A visit to Poster House in Chelsea, which celebrates the art and social impact of posters from the 1800’s to the present day; and a tour of the exhibition “Stretching the Canvas: Eight Decades of Native Painting,” at the National Museum of the American Indian.

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> COMING UP 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 SEE THE IMAGE AND UNDERSTAND IT.

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

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

I THINK IT WAS THE FIRST PAINT IN KINDERGARTEN THAT SAID TO ME, THIS IS WHAT I'LL BE DOING THE REST OF MY LIFE.

I REMEMBER BEING SIX YEARS OLD AND THINKING, I DON'T KNOW.

THIS FEELS -- I'M IN MY ZONE NOW.

LIGHTNING HIT ME.

THIS IS WHAT I'LL BE DOING THE REST OF MY LIFE AND I'LL STILL DOING THIS.

I THINK YOU CAN BE BORN A PAINTER SOMETIMES.

FUNDING FOR NYC ARTS IS MADE POSSIBLE BY: THE 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 BY FIRST REPUBLIC BANK.

BLAN .

> GOOD EVENING AND WELCOME TO NYC ARTS.

ON LOCATION AT THE METROPOLITAN MUSEUM OF ART.

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

IT WAS BUILT AROUND 15 BC.

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

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

TRANSPORT TO THE MET AND INSTALLATION WAS DONE WITH GREAT CARE.

THE SETTING WAS DESIGNED TO APPROXIMATE THE LIGHTING IN ITS ORIGINAL LOCATION INCLUDING A REFLECTING POOL THAT EVOKES THE NILE.

IT'S ONE OF THE ICONIC AND MOST BELOVED WORKS OF ART AT THE MET.

THE TEMPLE WAS SAVED AS A RESULT OF THE INTERNATIONAL CAMPAIGN TO SAVE THE MONUMENTS OF NUBIA.

IN THE EARLY 6'60, THE CAMPAIGN BROUGHTTOGETHER 60 COUNTRIES.

WITHOUT THIS CARE, THE TEMPLE WOULD HAVE BEEN FLOODED PERMANENTLY.

THERE WERE ALSO THE STAGE FOR DAILY RITUALS THAT WERE IDEALLY PERFORMED BY THIS PHAROAH BUT IN FRA BY PRIESTS.

THE DESIGN REPRESENTED A VARIETY OF RELIGIOUS AND MYTHOLOGICAL CONCEPTS.

WHEN IMPORTANT ASPECT WAS BASED ON THE UNDERSTANDING OF THE TEMPLES AS AN IMAGE OF THE NATURAL WORLD AS THE EGYPTIANS KNEW IT.

THESE ARE REPRESENTED BY THE MANY CARVINGS THAT SEEM TO GROW FROM THE WATER.

FROM EGYPTIAN ANTIQUITY ON THE CITY'S UPPER EAST SIDE, WE MAKE OUR WAY DOWNTOWN TO WEST 23rd STREET TO VISIT ONE OF MANHATTAN'S NEWEST MUSEUMS.

POSTER HOUSE WHICH OPENED ITS DOORS IN JUNE OF 2019 IS THE FIRST MUSEUM IN THE UNITED STATES DEVOTED SOLELY TO THE HEART, HISTORY AND IMPACT OF THE MEDIA.

THE COLLECTION CONTAINS OVER 10,000 POSTERS SPANNING THE LATEST 1800s TO THE PRESENT DAY.

OVER 100 COUNTRIES ARE REPRESENTED.

POSTERS HAVE BEEN AN IMPORTANT MEANS OF MASS COMMUNICATION ESPECIALLY IN TIMES OF CRISIS.

EARLIER THIS YEAR IN RESPONSE TO THE PANDEMIC, POSTER HOUSE PARTNERED WITH PRINT MAGAZINE, TIME SQUARE ARTS AND FOUR FREEDOMS TO LAUNCH A CITY WIDE PUBLIC SERVICE CAMPAIGN.

THE PSAs WERE SEEN THROUGHOUT THE CITY ON NEARLY 1800 DIGITAL SCREENS AND BILLBOARDS.

CURRENTLY ON VIEW, THE PRESS POSTER OF PAUL KENNEDY JUNIOR CHRONICLES THIS DETROIT BASED PRINTER'S ADVERTISEMENT OF BLACK BASE IN THE RULE SOUTH.

THE SLEEPING GIANT POSTERS AND THE CHINESE ECONOMY EXPLORES ECONOMY THAT'S ECONOMIC RELATIONSHIP WITH THE WORLD THROUGH POSTER DESIGNS IN WHICH WESTERN MARKETING IDEAS ARE TRANSLATED INTO CHINESE VE VERNACULAR.

IT'S CONSIDERED ONE OF THE MOST IMPORTANT MOVEMENTS IN GRAPHIC DESIGN HISTORY.

CHIEF CURATOR WILL BE OUR GUIDE TO THIS UNIQUE EDITION TO NEW YORK'S ART COMMUNITY.

HI.

I'M ANGELINA.

THE FIRST MU SSEUM IN THE UNITE STATES DEDICATED TO THE ART AND HISTORY OF POSTER.

IT MARRIES WORD AND IMAGE.

THIS REALLY BEGAN IN THE LATE 1860s WHEN THE FATHER OF THE POSTER PERFECTED THE ALREADY EXISTING COLOR LITHOGRAPHIC PROCESS THAT THAT POSTERS COULD BE MADE CHEAPLY AND QUICKLY USING THE FULL SPECTRUM OF THE RAINBOW.

POSTERS WERE PRIMARILY TEXT BASED SO THEY WERE BROAD SIZE.

THAT REQUIRES YOU HAD TO BE LITERATE IN ORDER TO UNDERSTAND THEM.

YOU 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.

POSTER HOUSE TYPICALLY HAS TWO OR THREE EXHIBITIONS ON VIEW AT ANY TIME IN ADDITION TO OUR PERMANENT POSTER HISTORY TIME LINE WHICH YOU CAN SEE BEHIND ME.

THE BEGINNING OF THIS TIME LINE STARTS WITH THE FATHER OF THE POSTER.

BECAUSE THE EARLIEST POSTERS ARE DONE VIA STONE LITHOGRAPHY.

EVERY POSTER WOULD HAVE TO BE MADE SEPARATELY.

IT'S A PROGRESSIVE PROOF.

A PRINTER WOULD ONLY MAKE ONE.

IT'S A WAY FOR A PRINTER TO DETERMINE IF THE DIFFERENT COLORS SEPARATED THAT LINE UP AND IF IT PRINTS CLEANLY.

IT WAS ORIGINALLY DESIGNED FOR A DEPARTMENT STORE.

IT REJECTED IT.

WE DON'T KNOW BECAUSE IT'S A BEAUTIFUL IMAGE.

THE NEXT STOP ON THE POSTER HISTORY TIMELINE FOCUSED ON THE FATHER OF MODERN ADVERTISING.

HE PUTS A WOMAN IN A GREEN DRESS ON A RED HORSE.

WHAT DOES THAT HAVE TO DO WITH CHOCOLATE.

THIS POSTER IF FOR CHOCOLATE.

THAT WAS THE ENTIRE POINT.

THIS IS FIRST TIME WE SEE A MASCOT BORN IN ADVERTISING.

PEOPLE WERE SO CAPTIVATED AND IN STE STEAD OF ASKING FOR IT BY NAME, THEY WOULD SAY CAN YOU GIVE ME THE LADY ON THE RED HORSE.

THAT'S HOW THE BRAND BECAME MEMORABLE AND KNOWN THROUGHOUT PARIS.

THE NEXT STOP ON THE TIMELINE THE THE POSTER FOR COMPARI.

THEY HAVE CREATED HUNDREDS OF POSTERS.

ALL ARE STAND OUT.

THIS IS VERY INTERESTING BECAUSE IT'S ITALIAN ART DECO.

IT COMBINED A WILL THE OF DIFFERENT STYLES.

YOU'LL GET ELEMENTS OF FUTURISM, OF CUBISM AND THE ITALIANS LOVED TO PLAY WITH SHADOW IN DEEP, RICH COLORS IN THEIR POSTER.

YOU'LL GET A LOT OF THAT IN THIS DESIGN.

IT'S FOR THE FILM THE LAST FLIGHT.

POSTER DESIGN IN RUSSIA AT THIS TIME WAS A HOT BED OF CREATIVITY.

THESE DESIGNERS RARELY SAW IMPORTED FILMS BEFORE CREATED THE POSTERS FOR THEM.

THEY WOULD JUST GET THE TITLE OR MAYBE A FILM STILL.

VERY MINIMAL INFORMATION.

I HAVE TO TELL PEOPLE THIS IS NOT FOR THE MONTAGE.

THE ABILITY TO INSERT A LARGE PHOTOGRAPH INTO POSTERS WAS NOT REALLY AVAILABLE AT THIS TIME.

INSTEAD WHAT THEY WOULD DO IS PROJECT A FILM STILL ONTO THE WALL OF THEIR STUDIO AND THEN TRACE OVER THAT FIGURE.

ALSO, THIS TILE WOULD BE MADE COMPLETELY ILLEGAL UNDER STALIN.

IT'S SHORT, BEAUTIFUL, IMPORTANT PERIOD IN HOSTER HISTORY.

AFTER THAT WE LOOK AT THE MID CENTURY POSTERS OF SWITZERLAND AND THE INTERNATIONAL TYPOGRAPHIC STYLE.

THESE ARE AMAZING BECAUSE YOU GET AN ARRAY OF PRINTING TECHNIQUES ALL IN ONE POSTER.

AFTER THAT, WE FOCUS ON PSYCHEDELIC POSTER WHERE WE HAVE NINE AMAZING EXAMPLES OF THE MOST IMPORTANT PSYCHEDELIC POSTER ARTIST FROM 1966 TO 1970.

AN INCREDIBLY SHORT EXPLOSIVE PERIOD IN POSTER DESIGN.

ALL THESE POSTERS ADVERTISE THE MAIN VENUES FOR PSYCHEDELIC MUSIC FOR THAT TIME.

AFTER THAT WE FOCUS ON THE REMARKABLE CON TRITRIBUTIONS TO PUBLIC THEATER WHICH IS ALMOST 30 YEARS OF ADVERTISING.

SHE HELPED REDEFINE HOW ADVERTISING WAS DONE IN NEW YORK.

MAKING IT AS VIBRANT AND EXPLOSIVE AS THE THEATER ITSELF.

HE'S MAKING HIS LIVING MAKING POSTERS TODAY WHICH IS AMAZING.

POSTER HOUSE IS STILL DIRECTING IMPORTANT POSTERS MADE TODAY.

WE ACTIVELY COLLECT POSTERS FROM ALL AROUND THE WORLD FROM ALL MAJOR AND MINOR AD AGENCIES.

PLEASE STOP BY AND SEE THEM.

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

IT'S LOCATED DOWNTOWN IN NEW YORK CITY AT BOWLING GREEN.

THE MUSEUM'S MISSION IS TO FOSTER AN UNDERSTANDING OF NATIVE PEOPLE OF THE AMERICAS.

STRETCHING THE CANVAS 80 YEARS OF NATIVE PAINTING.

THERE'S GROUP SHOW OF WORK BY OVER 30 ARTISTS AND 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 COLORS, STYLE AND SUBJECT FROM FLAT, ILLUSTRATIVE PIECES THAT DEPICT IDEAL IEDS SCENES TO LARGE ABSTRACT WORK THAT USES IRONY TO CON FRONT NATIVE ISSUE.

THE SHOW HINGES ON THE MOMENT WHEN THESE ARTISTS BROKE THROUGH TO MODERNISM.

I THINK IT WAS THAT FIRST PAINT ON THESE PRINT IN KINDSER GARDEN THAT SAID TO ME THIS IS WHAT I'M GOING TO BE DOING THE REST OF MY LIFE.

IT WAS THAT P.

I REMEMBER BEING SIX YEARS OLD OR SOMETHING LIKE THAT AND THINKING, I DON'T KNOW, 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 THIS.

I THINK YOU CAN BE BORN A PAINTER SOMETIMES.

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

THE REASON THERE 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.

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

MAKING PAINTINGS IS NOT SO MUCH A TRADITIONAL ART FORM.

THERE ARE TRADITIONS OF PAINTING.

MOST OF THE MODERN PAINTINGS COMING OUT OF THESE EPISODES IN THE 19 TEENS.

WHEN YOUNG NATIVE STUDENTS IN THE SOUTHWEST AND OKLAHOMA WERE LEARNING THE BASICS OF ART INSTRUCTION IN THEIR SCHOOLS.

THE SCHOOLS ENCOURAGED THIS AMERICAN INDIAN ART STYLE.

IT WAS THE FLAT ILLUSTRATIVE STYLE FOCUSED ON NATIVE AMERICAN SUBJECTS.

THE KIND OF FOUNDATION FROM WHICH THIS WORK GREW.

FROM THERE WE INVESTIGATE IN A SUITE OF GALLERIES.

SOME OF THE THEMES THAT INVITED ARTISTS TO THINK ABOUT.

WE HAVE SMALL GALLERY THAT LOOKS AT ARTISTS WHO TRAVEL TO NEW YORK CITY IN THE 19 WHOS AND 1950s AND THINK ABOUT THEMSELVES MORE AS ARTISTS ON A WORLD STAGE.

SOME ARTISTS WERE INSPIRED BY POP ART IN THE DEVELOPMENT OF THE 1960s AND 1970s WHERE THEY ARE OF SIZED CANVASS AND HOT COLORS AND MORE PLAYFUL APPROACH TO NATIVE AMERICAN SUBJECTS.

ONE THING THAT AMERICAN INDIAN STRUGGLED WITH THROUGHOUT THE 20th CENTURY AND 21st CENTURY ARE THESE EXPECTATIONS THAT THEY NOT, NOT PART OF MODERN WORLD SO KP PEOPLE BAEXPRESSED SURPRISE.

THOSE ARTISTS ARE PART OF THE CONTEMPORARY WORLD.

THEY ARE PART OF THEIR TRADITIONAL WORLD AND COMMUNITIES AS WELL.

AMERICAN CHEROKEE ARTIST IS CURRENTLY THE EDITOR OF A VERY INF INFLUENTIAL ART JOURNAL.

SHE'S ALSO AN ARTIST PAINTER.

I WENT TO GRADUATE SCHOOL.

I HAD FELLOW CLASSMATES SAY WHY WOULD ANYONE GO TO GRAD SCHOOL FOR PAINTING.

I HAD A LOT OF TIME TO THINK.

I WAS LIKE WHY IS PAINTING RELEVANT.

OKAY.

HUMAN BEINGS HAVE BEEN PAINTED FOR LAST 100,000 YEARS.

SO IS DANCINE IING PASSE.

IS SINGING ING PASSE?

I THINK PAINTING IS THE CORE IF YOU'RE PASSIONATE ABOUT TEXTURE AND COLOR.

THIS PIECE IN THE SHOW IS FROM 2005.

THE MAIN CHARACTER IS VERY CONTROVERSIAL MEDICINE MAN.

HE'S SAYING GO OUT INTO THE WORLD.

THESE WERE USED BY THE ARTISTS WO WERE PAINTING ON ANIMAL HIDES.

MANY PEOPLE DON'T GET TO ART WITH THE CAPITAL A.

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

VERY ABSTRACT, HEFRLY OUTLINED SNAKE AND EAGLE.

THE FLAT ON THE CORNER IS WHAT I GREW UP WITH IN OKLAHOMA THAT MAKE HOME SCHOOL PAINTING STYLE.

IT'S FLAT.

IT'S THE SOUTHWEST LANDSCAPE THAT I USE ON KIND OF POP IMAGERY.

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

I'VE ALWAYS LOVED ABSTRACTION.

I HAVE PROCLIVITY TO IT.

I WAS DRAWN TO IT BECAUSE THERE I UNDERSTOOD AS A YOUNG KID YOU CO DIDN'T DO CULTURAL IMAGERY.

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

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

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

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

WALKING STICK WAS BORN IN NEW YORK.

SHE'S STILL IN THE NORTHEAST.

SHE IS CHEROKEE BUT SHE USES ANY KIND OF OVERT CHEROKEE IMAGERY.

SHE'S DEVELOPED HER OWN.

IN THIS SHOW SHE HAS THE BEAUTIFUL SOUTHWESTERN LANDSCAPE.

SHE HAS HER OWN STYLE WHERE SHE'S USING LANDSCAPE.

THIS KIND OF INNER AND OUTER WORLD.

IT'S A SYMBOLIC WORLD.

WHEN I WAS A CHILD, I LIVED AT COLLEGE CAMPUS.

IT'S ALWAYS BEEN RUN BY NATIVE ART DIRECTORS.

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

DICK WEST WAS A DIRECTOR.

IN THE SHOW THERE'S TWO PIECES.

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

IN THIS PAINTING IT'S VERY ABSTRACT.

HE'S PLAYING WITH COLOR.

HE'S PLAYING WITH TEXTURE.

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

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

WE THINK ONE OF THE GREAT STAND OUTS IS JAMES LAVADOR.

WHAT I ENJOY ABOUT HIS WORK AND I WOULDN'T SAY HE'S ENTIRELY SELF-TAUGHT BUT HE'S NOT FOLLOWED.

HE DOESN'T COME OUT AFTER A UNIVERSITY, STUDIO SCHOOL SYSTEM.

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

CREATING A PAINTING YOU'RE ALMOST MIMICKING GEOLOGICAL FORCES AND LAYERING.

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

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

TURNS OUT THAT MUSEUMS ACROSS THE COUNTRY ARE BEGINNING TO UNDERSTAND THEIR REPRESENTATION OF AMERICAN ART HISTORY IS LIMITED AND CONSTRAINED TO A CERTAIN EXTENT.

IT DOESN'T INCLUDE THE MARK OF SOME OF THESE ACCOMPLISHED ARTISTS WHO HAVE BEEN WORKING FOR DECADES.

I'M VERY IMPRESSED WITH THE SHOW BECAUSE IT SAYS COME ATTENTION OR NOT, COME SEP ACCEPACCEP ACCEPTANCE OR NOT, WE'RE GOING TO DO WA WE'RE GOING TO DO.

IT'S PROOF THAT WE ARE PART OF THE AMERICAN CULTURE EXPERIENCE.

NEXT WEEK ON NYC ARTS.

A VISIT IN LONG ISLAND CITY FOR A LOOK AT THE EXHIBITION MARKING TIME.

ART IN THE AGE OF MASS INCARCERATION.

ONE OF THE MOST SYMBOLIC AND LITERAL USE OF PORTRAIT IS TO OFFER IMPRISONED PEOPLE ANOTHER REPRESENTATION OF THEMSELVES OTHER THAN THE MUGSHOT OR THE PRISON ID, CARD.

IF YOU SEE THE REALLY POWERFUL IN EXHIBITION WITH MARK SERIES PERIOD DEFEAT.

HE'S CURRENTLY IN PRISON.

SINCE 2014, HE'S ENGAGED IN THIS SERIES THAT CONSISTS OF 20 MINUTE SKETCHED OF OTHER IMPRISONED PEOPLE.

AN INSPIRATION OF VIVA AMERICANA.

MEXICAN MURALISTS REMAKE AMERICAN ART, 1925, 1945 NOW ON VIEW AT THE WHITNEY.

THE FIRST MURAL WAS MADE IN CALIFORNIA.

WE HAVE REPLICATED THAT MURAL AT HALF SCALE.

IT FILLS THE GALLERY WITH THIS TREMENDOUS FIERY FIGURATIVE EXPRESSIONIST VOCABULARY.

THANK YOU FOR JOINING US THIS EVENING.

GOOD NIGHT AND SEE YOU NEXT TIME.

TO ENJOY MORE SEGMENTS VISIT OUR WEBSITE AT NYC-ARTS.ORG.