A visit to Frick Madison, the temporary new home of The Frick Collection. Then, a profile of the American Composers Orchestra, ACO, the only orchestra in the world dedicated to the creation, performance, and promotion of music by American composers. And a look at the Arts of China galleries at the Brooklyn Museum.

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> COMING UP ON 'NYC-ARTS,' THE PROFILE OF THE AMERICAN COMPOSER'S ORCHESTRA, THE ONLY ORCHESTRA IN THE WORLD DEDICATED TO THE WORK AND PERFORMANCE OF 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.

AND 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 MUSEUM ARTS OF CHINA GALLERY WHICH HIGHLIGHTS 5,000 YEARS OF CHINESE ARTISTIC ACCOMPLISHMENT.

THE ARTS OF CHINA GALLERY IS SET OFF ROUGHLY CHRONOLOGICALLY WITH THE EARLY MATERIAL AT ONE END AND THE LATER MATERIAL AT THE OTHER END, BUT THERE IS IN FACT A SPRINKLING OF CONTEMPORARY ART THROUGHOUT THE GALLERY.

> 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.

THE 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 PHILLIPE 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 ROYAL.

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 MANSION ALONG WITH HIS PAINTINGS, SCULPTURES AND DECORATIVE ART TO THE PUBLIC FOR THEIR ENJOYMENT.

ACROSS THREE FLYERS OF THE BUILDING, PAINTINGS, SCULPTURE AND DECORATIVE ARTS ARE ORGANIZED LOOSELY BY TIME PERIOD, GEOGRAPHIC REGION, AND MEDIA.

HIGHLIGHTING STRENGTHS IN PARTICULAR SCHOOLS AND GENRE, FRICK MADISON FEATURES GALLERIES DEDICATED TO NORTHERN EUROPEAN, ITALIAN, SPANISH, BRITISH, AND FRENCH ART.

SETTING THE STAGE FOR ROOMS DEVOTED EXCLUSIVELY TO INDIVIDUAL ARTISTS.

THESE NEW GROUPINGS REVEAL UNEXPECTED RELATIONSHIPS BETWEEN SUBJECTS, ARTISTS, AND MEANS OF EXPRESSION.

THE FOURTH FLOOR OFFERS A LOOK AT THE INSTITUTION'S FRENCH WORKS REPRESENTED BY 18th CENTURY ARTIST BOUCHER, CHARDIN, GREUZE AND FRAGONARD.

OF PARTICULAR NOTE ARE THE 14 POINTS OF FRAGONARD'S PROGRESS OF LOVE SERIES, NOW ALL DISPLAYED TOGETHER FOR THE FIRST TIME.

AT FRICK MADISON, THE SERIES IS DISPLAYED TO REFLECT ITS HISTORY AS IT WAS CREATED DURING TWO DISTINCT CAMPAIGNS 20 YEARS APART.

THE INITIAL FOUR CANVASES FROM 1771-'72 ARE SHOWN FOR THE FIRST TIME IN THE ORIGINAL ORDER ENVISIONED BY THE ARTIST WHEN THEY WERE COMMISSIONED BY LOUIS THE 14th MISTRESS.

THEY ARE SHOWN IN THE GALLERY ABOUT THE SAME SIZE AS THEIR INTENDED HOME OUTSIDE PARIS, THIS TIME OVERLOOKING MADISON AVENUE RATHER THAN THE SEINE.

IN AN ADJACENT ROOM ARE ALL THE TEN CANVASES PAINTED BY FRAGONARD 20 YEARS LATER, BUT WHICH HAD PREVIOUSLY BEEN TOO DIFFICULT TO SHOW TOGETHER.

SUCCEEDING GENERATIONS OF FRENCH MASTERS ARE FEATURED IN ANOTHER GALLERY.

THE LANDSCAPE LEADS TO THE FINAL GALLERY THAT DISPLAYS SOME OF THE MOST MODERN WORKS IN THE COLLECTION.

MANET'S BULLFIGHT, AND IMPRESSIONIST CANVASES BY DEGAL, MONET.

ON OUR PROGRAM TONIGHT, WE'LL GO BEHIND THE SCENES WITH THE AMERICAN WITH THE AMERICAN ORCHESTRA, OR ACO, THE ONLY ORCHESTRA IN THE WORLD DEDICATED TO THE CREATION, PERFORMANCE, AND PROMOTION OF MUSIC BY AMERICAN COMPOSERS.

THE ACO'S PHILOSOPHY IS TO GIVE VOICE TO COMPOSERS OF VARIED MUSICAL STYLES AND GENRES, ALLOWING AUDIENCES TO EXPERIENCE NEW HYBRIDS.

WRITING FOR SYMPHONY REMAINS ONE OF THE GREATEST CHALLENGES FOR THE COMPOSER, AND OPPORTUNITIES FOR HANDS-ON EXPERIENCE WORKING WITH AN ORCHESTRA ARE RARE.

ACO'S ANNUAL UNDERWOOD NEW MUSIC READINGS GIVES AUDIENCES A CHANCE TO LOOK BEHIND THE SCENES, BRINGING NEW DIVERSE ORCHESTRAL MUSIC TO LIFE.

EACH YEAR A HANDFUL OF EMERGING COMPOSERS ARE SELECTED FROM HUNDREDS OF SUBMISSIONS TO PARTICIPATE IN THE UNDERWOOD READINGS, RECEIVING VALUABLE MENTORS AND FEEDBACK FROM PROFESSIONAL COMPOSERS, CONDUCTOR, AND THE ORCHESTRA PLAYERS THEMSELVES.

IN 2018, 'NYC-ARTS' CAPTURED THESE FINAL READINGS WHICH WERE OPEN TO THE PUBLIC AT NYU'S FREDRICK LOW THEATER.

AT STAKE, TWO $15,000 COMMISSIONS TO WRITE NEW WORKS FOR ACO.

ALTHOUGH THE ACO'S NEW MUSIC READINGS ARE POSTPONED FOR THIS YEAR, THE ORCHESTRA LOOKS FORWARD TO RETURNING WHEN IT IS SAFE FOR ARTISTS AND AUDIENCES.

[ APPLAUSE ]

SO MY NAME IS LILIA OGAI, AND I'M FROM DAGESTAN, BUT I'M HALF RUSSIAN, HALF KOREAN, AND I LIVE IN THIS COUNTRY FOR EIGHT YEARS SO FAR.

VERY OFTEN I WRITE MUCH MORE SORT OF RUSSIAN STYLE, DRAMATIC PIECES.

AND WITH THIS ONE, RHAPSODY IN COLOR, I DECIDED TO GO A DIFFERENT DIRECTION AND BE LIGHT AND PLAYFUL AND IN A CERTAIN WAY REFLECT FROM ME THE INFLUENCE OF AMERICAN MUSIC.

IT ALMOST FEELS QUITE INCREDIBLE BECAUSE UNLIKE PAINTERS WHO CAN JUST PAINT THE PICTURE WITH ALL THE COLORS, WE AS COMPOSERS IMAGINE OUR SOUNDSCAPE, BUT WE CANNOT HEAR IT LIVE UNTIL WE ACTUALLY HEAR IT LIVE.

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

THEY WROTE IT ALL DOWN.

AND NOW THEY'VE 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.

IT CAN BE DIFFICULT NOT TO FEEL NERVOUS AND NOT NOTICE MISTAKES OR SMALL THINGS THAT YOU WOULD LIKE TO BE BETTER, AND JUST TO PERCEIVE IT THE WAY THE LISTENER WOULD.

I FEEL FOR EVERY COMPOSER WHO IS GETTING A FIRST PERFORMANCE, BECAUSE I JUST KNOW HOW I FELT THE FIRST TIME AN ORCHESTRA PIECE PLAYED.

IT WAS SO INCREDIBLY FRIGHTENING, AND YET EXHILARATING.

IT WAS LIKE THE GREAT FREIGHT TRAIN JUST RAN OVER YOU.

♪♪

WELL, I THINK THIS PROGRAM IS JUST FANTASTIC BECAUSE COMPOSERS NOT ONLY GET THE FEEDBACK FROM THE MENTOR COMPOSERS, BUT THEY ALSO HAVE THE FEEDBACK FROM THE PLAYERS FROM THE ORCHESTRA.

AND I THINK THAT'S EXTREMELY IMPORTANT.

MAYBE A LITTLE MORE FORCE IN THE PIANO.

AS FAR AS THE READINGS GO, WE ARE ENCOURAGING THESE YOUNG NEW COMPOSERS, AND OFTEN THE MARKS THAT THEY DO PUT ON THE PAPER ARE NOT AS CLEAR AS THEY NEED TO BE.

AND SO IT'S A LITTLE BIT OF A TEACHING ROLE TO SAY WELL, IF THAT'S WHAT YOU WANT TO HEAR, THEN THIS IS WHAT WE NEED TO SEE.

♪♪ [ APPLAUSE ]

HELLO, EVERYONE.

MY NAME IS LILLY CHIN.

MY PIECE IS INSPIRED BY BOTH BEAUTIFUL SOUNDS, BEAUTIFUL AND SOME TERRIFYING MOMENTS.

♪♪

LILLY CHIN IS A WONDERFULLY CREATIVE COMPOSER FROM TAIWAN WHO NOW LIVES IN THE BAY AREA AND IS ATTENDING UNIVERSITY OF CALIFORNIA AT BERKELEY.

HER MUSIC USES MANY, MANY EXTENDED TECHNIQUES.

SO YOU'LL SEE THE STRING PLAYERS TAPPING.

YOU'LL SEE SOME STYROFOAM CUPS BEING USED.

SO SHE'S EXTREMELY CREATIVE AND SHE HAS A SENSIBILITY OF AN EXPERIMENTAL COMPOSER.

AND SHE'S TRYING TO SQUARE THAT WITH WRITING FOR A LARGE ORCHESTRA.

HI, GOOD EVENING, EVERYONE.

MY NAME IS RYAN AND I'M EXCITED FOR YOU ALL TO HEAR MY PIECE.

RYAN'S PIECE IS BEAUTIFULLY ORCHESTRATED AND IS A PIECE ABOUT ROBOTS.

SO YOU'LL HEAR A KIND OF MECHANICAL QUALITY ABOUT THIS PIECE.

WHAT'S GREAT ABOUT THIS ORCHESTRA IS THESE PLAYERS, THESE MUSICIANS ARE SO QUICK TO CATCH ON WITH THE GESTURES AND TRICKY RHYTHMS.

THESE GUYS EAT IT UP RIGHT AWAY.

SO THAT'S ONE OF THE REASONS THAT I THINK THE AMERICAN COMPOSERS ORCHESTRA IS UNIQUE AND SPECIAL WITH THIS PARTICULAR THING THAT WE DO WITH EMERGING COMPOSERS.

OUR FIRST PIECE IS BY SOPHIA.

WELL, YOU CAN TELL THEM.

EDUCATION IS A VERY IMPORTANT PART OF WHAT WE DO AT ACO.

WE LIKE TO THINK THAT WE'RE ALL ABOUT GIVING COMPOSERS ACCESS AT DIFFERENT PHASES.

AT THE VERY YOUNGEST PHASE WHEN THEY'RE STILL IN JUNIOR HIGH SCHOOL, HIGH SCHOOL, WHEN THEY'RE JUST STARTING TO WRITE MUSIC, AND THEY'RE TRYING TO FIGURE OUT WHAT TO DO.

THAT'S WHEN WE HAVE OUR EDUCATIONAL PROGRAMS LIKE COMPOSE YOURSELF.

♪♪

REVISE THE PIECE.

I WOULD CONSIDER PUTTING IN THE MARGIN --

AT THE PHASE WHEN COMPOSERS ARE JUST ABOUT TO EMBARK ON THEIR PROFESSIONAL CAREER, WE HAVE THE UNDERWOOD READINGS.

LOOK AT THE PIECES SO INTENSELY GESTURAL.

THAT'S A GREAT SUGGESTION.

AND THAT'S ONE OF THE PARTICULARLY GRATIFYING THINGS ABOUT THE UNDERWOOD READINGS IS IT'S YOUNG COMPOSERS WHO ARE HERE TO LEARN AND THAT WE GIVE THEM THIS POSITIVE FEEDBACK, HOPEFULLY POSITIVE.

BUT CRITICISMS.

WE CAN CERTAINLY BE FRANK ABOUT WHAT'S WORKING.

CARLOS HAS BEEN REALLY INTERESTED IN DIVIDING THE ORCHESTRA INTO A THIN CURTAIN OF SOUND.

HE COMES FROM AN INTERESTING MUSICAL BACKGROUND BECAUSE HE WAS INTO HEAVY METAL WHEN HE WAS YOUNGER.

SO HE DRAWS FROM A VERY WIDE PALATE OF SOUNDS.

CARLOS, YOU ALSO WIN THE PRIZE FOR THE LARGEST SCORE.

GOING TO TURN AROUND ONCE HE STARTS THE PASSAGE AND SEE IF THE TEMPO IS WHERE HE WANTS TO BE.

TOMAS WANTED THIS PIECE TO JUST BE A BIG RUSH OF SOUND.

♪♪ AND HE WANTS TO SEE THE ORCHESTRA FUNCTIONING AT THEIR MOST INTENSE LEVEL.

AND I THINK YOU REALLY HEAR THAT IN HIS PIECE.

IS THE BASELINE TOO LOUD?

DO YOU LIKE IT?

OKAY.

PERFECT.

THE REAL QUESTION IS WHY WRITE FOR ORCHESTRAS?

WHAT'S UNIQUE ABOUT THE ORCHESTRA?

AND WHAT CAN YOU SAY UNIQUELY?

WHAT CAN YOU BRING AS AN ARTIST?

ONE OF THE COMPOSERS WILL GET A COMMISSION, BUT I DON'T LIKE TO THINK OF THIS AS A COMPETITION BECAUSE WHEN THERE ARE SIX SCORES CHOSEN OUT OF ABOUT 240, THEN EVERYONE REALLY IS A WINNER.

EVERY COMPOSER WILL COME OUT OF THIS READING WITH A UNIQUE AND ONCE IN A LIFETIME EXPERIENCE.

AND THAT'S WHAT MATTERS FOR US.

AND THAT'S WHAT ACO IS ALL ABOUT.

♪♪ ♪♪

FOR MORE INFORMATION ON CULTURE EVENTS IN OUR AREA, PLEASE SIGN UP FOR OUR FREE WEEKLY EMAIL AT NYC-ARTS.ORG/EMAIL.

TOP FIVE PICKS WILL KEEP YOU UP TO DATE ALL YEAR ROUND, AND BE SURE TO CONNECT WITH NYC ARTS ON FACEBOOK, INSTAGRAM, AND TWITTER.

> NEXT WE TRAVEL TO THE BROOKLYN MUSEUM TO VISIT THE ARTS OF CHINA GALLERY.

IT REPRESENTS 5,000 YEARS OF CHINESE ARTISTIC ACCOMPLISHMENTS.

THEY INCLUDE BRONZES, CERAMICS, PAINTINGS, AND SELECTIONS FROM THE MUSEUM'S COLLECTION OF CLOISONNE ENAMELS.

THE INSTALLATION CURRENTLY FEATURES MORE THAN 130 WORKS.

CONTEMPORARY ART IS ALSO AN IMPORTANT PART OF THIS DISPLAY.

SINCE 2014, THE BROOKLYN MUSEUM HAS ACQUIRED OVER 50 CONTEMPORARY PAINTINGS AND SCULPTURES BY ARTISTS OF CHINESE DESCENT.

THE EXPERIMENTAL INK PAINTINGS ON VIEW CHALLENGE AND TRANSFORM CHINA'S TRADITIONAL ARTISTIC PRACTICES.

THERE IS PRESENT DAY CONCERNS SUCH AS URBANIZATION, ENVIRONMENTAL DEGRADATION AND THE RAPID PACE OF CHINESE MODERNIZATION.

THE BROOKLYN MUSEUM IS EXCITED TO WELCOME VISITORS TO OUR NEWLY REINSTALLED ARTS OF CHINA GALLERY.

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 GALLERY.

THIS MAGNIFICENT JAR WITH A DECORATION OF FISH ON IT IS ONE OF THE GREAT MASTERPIECES OF THE BROOKLYN MUSEUM.

IT IS FROM A PERIOD WHEN THEY HAD REALLY MASTERED THE ART OF DECORATING IN COBALT BLUE, BUT THEY HAD NOT YET FOUND A SOURCE OF COBALT IN CHINA.

SO IT HAD TO BE IMPORTED FROM THE MIDDLE EAST.

THE FISH ARE IN FACT SO WELL PAINTED THAT WE CAN RECOGNIZE THE FOUR SPECIES THAT ARE REPRESENTED.

AND IF ONE SAYS THEIR NAMES IN CHINESE IN THE ORDER IN WHICH THEY APPEAR ON THE JAR, IT ACTUALLY SOUNDS LIKE YOU'RE SAYING OUT LOUD THE WORDS HONEST AND INCORRUPTIBLE.

SO WE BELIEVE THAT THIS JAR WAS ACTUALLY MADE FOR A CHINESE CONSUMER, SOMEBODY WHO WOULD HAVE GOTTEN THE PUN, WHICH IS UNUSUAL BECAUSE MOST BLUE AND WHITE CERAMICS IN THIS PERIOD WERE MADE FOR EXPORT, EITHER TO THE MIDDLE EAST OR TO SOUTHEAST ASIA.

THE BROOKLYN MUSEUM HAS AN UNUSUALLY LARGE COLLECTION OF CHINESE CLOISONNE OBJECTS.

THE PIECE THAT WE'RE LOOKING AT NOW IS CALLED A CHAMPION VASE.

IT'S A SHAPE THAT WAS OFTEN USED AS A SORT OF TROPHY CUP OR REWARD THAT WAS GIVEN TO HEROES IN BATTLE TO CELEBRATE THEIR CONTRIBUTIONS TO THE MILITARY.

AND THIS DOUBLE VASE SHAPE IS SOMETHING THAT WAS USED IN ANTIQUITY TO HOLD ARROWS.

OURS IS FAR MORE DECORATIVE THAN THE KINDS OF THINGS THAT WOULD HAVE BEEN USED TO HOLD ARROW, AND IT HAS A WONDERFUL FALCON, WHICH IS OF COURSE A VERY BOLD, STRONG BIRD ON THE FRONT, STANDING ON ONE FOOT.

AND THEN THE WHOLE BODY OF THE VASE IS COVERED IN DECORATIVE PATTERN OF THIS CLOISONNE IN BEAUTIFUL BLUE AND VIOLET AND PINK AND WHITE.

THIS IS ONE OF THE OLDEST OBJECTS IN THE ARTS OF CHINA GALLERY AT THE BROOKLYN MUSEUM, AND IT'S ONE OF THE GREAT MASTERPIECES OF THE COLLECTION.

IT IS A WINE POURING VESSEL THAT WOULD HAVE BEEN USED PRIMARILY IN RITUAL SITUATIONS.

IT DATES TO ABOUT 1100 BC.

SO IT'S QUITE OLD, AND IT'S BEAUTIFULLY, BEAUTIFULLY MADE.

IT IS JUST COVERED WITH PATTERNING AND WITH ANIMALS THAT ARE MORPHING INTO EACH OTHER.

AND THE WHOLE THING IS SHAPE KIND OF LIKE A DRAGON WITH THIS SORT OF SNAGGLE TOOTH GRIN.

AND WHEN YOU POURED IT, THE WINE WOULD COME OUT FROM BETWEEN THE TEETH OF THE MYTHICAL ANIMAL.

THE SHAPE WOULD HAVE BEEN MADE IN CHINA FOR ONLY A VERY BRIEF TIME.

IT'S QUITE AN UNUSUAL SHAPE.

AND AMONG OBJECTS OF THIS SHAPE, THIS IS CONSIDERED A REALLY FABULOUS EXAMPLE BECAUSE THE QUALITY OF THE FINISH IS SO BEAUTIFUL.

INSTALLED NEAR OUR WONDERFUL WINE VESSEL IS THIS WONDERFUL PIECE BY THE NEW YORK-BASED ARTIST JONG HUNG TU.

IT IS, AS YOU CAN SEE, A BRONZE VERSION OF A McDONALD'S BURGER BOX, FRY CONTAINER AND FORK.

IT'S VERY MUCH THE ARTIST'S TAKE ON AMERICAN CULTURE.

THE RITUAL BRONZES ON WHICH ITS DECORATION IS BASED WERE USED IN WORSHIPPING THE ANCESTORS.

THEY WERE OF GREAT IMPORTANCE AND SERIOUSNESS.

AND HERE HE RECREATES SOMETHING THAT IS ABSOLUTELY A THROW AWAY OBJECT, USED FOR FOOD THAT YOU EAT ON THE RUN THAT HAS NO REAL RITUAL SIGNIFICANCE WHATSOEVER.

TO REMIND US OF HOW SORT OF SHALLOW THE EXPERIENCE OF EATING FAST FOOD CAN BE BY COMPARISON WITH THESE MUCH MORE RITUALIZED MEALS THAT TOOK PLACE IN ANCIENT CHINA.

IN AND AROUND THE ARTS OF CHINA GALLERY ARE QUITE A NUMBER OF CONTEMPORARY WORKS THAT REFER TO THE ANCIENT CHINESE PRACTICE OF INK PAINTING.

THE PIECE THAT WE'RE LOOKING AT NOW IS ACTUALLY A VERY OVERT REFERENCE TO A CHINESE LANDSCAPE HAND SCROLL.

THIS IS A PAINTING THAT PEOPLE WOULD LOOK AT BY UNROLLING GRADUALLY, AND IT WOULD ALLOW YOU TO TRAVEL THROUGH A LANDSCAPE VISUALLY.

AND THIS IS A TIME-HONORED FORMAT FOR CHINESE PAINTING, BUT HERE IT'S DONE NOT IN PAINT BUT IN PHOTO MONTAGE.

YOU CAN SEE THAT THE MOUNTAINS AND TREES ARE ACTUALLY COMPOSED OF SKYSCRAPERS AND ELECTRICAL TOWERS.

AND THAT SOME OF THE ROCKS ARE DERELICT FERRIS WHEELS.

THE WHOLE PIECE IS VERY MUCH THE YOUNG ARTIST, YOUNG LYONG'S TAKE OF THE LANDSCAPE TODAY.

THERE ARE SO MANY PIECES IN THE ARTS OF CHINA GALLERY AT THE BROOKLYN MUSEUM THAT WE HAVE NOT SHOWN HERE TODAY, AND I INVITE VISITORS TO COME AND DISCOVER THEM FOR THEMSELVES.

♪♪

> NEXT WEEK ON 'NYC-ARTS,' A VISIT TO THE MUSEUM OF ARTS AND DESIGN FOR A LOOK AT THE EXHIBITION BETH LIPPMAN COLLECTABILITY.

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

IT'S JUST LANGUISHING THERE ON THE TABLE.

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.

AND A PROFILE OF FLUTIST CLAIRE CHASE, WHO HAS HAD A REMARKABLE CAREER IN THE WORLD OF CONTEMPORARY CLASSICAL MUSIC.

THE FARTHEST THING FROM YOUR GRANDMOTHER'S FLUTE RECITAL THAT YOU CAN IMAGINE.

♪♪

THANK YOU FOR JOINING US THIS EVENING.

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

GOOD NIGHT AND SEE YOU NEXT TIME.

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

♪♪

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

I LOVE BEING HERE WITH YOU TOO.

WHERE ARE WE?

WE'RE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

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

AND WHEN I LISTEN TO YIP HARBURG'S LYRICS, THAT'S WHAT I WANT TO DO WITH MY LIFE.

MY PICTURES RESIDE IN VERY INTIMATE, VERY PRIVATE MOMENTS.

MY PRIMARY WAY OF PLAYING PIANO IS BY IMPROVISING.

YOU ARE IN SOME RESPECTS 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 LEARNED IS THAT MATISSE USED PENS TO COMPOSE HIS WORK.

YOU ALWAYS ARE SURPRISED WHEN YOU'RE AN OPERATOR AND YOU'RE DOING A PIECE THAT IS 100 YEARS AGO, AND OH, MY GOSH, THIS COULD BE NOW.

THE CARDBOARD GUITAR IS THE VERY FIRST OF THAT MOMENT OF REALIZATION.

SUDDENLY 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 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.

THE 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