NYC-Arts visits the Brooklyn Museum for “The Slipstream: Reflection, Resilience and Resistance in the Art of Our Time.” Whether it’s the pandemic, civil unrest or climate change, this exhibition of works by a diverse group of artists offers us new ways to reflect on the changes we faced in 2020 and beyond.

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> COMING UP ON 'NYC-ARTS.'

A LOOK AT THE EXHIBITION 'THE S SLIPSTREAM: REFLECTION, RESILIENCE IN THE ART OF OUR TIME' AT THE BROOKLYN MUSEUM.

THIS IS AN EXHIBITION OF 50 ARTISTS FROM THE BROOKLYN MUSEUM'S CONTEMPORARY COLLECTION.

'SLIPSTREAM' IS A TERM BORROWED FROM AERONAUTICS.

IT'S THE STREAM THAT FOLLOWS A MOVING OBJECT.

WE ARE CURRENTLY IN THE SLIPSTREAM OF 2020, THE LARGE OBJECT THAT JUST PASSED.

> A PROFILE OF VERSATILE JAZZ PIANIST J.V. IRE.

MUSIC IS A POWER WE HAVE AS A SPECIES.

> AND WE'LL MEET IAN FORREST WHO HAS PERFORMED IN THE SUBWAY AS PART OF THE MTA'S MUSIC UNDER NEW YORK PROGRAM.

I'LL PLAY A BASS PART, A HARMONY PART ON THE CELLO, THEN I CAN LOOP THAT SEGMENT OVER AND OVER AGAIN.

I'M PLAYING NINE OR TEN DIFFERENT CELLO PARTS AT THE SAME TIME.

♪ BLACHG

> FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY THE THEA PETSCHEK IERVOLINO FOUNDATION, THE KATE W. CASSIDY FOUNDATION, JEAN DUBINSKY APPLETON ESTATE, JODY AND JOHN ARNHOLD, ELLEN AND JAMES S. MARCUS, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, ELISE JAFFE AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELROY AND TERRY KRUMHOLZ FOUNDATION.

SXHL HE WILL 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 PRESENTS FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK, 'FIRST' REFERS TO OUR FIRST PRIORITY, THE CLIENTS WHO WALK THROUGH OUR DOORS.

WE RECOGNIZE CLIENTS ARE INDIVIDUALS WITH UNIQUE NEEDS.

SERVICE IN THE FORM OF PERSONAL BANKING.

THIS IS 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 OR 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.

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

I'M PAULA ZAHN.

WE BEGIN OUR PROGRAM TONIGHT WITH A LOOK BACK AT THE TUMULTUOUS YEAR 2020, AS REFLECTED IN WORKS OF ART ON VIEW AT THE BROOKLYN MUSEUM.

'THE SLIPSTREAM: REFLECTION, RESILIENCE, AND RESISTANCE IN THE ART OF OUR TIME' HIGHLIGHTS WORKS FROM THE MUSEUM'S COLLECTION OF GENERATIONS OF ARTISTS OF COLOR, FROM THE 1960s TO THE PRESENT DAY.

WHETHER IT'S THE PANDEMIC, CIVIL UNREST, OR CLIMATE CHANGE, THE EXHIBITION OFFERS US NEW WAYS TO REFLECT ON THE CHALLENGES WE FACED IN 2020 AND MAY EVEN SUGGEST A WAY FORWARD.

WE'RE STANDING HERE IN AN EXHIBITION ENTITLED 'THE SLIPSTREAM: REFLECTION, RESILIENCE, AND RESISTANCE IN THE ART OF OUR TIME.'

THIS IS AN EXHIBITION OF 50 ARTISTS FROM THE BROOKLYN MUSEUM'S CONTEMPORARY COLLECTION.

'THE SLIPSTREAM' IS ACTUALLY A TERM BORROWED FROM AERONAUTICS.

IT IS THE TURBULENCE THAT FOLLOWS A LARGE MOVING OBJECT.

WE ARE CURRENTLY IN THE SLIPSTREAM, WHICH OFFERS US A PERSPECTIVE FROM WHICH TO LOOK AT 2020, THE LARGE OBJECT THAT JUST PASSED.

KAREN DAVIS' NICOTINE SCULPTURE SEEMS PARTICULARLY RELEVANT FOR THIS MOMENT.

I SELECTED IT BECAUSE IT DEPICTS A HEALTH CARE WORKER, SEEMINGLY LOST IN HER OWN THOUGHTS, REGAINING THE STRENGTH TO MAKE IT THROUGH ANOTHER DAY.

ONE OF THE MOST STRIKING THINGS ABOUT 'NICOTINE' IS THE MATERIAL OUT OF WHICH IT'S MADE.

IF YOU LOOK CLOSELY, YOU MIGHT BE ABLE TO SEE THAT THOSE SHREDDED PIECES OF PAPER ARE MEDICAL BILLS AND SUGGEST THE ENORMOUS EXPENSE THAT'S OFTEN INVOLVED IN HOSPITALIZATION.

YOU CAN ALSO TELL THAT DAVIS WAS INTERESTED IN EGYPTIAN ART.

THERE'S A CERTAIN MUMMIFIED LOOK WHICH EVOKES THIS LONG TRADITION OF DEATH BUT ALSO PERHAPS OF ETERNAL LIFE.

THERE'S A MURAL BELOW HER FEET.

SO AS WE STAND THERE LOOKING AT THE SCULPTURE, WE SEE OURSELVES REFLECTED.

WE'RE IMPLICATED OR INCLUDED IN PART OF THIS SCENE.

OFTENTIMES, EQUESTRIAN STATUES ARE MADE OUT OF BRONZE OR MARBLE BUT 'THE COMMONS' IS MADE OUT OF CORK.

IT'S ESSENTIALLY A GIGANTIC BULLETIN BOARD WHERE VISITORS ARE INVITED TO LEAVE SOMETHING, A MESSAGE, AN OBJECT, FOR OTHERS TO SEE OR INTERACT WITH.

MONUMENTS ARE A VERY HEATED TOPIC AT THIS POINT BECAUSE IT HAS TO DO WITH WHO HAS POWER AND WHO THEN IS POWERLESS.

SO ONE OF THE THINGS THAT PAUL RAMIREZ JONAS' 'THE COMMONS' HAS DONE IS ADVOCATE FOR DETHRONING IMPERIAL POWER AND GIVING IT TO THE PEOPLE, WHICH I THINK MANY PEOPLE AFTER THE PAST YEAR ARE THINKING ABOUT.

HUGH LOCKE IS A LONDON-BORN ARTIST WHO GREW UP IN GUYANA.

IF YOU'VE EVER LOOKED AT BRITISH CURRENCY OR POSTAGE STAMPS, YOU MIGHT RECOGNIZE THE ICONIC PROFILE OF QUEEN ELIZABETH II.

HE HAS RECREATED THAT ICON OUT OF KITSCHY, INEXPENSIVE OBJECTS LIKE SWORDS, DOLL HEADS, AND BEADS, PRODUCTS THAT ARE CREATED GR GLOBALLY, A KIND OF CONTEMPORARY VERSION OF THE BRITISH EMPIRE.

THE TITLE OF THE WORK IS THE NAME OF THE LARGEST DIAMOND IN THE WORLD.

AT THE END OF THE 19th CENTURY IT BECAME A PART OF THE BRITISH COLLECTION OF JEWELS, SYMBOLIZING THE POWER OF THE BRITISH EMPIRE AT THE TIME.

HE'S LOOKING AT THE COLONIAL RELATIONSHIP BETWEEN GREAT BRITAIN AND THE REST OF THE WORLD.

ONE OF THE MOST STRIKING PIECES IS MEL CHIN'S PROJECT.

WHEN YOU LOOK AT THE PIECE, YOU'LL SEE A VERY LARGE VITRINE WHICH CONTAINS 7,500 BUNDLES OF WHAT APPEAR TO BE HUNDRED DOLLAR BILLS.

THEY WERE MADE BY CHILDREN AROUND THE COUNTRY.

WHILE YOU'RE CUSTOMIZING YOUR BILL, YOU ALSO LEARN ABOUT THE PROBLEM OF LEAD POLLUTION.

HE STARTED THIS PROJECT TO ENCOURAGE CONGRESS TO FUND A BILL FOR REMEDIATION.

HE MADE A CASE TO HOUSE OF BILLS, MAKING IT LOOK LIKE AN OFFICIAL GOVERNMENT PIECE OF FURNITURE, SO TO SPEAK.

HE ALSO CREATED A LARGE PLAQUE TO PUT BEHIND IT MADE OUT OF STYROFOAM, WHICH IS FLANKED BY STANCHIONS.

HE BALANCES HIS INTEREST IN ACTIVIST ART WITH HIS INTEREST IN CRAFT AND MAKING THINGS BY HAND.

THERE ARE SO MANY THINGS THAT VISITORS CAN COME AWAY WITH AFTER SEEING 'THE SLIPSTREAM.'

CERTAINLY YOU CAN SEE THE WIDE RANGE OF CONTEMPORARY PRACTICE.

YOU CAN ALSO SEE HOW ENGAGED ARTISTS ARE WITH THE WORLD AROUND THEM, PROVIDING A KIND OF REFUGE TO THINK ABOUT AND REFLECT UPON OURSELVES AND OUR PLACE IN THE WORLD AND WHAT THE WORLD CAN BECOME.

> COMPOSER, PIANIST, AND MacARTHUR FELLOW VJ IRE IS AN ECLECTIC AND MASTERFUL MUSICIAN.

RESPECTED AS ONE OF THE FOREMOST JAZZ PIANISTS OF HIS GENERATIONS, HE'S EQUALLY AT HOME COMPOSING FOR STRING ACQ QUARTETS AND ELECTRONIC MEDIA.

HE BRINGS A SPIRIT OF INVENTION AND COLLABORATION TO ALL HIS PIECES.

WE SPOKE TO HIM IN ONE OF THE HIS FAVORITE PLACES, THE MUSICAL INSTRUMENT GALLERY AT THE MET.

MY NAME IS V.J. IRE.

I LIVE IN NEW YORK CITY.

I MAKE MUSIC.

THIS SPACE HAS A NUMBER OF ANCESTORS OF MY INSTRUMENT OF CHOICE.

SO IT'S GOOD TO GET TO KNOW THEM A LITTLE.

♪ ♪

I ALSO PLAYED VIOLIN FOR A LONG TIME, AND THE STRING INSTRUMENTS ARE REALLY INTERESTING.

I'M INTERESTED IN INSTRUMENTS FROM OTHER PARTS OF THE WORLD.

MY HERITAGE IS FROM INDIA.

SO LOOKING AT ALL THESE INSTRUMENTS FROM DIFFERENT PARTS OF ASIA AND AFRICA TOO HAS BEEN REALLY INSPIRING FOR ME.

MY PRIMARY WAY OF PLAYING THE PIANO IS BY IMPROVISING.

I WAS PARTLY SELF-TAUGHT IN THAT SENTENCE.

BUT MY MAIN ROLE MODELS FOR HOW DO THAT WERE PEOPLE LIKE THELONIOUS MONK, DUKE ELLINGTON, BUD POWELL, HERBY HANCOCK.

THEY ALL COME FROM THE AFRICAN-AMERICAN COMMUNITY.

THEY MADE MUSIC DEFIANTLY, AGAINST ALL ODDS.

THEY'RE BRILLIANT INNOVATORS.

IMPROVISATION IS SOMETHING WE ALL DO, ALL THE TIME.

THAT'S THE WAY YOU WALK DOWN THE STREET OR DRIVE A CAR OR CONVERSE WITH PEOPLE.

ANOTHER EXAMPLE IS IF YOU GO OUT DANCING.

NOBODY TOLD YOU EXACTLY WHAT TO DO OR WHOM TO DO IT WITH.

SO IT'S VERY NORMAL, THE EXPERIENCE OF IMPROVISING.

AND SO I GUESS NO ONE EVER TOLD ME NOT TO.

SO THAT'S WHAT I DO.

IMPROVISING WITH RULES IS ALSO SOMETHING I'M VERY FAMILIAR WITH.

THERE ARE A LOT OF EXAMPLES FROM EVERYDAY LIFE.

YOU CAN IMAGINE LIKE BASKETBALL.

BASICALLY BASKETBALL IS AN EXTREMELY REGULATED SITUATION WITH AN UNFORESEEN OUTCOME.

THAT'S KIND OF WHAT WE DO WHEN WE PLAY TOGETHER.

IT'S NOT THAT DIFFERENT.

WE HAVE SOME IDEAS OF HOW IT COULD GO.

BUT WE ALSO TRY TO OPEN OURSELVES TO WHAT'S HAPPENING RIGHT NOW AND RESPOND TO EACH OTHER.

AND THAT'S INFINITE, THAT PROCESS.

THERE'S NOTHING -- THERE'S NO LIMIT TO IT.

WHAT I'VE FOUND IS THAT JUST MAKING SOMETHING WITH SOMEBODY ELSE BRINGS OUT SOME VERSION OF YOU THAT YOU MIGHT NOT HAVE ACCESS TO OTHERWISE.

SO IT'S A TRANSFORMATIVE PROCESS WHERE WE KIND OF BECOME SOMETHING.

AND NOT JUST DO THAT, BUT THROUGH THAT PROCESS, BUILD SOMETHING.

AND THAT TAKES PATIENCE.

THAT TAKES A LOT OF ATTENTION.

EVEN WHEN THERE'S REPERTOIRE INVOLVED LIKE WHEN WE'RE PLAYING MY COMPOSITIONS OR SOMEONE ELSE'S, OR PLAYING AN RAGA OR PLAYING SOME KIND OF GROOVE, SOMETHING, IT'S STILL ABOUT WHAT YOU DO NOW.

♪ PEOPLE OFTEN ASK AFTER WE PERFORM, WHAT PERCENTAGE OF THAT WAS IMPROVISED?

I THINK I UNDERSTAND THE IMPULSE TO ASK THAT QUESTION.

THE PERSON WHO WAS OBSERVING WANTS TO KNOW IF I WAS MAKING CHOICES THAT SHE WAS EXPERIENCING.

SO IT'S KIND OF ABOUT COMPASSION.

IT'S ABOUT EMPATHY.

IT'S ABOUT, TO AN EXTENT WE WERE THERE TOGETHER.

YOU KNOW, MUSIC CREATES COMMUNITY.

IT'S A POWER THAT WE HAVE AS A SPECIES TO DO THAT.

SO THAT'S WHAT I'M TRYING TO DO.

> IN THE 1980s, THE MTA WAS ON THE BRINK OF COLLAPSE.

IN ORDER TO REVIVE THE SYSTEM, THEY FOUNDED THE ARTS FOR TRANSIT PROGRAM.

AS PART OF THAT INITIATIVE, MUSIC UNDER NEW YORK WAS LAUNCHED IN 1985.

THERE ARE CURRENTLY MORE THAN 350 MUSICIANS AND GROUPS ON THEIR ROSTER WHO WERE GIVEN PRIORITY ACCESS TO THE BEST PERFORMANCE LOCATIONS THROUGHOUT THE TRANSIT SYSTEM.

ALTHOUGH PERFORMANCES HAD BEEN SUSPENDED DUE TO THE PANDEMIC, THE PROGRAM RESTARTED LAST JUNE.

WE WOULD LIKE TO INTRODUCE YOU TO ONE OF THE PROGRAM'S MOST POPULAR MUSICIANS, IAN FORREST, KNOWN AS 'EYEGLASSES,' IS A MEDICAL STUDENT AT MT. SINAI.

A CLASSICALLY TRAINED CHELLIST, HE'S PERFORMED FOR BOTH PATIENTS IN THE HOSPITAL AND COMMUTERS IN THE SUBWAY.

HIS SOUND IS INSTANTLY RECOGNIZABLE THANKS TO THE USE OF AN ELECTRIC CELLO AND HIS OWN UNIQUE REMIXES OF CONTEMPORARY POP MUSIC.

I STARTED CELLO IN FOURTH GRADE.

WHEN OUR MUSIC TEACHER CAME AROUND WITH CART OF INSTRUMENTS.

I PICKED UP THE CELLO AND PLAYED THE FIRST NOTE, A LOW, RESONANT NOTE.

I LOVED THE SOUND OF IT, THAT BASS NOTE.

AFTER HIGH SCHOOL ME AND A FRIEND WENT TO THE STREETS OF WASHINGTON, D.C. AND STARTED PLAYING CONTEMPORARY SONGS.

I REMEMBER THE REACTION OF PEOPLE WALKING ON THE STREETS.

IT STRUCK ME, HEY, THIS COULD BE REALLY SOMETHING SPECIAL HERE.

AFTER COLLEGE, I MOVED UP HERE TO NEW YORK CITY AREA FOR MEDICAL SCHOOL AT MT. SINAI.

AND ONE OF THE THINGS THAT DREW ME TO NEW YORK CITY WAS OBVIOUSLY THE CULTURE THAT WE HAVE WITH THE ARTS.

AS SOON AS I CAME HERE, I SAW STREET MUSICIAN AFTER STREET MUSICIAN.

AND I IMMEDIATELY THOUGHT, THIS COULD BE MY NEXT HOME.

THAT'S WHEN I LOOKED UP MUSIC UNDER NEW YORK AND FOUND THEY HAD A WHOLE AUDITION PROCESS.

SENT THEM AN APPLICATION, DID THE AUDITION.

THANKFULLY, EVERYTHING WORKED OUT.

AND NOW I CAN CALL MYSELF A STREET MUSICIAN IN NEW YORK CITY.

AND THE REASON WHY IT SHOWS EYEGLASSES IS BECAUSE IT'S TWO REASONS.

I WANT TO BE AN OPHTHALMOLOGIST, I WANT TO HELP PEOPLE SEE BETTER, SPECIFICALLY KIDS WHO LOST THEIR VISION AT A YOUNG AGE.

THE SECOND REASON WHICH IS A BIT MORE LIGHTHEARTED IS THAT BEETHOVEN WROTE A PIECE CALLED 'EYEGLASSES DO IT.'

WHEN MUSICIANS SAT DOWN AND RED THE SHEET MUSIC IN FRONT OF THEM, THERE WERE SO MANY NOTES ON IT, SUCH A TRICKY PIECE TO PLAY, THE ONLY WAY MUSICIANS COULD READ THE MUSIC IS IF THEY WORE REALLY STRONG GLASSES.

I LOVED THAT STORY, I TOOK INSPIRATION FROM IT.

SO I PLAY THE ELECTRONIC CELLO.

IT'S MADE BY YAMAHA.

IT'S THE EXACT SAME FOUR STRINGS AS AN ACOUSTIC CELLO.

THE ONLY DIFFERENCE IS THEY STUCK A LITTLE PICKUP INSIDE THE ELECTRIC CELLO SO IT CAN BE AMPLIFIED, SO IT'S LOUDER.

WHAT I LOVE TO DO IS ALSO USE A LOOPER.

ESSENTIALLY I'LL PLAY A BASS PART, PERCUSSION PART, A HARMONY PART ON THE CELLO.

THEN I CAN LOOP THAT SEGMENT OVER AND OVER AGAIN.

SO ESSENTIALLY IT COMES DOWN TO, I'M PLAYING NINE OR TEN DIFFERENT CELLO PARTS AT THE SAME TIME.

SO IT JUST OPENS UP A LOT OF DOORS AS TO WHAT I CAN DO MUSICALLY.

I'VE HAD PEOPLE COME DOWN, THEY COME OFF THE SUBWAY, THEY COME TO ME, LIKE, WHERE'S THE ORCHESTRA?

IT'S JUST ME, ONE ELECTRIC CELLIST.

♪ ♪ UNFORTUNATELY THERE'S NOT MUCH SHEET MUSIC OUT THERE FOR LIKE NINE CELLOS TO PLAY LIKE POP SONGS OR ROCK SONGS.

SO OFTENTIMES I'LL JUST HEAR A SONG ON THE RADIO OR ON SPOTIFY.

ONCE I'VE LISTENED TO IT A COUPLE OF MONTHS, I KIND OF EXTRAPOLATE IT OUT AND CREATE A CELLO RENDITION OF IT.

♪ AMONGST ALL THAT KIND OF CHAOTIC ENERGY, WITH PEOPLE BUSTLING AND CROWDS MOVING, I THINK THE BEST PART OF THAT IS SEEING HOW THE MUSIC IMPACTS THESE PEOPLE WHO EITHER HAVE THEIR HEADPHONES ON, JUST WATCHING THEIR PHONE, TRYING TO GET FROM POINT A TO POINT B AS QUICKLY AS POSSIBLE, AND THEN JUST SEEING THEM STOP, Z ENJOY THE MOMENT FOR WHAT IT IS.

IN MEDICINE AND MUSIC, YOU REALLY HAVE TO CONNECT WITH THE HUMAN BEING SITTING IN FRONT OF YOU.

HELPING TO UPLIFT THEM WITH MUSIC, I FIND IT ACTUALLY MAKES ME A BETTER MEDICAL STUDENT AND HOPEFULLY A BETTER DOCTOR DOWN THE ROAD TOO.

♪ [ APPLAUSE ]

THANK YOU, GUYS.

THANK YOU SO MUCH.

> WELCOME TO THE AMERICAN FOLK ART MUSEUM.

MY NAME IS OLIVIA RUSSO.

I'M CREATOR FOR THE 20th AND 21st CENTURY ART FOR THE MUSEUM.

HE WAS BORN IN THE BRONX IN 1914.

HIS PARENTS WERE ITALIAN IMMIGRANTS.

HIS WORKS REFLECT SOCIAL REALITY AND ARE CARRYING MESSAGES OF HOPE, OF LIBERTY, AND THE RIGHTS OF WORKERS.

HE WAS A UNION ORGANIZER AND STARTED TO PAINT IN THE MID-'40s.

EARLY ON, HE HELPED HIS FATHER DELIVER ICE.

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

SUBWAY RIDERS WAS MADE FROM SKETCHES HE MADE IN THE SUBWAYS ON HIS RIDE BACK FROM WORK.

HE SAID, I RIDE THE SUBWAY EVERY DAY, BACK AND FORTH, TO MY JOB.

I RIDE AND RIDE AND SKETCH AND SKETCH.

I LOVE THE SUBWAY.

IT PULLS THE CITY TOGETHER, PULLS PEOPLE TOGETHER IN A MAGIC WAY.

THE SUBWAY RIDERS AT NIGHT AFTER A HARD DAY'S WORK.

EVERYONE IS SEPARATE, ALONE, BUT VERY MUCH TOGETHER.

IT'S NOISY, WITH THE CREEKS AND SQUEALS, BUT PEACEFUL TOO BECAUSE WE MOVE TO A RHYTHM THAT GETS INSIDE US.

THAT'S COMFORTING.

THAT'S THE NOISE OF THE CITY ITSELF, THE SUBWAY MAKES THE CITY WORK, MAKES THE CITY GREAT.

THIS PAINTING IS A LARGE SCALE PAINTING, AS MANY OF THE CANVASES ARE.

SOME OF THEM ARE AS WIDE AS TEN FEET.

HE SAID SPECIFICALLY THAT THOSE PAINTINGS WERE MEANT TO BE SEEN BY A LOT OF PEOPLE AT THE SAME TIME.

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

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

HIS PAINTINGS WERE CARRYING TWO MESSAGES.

I THINK THE MAIN MESSAGE WAS THAT HE WAS THERE TO FIGHT FOR THE LABORERS' RIGHT.

ALSO I THINK IT'S A CELEBRATION OF NEW YORKERS.

> NEXT WEEK ON 'NYC-ARTS,' A PROFILE OF THE GROUNDBREAKING MARTHA GRAHAM DANCE COMPANY FOUNDED BY ONE OF THE MOST INFLUENTIAL ARTISTS OF THE 20th CENTURY.

GRAHAM'S WORK REQUIRES THE PERFECT MARRIAGE OF THE PHYSICAL AND THE EMOTIONAL.

HER MOVEMENT IS DESIGNED TO REVEAL THE INNER LANDSCAPE AND REALLY FINDING THAT BALANCE BETWEEN THE PHYSICALITY AND THE EMOTIONAL JOURNEY WITHOUT BECOMINGBECOME ING MELODRAMATIC.

AND A LOOK ATT SOME STABLE, SOME STRONG, OTHERS FLUID, OTHERS WEAK.

> 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 PETSCEHK IERVOLINO FOUNDATION, THE KATE W. CASSIDY FOUNDATION, JEAN DUBINSKY APPLETON ESTATE, JODY AND JOHN ARNHOLD, ELLEN AND JAMES S. MARCUS, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, ELISE JAFFE AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND 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 THIRTEEN.

'NYC-ARTS' IS MADE POSSIBLE IN PARTLY 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.

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 OR FIRST TIME BUYER OR LOOKING TO SELL, INFORMATION AT SWANNGALLERIES.COM.

ING.

AND BY --

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