETRIC EXTRANGZ ACROSS LATIN AMERICA IN THE '50s, '60s AND EARLY '70s MEANS THAT WE HAVE THE WORKS OF ART THAT CAN ENGAGE WITH MANY OTHERS AND EUROPEAN ARTISTS THAT WE THINK OF AS HUGE PROPONENTS OF GEOMETRIC EXTRACTION AND THEY CAN TAKE THAT IDEA AND MOVE IT OUT LET RALLY AND INFLECT IT IN NEW AND DIFFERENT WAYS AND IT IS ALL PART OF AN ONGOING EFFORT ON OUR PART TO REALLY UNDERSTAND DIFFERENT ARTISTIC PRACTICES ACROSS GEOGRAPHIES.

THE GIFT WHICH WE JUST ACQUIRED OPENED UP AFRICA FOR US IN WAYS THAT WE NEVER HAD BEFORE OR RECENT ACQUISITIONS THAT WE MADE FROM CHINA THAT LET US LOOK AT THIS POST-1989 MOMENT WHEN THE ARTS IN CHINA TOOK OFF.

SO THE ABILITY TO HAVE THESE DIFFERENT STORIES DEVELOP ON THEIR OWN AND IN RELATIONSHIP TO EACH OTHER IS WHAT I THINK, MARKS THIS MOMENT FOR US IN A REALLY INTERESTING WAY.

THAT'S A GREAT MOMENT FOR THE HISTORY OF THE MUSEUM AND A GREAT MOMENT FOR THE HISTORY OF NEW YORK.

YOU SHOULD BE VERY PROUD AND WE ARE DELIGHTED THAT YOU GAVE US THE TIME AND THE WONDERFUL TOUR AND INSIGHT INTO THE NEW MUSEUM OF MODERN ART.

THANK YOU AGAIN.

THANK YOU SO MUCH, AND IF I CAN SAY, YOU HAVE BEEN AN INCREDIBLE INSPIRATION TO ME AND TO A WHOLE GENERATION OF CURATORS HERE.

SO IT IS ALWAYS A PLEASURE TO SHARE A MOMENT WITH YOU.

THANK YOU.

♪♪ ♪♪ THURSDAYS.

IT IS ALSO ON THE WEB.

PLEASE VISIT OUR WEBSITE AT NYC-ARTS.ORG WHERE YOU CAN WATCH CLIPS AND LEARN MORE ABOUT INSTITUTIONS AND EVENTS FEATURED ON THIS SHOW.

NEXT ON OUR PROGRAM WE WILL FEATURE THE NEVELSON CHAPEL AT ST. PETER'S CHURCH CREATED BY LOUISE NEVELSON, ONE OF NEW YORK CITY'S MOST DECORATED ARTISTS.

NEVELSON BECAME ESPECIALLY WELL KNOWN FOR HER TECHNIQUE OF COLLECTING DISCARDED FURNITURE AND OTHER RANDOM OBJECTS FROM THE STREETS OF NEW YORK AND THEN REASSEMBLING THEM INTO OFTEN LARGE-SCALE ART INSTALLATIONS.

NEVELSON'S ART WORK FOR THE CHAPEL OF THE GOOD SHEPHERD AT ST. PETER'S CHURCH IS THE ARTIST'S ONLY REMAINING ENVIRONMENT ALWAYS OPEN TO THE GENERAL PUBLIC.

IT IS A GEM HIDDEN IN PLAIN SIGHT WITHIN THE CITIGROUP CENTER IN MIDTOWN MANHATTAN.

THE COMPLEX INCLUDING THE CHURCH WAS DESIGNED BY HUGH STEBBINS.

AFTER 40 YEARS, NEVELSON'S MASTER WORK IS UNDERGOING A CRITICAL RESTORATION AND RE-DISCOVERY AS AN OASIS OF PEACE.

♪♪ ♪♪

NEVELSON CONSIDERED THIS ENVIRONMENT HER OASIS OF SILENCE.

IT'S A PLACE WHERE PEOPLE COME DAY IN AND DAY OUT TO FIND IN THE MIDDLE OF THIS INCREDIBLY BUSY CITY SMELL EMENT OF PEACE AND SILENCE.

ONCE YOU'RE INSIDE YOU'RE SURROUNDED BY NEVELSON.

SHE WAS THE GRAND MOTHER OF ENVIRONMENTAL ART IN AMERICA.

SHE REALLY BELIEVED IN THE IMPORTANCE OF SURROUNDING PEOPLE WITH ART.

NEVELSON WAS ONE OF THE FEW WOMEN ARTISTS IN THE 1970s WHO REALIZED PUBLIC ART WITH GREAT SUCCESS.

THE NEVELSON CHAPEL IS THE ONLY INTACT ENVIRONMENT THAT SHE EVER MADE.

LOUISE NEVELSON WAS BORN IN UKRAINE IN 1899.

HER FAMILY EMIGRATED WHEN LOUISE NEVELSON WAS A LITTLE GIRL.

NEVELSON'S FATHER WAS A WOOD CUTTER IN THE OLD COUNTRY AND ONCE THEY CAME TO MAINE HE HAD A JUNKYARD.

OF COURSE, THAT INSPIRED MUCH OF NEVELSON'S WORK.

SHE WOULD USE TOILET SEATS AND HEADSTANDS AND CHAIR RAILS AND ANYTHING SHE WOULD FIND ON THE STREETS OF NEW YORK CITY TO MAKE THIS RELIEF AND THAT WAS HER SIGNATURE AND THAT'S HOW SHE'S BEST KNOWN.

♪♪ SHE HAD HER FIRST BREAKTHROUGH PROJECT, HER FIRST PUBLIC BREAKTHROUGH PROJECT IN 1959 AT THE MUSEUM OF MODERN ART.

LOUISE NEVELSON WAS 60 YEARS OLD.

IT TOOK HER THAT LONG TO ACHIEVE PUBLIC RECOGNITION.

ST. PETER'S WAS A NEO-GOTHIC, LUTHERAN CHURCH THAT HAD BEEN HERE A LONG TIME AND THE CONGREGATION HAD DWINDLED DOWN TO 65 OR 70, SO IT WAS NOT DOING VERY WELL.

THE 1970s, ST. PETER'S AND CITIBANK CAME TOGETHER TO START PLANNING AND THEN ULTIMATELY BUILD WHAT WAS CALLED CITIGROUP CENTER AND AT THE HEART OF THE COMPLEX IS NEVELSON CHAPEL.

THE PASTOR AT THAT TIME WAS RALPH PETERSON.

AT THE POINT WHEN THEY DECIDED THAT THEY WANTED A DECORATED CHAPEL AND AN INTERFAITH CHAPEL AND IT WAS APPROACHED BY PACE GALLERY AND PACE GALLERY SAID LOOK, THERE'S 1% FOR THE ARTS WHICH MEANS THERE'S QUITE A LOT OF MONEY AVAILABLE FOR THE ARTS AND HAMEL KNEW HER REPUTATION AND WANTED HER TO DO IT AND PETERSON KNEW HER WORK ALSO AND REALLY LIKED IT.

THE WORKS IN THE CHAPEL ARE NOT THE KIND OF FOUND OBJECT THAT WAS SOMETHING SHE FOUND ON THE STREET.

THEY WERE SHAPES MADE TO ORDER FOR HER.

NEVELSON WAS JEWISH BY BIRTH.

THIS ISN'T A SPECIFICALLY CHRISTIAN FEELING SPACE.

IT'S A VERY SPIRITUAL SPACE.

I WANT TO READ YOU SOME QUOTES FROM HER BECAUSE THEY SAY SOMETHING ABOUT HOW SHE SAW HER SPIRITUALITY.

ABSTRACTION ALLOWS HER TO SEND CHRISTIAN IMAGERY TO THE ESSENTIAL POINT WHERE ALL RELIGIONS MEET.

EACH ELEMENT FORMS IN ITSELF AND HUMAN WARMTH.

FOR ME, FOR MY WORK, THIS CHAPEL IS A STATE OF PURITY AND TRUTH.

I THINK THE FACT THAT THEY ARE DOING A RESTORATION WOULD BE SOMETHING NEVELSON WOULD 100% APPROVE OF.

SHE ALWAYS WANTED HER WORK TO LOOK AS FRESH AS POSSIBLE.

THERE ARE TWO MAJOR ELEMENTS OF THE RESTORATION FOR THE NEVELSON CHAPEL.

THE FIRST IS TO DEAL WITH PROBLEMS WITH THE ENVIRONMENT.

SO WE'RE INTRODUCING A DEDICATED HBAC SYSTEM THAT WILL ENSURE THAT THIS ENVIRONMENT IS PROPERLY REGULATED FOR LONG-TERM CARE OF THE WOOD AND THE PAINT.

THE SECOND ELEMENT OF THE RESTORATION IS CLEANING ALMOST 35 YEARS OF RESTORATION OVER PAINT, BUT IN THE END, ALL OF THESE SCULPTURES WILL BE NEVELSON'S ORIGINAL PAINT.

NEVELSON'S SIGNIFICANT CONTRIBUTION TO MODERNISM WAS THAT SHE FORGED A UNIQUE VISUAL LANGUAGE.

IT WAS PART SURREALISM, PART CONSTRUCTIVISM, PART COLLAGE AND HAD RESONANCE OF REALISM AND IT WAS REALLY ALL NEVELSON.

THE CHAPEL IS NOT AS IT SHOULD BE, AND HOPEFULLY WITH THE RESTORATION GOING ON MANY MORE PEOPLE WILL KNOW ABOUT IT.

40, 50, 60 YEARS FROM NOW PEOPLE WILL FIND THIS IN NOT A PRISTINE CONDITION, AND IT'S A LIVING ENVIRONMENT, BUT THE PEOPLE WILL SEE THAT WE HAVE HONORED IT AND WE'RE PASSING ON TO THEM AS BEST WE CAN WHAT HAS BEEN HANDED DOWN TO US.

> HELLO.

I'M RAFAEL PI ROMAN, WELCOME TO LINCOLN CENTER.

ALL YEAR ROUND NEW YORKERS AND GUESTS FROM AROUND THE WORLD VISIT THIS CULTURAL MECCA FOR ITS THEATERS OVERFLOWING FOR THE BEST OF MUSIC, DANCE, OPERA, DRAMA AND FILM.

ON NOVEMBER 8th THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER WILL PRESENT THE PROGRAM, 1926.

THE LYRICS SUITE WHICH WILL FEATURE SOPRANO TONY ARNOLD AND THE SCHUMANN QUARTET.

IT WILL ALSO INCLUDE MOZART'S ADAGGIO AND THE STRING QUARTET.

FOR COMPLETE DETAILS PLEASE VISIT CHAMBER SOCIETY.ORG.

AND FOR MORE INFORMATION FOR EVENTS AT LINCOLN CENTER YOU CAN VISIT THEIR WEBSITE AT LINCOLN CENTER.ORG.

NEXT WEEK ON NYC ARTS, A LOOK AT THE EXHIBITION, THE LAST NIGHT AND THE ART, ARMOR AND AMBITION OF MAXIMILIAN I NOW ON VIEW AT THE METROPOLITAN MUSEUM OF ART.

IT IS ALSO THE FORMER DRESS OF THE MEN THAT ARE NOT PART OF THE CLERJY AND IT'S AN OBJECT THAT PRESENTS AN IMAGE OF PROJECTION AND ST. GEORGE IS ALWAYS REPRESENTED IN ARMOR.

THERE'S SOMETHING ALMOST HOLY ABOUT THE ARMOR.

AND A VISIT TO THE BROOKE INSTITUTE OF THE MODERN-DAY VIOLIN MAKER.

EVERY VIOLIN I MAKE, I KEEP FULLY EXHAUSTIVE RECORDS AND IF AN INSTRUMENT OF MINE COMES BACK AND I LIKE IT I WANT IT COMES BACK I HAVE A RECORD OF WHAT I DID.

THANKS FOR JOINING US THIS EVENING.

I'M PETER DI MONTEBELLO.

GOOD NIGHT AND SEE YOU NEXT TIME.

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

♪♪ ♪♪

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

I LOVE BEING WITH YOU, TOO, PAULA.

WHERE ARE WE?

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.

♪♪ ♪♪ ♪♪

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

TEA PITCHEC, YORBA LINDA FOUNDATION AND THE LOUIS SONNY TURNER FUND FOR DANCE.

JUDY AND JOHN ARNEHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

ELROY AND TERRY CRUMBHOLTZ FOUNDATION, 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 THING'S FIRST.

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

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

FIRST THE 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.

> AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORK COG COMBINE KNOWLEDGE AND ACCESSIBILITY AND WHETHER YOU'RE A LIFELONG COLLECTOR OR FIRST-TIME BUYER, INFORMATION AT SWANN