♪ >>> COMING UP ON "NYC ARTS," WE'LL MEET RENOWNED PHOTOGRAPHER JOEL MEYEROWITZ, A VIBRANT PRESENCE IN THE ART WORLD.

>> I REMEMBER WALKING THROUGH PARIS AND SUDDENLY SMELL BAKING CROISSANT ON THE AIR, BUTTER AND SUGAR, AND IMMEDIATELY YOU WANT A CROISSANT OR A COOKIE OR SOMETHING.

YOU TAKE TWO STEPS, IT'S GONE.

TO ME, THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET AND SOMETHING HAPPENS.

AND YOU GET IT.

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

>>> AND A VISIT TO THE SOUTH STREET SEAPORT MUSEUM AND BELOVED TUG BOAT, WO DECKER.

>> SHE'S ONLY OPPORTUNITY YOU HAVE TO TAKE A TUG BOAT RIDE IN NEW YORK CITY.

IT'S PROFOUNDLY AUTHENTIC AND ABOUT AS MUCH FUN AS YOU CAN HAVE.

>>> 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.

WHEN FREDERICK LAW OLMSTEAD AND LOWE SET OUT IN 1857 TO BUILD A GREAT PUBLIC SPACE, THEY SAW IT AS THE PEOPLE'S PARK WHERE ALL COULD GATHER TOGETHER AS ONE COMMUNITY.

THEIR PHILOSOPHY OF LANDSCAPE DESIGN WAS TIED TO STRONG BELIEF THAT BEING IN NATURE IS VITAL TO THE HEALTH OF EVERY HUMAN BEING.

THE PARK EXPERIENCE WAS ENVISIONED AS ANTIDOTE TO THE STRESSES OF THE CITY'S DAILY LIFE.

WITH SCENIC DRIVES, WALKING PATHS, FOUNTAINS, PLAYGROUNDS AND HISTORIC MONUMENTS, THERE'S SOMETHING FOR PEOPLE OF ALL AGES TO ENJOY.

WITH LUSH AND COLORFUL FOLIAGE SEASON TO SEASON, IT'S PLACE TO TAKE IN THE BEAUTY OF NATURE IN CITY THAT NEVER SLEEPS.

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

AFTERNOON SPENT IN MUSEUM FOR GALLERY IS FOR SLOWING DOWN TO SMELL THE ROSES.

"M "MA "MATISSE: THE RED STUDIO," FROM 1911.

ADMIRED THROUGHOUT THE 20th AND 21st CENTURIES, PAINTING REMAINED ONE OF THE MOST INFLUENTIAL WORKS IN MOMA'S COLLECTION.

REVEALS THE ARTIST'S WORK ENVIRONMENT, OUTSKIRTS OF PARIS.

MATISSE'S STUDIO WITH ITS OBJECTS.

THE ARTWORK SHOWN IN THE PAINTINGS ARE REUNITED FOR FIRST TIME SINCE LEFT THE ARTIST'S STUDIO.

ALSO A RICH COLLECTION OF ARCHIVAL MATERIAL, NEW INSIGHT INTO THE PAINTING'S SUBJECT, EVOLUTION AND RECEPTION.

CENTER OF THE EXHIBITION FEATURES "THE RED STUDIO" WITH SIX PAINTINGS AND FOUR SCULPTURES DEPICTED IN IT.

1898 TO 1911, RANGE FROM FAMILIAR PAINTINGS, "YOUNG SAILOR TWO" FROM 1906, TO LESSER KNOWN "CORSICA," AND OTHERS RECENTLY REDISCOVERED.

AMONG REUNION, THREE WORKS FROM SMK, THE NATIONAL GALLERY OF DENMARK IN COPENHAGEN.

1907 TO 1907, AND "THE BATHERS" FROM 1910.

ALSO A NUMBER OF PAINTINGS AND DRAWINGS CLOSELY RELATED.

THIS PAINTED FROM 1916 TO 1917.

"LARGE RED INTERIOR" FROM 1948.

NARRATE THE COMPLEX PATH FROM STUDIO TO TRAVELS AND EVENTUAL HOME AT MOMA.

OVER 110 YEARS OLD, A LANDMARK IN THE CENTURY'S OLD TRADITION OF STUDIO PAINTINGS.

MAT MATISSE: THE RED STUDIO THROUGH SEPTEMBER 10th.

>>> TONIGHT WE'LL MEET PHOTOGRAPHER JOEL MEYEROWITZ, RENOWNED IN THE ART WORLD, GREW UP IN THE BRONX, DEGGRADUATED F OHIO STATE AND BEGAN TAKING PHOTOGRAPHS.

BEST KNOWN AS STREET PHOTOGRAPHER IN TRADITION OF BRESSON AND FRANK.

ALSO BEEN INSTRUMENTAL IN ADVANCING RECOGNITION OF COLOR PHOTOGRAPHY AS AN ART FORM.

IN THE WAKE OF 9/11, MEYEROWITZ WAS THE ONLY PHOTOGRAPHER TO BE GRANTED UNRESTRICTED ACCESS TO GROUND ZERO.

DRAMATIC IMAGES HE CAPTURED THERE HAVE BECOME THE FOUNDATION OF A MAJOR NATIONAL ARCHIVE.

AN EXHIBITION OF SELECTED PHOTOGRAPHS FROM THIS COLLECTION HAS BEEN SHOWN ALL OVER THE WORLD.

HIS WORK CAN BE FOUND IN MUSEUMS AND PUBLIC COLLECTIONS, MET, MOMA AND WHITNEY.

"NYC ARTS" SPOKE WITH MEYEROWITZ IN VISIT TO THE HOWARD GREENBERG GALLERY.

>> WHEN YOU FIRST PICK UP A CAMERA, IT'S NOT SO EASY TO GO OUT ON THE STREET AND TAKE PICTURES OF STRANGERS.

THERE'S ALWAYS A LITTLE BIT OF FEAR.

I DON'T BELONG HERE, THEY'RE NOT GOING TO LIKE IT IF I TAKE A PICTURE.

HOW CAN I BE IN THEIR INTIMATE SPACE.

SO IN A WAY IT'S LIKE DANCE, BALLETIC, YOU HAVE TO FIND PARTNERS THAT DON'T KNOW YOU'RE PHOTOGRAPHING THEM WHILE YOU MOVE IN AND OUT OF THEIR LIVES AND MAKE PHOTOGRAPHS FOR YOURSELF THAT USE THEIR FACE, ENERGY, POSTURE, FIGURE, DRESS, COLOR, WHATEVER IT IS THAT EXCITES YOU AT THE MOMENT.

MY FATHER WAS A REALLY STREET SMART GUY, BORN IN NEW YORK CITY, KIND OF TOUGH GUY ON THE STREETS.

WHEN I WAS A LITTLE KID, HE OFTEN SAID TO ME, WHEN I WOULD GO WITH HIM ANYWHERE, WOULD JUST GIVE ME A LITTLE NUDGE, SAY WATCH THAT OVER THERE.

OR TAKE A LOOK AT THAT.

AND EVERY TIME HE SAID LOOK AT THAT, SOMETHING HAPPENED.

AS IF HE COULD PREDICT THAT TWO PEOPLE WERE GOING TO EMBRACE.

YOU KNOW?

AND DANCE AROUND EACH OTHER, THROW UP THEIR ARMS.

HOW DID HE KNOW?

AND IN A WAY, I'M SURE THAT HE CREATED AN APPETITE IN ME FOR THE UNEXPECTED QUALITIES OF ORDINARY LIFE.

THAT PEOPLE WILL DO SPONTANEOUS, EXTRAORDINARY, UNEXPECTED THINGS SUDDENLY.

IF YOU ARE QUICK ENOUGH TO WATCH IT, YOU WOULD EXPERIENCE PLEASURE, VISUAL, HUMAN PLEASURE.

I'VE BEEN ASKED SO MANY TIMES -- HOW DO YOU KNOW WHEN TO TAKE A PHOTOGRAPH?

AND I REMEMBER WALKING THROUGH PARIS.

AND JUST WALKING DOWN THE STREET, SUDDENLY, YOU SMELL BAKING CROISSANT IN THE AIR.

BUTTER AND SUGAR, OH, YOU IMMEDIATELY WANT A CROISSANT OR COOKIE OR SOMETHING, RIGHT?

TAKE TWO STEPS AND IT'S GONE.

IN THE AIR ON THE STREET WAS THIS LITTLE ZONE FOR A MOMENT WHERE THE FRAGRANCE WAS SO RICH AND COMPELLING.

TO ME THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET AND SOMETHING HAPPENS.

AND YOU GET IT.

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

YOU GO RIGHT THROUGH IT.

SO WHEN SOMETHING MAKES ITSELF FELT TO ME, WHEN I GET AN IMPULSE, I RAISE THE CAMERA, I DON'T EVEN HESITATE.

HAS TO BE LIKE THAT.

THAT'S PHOTOGRAPHY.

IT'S ABOUT A FRACTION OF A SECOND.

SO I THINK IMPULSE, INTUITION, RECOGNITION, DESIRE, PASSION, APPETITE, NAME IT, YOU CAN CALL IT ANYTHING YOU WANT -- THOSE ARE THE THINGS THAT ARE IN PLAY PHOTOGRAPHICALLY BECAUSE PHOTOGRAPHY IS ABOUT TIME.

CAMERAS HAVE THEIR OWN CHARACTERISTICS.

A SMALL CAMERA THAT FITS IN YOUR HAND, YOU JUST MOVE IT AROUND, CARRY IT WITH YOU, PUT IT IN YOUR POCKET OR YOUR BAG, IT'S PART OF YOU.

BUT SOMETIMES THAT SMALL CAMERA DOESN'T REALLY DO THE JOB YOU WANT IT TO DO IF YOU'RE FINDING YOURSELF IN NATURE.

LET'S SAY NATURE IS SLOWER, THERE'S MORE TIME IN IT.

LIKE IF STREET PHOTOGRAPHY IS JAZZ, THE VIEW CAMERA IN NATURE IS LIKE THE JELLO, IT'S VERY SLOW, AND YOU STAND IN NATURE AND YOU CAN LOOK AROUND AND DRAW YOUR ENERGY FROM EVERYTHING OUT THERE.

AND SO A LARGE FORMAT CAMERA, LIKE 8 BY 10 INCH DIERDORF CAMERA, GIVES YOU A WHOLE OTHER EXPERIENCE.

IT'S SLOWER, YOU PUT IT DOWN, YOU PUT CLOTH OVER YOUR HEAD, AND YOU ENTER THIS WORLD ON A SCREEN UPSIDE DOWN.

AND IT HAS A WHOLE OTHER KIND OF MAGIC TO IT.

AND YOU CAN TRUST THAT IT WILL DESCRIBE EVERY SINGLE THING IN THE FRAME.

THERE WILL BE NO BLUR, THERE WILL BE NO MOVEMENT, IT WILL BE THE SPACE, LIGHT AND DEPTH.

YOU KNOW, THIS TIME.

THE QUESTION OFTEN COMES UP, HOW DOES ONE DEVELOP A BODY OF WORK, HOW DO YOU FIND YOURSELF INTO A NEW THEME OR A NEW SUBJECT.

SOMETIMES IT TAKES TIME, AND THEN THE ARTIST RECOGNIZES, OH, I'VE BEEN MAKING THAT PICTURE A FEW DIFFERENT TIMES NOW.

OBVIOUSLY SOMETHING INTERESTING THERE, MORE SO THAN I THOUGHT, AND THIS HAPPENED TO ME WITH THE WORK THAT'S CALLED "BETWEEN THE DOG AND THE WOLF."

IN FRENCH -- AND I DIDN'T KNOW THAT EXPRESSION.

MANY YEARS AGO, FRENCH FRIEND OF MINE, UPON SEEING A SEQUENCE OF THESE PICTURES MADE AT THE END OF THE DAY WHEN THE LIGHT IS FADING AND THINGS BECOME SLIGHTLY MORE INDETERMINATE, THESE IMAGES APPEARED IN MY WORK.

I SHOWED THEM TO MY FRIEND AND MY FRIEND SAID [ SPEAKING FRENCH ] WHAT'S THAT?

BETWEEN THE DOG AND THE WOLF.

DOG IS FAMILIAR, DOMESTIC ANNUAL, AND THE WOLF IS THE SAME SORT OF BUT UNKNOWN, UNEXPLAINED, SAVAGE.

SO WHEN THINGS GO FROM THE KNOWN TO THE UNKNOWN, THERE'S A SHIFT, AN EMOTIONAL SHIFT AS WELL AS TONAL SHIFT.

I THOUGHT DANIELLE, THAT'S BEAUTIFUL.

I LOVE THAT EXPRESSION.

BECAUSE I FIND MYSELF OFTEN AS A SWIMMER IN A POOL WHICH IS THE DOG, IT'S VERY SAFE.

BUT I ALSO WOULD SWIM IN THE OCEAN.

AND THE OPEN OCEAN, IT'S WILD.

AND I HAD BEEN MAKING PHOTOGRAPHS OF POOLS NEAR THE SEA.

AND I THOUGHT, WHAT AN INTERESTING WAY OF ADDRESSING THIS SUBJECT.

TO PUT THE POOLS AND THE OCEAN AND THE DUSK HOUR TOGETHER REALLY WAS A WAY OF CONCENTRATING ON IT.

BEYOND THAT, THERE ARE ALSO JUST PLACES ON LAND WHERE THE LIGHT IS FADING AND YOU SUDDENLY FEEL GOOSEBUMPS OR A LITTLE BIT OF A SHIVER OF UNCERTAINTY THAT ALERTS YOUR SENSES, AND YOU THINK -- I THINK AH, WHAT'S GOING ON HERE.

AND OUT OF THAT COMES THE POSSIBILITY FOR A NEW PHOTOGRAPH.

AT THIS MOMENT IN MY LIFE, I FIND MYSELF MAKING STILL LIVES.

I HAVE NO IDEA WHY I'M CHOOSING THESE OBJECTS, BUT THEY HAVE CHARACTER OR MYSTERY OR SOMETHING.

AND WHEN I PUT TWO OR THREE OR FOUR OF THEM TOGETHER, IT'S AS IF THERE'S A DIALOGUE BETWEEN THEM.

MAYBE I CAN BREATHE LIFE INTO THEM BY FINDING SOME ASSOCIATIVE QUALITIES IN THEM THAT DOESN'T LOOK LIKE CONVENTIONAL STILL LIFE PHOTOGRAPHY, BUT LOOKS LIKE I'M MAKING IT.

MAYBE I COULD FIND OUT MORE ABOUT MYSELF THROUGH THESE DUMB OBJECTS.

THIS IS A REALLY ENGAGING PHOTOGRAPHIC QUESTION FOR SOMEONE AT MY AGE RIGHT NOW.

WHEN I STARTED TO MAKE STILL LIVES, IT HAPPENED QUITE BY ACCIDENT BECAUSE I WAS DOING A BOOK COMMISSION IN FRANCE, AND I VIS VISITED CÉZANNE'S STUDIO.

I WAS AMAZED THE WALLS WERE PAINTED THIS PARTICULAR GRAY AND AFTER A WHILE THE THOUGHT ABOUT THIS GRAY, WHY GRAY WHEN HE WAS A PAINTER WHO HAD MADE COLOR PAINTINGS.

IT PROMPTED ME TO GO BACK TO THE STUDIO AND ASK THEM IF I COULD TAKE CÉZANNE'S OBJECTS DOWN AND PUT THEM ON HIS TABLE AND PHOTOGRAPH THEM.

AND REALLY I WASN'T TRYING TO MAKE ART, I HAVE TO BE CLEAR.

I WAS JUST TAKING THE OBJECTS AND PUTTING THEM ON THE TABLE AGAINST THE GRAY WALL.

I WANTED TO SEE WHAT THE RELATIONSHIP WAS BETWEEN THE OBJECT AND THE SPACE, THE COLOR SPACE OF THE GRAY WALL, AND WHAT DID IT DO FOR CÉZANNE, WHO PLAYED ONE OF THE MOST IMPORTANT TURNING POINT ROLES IN THE HISTORY OF MODERN ART.

AND ONCE I DID THAT, AND I AM LIVING IN ITALY NOW, IT OCCURRED TO ME, GIORGIO MIRANDI, HE'S NOT FAR AWAY, HE WAS ALSO VERY IMPORTANT TO ME AS ART HISTORY STUDENT AND PAINTER.

WENT TO HIS STUDIO, ABLE TO ASK THE CURATORS THERE IF I COULD TAKE HIS OBJECTS AND DO THE SAME THING.

COLOR WAS COMPLETELY DIFFERENT.

HE WAS WORKING IN WARM TONE, GOLDEN, TUSCAN, COLORFUL ITALIAN ENVIRONMENT.

AND CÉZANNE IN A VERY COOL, MORE RATIONAL, FRENCH ENVIRONMENT.

SO TO PIT THESE TWO AGAINST EACH OTHER AND LOOK AT THEIR OBJECTS, IN A WAY INTRODUCED ME TO THE FEELING THAT OH, EACH OBJECT DOES HAVE CHARACTER OR IDENTITY, PERSONA, SOMETHING.

YOU KNOW?

AND PERHAPS I WAS HAVING A DIALOGUE, AND PERHAPS I WITH THE MEN THROUGH THESE OBJECTS.

WORKING WITH THAT IN A BASIC WAY INTRODUCED ME TO RECONSIDERING HOW OBJECTS RELATE TO EACH OTHER IN SPACE.

WHERE IT GOES FROM THERE, I DON'T KNOW.

I'M GRATEFUL FOR THE ENERGY I HAVE RIGHT NOW, AND THE WILLINGNESS TO TAKE ON SOMETHING TOTALLY OUTSIDE OF MY EXPERIENCE AND SEE IF I CAN FIND MY VOICE IN THIS TIME OF MY LIFE WITH THESE OBJECTS IN THIS MEDIUM I LOVE SO MUCH AS I LOVE PHOTOGRAPHY.

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

CONNECT WITH NYC ARTS ON FACEBOOK, INSTAGRAM AND TWITTER.

>>> NEXT, WE'LL VISIT THE SOUTH STREET SEAPORT MUSEUM AND ITS BELOVED TUG BOAT, "WO DECKER."

BUILT IN 1930s AND REFURBISHED FOLLOWING, IT'S UNIQUE TESTAMENT TO NEW YORK CITY'S MARITIME HERITAGE, DIRECTLY LINKED TO GLOBAL PROMINENCE TODAY, AND LISTED ON THE NATIONAL REGISTER OF HISTORIC PLACES.

GET ON BOARD ON SATURDAYS AND SUNDAYS FOR CRUISE AROUND NEW YORK HARBOR HEADING FOR LADY LIBERTY.

>> THE SOUTH STREET SEAPORT MUSEUM IS 50-YEAR-OLD MUSEUM IN ORIGINAL PORT OF NEW YORK.

LOCATED IN BUILDINGS AND ADJACENT TO THE PIERS WITH A FLEET OF SHIPS REPRESENTATIVE OF THE ORIGINAL PORT.

I'M NOT ALLOWED TO HAVE FAVORITES.

IF I HAD A FAVORITE AND IF IT WERE "W.O.

DECKER," IT'S BECAUSE SO CUTE.

EVERYBODY FALLS IN LOVE WITH HER.

LAST SURVIVING NEW YORK BUILT WOODEN TUG FOR SHIFTING BARGES.

NOT OCEAN GOING OR THE KIND YOU SEE TODAY A LOT LARGER.

SHE'S SPENT WHOLE LIFE IN NEW YORK CITY, BORN AND BRED NEW YORKER.

AND BEEN PART OF THE FLEET FOR NUMBER OF YEARS.

BUT LAST DECADE NOT BEEN ABLE TO OPERATE BECAUSE IN NEED OF RESTORATION.

LAST YEAR WE WERE ABLE TO BRING "DECKER" FULLY BACK ONLINE.

SHE HAD A ROBUST RESTORATION AND CERTIFIED BY THE COAST GUARD.

SHE'S THE LAST OPPORTUNITY FOR TUG BOAT RIDE IN NEW YORK CITY.

IT'S NOT POSH, WET, SMEELLS LIK DIESEL BUT IT'S AUTHENTIC AND AS MUCH FUN AS YOU CAN HAVE ON NEW YORK HARBOR.

TO SEE THE HARBOR FROM DECK OF 1930 TUG BOAT IS PARTICULARLY MAGICAL.

TO GO PAST THE STATUE OF LIBERTY UNDER THE BROOKLYN BRIDGE IN TUG FROM EARLY 20th CENTURY IS SPECIAL EXPERIENCE.

"W.O.

DECKER" SAILS WITH CAPTAIN AND CREW, ALMOST ALWAYS VOLUNTEER SAILORS.

WE PRESERVE THE ARTIFACTS AND SKILLS BECAUSE ONLY ONE IS HALF THE JOB.

50 YEARS FROM NOW, SHE WILL BE HERE AND A GROUP OF PEOPLE WHO KNOW HOW TO OPERATE HER.

THAT MAKES THIS A REALLY SPECIAL PLACE.

♪ >>> NEXT WEEK ON "NYC ARTS," A TRIP TO THE MUSEUM IN QUEENS WITH ITS OWN TRANQUIL GARDEN, IT REFLECTS THE LEGACY OF RENOWNED SCULPTOR.

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

WANTED TO MAKE IT ACTIVE PART OF OUR EVERYDAY LIVES.

THAT'S WHY HE NEVER STOPPED MAKING FURNITURE.

HIS LAMP SERIES, PLAYGROUNDS AND EQUIPMENT.

SETS FOR THEATER AND DANCE.

COLLABORATIONS WITH PEOPLE LIKE MARTHA GRAHAM.

>>> A VISIT TO MOMA AND EXHIBITION "OURSELVES: PHOTOGRAPHS FROM WOMEN ARTISTS."

>> THIS INVITES THE VIEWERS TO CONSIDER THE WAYS IN WHICH WOMEN ARTISTS OFTEN OPERATED ON THE MARGINS OF DOMINANT CULTURES.

HAVE RETHOUGHT AND REIMAGINED ARTISTIC AND SOCIAL PRACTICES WITHIN THE MODERN AND CONTEMPORARY WORLDS.

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

>> ONE OF THE MOST HIGHLY RECOGNIZED SELF-TAUGHT ARTISTS IS PHILLIPS.

1817 TO 1820 OR SO, PORTRAITS ARE VERY DREAMY, BEAUTIFUL PALETTES OF SHIMMERING, MUTED COLORS.

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

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

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

>>> GOOD EVENING AND WELCOME TO "NYC ARTS" I'M PAULA ZAHN.

>> I'M AT LINCOLN CENTER.

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

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

>> WHERE ARE WE?

>> A MOMENT TO TAKE NOTHING FOR GRANTED.

>> PLEASURE TO BE CURATOR OF EXHIBITION OF HOPE, IN MIDST OF SOME OF THE GREATEST SCULPTURES.

>> CLASSICAL AND MODERN DANCE ARE SO DIFFERENT AND I HAVE SO MUCH MORE TO LEARN.

>> I LISTENED TO THE LYRICS AND THOUGHT THAT'S WHAT I WANT TO DO WITH MY LIFE.

>> MY PICTURES RESIDE IN INTIMATE, PRIVATE MOMENTS.

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

>> IN SOME RESPECTS ON SACRED GROUND.

>> WOMAN CAME TO SEE ME PERFORM, SAID HOW WOULD YOU LIKE TO PLAY BILLY HOLLIDAY?

>> ONE OF THE ESSENTIAL THINGS WE LEARNED IS MATISSE USED PENS TO COMPOSE HIS WORK.

♪ ♪ ♪ >>> 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