>>> COMING UP ON "NYC ARTS," THE VISIT TO THE STUDIO OF THE MODERN DAY VIOLIN MAKER TO SEE THE DELICATE PROCESS INVOLVED IN CREATING AN OUTSTANDING INSTRUMENT.

>> EVERY VIOLIN I MAKE, I KEEP COMPLETELY EXHAUSTIVE RECORDS ON EVERY ASPECT I CAN.

IF AN INSTRUMENT OF MINE COMES BACK AND I REALLY LIKE IT AND I WANT TO MAKE ANOTHER ONE LIKE IT, I HAVE A RECORD OF WHAT I DID.

>> AND A LOOK AT EXHIBITION FROM POLLOCK AND ARARE RAH NOW ON VIEW AT THE MANSION.

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

>>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THE LEWIS SONNY TURNER FUND FOR DANCE, JODI AND JOHN, JEFFREY BROWN, CHARLES AND VALERIE DIKER, THE NANCY SIDEWATER FOUNDATION, THE MILTON AND SALLY ARTS FOUND 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 THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN PART BY -- >>> FIRST REPUBLIC BANK PRESENTS FIRST THING'S FIRST.

AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY, THE CLIENT WHO IS 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 IS THE FIRST THINGS ON OUR MINDS.

>>> AND BY -- >> SWAN 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 LIFETIME BUYER, FIRST TIME, OR LOOKING TO SELL, INFORMATION AT SWANGALLERIES.COM.

♪ ♪ >>> GOOD EVENING AND WELCOME TO "NCY ARTS."

I'M MONTEBELLO ON LOCATION AT THE JEWISH MUSEUM LOCATED AT 5th AVENUE AND 92nd STREET ON NEW YORK'S FAMED MUSEUM MILE.

IT IS A DESTINATION FOR ART AND JEWISH CULTURE FOR PEOPLE OF ALL BACKGROUNDS.

FOUNDED IN 1904, THE MUSEUM WAS THE FIRST INSTITUTION OF ITS KIND IN THE UNITED STATES AND IS ONE OF THE OLDEST JEWISH MUSEUMS IN THE WORLD.

DEVOTED TO EXPLORING ART AND JEWISH CULTURE FROM AIN NCIENT CONTEMPORARY, THE MUSEUM OFFERS EXHIBITIONS AND PROGRAMS FOR VISITORS OF ALL AGES.

IT ALSO MAINTAINS A UNIQUE COLLECTION OF NEARLY 30,000 WORKS OF ART, CEREMONIAL OBJECTS, AND MEDIA REFLECTING THE GLOBAL JEWISH EXPERIENCE OF 4,000 YEARS.

IN ADDITION TO SELECTIONS FROM HIS PERMANENT COLLECTION, SPECIAL EXHIBITIONS ARE FR FREQUENTLY ON VIEW.

"THE HAIR WITH AMBER EYES" TELLS THE STORY OF THE FAMILY, WHICH OVER THE COURSE OF THE 19th AND EARLY 20th CENTURIES BECAME ONE OF THE MOST INFLUENTIAL JEWISH FAMILIES IN EUROPE, ACQUIRING GRAND RESIDENCIES IN PARIS AND IN VERYIENNA.

THE EXHIBITION ON VIEW HERE INCLUDES THE RECORD OF THEIR FAMILY LEGACY, FROM THEIR LIVES ACROSS FOUR CONTINENTS.

LIVED BETWEEN 1783 AND 1874 BUILT HIS FORTUNE AS A GRAIN DISTRIBUTOR IN ODESSA.

BANK HIS FAMILY BECAME BANKERS, EXPANDING THEIR PRESENCE ACROSS THE MAJOR CAPITALS OF EUROPE.

IN VIENNA, CHARLES' SON, AGNES, WHO LIVED UNTIL 1899, FOUNDED A BANK IN THE FAMILY NAME, EVENTUALLY RECEIVING THE TITLE OF KNIGHT.

THE FAMILY FLOURISHED IN THIS IMPERIAL CITY AND COMMISSIONED THE RESIDENCE ON THE FAMED PASSAGE.

DURING THEIR RISE TO PROMINENCE AND SPLENDOR, THE FAMILY BUILT A DISTINGUISHED COLLECTION OF PAINTINGS AND DECORATIVE ARTS, INCLUDING ARTISTS SUCH AS MONET, AND OTHERS.

AS ONE OF THE MOST PROMINENT JEWISH FAMILIES IN EUROPE OVER THE YEARS, THEY BECAME A MAJOR TARGET OF ANTI-SEMITISM.

DURING WORLD WAR II, THEY WENT INTO EXILE, MAKING THEIR WAY TO ENGLAND, THE U.S., AND MEXICO.

THEY LOST BOTH THEIR FORTUNE AND ART COLLECTION TO THE NAZIS AND WERE UNABLE TO RECOVER MUCH OF THEIR PROPERTY IN THE AFTERMATH OF THE WAR.

HOWEVER, THERE WAS ONE EXCEPTION.

AT THE EXHIBITION'S CENTERPIECE ARE 168 PIECES OF AN EXTRAORDINARY COLLECTION OF JAPANESE MINIATURE SCULPTURES FROM THE EDO PERIOD, ORIGINALLY COLLECTED IN THE LATE 1870s.

THESE WERE WOODEN OR IVORY AND WERE USED AS GARMENT TOGGLES.

THIS REFLECTED BOTH CHARLES' BROAD INTERESTS AND THE INTEREST IN JAPANESE ART AND DESIGN AMONG EUROPEANS IN THE 1850s.

THEY'VE BEEN HANDED DOWN TO SUBSEQUENT GENERATIONS, SERVES AS A CONNECTION BETWEEN THE PAST AND THE PRESENT.

THE MOST RECENT MEMBER OF THE FAMILY TO INHERIT THE COLLECTION IS AUTHOR AND CERAMICIST.

IT WAS HIS MINIATURE SCULPTURES THAT WERE THE INSPIRATION FOR HIS MEMOIR AND ITS NAME, "THE HAIR WITH AMBER EYES."

TO THIS DAY, HE IS CONTINUING THE FAMILY'S STORIED LEGACY OF ARTISTIC AND CULTURAL PURSUITS, BY ALLOWING THESE OBJECTS TO BE SEEN BY THE PUBLIC.

>>> ON TONIGHT'S PROGRAM, WE VISIT THE BROOKLYN STUDIO OF A MODERN VIOLIN MAKER TO DISCOVER THE UNIQUE SKILLS AND DELICATE PROCESS INVOLVED IN CREATING AN OUTSTANDING INSTRUMENT.

REGARDED AS ONE OF THE GREATEST CONTEMPORARY MAKERS, SAMUEL DISCOVERED HIS CRAFT AS A TEENAGER AND WENT ON TO STUDY AT THE VIOLIN MAKING SCHOOL OF AMERICA IN SALT LAKE CITY.

EVER SINCE THEN, HE HAS SPENT HIS CAREER CREATING VIOLINS FOR SOME OF THE WORLD'S MOST TALENTED MUSICIANS.

♪ >> I WAS INTERESTED IN SCULPTURE AND ART.

I WAS ALWAYS INTO SCULPTURE.

I THINK I WAS GOOD AT IT.

WHEN I WAS 13, I READ A BOOK ABOUT A VIOLIN MAKER AND I GOT INTERESTED IN VIOLIN MAKING.

IT HAS THE ATTRIBUTES OF ART BUT IT HAS A PURPOSE.

IT PERFORMS WELL FOR THE VIOLIN OR IT DOESN'T.

IT DEPENDS ON KNOWLEDGE AND SKILL.

IF SOMEONE COMES TO ME TO HAVE A VIOLIN MADE, THERE IS KIND OF A PROCESS WHERE I WANT TO UNDERSTAND, FIRST OF ALL, WHEY DID THEY WANT TO COME TO ME?

PRESUMABLY THEY'VE SEEN INSTRUMENTS OF MINE.

ARE THEY A SOLOIST?

ARE THEY AN AGGRESSIVE STRONG PLAYER?

ARE THEY SOMEONE WHO'S A MORE SUBTLE PLAYER, SOFTER?

THEN I WILL GO BACK TO MY SHOP.

AND IT'S UP TO ME TO DECIDE WHAT I WILL MAKE FOR THEM THAT WILL SERVE THEIR NEEDS.

ALL AROUND ME HERE, HERE'S MY WOOD STOCK OR SOME OF MY WOOD STOCK -- IT'S KIND OF LIKE A COLLECTION OF SOMETHING.

IT COMES FROM ALL OVER EUROPE.

I'VE COMBINED FROM THE BEGINNING OF MY CAREER.

IT HAS TO SIT FOR A LONG TIME.

BUT I CAN GO THROUGH THAT.

AND I PICK WOOD BASED NOT JUST ON DENSITY, IT'S STIFFNESS, HOW IT WILL BEHAVE.

FIRST I HAVE TO MAKE THE ROOT STRUCTURE, WHICH IS THE SIDES.

AND THOSE ARE BENT OUT OF VERY THIN WOOD AROUND A FORM, WHICH I'VE DESIGNED.

FROM THE ROOTS, WE'LL THEN CREATE THE OUTLINE OF THE INSTRUMENT, SAW OUT THE TOP AND THE BACK.

WHILE THE RIBS ARE BENT, THE TOP AND THE BACK, EVEN THOUGH THEY HAVE AN ARCH, THAT'S CARVED IN.

IT'S COMPOUND IN EACH DIRECTION.

THE ARCHING IS CRITICAL TO THE TONE COLOR.

PROBABLY THE MOST IMPORTANT PART OF THE VIOLIN IS THE FRONT, THE TOP.

THAT'S THE PART THAT VIBRATES THE MOST.

AND THAT'S NEAR A SPRUCE.

IT'S THE WORD THAT IS STRONGEST FOR UNITS OF WEIGHT.

WHAT'S CHALLENGING IS WHILE I'M MAKING IT, I'M RELATING TO IT IN A VISUAL, IN A TACTILE WAY.

BUT WHEN IT'S WORKING AS A VIOLIN, IT'S GOING TO BE VIBRATING IN A WAY THAT IS NOT VISIT TO BELIEVE THE EYE, BUT THAT IS VERY REAL.

IT'S LIKE A LONG CHESS GAME.

I WON'T KNOW IF I'VE MADE THE RIGHT CALLS UNTIL THE INSTRUMENT HAS BEEN STRUNG UP AND PLAYED FOR A WHILE.

IT CROSSES A LINE FROM BEING SOMETHING THAT YOU JUST MADE, LIKE A CHEST OF DRAWERS OR BUILD A HOUSE, TO DOING SOMETHING THAT IS VIBRATING TO RESPONSE TO HUMAN INTERACTION.

IT'S NOT ALIVE EXACTLY, BUT IT -- IT'S LIKE IT'S ALIVE.

♪ >> EVERY VIOLIN I MAKE, I KEEP REALLY EXHAUSTIVE ASPECTS ON EVERY ASPECT I CAN, WOOD SIZE, MODEL, WEIGHTS, TONES, VARNISHES.

IF AN INSTRUMENT OF MINE COMES BACK AND I KNOW THEY LIKE IT, I WANT TO MAKE ANOTHER ONE LIKE IT, I'LL HAVE SOME RECORD OF WHAT I DID.

ON THE OTHER HAND, IF SOMEONE COMES IN AND THEY'RE LIKE, WELL, IT'S NOT JUST AS OPEN AS IT SHOULD BE OR IT'S NOT AS FOCUSED, I CAN LOOK AT MY NOTES AND SAY, I MIGHT HAVE BEEN A LITTLE CONSERVATIVE ON THAT ONE.

I MIGHT HAVE A LITTLE ROOM TO TAKE A LITTLE WOOD OUT.

OR THAT ONE MIGHT BE A LITTLE TOO FLEXIBLE.

MAYBE I SHOULD PUT IN A LITTLE REINFORCEMENT.

YOU NEVER REALLY UNDERSTAND SOMETHING UNTIL YOU HAVE TO EXPLAIN IT TO SOMEONE ELSE.

IT PUTS ME ON THE SPOT ALL THE TIME WHEN I TEACH.

MOST WERE STUDIOS.

THEY WEREN'T A SINGLE LONE ARTIST.

PEOPLE WORKING COLLABORATIVELY WILL ULTIMATELY WORK AT A HIGHER LEVEL OF DEVELOPMENT THAN A SINGLE CRAFTSPERSON OR A SEASONINGAL ARTIST.

YOU CAN SAY ON THE ONE HAND, I'M TRAINING MY COMPETITION.

ON THE OTHER HAND, I FEEL IT'S A TRIBUTE TO THE SYSTEM THAT I PRACTICE.

I'M NOT A MAGICIAN.

I BUILD THINGS BASED ON A METHOD AND BASED ON SKILL.

AND IF I CAN CONVEY THAT, THEN IT SORT OF -- YOU CAN SAY PROOF OF CONCEPT.

ART NEVER EXISTS IN A VACUUM.

WHAT ARE THE SOURCES OF KNOWLEDGE THAT GO INTO IT?

WHAT ARE THE QUALITY OF PEOPLE IN THE FIELD?

AND IT'S PULLED FORWARD BY THE DEMANDS OF THE CLIENTELE, OF THE AUDIENCE.

I'VE HAD WONDERFUL OPPORTUNITIES WORKING WITH GREAT MUSICIANS.

I GOT CONTACTED BY ISAAC STERN TO MAKE A COPY.

TO ACTUALLY MEET ISAAC STERN, FOR ME, WAS LIKE -- IT'S LIKE, I DON'T KNOW, MEETING THE POPE OR SOMETHING.

HE'S LEGENDARY.

WHEN THE INSTRUMENT WAS FINALLY DONE, I BROUGHT IT TO MR. STERN.

HE WAS INCREDIBLY GRACIOUS.

WHEN MR. STERN PASSED AWAY, THE TWO INSTRUMENTS THAT I HAD MADE FOR HIM WERE PART OF HIS ESTATE AND THEY WERE AUCTIONED OFF.

THAT VIOLIN WAS RECENTLY SOLD TO CHAD HOOPS, WHO IS A WONDERFUL SOLOIST IN HIS 20s.

AND I THINK IT'S A REALLY FITTING PLACEMENT, AND I THINK MR. STERN WOULD BE VERY PLEASED.

IT WAS AN ODD FEELING TO SEE THAT MY WORK HAS NOW LEFT MY PURVIEW.

IT HAS NOW ENTERED THE WORLD WHERE IT LIVES ITS OWN LIFE AND IT HAS ITS OWN HISTORY.

AND I FEEL LIKE I'VE SEEN MY OWN WORK GO FROM A DECENT ALTERNATIVE TRANSITION TO BEING SOMETHING THAT IS SOUGHT AFTER, THAT HAS A PLACE IN THE HISTORY OF VIOLIN MAKING.

♪ >>> NEXT, A TOUR OF THE MET'S COLLECTION OF POST-WAR AND CONTEMPORARY ART, EPIC ABSTRACTION FOLLOWED BY HERRERA, EXPLORES LARGE SCALE PAINTINGS, CULTURE, AND OTHER WORKS OF ART.

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

REPRESENTED HERE ARE SUCH ICONIC ARTISTS AS JACKSON POLLOCK, CARMEN, AND MARK BRADFORD.

RANDALL GRIFFITH, CURATOR OF MODERN AND CONTEMPORARY ART OF THE MET, IS OUR GUIDE.

>> WE'RE LOOKING AT JACKSON POLLOCK'S "AUTUMN RHYTHM" FROM 1950.

THE PAINTING CAME INTO ELECTION IN 1957, AND IT'S ONE OF THE TREASURES OF THE MET'S MODERN COLLECTION.

POLLOCK IS MOST REMEMBERED AS THE KEY FIGURE IN AMERICAN ART OF THE 20th CENTURY FOR THESE LARGE SCALE, SO-CALLED DRIP PAINTINGS, WHICH HE STARTED TO DO IN THE LATE 1940s AND INTO THE EARLY 1950s.

THESE WORKS HAVE A GREAT SENSE OF THE IMMEDIACY FOR A RANGE OF REASONS.

ONE IS THAT THEY'RE LARGE, WHICH RELATIVE TO YOUR OWN SCALE, MAKES YOU FEEL A LITTLE BIT SMALL BY COMPARISON.

ONE OF THE WAYS IN WHICH POLLOCK PLAYED A KEY ROLE IN CHANGING THE VERY CONCEPT OF PAINTING IS THAT HE MOVED THE CANVAS FROM THE EASEL TO THE FLOOR.

AND HE ALSO BEGAN WORKING WITH COMMON HOUSEHOLD ENAMEL PAINT.

HE LIKED THIS PAINT BECAUSE IT WAS VERY VISCOUS.

AND SO IT'S THE KIND OF PAINT THAT YOU CAN THROW AND IT CREATES THESE DYNAMIC DRIPS AND DRIBBLES AND THESE WHIPS OF PAINT THAT SEEM TO BE CAPTURED IN SPACE ON THE PICTURE PLAIN.

IN THE CASE OF "AUTUMN RHYTHM," SOME OF THE PAINT IS THIN AND ELEGANT AND KWIES GRACEFUL, WHEREAS OTHER PASSAGES ARE DENSE AND AGGRESSIVE AND THICKER.

AND THERE ARE PASSAGES ALSO WHERE HE'S USED PARTS OF THE ENAMEL PAINT THAT HAVE DRIED AND CREATED A KIND OF SKIN, A THREE DIMENSIONALITY ON THE SURFACE OF THE PICTURE, EVEN AS THE PAINT REGISTERS AS FLAT.

WHEN PEOPLE FIRST ENCOUNTER POLLOCK'S WORK, THEY PERCEIVE IT AS FULLY INTUITIVE, IMPROVISATIONAL, WITHOUT ANY KIND OF PLAN OR GUIDING PRINCIPLE.

BUT IN FACT, AS YOU LOOK AT MULTIPLE WORKS BY POLLOCK, YOU CAN SEE THAT EACH CANVAS IS DISTINCT AND DIFFERENT FROM ANOTHER.

IF YOU LOOK CLOSELY AT "AUTUMN RHYTHM," TO THE RIGHT OF CENTER AND TOWARD THE BOTTOM, AS WE SEE IT ON THE WALL, THERE'S A LITTLE FLICK OF RED PAINT, JUST A LITTLE DROP OF RED PAINT.

ONCE YOU SEE IT, YOU CAN'T UNSEE IT BECAUSE IT SEEMS SO ANOMALOUS.

ONE WONDERFUL THING ABOUT POLLOCK'S TECHNIQUE IS THIS IMBRACIVE ACCIDENT AND EMBRACE BY CHANCE.

THE WORD RHYTHM REALLY WONDERFULLY TIES TO THE SENSE OF RHYTHM AND CADENCE THAT'S PART AND PARCEL OF HIS GESTURAL PAINTING STYLE.

AND WHAT I LOVE ABOUT THIS WORK IS THAT THIS GREAT SENSE OF GROWTH AND EVOLUTION, IN A WAY, TIES TO THE CHANGE OF SEASONS AND THE EBBS AND FLOWS OF NATURE IN THE COURSE OF A YEAR.

THIS SPECTACULAR SCULPTURE BEHIND ME IS TITLED "MRS. N'S PALACE" AND IT'S ONE OF THE GREAT WORKS BY LOUISE NEVILLESON.

IT WAS ASSEMBLED AS A EUNIQUE WORK IN 1977.

THIS IS ONE OF NEVILLESON'S GREATEST WORKS, BUT IT HASN'T BEEN SEEN AT THE MET FOR MANY YEARS.

INSTALLING IT HERE ON THE SECOND FLOOR OF THE MET'S MODERN WING TOOK QUITE AN EFFORT, BUT IT WAS WELL WORTH IT.

THE WORK ITSELF IS COMPRISED OF ABOUT 130 INDIVIDUAL SCULPTURAL COLLAGES, THESE RELIEF COLLAGES THAT ARE THEN ATTACKED TO A LARGE BOX.

THE SCULPTURE IS COMPRISED OF SCRAPS OF DETRIETS THAT SHE COLLECTED ALL ACROSS THE CITY, CREATING THESE ABSTRACT, IN MANY CASES RELIEF SCULPTURES, WHICH SHE THEN TREATS PRIMARILY BY PAINTING IN BLACK.

NEVILLESON DESCRIBED HER MATERIALS AS THE SKIN THAT NEW YORK HAS SHED AND THAT SHE IS SCAVENGING AND GIVING NEW LIFE, MAKING ART THAT'S IN A WAY ABOUT NEW YORK BUT ALSO OF NEW YORK.

IN MANY INSTANCES, HER ORIGINAL SOURCE MATERIAL IS DISCERNIBLE WITHOUT MUCH EFFORT.

THERE ARE BOXES FROM FILING CABINETS AND FROM STAIRCASES WHERE SHE'S REPURPOSED ARCHITECTURAL SALVAGE.

PARTS ARE QUITE HEAVY IN APPEARANCE AND EVEN SORT OF AGGRESSIVE IN EFFECT.

BUT OTHER PARTS ARE LYRICAL, ELEGANT, THIN, WHIMSICAL EVEN.

IN OTHER INSTANCES, HER MATERIALS ARE REALLY DIFFICULT OR IMPOSSIBLE TO DISCERN AND REGISTER REALLY AS UNIQUE, ABSTRACT SCULPTURE.

THE TITLE DERIVES FROM A COUPLE OF SOURCES.

ONE IS THAT HER NICKNAME IN THE NEIGHBORHOOD WHERE SHE LIVED WAS MR. N. AND PALACE IS EVOCATIVE.

SHE INTENDED THIS WORK TO BE HER IDEAL HABITAT OR A KIND OF SHRINE TO HERSELF.

THIS IS NEVILLESON CREATING HER OWN UNIVERSE, AN ENVIRONMENT THAT'S BASED ENTIRELY ON HER OWN SCULPTURAL PRACTICE AND HER VISION AS AN ARTIST, WHICH IN A WAY TIED WONDERFULLY TO HER DESIRE TO LIVE HER OWN LIFE ON HER OWN TERMS.

THE COLORFUL AND ATTRACTIVE PAINTING BEHIND ME IS "SMASH, STROKES, HOPE" FROM 1972 BY JOAN SCHNEIDER.

SCHNEIDER IS ONE OF THE CONTEMPORARY ARTISTS FEATURED IN EPIC ABSTRACTION POLLOCK TO HERRERA.

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 STONE FOR PAINTERS AND SCULPTORS COMING OF AGE IN THE LATE 1960s AND '70s.

THIS IS A PAINTING CON CANVAS, BUT SHE'S USING A RANGE OF PAINT, OIL, ACRYLIC, AND SPRAY ENAMEL.

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

MOST OF THOSE ARE WITH THE OIL PAINT.

BUT OTHER INSTANCES, SHE'S EXPLORING MARK MAKING IN OTHER WAYS.

HER PROCESS IS BOTH ADDITIVE AND SUBTRACTIVE.

SHE MAKES STROKES BY ADDING INDIVIDUAL BRUSH MARKS, BUT SHE ALSO EXECUTES STROKES IN A SUBTRACTIVE MATTER, 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 ALSO EXPANDS, BLOWS UP IN SCALE WHAT AN ARTISTS' PALETTE MIGHT LOOK LIKE WHERE YOU HAVE GLOBS OF PAINT AND YOU HAVE A SENSE OF THE FULL RANGE OF THE ARTIST'S PALLETTE THAT SHE'S PREPARING TO USE.

THE PAINT IN CERTAIN INSTANCES, IT'S PILED UP AND THICK AND IMPASSE TOED AND COE AGO LATED.

BUT OTHER INSTANCES, SHE'S ALLOWING THE PAINT TO RUN AND POUR OVER WIDE EXPANSES OF THE PAINTING.

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

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

>>> NEXT WEEK ON "NYC ARTS," THE PROFILE OF PHOTOGRAPHER AND VIDEO ARTIST FRAZIER WHOSE WORK HAS ADDRESSED ENVIRONMENTAL JUSTICE, HEALTH CARE INEQUALITY, AND RACISM.

>> IT IS A DUTY, A PRIVILEGE, AND AN HONOR TO BE ABLE TO USE THESE CAMERAS TO SERVE OTHERS AND BRING A REAL HUMAN STORY FORWARD IN A COMPLEX SITUATION.

>> A VISIT TO THE MUSEUM IN QUEENS, FOUNDED IN 1985 BY THE WORLD RENOWNED SCULPTOR.

>> HE REALLY WANTED TO CHANGE SCULPTURE IN A WAY THAT MADE IT A FORCE FOR CIVIC GOOD.

HE WANTED TO MAKE IT AN ACTIVE PART OF OUR EVERYDAY LIVES.

THAT'S WHY HE NEVER STOPPED MAKING FURNITURE.

HIS LAMP SERIES, PLAYGROUNDS, PLAYGROUND EQUIPMENT, SETS FOR HIS THEATER AND DANCE, HE HAD LONG COLLABORATIONS WITH PEOPLE LIKE MARTHA GRAHAM.

>>> AND A LOOK AT A HIGHLIGHT IN THE COLLECTION OF THE AMERICAN FOLK ART MUSEUM.

>> JOHN MARCEL GATHERED HIS HOME AFTER HURRICANE KATRINA AND STARTED FASHIONING WHAT HE CALLS WOODEN QUILTS, PAYING HOMAGE TO HIS GREAT GRANDFATHER WHO WAS A JUNK COLLECTOR.

AND HIS GREAT GRANDMOTHER, WHO WAS A QUILT MAKER.

>>> I HOPE YOU ENJOYED OUR PROGRAM THIS EVENING.

I'M ON LOCATION AT THE JEWISH MUSEUM.

GOOD NIGHT AND SEE YOU NEXT TIME.

>>> TO ENJOY MORE OF YOUR FAVORITE SEGMENTS ON "NYC ARTS" VISIT OUR WEBSITE AT NYC-ARTS.ORG.

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

>> I LOVE BEING HERE WITH YOU TOO.

>> WHERE ARE WE?

>> WE'RE 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 SCULPTORS BY THE ICONIC NAMES.

♪ ♪ ♪ >>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE SECURITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE BY -- >> FIRST REPUBLIC BANK PRESENTS FIRST THING'S 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 BANKING.

BUSINESS FIRST.

IT'S STILL THE FIRST ON OUR MINDS.

>>> AND BY -- >> SWAN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE OR ACCESSIBILITY