>>> COMING UP ON "NYC ARTS," A LOOK AT THE SLIPSTREAM.

REFLECTION, RESILIENCE AND RESISTANCE IN THE ART OF OUR TIME ON VIEW AT THE BROOKLYN MUSEUM.

>> 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.

>> A VISIT TO THE MUSEUM OF ARTS AND DESIGN AND THE EXHIBITION CRAFT FRONT AND CENTER, WHICH REFLECTS THE ROLE OF THE HAND-MADE IN ART IN SOCIETY.

>> THIS EXHIBIT IS DESIGNED AROUND NARRATIVE VIGNETTES.

THERE IS A GREAT NUMBER OF BEAUTIFUL TEXTILES THAT INTRODUCES MATERIALS AND TECHNIQUES FROM WEAVING, EMBROIDERY TO APPLIQUE AND QUILT MAKING.

>>> AND A TRIP DOWNTOWN TO THE SOUTH STREET SEAPORT MUSEUM TO EXPLORE WAVERTREE.

>> WAVERTREE IS FOR US THE CONNECTION BETWEEN NEW YORK AND THE REST OF THE WORLD.

>>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE NANCY SIDEWATER FOUNDATION.

THE MILTON AND SALLY AVERY ARTS 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 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.

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, FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.

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

I'M PAULA ZAHN ON LOCATION AT ONE OF NEW YORK CITY'S MOST TREASURED MUSEUMS, THE THE N-YORK HISTORICAL SOCIETY.

IT'S A PLACE OF GROUNDBREAKING HISTORY AND ART EXHIBITIONS, TELLING THE STORIES OF NEW YORK AND THE NATION'S DIVERSE POPULATIONS.

CURRENTLY ON VIEW IS ART FOR CHANGE, THE ARTIST AND HOMELESS COLLABORATIVE, AN EXHIBITION EXAMING HOMELESSNESS THROUGH THE EYES OF ARTISTS, ACTIVISTS AND HOMELESS PEOPLE IN NEW YORK CITY IN THE 1980s AND 1990s.

AT THAT TIME, CITY ARMORIES BECAME AN EMERGENCY STOPGAP TO RELIEVE OVERCROWDED CITY SHELTERS HOUSING HUNDREDS IN STRESSFUL AND AT TIMES VERY DANGEROUS LIVING SITUATIONS.

THE EXHIBITION FEATURES A PUBLIC ART PROJECT CREATED BY ARTIST HOPE SANDRO, CONNECTING WOMEN INTEREST THE PARK AVENUE SHELTER FOR HOMELESS WOMEN WITH ARTISTS, CURATORS AND ACTIVISTS.

THE CONNECTION PROVIDED A POWERFUL WAY FOR WOMEN TO TELL THEIR STORIES, WAKE CREATIVELY, AND BUILD RELATIONSHIPS.

SCULPTORS JOHN AHERN AND RIGOBERTO TORRES DEVELOPED THESE LIFE-SIZED BUSTS IN COLLABORATION WITH FOUR ARMORY RESIDENTS, ERNESTINE, LYDIA, PHYLLIS, AND YVONNE.

TO CREATE THEM, THEY CAST DIRECTLY FROM THE WOMEN'S BODIES, A PROCESS KNOWN AS LIFECASTING.

THE EXHIBITION IS ON VIEW THROUGH APRIL 3rd.

>>> 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 COLLECTIONS OF GENERATIONS OF COLOR FROM THE 1960s TO THE PRESENT DAY.

WHETHER IT'S THE PANDEMIC, CIVIL UNREST OR CLIMATE CHANGE, THIS EXHIBITION OFFERS US NOW 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 ARROWOUR AERONAUTICS.

IT IS A TURBULENCE FOLLOWLING THE MOVEMENT OF A LARGE OBJECT.

WE ARE IN THE SLIPSTREAM WHICH OFFERS US A PERSPECTIVE 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 CARON DAVIS'S NICOTINE IS THE MATERIAL OF WHICH IT'S MADE.

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

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

THERE IS A CERTAIN MUM MIED LOOK THAT EVOKES THIS LONG TRADITION OF DEATH, BUT PERHAPS ETERNAL LIFE.

THERE IS A MIRROR BELOW HER FEET.

SO AS WE STAND THERE LOOKING AT THE SCULPTURE, WE SEE OURSELVES REFLECTED AS THOUGH WE'RE IMPLICATED OR INCLUDED IN PART OF THIS SCENE.

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

AND 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 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' SCULPTURE "THE COMMONS" DOES IS QUESTION THAT IMPERIAL POWER AND ADVOCATE FOR DETHRONING THAT 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 AND DOLL HEADS AND BEADS, PRODUCTS THAT ARE CREATED GLOBALLY, A KIND OF CONTEMPORARY VERSION OF PERHAPS THE BRITISH EMPIRE.

THE TITLE OF THE WORK IS KOOI FOR THAT, THE NAME OF AT ONE TIME THE LARGEST DIAMOND IN THE WORLD.

IT BECAME PART OF THE BRITISH COLLECTION OF JEWELS, SYMBOLIZING THE BRITISH DOMINANCE AT THAT TIME.

ONE OF THE THINGS HE IS DOING IS LOOKING AT THE COLONIAL RELATIONSHIP BETWEEN GREAT BRITAIN AND THE REST OF THE WORLD.

ONE OF THE MOST STRIKING PIECES IN THE EXHIBITION IS MEL CHIN'S FUND RED PROJECT.

WHEN YOU LOOK AT THE PIECE, YOU'LL SEE A VERY LARGE THAT CONTAINS 7500 BUNDLES OF WHAT APPEAR TO BE $100 BILLS.

THESE ARE CALLED FUNDRED DOLLAR BILLS.

THE FUNDREDS WERE MADE BY CHILDREN AROUND THE COUNTRY.

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

SO HE STARTED THIS PROJECT TO CREATE ENOUGH FUNDREDS TO BRING TO CONGRESS TO CREATE LEGISLATION THAT WOULD FUND A BILL FOR REMEDIATION.

HE MADE THE CASE IN WHICH TO HOUSE THE FUNDRED DOLLAR BILLS, MAKING IT LOOK LIKE AN OFFICIAL GOVERNMENT PIECE OF FURNITURE, SO TO SPEAK.

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

SO HE BALANCES HIS INTEREST IN CONCEPTUAL ART AND ACTIVIST ART WITH THIS GREAT 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.

>>> NEXT, WE TRAVEL TO COLUMBUS CIRCLE AND THE MUSEUM OF ARTS AND DESIGN, ALSO KNOWN AS MAD, THE MUSEUM FOCUSES ON MEDIUMS THAT WERE AT ONE TIME MARGINALIZED IN THE ART WORLD.

CRAFT FRONT AND CENTER IS A SURVEY OF THE ART AND ARTIST THAT HAVE DEFINED MAD SINCE ITS FOUNDING IN 1956.

THE SHOW FEATURES A WIDE RANGE OF DISCIPLINES AND INCLUDES WORK MADE WITH SUCH ECLECTIC MATERIALS AZTECS TILES, CLAY, GLASS, METAL, AND WOOD.

THE THEMES OF THE HAND-MADE WORKS ON VIEW FROM THE PERSONAL TO THE POLITICAL REINFORCE THE ROLE OF CRAFT IN ART IN SOCIETY.

>> THE MUSEUM OF ARTS AND DESIGN WAS ESTABLISHED IN 1956 TO ADVOCATE FOR ARTISTS WORKING IN THE UNDERAPPRECIATED MEDIUMS OF GLASS, CERAMICS, FIBER, AND IN FIELDS LIKE TEXTILE, JEWELRY, AND FURNITURE DESIGN.

CRAFT FRONT AND CENTER IS A NEW EXHIBITION THAT CELEBRATES THE RENEWAL OF INTEREST IN CRAFT AS AN ART FORM.

AND IT BRINGS TOGETHER OVER 70 ICONIC WORKS IN MAD'S UNIQUE COLLECTION.

IN THE POST WORLD WAR II ERA IN THE U.S., THESE MEDIUMS AND THESE DISCIPLINES WERE OFTEN DISMISSED AS A LESSER FORM OF CREATIVE ENDEAVOR.

THIS IS A MUSEUM THAT HAS LOOKED TO UNDO THOSE HIERARCHIES, OR DEFLATE THE POWER THAT THEY HAVE TO DISMISS OBJECTS THAT ARE DESIGNATED CRAFT.

AND FOR PEOPLE TO UNDERSTAND THOSE PRACTICES AS CENTRAL TO THE HISTORY OF ART AS ANY PAINTING OR SCULPTURE MIGHT BE.

THIS EXHIBIT IS DESIGNED AROUND NARRATIVE VIGNETTES.

THERE IS A GREAT NUMBER OF BEAUTIFUL TEXTILES THAT INTRODUCES MATERIALS AND TECHNIQUES FROM WEAVING, EMBROIDERY, TO APPLIQUE AND QUILT-MAKING.

THE MURAL TITOS WOVEN CALL TAKES APART THE TRADITIONAL TAPESTRY STRUCTURE, CREATING A NUMBER OF WOVEN BANDS TO PRODUCE A THREE DIMENSIONAL WALL HANGING.

THE ARTIST HAND-SPUN AND DYED THE COLOR WOOL THAT IS USED IN THIS PIECE.

MARVIN IS A MAJOR FIGURE IN THE HISTORY OF AMERICAN GLASS AS AN ART FORM.

THIS VIGNETTE INCLUDES QUITE A BIT OF ARCHIVAL EFEM RA WHERE HE BEGAN TO WORK WITH GLASS FACTORIES AROUND THE WORLD TO PRODUCE THESE COLORFUL ABSTRACT SCULPTURES.

CHECK FLOWERS GETS ITS ORGANIC UNDULATING SHAPE FROM THE MOLD THAT HE WOULD USE TO BLOW THE GLASS INTO.

THE EDGES OF THESE WORKS WERE SOFTENED THROUGH GRINDING, AND THE BEAUTIFUL SOFT SURFACE WAS CREATED THROUGH A SAND BLASTING TECHNIQUE.

HE WOULD FINISH THE PIECE BY CUTTING, ETCHING, AND POLISHING.

SAMMY LOOF IS A WOODWORKER, AND HE SHOWED HIS WORK CRADLE CABINET IN 19 6 AT MAD IN AN EXHIBITION TITLED "THE BED."

THE PIECE IS VERY INNOVATIVE IN ITS DESIGN, COMBINING ALL THE NEEDS OF A NEWBORN IN A SINGLE PIECE OF FURNITURE, INCLUDING DRAWERS FOR STORAGE AND A SMALL CRADLE THAT ROCKS.

THE WORK SHOWCASES HIS SENSITIVITY AND SKILL AS A WOODWORKER, AND THERE IS A WARMTH TO THE PIECE THAT REALLY EXUDES A SENSE OF CARE AND SPACE FOR A NEWBORN.

THIS WORK PICKS UM ON ONE OF THE IMPORTANT THEMES OF CRAFT FRONT AND CENTER, WHICH IS THAT CRAFT IS IN OUR HOMES AND EVERYDAY LIVES.

THE EXHIBITION SHOWCASES THE POWER OF CRAFT, AND ALSO AS A TOOL FOR TAKING A STAND ABOUT IMPORTANT ISSUES.

COIN SMITH IS A MULTIDISCIPLINARY ARTIST WHOSE INTEREST IN THE BANNER COMES ON ACTIVIST CONTACTS LIKE PARADES AND PROTESTS.

THIS BANNER, PIGEONS ARE BLACK DOVES, WAS MADE AS PART OF A SERIES FOR AN EXHIBITION AND A MARCH THAT WAS IN SUPPORT OF BLACK LIVES MATTER ACTIVISM.

THERE IS A POETIC COMBINATION OF A SPARKLY MATERIAL AND TASSELS WITH A VERY CRITICAL STATEMENT ABOUT THE MARGINALIZATION OF BLACK PEOPLE AND DESIRE TO REDRESS THAT THROUGH HER ART.

IN WATER NAMI NUMBER ONE, JOYCE SCOTT COLLABORATED WITH A GLASS BLOWING STUDIO ON THE ISLAND OF MURANO IN ITALY.

THE PIECE COMBINES HER SIGNATURE TECHNIQUE OF BUILDING SCULPTURAL FORM AND BEADING WITH A GLASS-BLOWN PIECE.

THE FIGURE IN BEADS IS A MALE FIGURE, AND HE GAZES DOWN INTO WHAT IS SUPPOSED TO BE A SORT OF WATERY DEPTH, AND HE HAS THE REFLECTION OF THE WATER MAMI LOOKING BACK UP AT HIM.

SCOTT'S WATER MAMI SERIES EXEMPLIFIES HER APPROACH TO THE BLACK BODY, REAPPROPRIATING THE TERM MAMMIE AND CONTEXTUALIZING IT AS A TITLE OF ENTITLEMENT.

IT'S A PLAY ON THE WORD MAMMIE WATA, WHICH IS A WEST AFRICAN FEMALE WATER SPIRIT.

I HOPE PEOPLE TAKE AWAY FROM THIS EXHIBITION A NEW IDEA ABOUT WHAT CRAFT CAN BE.

ITS IMPORTANCE TO OUR EVERYDAY LIFE.

SOMETHING ABOUT MAD'S HISTORY AND THE IMPORTANCE OF ITS COLLECTION, WHICH IS VERY UNIQUE IN THE NEW YORK CITY CULTURAL LANDSCAPE.

>>> FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA, PLEASE SIGN UP FOR OUR FREE WEEKLY EMAIL AT NYC-ARTS.ORG/EMAIL.

TOP FIVE PICKS WILL KEEP YOU UP TO DATE ALL YEAR ROUND.

AND BE SURE TO CONNECT WITH NYC ARTS ON FACEBOOK, INSTAGRAM, AND TWITTER.

>>> THE STORY OF NEW YORK CITY BEGINS AT ITS WATERFRONT, THE ORIGINAL CENTER OF TRADE.

THE SOUTH STREET SEAPORT MUSEUM CHRONICLES THE HISTORY OF THE AREA THROUGH ITS HISTORIC BUILDINGS AND COLLECTION OF SHIPS.

THE FLAGSHIP OF THE COLLECTION IS THE NEWLY RESTORED WAVERTREE, BUILT IN 1885, WAVERTREE CIRCLED THE WORLD FOUR TIMES BEFORE THE END OF HER SAILING CAREER AND REPRESENTS THE TYPE OF CARGO SHIPS THAT USED TO LINE SOUTH STREET.

CAPTAIN JONATHAN BULLWARE, T SPEAKS ABOUT SOUTHPORT.

>> IT'S A 50-YEAR-OLD INSTITUTION THAT EXISTS IN THE ORIGINAL PORT OF NEW YORK.

IT IS LOCATED IN THE BUILDINGS AND ADJACENT TO THE PEERS AND WITH A FLEET OF SHIPS THAT ARE REPRESENTATIVE OF THE ORIGINAL PORT OF NEW YORK.

SO NEW YORK WAS A PORT BEFORE IT WAS A CITY.

FOR US, PLACE REALLY MATTERS, WHERE WE ARE DOING OUR WORK IS IN ACTUALLY THE ACTUAL COUNTING HOUSES THAT ARE THE FIRST WORLD TRADE CENTER OF THE CITY OF THE NEW YORK.

THE SHIPPING PING PIERS AND THE CONNECTION TO THE REST OF THE WORLD IS WHAT BUILT NEW YORK.

WE REALLY TELL THE FIRST CHAPTER OF THE STORY OF THE CITY OF NEW YORK.

THE SHIP IS A TERM USED TO DESCRIBE SOUTH STREET TO THE BATTERY AND BROOKLYN AND BEYOND.

THE IMAGE IS THE BOW SPRITZ, THE SPAR THAT COMES OFF THE HEAD OF THE SHIP MEETING WITH THE CITY, HANGING OVER THE BUILDINGS THAT ARE THERE.

IT IS THAT CONNECTION BETWEEN WATER-BORNE TRANSPORTATION AND THE GROWING METROPOLIS THAT REPRESENTS THE BIRTHPLACE OF NEW YORK AS WE KNOW IT.

THESE SHIPS WERE IN THE 19th CENTURY THE ENGINES OF TRADE.

THEY WERE BRINGING RAW MATERIALS IN AND MANUFACTURED GOODS OUT.

BUT THEY WERE ALSO INSTRUMENTS OF GLOBALIZATION.

THEY WERE INSTRUMENTS OF CONNECTION.

THEY WERE THE INSTRUMENTS OF THE MIGRATION OF PEOPLES, OF CULTURAL EXCHANGE.

WAVERTREE IS OUR FLAGSHIP.

SHE IS AN 1885 IRON SAILING SHIP.

MANY PEOPLE WOULD REFER TO HER AS A TALL SHIP.

SO A BIG TALL-MASTED SQUARE RIGGED SAILING SHIP.

AND SHE IS FOR US THE CONNECTION BETWEEN NEW YORK AND THE REST OF THE WORLD.

SO SHE WAS A GLOBETROTTER.

SHE WAS WHAT'S CALLED A TRAMP FOR MOST OF HER LIFE.

SO A TRAMP WAS THE NAME FOR A SHIP THAT WOULD CARRY ANY CARGO ANYWHERE IN THE WORLD, AS LONG AS IT PAID.

ON THE DAY THAT WAVERTREE WAS LAUNCHED IN SOUTHAMPTON, ENGLAND IN 1885, SHE WAS A PROFOUNDLY NORMAL SHIP.

NO MORE SPECIAL THAN A MACK TRUCK OR A FREIGHT CAR TODAY.

BUT SHE IS THE LAST SURVIVING SHIP OF HER TYPE IN THE WORLD.

SHE HAS OUTLASTED ALL OF HER SISTERS.

SHE DID SO ACTUALLY BECAUSE OF WHAT I THINK YOU COULD CALL A SERIES OF HAPPY ACCIDENTS, WHICH MIGHT NOT HAVE SEEMED HAPPY AT ALL AT THE TIME.

IN 1910, DURING HER SECOND ATTEMPT TO TRY TO ROUND CAPE HORN, THE CAPE AT THE SOUTHERN END OF SOUTH AMERICA, AND PROBABLY THE MOST VIOLENT AND DANGEROUS BODY OF WATER IN THE WORLD, SHE WAS DISMASTED, WHICH MEANS THAT HER TALL SAILING RIG CAME FALLING DOWN TO THE DECK, IRON AND WOOD AND STEAL AND CABLE AND CORDAGE AND CANVAS ALL CAME CRASHING DOWN, DESTROYING THE SHIP'S ABILITY TO SAIL.

REMARKABLY, KILLING NO ONE.

SHE WAS DECLARED BY HER OWNERS A FUNCTIONAL LOSS.

SHE WAS CONVERTED FIRST TO A FLOATING WAREHOUSE.

SHE WAS THEN CONVERTED BY HAVING HER DECKS CUT OUT INTO A SAND BARGE.

SHE WAS FOUND BY THE SOUTH STREET PORT MUSEUM.

SHE CAME HERE TO GREAT FANFARE AND HAS BEEN LOVINGLY PRESERVED BY VOLUNTEERS AND STAFF EVER SINCE.

WAVERTREE JUST COMPLETED IN 2016 A COMPLETELY UNPRECEDENTED RESTORATION PROJECT FUNDED BY THE CITY OF NEW YORK, A 16-MONTH, $13 MILLION RESTORATION THAT BROUGHT HER REALLY AS CLOSE TO SAILING CONDITION AS SHE HAS BEEN SINCE SHE WAS DISMASTED IN 1910.

LIFE ON A SAILING SHIP IN THE 19th CENTURY WAS A PRETTY GRIM BUSINESS.

SO LET'S FIRST THINK ABOUT WHAT IS THE FUNCTION OF THESE SHIPS.

THE JOB IS TO GET A SMALL PILE OF COAL, A COUPLE THOUSAND TONS OF COAL OR ITS EQUIVALENT HALFWAY AROUND THE WORLD, OR DIE TRYING, RIGHT.

SO THE INVERSION OF IMPORTANCE OF MONEY AND HUMAN LIFE BETWEEN THE 19th CENTURY AND NOW CAN'T BE OVERSTATED.

CREWS WERE EXPENDABLE.

SAILORS WERE EXPENDABLE.

CARGOS AND SHIPS WERE NOT.

IT WAS A RIGID CLASS HIERARCHY.

YOU CAN SEE A STARK EXAMPLE OF THAT.

IN THE CABIN DOOR THAT LEADS TO THE CAPTAIN'S SALOON.

INSIDE THE CAPTAIN SALOON, SHE IS A VICTORIAN SHIP SO, POSH, CUSHIONS AND NICE CHAIRS AND A SETTEE AND A TEA SERVICE MADE OF SILVER AND SO ON.

ON THAT SIDE OF THE DOOR IT'S BRIGHTLY FINISHED WITH VARNISH AND NICE PANELS.

THE OTHER SIDE OF THE DOOR PAINTED WHITE, UTILITARIAN, WORK A DAY.

SO TOO WAS THE LIFESTYLE.

ABOARD THE SHIP, THE CAPTAIN ENJOYED A PRETTY COMFORTABLE EXISTENCE.

THE SAILERS LIVED FORWARD TOWARD THE BOW OF THE SHIP AND LIVED MANY MEN TO A SMALL CRAMPED THING, SLEEPING PERHAPS ON A STRAW MATTRESS, EATING SALTED MEAT OUT OF WOODEN BARRELS.

ONE OF THE IMPACTING THINGS ABOUT WAVERTREE, ABOUT SEEING HER IS JUST WALKING DOWN THE PIER AND SEEING THE MAJESTY OF HER TALL MASTS AND THE RIGGING THAT'S NECESSARY TO MAKE A TALL SHIP LIKE THAT WORK.

BUT THE REAL GEM IS TO GET INTO WAVERTREE AND GO DOWN INTO THE HOLD SPACE WHICH IS OPEN THIS YEAR FOR THE FIRST TIME EVER, AND BE ABLE TO TAKE IN THE SIZE AND THE SCALE OF A HUGE CARGO SAILING SHIP FROM THE 19th CENTURY.

IT'S LIKE BEING INSIDE THE BELLY OF A WHALE OR A CATHEDRAL.

AT ONE TURN, INCREDIBLY BEAUTIFUL.

THE CONSTRUCTION IS BREATHTAKING.

AND YET ITS FUNCTION WAS TO DO A VERY MUNDANE AND DIRTY JOB.

AND THIS IS WHERE I WOULD SAY THAT WAVERTREE IS TRULY UNIQUE.

THERE IS NOT ANOTHER SHIP IN THE WORLD THAT HAS A SPACE INSIDE LIKE THE ONE THAT WAVERTREE HAS.

SHE ISN'T THE SHIP THAT BUILT NEW YORK, BUT SHE IS OF THE CLASS OF SHIP THAT MADE NEW YORK WHAT IT IS.

AND SO FOR US, PARTICULARLY AS THE LAST OF HER TYPE, SHE REPRESENTS NEW YORK'S CONNECTION TO THE REST OF THE WORLD, THAT IN THE 19th CENTURY FROM AN EAST RIVER PIER, YOU COULD GET ON A SHIP LIKE WAVERTREE, GO OUT THE NARROWS, TURN LEFT, GO RIGHT, GO STRAIGHT, AND END UP ANYWHERE IN THE WORLD.

>>> NEXT WEEK ON "NYC ARTS," A LOOK AT THE AUDUBON MURAL PROJECT, WHOSE MISSION IS TO CREATE LARGE SCALE MURALS THAT PAY TRIBUTE TO BEAUTIFUL AT-RISK BIRDS.

>> I SAID LET'S DO ALL 314 THREATENED BIRDS, DO MURALS ON ALL OF THEM ON GATES AND WALLS ALL OVER THIS NEIGHBORHOOD.

>> A TRIP JUST TWO HOURS NORTH OF THE CITY TO THE FRANKLIN D. ROOSEVELT PRESIDENTIAL LIBRARY AND MUSEUM.

>> ROOSEVELT WANTED TO BE AN ARCHIVE, BUT ALSO A MUSEUM WHERE PEOPLE COULD COME AND LEARN MORE ABOUT HIM AND HIS ADMINISTRATION.

>> AND A VISIT TO THE MET TO EXPLORE THE MUSEUM'S COLLECTION OF POST WAR AND CONTEMPORARY ART.

>> THIS SPECTACULAR SCULPTURE BEHIND ME IS TITLED "MRS. N'S PALACE."

AND IT'S ONE OF THE GREAT WORKS BY THE AMERICAN SCULPTOR LOUISE NEVILLESON.

IT'S ACTUALLY COMPOSED OF PIECES THAT DATE BACK IN TIME TO AS EARLY AS 1964.

>> I HOPE YOU ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZAHN.

THANK YOU SO MUCH FOR WATCHING AND HOPE YOU'LL JOIN US NEXT TIME.

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

♪ >>> GOOD EVENING AND WELCOME TO NYC ARTS.

>> I'M PAULA ZAHN.

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

>> I LOVE BEING HERE WITH YOU TOO, PAULA.

>> WHERE ARE WE?

>> WE'RE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

>> WELL, IT'S A PLEASURE TO BE WITH THE CURATOR OF THIS EXHIBITION FULL OF HOPE.

♪ >>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE NANCY SIDEWATER FOUNDATION.

THE MILTON AND SALLY AVERY ARTS 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 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.

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, FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.