A visit to the New York Botanical Garden in the Bronx for “KUSAMA: Cosmic Nature,” featuring the work of contemporary Japanese artist Yayoi Kusama. The exhibition reveals her lifelong engagement with the colors, patterns, and cycles of plants and flowers. Also, American Impressionist William Merritt Chase at the Parrish Art Museum; and a work from the collection of the American Folk Art Museum.

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> COMING UP ON NYC ART A VISIT TO THE NEW YORK BOTANICAL GARDEN IN THE BROJS FOR A LOOK AT THE STRIKING INSTALLATION.

COSMIC NATURE.

IT HAS PRESENTED THE WORK IN GARDENS.

NOT TO THIS SCALE.

THE ART WORK ACTUALLY ENHANCES THE NATURAL ENVIRONMENT.

AND VICE VERSA.

AND A TRIP TO THE PARIS ART MUSEUM ON LONG ISLAND EAST END.

IT HAD A LONG AND RICH RELATIONSHIP TO THE LONG ISLAND.

YOU MIGHT SAY HE STAKED HIS CLAIM TO THIS LANDSCAPE EARLY ON AND SAW MORE POSSIBILITY IN THIS THAN THE UNTUTORED EYE.

PLUS A LOOK AT ONE OF THE HIGH LITES IN THE COLLECTION OF THE AMERICAN FOLK ART MUSEUM.

THE CENTER OF THE QUILT IS IN WITH A LARGE LETTER L.

ALSO INCLUDED IS A MUSICAL STAFF AND NOTE.

WHEN SHE AND THE FAMILY MADE THE JOURNEY BY COVERED WAGON INCLUPDED WAS HER PIANO.

> 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 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.

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 13.

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

FIRST REPUBLIC BANK PRESENTS, FIRST BANKS 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, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU'RE A LIFELONG COLLECTOR, A FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.

> GOOD EVENING.

WELCOME TO NYC ARTS.

I'M PAULA ZAHN.

ON TONIGHT'S PROGRAM WE VISIT THE NEW YORK BOTANICAL GARDEN IN THE BRONX.

FOR COSMIC NATURE.

IT FEATURES THE WORK OF CONTEMPORARY JAPANESE ARTIST.

REVEALING HER LIFELONG ENGAGEMENT WITH THE COLORS, PATTERNS AND CYCLES OF PLANTS AND FLOWERS.

SHE LIVED IN NEW YORK CITY BETWEEN 1958 AND 1973.

AND WAS KNOWN AS A PAINTER AND PERFORMANCE ARTIST AT THAT TIME.

TODAY, AT 92 YEARS OLD, SHE'S BEST KNOWN FOR HER WHIMSICAL PUMPKINS.

AND ENGAGING INFINITY MIRROR ROOMS.

VISITORS TO THE GARDEN CAN ENJOY HER WORK.

IN THE LIBRARY.

IN AND AROUND THE CONSERVATORY AND ACROSS THE GARDENS LANDSCAPE.

VIVID DISPLAYS COMPLIMENT THE ART WORK ON VIEW OVER TIME.

MAKING EACH VISIT UNIQUE AS THE SEASONS CHANGE.

WE SPOKE WITH THE GUEST CURE TOR ABOUT HER SINGULAR VISION AND EXHIBITION ON VIEW THROUGH OCTOBER 31.

GARDENS BUT NOT TO THIS SCALE.

THE ART WORK ACTUALLY ENHANCES THE NATURAL ENVIRONMENT.

AND VICE VERSA.

HER VISION OF NATURE IS SOMETHING THAT IS NOT AN OBJECTIVE OF NATURE.

BUT MORE VISCERAL.

IT'S AN EM BODIMENT OF BOTH THE BOTANICAL WORLD AND RELATIONSHIP TO THE COSMIC UNIVERSE.

THE GALLERY BASE IS HER ENGAGEMENT WITH NATURE.

SHE WAS BORN IN 1929 IN THE MOUNTAIN REGION.

AND HER FAMILY OWNED A SEED NURSERY.

FROM AN EARLY AGE SHE WAS EXPOSED TO MANY DIFFERENT KINDS OF FLOWERS AND PERIWINKLE.

SHE NOT ONLY DRAWS THE FLOWERS, BUT THE ANATOMY IS VERY REALISTIC.

YOU'LL SEE A PROGRESSION OF THE WAY THAT HER WORK SHIFTS FROM A VERY REPRESENTATIONAL TO A SURREALIST EXPRESSION.

THERE'S A PAINTING CALLED SELF-PORTRAIT.

SHE MADE IN 1950 WHEN SHE WAS 21.

IT'S A SUNFLOWER WITH A PAIR OF FLIPS FLOATING.

THIS ALMOST HUMAN LIKE CHARACTER SHE ADDS TO THE PLANTS.

MY ETERNAL SOUL THAT'S THE NAME OF THE SERIES OF PAINTINGS SHE BEGAN IN 2009.

AND SHE'S NOW MADE OVER 700 CANVASS.

THERE WAS ONE PIECE CALLED A ALONE BURIED IN THE GARDEN.

AN ABSTRACT PIECE THAT HAS A PATCH WORK OF DIFFERENT COLORS AND BOLD BLACK OUT LINES THAT DIVIDE EACH OF THE PATCH WORK AREAS.

THIS IDEA OF PERHAPS ADAPTING TO REPRESENT THAT.

AS A FLOWER GARDEN.

A FLOWER BED.

SOMETHING THAT WOULD NEVER HAPPEN IN A MUSEUM.

WHEN YOU'RE IN THE CONSERVATORY YOU WILL PASS THE FLOWER BED.

WHICH ARE INSPIRED BY THE PIECE.

PUMPKINS ARE SPECIAL TO HER.

SHE HAS SO MANY DIFFERENT KINDS OF FORMS AND SHAPES.

WE HAVE A HUMAN LIKE CHARACTER.

THE FIRST MEMORY SHE HAS WAS OF HER GRANDFATHER TAKE HER THROUGH THE FIELDS AND DISCOVERING PUMPKINS.

THAT MOMENT OF DISCOVERY WHEN SHE WAS WALKING THROUGH THE MEADOW AND HAPPENED AUPON TA PUMPKIN AND THE OOZE OUT OF THE STEM AND IT WAS A VISCERAL EXPERIENCE.

STARRY PUMPKIN.

A METALLIC MOSAIC.

PINK AND SITUATED INSIDE THE CONSERVATORY.

WITH SEASONAL FLOWERS SURROUNDING IT.

IT LOOKS LIKE A MEADOW.

THAT YOU HAVE COME UPON THIS BEAUTIFUL STARRY PUMPKIN.

AND THEN THERE IS A 16 FOOT SCULPTURE.

BRAND NEW.

CALLED DANCING PUMPKIN.

I THINK MOST PEOPLE MIGHT BE SURPRISED TO SEE IT BECAUSE IT'S IT HAS 11 LEGS.

AND IT ALMOST LIKES LIKE A JELLY FISH OR SPIDER.

IT'S CALLED DANCING PUMPKIN.

THERE'S ONE LEG LIFTED UP AND LOOKS LIKE IT'S ABOUT TO DANCE OFF INTO OUTER SPACE.

AND THEN WE HAVE ONE MIRROR ROOM.

IT'S CALLED PUMPKINS SCREAMING ABOUT LOVE BEYOND INFINITY.

IT'S QUITE INTIMATE.

SMALL PIECE.

AND IT'S IN A VERY DARK SPACE.

IT'S TWO WAY MIRRORS ENCASED CUBE WITH PUMPKINS THAT ARE GLOWING INSIDE.

AND IT'S A VERY INTIMATE EXPERIENCE OF LIKE A VAST FIELD.

YOU HAVE TO FOCUS ON THE REFLECTION.

AND IT WILL JUST START TO EXPAND.

THERE'S A CONNECTION BETWEEN THE BOTANICAL WORLD WITH THE HUMAN TACTILE SENSATION.

AND WITH THIS SUBLIME FEELING OF COSMIC EXPANSION.

ILLUSION INSIDE MY HEART A FREE STANDING MIRRORED CUBE.

BEGINNING OF THE EXHIBITION, PEOPLE WILL BE ABLE TO EXPERIENCE FROM THE OUTSIDE.

AND IT'S AMAZING BECAUSE IT REFLECTS THE BOTANICAL GARDEN AND ALMOST DISAPPEARS.

YOU GO INSIDE, YOU SEE IT'S EXPANSIVE UNIVERSE.

THIS IS 1,500 STAINLESS STEEL.

FLOATING ON WATER.

AND IT REFLECTS THE ENVIRONMENT.

SO IT'S BEAUTIFUL DISPLAY THE WAY THAT THE WIND CURRENT COMPLETELY CHANGES THE ORIENTATION AND THE REFLECTION OF THE DIFFERENT TREES AND WILL QUICKLY CHANGE AS THE SEASONS CHANGE.

THE POKE DOT WHICH SHE'S WELL KNOWN FOR.

IT'S NOT JUST A FLAT DOT.

IT'S A SPHERE.

SHE'S TALKED ABOUT THE POLKA DOT AS A SUN.

OR A MOON.

THERE'S THIS OUT DOOR SCULPTURE THAT WE HAVE HAD IN THE REFLECTING POOL IT'S CALLED I WANT TO FLY TO THE UNIVERSE.

I'M SURE THAT PEOPLE WILL BE VERY SURPRISED BECAUSE IT'S NOT QUITE A FLOWER.

IT'S NOT QUITE AN ANIMAL.

IT'S A MOTIF THAT IS DRAWN FROM ONE OF HER MY ETERNAL SOUL PAINTINGS.

IT'S NOT ONE THING.

THAT IS CHARACTERISTIC OF HER.

PRESENTING HER WORK HERE IS SO DIFFERENT AND ACTUALLY SO ENLIGHTNING.

ESPECIALLY IN THE PANDEMIC.

ERA.

BECAUSE WHAT I THINK A LOT OF PEOPLE REALIZE IS THAT WE ARE ALL VULNERABLE.

AND THERE IS AN ELEMENT OF COEXISTENCE.

HER WORK BETWEEN HUMANS, NATURE AND COSMIC.

AND EVEN WITH LIFE AND DEATH.

LIKE A CYCLE.

> NEXT.

WE'LL VISIT THE PARIS ART MUSEUM ON LONG ISLAND FOR A LOOK AT THE WORK OF AMERICAN IMPRESSIONIST PARENT.

WILLIAM LETTER CHASE.

THE PAINTER AND HIS FAMILY SPENT THE SUMMERS IN L.A. LARGE HOUSE IN THE HILLS OF HAMPTON.

ESTABLISHED THE ARTIST REPUTATION AS AN EXCEPTIONAL LANDSCAPE PAINTER.

A ROTATING SELECTION OF THE ARTIST PAINTINGS CAN BE FOUND IN THE DEDICATED WILLIAM MERIT CHASE GALLERY AT THE MUSEUM.

INCLUDED ARE WORKS BY SOME OF HIS ACCOMPLISHED STUDENTS FROM THE SUMMER SCHOOL OF ART.

I'M THE CHIEF OF ART AND EDUCATION HERE AT THE ART MUSEUM.

DESIGN BUILDING IS LOCATED IN WATER MILL, NEW YORK.

TO THE EAST OF SOUTH HAMPTON VILLAGE ON THE EAST END.

THIS IS THE FIRST TIME THAT WE HAVE HAD DEDICATED SPACE TO SHOW OUR PERMANENT COLLECTION.

AND TO HAVE A DEDICATED GALLERY TO THE WORK OF WILLIAM MERIT CHASE.

THE COLLECTION IS REALLY NOTABLE FOR THE RANGE OF WORK FROM ALL PERIODS.

ESPECIALLY FROM THE PAINTINGS WHEN HE WAS HERE.

AND THE LARGEST COLLECTION IN A PUBLIC INSTITUTION.

IN AMERICA.

HE HAD A LONG AND RICH RELATIONSHIP TO LONG ISLAND.

YOU MIGHT SAY HE STAKED HIS CLAIM TO THE LANDSCAPE EARLY ON.

AND HE SAW MORE POSSIBILITIES IN IT THAN THE UNTUTORED EYE.

HE ONCE SAID HE COULD FIND PICTORIAL GOLD IN THE DRAW OF THE HILLS.

IT WAS IN MANY WAYS A SCRUB LANDSCAPE, ONE THAT HAD BEEN GREATLY ORE LOOKED BY ARTISTS.

HE FIRST CAME OUT IN 1881.

TO SKETCH.

CHASE ADOPTED NOT SO MUCH WHAT YOU MIGHT CALL THE TECHNIQUE OF THE FRENCH IMPRESSIONIST.

BUT THE IDEA OF COMING OUT AND PAINTING MODERN LIFE.

IN 1891, TWO CIVIC MINDED WOMEN IN THE SOUTH HAMPTON AREA WANTED TO START A SCHOOL.

OF ART.

CHASE WAS A VERY WELL KNOWN TEACHER THAT THE ART STUDENTS LEAGUE AND HE WAS A RENOWNED PORTRAIT PAINTER AND READILY ACCEPTED THE INVITATION.

IN 1891 BE THE FOUNDING DIRECT TORT OF THE SCHOOL.

THE HOUSE HAD BEEN BUILT FOR HIM TO BEAUTIFUL DUTCH REVIVAL.

SHINGLE STYLE.

IT'S BECOME FAMOUS HERE ON THE EAST END.

AND HIS WHOLE FAMILY CAME OUT.

HE TAUGHT HERE UNTIL 1902.

AND THE FAMILY CONTINUED TO USE THE HOUSE REALLY UP TO HIS DEATH IN 1916.

THE ARCHIVES IS A REPOSITORY OF DOCUMENTS, LETTERS, AND MOST ESPECIALLY 600 PHOTOGRAPHS.

THAT REALLY DOCUMENT THE ARTIST LIFE, MANY OF THE PHOTOGRAPHS WERE WE KNOW TAKEN BY MRS.

CHASE.

SHE WAS AN AMATEUR PHOTOGRAPHER.

THEY GIVE AN EXTRAORDINARY GLIMPSE INTO WHAT YOU MIGHT CALL A GUILDED AGE SUMMER.

BUT MORE IMPORTANTLY INTO CHASE'S LIFE AND WORK.

THESE PHOTOGRAPHS PARTICULARLY ARE EXTREMELY IMPORTANT BECAUSE MANY OF THE SAME SCENES THAT CHASE DEPICTED ARE VISIBLE IN THE PHOTOGRAPH.

CHASE IS ASSOCIATED WITH THE PAINTINGS THAT HE DID THERE IN THE HILLS.

PAINTING 1895 THE BUSH IS -- HE DID FIND PICTORIAL GOLD.

IN THIS SCRUBBY LANDSCAPE.

I THINK ONE OF THE MOST INTERESTING THINGS ABOUT THAT PAINTING IS OF COURSE THE PRESENCE OF THE HOUSE THAT THEY LIVED IN.

THE THREE DAUGHTERS.

IT IS A COMPLETE LOOK AT THE ARTIST AND HIS LIFE.

I THINK.

HAVING THE DOMESTIC REALM.

THE LANDSCAPE REALM.

THERE'S PERHAPS NO BETTER ENTRY INTO THE CREATIVE LIFE OF WILLIAM MERIT CHASE THAN THIS PAINTING HERE.

FROM AROUND 1900.

ALICE CHASE HIS OLDEST DAUGHTER WAS OFTEN DEPICTED BY CHASE AND IN HIS PAINTINGS.

SHE'S REALLY A SURROGATE FOR THE VIEWER.

INVITING US INTO THE RAREFIED ATMOSPHERE OF THE STUDIO.

THE NOMINAL SUBJECT OF THE PAINTING IS THE STUDIO.

THE TRUE THEME IS THE PAINTING ITSELF.

WE SEE SO MANY OBJECTS THAT BECOME A SELF-PORTRAIT FOR THE ARTIST.

THE PAINTING ON THE EASEL.

THE GLOW OF THE BRICK HE COLLECTED.

UP ENDED PAINT BRUSHES.

THE SKETCH OF THE UPPER LEFT.

AND THE LIGHT COMING THROUGH THE STUDIO WINDOW.

IT'S A COMPLEX ART WITH FAMILY, LANDSCAPE, AND THE MATERIAL WORLD.

I THINK CHASE WAS VERY MUCH A STUDENT YOU MIGHT SAY OF THE LIGHT HERE ON THE EAST END.

HE WAS EXTRAORDINARILY AWARE OF THE LIGHT AT ALL TIMES.

AND HIS PAINTING IS INFUSED WITH THAT PERCEPTION.

WE WOULD WELCOME YOUR VISIT WHEN YOU ARE OUT ON THE EAST END OF LONG ISLAND.

COME TO THE MUSEUM IN WATER MILL, NEW YORK.

TO THE EAST OF SOUTH HAMPTON VILLAGE.

> NEXT WE'LL VISIT THE AMERICAN FOLK ART MUSEUM ACROSS THE STREET IN LINCOLN CENTER.

SINCE 1961 THIS HAS BEEN CELEBRATING THE CREATIVITY OF ARTIST WHOSE TALENTS HAVE BEEN REFINED THROUGH PERSONAL EXPERIENCE RATHER THAN FORMAL ARTISTIC TRAINING.

IT'S COLLECTION INCLUDES 8,000 WORKS OF ART FROM FOUR CENTURIES AND NEARLY EVERY CONTINENT.

HERE'S A LOOK AT ONE OF THE ART WORKS FROM THE MUSEUM 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 CRAZY QUILT MADE BY A WOMAN NAMED -- SHE 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 MEXICO TERRITORIES TO LAS VEGAS.

NEW MEXICO.

THE QUILT THAT SHE MADE PROBABLY IN THE 1880s REFLECTS THE CRAZY QUILT.

THIS WAS A KIND OF CONSTRUCTION THAT WAS INTRODUCED AFTER THE AMERICAN SEN TEN YELL EXPOSITION.

THAT INDRUSED JAPANESE ARTS FOR THE FIRST TIME.

WOMEN SAW PORCELAIN WITH CREASED AND CRACKLE SURFACES AND EXOTIC MOTIVES LIKE SPIDER WEBS AND QUARTER FANSS AND THEY VERY QUICKLY INTRODUCED THIS NEW AS TETIC INTO THE QUILT MAKING.

ONE OF 36 JEWISH FAMILIES IN THE PIONEER FRONTIER COMMUNITY OF LAS VEGAS, NEW MEXICO.

COMING TO AMERICA WITHOUT A TRADITION OF QUILT MAKING AT ALL, INTERPRETED AND ADAPTED THE CRAZY QUILT TO REFLECT THIS NEW THAT WAS INTRODUCED AT THE JAPANESE PAVILION.

THE CENTER OF THE QUILT HAS A LARGE LETTER L.

FOR HER FAMILY NAME LENO.

INCLUDED IS A MUSICAL STAFF AND NOTE.

AND THIS REFLECTS THE MUSICAL BACKGROUND OF HER FAMILY.

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

SHE DID SOMETHING WITH THE BORDERS THAT IS UNUSUAL.

THERE'S A FLORAL BAND ON EACH SIDE OF THE QUILT.

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

IN FACT SHE'S REFLECTING THE SEASONS.

SO THERE ARE AUTUMN LEAVES.

SPRING FLOWERS SUMMER DAISIES AND WINTER SPRAYS.

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

AND SHE CLEARLY TOOK THAT TO HEART.

WHEN SHE DECIDED WHAT MOTIVES AND TECHNIQUES WERE GOING TO BE USED IN HER BEAUTIFUL QUILT.

> FOR MORE INFORMATION ON CULTURE EVENTS IN OUR AREA.

SIGN UP FOR R OUR FREE WEEKLY E-MAIL.

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.

AND NOW -- ANOTHER CHOICE.

I'M IN THE AMERICAN WING AT THE METRO POPPAL MUSEUM OF ART.

WE'RE STANDING IN THE NEW AMERICAN WING GALLERY.

26 NEW SPACES DEVOTED TO ART FROM THE 18th CENTURY THROUGH THE EARLY 19th CENTURY.

I'M HERE TODAY TO TALK ABOUT ARGUABLY THE GREATEST AMERICAN SCULPTOR OF THE LATE 19th CENTURY.

THE METROPOLITAN HAS 50 WORKS BY HIM.

AND WE'RE FORTUNATE TO BE ABLE TO PRESENT HIS WORK IN SUCH A COMPREHENSIVE WAY FROM EARLY CAMEO PORTRAITS TO LOW RELIEF PORTRAITS OF HIS FRIENDS AND FELLOW ARTISTS TO MODELS FOR AND REDUCTION AFTER HIS GREAT CIVIL WAR MONUMENTS.

HE WAS BORN IN IRELAND BUT CAME HERE TO NEW YORK AS AN INFANT.

AND WAS RAISED ON THE LOWER EAST SIDE.

HE BEGAN AT AGE 13 WORKING AS AN APPRENTICE FOR A CAM YES CUTTER.

THAT FUELLED HIS INTEREST IN BECOMING A SCULPTOR.

IN 1867 HE WENT TO PARIS TO STUDY AND TRAINED AT THE -- WHICH WAS REALLY THE FOREMOST TRAINING GROUND FOR STUDENTS ACROSS THE WORLD.

AT THAT TIME.

HE STUDIED IN ROME.

HE CAME BACK TO NEW YORK AND ESTABLISHED A CAREER AS A SCULPTOR OF GREAT CIVIL WAR MONUMENTS.

SOME OF THE BEST KNOWN WORKS IN NEW YORK ARE THE MONUMENT IN MADISON SQUARE PARK AND THE GREAT GUILDED STATUE.

AT 59th STREET AND FIFTH AFTER IN A SPACE CALLED GRAND ARMY PLAZA.

IN 1892 AFTER SHE DIED.

HE RECEIVED A COMMISSION TR A MONUMENT TO HONOR THE CONTRIBUTION TO THE UNION CAUSE.

HE INCORPORATED A FIGURE IN TO A REALISTIC PORTRAIT OF THE PERSON WHO WAS BEING COMMEMORATED.

SO WHILE GENERAL SHERMAN IS MARCHING ON HORSE BACK THE WINGED FIGURE OF VICTOR IS LEADING HIM ON.

MOVING FORWARD WITH THE WIND BLOWN AND IN HER HAND WHICH IS A SYMBOL OF VICTORY.

AND SHE IS REALLY QUITE AMERICAN IN A SENSE.

HE WORKED WITH SEVERAL DIFFERENT MODELS TO CREATE THIS SCULPTURE.

GENERALLY THIS WAS A PROCESS THAT WAS KIND OF -- POSES.

MOST INTERESTING IS THE FACT THAT ONE OF THE MODLES WAS A WOMAN WHO WAS AN AFRICAN-AMERICAN WOMAN FROM SOUTH CAROLINA.

AND HE WORKED WITH HER FREQUENTLY AND SAID SHE HAD A FIGURE LIKE A GODDESS.

HE WAS A REAL PERFECTIONIST.

IN THE CASE OF THE VICTORY HE ARRANGED DRAPERIES ON FOUR DIFFERENT MODELS AND TOOK SOMETHING LIKE TWO WEEKS TO GET THE LOOK HE WAS AFTER AND WHEN HE FINISHED HE WROTE IT'S THE GREATEST VICTORY ANYONE EVER MADE.

I HOPE YOU'LL COME AND VISIT OUR GALLERY.

AND PAY SPECIAL ATTENTION TO THE INSTALLATION OF THE SCULPTURE COLLECTION.

NEXT WEEK, ON NYC ARTS A VISIT TO THE MET.

AND THE EXHIBITION ART OF NATIVE AMERICA.

THE CHARLES AND COLLECTION.

NATIVE AMERICAN ART IS FOUNDATIONAL TO CULTURE HERITAGE.

EXHIBITIONS LIKE THIS ARE MEANT TO MOVE PEOPLE OUTSIDE OF THAT IDEA THAT ALL NATIVE PEOPLES ARE THE SAME.

THEY WERE NOT AT ANY TIME AND CERTAINLY NOT TODAY.

A PROFILE OF RUBY FRAZIER.

A PHOTOGRAPHER AND VIDEO ARTIST WHO IS IMAGES GIVE VISIBILITY TO PEOPLE WHO ARE OFTEN FORGOTTEN.

IT IS A DUTY A PRIVILEGE AND HONOR TO BE ABLE TO USE THE CAMERAS TO SERVE OTHERS IN BRING A REAL HUMAN STORY FORWARD IN A COMPLEX SITUATION.

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

LETTERS WAS MADE FROM SKETCHES.

I THINK IT'S A CELEBRATION OF NEW YORKERS.

> THANK YOU SO MUCH FOR JOINING US THIS EVENING.

I'M PAULA ZAHN.

HAVE A GREAT NIGHT.

AND I HOPE YOU'LL JOIN US 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 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 ALLEN AND JAMES 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 13.

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

FIRST REPUBLIC BANK PRESENTS, FIRST BANKS 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, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU'RE A LIFELONG COLLECTOR, A FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT