Paula Zahn in conversation with world-renowned and celebrated pianist Leif Ove Andsnes. Followed by a visit to the Nevelson Chapel at St. Peter’s Church in Midtown Manhattan.

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> COMING UP ON NYC-ARTS, A PROFILE OF RENOWNED PHOTOGRAPHER JOEL MEYEROWITZ, A VIBRANT PRESENCE IN THE ART WORLD.

I REMEMBER WALKING THROUGH PARIS, AND SUDDENLY YOU SMELL BAKING CROISSANT ON THE AIR, BUTTER AND SUGAR AND YOU -- OH, AND YOU IMMEDIATELY YOU WANT -- YOU WANT A CROISSANT OR A COOKIE OR SOMETHING, RIGHT?

AND 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 A VISUAL THAT IS AS PRECISE AS THAT FRAGRANCE THAT IS ONLY IN THE AIR OF THE DOORWAY.

AND A VISIT TO THE NEVELSON CHAPEL AT SAINT PETER'S CHURCH IN MIDTOWN MANHATTAN WHERE THE ENVIRONMENT CREATED BY LOUISE NEVELSON IS UNDERGOING RESTORATION AND REDISCOVERY.

ONCE YOU'RE INSIDE YOU'RE SURROUNDED BY NEVELSON.

SHE WAS THE GRANDMOTHER OF ENVIRONMENTAL ART IN AMERICA.

SHE REALLY BELIEVED THE IMPORTANCE OF SURROUNDING PEOPLE WITH ART.

> FUNDING FOR NYC-ARTS IS MADE POSSIBLE BY THEA PETSCHEK IERVOLINO FOUNDATION, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, JODY AND JOHN ARNHOLD, THE AMBROSE MONELL FOUNDATION, ROSALIND P. WALTER, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, THE NANCY SIDEWATER FOUNDATION, ELLROY AND TERRY KRUMHOLZ FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION 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 THIRTEEN.

NYC-ARTS AND MADE POSSIBLE BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THING'S FIRST, AT FIRST REPUBLIC BANK REFERS TO OUR FIRST PRIORITY, THE CLIENTS THAT 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 IS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

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

> GOOD EVENING AND WELCOME TO NYC-ARTS.

I'M PAULA ZAHN.

ON TONIGHT'S PROGRAM WE'LL MEET RENOWNED PHOTOGRAPHER JOEL MEYEROWITZ, A VIBRANT PRESENCE IN THE ART WORLD.

MEYEROWITZ GREW UP IN THE BRONX, AND GRADUATED WITH A DEGREE IN PAINTING FROM OHIO STATE UNIVERSITY IN 1959.

HE BEGAN TAKING PHOTOGRAPHS A FEW YEARS LATER.

ALTHOUGH HE'S FOCUSED ON A VARIETY OF THEMES THROUGHOUT HIS CAREER, HE IS PERHAPS BEST KNOWN AS THE STREET PHOTOGRAPHER IN THE TRADITION OF SUCH MASTERS AS HENRI CARTIER-BRESSON AND ROBERT FRANK.

HE HAS ALSO BEEN INSTRUMENTAL IN ADVANCING THE RECOGNITION OF COLOR PHOTOGRAPHY AS AN ART FORM.

IN THE WAKE OF THE EVENTS OF 9/11, MEYEROWITZ WAS THE ONLY PHOTOGRAPHER GRANTED UNRESTRICTED ACCESS TO GROUND ZERO.

THE DRAMATIC IMAGES THAT HE CAPTURED THERE HAVE BECOME THE FOUNDATION OF A MAJOR NATIONAL ARCHIVE.

AN EXHIBITION OF SELECTED PHOTOGRAPHS FROM THIS COLLECTION HAS BEEN SHOWN ALL OVER THE WORLD.

HIS WORK CAN ALSO BE FOUND IN MUSEUMS AND PUBLIC COLLECTIONS INCLUDING THE MET, MOMA, AND THE WHITNEY.

NYC-ARTS SPOKE WITH MEYEROWITZ DURING A VISIT TO THE HOWARD GREENBERG GALLERY.

♪ ♪

WHEN YOU FIRST PICK UP A CAMERA, IT'S NOT SO EASY TO GO OUT ON THE STREET AND TAKE PICTURES OF STRANGERS BECAUSE THERE'S ALWAYS A LITTLE BIT OF FEAR.

I DON'T BELONG HERE OR THEY'RE NOT GOING TO LIKE IT IF I TAKE A PICTURE.

HOW CAN I BE IN THEIR INTIMATE SPACE?

SO IN A WAY IT'S LIKE DANCE.

IT'S VERY BALLETIC.

YOU HAVE TO FIND THESE PARTNERS THAT DON'T REALLY KNOW THAT YOU'RE PHOTOGRAPHING THEM WHILE YOU MOVE IN AND OUT OF THEIR LIVES AND MAKE PHOTOGRAPHS FOR YOURSELF THAT USE THEIR FACE, THEIR ENERGY, THEIR POFRT YOU ARE, THEIR FIGURE, THEIR DRESS, THEIR COLOR, WHATEVER IT IS THAT EXCITES YOU AT THE MOMENT.

MY FATHER WAS A REALLY STREET SMART GUY BORN IN NEW YORK CITY, KIND OF TOUGH GUY ON THE STREETS.

AND WHEN I WAS A LITTLE KID, HE OFTEN SAID TO ME WHEN I WOULD GO WITH HIM ANYWHERE, HE WOULD -- HE WOULD JUST GIVE ME A LITTLE NUDGE AND SAY WATCH THAT OVER THERE, OR TAKE A LOOK AT THAT, AND EVERY TIME HE SAID LOOK AT THAT SOMETHING HAPPENED.

IT'S AS IF HE COULD PREDICT THAT TWO PEOPLE WERE GOING TO EMBRACE, YOU KNOW?

AND DANCE AROUND EACH OTHER AND THROW UP THEIR ARM.

I MEAN, HOW DID HE KNOW?

AND IN A WAY, I'M SURE THAT HE CREATED AN APPETITE IN ME FOR THE UNEXPECTED QUALITIES OF ORDINARY LIFE, THAT PEOPLE WILL DO SPONTANEOUS, EXTRAORDINARY, UNEXPECTED THINGS SUDDENLY AND IF YOU WERE QUICK ENOUGH TO WATCH IT, YOU WOULD EXPERIENCE THE PLEASURE, VISUAL PLEASURE, HUMAN PLEASURE.

I'VE BEEN ASKED SO MANY TIMES HOW DO YOU KNOW WHEN TO TAKE A PHOTOGRAPH?

AND I REMEMBER WALKING THROUGH PARIS, AND I WAS WALKING DOWN THE STREET AND SUDDENLY YOU SMELL BAKING CROISSANT ON THE AIR, BUTTER AND SUGAR AND YOU -- OH, AND YOU IMMEDIATELY YOU WANT -- YOU WANT A CROISSANT OR A COOKIE OR SOMETHING, RIGHT?

AND YOU TAKE TWO STEPS AND IT'S GONE.

SO IN THE AIR ON THE STREET WAS THIS LITTLE ZONE, FOR A MOMENT, WHERE THE FRAGRANCE WAS SO RICH AND COMPELLING.

TO ME, THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET AND SOMETHING HAPPENS AND YOU GET IT.

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

YOU GO RIGHT THROUGH IT.

SO WHEN SOMETHING MAKES ITSELF FELT TO ME, WHEN I GET AN IMPULSE I RAISE THE CAMERA.

I DON'T EVEN HESITATE.

IT HAS TO BE LIKE THAT.

THAT'S PHOTOGRAPHY.

IT'S ABOUT A FRACTION OF A SECOND.

SO I THINK IMPULSE, INTUITION, RECOGNITION, DESIRE, PASSION, APPETITE, NAME IT.

YOU CAN CALL IT ANYTHING YOU WANT.

THOSE ARE THE THINGS THAT ARE IN PLAY, PHOTOGRAPHICALLY BECAUSE PHOTOGRAPHY IS ABOUT TIME.

CAMERAS HAVE THEIR OWN CHARACTERISTICS.

A SMALL CAMERA THAT FITS IN YOUR HAND, YOU KNOW, YOU JUST MOVE IT AROUND AND YOU CARRY IT WITH YOU AND PUT IT IN YOUR POCKET OR YOUR BAG.

IT'S PART OF YOU, BUT SOMETIMES THAT SMALL CAMERA DOESN'T REALLY DO THE JOB YOU WANT IT TO DO IF YOU'RE FINDING YOURSELF IN NATURE.

LET'S SAY, NATURE IS SLOWER.

THERE'S MORE TIME IN IT.

LIKE IF THE STREET PHOTOGRAPHY IS JAZZ -- THE VIEW CAMERA AND NATURE IS LIKE THE CELLO.

IT'S VERY SLOW, AND YOU -- YOU STAND IN NATURE AND YOU CAN LOOK AROUND AND DRAW YOUR ENERGY FROM EVERYTHING OUT THERE.

AND SO A LARGE FORMAT CAMERA, LIKE AN 8 x 10 DEARDORFF CAMERA GIVES YOU A WHOLE OTHER EXPERIENCE.

IT'S SLOWER.

YOU PUT IT DOWN.

YOU PUT THE CLOTH OVER YOUR HEAD AND YOU ENTER THIS WORLD ON A SCREEN UPSIDE DOWN, AND IT HAS A WHOLE OTHER KIND OF MAGIC TO IT, AND YOU CAN TRUST THAT IT WILL DESCRIBE EVERY SINGLE THING IN THE FRAME.

THERE WILL BE NO BLUR.

THERE WILL BE NO MOVEMENT.

IT WILL BE THE SPACE AND LIGHT AND DEPTH, YOU KNOW, THIS TIME.

♪ ♪

THE QUESTION OFTEN COMES UP, HOW DOES ONE DEVELOP A BODY OF WORK?

HOW DO YOU FIND YOUR WAY INTO A NEW THEME OR A NEW SUBJECT?

SOMETIMES IT TAKES TIME AND THEN THE ARTIST RECOGNIZES, OH, I'VE BEEN MAKING THAT PICTURE A FEW DIFFERENT -- A FEW DIFFERENT TIMES NOW.

OBVIOUSLY SOMETHING INTERESTING IS THERE, MORE SO THAN I THOUGHT AND THIS HAPPENED TO ME WITH THE WORK CALLED 'BETWEEN THE DOG OR THE WOLF OR IN THE FRENCH EXPRESSION, ENTRE CHIEN ET LOUP.

AND I DIDN'T KNOW THAT EXPRESSION, BUT MANY YEARS AGO A FRENCH FRIEND OF MINE, UPON SEEING A SEQUENCE OF THESE PICTURES MADE AT THE END OF DAY, WHEN THE LIGHT IS FADING AND THINGS BECOME SLIGHTLY MORE INDETERMINEATE, AND THESE IMAGES APPEARED IN MY WORK AND MY FRIEND SAID OH, ENTRE CHIEN ET LOUP.

AND I SAID WHAT?

WHAT IS THAT?

HE SAID, YOU KNOW, THE DOG, BETWEEN THE DOG AND THE WOLF.

HE SAID YOU KNOW, THE DOG IS THE FAMILIAR, YOU KNOW, DOMESTIC ANIMAL AND THE WOLF IS THE SAME, SORT OF, BUT IT'S UNKNOWN.

IT'S UNEXPLAINED AND IT'S SAVAGE.

WHEN THE THING GOES FROM KNOWN TO THE UNKNOWN, THERE IS A SHIFT.

AN EMOTIONAL SHIFT AS WELL AS A TONAL SHIFT, AND I THOUGHT OH, DANIEL, THAT'S BEAUTIFUL.

I LOVE THAT EXPRESSION BECAUSE I FIND MYSELF OFTEN AS A SWIMMER IN A POOL WHICH IS THE DOG.

IT'S VERY SAFE, BUT I ALSO WOULD SWIM IN THE OCEAN, IN THE OPEN OCEAN AND IT'S WILD, AND I HAD BEEN MAKING PHOTOGRAPHS OF POOLS NEAR THE SEA, AND I THOUGHT, WHAT AN INTERESTING WAY OF ADDRESSING THIS SUBJECT.

TO PUT THE POOLS AND THE OCEAN AND THE DUSK HOUR TOGETHER REALLY WAS A WAY OF CONCENTRATING ON ENTRE CHIEN ET LOUP.

BUT BEYOND THAT THERE ARE PLACES ON LAND WHERE THE LIGHT IS FADING AND YOU SUDDENLY HAVE -- YOU FEEL GOOSEBUMPS OR YOU FEEL A LITTLE SHIVER OF UNCERTAINTY THAT ALERTS YOUR SENSES AND YOU THINK, OH, WHAT'S GOING ON HERE, AND OUT OF THAT COMES THE POSSIBILITY FOR A NEW PHOTOGRAPH.

♪ AT THIS MOMENT IN MY LIFE I FIND MYSELF MAKING STILL LIFES.

I HAVE NO IDEA WHY I'M CHOOSING THESE OBJECT, BUT THEY HAVE CHARACTER OR MYSTERY OR SOMETHING AND WHEN I PUT TWO OR THREE OR FOUR OF THEM TOGETHER IT'S AS IF THERE'S A DIALOGUE BETWEEN THEM.

MAYBE I CAN BREATHE LIFE INTO THEM BY FINDING SOME ASSOCIATIVE QUALITIES IN THEM THAT DOESN'T LOOK LIKE CONVENTIONAL STILL LIFE PHOTOGRAPHY, BUT LOOKS LIKE I'M MAKING IT.

MAYBE I COULD FIND OUT MORE ABOUT MYSELF THROUGH THESE DUMB OBJECTS.

THIS IS A REALLY ENGAGING PHOTOGRAPHIC QUESTION FOR SOMEONE AT MY AGE RIGHT NOW.

WHEN I STARTED TO MAKE STILL LIFES, IT HAPPENED QUITE BY ACCIDENT BECAUSE I WAS DOING A BOOK COMMISSION IN FRANCE, AND I VISITED CEZANNE'S STUDIO IN AIX-EN-PROVENCE AND IN THE STUDIO I WAS AMAZED THAT THE WALLS WERE PAINTED THIS PARTICULAR GRAY AND AFTER A WHILE THE THOUGHT ABOUT THIS GRAY, WHY GRAY WHEN HE WAS A PAINTER WHO MADE COLOR PAINTINGS?

IT PROMPTED ME TO GO BACK TO THE STUDIO AND ASK THEM IF I COULD TAKE CEZANNE'S OBJECTS DOWN AND PUT THEM ON HIS TABLE TO PHOTOGRAPH THEM.

AND REALLY, I WASN'T TRYING TO MAKE ART.

I HAVE TO BE CLEAR.

I WAS JUST TAKING THE OBJECTS, PUTTING THEM ON THE TABLE AGAINST THE GRAY WALL.

I WANTED TO SEE WHAT THE RELATIONSHIP WAS BETWEEN THE OBJECT AND THE SPACE, THE COLOR SPACE OF THE GRAY WALL, AND WHAT DID IT DO FOR CEZANNE WHO PLAYED ONE OF THE MOST IMPORTANT TURNING POINT ROLES IN THE HISTORY OF MODERN ART?

AND THEN ONCE I DID THAT, AND I'M LIVING IN ITALY NOW, IT OCCURRED TO ME OH, GIORGIO MORANDI IS IN BOLOGNA.

IT'S ONLY THREE HOUR AWAY.

I'M GOING TO GO TO BOLOGNA AND GO TO MORANDI'S STUDIO BECAUSE MORANDI WAS ALSO VERY IMPORTANT TO ME WHEN I WAS AN ART HISTORY STUDENT AND A PAINTER.

SO I WENT TO MORANDI'S STUDIO AND I WAS ABLE TO ASK THE CURATORS THERE IF I COULD TAKE HIS OBJECTS AND DO THE SAME THING AND THE COLOR WAS COMPLETELY DIFFERENT.

HE WAS WASHG ORKING IN A VERY W TONE, A GOLDEN, TUSCAN, COLORFUL ITALIAN ENVIRONMENT AND CEZANNE WAS IN A VERY COOL, SORT OF MORE RATIONAL FRENCH ENVIRONMENT.

SO TO PIT THESE TWO AGAINST EACH OTHER AND TO LOOK AT THEIR OBJECTS, IN A WAY, INTRODUCED ME TO THE FEELING THAT OH, EACH OBJECT DOES HAVE CHARACTER, IDENTITY, PERSONA, SOMETHING, YOU KNOW.

AND PERHAPS I WAS HAVING A DIALOGUE WITH THESE MEN THROUGH THEIR OBJECTS.

SO IN A WAY WORKING WITH CEZANNE AND MORANDI IN THIS VERY BASIC WAY INTRODUCED ME TO AN APPETITE FOR RECONSIDERING THE WAY OBJECTS RELATE TO EACH OTHER IN SPACE.

WHERE IT GOES FROM THERE, I DON'T KNOW.

I'M GRATEFUL FOR THE ENERGY I HAVE RIGHT NOW, AND THE WILLINGNESS TO TAKE ON SOMETHING TOTALLY OUTSIDE OF MY EXPERIENCE AND SEE IF I CAN FIND MY VOICE IN THIS TIME OF MY LIFE WITH THESE OBJECTS IN THIS MEDIUM I LOVE SO MUCH AS I LOVE PHOTOGRAPHY.

♪ ♪

> NEXT ON OUR PROGRAM, WE'LL VISIT THE NEVELSON CHAPEL AT ST.

PETER'S CHURCH, A SCULPTURAL ENVIRONMENT CREATED BY LOUISE NEVELSON, ONE OF NEW YORK CITY'S MOST CELEBRATED ARTISTS.

WITH A CAREER SPANNING NEARLY FIVE DECADE, NEVELSON BECAME ESPECIALLY WELL KNOWN FOR HER TECHNIQUE OF COLLECTING DISCARDED FURNITURE AND OTHER RANDOM OBJECTS FROM THE STREETS OF NEW YORK AND THEN REASSEMBLING THEM INTO OFTEN LARGE-SCALE ART INSTALLATIONS.

NEVELSON'S ARTWORK FOR THE CHAPEL OF THE GOOD SHEPHERD AT ST. PETER'S CHURCH, IS THE ARTIST'S ONLY REMAINING INSTALLATION OPEN TO THE GENERAL PUBLIC.

IT IS A GEM FOUND WITHIN THE CITIGROUP CENTER IN MIDTOWN MANHATTAN.

THE ENTIRE COMPLEX INCLUDING THE CHURCH WAS DESIGNED BY HUGH STUB INS AND EASLEY HAMNER WITH INTERIOR BY LELLA AND MASSIMO VIGNELLI.

AFTER 40 YEARS NEVELSON'S UNDERGOING A CRITICAL RESTORATION AND REDISCOVERY AS AN OASIS OF PEACE.

♪ ♪

NEVELSON CONSIDERED THIS ENVIRONMENT AS HER OASIS OF SILENCE.

IT'S A PLACE THAT PEOPLE COME IN DAY IN AND DAY OUT TO FIND IN THE MIDDLE OF THIS INCREDIBLY BUSY CITY SOME ELEMENT OF PEACE AND SILENCE.

ONCE YOU'RE INSIDE YOU'RE SURROUNDED BY NEVELSON AND SHE WAS THE GRANDMOTHER OF ENVIRONMENTAL ART IN AMERICA.

SHE REALLY BELIEVED THE IMPORTANCE OF SURROUNDING PEOPLE WITH ART.

NEVELSON WAS ONE OF THE FEW WOMEN ARTISTS IN THE 1970s WHO REALIZED PUBLIC ART WITH GREAT SUCCESS.

THE NEVELSON CHAPEL IS THE ONLY INTACT ENVIRONMENT THAT SHE EVER MADE.

LOUISE NEVELSON WAS BORN IN UKRAINE IN 1899.

HER FAMILY IMMIGRATED WHEN LOUISE NEVELSON WAS A LITTLE GIRL.

NEVELSON'S FATHER WAS A WOODCUTTER IN THE OLD COUNTRY AND ONCE THEY CAME TO MAINE, HE HAD A JUNKYARD.

OF COURSE, THAT INSPIRED MUCH OF NEVELSON'S WORK.

SHE WOULD USE TOILET SEATS AND BED STANDS AND CHAIR RAILS AND EVERYTHING THAT SHE WOULD FIND ON THE STREETS OF NEW YORK CITY TO MAKE COLLAGE, THESE RELIEFS AND THAT WAS HER SIGNATURE AND THAT'S HOW SHE'S BEST KNOWN.

SHE HAD HER FIRST BREAKTHROUGH PROJECT, HER FIRST PUBLIC BREAKTHROUGH PROJECT IN 1959 AT THE MUSEUM OF MODERN ART.

LOUISE NEVELSON WAS 60 YEARS OLD.

IT TOOK HER THAT LONG TO ACHIEVE PUBLIC RECOGNITION.

ST. PETER'S WAS A NEO-GOTHIC LUTHERAN CHURCH THAT HAD BEEN HERE A LONG TIME AND THE CONGREGATION HAD DWINDLED DOWN TO 65 OR 70.

SO IT WAS NOT DOING VERY WELL.

IN THE 1970s, ST. PETERS AND CITIBANK CAME TOGETHER TO START PLANNING AND THEN ULTIMATELY BUILD WHAT WAS CALLED CITIGROUP CENTER, AND AT THE HEART OF THAT COMPLEX IS NEVELSON CHAPEL.

THE PASTOR AT THAT TIME WAS RALPH PETERSON.

AT THE POINT WHERE THEY DECIDED THAT THEY WANTED A DECORATED CHAPEL, AN INTERFAITH CHAPEL, EASLEY HAMNER WAS APPROACHED BY PACE GALLERY AND PACE GALLERY SAID LOOK, THERE'S 1% FOR THE ARTS WHICH MEANS THERE'S QUITE A LOT OF MONEY AVAILABLE FOR THE ARTS AND HAMNER KNEW NEVELSON'S WORK AND REPUTATION AND WANTED HER TO DO IT.

AND PETERSON KNEW HER WORK ALSO AND REALLY LIKED IT.

♪ ♪ ♪

THE WORKS IN THE CHAPEL ARE NOT THE KIND OF FOUND OBJECT WHETHER IT WAS FURNITURE OR SOMETHING SHE FOUND ON THE STREET.

THEY WERE SHAPES MADE TO ORDER FOR HER.

NEVELSON WAS JEWISH BY BIRTH.

THIS ISN'T A SPECIFICALLY CHRISTIAN FEELING SPACE.

IT'S A VERY SPIRITUAL SPACE.

I WANT TO READ YOU SOMETHING QUOTES FROM HER BECAUSE THEY SAY SOMETHING ABOUT HOW SHE SAW HER SPIRITUALITY.

ABSTRACTION ALLOWS ME TO TRANSCEND CHRISTIAN IMAGERY TO THE ESSENTIAL POINT WHERE ALL RELIGIONS MEET.

EACH ELEMENT FORMS A WHOLE IN ITSELF, A DELIBERATE EXPRESSION OF JOY, OF HUMAN WARMTH.

FOR ME, FOR MY WORK, THIS CHAPEL IS A STATE OF PURITY AND TRUTH.

I THINK THE FACT THAT THEY ARE DOING A RESTORATION WOULD BE SOMETHING THAT NEVELSON WOULD 100% APPROVE OF.

SHE ALWAYS WANTED HER WORK TO LOOK AS FRESH AS POSSIBLE.

THERE ARE TWO MAJOR ELEMENTS OF THE RESTORATION FOR NEVELSON CHAPEL.

THE FIRST IS TO DEAL WITH PROBLEMS WITH THE ENVIRONMENT.

SO WE'RE INTRODUCING A DEDICATED HVAC SYSTEM THAT WILL ENSURE THAT THIS ENVIRONMENT IS PROPERLY REGULATED FOR LONG-TERM CARE OF THE WOOD AND THE PAINT.

THE SECOND ELEMENT OF THE RESTORATION IS CLEANING ALMOST 35 YEARS OF RESTORATION OVER PAINT, BUT IN THE END ALL OF THESE SCULPTURES WILL BE NEVELSON'S ORIGINAL PAINT.

NEVELSON'S SIGNIFICANT CONTRIBUTION TO MODERNISM WAS THAT SHE FORGED A UNIQUE VISUAL LANGUAGE.

IT WAS PART SURREALISM, PART CONSTRUCTIVISM, PART COLLAGE, HAD RESONANCE OF MINIMALISM, BUT IT WAS REALLY ALL NEVELSON.

THE CHAPEL IS NOT AS WELL KNOWN AS IT SHOULD BE.

HOPEFULLY WITH THE RESTORATION GOING ON MANY MORE PEOPLE WILL KNOW ABOUT IT.

I WANT TO ENSURE THAT 40, 50, 60 YEARS FROM NOW PEOPLE WILL FIND THIS NOT A PRISTINE CONDITION, IT'S A LIVING ENVIRONMENT, BUT PEOPLE WILL SEE THAT WE HAVE HONORED IT AND WE'RE PASSING ON TO THEM AS BEST WE CAN WHAT HAS BEEN HANDED DOWN TO US.

♪ ♪

NEXT WEEK ON NYC-ARTS, A CONVERSATION WITH CELEBRATED PIANIST LEIF OVE ANDSNES.

SO FULL OF PASSION OF A YOUNG WANTING TO CONQUER THE WORLD AND AT THE SAME TIME IT HAD THIS INNOCENT BEAUTY, MELODIES THAT COMES FROM THE SORT OF FOLK SONG TRADITION AND THEY SPEAK VERY DIRECTLY TO OUR HEARTS AND IT'S VERY ♪ ♪

AND A VISIT TO THE MORGAN LIBRARY AND MUSEUM FOR A LOOK AT THE WORK OF BRITISH ARTIST DAVID HOCK ME WHOSE FASCINATION WITH POR PORTRAITURE HAS SPANNED HIS 50-YEAR CAREER.

DAVE HOCKNEY DRAWING FROM LIFE IS A SURVEY OF THIS FANTASTIC BRITISH ARTIST AND HE'S SOMEONE WHO SIMPLY IS WORKING ON DOING SOME DRAWING EVERY DAY.

SO HOW TO COMPASS, HOW TO GET YOUR HANDS AROUND SUCH A HUGE OUTPUT OF WORK?

AND SO THE GREAT DECISION WAS MADE, TAKE FIVE SITTERS WHOM HE HAS DRAWN IN DIFFERENT MODES FOR DECADES AND FOCUS ON THEM.

♪ ♪

I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZAHN.

THANKS SO MUCH FOR JOINING US.

HAVE A GOOD NIGHT.

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

♪ ♪ ♪

LEONARD, WHAT A PRIFLAGE TO BE ABLE TO SIT DOWN WITH YOU.

WHERE ARE WE?

WE ARE AT A MOMENT TO NOT TAKE ANYTHING FOR GRANTED.

WE ARE WITH THE CURATOR WITH THE EXHIBITION.

WE ARE IN THE MIDST OF SOME OF THE GREATEST SCULPTURES BY THE ICONIC NAMES.

CLASSICAL AND MODERN DANCE ARE EXTREMELY DIFFERENT, AND I HAVE SO MUCH MORE TO LEARN BEFORE I CAN REALLY ARTICULATE THE DIFFERENCES.

WHEN I LISTEN TO THE LYRICS IN THAT I SUDDENLY THOUGHT, THAT'S WHAT I WANT TO DO WITH MY LIFE.

MY PICTURES RESIDE IN VERY INTIMATE, AND VERY PRIVATE MOMENTS.

MY PRIMARY WAY OF PLAYING THE PIANO IS BY IMPROVISING.

YOU ARE, IN SOME RESPECT, ON SACRED GROUND.

A WOMAN CAME TO SEE ME PERFORM AND SAID HOW WOULD YOU LIKE TO PLAY BILLIE HOLIDAY?

I THINK ONE OF THE ESSENTIAL THINGS THAT WE LEARN SIDE THAT M MATTISE USED PINS.

THIS COULD BE THE CARDBOARD GUITARIST IS THE VERY FIRST OF THAT REALIZATION.

YOU COME AND PRESENT SOMETHING AND YOU GET APPLAUSE, GREAT, YOU KNOW?

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪

FUNDING FOR NYC-ARTS IS MADE POSSIBLE BY THEA PETSCHEK IERVOLINO FOUNDATION, THE LOUIS 'SONNY' TURNER FUND FOR DANCE.

JOEDY AND JOHN ARNHOLD, THE AMBROSE MONELL FOUNDATION, ROSALIND P. WALTER, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, THE NANCY SIDEWATER FOUNDATION, ELLROY AND TERRY KRUMHOLZ FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION, 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 THIRTEEN.

NYC-ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THING'S 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 GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTSAGE BOOKS AND FINE ARTS SINCE 1941 BOOKING TO COMBINE KNOWLEDGE AND ACCESSIBILITY, LOO WHETHER YOU'RE A FIRST-TIME BUYER, LOOKING TO SELL, VISIT SWANN GALLERIES.COM.