A visit to Frick Madison, the temporary new home of The Frick Collection. Then, a profile of American Ballet Theatre coach Irina Kolpakova. And, curator Joan Cummins talks to NYC-ARTS about the Arts of Japan gallery at the Brooklyn Museum.

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♪♪

> COMING UP ON 'NYC ARTS,' A PROFILE OF IRINA KOLPAKOVA, BELOVED COACH AND MENTOR TO THE PRINCIPAL DANCES OF AMERICAN BALLET THEATER.

A BALLET MISTRESS OR BALLET MASTER IS BASICALLY IN CHARGE OF A CERTAIN PORTION OF THE REP, OF THE REPERTOIRE WE DO.

IRINA IN PARTICULAR, HER THAT PRIMARILY TAKES THE MATERIAL THAT YOU PRESENT HER AND TRIES TO PUT IT THROUGH A LENS FOR THE DANCER TO SEE MORE CLEARLY AND UNDERSTAND WHAT IT IS THEY'RE ACTUALLY DOING.

> AND A VISIT TO THE BROOKING MUSEUM AND ITS ARTS OF JAPAN GALLERIES.

ONE OF THE GREAT HIGHLIGHTS IN THE NEW GALLERY IS A PAIR OF FOLDING SCREENS THAT DATE FROM ABOUT 1610.

THESE WERE MADE FOR THE INTERIOR OF A CASTLE, AND THEY HAVE LARGELY GOLD BACKGROUNDS WHICH WOULD HAVE HELPED TO REFLECT LIGHT IN THE DARK INTERIOR OF THE CASTLE AND MADE THE ROOM SORT OF MORE WARM AND GLOWING.

> 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.

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 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 GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941.

LOOKING TO COMBINAGE WITH ACCESSIBILITY.

INFORMATION AT SWANNGALLERIES.COM.

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

I'M PETER DI MONTEBELLO ON LOCATION AT THE FRICK MADISON, THE TEMPORARY NEW HOME OF THE FRICK COLLECTION AT MADISON AVENUE AND 75th STREET, THE FORMER SITE OF THE WHITNEY MUSEUM OF ART.

THE FRICK COLLECTION WILL RESIDE HERE FOR TWO YEARS WHILE ITS HISTORIC BUILDINGS ON EAST 70th STREET UNDERGO RENOVATION.

ONE OF THE WORLD'S FOREMOST COLLECTIONS OF EUROPEAN FINE AND DECORATIVE ARTS, THE FRICK'S HOLDINGS HAVE GROWN OVER THE DECADES, MORE THAN DOUBLING SINCE THE OPENING OF THE MUSEUM IN 1935.

THE COLLECTION ORIGINATED WITH INDUSTRIALIST HENRY CLAY FRICK WHO BEQUEATHED HIS GILDED-AGE MANSIONS, ALONG WITH SCULPTURE AND ARTS, TO THE DEPARTMENT.

ALONG WITH THE LAVISH SETTINGS, WORKS HERE HAVE BEEN PLACED MOST THOUGHTFULLY IN THE MODERNIST BUILDING DESIGNED BY MARCEL BREUER.

UNLIKE HOW THEY'RE SHOWN AT THE FRICK MANSION, THEY ARE ORGANIZED HERE CHRONOLOGICALLY AND BY REGION, ALLOWING FOR FRESH COMPARISONS AND NEW INSIGHTS.

THEY INCLUDE THE WORKS WE ARE ALL FAMILIAR WITH, FROM BELLINI TO HOLBEIN TO VERMEER, TARGONEL, WHISTLER, AND SO MANY HERE.

FRICK ALSO HAD AN AFFINITY FOR THE SPANISH MASTERS.

HERE IN THE SPANISH GALLERY IS AN UNPRECEDENTED ARRANGEMENT OF NINE PAINTINGS BY EL GRECO, GOYA, AND MURILLO.

WORKS SUCH AS THESE WOULD HAVE TYPICALLY BEEN SCATTERED THROUGHOUT THE MANSION BUT ARE PRESENTED HERE AT FRICK MADISON TO REFLECT ONE ANOTHER, TO BE IN CONVERSATION WITH EACH OTHER.

THEY INCLUDE 'KING PHILIP IV OF SPAIN,' 'ANASTASI,' 'THE PURIFICATION OF THE TEMPLE,' AND 'ST. JEROME.'

FOUR PAINTINGS BY GOYA INCLUDING 'PORTRAIT OF A LADY,' 'THE FORGE,' AND 'AN OFFICER.'

FINALLY, SELF-PORTRAIT BY MORILLO.

WORKS BY ITALIAN MASTERS ARE ALSO WELL REPRESENTED IN THE FRICK'S COLLECTION WITH VENETIAN 18th CENTURY PAINTINGS BY GUARDI AND TIEPOLO.

VISITORS WILL ENCOUNTER GRAND AND CONTRASTING WORKS OF THE RENAISSANCE BY TITIAN, BRONZINO.

MANY CONSIDER BELLINI'S 'ST.

FRANCIS IN THE DESERT' TO BE ONE OF THE GREATEST RENAISSANCE PAINTINGS IN THE U.S., ARGUABLY THE MOST BELOVED OF THE FRICK.

GENERATIONS HAVE SOUGHT OUT THIS MAJESTIC WORK TO CONTEMPLATE THE MEANING INCLUDED IN THE COMPLEX LANDSCAPE.

HERE IT IS SHOWN IN ISOLATION IN A SPACE ALLOWING THE NATURAL LIGHT OF THE CITY INTO THE ROOM.

WITH STAGES AND STUDIOS IN NEW YORK DARK FOR THE PAST YEAR, THIS HAS BEEN AN ESPECIALLY CHALLENGING TIME FOR PERFORMING ARTS ORGANIZATIONS.

LAST FALL, RISING TO THIS ONGOING CHALLENGE, AMERICAN BALLET THEATER BEGAN CREATING QUARANTINED BALLET BUBBLES TO SAFELY BRING DANCERS AND CHOREOGRAPHERS TOGETHER AGAIN.

ABT ARTISTS IN RESIDENCE JOINED DANCERS IN SILVER BAY, NEW YORK, EARLIER THIS YEAR TO CREATE A NEW WORK.

THIS SPRING, THE COMPANY RETURNS TO NEW YORK CITY CENTER FOR DIGITAL PROGRAM FILMED ON STAGE.

'ABT LIVE FROM CITY CENTER' WILL FEATURE SEVERAL WORKS BY THE ACCLAIMED CHOREOGRAPHER INCLUDING THE WORLD PREMIERE OF HIS 'BERNSTEIN IN A BUBBLE' SET TO THE MUSIC OF LEGENDARY COMPOSER LEONARD BERNSTEIN.

THE PROGRAM WILL BE AVAILABLE ON DEMAND MARCH 23rd TO APRIL 18th.

ON OUR PROGRAM TONIGHT, WE LOOK BACK AT LIFE IN THE STUDIO BEFORE THE PANDEMIC WITH SOME AMERICAN BALLET THEATER'S BRIGHTEST STARS WHO HAVE SHARED OVER THE YEARS THE INVALUABLE GUIDANCE OF THEIR COACH, IRINA KOLPAKOVA.

DURING HER TIME AT THE KIROV BALLET SHE WAS LEGENDARY, HAVING DANCED WITH RUDOLF NUREYEV AND BARYSHNIKOV, SHE PERFORMED WELL INTO HER 50s AND WON THE HIGHEST AWARDS IN HER COUNTRY.

WHEN THE SOVIET UNION COLLAPSED IN 1991, BARYSHNIKOV, ARTISTIC DIRECTOR OF AMERICAN BALLET THEATER, INVITED HER TO TEACH HERE.

SO WHAT CAN A COACH LIKE IRINA PROVIDE TO DANCERS WHO ARE ALREADY AT THE TOP OF THEIR ART FORM?

SHE CAN GUIDE THEM TOWARDS INHABITING THE EMOTIONAL LIFE OF THE CHARACTERS THEY PERFORM.

PART MENTOR, CONFIDANT, AND TRUSTED FRIEND, A COACH LIKE IRINA CAN SUPPORT DANCERS TO BE THE VERY BEST THAT THEY CAN.

TWO, THREE, FOUR, FIVE, SIX, SEVEN --

IRINA'S OFFICIAL TITLE IS BALLET MISTRESS OF AMERICAN BALLET THEATER.

A BALLET MISTRESS OR MASTER IS BASICALLY IN CHARGE OF A CERTAIN PORTION OF THE REP, OF THE REPERTOIRE WE DO.

IRINA IN PARTICULAR, HER QUALITIES AS A COACH ARE ONE THAT PRIMARILY TAKES THE MATERIAL THAT YOU PRESENT HER AND TRIES TO PUT IT THROUGH A LENS FOR THE DANCER TO SEE MORE CLEARLY AND UNDERSTAND WHAT IT IS THEY'RE ACTUALLY DOING.

AND IN THAT PROCESS SOMEHOW, IT IS BEING A SUPPORT SYSTEM FOR AN ARTIST, BUT AT THE SAME TIME, SHE TRIES TO TEACH THEM HISTORY LESSONS AND WILL TELL STORIES FROM HER YOUTH AND HER BACKGROUND.

♪♪ ♪♪

FIVE YEARS I STUDIED IN OUR LENINGRAD CONSERVATORY.

IT WAS VALUABLE.

I THINK BEST SCHOOL IN THE WORLD.

IF YOU TALK OF A PERFORMING ART, THEY'RE ATTACHED TO COUNTRIES.

HIKE IF YOU SAY THEATER, YOU THINK BRITISH.

YOU SAY OPERA, YOU THINK ITALIAN.

YOU SAY BALLET, YOU THINK RUSSIA.

BALLET IS THE NATIONAL SPORT.

AND IRINA IS THIS WONDERFUL INDIVIDUAL WITH AN INCREDIBLE KNOWLEDGE OF TRAINING, SHE WAS VAGANA OF 'LAST PUPIL,' IN FACT.

VAGANA WAS A WORD AT THAT TIME, WHERE I WORKED, VERY GOOD DANCER.

SHE WAS SMART, JOURNALIST, ALL THIS ABOUT MOVEMENT.

SHE TOLD US, USE ALL PARTS OF YOUR BODY IN ANY STEP.

NOT ONLY LEG, NOT ONLY EYES, NOT ONLY -- ALL TOGETHER.

ALL TOGETHER, EVEN START FROM THE INSTEP.

LEG SUPPOSED TO BE VERY STRONG.

NECK SUPPOSED TO BE ABSOLUTELY FREEDOM.

AND YOU USE ALL OUR BODY.

♪♪ ♪♪

IRINA HAS SOMETHING SPECIAL WHERE I THINK SOMETHING THAT MADE HER AN INCREDIBLE DANCER WAS THE WAY SHE USED HER UPPER BODY AND HER ARMS.

NOT EVERY DANCER CAN REALLY EXPLAIN HOW TO DO IT.

AND SHE HAS THAT GIFT.

YOU HAVE ONE COACH FOR ALL THE ROLES.

AND FOR WHO KNOWS YOU IN AND OUT.

WHO MIGHT NOT KNOW THE CHOREOGRAPHY IN AND OUT, BUT KNOWS YOU VERY WELL.

SHE APPLIES THIS SPECIAL ATTENTION TO ACTUALLY ALL THE DANCERS.

SHE NURTURES AND REHEARSES WITH THEM.

SHE REHEARSES WITH ME MOSTLY ON THE MORE CLASSICAL REPERTOIRE.

BUT AT THE SAME TIME, SHE'S ONE OF THE PEOPLE WHOSE OPINION I TRUST THE MOST IN THE WORLD.

ARMS.

START.

WILL GO UP.

WHEN ONE IS A COACH OF THIS LONGSTANDING CALIBER, SHE'S TAKEN DANCERS NOW THROUGH THEIR CAREERS.

SO INDEED DOES BECOME A FORM OF A LIFE COACH.

FOR SOMEONE STANDING IN FRONT OF YOU, ISN'T REALLY UP TO PAR THAT DAY, EVERYBODY HAS A BAD DAY.

IF IT'S THE THIRD DAY IN A ROW YOU HAVE TO GO, OKAY, WHAT'S GOING ON?

FRIEND, COACH.

AND WHEN SOMEBODY CRYING, YOU NEED TO TAKE OUT OF THAT FEELING.

HELP.

IT'S HARD.

IT'S HARD WORK.

SHE UNDERSTANDS WHAT IT IS TO BE A WOMAN AND A BALLERINA AND TO NOT BE AT YOUR BEST EVERY DAY.

SO ONE OF THE DAYS WHERE YOU'RE JUST BEATING YOURSELF UP, AND I'VE CRIED WITH IRINA MANY TIMES.

SHE REMINDS YOU THAT, THIS IS GOING TO BE OVER SOON.

THIS CAREER, IT DOESN'T LAST LONG.

ENJOY EVERY SECOND OF IT.

BUT ALSO REMEMBER THAT YOU'RE A HUMAN AND YOU'RE GOING TO GO ON AND YOU'RE GOING TO BE A MOTHER AND YOU'RE GOING TO HAVE BABIES AND YOU'RE GOING TO -- YOU KNOW, SHE JUST REMINDS YOU OF THE HUMANITY OF WHAT WE DO.

♪♪ WE WILL NEVER PERFECT WHAT WE'RE STRIVING FOR EVERY SINGLE DAY IN BALLET CLASS AND IN REHEARSAL AND ON THE STAGE.

BUT THE POINT OF IT IS TO -- JUST TO CONTINUE TO STRIVE TO BE BETTER.

THAT THERE'S SOMEONE, WHETHER IT'S THE TEACHER, THE BALLET MISTRESS, THE ARTISTIC DIRECTOR, WHOEVER IT IS, IS THERE TO WATCH.

TO SEE IF THERE'S SOMETHING THAT MAYBE YOU'RE DOING THAT WILL CAUSE AN INJURY.

IF THERE'S SOMETHING THAT YOU'RE DOING THAT THEY CAN HELP MAKE EASIER OR MAKE WORK BETTER.

THOSE ARE ALL CORRECTIONS.

BUT I THINK IT JUST MAYBE SOUNDS A LITTLE MORE NEGATIVE THAN IT IS.

ALL DANCERS FEEL THAT THEY'RE NOT GOOD ENOUGH.

THE GOOD DANCERS, AT LEAST, DO, IN MY OPINION.

BECAUSE IF YOU'RE HUMBLE, IT PUSHES YOU FORWARD.

AND YOU AUTOMATICALLY LOOK FOR THINGS WHICH ARE WRONG AND WHICH COULD BE BETTER.

WE AS DANCERS ARE OUR OWN PRODUCTS.

SO YOU'RE CONSTANTLY, WITH EVERY TIME YOU STEP ON STAGE, YOU HAVE TO PROVE YOURSELF.

AND YOU HAVE TO GET BETTER.

IF NOT IN A TECHNICAL WAY, YOU HAVE TO DO IT IN AN ARTISTIC WAY.

I THINK THAT FEMALE DANCERS DO GET EVEN MORE OUT OF HER THAN I DO.

AND I'M, YOU KNOW, A LITTLE SAD.

BECAUSE I WISH I WOULD HAVE SOMEBODY LIKE THAT WHO REALLY DANCES THE ROLES I DANCED.

THERE ARE NO NOTES.

I MEAN, THAT'S WHAT BALLET IS.

IT'S KEPT IN YOUR HEAD.

UNLESS A FILM.

BUT EVEN A FILM, YOU'RE GETTING SOMEONE'S INTERPRETATION OF THOSE STEPS.

THAT'S THE QUIRKY THING ABOUT BALLET AND BEING A GOOD COACH IS THAT YOU HAVE TO ALLOW PEOPLE NOT TO DO IT LIKE YOU DID IT, BUT TO FIND THE TRUTH IN IT FOR THEMSELVES, SO THEY CAN GIVE THEIR INDIVIDUAL INTERPRETATION.

AND THAT'S WHY PEOPLE LIKE IRINA ARE SO INVALUABLE.

THEY HAVE INCREDIBLE RESPECT AND LOVE OF THE MATERIAL.

AND SHE'S ABLE TO KEEP TRACK OF AN AMAZING AMOUNT OF VERSIONS OF THE SAME BALLET.

WHAT YOU WANT TO DO AS A COACH FOR THEM IS TO TEACH THEM WHAT THEY KNOW AS BEST THEY CAN KNOW IT, TO THE DEGREE WHERE THEY COULD SIT IN THE FRONT OF THE ROOM AND COACH SOMEONE ELSE.

THAT'S THE OBJECTIVE.

THAT YOU'RE GOING TO CARRY THIS ON.

I WAS DOING 'SWAN LAKE,' ODETTE, AND WE WERE IN THE STUDIO, LAST REHEARSAL FOR MY SHOW.

AND I WAS JUST STANDING THERE WATCHING HER SHOW ME, YOU KNOW, WHAT IT IS I SHOULD BE DOING, LISTENING TO HER SPEAKING.

AND I JUST STARTED CRYING MY EYES OUT.

AND THEN SOME OTHER DANCERS WALKED IN AND THEY'RE KIND OF LIKE, OH, GOSH.

IT'S THE DAY OF HER SHOW, SHE'S HAVING A MELTDOWN.

I'M BAWLING, STARING AT IRINA.

AND I WAS LIKE, I'M NOT CRYING BECAUSE I'M NERVOUS OR BECAUSE I DON'T FEEL READY, I WAS JUST LIKE, I'M SO GRATEFUL TO HAVE YOU IN MY LIFE.

THIS GENERATION OF YOUTH SHOULD UNDERSTAND, YOU KNOW, JUST RESPECTING OUR ELDERS AND SO MUCH THAT WE CAN GAIN FROM THEM AND THEIR EXPERIENCES.

SO IT WAS JUST LIKE THIS MOMENT THAT I WAS JUST LIKE, I JUST WANT TO HOLD ON TO YOU AND TO EVERY WORD THAT YOU SAY.

I LOVE HER, AND SHE'S GIVEN ME SO MUCH.

IT'S LOVE.

SHE SO LOVES HER DANCERS THAT SHE COACHES AND LOVES HER ART FORM AND LOVES THE ROLES THAT SHE IS WORKING WITH THEM ON AND LOVES THE KNOWLEDGE THAT SHE GOT FROM PEOPLE SHE LOVED, THAT IT'S INFECTIOUS.

♪ ♪♪ ♪ ♪

> NEXT WE'LL TAKE A TRIP TO THE BROOKLYN MUSEUM TO VISIT ITS ARTS OF JAPAN GALLERY.

THE OBJECTS ON VIEW TRACE OVER 2,000 YEARS OF INNOVATION IN JAPANESE ART, INCLUDING BUDDHIST TEMPLE SCULPTURES, PAINTINGS, TEXTILES, AND WOODBLOCK PRINTS.

ALSO ON VIEW CERAMICS THAT REVEAL JAPAN'S 10,000-YEAR HISTORY OF CRAFTSMANSHIP IN THIS MEDIUM.

HERE'S A LOOK AT SOME OF THE HIGHLIGHTS OF THIS EXHIBITION.

WE'VE BEEN CLOSED FOR ABOUT SIX YEARS.

AND WE ARE SO EXCITED TO FINALLY BRING OUT THESE GALLERIES WITH ALL OF OUR BEAUTIFUL TREASURES.

AND TO TELL NEW AND INTERESTING STORIES THAT WE'VE NEVER TOLD WITH THE COLLECTION BEFORE.

THE BROOKLYN MUSEUM IS QUITE UNUSUAL IN ITS LARGE HOLDINGS OF OF MATERIAL FROM THE AINU CULTURE NORTHERN JAPAN.

WE ARE FORTUNATE TO HAVE ROUGHLY 1,000 ARTIFACTS IN THE COLLECTION FROM THE AINU PEOPLE.

THAT RANGES FROM CARVED WOOD OBJECTS TO PERSONAL ORNAMENTS TO COSTUMES, WHAT THEY ACTUALLY WORE.

USUALLY IN A CEREMONIAL SETTING.

AND WE HAVE A NUMBER OF ROBES FROM THE AINU PEOPLE THAT WERE PROBABLY SPECIAL OCCASION ATTIRE.

MOST OF THE ROBES MADE BY THE AINU COSTUME MAKERS WERE MADE OF AN INDIGENOUS FABRIC CALLED ATUSH, WHICH WAS MADE OF BARK CLOTH.

AND IT HAS A TEXTURE KIND OF LIKE BURLAP.

THE ROBE THAT WE'RE SHOWING RIGHT NOW IS UNUSUAL BECAUSE IT'S MADE ENTIRELY OF COTTON.

AND COTTON WAS SOMETHING THAT THEY HAD TO TRADE FOR, BECAUSE THEY COULDN'T GROW COTTON UP IN THE NORTHERN CLIMES OF HOKKAIDO ISLAND.

SO COTTON AS A TRADE GOOD WOULD HAVE BEEN A LUXURY ITEM.

THE ROBES THAT WERE MADE ENTIRELY OF COTTON WERE VERY MUCH STATUS OBJECTS.

THIS WONDERFUL, OVERSIZED GREEN HEAD OF A BUDDHIST GUARDIAN FIGURE DATES FROM THE 1200s, FROM THE KAMAKURA PERIOD, WHICH IS A MOMENT WHEN SCULPTURE IN JAPAN BECAME MUCH LIVELIER, MUCH MORE EXPRESSIVE.

THE HEAD IS MUCH LARGER THAN LIFE SIZE AND WOULD HAVE STOOD ATOP A FIGURE ABOUT 12 FEET HIGH.

IT WOULD HAVE BEEN ONE OF FOUR FIGURES MARKING THE FOUR CORNERS OF A PLATFORM AROUND AN EVEN LARGER SEATED BUDDHA AT THE CENTER.

AND THEY WOULD HAVE BEEN REALLY DRAMATIC FIGURES IN THE DARK SORT OF DIM LIGHT OF THE TEMPLE.

YOU WOULD HAVE LOOKED WAY UP TOWARD THE CEILING AND SEEN THE FIGURE'S GLINTING EYES AND WHITE TEETH, AND THEY WOULD HAVE BEEN QUITE INTIMIDATING AND QUITE DRAMATIC.

THE EYES ARE, IN FACT, MADE OUT OF ROCK CRYSTAL THAT'S BEEN PAINTED ON THE REVERSE.

AND THEN INSERTED INTO THE WOOD HEAD.

A FIERCE FIGURE LIKE THIS TO A WESTERN AUDIENCE OFTEN CAN BE MISTAKEN FOR A DEMONIC OR EVIL PRESENCE.

BUT IN FACT, IN THIS BUDDHIST TRADITION, THESE WERE GOOD GUYS.

THEY'RE FIERCE, BUT THEY'RE ON OUR SIDE.

THEY ARE FIGHTING FOR THE RIGHT THINGS.

ONE OF THE GREAT HIGHLIGHTS IN THE NEW GALLERY IS A PAIR OF FOLDING SCREENS THAT DATE FROM ABOUT 1610.

THESE WERE MADE FOR THE INTERIOR OF A CASTLE.

AND THEY HAVE LARGELY GOLD BACKGROUNDS, WHICH WOULD HAVE HELPED TO REFLECT LIGHT IN THE DARK INTERIOR OF THE CASTLE AND MADE THE ROOM SORT OF MORE WARM AND GLOWING.

THE THEME OF THESE TWO FOLDING SCREENS IS DRYING FISH NETS, WHICH IS NOT SOMETHING THAT WE IN THE MODERN WORLD SEE A LOT OF.

BUT BACK IN THE DAYS WHEN FISH NETS WERE MADE OF NATURAL MATERIALS, THERE WAS CONCERN THAT THEY WOULD GET MOLDY, AND OF COURSE IF YOU'RE A FISHERMAN YOU NEED TO THROW THEM, SO YOU NEED YOUR FISHING NET TO BE LIGHTER, NOT SO WET.

SO IT WAS A COMMON SIGHT IN FISHING VILLAGES THROUGHOUT THE WORLD TO SEE NETS HANGING OUT TO DRY.

THAT WAS CONSIDERED EXTREMELY SCENIC, PICTURESQUE, BY ARTISTS AND POETS IN EAST ASIA.

AND SO THEY BECAME A FAMOUS KIND OF ROMANTIC TROPE THAT YOU SEE OVER AND OVER AGAIN IN EAST ASIAN ART.

THE FISHING NETS ARE ON THE SURFACE THE SUBJECT MATTER OF THIS SCREEN.

BUT AS YOU LOOK CAREFULLY AT THE SCREEN, WE SEE THAT IT ALSO REPRESENTS THE FOUR SEASONS.

SO WE'RE GOING TO READ IT FROM RIGHT TO LEFT, WHICH IS HOW JAPANESE IS READ.

SO IF YOU START AT THE FAR RIGHT END, YOU SEE THAT THERE ARE GRASSES GROWING AROUND THE FISHING NETS AND THEY'RE RELATIVELY SHORT.

THEN AS YOU MOVE TO THE LEFT, YOU HAVE TALLER GRASSES.

SO YOU'VE GONE FROM SPRING TO SUMMER.

THE NEXT SCREEN, THE GRASSES ARE A LITTLE BIT BROWN AROUND THE EDGES AND THEY'VE GONE TO SEED.

THAT'S FALL.

IN THE LAR LEFT WE HAVE GRASSES THAT ARE COMPLETELY DECEMBER DATED AND DUSTED WITH A LIGHT DUSTING OF SNOW, AND THAT'S WINTER.

THE BROOKLYN MUSEUM HOUSES A WONDERFUL COLLECTION OF JAPANESE PRINTS, MANY OF WHICH HAVE NOT BEEN OUT ON VIEW IN DECADES.

THIS IS FROM THE SAME SERIES AS 'THE GREAT WAVE,' THE IMAGE BY THE GREAT JAPANESE PRINT DESIGNER HOKUSAI, A SERIES THAT FOCUSES ON MT. FUJI.

THE MOUNTAIN IS SO LARGE THAT YOU CAN HAVE SUNNY BLUE SKIES ON ONE SIDE OF THE MOUNTAIN AND THUNDERSTORMS ON THE OTHER SIDE.

AND THAT IS, IN FACT WHAT WE'RE SEEING HERE.

LIGHTNING AND DARK CLOUDS ON THE FRONT, WHILE THERE ARE BLUE SKIES OFF IN THE DISTANCE.

THE BROOKLYN MUSEUM'S ARTS OF JAPAN GALLERY IS A SPACE THAT WE WILL BE CHANGING MANY TIMES OVER THE COURSE OF THE NEXT SEVERAL YEARS IN ORDER TO SHOW MORE AND MORE OF OUR TREASURES.

AND WE ENCOURAGE PEOPLE TO COME AND MAKE DISCOVERIES OF THEIR OWN.

♪♪

> NEXT WEEK ON 'NYC ARTS,' THE PROFILE OF THE MARTHA GRAHAM DANCE COMPANY WHICH CARRIES ON THE INNOVATIVE SPIRIT OF ONE OF THE MOST INFLUENTIAL ARTISTS OF THE 20th CENTURY.

GRAHAM'S WORK REQUIRES SORT OF THE PERFECT MARRIAGE OF THE PHYSICAL AND THE EMOTIONAL.

HER MOVEMENT IS DESIGNED TO REVEAL THE INNER LANDSCAPE AND REALLY FINDING THAT BALANCE BETWEEN THE PHYSICALITY AND THE EMOTIONAL JOURNEY, WITHOUT BECOMING MELODRAMATIC, IS THE CONSTANT BATTLE.

AND A LOOK AT ONE OF THE HIGHLIGHTS OF THE COLLECTION OF THE AMERICAN FOLK ART MUSEUM.

JEAN MARCEL ST. JACQUES GATHERED THE DETRITUS OF A HIS HOME AFTER HURRICANE KATRINA AND STARTED FASHIONING WHAT HE CALLS WOODEN QUILTS, PAYING HOMAGE TO HIS GREAT BAND FATHER, WHO WAS A HOODOO MAN, AND HIS GREAT GRANDMOTHER, WHO WAS A QUILTMAKER.

THANK YOU FOR JOINING US THIS EVENING.

I'M PETER de MONTEBELLO ON LOCATION AT FRICK MADISON, THE TEMPORARY NEW HOME OF THE FRICK COLLECTION.

GOOD NIGHT AND SEE YOU NEXT TIME.

♪♪ ♪ ♪ ♪ ♪♪ ♪♪

> 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 GUTREC.

ELLEN 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 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 GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941.

LOOKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT