A tour of the exhibition “Stretching the Canvas: Eight Decades of Native Painting,” on view at the National Museum of the American Indian. And a visit to the Franklin D. Roosevelt Presidential Library and Museum.

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> COMING UP ON 'NYC ARTS,' A LOOK AT THE EXHIBITION 'STRETCHING THE CANVAS' NOW ON VIEW AT THE NATIONAL MUSEUM OF THE AMERICAN INDIAN.

I THINK IT WAS THAT FIRST TEMPURA PAINT ON NEWS PRINT IN KINDERGARTEN THAT SAID TO ME, THIS IS WHAT I'M GOING TO BE DOING THE REST OF MY LIFE.

IT WAS THAT ACTION OF THE HANDS.

I REMEMBER BEING 6 YEARS OLD, 6 1/2, AND THINKING, I DON'T KNOW, THIS FEELS -- I'M IN MY ZONE NOW.

LIGHTNING HIT ME, THIS IS WHAT I'M GOING TO BE DOING THE REST OF MY LIFE, AND I'M STILL DOING IT.

SO I THINK YOU CAN BE BORN A PAINTER SOMETIMES.

> AND A VISIT TO THE FDR PRESIDENTIAL LIBRARY AND MUSEUM IN HISTORIC HYDE PARK, NEW YORK.

ROOSEVELT WANTED IT TO BE AN ARCHIVE BUT ALSO A MUSEUM WHERE PEOPLE COULD COME AND LEARN MORE ABOUT HIM AND HIS ADMINISTRATION.

> 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 PHILIPPE DI MONTEBELLO.

AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

ON OUR PROGRAM TONIGHT, WE'LL VISIT THE SMITHSONIAN NATIONAL MUSEUM OF THE AMERICAN INDIAN.

IT IS LOCATED DOWNTOWN IN NEW YORK CITY AT BOWLING GREEN.

THE MUSEUM'S MISSION IS TO FOSTER A MORE INFORMED UNDERSTANDING OF NATIVE PEOPLES OF THE AMERICAS.

CURRENTLY ON VIEW IS 'STRETCHING THE CANVAS: 80 YEARS OF NATIVE PAINTING.'

IT IS A GROUP SHOW OF WORK BY OVER 30 ARTISTS, AND THEY'RE ALL DRAWN FROM THE MUSEUM'S PERMANENT COLLECTION AND CREATED BETWEEN 1940 TO THE PRESENT DAY.

THE PREMISE OF THE EXHIBITION IS TO CHALLENGE EXPECTATIONS OF WHAT CONSTITUTES INDIAN ART.

THE WORKS REFLECT A GREAT VARIETY OF COLOR, STYLE, AND SUBJECT.

FROM FLAT ILLUSTRATIVE PIECES THAT DEPICT IDEALIZED SCENES TO LARGE-SCALE ABSTRACT WORK THAT USES IRONY TO CONFRONT NATIVE ISSUES, THE SHOW HINGES ON THE MOMENT WHEN THESE ARTISTS BROKE THROUGH TO MODERNISM.

I THINK THAT FIRST TEMPURA PAINT ON NEWSPRINT IN KINDERGARTEN THAT SAID TO ME, THIS IS WHAT I'M GOING TO BE DOING THE REST OF MY LIFE.

IT WAS THE ACTION OF THE FANS.

I REMEMBER BEING 6 YEARS OLD OR SOMETHING LIKE THAT, 6 1/2, AND THINKING, I DON'T KNOW THIS FEELS -- I'M IN MY ZONE NOW.

LIGHTNING HIT ME, THIS IS WHAT I'M GOING TO BE DOING THE REST OF MY LIFE, AND I'M STILL DOING IT.

AND SO I THINK YOU CAN BE BORN A PAINTER SOMETIMES.

WE BEGIN THE EXHIBITION 'STRETCHING THE CANVAS' IN THIS LARGE SALON-SCALED GALLERY WITH SOME OF OUR OVERSIZED LARGE PAINTINGS.

AND THE REASON THIS IS THAT WE FELT THAT THIS WORK WAS COMPARABLE TO ANYTHING YOU WOULD SEE AT THE WHITNEY, ANYTHING YOU WOULD SEE AT THE MUSEUM OF MODERN ART.

SO WE REALLY WANTED TO PUT SORT OF A BEST FOOT FORWARD AND INVITE OTHER MUSEUMS TO IMAGINE THIS KIND OF WORK IN THEIR GALLERIES.

MAKING PAINTINGS IS ACTUALLY NOT SO MUCH A TRADITIONAL ART FORM.

THERE ARE TRADITIONS OF PAINTING ON HIDE, KIVA PAINTINGS, THAT KIND OF THING.

MOST OF THE MODERN PAINEDING THAT COMES OUT OF THE 1920s WHEN YOUNG NATIVE STUDENTS, PARTICULARLY IN THE SOUTHWEST, EVEN OKLAHOMA, WERE LEARNING THE BASICS OF ART INSTRUCTION IN THEIR SCHOOLS.

THE SCHOOLS ENCOURAGED THIS AMERICAN ART STYLE THAT WAS THAT FLAT ILLUSTRATIVE STYLE FOCUSING ON NATIVE AMERICAN SUBJECTS.

JUST TO GIVE OUR VISITORS SOME SENSE OF WHERE THIS IS ALL COMING FROM, THE KIND OF FOUNDATION FROM WHICH THIS MORE ADVENTURESOME WORK GREW.

FROM THERE WE INVESTIGATE SOME OF THE THINGS THAT INVITED ARTISTS THINK ABOUT THEIR ART IN A MORE BROADWAY.

WE HAVE A SMALL GALLERY THAT LOOKS AT ARTISTS WHO TRAVELED TO NEW YORK CITY IN THE 1940s AND 1950s AND BEGAN TO THINK ABOUT THEMSELVES MORE AS ARTISTS ON A WORLD STAGE.

SOME ARTISTS WERE INSPIRED BY POP ART, DEVELOPMENTS OF THE 1960s, THE 1970s, OVERSIZED CANVASS AND A MORE PLAYFUL APPROACH TO NATIVE AMERICAN SUBJECTS.

ONE OF THE THINGS I THINK AMERICAN INDIANS STRUGGLE WITH THROUGHOUT THE 20th, 21st CENTURY ARE EXPECTATIONS THAT THEY'RE NOT PART OF THE MODERN WORLD.

SO PEOPLE EXPRESS SURPRISE, WELL, AMERICAN INDIANS USE CELL PHONES, THEY DRIVE CARS, RIDICULOUS THINGS LIKE THAT.

IT'S NOT AS UNCOMMON AS YOU MIGHT THINK.

THOSE ARTISTS ARE PART OF THE CONTEMPORARY WORLD.

THEY'RE ALSO PART OF THEIR TRADITIONAL WORLD AND COMMUNITIES AS WELL.

AMERICA MEREDITH, A CHEROKEE ARTIST, IS REALLY A POLYMATH.

SHE'S EDITOR OF A VERY INFLUENTIAL ART JOURNAL.

SHE'S ALSO AN ARTIST, A PAINTER.

I WENT TO GRADUATE SCHOOL AT SERVICES GROWN INSTITUTE AND I HAD FELLOW CLASSMATES SAY, WHY WOULD ANYONE GO TO GRAD SCHOOL FOR PAINTING?

I HAD A LOT OF TIME TO THINK OF, WHY IS PAINTING RELEVANT?

IS IT PASSE?

OKAY, HUMAN BEINGS HAVE BEEN PAINTING FOR THE LAST 100,000 YEARS.

SO IS DANCING PASSE?

IS POETRY PASSE?

IS SINGING PASSE?

NO, THESE ARE ALL INTRINSICALLY HUMAN EXPRESSIONS.

PAINTING, IF YOU'RE PASSIONATE ABOUT COLOR, TEXTURE, PAINTING IS SO PRIMEVAL, I THINK.

THIS PIECE IN THE SHOW, IT'S FROM 2005.

A MAIN CHARACTER IS THIS VERY CONTROVERSIAL LAKOTA MEDICINE MAN, JOHN PARALINGER.

HE'S SAYING, GO OUT INTO THE WORLD, YOU'LL SERVE PEOPLE BETTER IF YOU FULLY LIVE YOUR LIFE, DON'T TRY TO LIVE THIS CLOISTERED LIFE, GO OUT AND SCREW UP.

THE LEDGER DESIGN REFERENCES LEDGER ART.

THIS KIND OF TRANSITIONAL ART.

THAT'S AN INTERSECTION TO WHEN WESTERN MATERIALS CAME OUT TO THE PLAINS.

THESE OLD LEDGERS WERE USED BY ARTISTS WHO PREVIOUSLY HAD BEEN PAINTING ON ANIMAL HIDES.

AND I THINK IT'S ONE OF THE GREATEST IRONIES.

IF YOU PAINT ON THIS ANIMAL HIDE, MANY PEOPLE DON'T CONSIDER THAT ART WITH A CAPITAL 'A.'

IF YOU PAINT ON A RECTANGLE AND IT'S PAPER, THEN IT'S OKAY.

NORVELLE MORSO CREATED THIS VERY ABSTRACT, HEAVILY BLACK OUTLINED SNAKE AND EAGLE.

THE FLAT STONE ON THE CORNER WHAT IS I GREW UP WITH IN OKLAHOMA, THE PAINTING STYLE IS VERY FLAT, HEAVILY OUTLINED, KIND OF THE SOUTHWEST LANDSCAPE.

I USE KIND OF POP IMAGERY.

KIND OF CHILDREN'S IMAGERY.

IT'S TOUCHSTONES THAT I THINK MOST PEOPLE COMING HERE ARE FAMILIAR WITH, RICHARD SCARY, AMAZING ARTIST, THE MUPPETS.

THAT'S MY CHILDHOOD.

WE SEE A LOT OF CONTROL IN NATIVE ART AND WE DON'T SEE LIVING LOOSE.

MARIAN MARTINEZ IS A WONDERFUL EXAMPLE OF SOMEONE LIVING LOOSE AND BEING VERY FREE, VERY SPONTANEOUS WITH THIS IMAGERY.

I HAVE ALWAYS LOVED ABSTRACTION.

I HAVE PROCLIVITY TO IT.

I WAS DRAWN TO IT BECAUSE THERE WAS A -- I UNDERSTOOD AS A YOUNG KID THAT YOU DIDN'T DO CEREMONIAL IMAGERY, YOU DIDN'T DO CULTURAL IMAGERY, TO BENEFIT FROM YOUR CULTURE, TO BENEFIT MONETARILY.

SO AS A KID I KNEW THAT I COULDN'T USE THAT IMAGERY.

SO I GUESS A GREAT AVENUE OUT WOULD BE WHAT I FELL IN LOVE WITH, MODERNISM.

A PURE SENSE, ENERGY SENSE, ABSTRACTIONS I THINK FOR ME ARE STILL THE MOST POWERFUL ENVIRONMENT IN THAT WAY IT'S UNDERSTOOD.

I THINK ANOTHER THEME OF THE SHOW IS THAT PEOPLE BEING UNCONSTRAINED.

SO YOU HAVE A LOT OF PEOPLE LOOKING OUTSIDE THEIR TRIBAL HERITAGE AND LOOKING AT THE BROADER WORLD.

KAY WALKINGSTICK WAS BORN IN NEW YORK.

SHE'S STILL IN THE NORTHEAST.

SHE IS CHEROKEE, BUT SHE VERY SELDOM USED OVERT CHEROKEE IMAGERY, SHE'S DEVELOPED HER OWN.

IN THIS SHOW SHE USES SOUTHWESTERN LANDSCAPE.

NATIVE PEOPLE TRAVEL.

THEY SEE AND RESPOND TO DIFFERENT COMMUNITIES.

SO SHE HAS HER OWN STYLE WHERE SHE'S USING ICONOGRAPHY AND THEN LANDSCAPE.

SO THIS INNER AND OUTER WORLD, SYMBOLIC WORLD, AND REPRESENTATIONAL WORLD.

MANY OF HER WORKS ARE DYPTICH, DIVIDED IN TWO.

THAT'S SOMETHING SHE SET FOR HERSELF.

WHEN I WAS A CHILD, THE CAMPUS HAD AN ART PROGRAM.

IT'S UNIQUE BECAUSE IT'S ALWAYS BEEN RUN BY NATIVE ART DIRECTORS.

IT STARTED IN 1935, AND THEY HAVE A PIECE BY THE FIRST DIRECTOR, ACEY BLUEEAGLE.

DICK WEST, HE WAS A DIRECTOR, AND HE SUMMONED SIGHIAN.

CHEYENNE.

IN THE SHOW THERE'S TWO PIECES.

ONE IN THE SECTION CALLED TRAINING GROUND THAT IS CONSIDERED THE 20th CENTURY NATIVE WAY TO PAINT, WHERE IT'S HEAVILY OUTLINED, HEAVILY CONTOURED.

BUT AS YOU SEE, HE IN THIS PAINTING, IT'S VERY ABSTRACT, HE'S PLAYING WITH COLOR, HE'S PLAYING WITH TEXTURE.

THE FACT THAT HE REALLY JUST GAVE HIMSELF PERMISSION TO EXPERIMENT IN MANY DIFFERENT WAYS.

AND I THINK SOMETIMES THE ART CANON DOESN'T REALLY REFLECT HOW FREE SOME OF THESE ARTISTS WERE.

WE THINK ONE OF THE GREAT STANDOUTS OF THIS EXHIBITION IS JAMES LAVADOR.

HIS PAINTING 'BLANKET' IS A SERIES OF PANELS THAT SUGGEST LANDSCAPE WITHOUT REALLY REPRESENTING IT.

WHAT I PARTICULARLY ENJOY ABOUT HIS WORK, I WOULDN'T SAY HE'S ENTIRELY SELF-TAUGHT, BUT HE IS NOT FOLLOWED, HE DOESN'T COME OUT OF A UNIVERSITY STUDIO SCHOOL SYSTEM.

BUT HE HAS THIS WONDERFUL INSIGHT ABOUT THE QUALITY OF PAINT AND ITS RELATIONSHIP TO GEOLOGY.

THAT PAINT, WHAT IS PAINT BUT BASICALLY MINERALS THAT ARE SUSPENDED IN LIQUID.

SO HIS INSIGHT IS THAT A PAINTING IN A SENSE IS KIND OF AN ACT OF GEOLOGY, BY CREATING A PAINTING YOU'RE ALMOST MIMICKING GEOLOGICAL FORCES BY HYDROLOGY, OF LAYERING.

HE WORKS WITH PIGMENTS ON SURFACE AND MANIPULATES THEM UNTIL SUGGESTIONS OF LANDSCAPE BEGIN TO EMERGE.

AS IF HE'S NOT PAINTING AN IMAGE OF A LANDSCAPE, BUT ACTUALLY CONSTRUCTING LAND HIMSELF OUT OF THE PAINT.

TURNS OUT THAT MUSEUMS ACROSS THE COUNTRY ARE BEGINNING TO UNDERSTAND THAT THEIR REPRESENTATION OF AMERICAN ART HISTORY IS LIMITED AND CONSTRAINED TO A CERTAIN EXTENT, THAT IT DOESN'T INCLUDE THE WORK OF SOME OF THESE ACCOMPLISHED ARTISTS WHO HAVE BEEN WORKING FOR MANY DECADE.

I'M VERY IMPRESSED WITH THE SHOW BECAUSE IT REALLY SAYS THAT, COME ATTENTION OR NOT, COME ACCEPTANCE OR NOT, WE ARE GOING TO DO WHAT WE ARE GOING TO DO.

AND WE ARE AS GOOD AS ANYBODY ELSE.

IT IS PROOF THAT WE ARE PART OF THAT AMERICAN CULTURAL EXPERIENCE.

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

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.

> NEXT WE VISIT THE FRANKLIN D. ROOSEVELT PRESIDENTIAL LIBRARY AND MUSEUM LOCATED IN HISTORIC HYDE PARK, NEW YORK.

JUST ABOUT TWO HOURS NORTH OF NEW YORK CITY.

THE LIBRARY AND MUSEUM WAS BUILT ON THE GROUNDS OF THE BIRTHPLACE, HOME, AND BURIAL PLACE OF THE 32nd PRESIDENT OF THE UNITED STATES.

IN 2013, THE LIBRARY COMPLETED A FULL-SCALE RENOVATION OF THE HISTORIC BUILDING, THE FIRST SINCE IT OPENED IN 1941.

IT ALSO UNVEILED A TOTALLY REDESIGNED PERMANENT MUSEUM EXHIBIT.

THE NEW DEAL FOR A NEW GENERATION, THAT'S THE SHOW THAT TELLS THE STORY OF THE ROOSEVELT PRESIDENCY BEGINNING IN THE DEPTHS OF THE GREAT DEPRESSION AND CONTINUING THROUGH THE NEW DEAL AND WORLD WAR II.

THE FRANKLIN D. ROOSEVELT PRESIDENTIAL LIBRARY AND MUSEUM IS PART OF THE NATIONAL ARCHIVES AND RECORDS ADMINISTRATION.

THE BUILDING ITSELF WAS CREATED BY THE PRESIDENT AND OPENED IN 1941.

ROOSEVELT WANTED IT TO BE AN ARCHIVE BUT ALSO A MUSEUM WHERE PEOPLE COULD COME AND LEARN MORE ABOUT HIM AND HIS ADMINISTRATION.

THERE ARE OVER 17 MILLION PAGES OF DOCUMENTS IN THE ARCHIVE.

WE HAVE ALL OF THE PERSONAL AND PUBLIC PAPERS OF FRANKLIN ROOSEVELT AND ELEANOR ROOSEVELT, AND OUR MUSEUM COLLECTION TOTALS OVER 35,000 ITEMS.

WE'RE THE ONLY PRESIDENTIAL LIBRARY TO HAVE THE ACTUAL DESK USED BY THE PRESIDENT IN THE OVAL OFFICE.

IN ADDITION TO THE DESK, WE HAVE ALL OF THE OBJECTS THAT FDR HAD ON THAT DESK AT THE TIME OF HIS DEATH IN APRIL OF 1945.

ONE OF THE THINGS THAT FDR DID WHEN HE CREATED HIS LIBRARY IN 1941 WAS HE CREATED A PRIVATE STUDY WHERE HE COULD COME AT ANY TIME.

DURING WORLD WAR II HE VERY OFTEN USED THAT OFFICE AS A WORKING OFFICE.

AND WE'VE KEPT IT ALMOST EXACTLY THE WAY IT LOOKED THE LAST TIME HE WAS IN THE ROOM IN THE SPRING OF 1945 DURING HIS FINAL VISIT TO HYDE PARK.

SO YOU GET A REAL VISCERAL SENSE OF THE PRESIDENT.

IT'S ALMOST AS IF HE HAS JUST LEFT THE ROOM.

THIS MUSEUM COVERS A WIDE SPAN OF OUR HISTORY, FROM THE GREAT DEPRESSION ALL THE WAY UP THROUGH THE YEARS OF WORLD WAR II.

OF COURSE HE WAS THE ONLY MAN ELECTED TO FOUR TERMS AS AMERICA'S PRESIDENT.

THIS WAS A PRESIDENT WHO PROFOUNDLY CHANGED BOTH DOMESTIC LIFE FOR AMERICANS AND OUR RELATIONSHIP TO THE WORLD.

HE WAS INSTRUMENTAL IN GETTING THE NATION TO TURN DECISIVELY AWAY FROM AN ISOLATIONIST VIEW TOWARDS THE WORLD AND REALLY ENGAGING WITH THE WORLD.

AND DOMESTICALLY IT INVOLVED ALL OF THE DIFFERENT INITIATIVES OF THE NEW DEAL.

THIS NEW EXHIBITION, A NEW DEAL FOR A NEW GENERATION, WAS CREATED DURING A MAJOR UNDERTAKING TO RETHINK AND REIMAGINE THE ENTIRE MUSEUM.

THE NEW DEAL WAS THE TERM THAT WAS COINED TO DESCRIBE THE WIDE VARIETY OF PROGRAMS AND POLICIES THAT ROOSEVELT INITIATED TO COMBAT THE GREAT DEPRESSION.

EVERYTHING FROM THE TENNESSEE VALLEY AUTHORITY TO SOCIAL SECURITY TO UNEMPLOYMENT INSURANCE TO THE NOTION THAT THE FEDERAL GOVERNMENT HAS A RESPONSIBILITY TO TAKE A ROLE IN THE NATION'S ECONOMY AND ENSURE A CERTAIN MEASURE OF SOCIAL JUSTICE TO ALL AMERICANS.

INCREASINGLY NOW WE'RE GETTING VISITORS WHO DID NOT EXPERIENCE THIS PERIOD FIRSTHAND.

SO THERE WAS A REAL NEED TO RECAST THE WHOLE STORY OF THE ROOSEVELT ERA, THE PERSONAL STORIES OF FRANKLIN AND ELEANOR ROOSEVELT AND THEIR TIMES.

DURING THE PLANNING PROCESS WE VERY EARLY DECIDED THAT THE BEST WAY TO TELL THE STORY OF ELEANOR ROOSEVELT WAS TO WEAVE IT THROUGHOUT THE STORY OF THE ROOSEVELT PRESIDENCY.

SHE'S SO TIGHTLY INVOLVED WITH HER HUSBAND IN ALL OF THE INITIATIVES OF THE NEW DEAL AND THE WORLD WAR II YEARS.

SO YOU'LL FIND HER EVERYWHERE IN THIS EXHIBITION.

THE STORY OF FDR'S DISABILITY IS OBVIOUSLY KEY TO UNDERSTANDING HIM AS A PERSON.

WE HAVE OVER 100,000 PHOTOGRAPHS IN OUR COLLECTIONS HERE AT THE ROOSEVELT LIBRARY, BUT WE ONLY HAVE FOUR THAT SHOW HIM IN A WHEELCHAIR.

THERE WAS A KIND OF UNSPOKEN RULE THAT THERE NOT BE FILM OR PHOTOGRAPHY THAT SHOW THE EXTENT OF HIS DISABILITY.

IN 1921, FDR CONTRACTS POLIO.

HE REMAINS PARALYZED FROM THE WAIST DOWN THROUGH THE REST OF HIS LIFE.

WE REALLY WANTED TO GIVE PEOPLE A SENSE OF THE WEIGHT OF THOSE BRACES.

10 POUNDS.

HE HAD TO PUT THEM ON HIS LEGS IN ORDER TO BE ABLE TO STAND.

TO WALK SHORT DISTANCES, HE WOULD THEN HAVE TO SUPPORT HIS WEIGHT ON A CANE AND LOCK ARMS WITH A STRONG COMPANION.

AND THEN HE WOULD LITERALLY PITCH HIS BODY FORWARD.

AND AT THE SAME TIME HE'D BE SMILING AND LOOKING AROUND LIKE HE HADN'T A CARE IN THE WORLD, WHEN IN FACT HE WAS REALLY CONCENTRATING AS HE MOVED HIMSELF FORWARD IN THAT MANNER.

WE HAVE HERE FDR'S 1936 FORD PHAETON ABLE.

THIS CAR WAS SPECIALLY MODIFIED BY A LOCAL MECHANIC SO THE PRESIDENT COULD DRIVE IT WITHOUT THE USE OF HIS LEGS.

HE DROVE VERY FAST, BY ALL ACCOUNTS.

IN PARTICULAR WE HAVE A WONDERFUL ACCOUNT FROM THE QUEEN OF ENGLAND WHEN SHE VISITED HERE IN 1939, TALKING ABOUT HOW BRACING IT WAS TO RIDE WITH THE PRESIDENT.

WHAT WE TRIED TO DO HERE IN THIS NEW MUSEUM IS TO MIX THOSE TRADITIONAL THINGS THAT YOU EXPECT TO SEE IN A MUSEUM WITH AUDIOVISUAL PRODUCTIONS, WITH IMMERSIVE EXPERIENCES, WHERE YOU COULD SORT OF LITERALLY STEP INTO THE PAST.

VISITORS CAN LISTEN TO HIS FAMOUS FIRESIDE CHATS THE WAY PEOPLE LISTENED TO HIM AT THE TIME.

FDR COMES INTO OFFICE IN MARCH OF 1933 AND HIS VERY FIRST FIRESIDE CHAT WAS AT THE END OF THE VERY FIRST WEEK IN OFFICE.

YOU COULD READ ABOUT THE PRESIDENT, EVENTS IN WASHINGTON IN NEWSPAPERS.

BUT THE WAY YOU GOT THAT DIRECT CONNECTION WAS THROUGH THE RADIO.

WE HAVE PROVIDED THE MACHINERY TO RESTORE OUR FINANCIAL SYSTEM.

LET US UNITE IN BANISHING FEAR.

TOGETHER WE CANNOT FAIL.

HE'S TOUCHING PEOPLE IN A VERY POWERFUL WAY, AND THEY'RE WRITING BACK TO HIM IN GREAT NUMBERS, WRITING TO HIM AS IF HE'S A FRIEND.

MY DEAR MR. PRESIDENT.

YOUR SPEECH LAST NIGHT WAS SOULFUL --

THANK YOU FOR THE HOPE YOU HAVE GIVEN US.

THIS WAS A PRESIDENT WHO INSPIRED GREAT AFFECTION AND LOVE, BUT ALSO A GREAT DEAL OF CRITICISM AND EVEN HATRED.

AMONG HIS OPPONENTS.

IT WAS VERY IMPORTANT TO US WE NOT JUST INCLUDE THE SUPPORTERS OF THE PRESIDENT BUT ALSO SHOW HIS OPPONENTS AS WELL.

THE SUBJECTS THAT WE LOOK AT RANGE FROM FDR'S RESPONSE TO THE HOLOCAUST, TO HIS DECISION TO INTERN JAPANESE-AMERICANS DURING WORLD WAR II.

WE FOCUS ON SUBJECTS THAT WERE CONTROVERSIAL IN THEIR DAY AND ARE STILL BEING DEBATED AMONG HISTORIANS.

THE LEGACY OF FRANKLIN ROOSEVELT IS SUCH A DIFFICULT THING TO PRESENT IN A SUCCINCT WAY.

ONE HISTORIAN SAYS THAT WE LIVE IN THE WORLD THAT FRANKLIN ROOSEVELT CREATED.

AND A MAJOR GOAL OF THIS EXHIBITION IS TO REACH OUT TO NEW GENERATIONS OF AMERICANS AND TO DRAW OUT THE IMPORTANT CONNECTIONS BETWEEN THE ISSUES AND THE STRUGGLES OF THE 1930s AND 1940s AND ISSUES OF TODAY.

> 'NYC ARTS' COMES TO YOU EACH WEEK FROM OUR STUDIOS AT LINCOLN CENTER.

HERE'S WHAT'S COMING UP ON THE NEIGHBORHOOD CALENDAR.

THE NEW YORK PHILHARMONIC MARK THE CENTENNIAL OF THE RATIFICATION OF THE 19th AMENDMENT WHICH GRANTED EQUAL VOTING RIGHTS TO WOMEN BY COMMISSIONING AND PREMIERING WORKS BY 19 WOMEN COMPOSERS.

THE MULTI-SEASON INITIATIVE, THE SINGLE LARGEST WOMEN-ONLY INITIATIVE IN HISTORY, LAUNCHED EARLIER THIS MONTH WITH THE FIRST SIX WORLD PREMIERES.

THE LATEST PROGRAM PRESENTED BY THE PHILHARMONIC RUNS FROM FEBRUARY 20th TO THE 22nd AND INCLUDES A WORLD PREMIERE BY ELLEN REID, AS WELL AS COMPOSITIONS BY UNDERS HILLBORG AND BJORK SUNG BY RENEE FLEMING.

FOR DETAILS VISIT NYC.ORG.

> NEXT WEEK THE PROFILE OF PIANO DUO CHRISTINA AND MICHEL NORTON, WINNERS OF THE AVERY FISHER CAREER GRANT REWARD.

IT'S INTIMATE CONVERSATION.

IT'S VERY INTENSE VERSION OF CHAMBER MUSIC I WOULD ALMOST SAY.

YOU'RE SHARING THE INSTRUMENT.

YOU STOP THINKING, THIS IS MY PART, THIS IS HER PART.

YOU THINK OF IT ALMOST AS ONE AND IT SOMETIMES BECOMES VERY CONVERSATIONAL AS WELL.

SO THE JOY AND THE FUN IN THAT CONVERSATION IS WHAT WE KIND OF HOPE TO BRING.

♪♪

AND A LOOK AT BROOKLYN MUSEUM'S 'ARTS OF CHINA' GALLERY WHICH HIGHLIGHTS 5,000 YEARS OF CHINESE ARTISTIC ACCOMPLISHMENT.

THE 'ARTS OF CHINA' GALLERY IS SET UP ROUGHLY CHRONOLOGICALLY WITH THE EARLIEST MATERIAL AT ONE END AND THE LATER MATERIAL AT THE OTHER END.

BUT THERE IS, IN FACT, A SPRINKLING OF CONTEMPORARY ART THROUGHOUT THE GALLERIES.

EVENING.

I'M PHILIPPE DI MONTEBELLO AT THE TISCH STUDIOS AT LINCOLN CENTER.

GOOD NIGHT AND SEE YOU NEXT TIME.

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

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

I'M PAULA ZAHN.

I'M PHILIPPE DI MONTEBELLO AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

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.

CLASSICAL AND MODERN DANCE ARE EXTREMELY DIFFERENT.

AND I HAVE SO MUCH MORE TO LEARN BEFORE I CAN REALLY ARTICULATE THE DIFFERENCES.

WHEN I LISTEN TO HARBURG'S LYRICS I SUDDENLY THOUGHT, THAT'S WHAT I WANT TO DO WITH MY LIFE.

MY PICTURES RESIDE IN INTEREST LAT, PRIVATE MOMENTS.

MY PRIVATE WAY OF PLAYING PIANO IS IMPROVISING.

YOU ARE IN SOME RESPECTS ON SACRED GROUND.

A WOMAN CAME TO SEE ME PERFORM AND SAID, HOW WOULD YOU LIKE TO PLAYBILLY HOLIDAY?

I THINK ONE OF THE ESSENTIAL THINGS WE LEARNED IS THAT MATISSE USED PENS TO COMPOSE HIS WORK.

YOU'RE SURPRISED IN OPERA, DOING A PIECE THAT'S 100 YEARS AGO, AND YOU THINK, OH MY GOSH, THIS COULD BE NOW.

THE CARDBOARD GUITAR IS THE VERY FIRST OF THAT MOMENT OF REALIZATION.

SUDDENLY YOU COME AND PRESENT SOMETHING, AND YOU GET APPLAUSE.

GREAT, YOU KNOW.

♪♪

> 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