♪ >>> COMING UP ON "NYC ARTS," A PROFILE OF THE GROUNDBREAKING MARTHA GRAHAM DANCE COMPANY FOUNDED BY ONE OF THE MOST INFLUENTIAL ARTISTS OF THE 20th CENTURY.

>> GRAHAM'S WORK REQUIRES THE PERFECT MARRIAGE OF THE PHYSICAL AND EMOTIONAL.

HER MOVEMENT IS DESIGNED TO REVEAL THE INNER LANDSCAPE AND REALLY FINDING THAT BALANCE BETWEEN THE PHYSICALITY AND THE EMOTIONAL JOURNEY WITHOUT BECOMING MELODRAMATIC IS THE CONSTANT BATTLE.

>> AND A VISIT TO THE MET MUSEUM FOR A LOOK AT EXHIBITION "EPIC ABSTRACTION: FROM POLLACK TO HERRERO".

>> IT'S PAINTERS STROKES, THICK, THIN, STABLE, STRONG, OTHERS FLUID, OTHERS WEAK.

>>> 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.

THE 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.

LOOKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.

>> AND BY -- >> SINCE 1975, PROVIDING FABRICS AND DECORATIVE ACO ACOUSTIC PROS AND CUSTOM ACOUSTICAL DESIGN FOR RESIDENTIAL AND BUSINESS NEEDS.

INFORMATION ONLINE.

♪ >>> GOOD EVENING AND WELCOME TO "NYC ARTS," I'M PAULA ZAHN.

TONIGHT WE GO BEHIND THE SCENES WITH ORIGINALLY DANCE COMPANY, MARTHA GRAHAM DANCE COMPANY WAS FOUNDED BY ONE OF THE MOST INFLUENTIAL ARTISTS OF THE 20th CENTURY.

MEETING THE CHALLENGES OF THE ONGOING PANDEMIC, THE COMPANY HAS BROUGHT MARTHA GRAHAM'S COMPANY ONLINE TO THE WORLD.

WILL NOW RETURN IN PERSON FOR LIVE PERFORMANCES AT JOYCE THEATER OCTOBER 26th THROUGH OCTOBER 31st.

SEASON WILL FEATURE A WORLD PREMIERE BY CHOREOGRAPHER ANDREA MILLER AND WORKS BY ELISA MONTE, SIR ROBERT COHAN AND PAM TANOWITZ.

THE WORK IS INSPIRED BY RHYTHM, SPEED AND SURGE OF LIFE.

PERFORMED TO SOUNDSCAPE BY WILL EPSTEIN.

PAM TANOWITZ'S IS SET TO TWO SCORES BY CAROLINE SHAW.

COMBINES STEPS AND PHRASING FROM LESSER KNOWN WORKS WITH TANOWITZ'S OWN INCENTIVE MOVEMENT.

THE SEASON ALSO INCLUDES A NUMBER OF GRAHAM'S CELEBRATED MASTERWORKS.

♪ "STEPS IN THE STREET" A POWERFUL ANTIWAR STATEMENT DRAWN FROM "CHRONICLE," CREATED IN 1946, A RESPONSE TO MENACE OF FACISM IN EUROPE AND WAR.

"APPALACHIAN SPRING," AARON COPELAND AND NORMAN DELLO JOIO.

A SENSE OF HOPE AS WAR IN EUROPE COMES TO A CLOSE.

"DIVERSION OF ANGELS" TAKES THEME FROM MANY ASPECTS OF LOLOVE, SET TO MUSIC BY NORMAN DELL DELLO JOIO, NOW A LOOK BACK AT THE MARTHA GRAHAM DANCE COMPANY IN THE STUDIO.

>> I STARTED AS DANCER WITH THE COMPANY IN 1972, AND CAME BACK TO THE COMPANY AS ARTISTIC DIRECTOR IN 2005.

MARTHA FROM THE VERY FIRST REHEARSAL I HAD WITH HER TAUGHT ME LIFE LESSONS, AND THE THEME THAT RUNS THROUGHOUT HER ENTIRE CAREER IS THE EMPOWERMENT OF THE INDIVIDUAL, BEING TRUE TO YOUR OWN UNIQUE POWER, IT IS UNIQUE AND YOURS ALONE TO DEVELOP.

WHEN SHE DIRECTED US IN HER ROLES, DIDN'T CROSS HER MIND WE MIGHT DANCE THE ROLE EXACTLY AS SHE HAD.

I HAD A DIFFERENT DYNAMIC AND DIFFERENT PERSONAL AURA AND SHE EXPECTED ME TO TAP THOSE THINGS, USE MY OWN UNIQUE QUALITIES AS POWERFULLY AS POSSIBLE.

>> MY ARTISTIC DIRECTOR JANET ALBER HAS TAKEN THE APPROACH OF ALLOWING ME TO FIND MY WAY INTO A ROLE, CREATE MY INTERPRETATION WITHIN THE CHOREOGRAPHY AND STRUCTURE OF COURSE.

I DIDN'T KNOW MARTHA GRAHAM, I DON'T HAVE THE PRESSURE OF WHAT THAT PERSONALITY MEANT TO ME, BUT I CAN WORK FROM THE PHILOSOPHY AND TEACHINGS AND TECHNIQUE OF THE WORK.

>> MY JOURNEY IS MARTHA GRAHAM'S TAKE ON THE OEDIPUS STORY, AND JOCASTA, HIS WIFE/MOTHER.

ONE OF THE GREATEST EXAMPLES OF HOW MARTHA UTILIZED TIME ON STAGE.

DANCE BEGINS WHERE THE PLAY ENDS.

JOCASTA UNDERSTANDS THE TRUTH AND IS ABOUT TO ENTER LIFE AND DANCE TAKES PLACE LIKE LIFE FLASHING BEFORE HER EYES.

WE TRAVEL BACK IN HER MEMORIES, SEE HER MEETING OEDIPUS AS YOUNG MAN, COURTSHIP AND MARRIAGE.

END OF THE BALLET IS RETURN TO THE ROPE AND SHE ENDS IT ALL.

>> STEPPING INTO JOCASTA AND HER PSYCHE, WHAT IS SHE THINKING, THAT IS A DIFFICULT QUESTION.

AS SHE GOES BACK IN TIME AND RELIVES HER BAD CHOICES, WE REALIZE THAT SHE'S AN INNOCENT IN THIS, SHE HASN'T DONE ANYTHING WILLINGLY, BUT SHE HASN'T FOLLOWED HER INSTINCTS.

ALL THE NUANCES THAT ONE MUST PORTRAY FOR THE AUDIENCE AND ENERGIES THAT THE DANCER MUST EVOKE TO GET THAT ACROSS, THAT IS A GREAT DRAMATIC CHALLENGE.

>> JOCASTA I THINK IS PROBABLY THE MOST COMPLEX ROLE.

SO AS ACTRESS AND DANCER, THE MANY DIFFERENT FACETS AND ELEMENTS THAT YOU CAN ADD INTO THAT ROLE, IT'S ENDLESS, INFINITE.

>> TRYING TO FIND MY OWN JOCASTA BECAUSE I CAN NEVER BE LIKE MARTHA GRAHAM OR ANYBODY IN THE PAST WHO HAS DONE THAT PIECE.

I ADD A LITTLE BIT OF CULTURAL BACKGROUND INTO THAT ROLE, LITTLE BIT ASIAN OR CHINESE OR JAPANESE KABUKI GESTURE, EMOTIONAL-WISE, THERE'S A VALUE IN THE TECHNIQUE TO COMMUNICATE TO BRING THE STORY TO TALK WITH YOUR BODY, IT'S THE MOST CHALLENGING PART FOR THE DANCER.

>> THE ELEMENTS OF THE GRAHAM TECHNIQUE HAVE REMAINED CONSTANT, THAT TORSO IS DRIVING THE MOVEMENT, THE TORSO BEING THE CENTER OF EMOTION, ALSO INTIMATE AND DESCRIPTIVE OF THE EMOTIONAL JOURNEY.

THAT FAMOUS MARTHA GRAHAM CONTRACTION AND RELEASE IS SO VISCERAL.

>> THE CONTRACTION, IT'S NOT A SHAPE, A CONTRACTION IS A LIFT AND A MOVEMENT IN SPACE.

IT'S A WAY TO MOVE THROUGH SPACE.

THAT TAKES EXTREME DEPTH OF MUSCLE CONTROL TO ACCESS AND TO ACHIEVE.

SO THAT REALLY IS THE MOST DIFFICULT PART FOR ANY OF US.

WE HAVE TO TRAIN IN IT CONTINUOUSLY.

>> GRAHAM'S WORK REQUIRES THE PERFECT MARRIAGE OF THE PHYSICAL AND THE EMOTIONAL.

HER MOVEMENT IS DESIGNED TO RER REVEAL THE INNER LANDSCAPE AS SHE USED TO SAY AND REALLY FINDING THAT BALANCE BETWEEN THE PHYSICALITY AND EMOTIONAL JOURNEY WITHOUT BECOMING MELODRAMATIC IS THE CONSTANT BATTLE.

HER TAKE ON THE STORY OF MEDEA.

>> PEOPLE THINK IT'S EVIL, VIOLENT AND DARK.

FOR ME IT'S A WOMAN, HUMAN EMOTION THAT NATURALLY CAME OUT.

IF SOMEBODY HURT YOU, BETRAYED YOU, EVENTUALLY YOU WANT TO DO SOMETHING TO THEM.

ANGER AND REVENGE.

I ENJOY A LOT, FOR ME A WAY TO REALLY RELEASE MYSELF.

SIDE THAT NEVER CAME OUT IN NORMAL LIFE.

>> "LAMENTATION" IN 1930 OF COURSE WAS THE SHOT HEARD ROUND THE WORLD FOR MODERN DANCE.

TO DO SOMETHING THAT WAS SO STARK, SO MODERNIST, THERE'S NO DECORATION, NO ESCAPISM, IT REALLY IS THE THING ITSELF.

>> "LAMENTATION," ONE OF MY FAVORITE WORKS OF MARTHA, IT'S FOUR MINUTES, SHORT, AND VERY HARD.

BECAUSE THE FABRIC IS RESISTANT.

STRETCHING THE FABRIC LIKE STRETCHING YOUR SKIN, TRYING TO BREAK THROUGH A CERTAIN PRESSURE TO RELEASE THE SADNESS.

>> THE LAMENTATION VARIATIONS STARTED IN 2007, WE ASKED YOUNG CHOREOGRAPHERS TO CREATE SHORT WORKS FOR THE COMPANY INSPIRED BY FILM OF MARTHA DANCING HER ICONIC SOLO "LAMENTATIONS."

IT'S PART OF LARGER INITIATIVE FINDING NEW POINTS OF AUDIENCE ACCESS TO THE GRAHAM WORKS.

>> WITH NEW CHOREOGRAPHERS, DANCER LEARNS A TREMENDOUS AMOUNT ABOUT WHO THEY ARE, I LEARNED ABOUT WHO I AM CREATIVELY, HELPED ME BRING VITAL ENERGY TO REPERTORY WORK.

FOR ME "APPALACHIAN SPRING" IS PERENNIAL FAVORITE.

I WAS ABLE TO PLAY THE FOLLOWERS, THEN MARTHA GRAHAM'S ROLE OF THE BRIDE.

PRIVILEGED TO BE COACHED BY SUBSEQUENT BRIDE TO MARTHA GRAHAM, THAT'S TRANSMISSION OF KNOWLEDGE I RECEIVED AND DANCERS COMING INTO THE WORK AS SHOULD BE, IT'S CYCLICAL.

>> THERE ARE MANY, MANY DIFFERENT WAYS TO APPRECIATE GRAHAM AND TO CONNECT WITH HER WORK.

WHETHER IT'S THE GREEK MYTHS OR THE BIBLE, WHETHER IT'S SIMPLY UNDERSTANDING THAT HER LANGUAGE, HER DANCE VOLLECABULARY, WAS BO OUT OF NATURAL HUMAN GESTURE.

IS IT'S VERY PERSONAL AND INTIMATE EXPERIENCE FOR AUDIENCES.

THEY RECOGNIZE HUMAN BEINGS ON THE STAGE.

♪ ♪ >>> NEXT, A TOUR OF THE MET MUSEUM'S COLLECTION OF POST WAR AND CONTEMPORARY ART.

"E "EPIC ABSTRACTION" EXPLORES SCULPTURE AND OTHER WORKS OF HARD, SEEKS TO BROADEN THE NARRATIVE OF ABSTRACTION, BRINGING TOGETHER 50 WORKS OF THE MET'S COLLECTION.

REPRESENTED HERE ARE SUCH ICONIC ARTISTS AS JACKSON POLLACK, MARK ROTHKO, KAGUCHI AND THE CURATOR OF THE MODERN AND CONTEMPORARY ART OF THE MET IS OUR GUIDE FOR THE TOUR RECORDED IN EARLY 2020.

♪ >> WE'RE LOOKING AT JACKSON POLLACK'S "AUTUMN RHYTHM" FROM 1950.

CAME INTO THE COLLECTION IN 1957, ONE OF THE TREASURES OF THE MODERN COLLECTION.

POLLACK IS MOST REMEMBERED AS KEY FIGURE IN AMERICAN ART OF THE 20th CENTURY FOR LARGE SCALE SO-CALLED DRIP PAINTINGS WHICH HE STARTED TO DO IN LATE 1940s INTO THE EARLY 1950s.

THESE WORKS HAVE A GREAT SENSE OF IMMEDIACY FOR A RANGE OF REASONS.

THEY'RE LARGE, RELATIVE TO YOUR SCALE MAKES YOU FEEL SMALL BY COMPARISON.

ONE OF THE WAYS POLLACK PLAYED A KEY ROLE IN CHANGING THE CONCEPT OF PAINTING, HE MOVED THE CANVAS FROM THE EASEL TO THE FLOOR AND BEGAN WORKING WITH COMMON HOUSEHOLD ENAMEL PAINT.

HE LIKED IT BECAUSE IT WAS VISCOUS, THE KIND OF PAINT YOU CAN THROW AND IT CREATES DYNAMIC DRIPS AND DRIBBLES AND WHIPS OF PAINT THAT SEEM TO BE CAPTURED IN SPACE ON THE PICTURE PLANE.

IN THE CASE OF "AUTUMN RHYTHM" SOME IS THIN, ELEGANT AND GRATEFUL, OTHER PASSAGES ARE DENSE AND MORE AGGRESSIVE AND THICKER.

THERE ARE PASSAGES ALSO OF IMPASTTO WHERE HE'S USED PARTS OF THE ENAMEL PAINT THAT HAVE DRIED, CREATED A SKIN, THREE DIMENSIONALITY ON THE SURFACE AS THE PLAAINT REGISTERS AS FLAT.

PEOPLE FIRST ENCOUNTER HIS WORK IT'S IMPROVISATIONAL, WITHOUT A PLAN.

BUT AS YOU LOOK AT MULTIPLE WORKS BY POLLACK, YOU CAN SEE EACH CANVAS IS DISTINCT AND DIFFERENT FROM ANOTHER.

IF YOU LOOK CLOSELY TO RIGHT OF CENTER, TOWARD THE BOTTOM AS WE SEE IT ON THE WALL, THERE'S A FLICK OF RED PAINT.

LITTLE DROPLET OF RED PAINT.

ONCE YOU SEE IT, YOU CAN'T UNSEE IT, SEEMS SO ANOMALOUS.

ONE WONDERFUL THING ABOUT POLLACK'S TECHNIQUE IS EMBRACE OF ACCIDENT AND EFFECTS OF CHANCE.

TITLE "AUTUMN RHYTHM," RHYTHM TIES TO THE SENSE OF RHYTHM AND CADENCE THAT'S PART AND PARCEL OF HIS GESTURAL PAINTING STYLE AND WHAT I LOVE ABOUT THIS WORK IS GREAT SENSE OF GROWTH AND EVOLUTION TIES TO THE CHANGE OF SEASONS AND EBBS AND FLOWS OF NATURE IN THE COURSE OF A YEAR.

♪ >> THIS SPECTACULAR SCULPTURE BEHIND ME TITLED "MRS. M's PALACE," ONE OF THE GREAT WORKS BY LUIS NEVILLESON, COMPOSED OF PIECES DATING BACK TO 1964 BUT ASSEMBLED AS UNIQUE WORK IN 1977.

IT'S ONE OF HIS GREATEST WORKS, HASN'T BEEN SEEN IN MET IN MANY YEARS.

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

WORK ITSELF IS COMPRISED OF ABOUT 130 INDIVIDUAL SCULPTURAL COLLAGES, RELIEF COLLAGES THAT THEN ARE ATTACHED TO A LARGE BOX.

THE SCULPTURE IS COMPRISED OF SCRAPS OF DETRITUS SHE COLLECTED ACROSS THE CITY, CREATING ABSTRACT IN MANY CASES RELIEF SCULPTURES WHICH SHE THEN TREATS PRIMARILY BY PAINTING IN BLACK.

NEVILLESON DESCRIBED HER MATERIALS AS THE SKIN NEW YORK HAS SHED AND SHE'S SECCAVENGING AND MAKING NEW LIFE, ART IN NEW YORK AND OF NEW YORK.

IN MANY INSTANCES ORIGINAL SOURCE MATERIAL IS DISCERNIBLE WITHOUT MUCH EFFORT.

BOXES FROM FILING CABINETS AND STAIRCASES AND BALUSTRADES WHERE SHE'S RESURFACED.

AGGRESSIVE IN EFFECT BUT 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 DERIVES FROM A COUPLE OF SOURCES.

ONE HER NICKNAME IN THE NEIGHBORHOOD WHERE SHE LIVED WAS MRS. M. AND PALACE IS EVOCATIVE.

SHE INTENDED THIS WORK TO BE HER IDEAL HABITAT OR SHRINE TO HERSELF.

THIS IS NEVILLESON CREATING HER OWN UNIVERSE, ENVIRONMENT BASED ENTIRELY ON HER OWN PRACTICE AND VISION AS ARTIST.

TIED TO HER DESIRE TO LIVE HER OWN LIFE ON HER OWN TERMS.

♪ >> THE COLORFUL AND ATTRACTIVE PAINTING BEHIND ME IS "SMASH STROKES HOPE" FROM 1971 BY JOAN SCHNEIDER.

SCHNEIDER IS ONE OF THE CONTEMPORARY ARTISTS FEATURED IN "EPIC ABSTRACTION: POLLACK TO HERRERO" BREAKS FROM FROM THE FORMALISM.

TOUCHSTONE FOR COMPOSITION AND DESIGN FOR SO MANY ARTISTS, PAINTERS AND SCULPTORS COMING OF AGE IN LATE 1960s AND '70s.

THIS IS A PAINTING ON CANVAS BUT SHE'S USING A WIDE RANGE OF PAINT -- OIL, ACRYLIC AND SPRAY ENAMEL.

SHE'S APPLYING PAINT FAIRLY TRADITIONALLY IN CERTAIN INSTANCES WITH A SEQUENCE OF VERY CLEAR BRUSH STROKES, MOST OF THOSE WITH THE OIL PAINT.

BUT OTHER INSTANCES SHE'S EXPLORING MARK MAKING IN OTHER WAYS.

HER PROCESS IS BOTH ADDITIVE AND SUBTRACTIVE.

SHE MAKES STROKES BY ADDING INDIVIDUAL BRUSH MARKS BUT SHE ALSO EXECUTES STROKES IN SUBTRACTIVE MANNER, IN SOME CASES SCRAPING INTO THICK PAINT TO MAKE AN ABSENCE OF A STROKE.

PART OF THE APPEAL OF HER PAINTING IS IT ALMOST EXPANDS AND BLOWS UP IN SCALE WHAT AN ARTIST'S PALETTE MIGHT LOOK LIKE, GLOBS OF PAINT AND SENSE OF BEING MIXED AND FULL RANGE PREPARING TO BE USED.

PAINT IN CERTAIN INSTANCES IS PILED UP, THICK AND COAGULATED, BUT OTHER INSTANCES SHE'S EXPERIMENTING WITH THE PAINT DILUTED AND ALLOWED TO RUN AND POUR OVER WIDE EXPANSES OF THE PAINTING.

THE PAINTING SERVES AS INVENTORY OR CATALOG OF PAINTER'S STROKES, SOME THICK, SOME THIN, SOME STABLE, SOME STRONG, OTHERS FLUID, OTHERS WEAK.

SCHNEIDER WALKS A VERY FINE LINE BETWEEN EXPERIMENTATION AND DELIBERATION.

♪ >>> NEXT WEEK ON "NYC ARTS" A VISIT TO THE AMERICAN FOLK ART MUSEUM AND EXHIBITION "AMERICAN WEATHER VANES: THE ART OF THE WIND," THE ARTISTRY OF THE POPULAR TOOL.

>> IT'S EXHIBITION THAT BRINGS TOGETHER NEVER BEFORE ASSEMBLED GROUP OF REMARKABLE AMERICAN WEATHER VANES, OBJECTS DESIGNED TO CAPTURE ATTENTION ON TOP OF PUBLIC OR PRIVATE BUILDING MAY SIGNAL PRIDE IN PERSONAL OR SOCIAL IDENTITY.

>> PROFILE OF A MODERN VIOLIN MAKER WHO DEMONSTRATES THE D DELICACY REQUIRED IN CRAFTING HIGH QUALITY INSTRUMENTS.

>> EVERY VIOLIN I MAKE I HAVE EXHAUSTIVE RECORDS ON.

IF INSTRUMENT COMES BACK AND I LIKE IT, I HAVE RECORD OF WHAT I DID.

>> AND MEET LEWIS MILLER, WHOSE POP-UP FLORAL ARRANGEMENTS BRIGHTEN THE CITY'S LANDSCAPE.

>> THEY'RE FOR THE PEOPLE.

I WANT PEOPLE TO INTERACT WITH THEM, TAKE A PICTURE AND BLOSSOM HOME.

MORE WE CAN HAVE SOFT MOMENTS OF BEAUTY AND JOY FOR NO OTHER REASON, EVEN FOR AN HOUR OR TEN MINUTES, JOB IS DONE.

>> I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING, THANKS SO MUCH FOR WATCHING US, WE HOPE YOU JOIN US NEXT TIME.

♪ >>> 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.

THE 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.

LOOKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.

>> AND BY -- >> UTICA BEV CUSTOM ACOUSTICAL DESIGN SERVICES FOR COMMERCIAL AND RESIDENTIAL NEEDS, INFORMATION ONLINE.