A look at the art of Native America from The Charles and Valerie Diker Collection at The Met Fifth Avenue; a profile of photographer and video artist LaToya Ruby Frazier, whose work follows in the social documentary tradition of Walker Evans and Gordon Parks; and Ralph Fasanella’s “Subway Riders” at the American Folk Art Museum.

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> COMING UP ON 'NYC ARTS,' A VISIT TO THE COLLECTION.

NATIVE AMERICAN ART IS FOUNDATIONAL TO OUR CULTURAL HERITAGE.

EXHIBITIONS LIKE THIS ARE MEANT TO MOVE PEOPLE OUTSIDE OF THAT IDEA THAT ALL PEOPLES ARE THE SAME, AND THEY WERE NOT AT ANYTIME AND THEY ARE CERTAINLY NOT TODAY.

A PROFILE OF LA TOYA RUBY FRASER, A PHOTOGRAPHER AND VIDEO ARTIST WHOSE IMAGES GIVE VISIBILITY TO PEOPLE WHO WERE OFTEN FORGOTTEN.

IT IS A DUTY, A PRIVILEGE AND HONOR TO BE ABLE TO USE THESE CAMERAS TO SERVE OTHERS AND TO 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.

SOME OF THE WRITERS WAS MADE FROM SKETCHES, AND I THINK IT'S A CELEBRATION OF NEW YORKERS.

> FUNDING FOR NYC-ARTS IS MADE POSSIBLE BY -- THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS IN PARTNER WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF NY 13.

FIRST REPUBLIC BANKS PRESENTS FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK 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 THE VERY FIRST AND IT'S STILL THE VERY FIRST THING ON OUR MINDS.

AND BY SWAN AUCTION GALLERIES?

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER YOU ARE A LIFE-LONG COLLECTOR OR FIRST-TIME BUYER OR LOOKING TO SELL, INFORMATION IS AVAILABLE AT SWANGALLERIES.COM.

♪ ♪

> GOOD EVENING AND WELCOME TO 'NYC ARTS.'

I AM PAULA ZAUN.

WE BEGIN TONIGHT WITH THE METROPOLITAN MUSEUM OF ART.

TODAY CHARLES AND VALERIE DYKA CONTINUE THIS TRADITION.

IN 2016 THEY PROMISE THEIR COLLECTION OF HISTORICAL NATIVE AMERICAN ART.

THE COLLECTION OF 116 OBJECTS REPRESENTS MORE THAN 50 NORTH AMERICAN CULTURES AND IS PRESENTED IN THE METS AMERICAN WING IT'S AN EXPANSION OF WHO IS INCLUDED IN ITS NARRATIVE.

THE EXHIBITION WAS CURATED BY THE NELSON ATKINS MUSEUM OF ART IN KANSAS CITY IN COLLABORATION WITH NATIVE AMERICAN SCHOLARS AND CULTURAL LEADERS.

THE MOST IMPORTANT THING, I THINK, ABOUT THIS EXHIBITION OTHER THAN THE CELEBRATION OF NATIVE AMERICAN ART AND THE ARTISTS THAT CREATED THESE WORKS IS THE FACT THAT IT'S BEING SHOWN -- THESE WORKS ARE BEING SHOWN IN THE AMERICAN WING, WHICH IS THE FIRST TIME IN THE HISTORY OF THIS MUSEUM SINCE THE WING OPENED IN 1924, SO IT'S A MOMENTOUS MOMENTOUS MOVEMENT IN RECOGNIZING THE HERITAGE.

EXHIBITIONS LIKE THAT ARE MEANT TO MOVE OUTSIDE ALL NATIVE AMERICANS ARE THE SAME, AND THEY WERE NOT AT ANYTIME AND ARE CERTAINLY NOT TODAY.

IT'S NOT CHRONOLOGICAL, AND WE DID LAY IT OUT IN REGIONS, AND THE PROBLEM WITH THAT IS THEY DID NOT HAVE FIRM BOUNDARIES.

WE ENDEAVORED IN THE GALLERY DESIGN TO KEEP THINGS OPEN, PERMEABLE AND VISIBLE, SO ALMOST ANYWHERE YOU STAND WITHIN THE GALLERIES YOU ARE IN A CULTURALLY RELATED AREA AND YOU ARE LOOK INTO OTHER AREAS AS WELL, SUGGESTING A GREATER UNIVERSALLY.

I FIND THE PONY WAR CLUB TO BE ONE OF THE MOST ASTONISHING OBJECTS IN THE COLLECTION.

IN TERMS OF ITS PROPORTION, AND THE ELEGANCE OF THE SHAPE AND IT WAS A FUNCTIONAL WEAPON AND CARRIED TO WAR AND IT WAS ALSO AN IMPORTANT PIECE OF EXPRESSION, AND THE DESIGNED ON ONE SIDE CONSISTS OF SOME ZIGZAG LINES AT THE TOP AND THEN A CIRCLE WITH A SINGLE SHARP ZIGZAG LINE EMANATING FROM THAT, THE FULL LENGTH OF THE CLUB AND THESE ARE GENERALLY KNOWN TO BE SYMBOLS OF POWER.

IT'S POSSIBLE THE CIRCLE AND THE SINGLE LINE MAY REPRESENT THUNDER AND ONE STRIKE OF LIGHTNING.

ON THE OTHER SIDE IS I THINK THE MOST AMAZING DESIGN I'VE EVER SEEN ON A NATIVE AMERICAN WAR CLUB, AND IT'S COVERED WITH STAR AND THE NIGHT SKY AND THE CONSTELLATION.

STARS WERE SO IMPORTANT IN PONY RELIGION.

WHEN YOU PICK MASS AS A GROUP OF OBJECTS, THIS PARTICULAR MASK -- I WOULD SAY MOST MASKS REPRESENT THE PREY ANIMALS THEY DEPENDED ON FOR THEIR SURVIVAL.

THESE MASKS WERE WORN IN THE CEREMONIES, AND THEY WERE WORN TO THANK THE ANIMALS THAT HAD GIVEN THEMSELVES IN THE PREVIOUS YEAR AND ENSURE THAT THERE WOULD BE A CONTINUOUS FLOW OF NEW LIFE.

IT'S OFTEN SAID THAT THESE MASKS REPRESENT SOMETHING CALLED UYA, WHICH IS EASIEST TRANSLATED AS THE ONGOING SOUL.

WHEN YOU SEE AN IMAGE OF A FISH, A SEAL OR A BIRD, IT DOESN'T REPRESENT SPECIFIC CREATURES BUT REPRESENTS ALL OF THOSE THAT HAVE LIVED OR WILL EVER LIVE IN THE FUTURE, SO THE MASK IS TIMELESS IN THAT RESPECT AND PLACES THEM IN A TIMELESS WORLD.

IT WAS IN 1876.

IN THE 1880s, STANDING THERE WENT TO EUROPE WITH BUFFALO BILL'S WILD WEST SHOW.

HE MET A WOMAN AND THEY FELL IN LOVE AND HE MARRIED HER AND BROUGHT HER BACK TO PINE RIDGE RESERVATION AND STANDING THERE BEGAN TO DEVELOP HIS HEART.

HE BASICALLY TRIED TO BRING TOGETHER IN THIS POINTING SIX DIFFERENT EPISODES THAT HE REMEMBERED.

THEY DID NOT ALL HAPPEN AT THE SAME TIME BUT WITHIN THE TRADITION OF WARRIOR ART, STANDING THERE REPRESENTED THEM ALL AS THOUGH THEY WERE OCCURRING AT THE SAME TIME.

THERE WERE HORSES BEING RUN OFF, SEPARATED LEAVING THE SOLDIERS ON FOOT.

THERE'S A DEPICTION OF A GROUP OF SOLDIERS THAT RAN DOWN THE HILL AND WERE KILLED IN A RAVINE, AND ANOTHER GROUP OF SOLDIERS TRIED TO BREAK AWAY ON HORSEBACK AND RIDING BACK TO THE SOUTH AND WERE OVERTAKEN AND KILLED AND THEN THERE'S THE FINAL BATTLE ON THE HILL INCLUDING A DEPICTION OF CUSTAR HIMSELF.

BETHEL WAS A BASKET MAKER, AND SHE WAS PROMINENT IN THE '20s AND '30s IN CALIFORNIA, AND THIS PIECE WAS HER FIRST ATTEMPT TO CREATE A BASKET OF THAT SCALE.

IT TOOK HER THREE YEARS.

MAYBE THE BEST WAY TO THINK ABOUT THE ACHIEVEMENT IN THAT BASKET IS TO THINK ABOUT IT FIRST IN RELATION TO THE MATERIALS, WHICH REQUIRED AN ENORMOUS BODY OF EXPERT KNOWLEDGE IN TERMS OF WHAT KNOWING WHICH PLANTS TO GATHER AND HOW TO PREPARE THEM BEFORE THE BASKET EVER BECAME.

A BASKET OF THAT KIND IS CREATED USING A COIL TECHNIQUE THAT BEGINS IN THE CENTER OF THE BOTTOM AND STARTED UPWARD AND OUTWARD TO FORM THE SIDES OF THE OBJECT, AND THEN AT A CERTAIN POINT, THE MIDPOINT BEGAN TO CURVE INWARD TO REACH ITS FINAL FORM.

THERE WAS NO REVISION POSSIBLE AND SHE WOVE IT FROM THE BOTTOM UP, AND WHEN YOU SEE THAT RELATIONSHIP OF THE TWO-DIMENSIONAL DESIGN TO THE SHAPE OF THE OBJECT, AND THE TENSION THAT FORM HOLDS, THE ACHIEVEMENT IS VISIBLE AND AMAZING.

> THE OBJECTIVE IN PRESENTING THESE OBJECTS IN THE WAY WE HAVE DONE IS TO RESPECT THEM AS WORKS OF ART, AS SOPHISTICATED AND BEAUTIFUL CREATIONS.

> NEXT ON OUR PROGRAM WE WILL MEET PHOTOGRAPHER AND VIDEO ARTIST, LA TOYA RUBY FRASER.

FRASER GREW UP IN PENNSYLVANIA WHERE SHE BEGAN PHOTOGRAPHING HER FAMILY AND HOMETOWN AT THE AGE OF 16.

PHOTOGRAPHS FROM HER EARLY AND VERY PERSONAL SERIES CALLED THE NOTION OF FAMILY ARE CURRENTLY ON VIEW AT THE NEW MUSEUM AS PART OF THE GROUP SHOW GRIEF AND GRIEVANCE, ART AND MOURNING IN AMERICA.

FRASER'S PHOTOGRAPHS TELL STORIES OF PEOPLE USUALLY FORGOTTEN, GIVING THEM VISIBILITY THROUGH HER IMAGES, AND DOCUMENTING THE AFFECTS OF THE ONGOING WATER CRISIS THERE APPEARED IN 'ELLE' MAGAZINE IN 2016.

HER WORK ADDRESSING ENVIRONMENTAL JUSTICE, HEALTH CARE INEQUITY AND RACISM, HAS APPEARED IN THE NEW YORKER AND OTHER PUBLICATIONS.

NYC ART SPOKE WITH FRASER IN HARLEM.

MY WORK GIVES A FRAMEWORK TO WHAT IT'S LIKE BEING A WORKING CLASS PERSON AND FAMILY FROM SOUTHWESTERN PENNSYLVANIA.

AN ANDREW CARNEGIE, THE THOMPSON PLANT HAS BEEN OPERATING SINCE 1965.

YOU TALK ABOUT AMERICA AND WHO BUILT AMERICA AND THE FACT THAT AMERICA IS BUILT BY -- SSTEEL AF WE LOOK AT THE INFRASTRUCTURE, EVERYTHING IS ANCHORED AND STEEL.

I WAS RAISED BETWEEN THESE TWO STRONG WOMEN, MY GRANDMOTHER, RUBY, AND MY MOTHER CYNTHIA.

MY MOTHER GREW UP THERE IN THE '60s.

SHE WAS SOMEBODY WHO WITNESSED THE SEGREGATION AND THE RACISM, AND I GREW UP THERE IN THE '80s, WHICH WOULD BE AFTER THEY CLOSED ALL THE SURROUNDING FACTORIES, AND UNIONS WERE BROKEN UP AND THE WAR ON DRUGS BREAKS OUT IN THE COMMUNITY, SO I WAS COMING OF AGE WHEN THAT WAS HAPPENING AND I WAS A WITNESS TO THAT.

JUST LOOKING AT THEM IS WHAT PUSHED ME TO KIND OF CREATE A FAMILY ALBUM THAT MOST AMERICANS WOULDN'T WANT, RIGHT?

I THINK ALL AMERICANS KNOW THE KIND OF IMAGES THAT ARE IN THE NOTION OF FAMILY AND IT'S JUST SOCIALLY AND CULTURALLY WE'RE TAUGHT NEVER TO TALK ABOUT THOSE.

ONCE I STARTED COMING HOME WITH MY CAMERA, MY MOTHER BECAME IMMERSED AND ENGAGED.

SHE WAS A COLLABORATOR FROM THE VERY MOMENT, AND I THINK A LOT OF THIS COMES OUT OF MY UNDERSTANDING OF THE MAZAL BROTHERS AND THEIR DOCUMENTARY FILMS.

THEY BELIEVE IF A PERSON WHO IS OVERLOOKED AND IGNORED BY SOCIETY ALL OF A SUDDEN HAS THIS CAMERA TURNED ON THEM, THEY WILL ENGAGE BECAUSE OTHERWISE THEY WOULD BE INVISIBLE AND VOICELESS.

WE ARE TRADITIONALLY TAUGHT IN THE HISTORY OF ART AND THE HISTORY OF PHOTOGRAPHY THAT THE PHOTOGRAPHER'S NEVER RELINQUISH POWER TO THE SUBJECTS, AND SO I WAS TRYING TO PROVE THAT THIS HAS ALWAYS BEEN A PART OF THE LEGACY OF PHOTOGRAPHING FAMILY AND MAKING PHOTOGRAPHS WITH SOCIAL COMMENTARY ABOUT AMERICA.

LAYING THAT BARE TO THE VIEWER WAS ESSENTIAL TO ME.

I'M JUST AS MUCH A PART OF THIS SITUATION AND THIS CRISIS.

I CONSIDER MYSELF AN ADVOCATE AND NOT SO MUCH AN ACTIVIST.

I THINK THAT'S VERY DIFFERENT.

I AM AN ADVOCATE AND A STORYTELLER.

YOU THINK ABOUT GORDON PARKS AND A HARLEM POWER, AND YOU THINK ABOUT HIS COLLABORATION WITH RALPH ELLISON ON INVISIBLE MAN.

A COLLABORATION BETWEEN BLACK ARTISTS, BLACK PHOTOGRAPHERS AND BLACK POETS AND WRITERS TRYING TO TELL ANOTHER STORY AND NARRATIVE FROM THE INSIDE TO THE AMERICAN PUBLIC SO THEY CAN SEE IT CLEAR FOR WHAT IT IS.

IT IS THE EVERYDAY PERSON, THE EVERYDAY MAN, WOMAN AND CHILD THAT ARE EXPERIENCING THE BRUTALITY AND THE PITFALLS OF CAPITALISM, OF INEQUALITY AND LIVING IN THE SMALL TOWNS THAT HAVE BEEN ABANDONED BY THE STATE.

THEY'RE THE ONES -- THESE INDIVIDUALS AND FAMILIES ARE THE ONES THAT CAN EXPRESS IT AND ARTICULATE IT THE BEST.

WHEN YOU THINK ABOUT WATER, YOU DON'T CONSIDER GOVERNMENT.

IN FACT, YOU DON'T CONSIDER PEOPLE AT ALL.

EVEN THOUGH WE'VE BUILT PLANTS AND MACHINES TO PURIFY, WHEN YOU THINK ABOUT IT, YOU ONLY IN YOUR MOST REMOTE MIND IF AT ALL THINK ABOUT GOD, SOMETHING NATURE INTENDED.

WELL, YOU THINK ABOUT WATER, YOU DON'T CONSIDER POISON BECAUSE POISON IS NOT SOMETHING YOU CONSIDER FOR YOURSELF.

YOU DON'T THINK ABOUT MURDER.

THE WATER CRISIS BECAME PUBLIC KNOWLEDGE IN APRIL OF 2014.

BECAUSE OBAMA CAME ON MAY 4th IN 2016 AND THEY HAD THAT IMAGE OF HIM SIPPING THAT WATER, WHICH WAS SUPPOSEDLY FLINT RIVER WATER THE AMERICAN CONSCIOUSNESS AND PSYCHE BELIEVED THAT THE WATER CRISIS WAS OVER.

IT WAS IN 2016 THAT I RECEIVED A PHONE CALL FROM 'ELLE' MAGAZINE, A MAGAZINE THAT IS ABOUT WOMEN, HEALTH AND BEAUTY, TO BUILD OUT A SECTION FOR THE SEPTEMBER ISSUE TO ACTUALLY HAVE INSIDE OF IT BEFORE YOU GOT TO THE FASHION SPREADS TEN PAGES UNINTERRUPTED OF PHOTO ESSAY TALKING ABOUT THE WATER CRISIS.

IT WAS IMPORTANT FOR ME TO KIND OF JUST PIVOT SLIGHTLY OUT OF THE GENERATIONAL CONNECTION BETWEEN MY GRANDMOTHER, MOTHER AND ME TO THIS OTHER GENERATION OF THREE WOMEN WHICH WAS RENEE COBB, HER DAUGHTER, SHEA COBB AND SHEA'S DAUGHTER, ZION.

WHAT IT'S LIKE NOW FOR THEM TO HAVE TO FIGURE OUT THEIR RELATIONSHIP TO WATER AND HOW TO LIVE WITH CONTAMINATED AND POISONED WATER.

SHEA, SHE'S A SCHOOL BUS DRIVER AND SHE WAS ALSO VERY ACTIVE IN ORGANIZING PUBLIC PROTESTS AS WELL.

SHE'S A SINGER.

SHE'S A POET.

SHE HAD SO MUCH CHARISMA AND HOPE AND FAITH AND JUST SUCH A POSITIVE OUTLOOK REGARDLESS OF THE CIRCUMSTANCE THAT IS COMPLETELY CREATED A MAN-MADE DISASTER BECAUSE OF INEQUALITY AND RACISM, AND WHY NOT COLLABORATE WITH HER AND GET HER VOICE AND WORDS AND PERSPECTIVE.

SHE MADE IT VERY CLEAR IN 'ELLE' MAGAZINE, SHE SAID DON'T COME HERE EXPECTING TO SEE A VICTIM.

THAT'S NOT WHO WE ARE.

SHE UNDERSTANDS HOW THE MEDIA SHAPES, STEREOTYPES AND DISCOURSES AROUND BLACK WOMEN, BLACK FAMILY AND COMMUNITIES.

SO I RELIED ON SHEA BEING MY EYES.

I WAS SIMPLY BEING AN IMPATHIC WITNESS, BEING LED BY HER THROUGH THIS TOWN.

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

> FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA, PLEASE SIGN UP FOR OUR FREE WEEKLY E-MAIL AT NYC-ARTS.ORG/E-MAIL.

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

> NEXT, WE WILL VISIT THE AMERICAN FORK ART MUSEUM ACROSS THE STREET FROM THE LINCOLN CENTER.

THIS MUSEUM HAS BEEN CELEBRATING THE CREATIVITY OF ARTISTS.

ITS COLLECTION INCLUDES MORE THAN 8,000 WORKS OF ART FROM FOUR CENTURIES AND NEARLY EVERY CA CONTINENT.

HERE'S A LOOK AT ONE OF THE ARTWORKS FROM THE MUSEUM'S COLLECTION.

WELCOME TO THE AMERICAN FOLK ART MUSEUM.

I AM THE CURATOR FOR THE 20th AND 21st CENTURY ART AT THE MUSEUM.

I WAS B-- HE WAS BORN IN THE BRONX IN 1914.

HIS WORKS ARE CARRYING MESSAGES OF HOPE, OF LIBERTY AND THE RESPECT FOR THE RIGHTS OF WORKERS.

HE WAS A UNION OERGANIZER, AND STARTED TO PAINT IN THE MID-40s.

THE ORGANIZATION OF HIS LARGE-SCALE CANVASSES WITH A LOT OF HORIZONTAL LINES AND STACKING OF OBJECTS AND ARCHITECTURE REFER TO HIS EXPERIENCE WORKING WITH HIS FATHER, WHERE HE WAS PLACING AND REPLACING ICE CUBES IN THE REFRIGERATORS.

SOME OF THE WRITINGS WERE MADE IN THE SKETCHES IN THE SUBWAYS ON HIS WAY BACK FROM WORK.

HE SAID I WOULD RIDE THE SUBWAY EVERY DAY BACK AND FORTH TO MY MACHINE SUB JOB, AND I WOULD SKETCH AND SKETCH, AND I LOVE THE SUBWAY, AND IT PULLS THE CITY TOGETHER IN A MAGIC WAY.

HERE'S SUBWAY RIDERS AFTER A HARD DAY'S WORK, AND EVERYBODY IS SEPARATED AND ALONE, AND VERY MUCH TOGETHER, AND IT'S NOISY WITH THE SQUEAKS AND SQUEALS BUT PEACEFUL, TOO, AND WE MOVE TO A RHYTHM THAT GETS INSIDE OF US, AND THAT'S THE NOISE OF THE CITY ITSELF.

THE SUBWAY MAKES THE CITY WORK, AND MAKES THE CITY GREAT.

THIS PAINT SOMETHING A LARGE-SCALE PAINTING AS MANY OF THE CANVASSES BY RALPH, AND SOME ARE AS WIDE AS TEN FEET.

HE SAID SPECIFICALLY THOSE PAINTINGS WERE MEANT TO BE SEEN BY A HRAULOT OF PEOPLE AT THE S TIME.

IT'S ONE OF THE REASONS YOU WANTED TO HAVE THEM LARGE AND ALSO FULL OF DETAILS.

YOU CAN LEARN SOMETHING ABOUT THE PERSONAL LIFE OF EACH OF THOSE SUBJECTS.

I THINK THE MAIN MESSAGE IS THAT HE WAS THERE TO FIGHT FOR THE LABORERS' RIGHTS, AND ALSO I THINK IT'S A CELEBRATION OF NEW YORKERS.

> NEXT WEEK ON 'NYC-ARTS,' A VISIT TO THE SUGAR HILL CHILDREN'S MUSEUM AND ART OF STORYTELLING.

WE KNOW CHILDREN ARE NATURAL ARTISTS AND THEY ARE ALSO NATURAL STORYTELLERS, AND WE WANTED TO CREATE AN INSTITUTION DEDICATED TO THEIR CREATIVE POTENTIAL.

A LOOK AT THIS EXHIBITION.

THE EXHIBITION FEATURES 42 ARTISTS FROM ALL ACROSS THE UNITED STATES AS WELL AS PUERTO RICO.

WE REALLY WANTED TO EXPAND THE SCOPE OF THE SHOW TO HAVE A FULL BREATH OF ARTISTS WORKING ACROSS THE NATION.

AND SOME OF THE STARS OF THE MTA'S MUSIC UNDER NEW YORK PROGRAM.

I WANTED THIS FIERCE, STRONG FEMININE GIRL GROUP, SO THAT'S HOW I CAME UP WITH THE IDEA.

THANK YOU SO MUCH FOR JOINING US THIS EVENING.

I AM PAULA ZAUN.

HAVE A GREAT NIGHT, AND I HOPE YOU JOIN US NEXT TIME.

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

WHAT A PRIVILEGE TO SIT DOWN AND TALK WITH YOU.

I LOVE BEING HERE WITH YOU, TOO, PAULA.

WHERE ARE WE?

THIS IS ANN EXHIBITION FULL F HOPE.

♪ ♪ ♪ ♪ ♪ ♪

> FUNDING FOR NYC ARTS IS MADE POSSIBLE BY THE LOUIS SUNNY TURNER FUND FOR DANCE, AND THE AMBROSE MOW TPHEL FOUNDATION, AND ROSLYN P. WALTER, AND CHARLES AND VALERIE GUTTER, AND 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 13, NYC-ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

AT FIRST REPUBLIC BANK, FIRST 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 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, AND WHETHER YOU ARE A FIRST-TIME BUYER OR LOOKING TO SELL, INFORMATION IS AT SWANNGALLERIES.COM.