A profile of José Parlá, a Cuban-American artist whose work spans painting, sculpture and large-scale murals; a look at the Public Art Fund’s project “Doors for Doris” by Sam Moyer; and a ride along with florist Lewis Miller as he creates his pop-up “flower flashes.”

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> COMING UP ON 'NYC ARTS,' A PROFILE OF A CUBAN AMERICAN ARTIST WHOSE WORKS SPAN PAINTING, SCULPTURE, AND LARGE-SCALE MURALS.

I LIKE THE IDEA OF TRANSLATING A PLACE OR AN EXPERIENCE FROM BEING IN A PLACE INTO A PAINTING.

SO I'VE IMAGINED MYSELF DISSECTING A WALL INSTEAD OF PAINTING A CANVAS AND IMAGINING THAT WHAT I'M DISCOVERING MY PAINTING IS THE ACCUMULATION OF THE MANY YEARS OF WHAT OTHER PEOPLE HAVE DONE.

A LOOK AT PUBLIC ART FUNDS PROJECT 'DOOR FOR DORIS.'

THERE WAS A GUY IN THE PARK WHO WAS LIKE WHAT AM I MAKING, WHY AM I MAKING IT, WHAT IS THIS?

THAT'S WHERE THIS IDEA OF THE THIS CAME FROM.

IT'S SUCH AN OBVIOUS SYMBOL OF THE CITY AS MUCH AS A DOOR CAN OPEN, IT CAN CLOSE.

[ LAUGHTER ] AND IT CAN FEEL LIKE A WELCOME AND IT CAN FEEL LIKE A BLOCK.

AND A RIDE-ALONG WITH LEWIS MILLER AS HE CREATES HIS POP-UP FLOWER FLASHES.

THEY ARE FOR THE PEOPLE AND I WANT PEOPLE TO TAKE THEM AND INTERACT WITH THEM.

OBVIOUSLY TAKE A PICTURE BUT TAKE A BLOSSOM, TAKE SOME HOME.

THE MORE THAT WE CAN HAVE THESE KIND OF SOFT MOMENTS OF JUST BEAUTY AND JOY FOR NO OTHER REASON EVEN IF IT'S FOR AN HOUR OR TEN MINUTES, THE JOB IS DONE.

FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY THE THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

RECOGNIZE LIND P. WALTER.

ELISE JAFFE AND JEFFREY BROWN.

AND ELLEN DIKER, GENE DUE BIN SKI 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 COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

'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.

AND BY SWANN AUCTION GALLERY.

SWANN AUCTION GALLERIES, WE HAVE A DIFFERENT DAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941 WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU'RE A LIFELONG COLLECTOR OR A FIRST-TIME BUYER, OR LOOKING TO SELL, INFORMATION AT SWANNAUCTIONGALLERIES.COM.

[ MUSIC ] ♪ ♪ [ MUSIC ]

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

I'M PHILIPPE de MONTEBELLO ON LOCATION AT THE METROPOLITAN MUSEUM OF ART.

I'M IN THE GRAND SPACE CONTAINING THE TREASURE THAT IS THE TEMPLE OF DENDUR.

IT WAS BUILT AROUND 15 B.C. WHEN THE ROMAN EMPEROR AUGUSTUS RULED EGYPT.

IN 1965 THE TEMPLE AND ITS GATEWAY WERE GIFTED BY EGYPT TO THE UNITED STATES.

AWARDED TO THE MET TWO YEARS LATER AND INSTALLED HERE IN 1978.

TRANSPORT TO THE MET AN INSTALLATION WAS DONE WITH THE GREATEST OF CARE.

THE SETTING WAS DESIGNED TO APPROXIMATE THE LIGHT AND SURROUNDINGS OF ITS ORIGINAL LOCATION IN NUBIA INCLUDING A REFLECTING POOL THAT EVOKES THE NILE.

TODAY IT IS ONE OF THE MOST ICONIC AND BELOVED WORKS OF ART AT THE MET.

WITH ITS DOORS OPEN ONCE AGAIN TO VISITORS, IT CELEBRATES ITS 150th ANNIVERSARY YEAR.

AT ITS CENTERPIECE IS THE EXHIBITION MAKING THE MET, 1870, 2020.

IT EXPLORES PIVOTAL MOMENTS IN THE MUSEUM'S HISTORY THROUGH A DISPLAY OF MORE THAN 250 WORKS OF ART DRAWN FROM ITS VAST COLLECTIONS.

THE MUSEUMWIDE COLLABORATION MEETS VISITORS ON AN IMMERSIVE THOUGHT-PROVOKING EVOLUTION OF ITS HOLDINGS.

IT REVEALS THE VISIONARY FORCES, EXAMINING ITS PLACE IN SOCIETY FROM ITS FOUNDING TO TODAY.

THE EXHIBITION SPANS BOTH MILLENIA AND MEDIA.

FROM AN IMPOSING SEATED STATUE OF THE EGYPTIAN QUEEN TO QUEEN OF FRANCE, FROM MONUMENTAL TO MICHELANGELO.

ALSO INCLUDED IS MADAM X BY JOHN SINGER SERGEANT AND EDWARD'S PHOTOGRAPHS OF 'THE FLATIRON.'

ITS GLOBAL REACH EXTENDS FROM ASIA WITH EXCEPTIONAL WORKS SUCH AS KNIGHT SHINING WHITE TO AFRICA WITH A SEATED FEMALE FIGURE.

AS WELL AS THE AMERICAS WITH THE CROWN OF THE ANDES.

MAKING THE MET IS ON VIEW THROUGH JANUARY 3rd.

NOW, LET'S VISIT THE BROOKLYN STUDIO OF A CUBAN-AMERICAN ARTIST.

HIS CRITICALLY ACCLAIMED WORKS INCLUDE PICTURES, AND LARGE-SCALE MURALS.

THEY HAVE BEEN ON VIEW IN THE UNITED STATES AND ABROAD INCLUDING CUBA, JAPAN, AND THE UK.

COMPOSED OF LAYERS OF PAINT, AND FOUND MATERIALS, HIS WORK LIES SOMEWHERE BETWEEN ABSTRACTION AND CALLIGRAPHY.

HIS IMAGERY IS INSPIRED BY THE WEAT WEATHERED SURFACES OF BUILDINGS THAT HE VISITS ALL OVER THE WORLD.

THE MEMORIES ENGAGE THE VIEWER'S MEMORY AND IMAGINATION WHILE ALSO REFERENCING CONTEMPORARY POLITICAL AND SOCIAL ISSUES.

SOME OF HIS PUBLIC WORKS IN OUR AREA INCLUDE MURALS AT THE BROOKLYN ACADEMY OF MUSIC, BARCLAY CENTER, AND ONE WORLD TRADE CENTER.

CURRENTLY HE HAS AN EXHIBITION ON VIEW AT THE BRONX MUSEUM OF ARTS.

YOU ALWAYS HEAR STORIES ABOUT ARTISTS STARTING OFF VERY YOUNG.

AND THAT WAS MY CASE.

I WAS IN MIAMI, FLORIDA.

IT WAS THE EARLY '80s WHEN HIP-HOP CULTURE WAS BEING BORN AND I FELT VERY MUCH A PART OF THAT.

I STARTED PAINTING WITH MY FRIENDS BASICALLY AROUND THE CITY, PAINTING WALLS.

MY ART TEACHER ENTERED ONE OF MY DRAWINGS INTO THE SCHOLASTIC ART AWARD COMPETITION.

AND THAT EVENTUALLY GOT ME A SCHOLARSHIP TO SAVANNA COLLEGE OF ART DESIGN.

THERE I REALLY GOT TO EXPERIMENT WITH ALL TYPES OF ART AND LEARN ABOUT ART HISTORY MORE FORMALLY.

BUT I WAS INTERESTED IN BEING TRUE TO WHAT I WAS DOING IN MIAMI PREVIOUSLY.

I LIKE THE IDEA OF TRANSLATING A PLACE OR AN EXPERIENCE FROM BEING IN A PLACE INTO A PAINTING.

SO I'VE IMAGINED MYSELF DISSECTING A WALL INSTEAD OF PAINTING A CANVAS.

AND IMAGINING THAT WHAT I'M DISCOVERING BY PAINTING IS THE ACCUMULATION OF THE MANY YEARS OF WHAT OTHER PEOPLE HAVE DONE TO A WALL.

BUT THEN YOU ALSO HAVE THE ENVIRONMENT, THE SUN, THE WIND, THE RAIN, STORMS.

SO MY PAINTINGS ARE INSPIRED BY WHAT HAPPENS OUTSIDE.

AND A LOT OF THE TECHNIQUES THAT I BRING INTO THE WORK COME DIRECTLY FROM THINKING ABOUT CONSTRUCTION, DECONSTRUCTION, ABOUT WALLS, AND ARCHITECTURAL SURFACE.

WHY DO I PAY ATTENTION TO CITIES THE WAY THAT I DO?

WHAT AM I LOOKING FOR WHEN I'M WALKING AROUND?

FOR ME I'M INTERESTED IN FINDING CLUES AS TO WHAT IS THE DIALOGUE THAT I'M HAVING AS AN ARTIST WITH THE WORLD.

I LOVE CHARACTER.

EITHER I SEE A CHARACTER THAT I WANT TO PHOTOGRAPH OR I SEE SOMETHING THAT A CHARACTER DID TO A WALL THAT I WANT TO PHOTOGRAPH.

SO LIKE THE MARK LEFT BEHIND.

IT'S I THINK A HABIT I'VE DEVELOPED OVER THE YEARS OF LOOKING AT WALLS.

AND IT'S A KIND OF HIEROGLYPHIC THAT EXISTS.

IT'S INTERESTING AS YOU WALK ALONG YOU SEE LANGUAGE.

I WAS GIVEN THE OPPORTUNITY TO DO THIS MURAL IN A LIBRARY SETTING, AND I WANTED TO DO SOMETHING THAT WENT TO THE ROOTS OF LANGUAGE.

SO I LAYERED TONS AND TONS OF WRITING SORT OF FORMAL SEASCAPE OF WORDS, AND THE WORDS THAT WERE WRITTEN, ALTHOUGH ILLEGIBLE ON PURPOSE ARE WORDS OF ARTISTS, PHILOSOPHERS.

AND YOU'RE TAPPED INTO THIS MAJOR UNIVERSAL SYMPHONY OF WORDS ALL BEING SPOKEN AT THE SAME TIME.

AND SO THAT FORMED THE PAINTING, 'NATURE OF LANGUAGE.'

IT'S BEEN TALKED ABOUT MY WORK THAT IT'S KIND OF PERFORMING PAINTING OR THAT PAINTING IS THE PERFORMANCE.

NONE OF THOSE DECISIONS OF MY WORK ARE PLANNED.

THERE IS A CERTAIN MOVEMENT THAT I FEEL IS REALLY NECESSARY AND A TYPE OF SPEED THAT IS NECESSARY FOR ACTUAL TECHNIQUE TO WORK.

IF YOU'RE DOING A LOT OF BLENDS, OKAY, AND YOU'RE WORKING WITH PAINT THAT DRIES VERY FAST AND YOU HAVE TO WORK REALLY FAST AND YOU HAVE TO HAVE A CERTAIN DANCE OR A CERTAIN AGILITY TO BE ABLE TO PULL THAT OFF.

FOR EXAMPLE, SOMETIMES I WANT TO DO REALLY LONG, TALL STROKES SO I JUMP OFF A LADDER TO DO IT.

WHEN I FIRST DID IT, IT WASN'T A DECISION.

I ACTUALLY HAD FORGOTTEN I WAS ON THE LADDER.

AND WHEN I DID THE LINE IT WAS TOO LATE AND I JUMPED OFF AND I JUST KEPT THE BRUSH ON THE SURFACE.

THEN I THOUGHT, WELL, THAT'S REALLY SOMETHING THAT I COULD USE.

SO I KEPT DOING IT.

BUT AT FIRST IT WAS AN ACCIDENT.

SCULPTURAL PAINTINGS FOR ME STARTED WHEN I WAS STILL AT SCHOOL.

IT WAS 1992 WHEN HURRICANE ANDREW CAME THROUGH MIAMI AND DEVASTATED A LOT OF THE CITY INCLUDING MY STUDIO.

MY ART STUDIO WAS ON LINCOLN ROAD IN MIAMI BEACH.

AND A LOT OF THE WORKS FLEW OUT THE WINDOW.

AND THE FOLLOWING DAY I WENT OUT WITH SOME FRIENDS LOOKING FOR THE DEBRIS OF MY WORK AND FOUND SOME BROKEN PAINTINGS AND SO I REASSEMBLED THEM WITH OTHER DEBRIS AND MADE THESE KIND OF SCULPTURAL PAINTINGS.

BUT IT WASN'T UNTIL 2014 AND IT WAS THE 25th ANNIVERSARY OF THE FALLING OF THE BERLIN WALL.

AND I REMEMBERED THAT WHEN THAT HAPPENED, THE IRON CURTAIN WAS FALLING AND THE COLD WAR WAS SUPPOSED TO BE OVER.

AND SO WE, AS THE CUBAN COMMUNITY, THE DIASPORA WORLDWIDE THOUGHT WHAT IS GOING TO HAPPEN WITH CUBA.

WHAT WILL CHANGE?

AND, WELL, WITH CUBA, NOT MUCH CHANGED REALLY UNTIL THAT SAME 25th ANNIVERSARY WHEN PRESIDENT OBAMA AND PRESIDENT CASTRO ANNOUNCED THE NEW CONVERSATIONS AND NORMAL RELATIONS THAT WERE TO START TAKING PLACE BETWEEN THE TWO COUNTRIES.

AND SO I THOUGHT IT WAS A REALLY INTERESTING TIME TO INTRODUCE THESE SCULPTURAL PAINTINGS THAT WERE REPRESENTATIONS OF WALLS THROUGHOUT THE WORLD.

WALLS NOT ONLY EXIST PHYSICALLY BUT ALSO IN OUR MIND.

AND WE'RE WITNESSING MANY MORE BARRIERS GO UP AND MANY MORE BORDERS.

AND BUILDING NEW WALLS AND THINGS THAT ARE REALLY WHAT I THINK GOING BACKWARDS FOR HUMANITY.

IT WAS A WAY TO SHOW BROKEN WALLS AS A SYMBOL OF BREAKING WALLS, AESTHETICALLY, PHYSICALLY, AND MENTALLY AND EVEN SPIRITUALLY.

WHEN YOU'RE COMING FROM A CUBAN FAMILY, REGARDLESS OF WHETHER YOU'RE IN CUBA OR SWITZERLAND OR MIAMI, POLITICS IS JUST PART OF YOUR EVERYDAY LIFE.

IMMIGRATION IS PART OF YOUR EVERYDAY LIFE BECAUSE YOUR PARENTS ARE IMMIGRANTS, YOU ARE ALSO AN IMMIGRANT IN A SENSE BECAUSE, FOR ME PERSONLLY I WAS LEARNING ENGLISH AT THE AGE OF 10 HERE IN THE UNITED STATES.

SO PEOPLE LOOKED AT ME AS AN IMMIGRANT EVEN THOUGH I WAS BORN HERE.

SO THOSE THEMES ARE NOT JUST PART OF MY WORK, THEY'RE PART OF MY LIFE.

[ MUSIC ] [ SPEAKING FOREIGN LANGUAGE ] THIS WAS A PROJECT THAT EXISTED PREVIOUSLY WITH MY FRIEND JR.

WE HAD DONE IT IN SHANGHAI AND CARTAGENA, SPAIN.

WE WERE INVITED TO THE HAVANA BIENNIAL IN 2012.

AND WE SAID INSTEAD OF DOING SOMETHING SEPARATE WE SAID WHY DON'T WE COLLABORATE ON SOMETHING.

HAVANA IS ONE OF THE MOST TEXTURED CITIES IN THE WORLD, MEANING THAT ITS ARCHITECTURE REALLY REFLECTS ITS HISTORY IN A WAY WHERE YOU SEE THE DETERIORATION OF IT, AND THE PEOPLE WHO HAVE WITNESSED THAT HAVE LIVED THAT ARE THE ELDERLY PEOPLE IN THAT SOCIETY IN CUBA.

I NEVER REALLY MET MY REAL GRANDPARENTS.

SO WORKING WITH JR ON THIS PROJECT, INTERVIEWING THEM, HEARING THEIR STORIES, ALSO TRANSLATING THEIR PORTRAITS INTO LARGE-SCALE LIKE THIS WAS INCREDIBLE.

AND IN A COUNTRY WHERE YOU DON'T REALLY HAVE ADVERTISING, YOU HAVE THE PICTURE OF REVOLUTIONARY HEROES AND LOCAL PEOPLE AUTOMATICALLY THOUGHT THAT IF THAT PERSON WAS IMPORTANT ENOUGH TO BE ON A WALL THAT THEY WERE LIKE A REVOLUTIONARY HERO.

AND WE SAID, WELL, KIND OF, THEY HAD THEIR OWN REVOLUTION IN A SENSE BECAUSE THEY'RE SURVIVORS.

ART IS ONE OF THE BEST TOOLS TO INTERPRET THE HUMAN CONDITION BECAUSE THERE ARE THINGS YOU CAN READ IN ART AND SEE IN ART THAT CANNOT BE SAID VERBALLY.

I THINK THAT WE AS ARTISTS, FILM MAKERS, POETS, WRITERS, JOURNALISTS, WHAT WE'RE TRYING TO DO IS BRING TO LIGHT THE FACT THAT THERE ARE MANY EXAMPLES OF HOW WE CAN LIVE IN HARMONY.

THE PAINTING IN A SENSE IS 90 FEET AND 15 FEET TALL.

IT WAS A PAINTING COMMISSIONED IN 2013 BY THE NEW YORK AND NEW JERSEY PORT AUTHORITY AND THE ORGANIZATION FOR THE WORLD TRADE CENTER.

IT WAS A BIG RESPONSIBILITY THAT CAME WITH DOING SUCH A LOCATION.

BUT I DID KNOW THAT I WANTED TO MAKE A PAINTING THAT WAS RESPECTFUL TO THE FAMILIES OF THOSE WHO HAD LOST PEOPLE THERE, BUT ALSO RESPECTFUL TO NEW YORK AND THAT IT ALSO HAD A POINT OF STRENGTH AND RESILIENCE AND HARMONY TO BRING PEOPLE TOGETHER.

AND I WANTED IT TO HAVE A LOT OF COLORS THAT WOULD MAKE A KIND OF SPECTRUM OF UNITY OF REPRESENTING THE MANY DIFFERENT KIND OF PEOPLE THAT LIVE IN NEW YORK.

SO IT REALLY BECOMES A PIECE THAT IS ABOUT THAT EVERYDAY RESILIENCE OF NEW YORKERS AND UNITY THAT WE SIGNIFY.

[ MUSIC ]

> FOR THE PAST 43 YEARS, THE PUBLIC ART FUND HAS PRESENTED MORE THAN 500 WORKS OF ART ACROSS THE FIVE BOROUGHS.

THE NONPROFIT WAS FOUNDED BY DORIS C. FREEDMAN, THE CITY'S FIRST DIRECTOR OF CULTURAL AFFAIRS.

TODAY THE PUBLIC ART FUND CONTINUES FREEDMAN'S WORK.

THEIR MISSION IS TO BRING AMBITIOUS CONTEMPORARY ART TO A DIVERSE AUDIENCE AT NO COST TO THE PUBLIC.

EACH YEAR THE FUND PRESENTS A NEW INSTALLATION IN DORIS C.

FREEDMAN PLAZA LOCATED AT THE SOUTHEAST CORNER OF CENTRAL PARK.

CURRENTLY ON VIEW IS 'DOOR FOR DORIS.'

AN ARTIST TRIBUTE TO FREEDMAN AND TO THE CITY ITSELF.

MOYER SPOKE WITH US ABOUT HER WORK OVER ZOOM FROM HER BROOKLYN STUDIO.

'DOOR FOR DORIS' IS A PUBLIC SCULPTURE THAT'S CURRENTLY ON VIEW AT THE CORNER OF 60th AND FIFTH AVENUE AT THE ENTRANCE OF CENTRAL PARK.

AND IT'S NAMED FOR THE FOUNDER OF THE PUBLIC ART FUND, DORIS FREEDMAN.

THERE'S A MOMENT THAT NEEDS TO BE TAKEN TO THINK ABOUT WHAT HAD TO HAPPEN FOR YOU TO HAVE THE OPPORTUNITY THAT YOU'VE BEEN GIVEN AND WHO CAME BEFORE YOU AND WHAT WORK HAD TO BE DONE SO THAT THIS IS EVEN SOMETHING THAT'S POSSIBLE.

AND SO I JUST WANTED TO HONOR HER EFFORTS THAT SHE MADE STARTING IN 1977 TO MAKE THIS A PLACE TO BRING ART TO THE PUBLIC.

YOU'RE LIKE WHAT AM I MAKING, WHY AM I MAKING IT, WHAT IS THIS?

SO, THAT'S WHERE THIS IDEA OF THE ROAD HITTING DOORS CAME IN.

IT'S SUCH AN ON-THE-NOSE OBVIOUS SYMBOL OF THE CITY.

AS MUCH AS A DOOR CAN OPEN, IT CAN CLOSE.

AND IT CAN FEEL LIKE A WELCOME AND IT CAN FEEL LIKE A BLOCK, TAKING SOMETHING THAT'S IN CONSTANT MOTION LIKE A ROTATING DOOR AND ALL ABOUT THAT MECHANISM AND FREEZING IT AND EMPHASIZING IT.

IT'S DESIGNED TO BE ABLE TO WALK THROUGH IF YOU WANT TO, WALK AROUND, TOUCH THE STONES.

AND IT GIVES PEOPLE OF THE DIFFERENT IDEA OF THE MATERIAL IN THE BUILT WORLD, I THINK THAT THAT'S EXCITING.

IT'S A CELEBRATION OF THE THRESHOLD BETWEEN THE CITY AND THE NATURE OF CENTRAL PARK.

I WORK WITH STONE AND MAKE FORMAL ABSTRACT PAINTINGS OUT OF THEM.

AND SO I WANTED TO BRING THAT PART OF MY PRACTICE INTO THE PIECE.

BUT I ALSO JUST WANTED TO THINK ABOUT LIKE THE ESSENTIAL MATERIALS OF NEW YORK.

THERE'S THE CONCRETE THAT THE CITY'S MADE OUT OF, BUT THEN THERE'S ALSO LIKE THE BEDROCK OF THE EARTH THAT THE CITY IS SITTING ON.

AND ONE OF THOSE MATERIALS IS BLUESTONE, WHICH THE ARCHES ARE MADE OUT OF.

AND BLUESTONE IS FOUND IN CENTRAL PARK IN MULTIPLE WAYS, EXPOSED NATURAL STONE.

BUT IT'S ALSO THE PAVERS AND THE WALLS.

THE MARBLE REMNANTS ARE A BIG PART OF MY PRACTICE, AND I COLLECT THEM FROM MULTIPLE PLACES AROUND THE CITY.

I HAVE MY SOURCES.

THEY'RE CAST-OFFS FROM OLD COUNTERTOPS OR OFF-CUTS FROM THOSE PROJECTS.

WE HAVE THIS FRAMEWORK OF LOCALNESS.

AND THEN WE HAVE WHAT ACTUALLY, LIKE, BRIGHTENS UP AND BEAUTIFIES AND IGNITES THE CITY, WHICH IS THESE COMPONENTS THAT COME FROM ALL OVER THE WORLD AND SORT OF THE GLOBALNESS OF NEW YORK.

WHEN COVID HAPPENED WE JUST HAD TO SORT OF -- WE JUST NEED TO HOLD DOWN THE FORT AND BE HERE AND DO WHAT WE CAN TO BE ABLE TO PRESENT SOMETHING TO THIS BASICALLY NOW A SACRED SPACE WHICH IS OUR OUTDOOR PUBLIC SPACE FOR PEOPLE THAT ARE LIVING IN THE NEW YORK PARK AND ALONE.

OFTEN THE ONLY TIMES THAT YOU GOT TO SORT OF SEE YOUR OTHER FELLOW NEW YORKERS AND KNOW YOU WERE ALL IN IT TOGETHER WERE THESE MOMENTS WE WERE OUTSIDE TOGETHER.

SO, THAT WAS BIG OVERWHELMING GRATITUDE FOR GETTING TO MAKE THIS PIECE IN THIS TIME.

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

AND BE SURE TO CONNECT WITH 'NYC ARTS' ON FACEBOOK, INSTAGRAM, AND TWITTER.

MANHATTAN FLORIST LEWIS MILLER LIKES TO BRIGHTEN UP NEW YORK BY SHARING HIS ART WITH THE PUBLIC.

HIS POP-UP ARRANGEMENTS KNOWN AS FLOWER FLASHES HAVE APPEARED ALL OVER THE CITY.

THIS YEAR, HE'S CREATED SEVERAL FLASHES TO HONOR HEALTH CARE WORKERS AND THE RESILIENT SPIRIT OF NEW YORK CITY.

WE JOIN MILLER AND HIS CREW A COUPLE OF YEARS AGO ON ONE OF THEIR EARLY-MORNING ADVENTURES.

FLOWERS WERE ALWAYS PART OF MY DNA.

I COME FROM A FAMILY OF GARDENERS, BUT I WENT FROM LANDSCAPE AND HORTICULTURE TO THE FLOWER WORLD.

THE FLOWER FLASH WAS SOMETHING THAT WAS KIND OF BOPPING AROUND MY BRAIN FOR A WHILE.

IT DIDN'T HAVE A NAME.

IT WAS SORT OF MORE OF THIS VAGUE IDEA OF HOW TO TAKE FLOWERS AND FUSE THEM IN AN URBAN CITY ENVIRONMENT.

SO IT FINALLY GOT TO THE POINT A COUPLE YEARS AGO WHERE I WAS VERY SATISFIED WITH THE BUSINESS, THINGS WERE GOING SUPER WELL, AND KIND OF NEEDING TO FEEL CREATIVELY ENERGIZED AGAIN BUT ALSO FEELING THE NEED IN MY OWN WAY TO GIVE BACK.

I'M SURROUNDED BY FLOWERS ON A DAILY BASIS AS ARE MY CLIENTS.

WE TEND TO GET IMMUNE TO HOW BEAUTIFUL THEY ARE AND WHAT AN EXPRESSION OF JOY THEY ARE TO PEOPLE.

AND IT'S REALLY ABOUT TAKING THAT, WHICH IS SO BEAUTIFUL AND KIND OF MERGING IT WITH TEXTURE AND THE GRIT OF OUR URBAN CITY LIFE AND CREATING SOMETHING THAT'S VERY SPONTANEOUS, VERY FLEETING, AND SORT OF ABSTRACT.

WE SPEND A GREAT DEAL OF TIME REALLY FINDING LOCATIONS THAT FEEL NEW YORK FIRST.

SO, THAT COMBINED WITH THE SEASON, WHAT'S LOOKING GOOD, AND ALSO THE FLOWER FLASHES ARE AN ACCUMULATION OF OLD FLOWERS IN THE FLOWER MARKET, STUFF THAT'S LEFT OVER FROM THE STUDIO, AND STUFF THAT'S LEFT OVER FROM EVENTS.

SO WE HAVE TO WORK WITH THAT AS WELL.

FLASHES HAPPEN VERY QUICKLY.

WE PLAN IT TO A CERTAIN EXTENT, THEN WE JUST DO IT AND SEE WHAT HAPPENS.

THERE'S A LITTLE ANXIOUS ENERGY.

IT'S OFTEN DARK AND COLD.

FLOWERS ARE FOR NEW YORKERS.

THEY ARE FOR THE PEOPLE AND I WANT PEOPLE TO TAKE THEM AND INTERACT WITH THEM, OBVIOUSLY TAKE A PICTURE BUT TAKE A BLOSSOM, TAKE SOME HOME.

NEW YORK IS NEW YORK.

ALL THESE PEOPLE PILED ON TOP OF EACH OTHER.

TO ME THE TWO BIGGEST LUXURIES IN THE CITY ARE NATURE AND SPACE.

SO THE MORE THAT WE CAN HAVE THESE KIND OF SOFT MOMENTS OF JUST BEAUTY AND JOY FOR NO OTHER REASON, EVEN IF IT'S FOR AN HOUR OR TEN MINUTES, THE JOB IS DONE.

> NEXT WEEK ON 'NYC ARTS,' A VISIT TO POSTER HOUSE IN CHELSEA WHICH CELEBRATES THE ART AND SOCIAL IMPACT OF POSTERS FROM THE 1800s TO THE PRESENT DAY.

YOU JUST SEE AN IMAGE AND YOU UNDERSTAND THE PURPOSE OF THE POSTER RIGHT AWAY.

IN FACT, THAT'S WHAT MAKES A GOOD EFFECTIVE POSTER.

IF A POSTER DOESN'T COMMUNICATE ITS PURPOSE TO YOU IN LESS THAN A SECOND, IT'S FAILED.

AND A LOOK AT THE EXHIBITION STRETCHING THE CANVAS AT THE NATIONAL MUSEUM OF THE AMERICAN INDIAN.

I THINK IT WAS THAT FIRST PAINT IN KINDERGARTEN THAT SAID TO ME THIS IS WHAT I WANT TO DO THE REST OF MY LIFE.

AND I REMEMBER BEING 6 YEARS OLD OR 6 AND A HALF AND THINKING I'M IN MY ZONE NOW, THE LIGHTNING HIT ME, THIS IS WHAT I'M GOING TO BE DOING THE REST OF MY LIFE AND I'M STILL DOING THIS.

SO I THINK YOU CAN BE A PAINTER.

> THANK YOU FOR JOINING US THIS EVENING.

I'M PHILIPPE de MONTEBELLO ON LOCATION AT THE METROPOLITAN MUSEUM OF ART.

GOOD NIGHT AND SEE YOU NEXT TIME.

FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY THE THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODY AND JOHN ARNOHLD.

ROSLIND P. WALTER.

ELISE JAFFE AND JEFFREY BROWN.

AND ELLEN DIKER, GENE DUE BIN SKI 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 COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

'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.

AND BY SWANN AUCTION GALLERY.

SWANN AUCTION GALLERIES, WE HAVE A DIFFERENT DAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941 WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU'RE A LIFELONG COLLECTOR OR A FIRST-TIME BUYER, OR LOOKING TO SELL, INFORMATION AT SWANNAUCTIONGALLERIES.COM.