Philippe de Montebello speaks with Pierre Terjanian, the curator of “The Last Knight: The Art, Armor, and Ambition of Maximilian I,” on view at The Metropolitan Museum of Art through January 5, 2020. Followed by a visit to the American Museum of Natural History to see the Origami Holiday Tree. And a look at “Flower Flash,” one of the unique floral installations created by florist Lewis Miller.

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♪♪

> COMING UP ON NYC ARTS, A LOOK AT THE EXHIBITION, THE LAST NIGHT THE ART, ARMOR AND AMBITION OF MAXIMILLIAN THE FIRST.

ARMOR IS WORN IN COMBAT, IT'S ALSO DRESS OF THE POWERFUL MEN.

IT'S AN IMAGE THAT PROJECTS PERFECTION.

GEORGE HAS ALWAYS REPRESENTED ARMOR.

THERE'S SOMETHING HOLY ABOUT THE ARMOR.

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

WE HAVE A COLLECTION THAT THEY RECEIVED.

THEY RANGE FROM SUPER COMPLEX ALL THE WAY DOWN TO SUPER SIMPLE.

THIS IS AN AMAZING MARRIAGE OF SCIENCE AND ART.

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

WALTER.

THEA PETSCHEK IERVOLINA FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODI AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

EL ROY AND TERRY KRUMHOLTZ FOUNDATION.

GENE DUBINSKY APPLETON ESTATE.

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 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.

> GOOD EVENING AND WELCOME TO NYC ARTS.

NOW ON VIEW IS THE EXHIBITION THE LAST NIGHT THE ART ARMOR AND AMBITION OF MAXIMILLION THE FIRST.

IT'S THE FIRST MAJOR EXHIBITION TO FOCUS ON THE CENTRAL ROLE THAT ARMOR PLAYED ON THE LIFE AND GRAND AM BIGS OF THE HOLY ROMAN EMPEROR MAXIMILLION THE FIRST.

HIS ASPIRATIONS DURING THE DAWN OF THE RENAISSANCE.

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

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

THE ARMOR IS ON VIEW, ARE QUITE SUMPTUOUS, AND HIGHLIGHT HIS PATRONAGE OF THE GREATEST EUROPEAN ARMORS OF HIS AGE.

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

THE OUTSTANDING ARMORS ARE SHOWN TOGETHER WITHDRAWINGS, PRINTS, PAINTINGS, SCULPTURE AND TAPESTRY.

ALSO IS THE COMPLETE SERIES OF 18 SAND STONE RELEASE THAT MAXIMILLION COMMISSIONED TO DECORATE HIS OFFICIAL RESIDENCE.

I HAD THE OPPORTUNITY OF SPEAKING WITH PIERRE, THE CURATOR OF THIS TRULY REMARKABLE EXHIBITION.

PIERRE, IT'S SO NICE OF YOU TO WELCOME US.

IT'S ABSOLUTELY EXTRAORDINARY EXHIBITION.

I MEAN, ASTONISHINGLY BEAUTIFUL.

AND AT THE SAME TIME REVEALING OF A WHOLE WORLD THAT IS REALLY NOT FAMILIAR TODAY TO MOST PEOPLE.

LET'S SET THE STAGE.

WHO EXACTLY IS MAXIMILLION THE FIRST.

ONE OF THE EUROPEAN RULERS THAT IS WELL KNOWN IN EUROPE AS A COLORFUL FIGURE THAT RULED OVER MANY DIFFERENT PARTS OF EUROPE POP STARTS HIS CAREER IN TODAY'S NETHERLANDS AND LATER BECAME HOLY ROMAN EMPEROR, MOSTLY GERMAN SPEAKING, BUT NOT EXCLUSIVELY RESIDED IN AUSTRIA.

HE WAS AT THE HINGE OF THE LATE MIDDLE AGES AND THE BEGINNING OF THE RENAISSANCE, A MAN WHO LIVED IN THE PERIOD OF TRANSITION, WHO SAW MASSIVE CHANGES.

POLITICALLY, BUT SCIENTIFICALLY AND ARTISTICALLY.

WHAT EXACTLY DID ARMOR, GREAT ARMOR MEAN AT THAT TIME IN THE LATE 15th, EARLY 16th CENTURY.

ARMOR IS A PROTECTIVE GARMENT MADE OF STEEL OR IRON.

IT'S WORN IN COMBAT, BUT IT'S ALSO THE FORMAL DRESS OF THE POWERFUL MEN THAT ARE NOT PART OF THE CLERGY AT THE TIME.

IT'S ALSO AN OBJECT THAT PROJECTS AN IMAGE OF PROFESSION, LIKE SAYING GEORGE IS ALWAYS REPRESENTED IN ARMOR AND THE ARC ANGEL MICHAEL.

THERE'S SOMETHING HOLY ABOUT THE ARMOR, WEARING ARMOR ALLOWS ONESELF TO ACCOMPLISH THINGS THAT ONE MIGHT NOT DARE TO DO WITHOUT IT.

IT IS ALSO SOMETHING YOU SEE AS PART OF A PERFORMANCE, AND THE PERFORMANCES ARE IMPORTANT TO MAXIMILLION BECAUSE HE NEEDS TO DEMONSTRATE HE HAS LEADERSHIP QUALITIES THAT WILL MOBILIZE PEOPLE AROUND HIM, AROUND HIS CAUSE.

I PRESUME IF YOU'RE MAXIMILLION YOU COMMISSIONED THE GREATEST ARMORS IN EUROPE.

WHERE WERE THEY AND FOR WHOM DID THEY WORK.

ARMOR COULD ONLY BE HAD FROM VERY SPECIAL WORKSHOPS.

IF YOU WANTED AN ARMOR FROM THOSE WORKSHOPS YOU HAD TO BE IN MAXIMILLIONS GOOD GRACES, YOU HAD TO BE CONNECTED TO IT.

THE OBJECTS ARE VALUABLE BECAUSE OF HOW THEY'RE MADE, RATHER THAN THEIR INTRINSIC VALUE.

VALUABLE IN THE FIRST PLACE, BUT THE QUALITY OF THE WORKMANSHIP IS EVERYTHING.

AND NOT UNLIKE HAUTE COUTURE, ARMOR HAS A SENSE OF STYLE.

SO MAXIMILLION WAS ECLECTIC, HE HAD ARMOR MADE WHEREVER HE FANCIED.

AND HE HAD ACCESS TO THE BEST ARMORS OF THE TIME.

IS THIS A LITTLE BIT LIKE GOING TO THE TAYLOR?

DID HE ACTUALLY GO TO THE ARMORER, BE MEASURED BY THE ARMORER?

HOW DID THAT WORK?

IN GENERAL, THE EMPEROR SUMMONED THE ARMORS TO VISIT AT HIS HOME.

HE HAD STRONG OPINIONS ON THE MATTER.

AND MAYBE THAT'S A COUNTER INTUITIVE FOR HEAD OF STATE TO BE INTERESTED IN SUCH THINGS.

HE THOUGHT HIS ABILITY TO HAVE WONDERFUL ARMORS FOR HIMSELF, TO APPEAR IN THEM, TO GIVE THEM, TO THE PEOPLE WHO WERE IN HIS ENTOURAGE.

IT'S A DIPLOMATIC GIFTS.

AS BRIBES AS FAVORS.

FAVORS.

AS TOKEN OF APPRECIATION, SO SOMETIME EVEN HIS USHER OR HIS PERSONAL SECOND GOT ARMORS AS GIFTS FROM HIM.

AS WELL AS HEADS OF STATES.

HENRY THE VIII WAS ONE OF THE CITIZENS.

THIS IS AN OPPORTUNITY TO SPEAK ABOUT THE FOLKS RIGHT NEXT TO US, IS IT FREAK WENT THAT THE HORSES THEMSELVES HAD ARMOR FROM THE HEAD AND ALL OVER OR IS THAT AN IMPERIAL PRIVILEGE?

IT'S A MATTER OF RESOURCES, LET'S SAY THE ONES WHO CAN AFFORD IT WOULD HAVE ARMOR FOR THEIR HORSES, THE INEXPENSIVE KIND WAS BOILED LEATHER ARMOR, A SOLID METAL HORSE ARMOR WAS VERY EXPENSIVE, VERY RARE.

THIS ONE IS COMPLETE WORKED IN RELIEF.

THAT IS A STATEMENT.

A POWERFUL STATEMENT.

AND IN ITS ORIGINAL STATE, THIS HORSE ARMOR WAS COMPLETELY COVERED IN SILVER AND GOLD.

I GATHER MAXIMILLION WAS WELL KNOWN AS BEING A GREAT JOUSTER?

TELL US ABOUT THOSE ARMORS AND THE DEMEANING CONCEIVABLY SYMBOLIC MEANING OF HAVING THESE EXHIBITIONS, THESE JOUSTS?

SO MAXIMILLION HAD TO PROVE HIMSELF TO GAIN THE SUPPORT THAT HE NEEDED FROM HIS LANDS, THE DUKES, THE COUNTS, THAT WAS HIS TRUE AUDIENCE.

TO DO, SO HE COULD DO SO IN BATTLE.

PEOPLE TEND TO BE DISTRACTED IN COMBAT.

THE TOURNAMENT PROVIDED A DEFINITE ARENA, WHERE THERE WILL BE A RANGE OF PEOPLE WHO ARE SOCIALLY DIVERSE, ALL OF WHOM COULD WATCH THE TOURNAMENT.

THE TOURNAMENT IS PART OF THE CELEBRATION OF ANYTHING IMPORTANT.

RELIGIOUS HOLIDAYS, INAUGURATION OF SOMEONE'S REIGN, NOBLE WEDDING AND SO FORTH.

MAXIMILLION USES THE TOURNAMENT AS A WAY OF AMPLIFYING HIS MESSAGE.

HE HAS QUALITIES, HIS QUALITIES ARE PHYSICAL, FIERSOM, HE WILL RUN AGAINST SOMEBODY HOLDING THE LENS, RUNNING THE RISK OF BEING STRUCK ON HORSE, POSSIBLY WOUNDED.

HE WAS ACTUALLY WOUNDED IN A TOURNAMENT MANY TIMES DURING HIS LIFE.

THIS IS A DEMONSTRATION OF HIS DEXTERITY OF A HORSE MAN AND HIS COURAGE.

AND HIS COURAGE.

IT ULTIMATELY, BECAUSE HE HAD CHRONICLES DONE IN -- A BUY GRAPHICAL WAY, TELLING STORIES OF HIM FIGHTING AGAINST OTHERS IN THE TOURNAMENT.

HE HAS HIMSELF DEPICTED AS A LOSER.

THAT'S VAIN, IT SHOWS MORAL CHARACTER.

THE IDEA THAT HE HAS ENDURANCE THAT'S REQUIRED FOR SOMEBODY WHO WILL BE FACING CHALLENGES.

IT'S NOT JUST ABOUT BEING SUPREME, IT'S ABOUT BEING COMBATIVE.

ONE SUSPECTS THAT ARMORS OVER TIME WILL SPLIT APART, PARTS OF IT WERE SOLD, HOW RARE IS IT TO HAVE ACTUALLY A FULL ARMOR?

THOSE THINGS ARE AMONG THE RAREST, ESPECIALLY IN THE 15th CENTURY, WHEN MOST ELEMENTS ARE COMPLETE AND INDEPENDENT FROM ANOTHER.

IT'S VERY RARE INDEED TO FIND THOSE 20 TO 50 ELEMENTS THAT WERE ORIGINALLY DESIGNED TO GO TOGETHER AS SOMETHING COHERENT, TO HAVE REMAINED TOGETHER AFTER CENTURIES.

THAT'S THE CASE FOR THE ONE THAT IS IN THE SHOW HERE?

IT IS.

IS IT SOMEWHAT MADE UP?

IT IS NOT MADE UP, HOWEVER, THERE WAS SOME SOUL SEARCHING, BECAUSE IT WAS KEPT WITH OTHER ARMORS WITH SIMILAR FEATURES IN THE SAME PLACE.

AND OVER THE CENTURIES, THOSE ELEMENTS GOT MIXED UP.

THEY DID SOME TEST FITTINGS, TRYING TO SEE WHICH PIECES REALLY STYLISTICALLY WERE CONNECTED TO THE BEST, THE HELMET OF THAT ARMOR, HOWEVER, HAD BEEN SEPARATED FROM THE BODY SINCE THE 18th CENTURY.

AND THIS IS ONE OF THE VERY RARE OPPORTUNITIES TO SEE WHAT THE OVERALL ARMOR WOULD HAVE LOOKED LIKE WITH THE ORIGINAL HELMET, WHICH IS IN THE PRIVATE COLLECTION REUNITED.

THE ARMOR WAS MADE WITHIN MONTHS -- HE FOUGHT THE FRENCH IN 1479.

THIS WAS HIS FIRST VICTORY, THEREFORE, HE COMMISSIONS THIS EXTRAORDINARY ARMOR FROM GERMANY, AND IT IS THE ONE IN WHICH HE RIDES INTO HIS VISITS HIS SUBJECTS.

IT WAS SOMETHING THAT WAS UNLIKE ANYTHING THAT HAD BEEN SEEN IN THE LOW COUNTRIES BEFORE.

IN SOPHISTICATION, AND ARTICULATION, AND FROM THE POINT OF VIEW OF STYLE.

IT WAS A SUPERLATIVE HONOR, MAXIMILLION STRUGGLED TO PAY FOR IT.

IT'S A SPECTACULAR PIECE, SO MANY OBJECTS IN THIS EXHIBITION.

WHAT COULD ALMOST SPEAK OF THESE ELEMENTS AS PIECES OF SCULPTURE.

THAT'S A VERY FIRST REASON THAT I BECAME INTERESTED IN RM AS AND ARMOR, AND IN PARTICULAR, IT'S AN ABILITY TO TRANSFORM THE BODY OF THE WEARER, IT'S THE FACT THAT THE BEST AROUNDERS OF THEIR DAY WERE CAPABLE OF ENDOWING SOMETHING THAT WEIGHED 60 POUNDS OR MORE WITH GRACE, WITH ELEGANCE.

THERE WERE FASHION ELEGANCE THAT ARTICULATED WHAT THE ARCHITECTURE WOULD LOOK LIKE.

THE WAY YOU PROTECT THE HEAD, THERE ARE MANY DIFFERENT WAYS, THE ARMORS WERE ALSO DRAWN FOR THE PRINCELY PATRONS TO CREATE SOMETHING THAT WAS AESTHETICALLY PLEASING AND CAPTIVATING.

WE'RE TRYING TO SHOW THE DIVERSE OPTIONS TO SOMEONE WHO HAD THE MEANS TO ACQUIRE THE FINEST ARMOR DURING THE PERIOD.

THERE IS ONE FAMOUS ARMOR THAT HAS DISAPPEARED.

IT'S ONLY KNOWN THROUGH ONE REPRESENTATION WHICH IS AN EXTRAORDINARY PAINTING BY KRANACH IN THE EXHIBITION.

IT'S ELEMENTS OF AN ALTER PIECE, ONE OF THE WINGS.

IT REPRESENTS THE ROMAN LEGION EAR ST. MAURICE IN AFRICA.

AND THE ARMOR, HOWEVER, IS A PORTRAIT OF AN OBJECT THAT REALLY EXISTED.

IT'S AN ARMOR MADE OF SOLID SILVER, GEMS AND PEARLS AND GUILDING.

IT WAS MAXIMILLIONS.

HE CHRONICALLY RAN OUT OF MONEY FIGHTING THE VENETIANS, THE TURKS, AND OTHERS, SOMETIMES HIS OWN SUBJECTS.

IT STAYED WITH THE ARMOR AND IN 1519, CHARLES THE 5th REDEEMED IT, WORE IT FOR HIS CORONATION AS KING OF THE ROMANS AND GAVE IT AS A GIFT TO A CARDINAL WHO TURNED IT INTO A CONTAINER FOR BONES AND IT WAS DISPLAYED IN A CHURCH.

LUCAS HAD A MISSION TO CREATE THE SAME BASE.

THE CARDINAL RAN INTO FINANCIAL DIFFICULTIES AND WITHIN 20 YEARS THE ARMOR WAS MELTING DOWN AND THE JEWELS SCATTERED.

THERE'S AN ASTONISHING PICTURE AT THE END OF THE EXHIBITION WHICH IS THE PORTRAIT OF MAXIMILLION IN DEATH, WHAT IS THE SIGNIFICANCE OF THIS?

THIS IS THE FIRST REPRESENTATION AS FAR AS I KNOW, OF A SOVEREIGN AS A DEAD MORTAL, AS A DEAD PERSON.

IT MUST HAVE BEEN COMMISSIONED BY MAXIMILLION, IT'S SHOWING HIM AS A HUMBLE MORTAL.

WE KNOW FROM HIS LAST WILL AND TESTMENT HE ASKED TO BE BEATEN WITH RODS AND HIS TEETH TO BE KNOCKED OUT.

BY SHOWING HUMILITY IN HOW HIS BODY HAD TO BE TREATED AFTER HIS DEATH, HE WAS SHOWING HIS CONTRITION, HIS PENANCE, AND ASKED TO BE FORGIVEN.

WHY IS THE SHOW CALLED THE LAST NIGHT?

WHY IS MAXIMILLION CALLED THE LAST NIGHT.

IT'S NOT A NAME HE WOULD HAVE WANTED FOR HIMSELF.

HE THOUGHT OF HIMSELF AS THE FIRST AMONG MANY.

HE WANTED TO BE A KNIGHT.

AND LAST NIGHT HIS TERM CAME FROM THE 19th CENTURY.

ROMANTIC WRITING WHERE MAXIMILLION WAS VIEWED AS A ROMANTIC FIGURE.

VIRTUALLY ALL OF HIS DECENDENTS HAD THE BUREAUCRATIC APPROACH TO THE POWER AND RULE.

IN THAT SENSE, HE WAS VIEWED BY HIS OWN KIN AS THE LAST OF A KIND.

AS SOMEONE WHO HAD SECURED FOR THEM INFLUENCE AND PRESTIGE.

VERY MUCH THROUGH HIS MARSHALL EASE AND HIS MARSHALL IMAGE.

THIS IS AN EXHIBITION FULL OF GREAT ART AND SCULPTURE IN THE FORM OF ARMOR AND HISTORY, AND PAGEANTRY.

IT REALLY HAS EVERYTHING FROM EVERYONE, AND WE'RE SO GRATEFUL TO YOU FOR CREATING THE EXHIBITION FOR THE METROPOLITAN MUSEUM OF ART.

AND THANK YOU FOR EXPLAINING IT SO COGENTLY.

THANK YOU, PHILLIPE.

THANK YOU SO MUCH.

♪♪

> LINCOLN CENTER THEATER RECENTLY PRODUCED AND IS CURRENTLY PRESENTING, GREATER CLEMENTS A PLAY WRITTEN BY SAMUEL D. HUNTER.

THE SETTING OF THE PLAY IS THE FICTIONAL TOWN OF GREATER CLEMENTS IDAHO, A MINING COMMUNITY WHERE PROPERTIES ARE BEING PURCHASED BY WEALTHY OUT OF STATE PEOPLE.

THESE NEWCOMERS ARE FORCING OUT LIFELONG RESIDENTS, LARGELY BLUE COLLAR WORKERS WHO ARE BECOMING DISENFRANCHISED AND DISENCHANTED.

THE STORY IS TOLD THROUGH MAGGIE, WHO IS ON THE VERGE OF SHUTTING DOWN HER FAMILY'S MINE TOUR AND MUSEUM BUSINESS.

FOR COMPLETE DETAILS, PLEASE VISIT LCT.ORG.

♪♪

> SOME OF TODAY'S MOST REMARKABLE HOLIDAY DESIGNS CAN BE FOUND ON THE ORIGAMI TREE NOW ON VIEW AT THE MUSEUM OF NATURAL HISTORY.

EVERY YEAR, A GROUP OF VOLUNTEERS COME TOGETHER TO FOLD FANTASTIC ARRAY OF DINOSAURS, ALLIGATORS AND BIRDS INSPIRED BY THE MUSEUM'S EXHIBITIONS AND DISPLAYS.

ORIGAMI, THE JAPANESE ART OF PAPER FOLDING HAS BEEN PRACTICED FOR OVER 1,000 YEARS.

WHILE FOLDING PAPER PRACTICES HAVE CHANGED OVER TIME, THE CORE IDEAS REMAIN THE SAME.

YOU BEGIN WITH A SQUARE PIECE OF PAPER, AND CRAFT IT INTO A DESIGN, WITHOUT THE HELP OF SAYS SISTERS, TAPE OR GLUE.

ONE OF THE MOST POP U SCHOLAR DESIGNS IS THE CRANE, THERE'S NO LIMIT TO WHAT ANY IMAGINATION CAN PRODUCE.

♪♪

ORIGAMI HOLIDAY TREE, IT STARTED WITH ALICE GRAY WHO WAS AN ENTOMOLOGIST HERE, AND SHE WAS ALWAYS INTO ARTS AND CRAFTS.

WE USED TO USE HER OFFICE TO HAVE MEETINGS UNFOLD AND PLAY, AND LISTEN TO HER RATHER LARGE HISSING COCKROACHES.

AND ALICE USED TO MAKE A LITTLE TREE.

SHE DECORATED A 3 FOOT TREE WITH ORIGAMI AND TOLD SOMEONE ABOUT HOW IT WOULD BE SO GREAT IF THE MUSEUM HAD A HOLIDAY TREE WITH ORIGAMI ON IT.

THEY GAVE HER THIS HUMONGOUS TREE TO DECORATE, AND WE ALL DID.

THIS IS AN AMAZING MARRIAGE OF SCIENCE AND ART.

THIS IS THE 45th TREE FOR THE MUSEUM, AND IT'S BEEN A WONDERFUL TRADITION THAT WE HONOR AND CHERISH.

WE HAVE A WHOLE COLLECTION THAT WE'VE DEVELOPED.

AND THEY RANGE FROM SUPER COMPLEX ALL THE WAY DOWN TO SUPER SIMPLE.

YOU CAN DO EVERY SCALE ON AN ALLIGATOR IF YOU WANT TO.

WE HAVE A LOT OF REPEAT MODELS THAT WE REARRANGE IN DIFFERENT WAYS, BECAUSE WE BANK THEM.

IT'S NOT PRACTICAL TO DO OVER 1,000 MODELS EVERY YEAR.

AND WE ALWAYS MAKE IT LOOK LIKE A DIFFERENT TREE.

WE'LL ALSO BRING IN NEW MODELS BECAUSE OF EACH NEW THEME MAY REQUIRE SPECIAL MODELS.

ONE OF THE STRONGER THEMES THAT WE HAVE IS BASED ON THE DINOSAURS AMONG US, SPECIAL EXHIBITION, WHICH MEANS THAT THESE ARE DINOSAURS THAT LATER DEVELOPED TO BIRDS AND WE'RE SHOWING THE RELATIONSHIP BETWEEN BIRDS AND DINOSAURS.

AND WE RESEARCH DIFFERENT FLORA, FAUNA AND TRY TO REPRODUCE IT IN ORIGAMI.

THAT'S WHY I HAVE A LOT OF HATCHLINGS AND EGG NESTS, THEY'RE REALLY VERY NICE AND FUN TO FOLD.

UNLIKE CHRISTMAS ORNAMENTS OR HOLIDAY ORNAMENTS, WE GET MUCH MORE PLAY AND INTERESTING WAYS OF POSITIONING THE MODELS WHEN WE HAVE FLORAL WIRE GLUED TO THEM FROM TWO OR THREE DIFFERENT POINTS.

THEY CAN BE STANDING, WE CAN TWIST THEM IN DIFFERENT DIRECTIONS AND ANGLE THEM.

KIND OF LOOKS LIKE THEY'RE INTERACTING WITH ONE ANOTHER.

THEY ALL HANG OUT TOGETHER AND HAVE A GOOD TIME.

5, 4, 3, 2, 1.

THE SUCCESSES, THE POPULARITY OF THE TREE, AND PEOPLE SAY, OOH, AAH, JUST LITTLE KIDS POINTING.

. WOW!

WOW!

IT'S JUST GREAT.

AND IT'S A LABOR OF LOVE.

I ENJOY IT, IT'S MAGIC.

♪♪

> FLOWERS WERE ALWAYS PART OF MY DNA.

I COME FROM A FAMILY OF GARDENERS, I WORK IN LANDSCAPE AND HORTY CULTURE TO THE FLOWER WORLD.

HERE I AM.

THE FLOWER FLASH WAS SOMETHING THAT WAS BOPPING AROUND MY BRAIN FOR A WHILE THAT DIDN'T HAVE A NAME.

IT WAS A VAGUE IDEA OF HOW TO TAKE FLOWERS AND FUSE THEM IN AN URBAN CITY ENVIRONMENT, IT FINALLY GOT TO THE POINT A COUPLE YEARS AGO, WHERE I WAS SATISFIED WITH BUSINESS, THINGS GOING SUPER WELL, AND NEEDING TO FEEL CREATIVELY ENERGIZED AGAIN, BUT ALSO FEELING THE NEED IN MY OWN WAY TO GIVE BACK.

I'M SURROUNDED BY FLOWERS ON A DAILY BASIS AS ARE MY CLIENTS.

AND WE TEND TO GET IMMUNE TO HOW BEAUTIFUL THEY ARE, AND WHAT AN EXPRESSION OF JOY THEY ARE TO PEOPLE.

AND IT'S REALLY ABOUT TAKING THAT WHICH IS SO BEAUTIFUL AND KIND OF MERGING IT WITH TEXTURE AND THE GRIT OF OUR URBAN CITY LIFE.

AND CREATING SOMETHING THAT'S SPONTANEOUS, FLEETING, AND SORT OF ABSTRACT.

WE SPEND A GREAT DEAL OF TIME REALLY FINDING LOCATIONS THAT FEEL NEW YORK FIRST.

THAT COMBINED WITH THE SEASON, WHAT'S LOOKING GOOD, AND ALSO THE FLOWER FLASHES ARE ACCUMULATION OF OLD FLOWERS IN THE FLOWER MARKET AND STUFF THAT'S LEFT OVER FROM THE STUDIO, AND STUFF THAT'S LEFT OVER FROM EVENTS.

WE HAVE TO WORK WITH THAT AS WELL.

THESE FLASHES HAPPEN VERY QUICKLY, WE PLAN IT TO A CERTAIN EXTENT.

AND THEN WE DO IT, AND SEE WHAT HAPPENS.

THERE'S AN ANXIOUS ENERGY.

IT'S USUALLY DARK, A LOT OF TIMES IT'S COLD.

FLOWERS ARE FOR NEW YORKERS.

THEY ARE FOR THE PEOPLE, AND I WANT PEOPLE TO TAKE THEM AND INTERACT WITH THEM.

OBVIOUSLY TAKE A PICTURE, BUT TAKE A BLOSSOM, TAKE SOME HOME.

NEW YORK IS NEW YORK.

ALL THESE PEOPLE PILED ON TOP OF EACH OTHER, TO ME, THE TWO BIGGEST LUXURIES IN THE CITY ARE NATURE AND SPACE.

THE MORE WE CAN HAVE THESE SOFT MOMENTS OF JUST BEAUTY AND JOY FOR NO OTHER REASON.

EVEN IF IT'S FOR AN HOUR OR TEN MINUTES, THIS JOB IS DONE.

♪♪

THANKS FOR JOINING US THIS EVENING.

I'M PHILIPPE DI MONTY BELLOW AT THE METROPOLITAN MUSEUM OF ART.

GOOD NIGHT AND SEE YOU NEXT TIME.

> WHEN WE RETURN, A PROFILE OF VIOLINIST ANGELA JIANG YU, A 2019 AVERY FISHER CAREER GRANT AWARD.

RECEIVING THE PRESTIGIOUS CAREER GRANT REALLY MEANS THE WORLD TO ME.

ANDRE WATTS, THOSE ARTISTS HAVE WON THIS AWARD MANY YEARS AGO, I GREW UP LISTENING TO THEIR CD'S.

AND A VISIT TO THE SUGAR HILL CHILDREN'S MUSEUM OF ART AND STORY TELLING.

WE KNOW THAT CHILDREN ARE NATURAL ARTISTS.

THEY'RE ALSO NATURAL STORYTELLERS.

AND WE WANTED TO CREATE AN INSTITUTION DEDICATED TO THEIR CREATIVE POTENTIAL.

♪♪

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

WALTER.

THEA PETSCHEK IERVOLINA FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODI AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

ELROY AND TERRY KRUMHOLTZ FOUNDATION.

GENE DUBINSKY APPLETON ESTATE.

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