A profile of James Whiteside, one of American Ballet Theatre’s principal dancers, who is also notable for his activities as a DJ, video producer, drag queen, model, and Instagram star. And a visit to the Museum of Arts and Design for a look at “Beth Lipman: Collective Elegy” with curator Samantha De Tillio.

View Transcript

.

> COMING UP ON NYC ARTS, A PROFILE OF JAMES WHITESIDE, PRINCIPAL DANCER WITH AMERICAN BALLET THEATER.

SO I WAS NINE YEARS OLD WHEN I STARTED DANCING.

I DID JAZZ, BALLET, TAP ABOUT CROW BATTICS AT A LOCAL SCHOOL IN FAIRFIELD, CONNECTICUT.

I GOT INTO DANCING BECAUSE I HAD TRIED EVERYTHING ELSE, FOOTBALL, BASEBALL, SOCCER.

AND MY MOM ONE DAY THREW ME A PHONEBOOK AND SAID, YOU HAVE TO DO SOMETHING.

YOU'RE DRIVING ME CRAZY, YOU HYPERACTIVE MONSTER.

SO I FOUND AN AD FOR A DANCE STUDIO IN THE PHONEBOOK.

IT WAS OF A MAN HOLDING A WOMAN OF HIS HEAD WITH ONE HAND.

AND IT LOOKED AWESOME.

AND A VISIT TO THE MUSEUM OF ARTS AND DESIGN FOR A LOOK AT THE EXHIBITION.

YOU CAN SEE THIS KIND OF SPREAD WHERE YOU ARE LOOKING AT THE RESIDUE OF A FEAST THAT WASN'T CLEANED UP.

IT'S JUST LANGUISHING THERE ON THE TABLE AND THERE ARE TEXTILES AND GOBLETS AND SPILLING FOOD AND BOOKS AND ALL THESE MARKERS OF CULTURE AND CIVILIZATION BUT SIMULTANEOUSLY KIND OF POINTING OUT THIS EXCESSIVENESS.

> FOUNDING FOR NYC ARTS IS MADE POSSIBLE BY --

THE LEWIS SUNNY TURNER FUND FOR DANCE.

ROZALINE P. WALTER.

JEFFREY BROWN.

CHARLES AND VALERIE.

THE NANCY WIDEWATER FOUNDATION.

EL ROY AND TERRY CRUMBHOLTZ FOUNDATION AND ELLEN AND JAMES MARCUS.

THIS PROGRAM IS SUPPORTED BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDERS BY MEMBERS OF 13.

MADE POSSIBLE IN PART BY MEMBERS OF FIRST REPUBLIC BANK.

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

THIS PAST YEAR HAS BEEN A CHALLENGING ONE FOR THE PERFORMING ARTS.

AT AMERICAN BALLET THEATER, TWO CANCELED SEASONS AND THE INABILITY TO REHEARSE IN PERSON PUT MANY DANCERS' PLANS ON HOLD.

BUT THE COMPANY ROSE TO THE CHALLENGE BY MOVING THEIR COMPANY CLASSES ONLINE, CREATING DIGITAL PROGRAMMING AND FEATURING DANCES IN LIVE PERFORMANCES WHEN CONDITIONS ALLOWED.

TONIGHT WE'LL MEET ONE OF THE COMPANY'S PRINCIPAL DANCERS, JAMES WHITESIDE, ORIGINALLY FROM FAIRFIELD, CONNECTICUT.

HE BEGAN STUDYING BALLET AT THE AGE OF 9.

HE STARTED HIS PROFESSIONAL CAREER AT BOSTON BALLET IN 2003 BEFORE MOVING TO NEW YORK IN 2012 TO DANCE FOR ABT.

HE WAS PROMOTED TO PRINCIPAL DANCER IN OCTOBER OF 2013 AND HAD BEEN WIDELY PRAISED FOR HIS POWERFUL, ENERGETIC DANCING.

WHITESIDE IS ALSO NOTABLE FOR HIS PURSUITS AS A DJ, VIDEO PRODUCER, DRAG QUEEN, MODEL AND INSTAGRAM STAR.

DURING THE SHUTDOWN, HE HOSTED A POPULAR SERIES OF INSTAGRAM LIVE BALLET CLASSES ALONGSIDE HIS FRIEND AND DANCER ISABELLA.

THE PAIR ALSO FILMED AN ABT CHRISTMAS SPECIAL.

NYC ARTS SPOKE WITH WHITESIDE IN EARLY 2020 ABOUT HIS CAREER AND CREATIVE PROCESS.

SO I WAS NINE YEARS OLD WHEN I STARTED DANCING.

I DID JAZZ, BALLET, TAP, ABOUT CROW BATTICS AT A LOCAL SCHOOL IN FAIRFIELD CONNECTICUT.

I GOT INTO DANCING BECAUSE I HAD TRIED EVERYTHING ELSE, YOU KNOW, FOOTBALL, BASEBALL, SOCCER.

AND MY MOM ONE DAY THREW ME A PHONEBOOK AND SAID, YOU HAVE TO PICK ME.

YOU ARE DRIVING ME CRAZY, YOU HYPERACTIVE MONSTER.

SO I FOUND AN AD FOR A DANCE STUDIO IN A PHONEBOOK.

IT WAS OF A MAN HOLDING A WOMAN OVER HIS HEAD WITH ONE HAND AND IT JUST LOOKED AWESOME AND I SAID I WANT TO TRY THAT.

WHEN I LOOK BACK AT THE VIDEOS OF WHEN I WAS A KID, YOU CAN SEE PURE JOY IN THE VIDEOS, AND I WOULDN'T REPLACE THAT WITH ANYTHING.

MY TECHNIQUE HAS EVOLVED SO MUCH, BUT THE ENERGY IS THE EXACT SAME ENERGY.

IT IS THIS, I DON'T KNOW, SPASTIC WILDNESS, WHICH SOUNDS LIKE A BAD THING, BUT I THINK IT'S A GOOD THING.

MY FIRST DANCE TEACHERS BROUGHT ME TO SEE AMERICAN BALLET THEATER AT THE MET OPERA WHEN I WAS 12 YEARS OLD.

I DIDN'T KNOW WHAT BALLET COULD BE AT THAT POINT, BUT I REALLY SAW IT THAT NIGHT WHEN I DECIDED THAT'S WHAT I WANTED TO DO.

ABT WAS MY FIRST DREAM, SO I HAVEN'T STOPPED UNTIL I GOT HERE.

AND NOW THAT I'M HERE, I'M STILL NOT STOPPING.

AS A PRINCIPAL DANCER, I DANCE A LOT OF PRINCE.

I ACTUALLY HAD NEVER DONE THE PRINCE IN SWAN LAKE UNTIL I JOINED AMERICAN BALLET THEATER.

I WORKED REALLY HARD ON MY SHOW HERE WITH PRINCIPAL BALLERINA JILL YAN MURPHY.

SHE REALLY SHOWED ME THE ROPES AND MADE ME COMFORTABLE WITH THE BALLET.

I HAVE KNOWN ABOUT HER PROWESS FOR ONE MILLION YEARS.

SHE'S THE RESIDENT PRIMA OF AMERICAN BALLET.

I LOVE DANCING WITH HER.

SHE'S HILARIOUS ALSO.

I FEEL LIKE IN A STORY BALI IT IS A LOT ABOUT DIALOGUE, WHAT SOMEONE IS SAYING THROUGH THEIR MOVEMENT AND STORY TELLING.

I FEEL LIKE THE OLDER I GET AND THE MORE I DANCE WITH THESE BALLERINAS, THE MORE SOLID AND READABLE OUR DIALOGUE IS.

I HAVE A SORT OF BACK STORY THAT I TELL MYSELF.

I FEEL LIKE THE PRINCE IN SWAN LAKE AS A SECRET.

HE'S LONELY.

IT REMINDS ME OF HOW I FELT AS A TEENAGER BEING AFRAID TO COME OUT OF THE CLOSET AS A GAY MAN.

WHEN I'M DOING A FIRST ACT AND EVERYONE IS CELEBRATING ME AND IT'S MY BIRTHDAY AND I'M THE PRINCE AND HOW COULD I NOT JUST BE OVERJOYED, I THINK ABOUT THAT FEELING I HAD OF ISOLATION EVEN THOUGH I HAD ABSOLUTELY NO REASON TO PUT MYSELF THROUGH THAT OTHER THAN FEAR OF PERCEPTION.

I TRIED TO GIVE THAT FEELING THROUGH BODY LANGUAGE.

INSTEAD OF ALWAYS BEING THE PROUD PRINCE, TO SHOW VULNERABILITY AND INSECURITY.

I THINK FANCY FREE IS THE STORY TELLING WORK OF GENIUS.

YOU GET SUCH A SENSE OF ATMOSPHERE FROM THAT BALLET, WHICH IS REALLY HARD TO DO.

SO I HAVE BEEN DOING FANCY FREE FOR A LONG TIME.

I THINK SINCE I WAS MAYBE 21 I HAVE BEEN THE SAME PART, THIRD SAILER.

MY CHARACTER SPECIFICALLY HAS THIS HOTTIE SASS, WHICH I REALLY LOVE.

I SORT OF TREAT IT LIKE THE FONZ.

I'M CURIOUS TO SEE HOW IT HOLDS UP IN SOCIETAL CHANGE.

RIGHT NOW I FEEL LIKE WE'RE ON THE BRINK OF IT BEING ALMOST INAPPROPRIATE.

HOWEVER, THAT BEING SAID, I LOVE DANCING THIS BALLET.

IT IS SO MUCH FUN.

THE MUSIC IS UNBELIEVABLE.

CHOREOGRAPHY IS SO CHARMING AND STRANGE AND WONDERFUL AND JAZZY.

KCHOREOGRAPHY FOR ME HAS ALWAYS BEEN SOMETHING I HAVE ENJOYED JUST FROM A VERY NATURAL PLACE.

LIKE I WOULD TAKE MY DAD'S RECORDS AND PUT THEM ON MY FISHER PRICE TURNTABLE AND MAKE UP DANCES IN MY BEDROOM AT ANY JAZZ STUDIO IN CONNECTICUT, THEY SAW THAT I LIKED TO MAKE THINGS AND THEY WOULD LET ME MAKE UP DANCES FOR COMPETITIONS.

THEY REALLY NOURISHED MY CREATIVE NEEDS.

WHEN I JOINED BOSTON BALLET, I KEPT MAKING THINGS AND CREATING.

NOW HERE I AM AT ABT AND I'M STILL SHOWING INTEREST AND BEING GIVEN OPPORTUNITIES THAT I'M SO GRATEFUL FOR.

I HAD AN OPPORTUNITY LAST FALL.

IT PREMIERED IN VALE.

I MADE NEW AMERICAN ROMANCE AS A NOD TO THE CLASSISM OF ROMANTIC BALLETS, BUT I ALSO WANTED TO INJECT MY PERSONALITY AND MY PERCEPTION ON ROMANCE WHICH IS LIMITLESS, REALLY.

IT IS SORT OF MY APPRECIATION FOR WHAT ROMANCE COULD BE, FOR ALL THE POSSIBILITIES.

SO MY NEW BALLET CALLED CITY OF WOMEN IS ABOUT THE GENERATIONAL SHARING OF KNOWLEDGE FROM BALLERINA TO BALLERINA.

I KNOW THEM ALL SO WELL.

I WANTED TO MAKE A DANCE FOR THE BALLERINAS THAT WOULD SHOWCASE THEIR INDIVIDUAL GIFTS AND ALSO REPRESENT, YOU KNOW, THE WISDOM OF GILLIAN, THE SORT OF BRAZENNESS OF CATHERINE AND THE COURAGEOUS DANCING OF ISABELLA.

I KNOW THEIR STRENGTHS, AND I KNOW THEIR PERSONALITIES, NOT JUST THEIR STRENGTHS.

SO I WANTED TO SHOWCASE THAT.

[ APPLAUSE ]

I CREATED JB DUBBS IN 2005.

HE IS A POP MUSICIAN SORT OF PAPER THING I PRODUCE, WRITE, AS WELL AS CHOREOGRAPHED THE MUSIC VIDEOS.

I HAVE BEEN WITNESS TO A LOT OF DISCRIMINATION AND HOME PHOBIA IN BALLET, AND ALSO I HAVE SEEN A LOT OF SEXUAL MISCONDUCT ALLEGATIONS SORT OF SHAKE UP THE BALLET WORLD.

SO ALL OF THESE THINGS HAPPENED AT ONCE, AND MY BRAIN EXPLODED.

AND MY INSTINCT WAS TO WRITE.

SO I WROTE A SONG CALLED WTF, AND IT'S EXACTLY LIKE IT SOUNDS.

AND IT WASN'T SO MUCH POINTING FINGERS AT PEOPLE AS SORT OF JUST EXPRESSING MY EXASPERATION AND THE INCREDITTY OF THE SITUATION ♪ ♪

THE REASON I WANTED TO DANCE ON POINTE IN THE MUSIC VIDEO IS TO FURTHER HAMMER HOME THE POINT THAT WE AS DANCERS SHOULD NOT BE FORCED TO BE GENDERED OR PUT IN A BOX.

I WANT TO ENCOURAGE AS MANY PEOPLE TO DANCE ON POINTE AS THEY WANT TO.

♪ ♪

AND WHILE I AM A MALE, I WANT TO BE FREE TO DANCE IN WHATEVER I WANT.

I AM REALLY HOPING THE FUTURE OF BALLET REMAINS VERY CLASSICAL.

I WANT THE DEFINITION OF CLASSICAL TO EVOLVE.

I THINK SOCIALLY BALLET HAS TO ADAPT, AND I ABSOLUTELY WANT TO BE ONE OF THE PEOPLE LEADING THE CHARGE ON THE CREATION OF MORE REPRESENTATION IN CLASSICAL BALLET.

I HAVE HUGE RESPECT FOR THE CLASSICS.

BUT THAT DOESN'T MEAN NEW STORIES CAN'T BE TOLD.

> NEXT, A VISIT TO THE MUSEUM OF ARTS AND DESIGN ON COLUMBUS CIRCLE.

THE MUSEUM CELEBRATES THE WORK OF ALL KINDS OF MAKERS, CRAFTS PEOPLE, DESIGNERS AND TRADITIONAL ARTISTS.

THEIR CREATIVE WORK RANGES FROM THE OBJECTS WE USE IN OUR DAILY LIVES TO RARE WORKS OF ART.

CURRENTLY ON VIEW IS THE WORK OF TWO ARTISTS WORKING IN GLASS.

EACH MAKING WORKS THAT CHALLENGE THE DISTINCTIONS BETWEEN THE FINE AND DECORATIVE ARTS.

BRIAN CLARK, THE ART OF LIGHT, FEATURES INNOVATIVE WORKS OF STAINED GLASS BY THE ARTIST.

HE TRANSFORMS THIS TRADITIONAL PRACTICE, EXPLORING BOTH THE BRIGHT AND THE DARK POSSIBILITIES OF THE MEDIUM.

BETH LITMAN INCLUDES OBJECTS CRAFTED IN METAL AND CLAY, PHOTOGRAPHS AND VIDEO AND MOST NOTABLY SPECTACULAR WORKS OF GLASS BY THIS WISCONSIN-BASED ARTIST.

THE EXHIBITION HIGHLIGHTS LIPMAN'S ONGOING CONCERNS WITH HISTORY, FRAGILITY AND MORTALITY.

NYC ART SPOKE WITH THE CURATOR.

IT IS A COLLECTION OF WORKS BY BETH LIPMAN.

IT IS A MID-CAREER SURVEY AND LOOK AT HER PRACTICE OVER THESE PAST 20 YEARS.

THE EXHIBITION IS NOT FORMALLY BROKEN INTO ANY CATEGORIES, BUT THERE ARE VARIOUS THEMES THAT PERMEATE HER WORK.

AND ONE OF THOSE IS THIS INTEREST IN THE PASSING OF TIME AND MORTALITY AND DEATH.

MARGIN FOR ERROR, CRIB AND CRADLE USES TWO FAMILIAR FURNITURE FORMS TO INVESTIGATE THE IDEA OF THE PASSAGE OF TIME AND THE LIFE CYCLE.

THE CRIB IS AN INFANT CRIB FORM, AND IT'S SINKING INTO THE FLOOR AND PROPELLING THE INHABITANT FORWARD.

AND THE CRADLE IS ACTUALLY AN ADULT CRADLE MODELLED OFF OF A FORM POPULARIZED BY THE SHAKERS THAT WAS USED FOR ROCKING ILL ADULTS.

THE WORK IS REALLY TALKING ABOUT THE NAKEDNESS AND VULNERABILITY IN WHICH WE INHABIT BOTH OF THOSE EXTREME ASPECTS OF THE LIFE CYCLE.

IN A VERY DISTRICT RELATIONSHIP, THE WORK THAT SHE IS BUILDING IS PREDICATED ON THE STILL LIFE TRADITION, THE BRINGING TOGETHER OF DESPERATE OBJECTS TO CREATE THESE TABLESCAPES OR IMAGES WHERE OBJECTS ARE REALLY TAKING CENTER STAGE.

IN 2000, AN EXHIBITION COORGANIZED BY URBAN GLASS, SHE CHOSE A STILL LIFE PAINTING TO MAKE WORK AFTER OR INSPIRED BY.

HER ART WORK HAD A LOT OF THE SAME ELEMENTS.

AND THEN OVER THE COURSE OF HER CAREER, SHE BEGAN TO CREATE HER OWN ASSEMBLAGES OF THIS KIND OF VOCABULARY OF SYMBOLS.

SHE USES MONOCHROME COLORLESS GLASS.

SOME PIECES SHE HAS WORKED IN BLACK GLASS.

SHE'S TRYING TO REALLY FRUSTRATE THE EYE OF THE VIEWER, SO YOU HAVE TO LOOK CLOSELY.

HER WORK IS CRITIQUING THIS INCESSANT NEED TO CONSUME.

THE VIEWER CAN'T EVEN REALLY POSSESS HER WORK WITH HER EYES BECAUSE IT'S HARD TO DISCERN THE INDIVIDUAL OBJECTS.

SHE TRAVELED TO THE NETHERLANDS AND SAW THE STILL LIVES OF THE OLD MASTERS.

THE DUTCH EAST INDIA TRADING COMPANY WAS AT ITS HEIGHT DURING THIS PERIOD, SO GOODS FOR BEING TRADED AROUND THE GLOBE.

THERE WAS A RISE OF A MERCHANT GLASS.

TO ASSEMBLE A STILL LIFE PAINTING THAT INCLUDED EXOTIC FRUITS OR GOODS YOU WOULDN'T HAVE GOTTEN IN YOUR HOME COUNTRY WERE JUST WAYING OF ASSEMBLING YOURWET AND SHOWING YOUR WORLDLINESS.

CRITIQUING CONSUMERISM THROUGH THE STILL LIFE AND THROUGH THESE KINDS OF AVENUES OF HISTORY IS SOMETHING THAT BETH IS REALLY INTERESTED IN.

SO THESE TABLE INSTALLATIONS WILL ALWAYS HAVE AN ARRANGEMENT OF GOBLETS, MAYBE COVERED JARS, BREAD, FRUIT, PERISHABLE GOODS.

THESE ARE ALL THINGS WE FOUND IN STILL LIFE PAINTINGS, BUT BETH COMBINES THEM IN HER OWN WAY.

AND YOU CAN SEE AS HER WORKS BECOME LARGER IN SCALE THIS KIND OF SPREAD WHERE YOU'RE LOOKING AT THE RESIDUE OF A FEAST THAT WASN'T CLEANED UP.

IT'S JUST LANGUISHING THERE ON THE TABLE AND THERE ARE TEXTILES AND GOBLETS AND SPILLING FOOD AND BOOKS AND ALL THESE MARKERS OF CULTURE AND CIVILIZATION.

BUT SIMULTANEOUSLY KIND OF POINTING OUT THIS EXCESSIVENESS.

UNDERNEATH THE TABLE IS THIS LANDSCAPE THAT INCLUDES GINKOS, FERNS, THE PLANTS THAT HAVE BEEN AROUND FOR MILLIONS OF YEARS AND CONTINUE TO BE AROUND TODAY.

THERE IS A PLANT LIFE UNDERNEATH.

THERE IS CULTURAL OBJECTS ON TOP.

THE PLANTS REALLY BURST THROUGH THE TABLETOP AND SHOW THIS RELATIONSHIP BETWEEN HUMANS AND THE ENVIRONMENT AND THE INTERCON NETTEDNESS BETWEEN THIS ALL.

THE BROKEN GLASS COMES WITH IT AND IT'S INTENTIONAL.

SHE HAS A PHILOSOPHY OF BREAKAGES AND THE POSSIBILITY FOR BREAKAGES, AGAIN, THE FRAGILITY OF LIFE.

SHE'S NOT ALWAYS UPSET IF A LITTLE PIECE BREAKS HERE OR THERE.

BUT I WILL SAY NOTHING BREAKS HERE AT THE MU SE YUM THAT'S IN HER OWN STUDIO.

FOR HER, THE KIND OF LIKE RISK INVOLVED AND THE MATERIALITY ITSELF IS PART OF THE PROCESS.

BETH ACTUALLY NAMED THE EXHIBITION COLLECTIVE ELGY THINKS ABOUT THIS RELATIONSHIP BETWEEN HUMANS AND THE ENVIRONMENT.

FOR ME, AS WE PROGRESS THROUGHOUT THIS YEAR, WE BEGAN TO TAKE ON THIS IDEA OF PERHAPS A COLLECTIVE DYING OFF OF THE OLD WAYS AND THINKING TOWARDS A FEW FUTURE.

SO WHILE IT CAN CAST NEGATIVE CONNOTATIONS, I ACTUALLY THINK OF IT AS A FAIRLY HOPEFUL TITLE.

> NEXT, WE'LL VISIT THE AMERICAN FOLK ART MUSEUM LOCATED ACROSS FROM LINCOLN CENTER.

CURATOR SPOKE ABOUT ONE OF THE ART WORKS FROM THE COLLECTION.

THE AMERICAN FOLK ART MUSEUM HAS ONE OF THE MOST IMPORTANT COLLECTIONS OF QUILTS IN THE COUNTRY.

AND ONE OF OUR MOST SIGNIFICANT RECENT ACQUISITIONS IS A CRAZY QUILT THAT WAS MADE BY A WOMAN NAMED CLARA LEON.

CLARA LEON WAS AN IMMIGRANT FROM GERMANY, ONE OF THE THOUSANDS OF JEWISH IMMIGRANTS WHO CAME TO THE UNITED STATES IN THE SECOND HALF OF THE 19th CENTURY.

SHE LANDED IN NEW YORK CITY, MET HER HUSBAND AND THE TWO OF THEM MOVED TO THE NEW MEXICAN TERRITORIES, TO LAS VEGAS, NEW MEXICO.

THE QUILT THAT CLARA LEON MADE PROBABLY IN THE 1880s REFLECTS THE ID YUM OF THE CRAZY QUILT.

THIS WAS A KIND OF CONSTRUCTION THAT WAS INTRODUCED AFTER THE AMERICAN CENTENNIAL EXPO SIGS THAT INTRODUCED JAPANESE DECORATIVE ARTS FOR THE FIRST TIME.

SO WOMEN SAW PORCELAINS WITH CRAZED AND CRACKLED SURFACES AND GLAZES AND EXOTIC MOTIVES LIKE SPIDER WEBS AND QUARTER FANS AND THEY VERY QUICKLY INTRODUCED THIS NEW AESTHETIC INTO THEIR QUILT MAKING.

SO CLARA LEON, ONE OF 36 JEWISH FAMILIES AND THE PIONEER CON TREER COMMUNITY OF LAS VEGAS, NEW MEXICO, COMING TO AMERICA WITHOUT A TRADITION OF QUILT MAKING AT ALL INTERPRETED THE CRAZY QUILT TO REFLECT THIS NEW QUILT AT THE PHILADELPHIA CENTENNIAL.

THE CENTER OF THE QUILT IS EM BLAZENED WITH A LARGE LETTER L FOR HER FAMILY NAME LEON.

ALSO INCLUDED IS A MUSICAL STAFF AND NOTES, AND THIS REFLECTS THE MUSICAL BACKGROUND OF HER FAMILY.

IN FACT, ONE OF THE FAMILY STORIES IS THAT WHEN CLARA AND HER FAMILY MADE THE JOURNEY BY COVERED WAGON, INCLUDED ONBOARD THE COVERED WAGON WAS HER PIANO.

AEST AESTHETICALLY, SHE DID SOMETHING WITH THE BORDERS THAT IS UNUSUAL.

THERE IS A FLORAL BAND ON EACH SIDE OF THE QUILT.

TYPICALLY THAT WOULD BE IDENTICAL TOP, BOTTOM, LEFT AND RIGHT.

BUT IN FACT SHE'S REFLECTING THE SEASON, SO THERE ARE AUTUMN LEAVES, SPRING FLOWERS, SUMMER DAISIES AND WINTER SPRAYS.

QUILTS HAVE ALWAYS BEEN A MEDIUM FOR WOMEN TO EXPRESS THEIR OWN THOUGHTS AND THEIR OWN PARTICIPATION IN AMERICAN LIFE.

AND CLARA LEON CLEARLY TOOK THAT TO HEART WHEN SHE DECIDED WHAT MOW T MOTIFS AND TECHNIQUES WERE GOING TO BE USED IN HER BEAUTIFUL QUILT.

NEXT WEEK ON NYC ARTS, A PROFILE OF RENOWNED PHOTOGRAPHER JOEL, A VIBRANT PRESENCE IN THE ART WORLD.

I REMEMBER WALKING THROUGH PARIS AND SUDDENLY SMELL BAKING CROISSANT AND THE AIR.

BUTTER AND SUGAR AND YOU IMMEDIATELY, YOU WANT A CROISSANT OR A COOKIE OR SOMETHING.

YOU TAKE TWO STEPS AND IT'S GONE.

TO ME, THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET AND SOMETHING HAPPENS.

AND YOU GET IT.

IT'S THE VISUAL THAT IS AS PRECISE AS THAT FRAGRANCE THAT IS ONLY IN THE AIR OF THE DOORWAY.

AND A VISIT TO THE CHAPEL AT ST. PETER'S CHURCH IN MIDTOWN MANHATTAN WHERE THE ENVIRONMENT CREATE D IS UNDERGOING RENOVATIN AND REDISCOVERY.

ONCE YOU ARE INSIDE, YOU ARE SURROUNDED BY HER.

SHE WAS THE GRANDMOTHER OF ENVIRONMENTAL ART IN AMERICA, AND SHE REALLY BELIEVED THE IMPORTANCE OF SURROUNDING PEOPLE WITH ART.

I HOPE YOU HAVE ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZAN.

THANKS SO MUCH FOR JOINING US.

HAVE A GOOD NIGHT.

> FUNDING IS MADE POSSIBLE BY -- SUPPORTED IN PARTWY PUBLIC FUNDS FROM THE NEW YORK CITY OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BE MEMBERS OF 13.

MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

> AND BY SWAN AUCTION GALLERIES.