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.

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> COMING UP ON 'NYC ARTS,' A CONVERSATION WITH GLEN LOWRY, 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 THEN THE OTHER WAS TO CONNECT THE MUSEUM TO ITS PLACE IN MIDTOWN NEW YORK.

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

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.

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 REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

♪♪ ♪♪

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

I'M FA LIEN DE MONTEBELLO ON LOCATION AT THE MUSEUM OF MODERN ART ON WEST 53rd STREET.

THIS YEAR THE MUSEUM CELEBRATES ITS 90th ANNIVERSARY WITH A VISIONARY EXPANSION AND RENOVATION OF ITS CAMPUS.

THE EXPANSION BY ARC DETECTIVES DILLER RENFRO IN COLLABORATION WITH RENSLER INCREASES SPACE BY ONE-THIRD.

THE REINSTALLATION ALSO PROVIDES A COMPLETELY NEW PRESENTATION OF THE MUSEUM'S RENOWNED COLLECTION, SHOWING MORE ART IN NEW AND INTERDISCIPLINARY WAYS.

TONIGHT ON OUR PROGRAM MY CONVERSATION WITH THE MUSEUM'S DIRECTOR GLENN LOWRY.

LOWRY BECAME THE SIXTH DIRECTOR OF MOMA IN 1995.

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

HE GUIDED THE MUSEUM THROUGH THE SUCCESSFUL MERGER WITH PS1 CONTEMPORARY ART CENTER, MOMA-PS1, IN 1999, AND LED AN EARLIER EXPANSION OF THIS BUILDING IN 2004.

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

LOWRY HAS CONTINUED THE MUSEUM'S LEGACY OF ENRICHING PUBLIC LIFE THROUGH EXHIBITIONS, EDUCATIONAL PROGRAMS, PUBLICATIONS, AND DIGITAL TOOLS.

HE HAS ALSO 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 ITS FUTURE.

WELCOME, GLENN.

I SHOULDN'T SAY WELCOME.

THANK YOU FOR ALLOWING US INTO THE BRAND-NEW MUSEUM OF MODERN ART.

OR IS IT MERELY A REIMAGINED 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 WHOLE NEW ADDITION?

FOR US THIS PROJECT HAD THREE BIG GOALS.

ONE WAS TO NOT ONLY PROVIDE MORE SPACE TO SHOW MORE OF 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 THEN THE OTHER DRIVING FORCE WAS TO CONNECT THE MUSEUM REALLY 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.

THE BEST THING ABOUT MUSEUM IS THE VIEW FROM THE INSIDE OUT.

IT'S A GREAT LINE.

BUT IN FACT, LIZ DILLER, WHO DROVE THE PROJECT, IS A PROFOUNDLY NEW YORK-BASED ARCHITECT.

SHE GETS THE CITY.

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, I THINK, IN A VERY DRAMATIC WAY.

TELL US SOMETHING ABOUT THE BUILDING.

I THINK ONE OF THE GREAT THINGS THAT LIZ DILLER AND HER TEAM DID FOR US WAS TO BOTH ADD NEW ARCHITECTURE AND MAKE THESE SURGICAL INCISIONS INTO THE EXISTING ARCHITECTURE.

THAT'S NOWHERE MORE VISIBLE THAN IN OUR LOBBY WHERE SHE HAS OPENED IT UP, MADE IT EXPANSIVE, 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 FACING OUT TO 53rd STREET WITH A GREAT EXHIBITION ON ENERGY.

JUST NEXT TO THAT DESIGN GALLERY, A PROJECTS GALLERY THAT WE INITIATED WITH A STUDIO MUSEUM IN HARLEM.

EVERY YEAR THEY WILL CURATE AN EXHIBITION IN OUR PROJECT SERIES AND THE INAUGURAL ONE WHICH OPENS OUR BUILDING IS OF THE YOUNG KENYAN-BORN ARTIST MICHAEL ARMITAGE.

ALL OF THAT IS FREE TO THE PUBLIC.

IT'S ONLY WHEN YOU GO UPSTAIRS THAT YOU NEED A TICKET.

YOU ARE AT LEAST 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 EXHIBITIONS.

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?

IF WE BELIEVE, AS WE DO, THAT THE 200,000 WORKS OF ART IN OUR COLLECTION REPRESENT SOME OF THE MOST INTERESTING AND IMPORTANT WORKS OF ART OF THE 20th AND EARLY 21st CENTURY, THEN THEY SHOULD BE A WELLSPRING OF POSSIBILITIES FOR US.

EVERY THREE TO SIX MONTHS, ROUGHLY 30% OF THE COLLECTION CHANGES.

SO THAT THERE IS NO SENSE OF A FIXED COLLECTION ANYMORE.

THAT THE GALLERIES REPRESENT SOME ECONOMICAL VIEW OF ART HISTORY, BUT RATHER, THERE WILL ALWAYS BE SURPRISES.

THAT DOESN'T MEAN THAT MATISSE'S DANCE OR THE DEMOISELLES D'AVIGNON OR STARRY NIGHT, FAVORED PICTURES, ARE GOING TO DISAPPEAR.

BUT IT DOES MEAN THAT THEIR NEIGHBORS ARE LIKELY TO CHANGE WITH GREAT FREQUENCY, THAT ON OCCASION THEY MIGHT MOVE ROOMS, THAT ONE GETS A SENSE OF RENEWED ENERGY THAT COMES AS YOU DISPLACE A WORK OF ART FROM ONE OCCASION TO ANOTHER.

I DON'T SEE THE NAMES OF WHAT WERE THEKY NONICAL MOVEMENTS.

POP, 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 ART 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 DEMOISELLES D'AVIGNON SURROUNDED BY EARLY CUBIST WORKS OF ART.

BUT YOU CAN ALSO SEE THAT GREAT PAINTING IN A DIALOGUE WITH LOUISE BOURGEOIS AND FAITH RINGGOLD AROUND TIME AMONG ISSUES OF VIOLENCE, IMPACT OF AFRICA AND AFRICAN ART ON SENSIBILITIES, SO THAT IT'S MORE THAN JUST CUBISM AT PLAY IN A ROOM LIKE THAT.

THAT'S OUR GOAL, TO EXPAND THE CONVERSATION.

THE PREVIOUS MUSEUM WAS A SERIES OF MANY RETROSPECTIVES WITH A SUBSTANTIAL NUMBER OF WORKS BY INDIVIDUAL ARTISTS.

AND NOW THERE'S A MUCH MORE FLUIDITY, MUCH MORE CONFRONTATION THAN THERE WAS BEFORE.

THERE WAS A NOTION OF, THIS ARTIST BEGAT THAT ARTIST.

THERE WAS A KIND OF MARCH OF TIME, THAT YOU COULD CHART THE COURSE OF ART HISTORY WITH A CERTAIN CLARITY.

IT WAS ALMOST A BATON-PASSING FROM CEZANNE TO PICK CAUSE ZO.

WE'VE REALIZED THERE WERE COMPETING IDEAS TAKING PLACE SIMULTANEOUSLY AND COMPETING IDEAS WOULD REVERBERATE ACROSS THE DECADES AND EVEN ACROSS THE CENTURY.

WE'VE TRIED TO EXCAVATE THOSE ARGUMENTS, MAKE THEM PALPABLE, AND INTRODUCE NEW VOICES, VOICES THAT HAVEN'T BEEN HERE BEFORE.

WHETHER ARTISTS LIKE TARSILA DO AMARAL, A BRAISIAN ARTIST, IN PARIS IN THE '20s BUT WHO'S LITERALLY NOT REPRESENTED IN ANY AMERICAN INSTITUTION.

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

AND THESE PAINTINGS TALK TO EACH OTHER IN UTTERLY UNEXPECTED WAYS BUT ALSO MAKE US AWARE THAT MODERNISM AND MODERN ART TOOK PLACE ALL OVER THE GLOBE.

IT WASN'T JUST IN NEW YORK OR IN PARIS OR IN BERLIN.

AND I THINK THIS ITERATION OF THE MUSEUM MAKES PAL LABLE THE DEGREE TO WHICH THERE IS A 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 FIRST IS THAT YOU HAVE REMAINED EXPERIMENTAL.

WHEN WE WERE CONCEIVED IN 1929, THE IDEA WAS THAT THE MUSEUM WOULD BE A LABORATORY TO WHICH THE PUBLIC WAS INVITED.

AND THIS NOTION OF A PLACE OF EXPERIMENTATION THAT ENGAGED THE PUBLIC IN A NEW ART, IN A NEW WAY OF THINKING, HAS BEEN ENTANGLED THROUGH SO MUCH WHAT WAS WE'VE TRIED TO DO TODAY.

THAT IS TO RECAPTURE THE NOTION THAT THE MUSEUM OF MODERN ART IS NOT A FINISHED PROJECT, IT'S A WORK IN PROGRESS.

INTELLECTUALLY, ARTISTICALLY, PHYSICALLY, IT IS IN MOTION.

AMONG THE REALLY FANTASTIC NEW ASPECTS OF THE BUILDING IS A STUDIO, THE TRAVIS STUDIO, ESSENTIALLY OUR FIRST PERFORMANCE SPACE WITH ACOUSTICALLY TUNED WALLS, A FORUM IN WHICH DANCE CAN OCCUR.

WE'RE OPENING WITH AN INSTALLATION OF DAVID TUDOR'S 'RAIN FOREST.'

A SERIES OF ALMOST RUBE GOLDBERG-LIKE OBJECTS, EACH OF WHICH HAS AN ACOUSTIC DIMENSION TO IT.

YOU BECOME AWARE OF THE FACT THAT SOUND CAN BE A FORM OF ART JUST AS MUCH AS PAINTING OR SCULPTING CAN BE.

FOR US PERFORMANCE AND THE PERFORMATIVE IS A REALLY IMPORTANT ASPECT OF WHAT WE'RE TRYING TO ACHIEVE WITH THIS ITERATION OF THE MUSEUM.

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

IT HAS BEEN A CHALLENGE TO FIGURE OUT HOW TO BALANCE ALL OF THESE DIFFERENT FORMS IN A WAY THAT BUILDS RATHER THAN DIMINISHES THE EXPERIENCE.

AND YOU KNOW, WE'LL KEEP TWEAKING IT, BUT I THINK THE BALANCE IS PRETTY GOOD.

THE MOMENT YOU WALK INTO A ROOM WITH RAUSCHENBERG AND TWOMBLY AND ENCOUNTER MERCE CUNNINGHAM AND DANCE AND BEGIN TO UNDERSTAND THESE ARTISTS WERE WORKING WITH EACH OTHER AND DANCERS AND THEIR WORK IS EMBEDDED AND ONLY FULLY REALIZED WHEN YOU SEE THE KIND OF DIALOGUE BETWEEN MERCE CUNNINGHAM AND ROBERT RAUSCHENBERG.

THERE'S ONE PARTICULAR EXHIBIT, A SUBSTANTIAL ONE, OVER 100 WORKS, FROM LATIN AMERICA.

AND THAT IS THE CISNEROS GIFT OF LATIN AMERICAN WORKS, 'MODERN SOUTH.'

TELL US A LITTLE BIT HOW THAT FITS INTO THE OVERALL MISSION AND DIRECTION IN WHICH YOU WANT MOMA TO GO.

WELL, THE CISNEROS GIFT EXPANDS DRAMATICALLY THE STORIES WE CAN TELL WITH OUR COLLECTION, BECAUSE PATTY'S INTENSE FOCUS ON GEOMETRIC ABSTRACTION ACROSS LATIN AMERICA, ESPECIALLY IN THE '50s, '60s, EARLY '70s, MEANS THAT WE NOW HAVE THE WORKS OF ART THAT CAN ENGAGE MONDRIAN, OTHERS, EUROPEAN ARTISTS WE THINK OF AS GEOMETRIC COMPONENTS OF ABSTRACTION, TAKE THAT IDEA, MOVE IT LATERALLY, INFLECT IT IN NEW AND DIFFERENT WAYS.

IT'S ALL PART OF ONGOING EFFORT ON OUR PART TO REALLY UNDERSTAND DIFFERENT ARTISTIC PRACTICES ACROSS GEOGRAPHIES.

THE PIGOZZI GIFT WHICH WE JUST ACQUIRED OPENS UP AFRICA FOR US IN WAYS THAT WE'VE NEVER HAD BEFORE.

OR RECENT ACQUISITIONS THAT WE MADE FROM CHINA THAT LET US LOOK AT THAT 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.

IT'S A GREAT MOMENT FOR THE HISTORY OF MUSEUMS.

A GREAT MOMENT FOR THE HISTORY OF NEW YORK.

YOU SHOULD BE VERY PROUD.

WE'RE DELIGHTED THAT YOU GAVE US THE TIME AND THAT WONDERFUL TOUR AND INSIGHT INTO THE NEW MUSEUM OF MODERN ART.

THANK YOU, GLENN.

THANK YOU SO MUCH, PHILLIPPE.

YOU HAVE BEEN AN INCREDIBLE INSPIRATION TO ME AND A WHOLE GENERATION OF CURATORS HERE.

IT'S ALWAYS A PLEASURE TO SHARE A MOMENT WITH YOU.

THANK YOU.

> 'NYC ARTS' ISN'T ONLY AVAILABLE ON THURSDAYS.

IT'S 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'LL VISIT THE NEVELSON CHAPEL AT ST.

PETER'S CHURCH, A SCULPTURAL ENVIRONMENT CREATED BY LOUISE NEVELSON, ONE OF NEW YORK CITY'S MOST CELEBRATED ARTISTS.

WITH A CAREER SPANNING NEARLY FIVE DECADES, 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 ARTWORK 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 ENTIRE COMPLEX, INCLUDING THE CHURCH, WAS DESIGNED BY HUGH STUBBINS AND EASLEY HAMNER.

AFTER 40 YEARS NEVELSON'S MASTERWORK IS UNDERGOING A CRITICAL RESTORATION AND REDISCOVERY AS AN OASIS OF PEACE.

NEVELSON CONSIDERED THIS ENVIRONMENT HER OASIS OF SILENCE.

IT'S A PLACE THAT PEOPLE COME DAY IN AND DAY OUT TO FIND IN THE MIDDLE OF THIS INCREDIBLY BUSY CITY SOME ELEMENT OF PEACE AND SILENCE.

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

AND SHE WAS THE GRANDMOTHER OF ENVIRONMENTAL ART IN AMERICA.

AND SHE REALLY BELIEVED 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 BED STANDS AND CHAIR RAILS AND EVERYTHING THAT SHE WOULD FIND ON THE STREETS OF NEW YORK CITY TO MAKE KOLACHE, THESE RELIEFS.

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.

THE CONGREGATION HAD DWINDLED DOWN TO 65, 70.

IT WAS NOT DOING VERY WELL.

1975, ST. PETER'S AND CITIBANK CAME TOGETHER TO START PLANNING AND ULTIMATELY BUILD CITIGROUP CENTER.

AT THE HEART OF THAT COMPLEX IS NEVELSON CHAPEL.

THE PASTOR AT THAT TIME WAS RALPH PETERSON.

AT THE POINT WHERE THEY DECIDED THAT THEY WANTED A DECORATED CHAPEL, A INTERFAITH CHAPEL, EASLEY HAMNER WAS APPROACHED BY PACE GALLERY WHO SAID, THERE'S 1% FOR THE ARTS WHICH MEANS THERE'S QUITE A LOT OF MONEY AVAILABLE FOR THE ARTS.

AND HAMNER KNEW NEVELSON'S WORK AND REPUTATION AND WANTED HER TO DO IT.

AND PETERSON KNEW HER WORK ALSO AND REALLY LIKED IT.

THE WORKS OF THE CHAPEL ARE NOT THE KIND OF FOUND OBJECT, WHETHER IT WAS FURNITURE OR 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 ME TO TRANSCEND QUIS IMAGERY TO THE ESSENTIAL POINT WHERE ALL RELIGIONS MEET.

EACH ELEMENT FORMS A HOLE IN ITSELF.

A CONTRIBUTE EXPRESSION OF JOY, OF 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 NEVELSON CHAPEL.

THE FIRST IS TO DEAL WITH PROBLEMS WITH THE ENVIRONMENT.

SO WE'RE INTRODUCING A DEDICATED HVAC 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 OVERPAINT.

BUT IN THE END, ALL THE 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, HAD RESONANCE OF MINIMALISM, BUT IT WAS REALLY ALL NEVELSON.

THE CHAPEL IS NOT AS WELL KNOWN AS IT SHOULD BE.

HOPEFULLY WITH THE RESTORATION GOING ON, MANY MORE PEOPLE WILL KNOW ABOUT IT.

WE WANT TO ENSURE THAT 40, 50, 60 YEARS FROM NOW, PEOPLE WILL FIND THIS IN NOT A PRISTINE CONDITION, IT'S A LIVING ENVIRONMENT, BUT WHAT PEOPLE WILL SEE IS 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.

FEW PEOPLE HAVE HELPED DEFINE THE AMERICAN MUSICAL MORE THAN LEGENDARY BROADWAY PRODUCER AND DIRECTOR HAL PRINCE.

HIS RESUME INCLUDES SOME OF THE MOST IMPORTANT SHOWS OF THE PAST CENTURY.

AMONG THEM 'WEST SIDE STORY,' 'FIDDLER ON THE ROOF,' 'CABARET,' 'PHANTOM OF THE OPERA.'

THROUGH MARCH 31st, 2020, THE NEW YORK PUBLIC DIARRHEA FOR THE PERFORMING ARTS IS PRESENTING THE FREE EXHIBITION 'IN THE COMPANY OF HAROLD PRINCE: BROADWAY PRODUCER, DIRECTOR, COLLABORATOR.'

THIS EXHIBITION EXPLORES PRINCE'S CREATIVE TRAJECTORY AND SHOWCASES THE TEAM OF DESIGNERS, STAGE MANAGERS, PRESS AGENTS, COMPOSERS, AND WRITERS HE ASSEMBLED TO CREATE SO MANY HISTORY-MAKING MUSICALS.

FOR COMPLETE DETAILS PLEASE VISIT NYPL.ORG/EVENTS/EXHIBITIONS.

FOR MORE INFORMATION ABOUT EVENTS AT LINCOLN CENTER, VISIT LINCOLNCENTER.ORG.

> THANKS FOR JOINING US THIS EVENING.

I'M PHILIPPE DE MONTEBELLO ON LOCATION AT THE MUSEUM OF MODERN ART.

GOOD NIGHT, AND SEE YOU NEXT TIME.

NEXT WEEK ON 'NYC ARTS,' A CONVERSATION WITH WORLD-RENOWNED CELEBRATED PIANIST.

SO FULL OF PASSION OF A YOUNG MAN WANTING TO CONQUER THE WORLD.

AND AT THE SAME TIME IT HAS THIS INNOCENCE, BEAUTY.

MELODIES THAT COMES FROM THE SORT OF FOLK SONG TRADITION.

THEY SPEAK VERY DIRECTLY TO OUR ARTS AND IT'S VERY INTIMATE.

♪♪

AND A VISIT TO THE FRICK COLLECTION FOR A LOOK AT THREE PAINTINGS BY THE DUTCH MASTER VERMEER.

WE ALSO HAVE ANOTHER FABULOUS PAINTING BY VERMEER, IT'S 'OFFICER AND LAUGHING GIRL.'

IT WAS PURCHASED BY TRICK IN 1911.

JUST TO GIVE YOU THE SENSE OF HOW VERMEER'S STAR HAS BEGUN TO RISE AT THIS POINT, FRICK PAID $225,000 JUST 10 YEARS LATER.

SO HE'S OBVIOUSLY NOT ONLY VERY INTERESTED IN VEREEN, BUT ALSO RECOGNIZES THE QUALITY OF THIS PARTICULAR WORK.

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

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

I LOVE BEING HERE WITH YOU TOO, PAULA.

WHERE ARE WE?

WE'RE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

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.

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.

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 REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON