Paula Zahn speaks with Jonathan Stafford and Wendy Whelan, the new artistic leadership of the New York City Ballet. Followed by a visit to The Metropolitan Museum of Art for a look at “Smashed Strokes Hope,” which belongs to artist Joan Snyder’s breakthrough series of abstract paintings, sometimes referred to as “stroke paintings” because they emphasize the primacy of the artist’s brushwork.

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> COMING UP ON 'NYC ARTS,' A CONVERSATION WITH JONATHAN STAFFORD AND WENDY WHALEN.

THE NEW ARTISTIC LEADERSHIP OF THE NEW YORK CITY BALLET.

SINCE WENDY AND I BOTH DANCED THAT ROLE QUITE A BIT, WE FIGURED WE COULD STEP IN AND GIVE FINE-TUNING DETAILS TO JUST ELEVATE THE PERFORMANCE THAT LITTLE BIT.

I WANTED TO HELP THEM BUILD A LANDSCAPE IN THEIR MIND OF WHERE TO PUSH FARTHER AND WHERE TO SOFTEN UP AND WHERE TO THINK THROUGHOUT THE WAY THE MUSIC ALSO HAS A LANDSCAPE.

AND A VISIT TO THE METROPOLITAN MUSEUM OF ART FOR A LOOK AT THE MUSEUM'S COLLECTION OF POST-WAR AND CONTEMPORARY ART.

THE PAINTINGS SERVES AS A KIND OF INVENTORY OR CATALOG OF PAINTER STROKES.

SOME THICK, SOME THIN, SOME STABLE, SOME STRONG, OTHERS FLUID, OTHERS WEAK.

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

TEA PITCHIC YORBA LINDA FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODY AND JOHN ARNEHOLD.

ELISE, JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

ELLROY AND TERRY CRUMB HOLT FOUNDATION.

THE MILTON AND SALLY AVERY FOUNDATION AND JAMES S. MARCUS AND 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 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 DECREASE, 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.

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> GOOD EVENING AND WELCOME TO NYC ARTS.

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

TONIGHT ON OUR PROGRAM WE'LL MEET THE NEXT GENERATION OF ARTISTIC LEADERSHIP, TWO OF THE WORLD'S LEADING INSTITUTIONS FOR DANCE.

NEW YORK CITY BALLET WHICH MAKES ITS HOME RIGHT HERE AT LINCOLN CENTER IS ONE OF THE FOREMOST DANCE COMPANIES IN THE WORLD.

IT HAS A ROSTER OF MORE THAN 90 DANCERS AND AN UNPARALLELED REPERTORY OF MODERN MASTERPIECES.

FOUNDED IN 1948 BY THE LEGENDARY CHOREOGRAPHER GEORGE BALENTINE AND PATRON LINCOLN KIRSTEN, THE COMPANY BECAME RENOWNED FOR ITS DISTINCTIVE STYLE AND THE ORIGINAL BALLETS THAT WOULD FOREVER CHANGE THE FACE OF CLASSICAL DANCE, BUT EARLY ON, BALANCING MADE IT CLEAR THAT ESTABLISHING A BALLET SCHOOL WAS A PRIORITY, A PLACE TO LEARN INSPIRED BY THE TRAINING HE RECEIVED FROM THE BALLET SCHOOL IN RUSSIA.

THE SCHOOL OF AMERICAN BALLET WIDELY REGARDED AS THIS COUNTRY'S LEADING BALLET TRAINING GROUND.

AS THE OFFICIAL ACADEMY OF THE NEW YORK CITY BALLET, THE SCHOOL PREPARES ALMOST ALL OF THE COMPANY'S DANCERS TO JOIN ITS RANKS AS WELL AS DANCERS FOR COMPANIES ALL OVER THE WORLD.

ABOUT A YEAR AGO AFTER AN EXTENSIVE SEARCH, JONATHAN STAFFORD WAS NAMED ARTISTIC DIRECTOR OF THE NEW YORK CITY BALLET AND THE SCHOOL OF AMERICAN BALLET AND WENDY WHALEN WAS NAMED ASSOCIATE ARTISTIC DIRECTOR OF THE BALLET COMPANY.

BOTH ARE ESTEEMED FORMER NEW YORK CITY BALLET DANCERS AND S.A.D. ALUMS AND ARE UNIVERSALLY CONSIDERED TO BE THE BRIGHTEST LUMINARIES IN THE ARTS WORLD TODAY.

THE COMPANY'S WINTER SEASON WHICH ISBEGINS ON JANUARY 21st MIXES TRADITION AND INNOVATION.

IT OPENS WITH NINE PROGRAMS FOCUSING ON AN ESPECIALLY FRUITFUL COLLABORATION WITH COMPOSER IGOR TREBIN SKI AND THE TALE OF THE FIREBIRD.

THE COMPANY WILL PRESENT WORKS BY THE REPPERTORY BY JEROME ROBBINS AS WELL AS TWO WORLD PREMIERES BY ALEXEI.

THE FULL-LENGTH PRODUCTION OF SWAN LAKE BY PETER MARTINS FOR TWO WEEKS IN FEBRUARY.

LAST FALL I HAD THE PLEASURE OF SPEAKING WITH JONATHAN AND WENDY ABOUT THEIR VISION FOR THE FUTURE.

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WENDY AND JONATHAN, IT'S GREAT TO HAVE YOU WITH US.

CONGRATULATIONS ON YOUR NEW APPOINTMENTS.

THANK YOU.

THANK YOU SO MUCH.

SO, JONATHAN, YOU CAME INTO THE COMPANY IN THE THIRD ITERATION OF YOUR CAREER AS ONE OF THE DIRECTORS OF THE BALLET DURING PROBABLY ONE OF THE MOST TUMULTUOUS TIMES OF THE COMPANY'S HISTORY AND NOW, OF COURSE, YOU'VE LANDED THE TITLE OF ARTISTIC DIRECTOR OF THE NEW YORK CITY BALLET.

HOW WOULD YOU DESCRIBE THE CLIMATE OF THE COMPANY TODAY?

ONE OF THE THINGS THEY ALWAYS REALLY CARED ABOUT IN THE COMPANY WAS TO HAVE DIRECT AND OPEN COMMUNICATION, AND THAT'S SOMETHING WHEN WENDY AND I FIRST STARTED TALKING TO EACH OTHER ABOUT TAKING THESE ROLES OUT IT WAS FIRST AND FOREMOST ON BOTH OF OUR LISTS AND WHAT'S GREAT ABOUT THAT IS WE'RE REALLY ON THE SAME PAGE WHICH IS NOT JUST OPEN AND DIRECT COMMUNICATION BETWEEN US WHICH IS VERY, VERY IMPORTANT AND OPEN AND DIRECT COMMUNICATION WITH THE DANCERS AND THE NEW YORK CITY BALLET.

WE HAVE SUCH INTELLECTS IN THE DANCER RANKS AND WHAT WE'VE STARTED TO DO IS HAVE THE DIALOGUE ABOUT WHAT THEY ARE AND THEN THAT WAY WE CAN HOLD THEM ACCOUNTABLE AND GET WHAT WE NEED FROM THEM AND THEY CAN ALSO HOLD US ACCOUNTABLE AND BECOME THE FULLY FORMED ARTISTS THAT THEY POSSIBLY COULD.

IT'S WONDERFUL THAT YOU LOOK AT THE TEAM WORK THE WAY YOU DO.

HOW WOULD YOU DESCRIBE WHAT YOUR TAUGHTS ARE.

JOHN AND I HAVE VERY, VERY DIFFERENT HISTORIES WITH THE NEW YORK CITY BALLET.

WE COME FROM DIFFERENT SIDES OF THE ART FORM IN A LOT OF WAYS.

SO HE WAS GIVEN THAT SORT OF OPPORTUNITY TO EXPLORE TEACHING AND BALLET MASTERING, AND I WASN'T DOING ANY OF THAT.

IN FACT, I WAS, LIKE -- NO, THAT'S NOT MY THING, AND I WAS FINDING OPPORTUNITIES TO COLLABORATE WITH THE CHOREOGRAPHERS AND MAKING NEW WORK AND MAKING ARTISTIC COLLABORATIONS HAPPEN.

I ALWAYS LOVED DANCING, AND I LOVED PERFORMING.

I LOVED THE HIGH I GOT FROM IT, BUT I DISCOVERED EARLY ON THAT THE BUZZ I GOT AND THE ADRENALINE RUSH AND EVERYTHING WAS HAPPENING MORE SO BEHIND THE SCENES THAN WHEN IT WAS HAPPENING OUT ON THE STAGE.

AND THAT WAS A REALLY INTERESTING MOMENT FOR ME WHERE I SAID, HMM, I REALLY, REALLY LOVE TEACHING.

YOU'VE HAD THIS LONG AND STORED CAREER WITH THE NEW YORK CITY BALLET DANCING FOR MORE THAN, WHAT?

30 YEARS?

WHICH IS PHENOMENAL.

VERY IMPRESSIVE.

IT REALLY IS.

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SO WHAT DID YOU DO TO CONVINCE WEND TOE COME BACK BECAUSE YOU WERE ENJOYING --

JOHN DIDN'T NEED TO DO ANYTHING TO CONVINCE ME TO COME BACK.

YOU WERE ENJOYING YOUR WORK.

YOU WERE SPENDING A LOT OF TIME WITH NUCOEW CHOREOGRAPHERS AND T WAS AN EXCITING TIME.

I WAS LEARNING TO TEACH AND STARTING TO STAGE THINGS, AND NOW I COULD TAKE ALL THAT I LEARNED AND CONTINUE TO LEARN AND GO BACK AND BRING IT INTO WHAT I KNOW.

SO HOW DO YOU MAINTAIN THE EXCELLENCE THAT IS IN PLACE AT THE SCHOOL OF AMERICAN BALLET IN TERMS OF TEACHING AND NURTURING THIS YOUNG TALENT IN MAKING THESE GREAT KIDS EXCELLENT?

SO AT S.A.B., YOU HAVE TO HAVE -- AT ANY SCHOOL, YOU HAVE TO HAVE A REALLY, REALLY CLEAR VISION OF HOW YOU'RE GOING TO TEACH, WHAT'S IMPORTANT AND YOU'RE TEACHING THE STYLE AND WE ARE FORTUNATE THAT GEORGE LEFT US WITH A VERY CLEAR VISION IN HOW TO TEACH STUDENTS.

HOW WOULD YOU DISSTILL THAT?

IN A SENTENCE OR TWO?

FAST, DYNAMIC, PRECISE, MUSICAL, EXPRESSIVE.

ECONOMICAL MOVEMENT.

CLEAR, CLARITY OF POSITION AND IT'S NOT ABOUT ACTING.

IT'S NOT ABOUT BECOMING SOMETHING OTHER THAN WHAT YOU ARE, BUT BECOMING THE BEST YOU, AND HOW DOES THAT HELP CONNECT YOU TO THE OVERALL MISSION OF THE BALLET BECAUSE YOU REALLY ARE APPROACHING IT AS A TEACHER OR AS A FORMER PRINCIPAL DANCER AND NOW THE GUY RUNNING THE PLACE.

95% OF THE DANCERS ARE FROM AMERICAN BALLET COMPANY AND THAT'S UNIQUE.

IS IT BECAUSE YOU'RE GETTING THE BEST OF THE BEST OF THE BEST.

AND IT'S IDEAL ABOUT HOW WE DANCE THIS WORK AND HOW WE APPROACH OUR WORK, THERE'S JUST A WHOLE ECOSYSTEM OF THOUGHT AND FOCUS AND STYLE AND TECHNIQUE AND UNDERSTANDING.

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SO WE HAVE THE PRIVILEGE OF BEING EMBEDDED IN ONE OF YOUR REHEARSALS.

THE TCHAIKOVSKY PIANO CONCERTO.

NUMBER 2, YES.

JUST DESCRIBE THE PROCESS YOU WERE TAKING THE DANCERS THROUGH.

WE WERE TAKING MORE TIME.

AT THAT POINT THE CORE WAS REHEARSING ON THEIR OWN.

THE PRINCIPALS HAD BEEN REHEARSING ON THEIR OWN IN SEPARATE STUDIOS AND WE BRING IT ALL TOGETHER TO DO A RUN THROUGH AND THEN THE PRINCIPAL INDANCER HAD DANCED THAT BALLET BEFORE AT A HIGH LEVEL.

IS THERE ANY WAY TO DO A LITTLE MORE WITH YOUR HANDS.

AND SINCE WENDY AND I BOTH DANCED THAT ROLE QUITE A BIT, WE FIGURE WE CAN STEP IN THERE AND GIVE JUST A LITTLE FINE-TUNING DETAIL TO JUST ELEVATE THE PERFORMANCE THAT LITTLE BIT, AND WE ALSO WANT TO PUT THE DANCERS IN A POSITION WHEN THEY GO ON STAGE AND THEY'RE NOT THINKING ABOUT HOW THEY'RE EXECUTING AND THEY'RE JUST LETTING GO AND THEY'RE JUST GOING OUT AND DANCING.

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WORKING WITH THE PRINCIPALS FOR MYSELF WAS SO FUN FOR THE FIRST TIME I WORKED ON THAT PIECE WITH TERESA AND RUSSELL JANSEN.

THEY'RE PERFECT DANCERS.

THEY'RE LONG AND THEY'RE VERY CLEAN AND CLEAR.

♪ ♪ I WANTED TO TRY TO BRING OUT THE DYNAMICS OF THE MUSIC WITH THEM, AND I ALSO LIKED HOW YOU WERE HITTING -- LIGHTLY HITTING --

HELP THEM BUILD THE LANDSCAPE IN THEIR MIND ABOUT WHERE TO PUSH FOR AND WHERE TO SOFTEN UP AND WHERE TO THINK THROUGHOUT THE WAY THE MUSIC ALSO HAS A LANDSCAPE.

SO FOR ME, IT WAS A TOTAL THRILL TO GET TO WORK WITH THEM FOR THE FIRST TIME.

SO THE OTHER BALLET THAT WAS BEING REHEARSED IS ARTIANA.

WHAT DO WE SEE UNFOLD ON SCREEN THERE?

THAT IS A MUCH SMALLER, MORE INTIMATE PIECE WHERE THE PRINCIPAL DANCERS SPEND MOST OF THE BALLET ON STAGE BY THEMSELVES.

THEY ARE SO INTIMATE.

IT IS ALSO EPIC BECAUSE THERE ARE SO MANY DETAILS.

AND THEN MAYBE LET SOMETHING HANG BACK A TINY BIT AS YOU GO FORWARD OR SOMETHING.

♪ ♪

IT'S BALANCING ♪ ♪

IT'S A CONVERSATION BETWEEN THE PARTNERS, AS WELL.

BETWEEN THE MAN AND THE WOMAN AND THEY'RE POSITIVE.

AND IT ALSO HAS THE QUALITY OF BEING ALMOST IMPROVISORY LOOKING AND THEY'RE COMING UP WITH THE STEPS AT THE MOMENT EVEN THOUGH THEY'RE DEFINED.

TO ME, THAT'S A VERY INTERESTING CALLIST MAKING DANCE, BALLET ESPECIALLY BECAUSE PEOPLE DIDN'T MAKE BALLETS LIKE THAT.

AT THE TIME IT WAS VERY CLEAN, CLEAR DIRECT LINES AND BALENTINE PUT IT ALL ON ITS SIDE AND IT'S TUMBLING AND THIS STUFF SORT OF TUMBLES OUT AND IT'S EXTREMELY EXCITING TO DO.

WHAT ARE YOUR GOALS WHEN IT COMES TO THE REPERTOIRE OF A BALLET?

LOTS.

YOU KNOW, OBVIOUSLY, FIRST AND FOREMOST, IT IS AT THE CORE OF WHAT NEW YORK CITY BALLET WILL ALWAYS WILL BE.

♪ ♪ ♪

SO WE HAVE TO MAINTAIN THE INTEGRITY OF THAT RAP AND WE HAVE TO MAINTAIN THE EXCITEMENT OF THAT WRAP AND WE HAVE TO MAKE SURE IT STAYS ALIVE AND FRESH.

IS THAT DIFFICULT?

WE ARE PASSING IT ON FROM GENERATION TO GENERATION AND THERE ARE NEW PEOPLE LEARNING IT AND APPROACHING IT AT DIFFERENT TIMES OF THEIR LIVES SO IT DOES HAVE THE ABILITY TO REMAIN FRESH.

YOU'VE DEVELOPED THIS INTERESTING IDEA OF TRYING TO BRING BACK SOME OF THE MUSES THAT INSPIRED BALENTINE.

HOW IS THAT WORKING OUT?

WE'RE BRIDGING THEM BACK SELFISHLY FOR US TO LEARN FROM.

YEAH.

TO BE OUR GUIDES, TO INFORM QUESTIONS THAT WE HAVE ALWAYS HAD THAT WE DIDN'T FULLY HAVE THE ANSWERS TO.

IT'S REALLY LIKE OPENING THIS TREASURE CHEST AND LETTING THE GEMS GLISTEN FOR US AND SING.

IT IS VERY IMPORTANT THAT BALLET IS PASSED DOWN REALLY VOCALLY, AND PHYSICALLY BY DEMONSTRATING, AND WE DIDN'T GET TO WORK DIRECTLY UNDER BALENTINE.

WE ARE KIND OF THE NEXT GENERATION NOW THAT DIDN'T HAVE THAT DIRECT CONTACT WITH HIM, BUT THERE ARE ALL THESE PEOPLE OUT THERE WHO DID AND HE CREATED HIS MASTERPIECES ON, AND SO WE THOUGHT IT JUST MADE PERFECT SENSE TO BRING THEM ON.

SELFISHLY FOR US TO LEARN FROM, BUT WE'RE ALSO TEACHING THE DANCERS WHO ARE THEN GOING TO SOME DAY BE IN OUR POSITION AND PASSING IT ON TO THE NEXT GENERATION.

IT'S YOUR VERSION OF AN ORAL HISTORY IN A WAY.

IT REALLY IS AND TO SEE EDDIE VALELLA WHO IS ONE OF THE PROD GAL SON WHO IS ONE OF THE MOST ICONIC ROLES IN THE MALE REP IN THE LAST SEASON OF JOAQUIN'S CAREER AND HE'S NOW A DIRECTOR, TO SEE THE TWO OF THEM ON STAGE HAVING AN INTIMATE MOMENT AND WORKING ON IT.

WE'RE STANDING IN THE WINGS WITH OUR MOUTHS WIDE OPEN AND JUST WATCHING THIS INCREDIBLE MOMENT BETWEEN THESE TWO WORLD CLASS, WORLD FAMOUS ARTISTS.

AND HOW ARE YOU APPROACHING NEW WORK AND THAT'S WHAT YOU'RE TASKED WITH, RIGHT.

THAT'S ONE OF MY TASKS, BEING ON THE HUNT FOR THE NEW, GREAT WORK.

AND THAT'S SOMETHING THAT WENDY IS REALLY INSPIRED IN ME TO REALLY UNDERSTAND THAT THAT THE NEW WORK IS NOT JUST TO BUILD A NEW AUDIENCE, A YOUNGER AUDIENCE AND TO EXCITE THE AUDIENCE AND IT'S TO DEVELOP THE ARTISTS AND FEED THE ARTISTS.

IN TRYING TO BALANCE THE NEED TO CONTINUE TO FEED YOUR ARTISTS AND TO EXPAND YOUR REPERTORY, HOW CONCERNED DO YOU HAVE TO BE ABOUT ALIENATING YOUR CORE AUDIENCE WITH THESE PIECES ARE ULTIMATELY PERFORMED ON STAGE?

I THINK OUR AUDIENCE IS REALLY OPEN MINDED.

OUR AUDIENCE IS VERY INTELLIGENT AND VERY SOPHISTICATED.

THEY KNOW WHAT THEY'RE SEEING AND THEY KNOW AT NEW YORK CITY BALLET THAT WE'LL ALWAYS CREATE NEW WORK AND THEY'RE EXCITED BY THAT.

THAT'S WHY THEY COME BECAUSE THAT'S WHAT WE'RE ABOUT AND THAT'S WHAT'S SO FUN ABOUT NEW YORK CITY BALLET AND THEY LOVE THE ROBINS AND THEY ALSO LOVE THE NEW WORK.

WE HAVE STEPPED OUTSIDE THE BOX IN THE LAST YEAR WITH SOME OF OUR NEW WORKS AND IT'S BEEN RECEIVED FOR THE MOST PART REALLY, REALLY ENTHUSIASTICALLY BY THE AUDIENCE AND THAT JUST GIVES MORE CONFIDENCE TO KEEP GOING AND SOMETHING THAT JUSTIN PACK, WHO IS OUR RESIDENT CHOREOGRAPHER AND HE'S IN HIS EARLY 30s AND HE'S SO CONNECTED AND TUNED IN TO THE LOCAL ART SCENE IN NEW YORK.

HE HAS ALL THESE IDEAS OF OURS.

HE CAN COLLABORATE WITH IT AND SEND FOR THE CHOREOGRAPHERS TO CREATE WITH.

CURRENTLY HE'S THE CONSULTANT AND THE COG YOHOREOGRAPHER OF TW YORK CITY BALLET.

WE TALK AMONG OURSELVES ABOUT WHERE WE WANT TO GO AND WHO WE THINK IS INTERESTING.

WE GET APPROVAL FOR EACH OTHER ABOUT COMMISSIONS.

SO IT'S ALWAYS A CONVERSATION.

WHAT DO YOU HOPE WILL BE ON THE HORIZON FOR THE COMPANY AND THE SCHOOL?

I HOPE THAT, YOU KNOW, WE CAN OPEN UP AND WE HAVE THE IDENTITY IN A LOT OF GOOD WAYS AND WE CAN DEVELOP IT IN MORE BROADER WAYS.

DIVERSIFYING OUR SCHOOL AND DIVERSIFYING OUR COMPANY AND DIVERSIFYING THE ARTISTS WE BRING IN, OUR ADMINISTRATION.

SO REALLY THINKING ABOUT OURSELVES AS CULTURAL LEADERS AS WELL AS ARTISTIC LEADERS.

THAT'S WHAT WE TALK A LOT ABOUT.

SO WE WANT TO SORT OF LEAD IN THAT WAY.

AND SHARING THAT PASSION BECAUSE IT REALLY IS A PASSION.

YOU HAVE TO BE PASSIONATE ABOUT IT.

ONE OF THE MOST INSPIRING THINGS IS SEEING THAT PASSION IN SOMEONE ELSE, TOO, WHICH JUST KEEPS THAT PASSION ALIVE DEEP DOWN WITHIN YOU WHEN YOU SEE IT ON THE STUDENTS' FACES AND THE DANCERS AS THEY ARE WORKING DAY AFTER DAY, HOUR AFTER HOUR AS THEY GET TO HONE THEIR CRAFT BECAUSE THEY'RE PASSIONATE ABOUT IT.

AND THERE'S NOTHING BETTER THAN BEING INSPIRED AND INSPIRING OTHER PEOPLE.

NOTHING BETTER THAN THAT, AND THAT'S, I THINK, WHAT KEEPS US EXCITED.

YEAH.

WELL, I HOPE THIS COMPANY BECOMES EVERYTHING YOU WANT IT TO BECOME.

A CONTINUED SUCCESS TO BOTH OF YOU.

THANK YOU.

THANK YOU SO MUCH.

IT WILL BE FUN TO ROOT YOU ON FROM THE SIDELINES.

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> FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA, PLEASE SIGN UP FOR OUR FREE WEEKLY E-MAIL AT NYC-ARTS.ORG/E-MAIL.

TOP FIVE PICKS WILL KEEP YOU UP-TO-DATE ALL YEAR ROUND, AND BE SURE TO CONNECT WITH 'NYC ARTS' ON FACEBOOK, INSTAGRAM AND TWITTER.

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> NEXT, WE VISIT THE METROPOLITAN MUSEUM OF ART FOR A FRESH LOOK AT THE MUSEUM'S COLLECTION OF POST-WAR AND CONTEMPORARY ART.

EPIC ABSTRACTION, POLLOCK TO HERRERA EXPLORES LARGE-SCALE ABSTRACT PAINTING, SCULPTURE AND OTHER WORKS OF ART.

IT SEEKS TO BROADEN THE NARRATIVE OF ABSTRACTION, BRINGING TOGETHER 60 WORKS FROM THE COLLECTION, REPRESENTED HERE ARE SUCH ICONIC ART I WAS AS JACKSON POLLACK, AND IGUCHI AND CARMEN HERRERA AND MARK BRADFORD.

RANDALL GRIFFEY, CURATOR OF MODERN AND CONTEMPORARY ART AT THE MET LOOKS AT A SINGLE WORK FROM THE EXHIBITION.

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THE COLORFUL AND ATTRACTIVE PAINTING BEHIND ME IS SMASH, STROKES HOPE FROM 1971 BY JOAN SCHNEIDER.

SCHNEIDER IS ONE OF THE CONTEMPORARY ARTISTS FEATURED IN EPIC ABSTRACTION, POLLACK TO HERRERA AND THE EXUBERANT COLOR AND THE SENSE OF EXPERIMENTATION BREAKS FROM THE INTENSE FORMALISM OF MINIMALISM, SPECIFICALLY THE MINIMALIST GRID THAT WAS CONSIDERED TO BE THE MOST DESIRABLE TEMPLATE OR TOUCHSTONE FOR COMPOSITION OR DESIGN FOR MANY ARTISTS, PAINTERS AND SKULL OPPORTUNITY ARES COMING OF AGE IN THE 1960s AND 70s.

THIS IS A PAINING ON CANVAS.

OIL, A KRILLIC AND SPRAY ENAMEL.

SHE'S APPLYING PAINT FAIRLY TRADITIONALLY IN CERTAIN INSTANCES WITH THE SEQUENCE OF VERY CLEAR BRUSH STROKES.

MOST OF THOSE ARE WITH THE OIL PAINT, BUT THERE ARE INSTANCES SHE'S EXPLORING MARK MAKING IN OTHER WAYS.

HER PROCESS IS BOTH ADDITIVE AND SUBTRACTIVE.

SHE MAKES STROKES BY ADDING INDIVIDUAL BRUSH MARK, BUT SHE ALSO EXECUTES STROKES IN THE SUBTRACTIVE MANNER.

IN SOME CASES, SCRAPING INTO THICK PAINT TO MAKE AN ABSENCE OF A STROKE.

PART OF THE APPEAL OF JOAN SCHNEIDER'S PAINTING IS THAT IT ALMOST EXPANDS AND BLOWS UP IN SCALE WITH AN ARTIST PALETTE MIGHT LOOK LIKE WHERE YOU GET A SENSE OF THE PAINT BEING MIXED AND THERE'S THE SENSE OF A FULL RANGE OF AN ARTIST'S PALETTE THAT SHE'S PREPARING TO USE THE PAINT IN CERTAIN INSTANCES AND CERTAIN PASSAGES, IT'S PILED UP, AND THICK AND IMPOSTED AND COAGULATED.

IN OTHER INSTANCES SHE HAS THE PAINT DILUTED AND OVER WIDE EXPANSES OF THE PAINTING.

THE PAINTING SERVES AS A KIND OF INVENTORY OR CATALOG OF PAINTER STROKES.

SOME THICK, SOME THIN, SOME STABLE, SOME STRONG.

OTHERS FLUID, OTHERS WEAK.

SCHNEIDER HERE WALKS THE VERY FINE LINE BETWEEN EXPERIMENTATION AND DELIBERATION.

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> HELLO.

I'M RAFAEL PI ROMAN AND WELCOME TO THIS WEEK AT LINKON CENTER.

YOU KNOW WITH THE THEATERS OVERFLOWING WITH THE BEST IN MUSIC, DANCE, OPERA, DRAMA AND FILM FROM AROUND THE WORLD, IT IS TRULY THE INTERNATIONAL CROSSROADS OF ARTS AND CULTURE.

FROM JANUARY 13th TO JANUARY 15th, JUILLIARD WILL PRESSENT CHAMBERFEST, A PROGRAM OF SEVEN CONCERTS THAT WILL FEATURE 131 JUILLIARD MUSICIANS.

STUDENTS WHO PARTICIPATE IN CHAMBERFEST RETURN EARLY FROM WINTER BREAK FROM A WEEK FROM PIECES THEY'VE CHOSEN TO STUDY AND THEY PERFORMED THIS WORK THE FOLLOWING WEEK IN PUBLIC CONCERTS.

THE CONCERTS WILL TAKE PLACE IN THE HALL AND THE SHARP THEATER AND IN THE HALL.

FOR COMPLETE DETAILS PLEASE VISIT JUILLIARD EDU/CALENDAR.

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

> NEXT WEEK, MONTEBELLO IN 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 AND TO MAKE IT A MORE COMFORTABLE PLACE TO NAVIGATE AND CONNECT THE MUSEUM TO ITS PLACE IN MIDTOWN NEW YORK.

AND THE VISIT TO THE NEVELSON CHAPEL AT 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 SURROUND BY NEVELSON.

SHE WAS THE GRANDMOTHER OF ENVIRONMENTAL ART IN AMERICA.

SHE REALLY BELIEVED THE IMPORTANCE OF SURROUNDING PEOPLE WITH ART.

THANKS SO MUCH FOR JOINING US TONIGHT.

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

GOOD NIGHT.

♪ ♪ ♪ ♪ ♪ ♪

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

TEA PITCHIC YORBA LINDA FOUNDATION.

THE LOUIS SONNY TURNER FUND FOR DANCE.

JUDY AND JOHN ARNEHOLD, ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

EL ROADWAY AND TERRY CRUMB HOLT FOUNDATION.

GENE DUBINSKY APPLETON ESTATE AND THE 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 AND MADE PUBLIC BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THING'S FIRST.

AT FIRST REPUBLIC BANK, FIRST REFERS TO THE PRIORITY AND THE CLIENT THAT WALKS THROUGH OUR DOORS.

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

IT IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS IS FIRST REPUBLIC'S MISSION FOR THE FIRST DAY AND IT IS STILL THE FIRST THING ON OUR MINDS.