A look at the world of dance through the lens of contemporary female choreographers working in very different styles: Pam Tanowitz, Ashley Bouder, and Camille A. Brown. Followed by a visit to The Metropolitan Museum of Art to explore the museum’s collection of postwar and contemporary art.

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> COMING UP ON NYC ARTS, A LOOK AT THE WORLD OF DANCE THROUGH THE LENS OF THIGH FEMALE CHOREOGRAPHERS, NOW TAKING THE LEAD IN THE FIELD.

I ALIGN MYSELF WITH SOCIAL DANCE.

AND WE RETURN TO THE METROPOLITAN MUSEUM OF ART, FOR A FRESH LOOK AT THE MUSEUM'S COLLECTION OF POST WAR AND ART.

THE SCULPTURE BEHIND ME IS ONE OF THE GREAT WORKS BY THE AMERICAN SCULPTER, LOUISE NEVILLESON.

IT DATES BACK IN TIME TO AS EARLY AS 1964.

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

WALTER.

THEA PETSCHEK IERVOLINA FOUNDATION.

THE LEWIS AND SONNY TURNER FUND FOR DANCE.

JODI AND JOHN ARNHOLD.

THE MILTON AND SALARY AVERY ARTS FOUNDATION.

AND JAMES S. MARCUS.

THIS PROGRAM IS FUNDED IN PARTS BY THE CITY COUNCIL.

ADDITIONAL FURNISHEDING PROVIDED BY MEMBERS OF 13.

'NYC ARTS' IS MADE POSSIBLE BY FIRST REPUBLIC BANK.

> 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 OUR MISSION FROM THE VERY FIRST DAY, IT'S STILL THE FIRST THING ON OUR MINDS.

> AND BY SWAN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU'RE A LIFELONG COLLECTOR OR LOOKING TO SELL, INFORMATION AT SWAN GALLERIES PRNT COM.

♪♪

> GOOD EVENING AND WELCOME TO NYC ARTS ON LOCATION AT THE METROPOLITAN MUSEUM OF ART.

NOW ON VIEW IS EXHIBITIONED LAST NIGHT.

IT IS THE FIRST MAJOR EXHIBITION TO FOCUS ON THE CENTRAL ROLE THAT ARMOR PLAYED IN THE LIFE AND GRAND AM BIGS OF HOLY ROMAN EMPEROR MAX AMILLIAN THE FIRST.

HOW WE USED ARMOR TO SERVE HIS PERSONAL ASPIRATIONS DURING THE DAWN OF THE RENAISSANCE.

THE MOST COMPREHENSIVE EXHIBITION IN DECADES, IT BRINGS TOGETHER MORE THAN 180 OBJECTSES.

THESE HAVE BEEN SELECTED FROM 30 PUBLIC AND PRIVATE COLLECTIONS IN EUROPE, THE MIDDLE EAST AND THE UNITED STATES.

THE ARMOR'S ON VIEW ARE QUITE SUMPTUOUS AND HIGHLIGHT HIS PATRONAGE OF THE EUROPEAN ARMORS OF HIS AGE.

THE SELF-PROMOTER OF THE HIGHEST ORDER, A RUTHLESS LEADER AND POLITICAL MASTERMIND, HE USED ART AND ARMOR TO FORTH A HEROIC IMAGE AND ETERNAL LEGACY.

LAST NIGHT, THE ART, ARMOR AND AMBITION OF MAX MILLIAN THE FIRST IS ON VIEW THROUGH JANUARY 5th.

ALSO ON VIEW AT THE MET IS THE EXHIBITION ENTITLED THE RENAISSANCE OF ETCHING.

IT TRACES THE FIRST 0 YEARS OF THIS ART FORM THROUGH SOME 125 ETCHINGS, CREATED BY BOTH RENOWNED AND LESSER KNOWN ARTISTS.

THESE WORKS ARE DISPLAYED ALONGSIDE A SELECTION OF OTHER OBJECTS, INCLUDING ARMOR, DRAWINGS, PRINTING PLATES AND ILLUSTRATED BOOKS.

ETCHING IS A PRINT MAKING TECHNIQUE IN WHICH LINES OR AREAS ON A METAL PLATE ARE INCISED WITH ACID IN ORDER TO HOLD INK.

THE IMAGE ON THE PLATE IS THEN PRINTED ON TO PAPER.

THE ART FORM EMERGED IN EUROPE DURING THE LATE 15th AND EARLY 16th CENTURIES.

WHEN THE TECHNIQUE MOVES OUT OF THE WORKSHOPS OF ARMOR DECORATORS AND INTO THOSE OF PRINT MAKERS AND PAINTERS.

AMONG THE PIONEERS OF THE MEDIUM WERE SOME OF THE GREATEST PAINTERS OF THE RENAISSANCE.

INCLUDED FRAN SHE IS CO -- THE RENAISSANCE OF VERY MUCHING WAS ON VIEW THROUGH JANUARY 20.

VISITORS TO THE METROPOLITAN CAN ALSO SEE A PAINTER OF DECEMBER QUIET.

IT FEATURES THE WORK OF THIS ARTIST OF THE LATE 19th CENTURY, AND EARLY 20th CENTURY.

THE EXHIBITION EXPLORES PIVOTAL MOMENTS IN HIS CAREER AS A PAINTER AND PRINT MAKER.

HIS COMPELLING PORTRAITS INTERIORS AND LANDSCAPES ENGAGE US WITH COMPLEXITY.

HE LAMPOONED AND EXPOSED THE DARK UNDERCURRENTS OF A SOCIETY IN TURMOIL.

HIS WOOD CUT PRINTS FROM THE 18 0s BUILT HIS REPUTATION IN THE GRAPHIC ARTS WHILE MESSAGING HIS ANARCHIST POLITICS.

ANOTHER HIGHLIGHT OF THIS EXHIBITION IS THE PAIRING OF TWO PORTRAITS OF GERTRUDE STEIN.

ONE REALIZED BY PICASSO, AND THE OTHER BY VALATON.

THIS IS THE FIRST TIME THESE TWO PORTRAITS OF STEIN ARE DISPLAYED TOGETHER.

THE EXHIBITION IS ON VIEW THROUGH JANUARY 26th.

TONIGHT ON OUR PROGRAM.

WE LOOK AT THE WORLD OF DANCE THROUGH THE LENS OF THREE CONTEMPORARY FEMALE CHOREOGRAPHERS WHO ARE NOW TAKING THE LEAD.

EACH ONE WORKING IN A VERY DIFFERENT STYLE OF MOVEMENT.

PAM IS A POST MODERN CHOREOGRAPHER WHOSE JOURNEY FROM AN EMERGING DANCE MAKER TO INTERNATIONALLY ACCLAIMED ARTIST WAS NEITHER FAST NOR EASY.

A PRINCIPLE DANCER WITH NEW YORK CITY BALLET, RECENTLY FORMED HER OWN COMPANY TO GIVE WOMEN AND MINORITIES A CHANCE TO CREATE NEW WORKS.

THE CHOREOGRAPHY IS BASED ON SOCIAL DANCE AND SEEN ON BROADWAY AND TELEVISION.

HER CONCERT DANCE IS INFUSED WITH ACTIVISM AND STORY TELLING.

I STARTED CHOREOGRAPHING MY JUNIOR YEAR AT OHIO STATE UNIVERSITY.

AND IT WAS SOMETHING THAT I SORT OF FELL INTO IN A CLASS.

AND I REALIZED THAT I LIKED MAKING THINGS MORE THAN BEING IN THINGS.

I LOVED PERFORMING, BUT THERE IS SOMETHING ABOUT SOLVING PROBLEMS THAT WAS INTERESTING TO ME.

I WORKED IN NEW YORK FOR OVER 20 YEARS BEFORE I GOT ANY SORT OF RECOGNITION.

I'M STAYING FULL FOR THE FACT THAT I DIDN'T GET THAT MUCH ATTENTION IN THE EARLY CHUNK OF MY CAREER, BECAUSE I WAS ABLE TO CONCENTRATE ON THE ACTUAL MAKING OF DANCE INSTEAD OF WORRYING ABOUT OTHER THINGS.

I ALWAYS HAD A DAY JOB TO HAVE MONEY FOR THAT PURPOSE AS WELL.

I ALWAYS WORKED FULL TIME AND CHOREOGRAPHED UP UNTIL TWO YEARS AGO.

I'VE BEEN LUCKY TO HAVE GOTTEN A BUNCH OF DIFFERENT GRANTS IN THE PAST COUPLE YEARS, I GOT THE BARISHNIKOV'S AWARD.

YOU HAVE TO BE SCRAPPY, IMAGINATIVE, CREATIVE, IT'S VERY HARD TO -- YOU WANT TO FOCUS ON YOUR DANCE, BUT YOU ALSO CAN'T IGNORE THAT YOU HAVE TO PUT SOME TIME INTO THE BUSINESS ASPECT OF IT.

DANCERS PLAY A VERY DIGNIFIED ROLE IN MY WORK.

WHEN I WORK WITH A DANCER, I HAVE TO FALL IN LOVE WITH THEM BASICALLY.

IT'S NOT ONLY ABOUT TECHNIQUE.

I ALSO HAVE TO LIKE THEM AND LOVE THEM AS PEOPLE, BECAUSE YOU SPENT WAY MORE TIME IN A STUDIO THAN YOU DO PERFORMING.

I DON'T REALLY HAVE AUDITIONS, I'VE HAD ONE OR TWO IN MY LIFE, I USUALLY SEE A DANCER AT A SHOW, AND I'LL FALL IN LOVE WITH SEEING THEM IN ANOTHER PERSON'S WORK OR JUST MEETING THEM, I HIRED SOMEONE WHO I JUST LIKED TALKING TO.

I LOVE COLLABORATING WITH THEM.

I PLAN OUT A BUNCH OF THINGS.

BUT THE MORE PLANNED YOU ARE, THE MORE YOU CAN GO OFF YOUR PLAN.

I LOVE ACCIDENTS.

AND I INCORPORATE A LOT OF THINGS THAT ARE MISTAKES THAT ARE WAY MORE INTERESTING I THINK THAN WHAT I THOUGHT OF.

I LOVE TO MAKE SPACE FOR ALL THAT.

UNISON SHOULDER STEP.

THAT'S WHAT I'LL CALL IT.

A LOT OF MY WORK IS MY STEPS AND VISION, BUT THERE'S A LOT OF FREEDOM IN THAT.

AND THEY INFUSE IT WITH THEMSELVES, A LOT OF TIMES WHEN YOU LOOK AT MY DANCES, THE DANCERS LOOK DIFFERENT.

THE APPROACH TO THE MOVEMENT IS THE SAME, BUT THE ACTUAL EXECUTION OF IT IS DIFFERENT.

AND THAT'S INTERESTING TO ME.

MODERN DANCE WAS FOUNDED BY WOMEN, YOU KNOW, IT'S ISIDORE RAH, MARTHA, AND IN BALLET, IT'S ALWAYS MEN IN CHARGE.

YOU DON'T GET A JUSTIN PECK.

THEY WERE CULTIVATED.

THEY HAD CHANCES TO EXPERIMENT.

AND WHAT HAPPENS SOMETIMES I THINK, WHERE ARE THE WOMEN BALLET.

THEY HIRE A BUNCH.

AND THEN THE WORK IS NOT AS DEEP OR AS -- BUT IT WAS THE -- THAT CHOREOGRAPHER'S SECOND DANCE.

HOW IS IT GOING TO BE.

THE VARIATIONS HAD TO BE ALL ABOUT THE MUSIC, SO THE PIANO HAD TO BE IN THE MIDDLE OF THE STAGE, THAT'S WHAT THE WHOLE PIECE WAS GOING TO BE ABOUT.

I KNEW THE PIANO COULD NOT BE LIKE EVERY OTHER PIANO BALLET, DOWN STAGE RIGHT OR LEFT.

JERRY ROBBINS DID THAT, I DON'T NEED TO DO THAT.

WHAT AM I GOING TO SAY THAT'S DIFFERENT.

IN THE VARIATIONS, THE DANCERS NOT ONLY RELATE TO EACH OTHER, BUT THEY RAELT TO SIMONA.

SHE'S THERE.

I THOUGHT IT WAS WEIRD IF THEY DIDN'T ACKNOWLEDGE HER.

I HAD TO FIGURE OUT NEW ANSWERED SUBTLE WAYS FOR THEM TO ACKNOWLEDGE HER IN THE BEGINNING.

THERE IS ONE POINT WHERE A DANCER SITS NEXT TO HER.

IT'S REALLY ALL ABOUT MAKING THE WORK.

IF YOU REALLY WANT TO MAKE A GOOD DANCE.

THAT'S WHAT YOU HAVE TO DO IS FOCUS ON THE WORK.

AND WHAT YOU WANT TO SAY.

AND IT'S HARD TO MAKE SOMETHING FROM NOTHING.

SO YOU HAVE TO BE HELL BENT ON DOING IT, BECAUSE IT'S HARD.

IN 2015, NEW YORK CITY BALLET HAD A FALL GALA.

OUR FALL GALA ALWAYS HAS SEVERAL NEW CHOREOGRAPHERS ON THE PROGRAM.

THEY PUT A POSTER OUT ON THE FRONT OF OUR THEATER.

A BLACK AND WHITE POSTER OF THE HEAD SHOTS OF ALL THE CHOREOGRAPHERS, THEY LOOKED IDENTICAL.

THEY WERE ALL WHITE MEN.

UP UNTIL THAT POINT, I HADN'T REALLY THOUGHT ABOUT THAT, THERE IT WAS STARING YOU IN THE FACE.

ALL THESE WHITE MEN MAKING NEW BALLETS.

NOT ONE OF THEM DIDN'T DESERVE TO BE THERE, BUT THE SAME TIME I THOUGHT WHERE ARE THE WOMEN.

THIS IS A WORLD ISSUE, BUT AS I THOUGHT ABOUT IT, AND THOUGHT ABOUT THE WORLD OF BALLET AND THE WORLD IN GENERAL, I THOUGHT THERE WAS A STATEMENT THAT I COULD MAKE WITH MY PROJECT, SOMETHING THAT MEANT SMRG TO ME AND COULD BE MORE MEANINGFUL IN THE BALLET WORLD.

AND THAT IS PROMOTING WOMEN AND INCLUSION IN MY CHOICES.

SO I STARTED HIRING A BUNCH OF FEMALE CHOREOGRAPHERS, ONLY FEMALE COMPOSERS AND WENT FROM THERE.

FOR SPACE I WANTED TO FIRST CREATE MY OWN BALLET.

YOU CAN DO EACH ONE ON A SLIGHT DIAGONAL.

I USED ALL NEW YORK CITY BALLET DANCERS.

AND I TAKE COMPANY CLASS EVERY DAY, I LOOKED AROUND CLASS, AND, YOU FLOW, EVERYBODY HAS THEIR FAVORITE DANCERS AND THE PEOPLE THEY THINK ARE TALENTED.

AND I APPROACH THE PEOPLE I WANTED TO WORK WITH.

THE BALLET WAS IN FOUR MOVEMENTS AND EACH ONE WAS BASED ON A DIFFERENT NATIONALITY AND NATIONAL DANCE.

SO THE FIRST MOVEMENT WAS CALLED WARRIOR AND WAS BASED ON SIDE JUMPING DANCES.

THE SECOND MOVEMENT WAS BASED ON THE POLISH -- WE INCORPORATED A SKIRT THAT WHEN THEY TURNED IT DIDN'T FLAIR OUT AT THE ENDS.

IT WAS LIKE A TEA CUP.

AND THE THIRD MOVEMENT WAS WHIRLING DERVISHES.

WE TRIED TO HAVE THEM NEVER STOP TURNING.

AND THE FOURTH MOVEMENT WAS FREEDOM AND IT'S BASED ON AMERICAN CONTEMPORARY DANCE.

I WANTED TO BE CHOREOGRAPHED ALSO.

AND WANTED TO STEP OUT OF MY COMFORT ZONE.

SOY CHOSE TO APPROACH THE MODERN CHOREOGRAPHER WHO HAS HER OWN COMPANY AND ASK HER IF SHE WOULD DO A DUET WITH ME WITH A FRIEND.

SARAH AND I HAVE BEEN DRESSING ROOMMATES FOR MANY YEARS NOW AT NEW YORK CITY BALLET.

AND WE RARELY EVER SHARE THE STAGE.

AT FIRST SARAH AND I REALLY -- WE JUST WERE LAUGHING IN REHEAREHEARSAL, BECAUSE WE COULDN'T GET GROUNDED LIKE A MODERN DANCER, WE CORPORATE STOP POINTING OUR TOES OR TAKE OUR FOCUS DOWN.

WE HAD A LOT OF LAUGHS WITH LIZ.

WE'RE PERFORMING TO THE BALCONY.

SHE SAID, IN MODERN DANCE WE DON'T DANCE FOR HOUSES THAT BIG.

AND WE DID HAVE SORE QUAD MUSCLES FOR THE FIRST FEW WEEKS WORKING ON THAT.

THE CHALLENGE OF DOING THAT I FOUND AWESOME TO STEP OUTSIDE OF MY POINT SHOES AND TUTU'S AND REALLY GET DOWN IN THE GROUND AND FEEL A DIFFERENT FORM OF DANCE.

AS A BALLET DANCER, YOU GET THIS SNOB BY ATTITUDE, THIS IS THE MOST DIFFICULT TYPE OF DANCE.

NOT EVERYONE CAN DO BALLET.

THAT'S TRUE, NOT EVERYONE CAN DO BALLET, BUT I FOUND IT EXTREMELY DON'T THINK EVERYBODY CAN DO THAT EITHER.

FOR EVERY CHOREOGRAPHER, TO HAVE A MENTOR, TO HAVE AN OPPORTUNITY TO SUCCEED AND TO FAIL.

WELL, I BELIEVE SOCIAL DANCE IS AN ART FORM, SO THE DEFINITION OR MY DEFINITION IS BASICALLY SOMETHING THAT HAPPENS IN A COMMUNITY WHERE PEOPLE ARE SOCIAL, SO WHEN I'M TEACHING, I USUALLY BREAK UP THE PHRASE SOCIAL DANCE, AND I ASK PEOPLE WHAT DOES IT MEAN TO BE SOCIAL?

IT MEANS TO INTERACT WITH EACH OTHER.

THE INDIVIDUALS COME TOGETHER AND CREATE A COMMUNITY.

BUT IF YOU LOOK, EVERYONE HAS THEIR OWN INDIVIDUAL TAKE ON THAT, AND THAT'S WHAT SOCIAL DANCE IS, IT PLACES US IN A MOMENT.

IT HELPS US EXPRESS OURSELVES, RESIST, IN A LOT OF CASES.

AND TO COMMUNICATE WHEN WORDS CAN'T BE SAID OR WORDS AREN'T ENOUGH.

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

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 IT'S ORGANIC.

AND A LOT OF TIMES WHEN I'M COMING IN THE STUDIO.

I HAVE AN IDEA.

BUT I'M ALSO LETTING MYSELF BE OKAY WITH NOT ALWAYS KNOWING.

AND DISCOVERING.

AND I THINK THAT'S -- FOR ME, EVEN THOUGH IT'S CHALLENGING AND IT'S SCARY, IN MY PROCESS.

THE UNKNOWN, THERE'S A DANGER, BUT THAT'S HOW YOU FIND YOUR MATERIAL.

MY WORK IS FOR EVERYONE, BUT IT'S FOR THE BLACK COMMUNITY.

THERE ARE THINGS THAT HAPPEN THAT PEOPLE OUTSIDE THE COMMUNITY DON'T NECESSARILY UNDERSTAND.

AND I'M OKAY WITH THAT.

I HAD KIND OF A DUE AILTY GOING ON.

I WANTED IT TO BE SPECIFIC AND TALK ABOUT UNIVERSAL THEMES.

ANYONE WHO WAS NOT BLACK OR NOT A GIRL COULD LOOK AND GO, OH, I SEE MY CHILDHOOD OR OKAY, I HAD A SISTER, I HAD A MERE, I CAN CONNECT.

I WAS WATCHING ONE OF THE LIVE MUSICALS AND GOING.

THAT'S NOT GOING TO HAPPEN ANY TIME SOON, I DON'T HAVE THAT EXPERIENCE.

I FREAKED OUT IN THE BEGINNING WHEN I GOT THE CALL.

THEY WERE BASICALLY OFFERING ME THE JOB.

THE DIRECTOR FOR JESUS CHRIST SUPERSTAR WANTED A DECONSTRUCTED VERSION OF TAKING A TABLE APART.

ONE OF THE THINGS I THOUGHT WAS, WHAT IF THE TABLES AND CHAIRS STARTED MOVING AND SPINNING AND GOING DIFFERENT WAYS.

WE WERE SAYING THAT IT'S BOLTS OF ENERGY THAT HAVE TO PIERCE THROUGH THE SCREEN BECAUSE THIS IS DIFFERENT, WHEREAS WE'RE IN LIVE THEATER.

YOU'RE FEELING IT, YOU'RE FEELING THE EMOTIONS, SOMETIMES YOU GET THE SWEAT IN THE EYE, IT'S RIGHT THERE WITH YOU.

BUT BECAUSE IT'S TELEVISION AND IT'S MORE EXPANSIVE THAN EVER.

WHAT'S NEXT?

I'M TRYING TO FIGURE OUT HOW TO BALANCE A CAREER IN CONCERT DANCE AND ALSO MUSICAL THEATER, I'M ALSO INTERESTED IN DIRECTING AND CHOREOGRAPHIC IN MUSICAL THEATER.

HOPEFULLY THAT COMES DOWN WITH SOME OPPORTUNITIES FOR THAT.

FOR ME, IT'S ABOUT THE OPPORTUNITIES DEFINITELY, IT'S ALSO ABOUT THE GROWTH.

AND IF I'M GROWING, I CAN'T ASK FOR ANYTHING ELSE.

NEXT WE RETURNING TO THE METROPOLITAN MUSEUM OF ART.

FRESH LOOK OF THE MUSEUM'S COLLECTION OF POST WAR AND CONTEMPORARY ART.

EXPLORES LARGE SCALE ABSTRACT PAINTINGS, SKULL TOUR AND ASSEMBLAGE.

BRINGS TOGETHER SOME 50 WORKS FROM THE METROPOLITAN ZONE COLLECTION.

REPRESENTED HERE ARE SUCH ICONIC ARTISTS AS WELL AS HIS -- RANDALL GRIFFITH, CURATOR LOOKS AT A SINGLE WORK FROM THE EXHIBITION.

THIS SPECTACULAR SCULPTURE BEHIND ME IS TITLED MRS. N'S PALACE, IT'S ONE OF THE GREAT WORKS BY THE AMERICAN SCULPTER LOUISE NEVILLE SON IT'S COMPOSED OF PIECES THAT DATE BACK IN TIME TO AS EARLY AS 1964.

IT WAS ASSEMBLED AS A UNIQUE WORK IN 1977.

THIS HASN'T BEEN SEEN AT THE MET FOR MANY YEARS.

INSTALLING IT HERE ON THE SECOND FLOOR.

IT'S WELL WORTH IT.

THE WORK ITSELF IS COMPRISED OF ABOUT 130 INDIVIDUAL SCULPTURAL COLLAGES, THESE RELIEF COLLAGES THAT ARE ATTACHED TO A LARGE BOX.

THE SCULPTURE IS COMPRISED OF SCRAPS THAT SHE COLLECTED ALL ACROSS THE CITY CREATING THESE ABSTRACT.

IN MANY CASE SCULPTURES WHICH SHE TREATS BY PAINTING IN BLACK.

NEVILLE SON DESCRIBED HER MATERIALS AS THE SKIN THAT NEW YORK HAS SHED.

AND THAT SHE IS SCAVENGING AND GIVING NEW LIFE.

MAKING ART THAT'S BOTH IN A WAY ABOUT NEW YORK BUT ALSO OF NEW YORK.

IN MANY INSTANCES, HER AROUND ORIGINAL SOURCE MATERIAL -- THERE ARE BOXES FROM FILING CABINETS, STAIRCASES WHERE SHE'S REPURPOSED ARCHITECTURAL SALVAGE.

HEARTS ARE AGGRESSIVE IN EFFECT.

BUT OTHER PARTS ARE LYRICAL, ELEGANT, THIN, WHIMSICAL EVEN.

IN OTHER INSTANCES, HER MATERIALS ARE REALLY DIFFICULT OR IMPOSSIBLE TO DISCERN AND REGISTER REALLY AS UNIQUE ABSTRACT SCULPTURE.

THE TITLE DERIVES FROM A COUPLE SOURCES, HER NICKNAME IN THE NEIGHBORHOOD WHERE SHE LIVED WAS MRS. N.

AND PALACE IS EVOCATIVE SHE INTENDED THIS WORK TO BE HER IDEAL HABITAT.

A SHRINE TO HERSELF.

THIS IS HER CREATING HER OWN UNIVERSE.

WHICH IN A WAY TIED WONDERFULLY TO HER DESIRE TO LIVE HER OWN LIFE ON HER OWN TERMS.

♪♪

> HELLO, I'M RAPHEAL P. RAMON.

ALL YEAR, GUESTS VISIT THIS CULTURAL MECCA FOR ITS THEATERS OVERFLOWING FOR THE BEST IN MUSIC, DANCE, OPERA, DRAMA AND FILM.

JUILLIARD'S INSTITUTE FOR VOCAL ARTS PRESENTS MOWS ART'S FATUTE.

THIS PERFORMANCE IS PART OF JUILLIARD OPERA.

FOR COMPLETE DETAILS, PLEASE VISIT JUILLIARD.EDU/CALENDAR.

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

THANKS FOR JOINING US THIS EVENING.

GOOD NIGHT AND SIGH YOU NEXT TIME.

> JOIN US NEXT WEEK FOR A SPECIAL PRESENTATION OF NYC ARTS.

AUSCHWITZ REMEMBERED AND AN INDEPTH LOOK AT AUSCHWITZ NOT LONG AGO, NO FAR AWAY.

NOW ON VIEW AT THE MUSEUM OF JEWISH HERITAGE.

YOUNGER PEOPLE, OLDER PEOPLE DON'T UNDERSTAND WHAT THE HISTORY OF THE WORLD WAS PRIOR TO WORLD WAR II.

TELLING THAT HISTORY IS PROBABLY THE MOST IMPORTANT THING THAT CAN BE DONE, BUT VISUALIZING IT, SEEING IT IN AN ACTUAL EXHIBIT IS CRITICAL FOR PEOPLE TO UNDERSTAND.

AND MUSEUMS ARE STILL LOOKED AT AS VERY BELIEVABLE AND HONEST.

IT'S NOT TAKING POSITIONS, BUT AS IN FACT TEACHING PEOPLE SO THAT THEY CAN ACTUALLY SEE.

♪♪

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

WALTER.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODI AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

JEAN DUBINSKY APPLETON ESTATE.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELLEN AND JAMES S. MARCUS.

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

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

NYC ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

> 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 REPUBLICS MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

> AND BY SWAN AUCTION GALLERIES.

SWAN AUCTION GALLERIES, WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941.

WHETHER YOU'RE A LIFELONG COLLECTOR OR FIRST TIME BUYER, LOOKING TO SELL.

INFORMATION AT SWAN GALLERIES,.COM.