Philippe de Montebello explores the New-York Historical Society and we get a curator’s tour of “Roman Vishniac Rediscovered” at the International Center of Photography. Plus, a feature profile with pianist Jeremy Denk.

View Transcript

> 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 FOUNDATION.

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.

♪♪ ♪♪

> GOOD EVENING.

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

AND I'M PHILIPPE de MONTEBELLO AT THE NEW YORK HISTORICAL SOCIETY ON CENTRAL PARK WEST.

WELCOME TO 'NYC-ARTS.' OVER THE NEXT SEVERAL WEEKS, WE'LL BE HERE TO SHARE WITH YOU THE COMMITMENT THIS INSTITUTION HAS TO MAKING HISTORY MATTER.

IT IS ONE OF AMERICA'S PREEMINENT CULTURAL RESOURCES, DEDICATED TO FOSTERING RESEARCH, PRESENTING HISTORY AND ART EXHIBITIONS AND PUBLIC PROGRAMS THAT REVEAL THE DYNAMISM OF HISTORY AND ITS INFLUENCE ON THE WORLD OF TODAY.

THROUGH THE RESOURCES OF ITS MUSEUM AND LIBRARY, THE HISTORICAL SOCIETY SERVES AS A NATIONAL FORUM FOR THE DISCUSSION OF ISSUES SURROUNDING THE MAKING AND MEANING OF HISTORY.

ITS ART HOLDINGS ALONE COMPRISE MORE THAN 1.6 MILLION WORKS, INCLUDING A WORLD-CLASS COLLECTION OF HUDSON RIVER SCHOOL PAINTINGS, MAJOR WORKS BY THOMAS COLE, FREDERICK CHURCH, EASTMAN JOHNSON.

AND YOU CAN ALSO FIND HERE A VAST RANGE OF AMERICAN PORTRAITS, SUCH AS PAINTINGS BY REMBRANDT PEALE AND GILBERT STUART.

CURRENTLY ON VIEW IS AN EXUBERANT EXHIBITION CALLED 'AUDUBON'S AVIARY: PART I OF THE COMPLETE FLOCK,' THE FIRST OF A MULTI-PART SURVEY.

IN FACT, THREE.

ON VIEW WILL BE MASTERPIECES FROM THE SOCIETY'S UNPARALLELED AUDUBON COLLECTION.

THIS INCLUDES THE PREPARATORY WATERCOLOR MODELS FOR HIS FOLIO PRINT OF 'THE BIRDS OF AMERICA' DONE BETWEEN 1827 AND 1838.

OVER THREE YEARS, THE EXHIBITION WILL FEATURE ALL 474 STUNNING AVIAN WATERCOLORS BY AUDUBON IN THE COLLECTION.

STATE-OF-THE-ART MEDIA INSTALLATIONS IN THE GALLERIES WILL PROVIDE A DEEPER UNDERSTANDING OF THE CONNECTION BETWEEN ART AND NATURE.

ALSO ON VIEW IS 'WORLD WAR II AND NEW YORK CITY,' WHICH EXAMINES OUR CITY AS IT MASSIVELY MOBILIZED FOR WAR, REQUIRING AN UNPRECEDENTED COOPERATION AMONG GOVERNMENT, BUSINESS LEADERS AND WORKING CITIZENS.

THE EXHIBITION FEATURES ARTIFACTS, PAINTINGS, MAPS, MODELS, PHOTOGRAPHS AND POSTERS.

OTHER MATERIALS FROM THE PERIOD INCLUDE FILM FOOTAGE, MUSIC, RADIO BROADCASTS AND EYEWITNESS ACCOUNTS OF THE WARTIME EXPERIENCE.

THEMES RANGE FROM THE MOBILIZATION OF WORKERS TO THE STRUGGLE FOR CIVIL RIGHTS, FROM THE FRENZY OF RAPID SHIPBUILDING TO THE CELEBRATION OF V.J. DAY IN TIMES SQUARE.

LATER IN OUR PROGRAM, WE'LL EXPLORE THE HISTORY AND IMPACT OF THE WORLD AT WAR FROM A EUROPEAN VANTAGE POINT.

WE'LL VISIT THE INTERNATIONAL CENTER OF PHOTOGRAPHY FOR A TOUR OF THE EXHIBITION 'ROMAN VISHNIAC REDISCOVERED.'

A VERSATILE AND INNOVATIVE PHOTOGRAPHER, HIS WORK SPANNED OVER FIVE DECADES, RANGING FROM EUROPEAN MODERNISM IN THE 1920s TO EXPERIMENTS WITH MICROSCOPIC COLOR PHOTOGRAPHY IN THE 1960s.

BUT FIRST, LET'S MEET AN ARTIST FROM THE WORLD OF MUSIC.

PIANIST JEREMY DENK HAS STEADILY BUILT A REPUTATION AS ONE OF TODAY'S MOST COMPELLING PERFORMERS.

A RESIDENT OF NEW YORK CITY, DENK HAS APPEARED AS A SOLOIST WITH MAJOR ORCHESTRAS THROUGHOUT THE UNITED STATES.

IN ADDITION TO PLAYING SOLO RECITALS, DENK IS ALSO AN AVID CHAMBER MUSICIAN.

OVER THE YEARS HE HAS BECOME KNOWN FOR HIS HIGHLY THOUGHTFUL INTERPRETATIONS OF MUSIC AND FOR THE GENEROSITY OF HIS PLAYING.

YOU CAN SEE DENK PERFORM A SOLO RECITAL AT CARNEGIE HALL TOMORROW EVENING.

ON MAY 4th HE WILL ALSO PLAY AT CARNEGIE HALL WITH SOPRANO RENEE FLEMING AND THE EMERSON STRING QUARTET, WHICH IS ON MAY 4th, I REMIND YOU.

♪♪

THERE WAS DEFINITELY NEVER ANY POINT WHEN I COULD HAVE CONSIDERED QUITTING PLAYING THE PIANO.

IT'S LIKE A KIND OF ALMOST PHYSICAL NEED, AND I CAN TELL IF I GO A FEW DAYS WITHOUT PLAYING THAT MY FINGERS START MOVING.

THERE'S AN ITCH THAT HAPPENS.

SUSTAINING YOURSELF AS AN ARTIST, YOU HAVE TO CONSTANTLY WANT TO LEARN THE NEXT THING THAT NEEDS TO BE LEARNED AND TO FEEL THAT YOUR PLAYING IS ALWAYS A WORK IN PROGRESS.

AND THEN, YOU KNOW THESE PIECES.

WE PLAY THEM A LOT.

WE PLAY THEM OVER AND OVER AGAIN, AND HOW DO WE KIND OF RECONNECT THEM TO THE WORLD OF, YOU KNOW, LIFE AND LITERATURE AND THE WORLD AROUND US?

HOW DO -- HOW DO YOU FRESHEN THEM?

I STARTED LESSONS WHEN I WAS 5.

I WAS A BIG READER.

I WAS VERY INTO CHESS.

I WAS REALLY INTO CLASSICAL MUSIC.

A LOT OF THINGS THAT WERE REALLY MAKING ME DESPERATELY POPULAR WHEN I WAS A KID.

I JUST FOUND A KIND OF RIDICULOUS PHOTO OF ME WHEN I WAS 11, WITH BLOND SORT OF STRAIGHT HAIR AND RIDICULOUS OVERALLS AND THIS ENORMOUS UNABRIDGED DICTIONARY.

IT SAYS ON THE BACK OF THE PHOTO, 'SPIELING BEE 1981.'

WHEN I WAS FINISHING AT OBERLIN I WANTED TO CHOOSE MY NEXT TEACHER VERY CAREFULLY, AND IT SO HAPPENED THAT AN AMAZING HUNGARIAN GURU, GYORGY SEBOK, CAME THROUGH OBERLIN AND HE PLAYED A RECITAL THAT I'LL NEVER FORGET.

AND THE KIND OF EUROPEAN NUANCE AND ELEGANCE AND THE INCREDIBLE INSIGHT OF HIS PLAYING IN ALL ITS SIMPLICITY, IT KIND OF BOWLED ME OVER.

THE KIND OF MUSICIANSHIP HE REPRESENTED WAS SOMETHING WHERE MUSIC-MAKING WAS INCREDIBLY CONNECTED TO THE WIDER CULTURAL WORLD, TO READING, TO THE VISUAL ARTS, TO EVERY KIND OF EXPERIENCE, TO PHILOSOPHY, TO -- TO JUST THINKING IN GENERAL.

AND SEBOK HAD A WAY OF USING THE MOST BEAUTIFUL AND SOMETIMES THE MOST CUTTING METAPHORS TO DESCRIBE EITHER YOUR PLAYING OR SOME PASSAGE.

AND IT WAS PLAYING THAT WAS ABOUT HAVING A CONTINUOUS STATE OF WONDER ABOUT THE MUSIC THAT YOU'RE PLAYING, AND THAT'S WHAT I HAD BEEN LOOKING FOR.

SO I ENDED UP GOING TO BLOOMINGTON TO INDIANA UNIVERSITY JUST TO BE WITH THIS GURU.

THAT'S WHY I ENDED UP IN GRADUATE SCHOOL AT ALL.

I WOULD SAY MY REPERTORY RANGE IS NOW BASICALLY FROM BACH TO YESTERDAY.

I HAVEN'T PLAYED THAT MANY PIECES WRITTEN IN THE LAST FIVE YEARS RECENTLY.

BUT I PLAY, OF COURSE, A TREMENDOUS AMOUNT OF LIGETI AND I'M A LITTLE BIT OBSESSED WITH IVES.

THE PIECE IS A KIND OF IVES'S OVERWHELMING AND KIND OF OVERWEENING STATEMENT OF THE MANY THINGS HE HELD DEAR.

AND IN A WAY, IT'S KIND OF AN ENORMOUS LOVE LETTER TO EMERSON AND HAWTHORNE AND THOREAU.

IT'S ABOUT THIS KIND OF OVERSOUL SPIRIT, IN THE SENSE THAT IVES WANTS TO UNITE MUSIC THAT'S HIGH AND LOW AND BRING BEETHOVEN TOGETHER WITH HYMNS.

♪♪ ♪♪ I LIKE TO AGREE TO LOTS OF WILD PROJECTS, YOU KNOW, LIKE PLAYING ALL THE LIGETI ETUDES AND THE GOLDBERG VARIATIONS.

BUT THE SHEER AMOUNT OF HOURS THAT IT TAKES TO PUT TOGETHER A RECITAL LIKE THAT IS KIND OF STAGGERING, AND IT INVOLVES PREPLANNING, AND I'M NOT A GREAT MASTER OF PREPLANNING.

JOSHUA BELL AND I MET AT SPOLETO FESTIVAL IN 2004 IN CHARLESTON.

AND IT WAS AN INCREDIBLY FUN PERFORMANCE.

I STARTED TOURING WITH HIM THE NEXT FEBRUARY AND WE DID, I THINK, SIX YEARS OF RECITAL TOURS TOGETHER.

BUT WE'RE GOING TO EUROPE THIS YEAR, AND WE HAVE THE ALBUM 'FRENCH IMPRESSIONS,' WHICH WE DID, AND IT'S AN ONGOING THING.

I'VE BEEN DOING THESE PROGRAMS WHICH KIND OF JUXTAPOSE SOMETHING FROM THE VERY OLD MUSIC, VERY TRADITIONAL MUSIC, WITH MAYBE SEEMINGLY UNTHOUGHT OF PARALLELS IN MODERN MUSIC.

AND I'VE BEEN PLAYING LIGETI ETUDES, WHICH ARE REALLY A MONUMENT OF THE 20th CENTURY.

AND IT'S, LIKE, THE MOST AMAZING BODY OF INCREDIBLY, RIDICULOUSLY HARD PIANO MUSIC.

IN A WAY, THEY'RE KIND OF CONSERVATIVE IN THAT THEY LOOK BACK AT CHOPIN OR DEBUSSY OR SCHUMANN, EVEN SCARLATTI, SOMETIMES BRAHMS EVEN.

BUT THEN THEY'RE WILD AND COMPLETELY MODERN AT THE SAME TIME.

AND THERE'S SOMETHING MANIACAL ABOUT BOTH BEETHOVEN AND LIGETI THAT I WANTED TO CONNECT.

AND THERE WAS ALSO THE IDEA THAT -- BECAUSE THE BEETHOVEN SONATA IS ALL ABOUT INFINITY.

LIGETI IS ALSO OBSESSED WITH INFINITY, BUT IN A VERY DIFFERENT, KIND OF MUCH MORE 21st CENTURY WAY.

FRACTALS AND CHAOS THEORY AND THINGS THAT RANDOMLY BECOME INCREDIBLY COMPLICATED.

♪♪ 'FANFARES' IS PROBABLY ONE OF THE MOST FAMOUS OF THE ETUDES.

IT HAS A WONDERFUL KIND OF OSTINATO, WHICH IS A REPEATED RHYTHMIC FIGURE THAT YOU GET RIGHT AT THE BEGINNING, ALL ALONE IN ONE HAND.

AND THEN IT HAS THESE SORT OF DERANGED FANFARES THAT HAPPEN.

AND LIGETI LOVED THESE HORN CALLS THAT GO AWRY OR GO ASTRAY, AND HE'S VERY FUNNY WITH THEM.

BUT GRADUALLY THE FANFARES KIND OF DEVOLVE INTO KIND OF JAZZ RIFFS, KIND OF LIKE ELLA FITZGERALD BEBOP.

♪♪ 'ARC-EN-CIEL' IS A DIFFERENT SIDE OF LIGETI'S SORT OF JAZZISH ETUDES.

IT'S A HOMAGE TO BILL EVANS AND THE CERTAIN WAY THAT BILL EVANS WOULD USE SEVENTH CHORDS.

OF COURSE, THAT'S A REALLY USEFUL THING TO HAVE IN JAZZ WHEN YOU'RE CONSTANTLY SHIFTING HARMONIES AND YOU WANT CHORDS THAT ARE REALLY MALLEABLE.

YOU CAN GO FROM ONE PLACE TO ANOTHER.

SO, LIGETI WRITES THIS INCREDIBLY BEAUTIFUL ETUDE IN WHICH ALL OF THESE CHORDS, SEVENTH CHORDS, ARE MELTING INTO EACH OTHER LIKE COLORS IN A RAINBOW, I GUESS.

♪♪ KLAVIERHAUS IS A PLACE RUN BY GABOR AND SUJATRI REISINGER, AND THEY REBUILD PIANOS.

THEY SCOUR THE WORLD FOR OLD PIANOS THAT ARE IN NEED OF A REVAMP.

YOU KNOW, OFTEN LATE 19th CENTURY STEINWAYS, PIANOS THAT ARE ONE OF A KIND.

AND THEY VERY PAINSTAKINGLY REFIT THEM WITH NEW SOUNDBOARDS.

HEY, NICE TO SEE YOU.

NICE TO SEE YOU, TOO.

MAESTRO, HOW ARE YOU?

GOOD.

NICE TO SEE YOU.

GOOD TO SEE YOU AGAIN.

I WANT TO SEE MY FAVORITE PIANO.

WE GOT IT ALL SET UP FOR YOU.

♪♪

THIS IS ONE OF MY FAVORITE PIANOS IN NEW YORK CITY, AND I COME VISIT IT EVERY SO OFTEN.

I FIND IT IN ENGLAND AT CHRISTIE'S AUCTION.

IT WAS MADE IN THE 1890s.

IT WAS REBUILT BY KLAVIERHAUS, BY GABOR AND HIS BROTHER AND THE CREW DOWNSTAIRS.

I LOVE A COMBINATION OF THINGS.

THE SORT OF LIGHTNESS OF THE ACTION AND I FEEL IT'S A VERY ELOQUENT PIANO.

EVEN THOUGH IT'S NOT.

IT DOESN'T HAVE AN ENORMOUS SOUND, BUT IT HAS A KIND OF INCREDIBLY EXPRESSIVE SOUND.

IT'S AN OLD SOUND, A FORGOTTEN SOUND, BUT YOU CAN'T REALLY FIND IT ANYMORE IN CONCERT SPACES.

THESE INSTRUMENTS ARE MORE SENSITIVE, MORE INTIMATE, MORE HUMAN.

WE TOOK THE ORIGINAL HAMMER OFF AND THEN SENT IT TO FRANCE.

AND THIS OLD HAMMERMAKER WHO RECOVERED ALL THE ORIGINAL HAMMER MOLDING WITH OLD FAT, YOU KNOW, THE FAT COMING FROM WOOL AND THE QUALITY OF THE WOOL FROM THAT TIME IS VERY PURE AND THAT'S WHY IT HAS ITS BEAUTIFUL TONALITY.

♪♪ ♪♪

I'VE BEEN WRITING NOW FOR SEVEN YEARS.

THE THING IS, IT KIND OF REBOUNDS ON THE PLAYING IF I'M WRITING ABOUT THE PIECE THAT I'M PLAYING.

SUDDENLY I'LL GO BACK AND PRACTICE THE PIECE DIFFERENTLY.

ONE DAY I GOT AN E-MAIL FROM SOMEONE AT 'THE NEW YORKER' AND THEY HAD BEEN, UNBEKNOWNST TO ME, KIND OF READING MY BLOG OVER A PERIOD OF TIME AND THIS WAS KIND OF LIKE A, AS YOU CAN IMAGINE FOR A KID WHO GREW UP OBSESSIVELY READING AND READING 'THE NEW YORKER,' IT WAS KIND OF A WEIRD DREAM THAT CAME TRUE.

THEY WERE VERY EXCITED ABOUT THIS IDEA OF TALKING ABOUT A RECORDING AND WHAT IT'S LIKE TO SUFFER THE KIND OF ANXIETIES.

THE PIANO IS A VERY FINICKY INSTRUMENT TO RECORD, WITH AN EXISTENTIAL PROBLEM, ATTACK FOLLOWED BY DECAY, EVERY NOTE A DEATH.

YOU WANT TO CAPTURE THE PING, THE CLARITY OF THE BEGINNING OF EACH NOTE, BUT YOU ALSO WANT TO GET THE EPHEMERAL SINGING TONE THAT REMAINS.

IT'S A COMPLICATED BALANCE.

THE SOULS OF THE PIANO AND THE PIANIST HANG IN IT.

♪♪

> NEXT WE'LL VISIT THE INTERNATIONAL CENTER OF PHOTOGRAPHY FOR A LOOK AT THE WORK OF ONE OF THE 20th CENTURY'S MOST ACCOMPLISHED PHOTOGRAPHERS, ROMAN VISHNIAC.

MY NAME IS MAYA BENTON.

I'M AN ADJUNCT CURATOR AT THE INTERNATIONAL CENTER OF PHOTOGRAPHY IN NEW YORK, AND WE ARE GOING TO BE TALKING TODAY ABOUT THE ROMAN VISHNIAC RETROSPECTIVE, 'ROMAN VISHNIAC REDISCOVERED,' THAT'S ON VIEW UNTIL MAY 5th.

ROMAN VISHNIAC IS RESPONSIBLE FOR TAKING THE MOST WIDELY RECOGNIZED, THE MOST WIDELY REPRODUCED PHOTOGRAPHIC RECORD OF JEWISH LIFE IN EASTERN EUROPE BETWEEN THE TWO WORLD WARS.

WHAT'S UNKNOWN IS THAT HIS WORK ACTUALLY SPANS THE EARLY 1920s INTO THE LATE 1970s.

AND SO THIS EXHIBITION SHOWS HIS ICONIC WORK AND REPOSITIONS IT IN A DIFFERENT CONTEXT, BUT ALSO REALLY INTRODUCES A LIFE'S WORK AND I THINK MAKES AN ARGUMENT FOR HIM BEING ONE OF THE GREAT PHOTOGRAPHERS OF THE 20th CENTURY.

VISHNIAC WAS BORN IN 1897 IN A TOWN CALLED PAVLOVSK OUTSIDE OF ST. PETERSBURG, AND THEN HE WAS RAISED IN MOSCOW.

AND WHEN HE WAS 7 YEARS OLD, HE WAS GIVEN A CAMERA AND A MICROSCOPE AND HE BECAME AN AVID AMATEUR PHOTOGRAPHER.

AT THE SAME TIME HE WAS AN AVID STUDENT OF BIOLOGY AND CHEMISTRY AND ZOOLOGY.

HE ARRIVED IN BERLIN WITH HIS NEW WIFE LUTA, WHO WAS A LATVIAN JEWISH WOMAN, IN 1920.

AND HE QUICKLY JOINED AMATEUR CAMERA CLUBS AND TOOK TO THE STREET DOCUMENTING THIS COSMOPOLITAN CITY AND EXPERIMENTING WITH MODERNISM.

AND IN ONE OF THE PHOTOS YOU SEE A TRAIN STATION AND IT LOOKS LIKE A FRITZ LANG STAGE SET.

AND YOU SEE THE INFLUENCE OF THIS WEIMAR LIGHT AND SHADOW PLAY AND YOU SEE THE STRONG ANGLES AND YOU SEE THE INFLUENCE OF THE CONTEXT IN WHICH HE WAS BECOMING A PROFESSIONAL PHOTOGRAPHER.

IN ONE PHOTO THERE'S AN IMAGE OF THE POLAR BEARS, THE FAMOUS POLAR BEARS AT THE BERLIN ZOO.

BUT IT LOOKS LIKE THE PEOPLE ARE BEHIND BARS, AND THIS IMAGE IS QUITE POIGNANT BECAUSE SHORTLY AFTER HE TOOK THE IMAGE JEWS WERE PROHIBITED FROM GOING TO THE BERLIN ZOO.

AND SHORTLY THEREAFTER VISHNIAC STARTED TO DOCUMENT THE NAZI RISE TO POWER IN BERLIN.

AND THIS IS A BODY OF WORK, MOST OF WHICH HAS NEVER BEEN PUBLISHED.

AND IT'S AN INCREDIBLE DOCUMENTATION OF HOW QUICKLY THINGS CHANGED, FROM THIS VERY OPEN, INTELLECTUAL, COSMOPOLITAN WEIMAR SOCIETY TO ONE WHERE MILITARISM AND FASCISM WERE CLOSING IN.

TWO IMAGES THAT WERE OFTEN REPRODUCED AND PUBLISHED ARE PHOTOS HE TOOK OF HIS DAUGHTER, MARA, IN 1933.

IN ONE, SHE'S STANDING IN FRONT OF A NAZI PHRENOLOGY SHOP ADVERTISING THE SUPERIORITY OF THE ARYAN RACE AND PROVIDING CERTIFICATES THAT YOU COULD SAY, I HAVE AN ARYAN SKULL, I AM INDEED AN ARYAN.

AND IN ANOTHER SHE'S STANDING IN FRONT OF A POSTER OF HINDENBURG AND HITLER.

AND WE MANAGED TO FIND THE ORIGINAL POSTER.

AT THE SAME TIME, HE WAS DOCUMENTING GERMAN JEWISH RELIEF ORGANIZATIONS.

AFTER THE RISE TO NAZI POWER, MOST JEWS WERE PROHIBITED FROM PRACTICING PROFESSIONS -- FROM TEACHING, FROM BEING DOCTORS OR LAWYERS, THEIR BUSINESSES WERE BOYCOTTED.

AND SO MIDDLE-CLASS GERMAN JEWS WERE STRUGGLING TO MAKE A LIVING, TO FIND FOOD.

AND SO HE TOOK PHOTOS OF MIDDLE-CLASS SOUP KITCHENS, PEOPLE TRYING TO GET EMIGRATION VISAS, AND HE ALSO TOOK PHOTOS OF ZIONIST AGRARIAN TRAINING CAMPS.

THERE'S A GREAT PHOTO OF A BOY WHERE HE'S LEARNING HOW TO MILK A COW.

THERE IS NO COW, SO IT'S JUST THIS WOODEN TABLE WITH THE FAKE UDDERS.

THESE WERE URBAN KIDS FROM BERLIN, AND THEY WERE SENT THERE TO REALLY LEARN HOW TO BECOME FARMERS SO THAT WHEN THEY WENT TO PALESTINE, IF THEY WERE ABLE TO GO, THEY WOULD BE PREPARED.

ONE OF THE GREAT DISCOVERIES IS THAT EVEN IN THIS WORK THAT DOCUMENTS RELIEF ORGANIZATIONS, YOU SEE THE GREAT MODERNIST IMPULSE.

THERE'S AN IMAGE OF THIS EGG DRAWER, AND IT LOOKS LIKE A SURREALIST IMAGE.

AND YET IT'S DOCUMENTING AN AGRARIAN ZIONIST TRAINING CAMP OUTSIDE OF BERLIN.

AND IT SHOWS HIS VERSATILITY AND IT ALSO SHOWS HIS COMPOSITIONAL ACUMEN.

VISHNIAC WAS SENT IN 1935 BY THE AMERICAN JEWISH JOINT DISTRIBUTION COMMITTEE, WHICH WAS THE WORLD'S, AND STILL IS THE WORLD'S, LARGEST JEWISH RELIEF ORGANIZATION, TO TAKE PHOTOS OF POOR, DESTITUTE, EASTERN JEWS SO THAT THOSE IMAGES COULD BE USED TO SHOW POTENTIAL PHILANTHROPISTS IN THE WEST.

AND THEN THE WAR HIT, AND THIS BECAME THE FINAL PHOTOGRAPHIC RECORD OF THAT WORLD.

ONE OF THE RECURRENT THEMES IN VISHNIAC'S ICONIC WORK OF EASTERN EUROPE IS PHOTOS OF CHILDREN IN BASEMENT DWELLINGS.

THIS IS BECAUSE ONE OF THE THINGS THAT THE JDC SPONSORED WAS SUMMER CAMPS FOR POOR, URBAN JEWISH KIDS.

AND SO HE WOULD TAKE PHOTOS OF KIDS LIVING IN THESE STIFLING BASEMENT DWELLINGS WITH VERY LITTLE LIGHT AND HEAT, HUNGRY, POOR CHILDREN.

AND THEN THOSE IMAGES WOULD BE USED TO RAISE MONEY FOR THESE SUMMER CAMPS.

MANY OF THESE IMAGES BECAME QUITE REPRODUCED.

THERE IS A PHOTO OF THIS GIRL NAMED SARAH, AND THE IMAGE WAS REPRODUCED ON LETTERHEAD FOR AN ANNUAL FUND-RAISING CAMPAIGN IN NEW YORK OF THE JDC.

VERY FEW OF THEM WERE PUBLISHED, HOWEVER, AND SO BRINGING TOGETHER THE KNOWN WORK AND THE UNPUBLISHED WORK I THINK ARGUES FOR HIM AS A GREAT MODERNIST AND ALSO HELPS US TO UNDERSTAND THE DOCUMENTARY ASSIGNMENT AND WHAT HE WAS CAPTURING AND TO UNDERSTAND THE CONTEXT IN WHICH THOSE IMAGES WERE USED AT THE TIME THAT THEY WERE COMMISSIONED.

TOWARDS THE END OF HIS DOCUMENTARY ASSIGNMENT IN EASTERN EUROPE, VISHNIAC WAS HIRED BY THE JOINT, OR THE JDC, TO MAKE FILMS.

UNFORTUNATELY, THE FILMS HE MADE, AND HE MADE TWO OF THEM, WERE DESTROYED.

BUT WHAT WE'VE BEEN ABLE TO DO IS SLOWLY PIECE TOGETHER OUTTAKES, WHICH WERE WHAT WOUND UP ON THE CUTTING ROOM FLOOR.

SHOWING THESE ICONIC IMAGES COMING TO LIFE.

SO WE'VE PIECED THEM TOGETHER AND WE'RE SHOWING THEM HERE FOR THE FIRST TIME.

AND IN SOME CASES, IT'S THE ONLY KNOWN MOVING FOOTAGE OF THESE REMOTE CARPATHIAN COMMUNITIES.

LIVING IN VERY RURAL OUTPOSTS THAT, YOU KNOW, HADN'T BEEN TOUCHED BY MODERNITY IN 400 YEARS.

THE VISHNIAC RETROSPECTIVE IS UP UNTIL MAY 5th IN NEW YORK, AND I HOPE THAT PEOPLE COME TO SEE IT.

AND I THINK THERE ARE A LOT OF SURPRISES IN THE EXHIBITION.

I THINK FOR THOSE WHO ARE REALLY FAMILIAR WITH VISHNIAC'S ICONIC WORK, THEY'RE GOING TO BE SURPRISED TO SEE 50 YEARS OF WORK ENDING WITH HIS SCIENTIFIC PHOTO-MICROSCOPY.

WE HAVE A ROOM THAT'S SHOWING HIS COLOR SLIDES AND HIS MICROSCOPE AND PHOTOS OF HIM WORKING IN HIS SCIENTIFIC LABORATORIES, WHICH MOST PEOPLE HAVE NEVER SEEN BEFORE.

AND I THINK THAT FOR YOUNG PEOPLE WHO'VE NEVER HEARD OF VISHNIAC, THEY'RE GOING TO WALK AWAY WITH THE SENSE THAT THEY'RE NOW FAMILIAR WITH ONE OF THE GREAT PHOTOGRAPHERS OF THE 20th CENTURY.

> GOOD EVENING.

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

I'M HERE AT THE WHITNEY MUSEUM OF AMERICAN ART IN 'BLUES FOR SMOKE.' IT'S AN INTERDISCIPLINARY EXHIBITION THAT STRETCHES THE DEFINITION OF THE BLUES BEYOND ITS MUSICAL AND HISTORICAL ROOTS.

'BLUES FOR SMOKE' BRINGS TOGETHER WORKS BY NEARLY 50 ARTISTS AND MATERIALS FROM MUSIC AND POPULAR CULTURE, FROM THE 1950s AND '60s TO THE PRESENT.

THE SHOW RECOGNIZES THE ORIGINS OF THE BLUES IN THE VERNACULAR CULTURE OF AFRICAN AMERICANS AND SHOWS HOW ARTISTS OF ALL KINDS HAVE PAID HOMAGE TO THE TOUCHSTONES OF BLUES CULTURE.

BUT IT ALSO SUGGESTS THAT THE BLUES ACROSS GENRES IS ABOUT GRAPPLING WITH LOSS, REVELING IN IMPROVISATION AND MOVEMENT, TAKING ON OUTRAGEOUS IDENTITIES AND EMBRACING SAMPLING, MIXING AND ARCHIVING.

'BLUES FOR SMOKE' REMAINS ON VIEW UNTIL APRIL 28th.

> GRAND CENTRAL TERMINAL CELEBRATES ITS 100th BIRTHDAY, AND IT'S WELCOMING EVERYONE TO THE PARTY, INCLUDING SOME VERY COLORFUL CHARACTERS.

CHICAGO-BASED ARTIST NICK CAVE BRINGS HIS 'HERD' OF LIFE-SIZED, MULTI-COLORED HORSES TO NEW YORK'S MOST FAMOUS TRANSPORTATION HUB.

OCCASIONALLY THEY WILL BREAK INTO CHOREOGRAPHED MOVEMENTS ACCOMPANIED BY LIVE HARPISTS.

DANCERS FROM THE AILEY SCHOOL WILL DON CAVE'S WEARABLE MIXED-MEDIUM SCULPTURES, WHICH HE CALLS SOUNDSUITS.

CATCH THESE BEAUTIFUL CREATURES IN ACTION IN THE MAIN CONCOURSE, OR AT REST IN VANDERBILT HALL FROM MARCH 25th TO MARCH 31st.

> IT'S BEEN NEARLY TWO DECADES SINCE THE PREMIERE OF BILL IRWIN AND DAVID SHINER'S 'FULL MOON.' THE SIGNATURE THEATER REUNITES THE TWO VETERAN CLOWNS IN A NEW AND DELIGHTFULLY ANTIC PRODUCTION.

'OLD HATS' COMBINES MAGIC, SLAPSTICK AND HILARITY IN THE DUO'S SIGNATURE STYLE.

WITH MUSIC BY NELLIE McKAY AND DIRECTION BY TINA LANDAU, IRWIN AND SHINER SHOW THAT THEY STILL HAVE PLENTY OF COMIC TRICKS UP THEIR SLEEVES.

> BILL T. JONES/ARNIE ZANE DANCE COMPANY CELEBRATES ITS 30th ANNIVERSARY SEASON AT THE JOYCE WITH SEVERAL CLASSIC WORKS AND TWO NEW YORK PREMIERES.

'PLAY AND PLAY: AN EVENING OF MOVEMENT AND MUSIC' FEATURES LIVE MUSIC BY THE ORION STRING QUARTET, FOCUSING ON THE DELIGHT OF DANCERS AND MUSICIANS WORKING TOGETHER.

THE AWARD-WINNING 'D-MAN IN THE WATERS' IS SET TO MENDELSSOHN'S OCTET FOR STRINGS IN E-FLAT MAJOR AND CELEBRATES LIFE AND THE RESILIENCY OF THE HUMAN SPIRIT.

'SPENT DAYS OUT YONDER' BRINGS MOVEMENTS OF ELEGANCE, GRACE AND STRENGTH TO MOZART'S SUBLIME STRING QUARTET IN F MAJOR.

THIS TWO-WEEK ENGAGEMENT WILL RUN AT THE JOYCE FROM MARCH 26th TO APRIL 7th.

> THE MUSEUM OF MODERN ART AND THE FILM SOCIETY OF LINCOLN CENTER PRESENT THE 42nd EDITION OF THE CELEBRATED SERIES OF NEW DIRECTORS AND FILMS.

THE SERIES IS DEDICATED TO THE DISCOVERY OF NEW WORKS BY EMERGING AND DYNAMIC FILMMAKERS.

THE FESTIVAL PRESENTS MOVIES FROM AROUND THE WORLD, BRINGING TOGETHER STORIES AND CHARACTERS FROM A WIDE RANGE OF CINEMATIC VOICES.

IT INCLUDES NARRATIVE FILMS WHICH EXPLORE THE PAST AS WELL AS THE UNCERTAIN FUTURE.

THE SERIES WILL ALSO SCREEN DOCUMENTARIES FROM CANADA TO CHINA.

'NEW DIRECTORS/NEW FILMS' CONTINUES THROUGH MARCH 31st.

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

FROM THE WHITNEY MUSEUM OF AMERICAN ART, I'M CHRISTINA HA.

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

AND I'M PHILIPPE de MONTEBELLO AT THE NEW YORK HISTORICAL SOCIETY.

WE HOPE YOU'VE ENJOYED OUR PRESENTATION THIS EVENING.

IT HAS BEEN OUR PLEASURE TO HAVE BEEN YOUR GUIDE TO THE BEST IN ARTS AND CULTURE IN OUR AREA.

THANK YOU FOR JOINING US, AND SEE YOU NEXT WEEK.

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 FOUNDATION.

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.