♪ >>> COMING UP ON "NYC-ARTS," A TRIP TO THE NAGUCHI MUSEUM IN QUEENS.

WITH ITS OWN TRANQUIL GARDEN IT REFLECTS THE LEGACY OF THE RENOWNED SCULPTURE.

>> 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.

>> A VISIT TO MOMA AND THE EXHIBITION "OURSELVES," PHOTOGRAPHS BY WOMEN ARTIST FROM HELEN CORNBLOOM.

>> IT INVITES YOU TO CONSIDER THE WAYS IN WHICH WOMEN ARTISTS OFTEN OPERATED ON THE MARGINS OF DOMINANT CULTURES, RETHOUGHT AND REIMAGINED ARTISTIC AND SOCIAL PRACTICES WITHIN THE MODERN AND CONTEMPORARY WORLDS.

♪ >>> AND A LOOK AT THE RED STUDIO AT THE MUSEUM OF MODERN ART.

IT SHOWS MATISSE'S STUDIO FILLED WITH HIS PAINTING, FURNITURE AND DECORATIVE OBJECTS.

IN THE UNIQUE EXHIBITION THE ARTWORKS SHOWN IN THE PAINTING ARE REUNITED FOR THE FIRST TIME SINCE THEY LEFT THE ARTIST'S STUDIO.

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

VALINO FOUNDATION.

JODIE AND JOHN ARNHOLT.

ELISE JAFFE AND JEFFREY BROWN.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER 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 13.

"NYC-ARTS" IS MADE POSSIBLE 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 IS 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.

NEW YORKERS AND VISITORS ALIKE HAVE DISCOVERED THAT THEIR PARKS HAVE BECOME GREAT PLACES FOR RESPITE AND RENEWAL.

AMIDST A GLOBAL PANDEMIC THAT HAS KEPT MANY FEELING RESTLESS AND ISOLATED, THESE BEAUTIFUL OUTDOOR SPACES FOSTER A SENSE OF COMMUNITY AND NORMALCY WHEN WE NEED IT THE MOST.

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

WITH ITS LUSH AND COLORFUL FOLIAGE FROM SEASON TO SEASON, IT IS A PLACE TO TAKE IN THE BEAUTY OF 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 BORDERS NORTH AND SOUTH ARE FROM CENTRAL PARK NORTH AT 110th STREET DOWN TO CENTRAL PARK SOUTH AT 59th STREET.

IT STRETCHES BETWEEN THE UPPER EAST AND WEST SIDES OF MANHATTAN, FROM CENTRAL PARK WEST TO 5th AVENUE.

THE PARK HAS LONG BEEN DECLARED A NATIONAL HISTORIC LANDMARK, AND IN ADDITION IT IS ALSO THE MOST FILMED LOCATION IN THE WORD.

THE CENTRAL PARK CONSERVANCY OVERSEES RENOVATION AND CARE OF THE LANDSCAPE AND ITS WATERWAYS.

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.

CONSERVANCY-LED TOURS ALSO EXPLORE THE HISTORY OF SENECA VILLAGE, A COMMUNITY OF AFRICAN AMERICAN FAMILIES WHO LIVED IN THE UPPER WEST SIDE OF THE PARK FROM 1825 TO 1857.

THE VILLAGE PROVIDED ITS RESIDENTS AN ESCAPE FROM UNHEALTHY CONDITIONS AND THE PERVASIVE RACISM IN DOWNTOWN MANHATTAN.

WHEN THE CITY ACQUIRED THE LAND FOR CENTRAL PARK THROUGH THE PROCESS OF EMINENT DOMAIN THE RESIDENTS WERE DISPLACED AND FORGOTTEN.

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

NOW ON VIEW AT THE NEW MUSEUM IS ART AND RACE MATTERS, THE CAREER OF ROBERT COLSKOTT.

THE EXHIBITION HIGHLIGHTS THE 60-YEAR CAREER OF THIS ARTIST WHOSE BOLD PAINTINGS OFFER A SATIRICAL VIEW ON THE ISSUES OF RACE, BEAUTY AND 20th CENTURY AMERICAN CULTURE.

HE PASSED AWAY AT THE AGE OF 83 AND HE WAS ATTUNE TO THE SOMETIMES BITTER REFLECTIONS OF HIS OWN LIFE AS AN AFRICAN AMERICAN.

RAISED AND EDUCATED IN CALIFORNIA, HIS TOUR OF DUTY IN THE U.S. ARMY THROUGH THE END OF WORLD WAR II PROVIDED AN INTRODUCTION TO PARIS, THEN CONSIDERED THE CENTER OF THE ART WORLD.

NOT LONG AFTER HE HAD THE OPPORTUNITY TO RETURN TO STUDY WITH PAINTER FERNAND LEGET.

OFF AHEAD OF HIS TIME, COLSKOTT ANTICIPATED URGENT CONTEMPORARY DISCUSSIONS AROUND THE POWER OF IMAGES AND SHIFTING POLITICAL AND SOCIAL VALUES.

AT THE SAME TIME HE ASSERTED THE VALIDITY OF PAINTING ITSELF AS A MEDIUM FOR EXPLORING THESE QUESTIONS.

COLSKOTT IS PERHAPS BEST KNOWN FOR WORKS HE MADE DURING THE 1970s.

IN THESE PAINTINGS HE REIMAGINED ICONIC ARTWORKS TO EXAMINE THE ABSENCE OF BLACK MEN AND WOMEN AS PROTAGONISTS IN THE SOCIAL NARRATIVES OF THE TIME.

THEY OFFER IRREVERENT PARODIES OF FAMILIAR MASTERPIECES WHILE CRITIQUING THIS COUNTRY'S BRUTAL DISCRIMINATION, PAST AND PRESENT.

ONE SUCH EXAMPLE IS GEORGE WASHINGTON CROSSING THE DELAWARE, PAGE FROM AN AMERICAN HISTORY TEXTBOOK FROM 1975.

THE ARTIST'S USE OF RACIAL STEREOTYPES TO QUESTION HIERARCHIES OF POWER WAS ECHOED IN THE WORK OF YOUNGER ARTISTS IN THE 1990s SUCH AS CAREY JAMES MARSHALL AND KARA WALKER.

WITH HIS PROVOCATIVE APPROACH TO HUMOR, COLSCOTT'S PAINTING DEMONSTRATE THE INTERPLAY OF HIGH ART AND THE VERNACULAR.

IN THAT SENSE HE WAS A PIONEER IN ADDRESSING SOME OF THE MOST CHALLENGING ISSUES OF GLOBAL CULTURE TODAY.

THE EXHIBITION IS ON VIEW THROUGH OCTOBER 9th.

>>> NOW A TRIP TO THE NAGUCHI MUSEUM IN QUEENS WITH ITS OWN TRANQUIL GARDEN.

FOUND IT IN 1985 BY WORLD-RENOWNED SKCULPTURE NAGUCI THE MUSEUM IS A CULMINATION OF HIS LEGACY.

ALTHOUGH HE WAS BORN IN LOS ANGELES, HE SPENT MOST OF HIS CHILDHOOD IN JAPAN, ONLY RETURNING TO THE UNITED STATES FOR HIGH SCHOOL AND COLLEGE.

HE BEGAN SCULPTING AT AGE 18, AND EARLY ON IN HIS CAREER TURNED TO ABSTRACTION.

NAGUCHI'S RELATIONSHIP WITH ORGANIC FORMS AND MATERIALS SPARKED A LIFELONG LOVE OF NATURE AND PUBLIC SPACES.

BEYOND HIS STONE WORE HE IS NEW YORK FOR HIS LIGHT SCULPTURES AS WELL AS HIS SET DESIGNS FOR THE INNOVATIVE CHOREOGRAPHER MARTHA GRAHAM.

THE MUSEUM FEATURES HIS CLASSIC MONOLITHIC SCULPTURES ALONG WITHDR WITH DRAWINGS, PHOTOGRAPHS FROM HIS FRUITFUL SEVEN-DECADE CAREER.

♪ >>> NAGUCHI WAS BORN IN 1904 IN LOS ANGELES, CALIFORNIA.

HIS MOTHER WAS AN IRISH WOMAN FROM NEW YORK.

SHE WAS BORN IN BROOKLYN.

HIS FATHER WAS A TRAVELING POET FROM JAPAN.

NAGUCHI WASN'T EVEN NAMED UNTIL HE WAS ALMOST THREE YEARS OLD.

HIS MOTHER JUST CALLED HIM BOY OR YO.

HIS IDENTITY WAS COMPLICATED FROM THE VERY FIRST MOMENT OF HIS BIRTH.

HE WAS BIRACIAL, CHOSE TO BE MULTI-CULTURAL HIS WHOLE LIFE BUT AT A TIME WHEN IT WAS MUCH HARDER.

HE ENROLLED AT COLUMBIA IN PREMED.

HIS MOTHER FELT HE WAS DESTINED FOR BIGGER THINGS THAN BEING A DOCTOR, AND BY THAT SHE MEANT BEING AN ARTIST.

HE WAS A SPECTACULAR ACADEMIC SCULPTURE AT 19, 20, AND THEN VERY QUICKLY REALIZED THAT HE WAS BECOMING THE POSTER BOY OF A PASSE ART FORM.

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 ZAKARI LAMP SERIES.

HE MADE PLAYGROUNDS, HE MADE PLAYGROUND EQUIPMENT.

HE MADE SET FOR HIS THEATER AND DANCE.

HE HAD LONG COLLABORATIONS WITH PEOPLE LIKE MARTHA GRAHAM.

THE MUSEUM WAS FOUNDED IN 1985.

NAGUCHI HAD BEEN HERE ALMOST TEN YEARS.

HE BOUGHT A DERELICT FACTORY BUILDING, WHICH IS THE RED BRICK BUILDING BEHIND ME, AND STARTED USING IT FOR STORAGE AND STAGING.

SCULPTURE IS ALL ABOUT PHYSICAL INCONVENIENCE.

EVERYTHING IS BIG AND HEAVY AND TAKES UP SPACE AND REQUIRES EQUIPMENT TO DEAL WITH.

SO SCULPTORS ALL NEED MORE ROOM.

HE DECIDED THAT IN ORDER TO ENCAPSULATE HIS PERSPECTIVE OR HIS POINT OF VIEW, HIS WAY OF THINKING OF THINGS, THAT THE BEST THING TO DO WAS TO BUILD AN INSTITUTION.

AND SO HE BEGAN TO TURN HIS PRIVATE GARDEN AND SPACE INTO A DISPLAY SPACE.

WHEN THE MUSEUM OPENED IT WAS SEASONAL.

NAGUCHI WOULD BE HERE HIMSELF.

YOU COULD RING THE BELL AND HE WOULD COME DOWN AND WALK YOU THROUGH.

ONE OF THE THINGS THAT YOU WILL NOTICE WHEN YOU COME TO OUR MUSEUM PROBABLY RIGHT AWAY IS THAT WE DON'T HAVE WALL LABELS.

WE DO THAT NOT BECAUSE NAGUCHI HATED WALL LABELS.

WHEN THE MUSEUM FIRST OPENED THERE WERE LABELS IDENTIFYING ALL OF THE SCULPTURES SOMEWHERE NEAR THEM IN A TRADITIONAL MUSEUM FASHION.

GRADUALLY HE JUST REMOVED THEM, AND IT IS BECAUSE HE WANTED YOUR EXPERIENCE OF THE WORK TO BE PRIMARY.

THE FASTEST WAY TO KILL AN ARTWORK IS TO PRETEND THAT YOU HAVE SOLVED IT.

THE MUSEUM IS REALLY ABOUT A DIRECT AND INTIMATE RELATIONSHIP WITH THESE OBJECTS AND THESE THINGS, AND, MORE IMPORTANT, THE LARGER SENSE OF AN ENVIRONMENT THAT THEY CREATE, THEY REALLY PRODUCE AN ATMOSPHERE.

AND WE'RE STANDING IN THIS GARDEN, WHICH ISN'T EVEN TWO-THIRDS OF AN ACRE.

IT IS TEENY, TINY.

IT IS A POSTAGE STAMP.

HE CALLED THE MUSEUM AN OASIS ON THE EDGE OF A BLACK HOLE.

THE BLACK HOLE IS NEW YORK CITY AND THE URBAN MAELSTROM.

YOU COME HERE AND SOAK IT IN THROUGH OSMOSIS.

IT IS LIKE VISITING A FOREST, NOT LIKE GOING TO THE MUSEUM.

MAYBE NAGUCHI'S MOST SUCCESSFUL SCULPTURE OVERALL ARE HIS LANTERNS.

HE CALLED THEM LANTERNS RATHER THAN LAMPS BECAUSE HE SAID HE WANTED THEM TO BE AS MOVABLE AND BUTTERFLIES.

THEY ARE SPECIFICALLY MADE WITH A PARTICULAR KIND OF CONTINUOUS BAMBOO RIBBING AND WASHI PAPER MADE WITH INTERIOR BARK OF A MULL BERRY TREE, AND IT PRODUCES A PAPER THAT IS MORE DURABLE, MORE FLEXIBLE AND MORE RESILIENT THAN CLASSIC LAID COTTON PAPER.

MADE OUT OF JAPANESE BASALT.

IT IS A SINGLE CRYSTAL OF BASALT.

AND HE WORKED WITH HARDER AND HARDER STONES BECAUSE HE WANTED THE MATERIAL TO RESIST HIM.

WHAT HE REALLY LIKES WERE STONES THAT HAD ALREADY BEEN MARKED BY SOME PROCESS, THAT HE WOULD THEN INCORPORATE INTO THE WORK.

YOU CAN SEE THE LINES OF DRILL HOLES.

THOSE DRILL HOLES WERE MADE MANUALLY WITH HAND DRILLS, AND THEN THEY WILL PUSH TWO BAMBOO WEDGES INTO THE HOLE AND FILL THE HOLE WITH WATER.

THE BAMBOO WEDGES EXPAND ENOUGH TO CRACK THE STONE.

NAGUCHI LOVED THAT, AND HE LOVED THE PRODUCT OF THIS BREAKING PROCESS.

SO HE WOULD TAKE THESE STONE COLUMNS AND SET THEM UPRIGHT.

SLICE THE BOTTOM OFF SO IT WOULD STAND UP AND MAKE HIS FEW ADJUSTMENTS TO TURN THEM INTO SCULPTURE AND AIR QUOTES.

THE WELL THAT'S RIGHT BEHIND ME, THIS WONDERFUL VARIATION ON A SUKBAY THAT IS A CIRCULATING FOUNTAIN, THE WATER JUST CASCADES OUT OVER THE STONE.

THAT'S ANOTHER ONE OF THE BASALT COLUMNS LOPPED OFF WITH A CORING DRILL MAKING A HOLE IN IT.

SOME OF THESE SCULPTURES ARE ERODING BUT THE TREES ARE GROWING.

THEIR RELATIONSHIP TO EACH OTHER IS CHANGING CONSTANTLY OVER TIME.

HE PLANTED ALL OF THE TREES, SO THE MAGNIFICENT TREE THAT PROVIDES THE CANOPY THAT DOMINATES THE GARDEN REALLY WAS A SPRIG.

IT WAS A QUARTER-INCH SAPLING AND NOW YOU SEE WHAT IT HAS BECOME.

THAT'S WHY THE HEART AND SOUL OF THE NAGUCHI MUSEUM IS THIS GARDEN.

♪ >>> FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA, PLEASE SIGN UP FOR OUR FREE WEEKLY E-MAIL @NYC-ARTS/E-MAIL.

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

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

♪ >>> NEXT, WE'LL VISIT THE MUSEUM OF MODERN ART.

CURRENTLY ON VIEW IS "OURSELVES," PHOTOGRAPHS OF WOMEN ARTISTS FROM HELEN CORNBLOOM.

THE EXHIBITION OF 90 WORKS SPANS MORE THAN 100 YEARS OF PHOTOGRAPHY AND EXPLORES THE WAY WOMEN ARTISTS HAVE USED THE MEDIUM AS A TOOL OF RESISTANCE.

"OURSELVES" FEATURES WOMEN'S CONTRIBUTIONS TO A DIVERSITY OF PRACTICES, INCLUDING PORTRAITURE, PHOTO JOURNALISM, SOCIAL DOCUMENTARY, ADVERTISING AND PERFORMANCE.

ROXANNA MARCOCCI, SENIOR CURATOR IN THE DEPARTMENT OF PHOTOGRAPHY, IS OUR GUIDE.

♪ >>> THIS EXHIBITION IS VERY MUCH CONCEIVED IN THE PRESENT TENSE.

IT IS FOR NOW.

IT IS FOR OURSELVES.

IN FACT, IT IS DONE AT A TIME WHEN IT IS EVER MORE IMPORTANT TO AFFIRM THEITY VERSCREATIVITY DIVERSITY OF VOICES IN WHICH WOMEN ARTISTS OPERATE ON THE MARGINS OF DOMINANT CULTURES RETHOUGHT AND REIMAGINED ARTISTIC AND SOCIAL PRACTICES WITHIN THE MODERN AND CONTEMPORARY WORLDS.

THE HISTORIES OF FAMILIES AND PHOTOGRAPHY HAVE BEEN INTERTWINED.

THEY ARE BOTH HAPPENING IN THE MODERN PERIOD AND THEY ARE BOTH HAPPENING AT A TIME WHEN WOMEN REALLY WANT TO TAKE CHARGE OF THEIR OWN AGENCY USING A MEDIUM THAT HAS ALWAYS BEEN THOUGHT TO BE MORE DEMOCRATIC THAN OTHERS.

ONE OF THE STRENGTHS OF THIS EXHIBITION IS ALSO THE FACT THAT IT COVERS ALL ASPECTS OF THE PHOTOGRAPHIC MEDIUM.

THESE ARTISTS WERE INTERESTED IN WORKING ACROSS A DIVERSITY OF GENRES INCLUDING PORTRAITURE, PHOTO JOURNALISM, CONCEPTUAL PRACTICES, PERFORMANCES FOR THE CAMERA.

IN ORGANIZING THIS EXHIBITION, ONE OF THE MAIN IDEAS FOR ME WAS WHAT IS A FEMINIST PICTURE.

"OURSELVES," THE EXHIBITION TAKES VIEWERS INTO A JOURNEY THROUGH STORIES, THROUGH DIALOGUES BETWEEN WOMEN ARTISTS, STORIES THAT IN FACT INVITE VIEWERS TO RECONSIDER GENDER AND POWER RELATIONS.

ONE OF THE FIRST DECISIONS IN INSTALLING THIS EXHIBITION WAS ACTUALLY TO WRAP THIS FRONT, THIS WALL INTO SILVER METALLIC PAPER, PLAYING WITH THE IDEA OF REFLECTIVITY INHERENT ALREADY IN THE SHOW'S TITLE, "OURSELVES."

SO THE VIEWERS WHEN THEY ARE LOOKING AT THESE IMAGES, THEY ALSO SEE THEMSELVES LOOKING AT THEM.

THE WORK OF CAREY HAS ALWAYS BEEN ENGAGED, WHETHER IN PHOTOGRAPHS, PERFORMANCES, VERSES, WITH THE NOTION OF AFRICAN DIASPORIC WOMEN.

THIS WORK BELONGS TO HER LANDMARK SERIES, "THE KITCHEN TABLE" SERIES IN WHICH SHE USES HERSELF AS A PROTAGONIST AND THE SETTING IS THAT OF HER KITCHEN TABLE.

I LOVE THIS WORK BECAUSE YOU CAN SEE THE SYNCHRONIZED PERFORMANCE BETWEEN HERSELF AND THIS YOUNG GIRL, BOTH OF THEM REFLECTING AGAIN THE NOTION OF REFLECTIVITY, REFLECTING THEMSELVES INTO THIS MIRROR WHILE APPLYING MAKEUP, WHICH KIND OF POINTS TO THE NOTION THAT GENDER IS ALSO A CONSTRUCTION.

NEXT TO IT IS THE WORK OF THE NATIVE AMERICAN ARTIST, KARA ROMERO.

SHE IS A MEMBER OF THE JIMAKWETTI TRIBE.

THE WORK IS PART OF AN ONGOING SERIES CALLED "FIRST AMERICAN GIRL" WHICH ALLUDES TO A POPULAR BRAND OF DOLLS.

YOU SEE HER FRIEND, THE LEDGER ARTIST AND DANCER, DRESSED IN FULL REGALIA WITH VARIOUS ACCESSORIES SUCH AS INCENSE FOR THIS POWWOW DANCE EVENT.

IT IS AN IMAGE THAT POINTS TO THE VITALITY OF BOTH CRAFTS AND HANDICRAFTS AND ALSO TO THE CREATIVE POWER OF INDIGENOUS WOMEN.

♪ >>> RIGHT NEXT TO IT IS THE WORK OF KATHERINE OPI.

THE PORTRAIT IS TITLED "ANGELA SHARE" BUT, IN FACT, IT PORTRAYS THE TRANSFER FORMER AND ALSO FILMMAKER HANS SHARE JUST BEFORE COMPLETING HIS GENDER TRANSITION.

IT IS A VERY SELF-ASSURED PORTRAIT WHERE HANS CHER IS DIRECTLY LOOKING AT THE CAMERA.

IT IS PART OF A SERIES THAT KATHERINE OPI DID IN THE EARLY '90s OF THE LGBTQ PLUS COMMUNITY.

IT IS DONE JUST AT THE TIME OF THE CULTURE WARS WHEN THE AIDS PANDEMIC WAS GOING RAMPANT AMONG THIS COMMUNITY AND BEYOND.

VISITORS TO THIS EXHIBITION WILL BE ENRICHED BY THE MANY PERSPECTIVES THAT THEY WILL FIND, THEY WILL ENCOUNTER IN THE WORK OF WOMEN ARTISTS.

AND EVEN THOUGH NOT ALL OF THEM THOUGHT OF THEMSELVES AS A FEMINIST ARTIST, THE CUMULATIVE EXPERIENCE OF THEIR CREATIVE PRACTICES HAS CERTAINLY BROUGHT TO A CERTAIN FEMINIST TYPE THAT HAS MANY DIFFERENT RHYTHMS, MANY DIFFERENT WAVES AND INTENSITIES, WHICH I WOULD SAY TODAY HAS AMOUNTED TO THE STRENGTH OF A TSUNAMI.

♪ >>> AN AFTERNOON SPENT IN A MUSEUM OR GALLERY IS FOR SLOWING DOWN AND STOPPING TO SMELL THE ROSES.

CURRENTLY ON VIEW AT THE MUSEUM OF MODERN ART IS MATISSE, THE RED STUDIO, AN EXHIBITION FOCUSING ON THE ORIGIN AND HIS TORE OF ANDRE MATISSE'S "THE RED STUDIO" FROM 1911.

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

ACQUIRED IN 1949, THE CLARG CANVAS REVEALS THE ARTIST'S WORK ENVIRONMENT ON THE OUTSKIRTS OF PARIS.

IT SHOWS HIS STUDIO FILLED WITH HIS PAINTINGS, SCULPTURES, FURNITURE AND DECORATIVE OBJECTS.

IN THIS UNIQUE EXHIBITION THE ARTWORK SHOWN IN THE PAINTING ARE REUNITED FOR THE FIRST TIME SINCE THEY LEFT THE ARTIST'S STUDIO.

ALSO ON VIEW IS A RICH COLLECTION OF ARCHIVAL MATERIAL SUCH AS LETTERS AND PHOTOGRAPHS WHICH PRESENT NEW INSIGHT INTO THE PAINTING EVOLUTION AND RECEPTION.

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

CREATED BETWEEN 1898 AND 1911, THESE OBJECTS RANGE FROM FAMILIAR PAINTINGS SUCH AS "YOUNG SAILOR 2" TO OBJECTS WHOSE LOCATIONS HAVE ONLY RECENTLY BEEN DISCOVERED.

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

LURE LUX, NUDE WITH WHITE SCARF AND THE BATHERS FROM 1910.

THE EXHIBITION ALSO INCLUDES A NUMBER OF PAINTINGS AND DRAWINGS CLOSELY RELATED TO THE RED STUDIO SUCH AS STUDIO MICHELLE PAINTED FROM 1916 TO 1917, AND LARGE, RED INTERIOR FROM 1948.

THEY HELP TO NARRATE THE PAINTING'S COMPLEX PATH FROM MATISSE'S STUDIO TO ITS INTERNATIONAL TRAVELS AND EVENTUAL HOME AT MOMA.

NOW OVER 110 YEARS OLD, IT REMAINS A LANDMARK WITHIN THE CENTURIES-OLD TRADITION OF STUDIO PAINTINGS.

"MATISSE, THE RED STUDIO" IS ON VIEW THROUGH SEPTEMBER 10th.

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

THANK YOU SO MUCH FOR WATCHING AND I HOPE YOU WILL JOIN US NEXT TIME.

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

♪ >>> 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 ARE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

>> 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.

♪ ♪ ♪ ♪ >>> FUPDING FOR "NYC-ARTS" IS MADE POSSIBLE BY THE AMBROSE MONEL FOUNDATION.

JODIE AND JOHN ARNHOLT.

THE LOUIS SUNNY FUND FOR DANCE.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY FOUNDATION.

THE NANCY SIDEWATER FOUNDATION.

ELROY AND TERRY CRUMBHOLS FOUNDATION.

ELROY AND JAMES SFRMT MARCUS.

THIS IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CULTURAL AFFAIRS.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

"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.