♪ >>> COMING UP ON "NYC ARTS", A TRIP TO THE GUG M HIEM.

>> HE WAS A RUSSIAN BORN ARTIST.

F WE SEE THIS BLUE MOUNTAIN ANCHORING IN THE BACKGROUND OF THE CANVAS.

S IN FOREFRONT, WE HAVE THIS WONDERFUL SERIES OF HORSE AND RIDERS.

YOU CAN ALMOST FEEL THE WIND RUSTLING THROUGH THE RIDER'S HAIR.

>> OUR VISIT TO THE HISTORIC BUSH HOLLY HOUSE IN GREENICH.

THE BUSH HOLLY HOUSE TODAY PORTRAYS TWO STORIES IN ITS HISTORY.

THE HOUSE BEGAN LIFE AS A HOME FOR PROSPEROUS MERCHANTS IN THE 18th CENTURY AND THEN GAINED RECOGNITION LATER AS A BOARDING HOUSE FOR AMERICAN ARTISTS AND WRITERS.

>>> AND A LOOK AT AMERICAN TRAVELERS, A WATERCOLOR JOURNEY THROUGH SPAIN, PORTUGAL AND MEXICO ON DISPLAY.

>>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THE AMBROSE MONELL FOUNDATION.

THEA PETSCHEK IERVOLINO FOUNDATION.

JODY AND JOHN ARNHOLD.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER 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.

>> 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.

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

I'M PAULA ZAHN.

ON LOCATION IN THE HEART OF CENTRAL PARK.

THE PARKS HAVE BECOME GREAT PLACES FOR RESPITE AND RENEWAL.

AMID A GLOBAL PANDEMIC THAT KEPT MANY FEELING RESTLESS AND ISOLATED, THESE BEAUTIFUL OUTDOOR SPACES FOSTER A SENSE OF COMMUNITY AND NORMALLY WHEN THEY NEED IT THE MOST.

WITH ITS SCENIC DRIVES, WALKING PLAZAs, PLAYGROUNDS AND HISTORIC MONUMENTS, THERE IS SOMETHING FOR PEOPLE OF ALL AGES TO ENJOY.

WITH ITS LUSH FOLIAGE FROM SEASON TO SEASON, IT IS A PLACE TO TAKE IN NATURE IN THE CITY THAT NEVER SLEEPS.

THE SIGHTS AND SOUNDS OF STEPPING ON LEAVES AND RELAXING BY THE MANY BODIES OF WATER ALL ADD TO THE SENSE OF SANCTUARY AND WELL-BEING.

A FEW FACTS ABOUT THIS NEW YORK CITY ICON.

AT WELL OVER 800 ACRES, IT IS THE FIFTH LARGEST URBAN PARK IN THE COUNTRY.

ITS BORDERED NORTH AND SOUTH ARE FROM CENTRAL PARK NORTH AT 110th STREET DOWN TO CENTRAL PARK STREET AT 59th STREET.

IT STRETCHES BETWEEN THE UPPER EAST AND WEST SIDES OF MANHATTAN FROM CENTRAL PARK WEST TO FIFTH AVENUE.

THE PARK HAS LONG BEEN DECLARED A NATIONAL HISTORIC LAND WPARK.

IT IS THE MOST FILMED LOCATION IN THE WORLD.

IT OVERSEES RENOVATION AND CARE OF THE LANDSCAPE AND ITS WATER WAYS.

TOURS ARE AVAILABLE TO MEET MANY INTERESTS, WHETHER IT IS THE ECOLOGY OF THE PARK, THE HISTORIC FIGURES REPRESENTED IN ITS MONUMENTS OR JUST ITS BEAUTIFUL WALKING TRAILS.

ALSO EXPLORED THE HISTORY.

A COMMUNITY OF AFRICAN AMERICAN FAMILIES WHO LIVED IN THE UPPER WEST SIDE OF THE PARK FROM 1825 TO 1857.

THE VILLAGE PROVIDED ITS RESIDENCE AN ESCAPE AND THE PURR VASIVE RACISM IN DOWNTOWN MANHATTAN.

WHEN THE CITY ACQUIRED THE LAND, THE RESIDENTS WERE DISPLACED AND FORGOTTEN.

IN THE 1990s, HISTORIANS REDISCOVERED THE VILLAGE, LEADING TO AN ONGOING PROJECT TO UNCOVER THIS EXTRAORDINARY COMMUNITY.

NOW I'M DOWNTOWN AT THE NATIONAL MUSEUM OF THE AMERICAN INDIAN.

IT TRACES THE ARTISTIC DEVELOPMENT OF ONE OF THE 20th CENTURY'S MOST INNOVATIVE NATIVE AMERICAN PAINTERS.

WITH MORE THAN 68 PAINTINGS AND DRAWINGS, IT IS THE LARGEST PRESENTATION OF HOWE'S WORK TO DATE.

THE ARK OF HIS CAREER BEGAN WITH EARLY WORK CREATED WHILE HE WAS IN THE SANTA FE INDIAN SCHOOL.

IT CONTINUED TO DEVELOP AND GROW WITH THE EMERGENCE OF HIS ABSTRACT APPROACH TO PAINTING IN THE 1950s AND 1960s.

HE PASSED AWAY IN 1983, COMMITTING HIS ARISTIC CAREER TO THE PRESERVATION AND RELEVANCE OF HIS DAKOTA CULTURE.

HE PROVED THAT ART COULD BE BOTH MODERN AND EMBEDDED IN TRADITIONAL CULTURE AND AESTHETICS AND CHARGED THE PRECONCEPTIONS OF NATIVE AMERICAN PAINTING.

IN DOING SO, HE STARTED A MOVEMENT AMONG NATIVE ARTISTS TO EXPRESS THEIR INDIVIDUALITY, RATHER THAN CONFORM TO A STYLE THAT LIMITED THEIR ARTISTIC EXPRESSION.

HIS LEGACY OF INNOVATION AND ADVOCACY CONTINUES TO INSPIRE GENERATIONS OF NATIVE ARTISTS TO RESIST STEREOTYPES AND TAKE PRIDE IN THEIR HERITAGE.

THE EXHIBITION WILL BE ON VIEW THROUGH SEPTEMBER 11th.

AND NOW THIS WEEK'S FEATURE PROFILE.

A TRIP TO GUGENHEIM FOR A LOOK AROUND THE CIRCLE.

IT GOES ON THE SIELISTIC JOURNEY TOWARD HIS GROUND BREAKING ABSTRACTIONS TO OFFER A THOUGHT PROVOKING VIEW OF HIS WORK.

S. >> IT IS THOSE CIRCLES AND TRIANGLES AND SQUARES, THE PULSATING GEOMETRY.

BUT HE IS REINVENTING HIMSELF AT EVERY TURN.

THIS IS A COMPREHENSIVE EXHIBITION OF OVER 70 WATERCOLORS AND PAINTINGS FROM GUGENHEI M's COLLECTIONS.

HE BEGAN COLLECTING THE WORK WITH GREAT GUSTO IN THE LATE 1920s.

HE WAS A RUSSIAN BORN ARTIST WHO DECIDED TO PURSUE AN ARTISTIC CAREER AROUND THE AGE OF 30 AFTER ABANDONING A PROMISING LAW CAREER.

AND HE COMES TO MUNICH IN THE YEAR 1826 WHICH WAS A VIBRANT CULTURE CENTER, A NEXUS.

THIS IS A CANVAS FROM 1909, AND HE'S WORKING IN THIS EXPRESSIONISTIC MANNER.

WE SEE THIS BLUE MOUNTAIN ANCHORING AT THE BACKGROUND OF THE CANVAS.

IN THE FOREGROUND, WE HAVE THIS WONDERFUL SERIES OF HORSE AND RIDERS.

YOU CAN ALMOST FEEL THE WIND RUSTLING THROUGH THOSE RIDER'S HAIR.

AT THIS MOMENT, HE WAS STILL FINDING HIMSELF AS AN ARTIST AND WORKING IN THIS MORE REPRESENTATIONAL ROUND, BUT IS BECOMING LOOSER WITH HIS BRUSH WORK.

HE IS MOVING TOWARDS THIS PLACE WHERE IMAGERY IS LESS IMPORTANT THAN THOSE COLORS LINE AND FORM.

IN JUST A FEW SHORT YEARS, HE WILL COME TO THIS MORE ABSTRACT STYLE.

1913 WAS VERY IMPORTANT FOR HIM.

HE WOULD COMPLETE WHAT HE CALLED HIS FIRST TRULY NON-REPRESENTATIONAL ABSTRACT CANVASS.

SO PAINTING WITH WHITE BOARD RIGHT IN THE MIDDLE OF THAT HERE, HE'S ON THE PRECIPICE.

HE'S ABOUT TO JUMP OFF THE CLIFF, BUT HE HASN'T DONE THAT JUST YET.

SO THE IMAGERY IS VERY LOOSE.

THERE IS A LOT OF SWIRLING DYNAMIC BRUSH WORK IN THERE.

JUST A FEW MONTHS PRIOR IN THE FALL OF 1912, HE HAD RETURNED TO HIS NATIVE MOSCOW.

WHEN HE COMES BACK TO MUNICH, HE WRITES THAT HE WANTED TO CAPTURE THAT SENSATION, THAT FEELING OF MOSCOW ITSELF.

THERE IS A SYMBOL OF A THREE HORSE SLED IN THE CENTER.

THERE IS A SOLUTION TO SAINT GEORGE, THE PATRON SAINT OF MOSCOW WITH HIS LANCE DRAWN TO THE DRAGON.

AND THIS IS THE WORK THAT UNDERSCORES THE WAYS IN WHICH MEMORY IN PLACE INFUSE HIS WORK.

COMPOSITION A IS A PAINTING FROM 1923.

THE REAR PRIOR HE JOINS THE FACULTY AT A PROGRESSIVE ART SCHOOL FOUNDED AFTER THE FIRST WORLD WAR.

THIS PAINTING REALLY EPITOMIZES THIS MOMENT, WHICH IS A MORE GIO METTIC LANGUAGE, THE CIRCLE, THE SQUARE, THE TRIANGLE, THE LINE.

AND THERE IS THIS WONDERFUL ENERGY TO THE CANVAS PULSATING BETWEEN CALM AND AGGRESSIVE, THIS GEOMETRY THAT REALLY TAKES US INTO THIS OTHER DIMENSION.

SEVERAL CIRCLES FROM 1926 IS ANOTHER PAINTING FROM THE SO-CALLED BOW HOUSE PERIOD.

THE CIRCLE WAS A SHAPE THAT REPRESENTED BALANCE AND HARMONY AND IN THIS WORK I THINK IT IS HARD NOT TO THINK OF THE COSMOS OF ANOTHER DIMENSION, OF A MORE SPIRITUAL REALM.

AROUND THE CIRCLE FROM 1940 IS A LATE LIFE PAINTING.

HE IS NOW IN PARIS WHERE HE ARRIVED IN 1933.

AND HE WRITES THAT THE LIGHT OF PARIS REALLY EXPANDED HIS PALATE.

AND WE SEE IN THIS MOMENT MORE PASTEL COLORS.

WE SEE THIS MORE WHIMSICAL.

FOR ME, IT BRINGS EVERYTHING TOGETHER, THE WAYS IN WHICH HE'S GOING BACK TO EARLIER MOMENTS IN HIS CAREER.

AND WE SEE THIS KIND OF SUSTAINED INTEREST IN FOLK LORE.

THERE IS PERHAPS SHAMANIC, PERHAPS DRAWING FROM METAMORPHOSIS AND TRANSFORMATION.

THIS IS AN ARTIST LATE IN HIS LIFE THAT'S THINKING PERHAPS ABOUT SPIRITUAL ASEN CE ASCENDA TRANSFORMATION.

HE ADAPTS TO EACH NEW SURROUNDING.

ULTIMATELY, IT IS A STORY OF RESILIENCE.

AND IT WAS GROUND BREAKING.

IT REALLY SET THE STAGE FOR SO MANY MORE ARTISTIC ADVANCEMENTS THROUGH THE DECADES.

♪ >>> NEXT, WE'LL TRAVEL TO THE BUSH HOLLY HOUSE IN GREENICH, CONNECTICUT.

THIS IS A ONE OF THE NEW REMAINING FROM THE EARLY DECADES OF THE 18th CENTURY.

THE HISTORIC SITE IS THE CENTERPIECE OF THE GRENICH HISTORICAL SOCIETY, WHICH DOCUMENTS FROM A COLONIAL ENGLISH SETTLEMENT.

IN MAINTAINING THE HOUSE FOR VISITORS, THE SOCIETY PRESERVING THE MEETING HOUSE OF THE ART COLONY, WHICH FLOURISHED HERE IN THE EARLY 20th CENTURY.

YOU CAN ENJOY A TOUR OF THE HOUSE BY ADVANCE APPOINTMENT.

THE BUSH HOLLY HOUSE TODAY PORTRAYS TWO STORIES IN ITS HISTORY.

THE HOUSE BEGAN LIFE AS A HOME FOR PROSPEROUS MERCHANTS IN THE 18th CENTURY AND THEN GAINED RECOGNITION LATER AS A BOARDING HOUSE FOR AMERICAN ARTISTS AND WRITERS.

TODAY IT IS A NATIONAL HISTORIC LANDMARK AND ONE OF 18 SITES ON THE CONNECTICUT ART TRAIL.

SINCE ACQUIRING IT IN 1957, THE HISTORICAL SOCIETY EXPANDED THE SITE AND THEN TRANSFORMED IT INTO AN EDUCATION CENTER.

THE STOREHOUSE, WHICH SITS NEXT DOOR, WAS ADOPTED AS THE EXHIBITION GALLERY FOR CHANGING EXHIBITIONS ON HISTORY AND ART.

THE BUSH STORY BEGINS WITH DAVID BUSH, WHO CAME HERE WITH HIS WIFE TO BUILD A MILL.

HE BUILT THE HARBORS SO SHIPS COULD COME UP TO THE DOCKS.

THIS MADE A WONDERFUL ENTERPRISE FOR HIM.

HE WAS A VERY WEALTHY MAN.

AND I THINK YOU CAN SEE THAT IN BUSH HOLLY HOUSE.

A SCRAP OF THE WALLPAPER HAS THE BRITISH TAX STAMP ON THE BACK AND REMINDS US OF ONE OF THE CAUSES OF THE AMERICAN REVOLUTION.

ONE SIGN OF DAVID'S EXTRAORDINARY WEALTH WAS THE ENSLAVED PEOPLE WHO LIVED HERE, THE AFRICAN-AMERICANS.

THERE IS ONE ROOM IN THE HOUSE THAT PORTRAYS THE KIND OF WAYS IN WHICH SLAVES LIVED IN THE 18th CENTURY, PARTICULARLY IN NEW ENGLAND, WHERE THEY WERE HOUSED IN ATTICS AND CELLARS OF THE MAIN MANSION HOUSES.

THE STORY OF THE HOLLIES BEGINS IN MANY WAYS WITH THE RAILROAD COMING IN 1848.

IT BEGAN TO BRING RESIDENTS UP TO NEW YORK FROM SUMMERTIME.

SO HE SAW AN OPPORTUNITY TO TAKE ON THE HOUSE AS A BOARDING HOUSE THAT WAS KNOWN AS THE OLD HOUSE.

THE ARTISAN WRITERS WHO CAME HERE SELF-IDENTIFIED AS THE ART COLONY.

THIS WAS CONNECTICUT'S FIRST ART COLONY, PARTICULARLY KNOWN FOR ITS INNOVATIVE AND EXPERIMENTAL STYLE, SET BY THE AMERICAN IMPRESSIONIST ARTIST WHO WAS THE FIRST TO COME HERE AND TEACH SUMMER CLASSES IN 1892.

HE WAS FOLLOWED BY THEODORE ROBINSON.

THEY CAME HERE BARELY HELPING TO TRANSLATE FRENCH IMPRESSIONISM INTO AN AMERICAN ID YUM.

THE LIFE OF THE ARTIST WAS TO GO OUT DURING THE DAYTIME AND DO THEIR PAINTINGS AND GATHER BACK IN THE AFTERNOON.

HE WOULD OFTEN SAY DON'T PAINT WHAT YOU SEE, PAINT WHAT YOU FEEL.

ANOTHER OF THE ARTISTS THAT CAME HERE STAYED HERE OFF AND ON OVER A 20-YEAR PERIOD.

NOW, THE ROOMS IN BUSH HOLLY HOUSE COST $8 TO $20 TO RENT FOR THE WEEK.

YOU CAN SEE HANGING THERE A PIECE HE MADE OF THE FEDERAL MANTELPIECE.

IT IS ONE OF THE MOST EXTRAORDINARY THINGS YOU CAN SEE, A SET OF ETCHINGS HE MADE, ALMOST 30 OF THEM WHEN HE WAS HERE IN 1915.

ONE OF THEM AT THE DUTCH DOOR SHOWS A WOMAN STANDING IN FRONT OF THE DUTCH DOORS OF BUSH HOLLY HOUSE.

YOU CAN FEEL ALMOST A SENSE OF THE SUMMER INVITING YOU OUT INTO THE INSIDE.

I'M STANDING IN A ROOM WHICH WAS AN ART STUDIO.

IT BECAME THE PERMANENT STUDIO OF ELMER, A YOUNG STUDENT THAT CAME HERE IN 1896.

HE FELL IN LOVE WITH THE HOLLY'S DAUGHTER AND MARRIED HERE IN 1900s.

HE WOULD OFTEN GIVE EXHIBITIONS IN THIS STUDIO THAT TRACKED HUNDREDS OF PEOPLE AND THAT WOULD BE CRITIQUED TO THE NEW YORK PAPERS.

McKRA PAINTED THE EXTRAORDINARY PICTURE OF HIS TWIN DAUGHTER FEEDING THE DUCKS WHICH HANGS IN THE HALLWAY OF THE HOUSE.

1912 WHEN THAT PAINTING WAS DONE WAS AN IMPORTANT YEAR BECAUSE AT THE SAME TIME, SHE WAS ONE OF THE EARLY ORGANIZERS OF THE INTERNATIONAL EXHIBITION OF ART.

THAT SHOW WAS SIGNIFICANT IN THAT IT INTRODUCED EUROPEAN MODERNISTS TO THE VAST AMERICAN PUBLIC FOR THE FIRST TIME.

IT ALSO HAD A HUGE IMPACT ON THE ARTISTS.

YOU CAN SEE THAT IN A PAINTING HANGING IN McCRAY'S STUDIO.

IT SHOWS HIM TRYING TO UNDERSTAND A NEW WAY TO TRANSLATE AND SEE LANDSCAPE.

HE BEGAN LOOKING FOR DECORATIVE WORKS OF ART LIKE THE PAINTING OF THE IRISES.

ONE OF THE PAINTINGS IN THE HALLWAY IS OF CLARISSA.

SHE WAS PAINTED IN 1912.

THE BOOKCASE IS STILL THERE, AS WELL AS THE HALLWAY AND THE STAIR.

BUSH HOLLY HOUSE IS A WONDERFUL 18th CENTURY HOUSE.

IT HAS SO MUCH CHARACTER THAT COMES FROM ITS EARLY HISTORY IN THE 1830s.

WHAT'S MOST EXTRAORDINARY IS TO COME HERE AND SEE THE ART ON THE WALL FROM THE ARTISTS AT THE TURN OF THE CENTURY WHO FELL IN LOVE WITH THIS HOUSE AND THIS VILLAGE.

>>> FOR MORE INFORMATION ON CULTURE EVENTS IN OUR AREA, PLEASE SIGN UP FOR OUR FREE WEEKLY E-MAIL AT NCY/ARTS.

WE'LL KEEP YOU UP-TO-DATE ALL YEAR-ROUND.

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

♪ >>> WELL, TRAVEL HAS BEEN A RARITY OVER THESE PAST FEW YEARS.

AN EXHIBITION IN UPPER MANHATTAN TRANSPORTS VISITORS ON A TRIP ABROAD WITHOUT LEAVING THE CITY.

NOW ON VIEW AT THE HISPANIC SOCIETY AND LIBRARY IS AMERICAN TRAVELERS, A WATERCOLOR JOURNEY THROUGH SPAIN, PORTUGAL AND MEXICO.

SINCE THE DAYS OF WASHINGTON IRVING, SPAIN HAS HELD A FASCINATION FOR BOTH AMERICAN WRITERS AND VISUAL ARTISTS.

JOHN SEAGER, WILLIAM CHASE, AS WELL AS YOUNGER ARTISTS SUCH ADDS ROBERT HENRY ALL TOURED AND PAINTED THERE AS AN ESSENTIAL PART OF THEIR DEVELOPMENT.

WHEN A HISPANIC SOCIETY OPENED ITS DOORS IN 1908, IT BECAME A SOURCE OF INSPIRATION FOR AMERICAN ARTISTS WITH HISPANIC INTERESTS.

THE FOLLOWING YEAR, HASIM SET SAIL FOR SPAIN.

THE NEXT YEAR HASI M's OWN PAINTING FROM SPAIN WERE ON VIEW BACK HERE IN NEW YORK.

HE SAW THESE WORKS AND BROUGHT THE FOUNDER OF THE HISPANIC SOCIETY TO THE EXHIBITION.

ULTIMATELY SIX PAINTINGS BY THE AMERICAN ARTISTS WERE PURCHASED FOR THE SOCIETY'S COLLECTIONS.

INCLUDED FROM THE CURRENT EXHIBITION IS A SUITE OF RECENT WATERCOLORS BY TIMOTHY J. CLARK.

CLARK WAS ALSO INSPIRED BY HIM.

AFTER SEEING HIS WORK IN CALIFORNIA IN 2014, HE ALSO MADE SEVERAL TRIPS TO SPAIN AND MEXICO.

LIKE HASIM AND THE OTHERS BEFORE HIM, CLARK DEPICTED MONUMENTS AND CITYSCAPES BOTH WITH FIGURES AND AS COMPOSITIONS WITHIN THEMSELVES AS WELL AS STILL LIVES.

HIS WORKS ARE PRESENTED AS EASEL STYLE PAINTINGS, BUT EXECUTED IN WATERCOLOR.

OTHER AMERICAN PAINTERS HAVE ALSO BEEN INSPIRED OVERSEAS.

THEY INCLUDE THE CALIFORNIA-BORN ARTIST AND AUTHOR.

FLORENCE VINCENT ROBINSON, THE BOSTON WATERCOLORS WORKING IN EUROPE.

THE CLEVELAND BORN ARTIST AND ILLUSTRATOR AND AN AMERICAN ARTIST BORN IN SERBIA WHO ALSO PAINTED THE WATERCOLORS IN SPAIN AND MOROCCO.

THE EXHIBITION IS ON VIEW IN THE EAST GALLERY OF THE HISPANIC SOCIETY THROUGH OCTOBER 16th.

FOR INFORMATION ON WHEN THE FULL CAMPUS OF BUILDINGS WILL REOPEN, VISIT THE SOCIETY'S WEBSITE.

>>> NEXT WEEK ON "NYC ARTS," WE'LL MEET JOEL, A VIBRANT PRESENCE IN THE ART WORLD.

>> I REMEMBER WALKING THROUGH PARIS AND SUDDENLY SMELL BAKING CROISSANT IN THE AIR, BUTTER AND SUGAR.

YOU IMMEDIATELY, YOU WANT A CROISSANT OR A COOKIE OR SOMETHING, RIGHT?

AND THEN YOU TAKE TWO STEPS AND IT'S GONE.

TO ME, THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET AND YOU GET IT.

IT IS THE VISUAL THAT IS AS PRECISE AS THAT FRAGRANCE THAT IS ONLY IN THE AIR OF THE DOORWAY.

>> AND THE SOUTH STREET SEA PORT MUSEUM AND ITS BELOVED TUGBOAT.

>> SHE IS THE ONLY OPPORTUNITY THAT YOU HAVE TO TAKE A TUGBOAT RIDE IN NEW YORK CITY.

IT IS PROFOUNDLY AUTHENTIC AND IT IS JUST ABOUT AS MUCH AS YOU CAN HAVE IN NEW YORK HARBOR.

>>> FROM CENTRAL PARK, I'M PAULA ZAHN.

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

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

I'M PAULA ZAHN.

>> LEN LARD, WE'RE PRIVILEGED TO BE ABLE TO SIT DOWN AND TALK WITH YOU.

>> I LOVE BEING ABLE TO TALK WITH YOU, PAULA.

>> WHERE ARE WE?

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

WE ARE IN THE MIDST OF SOME OF THE GREATEST SCULPTURES BY THE ICONIC NAMES.

>> CLASSICAL AND MODERN DANCE ARE EXTREMELY DIFFERENT.

AND I HAVE SO MUCH MORE TO LEARN BEFORE I CAN REALLY ARTICULATE THE DIFFERENCES.

>> AND WHEN I LISTEN TO THE LYRICS AND THAT, I SUDDENLY THOUGHT THAT'S WHAT I WANT TO DO WITH MY LIFE.

>> MY PICTURES RESIDE IN VERY INTIMATE, VERY PRIVATE MOMENTS.

>> MY PRIMARY WAY OF PLAYING THE PIANO IS BY IMPROVISING.

>> YOU ARE IN SOME RESPECTS ON SACRED GROUND.

A WOMAN CAME TO SEE YOU PERFORM AND SAID HOW WOULD YOU LIKE TO PLAY BILLY HOLIDAY?

>> I THINK ONE OF THE ESSENTIAL THINGS THAT WE LEARNED IS THAT HE USED PINS TO COMPOSE HIS WORK.

>> YOU ALWAYS ARE SURPRISED WHEN YOU ARE DOING A PIECE 100 YEARS AGO AND YOU THINK, OH, MY GOSH.

THIS COULD BE NOW.

>> THE GUITAR IS THE FIRST OF THAT MOMENT.

>> YOU PRESENT SOMETHING AND IT'S GREAT.

YOU KNOW?

♪ ♪ >>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THE AMBROSE MONELL FOUNDATION.

THEA PETSCHEK IERVOLINO FOUNDATION.

JODY AND JOHN ARNHOLD.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER FOUNDATION.

THE 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.

>> 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