>>> COMING UP ON NYC ARTS, A VISIT TO MOMA AND THE EXHIBITION, OURSELVES.

PHOTOGRAPHS BY WOMEN ARTISTS FROM HELEN KORNBLUM.

>> THIS EXHIBITION INVITES VIEWERS TO CONSIDER THE WAY WOMEN ARTISTS OFTEN OPERATE ON THE MARGINS OF CULTURES HAVE RETHOUGHT AND REIMAGINED ARTISTIC AND SOCIAL PRACTICES WITHIN THE MODERN AND CONTEMPORARY WORLDS.

>> A VISIT WITH FAITH RINGGOLD.

ARTIST, AUTHOR, EDUCATOR, AND ORGANIZER.

ONE OF THE KEY FIGURES IN THE ART WORLD TODAY.

>> THESE ARE PEOPLE WHO I ASSOCIATE WITH MY LIFE GROWING UP IN HARLEM.

THE MUSICIANS, THE ARTISTS, THE POLITICIANS.

ALL OF THESE TRULY GREAT PEOPLE.

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

>> THE CENTER OF THE QUILT IS EMBLAZONED WITH A LARGE LETTER "L." ALSO INCLUDED IS A MAKAL STAFF AND NOTE.

WHEN CLARA AND HER FAMILIAR MADE THE JOURNEY BY COVERED WAGON.

>>> 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.

WELCOME TO NYC ARTS.

I'M PAULA ZAHN ON LOCATION AT POSTER HOUSE ON WEST 23rd STREET IN THE HEART OF CHELSEA.

POSTER HOUSE IS THE FIRST AND ONLY MUSEUM IN THE UNITED STATES DEDICATED EXCLUSIVELY TO THIS MULTIFACETED MEDIUM.

THE MUSEUM EXPLORES MOMENTS IN HISTORY SHOWING WHAT WE CAN LEARN FROM THE DESIGN, ARTISTRY, IGT PR AND CONTEXT OF GRAPHIC ART OF THE TIME.

IT'S A WELCOMING SPACE FOR ALL THOSE WHO ARE INTERESTED IN DESIGN, ADVERTISING, AND YES, EVEN REVOLUTIONARY MOVEMENTS OF ALL KINDS.

POSTER HOUSE ALSO HAS AN EDUCATION DEPARTMENT THAT WORKS PRIMARILY WITH COLLEGE AND GRAD WALT PROGRAMS AND ALSO ENGAGES WITH THE MUSEUM'S PERMANENT COLLECTION OF MORE THAN 10,000 PIECES.

CURRENTLY ON VIEW IS THE EXHIBITION ETHEL REED.

I AM MY OWN PROPERTY.

BORN INTO POVERTY IN THE SUBURB OF BOSTON IN 1874, ETHEL REED SHOT TO FAME IN 1895, AT THE AGE OF JUST 20, AS A FRESH TALENT IN THE POSTER WORLD.

SHE BECAME THE DARLING OF THE INTERNATIONAL PRESS IN A MATTER OF MONTHS, AND THEN DISAPPEARED FROM PUBLIC LIFE BY 1898.

UNTIL RECENTLY, SCHOLARS ONLY KNEW HER AS THE BEST OF A VERY SMALL NUMBER OF WOMEN POSTER DESIGNERS AT THE TURN OF THE CENTURY, CREATING LIGHT-HEARTED, DECORATIVE ADVERTISEMENTS FOR LITERARY PUBLICATIONS.

THESE WERE MOSTLY BASED IN BOSTON, AND FAVORED HER STYLE WITH ITS FLUID LINES AND DELICATE MOTIFS.

THROUGHOUT HER CAREER REED MAINTAINED THAT SHE WAS LARGELY SELF-TAUGHT AND RELIED ON HER OWN INTUITION WHEN APPROACHING A COMPOSITION.

HOWEVER, HER METHODOLOGY WAS ANYTHING BUT SERIOUS AS SHE NOTORIOUSLY SPENT JUST A FEW MOMENTS ON ANY PIECE, CREATING THEM WITH A BURST OF ENERGY.

BOTH NEWS ARTICLES AT THE TIME AND HER PERSONAL CORRESPONDENCE REVEAL A STRONG AUTO BUY GRAPHICAL DARK THREAD RUNNING THROUGH HER ILLUSTRATIONS.

FOR MANY YEARS, SHE WAS UNMOORED AND FINANCIALLY INSECURE, WANDERING AROUND EUROPE, WHERE HER STRUGGLES WITH ADDICTION INCREASED.

SHE REJETS HELP FROM HER FORMER SUITORS AND SHOWED A FIERCE INDEPENDENCE AND DESIRE TO CHART HER OWN COURSE.

AS SHE SAID, I OWE NO MAN ANYTHING.

NEITHER FIDELITY NOR EXPLANATIONS.

I AM MY OWN PROPERTY.

TRAGICALLY, SHE PASSED AWAY IN 1912 JUST SHY OF HER 38th BIRTHDAY.

THE EXHIBITION WILL BE ON VIEW THROUGH AUGUST 21st.

ON OUR PROGRAM TONIGHT, WE'LL VISIT THE MUSEUM OF MODERN ART.

CURRENTLY ON VIEW IS OURSELVES.

PHOTOGRAPHS BY WOMEN ARTISTS FROM HELEN KORNBLUM.

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, PHOTOJOURNALIST, SOCIAL DOCUMENTARY, AVANT-GARDE EXPERIMENTATION, ADVERTISING AND PERFORMANCE.

ROXANA MARCOCI, SENIOR CURATOR IN THE DEPARTMENT OF PHOTOGRAPHY, IS OUR GUIDE.

>> THIS EXHIBITION IS VERY MUCH CONCEIVED IN THE PRESENCE TENSE.

IT IS FOR NOW.

IT IS FOR OURSELVES.

AND IN FACT, IT IS DONE AT A TIME WHEN IT IS EVER MORE IMPORTANT TO AFFIRM EQUITY AND DIVERSITY OF VOICES.

SO IT INVITES VIEWERS TO ACTUALLY CONSIDER THE WAYS IN WHICH WOMEN ARTISTS, OFTEN OPERATING ON THE MARGINS OF DOMINANT CULTURES, HAVE RETHOUGHT AND REIMAGINED ARTISTIC AND SOCIAL PRACTICES WITHIN THE MODERN AND CONTEMPORARY WORLDS.

THE HISTORIES OF FEMINISM AND PHOTOGRAPHY HAVE BEEN APPLIED.

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, CONCEPT YOU'LL PRACTICES, PERFORMANCES FOR THE CAMERA.

IN ORGANIZING THIS EXHIBITION, ONE OF THE MAIN IDEAS FORMING WAS, WHAT IS A FEMINIST PICTURE?

OURSELVES, THE EXHIBITION TAKES VIEWERS INTO A JOURNEY THROUGH STORIES, THROUGH DIALOGUE, BETWEEN WOMEN ARTISTS.

STORIES THAT IN FACT INVITE VIEWERS TO CONSIDER GENDER AND POWER RELATIONS.

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

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

THE WORK OF CARRIE MAE WEEMS HAS ALWAYS BEEN ENGAGED, WHETHER IN PHOTOGRAPHS, PERFORMANCES, VERSUS, WITH THE NOTION OF AFRICAN DIASPORIC WOMEN.

AND 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 THIS SYNCHRONIZED PERFORMANCE BETWEEN HERSELF AND THIS YOUNG GIRL.

BOTH OF THEM REFLECTING AGAIN, THE NOTION OF REFLECTIVITY.

REFLECTING THEMSELVES INTO THIS MIRROR WHILE APPLYING MAKE-UP.

IT KIND OF POINTS TO THE NOTION THAT GENDER IS ALSO CONSTRUCTION.

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

A MEMBER OF AN INDIAN TRIBE.

THE WORK HERE IS CALLED WAKEA AND IT IS PART OF AN ONGOING SERIES CALLED FIRST AMERICAN GIRL, WHICH ALLUDES TO A POPULAR BRAND OF DOLLS.

AND YOU SEE THE LEDGER ARTIST AND DANCER, WAKEAH JANE, DRESSED IN FULL REGALIA AND VARIOUS ACCESSORIES, SUCH AS ITEMS FOR THE 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.

AND RIGHT NEXT TO IT IS THE WORK OF CATHERINE OPIE.

THE PORTRAIT IS TIMED, ANGELA SCHEIRL.

IN FACT IT PORTRAYS THE TRANS PERFORMER AND ALSO THE FILMMAKER HANS, JUST BEFORE COMPLETING HIS GENDER TRANSITION.

IT IS A VERY SELF-ASSURED PORTRAIT, WHERE HANDLES IS DIRECTLY LOOKING AT THE CAMERA.

IT'S PART OF A SERIES THAT CATHERINE OPIE DID IN THE EARLY 90s OF THE LGBTQ 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 SIDE THAT HAS HAD MANY DIFFERENT RHYTHMS, MANY DIFFERENT WAVES AND INTENSITIES, WHICH I WOULD SAY TODAY HAS MOUNTED TO THE STRENGTH OF A TSUNAMI.

♪♪ >> CURRENTLY ON VIEW AT THE NEW MUSEUM IS A MAJOR RETROSPECTIVE OF THE WORK OF FAITH RINGGOLD.

BORN IN 1930, HER ROLE AS ARTIST, AUTHOR, EDUCATOR AND ORGANIZER HAS MADE HER A KEY FIGURE IN THE ART WORLD.

HER WORK LINKS THE ACHIEVEMENTS OF THE HARLEM RENAISSANCE TO THE POLITICAL ART OF YOUNG BLACK ARTISTS WORKING TODAY.

FAITH RINGGOLD, AMERICAN PEOPLE, BRINGS TOGETHER MORE THAN 50 YEARS OF WORK.

IN THE 1960s SHE CREATED SOME OF THE MOST INDELIBLE ART OF THE CIVIL RIGHTS ERA.

USING WHAT SHE CALLED A SUPER REALIST VISUAL LANGUAGE, SHE CAPTURED BOTH THE RACIAL AND GENDER DIVISIONS IN AMERICAN SOCIETY OF THE TIME.

IN THE DECADES THAT FOLLOWED, RINGGOLD CHALLENGED THE ACCEPTED HIERARCHIES OF CRAFT AND ART.

THE WORKS ON VIEW CONVEY THE ARTIST'S EMBRACE OF NONWESTERN AND AMERICAN CRAFT TRADITIONS.

INCLUDING HER PERFORMANCE OBJECTS AND SOFT SCULPTURES.

HER SERIES OF EARLY LARGE-SCALE MURALS AND HER LATER CELEBRATED STORY QUILTS LOOK LIKE HER PERCEPTION OF THE CHANGE TAKING PLACE IN AMERICAN LIFE.

THE EXHIBITION IS ON VIEW AT THE NEW MUSEUM THROUGH JUNE 5th.

NOW LET'S LOOK BACK TO A VISIT OF RINGGOLD'S STUDIO IN HARLEM.

AT THE TIME SHE WAS REFLECTING ON HER WORK IN MOSAIC TIME THAT WAS COMMISSIONED BY THE MTA'S ART UNDERGROUND PROGRAM.

>> SO I AM, OH, BOY.

I WANT TO DO 125th STREET.

BECAUSE 125 IS WHERE ALL THE PEOPLE ARE.

THAT'S THE CENTER.

AND I WENT IN THERE AND GOT IT.

IT WORKED FOR ME.

THESE ARE PEOPLE WHO I ASSOCIATE WITH MY LIFE GROWING UP IN HARLEM.

THE MUSICIANS, THE ARTISTS, THE POLITICIANS, ALL OF THESE TRULY GREAT PEOPLE WHO INFLUENCED MY LIFE AND MADE ME KNOW THAT COULD I DO ANYTHING I WANTED.

BECAUSE THEY'RE DOING IT.

I'M PRETTY SURE SHE WAS JUST THE CENTER OF CULTURE IN THOSE DAYS.

AND I SAW THEM ALL AND WE ALL LIVED TOGETHER.

YOU KNOW, LIKE WEB DUBOIS LIVED RIGHT UP THE STREET FROM ME.

AND THURGOOD MARSHALL.

OH MY GOODNESS, WE USED TO SEE THOSE PEOPLE ALL THE TIME.

YOU KNOW, THOSE PEOPLE WERE JUST NEIGHBORHOOD PEOPLE.

WE USED TO WAIT UNTIL 3:00 IN THE MORNING AND THEN WE WOULD GO TO 155th STREET AND CATCH DUKE ELLINGTON COMING OUT OF THE 155th STREET SUBWAY.

HE WOULD STOP AT A LITTLE DINER RIGHT THERE ON THE CORNER.

AND WE WOULD BE IN THERE WAITING FOR HIM.

HE WOULD COME IN AND ORDER A PINT OF ICE CREAM TO GO.

AND WE WOULD JUST SIT THERE AND DROOL OVER HIM.

BUT YOU COULDN'T RUN UP TO THESE PEOPLE AND START YELLING, WOULD YOU GIVE ME AN AUTOGRAPH.

NO, JUST BE COOL.

AND WE DID.

WE ALSO GOT TO SEE THEM.

HE WAS SO WONDERFUL.

THERE WAS NO LAW SAYING YOU CAN'T GET RID OF PERSPECTIVE.

THERE IS NO LAW SAYING YOU CANNOT GET RID OF CHIAROSCURO.

IF YOU WANT THINGS TO BE FLAT, AND I DO, I WANT TO USE THE COLORS.

I WANT THEM SEEN.

I DON'T WANT THE LIGHT IN THE SHADE.

IT'S A CERTAIN KIND OF FREEDOM.

IT IS ALSO AN INTERESTING WAY TO USE THE SPACE.

INJECT THE PEOPLE IN THE SPACE.

HAVE THEM MOVING THROUGH IT.

>> HOW COME YOU DIDN'T PUT YOURSELF IN THERE?

>> I HAVE MYSELF FLYING SOMETIMES SOMEWHERE.

PLEASE, I DON'T LEAVE MYSELF OUT OF ANYTHING.

THAT'S AN IDEA.

I SHOULD HAVE DONE THAT.

I SHOULD HAVE PUT MYSELF OVER THERE WITH THE ARTISTS.

DIDN'T GIVE IT A THOUGHT.

>> NEXT, WE'LL VISIT THE AMERICAN FOLK ART MUSEUM, LOCATED ACROSS FROM LINCOLN CENTER.

SINCE 1961, THIS MUSEUM HAS BEEN CELEBRATING THE CREATIVITY OF ARTISTS WHOSE TALENTS HAVE BEEN REFINED THROUGH PERSONAL EXPERIENCE RATHER THAN FORMAL ARTISTIC TRAINING.

ITS COLLECTION INCLUDES MORE THAN 8,000 WORKS OF ART, FROM FOUR CENTURIES REPRESENTING NEARLY EVERY CONTINENT.

>> THE AMERICAN FOLK ART MUSEUM HAS ONE OF THE MOST IMPORTANT COLLECTIONS OF QUILTS IN THE COUNTRY.

AND ONE OF OUR MOST SIGNIFICANT REASON ACQUISITIONS IS A CRAZY QUILT THAT WAS MADE BY A WOMAN NAMED CLARA LEON.

CLARA LEON WAS AN IMMIGRANT FROM GERMANY, ONE OF THE THOUSANDS OF JEWISH IMMIGRANTS WHO CAME TO THE UNITED STATES IN THE SECOND HALF OF THE 19th CENTURY.

SHE LANDED IN NEW YORK CITY, MET HER HUSBAND, PINCUS LEON, AND THE TWO OF THEM MOVED TO THE NEW MEXICAN TERRITORIES, TO LAS VEGAS, NEW MEXICO.

THE QUILT THAT CLARA LEON MADE, PROBABLY IN THE 1880s, REFLECTS THE IDIOM OF THE CRAZY QUILT.

THIS WAS THE KIND OF CONSTRUCTION THAT WAS INTRODUCED AFTER THE AMERICAN CENTENNIAL EXPOSITION THAT INTRODUCED JAPANESE ART TO AMERICAN FOR THE FIRST TIME.

SO WOMEN SAW PORCELAINS WITH CRAZED AND CRACKLED SURFACES AND GLAZES, AND EXOTIC MOTIFS LIKE SPIDER WEBS AND QUARTER FANS, AND THEY VERY QUICKLY INTRODUCED THIS NEW AESTHETIC INTO THEIR QUILT MAKING.

SO CLARA LEON, ONE OF 36 JEWISH FAMILIES IN THE PIONEER FRONTIER COMMUNITY OF LAS VEGAS, NEW MEXICO, COMING TO AMERICA WITHOUT A TRADITION OF QUILT MAKING AT ALL, INTERPRETED AND ADAPTED THE CRAZY QUILT TO REFLECT THIS NEW AESTHETIC THAT WAS INTRODUCED AT THE JAPANESE PAVILION OF THE PHILADELPHIA CENTENNIAL.

THE CENTER OF THE QUILT IS EMBLAZONED WITH A LARGE LETTER "L" FOR THE FAMILY NAME, LEON.

AND IT INCLUDES MUSICAL NOTE STAFF AND NOTES.

IT REFLECTS THE MUSICAL BACKGROUND OF HER FAMILY.

IN FACT, ONE OF THE FAMILY'S STORIES IS WHEN CLARA AND HER FAMILIAR MADE THE JOURNEY BY COVERED WAGON, INCLUDED ON BOARD THE COVERED WAGON WAS HER PIANO.

SHE DID SOMETHING WITH THE BORDERS THAT IS UNUSUAL.

THERE IS A FLORAL BAND ON EACH SIDE OF THE QUILT.

TYPICALLY, THIS WOULD BE IDENTICAL, TOP, BOTTOM, LEFT, RIGHT.

IN FACT, SHE'S REFLECTING THE SEASONS SO THERE ARE AUTUMN LEAVES, SPRING FLOWERS, SUMMER DAISIES AND WINTER SPRAYS.

QUILTS HAVE ALWAYS BEEN A MEDIUM FOR WOMEN TO EXPRESS THEIR OWN THOUGHTS AND THEIR OWN PARTICIPATION IN AMERICAN LIFE.

AND CLARA LEON CLEARLY TOOK THAT TO HEART WHEN SHE DECIDED WHAT MOTIFS AND WHAT TECHNIQUES WERE GOING TO BE USED IN HER BEAUTIFUL QUILT.

♪♪ >> NEXT, WE VISIT THE METROPOLITAN MUSEUM OF ART.

EPIC ABSTRACTION, FROM POLLOCK TO HERRERA.

EXPLORES LARGE SCALE ABSTRACT PAINTING, SCULPTURE, 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, MARK ROTHKO, ISAMU NOGUCHI, CARMEN HERRARA AND MARK BRADFORD.

>> THIS SPECTACULAR SCULPTURE BEHIND ME IS TITLED MRS. INNING N'S PALACE AND IT'S ONE OF THE GREAT WORKS BY THE AMERICAN SCULPTOR LOUISE NEVELSON.

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

IT WAS ASSEMBLED AS A UNIQUE WORK IN 1977.

IT IS ONE OF THE GREATEST WORKS BUT IT HASN'T BEEN SEEN HERE AT THE MET FOR MANY YEARS.

INSTALLING IT HERE TOOK QUITE AN EFFORT BUT IT WAS WELL WORTH IT.

THE WORK ITSELF IS COMPRISED OF ABOUT 130 INDIVIDUAL SCULPTURAL COLLAGES.

THEY'RE ATTACHED TO A LARGE BOX.

THE SCULPTURE IS COMPRISED OF SCRAPS OF DETRITUS THAT SHE COLLECTED ACROSS THE CITY.

CREATING THESE ABSTRACT, IN MANY CASES, RELIEF SCULPTURES, WHICH SHE THEN TREATS PRIMARILY BY PAINING IN BLACK.

SHE DESCRIBED HER MATERIALS AS THE SKIN THAT NEW YORK HAS SHED AND THAT SHE IS SCAVENGING AND THEN GIVING NEW LIFE, MAKING ART THAT'S BOTH 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, FROM STAIRCASES AND BALUSTRADES WHERE THESE REPURPOSED ARCHITECTURAL SALVAGE.

PARTS ARE QUITE HEAVY IN APPEARANCE AND EVEN SORT OF AGGRESSIVE IN EFFECT, 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 DERIVE FROM A COUPLE OF SOURCES.

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

SHE INTENDED IT ONLY THE HER IDEAL HABITAT.

OR A KIND OF SHRINE TO HERSELF.

THIS IS NEVELSON CREATING HER OWN UNIVERSE.

AN ENVIRONMENT BASED ENTIRELY ON HER OWN SCULPT RAL 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.

>> NEXT WEEK, A VISIT TO A VERY SPECIAL PHOTOGRAPHY MUSEUM IN THE FLATIRON DISTRICT.

>> AS PEOPLE MOVE THROUGH THE SPACE, WHAT WE REALLY WANTED TO EMPHASIZE WAS DIFFERENT TIMES OF PHOTOGRAPHY.

STREET PHOTOGRAPHY, MIXED WITH FASHION PHOTOGRAPHY, MIXED WITH LANDSCAPE, FINE ART, CONCEPTUAL WORK.

>> AND A LOOK AT GARMENTING, COSTUME AS CONTEMPORARY ART.

NOW ON VIEW AT THE MUSEUM OF ARTS AND DESIGN.

>> GARMENTING, COSTUMES AS CONTEMPORARY ART, IS THE FIRST GLOBAL SURVEY OF ARTISTS WHO ARE USING GARMENTS AS A MEDIUM.

THEY ARE MAKING OR ALTERING GARMENTS FOR EXPRESSIVE PURPOSES.

>> I HOPE YOU ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZAHN AT POSTER HOUSE IN CHELSEA.

THANK YOU.

SO FOR JOINING US.

GOOD NIGHT.

♪♪ >>> 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.

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