NYC-Arts visits the Museum of Modern Art’s exhibition, “Automania,” which takes its name from a 1963 Oscar-nominated animated film called “Automania 2000.” Then a visit to the New York Botanical Garden for “KUSAMA: Cosmic Nature.” The campus-wide installation features the work of contemporary Japanese artist Yayoi Kusama. Finally a look at one of the treasures of the American Folk Art Museum.

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♪♪♪

> COMING UP ON 'NYC ARTS,' A TRIP TO MOMA AND AUTOMANIA.

AN EXHIBITION OF SOME OF THE MOST INNOVATIVE CARS OF THE 20th CENTURY.

THE JAGUAR FROM 1963 IS OFTEN WHAT HOOKS PEOPLE WHEN THEY COME INTO THIS GALLERY.

IT'S A CONVERTIBLE, ITS INCREDIBLE DEEP PURPLE COLOR AND AN UNDENIABLY SEXY CAR.

ONE THING THAT SETS JAGUAR APART IS COMPARATIVELY SPEAKING, IT WAS MUCH MORE AFFORDABLE THAN A COMPARABLE CAR FROM PORSCHE OR MASERATI.

STILL AN EXPENSIVE CAR.

IT WAS DEFINITELY NOT CHEAP.

BUT IT WAS ONE THAT CAPTURED THE IMAGINATION OF PARTICULARLY THE AMERICAN PUBLIC AND THE PUBLIC IN THE UK.

A VISIT TO THE NEW YORK BOTANICAL GARDEN FOR COSMIC NATURE.

AN INSTALLATION THAT REVEALS THE ARTIST'S LIFELONG ENGAGEMENT WITH THE NATURAL WORLD.

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

THE ARTWORK ACTUALLY ENHANCES THE NATURAL ENVIRONMENT AND VICE VERSA.

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

THE CENTER OF THE QUILT IS EMBLAZENED WITH A LARGE LETTER 'L.'

ALSO INCLUDED IS A MUSICAL STAFF AND NOTES.

WHEN CLARA AND HER FAMILY MADE THE JOURNEY BY COVERED WAGON, INCLUDED WAS HER BE AN KNOW.

> 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 ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, THE NANCY SIDEWATER FOUNDATION, ELROY AND TERRY KRUMHOLZ 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 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.

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.

AND BY --

SINCE 1975 PROVIDING FABRICS AND DECORATIVE ACOUSTIC PRODUCTS FOR WALL, CEILING AND FLOOR APPLICATIONS AS WELL AS CUSTOM ACOUSTICAL DESIGN SERVICES FOR COMMERCIAL AND RESIDENTIAL NEEDS.

INFORMATION AT UNICAVEV.COM.

♪♪♪

> GOOD EVENING, AND WELCOME TO 'NYC ARTS.'

I'M PAULA ZAHN.

ON TONIGHT'S PROGRAM WE'LL LOOK AT SOME LARGE-SCALE WORKS OF ART THAT YOU WON'T TYPICALLY FIND IN A MUSEUM.

CARS.

NOT JUST ANY CARS, BUT SOME OF THE MOST INFLUENTIAL AND INNOVATIVE MOTOR VEHICLES OF THE 20th CENTURY.

THAT'S THE HOOK FOR MOMA'S NEW EXHIBITION, AUTOMANIA.

THE SHOW TAKES ITS NAME FROM AUTOMANIA 2000, AN OSCAR-NOMINATED ANIMATED FILM FROM 1963.

THE FILM SETS THE TONE FOR THE EXHIBITION, AS NOT SIMPLY A LOVE LETTER TO THESE ROLLING SCULPTURES, BUT AS AN EXPLORATION OF HOW THE CAR HAS SHAPED OUR SOCIETY FOR BETTER OR WORSE.

DON'T WAIT TOO LONG TO VISIT, ALTHOUGH YOU CAN ENJOY THE EXHIBITION INTO THE NEW YEAR, THIS SELECTION OF CARS IN MOMA'S SCULPTURE GARDEN WILL ONLY BE ON VIEW THROUGH OCTOBER 10th.

WHAT MAKES AN AUTOMOBILE A WORK OF ART?

THIS IS A QUESTION THAT WAS POSED IN 1951, AND THE FIRST CAR EXHIBITION AT AN ART MUSEUM WHICH WAS HERE AT MOMA, AN EXHIBITION CALLED EIGHT AUTOMOBILES, WHICH LOOKED AS CARS AS ESSENTIALLY SCULPTURAL FORMS.

THE CURATOR OF THE SHOW REFERRED TO THEM AS HOLLOW ROLLING SCULPTURE.

SO THE MUSEUM HAS LONG HAD A HISTORY OF TRYING TO ENGAGE MODERN DESIGN AND THE PUBLIC IN A VERY KIND OF CRITICAL, THOUGHT-PROVOKING MANNER.

FOR CARS IT'S THE GREATEST EXAMPLE OF THAT.

IT'S A SCULPTURE, IT'S INDUSTRY, IT'S ENGINEERING, ALL OF THESE THINGS WRAPPED INTO ONE.

THE EXHIBITION TAKES ITS NAME FROM A 1963 BRITISH ANIMATED FILM CALLED 'AUTOMANIA 2000.'

AND IT USES SATIRE TO EXAMINE CONSUMER CULTURE, MASS PRODUCTION AND CAR FANATICS.

THE FILM CENTERS AROUND A SCIENTIST FIGURE WHO CAN SOLVE EVERY PROBLEM, MEET EVERY MARKETING NEED AND LOSES CONTROL OF HIS CREATION AND PRETTY SOON YOU SEE CARS BURYING THE WORLD, COVERING THE EMPIRE STATE BUILDING AND U.S. CAPITOL.

THERE'S EVEN DRONE DELIVERY OF FOOD.

AND THE END OF THE WORLD IS DESTROYED BY CARS.

I THINK YOU CAN'T REALLY SUSTAIN A GOOD CRITIQUE OF CAR CULTURE UNLESS YOU FIRST REALLY SHOW US WHY CARS ARE SO SEDUCTIVE.

THEY HAVE A MAGNETIC POWER.

AND I THINK GREAT ART DOES THAT.

THE JAGUAR E-TYPE FROM 1963 IS OFTEN WHAT HOOKS PEOPLE WHEN THEY COME INTO THIS GALLERY.

IT'S A CONVERTIBLE.

IT'S INCREDIBLE DEEP PURPLE COLOR AND AN UNDENIABLY SEXY CAR.

IT KIND OF BELIES, IT'S VERY MATHEMATICAL AND ANALYTICAL ORIGINS.

THE LEAD CREATOR DID COUNTLESS CALCULATIONS TO MAKE A CAR THAT WAS STABLE FROM FRONT WINDS, CROSS WINDS AND VARIABLE VOER 'TISES THAT GO WHEN THE CAR IS GOING FAST.

SO IT'S TO BRING THAT TECHNOLOGY TO EVERYDAY PEOPLE.

ONE THING THAT SETS JAGUAR APART IS COMPARATIVELY SPEAKING, IT WAS ACTUALLY MUCH MORE AFFORDABLE THAN A COMPARABLE CAR FROM PORSCHE OR MASERATI.

STILL AN EXPENSIVE CAR, IT WAS DEFINITELY NOT CHEAP, BUT IT WAS ONE THAT CAPTURED THE IMAGINATION OF PARTICULARLY THE AMERICAN PUBLIC AND THE PUBLIC IN THE UK.

THE FERRARI FORMULA 1 CAR IS ONE OF THE MOST EXCITING VEHICLES WE HAVE IN THE COLLECTION.

IT'S THE MODEL 641 FROM 1990.

IT'S HIGHLY RARE.

THERE WAS ONLY SEVEN MADE THAT YEAR.

THE CAR IS A STUNNING EXAMPLE OF THE REDUCTION OF A CAR DOWN TO ITS MOST PURE ELEMENTS.

THE LEAD DESIGNER WAS JOHN BAR NARD.

HE RETHOUGHT THE SHAPE OF A FORMULA ONE CAR AND HIS DESIGN PROVED TO BE REALLY DURABLE.

IT WAS NOT MODIFIED ALL THAT HEAVILY FOR SEVERAL YEARS.

ENZO FERRARI AND THE COMPANY HE CREATED LOOMS LARGELY IN RACING HISTORY.

THE MODEL 641 REPRESENTS ONE OF THE PINNACLES OF THEIR ACHIEVEMENT.

CITRON IS MAKING ITS DEBUT.

IT WAS A RELATIVELY RECENT ACQUISITION.

IT'S AN INCREDIBLY BEAUTIFUL CAR, ESPECIALLY WHEN COMPARED TO WHAT WAS MORE COMMON IN THE 1950s, THESE GIGANTIC AMERICAN CADILLACS.

IT LOOKS LIKE A CAR FROM THE FUTURE, AND IN ONE PARIS AUTO SHOW IT WAS SHOWN STANDING UP LIKE A ROCKET SHIP TAKING OFF.

THE DESIGNER OF IT ACTUALLY HAD A BACKGROUND IN SCULPTURE, SO I THINK THAT COMES ACROSS VERY STRONGLY IN THE BODY.

ONE OF THE THINGS THAT MAKES IT SO INCREDIBLE IS ITS SUSPENSION SYSTEM THAT'S SELF-LEVELING.

SO YOU CAN BE DRIVING ALONG THE HIGHWAY AND HAVE A BLOWOUT OF A TIRE AND IT KEEPS ITSELF LEVEL.

IN THE 1960s FRANCE WAS RACKED BY INTERNAL CONFLICT AND THERE WAS AN ASSASSINATION ATTEMPT ON CHARLES DE GALLE.

I THINK TWO OF THE TIRES WERE SHOT OUT AND STILL THE CAR WAS ABLE TO ESCAPE.

WHEN VIEWERS COME TO THE EXHIBITION, THERE'S A LOT TO DELIGHT IN.

BUT ALSO WE HOPE THAT PEOPLE KIND OF RETHINK THESE THINGS.

THE TITLE 'AUTOMANIA' IMPLIES CARS MAKE US CRAZY.

AND THAT'S FUN, AND WE ALL LOVE BEING IN A CAR AND BEING A LITTLE BIT CRAZY, BUT THAT AND WE HOPE PEOPLE WILL LEAVE THINKING ABOUT WHAT THAT PRICE MEANS AND IS IT WORTH IT.

> NEXT, WE'LL VISIT THE NEW YORK BOTANICAL GARDEN IN THE BRONX FOR COSMIC NATURE.

THE INSTALLATION FEATURES THE WORK OF CONTEMPORARY JAPANESE ARTIST KUSAMA, REVEALING HER LIFELONG ENGAGEMENT WITH THE COLORS, PATTERNS 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 PERHAPS IS BEST KNOWN FOR HER WHIMSICAL PUMPKINS, SIGNATURE POLKA DOTTED FORMS AND MESMERIZING INFINITY MIRROR ROOMS.

VISITORS CAN ENJOY KUSAMA'S WORKS IN AND AROUND THE ENID HALPE CONSERVATOR AND ACROSS THE GARDENS LANDSCAPE.

VIVID HORTICULTURAL DISPLAYS COMPLEMENT THE VIEW OVER TIME MAKING EACH VISIT UNIQUE AS THE SEASONS CHANGE.

NYC ARTS SPOKE WITH THE GUEST CURATOR 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.

KUSAMA'S VISION OF NATURE IS SOMETHING THAT IS NOT AN OBJECTIFICATION OF NATURE BUT SOMETHING THAT IS MORE VISCERAL.

IT'S VERY MUCH AN EMBODIMENT OF BOTH THE BOTANICAL WORLD IN RELATIONSHIP TO THE COSMIC UNIVERSE.

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

SHE WAS BORN IN 1929 IN THE MOUNTAINOUS REGION AND HER FAMILY OWNED A SEED NURSERY.

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

PERIWINKLES, PEONIES, ZINNIAS.

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 MORE SURREALIST EXPRESSION.

THERE'S A PAINTING CALLED SELF-PORTRAIT THAT SHE MADE IN 1950 WHEN SHE WAS JUST 21.

IT'S JUST A SUNFLOWER WITH A PAIR OF LIPS FLOATING.

SO YOU'LL SEE THIS KIND OF ALMOST HUMAN-LIKE CHARACTER THAT SHE ADDS TO THE PLANTS.

MY ETERNAL SOUL IS THE NAME OF THE SERIES OF PAINTINGS SHE BEGAN IN 2009.

SHE'S NOW MADE OVER 700 CANVASSES.

THERE WAS ONE PIECE CALLED ALONE BURIED IN THE GARDEN.

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

THIS IDEA OF PERHAPS ADAPTING TO REPRESENT 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 BEDS, 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 HUMAN-LIKE 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, YOU KNOW, HAPPENED UPON THIS PUMPKIN.

SHE REMEMBERS RIPPING IT OUT AND THE OOZE COMING OUT OF THE STEM AND IT WAS A VERY VISCERAL EXPERIENCE.

STARRY PUMPKIN IS A METALLIC MOSAIC.

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 THAT'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 THAT'S CALLED PUMPKINS SCREAMING ABOUT LOVE BEYOND INFINITY.

IT'S QUITE AN INTIMATE SMALL PIECE AND IN A VERY DARK SPACE.

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

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

YOU HAVE TO KIND OF FOCUS ON THE REFLECTIONS AND THEN IT WILL JUST START TO EXPAND.

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

ILLUSION INSIDE MY HEART IS JUST A FREE-STANDING MIRRORED CUBE.

IN THE BEGINNING OF THE EXHIBITION, PEOPLE WILL BE ABLE TO EXPERIENCE FROM THE OUTSIDE AND IT'S AMAZING BECAUSE IT IT ALMOST DISAPPEARS.

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

NARSISS GARDEN OF 15 ORBS FLOATING ON WATER.

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

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

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

THERE'S THIS OUTDOOR SCULPTURE THAT WE'VE HAD IN THE REFLECTING POOL 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 ACTUALLY MOTIF THAT IS DRAWN FROM ONE OF HER MY ETERNAL SOUL PAINTINGS, BUT IT'S NOT ONE THING.

I THINK THAT THAT'S VERY CHARACTERISTIC OF KUSAMA.

PRESENTING HER WORK HERE IS SO DIFFERENT AND ACTUALLY SO ENLIGHTENING, ESPECIALLY IN THIS PANDEMIC ERA, BECAUSE WHAT I THINK A LOT OF PEOPLE HAVE REALIZED IS THAT WE ARE ALL VULNERABLE AND THERE IS THIS ELEMENT OF COEXISTENCE.

KUSAMA'S WORK, BETWEEN HUMANS, NATURE AND THE COSMOS AND EVEN WITH LIFE AND DEATH.

IT'S LIKE A CYCLE.

♪♪♪

> NEXT, A VISIT TO THE AMERICAN FOLK ART MUSEUM LOCATED ACROSS THE STREET FROM LINCOLN CENTER.

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

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

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 A CRAZY QUILT THAT WAS MADE BY A WOMAN NAMED CLARA LEON.

CLARA LEON 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, PINKUS LEON, AND THE TWO OF THEM MOVED TO THE NEW MEXICAN TERRITORIES, TO LAS VEGAS, NEW MEXICO.

THE QUILT THAT CLARA MADE PROBABLY IN THE 1980s REFLECTS THE IDIOM OF THE CRAZY QUILT.

THIS WAS INTRODUCED AFTER THE AMERICAN CENTENNIAL EXPOSITION.

SO WOMEN SAW PORCELAINS WITH CRAZED AND CRACKLED SURFACES AND GLAZES AND EXOTIC MOTIFS LIKE SPIDER WEBS AND QUARTER FANS AND THEY VERY QUICKLY INTRODUCED THIS NEW AESTHETICS INTO THEIR QUILT MAKING.

SO CLARA LEON, ONE OF 36 JEWISH FAMILIES IN THE PIONEER FRONTIER 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 AESTHETIC THAT WAS INTRODUCED AT THE JAPANESE PAVILION OF THE CENTENNIAL.

THE CENTER OF THE QUILT IS EMBLAZENED WITH A LARGE LETTER 'L' FOR HER FAMILY NAME, LEON.

ALSO INCLUDED IS A MUSICAL STAFF AND NOTES, AND THIS REFLECTS THE MUSICAL BACKGROUND OF HER FAMILY.

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

AESTHETICALLY SHE DID SOMETHING WITH THE BORDERS THAT'S UNUSUAL.

THERE IS A FLORAL BAND ON EACH SIDE OF THE QUILT.

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

BUT IN FACT SHE'S REFLECTING THE SEASONS, SO THERE ARE AUTUMN LEAVES, SPRING FLOWERS, SUMMER DAISIES, AND WINTER SPRAYS.

QUILTS HAVE ALWAYS IN A MEDIUM FOR WOMEN TO EXPRESS THEIR OWN THOUGHTS AND THEIR OWN PARTICIPATION IN AMERICAN LIFE AND CLARA LEON CLEARLY TOOK THAT TO HEART WHEN SHE DECIDED WHAT MOTIFS AND WHAT TECHNIQUES WERE GOING TO BE USED IN HER BEAUTIFUL QUILT.

> AND NOW, ANOTHER CURATOR'S CHOICE.

WELCOME TO THE NEW YORK HISTORICAL SOCIETY, THE CITY'S OLDEST MUSEUM, FOUNDED IN 1804.

MY NAME IS ROBERTA OLSON AND I'M CURATOR OF DRAWINGS AT THE SOCIETY.

I'D LIKE TO INTRODUCE YOU TO THE RAPALLIER CHILDREN.

JACQUES.

THEY WERE PAINTED BY JOHN DURAND IN 1768.

IT'S AN INCREDIBLE PORTRAIT FOR A NUMBER OF REASONS.

DURAND, WHO WAS PROBABLY A FRENCHMAN, IS REALLY UNKNOWN UNTIL 1766.

HE COMES FROM VIRGINIA TO NEW YORK FOR THE BEATMAN FAMILY.

AND FOR THE BEEKMANS HE PAINTS SIX PORTRAITS OF THEIR CHILDREN AND GAINS AN INCREDIBLE REPUTATION, THE REPALLIERS HIRE HIM TO PAINT THEIR FAMILY.

THIS PORTRAIT OF THE FOUR SIBLINGS IS AN EXAMPLE OF EARLY COLONIAL PORTRAITURE AND ONLY ONE OF THE MANY STELLAR EXAMPLES IN OUR AMAZING COLLECTION OF THIS GENRE.

THIS IS VERY DIFFERENT FROM MOST PORTRAITURE OF THE TIME BECAUSE THERE'S NO LANDSCAPE, NO BACKGROUND, AND YOU HAVE THESE FOUR SIBLINGS WHO TO MY MIND LOOK VERY CONTEMPORARY.

THEY'RE PAINTED IN A STYLE SOMEWHAT FLAT FOR THE TIME.

HE DEPENDS A GREAT DEAL ON OUTLINE AND THESE BOLD, FLAT COLORS.

THEY ARE POSED IN SUCH A WAY THAT THEY LOOK ASSURED.

ONE HAS HIS HAND IN HIS COAT, WHICH WAS, AGAIN, A TYPICAL POSTURE FOR A GENTLEMAN.

THE YOUNG LADY, ANN, HAS THIS BEAUTIFUL CHOKER, THIS DOUBLE STRAND OF PEARLS AROUND HER NECK.

SHE IS HOLDING A ROSE, WHICH IS A SYMBOL OF LOVE AND ALSO FERTILITY.

SHE WOULD BE OF MARRIAGEABLE AGE SOON.

DURAND CUTS THE PAINTING, WHICH IS A VERY 20th CENTURY, LATE 19th CENTURY SO WE DON'T SEE THE FEET.

IT'S A THREE-QUARTER PORTRAIT WHICH IMPLIES A RELATIONSHIP WITH US AS THOUGH WE CAN EXCHANGE SPACE WITH THEM.

BUT THERE'S SOMETHING WONDERFUL, THE DYNAMICS AMONG IS IT THE FOUR OF THEM.

THE FOUR ARE UNUSUALLY SELF-POSSESSED FOR ADOLESCENTS.

THEY GAZE DIRECTLY AT US AND IN FACT WE FEEL AS THOUGH WE COMMUNICATE WITH THEM.

THEIR EYES GRAB US AND THEIR SMILES ENGAGE US AND WE FEEL AS THOUGH WE COULD HAVE A CONVERSATION.

I HOPE YOU'VE ENJOYED YOUR EXPERIENCE AT THE NEW YORK HISTORICAL SOCIETY, AND HOPE THAT YOU'LL COME BACK AND VISIT US AGAIN TO EXPLORE THE RICHES OF THE COLLECTION.

> NEXT WEEK ON 'NYC ARTS' A CONVERSATION WITH NORWEGIAN PIANIST, WIDELY KNOWN FOR HIS COMMANDING TECHNIQUE AND INSPIRING MUSICAL INTERPRETATIONS.

SO FULL OF PASSION OF A YOUNG MAN WANTING TO CONQUER THE WORLD AND AT THE SAME TIME IT HAS THIS INNOCENCE, BEAUTY, MELODIES THAT COMES FROM THE FOLK SONG TRADITION.

THEY SPEAK VERY DIRECTLY TO OUR HEARTS AND IT'S VERY INTIMATE.

> AND A VISIT TO THE MUSEUM OF ARTS AND DESIGN AND THE EXHIBITION CRAFT FRONT AND CENTER.

THIS EXHIBIT IS DESIGNED AROUND NARRATIVE VIGNETTES.

THERE'S A GREAT NUMBER OF BEAUTIFUL TEXTILES THAT INTRODUCES MATERIALS AND TECHNIQUES FROM WEAVING, EMBROIDERY, TO APPLIQUE.

THEY CREATE A NUMBER OF WOVEN BANDS TO PRODUCE A THREE-DIMENSIONAL WALL HANGING.

I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZAHN.

THANKS SO MUCH FOR WATCHING US, AND WE HOPE YOU 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, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, THE NANCY SIDEWATER FOUNDATION, ELROY AND TERRY KRUMHOLZ 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 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.

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.

> AND BY --

UNICAVEV SINCE 1975 PROVIDING FABRICS AND DECORATIVE ACOUSTIC PRODUCTS FOR WALL, CEILING AND FLOOR APPLICATIONS, AS WELL AS CUSTOM ACOUSTICAL DESIGN SERVICES FOR COMMERCIAL AND RESIDENTIAL NEEDS.