>>> COMING UP ON NYC-ARTS, A VISIT TO THE BROOKLYN MUSEUM AND EAST OF SUN, WEST OF MOON.

AN EXHIBITION OF 11 VIVID PAINTINGS BY OSCAR YI HOU, A CONTEMPORARY ARTIST BORN IN LIVERPOOL, NOW BASED IN BROOKLYN.

>> APPLY WORK IS PURPOSEFULLY ANACHRONISTIC.

THERE ARE A LOT OF DEPICTIONS OF EAST ASIAN PEOPLE IN WESTERN VISUAL CULTURE.

CONTEMPORARY PAINTINGS INFUSED WITH A CERTAIN HISTORY.

>> A TRIP TO THE GUGGENHEIM FOR A LOOK AT THE WORK OF NICK CAVE IN WHICH HIS ELABORATE SCULPTURE AND FOUND-OBJECT INSTALLATIONS ARE GIVEN NEW MEANING.

>> AS AN ARTIST OF COLOR, I THINK ABOUT HOW I AM THE VOICE FOR A LOT OF PEOPLE.

I AM ALSO A GAY MALE.

SO WHEN I THINK ABOUT MY SORT OF RESPONSIBILITY, THE WORK HAS TO SERVE AS A COMMUNAL SPACE TO REFLECT A PLACE TO IMAGINE, AND SO IT'S ME SORT OF OPENING THAT UP AND WELCOMING ALL.

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

>> THE PHRENOLOGICAL HEAD BY ASA AMES HAPPENS TO BE ONE OF MY FAVORITES IN THE MUSEUM'S COLLECTION.

IN PART BECAUSE OF ITS EERIE BEAUTY AND THE SENSE OF QUIETNESS IN THE FIGURE'S FACE, WHICH IS SOMEWHAT AT ODDS WITH THE STRANGE MARKINGS ON THE SCALP.

IT IS EXQUISITE AS A WORK OF ART AND IT HAS A POIGNANCY THAT IS LENT TO IT BY THE ARTIST'S OWN STORY.

>>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THE AMBROSE MONELL FOUNDATION.

THEA PETSCHEK IERVOLINO FOUNDATION.

JODY AND JOHN ARNHOLD.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER 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.

>> 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.

>> 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 AT THE MANSION MUSEUM IN THE BRONX.

JUST TEN MILE FROM MANHATTAN, THE MUSEUM IS A HIDDEN GEM SET WITHIN NEW YORK CITY'S LARGEST PARK, PELHAM BAY.

AS THE ONLY GRAND 19th CENTURY COUNTRY HOUSE STILL IN EXISTENCE OVERLOOKING THE BAY, THE MUSEUM PROVIDES AN IMPORTANT LINK TO THE SOCIAL AND ARCHITECTURAL HISTORY OF NEW YORK CITY.

VISITORS CAN TAKE GUIDED TOURS OF THE MANSION, THE CARRIAGE HOUSE, VIEW THE COLLECTION OF FURNISHINGS, FINE AND DECORATIVE ARTS AND STROLL THE GROUNDS AND FORMAL GARDENS.

THE ROOMS REFLECT THE AFFLUENT FAMILY THAT LIVED HERE FROM 1842 TO 1888.

ROBERT BARTOW, A BOOK PUBLISHER, PAPER MANUFACTURER, BANKER AND GENTLEMAN FARMER, LIVED HERE WITH HIS WIFE AND THEIR SEVEN CHILDREN, INCLUDING THREE DAUGHTERS.

IN ADDITION TO THE DOUBLE PARLORS ROOM ON THE FIRST FLOOR, THERE IS A FRONT PARLOR IN WHICH NEIGHBORS AND OTHER CALLERS WOULD HAVE BEEN ENTERTAINED ON INFORMAL OCCASIONS.

THERE IS ALSO A BEAUTIFULLY APPOINTED DINING ROOM AS WELL AS AN ORANGERY.

THIS IS LIKELY WHERE IN THE WINTER MONTHS, THE LIVE-IN GARDENER SPENT HIS TIME GROWING AND TENNING TO PLANTS.

AN ELLIPTICAL STAIRCASE RISES FROM THE GROUND FLOOR ENTRANCE HALL TO THE FLOORS ABOVE IN THE SHAPE OF A SHELL.

THE SECOND FLOOR HAS A ROOM INTERPRETED AS A MAIN BEDROOM, THE BED ITSELF BEING OF FRENCH DESIGN AND COVERED IN BRIGHT FABRIC.

THERE IS ALSO SITTING ROOM WHICH COULD HAVE SERVED AS AN UPSTAIRS FAMILY PARLOR.

ANOTHER ROOM ON THE SECOND FLOOR IS INTERPRETED AS WHERE ONE OR TWO OF THE GIRLS MIGHT HAVE SLEPT AFTER LEAVING THE NURSERY WING.

THE MAHOGANY FOUR-POSTER BED RESEMBLES THOSE MADE BY DUNK AFTERNOON PHYFE, A HE HADDING A NEW YORK SCOTTISH BORN CABINETMAKER OF THE TIME.

MOCK THE OTHER POSSESSIONS WAS A WRITING DESK PLACED NEAR A WINDOW.

AS THEY GREW OLDER, IT WAS A PLACE FOR YOUNG WOMEN TO DRESS FOR GATHERINGS OF FRIENDS OR MORE FORMAL EVENTS.

THE THIRD FLOOR ATTIC SPACE SERVED AS LIVING QUARTERS FOR THE ISH RECOVER IRISH IMMIGRANT WOMEN WHO SERVED THE BARTOW FAMILY.

MANY HAD LIKELY FLED THEIR HOMES DURING THE POTATO FAMINE OF THE 1840s.

IN CONTRAST TO THE ELEGANCE OF THE ROOMS ON THE FIRST AND SECOND FLOORS, THE SPACE HAS ONLY MEAGER CONTENTS.

FOUR BEDS, A WASHSTAND, MENDING BASKETS AND AN IRONING WORK STATION.

IT SPEAKS TO IMMIGRATION ISSUES AND CONNECTIONS BETWEEN HISTORICAL EVENTS FROM THE MID 19th CENTURY TO THOSE OF TODAY.

ON OUR PROGRAM TONIGHT, WE VISIT THE BROOKLYN MUSEUM AND THE EXHIBITION, EAST OF SUN, WEST OF MOON, FEATURING 11 VIVID PAINTINGS BY LIVERPOOL BORN CONTEMPORARY ARTIST OSCAR YI HOU.

THE MUSEUM IS A FITTING DESTINATION FOR THE NOW BROOKLYN-BASED ARTIST'S FIRST SOLO MUSEUM EXHIBITION.

THE PAINTINGS HIGHLIGHT QUEER ASIAN-AMERICAN SUBJECTS AND REFLECT THE LONG-STANDING BIASES AGAINST EAST ASIAN AND LGBTQ COMMUNITIES IN THE UNITED STATES.

NYC-ARTS SPOKE WITH THE ARTIST WHO PROVIDED WITH US THE DETAILS INSIGHT INTO HIS WORK.

>> MY WORK IS PURPOSEFULLY ANACHRONISTIC.

THERE ARE A LOT OF DEPICTIONS OF EAST ASIAN PEOPLE IN WESTERN VISUAL CULTURE.

YOU KNOW, I MAKE CONTEMPORARY PAINTINGS INFUSED WITH A CERTAIN HISTORY.

THE TITLE OF THE EXHIBITION IS EAST OF SUN, WEST OF MOON, AND IT COMES FROM A POEM THAT I WROTE FOR THE SHOW AND HAS ESSENTIALLY AN ESSENCE OF BEING IN BETWEEN THESE TWO HUGE CELESTIAL BODIES, THE SUN AND THE MOON, THE EAST AND THE WEST AS WELL.

THE THREE ARE KIND OF MELDING OF CALLIGRAPHY, POETRY, PAINTING WITHIN THE SAME WORK.

I'VE BEEN WORKING IN THIS TRADITION WITHOUT KNOWING IT, BUT I THINK THE THREE PERFECTIONS IS A GOOD WAY TO EXAMINE MY WORK.

FOR COOLIEISMS, LEATHER DADDY'S HIGH BINDER ODALISQUE, YOU HAVE THIS HULKING BEEFCAKE AND HE'S HOLDING A WHIP.

THIS WHIP IS ACTUALLY CONNECTED TO THE BACK OF HIS HEAD.

IT'S AN EXTENSION OF WHAT IS KNOWN AS THE Q.

IT WAS A HAIR STYLE WORN BY CHINESE MEN WHEN THEY CAME TO AMERICA.

THE HISTORY OF THE CHINESE PEOPLE IN AMERICA WHEN IT KIND OF BEGAN, IT WAS NOT A VERY PLEASANT ONE.

THERE WAS RACIAL ANIMOSITY SO THE BRAID BECAME ALMOST LIKE A TARGET.

IT WAS SEEN AS BEING EFEMME NAT OR DEVIANT.

SO WITH THIS PAINTING, I HAD THE BRAID USED AS A WHIP LIKE A WEAPON, AND I HAD THE FIGURE BE THIS REALLY EXAGGERATED CARICATURE OF MASCULINITY, A KIND OF MALE DRAG.

IT'S KIND OF AN EXPLORATION OF HISTORY AND THE RELATIONSHIP BETWEEN EAST ASIAN-NESS AND GENDER.

MY GIVEN NAME IN CHINESE REFERS TO AN IDIOM INVOLVING A BIRD'S CRY.

I ACTUALLY, THROUGHOUT MY PRACTICE, I USED THIS SYMBOL OF A BIRD, OFTEN A CRANE, TO SYMBOLIZE MYSELF.

THIS ONE IS KIND OF A SELF-PORTRAIT.

I'M ESSENTIALLY DRESSED UP AS GOKU, THE PROTAGONIST OF A JAPANESE ANIMATED SERIES CALLED DRAGON BALL Z.

IT IS KIND OF A FIRST, I THINK, EXPERIENCE THAT A LOT OF KIDS AT THAT TIME WOULD HAVE HAD ENGAGING WITH EAST ASIAN VISUAL CULTURE AS IT WAS BEING TRANSPORTED INTO THE WEST.

I GUESS THE PAINTING DEALS WITH THIS IDEA OF EAST ASIAN ICONOGRAPHY.

SO WE THINK OF THE KIND OF DEFAULT PERCEPTION OF WHAT A CHINESE MAN SHOULD LOOK LIKE.

YOU HAVE BRUCE LEE, JACKIE CHAN, YOU HAVE GOKU, EVEN THOUGH HE'S ANIMATED.

IN THIS PAINTING, IT'S INTENDED TO BE A PERFORMANCE DRESS OF THIS ICONIC FIGURE TO TRY AND ALLUDE TO THE PERCEPTION THAT ALL CHINESE PEOPLE LOOK THE SAME.

>> IT ENDS THE EMPIRE.

IT'S AROUND SEVEN FEET TALL.

ESSENTIALLY IT DEPICTS A MODIFIED AMERICAN FLAG.

WITHIN THE RED STRIPES ARE BURIED TEXT.

IT'S ENGLISH LETTERING THAT HAS BEEN HORIZONTALLY INVERTED, AND THE TEXT APPROPRIATES THE HIGHLY PATRIOTIC, NATIONALISTIC LETTER THAT THE SUBJECT, WHO IS FILIPINO AMERICAN, GOT WHEN HE WAS NATURALIZED AS AN AMERICAN CITIZEN.

IT REPLACES EVERY INSTANCE OF AMERICA WITH THE WORD EMPIRE.

I HAD THE SUBJECT AT THE BOTTOM OF THE FRAME TO TRY TO CONVEY THE SENSE OF THIS REALLY LOOMING GIANT UNATTAIN ANT OF AMERICANNESS.

THERE ARE STARS EMBEDDED IN THE RED STRIPES.

AND THESE STARS ARE ACTUALLY SEQUENTIALED TO THE RAINBOW PRIDE FLAG.

IT IS KIND OF AN ILLUSION OF HOMONATIONALISM, WHICH IS LGBTQ POLITICAL RIGHTS.

I WANTED TO ESSENTIALLY DRAW UPON THE ICONOGRAPHY OF THE AMERICAN FLAG WITHOUT MAKING A FACSIMILE OF THE FLAG.

I HOPE VIEWERS WILL GET A LITTLE MORE UNDERSTANDING OF ASIAN-AMERICAN HISTORY.

PORTRAITURE IS A SPECIAL VEHICLE TO EXPRESS MESSAGES AND IDEAS AND HISTORIES AND CONCEPTS.

SO I HOPE VIEWERS APPRECIATE WHAT I HAVE TO SAY.

>> 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, A VISIT TO THE GUGGENHEIM MUSEUM FOR A CAREER-SPANNING EXHIBITION OF THE WORLD RENOWNED ARTIST, NICK CAVE.

NICK CAVE, FOR OTHER MORE, FEATURES THE ARTIST'S ELABORATE SCULPTURE AND FOUND-OBJECT INSTALLATIONS INCLUDING HIS ICONIC SOUND SUITS WHICH BLEND SCULPTURE, FASHION, AND SOCIAL PERFORMANCE.

THE SUB TITLE OF THE EXHIBIT, FOR OTHER MORE, IS A NEW WORD CREATED BY CAVE THAT SYMBOLIZES THE ARTIST'S CONTINUING COMMIT MANY TO PROVIDING SPACE FOR THOSE WHO FEEL MARGINALIZED BY DOMINANT SOCIETY AND CULTURE.

ESPECIALLY WORKING-CLASS COMMUNITIES AND QUEER PEOPLE OF COLOR.

NYC-ARTS SPOKE WITH THE ARTIST WHO REFLECTS ON THE WORK HE'S MADE THROUGHOUT HIS EXPANSIVE CAREER.

>> MY WORK HAS NEVER BEEN FOR MYSELF.

IT'S ALWAYS BEEN FOR OTHERS.

AND IT REALLY IS ABOUT INCLUSION.

YOU KNOW, HOW DO I SORT OF MAKE SPACE FOR ALL?

AS AN ARTIST OF COLOR, I THINK ABOUT HOW I AM THE VOICE FOR, FOR A LOT OF PEOPLE.

YOU KNOW, I'M ALSO A BLACK GAY MALE.

AND SO, YOU KNOW, WHEN I THINK ABOUT MY SORT OF RESPONSIBILITY, THE WORK HAS TO SERVE AS A COMMUNAL SPACE TO REFLECT, A PLACE TO IMAGINE.

AND SO IT'S TO ME, OPENING THAT UP AND WELCOMING ALL.

>> FOROTHERMORE CAME FROM ME THINKING ABOUT BLACK BODIES AND TO NOT BE FORGOTTEN.

I'VE BEEN TRYING TO GET TO BRONZE FOR PROBABLY FIVE YEARS.

AT THE SAME TIME, MONUMENTS WERE COMING DOWN.

THE REMOVAL OF CONFEDERATE SCUL SCULPTURES.

IT COMES OUT OF ME QUESTIONING THE NATIONAL ANTHEM AND THE PROTESTS THAT HAPPEN AROUND THAT.

THE KNEELING OF THE KNEE, THE SENSE OF AGENCY AND URGENCY.

YOU WILL FIND THESE OVERSIZED GRAMMOPHONES CREATING PUBLIC SPACES TO BE HEARD.

THERE IS LOCKING HANDS COMING DOWN.

IS IT DIVISION?

A WALL OF SORTS?

OR IS IT THE SORT OF MOMENT OF UNIFYING AS ONE?

SO I LOVE THE FACT THAT THERE ARE THESE SORT OF MULTIPLE WAYS IN WHICH WE CAN READ THE PIECE.

I'M NOT REALLY COMMITTED TO ONE PARTICULAR MATERIAL AS OPPOSED TO THE MEANS NECESSARY TO SUPPORT THE IDEA.

THE FIRST SOUND SUIT WAS CONSTRUCTED FROM TWIGS.

I THOUGHT I WAS BUILDING A SCULPTURE.

IT DAWNED ON ME MIDWAY THROUGH THAT COULD I PUT THIS THING ON.

THE MOMENT THAT I BROUGHT IT TO THE BODY AND STARTED TO MOVE, IT MADE SOUND.

IN TERMS OF THE NUMBER OF SOUND SUITS I'VE MADE, OH MY GOD.

PROBABLY 500, IF NOT MORE.

THE MATERIALS RANGE FROM TWIGS TO BEADS TO BUTTONS.

YOU'LL SEE THIS ENORMOUS BUNNY ABOVE THE HEAD OF ONE OF THE SCULPTURES, AND THAT BUNNY WAS FROM A RUSSELL STOVER'S CANDY STORE THAT I FOUND IN THE FLEA MARKET.

BUT IT WAS SO FANTASTIC.

SO IN A LOT OF CASES, IT MAY BE BASED OFF AN IMPULSE OF SOMETHING THAT I SORT OF FIND AS I'M OUT SHOPPING THAT WILL SORT OF DICTATE HOW IT'S TO BE THEN BUILT IN AND CREATED.

I'VE ALWAYS BEEN INTERESTED IN CREATING THESE THREE DIMENSIONAL SORT OF SURFACES THROUGH A NUMBER OF APPLICATIONS AND TREATMENTS AND TECHNIQUES.

YOU KNOW, WALL RELIEF.

I SEE IT AS A PAINTING, REALLY LOOKING AT LANDSCAPE.

THINKING ABOUT MY GRANDFATHER TALKING TO ME ABOUT PROPERTY.

I NEVER KNEW THAT THEY OWNED PROPERTY AS A KID.

AND I STARTED TO THINK THAT WHAT THAT MAY LOOK LIKE.

SO I STARTED TO CREATE THESE, WHAT I CONSIDERED TO BE THE GARDEN PLOTS.

AND THEN PUTTING MYSELF IN THE POSITION OF AN ANT LOOKING UP INTO THIS SORT OF VAST WORLD.

AND IT'S MADE OF ALL THESE FOUND MATERIALS FROM METAL TOLL, FLORAL TOLL.

THERE'S LARGE GRAMMOPHONES IN THE PEACE THAT ECHO AND CREATE THESE LARGE MORNING GLORIES.

THEN IT'S COVERED IN THE SORT OF CRYSTALS AS I'M THINKING ABOUT THE MORNING DEW AND THE REFLECTION OF THAT.

SO YOU ARE SO CONSUMED BY THE SORT OF SURPLUS AND SO CONSUMED BY THE VISCERALNESS OF THE SURFACE AND THE RELIEF AND THE DEPTH OF THE SURFACE, THAT YOU FIND YOURSELF JUST SORT OF IN THE PAINTINGS.

YOU KNOW, I THINK WHEN I WAS 19 AND I CAME TO THE GUGGENHEIM, YOU KNOW, AS A YOUNG ARTIST.

I MAY NOT, YOU KNOW, I COULD ONLY DREAM THAT THIS COULD BE POSSIBLE.

I AM CURIOUS TO SEE HOW THIS SHOW WILL SERVE THE COMMUNITY.

>>> NEXT, WE'LL VISIT THE AMERICAN FOLKS 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.

HERE'S A LOOK AT A HIGHLIGHT IN THE MUSEUM'S COLLECTION.

>> HI, I'M STACEY HOLLANDER.

WELCOME TO THE AMERICAN FOLK ART MUSEUM.

I'D LIKE THE TALK TO YOU TODAY FOR A FEW MINUTES ABOUT ONE OF THE MOST SURPRISING AND UNIQUE WORKS OF ART IN THE MUSEUM'S COLLECTION.

IT'S A SCULPTURE FROM THE MID 19th CENTURY, BY A VERY LITTLE-KNOWN ARTIST NAMED ASA AMES, FROM EVANS, IN ERIE COUNTY, NEW YORK.

THIS PIECE IS UNIQUE NOT ONLY IN THAT BODY OF WORK BUT REALLY IN THE HISTORY OF AMERICAN FOLK ART AND AMERICAN FOLK SCULPTURE.

THIS BEAUTIFUL YOUNG GIRL, HER FEATURES ARE EXTREMELY FINE AND TYPICAL OF AMES' WORK.

AND THERE IS A QUIETUDE IN HER FACE AND HER WHOLE PRESENTATION THAT IS TYPICAL OF HIS WORK AS WELL.

THERE IS A SENSE OF INNOCENCE AND BEAUTY IN THE WORK THAT HE DID, ESPECIALLY IN THE CARVINGS OF CHILDREN.

THIS PIECE IS SOLID WOOD.

SO ALL THE DETAILS THAT WE SEE ARE CARVED INTO THE SURFACE AND THEN IT'S BEAUTIFULLY PAINTED, BUT OF COURSE, WHAT DISTINGUISHES IT ARE THE STRANGEST MARKINGS ON HER SCALP.

THIS WAS INDICATIVE OF WHAT IS TRULY A MAJOR MOVEMENT IN THE MIDDLE OF THE 19th CENTURY IN AMERICA.

A PSEUDO SCIENCE CALLED PHRENOLOGY.

IT WAS AN EXAMINATION OF THE HUMAN BRAIN.

IT WAS AN ATTEMPT TO DIVIDE THE HUMAN BEHAVIORAL SPECTRUM INTO 27 FACULTIES.

AND EACH OF THE FACULTIES WAS NUMBERED AND ASSOCIATED WITH A PARTICULAR PART OF THE CRANIUM.

THERE WAS A BELIEF AT THE TIME THAT IF YOU FELT THE BUMPS ON SOMEONE'S HEAD, COULD YOU TELL HOW FINELY DEVELOPED THAT PARTICULAR FACULTY WAS.

WHETHER IT CONTROLLED YOUR SEXUAL APPETITE, YOUR HUNGER, YOUR AGGRESSIVENESS, YOUR SECRETIVENESS.

ASA AMES SADLY WAS SUFFERING FROM CONSUMPTION WHICH HAD NO CURE IN THE 19th CENTURY BEFORE THE INVENTION OF ANTIBODIES.

THIS WAS PROBABLY CARVED AROUND 1850.

AT THE TIME, HE WAS LIVING WITH A DOCTOR OF ALTERNATIVE THERAPIES, WHO WAS TRYING TO SET UP A WATER CURE CLINIC AS A WAY TO CURE CONSUMPTION.

SO IT'S VERY POSSIBLE THAT ASA AMES CARVED THE PHRENOLOGICAL HEAD, IN FACT, FOR THE DOCTOR, WHO WAS ALSO INVOLVED WITH PHRENOLOGY.

ASA AMES TODAY IS KNOWN FOR REALLY A SMALL BODY OF WORK.

AROUND 12 OR SO CARVINGS IN WOOD.

ALL IN WOOD.

AND A REMARKABLE IMAGE SURVIVES ASA AMES AT WORK WHERE HE'S CARVING WHAT APPEARS TO BE A SELF-PORTRAIT.

IN THE 18th 50 CENSUS, THE ONLY ACTUAL DOCUMENT WE HAVE OF ASA AMES, HE'S LISTED HIS OCCUPATION AS SCULPTURING, WHICH SUGGESTED THAT HE THOUGHT OF HIMSELF AS A FINE ARTIST AND NOT AS AN ARTIST IN WOOD, WHICH WAS MORE OF AN APPLIED TRADE.

THE PHRENOLOGICAL HEAD BY ASA AMES HAPPENS TO BE ONE OF MY FAVORITE ART WORKS IN THE COLLECTION.

IN PART BECAUSE OF ITS EERIE BEAUTY, AND THE SENSE OF QUIETNESS IN THE FIGURE'S FACE WHICH IS SOMEWHAT AT ODDS WITH THE STRANGE MARKINGS ON THE SCALP.

IT'S EXQUISITE AS A WORK OF ART.

AND IT HAS A POIGNANCY THAT IS LENT TO IT BY THE ARTIST'S OWN STORY.

I HOPE YOU'VE ENJOYED LEARNING A LITTLE BIT ABOUT ASA AMES AND THE PHRENOLOGICAL HEAD THAT HE CARVED AROUND 1850.

THERE ARE SO MANY REALLY SENAITING AND BEAUTIFUL WORKS OF ART TO DISCOVER AT THE AMERICAN FOLK ART MUSEUM.

PLEASE COME VISIT US SOON.

>>> NEXT WEEK ON NYC ARTS, A VISIT TO NEW YORK HISTORICAL SOCIETY AND THE SPECIAL EXHIBITION, I'LL HAVE WHAT SHE'S HAVING.

THE JEWISH DELI.

>> NOT ONLY DOES IT SHOW WHAT WE HAVE IN THE DELI AND HOW THE DELI DEVELOPED, BUT IT IS AN EXHIBITION OF MEMORIES.

YOU DON'T HAVE TO BE JEWISH TO HAVE MEMORIES OF THE DELI IN NEW YORK.

>>> THEN A TRIP UP NORTH TO HYDE PARK AND THE THEODORE ROOSEVELT PRESIDENTIAL LIBRARY AND MUSEUM.

>> ROOSEVELT WANTED IT TO BE AN ARCHIVE AND A MUSEUM WHERE PEOPLE COULD COME LEARN MORE ABOUT HIM AND HIS ADMINISTRATION.

>>> AND A LOOK AT THE HIGHLIGHT OF THE COLLECTION OF OUTSTANDING PAINTINGS AT THE NEW YORK HISTORICAL SOCIETY.

>> BEHIND ME IS THE RETURN OF THE SKINLT REGIMENT.

THE IRISH REGIMENT IN 1862 FROM THE SEAT OF WAR.

LANG HAS USED THIS AS A KIND OF SHOW PIECE TO SHOWCASE HIS ABILITY AS A GENRE PAINTER, AS A PORTRAITIST AND A LANDSCAPIST.

>> I HOPE YOU ENJOYED OUR PROGRAM TONIGHT.

I'M PAULA ZAHN ON LOCATION AT THE BARTOW-PELL MANSION MUSEUM IN THE BRONX.

THANKS FOR WATCHING US.

GOOD NIGHT.

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

>>> A WOMAN CAME TO SEE ME PERFORM AND SAID, HOW WOULD YOU LIKE THE PLAY BILLIE HOLIDAY?

>> I THINK ONE OF THE ESSENTIAL THINGS WE LEARNED IS THAT HE USED PENS TO COMPOSE HIS WORK.

>> VIEWERS ARE SURPRISED WHEN YOU ARE DOING A PIECE 100 YEARS AGO AND THINK THIS COULD BE NOW.

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

>> SUDDENLY YOU PRESENT SOMETHING AND YOU GET APPLAUSE.

♪ >>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER 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.

>> 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.

>> 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