NYC-ARTS takes a look at the world of fashion by way of several exhibitions now on view in New York. Followed by a profile of acclaimed photographer Gregory Crewdson and a visit to the Leslie-Lohman Museum of Art, which is located in SoHo and dedicated to the art of the LGBTQ community.

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♪♪

> COMING UP ON 'NYC ARTS' -- A LOOK AT THE WORK OF PHOTOGRAPHER GREGORY CREWDSON.

I'VE OFTEN SAID I DIVIDE MY LIFE BETWEEN PRODUCTION, PREPRODUCTION, AND POST-PRODUCTION.

MAPPING OUT THE IMAGES, WRITING DESCRIPTIONS.

THEN IN PRODUCTION WE'RE TOGETHER FOR FOUR OR FIVE WEEKS MAKING PICTURES EVERY DAY.

AND A VISIT TO THE LESLIE-LOHMAN MUSEUM IN SOHO.

FIGHTING FOR RIGHTS, COMMEMORATING PEOPLE THAT HAVE PASSED AWAY, CELEBRATING PRIDE, BEING PROUD OF THEIR GAY CHILDREN, AND SO MANY OTHER MOMENTS THAT REALLY BRING A HOLISTIC APPROACH TO THE MOVEMENT.

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.

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 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.

RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS OUR BANKING FROM THE FIRST DAY, AND 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 SHOW, A PROFILE OF ACCLAIMED PHOTOGRAPHER GREGORY CREWDSON, AND A VISIT TO THE LESLIE-LOHMAN MUSEUM IN SOHO, DEDICATED TO THE ART OF THE LGBTQ COMMUNITY.

BUT FIRST, A LOOK AT THE WORLD OF FASHION BY WAY OF SEVERAL EXHIBITIONS NOW ON VIEW IN NEW YORK, STARTING WITH A TRIP TO PARIS.

A MAJOR SHOW AT THE BARD GRADUATE CENTER GALLERY EXPLORES THE RELATIONSHIP BETWEEN FASHION, WAR, AND GENDER POLITICS IN FRANCE DURING WORLD WAR I.

THE EXHIBITION COVERS THEMES INCLUDING THE PRE-WAR DAYS OF 1914, WARTIME TEXTILES AND FASHION, AND WOMEN AT WORK.

ALSO ON VIEW IS DOCUMENTATION REFLECTING TENSIONS THAT ROSE FROM WOMEN'S CHANGING IDENTITIES DURING THAT PERIOD OF TIME.

THROUGH LOANS FROM MAJOR FASHION HOUSES AND MUSEUMS, THE CURATORS BROUGHT TOGETHER A SELECTION OF WARTIME SKIRT SUITS, NURSES' AND AMBULANCE ATTENDANTS' UNIFORMS, MOURNING DRESSES, AND MILITARY-STYLE HATS.

THESE ITEMS ARE DISPLAYED ALONGSIDE FASHIONS BY FAMOUS DESIGNERS OF THE DAY.

THE EXHIBITION BRINGS INTO SHARP FOCUS HOW FASHION REFLECTED SOCIAL CHANGE AND THE REALITY OF LIFE IN WARTIME, WHEN WOMEN WORKED TO PROVIDE FOR THEIR FAMILIES AND CONTRIBUTE TO THE WAR EFFORT.

'FRENCH FASHION, WOMEN, AND THE FIRST WORLD WAR' IS ON VIEW THROUGH JANUARY 5th, 2020.

TODAY FASHION IS CREATED AND SHOWN IN CITIES FROM NEW YORK TO SHANGHAI.

YET PARIS IS STILL REGARDED BY MANY AS THE MOST GLAMOROUS OF THE WORLD'S FASHION CAPITALS.

THE MUSEUM AT F.I.T. PRESENTS THE FIRST EXHIBITION TO EXPLORE THE CULTURAL CONSTRUCTION OF PARIS AS THE INTERNATIONAL CAPITAL OF FASHION.

ON VIEW ARE SOME 75 ENSEMBLES, DATING FROM THE 18th CENTURY THROUGH TODAY.

THE EXHIBITION PLACES PARIS WITHIN A GLOBAL CONTEXT, ALONGSIDE OTHER FASHION CAPITALS LIKE TOKYO, MILAN, AND NEW YORK CITY.

AMONG THE LOOKS ON DISPLAY ARE PARIS COUTURE ORIGINALS, CONTRASTED WITH AMERICAN COPIES.

THESE ENABLE VISITORS TO SEE HOW PARISIAN STYLE INFLUENCED FASHION ALL OVER THE WORLD.

THROUGHOUT THE EXHIBITION, VISITORS ARE IMMERSED IN THE MYTHIC GLAMOR OF PARIS, WHILE ALSO LEARNING ABOUT FASHION'S EVOLVING ROLE IN THE FRENCH HISTORICAL NARRATIVE.

'PARIS, CAPITAL OF FASHION' IS ON VIEW THROUGH JANUARY 4th, 2020.

ONE OF THE FASHION WORLD'S MOST INNOVATIVE DESIGNERS IS THE FOCUS OF THE BROOKLYN MUSEUM EXHIBITION CALLED 'PIERRE CARDIN: FUTURE FASHION.'

THE SHOW TRACES THE LEGENDARY CAREER OF CARDIN, WHOSE FUTURISTIC DESIGNS AND EFFORTS TO MAKE HIGH FASHION ACCESSIBLE FOR THE MASSES PUSHED THE BOUNDARIES OF THE INDUSTRY FOR MORE THAN SEVEN DECADES.

THIS RETROSPECTIVE FEATURES OVER 170 OBJECTS THAT DATE FROM THE 1950s TO THE PRESENT DAY.

THEY INCLUDE HAUTE COUTURE AND READY-TO-WEAR GARMENTS, ACCESSORIES, PHOTOGRAPHS, FILM, AND OTHER MATERIALS DRAWN FROM THE ARCHIVES.

WHILE CARDIN WAS ONE OF THE FEW COUTURIERS WHO WAS ABLE TO DRAW, CUT, SEW, FIT, AND FINISH HIS FURNITURE, LIGHTING, AND THE INTERIORS OF CARS.

'PIERRE CARDIN: FUTURE FASHION' IS ON VIEW THROUGH JANUARY 5th, 2020.

THE MUSEUM OF ARTS AND DESIGN PRESENTS THE FIRST MUSEUM EXHIBITION TO COMPREHENSIVELY EXAMINE THE CAREER OF AMERICAN ARTIST AND DESIGNER VERA NEUMANN.

THE EXHIBITION OF MORE THAN 200 WORKS PUTS THE SPOTLIGHT ON ONE OF THE MOST SUCCESSFUL FEMALE DESIGN ENTREPRENEURS OF THE 20th CENTURY.

IT'S THE STORY OF ONE OF THE FIRST DESIGNERS TO CREATE AN AMERICAN LIFESTYLE BRAND.

THE WORKS ON VIEW RANGE FROM A SELECTION OF NEUMANN'S PAINTINGS, TO HER SIGNATURE SCARVES, FASHIONS, TEXTILES, AND TABLE LINENS SIGNED WITH A CURSIVE 'VERA' AND STAMPED WITH A LADYBUG.

SECTIONS OF THE EXHIBITION ALSO HIGHLIGHT NEUMANN'S BIOGRAPHY AND THE HISTORY OF THE COMPANY SHE LED FROM 1942 UNTIL HER DEATH IN 1993.

DURING THE 50 ACTIVE YEARS OF NEUMANN'S ENTERPRISE, SHE MAINTAINED CLOSE CONTROL OVER EVERY ASPECT OF PRODUCT DEVELOPMENT AND MANUFACTURE, TRADEMARKED HER NAME, AND COPYRIGHTED SOME 8,000 DESIGNS.

'VERA PAINTS A SCARF: THE ART AND LIFE OF VERA NEUMANN' IS ON VIEW THROUGH JANUARY 26th, 2020.

ALSO ON VIEW AT THE MUSEUM OF ARTS AND DESIGN IS A MAJOR RETROSPECTIVE OF THE ICONIC AMERICAN FASHION DESIGNER ANNA SUI.

IT FEATURES 75 LOOKS FROM THE DESIGNER'S ARCHIVE, FROM HER INAUGURAL FASHION SHOW OF 1991 TO HER SPRING 2019 COLLECTION.

ARRANGED THEMATICALLY, 'THE WORLD OF ANNA SUI' INCLUDES GARMENTS, SKETCHES, MOOD BOARDS, AND VIDEOS OF RUNWAY PRESENTATIONS.

SUI IS ONE OF NEW YORK CITY'S MOST BELOVED AND ACCOMPLISHED FASHION DESIGNERS, KNOWN FOR CREATING CONTEMPORARY ORIGINAL CLOTHING INSPIRED BY IN-DEPTH RESEARCH INTO VINTAGE STYLES, ART HISTORY, GRAPHIC DESIGN, EUROPEAN AND ASIAN DECORATIVE ARTS, FILM, AND MORE.

'THE WORLD OF ANNA SUI' IS ON VIEW THROUGH FEBRUARY 23rd, 2020.

NEXT ON THE PROGRAM, A LOOK AT THE WORK OF A PHOTOGRAPHER WITH A SINGULAR VISION.

GREGORY CREWDSON IS KNOWN FOR HIS CINEMATIC LARGE-FORMAT NARRATIVE IMAGES.

INSPIRED BY MOVIES AND PAINTINGS, EACH OF HIS METICULOUSLY CRAFTED PHOTOGRAPHS CONTAINS A HAUNTING AND AMBIGUOUS NARRATIVE.

WITH A CAREER THAT HAS SPANNED ALMOST THREE DECADES, HE HAS BEEN RECOGNIZED AROUND THE WORLD.

HIS PHOTOGRAPHS ARE ALSO IN THE COLLECTIONS OF MAJOR MUSEUMS HERE IN NEW YORK, INCLUDING THE METROPOLITAN MUSEUM OF ART, MOMA, THE WHITNEY, AND THE GUGGENHEIM.

IN 2016, AFTER A FIVE-YEAR ABSENCE FROM THE ART WORLD, CREWDSON UNVEILED HIS SERIES, 'CATHEDRAL OF THE PINES,' AT GAGOSIAN GALLERY IN CHELSEA.

PRODUCED NEAR HIS HOME IN BECKET, MASSACHUSETTS, IT IS HIS MOST PERSONAL SERIES YET.

'NYC ARTS' SPOKE WITH CREWDSON WHEN HE VISITED THE GALLERY.

ABOUT FIVE YEARS AGO, AFTER A DARK PERIOD, I MOVED OUT OF NEW YORK INTO A CHURCH IN GREAT BARRINGTON.

AND FOR AT LEAST TWO YEARS AFTER THAT I STILL WAS NOT MAKING PICTURES.

I WAS TRYING TO FIND SOME KIND OF STABILITY IN MY LIFE.

DURING THE WINTER I WOULD CROSS-COUNTRY SKI.

AND I WAS DEEP IN THE WOODS SKIING AND CAME ACROSS A LITTLE TRAIL THAT SAID CATHEDRAL OF THE PINES.

AND THAT'S THE TITLE OF THE BODY OF WORK.

AND IT WAS A MOMENT OF REVELATION.

IT WAS ONE OF THOSE FEW TIMES IN ONE'S LIFE WHERE YOU SEE THE ENTIRE BODY OF WORK IN YOUR MIND'S EYE.

SO I KNEW THAT THE BODY OF WORK WOULD ALL BE MADE IN BECKET, ON LOCATION.

AND I WOULD BE WORKING WITH MY CREW TO TRY TO TELL STORIES THAT CONNECT THE FIGURES IN ONE WAY OR ANOTHER TO THE NATURAL LANDSCAPE.

'CATHEDRAL OF THE PINES' WAS DONE OVER THE COURSE OF THREE YEARS IN THREE DIFFERENT PRODUCTIONS.

I'VE OFTEN SAID THAT I DIVIDE MY LIFE BETWEEN PRE-PRODUCTION, PRODUCTION, AND POST-PRODUCTION.

SO PRE-PRODUCTION IS MAPPING OUT THE IMAGES, WRITING DESCRIPTIONS, AND THEN PRODUCTIONS ARE USUALLY ABOUT FOUR OR FIVE WEEKS WHERE WE'RE ALL TOGETHER MAKING PICTURES ALMOST EVERY DAY.

AND THEN AFTER THAT IT'S MONTHS IF NOT YEARS OF POST-PRODUCTION.

WELL, I KNEW THAT THESE PICTURES FOR ME NEEDED TO BE LIKE PICTURES THAT WERE CLOSE TO MY HEART.

AND PARTICULARLY AFTER A LONG PERIOD OF NOT MAKING PICTURES I FELT LIKE I NEEDED TO DO EVERYTHING I COULD DO TO BE PURE AND HONEST IN THE PROCESS.

BUT ALSO I WANT FIRST AND FOREMOST THE PICTURES TO FEEL BEAUTIFUL AND MYSTERIOUS AND WONDROUS SO THAT IN ALL MY PICTURES THERE'S THIS BLURRED LINE BETWEEN THE IMAGINATION AND REALITY.

MANY OF THE SUBJECTS IN THE PICTURES WERE ALSO PEOPLE CLOSE TO ME SUCH AS MY PARTNER JULIANE AND MY DAUGHTER LILY AND VARIOUS OTHER FAMILY MEMBERS AND PEOPLE WHO ARE FROM THE AREA.

I THINK THAT ALSO ACCOUNTS FOR PART OF THE INTIMACY IN THE PICTURES.

MY PICTURES RESIDE IN THIS COLLISION BETWEEN VERY INTIMATE, VERY PRIVATE MOMENTS BUT PHOTOGRAPHED IN A VERY KIND OF OBJECTIVE OR DETACHED WAY.

SO IT'S THOSE TWO THINGS COMING UP AGAINST EACH OTHER.

AND I THINK THAT KIND OF ACCOUNTS FOR A CERTAIN TENSION THAT'S IN THE PICTURES.

I DO EVERYTHING I CAN DO TO, LIKE, CREATE A PICTURE THAT EVERYTHING IN THE FRAME MEANS SOMETHING.

THERE'S NOTHING IN A PICTURE THAT, FOR ME, DOESN'T CARRY A CERTAIN WEIGHT OR GRAVITAS IN TERMS OF TELLING THE STORY.

AND WE WORK TO ACHIEVE THAT.

THAT BEING SAID THERE'S ALWAYS THINGS THAT ARE OUTSIDE OF ONE'S CONTROL THAT HAPPEN THAT REALLY ADD TO THE ULTIMATE MYSTERY OF THE PICTURE.

TO ME, WHERE THE ULTIMATE MEANING OF THE PICTURES RESIDE IS IN MY NEED TO TRY TO CREATE A PERFECT WORLD IN PICTURES AND THE ULTIMATE IMPOSSIBILITY OF DOING SO, THAT COLLISION OF ORDER AND HAPPENSTANCE.

ALL PHOTOGRAPHS ARE ESSENTIALLY OR FUNDAMENTALLY CONCERNED WITH LIGHT.

SO IN IN MY PICTURES I JUST EXTEND THAT FURTHER AND TRY TO TELL A STORY THROUGH LIGHT.

I WAS VERY INFLUENCED BY 19th CENTURY PAINTING.

I, WITH MY DIRECTOR OF PHOTOGRAPHY, WENT THROUGH GREAT PAINS TO TRY TO FIND AN AESTHETIC SENSIBILITY THAT FELT PAINTERLY AND ONE OF THE KEY THINGS WE DID IN ALL THE INTERIORS IS WE LIT FROM OUTSIDE IN.

SO WE JUST HAVE, LIKE, A FILL LIGHT FOR THE INTERIORS BUT THE PRIMARY SOURCE, THE NARRATIVE LIGHT, AS WE CALL IT, WOULD COME FROM THE EXTERIOR.

I WANT THE PICTURES TO FEEL TIMELESS.

I WORK REALLY HARD TO LIKE REMOVE ANY SIGNIFIERS OF THE MOMENT OF THE CULTURE WE'RE IN.

THERE'S NO CELL PHONES, THERE'S NO SORT OF CONTEMPORARY CARS OR ANYTHING LIKE THAT.

IT'S REALLY ABOUT CREATING A WORLD THAT FEELS FAMILIAR AND MYSTERIOUS AT THE SAME TIME.

I THINK IN THE END, FOR ME, 'CATHEDRAL OF THE PINES' REPRESENTS A JOURNEY BETWEEN BEFORE AND AFTER.

AND IT REPRESENTS IN MANY WAYS GOING THROUGH A PERIOD OF DARKNESS INTO A PERIOD OF LIGHT.

AND EVEN THOUGH THERE'S IN MANY CASES THIS SENSE OF DISCONNECTION OR SADNESS, I FEEL LIKE THE HOPE COMES FROM THE LIGHT AND THE BEAUTY OF THE PICTURE ITSELF.

♪♪

> NEXT, WE VISIT THE ONLY MUSEUM IN THE WORLD THAT EXCLUSIVELY EXHIBITS AND PRESERVES THE ART OF THE LGBTQ COMMUNITY.

THE LESLIE-LOHMAN MUSEUM OF ART BEGAN 50 YEARS AGO WITH AN EXHIBITION IN THE SOHO LOFT OF COLLECTORS CHARLES LESLIE AND FRITZ LOHMAN.

SURPRISED BY THE SHOW'S POPULARITY, THE COUPLE REALIZED THERE WAS A NEED WITHIN THE GAY COMMUNITY TO HAVE THEIR WORK EXHIBITED AND UNDERSTOOD.

THEY FOUNDED THE LESLIE-LOHMAN GAY ART FOUNDATION IN 1987, WHICH WAS ACCREDITED AS THE LESLIE-LOHMAN MUSEUM OF GAY AND LESBIAN ART IN 2016.

THIS OCTOBER, THE MUSEUM DROPPED 'GAY AND LESBIAN' FROM ITS NAME TO BE MORE INCLUSIVE OF THE DIVERSE COMMUNITY.

AROUND THE SAME TIME, THE MUSEUM ANNOUNCED A $7 MILLION CAPITAL CAMPAIGN TO CREATE A COMMUNITY ENGAGEMENT AND EDUCATION CENTER, AS WELL AS A RESEARCH LIBRARY AND ART ARCHIVE.

THESE EXPANSIONS WILL ALLOW THE MUSEUM TO CONTINUE TO SERVE A GROWING ARTISTIC AND SCHOLARLY COMMUNITY.

'NYC ARTS' SPOKE WITH THE MUSEUM'S FOUNDER, CHARLES LESLIE, AND THE MUSEUM'S DIRECTOR, GONZALO CASALS, ABOUT THE STORY BEHIND THIS VERY SPECIAL MUSEUM.

I THINK WHEN I WAS 7 OR 8, MY FATHER PURCHASED A SET OF THE ENCYCLOPEDIA BRITANNICA.

AND BEING AN INCIPIENT GAY CHILD, I DISCOVERED GRECO-ROMAN SCULPTURE AND BECAME OBSESSED WITH IT.

AND THAT OBSESSION FOR FIGURATIVE IMAGERY NEVER CHANGED THROUGHOUT MY LIFE.

IF YOU GREW UP GAY IN THE 1930s, '40s AND '50s, YOU HAD TO BE AN ACTIVIST AUTOMATICALLY.

BY LAW, IT WAS ILLEGAL TO SERVE A HOMOSEXUAL IN A PUBLIC TAVERN.

FRITZ WAS AN ELEGANT MAN.

HE WAS 11 YEARS OLDER THAN I.

I WAS 29 AND HE WAS 40 AND LIGHTNING STRUCK.

SO WE WERE TOGETHER FOR THE NEXT 48 YEARS.

ONE OF THE MANY THINGS THAT BONDED US WAS THAT WE DISCOVERED WE BOTH HAD SMALL, DISCREET BUT INTERESTING COLLECTIONS OF ESSENTIALLY HOMOEROTIC ART.

WHEREVER WE WENT, WE LOOKED AND WE FOUND IT, SOMETIMES IN VERY EXTRAORDINARY, UNLIKELY PLACES.

A LA MICKEY ROONEY AND JUDY GARLAND, WE SAID, HEY, LET'S PUT ON A SHOW.

AND WE CALLED I THINK 13 DIFFERENT ARTISTS IN THE NEIGHBORHOOD AND SAID, LISTEN, WE'RE HAVING A WEEKEND SHOW NEXT MONTH, WHICH WAS JUNE OF 1969, OF HOMOEROTIC ART.

AND IF YOU'D LIKE TO SUBMIT SOMETHING, PLEASE DO.

WELL, WE GOT 13 SUBMISSIONS, 2 OF WHOM WERE WOMEN.

BY THE WEEKEND, THE END OF THE WEEKEND, WE HAD OVER 300 PEOPLE COMING IN AND OUT AND EVERY SINGLE PIECE HAD SOLD.

AND WE THOUGHT, HMM, THAT'S REVELATORY.

A FEW DAYS LATER, THE STONEWALL THING HAPPENED.

AT 2:30 IN THE MORNING, A FRIEND IN THE VILLAGE CALLED AND SAID, YOU'VE GOT TO COME TO THE VILLAGE RIGHT AWAY.

AND I SAID, CRAIG, IT'S 2:00 IN THE MORNING.

WHAT ARE YOU TALKING ABOUT?

HE SAID, YOU GOT TO COME NOW.

I CAN'T TALK.

WE GOT UP AND WALKED UP THERE AND IT LOOKED LIKE A WORLD RIOT WAS GOING ON.

HUNDREDS OF PEOPLE STORMING INTO THE STREETS.

THIS FIRST SHOW WAS SO SUCCESSFUL, WE DID IT AGAIN THE NEXT YEAR, 1970.

AND THEN THAT WAS HUGELY SUCCESSFUL, SO WE SHOWED MORE ARTISTS, SOLD MORE WORK.

AND THAT'S WHEN WE ESTABLISHED THE LESLIE-LOHMAN GAY ART FOUNDATION.

IN THE BEGINNING WE DIDN'T UNDERSTAND WHAT IT WAS.

WE JUST THOUGHT, WELL, IT'S SOMETHING GOING AROUND LIKE THE COMMON COLD OR SOMETHING.

AND THEN A FRIEND BECAME TERRIBLY ILL AND WAS DEAD IN SIX WEEKS.

AND THAT RIVETED US.

AND FROM THAT MOMENT ON WE FOUND OURSELVES AT MEMORIALS AND AT BEDSIDES AND IN HOSPITALS.

WE FOUND OURSELVES COLLECTING THE ESTATES OF DEAD ARTISTS.

AND WE TRIED TO SAVE WORK, WHICH WE SUCCEEDED IN DOING IN A NUMBER OF CASES, BUT NOT NEARLY ENOUGH TO COVER EVERYTHING.

AN ARTIST CALLED EDWARD HOCHSCHILD WHO HAD MADE A BEAUTIFUL WORK, A WOODEN CROSS, LIKE, PROBABLY FIVE FEET TALL.

HE HAD MADE SMALL HOLES AND IN THOSE HOLES HE WOULD INSERT BLOOD VIALS.

AND INSIDE OF THOSE GLASS BLOOD VIALS, HE WOULD PUT DIFFERENT ELEMENTS THAT WOULD MAKE UP A DAY IN HIS LIFE.

WHEN THE ARTIST PASSED AWAY, THE FAMILY AND FRIENDS WERE TRYING TO FIGURE OUT WHAT TO DO WITH THE WORK.

THEY DECIDE TO DONATE THEIR WORK TO THE MUSEUM.

BUT THE CROSS WAS, BECAUSE OF ITS SIZE AND BECAUSE OF THEM, ITS FRAGILITY, WAS REALLY DIFFICULT TO TRANSPORT.

SO THE ONLY OPTION THEY HAD TO TRANSPORT THE WORK FROM THE WEST VILLAGE TO THE MUSEUM, THE FOUNDATION IN SOHO WAS A GROUP OF FRIENDS CARRYING THE CROSS ON THEIR BACKS.

AND I FEEL LIKE WHILE IT'S EXTREMELY SAD, IT'S ALSO A BEAUTIFUL METAPHOR FOR THE WORK THAT NO ARTIST AND THE COMMUNITY AND THE MUSEUM WERE DOING TO PRESERVE LGBT CULTURE IN A MOMENT OF SO MUCH DEVASTATION.

WE MOVE FORWARD TO THE EARLY 2000s.

WE START TRANSITIONING TO A MUSEUM AND REALLY START EXPANDING OUR MISSION, PAYING ATTENTION TO THE EXPERIENCE FROM AN INTERSECTIONAL PERSPECTIVE, NOT ONLY YOUR SEXUAL PREFERENCE OR THE WAY YOU PRESENT YOUR GENDER, BUT YOUR RACE, ETHNICITY, YOUR CLASS, YOUR IMMIGRATION STATUS, AND HOW ALL THOSE THINGS, YOU KNOW, MAKE YOUR EXPERIENCES UNIQUE.

NOT ONLY YOU CAN COME AND SEE THINGS HANGING ON THE WALLS, BUT YOU CAN, IF YOU'RE AN ARTIST, YOU CAN GET A PROFESSIONAL DEVELOPMENT SUPPORT, OR YOU CAN ACCESS A WRITING WORKSHOP.

IF YOU'RE A STUDENT, THEN YOU CAN COME EITHER WITH YOUR CLASSROOM OR WITH YOUR GSA CLUB TO THE MUSEUM AND LEARN, YOU KNOW, FROM THE EXHIBITIONS AND, YOU KNOW, BEING ENGAGED BY OUR EDUCATORS.

SO WE'RE JUST CONSTANTLY THINKING OF WAYS IN WHICH DIFFERENT MEMBERS OF OUR COMMUNITY CAN FIND DIFFERENT ENTRY POINTS TO THE MISSION OF THE MUSEUM AND TO THE CONTENT THAT IS HANGING ON OUR WALLS.

WHEN I CAME TO THE MUSEUM, THE MUSEUM IS IN SOHO, IT'S A LANDMARK NEIGHBORHOOD.

THERE'S ALSO ONLY SO MUCH SIGNAGE THAT WE CAN PUT THAT SAYS, YOU KNOW, THERE'S AN LGBTQ MUSEUM HERE IN THIS CORNER.

I SEE MUSEUMS AS PLATFORMS OF POWER.

AND I WAS LIKE, HOW ARE WE GOING TO USE THIS POWER THAT WE HAVE IN OUR HANDS?

THIS WAS A FEW MONTHS AFTER THE ELECTION OF PRESIDENT TRUMP.

AND I HAD SEEN HOW YOUNGER GENERATIONS OF QUEER PEOPLE STARTED USING THE DIALECTIC OF DEATH TO BRING ATTENTION TO SO MANY OF OUR CIVIL RIGHTS BEING TAKEN AWAY.

COINCIDENTALLY, I REALIZED THAT IT WAS THE 30th ANNIVERSARY OF THE CREATION OF THE POSTER, SO WE SPOKE WITH THE SILENCE EQUALS DEATH COLLECTIVE.

AND WE SAID, WOULD YOU BE WILLING TO RETHINK THE ELEMENTS OF THE POSTER ON THE FACADE OF THE MUSEUM?

THEY THOUGHT WE WERE CRAZY, BUT AT THE SAME TIME THEY GOT REALLY EXCITED.

AND THAT'S HOW OUR QUEER POWER PUBLIC ART FACADE INSTALLATION STARTED.

YOU FAST FORWARD TO 2019, IS THE 50th YEAR ANNIVERSARY OF THE MUSEUM, OF THE STONEWALL UPRISING, AND WE DECIDED TO WORK WITH AN ARTIST CALLED JOAN WITH AN ARTIST CALLED JOAN BIREN, WHO GOES BY J.E.B.

WHO HAS BEEN A FILMMAKER AND PHOTOGRAPHER, A PIONEER, ACTIVIST.

SHE CAME UP WITH THE IDEA OF GOING THROUGH HER ARCHIVE AND LOOKING FOR PHOTOGRAPHS OF DIFFERENT MOMENTS OF THE MOVEMENT.

ON ANY GIVEN DAY BETWEEN NOW AND MAY, 2020, IF YOU WALK IN FRONT OF OUR MUSEUM, YOU'RE GOING TO SEE IMAGES THAT REPRESENT PEOPLE EITHER FIGHTING FOR RIGHTS, COMMEMORATING LOVED ONES THAT PASSED AWAY, CELEBRATING PRIDE, BEING PROUD OF THEIR GAY CHILDREN, AND SO MANY OTHER MOMENTS THAT REALLY BRING A HOLISTIC APPROACH TO THE MOVEMENT AND TO THE LIVES AND THE LGBTQ EXPERIENCE.

EVERYTHING GAY WAS SO FORBIDDEN AND SO FROWNED ON, I THOUGHT, YOU KNOW, WE HAVE TO LIVE AN UNDERGROUND LIFE FOREVER.

IF A PIECE OF ART IS WONDERFUL, THERE'S NOTHING IN ANY PART OF IT TO BE ASHAMED OF.

ANYWAY, NOW IT'S A MUSEUM AND NOW WE'RE HERE TO STAY.

♪♪

> FROM DECEMBER 20th THROUGH JANUARY 6th, FILM AT LINCOLN CENTER PRESENTS A COMPREHENSIVE, CAREER-SPANNING RETROSPECTIVE OF AGNES VARDA'S WORK.

IN 1955 VARDA KICKSTARTED THE FRENCH NEW WAVE.

FOR THE NEXT SIX DECADES SHE REMAINED AT THE CUTTING EDGE OF INTERNATIONAL CINEMA, CONTINUING TO INNOVATE, EXPERIMENT, AND EXPLORE RIGHT UP UNTIL HER DEATH EARLIER THIS YEAR AT AGE 90.

AN ETERNAL FREE SPIRIT, VARDA USED THE CAMERA AS AN EXTENSION OF HERSELF, SYNTHESIZING THE THEMES THAT CAPTURED HER RESTLESS IMAGINATION.

FOR COMPLETE DETAILS PLEASE VISIT FILMLINC.ORG.

♪♪

> THANKS SO MUCH FOR JOINING US TONIGHT.

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

GOOD NIGHT.

> NEXT WEEK, A LOOK AT THE EXHIBITION 'THE LAST NIGHT'. THE ART, ARMOR, AND EXHIBITION OF MAXIMILAN I.

ARMOR PROJECTS AN IMAGE OF PERFECTION.

THERE'S SOMETHING ALMOST HOLY ABOUT THE ARMOR.

> AND A LOOK AT THE ANNUAL TRADITION OF CREATING AN ORIGAMI TREE AT THE AMERICAN MUSEUM OF NATURAL HISTORY.

WE HAVE A WHOLE COLLECTIO.

THIS IS AN AMAZING MARRIAGE OF SCIENCE AND ART.

♪♪ ♪♪ ♪♪ ♪♪

> 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.

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 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, OUR CLIENTS.

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

BE A BANK WHOSE CURRENCY IS CLIENTS.

IT'S STILL THE FIRST THING ON OUR MINDS.