>>> COMING UP ON NYC ARTS.

A PROFILE OF JAMES WHITESAW.

PRINCIPAL DANCER WITH AMERICAN BALLET THREAT HER.

>> SO I WAS 9 YEARS OLD WHEN I STARTED DANCING.

I DID JAZZ, TAP, ACROBATICS, OTHER LOCAL SCHOOL IN FAIRFIELD, CONNECTICUT AND I GOT INTO DANCING BECAUSE I HAD TRIED EVERYTHING ELSE, YOU KNOW, FOOTBALL, BASEBALL, SOCCER.

ASK MY MOM, ONE DAY, THREW ME A PHONE BOOK AND SAID YOU HAVE TO PICK SOMETHING, YOU ARE DRIVING ME CRAZY YOU HYPERACTIVE MONSTER.

AND SO, I FOUND AN AD FOR A DANCE STUDIO IN -- IN THE PHONE BOOK AND IT WAS A MAN HOLDING A WOMAN OVER HIS HEAD WITH ONE HAND AND IT JUST LOOKED AWESOME AND I SAID I WANT TO TRY THAT.

>>> AND A VISIT TO THE PARISH ART MUSEUM TO DISCOVER THE WORKS OF AMERICAN IMPRESSIONIST PAINTER WILLIAM MERIT CHASE.

>> MERIT CHASE HAD A LONG AND RICH RELATIONSHIP TO THE EAST END OF LONG ISLAND.

YOU MIGHT EVEN SAY HE STAKED HIS CLAIM TO THIS LANDSCAPE EARLY ON, AND THAT HE SAW MORE POSSIBILITIES INTO IT THAN THE UN-TUTORED EYE.

>>> 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 AM 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 MANY MULTIFACETED MEDIUM.

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

IT IS 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 GRADUATE PROGRAMS.

AND ALSO, ENGAGES WITH MUSEUMS' PERMANENT COLLECTION OF MORE THAN 10,000 PIECES.

CURRENTLY ON VIEW IS THE EXHIBITION "TOKYO OLYMPIAD, A GLOBAL FILM."

THE SUBJECT OF THE FILM, A MAJOR EVENT IN 1964, REPRESENTED A TURNING POINT IN THE MODERN OLYMPIC GAMES.

THEY WERE THE FIRST TO BE HELD IN ASIA, AS WELL AS THE FIRST TO BE BROADCAST AROUND THE GLOBE BY WAY OF SATELLITE.

MANY VIEWERS WERE ABLE TO TUNE IN AND WATCH IN COLOR FOR THE FIRST TIME.

THE EXHIBITION FEATURES POSTERS ANNOUNCING THE ITALIAN RELEASE OF THE FILM "TOKYO OLYMPIAD."

THEY FEATURE ATHLETES FROM A WIDE RANGE OF SPORTS AND COUNTRIES.

THESE IMAGES ARE PRESENTED IN A SURPRISING HYBRID OF STYLES.

CELEBRATING THE ATHLETICISM AND BEAUTY OF THE GAMES.

HERE, WE SEE THE USE OF PHOTO MONTAGE, SATURATED COLORS, AND THE INCORPORATION OF PAINTED ELEMENTS.

EAGER TO BE SEEN IN A POSITIVE LIGHT, THE JAPANESE GOVERNMENT OPTED TO FILM THE FILM, ITSELF.

ORIGINALLY, HIRING THE FAMED TO DIRECT.

WELL, CREATIVE CONFLICT ENSUED AND ANOTHER DIRECTOR STEPPED IN.

THE RESULT WAS A MOVIE THAT TURNED THE TRADITIONAL NOTION OF DOCUMENTARY FILMMAKING ON ITS HEAD.

IT REDEFINED THE GENRE, AND HAS COME TO BE KNOWN AS ONE OF THE GREATEST SPORTS' FILMS OF ALL TIME.

THE EXHIBITION WILL BE ON VIEW THROUGH OCTOBER 9th.

THESE PAST YEARS HAVE BEEN CHALLENGING FOR THE PERFORMING ARTS.

BUT THANKFULLY, AMERICAN BALLET TH THEATER WILL PERFORM HERE IN NEW YORK FOR THE FIRST TIME IN THREE YEARS.

THE SUMMER SEASON WILL TAKE PLACE AT THE METROPOLITAN OPERA HOUSE FROM JUNE 13th THROUGH JULY 16th.

PERFORMANCES WILL INCLUDE NEW YORK PREMIERES, FULL-LENGTH WORKS, AS WELL AS RETURNING REPERTOIRE.

THE NEW YORK PREMIERE OF LOVE AND RAGE IS BASED ON ONE OF THE EARLIEST NOVELS EVER WRITTEN.

IT TELLS THE EPIC TALE OF STAR-CROSSED LOVERS IN ANCIENT GREECE, WHO NAVIGATE DAUNTING OBST OBSTACLES IN THEIR QUEST TO BE TOGETHER.

THIS BALLET MARKS THE 17th WORK FOR THE COMPANY.

A NEW WORK BY ALONZO KING WILL ALSO HAVE ITS NEW YORK PREMIERE, AND IT IS HIS FIRST BALLET FOR ABT.

SINGLE EYE IS SET TO MUSIC BY CELEBRATED JAZZ PIANIST AND COMPOSER JASON MORAN.

KING HAS SAID SIMPLY THE ORWORKS DRAWN FROM SCRIPTURE.

THE SEASON WILL OPEN WITH A GALA PERFORMANCE.

ON THIS OCCASION, IT WILL FEATURE A DIFFERENT LEADING CAST IN EACH ACT.

DANCING WILL FILL THE STAGE AS WE FOLLOW THE COLORFUL MISADVENTURES OF THE KNIGHT, AARON, HIS DEVOTED SQUIRE, A PAIR OF LOVERS, AND A CARAVAN OF GYPSIES.

PERFORMANCES OF SWAN LAKE WILL FOLLOW, FEATURING THE CHALLENGING ROLES.

SWAN LAKE IS ONE OF THE GREAT CLASSICS IN THE ABT' REPERTOIRE, AND IT REMAINS A THRILLING AUDIENCE FAVORITE.

>> KENNETH McMILLIAN'S ROMEO AND JULIET WILL ALSO GRACE THE STAGE AT THE MET.

SET TO MUSIC AGAINST THE BACKDROP OF RENAISSANCE ITALY, THIS STORY OF IMMORTAL ROMANCE IS TIMELESS.

OTHER WORKS THIS SEASON INCLUDE GEORGE BALLEN'S THEME AND VARIATIONS, SET TO A SCORE, THE BALLET WAS CREATED FOR ABT IN 1947.

A NEW YORK CLASSICAL M MASTERPIECE, THESE PERFORMANCES WILL MARK THE 75th ANNIVERSARY OF THE WORK'S PREMIERE.

YES LANG ZIGZAG WHICH HAD ITS PREMIERE JUST LAST YEAR WILL ALSO BE PERFORMED.

IT IS SET TO 11 AMERICAN STANDARD SONGS RECORDED BY TONY BENNETT, INCLUDING A DUET WITH LADY GA DPA.

ADDING TO THE EXCITEMENT OF THE SEASON WILL APPEARANCES BY GUEST ARTIST DANIEL FROM BRAZIL, AND FORMER-ABT PRINCIPSIMKIN.

ORIGINALLY FROM FAIRFIELD, CONNECTICUT, WHITESIDE BEGAN STUDYING BALLET AT THE AGE OF 9.

HE STARTED HIS PROFESSIONAL CAREER AT BOSTON BALLET IN 2003 BEFORE MOVING TO NEW YORK IN 2012 TO DANCE FOR ABT.

HE WAS PROMOTED TO PRINCIPAL DANCER IN OCTOBER OF 2013.

AND HAS BEEN WIDELY PRAISED FOR HIS POWERFUL, ENERGETIC DANCING.

WHITESIDE IS ALSO NOTABLE FOR HIS PURSUITS AS A DEEJAY, VIDEO PRODUCER, DRAG QUEEN, MODEL, AND INSTAGRAM STAR.

ALTHOUGH JAMES IS CURRENTLY RECOVERING FROM AN INJURY, ON JUNE 18th, HE WILL HOST ABT KIDS, THE COMPANY'S ANNUAL ONE-HOUR INTRODUCTION TO BALLET FOR FAMILIES.

NO DOUBT, HIS ENTHUSIASM WILL BE INFECTIOUS, AS YOU WILL SEE BY THIS NYC ARTS' PROFILE RECORDED IN EARLY 2020.

>> SO I WAS 9 YEARS OLD WHEN I STARTED DANCING.

I DID JAZZ, BALLET, TAP, ACROBATICS.

AT A LOCAL SCHOOL IN FAIR FIELD, CONNECTICUT, AND I GOT INTO DANCING BECAUSE I HAD TRIED EVERYTHING ELSE.

YOU KNOW, FOOTBALL, BASEBALL, SOCCER.

AND MY MOM, ONE DAY, THREW ME A PHONE BOOK AND SAID, YOU KNOW, YOU HAVE TO PICK SOMETHING, YOU ARE DRIVING ME CRAZY, YOU HYPERACTIVE MONSTER.

AND SO, I FOUND AN AD FOR A DANCE STUDIO IN -- IN THE PHONE BOOK AND IT WAS OF A MAN HOLDING A WOMAN OVER HIS HEAD WITH ONE HAND, AND IT JUST LOOKED AWESOME AND I SAID I WANT TO TRY THAT.

WHEN I LOOK BACK AT THE VIDEOS OF WHIEN I WAS A KID, YOU CAN SE PURE JOY IN THE VIDEOS AND I WOULDN'T REPLACE THAT WITH ANYTHING.

MY TECHNIQUE HAS EVOLVE SO MUCH BUT THE ENERGY IS THE EXACT SAME ENERGY.

IT'S LIKE THIS SORT OF -- I DON'T KNOW -- JUST LIKE SPASTIC WILDNESS.

WHICH SOUNDS LIKE A BAD THING BUT I THINK IT'S A GOOD THING.

MY FIRST DANCE TEACHERS BROUGHT ME TO SEE ABT, AMERICAN BALLET THEATER, AT THE MET OPERA WHEN I WAS 12 YEARS OLD.

I DIDN'T EVEN KNOW WHAT BALLET COULD BE AT THAT POINT BUT I REALLY SAW IT THAT NIGHT, WHEN I DECIDED THAT'S REALLY WHAT I WANTED TO DO.

ABT WAS MY FIRST DREAM, AND SO, I HAVEN'T STOPPED UNTIL I GOT HERE AND I -- NOW THAT I AM HERE, I'M STILL NOT STOPPING.

AS A PRINCIPAL DANCER, I DANCE A LOT OF PRINCE SO PRINCE SIEGFRIED FROM SWAN LAKE.

PRINCE ALFRED FROM GISELLE.

I ACTUALLY HAD NEVER DONE THE PRINCE IN SWAN LAKE UNTIL I JOINED AMERICAN BALLET THEATER.

SO I WORKED REALLY ART AND MY FIRST SHOW HERE WITH ABT OF SWAN LAKE WAS WITH WITH PRINCIPAL BALLERINA JILLIAN MURPHY.

AND SHE REALLY SHOWED ME THE ROPES, AND MADE ME COMFORTABLE WITH THE BALLET.

I HAVE KNOWN ABOUT JILLIAN'S PROWESS FOR ONE MILLION YEARS.

SHE IS THE RESIDENT PRIMA OF AMERICAN BALLET THEATER AND I AM SO HAPPY TO BE DANCING WITH HER.

SHE IS HILARIOUS, ALSO.

I FEEL LIKE IN A STORY BALLET, IT IS A LOT ABOUT DIALOGUE, LISTENING TO WHAT THE OTHER PERSON IS SAYING THROUGH THEIR MOVEMENT AND, YOU KNOW, THEIR PHYSICAL STORY TELLING AND I FEEL LIKE THE OLDER I GET AND THE MORE I DANCE WITH THESE BALLERINAS, THE MORE SOLID AND READABLE OUR DIALOGUE IS.

I HAVE A SORT OF LITTLE BACKSTORY THAT I TELL MYSELF.

I FEEL LIKE THE -- THE PRINCE IN SWAN LAKE HAS A LITTLE SECRET.

HE IS LONELY, AND IN MY MIND, IT REMINDS ME OF HOW I FELT AS A TEENAGER BEING AFRAID TO COME OUT OF THE CLOSET AS A GAY MAN.

WHEN I AM DOING THE FIRST ACT AND EVERYONE'S CELEBRATING ME, AND IT'S MY BIRTHDAY AND I AM THE PRINCE, AND HOW COULD I NOT BE JUST OVERJOYED?

I THINK BACK TO THAT FEELING I HAD OF ISOLATION, EVEN THOUGH I HAD ABSOLUTELY NO REASON TO PUT MYSELF THROUGH THAT, OTHER THAN FEAR OF PERCEPTION.

I TRIED TO GIVE THAT FEELING THROUGH BODY LANGUAGE.

ALWAYS BEING THE PROUD PRINCE, TO SHOW VULNERABILITY AND INSECURITY.

♪ >> I THINK FANCY FREE IS A STORYTELLING WORK OF GENIUS.

YOU GET SUCH A SENSE OF ATMOSPHERE FROM THIS BALLET, WHICH IS REALLY HARD TO DO.

SO, I HAVE BEEN DOING FANCY FREE FOR A REALLY LONG TIME.

I THINK SINCE I WAS MAYBE 21, I HAVE BEEN THE SAME PART.

THIRD SAILOR.

MY CHARACTER, SPECIFICALLY, HAS THIS HAUGHTY SASS WHICH I REALLY LOVE.

I SORT OF TREAT IT LIKE THE FONZ.

I AM CURIOUS TO SEE HOW IT HOLDS UP IN -- LIKE, IN SOCIETAL CHANGE.

RIGHT NOW, I FEEL LIKE WE ARE OH RIGHT ON THE BRINK OF IT BEING ALMOST INAPPROPRIATE.

HOWEVER, THAT BEING SAID, I LOVE DANCING THIS BALLET.

IT IS SO MUCH FUN.

THE MUSIC IS UNBELIEVABLE.

CHOREOGRAPHY IS SO CHARMING AND STRANGE AND WONDERFUL AND JAZZY.

♪ CHOREOGRAPHY FOR ME HAS ALWAYS BEEN SOMETHING THAT I HAVE ENJOYED JUST FROM A VERY NATURAL PLACE, LIKE I WOULD SAKE HIGH DAD'S RECORDS AND PUT THEM ON MY FISHER PRICE TURNTABLE AND MAKE UP DANCE IN MY BEDROOM.

AT MY JAZZ STUDIO IN CONNECTICUT, THEY SAW THAT I LIKED TO MAKE THINGS, AND THEY WOULD LET ME MAKE UP DANCES FOR COMPETITIONS.

THEY REALLY NOURISHED MY CREATIVE NEEDS.

WHEN I JOINED BOSTON BALLET, I KEPT MAKING THINGS, I KEPT CREATING.

AND NOW, HERE I AM AT ABT AND I AM STILL SHOWING INTEREST AND BEING GIVEN OPPORTUNITIES THAT I AM SO GRATEFUL FOR.

I MADE A PIECE LAST FALL, IT WAS MY FIRST COMMISSION WITH AMERICAN BALLET THEATER WHICH PREMIERED IN VAIL.

I MADE NEW AMERICAN ROMANCE AS A NOD TO THE CLASSICISM BUT I ALSO WANTED TO INJECT A LITTLE OF MY PERSONALITY AND MY PERCEPTION ON ROMANCE INTO IT, WHICH IS LIMITLESS REALLY.

AND IT WAS SORT OF MY APPRECIATION FOR WHAT ROMANCE COULD BE, FOR ALL THE POSSIBILITIES.

SO MY NEW BALLET CALLED "CITY OF W WOMEN" IS ABOUT GENERATIONAL SHARING OF KNOWLEDGE FROM BALLERINA TO BALLERINA.

I KNOW THEM ALL SO WELL, I WANTED TO MAKE A DANCE FOR -- FOR THE BALLERINAS THAT WOULD SHOWCASE THEIR INDIVIDUAL DPIFTS, AND ALSO REPRESENT THE WISDOM OF JILLIAN.

THE SORT OF BRAZENNESS OF KATHERINE, AND THE -- THE COURAGEOUS DANCING OF ISABELLA.

I KNOW THEIR STRENGTHS.

AND I KNOW THEIR PERSONALITIES, NOT JUST THEIR STRENGTHS SO I WANTED TO SHOWCASE THAT.

♪ I CREATED JB DUBS IN 2005.

HE IS A POP MUSICIAN, SORT OF RAPPER THING PRODUCE, PERFORMS, WRITE, ALL THE MUSIC, AS WELL AS CHOREOGRAPH MUSIC VIDEOS.

♪ THIS QUEEN SINCE I WAS 17 >> I HAVE BEEN WITNESS TO A LOT OF DISCRIMINATION AND HOMOPHOBIA IN BALLET.

AND ALSO, I HAVE SEEN A LOT OF SEXUAL MISCONDUCT ALLEGATIONS SORT OF SHAKE UP THE BALLET WORLD.

SO, ALL OF THESE THINGS HAPPENED AT ONCE, AND MY BRAIN EXPLODED.

AND MY INSTINCT WAS TO WRITE, SO I WROTE A SONG CALLED "WTF" AND IT'S EXACTLY LIKE IT SOUNDS.

AND IT WASN'T SO MUCH POINTING FINGERS AT PEOPLE, AS SORT OF JUST EXPRESSING MY EXASPERATION AND THE INCREDULITY OF THE SITUATION.

♪ THE REASON I WANTED TO DANCE ON POINT IN THE MUSIC VIDEO IS TO FURTHER HAMMER HOME THE POINT THAT WE, AS DANCERS, SHOULD NOT BE FORCED TO BE GENDERED OR PUT IN A BOX.

I WANT TO ENCOURAGE AS MANY PEOPLE TO DANCE ON POINT AS THEY WANT TO.

♪ AND WHILE I AM A CISGENDERED MALE, I WANT TO BE FREE TO DANCE IN WHATEVER I WANT.

I AM REALLY HOPING THE FUTURE OF BALLET REMAINS VERY CLASSICAL.

I WANT THE DEFINITION OF CLASSICAL TO EVOLVE.

I THINK SOCIALLY, BALLET HAS TO ADAPT.

AND I ABSOLUTELY WANT TO BE ONE OF THE PEOPLE LEADING THE CHARGE ON THE CREATION OF MORE REPRESENTATION IN CLASSICAL BALLET.

I HAVE HUGE RESPECT FOR THE CLASSICS.

BUT THAT DOESN'T MEAN NEW STORIES CAN'T BE TOLD.

♪ >>> NEXT, WE WILL VISIT THE PARISH ART MUSEUM ON THE EAST END OF LONG ISLAND FOR A LOOK AT THE WORK OF AMERICAN IMPRESSIONIST PAINTER WILLIAM MERIT CHASE.

BEGINNING IN THE EARLY 1890s, THE PAINTER AND HIS FAMILY SPENT THEIR SUMMERS IN A LARGE HOUSE IN THE HILLS OF SOUTHAMPTON.

THE LYRICAL SUMMER SCENES CHASE PAINTED THERE ESTABLISHED THE ARTIST'S REPUTATION AS AN EXCEPTIONAL LANDSCAPE PAINTER.

>> I AM ALICIA LONGWELL.

I AM THE CHIEF CURATOR OF ART AND EDUCATION HERE AT THE PARISH ART MUSEUM.

I NEW HERTZOG IS LOCATED IN NEW YORK, A HAMLET JUST TO THE EAST OF SOUTHAMPTON VILLAGE ON LONG ISLAND'S EAST END.

THIS IS THE FIRST TIME WE HAVE DEDICATED SPACE TO SHOW OUR PERMANENT COLLECTION, AND TO HAVE A DEDICATED GALLERY TO THE WORK OF WILLIAM MATTER CHASE.

THE PARISH COLLECTION IS REALLY NOTABLE FOR ITS RANGE OF WORK FROM ALL PERIODS, ESPECIALLY FROM THE PAINTINGS WHEN HE WAS HERE.

AND AS THE LARGEST COLLECTION IN A PUBLIC INSTITUTION IN AMERICA.

WILLIAM MERIT CHASE HAD A LONG AND RICH RELATIONSHIP TO THE EAST END OF LONG ISLAND.

YOU MIGHT EVEN SAY THAT HE STAKED HIS CLAIM TO THIS LANDSCAPE EARLY ON, AND THAT HE SAW MORE POSSIBILITIES IN IT THAN THE UN-TUTORED EYE.

HE ONCE SAID THAT HE COULD FIND PICTORIAL GOLD IN THE HILLS.

IT WAS, IN MANY WAYS, A SCRUBBY LANDSCAPED ONE THAT HAD BEEN GREATLY OVERLOOKED BY MANY OTHER ARTISTS.

HE FIRST CAME OUT TO EASTERN LONG ISLAND IN 1881 TO SKETCH.

CHASE ADOPTED NOT SO MUCH WHAT YOU MIGHT CALL THE TECHNIQUES OF THE FRENCH IMPRESSIONISTS BUT CERTAINLY, THEIR IDEAS OF COMING OUT AND PAINTING MODERN LIFE.

IN 1891, TWO CIVIC-MINDED WOMEN IN THE SOUTHAMPTON AREA DECIDED THEY'D LIKE TO START A PLANAR SCHOOL OF ART.

CHASE WAS A VERY WELL-KNOWN TEACHER AT THE ART STUDENTS' LEAGUE, HE WAS A RENOWNED PORTRAIT PAINTER, AND HE READILY ACCEPTED THEIR INVITATION TO COME OUT AND IN 1891, BE THE FOUNDING DIRECTOR OF THE HILLS SUMMER SCHOOL OF ART.

BY THE NEXT SUMMER, A HOUSE HAD BEEN BUILT FOR HIM.

THIS BEAUTIFUL, DUTCH COLONIAL REVIVAL.

SHINGLE STYLE THAT'S BECOME VERY FAMOUS AND UBILKQUITOUS HERE ON EAST END AND HIS WHOLE FAMILY CAME OUT.

HE TAUGHT HERE UNTIL 1902 AND THEN THE FAMILY CONTINUED TO USE THE HOUSE AFTER CHASE'S DEATH IN 1916.

A REPOSITORY OF DOCUMENTS, LETTERS, AND MOST ESPECIALLY 600 PHOTOGRAPHS THAT REALLY DOCUMENT THE ARTIST'S LIFE.

MANY OF THE PHOTOGRAPHS WERE, WE KNOW, TAKEN BY MRS. CHASE.

SHE WAS AN AMATEUR PHOTOGRAPHER.

THEY GIVE A -- AN EXTRAORDINARY GLIMPSE INTO WHAT YOU MIGHT CALL A GILDED-AGE SUMMER BUT REALLY, MORE IMPORTANTLY, INTO CHASE'S LIFE AND WORK.

THESE PHOTOGRAPHS PARTICULARLY ARE EXTREMELY IMPORTANT BECAUSE MANY OF THE SAME SCENES THAT CHASE DEPICTED ARE VISIBLE IN THE PHOTOGRAPHS.

CHASE IS INDELIBLY ASSOCIATED BE THE PAINTINGS HE DID HERE IN THE HILLS.

PAINTING 1895, THE BAY BERRY BUSH IS REALLY EMBLEMATIC OF THESE AND HE REALLY DID FIND PICTORIAL GOLD IN THIS SCRUBBY LANDSCAPE.

I THINK ONE OF THE MOST INTERESTING THINGS ABOUT THAT PAINTING IS, OF COURSE, THE PRESENCE OF THE HOUSE THAT THEY LIVED IN.

THE THREE DAUGHTERS.

IT IS A COMPLETE LOOK AT THE ARTIST AND HIS LIFE, I THINK, HAVING THE DOMESTIC REALM, A LANDSCAPE REALM.

THERE IS PERHAPS NO BETTER ENTRY INTO THE CREATIVE LIFE OF RITA CHASE THAN THIS PAINTING WE SEE HERE, ALICE IN THE STUDIO FROM AROUND 1900.

ALICE CHASE, HIS OLDEST DAUGHTER, WAS OFTEN DEPICTED BY CHASE IN HIS PAINTINGS.

ALICE IS REALLY A SURROGATE FOR THE VIEWER, INVITING US INTO THE RAREFIED ATMOSPHERE OF THE STUDIO.

WHILE THE NOMINAL SUBJECT OF THE STUDIO, THE TRUE THEME IS THE PAINTING ITSELF.

HERE WE SEE SO MANY OBJECTS THAT BECOME A SELF-PORTRAIT FOR THE ARTIST.

THE PAINTING ON THE EASEL, THE LUMINOUS GLOW THAT HE COLLECTED, HIS UPENDED PAINTBRUSHES.

THE SKETCH OF VELASQUEZ IN THE UPPER LEFT AND THE LIGHT COMING THROUGH THE STUDIO WINDOW.

IT IS A COMPLEX FUSION OF ARTERS WITH FAMILY, LANDSCAPE, AND THE MATERIAL WORLD.

I THINK CHASE WAS VERY MUCH A STUDENT, YOU MIGHT SAY, OF THE LIGHT HERE ON THE EAST END.

HE WAS EXTRAORDINARILY AWARE OF THE LIGHT AT ALL TIMES, AND HIS PAINTING IS INFUSED WITH THAT PERCEPTION.

WE WOULD WELCOME YOUR VISIT WHEN YOU ARE OUT ON THE EAST END OF LONG ISLAND TO COME TO THE MUSEUM JUST TO THE EAST OF SOUTHAMPTON VILLAGE.

>> I HOPE YOU ENJOYED OUR PROGRAM THIS EVENING.

I AM PAULA ZAHN AT POSTER HOUSE IN CHELSEA.

THANK YOU SO MUCH FOR JOINING US.

GOOD NIGHT.

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

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

>> I LOVE BEING HERE BUT TOO, PAULA.

WE ARE AT A MOMENT TO TAKE DMOGT NOTHING FOR GRANTED AND IT IS A PLEASURE TO BE WITH THE CURATOR FOR THIS EXHIBITION FULL OF HOPE.

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

>> THE CARDBOARD GUITAR IS THE VERY FIRST OF THAT MOMENT OF REALIZATION.

>> SOMEBODY COME AND PRESENT SOMETHING AND YOU GET APPLAUSE, GREAT.

YOU KNOW?

♪ ♪ ♪ ♪ >>> 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.

--Captions by VITAC -- www.vitac.com