A profile of the American Composers Orchestra, ACO, the only orchestra in the world dedicated to the creation, performance, and promotion of music by American composers. Followed by a look at Jane’s Carousel in Brooklyn Bridge Park. And a visit to the American Folk Art Museum, where curator Stacy Hollander describes an intriguing sculpture created by Asa Ames and known as the “Phrenological Head.”

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> COMING UP ON 'NYC ARTS' THE PROFILE OF AMERICAN COMPOSERS ORCHESTRA, THE ONLY ORCHESTRA IN THE WORLD DEDICATED TO THE CREATION AND PERFORMANCE OF MUSIC BY AMERICAN COMPOSERS.

YOU'RE HEARING WHAT'S BEEN IN A COMPOSER'S MIND WHICH THEY PUT INTO A BIG OR ORCHESTRAL SCORE AND THE CONDUCTOR IS GOING TO BE CONDUCTING THIS IN FRONT OF 60 MUSICIANS THAT ARE MAKING THE MUSIC HAPPEN LIVE FOR THE VERY FIRST TIME.

I THINK THIS PROGRAM IS JUST FANT FANTASTIC BECAUSE THE COMPOSERS NOT ONLY GET THE FEEDBACK FROM THE COMPOSERS BUT ALSO THE PLAYERS FROM THE ORCHESTRA AND I THINK THAT'S IMPORTANT.

MAYBE A LITTLE MORE PIANO.

> A TRIP TO BROOKLYN BRIDGE PARK TO VISIT A SHINING EXAMPLE OF THE GOLDING AGE OF CAROUSEL MAKING IN THE U.S.

I THINK IT WAS 27 YEARS I WORKED ON IT.

IT OPENED IN THE PARK IN 2011.

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

WALTER, THEA PETSCHEK, JODY AND JOHN ARNHOLD, ELLEN AND JAMES S. MARCUS, THE LEWIS SONNY TURNER FUND FOR DANCE ELISE JAFFE AND JEFFREY BROWN THE MILTON AND SALLY AVERY ARTS FOUNDATION AND THE ELROY AND TERRY KRUMHOLZ FOUNDATION.

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 THING'S FIRST.

FIRST REFERS TO 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.

> AND BY SWANN AUCTION GALLERIES.

> GOOD EVENING AND WELCOME TO 'NYC-ART.'

ON OUR PROGRAM TONIGHT, WE GO BEHIND THE SCENES WITH THE AMERICAN COMPOSER'S ORCHESTRA OR ACO, THE ONLY MUSIC BY AMERICAN COMPOSERS.

IT GIVES VOICE TO COMPOSERS OF VARIOUSAL STYLES AND GENRES ALLOWING AUDIENCES TO EXPERIENCE NEW HYBRIDS, WRITING FOR SYMPHONY REMAINS ONE OF THE GREATEST CHALLENGES FOR THE ASPIRING COMPOSER.

AND OPPORTUNITIES FOR HANDS-ON EXPERIENCE WORKING WITH AN ORCHESTRA ARE RARE.

UNDERWOOD NEW MUSIC READINGS GIVES AUDIENCES A CHANCE TO LOOK BEHIND THE SCENES OF BRINGING NEW DIVERSE ORCHESTRAL MUSIC TO LIFE.

EACH YEAR A HANDFUL OF EMERGING COMPOSERS ARE SELECTED FROM HUNDREDS OF SUBMISSIONS TO PARTICIPATE AT THE UNDERWOOD READINGS.

RECEIVING VALUABLE MENTORING AND FEEDBACK FROM PROFESSIONAL COMPOSERS, CONDUCTORS, AND THE ORCHESTRA PLAYERS THEMSELVES.

IN 2018, NYC-ARTS CAPTURED THESE FINAL READINGS WHICH WERE OPEN TO THE PUBLIC AT NYU'S FREDERICK LOWE THEATER.

AT STAKE, TWO $15,000 MISSIONS TO WRITE NEW WORKS FOR ACO.

SO, MY NAME IS LILIA OGUY.

I'M FROM UZBEKISTAN.

BUT I'M ALSO HALF KOREAN, AND I LIVED IN THIS COUNTRY FOR EIGHT YEARS SO FAR.

VERY OFTEN I WRITE MUCH MORE TO THE STYLE OF DRAMATIC PIECES.

AND WITH THIS ONE, I DECIDED TO GO A DIFFERENT DIRECTION AND TO WRITE SOMETHING THAT WOULD BE RATHER LIGHT AND PLAYFUL AND IN A CERTAIN WAY REFLECT, FOR ME, REFLECT THE INFLUENCE OF AMERICAN MUSIC ON ME.

♪ IT ALMOST FEELS QUITE INCREDIBLE BECAUSE I LIKE PAINTERS, FOR EXAMPLE, CAN JUST PAINT THE PICTURE WITH ALL THE COLORS.

WE, AS COMPOSERS, IMAGINE OUR SOUNDSCAPE, BUT WE CANNOT HEAR IT LIVE UNTIL WE ACTUALLY HEAR IT LIVE.

YOU'RE HEARING WHAT'S BEEN IN A COMPOSER'S MIND WHICH THEY PUT INTO A BIG ORCHESTRAL SCORE, THEY WROTE IT ALL DOWN.

AND NOW THEY'VE PUT IT FROM THE CONDUCTOR AND THE CONDUCTOR IS GOING TO BE CONDUCTING THIS IN FRONT OF 60 MUSICIANS WHO ARE MAKING THE MUSIC HAPPEN LIVE FOR THE VERY FIRST TIME.

IT CAN BE DIFFICULT NOT TO FEEL NERVOUS AND NOT TO NOTICE MISTAKES OR SMALL THINGS THAT YOU WOULD LIKE TO DO BETTER AND JUST TO PERCEIVE IT THE WAY THE LISTENER WOULD.

I FEEL FOR EVERY COMPOSER WHO'S GETTING A FIRST PERFORMANCE BECAUSE I JUST KNOW HOW I FELT THE FIRST TIME I DID AN ORCHESTRA PIECE PLAYED.

AND IT WAS SO INCREDIBLY FRIGHTENING AND YET EXHILARATING.

IT WAS LIKE THIS GREAT FREIGHT TRAIN JUST RAN OVER YOU.

WELL, I THINK THIS PROGRAM IS JUST FANTASTIC BECAUSE THE COMPOSERS NOT ONLY GET THE FEEDBACK FROM THE MENTOR COMPOSERS, BUT THEY ALSO HAVE THE FEEDBACK FROM THE PLAYERS FROM THE ORCHESTRA.

AND I THINK THAT'S EXTREMELY IMPORTANT.

MAYBE A LITTLE MORE FORTE PIANO.

AS FAR AS THE READINGS GO, WE ARE ENCOURAGING THESE YOUNG NEW COMPOSERS.

AND OFTEN THE MARKS THAT THEY DO PUT ON THE PAPER ARE NOT AS CLEAR AS THEY NEED TO BE.

AND SO IT'S A LITTLE BIT OF A TEACHING ROLL TO SAY WELL THAT'S WHAT YOU WANT TO HEAR, THEN THIS IS WHAT WE NEED TO SEE.

[ APPLAUSE ]

HELLO.

MY NAME IS LILY CHIN.

MY PIECE IS INSPIRED BY BOTH BEAUTIFUL SONGS, BEAUTIFUL AND SOME TERRIFYING MOMENTS.

LILY CHIN IS A WONDERFULLY CREATIVE COMPOSER FROM TAIWAN WHO NOW LIVES IN THE BAY AREA AND IS ATTENDING UNIVERSITY OF CALIFORNIA AT BERKELEY.

HER MUSIC USES MANY, MANY EXTENDED TECHNIQUES.

SO, YOU'LL SEE THE STRING PLAYERS TAPPING.

YOU'LL SEE SOME STYROFOAM CUPS BEING USED.

SO, SHE'S EXTREMELY CREATIVE, AND SHE HAS THE SENSIBILITY OF AN EXPERIMENTAL COMPOSER.

AND SHE'S TRYING TO SQUARE THAT WITH WRITING FOR A LARGE ORCHESTRA.

GOOD EVENING EVERYONE.

MY NAME IS RYAN LEEVITE AND I'M EXCITED FOR YOU ALL TO HEAR MY PIECE.

RYAN'S PIECE IS BEAUTIFULLY ORCHESTRATED AND IT'S A PIECE ABOUT ROBOTS.

SO, YOU'LL HEAR A KIND OF MECHANICAL QUALITY ABOUT THIS PIECE.

WHAT'S GREAT ABOUT THIS ORCHESTRA IS THAT THESE PLAYER, THESE MUSICIANS, ARE SO QUICK TO CATCH ALL THE OF THE GESTURES AND TRICKY RHYTHMS.

THESE GUYS EAT IT UP RIGHT AWAY.

SO, THAT'S ONE OF THE REASONS I THINK THAT THE AMERICAN COMPOSER'S ORCHESTRA IS UNIQUE AND SPECIAL WITH THIS PARTICULAR THING THAT WE DO WITH COMPOSERS.

OUR FIRST PIECE IS BY SOPHIA.

YOU CAN TELL THEM THE TITLE.

ALL RIGHT.

EDUCATION IS A VERY IMPORTANT PART OF WHAT WE DO AT ACO.

WE LIKE TO THINK THAT WE'RE ALL ABOUT GIVING COMPOSERS ACCESS AT DIFFERENT PHASES.

AT THE VERY YOUNGEST PHASE WHEN THEY'RE STILL IN JUNIOR HIGH SCHOOL, HIGH SCHOOL, WHEN YOU'RE JUST STARTING TO WRITE MUSIC AND THEY'RE TRYING TO FIGURE OUT WHAT TO DO, THAT'S WHEN WE HAVE THE EDUCATIONAL PROGRAMS LIKE COMPOSE YOURSELF.

REVISE THE PIECE.

I WOULD CONSIDER MAYBE PUTTING IN SOME BAR TICKS.

AT THE PHASE WHEN COMPOSERS ARE JUST ABOUT TO EMBARK ON PROFESSIONAL CAREERS, WE HAVE THE UNDERWOOD READINGS.

BECAUSE THE PIECE IS SO INTENSE.

THAT'S A GREAT SUGGESTION.

THAT'S ONE OF THE PARTICULARLY GRATIFYING THINGS ABOUT THE UNDERWOOD READINGS IS IT'S YOUNG COMPOSERS WHO ARE HERE TO LEARN AND THAT WE GIVE THEM THIS POSITIVE FEEDBACK, HOPEFULLY POSITIVE, BUT CRITICISMS.

WE CAN CERTAINLY BE FRANK ABOUT WHAT'S WORKING.

CARLOS HAS BEEN REALLY INTERESTED IN DIVIDING THE ORCHESTRA INTO A THIN CURTAIN OF SOUND.

HE COMES FROM AN INTERESTING MUSICAL BACKGROUND BECAUSE HE WAS INTO HEAVY METAL WHEN HE WAS YOUNGER.

SO, HE DRAWS FROM A VERY WIDE PALLET OF SOUND.

CARLOS, YOU ALSO WIN THE PRIZE FOR THE LARGEST SCORE.

I'M GOING TO TURN AROUND ONCE WE START THE PASSAGE AND SEE IF THE TEMPO IS WHERE YOU WANT IT TO BE.

THOMAS WANTED THIS PIECE TO BE JUST A BIG RUSH OF SOUND.

AND HE WANTS TO SEE THE ORCHESTRA FUNCTIONING AT THEIR MOST INTENSE LEVEL.

AND I THINK YOU RARELY HEAR THAT IN HIS PIECE.

IS THE BASS CLARINET TOO LOUD ON THE SUSTAINED FIGURES?

OKAY.

PERFECT.

ROUND UP BASSOONS.

THE REAL QUESTION IS WHY WRITE FOR ORCHESTRA?

WHAT'S UNIQUE ABOUT THE ORCHESTRA?

AND WHAT CAN YOU SAY UNIQUELY?

WHAT CAN YOU BRING AS AN ARTIST?

ONE OF THE COMPOSERS WILL GET A COMMISSION, BUT I DON'T LIKE TO THINK OF THIS AS A COMPETITION BECAUSE WHEN THERE ARE SIX SCORES CHOSEN OUT OF ABOUT 240, THEN EVERYONE REALLY IS A WINNER.

EVERY COMPOSER WILL COME OUT OF THIS READING WITH A UNIQUE AND ONCE IN A LIFETIME EXPERIENCE.

AND THAT'S WHAT MATTERS FOR US, AND THAT'S WHAT ACO IS ALL ABOUT.

> THE NEIGHBORHOOD OF DUMBO ALONG THE WATERFRONT OF BROOKLYN BETWEEN THE MANHATTAN AND BROOKLYN BRIDGES IS HOME TO A VIBRANT ART AND CULTURE SCENE.

ONE OF THE HIGHLIGHTS OF THE NEIGHBORHOOD IS JANE'S CAROUSEL IN BROOKLYN BRIDGE PARK.

INTRICATELY CARVED AND BUILT BY THE PHILADELPHIA TOBOGGAN COMPANY IN 1922, IT REPRESENTS THE GOLDEN AGE OF AMERICAN CAROUSEL MAKING.

NYC-ARTS SPOKE WITH JANE WHO BOTH RESTORED THE CAROUSEL AND IS ITS NAME SAKE, ABOUT THE CAROUSEL'S LONG JOURNEY FROM ITS ORIGINAL HOME IN OHIO TO THE CURRENT RESIDENCE ON THE EAST RIVER.

MY HUSBAND, DAVID, WAS TO DEVELOP WHAT'S NOW BROOKLYN BRIDGE PARK BACK IN THE EARLY '80 LS.

HE HAD A MASTER PLANNER, BEN THOMPSON.

IT WAS BEN'S IDEA TO HAVE A CAROUSEL OUT HERE.

THERE WAS NOTHING HERE.

IT WAS PRETTY MUCH A DESOLATE NEIGHBORHOOD.

I WAS AN ARTIST AND ART DIRECTOR.

I WORKED AT ESTEE LAUDER AT THE TIME.

THEN MY HUSBAND GAVE ME THE TASK OF FINDING A CAROUSEL.

IT WAS IN 1984, YOUNGSTOWN, OHIO.

IDORA PARK WAS THE PARK IT WAS IN, VERY BELOVED PARK.

IT WAS BEING SOLD FOR DEVELOPMENT.

THEY AUCTIONED THE WHOLE PARK.

THE CAROUSEL WAS THE CROWN JEWEL.

IT WAS IN FAIRLY GOOD CONDITION, AND IT WAS ALL ORIGINAL TO 1922.

WE DIDN'T THINK WE HAD A CHANCE.

AND THEN WE WERE THE ONLY BID AND IT WAS LIKE HOLY COW.

NOW WHAT DO WE DO?

I SPENT YEARS RESTORING IT.

I WANTED TO BRING IT ALL BACK TO THE 1922 PALLETTE.

IT HAD LIKE 10 COATS OF PAINT ON IT.

THE WAY TO DO IT WAS TO USE RAZOR BLADES AND SCAPE IT ALL OFF.

AND I WOULD DOCUMENT IT WITH VERY CAREFUL DRAWINGS AND COLOR MATCHES.

WHEN WE REPAINTED, WE MIXED ALL THOSE COLORS.

IT'S VERY MUCH WHAT IT WAS THEN EXCEPT FOR THE GUILDING.

I TOOK ARTIST'S LICENSE WITH THE GUILDING.

WHEN I FIRST STARTED RESTORING THE LEAF ON IT IN ALUMINUM, I THOUGHT IT LOOKED AWFUL.

SO, I DECIDED TOO BAD, I'M USING GOLD LEAF, AND I DID.

IT WAS EXCITING.

IT WAS LIKE A LITTLE SANTA'S WORKSHOP.

PEOPLE WALKED IN, GASPED.

IT WAS 48 HORSES ALL LINED UP.

I THINK IT WAS 27 YEARS THAT I WORKED ON IT.

WE BOUGHT IT IN '84.

IT OPENED IN THE PARK IN 2011.

WHEN THE CAROUSEL BUILDING WAS DESIGNED, IT'S 10 FEET ABOVE THE 100-YEAR FLOODPLAIN SO, WE THOUGHT THAT WAS FINE.

AND THEN SANDY WAS COMING.

IT WAS WHOHORRIFYING.

LOWER MANHATTAN LOST POWER AND THE REST OF BROOKLYN LOST POWER AND WE HAVE LED LIGHTS THAT SURROUND THE CAROUSEL AND SOMEHOW THEY STAYED ON.

AND IT LOOKED LIKE THE CAROUSEL WAS BEING WASHED OUT TO SEA.

GOT UP EARLY IN THE MORNING AND BY THEN THE RIVER HAD RECEDED.

I WENT OVER THERE, CAROUSEL LOOKED FINE, AND IT WAS FINE.

AND WE OPENED TWO WEEKS AFTER SANDY.

WE BROUGHT IN, YOU KNOW, ELECTRIC HEATERS.

IT WAS REALLY APRIL BEFORE WE WERE FULLY OPERATIONAL.

THE CAROUSEL IS A CLASSIC MACHINE AND IT'S 48 HORSES.

THERE'S KIND OF A HIERARCHY TO THE HORSES.

THE OUTSIDE ROW ARE STANDERS AND THAT MEANS THEY DON'T GO UP AND DOWN.

THEY'RE QUITE HUGE ACTUALLY.

AND THEY'RE THE MOST DECORATIVELY CARVED.

THE NEXT ROW ARE JUMPERS.

THEY GO UP AND DOWN AND THEY'RE A LITTLE SMALLER, AND THEY'RE NOT QUITE AS DECORATIVELY CARVED.

A LOT OF THEM HAVE SOME HAND PAINTING ON THE SADDLE BLANKET TO MAKE UP FOR THE CARVING.

AND THE INNER ROW ARE PONIES.

THEY'RE ACTUALLY QUITE SMALL AND ADORE ABLE REALLY.

THESE WERE DESIGNED FOR LITTLE TODDLERS.

THE OUTSIDE OF HORSES -- AND THIS IS TYPICAL OF ALL CAROUSELS -- IS CALLED THE LOW MAN'S SIDE BECAUSE THAT'S THE MOST HEAVILY CARVED AND THAT'S WHERE ALL THE JEWELS ARE AND THE INSIDE NOBODY REALLY SEES.

SO, THEY'RE FLATTER.

THEY'RE NOT ALL BEAUTIFULLY CARVED.

THE CAROUSELS HAD WELL OVER A MILLION RIDERS, SO IT'S VERY LOVED.

THERE'S A ROMANTIC NOTION ABOUT A CAROUSEL.

THERE'S SOME FANTASY ABOUT THEM.

BECAUSE JUST A VERY NOSTALGIC THING.

I ENJOY THAT LITTLE KIDS STILL LOVE IT.

EVEN INFANTS WILL RESPOND TO THE LIGHTS AND THE MUSIC.

LUCKY ME, PEOPLE STILL LOVE IT.

> JUST STEPS AWAY FROM OUR STUDIO HERE AT LINCOLN CENTER IS THE AMERICAN FOLK ART MUSEUM DEDICATED TO THE APPRECIATION OF TRADITIONAL FOLK ART.

THE MUSEUM IS ALSO DEVOTED TO RESEARCHING AND PRESERVING THE CREATIVE EXPRESSIONS OF AMERICAN AND INTERNATIONAL SELF-TAUGHT ARTISTS.

NOW, CURATOR STACY HOLLANDER PRESENTS ONE OF HER FAVORITE WORKS IN THE COLLECTION.

HI.

I'M STACY HOLLANDER.

WELCOME TO THE AMERICAN FOLK ART MUSEUM.

I'D LIKE TO TALK TO YOU TODAY FOR A FEW MINUTES ABOUT ONE OF THE MOST SURPRISING AND UNIQUE WORKS OF ART IN THE MUSEUM'S COLLECTION.

IT'S A SCULPTURE FROM THE MID-19th CENTURY BY A VERY LITTLE KNOWN ARTIST NAMED ASA AIMS FROM NEW YORK.

THIS PIECE IS UNIQUE NOT ONLY IN ASA AIMS' BODY OF WORK BUT REALLY IN THE HISTORY OF AMERICAN FOLK ART AND AMERICAN FOLK SCULPTURE.

THIS BEAUTIFUL YOUNG GIRL, HER FEATURES ARE EXTREMELY FINE AND TYPICAL OF AIMS' WORK.

AND THERE'S A QUIETUDE IN HER FACE AND PRESENTATION THAT IS TYPICAL OF HIS WORK AS WELL.

THERE'S JUST THIS SENSE OF INNOCENCE AND BEAUTY IN THE WORK HE DID, ESPECIALLY IN THE CARVINGS OF CHILDREN.

THIS PIECE IS SOLID WOOD SO ALL THE DETAILS ARE CARVED INTO THE SURFACE.

AND THEN IT'S BEAUTIFULLY PAINTED.

BUT OF COURSE WHAT DISTINGUISHES IT ARE THE STRANGEST MARKINGS ON HER SCALP.

THESE ARE INDICATIVE OF WHAT WAS TRULY A MAJOR MOVEMENT IN THE MIDDLE OF THE 19th CENTURY IN AMERICA OF PSUEDOSCIENCE CALLED PHRENOLOGY.

IT WAS AN EXAMINATION OF THE HUMAN BRAIN AND IT WAS AN ATTEMPT TO DIVIDE THE HUMAN BEHAVIORAL SPECTRUM INTO 27 FACULTIES.

AND EACH OF THE FACULTIES WAS FUN HA NUMBERED AND ASSOCIATED WITH A PARTICULAR PART OF THE CRANIUM.

THERE WAS A BELIEF AT THE TIME THAT IF YOU FELT THE BUMPS ON SOMEONE'S HEAD, YOU COULD TELL HOW FINELY DEVELOPED THAT PARTICULAR FACULTY WAS WHETHER IT CONTROLLED YOUR SEXUAL APPETITE, YOUR HUNGER, YOUR AGGRESSIVENESS, YOUR SECRETIVENESS.

ASA AIMS SADLY WAS SUFFERING FROM CONSUMPTION WHICH HAD NO CURE IN THE 19th CENTURY BEFORE THE INVENTION OF ANTIBIOTICS.

T THE PROFRIN LOGICAL HEAD WAS CAD WHEN HE WAS LIVING WITH A DOCTOR OF ALTERNATIVE THERAPIES WHO WAS TRYING TO SET UP A WATER CURE CLINIC AS A WAY TO CURE CONSUMPTION.

IT'S POSSIBLE THAT ASA AIMS CARVED THE HEAD FOR THE DOCTOR WHO WAS ALSO INVOLVED WITH PHRENOLOGY.

ASA AIMS IS KNOWN TODAY FOR REALLY A SMALL BODY OF WORK, AROUND 12 OR SO CARVINGS IN WOOD, ALL IN WOOD.

AND A REMARKABLE IMAGE SURVIVES OF ASA AIMS ACTUALLY AT WORK WHERE HE'S CARVING WHAT APPEARS TO BE A SELF-PORTRAIT.

IN THE 1850 CENSUS, THE ONLY ACTUAL DOCUMENT WE HAVE OF ASA AIMS, HE LISTED HIS OCCUPATION AS SCULPTURING WHICH SUGGESTED THAT HE THOUGHT OF HIMSELF AS A FINE ARTIST AND NOT AS AN ARTIST IN WOOD WHICH WAS MORE OF AN APPLIED TRADE.

THE PHRENNOLOGICAL HEAD IS MY FAVORITE PIECE IN PART BECAUSE OF HIS EERIE BEAUTY AND THE SENSE OF QUIETNESS IN THE FIGURE'S FACE WHICH IS SOMEWHAT AT ODDS WITH THE STRANGE MARKINGS ON THE SCALP.

IT'S EXQUISITE AS A WORK OF ART AND IT HAS A POIGNANCY THAT'S LENT TO IT BY THE ARTIST'S OWN STORY.

I HOPE YOU'VE ENJOYED LEARNING A LITTLE BIT ABOUT AASA AIMS.

THERE ARE SO MANY FASCINATING AND BEAUTIFUL WORKS OF ART TO DISCOVER AT THE AMERICAN FOLK ART MUSEUM.

PLEASE COME VISIT US SOON.

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

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

ON SUNDAY MARCH 15th, PIANIST EMANUEL AX WILL JOIN THE ROTTERDAM ORCHESTRA UNDER THE BATON OF RISING STAR SHANNY.

THE PROGRAM WILL INCLUDE THE D MINOR CONCERTO PIANO.

THEY'LL CONCLUDE WITH A SYMPHONY, A TRAUMATIC PINNACLE THAT CUTS CLOSE TO THE ART.

VISIT LINCOLNCENTER.ORG/GREAT PERFORMERS.

> NEXT WEEK A VISIT TO THE METROPOLITAN MUSEUM OF ART FOR A CLOSE LOOK AT POST-WAR AND CONTEMPORARY ART.

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.

AND A PROFILE OF THE DANCE COMPANY WHICH WAS FOUNDED IN 1926 BY ONE OF THE MOST INFLUENTIAL ARTISTS OF THE 20th CENTURY.

GRAHAM'S WORK REQUIRES SORT OF THE PERFECT MARRIAGE OF THE PHYSICAL AND THE EMOTIONAL.

HER MOVEMENT IS DESIGNED TO REVEAL THE INNER LANDSCAPE AND REALLY FINDING THAT BALANCE BETWEEN THE PHYSICALITY AND THE EMOTIONAL JOURNEY WITHOUT BECOMING MEL LOW DRAMATIC IS THE CONSTANT BATTLE.

THANK YOU FOR JOINING US THIS EVENING.

GOOD NIGHT AND SEE YOU NEXT TIME.

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

WHAT AWE PRIVILEGE TO SIT DOWN AND TALK WITH YOU.

WE'RE IN 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 THE LYRICS IN THAT, I SUDDENLY THOUGHT THAT'S WHAT I WANT TO DO WITH MY LIFE.

MY PICTURES RESIDE IN VERY INTIMATE, VERY PRIVATE MOMENTS.

MY PRIMARY WAY OF PLAYING PIANO WAS BY IMPROVISING.

YOU ARE IN SOME RESPECTS ON SACRED GROUND.

A WOMAN CAME TO SEE ME PERFORM AND SAID HOW WOULD YOU LIKE TO PLAY BILLIE HOLIDAY?

I THINK ONE OF THE THING WES LEARNED WAS MATISSE USED PENS TO DO HIS WORK.

YOU THINK OH, MY GOSH, THIS COULD BE NOW.

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

♪ ♪ ♪

> FUNDING FOR NYC-ARTS IS ALSO MADE POSSIBLE BY ROSALIND P. WALTER, THE THEA PETSCHEK IERVOLINO FOUNDATION, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, JODY AND JOHN ARNHOLD, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, THE ELROY AND TERRY KRUMHOLZ FOUNDATION, THE 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.

AND BY SWANN AUCTION GALLERIES.