Coming up, a look inside MoMA PS1’s exhibition Marking Time: Art in the Age of Mass Incarceration, featuring works by more than 35 artists within the U.S. prison system. Featured artist Dean Gillispie demonstrates the ways that imprisoned people experiment with limited resources through his vibrant miniatures, based on a nostalgic idea of Americana.

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COMING UP ON NYC ARTS, LONG ISLAND CITY.

A LOOK FOR THE EXHIBITION ART IN THE AGE OF MASS ENCARSERATION.

ONE OF THE MORE SYMBOLIC AND USE OF PORTRAIT IS TO OFFER IMPRIGZED PERSONS ANOTHER PICTURE OF THEMSELVES, BESIDES MUG SHOT, IVY.

SINCE 2014, HE HAS ENGAGED IN THIS SERIES THAT CONSISTENTS OF 20 MINUTE SKETCHES OF OTHER IMPRISONED PEOPLE.

AND 1925, 1945, NOW ON VIEW AT THE WHITNEY.

HIS FIRST WAS IN CALIFORNIA.

COLLEGE.

WE HAVE REPLICATED THAT MURAL AT HALF SCALE.

IT FILLS THE GALLERY.

VOCABULARY.

ALONGSIDE THE AMERICAN ARTISTS THAT HE INFLUENCED.

FUNDING FOR NYC ART SYSTEM MADE POSSIBLE BY -- THIS PROGRAM IS SUPPORTED IN PARTS BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING.

NYC ARTS IS MADE POSSIBLE BY FIRST REPUBLIC BANK.

FIRST THING'S FIRST.

AT FIRST REPUBLIC BANK --

GOOD EVENING AND WELCOME TO NYC ARTS, ON LOCATION, AT THE METROPOLITAN MUSEUM OF ART.

I AM IN THE GRAND SPACE, CONTAINING THE GRAND SPACE OF THE TEMPLE OF GRANDEUR.

WHEN THE ROMAN EMPEROR AUGUSTUS RULED EGIST.

THE TEMPLE AND THE GATE WAY, GIFTED BY EGYPT TO THE UNITED STATES.

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

IT WAS DONE AS YOU CAN IMAGINE WITH THE GREATEST OF CARE.

THE SETTING WAS DECIDED AROUND THE ORIGINAL LOCATION, REFLECTED POOL THAT REFLECTS THE NILE.

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

AS THE MET CONTINUES TO CELEBRATE 150th ANNIVERSARY, I WOULD LIKE TO SHARE WITH YOU SOME OF THE WIDE RANGING EXPECTATIONS ON VIEW.

THE COST OF ART AND THE NOTION OF HISTORICAL WORTH.

3262 MASTERPIECES, NORTHERN EUROPEAN ART, THE COLLECTION, WITH ONE IMPORTANT LOAN, THE EXPECTATION EXPLORES SYSTEMS AND WHAT WAS THE PRICE OF GOLDSSMITH WORK OR STAINED GLASS.

AND LEVELS OF EXPERTISE AND THE ORIGINAL OWNERS SOMETIMES UNEXPECTED WAYS.

PRESENTING WORKS OF DIFFERENT MEDIA AND FUNCTION SIDE BY SIDE, THE XXZ CAPTURES THE SPLENDOR AND EXCITEMENT OF THIS.

THE EXHIBITION WILL BE ON VIEW VIEW 2021.

ON VIEW, THE EXHIBITION IN PRAISE OF PAINTING, DUTCH MASTERPIECES OF THE MET.

THE GOLDEN AGES OF REM BRANT, RANNIER.

DRAWN FROM THE PERMANENT COLLECTION, ISSUES IN 17th CENTURY DUTCH CULTURE.

TO PAINTERS FASCINATION, OF THE DOMESTIC LIVES OF WOMEN.

FROM THE STILL LIFE, TO PORTRAITS TO LANDSCAPES, THROUGH PAINTING EFFECTS, THE ARTISTS EVOKE NATURE WITH GREAT REALISM.

PRAISE IN PAINTING, AN OPPORTUNITY TO DISPLAY CONSERVED WORKS, INCLUDING THE DAYS OF FLOWERS, AND REMBRANDT. ON VIEW.

A COMPELLINGINAR TIRVEGS ABOUT SOME OF THE MOST BELOVED WORKS OF WESTERN ARTS.

NOW, A NEW ON P.S. 1, LONG ISLAND CITY, THE SOCIETY'S EXTENSIVE USE OF IMPRISONMENT.

MARKING THE TIME OF MASS INCARCERATION, TIME CONSUMING AND SECRETIVE WAYS ARTISTS MUST USE TO EXPRESS THEMSELVES.

THOSE OUTSIDE OF THE PENAL SYSTEM AFFECTED BY IT WE SPOKE WITH NICOLE R. FLOOETWOOD, AT RUTGERS UNIVERSITY AND THE CURATOR OF THE EXHIBITION.

LIFE IN TIME IS A LARGE GROUP EXHIBITION THAT LOOKS AT THE IMPACT OF MASS INCARCERATION.

THOSE WHO HAVE BEEN AFFECTED BY CRIMINALIZATION.

ARTISTS WHO ARE CURRENTLY IN PRISON OR HAVE BEEN IN PRISON.

AND ABOUT A THIRD OF THE ARTISTS WHO HAVE NOT BEEN IN PRISON, BUT FOR MANY YEARS, MAKING WORK THAT INVESTIGATES PRISONS, ANTI-BLACK VILEPS, AND THE RANGE OF ART IN THE EXHIBITION CHALLENGE ASSUMPTIONS OF WHAT IMPRISONED PEOPLE ARE CAPABLE OF.

THEIR INTEREST, THEIR ACCESS, THE KIND OF RESOURCES THAT THEY BRING INTO THEIR CREATIVE LIVES, AND MOST IMPORTANT THINGS, HOW THEY WORK TOGETHER TO CREATE COMMUNITY AROUND ART.

ONE OF THE FIRST WORKS THAT YOU SEE WHEN YOU WALK INTO THE GALLERY IS TA MECCA COLE'S LOCK IN THE DARK, IT IS INCREDIBLY POWERFUL.

SHE WAS IN PRISON FOR 26 YEARS.

SHE MADE THAT WORK IN RESPONSE TO SOME ABUSES SHE WAS EXPERIENCING BY PRISON STAFF.

INSTEAD OF SAYING ANYTHING OR DOING SOMETHING THAT COULD HAVE EXTENDED HER SENTENCE, SHE TURNED TO MAKING ART.

SHE SAID IN THE MAKING OF THAT WORK SHE CREATED HER OWN PLACE OF SURVIVAL.

ANOTHER ARTIST IN THE SHOW, DEAN GILLESPIE, I THINK HIS WORK DEMONSTRATES THE WAY IMPRISONED PEOPLE, OVER HIS 20 YEARS IN PRISON, HE MADE THE VIBRANT, PLAYFUL MINIATURES, BASED ON A KIND OF NOSTANLGICAL IDEA OF AMERICAA, AND ROUTE 66, AND EVERY SINGLE MATERIAL THAT HE USED WERE ITEM THAT IS HE ACQUIRED IN PRISON, WITH THE HELP OF OTHER INCARCERATED PEOPLE, WHO WOULD HELP PROCURE MATERIALS, AND HE USED THOSE WORKS TO MANAGE WHAT I CALL PENAL TIME.

EXPERIENCING TIME AND PUNISHMENT.

HE WOULD PLAN OUT AND SAY, THIS WILL TAKE SIX MONTHS, THAT IS SIX MONTHS THAT WOULD PREOCCUPY WHEN HE WAS FOCUSING ON ART.

MANAGING TIME, AND HE HAD BEEN WRONGFULLY CONVICTED.

AS A WAY OF FILLING LIFE.

SHE HAD SOME CONTROL OVER HIS LIFE.

WHAT HE WAS DOING WAS DOING READING OF POLITICAL THEORY AND BLACK HISTORY.

ONE OF HIS PAINTINGS, CALLED ELAPSIUM.

IT IS CALLED THE BROOKS ICONIC SLAVE SHIP, USED BY BRITISH APOLITIONISTS.

HE OVER LAYS THE BLUE PRINT OF PRISON, WHERE HE WAS INCARCERATED, AND LINES UP THE HOLDING CELLS OF THE PRISON AND THE SHIP.

YOU SEE THE ARTISTS MAKING CONNECTIONS.

SLAVERY, JIM CROWE SEGREGATION, AND OTHER FORMS OF SEGREGATION AND MASS INCARCERATION.

WHEN I STARTED WORKING ON THIS, I HAD NO IDEA HOW IMPORTANT PORTRAITS ARE TO IMPRISONED PEOPLE.

ONE OF THE MOST IMPORTANT AND SYMBOLIC, AND LITERAL USE.

ANOTHER REPRESENTATION OF THEMSELVES, OTHER THAN THE MUG SHOT OR THE PRISON IVY CARD.

I THINK YOU SEE THAT POWERFUL EXHIBITION AND IN THE SERIES THAT CONSISTENTS OF 20 MINUTE FOR THE MOST PART GRAPHITE SKETCHES OF OTHER IMPRISONED PEOPLE.

HE IS UP TO 700 OF THESE IMAGES.

OUR EXHIBITION WAS SCHEDULED TO OPEN ON APRIL 5th.

IT WAS DELAYED, WE OPENED DECEMBER 17th.

THE WORKS ARE JARRING, AND THEY MAKE VISUAL THE MULTIPLE CRISIS OF PEOPLE IN PRISON.

WE KNOW THAT THE PANDEMIC HAS NOT BEEN CONTROLLED IN PRISONS, IT IS MORE HEIGHTENED.

RECENTLY, THERE WAS AN OUTBREAK.

THEY LOCKED DOWN THE PRISON.

WHICH MEANS PEOPLE ARE IN SOLITARY CONFINEMENT.

MULTIPLE LEVELS OF PUNISHMENT.

IN THE SAME ARTISTS WHO HAVE NEVER BEEN IN PRISON, MEMBERSHIP ARE ESTABLISHED ARTISTS.

AND SIMILAR.

AMERICAN ARTIST.

AND HER WORK SPEAKS SO MUCH TO MCCARTHY CLIFFORD, A WHITE MAN LIVING IN MINNEAPOLIS, CAME OUT AND WENT TO ART SCHOOL.

THEY HAVE DONE THESE TAKING THE STOOLS THAT PEOPLE SIT ON IN PRISON VISITING ROOMS AND TURNING IT INTO PLAYFUL BLUE AND GRAY OBJECT THAT REMINDS HER OF A CHILDREN'S GAME, JAX.

HIS WORK, IT WEIGHS A HALF TON.

IT CONSISTENTS OF HUNDREDS OF CAFETERIA TRAYS, THAT YOU WOULD SEE IN A PRISON.

YOU SEE THOSE TRAYS IN OTHER INSTITUTIONS LIKE PUBLIC SCHOOLS OR ASYLUMS, FOR DANIEL, THAT IS IMPORTANT.

HE IS THINKING ABOUT THE RELATIONSHIP BETWEEN ALL OF THESE TYPES OF DISCIPLINARY INSTITUTIONS.

I WANT VISITORS TO REALLY BE FULLY ENGAGED BY THE EXHIBITION.

I WANT IT TO BE A DUAL-PRONGED EXPERIENCE OF BEING ABLE TO APPRECIATE THE AESTHETICS THAT ARE HAPPENING, AND ALSO, BE MORE MOTIVATED THAN EVER.

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

NEXT, THE VISIT TO THE WHITNEY MUSEUM OF AMERICAN ART.

CLOSED SINCE MARCH DUE TO THE PANDEMIC, THE MUSEUM OPENED THE DOORS AGAIN LAST MONTH, WITH NEW MEASURES TO ENSURE SAFETY AND PROPERTY SOCIAL DISTANCING.

THE MEXICAN REMARK OF AMERICAN ART, 1925 TO 1945 HAS BEEN EXTENDED.

AFTER THE REVOLUTION, THE NEW RELATIONSHIP BETWEEN ART AND THE PUBLIC EMERGED IN MEXICO.

MOST VISIBLE IN WORKS OF THESE ARTISTS.

INSPIRED BY THE STYLE AND SUBJECT MATTER OF THE MURALISTS, ARTISTS IN THE UNITED STATES, FROM JACOB LAWRENCE AND JACKSON POLLIC, STARTED THEIR NARRATIVES IN ART AND HISTORY.

WE SPOKE ABOUT THE 200 WORKS BY 60 MEXICAN AND AMERICAN ARTISTS.

THE LEADING MEXICAN MURAL.

RIVERA, AND SECUROSE.

THE PRESIDENT COMMISSIONED ARTISTS TO CREATE A MONUMENTAL PUBLIC MURALS, FOR MEXICAN HISTORY, AND AFTER THE REVOLUTION, THE COUNTRY THAT HAD BEEN FRACTURED BY THE 10-YEAR CIVIL CONFLICT.

THERE WAS A SENSE IT HAD TO BE REDEFINED.

AND THE REAL MEXICO, A BED ROCK OF A NEW IDENTITY, DRAW FROM EUROPE, AND INDIGENOUS MEXICAN TRADITIONS.

A SELF PORTRAIT THAT SHE CREATED.

THE MURALS CREATED A UNIQUE, POWERFUL AESTHETIC THAT TOLD STORY THAT IS EVERYDAY PEOPLE COULD RELATE TO.

TO AMERICAN ARTISTS, THAT WAS REVOLUTIONARY.

NOTHING LIKE IT HAPPENED SINCE THE ITALIAN RENAISSANCE.

1927, ALL THREE LEADING MURALISTS CAME TO THE U.S., WITH INTENSE RELATIONSHIPS WITH U.S.

ARTISTS.

THE MOST FAMOUS OF THE MEXICAN MURALISTS, HE WAS CALLED THE GREATEST ARTIST THIS SIDE OF THE ATLANTIC, THE HERO OF THE WESTERN WORLD.

THE FRENCH HAVE ALWAYS BEEN CREDITED AS THE DOMINANT INFLUENCES ON U.S. ART.

1900 TO 1950.

THIS REWRITES HISTORY, IT WAS THE MEXICAN ARTISTS WITH THE MOST PROFOUND IDELOGICAL AND AESTHETIC POLITICAL IMPACT ON AMERICAN ARTISTS IN THE TWO DECADES BETWEEN THE WARS.

STAYED IN CALIFORNIA.

COLLEGE.

PROMETHUOUS, WE HAVE THAT AT HALF SCALE.

IT FILLS THE GALLERY WITH THIS COMPOSITION, VOCABULARY.

HE WAS MESMERIZED.

HE SAID IT WAS SOMEBODY THAT ALLOWED HIM TO THINK OF ART FILLED WITH SOCIAL CONTENT AND AESTHETICALLY POWERFUL.

WE HAVE A SERIES FROM THE MIGRATION SERIES.

IT IS EVIDENT HE HAS TAKEN THE COLORS, AND USING THEM TO TELL A STORY ABOUT HIS PEOPLE.

JACKSON POLLACK AS AN 18-YEAR-OLD, HE VISITED THE PROMETTUOUS MURAL, HE WAS ENERGIZED.

HE SAID IT WAS THE MOST IMPORTANT IN THE WESTERN HEMISPHERE.

IN THE ROOM, WE HAVE A NUMBER OF JUXPOSITIONS, SIDE BY SIDE WITH THE WORK, AND IT IS COMPELLING.

HE CHALLENGED THE IMAGERY, SENSE OF TRAGEDY.

ORIGINAL.

THE YOUNGEST OF THE MEXICAN MURALISTS, THE MOST MILITANT POLITICALLY.

WENT TO LOUISIANA IN 1932.

THE BIGGEST MURAL COMMISSIONED BY STERLING.

ASKING HIM TO PAINT A HAPPY MEN, SURROUNDED BY PALM TREES, OF COURSE, WHAT HE CAME UP WITH WAS A STRONG DENUNCIATION OF IMPERALLISM IN LATIN AMERICA.

IN THE CENTER, HE PANTDED IN THE MIDDLE OF THE NIGHT.

ASSISTANTS HAD DONE THE REST OF THE MURAL.

AZTEC TEMPLES, HE WENT IN AND PAINTED HIMSELF AN INDIGENOUS MAN ON A CROSS, AND SHE WAS HORRIFIED.

AND THE WHITE WASHED IT.

THE PHOTOGRAPH, TAKEN AT THE TIME.

A POWERFUL MOMENT IN THE EXHIBITION.

THE PICTURE IS AESTHETICALLY SHORTENING OF FORM.

NEW INSPIRATION FROM THE MEXICANS.

WHAT ARTISTS ARE DEALING WITH, THE OTHER ASPECTS OF THE EXHIBITION IS THE WORK IS SO POWERFUL, AESTHET KAESHLGS CONVEY A SOCIAL MESSAGE.

IT DOES HAVE A SOCIAL ROLE, ART DOES SHOW US SOMETHING ABOUT HOW WE CAN VIEW THE WORLD.

I THINK THAT IS A LESSON THAT IS EXPRESSED IN THIS EXHIBITION, AND I HOPE EVERYBODY COMES AND CAN ENJOY.

THANK YOU FOR JOINING US THIS EVENING.

AT THE METROPOLITAN MUSEUM OF ART.

GOOD NIGHT AND SEE YOU NEXT TIME.

SENDING YOU HAPPY HOLIDAYS, PLEASE JOIN US WHEN WE RETURN IN THE NEW YEAR, REPRESENTING LATINO DANCE.

WHICH CONTINUES TO INSPIRE PEOPLE OF ALL AGES AND BACKGROUNDS.

THE MISSION IS TO BRING TOGETHER COMMISSIONS AND COMMUNITIES, TO SHARE, EXPLORE THE JOYS, THE HERITAGE, OF LATIPPO CULTURES.

GOOD EVENING AND WELCOME TO NYC ARTS.

WNET. STUDIOS.

WHAT A PRIVILEGE TO BE ABLE TO SIT DOWN AND TALK WITH YOU.

WHERE ARE WE?

WE ARE GOING TO TAKE NOTHING FOR GRANTED.

IT IS A PLEASURE TO BE HERE WITH THE CURATOR OF AN EXHIBITION OF HOPE.

THE SCULPTURES BY THE ICONIC NAMES.

I HAVE SO MUCH MORE TO LEARN, BEFORE I CAN ARTICULATE THE DIFFERENCES.

WHEN I LISTEN TO THE LYRICS.

IN SOME RESPECTS, ARE YOU ON SACRED GROUND.

A WOMAN SAW YOU PERFORM, SAID, HOW WOULD YOU LIKE TO PLAY BILLIE HALDAY.

DOING A PIECE THAT IS A HUNDRED YEARS AGO, THIS COULD BE NOW.

THE CARD BOARD GUITARS.

GREAT, YOU KNOW?

FUNDING FOR NYC ARTS IS MADE POSSIBLE BY