In this episode: A feature on the Paul Taylor Dance Company and its 2013 season at the Koch Theater. Plus, a curator’s tour of Edvard Munch’s “The Scream,” currently on view at the Museum of Modern Art.

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> FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY ROSALIND P.

WALTER, ELISE JAFFE AND JEFFREY BROWN, JODY AND JOHN ARNHOLD, MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELROY AND TERRY KRUMHOLZ THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE FOUNDATION.

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.

FLEXIBILITY, COORDINATION, EXCELLENCE.

FIRST REPUBLIC BANK, IT'S A PRIVILEGE TO SERVE YOU.

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

I'M PAULA ZAHN AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

AND I'M PHILIPPE de MONTEBELLO.

AS ALWAYS, IT IS OUR PLEASURE TO BRING YOU THE VERY BEST IN ARTS AND CULTURE FROM OUR AREA.

TONIGHT WE TURN TO THE WORLD OF DANCE WITH OUR FOCUS ON CHOREOGRAPHER PAUL TAYLOR.

KNOWN FOR EXPLORING THE DEPTHS AND DARKNESS OF THE HUMAN PSYCHE, HIS WORKS ALSO CELEBRATE THE JOY OF LIFE.

TAYLOR HAS ACHIEVED COUNTLESS ACCOLADES, INCLUDING TWO OF OUR NATION'S HIGHEST ARTISTIC DISTINCTIONS -- THE KENNEDY CENTER HONORS AND THE NATIONAL MEDAL OF ARTS.

SINCE ITS FOUNDING IN 1954, HIS WORLD-RENOWNED DANCE COMPANY SETS THE GLOBAL STANDARD FOR CONTEMPORARY DANCE EXCELLENCE.

OVER THE YEARS, MR. TAYLOR'S DANCES HAVE ATTAINED ICONIC STATUS AND HAVE BEEN CELEBRATED THROUGHOUT THE WORLD.

NEXT WEEK, THE COMPANY RETURNS TO THE KOCH THEATER, JUST ACROSS THE PLAZA HERE AT LINCOLN CENTER, FOR ITS 2013 NEW YORK SEASON.

THE THREE WEEK ENGAGEMENT WILL FEATURE SEVEN DECADES OF WORK BY THIS MASTER CHOREOGRAPHER, AS WELL AS MR. TAYLOR'S 183rd WORK.

THE REPERTOIRE OF 21 DANCES TO BE PERFORMED INCLUDES SEVERAL ANNIVERSARY CELEBRATIONS.

AMONG THE MAJOR WORKS TO BE PERFORMED ARE 'BRANDENBURGS' AND 'BELOVED RENEGADE,' BOTH OF WHICH WILL BE FEATURED IN THE GREAT PERFORMANCES PRODUCTION TO AIR ON PBS ON MAY 3rd.

♪♪ ♪♪

THEN IT'S OVER TO WEST 53rd STREET TO THE MUSEUM OF MODERN ART FOR A LOOK AT ONE OF THE MOST POPULAR AND ICONIC IMAGES IN THE WORLD OF ART.

INSTANTLY RECOGNIZABLE, EDVARD MUNCH'S 'THE SCREAM' RESONATES IN THE VIEWER ON A VISCERAL LEVEL.

MUNCH WAS A NORWEGIAN PAINTER AND PRINTMAKER WHOSE INTENSE TREATMENT OF PSYCHOLOGICAL THEMES LAID THE GROUNDWORK FOR LATE 19th CENTURY SYMBOLISM AND GREATLY INFLUENCED GERMAN EXPRESSIONISM.

IT ALSO HAS THE DISTINCTION OF BEING THE MOST EXPENSIVE WORK EVER SOLD AT AUCTION, A WHOPPING $120 MILLION.

WE SPOKE WITH ANN TEMKIN, CHIEF CURATOR OF PAINTING AND SCULPTURE AT MOMA ABOUT THIS FAMOUS WORK OF ART.

OVER 1OO YEARS AGO WHEN IT WAS FIRST EXHIBITED, IMMEDIATELY HAD THIS IMPACT, THE SAME IMPACT IT HAS TODAY OF PEOPLE MAKING CHARACTERS, AND ALL THAT THOUGHT THAT AN ARTIST COULD COME UP WITH AN IMAGE THAT INTENSE.

> NOW HERE IS CHRISTINA HA WITH THE LATEST ON ARTS AND CULTURAL EVENTS IN OUR AREA.

I'M CHRISTINA HA WITH TONIGHT'S 'NYC-ARTS' NEWS.

> GOOD EVENING.

I'M HERE AT THE BROOKLYN MUSEUM IN THE EXHIBITION 'GRACE AND GRAVITY: MONUMENTAL WORKS BY EL ANATSUI.'

IT'S THE FIRST SOLO EXHIBITION IN A NEW YORK MUSEUM OF THE AFRICAN ARTIST WHOSE SPECTACULAR WORKS HAVE EARNED HIM GLOBAL FAME.

THIS EXHIBITION BRINGS TOGETHER OVER 30 OF THE ARTIST'S LARGE-SCALE WORKS.

THESE INCLUDE HIS SIGNATURE WALL HANGINGS MADE WITH BOTTLE CAPS AND FLOOR SCULPTURES MADE FROM THE LIDS OF TIN CANS.

THE WORKS ARE COMPOSED OF RECLAIMED MATERIALS, PIECED TOGETHER BY HAND, CREATING A SHIMMERING ARRAY OF COLORS, FORMS AND TEXTURES.

FROM AFAR, THEY LOOK LIKE TAPESTRIES OF PRECIOUS METALS, BOLD ABSTRACT PAINTINGS OR INTRICATELY WOVEN TEXTILES.

BUT CLOSE UP, THE SIMPLE ELEMENTS REVEAL LINKS BETWEEN LOCAL AND GLOBAL CONSUMPTION, AS WELL AS WESTERN AND AFRICAN ART AND HISTORY.

MUSEUMS ARE FREE TO ARRANGE, HANG AND DRAPE THESE MALLEABLE WORKS IN WAYS THAT MAKE THE BEST USE OF THEIR PARTICULAR SPACES.

EACH INSTALLATION PRODUCES A NEW WORK OF ART.

'GRAVITY AND GRACE: MONUMENTAL WORKS BY EL ANATSUI' IS ON VIEW

> THE LONDON PHILHARMONIC ORCHESTRA COMES TO LINCOLN UNTIL AUGUST 4th.

CENTER'S AVERY FISHER HALL WITH TWO AMBITIOUS PROGRAMS OF SHOSTAKOVICH, BEETHOVEN AND MAHLER.

THE ORCHESTRA WAS FOUNDED IN 1932 AND IS CURRENTLY LED BY THE FORMIDABLE RUSSIAN CONDUCTOR VLADIMIR JUROWSKI.

HE IS KNOWN FOR HIS FRESH TAKES ON THE FAMILIAR.

SOLOISTS WILL INCLUDE VIOLINIST VADIM REPIN, PLAYING SHOSTAKOVICH'S 'VIOLIN CONCERTO NO. 1,' AND PIANIST HELENE GRIMAUD PLAYING BEETHOVEN'S 'PIANO CONCERTO NO. 4.' THE LONDON PHILHARMONIC ORCHESTRA PERFORMS MARCH 10th AND 11th.

> BERTOLT BRECHT IS BACK ON NEW YORK'S THEATER ROW WITH A TWIST.

BASED ON THE MODERNIST MASTER'S FIRST PLAY, 'CLIVE' IS A NEW WORK BY PLAYWRIGHT JONATHAN MARC SHERMAN, DIRECTED BY AND FEATURING ETHAN HAWKE.

THE SETTING IS NEW YORK IN THE 1990s.

ETHAN HAWKE PLAYS THE TITLE ROLE OF A DISSOLUTE ROCKER WHO GOES FROM HEDONISTIC HEIGHTS TO CRASHING LOWS.

IT FEELS LIKE FOUR DAYS SINCE I'VE BEEN ON THIS FLOOR.

FEELS LIKE FOUR DAYS!

AND THIS BOTTLE, OR A VERY SIMILAR BOTTLE, WITH THIS GUITAR.

WITH THIS GUITAR!

WITH THIS.

VINCENT D'ONOFRIO IS CLIVE'S PARTNER IN MUSIC AND CRIME.

ZOE KAZAN PLAYS SOME OF HIS CONQUESTS.

'CLIVE' IS IN A LIMITED ENGAGEMENT AT THE NEW GROUP AT THEATRE ROW UNTIL MARCH 9th.

> NOT READY TO BREAK OUT THE LATEST SPRING FASHIONS YET?

WELL, THEN HEAD TO THE QUEEN SOFIA SPANISH INSTITUTE TO ADMIRE THE ELEGANT GOWNS OF FORTUNY.

CONTEMPORARY DESIGNER OSCAR DE LA RENTA CURATES THIS EXHIBITION ABOUT THE SPANISH DESIGNER WHO PUSHED DESIGN FORWARD AT THE FIN DE SIECLE AND CREATED A TIMELESS AESTHETIC.

'FORTUNY Y MADRAZO: AN ARTISTIC LEGACY' BRINGS TOGETHER A STUNNING ARRAY OF THE DESIGNER'S DRESSES AND TEXTILES.

IT ALSO EXAMINES, THROUGH PAINTINGS AND PHOTOGRAPHS, THE ARTISTIC CONTEXT THAT SHAPED HIS EXTRAORDINARY CAREER.

THESE INCLUDE THE WORK OF PAINTER MARIANO FORTUNY Y MARSAL, THE DESIGNER'S FATHER.

FORTUNY'S DESIGNS WERE INSPIRED BY WORLD CULTURES, EAST AND WEST, MODERN AND ANCIENT.

HIS ICONIC DELPHOS DRESS OWES AN OBVIOUS DEBT TO CLASSICAL GREECE BUT HIS EMPHASIS ON MOVEMENT AND THE NATURAL SHAPE OF THE UNCORSETED BODY ALSO MADE IT A THOROUGHLY MODERN GARMENT.

'FORTUNY Y MADRAZO: AN ARTISTIC LEGACY' REMAINS ON VIEW UNTIL MARCH 30th.

> VIOLINIST JENNIFER KOH REVISITS BACH AND GOES BEYOND WITH TWO CONCERTS IN MARCH AT THE 92nd STREET 'Y' AND THE MILLER THEATRE.

THIS MONTH, KOH CONTINUES HER 6-YEAR 'BACH AND BEYOND' SERIES AT THE 92nd STREET 'Y.' BEGUN IN 2009, THE ONGOING SERIES EXPLORES THE COMPOSER'S MASTERWORKS FOR SOLO VIOLIN, WHILE ALSO MAKING CONNECTIONS WITH THE MUSIC OF CONTEMPORARY COMPOSERS.

THE EXPLORATION CONTINUES LATER IN THE MONTH AT THE MILLER THEATER WITH 'TWO BY FOUR.' KOH TEAMS UP WITH HER FORMER TEACHER JAIME LAREDO AND THE CURTIS CHAMBER ORCHESTRA TO PLAY BACH'S 'CONCERTO FOR TWO VIOLINS IN D MINOR.'

THEY WILL ALSO PERFORM TWO NEWLY COMMISSIONED PIECES BY DAVID LUDWIG AND ANNA CLYNE.

SOMEWHERE BETWEEN WINTER AND SPRING, THE JOYCE THEATRE REMAINS 'ICE HOT' IN MARCH WITH A NORDIC DANCE FESTIVAL.

THE FESTIVAL BRINGS TOGETHER THREE COMPANIES OVER TWO WEEKS -- TERO SAARINEN COMPANY FROM FINLAND, DANISH DANCE THEATRE FROM DENMARK, AND NORWAY'S CARTE BLANCHE.

THE OFFERINGS INCLUDE SIGNATURE SOLO WORKS, A LOVE STORY SET TO A JAZZ SCORE AND NOTABLE NEW YORK PREMIERES.

'ICE HOT: A NORDIC DANCE FESTIVAL' RUNS FROM MARCH 6th TO THE 17th.

AND THAT'S THE LATEST FOR 'NYC-ARTS' NEWS THIS WEEK.

FROM THE BROOKLYN MUSEUM, I'M CHRISTINA HA.

> STARTING ON MARCH 5th, THE PAUL TAYLOR DANCE COMPANY RETURNS FOR THE SECOND TIME TO THE KOCH THEATER AT LINCOLN CENTER FOR A 3 WEEK ENGAGEMENT.

THE 2013 SEASON CELEBRATES PAUL TAYLOR'S MASTERWORKS SPANNING SEVEN DECADES FROM THE 1950s THROUGH TODAY WITH A REPERTORY OF 21 DANCES.

'NYC-ARTS' HAD A CHANCE TO TALK WITH TAYLOR AND SEVERAL OF HIS MAGNIFICENT DANCERS.

WELL, WHY I MAKE DANCE IS BECAUSE, WELL, MAINLY BECAUSE I DON'T THINK I COULD DO ANYTHING ELSE.

WHEN I WAS A LITTLE BOY, I ALWAYS WANTED TO DRAW AND PAINT A LOT.

I THOUGHT MAYBE I COULD GET A JOB WORKING FOR WALT DISNEY WHEN I GREW UP.

I WAS A SWIMMER IN COLLEGE, AND I WOULD DO JOBS SWEEPING THE LIBRARY STEPS.

AND AFTER I DID THAT, I'D GO INTO THE LIBRARY AND SEE WHAT THERE WAS TO READ.

AND I FOUND SOME DANCE BOOKS, AND THAT WAS REALLY MY FIRST EXPOSURE TO SERIOUS DANCE.

THE ATTRACTION WAS MOVING.

I LOVED TO MOVE.

I CHANGED SCHOOLS A LOT WHEN I WAS A KID, AND SO I WAS ALWAYS THE NEW GUY IN CLASS.

AND I VERY QUICKLY DISCOVERED WHO'S THE CLASS BULLY.

AND WATCHING PEOPLE -- WITHOUT TALKING TO THEM, JUST WATCH PEOPLE, AND THAT'S BEEN VERY HANDY IN MY WORK MAKING DANCES.

TO WATCH FOR THE TALENT GESTURE, HOW PEOPLE WALK, OFTEN WAS A DEAD GIVEAWAY OF THE TYPE OF PERSON THEY ARE.

I ADMIRE PAUL'S WORK BECAUSE THE BREADTH OF WORK.

IN A SINGLE DANCE, YOU CAN HAVE ROMANCE, DEATH, EXTREME PATHOS, AND THAT'S IN ONE DANCE.

AND HIS BODY OF WORK, IT'S ABOUT THE LIFE WE LIVE AND THE RISKS WE TAKE AND WHAT IT IS TO BE HUMAN.

IT'S SUCH AN ECLECTIC, VARIED REP.

IT'S ACTUALLY REALLY HARD FOR ME TO PICK A FAVORITE, LIKE, ONE OR TWO OR THREE.

BUT ODDLY ENOUGH, THIS SEASON, THIS COMING SEASON AT LINCOLN CENTER, FIVE -- MY TOP FIVE DANCES SOMEHOW LANDED ON ONE SEASON.

MOVING TO THE KOCH THEATER WAS SORT OF SURREAL.

WHAT A HISTORICAL MOMENT FOR PAUL'S COMPANY TO BE ON THE STAGE AT LINCOLN CENTER, YOU KNOW.

IT IS SORT OF THIS ROMANTIC PLACE FOR THEATER.

OF COURSE I WAS REALLY EXCITED.

I MEAN, I HAD SEEN SO MANY CONCERTS AT KOCH THEATER AND ALWAYS THOUGHT HOW IT WOULD FEEL TO DANCE ON A STAGE LIKE THIS IN A HOUSE LIKE THIS.

AND I THINK WHAT'S GOING TO BE SO EXCITING ABOUT THE LINCOLN CENTER SEASON IS WE'RE PERFORMING 22 DIFFERENT PIECES, SO YOU REALLY GET TO SEE THE RANGE OF PAUL'S DANCES.

THE SKIPPING AND RUNNING IN 'ESPLANADE' AND THE DARKNESS OF 'LAST LOOK' TO THE BEAUTY OF A DANCE LIKE 'BRANDENBURGS.'

THIS PIECE, 'THE BRANDENBURGS,' IS MEANT TO BE VERY DANCEY.

BUT IT HAS A THEME, AND I WOULD SAY IT'S ABOUT GALLANTRY.

THE MEN ARE GALLANT TOWARDS THE WOMEN, AND THE WOMEN, THEY'RE MORE PLAYFUL.

AND EACH OF THE WOMEN HAS A, I THINK, DISTINCT PERSONALITY.

HOW DO I PREPARE FOR 'BRANDENBURGS'? I PRAY A LOT.

I PRAY THAT I CAN GET THROUGH IT.

'BRANDENBURGS' IS A VERY ATHLETIC PIECE OF CHOREOGRAPHY.

I THINK 'BRANDENBURGS' IS ORGANIZED CHAOS.

YOU ARE MOVING VERY FAST TO STAY IN THE RIGHT PLACE, AT THE RIGHT TIME, TO KEEP YOUR SHAPE THAT YOU'RE CREATING WITH THE OTHER DANCERS.

AND HE'S CREATING ARCHITECTURE WITH ENERGY.

PAUL PAINTS ON STAGE LIKE IT'S A CANVAS.

HE DOES, LIKE NO OTHER CHOREOGRAPHER THAT I GO TO SEE, DOES HE MOVE PEOPLE AROUND AND IT -- IT SEEMS SO WELL THOUGHT OUT AND PLANNED WHEN YOU SEE IT ON STAGE.

AND MAYBE IT IS.

BUT WHEN YOU'RE IN THE STUDIO MAKING A DANCE WITH HIM, HE'S JUST MOVING ONE OR TWO PEOPLE AROUND THE ROOM, AND THEN SOMEHOW HE'LL FILL IN HERE AND THERE.

AND YOU DON'T REALIZE THAT HE'S LAYERED AND CREATED THIS VERY INTRICATE, DETAILED MOVEMENT PATTERN.

I REMEMBER READING 'LEAVES OF GRASS' AND THOUGHT THAT THAT MIGHT BE AN IDEA FOR A DANCE.

WHITMAN IS SUCH A MULTI-FACETED PERSON, SO THAT THERE'S SECTIONS ABOUT CHILDREN AND HIS LOVE FOR CHILDREN, AND OF COURSE HIS LOVE FOR THE HUMAN BODY AND HIS TIME THAT HE SPENT IN WASHINGTON, D.C., NURSING SOLDIERS.

AND OF COURSE, LIKE MOST STORIES, I WOULD SAY ALL STORIES, IT ENDS THE SAME WAY, AND THAT'S WITH DEATH.

AND I FELT I NEEDED A SORT OF DARK ANGEL TO GUIDE HIM TO THAT DEATH, WHICH IS DONE BY ONE OF MY MOST LOVELY DANCERS.

THE PROCESS OF MAKING 'BELOVED' WITH PAUL IS SOMETHING THAT I THINK I'LL ALWAYS HOLD REALLY DEAR.

POULENC'S 'GLORIA' HAS SUCH A GRANDEUR TO IT, AND YET, AGAINST THIS GRAND MUSIC, I THINK WHAT'S SO BRILLIANT ABOUT THE PIECE IS THE SIMPLICITY OF THE MOVEMENT AND THE STRUCTURE OF THE DANCE, THE ARCHITECTURE OF THE DANCE.

I THINK I'VE LEARNED EVERYTHING FROM PAUL ABOUT HOW A DANCE IS CRAFTED.

I JOINED THE COMPANY STRAIGHT OUT OF COLLEGE.

SO BASICALLY, MY WHOLE PROFESSIONAL CAREER HAS BEEN HERE.

AND WHAT A GIFT THAT HAS BEEN BECAUSE HE'S, YOU KNOW, THE ULTIMATE MASTER.

HE'S ONE OF THE FEW CHOREOGRAPHERS I KNOW WHO DOES DELVE INTO ALL THE ASPECTS OF HUMAN NATURE.

CONSIDERING HOW DARK HE CAN GET, I LOVE THAT HE DOESN'T DISREGARD HAPPINESS, YOU KNOW, AS A VALID I MEAN, I THINK HE'S JUST A -- HE'S A CURIOUS PERSON AND HE IS NEVER SATISFIED.

HE'S ALWAYS LOOKING FOR OTHER WAYS TO LOOK AT THINGS.

PAUL, HE'S LIVED, AND I DON'T MEAN LIVED LIKE THE REST OF US.

HE'S REALLY LIVED.

AND I THINK HE OPENS HIMSELF UP TO EXPERIENCES AND ALSO DOESN'T DENY HIS FEELINGS.

I THINK THAT ALLOWS HIM TO CHANNEL THE DARK AND THE LIGHT AND THE HAPPY AND THE SAD BETTER THAN SOMEONE WHO SHUTS THOSE THINGS OFF.

I THINK EVERY DANCE THAT PAUL MAKES IS ABOUT HIS EXPERIENCE, HIS RELATIONSHIPS THAT HE'S HAD, THE RELATIONSHIPS HE MAY BE HAVING WITH A PARTICULAR DANCER.

SO I DO THINK CHARACTERISTICS AND PERSONALITY, THINGS ABOUT HIM ARE GOING TO SHOW UP IN EVERY DANCE.

I CAN'T IMAGINE HIM NOT LEAVING SOME SORT OF FINGER PRINT ON EVERY DANCE THAT HE MAKES.

I HOPE EACH PERSON IN THE AUDIENCE WILL FIND SOMETHING IN ONE OF MY DANCES THAT THEY CAN EASILY RELATE TO.

GIVE US THE STAGE AND THAT'S GREAT.

> NEXT, A VISIT TO THE MUSEUM OF MODERN ART TO LEARN MORE ABOUT ONE OF THE MOST ICONIC AND PARODIED IMAGES IN THE HISTORY OF MODERN ART.

I'M TALKING ABOUT EDVARD MUNCH'S 'THE SCREAM.'

'NYC-ARTS' RECENTLY MET WITH ANN TEMKIN, CHIEF CURATOR OF PAINTING AND SCULPTURE AT MOMA, WHO PROVIDES FURTHER INSIGHT ON THIS FAMOUS WORK OF ART.

> IT IS ONE OF THE MOST ICONIC IMAGES IN ART AND IT INSTANTLY CUTS TO YOUR CORE AND FILLS YOU WITH EMOTION.

ITS NIGHTMARISH APPEARANCE IS BOTH PERSONAL AND UNIVERSAL AT THE SAME TIME.

THE CENTRAL IMAGE IS SO VISCERALLY PERCEIVED THAT IT IS OFTEN REFERENCED AND PARODIED TO CREATE AN EQUAL AND OPPOSITE REACTION.

WE HAVE ART THAT WE CALL EXPRESSIONIST.

I THINK IT'S RARE, THOUGH, THAT THE EXPRESSION OF A WORK OF ART IS ABSOLUTELY THIS PENETRATINGLY POWERFUL TO EVERY MAN.

AND IT WAS THAT WAY FROM THE MOMENT IT WAS MADE. THIS ISN'T SOMETHING THAT DEVELOPED GRADUALLY OVER THEDECADES.

OVER A HUNDRES YEARS AGO WHEN IT FIRST WAS EXHIBITED IMMEDIATELY HAD THIS IMPACT, THE SAME IMPACT IT HAS TODAY, OF PEOPLE MAKING CHARACTERS, OF PEOPLE CALLING THE ARTIST CRAZY AND ALL OF THE ATTENDANT PUZZLEMENT THAT AN ARTIST COULD COME UP WITH AN IMAGE THAT INTENSE, TO SAY THE LEAST.

AND I THINK IT HAS TO DO WITH THE PSYCHOLOGICAL IMPACT OF THAT FIGURE AND THE CONNECTION THAT MUNCH HAS MANAGED TO MAKE THROUGH ARTISTIC MEANS WITH SOMETHING DEEP DOWN INSIDE OF EVERYBODY.

'THE SCREAM' THAT IS HERE ON LOAN TO THE MUSEUM OF MODERN ART IS A PASTEL CRAYON DRAWING ON PAPER.

THAT MEANS THAT THE MARKINGS THAT MUNCH WAS ABLE TO MAKE WERE VERY DIRECT.

HE WAS USING A CRAYON, ESSENTIALLY, THAT WAS PASTEL THAT WAS VERY GRAINY.

AND SO INSTEAD OF HAVING THE SMOOTH ELEGANCE THAT YOU WOULD GET, FOR EXAMPLE, WITH OIL PAINT ON A BRUSH, YOU FEEL DIRECTLY THE ARTIST'S HANDS MAKING THESE STROKES.

AND AT SOME PLACES, THE STROKES ARE VERY BROAD AND FAT, AND YOU FEEL THE RIPPLES OF THE GRAIN OF THE PAPER.

AND OTHER TIME WITH THE EXACT SAME TOOL HE'S ABLE TO MAKE VERY SHARP LINE WITH AND AN EXTREMELY PRECISE OUTLINE.

AND WHAT YOU HAVE, BECAUSE OF THE WAY THAT MUNCH IS SO EXPERT AT MANIPULATING THOSE PASTELS, YOU GET AN EFFECT WHICH I THINK HAD TO HAVE BEEN INTENTIONAL ON HIS PART, WHICH IS ALMOST SO MUCH NERVOUS ENERGY ON THAT PAGE THAT THE WHOLE IMAGE ALMOST VIBRATES, EVEN THOUGH IT'S OBVIOUSLY AN INANIMATE OBJECT.

AND SO I THINK FOR THIS PARTICULAR PURPOSE, HE CHOSE A MEDIUM THAT SUITED HIS NEEDS OF HAVING SOMETHING THAT WASN'T MEDIATED BY GOING OVER WITH DIFFERENT LAYERS OR FINISHING OFF WITH A VARNISH, BUT INSTEAD SOMETHING REALLY RAW.

ONE OF THE VERY INTERESTING THINGS FOR ME ABOUT MUNCH MADE THIS MAGE IS THE DEGREE TO WHICH HE LEFT THE PAPER BLANK.

SO WHEN YOU'RE LOOKING AT THE SCREEN AND YOU SEE THE FACE OF THE FIGURE, FOR EXAMPLE, AND IT LOOKS LIKE A KIND OF BEIGE, THAT'S ACTUALLY JUST THE PAPER.

SO MUNCH WOULD HAVE USED THE ABSENCE OF PAINT AS EXPERTLY AS THE PRESENCE OF PAINT.

AND I THINK, IN PARTICULAR, THE NON-PAINTEDNESS OF THAT HEAD, EVEN IF YOU'RE NOT EXPLICITLY AWARE OF IT OR CONSCIOUSLY NOTICING IT, REALLY ADDS TO THE SCARINESS OF THE IMAGE BECAUSE THE PERSON HAS NO BONES AND HE'S ALMOST WOBBLING.

AND THEN THAT, COUPLED WITH THE FACT THAT A FACE IS ACTUALLY AN ABSENCE OF MATERIAL INSTEAD OF ACTUAL MATERIAL, IS UNSETTLING.

AND IT'S TRICKS IN A WAY LIKE THAT THAT, TO ME, SAY MUNCH KNEW EXACTLY WHAT HE WAS DOING IN ORDER TO MAKE THIS IMAGE.

I'M ANN TEMKIN, THE CHIEF CURATOR OF PAINTING AND SCULPTURE AT THE MUSEUM OF MODERN ART, AND I INVITE YOU TO COME TO THE MUSEUM AND SEE 'THE SCREAM,' BY EDVARD MUNCH, WHICH IS ON VIEW HERE THROUGH THE END OF APRIL.

> WE HOPE YOU'VE ENJOYED OUR PRESENTATION THIS EVENING.

PLEASE JOIN US EVERY THURSDAY NIGHT FOR OUR WEEKLY 'NYC-ARTS' PROGRAM.

AND WE ALSO INVITE YOU TO VISIT OUR WEBSITE BY LOGGING ON TO NYC-ARTS.ORG.

THERE YOU CAN LEARN MORE ABOUT THE MUSEUMS, ARTISTS AND EVENTS FEATURED IN THIS SHOW.

YOU CAN ALSO WATCH SELECTED SEGMENTS OR ENTIRE 'NYC-ARTS' PROGRAMS.

THE VARIETY OF FILMS RUNS THE GAMUT FROM FANTASY, TRAGEDY, AND HEART-BREAKING ROMANCE.

TO CRIME, PUNISHMENT, AND A GRAND SCALE PERIOD MUSICAL THROWN IN FOR GOOD MEASURE.

AND WE HOPE YOU WILL TAKE NYC ARTS WITH YOU.

OUR SMART PHONE APP GIVES YOU INFORMATION WHEN YOU MOST NEAT IT.

I'M FHILEPPE DE MONTEBELLO.

AND I'M PAULA ZAHN I HOPE YOU'LL JOIN US NEXT WEEK.

THANKS SO MUCH FOR WATCHING.

> FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY ROSALIND P.

WALTER, ELISE JAFFE AND JEFFREY BROWN, JODY AND JOHN ARNHOLD, MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELROY AND TERRY KRUMHOLZFOUNDATION 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.

FLEXIBILITY, COORDINATION, EXCELLENCE.

FIRST REPUBLIC BANK, IT'S A PRIVILEGE TO SERVE YOU.