A visit to Frick Madison, the temporary new home of The Frick Collection. And a look at the brand new Moynihan Train Hall, a reimagined public space and a source of civic pride to New Yorkers, and works commissioned for the site by New York State in partnership with Public Art Fund. Then, a visit to The Morgan for “David Hockney: Drawing from Life,” and The Met for a work by Louise Nevelson.

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♪♪

> COMING UP ON 'NYC ARTS,' A LOOK AT THE BRAND-NEW MOYNIHAN TRAIN HALL, A REIMAGINED PUBLIC SPACE AND A SOURCE OF CIVIC PRIDE TO NEW YORKERS.

THEY'VE CREATED A WORK THEY'VE CALLED 'THE HIVE.'

A SCULPTURE THAT HANGS DOWN FROM THE CEILING COMPRISED OF DOZENS OF HIGH RISE BUILDINGS OF ALL SHAPES AND SIZES.

THEY'VE SORT OF BEEN INSPIRED BY BUILDINGS FROM ALL OVER THE WORLD, AS WELL AS THEIR OWN ARCHITECTURAL INVENTIONS.

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

DAVID HOCKNY, SOMEONE WHO SIMPLY IS WORKING ON DOING SOME DRAWING EVERY DAY.

SO HOW TO GET YOUR HANDS AROUND SUCH A HUGE OUTPUT OF WORK.

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

> AND A TRIP TO THE METROPOLITAN FOR A LOOK AT THE MUSEUM'S COLLECTION OF POST-WAR AND CONTEMPORARY ART.

THIS SPECTACULAR SCULPTURE BEHIND ME IS TITLED 'MRS. N'S PALACE.'

IT'S ONE OF THE GREAT WORKS BY THE AMERICAN SCULPTOR LOUISE NEVILLE SON.

> 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.

ELROY 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 SWANNGALLERIES.COM.

♪♪ ♪♪

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

I'M PETER de MONTEBELLO ON LOCATION AT THE FRICK MADISON, THE TEMPORARY NEW HOME OF THE FRICK COLLECTION LOCATED AT MADISON AVENUE AND 75th STREET.

FRICK MADISON OCCUPIES THE FORMER SITE OF THE WHITNEY MUSEUM OF AMERICAN ART, AND MORE RECENTLY, THE MET BOYER.

THE FRICK COLLECTION WILL RESIDE HERE TWO YEARS WHILE ITS HISTORIC BUILDINGS UNDERGO RENOVATION.

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 MANSION ALONG WITH ITS PAINTINGS, SCULPTURES, AND DECORATIVE ARTS TO THE PUBLIC FOR THEIR ENJOYMENT.

IN THE DEPARTURE FROM THE LAVISH DOMESTIC SETTINGS OF THE FRICK MANSION, WORKS ON VIEW HERE HAVE BEEN PLACED MOST THOUGHTFULLY IN THE MODERNIST BUILDING DESIGNED BY MARCEL BREUER.

UNLIKE HOW THEY WERE 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 HOHLBEIN TO VERMEER, TARGONEL, WHISTLER, AND SO MANY MORE.

WHILE THE FRICK EXPERIENCE HAS BEEN MOST SHAPED BY ITS COLLECTION OF PAINTINGS, AT FRICK MADISON, SCULPTURE AND THE DECORATIVE ARTS ARE PRESENTED INDEPENDENTLY AS WORKS OF ART IN THEIR OWN RIGHT.

TO HIGHLIGHT THE IMPORTANCE OF THESE WORKS, THE FIRST OBJECT A VISITOR ENCOUNTERS ON EACH FLOOR IS A SCULPTURE.

ONE OF THE MOST PROMINENT IS THE BAHBEH ANGEL, GIVEN CENTER STAGE IN A ROOM OF ITS OWN ON THE SECOND FLOOR.

THE ANGEL IS ONE OF THE FRICK'S MOST PRIZED WORKS AND POSSIBLY THE ONLY MONUMENTAL 15th CENTURY BRONZE FRENCH SCULPTURE IN EXISTENCE.

CAST BY A CANON MAKER, THE BARBER ANGEL STANDS ATOP A COLUMN WHICH INVITES VISITORS TO MOVE AROUND IT AND APPRECIATE THE SCULPTURE FROM ALL SIDES.

YOU'LL RECALL THAT IT WAS IN THE COURTYARD AT THE FRICK MANSION.

THE THIRD FLOOR INCLUDES A SERIES OF GALLERIES DEVOTED TO DECORATIVE ARTWORKS, ALSO OFFERED IN DRAMATIC DISPLAYS OUT OF THEIR USUAL DOMESTIC SETTING.

CONCENTRATED GROUPINGS OF CLOCKS AND ENAMELS OFFER NEW FOCUS TO PRIZED 17th CENTURY INDIAN CARPETS.

PERHAPS THE MOST STRIKING IS A GALLERY DISPLAYING FLOOR TO CEILING PORCELAIN ORGANIZED BY COLOR RATHER THAN BY FUNCTION, ORIGIN, OR THE DATE OF MANUFACTURE.

THIS BLENDED PRESENTATION UNDERSCORES HOW STRONGLY EUROPEAN TERMS WERE INFLUENCED BY EARLIER AND CONTEMPORARY ASIAN WARES.

ON OUR PROGRAM TONIGHT, WE'LL VISIT THE NEW MOYNIHAN TRAIN HALL, A VISIONARY TRANSFORMATION OF THE NATION'S BUSIEST TRANSPORTATION HUB.

LOCATED ACROSS FROM PENN STATION, THE HALL IS NAMED AFTER SENATOR PATRICK MOYNIHAN WHO FIRST PROMOTED THE IDEA TO RESTORE TO THE AREA OF FORMER GLORY OF THE ORIGINAL PENNSYLVANIA STATION, DEMOLISHED IN THE EARLY 1960s TO MAKE WAY FOR MADISON SQUARE GARDEN.

THE 1914 JAMES FARLEY POST OFFICE IS THE ARCHITECTURAL SISTER TO THE OLD PENN STATION, ALSO DESIGNED BY MEADE AND WHITE.

IT HAS BEEN CONVERTED INTO A STATE-OF-THE-ART 21st CENTURY TRANSIT CENTER FOR LONG ISLAND RAILROAD AND AMTRAK PASSENGERS, AND A GRAND PUBLIC SPACE AND SOURCE OF CIVIC PRIDE FOR ALL NEW YORKERS ALREADY.

THREE INSTALLATIONS WERE COMMISSIONED FOR THE SITE BY NEW YORK STATE IN PARTNERSHIP WITH PUBLIC ART FUND.

IN THE TICKETED WAITING ROOM ADJACENT TO THE MAIN CONCOURSE, STAN DOUGLAS' PHOTOGRAPHIC PANEL S IMAGINATIVELY PAY TRIBUTE TO THE ORIGINAL PENN STATION.

AT THE MID-BLOCK ENTRANCES AT 33rd AND 35th STREETS COLORFUL CEILING INSTALLATIONS BY ARTISTIC DUO ELMGREEN AND DRAGSFAT WELCOME EVERYONE TO THE STATION.

THESE PUBLIC ARTWORKS MAKE MOYNIHAN TRAIN HALL A DESTINATION IN ITS OWN RIGHT, WHETHER OR NOT YOU ARE CATCHING A TRAIN.

NICHOLAS BAUM, DIRECTOR AND CHIEF CURATOR OF PUBLIC ART FUND, TELLS US ABOUT THE ARTISTS AND ARTWORKS SELECTED FOR THE PROJECT.

IT WAS IMPORTANT TO ALL OF US THAT THE ARTWORKS COMMISSIONED FOR THIS WONDERFUL NEW CIVIC LANDMARK WOULD REALLY EXPRESS SOMETHING ABOUT WHERE, WHO, AND WHAT WE ARE.

NEW YORK CITY IS A VIBRANT, OPEN, DEMOCRATIC PLACE.

AND WE WANTED TO REFLECT THAT.

WE WANTED TO REFLECT THE FACT THAT THIS BUILDING BRINGS TOGETHER SO MANY LAYERS OF THE PAST, THE PRESENT, AND THE FUTURE.

AND EACH ARTIST COULD, THROUGH THEIR OWN CREATIVE IMAGINATION, CAPTURE SOMETHING UNIQUE ABOUT THAT.

STAN DOUGLAS HAS CREATED A WORK THAT HE'S CALLED PENN STATION'S HALF CENTURY.

BECAUSE THE ORIGINAL PENN STATION REALLY ONLY EXISTED FOR A HALF CENTURY.

IT WAS AN ICONIC NEW YORK CITY LANDMARK, A MAGNIFICENT BOZAR BUILDING DESIGNED BY MCKIN, MEADE, AND WHITE THAT WAS TRAGICALLY DEMOLISHED.

STAN HAS RECREATED THE INTERIOR OF THE ORIGINAL PENN STATION AND THEN PHOTOGRAPHED PERFORMANCE DRESSED IN PERIOD COSTUME, RE-ENACTING STAN'S OWN REIMAGINATION OF EVENTS THAT HAPPENED.

WHEN YOU LOOK AT THE MOMENTS THAT STAN SHOWS, THEY'RE NOT NECESSARILY WORLD-CHANGING EVENTS.

IT'S MORE QUIRKY MOMENTS THAT MEANT SOMETHING, THAT EXPRESSED THE WAY PENN STATION FUNCTIONED IN THE LIFE OF NEW YORK CITY.

IT WAS A PLACE WHERE THINGS HAPPENED, LIKE AN IMPROMPTU VAUDEVILLE SHOW WHEN PERFORMERS WERE STRANDED HERE OVERNIGHT IN A SNOWSTORM.

OR THE TENDER MOMENTS OF GOOD-BYES WHEN SERVICEMEN WERE GOING OFF TO WAR.

STAN'S WORK FEATURES A NUMBER OF AMAZING PEOPLE, BUT WHO HAVE BEEN LARGELY FORGOTTEN.

EXTRAORDINARY PERFORMERS LIKE BURT WILLIAMS, PIONEERING LABOR ORGANIZERS LIKE ANGELO HERNDON, EVEN A NOTORIOUS CRIMINAL LIKE CECILIO COONEY, THE BOBBED-HAIR BANDIT, STAN HAS REMINDED US ABOUT AND PRESERVED FOR ALL OF US TO UNDERSTAND MORE ABOUT WHAT SHAPED WHO WE ARE TODAY.

WHERE THE WORKS GO IN A SENSE BRINGS A TREMENDOUS ENERGY AND VITALITY TO A CLASSICAL GENRE.

THE RENAISSANCE-STYLE CEILING FRESCO WHICH KAHINDE HAS REINVENTED AS A CONTEMPORARY STAINED GLASS CEILING.

SO IN ANOTHER WAY IT BRINGS TOGETHER THESE IDEAS OF THE PAST, THE PRESENT, AND THE FUTURE.

BECAUSE WHILE IT GESTURES TO ART HISTORY, HIS CHARACTERS ARE CONTEMPORARY NEW YORKERS.

BREAK DANCERS.

PEOPLE WHO ARE ACTUALLY PERFORMING EXTRAORDINARY ACROBATIC, ATHLETIC, CREATIVE GESTURES.

AND AN ART FORM THAT WAS INVENTED IN NEW YORK CITY.

AND THAT WE SEE THESE BLACK BODIES TUMBLING THROUGH SPACE AND FLOATING THROUGH THE AIR.

THUNGREN AND DRAGFORD HAVE CREATED A WORK THEY CALL 'THE HIGHS.'

A SCULPTURE THAT HANGS DOWN FROM THE CEILING COMPRISED OF DOZENS OF HIGH-RISE BUILDINGS OF ALL SHAPES AND SIZES.

WHEN YOU LOOK AT IT YOU START TO THINK, WAIT A MINUTE, I RECOGNIZE THAT BUILDING, THAT LOOKS LIKE THE EMPIRE STATE BUILDING.

OR, DIDN'T I SEE THAT IN LONDON?

OR HONG KONG?

THEY'VE BEEN INSPIRED BY BUILDINGS FROM ALL OVER THE WORLD, AS WELL AS THEIR OWN ARCHITECTURAL INVENTIONS.

I THINK THE ARTISTS CHOSE TO CALL IT 'THE HIGHS' BECAUSE THEY REALLY LOVED THE IDEA OF THE WAY THE CONTEMPORARY MEGA-CITY IS SOMEHOW LIKE A BEEHIVE.

A GROWING, EVOLVING, COMPLEX STRUCTURE.

AND I THINK FOR THEM, A TRAIN STATION AND THE IDEA OF TRAVEL AND EVEN THE IDEA OF NEW YORK CITY IS ABOUT CONNECTIONS.

AND THE ENERGY THAT'S CREATED WHEN PEOPLE COME TOGETHER.

WHAT IS IT THAT TRANSFORMS A PUBLIC SPACE INTO A TRULY CIVIC SPACE?

WHAT IS IT THAT CAPTURES THE SPIRIT OF NEW YORK CITY?

THERE'S NO WAY TO SIMPLY ILLUSTRATE THAT.

BUT A GREAT ARTIST CAN, THROUGH THEIR IMAGINATIVE VISION, THROUGH THEIR CREATIVITY, CREATE SOMETHING THAT DOES CAPTURE SOMETHING ABOUT WHAT IT IS TO BE ALIVE TODAY.

BUT SOMETHING THAT CAN ALSO TELL US SOMETHING ABOUT THE PAST AND SOMETHING ABOUT THE FUTURE.

AND THAT CAN EXIST FOR GENERATIONS TO COME.

> NEXT, WE'LL TAKE A LOOK AT THE WORK OF DAVID HARTNY, ONE OF TODAY'S BEST-KNOWN AND PROLIFIC ARTISTS.

WITH A CAREER SPANNING MORE THAN 50 YEARS, HE HAS CONTINUALLY EXPLORED NEW PRACTICES AND SUBJECT MATTER.

HE'S ALSO NOTABLE FOR HIS LIFELONG DEVOTION TO A SINGLE GENRE.

NOW ON VIEW AT THE MORGAN LIBRARY AND MUSEUM IN MIDTOWN MANHATTAN, IS THE SHOW 'DAVID HOCKNY, DRAWING FROM LIFE.'

IT'S AN EXTENSIVE AND PERSONAL LOOK AT THE BRITISH ARTIST'S EXPLORATION OF PORTRAITURE.

FEATURING ABOUT 100 DRAWINGS OF JUST FIVE SUBJECTS, YOU CAN OBSERVE THE TRAJECTORY OF HOCKNY'S LIFE AND ART.

AT 83 YEARS OLD, HE REMAINS AN INSPIRED DRAFTSMAN.

'NYC ARTS' SPOKE WITH COLIN BAILEY, DIRECTOR OF THE MORGAN LIBRARY AND MUSEUM, ABOUT THIS EXHIBITION.

DAVID HOCKNY, 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 DO COMPASS, HOW TO GET YOUR HANDS AROUND SUCH A HUGE OUTPUT OF WORK?

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

THIS IS A FAMILY ALBUM.

DAVID'S MOTHER, LAURA HOCKNY, WHO DIED AT AGE 99 IN 1999.

HIS GREAT FRIEND CELIA BURTWELL, GREAT FASHION FIGURE, DRESS DESIGNER, WHO'S STILL VERY ACTIVE IN LONDON.

HIS GREAT ENGLISH FRIEND, MAURICE PAINE, WHO'S A PRINTMAKER, WHO WORKED WITH HIM ON ALL OF HIS EARLY WORKS AND CONTINUES TO DO SO.

HIS LOVER, HIS PARTNER, HIS CURATOR, NOW JUST A GOOD FRIEND, GREGORY EVANS, WHOM HE MET REALLY IN THE '70s.

AND THEN FINALLY, DAVID'S MOST CONSTANT TOPIC, MOST CONSTANT SITTER, MOST CONSTANT SUBJECT, HIMSELF.

HE'S BORN IN BRADFORD IN THE NORTH OF ENGLAND.

HE'S FROM A WORKING CLASS FAMILY.

AT 17 HE'S AT ART SCHOOL AND HE'S VERY, VERY CAPABLE.

WE SEE THE EARLIEST DRAWINGS, A SORT OF NATURALISTIC MODE, BUT ALSO THE GREAT EARLY DRAWING OF HIM, THE DANDY WITH HIS GLASSES AND THIS COLLAGE, WHICH IS A NEWSPAPER, WHICH IS FANTASTIC.

AND A SENSE OF IN A WAY KNOWING THE MODERNIST WORLD FROM THE NORTH OF ENGLAND AT 17.

HE WAS A SPONGE.

HE JUST IMBIBED EVERYTHING.

AND THIS WILL CONTINUE WHEN HE GOES TO LONDON, WHEN HE MAKES HIS FIRST TRIP TO NEW YORK, WHEN HE LIVES IN L.A., WHEN HE GOES TO PARIS.

IT'S JUST GROWING ALL THE TIME.

MOST OF DAVID'S PORTRAITS OF HIS MOTHER UNDERSTANDABLY ARE DONE INDOORS.

SHE WAS A HOMEBODY.

BUT THERE'S THIS WONDERFUL POLAROID COLLAGE DONE AT BOLTON ABBY WHICH HAS HER IN A RAINCOAT.

IT'S A WET DAY.

WE SEE THE RUINS OF THE GOTHIC ABBEY BEHIND HER.

WE SEE TOMBSTONES.

THEN IF WE LOOK HARD, AT THE VERY BOTTOM OF THE COMPOSITION, WHICH IS A LARGE COMPOSITION FOR HIM, WE SEE A PAIR OF SUES.

THOSE ARE DAVID'S FEET.

DAVID IS TAKING HIS MOTHER'S PHOTOGRAPH FROM A CERTAIN DISTANCE.

IT WAS AT BOLTON ABBEY.

THERE'S SUCH A LOT OF THE EMOTION IN THAT.

THESE FIVE ARE THOSE HE DREW CONSTANTLY OVER DECADES.

LIKE HE SAID, I'M NOT HAVING TO STRUGGLE TO FIND A LIKENESS, TO GET TO KNOW THE PEOPLE SO WELL, TO HAVE THEM KNOWING HIM SO WELL, HE CAN CAPTURE ALL SORTS OF PSYCHOLOGICAL, VISUAL IDEAS THAT HE'S GOT AN INTEREST IN.

IT'S ALMOST WHAT HE DOES INCLUDE AS MUCH AS WHAT HE DOES INCLUDE THAT GIVES A SENSE OF EVANESCENCE, OF CHARACTER, OF THE MOMENT.

AND PARTICULARLY I THINK WITH CELIA.

THERE'S AN ENORMOUS INTIMACY THAT IS SENSUAL, EROTIC IN A WAY, AND HIGHLY RESPECTFUL OF HER AS THE FIGURE.

DAVID HOCKNY, FROM THE VERY BEGINNING, HAS BEEN OPEN TO NEW TECHNOLOGIES.

ONCE iPADS AND COMPUTERS ARE AVAILABLE TO HIM, HE IS STRAIGHT THERE.

HE LOVES THE FACT THAT HE CAN DRAW IMMEDIATELY ON THE SCREEN.

AND WE HAVE ABOUT 12 OF THOSE MONITORS SHOWING DIFFERENT DRAWINGS AS HE'S MAKING THEM.

YOU MEET DAVID, AND YOU SEE HIM IN A WAY UNVARNISHED, WARTS AND HE HAS A DRY, NORTHERN WIT AND A SLIGHT IRONY.

HE'S ALWAYS BEEN A DANDY.

THESE BLUE EYES AND THE RED BRACES AND HE'S BENDING OVER.

HE'S ACTUALLY DOING WATERCOLOR.

BECAUSE YOU CAN SEE THE BRUSH.

AND IT'S BOTH SLIGHTLY PROFESSORIAL, BECAUSE HE'S LOOKING OVER HIS GLASSES TO YOU.

IT'S A LITTLE VULNERABLE BECAUSE HE'S CAPTURED HIMSELF, IN A WAY, AT WORK.

FOR DAVID, WORK, DRAWING, IS LIKE BREATHING.

ALL EXHIBITIONS TAKE A LONG TIME TO ORGANIZE.

AND THE IDEA WAS TO SHOW DAVID'S DRAWINGS IN A MUSEUM THAT IS SO WELL KNOWN AS THE HOME OF DRAWING.

AND THEN, OF COURSE, THE PANDEMIC CAME.

WHAT WAS COMPLETELY UNEXPECTED WAS WHEN PEOPLE COULD BEGIN TO COME BACK IN SMALL NUMBERS TO MORGAN, THERE WAS A SENSE THAT YOU WERE GETTING TO MEET A NEW GROUP OF PEOPLE.

AND THAT AT THIS MOMENT HAS BEEN AN INCREDIBLE SOLACE.

I'VE HEARD THIS FROM MANY PEOPLE WHO HAVE COME TO SEE THE SHOW.

THEY JUST FEEL THAT THERE'S A CONNECTION.

OF COURSE DAVID MAKES THE CONNECTION, PARTICULARLY WITH THESE FIVE SITTERS, ALL THE TIME.

BUT FROM THIS PARTICULAR CLIMATE, THAT CONNECTION IS EVEN MORE POWERFUL.

♪♪ ♪♪

> NEXT WE VISIT THE METROPOLITAN MUSEUM OF ART FOR A FRESH LOOK AT THE MUSEUM'S COLLECTION OF POST-WAR AND CONTEMPORARY ART.

IT IS CALLED 'EPIC ABSTRACTION' AND INCLUDES LARGE SCALE ABSTRACT PAINTINGS, SCULPTURE, AND OTHER WORKS OF ART.

THE EXHIBIT SEEKS TO BROADEN THE NARRATIVE OF ABSTRACTION, BRINGING TOGETHER SOME 50 WORKS FROM THE MET'S OWN COLLECTION.

REPRESENTED HERE ARE SUCH ICONIC ARTISTS AS JACKSON POLAK, MARK ROTHKO, CARMEN RIVERA, AND MARK BRADFORD.

RANDALL GRIFFEY, CURATOR OF MODERN AND CONTEMPORARY ART AT THE MET, LOOKS AT A SINGLE WORK FROM THE EXHIBITION.

THIS SPECTACULAR SCULPTURE BEHIND ME IS TITLED 'MRS. N'S PALACE.'

AND IT'S ONE OF THE GREAT WORKS BY THE AMERICAN SCULPTOR LOUISE NEVILLE SON.

IT'S COMPOSED AS PIECES AS FAR BACK AS 1964, THOUGH IT WAS ASSEMBLED AS A UNIQUE WORK IN 1977.

THIS IS ONE OF NEVILLE SON'S GREATEST WORKS BUT IT HASN'T BEEN SEEN AT THE MET FOR MANY YEARS.

INSTALLING IT HERE ON THE SECOND FLOOR OF THE MET'S MODERN WING TOOK QUITE AN EFFORT, BUT IT WAS WELL WORTH IT.

THE WORK ITSELF IS COMPRISED OF ABOUT 130 INDIVIDUAL SCULPTURAL COLLAGES.

THESE RELIEF COLLAGES THAT THEN ARE ATTACHED TO A LARGE BOX.

THE SCULPTURE IS COMPRISED OF SCRAPS, OF DETRITUS THAT SHE COLLECTED ALL ACROSS THE CITY, CREATING THESE ABSTRACT, IN MANY CASES, RELIEF SCULPTURES WHICH SHE THEN TREATS PRIMARILY BY PAINTING IN BLACK.

NEVILLE SON DESCRIBED HER MATERIALS AS THE SKIN THAT NEW YORK HAS SHED, AND THAT SHE IS SCAVENING AND GIVING NEW LIFE, MAKING ART THAT'S BOTH IN A WAY ABOUT NEW YORK, BUT ALSO OF NEW YORK.

IN MANY INSTANCES, HER ORIGINAL SOURCE MATERIAL IS DISCERNIBLE WITHOUT MUCH EFFORT.

THERE ARE BOXES FROM FILING CABINETS AND FROM STAIRCASES AND BALUSTRADES WHICH SHE'S REPURPOSED.

PARTS ARE HEAVY IN APPEARANCE AND SORT OF AGGRESSIVE IN EFFECT, BUT OTHER PARTS ARE LYRICAL, ELEGANT, THIN, WHIMSICAL, EVEN.

IN OTHER INSTANCES HER MATERIALS ARE REALLY DIFFICULT OR IMPOSSIBLE TO DISCERN AND REGISTER REALLY AS UNIQUE ABSTRACT SCULPTURE.

THE TITLE DERIVES FROM A COUPLE OF SOURCES.

ONE IS THAT HER NICKNAME IN THE NEIGHBORHOOD WHERE SHE LIVES WAS 'MRS. N.'

AND 'PALACE' IS EVOCATIVE.

SHE INTENDED THIS WORK TO BE HER IDEAL HABITAT, OR A KIND OF SHRINE TO HERSELF.

THIS IS NEVILLESON CREATING HER OWN UNIVERSE, AN ENVIRONMENT THAT'S BASED ENTIRELY ON HER OWN SCULPTURAL PRACTICE AND HER VISION AS AN ARTIST, WHICH IN A WAY TIED WONDERFULLY TO HER DESIRE TO LIVE HER OWN LIFE ON HER OWN TERMS.

♪♪ ♪♪

> NEXT WEEK ON 'NYC ARTS,' THE PROFILE OF THE AMERICAN COMPOSERS ORCHESTRA, THE ONLY ORCHESTRA IN THE WORLD DEDICATED TO THE CREATION AND PERFORMANCE OF MUSIC BY AMERICAN COMPOSERS.

YOU'RE HEARING WHAT'S BEEN IN A COMPOSER'S MIND, WHICH THEY PUT INTO A BIG ORCHESTRAL SCORE.

THEY WROTE IT ALL DOWN.

NOW THEY PUT IT IN FRONT OF THE CONDUCTOR, AND THE CONDUCTOR IS GOING TO BE CONDUCTING THIS IN FRONT OF 60 MUSICIANS WHO ARE MAKING THE MUSIC HAPPEN LIVE FOR THE VERY FIRST TIME.

> AND A LOOK AT THE BROOKLYN MUSEUM'S ARTS OF CHINA GALLERY WHICH HIGHLIGHTS 5,000 YEARS OF CHINESE ARTISTIC ACCOMPLISHMENT.

THE ARTS OF CHINA GALLERY IS SET UP ROUGHLY CHRONOLOGICALLY WITH THE EARLIEST MATERIAL AT ONE END AND THE LATER MATERIAL AT THE OTHER END.

BUT THERE IS, IN FACT, A SPRINKLING OF CONTEMPORARY ART THROUGHOUT THE GALLERIES.

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 DIKER.

THE NANCY SIDEWATER FOUNDATION.

ELROY 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