A celebration of the Alvin Ailey American Dance Theater and its educational mission, featuring dancer Solomon Dumas. Followed by a profile of artist Jeffrey Gibson, whose beadwork, ceramics, sculptures and paintings are inspired by his complex cultural heritage, as well as by minimalism and abstraction. Then NYC-ARTS visits the American Folk Art Museum for a look at the work of Ammi Phillips.

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> COMING UP ON NYC ARTS, A CELEBRATION OF THE SPIRIT OF THE ALVIN AILEY DANCE THEATER AND ITS EDUCATIONAL COMMISSION.

I ATTENDED THE AILEY CAMP AT THE AGE OF 13.

I LEARNED ABOUT MR. AILEY HISTORY AND THE WORKS HE CHOREOGRAPHED AND DISCIPLINE.

A PROFILE OF ARTIST JEFFREY GIBSON WHOSE BEAD WORK, SCULPTURE AND PAINTINGS ARE INSPIRED BY HIS NATIVE AMERICAN HERITAGE.

WHEN YOU ARE A FOREIGNER, YOU DON'T KNOW WHAT YOU ARE HEARING ALL THE TIME.

SO YOU HAVE THIS KIND OF SUBJECTIVE COMPREHENSION OF THE WORLD AROUND YOU THAT IS AN ESTIMATED GUESS.

AND A VISIT TO THE AMERICAN FOLK ART MUSEUM.

ONE OF THE MOST HIGHLY RECOGNIZED AMERICAN SELF-TAUGHT ARTISTS IS THE PORTRAIT PAINTER AND MIKE PHILIPS.

IN THE PERIOD OF 1817 TO 1820 OR SO, THESE PORTRAITS ARE VERY DREAMY.

THEY'RE BEAUTIFUL PALETTES OF THESE SHIMMERING MUTED COLORS.

FUNDING FOR NYC ARTS IS MADE POSSIBLE BY -- .

> SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTION, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE FINE 41 WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER ARE YOU A LIFE-LONG COLLECTOR OR FIRST TIME BUYER OR LOOKING TO SELL INFORMATION AT SWANN GALLERIES.COM.

> GOOD EVENING, AROUND WELCOME TO NYC ARTS.

I'M PAULA ZAHN.

WE ARE DELIGHTED TO MAKE OUR RETURN AFTER WHAT HAS BEEN AND CONTINUES TO BE A VERY CHALLENGING TIME FOR ALL OF US, INCLUDING THE ARTS INSTITUTIONS WE LOVE.

WHETHER ON GALLERY WALLS OR ON STAGE, THE ARTS HAVE ALWAYS LIFTED US UP, INSPIRED US AND MADE US FEEL A SENSE OF COMMUNITY.

FORTUNATELY, MANY OF OUR WONDERFUL MUSEUMS ACROSS ALL FIVEBOROS ARE, ONCE AGAIN, OPENED TO THE PUBLIC.

FROM THE MUSEUM OF ARTS AND DESIGN TO THE METROPOLITAN MUSEUM OF ART.

THE MUSEUM OF JEWISH HERITAGE, TO THE NEW YORK HISTORICAL SOCIETY, ALICE AUSTINHOUSE IN STATIN, ISLAND.

THE QUEENS MUSEUM.

THE BROOKELYNN MUSEUM.

AND THE NEW YORK BOTANICAL GARDEN IN THE BRONX.

WHILE MUSEUMS AND GALLERIES ARE WELCOMING BACK VISITORS, NEW YORK'S PERFORMING ARTS GROUPS HAVE A MORE DIFFICULT ROAD.

THE PANDEMIC HIT THE ALVIN AILEY DANCE THEATER SPECIAL HARD.

IT CANCELLED ALL OF ITS PERFORMANCES AND CLOSED THE DOORS OF ITS JOAN WEIL CENTER FOR DANCE.

BUT THE ORGANIZATION HAS FOUND NEW WAYS TO KEEP THE AILEY SPIRIT ALIVE.

THROUGH AILEY ACCESS PROGRAMS, THEY ARE SHARING PAST VIDEOS OF THE COMPANY PERFORMING ON STAGE AS WELL AS INSPIRED NEW PERFORMANCES OF CLASSIC AILEY WORKS RECORDED TOGETHER WHILE APART BY THE DANCERS.

SN♪ AND THEY HAVE CREATED POWERFUL AND MOVING RESPONSES TO THE PANDEMIC AND THE FIGHT AGAINST SYSTEMIC RACISM.

WHEN OUR HEARTS BREAK, WE STAND UP.

AND WHEN OUR HEARTS BREAK, WE DANCE.

WE DANCE.

WE DANCE.

THIS FALL, THE AILEY SCHOOL, LIKE ALL NEW YORK SCHOOLS, IS TAKING ITS FIRST TENTATIVE STEPS BACK AND THE AILEY EXTENSION PROGRAM IS WORKING TO KEEP ITS YOUNGEST DANCERS, AS WELL AS ENTHUSIASTIC ADULTS DANCING WITH AILEY WITHOUT EVER HAVING TO LEAVE THEIR HOMES.

ON TONIGHT'S PROGRAM, WE CELEBRATE THE ALVIN AILEY EDUCATION MISSION, FOUNDED MORE THAN 60 YEARS AGO BY THE LEGENDARY DANCER AND CHOREOGRAPHY ALVIN AILEY, THEY OFFER THE UNIQUENESS OF AFRICAN-AMERICAN CULTURE AND IS DEDICATED TO THE PRESERVATION AND ENRICHMENT OF AMERICAN MODERN DAMAGES.

SINCE ITS EARLIEST DAYS, THE COMPANY PROVIDED A SCHOOL WHERE STUDENTS CAN DEVELOP INTO THE BEST DANCERS THEY COULD BE.

THROUGH SPECIAL PROGRAMS BOUNDING BOARDS AND AILEY ATHLETIC BOYS, IT NURTURES YOUNG MEN WHO ARE UNCERTAIN OF THEIR PATH.

BUT IT ALSO PROVIDES OPPORTUNITIES THROUGH ARTS AND EDUCATION PROGRAMS LIKE SUMMER AILEY CAMPS FOR ALL YOUNG PEOPLE TO LEARN AND ENJOY DANCE.

> EDUCATION REALLY FITS INTO THE BROADER MISSION OF THE OMNI AMERICAN DANCE THEATER.

THE COMPANY WAS FOUNDED IN 1958 BY ALVIN AILEY.

HE WAS TRYING TO SPEAK TO THE NEEDS CERTAINLY OF OPPORTUNITIES FOR PEOPLE OF COLOR TO BE SEEN ON THE CONCERT DANCE STAGE.

SO IT WAS MISSION DRIVEN FROM THE BEGINNING, THAT IT WASN'T JUST ABOUT ENTERTAINMENT, THAT IT WAS ABOUT EDUCATING THE PUBLIC ABOUT THE CONTRIBUTIONS OF BLACK PEOPLE TO THIS COUNTRY.

HE WANTED TO HAVE AN AILEY SCHOOL, BECAUSE HE WANTED TO GIVE OPPORTUNITY FOR YOUNG PEOPLE TO HAVE ACCESS TO THIS ART FORM.

BUT WHEN I THINK OF A MALE DANCER, THERE IS STILL A CERTAIN STIGMA ATTACHED TO BEING A BOY DANCER AND SO, THAT'S WHY SOME OF OUR PROGRAMS LIKE AILEY ATHLETIC BOYS, FOUNDING BOYS, AILEY CAMP REALLY TRIED TO GIVE THAT INROAD FOR YOUNG PEOPLE AND CERTAINLY FOR YOUNG MEN WHO WANT TO DANCE.

THE AILEY ATHLETIC BOYS PROGRAM IS A PROGRAM DESIGNED TO TRAIN YOUNG MEN IN THE TECHNIQUES THAT WE OFFER HERE AT THE AILEY SCHOOL THE PROGRAM WAS CREATED FOR BOYS TO OVERCOME THE OBSTACLE OF BEING OSTRACIZED OR CHALLENGED WITH ALL OF THIS IS FOR GIRLS, TO REALLY CREATE A SAFE PLACE THAT WOULD ALLOW THEM TO BE FREE AND FEEL GOOD ABOUT WHAT THEY'RE DOING.

AILEY ATHLETIC BOYS DANCE PROGRAM, BECAUSE WE WANT THEM TO UNDERSTAND THAT YOU ARE AN ATHLETE.

AS MUCH AS PEOPLE DON'T SEE DANCERS AS ATHLETES, THEY ARE SUPERIOR ATHLETES.

AILEY CAMP IS A SUMMER DAY PROGRAM FOR AT-RISK YOUTH, WHO ARE UNDER SERVED, I LIKE TO SAY IT THAT WAY.

IT WAS ONE OF THE LAST PROGRAMS THAT ALVIN AILEY IMPLEMENTED BEFORE HE DIED IN 1989 AND WHAT IT REALLY DOES IS GIVE THESE YOUNG PEOPLE A VOICE.

YOU KNOW, SOME OF THEM ARE COMING FROM SITUATIONS THAT THEY SHOULDN'T EVEN BE DEALING WITH AT SUCH A YOUNG AGE AND SO THEY HAVE THESE AFORMATIONS THAT THEY DO.

THEY HAVE DRUMMING, ESPECIALLY FOR THE BOYS, WHO ARE INTO LIKE THE DRUMMING A LOT.

THEY GET TO LEARN DIFFERENT REPERTOIRE.

THEY GET TO SHOW THAT CREATIVE PART OF THEMSELVES THAT GIVE THEM REALLY, TRULY, A VOICE, A SENSE OF OWNERSHIP.

I ATTENDED AILEY CAMP IN CHICAGO, ILLINOIS IN 2001 AT THE AGE OF 13.

MY MOTHER FORCED ME TO ATTEND THE CAMP AND AT THE CAMP, I LEARNED ABOUT MR. AILEY'S HISTORY, THE WORKS HE CHOREOGRAPHED AND WE LEARNED DISCIPLINE.

LEARNING ABOUT MR. AILEY'S HISTORY, KNOWING THAT HE WAS RAISED BY A SINGLE MOM.

HE WAS INTRODUCED TO DANCE LATER IN LIFE IN HIGH SCHOOL, LEARNING HOW HE CELEBRATED HIS OWN HISTORY, HIS OWN EXPERIENCES THROUGH DANCE REALLY LEFT AN IMPACT.

I NEVER SEEN ART CREATED IN THE GENRE OF DANCE THAT WAS DEDICATED TO THE HISTORY OF BLACK AMERICANS AND BLACK LIFE AND BLACK EXPERIENCES.

IT MADE ME PROUD AFTER SEEING IT, IT MADE ME PROUD TO BE WHO I AM.

HE SAW HIMSELF AS AN ARTIST AND HE EMBRACED THAT.

HE EMBRACEED THAT LOVE FOR ART AT A YOUNG AGE.

IT GAVE ME PERMISSION TO EXPLORE THAT WITHIN MYSELF.

I NEVER IN A MILLION YEARS PRIOR TO AILEY CAMP THOUGHT I WOULD HAVE HAD THE COURAGE TO DO SOMETHING LIKE THAT.

AND IT REALLY GAVE ME THE COURAGE TO STEP OUT AND LEARN, EDUCATE MYSELF, PUSH MYSELF, IMMERSE MYSELF.

THE WORK THAT WE DO AS A DANCER IN ALVIN AILEY AMERICAN DANCE THEATER TAKES A DEDICATION AND A FOCUS AND A DISCIPLINE THAT IS REQUIRED AT ALL TIME.

I WAS INTRODUCED TO THAT DISCIPLINE AT AILEY CAMP.

AILEY CAMP WAS THE CATALYST THAT CHANGED IT ALL FOR ME.

> WE DO UNDERSTAND THAT IF THEY'RE NOT GOING TO BE A DANCER, THAT'S OKAY.

THEY'RE GOING TO GET MORE FROM THIS THAT WILL LAST THEM IN THE LONG RUN BESIDES JUST THE DISCIPLINE.

IT'S THE FOCUS, THAT ENGAGEMENT THAT THEY WILL UNDERSTAND THAT WILL TAKE THEM WELL BEYOND DANCE, ANYTHING THEY DO.

THE OUTREACH ASPECT OF THE ORGANIZATION THAT MR. AILEY WAS SO PASSIONATE ABOUT IS IMPORTANT BECAUSE IT INTRODUCES UNDER SERVED, UNDER PRIVILEGED CHILDREN TO THE HEALING AND DISCIPLINE AND THE PRIVILEGE OF BEING CHANGED THROUGH THE ARTS, THROUGH ARTS EDUCATION.

IT'S SOMETHING THAT WE ALL NEED, AND I DON'T WANT TO SOUND CORNY, BUT THE ARTS ARE HEALING.

THE ARTS ARE HEALING IN MORE WAYS THAN I CAN EVEN COUNT.

IN RETROSPEC, I CAN LOOK BACK AND I CAN UNDERSTAND THAT IT REALLY SAVED MY LIFE IN WAYS THAT I DON'T EVEN WANT TO IMAGINE MY LIFE WITHOUT.

WHAT ALVIN AILEY SAID IS WHAT HE IS REALLY TRYING TO DO IS HOLD UP A MIRROR TO SOCIETY SO PEOPLE CAN SEE HOW BEAUTIFUL THEY ARE.

THAT'S AT THE CORE I THINK OF WHAT YOU ARE TRYING TO DO.

THAT WE'RE DOING A SERVICE TO ALVIN AILEY'S LEGACY.

I CAN SEE HIM SMILING.

HE LOVED YOUNG PEOPLE, BECAUSE I THINK HE KNEW WHAT IT FELT TO BE LEFT OUT AS A YOUNG PERSON.

THAT WAS THE REASON THAT HIS ARMS WERE OPENED SO WIDE, ESPECIALLY TO INCLUDE THE YOUNG PEOPLE IN THE UNDER SERVED COMMUNITIES.

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

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> NEXT, WE'LL MEET ARTIST JEFFREY GIBSON, WHOMPLS AWARDED THE PRESTIGIOUS MacARTHUR FELLOWSHIP LAST YEAR.

BORN IN COLORADO SPRINGS, GIBSON GREW UP AROUND THE WORLD THANKS TO HIS FATHER'S CAREER WITH THE DEPARTMENT OF DEFENSE.

HE SAID HIS CHILDHOOD IN KOREA AND GERMANY BEFORE EVENTUALLY MOVING BACK TO THE STATES.

AFTER GRADUATING FROM THE ART INSTITUTE OF CHICAGO, HE WENT TO LONDON TO STUDY AT THE ROYAL COLLEGE OF ART.

HIS BEADWORK, CERAMICS, SCULPTURES AND PAINTINGS ARE INFLUENCED BY CHEROKEE TRADITION INSPIRED BY SAMPLED AND REMIXED POP MUSIC, HE COMBINES HIS CULTURAL HERITAGE WITH MINIMALISM AND ABSTRACTION.

HIS STUDIO IS IN HUDSON, NEW YORK, IN AN OLD ELEMENTARY SCHOOL.

WHY WHICH ULNA OLSEN CONVERTED INTO STUDIO SPACE NOW GROWING TO AN ARTISTIC COMMUNITY.

AN EXHIBITION OF GIBSON'S WORK IS NOW ON VIEW AT THE BROOKLYN MUS MUSEUM.

GROWING UP AS A FOREIGNER IS SOMETHING I THINK ABOUT A LOT NOW.

YOU KNOW, WHEN ARE YOU A FOREIGNER, YOU DON'T ENTIRELY UNDERSTAND WHAT YOU ARE LOOKING AT OR YOU ARE HEARING ALL THE TIME.

SO YOU HAVE THIS KIND OF SUBJECTIVE COMPREHENSION OF THE WORLD AROUND YOU THAT IS AN ESTIMATED GUESS.

THEY THINK ABOUT THAT A LOT IN TERMS OF HOW I USE MATERIALS.

BECAUSE I USE A LOT OF MATERIALS THAT I THINK MANY PEOPLE MAY NOT KNOW THE CONTEXT THAT I AM DRAWING THEM FROM OR WHAT THE CULTURE IS OR THE HISTORY IS.

SO MY MOTHER'S FAMILY LIVES IN OKLAHOMA.

MY FATHER'S FAMILY LIVES IN MISSISSIPPI.

AND THOSE CHEROKEE CULTURES ARE EXTREMELY DIFFERENT.

SO WHEN I WOULD GO THERE, IT WOULD BE TO VISIT MY FAMILY.

I NEVER WANTED TO OBSERVE MY FAMILY.

YOU WANT TO BE A PARTICIPANT IN MY FAMILY.

SO WE DON'T LOOK AT EACH OTHER AND THINK, OH, THAT'S NATIVE AMERICAN.

THEN I BEGAN THINKING, WHAT WAS IT ABOUT THE QUILTS THAT GRANDMA MADE OR THE JEWELRY THAT SHE WORE OR THE DRESSES THAT SHE MADE, WHAT DID THE SONG MEAN THAT SHE WOULD SING AND THEN IT BECOMES SOMETHING CULTURALLY SPECIFIC, I SUPPOSE.

OTHERWISE, IT'S KIND OF INHERENTLY FAMILIAL.

IT STARTED FROM PLACES I WANT TO TAKE PART IN ALL OF THESE THINGS.

I WANT TO KNOW HOW TO BE AND IT STARTS OFF A PATTERN, DESIGN, COLOR CHOICES.

IT STARTS OFF THE CHALLENGE OF WHAT YOU CAN ACTUALLY DO WITH BEADS.

I WANTED TO MAKE FOUND OBJECT WORK AND OVER THE COURSE OF TIME, SOMETIMES THEY ARE MASHED TOGETHER.

I'M INTERESTED IN EXPLORING THE TRANSFORMATIVE NATURE OF MATERIALS AND NOW THE LANGUAGE CAN SHIFT FROM A BEADED TRIANGLE TO A PAINTED TRIANGLE TO A WOVEN TRIANGLE AND WHAT THOSE THREE DIFFERENT VERSIONS OF A TRIANGLE MEAN.

THERE IS THIS PERIOD OF CLUB MUSIC THAT WITH THE TRANSITION OF ANALOG MUSIC INTO DIGITAL AND IT WAS THE SAMPLING AND THE TURN TABLES WHERE PEOPLE COULD SAMPLE MUSIC THAT WAS REALLY HAD AN IMPRESSION ON ME.

SO THIS KIND OF REPETITIVE NATURE OF REPEATING AND PICKING SOMETHING FROM ONE CONTEXT AND STICKING IT INTO ANOTHER ONE AND MAKING SOMETHING NEW.

I CAN SPEND THE TIME IN MY STUDIO MAXING UP, REMIXING, TAKING APART, RECONSTRUCTING.

I CAN INVITE OTHER PEOPLE TO TAKE PART IN THAT WITH ME.

I THINK IT'S IMPORTANT TO JUST BE TRANSPARENT ABOUT THE PROCESS.

WE ACT KNOWLEDGE THE ASSISTANCE ALL THE TIME AS MUCH AS WE CAN.

IT'S JUST ME MAKING, FOR INSTANCE, A VIBE, WE WOULD BE SEEING ONE A YEAR.

THE LINES BETWEEN CRAFT AND WHAT'S YOU KNOW HISTORICALLY BEEN THOUGHT OF AS FINE ART, THE DECORATIVE EMBELLISHMENT, ALL OF THOSE THINGS IN THIS ENVIRONMENT ARE EQUALIZED.

IF YOU LOOK AT PALO GARMENTS, THEY'RE SO LOUD AND COLORFUL.

WITH THAT AS MY INSPIRATION IN MANY WAYS, THERE WAS NO LIMIT TO THE COMBINATION OF COLORS.

IT'S MORE THINKING ABOUT WHAT THE COLOR DOES IN COMBINATION WITH EACH OTHER.

SO IT'S REALLY EITHER KIND OF POP OR EWILLIELECTRIC OR REFLK NEXTIVE.

OR OPTIC.

I DO HAVE AN ATTRACTION BETWEEN THE IDEA OF MINIMALISM AND HOW MINIMALISM LEADS TOWARDS LIKE MAX MALDENSITY.

I USED TO THINK MINIMALISM WAS MAINTAINING THIS QUIET, SOLID PLACE, LIKE THIS VOID UNFILLED WITH THINGS.

NOW I REALIZE THE REMOVAL OF INFORMATION IN AN EFFORT TO ACTUALLY BE ABLE TO SEE HOW MUCH IS PRESENT IN A VERY SMALL SPACE OR IN A VERY LIMITED PALETTE.

THE IDEA IS TO LIKE SAY SLOW DOWN THE COLOR RED AND UNDERSTAND HOW MANY SHADES OF RED THERE ARE.

SLOW DOWN THE COLOR BLUE, UNDERSTAND HOW MANY SHADES OF BLUE TONES OF BLUE AND THEN, OF COURSE, IT OPENS RIGHT BACK UP INTO INCLUDING EVERY SINGLE COLOR.

MY TRAINING IS AS AN ENTIRELY PROCESSED ABSTRACT ARTIST.

BUT THE TEXT WAS ALWAYS MEANT TO NAME THIS ENTIRELY SUBJECTIVE LANGUAGE OF SUBTRACTION.

AND AT SOME POINT WHEN THE AUDIENCE WASN'T ABLE TO GET THE CONTENT THAT I THOUGHT I WAS PUTTING INTO THE ABSTRACTION, I DECIDED TO JUST START PUTTING THE TEXT DIRECTLY ON IT.

MOST OF THE TITLES, FOR INSTANCE, COME FROM APPROPRIATATED LYRICS.

AND THEN IT JUST KIND OF HIT.

THERE WAS SOMETHING ABOUT THE UNDERSTANDING THAT THESE WORDS DESCRIBE WHAT YOU ARE LOOKING AT.

THEY BECAME A REALLY BIG PART OF THE WORK FOR ME.

PEOPLE WHO ARE LOOKING AT MY WORK AT THE TIME WOULD ALWAYS QUESTION, WELL, HOW DOES THIS RELATE TO WHO YOU ARE?

YOU KNOW, HOW DOES THIS RELATE TO YOU AS A NATIVE-AMERICAN PERSON, AS A GAY PERSON?

IS THE SUBJECTIVITY SOMEHOW REPRESENTATIVE OF THAT EXPERIENCE?

AND IT SEEMED NO MATTER HOW HARD I WOULD SAY, NO, IT'S NOT.

IT ALMOST COMPOUNDED MORE FOR PEOPLE TO LOOK FOR CONNECTIONS IN THE WORK AND AT SOME POINT I DECIDED TO OWN THE WORDS NATIVE-AMERICAN, TO OWN THE WORDS GAY AND NOT GIVE THEM ANY KIND OF POWER OVER DETERMINING WHO I AM, BUT I WAS FINE WITH THE WORK BEING DESCRIBED IN A WAY.

BECAUSE IT IS TRUE.

THIS IS MY EXPERIENCE IN THE 20th CENTURY AT THE TIME AND EVEN TODAY, THAT'S VERY MUCH HOW WE DESCRIBE EACH OTHER.

I ACKNOWLEDGE THAT WE'RE ALL VERY, VERY LAYERED COMPLICATED PEOPLE.

IN OUR CONTEMPORARY WORLD, WE DON'T ALWAYS HAVE THE OPPORTUNITY TO EXPLORE THAT OR TO SHARE THAT WITH EACH OTHER.

BUT IT'S WHAT YOU CAN DO IN ART.

NEXT, WE'LL VISIT THE AMERICAN FOLK ART MUSEUM LOCATED ACROSS FROM LINCOLN CENTER, IT IS ALSO REOPENED TO VISITORS.

SINCE 1961, THIS MUSEUM HAS BEEN SHOWCASING THE CREATIVITY OF ARTISTS WHOSE TALENTS HAVE BEEN REFINED THROUGH PERSONAL EXPERIENCE RATHER THAN THROUGH FORMAL ARTISTIC TRAINING.

ITS COLLECTION INCLUDES MORE THAN 8,000 WORKS OF ART FROM FOUR CENTURIES REPRESENTING NEARLY EVERY CONTINENT.

ONE OF THE MOST HIGHLY RECOGNIZED AMERICAN SELF-TAUGHT ARTISTS IS THE PORTRAIT PAINTER AMI PHILIPS.

PHILIPS WAS BORN IN 17 EIGHT IN CONNECT.

DURING HIS LIFETIME HE PAINTED FOR MORE THAN 55 YEARS.

TODAY WE ARE AWARE OF CLOSE TO 1,000 PORTRAITS PAINTED BY HIM.

IN THE PERIOD OF 1817 TO 1820 OR SO, HIS PORTRAITS ARE A VERY DREAMY, THEY'RE BEAUTIFUL PALETTES OF THESE SHIMMERING MUTED COLORS, MOSTLY THEY'RE VERY ESSENTIAL PORTRAITS, VERY PRODUCTIVE STRIPPED DOWN TO THE ESSENCE OF CONVEYING THE CHARACTER AND PERSONALITY OF WHOEVER WAS BEING PORTRAYED.

IN HIS PORTRAIT OF RHODA GOODRICH BENTLEY AND HER DAUGHTER MARIA LUISA PAINTED PROBABLY AROUND 1817, WE HAVE THE INCLUSION OF A FEW DETAILS THAT ARE SIGNIFICANT AND THAT ARE UNUSUAL IN PAR TRAITS BY PHILIPS -- PORTRAITS BY PHILIPS.

HER DAUGHTER IS HOLDING A SLICE OF WATERMELON AND SHE IS HOLDING A PIECE OF PLEATED COTTON.

WHICH MAY BE A REFERENCE TO, OF COURSE, THE COTTON PLANTATIONS IN THE SOUTH.

SO WE HAVE THIS PORTRAIT THAT INCLUDES THESE ELEMENTS THAT SEEM UNUSUAL FOR A MIDDLE CLASS FAMILY IN NEW YORK STATE AND THAT SEEM TO BE MAKING AN ILLUSION TO THIS VERY SERIOUS ISSUE OF SLAVERY THAT CLEARLY HAD GREAT MEANING FOR THIS FAMILY.

AMI PHILIPS PAINTED FOR MORE THAN 55 YEARS AND HIS STYLE UNDERWENT DRAMATIC CHANGES FROM ONE PERIOD TO ANOTHER.

MRS. BENTLEY WAS PAINTED AT THE HEIGHT OF WHAT WE CALL THE NEOCLASSICAL ERA, REFLECTING THE ROMANTICISM AND THE PALETTE ASSOCIATED WITH CLASSICAL ICONOGRAPHY AND FASHION, THE EMPIRE STYLE DRESSES.

BUT, BY THE 1830s, THERE WAS A VERY DIFFERENT AESTHETIC AT PLAY.

IT WAS MUCH HARDER EDGED.

IT WAS VERY CLEAR, VERY CLEARLY DEFINED.

THERE WERE MUCH DEEPER CONTRASTS OF COLOR.

THE AMERICAN FOLK ART MUSEUM HOLDS ONE OF PHILIPS' GREATEST MASTERPIECES IN ITS COLLECTIONS AND IT'S SIMPLY TITLED, GIRL IN RED DRESS WITH CAT AND DOG AND ITS THE BRILLIANCE OF THE RED AGAINST THE STARK BLACK BACKGROUND THAT SETS UP THESE JUXTAPOSITIONS THAT ARE TIMELESS AND BEAUTIFUL BUT VERY, VERY DIFFERENT FROM THE EARLIER PORTRAITS.

> I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZAHN.

THANK YOU SO MUCH FOR WATCHING.

HAVE A GOOD NIGHT.

.

> NEXT WEEK ON NYC ARTS, A LOOK AT THE AUDUBON MURAL PROJECT IN UPPER MANHATTAN WHICH PAYS TRIBUTE TO BIRDS THAT ARE AT RISK DUE TO THE CLIMATE CRISIS.

A PROFILE OF ONE OF TODAY'S MOST DYNAMIC TAP DANCERS.

TAP DANCING FOR ME IS MAGIC.

IT'S MUSIC IN MOTION.

AND WE'LL MEET UP WITH IAN FORREST, ALSO KNOWN AS EYEGLASSES, A TALENTED CELLIST THAT IS A PART OF THE MTA'S MUSIC UNDER NEW YORK PROGRAM.

I'LL PLAY A BASS PART, A PERCUSSION PART AND HARMONY PART AND I CAN LOOP THAT SEGMENT OVER AND OVER AGAIN.

I'M PLAYING NINE OR TEN DIFFERENT CELLO PARTS AT THE SAME TIME.

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

[ MUSIC PLAYING ] ♪ .

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NYC ARTS IS MADE POSSIBLE IN PART BY -- SPERTED IN PART BY PR FUNDS IN PARTNERSHIP BY CITY COUNCIL.

NYC ARTS IS MADE POSSIBLE IN PART BY -- PSPERTED IN PART BY P FUNDS IN PARTNERSHIP BY CITY COUNCIL.

NYC ARTS IS MADE POSSIBLE IN PART BY -- POSPERTED IN PART BY FUNDS IN PARTNERSHIP BY CITY COUNCIL.

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NYC ARTS IS MADE POSSIBLE IN PART BY -- SPERTED IN PART BY PRE FUNDS IN PARTNERSHIP BY CITY COUNCIL.

NYC ARTS IS MADE POSSIBLE IN PART BY -- ESPERTED IN PART BY PRIVATE FUNDS IN PARTNERSHIP BY CITY COUNCIL.

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NYC ARTS IS MADE POSSIBLE IN PART BY -- ESPERTED IN PART BY PRIVATE FUNDS IN PARTNERSHIP BY CITY COUNCIL.

NYC ARTS IS MADE POSSIBLE IN PART BY -- DSPERTED IN PART BY PRIVATE FUNDS IN PARTNERSHIP BY CITY COUNCIL.

NYC ARTS IS MADE POSSIBLE IN PART BY -- ED IN PART BY PRIVATE FUNDS IN PARTNERSHIP BY CITY COUNCIL.

NYC ARTS IS MADE POSSIBLE IN PART BY -- D IN PART BY PRIVATE FUNDS IN PARTNERSHIP BY CITY COUNCIL.

NYC ARTS IS MADE POSSIBLE IN PART BY -- IN PART BY PRIVATE FUNDS IN PARTNERSHIP BY CITY COUNCIL.

NYC ARTS IS MADE POSSIBLE IN PART BY -- .

SWANN AUCTION GALLERIES, WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU ARE A LIFE-LONG INVESTOR, INFORMATION AT SWANNGALLERIES.COM.