♪ >> COMING UP ON NYC ARTS, A LOOK AT AROUND THE SISHLGLE, A VIEW AT THE GUGEHEIM.

>> HE PURSUED AN ARTISTIC CAREER AFTER ABANDONING A LAW CAREER.

>> WE SEE THIS BLUE MOUNTAIN ANCHORING THE CANVAS, AND THIS WONDERFUL SERIES OF HORSE AND RIDERS.

CAN YOU ALMOST FEEL THE WIND THROUGH THE RIDERS' HAIR.

>> AND THIS REFLECTS 2000 YEARS OF ARTISTIC ACCOMPLISHMENT.

>> IN THE NEW GALLERY, A PAIR OF FOLDING SCREENS, THAT DATE FROM 1610.

THEY HAVE LARGELY GOLD BACKGROUNDS, WHICH WOULD HAVE HELPED TO REFLECT LIGHT IN THE DARK INTERIOR OF THE CASTLE, AND MADE THE ROOM MORE WARM, AND GLOWING.

>> AND THE TRIP TO THE METROPOLITAN MUSEUM, FOR A HIGHLIGHT IN THE CAREER OF POSTWAR AND CONTEMPORARY ART.

>> THE PAINTING SERVES AS AN INVENTORY OR CATALOG OF PAINTER STROKES, SOME THICK, SOME THIN.

SOME STABLE, SOME STRONG.

OTHERS, FLUID.

OTHERS WEAK.

>> FUNDING FOR NYC ARTS IS MADE POSSIBLE BY -- IN MIDTOWN MANHATTAN, MORGAN BEGAN AS THE PRIVATE LIBRARY OF PIERRE MORGAN, ONE OF THE PREMIER BENEFACTORS IN THE UNITED STATES.

FOUNDED IN 1906, THE MORGAN SERVES AS A MUSEUM, LIBRARY, ARCHITECTURAL LANDMARK AND HISTORIC SITE.

I AM HERE AT THE EAST RIVER, MR. MORGAN'S LIBRARY, DESIGNED BY CHARLES McKIN.

COMPLETED YEARS BEFORE McKIN'S DEATH, IT IS CONSIDERED TO BE HIS MASTERPIECE.

THE IDEAL OF THE UNITY OF ALL THE ARTS, INTEGRATING, ARCHITECT, SCULPTURE AND PANTING, USING THE FINEST MATERIALS AND MASTERSHIP.

>> 300 YEARS OF COLLECTING IN DRESDEN.

THE EXCEPT IICAL, ESTABLISHES I 1720, IT IS ONE OF THE WORLD'S OLDEST MUMPS DEDICATED TO WORKS ON PAPER.

60 DRAWINGS BETWEEN THE 15th AND 20th CENTURY, AND CELEBRATING PIVOTAL MOMENTES AND KEY TRADITIONS IN THE HISTORY OF EUROPEAN DRAFTSMANSHIP.

THE "PORT TRAIT OF AN OLDER MAN" BY THIS GREAT PAINTER.

IT HAS NEVER BEFORE TRAVELLED TO THE UNITED STATES.

DELICATELY MODELLED, USING SILVER POINT, THE "PORT TRAIT OF AN OLDER MAN."

INCLUDED, NORTHERN EUROPEAN DRAWINGS.

AS WELL AS REMBRANT.

SOUTHERN EUROPE WORKS ARE REPRESENTED BY OTHERS.

REMBRANT'S OF 1635, WAS ONE OF THE MASTERPIECES OF THE DRAWING COLLECTION.

MADE WITH PEN, BRUSH AND BROWN INC., AN EAGLE ABDUCTING A YOUNG, GREEK HERO FROM TROY.

IT DELINEATE THE EAGLE'S BODY, TO LOOSE SWIRLS, IT WAS USED AS A PREPATORY STUDY, IN THE DRESDEN COLLECTION.

AND AMONG THE WORKS PRODUCED IN THE 19th AND 20th CENTURIES.

ON THE COLOR DESIGN OF 1926, AMONG THE RICH HOLDINGS OF MODERN DRAWINGS, ASKED TO DESIGN THE INTERIOR, LADIES SALON, IN THE HOUSE OF THE COLLECTOR.

A PROPONENT FOR MODERNISM IN THE CITY.

ALTHOUGH THE COMMISSION WAS NEVER REALIZED, THE DESIGN IS PRESERVED IN THIS MASTER PLAN.

THE ARTIST USED A STYLE OF PAINTING CONSISTENTING OF STRAIGHT LYINGS, RECK RECTANGULAR SHAPES AND PRIMARY COLORS, TURNING THE PLAN INTO A THREE DIMENSIONAL SPACE.

NATIVE WATER COLOR, GRAPHITE PENCIL, CLEARLY OUTLINED, FIELDS OF VIBRANT COLOR.

THE EXPECTATION IS ON VIEW THROUGH JANUARY 23, 2022.

>> A CENTRAL HAVING IN THE GUGGENHEIM.

>> HIS GROUND BREAKING ABSTRAXZ, TO OFFER A THOUGHT PROVOKING VIEW OF HIS WORK.

>> I THINK WHEN PEOPLE THINK OF K KADENSKI, HE IS REINVENTING HIMSELF AT EVERY TURN.

WE ARE IN THE EXHIBITION AT THE GUGGENHEIM.

THIS IS OVER 70 WATER COLORS, WOOD CUTS, AND PAINTINGS FROM THE GUGGENHEIM COLLECTION.

HIS HE BEGAN COLLECTING HIS WORK IN THE 1920s.

HE WAS A RUSSIAN-BORN ARTIST, STARTED IN ART, AFTER ABANDONING A LAW CAREER.

IT WAS A VIBRATE CULTURE.

BLUE MOUNTAIN IS A CANVAS FROM 1906, WORKING IN AN EXPRESSIONISTIC MANNER.

WE SEE A BLUE MOUNTAIN, ANCHORING THE BACKGROUND, IN THE FOREGROUND, A SERIES OF HORSE AND RIDERS.

YOU CAN ALMOST FEEL THE WIND RUSTLING THROUGH THE RIDER'S HAIR.

HE WAS STILL FINDING HIMSELF AS AN ARTIST.

AND WORKING IN THIS REALM, BECOMING LOOSER WITH HIS BRUSH WORK.

IMAGERY IS LESS IMPORTANT THAN THOSE COLORS.

LINE AND FORM.

IN JUST A FEW SHORT YEARS, HE AM CANS TO A MORE ABSTRACT STYLE.

>>> 1913 WAS A VERY IMPORTANT YEAR FOR KANDIKSKI, HE WOULD DO WHAT HE WOULD CALL ABSTRACT CANVASS, PAINTING WITH WIDE BOARD, HE IS ON THE PRECIPICE.

HE IS ABOUT TO JUMP OFF THE CLIFF, HE HASN'T DONE SO YET.

THE IMAGERY IS LOOSE, A LOT OF SWIRLING BRUSH WORK IN THERE.

JUST A FEW MONTHS, PRIOR, TO THE FALL OF 1920, HE RETURNED TO NATIVE MOSCOW, WHEN WE COMES BACK TO MUNICH, HE WANTED TO CAPTURE THE FEELING OF MOSCOW ITSELF.

A THREE-HORSE SLED IN THE CENTER.

A THE PATRON SAINT OF MAS KOE, TO THE DRAGON.

THIS WORK, UNDERSCORES THE WAY MEMORY, AND PLACE INFUSED HIS WORK.

COMPOSITION E, A PAINTING FROM 1923.

THE YEAR PRIOR, KANDENSKI, THE ART SCHOOL FOUNDED AFTER THE FIRST WORLD WAR.

THIS PAINTING EPITOMIZES HIS STYLE IN THIS MOMENT.

A MORE GEMETRY LANGUAGE, THE CIRCLE, THE SQUARE, THE TRIANGLE, THE LINE.

THERE IS A WONDERFUL ENERGY TO THE CANVAS, PULSATING BETWEEN CALM AND AGGRESSIVE.

THIS GEOM TREE THAT TAKES US INTO THIS OTHER DIMENSION.

SEVERAL CIRCLES FROM 1926, IS ANOTHER PAINTING FROM HIS BOW HOUSE PERIOD.

FOR HIM, IT WAS A SHAPE THAT REPRESENTED BALANCE AND HARMONY.

IN THIS WORK, IT IS HARD NOT TO THINK OF ANOTHER DIMENSION, A SPIRITUAL REALM.

AROUND THE CIRCLE FROM 1940 IS A LATE LIFE PAINTING, CKANDENSKI SAID THAT LIGHT OF PARIS EXPANDED HIS PALLET.

WE SEE PASTELS, AND BIOMORIF I CAN IMAGERY.

FOR ME, IT BRINGS EVERYTHING TOGETHER.

THE WAYS IN WHICH HE IS GOING BACK TO EARLIER MOMENTS IN HIS CAREER.

WE SEE THIS KIND OF SUSTAINED INTEREST IN FOLKLOWER, DRAWING FROM NARRATIVES OF METE MO MORPHESIS, THINKING ABOUT S SPIRITUAL ASKENDANCE AND TRANCE FORMATION.

HIS STORY IS ONE OF ADAPTATION, AND DISPLACEMENT, AS HE ADAPTS TO EACH NEW SURROUNDING.

ULTIMATELY, IT IS A STORY OF RESILIENCE.

IT WAS GROUND-BREAKING.

IT SET THE STAGE FOR SO MANY ARTISTIC ADVANCEMENTS THROUGH THE NEXT DECADES.

♪ >> IN A TRIP TO THE MILLKEN MUSEUM, THE ARTS OF JAPAN GALLERY.

2000 YEARS OF JAPANESE ART, B BUD BUDDHIST.

>> ALL OF OUR BEAUTIFUL TREASURES TO, IT WILL NEW AND INTERESTING STORIES WE NEVER TOLD BEFORE.

THE BROOKLYN MUSEUM IS UNUSUAL, WITH LARGE HOLDINGS FROM MATERIAL FROM THE CULTURE OF NORTHERN JAPAN.

WE ARE VERY FORTUNATE TO HAVE ROUGHLY A THOUSAND ARTIFACTS THAT INU PEOPLE.

CARVED WOOD, TOORNAMENTS, COSTUMES, WHAT THEY WORE IN A CEREMONIAL SETTING.

WE HAVE A NUMBER OF ROBES FROM THE PEOPLE THAT WERE PROBABLY SPECIAL OCCASION ATTIRE.

MOST OF THE ROBES MADE BY THE COSTUME MAKERS WERE MADE OF INDIGENOUS FABRIC, BUCK CLOTH.

IT HAS A TEXTURE KIND OF LIKE BURLAP.

THE ROBE WE ARE SHOWING NOW, IT IS MADE ENTIRELY OF COTTON.

COTTON WAS SOMETHING THAT THEY HAD TO TRADE FOR.

THEY COULDN'T GROW COTTON UP IN THE NORTHERN CLIMBS OF THE ISLAND.

SO, COTTON AS A TRADE GOOD WOULD HAVE BEEN A LUXURY ITEM.

THE ROBES MADE ENTIRELY OF COTTON WERE VERY MUCH STATUS OBJECTS.

THIS WONDERFUL, OVERSIZED GREEN HEAD DATES FROM THE 1,200S, A MOMENT WHEN SCULPTURE IN JAPAN BECAME MORE LIVE LIER AND EXPRESSIVE.

THE HEAD IS MUCH LARGER THAN LIFE SIZE, AND WOULD HAVE STOOD ATOP A FIGURE 12 FEET HIGH.

IT WOULD HAVE BEEN ONE OF FOUR FIGURES MARKING THE FOUR CORNERS OF A PLATFORM AROUND AN EVEN LARGER SEATED BUDDHA, AND IN THE DARK, DIM LIGHT OF THE TEMPLE, YOU WOULD HAVE LOOKED WAY UP TOWARD THE CEILING AND SEEN THE FIGURES GLINTING EYES AND WHITE TEETH, INTIMIDATING AND DRAMATIC.

THE EYES IN FACT ARE MADE OF ROCK CRYSTAL, PAINTED ON THE REVERSE.

THEN INSERTED INTO THE WOOD HEAD.

SO, A FIERCE FIGURE LIKE THIS, TO A WESTERN AUDIENCE, CAN BE MISTAKEN FOR A DEMONIC OR EVIL PRESENCE, IN FACT, IN THIS BUDDHIST TRADITION, THEY ARE ON OUR SIDE.

FIGHTING FOR THE RIGHT THINGS.

ONE OF THE GREATEST HIGHLIGHTS IN THE NEW GALLERY IS A PAIR OF FOLDING SCREENS THAT DATE FROM 1610.

THESE WERE MADE FOR THE INTERIOR OF THE CASTLE.

THEY HAVE LARGELY GOLD BACKGROUNDS THAT WOULD HAVE HELPED TO REFLECT LIGHT IN THE DARK INTERIOR OF THE CASTLE.

MADE THE ROOM SORT OF MORE WARM AND GLOWING.

THE THEME OF THESE TWO FOLDING SCREENS IS DRYING FISH NETS.

THAT IS NOT SOMETHING THAT WE IN THE MODERN WORLD SEE A LOT OF.

BACK IN THE DAYS WHEN FISH NETS WERE MADE OF NATURAL MATERIALS, THERE WERE CONCERNS THEY WOULD GET MOLDY.

IF YOU ARE A FISHERMAN, YOU NEED TO THROW THEM.

YOU NEED THEM TO BE LIGHTER.

NOT SO WET.

IT WAS A COMMON SIGHT TO SEE NETS HANGING OUT TO DRY.

THAT WAS CONSIDERED EXTREMELY SCENIC, PICTURESQUE.

IT REPRESENTS THE FOUR SEASONS, WE WILL READ IT RIGHT TO LEFT.

IF YOU START AT THE FAR RIGHT END, YOU SEE THERE ARE GRASS SAYS, GROWING AROUND THE NETS, THEY ARE RELATIVELY SHORT.

AS YOU MOVE TO THE LEFT, YOU HAVE TALLER GRASS SAYS.

YOU HAVE GONE FROM SPRING TO SUMMER.

THE NEXT SPRING, THEY ARE BROWN AROUND THE EDGE, THEY HAVE GONE TO SEED.

THAT IS FALL.

IN THE FAR LEFT.

AND THE BROOKLYN MUSEUM HOUSES A WONDERFUL COLLECTION OF JAPANESE PRINTS, MANY OF WHICH HAVE NOT BEEN OUT ON VIEW IN DECADES.

NOW, THIS IS FROM THE SAME SERIES AS THE GREAT WAVE.

THE IMAGE BY THE GREAT JAPANESE PRINT DESIGNER.

IT IS A SERIES THAT FOCUSES ON MOUNT F THAT IS IN FACT THAT WE ARE SEEING BLUE SKIES OFF IN THE DISTANCE.

THE BROOKLYN MUSEUM ARTS OF JA JAPAN, IS SOMETHING WE WILL BE CHANGING MANY TIMES, IN ORDER TO SHOW MORE AND MORE TREASURES.

WE ENCOURAGE PEOPLE TO MAKE DISCOVERS OF THEIR OWN.

>> NEXT, A VISIT TO THE METROPOLITAN MILLENNIUM POSTWAR ART, IT EXPLORES LARGE SCALE ABSTRACT PAINTINGS, AND OTHER WORK OF ART.

IT SEEMS TO BROADEN THE NARRATIVE 6 ABSTRAKZ, FROM THE METROPOLITAN'S COLLECTION, JACKSON POLLACK, MARK ROTHGO, MARK PATRICK.

CONTEMPORARY ART AT THE MET, PRESENTS ONE OF OF THE HIGHLIGHTS OF THE EXHIBITION.

>> COLORFUL AND ATTRACTIVE PAINTING BEHIND ME.

>> A SENSE OF EXPERIMENTATION.

SPECIFICALLY, THE MINIMALIST THAT WAS CONSIDERED TO BE THE MOST DESIRABLE TEMP PLATE.

COMPETITION AND DESIGN FOR SO MANY ARTISTS, PAINTERS COMING OF AGE IN THE LATE 1960s AND 1970s.

THIS IS A PAINT OG CANVAS, USING A WIDE RANGE OF PAINT.

ACRYLIC AND SPRAY ENARMLE.

APPLYING PAINT FOR THE SEQUENCE OF CLEAR BREAST STROKES, MOST OF THEM WITH THE OIL PAINT.

THERE ARE INSTANCES, HER PROCESS IS ADDITIVE AND SUBSTRAKTIVES, MAKING STROKES BY ADDING BRUSH MARKS, AND EXECUTES, IN SOME CASES, TO MAKE AN ABSENCE OF A STROKE.

PART OF THE APPEAL OF THE PAINTING IS THAT IT EXPANDS AND BLOWS UP IN SCALE WHAT AN ARTIST PALLET MIGHT LOOK LIKE.

YOU GET A SENSE OF THE FULL RANGE OF AN ARTIST PALLET THAT SHE IS PREPARING TO USE.

THE PAINT AND IN CERTAIN PASSAGES, IS PILED UP.

IT IS THICK, AND COAGULATED, IN OTHER INSTANCES, SHE IS ALLOWING THE STROKES TO RUN AND POUR OVER EXPANS.

IT SERVES AS A CATALOG OF PARTICIPATING STROKES, SOME THICK, SOME THIN, SOME STABLE, SOME STRONG, OTHERS, FLUID.

OTHERS, WEAK.

SCHNEIDER HERE, WALKS A FINE LIKE BETWEEN EXPERIMENTATION AND DELIBERATION.

♪ >> NEXT WEEK ON NYC ARTS, THE TRIP DOWN TO THE JASPER MUSEUM, A RETROSPECTIVE OF THIS 91-YEAR-OLD ARTIST OVER SEVEN DECADES.

>> ALTHOUGH JOHNS IS WELL KNOWN FOR HIS DRAWINGS, PAINTINGS AND PRINTS, HE MADE SCULPTURES, LIKE THE TWO ELK CANS, OR THE CAN FULL OF BRUSHES, HE RETURNED IN A RIGOROUS WAY TO SUPTURES IN THE EARLY 2000S.

>> A VISIT TO THE AMERICAN FOLK ART MUSEUM, AND AMERICAN WEATHER VAINS.

THE ART OF THE WINDS.

>> IT IS AN EXHIBITION AT THE FOLK ART MUSEUM, BRINGING TOGETHER A NEVER BEFORE GROUP.

A SENSE OF PRIDE, AND PERSONAL OR SOCIAL IDENTITY.

>> A VISIT TO THE CHAPEL IN ST. PETER'S CHURCH IN MIDTOWN MANHATTAN.

>> ONCE INSIDE, ARE YOU SURROUNDED BY NEFIL SON, SHE WAS THE GRAND MOTHER OF ART IN AMERICA, SURROUNDING PEOPLE WITH ART.

>> I HOPE YOU ENJOYED OUR PROGRAM TONIGHT.

ON LOCATION, AT MARGAN LIBRARY AND MUSEUM.

THANK YOU FOR WATCHING, SEE YOU NEXT TIME.