♪ >>> COMING UP ON "NYC ARTS" A VISIT TO BROOKLYN MONET TO M MORRISEAU.

>> THIS BRINGS TOGETHER A REALLY IMPORTANT PART OF BROOKLYN'S EUROPEAN COLLECTION.

IT'S 19th AND 20th CENTURY EUROPEAN ART.

WE HAVE ORGANIZED IT UNDER THE BROAD THEME OF THE REAL AND THE IMAGINED WHICH WAS REALLY PROVOCATIVE AND FLEXIBLE IN TERMS OF THESE DISPARATE WORKS.

>> A PROFILE.

ONE OF THE MOST DYNAMIC TAP DANCERS AND EDUCATORS.

>> TAP DANCING FOR ME IS MAGIC.

IT'S MUSIC IN MOTION.

>> AND THE TUGBOAT WO DECKER.

THE PRIDE OF THE SOUTH STREIT SEA PORT MUSEUM.

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

IT IS PROFOUNDLY AUTHENTIC.

>>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY THE PACHECK FOUNDATION.

CHARLES AND VALLEY GEICKER.

THE MILTON AND SALARY AVERY ARTS FOUNDATION.

L. ROY AND TERRY CRUMBHOLES FOUNDATION.

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 IN PART BY -- >> AND BY -- ♪ ♪ >>> GOOD EVENING AND WELCOME TO "NYC ARTS."

I'M PAULA XZAHN.

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

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

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

THE MUSEUM FEATURES POSTERS FROM ALL OVER THE WORLD DATING BACK TO THEIR DEVELOPMENT IN THE LATE 1800S RIGHT UP TO THEIR CONTEMPORARY USE.

EXHIBITIONS TO DATE HAVE FEATURED THE WORK OF LUMINARIES LIKE ALPHONSE LUCHA AND JULIUS CLINGER.

THEY HAVE HIGHLIGHTED IMPORTANT EVENTS SUCH AS THE WOMEN'S MARCH OF 2017 AS WELL AS THE HAND PAINTED FILM POSTERS OF 1990s G GHANA, THE HISTORY OF THE 20th CENTURY ECONOMY THROUGH THE LENS OF ADVERTISING AND A WHOLE LOT MORE.

SPEAKING OF REVOLUTIONARY MOVEMENTS, YOU HAVE THE UTOPIAN AVANT-GARDE.

IN THE AFTERMATH OF THE BOLSHEVIK REVOLUTION IN OCTOBER OF 1917 AND THE SUBSEQUENT CIVIL WAR IN RUSSIA THAT CONTINUED UNTIL 1920, A GROUP OF YOUNG, TALENTED ARTISTS EMERGED READY TO CONTRIBUTE TO AND INVENT A NEW SOVIET CULTURE.

AS THE GOVERNMENT EMBRACED CINEMA AS THE MOST POWERFUL WAY TO SPREAD PROPAGANDA, THESE DESIGNERS CREATED DYNAMIC EXPERIMENTAL EXPLOSIVE POSTERS PAPERING THE STREETS WITH WILD COLORS AND ARRESTING IMAGERY TO DRAW PEOPLE TO THE MOVIES.

THE EXHIBITION EXPLORES THE ORIGINS, HIGH POINTS AND EVENTUAL DEMISE OF THIS GOLDEN AGE OF SOVIET GRAPHIC DESIGN.

HIGHLIGHTS INCLUDE THE WORK OF ALEXANDER ROCHENKO, THE STENBURG BROTHERS, SEMIEN SEMINOV AND MORE.

SOME ARTISTS WERE 2R5TRAINED ARCHITECTS AND ENGINEERS.

SOVIET CINEMATIC INNOVATIONS LIKE MONTAGE, EXTREME USE OF SCALE AND JARRING ANGLES WERE REFLECTED IN THEIR POSTER DESIGNS LINKING THEM TO THE OVERALL EXPERIENCE OF EACH MOVIE.

SOME EVEN ATTEMPTED TO SUGGEST THE MOTION OF FILM BY ADDING MULTIPLE PANELS OF THE SAME FIGURE IN SLIGHTLY VARYING POSES.

CREDIT LINES FOR ACTORS AND DIRECTORS ALSO BECAME PASRT OF THE DESIGNS WHILE BOLD COLORS REFLECTED THE ABSTRACT ART.

RATHER THAN FOCUSING ON THE STARS OF THE FILM, THEY CAPITALIZED INSTEAD ON VISUAL TENSION, DISTORTION, AND ANXIETY TO SELL A MOVIE.

PRINTING POSTERS WAS NO EASY FETE.

DURING THIS PERIOD LIT THOUGH GRAPHIC PRESSES IN RUSSIA ALL PRE-DATED WORLD WAR I NOTED AS BEING HELD TOGETHER WITH STRING AND FALLING APART.

TO MAKE IMPROVEMENTS LED TO EXTRAORDINARY CREATIVITY RELIED ON PROJECTING STILLS INTO A CAMERA AND TRACING THE ACTOR'S FEATURES.

HOWEVER, THIS PERIOD OF FREE EXPERIMENTATION WAS SHORT LIVED IN THE AFTERMATH OF LENIN'S DEATH IN 1924.

THE POSTERS IN THIS EXHIBITION REPRESENT THE BEST EXAMPLES FROM THIS PERIOD IN DESIGN, ONE WHICH WAS NEVER ALLOWED TO REACH ITS FULL POTENTIAL.

THE EXHIBITION IS ON VIEW THROUGH AUGUST 21st.

ON OUR PROGRAM TONIGHT WE'LL TAKE A TRIP TO THE BROOKLYN MUSEUM FOR MONET TO MORRISEAU, THE REAL AND IMAGINED IN EUROPEAN ART.

THE EXHIBITION FOCUSES ON ART WORKS CREATED IN THE 19th AND EARLY 20th CENTURY.

IN EUROPE THIS WAS A PERIOD WHEN ARTISTIC TECHNIQUES, SUBJECT MATTER, AND PATRONAGE UNDERWENT PROFOUND CHANGES FEATURING SOME 90 WORKS FROM MUSEUM'S COLLECTION, IT INCLUDES ARTISTS SUCH AS CLAUDE MONET, BE BERTO MORRISEAU, AND EDGAR DEGAS.

LISA SMALL, SENIOR CURATOR OF EUROPEAN ART IS OUR GUIDE.

♪ ♪ >>> I'M LISA SMALL.

I'M THE SENIOR CURATOR OF EUROPEAN ART AT THE BROOKLYN MUSEUM AND A CURATOR OF MONET TO MORRISSEAU.

THIS EXHIBITION BRINGS TOGETHER A REALLY IMPORTANT PART OF BROOKLYN'S EUROPEAN COLLECTION.

IT'S 19th AND EARLY 20th CENTURY EUROPEAN ART.

WE HAVE ORGANIZED IT UNDER THE BROAD THEME OF THE REAL AND THE IMAGINED, WHICH WAS SORT OF A REALLY PROVOCATIVE AND FLEXIBLE IN TERMS OF THESE DISPARATE WORKS.

THE EXHIBITION OPENS WITH A WONDERFUL PAINTING BY CLAUDE MONET.

IT'S A PAINTING HE DID IN 1908 OF THE DOGES PALACE IN VENICE.

MONET IS THE PREEMINENT IMPRESSIONIST PAINTER.

A GROUP OF PAINTERS THAT EMERGED IN THE MID 19th CENTURY AND THAT WERE INTERESTED IN MATERIALIZING THEIR PERCEPTIONS OF LIGHT AND COLOR, BROKEN BRUSH WORK.

IT'S MONET AS A TOURIST.

HE ONLY WENT ONE TIME TO VENICE PRETTY LATE, 1908.

HE WAS GRAPPLING THERE WITH THE CITY THAT HAD LONG BEEN THE SUBJECT OF MANY, MANY PAINTINGS.

IT LOOMED VERY LARGE IN THE PUBLIC AND ARTISTIC IMAGINATION.

MONET TRUE TO HIS FORM AT THAT TIME DEPICTED IT WITH NO PEOPLE WHATSOEVER.

HIS INTEREST WAS THE ATMOSPHERE, THE LIGHT, THE REFLECTION ON THE WATER.

IT'S A GORGEOUS PAINTING AND ONE THAT ALSO SITS KIND OF NEATLY BETWEEN WHAT WE THINK OF AS 19th CENTURY IMPRESSIONISM BUT ALSO LOOKS FORWARD TO WHAT WE NOW UNDERSTAND WOULD TURN INTO ABSTRACTION.

IN THE SECTION WE ALSO HAVE A REALLY BEAUTIFUL MARBLE BY AUGUST RHODAN.

IT IS DEPICTING ONE OF THE DANADs FROM GREEK MYTHOLOGY WHO WERE CONDEMNED TO REFILL WATER JUGS THAT LEAKED AND HAD HOLES IN THEM FOR ETERNITY, BUT REALLY IT WAS FOR RHODAN AN EXCUSE TO EXPLORE ONE OF HIS FAVORITE THEMES, THE FEMALE NUDE.

HE'S DONE THIS THING WHERE SHE'S COLLAPSED OVER ONE OF HER JUGS AND HE'S REALLY FOCUSED ON THE BEAUTIFUL LINES OF HER BACK CONNECTING HER IN A WAY TO THE SOR SORT OF RUFF HEWN MARBLE OUT OF WHICH SHE APPEARS TO EMERGE.

WHAT'S INTERESTING TO NOTE ABOUT THIS IS RHODAN, THIS GREAT SCULPTOR WOULD NOT HAVE HIMSELF SCULPTED THIS MARBLE.

HE, OF COURSE, WAS A MASTER OF MODELING IN CLAY AND MAKING THESE INITIAL MODELS.

HE WOULD THEN HAVE A REALLY SKILLED MARBLE CUTTER, SOMEONE WHO SPECIALIZED IN THAT CREATE THE FORM INITIALLY AND THEN HE WOULD GIVE IT THE FINAL TOUCHES.

BURT MORRISSEAU WAS BORN INTO A WEALTHY MIDDLE CLASS FAMILY AND THAT WAS THE MILIEU IN WHICH SHE LIVED HER WHOLE LIFE.

SHE WENT FOR SOME OF THE SAME PHOTOS HER OTHER IMPRESSIONIST ARTISTS WENT FOR.

AS A WOMAN AT THAT TIME, ESPECIALLY AS AN UPPER CLASS WOMAN, SHE DIDN'T HAVE THE SOCIAL FREEDOM TO MOVE IN THOSE CIRCLES.

SO MUCH OF HER WORK FOCUSED ON IMAGES IN THE DOMESTIC SPHERE, FRIENDS, FAMILY.

THE PAINTING HERE IS OF HER COUSIN AND HER COUSIN'S CHILD PAYING A SOCIAL CALL IN HER HOME STUDIO.

RATHER CONSERVATIVE COMPOSITION.

VERY REMINISCENT OF MOTHER AND CHILD IMAGERY YOU MIGHT THINK OF FROM THE RENNAISSANCE BUT SET I THE MODERN SPACE OF MID 19th CENTURY PARIS.

WHAT I LOVE SO MUCH ABOUT MORRISSEAU IS THAT HER BRUSH WORK WAS AMONG THE MOST RADICAL OF ANY OF THE IMPRESSIONIST PAINTERS IN THAT SHE REALLY PAINTED IN A FLUID, DELICATE TOUCH, VERY FEATHERY BRUSHSTROKES.

A REAL GREAT FEELING FOR COLOR AND SPACE AND SO IT'S REALLY GREAT TO HAVE SUCH A GREAT EXAMPLE OF HER WORK IN THE SHOW.

>>> NEXT, WE'LL ME IAD IADELI CASSELL, ONE OF THE MOST DYNAMIC TAP DANCERS AND EDUCATORS.

BORN IN THE BRONX AND RAISED IN PUERTO RICO, SHE FELL IN LOVE WITH TAP AFTER WATCHING FILMS FROM THE 1930s STARRING GINGER ROGERS.

CASSELL BEGAN TAKING TAP LESSONS WHILE STUDYING ACTING AT NYU.

IT WASN'T LONG BEFORE SHE FOUND HERSELF IN THE SPOTLIGHT.

HER MENTOR, GREGORY HINES, DESCRIBED HER AS ONE OF THE TOP YOUNG TAP DANCERS IN THE WORLD.

OVER THE YEARS HER CAREER HAS CONTINUED TO FLOURISH.

HER CRITICALLY ACCLAIMED WORK, CHASING MAGIC, PERFORMED AT THE JOYCE THEATER WON A 2021 BESSEY AWARD FOR OUTSTANDING PRODUCTION.

SHE IS NOW WORKING AS TAP CHOREOGRAPHER FOR THE BROADWAY REVIVAL "FUNNY GIRL."

AND SHE REPRESENTS HER ART FORM ON A U.S. POSTAGE STAMP.

"NYC ARTS" SPOKE WITH HER AT THE ORIGINAL TAPHOUSE IN THE BRONX.

>> TAP DANCING FOR ME IS MAGIC.

TECHNICAL DEFINITION, PERCUSSIVE AMERICAN ART FORM.

IT'S MUSIC IN MOTION.

I WOULD SAY THAT I AM MOSTLY CONCERNED WITH BEING AS MUSICAL AND AS EXPRESSIVE AS I CAN BE WHEN I TAP DANCE.

WHO YOU ARE AND LIKE HOW YOU CAME, HOW YOU ARE HERE IS WHAT INFORMS AND INFLUENCES THE SOUND THAT YOU MAKE AND THE MUSICAL PATTERNS THAT YOU MAKE.

SO I FEEL LIKE YOU'RE A CONGLOMERATE OF ALL OF THE THINGS YOU'VE EXPERIENCED.

I STARTED TAP DANCING WHEN I WAS 19 YEARS OLD AND FOR ME I WAS A BLACK PUERTO RICAN GIRL FROM THE BRONX WHO IDOLIZED GINGER ROGERS.

IT JUST REALLY COMPLETELY CHANGED MY LIFE.

♪ ♪ ♪ >> I LOVE LATIN MUSIC.

I GREW UP LISTENING TO IT.

I GREW UP IN PUERTO RICO FOR ABOUT SIX YEARS.

♪ ♪ ♪ >> LATIN MUSIC IS SOMETHING THAT I ENJOYED LISTENING TO.

I TAP DANCE TO IT ALL THE TIME.

I AM A CHAMPION FOR TAP DANCING AND I WILL SPEAK ABOUT IT EVERYWHERE I GO AND TRY TO PUT MY ENERGY IN ALL KIND OF DIRECTIONS.

I AM PERFORMING IT WITH ARTURO FARO, A LATIN JAZZ COMPOSER CONDUCTOR COLLABORATING ON A FEW PIECES THERE.

IF YOU'RE A MUSICIAN, YOU'RE PRETTY STATIONARY.

IF YOU ARE A PIANIST YOU SIT AT THE PIANO.

WE HAVE THE ABILITY TO BE AS MUSICAL AND MELODIC AND MOVE THROUGHOUT SPACE.

THAT'S ONE OF THE MOST FUN THINGS ABOUT BEING A TAP DANCER IS BEING ABLE TO COVER SPACE AND CREATE MUSIC WHILE YOU'RE DOING IT.

PEOPLE WILL SAY AND HAVE SAID THAT TAP IS A MALE DOMINATED ART FORM.

I BELIEVE NOW THAT THAT IS SHIFTING A BIT.

I CAN TELL YOU THAT MOST OF MY INFLUENCERS WERE MEN.

AT A CERTAIN POINT IN MY CAREER I STARTED THINKING, WELL, WHERE ARE THE WOMEN?

WHAT IT PROMPTED IN ME WAS THIS NEED TO SEARCH FOR THEM BECAUSE THERE'S SO MANY OF THEM.

I FOUND OUT THERE WAS LOIS FRIGHT.

LOW EASE MADISON, WHITMAN SISTERS, JUANITA PITTS.

JANINE SATORI ASKED ME TO CREATE A PIECE.

IT STARTED OUT AS A SHORT PIECE BUT IT IS NOW A FULL LENGTH SHOW THAT INCLUDES TAP DANCING AND ACTING.

IT IS ABOUT MY JOURNEY TO RECLAIMING EXPRESSION AND MY IDENTITY, MY COMMUNICATION, LANGUAGE AND THE ART FORM.

WE WEREN'T ALLOWED TO DO THIS.

HOLLYWOOD THOUGHT BEING A CHORUS GIRL WAS MORE OUR SPEED AND THEY THOUGHT WE LACKED THE STRENGTH TO PERFORM FLASHY STEPS.

>> AS I STARTED JUST DRAFTING I FOUND MYSELF SPEAKING A LOT ABOUT NOT JUST MY EXPERIENCE BEING ONE OF THE FEW WOMEN IN THAT CIRCLE MOSTLY MEN BUT ALSO I THOUGHT WHAT A GREAT OPPORTUNITY TO TALK ABOUT THESE WOMEN.

>> AND THE BRILLIANT LOIS WRIGHT WHO WASN'T BILLED WITH HER LAST NAME, JUST THE MILLET BROTHERS AND LOIS.

>> I WANTED TO WRITE SOMETHING THAT WOULD SERVE AS SORT OF MY MANIFESTO BECAUSE I WAS CONCERNED THAT I WOULD BE JUST LIKE THE WOMEN THAT NOBODY KNEW AB ABOUT.

THIS SPACE IS THE ORIGINAL TAPHOUSE.

ONE OF THE REASONS I CREATED THIS SPACE IS BECAUSE TAP DANCERS HAVE BEEN EDGED OUT OF A LOT OF REHEARSAL SPACES IN MANHATTAN.

WE ALSO FILMED OPERATION TAP OUT OF HERE.

>> 5, 6, 7, 8.

>> OPERATION TAP IS COMPRISED OF THREE FOLKS, MYSELF, MY FRIEND ANTHONY GERARDO, AND MIKE MILLY.

WE TEACH INTERNATIONALLY, NATIONALLY.

AND WE FOUND THAT IN OUR TRAVELS PEOPLE REALLY WANTED TO TAP DANCE BUT THEY FELT THAT THEY DIDN'T HAVE THE RESOURCES AROUND.

THEY DIDN'T HAVE THE TEACHERS AT THEIR DANCE STUDIOS OR IN MANY CASES THEIR TAP DANCES WOULD BE CUT OUT.

WE THOUGHT, WELL, IF WE CREATE SOMETHING WHERE ALL YOU NEED IS THE INTERNET AND YOU CAN GET ON AND YOU CAN LEARN COMBINATIONS AND YOU CAN LEARN TECHNIQUE EXERCISES, WE HAVE A LOT OF ENGAGEMENT WITH YOUNG FOLKS AND I THINK WE'VE BEEN REALLY, REALLY SUCCESSFUL.

ONE OF MY MISSIONS IN LIFE IS TO REAWAKEN THE APPRECIATION THAT PEOPLE HAVE ALREADY IN THEM FOR TAP DANCING.

I FEEL LIKE EVERYBODY LOVES IT, EVEN IF THEY DON'T KNOW ABOUT IT.

I FEEL LIKE THEY LOVE IT AND I WANT TO MAKE SURE THAT PEOPLE ARE OPEN TO IT, THAT THERE'S A SPACE FOR IT IN EVERY ARENA POSSIBLE.

IF I DIE AND TAP DANCING IS REGARDED AS IMPORTANT AS BALLET IS, YOU KNOW, AND AS MUSIC IS, THEN I THINK IT WOULD HAVE BEEN REALLY WORTH IT.

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

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

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

>>> NEXT, WE'LL VISIT THE SOUTH STREET SEAPORT MUSEUM AND ITS BELOVED TUGBOAT W.O.

DECKER.

THIS UNIQUE VESSEL IS A TESTAMENT TO NEW YORK CITY'S MARITIME HERITAGE.

IT IS DIRECTLY LINKED TO THE CITY'S GLOBAL PROMINENCE TODAY AND HAS EVEN BEEN LISTED ON THE NATIONAL REGISTER OF HISTORIC PLACES.

YOU CAN GET ON BOARD THE W.O.

DECKER ON SATURDAYS AND SUNDAYS FOR A CRUISE AROUND NEW YORK HARBOR HEADING FOR LADY LIBERTY.

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

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

I'M NOT ALLOWED TO HAVE FAVORITES, BUT IF I HAD A FAVORITE AND IF THAT FAVORITE WERE W.O.

DECKER, IT WOULD BE BECAUSE SHE'S SO CUTE.

SHE'S A LITTLE TINY OLD TUG.

SHE'S 50 AND A COUPLE FEET LONG.

BUILT IN 1950.

SHE'S THE LAST SURVIVING WOODEN TUG.

NOT A BIG OCEAN GOING TUG AND THE ONES THAT ARE A LOT LARGER.

SHE HAS SPENT HER WHOLE LIFE IN NEW YORK CITY.

SHE IS A BORN AND BRED NEW YORKER.

SHE'S BEEN PART OF THE MUSEUM'S FLEET FOR YEARS.

FOR THE LAST DECADE SHE WAS NOT ABLE TO OPERATE.

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

SHE HAD A ROBUST RESTORATION AND WAS ACTUALLY CERTIFICATED.

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

THE EXPERIENCE IS NOT IMPOPOSH.

IT PROBABLY IS A LITTLE WET, SMELLS LIKE DIESEL BUT IT IS PROFOUNDLY AUTHENTIC.

IT IS JUST ABOUT AS MUCH FUN AS YOU CAN HAVE ON NEW YORK HARBOR.

FOR ME TO SEE NEW YORK HARBOR WHICH I TEND TO LOOK AT THROUGH AT LEAST SOME MEASURE OF NEW YORK LENS, TO SEE IT THROUGH THE DECK UNDER THE 19th CENTURY BROOKLYN BRIDGE IN A TUG FROM THE EARLY 20th CENTURY IS REALLY A SPECIAL EXPERIENCE.

W.O.

DECKER SAILS WITH A COAST GUARD LICENSED CAPTAIN AND THE CREW.

THE CREW VARIES WITH THE TYPE OF TRIP WE'RE DOING.

IT ALMOST ALWAYS INCLUDES VOLUNTEER SAILORS.

WE PRESERVE THE ARTIFACT AND THE SKILLS BECAUSE TO DO ONLY ONE AND NOT THE OTHER IS TO DO HALF THE JOB.

50 YEARS FROM NOW W.O.

DECKER WILL BE HERE AND SO TOO WILL A GROUP OF PEOPLE THAT KNEW HOW TO OPERATE HER.

THAT KIND OF ENGAGEMENT MAKES US A REALLY SPECIAL PLACE.

>>> NEXT WEEK ON "NYC ARTS" A VISIT TO MOMA AND THE EXHIBITION OURSELVES.

PHOTOGRAPHS BY WOMEN ARTISTS FROM HELEN CORNBLUM.

>> THIS EXHIBITION INVITES YOU TO CONSIDER THE WAYS IN WHICH WOMEN ARTISTS OFTEN OPERATING ON THE MARGINS OF CULTURES HAVE RETHOUGHT AND REIMAGINED ARTISTIC AND SOCIAL PRACTICES WITHIN THE MODERN AND CONTEMPORARY WORLDS.

>> A VISIT WITH FAITH RINGOL.

ARTIST, AUTHOR, ORGANIZER.

ONE OF THE KEY FIGURES IN THE ART WORLD TODAY.

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

MUSICIANS, THE ARTISTS, THE POLITICIANS.

ALL OF THESE TRULY GREAT PEOPLE.

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

>> THE CENTER OF THE QUILT IS EMBLAZONED WITH A LARGE LETTER L. ALSO INCLUDED IS A MUSICAL STAPH AND NOTES.

WHEN KLARA AND HER FAMILY MADE THE JOURNEY BY COVERED WAGON, INCLUDED WAS HER PIANO.

>>> I HOPE YOU ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZHAN AT POSTER HOUSE IN CHELSEA.

THANK YOU SO MUCH FOR JOINING US.

GOOD NIGHT.

>>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY THE VALENO FOUNDATION.

THE LOUIS SUNNY TURNER FUND FOR DANCE.

AMBROSE MONELL FOUNDATION.

ELISE JAFFEY AND JEFFREY BROWN.

CHARLES AND VALERIE DEIKER.

NANCY SEID FOUNDATION.

L. ROY AND TERRY CRUMBHOLE FOUNDATION.

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 IN PART BY -- >>> AND BY --