NYC-Arts explores the exhibition “Stretching the Canvas: Eight Decades of Native Painting,” on view at the Smithsonian’s National Museum of the American Indian. Then a look at “Estamos Bien – La Trienal 20/21” at El Museo del Barrio, the museum’s first large-scale, national survey and triennial of contemporary Latinx art.

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> COMING UP 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 THAT FIRST TEMPERA PAINT IN KINDERGARTEN THAT SAID TO ME THIS IS WHAT I'M GOING TO BE DOING THE REST OF MY LIFE.

IT WAS THAT ACTION WITH THE HANDS.

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 IT.

AND AN EXPLORATION OF 'ESTAMOS BIEN,' THE TRIENIAL OF LATINX ART.

IT FEATURES 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.

FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY -- TEA PETCHECK YERVALINO FOUNDATION.

THE LEWIS SUNNY TURNER FUND FOR DANCE.

THE AMBROSE MOW NELL FOUNDATION.

JODIE AND JOHN ARN HOLD.

ELYSE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DUCKER.

THE NANCY SIDEWATER FOUNDATION.

ELROY AND TERRY KRUMHOLTZ 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.

P.

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.

> GOOD EVENING.

AND WELCOME TO 'NYC ARTS.'

I'M PHILIPPE DE MONTEBELLO ON LOCATION AT NOYO GALLERY IN NEW YORK WHICH REOPENED ITS DOORS TO THE PUBLIC LAST MONTH.

HOUSED IN A MANSION AT THE CORNER OF 5th AVENUE AND 86th STREET, THE MUSEUM IS DEVOTED TO EARLY 20th CENTURY GERMAN AND AUSTRIAN ART AND DESIGN.

CONCEIVED BY SERGE SOBARSKI AND RONALD S. LAUDER, ITS MISSION IS TO BRING A SENSE OF PERSPECTIVE BACK TO THIS PERIOD AND REGION OF ART MAKING.

THE NAME OF THE MUSEUM MEANS NEW GALLERY, AND IT HAS ITS HISTORICAL ROOTS IN VARIOUS EUROPEAN INSTITUTIONS, ARTIST ASSOCIATIONS AND COMMERCIAL GALLERIES.

FOREMOST THE NEUER GALLERY IN VIENNA FOUNDED IN 1923 BY OTTO KAHLIL ALL SOUGHT TO CAPTURE THE INNOVATIVE MODERN SPIRIT THAT IS COVERED AND PURSUED AT THE TURN OF THE CENTURY.

THIS OPULENT GALLERY FEATURES THE WORK OF ONE OF THE MOST WELL-REGARDED AUSTRIAN PAINTERS, GUSTAV KLIMT, AND THIS FULL FLOOR IS DEVOTED TO THE ART OF VIENNA IN ABOUT 1900.

HOWEVER, A MAJOR PART OF THE MUSEUM'S EXTENSIVE COLLECTION IS THE WORK OF GERMAN ARTISTS AND THE SPECIFIC MOVEMENTS OR THEMES THAT AROSE DURING THE SAME TIME PERIOD.

THE BLAUERREITER, OR THE BLUE WRITER, AND ITS CIRCLE INCLUDED VASILY CANNED INSKY, PAUL KLEI, AUGUST MACCER AND HANCE MARK.

IT WAS A GROUP OF ARTISTS AND A MOVEMENT UNITED HAD REJECTION OF THE ACCEPTED PRINCIPLES OF THE TIME, WHICH THEY DEEMED TOO STRICT AND TRADITIONAL.

THE BRICHER, OR THE BRIDGE, INCLUDED SUCH ARTISTS AS ERNEST LUDWIG GICHNER, ERIC HENKEL AND HERMAN MAX PECHTER.

MEMBERS WERE GERMAN EXPRESSIONISTS WITH INTEREST IN BOTH PRIMITIVIST ART AND IN EXPRESSING EMOTION THROUGH HEIGHTENED COLORS THAT WERE OFTEN NON-REALISTIC.

THE WORKS WERE OFTEN EMOTIONALLY AGITATED.

PIONEERS OF THE BAUHAUS INCLUDED LIONEL FININGER AND OSCAR SCHLEMMER.

THE BAUHAUS MOVEMENT AND ITS SCHOOL BECAME FAMOUS FOR ITS APPROACH TO DESIGN WHICH ATTEMPTED TO UNIFY THE PRINCIPLES OF MASS PRODUCTION, COMBINING CRAFTS AND THE FINE ARTS.

ALSO INCLUDED AMONG THE GERMAN ARTISTS OF THE PERIOD WERE OTTO DIX AND GEORGE GROSS.

ON OUR PROGRAM TONIGHT WE'LL VISIT THE SMITHSONIAN'S NATIONAL MUSEUM OF THE AMERICAN INDIAN.

ITS MISSION IS TO FOSTER A MORE INFORMED UNDERSTANDING OF NATIVE PEOPLES OF THE AMERICAS.

LOCATED DOWNTOWN IN NEW YORK CITY AT BOWLING GREEN, IT REOPENED TO THE PUBLIC LAST MONTH AFTER A LONG CLOSURE DUE TO THE PANDEMIC.

CURRENTLY ON VIEW IS 'STRETCHING THE CANVAS: 80 YEARS OF NATIVE PAINTING.'

IT IS A GROUP SHOW.

INCLUDING OVER 30 ARTISTS.

WITH ALL WORKS DRAWN FROM THE MUSEUM'S PERMANENT COLLECTION AND CREATED BETWEEN 1940 TO THE PRESENT DAY.

THE PREMISE OF THE EXHIBITION IS TO CHALLENGE EXPECTATIONS OF WHAT CONSTITUTES AMERICAN INDIAN ART.

THE WORKS REFLECT A GREAT VARIETY OF COLOR, STYLE, AND SUBJECT.

FROM FLAT ILLUSTRATED PIECES THAT DEPICT IDEALIZED SCENES TO LARGE-SCALE ABSTRACT WORK THAT USES IRONY TO CONFRONT NATIVE ISSUES.

THE SHOW HINGES ON THE MOMENT WHEN THESE ARTISTS BROKE THROUGH TO MODERNISM.

I THINK IT WAS THAT FIRST TEMPERA PAINT ON NEWSPRINT IN KINDERGARTEN THAT SAID TO ME THIS IS WHAT I'M GOING TO BE DOING THE REST OF MY LIFE.

IT WAS THAT ACTION WITH THE HANDS.

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

LIGHTNING HIT ME.

THIS IS WA I'M GOING TO BE DOING THE REST OF MY LIFE.

SO I THINK YOU CAN BE BORN A PAINTER SOMETIMES.

WE BEGIN THE EXHIBITION 'STRETCHING THE CANVAS' IN THIS LARGE SALON-SCALED GALLERY WITH SOME OF OUR OVERSIZED LARGE PAINTINGS.

AND THE REASON THERE IS THAT WE FELT THAT THIS WORK WAS COMPARABLE TO ANYTHING YOU WOULD SEE AT THE WHITNEY, ANYTHING YOU WOULD SEE AT THE MUSEUM OF MODERN ART, AND SO WE REALLY WANTED TO PUT SORT OF OUR BEST FOOT FORWARD AND INVITE OTHER MUSEUMS TO IMAGINE THIS KIND OF WORK IN THEIR GALLERIES.

MAKING PAINTINGS ACTUALLY IS NOT SO MUCH A TRADITIONAL ART FORM.

THERE ARE TRADITIONS OF PAINTING ON HIDE OR KIFA PAINTINGS AND THAT KIND OF THING.

BUT MOST OF THE MODERN PAINTINGS COMES OUT OF THESE EPISODES IN THE 19 TEENS AND 1920s WHEN YOUNG NATIVE STUDENTS, PARTICULARLY IN THE SOUTHWEST AND EVEN OKLAHOMA WERE LEARNING SORT OF THE BASICS OF ART INSTRUCTION IN THEIR SCHOOLS.

THE SCHOOLS ENCOURAGED THIS AMERICAN INDIAN ART STYLE THAT WAS THAT FLAT ILLUSTRATED STYLE FOCUSING ON NATIVE AMERICAN SUBJECTS.

JUST TO GIVE OUR VISITORS SOME SENSE OF WHERE THIS IS ALL COMING FROM, THE KIND OF FOUNDATION FROM WHERE THIS MORE ADVENTURESOME WORK GREW, FROM THERE WE INVESTIGATE IN THE SUITE OF GALLERIES SOME OF THE THEMES THAT INVITED ARTISTS THINK ABOUT THEIR ART IN A MORE BROAD WAY.

WE HAVE A SMALL GALLERY THAT LOOKS AT ARTISTS WHO TRAVELED TO NEW YORK CITY IN THE 1940s AND 1950s AND BEGAN TO THINK ABOUT THEMSELVES MORE AS ARTISTS ON A WORLD STAGE.

SOME ARTISTS WERE INSPIRED BY POP LART, DEVELOPMENTS OF THE 1960s AND 1970s WITH THEIR OVERSIZED CANVASES AND HOT COLORS, KIND OF A MORE PLAYFUL APPROACH TO NATIVE AMERICAN SUBJECTS.

ONE OF THE THINGS I THINK THAT AMERICAN INDIANS STRUGGLE WITH THROUGHOUT THE 20th CENTURY AND 21st CENTURY ARE THESE EXPECTATIONS THAT THEY'RE NOT PART OF THE MODERN WORLD.

PEOPLE EXPRESS SURPRISE THAT AMERICAN INDIANS USE CELL PHONES OR DRIVE CARS OR JUST RIDICULOUS THINGS LIKE THAT.

BUT IT'S NOT AS UNCOMMON AS YOU MIGHT THINK.

SO THOSE ARTISTS ARE A PART OF THE CONTEMPORARY WORLD.

THEY'RE ALSO A PART OF THEIR TRADITIONAL WORLD IN COMMUNITIES AS WELL.

AMERICAN MEREDITH A CHEROKEE ARTIST IS CURRENTLY THE EDITOR OF A VERY INFLUENTIAL ART JOURNAL AND SHE'S ALSO AN ARTIST, A PAINTER.

I WENT TO GRADUATE SCHOOL AT SAN FRANCISCO INSTITUTE AND I ACTUALLY HAD FELLOW CLASSMATES SAY WHY WOULD ANYONE GO TO GRAD SCHOOL FOR PAINTING?

SO I HAD A LOT OF TIME TO, YOU KNOW, THINK OF WHY IS PAINTING RELEVANT, IS IT PASSE.

AND LIKE OKAY, HUMAN BEINGS HAVE BEEN PAINTING FOR THE LAST 100,000 YEARS.

SO IS DANCING PASSE?

IS POETRY PASSE?

IS SINGING PASSE?

NO.

I THINK THESE ARE ALL JUST INTRINSICALLY HUMAN EXPRESSIONS.

AND I THINK PAINTING IS THE CORE.

IF YOU'RE PASSIONATE ABOUT COLOR AND TEXTURE, PAINTING IS SO PRIMEVAL, I THINK.

THIS PIECE IN THE SHOW IS FROM 2005.

THE MAIN CHARACTER IS THIS VERY CONTROVERSIAL LAKOTA MEDICINE MAN JOHN FARA REINDEER, AND HE'S BASICALLY SAYING GO OUT INTO THE WORLD, THAT YOU'LL SERVE PEOPLE BETTER IF YOU GO AND FULLY LIVE YOUR LIFE AND DON'T TRY TO LIVE THIS STRICT PURE CLOISTERED LIFE BUT JUST GO OUT AND SCREW UP.

THE LEDGER DESIGN REFERENCES LEDGER ART.

YOU KNOW, THIS KIND OF TRANSITIONAL ART.

AND THAT'S AN INTERSECTION TOO WHEN WESTERN MATERIALS CAME OUT TO THE PLAINS, THESE OLD LEDGERS WERE USED BY THE ARTISTS WHO PREVIOUSLY HAD BEEN PAINTING ON ANIMAL HIDES.

AND I THINK IT'S ONE OF THE GREATEST IRONIES, IS IF YOU PAINT ON THIS BEAUTIFUL BIMORPHIC SHAPE, THIS ANIMAL HIDE, MANY PEOPLE DON'T CONSIDER THAT ART WITH A CAPITAL A.

BUT IF YOU PAINT ON A RECTANGLE AND IT'S PAPER THEN IT'S OKAY.

NORVEL MORSO WITH THIS INCREDIBLE WOODLAND STYLE I'M REFERENCING BUT VERY ABSTRACT HEAVILY BLACK OUTLINED SNAKE AND EA EAGLE.

SO THE FLAT STYLE IN THE CORNER IS WHAT I GREW UP WITH IN OKLAHOMA, THE BECONE SCHOOL PAINTING STYLE.

IT'S VERY FLAT, FAPTLY OUTLINED.

KIND OF THE SOUTHWEST LANDSCAPE.

BUT I USE KIND OF POP IMAGERY AND KIND OF CHILDREN'S IMAGERY AS TOUCHSTONES.

I THINK MOST PEOPLE COMING HERE ARE SORT OF FEMALE WITH RICHARD SCAREY, AN AMAZING ARTIST, AND THE MUPPETS.

SO THAT'S FROM MY CHILDHOOD.

WE SAW A LOT OF CONTROL IN NATIVE ART AND WE DON'T SEE PEOPLE LETTING LOOSE.

MARIO MARTINEZ IS A WONDERFUL EXAMPLE OF SOMEONE WHO IS LETTING LOOSE AND BEING VERY FREE AND VERY SPONTANEOUS WITH HIS IMAGERY.

I'VE ALWAYS LOVED ABSTRACTION.

I HAVE A PROCLIVITY TO IT.

I WAS DRAWN TO IT BECAUSE THERE WAS -- I UNDERSTOOD AS A YOUNG KID THAT YOU DIDN'T DO CEREMONIAL IMAGERY, YOU DIDN'T DO CULTURAL IMAGERY TO BENEFIT FROM YOUR CULTURE, TO BENEFIT MONETARILY.

SO AS A KID I KNEW THAT I COULDN'T USE THAT IMAGERY.

SO I GUESS A GREAT AVENUE OUT WOULD BE WHAT I FELL IN LOVE WITH IN WESTERN MODERNISM.

BUT IN THE PUREST SENSE, IN THE MORE SPIRITUAL SENSE, THE ENERGY SENSE, ABSTRACTION I THINK FOR ME IS STILL THE MOST POWERFUL LANGUAGE.

AND NOT QUITE AS UNDERSTOOD.

I THINK ANOTHER THEME OF THE SHOW IS PEOPLE BEING UNCONSTRAINED.

SO YOU HAVE A LOT OF PEOPLE LOOKING OUTSIDE THEIR TRIBAL HERITAGE AND KIND OF LOOKING AT THE BROADER WORLD.

KAY WALKING STICK WAS BORN IN NEW YORK AND SHE'S STILL IN THE NORTHEAST.

SHE IS CHEROKEE BUT SHE VERY SELDOMLY USES ANY KIND OF OVERT CHEROKEE IMAGERY.

SHE'S DEVELOPED HER OWN.

SO IN THIS SHOW SHE HAS THIS BEAUTIFUL SOUTHWESTERN LANDSCAPE.

AND OF COURSE NATIVE PEOPLE TRAVEL.

YOU KNOW, THEY SEE AND RESPOND TO DIFFERENT COMMUNITIES.

SO SHE HAS HER OWN STYLE WHERE SHE'S USING ICONOGRAPHY AND THEN LANDSCAPE.

THIS KIND OF INNER AND OUTER WORLD, SYMBOLIC WORLD AND REPRESENTATIONAL WORLD.

AND MANY OF HER WORKS ARE DIPLO DIPTICK, SO THEY'RE DIVIDED IN TWO.

WHEN I WAS A CHILD I LIVED AT BECONE'S COLLEGE CAMPUS.

THEY HAD AN ART PROGRAM.

IT'S ALWAYS UFRN BECAUSE IT'S ALWAYS BEEN RUN BY NATIVE ART DIRECTORS.

IT STARTED IN 1935 AND THEY ACTUALLY HAVE A PIECE BY THE FIRST DIRECTOR, A.C. BLUE EAGLE.

DICK WEST, HE WAS A DIRECTOR OF BECONE.

AND HE'S SOUTHERN CHEYENNE.

IN THE SHOW THERE'S TWO PIECE PPZ ONE IS IN THE SECTION CALLED TRAINING GROUND THAT IS CONSIDERED THE 21st CENTURY WAY TO PAINT.

HEAVILY OUTLINED, HEAVILY CONTOURED.

BUT AS YOU SEE, HE IN THIS PAINTING IT'S VERY ABSTRACT, HE'S PLAYING WITH COLOR, HE'S PLAYING WITH TEXTURE.

THE FACT THAT HE REALLY JUST GAVE HIMSELF PERMISSION TO EXPERIMENT IN MANY DIFFERENT WAYS.

AND I THINK SOMETIMES THE ART DOESN'T REFLECT HOW FREE SOME OF THESE ARTISTS WERE.

ONE OF THE GREAT STANDOUTS OF THIS EXHIBITION IS JAMES LAVADOR, HIS PAINTING BLANKET WHICH IS ACTUALLY A SERIES OF PANELS THAT SUGGESTS LANDSCAPE WITHOUT REALLY REPRESENTING IT.

WHAT I PARTICULARLY ENJOY ABOUT HIS WORK AND THESE -- I WOULDN'T SAY HE'S ENTIRELY SELF-TAUGHT, BUT HE IS NOT -- HE DOESN'T COME OUT OF A UNIVERSITY STUDIO SCHOOL SYSTEM.

BUT HE HAS THIS WONDERFUL INSIGHT ABOUT THE QUALITY OF PAINT AND ITS RELATIONSHIP TO GEOLOGY.

THAT PAINT, WHAT IS PAINT BUT BASICALLY MINERALS THAT ARE SUSPENDED IN LIQUID.

SO HIS INSIGHT IS A PAINTING IN A SENSE IS KIND OF AN ACT OF GEO GEOLOGY.

BY CREATING A PAINTING YOU'RE ALMOST MIMICKING GEOLOGICAL FORCES OF HIDE ROLL JI AND LAYERING AND STRATIGRAPHY.

SO HE WORKS WITH THOSE PIGMENTS ON THE SURFACE AND MANIPULATES THEM UNTIL SUGGESTIONS OF LANDSCAPE BEGIN TO EMERGE, AS IF HE'S NOT PAINTING AN IMAGE OF A LANDSCAPE BUT ACTUALLY CONSTRUCTING LAND HIMSELF OUT OF THE PAINT.

TURNS OUT THAT MUSEUMS ACROSS THE COUNTRY ARE BEGINNING TO UNDERSTAND THAT THEIR REPRESENTATION OF AMERICAN ART HISTORY IS LIMITED AND CONSTRAINED TO A CERTAIN EXTENT, THAT IT DOESN'T INCLUDE THE WORK OF SOME OF THESE ACCOMPLISHED ARTISTS WHO'VE BEEN WORKING FOR MANY DECADES.

I'M VERY IMPRESSED WITH THE SHOW BECAUSE IT REALLY SAYS COME ATTENTION OR NOT, COME ACCEPTANCE OR NOT WE WERE GOING TO DO WHAT WE WERE GOING TO DO.

AND WE WERE AS GOOD AS ANYBODY ELSE.

IT IS PROOF THAT WE ARE PART OF THE AMERICAN CULTURAL EXPERIENCE.

> NEXT, WE VISIT EL MUSEO DEL BARRIO, LOCATED AT THE NORTHERN END OF MUSEUM MILE IN EAST HARLEM.

CURRENTLY ON VIEW IS EST ESTAMOS BIEN, LA TRIENAL 2021.

THE MUSEUM'S FIRST LARGE SURVEY AND TRIENIAL OF CONTEMPORARY LATINX ART.

ITS TITLE ESTAMOS BIEN, WE'RE FINE, WAS INSPIRED BY A 20th CENTURY WORK AND EXHIBITION BY CHICAGO-BASED ARTIST CANDIDA ALVAREZ.

PAINTING WAS COMPLETED AFTER HURRICANE MARIA DEVASTATED PUERTO RICO.

THE TITLE SUGGESTS BOTH RESILIENCE AND A DECLARATION OF RESISTANCE.

THE TRIENIAL FEATURES RECENT WORKS BY 42 ARTISTS FROM ALL ACROSS THE UNITED STATES AND PUERTO RICO.

THE SHOW INCLUDES PAINTING, SCULPTURE AND PHOTOGRAPHY.

ALSO A WIDE RANGE OF WORKS WHOSE USE OF MATERIALS AND SCOPE DEFY EASY CATEGORIZATION AS DO THE ARTISTS THEMSELVES.

CURATOR SUSANNAH DEMPKIN TAKES US ON A TOUR OF THE EX-BGS.

P EXHIBITION.

WE REALLY WANTED TO BROADEN THE SCOPE, NOT ONLY BRINGING IN ARTISTS FROM ACROSS THE NATION BUT WORKING WITH ARTISTS FROM A VARIETY OF BACKGROUNDS, GENERATIONS AND CAREER STAGES.

BEHIND ME IS A WORK BY JUSTIN SAVELA WHO'S REALLY INTERESTED IN ENGAGING STEREOTYPES ABOUT LATINX PEOPLE AND LATINX ART AND LATINX CULTURE.

WHAT YOU SEE IS A BLOWN-UP MONUMENTAL APPROACH TO CARLOS NERIDA'S PRINTS OF THE POPOVO, WHICH ARE TEN QUASI-SURREAL WORKS THAT THE GUATEMALAN ARTIST CREATED IN THE 1940s.

JUSTIN CREATES THESE PINATAS ARTWORK MADE OUT OF MULTICOLORED TISSUE PAPER THAT HE VERY CAREFULLY PLANNED AND EX-KOECUT TO CREATE THESE BEAUTIFUL FORMS.

ALSO RECREATE AT A ONE TO ONE SCALE THE PAINTING BY FRANCISCO AYEL CALLED YELLOW PLANTAINS, PLATANOS AMARILLOS.

WHICH IS ONE OF THE MOST BELOVED PAINTINGS IN EL MUSO'S COLLECTION.

THERE'S NORP SINGLE OVERARCHING THEME BUT THERE ARE A LOT OF CONCEPTS OR MOW TEEFZ.

IN ONE OF THE FIRST GALLERIES IS AN APPROACH TO FOOD AND COMMODITIES BY JOEY TRUEL WHICH ARE REALLY COMMENTARIES NOT ONLY ON CONSUMER CULTURE BUT ALSO ON THE PHARMACEUTICAL CULTURE.

JOEY'S AN ARTIST.

HE'S BEEN LIVING WITH AIDS FOR ALMOST 40 YEARS.

THEN WE ALSO HAVE ARTISTS THAT PAINT A MUCH MORE PLAYFUL ALTHOUGH VERY SERIOUS APPROACH.

LIKE YVETTE MAYORGA WHO CREATES PAINTINGS THAT EVOKE A SORT OF LASTING OR PASTELERIA STYLE OF APPLICATION.

THESE WORKS ALMOST LOOK LIKE CAKES YOU WANT TO LICK THE SURFACES OF BECAUSE THEY'RE SO RICHLY TEXTURED.

AS WELL AS LUCIA.

HER WORKS ARE CALLED THE RACKS AND THEY FEATURE VISUAL CULTURE, CONTEMPORARY SNACKS THAT WE'RE ALL FAMILIAR WITH, LIKE THE PLATANITA CHIPS, TAKIS, FRITOS.

DON'T COME HUNGRY.

THE EXHIBITION WAS ORIGINALLY SCHEDULED TO OPEN IN OCTOBER 2020.

WE DECIDED TO COMMISSION FIVE PROJECTS THAT WERE TO BE ONLINE.

THERE WAS A WORK BY LUSANIA CRUZ CALLED THE AMERICAN DREAM IN WHICH SHE ASKED PARTICIPANTS TO SUBMIT TESTIMONIALS OF WHEN THE IDEAL OF THE AMERICAN DREAM DIED FOR THEM.

WE CREATED A SPECIAL DIGITAL SITE FOR A WORK BY MICHAEL MENCHACA, THE WALL, WHICH IS A REAL CRITIQUE OF NUMBER 45'S PLEDGE TO CREATE A BORDER WALL.

AND WE WOUND UP INCLUDING A NUMBER OF WORKS THAT ARTISTS CREATED SPECIFICALLY DURING THAT TIME THAT WE WERE ALL IN OUR HOMES EXPERIENCING SOCIAL DISTANCING.

FOR EXAMPLE, THE DUO PONCE DE ELACION WHO CREATE A VERY BEAUTIFUL PIECE THROUGH THE STREETS OF SAN JUAN DURING THE HEIGHT OF THE PANDEMIC.

ANOTHER WORK THAT WAS CREATED JUST IN THE LAST YEAR IS FAPATRK MARTINEZ'S URBAN LANDSCAPE.

A VERY LARGE-SCALE PAINTING THAT ALMOST LOOKS LIKE AN EXTRACT OF A LOS ANGELES CITY WALL BROUGHT INTO THE GALLERY THAT HAS ALL KINDS OF OF GRAFFITI AND LAYERS AND INCLUDED AMONG THAT ARE A GLOVE, SOME LYSOL SPRAY, REFERENCES TO WHAT WE'RE STILL USING TODAY.

WE'RE FEATURING 42 ARTISTS AND ART COLLECTORS, WHICH IS A LARGE NUMBER.

BUT ACTUALLY THERE ARE SO MANY MORE VOICES OUT THERE, SO MUCH AMAZING TOUCHING POLITICAL, PERSONAL WORK.

WHAT I HOPE THAT OUR AUDIENCES GET IS REALLY EXCITED ABOUT EXPLORING WHAT OTHER ART IS OUT THERE.

♪ ♪

> NEXT WE'LL VISIT THE AMERICAN FOLK ART MUSEUM.

ONE OF THE MOST HIGHLY RECOGNIZED AMERICAN SELF-TAUGHT ARTISTS IS THE PORTRAIT PAINTER M.I. PHILLIPS.

PHILLIPS WAS BORN IN 1788 IN COLEBROOK, CONNECTICUT.

DURING HIS LIFETIME HE PAINTED FOR MORE THAN 55 YEARS.

TODAY WE ARE AWARE OF CLOSE TO 1,000 PORTRAITS PAINTED BY M.I.

PHILLIPS.

IN THE PERIOD OF 1817 DO 1820 OR SO HIS PORTRAITS ARE VERY DREAMY.

THEY'RE BEAUTIFUL PALETTES OF THESE SHIMMERING MUTED COLORS.

MOSTLY THEY'RE VERY ESSENTIAL PORTRAITS, VERY REDUCTIVE, STRIPPED DOWN TO THE ESSENCE OF CONVEYING THE CHARACTER AND PERSONALITY OF WHOEVER WAS BEING PORTRAYED.

IN HIS PORTRAIT OF RHODA GOODRICH BENTLEY AND HER DAUGHTER MARIA LOUISA, PAINTED PROBABLY AROUND 1817, WE HAVE THE INCLUSION OF A FEW DETAILS THAT ARE SIGNIFICANT AND THAT ARE UNUSUAL IN PORTRAITS BY PHILLIPS.

HER DAUGHTER IS HOLDING A SLICE OF WATERMELON, AND SHE IS HOLDING A PIECE OF PLEATED COTTON.

WHICH MAY BE A REFERENCE TO OF COURSE THE COTTON PLANTATIONS IN THE SOUTH.

SO WE HAVE THIS PORTRAIT THAT INCLUDES THESE ELEMENTS THAT SEEM UNUSUAL FOR A MIDDLE-CLASS FAMILY IN NEW YORK STATE AND THAT SEEM TO BE MAKING AN ALLUSION TO THIS VERY SERIOUS ISSUE OF SLAVERY THAT CLEARLY HAD GREAT MEANING FOR THIS FAMILY.

M.I. PHILLIPS PAINTED FOR MORE THAN 55 YEARS, AND HIS STYLE UNDERWENT DRAMATIC CHANGES FROM ONE PERIOD TO ANOTHER.

MRS. BENTLEY WAS PAINTED AT THE HEIGHT OF WHAT WE'D CALL THE NEOCLASSICAL ERA, REFLECTING THE ROMANTICISM AND THE PALETTE ASSOCIATED WITH CLASSICAL ICONOGRAPHY AND FASHION, THE EMPIRE STYLE DRESSES.

BUT BY THE 1830s THERE WAS A VERY DIFFERENT AESTHETIC AT PLAY.

IT WAS MUCH HARDER EDGED.

IT WAS VERY CLEAR, VERY CLEARLY DEFINED.

THERE WERE MUCH DEEPER CONTRASTS OF COLOR.

THE AMERICAN FOLK ART MUSEUM HOLDS ONE OF PHILLIPS'S GREATEST MASTERPIECES IN ITS COLLECTION, AND IT'S SIMPLY TITLED 'GIRL IN RED DRESS WITH CAT AND DOG.'

AND IT'S THE BRILLIANT OF THE RED AGAINST THE STARK BLACK BACKGROUND THAT SETS UP THE JUXTAPOSITIONS THAT ARE TIMELESS AND BEAUTIFUL.

BUT VERY, VERY DIFFERENT FROM THE EARLIER PORTRAITS.

> NEXT WEEK ON 'NYC ARTS,' A TRIP TO THE NEW YORK BOTANICAL GARDEN IN THE BRONX TO SEE KUSAMA, COSMIC NATURE.

KUSAMA HAS PRESENTED HER WORK IN BOTANICAL GARDENS BUT NOT TO THIS SCALE.

THE ARTWORK ACTUALLY ENHANCES THE NATURAL ENVIRONMENT AND VICE VERSA.

A VISIT TO THE METROPOLITAN FOR A LOOK AT THE EXHIBITION A BIG ABSTRACTION POLLOCK TO HERRERA.

THE PAINTING SERVES AS A CATALOG OF PAINTERS' STROKES.

SOME THICK, SOME THIN, SOME STABLE, SOME STRONG, OTHERS FLUID, OTHERS WEAK.

AND A VISIT TO BUSH HOLLY HOUSE IN GREENWICH, CONNECTICUT, A MEETING PLACE FOR THE COSTCOB ART COLONY WHICH FLOURISHED HERE AT THE TURN OF THE CENTURY.

THE BUSH HOLLY HOUSE TODAY PORTRAYS TWO STORIES IN ITS HISTORY.

THE HOUSE BEGAN LIFE AS A HOME FOR PROSPEROUS MERCHANTS IN THE 18th CENTURY AND THEN GAINED RECOGNITION LATER AS A BOARDING HOUSE FOR AMERICAN ARTISTS AND WRITERS.

THANK YOU FOR JOINING ME THIS EVENING.

I'M PHILIPPE DE MONTEBELLO ON LOCATION AT NEUER GALLERY IN NEW YORK.

GOOD NIGHT AND SEE YOU NEXT TIME.

♪ ♪ ♪ ♪

FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY TEA PETCHECK IERVOLINA FOUNDATION.

THE AMBROSE MOW NELL FOUNDATION, JODY AND JOHN ARNHOLD, ELYSE JAFFE.

CHARLES AND NANCY DECKER.

THE NANCY SIDE ART 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 ART SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE AW LIFELONG COLLECTOR, A FIRST-TIME BUYER OR LOOKING TO SELL, INFORMATION AT SWANNGALLERIES.COM.