NYC-Arts visits the New York Botanical Garden in the Bronx for “KUSAMA: Cosmic Nature.” The campus-wide installation features the work of contemporary Japanese artist Yayoi Kusama. Then a look at “Smashed Strokes Hope” a painting by Joan Snyder on view in the Met Museum’s exhibition “Epic Abstraction.” Finally, Debra Mecky guides us through the Bush-Holley House, home to the Cos Cob artist colony.

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> COMING UP 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 EPIC ABSTRACTION.

THE PAINTING SERVING AS A KIND OF INVENTORY OR CATALOG OF PAINTER STROKES, SOME THICK, SOME THIN, SOME STABLE, SOME STRONG, OTHERS FLUID, OTHERS WEAK.

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

THE BUSH-HOLLEY 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.

> FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY -- THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS 'SONNY' TURNER FUND FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE NANCY SIDEWATER FOUNDATION.

FOUNDATION.ND TERRY KRUMHOLZ 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.

ARTS SINCE 1941. BOOKS AND FINE WORKING 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 PHILIPPE DE MONTEBELLO ON LOCATION AT FOREMOST THE NEUE GALERIE IN VIENNA FOUNDED IN 1923 BY OTTO KAHLIL ALL SOUGHT TO CAPTURE THE INNOVATIVE MODERN SPIRIT THAT IS COVERED AND PURSUED AT THE TURN.

THE WORK OF ONE OF THE MOSTES . 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 ZABRISKIE PASSED AWAY IN VISION OF CREATING THE GALLERY NEW YORK AS A TRIBUTE TO HIS FRIEND.

AS NEW YORK HAS MOVED TOWARDS RECOVERY OVER THE PAST SEVERAL MONTHS, A GREAT NUMBER OF ITS CULTURAL INSTITUTIONS HAVE NOW OPENED THEIR DOORS TO AN ENTHUSIASTIC PUBLIC.

NEW YORKERS, VISITORS FROM ACROSS THE U.S., AND AROUND THE WORLD CAN ONCE AGAIN ENJOY THE TREASURES THAT ARE FOUND HERE.

IN ADDITION TO THE RE-OPENING OF THE GALLERY, OTHERS HAVE REOPENED AND ARE JUST A STROLL AWAY.

THEY INCLUDE JUST TO NAME A FEW, THE GUGGENHEIM MUSEUM, THE JEWISH MUSEUM, THE MUSEUM OF THE CITY OF NEW YORK, AND JUST A BLOCK EAST FROM 5th AVENUE, THE TEMPORARY HOME OF THE AND A LITTLE FURTHER NORTH, THE HISPANIC SOCIETY MUSEUM AND LIBRARY.

THERE ARE NOW SOME WONDERFUL OPPORTUNITIES TO VISIT LOCATIONS OF INTEREST OUTSIDE MANHATTAN.

ON TONIGHT'S PROGRAM, WE VISIT THE NEW YORK BOTANICAL GARDEN IN THE BRONX FOR KUSAMA, FOR COSMIC NATURE.

IT REVEALS A LIFELONG ENGAGEMENT WITH THE COLORS AND CYCLES OF PLANTS AND FLOWERS.

KUSAMA 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 IS PERHAPS BEST KNOWN FOR HER WHIMSICAL PUMPKIN SIGNATURE POLKA DOTTED FORMS.

VISITORS CAN ENJOY HER WORKS IN THE LIBRARY IN AND AROUND THE CONSERVATORY AND ACROSS THE GARDEN'S LANDSCAPE.

VIVID HORTICULTURAL DISPLAYS.

'NYC ARTS' SPOKE WITH GUEST CURATOR MIKA YOSHITAKE ABOUT THE ARTIST'S SINGULAR VISION AND THE EXHIBITION WHICH IS ON VIEW THROUGH OCTOBER 31st.

♪♪♪

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

THE ARTWORK ACTUALLY ENHANCES THE NATURAL ENVIRONMENT AND VICE VERSA.

RELATIONSHIP TO THE COSMIC UNIVERSE.

THE GALLERY'S BASE IS A GENEALOGY OF KUSAMA'S ENGAGEMENT WITH NATURE.

SHE WAS BORN IN 1929 IN MATSUMOTO, THE MOUNTAINOUS REGION IN NAGANO.

FROM A VERY EARLY AGE, SHE WAS EXPOSED TO MANY, MANY DIFFERENT KINDS OF FLOWERS, PERIWINKLES, ZINNIAS.

SHE NOT ONLY DRAWS THE FLOWERS, BUT THE ANATOMY IS VERY REALISTIC.LL SEE A PROGRESSION E WAY THAT HER WORK SHIFTS FROM A VERY REPRESENTATIONAL TO A MORE SURREALIST EXPRESSION.

YOU'LL SEE THIS KIND OF ANTHROPOMORPHIC.

THE PAINTING FROM 2009, SHE HAS NOW MADE OVER 700 CANVASSES.

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

IT'S A VERY ABSTRACT PIECE THAT HAS A PATCHWORK OF DIFFERENT COLORS AND BOLD BLACK OUTLINES THAT DIVIDE EACH OF THE AREAS.

THIS IDEA OF PERHAPS ADAPTING TO PRESENT THAT AS A FLOWER GARDEN LIKE 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 VERY SPECIAL TO KUSAMA.

SHE HAS SO MANY DIFFERENT KINDS OF FORMS AND SHAPES.

THEY HAVE A HUMANLIKE CHARACTER.

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

THAT MOMENT OF DISCOVERY WHEN SHE WAS KIND OF WALKING THROUGH THE MEADOW AND HAPPENED UPON THIS PUMPKIN AND SHE REMEMBERS RIPPING IT OUT AND THE OOZE COMING OUT OF THE STEM, IT WAS A VERY VISCERAL EXPERIENCE.

STARRY PUMPKIN IS METALLIC MOSAIC, GOLD AND PINK AND SITUATED INSIDE THE CONSERVATORY WITH SEASONAL FLOWERS SURROUNDING IT.

SO IT REALLY LOOKS LIKE A MEADOW THAT YOU'VE KIND OF COME UPON THIS BEAUTIFUL STARRY PUMPKIN.

AND THEN THERE IS A 16-FOOT SCULPTURE, IT'S BRAND NEW, CALLED 'DANCING PUMPKIN.'

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

AND IT ALMOST LOOKS LIKE A JELLYFISH OR A SPIDER.

IT'S CALLED 'DANCING PUMPKIN' BECAUSE THERE'S ONE LEG THAT IS LIFTED UP, AND IT 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, IT'S TWO-WAY MIRRORS ENCASEDE.

CUBE WITH PUMPKINS THAT ARE GLOWING INSIDE.

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

YOU HAVE TO KIND OF FOCUS ON THE REFLECTIONS, AND IT'LL JUST START TO EXPAND.

THERE'S A CONNECTION BETWEEN THE BOTANICAL WORLD WITH THE HUMAN AND TACTILE SENSATION AND WITH THE SUBLIME FEELING OF COSMIC EXPANSION.

'ALLUSION INSIDE MY HEART' IS JUST A FREESTANDING MIRRORED CUBE.

IN THE BEGINNING OF THE EXHIBITION, PEOPLE WILL BE ABLE, AND IT'S AMAZING BECAUSE IT REFLECTS THE BOTANICAL GARDEN.

AND IT ALMOST DISAPPEARS.

WHEN YOU GO INSIDE, YOU SEE THAT IT'S THIS EXPANSIVE UNIVERSE.

NARCISSIST GARDEN IS 1,500 STAINLESS STEEL ORBS THAT ARE FLOATING ON WATER.

AND IT REFLECTS THE ENVIRONMENT.

IT'S A BEAUTIFUL DISPLAY THE WAY THAT THE WINDS CHANGE THE ORIENTATION AND THE REFLECTION OF ALL OF THE DIFFERENT TREES AND WILL QUICKLY CHANGE AS THE SEASONS CHANGE.

THE POLKA DOT WHICH SHE'S SO WELL KNOWN FOR IS NOT JUST THIS FLAT DOT BUT A SPHERE.

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

THERE IS THIS OUTDOOR SCULPTURE THAT WE'VE HAD IN THE REFLECTING POOL.

IT'S CALLED 'I WANT TO FLY TO AND I'M SURE THAT PEOPLE WILL BE VERY SURPRISED BECAUSE IT'S NOT QUITE A FLOWER, IT'S NOT QUITE AN ANIMAL.

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

BUT IT'S NOT ONE THING.

AND I THINK THAT'S VERY CHARACTERISTIC OF KUSAMA.

PRESENTING HER WORK HERE IS SO ACTUALLY AND SO ENLIGHTENING ESPECIALLY IN THIS PANDEMIC ERA.

BECAUSE WHAT I THINK A LOT OF PEOPLE REALIZED IS THAT WE ARE ALL KIND OF VULNERABLE, AND THERE IS THIS ELEMENT OF COEXISTENCE.

KUSAMA'S WORK BETWEEN HUMANS, NATURE, AND THE COSMOS.

AND EVEN WITH LIFE AND DEATH LIKE A CYCLE.

♪♪♪ ♪♪♪

> NOW, A VISIT TO THE METROPOLITAN MUSEUM OF ART FOR A LOOK AT THE MUSEUM'S COLLECTION OF POST-WAR AND CONTEMPORARY ART.

EPIC ABSTRACTION EXPLORES LARGE-SCALE ABSTRACT PAINTING SCULPTURE AND OTHER WORKS OF ART.

THE EXHIBIT SEEKS TO BROADEN THE NARRATIVE OF ABSTRACTION, BRINGING TOGETHER SOME 50 WORKS FROM THE MESONE COLLECTION.

REPRESENTED HERE ARE SUCH ICONIC ARTISTS AS JACKSON FOLIC, AND OTHERS.

THE CURATOR OF MODERN AND CONTEMPORARY ART AT THE MET LOOKS AT A SINGLE WORK FROM THE COLLECTION.

♪♪♪

THE COLORFUL AND ATTRACTIVE PAINTING BEHIND ME IS 'SMASH STROKES HOPE' FROM 1971 BY JOAN SCHNEIDER IS ONE OF THE CONTEMPORARY ARTISTS.

THE EXUBERANT COLOR AND THE SENSE OF EXPERIMENTATION BREAKS FROM THE INTENSE FORMALISM OF MINIMALISM, SPECIFICALLY THE MINIMALIST GRID THAT WAS CONSIDERED TO BE THE MOST DESIRABLE TEMPLATE OR TOUCH TONE FOR COMPOSITION AND DESIGN FOR ARTISTS AND SCULPTURES COMING OF AGE IN THE LATE 1960s AND '70s.

THIS IS A PAINTING ON CANVAS, BUT SHE'S USING A WIDE RANGE OF PAINT.

OIL, ACRYLIC AND SPRAY ENAMEL.

SHE'S APPLYING PAINT FAIRLY TRADITIONALLY IN CERTAIN INSTANCES WITH A SEQUENCE OF VERY CLEAR BRUSHSTROKES.

MOST OF THOSE ARE WITH THE OIL PAINT.

OTHER INSTANCES SHE'S EXPLORING MARKMAKING IN OTHER WAYS.

HER PROCESS IS BOTH ADDITIVE AND SHE MAKES STROKES BY ADDING INDIVIDUAL BRUSHMARKS.

BUT SHE ALSO EXECUTES STROKES IN A SUBTRACTIVE MANNER, IN SOME CASES SCRAPING INTO THICK PAINT TO MAKE AN ABSENCE OF A STROKE.

PART OF THE APPEAL OF JOAN SCHNEIDER'S PAINTING IS THAT IT ALMOST EXPANDS AND BLOWS UP IN SCALE WHAT AN ARTIST'S PALETTE MIGHT LOOK LIKE WHERE YOU HAVE GLOBS OF PAINT AND YOU GET A SENSE OF THE PAINT BEING MIXED, AND THERE'S A SENSE OF THE FULL RANGE OF AN ARTIST'S PALETTE THAT SHE'S PREPARING TO USE.

THE PAINT IN CERTAIN INSTANCES AND CERTAIN PASSAGES IS PILED UP, IT'S THICK AND COAGULATED.

BUT IN OTHER INSTANCES SHE'S EXPERIMENTING WITH THE PAINT DILUTED AND ALLOWING THE STROKES TO RUN AND TO POUR OVER WHITE EXPANSES OF THE PAINTING.

THE PAINTING SERVES AS A KIND OF INVENTORY OR CATALOG OF PAINTER'S STROKES.

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

SCHNEIDER HERE WALKS A VERY FINE LINE BETWEEN EXPERIMENTATION AND DELIBERATION.

♪♪♪ FOR MORE INFORMATION ON CULTURAL 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'LL TRAVEL TO THE BUSH-HOLLEY HOUSE IN GREENWICH, CONNECTICUT, ABOUT AN HOUR NORTH OF NEW YORK CITY.

THIS STATELY COLONIAL BUILDING IS ONE OF A FEW REMAINING IN GREENWICH FROM THE EARLY DECADES OF THE 18th CENTURY.

THE HISTORIC SITE IS THE CENTERPIECE OF THE GREENWICH HISTORICAL SOCIETY WHICH HAS DOCUMENTED THE TOWN'S PASSAGE FROM A COLONIAL NEW ENGLAND SETTLEMENT INTO AN AFFLUENT IN MAINTAINING THE HOUSE FOR VISITORS, THE SOCIETY HAS PRESERVED THE MEETING PLACE OF THE ART COLONY WHICH FLOURISHED HERE IN THE EARLY 20th CENTURY.

YOU CAN ENJOY A TOUR OF THE HOUSE BY ADVANCE APPOINTMENT.

NOW ON VIEW AT THE SOCIETY'S GALLERIES IS THE EXHIBITION 'BEAUTIFUL WORK.'

THE ART OF GREENWICH GARDENS AND VISITORS CAN LEARN ABOUT THE VARIETY OF GARDENS IN THE AREA FROM THOSE COMMISSIONED BY THE SCIONS OF INDUSTRY FOR THEIR GRAND ESTATES TO MORE HUMBLE FLOWER AND VEGETABLE PLANTINGS.

ORIGINAL DESIGN PLANS, HARDWORKS, PHOTOGRAPHS, FURNITURE, AS WELL AS GARDENING AND FARMING TOOLS DEMONSTRATED INTEREST OF THE RESIDENTS IN BOTH THE STUDY OF PLANTS AND IN THE CARE OF THESE FLOURISHING LANDSCAPES.

♪♪♪ ♪♪♪ ♪♪♪

THE BUSH-HOLLEY 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.

TODAY IT'S A NATIONAL HISTORIC LANDMARK AND ONE OF 18 SITES ON THE CONNECTICUT ART TRAIL.

SINCE ACQUIRING BUSH-HOLLEY HOUSE IN 1957, THE HISTORICAL SOCIETY EXPANDED THE SITE BY BUILDING AN ARCHIVE AND RESEARCH LIBRARY TO HOUSE THE WONDERFUL COLLECTIONS OF GREENWICH HISTORY AND TRANSFORMED A BARN INTO AN EDUCATION CENTER.

THE STORE HOUSE AND POST OFFICE WHICH SITS NEXT DOOR WAS ADAPT AS THE EXHIBITION GALLERY FOR CHANGING EXHIBITIONS ON HISTORY AND ART.

THE BUSH STORY BEGINS WITH DAVID BUSH WHO CAME HERE WITH HIS WIFE TO BUILD A MILL.

THEY ALSO IMPROVED THE HARBOR SO THAT SHIPS COULD COME RIGHT UP TO THE DOCKS.

AND THIS MADE THE LOWER LANDING A REALLY WONDERFUL COMMERCIAL ENTERPRISE FOR HIM.

HE WAS A VERY WEALTHY MAN, AND I THINK YOU CAN SEE THAT IN BUSH-HOLLEY HOUSE.

A SCRAP OF THE WALLPAPER HAS THE BRITISH TAX STAMP ON THE BACK AND REMINDS US OF ONE OF THE CAUSES OF THE AMERICAN REVOLUTION.

ONE SIGN OF DAVID'S EXTRAORDINARY WEALTH WAS THE ENSLAVED PEOPLE WHO LIVED HERE, THE AFRICAN-AMERICANS.

AND THERE'S ONE ROOM WHICH PORTRAYS THE WAY SLAVES LIVED WHERE THEY TENDED TO BE HOUSED IN ATTICS AND CELLARS OF THE MAIN MANSION HOUSES.

IT BECOMES WITH THE RAILROAD COMING TO GREENWICH IN 1848.

IT BEGAN TO BRING RESIDENTS UP FROM NEW YORK FOR SUMMERTIME ACTIVITIES.HE HOLLEYS HAD AN OPPORTUNITY TO TAKE ON BUSH-HOLLEY HOUSE AS A BOARDING HOUSE.

IT WAS KNOWN AS 'THE OLD HOUSE.'

THE ARTISAN WRITERS WHO CAME HERE SELF-IDENTIFIED AS THE COS COS ART COLONY.

THIS WAS CONNECTICUT'S FIRST ART COLONY, PARTICULARLY KNOWN FOR ITS INNOVATIVE AND EXPERIMENTAL STYLE.

THAT TONE WAS SET BY JOHN HENRY, THE AMERICAN IMPRESSIONIST ARTIST WHO WAS THE FIRST TO COME HERE AND TEACH SUMMER ART CLASSES.

HE WAS FOLLOWED BY WEIR AND ROBINSON WHO HAD KNOWN CLAUDE BONET, HELPING TO TRANSLATE FRENCH IMPRESSIONISM INTO AMERICAN IDIOMS.

THE LIFE OF THE ARTIST WAS TO GO OUT DURING THE DAYTIME AND GATHER THEIR PAINTINGS AND GATHER BACK IN THE LATE AFTERNOON.

HE WOULD OFTEN SAY DON'T PAINT WHAT YOU SEE, PAINT WHAT YOU FEEL.

ANOTHER OF THE ARTISTS THAT CAME HERE STAYED HERE OFF AND ON OVER A 20-YEAR PERIOD.

THE ROOMS IN BUSH-HOLLEY HOUSE COST FROM $8 TO $20 TO RENT FOR THE WEEK.

AND THE GUEST BEDROOM WAS THE $20 ROOM, THE ONE WHERE HE WOULD STAY WITH HIS WIFE MAUDE.

A WOMAN CLAD IN KIMONO.

SOME OF THE MOST EXTRAORDINARY THINGS THAT YOU CAN SEE IN BUSH-HOLLEY HOUSE TODAY ARE A SET OF ETCHINGS THAT HE MADE ALMOST 30 OF THEM WHEN HE WAS HERE IN 1915.

ONE OF THEM AT THE DUTCH DOOR SHOWS A WOMAN STANDING IN FRONT OF THE DUTCH DOORS OF BUSH-HOLLEY HOUSE, AND YOU CAN FEEL ALMOST A SENSE OF THE SUMMER INVITING YOU OUT INTO THE OUTSIDE.

I'M STANDING IN A ROOM WHICH WAS AN ART STUDIO.

IT BECAME THE PERMANENT STUDIO OF ELMER.

HE WAS A YOUNG STUDENT WHO CAME HERE IN 1896.

HE FELL IN LOVE WITH THE HOLLEY'S DAUGHTER CONSTANT AND MARRIED HER IN 1900.

HE WOULD OFTEN GIVE EXHIBITIONS IN THIS STUDIO THAT ATTRACTED HUNDREDS OF PEOPLE, AND HIS EXHIBITIONS WOULD BE CRITIQUED IN THE NEW YORK PAPERS.

McCRAY PAINTED THE EXTRAORDINARY PICTURE OF HIS TWIN DAUGHTER CONSTANT WHICH HANGS IN THE HALLWAY OF BUSH-HOLLEY HOUSE.

1912 WHEN THAT PAINTING WAS DONE IS KIND OF AN IMPORTANT YEAR BECAUSE AT THE SAME TIME HE WAS ONE OF THE EARLY ORGANIZERS OF THE INTERNATIONAL EXHIBITION OF ART IN NEW YORK IN 1913 KNOWN AS THE ARMORY SHOW.

THAT SHOW WAS SIGNIFICANT IN THAT IT INTRODUCED EUROPEAN MODERNISTS TO THE VAST AMERICAN PUBLIC FOR THE FIRST TIME.

IT ALSO HAD A HUGE IMPACT ON THE ARTISTS.

AND YOU CAN SEE THAT IN A PAINTING HANGING IN McCRAY'S STUDIO ON MARTHA VINEYARD, WHICH SHOWS HIM REALLY TRYING TO UNDERSTAND A NEW WAY TO TRANSLATE AND TO SEE LANDSCAPE.

HE BEGAN CREATING MORE DECORATIVE WORKS OF ART SUCH AS THE PAINTING OF THE IRISES.

ONE OF THE PAINTINGS HANGING IN THE HALLWAY IS OF CARISSA.

SHE WAS PAINTED IN 1912 BY THE BOOKCASE STILL THERE AS WELL AS THE HALLWAY AND A STAIR.

BUSH-HOLLEY HOUSE IS A WONDERFUL 18th CENTURY HOUSE.

IT HAS SO MUCH CHARACTER THAT COMES FROM ITS EARLY HISTORY IN THE 1830s.

BUT WHAT'S PROBABLY MOST EXTRAORDINARY IS TO COME HERE AND SEE THE ART ON THE WALL FROM THE ARTISTS AT THE TURN OF THE 20th CENTURY WHO FELL IN LOVE WITH THIS HOUSE AND THIS VILLAGE.

♪♪♪

> THANK YOU FOR JOINING ME THIS EVENING.

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

GOOD NIGHT AND SEE YOU NEXT TO ENJOY MORE OF YOUR FAVORITE SEGMENTS OF 'NYC ARTS,' VISIT OUR WEBSITE AT NYC-ARTS.ORG.

♪♪♪

GOOD EVENING, AND WELCOME TO I'M PAULA ZAHN.

I'M PHILIPPE DE MONTEBELLO AT THE STUDIOS IN LINCOLN CENTER.

♪♪♪ ♪♪♪

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

WHERE ARE WE?

WE ARE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

IT'S A PLEASURE TO BE WITH THE CURATOR OF THIS EXHIBITION FULL OF HOPE.

WE ARE IN THE MIDST OF SOME OF THE GREATEST SCULPTURES BY THE ICONIC NAMES.

CLASSICAL AND MODERN DANCE ARE EXTREMELY DIFFERENT.

AND I HAVE SO MUCH MORE TO LEARN BEFORE I CAN REALLY ARTICULATE THE DIFFERENCES.

♪♪♪

MY PRIMARY WAY OF PLAYING THE 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 WE LEARNED IS THAT HE USED PINS TO COMPOSE HIS WORK.

YOU'RE DOING A PIECE THAT'S A HUNDRED YEARS AGO AND YOU THINK, OH, MY GOSH, THIS COULD BE NOW.

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

YOU COME AND PRESENT SOMETHING AND YOU GET APPLAUSE.

GREAT, YOU KNOW?

♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪

FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY - THEA PETSCHE.

THE LEWIS 'SONNY' TURNER FUND FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

JODIE AND JOHN ARNHOLD.

ELYSE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE NANCY SIDEWATER FOUNDATION.

ELROY AND TERRY KRUMHOLZ FOUNDATION.

THE MILTON AND SALLY AVERY ARTS.

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 OU.

THE FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

SERVICE.K WHOSE CURRENCY IS IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ONOU.

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.