Guided by Randall Griffey, curator of Modern and Contemporary Art at The Metropolitan Museum of Art, NYC-ARTS takes a fresh look at the museum’s collection, paying particular attention to works by Jackson Pollock, Louise Nevelson and Joan Snyder. Followed by a profile of the Martha Graham Dance Company, which continues to celebrate the independent spirit of its legendary founder.

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> COMING UP ON 'NYC ARTS' THE VISIT FOR A FRESH LOOK AT THE MUSEUM'S COLLECTION OUT POST WAR AND CONTEMPORARY ART.

THE PAINTING SERVES AS AN 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 INFLU WE THINK SO -- INFLU WE THINK SO L ARTIST OF THE 20th CENTURY.

IT REQUIRES THE PERFECT MARRIAGE OF THE PHYSICAL AND EMOTIONAL.

HER MOVEMENT IS DESIGNED TO REVEAL THE INNER LANDSCAPE AND FINDING THE BALANCE BETWEEN THE PHYSICALITY AND JOURNEY WITHOUT BECOMING MELLOW DRAMATIC IS THE CONSTANT BATTLE.

FOUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSLAND P. WALTER.

JODY AND JOHN ARNOLD.

ELYCE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

JEAN DUBINSKI 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 COUNSEL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

NYC ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTED FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK, FIRST REFERS TO THE FIRST PRIORITY, THE CLIENTS WHO WALK THROUGH OUR DOORS.

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

FIRST DECREE, 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 SWAN AUCTION GALLERIES.

SWAN AUCTION GALLEGALLERIES, WE HAVE A DIFFERENT WAY OF LOOKING AT OFFERINGS SINCE 1941 WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A COLLECTOR OR FIRST-TIME BUYER.

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> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

FROM THE STUDIOS AT LINCOLN CENTER.

WE BEGIN OUR PROGRAM TONIGHT WITH THE METROPOLITAN MUSEUM OF ART FOR A FRESH LOOK AT THE COLLECTION OF POST WAR AND CONTEMPORARY ART.

ABSTRACTION, EXPLORES LARGE SCALE ABSTRACT PAINTING, SCULPTS AND WORKS OF ART TO BROADEN THE NARRATIVE OF OBSTRUCTION BRINGING TOGETHER SOME 50 WORKS FROM THE COLLECTION REPRESENTED HERE SUCH ICONIC ARTISTS, MARK, CARMEN HERRERA AND MARK BRADFORD.

RANDALL GRIFFIN IS OUR GUIDE.

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WE'RE LOOKING AT THE AUTUMN RHYTHM OF 1950.

IT CAME INTO THE COLLECTION IN 1957 AND A TREASURE OF THE COLLECTION.

THE PUBLIC IS MOST REMEMBERED 20th CENTURY FOR THE LARGE SCALE SO-CALLED DRIP PAINTINGS WHICH HE STARTED TO DO IN LATE 1940s AND INTO THE EARLY 1950s.

IT'S A GREAT SENSE OF IMMEDIATE RANGE OF REASONS.

THEY ARE LARGE WHICH RELATIVE TO YOUR SCALE MAKES YOU FEEL A LITTLE SMALL BY COMPARISON.

ONE OF THE WAYS IN WHICH HE PLAYED A KEY ROLE IN CHANGING THE VERY CONCEPT OF PAINTING IS THAT HE MOVED THE CANVASS FROM THE EASEL TO THE FLOOR AND BEGAN WORKING WITH COMMON HOUSEHOLD ENAMEL PAINT.

HE LIKED THIS PAINT BECAUSE IT WAS VERY KIND OF PAINT THAT YOU CAN THROW AND IT CREATES THESE DYNAMIC DRIPS AND DRIBBLES AND THESE WHIPS OF PAINT THAT SEEM TO BE CAPTURED IN SPACE ON THE PICTURE.

IN THE CASE OF AUTUMN RHYTHM, THE PAIN IS THIN AND GRACEFUL AND OTHER PASSAGES ARE DENSE AND MORE AGGRESSIVE AND THICKER.

THERE ARE PASSAGES ALSO WHERE HE'S USED PARTS OF THE ENAMEL PAINT THAT DRIED AND CREATED A KIND OF SKIN.

THREE DIMENSIONAL AS THE PAINT REGISTERS IS FLAT.

WHEN PEOPLE FIRST ENCOUNTER POLL LCK -- POLLICK'S WORK, THE PLAN OR GUIDING PRINCIPLE, IN FACT, AS YOU LOOK AT MULTIPLE WORKS, YOU CAN SEE EACH CANVASS IS DIFFERENT FROM ANOTHER.

IF YOU LOOK CLOSELY AT AUTUMN RHYTHM TOWARD THE BOTTOM AS WE SEE IT ON THE WALL, THERE'S A LITTLE FLICK OF RED PAINT.

THIS IS A LITTLE DROPLET OF PAINT AND YOU SEE IT, YOU CAN'T UNSEE IT BECAUSE IT SEEMS SO ANOMALOUS.

THE WONDERFUL THING ABOUT HIS TECHNIQUE IS EMBRACING THE EFFECTS OF CHANCE.

THE TITLE AND WORD RHYTHM REALLY WONDERFULLY TIES CADENCE THAT IS PART AND PARCEL OF HIS GESTURE AND WHAT I LOVE ABOUT THIS WORK IS THAT THIS GREAT SENSE OF GROWTH TIES TO THE CHANGE OF SEASONS AND THE EBBS AND FLOWS OF NATURE IN THE COURSE OF A YEAR.

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IT'S TITLED MRS. N'S PALACE AND ONE OF THE GREAT WORKS BY THE AMERICAN SCULPTOR.

IT'S ACTUALLY COMPOSED OF PIECES THAT DATE BACK IN TIME TO AS EARLY AS 1964.

THOUGH, IT WAS ASSEMBLED AS A UNIQUE WORK IN 1977.

THE PALACE IS ONE OF NEVELSON'S GREATEST WORKS.

INSTALLING IT HERE ON THE SECOND FLOOR TOOK QUITE AN EFFORT BUT WELL WORTH IT.

THE WORK ITSELF IS COMPRISED OF 130 INDIVIDUAL SCULPTURE COLLAGES ATTACHED TO A LARGE BOX.

IT'S COMPRISED OF SCRAPS THAT SHE COLLECTED ALL ACROSS THE CITY CREATING THESE ABSTRACT, IN MANY CASES, RELIEF SCULPTURES, WHICH SHE THEN TREATS PRIMARILY BY PAINTING IN BLACK.

NEVELSON DESCRIBED HER MATERIALS AS THE SKIN THAT NEW YORK HAS SHED AND THAT SHE IS GIVING NEW LIFE MAKING ART THAT'S BOTH IN A WAY ABOUT NEW YORK BUT ALSO OF NEW YORK.

IN MANY INSTANCES, HER ORIGINAL SOURCE MATERIAL IS DISCERNIBLE WITHOUT MUCH EFFORT.

THERE ARE BOXES FROM FILING CABINETS AND FROM STAIRCASES WHERE SHE'S REPURPOSED ARCHITECTURE AND AGGRESSIVE IN EFFECT BUT OTHER PARTS ARE ELEGANT, THIN, WHIMSICAL.

IN OTHER INSTANCES, HER MATERIALS ARE REALLY DIFFICULT OR IMPOSSIBLE TO DISCERN AND REGISTER REALLY AS UNIQUE ABSTRACT SCULPTURE.

THE TITLE DERIVES FROM A COUPLE SOURCES.

ONE IS HER NICKNAME IN THE NEIGHBORHOOD WHERE SHE LIVED WAS MRS. N AND PALACE, SHE INTENDED THIS WORK TO BE HER IDEAL HABITAT OR A KIND OF SHRINE TO HERSELF.

THIS IS NEVELSON CREATING HER OWN UNIVERSE, AN ENVIRONMENT BASED ENTIRELY ON HER OWN PRACTICE AND VISION AS AN ARTIST, WHICH IN A WAY TIED WONDERFULLY TO HER DESIRE TO LIVE HER LIFE ON HER OWN TERMS.

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

SNIDER IS ONE OF THE CONTEMPORARY ARTIST FEATURED IN EPIC ABSTRACTION.

THE COLOR AND SENSE OF EXPERIMENTS BREAKS FROM THE FORMAL MINIMALEST GRID THAT WAS CONSIDERED TO BE THE MOST DESIRABLE TEMPLET OR TOUCH TONE FOR COMPOSITION AND DESIGN FOR SO MANY ARTISTS, PAINTERS AND SCRIPT TORS.

SHE'S USING OIL, ACRYLIC AND SPRAY ENAMEL.

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

MOST OF THOSE ARE WITH THE OIL PAINT.

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 MARKS BUT SHE ALSO EXECUTES STROKES IN A SUBTRACTIVE MANNER IN SOME CASES SCRAPING INTO THICK PAINT.

PART OF THE APPEAL OF HER PAINTING IS THAT YOU'D ALMOST EXPAND UP IN SCALE AND YOU HAVE GLOBS OF PAINT AND YOU GET A SENSE OF PAINT MIX AND THERE IS A SENSE OF RANGE OF AN ARTIST AND SHE'S PREPARING TO USE PAINT AND CERTAIN PASSAGES.

IN OTHER INSTANCES, SHE'S EXPERIMENTING WITH THE PAINT DILUTED TO POUR OVER WHITE EXPANSES OF THE PAINTING.

THE PAINTING SERVES AS A KIND OF INVENTORY OR CATALOG, SOME THICK, SOME THIN, SOME STABLE, SOME STRONG.

OTHERS FLUID, OTHERS WEAK.

SHE WALKS A FINE LINE WITH EXPEIMENTATION AND DELUSION.

FOR MORE INFORMATION, PLEASE SIGN UP FOR OUR FREE WEEKLY EMAIL AT NYC-ARTS.

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

> NEXT, WE'LL GO BEHIND THE SCENES WITH A TRULY GROUND BREAKING AND ORIGINAL DANCE COMPANY.

THE MARTHA GRAM DANCE COMPANY WAS FOUNDED IN 1926 BY ONE OF THE MOST INFLU WE THINK SO L ARTIST OF THE 20th CENTURY.

WORKS BY CONTEMORARY COMMISSIONED.

THE INITIATIVES APPROACH THE 100th ANNIVERSARY OF WOMEN'S RIGHTS TO VOTE.

NOW A LOOK AT THE MARTHA GRAM DANCE COMPANY.

I STARTED AS A DANCER IN 1952 AND CAME BACK TO THE COMPANY AS ARTISTIC DIRECTOR IN 2005.

MARTHA FROM THE VERY FIRST REHEARSAL I HAD WITH HER TAUGHT ME LIFE LESSONS AND THE THEME THAT RUNS THROUGHOUT HER ENTIRE CAREER IS THE EMPOWERMENT OF THE INDIVIDUAL BEING TRUE TO YOUR OWN UNIQUE POWER IT IS UNIQUE AND YOURS ALONE TO DEVELOP.

FOR EXAMPLE, WHEN SHE DIRECTED US IN HER ROLES, IT DIDN'T CROSS HER MIND THAT REMIGHT DANCE THE ROLE EXACTLY AS SHE HAD.

I HAD A DIFFERENT DYNAMIC AND DIFFERENT PERSONAL ORA AND SHE EXPECTED ME TO TAP THOSE AND USE MY OWN UNIQUE QUALITIES AS POWERFULLY AS POSSIBLE.

MY ARTISTIC DIRECTOR JANET HAS TAKEN THE APPROACH OF ALLOWING ME TO FIND MY WAY INTO A ROLE TO CREATE MY OWN INTERPRETATION WITHIN THE CHOREOGRAPHY AND COURSE.

I DIDN'T KNOW MARTHA GRAM.

DIDN'T HAVE THE PRESSURE OF WHAT THAT PERSONALITY MEANT TO ME BUT THE PHILOSOPHY AND TEACHINGS AND TECHNIQUE OF THE WORK.

MY JOURNEY IS MARTHA GRAM'S TAKE, HIS WIFE, MOTHER AND IT'S ONE OF THE GREATEST EXAMPLES OF HOW MARTHA REVOLUTIONIZED THE TIME ON STAGE.

JOE COSTA UNDERSTANDS THE TRUTH AND ABOUT TO END HER LIFE AND THE DANCE TAKES PLACE AS IF WE SEE HER LIFE FLASHING BEFORE HER EYES.

SO WE TRAVELED BACK IN HER MEMORIES, WE SEE HER MEETING A YOUNG MAN, COURT SHIP, MARRIAGE AND THE END OF THE BALLET IS WE RETURN TO THE ROPE AND SHE ENDS IT ALL.

STEPPING INTO HER PSYCHE, WHAT IS SHE THINKING?

THAT IS A DIFFICULT QUESTION.

AND AS SHE GOES BACK IN TIME, RELIVES BAD CHOICES, WE REALIZE THAT SHE IS AN INNOCENT IN THIS.

SHE HASN'T DONE ANYTHING WILLINGLY BUT SHE HASN'T FOLLOWED HER INSTINCT.

ALL OF THOSE PORTRAY FOR THE AUDIENCE AND ENERGY THE DANCER MUST EVOKE TO GET ACROSS, THAT'S A DRAMATIC CHALLENGE.

THAT'S PROBABLY THE MOST COMPLEX ROLE.

THE FACETS AND ELEMENTS YOU CAN ADD INTO THE ROLE IS THERE.

THE PATH DOWN, A LITTLE BIT INTO THAT ROLE.

IT'S A LITTLE BIT LIKE CHINESE OR JAPANESE.

EMOTIONAL IS LIKE THE TECHNIQUE WITH THE STORY TO TALK WITH YOUR BODY.

THE ELEMENTS OF THE TECHNIQUE HAVE REMAINED CONSTANT THAT THE TORSO IS DRIVING THE MOVEMENT.

THE TORSO BEING THE CENTER OF EMOTION IS IN TACT AND DECEMBER DESCRIPTION AND RELEASE IS SO VISCERAL.

THE CONTRACTION AND SHAPE AND A LIFT AND A MOVEMENT AND SPACE.

THAT TAKES EXTREME DEPTH OF MUSCLE TO ACCESS AND TO ACHIEVE.

SO THAT REALLY IS THE MOST DIFFICULT PART FOR ANY OF US.

YOU HAVE TO TRAIN US CONTINUOUSLY.

IT REQUIRES THE PERFECT OF PHYSICAL AND EMOTIONAL.

HER MOVEMENT IS DESIGNED TO REVEAL THE INNER LANDSCAPE AS SHE USED TO SAY AND REALLY FIND THE BALANCE.

A BATTLE.

THE HEART AND MAYBE THE ROLE.

WITH SOMEBODY BETRAY YOU EVENTUALLY BY REVENGE.

NEVER BECAME A NORMAL LIFE.

IN 1930 OF COURSE WAS THE SHOT HEARD AROUND THE WORLD FOR MODERN DANCE TO DO SOMETHING THAT WAS SO STARK, SO MODERNEST, THERE IS NO DECORATION, THERE IS NO ESCAPE.

IT REALLY IS THE THING ITSELF.

THE LIMITATION IS MY FAVORITE.

IT'S ONE MINUTE, IT'S SHORT AND IT'S VERY HARD.

THE FABRIC ARE RESISTANT.

IT'S NOT LIKE STRETCHING YOUR SKIN.

YOU'RE TRYING TO BREAKTHROUGH A CERTAIN PRESSURE TO RELIEF THE SADNESS.

THE LAMBATION VARIATION STARTED IN 2007.

WE WANTED TO CREATE SHORT WORKS FOR THE COMPANY INSPIRED BY MARTHA DANCING HER ICONIC SOLO.

THE COMMISSIONING OF NEW WORK FOR THE COMPANY IS PART OF A MUCH LARGER INITIATIVE FINDING AUDIENCE ACCESS FOR THE GRAND WORKS.

I LEARNED ABOUT WHO I AM CREATIVELY.

THAT HELPED ME BRING THIS VITAL ENERGY TO MY WORK.

IT IS A FAVORITE.

I WAS ABLE TO PLAY THE FOLLOWERS AND EVENTUALLY THE BRIDE SO THERE IS A WONDERFUL TRANSFERRING OF KNOWLEDGE THROUGH THE GENERATIONS I RECEIVED AND HAVE SOME BEAUTIFUL DANCERS WHO ARE COMING INTO THE WORK AS IT SHOULD BE.

.

THERE ARE MANY, MANY DIFFERENT WAYS TO APPRECIATE GRAHAM AND TO CONNECT WITH MORE WORK OR SIMPLY UNDERSTANDING THAT HER LANGUAGE, HER DANCE VOCABULARY WAS BORN OUT OF NATURAL HUMAN GESTURE.

IT'S A VERY PERSONAL AND INTIMATE EXPERIENCE FOR AUDIENCES.

THEY RECOGNIZE HUMAN BEINGS ON THE STAGE.

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

HERE IS WHAT IS COMING UP ON THE NEIGHBORHOOD CALENDAR.

THE 50th ANNIVERSARY SEASON OF THE CHAMBER MUSIC SOCIETY CONTINUES.

WITH BOLD PROGRAMS PULLED FROM ALL ERAS OF THE CHAMBER MUSIC REPERTOIRE.

PIANOS ARE USED AND THE MAIN HIGHLIGHT OF THE MARCH 15th PROGRAM.

THAT WILL BE BOOK ENDED BY PIECES BY THE HUNGARY COMPOSER.

AND TWO VIOLINS, TWO VIOLAS AND TWO CELLOS WHICH EVOKES A SUNNY T USC AN LANDSCAPE.

FOR DETAILS VISIT CHAMBER MUSIC SOCIETY.ORG.

FOR MORE INFORMATION ABOUT MUSIC, DANCE, THEATER AND FILM AT LINCOLN CENTER, VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

> THANK YOU FOR JOINING US THIS EVENING.

GOOD NIGHT AND SEE YOU NEXT TIME.

> NEXT WEEK ON 'NYC ARTS' A PROFILE, THE WELL-COACHED AND MINISTER.

BALLET MISTRESS OF AMERICAN BALLET THEATER.

A BALLET MISTRESS OR BALLET MASTER IS IN CHARGE OF A CERTAIN PORTION OF THE REPERTOIRE WE DO.

THE ARENA IN PARTICULAR, HER QUALITIES AS A COACH ARE ONE THAT PRIMARY TAKES THE MATERIAL THAT YOU PRESENT HER AND TRIES TO PUT IT THROUGH A LENS FOR THE DANCER TO SEE MORE CLEARLY AND UNDERSTAND WHAT IT IS THEY'RE ACTUALLY DOING.

AND A VISIT TO THE GALLERY FOR A LOOK AT THE CAREER OF MAD -- MADAM DORA THAT CAPTURED THE GLORY AND DARKNESS OF HER LIFE.

SO YOU WOULD BUY THE HEAD BEFORE.

THERE ARE HUNDREDS OF PHOTOGRAPHS AND USED IN THE MAGAZINES AND TO STRESS THE FACT OF THE IMPORTANCE OF THE HEAD PHOTOGRAPHS, HAD CONTEMPORARY ARTISTS COMING AND MAKE INSPIRED BY THE CREATIONS THAT ARE PHOTOGRAPHED.

> FUNDING FOR 'NCY ARTS' THIS PROGRAM IS SUPPORTED BY PUBLIC FUNDS IN PARTNERSHIP WITH THE CITY COUNSEL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

NYC ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK IS BROUGHT TO YOU BY FIRST THINGS