NYC-ARTS talks with renowned photographer Joel Meyerowitz about his long career and continuing love for his art form. Then a visit to the American Folk Art Museum and curator Valerie Rousseau for the story behind the sculpture “Encyclopedic Palace” by Marino Auriti.

View Transcript

> COMING UP ON 'NYY ARTS' A PROFILE OF JOEL MEYEROWITZ, VIBRANT PRESENCE IN THE ART WORLD.

I REMEMBER WALKING THROUGH PARIS AND SUDDENLY SMELL BAKING CROISSANT IN THE AIR.

BUTTER AND SUGAR.

OH, AND YOU IMMEDIATELY, YOU WANT A CROISSANT OR A COOKIE OR SOMETHING.

YOU TAKE TWO STEPS AND IT'S GONE.

TO ME, THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET, AND SOMETHING HAPPENS.

AND YOU GET IT.

IT'S A VISUAL THAT IS AS PRECISE AS THAT FRAGRANCE THAT IS ONLY IN THE AIR OF THE DOORWAY.

AND A VISIT TO THE AMERICAN FOLK ART MUSEUM.

THIS BUILDING IS AN ENTIRELY NEW CONCEPT IN MUSEUMS.

DESIGNED TO HOLD ALL OF THE WORKS OF MAN IN WHATEVER FIELD.

DISCOVERIES MADE IN THOSE WHICH MAY FOLLOW.

EVERYTHING FROM THE WHEEL TO THE SATELLITE.

FUNDING FOR NYC ARTS IS MADE POSSIBLE BY TEA PECHEK FOUNDATION, THE AMBROSE MONEL FOUNDATION.

JODY AND JOHN ARHORTS, ELISE AND JEFFREY BROWN.

CHARLES AND JEFFREY GEITHNER, THE NANCY SUDWATER FOUNDATION.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELLEN AND JAMES S. MARGAS.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH 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 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 SWAN AUCTION GALLERIES.

SWAN 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 LIFETIME COLLECTOR, A FIRST-TIME BUYER OR LOOKING TO SELL, INFORMATION AT SWANGALLERIES.COM.

> GOOD EVENING.

AND WELCOME TO 'NYC ARTS.'

I'M FULEGAL DE MONTEBELLO ON LOCATION IN NEW YORK.

WHICH RECENTLY REOPENED ITS DOORS TO THE PUBLIC.

HOUSED IN A MANSION AT THE CORNER OF FIFTH AVENUE AND 86th STREET, THE MUSEUM IS DEVOTED TO EARLY 20th CENTURY GERMAN AND AUSTRIAN ART AND DESIGN.

IT WAS CONCEIVED BY TWO MEN WHO ENJOYED A CLOSE FRIENDSHIP OVER A PERIOD OF ALMOST 30 YEARS, ART DEALER AND GALLERY SALES AND A BUSINESSMAN, PHILANTHROPIST AND ART COLLECTOR.

BOTH SHARED A PASSIONATE COMMITMENT TO GERMAN AND AUSTRIAN ART OF THIS PERIOD.

AND DREAMED OF OPENING A MUSEUM TO PRESENT THE FINEST EXAMPLES OF THIS WORK.

AFTER SUBOWSKY PASSED AWAY IN 1996, LOTTER CARRIED ON THE VISION OF CREATING THE GALLERY NEW YORK AS A TRIBUTE TO HIS FRIEND.

THE SECOND FLOOR OF THE MUSEUM IS DEVOTED TO ART FROM VIENNA ABOUT 1900 AND EXPLORES THE RELATIONSHIP BETWEEN THE FINE AND THE DECORATIVE ARTS.

DISPLAYED IN THIS OPULENT GALLERY ARE MANY OF GUSTAV KLIMT'S MOST COMPELLING PORTRAITS OF WOMEN AS WELL AS UNIQUE MANTELPIECE CLOCKS.

AMONG THE FINE VIENNESE ARTISTS ALSO REPRESENTED IN THE COLLECTION, ASIDE FROM KLIMT ARE OTHERS.

KOKOSHKA'S ART SHOWS AN AWARENESS OF MODERN ART AT THE TIME.

HE VISITED AN EXHIBITION OF FIGURE DRAWINGS HELD IN VIENNA IN 1908.

LIKE HIM, HE EMPHASIZED SPECIFIC PARTS OF THE FIGURE, BUT HIS ATTENTION TO THE SITTER'S FACE AND PSYCHOLOGY ARE VERY MUCH HIS OWN.

AMONG THE ARTISTS ARE SUCH WELL KNOWN FIGURES AS JOSEPH HOOKMAN, MOSER.

HOFFMAN AND MOSER WERE AMONG THE FOUNDERS OF THE HIGHLY PRODUCTIVE COOPERATIVE OF ARTISTS IN VIENNA.

IT WAS THE CENTER OF THE WIDER PHILOSOPHICAL MOVEMENT THAT VALUED INTELLECTUAL CURIOSITY AND COLLABORATION OF ARTISTS IN MULTIPLE MEDIUMS.

JEWELRY WAS AMONG THE FIRST ITEMS PRODUCED AND HOFFMAN'S WORK IS TYPICAL OF THIS TIME.

BOTH THE SHAPE AND STYLIZED ORNAMENTS RECORD JEWELRY CREATED BY KLIMT TO ADORN THE SOCIETY WOMEN WHOSE PORTRAITS HE PAINTED.

THEY CONVEY THE RICHNESS OF THE DESIGN AND CONVENTION WITH THE RANGE OF STONES SELECTED.

AFTER WORLD WAR I, THEY BEGAN CREATING PRECIOUS METAL OBJECTS SUCH AS THIS MELON SHAPED BOX.

THIS IS ONE OF THE MAGICAL FRUITS HE DESIGNED, PERHAPS INSPIRED BY LEGENDS OF GREEK MYTHOLOGY.

ALSO INCLUDED AMONG VIENNESE ARTISTS ARE THE ARCHITECTS RUSE AND HORBAT.

ALBEIT ON A RELATIVELY SMALLER SCALE THAN THEIR ACTUAL BUILDINGS.

THE BRASS, COPPER DESIGN OF 1902.

IT REFLECTS HIS PREFERENCE FOR UPDATING TRADITIONAL FORMS.

THE PENDULUM PLAYS AN IMPORTANT PART IN THE OVERALL DESIGN.

AT THE SAME TIME, THE CLEAN LINES, FLOATING DIAL, AND TRANSPARENT BODY GIVE THE CLOCK A QUALITY THAT HELPS IT BLEND INTO ITS SURROUNDINGS.

ANOTHER CLOCK IN THE COLLECTION IS BY JOSEPH HORBALK.

ITS ORNAMENTAL NATURE IS INTENDED TO KEEP WITH ITS SETTING.

THE RESTAURANT IN VIENNA.

THE RESTAURANT WAS A LARGE SPACE WITH A HIGHLY DECORATIVE CEILING.

HE WAS RESPONSIBLE FOR THE DECORATIVE SCHEME OF THE RESTAURANT AND HIS FURNISHINGS.

THE CLOCK COMBINES NATURAL AND MANMADE MATERIALS.

ITS PROMINENT DIAL IS VISUALLY SUPPORTED BY TWO SEMIPRECIOUS STONE COLUMNS CARVED FROM ONYX, MARBLE AGATE.

AT EITHER SIDE INLAID TRIANGLES OF MOTHER-OF-PEARL RELAY THE OVERALL SCHEME FOR THE RESTAURANT PANELLING.

ON TONIGHT'S PROGRAM, WE'LL MEET RENOWNED PHOTOGRAPHER JOEL MEYEROWITZ, A VIBRANT PRESENCE IN THE ART WORLD.

MEYEROWITZ GREW UP IN THE BRONX AND GRADUATED WITH A DEGREE IN PAINTING FROM OHIO STATE UNIVERSITY IN 1959.

HE BEGAN TAKING PHOTOGRAPHS A FEW YEARS LATER.

ALTHOUGH HE HAS FOCUSED ON A VARIETY OF THEMES THROUGHOUT HIS CAREER, HE IS PERHAPS BEST KNOWN AS A STREET PHOTOGRAPHER IN THE TRADITION OF SUCH MASTERS AS BRASON AND ROBERT FRANK.

HE'S ALSO BEEN INSTRUMENTAL IN ADVANCING THE RECOGNITION OF COLOR PHOTOGRAPHY AS AN ART FORM.

IN THE WAKE OF THE EVENTS OF 9/11, MEYEROWITZ WAS THE ONLY PHOTOGRAPHER GRANTED UNRESTRICTED ACCESS TO GROUND ZERO.

THE DRAMATIC IMAGES HE CAPTURED THERE HAVE BECOME THE FOUNDATION OF THE MAJOR NATIONAL ARCHIVE.

AN EXHIBITION OF SELECTED PHOTOGRAPHS FROM THIS COLLECTION HAS BEEN SHOWN ALL OVER THE WORLD.

HIS WORK CAN BE FOUND IN MUSEUMS AND PUBLIC COLLECTIONS INCLUDING THE MET, MOMA AND WHITNEY.

NYC ARTS SPOKE WITH MEYEROWITZ DURING A VISIT TO HOWARD GREENBERG GALLERY.

WHEN YOU FIRST PICK UP A CAMERA, IT'S NOT SO EASY TO GO OUT ON THE STREET AND TAKE PICTURES OF STRANGERS BECAUSE THERE'S ALWAYS A LITTLE BIT OF FEAR, I DON'T BELONG HERE OR THEY'RE NOT GOING TO LIKE IT IF I TAKE A PICTURE.

HOW CAN I BE IN THEIR INTIMATE SPACE?

SO IN A WAY, IT'S LIKE DANCE.

IT'S VERY BALLETIC.

YOU HAVE TO FIND THESE PHOTOS THAT DON'T KNOW YOU'RE PHOTOGRAPHING THEM AS YOU USE THEIR FACE, THEIR ENERGY, THEIR POSTURE, THEIR FIGURE, THEIR DRESS, THEIR COLOR, WHATEVER IT IS THAT EXCITES YOU AT THE MOMENT.

MY FATHER WAS A REALLY STREET SMART GUY, BORN IN NEW YORK CITY.

A KIND OF TOUGH GUY ON THE STREETS, AND WHEN I WAS A LITTLE KID, HE OFTEN SAID TO ME, WHEN I WOULD GO WITH HIM ANYWHERE, HE WOULD JUST GIVE ME A LITTLE NUDGE AND SAY, WATCH THAT OVER THERE.

OR TAKE A LOOK AT THAT.

AND EVERY TIME HE SAID LOOK AT THAT, SOMETHING HAPPENED.

IT'S AS IF HE COULD PREDICT THAT TWO PEOPLE WERE GOING TO EMBRACE.

YOU KNOW, AND DANCE AROUND EACH OTHER AND THROW UP THEIR ARMS.

I MEAN, HOW DID HE KNOW?

AND IN A WAY, I'M SURE THAT HE CREATED AN APPETITE IN ME FOR THE UNEXPECTED QUALITIES OF ORDINARY LIFE, THAT PEOPLE WILL DO SPONTANEOUS, EXTRAORDINARY, UNEXPECTED THINGS SUDDENLY.

AND IF YOU ARE QUICK ENOUGH TO WATCH IT, YOU WOULD EXPERIENCE THE PLEASURE.

VISUAL PLEASURE, HUMAN PLEASURE.

I HAVE BEEN ASKED SO MANY TIMES, HOW DO YOU KNOW WHEN TO TAKE A PHOTOGRAPH?

AND I REMEMBER WALKING THROUGH PARIS.

AND WALKING DOWN THE STREET, AND SUDDENLY, YOU SMELL BAKING CROISSANTS ON THE AIR.

BUTTER AND SUGAR.

OH, AND YOU'RE IMMEDIATELY, YOU WANT A CROISSANT OR A COOKIE OR SOMETHING.

AND YOU TAKE TWO STEPS AND IT'S GONE.

SO IN THE AIR ON THE STREET WAS THIS LITTLE ZONE FOR A MOMENT WHERE THE FRAGRANCE WAS SO RICH AND COMPELLING.

TO ME, THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET, AND SOMETHING HAPPENS.

AND YOU GET IT.

IT'S A VISUAL THAT IS AS PRECISE AS THAT FRAGRANCE THAT IS ONLY IN THE AIR OF THE DOORWAY.

YOU GO RIGHT THROUGH IT.

SO WHEN SOMETHING MAKES ITSELF FELT TO ME, WHEN I GET AN IMPULSE, I RAISE THE CAMERA.

I DON'T EVEN HESITATE.

IT HAS TO BE LIKE THAT.

THAT'S PHOTOGRAPHY.

IT'S ABOUT A FRACTION OF A SECOND.

SO I THINK IMPULSE, INTUITION, RECOGNITION, DESIRE, PASSION, APPETITE, NAME IT, YOU CAN CALL IT ANYTHING YOU WANT.

THOSE ARE THE THINGS THAT ARE IN PLAY PHOTOGRAPHICALLY BECAUSE PHOTOGRAPHY IS ABOUT TIME.

CAMERAS HAVE THEIR OWN CHARACTERISTICS.

A SMALL CAMERA THAT FITS IN YOUR HAND, YOU KNOW, YOU JUST MOVE IT AROUND AND YOU CARRY IT WITH YOU, PUT IT IN YOUR POCKET OR YOUR BAG, AND IT'S PART OF YOU.

BUT SOMETIMES THAT SMALL CAMERA DOESN'T REALLY DO THE JOB YOU WANT IT TO DO IF YOU'RE FINDING YOURSELF IN NATURE.

LET'S SAY NATURE IS SLOWER, THERE'S MORE TIME IN IT.

LIKE, IF STREET PHOTOGRAPHY IS JAZZ, THE VIEW CAMERA AND NATURE IS LIKE THE CELLO.

IT'S VERY SLOW.

AND YOU STAND IN NATURE AND YOU CAN LOOK AROUND AND DRAW YOUR ENERGY FROM EVERYTHING OUT THERE.

AND SO A LARGE FORMAT CAMERA LIKE AN 8 X 10 INCH CAMERA GIVES YOU A WHOLE OTHER EXPERIENCE.

IT'S SLOWER.

YOU CAN PUT IT DOWN.

YOU PUT THE CLOTH OVER YOUR HEAD, AND YOU ENTER THIS WORLD ON A SCREEN UPSIDE DOWN.

AND IT HAS A WHOLE OTHER KIND OF MAGIC TO IT.

AND YOU CAN TRUST THAT IT WILL DESCRIBE EVERY SINGLE THING IN THE FRAME.

THERE WILL BE NO BLUR, THERE WILL BE NO MOVEMENT.

IT WILL BE THE SPACE AND LIGHT AND DEPTH, AND YOU KNOW, THIS TIME.

THE QUESTION OFTEN COMES UP, HOW DOES ONE DEVELOP A BODY OF WORK?

HOW DO YOU FIND YOUR WAY INTO A NEW THEME OR A NEW SUBJECT?

SOMETIMES IT TAKES TIME AND THEN THE ARTIST RECOGNIZES, OH, I HAVE BEEN MAKING THAT PICTURE A FEW DIFFERENT TIMES NOW.

OBVIOUSLY, SOMETHING INTERESTING THERE.

MORE SO THAN I THOUGHT.

AND THIS HAPPENED TO ME WITH THE WORK THAT'S CALLED BETWEEN THE DOG AND THE WALK.

OR IN THE FRENCH EXPRESSION.

AND I DIDN'T KNOW THAT EXPRESSION, BUT MANY YEARS AGO, A FRENCH FRIEND OF MINE UPON SEEING A SEQUENCE OF THESE PICTURES MADE AT THE END OF THE DAY WHEN THE LIGHT IS FADING AND THINGS BECOME SLIGHTLY MORE INDETERMINANT, THESE IMAGES APPEARED IN MY WORK.

AND I SHOWED THEM TO MY FRIEND, AND MY FRIEND SAID, OH.

I SAID WHAT'S THAT?

HE SAID, YOU KNOW, BETWEEN THE DOG AND THE WOLF.

YOU KNOW THE DOG IS THE FAMILIAR DOMESTIC ANIMAL, AND THE WOLF IS THE SAME, SORT OF, BUT IT'S UNKNOWN.

IT'S UNEXPLAINED.

IT'S SAVAGE.

HE SAID, SO WHEN THINGS GO FROM THE KNOWN TO THE UNKNOWN, THERE'S A SHIFT, AN EMOTIONAL SHIFT AS WELL AS TONAL SHIFT.

AND I THOUGHT, OH, THAT'S BEAUTIFUL.

I LOVE THAT EXPRESSION, BECAUSE I FIND MYSELF OFTEN AS A SWIMMER IN A POOL WHICH IS THE DOG, VERY SAFE.

BUT I ALSO WOULD SWIM IN THE OCEAN, AND THE OPEN OCEAN, IT'S WILD.

AND I HAD BEEN MAKING PHOTOGRAPHS OF POOLS NEAR THE SEA.

AND I THOUGHT, WHAT AN INTERESTING WAY OF ADDRESSING THIS SUBJECT, TO PUT THE POOLS AND THE OCEAN AND THE DUSK HOUR TOGETHER REALLY WAS A WAY OF CONCENTRATING ON THAT.

BUT BEYOND THAT, THERE ARE ALSO JUST PLACES ON LAND WHEN THE LIGHT IS FADING AND YOU SUDDENLY HAVE, YOU FEEL GOOSEBUMPS OR YOU FEEL A LITTLE BIT OF A SHIVER OF UNCERTAINTY THAT ALERTS YOUR SENSES, AND YOU THINK, OH, WHAT'S GOING ON HERE?

AND OUT OF THAT COMES THE POSSIBILITY FOR A NEW PHOTOGRAPH.

AT THIS MOMENT IN MY LIFE, I FIND MYSELF MAKING STILL LIVES.

I HAVE NO IDEA WHY I'M CHOOSING THESE OBJECTS, BUT THEY HAVE CHARACTER OR MYSTERY OR SOMETHING.

AND WHEN I PUT TWO OR THREE OR FOUR OF THEM TOGETHER, IT'S AS IF THERE'S A DIALOGUE BETWEEN THEM.

MAYBE I CAN BREATHE LIFE INTO THEM BY FINDING SOME ASSOCIATATIVE QUALITIES IN THEM THAT DOESN'T LOOK LIKE CONVENTIONAL STILLLIFE PHOTOGRAPHY, BUT LOOKS LIKE I'M MAKING IT.

MAYBE I COULD FIND OUT MORE ABOUT MYSELF THROUGH THESE DUMB OBJECTS.

THIS IS A REALLY ENGAGING PHOTOGRAPHIC QUESTION FOR SOMEONE AT MY AGE RIGHT NOW.

WHEN I STARTED TO MAKE STILL LIVES, IT HAPPENED QUITE BY ACCIDENT BECAUSE I WAS DOING A BOOK COMMISSION IN FRANCE.

AND I VISITED CEZANNE'S STUDIO IN PROVENCE, AND IN THE STUDIO, I WAS AMAZED THAT THE WALLS WERE PAINTED THIS PARTICULAR GRAY.

AND AFTER A WHILE, THE THOUGHT ABOUT THIS GRAY, WHY GRAY?

WHEN HE WAS A PAINTER WHO MADE COLOR PAINTINGS, IT PROMPTED ME TO GO BACK TO THE STUDIO AND ASK THEM IF I COULD TAKE CEZANNE'S OBJECTS DOWN AND PUT THEM ON HIS TABLE TO PHOTOGRAPH THEM.

REALLY, I WASN'T TRYING TO MAKE ART.

I HAVE TO BE CLEAR.

I WAS JUST TAKING THE OBJECTS, PUTTING THEM ON THE TABLE AGAINST THE GRAY WALL.

I WANTED TO SEE WHAT THE RELATIONSHIP WAS BETWEEN THE OBJECT AND THE SPACE, THE COLOR SPACE OF THE GRAY WALL AND WHAT DID IT DO FOR CEZANNE WHO PLAYED ONE OF THE MOST IMPORTANT TURNING POINT ROLES IN THE HISTORY OF MODERN ART?

AND THEN ONCE I DID THAT, AND I AM LIVING IN ITALY NOW, IT OCCURRED TO ME, OH, GEORGIA MARANDI IS IN BOLOGNA, ONLY THREE HOURS AWAY.

I'M GOING TO GO TO BOLOGNA AND GO TO MIRANDA'S STUDIO BECAUSE MARANDI WAS ALSO VERY IMPORTANT TO ME WHEN I WAS AN ART HISTORY STUDENT AND A PAINTER.

I WENT TO THE STUDIO AND WAS ABLE TO ASK THE CURATORS THERE AND ASK IF I COULD TAKE HIS OBJECTS AND DO THE SAME THING.

HE WAS WORKING IN A WARM TONE, KIND OF GOLDEN, TUSCAN COLORFUL ITALIAN ENVIRONMENT.

AND CEZANNE WAS IN A VERY COOL, SORT OF MORE RATIONAL, FRENCH ENVIRONMENT.

SO TO PIT THESE TWO AGAINST EACH OTHER AND TO LOOK AT THEIR OBJECTS IN A WAY INTRODUCED ME TO THE FEELING THAT, OH, EACH OBJECT DOES HAVE CHARACTER, IDENTITY, PERSONA, SOMETHING.

AND PERHAPS I WAS HAVING A DIALOGUE WITH THESE MEN THROUGH THEIR OBJECTS.

SO IN A WAY, WORKING WITH CEZANNE AND MARANDI IN THIS VERY BASIC WAY INTRODUCED ME TO AN APPETITE FOR RECONSIDERING THE WAY OBJECTS RELATE TO EACH OTHER IN SPACE.

WHERE IT GOES FROM THERE, I DON'T KNOW.

I'M GRATEFUL FOR THE ENERGY I HAVE RIGHT NOW AND THE WILLINGNESS TO TAKE ON SOMETHING TOTALLY OUTSIDE OF MY EXPERIENCE AND SEE IF I CAN FIND MY VOICE IN THIS TIME OF MY LIFE, WITH THESE OBJECTS IN THIS MEDIUM I LOVE SO MUCH, AS I LOVE PHOTOGRAPHY.

NEXT, WE WILL VISIT THE AMERICAN FOLK ART MUSEUM.

LOCATED ACROSS FROM LINCOLN CENTER, IT HAS ALSO REOPENED TO VISITORS.

SINCE 1961, THIS MUSEUM HAS BEEN SHOWCASING THE CREATIVITY OF ARTISTS WHOSE TALENTS HAVE BEEN REFINED THROUGH PERSONAL EXPERIENCE RATHER THAN FORMAL ARTISTIC TRAINING.

ITS COLLECTION INCLUDES MORE THAN 8,000 WORKS FROM FOUR CENTURIES REPRESENTING NEARLY EVERY CONTINENT.

WELCOME TO THE AMERICAN FOLK ART MUSEUM.

I'M CURATOR FOR THE ART OF THE 20th AND 21st CENTURY.

WE ARE IN FRONT OF A VERY DIFFICULT PIECE OF OUR COLLECTION.

THIS IS THE PALETTE BY MARINO ORIDI, AN ITALIAN IMMIGRANT WHO SETTLED IN TRANSYLVANIA AROUND 1938, AND THERE HE OPENED A SHOT WHERE HE WAS A LITTLE BUDDING MECHANIC, AND FOR ABOUT THREE YEARS IN THE BACKYARD OF HIS GARAGE, HE WORKED ON HIS ARCHITECTURAL MODEL.

HE EXPLAINED HIS PROJECT IN A HIGHLY DETAILED SIX-PAGE STATEMENT OF PURPOSE.

HE SAID, THIS BUILDING IS AN ENTIRELY NEW CONCEPT IN MUSEUMS.

DESIGNED TO HOLD ALL THE WORKS OF MAN IN WHATEVER FIELD DISCOVERIES MADE IN THOSE WHICH MAY FOLLOW.

EVERYTHING FROM THE WHEEL TO THE SATELLITE.

THE MODEL IS SEVEN FEET HIGH AND IT'S ON A SCALE OF 1 FOR 200.

THE OLD COMPLEX IS ENOUGH WHITE AND BRONZE COMPOUND CENTERED AROUND A TOWER COMPOSED OF EIGHT SUPERIMPOSED CIRCULAR SECTIONS TOPPED BY A METAL SPIRE.

THERE ARE FOUR ARCHED MAIN ENTRANCES SURMOUNTED BY THE FLAG OF ITALY, OF FRANCE, OF THE UNITED STATES, AND SPAIN.

HIS ATTENTION TO DETAIL AND FUNCTIONALITY ARE ASTOUNDING.

YOU HAVE, FOR INSTANCE, ABOUT 800 WINDOWS MADE OF CLEAR CELLULOID.

HIS OWN PHOTOGRAPHY AND SETS OF VALUE ARE INSCRIBED ONTO THE PALACE.

YOU CAN READ THOSE DIFFERENT SENTENCES RELATED TO HIS OWN PERCEPTION OF HOW WE SHOULD BEHAVE AS CITIZENS, AS NEIGHBORS.

I DON'T THINK THAT HE WANTED TO BUILD IT JUST TO BE A MODEL.

HE WANTED TO REALLY REALIZE THAT ARCHITECTURE, AND IF THIS ARCHITECTURE WOULD HAVE BEEN BUILT, IT WOULD HAVE SPREAD OVER 16 CITY BLOCKS.

AND BEEN 136 STORIES HIGH.

MANY OF THE ARTISTS WE HAVE IN OUR COLLECTION STARTED TO CREATE AT A SPECIFIC TIME OF THEIR LIFE.

IT'S OFTEN LIKE A TURNING POINT.

THEY EXPERIENCE SOME KIND OF PSYCHOLOGICAL CHANGES IN THEIR LIFE.

THEY GOT INJURED, THEY COULD NOT WORK ANYMORE.

IN THE CASE OF ORIDE, HE LEFT ITALY TO ESCAPE THE FASCIST ITALIAN PARTY.

BEFORE HE PASSED AWAY, HE SAID HE WOULD BE HAPPY IF THIS PIECE WOULD BE IN A MUSEUM FOR FUTURE GENERATIONS.

AND IT TOOK 33 YEARS FOR THE PIECE TO BE SECURED AT THE AMERICAN FOLK ART MUSEUM.

NEXT WEEK ON 'NYC ARTS' A LOOK AT THE EXHIBITION STRETCHING THE CANVAS.

IT IS ON VIEW AT THE SMITHSONIAN NATIONAL MUSEUM OF THE AMERICAN INDIAN.

I THINK IT WAS THE FIRST PAINT THAT SAID TO ME, THIS IS WHAT I'M GOING TO DO THE REST OF MY LIFE.

IT WAS THAT ACTION.

AND I REMEMBER BEING 6 YEARS OLD OR 6 1/2 AND THINKING, I DON'T KNOW, I'M IN MY ZONE NOW.

LIGHTNING HIT ME.

THIS IS WHAT I'M GOING TO BE DOING THE REST OF MY LIFE, AND I'M STILL DOING THIS.

SO I THINK YOU CAN BE BORN A PAINTER SOMETIMES.

AND AN EXPLORATION OF THE TRIANNUAL OF CONTEMPORARY LATINX ART.

IT 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 BREADTH OF LATINX ARTISTS WORKING ALL ACROSS THE NATION.

THANK YOU FOR JOINING ME THIS EVENING.

I'LL PHILIPPE DE MONTEBELLO ON LOCATION IN NEW YORK.

GOOD NIGHT AND SEE YOU NEXT TIME.

> FUNDING FOR NYC ARTS IS MADE POSSIBLE BY TEA PECHIC FOUNDATION.

THE LEWIS SUNNY TURNER FUND FOR DANCE.

THE AMBROSE MONEL FOUNDATION, JODY AND JOHN AROUNDHOLD.

ELISE AND JEFFREY BROWN, CHARLES AND VALERIE GEITHNER.

THE NANCY SIDEWATER FOUNDATION.

ELROY AND TERRY CRUMHOLTZ FOUNDATION.

THE MILTON AND SALLY AVERY ART FOUNDATION, AND ELLEN AND JAMES S. MARGUS.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH 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 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 SWAN AUCTION GALLERIES.

SWAN 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 SWANGALLERIES.COM.